Theatre Design & Technology - Fall 1975 - 25

CZECHOSLOVAKIAN STAGE DESIGN AND
SCENOGRAPHY, 1914-1938: A SURVEY-PART II
S.U.N.Y. at Albany

JARKA BURIAN

'-c· 1975 by Jarka Burian

If Heythum represents one pole of the architect·painter
sprectrum, Josef Capek (1887·1945) surely represents the
other. His approach is that of traditional scene painting
which is more concerned with two·dimensional pictorial·
ization and with the suggestion of space rather than with
the special theatrical problems of actual stage space.
Atmosphere, color, pictorial composition take precedence
over attemps at creating a three-dimensional environment
for plastic forms and actors' movements, or dramatic
configurations of space and matter. What distinguishes
him from routine scene painters is his contemporary style
and some of his techniques. There is a directness of visual
appeal in his simplified, puristic renderings, and an
obvious focus on things of this world: man, nature,
objects, which seem to be viewed with a certain affection
perhaps because of their very ordinariness. Like Feuer·
stein, Capek frequently makes use of contoured painted
surfaces arranged -in layers, and, also, like Feuerstein he
ohen substitutes draperies for paint as part of his overall
design. Moreover, Capek's stage is almost always visually
full, the opposite extreme from Heythum's constructivistically oriented, airy structures. The lines and forms in
Capek's settings tend to be thick and rounded, and he is
generous in the use of bright, warm colors. There is a
distinct note of playfulness in his work, of a certain zest
for living and optimism that can be found in many of the
Czech designers of the time (although Hofman would
seem an exception). This element, incidentally, may be
attributed to a tendency of thought and mood known as
"poetism" that developed in Prague's artistic and intellectual circles in the 191 D's. It was a lyrical, optimistic,
relatively innocent variation of futurism and dadaism: a
joy in the things of the world, especially modern
innovations, which entertain, are fresh and efficient, view
life as a game, and above all contain the rhythm of today:
Film, jazz, the circus, sports, and certain aspects of
modern technology. Poetism was an attitude toward life
rather than a school or formulated creed; it was an
attempt to perfect and enjoy the "art of living," a~ it was
put by its chief exponents, Karel Teige and Vitezslav
Nezval.

Less well known than his brother Karel, Josef Capek
was primarily a painter and writer, who collaborated with
his brother in the creation of several plays and other
writings. That theatre design was a secondary concern to
him seems evident in his voluntary cessation of that
activity in 1932, as if he had exhausted the medium as a
means of expression and preferred to find his outlet in
writing and painting. The Munich Pact and the subsequent occupation in WW II had a mortal effect on him
as on many other Czech artists. Imprisoned in 1939, he
spent the war in various concentration camps, only to die
a few days before the end of the war during a death march
from one camp to another.
His design activity was concentrated in the years
1921-1932, during which time he created some fihy
projects for the three establishment theatres of Prague.
Like most Czech designers of the era he also designed the
costumes for his productions. An early project was the
original production of his and his brother's Insect Comedy
[Ze zivota hmyzu} (Figure 27), Prague 1922. The
direction was Hilar's and contemporary documents indicate that Hilar exerted his will in adapting Capek's
original design proposals from their flat, two·dimensional
form to a more curved, spatially segmented architectural
form. A curved, translucent cyclorama was used for rear
projections, and the central acting area was on a
semicircular, raked platform. Capek's chief contributions
were in the colors, patterns, and other pictorial elements,
including costumes, that formed the superstructure of the
set.

Fig. 27. J. Capek, The Insect Comedy (K. and J. Capek), 8 Apr.
1922, National Theatre, Prague, dir: K. H. Hilar.

A good example of Capek's use of draped materials and
fabric covered objects to provide an essentially pictorial
rather than spatial scene occurred in the production of
Moliere's Bourgeois Gentlemen (Figure 28), Prague 1926.
Color was vital in forming this background for the action
of the play.
From Frana Sramek's Summer [L;to} ~(Figure 29),
Prague 1925, we derive an impression of Capek's scene
design based on painting of a modernistic, cubistic
manner. Similar though less striking examples would be

Fig. 26. Josef Capek.

USITT

THEATRE DESIGN AND TECHNOLOGY

FALL,1975

23



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Contents
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com