Русский
Джозеф Свобода
![A portrait of Джозеф Свобода in the Forties. Before enrolling himself in 1938 in the school for carpenters of Praga and following the Academy of Architecture, Svoboda works for a couple of years in his father's carpentry, where he develops a skill and a handicraft concreteness that will be later a great help during his career.«I will be always thankful to my father that forced me, before I became a scenographer, to the manual work. [ ... ]I am convinced that the theater is and remains the last handicraft work of our time and that of future.»Josef Svoboda, op.cit., pages 18 and 19. His activity of scenographer begins in Praga in 1943, and it's immediately evident as he has already left the nineteenth-century pictorial tradition to his shoulders, influenced instead by the Russian constructivism and by the theories by Гордон Крэг and Adolphe Appia, that will bring him to have a preference for the use of the forms, of the architectural volumes, of the movement, of the effects of phototechnic.](_ele/transparent.gif)
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«I am an architect and a scenographer, and the intense perception of my time is and has always been the base of my job.
And as in the beginning, it seems to me now again that the world and the humanity are in front of an alternative: or the salvation or the downfall.»
Words that go up to 1992 but that seem to be written today, those that Josef Svoboda (Čáslav, Boemia, 1920 - Praga 2002) brings in the premise of a text become fundamental for the understanding of the runs of the scenography in the second half of the Nineteenth Century, I segreti dello spazio teatrale / The Secrets of Theatrical Space, (Ubulibri, 1997).
In the plentiful bibliography that concerns him, the synthetic definitions of his personality are not missing.
Here is that by Франко Куадри, theater critic and founder of Ubulibri: «... an artist that has his best characteristic in the conjugation of the absolute with the daily life and pursues the maximum scientificity beginning from a handicraft search.»
A definition that Svoboda, when he red it in the preface of The Secrets of Theatrical Space, probably didn't disapproved.
And as in the beginning, it seems to me now again that the world and the humanity are in front of an alternative: or the salvation or the downfall.»
Words that go up to 1992 but that seem to be written today, those that Josef Svoboda (Čáslav, Boemia, 1920 - Praga 2002) brings in the premise of a text become fundamental for the understanding of the runs of the scenography in the second half of the Nineteenth Century, I segreti dello spazio teatrale / The Secrets of Theatrical Space, (Ubulibri, 1997).
In the plentiful bibliography that concerns him, the synthetic definitions of his personality are not missing.
Here is that by Франко Куадри, theater critic and founder of Ubulibri: «... an artist that has his best characteristic in the conjugation of the absolute with the daily life and pursues the maximum scientificity beginning from a handicraft search.»
A definition that Svoboda, when he red it in the preface of The Secrets of Theatrical Space, probably didn't disapproved.
Используемые материалы
Театр Piccolo, ''Фауст, фрагменты''
Театр