November catharsis

Vol.12,No.1-2(2009)

Eva Stehlíková

Stable URL (handle):
http://hdl.handle.net/11222.digilib/115577

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Abstract
The author observes the theatricality of nine Prague demonstrations which were organized by the Civic Forum and took place between 21 November and 10 December 1989 during the Velvet Revolution. Demonstrations, lead by many artists, show identical staging and dramaturgy. Wenceslaw Square, holding a paramount position in the life of the nation, and later Letenska plan, a place where communist power would confirm its position via reviews, become the main stages of the revolution. The script of demonstrations is legible, even though it was developed gradually and held many features of improvisation, it was essentially prepared (according to one of the organizers, Petr Oslzlý's, testimony) as "great theatrical productions". The script thoughtfully features well-known faces (actors and athletes) in the roles of actors and alternates them with less known and completely unknown personalities representing various group and vocational interests. Speeches are effectively dramatically intensified. Besides chanting slogans which dispose of great creativity, the participants take part in the course of the demonstration by singing the national anthem and repeating refrains of songs by famous musicians, whose productions separate the speakers' monologues. The effort to lead a public dialogue manifested in immediate, often surprising reactions is clear from the beginning. A ritual shared by crowds comes into existence with gradual repetition. Experiences of communally manifested courage, determination and solidarity grow. These growing feelings of personal freedom and responsibility for a public matter transforms the crowd into a demos and forms a conscious polis, indulged with catharsis.

Pages:
19–33
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