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Minor Theatre

Bohumil Sláma

history of the theatresupplementtechnical dataHistoric equipment

Important events

(detail)1929 | construction

The theatre is located in adapted basement space of former cinema Skaut, constructed according the design of Bohumil Sláma from 1928 and opened in February 1929 in building N. 6 in Vodičkova Street.


(detail)6.12.2001 | Opening
The hall was allocated to the Minor Theatre after its former place on Senovážné square was demolished within reconstruction of the Slovanský dům. Adaptation of the hall took place in 2000- 2001. Inauguration performance took place on 6th December 2001. Aleš Kletenský was the designer of the reconstruction, Viktor Korejs was the interior designer.  

People

(detail)Bohumil Sláma |main architect

An author of important designs, from which were realized the building of Czechoslovakian radio in Prague 2 and the post office building in Kladno and in Vršovice and Střešovice in Prague and the city crematorium in Nymburk.

In:

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Aleš Kletenský |architect
(detail)Emil Králíček |architect

The peak of his eclecticist work is represented by realization of two houses on the Venceslaw Square - Adamova lékárna (1911-1913) and Šupichovy domy (1911-1919).

In:

http://en.wikipedia.org/wiki/Emil_Králíček

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Rudolf Šolc |architect
Viktor Korejs |interior designer
Jakub Zich |other
Jan Zich |other

History

The theatre, preferentially oriented to younger viewers, is located in adapted basement rooms of the former Skaut cinema, established according the design by  Bohumil Sláma from April of 1928 and opened in February of 1929 in the house N. 674-II, Vodičkova 6 / Navrátilova 2. Municipal authorities allotted the hall to the Minor Theatre ensemble after their former workplace had been demolished within the reconstruction of the Slovanský dům (Slovanský house). A construction permit was issued on 11th February of 2000, building approval was granted on 3rd December 2001, first performance took place on 6th December. The the designer of the reconstruction was Aleš Kletenský, the interior designer was Viktor Korejs. Their work was awarded by the prestigious Construction of the Year 2002 and Prize of mayor of main city Prague. Further building alterations took place in 2002 and 2005 – again according to the design by Aleš Kletenský.

Front balcony and side box wings were removed and thus was created an unified, steeply raked  area  with a capacity of 206 seats in 12 rows. Apart this classical, unidirectional appearance, it is possible to transform this hall without a distinctive proscenium arch into an arena stage with a capacity of 109 spectators as well. Spacious technical booths are behind the last row of seats, a rich lighting system is located under the ceiling, transverse footbridges can be ejected out of the room above the stage into position over the front section of the auditorium.

 

The imaginative arrangement of the interior already commences in the outer passage with a cash desk, figures of stylized eye-catchers and illuminated entrance portal in the shape of a clown, bent in an acrobatic posture. A smooth, sharply coloured surface of the walls contrasts with matted silvery, metal components, in lighter or darker shades, in the tvestibule. A cloakroom counter in the mezzanine has the front side of the counter made from a backlit glass mosaic that covers also the sections of the rear wall between clothes-racks. The first foyer (in the level of the upper row of the hall) has small scene recess on one side and on the other, several stairs leading to a separate bar with a counter, stylized into a shape of a laying and drinking clown. The spectators can sit down in the breaks not only onto pleasantly profiled benches along the foyer walls, but – to bigger intimacy- into semi-enclosed units with benches, encircling a central round table. Similar possibilities are offered in the second foyer, located one storey lower, its one edge, panelled by a mosaic from small manycoloured ceramic facets, offers a possibility of rather adventurous activity for small spectators: slim supporting pillar spires diminished gradient footpath. Even minor hall keeps in mind the activity of child spectators, technically equipped for dramatic and art experiments.

Employed sources and literature:

-  Stavební archiv MČ P1.

-  Baťková, Růžena & kol.: Umělecké památky Prahy – Nové Město; Praha 1998, s. 400-401 (stať Marie Platovské).

-  Hilmera, Jiří: Stavební historie pražských kinosálů; Iluminace, roč. 10/1998, č. 2, s. 129-130.

- www.minor.cz

 

Tags: Contemporary era, Interwar period, theatre hall

 

Author: Jiří Hilmera

Translator: Jan Purkert

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