Theatre Design & Technology - Summer 2017 - Public - 19

This issue gains another dimension when the Bard's
work is involved. As W. B. Worthen has noted, Shakespeare's plays, as "foundational documents in western
print culture," seem to have retained a privileged position over the stage interpretation not only in the public
eye but also-and perhaps especially for-the contemporary academic debate (2014, 1-2). According to him,
the staging of Shakespeare's plays "sometimes seems to
evoke a specific and relatively narrow sense of genre:
performance that depends on, exists to reproduce, is
defined by the determining algorithm of Shakespeare's
writing" (2014, 2). Naturally, such a hierarchy of the elements of performance pushes theatre design with its
predominantly non-verbal audio-visual means of expression aside, into the arena of the secondary, auxiliary accessory of substantially less consequence. Dennis
Kennedy made a similar point when he explained that
emphasizing the Shakespearean text over the visuals is
a common occurrence in the community of experts but
is also a wider cultural phenomenon. In his book tellingly titled Looking at Shakespeare he quotes the English
director Peter Hall: "The English suspect the visual delights of the theatre [...] the play not only begins with
the word, but it had better end with it as well; otherwise it is inferior, appealing more to the eye than the ear.
The puritan distrust of emblems, of representation by
symbol and artifice, is a recurrent national neurosis" (in
Kennedy 2001, 6).
In a rather provocative challenge to "suspect" the
"visual delights of the theatre" noted by Hall within his
native culture, Kennedy claims that looking at Shakespeare's plays is equally important as listening to them
(or reading them): "Put as simply as possible, how
Hamlet is dressed reveals as much about the style and
intention of the performance as anything he says, and
may well influence a spectator more than Shakespeare's
poetry" (Kennedy 2001, 15).
Exploring the ways in which Czech, Moravian,
and Slovak scenic artists have interpreted Shakespeare's
works through scenographic artifacts such as renderings, models, costumes and posters, the exhibit Shakespeare in Prague shifts the emphasis from the textual
to the visual. In doing so, it presents a richer vision of
scenography that has its home in the Czech culture: the
exhibit emphasizes the cultural significance of scenography as well as its ability to assume a crucial role in
the whole of the performance and beyond. Ultimately,
it highlights the role of the scenographer as an original
and thought-provoking artist.
Barbora Příhodová PhD is a researcher and
educator in the history and theory of theatre.
Her research interests include contemporary
and historical forms of design and space in
performance, scenography in Czechoslovakia,

and Josef Svoboda's work in particular. She is co-author of
the book Czech Theatre Costume (2011) and the documentary film Theatre Svoboda (2011). She edited the book
Scenography Speaks: Conversations of Jarka Burian
with Josef Svoboda (2014; nominated for the Czech
"Theatre News Award" 2014) and as a guest co-edited the
special issue of Theatre and Performance Design Journal
on the Prague Quadrennial 2015 (Routledge, 2016). She
is one of the curators of the scenographic exhibition
Shakespeare in Prague: Imagining the Bard in the
Heart of Europe (Columbus Museum of Art, 2017). Her
essay on theater design in Czechoslovakia will appear in
The Routledge Companion to Scenography (edited by
A. Aronson, forthcoming in 2017). She currently teaches at
Villanova University. Reach her at bprihodova@gmail.com.

WORKS CITED

Brandesky, Joe. 2017. Introduction. Shakespeare in Prague: Imagining the Bard in
the Heart of Europe. Catalog, edited by Joe Brandesky, 7-10. Columbus: Columbus
Museum of Art.
Drábek, Pavel. 2017. "Shakespeare in the Czech lands." In Shakespeare in Prague:
Imagining the Bard in the Heart of Europe. Catalog, edited by Joe Brandesky, 7-10.
Columbus: Columbus Museum of Art.
Drábek, Pavel. 2016. "Shakespearean Tragedy in Eastern Europe." In The Oxford
Handbook of Shakespearean Tragedy, edited by Michael Neill and David Schalkwyk,
746-760, Oxford: Oxford University Press.
Havel, Václav. 1985. "The Power of the Powerless." Translated by Paul Wilson. In
The Power of the Powerless: Citizens Against the State in Central-Eastern Europe,
edited by John Keane, 23-96. London: Hutchinson.
Hilský, Martin. 2006. "Translation of Politics / Politics of Translation." In
Shakespeare in the Worlds of Communism, edited by Irena R. Makaryk and Joseph
G. Price, 215-227. Toronto: Toronto University Press.
Hulec, Vladimír. 2011. "Král Lear v Národním je divadelní událostí roku. " E15,
November 15. Accessed March 25, 2017. http://www.divadelni-noviny.cz/wshakespeare-kral-lear-narodni-divadlo.
Kennedy, Dennis. 2001. Looking at Shakespeare: A Visual History of TwentiethCentury Performance. 2nd edition. Cambridge: Cambridge University Press.
Koubská, Vlasta. 2017. "The search for play, fate, and dream in Shakespeare's
scenographic space: Zelenka, Tröster, and Muzika." In Shakespeare in Prague:
Imagining the Bard in the Heart of Europe. Catalog, edited by Joe Brandesky, 21-31.
Columbus: Columbus Musem of Art.
Potužil, Zdeněk. 2011. "Lear v Národním, to byla směsice hrůz." i-DN. Accessed
March 25, 2017. http://www.divadelni-noviny.cz/w-shakespeare-kral-lear-narodnidivadlo.
Stříbrný, Zdeněk. 2007. "Shakespeare in Czechoslovakia" In The Whirlgig of Time,
165-177. Cranbury: Associated University Presses. Originally delivered at the Folger
Shakespeare Library, Washington, D.C., on September 20, 1964, and published
in Shakespeare Celebrated, edited by Louis B. Wright, 113-32. (Ithaca: Cornell
University Press, 1966).
Worthen, William B. 2014. Shakespeare Performance Studies. Cambridge:
Cambridge University Press.

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

Contents
Theatre Design & Technology - Summer 2017 - Public - Cover1
Theatre Design & Technology - Summer 2017 - Public - Cover2
Theatre Design & Technology - Summer 2017 - Public - 1
Theatre Design & Technology - Summer 2017 - Public - 2
Theatre Design & Technology - Summer 2017 - Public - Contents
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