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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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Shakespeare´s plays directed by Jan Mikulášek
Lásková, Petra ; HRDINOVÁ, Radmila (advisor) ; TICHÝ, Zdeněk (referee)
In this bachelor thesis I try to capture the basic principles of work of director Jan Mikulášek and by specific examples show their main characteristic features and difficulties in relation to the dramatic text. The thesis is focused on the analysis of Shakespeare?s plays directed by Jan Mikulášek: Hamlet at Divadlo Husa na provázku and Macbeth at Divadlo v Dlouhé. The basic source of information for my work are critical reflection of performances, interviews with authors, literature, video productions, and my own experiences and theatrical texts of plays of William Shakespeare: Hamlet translated by Zdeněk Urbánek and Macbeth in Jiří Josek translation as well.
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The place of dramaturgy in devised theatre
Pola, Petr ; KLÍMA, Miloslav (advisor) ; ADÁMEK, Jiří (referee)
This thesis deals with dramaturgy of devised theatre. In the first part we provide an analysis of selected performances of Anicka a letadylko theatre with intention to describe specific ways of participation of dramaturgy as creative, conceptual and reflective activity on the performance formation process and the direction of the theater as a whole. The second part deals with dramaturgy of devised theatre in the sense of a method of use and organization of theatrical signs. The aim of this part is a definition of theoretical grounds of devised theatre in a such a way to open space a wide range of creative dramaturgies of devised theater.
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Jean Cocteau's film Orpheus as theatre
Teheux, Sophie ; MIKEŠ, Vladimír (advisor) ; TOMÁNEK, Karel, Frant. (referee)
Ce mémoire de bachelor aborde, d'une part, l'aspect dramaturgique du scénario Orphée que j'ai écrit en troisieme année d'études de mise en scene et dramaturgie et est, d'autre part, constitué de la réflexion qui a suivi l'écriture de ce scénario. La partie principale de ce travail s'intéresse aux mythes : quelle signification comportent les mythes anciens et modernes et quel rôle jouent-ils dans la société contemporaine ? Une seconde partie, tout aussi importante, est ensuite consacrée au poete français d'origine belge, Henri Michaux. La personnalité de ce poete ainsi que ces expérimentations avec la mescaline sont en effet a la base de l'inspiration de mon Orphée. Les idées premieres et les lignes de direction d'origine sont enfin confrontées a la réalisation finale du scénario.
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David Jařab and Dušan D. Pařízek´s work in Komedie Theatre
Fleyberková, Klára ; SCHLEGELOVÁ, Martina (advisor) ; AUGUSTOVÁ, Zuzana (referee)
The topic of this thesis is the work of David Jařab and Dušan D. Pařízek - two of the leading figures in Komedie Theatre from years 2002 to 2012. It tries to capture some of the principles of both author´s work and focuses on their work on Komedie´s scene only. After a brief introduction to the history of Komedie Theatre and Pražské komorní divadlo (Prague theatre ensemble), this thesis analyses the theatre´s further dramaturgy, both author´s topic selection and their working with text. In the next part it gets to the formal elements in the authors´s plays - successively it describes stage design, costumes, music or visual effects. Last part of this thesis is about some common specific points that we could find in Jařab and Pařízek´s production, about their approach to acting and combining space and text. And in the very end there is a general reflection of Komedie Theatre under the lead of Pražské komorní divadlo besides trying to find possible reasons why these two figures helped to create such acclaimed scene. The objective of this thesis is to describe the work of David Jařab and Dušan D. Pařízek in Prague´s Komedie Theatre and to detect principles of their production and mutual collaboration.
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The Czech Postmodern Theatre and Works of Jiří Havelka
Kubák, Ivo Kristián ; MAKONJ, Karel (advisor) ; CÍSAŘ, Jan (referee)
The thesis is in its first part focused to describe the current generation of directors, who started official creative careers after 1989. It locates three basic lines of staging procedures and in the second part aims on five directors of this generation, which currently teaches in the Department of Alternative and Puppet Theatre of The Theatre Faculty of the Academy of Performing Arts in Prague: Petra Tejnorová, Jiří Adámek, Martin Kukučka, Lukáš Trpišovský a Jiří Havelka. The latter is devoted to detail in the third part, which is based on available ctitic reflections of Havelka's work and tries to figure out how is this work received by critics and the public. Attachment contains complete list of Havelka scenical works.
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Work on collaborative authorial performance
Van Wagenenová, Kateřina ; MUSILOVÁ, Martina (advisor) ; POTUŽÁKOVÁ, Markéta (referee)
This thesis follows the genesis of three authorial performances, that I and my partners created in collaboration during my study at the Department of authorial creativity and pedagogy DAMU. From the perspective of my own experience I am trying to monitor the specifics of such cooperation, the issues of rehearsing and performing with a fixed script and without a fixed script but with a list of points/a score instead. I am describing the influence of impulses and reflections from pedagogues given to us during our quest and I am also mentioning the working methods and exercises used when discovering the performance and my reflections of rehearsals.
DVD of the three performances and two examples of point scripts is attached. One of which of a performance described in this thesis, the other of a solo authorial/devising work is attached for comparison.
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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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Mirth and matter
Barriere, Alexandre ; KORČÁK, Jakub (advisor) ; NEUMANN, Julius (referee)
This thesis is based on the author?s experience of directing J. Ford, Th. Dekker, and W. Rowley?s play The Witch of Edmonton (1621) in Divadlo DISK in February 2012 as a final performance in his Directing Master Studies at the Theatre Faculty. What is at stake in reviving such a little-known play of the Jacobean era, and performing it in Czech Republic? Can a text written as a reaction to a precise event (a real witch trial) and built as a quasi-documentary depiction of the society of the time, within the aesthetic codes of the time, be relevant material for a lively performance today? This thesis argues that yes, and that The Witch of Edmonton can actually be the starting point of what can be ?political theatre? in a form not only belonging to a long tradition of committed entertainment (the play?s prologue promising us ?mirth and matter?), but especially relevant to today?s audiences and artistic stakes. The first part of the thesis is a detailed contextual analysis of the play, the historical period in which it was written, the conditions of performance of the time, the material it is based on and the way it was dramaturgically built as ?political?. The second part focuses on the author?s analytical attempts to extract the text from its historical context, in particular through comparative history and history of ideas and using the concepts of Brecht?s epic theatre, depicting also how this research served as a preparation for the concept of his performance, a concept that is then explicated in detail. The third and last part is a short account and reflection about the rehearsal process and its outcome from the director?s point of view, making a final statement on the achieved practical work.
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