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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 ; Christov, Petr (advisor) ; Pšenička, Martin (referee)
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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Critical Responses to Ondře Sokol's Plays in Činoherní Klub.
Smrčková, Lenka ; Christov, Petr (advisor) ; Pšenička, Martin (referee)
This BA Thesis deals with analysis of responses to productions directed by Ondřej Sokol in Činoherní klub from 2002 to 2011. The analysis will be elaborated on the bases of criticism of particular productions and expert studies that pursue staging of new Czech texts and translations of Ondřej Sokol. Its aim is to express a progress of critics' and audience's acceptance of new plays and also to monitor the expansion of the texts to other theatres and their popularization. The thesis describes a phenomenon of a new poetics that penetrated the Czech theatre milieu through Sokol's translational and dramaturgic work.
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The theatre Romathan (along the paths of Romany theatre: from Indian origins to the theatre Romathan)
Kočí, Julie ; Stehlíková, Eva (advisor) ; Christov, Petr (referee)
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 Mighty Boosh: theatrical and narrative sspects of Julian Barratt and Noel Fielding's epic comedy
Šímová, Martina ; Christov, Petr (advisor) ; Clark, Colin Steele (referee)
This thesis is concerned with a detailed analysis of the work of the British comedic troupe The Mighty Boosh created by actors and comedians Julian Barratt and Noel Fielding. The Boosh phenomenon is relatively unknown in our cultural environment. Accordingly, the first part of the thesis aims to serve partly as an introduction: it presents the authors' cultural background and the origins of the project itself. Subsequently, technical and physical aspects of the show as well as the acting/theatrical methods used are inquired into. The second part is more practical as it focuses on the narrative framework and strategies, which tend to be highly repetitive and make Barratt and Fielding's project an epic (heroic) comedy. The analysis seeks to explain these narrative strategies by referring to authors such as Vladimir Propp, Joseph Campbell and others, and to reveal The Mighty Boosh in its entirety and complexness.
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The Spanish theatre in the period of Francoism. Antonio Buero Vallejo (1916- 2000)
Petáková, Linda ; Christov, Petr (advisor) ; Pšenička, Martin (referee)
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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Pina Bausch's dance theatre
Faustová, Markéta ; Christov, Petr (advisor) ; Augustová, Zuzana (referee)
Pina Bausch and the dance company Tanztheater Wuppertal inherently belong together. The choreographer became the head of this German dance company in 1973 and has led it since up today. She has never created choreography for any other dance group or other dancer. During this thirty-five years' connection the company moved among the top dance groups and stili achieve success worldwide. lt was and stili is an inspiration for many young authors. lt is a history, but also the presence at the same time. Right from the beginning of her career, Pina Bausch indicated that her work was going to be exceptional. For her, there were no barriers, neither in formulation of themes, nor in use of means of expression. She organically connected dance and theatre in her works and thus created a new art genre, which theoreticians call dance theatre. She managed to unite a multi-national group of twenty-six members, with which she worked very closely in preparation of particular pieces. Especially at the beginning, the dancers were forced to personally engage into each choreography. Preparation of a performance consisted in so-called principle of questions. Pina Bausch wanted her dancers to answer her questions by improvising a little dance or theatre sketch. Then, she was choosing from this amount of mate rial to form a base...
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Theatre of movement in contemporary society
Eidlpesová, Lenka ; Christov, Petr (advisor) ; Opletalová, Lenka (referee)
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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The Theatre Plays by Hélène Cixous for Théâtre du Soleil
Kuslová, Kristýna ; Christov, Petr (advisor) ; Sarkissian, Alena (referee)
The thesis deals with four plays written by French dramatist and theorist of feminism Hélène Cixous for the Parisian Théâtre du Soleil under the directorial guidance of Ariane Mnouchkine. The analysis focuses on three different perspectives - firstly on écriture feminine, defined in the 1970s by Cixous herself, secondly on exile studies, a field of literary criticism concerned with the writings of exiled authors and exile as a fundamental category of human existence, and lastly on the concept of orientalism developed in the 1970s by American literary historian of Palestinian origin Edward Said.
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Theatre "Minor" From The Year 1989 Up to Present
Sochorová, Veronika ; Christov, Petr (advisor) ; Jiřík, Jan (referee)
This thesis concerns itself with the Minor Theatre after the year 1989, namely with changes in a staging style of this prague platform that focuses mainly on a production for the child audience. In the production of the theatres principal directors (Karel Makonj, Jan Jirků, David Drábek, Jiří Adámek) we can observe distinctive courses of staging methods, that shape the Minor's character. The primary aim of this thesis is to attempt to reflect these staging courses and demonstrate them using profile plays. An excursus into the history of the Minor Theatre precedes these analyses to define its character. Biographies of the said directors are also included in the thesis, as well as the list of theatre's plays form 1990 (with the dates of premieres) and photographic material ilustrating the theatricals analysed here.
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The idea of Czech national theatre in Brno - study of architecture, society and politics
Poláček, Vojtěch ; Christov, Petr (advisor) ; Just, Vladimír (referee)
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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