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Dramatic production of René Levínský in years 1988-2005
Frýbertová, Tereza ; Christov, Petr (referee) ; Just, Vladimír (advisor)
The thesis is engaged in analyzing contemporary dramatic production of René Levínský, besides the blackout called Václav Klaus odmítá svou rytinu, written in year 2007 which overlaps time period of this topic. There are basic standpoints in the thesis vital for next interpretation of every single play. René Levínský composed fourteen plays in reflected time period. There are analyses of every drama by René Levínský and the biggest accent is put into analysing Levinský's most famous texts: Ještě žiju s věšákem, čepicí a plácačkou (2000) and Harila (2005). Further, big attention is also paid to autobiography called Fysik a jeptiška (2004). Dramatic texts of René Levínský are staged by ensemble called Nejhodnější medvídci, which is close-knit with René Levínský's writings. Levínský's plays are characterized by language originality, the art of parody and mystification.
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The idea of Czech national theatre in Brno - study of architecture, society and politics
Poláček, Vojtěch ; Just, Vladimír (referee) ; Christov, Petr (advisor)
The subject of this dissertation is the history of Czech national theatre in Brno. Primary goal is not an artistic development of the stage, but the wider consequences of its existence (mainly political, social and economical). During the chronological explanation the work focuses on periods and events in which these consequences are most evident (new theatre building architectonical competitions) or most dynamically changing (political or administrative overturns). This work has two main issues. In a first place, it proofs that whole idea of Czech national theatre in Brno was not fully understood either by the public, or by the representatives of this institution. It was and is rather a good marketing label, then wellconsidered ideological concept (in comparison to National theatre in Prague). Second big issue is a confirmation of Czech-German discords as determining power in Brno's social life before year 1945. Tension between two national groups in town was on one hand causing discomforting atmosphere of mutual seditious campaigns, but on the other hand, it was also a base for beneficial competitiveness. And this can be clearly proofed by formation and further development of Czech national theatre in Brno. The main sources of this work are archive materials of Czech national theatre syndicate in Brno...
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Theatre of movement in contemporary society
Eidlpesová, Lenka ; Opletalová, Lenka (referee) ; Christov, Petr (advisor)
The aim of my thesis was to create a culturological study about theatre of movement in contemporary society. The leading intention was to observe the manifestation of social mechanisms in the artistic form of movement expression and the impact upon a spectator as a recipient of this form. The spectator's recipiency was examined in my own qualitative research. Theatre of movement reflects and artistically compiles movement patterns created in everyday life of an individual as well as during the evolution of human kind, while it is based on social and cultural basis which fundamentally determine its form and content. Contents compiled within are communicated to a spectator and through him back to the society. The spectator receives this message as an individual as well as a element of a society. Theatre of movement is fulfilling some needs that, in contemporary society, cannot be satisfied by other means. Because of its specific level of communication, theatre of movement is able to communicate meanings inexpressible by spoken word while it helps develop another way of perception, different from the one used in regular life. Theatre of movement represents a mythical and intuitive approach to this world. These aspects can play an important role on the level of adaptation and inovation.
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Teatr Novoga Fronta. From physical to post-physical theatre
Kosová, Lucie ; Christov, Petr (referee) ; Pšenička, Martin (advisor)
This thesis is composed by two basic chapters. Introductory theoretic chapter deals with the phenomen of the physical theatre, with discursive formation of the term physical theatre and with the body and the corporality. The second part pays to the activity oftheatre company Teatr Novogo Fronta - The Physical Theatre Company, that was founded in St. Petersburg in 1993 by Aleš Janák and Irina Andreeva. From 1994 the company has resided in Prague and in Czech surrounding it belongs to one of the oldest alternative group. The core of the thesis is chapter, that explicates the activity of the company on the background of two different conceptions and there is imply movement on the trajectory from shows, which border on the frontier oftheatre to theatre, which tends to producing the stage effects. A reader meets with the wider context of change the theatre poetic, that appeared around 2002, and especially with the wider context of the company' s creative activity in the chapters "By the introduction" and "Creation". They are formulated to present crucial aspects of art and non-art activity of the group. In the "Conclusion" is claimed, if and why is company' s contemporary production answers to princip les of the physical theatre. Part of the "Conclusion" is the consideration, there is formulated area of possible...
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Contemporary circus' aesthetics and poetics (from the modern circus to the current one or systematic interleaving of individual arts to create an absolute one)
Štefanová, Veronika ; Pšenička, Martin (referee) ; Christov, Petr (advisor)
This diploma thesis is focused on the research in the area of the new and the contemporary circus. The essential object of the thesis is the characteristics of the contemporary circus phenomenon, which should demonstrate its artistic independence. The analysis of typical contemporary circus aspects is implemented in nine self-contained chapters. These chapters are dedicated to the development process from the modern circus to the contemporary circus, the minute analysis of different circus arts and their particularities, the contemporary circus architecture, the circus artists' physical and acting improvement and last but not least to the human body as the cardinal instrument of contemporary circus expression. An important part of the thesis is based on the description of contemporary circus performance elements, which are practically presented on the compagnies' creative processes. Especially the last chapter contains the descritption of four different contemporary circus performances made by four different contemporary circus compagnies which come from France or francophone territories. The primary research method was searching and studying theoretical literature dedicated to the circus, interviewing circus pedagugues, artists and theorists and analysing the contemporary circus performances.
