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La Boheme / Complex production stage design solutions/
Hůlová, Magdalena ; Zbořilová, Jana (advisor) ; David, Milan (advisor) ; Vohlídalová, Ivana (referee)
Work such as La Boheme is difficult to grasp it completely original and unusual way. Veristic character of this opera brings a very specific idea of staging as well as visually. I dared to tackle the larger experiment, but I was focused on how a detail or purified architectural morphology contribute to not only retelling the story, but also his own interpretation of a work.
The costume I was looking for how this or that detail to support the character drawing figures. I'm not looking for new shapes, and colors drastic solution, but I found the means to move from historic plainclothes toward artistic concept.
In the scene, I tried to walk out the basic needs of opera performances and look for characteristics of each background to the very first impression once offered a sense of enclosure, contrary open again. Order now clear that there will reign and rush is rather quiet. That individual background evoked feelings that correspond to situations in which they take place.
Although this method is not original, but his manner is very complicated. Not be there to lean on the crutch strong stylization, and it's eternal search for description a level of functionality in both the practical sense and in terms communicativeness.
The work also contains a few introductory chapters, and give a period of opera, its author, some art directions that have an impact on the emergence of opera and short introduction to sources of inspiration, which I used in the formulation of conception.
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Complex Stage Design Project of Giacomo Puccini
Svoboda, Martin ; Zbořilová, Jana (advisor) ; David, Milan (advisor) ; Zábrodská, Dana (referee)
In this text, i would try to zoom my work on my scenographic conception of opera of Goacomo Puccini - La Bohéme, where libreto wrote Henri Murgher from his romance - Sc?nes de la vie de boh?me and is it for the Stavovské theatre in Prague. Preliminary i would like to write in brief something about a history of this opera, next ,,Bohemian live?? from his origins up to individual kinds of the Bohemé. In another step i will consider of my self solution of scenography, costumes and theirs conceptions. In conclusion i would like to try finish this text by own opinion and I will show my list of usable literature.
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H. Kleist: Catherine von Heilbronn. Costume as object in the dramatic space
Valevská, Lenka ; Zbořilová, Jana (advisor) ; Kudláčková, Jana (referee)
The work is based on functioning of costume in dramatic space. Practical part brings the costume concept for drama by Heinrich von Kleist "Catherine von Heilbronn", meant for stage of Theatre Archa.
Theoretical part is searching for connections between costume as object and parallel tendencies in plastic Arts, as well as in other branches of Arts.
This work relates to Arte Povera, action scenography, question of imagination, scenic object, dramatic space and Fetish.
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Psychosocial signs in costume and mask of dramatic characters of Beggar´s Opera.
Krompholcová, Simona ; Zbořilová, Jana (advisor) ; Vohlídalová, Ivana (referee)
In my work I am occupied with compiling creative costume designes and masks in dramatic space of Vaclav Havel´s version of Beggar´s Opera.
I am focusing on Vaclav Havel´s personality, as drama author, politician and author of Beggar´s Opera. I am comparing Vaclav Havel´s version of Begarr´s Opera with original of John Gay and I am comparing it also with the rest of Havelś plays.
In first part of my work I would like to show meaning of Havelś Beggar´s Opera and behaving of his characters, considering of that postmodern society today and worldś consumerism.
I persue behaving of society and ideas of postmodernism, consumerism and performance art in context toward consumer society.
In my text I am refering to evolution of society and significance of sexuality in mediaś world of consumer culture which is mainly directed by consorcium of worldś banks and multinational corporations, and where the society again is searching for itś own identity and humanity.
In my work, there are questions of many authors, whose works influenced me most, and above all, Vaclav Havel. In his work I was searching for series of questions concerning his play itself and behaving of itś dramatic characters.
In second part of my diploma work I am concerned with my design conception of Vaclav Havelś version of Beggar´s Opera design conception of theatrical space of a play and conception process of psychosocial signs in costume and mask of dramatic characters of Beggar´s Opera.
It was transfering dramatic theatre story of the form of ?travelling theatre? in surroundings of England and Bohemia of 21st century.
Plot of a play is taking part in several surroundings of London and Prague. Idea towards realization of Beggar´s Opera is me very close. Type of a contact theatre of Andrej Krob, Grossmanś or Scherhaufer´s regie conception of a play. The atmosphere of underworld, manipulation of individual characters in a play, their destructive conduct, I am showing in context of consumer society using coloured symbolic of agresive Pop ? Art colours and symolic grafitti.
Then in contrast I am showing the surroundings of a play raw spaces of old factory halls, subway and theatres.
I pay attention of colour symbolic, as well as graphical conception of a theatrical space. Iam persuing question of a actor in a space along with searching
a narrow contact with a viewer and a stage space.
I have chosen this theme because I myself feel occasional uncertainty concerning development of our society and isolation of contemporary man.
