Title: Presages of contemporary theatre studies theories in Vladimír Jindra's structuralist theory of scenography
Source document: Theatralia. 2023, vol. 26, iss. 1, pp. 82-100
Extent
82-100
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2023-1-5
Stable URL (handle): https://hdl.handle.net/11222.digilib/digilib.77966
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
The study provides detailed analysis of the work of Czechoslovak theoretician of scenography, Vladimír Jindra (1920–1979). It focuses on Jindra's at the time innovative taxonomy of scenography which substantially supported the shift in today's worldwide understanding of the notion of scenography as a complex theatrical discipline. The aim of the study is to connect Jindra's work with contemporary theoretical approaches to theatre, especially rooted in multimodal and cognitive analysis of scenography. Special attention is given to the elements of Jindra's work that predated Multimodal Metaphor Theory. The study shows that his conception of scenography is connected to the structuralists' understanding of the socalled 'stage metaphor'. This exploration should therefore show the reader not only the progressiveness of Jindra's thinking about scenography, but also outline a view on possible future research in the field of multimodal and cognitive approaches to theatrical scenography.
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[33] STEEN, Gerard. 2018. Attention to Deliberateness in Metaphor Processing. In Valentina Cuccio. Attention to Metaphor. From Neurons to Representations. Amsterdam: John Benjamins Publishing Company, 2018: 89–109.
[34] ŠLAISOVÁ, Eva. 2014. The Prague School's Contribution to the Theory of Intermediality. Theatralia 17 (2014): 2: 41–49.
[35] VAN LEEUWEN, Theo. 2004. Introducing Social Semiotics. London/New York: Routledge, 2004.
[36] VELTRUSKÝ, Jiří. 2016 [1941]. Dramatic Text as a Component of Theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader. Prague School Writings. Prague: Karolinum, 2016: 247–267.
[37] ZICH, Otakar. 1931. Estetika dramatického umění: teoretická dramaturgie [The Aesthetics of Dramatic Art: A Theoretical Dramaturgy]. Prague: Melantrich, 1931.
[2] CUCCIO, Valentina. 2018. Attention to Metaphor. From Neurons to Representations. Amsterdam: John Benjamins, 2018.
[3] CUCCIO, Valentina and Gerard STEEN. 2019. Deliberate Metaphors and Embodied Simulation. In Ignasi Navarro i Ferrando (ed.). 2019. Current Approaches to Metaphor Analysis in Discourse. Berlin: De Gruyter Mouton, 2019: 185–203.
[4] BURIAN, Jarka. 2002. Leading Creators of Twentieth-Century Czech Theatre. London/New York: Routledge, 2002.
[5] DANCYGIER, Barbara. 2012. The Language of Stories. A Cognitive Approach. Cambridge: Cambridge University Press, 2012.
[6] DANCYGIER, Barbara. 2016. Multimodality and Theatre: Material Objects, Bodies and Language. In Rhonda Blair and Amy Cook (eds.). Theatre, Performance and Cognition. London: Bloomsbury, 2016: 21–39.
[7] DANCYGIER, Barbara, Wei-lun LU and Arie VERHAGEN (eds.). 2016. Viewpoint and the Fabric of Meaning Form and Use of Viewpoint Tools Across Languages and Modalities. Berlin: De Gruyter Mouton, 2016.
[8] DROZD, David and Tomáš KAČER. 2016. Introduction. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader. Prague School Writings. Prague: Karolinum, 2016: 13–27.
[9] DROZD, David, Tomáš KAČER and Don SPARLING (eds.). Theatre Theory Reader. Prague School Writings. Prague: Karolinum, 2016.
[10] FAUCONNIER, Gilles. 2018. Ten Lectures on Cognitive Construction of Meaning. Leiden/Boston: Brill, 2018.
[11] FAUCONNIER, Gilles and Mark TURNER. 2003. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books, 2003.
[12] FORCEVILLE, Charles. 2009. Non-verbal and Multimodal Metaphor in a Cognitivist Framework: Agendas for Research. In Charles Forceville and Eduardo Urios-Aparisi (eds.). Multimodal Metaphor. Berlin/New York: Mouton de Gruyter, 2009: 19–40.
[13] FORCEVILLE, Charles and Eduardo URIOS-APARISI (eds.). 2009. Multimodal Metaphor. Berlin/New York: Mouton de Gruyter, 2009.
