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Epic principles applied in selected plays of Roland Schimmelpfennig in the context of Brechtian Epic theatre
Zachatá, Petra ; SCHLEGELOVÁ, Martina (advisor) ; AUGUSTOVÁ, Zuzana (referee)
This Bachelor’s thesis deals with the dramatic works of Roland Schimmelpfennig, one of the most frequently produced German playwrights. It discusses relations between Schimmelpfennig’s poetics and Brechtian Epic theatre, focusing especially on essential aesthetical principles and techniques of the Epic theatre. The introductory part of the thesis sets Schimmelpfennig’s works into a wider context of German theatre and drama at the turn of the twentieth century. It focuses on the new generation of German playwrights, whose plays resign from postdramatic poetics, which has held a leading position since the 1980s. The opening part also summarizes fundamental principles and formal techniques of the Brechtian Epic theatre. The main part of the thesis consists of an analysis of two Schimmelpfennig’s plays, The Arabian Night and The Golden Dragon. The analysis covers epical principles and techniques used by Schimmelpfennig in these plays. The aim of the Bachelor’s thesis is to clarify whether there are any essential similarities between Schimmelpfennig’s and Brecht’s dramatic works: Do both authors use similar epical techniques, and do they apply these techniques in accordance with similar esthetical grounds and social beliefs? The principal aim of the Bachelor’s thesis is to determine whether it is possible to treat Schimmelpfennig’s dramatic works as a distinctive type of the Epic theatre.
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Productions of Franz Kafka's work in directorial generation at the turn of the 1980s and 1990s in the wider context of alternative culture
Pavelková, Tereza ; AUGUSTOVÁ, Zuzana (advisor) ; SCHLEGELOVÁ, Martina (referee)
Master's thesis deals with the reception of Franz Kafka's personality and works by generations of directors at the turn of the 1980s and 1990s. The main question discussed is what Kafka's work meant for these directors, which subject it represented for them, and how their theatrical adaptations reflected the socio-political conditions of the socialist Czechoslovakia in the period of normalization. The first chapter reflects the social and cultural context of the period while focusing on the position of the theater and movement of the small scenes which belonged to the current alternative culture. The second chapter focuses on Franz Kafka's reception by 1989 and also contains a literary interpretation of his work, on which is based the main part of the thesis. There are the analyses of the productions of America (1985, J. A. Pitínský), The Trial (1989, Arnošt Goldflam), The Metamorphosis (1988, Petr Lébl) and Josephine the Singer, or the Mouse Folk (1989, Petr Lébl). On grounds of these analyses, we can argue that Kafka’s work served to the explored generation as an expression of the existential feeling of an individual in totalitarian society. The last chapter deals with The Wish to Become an Indian (1991, J.A. Pitínský), which was created after the revolution, and shows how Franz Kafka's theatrical interpretations changed at the end of totalitarianism.
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Political theatre of Falk Richter in post-dramatic context
Chvátalová, Martina ; Augustová, Zuzana (advisor) ; Pšenička, Martin (referee)
(Anglicky) This diploma thesis conducts a survey of dramatic and theatre work of contemporary German dramatist and director Falk Richter (born 1969) in the context of German political theatre of 20th century, thus primarily Brecht and Piscator tradition. At the same time, the concepts of political and post-dramatic theatre are defined and elaborated. The work points out that the current political function of theatre and its chance to directly influence social reality is understood differently than in the case of both pre-war and post-war epic drama by Erwin Piscator and Bertolt Brecht, or in the documentary drama of the 1960s. The key goal of the thesis is to analyze and interpret chosen Richter's dramatic writings and mainly the project Trust, which was created in collaboration with Dutch choreographer Anouk van Dijk. The project can be perceived as a current form of Richter's poetry, which gradually deviates from the "drama" theatre and inclines to motion drama with dance and performance elements. It is showed how the authors deal with present social and personal issues, which are transformed into theatre expression, motion and dance. At last, the thesis examines in what consists the politics of this project.
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Distancing effects in productions of Komedie Theatre
Havelková, Pavla ; Augustová, Zuzana (advisor) ; Pšenička, Martin (referee)
The aim of the thesis is to analyze distancing effects in productions of the Komedie Theatre. As a subject of analysis I only chose such plays of the Komedie Theatre that I consider highly representative in their usage of distancing effects and principles, reason of which is the chosen analytical method is relatively detailed and the extent of the thesis is limited. The plays chosen are Kanibalové, Kvartet and Sportštyk. I separately analyzed each drama, then I analyzed its production. Each play is addressed in a separate chapter. In these chapters I focused especially on the possibilities of using distancing effects that are hinted at in the text by the author. In the chapters dedicated to production I analyzed the way how the directors worked with distancing effects utilized by the authors and how they developed and enriched them. The objective of my analysis was to identify the distancing effects used in plays of the Comedy Theatre and also to define their role in context of the overall poetry of the Komedie Theatre.
