Title: Animate, inanimate and beyond in Švankmajer's Faust (1994)
Source document: Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 83-95
Extent
83-95
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2019-S-7
Stable URL (handle): https://hdl.handle.net/11222.digilib/142291
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
References
[1] AMBROS, Veronika. 2008. Prague's experimental stage: laboratory of theatre and semiotics. Semiotica 168 (2008): 45–65.
[2] BAKHTIN, Mikhail M. 1968. Rabelais and his world. Cambridge, Mass: M.I.T. Press, 1968.
[3] BAKHTIN. Mikhail M. 1981. Forms of time and of the chronotope in the novel. Notes toward a historical poetics. In Michael Holquist (ed.). The dialogic imagination. Four essays. Trans. Caryl Emerson and Michael Holquist. Austin: University of Texas Press, 1981: 84–258.
[4] BOGATYREV, Petr. 2016 [1937/8]. A contribution to the study of theatrical signs. On the perception of signs in puppet theatre, theatre with live actors and art in general. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 91–98.
[5] DRÁBEK, Pavel and Dan NORTH. 2011. "What governs life": Švankmajer's Faust in Prague. Shakespeare Bulletin 29 (2011): 4: 525–542. | DOI 10.1353/shb.2011.0065
[6] DROZD, David, KAČER Tomáš and Don SPARLING (eds.). 2016. Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 220–246.
[7] KAYSER, Wolfgang. 1968. The grotesque in art and literature. Gloucester, Mass: P. Smith, 1968.
[8] MATEJKA, Ladislav and Irwin R. TITUNIK (eds.). 1976. Semiotics of art. Prague School contributions. Cambridge: The MIT Press, 1976.
[9] MUKAŘOVSKÝ, Jan. 2016a [1940]. Dialogue and monologue. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 220–246.
[10] MUKAŘOVSKÝ, Jan. 2016b [1941]. On stage dialogue. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 212–215.
[11] MUKAŘOVSKÝ, Jan. 1977. A note on the aesthetic of film. Structure, sign, and function. Selected essays. New Haven: Yale University Press, 1977: 178–190.
[12] MUKAŘOVSKÝ, Jan. 1983. Standard language and poetic language. In Josef Vachek and Libuše Dušková (eds.). Praguiana: some basic and less known aspects of the Prague Linguistic School. Amsterdam/Philadelphia: John Benjamins Publishing Company, 1983.
[13] RICHARDSON, Michael. 2006. Surrealism and cinema. Oxford/New York: Berg, 2006.
[14] ŠVANKMAJER, Jan and Eva ŠVANKMAJEROVÁ. 1998. Evašvankmajerjan. Anima Animus Animation, Between Film and Free Expression. Prague: Arbor Vitea Slovart Publishing, 1998.
[15] TODOROV, Tzvetan 1973. The fantastic. A structural approach to a literary genre. Trans. Richard Howard. Cleveland: Press of Case Western Reserve University, 1973.
[16] VELTRUSKÝ, Jiří. 1976a. Basic features of dramatic dialogue. In Ladislav Matejka and Irwin R. Titunik (eds.). Semiotics of art. Prague School contributions. Cambridge: The MIT Press, 1976: 128–133.
[17] VELTRUSKÝ, Jiří. 1976b. Dramatic text as a component of theatre. In Ladislav Matejka and Irwin R. Titunik (eds.). Semiotics of art. Prague School contributions. Cambridge: The MIT Press, 1976: 247–267.
[18] ZICH, Otakar. 2015. Puppet theatre. Theatralia 18 (2015): 2: 505–513. | DOI 10.5817/TY2015-2-23
[2] BAKHTIN, Mikhail M. 1968. Rabelais and his world. Cambridge, Mass: M.I.T. Press, 1968.
[3] BAKHTIN. Mikhail M. 1981. Forms of time and of the chronotope in the novel. Notes toward a historical poetics. In Michael Holquist (ed.). The dialogic imagination. Four essays. Trans. Caryl Emerson and Michael Holquist. Austin: University of Texas Press, 1981: 84–258.
[4] BOGATYREV, Petr. 2016 [1937/8]. A contribution to the study of theatrical signs. On the perception of signs in puppet theatre, theatre with live actors and art in general. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 91–98.
[5] DRÁBEK, Pavel and Dan NORTH. 2011. "What governs life": Švankmajer's Faust in Prague. Shakespeare Bulletin 29 (2011): 4: 525–542. | DOI 10.1353/shb.2011.0065
[6] DROZD, David, KAČER Tomáš and Don SPARLING (eds.). 2016. Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 220–246.
[7] KAYSER, Wolfgang. 1968. The grotesque in art and literature. Gloucester, Mass: P. Smith, 1968.
[8] MATEJKA, Ladislav and Irwin R. TITUNIK (eds.). 1976. Semiotics of art. Prague School contributions. Cambridge: The MIT Press, 1976.
[9] MUKAŘOVSKÝ, Jan. 2016a [1940]. Dialogue and monologue. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 220–246.
[10] MUKAŘOVSKÝ, Jan. 2016b [1941]. On stage dialogue. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre theory reader. Prague School writings. Prague: Karolinum Press, 2016: 212–215.
[11] MUKAŘOVSKÝ, Jan. 1977. A note on the aesthetic of film. Structure, sign, and function. Selected essays. New Haven: Yale University Press, 1977: 178–190.
[12] MUKAŘOVSKÝ, Jan. 1983. Standard language and poetic language. In Josef Vachek and Libuše Dušková (eds.). Praguiana: some basic and less known aspects of the Prague Linguistic School. Amsterdam/Philadelphia: John Benjamins Publishing Company, 1983.
[13] RICHARDSON, Michael. 2006. Surrealism and cinema. Oxford/New York: Berg, 2006.
[14] ŠVANKMAJER, Jan and Eva ŠVANKMAJEROVÁ. 1998. Evašvankmajerjan. Anima Animus Animation, Between Film and Free Expression. Prague: Arbor Vitea Slovart Publishing, 1998.
[15] TODOROV, Tzvetan 1973. The fantastic. A structural approach to a literary genre. Trans. Richard Howard. Cleveland: Press of Case Western Reserve University, 1973.
[16] VELTRUSKÝ, Jiří. 1976a. Basic features of dramatic dialogue. In Ladislav Matejka and Irwin R. Titunik (eds.). Semiotics of art. Prague School contributions. Cambridge: The MIT Press, 1976: 128–133.
[17] VELTRUSKÝ, Jiří. 1976b. Dramatic text as a component of theatre. In Ladislav Matejka and Irwin R. Titunik (eds.). Semiotics of art. Prague School contributions. Cambridge: The MIT Press, 1976: 247–267.
[18] ZICH, Otakar. 2015. Puppet theatre. Theatralia 18 (2015): 2: 505–513. | DOI 10.5817/TY2015-2-23