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Comparison of Scenography Access in the Author´s Production and Production with Classical Literary Model
Krištofovičová, Daša ; MATÁSEK, Petr (advisor) ; SMOLÍK, Robert (referee)
Diploma work deals with the comparison of the scenographic approach
at author´s and interpretative work. It considers the comparison of author´s
and interpretative theatre and the work of a scenographer in both types of staging. It analyzes the procedures used in different stagings of both genres that the author has used. The work is accompanied by own reflections about the work in concrete described stagings. A part of the diploma work is the author´s reflection of own artistic preformance and of single practical moments
of realization, by means of which the author checks the theorethical approaches. The photo attachment is a part of the work. There is also a DVD included,
on which there are records of some stagings mentioned in the text, or other files, that can´t be reproduced in printed version of the diploma work.
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Visual Processing of Contemporary Folk Costumes of Czech Highlands and its Theatrical Presentation.
Mazáčová, Zuzana ; MATÁSEK, Petr (advisor) ; SMOLÍK, Robert (referee)
The output of my Diploma thesis is a parade formed by six specific puppets - life sized marionettes which i supplied by stylised Contemporary folk costume of Czech Highlands. The theoretical part of my Diploma thesis disserts on characteristics, consequence, function, history, development and leverage of composing folk costume across historical stages. Also implicates of aspects which had great influence for his own formation. This part of my thesis also approaches and explain my inspiration sources and inputs which leads to my art and theoretical vision. In my practical part of thesis i put mind to conditions of creating the marionettes representing Contemporary folk costumes. Mainly i focus on preparation and realisation of the parade.
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Even People Can Be Used
Kamanová, Pavla ; MATÁSEK, Petr (advisor) ; ŽIŽKA, Tomáš (referee)
In first part of the thesis I describe the process of execution of stage design for certain productions. I draw inspiration from this description in third part of the thesis. Pursuant subjective criteria I try to name those elements and moments that could be important and I compare those in order to achieve relevant informations regarding common signs of my own work. In second part I try to find relation in wider context and I pay attention to history and thoughts of DADA movement. In third, last part of my thesis, I search for identical features of different productions and I examine possible influence of DADA movement on my work and I try to reveal my own identity as an artist.
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Poverty in Theater
Krtičková, Anna ; SMOLÍK, Robert (advisor) ; MATÁSEK, Petr (referee)
The submitted thesis Poverty in Theatre is a reflexion of motivation, consequences and importance of voluntary poverty-modesty in the context of contemporary theatre. The opening part of the text introduces the theme from general point of view in relation to the personality of Saint Francis from Assisi, who is not only the iconic figure of the medieval spirituality, but also becomes the source of inspiration for contemporary tendencies and movements and individuals dealing with poverty. The main part of the theses is focused on poverty in the field of art-primarily theatre. The last part describes the creation of the author's performance Pouť, that was inspired by the life of Saint Francis and by the pilgrimage through Italy, which preceded the whole project.
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REALITY ON STAGE
Černá, Adriana ; MATÁSEK, Petr (advisor) ; TÄUBELOVÁ, Kristýna (referee)
This thesis is divided in two parts. The first, theoretical part deals with the staging
process and applied theater forms in the development of production without dramatic
text during continuous cooperation. Each chapter represents principles with which set
designer deals during cooperation. It serves as an index for the second part. Second
part represents a reflection of individual approaches to selected projects realizated
during the master studies.
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Brazil, Czech Republic Encounter of Puppets Benedito and Pimprle, Study of Cultural Encounter of Two Styles of Puppet Theatre
Conti Padao, Gilberto ; MATÁSEK, Petr (advisor) ; SMOLÍK, Robert (referee)
The thesis aims to show the match between Czech and Brazilian culture through the analize and comparison between forms of puppet theater Recife Pernambuco Brazil Czech puppet named mamulengo and folkloric. With different histories and influences the two theaters have characteristics very peculiar and remarkable characters.
The encounter between these cultures is also the moment in which I developed a work of dolls in Brazil and now in the Czech Republic. As the construction and form of the theater thinking changed in those three years in a master working with my tutor in Pert Matasek DAMU. My experiences in various festivals and workshops and livings with groups like Bread and Puppets are narrated in the thesis. All this result and the detailed design and conclusion will be focused in this work. This thesis and that time devoted to this research were largely devoted to research and practice of puppet making and improving my language as puppeteer. To continue living and developing projects in Europe makes me transmute into a third dimension, or Brazilian or Czech but a gathering of schools
and ways of thinking.
A tese visa mostrar o encontro entre a cultura brasileira e tcheca atraves da analize e comparacao entre as formas de teatro de bonecos de Recife Pernambuco Brasil chamado mamulengo e o boneco tcheco folclorico. Com historias e influencias diferentes os dois teatros tem caracteristicas muito peculiares e personagens marcantes.
O encontro entre essas culturas se da tambem no momento que eu que desenvolvia um trabalho de bonecos no Brasil e agora na Republica Tcheca. Como a construcao e forma de pensar o teatro modificaram nesses 3 anos de mestrado em um trabalho conjunto com Pert Matasek meu tutor na DAMU. As minhas experiencias em diversos festivais e workshops e vivencias com grupos como Bread and Puppets são narrados na tese. Todo esse resultado e o detalhamento dos projetos e conclusao serao enfocados nesse trabalho .
Essa tese e esse tempo dedicado a essa pesquisa foram em grande parte dedicado a pesquisa e pratica da marionete , confeccao e aprimoramento da minha linguagem como marionetista. Ao continuar morando e desenvolvendo projetos na europa me faz transmutar em uma terceira vertente, nem brasileira, nem tcheca mas um encontro de escolas e formas de pensar.
