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Mikulášek's productions Europeana and Trapná muka
Řezníková, Veronika ; Topolová, Barbara (advisor) ; Just, Vladimír (referee)
The thesis' subject is an analysis of two productions by one of the most distinct Czech theatre directors, Jan Mikulášek. Based on her own experiences as a spectator, reviews and analyses in newspapers and theatre magazines, the authoress attempted to describe and analyse the stylistic features of Mikulášek's stage directions, using Trapná muka and Europeana as examples. Since both of the productions are based on originally non-dramatic texts, the thesis will also deal with the strategies of adaptation in addition to stage direction, acting and the visual and musical components. In the analysises of the productions are also included the contexts of the formation of the originál books and also the productions. In the end the thesis aims at a comparison of both productions and points to various differences which appear within the coherent directorial style common to both productions.
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The Role of an Author in a Work of Art Based on Jan Mukařovský Focused on a Film
Lavická, Kristýna ; Borecký, Felix (advisor) ; Michalovič, Peter (referee)
In my thesis, I focus on the role of an author in a work of art, and film in particular, based on Jan Mukařovský. Firstly, I describe Mukařovský's structuralist concept of an art work. Thus, following Ferdinand de Saussure's ideas, he views a work of art as an autonomous sign. At the same time, he uses de Saussure's terms langue and parole. In this text, I explain Mukařovský's terms of an aesthetic function, a norm and a value. I also examine the difference between an individual and a subject of art, and between intentionality and unintentionality. I compare Mukařovský's view of the author with other theorists, namely, Umberto Eco, Roland Barthes and Michael Foucault. Hence, I show historical changes within the concept of the author, and also explain Pierre Levy's cyber-cultural understanding of it. In addition, I discuss other authors, who bring together film arts and the interplay of signs. In particular, I introduce James Monaco and Jerzy Plaževski, and connect their thoughts with ideas of Mukařovský. These authors create a bridge between the concept of a film author and Mukařovský, who does not discuss this authorship in particular. The focus here is on Jaroslav Vančát's theory of a multi-layered film, examining three layers of film with different authors. Focusing on films with actual actors,...
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Miroslav Macháček's Stage Work at the National Theater in the 70's and 80's
Černá, Johana ; Topolová, Barbara (advisor) ; Sarkissian, Alena (referee)
The master thesis attempts to characterise the staging poetics of Miroslav Macháček, one of the most remarkable Czech theatre directors of the second half of the 20th century. Based on his stage works in the 70's and 80's at the National Theater, the author of this thesis attempts to make a reconstruction of all his productions of that period; and thus the detailed analysis of the more significant productions characteristic to the director's style is provided. In order to define the stagings, the author bases her research upon archival theater reviews and studies in particular periodicals, photographical materials from the productions and in some cases also audiovisual recordings. Furthermore, other sources include the director's correspondence, notes about his work and the memories of his contemporary witnesses. The thesis also focuses on the historical context and the conditions at the National Theater of that particular time, which influenced Macháček's activity there.
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The Temporary Inferno of Didier-Georges Gabily's Works
Preslová, Natálie ; Christov, Petr (advisor) ; Sarkissian, Alena (referee)
The content of this thesis is the work of French writer of theatrical dramas, director and acting teacher Didier-Georges Gabily (1955-1966). The first part is overall analysis of his dramatic texts (based on my own reading and studying of plays, author's notes on his work, and secondary documents) taking into account the process of writing. The second part deals with Gabily's staging principles and his work with actors, since both are directly related to the text writing. The aim of the work is to introduce Gabily's writing in context of the French theater, capture the important aspects of his work and subsequently outline the way it was created and staged.
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Jan Mikulášek's Directions of Ibsen
Černá, Johana ; Topolová, Barbara (advisor) ; Christov, Petr (referee)
The object of this bachelor thesis is a detailed analysis of two productions of Henrik Ibsen's plays - Hedda Gabler (National Moravian-Silesian Theatre, 2008) and The WildDuck (Petr Bezruč Theatre, 2009), which were staged by one of the most remarkable contemporary Czech theatre director, Jan Mikulášek. Based on her own spectatorial experience authoress tries to describe the work with the single theatrical components in the productions, expresses director's interpretation of the plays and emphasizes the typical features of Mikulášek's style. In conclusion she compares the productions and points out their diferences despite the similar poetics they were staged in.
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The effect of theatrical costume on actor
Vojtová, Ivana ; Hnilica, Karel (advisor) ; Žák, Josef (referee)
The development of theatrical costumes isn't possible to separate from the development of civil clothing. The most important period in history of theatrical costumes is ancienit Greece. All next periods based from it or derived inspiration from it. The period of Renaissance is mainly associate with a phenomenon of English theatre and Italian commedy dell'arte. Both this styles are characterized by specific way of theatrical clothing, where the commedy dell'arte excels their masks and typical characters. Only in early 20th century costumes began promote themselves as separate area of dramatical production, which is need to be concerned in a detail and is worthy of assignment proper attention. This is four important turning points in history of theatrical costume. But ganges happened in all historical periods and concern a perception of actors' clothing (by spectators and thein users) or styles and materials. There is connection between successful interpretation of theatrical role and a costume, which has an actor on his body during playing on a stage. Costumes have important fiction in a connection with a movement. This is possilble observe from two angles of a view. For one thing it often happens that a costume needs specific way of a walk, holding body etc., which provide theatrical figure...
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Action stage design In Czechoslovakia, Prague 2012
Frydlová, Veronika ; Klimešová, Marie (advisor) ; Koubská, Vlasta (referee)
"Action stage design" is a term which was originally used in the mid-70s in the connection with 1975 Prague Quadrennial. Soviet critic Viktor Berjozkin chose this term to describe a new approach which was apparent in the majority of national expositions. It was an alternative approach to dramatic space, the traditional proscenium theater was systematically abandoned. New possibilities of producing in non-traditional, mainly non- theatrical spaces which offered closer contact with audience were searched. In aesthetic approaches the action stage design abandoned rampant focus on art, illusoriness, embellishment and complicated technical solutions. On the contrary it took inspiration from "earth works" (arte povera) and pop-art. They used "poor" - which means - common and natural materials [mainly fabrics] and everyday objects. Simplicity and inventiveness became an important requirement of the new aesthetics, as well as constant confrontation of dramatic and empirical reality. Stage props were meant to be mainly polysemous. It means that a scenic element could change its meaning and function a few times during the performance thanks to actors activity. For example - a bed became a dining table, an altar, or a prison. It demanded big imagination of spectators, they often became a part of performance....
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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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