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Distancing effects in productions of Komedie Theatre
Havelková, Pavla ; Augustová, Zuzana (advisor) ; Pšenička, Martin (referee)
The aim of the thesis is to analyze distancing effects in productions of the Komedie Theatre. As a subject of analysis I only chose such plays of the Komedie Theatre that I consider highly representative in their usage of distancing effects and principles, reason of which is the chosen analytical method is relatively detailed and the extent of the thesis is limited. The plays chosen are Kanibalové, Kvartet and Sportštyk. I separately analyzed each drama, then I analyzed its production. Each play is addressed in a separate chapter. In these chapters I focused especially on the possibilities of using distancing effects that are hinted at in the text by the author. In the chapters dedicated to production I analyzed the way how the directors worked with distancing effects utilized by the authors and how they developed and enriched them. The objective of my analysis was to identify the distancing effects used in plays of the Comedy Theatre and also to define their role in context of the overall poetry of the Komedie Theatre.
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Lubos Hruza's scenography in the Cinoherni klub in 60s
Vöröšová, Markéta ; Just, Vladimír (advisor) ; Augustová, Zuzana (referee)
The presented thesis deals with the set design of one of the most important Czech artist, Lubos Hruza, that he created for the Cinoherní klub between 1965 and 1968. What is most accentuated is the restoration of twelve of his scenographies followed by a comparison between the final stage creation and the dramatist's written stage directions. The text concentrates at finding a characteristic expression of Hruza 's style. It also notices a specific space of this theatre that is believed to necessarily influence an artist in his work. Further, the thesis analyzes the changes between the draft scenic designs and the final stage realization.
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Pina Bausch's dance theatre
Faustová, Markéta ; Christov, Petr (advisor) ; Augustová, Zuzana (referee)
Pina Bausch and the dance company Tanztheater Wuppertal inherently belong together. The choreographer became the head of this German dance company in 1973 and has led it since up today. She has never created choreography for any other dance group or other dancer. During this thirty-five years' connection the company moved among the top dance groups and stili achieve success worldwide. lt was and stili is an inspiration for many young authors. lt is a history, but also the presence at the same time. Right from the beginning of her career, Pina Bausch indicated that her work was going to be exceptional. For her, there were no barriers, neither in formulation of themes, nor in use of means of expression. She organically connected dance and theatre in her works and thus created a new art genre, which theoreticians call dance theatre. She managed to unite a multi-national group of twenty-six members, with which she worked very closely in preparation of particular pieces. Especially at the beginning, the dancers were forced to personally engage into each choreography. Preparation of a performance consisted in so-called principle of questions. Pina Bausch wanted her dancers to answer her questions by improvising a little dance or theatre sketch. Then, she was choosing from this amount of mate rial to form a base...
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The Five from Prague art companies and their media reception in years 1980-1989
Kovář, Zdeněk ; Just, Vladimír (advisor) ; Augustová, Zuzana (referee)
This bachelor thesis deals with The Five from Prague art companies and the media reactions to their creations in the 80th of 20th century. ln the first part much attention is paid to the formation of these groups, their members and the characterization of their work. In those years wasn't written any review about their performances. The subsequent chapters are divided into three time periods - inscenations before their joint staging in the Lucerna hall, the Lucerna action and their productions at the end of the 80th of 20th century. During each period not only Prague 5 but also their media receptoin which is the principal task of this thesis was developing. The last part of this work is devoted to the development of these art companies at the tum of the 80th and the 90th of 20th century and the Tomas Voreľ s films The Five from Prague and The Smoke.
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What is the Czech operagoer like?
Řeháková, Kateřina ; Pšenička, Martin (advisor) ; Augustová, Zuzana (referee)
This Bachelor thesis compiles the results of the sociologic-marketing research on the Czech opera audience in all ten Czech opera houses elaborated by the Music Theatre Society and supported by the Ministry of Culture's grant. It displays sociological a demographic structure of the opera audience and tries to find out their marketing potential and the consequences for managements of opera theatres in the Czech Republic.
