Word: radok
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...friends and colleagues know him more as a behind-the-scenes master of ceremonies. In Leaving, for example, he includes himself in the play not as a character but as a kind of chorus. Interlaced throughout the script are comments about the creative process which director David Radok has Havel himself voice as the actors freeze on stage. The effect is odd, at first but, in the end adds a fitting layer of ironic detachment. Characteristically, Havel's main stage direction during the play is to tell his actors not to overact. On opening night, in the final scene, after...
...true of Captain EO: it is a triumph of the artificial, of high-tech wizardry and secondhand emotions. All of which makes EO just fine as a "total three-dimensional experience" but only the fourthbest film at Epcot. In the travelogues of China and France, and in Emil Radok's enthralling documentary about, yes, energy, the imagination is served, not dominated, by the special effects. These films evoke intense feelings for people and ideas. Isn't that what feelies should be all about...
...line--the first, alas, of many at Expo--for two informative and blissfully short movies about the host ; country. Next comes a never failing crowd pleaser, a 3-D extravaganza that among other things, sends a train roaring out into the audience. Then something even more inventive, Director Emil Radok's multi-imaged story of the evolution of communication, ingeniously told on nine interconnected screens...
Laterna Magika is a marriage of drama, music and movies, and it develops both the hoopla and the problems of the ménage a trois. Invented by two clever Czechs named Alfred and Emil Radok, Laterna Magika is presented on a split-level stage surrounded and intersected by movie screens: wide screens, narrow screens, square screens, round screens-one, two, five, ten, thirteen screens illuminated by three projectors projecting several pictures at the same time and the whole gazingstock accompanied by a skull-splitting roar of stereophonic sound...
Only in America. In 1918, the great Sergei Eisenstein produced a show in Russia that combined stage and cinema, and in the '30s a theater project of the WPA did a similar experiment on Broadway. Then the hybrid form remained dormant until two brothers named Emil and Alfred Radok developed it into Laterna Magika, starting in 1948. They mainly saw it, says Emil, "as a means to add new interpretations and new dimensions to already existing works, and as a real possibility for creating entirely new works...
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