Frantisek Deak
Biographic Data
| ID | 3981978 |
|---|---|
| NAME | Frantisek Deak |
| GIVEN NAMES | Frantisek |
| FAMILY NAME | Deak |
| SIGNATURE | DEÁK F |
| AFFILIATIONS | Frantisek Deak is Professor Emeritus at the University of California, San Diego. He is the author of Symbolist Theatre: The Formation of an Avant-Garde (Johns Hopkins University Press, 1993). |
| VERIFIED | No |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1973 |
| LATEST PUBLICATION YEAR | 2006 |
| H-INDEX | 2 |
Allan Kaprow 1927–2006
December 01 2006 Allan Kaprow 1927–2006 Frantisek Deak Frantisek Deak Search for other works by this author on: This Site Google Scholar Author and Article Information Frantisek Deak Online ISSN: 1531-4715 Print ISSN: 1054-2043 © 2006 Massachusetts Institute of Technology2006 TDR/The Drama Review (2006) 50 (4 (192)): 9–12. https://doi.org/10.1162/dram.2006.50.4.9 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views I…
Symbolist Theater: The Formation of an Avant-Garde
Symbolist Theater: The Formation of an Avant-Garde
Kaloprosopia: The Art of Personality. The Theatricalization of Discourse in Avant-Garde Theatre
A Playwright for a President: The Story of Moral Renewal
Yaqui Easter: A Reflection on Cross-Cultural Experience
Ibsen's "Rosmersholm" at the Theatre de l'Oeuvre
"Meyerhold's Staging of "Sister Beatrice
Antonin Artaud and Charles Dullin: Artaud's Apprenticeship in Theatre
Anna Halprin's Theatre and Therapy Workshop
For the last two years the San Francisco Dancers’ Workshop has concentrated on the workshop process rather than on public performance. This change of emphasis is closely connected to Anna Halprin's concern with therapy (a means and an end in itself) as the focal point of artistic activity rather than with the esthetic or formal elements of dance or theatre. In a broad sense, the theatre experience—through empathy, for example—can be considered in…
Structuralism in Theatre: The Prague School Contribution
Between 1928 and 1948 in Czechoslovakia, a prolific group of linguists and theoreticians of literature, theatre and music, known as the Prague school, worked out the first systematic structuralist-semiotic approach to the study of art. (The semiotics of art—the study of art as a system of signs—was actually established by Jan Mukařovský's programmatic statement “Art as a Semiotic Fact” at the Eighth International Congress of Philosophy in Prague …
Symbolist Staging at the Théâtre d'Art
Between November 1890 and March 1892. the Théâtre d'Arstaged seven productions. It was during these two years that it became associated with the symbolist poets and finally came to represent the symbolist poetic in theatre. The staging of pierr Quillard's play La Fille aux Mains Coupées (The Girl with Cut-off Hands) , the first stage production of Maurice Maeterlinck's plays L'Intruse (The Intruder) and Les Aveugles (The Blind) , the recitation o…
Two Manifestos: The Influence of Italian Futurism in Russia
From the very beginning of the Futurist movement in Italy in 1909, Russian artists, poets, and critics were well informed about the movement's manifestos and general development. Strong schools of Futurist poetry and painting quickly came into being. By 1913, Russian Futurism was already in full force. In that year, on December 2 and 3, the first Futurist theatre productions took place: Vladimir Mayakovsky's Vladimir Mayakovsky and Alexander Kruc…
Russian Mass Spectacles
One of the forms of theatre to emerge after the October, 1917, revolution in Russia was monumental open air spectacles involving thousands of performers and tens of thousands of spectators. These mass spectacles were characterized by collective authorship (script and raise en scène), military-like organization, and the participation of different segments of society: workers; soldiers of the Red Army; drama students and artists of different orient…
Théâtre Du Grand Guignol
If too many murders or atrocities are committed in the theatre, if violence is staged with a taste for shocking detail, or if too much blood spills, the name “Grand Guignol” is usually evoked. The image of Grand Guignol as a theatre of horror is just, but the exact nature and magnitude of the violence and horror are not usually understood. By the same token, the history and stage practices of this theatre are not generally known either. Despite a…
Robert Wilson
Robert Wilson's The Life and Times of Joseph Stalin was presented at the Brooklyn Academy of Music on December 14, 15, 21, and 22. This performance was an unusual event. It consisted of seven acts and lasted for twelve hours. Since Stalin began at seven in the evening and ran until seven the following morning, it became a singular event in the life of the spectator, who had to change his habits in order to attend it. Even before it began, the per…
