Otokar Fischer

“ But with the fulfilment of a dream hundreds of years old, with the realization of our constitutional projects, new and greater demands have been placed upon the national life and, above all, on its parallel in the art of words and the drama. With the result that we see the Czech theatre of most recent years endeavouring to illuminate and evaluate the new cultural factor of the mother country’s inclusion in the list of Europe’s national entities, and at the same time to bring some kind of synthetic and dramatic formula to bear on the chaos of the post-war period. ”

“ The contrasting elements of this age are most intensely sharpened in our theatrical life: for instance the battle which is now facing our public as to whether a pessimistic and violently antisocialistic play should or should not be presented on the stage of the national theatre. ”

“ Up to the end of the world war the latent content of Czech drama (which in this respect was quite similar to the Irish) was determined by the struggle for national independence; so that the concept of “nation,” the dream of a future state, could be utilized as leading character or principal theme to reconcile the requirements of national consciousness with the Bohemian’s deeply-rooted humanitarian impulses. ”

“ Among the younger contemporary lyric artists, a numerous group is gathered about the former anarchist and present champion of communistic ideas, Stanislav K. Neumann, who is unfolding a programme of so-called “civilized” poetry, and in a free rhythm that often verges close on to prose sings the facts of ordinary life: the humming of telegraph wires, the swinging and churning of factory machines, but also his collectivistic expectations, and his violent love-hunger. ”

“ Incidentally, Mr C. E. Bechhofer, who introduced the American dramatist in England, is also well acquainted with the Czech theatre. But the extent and the height of the aspirations of the local stage are best indicated by the manner in which the Czech theatres cling to Shakespeare, who always remains with us the most popular dramatist, and is part of the steady repertoire not only of the leading stages, but also of the smaller ones. Jaroslav Kvapil still is the most convincing interpreter of Shakespeare. ”

“ THERE is in Prague, especially in the Czech theatrical life, a brisk interaction between the domestic and the foreign. Held within narrow bounds for years, often nourished on outside influences, our theatre was as good as cut off from Europe during the world war ”