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Time Lapse of the Jump
Tůma, Daniel ; MAZÚCH, Branislav (advisor) ; TEJNOROVÁ, Petra (referee)
Time lapse of the jump
I try to specify the starting point for my author's work through my experience from the Department of Alternative and Puppet Theater in my diploma thesis, which led me to interest in the creative work as which I try to formulate on the example of our performance EVEN PEOPLE HAVE SOUL.
The whole thesis begins with the chapter called Background, which mentions the benefits of block teaching and its contribution to my further creation. This chapter is subdivided into two subchapters. The first is a reflection on the function and ability of contemporary theater at the time of the digital-technological prosperity, and the second is about the use of these multimedia as a tool whose task is to expand our platform and space for the creation itself as opposed to when the theater tries to come out of the dead end using empty illusion. Continue with an chapter called the Simple Space chapter and its supporting force, paraphrasing Jerzy Grotowski and his interpretation of Poor and Rich Theater and specifying the starting points for the theater space and consequently the creation as such. In the next chapter I am devoted to the anthropological approach serves which me as a mentor and helper on the way to authenticity on the stage. With the other chapters I try to describe what a living process of rehearsing which is complex and linked as one organism means to me and what are the associated contexts in the way of specifying my authorial approach. Then I get to the chapter about the performance EVEN PEOPLE HAVE SOUL itself, where I try to formulate our own way of creating and how we think about it. On a particular scene, I approach the synthesizing approach to theater and other key fragments of form that interests me. I follow with the chapter named Sarajevo, which is the title of one of our clausure works, where I describe the theater, which is able to maintain its authenticity, despite the fact that it deals with a topic like war and events with it that are not easily translatable in to a theater that generalizes is to me and put back these into the context of my views of the theater.
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The Relationship between Human Body and Technology in Dramatic Space
Jan Märcová, Sára ; ADÁMEK, Jiří (advisor) ; MAZÚCH, Branislav (referee)
This diploma thesis is an attempt to reflect the use of current digital technologies in the
scenic space and their influence on the work of actors. It tries to shortly describe the
development and principles of neo-media works, as well as the form of Live Cinema,
mainly in the theatrical context. It examines the position of real, living objects/subjects, in
contrast to immaterial and virtual images that are made up of light or sound. The
possibilities of mutual influence of technologies and bodies are described on selected
performances in the Czech theater context. How does technology change the actor's
work? Does it affect the basic theatrical relationship between the body of the actor and
the spectator's body? Are the mediative forms of theater destructing its "liveness"? How
does viewer perception transforms? These and similar questions are crucial to this thesis.
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ACTOR BEING
Krupa, Martin ; MÁLKOVÁ, Eva (advisor) ; MAZÚCH, Branislav (referee)
Bachelor thesis is focused on the Actor's being itself and its development. Thesis also deals with subjective point of view on actor's previous 7 years when he has studied on two other Schools of Arts and either participated Erasmus+ program. Furthermore, author of the thesis strives for development, knowledge, as well as stagnation of his own acting life while facing different educational surroundings and theatrical environments. It includes studies at Janacek conservatory, followed by entering Academy Of Performing Arts, continued with residency abroad at London's Rose Bruford College and additionaly, return to an Academy of Performing Arts. During this period, author engaged in two copyright projects - collective performance called Barunka is leaving and his second solo performance named Borderline-Syndrom. Admittedly, topic about actor's existence is purely subjective, self-knowledging. It creates a reflection, how studying acting influences whole artistic life, how it changes one's mentality, evolution in thinking and attitude of young man, actor novice.
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SOLO IMPROVISATION
Karda, Ladislav ; HAVELKA, Jiří (advisor) ; MAZÚCH, Branislav (referee)
This paper examines the phenomenon of solo improvisation in the context of theatre sports. It includes the method of improvised story among the other existing disciplines of solo improvisation. The work maps the author’s journey and a year experience with solo improvisation and in the conclusion sumps up his experience and provides practical advices to potential solo improvisers. The work also includes interviews with people that do disciplines of solo improvisations to show different approaches of this particular discipline.
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DRAMA ACTING ON ALTERNATIVE DEPARTMENT
Majerčíková, Petra ; MAZÚCH, Branislav (advisor) ; KROBOT, Miroslav (referee)
In this diploma thesis named Drama Acting on Alternative Department is author trying
to find connection of classical drama acting and Department of alternative and puppet
theatre. In first part she mentioned how does the department work. As a contrast to
the open and experimental creative work she elected system of Stanislavskij. In every
single chapter she reflected pedagogical methods of directors and their acting
approaches. At the end she foccused on reflection of her own acting and creating
procces in theatre Disk. Last part is based on short questonnaire for students of acting
department.
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THE NAKED ACTOR or ADVENTURE TIME
Matoušková, Johana ; HAVELKA, Jiří (advisor) ; MAZÚCH, Branislav (referee)
This diploma work entitled The Naked Actor or Adventure Time is not an academic, scientific thesis to all intents and purposes. It is more personal search and enquiry of the motifs of nakedness, exposedness and adventure which further proceeds to more distant, yet relevant ideas as are authenticity, ease, play, states of consciousness, improvisation, sexuality, abashment, corporality etc. Certain parts of the study utilize some ideas of Jerzy Grotowski and the author also uses individual experiences and examples from her own professional career. On that account the form of the work itself is structured to make the best record of the very process of enquiry and thinking.
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ON THE STAGE, OR BEHIND, IT IS ME. OTHERWISE I DO NOT ACT
Páleníková, Soňa ; MAZÚCH, Branislav (advisor) ; TEJNOROVÁ, Petra (referee)
On the stage, or behind, it is me. Otherwise I do not act; Participation of personal character in authentic acting, master?s thesis, Academy of Performing Arts in Prague, Theatrefaculty, Prague 2014, 58 pages.
In her master?s thesis, the author reflects on the question of definition of authenticity, authentic expression in acting and participation of personal character in the work of actor.
After teoretic introduction about interpretation of the Authenticity, the paper is devided to four parts. In these author draws mainly from her personal experiences during studies. In the first part author focuses on her experiences, which are the roots of her natural expression in acting.
In the next part, using four plays, author describes acting style, which requires personal approach and personal experiences from an actor.
In the third chapter, she examines the process from a different point of view, using the stylized acting example. Three discussions follow, with professional actors who accepted to answer questions regarding this subject.
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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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