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PHENOMENON OF THEATRICAL AUDIENCE IN PRESCHOOL AGE
Molčíková, Kateřina ; BEČKA, Marek (advisor) ; LJUBKOVÁ, Marta (referee)
This thesis focuses on the youngest children aged 3 to 7 years for its ability to receive and reflect the theater's work in the kindergarten environment and in the company of their peers. Based on annual project Phenomenon theatrical audience of preschool age, which took place in five nursery schools of the Central Region. This project registers, analyses and reflects. On the basis of experience investigating whether there are any barriers theatrical production for children of preschool age and presented in non-theatrical environment of their own kindergarten. Based on the dramatic principles used in the six selected productions and the conclusions drawn from the responses of children's audience is examining whether and how the artists in the creation of limited maturity performances of viewers in this age group and pre-school environment. The work has demonstrated that playing theater in kindergartens has meaning and that the preparation of performance is neither appropriate nor desirable to compromise on demands that we ourselves as the creators intended performance or mixed adult audience.
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THEATER VS. ADOLESCENT
Kranich, Dan ; BEČKA, Marek (advisor) ; KLÍMA, Miloslav (referee)
In my Master thesis I deal with the issue of creating a production for adolescents. I am discussing this topic in connection with two theatrical performances: Goon: Krvavá pomsta and Jsou místa oblíbená tmou, kde nikdy a nic na ostrovech se skrývá odlehlých. I describe in detail the implementation of these projects. I compare my creative work in the school environment with staging in a professional theater.
The thesis also deals with the relationship of contemporary adolescents to the theater as well as the relationship of theaters with adolescents. My theses and ideas are based on the practical experience gained by presenting these two projects.
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Animation World
Cikán, Martin ; BEČKA, Marek (advisor) ; MAKONJ, Karel (referee)
This bachelor thesis is a theoretical summery of preparations, methods and processes of a conducted school project, assigned without any given topic during class of Animation. It is designed to show possibilities during theatre productions. It also describes in detail how it is to write a custom script that is based on a computer game and how to use the potentional of interactions of spectators. I based my work on partial viewers influence of the plot. I talk about the importance of working with sound and cut as well. Finally I point out the mistakes and flaws that surfaced during the presentation of part of the play and how I am going to learn from them during finalizing of this project.
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Puppet Guerilla as a Mirror of Us
Císařová, Kateřina ; LJUBKOVÁ, Marta (advisor) ; BEČKA, Marek (referee)
This thesis deals with the choosing of form, which the performer entres with to the public space, to communicate the purport with public. The aim is to reflect the work done so far from the Bachelor's degree program and, in particular, during the Jsousoší Jsousedi final exam performance in the second grade.
I will focuse especially on describing the chosen form (object, installation, puppets, actions, word) and whether its message works or, on the other hand, is not effective. On the assumption that the form fall flat, I will examine how it affects environs and how it should be reworked.
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Small / Big Puppets
Strýček, Jan ; BEČKA, Marek (advisor) ; NOVÁK, Vladimír (referee)
This bachelor's work summarises in theory the practical art output of the Animation lesson on the Department of Alternative and Puppet Theatre at The Theatre Faculty of the Academy of Performing Arts in Prague. It's aim is to review the creative process of the project from the very beginning to the final result. It has also meant to be a theoretical guidance for the possible candidates to create the puppet performance, based on similar principals. The first part of the work solves the question of the "typical" onlooker of the puppet theatre, a boarder line between the puppet theatre for children and adults and how to deal with it. The middle part solves the question of the problems in the multi-linear story that is conducted by the audience. Furthermore it aims to discover all possible complications, show the existing solutions and search for the reason, why this genre is considered to be minor in the theatre production. The last part solves the question of the theatre rehearsals and focuses on the differences between acting with and without a puppet.
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The differences between puppet theatre for children and for adults based on own experiences
Valenová, Lucie ; BEČKA, Marek (advisor) ; MAKONJ, Karel (referee)
The thesis discusses the differences between theatre for children and for adults.
The differences are described and analysed through the two authors' puppet
productions - ‘Batosnění’ and ‘Sólo Matches’. The theoretical part briefly sums up
the psychological development of a child, draws on other contemporary puppet
performances in the Czech Republic and talks about the Theatre for the Very
Young phenomenon. The practical part draws a comparison between Batosnění
(a production targeting children under the age of 3 years old) and Sólo Matches
(a production primarily aimed at an adult audience). The thesis debates the
experiences and findings connected to the preparations and subsequent
presentations of the two productions. Photos and video recordings from both
productions are part of the thesis.
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A puppet speaks english
Wildtová, Lucie ; BEČKA, Marek (advisor) ; MALÍKOVÁ, Nina (referee)
The thesis focuses in a great detail on relation between scenographer and foreign students. The theoretical part offers an insight to various possibilities for foreign language adepts, especially those supported by KALD programe. Through the conducted questionnaires, this paper examines areas of cooperation between foreign Master’s students, Erasmus + students and Department of Alternative and Puppet Theatre. Practical part presents personal experiences acquired through cooperation on various performances including Three Cigarettes, Persona atlas, and Islands a Včela. Those examples demonstrate in detail, cooperation of foreign speaking students, benefits and challenges possibly enriching the theater artist. The thesis includes visual documentation though photography captured during the performances.
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authorical creation in puppet theatre
Purmová, Bára ; BEČKA, Marek (advisor) ; ZICH, Jan (referee)
The subject of my thesis is the process of creation of the authorial puppet performance called Pštrosi – since the origin of the idea till its premiere. It shows in details the deferences between the vision and reality, theory and practice. It also describes the experiences which has influenced further creation. Thanks to the interviews with the creators of professional puppet theatre, this authorial performance also puts other cathegories of contemporary art into the context. In conclusion, this work shows the nuances of the difference between the concept of authorial creation and authorship.
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Theatre Puppets in Film
Volánková, Tereza ; BEČKA, Marek (advisor) ; KUBÍČEK, Jiří (referee)
This thesis mainly deals with the matters of transferring the experience with puppet theatre or theatre in general into the motion picture environment. Despite the fact that this is an actor's graduate work, it is trying to adopt all the main differences, and vice versa all the conformities between film and theatre from the author's and creator's point of view.
This work is divided into three parts. The first part focuses on comparing these two media (theatre and film) and tries to determine the terminology comprehensible by both, the theatre and the film community. It discusses some of the possible variations of film animation, always in relation to certain one, which is central to this work, which is real-time performed anti-illusive puppetry.
The second part describes the process of creating two specific events in the film directed by Tereza Volánková; authors own work, where the puppets are lead in this way.
The third part is a mere outline of a possible principle reversal, where the author uses some film practices in the theatre environment.
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