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Footbridge in Nova Karolina in Ostrava
Havelka, Jiří ; Nečesal, Petr (referee) ; Marván, David (advisor)
The topic of the master’s thesis is a design of steel structure of footbridge. Footbridge goes across the roadways and railway. It is a design of a new structure in Nová Karolina in Ostrava. Span of footbridge is 200m. The footbridge’s superstructure is two steel arches angled toward each other and fixed to the foundation blocks. The supporting beam of the bridge deck is connected to the arch by tie-rods. The deck beam is a welded box section. The tie-rods are arranged to the V-shaped system. Deck of footpath is semi through type and orthotropic. The arches are connected at the top by lateral bracing. Lateral bracing is Saint Andrew's Cross type system.
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Women's Agency in the Czech Political Catholicism (1896-1939)
Havelka, Jiří ; Nešpor, Zdeněk (advisor) ; Knotková - Čapková, Blanka (referee) ; Lenderová, Milena (referee)
This dissertation is based on a socio-cultural and social-anthropological approach to religion which (among other things) says that religion is dependent on the society in which it occurs. The ambition of the dissertation is not to capture "official positions" of the Catholic Church about the role of women in modern society. The dissertation is focusing on the perspective of Catholic women themselves. My main aim is to observe the opinion Catholic women have about themselves, and whether they reflect social or modernization changes. I will also observe, how they negotiated their role within the Czech political Catholicism. Time specification includes the end of the nineteenth century when women got more opportunities in the public sphere. As well as the period of independent Czechoslovakia and its constitution which declared the equal status of men and women.
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The Escapologist Case
Zupanc Lotker, Sodja ; HAVELKA, Jiří (advisor) ; JIŘIČKA, Lukáš (referee)
ZUPANC LOTKER, Sodja. The Escapologist Case: Transformations of Practice Towards Spatial Dramaturgy in Contemporary Theatre, PhD dissertation, Theatre Faculty of the Prague Academy of the Performing Arts, Prague 2017, 226 pages.
This thesis aims to define a contemporary theatre practice, a new practice in dramaturgy influenced by some radical changes in theater since the 1980’s, I call this new practice ‘spatial dramaturgy,’ it includes: 1) a decentralization and fragmentation of narrative; 2) performing in found spaces; 3) using authentic material for creation of performance (space, community or events); and 4) physical and mental activation of audiences.
My primary case study for spatial dramaturgy is Apology of the Escapologist performance by Hungarian Krétakör company from 2009, a performance that also marked a change in theatre making practice for this company. Apology of the Escapologist took audiences through eight separate spaces, with a variety of functions (a garage, hospital, offices, public square etc.), originally none of them built for theatre, in a series of events that took place in Budapest District 9 over the course of eight weeks from March 8th to May 1st, 2009. The Apology of the Escapologist performance had five parts consisting of eight scenes. The performance took place over the course of nine weeks in eight locations; each scene took place in a different location on a different day. The audience had to make sense of the fragmented story, had to choose how to follow the story physically - where and when to go, and had to dedicate a lot of time to do this. The audience also physically entered into the playing spaces.
This thesis follows the project and proposes that contemporary theatre is a ‘shared space’ entered by audiences, that contemporary dramaturgy is becoming de-hierarchized and decentralized and is proposing forms of relating in-between the dramaturgical elements of the performance, and that by using authentic material (people, spaces, events), through this ‘spatial dramaturgy’ theatre is proposing new ways to perceive relationships between reality and fiction.
This thesis also describes the political motivation behind the change in Krétakör’s work and focus. It provides background information about the situation in politics in Hungary at the time of the making of the Apology of the Escapologist that caused Árpád Schilling change the way he makes theatre. But it also looks at these new strategies of ‘spatial dramaturgy,’ that include: points of view, positioning and relating - as strategies that politicize the act and experience of theatre.
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Mechanisms of the Creative Process
Hadušovská, Michala ; HAVELKA, Jiří (advisor) ; TOMÁNEK, Karel František (referee)
In the thesis entitled Mechanisms of Creative Process, the author examines and reflects her own creation and creative process. The purpose of this study is to discover the internal order and logic of the creative process, respectively to discover the mechanisms and tools with which it works. Knowledge and awareness of the used techniques should serve to make the tools know better, consciously grasp and, above all, develop. The most important aim of the thesis was to try to follow the phases and transformations of the creative process from the creative idea to the realization of the performance. For better orientation, the process of creation and the text of the thesis are divided into four phases and two wider circuits. The first circuit deals with the period of preparation,
the second part is the reflection of its practical part, the theatrical rehearsals.
