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Myth of Faust by Jan Švankmajer in the theatre and the film
Marešová, Petra ; Etlík, Jaroslav (referee) ; Just, Vladimír (advisor)
This diploma project summarizes and evaluates theatre and film writings of a well-known director and scriptwriter Jan Švankmajer. It focuses only on faustian myth in his writings.The project deals particularly with his three early theatre productions from the beginning of sixties in the theatre Semafor ( two of them - Johannes doktor Faust a Sběratel stínů - are directly connected to faustian myth) and his second feature film Lekce Faust. In fact, this film is actually a summary of his earlier faustian themes and their distinctive interpretation. The introductory chapter deals in detail with the development of faustian myth and his main attributes.Their knowledge is necessary for futher commentary and analysis of Švankmajer's efforts to work on this theme.
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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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Choricius of Gaza's "Defense of Mimes" and the question of the continuity of Greek theatre
Šípová, Pavlína ; Stehlíková, Eva (advisor) ; Bažant, Jan (referee) ; Just, Vladimír (referee)
to an extent uncharted territory in the field oftheatrical history. It is only in the past few decades that works attempting (albeit partially) to map the situation in the Greek environment have started to appear. Though yet more new dramatic texts are being discovered, the processing of these texts is complicated due to the specific and demanding requirements the researcher has to meet when presented with them. The essential requirement for analysing these materials is philological competence and knowledge oftheatrical history. It has traditionally been the case that philologists in the main have approached the texts from the point ofview oftheir discipline only, while theatrologists have rarely had a command of ancient Greek or Latin, or other languages of the multiethnic Byzantine Empire. An equally essential requirement is the knowledge of and respect for the different cultural and religious tradition of the East whose dissimilarity may easily distort conclusions reached by a researcher weaned on Western thought and standards. This dissertation sets out to translate and thematically sort Choricius' Apologia Mimorum, a major literary testament to the lateantique ancient mime, written in the Christian milieu ofthe Rhetorical School of Gaza in the spirit of the antique literary tradition. I attempted to...
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Alfréd Radok's dramatization and staging of Heinrich Böll's "The Clown" in the context of Radok's productions in German speaking countries
Slavíčková, Eva ; Just, Vladimír (referee) ; Stehlíková, Eva (advisor)
The intention of the author of this diploma thesis is to acquaint its readers with the theatre productions in German speaking countries by the foremost Czech theatre director Alfred Radok (1914- 1976). They date back to the period of the 1960s and 1970s. So far only minimum attention has been paid to them in the Czech environment. The productions include: A. P. Čechov - A. a. M. Radoks: The Swedish Match in the Theater in der Josefstadt (Vienna, 1965); M. Gorkij: The Last Ones in the Müncher Kammerspiele (Munich, 1965); F. G. Lorca: The House of Bernarda Alba in the Schiller Theater, Schlosspark Theater (West Berlin, 1966) and H. Böll - A. a. M. Radoks: The Clown in the Schauspielhaus Düsseldorf (Düsseldorf, 1970). All the above productions, with the exception of The Clown, were staged by Radok in the Czech (Prague) and in the German speaking environment. In the centre of the present thesis is Radok's dramatisation and Düsseldorf production of The Clown. In addition to the partial reconstruction of The Clown, in which Radok again used his typical combination of film projection and live performance (he used the same procedure in The Last Ones on the stage in Munich); this thesis gives a brief comparison of The Clown, as dramatised by the Radoks, and the original novel by Heinrich Böll, and also other theatre...
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Czech opera arrangements in the sixties of the 20th century
Šaldová, Lenka ; Herman, Josef (advisor) ; Just, Vladimír (referee) ; Bek, Mikuláš (referee)
Ve snaze vystihnout základní rysy českého operního divadla šedesátých let 20. století se zaměřuji na režisérské osobnosti, které určovaly jeho podobu ve dvou hlavních divadelních centrech tehdejšího Československa - v Praze a v Brně. Sledují jejich tvorbu v kontextu domácí tradice, a to nejprve v obecnější rovině: kterak se vymezují vůči estetické doktríně let padesátých, vracejí se k impulsům meziválečné avantgardy a zároveň navazují na tradici pujmanovskou (hilarovskou). Představuji tedy základní náhled jednotlivých režisérů na pozici a poslání režiséra v operním divadle (jak ho sami prezentovali ve svých úvahách a jak ho odrážejí jejich inscenace). V dalších kapitolách pak podrobněji charakterizuji (převážně na základě domácích inscenací z let šedesátých) režijní rukopis klíčových režisérských osobností- s vědomím, že krystalizoval ve spolupráci se scénografy, herci, dirigenty. Navazuji tak na svou diplomovou práci, v níž jsem monograficky představila operního režiséra Ladislava Štrose: jeho režijní rukopis, jevištní poetiku. A usiluji tak dále přispět k poznání českého poválečného operního divadla, jehož odborná reflexe je zatím značně kusá. Větší pozornosti se opakovaně dostalo pouze Velké opeře 5. května (tedy období 1945-1948), na kterou se z hlediska operní režie na konci devadesátých let důkladněji...
