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PERFORMING ARTS (MUSIC, THEATRE, DANCE) AND CULTURAL POLICY IN CENTRAL EUROPE
Pecková Černá, Martina ; ŠTILEC, Jiří (advisor) ; HYVNAR, Jan (referee)
The doctoral thesis The Performing Arts (Music, Theatre, Dance) and Cultural Policy in Central Europe focuses on the relationship of the state administration and performing arts in the Czech Republic, Slovakia, Poland, Hungary, Austria and Germany. It includes an overview of basic strategic documents of the state cultural policy in the Central European countries, on incorporation of the term of performing arts into the concept of cultural and creative industries and the economic classification as well as analysis of statistical evidence of theatre, music and dance in the selected countries. Furthermore, the thesis focuses on the field of culture from the point of view of the state administration, on the structure of state administration responsible for the management of culture as a whole and on state institutions established by state authorities responsible for performing arts. The analysis of subsidy tools for support of performing arts is also included.
THE INNER PROCESSES IN ACTOR´S MIND
Kukuczková, Anna ; SOPROVÁ, Jana (advisor) ; HYVNAR, Jan (referee)
The thesis examines the processes as they occur in the actor ́s mind during work on the character while rehearsing and acting. It also describes extensively the steps prior to the rehearsal process and acting from the actor ́s point of view regarding the actor ́s mental states. Additionally, the focus is on various approaches to character building during rehearsals and on various wals of working with the text. In her analyses, the authoress is aware of the specific differences of the theatrical genres. The thesis is based largely on her experience.
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...
Ladislav Chudík's output in context of Czech and Slovak dramatic arts
Krénová, Ľubica ; Chmel, Rudolf (advisor) ; Císař, Jan (referee) ; Hyvnar, Jan (referee)
The thesis titled Ladislav Chudík's Output in Context of Czech and Slovak Dramatic Arts is dedicated to the work of one of the best Slovak actors, whose output was a golden thread running through more than a half of the twentieth century. There is not another actor in the history of Czech and Slovak professional theatre and film during the common Czechoslovak Republic whose personality would be characterized by the meaning of the word "Czechoslovak" to such extent but Ladislav Chudík (born in 1924). It specifies his position of the Slovak actor in various kinds of dramatic arts during his fifty-five-year activity within the development of the Czech and Slovak culture and art. He entered the Slovak National Theatre in 1944 after the period of maturation, when the Slovak National Theatre was established and professionalized by Czech theatre people. This was only twelve years after the establishment of an independent Slovak Drama Company. But there was still a supervision of Czech theatre directors at his beginnings on a stage. Drahoš Želenský and Josef Budský especially had a great influence on the shaping of Chudík's acting at the dawn of his career. Intellectually he was influenced by a playwright, dramatic adviser and theatre expert Peter Karvaš, who decided to establish the New Stage of the...
Jiří Hálek - actor at the Činoherní klub, Prague
Honsová, Petra ; Just, Vladimír (referee) ; Hyvnar, Jan (advisor)
V diplomové práci jsem chtěla zdokumentovat hereckou tvorbu Jiří Hálka v divadle a ve filmu. V prvních třech kapitolách zmiňuji kontext českých dějin, píši o Hálkových dětských kontaktech s divadlem a studiích na AMU, o angažmá v oblastních diva~ dlech a v satirickém divadle Paravan. Hlavní část práce je věnovaná umělecké tvorbě Jiřího Hálka v Činoherním klubu (1965~2002). Na základě odborné literatury a zpracováním materiálů uložených v ar~ chivu Činoherního klubu a v Divadelním ústavu v Praze jsem se snažila přiblížit hercův styl a metodu režírovaného herectví. Období 1965~1972 jsem členila podle spolupráce s režiséry - s dramatikem a režisérem Ladislavem Smočkem, s filmovými režiséry Jiřím Krejčíkem, Jiřím Menzelem a Evaldem Schormem, s hercem a režisérem Janem Kačerem, s uměleckým šéfem a režisérem Jaroslavem Vostrým. Hálkovy role Z normalizačního období postihuji stručnější formou v rámci přehledu inscenací Činoherního klubu a významných filmů z let 1973~1989. V období 1990~2002 věnuji pozornost zejména rolím v hrách a inscenacích Ladislava Smočka. Do své práce jsem zahrnula osobní rozhovory s Ladislavem Smočkem, Jiřím Menzelem a Janem Kačerem. V textu jsou zvýrazněny výpovědi Jiřího Hálka, s nímž jsem měla příležitost o jeho herecké práci hovořit.
Contemporary anthropological theatre in Poland
Dolanová, Michala ; Pšenička, Martin (referee) ; Hyvnar, Jan (advisor)
The diploma work maps the development of Polish anthropological theatre, the origins of which date back to Polish Romanticism which continues to be one of the strongest theatre trends. It is divided into six chapters. In the first one the author tries to define the concept theatre anthropology, mentions the most important personalities who participated in its rise and worked out its theoretical subsoil, and marginally covers three of the most important participants of the practical root of anthropological theatre, Jerzy Grotowski, Eugenio Barba and Peter Brook.
