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From interpretation to adaptation
Balslev, Ida Kathrine ; GORIAUX PELECHOVÁ, Jitka (advisor) ; NEUMANN, Julius (referee)
The dramatic structure is like the skeleton that holds together the components and gives birth to the orchestration of the performance.This structure is essential to give the performance life.As a director in theatre it is our main tool. In defining the performance we define the dramaturgy. But what does the dramaturgy consist of and how do we get a hold of a tool, which is so driven by our intuition and how do we change it during the process? In this thesis work I will focus on how to use the dramatic principles in different works from interpretation to adaptation. I will explore how these principles function in each process and how they support the dramaturgy towards the creation of the performance.
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Perské vyprávění & Evropské vyprávění
Mohammadi Kangarani, Azadeh ; KORČÁK, Jakub (advisor) ; NEUMANN, Julius (referee)
Hlavním cílem mé práce je popsat a definovat mou cestu od herectví, od doby kdy jsem neměla žádné zkušenosti s režií, k režírování divadelních her, což byl můj hlavní důvod pro studium na DAMU, ale také mou cestu objevování vlastního vnitřního hlasu a režijního přístupu. Popisuji svůj studijní proces a získávání vědomostí, jak používat divadelní techniky a způsoby komunikace s různými složkami divadelní inscenace. V úvodu popisuji své předchozí zkušenosti. Moje diplomová práce má pět kapitol včetně chronologického přehledu mého přístupu ke každé jednotlivé inscenaci, na které jsem pracovala od prvního dne na DAMU dodnes. Závěrečná kapitola shrnuje mé dosavadní přístupy divadelní režisérky
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Mezi Ammánem a Prahou
Abed, Husam Mohamad Arafat ; LJUBKOVÁ, Marta (advisor) ; NEUMANN, Julius (referee)
Tato diplomová práce se zabývá mojí praxí v Jordánsku a v České republice. Zkoumá vztah mezi diváky a vlastními divadelními idejemi a jejich efekt na mé rozhodování. Práce je rozdělena na dvě kapitoly. První kapitola se věnuje srovnání mé práce sociálního pracovníka a režiséra, který pracoval s Palestinskou mládeží a terénními pracovníky v největším Palestinském uprchlickém táboře v Ammánu v Jordánsku, a dále pak se zahraničními studenty z Evropy v programu Erasmus na fakultě divadelních studií DAMU v Praze v České republice. Druhá kapitola srovnává moji sólovou práci v Jordánsku vycházející z Palestinské lidové tradice, na kterou jsem v Čechách navázal vytvořením vlastního autobiografického dokumentárního loutkového představení. Pracovní proces zkoumá úhel pohledu režiséra/autora a analyzuje výsledky a výzvy, kterým jsem v průběhu tvorby čelil. Práce režiséra spočívající v organizaci, kontrole a reflexi tvorby, který má rozhodující slovo, slouží jako mikrokosmos pro sledování politického loutkového divadla založeného na pohádce, lidové tradici a autobiografických prvcích. V důsledku toho jako režisér nabourávám vyprávěcí normy klasického Arabského divadla a západního loutkového divadla za účelem přinést na pódium něco nového.
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LE THÉÂTRE DU GRAND-GUIGNOL: PHENOMENON OF THE THEATRE AND HIS DRAMATURGY
Kebrtová, Helena ; NEUMANN, Julius (advisor) ; JOBERTOVÁ, Daniela (referee)
This BA thesis presents the French popular theatre Grand-Guignol and brings a basic vue of its dramaturgy. It treats mainly the questions of actual use of the Grand-Guignol?s plays material. The first part of the work is dedicated to history and definition of characteristics of Grand-Guignol genre. Then it presents fifty five synopses of plays from the Grand-Guignol repertoire, and the treatment of themes and commentaries about individual texts. It proposes some ideas about how to revive Grand-Guignol today. Theatre of Grand-Guignol was founded in 1897 by Oscar M?ernier as a naturalistic theatre that strived to defend the liberty of art. In the age before the First World War, Grand-Guignol developed into a theatre of horror and this dramaturgical orientation didn?t change until the demise of Grand-Guignol in 1962. Grand-Guignol?s golden age was in 1920?s. At the same time, Grand-Guignol is the name of genre; we can also call Grand-Guignol some plays that were not presented at the theatre of Grand- Guignol. What is typical for the genre is the short form, a plot with a crime ? usually murder, the violence linked to eroticism and realism that need major tricks and/or effects. The spectator was expected to confuse fiction with reality Demanding nature of actors? work, topical and adventurous character of exploring the themes of the day and high quality of writing is what puts Grand- Guignol above the average popular theatre of the time. Many of the plays of Grand-Guignol can work even with today?s audiences. Though this genre is not often staged, it could be theatrically successful. The author of the work is convinced that it would be useful to revive the legacy of Grand-Guignol, at least by way of a project in which different ways of producing the texts could be examined.
