English Translation

52-6a/ generations. Besides, there are similar types only in Prague; they are mostly pampered only children, pathetic mental ruins that the river of life will wash away and pay dramatic attention to them? Vladimír Ruml. Answer the questions of the survey in the 7th issue of the programme. 1. I agree. Because the development of the Czech theatre is necessary. 2. I do not think. Zeela certainly does not have to be a cash prize and may not even be an artistic prize. I look at the cycle of Czech games in D 4l as a deliberate and fundamental whole, the result of which is positive in any case, because it shows the current state and the future path. And if I wanted to apply a simple addition of pros and cons, then the party has the positive advantage of the Swimmer and Don Juan. 3. I answer in E. F. Buriana: Buriana is often the most typical thing for a period of time that her art stands outside of it. © Real art is not compared with the time with the hoarse emphasis on topicality, but pro-centres of aesthetics, with its internal order, even when the problem of the period becomes themat. 4. I was struck by a contradiction between theory and paks. Everyone would agree theoretically, practically of course... It's a pity to you, overcompromise, Pigeon Emile František, that you want to break your skull for some sort of de-set... It could be a lot more reasonable, i.e. more comfortable things; but if everyone were to follow the rotten wisdom, we wouldn't get a step further. This uncompromising-ness D 4l has been labeled as an ascetic fanatism. It is for this fanatic's struggle for development that I am a friend of D 41. Alexei Kohout. Theatre D 41. Spectator's answers on the poll. Ad 1, 2. Of course, the dramatist's text is a partial fixation of his artistic fantasies. Therefore, if he is to talk about the work of a Dra-Math, it is necessary for his ideas to be realized in time and simplicity-ru. It is therefore necessary for Czech playwrights to be introduced, as the work of poets is published, for whose literary existence only this edition is sufficient. While in poetry and prose is not almost a species border, there can be only drama at the theatre. Yes, drama can be done, but it does not have to be drama. Then the stage becomes a speaker, a recitation department, but not a dramatic space. Therefore I consider it useless, if Czech games are presented for principle and without choice. For, if the candidate approaches a stage work that has no con-flikt, both in the sense of the game itself and in the feeling of the audience, he can learn nothing about it. He is learning something about what is not related to it. This is what the viewer says. But the theatreer can have for you- 256