Přehled o publikaci

A synthetic formation requiring acting universality, which the world-famous theorist, theatre expert and dramaturg Ivo Osolsobě summed up with the words “Theatre that speaks, sings and dances”, has a complex history in our theatre with roots reaching back to the horizon of pre-romantic singspiels. The varied palette of often schematic plots in terms of themes and motif structure, sometimes set by local, sometimes fairy-tale, exotic or fantastic plots, gaining popularity with a wide audience, has not always reached the attention of theatre critics who would have noted the quality – if not musical or librettist, then at least artistic. The systematic work of the operetta ensemble of the Brno Theatre under the direction of Oldřich Nový in the years 1923–1935 meant a significant contribution in its time in terms of dramaturgy, translation activities, direction, musical arrangements and, of course, also the scenographic concept, testifying the quality, invention, humour and playful communication with the audience.