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This section of the competition can include designs by foreign as well as Czechoslovak architects designed or realized after 1945.
Stress here is particularly on experiments in the field of theatrical designs and its elements, on experimental activities in the field of theatrical architecture, on designs of ambulant and open air theatres and their technical equipment. The exhibits may be presented in the form of designs or photographs, all types of technical designs, models, urbanistic studies, optical and acoustic studies, documentation on interior designs and the technical equipment of stage and auditorium.
The international jury will award a gold medal for the most complex on exhibit.
(Text from catalogue, p. 18)
What is the essential problem of theatre architecture? ls it design and layout? lf this is so, we have to ask which the truly new elements in this design are and to ascertain whether there is anything really new in theatre architecture something which is not merely a duplication of something long forgotten, even if on a higher technical level. Let us, however, concentrate for the time being on the problems resulting from the present situation. The universa! theatre has become a fashion of the past. But has its „universalism" actually been put to use? ln practice every multi-purpose theatre changes into a single-purpose one. This is one question which requires an answer. The second question is: small or large theatres? lt will be necessary, first of all, to find an economic limit which will move between the short-term amortization of large theatres and a maximal utilization of the technical equipment of small theatres. ls the multi-form theatre space capable of solving these economic problems? For the time being two types exist: the space which can be made smaller while the rest remains unutilized, or a division of the space with sliding walls, thus creating two or more smaller, entirely separated, halls. The first type is evidently uneconomical, while with the other the mobile accustic walls are very expensive. We have, however, so far not considered the basic problem of theatre space, i. e. the relation between the stage and the auditorium. One can say, in principie, that the disposition of the theatre, if it is not meant to fulfil only its social function, must b.? the expression of its artistic programme. ln this it is functional. ln the large opera glass type theatres the first and most pressing problem seems to be the question of acoustics. lt is possible to remove the proscenium wall which just out and reduces the space between the stage and the auditorium, it will, however, have to be replaced by a proscenium opening, perhaps a variable one, using reverberating acoustic blocs. A no less important problem is the construction of the curve of visibility with the exdusion of all blind spots on the stage, both on the horizontal and vertical plane. The dimensions of a large opera glass type theatre are defined by its acoustics and by the differentiating ability of the human eye.
The size of a theatre with a centra I stage is limited solely by acoustics: in this case the actor stands with his back only to half of the audience. A large theatre of this type will therefore always have to use amplifiers. This is the first deficiency of the theatre space with a centra! stage which is to replace the opera glass space. Another problem is the lighting system: how to throw light on the actor without blinding the spectator? How to manipulate with the lights? By stating this problem we do not wish to say that the lighting system of the opera glass type theatre has been definitely solved and has no problems. After having ascertained the deficiencies of these two types let us consider the small experimental theatre. li seems that this should complete a large theatre. Speaking for it are economic reasons in the first place and the artistic program which gives meaning to the term „experiment". lts function may perfectly correspond with a hall space, where walls, seats, the ceiling as well as the stage would be mobile and the stage space formed in accordance with the requirements of each production. Stage technics would have to be light, mobile having the construction of cranes. ln modern world architecture there is a growing tendency to solve the interior soberly, without large plastic decorations. One of the possibilities in this respect is to design the interior of theatres in the form of broadcast studios, where walls are formed by rotable acoustic panels, shields, pylons or cylinders, differently coloured. The turning of the various elements would bring about a different colour scheme -and a plastic design of the walls. There would be a simultaneous change of acoustics, necessary for each individua! genre. The experience of direct artistic expression will be most intensive in a small theatre seating 300-350. A theatre with a capacity of 500-600 seats will be economically most advantageous. From the point of view of disposition the arena stage seems to be the best type. Acoustically it is the box type large theatre which is most favourable. These are conflicting statements. They may, however, form a basis for general conclusions, and in addition, it is possible to correct them, though not from economic or technical views, but from the points of view of their social function, which the theatre has to fulfil in the first place. Large theatre space is useful and necessary, its dimensions must, however, under all circumstances respect the human standard. As far as the composition of material is concerned, the tendency during the last decades has been to reduce or eliminate the cubus of the ropes from the outline. This tendency has been strongly supported by architects. But why suppress one of the most typical and functional elements of a theatre building? Thesize of a theatre is determined by its place in the architectonic set-up of a town. Large stages will continue to be the centre of a town's life - the official theatre. New town units, we assume, will prefer small theatres of on experimental nature. This division is dosely linked to the structure of the population: it may be assumed that new town units will be inhabited by the younger generation which is ready to accept something modern. A great part in the dislocation of theatres will also be played by transportation which will divide the audience into two further groups: one which will prefer its „local" theatre because it is close, while others will prefer to choose a theatre because of its programme, regardless of where it is located. We hope that these brief remarks on the problems of modern theatre architecture will explain and supplement the exhibits of the Prague Ouadrennial.
Ing. Arch. Věroslav Pardyl
(Text from the catalogue, p. 294-296)
The week of modern art in Sao Paulo in 1922 became the manifesto of the European avant-garde and one of the important landmarks in the development of Brazilian art. When looking for the modem artistic expression, Brazil has emphasized its national traditions and created in this way its own specific artistic language that has been accepted by all the progressive centres. The architecture which profits from the enormous development of towns and of the building up of the new capital - Brasilia - can realize a lot of experiments which would not be possible in overcrowded centres of ancient towns. The loftiness of buildings, the poetic appearance of their lines and the amalgamation of the magnificent landscape became the characteristic feature of our achitecture. ln the last 20 years the theatre audience is spreading, increasing the rise of further theatre companies so that it is necessary to build new theatre buildings. Our theatre is supported even through the fact that both govemment of individual states, and private individuals are interested in collaboration with the best architects such os Oscar Niemeyer, Alfonso Eduardo Reidy and Rino Levi, and they are asking for it. The architectonic beauty is always completed with the most modern technical European an North American equipment so as in the parterre os well os in boxes designed by Aldo Calvo.
An amphitheatrical auditorium on a hexagonal pian for 700 spectators complies with all requirements for good visibility. Armoured concrete construction. The composition of the material used has been given by the unusual shape of the ground and the very characteristic features of the town architecture.
(Text from PQ Catalogue 1967)
Preliminary design from 1960. Realization in 1966. The auditorium seats 700, the scene is equipped with up-to-date techniques, the revolving stage is 11 metres in diameter.
Built-in area covers 2000 sq. metres, auditorium seats 650, scene technically up-to-date, revolving stage 16 m. in diameter.
The asymmetric design of the plan results from the great differences in the altitude of the ground and the access to the theatre. An amphitheatrical auditorium seats 850 for opera performances and 1000 for drama.
The construction of the Municipal Theatre in Oulu is to begin in the autumn of 1967.
1962
Realization: 1948, c. K. Hemmerling
The construction was based on new functional and space principles. The auditorium manifests an effort to suppress the peephole space by a more fluent architectural connection with the stage (by removing the special proscenium space).
Proposal: 1967, c. J. Berndt, K. Krüger
The auditorium (600 seats) and the stage are designed as one space: the stage equipment may be therefore easily installed in the auditorium.
1951, c. H. Gussmann
The construction emphasized the best audio-visual conditions. The insufficiencies of the peephole type theatre were eliminated by joining the stage space and the auditorium and by the removal of the curtain and its framework.
1966, c. H. Gussmann
The reconstruction of the building erected in 1947 concerns mainly the bars and other public conveniences of the theatre, the auditorium having kept its original shape. The operation of area has been extended and improved, and a system of improved stage technics allows the maximum of variability.
1960, c. H. Gussmann, K. Hemmerling
The auditorium seats 1700 with optimum visibility and audibility. The stage space, based on a cross system, has been extended to the maximum by the iron curtain being placed in front of the orchestra pit, thus enabling a perfect use of the proscenium space.
1955, c. K. Hemmerling
The reconstruction observed the architectural conception of the opera built by arch. Knobelsdorff in 1743 and has concentrated on a modern disposition and equipment of the interior - especially the stage.
Realizace / Realization:1965, c. J. Berndt
The design of the theatre aims at being as many-sided as possible. Visual relations are focussed on a neutral forescene, equipped with a mobile way and ropes. The scene is equipped with a revolving stage and movable parts which can be lifted, slid in and sloped.
1965, c. K. Wewer
The theatre building conceived as a complex, incorporating the creative and technical part and separated by an open corridor. The safety system of the Big theatre permits the connection of the proscenium and the stage into one continuous stage space. The telescopic system of the proscenium arch allows its very wide use. In the quadratic neutral space of the Small Theatre the stage as well as the auditorium may be optionally situated on 20 reisable dais and 8 platforms.
Návrh / Proposal: 1967, c. J. Hartmann, J. Berndt, K. Krüger
The project is linked to the Dresden Cultural Centre partly by moving floor and partly by the stage equipment.
Návrh / Proposal: 1965, s. J. Berndt
The designers have experimented and realized the principles of a neutral fore-stage, Spielgalerie and of open prosceium balconies. They have endeavoured to incorporate the technical functions of the auditorium into the architecture of the theatre as a whole.
Návrh / Proposal: 1967, c. J. Berndt
The whole complex of the theatre is composed of four wings: the stage-, the auditorium, the workshops; the dressing rooms and the regearsal rooms are connected by a bridge with the stage building. The back of the stage is directly joined to the workshops, thus saving the space of the assembly hall. The auditorium seats 600.
1967, c. J. Berndt
The original building (M. Semper, 1871-1878) was completely destroyed, only part of the outside walls remained. The construction of the new building began in 1965. Operation rooms are placed in a separate building, thus enabling the original architecture of the opera to remain intact. The foyers, the staircase and lounges have been restored in accordance with the original plans, the auditorium and the stage were rebuilt to answer all modern artistic and technical requirements.
1965
The central hall which serves many purposes (theatre, cinema, dancing, conference room) is designed as neutrally as possible and is based on the principle of a diagonally placed tetragonal. This principle was applied for the construction of several houses of culture with a capacity of 120, 280, 440 and 600 seats.
1965, c. U. Schultz
1965, c. J. Berndt
The seats in the auditorium can be mechanically changed from rows into a system of tables. The construction of the stage is based on the principle of horizontally mobile tractions.
Realizace / Realization:1958
The many-purposes theatre building meant for operas, operettas, drama and film performances, 765 seats cover an area of 31 000m3. Construction form 1956 till 1958.
1963, c. K. Fischer
Classic type of an opera theatre, 2,123 seats, covering an area of 200,000 m3, construction period from 1958-1963.
