A Song for Rudolf III, A Prayer for Marta: Music, Television, and Politics during the Prague Spring
By Andrew Dearman
In my previous column, I explored the introduction of musical films into the Czech cultural canon. Originating with the invention of the ‘TV Song,’ popular music became a prevalent feature of television programmes and revues, in part to cater to the emerging youth demographic. In 1964, Czechoslovakia's first musical film was released, proving immediately popular with teenagers and young adults. Films such as The Hop-Pickers (Starci na chmelu), reflected the new liberal ideologies which underscored the burgeoning youth movement. However, as musicals were generally regarded as light-hearted entertainment, they were able to avoid the censorship that stifled the avant-garde Czech New Wave.
Perhaps one of the most intriguing artistic contributions of this period was the television show A Song for Rudolf III (Píseň pro Rudolfa III), 1968-69. Despite remaining under-appreciated by modern international audiences, A Song for Rudolf III embodies the Czech idea of using television and music as a nuanced vehicle for political and social commentary. The storyline centres around the relationship between a teenage girl named Šárka (portrayed by Iva Janžurová) and her father Rudolf (portrayed by Darek Vostřel).
Set firmly in contemporary Prague, the show explored generational differences and youthful rebellion. Living with her family above their butcher shop, Šárka is frequently visited by her boyfriend, Jarda, who is disliked by her parents. In the first episode, Jarda presents her with a chair that becomes a portal to her and the other characters imaginations. Each episode typically revolves around a disagreement between Šárka and her father, which is mirrored in subsequent fantasy sequences that occur when a character sits on the chair. Throughout the series, Šárka imagines herself in various roles such as a debutante, a gangster, or a trapped princess. The fantasy sequences feature popular Czech performing contemporary songs, appearing to Šárka as both characters and the celebrities themselves. Most of these performers were drawn from Prague's theatre scene, notably from the Rokoko and Semafor troupes.
A Song for Rudolf III was initially conceived as a successor to Vysílá Studio A, which had acted as a platform to showcase the talents of members of the Rokoko theatre directed by Darek Vostřel. In later episodes, new songs were written exclusively for the show, complimenting the storylines. The songs were also published as standalone singles. The popularity of A Song for Rudolf III and these songs further increased the celebrity status of the performers in the show, which was a trend fuelled by the growing youth market and the acceptance of consumerism.
This television show is emblematic of the loosening of moral and political restrictions throughout the Prague Spring. This movement is defined by the democratisation of Czechoslovakia led by Alexander Dubček’s government. It was an attempt to ease restrictions on the freedom of speech, the media, and travel, and the gradual decentralisation of the economy. However, this reformist movement was abruptly quelled by Prague’s invasion by members of the Warsaw Pact (led by the USSR), who were concerned that Czechoslovakia’s progressive policies threatened the stability of the Communist bloc.
Upon the invasion, the creators of A Song for Rudolf III hastily produced a so-called ‘occupation’ episode, which aired as an unauthorized broadcast. The short episode was a form of social journalism, and it featured the first performance of the song Modlitba pro Martu (‘A Prayer for Marta’), which immediately became a symbol of Czech resistance. Marta Kubišová’s final version of Modlitba pro Martu would appear in the next episode of the show.
The period of normalization that followed the Warsaw Pact invasion would see an even stricter regime of censorship implemented. A Song for Rudolf III was cancelled, and the final episode was confiscated. Although it was ultimately rediscovered and restored in 2019. Many of the pop singers who appeared in A Song for Rudolf III were forced to leave Prague or conform to the new regime, ending the period of creative freedom that enabled the flourishing of youth culture.
Marta Kubišová was one of many artists censored by the new regime. She was banned from performing primarily due to falsified pornographic images. Although a censored version of her debut album was released in 1970, her songs were no longer played on the radio and public music award shows were systematically rigged to ensure her name did not appear. Kubišová returned to the public eye during the Velvet Revolution in 1989, which involved a series of peaceful demonstrations that consolidated the end of Czechoslovakia’s one-party Communist rule. Kubišová’s acapella performance of Modlitba pro Martu (‘A Prayer for Marta’) from a balcony above a mass protest in Wenceslas Square symbolised the end of the oppressive regime. This moment remains one of the most emotionally powerful musical performances throughout Czechoslovakia’s cultural history.
A Song for Rudolf III continues to be appreciated by modern audiences for its innovative contributions to Czech television culture. It also serves as a historical document, illuminating the political and social shifts in Czechoslovakia in the late 1960s. Overall, A Song for Rudolf III holds great significance for its originality and entertainment value, as well as exemplifying how the convergence of pop music and television emerged as a potent tool for political commentary and vibrant self-expression.
