Název: "Hungry for interpretation" : Woyzeck on the Highveld and the polyphony of performance
Zdrojový dokument: Theatralia. 2019, roč. 22, č. 2, Supplementum, s. 39-58
Rozsah
39-58
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2019-S-4
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/142288
Type: Článek
Jazyk
Licence: CC BY-NC-ND 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Reference
[1] BALINT, Michael. 1994. Angstlust und Regression. Stuttgart: Klett-Cotta, 1994.
[2] BOGATYREV, Petr. 1982. A contribution to the study of theatrical signs. In Peter Steiner (ed.). The Prague School: selected writings, 1929–1946. Austin: University of Texas Press, 1982: 55–63.
[3] BRUŠÁK, Karel. 1991. Imaginary action space in drama. In Herta Schmid and Hedwig Král (eds.). Drama und Theater. Theorie – Methode – Geschichte. München: Otto Sagner, 1991: 144–62.
[4] CARLSON, Marvin. 2001. The haunted stage: the theatre as memory machine. Ann Arbor: University of Michigan Press, 2001.
[5] ELAM, Keir. 2002. The semiotics of theatre and drama. 2nd ed. London and New York: Routledge, 2002.
[6] GIESEKAM, Greg. 2007. Staging the screen: the use of film and video in theatre. Houndmills, Basingstoke and New York: Palgrave, 2007.
[7] GROSZ, Georg. 1973. Theatrical drawings and watercolors. Cambridge: Busch-Reisinger Museum, 1973.
[8] HONZL, Jindřich. 2016 [1943]. The hierarchy of dramatic devices. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016: 157–64.
[9] HUTCHEON, Linda. 2012. A theory of adaptation. Second edition. London: Routledge, 2012.
[10] JAKOBSON, Roman. 1971. Studies in verbal art: texts in Czech and Slovak. Ann Arbor: Michigan Slavic Contributions No. 4, 1971.
[11] JAKOBSON, Roman. 1987. An Open Letter from Roman Jakobson to Jiří Voskovec and Jan Werich on the Epistemology and Semantics of Fun. Stanford Slavic Studies 1 (1987): 155–162.
[12] KEENE, Donald. 1998. Introduction to Four Major Plays of Chikamatsu. Translated by Donald Keene. New York: Columbia University Press, 1998.
[13] KENTRIDGE, William and Jane TAYLOR. 2018. That Which We Do Not Remember. Sydney: Naomi Milgram Foundation, 2018.
[14] KENTRIDGE, William. 2016. Interview with William Kentridge. In Terms of Performance, 2016. Available online at http://intermsofperformance.site/interviews/william-kentridge. Accessed on March 15, 2019.
[15] KENTRIDGE, William. 2017. Tummelplatz, 2017. Available online at https://www.ivorypress.com/en/editorial/william-kentridge-tummelplatz/. Accessed on March 15, 2019.
[16] KLETT, Renate. 1995. The Voice of Africa – The Handspring Puppet Company liest deutsche Klassiker anders: Woyzeck on the Highveld und Faustus in Africa. Theater heute 36 (1995): 9: 8–10.
[17] KOHLER, Adrian. 2018. Personal correspondence. November 28, 2018.
[18] KOHLER, Adrian, Basil JONES, Mervyn MILLAR, Jane TAYLOR and Nadia DAVIDS. 2014. "It's Very Tied to the Content of the Play." In Margherita Laera (ed.). Theatre and adaptation: return, rewrite, repeat. 2014: 23–40.
[19] MATEJKA, Ladislav and Krystyna POMORSKA. 1978. Readings in Russian poetics: formalist and structuralist views. Ann Arbor: Michigan Slavic Publications, 1978.
[20] MUKAŘOVSKÝ, Jan. 1932. An interview with B. Novak. Rozpravy Aventina 8 (1932): 226.
[21] MUKAŘOVSKÝ, Jan. 1977a. On stage dialogue. In John Burbank and Peter Steiner (eds.). The word and verbal art. New Haven/London: Yale UP, 1977: 112–113.
[22] MUKAŘOVSKÝ, Jan. 1977b. Two studies of dialogue. In John Burbank and Peter Steiner (eds.). The word and verbal art. New Haven/London: Yale UP, 1977: 81–115.
[23] MUKAŘOVSKÝ, Jan. 1982. An attempt at a structural analysis of a dramatic figure. In Peter Steiner (ed.). The Prague School: selected writings, 1929–1946, trans. John Burbank et al. Austin: University of Texas Press, 1982: 171–177.
