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Theatre in Open Space
Štěpán, Jakub ; ŽIŽKA, Tomáš (advisor) ; TÄUBELOVÁ, Kristýna (referee)
In bachelor work I am presenting four theatre projects, they have one thing in common that being open space or open air. I am also looking for more things which connect my other projects which I also did at school. I am making a dictionary of foreign words and terms which are related to work in open space. Most of my work is set outside, I like to look for new locations and building my visions beyond the theater stage. Film and this world is another link to my work, I like to use film editing and visuals as a part of theater dramaturgy. Traveling (migrating) as an art style, is another link to my work, there is a lot of new technology and more when you searching and looking in other countries and meeting new people in industry.
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Theatre decoration? Set design? Scenography?
Vöröšová, Markéta ; KOUBSKÁ, Vlasta (advisor) ; CÍSAŘ, Jan (referee)
This thesis focuses on and compares the theoretical perception of scenography in the works of Czech aestheticians Otakar Zich and Růžena Vacková.
The whole comparison is integrated into the context of Czech modern scenography. Several key productions were chosen to demonstrate new tendencies that appeared at the specified time point in our theatre history. The thesis mentions theatre authors together with their works that played important role in forming Zich?s and Vacková?s opinions and theatre conceptions.
Taking into account how versatile personalities Otakar Zich and Růžena Vacková were it was necessary to bring up all areas of their activities. I attempted to summarize their professional careers and their influence on followers and I also wanted not to omit their life?s history . I deal with the importance of Zich´s key work Estetika dramatického umění and I also focused on personality of Vacková and the circumstances of the creation of Výtvarný projev v dramatickém umění.
It is a compilation work in which I try to present two approaches to the visual component of theatre performances. I compare their terminology used. I try to describe some aspects of scenography which Vacková developed under the influence of her predecessor and teacher and also the aspects that she was not in accordance with. Further, I focus on the problems of the possible forms of set design, connection between scenography and painting or architecture, and also on how the authors conceived the ideal scene, on whether they attached greater or lesser importance to stage directions and also on the problems of light, costumes, masks, stage objects?
This thesis should be perceived as a mere starting point for further in-depth exploration. There is a possibility to go deeper into details and/or extend the view so as to cover also other representatives of the Czech theatre theory with their scenography conceptions. I hope that, in the future, I will be able to continue working on this topic and to cover the history of Czech set desing theory in its integrity up to present days.
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Karel Čapek - RUR
Bardić, Bojana ; DUŠEK, Jan (advisor) ; , (referee)
When Karel Čapek´s R.U.R. (the acronymic title is short for ??Rossum?s Universal Robots??) was first performed in 1921, it became a major international success and made Čapek an internationally known playwright. Although R.U.R. may appear slightly dated nearly hundred years later, the concerns expressed by the playwright are still interesting to modern audiences which explains why this play was chosen to be stage designed in the first place.
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Georges Bizet: Carmen - coplete stage design project
Trpković, Andrijana ; GLOGR, Karel (advisor) ; DAVID, Milan (referee)
This dissertation is dealing with a phenomenon of opera from the view of a stage design in the first place. Stage design is a visual arts branch, and students find it mostly very difficult to work with music after two years of working with drama scripts, and there is no so much time to penetrate the opera. While I was beginning to work on my first task, Bizet?s opera Carmen, I found that my knowledge of opera is imperfect and that to find important moments of drama in music, and how to perform it visually is very difficult. That is why I decided to dedicate the first part of my work to history of opera, mainly from the view of scenography. This overview is slowly approaching to my own idea of it and penetration into the problem. This also helps me with my own concept witch I represent and thorough analyse. Another part of work is description and characterisation of few production of Carmen made in Czech theatres during past sixty years and finally kind of treatise about how is it possible to work with opera today.
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Bohumil Hrabal: I served the king of England, costume design of theatre play
Krčmářová, Petra ; VOHLÍDALOVÁ, Ivana (advisor) ; ZBOŘILOVÁ, Jana (referee)
The thesis is about theatre play I served the king of England, written by czech autor Bohumil Hrabal. In first theoretical part I briefly concentrate on author, his life and his work and I choose performances of I served the king of England with this script. At the end I analyze a drama. I describe history of clothing and history of the Czechoslovak Republic. In a practical part of my thesis I analyze all dramatical characters and give description and explication of their costumes. And then I use designs at the end of my thesis.
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Albert Camus: The Stranger - complex scenic project
Strmisková, Denisa ; DUŠEK, Jan (advisor) ; GLOGR, Karel (referee)
The aim of this thesis is to introduce a renowned French author Albert Camus and subsequently develop my own conclusion on one of his major works - The Stranger (1942). In the first part I introduce the personality of Albert Camus's in the context of philosophical history, literature and drama. I aim to explain the background of his life in the first part of the 20th century, particularly the influence of his origin in Algiers, at that time politically and culturally dominated by the French, in contrast with later residence in France itself. These influences promoted the principle of individuality in the work of Albert Camus and clearly directed him to his own interpretation of literary expression and existentialism. Further I outline the basic principles of this philosophy and I present his most important literary and dramatic works. More specifically I deal with the analysis of the novel The Stranger itself. The topic of next chapter is the presentation of Camus's selected work on the Czech as well as international stages and their specifications. In brief mention I present film adaptations as well. The second part goes in to analysing my own conclusions of The Stranger with a particular attention to the set design. This is closely related to the practical work of the thesis - designs of chosen scenes and scale models are included in the photographic documentation. I aim to explain how I use the actual text of the novel whilst adjusting its structure in relation to the stage design. Then I analyze in detail the various dramatic situations and scenes in terms of set design solutions. In short I present technical and lighting solutions of this production. Conclusion of this thesis refers to the contribution of Camus's work and its influence on the art scene of the 20th century.
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SCENOGRAPHY AS A DRAMATURGY
Sléhová, Tereza ; NOVÁK, Vladimír (advisor) ; KRÁLOVÁ, Andrea (referee)
In work I speak about steps in performance Ekvipáž, where I use
art as a possibillity in comunication.
Scenography with function of dramaturgy. Performance is more
compact with all it's elements and work of all people is based on
cooperation. Scenography has bigger role than just visual effect,
and should comunicate with audience.
conecting audience with play itself and broadening influence of the
performance by reffering to the subjectiveaudiences experience.
This is very important in conecting audience with play itself and broadening influence of the
performance by reffering to the subjectiveaudiences experience.
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Giuseppe Verdi: Rigoletto - Comlex scenografical project
Lippertová, Dominika ; GLOGR, Karel (advisor) ; DUŠEK, Jan (referee)
This work is a theoretical part of the scenographic project of opera Rigoletto. I analyze here the whole process of creating and the comprehensive visual concept.
The first part of the work discusses the foreign productions of Rigoletto. It is focused on the stage design of relatively contemporary productions. It compares them with the staging from the 1970's that is more classical in terms of the stage design.
The analysis of the productions is a basis for further analysis of the possibilities of visual adaptation of opera Rigoletto.
The second part is based on the previous analysis. It describes the way to the visual conception of stage design and costumes to opera Rigoletto.Visual design is based on a minimalistically conceived stage and a relationship between music and the abstracted geometric shapes of costumes as the art objects and of the stage design itself.
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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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