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Crossover
Tejnorová, Petra ; KLÍMA, Miloslav (advisor) ; KROBOT, Miroslav (referee)
This dissertation entitled CROSSOVER, between the layers of my own staging experience, on the boundaries of forms, genres and not only those, is divided into three parts. All sections are primarily based on my own theatre experience and are interlaced with numerous examples from performances and theatrically performative thinking of selected foreign ensembles. Given the subject matter, the first part primarily deals with Gob Squad and Shunt ensembles and the director Mike Leigh. In the second part, Rimini Protokoll and again Gob Squad are mentioned. The third part is dedicated mainly to the director Tim Etchells and his Forced Entertainment ensemble. My theatre experience is presented in the introductory part of this dissertation; starting with complex shows which represent a symbiosis of all components and are linked by their staging style and formerly discovered drama methods to authorial/devised projects to theatre which implements documentary and technological elements. In the first part of this dissertation, differences and subtle nuances between authorial and devised theatres are examined with focus on the specific devising creative method. The second part of the dissertation is focused on documentary and technologies. The third part consists of subtopics introduced in the previous chapters with respect to crossing boundaries between forms, genres and methodologies, which are more closely related to the phenomena of boundaries between theatre performances/events, fiction/reality, spectator/witness, actor/performer. The methods or the optics with which I work are based on the phenomenon of the mentioned areas and topics. The manner of addressing the issue can be likened to a phenomenological insight.
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MAIN PART: THE SPECTATOR
Straub, Linda ; HRAB, Ondřej (advisor) ; HAVELKA, Jiří (referee)
The aim of this thesis is to present different ways of audience participation that are applied in contemporary theatre practice. The introductory section outlines the issues of engaging the audience in relation to conventional theatrical practice. Subsequently I give a historical overview of important artists of the 20th century, whose work significantly influenced the contemporary perception of possible ways of audience participation in the field of theatre work. In the central part, based on chosen theatre practitioners from the 20th and 21st centuries, I show specific ways of involving the spectator. The final chapter outlines the theoretical discussion of interactive theatre in relation to the concept of aesthetic distance.
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Legal aspects of organizing music events
Hálková, Kateřina ; Boháček, Martin (advisor) ; Votava, Tomáš (referee)
The thesis entitled "Legal aspects of organizing music events" deals with musical performances from the perspective of organizers, performers, but also the wider public. The aim is to identify the legal issues that must be seen to by the organizer of musical performances and to evaluate the operation and use of the services of collective rights management societies and to evaluate the impact of copyright infringement and attitude of the society to its violation. The introductory chapter provides an overview of the legislation and discusses copyright and certain organizations that work in this field. The second chapter describes the activities of collective rights management companies. Equally important is the third chapter, which deals with license agreements and the different types of licenses. The final chapter applies the theoretical knowledge gained from previous chapters into practice.
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Copyright questions related to the position and activity of bands and organisers of musical performances
Machuta, Václav ; Boháček, Martin (advisor) ; Patočka, Radim (referee)
This bachelor thesis deals with copyright questions related to bands, organisers of musical performances and collective rights managers. It analyses every subject separately as well as their mutual relations. The aim of this thesis is to assess whether the contemporary Copyright Act provides for the copyright position of bands, organisers of musical performances and collective rights managers sufficiently, and also for their mutual judicial relations. The main source of information is the qualitative research method in the form of interviews with musicians and other representatives of music industry and the longterm author's activity in this branch. The work also discusses the certain related rights to the copyright and deals with the admission of the amendment of the directive prolonging the protection of these rights.
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