National Repository of Grey Literature 12 records found  1 - 10next  jump to record: Search took 0.00 seconds. 
Characteristics of David Drábek's directorial style by examples of his three Shakespearean productions
Šafářová, Tereza ; SCHLEGELOVÁ, Martina (advisor) ; KYSELOVÁ, Eva (referee)
This bachelor thesis is focused on characterization of some distinctive features of a directorial style of David Drábek, who is a Czech playwright, a dramaturgist and a theatre director. The topic is examined by examples of his three productions of William Shakespeare’s plays Macbeth, Richard III. and Romeo and Juliet. He directed them in the Klicpera’s theatre in Hradec Králové, the last two mentioned as an Artistic director of the local ensemble. Introductory part of the thesis contains brief Drábek’s biography and his contribution to the Czech theatre world as a playwright and a director. It will be followed by an analysis and an interpretation of individual components of the three productions. The final part of the thesis is a summary of major features of the analyzed productions and you will also find a resume of the whole thesis there. At the end of the thesis there are two attachments. The first one includes a list of all productions Drábek directed in the Klicpera’s theatre. The second contains selected photos from the three chosen productions.
Poetics in theatre plays of Werner Schwab
Macáková, Karolína ; AUGUSTOVÁ, Zuzana (advisor) ; SCHLEGELOVÁ, Martina (referee)
The master thesis deals with the work of the Austrian playwright Werner Schwab, who wrote most of his plays during the first half of the 1990s. Its aim is to provide an analysis of his theatre plays. The thesis pays a special attention to his in the Czech contextwell-known cycle Fäkaliendramen (Fecal plays). Schwab's writing represents a new way of writing, so called post-dramatic theatre plays.  The thesis looks at Schwab's  theatre language by dramaturgically analysing his most renowned theatre plays Die Präsidentinnen, Die Volksvernichtung oder Mein Leber ist sinnlos, Übergewicht, unwichtig: Unform, Mein Hundemund and also Pornogeographie in a critical way, it reflects the author’s innovative approach towards the category of dramatic conflict and dramatic language. The thesis also outlines an historical context which served as a platform for the birth of a specific artistic form of Austrian drama after the Second World War.
Epic principles applied in selected plays of Roland Schimmelpfennig in the context of Brechtian Epic theatre
Zachatá, Petra ; SCHLEGELOVÁ, Martina (advisor) ; AUGUSTOVÁ, Zuzana (referee)
This Bachelor’s thesis deals with the dramatic works of Roland Schimmelpfennig, one of the most frequently produced German playwrights. It discusses relations between Schimmelpfennig’s poetics and Brechtian Epic theatre, focusing especially on essential aesthetical principles and techniques of the Epic theatre. The introductory part of the thesis sets Schimmelpfennig’s works into a wider context of German theatre and drama at the turn of the twentieth century. It focuses on the new generation of German playwrights, whose plays resign from postdramatic poetics, which has held a leading position since the 1980s. The opening part also summarizes fundamental principles and formal techniques of the Brechtian Epic theatre. The main part of the thesis consists of an analysis of two Schimmelpfennig’s plays, The Arabian Night and The Golden Dragon. The analysis covers epical principles and techniques used by Schimmelpfennig in these plays. The aim of the Bachelor’s thesis is to clarify whether there are any essential similarities between Schimmelpfennig’s and Brecht’s dramatic works: Do both authors use similar epical techniques, and do they apply these techniques in accordance with similar esthetical grounds and social beliefs? The principal aim of the Bachelor’s thesis is to determine whether it is possible to treat Schimmelpfennig’s dramatic works as a distinctive type of the Epic theatre.
Productions of Franz Kafka's work in directorial generation at the turn of the 1980s and 1990s in the wider context of alternative culture
Pavelková, Tereza ; AUGUSTOVÁ, Zuzana (advisor) ; SCHLEGELOVÁ, Martina (referee)
Master's thesis deals with the reception of Franz Kafka's personality and works by generations of directors at the turn of the 1980s and 1990s. The main question discussed is what Kafka's work meant for these directors, which subject it represented for them, and how their theatrical adaptations reflected the socio-political conditions of the socialist Czechoslovakia in the period of normalization. The first chapter reflects the social and cultural context of the period while focusing on the position of the theater and movement of the small scenes which belonged to the current alternative culture. The second chapter focuses on Franz Kafka's reception by 1989 and also contains a literary interpretation of his work, on which is based the main part of the thesis. There are the analyses of the productions of America (1985, J. A. Pitínský), The Trial (1989, Arnošt Goldflam), The Metamorphosis (1988, Petr Lébl) and Josephine the Singer, or the Mouse Folk (1989, Petr Lébl). On grounds of these analyses, we can argue that Kafka’s work served to the explored generation as an expression of the existential feeling of an individual in totalitarian society. The last chapter deals with The Wish to Become an Indian (1991, J.A. Pitínský), which was created after the revolution, and shows how Franz Kafka's theatrical interpretations changed at the end of totalitarianism.
