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METAMORPHOSIS OF THE THEATRE COSTUME FROM A CONVENTION TO AN EXPERIMENT
Nguyenová, Ha Thanh ; KRÁLOVÁ, Andrea (advisor) ; TÄUBELOVÁ, Kristýna (referee)
In my final Master´s thesis I focus on the costume´s progress from the basic habitus function. Therefore, I also mention crucial historical eras, which specified the form of costumes, predetermined its development and predicted tendencies, which might affect its evolution. I refer to its role in action stage design. In addition, there are examples of specific artists and their work. Furthermore, I also focus on the chapter about innovative materials and technologies, which may be very useful and highly beneficial for the costume design. In the practical section I refer to my Master´s project, play Froth on the Daydream (Boris Vian), and its realization. Apart from this, I also mention some others of my own projects, such as dance performances, and some attractive principles of technological solutions I have used.
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Stage design and his dramaturgical aspects
Vydarená, Tereza ; ŠPLÍCHALOVÁ, Kateřina (advisor) ; TÄUBELOVÁ, Kristýna (referee)
The theme STAGE DESIGN AND HIS DRAMATURGICAL ASPECTS discusses the principles of the author's sconographic performance based on the dramaturgical thinking. This is in addition to the visual component becomes one of the primary constituent elements in the process of creative theatre work. Image becomes the narrator of the story. Using the installation as a milestone between painting and theater performances.
The practical part deals with the dramaturgical thinking by introducing 4 months of Oslo, and A Bar at the Folies which is based on theatre work with people with mental disabilities during the birth of the author´s scenographic performance.
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ELEMENTS OF RITUAL IN THE AUTHORS THEATRE
Silich, Sviatlana ; TÄUBELOVÁ, Kristýna (advisor) ; SMOLÍK, Robert (referee)
In my thesis I will emphasize the elements of ritual in authors visual theatre. I will explain the choice of topic and my attitude towards it; I will introduce the connection between the ritual and my thesis topic.
The thesis will include a thorough analysis of two of my implemented projects based on the subject death and elements of ritual.
I will give a brief explanation to the choise of my thesis topic which is centered around burial traditions, and speak about the elements which gave me particular inspiration. A separate chapter will be dedicated to the works of artists who inspired me the most, thus contributing to the creation of my performance, The Styx. I will reflect on the degree of interrelation and convergence of the theatre theory brought by Antonine Artaud, and theories brought by other artists and art groups, e.g. Sergei Parajanov, Alejandro Jodorowsky, AKHE theatre.
In the first part of my thesis I will speak about the chosen topic and the sources of inspiration, give a description of ritual and bring along the parallels to - herring under fur coat.
The body of my thesis is further divided into two more parts, one corresponding to the procession experiment, and another one describing the implementation in the dark room. In the chapter called ?4 dissolution? I will exlain why this didn't happen. The next chapter contains a description of the preparation steps, which were as follows: hunting for a suitable rehearsal room, actual preparations, rehearsing and the final implementation of the ritual in the dark room, then, giving priority to the particular elements and, finally, the course of performance.
In the conclusion chapter, I will summarize the whole of obtained knowledge and experience, together with the results of my project, and speculate on the bright new opportunities in the world of art which lie before me.
The illustrated appendix contains photographs reflecting the preparation steps to performance, the resulting project, and parallels to the sources of inspiration.
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REALITY ON STAGE
Černá, Adriana ; MATÁSEK, Petr (advisor) ; TÄUBELOVÁ, Kristýna (referee)
This thesis is divided in two parts. The first, theoretical part deals with the staging
process and applied theater forms in the development of production without dramatic
text during continuous cooperation. Each chapter represents principles with which set
designer deals during cooperation. It serves as an index for the second part. Second
part represents a reflection of individual approaches to selected projects realizated
during the master studies.
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IDEALS OF BEAUTY
Rozsnyóová, Lenka ; TÄUBELOVÁ, Kristýna (advisor) ; KRÁLOVÁ, Andrea (referee)
The aim of this thesis is to analyse the concept of female beauty from the
historical perspective as well as to analyse the possibilities of processing this topic in
the context of theatre, more specifically scenography. First part of the thesis focuses
on defining the actual term beauty and general perception of the female beauty
within different historical periods. What is strongly linked with such a theme is a
problem of one's individuality, therefore contemplation on this theme is also included
into the first part of the thesis. Second part deals with subjective point of view of the
author and also with her attempt to procces this theme in her original theatre
performance. Pictures mapping the creative process of the author's performance are
attached at the end of the thesis.
