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Eduardo Pavlovsky - between absurdity and psychodrama
Bočková, Lenka ; Christov, Petr (advisor) ; Sieglová, Tereza (referee)
This essay would like to present the work of the world famous playwright from Argentina Eduardo Pavlovsky. He is studied and apriciate all over the world, but unfortunately in Czech Republic is totaly unknown. This work presents three dramatic plays, which represents different period in Pavlovsky plawright life and shows his artistic orientation. We can see there sorne external influence which work upon his work in several periods. Sub-title of this essay is just for illustrate and define the beginning and termination of the work of Pavlovsky. It cannot signify comparision not even other similarity what cauld be between this genres. At the beginnig I presented short historical discursion of Argentina. I focused me on the same period in which his dramatic work has been written. Then I spoke a bit about the history of theatre in Argetina and situation in culture at all. In the part which is called like sub-title af my essay, I facused me on general characteristic of the theatre of absurd and I tried to make sorne parallel between European and Argentine absurd drama. Then I wrote sorne srnall part where I tried to intorduce what psychodrarna is and for what is been use. I also included biography of Eduardo Pavlovsky, which is really short but there are all the irnportant situation in his life which could...
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Theatre fair
Pantáková, Magdalena ; Christov, Petr (advisor) ; Jiřík, Jan (referee)
The thesis is focuses on "Theatre Fair" opened air cultural project which took place in the second half of nineteen eighties in Prague, where different art groups connected and integrated their performances. The goal is to introduce Theatre Fair and, concentrating specifically on theatre, examine how Theatre Fair participated in the new era of "non-concrete theatre" in The Czech Republic. There is a focus on the birth and structure of Theatre Fair, which is based on factual information. The text centres attention on each individual art group and its performances. It will bee seen that these performances are characterized by, and based on, historical theatrical inspiration. The thesis also addresses non-theatre areas such as music, visual arts and photography, which influenced the final shape of the project. It also reflects the activities that Theatre Fair engaged in on foreign tours. A considerable part of the thesis focuses on the characteristics of Theatre Fair and its theoretical basis. The project "Theatre Island", which followed the original Theatre Fair, is also considered in this thesis. In considerations of the distinctive visual art style of the project, a picture appendix is included in the thesis.
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Impro theatre - theatre sports in Czech Republic
Urban, Jan ; Christov, Petr (advisor) ; Pšenička, Martin (referee)
This thesis focuses on the Theatresports as a general category of improvisational theatre. Theoretically analyses their structure in terms of theatre studies and interprets the principles of this specific approach to theatre production, deals with their history and development, also is trying to establish a suitable theoretical and conceptual apparatus for them. It also reflects the decade of work of Theatresports in the Czech Republic, summarizes their characteristics and places them in context with other selected speeches theatrical improvisation on the Czech scene. Keywords: Theatresports, Keith Johnstone, improvisational theatre, improvisation, contemporary Czech theatre, Czech improvisational League
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Theatricality of early dance: French renaissance
Bryan, Mikuláš ; Christov, Petr (referee) ; Stehlíková, Eva (advisor)
This thesis, Theatricality if earfy dance: French Renaissance, concentrates on providing a commented translation of the crucial dance manual of the 16th century: Orchesographie by French canon Thoinot Arbeau. Since it is the ftrst full translation of a period dance manual to the Czech language ever, its task is mainly to set the stage for wider awareness of early dancing, both on academic grounds and amongst the general public. Due to the extent of the original work, the introductory study is mostly concerned with the problems of translation, footnotes throughout the work fill in mainly the essential life and institutions and provide a discussion on handling the objectionable and questionable passages. Orchesographie itself purveys critical information on social ballroom behaviour and on the interaction of musicians and dancers, covering a full spectrum of late Renaissance dance; therefore it makes an excellent starting point for further examination of various other topics: the influence court masks and their theatricality had on social dancing and vice versa, overall culture of movement giving birth to the tradition of French court ballet and musical theatre and last but not least the dance references in period dramatic works, for example of The Elizabethan Era or The Spanish Golden Age. Czech scholars...
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Pina Bausch's dance theatre
Faustová, Markéta ; Augustová, Zuzana (referee) ; Christov, Petr (advisor)
Pina Bausch and the dance company Tanztheater Wuppertal inherently belong together. The choreographer became the head of this German dance company in 1973 and has led it since up today. She has never created choreography for any other dance group or other dancer. During this thirty-five years' connection the company moved among the top dance groups and stili achieve success worldwide. lt was and stili is an inspiration for many young authors. lt is a history, but also the presence at the same time. Right from the beginning of her career, Pina Bausch indicated that her work was going to be exceptional. For her, there were no barriers, neither in formulation of themes, nor in use of means of expression. She organically connected dance and theatre in her works and thus created a new art genre, which theoreticians call dance theatre. She managed to unite a multi-national group of twenty-six members, with which she worked very closely in preparation of particular pieces. Especially at the beginning, the dancers were forced to personally engage into each choreography. Preparation of a performance consisted in so-called principle of questions. Pina Bausch wanted her dancers to answer her questions by improvising a little dance or theatre sketch. Then, she was choosing from this amount of mate rial to form a base...
