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Staging a non-dramatic text
Svozil, Adam ; KORČÁK, Jakub (advisor) ; HRBEK, Daniel (referee)
This thesis deals with the topic of narrative (or ´diegetic´) theatre plays. It aims to map out the processes which emerge after the mimetic mode of representation is partly or wholly replaced with the diegetic one., i.e. the decline in their ´dramatic´ quality and the structural changes which are being conceptualized mainly within a narrative framework. The thesis consequently looks at specific historic moments which propelled strong contemporary presence of diegesis on theatre stage; namely the theatre of Bertolt Brecht, the performative turn and postdramatic theatre and the storytelling movement. With these circumstances in mind, the author reflects on his practical theatrical work: The Ritual Slaughter of Gorge Mastromas (DISK Theatre, Prague) and Illusions (DJKT Theatre, Pilsen.)
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THE DRAMATICAL SCRIPT AS A NECESSARY BASIS FOR SPACIAL REALIZATOIN
Tretiag, Štěpán ; KORČÁK, Jakub (advisor) ; HRBEK, Daniel (referee)
Using the concrete examples of my practical bachelor work my intent is to retrospectively describe and reflect on our scenic realization of the play Missing by south-African author Reza de Wet. The essence of a modern dramatic direction is to perceive the script of a play as a model which becomes a basis for its interpretation and the subsequent staging of the play. It is the process from the initial interpretation to final scenic realization I wish to focus on in my work.In the first part I will be dealing with creation of a physical space, that being stage design. I will try to capture what lead us to its final shape and how the basis for that can be found in the script of the play as well as the potential capability of the physical space to become a dramatic space. Its ability to create a platform for the actors to proceed from and how can it provoke them into acting, in particular. In the second part I will be dealing with the dramatic space, ergo the spacial expression of relationships and themes. I will proceed again retrospectively, focusing on how we managed to achieve the stage image which is functioning as a materialized metaphor. I will focus mostly on non-verbal actions, but with regard to the fact, that dramatical script is the basis for our realization of the play.
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The actor and the character
Čelebič, Vuk ; HRBEK, Daniel (advisor) ; PAVLATA, Michal (referee)
This work is dedicated mainly to the findings about character and acting as well as about myself, which I have gained during the rehearsing of the character Neschastlivtsev in Alexander Nikolayevich Ostrovsky´s play The Forest. This work not only describes the rehearsals of this play from Neschastlivtsev´s view, but also presents other examples of a director´s work and an actor´s interpretation, both from rehearsing before the boarding of the alumni class and from the following outside-of-school acting experiences.I have tried to define the method of my work on this play and on this concrete character; this method may resemble other methods on many other characters in some way. However, Neschastlivtsev is a very unconventional character - maybe because he is an actor himself, which makes him more approachable to the performer. He is a timeless and rare character as well; that is also one of the themes that I have covered in my work
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ME AND HER (OR CREATING AN ACTING CHARACTER )
Dostálová, Pavla ; HRBEK, Daniel (advisor) ; TÖPFER, Tomáš (referee)
The thesis focuses mainly on getting to know myself as an actress. I describe my way of work on creating a character (Kačenka, Guests by Oliver Bukowski) using my four years experience on the theatre faculty. I focus mainly on the work with a text, director and acting partners. I am trying to express the moments which influenced my developement as an actor and determine how they affected my own creations. In regards with this I touch on the problematics of self-control. This thesis is mainly a self-reflection which arose from the need of working on myself in the field of acting as well as directing-dramaturgy which I currently study
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Methodology of the Cooperation between the Director and Actor and Contermporary Theater Practice
Glogrová, Kateřina ; BURIAN, Jan (advisor) ; HRBEK, Daniel (referee)
The thesis deals with the cooperation between the director and actor during individual phases of the staging process as they appear in everyday theatre life. The indiviual phases of the staging process are supplemented by the author's own experience with managing the actors, which she gained especially in the course of her studies at the Drama Faculty of AMU. The second part of the thesis investigates the issues of inner truthfulness and the possibilities of its achievement within the production of a play. As a part of collecting the material for the thesis, the author conducted a research, which included interviews with three professional directors - Hana Burešová, Ladislav Smoček and Štěpán Pácl, whose methods of work are described. In the final part of the thesis the author states that it is difficult to draw general conclusions about the cooperation between the director and actor because it is always of subjective nature. The issue of inner truthfulness is similarly difficult to generalise. Due to the multiplicity of options, however, neither of them loses attractiveness for further research.
