Article aims the story of " Laterna magika " , a multi-medial performance form which was presente... more Article aims the story of " Laterna magika " , a multi-medial performance form which was presented by the Czechoslovak theatre makers for the first time during the EXPO 1956 in Brussels. The audience could encounter a brand new type of performance which was " not only theater and not only cinema " but a sophisticated multi-media mixture, where theatre, cinema, dance and new technologies meet in one place, within one stage design, on one stage. The productions invented and created by stage designer Josef Svoboda and theatre and movie director Alfred Radok were overwhelming and opened new ways of the use of multimedia in theatre and on stage. Author focuses not only on the initial ideas of the Laterna Magika but on later development of its principles as well. He tries to analyze shortly the possibilities and position of this " stage-multimedia " in contemporary world of performative arts. The following study aims at telling a story. A story about a miracle that happened. The author would like to share with you, dear reader, a short story about a long history of a theatre which began in Brussels and has taken place mostly in Prague, Czechoslovakia/Czech Republic. But not only there, as we are going to see. Our " hero " has travelled over the seas and oceans, and its glory has spread all over Europe and the rest of the world of performance art culture. Moreover, this artistic biography of a technology that transgresses the borders of different media covers more than sixty years of history of contemporary performance art. The story begins in the summer of 1958, in Belgium, Brussels, at the World Exhibition called EXPO '58. During the hot summer, the whole world literally lies at the feet of the people of Czechoslovakia. The reason is clear and simple: the huge success of the Czechoslovak exposition at the EXPO '58, where the Laterna Magika was one of the highlights. Laterna Magika? Magic Lantern? Lanterne magique? What does this notion 2 mean in the middle of the 20 th century?
Cross-cultural understanding is a questionable utopia that (…) challenges the concept of so-calle... more Cross-cultural understanding is a questionable utopia that (…) challenges the concept of so-called cross-cultural understanding. Drawing examples from contemporary Czech theatres and authors he examines the consequences of the cultural, social and political transformations in relation to cultural/theatrical production and its perception by socalled international audiences. Cross-cultural understanding in contemporary Europe represents a questionable utopia which fosters cultural misspelling and reduction of regional and communal diversities and specificities. Local drama and theatre cultures are ignored or misinterpreted in favour of a few select plays and productions, which both formally and semantically accommodate international audiences. As a result of the multinational condition, it seems to us that the only (?) solution, which could authenticate the cross-cultural understanding, lies in the role of a reviewer who should assume a position of a cultural ambassador disseminating knowledge about his/her particular community culture.
Article aims the story of " Laterna magika " , a multi-medial performance form which was presente... more Article aims the story of " Laterna magika " , a multi-medial performance form which was presented by the Czechoslovak theatre makers for the first time during the EXPO 1956 in Brussels. The audience could encounter a brand new type of performance which was " not only theater and not only cinema " but a sophisticated multi-media mixture, where theatre, cinema, dance and new technologies meet in one place, within one stage design, on one stage. The productions invented and created by stage designer Josef Svoboda and theatre and movie director Alfred Radok were overwhelming and opened new ways of the use of multimedia in theatre and on stage. Author focuses not only on the initial ideas of the Laterna Magika but on later development of its principles as well. He tries to analyze shortly the possibilities and position of this " stage-multimedia " in contemporary world of performative arts. The following study aims at telling a story. A story about a miracle that happened. The author would like to share with you, dear reader, a short story about a long history of a theatre which began in Brussels and has taken place mostly in Prague, Czechoslovakia/Czech Republic. But not only there, as we are going to see. Our " hero " has travelled over the seas and oceans, and its glory has spread all over Europe and the rest of the world of performance art culture. Moreover, this artistic biography of a technology that transgresses the borders of different media covers more than sixty years of history of contemporary performance art. The story begins in the summer of 1958, in Belgium, Brussels, at the World Exhibition called EXPO '58. During the hot summer, the whole world literally lies at the feet of the people of Czechoslovakia. The reason is clear and simple: the huge success of the Czechoslovak exposition at the EXPO '58, where the Laterna Magika was one of the highlights. Laterna Magika? Magic Lantern? Lanterne magique? What does this notion 2 mean in the middle of the 20 th century?
Cross-cultural understanding is a questionable utopia that (…) challenges the concept of so-calle... more Cross-cultural understanding is a questionable utopia that (…) challenges the concept of so-called cross-cultural understanding. Drawing examples from contemporary Czech theatres and authors he examines the consequences of the cultural, social and political transformations in relation to cultural/theatrical production and its perception by socalled international audiences. Cross-cultural understanding in contemporary Europe represents a questionable utopia which fosters cultural misspelling and reduction of regional and communal diversities and specificities. Local drama and theatre cultures are ignored or misinterpreted in favour of a few select plays and productions, which both formally and semantically accommodate international audiences. As a result of the multinational condition, it seems to us that the only (?) solution, which could authenticate the cross-cultural understanding, lies in the role of a reviewer who should assume a position of a cultural ambassador disseminating knowledge about his/her particular community culture.
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