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Authorial Acting and its changes during the therapy of addicts
Křesadlová, Václava ; HANČIL, Jan (advisor) ; CHRZ, Vladimír (referee)
In my dissertation, I try to reflect my own experiences with application of authorial approach to acting in therapeutic community for drug addicts. I work as a therapist for twelve years in therapeutic community Magdaléna. I guarantee nonverbal technique program and I lead a theatre project once a year periodically.My dissertation is divided to two main parts. First I focus on questions about authorial acting and its pedagogics. I try to explain specifics that are brought by authorial approach to acting. I also describe acting with the inner partner and drama propaedeutic based on free playing and collective improvisation. These dramatic experiments help participants during their own building of psychosomatic condition, which is core of studies on Authorial acting and pedagogics department, DAMU in Prague.Second part of my dissertation is dedicated to my own work with drug addicts. I try to describe problems of therapy in community, especially the questions connected with dramatic expression of the clients. As I told before, I lead nonverbal technique program in Magdaléna community and I created my own conception of such program and it is described enough in my dissertation. I also try to explain drama projects preparations in community and show such cooperation in eleven specific performances we did with different clients during the time.Finally, I reflect relationship between authorial acting and psychotherapy. I perceive the ability to act creatively in direct contact with the others as the most important thing in both cases. That is why I demur at the question of a self-experience in therapy and psychosomatic condition in authorial acting and their mutual relationship.
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Discovering Inner Landscape
Novák, Vladimír ; MIKEŠ, Vladimír (advisor) ; HANČIL, Jan (referee)
Dissertation is focused on theatre in a specific group of people with mental disabilitiy. I try to outline the issues of people with disabilities in the context of theatre with an overlap to the visual arts and theatre antrhopology and caoture the vasic principles of this work, I come out from pumped knowledge, insights and experiences gained during twelve years of intensive work and research in this specific group
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Psychological context of scenic production
Šípek, Jiří ; Vostrý, Jaroslav (advisor) ; Hyvnar, Jan (referee) ; Gajdoš, Július (referee) ; Hančil, Jan (referee)
This dissertation thesis investigates selected (but substantial) topics of scenic art. It is based on theoretical work of prominent art and theater personalities (Frejka, Hilar, Zich, Vostry and others). Emotions, empathy, inner touch perception and distance are discussed in detail. In empirical research part there is studied a special way of art personality reaction in situation of meeting uncertainty. To process it Rorschach projective method was used.
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The way from martial arts to the theatre
Nováková, Monika ; Lázňovský, Michal (advisor) ; Hančil, Jan (referee)
This bachelor´s thesis records author´s existing experience with martial arts and it´s subsequent blending with performing arts techniques. The thesis is divided into four parts. In the first part, individual martial arts are discussed. In the second part, the author outlines her perception of the parallels between the martial arts disciplines and psyschosomatic disciplines of KATaP. The third section covers "the warrior archetype", an archetypal component of every human being. The fourth and fifth parts reflect in more detail author´s theatrical experience, as influenced by Eastern culture.
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Looking for Theatre Space
Štourač, Pavel ; Vedral, Jan (advisor) ; Hančil, Jan (referee) ; Mikotová, Zoja (referee)
For the needs of this thesis I have focused mainly on the part of my work, which is connected with theatre creation in a specific non-theatrical space. Thus work, which is closely connected to the chosen space, which is not primarily allocated for theatre. For example old factories, industrial spaces, countryside, the surface of lake or moving train. Thus I have been following up the thoughts of what it means ?theatrical and ?non-theatrical? space and what it demands from actors and also how differently it is perceived and experienced by spectators compared to the traditional theatre environment
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Role in theatre and life
Válková, Julie ; Čunderle, Michal (advisor) ; Hančil, Jan (referee)
In my thesis, I describe the process of creation of my final authorship theatre piece at the Academy of Performing Arts in Prague. I look for the possibilities of transformation of the life experience to theatre performance and I try to reflect this knowledge.
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Translating, Adapting and Staging the Intertextual Drama of Tom Stoppard
Dominik, Šimon ; Vedral, Jan (advisor) ; Hančil, Jan (referee)
The presented Master thesis attempts to analyse the preparation and rehearsing process of three productions of Tom Stoppard?s plays directed by the author of the thesis in the course of his studies at the Theatre Faculty of Prague?s Academy of Performing Arts. The first one was a Bachelor production of Stoppard?s comedy The Real Inspector Hound, the second a Master production of his farce On the Razzle, and the last one a revived production of The Real Inspector Hound. This thesis focuses on all key stages of the theatre production ? the choice of the play, dramaturgical preparation, rehearsals and performances. Special attention is paid to complications related to the translation of On the Razzle, followed by an insight into the colliding professions of a translator and a theatre director in one person.
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Searching for spontaneity
Urválková, Tamara ; Hančil, Jan (advisor) ; Slavíková, Eva (referee)
In my thesis I deal with quest for spontaneity and reflections upon it. I am preoccupied with certain techniques of self-recognition as a way of discovering spontaneity. In the introduction I reflect upon the notions of improvisation, coincidence and nonsense which, according to me, are closely connected with the subject of spontaneity. Next I inquire into Keith Johnstone's book IMPRO. I was especially influenced by the chapters on the starting-points of his pedagogical work in which he describes the specific ways of rejection spontaneity by the educational system and thus depriving students of creativity on behalf of imitating the established norm. Johnstone likewise describes the methods which were designed to help his students regain the lost spontaneity. I compare these methods with my own experience with the quest for spontaneity in the acting with the inner partner. The results of my dealing with this quest are the subject of the final reflection.
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