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Mirth and matter
Barriere, Alexandre ; KORČÁK, Jakub (advisor) ; NEUMANN, Julius (referee)
This thesis is based on the author?s experience of directing J. Ford, Th. Dekker, and W. Rowley?s play The Witch of Edmonton (1621) in Divadlo DISK in February 2012 as a final performance in his Directing Master Studies at the Theatre Faculty. What is at stake in reviving such a little-known play of the Jacobean era, and performing it in Czech Republic? Can a text written as a reaction to a precise event (a real witch trial) and built as a quasi-documentary depiction of the society of the time, within the aesthetic codes of the time, be relevant material for a lively performance today? This thesis argues that yes, and that The Witch of Edmonton can actually be the starting point of what can be ?political theatre? in a form not only belonging to a long tradition of committed entertainment (the play?s prologue promising us ?mirth and matter?), but especially relevant to today?s audiences and artistic stakes. The first part of the thesis is a detailed contextual analysis of the play, the historical period in which it was written, the conditions of performance of the time, the material it is based on and the way it was dramaturgically built as ?political?. The second part focuses on the author?s analytical attempts to extract the text from its historical context, in particular through comparative history and history of ideas and using the concepts of Brecht?s epic theatre, depicting also how this research served as a preparation for the concept of his performance, a concept that is then explicated in detail. The third and last part is a short account and reflection about the rehearsal process and its outcome from the director?s point of view, making a final statement on the achieved practical work.
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Differences in an Actor´s Approach Towards Shakespeare´s Text in Czech and Anglo-Saxon Countries.
Guruncz, Josef ; Neumann, Julius (advisor) ; Borna, Jan (referee)
This thesis is an analysis of the differences which exist in an actor´s and director´s approach towards Shakespeare´s texts in Czech and Anglo-Saxon countries. The aim of the thesis is not a literary content analysis; emphasis is put on the approach of actors or other theatrical artists towards Shakespeare´s plays. By using the word approach in this context it is meant, how actors, directors or production teams work with Shakespeare´s texts and to what extent they are inspired by it during rehearsal. The main method of research is interviews with theatre artists from both cultures and a significant part of the thesis contains the synthesis of the interviews. The author´s own experience, information gained from relevant literature and opinions from the people with whom the interviews have been led has shown, that differences in an actor´s and director´s approach towards Shakespeare´s text in these cultures are predominantly a result of translation, socio-political development and a diverse way of perception of theatres in the countries.
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The Specifics of Contemporary Irish Drama
Lamserová, Brigita ; Neumann, Julius (advisor) ; Pilný, Ondřej (referee)
The thesis aims to describe the Irish drama in relation to the historical development of Ireland itself and consequently point out, how motives mirror within artwork of contemporary Irish playwright - Tom Murphy. The introduction touches the ways of Irish drama, while it concentrates on the period beginning with the first opening of Abbey Theatre. Second half deals with life and work of Tom Murphy, describing its specifics in detail, in particular one of his last plays - Alice Trilogy. Utmost attention is focused on appointing motives and topics that shaped Irish drama and theatre in general and looking for a solid common ground on which to base analyses and translation of Alice Trilogy. Conclusion summarizes intricacies of translating Murphy´s plays and problems with producing his work on Czech stages.
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Happening
Šteflíčková, Jana ; Neumann, Julius (advisor) ; Šavlíková, Kateřina (referee)
This work treats the question linked to the phenomenon of happening. I am attempting to define the concept of both action art and its specific disciplines, and to demarkate the limits of the term happening itself. The discussion proceeds to the historical and social context of the origins of the phenomenon of the happening and to its aims.
The main accent, though, is on the specifics of the developement of the happening in the Czech milieu, especially during the difficult period of the sixties. I feel that it is both necessary and usefulto try to recall and revive the reality we are living in, and to keep revaluing it. In eny era.
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The Czech Musical
Popelková, Barbora ; Neumann, Julius (advisor) ; Šrámek, Vratislav (referee)
In this thesis, I am attempting to look into the development of the Czech musical, especially from its early rocketing start in the 1990s up to the present. To do so, I had to define musical as a genre, its roots and its relationship to operetta it´s so often being linked and compared to.
I try to answer the questions of what the new things musical brought to theatre operetion in the country, whether the genre still stands a chance to free itself from purely commercial sphere, and what artistic ambition the musical has in Czech environment.
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