|
|
The Ballet Ensemble of F. X. Šalda Theatre in Liberec
Laifrová, Alena ; NĚMEČKOVÁ, Elvíra (advisor) ; WIESNER, Daniel (referee)
This diploma thesis deals with mapping of history of the ballet ensemble of F. X. Šalda Theatre since the end of the Second World War till present. Considerable attention is paid to the most significant artistic directors, choreographers, and ballet performances, most importantly to the life and works of Jarmila Jarošová, a principal dancer with that ensemble. Firstly, the origin of Czech theater in Liberec is put into its broader historical and political context. Also, the Czech-German coexistence issue is mentioned as well as the brief development of German theatre in that region. A list of both artistic directors and ballet performances since the first Czech theatrical season in Liberec till present is an inseparateble part of the thesis.
|
|
|
The role of authority and form of partnership during creation of new choreographic dance piece
Radačovský, Mário ; KAZÁROVÁ, Helena (advisor) ; WIESNER, Daniel (referee)
In our dance life its very important that we meet time to time people who are so incredibly influencetial to us ether positive or negative ways. Some of them are able to influence us so much that we keep this impact which they have made on us for ever.Role of autority and partnership between these two elements is crucial.Its has impact on everyday of our working life.I ca not imagine what can happen if there is not existing somekind of form of partnership in the dance studio.To be dancer is very no simply just job .Is more ,its something truly special what not everyone can understand.The task of my work is to go back in my profesional past ,through out my own memories and profesional experiences to offer some situations when I truly felt presents of authority and partnership .Sometimes only autorithy .I this work Im trying to offer my small stories which I lived thourgh from my prospective and Im tring to analysed them through my own expierience of today.It always about something.We are creating because we want to say things.Journey is very important sometimes more then final outcome.
Now important during this journey is able to see how things are done how we comunicate them and autorities will appear .
|
|
|
Famous graduates of the conservatory in Ostrava
Hájková, Petra ; WIESNER, Daniel (advisor) ; OVSOVÁ, Libuše (referee)
My bachelor thesis is dedicated to the Janáček Conservatory and Grammar
School in Ostrava and its, in my opinion, the most significant graduates of the dance department. The
introduction of the thesis briefly deals with the history of the conservatory, which
was founded after several years of efforts in Ostrava. The area around Ostrava
had a lot of talented people who attended elementary art schools and desired for
secondary education, as well as those who lived in Bohemia. The main part of my
thesis is dedicated to personalities who have graduated in this school. Some of
them after finishing their active dance career share their experience with young
artists and some of them are still engaged in the dance arts. These personages
are the great benefit for the artistic life in dance at home and abroad.
|
|
|
Nelly Danko – Teacher of a Dance and Ballet Master
Tomcová, Markéta ; WIESNER, Daniel (advisor) ; KAZÁROVÁ, Helena (referee)
This thesis describes the current professional career of an artist Nelly Danko. She has been working at the National Theatre in Prague for more than forty years as a dancer, ballet master and assistant choreographer. Today she is one of the most influential and important pedagogical personalities at the Dance Conservatory in Prague. The primary source for this text was a conversation with her and her very close colleagues who worked with her during the life. The secondary sources that I have used were available publications, which I found in the Theatre Institute and articles about dance.
|
|
|
Spoken word in contemporary dance theatre
Mottlová, Kamila ; WIESNER, Daniel (advisor) ; NĚMEČKOVÁ, Elvíra (referee)
Bachelor thesis deals with the spoken word in contemporary dance theatre. Approximates the contact points in the history of dance theatre and offers an insight view into the way how contemporary artists works in this field. Finally, it introduces the experience of the author to production in collaboration with the graduate student of department of authorship at the Theatre Academy of Prague.
|
|
|
Costume as a scenic element
Částková, Monika ; NĚMEČKOVÁ, Elvíra (advisor) ; WIESNER, Daniel (referee)
In my thesis titled "Costume as a scenic element" I wanted mostly focus on the possibilities of using the costume in stage design. My goal was to answer the question whether it is possible to exploit the costume as the only stage design element, based my on my own choreographic experience and studying work of selected renowed choreographers who, I believe, have created this way.
