|
|
Choreographic Creation through the Game
Jedličková Beňová, Veronika ; ELIÁŠOVÁ, Bohumíra (advisor) ; WIESNER, Daniel (referee)
This bachelor thesis deals with the analysis of the choreographic creative process,
focusing on approaches to through the game. The first part is dedicated to the
concept of the game and the general classification of games. The second part is
devoted to the analysis of the artistic creative process and its phases.
The third section describing the history of modern and postmodern dance and
describes the work of choreographers who have worked with the game principles. I
mention the work of ballet choreographer William Forsythe, who also worked with the
game.
Final section includes practical examples of creative methods of postmodernism
using the score principles and includes the reflection about the elements of
postmodernism in my choreographic work.
|
|
|
Contemporary partnering in elementary art schools
Ryšlavá, Jana ; ELIÁŠOVÁ, Bohumíra (advisor) ; WIESNER, Daniel (referee)
The main subjekt of this master thesis is to approach the issue of partnering in a contemporary dance, summarize the knowledge, and subsequently to apply at the classes in the elementary art school. The issue of partnering withinn a historical kontext where the contact improvisation came from. This Works summarizes the basic principles of partnering . The second part is a set of training execircers and elements that are easily applied in the field of dance education at the elementary art schools . This section os followed by challenging execirces, suitable for an extremly talented groups, or to the second level of art education. In the final section lists possible use of this elements in a choreographic and dance practice
|
|
|
Shortly on dramaturgy of contemporary dance in the Czech republic
Kršiak, Pavol ; Wiesner, Daniel (advisor) ; Trpišovský, Lukáš (referee)
Content of the bachelor thesis focuses on the dramaturgy of contemporary dance in the Czech republic with special regard to unconventional dance, activities and possibilities of a choreographer in today´s Bohemia. Describes history of an aproach towards dramaturgy in the context of the 20th century art and culture. On the bases of the historical and today´s facts about the theme the thesis tries to reflect author´s own view on a dance dramaturgy and choreographers position in a culture of the Czech republic. In the matter of briefness of the text the author focuses on a reader, who is oriented in the topic.
|
|
|
Scenography and space in choreograpy of Sasha Waltz
Palátová, Dana ; Kodet, Jan (advisor) ; Wiesner, Daniel (advisor) ; Matásek, Petr (referee) ; Eliášová, Bohumíra (referee)
Sasha Waltz is not just a significant phenomenon in modern dance in Germany.
Her artistic influences have overlapped into traditional ways of staging operas
and erode cliché experiences, which are understood as static installations, such
as museums. In the thesis I have tried to map the work of Sasha Waltz through
space and her set design from the beginning of her career to the present. I had
the opportunity to personally see and compare her debut and latest projects. To
collect the main sources of my thesis about the work of Sasha Waltz, I spent
several months gathering information and conducting personal interviews
|
|
|
Education system of the French dance conservatories
Kalousková, Hana ; Kubicová, Ivanka (advisor) ; Wiesner, Daniel (referee)
My diploma thesis is focused on a French education system with a special view of dance education and education of dance teachers. I tried to compare this special education system with the Czech education system. Thesis is divided into tree parts. In the first one I summarize the current form of the French education system. I mentioned the major laws that govern its present form and general organisation. In the next under-chapter I described the most important point in the French education, which is ?baccalauréat? ? graduation. In the next one I analysed the current form of the French dance education. I have focused on a semi-professional level of dance education, which is provided by ?Conservatoire à rayonnement régional? and ?Conservatoire à rayonnement départemental?, as well as on institutions that educate future dance professionals. Creation of the diploma DNSP was one of the most important moments in the French education system. DNSP should provide assurance and public awareness of the dance profession. Further I have described in detail the conditions for the study of the dance pedagogy and for obtaining the diploma dance teacher, which is essential for teaching dance at the French schools.
In the second part of my thesis I have focused on a Czech education system. I mentioned the significant historic moments, its current form and in the special under-chapter I described the Czech dance education, which is provided on a semi-professional level by the primary arts schools and I also analysed the professional Czech dance education.
