Olga Věra Cieslarová | Charles University, Prague (original) (raw)
Papers by Olga Věra Cieslarová
Journal of Material Culture, 2023
Describing the historical development of the mask (Laarve) 2 within the carnival tradition of the... more Describing the historical development of the mask (Laarve) 2 within the carnival tradition of the Basel Fasnacht (Faasnacht, Switzerland) during the twentieth and twenty-first centuries, this article offers a case study of the so-called reflexive turn in late modern ('post-traditional') societies. Drawing on the concept of ritual reflexivity, we argue that the gradual development of the Fasnacht masks into oversized constructions covering the ritualist's whole head (Laarve) went hand in hand with the development of various other ritual mechanisms aimed at facilitating within the ritual framework a meditative, inward-oriented stance (enstasis). 3 This is especially interesting as carnivals tend to be associated with precisely the opposite dynamics: transcending social norms through the celebration of excess and inebriation which, in its extreme forms, may lead to ekstasis (or at least a headache). The described ritual elements are interpreted as a series of mirroring mechanisms nested within one another. The ritual handling of the Laarve by the ritualists (its donning and taking off at regular intervals) is then understood simultaneously as a facilitator and a marker fuelling and isolating individual phases of an otherwise non-discrete reflexive process. Based on first-hand accounts of ritualists' experiences of mask-wearing, we will show how Basel Fasnacht walks a tightrope between 'modelling' and 'mirroring' societal, communal and idiosyncratic levels of meaning-making.
"Fasnacht" of Basel is Switzerland's largest carnival and, at the same time, it is ... more "Fasnacht" of Basel is Switzerland's largest carnival and, at the same time, it is the only protestant carnival in the world. Its origins go as far as the middle ages, nevertheless, in the last two centuries, it has gradually grown a surprisingly current and lively image. "Fasnacht" is a geyser of social and political satire; and a substantial part of the city is involved in it during most of the year
Jaarboek Voor Liturgie Onderzoek, Dec 5, 2011
Second-Degree Liminality: Dynamics of Ritual Change in the Basel Fasnacht Taking the example of t... more Second-Degree Liminality: Dynamics of Ritual Change in the Basel Fasnacht Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchanging, and yet be open to changes and innovations. As the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In the Fasnacht this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this there arises within the Fasnacht a „second-degree” liminality in the form of the so-called wild Fasnacht, which turns the official antistructural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its reflection and modification. We use detailed examples to demonstrate how the subtle dialectics of structure and antistructure keeps the tradition of Basel’s Fasnacht alive and allows it to evolve without destroying its aura of traditionality.
Zeitschrift für Religionswissenschaft, 2020
Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintai... more Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchan-ging, and yet be open to changes and innovations. As the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In Fasnacht, this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this, there arises within Fasnacht a second-order liminality in the form of the so-called wild Fasnacht, which turns the official anti-structural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its ...
Zeitschrift für Religionswissenschaft, 2020
Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintai... more Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchan-ging, and yet be open to changes and innovations. As the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In Fasnacht, this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this, there arises within Fasnacht a second-order liminality in the form of the so-called wild Fasnacht, which turns the official anti-structural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its reflection and modification. We use detailed examples to demonstrate how the subtle dialectics of structure and antistructure keeps the tradition of Basel's Fasnacht alive and allows it to evolve without destroying its aura of traditionality.
RELIGIO, 2019
Second-Degree Liminality: Dynamics of Ritual Change in the Basel Fasnacht Taking the example of t... more Second-Degree Liminality: Dynamics of Ritual Change in the Basel Fasnacht
Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchanging, and yet be open to changes and innovations. As the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In the Fasnacht this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this there arises within the Fasnacht a „second-degree” liminality in the form of the so-called wild Fasnacht, which turns the official antistructural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its reflection and modification. We use detailed examples to demonstrate how the subtle dialectics of structure and antistructure keeps the tradition of Basel’s Fasnacht alive and allows it to evolve without destroying its aura of traditionality.
