The Voices Of Birds And Other Plays By Josef Topol

This is a book of five plays by Josef Topol translated into English, only two of which have been produced in the USA. Josef Topol and Vaclav Havel are considered the best Czech living playwrights. The five plays chosen for this volume are representative of Topols chamber plays, dealing with such universal themes as youth, love and parting, life and death in language that is very contemporary and often incredibly poetic. The title of the book The Voices of Birds was chosen because it is the last play Josef Topol has written and indicates that the playwrights newer works are included.

This is a book of five plays by Josef Topol translated into English, only two of which have been produced in the USA. Josef Topol and Vaclav Havel are considered the best Czech living playwrights. The five plays chosen for this volume are representative of Topol's "chamber plays", dealing with such universal themes as youth, love and parting, life and death in language that is very contemporary and often incredibly poetic. The title of the book The Voices of Birds was chosen because it is the last play Josef Topol has written and indicates that the playwright's newer works are included.

Václav Havel claimed to want a quiet life dedicated to writing, but he lived exactly the opposite: as the most famous dissident—via his poetry, plays, and essays—in Czechoslovakia under Communist rule. This biography is the first to pay close attention to Havel’s beginnings as a poet, placing his later, more famous works in the context of his poetical beginnings. In doing so, Kieran Williams sheds new light on Havel’s formative years and the stylistic and philosophical influences that would come to shape one of the most famous Czech writers—and political leaders—of the twentieth century. Williams connects the plays for which Havel is best known to his earlier poetry as well as to his development as a writer of profound insight on the arts, his country’s social and political turmoil, and the modern condition at large. He also contextualizes Havel’s oeuvre within his dramatic private life and his ambivalence about being the scion of a patriotic and cosmopolitan Prague family. Reading Havel’s works in Czech alongside his voluminous correspondence, Williams produces a full, rounded picture of a figure of extraordinary artistic and political courage beset with inner paradoxes.

The story of Czech theatre in the twentieth century involves generations of mesmerizing players and memorable productions. Beyond these artistic considerations, however, lies a larger story: a theatre that has resonated with the intense concerns of its audiences acquires a significance and a force beyond anything created by striking individual talents or random stage hits. Amid the variety of performances during the past hundred years, that basic and provocative reality has been repeatedly demonstrated, as Jarka Burian reveals in his extraordinary history of the dramatic world of Czech theatre. Following a brief historical background, Burian provides a chronological series of perspectives and observations on the evolving nature of Czech theatre productions during this century in relation to their similarly evolving social and political contexts. Once Czechoslovak independence was achieved in 1918, a repeated interplay of theatre with political realities became the norm, sometimes stifling the creative urge but often producing even greater artistry. When playwright Václav Havel became president in 1990, this was but the latest and most celebrated example of the vital engagement between stage and society that has been a repeated condition of Czech theatre for the past two hundred years. In Jarka Burian's skillful hands, Modern Czech Theatre becomes an extremely important touchstone for understanding the history of modern theatre within western culture.

The Iron Curtain concealed from western eyes a vital group of national and regional writers. Marked by not only geographical proximity but also by the shared experience of communism and its collapse, the countries of Eastern Europe--Poland, Hungary, Albania, Romania, Bulgaria, and the former states of Yugoslavia, Czechoslovakia, and East Germany--share literatures that reveal many common themes when examined together. Compiled by a leading scholar, the guide includes an overview of literary trends in historical context; a listing of some 700 authors by country; and an A-to-Z section of articles on the most influential writers.

A dictionary of playwrights which contains 485 entries, each of which includes biographical information on the playwright, complete lists of published works (with dates of performance) and a bibliography of critical studies on the playwright.

The motto Národ sobě – “From the Nation to Itself” – inscribed over the proscenium arch of Prague’s National Theatre symbolizes the importance theatre holds for the Czechs. During the National Awakening of the 19th century, theatre took the place of politics, becoming an instrument of national identity in the hands of the revivalists. In what was then part of a German-speaking empire, the Czechs devised a complex and evocative theatre language made up of allegory, allusion, juxtaposition, games, wordplay, legend, history, illusion and music. A sophisticated avant-garde theatre flowered in Czechoslovakia between the wars, and became a symbol of independence during the Nazi occupation. It survived Socialist Realism and Stalinism to blossom again in the “Golden Sixties” when Prague became “the theatre capital of Europe” (Kenneth Tynan) and a generation of theatre and film directors (Radok, Grossman, Schorm) and playwrights (Havel, Kundera, Topol) were at the forefront of the Prague Spring. Reprisals took place after the 1968 Soviet invasion when, under “normalization,” hardline Communists tried to silence the voices of the ‘60s; thousands were forced into internal and external emigration. The theatre culture, however, flexible and experienced from previous repression, again provided a basis of opposition to totalitarianism. For two decades it operated in the provisional spaces of culture houses, studios, gymnasiums, bars, trade union halls, art galleries and living rooms. Strategies were devised and implemented to bring freedom back to the theatre and society. A strong sense of justice and ethics intensified the mutual commitment of theatres and audiences, leading the way to the Velvet Revolution of 1989 and the installation of a playwright as President.