[24] O'SULLIVAN, Michael. 2001. "Kentridge's Troubling Shades of Truth." The Washington Post (9. 3. 2001). Available online at https://www.washingtonpost.com/archive/lifestyle/2001/03/09/kentridges-troubling-shades of-truth/a6ce9675–32c9–4891–85ab-6a3f275e7bf4/?utm_term=.2a98291e64fd. Accessed on March 10, 2019.
[25] PISCATOR, Erwin. 1963. Das politische Theater (in collaboration with Felix Garbarra). Rowohlt: Reinbek, 1963.
[26] PROPP, Vladimir Yakovlevich. 1968. A morphology of the folktale. Austin: University of Texas Press, 1968.
[27] QUINN, Michael L. 1989. The Prague School concept of stage figure. In Gerald F. Carr and Irmengard Rauch (eds.). The Semiotic bridge. Trends from California. Berlin: Mouton de Gruyter, 1989: 75–85.
[28] QUINN, Michael L. 1995. The semiotic stage. Prague School theater theory. New York: Peter Lang, 1995.
[29] TAYLOR, Jane (ed.). 2009. Handspring puppet company. Parkwood: David Krut, 2009.
[30] VELTRUSKÝ, Jiří. 1964. Man and Object in the Theater. In Paul L. Garvin (ed.). A Prague School reader on esthetics, literary structure, and style. Georgetown: Georgetown UP, 1964: 83–91.
[31] VELTRUSKÝ, Jiří. 1977. Drama as literature. Lisse: The Peter de Ridder, 1977.
[32] VELTRUSKÝ, Jiří. 1983. Puppetry and acting. Semiotica (guest-edited by Frank Proschan) 47 (1983): 1–4: 69–122.
[33] VELTRUSKÝ, Jiří. 1987. Structure in folk theater: notes regarding Bogatyrev's book on Czech and Slovak folk theater. Poetics Today 8 (1987): 1: 141–161. | DOI 10.2307/1773006
[34] VODIČKA, Felix. 1982. The concretization of the literary work: problems of the reception of Neruda's Works (trans. John Burbank). In Peter Steiner (ed.). The Prague School: selected writings, 1929–1945. Austin: University of Texas Press, 1982: 103–134.
[35] WESTIN, Monica and William KENTRIDGE. 2012. Handspring Puppet Company's Woyzeck on the Highveld. TimeOut Chicago (25. 9. 2012). Available online at https://www.timeout.com/chicago/theater/handspring-puppet-companys-woyzeck-on-the-highveld. Accessed on March 1, 2019.
[36] ZICH, Otakar. 2015. Puppet theatre. Theatralia 2 (2015): 2: 505–513. | DOI 10.5817/TY2015-2-23
[2] BOGATYREV, Petr. 1982. A contribution to the study of theatrical signs. In Peter Steiner (ed.). The Prague School: selected writings, 1929–1946. Austin: University of Texas Press, 1982: 55–63.
[3] BRUŠÁK, Karel. 1991. Imaginary action space in drama. In Herta Schmid and Hedwig Král (eds.). Drama und Theater. Theorie – Methode – Geschichte. München: Otto Sagner, 1991: 144–62.
[4] CARLSON, Marvin. 2001. The haunted stage: the theatre as memory machine. Ann Arbor: University of Michigan Press, 2001.
[5] ELAM, Keir. 2002. The semiotics of theatre and drama. 2nd ed. London and New York: Routledge, 2002.
[6] GIESEKAM, Greg. 2007. Staging the screen: the use of film and video in theatre. Houndmills, Basingstoke and New York: Palgrave, 2007.
[7] GROSZ, Georg. 1973. Theatrical drawings and watercolors. Cambridge: Busch-Reisinger Museum, 1973.
[8] HONZL, Jindřich. 2016 [1943]. The hierarchy of dramatic devices. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016: 157–64.
[9] HUTCHEON, Linda. 2012. A theory of adaptation. Second edition. London: Routledge, 2012.
[10] JAKOBSON, Roman. 1971. Studies in verbal art: texts in Czech and Slovak. Ann Arbor: Michigan Slavic Contributions No. 4, 1971.
[11] JAKOBSON, Roman. 1987. An Open Letter from Roman Jakobson to Jiří Voskovec and Jan Werich on the Epistemology and Semantics of Fun. Stanford Slavic Studies 1 (1987): 155–162.
[12] KEENE, Donald. 1998. Introduction to Four Major Plays of Chikamatsu. Translated by Donald Keene. New York: Columbia University Press, 1998.
[13] KENTRIDGE, William and Jane TAYLOR. 2018. That Which We Do Not Remember. Sydney: Naomi Milgram Foundation, 2018.
[14] KENTRIDGE, William. 2016. Interview with William Kentridge. In Terms of Performance, 2016. Available online at http://intermsofperformance.site/interviews/william-kentridge. Accessed on March 15, 2019.
