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The purport and function of a regional drama theatre
Ondruch, Pavel ; Císař, Jan (advisor) ; Burian, Jan (referee)
The thesis focuses on searching the purport and function of the Czech regional drama theatres, that means public institutions of the scenic art, which are usually controlled by towns or districts out of three main cultural centres of the Czech Republic (Prague, Brno, Ostrava). We also define this term through four phenomena, which always must be in existence with every regional theatre: 1.)permanent building; 2.)public service for region; 3.)dramatic repertoary; 4.)professional actor´s ensemble. We regard the history of the theatre with these four phenomena and we also disclose the principles of scenicity, that next to its purely artistic functions has to hold no less important social, public and widely cultural functions, which means non-artistic functions. By means of analysis of theatre genesis as a public institution, we look for not only the position of regional theatres not the present, but first of all we try to find a creative way to work artistically there. The stage manager has to look for the most convenient style of the staging flowing from the dramatic text, not from his/her own ego. His/her poetics are in creative way determined by non-artistic circumstances and the stage manager according to the spirit of Max Reinhardt has to find the most suitable character system to transform one original dramatic text to one original scenic form to have to look for the specific poetics for the new dramatic text again. This eclectic access (also concerning dramaturgy) given by the monopoly position of the theatre and the structure of the audience, could seem as disintegrated if the actor´s ensemble does not integrate it markedly. Performing arts being based on a dramatic text is the most important part of regional theatres although their existence depends on many other things. This thesis reaches the statement that regional theatres in the public sphere are
indispensable. Videlicet, they continue the deepest European traditions of the drama theatre and the theatre as a socially-educational function(Bildungstheater).
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MANIPULATING AND PARTIAL PERSPECTIVES
Šiktanc, David ; Burian, Jan (advisor) ; Korčák, Jakub (referee)
Bachelor thesis Manipulating and partial perspectives is looking back to the tasks, which were realized in subject Scenic activity from the third semester till the sixth semester of study of directing-dramaturgy of dramatic theatre. I laid special stress on process of staging Tankred Dorst´s play Fernando Krapp wrote me a letter. I was trying to describe this process from the selection of the play, across its analysis, up to rehearsing. In the context of rehearsing I cultivate three aspects of staging, which I´ve indicated in the first chapter. These aspects are: a language, a way of behavior, space.I´m also trying to describe the influence, which language has on the two other aspects ? coming near, postponing, deciphering etc. Because, how I´ve found out, this influence is never unmeaning.
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Interrelationship between a director and an actor ? directing as a way of formation of an ensemble
Khek, Pavel ; Kříž, Karel (advisor) ; Burian, Jan (referee)
This Master´s degree essay thinks of the director-actor affinity and stresses the fact this very communication is crucial at creation of a drama performance.At the first part of the essay there are presentments such as ?an actor?, ?a director?, as well as their interrelationship with regard to its historical implication in conjunction with adumbrating of the basic geniuses potency, which both of a director and an actor should abound in.Detecting of different variations of the interrelationship between a director and an actor, examining for the problems that may badly affect the creation process is the gist of this paper. Common stagey principles are being confronted to the subjective director´s work practice. The director-actor relationship is meant to be a delicate process of cognition that agrees with being built up continuously. The very dramatic work is also primarily felt as long-term stepwise refinement action by the author, strongly influencing his tending towards an ensemble type of theatre.Detecting of different variations of the interrelationship between a director and an actor, examining for the problems that may badly affect the creation process is the gist of this paper. Common stagey principles are being confronted to the subjective director´s work practice. The director-actor relationship is meant to be a delicate process of cognition that agrees with being built up continuously. The very dramatic work is also primarily felt as long-term stepwise refinement action by the author, strongly influencing his tending towards an ensemble type of theatre.At the third part the writer brings together all necessary conditions for smooth functioning of the ensemble and also interrogates of the possibility to fulfil these conditions on the present. Directing is not only seen as the activity dealing with preparation of a performance, but mainly as a way of formation of an ensemble at the essay.
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Role in life and on a theatre
Štabrňák, Roman ; Hlaváčová, Jana (advisor) ; Burian, Jan (referee)
The aim of this work is to express myself to the given topic both from theoretical point of view and also with regard to knowledge and experience I have gained during my studies and in my practical life. I will also concentrate on rehearsing the graduate performances Don Juan and Paní ministrová and on work with the individual directors.
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Building-up of the staging structure
Vokoun, Martin ; Burian, Jan (advisor) ; Schejbal, Milan (referee)
In my diploma work, I would like to mention my own view ont the bulding-up of the staging. It is rising from my experiences in the making of several inscenations. Espesially I would like to risng from my graduate inscenation ?Don Juan? in Disk theatre (Prague, 2006). Further I will mention inscenations ?As you like it? (Theatre of conservatory, Pratur 2007) and ?The dog of the gardener? (Theatre of J.K.Tyl, Plzeň 2008). My aim is describe particular components, which are taking a share on the creation of whole inscenation and in this way are building-up the staging structure.
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Musical in the Czech Republic after 1989
Málková, Lucie ; Císař, Jan (advisor) ; Burian, Jan (referee)
The diploma work Musical in the Czech Republic after 1989 explores different forms of staging both world and czech musicals after during 1989 ? 2008. In the first chapter the author analyses differents components of the genre ? the book, music, song and dance and points out basic theoretic criteria for reviewing musical performances. The merit of the work is in the sedond chapter which presents analyses of chosen performances after 1989. With this analysis, the author establish variable forms of musical theater in the Czech Republic and point out its main problems. In the third part of the work, the author critically reflects ger own production and direction of graduation performance in theater DISK ? a musical based on a same name novel of Emile Zola Ladie´s Paradise (musical radical)
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THE DRAMATIZATION OF A PROSAIC TEXT WITH RESPECT TO ITS CONCRETE STAGING
Vrbková, Jitka ; Kudláčková, Jana (advisor) ; Burian, Jan (referee)
This thesis deals with the dramatization of the fairy-tale "The Little Mermaid" by Hans Christian Andersen created for a bachelor performance. It regards fairy-tale as a literal genre and investigates its possibilities of a dramatic elaboration. It considers Andersen's Little Mermaid as an untraditional fairy-tale and investigates its transfer into a dramatic text. It reflects the development of the dramatization of Andersen's fairy-tale, which was changing all the time during the rehearsals with actors, and the development of practising the performance as well. An analysis aims to answer the questions: What can be transfered from a prosaic text into a dramatic one? What can be transfered from a dramatic text onto the stage? The thesis intends to evaluate the created dramatic text and the form of the performance and explain the reasons for a success or a failure.
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SPECIFICS OF COOPERATION BETWEEN A DIRECTOR AND AN ACTOR DURING THE CREATION OF A DRAMATIC CHARACTER
Ludvíková, Tereza ; Korčák, Jakub (advisor) ; Burian, Jan (referee)
This thesis is based on a reflection of the rehearsing of the performance Carmencita. It is divided in two parts. The first part deals with the concept of the director. The main themes of the performance are: passion, order, fate and conciliation. It defenses prominent position of the narration in the performance. The narration gives to the main character the possibility of reflection and testimony. The second part deals with the process of the rehearsing and with the cooperation between the director and actors. It compares the director´s idea of the characters with the achieved results. The author finds out the importance of willingness of an actor to extend beyond the borders of his civile nature for a successful creative work.
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