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Jindřich Honzl (14 May 1894 – 20 April 1953) was a Czech theatre theorist, film and theatre director and pedagogue. He was a leading representative of Czech modern theatre.
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Jindřich Honzl (14 May 1894 – 20 April 1953) was a Czech theatre theorist, film and theatre director and pedagogue. He was a leading representative of Czech modern theatre.
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Biography Honzl was born on 14 May 1894, in Humpolec in the family of a tailor and factory worker. In 1914 he graduated from pedagogical courses in Prague. From 1914 to 1927 he taught chemistry and physics at schools in Prague. After the end of World War I, he became active in politics and cultural issues and wrote the social democratic press. In his hometown, and his interest in theatre was stimulated by the amateur performances of the workers' association in the Na Kuchařově inn, where his mother performed. From 1921, he was a member of the Communist Party of Czechoslovakia. He devoted himself to theatre in the Dědrasbor (Workers' Drama Choir), which was a proletarian amateur theatre movement influenced by the Proletkult, and especially in Devětsil, in whose anthology he was able to publish his theoretical articles, which are generally taken as the beginning of the Czech theatrical avant-garde. Already in 1926, together with Jiří Frejka and Emil František Burian, he opened the experimental theatre Osvobozené divadlo. At first, they presented productions drawn from French and Czech authors, and a year later, in 1927, they accepted George Voskovec and Jan Werich with their successful play Vest pocket revue which…
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He retired from director in the spring of 1950 and later resigned from his remaining posts. Honzl died on 20 April 1953 in Prague.
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Works Honzl wrote texts on the theatrical theory of the avant-garde theatre and was initially influenced by surrealism, constructivism and dadaism. He was a leading figure in the left-wing Czech interwar avant-garde. As an artist and theorist, he actively influenced the development of socialist-oriented theatre. In his directing work, he was based on a specific acting expression and helped to develop the breadth of his means of expression. His theoretical works laid the foundation for a Marxist interpretation of theatrical science. After 1945, he contributed to the promotion of the ideological principles of Soviet theatre culture in Czech theatre.
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Hadrián z Římsů zk, (by Vaclav Kliment Klicpera, 1930) Alchymista, (by Vladislav Vančura, 1932) Jan Hus, (by J. K. Tyl, 1936) Julietta, (by Bohuslav Martinů, 1938) Pražský žid, (J. J. Kolár – V. Vančura, 1946) Národní hrdina Julius Fučík, (1946) Ze života hmyzu (by Karel Čapek and Josef Čapek, 1946), Faidra, (by Jean Racine, 1947) Maryša, (Alois Mrštík a Vilém Mrštík, 1948) Maloměšťáci, (by Maxim Gorky, 1949) Josefina, (by V. Vančura, 1949)