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Dramatic production of Prague german authors in years 1910-1938
Kverková, Pavlína ; Augustová, Zuzana (advisor) ; Just, Vladimír (referee)
SYNOPSIS This thesis is devoted to German-speaking dramatists in Prague in the years between 1910 and 1938. The author of this thesis tries to research and emphasize the themes that were the most frequent in their production. The largest space is devoted to expressionist and by expressionism influenced drama. Another objective of this thesis is to integrate the work of these playwrights in the wider socio-cultural context, taking into account the specific atmosphere of Prague as a multicultural and multiethnic city, influenced by the mutual relationship between the three most widespread national minorities. KEYWORDS Prague German literature, expressionism, drama, theatre.
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The Main Tendencies in the German Political Drama with an Emphasis on the Contemporary Drama
Marešová, Petra ; Augustová, Zuzana (advisor) ; Cornejo, Renata (referee) ; Urválek, Aleš (referee)
In my thesis, I analyse the current German political drama. However, the term political drama or theatre is difficult to define in general. In my work, I understand the concepts of political drama / theatre in the narrower sense, follow the engaged, appellative, left-wing (anti-capitalist) oriented the- atre of E. Piscator and Brecht, and at the same, in the broader sense, as socio-critical drama / theatre, i.e. relating to the problems of today's "polis" (city, state) and following mainly the tradition of new German and Austrian folk plays. In contemporary German political drama, the two trends outlined in the introduction can be traced. In their works, the first line (left-wing appellative) is followed mainly by playwrights and directors F. Richter and R. Pollesch, the other line (socio-critical) by D. Loher, O. Bukowski, T. Walser, or M. von Mayenburg.
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Combining of Realistic and Anti-illusionist methods in Contemporary Theatre
Píza, Ludvík ; MUSILOVÁ, Martina (advisor) ; AUGUSTOVÁ, Zuzana (referee)
This bachelor thesis attempts to describe some of the staging methods based on combining realistic and anti-illusionist components in European contemporary theatre, specifically of the examples of Woodcutters by Krystian Lupa and Regulation of Intimacy by Jiří Havelka. The major part of this thesis focuses on the first theatre production and consists of analysis of Woodcutters, a novel by Thomas Bernhard, and its theatre adaptation. In both cases, I focus on the general structure of these pieces, their work with time and space and their performative aspects. The comparison aims to describe the main common as well as different features of the novel and the staging concept based on a performative model.
The second part analyses the production Regulation of Intimacy and its staging concept of public confession. The aim is to depict the intentional usage of two opposing principles and the aesthetic experience it provides for the spectator.
In the end, I am trying to sum up depicted staging methods that prove the possibility of effectively combining realistic and anti-illusionist elements that may strengthen each other, coexist and organically permeate.
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Poetics in theatre plays of Werner Schwab
Macáková, Karolína ; AUGUSTOVÁ, Zuzana (advisor) ; SCHLEGELOVÁ, Martina (referee)
The master thesis deals with the work of the Austrian playwright Werner Schwab, who wrote most of his plays during the first half of the 1990s. Its aim is to provide an analysis of his theatre plays. The thesis pays a special attention to his in the Czech contextwell-known cycle Fäkaliendramen (Fecal plays). Schwab's writing represents a new way of writing, so called post-dramatic theatre plays.
The thesis looks at Schwab's theatre language by dramaturgically analysing his most renowned theatre plays Die Präsidentinnen, Die Volksvernichtung oder Mein Leber ist sinnlos, Übergewicht, unwichtig: Unform, Mein Hundemund and also Pornogeographie in a critical way, it reflects the author’s innovative approach towards the category of dramatic conflict and dramatic language. The thesis also outlines an historical context which served as a platform for the birth of a specific artistic form of Austrian drama after the Second World War.
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