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Directional creation by Frank Castorf
Pavlíčková, Aneta ; Augustová, Zuzana (advisor) ; Pšenička, Martin (referee)
(in English): This bachelor thesis is dealing with the work of German director and intendant of Volksbühne am Rosa-Luxemburg-Platz theatre in Berlin, Frank Castorf (born 1951). The thesis is focusing on the characteristic features of Castorf's directing method and on the subject of politics in his current plays in Volksbühne theatre. In the thesis there are two plays being analysed: Kean ou Désordre et Génie. Comédie en cinq actes par Alexandre Dumas et "Die Hamletmaschine" par Heiner Müller (premiere: 6. 11. 2008) a Das Duell (premiere: 27. 3. 2013). Castorf's work is being investigated in terms of postdramatical theatre and performance aesthetics. The firts part of the thesis is focusing on Castorf's method of adapting and rearranging dramatical and literary texts. The second part deals with the director's concept of actor's physical being on stage. The last chapter looks into Castrof's work with video projections and live streaming in his plays and deals with the matter of distinguishing the real body presence of an actor on stage and his reflection in the electronic projections. Castrof's work concept is mainly being analysed from the point of the viewer's perception. The bachelor thesis shows that political dimension of Castorf's work doesn't depend only on textual expression but also on the...
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The poetics of selected plays by Roland Schimmelpfennig performed on Czech theatre stages in the context of the contemporary German-speaking theatre
Celárková, Michaela ; Augustová, Zuzana (advisor) ; Pšenička, Martin (referee)
This thesis presents the work of a contemporary German playwright Roland Schimmelpfennig in a wider context. In the main chapter, the author focuses on the analysis of five Schimmelpfennig's plays that have been performed also on Czech theatre stages. The analysis emphasizes the elements of a dramatic structure that Schimmelpfennig uses in an innovative way: epization of texts, unrealistic treatment of dramatic time, elements of magic realism etc. The author also pays attention to a general characteristic of a contemporary German-speaking theatre with respect to the topics that it deals with. A significant part of the work is devoted to classifying Roland Schimmelpfennig's work in the historical and theoretical context of a contemporary German-speaking theatre. A book called Die Rückkehr der Helden by a German author Nikolaus Frei, which questions some opinion on the recent development of theatre presented in a book Postdramatisches Theater by Hans Thiese Lehmann, has become a crucial source for this thesis. Nikolaus Frei copes with the question of animateness/inanimateness of theatre and by using extracts from particular dramatic texts by contemporary authors proves a possible continuity of mimesis, realistic acting and conflicts on the stage until the 21st century. In conclusion, it is possible...
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Dramatic production of Prague german authors in years 1910-1938
Kverková, Pavlína ; Augustová, Zuzana (advisor) ; Just, Vladimír (referee)
SYNOPSIS This thesis is devoted to German-speaking dramatists in Prague in the years between 1910 and 1938. The author of this thesis tries to research and emphasize the themes that were the most frequent in their production. The largest space is devoted to expressionist and by expressionism influenced drama. Another objective of this thesis is to integrate the work of these playwrights in the wider socio-cultural context, taking into account the specific atmosphere of Prague as a multicultural and multiethnic city, influenced by the mutual relationship between the three most widespread national minorities. KEYWORDS Prague German literature, expressionism, drama, theatre.
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Karl Kraus' The Last Days of Mankind and its Stagings
Kverková, Pavlína ; Augustová, Zuzana (advisor) ; Jiřík, Jan (referee)
This bachelor's thesis is devoted to analysis of the most important work of an austrian writer, publicist and critic Karl Kraus (1874-1936), The Last Day of Mankind. The work not only deals with formal features of the text as well as with the content but it also intends to emphasize the timelessness of the central themes such as media manipulation. It focuses also on cultural and social context of the work. Using information based on available recources, the second part of the work is mainly concerned with the method by which the stage managers were attempting to stage this large piece of work in Germany and Austria. Rather large space is devoted to the only Czech production, whose premiere took place in April 2011 in Prague in Divadlo Komedie.
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The Czech and German kabaret scene within Czech culture in the first two decades of the 20th century
Poštulková, Marta ; Just, Vladimír (advisor) ; Augustová, Zuzana (referee)
This thesis deals with Czech and German cabaret shows on the Bohemian land in the first two decades of the 20th century . The thesis first familiarizes the reader with the history of Czech cabaret - with first such establishments in Prague and the very birth of this performance type here. Then some space is devoted to the most important of Prague' s theatres - Lucerna, Rokoko, Červená sedma and Montmartre - and their comparison. More theatres are spoken about later on, both Czech and foreign. Then, several prominent figures of cabaret theatre are characterised and it is also analyzed how they influenced each other and the cabaret itself. The very last part details the circumstances that ultimately led to downfall of most cabaret theatres in the twenties and evaluates contributions cabaret might mean for the future.
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What is the Czech operagoer like?
Řeháková, Kateřina ; Pšenička, Martin (advisor) ; Augustová, Zuzana (referee)
This Bachelor thesis compiles the results of the sociologic-marketing research on the Czech opera audience in all ten Czech opera houses elaborated by the Music Theatre Society and supported by the Ministry of Culture's grant. It displays sociological a demographic structure of the opera audience and tries to find out their marketing potential and the consequences for managements of opera theatres in the Czech Republic.
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