|
|
The Mighty Boosh: theatrical and narrative sspects of Julian Barratt and Noel Fielding's epic comedy
Šímová, Martina ; Christov, Petr (advisor) ; Clark, Colin Steele (referee)
This thesis is concerned with a detailed analysis of the work of the British comedic troupe The Mighty Boosh created by actors and comedians Julian Barratt and Noel Fielding. The Boosh phenomenon is relatively unknown in our cultural environment. Accordingly, the first part of the thesis aims to serve partly as an introduction: it presents the authors' cultural background and the origins of the project itself. Subsequently, technical and physical aspects of the show as well as the acting/theatrical methods used are inquired into. The second part is more practical as it focuses on the narrative framework and strategies, which tend to be highly repetitive and make Barratt and Fielding's project an epic (heroic) comedy. The analysis seeks to explain these narrative strategies by referring to authors such as Vladimir Propp, Joseph Campbell and others, and to reveal The Mighty Boosh in its entirety and complexness.
|
|
|
Polysemy of the Courtly Love: Inversion in the Aucassin et Nicolette
Herčíková, Barbora ; Christov, Petr (advisor) ; Sarkissian, Alena (referee)
Purpose of my thesis is create a precise register of inversion in chante-fable from XIIIth century: Aucassin et Nicolette. Main point of view is connected with a converse of woman and man part. This noticeable destabilization brings an inversion of further rules defined by literary discourse of medieval literature, above all by courtly culture. The first part included a basic definitions of misogyny, courtly love, chivarly and carnival principle. Following analysis of Aucassin et Nicolette indicates medieval need to show aberrations from social order and tries to find way to cure that "illness" of age.
|
|
|
Theatre "Minor" From The Year 1989 Up to Present
Sochorová, Veronika ; Christov, Petr (advisor) ; Jiřík, Jan (referee)
This thesis concerns itself with the Minor Theatre after the year 1989, namely with changes in a staging style of this prague platform that focuses mainly on a production for the child audience. In the production of the theatres principal directors (Karel Makonj, Jan Jirků, David Drábek, Jiří Adámek) we can observe distinctive courses of staging methods, that shape the Minor's character. The primary aim of this thesis is to attempt to reflect these staging courses and demonstrate them using profile plays. An excursus into the history of the Minor Theatre precedes these analyses to define its character. Biographies of the said directors are also included in the thesis, as well as the list of theatre's plays form 1990 (with the dates of premieres) and photographic material ilustrating the theatricals analysed here.
|
|
|
Hélene Cixous and Théatre du Soleil
Kuslová, Kristýna ; Christov, Petr (advisor) ; Pšenička, Martin (referee)
This thesis deals with the performance and the text of La Ville parjure ou Le Réveil des Erynies (The Forsworn City, or the Awakening of the Furies) created collectively by Théâtre du Soleil under the directorial guidance of Ariane Mnouchkine and by French dramatist Hélne Cixous. The analysis mainly focuses on two features, on the one hand on the influence of antiquity, which connects the 1994 epic drama with Greek ancient tragedy, and on the other hand on the feministic concept of drama. The thesis tries by the means of one specific performance to describe the unique cooperation of two women in the context of French theatrical tradition.
|
|
|
Theatre in Italy in 1920s and 1930s and Massimo Bontempelli
Klesal, Johan ; Christov, Petr (advisor) ; Sieglová, Tereza (referee)
This bachelor thesis is focused mainly on the interwar (1918 - 1939) life and work of the Italian writer Massimo Bontempelli (1878 - 1960). The political and social situation in then Italy is described chronologically, together with the brief reference to the art context.. Then the thesis targets the author himself. Its interest concentrates, via Bontempelli's biographical datas, mainly on his dramas with brief information about each of them and also on author's prosaic masterpieces, including the explication of his creative principles. Afterwards the last chapter analyses in details three Bontempelli's dramas with the emphasis on the theoretical knowledge mentioned above.
|
|
|
Three faces of Italian contemporary drama - Fausto Paravidino, Letizia Russo, Davide Enia
Chaloupková, Veronika ; Christov, Petr (advisor) ; Sieglová, Tereza (referee)
1 Abstract With my bachelor thesis I would like to contribute to the additional knowledge of contemporary drama and I intend to provide a view into the Italian background to whoever is interested. The thesis deals with the image of three authors from the youngest generation of Italian dramatists, such as Fausto Paravidino, Letizia Russo, Davide Enia. The choice of these authors is led by positive reception by both theatre and literary critics, by staging off their plays in European theatres, by gaining prestigious awards, and by subjective preferences as well. Most of their texts have not been translated into Czech and as well, the reception of their works in the Czech Republic is not so numerous. The introductory chapter presents all the authors together and is focused on their most famous pieces and gained awards and points out published collection of their plays and other international projects. The analyses of the concrete published texts in chapters are organized according to the chronological order of the time when their works were written and order of the authors is based on gaining the most prestigious Italian award for young dramatists (Premio Riccione). Short extracts of the pieces are also added mostly in translation by the author of this thesis. The second chapter deals with the dramatist Fausto...
