Title: Visualising process: Hofman's 1926 Hamlet reconstructive practice
Source document: Theatralia. 2018, vol. 21, iss. 2, pp. 15-28
Extent
15-28
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2018-2-2
Stable URL (handle): https://hdl.handle.net/11222.digilib/138512
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
This article explores the extant artefacts of Vlastislav Hofman's design process for Karel Hillar's 1926 production of Hamlet. Virtual reconstructive practice has been used to explore Hofman's intentions and process in the development of his visual ideas. This exploration, supported by an analysis of Hofman's critical texts, provides insights into Hofman's developing visual ideas, both in respect of this production and in respect of his wider approach and attitudes to stage space, which might be broadly termed 'Cubist' or 'Expressionist'. A comparison of two distinct scenic styles in this production suggests that Hofman was developing a functional (or in Bourriard's terms, relational) approach to aesthetics which acknowledged the productive role of the audience and invited modes of viewing in which the choice of aesthetic constituted an invitation to dialogue. In this way, we see Hofman developing a scenography that not only 'means' but also invites a discussion of that meaning.
References
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[2] BURIAN, Jarka. 2002. Leading Creators of Twentieth-Century Czech Theatre. London: Routledge, 2002.
[3] BURIAN, Jarka. 2007. Designing Hamlet with Screens and Panels. TD&T 43: 2: 16–26.
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[17] Unknown. 1926. Hamlet – Graveyard Scene. edited by Unknown.
[2] BURIAN, Jarka. 2002. Leading Creators of Twentieth-Century Czech Theatre. London: Routledge, 2002.
[3] BURIAN, Jarka. 2007. Designing Hamlet with Screens and Panels. TD&T 43: 2: 16–26.
[4] FAVRO, Diane. 2006. In the Eyes of the Beholder: virtual reality re-creations and academia. Imaging Ancient Rome: Documentation, Visualisation, Imagination, Rome 20 (3. 5. 2004).
[5] FERGUSSON, Cat. 2016. Vlastislav Hofman's 1926 designs for Hamlet. Reconstruction Practice.
[6] FERGUSSON BAUGH, Cat. 2018. Haptic Insights – Modelmaking as Historical Methodology. Theatre and Perfomance Design 4: 1.
[7] HILMERA, Jiří. 2004. Vlastislav Hofman, Stage Designer. In Vlastislav Hofman. Prague: Společnost Vlastislava Hofmana a ÚDU AV ČR.
[8] HOFMAN, Vlastislav. 1920. Five Set Designs for Les Aubes. Prague: Národní Muzeum.
[9] HOFMAN, Vlastislav. 1926a. Design for Hamlet – Cemetary. Prague: Národní Divadlo.
[10] HOFMAN, Vlastislav. 1926b. Design for Hamlet – Hřbitov (Cemetary). Prague: Národní Muzeum.
[11] HOFMAN, Vlastislav. 1926c. Design for Hamlet – Pohřeb Ofelie (Ophelia's Funeral). Prague: Národní Divadlo.
[12] HOFMAN, Vlastislav. 1926d. My Evolution in Theatre. In Miroslav Rutte and Josef Kodíček (eds.). Nové české divadlo 1918–1926: sborník dramatického svazu. Prague, 1926: 70–80.
[13] HOFMAN, Vlastislav. 1926e. The Stage Shaped Pictorially. In Miroslav Rutte and Josef Kodíček (eds.). Nové české divadlo 1918–1926: sborník dramatického svazu. Prague, 1926: 386–387.
[14] INGOLD, Tim. 2013. Making: Anthropology, Archaeology, Art and Architecture. New York: Routledge, 2013.
[15] SKINNER, Amy. 2015. Meyerhold and the Cubists: Perspectives on Painting and Performance. Bristol: Intellect, 2015.
[16] ŠORMOVÁ, Eva and Štěpán OTČENÁŠEK (eds.). 2011. Czech Theatre Review 1989–2009: selected articles on Czech theatre from the journal Divadelni Revue. Praha: Institut Umění – Divadelní Ústav, 2011.
[17] Unknown. 1926. Hamlet – Graveyard Scene. edited by Unknown.