Русский
Джозеф Свобода
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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), from which all the quotations reported between the captions of the photographs are also taken.
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), from which all the quotations reported between the captions of the photographs are also taken.
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