The AgitProp and Circus Plays of Vladimir Mayakovsky
The best known of Mayakovsky's plays are Vladimir Mayakovsky, A Tragedy (1913), Mystery-Bouffe (the second version, 1921), The Bedbug (1928-29), and The Bathhouse (1930). These works appeared in 1968 in a book entitled The Complete Plays of Vladimir Mayakovsky. However, between 1920 and 1930 Mayakovsky wrote several other dramatic texts. Among these are And What If?... May First Daydreams in a Bourgeois Armchair, A Small Play About Priests Who Do…
Blue Blouse
In many ways, the theatre of the Blue Blouse (Sinaiaia Bluza) was typical of Russian performance in the post-Revolutionary period. Using whatever materials were available, it attempted to create a new type of performance. Overtly political, it employed avantgarde as well as popular techniques. Energetically (and successfully) striving to reach a mass audience, it was created by both theatrical specialists and previously untrained personnel. Socia…
The Championship of the Universal Class Struggle
The Championship of the Universal Class Struggle, a circus scenario, was written in the Fall of 1920 during Mayakovsky's work at Window ROSTA. It is possible to establish almost the exact date from the text. The line stating that Pilsudski, the Polish Champion, “doesn't want to fight anymore” refers to the armistice at the Polish front concluded on Oct 20, 1920. In the last lines, the Referee urges spectators to join the Red Army in the fight aga…
Symbolist Theater: The Formation of an Avant-Garde
Russian Mass Spectacles
One of the forms of theatre to emerge after the October, 1917, revolution in Russia was monumental open air spectacles involving thousands of performers and tens of thousands of spectators. These mass spectacles were characterized by collective authorship (script and raise en scène), military-like organization, and the participation of different segments of society: workers; soldiers of the Red Army; drama students and artists of different orient…
Blue Blouse
In many ways, the theatre of the Blue Blouse (Sinaiaia Bluza) was typical of Russian performance in the post-Revolutionary period. Using whatever materials were available, it attempted to create a new type of performance. Overtly political, it employed avantgarde as well as popular techniques. Energetically (and successfully) striving to reach a mass audience, it was created by both theatrical specialists and previously untrained personnel. Socia…
Antonin Artaud and Charles Dullin: Artaud's Apprenticeship in Theatre
Structuralism in Theatre: The Prague School Contribution
Between 1928 and 1948 in Czechoslovakia, a prolific group of linguists and theoreticians of literature, theatre and music, known as the Prague school, worked out the first systematic structuralist-semiotic approach to the study of art. (The semiotics of art—the study of art as a system of signs—was actually established by Jan Mukařovský's programmatic statement “Art as a Semiotic Fact” at the Eighth International Congress of Philosophy in Prague …
The AgitProp and Circus Plays of Vladimir Mayakovsky
The best known of Mayakovsky's plays are Vladimir Mayakovsky, A Tragedy (1913), Mystery-Bouffe (the second version, 1921), The Bedbug (1928-29), and The Bathhouse (1930). These works appeared in 1968 in a book entitled The Complete Plays of Vladimir Mayakovsky. However, between 1920 and 1930 Mayakovsky wrote several other dramatic texts. Among these are And What If?... May First Daydreams in a Bourgeois Armchair, A Small Play About Priests Who Do…
The AgitProp and Circus Plays of Vladimir Mayakovsky
The best known of Mayakovsky's plays are Vladimir Mayakovsky, A Tragedy (1913), Mystery-Bouffe (the second version, 1921), The Bedbug (1928-29), and The Bathhouse (1930). These works appeared in 1968 in a book entitled The Complete Plays of Vladimir Mayakovsky. However, between 1920 and 1930 Mayakovsky wrote several other dramatic texts. Among these are And What If?... May First Daydreams in a Bourgeois Armchair, A Small Play About Priests Who Do…
Blue Blouse
In many ways, the theatre of the Blue Blouse (Sinaiaia Bluza) was typical of Russian performance in the post-Revolutionary period. Using whatever materials were available, it attempted to create a new type of performance. Overtly political, it employed avantgarde as well as popular techniques. Energetically (and successfully) striving to reach a mass audience, it was created by both theatrical specialists and previously untrained personnel. Socia…
The Championship of the Universal Class Struggle
