English Translation

and 6 623 IT U A0 3 The stage space from the game ©We want to live. Vievo diagram of the lights and the use of the back projection (projectors marked P), on the right diagram, showing the images used. However, let's continue in analysis to the folders that form the transition between technical and artistic determination of the dramatic space. It is the ground plan of the stage space, its height division and light. Here we have to return in development to our beginnings to the time when we introduced the production of the game ©Cheeme to live (7, premiere D, 1934, Burian © Kouřil - Novotný - Raban). It was the use of the projection functionally in a dramatic work. The picture of the screening neilustro- val only the environment, but he himself played or played together. Let's just remind ourselves of the scene of a pub with alternating images of card players in the voice of dialogue with a single real dramatic posta-vou of the innkeeper. A similar way was used in the production of the game ©John D. conquers the world (14. premiere D, 1935, Burian - Kouřil - Novotný - Raban), for example, the dramatic participation of the screening was not as extensive as in the previous production; the picture of the projection more illustrated the environment in its sense than the reality. I remind you of the testament of the rehearsal scene of the game when John D. sat in front of the screen with a skyscraper image. The stage space was solved by architec - tonically indicatively from opaque and transparent stands that were being rebuilt. The stage area from the game ©John D. conquers the world. On the left diagram of the scene of the last painting.