Healthy schizophrenia. Influences of Brechtian epic theatre and alienation effect in Czech modern acting
Musilová, Martina ; Hyvnar, Jan (advisor) ; Císař, Jan (referee) ; Just, Vladimír (referee)
The work, Healthy Schizophrenia, Influences of Brechtian Epic Theatre and the Alienation Effect in modern Czech Acting, is divided into two parts. The first section is devoted to acting approaches in Brechtian epic theatre. It is focused on a breakthrough period in Brecht's experimentation, to which belong the stagings of the play Man is Man in 1931, an adaptation of Gorky's The Mother in 1932 and Lehrstücks. This part of the examination is based theoretically on studies of the Street Scene, Alienation Effectsin Chinese Acting, and Notes to the Opera, Rise and Fall of the City of Mahogany. The work also takes into account Brecht's inspirations, including the acting of Mej Lan-fang and American slapstick. The author considers these basic acting principles to be the basis of epic acting: simultaneity of play spaces; description of an event; presentation of and self-presentation of characters; actors presenting character in the third person; speaking directly to public; the actor's attitude as spectator; the principles of quotation and demonstration (of an event, action or of a style); admission of authorship; fragmentary and non-continuous representation of character; the principle of play (playing at a thing); didactics; representation of one's opinions; using an alienation effect; stepping out of a role....
The sixties: the "golden age" of Czech theatre?
Hala, Kateřina ; Stehlíková, Eva (advisor) ; Hyvnar, Jan (referee)
REMERCIEMENTS Je tiens remercier avant tout mes deux directeurs de thse, Mme la Professeur Eva Stehlíková et M. le Professeur Xavier Galmiche, pour leurs conseils avisés, la générosité et la fidélité avec lesquels ils m'ont accompagnée dans ce parcours qui fut labyrinthique et parfois chaotique. Cette thse en cotutelle, écrite entre Paris et Prague, a pu voir le jour grâce l'accueil et l'encadrement du corps professoral et de l'équipe administrative des universités Paris IV la Sorbonne et Charles IV de Prague, je les en remercie vivement. Je remercie en particulier Melle Marie-Madelaine Martinet, directrice de l'École doctorale IV pour l'attention exceptionnelle qu'elle accorde aux doctorants et les nombreuses journées doctorales qu'elle a organisées. Lors des quatre années passées en République tchque, j'ai pu en plus de l'Université Charles IV de Prague bénéficier de l'aide de plusieurs autres institutions et de leurs personnels compétents, je pense en particulier L'Institut théâtral de Prague, au CEFRES, ainsi qu' la DAMU. Pour cette dernire, je remercie plus particulier le professeur Jan Cisář qui m'a conseillé pour ma thse ainsi que lors de mon apprentissage du métier de metteur en scne. Par ailleurs, ce travail n'aurait pas pu voir le jour sans les allocations de recherches de mes deux universités, et...
Characteristics of the racine's theatre and the dramas of Bernard-Marie Koltès
Fiala, Vladimír ; Hyvnar, Jan (referee) ; Hrbata, Zdeněk (advisor)
Tato práce si klade za cíl analyzovat vztah koltesovské dramatiky k tradici francouzského klasicistního divadla, konkrétně k dílu Jeana Racina. Nebude se přitom zabývat úplně všemi Koltesovými hrami, nýbrž jen těmi, které vznikly v jeho hlavním tvůrčím období mezi lety 1977 a 1989, tedy hrami V lesích před příchodem noci (La Nuit juste avant les forets), Boj černocha se psy (Combat de negre et de chiens), Západní přístav (Quai ouest), V samotě bavlníkových polí (Dans la soUtude des champs de coton), Návrat do pouště (Le Retour au désert) a Roberto Zucco. Ostatně Koltes sám se ke své předchozí tvorbě příliš nehlásil, doslova o ní řekl: ,,Les anciennes pieces, je ne les aime plus, je n'ai plus envie de les voir monter. J'avais ľimpression d'écrire du théa-tre d'avant-garde ; en fait, elles étaient surtout informelles, tres élémentaires. Plus ca va, plus j'ai envie d'écrire des pieces dont la forme soit de plus en plus rigoureuse, précise. ,d Obrat ve své tvorbě Koltes spatřoval především ve větší formální přísností, kterou na jiném místě výslovně spojil s dodržováním pravidel klasicistního divadla. Stimulující omezení, která tato pravidla ukládají, také uváděl jako nejdůležitější důvod, proč se nevěnuje i jiným žánrům, například románu. Koltes pro své psaní pravidla potřeboval. To, že je na sklonku svého...
The chapter about puppets, manequins and other creatures in theatre of Michel de Ghelderode
Petružela, Jan ; Pavlovský, Petr (referee) ; Hyvnar, Jan (advisor)
The diploma work "The chapter about puppets, mannequins and other creatures in theatre of Michel de Ghelderode" presents in the beginning a short overview of life and work contexts of Michel de Ghelderode and a selection from literature. The main chapter treat a different approaches to aspect of puppet in the relation with a man in plays of author. These apects are analyzed mainly in formes of mannequin, automat, animal and others. This work concern certain concepts of mannequins from Bruno Schulz's work and the power of mannequin hiden in his man's "double" character. The chapters "Ghelderode in the world" and "Ghelderode in Czech republic" presents shortly a panorama of theatrical reception. The supplements (I-III) contains: I. Chronology of Michel de Ghelderode's plays, II. Bibliography of czech translations of his plays, III. List of theatre realizations of his plays in Czech repubic till these days.

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1 Hyvnar, Jiří
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