In the last part I compared both of the education systems. I have highlighted the positives and negatives and I tried to identify possible steps that would contribute to build the ideal system of dance education.
|
|
|
The BlueBeard: The Analysis of Choreographic Work of Pina Bausch
Turečková, Hana ; Gremlicová, Dorota (advisor) ; Wiesner, Daniel (referee)
In my thesis Bluebeard: Analysis of the choregraphic work of Pina Bausch I`m dealing with life of Pina Bausch, but especially with her work. Thesis begins with her memories of childhood, follows her studies at the Folkwang Schule in Essen and at the Julliard School in New York and her beginnings at the Wuppertal Tanze Theatre. Than I`m focusing on the work itself, its development and Pina Bausch`s work with dancers, music and scene and also psychological aspects of her work. Moreover what was her influence and what is the reception of her work. Second part of my thesis is devoted to a historical-cultural analysis. I`m mostly interested in what way she was touched by both European heritage and American experience. The penultimate part consists of particular analysis of the piece Bluebeard, which includes descriptions of all components of the work ? literary patern, music patern and finally analysis of the dance piece supplemented with illustrative pictures ? stills from the performance recording. In conclusion I tried to collect the best of interviews with Pina Bausch in order to provide better understanding of her motives, choise of subjects and attitude to work. Quotations from interviews are used broadly throughout the thesis. Important part is also annexes containing chronological overview of all Pina Bausch`s works as well as resumes of the tales of Bluebeard. Eventually I listed literar sources which are unavailable in the Czech Republic and which I for this reason could not use for further study. In fact I was mostly dependent on internet resources.
|
|
|
Choreografie a její výuka
Veverková, Kateřina ; Eliášová, Bohumíra (advisor) ; Eliášová, Bohumíra (advisor) ; Wiesner, Daniel (referee)
I spent long hours pondering about the topic of my master degree dissertation. I did not intend to opt for personality from the sphere of art, and thus the choice of the topic was not too easy. I searched for the subject about which not much has been written up to now and which would be closely related to my subject of study ? and that is choreography. I intended to take my own experience as a basis and get some inspiration from literature. Therefore I opted for topic Choreography and Teaching Choreography. However, following consultation with my dissertation tutor Mirka Eliášová I found out that literature needs to be taken as a basis to a larger extent than I initially assumed. I have endeavoured to understand and gather views of several choreographers and pedagogues and then bring them together as one entirety. Those concerned were primarily Jiřina Mlíkovská, Doris Humphreyová, Jarmila Kröschlová and Štefan Nosál.
I do not intend to list out and describe individual etudes that shall be performed during the teaching of choreography; my goal rather comprises comprehensive view on choreography and possibilities of teaching it. I also deal with many elements that are closely related to the choreography and the person of a choreographer. Some of these elements are elaborated into more details; some are addressed as a marginal subject only. Topics, which are more extensive and more detailed I consider the most important ones in relation to the choreography.
In addition to many books and university mimeographed I would like to proceed from my observations and experience, which I acquired mainly during my studies at the Music Faculty of Academy of Performing Arts. Other sources for my work will also include seminars that I undertook during dancing expertise. My dissertation thus includes also my personal experience, views and observations, which I acquired in the sphere of choreography not only as an author but also as the performer.
My dissertation also includes brief characteristics of choreography development and the person of choreographer as such, so that the choreographer?s function in the course of history becomes obvious.
|
|
| |
|
|
THE PERSONALITY OF CHOREOGRAPHER
Cemerek, Jaroslav ; Wiesner, Daniel (advisor) ; Kubicová, Ivanka (advisor) ; Eliášová, Bohumíra (referee)
Using personality psychology as my starting point, I make an attempt in this thesis at describing the personality of the choreographer. More
specifically, my prime concern on the pages that follow is the
choreographer?s talent, which is also why the structure of the
choreographer?s personality as described in this thesis does not correspond
to the (much more complex) structure of the personality as it is normally
presented in the branch of personality psychology. As regards the term
?talent?, it is used here in rather a broad sense, including not only the
choreographer?s ability to dance, but also the other components of his/her
talent
|
|
|
Choreographic style of Maurice Béjart
Nečasová, Sylva ; Gremlicová, Dorota (advisor) ; Gremlicová, Dorota (advisor) ; Wiesner, Daniel (referee)
Bachelor?s work called The choreographic style of Maurice Béjart shows a life and work of this French choreographer and also of some of his closest co-workers from companies and schools that Béjart himself founded.
In certain chapters I deal with the biography of Maurice Béjart, the companies and dancers, schools and their distinctive teachers. In my work I also present a list of Béjart? s works for theatre, film and books dealing with his life. I also add a necessary index of the companies of Maurice Béjart, his choreographic and literary works (all in chronological order) and the awards he received. I finish with the characteristic of the choreographical style of Maurice Béjart.
|
guest ::
RSS feed.