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F. M. DOSTOYEVSKY: THE IDIOT Costume Design
Tavelová, Helena ; VOHLÍDALOVÁ, Ivana (advisor) ; ZBOŘILOVÁ, Jana (referee)
This thesis F. M. Dostoevsky: The Idiot deals with the life of the author with an emphasis on his work, which is always current, because it concerns itself with increasingly vital topics related to human life. The thesis also deals with issues that are key to understanding Dostoevsky and his perception of the world and discusses the previous staging of the play in the Czech Republic, focusing on the work of the director Miroslav Krobot. Primarily, however, this thesis represents a detailed analysis of Dostoevsky's The Idiot and a detailed analysis of the individual dramatic characters within the play, with a focus on their internal processes and relationships, which are then expressed through costume.
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Alternative and new ways of costume design
Rybáková, Simona ; MATÁSEK, Petr (advisor) ; PTÁČKOVÁ, Věra (referee)
This work is aiming to show costume designing as an essential artistic field of today which surpasses limits of applied arts or mere decoration in an effort of emancipation.It talks about the specific characteristics of this field and how it surpasses into other domains and it opens chapters which I deemed significant to my topic. The text outlines my professional career as costume designer to my pedagogic and finally to my organisational curator?s experience. I describe how I enrich the basic practical and empirical education with an emphasis on the artistic way of expression with more theoretical and analytical abilities. The latter is documented mainly with the exhibition ?Extreme costume? in PQ 2011.An important part is the vocabulary of some rather technical terms; it is very liquid and constantly changing. Predominant tendency is to find terms commonly revealing to help the lay audience understand a discipline which can be attractive when a suitable form and presentation is used. Besides the language it is also new topics reflecting costume and its development such as; costume as performance, nudity as/and costume, event and an act of wearing a dress, installation and costume, light and costume, technology and costume which complete the perspective. The number of themes which emerged in the last 6 years is high and sometimes they are connected only seemingly. Some are entering disciplines which are interconnected and influence each other mutually. Therefore some examples of work process are used repeatedly in a comparative or illustrative role.Throughout the whole work the search is for new paths, techniques and materials for costume design and its emancipation. Next to this stands no less important role of costume as a part of action scenography as well as the postmodernism of 1980?s which is a significant starting point of my own work. In contrast to certain excessiveness stands the concept of unpretentious costume completed with specifics of film costume designing.Fashion show as a show with all the aspects of a dramatic piece/performance considers consumer and sociological topics and can be linked to reshaping and costume recycling which closely relates to economic and ecologic aspects too.Emancipation effort is joined with its presentation in public in the form of exhibitions, events, workshops and its documentation for the future. The technological ?boom? occurred especially with the emerge of light costume and ?wearables? as well as the research for materials and the work of realizers on creative ideas of the artists. An inseparable part is a dictionary of alternative materials used in costume designing and a extensive bibliography.
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Martin Sherman Bent - complete staging art answer theatre play and the film Bent
Čačko, Jozef Hugo ; DUŠEK, Jan (advisor) ; DAVID, Milan (referee)
This work deals with the complex by treatment staging all the necessary components of the hand of the performance. Copy and analysis of already existing staging in America, the issue of homosexuality and transferring it into the artistic components of a dramatic situation, overhead construction and the creation of specific images and historical sources relevant to the concrete subject. The last section is devoted to the complete concept of staging the stage design and the costume design perception of music, moods and specific images.
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WILLIAM SHAKESPEARE: TITUS ANDRONICUS Complex scenographic elaboration
Lippertová, Dominika ; DAVID, Milan (advisor) ; GLOGR, Karel (referee)
This thesis is focused on scenographical treatment and conception of Shakespeare's play Titus Andronicus. Beside the historical and theoretical outline of the time of the play's creation, the thesis analyzes selected Czech and foreign productions of this play, with regard to its conceptional and graphic aspect. Furthermore, the thesis focuses on a complex analysis of the scenographic concept itself, and the graphic procedure as well. Thesis also marginally examines the central characters and the treatment of costumes.
