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Vincenc Kramar Gallery
Micka, Alois ; Lahoda, Vojtěch (advisor) ; Wittlich, Petr (referee)
5 ABSTRACT The subject of this diploma work is the documentation and presentation of program contents of the new exhibition at "Svaz československých výtvarných umělců" in Prague 6 Dejvice between the years 1964 to 1972, which carried the name of Czech theoretic artist, Vincenc Kramář. This diploma work is divided into three distinct parts. The first part focuses on the founders of the gallery and briefly about the personality of Vincenc Kramář. The second part is devoted to the work posted in the gallery between 1964 and 1972. The final part of the work explores the question of what place and position the Vincenc Kramář Gallery holds in comparison to other galleries during the same period. The introduction of the work comments on society and politics of the 1960s in the context of "fine arts", which was an era marked by the official tendencies of the socialist realism of the decade previous. The introduction also includes the process of creating and building a new exhibition hall into this era. The first chapter is dedicated to the patron of the gallery, Vincenc Kramář, and to the founding figures of this new gallery including František Doležal, commissioner and chairman of the exhibition committee; František Rocman, typographer; secretaries and co-founders of the gallery Antonín Kulda, Alena...
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Jiri Trnka's Scenography in the National Theatre
Vöröšová, Markéta ; Just, Vladimír (advisor) ; Topolová, Barbara (referee)
Jiri Trnka (1912 - 1969) ranks among the foremost representatives of Czech modern art in the 20th century and alongside the most remarkable protagonists of the visual art scene over a period ranging from the late 1930s through the end of the1960s. He stood out within that movement for his multiple talents, as a draughtsman, book illustrator, puppet designer, painter, animated film-maker, sculptor and stage designer. He achieved admirable success in these fields of activity. In the early 40s a new prospect opened up for him connected with work in theatre, as he took up the post of stage designer at the National Theatre in Prague, an assignment which enabled him to put to use his specific talent for stagecraft. He created 13 stage decorations together. Trnka was able to create unforgettable productions thanks the cooperation with Jiri Frejka or Karel Dostal. I documented and explained Trnka's work in the context of the Nation Theatre during the Second World War. I defined his style in the relation to his contemporaries in the end of work. KEY WORDS Jiri Trnka, National Theatre, set designer, scenography, stage decoration, costume, properties, scene, 40s, space, stage, style, set, constructed set, stage design, didascalia, theatrical space, animated film.
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Inscenation Principles by director K. H. Hilar in National Theatre from 1921 to 1935 (focusing on cooperation with stage designer Vlastislav Hofman)
Jančálková, Petra ; Janoušek, Pavel (advisor) ; Topolová, Barbara (referee)
The thesis Inscenation Principles by director K. H. Hilar in National Theatre from 1921 to 1935 (focusing on cooperation with stage designer Vlastislav Hofman) is about director K. H. Hilar's inscenation principles in position as the boss of National theatre from 1921 to 1935. The aim was to focus on Hilar's work at the National Theatre, as well as its cooperation with the actors, the elements of expressionism and later civilism in his arrangement and last but not least, given his cooperation with the set designer, especially with the architect and artist Hofman. Part of thesis involves a lot of images from Hilar inscenations . Most sources are available in the archives of the National Museum in Terezin, and archives of the National Theatre in Prague. The professional literature is available at the Theatre Institute, also in Prague.
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JAN KVĚT (1896-1965): BETWEEN ART AND HISTORY.
DUBOVÁ, Stanislava
This diploma thesis aims at capturing the personality of the art historian Jan Květ. Based on previously unavailable archival material, it attempts to show his personal life, public activities as well as his work, and to place them in the context of the first half of the 20th century. The heuristic base of the thesis consists of materials created as a result of Jan Květ?s works, correspondence, memoir literature as well as resources taken from up-to-date literature from the fields of history, art history and scenography. Not least, the thesis makes use of a contemporary?s recollections. The text is divided into four chapters, out of which the first three deal with the lives of Jan Květ in biographical order. The first chapter describes the family milieu and the time of his studies, i.e. the essential period when the young man?s personality was formed. The second part discusses the years after World War II, Květ?s work at The National Museum and Charles University. The third chapter deals with the life period between 1945 and 1965, i. e. the bustling time when the foundations of new science and culture were beany built. The last chapter is concerned with the works of Jan Květ, both theoretical ? his scientific writings ? and practical ? his scenography.
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