https://journals.phil.muni.cz/theatralia <!--<article class="box-article-list"> <p class="box-article-list__img"><img src="https://journals.phil.muni.cz/public/site/images/admin/test-obrazek2.jpg" alt="" width="600" height="300" /></p> <div class="box-article-list__content"> <h2 class="box-article-list__title">Theatralia 1/2023</h2> <p class="box-article__desc"><span class="h3">The Roaring Twenties: Theatre of Early 2020s</span><br /><br />This issue of Theatralia explores the specificity of The Roaring 2020s' theatre and performance. It reflects on as well as contextualises contemporary theatre/performance practice, which has been significantly affected by the Covid-19 pandemic and lockdowns, as well as by recent/current global conflicts and their consequences. In addition, this issue focuses on our 2020s knowledge of historical periods, namely of the historical avant-garde (including the original roaring 1920s), and their works of art.</p> </div> </article>--> Masarykova univerzita cs-CZ Theatralia 1803-845X https://journals.phil.muni.cz/theatralia/article/view/42553 Dorota Sosnowska David Drozd Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 7 12 10.5817/TY2025-2-1 https://journals.phil.muni.cz/theatralia/article/view/42554 In the article, the authors use Rebecca Schneider's archival methodology and analyse two performances – Krzysztof Warlikowski's Cleansed and Grzegorz Jarzyna's 4.48 Psychosis. Based on theatre reviews and popular magazines, they place these productions in the context of Poland's post-transition aspiration to belong to the Western world. Sociologist Jadwiga Staniszkis described these tendencies as a tension between globalisation and adherence to tradition. Articles in women's magazines show a fascination with the figures of both directors, who have enjoyed international success, while critics' opinions are divided between those praising the adaptations of Kane's works for renewing the Polish theatre language and those criticising them for their controversial use of nudity. The anti-capitalist and anti-identity message of the writer's work has thus become an expression of Polish liberalcapitalist aspirations based on the struggle for LGBTQIA+ rights and on how to achieve commercial success in the West. Anna Cybulska Zuzanna Kluszczyńska Zofia Kryspin Adrianna Łakomiak Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 13 39 10.5817/TY2025-2-2 https://journals.phil.muni.cz/theatralia/article/view/42555 The essay examines three cases of brutalist procedures in contemporary theatre and drama, focusing on artists' inventive responses to war, violence, and subsequent deaths happening around the world. Sarah Kane's in-yer-face theatre, marked by hypertrophied violence and symbolic dynamism, is compared with selected plays by German playwright Anja Hilling (Black Beast Sorrow), Slovene playwright and dramaturge Simona Semenič (the feast; we, the european corpses), and Serbian poet and playwright Milena Marković (Pavilions; The Doll Ship). The essay explores how these artists challenge theatrical representation and create, through heterogeneous textual and visual strategies, a 'theatre of unbelief' (Deleuze), reframing Kane's brutalism for post-socialist European contexts. Tomaž Toporišič Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 40 57 10.5817/TY2025-2-3 https://journals.phil.muni.cz/theatralia/article/view/40047 This article explores the affective resonance of Sara Kane's 4.48 Psychosis and its sociopolitical implications. Through the works of Sara Ahmed and Lauren Berlant it proposes a theoretical framework that focuses on affective objects and how they shape the affective orientation of the text. It also studies the figure of the affect alien and the notion of impasse to analyse how they define the affective environment of the play. Finally, the corporeality of affect is taken into account to better understand how Kane's text connects with the reader, affectively orienting them alongside its protagonist in order to reinforce the critique guided by the narrative voice. Álvar Menéndez Cámara Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 58 70 10.5817/TY2025-2-4 https://journals.phil.muni.cz/theatralia/article/view/42556 Although silent reading is typically regarded as a solitary and non-performative act, this article challenges that assumption by arguing for its latent performative nature. I focus on silent reading as a (at least latent) performance through the lens of Ivan Vyskočil's concepts of 'dialogical acting with the inner partner' and 'inner tripolarity' in the situation of open dramatic play. This concept, which has not received much attention in academic circles and remains marginalised, is addressed in this study. Vít Zeman Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 71 87 10.5817/TY2025-2-5 https://journals.phil.muni.cz/theatralia/article/view/42557 Studie pojednává o sbírce libret z doby před rokem 1800 v knihovně zámku Český Krumlov. Ze zdejší kolekce o rozsahu asi 300 libret se vyčleňují tři poměrně koherentní provenienční celky – italská libreta 17. století s těžištěm v benátské produkci z let 1671–1698, libreta oper a oratorií z okruhu dvora císaře Leopolda I. a vídeňská libreta z 2. poloviny 18. století. Vedle stručné charakteristiky každého zmiňovaného celku je připojeno několik sond stopujících cesty, jimiž se konkrétní tituly do knihovny mohly dostat, přičemž je sledována zejména souvislost s osobními zájmy majitelů panství. Pozornost je věnována také návaznosti libret na českokrumlovské hudebniny, ať již reálně dochované (zejména kolekce eggenberských partitur z konce 17. století) nebo zaznamenané v dobových inventářích. Studie je příspěvkem k otázce šíření hudebních teatrálií v 17. a 18. století. Jana Spáčilová Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 88 104 10.5817/TY2025-2-6 https://journals.phil.muni.cz/theatralia/article/view/42558 Šárka Havlíčková Kysová Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 105 108 10.5817/TY2025-2-7 https://journals.phil.muni.cz/theatralia/article/view/42559 Tomáš Kačer Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 109 111 10.5817/TY2025-2-8 https://journals.phil.muni.cz/theatralia/article/view/42560 Naďa Satková Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 113 116 10.5817/TY2025-2-9 https://journals.phil.muni.cz/theatralia/article/view/42561 Eszter Kovács Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2025-10-15 2025-10-15 28 2 117 125 10.5817/TY2025-2-10