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Ethical goals as a criterion of creation: the Czechoslovak Theatre on a String in the 1980s
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Abstract(s)
Na década de 1980 a companhia checoslovaca de teatro alternativo Divadlo na provázku (em inglês: Theatre on a String; em português: Teatro Num Cordel) experimentou a possibilidade de explorar múltiplas formas de arte e de ignorar os limites estritamente definidos para cada disciplina artística. O ponto de partida foi o seu programa artístico de “irregularidade”, que se refletia em todos os componentes da produção teatral, no processo de encenação e na organização do grupo. Este caso de estudo debruça-se sobre um projeto teatral específico que decorreu no outono de 1985, intitulado precisamente O Projeto 1985, o qual se situava entre a literatura e o teatro. O destaque vai para o sketch teatral The Monument [O Monumento], estreado a 30 de novembro de 1985 e levado à cena juntamente com uma escultura de Jan Šimek. O artigo tem em conta o facto de a companhia funcionar sob um regime comunista autoritário onde vigorava a censura, descrevendo as estratégias necessárias para garantir que o espectáculo estreasse perante o público. O grupo entendia o teatro como uma ferramenta em que as performances eram imbuídas de objetivos éticos mais do que estéticos.
ABSTRACT - In the 1980s, the Czechoslovak alternative theatre company Divadlo na provázku (in English: Theatre on a String) explored the possibilities of combining multiple art forms and crossing the strictly defined boundaries of individual artistic disciplines. The starting point was their artistic programme of ‘irregularity’, which was reflected in all components of theatre production, the staging process, and the organisation of the ensemble. This case study presents a specific theatre project from autumn 1985 called The 1985 Project, which moved in between literature and theatre. The focus is on the scenic sketch The Monument (premièred on 30 November 1985), which was performed alongside an art piece by sculptor Jan Šimek. The essay considers the company’s functioning within a totalitarian communist regime characterised by censorship and describes the strategies necessary to achieve the première performance in front of an audience. The ensemble understood theatre as a tool in which individual performances were directed towards ethical rather than aesthetic goals.
ABSTRACT - In the 1980s, the Czechoslovak alternative theatre company Divadlo na provázku (in English: Theatre on a String) explored the possibilities of combining multiple art forms and crossing the strictly defined boundaries of individual artistic disciplines. The starting point was their artistic programme of ‘irregularity’, which was reflected in all components of theatre production, the staging process, and the organisation of the ensemble. This case study presents a specific theatre project from autumn 1985 called The 1985 Project, which moved in between literature and theatre. The focus is on the scenic sketch The Monument (premièred on 30 November 1985), which was performed alongside an art piece by sculptor Jan Šimek. The essay considers the company’s functioning within a totalitarian communist regime characterised by censorship and describes the strategies necessary to achieve the première performance in front of an audience. The ensemble understood theatre as a tool in which individual performances were directed towards ethical rather than aesthetic goals.
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Keywords
Czechoslovak alternative theatre Theatre on a String Brno Scenic sketch The 1985 Project Jan Šimek Teatro alternativo checoslovaco Sketch teatral O Projeto 1985
Citation
Publisher
Instituto Politécnico de Lisboa