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Czech - French Interaction and its significance for modern Czech pantomime
Vizváry, Radim ; PETIŠKOVÁ, Ladislava (advisor) ; HYVNAR, Jan (referee)
The work examines Czech ? French relations and its impact on modern Czech pantomime after 1945 in three respects. The aim of this work was to create an overview mapping French contacts with leading figures of modern Czech pantomime. The first section is concerned with historical perspectives. Based on the direct testimony of participants, research, and the discovery of yet unpublished archive material, I introduce new facts and verify the historical context during the renewal of interest in pantomime art in Czechoslovakia after 1945. While I was guided by historical events in interpreting this considerable body of material, I endeavored to record and develop the most significant events in broader and deeper contexts. The second aspect of my research focuses on a comparison of individual French mime techniques which have been and continue to be used here. I then attempt to compare these with my own method. I particularly understand them from a practical point of view, as I have learned and mastered these approaches and even adopted some for my own performing and teaching. In the third section, I assess the influence of French mime art on my artistic activity with respect to my teaching practice and own artistic work. This was most evident in the creation of Mesdames & Messieurs, Deburau!, where I played the main character, and while directing the opera Theater Beyond the Gate by B. Martinů.
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Movement in drama and opera - work of Robert Wilson
Waidingerová, Andrea ; SOPROVÁ, Jana (advisor) ; HYVNAR, Jan (referee)
Most of us try to do performance in pure style (mime, drama, clownerie, slap stick, physical theatre, opera, musical, ballet). I am interested in mixing of these styles. Robert Wilson works this way. For him movement is one of the basic means of communication. He works ? as mime theatre does ? with images (pictures). He works with hyperbole and big stylization, that is close to mime theatre. This thesis is interested in mime theatre or theatre of movement and its relation to other elements of theatre. The thesis also deals with the work of Robert Wilson and tries to show the interaction of the elements he uses for the stage image. A how he touches the audience with his work.
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Jean - Luis Barrault
Svoboda, Vojtěch ; PETIŠKOVÁ, Ladislava (advisor) ; HYVNAR, Jan (referee)
This work discusses the life and work of Jean-Louis Barrault, one of the most significant french theatre artist. Barrault is known as an excellent actor, mime, directer and theatre theorist. His contribution to the development of Europian theatre in the last century is very important, especially to mimic theatre styles. The thesis shows Barraults personality and art with a focus on his contribution to pantomime. Another task is to explore influence of different personalities on the artistic development of Jean-Louis Barrault.
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Theatre as a media
Žantovská, Irena ; Císař, Jan (advisor) ; Hyvnar, Jan (referee) ; Huk, Jaroslav (referee)
Dissertation thesis was focused on issue of theatre as a media communicationand contemporary position of theatre communication in the context of other media. Thesis was focused mostly on specificity of theatre performance as a unique act between the stage and auditorium. It was divided into theoretical and research part. Theoretical chapters went into characteristics of the theatre as a way of communication and theatrical communication as a unique social interaction, unique features of theatrical communication, problems of the audience with accentuation of theatre-goers argument as an anthropological quality and mapping of social determinants of contemporary theatre work
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Psychological context of scenic production
Šípek, Jiří ; Vostrý, Jaroslav (advisor) ; Hyvnar, Jan (referee) ; Gajdoš, Július (referee) ; Hančil, Jan (referee)
This dissertation thesis investigates selected (but substantial) topics of scenic art. It is based on theoretical work of prominent art and theater personalities (Frejka, Hilar, Zich, Vostry and others). Emotions, empathy, inner touch perception and distance are discussed in detail. In empirical research part there is studied a special way of art personality reaction in situation of meeting uncertainty. To process it Rorschach projective method was used.
