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František Hrubín's Returns to Posázaví Region
Riedlbauchová, Veronika
Riedlbauchová, Veronika: Hrubínovy návraty do Posázaví (Prostorová poetika "lešanské" tvorby: U stolu, Romance pro křídlovku, Zlatá reneta, Černá denice, Lešanské jesličky), diplomová práce, Pedagogická fakulta Univerzity Karlovy v Praze, Praha 2003,170 s. Práce interpretuje Hrubínovu poetiku prostoru v pěti dílech z padesátých a šedesátých let, která se váží ke krajině Posázaví a která jsou příznačná svou lyrickou epičností (popř. epickou lyričností). Vedle obecného seznámení s básníkovým chápáním prostoru podává zevrubnější vhled do prostorů krajiny a světnice, do vztahu exteriéru a interiéru a na něj napojených mezních prostorů okna, dveří a řeky. Vymezuje triadické členění prostoru pod zemí - země - vesmíru a s nimi souvisejícího prostoru těla. Zabývá se dynamickostatickým uspořádáním prostoru, v jehož rámci reflektuje také jazykovou strukturu daných skladeb. Tato interpretační práce je prokládána četnými citacemi pramenů, v přiložené bibliografii odkazuje na studie o interpretovaných dílech i na teoretické spisy o prostoru. Powered by TCPDF (www.tcpdf.org)
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František Hrubín's Returns to Posázaví Region
Riedlbauchová, Veronika
Riedlbauchová, Veronika: Hrubínovy návraty do Posázaví (Prostorová poetika "lešanské" tvorby: U stolu, Romance pro křídlovku, Zlatá reneta, Černá denice, Lešanské jesličky), diplomová práce, Pedagogická fakulta Univerzity Karlovy v Praze, Praha 2003,170 s. Práce interpretuje Hrubínovu poetiku prostoru v pěti dílech z padesátých a šedesátých let, která se váží ke krajině Posázaví a která jsou příznačná svou lyrickou epičností (popř. epickou lyričností). Vedle obecného seznámení s básníkovým chápáním prostoru podává zevrubnější vhled do prostorů krajiny a světnice, do vztahu exteriéru a interiéru a na něj napojených mezních prostorů okna, dveří a řeky. Vymezuje triadické členění prostoru pod zemí - země - vesmíru a s nimi souvisejícího prostoru těla. Zabývá se dynamickostatickým uspořádáním prostoru, v jehož rámci reflektuje také jazykovou strukturu daných skladeb. Tato interpretační práce je prokládána četnými citacemi pramenů, v přiložené bibliografii odkazuje na studie o interpretovaných dílech i na teoretické spisy o prostoru. Powered by TCPDF (www.tcpdf.org)
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The Conscious Body
Riedlbauchová, Veronika ; KLÍMA, Miloslav (advisor) ; PILÁTOVÁ, Jana (referee)
Riedlbauchová, Veronika: The Conscious Body (Actor Body Language and Stage Composition), doctoral thesis, Theatre Faculty of the Academy of Performing Arts in Prague, Prague 2015, 321 pages. In this thesis, the author explores theatre through the concept of the ?body?. She bases her findings on long-term research into theatre, which she approaches empirically; she draws on her own experience as an actor, director and educator. She supports her conclusions and assertions not only with academic literature, but chiefly by applying theory in practice (to particular physical exercises as well as creative stage work). The thesis is divided into two sections. The first, The Physical Language of the Actor (Methods, Principles, Exercises, Interpretations), focuses on the training of a well-rounded, ?open? actor through bodily expression and physical conduct. The author draws on a wide range of methods employed by theatre reformers of the 20th century, which are connected by rigorous work with human physicality, an emphasis on behaviour incurred by internal and external impulses and systematic training over an extended period time. Adopting various movement techniques and principles shapes the ?physical vocabulary? of the actor, which helps him achieve creative freedom. The explanations within this section are supported by a large number of specific exercises, which serve to help the actor understand how the body functions and learn to ?consciously? use it for self-expression and for theatrical performance. The exercises are supplemented by an analysis reflecting on the author?s experience, as well as the feedback of students and actors who have submitted to them. These exercises (some of which are also recorded on DVD) develop particular aspects of acting: working with energy; with space, a partner and a group; with time, rhythm and dynamics; with gesture; with voice, text and music; and with a mask. In the second section, The Physical Language of Stage Composition (In-Depth Interpretation of Stage Thinking), the author, reflecting on her own creative experience, focuses on the ?conscious body? of the actor in the context of the formation of stage composition. She details the process of rehearsing for six selected productions for which she was the director, and sometimes also the author, the choreographer or an actor. These productions are: the site-specific project Vodu po lžičkách (Water by spoons ? 2007), the movement project Camille (2009), Sarah Kane?s play Očištění/Depurados (Cleansed ? 2010), Jiří Hájek?s chamber opera Slavík a růže (The Nightingale and the Rose ? 2011), work in progress of the social documentary project Plus Minus Praha (Plus Minus Prague ? 2012) and the circus comedy Plovárna (Riverside ? 2013). The author analyses her stage thinking, characterised by ?recasting? themes into movement and visual metaphors, and her way of managing actors in the process of rehearsing. She approaches this process as theatre research and divides it into three stages: study (dramaturgy/stage design preparation), finding theatrical language (discovering expressive material through the body) and the overall organisation of the resulting form. She perceives rehearsal as the design of the whole ensemble and stresses the need for enough rehearsing time, as well as the capacity of improvisation to unlock hidden creative potential
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ACTOR IN HIS OWN BODY
Legierski, Tomáš ; RIEDLBAUCHOVÁ, Veronika (advisor) ; ETLÍK, Jaroslav (referee)
Legierski, Tomas. The actor in his own body. Prague: Academy of Performing Arts in Prague, Faculty of Theatre, 2013. 74 pp.