[15] KENTRIDGE, William. 2017. Tummelplatz, 2017. Available online at https://www.ivorypress.com/en/editorial/william-kentridge-tummelplatz/. Accessed on March 15, 2019.
[16] KLETT, Renate. 1995. The Voice of Africa – The Handspring Puppet Company liest deutsche Klassiker anders: Woyzeck on the Highveld und Faustus in Africa. Theater heute 36 (1995): 9: 8–10.
[17] KOHLER, Adrian. 2018. Personal correspondence. November 28, 2018.
[18] KOHLER, Adrian, Basil JONES, Mervyn MILLAR, Jane TAYLOR and Nadia DAVIDS. 2014. "It's Very Tied to the Content of the Play." In Margherita Laera (ed.). Theatre and adaptation: return, rewrite, repeat. 2014: 23–40.
[19] MATEJKA, Ladislav and Krystyna POMORSKA. 1978. Readings in Russian poetics: formalist and structuralist views. Ann Arbor: Michigan Slavic Publications, 1978.
[20] MUKAŘOVSKÝ, Jan. 1932. An interview with B. Novak. Rozpravy Aventina 8 (1932): 226.
[21] MUKAŘOVSKÝ, Jan. 1977a. On stage dialogue. In John Burbank and Peter Steiner (eds.). The word and verbal art. New Haven/London: Yale UP, 1977: 112–113.
[22] MUKAŘOVSKÝ, Jan. 1977b. Two studies of dialogue. In John Burbank and Peter Steiner (eds.). The word and verbal art. New Haven/London: Yale UP, 1977: 81–115.
[23] MUKAŘOVSKÝ, Jan. 1982. An attempt at a structural analysis of a dramatic figure. In Peter Steiner (ed.). The Prague School: selected writings, 1929–1946, trans. John Burbank et al. Austin: University of Texas Press, 1982: 171–177.
[24] O'SULLIVAN, Michael. 2001. "Kentridge's Troubling Shades of Truth." The Washington Post (9. 3. 2001). Available online at https://www.washingtonpost.com/archive/lifestyle/2001/03/09/kentridges-troubling-shades of-truth/a6ce9675–32c9–4891–85ab-6a3f275e7bf4/?utm_term=.2a98291e64fd. Accessed on March 10, 2019.
[25] PISCATOR, Erwin. 1963. Das politische Theater (in collaboration with Felix Garbarra). Rowohlt: Reinbek, 1963.
[26] PROPP, Vladimir Yakovlevich. 1968. A morphology of the folktale. Austin: University of Texas Press, 1968.
[27] QUINN, Michael L. 1989. The Prague School concept of stage figure. In Gerald F. Carr and Irmengard Rauch (eds.). The Semiotic bridge. Trends from California. Berlin: Mouton de Gruyter, 1989: 75–85.
[28] QUINN, Michael L. 1995. The semiotic stage. Prague School theater theory. New York: Peter Lang, 1995.
[29] TAYLOR, Jane (ed.). 2009. Handspring puppet company. Parkwood: David Krut, 2009.
[30] VELTRUSKÝ, Jiří. 1964. Man and Object in the Theater. In Paul L. Garvin (ed.). A Prague School reader on esthetics, literary structure, and style. Georgetown: Georgetown UP, 1964: 83–91.
[31] VELTRUSKÝ, Jiří. 1977. Drama as literature. Lisse: The Peter de Ridder, 1977.
[32] VELTRUSKÝ, Jiří. 1983. Puppetry and acting. Semiotica (guest-edited by Frank Proschan) 47 (1983): 1–4: 69–122.
[33] VELTRUSKÝ, Jiří. 1987. Structure in folk theater: notes regarding Bogatyrev's book on Czech and Slovak folk theater. Poetics Today 8 (1987): 1: 141–161. | DOI 10.2307/1773006
[34] VODIČKA, Felix. 1982. The concretization of the literary work: problems of the reception of Neruda's Works (trans. John Burbank). In Peter Steiner (ed.). The Prague School: selected writings, 1929–1945. Austin: University of Texas Press, 1982: 103–134.
[35] WESTIN, Monica and William KENTRIDGE. 2012. Handspring Puppet Company's Woyzeck on the Highveld. TimeOut Chicago (25. 9. 2012). Available online at https://www.timeout.com/chicago/theater/handspring-puppet-companys-woyzeck-on-the-highveld. Accessed on March 1, 2019.
[36] ZICH, Otakar. 2015. Puppet theatre. Theatralia 2 (2015): 2: 505–513. | DOI 10.5817/TY2015-2-23