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FROM ACTRESSES OF J. K. TYL TO SKLENÁŘOVÁ- MALÁ
Marková Chválová, Lenka ; Sílová, Zuzana (advisor) ; Císař, Jan (referee) ; Hyvnar, Jan (referee) ; Šípek, Jiří (referee)
This dissertation thesis describes in detail the evolution of the feminine acting and changes of the image of womanhood in drama and theatre of 19. century in Bohemia, from the formation of the first Czech professional actor?s ensemble in the forties, to the greatest Czech actress of the 19. century ? Otýlie Sklenářová-Malá and it describes all that in direct context and connection with the formation of the Czech drama from J. K. Tyl up to the playwrights of the Prague Provisional theatre ? V. Vlček and E. Bozděch. The study follows the creative cooperation of the exceptional artistic personalities at theatre and it engages in forms and sense of actor?s dramaturgy as the way to develop the original talent and the deep theme hidden in the actor. The thesis proceed mainly from the authentic period evidence and it overcomes some repeated preconceptions of the theatrical history.
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A philosophical postulate about the signifikance of the art of theatre in the 21st century
Hlava, Nina ; Hybner, Boris (advisor) ; Petišková, Ladislava (referee) ; Hyvnar, Jan (referee)
In my work I place a sociocritical light on the inherent events on the stage in the 21st century. I address topics such as cynicism and decadence and point out that the art of performing leads to ambivalence, and therefore resulting in a diremption in the art of acting. I continue my philosophical discurs in the spirit of perceptionalism and ask the provocative question, has theatre, especially in Europe, become a victim of narcissism and therefore turned its back on its political and sociocritical functions. The use of petitio principii has been helpfull in explaining the paradoxical term of ?physical theatre?. I want to illustrate that this youngest form of theatre shows a tendency of moving away from the social ethics and more towards individual ethics. At the conclusion of my work I confront my pessimistic outlook with an aesthetical approach in which I make an appeal to have confidence and believe in the philosophy of beauty again.
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Theatre and iIlusion
Bartoš, Zdeněk ; Císař, Jan (advisor) ; Hyvnar, Jan (referee) ; Porubjak, Martin (referee)
The thesis explores different meanings of the illusion in theatrical context in the past and searches how to define this effect. It compares definitions in classic resources (Fureti?re, Marmontel, D?Aubignac, Stendhal, Hugo etc.) as well as in contemporary dictionaries (Pavis, Corvin) and asks a question if an illusion as a false appearance of reality (in so far the spectator forgets he is in the theatre or takes the watched performance or its part for a real event) is possible. The study affirms such an illusion is excluded in essence, except for occurrences when the theatre-goer is unable to distinguish between the intentional and unintentional potency included in the artwork (according to Mukařovský) or between the technical and image aspect of the work (according to Zich) or he does not discern a model from the original (according to Osolsobě), i.e. he does not identify the theatre as such. Author quotes some concrete (feinted or real) examples of an irruption of ?extra-theatrical reality? into a running show. Main part is consecrated to the analysis of the illusion as in-play (i-llusio), i.e. creation of a ?ludic reality?, framework of a game which theatre-goers may join. Author considers this playful, ludic aspect, contained in the root of the word ?illusion?, as the most important and vital thing related to matters of the theatre illusion. It is necessary to think over possibilities how to involve spectators in such a game (play) and consequences of these attempts. Effects of theatralisation, once considered as anti-illusive effects, are very close to it (today we can look at them as on a small part of rich theatrical conventions).
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Theatre school system in our country till 1945
Davidová, Iveta ; Císař, Jan (advisor) ; Stehlíková, Eva (referee) ; Hyvnar, Jan (referee) ; Sílová, Zuzana (referee)
The main topic of my thesis deals with the birth and the follow-up progress of the theatre school system and the pedagogy of dramatic art in our country from the beginning till 1945. It is based on the Music Theatre Department of Prague Conservatory, but it does not also neglect the Music Theatre Department of Brno Conservatoire, the various private theatre schools, the theatre companies and associations, which employed the theatre youth and the pupils of both Music Theatre Departments during 2nd world war, especially.
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