In this work, Tomas Legierski is attempting to show that acting is an autonomous and creative artistic work that does not consist of the mere reproduction of directorial ideas. The main starting point, according to this author, begins with an actor's body, his physicality/corporeality. Each role or character that the actor tries to grasp, with the help of the director, is primarily based on the actor's "being" on stage, which implies a certain behavior. Whether the actor is static or in motion on the stage he is still acting. Legierski seeks to examine the resources and ways of action that comprise the total expression of an actor´s performance. At the inception of theatrical action is conceived a gesture that represents communication with itself, colleagues on stage and the audience. Gesture and movements are perceived by this author to be intertwined.
The core of this thesis is presented in three main chapters. In a chapter 1, Gesture in Actors, Legierski examines gesture as a movement and shape, its clarity and manner of its exercise. Chapter 2, Performing Being, describes the actor as a "total man", and examines the energy, dynamism and rhythm of the gesture which composes the essence of the actor´s existence on a stage. In chapter 3, Actor in a Composition, the author describes actors in specific theatrical situations where they make use of negotiation, revision and editing to create the composition stage. In these three chapters, the author identifies his inspiration for his graduate discipline of Pantomime while also describing how this technique and its protagonists have influenced his examination of the topic of a gesture.
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Motion Techniques and Patterns - Creative Freedom of Expression
Riedlbauchová, Veronika ; Laštovková-Stodolová, Adéla (advisor) ; Krofta, Josef (referee)
Riedlbauchová, Veronika. Motion Techniques and Patterns - Creative Freedom of Expression. M. A. Thesis, Academy of Performing Arts in Prague, Theatre Faculty, Prague 2009, 111 pp.
In her M. A. thesis, the author focuses on the education of an open and all-round actor and stage director by the means of movement. In doing so, she draws from her artistic practice as well as from her personal experience with physical acting she got acquainted with during two years of study at Institut del Teatre in Barcelona. She points out that the contemporary theatre still keeps omitting movement - one of the most important stage elements. Through a detailed reflection she presents various motion techniques and patterns, which may signifícantly enrich the actor´s or stage director´s expression capabilities subsequently leading them to creative freedom. The author emphasizes an empiric approach to the search for a stage expression and she presents a variety of concrete exercises. She also demonstrates some ways of applying the knowledge of particular techniques in modern practice.
The paper is divided into two parts. The first part called Body Language focuses on general patterns of motion and its communicativeness in theatre. In the first chapter the author pursues motion as a specific element of stage work, in the second chapter as a component of the theatre language. She explores motion and its energy, the motional expression and its capability to reveal the personage´s emotions, motion in a mutual interaction with the space and time, motion in relation to the sound and word. In the third chapter she expresses a necessity of a lifetime development and training of an actor and stage director, which reinforces their creativity and makes them equal partners. In the second part called How to Apply a Mask Technique in a Contemporary Practice the author focuses in detail on the application of the knowledge of two concrete mask techniques in a broader theatre practice. The fourth chapter presents work with a neutral mask inspired by the method of Jacques Lecoq and its employment in the creation of a stage personage. The last, fifth chapter concerns the old technique of commedia dell´ arte and its application in teaching the improvisation. This chapter is innovatory as it presents practical instructions how to train the actor´s improvisatory abilities in the framework of the whole onstage composition.
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The Process of Staging a Play - Tennessee Williams - This Property Is Condemned
Riedlbauchová, Veronika ; Šavlíková, Kateřina (advisor) ; Tichý, Zdeněk (referee)
Abstract (Summary)
Riedlbauchová, Veronika: The Process of Staging a Play - Tennessee Williams - This Property Is Condemned, B.A. Thesis, Academy of Performing Arts in Prague, Theatre Faculty, Prague 2006, 46 pp.
The B.A. thesis reflects the process of presenting a one-act play "This Property Is Condemned" by Tennesse Williams, which was opened on the 29th of April in Řetízek (Řetězová ulice, Prague 1) as part of the summer semester 2004/2005 final exam, onstage. In this production, made in co-operation with the pedagogical staff and under the supervision of professor Josef Krofta, the second year students of the Alternative and Puppet Theatre Department - Veronika Riedlbauchová (direction - dramaturgy), Kateřina Štolcpartová (stage design) and the actors Miroslava Venclová, Jakub Prachař, Veronika Khomová, Luděk Smadiš and Jiří Chvalovský - took part.
The paper is divided into five chapters, each pursuing a different aspect of the process of theatre production, from the choice of text to the staging itself. The first chapter works up a detailed analysis of the play, which makes a growing point of the dramaturgical intention. Chapter two presents the dramaturgical process: choice of text, accentuation of the subject matter, the play´s structuring and process of scripting. The third chapter, concerned with scenic designing, gives description of the search for scenic expression and imagery from the first version to the beginning of the realization itself. The process of realization and its individual components are recounted in chapter four. The authoress tells us what problems and changes happened to occur during rehearsals and in what way these influenced the overall look of the play. She also comments on communication during rehearsals, i.e. co-operation with the actors, the stage setter and others. The fifth chapter finally gives summary and evaluation of the whole process of staging.
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