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Time Lapse of the Jump
Tůma, Daniel ; MAZÚCH, Branislav (advisor) ; TEJNOROVÁ, Petra (referee)
Time lapse of the jump
I try to specify the starting point for my author's work through my experience from the Department of Alternative and Puppet Theater in my diploma thesis, which led me to interest in the creative work as which I try to formulate on the example of our performance EVEN PEOPLE HAVE SOUL.
The whole thesis begins with the chapter called Background, which mentions the benefits of block teaching and its contribution to my further creation. This chapter is subdivided into two subchapters. The first is a reflection on the function and ability of contemporary theater at the time of the digital-technological prosperity, and the second is about the use of these multimedia as a tool whose task is to expand our platform and space for the creation itself as opposed to when the theater tries to come out of the dead end using empty illusion. Continue with an chapter called the Simple Space chapter and its supporting force, paraphrasing Jerzy Grotowski and his interpretation of Poor and Rich Theater and specifying the starting points for the theater space and consequently the creation as such. In the next chapter I am devoted to the anthropological approach serves which me as a mentor and helper on the way to authenticity on the stage. With the other chapters I try to describe what a living process of rehearsing which is complex and linked as one organism means to me and what are the associated contexts in the way of specifying my authorial approach. Then I get to the chapter about the performance EVEN PEOPLE HAVE SOUL itself, where I try to formulate our own way of creating and how we think about it. On a particular scene, I approach the synthesizing approach to theater and other key fragments of form that interests me. I follow with the chapter named Sarajevo, which is the title of one of our clausure works, where I describe the theater, which is able to maintain its authenticity, despite the fact that it deals with a topic like war and events with it that are not easily translatable in to a theater that generalizes is to me and put back these into the context of my views of the theater.
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A Selfreflection of a Creative Process of Working on Nevina and Erectionof the Heart
Blažková, Anděla ; TEJNOROVÁ, Petra (advisor) ; ADÁMEK, Jiří (referee)
This master thesis is a subjective reflection based on proper selfreflection
during my work on performances Nevina and Erection of the heart. It is not a
theoretical study but more an understanding and defining of my own ways of
searching between a dramatic character of Absolut and function of a performer.
In first part I analyze the performance Nevina directed by Petra Tejnorová. I
present some conditions and forms of realisation a live cinema project.
In next chapter I point out names of all the dramatic characters with their
description from my point of view and I search connections and facts of a
dramatic character of Absolut, that is communicating me the text. Then I am
reflecting the dramatic character from my point of view with my own
imagination.
I analyse all the dramatic situations in which Absolut is present and I
present the ways to get to her own emotions.
I search connections between emotions and experiences of a dramatic
character and my own.
I find out the importance of knowing what I am performing and at the same
time I find out the importance of a fact that a dramatic character should not
know what is he performing at the same time.
I analyze a searching of a „mask“ for a scenic adaptation of being blind and
I mention a part from my own notes based on my own experimentation with
vision.
I clarify technical requirements for an actor to work with during the
realization: a camera, a microphone – microport, space and I mention the
importance of the fusion of actor with this technical issues.
I am reflecting the truthfulness, certainty and authenticity of film acting.
In the second part I am mentioning experiences of working on school
performances with directors during my studies on the accademy and I mention
reasons of importance of searching for an own topic. I am analyzing the creative
process of Erection of the heart directed by Petra Tejnorová.
In next chapters I uncover the creative process – contact improvisation and
searching of my own topic. I analyze the ways of touching the core of my own
topic and I mention the final version of my monologue in this performance.
I outline my own reflections – possibilities and rules of a way to get in touch
with a spectator. I realise the possibilities of a performer while knowing the
possible winning and loosing during the playing.
I mention a reaction of one spectator after seeing our show.
In the end I answer myself a question if the authenticity of an actor is
changing while he is telling someone else's story or his own thoughts and oppinions.
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Crossover
Tejnorová, Petra ; KLÍMA, Miloslav (advisor) ; KROBOT, Miroslav (referee)
This dissertation entitled CROSSOVER, between the layers of my own staging experience, on the boundaries of forms, genres and not only those, is divided into three parts. All sections are primarily based on my own theatre experience and are interlaced with numerous examples from performances and theatrically performative thinking of selected foreign ensembles. Given the subject matter, the first part primarily deals with Gob Squad and Shunt ensembles and the director Mike Leigh. In the second part, Rimini Protokoll and again Gob Squad are mentioned. The third part is dedicated mainly to the director Tim Etchells and his Forced Entertainment ensemble. My theatre experience is presented in the introductory part of this dissertation; starting with complex shows which represent a symbiosis of all components and are linked by their staging style and formerly discovered drama methods to authorial/devised projects to theatre which implements documentary and technological elements. In the first part of this dissertation, differences and subtle nuances between authorial and devised theatres are examined with focus on the specific devising creative method. The second part of the dissertation is focused on documentary and technologies. The third part consists of subtopics introduced in the previous chapters with respect to crossing boundaries between forms, genres and methodologies, which are more closely related to the phenomena of boundaries between theatre performances/events, fiction/reality, spectator/witness, actor/performer. The methods or the optics with which I work are based on the phenomenon of the mentioned areas and topics. The manner of addressing the issue can be likened to a phenomenological insight.
