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The motives of writing and signing in the plays of Václav Havel
Toyoshima, Minami ; Pšenička, Martin (advisor) ; Etlík, Jaroslav (referee)
(in English): Václav Havel's plays often contain motifs of main characters' struggle to write or sign documents. These motifs are characterised by the fact that the characters, faced with an overload of repeated cycle of speeches that lack the content of communication, seek helplessly and in vain to find authentic language in written form. It is also worth to note that the characters who struggle to write or sign documents have autobiographical elements: Eduard Huml in The Increased Difficulty of Concentration, Vaňek in Audience and Leopold Kopřiva in Largo desolato are confronted with a situation in which they struggle to write and sign or, conversely, refuse both. These motifs seem to come from Havel's own experience. In this thesis, the author will analyse the motifs of the struggle to write or sign documents in the three plays. The aim of the analysis is not only to clarify what aspects of the activity of writing and signing serve the poetics of the plays, but also to show the connections between the motifs in the plays and the author's life experiences behind the creation of the plays.
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Phenomenon Na koho to slovo padne (25 years of production)
Šupšaková, Viktória ; Pšenička, Martin (advisor) ; Etlík, Jaroslav (referee)
The bachelor thesis, in its first part, is focused on staging of this script by a group of five Slovak actors as part of their studies at The Academy of Performing Arts (VŠMU) in Bratislava. The staging of the play has achieved success since 1998 not only across Slovakia, but also abroad. This production has later been added to the repertoire of Divadlo Astorka Korzo '90 in Bratislava where it is frequently sold out. In next part, is analyzed a play by Hungarian writer Gábor Görgey that began his career as a playwright in 1969. In Hungarian, the drama is called "Komásszony, hol a stukker?", while in both Slovak and Czech the title of the play is "Na koho to slovo padne". In the next chapter, thesis is focused on staging of this script. The aim of the thesis is to find out what lies behind this sucessful production and this phenomenon, which is still so popular among the audience after 500 performances and more than 25 years of its existence. Key words: Gábor Görgey, Na koho to slovo padne, analysis, drama, production, grotesque, absurd play, Divadlo Astorka Korzo '90, Slovakia
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Theatres of the Spa Triangle
Pazderka, Teodor ; Topolová, Barbara (advisor) ; Etlík, Jaroslav (referee)
The thesis explores the phenomenon of spa theater within the West Bohemian Spa Triangle, spanning from the establishment of these spa towns to the expulsion of the German population in 1945. It primarily focuses on the distinctive functioning of these theaters, which were closely tied to their clientele consisting predominantly of the affluent and influential elite. Using historical sources, the thesis investigates the evolution of theaters in Karlovy Vary, Mariánské Lázně, and Františkovy Lázně, aiming to compare and ultimately address the challenges within this exceptional setting.
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Small Stage Theatres of the 1960s in Malostranská beseda
Horynová, Anna ; Janoušek, Pavel (advisor) ; Etlík, Jaroslav (referee)
Bachelor thesis analyses theatre at 60's in one of the important Czech places: on the cultural stage of the Malostranská beseda, especially at 60's of 20th century. After a brief description of building of Malostranská beseda and cultural activities organized there work continues with cultural conduction of several theatre companies and theatre societies that worked there in mentioned period of time (mostly by Theatre of Jára Cimrman, Dostavník theatre and Antitalent theatre). Part of the work should gains information from oral history - statements of contemporary witness (Vladimír Just, Zdeněk Svěrák).
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History of the Black light theatre of Jiří Srnec
Goščíková, Romana ; Etlík, Jaroslav (advisor) ; Pšenička, Martin (referee)
The master subject of this essay is pretty clear - the history of one of the most famous Czechoslovakian theatre phenomenon of the world - The Black Light Theatre of Jiří Srnec. Although many other ensembles play under the name of the original Black Light Theatre of Prague these days, the real founder of this new theatre form is Jiří Srnec. He used a very old trick, based on the principle of the "black cabinet" which technically means that the black-dressed actors holding the requisites are not seen by the spectators against black backdrop. Thanks to this technique the requisites, things and objects seem to move themselves. However, this trick is not the main purpose of the plays performed by Jiří Srnec and his. It's a principle that evokes scenic and mimic metaphor which is realised by movements of graphic artefacts and actors and accompanied by music. I have studied through the foreign and local critiques and reviews, short studies in theatre periodicals, several interviews with Jiří Srnec and some other witnesses, and my own experiences with this theatre. The essay consists of two main parts: the first one theoretically describes the basic principles of the black theatre and the second part focuses on the history of the theatre of Jiří Srnec from the very beginning to the present.
