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Forms of present post-dramatic activities of young artists-performers
Špačková, Lucie ; Pšenička, Martin (advisor) ; Etlík, Jaroslav (referee)
This bachelor thesis concentrates mostly on comparison of two historical periods of theatre-fine art artistic activities in the Czech republic. Its aim is to find connotation between selected Prague artists' activities from the sixties and seventies and present activities of Rafani art group, that has been active since year 2000. At the same time it points out the distinctiveness of the historical period during which the artists are active and implicates their activity tendencies. The thesis is divided according to individual terms that are defined in close reference to each artist's activity - body art, happening, performance. The second part is then devoted to Rafani art group, the activity of which is for better orientation divided into two stages. Each stage presents the most outstanding projects realized by the group and at the same time introduces the present topic of their textless artistic activity.
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Jitka Smutná, Jan Vlasák - acting and pedagogic method
Balonová, Izabela ; Pšenička, Martin (advisor) ; Etlík, Jaroslav (referee)
This thesis is a study of an acting and educational method of two distinguished Czech actors, Jitka Smutná and Jan Vlasák. Based on selected roles I tried to conclude how both actors approach their characters, and how reviewers perceive their effort, so that I could define what is typical for their acting and dramatic art as a whole. In the chapter THEY I further explore how Smutna and Vlasak approach their students - in what manner they form them, and what they consider important in acting training.
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Libor Vaculík: from ballet to dance musical
Řezáčová, Tereza ; Pšenička, Martin (referee) ; Etlík, Jaroslav (advisor)
In the first place this BA thesis deals with the origin of ,,a dance musical" as a particular dramatic form which was named by a choreographer and a director Libor Vaculík, who does not attach this a bigger importance in the field of terminology. This thesis tries to clear up meaning of Vaculík's music-dance term which is not exceptional in the conception in which the dance creates the central line of a narration but in the way of composition which is more similar to ,,dance musical" than to sung ballet. The work is divided into three parts - history, research and analysis. First part concentrates on the origin and the development of the ballet and the musical as a basic genres, from which originates Vaculík's term for this border genre. The second part is dedicated to the problem of ,,dance musical" within the scope of a world music drama and it is shown there on selected exemples the possible ways of a development of this new form. The last, analytical part connected with Vaculík's production is directed to analysis of two ,,dance musicals" according to Freytag's model of drama structure.
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Činoherní klub 1990-2007 (A poetic of actors theatre)
Kadlecová, Klára ; Etlík, Jaroslav (referee) ; Just, Vladimír (advisor)
The thesis is engaged in analyzing production of Činoherní klub, which is the one of the most important Prague theatres. The thesis is engaged in the production of this theatre after revolution, so from the 1990 to 2007. This is a very long time for analyzing, so the thesis concentrates at finding and specification of actor style and its changing in comparison with the founding poetics of this theatre from the 1960'th. The accent is put in finding particular actors themes, which were the subject of thesis written by František Knopp in 1969.
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History of the Black light theatre of Jiří Srnec
Goščíková, Romana ; Pšenička, Martin (referee) ; Etlík, Jaroslav (advisor)
The master subject of this essay is pretty clear - the history of one of the most famous Czechoslovakian theatre phenomenon of the world - The Black Light Theatre of Jiří Srnec. Although many other ensembles play under the name of the original Black Light Theatre of Prague these days, the real founder of this new theatre form is Jiří Srnec. He used a very old trick, based on the principle of the "black cabinet" which technically means that the black-dressed actors holding the requisites are not seen by the spectators against black backdrop. Thanks to this technique the requisites, things and objects seem to move themselves. However, this trick is not the main purpose of the plays performed by Jiří Srnec and his. It's a principle that evokes scenic and mimic metaphor which is realised by movements of graphic artefacts and actors and accompanied by music. I have studied through the foreign and local critiques and reviews, short studies in theatre periodicals, several interviews with Jiří Srnec and some other witnesses, and my own experiences with this theatre. The essay consists of two main parts: the first one theoretically describes the basic principles of the black theatre and the second part focuses on the history of the theatre of Jiří Srnec from the very beginning to the present.
