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Dramatist Jean Genet
Machačíková, Markéta ; Jobertová, Daniela (advisor) ; Sílová, Zuzana (referee)
This work is focused mainly on Jean Genet´s dramatic works and their basic principles and characteristic features. In the introductory chapter Markéta Machačíková describes some choices the performers had to make when they decided to rehearse Genet´s one-act play The Maids as their bachelor theatre performance. The second chapter concentrates on Jean Genet´s life that vastly influenced his works and on his permanent endeavour for forming his own image. Genet´s conception of theatre, his dramatic works and his place among other playwrights of the theatre of the absurd are discussed in the third chapter. Based on her work on The Maids as translator and as dramaturgist, the author of this work tries to analyse the play and its possibilities of interpretation in the fourth chapter. The last chapter is dedicated to Genet´s position and to the potentialities of his plays within the contemporary Czech theatre.
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A BORDERLINE BETWEEN THE GAME / PLAY AND REALITY
Glogrová, Kateřina ; Kudláčková, Jana (advisor) ; Sílová, Zuzana (referee)
In the Introduction Kateřina Glogrová explains why she chose the topic The Borderline between the Game / Play and Reality for her thesis, and what the connection between the topic and her bachelor production of Jean Genet?s play The Maids, on which she participated as a director, is. Chapter 2 deals with the factual interpretation of The Maids. Chapter 3 concentrates on a ?game / play? as such within the context of Johan Huizinga?s theories. Chapter 4 analyses the character of Claire?s and Solange?s ?play? which appears to be the most important principle of The Maids. Chapter 5 focuses on the role-play and in Chapter 6 the relation between the ?game / play? and reality and the borderline between them are tackled. In the final chapter the author states that it was the understanding of Genet?s playfulness that became the key to the interpretation and production of the play.
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Dramatic versions of Faustian theme
Máchová, Irena ; Sílová, Zuzana (advisor) ; Salzmannová, Eva (referee)
In my diploma work I deal with the staging of Faust in A Studio Rubin theatre, I focus on a character of Margaret who I acted. In the first part I walk through my personal acknowledgements related to the process of rehearsing, to the problem of alternance and to the cellar space that the staging took place in.
The second part is dedicated to the questions of Russian theatre-scientists who in their enquiry deal with the actor´s work from the psychological point of view. I put these questions to the actress Eva Salzmannová and I added the interview about Faust and part of Margaret from her point of view as well.
In the very end of my work I try to resume what the work on the part of Margaret gave me to my further actor´s progress. As an appendix I attach facts about Faust in Czech countries, biographies of J. W. Goethe, ?his predecessor? Christopher Marlowe, my diary from the year 2003 ? a reflection from the time I rehearsed Faust and as the last one the critics of the ?Theatre magazine? on our performance in A Studio Rubín.
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Lenka Lagronová The Playwritter in the Borderland
Marečková, Tereza ; Kudláčková, Jana (advisor) ; Sílová, Zuzana (referee)
Lenka Lagronová (22.9.1963) graduated from the dramaturgy at the Theatre Faculty of the Academy of Performing Arts in Prague under Prof. Jaroslav Vostrý. During her studies she had written several plays which were later presented in the theatre DISK (eg, Nouzov). As a dramaturgist, she has worked exclusively with the director Petr Lébl at the Theatre on the Balustrades. Nowadays, she still devotes herself to writing plays for the theatre and radio.
In her early works she was dealing with the traumatising experiences of younger generation, which she described with typically rough humour. Primarily she wrote episodes about maturing of young women (Antilope). The second part of her work was influenced by her retirement from theatre life to taking the veil (Convent of St.Thérèse). In 1998 her play Thérèse won the Alfréd Radok Award for Production of the Year (Comedy Theatre, directed by Jan Nebeský). In 1999 she received the Czech Radio Award for her radio debute Please Stand Up and in 2002 the play won prize in the Grand Prix Bohemia.
Lenka Lagronová went through two considerable periods in her creative work. From expressive and even expressionistic dramas with intermediating dramatic form and scenic poem she moved to poetic compositions with precise dramatic structure.
The transformation of the author´s style went hand in hand with intensifying mission of her dramatic texts. The main topic of the whole period could be summarized as searching for authority, inner order and sense. She found all this in the middle of 90´s and since her play Theresa she has been writing religious and especially catholic dramas.
Lenka Lagronová draws on imaginative world of intimate female mental character and creates genuine image of the world of religion at the same time. She creates this sphere with connecting fragile mysticism with everyday naturalism.
