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DIFFERENT APPROACHES OF WORKING ON ROLES WHICH IS BASED ON THE TEXT AS A VERSE OR THE TEXT AS A PROSE
Pádivá, Nikola ; Pleštilová, Miroslava (advisor) ; Hlavica, Lukáš (referee)
The theme of my thesis is ?Different approaches of working on roles which is based on the text as a verse or the text as a prose.? The contens was about the possibilities of actor´s approaches to the role and of the work with text through the personal experience. Students have met drama in verse and drama in prose during their studies at DAMU. The thesis is a personal reflection of the rehearsaling of several plays and learning about the importance of knowledge which helps to professional development of the author. According to the three most important roles (?Hippodamie?, ?Zuzana? in the performance Kříž u potoka and ?Alexandra? in Markéta, dcera Lazarova), the author came up with this subtitle of work: "Meeting with Hippodamie, Zuzana and Alexandra, or all is always in the process or it's about the truth." The second part of the subtitle was set because of the presence of these two themes ?the process and the searching for eternal truth.
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REHEARSAL AS A PROCESS OF CREATION
Polišenská, Lucie ; Hlavica, Lukáš (advisor) ; Hlaváčová, Jana (referee)
Where are the desire and certain dependence from, the yearning after standing on the stage in front of the audience and imparting by my instrument (by myself) the ideas of the author, the director and of myself? Who and what influence us the most during the process of rehearsing? Which way to choose in order to manage to get the best result and the possibility of repeating a production with the same repletion every time? What obstructions an actor meets during the rehearsing and how to work with them? In these master theses I want to think about these questions and to give some names to my own experiences and thinks from my relative short theatre praxis. I´ll try to describe, according to my own experiences, the run of the rehearsals of some productions I have passed during the last one and half year. To describe, what influenced me during the process of rehearsing, how was I thinking about my roles and step by step how did I attain the final result. What obstructions I met during the formation, how was I trying to clear them and to achieve the most interesting personages, even though they hadn´t essential space in the productions. afterstanding on the stage in front of the audience and imparting by myinstrument (by myself) the ideas of the author, the director and of myself?Who and what influence us the most during the process of rehearsing?Which way to choose in order to manage to get the best result and the possibility of repeating a production with the same repletion every time?What obstructions an actor meets during the rehearsing and how to work with them?
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ACTING AS A CONSCIOUS MESSAGE
Novák, Ondřej ; Hlavica, Lukáš (advisor) ; Grossmannová-Málková, Marie (referee)
Theatre is a medium similar to, for example, newpapers. Theatre acting is a proces of storytelling through theatre characters, thus the proces of giving concrete information about characters and plot. During rehearsals, the actors, the director and other staging makers search which information they want to say and which instruments are the best to use for that. The actors on the stage can never stop sending messages and they should not forget they will be read. The knowledge of actor's message itself allows separating the desirable meanings from the undesirable or unwanted ones. Actors should develop the ability of detached view as the protection against unwanted message. During the work on four graduation plays in Disk, the author of this thesis tried four different approaches to characters in accordance with the request and offer of the lines, director, teachers, other actors on the stage and his own desire to express ideas. He used his experience and knowledge he got at school and in occasional theatre workshops. While rehearsing, he gave himself his own tasks in accordance with his intention what he should say. These concrete tasks meant for him confirmation that possibilites of actor´s messagesare unlimited.
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BASIC PREMISES OF ORGANIC ONSTAGE BEING
Kryl, Pavel ; Hlavica, Lukáš (advisor) ; Korčák, Jakub (referee)
Priamary purpose of this thesis lies in finding and describing of basic predispositions which can lead us to organic onstage being. I think of them as physical being, unblocking of mind and body, attention to onstage goal and present being. On the basis of these I am trying to analyse advantages and dangers of particular aproaches to actor´s work. I focused on related conflict between acting and pure onstage being, deep emotional onstage beiing and setback so I could describe the difference between real acting (dealing) and pretendig of the same in the end of this chapter. In conclusion I decided to insert a part about patience which - in my eyes ? is one of most essential basics for actor´s development.
To fulfil this aim I used my own acting experience and notes I have made during last years. Afterwards I tried to confront those with several existing systems. Among them occurs system of D. Donellan, developed system of C. S. Stanislavski and some parts of M. Checkhov approach whom I consider as genius-actor rather than systematist. I also confronted some aspects with psychology.
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From Holan to commerce
Dyk, Vojtěch ; Salzmannová, Eva (advisor) ; Hlavica, Lukáš (referee)
I tried to describe evolution of thinking young actor and musician and describe theatre forms. Than I tried to describe work of each director, that I could meet in my life and I tried to describe their work on performance, that I did with them. Than I tried to answer some questions, that I?m interested in. Than I tried to wake up a children in me, that plays game of writing this work.
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Actor and Consciousness
König, Miloslav ; Horanský, Miloš (advisor) ; Hlavica, Lukáš (referee)
In my thesis, Actor and Consciousness, I tried to capture consciousness of actor during performance. Additionally, I sought a subsequent reflection of the performance as such.
My thesis has three parts.
The first part is dedicated to describing the reasons behind my choice of the subject, the course of the thesis, as well as preparations for the performance that was the subject of my research. The second part presents my research ? text of Experiment, a play staged by Hana Burešová in the Divadlo v Dlouhé theatre. My role was the one of Azor. I tried to express the course of my feelings during the performance in one of the replicas.
The final part is a reflection and a commentary on the previous parts as well as reflection on the options of consciousness in theatre production.
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THE VERSE AND STAGE STYLIZATION OF AN ACTOR'S CHARACTER
Hornáčková, Henrieta ; Livorová, Alena (advisor) ; Hlavica, Lukáš (referee)
A b s t r a c t
This Diploma Thesis deals with my opinions and experiences with various kinds of verse. It is concerned with a questoin as to the degree to which an actor is able to act naturally despite considerable and quite complicated textual stylization of a character. How do we create a truly living and faithful character and retain the verse form at the same time so that the whole performance creates authentic experience.
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Studies of performing arts
Leimbergerová, Eva ; Hlavica, Lukáš (advisor) ; Hlaváčová, Jana (referee)
Summary: The topic of this thesis is comparing of education and manners of teaching at different theatre schools: high school ( Conservatory Brno ), university ( Academy of Performing Arts Prague ) and foreign theatre school ( Conservatiore National Supérieure d´Art Dramatique Paris ). It is a reflection of a student of DAMU ( Theatre faculty of Academy of Performing Arts ). Thinking about her studies of performing arts, her way through different questions and continual confrontation with them.
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Director´s actor - actor´s director
Vagnerová, Hana ; Hlavica, Lukáš (advisor) ; Horanský, Miloš (referee)
I deal with the relationship of the actor and director in my diploma work. First I try to describe some types of directors according to their work with actors and rehearsing with them during staging. I endeavour after a short view of theory of this problem. Then I try to describe two different types of directors: director ? stage manager and actors´ director; as a special case of actors´ director I present director ? actor.
In the second part of my diploma work I present concrete examples types mentioned above; it is based on my personal experience taken from my praxis up to now. I deal with Thomas Zielinski and his staging of Streetcar named Desire as an example of director ? stage manager, Ján Šimko in rehearsing Bedbound as an example of actors´ director and Ondřej Pavelka as a director- actor in rehearsing Faust. I try to review my acknowledgments from theory and praxis in the end of my work.
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