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love rhymes with fuck you
Bražina, Jan ; Pěchouček, Michal (referee) ; Mazanec, Martin (advisor)
In my work I materialize personal experiences, memories and ideas about future life. In relation to these, I also address the heteronormativity of relationships dictated by society to young people. In my work I deal with these themes through intuitive work with textiles, where I try to express through this material my feelings, in which I tend to a domestic and peaceful background. Over the past year I have begun a project that originally titled Hydroponic Love, in which I dealt with my own failures in relationships and building a bond with inanimate objects in order to satisfy my desire for love. Through this stage I gradually developed my theme and elaborated on the idea of love that ...that can develop into a dangerous obsession. The project eventually expanded into four parts, in in which I developed several sub-themes that no longer focused on my personal desires and failures, but also the broader social context related to them.
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Action stage design In Czechoslovakia, Prague 2012
Frydlová, Veronika ; Klimešová, Marie (advisor) ; Koubská, Vlasta (referee)
"Action stage design" is a term which was originally used in the mid-70s in the connection with 1975 Prague Quadrennial. Soviet critic Viktor Berjozkin chose this term to describe a new approach which was apparent in the majority of national expositions. It was an alternative approach to dramatic space, the traditional proscenium theater was systematically abandoned. New possibilities of producing in non-traditional, mainly non- theatrical spaces which offered closer contact with audience were searched. In aesthetic approaches the action stage design abandoned rampant focus on art, illusoriness, embellishment and complicated technical solutions. On the contrary it took inspiration from "earth works" (arte povera) and pop-art. They used "poor" - which means - common and natural materials [mainly fabrics] and everyday objects. Simplicity and inventiveness became an important requirement of the new aesthetics, as well as constant confrontation of dramatic and empirical reality. Stage props were meant to be mainly polysemous. It means that a scenic element could change its meaning and function a few times during the performance thanks to actors activity. For example - a bed became a dining table, an altar, or a prison. It demanded big imagination of spectators, they often became a part of performance....
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Theatre costume as a Message
Jurčová, Jana ; Sarkissian, Alena (advisor) ; Christov, Petr (referee)
This thesis is concerned on the theatre costume, especially on its visual and informative options. How the costume can demonstrate the personality of the theatre character and the relationships between characters will be shown. Three basic possibilities of creative expression - shape of the costume, colour and materiel will be each described in one chapter. These possibilities are illustrated on the characters from three different plays - Wyrd Sisters of Divadlo v Dlouhé, Phaedra from the same theatre and Eugene Onegin of the Petr Bezruč Theatre.
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The effect of theatrical costume on actor
Vojtová, Ivana ; Hnilica, Karel (advisor) ; Žák, Josef (referee)
The development of theatrical costumes isn't possible to separate from the development of civil clothing. The most important period in history of theatrical costumes is ancienit Greece. All next periods based from it or derived inspiration from it. The period of Renaissance is mainly associate with a phenomenon of English theatre and Italian commedy dell'arte. Both this styles are characterized by specific way of theatrical clothing, where the commedy dell'arte excels their masks and typical characters. Only in early 20th century costumes began promote themselves as separate area of dramatical production, which is need to be concerned in a detail and is worthy of assignment proper attention. This is four important turning points in history of theatrical costume. But ganges happened in all historical periods and concern a perception of actors' clothing (by spectators and thein users) or styles and materials. There is connection between successful interpretation of theatrical role and a costume, which has an actor on his body during playing on a stage. Costumes have important fiction in a connection with a movement. This is possilble observe from two angles of a view. For one thing it often happens that a costume needs specific way of a walk, holding body etc., which provide theatrical figure...
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Action stage design In Czechoslovakia, Prague 2012
Frydlová, Veronika ; Klimešová, Marie (advisor) ; Koubská, Vlasta (referee)
"Action stage design" is a term which was originally used in the mid-70s in the connection with 1975 Prague Quadrennial. Soviet critic Viktor Berjozkin chose this term to describe a new approach which was apparent in the majority of national expositions. It was an alternative approach to dramatic space, the traditional proscenium theater was systematically abandoned. New possibilities of producing in non-traditional, mainly non- theatrical spaces which offered closer contact with audience were searched. In aesthetic approaches the action stage design abandoned rampant focus on art, illusoriness, embellishment and complicated technical solutions. On the contrary it took inspiration from "earth works" (arte povera) and pop-art. They used "poor" - which means - common and natural materials [mainly fabrics] and everyday objects. Simplicity and inventiveness became an important requirement of the new aesthetics, as well as constant confrontation of dramatic and empirical reality. Stage props were meant to be mainly polysemous. It means that a scenic element could change its meaning and function a few times during the performance thanks to actors activity. For example - a bed became a dining table, an altar, or a prison. It demanded big imagination of spectators, they often became a part of performance....
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Collection center study of Dětské divadlo Margaritas
Bočan, Jan ; Hanková, Zdeňka (advisor) ; Syřiště, Ivo (referee)
v anglickém jazyce Abstract in English Language This thesis is a study of Children's theater Margaritas. It includes it in a context of drama, drama education and children's theater. It handles characteristics of an ensemble of the theater, its staffing and plays. It maps conditions, cooperation of the ensemble with other entities, its presentation and the reaction to its activity.
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Portrait - Mask, Figure - Costume (Man and his Mask)
Beníčková, Veronika ; Hůla, Zdenek (advisor) ; Kornatovský, Jiří (referee)
The work focuses on the evaluation Rool mask and costume in human life and their influence on individuality, personality. The need for transformation of individuals with regard to public space in everyday life is reflective of his inner world and falls on his psyche and identity. In my project I looked at myself as an ordinary person with specific and feelings of my own destiny. So I chose a simple white background. I reflected experience in the theoretical part. I chose the photos for me something important. moments related to the momentary internal experience in my life. I focused exclusively on personal and internal experience.
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Costume as a scenic element
Částková, Monika ; NĚMEČKOVÁ, Elvíra (advisor) ; WIESNER, Daniel (referee)
In my thesis titled "Costume as a scenic element" I wanted mostly focus on the possibilities of using the costume in stage design. My goal was to answer the question whether it is possible to exploit the costume as the only stage design element, based my on my own choreographic experience and studying work of selected renowed choreographers who, I believe, have created this way.
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