Abstrakt Ve svém textu bych ráda představila jednu z možností užívání masek ve veřejném prostoru,... more Abstrakt Ve svém textu bych ráda představila jednu z možností užívání masek ve veřejném prostoru, tedy mimo primárně divadelní či náboženský kontext. Budu se zabývat kolekUvním užitím masky (tj. více stejných masek nesených skupinou) ve formě průvodu městem, ve kterém občanské skupiny ve spolupráci s umělci saUrickým způsobem reflektují aktuální společenská témata. Východiskem je pro mě karneval ve švýcarské Bazileji, zvaný Fasnacht, kterým se zabývám od roku 2011. Soustředím se na specifické užití masky jednak jako prostředku pro komunikaci satirického tématu, tak jako účinného zcizujícího efektu. Na původním masopustním základu vznikl v Bazileji během dvacátého stoleO propracovaný systém sdílené satirické reflexe, jejímž hlavním komunikačním prvkem je maska. Účastníci ztvárňují aktuální společenská témata a fyzicky je pronáší městem, kterému ukazují jak dané téma vidí a co si o něm myslí (vnější aspekt). Vyznění masek je jak humorné (vážné téma pojednáváno s nadhledem), tak děsivé (množství strnulých tváří). Toto kontroverzní pojeO souzní s oslavně-‐kriUckým vnímáním demokracie a zároveň inspiruje k zájmu o veřejné dění. Bazilejci od 2. poloviny 20. století používají velké, kašírované masky, které nejsou přilepené na tváři, ale vytváří oddělený prostor mezi obličejem a maskou (vnitřní aspekt). Tato forma nevede ke splynutí s charakterem masky, naopak během nošení dochází k odosobnění a splynutí se skupinou během chůze ulicemi. Tomu odpovídá rytmický, jednotný pohyb celého tělesa. Nositel masky se dostává do zvláštního meditaUvního stavu, který vede k obratu dovnitř a k niterné bilanci s maskou a daným tématem. Právě toto ne-‐splynutí je specifikum bazilejské masky, které je dále zvýrazněno opakovaným sundaváním a nandaváním masky. Maska tak hraje roli zcizovacího efektu, který podtrhuje i užívání jazyka v doprovodných textech (zvláštní forma veršovaného dialektu), či upravená vojenská hudba.
Yearbook for Liturgical and Ritual Studies/Jaarboek voor Liturgie-Onderzoek, 2011
The authors inquire into the special quality which has the ability to transform non-ritual action... more The authors inquire into the special quality which has the ability to transform non-ritual action into ritual action – ritualization. Borrowing concepts and terminology from the complex theory of James Laidlaw and Caroline Humphrey, the article demonstrates that non-ritual action – once transformed by ritualization – becomes ‘deliberately non-intentional’. At the same time, it also shows that even though Humphrey and Laidlaw’s theory provides a firm terminological frame, it is mistaken in the conclusion that ritualization is limited solely to the context of established rituals and that rituals themselves are phenomena primarily static, subject to little or no change. In the subsequent argumentation it builds on the method of Ronald L. Grimes and within the frame of his discourse strives to show that ritualization, as the dynamic quality of both emerging and established rituals, is sustained by the ritualists’ corporeality and that it is only by bodily comprehending the physical value of ritual action that we can study the foundations of rituals themselves. It tries to demonstrate that it is possible to develop a certain ‘sensitivity’ to ritualization in its many forms through physical training of a special type and explain in what way this training applies to the concept of ‘deliberate non-intentionality’ characteristic of ritualization. This will be done through an ac- count of a teaching technique called dialogical performance, which was founded in the year 1968 by professor Ivan Vyskoil and which is practiced today at the Theatre Academy of Performing Arts in Prague (the Czech Republic). The authors argue that developing such sensitivity to bodily expressions should form an integral part of training for those scholars who wish to investigate rituals in the field.