Realizace / Realization:1964, c. H. Schneider
Prototype of ground floor theatre, designated for opera, operetta and drama performaces, 626 seats, covering an area of 48,100 m3.
1966,
Prototype of ground floor theatre, intended for opera and drama performances, 750 seats, covering an area of 43,500 m3. Construction from 1964 till 1966.
Realizace / Realization:1966, c. H. Jentzsch
Prototype of ground floor theatre, intended for drama performances and operas with studio, 401 seats, covering an area of 8,600 m3. Construction from 1965 till 1966.
The exhibit of Austrian theatre architecture documents this sphere from two aspects: it offers a basic survey of the architecture of new or reconstructed theatre buildings and of the high standard of Austria's stage technique. The corporations Waagner-Biro and Wiener Burgtheater, the New Festival Theatre in Salzburg, the Geneva Opera, the Playhouse in entire world, fitting out the operatic stages of Vienna, Warsaw, Istanbul, as well as adding to the technical equipment of the Bratislava theatre, the Theater an der Wien, Vienna Burgtheater, the |New Festival Theatre in Salzburg, the Geneva opera, the Playhouse in Steiermark, the Municipal Theatre of Klagenfurt, the Opera of Sydney, the Municipal Theatre of Eindhoven, Holland, the Volksoper and Theater in der Josefstadt in Vienna and the Tyrol Theatre of Innsbruck.
1960
photomontage,
photo in colours,
auditorium and stage,
auditorium with curtain, photo in colour,
tapestry Amour and Psyché, author O. Kokoschka,
mural, author W. Hutter,
Festival grounds birds-eye view,
groundplan of Festival Theatre, phototype on wood
Návrh / Proposal: 1961, c. E. Stoecklin
The circular theatre opens up completely new possibilities of stage productions and style of performance. The building can also be used for other purposes. A great number of towns in Europe and abroad have, up to now, been interested in this new stage principle. Český Krumlov, Boheia (1958) and Tampere (Finland) have realized a similar system by adopting the formula of rotatory stalls for open air performances.
The Theatre in Carouge was founded as the professional drama company of Roman Switzerland. Lack of space and financial means forced them to adapt an old church in Carouge; it proved that the traditional church architecture was very suitable for this purpose. The Apse was originally used to instal a temporary peep-show stage; but as this unorganic solution was not satisfactory, Jean-Marc Stehlé returned to the original shape of the church and adapted his stage to it. The effectivity of this simple solution put its imprint on the most varied performances: the Elizabethan plays such as Arden of Faversham, realistic plays such as Stories of a Night by O'Casey, as well as very modern performances, such as Antigone of the Living Theater. The costs for the adaptation of the church, which intentionally, maintained their temporary character was so small that they were practically covered already by the first production. The material used was only wood, canvas which covered the walls and the povatex. The church, not changed into a theater but a church which itself became a theater was pulled down a few months ago. The theater in Carouge soon found a home in a "real" theater. The exemple, however, remained. Architecture, which originally was not intended for dramatic art, can create a suprising and effective scenic space with minimum financial amount.
The church, construite model
Imitation of an opera glass stage, model
Open scenic space, model
cupola of the scene, photos
Antigone, photos
Arden of Faversham. photos
G. B. Shaw, Arms and the man. photos
S. O'Casey, Sunset and Evening Star, photos
The End of the Beginning, photos
Mysteries, photos
details of construction, photos
Czechoslovak scenography presented itsetf to the world public in a complex historical survey at the Biennial of Sao Paulo in 1959 and in a number of monographic exhibitions devoted to the work of Vlastistav Hofman, František Tröster, Josef Svoboda, Jan Sládek, Josef Gabriel, Ladislav Vychodil and many other significant artists in almost all European and nonEuropean cultural centres. Everything that can be said of its historical development has thus already been said and we therefore feel that it would be more important to mention at least briefly the state, tendencies and problems of the contemporary work, which served as a decisive criteria in evaluating the individual works as well as drawing up the general concept of this exhibition. The overall picture of the Czechoslovak exhibit is to a certain extent distorted by the absence of three of our most outstanding artists, František Tröster, Josef Svoboda and Ladislav Vychodil who according to the Prague Quadrennial cannot as the winners of the Sao Paulo Biennial participate in this competition, and also due to the fact that the Czechoslovak exhibit as a whole has been excluded from international competition and can compete with the other national exhibits only unofficially. Due to these circumstances the exhibit is more in the nature of a review along the tendencies outlined by the I. National Review of Czechoslovak Stage Design, held in Brno in 1960. Certainly this exhibit is not one of those chosen for the Theatre Biennial in Sao Paulo which was marked by a certain topical theme with the individual exhibits acting as documents of these tendencies and not exhibits in themselves as in the case of paintings. The present exihibit dangerously resembles such exhibits of paintings and the individual items on exhibit somehow take on the aspect of paintings. These are two of the ..shortcomings" of this exhibit caused by objective reasons which we found necessary to mention before going on to discuss present trends in the sphere of stage design. An analysis will determine two main trends in contemporary scenography: The first of these is based on the results of the work of our prewar avantgarde of the thirties its aim being the work with lights, motion, time and space as dramatic factors, which is being considered the constanta, the specificity which differentiates scenography from the traditional form of art, from painting, sculpture and architecture. If present-day scenography rejects the means and methodical processes of this ..traditional" form of art, the reasons differ from those of the twenties of this century, when the prevailing slogan was one of ..pure" art. Theory thus considered the unsurmountable limits of material means which divide the various fields of art from each other, and of the common aims which on the contrary join them together. However, for the present state of art — observing the validity of the second part of the thesis - the penetration of one field of art into another is characteristic, a fact which holds true even more so for the sphere of material means: sculpture joins painting, literature joins graphic art, the stage combines with films, etc. The contact of scenography with the other fields of art thus acquires a new characteristic independent of traditional processes while at the same time scenography in this sense has a particutar task — it returns creative art impulses of a higher form which it had adopted itself and is in turn influenced by it all over again, it thus achieves something which new art cannot do: it has a more pregnant function, sense and purport as well as a new shape. The second trend of contemporary scenography strictly rejects the building up of dramatic space, which it considers an artificiatlly constructed supershape, it rejects illusionism in any form and tries to discover the elementary essense of scenographic work, searching for the function of a bare stage and the role of props. The stage remains a stage, a theatricial architectural element necessary for the actor's acting who plays a functional role. No need to stress that this trend is essentially an analytic one and its purpose resembles the ideas on which the constructivism of the twenties was based, in the early stage of its genesis we find instances where the constructivist scheme, either in the structure of the scene, the choice of props or the arrangement is actually repeated in the formal aspect. When speaking of analysis as one of the characteristic, even etemental property of this trend we add that analysis is only the first, initial phase of its work method, which is negated immediately by the second, synthetic phase. The entire process of disintegration and the immediate new linking unfolds in front of the eyes of the spectator. It is a process of creation, of constant appearance and disappearance which is the specific trait of stage art, activising, the spectator and theatrical creativeness, resuming in the immediate contact of the actor and spectator which differentiates the stage from films and television.
