|
|
Fear and its Potential in Acting
Popovičová, Veronika ; MÁLKOVÁ, Eva (advisor) ; TRPIŠOVSKÝ, Lukáš (referee)
With this work, I set my own mirror and looked right into my eyes with my
fears that had plagued me during my acting career. It's not a theoretical work, even
though I'm looking at the actor-focused books, as well as psychological or personality
development materials. The work is based mainly on the memories I have
experienced in the course, not just the DAMU studies, but also the past actor's
experiences. With this work, I wanted to find answers to why I'm afraid at all and
how I can work with these fears.
|
|
|
Searching for Physical Presence in the Process of Creation
Hanušová, Eliška ; NOVÁK, Vladimír (advisor) ; TRPIŠOVSKÝ, Lukáš (referee)
This work deals with the physical presence of the actor on the stage during the rehearsal process and the subsequent performance itself. It is divided into two parts, the first dealing with the physical presence. In this section we write about developing physical skills and improving physical fitness. In the second part, it deals with the presence of mental, concentration, rest, etc. Through examples of specific exercises, a procedure is outlined for finding body concentration and tension in the body. Examples of specific situations and practice practices relate to /Barunka and leaving/, which premiered on April 13, 2017 at the student theater Disk.
|
|
|
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.
|
|
|
Actor or Dancer
Šurková, Julie ; NOVÁK, Vladimír (advisor) ; TRPIŠOVSKÝ, Lukáš (referee)
This thesis is a theoretical description of my study of current and modern dance at the
dance conservatory Duncan Centre. The description continues with my study at the
Department of Alternative and Puppet Theatre at the Academy of Performing Arts in
Prague. There is a comparison of acting and dancing. Both are close and, at the same
time, distant areas of performance. The goal of the thesis it to identify the elements
that are shared or unique between them. Specifically, there is a description of the
difficulties for a dancer to become an actor and, on the other hand, for an actor to
become a dancer. There is also a list of conditions that need to be met for somebody
to be a full-time dancer and actor. The first part of the thesis describes my experience
and my view of an actor and dancer. The term 'performer' is discussed as it should not
be used for all the people who do more than one artistic area. The second part of the
thesis deals with training that is needed for dancing and acting. There is a list of the
requirements needed for a dancer to become an actor. The last part of the thesis
focuses on a trial period and it finds events when the areas merge in one.
|
|
|
THE SHIFTING OF PERSONAL LIMITS
Schmidtmajerová, Johana ; MIKEŠ, Vladimír (advisor) ; TRPIŠOVSKÝ, Lukáš (referee)
In this master thesis, creative process and the process of personal growth and their fusion are dealt with. The thesis is opened with associations and continued with thematic exploration up to reflections upon specific encounters and cooperation on theatre performances and other project that I have participated in as an actress. Through the unanswered questions posed in this thesis I constantly remind myself of the fact that acting is a process of constant searching, which, however, does not need to resemble blind stumbling through the unknown and in fact, in my opinion, it should not. In my work, I try to articulate what I have been able to uncover about myself and the creative process as an actress and so develop systematically in my profession, both through work on myself and within a group. I consider feedback to be a necessary step towards professionalism and an important contribution for shifting personal limits. This thesis is concluded with a reflection of my internship at the Portuguese Instituto Politécnico de Lisboa ? Escola Superior de Teatro e Cinema.
|
|
|
SING A MONOLOGUE, SISI DANCER! - or synthetic actor
Cina, Jan ; TRPIŠOVSKÝ, Lukáš (advisor) ; KUKUČKA, Martin (referee)
In my thesis, I decided to describe how all the means that actor?s body and soul comprise can by synthesized into something that is able to tell a story, communicate and be passed on. I myself am still in the middle of the process of discovering all the separate particles of those means, as well as of how they function, how they can be used and how they can be worked with. During my studies, and moreover during my lifelong encounter with theatre and art, this topic has intrigued me and I have always come across it to some extent. That is why in my thesis I focus not only on the already discovered andexamined kind of synthetic stage appeal, but also on the undiscovered one. Because a man himself represents his one and only primordial universe and his own utterly first teacher, through whom every perception has to pass. And it goes differently with every single person. Whether the person is an actor, a ballet girl, or a singer.
In the first part of my thesis, I mainly focus on the historical overview of theatre?s origin and function and I follow the evolution of the so-called synthetic acting. Furthermore, I present several individual personalities, theatrical groups and their artistic movements, who later explored the concept of synthetic acting intentionally. To sum up, I try to reflect my own experience with synthetic acting and, in the end of my thesis, I concentrate on my search for my very own form of synthetic acting.
|
|
|
Movements of Doubts
Bednář, Michal ; MAKONJ, Karel (advisor) ; TRPIŠOVSKÝ, Lukáš (referee)
This diploma thesis named Movements of doubts has no academic ambition.
It's only a reflection and summary of authors personal thoughts and themes
which has very close connection with doubts. Doubts are valuable and
necesarry for those who study acting. There would be no performing arts
without the doubts. Doubts has an assurance function. Doubts keep the artist
on the right track while creating a piece. This work had been created from
emerging doubts and thats why it contradicts itself in so many ways!
|
|
|
Nudity in dance
Kršiak, Pavol ; GREMLICOVÁ, Dorota (advisor) ; TRPIŠOVSKÝ, Lukáš (referee)
In his thesis the author is reflecting subject (theme) of Nudity/nakedness in dance. The thesis is divided in six chapters. The first chapter is concerned with the term nudity/nakedness in general. The second chapter moves to the concept of nudity/nakedness in a short summary of historical context. This chapter is divided in seven sub-chapters, due to historical period or region. Third chapter is about nudity/nakedness in a dance art. Then summary of main topic follows, where the author tries to define different ways of using nudity/nakedness in dance art, when using several examples from dance history. The thesis also includes interviews with dance artists from the Czech republic and Slovakia. Intention of the thesis is to bring closer the phenomenon of nudity/nakedness in dance as a controversial theme.
?
|
|
|
Play.
Kubišta, Adam ; BEČKA, Marek (advisor) ; TRPIŠOVSKÝ, Lukáš (referee)
In this work I ask myself one basic question: "How came to, that from infantile plays I reached the acting in theater?" I follow the progress in playing games and in playing itself from childhood along puberty to full age. I compare two parallel progresses. One of them is the way of sport games and the second one is the way of mimetic plays. It brings much more questions. I try to find answers for them in moments, eyewinks that got stuck in my memory for their - sometimes clear, sometimes veiled - plea. Simultaneously I look at the playing games/plays from view of already known theories. Next to this, I try to see also something besides.
I entitle here the similarities and differences between playing in theater and sport games. Major part of the text is related to my own experience with support of already published works for related themes.
In the end I give a summary of knowledge that this work has brought to me. On the basis of it I try to find out, how to play.
|
|
| |
guest ::
