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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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Working in creative team versus working with directors solitaires.
Venclová, Tereza ; MATÁSEK, Petr (advisor) ; ŽIŽKA, Tomáš (referee)
In this dissertation I am concerned with my role of a stage designer in a particular creative team, whose members are: Jakub Vašíček ? director and author, Tomáš Jarkovský ? dramaturgist and author, Tereza Venclová ? stage designer, Kamil Bělohlávek ? stage designer, Ondřej Müller ? composer. In individual examples of realizations of inscenations I compare the method of working in teams and working with directors, who I call solitaires. The solitaires are: Dodo Gombár, Jiří Jelínek, Janek Jirků, Ondřej Pavelka, Ivan Ramont and Martin Tichý.
I research aspects which determine the quality of cooperation with solitaires and the team from my own experience, as well as advantages and disadvantages of working in collective.
Since I am not a theorist, I consider the creation as a focal point of my work. So that my aim is not to create a comprehensive research dealing with general rules, but to inform about how my thinking of my own creative work has been developing in the time of my studies and where I got. I believe in making a good use of this reflection in my future work.
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CONCEPTS OF SCENOGRAPHY AS LIMITATION OF SPACE AND SETTINGS FOR SCENIC IMPROVISATION
Straub, Mathias ; ŽIŽKA, Tomáš (advisor) ; MATÁSEK, Petr (referee)
In this work I reflect and analyse different concepts of scenography in theatre and site-specific production, that I have tried in several projects from the year 2011 to 2012. The main focus is stressed on possibilities of interaction with the audience, where spectators turn to be participants.
The reflection of following projects are item of the work:
1. PQ2011: SixActs (2011) ? Praha (CZ);
2. Kam Ústíme? ? úSTÍNADLAbem? (2012) ? Ústí nad Labem (CZ)
3. Ethno Hist(e)ria (2011) ? Gračiště (SL);
4. Česko-polský projekt (2011) - Varšava (PL);
5. Fliegerträume/Okřídlené Sny (koncept) ? Železná Ruda/Bayerisch Eisenstein (2011) (CZ/D);
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Theatre as a fine art medium
Täubelová, Kristýna ; Kalfus, Pavel (advisor) ; Preková, Jana (referee) ; Matásek, Petr (referee)
In my thesis I am analyzing scenographic creation from the point of view of the fine artist, who is working with tools typical for the theater, which means that they are using theater as a fine art medium. This also touches upon a specific trend in contemporary theater practice, in which there is an intermingling of fine art and theatrical elements
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Costumes in Puppet Theatre
Nguyen, Ha Thanh ; Matásek, Petr (advisor) ; Králová, Andrea (referee)
In my bachelor´s the Costumes in Puppet Theatre, I amattempting to categorize different types of costume. I also examine their usage in puppett heatre and their over lap into the puppet itself. There are examples of personalities who take advantage of these principles. However, within the frame of the given topic, I concentrate on the development and making of the bachelor´s performance Děviatko.
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Rhythm, sound, music and searching for their use in stage design
Krtičková, Anna ; Matásek, Petr (advisor) ; Smolík, Robert (referee)
In my bachelor´s work Rhythm, sound, music and searching for their use in stage design
I am trying to find possibilities of relationship and cooperation of music and plastic art in
a theater. Based on historical and contemporary examples, I demonstrate different ways of
musical visualization and I explore sound as a character that is making and imaginative part
of a dramatic performance. Simultaneously, I reflect developing and making of our bachelor´s
performance Děviatko.
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