author: Ch. W. Gluck, Slovenské národné divadlo Bratislava 1966, d. B. Kriška
author: L. Aškenazy, Štátne divadlo Košice 1963, d. O. Katuša
author: I. Madách, Štátne divadlo Košice 1966, d. T. Rakovský
author: W. Shakespeare, Štátne divadlo Košice 1964, d. O. Katuša
author: I. Pauer, Jihočeské divadlo České Budějovice 1965, . I. Švandová
author: R. Leoncavallo, Smetanovo divadlo Praha 1964, d. H. Thein
author: R. Wagner, Smetanovo divadlo Praha 1964, d. K. Jernek
author: B. Smetana, Národní divadlo Praha 1963, . K. Jernek
author: R. Strauss, Národní divadlo Praha 1962, d. K. Jernek
author: G. Verdi, Slovenské národné divadlo Bratislava 1954, . J. Gyermek
author: G. Verdi, Slovenské národné divadlo Bratislava 1955, d. M. Fischer
author: G. Verdi, Slovenské národné divadlo Bratislava 1956, d. J. Gyermek
author: G. C. Menotti, Slovenské národné divadlo Bratislava 1956, d. M. Fischer
author: T. Andrašovan, Slovenské národné divadlo Bratislava 1965, d. K. Tóth
author: M. de Falla, Slovenské národné divadlo Bratislava 1957, d. K. Tóth
author: J. Záborský, Slovenské národné divadlo Bratislava 1967, d K. Zachar
author: I. Stodola, Slovenské národné divadlo Bratislava 1963, d. K. Zachar
author: V. Bukový, Slovenské národné divadlo Bratislava1964, d. K. Tóth
author: I. Stravinskij, Slovenské národné divadlo Bratislava 1964, d. K. Tóth
author: A. Dvořák, Amfiteátr Děvín, . J. Gyermek
author: G. Rosinni, Slovenské národné divadlo Bratislava, d. M. Fischer
author: M. Ch. Feiler, Štátne divadlo Košice 1966, . O. Katuša
author: W. Shakespeare, Divadlo J. Záborského Prešov 1967, . M. Bobula
author: L. v. Beethoven, Štátné divadlo Košice 1962, d. B. Kriška
author: J. Steinbeck, Divadlo SNP Martin 1965, . M. Pietor
author: A. Arbuzov, Divadlo SNP Martin 1967, d. B. Svrškovec
author: F. M. Dostojevskij, Činoherní klub Praha 1966, d. E. Schorm
author: N. V. Gogol, Činoherní klub Praha 1967, d. J. Kačer
author: N. Machiavelli, Činoherní klub Praha 1966, d. J. Menzel
author: Kyrmezer-M. Sládek-E., Divadlo pantomimy Bratislava 1967, d. M. Sládek-E. Žlábek
author: Kyrmezer-M. Sládek-E. Žlábek, Divadené Štúdio VŠMU Bratislava 1964, d. M. Sládek, E. Žlábek
author: O. Nicolay, Divadelné štúdio VŠMU Bratislava 1965, d. M. Fischer
author: J. Cikker, Národní divadlo Praha 1962, d. K. Jernek
author: I. Klíma, Divadlo na Vinohradech Praha 1964, d. J. Dudek
author: C. Orff, Stadttheater Stuttgart 1965, d. V. Kašlík
author: V. Kašlík, Smetanovo divadlo Praha 1966, d. I. Hylas
author: A. Wesker, Belgrade Theatre Conventry 1966, d. H. Hirsch
author: M. Frisch, Tylovo divadlo Praha 1964, d. J. Pleskot
author: W. Shakespeare, Divadlo J. Záborského Prešov 1965, d. V. Petruška
author: Stendhal, Divadlo J. Záborského Prešov 1965, . V. Petruška
author: A. V. Suchovo-Kobylin, Divadlo E. F. Buriana 1964, d. K. Novák
author: M. de Falla, Divadlo J. K. Tyla Plzeň 1966, d. V. Untermüllerová
author: E. lonesco, Divadlo E. F. Buriana Praha 1964, d. J. Dudek
author: H. Ibsen, Divadlo na Vinohradech Praha 1964, d. F. Štěpánek
author: J. Schneider, Divadlo E. F. Buriana Praha 1964, . M. Horanský
author: G. Verdi, Národní divadlo Praha 1963, . L. Štros
author: L. Janáček, Národní divadlo Praha 1964, d. L. Štros
author: F. Langer, Divadlo E. F. Buriana Praha 1966, d. M. Horanský
author: V. Majakovskij, Divadlo E. F. Buriana praha 1963, . K. Novák
author: A. P. Čechov, Divadlo E. F. Buriana Praha 1963, . K. Novák
author: H. Ibsen, Komorní divadlo Praha 1965, d. A. Radok
author: A. N. Ostrovskij, Divadlo E. F. Buriana Praha 1962, d. K. Novák
author: J. Topol, Národní divadlo Praha 1964, d. O. Krejča
author: W. Shakespeare, Slovenské národné divadlo Bratislava 1964, . T. Rakovský
author: T. Williams, Slovenské národné divadlo Bratislava 1964, d. J. Pántik
author: M. Sládek-E. Žlábek, Malá scéna SND Bratislava 1962, d. E. Žlábek
author: M. Sládek-E. Žlábek, Malá scéna SND Bratislava 1963, d. E. Žlábek
author: H. Ch. Andersen-E. F. Burian, Nová scéna Bratislava, d. M. Sládek, E. Žlábek
author: A. Maltz, Divadelné štúdio VŠMU Bratislava 1962, . D. Karas
author: L. Candoni, Krajové divadlo Nitra 1962, . A. Ulický
author: I. Rusnák, Krajové divadlo Nitra 1964, d. A. Ulický
author: F. D. Gilroy, d. A. Ulický
author: F. Pavlíček, Divadelné štúdio VŠMU Bratislava 1961, d. J. Pántik
author: M. Frisch, Divadlo pracujících Gottwaldov 1965, . Z. Hruška
author: V. Renč, Divadlo pracujících Gottwaldov 1966, d. K. Pokorný
author: A. Dvořák, Operní studio Akademie múzických umění Praha 1964, d. K. Jernek
author: V. Nezval, Národní divadlo Praha 1964, d. V. Vejražka
author: V. Nezval, Slovenské národné divadlo Bratislava 1963, d. T. Rakovský
author: P. Dessau, Slovenské Národné divadlo Bratislava 1961, d. K. Kahl
author: W. Shakespeare, Slovenské národné divadlo Bratislava 1962, d. T. Rakovský
author: A. Miller, Slovenské národné divadlo Bratislava 1966, d. P. Haspra
author: P. Karvaš, Státní divadlo Ostrava 1964, d. J. Pálka
author: Z. Mahler, Slovenské národné divadlo Bratislava 1965, d. O. Krejča
author: L. Janáček, Janáčkovo divadlo Brno 1965, d. M. Wasserbauer
author: A. K. Glazunov, Slovenské národné divadlo Bratislava 1965, d. J. Zajko
author: A. Adamov, Slovenské národné divadlo Bratislava 1962, . O. Haas
author: J.-P. Sartre, Slovenské národné divadlo Bratislava 1965, . J. Pálka
author: R. Wagner, Slovenské národné divadlo Bratislava 1967, d. J. Gyermek
author: P. I. Čajkovskij, Národní divadlo Praha 1964, d. J. Blažek
author: I. Stravinskij, Národní divadlo Praha 1962, . J. Blažek, ch. M. Kůra
author: N. V. Gogol, Divadlo P. Bezruče Ostrava 1964, d. F. Čech
author: J. N. Nestroy-S. Lichý, Divadlo P. Bezruče Ostrava 1965, d. S. Lichý
author: B. Hrabal-S. Lichý, Divadlo P. Bezruče Ostrava 1966, d. S. Lichý
author: O. Daněk, Divadlo P. Bezruče Ostrava 1966, d. Z. Pošíval
author: B. Brecht, Divadlo P. Bezruče Ostrava 1962, d. J. Kačer
author: V. Nezval, Divadlo P. Bezruče Ostrava 1962, d. J. Kačer
author: A. Borodin, Divadlo Z. Nejedlého Ostrava 1965, d. I. Hylas
author: K. Čapek, Divadlo E. F. Buriana Praha 1962, . M. Horanský
author: V. Dyk, Divadlo Petra Bezruče Ostrava 1965, d. E. Němec
author: B. Benešová-E. F. Burian, Divadlo P. Bezruče Ostrava 1966, d. M. Špirk
author: A. Miller, Krajové divadlo Nitra 1965, d. I. Ciel
author: M. Achard, Krajové divadlo Nitra, d. I. Ciel
author: K. Čapek, Krajové divadlo Nitra 1964, . I. Ciel
author: G. B. Shaw, Krajové divadlo Nitra 1966, . K. Spišiak
author: E. O'Neill, Krajové divadlo Nitra 1966, d. Z. Kraus
author: I. Rusnák, Nová scéna Bratislava 1965, . J. Klimo
author: B. Brecht, Krajové divadlo Nitra 1967, d. Z. Kraus
author: F. M. Dostojevskij, Slovenské národné divadlo Bratislava 1965, d. P. Haspra
author: A. Miller, Slovenské národné divadlo Bratislava 1965, d. P. Haspra
author: A. Miller, Slovenské národné divadlo Bratislava 1966, . P. Haspra
author: E. Verhaeren, Krajové divadlo Trnava 1966, d. K. Stražnický
author: E. O'Neill, Divadlo na Vinohradech Praha 1965, d. J. Dudek
author: F. Schiller, Divadlo O. Stibora Olomouc 1964, d. R. Koval
author: W. Shakespeare, Státní divadlo Ostrava 1962, d. R. Koval
author: T. Williams, Státní divadlo Ostrava 1966, d. R. Koval
author: A. Miller, Státní divadlo Ostrava 1966, d. R. Koval
author: V. J. Šebalin, Státní divadlo Ostrava 1966, d. V. Hamšík
author: Euripides, Státní divadlo Ostrava 1965, d. R. Koval
author: J. Offenbach, Janáčkovo divadlo Brno 1963, d. O. Haas
author: H. Ibsen, Mahenovo divadlo Brno 1966, d. M. Hynšt
author: M. P. Musorgskij, Janáčkovo divadlo Brno 1963, d. M. Wasserbauer
author: M. Ravel, Janáčkovo divadlo Brno 1965, d. M. Kůra
author: J. K. Tyl, Státní divadlo Ostrava 1962, d. J. Pálka
author: G. Weisenborn, Nová scéna Bratislava 1962, r. O. Haas
author: C. Kramer, Nová scéna Bratislava 1962, d. B. Kramosil