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Iluze v loutkovém divadle
Lovrič, Sara ; SMOLÍK, Robert (advisor) ; MATÁSEK, Petr (referee)
Tématem této práce je studium iluze v loutkovém divadle. V první části se pokusím objasnit pojem iluze v umění všeobecně. Hlavním předpokladem je, že umění a iluze jsou dva neoddělitelné pojmy. Iliuze není výsldkem neby výplodem umění, nýbrž nevyhnutelným prostředkem k analýze věcí. Ona neskutečným způsobem pomáhá k prožitku skutečného a neskutečného světa. V tomto prožitku kromě umělce působí také pozorovatel, na jehož schopnosti vnímat umělcovy iluze závisí také samotný účinek této iluze.V divadelním umění se iluze děje v okamžiku a prostoru před očima diváka. Zázrak iluze se uskutečňuje před námi a zapomínáme, že je tady.V loutkovém umění má loutka, jako uměle stvořená scénická postava, již v samé své podstatě iluzorní charakter. Právě potřebě člověka tvořit a jeho pokusům měnit skutečnost dluží loutka svůj původ. Již v prehistorii byla loutka prostředkem pro navazování kontaktů s Bohem. V romantismu umělci probudí tento metaforický vztah a pozvednou loutkové divadlo jako umělecky hodnotnou formu. Období modernismu přináší nové úvahy o teorii loutek. Modernisté začínají v loutce poznávat nové, symbolické možnosti. Tyto úvahy o loutkách přispěly k vývoji loutkového divadla, které vyžaduje svůj vlastní jazyk iluze. Loutka již nenapodobuje skutečnost, nýbrž vytváří novou skutečnost. Další vývoj loutkového divadla se vydává směrem k experimentování s různými loutkářskými možnostmi vyjadřování. Odhazuje se paraván, loutka a animátor se objevují společně na scéně. Iluze je zpochybněna kvůli prezentaci reálnosti tvorby. Při hledání poetického jazyka vyjadřování se v loutkovém divadle začínají animovat části těla, materiály, předměty? Skutečné předměty dostávají neskutečný význam a iluze metamorfózy se děje před našima očimaNa konci práce se ohlédnu i na loutkové divadlo v Chorvatsku. V tomto krátkém ohlédnutí se pokusím nastínit přehled vývoje loutkářství a jeho iluze a objasnit vlivy, které přispěly k tomuto vývoji.
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Alternative and new ways of costume design
Rybáková, Simona ; MATÁSEK, Petr (advisor) ; PTÁČKOVÁ, Věra (referee)
This work is aiming to show costume designing as an essential artistic field of today which surpasses limits of applied arts or mere decoration in an effort of emancipation.It talks about the specific characteristics of this field and how it surpasses into other domains and it opens chapters which I deemed significant to my topic. The text outlines my professional career as costume designer to my pedagogic and finally to my organisational curator?s experience. I describe how I enrich the basic practical and empirical education with an emphasis on the artistic way of expression with more theoretical and analytical abilities. The latter is documented mainly with the exhibition ?Extreme costume? in PQ 2011.An important part is the vocabulary of some rather technical terms; it is very liquid and constantly changing. Predominant tendency is to find terms commonly revealing to help the lay audience understand a discipline which can be attractive when a suitable form and presentation is used. Besides the language it is also new topics reflecting costume and its development such as; costume as performance, nudity as/and costume, event and an act of wearing a dress, installation and costume, light and costume, technology and costume which complete the perspective. The number of themes which emerged in the last 6 years is high and sometimes they are connected only seemingly. Some are entering disciplines which are interconnected and influence each other mutually. Therefore some examples of work process are used repeatedly in a comparative or illustrative role.Throughout the whole work the search is for new paths, techniques and materials for costume design and its emancipation. Next to this stands no less important role of costume as a part of action scenography as well as the postmodernism of 1980?s which is a significant starting point of my own work. In contrast to certain excessiveness stands the concept of unpretentious costume completed with specifics of film costume designing.Fashion show as a show with all the aspects of a dramatic piece/performance considers consumer and sociological topics and can be linked to reshaping and costume recycling which closely relates to economic and ecologic aspects too.Emancipation effort is joined with its presentation in public in the form of exhibitions, events, workshops and its documentation for the future. The technological ?boom? occurred especially with the emerge of light costume and ?wearables? as well as the research for materials and the work of realizers on creative ideas of the artists. An inseparable part is a dictionary of alternative materials used in costume designing and a extensive bibliography.
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Mobility and It´s Social Meaning
Hadravová, Kateřina ; ŽIŽKA, Tomáš (advisor) ; MATÁSEK, Petr (referee)
This thesis deals with the possibilities of scenic mobility and its social meaning especially to a group of realizators and the local community. Text is a summary of the overall creative and technical solution of projects Cantalon as a part of the festival Histeria and Roaming theater that arose during the master's program KALD department of Stage design in 2011-2012. Emphasis is given on the needs and opportunities in the development and implementation of mobile authors projects.
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PUPPET ON THE EDGE OF FIGURAL KINETIC SCULPTURES
Wildtová, Lucie ; SMOLÍK, Robert (advisor) ; MATÁSEK, Petr (referee)
This dissertation predominately talks about two projects that came to life during my studies at DAMU. In the preliminary theoretical part the dissertation sets out its goal to define names, that are connected with puppet and kinetics. Furthermore, there is a mention of a few sources of inspiration that directly or indirectly influenced the birth of both projects. The first project is a performance of stage design students that originated in the village Pustiny in 2012. The second part of the dissertation describes the performance Ostrovy -Islands that came to existence in 2012/13 with participation of Erasmus students. The dissertation is mainly focused on puppets and objects. There is documentation and DVD containing the Ostrovy -Islands performance in the visual appendix.
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