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Pina Bausch's dance theatre
Faustová, Markéta ; Augustová, Zuzana (referee) ; Christov, Petr (advisor)
Pina Bausch and the dance company Tanztheater Wuppertal inherently belong together. The choreographer became the head of this German dance company in 1973 and has led it since up today. She has never created choreography for any other dance group or other dancer. During this thirty-five years' connection the company moved among the top dance groups and stili achieve success worldwide. lt was and stili is an inspiration for many young authors. lt is a history, but also the presence at the same time. Right from the beginning of her career, Pina Bausch indicated that her work was going to be exceptional. For her, there were no barriers, neither in formulation of themes, nor in use of means of expression. She organically connected dance and theatre in her works and thus created a new art genre, which theoreticians call dance theatre. She managed to unite a multi-national group of twenty-six members, with which she worked very closely in preparation of particular pieces. Especially at the beginning, the dancers were forced to personally engage into each choreography. Preparation of a performance consisted in so-called principle of questions. Pina Bausch wanted her dancers to answer her questions by improvising a little dance or theatre sketch. Then, she was choosing from this amount of mate rial to form a base...
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Ferdinand Vaněk on the stage
Dvořáková, Jana ; Augustová, Zuzana (referee) ; Just, Vladimír (advisor)
During seventies and eighties, respecti vely in the period 1975 - 1985, nine new plays by four authors have emerged, mostly one-act plays, called together vaňkovky. They earned this label on basis of the identical name of the main character, which is Ferdinand Vaněk. Nevertheless "These plays lack firm common theme, rather they form only "occasional" stories/sketches a konto Ferdinand Vaněk than genuine dramas wi th strong self-supporting stories. ,,142 Some authors produced just one such play (Jiří Dienstbier Reception) , others two of them (Pavel Landovský Sanitary Night, Arrest) and some even three (Václav Havel Audience, Unveiling, Protest; Pavel Kohout Permit, Morass, Safari). Journey of vaňkovky to the stage was a complicated one. In the original years it was not only due difficulty of their staging. Most of them (Audience, Protest, Unveiling, Permit, Arrest) were premiered abroad, concretely in Viennese Burgtheater. Besides these world premieres did I turn my attention only to professional plus most significant non-professional productions presented in Czech Republic. In turn of the Velvet revolution in 1989 proscribed authors and plays were free to show on stages and vaňkovky could be seen with perhaps excessive frequency. This period, lasting approximately one and half year and expiring by the end...
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Jan Filip - Zwiefelhofer. Portrait of the actor Jan Filip in the context of Ostrava theatre
Stanová, Michaela ; Augustová, Zuzana (referee) ; Christov, Petr (advisor)
The aim of the work Portrait af Jan Filip-Zweifelhafer in cantext af Ostravian theatre is to outline the actors work on historical background of Czech theatrical society in at the end of the 20th century. Jan Filip was born on 7th april 1936 in Prague but spent his childhood and youth in Sušice, the town which he never stops visiting in his entire life. He graduates from the grammar school there and starts working as geodesist in Mariánské Lázně near by. He joins amateur theatricals and then strikes the attention of a gifted theatrician Jiří Dalík who offers Filip the first professional contract in Karlovy Vary theatre. He accepts and in 1960 starts his "border line theatres" era. Saša Lichý, art director of Petr Bezruč Theatre, offers Jan Filip in 1966 to come to Ostrava. He accepts, moves there with his family and stays until the end of his life. During his engagement in Petr Bezruč Theatre, he turns from the position of romantic herD into characterful actor. It is right in PBT where Jan Filip fully develops his crafts and artistic abilities. He also tryes the taste of fame and admiration there. ln 1976 Filip changes the scene and acquires engagement in Ostrava State Theatre. Working enviroment changes. The bigger ensemble, different audience, different resource of professional and personal growth. During...