author: C. Goldoni, Nová scéna Bratislava 1962, d. A. Ulický
author: F. Langer, Krajové divadlo Nitra 1964, d. A. Ulický
author: P. A. Ustinov, Nová scéna Bratislava 1964, d. O. Haas
author: W. Shakespeare, Státní divadlo Brno 1965, . R. Jurda
author: E. Rostand, Státní divadlo Brno 1966, d. R. Jurda
author: F. Hervé, Hudebni divadlo v Nuslích Praha 1966, . O. Haas
author: C. Goldoni, Divadlo J. Záborského Prešov 1966, d. B. Kramosil
author: M. Stewart-J. Herman, Nová scéna Bratislava 1966, d. B. Kramosil
author: N. R. Nash, Divadlo P. Jilemnického Žilina 1966, d. M. Kolesár
author. B. Brecht, Nová scéna Bratislava 1966, d. B. Kramosil
author: B. Brecht, Městské divadlo na Kladně 1962, . J. Grossamn, A. Hajda, M. Tomek
author: G. B. Shaw, Státní divadlo Brno 1966, d. E. Sokolovský
author: W. Shakespeare, Státní divadlo Brno 1967, . A. Hajda
author: Moliére, Státní divadlo Brno 1965, d. E. Sokolovský
author: M. Uhde, Tylovo divadlo Praha 1967, d. E. Sokolovský
author: V. Bukový, Státní divadlo Brno 1963, d. L. Ogoun
author: W. A. Mozart, Státní divadlo Brno 1964, d. L. Ogoun
author: W. Shakespeare, Slovenské národné divadlo Bratislava 1964, r. T. Rakovský
author: B. Němcová-J. Jílek, Nová scéna Bratislava 1967, d. B. Kramosil
author: M. Sládek-E. Žlábek, Malá scéna SND Bratislava 1967, d. M. Sládek, E. Žlábek
author: M. Sládek.-E. Žlábek, Pantomima SND Bratislava 1963, d. M. Sládek-E. Žlábek
author: V. Renč-M. Sokola, Divadlo O. Stibora Olomouc 1963, d. E. F. Vokálek
author: F. de Rojas, Divadlo na Vinohradech Praha 1963, d. F. Štěpánek
author: W. Shakespeare, Divadlo ABC Praha 1966, d. K. Svoboda
Author: M. E. Watsh, Teatro presidente Atvear Buenos Aires 1958, director: R. Aulés
author: G. Neveux, Il Teatro Alliance Francaise Buenos Aires 1962, d. J. Jaimes
author: A. Camus, Teatro Rivera indarte Buenos Aires 1966, d. J. Jaimes
author: G. Rossini-Foppa, Teatro Colón Buenos Aires 1967, d. O. Loverdo
author: M. Frisch, Teatro Odeón Buenos Aires 1966, d. R. Olszewski
author: D. Waldmann, Teatro Odeón Buenos Aires 1966, d. K. Vivach
author: C. Gorostiza, Teatro Mascara, d. P. Doril
author: J. Copeau - F. M. Dostojevskij, Teatro Mascara Buenos Aires 1952, d. P. Escudero
author: L. Chancerel, Teatro Hebraico Buenos Aires 1953, d. R. Duran
author: M. Denevi, Teatro Cervantes Buenos Aires 1957, d. O. do Bonet
author: J. Steinbeck, Teatro Independiente Buenos Aires 1957, d. O. Loverdo
author: E. O'Neill, Teatro Independiente Buenos Aires 1958, d. O. Loverdo
author: E. O'Neill, Teatro Independiente Buenos Aires 1961, d. O. Loverdo
author: E. O'Neill, Teatro Independiente Buenos Aires 1960, d. P. Castro
author: A. Casona, Teatro del Puente Buenos Aires 1962, d. G. Huillier
author: M. de Ghelderode, Teatro del Puente Buenos Aires 1962, d. P. Escudero
author: F. G. Lorca, Teatro Municipal Buenos Aires 1962, d. F. Jarier
author: J. Erroll, Teatro Independiente Buenos Aires 1963, d. O. Loverdo
author: W. Shakespeare, Teatro San Martin Buenos Aires 1963, d. R. Muňoz
author: J. Mauricio, Teatro San Martin Buenos Aires 1964, d. R. Duran
author: G. Verdi, Teatro Colón Buenos Aires 1965, d. C. Madanes
author: G. Puccini, Teatro Colón Buenos Aires 1966, d. C. Madanes
author: C. Gozzi, Teatro Caminito Buenos Aires 1961, d. C. Madanes
author: S. Prokofjev, Teatro Colón Buenos Aires, r. M. Quintana
author: C. Naleroxlo, Teatro Caminito Buenos Aires 1960, d. C. Madanes
author: Malfatti, Teatro Astral Buenos Aires 1967, d. P. Escudero
author: J. Herman-M. Steward, Teatro Odeón Buenos Aires 1967, d. Tinayre
author: M. de Falla, Teatro Opera de Camara Buenos Aires 1959, d. M. Eisler
author: D. Cimarosa, Teatro Opera de Camara Buenos Aires 1959, d. M. Eisler
author: G. C. Menotti, Teatro Opera de Camara Buenos Aires 1960, d. M. Lavalle
author: A. Miller, Teatro Inst. Arte Moderno Buenos Aires 1960, d. M. Lavalle
author: A. Lizarraga, Teatro Fray Mocho Buenos Aires 1961, d. O. Ferriguo
author: L. Pirandello, Teatro los comediantes Buenos Aires 1962, d. I. Amu
author: G. B. Shaw, Teatro del Tiempo Buenos Aires 1962, d. E. Adrian
author: G. Feydeau, Teatro del Tiempo Buenos Aires 1964, . J. C. Thorry
author: J. C. Ferrari, Nuevo Teatro Buenos Aires 1961, . Asguini-Boero
author: J. C. Gene, Teatro San Isidoro Buenos Aires 1960, d. J. de Marco
author: G. Lorca, Teatro San Martin Buenos Aires, d. M. Xirgu
author: L. de Vega, Teatro C Uruguay Mar del Plata, d. M. Xirgu
author: L. de Vega, Teatro C Uruguay Mar del Plata
author: L. de Vega
author: M. Gorkij, Nuevo Teatro Buenos Aires 1954, d. A. Boero
author: P. Vanderbergh, Teatro Candilejas Buenos Aires 1956, d. J. M. Funes
author: A. Miller, Teatro I. A. M. Buenos Aires 1956, d. M. Lavalle
autor: J. Anouilh, Nuevo Teatro Buenos Aires 1955, r. A. Boero
author: J. Anouilh, Teatro Liceo Buenos Aires 1953, d. J. - L. Barrault
author: S. de Checco, Teatro Bolanico Buenos Aires 1964, d. San Angelo
author: B. Bortók, Teatro Colón Buenos Aires 1967, d. O. Arais
author: F. de Rojas, Teatro San Martin Buenos Aires 1967, d. M. Rola
author: Calderón de la Barca, Teatro C Cordobesa Cordóba, d. J. Petraglia
author: A. R. Muňoz, Teatro Payró Buenos Aires, d. A. R. Muňoz
author: F. Dürrenmatt, Teatro Alliance Francaise Buenos Aires 1965, . J. Jaimes
author: P. Ableman, Teatro Regina Fevrier Buenos Aires 1967, d. N. Briski
author: M. C. Machado, Teatro Odeón Buenos Aires 1966, d. J. Fain
author: S. Alejchem, Teatro I. F. T. Buenos Aires 1966, d. Finder-Rejes
author: J. Silbert, Teatro Odeon Buenos Aires 1966, d. J, Silbert
author: V. Hugo, Teatro Caminito Buenos Aires 1967, d. C. Madanes
author: F. M. Dostojevskij, Teatro Argentino Buenos Aires 1967, d. I. Ledesma
author: M. Dorsi, Teatro I F T Buenos Aires 1961, d. Y. Mosian
author: L Pirandello, Teatro Argentino Buenos Aires 1967, d. E. Bianco
author: Cayol, Teatro Argentino Buenos Aires 1962, d. M. de la Vega
author: B. Brecht, Teatro I F T Buenos Aires 1964, d. I. Ledesma
author: P. Gripari, Teatro I F T Buenos Aires 1964, d. O. Bonet
author: J. P. Sartre, Teatro Fray Mocho Buenos Aires 1961, d. A. Panello
autor: M. Gorkij, Teatro I F T Buenos Aires 1965, d. ieduauni
author: G. B. Shaw, Teatro Argentino Buenos Aires 1965, d. O. Cavigua
author: E. Wernike, Teatro Apollo Buenos Aires 1966, d. Boero-Asquini
author: M. de la Vega-Breton, Teatro Caminito Buenos Aires 1966, d. C. Madanes
autor: De Rosa-Vacarezza, Teatro Parque Chacabuco Cordóba 1966, r. N. Ameijeiras
author: G. Arout, Teatro del Bajo Buenos Aires 1966, d. W. Moutone
author: F. M. Pelayo, Teatro Casacuberta Buenos Aires 1966, d. B. Hassam
author: P. Scriven, Theatre of Australia, Canberra 1966, d. P. Scriven
author: M. P. Musorgskij, Her Majesty's Theatre, Sydney 1966, d. J. Young
Theatre Royal, Sydney 1942
author: P. Shaffer, Atahualpa-Alanlanda Adelaide Festival 1966, d. J. Tasker
author: R. Wagner, Sydney 1967 in preparation d. K. Hommel
author: W. A. Mozart, Her Majesty's Theatre Brisbane 1964, d. S. Haag
author: W. Shakespeare, Tent Theatre production Adelaide 1964, d. T. Brown
author: W. A. Mozart, Theatre Royal Adelaide 1956, d. S. Haag
Elizabethan Theatre Sydney 1956, d. J. Sumner
author: R. Lawler, Comedy Theatre Melbourne 1959, d. J. McCallum
author: G. Puccini, Her Majesty's Theatre Adelaide 1960, d. T. Brown
author: T. S. Eliot, Bonython Hall Adelaide, S. A. 1960, d. H. Hunt
author: Sir W. Walton, Her majesty's Theatre Adelaide S. A. 1964, d. R. Lovejoy
author: P. Scriven, Theatre of Australia Canberra 1966, d. P. Scriven
author: M. Williamson, Adelaide Festival (Theatre Royal) 1964, ch. R. Helpmann
author: I. Stravinskij, Royal Opera House, Convent Garden London 1962, ch. K. MacMillan
author: A. MacLeish, Adeiaide Festival 1962, d. R. Campion
author: G. Puccini, Elder Conservatorium of Music 1963, d. A. Matters-B.Howard
author: G. Verdi, Adelaide Festival - Elizabethan Theatre Trust 1964, d. S. Beinl
author: B. Smetana, New Zeland Opera, d. S. Beinl
author: J. S. Ostoja-Kotkowski, Adelaide Festival of Arts 1964, 1966, 1967, r. J. S. Ostoja-Kotkowski
author: R. Leoncavallo, Elder Conservatorium 1965, d. A. Matters
author: B. Britten, Intimate Opera Group 1967, d. J. Edmunds
author: J. Genet, 1965 d. W. Cherry
author: S. Delaney, Cell Black Theatre Sydney 1965, d. J. Sharman
author: W. Wycherley, Old Tote Theatre 1965, d. R. Lovejoy
author: E. O'Neill, Old Tote Theatre 1966, d. R. Lovejoy