|
|
|
Minimalism, inventions in contemporary dance creation
Stupecká, Kateřina ; ELIÁŠOVÁ, Bohumíra (advisor) ; WIESNER, Daniel (referee)
Describing the understanding of the term ´dance minimalism´ is the content of this theses. Following the minimalism´s journey (in the history of dance) and exploring how minimalism changes the ways of thinking and attitude helped me to clear my intention. I present information about radical figures, who were at birth (of minimalism), and period context mainly in the matter of searching and exploring the new ways of creation and also change of perceiving art that goes with it. The most important criterion is the change, which brings not only artist but also spectators to the new ways of thinking. The methods and ways of work of the important creators/artists, who work with or through out minimalism their own way or even create it are described with more depth. Music inspiration and its infiltration and impulses brought into the field of dance are at the forefront of the theses. I deconstruct and generalize the principles of minimalism, that go beyond to philosophical thougths and questions. The these also follows up the fundamental essence of minimalism - time, which in it´s innovative and till then not used ways affects spectators meditatively/contemplatively and even transcendently.
|
|
|
Petr Weigl as a director of ballet films and productions
Čižmáriková, Monika ; NĚMEČKOVÁ, Elvíra (advisor) ; WIESNER, Daniel (referee)
The thesis describes and summarizes dance work of the important Czech director Petr Weigl who was the first dramaturge and director of ballet in our country, and who earned great international success and appreciation for his films. He made many dance movies and collaborated on numerous productions in National theatre in Prague. Among the films were for example Pas de quatre, Víly (Fairies), Bolero and more. In my work I focus both on the films of Petr Weigl, which I describe and briefly analyse, and on his theatre productions, Vášeň (Passion), Radúz a Mahulena (Radúz and Mahulena) and more. I put a big emphasise on the ballet Romeo a Julie (Romeo and Juliet) from 1971. Weigl collaborated with the choreographer Miroslav Kůra on this ballet and it was an unusual success. In the end of my work I also deal with the problem of theatre direction, especially in dance performances, where I argue about lack of using directors in ballet. I see the core of my thesis in many testimonies of eyewitnesses who collaborated directly with Petr Weigl - Vlastimil Harapes, Michaela Vítková, Aneta Voleská and itself Petr Weigl himself, These personalities were a big source of facts and remarks, that are nearly forgotten in these days. I also use period reviews and critics of various Czech periodicals, for example Taneční listy, Právo, Lidová demokracie and much more in my thesis.
|
|
|
Music in Choreography
Šťávová, Helena ; GREMLICOVÁ, Dorota (advisor) ; WIESNER, Daniel (referee)
The thesis called Music in Choreography with the subtitle Interaction of Dance and Music with the Use of Motion Sensors aims to characterise the relationship between dance and music, and how this relationship was influenced by the advancement of technologies during the 20th century. The work pays close attention to the possibilities of using motion sensors, it presents the basic types of sensors and their use in choreographic work. Based on analysis and exploration of her own master´s degree choreography, The Art of Manipulation, the author describes the process of collaboration between a choreographer and a composer in creating a performance which uses modern technology in the form of Hot Hand motion sensor.
|
|
|
Dancing as a Journay to a Painting
Jandová, Markéta ; Turečková, Hana (advisor) ; WIESNER, Daniel (referee)
Dancing and fine arts are generally considered to be two independent art forms. Their impact though is mingling, they are inspiration to each other and capable of creating a harmonious whole when together. This work is a result of an insight into Jackson Pollock´s and Anna Teresa De Keersmaeker´s works ? thanks to whom the action painting/drawing can be compared to dance choreography. Both creative processes are linked by a joint way of dance where a painting is the outcome at the end of it. This text is trying to expose a painter who entered the canvas and created his work through gestic painting. It also concerns with a choreography whose process is joined with painting and the approached outcome is the same as for a painter ? creation of a painting. The end of this work is concluded with a confrontation of the author´s own experience with choreography, who works on connecting fine arts and dance through her own art work.
|
guest ::
