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Kitsch and Theatre
Haplová, Barbora ; KAPLICKÝ, Martin (advisor) ; ETLÍK, Jaroslav (referee)
This bachelor thesis tries to capture the general characterics of kitsch. It attempts to find these characterics in a particular theatre production. In terms of general principles of kitsch I am trying to show how kitsch can become a subject of a theatre production. In the first theoretical part I worked mainly with Kitsch and Art, a book by Tomáš Kulka, and with various texts by Jan Mukařovský, Umberto Eco, Milan Kundera, Ludwig Giesz, Matei Calinescu, Václav Černý etc. The theoretical part analyses Petr Kolečko's play Buchty a bohyně directed by Jan Frič and Lukas Bärfuss' play Dvacet tisíc stránek directed by Zuzana Burianová, both final productions of graduating students under the Department of Dramatic Theatre DAMU.
The main aim of this bachelor thesis is to focus on the principles of kitsch in connection with the youngest generation of theatre artists. I am trying to apply general esthetical theory on particular theatre productions. In the analytical part I am working mainly with these productions, with a Czech play Buchty a bohyně and a Swiss play Twenty thousand pages translated by Magdalena Štulcová and adapted by Helena Kebrtová and Zuzana Burianová.
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The Objectivity and Art Criticism
Pacáková, Pavlína ; KAPLICKÝ, Martin (advisor) ; KUBALÍK, Štěpán (referee)
This paper intends to answer the question of when and how we can consider a theatre criticism or review of a play to be more objective than another one. First we define the field of inquiry, art criticism and theatre criticism in particular. In doing so we describe how objectivity, truth, the author of a review and his or her intentions are related. We also explore various forms and functions of theatre criticism. While describing the process how criticism is created (perception, interpretation, evaluation and repeated search of arguments for the subjective view in the theatre piece itself) we identify how the different steps of such process influence the level of objectivity. At the end of the theoretical part this paper offers a synthesis of different criteria for objectivity in theatre criticism.
The second part compares the criteria of objective criticism with a set of current theatre reviews in the daily press, weekly magazines and professional publications. We analyze ten reviews of Václav Havel's The Garden Party (Zahradní slavnost) directed by Dušan Pařízek at the Prague's Estates Theatre (Stavovské divadlo). This set of the ten reviews includes an article by the author of this paper herself. Based on the criteria described in the first part of the paper we evaluate reviews by Radmila Hrdinová, Marcela Magdová, Marie Reslová, Vladmír Just, Richard Erm, Vojtěch Varyš, Vladimír Mikulka, Vladimír Hulec, Milan Uhde and Pavlína Pacáková. The evaluation shows the criteria can distinguish the reviews on a subjective-objective scale.
We conclude that an objective criticism fulfils several key demands: it openly defines the criteria of its evaluation, offers consistent reasoning, evaluates the theatre performance as a whole and not only as individual elements and helps the reader to make his own opinion and conclusion based on the given information.
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Preciousness of Discarded Objects, that is Rubbish, as a Material for Film, Photography,Animation
Tomić, Miloš ; Čihák, Martin (advisor) ; Bregant, Michal (referee) ; Kaplický, Martin (referee)
This work, with a short view on the consumers society and mostly throughout visual arts, will try to give answer to the question: wheather art can turn over the relations between men and object, and object and rubbish. And relations between people.
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