Název: Performing cathedral : Le Ballet des Ombres Heureuses as a case of multiple foregrounding
Zdrojový dokument: Theatralia. 2019, roč. 22, č. 2, Supplementum, s. 122-139
Rozsah
122-139
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2019-S-10
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/142294
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] ABULAFIA, Yaron. 2016. The art of light on stage: lighting in contemporary theatre. Abingdon, Oxon/New York: Routledge, 2016.
[2] AMBROS, Veronika. 2008. Prague's experimental stage: laboratory of theatre and semiotics. Semiotica 168 (2008): 45–65.
[3] BASTIC, Anthony. 2014. Qtd. in Frank Hatherley 'Theatre of Light.' Stage Whispers (May/June 2014). Available online at https://www.stagewhispers.com.au/articles/191/theatre-light.
[4] BONICHE, Julie. 2017. Qtd. in Romane Porcon. "Strasbourg: Le ballet des ombres heureuses s'invite sur la cathédrale pour le spectacle d'été." France Bleu Alsace (24 June 2017). Available online at https://www.francebleu.fr/infos/culture-loisirs/strasbourg-le-ballet-des-ombres-heureuses-sinvite-sur-la-cathedrale-pour-le-spectacle-d-ete-1497630955.
[5] BOGATYREV, Petr. 2016a [1936]. Folk song from a functional point of view. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 428–440.
[6] BOGATYREV, Petr. 2016b [1936]. Clothing as sign. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 441–447.
[7] BOGATYREV, Petr. 2016c [1940]. The extra-aesthetic function of folk theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 464–481.
[8] BOGATYREV, Petr. 1971a. Příspěvek ke strukturální etnografii. In Jaroslov Kolár (ed.). Souvislosti tvorby. Praha: Odeon, 1971: 64–67.
[9] BOGATYREV, Petr. 1971b. Vánoční stromeček na východním Slovensku. In Jaroslov Kolár (ed.). Souvislosti tvorby. Praha: Odeon, 1971: 71–75.
[10] BÜHLER, Karl. 1990 [1934]. Theory of language: the representational function of language. Philadelphia: J. Benjamins Pub. Co., 1990.
[11] CARLSON, Marvin. 1989. Places of performance: the semiotics of theatre architecture. Ithaca: Cornell University Press, 1989.
[12] CUNIN, Dominique. 2017. Designing authoring software environments for the interactive arts: an overview of mobilizing.js. In Everardo Reyes-Garcia and Nasreddine Bouhaï (eds.). Designing Interactive Hypermedia Systems. Hoboken: John Wiley & Sons, 2017: 131–183.
[13] DROZD, David, Tomáš KAČER and Don SPARLING (eds.). 2016. Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016.
[14] ECO, Umberto. 1972. La structure absente. Introduction à la recherché sémiotique. Paris: Mercure de France, 1972.
[15] GLUCK, Christoph W. and Ranieri de CALZABIGI. 1955. Orpheus: An Opera in Three Acts. Original Italian Words by Ranieri de Calzabigi; French Adaptation for the Revised Version by Pierre Louis Moline; Music by Christoph Willibald Gluck; English Version by Edward J. Dent. London: G. Cumberlege Oxford University Press, 1955.
[16] GARVIN, Paul L. (ed.). 1964. A Prague School reader on esthetics, literary structure, and style. Washington, D.C.: Georgetown University Press, 1964.
[17] HAVRÁNEK, Bohuslav. 1964. The functional differentiation of the standard language. In Paul L. Garvin (ed.). A Prague School reader on esthetics, literary structure, and style. Washington, D.C.: Georgetown University Press, 1964: 3–16.
[18] HODROVÁ, Daniela. 2001. ... Na okraji chaosu: Poetika literárního díla 20. století. Praha: Torst, 2001.
[19] HONZL, Jindřich. 2016a [1933/34]. Spatial concerns in theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 290–302.
[20] HONZL, Jindřich. 2016b [1940]. The mobility of the theatrical sign. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 129–146.
[21] HONZL, Jindřich. 1963. Věda o umění, nebo vědecké umění. Základy a praxe moderního divadla. Praha: Orbis, 1963.
[22] KOUŘIL, Miroslav. 2016 [1945]. Theatre space and a visual artist's participation in theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 320–335.
[23] Le ballet des ombres heureuses: grand spectacle de l'été 2017 à Strasbourg. Europtimist (6. 7. 2017). Available online at https://www.europtimist.eu/actualites/spectacle-ete-2017-strasbourg.