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Dramaturgy in Practice. Reflexion of My Own Practical Experiences and Current Practices in British
Verecká, Tereza ; VEDRAL, Jan (advisor) ; HRBEK, Daniel (referee)
This master thesis focuses on the possibilities and limits of the dramaturgist during the creative process of rehearsal and on the dramaturgical parts of development of new dramatic texts. The author reflects her previous encounters with dramaturgy and her British experience gained during a study visit of Rose Bruford College in London.This master thesis does not lead towards theoretical generalization, but to the notation of the growing experiences, from which it draws conclusions for her own dramaturgical work (and her playwriting).The first part analyzes the phenomenon of the 'first reading rehearsal' in Czech and British context and the definition of relations between the various parts in this process.In the second part, the author describes two different principles of work aimed at developing new dramatic texts and compares them with her own experiences. As s part of this master thesis, there is also a transcript of an interview with Christopher Campbell, literary manager of the Royal Court Theatre in London.
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RELATION OF STAGE AND STORYTELLING
Holec, Jan ; HRBEK, Daniel (advisor) ; KORČÁK, Jakub (referee)
The bachelor thesis deals with stage setting of academic performance Maryso! Evo! Dom! Author analyses the evolution of this stage setting from conceptual preparation to final rehearsing phase. The thesis is also considered on various aspects of stage setting. Author is dealing with relation of stage and actor, stage and theme and also stage and storytelling. In conclusion it is hinting at the issue of transferring the performance to another theatre.
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Building Cultural Centre
Roubalová, Dagmar ; ČUŘÍKOVÁ, Tamara (advisor) ; HRBEK, Daniel (referee)
Cultural center or cultural house as a building can be found in almost every Czech village. Their operation seems simple, but in practice it looks that like a very complicated question. After 1989 the network of cultural centers was canceled and currently there is no database that would tell the actual list of cultural buildings in the Czech Republic, who are of existing and functioning. Also, now there are rarely built, but very often rebuilt those buildings of cultural centers. These buildings have specific rules, regulations and standards, which are done by the law, its design should be also based on the needs of current and future users, both operators and visitors. Master's thesis summarizes the general and specific requirements that must be taken in building a cultural center and presents a case study on building a concrete cultural center in the suburb of Prague. The main impulse for writing this work is the belief that more attention should be given to this issue. The cultural center as a multifunctional space offering a wider range of programs available to all the population is the first and closest point of contact with the culture of everybody of us. It affects overall relationship to cultural values and is also a place where everyone will have these values to guarantee equal and free access.
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ACTUAL INTERPRETATION OF DRAMA THROUGH DRAMATIC SITUATION AND SPECIFIC STAGE REALIZATION
Tyc, Mikoláš ; Schejbal, Milan (advisor) ; Hrbek, Daniel (referee)
The work is focused mainly on the problems of interpretation and subsequent stage realization. Based partly on staging of one part of Three sisters by A. P. Chekhov but mainly on the staging of drama ?Kasimir und Karoline? by Ödön von Horvath Mikolas Tyc describes some problems the performers had to deal with when they decided to stage Horvath's play as their final school theatre performance. First of all Mikolas Tyc tries to look for the borders of interpretation in general. Then he focuses on the process of interpretation of ?Kasimir und Karoline?, which started with analyzing the specific situations, characters and irony of Horvath. And Mikolas Tyc also describes the endeavour of finding the main topic of his look on Horvath`s play ? these topics are discussed in the third and fourth chapter. The fifth chapter is focused on the specific meanings of the final performance that are brought on stage not only by actors, but also by stage design. He also describes from the director?s point of view the process of rehearsals, including a trip on Oktoberfest. The progress some actors did in the specific genre of Horvath?s drama as well as description of first sketches and the final stage appearance of both stagings is also described here. The last chapter is a conclusion where Mikolas Tyc looks for the good and the bad in his performance in terms of becoming a professional theatre director.
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Performance as a realization of direction - dramaturgical conception
Zembok, Ewa ; Hrbek, Daniel (advisor) ; Korčák, Jakub (referee)
The Ewa Zembok?s Bachelor Thesis ?Performance as a realization of direction ? dramaturgical conception? records the staging of Bertolt Brecht?s Baal. The first chapter describes in details the searching process, the choise of text and it?s best version then. The second part focuses on direction ? dramaturgical interpretation of Baal with contemplatation about essence of ?interpretation? and ?motif? in the foreground and theirs? application to the text. Next she writes about the meaning of space, stage design, music, work with language and other staging elements. In next chapter Zembok deals with problems arising from the rehearsal process. In the conclusion section the author reflects on performance after the premiere.
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