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The Development of Slovak drama theatre since 1920s till 1970s and its interaction with Czech theatre
Kyselová, Eva ; ETLÍK, Jaroslav (advisor) ; CÍSAŘ, Jan (referee)
Following dissertation thesis study the influence of Czech theatre on developement of Slovak classic drama theatre during approximately from the twenties to seventies of 20th century. The purpose of the thesis is to identify the possible impact of Czech theatre on development of Slovak theatre culture in common state system regarding the similarity of both nations and cultures. The thesis are divided into two parts. First part defines chosen methodology. It presents the concept of literature comparatistics and its possibilites regarding application on theatrological research, it explains basic terms of comparatistics, the context of origin of Czech and Slovak nation regarding the idea of national theatre and it sets its own periodization In second part the comparative analysis is applied on particular historic source, it analyzes each period using examples from work of Slovak directors in particular historic-political context while comparing it to the state of Czech theatre. These chapters use tools of comparative analysis ? typological connections or genetic and contact relations of both theatre cultures. The main purpose of the thesis is to emphasize the fact, that despite the common historic and political context and significant language and cultural similarity, there are two individual theatre cultures developing since 1920 that are engaged in a continual creative but mostly varying dialogue.
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Documentary theatre
Součková, Kateřina ; ETLÍK, Jaroslav (advisor) ; CÍSAŘ, Jan (referee)
Master thesis Documentary theatre, documentary and theatre deals with condracition contained in a term "documentary theatre". It examines, how is the function of "documentary" influenced by being part of a dramatic piece, which is as a piece of art essencially artificiel and based on a duality of original and sign. It investigates documentary theatre based on so called "experts of the everyday", which replaces a professional actor by a witnesses, personally related with a documented reality. This theatre by its changement of a key component of theatre brings a princip of "staging reality" to its certain peak.
In the first part of this thesis we characterise a field of examinated topic and we confront it with a related branches (like a realism, a documentary film and an oral history), which helps us to characterise it thourgh a diversity of different perspectives. In its second part we analyse two contemporary czech documentary performances dealing with "experts": Vadí/nevadí of Jana Svobodová and 4. svět of Tereza Durdilová. In its third part we explore our topic from the point of view of czech theory of theatre, represented in this work by Otakar Zich, Jan Císař, Ivo Osolsobě and Jaroslav Etlík, focusing on the problematic of reception of sign and original on a theatre scene.
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Postmodern Czech Performances in Theory and in Practice
Etlíková, Barbora ; CÍSAŘ, Jan (advisor) ; VEDRAL, Jan (referee)
The thesis deals with the way of using the term postmodernism by the Czech-language theatre critique. In the first part I decided to discuss the thesis' subject in the context of other languages' schools of thought. I identified two main possible ways by which philosophers from abroad define the term "postmodernism" in its general meaning. In the first case (e.g. Charles Jencks) I on one hand found out that the term defined as postmodernism can be easily applied considering art -and therefore the theatre as well- but on the other hand I also found that the term itself merge with the meaning of modernism. In the second case (e.g. Jacques Derrida) I came to a conclusion that even though the definition of postmodernism does not merge with definition of modernism, it can be applied only with great difficulties in the cases of theatre and of fine art. Subsequently, I tried to illustrate the way the three approaches manifested themselves into the Czech-language discussion about postmodernism.
In the following parts of the thesis I adhered to the theatrical issues more strictly. On the basis of the analyses of two so-called postmodern theatre performances made a ground for the theoretical approach to the means of expression considered as postmodern. (The terminology I used is the one deriving from the work of Otakar Zich and from the Czech structuralism.) In the conclusion of the theatre-theoretic part of my thesis I took the view that the means of expression used in the so-called postmodern theatre productions do not differ in their very nature from the modern ones; that there are different requirements of viewer's reception in the postmodern performaces though. In the very end of my work I considered the problems that appear with the direct transfer of Jacques Derrida's philosophy to the theatre.
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From Operetta to Musical
Bár, Pavel ; SÍLOVÁ, Zuzana (advisor) ; CÍSAŘ, Jan (referee)
Dissertation thesis describes the evolution of popular musical theatre ? especially operetta and musical ? in Czechoslovakia after 1945. It analyses particular productions, follows important development periods of this kind of theatre as well as changes of attitude of communistic regime to its existence and artistic expressions ? not only in the overall context of changes in the theatre system or social and political situation in the country but also in the context of development abroad. Study mainly deals with events in major popular musical theatres (especially in the Karlín Musical Theatre in Prague) but it doesn´t neglect major productions of small or regional scenes. Dissertation proceeds both from existing literature and authentic historical sources, evidence and memories.
