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Composition and mystification (Jan Novák, Jan Lukeš, T.R. Field)
Odložilíková, Žaneta ; Janoušek, Pavel (advisor) ; Brožová, Věra (referee)
This diploma thesis Composition and Mystification (Jan Novák, Jan Lukeš, and T. R. Field) acquaints the reader with three personages of Czech literature of the twentieth century. So far they have been treated by literary science as rather marginal. Their work is associated with a great deal of literary mystification originating from the authors themselves or people influenced by their literary output and their personalities. All three authors belong to the category of so called 'loonies', which implies that their lives and their work were to certain extent shaped by the eccentricity of their personalities or perhaps even mental disorders. The introductory chapter with its synoptic character defines and describes the term of literary mystification which is further on related to terms such as play, ludism and myth. Particular emphasis is being put on the distinction between the literary mystifications and the traditional ones. Selected literary mystifications in Czech literature are exemplified. Attention is also drawn to the publications of Vladimír Borecký who was interested in the category of so called 'loonies' and 'weirdoes'. The following chapter is concerned with individual authors maintaining an identical procedure of their depiction. After the sources of information are mentioned, the...
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MISSING AND DISAPPEARING
Langer, Jan ; Havlík, Vladimír (referee) ; Mikyta, Svätopluk (advisor)
This work documents the author's interest in drawing and is based on the mental background of his artistic creation. The work is guided by the interest in the physical conditions of the drawing itself (materiality of the drawing), but also in the study of drawing as a fluid material of artistic creation, entering into the relationship with the image (drawing as a material). At the same time it deals with the process of creation itself and the phenomenon of repetition. The primary goal of the whole work is not the deliberate laying of pre-formulated questions and the subsequent search for their answers, the presentation of some finished truths, or the mere illustration of a certain issue, but rather the process of finding questions that emerge during the process of creation itself.
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ME AND HER (OR CREATING AN ACTING CHARACTER )
Dostálová, Pavla ; HRBEK, Daniel (advisor) ; TÖPFER, Tomáš (referee)
The thesis focuses mainly on getting to know myself as an actress. I describe my way of work on creating a character (Kačenka, Guests by Oliver Bukowski) using my four years experience on the theatre faculty. I focus mainly on the work with a text, director and acting partners. I am trying to express the moments which influenced my developement as an actor and determine how they affected my own creations. In regards with this I touch on the problematics of self-control. This thesis is mainly a self-reflection which arose from the need of working on myself in the field of acting as well as directing-dramaturgy which I currently study
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KEEPING DISTANCE AND COMPLETE FUSION INTO A CHARACTER
Radová, Marie ; ŠIKTANCOVÁ, Jaroslava (advisor) ; MRKVIČKA, Ladislav (referee)
This thesis examines my method of portraying theatrical characters throught the main ideas and dramatic theories of Denis Diderot, Konstantin Sergeyevich Stanislavsky and Bertolt Brecht. I perceive the themes of blending with a character and keeping a distance from a character as a question of sense and sensibility in theater, i.e. a question of conscious acting as opposed to acting which stems from the subconscious. While constantly rehearsing new roles and searching for my theatrical self, I came across three mutually contradictory dramatic theories and began to feel a need to confront them. In this thesis, I compare Diderot's Paradox of Acting, Stanislavsky's Method and Brecht's approach to one another while commenting on them from the perspective of my own acting experience. I further elaborate on my acting experience in the chapter about Letovisko, my second graduation play at the Disk Theatre. It is in this chapter where I answer most of my questions related to my acting. Another acting experience described in this thesis is my work on two productions of Bertold Brecht's Drums in the Night. I compare a version me and my classmates rehearsed in our second semester and a different, altered version we created four years later
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LABORARTORY BRNO
Valchová, Jana ; Pospíšil, Zdeněk (referee) ; Boháč, Ivo (advisor)
The main task of our project was the gallery of architecture at the intersection of Street Koliště and Milady Horakove Street, on the edge of the first city ring road, called Ringstrasse, a remnant of the city walls in Brno. In my design, I came mainly from operational and communication links of the surroundings of our plot. The proposed mass gives the impression of a closed corner of the city block. The aim of my proposal is the gallery with additional forms of use.
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Flute creation of members of the group Les six
Kozáková, Adéla ; PIVODA, Radomír (advisor) ; HLAVÁČ, Jiří (referee)
The aim of the present thesis is to analyze the works of the composers belonging to the groupe referred to as Les Six (G. Auric, D. Milhaud, L. Durey, A. Honegger, F. Poulenc a G. Tailleferre), with particular reference for the compositions written for flute. In the opening part of the text, we concentrate on delimiting the cultural and artistic context in which the group in question was established, including the musical (collaboration with E. Satie) and literary (J. Cocteau) influences. In the following part, we present a brief individual chapter on each of the members, provide a fundamental information on his/her life and work and propose a more detailed analysis of the compositions for flute.
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CO-CREATING THEATRE
Petrovič, Zoran ; MAKONJ, Karel (advisor) ; KLÍMA, Miloslav (referee)
This graduate paper deals with the phenomenon of the theatre
spectacle that truly becomes alive no sooner than when the actor and the
spectator meet in the same space and time; the paper is also occupied with
the (pre)conditions that have to be met in order for the interaction between
the actor and the spectator to begin.
The paper draws conclusions from the theatre creator?s and the
spectator?s perspectives, it wonders about the meaning and the origin of
theatre (co)creation, and is based on practical experience, as well as on the
findings of theatre practitioners and theoreticians.
The concept of theatre is used in the widest meaning of the word.
The paper intentionally originates from and connects various performance
arts ? it draws from the realization that the theatre is basically one, and
that for theatre to happen one needs both: an active actor and an active
spectator.
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