Roč.22,č.2, Supplementum(2019)

Editorial note

Martin Revermann
https://doi.org/10.5817/TY2019-S-1

Beckett and the theatrical sign : the need for semiotics

Martin Revermann
https://doi.org/10.5817/TY2019-S-2

Realism and abstractionism in Otakar Zich's Theory of dramatic art and Samuel Beckett's experimental dramatics

Herta Schmid
https://doi.org/10.5817/TY2019-S-3

"Hungry for interpretation" : Woyzeck on the Highveld and the polyphony of performance

Veronika Ambros, Lawrence Switzky
https://doi.org/10.5817/TY2019-S-4

Stage life and stage death (after Veltruský)

Silvija Jestrović
https://doi.org/10.5817/TY2019-S-5

Intertextuality and autonomous fictional worlds in Disney : the case of Moana (2016)

Andrés Pérez-Simón
https://doi.org/10.5817/TY2019-S-6

Animate, inanimate and beyond in Švankmajer's Faust (1994)

Laura Pontieri
https://doi.org/10.5817/TY2019-S-7

The medium (non-) specific : Rope, Dogville, and Mukařovský's space-as-meaning

Nenad Jovanovic
https://doi.org/10.5817/TY2019-S-8

On men and objects : staging the divided subjectivity of displacement in zero degrees

Yana Meerzon
https://doi.org/10.5817/TY2019-S-9

Performing cathedral : Le Ballet des Ombres Heureuses as a case of multiple foregrounding

Eva Šlaisová
https://doi.org/10.5817/TY2019-S-10