National Repository of Grey Literature 8 records found  Search took 0.00 seconds. 
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.
Authorial Acting as (Non)education towards a Self
Pártlová, Zuzana ; SUDA, Stanislav (advisor) ; MALANÍKOVÁ, Hana (referee)
This doctoral thesis explores the potential of authorial acting as a tool for open-ended self-education. It focuses on the properties and the process of acquiring psychosomatic capacity for presentation in front of an audience as a means of self-discovery and self-realization through play (Dialogical Acting with the Inner Partner) and other preparatory psychosomatic drama disciplines. The secondary subject of this thesis is the relevance of this capacity to teachers and educators. In the theoretical section, I present the essential terms and concepts as well as the basis of my research. I explain why I use the expression "(non)education towards a self” rather than "personal education” and how one's holistic and creative conditioning relates to the skills of a pedagogue or educator in the broadest sense of the word. The qualitative research section consists of three parts which correspond to three research projects. The first part explores the "personal trajectories" of students of the two-year “Creative Pedagogy-Pedagogical Condition” (CP-PC) study program. The exploration is based on written reflections and a two-day encounter devoted to discussion and creative work. The encounter involved practical workshops as well as talks with I. Vyskočil and E. Vyskočilová and student discussions. The aim was to explore the development of the individual psychosomatic “fitness" by means that go beyond written subjective reflections and offer live confrontations with oneself and others in workshops and discussions. The second part focuses on the issue of authenticity and the triple actor-viewer-assistant relation. Using simultaneous recording with two cameras and focus groups, we tried to analyze the moments of spontaneity during the experimentation and to identify the essential features of authentic expression. The themes that significantly emerged from the research were the theme of inner and outer spectator and of body resonance and joy as main characteristics of authentic presence. In the third section, I followed up on the findings of the previous sections in 16 semistructured interviews with students of the CP-PC program as well as regular and external students at the department. These interviews were analyzed using the method of open coding combining two perspectives: a broader, theme-focused perspective and a narrower, notional one. This research reveals the complexity of tacit learning processes which, in the context of play and psychosomatics, foster a personal evolution towards an original, creative personality, i.e. "becoming one's self”. Simultaneously, this research attempts to define the essential "virtues” of authentic acting and outlines the benefits of Vyskočil´s pedagogy for education of educators.
Mendoza Piedrahita, Isabel Cristina ; RAISOVÁ, Michaela (advisor) ; MALANÍKOVÁ, Hana (referee)
Redefinování role učitele použitím divadelních dílen založených na psychosomatickém přístupu v komunitě bez divadelního povědomí umožnilo účastníkům ocenit a prozkoumat své vlastní kreativní schopnosti, vedlo k rozšíření jejich kreativity a uvědomění si své tělesnosti a zodpovědnosti za tvorbu bezpečného a plodného prostředí k učení. Tato dizertační práce analyzovala mezinárodní experiment, který testoval trénink šestičlenného týmu z Katedry autorské tvorby a pedagogiky a nabídl možnost aplikace psychosomatického přístupu.
A Case of a Beginning Teacher in the Caucasus
Šimáková Dosoudilová, Anna ; MALANÍKOVÁ, Hana (advisor) ; CHRZ, Vladimír (referee)
The diploma thesis A Case of a Beginning Teacher in the Caucasus: authorial approach in a school system seeks to depict and reflect on teacher´ s first year at work. The case study draws on author´s job experience at an international school in Tbilisi, Republic of Georgia. Since this job experience taught the author a lesson, she wants to gain a deeper insight into her own pedagogical activity as well as to examine the options how to work creatively and originally within a limitating school system. The first part of the thesis operates experimentally with a biographical narrative method – the period in a beginning teacher position is being described in a novel way, using stylized literary diary entries as well as authentic ones, supplemented by personal correspondence from that time. The second part of the paper reflects on the narrated experience and analyzes it with the help of pedagogical and psychological literature. With respect to author´s intended future in educational sphere, she addresses topics which require a closer examination (nonviolent communication, consistency, freedom and order in a class and in relationships, a need to remain present and connected) and she searches for sources that could serve as an inspiration for her further educational activities. Method of nonviolent communication as well as principles of unschooling and dialogical acting with the inner partner are presented as the main inspirational impulses. Combining those together with the reflection of the teaching and examples from the school, a sort of beginning teacher´s handbook is being composed, to be used as a good practice in author´s future teaching. Finally, the whole story is being looked at through the narrative analysis which reveals signs corresponding to a genre of Bildungsroman. Furthermore, the story seems to be a story of the quest; the quest for meaning of what author does, the quest for her adult identity, for her place in the society and for the approach to educational institutions and their students. At that point, the thesis comes to the need of creating school system without hierarchy, which would rather be a community of equal individuals where relationships are not built on power principle, on command and prohibition, but they stem from highly developed empathy.  
