National Repository of Grey Literature 10 records found  Search took 0.01 seconds. 
The ability of some Czech prepositions to follow their complement
Jiřička, Lukáš ; Milička, Jiří (advisor) ; Kováříková, Dominika (referee)
This bachelor thesis aims to provide initial insights into the phenomenon of Czech ambipositions, as the possibility of their existence tends to be overlooked, if not downright rejected. The early chapters introduce the traditional line of thought standardly applied in the analysis of Czech and provide commentary and authentic corpus-sourced examples (from SYN2020) to argue against it. In the following chapters, an attempt to create a tentative list of Czech ambipositions is made, alongside some initial observations and simple corpus studies. This way, several aspects, such as the possible motivation of speakers to postpose these ambipositions, the productivity of this way of using the adpositions or the impact of genre or source language, are examined briefly, before the thesis moves on to suggest some possible ways of studying the subject matter further.
The Escapologist Case
Zupanc Lotker, Sodja ; HAVELKA, Jiří (advisor) ; JIŘIČKA, Lukáš (referee)
ZUPANC LOTKER, Sodja. The Escapologist Case: Transformations of Practice Towards Spatial Dramaturgy in Contemporary Theatre, PhD dissertation, Theatre Faculty of the Prague Academy of the Performing Arts, Prague 2017, 226 pages. This thesis aims to define a contemporary theatre practice, a new practice in dramaturgy influenced by some radical changes in theater since the 1980’s, I call this new practice ‘spatial dramaturgy,’ it includes: 1) a decentralization and fragmentation of narrative; 2) performing in found spaces; 3) using authentic material for creation of performance (space, community or events); and 4) physical and mental activation of audiences. My primary case study for spatial dramaturgy is Apology of the Escapologist performance by Hungarian Krétakör company from 2009, a performance that also marked a change in theatre making practice for this company. Apology of the Escapologist took audiences through eight separate spaces, with a variety of functions (a garage, hospital, offices, public square etc.), originally none of them built for theatre, in a series of events that took place in Budapest District 9 over the course of eight weeks from March 8th to May 1st, 2009. The Apology of the Escapologist performance had five parts consisting of eight scenes. The performance took place over the course of nine weeks in eight locations; each scene took place in a different location on a different day. The audience had to make sense of the fragmented story, had to choose how to follow the story physically - where and when to go, and had to dedicate a lot of time to do this. The audience also physically entered into the playing spaces. This thesis follows the project and proposes that contemporary theatre is a ‘shared space’ entered by audiences, that contemporary dramaturgy is becoming de-hierarchized and decentralized and is proposing forms of relating in-between the dramaturgical elements of the performance, and that by using authentic material (people, spaces, events), through this ‘spatial dramaturgy’ theatre is proposing new ways to perceive relationships between reality and fiction. This thesis also describes the political motivation behind the change in Krétakör’s work and focus. It provides background information about the situation in politics in Hungary at the time of the making of the Apology of the Escapologist that caused Árpád Schilling change the way he makes theatre. But it also looks at these new strategies of ‘spatial dramaturgy,’ that include: points of view, positioning and relating - as strategies that politicize the act and experience of theatre.
Sound as Self Expression of Actor
Švédová, Michaela ; SMOLÍK, Robert (advisor) ; JIŘIČKA, Lukáš (referee)
In the first part of my graduate thesis I reflect my artistic journey. From beginnings of acting, through student theater group work, up to a gradual transition to my individual creative activity where I am more performing artist and musician. In the second chapter I deal with my previous musical and performing experience, that was preparing me for independent creative work. The third and most comprehensive section is devoted to my graduation project called Stroj vedoucí. It is about the technology that I use in the project, historical development and context, I´m also asking there questions, which came to me during the whole process.
