English Translation

52-140) Study I. Miroslav Kouřil We interpret our prineip of the theatre in order to facilitate the analysis of the correctness or incorrectness of our art path. We understand our creation in development; we seek new ways to further develop them ourselves, to create a partial convention in our discovery and to deny new discoveries. For if the real convention is made up of our discoveries by the theaters outside D 34©D 41, who will only develop and repeat our inventions into its conventional form. For us, however, every discovery is only a ghost-dem to deny it; however, do not be wrong if the denial of the discovery is carried out in a longer period of time. We have a duty to explore new stage creation: a synthetic dramatic work. With the knowledge of the previous limitation, let us continue to lay the limit for judging the participation of artistic work (in any case only architect-nic), in the form of a synthetic theater. Let us remember, first of all, that the concept of synthesity does not only mean that the theatre is created by the sum of various works of art. Synthesity is an increase in all the components involved; we demand from our work to draw as close as possible to the venom-nolitity, so that, at the diversity of creations and creations, it can be mastered and penetrated by one order, throwing out the essence of the dramatic work. In this view, look also at the participation of the architect in the theatre. The technical development of the use of the projection begins with cloud machines at the Turistical Theatre, which should support the illusion of reality. The technical basis of such use of projection is the white horizon and the projector in the portal. The reverse technical form is represented by the case where the projector is behind the horizon;) was used when placing the film projection into the game. The important thing is that in both of these cases it is a projection (film or diapositives) on a non-transparent projection surface (clouded horizon). In 1936 we invented a new technical principle for the use of projection on stage: the project- tory creates a picture on a transparent surface (style curtain) and behind it in point lighting plays a dramatic character of the game. This creates an optical composition of the viewer's perceptions of the image of the projection and play of the drama- tic person; the projection of the co-creation creates a dramatic space and ceases to illustrate it. We have established this prineip by the term Theatergraph at that time.2) If we analyze Theaterograph as a theatergraph theater 1) This technical principle we have used y production of games ©We want to live (1934) and >John D. conquers the world (1935). 2) A description of the technical principle was published by a book >Theatre Worker (E.F. Burian M. Kouřil) in 1938. 274