Název: Silent Bergman full of words
Zdrojový dokument: Theatralia. 2019, roč. 22, č. 1, s. 45-60
Rozsah
45-60
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2019-1-4
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/141177
Type: Článek
Jazyk
Licence: Neurčená licence
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Abstrakt(y)
Ingmar Bergman, in addition to producing a large number of films, also worked for the theatre and in radio. All of his activities were intertwined and influenced one another. The paper outlines Bergman's traces in radio with an emphasis on Czech radio production. It reflects the biographic readings, monodrama, dialogic plays as well as more extensive plays which, thanks to their intimate setting, the intensity of relationships among characters and meaning, correspond to the character of Bergman's late work. Relying on the analyses by Jess Kalin and radio theoreticians Martin Shingler and Cindy Wieringa, the authors look into the imaginativeness of Bergman's plays with a particular focus on the dimensions of silence and words.
Reference
[1] BERGMAN, Ingmar. 1960. Four Screenplays of Ingmar Bergman. New York: Simon and Schuster, 1960.
[2] BLÁHA, Ivo. 2004. Zvuková dramaturgie audiovizuálního díla. Praha: Akademie múzických umění, 2004.
[3] BROOK, Peter. 1973. Foreword by Peter Brook. In Cicely Berry. Voice and the Actor. New York: Wiley Publishing, 1973.
[4] CROOK, Tim. 1999. The Radio Drama. London: Routledge, 1999.
[5] HAND, Richard J. and Mary TRAYNOR. 2011. The Radio Drama Handbook. Audio Drama in Practice and Context. Londýn: Bloomsbury, 2011.
[6] KALIN, Jesse. 2003. The Films of Ingmar Bergman. Cambridge University Press, 2003.
[7] McWHINNIE, Donald. 1959. The Art of Radio. Londýn: Faber & Faber, 1959.
[8] SCHAFER, R. Murray. 1994. The Soundscape. Our Sonic Environment and the Tuning of the World. Vermont: Destiny, 1994.
[9] SHINGLER, Martin and Cindy WIERINGA. 1998. On Air. Methods and Meanings of Radio. London: Bloomsbury, 1998.
[10] STREET, Seán. 2014. The Poetry of Radio. The Colour of Sound. London and New York: Routledge, 2014.
[11] TORNQUIST, Egil and Birgitta STEENE. 2007. Strindberg on Drama and Theatre. Amsterdam: University Press, 2007.
[12] VENCLOVÁ, Renata. 2018. Ingmar Bergman: Sarabanda. Czech Radio (14. 7. 2018). Available online at https://vltava.rozhlas.cz/ingmar-bergman-sarabanda-7565948.
[2] BLÁHA, Ivo. 2004. Zvuková dramaturgie audiovizuálního díla. Praha: Akademie múzických umění, 2004.
[3] BROOK, Peter. 1973. Foreword by Peter Brook. In Cicely Berry. Voice and the Actor. New York: Wiley Publishing, 1973.
[4] CROOK, Tim. 1999. The Radio Drama. London: Routledge, 1999.
[5] HAND, Richard J. and Mary TRAYNOR. 2011. The Radio Drama Handbook. Audio Drama in Practice and Context. Londýn: Bloomsbury, 2011.
[6] KALIN, Jesse. 2003. The Films of Ingmar Bergman. Cambridge University Press, 2003.
[7] McWHINNIE, Donald. 1959. The Art of Radio. Londýn: Faber & Faber, 1959.
[8] SCHAFER, R. Murray. 1994. The Soundscape. Our Sonic Environment and the Tuning of the World. Vermont: Destiny, 1994.
[9] SHINGLER, Martin and Cindy WIERINGA. 1998. On Air. Methods and Meanings of Radio. London: Bloomsbury, 1998.
[10] STREET, Seán. 2014. The Poetry of Radio. The Colour of Sound. London and New York: Routledge, 2014.
[11] TORNQUIST, Egil and Birgitta STEENE. 2007. Strindberg on Drama and Theatre. Amsterdam: University Press, 2007.
[12] VENCLOVÁ, Renata. 2018. Ingmar Bergman: Sarabanda. Czech Radio (14. 7. 2018). Available online at https://vltava.rozhlas.cz/ingmar-bergman-sarabanda-7565948.