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Word in dramatic texts of Josef Topol (Konec masopustu) and Jáchym Topol (Cesta do Bugulmy)
Frydrychová, Magdalena ; Vedral, Jan (advisor) ; Kudláčková, Jana (referee)
The first part of my thesis is devoted to thinking about two plays - Konec masopustu by Josef Topol and Cesta do Bugulmy by Jachym Topol - above all from a specific viewpoint of a dramaturgist, who is placed between the text as a component of literature and the theatre scene.The crucial part of the thesis consists of an analysis of individual scenes of the two plays regarding the plot (time, space and factual information provided by the plays) and the identification of all primary topics and motives of the plays.A special chapter concerns the dual layers of the language and the meaning of the Konec masopustu play. It also searches for common points in the content of the two texts and it compares their different language structures.The final part of my thesis touches on the issue of the crisis of the word, which they reflect on in their specific artistic way.
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Actors stylization and authenticity
Stehlíková, Markéta ; Kudláčková, Jana (advisor) ; Pavlata, Michal (referee)
In this diploma thesis, a student of dramatic arts focuses on the meaning of the terms stylization and authenticity, on the analysis and usage of these terms in practices in the course of the creative process, which she proves by various examples of rehearsing during the graduation season in Disk Theatre, in particular by examples from the Lenka Lagronova?s play ?Království?. Next chapter is devoted to the experience of the student of dramatic arts while appearing as a guest in various professional theatres. It covers a description of a creative process and a process of searching the tools which help the actor to create an interesting character and also the circumstances which influence the actor?s performance. The excessive dependence of actors? growth on inspiring opportunities leads the author even to doubts about the rectitude of her decision to become an actress. The author feels that the intensive team work under a talented director which she has experienced in Disk Theatre and in Činoherní klub is the ideal way of self fulfillment which she searches for in the theatre. The author is aware of the advantages of an engagement in a stable theatre stage but on the other hand she does not hide her fear for the accommodation to the averageness and fear for giving up any higher art ambition. These are the questions for which the author searches the answers in the following thesis.
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The Brothers (Karamazovs) - The Staging in The Disk
Špinar, Daniel ; Vostrý, Jaroslav (advisor) ; Kudláčková, Jana (referee)
Title of my M. A. program thesis is the BROTHERS (KARAMAZOVS) ? THE STAGING IN THE DISK, in which, as the title says, i describe preparations and realisation of a play according to the novel of F. M. Dostojevskij in the school theatre named DISK. I dedicate the first chapter to Dostojevskij himself, I try to expose his complicated personality, and I descibe several of his life peripeties and breaking dates of his life, which significantly formed and influenced both him and his work. In the second chapter, named READING OF THE NOVEL AND ITS REFLECTION, I share my experiences from reading the novel Brothers Karamazovs, I analyse its complicated plot, and I point to the formal and content specifics of Dostojevskijs work. In this part I also try to answer the question why are his novels so compatible with theatre. I dedicate the third chapter, ADAPTATION WORK, to my thoughts, perceptions, and work progresses during writing the adaptation of Brothers (Karamazovs). In the last chapter, which name is WORK ON STAGING, I describe preparations and the whole process of work on staging of this adaptation. In particular, I describe the scenography, costumes, and scenic music, and I also touch the spot of bother of acting issues. Besides the information about this staging and fotos from performance, I also enclose the text of the adaptation Brothers (Karamazovs).
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OUTWARD AND INWARD ACTING TECHNIQUES
Štulc, Vojtěch ; Mrkvička, Ladislav (advisor) ; Kudláčková, Jana (referee)
I decided to focus in my essey on the inner and outer actors´ techniques, motivations and ways, that helps the actor to work and create. Acting is simple and difficult at the same time. Simple in the final impression with that the actor appeals on the audition. Difficult however is the way to it. An actor has to manage many partial disciplines, techniques of breath, speech, movement, develop and cultivate his fantasy and at the same time he has to be absolutely aware of his psychical amd emotional life. And to analyze and memorize for future use, how body a mind influence each other. Overall thoughts about this topic I linked up with some personal experiences i gathered during the studies.
