Adaptace Alfréda Radoka pro princip "laterny magiky"

Abstract

Czech theater director Alfred Radok (1914-1976) was always temped by confronting several layers of meaning in one single work of art. On theater he used different scenic spaces at once - in e.g. his production of Offenbach's opera Hoffman's Tales (Velka opera 5. kvetna IThe Great May 5th Opera/, 1946) he combined two spaces which symbolized the two worlds of Hoffman's fantasy. The true character of these worlds was not only formed by the stage design but also by acting. When transiting from one space to the other the actors changed their gestures, their body language, the way they walked, etc. A similar principle was applied in Verdi's Rigoletto (Velka opera 5. kvetna IThe Great May 5th Operal, 1947). In this production the singers were moving inbetween two different worlds - one being represented by a ceremonial opening night of this performance in Teatro La Fenice, while the second by the theater backstage which unveiled the reverse side of fame (scene-shifters were preparing the change of the upcoming scene, one singer was flirting around with the dancers, prop-woman was knitting etc.). This specific technique of totally diverse realities medley became the basis for Radok's film debut Daleka cesta IFar Away Journey/ (1949). A portrayal of a life story of a mixed marriage during the Second World War is...

Alfred Radok (1914-1976) ve sve tvorbe smeroval k polyscenickemu ci lepe receno k polyfonnimu divadlu, ve kterem by mohl konfrontovat ruzne perspektivy a vytvaret tak novY, originaIni jevistni tvar. Z tohoto duvodu experimentoval a hledal zpusoby, jak lze tento zamer naplnit pomoci zvuku, svetla, scenografie, velmi casto i filmove projekce. Z techto vyjadrovacich prostredku vytvarel rUzne vyznamove roviny, ktere dohromady vytvarely celek. Tento zpusob prace ho nakonec privedl k "vynalezu" Latemy magiky, kterym byli vsichni ve sve dobe okouzleni. Celkem bezne se v tisku hovorilo 0 novem druhu divadla s uzasnymi vyjadfovacimi moznostmi a jeste skvelejsi budoucnosti. Obecne se nepochybovalo 0 tom, ze Latema magika se bude venovat velkym dramatickym dilum a obohacovat cinohemi divadlo novymi vyjadfovacimi moznostmi. Dokonce sam Alfred Radok planoval uvedeni nekolika rozsahlych dramatickYch deL I Nadseni nekterych slo tak daleko, ze ocekavali dokonce vznik nove dramaticke literatury specielne pro Latemu magiku, pripadne upravy klasicke dramaticke literatury. Zabavni pocatky tohoto divadla byly zpocatku chap any jakou pouhe detske krucky. Jednim z vizionaru Latemy magiky se stal take Vaclav Havel: "I .. j u Laterny magiky vidime vsechny predpoklady k tomu, aby se stala samorostlym dramatickym zanrem."z nebo "Po...