The Championship of the Universal Class Struggle, a circus scenario, was written in the Fall of 1920 during Mayakovsky's work at Window ROSTA. It is possible to establish almost the exact date from the text. The line stating that Pilsudski, the Polish Champion, “doesn't want to fight anymore” refers to the armistice at the Polish front concluded on Oct 20, 1920. In the last lines, the Referee urges spectators to join the Red Army in the fight aga…
Théâtre Du Grand Guignol
If too many murders or atrocities are committed in the theatre, if violence is staged with a taste for shocking detail, or if too much blood spills, the name “Grand Guignol” is usually evoked. The image of Grand Guignol as a theatre of horror is just, but the exact nature and magnitude of the violence and horror are not usually understood. By the same token, the history and stage practices of this theatre are not generally known either. Despite a…
Robert Wilson
Robert Wilson's The Life and Times of Joseph Stalin was presented at the Brooklyn Academy of Music on December 14, 15, 21, and 22. This performance was an unusual event. It consisted of seven acts and lasted for twelve hours. Since Stalin began at seven in the evening and ran until seven the following morning, it became a singular event in the life of the spectator, who had to change his habits in order to attend it. Even before it began, the per…
Two Manifestos: The Influence of Italian Futurism in Russia
From the very beginning of the Futurist movement in Italy in 1909, Russian artists, poets, and critics were well informed about the movement's manifestos and general development. Strong schools of Futurist poetry and painting quickly came into being. By 1913, Russian Futurism was already in full force. In that year, on December 2 and 3, the first Futurist theatre productions took place: Vladimir Mayakovsky's Vladimir Mayakovsky and Alexander Kruc…
Russian Mass Spectacles
One of the forms of theatre to emerge after the October, 1917, revolution in Russia was monumental open air spectacles involving thousands of performers and tens of thousands of spectators. These mass spectacles were characterized by collective authorship (script and raise en scène), military-like organization, and the participation of different segments of society: workers; soldiers of the Red Army; drama students and artists of different orient…
Anna Halprin's Theatre and Therapy Workshop
For the last two years the San Francisco Dancers’ Workshop has concentrated on the workshop process rather than on public performance. This change of emphasis is closely connected to Anna Halprin's concern with therapy (a means and an end in itself) as the focal point of artistic activity rather than with the esthetic or formal elements of dance or theatre. In a broad sense, the theatre experience—through empathy, for example—can be considered in…
Structuralism in Theatre: The Prague School Contribution
Between 1928 and 1948 in Czechoslovakia, a prolific group of linguists and theoreticians of literature, theatre and music, known as the Prague school, worked out the first systematic structuralist-semiotic approach to the study of art. (The semiotics of art—the study of art as a system of signs—was actually established by Jan Mukařovský's programmatic statement “Art as a Semiotic Fact” at the Eighth International Congress of Philosophy in Prague …
Symbolist Staging at the Théâtre d'Art
Between November 1890 and March 1892. the Théâtre d'Arstaged seven productions. It was during these two years that it became associated with the symbolist poets and finally came to represent the symbolist poetic in theatre. The staging of pierr Quillard's play La Fille aux Mains Coupées (The Girl with Cut-off Hands) , the first stage production of Maurice Maeterlinck's plays L'Intruse (The Intruder) and Les Aveugles (The Blind) , the recitation o…
Antonin Artaud and Charles Dullin: Artaud's Apprenticeship in Theatre
"Meyerhold's Staging of "Sister Beatrice
Ibsen's "Rosmersholm" at the Theatre de l'Oeuvre
Yaqui Easter: A Reflection on Cross-Cultural Experience
A Playwright for a President: The Story of Moral Renewal
Kaloprosopia: The Art of Personality. The Theatricalization of Discourse in Avant-Garde Theatre
Symbolist Theater: The Formation of an Avant-Garde
Symbolist Theater: The Formation of an Avant-Garde
Allan Kaprow 1927–2006
December 01 2006 Allan Kaprow 1927–2006 Frantisek Deak Frantisek Deak Search for other works by this author on: This Site Google Scholar Author and Article Information Frantisek Deak Online ISSN: 1531-4715 Print ISSN: 1054-2043 © 2006 Massachusetts Institute of Technology2006 TDR/The Drama Review (2006) 50 (4 (192)): 9–12. https://doi.org/10.1162/dram.2006.50.4.9 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views I…
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