author: A. P. Čechov, Old Tote Theatre 1966, d. R. Quentin
author: A. Pinero, Old Tote Theatre 1967, d. A. Hay
Australian Ballet Co. 1966 d. P. Van Praagh
Marlowe Theatre Cantenbury 1966
author: L. v. Beethoven, London 1966
there is missing info in printed PQ catalog
author: D. le Gallienne, Guild Theatre Melbourne 1956, ch. L. Martyn
author: C. Douglas, Mildura Arts Festival 1961, ch. L. Martyn
author: J. Antill, Ballet Australia Eiizabethan Theatre Sydney 1961
Max Frisch, Andorra, 1965, r. J. C. Martins Correia
1) stage design 25x50
2) photo 75 X 50
M. Gorky, The Enemies, 1966, d. J. C. Martins Correia
1) photo, 100 X 50
2) photo 100 X 50
3) photo 100 X 50
4) photo 25 X 50
5) model 75 X 50 X 50
Bertolt Brecht, The Threepenny Opera, 1965, d. J. Renato
1) stage design 25 X 50
A. Boal - G. Guarnieri, Arena Play Tiradentes, 1967, d. A. Boal
1) photo 50 X 50
T. Williams, A Streetcar Named Desire, 1962, d. A. Boal
1) stage design 50 X 50
2) stage design 1962 ·25 X 50
3) model 50 X 50 X 50
G. Guarnieri, The Devil's Son, 1964, d. P. José
2) photo 50 X 50
author: S. Prokofjev, Narodna opera 1963, r. T. Popov
author: V. Višněvskij, Dramatičen teatar Tolbuchin 1964, d. T. Popov
author: P. Kohout, Dramatičen teatar Ruse 1963, d. J. Pavlovic
author: I. Teofilov, Centralen kuklen teatar Sofia 1966, d. L. Dočeva
author: I. Teofilov, Centralen kuklen teatar, Sofia 1965, d. L. Dočeva
author: W. Shakespeare, Dramatičen teatar Pozardžik Stara Zagora 1965, d. G. Georgijev
author: V. Drumev, Dramatičen teatar Vraca 1966, d. S. Irinkov
author: I. Vazov, Dramatičen teatar Vidin 1964 d. A. Dimitrijev
there is missing information in PQ catal
author: K. Kuljavkov, Naroden teatar Ivan Vazov Sofia 1964, d. K. Mirski
author: Al. Chadžichristov, Naroden teatar Ivan Vazov Sofia 1964, d. S. Sarčadžijev
author: B. Nušič, Dramatičen teatar Šumen 1963, d. S. Irinkov
author: D. Vojnikov, Dramatičen teatar Pleven 1958, d. K. Conev
author: A. Ostrovskij, Naroden teatar Ivan Vazov Sofia 1961, d. F. Filipov
author: S. Prokofjev, Opera Ruse1966, ch. A. Manolov, d. L. Pintev
author: V. Majakovskij, Učeben teatar VITIZ Sofia 1967, d. Sarčadžijev
author: T. Gabé, Naroden teatar na mladežta Sofia 1966, d. V. Poljanov
author: L. Stojanov, Teatar trudov front Sofia 1964, d. S. Prohovska
author: L Mileva-Dakovska, Naroden teatar na mladežta Sofia 1960, d. L. Todorova
author: Ch. Topuzanov, Teatar trudov front Sofia 1964, d. S. Prohovska
author: W. Shakespeare, Naroden teatar na mladežta Sofia Sofie 1964, d. V. Cankov
author: K. Zidarov, Naroden teatar Ivan Vazov Sofia 1961, d. N. Luckanov
author: A. P. Čechov, Naroden teatar Ivan Vazov Sofia 1965, d. N Luckanov
author: N. Chaitov, Dramatičen teatar Vidin 1964, d. A. Dimitrijev
author: D. Dimov, Dramatičen teatar Vidin1964, d. A. Dimitrijev
author: Moliére, Dramatičen Teatar Varna 1966, d. L. Grois
author: P. Kohout, Dramatičen teatar Varna 1966, d. S. Stančev
author: V. Rozov, Dramatičen teatar Varna 1966, d. C. Cvetkov
author: I. Radev, Dramatičen teatar Pernik 1966, d. B. Tafkov
author: J. Švarc, Dramatičen teatar Tolbuchin 1965, d. S. Škarov
author: C. Goldoni, Dramatičen teatar Tolbuchin 1964, d. N. Petkov
author: S. Prokofjev, Narodna opera Sofia 1958, r. B. A. Pokrokovski d. A. Najdenov
author: Ch. W. Gluck, Narodna opera Sofia 1958, r. D. Kardžev
author: I. Vazov, Naroden Teatar Ivan Vazov Sofia 1958, d. D. Kardžev
autor: K. Zidarov, Dramatičen teatar Ruse 1962, d. T. Popov
author: W. A. Mozart, Opera Sofia 1964, r. N. Nikolov d. V. Rajčev
author: G. Rosinni, Opera Sofia 1961, r. N. Nikolov d. M. Angelov
author: J. Švarc, Državen musikalen teatar Sofia 1966, d. V. Rajčev
author: M. Ravel, Opera Sofia 1966
author: S. Aljošin, Naroden teatar na mladežta Sofia 1965, r. V. Cankov d. D. Petkov
author: G. Mdivani, Rabotničeski teatar Sofia 1964, d. L. Čenčeva
author: S. Prokofjev, Opera Sofia 1965, r. N. Nikolov d. M. Angelov
author: G. Bizet, Opera Sofia 1964, r. D. Kardžev d. R. Bojadževa
author: M. P. Musorgskij, Opera Sofia 1967, r. D. Kardžev d. A. Margaritov
author: A. S. Dargomyžskij, Opera Sofia 1967, r. D. Kardžev d. A. Margaritov
author: K. Zidarov, Dramatičen teatar Razgrad 1965, d. T. Velkov
author: J. Massenet, Opera Stara Zagora 1965, d. G. Petrov
author: J. Massenet, Opera Stara Zagora 1963, ch. D. Dimitrov
author: N. V. Gogol, Daržaven satiričen teatar Sofia 1966, d. M. Andonov
author: C. Goldoni, Teatar na transporta Sofia 1966, d. G. Asenov
author: D. Salinger, Teatar Smjach i slza Sofia 1966, d. P. Pavlov
author: D. Salinger, Teatar Smjach i slza Sofia 1966, r. P. Pavlov
author: A. Konstantinov, TV Sofia 1963, d. L. Penčeva
author: L. Karavelov, TV Sofia 1965, d. P. Pavlov
author: L. Karavelov, TV Sofia 1965, d. V. Delov
author: P. Weiss, Suomen Kansallisteatteri Helsinki 1966, d. R. Langbacka
author: D. Stefansson, r. E. Tertulla
author: T. Williams, Helsingin Kansanteatteri Helsinki 1958, d. S. Puurunen
author: J. Anouilh, Tampereen Tyovaenteatteri Tampere 1953, d. E. Salmelainen
author: A. Leinonen, Helsingin Kansanteatteri Helsinki 1959, d. E. Laine
author: A. P. Čechov, Helsingin Kaupunginteatteri Helsinki 1966, d. S. Puurunen
author: L. Bart, Tampereen Tyovaenteatteri Tampere 1966, d. R. Lehtonen
author: S. Prokofjev, Suomen Kansallisooppera Helsinki 1967, d. D. Parlic
author: L Bernstein, Suomen Kansallisooppera Helsinki 1965, d. I. Simola
author: G. Gershwin, Suomen Kansallisooppera Helsinki 1963, d. L.-J. Ruuskanen
author: W. Shakespeare, Helsingin Kansanteatteri Helsinki 1964, d. A. Kivimaa
author: R. Wagner, Suomen Kansallisooppera Helsinky 1966, d. L.-J. Ruuskanen
author: A. P. Borodin, Suomen Kansallisooppera, Helsinki 1960, r. Y. Kostermaa
author: G. Donizetti, Suomen Kansallisooppera Helsinki 1963, d. L.-J. Ruuskanen
author: L. Janáček, Suomen Kansallisooppera Helsinki 1961, d. Y. Kostermaa
author: W. Shakespeare, Theatre de I'Est Parisien 1965, d. G. Rétoré
author: W. Shakespeare, Theatre de la Cité de Villeurbanne 1964, r. R. Planchon
author: Moliére, Theatre de la Cite de Villeurbanne 1964, d. R. Planchon
author: J. Cocteau, Festival de Fourviéres Opera de Lyon, Grand Théatre de Geneve 1962, d. L. Erlo
author: G. B. Shaw, Comédie de Geneve 1962, d. P. Valde
author: P. M. Dubois, Capitole de Toulouse 1966, d. Y. Bonnat ch. L. Orlandi
author: D. Milhaud, Opera de Mulhouse 1966, d. J. Bonnat
author: W. Weideli, Concours des jeunes compagnies 1965, d. L. O. Dougnac
author: J. Anouilh, Stadttheater Wuppertal 1962, d. W. Spier
author: F. G. Lorca, Noces de sang , Comédie de I'Ouest Rennes 1966, d. R. Lafforgue
author: P. Claudel, Centre dramatique de l'Est , 1965, d. H. Ginoux
author: F. Marceau, Comedie des Champs-Elysees 1967, d. A. Barsacq
author: B. Bartók, Metropolitan Opera N. York 1965, ch. Lazzini
author: C. Debussy, Festival Aix - en - Provence 1966, d. J. Dupont
author: P. Hallet, Maison de ia Culture de Bourges 1965, d. G. Lauzun
author: W. Shakespeare, Theatre de I'Alliance Francaise
author: Ch. W. Gluck, Mai Florentin 1963, d. M. Crochot
author: Aristofanes, Grand Theatre de Geneve Geneve 1964, d. J. Charron
author: J. Cosmos, Theatre de I'Est Parisien 1964, d. G. Retoré
author: J. Cosmos, Theatre de I'Est Parisien 1965, d. G. Retoré
author: A. Camus, Theatre de Bourgogne 1965, d. R. Monod
author: Moliére, Comédie-Francaise Paris 1967, d. A. Bourseiller
author: E. Lalo, Opera de Paris 1966, d. Gilles
author: F. Kafka, Odeon Theatre de France 1965, d. A. Bourseiller
author: S. O'Casey, Theatre de la Cité de Villeurbanne 1966, d. R. Planchon
author: J. Arden, Theatre de la Cité de Villeurbanne 1967, d. R. Planchon
author: W. Shakespeare, Avignon Festival 1966, d. R. Planchon
author: W. Shakespeare, T. N. P. 1967, d. G. Wilson
author: C. Goldoni, Theatre de la Commune d'Aubervilliers, d. E. Tamiz
author: J. Anouilh, Theatre Montparnasse 1966, d. J. Anouilh, R. Piétri
author: A. Gatti, Grenier de Toulouse 1967, d. A. Gatti
author: A. Gatti, Comedie de St. Etienne, d. A. Gatti
author: A. Gatti, T. N. P. 1966, d. A. Gatti
author: F. Billetdoux, Theatre de I' Ambigu 1964, d. F. Billetdoux
author: E. lonesco, Odeon-Theatre de France 1963, d. J.-L. Barrault
author: M. Frisch, Comedie de Saint-Etienne 1966, d. J. Dasté
author: J. Littlewood, Theatre 347 1965, d. M. Ludovici
Info is missing in the printed PQ catalog.