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Myth of Faust by Jan Švankmajer in the theatre and the film
Marešová, Petra ; Etlík, Jaroslav (referee) ; Just, Vladimír (advisor)
This diploma project summarizes and evaluates theatre and film writings of a well-known director and scriptwriter Jan Švankmajer. It focuses only on faustian myth in his writings.The project deals particularly with his three early theatre productions from the beginning of sixties in the theatre Semafor ( two of them - Johannes doktor Faust a Sběratel stínů - are directly connected to faustian myth) and his second feature film Lekce Faust. In fact, this film is actually a summary of his earlier faustian themes and their distinctive interpretation. The introductory chapter deals in detail with the development of faustian myth and his main attributes.Their knowledge is necessary for futher commentary and analysis of Švankmajer's efforts to work on this theme.
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The Development of Slovak drama theatre since 1920s till 1970s and its interaction with Czech theatre
Kyselová, Eva ; ETLÍK, Jaroslav (advisor) ; CÍSAŘ, Jan (referee)
Following dissertation thesis study the influence of Czech theatre on developement of Slovak classic drama theatre during approximately from the twenties to seventies of 20th century. The purpose of the thesis is to identify the possible impact of Czech theatre on development of Slovak theatre culture in common state system regarding the similarity of both nations and cultures. The thesis are divided into two parts. First part defines chosen methodology. It presents the concept of literature comparatistics and its possibilites regarding application on theatrological research, it explains basic terms of comparatistics, the context of origin of Czech and Slovak nation regarding the idea of national theatre and it sets its own periodization In second part the comparative analysis is applied on particular historic source, it analyzes each period using examples from work of Slovak directors in particular historic-political context while comparing it to the state of Czech theatre. These chapters use tools of comparative analysis ? typological connections or genetic and contact relations of both theatre cultures. The main purpose of the thesis is to emphasize the fact, that despite the common historic and political context and significant language and cultural similarity, there are two individual theatre cultures developing since 1920 that are engaged in a continual creative but mostly varying dialogue.
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Documentary theatre
Součková, Kateřina ; ETLÍK, Jaroslav (advisor) ; CÍSAŘ, Jan (referee)
Master thesis Documentary theatre, documentary and theatre deals with condracition contained in a term "documentary theatre". It examines, how is the function of "documentary" influenced by being part of a dramatic piece, which is as a piece of art essencially artificiel and based on a duality of original and sign. It investigates documentary theatre based on so called "experts of the everyday", which replaces a professional actor by a witnesses, personally related with a documented reality. This theatre by its changement of a key component of theatre brings a princip of "staging reality" to its certain peak.
In the first part of this thesis we characterise a field of examinated topic and we confront it with a related branches (like a realism, a documentary film and an oral history), which helps us to characterise it thourgh a diversity of different perspectives. In its second part we analyse two contemporary czech documentary performances dealing with "experts": Vadí/nevadí of Jana Svobodová and 4. svět of Tereza Durdilová. In its third part we explore our topic from the point of view of czech theory of theatre, represented in this work by Otakar Zich, Jan Císař, Ivo Osolsobě and Jaroslav Etlík, focusing on the problematic of reception of sign and original on a theatre scene.
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Pervasivity in Live Art
Brychta, Lukáš ; ETLÍK, Jaroslav (advisor) ; PŠENIČKA, Martin (referee)
The aim of this thesis is to offer an application of the concept of pervasivity on the field of live art. The first chapter introduces the concept as it was defined in the field of game studies, mainly by scholars of Tampere school. To fill this aim it makes use of terminology coming chiefly from social sciences. The second chapter describes the relationship between game and theatre including their common as well as dissimilar features and then adapts the pervasivity concept for the theatre field. The third chapter brings possible applications of the concept by presenting three examples of a piece's confrontation of everydayness: through accentation, fabrication and construction. The conclusion sums up possible pervasive moments in the examined pieces of art.
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