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Potencial of Authentic Space and its Limits
Koníčková, Tereza ; Matásek, Petr (advisor) ; Žižka, Tomáš (referee)
In this paper I have dealt with various perspectives on the premises, authentic space, which is inspirating by own information about itself, which is bringing spirit of the place, which maybe hide some story. It is question of strong feeling, which is saying to you - have breake here and try to see something. At first I am writing this text leaning on my own experience, followed by factual information and sources that touch on or have they dealt with other artists, art groups and directions. I try to outline the options and procedures that space offers such a different way can inspire you to create images, animations, public events, performances, workshops, dance ... My goal is to offer readers a taste of this work and a hint of manifold variety of creation, which is a authentic space associated. The key issue for me is my master's project Bathrooms, whom I dealt with in cooperation with Tereza Benesova last two years of Master's studies at Damu in Prague alternately in the Czech Republic and France. Verifying the potential of space as such and researching its limits.
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Scenographic Solution for a Production in the Spirit of Gypsy Culture
Fonová, Klára ; Tománek, Alois (advisor) ; Matásek, Petr (referee)
The thesis describes the material culture of the Roma in Central Europe. Here material culture constitutes the basic types of dwellings of nomadic and settled-living Roma, including interior decoration. Principally I describe the traditional garments
of Roma in detail. I point out the differences between the general concept of habitual gypsy clothing and its historical reality. I also mention the differences in the garment over the centuries and in other parts of Europe. I breifly discuss the current clothing of Roma, Roma traditional crafts, and the working methods of some contemporary artists. The second half of the text summarizes the basic stage design approaches
to show Roma culture, mainly in Czech theaters. I also present examples of two foreign productions that express the typical character of Gypsy culture. This is
a presentation of Slovak theatre Romathan and French Zingaro circus. The final section presents stage design solutions of the production inspired by Roma tales Romaldíno a Kamila realized in Bábkové divadlo Žilina (Puppet Theatre in Žilina, Slovakia).
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Movement Theatre, Dance and puppets in the Czech
Hayashi, Yumi ; Matásek, Petr (advisor) ; Täubelová, Kristýna (referee)
The diploma thesis focuses on a search of using puppets possibilities
of Movement Theater and on study of the Czech and Japanese puppet tradition.
It is divided into two main parts. The first part summarizes the theoretical knowledge of the importance of puppets and Puppet Theater in the Czech
and Japanese culture. The second part describes the Red Dream Červený sen performance formation accompanied by stage design proposals, costumes
and puppets.
The chapter concerning traditional Japanese Puppet Theater explains Japanese mentality and philosophy and religion influences. From the Czech Movement Theater the phenomenon of Cirque Nouveau is described. There is also
a comparison between the Japanese and Czech approach of using puppets.
From the knowledge of both cultures come sources of mutual inspiration.
The Červený sen (Red Dream) dance performance began as a joint project
of the Academy of Music (HAMU) - students of choreography with the intention
of acting and dancing options of puppets. The story concentrates on powerful women's emotions in three acts: desire for love, the desire for beauty and desire for power. The main roles of three women in critical life situations
are Caren from the story of Hans Christian Andersen The Red Shoes,
Yaoya Oshichi from the Japanese legend of disappointed love and
Lady Macbeth from William Shakespeare's tragedy. Short stories are connected
by a symbolic red color. The teenage girl watches the fate of three women
and learns a moral lesson.
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Borders of Scenography and Stage Design Invisible
Čičmanová, Erika ; Matásek, Petr (advisor) ; Tománek, Alois (referee)
Anotation
Limits and possibility of crossing them, invisibleness, invisible factors, unexpected surprises, secrets, imagination, fantasy, dream. Situations that unfold us beauty of casual day and rareness of every moment we experienced. Chronognosis of an artist, world appearance, new dimensions, perspective of individual standing inside collectivity, but looking at it from distance. Possibility of revelation of individual inner world is offered to the public through an artwork. Creation of such an artwork of course insist on the essential ability of an artist adaptation into the real world, ability of communication with his environment and society, ability of solving problems and acting in different situations. It applies to the team cooperation, especially in creative process of theatre making, double. This work Borders of scenography and stage design invisible (Hranice scénografie a stage design invisible), discourse artist existence within reality. It illustrates on both general and particular examples the wideness of the scenographer?s work, which encircle the prime meaning of scenography as an art component of the performing arts. Work, which take place in determinate borders of scenographers field of activity, and beyond the scenography itself, while it stays unseen in the final show.