HUDBA JAKO PROTAGONISTA
Bjørknes, Bård ; JIŘIČKA, Lukáš (advisor) ; PROCHÁZKA, Tomáš (referee)
Tato diplomová práce je výzkumem žánru hudebního divadla (music theatre). Mým záměrem je prověřit, jak může využití hudby a zvuku jako hlavních komponent inscenace otevřít nové struktury a metody v divadelním procesu a výsledné inscenaci. Tento žánr je v situaci neustálého zkoumání, což vede k tomu, že umělci nacházejí nové metody pro svou uměleckou práci. Tuto diplomovou práci začínám menším výzkumem o sluchu a funkci uší v divadelním kontextu. V této části se zaměřuji na základní poznatky o tom, jak používáme své uši při návštěvě divadla. Pokračuji psaním o žánru hudebního divadla z historického hlediska. Hudebním divadlem ve starém Řecku počínaje a hudebním divadlem naší doby konče; zaměřuji se na různé formy, umělce a události, které jsou pro hudební divadlo a jeho vývoj důležité. Dále píšu o pojmu hudební divadlo a jeho mnoha definicích, a ještě předtím, než ukončím tuto kapitolu, představením režiséry a skladatele Nikolaje Cederholma a Heinera Goebbelse. Analyzuji dvě různé hudebně-divadelní inscenace: Cederholmovu s názvem Teaterkoncert Beethoven a Goebbelsovu Stifters Dinge, abych získal hlubší pochopení jejich metod a vizí ohledně hudebního divadla. Zaměřuji se na rozdíly a podobnosti obou inscenací. Další část mé práce je věnována mé vlastní zkušenosti z tvorby hudebního divadla. Dělím se o své myšlenky a úvahy o dvou procesech zkoušení a inscenacích, které jsem režíroval v závěrečném ročníku studia. Poslední část práce tvoří diskuse a úvaha o výzkumu, který jsem udělal, o zkušenostech, které jsem ohledně hudby a zvuku v divadle získal, a také o tom, jak to může otevřít nové struktury a metody práce v divadelním kontextu.
Between Theatre and Installation Art
Sceranková, Zuzana ; ADÁMEK, Jiří (advisor) ; JIŘIČKA, Lukáš (referee)
In this bachelor thesis, I am going to deal with the idea of an independent scenography in a theatre performance. I am going to reflect this subject trhough a second graduate performance in season 2016/2017 skončí to ústa in Disk theatre. In the introduction I am going to present experimental poetry as a main point of departure for ther performance. This is going to include basic principles of the visual, phonic, concrete and conceptual poetry as well as some of the particular methodologies of the chosen authors – Jiří Valoch, Ladislav Novák, Ladislav Nebeský and Zdeněk Barborka. I am going to describe the way we have integrated those principles into the performance. In the second part I am going to introduce the use an everyday object in the theatre. In skončí to ústa performance, we deal with the everyday object as something between theatre property and ready made object. I am going to analyse similarities and differences between use of the everyday object in theatre, museum and gallery. In the following part I am going to reflect, how we have included principles of the installation art into the performance. Those principles are focusing, decentralization and role of the spectator. Afterwards, I am going to describe Ervin Wurm´s artwork, who I consider as an artist who combines object, sculpture and installation art in his work. I am going to deal especially with his One Minute Sculptures, that represent a very important source of inspiration for the performance skončí to ústa. In the final part I am going to analyse principles of deconstruction, absence and words-objects in the artwork of Ján Mančuška, who is another inspirative point od departure for the performance. In the conclusion, I am going to summarize the parallels and the differences between the theatre and the visual arts as well as the conclusions that I can apply on my future work.
PLAYGROUND AS A SOURCE OF THEATRE
Erbes, Petr ; JIŘIČKA, Lukáš (advisor) ; MAKONJ, Karel (referee)
This bachelor thesis deals with the activation of the spectator. The first part examines the question of changing spectator's perception based on instructions and poems. The second part deals with reenactments of conflict-based situations. The third part deals with role-free participation. The work is based on authors' projects and tries to find for parallels not only in the field of theater, it explores different concepts of the spectator's involvement in the creation proces, and also the blurring of the boundary between the author and the recipient.