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The theatre Romathan (along the paths of Romany theatre: from Indian origins to the theatre Romathan)
Kočí, Julie ; Christov, Petr (referee) ; Stehlíková, Eva (advisor)
My thesis presents a concise outline of the development of Romany dramatic and theatre culture from its Indian origins to the Slovak oiginated Theatre Romathan, which represents the actual artistic and intellectual development peak. Further on, the work deals with the crucial developmental tendencies of the artistic production within the Theatre Romathan. It also highlights the importance of the Theatre Romathan in the European context. ln the first part of my thesis I briefly point out the development of Romany theatre, drama, and theatricality in genera\. My main argument is that Romany theatricality stems from three different sources. Firstly, the roots of Romany theatricality are to be found in Doms musicians' performances in ancient India. Secondly, one has to look for the roots in the competition of Romany performers with the non-Romany artistic production of medieval mimes, histriones, ioculatores and musicians. And finally, the source of the theatricality lies in the Romany folk culture, which is manifested in songs, stories, musical and musical-dramatic performances, ceremonies, and rituals. ln the second part of my work I analyse the beginnings and the development of Romany theatre wthin the territory of former Czechoslovakia. I argue that the very beginning of Romany theatre is connected with the...
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The Spanish theatre in the period of Francoism. Antonio Buero Vallejo (1916- 2000)
Petáková, Linda ; Pšenička, Martin (referee) ; Christov, Petr (advisor)
Touto prací se snažím představit základní rysy španělské dramatiky 20. století na pozadí frankistické diktatury. Hlavní pozornost je zaměřena na Antonia Buera Valleja (1916- 2000), největší osobnost španělského poválečného divadla. První kapitoly seznamují čtenáře s okolnostmi, které vedly k frankismu, jeho průběh a vliv na španělskou divadelní kulturu. Okolnosti vzniku dramatických děl v této době nastiňuji skrze osobnost Antonia Buera Valleji, přičemž se zaměřuji jak na konkrétní díla tohoto dramatika, tak na jeho život, kterým je jeho tvorba značně ovlivněna. Základní dramatické prostředky, kterými se Antonia Buero Vallejo zapsal jak do španělské, tak do světové dramatiky, se pokusím přiblížit na třech hrách z frankistického období, které jsou v současné době dostupné v českém překladu, tedy Historia de una escalera, La doble historia del doctor Valmy a El sueno de Ia razón. Dostatečná rozdílnost těchto tří dramat dává prostor k poznání Antonia Buera Valleji z různých pohledů a sledovat jeho vývoj od hry Historia de una escalera, díky které se ve Španělsku proslavil, až po El sueiío de Ia razón, což byla poslední Buerova hra uvedená během frankistické diktatury. Vzhledem k tomu, že v Čechách tvorbě tohoto dramatika zatím nebyla věnována větší pozornost, doprovázím hry stručným shrnutím děje, které by...
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Slovak mime and physical theatre
Henzelyová, Rita ; Christov, Petr (advisor) ; Sarkissian, Alena (referee)
The subject of this thesis is Slovak mime theatre. It begins with the connections to the period of its foundation and introduces topic about founder of Slovak mime theatre - Milan Sládek. The next part of the thesis focuses on Slovak amateur theatre artists and their work at the time when professional mime theatre didn't exist in Slovakia. These artists used to experiment with different kinds of theatre technics, including mime theatre. Last part is based on analysis work and performances of the modern authors - Miroslav Kasprzyk, Štefan Capko, Juraj Benčík, Tomáš Kasprzyk, Valéria Daňhová, Barbora Debnárová, Pavol Seriš and modern theatre companies - Puppet Thetare Žilina, Debris Company, Teatro Tatro and Theatre Silent Sparks. It describes how the character of Slovak mime theatre has changed within more than fifty years of existence.
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Theatre Aspects of the Gregorian Chant
Sedláčková, Anna ; Bažil, Martin (advisor) ; Christov, Petr (referee)
Western plainchant does constitutive part of the medieval perfomances of the Easter liturgical ceremonies (liturgical plays). Its musical component noticably takes part on the scenic setting. It is the research and work with the manuscripts originated from St. George?s convent on the Prague castle (12. ? 14. century), that allow us to display this conclusive argument. The engagement of the plainchant as the performative element happens particularly in the musical interpretation of the text. It reflects the system of constructive cogitation with the abilities to select, to make a choice of the melodic part in order to shape the liturgic units in the service of the perfomance.
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