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Jiří Frejka at the Karlín theatre 1950-1952
Bár, Pavel ; Herman, Josef (advisor) ; Just, Vladimír (referee)
Jiří Frejka integrated the tenets of avant-garde, classical drama and poeticism. He entered the Karlín Theatre (at that time the Theatre of Czechoslovak State Film in Karlín) to direct the play "Nebe na zemi" by Jiří Voskovec, Jan Werich and Jaroslav Ježek in autumn 1950, after he was pushed off his post as the art chief of the Vinohrady Theatre (for political reasons). Inspite of this forced move he immediately started working on the development of the Karlín Theatre. He invited the contemporary first class artists to cooperate - the composer Václav Trojan, the choreographer Saša Machov, the poet Vítězslav Nezval or the set designer František Troster. Five peďormances which Frejka directed during his short work are some of the best and most successful those have ever been created in the Karlin Theatre. Although he had to give in to the demands of the regime of that time and he had to present plays from the Soviet Union ("Akulina", "Keto and Kote"), he also managed to present idyllic plays - "Paní Marjánka, matka pluku" by Josef Kajetán Tyl, or versicular "Schovávaná na schodech" by Vítězslav Nezval. Meanwhile he was trying to introduce the actors to a synthetical, leťs say musical-like acting - for the sake of the education of these "singing actors" he wanted to establish a new department ofmusical comedy...
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Reception of Soviet operetta in Czechoslovakia on the example of Dunayevsky's White Acacia
Frank, Vojtěch ; Havelková, Tereza (advisor) ; Bár, Pavel (referee)
The thesis focuses on the staging of Soviet operettas in Czechoslovakia between 1946 and 1987. The import of the Soviet repertoire to Czechoslovak operetta theaters was linked to the cultural and political transformations at the outset of the communist regime in Czechoslovakia. The so-called Soviet socialist operetta would soon have been established as a model for new Czechoslovak operettas. As such, it became an important part of the repertoire which was influenced by the official polical system. The thesis surveys the progressing intensity of the import and the developing operetta genre in the Soviet Union. On the examples of Isaac Dunayevsky's operettas Free Wind and, more intensively, White Acacia, in comparison with the original versions of these operettas, it shows the tendencies of interpretation of Soviet operettas in Czechoslovakia, in the changing cultural and political context. The thesis also concerns the topic of critical perception in both cultural environments and, overall, it aspires to capture the examined topics in the widest possible contextual horizon.
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Jiří Frejka at the Karlín theatre 1950-1952
Bár, Pavel ; Just, Vladimír (referee) ; Herman, Josef (advisor)
Jiří Frejka integrated the tenets of avant-garde, classical drama and poeticism. He entered the Karlín Theatre (at that time the Theatre of Czechoslovak State Film in Karlín) to direct the play "Nebe na zemi" by Jiří Voskovec, Jan Werich and Jaroslav Ježek in autumn 1950, after he was pushed off his post as the art chief of the Vinohrady Theatre (for political reasons). Inspite of this forced move he immediately started working on the development of the Karlín Theatre. He invited the contemporary first class artists to cooperate - the composer Václav Trojan, the choreographer Saša Machov, the poet Vítězslav Nezval or the set designer František Troster. Five peďormances which Frejka directed during his short work are some of the best and most successful those have ever been created in the Karlin Theatre. Although he had to give in to the demands of the regime of that time and he had to present plays from the Soviet Union ("Akulina", "Keto and Kote"), he also managed to present idyllic plays - "Paní Marjánka, matka pluku" by Josef Kajetán Tyl, or versicular "Schovávaná na schodech" by Vítězslav Nezval. Meanwhile he was trying to introduce the actors to a synthetical, leťs say musical-like acting - for the sake of the education of these "singing actors" he wanted to establish a new department ofmusical comedy...
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From Operetta to Musical
Bár, Pavel ; SÍLOVÁ, Zuzana (advisor) ; CÍSAŘ, Jan (referee)
Dissertation thesis describes the evolution of popular musical theatre ? especially operetta and musical ? in Czechoslovakia after 1945. It analyses particular productions, follows important development periods of this kind of theatre as well as changes of attitude of communistic regime to its existence and artistic expressions ? not only in the overall context of changes in the theatre system or social and political situation in the country but also in the context of development abroad. Study mainly deals with events in major popular musical theatres (especially in the Karlín Musical Theatre in Prague) but it doesn´t neglect major productions of small or regional scenes. Dissertation proceeds both from existing literature and authentic historical sources, evidence and memories.
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Serious musicals on West End stages
Hlubučková, Petra ; CÍSAŘ, Jan (advisor) ; BÁR, Pavel (referee)
The topic of this thesis covers the serious musicals staged in London's West End. The author first considers the concept of "serious musical", its characteristics and its connections with melodrama. Then the author contemplates over several musicals which deal with serious topics which the author had seen in London (for example: The Lion King or Wicked). Then focus moved to three musicals - Matilda the Musical, Billy Elliot the Musical and Les Misérables. The author focuses more attention on the first two musicals that are mentioned. They are representatives of serious family musicals. This thesis is devoted to how they were originally intended (book, movie) and then their stage appearance is analyzed in detail with emphasis on transformations which have occured during the adaptations. The author then focuses on topics which are directly connected to Matilda the Musical, Billy Elliot the Musical and Les Misérables. Thus the thesis is concentrated on some adaptations, musical stage design, dance, children actors, megamusicals and family musicals. In this thesis, the author also tries to identify the possible reasons for the changes and where they originated from.
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