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Discovering Inner Landscape
Novák, Vladimír ; MIKEŠ, Vladimír (advisor) ; HANČIL, Jan (referee)
Dissertation is focused on theatre in a specific group of people with mental disabilitiy. I try to outline the issues of people with disabilities in the context of theatre with an overlap to the visual arts and theatre antrhopology and caoture the vasic principles of this work, I come out from pumped knowledge, insights and experiences gained during twelve years of intensive work and research in this specific group
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Jean Cocteau's film Orpheus as theatre
Teheux, Sophie ; MIKEŠ, Vladimír (advisor) ; TOMÁNEK, Karel, Frant. (referee)
Ce mémoire de bachelor aborde, d'une part, l'aspect dramaturgique du scénario Orphée que j'ai écrit en troisieme année d'études de mise en scene et dramaturgie et est, d'autre part, constitué de la réflexion qui a suivi l'écriture de ce scénario. La partie principale de ce travail s'intéresse aux mythes : quelle signification comportent les mythes anciens et modernes et quel rôle jouent-ils dans la société contemporaine ? Une seconde partie, tout aussi importante, est ensuite consacrée au poete français d'origine belge, Henri Michaux. La personnalité de ce poete ainsi que ces expérimentations avec la mescaline sont en effet a la base de l'inspiration de mon Orphée. Les idées premieres et les lignes de direction d'origine sont enfin confrontées a la réalisation finale du scénario.
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Freezing Fresh Fruit
Havelka, Jiří ; Schmid, Jan (advisor) ; Etlík, Jaroslav (advisor) ; Mikeš, Vladimír (referee) ; Hořínek, Zdeněk (referee)
My doctoral thesis is actually divided into three parts. In the first one called The Theatre Context I am trying to prove the exclusivity of this living art form among other artistic forms. I am looking for new essential reasons to vindicate validity of theatre work in the age of electronic medias and virtual reality. On the base of a playfulness I examine the border between the real reality and the theatre one. I focus on the audience?s point of view, on their ability for active imagination ? the basic element creating the theatre performance.
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Role of Director in the Author's Theatre - Psychological Aspects in the Creation of Creative Production
Odarčenko, Anna ; Novák, Vladimír (advisor) ; Mikeš, Vladimír (referee)
In my work I deal with mainly by the author's work, if it is possible put together individual freedom, we start from the later productions in the creation, with maintaining a hierarchy in the team, which is paradoxical for the free work essential.
Given the kind of theater that puts emphasis on the actor as a person, in my work I not trying to describe a uniquely efficient method, rather try on the basis of individual experience regarding the specific details of, which, although they do not lead to any generally applicable rules, but their sum can provide a supply of information, which in practice can inspire others
In this work I tried to capture the role of theater director in the author as an example of my productions, with regard to the uneven team in creating each individual productions.
In the present undergraduate work, I tried to capture process, I've used in my creative work on these productions, which were created unequal conditions. Whether it was the material conditions and human. I was wondering what are the procedures or not beneficial for the team for me. During the three years since I have been a theater director I have come to a kind of synthesis directed by "dictator" and director "mother"and trying to balance both worlds, because I am aware, that give greater emphasis to one side or the other detrimental to both production but also the people who participate in it.
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Identity and Personage
Vimmrová, Pavlína ; Mikeš, Vladimír (advisor) ; Klíma, Miloslav (referee)
In her bachelor thesis, the author focuses on a dynamic space between
actor´s personage and his personal identity. She relates this topic to a broader
social context with an accent to the social theatrality and she compares the
concepts of personal identity in both western and eastern culture, inspired
among others by her residency at the Central Academy of Drama in Beijing.
The paper is divided into two main parts. First part presents theoretical
questions of the personal identity concept and defines some concrete problems.
The author focuses on those problems in the second part within her reflection of
the process of creation of the graduate performance Jak je důležité míti / The
Importance of Being.
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Stylized Acting
Matějová, Kristýna ; Makonj, Karel (advisor) ; Mikeš, Vladimír (referee)
The diploma thesis on the topic of a stylized acting deals with a stylization as a form and an instrument during a process of theatre performance creation. In the beginning it is explained, how the term stylization acts in various branches of human activities, then the work focuses on a stylization application in a theatre art.
First part is aimed at a form of performance and its components, as it is influenced by the stylization, then how the performance components impact an actor and help his dramatic appearance.
Second part describes the actor and his relation to a scene, costume, character. It is about how is the actor, as the main motive power, able to liven up other performance components, what instruments he uses, how he fulfills the primary intention. It is also mentioned, how significant is actors humanity, his consciousness and unconsciousness, his personality, during his performing as the character.
The work contains concrete examples of performances in which stylization was used.
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Staut social du comédien dans le théâtre français contemporain
Valette, Beáta ; Mikeš, Vladimír (advisor) ; Jobertová, Daniela (referee)
Tato práce vypovídá o sociální situaci, společenském postavení i problémech tvorby herce, v návaznosti na sociální systém v současném francouzském divadle, konkrétně v Montpellier. Jelikož k problematice neexistuje téměř žádná literatura, nebo-li potřebné zdroje, pátrání po příčinách probíhá formou výzkumu. Po nastínění potřebných souvislostí, určujících skutečností, faktů a pojmů v první části práce, následuje v druhé části vysvětlení metodologie a postupu při vybírání respondentů. Dále přepis jednotlivých rozhovorů se třemi osobnostmi, představiteli kulturního dění v Montpellier, a pěti anonymně vypovídajícími herci, kteří ve zdejší oblasti působí. Autorčino pojednávání o zvolené problematice se objevuje v celé práci, protože se jedná o specifický pohled nefrancouzské herečky na působení herce ve francouzském divadelním světe, a jeho možnosti tvorby ve vybraném městě. Výsledná zjištění, a také opěrné body při hledání podstaty stanoveného tématu, se zúročují zejména v poslední podkapitole druhé části a také v Závěru celé práce, který zdůrazňuje především obecnou problematiku herectví v dnešní konzumní společnosti.
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Inspiration
Sľúková, Martina ; Mikeš, Vladimír (advisor) ; Tichý, Zdeněk (referee)
I have tried to find an inspiration for my writing by reading somke other dissertations. But none of them I red whole. They were boring. I would like to write something what wont be boring. It must be amusing fome to writw, and for you to read it.
And this is the Inspiration
.And this is the theatre
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Geisslers Hofcomoedianten - The Baroque Theater Principles and Their Implemations in the Contemporary Theater
Hašek, Petr ; Mikeš, Vladimír (advisor) ; Etlík, Jaroslav (referee)
The thesis, attempting to aim the baroque theatre principles, is divided into four chapters. The first one deals with the baroque era in history generally: its social and political situation, the way of baroque thinking and mainly with the basic elements of baroque art and theatre. The second part emphasizes the personality of Count of Sporck, the great art patron whose support flourished in creating a remarkable spa complex Kuks in Eastern Bohemia (Czech Republic). The third one covers the baroque spiritual and artistic influence for the presence - the Theatrum Kuks festival and the Kuks theatre company Geisslers Hofcomoedianten. Its dramaturgy is exclusively oriented to and inspired by forgotten and newly discovered baroque texts. The thesis describes in details their way of understanding and presenting those texts on stage during their seven year existence (2002-2008). There are almost all the basic forms and genres of baroque theatre (opera, Hauptaktion, school drama, commedia dell´arte, comic intermezzo etc.). The fourth section (Appendix) presents the texts (and/or translations) to each of the analyzed Geisslers Hofcomoedianten performances.
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