Present, Opening- up and Self-control on the Stage
Berecková, Andrea ; MÁLKOVÁ, Eva (advisor) ; JIŘIČKA, Lukáš (referee)
The work is conceived as a reflection from studying at the Janáček Conservatory to the graduate performance ADA. It focuses primarily on working with emotion on the stage, opening, starting, grasping, evolving within a dramatic arc, feeling within different theater genres, and then closing emotions. The work is written rather as personal testimony and maps personal creative development.
From Radioart to Musical Theatre
Jiřička, Lukáš ; KLÍMA, Miloslav (advisor) ; NOVOTNÝ, Pavel (referee)
This dissertation From Radioart to Musical Theatre aims at showing connections between seemingly different fields ? mainly sound-drama radioart, which in German is called Hörspiel, and musical theatre. In my dissertation, I try to define the characteristics as well as structural principles of text, space, sound, voice, acting, music and body in these transdisciplinary forms and genres, which have never retained any kind of purity in the traditional sense.In the analytical and introductory historical part of my dissertation, various seemingly different areas were introduced and discussed. These areas were musical or sound theatre in its general as well as specific form and its interrelation with sound installations, performance, radioart in form of Hörspiel, musical composition and sound art. In the following chapters, I used examples of several pivotal personalities from the German speaking area skilled in musical composition as well as directing and dramatics to present for instance the influence of musical structure on composition and other performing activities or the relationship of dramatic or literary model to its scenographic adaptation. The whole issue of relationships of disparate art forms is being showed on the examples of several artists ? directing composers who create these links thanks to their activity in various fields, as they intertwine musical and performing worlds on the level of structure, motifs and dramatics. The creators of such heterogeneous artworks using the strategy of the so-called negative dramatics are inherently split personalities - Heiner Goebbels, Helmut Oehring, Olga Neuwirth and Andreas Ammer. Goebbels as well as Oehring, Neuwirth and Ammer are able to make use of their experience with musical composition and/or work for the radio in the creation of musical performances in the way that they let particular composition techniques and staging be freely influenced by the knowledge of other media. Besides the above mentioned group of artists, I mention also other significant authors from the 20th and 21st century, who dealt with radioart, musical composition, collage and montage, performance and musical theatre - Bertolt Brecht, Dziga Vertov, Emil František Burian, Walter Ruttmann, John Cage, Karlheinz Stockhausen, Dieter Schnebel, Georg Katzer, Friedrich Schenker, FM Einheit či Laurie Anderson and Georges Aperghis. Without the influence of the last fifty year-history of radioart, musical theatre would certainly not be such an important form of alternative theatre and performing art as such. Especially nowadays, when thanks to the emancipation and stressing of sound at the expense of acting a new stage language is being created within musical theatre, and the form itself transforms into yet little analysed field of the so-called postspectacular or mechanical theatre without actors.
Specific Elements of the Polish Theatre of the New Millennium
Jiřička, Lukáš ; Klíma, Miloslav (advisor) ; Jiřík, Jan (advisor) ; Makonj, Karel (referee)
The thesis is the pick of analysis and descriptions some of sets directed by Polish directors of the last ten years. There are four capitols following different faces and changes of identity and their theatre representation, that author considers significant for modern movement in Polish drama theatre culture. Between analyzing fields are: sexual and social identity, space identity, identity of human psychic and the identity of text, combined with destruction of theatre canon. Individual faces of identity are observed from the analyzing position of theatre studies as well as from social conditionality perspective, historical conditionality or changes in social and art discourse. Between observed directors are creators of almost all generations and stylistics: Jerzy Jarocki, Krystian Lupa, Krzysztof Warlikowski, Grzegorz Jarzyna, Paweł Miśkiewicz, Wojciech Klemm, Jan Klata, Przemysław Wojcieszek, Michał Zadara and Michał Borczuch.

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4 Jiřička, Lukáš
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