Conference Presentations by Olga Věra Cieslarová
mit Satire und Kunst die Demokratie in Tschechien unterstützen ZUSSAMMENUFASSUNG: Jeweils am 17. ... more mit Satire und Kunst die Demokratie in Tschechien unterstützen ZUSSAMMENUFASSUNG: Jeweils am 17. November findet in Prag ein Gedenktag statt, an dem das gewaltfreie Ende (sg. Samtene Revolution) der Diktatur von 1989 gefeiert wird. Dieser Tag ruft bei den Pragerinnen und Pragern tiefe Emotionen hervor. Bis vor ein paar Jahren wurden sie nur mit etwas pathetischen Kerzenanzünden artikuliert oder drückten sich mitunter auch in aggressiven Demonstrationen gegen alle möglichen und vermeintlichen Misstände aus. Seit fünf Jahren hat eine Gruppe von Prager Künstlerinnen und Künstlern unter Beteiligung der tschechischen Zivilgesellschaft den 17. November mit einem satirischen Umzug aufgemischt: die sogenannte "Prager Fasnacht" (oder Samtener Karneval). Deren Ausdrucksformen sind direkt von Basel inspiriert: man musiziert (auch mit Piccolos!), trägt Kostüme und Masken und macht satirische, feinsinnige Kommentare zum Zeitgeschehen. Mit diesem Umzug möchten wir den Tag der Freiheit und Demokratie fröhlich und zugleich intelligent kritisch feiern. Fasnacht als Ausdruck eines freien, kreativen und demokratischen Bürgersinns! Wenn Sie sich für dieses künstlerische und demokratische Experiment interessieren, lesen Sie bitte unsere Informationen in dieser Schrift. Wir wären sehr glücklich, wenn Sie unsere Prager Fasnacht durch finanzielle oder andere Beiträge unterstützen könnten. Die Prager Fasnacht ist direkt von der Basler Fasnacht inspiriert und versucht seit sechs Jahren durch langfristige Zusammenarbeit zwischen Künstlern und zivilgesellschaftlichen Initiativen aktuelle gesellschaftliche Themen mit Hilfe von Objekten (Requisiten, Laternen), Masken, Kostümen, Musik und Pamphleten im Zentrum Prags zu präsentieren. Die Mehrheit der Fasnachtsgesellschaften des Prager Umzugs sind aktive Prager Bürgerinitiativen, die sich mit unterschiedlichen Themen wie z.B. Ökologie, Bildung, Soziales, Frauenrechte, Flüchtlinge, Minderheiten, etc. beschäftigen und diese Gelegenheit in Kooperation mit Prager Künstlern nutzen, um ihr Anliegen auf satirischer Ebene zu kommunizieren und auf diesem Weg der Öffentlichkeit in neuem Licht präsentieren. Der Umzug reflektiert damit aktuelle gesellschaftliche Debatten und zeigt gleichzeitig, womit sich Initiativen und zivilgesellschaftliche Organisationen beschäftigen. Da dies alles auf lustige, intelligente, kreative und komische Weise umgesetzt wird ist es eine von der Öffentlichkeit sehr geschätzte Möglichkeit, das Ende des Kommunistischen Regimes und die Demokratie zu feiern. Die Initiative FOR_UM (= Kunst des Witzes), der Veranstalter der Prager Fasnacht, stellt Kontakte zwischen Initiativen und Künstlern her, organisiert Workshops, unterstützt bei der Dramaturgie, veranstaltet Maskenwerkstätten und kümmert sich um die Produktion, Werbung und Öffentlichkeitsarbeit.
Books by Olga Věra Cieslarová
Švýcarsko je známé svou čokoládou, demokracií či přesnými hodinkami. Je fascinující nahlédnout do... more Švýcarsko je známé svou čokoládou, demokracií či přesnými hodinkami. Je fascinující nahlédnout do jeho živé karnevalové kultury.
V Basileji se říká, že člověk buď Fasnacht miluje, anebo v době jejího konání odjíždí na hory. Pro ty první je Fasnacht většinou celoživotní vášní a říká se jim Aagfrässene (zažranci). Láska k Fasnacht totiž člověka posedne. A jelikož touto posedlostí trpí v Basileji kolem čtrnácti tisíc lidí, ocitá se město v oněch třech dnech opravdu vzhůru nohama.