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Chanson in the Czech theatre
Štípková, Miroslava ; Christov, Petr (referee) ; Just, Vladimír (advisor)
The chanson is defined as a song that transmits a concrete message. Therefore the most important component is the text and a sensible interpretation. The interpreter express the emotion at the hand of the music, the text and theatrical acting, sometimes he associates himself with the person that he is singing about. Many authors interpret their chansons, in this case it is purely personal expression. The chanson is allied with the theatrical character, but it can't be an end in itself effect. This character is an instrument how to express the idea of the song and how to get the contact with the audience. It is possible to narne the chanson as "theatre song". The chanson appeared in the Czech culture at the beginning of the 20th century, in the artistic and literary kabaret. The Czech authors had been influenced by the chanson in France, in Gerrnany and other countries. The time after the 1 st world war was the golden age of the Czech kabaret, but its end carne soon. The genres that were typical for cabaret had the continuance in the other forrns of art. The chanson has been used in the revue and in the satirical theatre (Osvobozené divadlo), in the musical comedies (Nové divadlo) and at the concerts (R. A. Dvorský). Especially the small theatres were interested in the chanson in the years 50s and 60s...
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Julius Fučík: dramatic criticism
Hejmová, Anna ; Christov, Petr (referee) ; Just, Vladimír (advisor)
Undergraduate thesis Julius Fučík: Dramatie eriticism processes dramatic criticism lifework production of communist journalist Julius Fučík. Thesis consist of five chapters. Introduction, which is created of author motivation to write that topic. Iťs enlarge of question finding relevant literatury and necessary context. (Publisheds concerned with "First Republic" differences between literary published in exile and pre and post Velvet Revolution in Czechoslovakia). Chapter Social-poIitic situacion is about historie context - progress in working-class movement in Austria-Hungary Empire, establishment of social democracy and Communist Party of Czechoslovakia (KSC). Further, KSC development in background of historical events - Nazism and Stalinism boom. Fučík and his journalist work in general is discourse Julius Fučík's life and his nondramatic texts. EspeciaUy during the twenties Fučík concentated to literary and dramatic criticism. At the turn of decade he traveUed over Soviet Union (He worked as foreign correspondent for "Rudé právo"). During the thirties he worked particularly as communist journalist and reporter there. After the start of the 2WW he lived in ilegality and was member of revolt. He go undergroung and on April 1942 he and six others were arrested in Prague by the Gestapo. Fučík was found...
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Jan Filip - Zwiefelhofer. Portrait of the actor Jan Filip in the context of Ostrava theatre
Stanová, Michaela ; Augustová, Zuzana (referee) ; Christov, Petr (advisor)
The aim of the work Portrait af Jan Filip-Zweifelhafer in cantext af Ostravian theatre is to outline the actors work on historical background of Czech theatrical society in at the end of the 20th century. Jan Filip was born on 7th april 1936 in Prague but spent his childhood and youth in Sušice, the town which he never stops visiting in his entire life. He graduates from the grammar school there and starts working as geodesist in Mariánské Lázně near by. He joins amateur theatricals and then strikes the attention of a gifted theatrician Jiří Dalík who offers Filip the first professional contract in Karlovy Vary theatre. He accepts and in 1960 starts his "border line theatres" era. Saša Lichý, art director of Petr Bezruč Theatre, offers Jan Filip in 1966 to come to Ostrava. He accepts, moves there with his family and stays until the end of his life. During his engagement in Petr Bezruč Theatre, he turns from the position of romantic herD into characterful actor. It is right in PBT where Jan Filip fully develops his crafts and artistic abilities. He also tryes the taste of fame and admiration there. ln 1976 Filip changes the scene and acquires engagement in Ostrava State Theatre. Working enviroment changes. The bigger ensemble, different audience, different resource of professional and personal growth. During...
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Lagronová feat. Nebeský
Jahn, Jakub ; Pšenička, Martin (referee) ; Christov, Petr (advisor)
The presented MA thesis examines the relationship of the staging of Jan Nebeský with its source, the drama Terezka from Lenka Lagronová. It is dividend into two sections; in the mst part we are dealing with the sources of the drama, mostly with the biographical notes of Saint Therese of Lisieux. Nowadays, these are published under the title The Story oj a Sou/. Subsequently we throughoutly analyze the drama. The analysis implies that the drama is conceived to mediate The Little Way, the teaching of Saint Theresa from Lisieux, to the reader. In the second section we analyze the staging Terezka, directed by Jan Nebeský, which had opening night in Divadlo Komedie on March 3, 1997. We mostly try to refer to the distinct directorial-dramaturgic arrangements, which essentially altered the semantic character of drama. In the conclusion we summanze the semantic drift cause by the "translation of drama into the theatricallanguage".
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Dionisis Fotopoulos
Ihyane, Marcela ; Christov, Petr (referee) ; Stehlíková, Eva (advisor)
This master thesis deals with theatre work of Dionisis Fotopoulos, the most popular, worldwide famous, and award-winning Greek scene designer. The thesis is probably the first malysis ofFotopoulos' scene design while, so far, there is no other research essay written on :his topic either in Greece, or in some other country. I try to show Fotopoulos' creative periods and style s on his work on ancient Greek lrama. Dionisis Fotopoulos is considered to be one of the few Greek scene designers who )rought strong Greek tradition of staging ancient tragedies and comedies abroad. Ris masks md costumes draw on the tradition which tinctures the Greek theatre, as well as they are :onsidered to be experimental and visually very effective. The other reason why we focus on mcient Greek drama is that it is also believed to be a part of European, not only Greek ;ultural heritage. The first chapters contain basic information about history of a modem Greek theatre in ~Oth century, about a history of staging ancient Greek drama in modem Greece and few notes _bout living Greek theatre tradition which try to explain its basic phenomenon to Czech eaders. The following chapters contain short Fotopoulos' biography and analysis ofhis theatre vork. I have chosen the important performances of each style and period and I tried to...
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