The World according to the Larp
Koubová, Karolína ; SLAVÍKOVÁ, Eva (advisor) ; MALANÍKOVÁ, Hana (referee)
In my diploma thesis I deal with the phenomenon of chamber LARP and through it I get to the reflection of my studies at the Department of Authorial Creativity and Pedagogy [KATaP]. My first approach to the writing assumed that the live action role playing (LARP) is based on similar assumptions and motivations as the basic disciplines of the department. The more detailed I looked at this game, I had to modify the original hypothesis of similarity. Process that I describe in my thesis has finally reverse trend. I do not describe LARP with regard to the experience of KATaP, but the LARP experience leads me to the reflection and exploration of the five-year study. Gradually, (Inter) acting With the Inner Partner, authorship and game become the subject of my research. I also think of the possibility of an authentic experience and try to answer the question of for what is the truth in own creation and access to myself. It is largely a subjective view and an offer of my personal experiences and experience from University and from the practice of LARP.
Authenticity in the media World
Malaníková, Hana ; JIRÁK, Jan (advisor) ; HANČIL, Jan (referee)
The subject of my doctoral thesis is the phenomenon of the authenticity of people?s, specifically TV hosts?, public appearances in the media. The chief impetus, and the field of study itself, was my own experience of working at Czech Television for a year and a half and the necessity of placing that experience in the context of my theatre and teaching work.In the interest of preserving the most authentic possible testimony, the text is written in a narrative style with an emphasis on the subjective view of the author. In the introduction I set out the starting points from which I will explore authenticity in front of the television camera, along with the personal and social context of the phenomenon being studied. I describe the "rules of the game", i.e., the structure and concept of the text. Later I focus on the most significant contemporary views of authenticity, from the ideas of Jean-Jacques Rousseau to the theories of the social construction of reality of Peter Berger and Thomas Luckmann. From social scientific theories, I move on to the authenticity of actors on stage and an analysis of the discipline of Acting with the Inner Partner as a specific case of authentic existence in a public situation. In the third chapter I compare the theory and practice of television broadcasting from the perspective of an actor attempting to perform authentically in the role of TV host. In conclusion, I compare my original hypotheses with the conclusions I reached on my journey from the stage to the television camera and set out their potential significance for the study of authorial acting and authorial creativity.
In the Course of Playback Theatre´s Theatricality
Kočner, Karel ; Vyskočil, Ivan (advisor) ; Malaníková, Hana (referee)
Playback theatre (abbreviated below as PT) was developed by Jonathan Fox and his wife Jo Salas in 1975. The Original Playback Theatre Company was established in the same year. Since that time, the PT has been practiced in over 50 countries all over the world. PT is improvisational theatre approach, in which is never known how the performance will look like and how it will be fulfilled. PT enforce learning to spontaneity of expression in the code of conscious inspired creative developing of unknown situation and existing in it on the stage in the same way as during Acting with the Inner Partner(s) lessons. PT performances are developed in certain structure and have stable course. That is how PT is enforced as ritual scheme, which has purgative ability and artistic power able to gather people together and teach them reciprocity, sharing and coexistence. Basic principal of PT is storytelling of private stories, events or life experiences as emotions, fantasies, dreams or ideas and sharing them by all participating. These are thereupon improvisationally played back to so called teller by a group of actors on the stage. That is how those stories are upraised on a higher level of theatre pieces. Whether is story anyhow simple, difficult, deep, trivial, lightweight or serious, it must be always foremost and it also must be played from this point of view. It is not purpose to make fun primarily with it, but to use collective moment, in which we learn to listen one to another. We also learn to respect others and their personal experiences and their understanding the world. PT actors are not in the center of public attention as during classical type of theatre performances, but they serve straightly to audience´s stories. They enact them with humility and respect with purpose of feast event experience. This discipline interests me by its universality of being used in different types of environment, by its richness of inspiration, by its education potentiality and by its artistic value.
Education vs.Experience
Koubová, Karolína ; Čunderle, Michal (advisor) ; Malaníková, Hana (referee)
My bachelor theses is primarily focused on the comparison of the influence of three year studies at the Department of authorship and pedagogy on my work at Czech Radio and on my professional direction with an accent on performing in front of the public. The first part describes the beginning of my own public performance. The second one presents my media experiencce in radio and TV in detail. The third part is focused on my studies at KATaP and on new public performance methods that I have tried thanks to my studies. The last part compares both platforms of my public performance - school versus radio. I was especially interested in the question of how to perform out the "willing" atmosphere of KATaP and how to compose on less advantageous condition of hurried, hectic and hard to please world of media.

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