author: M. Landowski, Tournée en France et Belgique, d. J. Luccioni
author: E. Labiche, Theatre Gérard Philipe St. Denis, d. J. Valverde
author: J. Cau, Studio des Champs-Etysees 1964, d. A. Bourseiller
author: M. Kabeláč, Theatre Municipal de la Comedie de Strasbourg 1965, ch. M. Parres
author: M. Clavel, Theatre du Vieux-Colombier 1965, d. B. Jenny
author: Seneca, Odeon Theatre de France 1967 d. Lavelli
author: V. Majakovskij, Maison de la Culture Caen, d. A. Vitez
author: A. Duhamel, Opera de Strasbourg 1965, d. R. Vogel ch. M. Sparenblek
author: G. Bizet, Opéra de Mulhouse 1965, d. R. Vogel
author: Goya - Rocca, Opéra de Lille 1966, ch. L. de Triana
author: F. Busoni, Teatro Communale Mai Florentin 1966, r. F. Enriquez, I. E. T. A. Hoffmann
author: W. Shakespeare, The Nissei Theatre Tokyo 1964, d. T. Fukuda
author: C. Orff, Hrvatsko narodno kazaliště Zagreb 1965
author: C. Orff, Hrvatsko narodno kazalište Zagreb 1965
author: G. Verdi, Hrvatsko narodno kazalište Zagreb 1965
author: O. Župančic, Mestni oder Koper 1966
author: J. Giraudoux, Oder mladih Koper1965
author: J. Cocteau, Mestni Oder Koper 1966
author: Ch. Fry, Mestni oder Koper 1967
author: P. Weiss, Slovensko narodno gledališče Ljubljana 1966
author: J. Massenet, Narodno pozorište Beograd 1966, r. M. Sabljič
author: A. Borodin, Narodno pozorište Beograd 1955, r. B. Gavela
author: P. I. Čajkovskij, Narodno pozorište Beograd 1960, d. F. Šram
author: R. Bolt, Narodno pozorište Beograd 1965, r. A. Jovanovic
author: W. Shakespeare, Slovensko narodno gledališče Ljubljana 1940
author: G. Donizetti, Slovensko narodno gledališče Ljubljana 1954
author: B. Kreft, Slovensko narodno gledališče Ljubljana 1955
author: W. Shakespeare, Slovensko narodno gledališče Ljubljana 1967
author: G. Puccini, Slovensko narodno gledališče Ljubljana 1967
author: L. Kostić, Narodno pozorište Beograd, d. A. Jovanović
author: M. Zupančić, Slovensko narodno gledališče Ljubljana 1964
author: J. Osborne, Slovensko narodno gledališče Ljubljana 1962
author: P. Weiss, Slovensko narodno gledališče Ljubljana 1965
author: W. Shakespeare, Slovensko narodno gledališče Ljubljana 1965
autr: J. P. Sarte, Slovensko narodno gledališče Ljubljana 1965
author: E. Albee, Slovensko narodno gledališče Ljubljana 1962
author: S. Osterc, RTV Ljubljana 1967
autor: D. Radović, Horvatsko narodno kazalište Zagreb
author: J. Littlewood - Ch. Chilton, Horvatsko narodno kazalište Zagreb
author: G. Verdi, Horvatsko narodno kazalište Zagreb
author: G. Feydeau
author: J.-P. Sartre, Dramski oml. teater Skopje 1966
author: S. Hristić, MNT Skopje 1967
author: P. Milosavljević, Ohridsko leto 1966
author: T. Proševa, Makedonski narodni teater Skopje 1966
autor: J. Voskovec - J. Werich, Atelje 212 Belgrade 1964, r. Nebojša Komadina
author: V. Rabadan, Atelje 212 Beograd 1962, r. V. Radovanovic, B. Stupica
autor: Moliére, Narodno pozorište Valjevo 1965, d. M. Gajic
author: N. V. Gogol, Jugoslovensko dramsko pozorište Beograd 1965, r. M. Miloševic
author: B. Kravljanac - M. Misajlovič, Narodno pozorište Titovo Užice1967, r. M. Misajlovič
author: V. Rabadan, Atelje 212 Beograd 1962, d. V. Radovanovic, B. Stupica
author: P. Kozak, Slovensko narodno gledališče 1965
author: Stefanovic - Mras, Srpsko narodno pozorište Novi Sad 1965, d. D. Mijač
author: P. Hanuš, Srpsko narodno pozorište Novi Sad, r. B. Hanauska
author: W. Shakespeare, Srpsko narodno pozorište Novi Sad 1962, r. D. Durkovic
author: S. O'Casey, Srpsko narodno pozorište Novi Sad 1962, r. D. Mijač
author: M. Ilić, Narodno pozorište Beograd, r. M. Puzić
author: I. Lalić, Narodno pozorište Beograd 1965, r. B. Marković
author: Moliére, Narodno pozorište Beograd 1966, r. B. Brozan
author: B. Mihajlović - Mihiz, Narodno kazalište Rijeka
author: A. P. Borodin, Operni festival Opatija
author: G. Puccini, Operni festival Opatija
author: I. Cankar, Slovensko gledališče Nova Gorica 1965
author: B. Blacher, Ljubljanski festival Ljubljana 1965
author: J.-P. Sartre, DMD teater Skopje 1966, r. L. Georgijevski
author: P. Milosavljević, DMD teater Skopje 1966, r. L. Georgijevski
author: S. Beckett, 1958
author: Beckett, 1961
author: S. Beckett, 1962
author: V. Kljaković, 1962
author: L. Pirandello
author: J. St. Popović, Narodno pozorište Zrenjanin 1965
author: M. Schisgal, Narodno pozorište Zrenjanin 1967
author: M. Gould, Narodno pozorište Beograd 1967, ch. M. Pistoni
author: M. Matković, Narodno pozorište Beograd 1958, r. B. Borozan
author: G. Verdi, Operni festival Opatija
author: W. Shakespeare, Narodno kazaliště Rijeka
author: M. Mrković, Narodno kazalište Rijeka
author: O. Wilde, Šentjakovsko gledališče Ljubljana 1961
author: F. Schiller, Josephstadter Theater Wien 1964
author: J. Anouilh, Narodno pozorište Sombor 1965, d. P. Dinulović
author: J. Arden, Narodno pozorište Sombor 1967, d. P. Dinulović
author: D. Matić, Atelje 212 Beograd, 1960, d. B. Marković
author: J. Joyce, Atelje Beograd 1962, d. M. Trailović
author: J. Vujić, Atelje 212 Beograd 1962, d. Petrić
author: A. Camus, Atelje 212 Beograd 1960, d. M. Trailović
author: S. Mrožek, Slovensko narodno gledališče Ljubljana 1965
author: I. Mrak, Slovensko narodno gledališče Ljubljana 1966
author: Ch. Marlowe, Teatro Universitario Mexico 1966, d. L. Margules
author: A. Miller, Grosses Haus Schwerin 1967, . G. Jurgons, k. E. Mai
author: W. Shakespeare - B. Brecht, Berliner Ensemble 1959, d. M. Wekwerth - J. Tenschert
author: Kotscherga, Maxim-Gorki-Theater Berlin 1966, d. K. Veth k. A. Rost
author: B. Brecht, Berliner Esemble 1962, d. M. Wekwerth - J. Tenschert
author: B. Brecht, Berliner Ensemble 1959, d. M. Wekwerth - P. Palitzsch
author: P. Kohout - J. Verne, Maxim Gorki Theater Berlin 1962, d. H. Schönemann
author: B. Brecht, Berliner Ensemble 1967, d. U. Birnbaum
author: C. M. v. Weber, Grosses Haus Dresden 1967, d. D. Bülter-Marell
author: Lerner - Loewe, St. Operette Dresden 1966, d. F. Steiner
author: W. Shakespeare, Grosses Haus Dresden 1967, d. H. D. Mäde
author: F. Schiller, Volksbühne Berlin 1967, r. Martens
author: G. Natschinski, Metropol Theater Berlin 1964, d. Ch. Morgenstern
author: J. W. Goethe, Deutsches Nationaltheater Weimar 1965, r. F. Bennewitz, k. l. Rahaus
author: P. Hacks, Staatliche Schauspielschule Berlin 1966, r. U. Birnbaum
author: R. Hochhuth, The Representative Bühnen der Stadt Gera 1966, d. W. Pintzka
author: H. Burger, Theater der Freundschaft Berlin 1964, . K. Rabe
author: S. Maršak, Theater der Freundschaft Berlin 1964, d. H. Möbius
author: L. Aškenazy - H. D. Schmidt, Theater der jungen Welt Leipzig 1967, d. L. Schwarzlose k. R. Scheffel - Thomas
author: B. Brecht, Berliner Esemble, Berlin
author: J. W. goethe, Städtische Theater Leipzig - Neue Oper 1965, d. K. Kayser k. E. Kleiber
author: G. F. Händel, Landestheater Halle 1965, d. H. Rückert
author: J. Offenbach, Hochschule für Bildende Künste Dresden, prof. Reichard, 1966
author: R. Wagner - Régeny, Berliner Arbeiter- und Studententheater in der Belforter Strasse Berlín, 1967, d. H. Hohlfeld
author: S. Prokofjev, Deutsche Staatsoper Berlín 1965, d. H. Rückert
author: S. O'Casey, Berliner Esemble 1966, d. H. G. Simmgen
author: P. Dessau - B. Brecht, Deutsche Staatsoper Berlin 1966, d. R. Berghaus
G. Puccini, Volkstheater Halberstadt 1966, d. H. v. Senden
author: Sofokles, Deutsches Theater Berlin 1966, d. B. Besson
author: J. Švarc, Deutsches Theater Berlin 1965, d. B. Besson
author: D. Šostakovič, Städtische Theater Liepzig 1965, d. J. Herz d. W. Neumann k. E. Selle
author: Kuba, Volkstheater Rostock 1964, . H. Perten k. W. Damm
author: V. A. Djačenko, Städtische Theater Leipzig 1966, d. H. Smiszek k. Ch. Hahn
author: J. Offenbach, Metropol -Theater Berlin 1962, d. H. Bonnet
author: F. Dürrematt, Städtische Bühnen Magdeburg 1966, . H. J. Würzner k. U. Scheel
author: W. Shakespeare, Landesbühnen Sachsen 1966, d. W. Heiderich k. E. Christ
author: E. Strittmatter, Städtische Theater Karl-Marx-Stadt, d. G. Meyer
author: T. Wolfe - K. Frings, Deutsches Theater Berlin 1964, . H. Fischer
author: P. Weiss, Volkstheater Rostock 1965, d. H. A. Perten
author: P. Macagni, Deutsche Staatsoper Berlin 1967, d. E. Fischer
author: R. Strauss, Deutsche Staatsoper Berlin 1965, r. E. Fischer d. A. Appelt
author: B. Brecht, Hans-Otto-Theater Potsdam, d. P. Kupke
author: J. Strauss, Komische Oper Berlin, 1967, . H. Bonnet
author: M. P. Musorgskij, Städtische Theater Leipzig - Neue Oper 1964, r. H. Herz d. V. Neumann k. E. Kleiber
author: L. Janáček, Komische Oper Berlin 1964, r. G. Friedrich k. J. Skalický
This is the first time since the end of World War II that Polish stage designers are taking part in an international exhibition. During that period a great development took pláce on Polanďs opera and drama stages, as well as puppet theatres (some 110 of them)with stage design taking a most important place, both as far as quality and quantity are concerned. There are many artistic trends, a large number of stage designers (120 members of the section under the Union of Polish Artists) as well as many artistspainters collaborating with the theatre. In order to explain the scope of problems of stage design we have decided to include a greater numer of authors in our exhibit, whereby each of them is represented by one of his works only (limited amount). The documentation of each drama is so complete that it portrays the purpose of production and its staging. In explanation it must be noted that a scenographer in Poland creates the stage and costume design and is thus the author of the entire art element of a production. This is also the principle of the Polish School founded by Stanislaw Wyspianski, a painter and dramatist from the turn of the nineteenth and twentieth century, a principle which is carried forth by the work of the section under the Union of Polish Artists) as well as many artists- Wincenty Drabik, Andrzej Pronaszko, Wladystaw Daszewski and many others. Although the laws of tri-dimensional space and the functional arrangement of the stage were known by then, Polish stage design was influenced by the trends of modern art. This close link with art led to cubistic, surrealist decorations, to expressionism, primitivism even tashist technique was introduced in stage decor. Every trend opened a new view on classical drama (e. g. cubism discovered the monumental nature of romantic drama) or merged perfectly with contemporary drama (e. g. surrealism — Witkiewicz, Durrenmatt, Mrožek). At the same time, however, other trends made thein appearance which did not correspond to other branches of art, such as neo-realism which came into being around 1930 and still survives in view of the fact that stage designers use the structure of materiál for new technique (particularly the tashist technique) as well as for metaphoric and surrealistic stage design. The neo-realistic foundations led to an endeavour to bring theatrical convention and the drama closer together. It should be noted that our scenography often makes use of folklore, nativity scenes, painting on glass, cut-outs, an art which is eternally modern.