Uprostřed Evropy existuje živý a kreativní rituál, na jehož přípravě se podílí velká část obyvatel v podstatě po celý rok. Fasnacht je gejzírem kvalitní společenské a politické satiry v míře, která v současné evropské kultuře zřejmě nemá obdoby. A zároveň je i takovou třídenní meditací celé Basileje. Je fascinující, že tento fenomén je mimo hranice Švýcarska prakticky neznámý.
...
Knížka je esejistickou mozaikou složenou z historicko-teoretických úvah, prokládaných rozhovory s Basilejci, a z deníkově zachycených zážitků.
Drafts by Olga Věra Cieslarová
I would like to present my research about the role of masks in a swiss carnival, the Basel Fasnac... more I would like to present my research about the role of masks in a swiss carnival, the Basel Fasnacht, and its development during the 20th century, with special regard to Karl Mueli's theory of mask. He was a world-acclaimed anthropologist who lived and worked in Basel in the 1930s. Even though generally considered outdated due to its strong reductionism, his theory of masks (published in 1933) seems to hold some validity in the light of the development of the mask types and the use of masks within the framework of the Basel Fasnacht in the past years.
According to Meuli, the masked participants primarily represent the ancestors who return from the Beyond to the world of the living. The purpose of their visit is to provide blessings for the future and to point out the misconducts of society. It was the lack of tangible evidence for such a broad and general explanation that formed the core of the critique of other scholars. But in recent years, it has been possible to observe a certain shift in the use of masks during the festival. The original masks used to covere only the face of the individual, however lately they have overgrown this size - and so they give an impression of something "over-human", as if they came from "another world". Their character and also the way the masks are used (satirical social critique, marching at night, music, etc.) seem to justify Mueli's theory to a certain extent. My research shows an interesting phenomenon of the development of a living urban ritual that not only asserts its place in modern society, but also keeps evolving, growing and is constantly being updated. And at the same time it is growing into a very “archaic“ form.
Journal of Material Culture, 2023
Describing the historical development of the mask (Laarve) 2 within the carnival tradition of the... more Describing the historical development of the mask (Laarve) 2 within the carnival tradition of the Basel Fasnacht (Faasnacht, Switzerland) during the twentieth and twenty-first centuries, this article offers a case study of the so-called reflexive turn in late modern ('post-traditional') societies. Drawing on the concept of ritual reflexivity, we argue that the gradual development of the Fasnacht masks into oversized constructions covering the ritualist's whole head (Laarve) went hand in hand with the development of various other ritual mechanisms aimed at facilitating within the ritual framework a meditative, inward-oriented stance (enstasis). 3 This is especially interesting as carnivals tend to be associated with precisely the opposite dynamics: transcending social norms through the celebration of excess and inebriation which, in its extreme forms, may lead to ekstasis (or at least a headache). The described ritual elements are interpreted as a series of mirroring mechanisms nested within one another. The ritual handling of the Laarve by the ritualists (its donning and taking off at regular intervals) is then understood simultaneously as a facilitator and a marker fuelling and isolating individual phases of an otherwise non-discrete reflexive process. Based on first-hand accounts of ritualists' experiences of mask-wearing, we will show how Basel Fasnacht walks a tightrope between 'modelling' and 'mirroring' societal, communal and idiosyncratic levels of meaning-making.