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Karel Dostal in between film and theatre
Burianová, Zuzana ; SÍLOVÁ, Zuzana (advisor) ; CÍSAŘ, Jan (referee)
This thesis deals with the life and work of Karel Dostal. The first chapter provides biographical data and tries to map his personality. The following chapters are devoted to his creative work in theatre and in film industry. The work is divided according to professional fields ? Karel Dostál as an actor and Karel Dostál as a director. Primary it is focusing on his scope in National Theatre, where Karel Dostál spent the longest part of his career. It describes several productions which he directed. Specifically selected productions are divided into several creative periods of his life, which carries significant changes in director´s handwriting. Most productions are supported by visual material and contemporary criticism. Another part of this thesis is an analysis of some of his roles in theatre and films. These descriptions of actor?s performance should serve as refutation of knowledge of Karel Dostál as an actor of small and inconsequential roles. Simultaneously, this thesis is pointing at whole range of raw material about fundamental personality of Czech theatre scene.
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Problems of an ensemble after 1989
Etlíková, Barbora ; CÍSAŘ, Jan (advisor) ; TICHÝ, Zdeněk (referee)
The thesis aims to sketch the evolution of the motivational and organizational subsystem after 1989 in the Czech Republic. In the first chapter the author recapitulates the evolution of this sphere in the previous stage which started in the second part of the fifties in Twentieth Century. She also deals with the evolution of theatre in general but she is only concerned with the moments which contribute to better description of the proper subject of the thesis. She only mentions them if there is a relation between them and the motivational and organizational subsystem. In the second chapter the author attempts to name the new impulses that have been brohught by the stage which has started in 1989. She searches their relation to the previous stage. Also in this case she deals with problems of theatre in general but she does this only if it improves the lucidity of the proper susubject. In the conclusion she recapitulates the principles which she has found and she attempts to describe their reference to the principles which are connected with the previous stage.
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Serious musicals on West End stages
Hlubučková, Petra ; CÍSAŘ, Jan (advisor) ; BÁR, Pavel (referee)
The topic of this thesis covers the serious musicals staged in London's West End. The author first considers the concept of "serious musical", its characteristics and its connections with melodrama. Then the author contemplates over several musicals which deal with serious topics which the author had seen in London (for example: The Lion King or Wicked). Then focus moved to three musicals - Matilda the Musical, Billy Elliot the Musical and Les Misérables. The author focuses more attention on the first two musicals that are mentioned. They are representatives of serious family musicals. This thesis is devoted to how they were originally intended (book, movie) and then their stage appearance is analyzed in detail with emphasis on transformations which have occured during the adaptations. The author then focuses on topics which are directly connected to Matilda the Musical, Billy Elliot the Musical and Les Misérables. Thus the thesis is concentrated on some adaptations, musical stage design, dance, children actors, megamusicals and family musicals. In this thesis, the author also tries to identify the possible reasons for the changes and where they originated from.
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Image and word
Neznal, Vít ; ETLÍK, Jaroslav (advisor) ; CÍSAŘ, Jan (referee)
Vít Neznal's MA thesis called The Image and the Word deals with images and words as the two primary means of representation and elaborates on Neznal's bachelor thesis, in which he examined their articulation through the medium of theatre. The author first interprets the nature ? identity of image and representation with regards to general esthetic categories (mimesis, intentional object, simulacrum), and goes on to focus on their specific manifestations within individual artistic domains (painting, photography, film, theatre), basing his analysis on the framework of numerous theoretical concepts (structural-semiotic discourse, the "esthetics of the performative," the "ontological principle," etc.). The author then reflects on the word, while keeping his previous conclusions in mind, mainly within the context of theatre. His central theme is the identity of the image, or representation. This influenced his choice of examples. The analyzed works are mainly connected through an exploration of the limits of representation and through the thematization of their artistic language.
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Theatre decoration? Set design? Scenography?
Vöröšová, Markéta ; KOUBSKÁ, Vlasta (advisor) ; CÍSAŘ, Jan (referee)
This thesis focuses on and compares the theoretical perception of scenography in the works of Czech aestheticians Otakar Zich and Růžena Vacková.
The whole comparison is integrated into the context of Czech modern scenography. Several key productions were chosen to demonstrate new tendencies that appeared at the specified time point in our theatre history. The thesis mentions theatre authors together with their works that played important role in forming Zich?s and Vacková?s opinions and theatre conceptions.
Taking into account how versatile personalities Otakar Zich and Růžena Vacková were it was necessary to bring up all areas of their activities. I attempted to summarize their professional careers and their influence on followers and I also wanted not to omit their life?s history . I deal with the importance of Zich´s key work Estetika dramatického umění and I also focused on personality of Vacková and the circumstances of the creation of Výtvarný projev v dramatickém umění.
It is a compilation work in which I try to present two approaches to the visual component of theatre performances. I compare their terminology used. I try to describe some aspects of scenography which Vacková developed under the influence of her predecessor and teacher and also the aspects that she was not in accordance with. Further, I focus on the problems of the possible forms of set design, connection between scenography and painting or architecture, and also on how the authors conceived the ideal scene, on whether they attached greater or lesser importance to stage directions and also on the problems of light, costumes, masks, stage objects?
This thesis should be perceived as a mere starting point for further in-depth exploration. There is a possibility to go deeper into details and/or extend the view so as to cover also other representatives of the Czech theatre theory with their scenography conceptions. I hope that, in the future, I will be able to continue working on this topic and to cover the history of Czech set desing theory in its integrity up to present days.
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