National Repository of Grey Literature 33 records found  1 - 10nextend  jump to record: Search took 0.01 seconds. 
Acting as the process of upbringing through discovery and recovery
Kozak, Marianna ; HANČIL, Jan (advisor) ; RAISOVÁ, Michaela (referee)
In my diploma thesis I tried to track and name my path towards the pursuit of authentic, authorial acting approach. By reflection of certain approaches, disciplines and schools that I came along on this journey.
Rěžie Autorského Divadla
Lalos, Evangelos ; HANČIL, Jan (advisor) ; MALANÍKOVÁ, Hana (referee)
V této práci se budu zabývat svým kreativním procesem jakožto režiséra souborů, které se věnují autorskému divadlu. Od prvních pokusů vytvořit hru a pocitů zadostiučinění, které jsem během kreativního procesu pociťoval, až po roky v,,TeArt”, kde jsem si na vlastní kůži vyzkoušel, co to znamená být režisérem skupiny sobě rovných kreativních jedinců; Dále se budu věnovat svým studiím na dvou školách, DAMU a Resad. Tomu, co jsem se během těchto let v průběhu prohlubování mých dovedností naučil, až k poslednímu projektu, ve kterém věřím, že jsem převedl do praxe všechny své získané znalosti. Jedná se o úvahu, která klade vedle sebe teorii autorského divadla a mojí vlastní dosaženou praxi.
Rybníčková, Alena ; PILÁTOVÁ, Jana (advisor) ; HANČIL, Jan (referee)
In this thesis I inquire into the nature and possibilities of happenings as they were practiced in the years 2010–2014 especially by political activists, who regard them as an attractive means of drawing attention to various issues. I designate these types of happenings as political happenings, analysing and interpreting their nature with the help of examples taken from my own experience. What I see as most important is the attitude to happenings, which should be based in intention and play, as opposed to being solely guided by purpose. I consider purpose as a rational con-struct, a firm point outside the happening as such, which takes one’s mind off the event itself and tends to turn it into propaganda. For this reason I recommend to take purposes only as reference points, focusing instead on the event itself. This can be greatly facilitated by play, which frees us from the pursuit of external aims, allowing us to abide in the situation here and now. In this way both the activist and the spectator are given the opportunity to step back, gain ease, and to liberate themselves from the all too binding feeling of responsibility for the result. Of course, one cannot stay content with play, for to do so would be to turn the happening into an aimless practical joke with no proper form, and thus with little appeal. Instead, the happen-ing needs to be guided by the activist’s intention which mediates between purpose and play. Intention is a process which take purpose as its point of reference, but unlike it is grounded in the present moment and is ready to change as the situation itself develops. Next I analyse the symbolic level of happenings, which thanks to its openness belongs to the world of play. The fact that symbols cannot be reduced to a single meaning limits their poten-tial for communication and makes them unsuitable for expressing a clear purpose, but this very fact incites the spectators to more active types of communication. A symbol does not exist in itself, it is always a part of a wider network of symbolic associations. By acting within it, the participants themselves also become parts of this network. In this way symbols come alive in human body, gestures and movements, evoking feelings and attitudes. This type of communi-cation is psychosomatic, influencing our embodied stance which forms the matrix of our con-scious attitudes. Thanks to this, symbolic action can influence both actors and spectators on a level that would be hard to reach solely by verbal explanations. I also examine the satirical structure of happenings, which I describe as being constituted by the relation of the dominant and the subversive pattern. In addition to this I show that good satire does not just deride but is self-reflexive as well. For an organizer of happenings it is useful to be one’s own spectator. It does not matter if the spectators do not notice all the details. What matters is whether the actors pay sufficient atten-tion to them. If they do, the effect of every single detail does not get lost even if it is not actual-ly “seen” by anyone. A happening requires the confidence that a well performed event is mean-ingful even this meaning is not easy to point out. Only with this kind of attitude will it be well grounded in its actors, and there will be a chance that it gets caught on in the spectators and will contribute to a change in their personal attitude.
From Word to Image: The Issue of Language in a Play in which Language Is Thematized
Mašková, Barbora ; HANČIL, Jan (advisor) ; KORČÁK, Jakub (referee)
The following BA thesis’ primary concern is the process of creating a production of David Harrower’s play Knives in Hens, a play in which language seems to become an active agent, who controls and affects the minds and deeds of the protagonists to a high extent. After a brief overview of theoretical thought from the school of structuralism regarding the connections between dramatic text and performance, the thesis proceeds to the notion of intertextuality and via that to the person who coined it – Julia Kristeva. In Kristeva’s view a text is formed by two elements: geno-text and feno-text. These terms are further explored and applied on Knives in Hens. In the more practical section of the text, a dramaturgical analysis of the play occurs, exploring the function of language (with a particular regard to the linguistic paradigm), archetypes and Scottish heritage in the text. That is followed by a brief insight into the problematic of translation of a text as difficult and dense as Knives in Hens, analysis of key symbols and their representation in the production and overall scenographic concept. The last sections are then concerned with the process of rehearsing and finalizing the production, including the selection of music.