"Fasnacht" of Basel is Switzerland's largest carnival and, at the same time, it is ... more "Fasnacht" of Basel is Switzerland's largest carnival and, at the same time, it is the only protestant carnival in the world. Its origins go as far as the middle ages, nevertheless, in the last two centuries, it has gradually grown a surprisingly current and lively image. "Fasnacht" is a geyser of social and political satire; and a substantial part of the city is involved in it during most of the year
Jaarboek Voor Liturgie Onderzoek, Dec 5, 2011
Second-Degree Liminality: Dynamics of Ritual Change in the Basel Fasnacht Taking the example of t... more Second-Degree Liminality: Dynamics of Ritual Change in the Basel Fasnacht Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchanging, and yet be open to changes and innovations. As the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In the Fasnacht this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this there arises within the Fasnacht a „second-degree” liminality in the form of the so-called wild Fasnacht, which turns the official antistructural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its reflection and modification. We use detailed examples to demonstrate how the subtle dialectics of structure and antistructure keeps the tradition of Basel’s Fasnacht alive and allows it to evolve without destroying its aura of traditionality.
Zeitschrift für Religionswissenschaft, 2020
Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintai... more Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchan-ging, and yet be open to changes and innovations. As the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In Fasnacht, this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this, there arises within Fasnacht a second-order liminality in the form of the so-called wild Fasnacht, which turns the official anti-structural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its ...
Zeitschrift für Religionswissenschaft, 2020
Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintai... more Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchan-ging, and yet be open to changes and innovations. As the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In Fasnacht, this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this, there arises within Fasnacht a second-order liminality in the form of the so-called wild Fasnacht, which turns the official anti-structural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its reflection and modification. We use detailed examples to demonstrate how the subtle dialectics of structure and antistructure keeps the tradition of Basel's Fasnacht alive and allows it to evolve without destroying its aura of traditionality.
RELIGIO, 2019
Second-Degree Liminality: Dynamics of Ritual Change in the Basel Fasnacht Taking the example of t... more Second-Degree Liminality: Dynamics of Ritual Change in the Basel Fasnacht
Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchanging, and yet be open to changes and innovations. As the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In the Fasnacht this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this there arises within the Fasnacht a „second-degree” liminality in the form of the so-called wild Fasnacht, which turns the official antistructural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its reflection and modification. We use detailed examples to demonstrate how the subtle dialectics of structure and antistructure keeps the tradition of Basel’s Fasnacht alive and allows it to evolve without destroying its aura of traditionality.
Abstrakt Ve svém textu bych ráda představila jednu z možností užívání masek ve veřejném prostoru,... more Abstrakt Ve svém textu bych ráda představila jednu z možností užívání masek ve veřejném prostoru, tedy mimo primárně divadelní či náboženský kontext. Budu se zabývat kolekUvním užitím masky (tj. více stejných masek nesených skupinou) ve formě průvodu městem, ve kterém občanské skupiny ve spolupráci s umělci saUrickým způsobem reflektují aktuální společenská témata. Východiskem je pro mě karneval ve švýcarské Bazileji, zvaný Fasnacht, kterým se zabývám od roku 2011. Soustředím se na specifické užití masky jednak jako prostředku pro komunikaci satirického tématu, tak jako účinného zcizujícího efektu. Na původním masopustním základu vznikl v Bazileji během dvacátého stoleO propracovaný systém sdílené satirické reflexe, jejímž hlavním komunikačním prvkem je maska. Účastníci ztvárňují aktuální společenská témata a fyzicky je pronáší městem, kterému ukazují jak dané téma vidí a co si o něm myslí (vnější aspekt). Vyznění masek je jak humorné (vážné téma pojednáváno s nadhledem), tak děsivé (množství strnulých tváří). Toto kontroverzní pojeO souzní s oslavně-‐kriUckým vnímáním demokracie a zároveň inspiruje k zájmu o veřejné dění. Bazilejci od 2. poloviny 20. století používají velké, kašírované masky, které nejsou přilepené na tváři, ale vytváří oddělený prostor mezi obličejem a maskou (vnitřní aspekt). Tato forma nevede ke splynutí s charakterem masky, naopak během nošení dochází k odosobnění a splynutí se skupinou během chůze ulicemi. Tomu odpovídá rytmický, jednotný pohyb celého tělesa. Nositel masky se dostává do zvláštního meditaUvního stavu, který vede k obratu dovnitř a k niterné bilanci s maskou a daným tématem. Právě toto ne-‐splynutí je specifikum bazilejské masky, které je dále zvýrazněno opakovaným sundaváním a nandaváním masky. Maska tak hraje roli zcizovacího efektu, který podtrhuje i užívání jazyka v doprovodných textech (zvláštní forma veršovaného dialektu), či upravená vojenská hudba.