Although her work could be queried because of its visible evangelistic aim, that could overshadow dramatic character of the text, Lenka Lagronová remains an outstanding creative personality. She breaks borders of genres and fascinates with her persistence in studying human soul and heart through the drama.
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Prozaic tex, dramatization and staging
Samec, Matěj ; Hůrková, Jiřina (advisor) ; Sílová, Zuzana (referee)
Dramatizing is one of the most interesting and creative parts of dramaturg´s work. In my bacalary diplom work I´m trying to demonstrate the main problems that concern dramatization. I´m describing the way of transforming prozaic text to drama. To explain it precisely, I´m using two examples of my own dramatization: The play instinct (the author of this novel is german writer Juli Zeh) and The tender girl (autor of this short story is Fjodor Michlajlovič Dostojevskij). Althought dramatization has never been considered as important as many other pieces of dramaturgy, for its creativity and inovation that brings to theatre world, it could be one of the most significant parts of author´s theatre.
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Theatre school system in our country till 1945
Davidová, Iveta ; Císař, Jan (advisor) ; Stehlíková, Eva (referee) ; Hyvnar, Jan (referee) ; Sílová, Zuzana (referee)
The main topic of my thesis deals with the birth and the follow-up progress of the theatre school system and the pedagogy of dramatic art in our country from the beginning till 1945. It is based on the Music Theatre Department of Prague Conservatory, but it does not also neglect the Music Theatre Department of Brno Conservatoire, the various private theatre schools, the theatre companies and associations, which employed the theatre youth and the pupils of both Music Theatre Departments during 2nd world war, especially.
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HISTRIONICS OF JOSEF ABRHÁM
Nosková, Simona ; Sílová, Zuzana (advisor) ; Císař, Jan (referee)
My thesis is devoted to actor Josef Abrhám and together with detailed research his destiny of an actor, I´m trying to analyze on pivotal exemplars of theatre and film roles the most important marks of actor´s type of artist, who became one of the most idividual and important representative of the generation which started the professional life in the early ´60s of the last century. His actor´s career is close-knit with markedly rise of theatre and film in one of the top period the big aggrandizement of the Czech culture as well as with attempt to liquidate him in following years and looking for new social being after November 1989.
Though most of his professional life lived Josef Abrhám in the hard period of normalization, he proved - evidence is his actor´s work, which made him very popular - despite the lot of restrictions that humanly and professionally strong personality can trough its art markedly affect level of modern Czech culture.
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PROSAIC TEXT HIS DRAMATIZATION
Olšovský, Lumír ; Sílová, Zuzana (advisor) ; Kudláčková, Jana (referee)
In my bachelor thesis I am comparing five dramatic texts coming from the same artwork: novella Carmen written by French prose-writer Prosper Mérimée.At the beginning I am mentioning author?s brief curriculum vitae and the circumstances connected with the birth of this novella. Following paragraph is about origin of the opera Carmen by Georges Bizet which made the story about the gipsy temptress known all over the world. Further I am introducing the other authors who inspired by this story made other dramatizations or adaptations (ballet, movie, musical).The subjects of the following comparison are libretto of opera Carmen (authors Henri Meilhac and Ludovic Halévy), drama Carmen by Gustav Skála, libretto of the musical Carmen/Viva Amor! by Egon Kulhánek, Adam Novák, Norman Allen, Jack Murphy), inscenation Carmencita by Tereza Ludvíková and my own dramatization Don José!.I am considering a structure of the artwork, description of the characters, motives and dramatic situation of the text in comparison with its literary pattern. I am studying the mechanism of changing from the literary work into the dramatic one and crucial differences between components of the artwork: sentence ? rejoinder, information ? action, person ? character.At the end I am describing my own procedure while making the dramatization applied.
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One Actors Studio Generation
Podušková, Veronika ; Sílová, Zuzana (advisor) ; Hančil, Jan (referee)
Summary
One of the most famous American acting teachers was Lee Strasberg who co-founded the Actors Studio. This studio has existed since 1947 and is situated in New York. Lee Strasberg developed a new acting system based on the Konstatin Stanislavski?s acting technique. He changed some items of Stanislavski?s technique and called his new system ?Method?.
There have been many of Strasberg?s students during the era of the Actors Studio. Some of them became famous not only on the theatre stage, but primarily in movies. The generation of early 70?s has yielded many great names; Robert De Niro, Harvey Keitel, Al Pacino and Christopher Walken are the most important. Their technique of acting was affected by the Strasberg?s Method but each one of them is considered to be a different kind of an actor. Their acting is reviewed and compared in this thesis.
There is described a history of the Studio and the Method development, the next chapters are about actors and their work.
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