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Animation World
Cikán, Martin ; BEČKA, Marek (advisor) ; MAKONJ, Karel (referee)
This bachelor thesis is a theoretical summery of preparations, methods and processes of a conducted school project, assigned without any given topic during class of Animation. It is designed to show possibilities during theatre productions. It also describes in detail how it is to write a custom script that is based on a computer game and how to use the potentional of interactions of spectators. I based my work on partial viewers influence of the plot. I talk about the importance of working with sound and cut as well. Finally I point out the mistakes and flaws that surfaced during the presentation of part of the play and how I am going to learn from them during finalizing of this project.
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PLAYGROUND AS A SOURCE OF THEATRE
Erbes, Petr ; JIŘIČKA, Lukáš (advisor) ; MAKONJ, Karel (referee)
This bachelor thesis deals with the activation of the spectator. The first part examines the question of changing spectator's perception based on instructions and poems. The second part deals with reenactments of conflict-based situations. The third part deals with role-free participation. The work is based on authors' projects and tries to find for parallels not only in the field of theater, it explores different concepts of the spectator's involvement in the creation proces, and also the blurring of the boundary between the author and the recipient.
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What Does - To Be in the Beginning - Mean II.
Šimek, Jiří ; LJUBKOVÁ, Marta (advisor) ; MAKONJ, Karel (referee)
In this master thesis I am analyzing the process of two author performances
GoG & LONELiNESS & STUFF. I am trying to write down basic methods and assumptions
for my own author work without scenario where the beginning of the whole process is only a theme or a literally model (which is more likely main inspiration source rather than
pattern). All those methods and assumptions, I call Beginning which is a word that
represents them in the best possible way. That is also a reason for naming my thesis What does -to be in the beginning- mean, this name should represent my never ending searching of more sophisticated way of developing theatre performance.
The whole thesis begins with a chapter called Starting-points, which collection of
most important things I learned in the Department of alternative and puppet department. The chapter is divided into parts according to the teachers who took turns in leading main subject
Acting. In every part I tried to write about the way of influencing my approach to author
work.
Middle part consists of two chapters GoG and LONELiNESS & STUFF where I
describe my own work on concrete cases from process of rehearsing both performances. In
both chapters I describe my own new methods and experiences. Putting both processes in
context, and trying to explain differences. And I also try to find a connection between the
chapter Starting-points and concrete cases from my own author work.
The whole thesis ends by a chapter What does to be in the beginning mean
where I summarize and generalize issues which we were solving during our author work and I also try to establish requirements for really creative way of creating author performance.
Main message of this thesis is to look back on my own work. Also, from my point of
view, establishing ideal way of creative process and defining spectator as co-creator of
theatre performance. Where this ideal way of creative process doesn’t exist because the
point upgrades my own ability to constant adapt and change, act intuitively.
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Actor and object as equal partners (director's perspective)
Maksymov, Jakub ; MAKONJ, Karel (advisor) ; KLÍMA, Miloslav (referee)
Author in this bachelor thesis reflects his two school projects (Crystal growth, Thousand dozens) and two out-of-school projects (Rays of sun, I am Krabat). On the basis of these projects he thinks about possibilities of puppet and object theatre in general. He focuses on partnership between actor and object/puppet. Further he analyzes and compares creative processes of these projects from director's perspective. He searches the specific conditions, which stimulate creative process. Finally he compares inspirational artists, who work with puppets/objects.
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The differences between puppet theatre for children and for adults based on own experiences
Valenová, Lucie ; BEČKA, Marek (advisor) ; MAKONJ, Karel (referee)
The thesis discusses the differences between theatre for children and for adults.
The differences are described and analysed through the two authors' puppet
productions - ‘Batosnění’ and ‘Sólo Matches’. The theoretical part briefly sums up
the psychological development of a child, draws on other contemporary puppet
performances in the Czech Republic and talks about the Theatre for the Very
Young phenomenon. The practical part draws a comparison between Batosnění
(a production targeting children under the age of 3 years old) and Sólo Matches
(a production primarily aimed at an adult audience). The thesis debates the
experiences and findings connected to the preparations and subsequent
presentations of the two productions. Photos and video recordings from both
productions are part of the thesis.
