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/39549 Zsolt Almási Kinga Földváry Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 7 12 10.5817/TY2024-2-1 https://journals.phil.muni.cz/theatralia/article/view/39550 The article discusses the impact of digital technologies on the art of dramaturgy, focusing on the changes that have taken place in the landscape of Russophone drama in the 21st century. Special emphasis is placed on the role of Lubimovka, the annual festival of Russian-language plays as a platform for the collection, presentation, and distribution of dramatic content, as well as for public discussions about both the plays themselves and the social issues they reflect. The author argues that the connection between the theatre and contemporary drama has been weakened recently, and proposes a scientific hypothesis about drama's functioning as an independent, para-theatrical form of artistic expression in the digital age. Additionally, the article analyses how digital technologies have transformed the process of creating and organising documentary drama. Natalia Skorokhod Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 13 27 10.5817/TY2024-2-2 https://journals.phil.muni.cz/theatralia/article/view/39551 In recent years, theatre has increasingly integrated technology, with scholars exploring concepts like 'liveness' and 'mediatization' (AUSLANDER 1999), 'presence' (POWER 2008), and 'intermediality' (DERES 2015). However, these discourses have often overlooked puppetry as a medium. This paper argues that it is time to include puppetry in these discussions, particularly where live acting and digital tools intersect. Examining the production Dekameron2023 (Budapest Puppet Theatre), the paper uses Bolter and Gursin's concepts of immediacy and hypermediacy and proposes to explore the interplay of the 'corporeal' (referring to the performer's body, whether puppet or flesh) and the 'intangible' (digital, virtual), celebrating the live human agency in digital-age theatre. Gabriella Reuss Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 28 44 10.5817/TY2024-2-3 https://journals.phil.muni.cz/theatralia/article/view/39552 Studie se zabývá kulturním fenoménem vojenských reenactmentů, širší veřejnosti známým především díky populárním ukázkám tzv. bitevních rekonstrukcí. Tento fenomén byl donedávna kvůli svému divadelnímu charakteru považován za historiograficky nebo epistemologicky nerelevantní. Autoři využívají napětí mezi tělesností a minulostí jako příležitost k interdisciplinárnímu výzkumu vojenského reenactmentu, prezentují jej jako spleť komplexních činností a nahlížejí na něj z různých perspektiv humanitních a sociálních věd. Cílem autorů je seznámit čtenáře s komplexitou tohoto fenoménu a vytyčit některé klíčové otázky týkající se reenactmentu, které mohou být zodpovězeny s využitím přístupů divadelních a performančních studií. Barbora Dolanová Lukáš Kubina Copyright © 2024 Theatralia https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 45 63 10.5817/TY2024-2-4 https://journals.phil.muni.cz/theatralia/article/view/39553 Elsa Enkel was a German-born dance artist in operetta and revue theatre, active in early-20th-century Greece. Her career was heavily subsidised by the Greek monarchy in exchange for promoting royalist positions in the turbulent years around World War I; but she was also part of the rapidly developing entertainment market, adapting to ticket-buying audiences' tastes. Enkel's work exemplifies the tensions of light musical theatre ballet between royalist and market-driven pressures, and illustrates the role of this ballet as a Western cultural export that participated in Greece's development of a West-leaning, post-Ottoman identity. Anna Leon Copyright © https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 64 79 10.5817/TY2024-2-5 https://journals.phil.muni.cz/theatralia/article/view/39554 Zsolt Almási Kinga Földváry Natálie Káčová Wei-lun Lu Čeněk Šašinka Alžběta Šašinková Copyright © 2024 Theatralia https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 81 86 10.5817/TY2024-2-6 https://journals.phil.muni.cz/theatralia/article/view/39555 Tamás Jászay Copyright © 2024 Theatralia https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 87 90 10.5817/TY2024-2-7 https://journals.phil.muni.cz/theatralia/article/view/39556 Veronika Schandl Copyright © 2024 Theatralia https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 91 93 10.5817/TY2024-2-8 https://journals.phil.muni.cz/theatralia/article/view/39557 Tomáš Kubart Copyright © 2024 Theatralia https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 94 99 10.5817/TY2024-2-9 https://journals.phil.muni.cz/theatralia/article/view/39558 Hossein Oroumiehchiha Copyright © 2024 Theatralia https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 100 103 10.5817/TY2024-2-10 https://journals.phil.muni.cz/theatralia/article/view/39559 Dominika Polášková Copyright © 2024 Theatralia https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.cs 2024-10-15 2024-10-15 27 2 104 106 10.5817/TY2024-2-11