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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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Positon of the Clasis Fairy Tale in a Modern Theatre
Kratochvíl, Jindřich ; Tománek, Alois (advisor) ; Bažant, Jan (referee)
The work has got two parts - theoretical and empirical. The teoretical part contains chapters concerned with specification of the term Fairy tale itself. Furthermore it observes its position throughout the history and eventually in modern theatre. In additon, the work shows an important function of a fairy tale for theatre as well as human life.The empirical part involves authors experience from realization of a Fairy tale together with photos.
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Classical Theatrical Text as a Source of Inspiration - Phenomenon Ubu
Czech, Karel ; Tománek, Alois (advisor) ; Smolík, Robert (advisor) ; Žižka, Tomáš (referee)
The thesis is the justification of my decision to select the theme for this work. Entry into the international situation around the project Cubus, its theoretical and practical training. Finding inspiration in a variety of interpretations and views of classical theatrical text of Alfred Jarry's Ubu Roi, and then our personal approach as the author of the theme: Ubu phenomenon. Detail in this work focuses on the justification of my working practices in the practical realization of scenography and try to clarify the source of my inspiration. Evaluate the achievements of the project and explains different approaches to the theme chosen by the individual involved. In conclusion, I write about the experience and views on the new possibilities of cooperation in a team that has brought me this work.
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Inscenator
Moon, Su Ho ; Kalfus, Pavel (advisor) ; Tománek, Alois (referee)
I accepted craft as a scenographer which is for me, unfortunately only form, it is not enough content with visual apperance of my work because I am motivated by higher aim at breathing life into my work to creat a world.
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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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Creative Resolution of Costumes for Production with Regard to Specific Working Process in Czech - Polish Project
Černíková, Marie ; Tománek, Alois (advisor) ; Žižka, Tomáš (referee)
This work aspire to analyse creative process, which led to creation of production Landscape of Memory, Memory of Landscape. The author describes working process based on communication in team and working with links. The author aims to clear up some of links. The author aims to clear up expoitation areas of these links. The author describes plenty of functional examples of her work and wants to find out the process, how she created them. The goal of her reflection is to specify her own criteria of inventive scenographer´s work. This dissertation also speaks about attribution of stage/costume designer and ways how to fill them. The author tryes analyze scenographer´s competency and working process together to find out her own way of work. The author wants to find her own working basis 1) in advacement from theatricality to action art, 2) to eavaluate her work more proffesional in dramatic art 3) to evaluate all her art work.
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An Object in a Dancing Performance
Koníčková, Tereza ; Kalfus, Pavel (advisor) ; Täubelová, Kristýna (advisor) ; Tománek, Alois (referee)
This work relates to the play which is called Mirar mucho tiempo tus
valles. The production originated in London in 2009 during my exchange
studies at Rose Bruford College in cooperation with a Spanish group of
my exchange colleagues as actors and a director. The main topic of my
essay is an object in a dancing performance. The piece deals with
distorted relations of four characters who are intertwined to each
other. This production has become for all of us an experiment of
actions. It has been for me an experience with space and objects on the
stage.
I consider this to be the most interesting and inspiring project I have
ever done so far. With this experience I have found another ways for my
future work as a stage designer.
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