The goal of this thesis is to approximate the graphic treatment of a specific play and to describe processes of searching for own and personal graphic procedure used. This thesis is not only a historical analysis; it is also a subjective view of the issue given, that is supposed to approximate the specific scenographic adaptation of the play to the reader.
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Macbeth
Podara, Eleni ; DUŠEK, Jan (advisor) ; KORČÁK, Jakub (referee)
Tato práce dokumentuje Scénická a kostýmní procesu navrhování pro výrobu divadelním představení Shakespearovy hry Macbeth jako vyrobené Pražského shakespearovské společnosti.Výroba byla provedena v Divadle Kolowrat, od 07.11.2013 do 22.listopadu 2013. Navíc produkce cestoval do Houstonu v Texasu v Rice Village divadle Main Street Theater společnosti. Je tam hráli od 27. února do 9. března 2014. Tato práce zahrnuje analýzu hry a postavy a popisuje podrobně proces návrhu a provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu jsou k dispozici.
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NABUCCO
Song, Gi Hye ; ZÁBRODSKÁ, Dana (advisor) ; DUŠEK, Jan (referee)
My master's degree thesis is about the premiere held at La Scala Theatre in Milan, Italy of Nabucco by Giussepe Verdi.
This thesis is made up of two parts: a theoretical part and a practical part. The theoretical part introduces the life of Verdi, the background of the "birth" of the Opera Nabucco, and the historical background of the time. This section will also discuss the history of the Babylon Captivity, which is the background of Nabucco. The history of Korea and Italy when (ruled over) will also be compared. Lastly Va Pensiero sull ali doroate, the very important aria of Nabucco, is examined.
This thesis includes research on three different Nabuccos performed in the last two years in many different countries. The first is a collaboration by the Opera House of Royal Covent Garden of Britain and La Scala Theatre of Milano in 2013. This opera is very abstract and modernized, and presented with minimalist staging and costume. The second was held on Vlaamse Opera in Antwerp, Belgium in 2013. This was an opera with very modern and fancy staging and costume like a musical compared to the first Nabucco. Also the opera was an adaptation of many problems of the present society. The third was a Nabucco performed in Kennedy Center by the Washington National Opera of Washington, U.S. in 2012. Beside the former two operas, it showed the quintessence of classic opera with an elaborate and magnificent scale of the stage, equipment, and costume.
The three different recreations of Nabucco with historical accounts enabled me to work freely and more creatively.
In the practical part, the overall concept of the recreation of Nabucco is shown. The concept describes how and when the inspirations come from, moreover the balance to the historical background tried. Compared to other works, the key concept is the contrast between two ethnic groups rather to the contrast between each character in the opera, and the traditional visual features of Jewish people used, as well as Babylon's. The main concept is the combination of historical and contemporary aspects. For example, in the case of Babylon, luxurious and decadent costumes partially inspired by the gold color of the Ishtar Gate used and in the case of Babylonian forces, the symbols that reminds one of Babylon attached to the present uniforms of military forces. Nabucco and his two daughters have significant differences. Abigaille is a woman with charisma and power, whereas Fenena is very thrifty and her mind is pure. Lastly, Zacharias and Ismael appear with typical Jewish costumes.
The dramatical characteristics of opera is combined with the harmony of history and contemporary parts over the whole concepts of Nabucco. The costumes show the fundamental parts of people from each ethnic group over artistic factors.
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The Meaning of Scenography in Children´s Theatre
Čmelíková, Barbora ; VOSTÁREK, Karel (advisor) ; MARUŠÁK, Radek (referee)
This diploma thesis presents a theoretical contemplation of scenography in children´s theatre supported by examples from the author´s own experience. It confirms scenography to be closely connected with the dramaturgical and directorial part of the whole creative process and to be a full-valued component of every single inscenation´s preparation. The work analyses the theatre space, mutual relations between the stage and the front, particular scenographic elements and the objective factors that influence creation of stage setting in children´s theatre. The thesis shows that the most determining of these are the specific characteristics of the children´s group and the personality of their teacher or leader. It also examines how technical as well as material conditions affect the choice and creation of stage setting. This diploma paper comes to the conclusion that limited conditions may obstacle the way to a theatre performance and mainly its scenography, but in the end they represent a challenge to search for creative solutions.
