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Action stage design In Czechoslovakia, Prague 2012
Frydlová, Veronika ; Klimešová, Marie (advisor) ; Koubská, Vlasta (referee)
"Action stage design" is a term which was originally used in the mid-70s in the connection with 1975 Prague Quadrennial. Soviet critic Viktor Berjozkin chose this term to describe a new approach which was apparent in the majority of national expositions. It was an alternative approach to dramatic space, the traditional proscenium theater was systematically abandoned. New possibilities of producing in non-traditional, mainly non- theatrical spaces which offered closer contact with audience were searched. In aesthetic approaches the action stage design abandoned rampant focus on art, illusoriness, embellishment and complicated technical solutions. On the contrary it took inspiration from "earth works" (arte povera) and pop-art. They used "poor" - which means - common and natural materials [mainly fabrics] and everyday objects. Simplicity and inventiveness became an important requirement of the new aesthetics, as well as constant confrontation of dramatic and empirical reality. Stage props were meant to be mainly polysemous. It means that a scenic element could change its meaning and function a few times during the performance thanks to actors activity. For example - a bed became a dining table, an altar, or a prison. It demanded big imagination of spectators, they often became a part of performance....
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Georg Büchner - Woyzeck
Galluzzo, Elisa ; KOUBSKÁ, Vlasta (advisor) ; KORČÁK, Jakub (referee)
This master thesis of scenography is a study on the play Woyzeck written in 1836 by
the German author Georg Büchner. My intention is to examine how the engaging
story of a drama written in the 19th century, set into a military background, can be
reinterpreted today in our society. The aim of my researches is the elaboration of a
contemporary mise en scène of the play set into an ideological factory as the ideal
scenario for the developing of the dramatic situations of Woyzeck.
My final scenography proposal for the drama is a site-specific project in the Prada
Foundation of Milan; an ex-factory of an Italian distillery society, now turned in one of
the main art centres of the city.
I am starting the thesis with a research about the historical background of the play
through a short biography of the author. In this part, I am aiming to explain how the
social context, the relationship with his family and a few of actual events happened at
the time of Büchner, have inspired him to write, perhaps, his greatest work. I continue
by writing an analysis of the dramaturgical structure of the text, of the main themes
and situations within the play and the characters. I am highlighting the themes of the
play that in the 21th century are extremely contemporary. In parallel, I analyse how
the characters behave in different dramatic situations and precisely I try to reveal
their real way of being instead of what appear only on the surfaces.
Moreover, I write about a few of the greatest reinterpretations of the play that
supported my studies and researches. Here, I mainly focus on the directing and
dramaturgical aspects of each production that enriched my vision of the play helping
me to develop my final version.
The last part of my thesis is about my own reinterpretation of Woyzeck. I am
explaining which are the aspects and the themes of the play that I find still very
connected with our society. I write about my creative process and about how exactly
my research led to the final proposal of the comparison between the military system,
of two centuries ago, and the factory system of today. Afterward, I take in exam a few
of the artworks that encouraged over my personal reinterpretation of directing and
dramaturgical aspects. I write about how elements from these artworks inspired me
concretely for the realization of my final work. Finally, I explain in details the directing
and dramaturgical choices for the disposition of the storyboard as the final result of
my personal research.
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Action stage design In Czechoslovakia, Prague 2012
Frydlová, Veronika ; Klimešová, Marie (advisor) ; Koubská, Vlasta (referee)
"Action stage design" is a term which was originally used in the mid-70s in the connection with 1975 Prague Quadrennial. Soviet critic Viktor Berjozkin chose this term to describe a new approach which was apparent in the majority of national expositions. It was an alternative approach to dramatic space, the traditional proscenium theater was systematically abandoned. New possibilities of producing in non-traditional, mainly non- theatrical spaces which offered closer contact with audience were searched. In aesthetic approaches the action stage design abandoned rampant focus on art, illusoriness, embellishment and complicated technical solutions. On the contrary it took inspiration from "earth works" (arte povera) and pop-art. They used "poor" - which means - common and natural materials [mainly fabrics] and everyday objects. Simplicity and inventiveness became an important requirement of the new aesthetics, as well as constant confrontation of dramatic and empirical reality. Stage props were meant to be mainly polysemous. It means that a scenic element could change its meaning and function a few times during the performance thanks to actors activity. For example - a bed became a dining table, an altar, or a prison. It demanded big imagination of spectators, they often became a part of performance....
