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Richard Strauss: Salome- comlex project of theatre stage design
Němcová, Iva ; Dušek, Jan (advisor) ; Glogr, Karel (referee)
Thesis is divided into two main parts. The first considers
contemporary opera against the backdrop of its historical foundations.
I introduce examples from the past and discuss their underlying ideas
and contexts. I then analyze these works as they apply to my own
scenography. The second part addresses my creative process, the
practical issues and solutions associated with the concrete
implementation of a fully realized opera.
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Stage design project Charles Gounod: FAUST
Karásek, Jiří ; David, Milan (advisor) ; Vohlídalová, Ivana (advisor) ; Glogr, Karel (referee) ; Zábrodská, Dana (referee)
In this work I compare several different conceptions of foreign opera shows with the theme of Faust in the last 30 years. This serves as well as a corner stone and criterion for practical part of my work. The shows are compared from today?s point of view, they?re confronted with presumptions and notes of theatre critics. I briefly examine opera shows in unconventional spaces. I analyse visual codes of particular performances and try to identify the motives that contribute to this kind of work. In second part I briefly introduce history of Gounod and his opera. Then I explain conception of my vision of Faust and his interpretation, going in detail for meaning and treatment of costumes and set, including brief explanation of technological concept.
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Bertolt Brecht Galileo's life (possibilities of B. Breht in contemporary theatre)
Ďurik, Andrej ; Dušek, Jan (advisor) ; Glogr, Karel (referee)
In my thesis I endeavoured to document the development of the view of Brecht?s works in our countries. It means mapping the interpretation attempts in the Czech Republic, coping with Brecht?s theoretical work, and last but not least with Brecht as a political man with social feeling due to what he remained many times miscomprehended. It is certain that the history mentions a large-minded, talented, educated personality, a strongly up to self-destructively hard-working one. On the one hand, he is artistically sensitive and fine, however, on the other hand he is a disintegrated and a very complicated person. In the course of time, I came to the conclusion that it is likely impossible to fully join a Brecht theoretician and a Brecht dramatist, while the theory of epic theatre significantly hungers for a formal aspect though on the other hand, it seems to fail to conform to ease and poetry of his dramas. It is important to say that Bertolt Brecht was practically a communist during all his life in a complicated period. His relationship to communism was developing and it can be learned that this relationship had undergone a long way from enthusiasm up to full disillusion. That is why this fact appears in my thesis; it is a statement, a truth about a great artist and a truth about the view and contemporary interpretations in our countries where he was quoted and belauded, as necessary.
At staging, it is impossible to consider all aspects of Brecht personality. It is good since it leaves space for a man, one can be both Brecht a bit and also himself. It provides ?space? while showing a human being in his complicacy, it is as a search in the human soul and mind. He does not psychologize, he just states, shows a human being in particular situations including his behaviour, and at the end all these situations make a whole picture about us and about our period. Therefore, we can say that Bertolt Brecht is a great author of great dramas with timeless themes. His characters reflect contemporary people. As if nothing has changed, just the time is perceived in a bit different way, it oscillates and befogs our perception, with decoding matters becoming more difficult for us but with the essence remaining the same as before. His dramas are interesting as for formal aspect, they are ?up-to-date? providing space also for an experiment. They may serve as a formal reflection, the beauty of speech for itself.
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DANTE ALIGHIERI DIVINE COMEDY (DRAMATIC PERSONAGE AND ITS RELANTIONSHIP TO STAGING SPACE)
Bábek Melcerová, Ľubica ; Zábrodská, Dana (advisor) ; Pražák, Albert (advisor) ; Glogr, Karel (referee)
Main theme of my graduation thesis is medieval poetic piece called Divine Comedy. My thesis try to find way how we can interpret and stage this text nowadays. I try to use the best all my knowledges gained during my university education.
First part of my graduation thesis is theoretical. Mostly I find informations in non-fiction literature. We can separete it into two subheads.
I define the basic scenography notions at first one. I concentre on those, which ones related with my thesis and used them in this text.
I write about poetic piece of D. Alighieri Divine Comedy in the second subheads. I give some informations about history of origin and its historical context. Next I attend to translations this piece to czech language and its staging at Czech republic.
Second part of thesis is academical and treat of my author´s concept. I am declaratory of reasons my scenic concept. Concept is forwarded to present day and displays the basic thame of the text Divine Comedy for me. Challenge to person to reflection own acts, hopes for saving for rightfuls and punishment of those who do not recpect the moral period context. It is a interactive performance. The audience passes through situations. In some of them the audience can cooperate with performers if they want. The audience meet various types of devils, angels, allegoric figures, prisoners, transgressors in Hell, in Purgatoty and in Heaven.
The story is situeted in the no-theatre space. I use idustrial space-the factory.
I would like to use authentic incidence of factory to people- depersonalization, inhuman scale...The another reasons are the technical possibilities for resolution of concrete situations.
Everybody of audience is Dante and writes own Divine Comedy.
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