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The escapes from the reality in Czech drama after revolution in 1989 (the motive of iracionality and madness in plays of dramatics born between 1960-1970)
Erml, Jiří ; Herman, Josef (referee) ; Just, Vladimír (advisor)
The relation between reality and different kinds of unreality is one of the most important subjects in Czech drama written after revolution in 1989. In the last seventeen years a new generation of authors - middle aged dramatics - was formed between the dramatic authors, who started to write before the revolution. Alfred Radok's Association, which organises the dramatic competition (since 1992) and rewards the best Czech and Slovak plays, helped this new generation of dramatics to become more known among people interested in drama. Among these successful "middle aged" dramatics belongs for example Markéta Bláhová, David Drábek, Jiří Pokorný, Roman Sikora, lva Volánková, Petr Zelenka oops. Of course, it is valuable to suceed in Radok's competition not only for this middle aged dramatics generation, but also for older authors who started to write before the revolution and the youngest generation of dramatics as well. My thesis deals with some of the plays written by "middle aged" authors which succeeded in Radok' s competition. David Drábek is one of these "middle aged" authors. In my theses I analyze his plays "Burning giraffes" (Hořící žirafy), "Jane from park" (Jana z parku), "Akvabely" and others. Drábek works with special kind of humour full of fantastic motives very often but at the same time his plays...
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Drama in Neues Deutsches Theater and Kleine Bühne in the hand of theatre director Dr. Paul Eger (1932-1938)
Melkusová, Jitka ; Just, Vladimír (advisor) ; Kazda, Jaromír (referee)
In the 1930ies prague had about a million citizens. Approximately 45 000 of them were native German speakers. Around a half of these were clerks and industrialists. Both scenes of the Prague German Theater had all together a capacity of 2100 spectators. This disproportion together with inadequate state funding led to the fact that the price of a regular ticket to the prague German Theater was four times higher than to other state and city theaters. Withal especially German theaters were exceptionally financially dependent on their spectators. Despite relatively high tickets costs the management of the theater usually regularly ended up with a deficit budget. The status of the Prague German Theater (apart from its operation) was incomparable with the status of the National Theater. National Theater was considered the most important stage in the republic, and was abundantly visited by nonPrague audiences as well. German citizens were converged especially near the Czech-German border where they had their own theaters, and where they were much closer to big German or Austrian towns than to Prague. In 1932 Dr. Paul Eger became the managing director of the prague German Theater. He had previously worked in prague between the years (1908 - 1911) when in charge of the theater was Angelo Neumann, and after his death...
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I´m Only an Actor
Kašpar, Lukáš ; Císař, Jan (advisor) ; Just, Vladimír (referee) ; Vostrý, Jaroslav (referee)
Throughout my thesis, I will strive to portrait theater acting and manifestation of collaboration and resistance in the field of Czech, Austrian and The German Reich´s theatre (and artin general) as comprehensively as possible. I will attempt to answer the question, whether and how much the Nazis misused this culture area. I cover the activities of theatremakers, filmmakers and plays during 1939-1945, mostly by Nazi propaganda and counter-propaganda by the Allies, I had to know Czech, German and English literature related to the topic, the movies, theatre plays, literature and archive documents related to the activities of domestic makers and emigrants
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Camera and Projector in unconsciousness
Abrhám, Josef ; Kubica, Petr (advisor) ; Just, Vladimír (referee)
Tato teoretická diplomová práce se zabývá audiovizualitou snů a převodem sdělení ze snových projekcí i archetypů kolektivního nevědomí do znakovosti filmu. Definuje snícího kinooka jako kameru i projektor ve vlastním nevědomí a uvádí úskalí v převodu jeho snových subjektivních znaků do obecně srozumitelného vyprávění. Zaměřuje se na specifika dětského diváka a jeho reflexi pohádek a propojení s dětským živým snem. Dále popisuje dvě metody samotného vědomého vstupu do snu. Metodu vědeckou ? používanou ve spánkových laboratořích k léčbě spánkových poruch a cestu o několik tisíc let starší, která je pro snivce, potažmo pro diváky vstupní branou, kdy dále ukazuje práci na vymezení obrazu z nevědomí a jejich písemné a obrazové zachycení. Uvádí významné filmové zpracování snů a myšlenky klíčových autorů, popisuje jejich celoživotní snahu o soustředěnou manipulaci s filmovým snem a dochází k závěru, že důležitá celková sdělení jsou ve filmech snících autorů skryta ve vícevrstvé struktuře a vyžadují předchozí snovou zkušenost nebo povědomí diváka. Snaží se vymezit pojem snové etiky a věnuje se společným znakům, které pro film vytváří střih a ve snu fungující nelogický dějový převaděč logických sekvencí a uvádí vztah časoprostoru ve filmu a ve snu projekčním i lucidním. Zdůrazňuje, že ve snu můžeme popisovat, nicméně to, co nás vede, abychom sny vnímali už popsat nemůžeme. Snění otevírá druhé světy, které se občas povedou převést i na plátno. Každá snová pozornost vstupuje do hry, když je přivolána a dostane nějaký cíl. Snová pozornost je spíš probuzením a probudit diváky je i cílem této práce.
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