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Road-show theatre yesterday and today
Těšínská, Tereza ; PETIŠKOVÁ, Ladislava (advisor) ; MAKONJ, Karel (referee)
This work is concentrated on the road-show theatre in Czech lands since half of the 19th century till nowadays. In it I compare the experiences of chosen original road-show companies with my experience from realisation of ?Putování? project, two-months road-show travelling in Czech regions during summer 2012. Its results should be telling, in what is road-show travelling today similar and in what different from original companies.
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The contemporary performer in mime theater
Křivánková, Jindřiška ; PETIŠKOVÁ, Ladislava (advisor) ; HALAŠ, Adam (referee)
This magister thesis is about the task of contemporary performer in mime theater. The thesis deals with a question of authorship and physical being of the performer on the stage. The thesis is based on analysis of graduation performence of Jindřiška Křivánková titled The hunters and on the basis of this analysis entitle principals of authorial theater and contemporary acting.
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Contemporary circus and its dance element
Válková, Monika ; VAGNEROVÁ, Lenka (advisor) ; Bočková, Šárka (referee)
This thesis deals with the phenomenon of contemporary art, specifically with the contemporary circus. It describes the history of circus from the beginning to present and the reasons for degradation of its traditional forms. In detail this thesis deals with the new circus art - so called contemporary circus, which is based on the foundations of traditional circus. The main focus is on dance, acrobatic and performing arts, which are an integral part of the development of contemporary circus both in Czech Republic and abroad.
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The Phenomenon of black Theater
Paňková, Jana ; PETIŠKOVÁ, Ladislava (advisor) ; Čihařová, Eva (referee)
In my final thesis I focused on the phenomenon of black theatre. I will describe his technical properties, leading of puppets and stage properties, specific acting and black theatre´s effects. I will also try to explain direction´s difficulties of this synthetic theatre, this will be followed by short case history of black theatre. At the and I will be interested in Black light theatre of Jiří Srnec from his beginnings till our days and I will outline the contributton of his black-theatral production.
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Movement in drama and opera - work of Robert Wilson
Waidingerová, Andrea ; SOPROVÁ, Jana (advisor) ; HYVNAR, Jan (referee)
Most of us try to do performance in pure style (mime, drama, clownerie, slap stick, physical theatre, opera, musical, ballet). I am interested in mixing of these styles. Robert Wilson works this way. For him movement is one of the basic means of communication. He works ? as mime theatre does ? with images (pictures). He works with hyperbole and big stylization, that is close to mime theatre. This thesis is interested in mime theatre or theatre of movement and its relation to other elements of theatre. The thesis also deals with the work of Robert Wilson and tries to show the interaction of the elements he uses for the stage image. A how he touches the audience with his work.
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APPLICATION OF FOLKLORE PRINCIPLES IN PHYSICAL THEATER
Talaga, Martin ; STAVĚLOVÁ, Daniela (advisor) ; FRIČOVÁ, Marie (referee)
It can seems that folklore and physical theater are two very different issues. But they have got so many things in common bacause folklore have got so many principles which can help us find ritual character of theater. First of all because of folklore syncretism - it contains small rituals, games, plays, dance, music and spoken word. Contemporary art does not use these principles so much. We are used to that folklore is always presented by smal folklore village groups, or big professional companies. But there are much more possibilities than this, because principles which has been used before, are still very functional and usefull. This has been already marked by couple of great theoretics of theater. We reached this statement by observing of artists and dance companies which already involved folklore tradition to their work, and by my own choreographic work .
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JOHN CAGE´S LEGACY TO MOVEMENT THEATRE
Fröhlichová, Marie ; PETIŠKOVÁ, Ladislava (advisor) ; MATOUŠEK, Vlastislav (referee)
This work is aimed to acquaint the reader with the work of American composer John Cage in 20th century primarily with his work related to dance, movement and theatre.
First of all, it describes the composer's musical development, systems and principles of his work that he reached on the basis of his music practise. After explaining how the Cage applied these principles in other artistic disciplines attention is focused to dance, movement and theater.
In conclusion, the work focuses on the reference of John Cage's art and theater legacy ? This, his own life philosophy, which had been develo- ped for many years of his work and in which Cage came to simple persuasion - the most important thing is the existence of music and noises as themselves. The essence of existence of noises.
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Theatre of Cruelty in work of Peter Brook
Bychek, Oleksiy ; SOPROVÁ, Jana (advisor) ; PETIŠKOVÁ, Ladislava (referee)
This work is concentrated on the period of ?Theatre of Cruelty? and following theatre experiments in work of Peter Brook. It´s historical basis are years 1963-1970 and it explores the influences of Antonin Artauds theories on Brooks praxis, areas, where these men encountered. Main goal of this work is to reflect confrontaion of Artauds ideas with practical theatrical process and to tell, how much were they real and how much not: to explain their contribution to theatre.
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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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