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The classical ballet Technique for contemporary Dancers
Lacová, Martina ; Křenková, Mahulena (advisor) ; Janeček, Václav (referee)
This master?s thesis deals with classical ballet technique aimed at contemporary dancers. The text presents the basic concepts and ways of working in classical ballet and contemporary technique and it briefly describes new methods and approaches to the body. The main part of the paper researches questions related to the subject ? the training of contemporary dancers in classical ballet technique - based on the ideas and knowledge of notable classical ballet teachers and on opinions and remarks of contemporary dancers. In addition, the thesis also contains an interview with a famous teacher of classical ballet technique for contemporary dancers Zvi Gotheiner. I had the wonderful opportunity to realize this interview while attending his workshop in Vienna.
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Preelementary and elementary technique sur les pointes
Tomsová, Jana ; Halászová, Marilena (advisor) ; Křenková, Mahulena (referee)
My diploma thesis is composed of the sur les pointes technique, which I consider the high of dance art. In our country this technique is dominated mainly by the Russian school that does not insist much on preelementary and elementary foot preparation. Nowadays, the styles of French, English or other schools are also being used. In my thesis there is also a notation about one of the first well-known ballet dancer, Maria Taglioni, performing on pointe shoes. The biography contains her personal development and that of her pointe work. In this thesis, I would like to help students of classical dance who are preparing for sur le pointe?s technique. I am aiming to make this style more precise, gracious but most of all complete. This diploma thesis won´t be able to cover all issues but I hope to clear up any confusion with point techniques and to suggest a new methodology.
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The Paris Opera Ballet School
Sehylová, Michaela ; Křenková, Mahulena (advisor) ; Halászová, Marilena (referee)
This bachelor?s thesis focuses on Paris Opera ballet school. The first chapters examine the school's history and ballet classes during the last decade of the 18th century and the beginning of the 19th century. Furthermore, it depicts Claude Bessy's conception during 1973 - 2004. The last chapters highlight Bessy's thoughts and ideas which led to the reform of ballet education and the school's move to new premises. This move ensured higher levels of performance and enhanced the reputation of the ballet ensemble.
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The Personality of Wilfride Piollet
Gajerová, Vítězslava ; Janeček, Václav (advisor) ; Křenková, Mahulena (referee)
This bachelor thesis is focused on personality and teaching activities of Wilfride Piollet. The main theme of my bachelor thesis is gathering informations about artistic life of Wilfride Piollet. I am also interested in causes and in process of creation a method of Flexible bars. The method of Flexible bars is sophisticated system based on analysis of mouvement research.
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Dance gymnastics from a kinesiologic viewpoint
Reinbergrová, Vendula ; Čumpelík, Jiří (advisor) ; Křenková, Mahulena (referee)
This bachelor thesis focuses on the subject of Dance gymnastics, mainly on the concepts and methods of dance gymnastics education and training. It recommends to split the training into two parts, with one focusing on gymnastic agility development and the other on compensatory exercises, which are inspired by development kinesiology. The thesis also includes anatomical descriptions of areas that are necessary to understand the subsequent description of basic compensatory exercises.
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Seven kinds of movement in classical dance
Ličková, Gabriela ; Janeček, Václav (advisor) ; Křenková, Mahulena (referee)
In my work I presented at first the personage of E. A. Théleur and the seven basic movements according to him. Afterwards, I focused on the method of E. Cecchetti. I compared his seven kinds of movement - plier, relever, glisser, tourner, sauter, étendre, élancer with the Théleure?s list. I found several differences and realised the ambiguity of an interpretation of ideas of both men. At the end I presented a detailed description of Cecchetti?s seven kinds of movement, based on my personal experience with classical dance, in term of their usage in classical dance. I discovered that all kinds of movements mentioned above are equally important in classical dance. One is connected to the other; they complement each other and all together create one movement unit.
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William Fosythe´s contemporary classical dance
Bočková, Šárka ; Janeček, Václav (advisor) ; Křenková, Mahulena (referee)
This bachelor´s thesis renders the biography of William Forsythe and his initiators. Further, it deals with the principls which initiated the creation of Forsythe´s dance style and the ways how he develops them. It explores the aesthetic influence of by him generated shapes of movement, and it also analyse the essence of conveying this unconventional way of movcement expression. In the final part my thesis researches the funcionality of the individual parts of body. This funcionality contributes to creating Forsythe´s dance style and encourages dance pedagogues to incorporate the specific features of this dance style into the exercises of classical dance lessons.
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Balanchine technique
Červíčková, Pavlína ; Křenková, Mahulena (advisor) ; Janeček, Václav (referee)
Through this Bachelor?s thesis, I would like to provide a comprehensive study of one part of the dance technique one of George Balanchine, one of the most famous neo-classical dance choreographer and founder of New York City Ballet. As currently any compilation of Balanchine Technique does not exist in Czech language, the main source of my Bachelor?s thesis was a book ? Suki Schorer on Balanchine Technique by Suki Schorer, published in 1999, New York. I focused on pointwork which enriched with new components and principles compared to Russian classical dance.
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Jump combinations with focus on the development and quality of jump
Beswald, Michal ; Janeček, Václav (advisor) ; Křenková, Mahulena (referee)
As the title of my work suggests, I decided to focus on the development and quality of jumps with regard to my collecting some known, as well as less known, facts. I divided my work into eight chapters in which I deal not only with the general characteristics of jumps for lower and middle grades, but also try to suggest some complementary exercise. In the last part of this work I present some examples of my own combinations which support the development and quality of a jump. It can be said that the quality of a jump and the allegro exercise both test the skills, talent and performance of a dancer in all aspects, and they also intensify his/her artistic profile.
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