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ACTOR BEING
Krupa, Martin ; MÁLKOVÁ, Eva (advisor) ; MAZÚCH, Branislav (referee)
Bachelor thesis is focused on the Actor's being itself and its development. Thesis also deals with subjective point of view on actor's previous 7 years when he has studied on two other Schools of Arts and either participated Erasmus+ program. Furthermore, author of the thesis strives for development, knowledge, as well as stagnation of his own acting life while facing different educational surroundings and theatrical environments. It includes studies at Janacek conservatory, followed by entering Academy Of Performing Arts, continued with residency abroad at London's Rose Bruford College and additionaly, return to an Academy of Performing Arts. During this period, author engaged in two copyright projects - collective performance called Barunka is leaving and his second solo performance named Borderline-Syndrom. Admittedly, topic about actor's existence is purely subjective, self-knowledging. It creates a reflection, how studying acting influences whole artistic life, how it changes one's mentality, evolution in thinking and attitude of young man, actor novice.
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Acting in the Context of Yoga Psychophysical Training
Čižinská, Lucia ; ŠPLÍCHALOVÁ, Kateřina (advisor) ; ADÁMEK, Jiří (referee)
The aim of this work is to investigate the process of acting, specifically during
rehearsing of graduation performance Barunka is leaving in DISK theatre in context
to yoga psychophysical training. The researcher would like to verify how such a
training can help acting and on the contrary how it can limit it. Psychophysical
training can help concentration on the stage and also during the process of
rehearsing performance. Another aim of this work is to discover whether regular
practise of yoga can help with consolidation in circle of public solitude, how to do
these specific exercises as well as how it could work not just in context of introverted
concentration. In this work I will also focus on eventualities of applying yoga during
rehearsals according to exercises applied by Constantin Stanislavsky and Jerzy
Grotowski. In the past, already quite a few people from world of theatre incorporated
yoga. The most important for my experience is C. Stanislavsky and J. Grotowski.
Therefore, this work analyses approach, which they both pursued, as well as which
resources inspired them, and what led them to search for answers in yoga
excercises.
The main contribution consists of an analysis of studies about applying of yoga
during rehearsals and trainings of C. Stanislavsky, J. Grotowski. This knowledge can
be applied during the rehearsal of theatre performance or with individual or colective
actor training.
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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.
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Aspects of Actors Work with Emphasis on Authenticity
Kubištová Máčiková, Adriana ; KROBOT, Miroslav (advisor) ; TOMÁNEK, Karel František (referee)
This dissertation - Aspects of actors work with emphasis on authenticity, Road show as a way to authentic acting, charts behaviour of our Divadlo koňa a motora (Theatre of a horse and a engine). I add here our diaries from wandering with the horse and a caravan in surroundings of Nitra, in the Šluknov region and also in eastern Slovakia. Due to the experience made by wandering itself and acting in front of audience, that is not used to visit theater, I try to find a way to grow up in acting. I also try to name particular problems in actors work, that I was facing up during my studies and praxis. Their possible solutions I try to find in my personal experiences from wandering.
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THE INNER PROCESSES IN ACTOR´S MIND
Kukuczková, Anna ; SOPROVÁ, Jana (advisor) ; HYVNAR, Jan (referee)
The thesis examines the processes as they occur in the actor ́s mind during work on the character while rehearsing and acting. It also describes extensively the steps prior to the rehearsal process and acting from the actor ́s point of view regarding the actor ́s mental states. Additionally, the focus is on various approaches to character building during rehearsals and on various wals of working with the text. In her analyses, the authoress is aware of the specific differences of the theatrical genres. The thesis is based largely on her experience.
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What Does - To Be in the Beginning - Mean II.