|
|
|
Dramatic texts of Witold Gombrowicz (motives, life, context)
Urbanová, Berenika ; Christov, Petr (advisor) ; Jiřík, Jan (referee)
Polish novelist and dramatist Witold Gombrowicz (1904 - 1969) finished during his life a total of three plays: Yvonne, Princess of Burgundy (1936), The Wedding (1945), The Operette (1966). He is considered as a representant of absurd drama though his first play Yvonne, Princess of Burgundy was written already in 1935 and furthermore he did not declare his attachment to the aesthetics of absurd drama. In addition Gombrowicz was not a theatre lover in a common sense. According to his own words he did not appreciate theatre as a whole. Nevertheless his work is full of references to the principle of theatrality. Despite all the experiments on the fields of topics and language, the three Gombrowicz's plays maintain in principle the classical structure: dramas are locked up in three acts and regarding the formal aspects they are actually the traditional drama pieces, which can be read and played in the same way. "Aristotle's" three unities (the unity of action, the unity of place, the unity of time) are not followed, in this respect the closest link to Gombrowicz's plays leads to the romantic drama, Polish romantic drama in particular (where the time ambuguity is a characteristic feature). Furthermore he also drew inspiration from the works of William Shakespeare. Common features with Shakespeare's plays can be...
|
|
|
The poetics of Rudolf Sloboda in Astorka Korzo '90 Bratislava
Hladká, Tereza ; Christov, Petr (advisor) ; Šebová, Soňa (referee)
This work deals with the poetics of Slovak playwright Rudolf Sloboda on stage of the theatre Astorka Korzo '90. The artistic style of this theatre is based on the ambiguity between humour and seriousness, the grotesque situations rise from the spontaneity of acting combined with sense of humour and serious elements. This work aims to analyse the unique creative dialogue between Rudolf Sloboda as an author and Juraj Nvota as a director of his plays. Rudolf Sloboda was asked to write his first play, Armagedon na Grbe (Armageddon at Grb), for Zita Furková, meant as a monodrama for her. Later, with the involvement of Juraj Nvota, it became a longer play for more actors. Furková plays the main protagonist Klára, based on Sloboda's memories of his own mother. This work is devided into six chapters, the first one focuses on the persona of Rudolf Sloboda, being a well-known fiction writer and new-born playwright. The second chapter deals with anti-heroism of Sloboda's protagonists and the concept of heroism in the theatre of the 1990's. The third chapter deals with the origins of Armageddon at Grb as a text and the creative process between Sloboda the writer, Furková the iniciator and Nvota the director. The fourth chapter interprets Armageddon at Grb as a text and the fifth chapter focuses on its staging in...
|
|
|
Influence of Otomar Krejca's aesthetics in French-speaking Belgium
Flock, Sarah ; Just, Vladimír (advisor) ; Christov, Petr (referee) ; zatím nezjištěn, nerealizuje se (referee)
1 Stopami Krejčovy divadelní poetiky ve frankofonní Belgii Disertační práce se zaměřuje na české divadlo od první do druhé avantgardy. Především je zaměřená na divadlo Otomara Krejči a jeho vztah s belgickým divadlem v rámci druhého českého avantgardního divadla do doby normalizace (do r. 1982). Hlavní hypotéza je v tom, že Krejčův přínos byl významný pro belgické pojetí dramatického umění. Existuje dnes belgické pokračování divadelní poetiky Krejči ve frankofonní Belgii a pokud ano, proč ? Krejča realizoval důležitou část svého uměleckého života v Belgii. Belgická divadelní činnost Krejči se dělí do dvou odlišných období. První z nich začíná založením Divadla za branou v Praze v roce 1965 a je spojené s působením v belgickém Národním divadle v Bruselu. Tato léta spadají do československé destalinizace a jsou velmi produktivní v umělecké oblasti. V Bruselu Krejča režíruje celkem čtyři hry : v roce 1965 Hamlet, v roce 1966 Racek, v roce 1970 Tři sestry a v roce 1978 Romeo a Julie. Ty tři první hry jsou inscenovány před odjezdem Krejči do jeho polo-exilu a před dobou normalizace. Poslední hra znamená začátek jeho druhého období v Belgii, spojeného s městem Louvain-la-Neuve. Druhé období začíná v době normalizace, kdy bylo zlikvidováno Divadlo za branou, zatímco jsou Krejčovy inscenace již velmi známé v...
|
|
|
The writings of Bernard-Marie Koltès: problems of the translation from the original French to Czech and consequences in the Czech cultural environment
Balajová, Kristýna ; Šotolová, Jovanka (advisor) ; Christov, Petr (referee)
The aim of this thesis has been to create a comparative critical analysis of the originals and the Czech translations of mature writings of Bernard-Marie Kolts, as well as to assess the reception of his work in the Czech culture. The first part of the paper shortly introduces the author's life and the main features of his work. It is followed by the key chapter of the thesis, the critical analysis of the Czech translations. The purpose of this part is to find out whether these texts can be classified "adequate translations", a normative model that we take from the Czech theories of translation (Jiří Levý, Karel Hausenblas and others). We are looking closely at four out of eight Kolts' plays considered as "mature" (Dans la solitude des champs de coton, Quai ouest, Roberto Zucco and Le Combat de ngre et de chiens). This sample has been chosen on the grounds of the following criterions: it reperesents the work of all the five translators that have translated the Kolts' writings to Czech and at the same time it involves all the distinct literary proceedings of the author. The analysis is focusing first of all on the Czech versions of the four plays that were published in the anthology of Kolts' mature texts released in 2006. However, these translations are examined and evaluated in confrontation with other...
|
guest ::