[14] HILMERA, Jiří. 1989. František Tröster. Prague: Divadelní ústav, 1989.
[15] HONZL, Jindřich. 2016. The Mobility of the Theatrical Sign. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader. Prague School Writings. Prague: Karolinum, 2016: 129–146.
[16] JINDRA, Vlasimír. 1980. Marginálie k dílu Františka Tröstra [Marginalia to the Work of František Tröster]. Interscena 2 (1980): 1: 23–35.
[17] JINDRA, Vladimír. 1983. Specifičnost scénografie [The Specificity of Scenography]. Prague: Divadelní ústav, 1983.
[18] KOUBSKÁ, Vlasta (ed.). 2007. František Tröster. Básník světla a prostoru / Artist of Light and Space. Prague: Obecní dům, 2007.
[19] KOUBSKÁ, Vlasta. 2019. Telephone interview with the author (27. 02. 2019).
[20] KÖVECSES, Zoltán. 2003. Metaphor and Emotion: Language, Culture, and Body in Human Feeling. Cambridge: Cambridge University Press, 2003.
[21] KÖVECSES, Zoltán. 2005. Metaphor in Culture: Universality and Variation. Cambridge: Cambridge University Press, 2005.
[22] KÖVECSES, Zoltán. 2010. Metaphor: A Practical Introduction. New York: Oxford University Press, 2010.
[23] KÖVECSES, Zoltán. 2020. Extended Conceptual Metaphor Theory. Cambridge: Cambridge University Press, 2020.
[24] LAKOFF, George. 1993. The Contemporary Theory of Metaphor. In Andrew Ortony (ed.). Metaphor and Thought. Cambridge: Cambridge University Press, 1993: 202–251.
[25] LAKOFF, George and Mark JOHNSON. 1980. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
[26] MEERZON, Yana. 2014. Between Intentionality and Affect: On Jan Mukařovský's Theory of Reception. Theatralia 17 (2014): 2: 24–40.
[27] MUKAŘOVSKÝ, Jan. 2016a. An Attempt at a Structural Analysis of an Actor's Figure (Chaplin in City Lights). In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader. Prague School Writings. Prague: Karolinum, 2016: 192–198.
[28] MUKAŘOVSKÝ, Jan. 2016b. On Stage Dialogue. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader. Prague School Writings. Prague: Karolinum, 2016: 212–215.
[29] MUKAŘOVSKÝ, Jan. 2016c. On the Current State of the Theory of Theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). 2016. Theatre Theory Reader. Prague School Writings. Prague: Karolinum, 2016: 59–75.
[30] MUKAŘOVSKÝ, Jan. 1978. Intentionality and Unintentionality in Art. In John Burbank and Peter Steiner (transl. and eds.). Structure, Sign, and Function: Selected Essays by Jan Mukařovský. New Haven: Yale University Press, 1978: 89–128.
[31] PŘÍHODOVÁ, Barbora. 2011. The Specificity of Scenography: A Czech Contribution to the Theory of Scenography. Theatralia 14 (2011): 1: 254–262.
[32] PTÁČKOVÁ, Věra. 1983. Úvod [Introduction]. In Vladimír Jindra. Specifičnost scénografie [The Specificity of Scenography]. Prague: Theatre Institute, 1983.
[33] STEEN, Gerard. 2018. Attention to Deliberateness in Metaphor Processing. In Valentina Cuccio. Attention to Metaphor. From Neurons to Representations. Amsterdam: John Benjamins Publishing Company, 2018: 89–109.
[34] ŠLAISOVÁ, Eva. 2014. The Prague School's Contribution to the Theory of Intermediality. Theatralia 17 (2014): 2: 41–49.
[35] VAN LEEUWEN, Theo. 2004. Introducing Social Semiotics. London/New York: Routledge, 2004.
[36] VELTRUSKÝ, Jiří. 2016 [1941]. Dramatic Text as a Component of Theatre. In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader. Prague School Writings. Prague: Karolinum, 2016: 247–267.
[37] ZICH, Otakar. 1931. Estetika dramatického umění: teoretická dramaturgie [The Aesthetics of Dramatic Art: A Theoretical Dramaturgy]. Prague: Melantrich, 1931.