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The Five from Prague art companies and their media reception in years 1980-1989
Kovář, Zdeněk ; Augustová, Zuzana (referee) ; Just, Vladimír (advisor)
This bachelor thesis deals with The Five from Prague art companies and the media reactions to their creations in the 80th of 20th century. ln the first part much attention is paid to the formation of these groups, their members and the characterization of their work. In those years wasn't written any review about their performances. The subsequent chapters are divided into three time periods - inscenations before their joint staging in the Lucerna hall, the Lucerna action and their productions at the end of the 80th of 20th century. During each period not only Prague 5 but also their media receptoin which is the principal task of this thesis was developing. The last part of this work is devoted to the development of these art companies at the tum of the 80th and the 90th of 20th century and the Tomas Voreľ s films The Five from Prague and The Smoke.
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Historical dramas by Václav Vlček
Tauchenová, Tereza ; Augustová, Zuzana (referee) ; Topolová, Barbara (advisor)
This bachelor thesis deals with historical plays written by Václav Vlček (1839-1908). It acquaints with author and his contemporary social status and outlines Vlček's extensive artistic work at first. After that it fully follows playwrite's historical plays. All Vlček's historical dramas are analysed in chronoligical sequence. Analysis always includes storyline summary, main figures characterization, critical evaluation of dramatical construction and language aspect. We try to discover playwrite's inspiratory sources and throw light on his resources and motivations in theme selection and its elaboration. The last part shows Vlček's corner-stone principles. It evaluates importance of his dramatical performance.
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Contemporary Czech radio drama. Acoustic experiments of Heiner Goebbels
Ptačinská Jirátová, Jana ; Pšenička, Martin (referee) ; Augustová, Zuzana (advisor)
This thesis deals with one historically important radio genre - radio play. It is focused on contemporary German production, which kepts its significance as one of the few up to this day not only in the field of radio production but also in the field of culture generally. Several chapters of the thesis are devoted to the specifics of the "Hörspiel" (for example the difference from the Czech conception of radio play), to its development during more than octogenarian history of broadcasting and to the ways how it reaches the listeners today. From wide range of kinds of radio plays I focused especially on typical experimental production of musician, composer and director Heiner Goebbels. The subject of my analysis is not only his creative style but also two of his writings, which became crucial for development of modern radio productions.
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New "volksstück": the drama of Peter Turrini and Felix Mitterer
Lorencová, Michaela ; Topolová, Barbara (referee) ; Augustová, Zuzana (advisor)
This thesis examines the genre of the new Volksstück with emphasis on oeuvre of Peter Turrini and Felix Mitterer. Main attributes of the genre are described in the context of its historical development. The new Volkstück has its origins in the interwar critical Volksstück by Ödön von Horváth a Marieluise Fleier and eventually in the historical Volksstück. Among authors of the historical Volksstück it was Johann Nepomuk Nestroy who influenced the most the future development of the genre. The thesis also mentions German authors of the so called New Realism of the 1960's, where the influence of Volkstück can be traced. For better understanding of the problem the thesis describes social and political climate in which Felix Mitterer, Peter Turrini and the whole generation of Austrian postwar authors work.
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Frank Wedekind's play Spring awakening at Czech stages
Macáková, Karolína ; AUGUSTOVÁ, Zuzana (advisor) ; KYSELOVÁ, Eva (referee)
This bachelor thesis deals with the work of the German playwright Frank Wedekind, especially with his second play called Frühlings Erwachen (Spring awakening). It also makes a short excursion into the history of Czech performances of this play. Using the recordings of two latest Czech productions - in Disk Theatre (2007) and in Theatre Komorní scéna Aréna (2008) it also analysis these two newest productions.
The bachelor thesis also mentions a historical context of Frank Wedekind's work and themes included in his other plays - Lulu (Lulu), Die junge Welt (The young world) and Franziska (Franziska). It also attemps to find typical themes of this playwright and their possibilities on stage of the contemporary theatre.
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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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