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Choreograhy between intermediality and interactivity
Šmídová, Monika ; GREMLICOVÁ, Dorota (advisor) ; NĚMEČKOVÁ, Elvíra (referee)
This work defines the term interactive media and explains how it differs from the till now known term “new media”. It leans on the history of technology progression and the theory of new media. For better understanding of how one views new perception, it touches the basics of esthetics. It maps the development of dance visual forms labeled as digital dance and it lists the main pioneers and their methods. In the final part of the thesis, three current artists who use interactive projections in their performances are listed and their work is analyzed.
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Jarmila Kröschlová and Eliška Bláhová
Rauschová, Anna ; GREMLICOVÁ, Dorota (advisor) ; OVSOVÁ, Libuše (referee)
In my bachelor thesis, I am writing about two personalities of the Czech dance scene, Jarmila Kröschlová, dancer, teacher and choreographer who was working mostly in Prague, and Eliška Bláhová, a teacher working mostly in Brno. I have focused on the leading principles of their respective methods of dance and movement, that they have based on the study of the method of rhythm and movement of Émile Jaques-Dalcroze and that they have been further developing throughout their pedagogical careers. I have tried to compare the methods of Jarmila Kröschlová and Eliška Bláhová with special attention as to how they use the Jaques-Dalcroze method, especially his work with rhythm. Eventually, this comparison shows that Bláhová put a bigger emphasis on the rhythmical aspects of movements and their specific execution, while Kröschlová worked also with dynamics and a general expression of movement, which led to her creating a dancing method that she used even in her choreographic activities. The context is further supplemented by a reflection of several other receptions of the Jaques-Dalcroze method within the Czech dance scene.
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Helena Vojáčková
Nečasová, Natálie ; GREMLICOVÁ, Dorota (advisor) ; BRODSKÁ, Božena (referee)
This thesis is chronologically mapping the life and the pedagogical carrier of Helena Vojáčková (1882-1967) in context of contemporary dance. The crucial source for this thesis was her inheritance in the Archive of National Museum in Prague.
Helena Vojáčková, teacher and critic, participated in the birth of new dance culture formatting at the beginning of 20th century. After her university studies she focused on health aspects of dance. She graduated at Bess Mensendieck health gymnastics, further on she studied modern dance at Drury Channell and also at her former student Jarmila Kröschlová. She taught in Prague according to the system of Bess Mensendieck. She collaborated with dancers, rehabilitation specialsts and doctors. She wrote several studies and a book called "Pohybem ke zdraví a kráse ženy" (1959, 1961). From an artistic point of view she tended to proper understanding and performing the moves, she also wanted each move to be sensed in its expression. Teaching of this method was no more developed after her death but some of her students used inspirations of this system in their further choreographic or teaching activities. The most important of them was Jarmila Kröschlová.
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Czechoslovakian Dance Artists' Conference of 1950
Bartoš, Josef ; GREMLICOVÁ, Dorota (advisor) ; NĚMEČKOVÁ, Elvíra (referee)
This bachelor's thesis deals with First Czechoslovakian Dance Artists' Conference, which took place in Brno on 28th and 29th March 1950, based on the stenographic notation of its progress. Due to the large range of stenographic notation, it focuses on the most discussed themes, such as; period dance scene condition and reactions to period dance pieces; the recently established state-owned education system; teaching method issues; private dance studios; pedagogues' expertise; labor turnover of dance artists; folk dancing as an inspirational source and dance literature. Participants' convictions and thoughts illustrate the process of forming new ideological stances on the dance art sphere in Czechoslovakia after 1948; it reveals personal stances of each participant. It shows: ambiguous dance artists' relationship to the newly forming state-owned education system together with the requirement for shutting down private dance studios, clashes of modern and ballet dance representatives and the usage of their teaching methods while training new dancers, social and existential status issues, finding new ballet repertoire and its artistic sources.
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Dance education in Sweden
Petáková, Adéla ; NĚMEČKOVÁ, Elvíra (advisor) ; GREMLICOVÁ, Dorota (referee)
The aim of this thesis is to summarize information on the current dance education in Sweden. The work focuses on the structure and history of dance education system, the application of pedagogical principles drawn from the teachings of J.A. Comenius and personal insight, based on its own confrontation with the topic. Summary of material indicates which direction the dance in Sweden develops and where it is going in the future. The intention of exploring this issue is not comparing Czech and Swedish dance education, but the goal is to seek and find sources of inspiration for the profession of dance education in the European context and its application in practice.
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The czech contemporary dance in the nineteen nineties
Opavská, Andrea ; GREMLICOVÁ, Dorota (advisor) ; STAVĚLOVÁ, Daniela (referee)
The main goal of this thesis is to clarify the situation of the Czech contemporary dance platform in the nineteen-nineties and its transformation, on the basis of four case studies of concrete personalities and their dance works: Eva Černá a Karel Vaněk (Little blue nothing), Lenka Flory (..and where is Mary?), Jan Kodet (Jade) and Petr Tyc (The Fall of The House of Usher). The emphasis is put on catching the different qualities of movement, searching for the origins of their source of inspiration.
In order to understand the deeper context of this period it was necessary to briefly describe the development of "scénický" ("scenic") dance before 1989. This matter is put into the larger context of the change in aesthetics of the corporeality since the nineteen-sixties and the formation of the concept of contemporary dance with delimitation of its content.
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Life and work of Kurt Jooss
Čížek, Petr ; NĚMEČKOVÁ, Elvíra (advisor) ; GREMLICOVÁ, Dorota (referee)
The goal of the bachelor thesis is a description of life of a dancer and choreographer Kurt Jooss, whose pedagogical activity significantly impacted entire next generations of artists. Essential part of the thesis dedicated to the description of a political and cultural situation of the society at that time, which fundamentally influenced his life and artistic work. Through the gradual learning about Kurt Jooss´ life we are getting a complete picture not only about his pedagogical contribution, but also about his influence on another key personality of the dance theatre history, Pina Bausch.
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Music in Choreography
Šťávová, Helena ; GREMLICOVÁ, Dorota (advisor) ; WIESNER, Daniel (referee)
The thesis called Music in Choreography with the subtitle Interaction of Dance and Music with the Use of Motion Sensors aims to characterise the relationship between dance and music, and how this relationship was influenced by the advancement of technologies during the 20th century. The work pays close attention to the possibilities of using motion sensors, it presents the basic types of sensors and their use in choreographic work. Based on analysis and exploration of her own master´s degree choreography, The Art of Manipulation, the author describes the process of collaboration between a choreographer and a composer in creating a performance which uses modern technology in the form of Hot Hand motion sensor.
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Body ability in choreography
Puchowska, Sara Maria ; ELIÁŠOVÁ, Bohumíra (advisor) ; GREMLICOVÁ, Dorota (referee)
This thesis deals with the use of dancers´ body and its abilities by choreographers. The work is based not only on the study of literature (theoretical and practical part) but also on the research, which was part of the work carried out (questionnaire for dancers and choreographers). The aim is to describe what is the vision of the dancing body in the contemporary world. Is a relatively advanced age of a dancer an advantage or disadvantage on stage? The question is dealt with in terms of physical parameters, aesthetics, attractiveness for dancers and choreographers. At the same time this work is about dance medicine as a means of prevention, which can help prevent accidents in the choreographic rehearsals and contribute to the conscious use of physical possibilities of bodies of the dancers. Do the choreographers use bodies of the dancers primarily in terms of age and physical or mental abilities fully?
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