Theatre Design & Technology - Summer 2017 - 11

Historical section with a reconstructed stage model (by Dan Matthews,
2016) and digital reconstruction of the set (by Cat Fergusson Baugh,
2016) for the production of Hamlet, 1926. Designed by Vlastislav Hofman.
Photography by Nicole Rome. Courtesy of Columbus Museum of Art.

located in the "heart of Europe," has developed through
varying forms of resistance against the oppression of
regional hegemony on one hand and the absorption of
cultural influences on the other. The following examples
will illustrate these complex dynamics.
HISTORICAL SECTION
To celebrate the 300th anniversary of the Bard's death in
1916, director Jaroslav Kvapil staged 15 of his plays as a

Vlastislav Hofman, set design for the production of Hamlet, 1926.
White india ink drawing colored with watercolor. Courtesy of
Collections of National Museum, Prague, Czech Republic, H6D22107. Photography by Jana Kuříková, Alžběta Kumstátová.

part of the so-called Shakespearean cycle. Among them
was Macbeth, designed by Josef Wenig (1885-1939).
The austere set, comprised of simple vertical elements,
applied some of Adolphe Appia's radical ideas about
staging, moving away from traditional two-dimensional
decorations in favor of manipulation of three-dimensional performance space. Even though it is not clear
whether it was actually realized on stage (Koubská, pers.
comm.), this modernistic concept attests to the designer's approach to scenography and his sources. Similarly,
the costume for Macbeth shows the inspiration from
fine arts, namely the Secession. Introduced two years
before the formation of the autonomous Czechoslovak
state in 1918, the whole play cycle came to be seen as
a "public display of opposition against the dilapidated
Austro-Hungarian empire" (Drábek 2016, 749).
The tendency to understand theatre as both a response to political and social challenges of the day and
as an arena for the boldest artistic experimentation
flourished, especially during the free, democratic era
of the First Republic (1918-1938). A good example
of these approaches can be seen in the National Theatre in Prague's 1926 Hamlet, directed by Karel Hugo
Hilar. For this show, Vlastislav Hofman (1884-1964),
architect, painter, interior designer, and one of the
founding fathers of modern Czech scenography, designed a non-mimetic space, clearly inspired by E. G.
Craig's mobile screens for the Moscow Art Theatre's
1912 Hamlet directed by Stanislavsky. With its abstraction and dynamism, this set helped to create a performance "particularly successful in communicating the
disillusionment, frustration, and passionate longing
of the post-war generation" (Stříbrný 2007, 171). The
S u m m e r   2 0 1 7

theatre design

& technology

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Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2017

Contents
Theatre Design & Technology - Summer 2017 - Cover1
Theatre Design & Technology - Summer 2017 - Cover2
Theatre Design & Technology - Summer 2017 - 1
Theatre Design & Technology - Summer 2017 - 2
Theatre Design & Technology - Summer 2017 - Contents
Theatre Design & Technology - Summer 2017 - 4
Theatre Design & Technology - Summer 2017 - 5
Theatre Design & Technology - Summer 2017 - 6
Theatre Design & Technology - Summer 2017 - 7
Theatre Design & Technology - Summer 2017 - 8
Theatre Design & Technology - Summer 2017 - 9
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Theatre Design & Technology - Summer 2017 - 30
Theatre Design & Technology - Summer 2017 - 31
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Theatre Design & Technology - Summer 2017 - Cover3
Theatre Design & Technology - Summer 2017 - Cover4
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