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Complex scenographical project Charles Gounod : FAUST
Strmisková, Denisa ; David, Milan (advisor) ; Vohlídalová, Ivana (advisor) ; Dušek, Jan (referee) ; Zbořilová, Jana (referee)
My thesis is centered on one of the greatest literary pieces and a phenomenon of European literature, which Faust unquestionably is. In the introduction, I?m concerned with the myth of dr. Faust and its historical background itself. I?m tracking the development of the story from its beginning towards the middle ages, through the most famous adaptations of Marlow and Goethe, to the libretto of the French romantic composer Charles Gounod?s opera. Especially this libretto, Gounod?s Faust is a subject of my detailed analysis; I?m paying attention not only to its formal side, but also comparing the work to Goethe?s original artwork. The aim of this part of my thesis is to illustrate the differences between Gounod?s opera and Goethe?s work, centered on the plot of the story. Goethe?s piece is much more complex than Gounod?s opera. I put forward motives and situations, which became the landmarks for this composer?s work. Intentionally then, I?m analyzing single scenes and chapters of the plot, centered on the development.
Next, I?m analyzing two of the important Czech incenations of Goethe?s Faust. Those are National Theatre?s 1997 Faust and television adaptation of Divadlo na okraji (Theatre on the edge)?s 1989 Faust inscenation. I?m paying attention to its stage design, especially in Radok?s National Theatre performance.
In the next part of my thesis, I?m paying attention to my own interpretation of Goudon?s Faust, which is the theme for my practical bachelor?s thesis. I?m concerned with single parts, which include scenography, costumes and their realisation, light design and technical solutions. I?m putting forward my ideas concerning this opera and the possibilities of its outcomes.
In the end of my thesis, I?m adding rich picture annexes, correlating with each chapter.
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Piano as an intermediate of contemporary composer
Dušek, Jan ; Bartoň, Hanuš (advisor) ; Kučera, Václav (advisor) ; Filas, Juraj (referee) ; Matějů, Zbyněk (referee)
This master´s thesis is deal with a piano and its technical possibilities. The main focus is heeding especially on techniques used in music of 20th century, its possibilities of performance and writing. In this thesis are besides orthodox techniques (playing on the keys) also non-orthodox techniques (prepared piano, playing inside of the instrument). In attachments are photos of playing certain non-orthodox techniques, on the CD its sound result.
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Tom Stoppard: TRAVESTIE- complex visual interpretation
Kürner, Marjetka ; Dušek, Jan (advisor) ; David, Milan (referee)
Travesties is a refined comedy, written by one of the best and most important modern playwrights, Tom Stoppard. it was published in 1974 and counts as one of major works of the english author, born in Czechoslovakia. It brings together three important historical figures: modernist James Joyce, dadaist Tristan Tzara and revolutionist Lenin. These three are brought togeteher by main character, Henry Carr with his imagination and confused memories. By carefully studying the play and seeking inspiration in the visually attractive dadaist movement, I have elaborated my own interpretation of the work and a concept for scenography and costumes design for each character of Travesties.
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Specific cases of the space-creating function of a costume (Ch. Marlowe: Dr. Faustus)
Stojčevski, Dragan ; Dušek, Jan (advisor) ; David, Milan (referee)
In this thesis, I am trying to answer the question of what space-creatingfunction does a dramatic person carry. I an searching for ways in whichset-design creates space, especially specific environments, by the meansof a living actor. I limited the presented examples to my personal experience with dramatictheatre. The possibilities (not only of the box theatre) are explained onthe examples of A.P. Chekhovś The Cherry Orchard, Shakespeareś Midsummer Nightś Dream and are further analyzed on the example of thefunction of the chorus in Christopher Marloweś The Tragic History of Dr. Faustus. The core of the thesis consists of the scenographic study of this play. The presentation also includes the Faust performance that was shown onthe Third International Biennale Vestiges of Industry 2005 in Kladno and is described in the end.
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Bertolt Brecht Galileo's life (possibilities of B. Breht in contemporary theatre)
Ďurik, Andrej ; Dušek, Jan (advisor) ; Glogr, Karel (referee)
In my thesis I endeavoured to document the development of the view of Brecht?s works in our countries. It means mapping the interpretation attempts in the Czech Republic, coping with Brecht?s theoretical work, and last but not least with Brecht as a political man with social feeling due to what he remained many times miscomprehended. It is certain that the history mentions a large-minded, talented, educated personality, a strongly up to self-destructively hard-working one. On the one hand, he is artistically sensitive and fine, however, on the other hand he is a disintegrated and a very complicated person. In the course of time, I came to the conclusion that it is likely impossible to fully join a Brecht theoretician and a Brecht dramatist, while the theory of epic theatre significantly hungers for a formal aspect though on the other hand, it seems to fail to conform to ease and poetry of his dramas. It is important to say that Bertolt Brecht was practically a communist during all his life in a complicated period. His relationship to communism was developing and it can be learned that this relationship had undergone a long way from enthusiasm up to full disillusion. That is why this fact appears in my thesis; it is a statement, a truth about a great artist and a truth about the view and contemporary interpretations in our countries where he was quoted and belauded, as necessary.
At staging, it is impossible to consider all aspects of Brecht personality. It is good since it leaves space for a man, one can be both Brecht a bit and also himself. It provides ?space? while showing a human being in his complicacy, it is as a search in the human soul and mind. He does not psychologize, he just states, shows a human being in particular situations including his behaviour, and at the end all these situations make a whole picture about us and about our period. Therefore, we can say that Bertolt Brecht is a great author of great dramas with timeless themes. His characters reflect contemporary people. As if nothing has changed, just the time is perceived in a bit different way, it oscillates and befogs our perception, with decoding matters becoming more difficult for us but with the essence remaining the same as before. His dramas are interesting as for formal aspect, they are ?up-to-date? providing space also for an experiment. They may serve as a formal reflection, the beauty of speech for itself.
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