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THE SCRIPT AS A WAY OUT FOR ACTING AND DIRECTORIAL STAGING OF DRAMATICAL SITUATIONS
Černý, Matouš ; SCHEJBAL, Milan (advisor) ; DEÁK, Juraj (referee)
This work deals with the problem of staging a dramatic text and with the specific attributes of the director´s work during preparation and realization of a production. It relies on practical experience from practising a bachelor´s production Dorotka. The author focuses on the original text, describes its storyline, structure and style and deals with selected staging alteration. Furthermore he analyzes the space grounded in the text and its solutions chosen for stage design of the production, discusses the problems of working with actors and staging of individual situations and deduces general conclusions, resulting from the entire director´s experience. The author approaches the discussed topic with an attempt to evaluate his bachelor´s production objectively, to name the mistakes and all of the problems that were related to it.
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Karel Dostal in between film and theatre
Burianová, Zuzana ; SÍLOVÁ, Zuzana (advisor) ; CÍSAŘ, Jan (referee)
This thesis deals with the life and work of Karel Dostal. The first chapter provides biographical data and tries to map his personality. The following chapters are devoted to his creative work in theatre and in film industry. The work is divided according to professional fields ? Karel Dostál as an actor and Karel Dostál as a director. Primary it is focusing on his scope in National Theatre, where Karel Dostál spent the longest part of his career. It describes several productions which he directed. Specifically selected productions are divided into several creative periods of his life, which carries significant changes in director´s handwriting. Most productions are supported by visual material and contemporary criticism. Another part of this thesis is an analysis of some of his roles in theatre and films. These descriptions of actor?s performance should serve as refutation of knowledge of Karel Dostál as an actor of small and inconsequential roles. Simultaneously, this thesis is pointing at whole range of raw material about fundamental personality of Czech theatre scene.
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Fusion of the Fields
Vimmrová, Pavlína ; KLÍMA, Miloslav (advisor) ; MAZÚCH, Branislav (referee)
In her master´s thesis, the author reflects on the question of perception as well as sharing of the perceived within the theatre frame (while ocasionally overlapping to a broader context). She uses a newly defined concept of a "field" as a basic unit of perception.
The paper is divided into three main parts. In the first theorical part, the author focuses on a "perception" in general and on its performative character, on the question of a "view" and on the process of creating and transformations of one´s point of view. Hereby presented concepts are subsequently examined in the second part of the paper on the model positions of spectator, actor and director and on a concrete examples from rehearsals. The author draws mainly from her personal experiences and from the discussions with both actors and spectators.
In the third part, she examines the process of repeating the graduate performance Romeo and Juliet (presented in the DISK theatre in Prague in 2013) through the theorical frames set up in the previous two parts.
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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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ACTOR IN HIS OWN BODY
Legierski, Tomáš ; RIEDLBAUCHOVÁ, Veronika (advisor) ; ETLÍK, Jaroslav (referee)
Legierski, Tomas. The actor in his own body. Prague: Academy of Performing Arts in Prague, Faculty of Theatre, 2013. 74 pp.
In this work, Tomas Legierski is attempting to show that acting is an autonomous and creative artistic work that does not consist of the mere reproduction of directorial ideas. The main starting point, according to this author, begins with an actor's body, his physicality/corporeality. Each role or character that the actor tries to grasp, with the help of the director, is primarily based on the actor's "being" on stage, which implies a certain behavior. Whether the actor is static or in motion on the stage he is still acting. Legierski seeks to examine the resources and ways of action that comprise the total expression of an actor´s performance. At the inception of theatrical action is conceived a gesture that represents communication with itself, colleagues on stage and the audience. Gesture and movements are perceived by this author to be intertwined.
The core of this thesis is presented in three main chapters. In a chapter 1, Gesture in Actors, Legierski examines gesture as a movement and shape, its clarity and manner of its exercise. Chapter 2, Performing Being, describes the actor as a "total man", and examines the energy, dynamism and rhythm of the gesture which composes the essence of the actor´s existence on a stage. In chapter 3, Actor in a Composition, the author describes actors in specific theatrical situations where they make use of negotiation, revision and editing to create the composition stage. In these three chapters, the author identifies his inspiration for his graduate discipline of Pantomime while also describing how this technique and its protagonists have influenced his examination of the topic of a gesture.
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Mr. Moritz Stiefel, Prince Myshkin, Mr. Michal Moučka,
F. M. Dostojevskij, Frank Wedekind
Moučka, Michal ; KLIMSZA, Janusz (advisor) ; KLÍMA, Miloslav (referee)
In my diploma work I describe my own experiences and emocions of me like an actor during playing two theather roles on stage. Fist of them is Moritz Stiefel from drama Spring awakening. These part I rehearse in theatre Komorní scéna Aréna in Ostrava. Second part, wchich I am speaking of is Prince Myshkin, wchich I play in Theatre Petra Bezruče in town of Ostrava too. Because of the fact, that my real life has very comon moments with these two men I include to my diploma work fragments from my own liwing. In last two chapters I write brief facts about F.M. Dostojevskij and about Frank Wedekind.
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An Actor's Self-reflection
Böhm, Jiří ; KOČVAROVÁ, Markéta (advisor) ; KLÍMA, Miloslav (referee)
The main goal of this thesis is to critically observe own evolution as an actor and define moments that caused this evolution or aided it in some way. The thesis also describes the process of how individual plays were created, especially how they helped an actor grow. As a result, the thesis sets a future direction of things and foreshadows possible development.
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Pretence
Hába, Michal ; KROBOT, Miroslav (advisor) ; MIKEŠ, Vladimír (referee)
The thesis treats the phenomenon of pretence in the theatre. It deals with the meaning of contemporary theatre and its truthfulness, and the issue of acting/performing and the related themes of authenticity, (self)disclosure, detachment and communication. It also focuses, from the same viewpoint, on the "actors education" and the definition of the "alternative theatre". The principles of the theatre of no-pretence and esthetics of "theatrical dementia" are defined by examples of specific stage productions.
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Actors Inspiration
Čížek, Mikuláš ; KOČVAROVÁ, Markéta (advisor) ; TICHÝ, Zdeněk (referee)
The overall focus of the MA Thesis Actor´s Inspiration are predominantly the sources of inspiration for the various stagings the author took part in during his studies at DAMU. Based on his experience, he compares various directors, their approach to work and what inspires them. He also elaborates on what inspires him personally during his creative activities.
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