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The Conscious Body
Riedlbauchová, Veronika ; KLÍMA, Miloslav (advisor) ; PILÁTOVÁ, Jana (referee)
Riedlbauchová, Veronika: The Conscious Body (Actor Body Language and Stage Composition), doctoral thesis, Theatre Faculty of the Academy of Performing Arts in Prague, Prague 2015, 321 pages. In this thesis, the author explores theatre through the concept of the ?body?. She bases her findings on long-term research into theatre, which she approaches empirically; she draws on her own experience as an actor, director and educator. She supports her conclusions and assertions not only with academic literature, but chiefly by applying theory in practice (to particular physical exercises as well as creative stage work). The thesis is divided into two sections. The first, The Physical Language of the Actor (Methods, Principles, Exercises, Interpretations), focuses on the training of a well-rounded, ?open? actor through bodily expression and physical conduct. The author draws on a wide range of methods employed by theatre reformers of the 20th century, which are connected by rigorous work with human physicality, an emphasis on behaviour incurred by internal and external impulses and systematic training over an extended period time. Adopting various movement techniques and principles shapes the ?physical vocabulary? of the actor, which helps him achieve creative freedom. The explanations within this section are supported by a large number of specific exercises, which serve to help the actor understand how the body functions and learn to ?consciously? use it for self-expression and for theatrical performance. The exercises are supplemented by an analysis reflecting on the author?s experience, as well as the feedback of students and actors who have submitted to them. These exercises (some of which are also recorded on DVD) develop particular aspects of acting: working with energy; with space, a partner and a group; with time, rhythm and dynamics; with gesture; with voice, text and music; and with a mask. In the second section, The Physical Language of Stage Composition (In-Depth Interpretation of Stage Thinking), the author, reflecting on her own creative experience, focuses on the ?conscious body? of the actor in the context of the formation of stage composition. She details the process of rehearsing for six selected productions for which she was the director, and sometimes also the author, the choreographer or an actor. These productions are: the site-specific project Vodu po lžičkách (Water by spoons ? 2007), the movement project Camille (2009), Sarah Kane?s play Očištění/Depurados (Cleansed ? 2010), Jiří Hájek?s chamber opera Slavík a růže (The Nightingale and the Rose ? 2011), work in progress of the social documentary project Plus Minus Praha (Plus Minus Prague ? 2012) and the circus comedy Plovárna (Riverside ? 2013). The author analyses her stage thinking, characterised by ?recasting? themes into movement and visual metaphors, and her way of managing actors in the process of rehearsing. She approaches this process as theatre research and divides it into three stages: study (dramaturgy/stage design preparation), finding theatrical language (discovering expressive material through the body) and the overall organisation of the resulting form. She perceives rehearsal as the design of the whole ensemble and stresses the need for enough rehearsing time, as well as the capacity of improvisation to unlock hidden creative potential
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Crossover
Tejnorová, Petra ; KLÍMA, Miloslav (advisor) ; KROBOT, Miroslav (referee)
This dissertation entitled CROSSOVER, between the layers of my own staging experience, on the boundaries of forms, genres and not only those, is divided into three parts. All sections are primarily based on my own theatre experience and are interlaced with numerous examples from performances and theatrically performative thinking of selected foreign ensembles. Given the subject matter, the first part primarily deals with Gob Squad and Shunt ensembles and the director Mike Leigh. In the second part, Rimini Protokoll and again Gob Squad are mentioned. The third part is dedicated mainly to the director Tim Etchells and his Forced Entertainment ensemble. My theatre experience is presented in the introductory part of this dissertation; starting with complex shows which represent a symbiosis of all components and are linked by their staging style and formerly discovered drama methods to authorial/devised projects to theatre which implements documentary and technological elements. In the first part of this dissertation, differences and subtle nuances between authorial and devised theatres are examined with focus on the specific devising creative method. The second part of the dissertation is focused on documentary and technologies. The third part consists of subtopics introduced in the previous chapters with respect to crossing boundaries between forms, genres and methodologies, which are more closely related to the phenomena of boundaries between theatre performances/events, fiction/reality, spectator/witness, actor/performer. The methods or the optics with which I work are based on the phenomenon of the mentioned areas and topics. The manner of addressing the issue can be likened to a phenomenological insight.
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SOUND AS A TOOL OF AN ACTOR
Čtvrtník, Jan ; NOVÁK, Vladimír (advisor) ; KLÍMA, Miloslav (referee)
My diploma thesis deals with the use of sound in the theater, especially the sound that is formed by the actor. The work consists of insight into the theory of sound in the theater, which includes rather general view of the issue and tries to formulate the concepts. Hereafter I use these in the second part, which is a reflection of the practical work, for which I selected three concrete examples of completed performances.
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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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The Summer Project - In the Cellar - Of the Theater Continuo
Šišková, Daniela ; PILÁTOVÁ, Jana (advisor) ; KLÍMA, Miloslav (referee)
The diploma thesis The summer project In the cellar of the Theater Continuo is about my experience at the summer workshop organized by the Continuo Theatre concretely on site-specific project In the cellar. At first I write in a style of diary and later on I describe particular approaches of work, exercises and creating of the performance itself. The final section is devoted to the author's own project Coco.on, which was created as part of a school project Left on my own. This creation was based on the experience gained from the summer workshop.
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NARCISSISM IN THEATRE
Jandáčková, Kateřina ; NOVÁK, Vladimír (advisor) ; KLÍMA, Miloslav (referee)
Kateřina Jandáčková´s bachelor thesis deals with the phenomenon of narcissism and attempts of establishing one´s identity in everyday life and in particular in theatre environment. She tries to reflect upon these problems based both on her own experience and specialized literature when it comes to her and other people. The author also ponders about the question whether the theatre must keep up with the times. Every chapter offers theoretical background as well as examples from the author?s own personal and theatre experience.
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Fusion of the Fields
Vimmrová, Pavlína ; KLÍMA, Miloslav (advisor) ; MAZÚCH, Branislav (referee)
In her master´s thesis, the author reflects on the question of perception as well as sharing of the perceived within the theatre frame (while ocasionally overlapping to a broader context). She uses a newly defined concept of a "field" as a basic unit of perception.
The paper is divided into three main parts. In the first theorical part, the author focuses on a "perception" in general and on its performative character, on the question of a "view" and on the process of creating and transformations of one´s point of view. Hereby presented concepts are subsequently examined in the second part of the paper on the model positions of spectator, actor and director and on a concrete examples from rehearsals. The author draws mainly from her personal experiences and from the discussions with both actors and spectators.
In the third part, she examines the process of repeating the graduate performance Romeo and Juliet (presented in the DISK theatre in Prague in 2013) through the theorical frames set up in the previous two parts.
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Nomadic Theatre
Spišák, Šimon ; MAKONJ, Karel (advisor) ; KLÍMA, Miloslav (referee)
This work is focused on possibilities of theatre in these days. Technical, sociable, political and so on. Based on thinking about these possibilities it is trying to find out the fundament of theatre and through it think about its import for today.
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