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Forms of present post-dramatic activities of young artists-performers
Špačková, Lucie ; Pšenička, Martin (advisor) ; Etlík, Jaroslav (referee)
This bachelor thesis concentrates mostly on comparison of two historical periods of theatre-fine art artistic activities in the Czech republic. Its aim is to find connotation between selected Prague artists' activities from the sixties and seventies and present activities of Rafani art group, that has been active since year 2000. At the same time it points out the distinctiveness of the historical period during which the artists are active and implicates their activity tendencies. The thesis is divided according to individual terms that are defined in close reference to each artist's activity - body art, happening, performance. The second part is then devoted to Rafani art group, the activity of which is for better orientation divided into two stages. Each stage presents the most outstanding projects realized by the group and at the same time introduces the present topic of their textless artistic activity.
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Myth of Faust by Jan Švankmajer in the theatre and the film
Marešová, Petra ; Just, Vladimír (advisor) ; Etlík, Jaroslav (referee)
This diploma project summarizes and evaluates theatre and film writings of a well-known director and scriptwriter Jan Švankmajer. It focuses only on faustian myth in his writings.The project deals particularly with his three early theatre productions from the beginning of sixties in the theatre Semafor ( two of them - Johannes doktor Faust a Sběratel stínů - are directly connected to faustian myth) and his second feature film Lekce Faust. In fact, this film is actually a summary of his earlier faustian themes and their distinctive interpretation. The introductory chapter deals in detail with the development of faustian myth and his main attributes.Their knowledge is necessary for futher commentary and analysis of Švankmajer's efforts to work on this theme.
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What is the Theatre
Neznal, Vít ; ETLÍK, Jaroslav (advisor) ; PŠENIČKA, Martin (referee)
Vít Neznal’s PhD thesis begins by defining theatre as a specific sphere of media. According to the author, such notion is made possible by following up to the tradition of Czech theatre theory (immediacy as a specific feature of the medium, a synthetic basis, a non-substantial conception of a work, acting as a decisive art, a total three-dimensional feedback-based communication with cardinal impact on the specific nature of stage acting, and an active position of the spectator). On this basis, Neznal proceeds to explain why there is no justifiable reason for theatre theory to abolish the dichotomy between art and reality. His premise is that while theatre is rooted in life, it is at the same time automatically and irreversibly taken out of it as a medium. As a result, there is, from the point of view of theatre theory, a difference between an intensified “life” entering the stage and becoming the basis of expression (intensification of “life” is the basis of means of expression and is therefore made intentional) and between its integration with other pillars forming the constitutive basis of a theatre act as such on the actual level of media (the artificial pervaded by “life”).
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Theatre and New Media
Haplová, Barbora ; KAPLICKÝ, Martin (advisor) ; ETLÍK, Jaroslav (referee)
The Master Thesis Theatre and New Media, New Media in the Components of Theatre Performance explores ways in which new media technology are able to integrate to theatre performances on particular examples. It investigates the type of theatre performances where new media have a major influence.
The first part of this thesis aims to grasp the terminology of new media, in order to subsequently apply it in theatre context. This part draws mainly from The Principles of New Media of Lev Manovich, Notes on Study of New Media from Jakub Macek and Remediation from J. David Bolter and Richard Grusin. The second part introduces the Czech theatre theory perspective on the components of theatre performance. The starting point of this part is Estetika dramatického umění (The Esthetics of dramatic art) by Otakar Zich. Zich’s theory is continuously commented with following essays: Člověk a předmět na divadle (Man and an Object in Theatre) by Jiří Veltruský, Pohyb divadelního znaku (Movement of the Theatre Sign) by Jindřich Honzl and K dnešnímu stavu teorie divadla (On State of Theatre Theory Nowadays) by Jan Mukařovský. Consequently the theoretical part aims to outline the theme of integration of new media to the components of theatre performance using the term ‚components‘ in the meaning suggested in Jaroslav Etlík’s essay Termíny k dohodnutí (Terms to negotiation). Building up on these theoretical contexts, the third part of this theses analyses three theatre performances: NICK (Petra Tejnorová a kol.); Eleusis (Handa Gote Research & Development) a The Game (Almeida Theatre). It aims to describe ways of integration of the new media to the components of particular theatre performances. Consequently it focuses on verifying the assumption, that the level of integration is connected with participation of the new media on the overall meaning of the theatre performance. In the Conclusion the attempt of creating a ‚scale of integration of new media to theatre performance‘ is summed up.
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