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Realization of Ideas of Occidental Author
Nishioka, Kanako ; Kalfus, Pavel (advisor) ; Matásek, Petr (referee)
In these days thanks to the great Internet technology links people to people very easily and we can get various information wherever you like in the world.
But what is the meaning of real communication?
The aim of this thesis is to examine the importance of the real=non-virtual communication through my own experience in Czech Republic, and the history of Czech puppet theater in 20th century proves the significance of their own language, also the the idea from George Orwell shows the value of the real experience through his works including his own remarkable life.
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Stage design on the border with nontheatrical art fields
Roubíčková, Hana ; Matásek, Petr (advisor) ; Žižka, Tomáš (referee)
The teoretical part The Stage Design on The Border With Nontheatrical Art Fields is an essay to the short movie The Long Arm of Melancholia, a practical part of my magister work. I take a think about the subject field of Stage-design, I am exploring what the Stage-design means for me personally and trying to outline the creative path to my own project. I handle directly or tip-off on such terms as: primitivism, low culture displays (popular amusement), an image trash, an avantgard experiment, a child?s creativity, the self-creative notice,etc. Associated historical contexts are the beginning of the twentieth century such as avant-garde and the birth of cinematography, and an intuitive selection of contemporary art images. The work is concluded by reflection on the creative process of my movie.
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An Intimate and Public Space
Mizerová, Radka ; Matásek, Petr (advisor) ; Žižka, Tomáš (referee)
Abstract:
The work An Intimate and Public Space surveys a two-year period of work on the rebirth of a garden situated in Jicin, in Pod Kostofrankem street. A private garden, located in the very town centre, and the town itself which is in a close connection with its surrounding landscape inspired Radka Mizerova, a student of stage design at the Department of Alternative and Puppet Theatre at DAMU (University of Dramatic Arts) for further professional work. The garden space was recultivated, renovated and occasionally opened for all sorts of cultural events such as workshops, performances and concerts within the scope of two years. The most important and systematic work, that was carried out in the garden during that time, was the creation of the authorial performance named Baba Yaga, inspired by Russian fairy tales and the garden itself.
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Aristofanes: The Birds, symbolism of the mask and using in modern theatre.
Krejčová, Kateřina ; Vohlídalová, Ivana (advisor) ; Matásek, Petr (referee) ; Koubská, Vlasta (referee)
Abstract
My diploma thesis deals with Aristofanes? The Birds. Firstly, my work focuses on historical aspect, period and circumstances of origin of this political satire and it focuses on ways of staging since antique Greece till present days.
Secondly, my work deals with symbology of mask and its usage in modern theatre. The mask joins Aristofanes? The Birds, it joins period of its origin and possibilities how this comedy portray and dramatize. The mask originates in periíod of first primitive rituals. From these rituals theatre grew up. We can find the mask in all cultures around the world. Modern theatre understands the mask like instrument for staging. The mask asserts in modern theatre due to cooperation of stage director and designer.
Second part of my diploma thesis deals with own solution of Aristofanes? The Birds on the part of costume designer. Recency is important for creation of concept. The world of birds is an antipole of the human world and gods connect these two worlds through dreams and longings. It is paid attention to dramatic personages? mask and costume in context with space. Costumes and masks are visual and dramatic processed. All types of mask and its symbology are solved by dramatic process.
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Theatre as Creative or Kinetic Act
Kudláček, Roman ; Matásek, Petr (advisor) ; Žižka, Tomáš (referee)
This work is about problems of visuality in artistical and clearly biological levels of taking in. About live picture- digital projections as primal carrier of information. About definition of live-show and functions of this topic on theatrical stage. As kinetism of picture in form of on-line projection.
Key point is for me digital picture feedback (digital picture echo), development of projecting film efects and ways of using them.
Kinetism in theater seen as rhythm not only in dramaturgic way, but defined by picture and complemented with sound.
It is about my personal experience during working time on projects Stanice (The Station) and LAPOhádky (LAPON Fairy Tales - Fairy Tales Of People Of Lapland), where I was as a member of creating team aplicated upwritten things in practical way in the shape of performance.
I am interested in parameters deciding about way how is viewer processing his visual experience. Ratio between visual/artistical and dramaturgical part of performance. Influence on viewer and the level of ability of theatrical form to carry right information in clearly visual way.
I am mentioning that kinds of fine art which are using theatrical elements, their connections and differencies.
(Action art, Environmental art, Performance, Happening)
The principal of filming-like way contained in theatrical form.
This work also contains personal analysis of Robert Lepage movie - Far Side Of The Moon.
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