Pavel Drábek

Singing simpkin and other bawdy jigs: musical comedy on the Shakespearean stage: scripts, music & context

A book review of Singing simpkin and other bawdy jigs: musical comedy on the Shakespearean stage: scripts, music and context, by Roger Clegg and Lucie Skeaping, with an appendix of dance instructions by Anne Daye, Exeter, University of Exeter Press, 2014, 340 pp. ISBN: 9780859898782.

Sládkova strukturalistická smršť

Spolecným jmenovatelem teto hromadne knižni recenze je Ondřej Sladek a ctyř publikaci, ktere buď vytvořil nebo na kterých se zasadnim způsobem podilel: monografie The Metamorphoses of Prague School Structural Poetics; Jan Mukařovský: Život a dilo; sbirka Ceský strukturalismus v diskusi; a spoluredakce monografie Thomase G. Winnera The Czech Avant-Garde Literary Movement Between the World Wars.

Další dvojskvost z Kabinetu pro studium českého divadla IU-DÚ

Knižni recenze nove dvojdilne divadelni encyklopedie v redakci Evy Sormove se zamýsli nad významem Ceske divadelni encyklopedie jako fenomenu ceske teatrologie a proměnami, kterými edice prochazi od svých pocatků v 90. letech.

Trauma-tragedy: symptoms of contemporary performance

occasionally frightening ways (such as her final example of ‘New Magic’ being the new ‘street’ where artists appear to enter the very minds of audiences), but other examples could potentially demonstrate, if not its opposite, less sustainable arguments: how, for example, does the regular busking musician provoke such democratisation? Although Haedicke acknowledges that many street events occur under managed and advertised street festivals, no reference is made to overfamiliarisation with street arts. The ‘shock’ that is necessary for any rehearsed democratisation, perhaps, disappears when audiences are either fatigued through such familiarity, or are specifically seeking it out. As the audiences are generally manipulated by the artists, a question also has to be posed over the real agency of the onlookers. Furthermore, it would have been interesting to understand her views on whether such rehearsed democratisation can occur in more formalised arts establishments, or if they are limited to the street. As an experienced street arts witness myself, I found this book thoroughly engaging and some of the ideas challenging but agreed with much of what was proposed. The examples brought to life shared experiences of the past (such as The Sultan’s Elephant) as well as memories of street events I took part in as the agonistic provocateur. An interesting read with a particular French bias in terms of theory and practice, but that does spill out into other regions of Europe.

Early Seventeenth Century Tragicomedy in Early Twenty-First Century Editions

A critical review of Arden Early Modern Drama series publications and John Pitchers Arden edition of The Winters Tale and Lee Blisss Revels edition of A King and No King.