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A visual interpretation of Berthold´s Brechtś The Threepenny Opera
Aidoni, Daphne Theodora ; DAVID, Milan (advisor) ; KOUBSKÁ, Vlasta (referee)
This essay describes the process of investigating and concluding to a design for Berthold Brecht?s The Threepenny Opera. Through theoretical references and actual observations of todays society, the different worlds that consist the play are described and analyzed, as well as the main characters and their surrounding groups. In the end, the final design is presented together with proposals for the costumes of the main characters. The basic dramatic situations are presented in their final form with photos of the model, depicting the changes of the stage.
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Theatre decoration? Set design? Scenography?
Vöröšová, Markéta ; KOUBSKÁ, Vlasta (advisor) ; CÍSAŘ, Jan (referee)
This thesis focuses on and compares the theoretical perception of scenography in the works of Czech aestheticians Otakar Zich and Růžena Vacková.
The whole comparison is integrated into the context of Czech modern scenography. Several key productions were chosen to demonstrate new tendencies that appeared at the specified time point in our theatre history. The thesis mentions theatre authors together with their works that played important role in forming Zich?s and Vacková?s opinions and theatre conceptions.
Taking into account how versatile personalities Otakar Zich and Růžena Vacková were it was necessary to bring up all areas of their activities. I attempted to summarize their professional careers and their influence on followers and I also wanted not to omit their life?s history . I deal with the importance of Zich´s key work Estetika dramatického umění and I also focused on personality of Vacková and the circumstances of the creation of Výtvarný projev v dramatickém umění.
It is a compilation work in which I try to present two approaches to the visual component of theatre performances. I compare their terminology used. I try to describe some aspects of scenography which Vacková developed under the influence of her predecessor and teacher and also the aspects that she was not in accordance with. Further, I focus on the problems of the possible forms of set design, connection between scenography and painting or architecture, and also on how the authors conceived the ideal scene, on whether they attached greater or lesser importance to stage directions and also on the problems of light, costumes, masks, stage objects?
This thesis should be perceived as a mere starting point for further in-depth exploration. There is a possibility to go deeper into details and/or extend the view so as to cover also other representatives of the Czech theatre theory with their scenography conceptions. I hope that, in the future, I will be able to continue working on this topic and to cover the history of Czech set desing theory in its integrity up to present days.
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GIUSEPPE VERDI: DON CARLO ? CONTEMPORARY INTERPRETATION OF VERDI´S OPERAS (HISTORISM AND STYLIZATION IN THE OPERA COSTUME)
Valášek, Aleš ; Zbořilová, Jana (advisor) ; David, Milan (referee) ; Koubská, Vlasta (referee)
Abstract
In the 19th century the scenographic part is gaining importance. Its aim is to render the present or historic reality. Historism appeared in all disciplines including scenography. The theatre is becoming a spectacular, visual show. The development of scene technologies and building of new theatre houses contributes to this (Festspielhaus, Bayreuth).
In the organism of the production the role of the costume is becoming more and more crucial. Theatres start to employ designers and establish specialized costumeshops. In 1888 a manual for designer called Racinet´s Historic Costume (Le Costume Historique) is published,. There were created suitable conditions to fullfill the contemporary demanding staging requirements of the Grande Opera ? for example L'Africaine by Meyerbeer.
The aim was to achieve the unified effect of the whole thatrical piece. An important role in this case had the influence of the Saxon Duke Georg II. of Meiningen (so called Group Meiningen) and Richard Wagner with his theory of Gesamtkunstwerk.
The work continues with a characteristics of the dramatic theatre costume, its function in the entire production and its difference from the historical or civil clothes. The dramatic costume is the result of forming the dramatic character.
