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Complete scenographic project for Charles Gounod's FAUST
Forstová, Anna ; David, Milan (advisor) ; Vohlídalová, Ivana (advisor) ; Glogr, Karel (referee) ; Zábrodská, Dana (referee)
My bachelors work is focused on a study of different costume approaches to Fausts theme. I compare selected foreign inscenations since the end of eighteen century to present. Selection of performances was made upon the existence of picture materials and theatre reviews. I tried to reflect the change of costume tradition and discover what parts of original costume remained unchanged till now. The best example for this observation was costume of Mefistofeles.
In second part I?m dealing with treatment of my practical assignement ? costume and set design work for Gounod opera Faust and Marketa.
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J.W. Goethe: FAUST / complex costume costume design/
Škandíková, Lucia ; Zbořilová, Jana (advisor) ; Zábrodská, Dana (referee)
The theoretical part of this thesis deals with the image of the Devil in a cultural perspective and historical contexts within figurative art, literature, cinema, theater, Central European folklore and human history. Subsequently, it focuses on the Devil with regards to the contexts of his interpretative forms. The practical part describes my own experience of theatrical interpretation of the character of the Devil through his various translation into dramatic texts. This, with reference to: M. Bulgakov´s the Master and Margarita, F. M. Dostojevskij´s Brothers Karamazov, Petr Boháč´s Dante ? The Light in a Darkness, J. Kráľa´s Wicked Maidens and into specific W. Goethe´s Faust.
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J. B. Moliere: Don Juan/ complete method of solution of the stage design-costume and masks
Lebdušková, Petra ; Vohlídalová, Ivana (advisor) ; Zábrodská, Dana (referee)
My master´s thesis is devided to four parts.
The first part is about the historical, literature and original meanings about the theme Don Juan. That´s althought about the legend of Don Juan in origin and in the czech background of it.
The second part is about the interpretation by the main critics, inscenators and theoreticals. That´s consider by ideas, which are important for me.
Third, theoretical part compares two inscenations, which were produced in Czech Republic.
The fourth part of my study is the most important, because it´s about my practical solution and conception of Don Juan. It contains reflexion of the theme, relationship to the modern time, the main topics of my conception and the art inspiration. The other part is about the main charakters and their costumes, materials, colors, forms, siluets? The last part is about the stage and the dramatical situations. All of my art design is visible on the fotos.
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Stage design project Charles Gounod: FAUST
Karásek, Jiří ; David, Milan (advisor) ; Vohlídalová, Ivana (advisor) ; Glogr, Karel (referee) ; Zábrodská, Dana (referee)
In this work I compare several different conceptions of foreign opera shows with the theme of Faust in the last 30 years. This serves as well as a corner stone and criterion for practical part of my work. The shows are compared from today?s point of view, they?re confronted with presumptions and notes of theatre critics. I briefly examine opera shows in unconventional spaces. I analyse visual codes of particular performances and try to identify the motives that contribute to this kind of work. In second part I briefly introduce history of Gounod and his opera. Then I explain conception of my vision of Faust and his interpretation, going in detail for meaning and treatment of costumes and set, including brief explanation of technological concept.
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COSTUME LIKE SOCIAL SYMBOL - F. M. Dostojevskij Idiot
Vágnerová, Klára ; Vohlídalová, Ivana (advisor) ; Zábrodská, Dana (referee)
The work is mainly about the social role of costume. The first part discuses the idea of clothing in a social context and it's importance in theatre. The second part deals with the reciprocal relationship of atributes of civil wear and the costumes of different social layers in Russia in the second half of the 19th century. And also it's meaning in contemporary theatre. The third part contains visual suggestions for the main characters of The Idiot by F. M. Dostojevsky.
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Complex Stage Design Project of Giacomo Puccini
Svoboda, Martin ; Zbořilová, Jana (advisor) ; David, Milan (advisor) ; Zábrodská, Dana (referee)
In this text, i would try to zoom my work on my scenographic conception of opera of Goacomo Puccini - La Bohéme, where libreto wrote Henri Murgher from his romance - Sc?nes de la vie de boh?me and is it for the Stavovské theatre in Prague. Preliminary i would like to write in brief something about a history of this opera, next ,,Bohemian live?? from his origins up to individual kinds of the Bohemé. In another step i will consider of my self solution of scenography, costumes and theirs conceptions. In conclusion i would like to try finish this text by own opinion and I will show my list of usable literature.
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The traditional folk theatre in modern creation of costume.
Vlachynská, Petra ; Zábrodská, Dana (advisor) ; Tůmová, Barbara (referee)
This Paper is a work about Folk cultures and their components in theatrical art. You will find there a description of various elements and inspiring patterns of folk-costumes. The aim is to understand folklore patterns in order to recycle them as original inspiration for folk-themed scenic productions.
The second part of this work is a practical illustration conceirning the theatrical piece of Bohuslav Martinů - Divadlo Za branou.
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Bertolt Brecht-Beggar´s Opera (costume in context of the German avant-garde between the 1st and 2nd war)
Kotíková, Jitka ; Zábrodská, Dana (advisor) ; Hlaváčková, Konstantina (referee)
This master´s thesis describes costume possibilities in case of the Bertolt Brecht´s Beggar´s opera realisation. The thesis tries to sketch out political and social situation in the period between the 1st and the 2nd World War when the Beggar´s opera was written and related influence for costume evolution. I have described the proces of the Beggar´s opera creation in detail as well as it´s evolution in Bohemia within 70 years. Further I have made my own costume concept focused on complex art approach and particular personage, colour scheme, used materials and make-up (which is very important) as well. At the conclusion I have attached proposal of the scene realization in which the play could be put on with emphasis on the need of scenografic concept.
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DANTE ALIGHIERI DIVINE COMEDY (DRAMATIC PERSONAGE AND ITS RELANTIONSHIP TO STAGING SPACE)
Bábek Melcerová, Ľubica ; Zábrodská, Dana (advisor) ; Pražák, Albert (advisor) ; Glogr, Karel (referee)
Main theme of my graduation thesis is medieval poetic piece called Divine Comedy. My thesis try to find way how we can interpret and stage this text nowadays. I try to use the best all my knowledges gained during my university education.
First part of my graduation thesis is theoretical. Mostly I find informations in non-fiction literature. We can separete it into two subheads.
I define the basic scenography notions at first one. I concentre on those, which ones related with my thesis and used them in this text.
I write about poetic piece of D. Alighieri Divine Comedy in the second subheads. I give some informations about history of origin and its historical context. Next I attend to translations this piece to czech language and its staging at Czech republic.
Second part of thesis is academical and treat of my author´s concept. I am declaratory of reasons my scenic concept. Concept is forwarded to present day and displays the basic thame of the text Divine Comedy for me. Challenge to person to reflection own acts, hopes for saving for rightfuls and punishment of those who do not recpect the moral period context. It is a interactive performance. The audience passes through situations. In some of them the audience can cooperate with performers if they want. The audience meet various types of devils, angels, allegoric figures, prisoners, transgressors in Hell, in Purgatoty and in Heaven.
The story is situeted in the no-theatre space. I use idustrial space-the factory.
I would like to use authentic incidence of factory to people- depersonalization, inhuman scale...The another reasons are the technical possibilities for resolution of concrete situations.
Everybody of audience is Dante and writes own Divine Comedy.
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