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CHOICES FOR STAGE-MANAGING NATIVE TRIBES' MYTHIC NARRATIVES FROM THE POINT OF VIEW OF THE STAGE DESIGNER
Černá, Tereza ; TÄUBELOVÁ, Kristýna (advisor) ; SMOLÍK, Robert (referee)
This thesis presents the staging of performance Drink coffee, ride reindeer. It's preparation took place from summer 2013 to summer 2014. The main theme is based on Norse mythology and traditions. The author shows how she has been collecting material to prepare her first original production, and describes the whole procedure of the story creation. She endeavours to offer a sufficient insight into the way of thinking about the topic, describes how she has been evaulating the importance of individual fragments, and also the way she faced the work with actors and directing, which ment a brand new experience for her. A whole chapter is devoted to stage design and it's form, but the thesis itself offers continuous insight into visual component throughout the whole text. The thesis contains a description of all the phases of developement of the story, even those ways which were impassable, and justifies those obtions that were chosen. It offers insight into the artist's way of thinking and in the end this way is exposed to an evaulation, trying to reveal weaknesses, which are to be improved in future projects.
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Author´s Work with Material in Theatre and Non-theatre Space
Benešová, Tereza ; TÄUBELOVÁ, Kristýna (advisor) ; SMOLÍK, Robert (referee)
Within my master's degree project Bathrooms I cooperated on the creation of several performances and theatre productions, in bathrooms of private flats as well as in theatre space. The main content of my thesis is therefore a reflection of these personal experiences, which are mostly founded on work with authentic material as a significant source of inspiration.
The first part of the thesis concentrates on ten short performances in authenthic space (bathrooms), which were created in years 2009-2011. Here, I look into the solutions of the individual performances from the position of an author and a performer. At the conclusion of this part, I mostly place emphasis on the communication with the audience within the functions in authentic space, and I compare my own approach to the methods of other artists. The second part of the thesis is focused on the projects which I implemented in theatre space, together with other colleagues. These projects were founded on my experiences from the bathroom performances. In this part, I analyse the evolution of creative process, and seek connection with the experiments in authentic space.
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STYLIZATION VERSUS AUTHENTICITY, SCENOGRAPHY IN
NON-THEATRICAL SPACE.
Svobodová, Barbora ; SMOLÍK, Robert (advisor) ; TÄUBELOVÁ, Kristýna (referee)
This studie thesis make an attempt to identify issues related to the staging in nontheater
space. It make an effort to point out the pros and cons hidden in non-theatre
space and search for possible solutions resulting complications. The author deals
with the question of what degree of stylisation and authenticity is suitable and
appropriate for the non-theatre space conditions to avoid dilution and elusiveness of
the final theatrical form. Attention is paid mainly to visual solutions of the costumes
and masks, their function and redeemable value in physical and documentary theatre
and their relationship to selected non-theatre space. On the example of the physical
and documentary project Mary gave it. How will you give it? (directed by: Linda
Petáková) make the paper an attempt to specifically identify the different staging
folders in which the emphasis is on the communication with authenticity of nontheatrical
space. The last of all make the author an effort to other custom solutions for
staging posibilities for this particular type of theatre.
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THE VIEWER INTERACTING WITH AN OBJECT
Stránská, Marianna ; ŽIŽKA, Tomáš (advisor) ; TÄUBELOVÁ, Kristýna (referee)
ANNOTATION
This diploma thesis is not a scientific work or a historical research, above all it is a reflection of my own practise, my own artistic creative work aiming at a viewer interacting with an object.
Key words - spectator, object, interaction, communication, experience, practice, dream, imagination, childhood, game, collaboration, happening, installation, performance, site specific, communication game, participance, active
This diploma thesis is basically divided into three main parts: context, practice and reflection.
The first part context deals with today´s theatre form as a distinctive and irreplaceable medium, which is able to succeed in the contemporary fast-motion world of the Internet and TV. It enquires about the shape of the theatre today. In that connection I research a connection between theatre and other types of art. At the same time I bring a new type of terminology and define art, which tries to involve a spectator in a selected subject an object in an interaction with a spectator. I try to put this subject in a scientific and historical context, look for similarities in work of other artists and researching all possible forms of interaction and describe a relationship between author, spectator and work on particular examples.
The second part of the thesis confronts the previous thoughts with my own experience. It describes ideas, pieces of knowledge and observations. It illustrates the development of The Lounge of Senses project and other following projects labelled with ORBIS PICTUS or...brand. It formulates an intention and meaning of these projects from this experience.
The third part of the thesis reflection deals with the possibilities of interaction within a stage work. It returns to a theatre form with an experience from interactive expositions. It deals with symbols with which a spectator can be motivated and provoked to participate in the work process. It looks for possibilities to attract spectator´s attention. And last but not least it shows the development of such opinions on practical examples.
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