At the same time I like poetry of Havel´s plays and understand his style of spolken word. Answer to all laid questions and on next development of post-modern society I am myself finding in answers of Vaclav Havel´s book of con-versations with itś author Karel Hvížďala called ?Briefly Please?.
In this book Havel is searching identity of a man and society, and saving of moral values and humanity.
?All important actions of a real world ? beautiful as well as monstrous ? have their overture in the sphere of words?.
Václav Havel ? Word about Word
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GIUSEPPE VERDI: DON CARLO ? CONTEMPORARY INTERPRETATION OF VERDI´S OPERAS (HISTORISM AND STYLIZATION IN THE OPERA COSTUME)
Valášek, Aleš ; Zbořilová, Jana (advisor) ; David, Milan (referee) ; Koubská, Vlasta (referee)
Abstract
In the 19th century the scenographic part is gaining importance. Its aim is to render the present or historic reality. Historism appeared in all disciplines including scenography. The theatre is becoming a spectacular, visual show. The development of scene technologies and building of new theatre houses contributes to this (Festspielhaus, Bayreuth).
In the organism of the production the role of the costume is becoming more and more crucial. Theatres start to employ designers and establish specialized costumeshops. In 1888 a manual for designer called Racinet´s Historic Costume (Le Costume Historique) is published,. There were created suitable conditions to fullfill the contemporary demanding staging requirements of the Grande Opera ? for example L'Africaine by Meyerbeer.
The aim was to achieve the unified effect of the whole thatrical piece. An important role in this case had the influence of the Saxon Duke Georg II. of Meiningen (so called Group Meiningen) and Richard Wagner with his theory of Gesamtkunstwerk.
The work continues with a characteristics of the dramatic theatre costume, its function in the entire production and its difference from the historical or civil clothes. The dramatic costume is the result of forming the dramatic character.
The dramatic art is considered as imaging art. The objetive reality is only a refference for the artist. The artist is changing it with certain aim. This process is called the artistic stylization. The same principle is used in creation of a costume. The historic costume is only one of the initial resources. The scope of stylization is subject only to the artist. The spectator perceives the work/costume on the basis of the associative principle of resemblance. This resemblance must be so big to achieve the desired imagination in the mind of the spectator. The contemporary costume creation is working with metaphor. The stylization of the costume is influenced by the colour that is used, its shape stylization and used material.
The stylization of the costume must always give reasons for every staging. In the contamporary opera production is prevailing the minimalistic style. Historizing costume is a costume with a very low degree of stylization which is very close or identical with historic costume.
It is necessary to distinguish between historism, historizing costume or only inspiration by history. The function of historism is mainly a description, reprezentation of the external symbols of the person ( e.g. social, geographic or historic classification). Historic dress is only one resource for creation of a stylized opera costume. The contrary of the historism is an excessive stylization.
The inscenation level of the operas is influenced by cultural historical, political and social development. A big role is the possibility for the artist to work in freedom. Perceivable traces in the Czech Republic had the totality regimes of the second world war and comunist regime till 1989. Opera became a conservative art for upper class. The contrary was the demand in the fifties aimed at masses, commitment, intelligibility.
In the Czech Republic the historism prevails in the production of Verdi´s operas. In the following part the Verdi´s operas Nabucco, Macbeth and La Trviata are presented.
Their historical bacground, issues that they are dealing with and production examples. Special parts are devoted to exemptions in staging of Verdi´s operas: minimalistic Aida directed by Robert Wilson, Rigoletto from the Bayerische Staatsoper in contrast to a very historising production of Don Carlos by Herbert von Karajan. I have particularly analysed Verdi´s Don Carlos, its history, inspiration by Schiller´s drama. Production examples, comparison of costume design for the opera and the Schiller´s play.
In the closing is the solution of the practical part of the master´s thesis ? costume design for Verdi´s Don Carlos.
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J. Anouihl: Thomas Becket. Ikonographic meaning of theatrical costume
Pátá Ołdak, Agnieszka ; Zbořilová, Jana (advisor) ; Koubská, Vlasta (advisor) ; David, Milan (referee)
The topic of this thesis is: "Iconographic meaning of theatrical costume". It is based on a play written by Jean Anouilh. The thesis concerns topics from wide range of theatrical costume and his meaning on a stage. The sense of this thesis is to describe all attributes of a costume and to find his iconographic signification. It is essential to discover in a costume his iconographic symbology: moral, social, political or alegoric. Searching of inner interpretation lets get a new point of view of whole play and its costumes.
There is a definition in this thesis which shows a meaning of a symbol, an iconography and iconology. Main part discuss theatrical costume.
Other parts of the text describe characters of a play: Thomas Beckett or God honor and all attributes of their costumes like material, colour, cut, form and composition.
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