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Unconscious Inspiration
Holubář, Patrik ; MAKONJ, Karel (advisor) ; MIKEŠ, Vladimír (referee)
The meaning of this work is the explanation of a particular life expression, which is presented by moment of now, that inside itself encapsulates cause and consequence.
The focus of this work is to define the influences which have effects during artistic creation which is a compilation of physiologic and psychological phenomenons of a particular person.
For this purpose I reflected on my activity to date as an artist, secondly I looked up and read relevant literature and met with people, who willingly helped me with this work.
The finding of my continuous and retrospective cognition is that artistic creation is closely related to life experiences, individual perception and subjective benefits and experiences.
Therefore, a person can set out his lifelong goal of whom he wants to be and what he would like to achieve. He would know almost automatically, what he should do in accordance with his deep-rooted and previously tested abilities and thus he would behave as such at a present moment.
It is desirable to pursue one´s chosen vocational skills, preferably most of one´s free time to ensure one´s professional growth in a particular field. However, it is necessary to pay attention to one´s personal life, which can have the deciding impact on the final consequence.
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BLANK PAPER
Lesák, Jan ; MAKONJ, Karel (advisor) ; TOMÁNEK, Karel František (referee)
This diploma thesis is following process of preparing theatre peace which is not based on structural dramatic text, but it is formed from an idea. I´m interested in step by step
process of idea development from blank paper to the theatre piece.
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THEATRE PRODUCTION IN ORIGINALLY NON-THEATRICAL SPACES
Vanišová, Apolena ; MAKONJ, Karel (advisor) ; KLÍMA, Miloslav (referee)
In this essay, I focus on the issues of theatre production in an originally non-theatrical space. The work aims at describing the relation between the space and the directorial, stage design and visual component of a production, setting specific projects as examples.
I map my work in an originally non-theatrical space and I describe the process of creation of individual projects of that kind. Based on the realization of many productions, theatre installations and one visual installation, I introduce possible artistic approaches and working procedures. The essence of this work lies in finding and naming the moments where the project is formed by the space and those where, in the contrary, the project affects an existing non-theatrical space.
The thesis provides a summary of experience gained by working in non-theatrical spaces and suggests possible connection between artistic and production management activity. The reader is offered a number of starting points and assumptions in the matter of working in a non-theatrical space and our attention is brought to the advantages and difficulties of such work.
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CO-CREATING THEATRE
Petrovič, Zoran ; MAKONJ, Karel (advisor) ; KLÍMA, Miloslav (referee)
This graduate paper deals with the phenomenon of the theatre
spectacle that truly becomes alive no sooner than when the actor and the
spectator meet in the same space and time; the paper is also occupied with
the (pre)conditions that have to be met in order for the interaction between
the actor and the spectator to begin.
The paper draws conclusions from the theatre creator?s and the
spectator?s perspectives, it wonders about the meaning and the origin of
theatre (co)creation, and is based on practical experience, as well as on the
findings of theatre practitioners and theoreticians.
The concept of theatre is used in the widest meaning of the word.
The paper intentionally originates from and connects various performance
arts ? it draws from the realization that the theatre is basically one, and
that for theatre to happen one needs both: an active actor and an active
spectator.
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Wipe a Nose with the Chair
Krupa, Šimon ; KLÍMA, Miloslav (advisor) ; MAKONJ, Karel (referee)
This work reflects and compares the different aspects of studies in two various programes ? the dramatical acting at an art secondary school and alternative forms of acting at AMU. Furthermore, its main goal is to define the personal approach to the theatre sphere (both creative and practical part) from my own point of view. It also attempts to track the mutual influence between tradition and experiment, based on the experience gained. It is established that the functionality and communication of an artwork stands before the perception of its aesthetics, which is and always will be largely individual.
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