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Techniques of Theatre Concentration
Bazalová, Alena ; Šavlíková, Kateřina (advisor) ; Makonj, Karel (referee)
Author is interested in the theatre concentration. She summarizes theatre-theoretical approaches to it and describes various methods. The thesis includes also the external factors during the performance, which influence the actor´s concentration. She also introduces non-theatre forms of concentration and offers the compendium of the concentration techniques. She tries most of the techniques on her own and comments them.
Key words: theatre concentration, concentration exercises, non-theatre forms of concentration.
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Karagöz and Hacivat
Chvalovský, Jiří ; Makonj, Karel (advisor) ; Malíková, Nina (referee)
This work´s objective is to profile traditional Turkish shadow play puppets Karagöz and Hacivat to reader. Partly as a significant historical and cultural heritage, partly as a Central-European man´s subjective opinion following from more than thirty years of research fellowship in Turkey which was the opportunity of acquainting oneself with wide spectrum of artistic and social inducements which are necessary for understanding the mentality of Turkish men, thereby for easier appreciation of aforesaid characters´ significance.
This work´s items in the table of contents are: the origin and history of Karagöz and Hacivat; the first references to performances; a progression of work with puppet and an incremental appending of additional characters; examples of scripts and play; their utilization and sense for Ottoman´s authorities of that time, as well as their significance for present; subjective opinion and perspective on not so popular phenomenon in our Country.
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Actor and Complexes
Vančura, Petr ; Kočvarová, Markéta (advisor) ; Makonj, Karel (referee)
The work Actor and Complexes comes from the efforts to catch the insecurity and doubt of a beginning actor. When I have in my mind an actor, I speak about myself and when I write about the complexes, I think about a unique constellation
of my personal faults and pains. The intention of this work is not a special psychological work but a detail scrutiny of myself. I do not dare to judge somebody else. Instead I would like the others to judge me or find some resemblance. Complexes form our personality as well as a sculptor and although they work with different material, the result is undeniably similar. I am their product and to be able to see myself I need a mirror.
This work is the mirror of my theatre practice in which I aspire to see not only my reflection but also its essence.
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Looking For a Third Reality
Tejnorová, Petra ; Klíma, Miloslav (advisor) ; Makonj, Karel (advisor) ; Krobot, Miroslav (referee)
I see my thesis titled Looking For a Third Reality as an opportunity for finding
and reflecting a possibility for an existing link between the individual components of
the piece, specifically the music-movement-text-acting-scene (scenography) parts of
the production, as well as, naturally, the directing, all of which I come into contact
most during my creative work in theater. A certain line and possibility for reflection
I see in the process between the production of The Suffering of Duke Sternenhoch
and that of Titus Andronicus_The Flight of a Fly. The second line then I see from the
two-part project The Memory of a Land - The land of Memory towards the production
Personal Case History.
The third reality comes to life through synthesis, and not only in the framework of
the above mentioned components, but also using sources related to theater. It has
a similar character to a montage, when a combination of a component A and
a component B creates a new entity C. This newly created quality could be called the
creative potential of the viewer as a co-creater of a production. Although neither
montage nor third reality is anything new, in this work I am endeavoring to touch the
main schemes of the process of creating a third reality and its components. All that
based on specific experience.
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Theatre on the Move
Kout, Jiří ; Tichý, Zdeněk (advisor) ; Makonj, Karel (referee)
In my work I considered theatre inscenations in broader context of influence over the theatre producers and the audience. It contains analysis of three projects each of different theatre approaches: site-specific-theatre, musical-social-theatre and poetry-physical-theatre. I view these performances from the perspective of Theatre as communication, Theatre as testimony and Theatre as therapy. My work also includes the influence upon me as an actor, who performed in project called Titus Andronicus_Let mouchy (Titus Andronicus_the Flight of a Fly).
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From Shakespeare to Punch
Khomová, Veronika ; Makonj, Karel (advisor) ; Špicnerová, Vlasta (referee)
The aim of this work is to compare dramatic production for adult and children audiences in actor theatre, puppet theatre as well as in theatre of actors and puppets. The author used expert literature together with her own experience from school ( Dramatic Faculty of the Academy of Fine Arts in Prague) and from Naive Theatre in Liberec where she is in an engagement at present. She explores composition of theatre inscenation, motivation of adult audiences to visit theatre, brief history of children theatre, process of esthetic perception of children and fairy tales and their dramatization. Further, the author examines the term "puppet" and briefly summarizes history of Czech puppet theatre and history of theatre of actors and puppets. The work is supplemented by two interviews with longtime professionals from theatre for adults and children.
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Stylized Acting
Matějová, Kristýna ; Makonj, Karel (advisor) ; Mikeš, Vladimír (referee)
The diploma thesis on the topic of a stylized acting deals with a stylization as a form and an instrument during a process of theatre performance creation. In the beginning it is explained, how the term stylization acts in various branches of human activities, then the work focuses on a stylization application in a theatre art.
First part is aimed at a form of performance and its components, as it is influenced by the stylization, then how the performance components impact an actor and help his dramatic appearance.
Second part describes the actor and his relation to a scene, costume, character. It is about how is the actor, as the main motive power, able to liven up other performance components, what instruments he uses, how he fulfills the primary intention. It is also mentioned, how significant is actors humanity, his consciousness and unconsciousness, his personality, during his performing as the character.
The work contains concrete examples of performances in which stylization was used.
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The Theatre of One Eda
Venclová, Miroslava ; Makonj, Karel (advisor) ; Kočvarová, Markéta (referee)
This work concerns with The theatre of One Eda, it talks about the history of this one-woman show, about the creation of performances and about each individual puppet performance for children. Because the tradition of the puppet theatre in the Czech Republic is very strong, the author of this work is trying to answer the question what exactly is the puppet theatre. She also concentrates on a very brief summary of the history of the puppet theatre across the Czech Republic. The first part contains the characteristic of fairy tale, its function - that all is examined with consideration of the children?s viewer. In the second part the author writes about the history of The theatre of one Eda, about the creation of performances. Reactions of different audience are being compared and hold forth in this part. In conclusion there are compared commonly known facts introduced in the first part of this work with information gained by an actress of The theatre of one Eda.
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