Yearbook for Liturgical and Ritual Studies/Jaarboek voor Liturgie-Onderzoek, 2011
The authors inquire into the special quality which has the ability to transform non-ritual action... more The authors inquire into the special quality which has the ability to transform non-ritual action into ritual action – ritualization. Borrowing concepts and terminology from the complex theory of James Laidlaw and Caroline Humphrey, the article demonstrates that non-ritual action – once transformed by ritualization – becomes ‘deliberately non-intentional’. At the same time, it also shows that even though Humphrey and Laidlaw’s theory provides a firm terminological frame, it is mistaken in the conclusion that ritualization is limited solely to the context of established rituals and that rituals themselves are phenomena primarily static, subject to little or no change. In the subsequent argumentation it builds on the method of Ronald L. Grimes and within the frame of his discourse strives to show that ritualization, as the dynamic quality of both emerging and established rituals, is sustained by the ritualists’ corporeality and that it is only by bodily comprehending the physical value of ritual action that we can study the foundations of rituals themselves. It tries to demonstrate that it is possible to develop a certain ‘sensitivity’ to ritualization in its many forms through physical training of a special type and explain in what way this training applies to the concept of ‘deliberate non-intentionality’ characteristic of ritualization. This will be done through an ac- count of a teaching technique called dialogical performance, which was founded in the year 1968 by professor Ivan Vyskoil and which is practiced today at the Theatre Academy of Performing Arts in Prague (the Czech Republic). The authors argue that developing such sensitivity to bodily expressions should form an integral part of training for those scholars who wish to investigate rituals in the field.
mit Satire und Kunst die Demokratie in Tschechien unterstützen ZUSSAMMENUFASSUNG: Jeweils am 17. ... more mit Satire und Kunst die Demokratie in Tschechien unterstützen ZUSSAMMENUFASSUNG: Jeweils am 17. November findet in Prag ein Gedenktag statt, an dem das gewaltfreie Ende (sg. Samtene Revolution) der Diktatur von 1989 gefeiert wird. Dieser Tag ruft bei den Pragerinnen und Pragern tiefe Emotionen hervor. Bis vor ein paar Jahren wurden sie nur mit etwas pathetischen Kerzenanzünden artikuliert oder drückten sich mitunter auch in aggressiven Demonstrationen gegen alle möglichen und vermeintlichen Misstände aus. Seit fünf Jahren hat eine Gruppe von Prager Künstlerinnen und Künstlern unter Beteiligung der tschechischen Zivilgesellschaft den 17. November mit einem satirischen Umzug aufgemischt: die sogenannte "Prager Fasnacht" (oder Samtener Karneval). Deren Ausdrucksformen sind direkt von Basel inspiriert: man musiziert (auch mit Piccolos!), trägt Kostüme und Masken und macht satirische, feinsinnige Kommentare zum Zeitgeschehen. Mit diesem Umzug möchten wir den Tag der Freiheit und Demokratie fröhlich und zugleich intelligent kritisch feiern. Fasnacht als Ausdruck eines freien, kreativen und demokratischen Bürgersinns! Wenn Sie sich für dieses künstlerische und demokratische Experiment interessieren, lesen Sie bitte unsere Informationen in dieser Schrift. Wir wären sehr glücklich, wenn Sie unsere Prager Fasnacht durch finanzielle oder andere Beiträge unterstützen könnten. Die Prager Fasnacht ist direkt von der Basler Fasnacht inspiriert und versucht seit sechs Jahren durch langfristige Zusammenarbeit zwischen Künstlern und zivilgesellschaftlichen Initiativen aktuelle gesellschaftliche Themen mit Hilfe von Objekten (Requisiten, Laternen), Masken, Kostümen, Musik und Pamphleten im Zentrum Prags zu präsentieren. Die Mehrheit der Fasnachtsgesellschaften des Prager Umzugs sind aktive Prager Bürgerinitiativen, die sich mit