Sylva Marková Review of Talking Scenography: Conversations between Jarka Burian and Josef Svoboda Reviews Talking Scenography: Conversations between Jarka Burian and Josef Svoboda (Scénografie mluví. Hovory Jarky Buriana s Josefem Svobodou). By Barbora DIEGO RIVERA PŘÍHODOVÁ. Brno: Masaryk University Press, 2014. 304pp. ISBN 978–80–210–7730–0. Available at <https://is.muni.cz/obchod/baleni/87383>. At first glance, it might seem that Josef somewhat boastful (though well-deserved) Svoboda has inspired enough scholarly and occasionally un-objective expositions, publications – what might be there to add? but also an invaluable source of informa- Barbora Diego Rivera Příhodová’s edition tion on concrete technological solutions of Svoboda’s talks with Jarka M. Burian, and inventions. The editor is meticulous in Scénografie mluví (Talking Scenography, detail and well aware of the limitations, the 2014) brings great novelty – the perspec- pros and cons of the material she is han- tive of Josef Svoboda (1920–2002), perhaps dling. In being so precise, she facilitates the the greatest twentieth-century scenogra- ultimate aim of the book: a deeper under- pher and theatre innovator, on his own standing of Svoboda’s production practice, work, his working processes, as well as his his intentions and his conceptual frame- achievements. Příhodová has transcribed works. The material is perfectly placed for and edited recordings made by Jarka M. this: Svoboda’s own presentation and ex- Burian (1927–2005), a North American plication of his designs is unique and, in its theatre scholar of Czech descent and inde- personal testimony, I believe, much more fatigable proponent of Svoboda’s work, au- valuable than any refined theorisation. thor of The Scenography of Josef Svoboda What also comes across from the dialogues 02 (Wesleyan University Press, 1971), Modern is Svoboda’s willingness to return repeat- 2015 Czech Theatre: Reflector and Conscience of edly to his previous work and to discuss a Nation (University of Iowa Press, 2000) it in detail, as well as his ability to place or of Leading Creators of Twentieth-Cen- himself and his scenography in the back- tury Czech Theatre (Routledge, 2002). The ground when the production called for it. recordings of Burian’s talks with Svoboda Each of the four main chapters is ac- have been deposited in the Jarka Burian companied by a necessary introduction Collection held at the Jerome Lawrence that helps the readers orientate themselves and Robert E. Lee Theatre Research Insti- in the context and the setting of the mate- tute (Ohio State University). rial. It helps arrange the deluge of motifs In editing, commenting and publishing and ideas that Svoboda erupts, and also them, Diego Rivera Příhodová has made foreshadows the basic facts of the histori- available what turn out to be not only cal and political situation that roots the 481 dialogues in concrete coordinates. Diego rapher and the stage director in a theatre Rivera Příhodová also presents and evalu- production. In passing, he mentions his ates other theoretical and scholarly work work on the polyecran technique and the Reviews on Josef Svoboda – the works of Denis Ba- Laterna magika project – the world’s first blet (Josef Svoboda. Paris: La Cité, 1970), multimedia theatre that developed out of the above-mentioned study by Jarka Bur- Alfréd Radok’s and Svoboda’s project for ian, Věra Ptáčková’s Josef Svoboda (Praha: the Czecho slovak exhibition at Expo 58 in Divadelní ústav, 1983) and Helena Al- Brussels.2 Svoboda also ruminates on the bertová’s Josef Svoboda – Scenographer specificity of scenography as art, on the (Praha: Divadelní ústav, 1983).1 Finally, the ideal theatre space, on the complexity of editor provides background information the dramatic arts and the function of sce- on the individual productions to which nography in it – all themes that would, in the dialogues refer. At the same time, she mediation, sound hollow and false; in his acknowledges the losses incurred by the own words, they have a weight in being impossibility of personal consultation and backed up by the overwhelming realisa- confrontation. tion of these abstract principles. Among The first of the four main chapters of his stories are also accounts of his teach- the book is dedicated to the end of the so- ing career at the DAMU (Theatre Faculty called ‘Golden Sixties’ – seen by many as of the Academy of Performing Arts in the highlight era of Czech theatre. Svobo- Prague) in the 1950s, where he lectured on da was a crucial part of the scene and the scenography to students of stage directing; book presents him as an internationally Svoboda speaks of his work with young recognised first-class scenographer in the people as well as of amusing anecdotes of context