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Understatement during forming a dramatic figure
Kučera, Jáchym ; KORČÁK, Jakub (advisor) ; SCHEJBAL, Milan (referee)
Goal of my thesis is to find a balance between inner and outer diskurse during forming a dramatic figure. Is it possible to stand during forming a dramatic figure only on pedestal of outer acting without an inner contribution? How complicated is to distinguish between succesful pretending and being on stage as an individual actor/figure. But what is the magic? Why we are satisfied only by viewing and listennig actors from outer perspective? These are questions. I am asking myself during whole thesis. I am finding the answers using my experiences gained during my last year when have created several dramatic figures on stage in Disk theatre, the last place when I could feel protected from outer theatre space. Keywords: Inner, outer, understatemant, forming, mask, mustre, charakter, acting
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Creating a comedy and drama charakter
Javořík, Viktor ; TÖPFER, Tomáš (advisor) ; SCHEJBAL, Milan (referee)
The present thesis deals with the process of creating a comedy and drama character. The work is built upon comparing the similarities and differences of their creating. It is based on my previous acting experience and knowledge and skills acquired in the course of the training at the Theatre Faculty of the Academy of Performing Arts, during the rehearsals or final exams at the Department of Dramatic Theatre, or performances at professional theatres. I believe that I am a comedy actor, therefore I chose a topic which may help me sort out the approach to acting in general, but also realize my own capabilities, skills, obstacles and limits which affect the comedy and drama character creating process. I supported the thesis with specialised literature with which I was acquainted during the studies at university.
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Talent as an important component of dramatic expression and the possibilities for its cultivation
Havlínek, Tomáš ; SCHEJBAL, Milan (advisor) ; PAVELKA, Tomáš (referee)
This thesis deals with the theme of actor´s talent and outlines the possibilities for its cultivation, which is perceived by author as the key basis for artistic progress and professional growth. The theme of talent is first subdued to theoretical analysis through defining coherent terms and their interaction. The core of the thesis is survey the theme with eyes of young actor, the theme of talent is shown on the specific examples in connection in the acting profession and its specifics. Ways leading to the identification and cultivation of talent are described with help of specific examples from the career of the author, starting with first stage experience via his studies at the Academy of Performing Arts up to professional practice experience. The further target of the thesis is to concentrate on the assessment and evaluation of actor´s talent while attempting even a significant self-reflection.
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Actor partnership on stage and in front of the camera
Koudela, Jakub ; SCHEJBAL, Milan (advisor) ; PAVELKA, Tomáš (referee)
The subject of the thesis is exploration of actors’ interplay both on the stage and in front of a camera, because only common acting of the main characters creates a dramatic situation. In connection with this topic, at first I determine elementary characteristics of the actors’ partnership with all its important objectives that the actor should notice. I am trying to see acting as a social activity and further write about the contact between the actor and auditorium and the actors themselves. Then I relate actors’ partnership to other acting practice and thus prove its presence in the whole art of acting. In the conclusion I deal with negative influence of actors’ interplay due to blocking the actor’s creativity and I look for means of removing those blocks. In terms of these topics I enclose my personal experience as a proof of my theoretical reasoning.
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What makes realism real?
Skala, Adam ; NEBESKÝ, Jan (advisor) ; SCHEJBAL, Milan (referee)
The work consists of two parts. The first one focuses on the phenomenon of realism and realist tendencies during the process of creating a stage production. The work explores the evolution of the propensity for realist representation in the course of history. It focuses especially on the modern realism of the German director Thomas Ostermeier. It also tries to examine realism in its social context and define its role in society‘s development. The second part focuses on author‘s personal experience during creation of stage productions mainly, but not entirely, in work done for the university.
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Expérience Grand-Guignol: a project description from the viewpoint of the dramaturg
Kebrtová, Helena ; HANČIL, Jan (advisor) ; SCHEJBAL, Milan (referee)
This Master Thesis describes the Expérience Grand-Guignol project, consisting on the one hand of research of the texts preserved in the Parisian Theatre Grand-Guignol (1897 – 1963) and on the other hand of a graduation performance in Theatre DISK which staged four plays from the repertory of this famous theatre of horrors. The Expérience Grand-Guignol project explored in practice various approaches to the historical material of Grand-Guignol placed in a contemporary context. It examined limits of the genre and methods of staging favorable to the Grand-Guignol experience today. The thesis is structured in three parts. The first part presents the Grand-Guignol theatre phenomenon, its history and theory compiled from accessible literature. The second part is dedicated to a detailed preparation and realization of the project. It presents four performed shows, including the overall set design and storyline, which provides the frame for the cycle. The last part presents a short reflection on fear as an effect of a theatre performance, a summary of observations from the practical examination, and an evaluation of project.
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THE SCRIPT AS A WAY OUT FOR ACTING AND DIRECTORIAL STAGING OF DRAMATICAL SITUATIONS
Černý, Matouš ; SCHEJBAL, Milan (advisor) ; DEÁK, Juraj (referee)
This work deals with the problem of staging a dramatic text and with the specific attributes of the director´s work during preparation and realization of a production. It relies on practical experience from practising a bachelor´s production Dorotka. The author focuses on the original text, describes its storyline, structure and style and deals with selected staging alteration. Furthermore he analyzes the space grounded in the text and its solutions chosen for stage design of the production, discusses the problems of working with actors and staging of individual situations and deduces general conclusions, resulting from the entire director´s experience. The author approaches the discussed topic with an attempt to evaluate his bachelor´s production objectively, to name the mistakes and all of the problems that were related to it.
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DOCUMENTARY THEATRE AND ITS USE
Burianová, Zuzana ; KUDLÁČKOVÁ, Jana (advisor) ; SCHEJBAL, Milan (referee)
The bachelor's thesis summarizes various views on documentary theatre within the theatre praxis. It cites current definitions of such practice and discusses the extent to which it is topical. The thesis is based partly on film theory, gives examples of theatre productions which are founded on documentary material and also refers to examples from the history of theatre. Among the notions to which it refers are the Living newspapers, postdramatic theatre or the Verbatim method. In its second part, the thesis reflects on the process of realization of a documentary task assigned to the author in the second year of study. It assesses the outcome critically and engages with the problems that arose in the course of the work and relates them to documentary theatre. In the final part, the thesis evaluates the overall beneficence of the assignment for the author's studies and develops an argument presenting the advantages and disadvantages of documentary practice as a basis for theatre production in contemporary social context.
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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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Building-up of the staging structure
Vokoun, Martin ; Burian, Jan (advisor) ; Schejbal, Milan (referee)
In my diploma work, I would like to mention my own view ont the bulding-up of the staging. It is rising from my experiences in the making of several inscenations. Espesially I would like to risng from my graduate inscenation ?Don Juan? in Disk theatre (Prague, 2006). Further I will mention inscenations ?As you like it? (Theatre of conservatory, Pratur 2007) and ?The dog of the gardener? (Theatre of J.K.Tyl, Plzeň 2008). My aim is describe particular components, which are taking a share on the creation of whole inscenation and in this way are building-up the staging structure.
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