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Staging Sarajevo
Gonda, Peter ; TOMÁNEK, Karel, Frant. (advisor) ; MAKONJ, Karel (referee)
Known to a wider audience is the work of the German theatre theoretician Hans Thies Lehmann. A consistent theme in his seminal work, the book Postdramatic Theatre, is the notion of a heterogenous and adramatic theatre praxis spread across Europe, which serves as a preliminary map of a theatre landscape for the 21st. Century.
Key concepts to understand whilst grasping the Postdramatic Theatre theory are the concepts of paralaxis, plethora, simultaneity, musicalization and many others.
In this thesis the author expresses his affiliation with, and knowledge of post-dramatic theatre practices. Nevertheless, his thesis he mainly documents the process of initial creation, writing and rehearsal of the theatre plays Endgame and Sarajevo, in the case of the latter facing difficult questions about warrelated topics embedded in the nature of war movies and theatre, as well as stemming from a difficult and diverse historical discourse of the Balkans. Knowing this, the author examines the siege of Sarajevo, through the prism of many diffferent sources, that range from a real-world diary of the 11 years old Zlata Filipovič, to the articles and interviews written and conducted by the only Czech journalist on the ground, Jan Urban.
Other topics include: fragmentarisation of narrative, non-chronology, and non-psychological acting.
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Theatre Layering
Dušková, Linda ; KLÍMA, Miloslav (advisor) ; MAKONJ, Karel (referee)
The master thesis named Theatre layering attemps to reflect the specific
moments during the preparation of theatre performance, that could influence the
interpretation of dramatic text. The author of this thesis is concerned with
using of text, image and music for theatre work bordering the interpretative and
non-interpretative approach. In the analysis she used the experience of her own
directing-dramaturgical work during the studies at DAMU.
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MEANINGFULNESS VS. AMUSINGNESS
Lesák, Jan ; BORNA, Jan (advisor) ; TICHÝ, Zdeněk (referee)
The aim of the thesis is a reflection of two of my theatre productions, How to Run a Marathon and The Chameleon, in terms of their meaningfulness and amusingness. The work on both productions led me to believe that the higher amount of meaning a stage project carries, the less it is amusing. Having however seen many productions which I consider highly meaningful and amusing at the same time, I decided to explore the original notion in order to discover the actual relation between meaningfulness and amusingness. The thesis therefore defines my notion of amusingness and my notion of meaningfulness. An analysis of those notions leads to the conclusion that I find amusingness without meaning unamusing, and a meaning that is not delivered in an amusing manner I consider uncommunicable. Therefore: not only are
meaningfulness and amusingness not in opposition, they even can hardly exist one without the other. My biggest mistake in the creation of the stage productions was therefore separating those two aspects. In my further stage direction practice I would like to work with meaningfulness and amusingness together in such a manner that they both mutually support each other and organically come out of one another.
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DOCUMENTARY THEATRE AND ITS USE
Burianová, Zuzana ; KUDLÁČKOVÁ, Jana (advisor) ; SCHEJBAL, Milan (referee)
The bachelor's thesis summarizes various views on documentary theatre within the theatre praxis. It cites current definitions of such practice and discusses the extent to which it is topical. The thesis is based partly on film theory, gives examples of theatre productions which are founded on documentary material and also refers to examples from the history of theatre. Among the notions to which it refers are the Living newspapers, postdramatic theatre or the Verbatim method. In its second part, the thesis reflects on the process of realization of a documentary task assigned to the author in the second year of study. It assesses the outcome critically and engages with the problems that arose in the course of the work and relates them to documentary theatre. In the final part, the thesis evaluates the overall beneficence of the assignment for the author's studies and develops an argument presenting the advantages and disadvantages of documentary practice as a basis for theatre production in contemporary social context.
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WHEN ACTOR WRITES A PLAY
Kubátová, Barbora ; TOŠOVSKÝ, Jan (advisor) ; HAVELKA, Jiří (referee)
This work named When actor writes a play is mostly dedicated to the Authorial theatre and the Authorial acting. I tried to describe the creation and the production of graduate and other authorial performances that I personally contributed to. I also described the creation of the play Siegfried´s Idyll, which I wrote and staged. The original text of the play is included in my dissertation work. By writing the paper I recapitulated my present theatre life and hopefully I learnt my lesson for the future career.