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ACTING FOR THEATRE AND MOVIES
Kapiasová, Izabela ; Kudláčková, Jana (advisor) ; Šťastný, Jan (referee)
In the thesis I compare dramatic expressive device in different types of theatres, film and television with regards to my dramatic and film experiences. In my thesis I include not only description of the process of searching for and making of the devices which help the actor to create an interesting acting protagonist, but also circumstances which influence actor? s performance. I analyse the expressive device used in my role sof Dona Elvira (Moli?re: Don Juan, directed by Martin Vokoun, DISK) and other DISK performances. I Compare different types of acting in film and my experiences from rehearsals in the Polish scene of the Těšínské theatre. In my conclusion I summarize the differences between Czech and Polish artistic environment based on my personal experiences from the Těšínské theatre as well as based on the experiences based on my studies in Cracow.
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PROSAIC TEXT HIS DRAMATIZATION
Olšovský, Lumír ; Sílová, Zuzana (advisor) ; Kudláčková, Jana (referee)
In my bachelor thesis I am comparing five dramatic texts coming from the same artwork: novella Carmen written by French prose-writer Prosper Mérimée.At the beginning I am mentioning author?s brief curriculum vitae and the circumstances connected with the birth of this novella. Following paragraph is about origin of the opera Carmen by Georges Bizet which made the story about the gipsy temptress known all over the world. Further I am introducing the other authors who inspired by this story made other dramatizations or adaptations (ballet, movie, musical).The subjects of the following comparison are libretto of opera Carmen (authors Henri Meilhac and Ludovic Halévy), drama Carmen by Gustav Skála, libretto of the musical Carmen/Viva Amor! by Egon Kulhánek, Adam Novák, Norman Allen, Jack Murphy), inscenation Carmencita by Tereza Ludvíková and my own dramatization Don José!.I am considering a structure of the artwork, description of the characters, motives and dramatic situation of the text in comparison with its literary pattern. I am studying the mechanism of changing from the literary work into the dramatic one and crucial differences between components of the artwork: sentence ? rejoinder, information ? action, person ? character.At the end I am describing my own procedure while making the dramatization applied.
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HISTORICIZATION AND ACTUALISATION AS TWO OPPOSITE APPROACHES TO PRODUCTION OF CLASSICAL DRAMATIZATION IN CONTEMPORARY THEATRE
Ondruch, Pavel ; Císař, Jan (advisor) ; Kudláčková, Jana (referee)
This thesis is focused on the term great classic theatre (or high drama). It is understood as a spoken theatre based on a very aestheticizing dramatic text (poetic drama) that deal with the deeper problems, values and men´s world opinion. The theatre is approached as a social, moral and educational platform. The thesis tries to name the phenomenon of great drama and it also tries to research the possibilities how to stage the dramatic text of the great drama in modern theatre. There are two different conventions - convention of scening at the time of text origin and convention of scening in contemporary theatre. In other words every production must be also an adaptation. It always tries to improve contents of dramatic text. There are two ways how to adept classical text of high drama. If we strengthen the mythological value of drama, we adept text by historical principle. On the other hand if we transfer text to the modern social situation, we continue the adaptation by the actualizational principle. The first part of this thesis tries to describe these facts. The second part applies these facts on concrete practical example of staging of the Czech dramatic text of the high drama. Characterization of adaptation of Hippodamie, written by Jaroslav Vrchlicky, demonstrates that even though we approach the scening of dramatic text of high drama from the historicizational point of view and thus from the point of view of eternity, in some way we touch present problems at the same time. Historicization and actualisation present as two sides of one coin.
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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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Woody Allen, the playwright
Šotek, Milan ; Vedral, Jan (advisor) ; Kudláčková, Jana (referee)
In the first chapter the author makes us acquainted with the substance and history of the american stand-up comedy, outstanding representative of which was in the 1960s Woody Allen. The second chapter is engaged in modification of club acts into dramatic texts, namely in the example of Allen's Broadway hit Don't Drink the Water. Also in another notable play, Play It Again, Sam, the author illustrates why he attaches importance rather to the stand-up comic's background than to film director's experience. The third chapter belongs to the American-European culture clash in Woody Allen's work. The author exemplifies that in Death, travesty of Kafka. In the final chapter he first sets the one-act play Central Park West in context to Allen's writings from the 1990s and he adresses the reflection to its stage realization afterwards.
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