[24] MENOTTI, Gabriel. 2013. Façadelifts: New Media installations, public space, and the negotiation of civic identity. In Richard Scullion, Roman Gerodimos, Daniel Jackson and Darren G. Lilleker (eds.). The media, political participation and empowerment. London/New York: Routledge, Taylor & Francis Group, 2013: 130–141.
[25] MONKS, Kieron. 2014. Lighting on the wall: world's most spectacular video projections.
[26] CNN (24. 6. 2014). Available online at https:www.edition.cnn.com/2014/06/18/tech/innovation/thebest-projection-mapping-in-the-world/index.html.
[27] MUKAŘOVSKÝ, Jan. 1948. Básnické pojmenování a estetická funkce jazyka. Kapitoly z české poetiky I: Obecné věci básnictví. Praha: Svoboda: 1948: 157–163.
[28] MUKAŘOVSKÝ, Jan. 1964. Standard language and poetic language. In Paul L. Garvin (ed.). A Prague School reader on esthetics, literary structure, and style. Washington, D.C.: Georgetown University Press, 1964: 17–30.
[29] MUKAŘOVSKÝ, Jan. 1966. Problém funkcí v architektuře. In Květoslav Chvatík. Studie z estetitky. Praha: Odeon, 1966: 196–203.
[30] MUKAŘOVSKÝ, Jan. 1976. Poetic reference. In Ladislav Matejka and Irwin R. Titunik. Semiotics of Art. Cambridge: MIT Press, 1976: 155–163.
[31] MUKAŘOVSKÝ, Jan. 1978 [1943]. Intentionality and unintentionality in art. In John Burbank and Peter Steiner. Structure, Sing, and Function: Selected Essays. Yale University Press, 1978: 89–128.
[32] MUKAŘOVSKÝ, Jan. 1982a [1936]. Art as semiotic fact. In Peter Steiner (ed.). The Prague School: Selected Writings, 1929–1946. Austin: University of Texas Press, 1982: 3–9.
[33] MUKAŘOVSKÝ, Jan. 1982b. Structuralism in esthetics and in literary studies. In Peter Steiner. The Prague School: Selected Writings, 1929–1946. Austin: University of Texas Press, 1982: 65–82.
[34] MUKAŘOVSKÝ, Jan. 2016a [1931]. An attempt at a structural analysis of a dramatic figure. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 192–198.
[35] MUKAŘOVSKÝ, Jan. 2016b [1937]. On stage dialogue. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 212–215.
[36] MUKAŘOVSKÝ, Jan. 2016c [1941]. On the current state of the theory of theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 59–75.
[37] MUKAŘOVSKÝ, Jan. 2016d [1946]. On the artistic situation of the contemporary Czech theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 519–532.
[38] SHKLOVSKY, Viktor Borisovich. 1990. Art as device. In Benjamin Sher. Theory of Prose. Elmwood Park, IL: Dalkey Archive Press, 1990: 1–14.
[39] ŠLAISOVÁ, Eva. 2012. Aktualizace in English scholarly literature: interpretation, ignorance and misunderstanding. Theatralia 15 (2012): 2: 154–167.
[40] TYNANOV, Jurij. 1978. On literary evolution. In Ladislav Matejka and Krystyna Pomorska. Readings in Russian poetics: formalist and structuralist views. Ann Arbor: Michigan Slavic Publications, 1978: 66–78.
[41] VELTRUSKÝ, Jiří. 2016 [1940]. People and things in the theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 147–156.
[42] VELTRUSKÝ, Jiří. 2012. An approach to the semiotics of theatre. Edited by David Drozd, et al. Brno: Muni Press, 2012.
[43] VERMEULEN, Koert. 2017. Qtd. In Morgan Carlier, "Le ballet des ombres heureuses une immersion autour de la Cathédrale cet été." Rue 89 Strasbourg (16. 6. 2017). Available online at https://www.rue89strasbourg.com/ballet-des-ombres-heureuses-cathedrale-strasbourg-121847.
[44] VODIČKA, Felix. 1982. The concretization of the literary work. In Peter Steiner (ed.). The Prague School: Selected Writings, 1929–1946. Austin: University of Texas Press, 1982: 103–134.
[45] WILSON, Robert and John BELL. 1994. The language of illusion. An Interview with Robert Wilson. Theatre Week (3. 1. 1994): 17–24.
[46] WINNER, Tomáš G. 2002. Český strukturalismus v anglofonním a frankofonním světě: ignorování a nepochopení. Česká literatura 50 (2002): 1: 80–88.
[47] WODICZKO, Krzysztof. 1999. Critical vehicles: writings, projects, interviews. Cambridge, Mass: MIT Press, 1999.
[48] WONG, Liliane. 2017. Adaptive reuse: extending the lives of buildings. Basel: Birkhäuser, 2017.