The dramatic art is considered as imaging art. The objetive reality is only a refference for the artist. The artist is changing it with certain aim. This process is called the artistic stylization. The same principle is used in creation of a costume. The historic costume is only one of the initial resources. The scope of stylization is subject only to the artist. The spectator perceives the work/costume on the basis of the associative principle of resemblance. This resemblance must be so big to achieve the desired imagination in the mind of the spectator. The contemporary costume creation is working with metaphor. The stylization of the costume is influenced by the colour that is used, its shape stylization and used material.
The stylization of the costume must always give reasons for every staging. In the contamporary opera production is prevailing the minimalistic style. Historizing costume is a costume with a very low degree of stylization which is very close or identical with historic costume.
It is necessary to distinguish between historism, historizing costume or only inspiration by history. The function of historism is mainly a description, reprezentation of the external symbols of the person ( e.g. social, geographic or historic classification). Historic dress is only one resource for creation of a stylized opera costume. The contrary of the historism is an excessive stylization.
The inscenation level of the operas is influenced by cultural historical, political and social development. A big role is the possibility for the artist to work in freedom. Perceivable traces in the Czech Republic had the totality regimes of the second world war and comunist regime till 1989. Opera became a conservative art for upper class. The contrary was the demand in the fifties aimed at masses, commitment, intelligibility.
In the Czech Republic the historism prevails in the production of Verdi´s operas. In the following part the Verdi´s operas Nabucco, Macbeth and La Trviata are presented.
Their historical bacground, issues that they are dealing with and production examples. Special parts are devoted to exemptions in staging of Verdi´s operas: minimalistic Aida directed by Robert Wilson, Rigoletto from the Bayerische Staatsoper in contrast to a very historising production of Don Carlos by Herbert von Karajan. I have particularly analysed Verdi´s Don Carlos, its history, inspiration by Schiller´s drama. Production examples, comparison of costume design for the opera and the Schiller´s play.
In the closing is the solution of the practical part of the master´s thesis ? costume design for Verdi´s Don Carlos.
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Aristofanes: The Birds, symbolism of the mask and using in modern theatre.
Krejčová, Kateřina ; Vohlídalová, Ivana (advisor) ; Matásek, Petr (referee) ; Koubská, Vlasta (referee)
Abstract
My diploma thesis deals with Aristofanes? The Birds. Firstly, my work focuses on historical aspect, period and circumstances of origin of this political satire and it focuses on ways of staging since antique Greece till present days.
Secondly, my work deals with symbology of mask and its usage in modern theatre. The mask joins Aristofanes? The Birds, it joins period of its origin and possibilities how this comedy portray and dramatize. The mask originates in periíod of first primitive rituals. From these rituals theatre grew up. We can find the mask in all cultures around the world. Modern theatre understands the mask like instrument for staging. The mask asserts in modern theatre due to cooperation of stage director and designer.
Second part of my diploma thesis deals with own solution of Aristofanes? The Birds on the part of costume designer. Recency is important for creation of concept. The world of birds is an antipole of the human world and gods connect these two worlds through dreams and longings. It is paid attention to dramatic personages? mask and costume in context with space. Costumes and masks are visual and dramatic processed. All types of mask and its symbology are solved by dramatic process.
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J. Anouihl: Thomas Becket. Ikonographic meaning of theatrical costume
Pátá Ołdak, Agnieszka ; Zbořilová, Jana (advisor) ; Koubská, Vlasta (advisor) ; David, Milan (referee)
The topic of this thesis is: "Iconographic meaning of theatrical costume". It is based on a play written by Jean Anouilh. The thesis concerns topics from wide range of theatrical costume and his meaning on a stage. The sense of this thesis is to describe all attributes of a costume and to find his iconographic signification. It is essential to discover in a costume his iconographic symbology: moral, social, political or alegoric. Searching of inner interpretation lets get a new point of view of whole play and its costumes.
There is a definition in this thesis which shows a meaning of a symbol, an iconography and iconology. Main part discuss theatrical costume.
Other parts of the text describe characters of a play: Thomas Beckett or God honor and all attributes of their costumes like material, colour, cut, form and composition.
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