Panic, Chaos, Harmony
Chmelíková, Eliška ; SCHLEGELOVÁ, Martina (advisor) ; JOBERTOVÁ, Daniela (referee)
This bachelor thesis is focused on the work and theatre activity of Mika Myllyaho - one of the most distinctive personalities of contemporary Finnish theatre. On the basis of analysis of dramatic trilogy it finds central thematic areas and examines formal plot processing of this particular playwright and by these presents it tries to class him with the context of contemporary Finnish drama. The thesis is primarily focused on contemporary Finnish dramatics, however, it examines basic historical events in the Finnish theatre development up to present. It also follows other contemporary Finnish playwrights and the basic themes which they reflect.
Women and Phantoms in Marina Carr´s plays
Smrčková, Anna ; SCHLEGELOVÁ, Martina (advisor) ; HANČIL, Jan (referee)
The Bachelor thesis focuses on the dramatic works of Marina Carr. The base part of thesis forms the analysis of the plays Portia Coughlan, By the Bog of Cats and Woman and Scarecrow. In the first part I deal with the the main female characters. I view their personalities through their roles in motherhood and family life. In the second part I map the author's principal sources of inspiration rooted in Irish and Celtic culture traditions with particular focus of the motive of death and phantoms.
Contemporary British Drama in the View of The Critics' Circle
Vondráková, Adéla ; SCHLEGELOVÁ, Martina (advisor) ; JOBERTOVÁ, Daniela (referee)
The subject of this thesis is the contemporary British drama. Firstly the thesis performs a brief excursion into the context of the origin of the plays. It summarises the basic facts about the British theatre system, the development of British criticism and of the British association of the critics The Critics' Circle. The thesis deals with the plays awarded with The Critics' Circle Theatre Award for the best new play between years 2000 and 2010. These are Blue / Orange by Joe Penhall, Humble Boy Charlotte Jones, The York Realist by Peter Gill, Democracy by Michael Frayn, The History Boys by Alan Bennett, Harvest by Richard Bean, Rock'n'Roll by Tom Stoppard, A Disappearing Number by Simon McBurney and Complicite, August: Osage County by Tracy Letts, Jerusalem by Jez Butterworth, and Clybourne Park by Bruce Norris. Subsequently, based on the overall analysis of all eleven awarded plays the thesis gives the assessment of their common features in terms of dramatic form and also in the terms of theme. Finally it deals with the British as well as Czech critical reflections of the particular plays. It attempts to draw conclusions about the nature of contemporary British drama in relation to the British criticism.
Position of Contemporary British, Irish and German Written Drama inCzech Theatre after the Year 1989 ? Practical and Theoretical Aspects
Schlegelová, Martina ; JOBERTOVÁ, Daniela (advisor) ; HANČIL, Jan (referee)
This dissertation thesis is focused on the theoretical as well as the practical aspects of the exceptional position of contamporary British, Irish and German written plays in Czech theatre after the year 1989. The aim of its first part is to confont the British and German theatre systems, especially the process of developing and supporting British and German ew writing. It also describes the role of the British or German playwright in the society and in the theatre
Regular theatre activities of repertory company with law status civil society
Mathauserová, Hana ; PROKOP, Petr (advisor) ; SCHLEGELOVÁ, Martina (referee)
The aim of the this thesis titled ?Regular theatre activities of repertory company with law status civil society? is to find out to what extend is the law status of civil society suitable for running a professional repertory theatre. The contents of this work are the characteristic of law status of civil society, comparison with other law forms that allow running a professional theater, evaluation of experience running theatre companies with law status civil society already have and last but not least also a thought of how the analyzed facts and findings will be affected by the upcoming law 89/2012 Sb., the civil code, which is to come into effect on January the 1st 2014.
David Jařab and Dušan D. Pařízek´s work in Komedie Theatre
Fleyberková, Klára ; SCHLEGELOVÁ, Martina (advisor) ; AUGUSTOVÁ, Zuzana (referee)
The topic of this thesis is the work of David Jařab and Dušan D. Pařízek - two of the leading figures in Komedie Theatre from years 2002 to 2012. It tries to capture some of the principles of both author´s work and focuses on their work on Komedie´s scene only. After a brief introduction to the history of Komedie Theatre and Pražské komorní divadlo (Prague theatre ensemble), this thesis analyses the theatre´s further dramaturgy, both author´s topic selection and their working with text. In the next part it gets to the formal elements in the authors´s plays - successively it describes stage design, costumes, music or visual effects. Last part of this thesis is about some common specific points that we could find in Jařab and Pařízek´s production, about their approach to acting and combining space and text. And in the very end there is a general reflection of Komedie Theatre under the lead of Pražské komorní divadlo besides trying to find possible reasons why these two figures helped to create such acclaimed scene. The objective of this thesis is to describe the work of David Jařab and Dušan D. Pařízek in Prague´s Komedie Theatre and to detect principles of their production and mutual collaboration.

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