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THE POSSIBILITIES OF APPLYING MINIMALIST APPROACHES IN THEATRE
Hutečková, Klára ; ADÁMEK, Jiří (advisor) ; TOMÁNEK, Karel František (referee)
This thesis deals with what minimalism means in the context of theatrical creation. It aims to define different minimalist approaches. The first part of the thesis examines the meanings and particular physical manifestations of minimalist tendencies in various arts. Using these findings, the works of three important minimalists, who work with different art media, are analysed: the film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles by Chantal Akerman and its remix Jeanne Dielman 23 Quai du Commerce, 1080 Bruxelles Day x Day x Day, the video New Book and the minimalist symphony Tangoby the Polish cameraman and director Zbigniev Rybczyński and the production Einstein on the Beach by the theatre director Robert Wislon. As a result of this analysis, the minimalist approaches are introduced, their functioning is characterized and key points, which could be relevant for the theatrical medium, are emphasised in the third part of the work. The last part of this thesis reflects upon my own theatrical work and explores the future possibilities expanded by this new labelling of my artistic tendencies as minimalist.
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Mechanisms of the Creative Process
Hadušovská, Michala ; HAVELKA, Jiří (advisor) ; TOMÁNEK, Karel František (referee)
In the thesis entitled Mechanisms of Creative Process, the author examines and reflects her own creation and creative process. The purpose of this study is to discover the internal order and logic of the creative process, respectively to discover the mechanisms and tools with which it works. Knowledge and awareness of the used techniques should serve to make the tools know better, consciously grasp and, above all, develop. The most important aim of the thesis was to try to follow the phases and transformations of the creative process from the creative idea to the realization of the performance. For better orientation, the process of creation and the text of the thesis are divided into four phases and two wider circuits. The first circuit deals with the period of preparation,
the second part is the reflection of its practical part, the theatrical rehearsals.
Tracking her own path and distinctive way and approach to creation from
a distance, has given the author a clearer picture of how the mechanisms and tools work inside the process. Their knowledge and development gives them the ability to transform the thoughts, ideas and visions into reality more consciously and purposefully.
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To adapt a classical text in an alternative way
Auffray, Maëlane ; TRPIŠOVSKÝ, Lukáš (advisor) ; TOMÁNEK, Karel František (referee)
This thesis goes back to the classical French theater text, the theater perceived as alternative in Europe, and my attempt to propose an alternative theater using a classic French text translated into Czech. He describes how all these terms echo in me. He returns to history and recalls that before being paper, the text was body, and that before the alternative there is convention (and tradition). Above all, it is written to untangle the ideas and move them forwrad, to move me forward.
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Aspects of Actors Work with Emphasis on Authenticity
Kubištová Máčiková, Adriana ; KROBOT, Miroslav (advisor) ; TOMÁNEK, Karel František (referee)
This dissertation - Aspects of actors work with emphasis on authenticity, Road show as a way to authentic acting, charts behaviour of our Divadlo koňa a motora (Theatre of a horse and a engine). I add here our diaries from wandering with the horse and a caravan in surroundings of Nitra, in the Šluknov region and also in eastern Slovakia. Due to the experience made by wandering itself and acting in front of audience, that is not used to visit theater, I try to find a way to grow up in acting. I also try to name particular problems in actors work, that I was facing up during my studies and praxis. Their possible solutions I try to find in my personal experiences from wandering.
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BLANK PAPER
Lesák, Jan ; MAKONJ, Karel (advisor) ; TOMÁNEK, Karel František (referee)
This diploma thesis is following process of preparing theatre peace which is not based on structural dramatic text, but it is formed from an idea. I´m interested in step by step
process of idea development from blank paper to the theatre piece.
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Aspects of Authenticity in Acting
Neškudla, Pavel ; KROBOT, Miroslav (advisor) ; TOMÁNEK, Karel František (referee)
My diploma thesis Aspects of authenticity in acting examines the authenticity, nature, plausibility and truth in acting and performances or in other various forms of performing arts. All this is based both on my own experience and on theoretical, but not purely scholarly approach. However, this theoretical approach represents my own understanding without any ambition of theory redefinition. Diploma thesis examines, think and also submit claims.
All these concepts are demonstrated on my acquired artistic activities and on creation which I was or still I am part of.
The diploma thesis is also conceived as a look back, self-reflection, anchor and clarification of matters which of course involve my future and my artistic activities that are not mentioned in this thesis.
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A Theme of a Book as an Inspiration for an Author Performance
Arnsteinová, Sára ; MÁLKOVÁ, Eva (advisor) ; TOMÁNEK, Karel František (referee)
In this diploma thesis I´m trying to describe a process of working on an author
performance inspired by a book, threw analysis of my own author performance called Gog.
In the introductory chapter I try to outline some similarities between working on a
screenplay, as Jean-Claude Carriere speaks about it in his book Telling a story and working on a performance, if we are two, we are directors, actors, dramaturgists and we are inspired by a book.
In next chapters I speak about the theme and the form of the book Gog, and afterwards
I describe in detail what interested us and which main theme we chose for our performance.
In the main part of this thesis I describe in detail the process of rehearsing different parts
of the performance and I analyze themes that are present. Here I mention extracts from the book Gog and I describe how the text and the theme influenced our way of rehearsing and our way of choosing expression agens. I describe in detail our searching. I mention how we approached to the move, spoken word, animation and projection tasks that were our ways of expression. Afterwards I try to think about the balance of organizing different elements in the performance. Last part of this chapter is dedicated to elements of performance such a scenography, costume, music.
Next chapter I address to telling a story as an important element of communication
and sharing not only in theater. I am thinking about ways to communicate and about forms of telling a story. In next part of this chapter I aim to compare the attributes and possibilities of a literary work and theatre with regard to the book as an important element for our creative process.
In the penultimate chapter, which has three parts, I describe in detail the theme of
creation, subsequently: I reflect the collaboration in a couple, the experiences acquired during the process. I gather some unwritten rules from my experience connecting my thoughts with citations from the book of Jean-Claude Carriere. In the next part I speak more in detail about the working process and switching roles of actor and director. Afterwards I mention the importance of a feedback from somebody outside of the process, as a dramaturgical help and I mention some examples. In the last part of this chapter I analyze a question of style in author work and I try to speak about my own opinions about style.
In the conclusion I mention my view of a performance as an entity, which lives its
own life and I am thinking about some potential aspirations of my work. I appreciate the
freedom in creativity and I mention that all this takes along a big responsibility.
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