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Selected productions of Iva Peřinová's plays in Naive theatre Liberec in 1977-1989
Rezková, Jana ; Pavlovský, Petr (advisor) ; Herman, Josef (referee)
The study analyzes six plays and their production in Naive Theatre. Although writing exclusively for puppets, Iva Peřinová is the most widely produced Czech contemporary dramatist. The paper focuses on the initial stage of her writing career and more specifically on the influence of close co-operation with the theatre ensemble in her work. The analysis is based on six selected productions, which together constitute a representative sample of Peřinová' s plays in the given period.
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The chapter about puppets, manequins and other creatures in theatre of Michel de Ghelderode
Petružela, Jan ; Hyvnar, Jan (advisor) ; Pavlovský, Petr (referee)
The diploma work "The chapter about puppets, mannequins and other creatures in theatre of Michel de Ghelderode" presents in the beginning a short overview of life and work contexts of Michel de Ghelderode and a selection from literature. The main chapter treat a different approaches to aspect of puppet in the relation with a man in plays of author. These apects are analyzed mainly in formes of mannequin, automat, animal and others. This work concern certain concepts of mannequins from Bruno Schulz's work and the power of mannequin hiden in his man's "double" character. The chapters "Ghelderode in the world" and "Ghelderode in Czech republic" presents shortly a panorama of theatrical reception. The supplements (I-III) contains: I. Chronology of Michel de Ghelderode's plays, II. Bibliography of czech translations of his plays, III. List of theatre realizations of his plays in Czech repubic till these days.
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Alfréd Radok's adaptations for the "laterna magika" principle
Šmídtová, Lenka ; Stehlíková, Eva (advisor) ; Pavlovský, Petr (referee)
Czech theater director Alfred Radok (1914-1976) was always temped by confronting several layers of meaning in one single work of art. On theater he used different scenic spaces at once - in e.g. his production of Offenbach's opera Hoffman's Tales (Velka opera 5. kvetna IThe Great May 5th Opera/, 1946) he combined two spaces which symbolized the two worlds of Hoffman's fantasy. The true character of these worlds was not only formed by the stage design but also by acting. When transiting from one space to the other the actors changed their gestures, their body language, the way they walked, etc. A similar principle was applied in Verdi's Rigoletto (Velka opera 5. kvetna IThe Great May 5th Operal, 1947). In this production the singers were moving inbetween two different worlds - one being represented by a ceremonial opening night of this performance in Teatro La Fenice, while the second by the theater backstage which unveiled the reverse side of fame (scene-shifters were preparing the change of the upcoming scene, one singer was flirting around with the dancers, prop-woman was knitting etc.). This specific technique of totally diverse realities medley became the basis for Radok's film debut Daleka cesta IFar Away Journey/ (1949). A portrayal of a life story of a mixed marriage during the Second World War is...
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1973 - 1982 DRAK Theatre and origins of the social emancipation in Czech puppet theatre (The best performances of Josef Krofta)
Kotisová, Sandra ; Pavlovský, Petr (advisor) ; Just, Vladimír (referee)
This diploma thesis remarks on the beginning of the equality of rights and the complete social recognition of the puppetry in Czech theatres in the years 1973 - 1982. The thesis deals with the history of the East Bohemian theatre DRAK in Hradec Kralove from its foundation, it describes the arrival of the director Josef Krofta, Prague's performances of DRAK in 1977, the first tours abroad, it observes DRAK in the context of totality, it outlines Krofta's directorial principles and the perspective of the DRAK's Theatre poetics within a decade. Significant attention is dedicated to the reconstruction of the top chosen period plays from the DRAK Theatre, directed by Josef Krofta, because these plays reflect the best the emancipation of the Czech puppet theatre.
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Selected productions of Iva Peřinová's plays in Naive theatre Liberec in 1977-1989
Rezková, Jana ; Herman, Josef (referee) ; Pavlovský, Petr (advisor)
The study analyzes six plays and their production in Naive Theatre. Although writing exclusively for puppets, Iva Peřinová is the most widely produced Czech contemporary dramatist. The paper focuses on the initial stage of her writing career and more specifically on the influence of close co-operation with the theatre ensemble in her work. The analysis is based on six selected productions, which together constitute a representative sample of Peřinová' s plays in the given period.
