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The Positive Revolt
Brinda, Antonín ; PILÁTOVÁ, Jana (advisor) ; ADÁMEK, Jiří (referee)
In the first place, the aim of this bachelor work is to reflect The Positive Revolt - author's bachelor artwork. We also aim to explore the research and artistic realizations which lead to its making. We also introduce the Cibulení art project and explain the reasons why the project has failed. The descriptive approach is backed by ideas of theoreticians from different walks of the theory of Art such as Hakim Bey, David Graeber, Guy Debord, Louis Pierre Althusser, Tomáš Kulka and others.
In its last part the work introduces two Czech so-called political art groups (Pode Bal and Rafani) and considers possible ways to understand the term political art notably in its relationship with activism.
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Iron and copper metabolism in marine microalgae of the genus Ostreococcus
Pilátová, Jana ; Šuťák, Róbert (advisor) ; Falteisek, Lukáš (referee)
The smallest free living eukaryote known as Ostreococcus tauri became along with some related species great experimental models for iron uptake research in marine picoplankton. The ecological context of such topic is very interesting considering the nature of adaptation to iron limitation and its connection to the copper metabolism. Our experiments has simulated iron and copper limiting conditions of the ocean, as a control we used iron and copper repleted cultivation media. The maximum cell counts were two- to threefold higher in iron-repleted medium compared to iron- depleted one. There was the only exception showing no difference in growth - O. lucimarinus coming from open ocean with high irradiance levels and very low iron concentrations, which all together made it the best adapted species. The reinoculation of cell cultures after a week cultivation into to the same iron/copper containing media led to unmasking the copper effect on growth, which was much weaker than encountered with iron (again except of O. lucimarinus). Iron sufficiency positively affects heme b and chlorophyll a and b content with no significant copper dependency. The circadian timing of heme b and chlorophyll a and b content shows the increasing trend during the day followed by decrease at night. This might be caused by...
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Theatre Studio Reduta as an example of modernistic utopia
Jiřík, Jan ; Hyvnar, Jan (advisor) ; Pilátová, Jana (referee) ; Oslzlý, Petr (referee)
1 ABSTRACT This thesis describes the theatre reform at the turn of 19th and 20th century in its wider sociocultural concept. It focuses on the reaction of theatre to the modernistic crisis of European culture and society. Modernism is understood here according to its wider thematic and chronological definition. Modernism is based on the conception of machine civilization as it was defined by a Polish sociologist Jerzy Jedlicki. Jedlicki places the rise of modernistic cultural formation into the second half of 18th century which is when a steam engine was invented and it was a time of social turbulence and changes in human spirituality. Another theoretical frame of the thesis is created by utopia phenomenon as it was defined by Jerzy Szacki. Second half of 20th century is considered to be the end of modernism, inasmuch the utopic visions which had been placed on theatre faded away. The main topic of the thesis is Juliusz Osterwa's and Mieczyslaw Limanowski's theatre studio Reduta. It was founded in Warsaw in 1919 and it was to a great extend inspired by Moscow theatre studios of Stanislavsky and by Polish theatre sources (Stanislaw Wyspianski). By studying selected examples, the thesis studies Reduta as a realisation of modernistic utopia when theatre was supposed to carry a special mission in renaissance of...
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The Potential Use of the Eustigmatophyceae In the Production of Biofuels
Pilátová, Jana ; Němcová, Yvonne (advisor) ; Pichrtová, Martina (referee)
The eustigmatophytes - yellow-green microalgae - are well known for their high lipid content which is constituted by high amounts of essential polyunsaturated fatty acids (PUFA), such as eicosapentaenoic acid (EPA). This, combined with their high growth rate and an exceptionally high adaptability, makes them very promising feedstock for the biofuels production. In this bachelor thesis the role of eustigmatophytes in the production of biofuels is depicted with consideration of the issue of various cultivation conditions effects on the lipid content and composition. The first review of fatty acid distribution in eustigmatophytes ever reported is provided herein. Thus this work might be tentatively contributing to the strain selection issue - one of the most discussed topics in the biofuels field. The fatty acid distribution is qualitatively and quantitatively changed under various chemical and physical stress conditions. Thus the impact of nitrogen and phosphorous availability alongside with light intensity or temperature on lipid changes are presented. In addition, the process of fatty acid and polyunsaturated fatty acid synthesis is briefly outlined. Recent genetic engineering trends and successes are also mentioned, such as the implementation of high-efficiency homologous recombination to...