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ME AS AN ACTOR AFTER WORKSHOP SYSTEM
Kožamelj, Tilen ; TEJNOROVÁ, Petra (advisor) ; HAVELKA, Jiří (referee)
This thesis has two main goals which it wants to achieve and explore. First one is to make an encyclopedia of different workshops that we have passed during our time of studies at school. It should serve me as a usefull book in the future years and help me howremember the things we have done at school. The second big goal is that it is trying to find out if the new, workshop - oriented educational system, has trully created an actor out of me, and most important, what kind of an actor I became finishing the school.
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ON THE STAGE, OR BEHIND, IT IS ME. OTHERWISE I DO NOT ACT
Páleníková, Soňa ; MAZÚCH, Branislav (advisor) ; TEJNOROVÁ, Petra (referee)
On the stage, or behind, it is me. Otherwise I do not act; Participation of personal character in authentic acting, master?s thesis, Academy of Performing Arts in Prague, Theatrefaculty, Prague 2014, 58 pages.
In her master?s thesis, the author reflects on the question of definition of authenticity, authentic expression in acting and participation of personal character in the work of actor.
After teoretic introduction about interpretation of the Authenticity, the paper is devided to four parts. In these author draws mainly from her personal experiences during studies. In the first part author focuses on her experiences, which are the roots of her natural expression in acting.
In the next part, using four plays, author describes acting style, which requires personal approach and personal experiences from an actor.
In the third chapter, she examines the process from a different point of view, using the stylized acting example. Three discussions follow, with professional actors who accepted to answer questions regarding this subject.
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THE PHYSICAL ACTOR
Menšík, Marek ; TEJNOROVÁ, Petra (advisor) ; MIKEŠ, Vladimír (referee)
The actor is flesh and bones. The actor uses the body throughout his career.
He needs it for communicating. To be able to play. In this thesis the author
returns to his professional experiences which led him to deeper understand a
physicality of an actor and to think about a possibility of physical expression and
being on stage. This knowledge the author demonstrates on Erasmus Internship
in Barcelona, on completed shows and workshops and private work outside the
theatre. He contemplates not only how the body can talk to the audience, but
also how an actor should approach his body and how he should take care about
it.
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Storytelling Actors´ Challenge
Burešová, Eva ; MĚCHÁČEK, Tomáš (advisor) ; TEJNOROVÁ, Petra (referee)
The aim of my thesis is to acquaint the reader with the method of storytelling, which is not well known in the Czech Republic. Throughout the world it is being successfully used in theater, education and dramatherapy. To better understand this method I define the basic features of storytelling, while also defining the differences between storytelling and similar genres such as one-man-shows, monologues or improvisation. The focus of my thesis is the use of storytelling in theater, mainly in acting. This is also manifested in the chapter containing a set of storytelling excercises which I encountered during the rehersals of the První dáma platí, druhá leze z gatí and Všichni Teigeho muži performances. The following comprehensive reflection outlines my own subjective views on both of the performances, the process of developing of the characters in question and the composition of the author's own text. I also attempt to highlight pros and cons of each of the exercises and assess their usefulness to me. I trust that my thesis will draw attention to the benefits of the storytelling method and help raise awareness of this method in the eyes of the public.
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(Un)Thinking Actor
Vokůrka, Richard ; MAKONJ, Karel (advisor) ; TEJNOROVÁ, Petra (referee)
This thesis is concerned with author's acting experiences.
The aim is not to create a generally valid analysis but to give a personal statement, which is perceived in a broader context.
The author basses this on the fact that he is a Thinking Actor who is constantly searching for his limits. He deals with the advantages and disadvantages of this regarding himself.
The chapters are focused on different qualities which are essential for fine acting and the author compares these qualities with his mentioned abilities.
Special attention has been paid to naturalness, truthfulness and the authenticity of acting.
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Looking For a Third Reality
Tejnorová, Petra ; Klíma, Miloslav (advisor) ; Makonj, Karel (advisor) ; Krobot, Miroslav (referee)
I see my thesis titled Looking For a Third Reality as an opportunity for finding
and reflecting a possibility for an existing link between the individual components of
the piece, specifically the music-movement-text-acting-scene (scenography) parts of
the production, as well as, naturally, the directing, all of which I come into contact
most during my creative work in theater. A certain line and possibility for reflection
I see in the process between the production of The Suffering of Duke Sternenhoch
and that of Titus Andronicus_The Flight of a Fly. The second line then I see from the
two-part project The Memory of a Land - The land of Memory towards the production
Personal Case History.
The third reality comes to life through synthesis, and not only in the framework of
the above mentioned components, but also using sources related to theater. It has
a similar character to a montage, when a combination of a component A and
a component B creates a new entity C. This newly created quality could be called the
creative potential of the viewer as a co-creater of a production. Although neither
montage nor third reality is anything new, in this work I am endeavoring to touch the
main schemes of the process of creating a third reality and its components. All that
based on specific experience.
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Sinclair versus Sternenhoch
Tejnorová, Petra ; Šavlíková, Kateřina (advisor) ; Makonj, Karel (referee)
This bachelor work titled Sinclair versus Sternenhoch represents for me an opportunity for recapture, reflect and think about the process of making two performances - John Sinclair and The Suffering of Duke Sternenhoch, which I realized during my three-year bachelor studies of Directing - Dramaturgy of Alternative and Puppet Theatre at DAMU, Prague.
Each of the two performances required different approach and both process of genesis went through different procedures of dramaturgy and directing, to start with the work on the scenario, over the rehearsals themselves, to the final shape.
This work gives me the opportunity to treat the main points of the process of making a performance in general, but also to compare two particular experiences.
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