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Alfréd Radok's adaptations for the "laterna magika" principle
Šmídtová, Lenka ; Pavlovský, Petr (referee) ; Stehlíková, Eva (advisor)
Czech theater director Alfred Radok (1914-1976) was always temped by confronting several layers of meaning in one single work of art. On theater he used different scenic spaces at once - in e.g. his production of Offenbach's opera Hoffman's Tales (Velka opera 5. kvetna IThe Great May 5th Opera/, 1946) he combined two spaces which symbolized the two worlds of Hoffman's fantasy. The true character of these worlds was not only formed by the stage design but also by acting. When transiting from one space to the other the actors changed their gestures, their body language, the way they walked, etc. A similar principle was applied in Verdi's Rigoletto (Velka opera 5. kvetna IThe Great May 5th Operal, 1947). In this production the singers were moving inbetween two different worlds - one being represented by a ceremonial opening night of this performance in Teatro La Fenice, while the second by the theater backstage which unveiled the reverse side of fame (scene-shifters were preparing the change of the upcoming scene, one singer was flirting around with the dancers, prop-woman was knitting etc.). This specific technique of totally diverse realities medley became the basis for Radok's film debut Daleka cesta IFar Away Journey/ (1949). A portrayal of a life story of a mixed marriage during the Second World War is...
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The chapter about puppets, manequins and other creatures in theatre of Michel de Ghelderode
Petružela, Jan ; Pavlovský, Petr (referee) ; Hyvnar, Jan (advisor)
The diploma work "The chapter about puppets, mannequins and other creatures in theatre of Michel de Ghelderode" presents in the beginning a short overview of life and work contexts of Michel de Ghelderode and a selection from literature. The main chapter treat a different approaches to aspect of puppet in the relation with a man in plays of author. These apects are analyzed mainly in formes of mannequin, automat, animal and others. This work concern certain concepts of mannequins from Bruno Schulz's work and the power of mannequin hiden in his man's "double" character. The chapters "Ghelderode in the world" and "Ghelderode in Czech republic" presents shortly a panorama of theatrical reception. The supplements (I-III) contains: I. Chronology of Michel de Ghelderode's plays, II. Bibliography of czech translations of his plays, III. List of theatre realizations of his plays in Czech repubic till these days.
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The Czech stagings of Sergej Fedotov (1997-2006)
Lanta, Petr ; Pavlovský, Petr (referee) ; Hyvnar, Jan (advisor)
Režisér Sergej Fedotov vstoupil do českého divadelního světa jako blesk, který rozžehnul plameny víry v možnosti divadla po staveného na hercích ajejichjednání. Přišel, aby připomněl, na co se téměř zapomnělo v době svévolného a téměř mechanického vytváření divadelních inscenací pomocí nejrůznějších scénických efektů, povrchních aktualizací, komplikovaných obrazů plných racionálního uvažování na straně jedné, případně nudného, mrtvolného nastudování textů, které jsou divákovi "krásně" odříkány a doplněny nevzrušivým pohybem. Fedotov se svým usilováním pokouší vrátit divadlu autentičnost, ale i tajemství a magii. Patřím k těm, kteří Fedotovovu cestu po Čechách sledují již od samotného počátku. Na jaře roku 1995 totiž došlo v mém životě k zásadnímu setkání, do mého rodného podkrkonošského městečka Úpice' přijel hostovat ruský divadelní soubor z Permi.2 Dávali tehdy Panočku a byl to nejen pro mne skutečný divadelní zázrak, něco podobného jsem do té doby nikdy neviděl: jeviště plné slámy a stromů, postavy na něm ze tmy záhadně vystupovaly a v ní také náhle mizely, stejně tak jako plameny svíčky, či zapálená dýmka v jejich rukou, vůně sena se vznášela ve vzduchu, zvuk cvrčků vytvářel ospalou letní náladu, aby v zápětí mocné akordy varhan a ke stropu létající rakev s mrtvou změnily zcela atmosféru v horor, v němž...
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