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Voice Education the path to self-conscious personality
Janda Roglová, Tereza ; PILÁTOVÁ, Jana (advisor) ; ČUNDERLE, Michal (referee)
The author conducts her self-reflective research in the area of spychosomatic discipline. The author and main guarantor of the discipline "(inter(acting with the inner parnter" that is taught at the department of Aithorial Acting and Pedagogy at the Theatre Faculty of the Academy of Performings Arts is professor Ivan Vyskočil, the founder and for many years also the head of the Department. The discipline is characteristic for its self-reflective nature which is also one of the main attributes of the work with voice. Tha author deliberately chose these areas of her research because of these qualities
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The Conscious Body
Riedlbauchová, Veronika ; KLÍMA, Miloslav (advisor) ; PILÁTOVÁ, Jana (referee)
Riedlbauchová, Veronika: The Conscious Body (Actor Body Language and Stage Composition), doctoral thesis, Theatre Faculty of the Academy of Performing Arts in Prague, Prague 2015, 321 pages. In this thesis, the author explores theatre through the concept of the ?body?. She bases her findings on long-term research into theatre, which she approaches empirically; she draws on her own experience as an actor, director and educator. She supports her conclusions and assertions not only with academic literature, but chiefly by applying theory in practice (to particular physical exercises as well as creative stage work). The thesis is divided into two sections. The first, The Physical Language of the Actor (Methods, Principles, Exercises, Interpretations), focuses on the training of a well-rounded, ?open? actor through bodily expression and physical conduct. The author draws on a wide range of methods employed by theatre reformers of the 20th century, which are connected by rigorous work with human physicality, an emphasis on behaviour incurred by internal and external impulses and systematic training over an extended period time. Adopting various movement techniques and principles shapes the ?physical vocabulary? of the actor, which helps him achieve creative freedom. The explanations within this section are supported by a large number of specific exercises, which serve to help the actor understand how the body functions and learn to ?consciously? use it for self-expression and for theatrical performance. The exercises are supplemented by an analysis reflecting on the author?s experience, as well as the feedback of students and actors who have submitted to them. These exercises (some of which are also recorded on DVD) develop particular aspects of acting: working with energy; with space, a partner and a group; with time, rhythm and dynamics; with gesture; with voice, text and music; and with a mask. In the second section, The Physical Language of Stage Composition (In-Depth Interpretation of Stage Thinking), the author, reflecting on her own creative experience, focuses on the ?conscious body? of the actor in the context of the formation of stage composition. She details the process of rehearsing for six selected productions for which she was the director, and sometimes also the author, the choreographer or an actor. These productions are: the site-specific project Vodu po lžičkách (Water by spoons ? 2007), the movement project Camille (2009), Sarah Kane?s play Očištění/Depurados (Cleansed ? 2010), Jiří Hájek?s chamber opera Slavík a růže (The Nightingale and the Rose ? 2011), work in progress of the social documentary project Plus Minus Praha (Plus Minus Prague ? 2012) and the circus comedy Plovárna (Riverside ? 2013). The author analyses her stage thinking, characterised by ?recasting? themes into movement and visual metaphors, and her way of managing actors in the process of rehearsing. She approaches this process as theatre research and divides it into three stages: study (dramaturgy/stage design preparation), finding theatrical language (discovering expressive material through the body) and the overall organisation of the resulting form. She perceives rehearsal as the design of the whole ensemble and stresses the need for enough rehearsing time, as well as the capacity of improvisation to unlock hidden creative potential
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Our/my journey to BodyVoiceBand
Holubová, Iva ; PILÁTOVÁ, Jana (advisor) ; GROSSMANNOVÁ-MÁLKOVÁ, Marie (referee)
The subject of this thesis is the analysis of studies of the graduates of drama2013/2014 at the Theatre Faculty of the Academy of Performing Arts in Pragueunder the guidance of teachers MgA. Jaroslava Šiktancová Ph.D., MgA. LukášHlavica and doc. Marie Málková. I am describing the methods of our dramatictraining, which formed the basis for further joint work leading to the creation ofthe company BodyVoiceBand. My thesis describes the process chronologicallyfrom the very beginning of the study to the birth of the performance Vojna (TheWar), which we already prepared under the heading of BodyVoiceBand.I divided the thesis into three parts. In the first one I deal with the workshops ofFarma v jeskyni (Farm in a Cave), which were decisive for all our future work, forboth the ensemble, and the individuals. I described what kind of training wewent through during the workshops and the way it prepared us for furtherstudies. The second part deals with the study at the faculty. It is divided intosubheads according to the phenomena we were dealing with and which are thestarting point for a certain kind of work, thanks to which the bodyBodyVloiceBand started to shape. The third part is devoted to the production ofVojna /War, which is the result of our efforts, and which is the starting point ofthe formation of BodyVoiceBand. I focused on the way and course of preparingthe production.
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SPACE FOR RITUAL?
Straub, Mathias ; PILÁTOVÁ, Jana (advisor) ; SMOLÍK, Robert (referee)
In the first part of this thesis I explain by means of cultural anthropology, religious studies and performance theories the basic characteristics of ritual and the interconnection between both, ritual and theater. In the second part I analyze various important factors for the development of rituals. With these factors I subsequently analyze my own ritualistic theater productions: Hudební Modlitba Lety 1942 (Ponec Theatre - Prague , CZ, 2014) and the installation and performance Memories (HISTeRIA festival - Gračišče, SL , 2013)
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The Summer Project - In the Cellar - Of the Theater Continuo
Šišková, Daniela ; PILÁTOVÁ, Jana (advisor) ; KLÍMA, Miloslav (referee)
The diploma thesis The summer project In the cellar of the Theater Continuo is about my experience at the summer workshop organized by the Continuo Theatre concretely on site-specific project In the cellar. At first I write in a style of diary and later on I describe particular approaches of work, exercises and creating of the performance itself. The final section is devoted to the author's own project Coco.on, which was created as part of a school project Left on my own. This creation was based on the experience gained from the summer workshop.
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