Tracking her own path and distinctive way and approach to creation from
a distance, has given the author a clearer picture of how the mechanisms and tools work inside the process. Their knowledge and development gives them the ability to transform the thoughts, ideas and visions into reality more consciously and purposefully.
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Acting in Alternative Theatre
Dvořáková, Kateřina ; ADÁMEK, Jiří (advisor) ; HAVELKA, Jiří (referee)
This thesis describes the specific aspects of actors’ work in the productions
directed by Klára Hutečková. The actor shows how the collaboration developer
during the years of study at DAMU, noting that from the very beginning it
exceeded traditional concepts of acting as the creation of a character. The
collaboration culminated in 2015 with the graduation production To the
Lighthouse, up to the Page 73, which made use of experience gained in previous
works. They key part of the thesis id, therefore, analysis of this production,
focusing on the acting and defining three types of means of actors’ expression:
the character, between the character and the intermediary, the intermediary. In
the conclusion, those three types are applied to concrete examples from the
production.
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SOLO IMPROVISATION
Karda, Ladislav ; HAVELKA, Jiří (advisor) ; MAZÚCH, Branislav (referee)
This paper examines the phenomenon of solo improvisation in the context of theatre sports. It includes the method of improvised story among the other existing disciplines of solo improvisation. The work maps the author’s journey and a year experience with solo improvisation and in the conclusion sumps up his experience and provides practical advices to potential solo improvisers. The work also includes interviews with people that do disciplines of solo improvisations to show different approaches of this particular discipline.
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Creation of Authorial Project
Týmal, Antonín ; HAVELKA, Jiří (advisor) ; MĚCHÁČEK, Tomáš (referee)
This thesis is based on author's personal experiences, acquired during the
process of creation of different authorial projects. In the first chapter, the author
describes a way, he understands authorship and authorial mindset of creation,
then he analyse the process of creation of authorial puppet performance Once
upon a Verne. He's finding problematic parts of creation, solutions and more
convenient methods and comparing it with the other projects he was
participating.
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Literatura vs. Divadlo
Lam, Teng Teng Teresa ; LJUBKOVÁ, Marta (advisor) ; HAVELKA, Jiří (referee)
Tato práce zkoumá současnou praxi adaptace čínské literatury v divadelní tvorbě v Macau. Poukazuje na její možnosti a tvůrčí hodnoty, a podporuje tak akademickým zpracováním tématu umělecké směřování autorky v rámci tohoto žánru.
Práce sestává ze dvou hlavních kapitol. První se zabývá minulostí a současností adaptací děl čínské literatury v Macau z hlediska obecných trendů v tamní divadelní dramaturgii. Na základě statistik divadelních inscenací z posledních let definuje jednotlivé žánry, aby mohla určit podíl adaptací čínské literatury na divadelní tvorbě a také hledat příčiny její absence. Zároveň je zde kladena otázka, proč se takové dramaturgické směřování objevilo.
Druhá kapitola předkládá reflexi adaptací čínské literatury v divadelní tvorbě samotné autorky, se zřetelem na její umělecké cíle, výběr textů, proces jejich aplikace a s tím spojené obtíže. Poukazuje na režijní metodologii transformace literárního jazyka do jazyka divadelního, spočívající také v užití loutkových a objektových prvků, znakových systémů pro metafory či prolínání proxemického a imaginativního prostoru. Věnuje se soudobé interpretaci těchto prvků a novému vztahu se současným publikem. Také se zabývá možnostmi a perspektivami tohoto směru s ohledem na recepci takovýchto inscenací.
Tato práce má za cíl pomoci autorce hledat systematické zachycení smyslu jejího uměleckého směřování, aby dále mohla cíleně rozvíjet své myšlenky při vědomí hledání své kulturní identity jako divadelní umělkyně ze Zvláštní správní oblasti ČLR Macao. Také se věnuje otázce spojení mezi její tvorbou a publikem v její další tvůrčí kariéře.
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