author: W. Shakespeare, Teatr Polski Warszawa 1964, d. O. Axer
autor: J. Kasprowicz, Teatr Polski Poznaň 1965, r. M. Okopinski
author: S. Wyspiański, Teatr Narodowy Warszawa 1957, d. W. Horzyca
author: I. Babel, Teatr Stary Krakóv 1966, d. L. Larocki
author: L. Schiller, Teatr Polski Wroclaw 1966, r. T. Kozlowski
author: S. I. Witkiewicz, Teatr Cricot II Krakow 1963, d. T. Kantor
author: T. Kantor
author: W. Boguslawski, Teatr Klasyczny Warszawa 1962, d. J. Kulczynski
author: I. Stravinskij, Opera Warszawa 1962, d. K, Swinarski
author: R. Hochhuth, Teatr Narodowy Warszawa 1966, . K. Dejmek
author: G. Büchner, Teatr Stary Krakóv 1966, d. K. Swinarski
author: I. Stravinskij, Opera Warszawa 1963, . A. Rodrigues
author: S. I. Witkiewicz, Teatr Narodowy Warszawa 1966, d. W. Laskowska
author: E. Hemingway, Teatr Wybrzeźe Gdaňsk, 1964, d, H, Goliński
author: J. Giraudox, Teatr Wojska Polskiego Łódź 1945, d. E. wierciński
author: R. Bolt, Teatr Narodowy Warszawa 1965, . W. Laskowska
author: J. Jurandot, Teatr Dramatyczny Warszawa 1964, d. L. René
author: R. Liebermann, Opera Poznań 1966, d. J. Maciejewski
author: Aischylos, Teatr Narodowy Warszawa 1964, d. K. Dejmek
author: Euripides, Teatr narodowy Warszawa 1964, d, J. Dejmek
author: Aristofanes, Teatr Narodowy Warszawa 1964, d. K. Dejmek
author: N. V. Gogol, Teatr Ludowy Nowa Huta 1963, d. J. Szajna
author: G. Verdi, Opera Wroclaw 1967, d. D. Baduszkowa
author: H. Tomaszewski, Teatr Pantomima Wroclaw 1967, d. H. Tomaszewski
author: J. Andrzejewski - K. Dejmek, Nowy teatr Łódź 1957, d. K. Dejmek
author: W. Shakespeare, Volkstheater Wien 1965, d. L. Epp
author: B. Brecht, Burgtheater Wien 1966, . K. Meisel
author: A. Roussin - M. Gray, Kleines Theater der Josefstadt, d. F. Kallina
author: G. v. Einem - G. Büchner, Landestheater Linz, r. W. Thomas d. A. Paulmüller
author: C. Monteverdi - G. F. Busenello, Staatsoper Wien 1963, . G. Rennert
author: R. stolz, Bregenzer Festspiele Seebühne 1962, d. A. Rott
author: J. Saunders, Volkstheater Wien 1966, d. L. Epp
author: B. Brecht, Burgtheater Wien 1966, d. K. Meisel
author: F. Grillparzer, Landestheather Linz 1966, d. A. tögmüller
author: W. Shakespeare, Volkstheater Wien, . G. Manker
author: J. Anouilh, Theater in der Josefstadt 1966, . H. Schnitzler
author: R. Strauss - H. v. Hofmannsthal, Staatsoper Wien 1964, d. H. v. Karajan
author: F. Grillparzer, Volkstheater, Wien 1967, d G. Manker
author: F. Grillparzer, Volkstheater Wien 1967, r. G. Manker
author: M. Frisch, Volkstheater Wien 1962, d. L. Epp
author: R. Strauss, Staatsoper Wien 1964, d. H. v. Karajan
author: P. I. Čajkovskij, San Francisco 1962, d. P. Hager
author: H. L. Wagner, Volkstheater Wien 1965, d. G. Manker
author: R. Wagner, Deutsche Oper Berlin 1967, d. G. R. Sellner
author: E. Radzinskij, Těatr im. Lesji Ukrajinki Kijev 1964, d. M. Reznikovič
author: J. Volček, Dramtěatr Oděssa 1966, . V. Mjagkij
author: L. Maljugin, Teatr im. Mossověta Moskva 1967, d. K. Michaljov
author: M. Lermontov, Dramtěat Kirov 1966, d. J. Chmeleckij
author: E. Radzinskij, Dramtěatr Kirov 1966, d. J. Chmeleckij
author: A. Tverskoj, Těatr im. J. Vachtangova Moskva 1967, d. A. Remezova
author: A. Salynskij, Těatr im. Majakovskogo Moskva 1966, . V. Dudin
author: P. I. Čajkovskij, Těatr opery i baleta Novosibirsk 1967, ch. K. Sergějev, N. Dudinskaja
author: J. Švarc, Těatr dramy i komedii Leningrad 1963, . A. Kokovkina
author: I. Štok, Těatr Satiry Moskva 1966, . A. Šatrin
author: Z Kodály, Muz. těatr im. Stanislavskogo i V. Němiroviča-Dančenko Moskva, 1963, d. L. Michajlov
author: S. Prokofjev, Těatr opery i baleta Novosibirsk 1963, ch. O. Vinogradov
author: M. P. Musorgskij, Narodnaja opera Sofija 1966, . B. Pokrovskij
author: M. Frisch, Těatr Satiry Moskva 1966, . V. Pluček
author: A. N. Ostrovskij, Malyj těatr Moskva, 1965, d. B. Babočkin
author: Fr. Suppé, Muz. těatr im. K. Stanislavskogo i V. Němiroviča-Dančenko Moskva 1966, d. L. Michajlov
author: G. Bizet-R. Ščedrin, GABT Moskva 1967, ch. A. Alonso
author: D. Fonvizin, TJUZ Irkutsk 1964, d. R. V. Sokolov
author: R. Ščedrin, GABT Moskva 1965, ch. E. Suve
author: A. Cholminov, GABT Moskva 1967, d. I. Tumanov
author: G. Verdi, GABT Moskva 1963, d. I. Tumanov
author: L. Zorin, BDT Kazaň 1967, . M. Levitin
author: J. Anouilh, Těatr im. M. Jermolovoj Moskva 1966, . V. Andrejev
author: K. Molčanov, Těatr opery i baleta Sverdlovsk 1967, d. J. Fedosejev
author: G. Juděnič, Skomoroch Moskva 1966, d. G. Juděnič
author: S. Slonimskij, Muz. těatr im. K. Stanislavskogo i V. Nemiroviča-Dančenko Moskva 1967
author: G. Gertěl, Těatr opery i baleta Gorkij 1967, ch. M. Gazijev
author: A. Galijev, TJUZ Barnaul 1966, . A. Gerenburg
author: B. Brecht, Těatr dramy i komedii Moskva 1966, d. J. Ljubimov
author: D. Šostakovič, Muz. těatr im. K. Stanislavskogo i V. Němiroviča-Dančenko Moskva 1962, d. L. Michajlov
author: Z. Paliašvili, Těatr opery i baleta im. Z. Paliašvili Tbilisi 1966, d. A. Čchartišvili
author: A. Tolstoj, CTSA Moskva 1966, d. L. Chejfec
author: I. Kočerha, CTSA Moskva 1967, . L. Chejfec
author: B. Brecht, CTSA Moskva 1966, d. H. Havemann
author: B. Nušic, Těatr Krasnyj fakel Novosibirsk 1964, . A. Nikitin
author: A. P. Čechov, Dramtěatr Kaluga 1966, d. V. Jefremova
author: A. Galič - I. Grekova, MCHAT Moskva 1967, . V. Bogomolov
author: F. M. Dostojevskij, Těatr im. Mossověta Moskva 1967, d. J. Zavadskij
autor: I. Druce, Dramatěatr Čeljabinsk 1966, r. I. Jurašes
author: M. P. Musorgskij, Těatr opery i baleta im. Z. Paliašvili Tbilisi 1966, r. L. Michajlov
author: S. Slonimskij, Muz. těatr im. K. Stanislavskogo i Němiroviča-Dančenko Moskva, 1967, d. L. Michajlov
author: Moliére, Theatre Populaire romand La Chaux-de-Fonds, d. Ch. Joris
author: H. Boularés, Théatre Municipal de Tunis 1953, d. Aly Ben Ayed
The Hall of Honour of the Prague Quadrennial was originally intended for the classics of European stage design, for Craig, Appia, Hofman, Theo Otto, Oscar Schlemmer and others. The present time, which has discovered a new aesthetic coefficient in technics, returns quite programmatically to the beginning of this century as to its source of inspiration. This conception (which, on the other hand, would require the setting down of a compulsory sujet for all exhibits) would, in our mind, be very useful, because the material, arranged in accordance with such a conception, woutd exclude the possibility of epigonous works to be mistaken for real works of art, and it would also exclude a wasteful „discovering of America". It would, however, be impossible to fulfil this ambitious task in the short a space of time at the disposal for the preparation and realization of the Prague Quadrennial. This is why the Hall of Honour has finally been reserved for the winners of the Sao Paulo Biennial, František Tröster, Josef Svoboda and Ladislav Vychodil, whose work apprehends the importance of the term „contemporary", with emphasis on phitosophical, technical and aesthetic aspects. It should by right be completed by sets of Jiří Trnka, which, however, are at present dispersed in many exhibitions abroad and it would be impossible to collect them in time for the opening of the P. Q. This seems to be, at this moment, the only possibie way to create a basis for the necessary comparison and to give proof of evolutionary continuities and tendencies, and of the value of present production, it is at this moment quite irrelevant that this is the work of Czechoslovak artists who have since 1959 been holders of Gold Medals awarded at the Sao Paulo Biennials. We have not endeavoured a reconstruction of these three exhibitions. This would be impossible in view of their extent and also in view of the development of the authors, aimed above the standard, which was petrified by one exhibition.