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Odysseus
Sekicki, Bojana ; NOVÁK, Vladimír (advisor) ; RAJMONT, Ivan (referee)
The aim of the study is to outline the process of directing Odysseus from inspiration to presentation in front of live audience. In it I outline the development of the concept along with describing in detail my dramaturgical and directorial process, including: text work, research, work with actors, rehearsal preparation, work with scenography, work with space, sound and light etc.
In conclusion I aim to evaluate the successes of the overall process in relation to final product.
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Working in creative team versus working with directors solitaires.
Venclová, Tereza ; MATÁSEK, Petr (advisor) ; ŽIŽKA, Tomáš (referee)
In this dissertation I am concerned with my role of a stage designer in a particular creative team, whose members are: Jakub Vašíček ? director and author, Tomáš Jarkovský ? dramaturgist and author, Tereza Venclová ? stage designer, Kamil Bělohlávek ? stage designer, Ondřej Müller ? composer. In individual examples of realizations of inscenations I compare the method of working in teams and working with directors, who I call solitaires. The solitaires are: Dodo Gombár, Jiří Jelínek, Janek Jirků, Ondřej Pavelka, Ivan Ramont and Martin Tichý.
I research aspects which determine the quality of cooperation with solitaires and the team from my own experience, as well as advantages and disadvantages of working in collective.
Since I am not a theorist, I consider the creation as a focal point of my work. So that my aim is not to create a comprehensive research dealing with general rules, but to inform about how my thinking of my own creative work has been developing in the time of my studies and where I got. I believe in making a good use of this reflection in my future work.
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From Juno to Sequence 2
Svobodová, Veronika ; SMOLÍK, Robert (advisor) ; TÄUBELOVÁ, Kristýna (referee)
During my bachelor studies I had opportunity to become an author of three inter-connected creative projects and to work on their gradual development. The main principle of these projects lied in an approach of working with kinetic and light objects in a way that classical wooden puppet is used. Final form of the bachelor work as well as content of projects is based on my individual understanding of theatre. It can be described as the author´s experimentation in the border between theatre and visual arts. In the first part of the bachelor work a brief historical overview is presented. The main point is to stress important incentives that I follow in my own performances. Particular focus is put on activities of contemporary Czech artist Petr Nikl and his theatre Mehedaha. The second part of the work describes creation and subsequent processes of three performances: The Peacock Complaining To Juno, Sequence 1 and Sequence 2. The conclusion at the end of the work summarizes all my experiences and findings. Illustrated appendix offers the opportunity to make a comparison between performances by looking at photographs taken during the show. There is also a CD with video record of Sequence 1 and a Sequence 2 attached.
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Reflection of Ingmar Bergman's life and personality in his selected productions
Krsová, Lenka ; VINAŘ, Josef (advisor) ; SÍLOVÁ, Zuzana (referee)
This thesis is focused on the main sources of inspiration of Swedish director Ingmar Bergman, how they stem from his personal life and how are those reflected in his film and theatre productions.
A closer examination of films of Ingmar Bergman shows strong recurring autobiographical elements. I wondered whether we can find a common starting point for them in his personal life. After thorough investigation of literature I found out that director?s childhood, upbringing and complicated family background were essential for the constitution of his personality. These are the sources from which Bergman?s dreams, fantasies and ?demons? came from. This thesis altogether introduces them as the important sources of inspiration and the means through which should be Bergman?s works looked on as well.
Emphasis is also focused on August Strindberg?s importance in Bergman?s life and his A Dream Play, which connects the personal life, film and theatre works of the Swedish director. This thesis tries to point out how the influence of Strindberg on Bergman is reflected in his selected films and theatre career, which is further elaborated. Common motifs and themes of dreams, fantasies and ?demons? of both authors and big influence of A Dream Play on Bergman?s work are documented on his two films: Wild Strawberries and After Rehearsal that both summarize Bergman?s life.
Because of the scale of this thesis the topic cannot be covered in its full scope, therefore this work may be perceived as a platform for further in-depth exploration. In my opinion, Ingmar Bergman?s theatre career due to his global significance deserves more detailed study.
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