A way to creative expression in a social-theatre project
Šupová, Barbora ; HANČIL, Jan (advisor) ; ČUNDERLE, Michal (referee)
The topic of this master thesis is an analysis of development and authorial performance What are you staring at?!, in which the authors collaborated with homeless women. The theses will discuss not only the therapeutic and social aspect of the project, author's approach, the specifics of artistic attitude but also analysis of the phenomenon from the theoretical perspective.
Cross-gender casting of tragedies by William Shakespeare
Mašková, Barbora ; Nováková, Soňa (advisor) ; Hančil, Jan (referee)
Cross-gender casting (i.e. the casting of female performers for male parts and vice versa) of plays by William Shakespeare is not a scarce phenomenon and is getting more and more popular in the recent years. In spite of the frequent claim of the theatre-makers and critics that it is in fact a gender blind casting, where the gender of the performer does not matter, the thesis attempts to prove that, in fact, it is not the case. This is exemplified on three most frequently staged and also most commonly cross-gender cast plays: Hamlet, King Lear and Romeo and Juliet. Via these examples the thesis shows the variability of approaches to cross-gender casting and the differences in realization. In the first chapter, the key terminology is defined, in order to avoid confusion, discussing the differences between cross-dressing, travesty and cross-gender casting. That is followed by subchapters in which the basic frame of thought is suggested, building on Judith Butler's deconstruction of gender and the concept of gender performativity. The last subchapter of this section deals with the history of cross-gender casting, including the Elizabethan all-male staging tradition. The next three chapters are then devoted to each of the plays, analyzing the possible interpretive keys and motivations for a cross-gender cast...
Expérience Grand-Guignol: a project description from the viewpoint of the dramaturg
Kebrtová, Helena ; HANČIL, Jan (advisor) ; SCHEJBAL, Milan (referee)
This Master Thesis describes the Expérience Grand-Guignol project, consisting on the one hand of research of the texts preserved in the Parisian Theatre Grand-Guignol (1897 – 1963) and on the other hand of a graduation performance in Theatre DISK which staged four plays from the repertory of this famous theatre of horrors. The Expérience Grand-Guignol project explored in practice various approaches to the historical material of Grand-Guignol placed in a contemporary context. It examined limits of the genre and methods of staging favorable to the Grand-Guignol experience today. The thesis is structured in three parts. The first part presents the Grand-Guignol theatre phenomenon, its history and theory compiled from accessible literature. The second part is dedicated to a detailed preparation and realization of the project. It presents four performed shows, including the overall set design and storyline, which provides the frame for the cycle. The last part presents a short reflection on fear as an effect of a theatre performance, a summary of observations from the practical examination, and an evaluation of project.
Process of Creativity in "Eldorado" of Global Massculture
Burdová, Katarína ; VEDRAL, Jan (advisor) ; HANČIL, Jan (referee)
The presented thesis summarises knowledge and experience of forming pedagogical approach to university students. The models of five projects I worked on together with students of drama art master studies present the most suitable method of motivating them. Having selected particular drama texts and their ideas (Henrik Ibsen: The League of Youth, Samuel Beckett: Endgame, Josef Topol: Nightingale for Dinner, Dea Loher: The Last Fire and Martin Crimp: Attempts on Her Life) I highlighted globalisation and its social impacts.
Women and Phantoms in Marina Carr´s plays
Smrčková, Anna ; SCHLEGELOVÁ, Martina (advisor) ; HANČIL, Jan (referee)
The Bachelor thesis focuses on the dramatic works of Marina Carr. The base part of thesis forms the analysis of the plays Portia Coughlan, By the Bog of Cats and Woman and Scarecrow. In the first part I deal with the the main female characters. I view their personalities through their roles in motherhood and family life. In the second part I map the author's principal sources of inspiration rooted in Irish and Celtic culture traditions with particular focus of the motive of death and phantoms.
Acting in Animation
Jarošová, Marie ; HANČIL, Jan (advisor) ; MUSILOVÁ, Martina (referee)
The master's thesis Acting in Animation reflects the author's experience, gained by combining studies of animation and of authorial acting. Her goal is to explore and propose what should be included in the theory of acting in animation. She then seeks general guidelines which animators and authors of animated films can apply in their work. Can we call an animator "actor"? What general principles can we observe in the dramatic expression of animated characters? Who is an authorial animator?

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