Carnival as Method and Style (an Attempt to Conceptualise Directing Approach of Peter Scherhaufer)
| Autoři | |
|---|---|
| Rok publikování | 2025 |
| Druh | Další prezentace na konferencích |
| Fakulta / Pracoviště MU | |
| Citace | |
| Popis | The presentation focuses on the Czechoslovak theatre director Peter Scherhaufer (1942-1999), one of the founders of the Brno-based experimental theatre Husa na provázku (Goose on a String) in the 1960s. The theatre has always been seen as a Czech appropriation of the impulses of the Second Theatre Reform, as conceived by Kazimierz Braun (especially Peter Brook and Jerzy Grotowski), and of both Czech and European inter-war avant-garde trends, including Sergei Eisenstein, Vsevolod Meyerhold or Bertolt Brecht. The presentation attempts to characterise Peter Scherhaufer's specific style, which culminated in his work as a director in the 1980s. His performances were often based on montages of classical dramatic texts (e.g. the series of productions Shakespearomania I.-.III.), very unorthodox dramatizations of novels (such as Dostoyevsky's The Brother Karamazov or Kurt Vonnegut's novels) or attempts at "new opera" (The Chameleon, loosely based on Stephan Zweig's novel about Joseph Fouché) or "new ballet" (The Dance Macabre, which was actually a non-verbal dance performance adapted from Brecht's The Resistible Rise of Arturo Ui). Although relatively diverse in subject matter and source material, the shows share many characteristics: ironic references to historical theatre styles, grotesque parody, metatheatrical framing, clashing styles of acting and visuality. The productions often employ strong theatrical effects, including music and masks. Today, his style is described - rather vaguely and still with certain reservations - as 'postmodern'. I would like to explore this term in more detail and propose carnivalization as an idiosyncratic feature of Scherhaufer's directorial style. |
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