[49] ZICH, Otakar. 1931. Estetika dramatického umění. Prague: Melantrich, 1931.
[50] ZICH, Otakar. 2016. Principles of theoretical dramaturgy. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 34–35.
[2] AMBROS, Veronika. 2008. Prague's experimental stage: laboratory of theatre and semiotics. Semiotica 168 (2008): 45–65.
[3] BASTIC, Anthony. 2014. Qtd. in Frank Hatherley 'Theatre of Light.' Stage Whispers (May/June 2014). Available online at https://www.stagewhispers.com.au/articles/191/theatre-light.
[4] BONICHE, Julie. 2017. Qtd. in Romane Porcon. "Strasbourg: Le ballet des ombres heureuses s'invite sur la cathédrale pour le spectacle d'été." France Bleu Alsace (24 June 2017). Available online at https://www.francebleu.fr/infos/culture-loisirs/strasbourg-le-ballet-des-ombres-heureuses-sinvite-sur-la-cathedrale-pour-le-spectacle-d-ete-1497630955.
[5] BOGATYREV, Petr. 2016a [1936]. Folk song from a functional point of view. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 428–440.
[6] BOGATYREV, Petr. 2016b [1936]. Clothing as sign. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 441–447.
[7] BOGATYREV, Petr. 2016c [1940]. The extra-aesthetic function of folk theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 464–481.
[8] BOGATYREV, Petr. 1971a. Příspěvek ke strukturální etnografii. In Jaroslov Kolár (ed.). Souvislosti tvorby. Praha: Odeon, 1971: 64–67.
[9] BOGATYREV, Petr. 1971b. Vánoční stromeček na východním Slovensku. In Jaroslov Kolár (ed.). Souvislosti tvorby. Praha: Odeon, 1971: 71–75.
[10] BÜHLER, Karl. 1990 [1934]. Theory of language: the representational function of language. Philadelphia: J. Benjamins Pub. Co., 1990.
[11] CARLSON, Marvin. 1989. Places of performance: the semiotics of theatre architecture. Ithaca: Cornell University Press, 1989.
[12] CUNIN, Dominique. 2017. Designing authoring software environments for the interactive arts: an overview of mobilizing.js. In Everardo Reyes-Garcia and Nasreddine Bouhaï (eds.). Designing Interactive Hypermedia Systems. Hoboken: John Wiley & Sons, 2017: 131–183.
[13] DROZD, David, Tomáš KAČER and Don SPARLING (eds.). 2016. Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016.
[14] ECO, Umberto. 1972. La structure absente. Introduction à la recherché sémiotique. Paris: Mercure de France, 1972.
[15] GLUCK, Christoph W. and Ranieri de CALZABIGI. 1955. Orpheus: An Opera in Three Acts. Original Italian Words by Ranieri de Calzabigi; French Adaptation for the Revised Version by Pierre Louis Moline; Music by Christoph Willibald Gluck; English Version by Edward J. Dent. London: G. Cumberlege Oxford University Press, 1955.
[16] GARVIN, Paul L. (ed.). 1964. A Prague School reader on esthetics, literary structure, and style. Washington, D.C.: Georgetown University Press, 1964.
[17] HAVRÁNEK, Bohuslav. 1964. The functional differentiation of the standard language. In Paul L. Garvin (ed.). A Prague School reader on esthetics, literary structure, and style. Washington, D.C.: Georgetown University Press, 1964: 3–16.
[18] HODROVÁ, Daniela. 2001. ... Na okraji chaosu: Poetika literárního díla 20. století. Praha: Torst, 2001.
[19] HONZL, Jindřich. 2016a [1933/34]. Spatial concerns in theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 290–302.
[20] HONZL, Jindřich. 2016b [1940]. The mobility of the theatrical sign. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 129–146.
[21] HONZL, Jindřich. 1963. Věda o umění, nebo vědecké umění. Základy a praxe moderního divadla. Praha: Orbis, 1963.
[22] KOUŘIL, Miroslav. 2016 [1945]. Theatre space and a visual artist's participation in theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 320–335.
[23] Le ballet des ombres heureuses: grand spectacle de l'été 2017 à Strasbourg. Europtimist (6. 7. 2017). Available online at https://www.europtimist.eu/actualites/spectacle-ete-2017-strasbourg.
[24] MENOTTI, Gabriel. 2013. Façadelifts: New Media installations, public space, and the negotiation of civic identity. In Richard Scullion, Roman Gerodimos, Daniel Jackson and Darren G. Lilleker (eds.). The media, political participation and empowerment. London/New York: Routledge, Taylor & Francis Group, 2013: 130–141.