unterschiedlichen Themen wie z.B. Ökologie, Bildung, Soziales, Frauenrechte, Flüchtlinge, Minderheiten, etc. beschäftigen und diese Gelegenheit in Kooperation mit Prager Künstlern nutzen, um ihr Anliegen auf satirischer Ebene zu kommunizieren und auf diesem Weg der Öffentlichkeit in neuem Licht präsentieren. Der Umzug reflektiert damit aktuelle gesellschaftliche Debatten und zeigt gleichzeitig, womit sich Initiativen und zivilgesellschaftliche Organisationen beschäftigen. Da dies alles auf lustige, intelligente, kreative und komische Weise umgesetzt wird ist es eine von der Öffentlichkeit sehr geschätzte Möglichkeit, das Ende des Kommunistischen Regimes und die Demokratie zu feiern. Die Initiative FOR_UM (= Kunst des Witzes), der Veranstalter der Prager Fasnacht, stellt Kontakte zwischen Initiativen und Künstlern her, organisiert Workshops, unterstützt bei der Dramaturgie, veranstaltet Maskenwerkstätten und kümmert sich um die Produktion, Werbung und Öffentlichkeitsarbeit.
Švýcarsko je známé svou čokoládou, demokracií či přesnými hodinkami. Je fascinující nahlédnout do... more Švýcarsko je známé svou čokoládou, demokracií či přesnými hodinkami. Je fascinující nahlédnout do jeho živé karnevalové kultury.
V Basileji se říká, že člověk buď Fasnacht miluje, anebo v době jejího konání odjíždí na hory. Pro ty první je Fasnacht většinou celoživotní vášní a říká se jim Aagfrässene (zažranci). Láska k Fasnacht totiž člověka posedne. A jelikož touto posedlostí trpí v Basileji kolem čtrnácti tisíc lidí, ocitá se město v oněch třech dnech opravdu vzhůru nohama.
Uprostřed Evropy existuje živý a kreativní rituál, na jehož přípravě se podílí velká část obyvatel v podstatě po celý rok. Fasnacht je gejzírem kvalitní společenské a politické satiry v míře, která v současné evropské kultuře zřejmě nemá obdoby. A zároveň je i takovou třídenní meditací celé Basileje. Je fascinující, že tento fenomén je mimo hranice Švýcarska prakticky neznámý.
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Knížka je esejistickou mozaikou složenou z historicko-teoretických úvah, prokládaných rozhovory s Basilejci, a z deníkově zachycených zážitků.
I would like to present my research about the role of masks in a swiss carnival, the Basel Fasnac... more I would like to present my research about the role of masks in a swiss carnival, the Basel Fasnacht, and its development during the 20th century, with special regard to Karl Mueli's theory of mask. He was a world-acclaimed anthropologist who lived and worked in Basel in the 1930s. Even though generally considered outdated due to its strong reductionism, his theory of masks (published in 1933) seems to hold some validity in the light of the development of the mask types and the use of masks within the framework of the Basel Fasnacht in the past years.
According to Meuli, the masked participants primarily represent the ancestors who return from the Beyond to the world of the living. The purpose of their visit is to provide blessings for the future and to point out the misconducts of society. It was the lack of tangible evidence for such a broad and general explanation that formed the core of the critique of other scholars. But in recent years, it has been possible to observe a certain shift in the use of masks during the festival. The original masks used to covere only the face of the individual, however lately they have overgrown this size - and so they give an impression of something "over-human", as if they came from "another world". Their character and also the way the masks are used (satirical social critique, marching at night, music, etc.) seem to justify Mueli's theory to a certain extent. My research shows an interesting phenomenon of the development of a living urban ritual that not only asserts its place in modern society, but also keeps evolving, growing and is constantly being updated. And at the same time it is growing into a very “archaic“ form.