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Our/my journey to BodyVoiceBand
Holubová, Iva ; PILÁTOVÁ, Jana (advisor) ; GROSSMANNOVÁ-MÁLKOVÁ, Marie (referee)
The subject of this thesis is the analysis of studies of the graduates of drama2013/2014 at the Theatre Faculty of the Academy of Performing Arts in Pragueunder the guidance of teachers MgA. Jaroslava Šiktancová Ph.D., MgA. LukášHlavica and doc. Marie Málková. I am describing the methods of our dramatictraining, which formed the basis for further joint work leading to the creation ofthe company BodyVoiceBand. My thesis describes the process chronologicallyfrom the very beginning of the study to the birth of the performance Vojna (TheWar), which we already prepared under the heading of BodyVoiceBand.I divided the thesis into three parts. In the first one I deal with the workshops ofFarma v jeskyni (Farm in a Cave), which were decisive for all our future work, forboth the ensemble, and the individuals. I described what kind of training wewent through during the workshops and the way it prepared us for furtherstudies. The second part deals with the study at the faculty. It is divided intosubheads according to the phenomena we were dealing with and which are thestarting point for a certain kind of work, thanks to which the bodyBodyVloiceBand started to shape. The third part is devoted to the production ofVojna /War, which is the result of our efforts, and which is the starting point ofthe formation of BodyVoiceBand. I focused on the way and course of preparingthe production.
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Represented acting and emotional acting
Švarc, Michal ; PAVELKA, Tomáš (advisor) ; GROSSMANNOVÁ-MÁLKOVÁ, Marie (referee)
This thesis is written as a self-reflection of my acting development for past eight years i. e. since enrolling to DAMU untill my current engagement. The main focus is on issues regarding role formation e. g. inability of an ongoing act, deficient playing, spasm etc. in context of emotional acting and represented acting. Utilizing this eight- year time frame I describe how these problems influence me during various phases of my development, how I approached them and eventually my effort to find solution.
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Ethics of acting profession
Heřmánek, Karel ; GROSSMANNOVÁ-MÁLKOVÁ, Marie (advisor) ; HLAVICA, Lukáš (referee)
In my thesis I examine the actor's approach to his profession on several different levels: creation of the character during development of the production, individual and collective responsibility, and society's perception of the acting profession. To do this I used my own experience ? my time studying at The Academy of Performing Arts and The Lee Strasberg Theatre & Film Institute in New York, and my work in DISK and professional theater.
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The relationship of actor and spectator in various areas of theater
Balcar, Michal ; GROSSMANNOVÁ-MÁLKOVÁ, Marie (advisor) ; SALZMANNOVÁ, Eva (referee)
This study describes the relationship between auditorium and stage and their mutual interaction. It addresses the development of theatrical space troughout different historical periods and the concept of site specific. It contains a summary of basic terms concerning theatrical space, spectator, auditorium and site specific. It is based on works of leading experts on the topic.The main objective of this study is to analyze my own acting experience gained in Univerzity Theatre Disk and other theatrical or non theatrical spaces, map the trends and development of auditorium and stage and their subsequent effect on actor´s performance and overall perception of the audience. The relationship between an actor and his audience in each specific performance is created due to many factors such as social facilitation, form of dramatic space and unique communication proces between those who create theatre and their recipients.
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ACTOR´S STYLIZATION AND PSYCHOLOGICAL REALISM - ACTING MOTIVATION AND CHOICE OF MEANS OF EXPRESSION
Klepáčková, Klára ; Pleštilová, Miroslava (advisor) ; Grossmannová-Málková, Marie (referee)
The thesis focuses on actor´s self-knowledge throught the role of Markéta Lazarová from the performance Markéta, dcera Lazarová and the role of Nina Zarečná from the performance Racek. Choice of this contradictory styles of staging, actor´s attitude and motives, this facts allow to know itself better, to know actor´s needs and actor´s acting absence. With this annual distance it´s clearly seen that this work is not only the thesis, but also very important self-reflection , which wouldn´t have been if it wasn´t writen. Here is summed up the complete work on roles, from the very beginning, over the first reading, over the stage rehearsals to the general rehearsals and the first curtain. It´s pointed out the importance of actor´s preparation, the inspiration from other resources such as movies, literary works, music etc. This work is completed with practical advice from studies and from reading of literary works: Můj život v umění by S.K.Stanislavskij, Herecká technika by M.Čechov, O herecké technice by V.O.Toporkov, Herec a jeho cíl by D.Donnellan, Viděno z druhé strany rampy by Radovan Lukavský. What is also mentioned here is actor´s present job in Moravavské divadlo Olomouc, where is the best oportunity to try experience from the studies at DAMU.
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ACTING AS A CONSCIOUS MESSAGE
Novák, Ondřej ; Hlavica, Lukáš (advisor) ; Grossmannová-Málková, Marie (referee)
Theatre is a medium similar to, for example, newpapers. Theatre acting is a proces of storytelling through theatre characters, thus the proces of giving concrete information about characters and plot. During rehearsals, the actors, the director and other staging makers search which information they want to say and which instruments are the best to use for that. The actors on the stage can never stop sending messages and they should not forget they will be read. The knowledge of actor's message itself allows separating the desirable meanings from the undesirable or unwanted ones. Actors should develop the ability of detached view as the protection against unwanted message. During the work on four graduation plays in Disk, the author of this thesis tried four different approaches to characters in accordance with the request and offer of the lines, director, teachers, other actors on the stage and his own desire to express ideas. He used his experience and knowledge he got at school and in occasional theatre workshops. While rehearsing, he gave himself his own tasks in accordance with his intention what he should say. These concrete tasks meant for him confirmation that possibilites of actor´s messagesare unlimited.
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From subjective submission to acting and creative freedom (dialog with a book by Declan Donnellan The Actor and the Target)
Zahradnická, Lenka ; Salzmannová, Eva (advisor) ; Grossmannová-Málková, Marie (referee)
With that diploma thesis, I want to introduce you how I have been study on DAMU. I want to describe you my scares during the study, how I have been fighting with my own and I hope this fight ended as a victory. In the diploma thesis, you can find how stressed could be to study that school and how is not casily to came out from this kind of stress. Maybe at the beginning it can sound as a critic of DAMU, but it´s just a feeling. DAMU is school which will take you something but after all, it will make it up to you and finally I´m happy, I was going throught this school, thanks to this school, I´m prepared to be an actor. It´s the work about one young girl, which DAMU helps to survive at the movie and theatre.
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METHODS OF ACTOR´S EXPERIENCE DEVELOPMENTS
Stavná, Zuzana ; Mrkvička, Ladislav (advisor) ; Grossmannová-Málková, Marie (referee)
In my diploma work I deal with the question, how are the implications of workshops aimed at dramatical and motion theatre and dance by creating character in an inscenation which works with dramatical text. This reflexion comes out from my own experiences with this approach to dramatic art. In my diploma work I describe performances and workshops, which I attended either during my studies of acting art on DAMU or during my extracurricular work.
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