Frantisek Tröster, whose domain was the building up of dramatic space, aims, in his latest sets, at an analysis of the play — of the thought it contains — concentrating on one aspect which can be expressed in one precise term for which he then seeks a form. Studies for Shakespeare's Winter Tale marked „Time", „Storm" and ..Landscape" and a number of designs for Janáček's operas may in this case serve as proof of his newly set scenographic aims. Josef Svoboda experimented with ah availabte technical means and from this elementary etude he derived conclusions which approach the laws of modern physics and their philosophical interpretation. This is the extreme point and the extreme measure possible to reach in the role of the design at this moment: the combination of its elements reveals the dynamic principle of the whole system which is characterised by a flow of continuously rising and vanishing structures. This kind of movement, these changes in relations, brought into existence in a configurative space, are adequately expressed by the term: spread out. The task of the designer, as understood by Svoboda, is not to describe or transcribe reatity, but to create a multi - dimensional model in which spacial and time rotations no longer fonction as independent separated and static schemes. Vychodil chooses an almost antagonistic direction: he aims at the emotional side of the theatre and finds its centre in the actor. Typical for his method is the width of space in which the actor may freely develop his movement, his action and expression, and out of which follows his theoretically precisely defined three-part composition: the scene is the background for the actor and the actor's costume is the background for his mask and his mime play. Thus the theatre may, with its own means, achieve details which have nothing in common with film details. It can also achieve a new emotion of colours and forms. Words apprehend only part of a work. It is first of all necessary to see a picture, which goes doubly for a scenic design which is only the starting point for the realization and, in addition, only one of the components of a complex dramatic work.
author: N. V. Gogol, Národní divadlo Praha 1936, d. J. Frejka
author: W. Shakespeare, Národní divadlo Praha 1937, d. J. Frejka
author: J. Cocteau, Národní divadlo Praha 1937, d. J. Frejka
author: W. Shakespeare, Zemské divadlo v Brno 1940, . K. Jernek
author: W. Shakespeare, Městské divadlo na Vinohradech, Praha 1941, d. B. Stejskal
author: Th. Wilder, Komorní divadlo Praha 1940, d. F. Salzer
author: Moliére, Národní divadlo Praha 1957, d. O. Krejča
author: M. P. Musorgskij, Národní divadlo Praha 1947, d. S. Machov
author: W. Shakespeare, Národní divadlo Praha 1936, d. J. Frejka
author: F. Tetauer, Národní divadlo Praha 1935, d. J. Frejka
author: S. J. H'sinng, Národní divadlo Praha 1937, d. J. Frejka
author: K. Čapek, Slovenské národné divadlo Bratislava 1937, d. V. Šulc
author: I. Stodola, Slovenské národné divadlo Bratislava 1934, . V. Šulc
author: L. Janáček, Národní divadlo Praha 1957, d. H. Thein
author: L. Janáček, Teatro La Scala Milano 1966, . K. Jernek
author: L. Janáček, Státní divadlo Brno 1961, d. M. Wasserbauer
author: L. Janáček, Státní divadlo Brno 1961, . M. Wasserbauer
author: L. Janáček, Státní divadlo Brno 1962, d. M. Wasserbauer
author: W. Shakespeare, Národní divadlo Praha 1965, d. J. Pleskot
author: L. Nono, Teatro la Fenice Venezia 1960, d. V. Kašlík
author: A. P. Čechov, Národní divadlo Praha 1960, d. O. Krejča
autor: S. Prokofjev, Národní divadlo Praha 1961, r. G. P. Ansimov
author: Sofokles, Národní divadlo Praha 1963, . M. Macháček
author: J. Offenbach, Velká opera 5. května Praha 1946, . A. Radok
author: G. Verdi, Velká opera 5. května Praha 1949, . J. Fiedler
author: G. F. Händel, Národní divadlo Praha 1959, . R. Brock
author: F. Chopin, Velká opera 5. května Praha 1947, d. V. Kašlík
author: G. B. Shaw, Divadlo J. K. Tyla Plzeň 1961, d. V. Špidla
autor: J. Karnet, Městské divadlo Na Poříčí, Praha, 1944
author: S. Prokofjev, Velká opera 5. května Prah 1947, d. V. Kašlík
author: J. Hanuš, Národní divadlo Praha 1959, . J. Němeček
author: A. Radok, Laterna magika Praha 1959, . A. Radok
author: B. Smetana, Národní divadlo Praha 1961, d. V. Kašlík
author: N. V. Gogol, Tylovo divadlo Praha 1948, d. J. Honzl
author: W. Shakespeare, Nemzeti Színház Budapest 1964, d. E. Marton
author: J. Weinberger, Volksoper Wien 1964, . L. Mandaus
author: A. Radok, Expo 58 Bruxelles, d. A. Radok
author: G. Puccini, Velká opera 5. května Praha 1947, d. K. Jernek
author: A. Dvořák, Národní divadlo Praha 1960, d. V. Kašlík
author: R. Leoncavallo, Velká opera 5. května Praha 1948, d. A. Radok
author: R. Strauss, Covent Garden London 1967, . R. Hartmann
author: W. Shakespeare, Národní divadlo Praha 1959, d. J. Pleskot
author: bratři Čapkové, Národní divadlo Praha 1965, . M. Macháček
author: L. Janáček, Národní divadlo Praha 1965, d. V. Kašlík
author: G. Mazoni, Teatro La Scala Milano 1965, d. V. Puecher
author: Z. Fibich, Divadlo O. Stibora Olomouc 1962, d. H. Thein
author: V. Novák, Národní divadlo Praha 1960, d. H. Thein
author: L. Janáček, Národní divadlo Praha 1959, d. V. Kašlík
autor: Sofokles
author: J. K. Tyl, Národní divadlo Praha 1960, . O. Krejča
author: J. Kainar, Divadlo satiry Praha 1946, . A. Radok
author: M. Kundera, Národní divadlo Praha 1962, d. O. Krejča
author: L. Janáček, Národní divadlo Praha 1964, d. H. Thein
author: Testi, Teatro la Scala Milano 1966, d. V. Kašlík
author: E. Radok, Brusel 1958
author: M. Slomczyński, Tylovo divadlo Praha 1964, d. M. Macháček
author: B. Martinů, Národní divadlo Praha 1963, d. V. Kašlík
author: F. Hrubín, Tylovo divadlo Praha 1958, d. O. Krejča
author: E. Suchoň, Národní divadlo Praha 1960, d. H. Thein
author: J. Hanuš, Národní divadlo Praha 1965, d. H. Thein
author: W. Shakespeare, Národní divadlo Praha 1963, d. H. Thein
author: W. Shakespeare, Teatro San Babila Milano 1966
author: W. Shakespeare, Théatre National Belgique Bruxelles 1965, d. O. Krejča
author: V. Višněvskij, Slovenské národné divadlo Bratislava 1957, . J. Budský
author: B. Brecht, Slovenské národné divadlo Bratislava 1958, d. T. Rakovský
author: K. Čapek, Slovenské národné divadlo Bratislava 1958, d. J. Budský
author: V. Miller, Slovenské národné divadlo Bratislava 1959, d. T. Rakovský
author: J. Slowacki, Slovenské národné divadlo Bratislava 1960, d. M. Huba
author: V. Nezval, Slovenské národné divadlo Bratislava 1961, d. T. Rakovský
author: P. Karvaš, Slovenské národné divadlo Bratislava 1965, d. J. Novák
author: E. Suchoň, Opera Saratov 1964, d. V. Levinovskij
author: G. Neveux, Městská divadla pražská 1962, d. A. Radok
author: T. Williams, Městská divadla pražská 1963, d. A. Radok
author: N. V. Gogol, Městská divadla pražská 1963, d. A. Radok
author: R. Rolland, Městská divadla pražská 1964, . A. Radok
author: J. - P. Sartre, Slovenské národné divadlo Bratislava 1965, d. J. Pálka
author: W. Shakespeare, Státní divadlo Brno 1963, . E. Sokolovský
author: R. Rolland, Státní divadlo Brno 1963, d. M. Hynšt
author: A. Adamov, Slovenské národné divadlo Bratislava 1962
author: I. Babel, Národní divadlo Praha 1966, d. E. Sokolovský
author: V. Nezval, Národní divadlo Praha 1965, . V. Vejražka
author: P. Karvaš, Slovenské národné divadlo Bratislava 1967, . J. Budský
author: E. Suchoň, Slovenské národné divadlo Bratislava 1965, . K. Zachar
author: Ch. W. Gluck, Slovenské národné divadlo Bratislava 1966, d. Kriška
Altes Schauspielhaus Salzburg 1965, r. G. Strehler d. Z. Mehta
Neues Festspielhaus, Salzburg 1961, r. P. Hager d. F. Fricsay
Theater an der Wien 1962, R. r. Hartmann, d. H. v. Karajan
Staatsoper Wien 1940, d. O. F. Schuh
Kleines Festspielhaus Salzburg 1966, r. G. Rennert d. K. Böhm
Salzburger Festspiele Felsenreitschule 1953, r. H. Graf d. W. Furtwängler
Stadttheater Kiel 1965, r. G. Albrecht d. F. Petzold
Salzburger Festspiele Altes Festspielhaus, Salzburg, 1959
r. G. Rennert d. G. Szell
Salzburger Festspiele Salzburg 1963, r. O. Schenk d. I. Kertesz
K. K. Hofoper Wien 1906, on the occasion of the 150th anniversary of the birthday of W. A. Mozart, d. G. Mahler
Theater an der Wien, Wien
Salzburger Festspiele 1929, r. L. Wallenstein d. F. Schalk
Salzburger Festspiele Neues Festspielhaus 1963, r. O. Schenk d. I. Kertesz
Städtische Theater Karl-Marx-Stadt
Komische Oper Berlin 1966, r. W. Felsenstein d. Z. Košler
Städtische Theater Leipzig - Neue Oper Leipzig 1962, r. J. Herz d. R. Reuter k. E. Kleiber
Narodna opera, Burgas 1966, r. P. Štarbanov
Staatsoper Wien 1955, r. O. F. Schuh, d. K. Böhm
Grosses Festspielhaus Salzburg 1967, r. O. F. Schuh
Theater der freien Hansestadt Bremen 1965, r. G. Friedrich
Národní divadlo Praha 1961, r. V. Kašlík, d. J. Krombholc
Opernhaus der Stadt Köln 1966, d. I. Kertesz
Opernhaus der Stadt Kőln, Köln 1967, r. I. Kertesz