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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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Performance stroje a divadlo bez herců
Dumas, Elie Dominique ; ZUPANC LOTKER, Sodja (advisor) ; LJUBKOVÁ, Marta (referee)
Když jsem se začínal zajímat o umění, ihned jsem byl fascinován emocemi a zkušenostmi, které vám Umění může přinést. Vliv umění mne inspiroval odjakživa. Prozkoumával jsem mnohé zkušenosti a koncepty světa ve snaze změnit naše vize a stav mysli. Zkušenosti s formou a prostorem v umění vytvářejí nový svět v naší mysli, což je ideální způsob k procítění emoce Uměleckého Díla.
V dnešní době je zapotřebí probudit představivost v myslích lidí, kteří jsou často sobečtí a frustrovaní. Od začátku století je koncepce světa v umění falešná, postrádající citlivost, a proto musíme dokázat, že svět může být zachráněn.
V dnešní době je zapotřebí býti frustrovaný, unavený, ustrašený, nemocný, šťastný a v lásce. V tomto novém věku moderních strojů a vyspělých technologií chceme zažívat nové zkušenosti. Jsme závislí na sledování představ v realitě. Což je i pro mne způsob, jak cítit emoce.
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Participatory Theatre
Sticzayová, Sofie ; SULŽENKO, Jiří (advisor) ; LOTKER, Sodja (referee)
The bachelor’s thesis inquires into a form of performance known as Participatory Theatre, which is understood to involve the direct participation of the spectator. The spectator here becomes the creator and the main protagonist - a non-actor. The aim of the thesis, is to present Participatory Theatre as a form which has the potential to compete with, and act as a partner to, the interpretive professional theatre, and which at the same time, reacts to the current issues concerning the phenomenon of audience development. For the purposes of the thesis, we introduce the term Professional Collaboration with Non-professional.
In the first part, we clarify the term Participatory Theatre in relation to community, documentary and social theatre, and place it in its historical context. We seek links between the phenomenon of participation and the cultural policies of the EU and Prague, and also examine its occurrence in civic theatres.
The second part presents concrete examples of professionals who have devoted their work to non-professionals. We focus on Archa Theatre, The New Stage of the National Theatre, the group Rimini Protokoll, and the artist Kateřina Šedá. Case studies then present in detail six independent participatory theatre projects.
In conclusion, the thesis defines the principles of Professional Collaboration with Non-professional.
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Installation Art as Scene for Spectator
Výprachtická, Veronika ; LOTKER, Sodja (advisor) ; VOSTÁREK, Karel (referee)
This diploma thesis deals with the interconnection between visual arts and theatre within one of the forms of visual arts - the installation art. It investigates theatrical features in installation art and aims to find the answer to if installation art can become a scene for a spectator, and if so, under what conditions it can happen.
The second part of the thesis focuses on experiences from installation and ways to make use of them in drama in education. An installation being a space created by an artist, the thesis introduces possible means of inspiration for working with children. It is demonstrated on specific examples when exactly an installation can become a scene for drama in education.
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Communication at Process and in Stage
Stará, Markéta ; LOTKER, Sodja (advisor) ; SMOLÍK, Robert (referee)
The main objective of my thesis is to present communication as a basic motivation for creative process and creative expression. The theoretical part is concerned on sources of inspiration ? why I decided to be on the stage and why the live drawing and projection were used as means for communication. The practical part is focused on analysis of two projects, Duel/Duet and Mouchoirs. In those projects, I have applied live drawing using the Tagtool multimedia kit for projection. I?m trying to find out how the communication influences the final form.
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