In 1931, the Czech composer, theatre critic and, most of all, aesthetics professor Otakar Zich (1879–1934) published his monumental book Aesthetics of the Dramatic Art: Theoretical Dramaturgy (Estetika dramatického umění: Teoretická dramaturgie, Prague: Melantrich, 1931). In more than one way, the book started a new era of theatre studies and theory. It crucially influenced the Prague School theorists (Jan Mukařovský, Jiří Veltruský, Jindřich Honzl, Roman Jakobson, Karel Brušák and others). But not only that. Through their decisive mediation, Zich’s theoretical impulse set the groundwork for modern theatre theory and – somewhat paradoxically – theatre semiotics, as Keir Elam recognised in his seminal the Semiotics of Theatre and Drama (London: Routledge, 1980). Without having read Zich, Elam acknowledged that the book “radically changed the prospects for the scientific analysis of theatre and drama” (5).
Zich’s Aesthetics of the Dramatic Art: Theoretical Dramaturgy (1931) laid the foundation of Czech theatre theory, but its importance reaches far beyond the local context. It is probably the first book to present a comprehensive, systematic theatre theory in the modern sense, and has played a key role in establishing Theatre Studies as an academic discipline in Central Europe.
Zich’s Aesthetics adopts a unique analytical method: Zich constructs his theory step by step in a logical progression of analyses, insights and arguments. He also uniquely studies the theatre from the audience’s perspective: the theatrical work of art is the ephemeral performance here and now, perceived by the audience. It is an event that occurs in the shared presence of the performers and the spectators. Zich argues that the distinctive basis of the theatrical art is human interaction – rather than imitation, communication, fiction or performed dialogue, as other theorists have argued. In his acute sense for the audience’s experience, for the actors’ and dramatic personas’ interaction, as well as for the performance space and its movement, Zich’s contribution to theatre theory is a true revelation and a genuine revolution.
“Firstly I wanted to write in support of acting. It seems to me that, compared to earlier times, […] a general emphasis is placed on the excessive cult of stage directing. […] I like stage directors as well but not the self-important ones who treat actors as a mere “material” for their magnificent work of art.”
Otakar Zich
Interview 1933
Otakar Zich also laid the basis for the Prague School and their Structural-Functional theatre theory, which in turn formed leading strands of theatre semiotics. Many of Prague School’s concepts and their approach to theatre that combines philosophy, aesthetics and psychology as well as art history and theory derive from Zich. Zich’s Aesthetics of the Dramatic Art remains inspirational today for theatre practitioners and theorists. Crucially rooted in Zich’s expertise as an academic and theatre practitioner, his integral theory of theatre presents an opinionated yet inclusive and open system of understanding and appreciating the various arts and artistic work that participate in the creation of theatre.
This book is the first complete translation of Zich’s seminal work in English. It follows from Theatre Theory Reader: Prague School Writings (2016) and contains an introduction, a detailed afterword and a glossary. The two volumes complement one another and provide a unique insight into Czech theatre thinking in particular, and into theatre theory as such.
- Otakar Zich: Aesthetics of the Dramatic Art: Theoretical Dramaturgy, ed. David Drozd and Pavel Drábek, tr. Pavel Drábek and Tomáš Kačer, copy-ed. Josh Overton (Prague: Karolinum, 2024)
The book is available for purchase here (CZ) or here (globally)
The book is an outcome of the research project Theatre as Synthesis of Arts: Otakar Zich in context of modern science and actual potential of his concepts (2016-2018). For the project’s backstory, read here.