of the difficult late 1960s that put his ‘competing’ with DAMU’s scenography an end to the politically and socially lib- professor Tröster. Finally, he explicates sev- eral ‘Prague Spring’. Svoboda is well aware eral principles and technologies used in that his work operates within the conti- concrete productions – these are wonder- 02 nuities of Czech scenography and humbly ful revelations that, to a modern eye, read 2015 recognises the towering legacies of the ar- almost like fairy tales. chitect, urbanist, cubist and scenographer The following chapter, ‘Pursued by Vlastislav Hofman (1884–1964) and the Wagner’ (Pronásledován Wagnerem) con- avant-garde scenographer and influential centrates on Svoboda’s scenography for teacher František Tröster (1904–1968). Wagner productions of the 1970s, mostly Svoboda highlights the importance of gen- abroad, and on his international peda- eral education and the intellectual hori- gogical practice. This chapter is a boastful zons of a scenographer and also expounds one – is that because Svoboda is making on the collaboration between the scenog- 2 See Eva Stehlíková’s article, ‘The Laterna Magika 1 See also Christian M. Billing’s detailed review of Josef Svoboda and Alfréd Radok’, in Czech Stage in Czech Stage Art and Stage Design (ed. Christian Art and Stage Design (ed. Christian M. Billing and M. Billing and Pavel Drábek), a special issue of Thea- Pavel Drábek), a special issue of Theatralia 14: 1 tralia 14: 1 (Spring 2011): 270–6. (Spring 2011): 173–91. 482 the recording by himself? Nonetheless, In the chapter ‘An Apology for Scenogra- the 1970s were the peak of his career – he phy’ (Obhajoba scénografie), Svoboda talks was an internationally renowned theatre about his most important artistic part- architect in full strength and his career ners. He returns to the immediately post- Reviews reached its zenith. He was approached not WW2, his first major theatre engagement only by individual stage directors but also at the May 5th Theatre, in Prague Divadlo( by theatre managements as if the Svoboda 5. května; later the Smetana Theatre, and trademark was a guarantee of production today the Prague State Opera). The decisive success. In his discussions, he focuses on personalities that contributed crucially to the ‘general’ principles in approaching the his artistic growth were the opera director themes of theatre productions and then and conductor Václav Kašlík (1917–1989); provides explanations of the technolo- the visionary stage director and co-found- gies he applied and their usage – some of er of the Laterna magika Alfréd Radok them, after nearly half a century, sound (1914–1976); and the dramatist, journal- laughable, while some have not yet been ist, writer and stage director at the Vino- surpassed and testify to his lasting great- hrady Theatre Jiří Kárnet (1920–2011). ness. Svoboda also returns to his teaching Svoboda’s recollections are invaluable and career, its next stage – not only his indi- unique as personal testimony of his close vidual approach to students as Professor collaborator Alfréd Radok as well as his of Exhibition Curating and Scenography friend and collaborator, stage director and at the School of Applied Arts in Prague actor Miroslav Macháček (1922–1991). (Vy soká škola uměleckoprůmyslová), but Also in this chapter Svoboda expounds also as a guest teacher in the USA, in on the problems of scenography, making which country he gave theoretical lec- comments on a range of productions done tures on contemporary scenography and nationally and abroad; again he explicates dramatic space. Svoboda discusses mate- concrete problems, occasionally disclosing rials and gives many concrete examples of a sheer technological pearl – the ultimate their usage – these are literally treasures value that this book brings to the scenog- 02 he is bringing, compared to our present- raphy practitioner of today. 2015 day teaching of scenography in the Czech In the final main chapter ‘Post-Novem- Republic. Svoboda reflects on the quality ber 1989 years’ (Polistopadová léta), Svo- of his students and their approach to the boda looks back on his professional career, tasks, on their first scenographic works, as well as reflecting on the new impulses and on his teaching practices – he keeps for his scenographic work, such as his col- returning to these questions, reconsider- laboration with Giorgio Strehler on a pro- ing them; his humble approach to the edu- duction of Faust, his partnership with cation of future generations is remarkable Henning Brockhaus on grand operatic and any seeming self-centredness of the productions with a number of technologi- artist disappears as he commits himself cal miracles, or his work with double back- fully to his students. drops, and also with Jarka