Šimek, Jiří ; LJUBKOVÁ, Marta (advisor) ; MAKONJ, Karel (referee)
In this master thesis I am analyzing the process of two author performances
GoG & LONELiNESS & STUFF. I am trying to write down basic methods and assumptions
for my own author work without scenario where the beginning of the whole process is only a theme or a literally model (which is more likely main inspiration source rather than
pattern). All those methods and assumptions, I call Beginning which is a word that
represents them in the best possible way. That is also a reason for naming my thesis What does -to be in the beginning- mean, this name should represent my never ending searching of more sophisticated way of developing theatre performance.
The whole thesis begins with a chapter called Starting-points, which collection of
most important things I learned in the Department of alternative and puppet department. The chapter is divided into parts according to the teachers who took turns in leading main subject
Acting. In every part I tried to write about the way of influencing my approach to author
work.
Middle part consists of two chapters GoG and LONELiNESS & STUFF where I
describe my own work on concrete cases from process of rehearsing both performances. In
both chapters I describe my own new methods and experiences. Putting both processes in
context, and trying to explain differences. And I also try to find a connection between the
chapter Starting-points and concrete cases from my own author work.
The whole thesis ends by a chapter What does to be in the beginning mean
where I summarize and generalize issues which we were solving during our author work and I also try to establish requirements for really creative way of creating author performance.
Main message of this thesis is to look back on my own work. Also, from my point of
view, establishing ideal way of creative process and defining spectator as co-creator of
theatre performance. Where this ideal way of creative process doesn’t exist because the
point upgrades my own ability to constant adapt and change, act intuitively.
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Actor or Dancer
Šurková, Julie ; NOVÁK, Vladimír (advisor) ; TRPIŠOVSKÝ, Lukáš (referee)
This thesis is a theoretical description of my study of current and modern dance at the
dance conservatory Duncan Centre. The description continues with my study at the
Department of Alternative and Puppet Theatre at the Academy of Performing Arts in
Prague. There is a comparison of acting and dancing. Both are close and, at the same
time, distant areas of performance. The goal of the thesis it to identify the elements
that are shared or unique between them. Specifically, there is a description of the
difficulties for a dancer to become an actor and, on the other hand, for an actor to
become a dancer. There is also a list of conditions that need to be met for somebody
to be a full-time dancer and actor. The first part of the thesis describes my experience
and my view of an actor and dancer. The term 'performer' is discussed as it should not
be used for all the people who do more than one artistic area. The second part of the
thesis deals with training that is needed for dancing and acting. There is a list of the
requirements needed for a dancer to become an actor. The last part of the thesis
focuses on a trial period and it finds events when the areas merge in one.
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Actor and object as equal partners (director's perspective)
Maksymov, Jakub ; MAKONJ, Karel (advisor) ; KLÍMA, Miloslav (referee)
Author in this bachelor thesis reflects his two school projects (Crystal growth, Thousand dozens) and two out-of-school projects (Rays of sun, I am Krabat). On the basis of these projects he thinks about possibilities of puppet and object theatre in general. He focuses on partnership between actor and object/puppet. Further he analyzes and compares creative processes of these projects from director's perspective. He searches the specific conditions, which stimulate creative process. Finally he compares inspirational artists, who work with puppets/objects.
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Dario Fo´s Handbook in The Context of Drama Teaching
Berčíková, Anežka ; SIEGLOVÁ, Tereza (advisor) ; MIKEŠ, Vladimír (referee)
This thesis aims to familiarize the readers with the book by Dario Fo, an Italian playwright, called Manuale Minimo dell´attore (The Tricks of the Trade), published in 1987. My original motivation to write this thesis was the fact that this book had not been translated to Czech. The book deals with the life and acting and teaching experience of Dario Fo himself, Dario Fo is also the winner of the Nobel Prize for literature (1997). Furthermore, this thesis summarizes the formal structure of the Drama Handbook. Moreover, I cover various topics described in the Drama Handbook and I go on to compare them with the opinions of other playwrights. Those topics include improvisation, the conflict of content and form, inspiration by the Far East or work with the masque. The main benefit of this thesis is that the reader is familiarized with the book that had never been translated to Czech and thereby gets a chance to understand not only the approach of Dario Fo but also of authors with conflicting views.
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