[25] MONKS, Kieron. 2014. Lighting on the wall: world's most spectacular video projections.
[26] CNN (24. 6. 2014). Available online at https:www.edition.cnn.com/2014/06/18/tech/innovation/thebest-projection-mapping-in-the-world/index.html.
[27] MUKAŘOVSKÝ, Jan. 1948. Básnické pojmenování a estetická funkce jazyka. Kapitoly z české poetiky I: Obecné věci básnictví. Praha: Svoboda: 1948: 157–163.
[28] MUKAŘOVSKÝ, Jan. 1964. Standard language and poetic language. In Paul L. Garvin (ed.). A Prague School reader on esthetics, literary structure, and style. Washington, D.C.: Georgetown University Press, 1964: 17–30.
[29] MUKAŘOVSKÝ, Jan. 1966. Problém funkcí v architektuře. In Květoslav Chvatík. Studie z estetitky. Praha: Odeon, 1966: 196–203.
[30] MUKAŘOVSKÝ, Jan. 1976. Poetic reference. In Ladislav Matejka and Irwin R. Titunik. Semiotics of Art. Cambridge: MIT Press, 1976: 155–163.
[31] MUKAŘOVSKÝ, Jan. 1978 [1943]. Intentionality and unintentionality in art. In John Burbank and Peter Steiner. Structure, Sing, and Function: Selected Essays. Yale University Press, 1978: 89–128.
[32] MUKAŘOVSKÝ, Jan. 1982a [1936]. Art as semiotic fact. In Peter Steiner (ed.). The Prague School: Selected Writings, 1929–1946. Austin: University of Texas Press, 1982: 3–9.
[33] MUKAŘOVSKÝ, Jan. 1982b. Structuralism in esthetics and in literary studies. In Peter Steiner. The Prague School: Selected Writings, 1929–1946. Austin: University of Texas Press, 1982: 65–82.
[34] MUKAŘOVSKÝ, Jan. 2016a [1931]. An attempt at a structural analysis of a dramatic figure. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 192–198.
[35] MUKAŘOVSKÝ, Jan. 2016b [1937]. On stage dialogue. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 212–215.
[36] MUKAŘOVSKÝ, Jan. 2016c [1941]. On the current state of the theory of theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 59–75.
[37] MUKAŘOVSKÝ, Jan. 2016d [1946]. On the artistic situation of the contemporary Czech theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 519–532.
[38] SHKLOVSKY, Viktor Borisovich. 1990. Art as device. In Benjamin Sher. Theory of Prose. Elmwood Park, IL: Dalkey Archive Press, 1990: 1–14.
[39] ŠLAISOVÁ, Eva. 2012. Aktualizace in English scholarly literature: interpretation, ignorance and misunderstanding. Theatralia 15 (2012): 2: 154–167.
[40] TYNANOV, Jurij. 1978. On literary evolution. In Ladislav Matejka and Krystyna Pomorska. Readings in Russian poetics: formalist and structuralist views. Ann Arbor: Michigan Slavic Publications, 1978: 66–78.
[41] VELTRUSKÝ, Jiří. 2016 [1940]. People and things in the theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 147–156.
[42] VELTRUSKÝ, Jiří. 2012. An approach to the semiotics of theatre. Edited by David Drozd, et al. Brno: Muni Press, 2012.
[43] VERMEULEN, Koert. 2017. Qtd. In Morgan Carlier, "Le ballet des ombres heureuses une immersion autour de la Cathédrale cet été." Rue 89 Strasbourg (16. 6. 2017). Available online at https://www.rue89strasbourg.com/ballet-des-ombres-heureuses-cathedrale-strasbourg-121847.
[44] VODIČKA, Felix. 1982. The concretization of the literary work. In Peter Steiner (ed.). The Prague School: Selected Writings, 1929–1946. Austin: University of Texas Press, 1982: 103–134.
[45] WILSON, Robert and John BELL. 1994. The language of illusion. An Interview with Robert Wilson. Theatre Week (3. 1. 1994): 17–24.
[46] WINNER, Tomáš G. 2002. Český strukturalismus v anglofonním a frankofonním světě: ignorování a nepochopení. Česká literatura 50 (2002): 1: 80–88.
[47] WODICZKO, Krzysztof. 1999. Critical vehicles: writings, projects, interviews. Cambridge, Mass: MIT Press, 1999.
[48] WONG, Liliane. 2017. Adaptive reuse: extending the lives of buildings. Basel: Birkhäuser, 2017.
[49] ZICH, Otakar. 1931. Estetika dramatického umění. Prague: Melantrich, 1931.
[50] ZICH, Otakar. 2016. Principles of theoretical dramaturgy. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 34–35.