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Georges Bizet - The complex scenographical project
Březinová, Dorota ; GLOGR, Karel (advisor) ; DUŠEK, Jan (referee)
The topic of my bachelor thesis is an opera of George Bizet Carmen and the scenographic solution. I describe my way to understanding the piece, the time of it's creation and the knowledge of historical facts. I also mention the relevant matters such as the history of corrida, flamenco, tradition of gypsy culture.
I tried to figure out the reasons why the opera succeeded although the initial failure and how it happened to be one of the most played opera piece up to the present. I was looking for the limits of mediocrity.
In the selected productions I focus on the public perception of the piece during the ages and I characterise the changes in the visual transformations and the contribution to the modern scenography. I compare art production in the leading opera houses: Royal Opera House Covent Garden (1989), La Scalla (2006) and Staatsoper Unter den Linden (2006). I also studied the Czech adaptation of Kolář a Tröster under the direction of Kašlík. I have asked myself whether restore and modernize the piece on every step. Finally I've decided for the update version and I consider it right.
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Edward Bond: The Sea
Błaszczyk, Dominika ; ZBOŘILOVÁ, Jana (advisor) ; VOHLÍDALOVÁ, Ivana (referee)
In the first chapter of my master's thesis, I consider the life and works of Edward Bond. However, rather than approach this topic from a purely chronological perspective, I consider Bond's unique artistic activity and place it in its critical and historical context. My research emphasizes the significance of Bond's artistic activity in the successful fight against censorship in British theatre.
My second chapter explores the idea of 'cool drama.' In this section I utilize commentary from preeminent dramatists in the 1990s who spoke about Bond's pervading cultural influence. I also outline my own views on 'brutal drama' and consider its influence.
The third chapter of my work focuses on Bond's 1973 drama 'The Sea,' including the origins of the text, its historical context, and the main dramatic problems of the work. Here I also delve into a summary and analysis of the text, not only from a historical perspective, but also according to my own interpretive analysis. This chapter further contains a cataloging of international productions of 'The Sea', as well as original theoretical analysis of two performances produced in the Czech Republic. I examine and contrast these two productions from the perspective of direction, space, and costume design.
In chapter four, I present the practical part of my work while laying out and defending the intellectual and creative concepts behind it. This chapter is divided into several sections. In section A, I present my key interpretive themes, meticulously analyzing the issues and illuminating the way in which they are reflected in my work. I also present the historical background and analysis of my main ideas.
I continue in chapter four with a presentation of the sources that were essential influences for the visual elements of my work. I follow with a detailed description of how these sources served as particular artistic solutions in my creative process. I closely analyze their particular dramatic characters, their development and their interactions. I describe the costumes and carefully outline their concrete qualities, such as their materials, colors, silhouettes, movement, and historical elements, all of which are supported with visual attachments. Following this, I consider the search for space of dramatic quality, as well as the overall perception and treatment of particular scenes. I explain each dramatic situation and support it with photographs.
The introduction and conclusion contain the opening and final thesis, and I provide an overarching reflection of the work's quality and importance. I conclude the work with a message of gratitude to those who supported me during this project, as well as a list of my research sources.
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Georges Bizet: Carmen - compex scenography project
Suchá, Klára ; GLOGR, Karel (advisor) ; DUŠEK, Jan (referee)
The thesis works out my complex scenographic solution of the George Bizet's opera Carmen. I examine the historical context of the epoch, a brief biography of Georges Bizet summarizes the facts that influenced the creation of the opera Carmen. And what were the initial responses to the first release, among those ranks as well a chapter on Friedrich Nietzsche and his perception of the musical scene in Europe. In the analysis of the world productions of Carmen, I focused on the current shows from Berlin, New York and Barcelona. In my sources of inspiration for my concept I present my essential experiences with the current visual perception, I also deal with the polemic of war and fashion environment in terms of photography. From these sources I indicate the stage and costume design, which is described and documented in gallery below.
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