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Dance and fashion
Orszulik, Eduard Adam ; TÄUBELOVÁ, Kristýna (advisor) ; ELIÁŠOVÁ, Bohumíra (referee)
In my bachelor’s thesis I deal with the evolution of dance from the period of ballets de cours during the reign of Louis XIV and of fashion from the birth of fashion industry until today. I searched for a connection between dance and fashion so that it was apparent how these two different fields influence each other. The main sources for this thesis were professional literature, fashion media, but also interviews I did with leading dance creators. During my research I came to a conclusion that even though these two fields are completely independent on each other, there is a connection between them which is responsible for their specific evolutions.
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PUPPETS ON BOARDERS OF VISIBILITY
Migač, Dominik ; SMOLÍK, Robert (advisor) ; TÄUBELOVÁ, Kristýna (referee)
In my thesis I would like to present my originalplay uSputnik , on which i have worked on since April 2015 and until January 2016. It was inspired by historical events, especially Cold war. During my participation on this project, i was getting my inspiration from my other work, which contain another play called MicroDěj and also whole theatre that i created called MicroMikro, which is movable stage especially design for micro plays. MicroMikro and uSputnik were created at the same time, so in the context of the thesis, they are discussed simultaneously. Thesis contains infromations about ideas behind each project, as well about dramaturgy, technical aspects, making of, rehersing and the spectators. Thesis also cointans author thoughts about his personal gain from this project and what he thinks can be usefull for another projects in the future. Part of the thesis is focused on other authors, who are working with the puppets on the borders of visibility.
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DEPICTIONS OF DEATH IN THE EUROPEAN PUPPET THEATRE IN THE LAST FIFTY YEARS
Hásková, Marie ; SMOLÍK, Robert (advisor) ; TÄUBELOVÁ, Kristýna (referee)
The aim of this work is to map the incidence of death personified in European art , to highlight the views of death in several Czech and foreign productions and puppet -making process closer to the author's own productions MORS PICTUS .
Work is divided into two larger units, text and pictures.
The first part - theoretical - concerns the origin personification of death in European culture . In the introduction, I try to outline the history of the art imaging death , and how it was perceived in different time periods : from antiquity through the Middle Ages , the Renaissance and Baroque to XX . century and the present . Another chapter is about the depiction of death in puppet theater . In conclusion, the theoretical part is dedicated to puppet productions and how death is displayed in them.
The second - practical - part of the text deals with my original production MORS PICTUS that the topic of the thesis is related, and the motives that led me to it for production work, what inspired me as I progressed in designing trips, at what stage of preparation the productions is and what I expect from it.
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Motif of Fear in Children´s Production
Lenártová, Andrea ; TÄUBELOVÁ, Kristýna (advisor) ; SMOLÍK, Robert (referee)
Master's thesis deals with the children's production, which use fear as educational or entertainment aspect. The intention is to find these aspects in children's production and review their effects and impacts. It considers the comparison of these two aspects.
Selected problem is solved through author's own reflections, based on her childhood or her experience gained through working with children. It analyzes the children's production, as well as feelings of fear and anxiety.
The thesis provides an opportunity to get familiar with unconventional production for children. We found out that the production for kids must be more flexible than for adults. It is not always easy for parents to accept. This thesis can help beginning authors, interested in production for children, to become familiar with this issue and inspire them.
A part of the master's thesis is the author's reflection on her own artistic performance and moments of practical implementation, through which the author tries to complete theoretical approaches. The photo attachment is included in the text of thesis. In the end of the thesis is text attachment. There is also a CD-R included, on which there are records of some stagings mentioned in the text.
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DRAWING + STAGE
Bartůňková, Tereza ; SMOLÍK, Robert (advisor) ; TÄUBELOVÁ, Kristýna (referee)
In my master’s thesis I narrow the subject of illustration in relation to set design, as described in my bachelor’s thesis, to the topic of drawing in performing arts. The work is divided into a theoretical and a practical part. The theoretical part aims at defining key concepts for the selected topic. Subsequently, I situate them in the context of theater, outlining the historical development of the use of drawing in performing arts and citing contemporary examples from this artistic field. In this part I mention some specific works, artists, and artistic groups concerned with these expressive means. The second part of the thesis is a practical reflection of my own theatrical work that was created during my graduate studies. Using my own experience and knowledge I attempt here to substantiate the claims made in the theoretical part.
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ONE OR TWO SCENIC DESIGNERS
Brejcha, Jan ; SMOLÍK, Robert (advisor) ; TÄUBELOVÁ, Kristýna (referee)
This master´s thesis tries to compare and evaluate experiences of the author from his master´s studies. On six selected plays it compares three types of theatre performances – theatre of a big scene (plays Plné ruce revoluce and Cejch), theatre of a puppet scene (plays Slzy ošlehaných mužů and Frankenstein) and author´s production (plays Proroctví severoamerických indiánů and Cern). It investigates its specifics, advantages and disadvantages.
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METAMORPHOSIS OF THE THEATRE COSTUME FROM A CONVENTION TO AN EXPERIMENT
Nguyenová, Ha Thanh ; KRÁLOVÁ, Andrea (advisor) ; TÄUBELOVÁ, Kristýna (referee)
In my final Master´s thesis I focus on the costume´s progress from the basic habitus function. Therefore, I also mention crucial historical eras, which specified the form of costumes, predetermined its development and predicted tendencies, which might affect its evolution. I refer to its role in action stage design. In addition, there are examples of specific artists and their work. Furthermore, I also focus on the chapter about innovative materials and technologies, which may be very useful and highly beneficial for the costume design. In the practical section I refer to my Master´s project, play Froth on the Daydream (Boris Vian), and its realization. Apart from this, I also mention some others of my own projects, such as dance performances, and some attractive principles of technological solutions I have used.
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Stage design and his dramaturgical aspects
Vydarená, Tereza ; ŠPLÍCHALOVÁ, Kateřina (advisor) ; TÄUBELOVÁ, Kristýna (referee)
The theme STAGE DESIGN AND HIS DRAMATURGICAL ASPECTS discusses the principles of the author's sconographic performance based on the dramaturgical thinking. This is in addition to the visual component becomes one of the primary constituent elements in the process of creative theatre work. Image becomes the narrator of the story. Using the installation as a milestone between painting and theater performances.
The practical part deals with the dramaturgical thinking by introducing 4 months of Oslo, and A Bar at the Folies which is based on theatre work with people with mental disabilities during the birth of the author´s scenographic performance.
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ELEMENTS OF RITUAL IN THE AUTHORS THEATRE
Silich, Sviatlana ; TÄUBELOVÁ, Kristýna (advisor) ; SMOLÍK, Robert (referee)
In my thesis I will emphasize the elements of ritual in authors visual theatre. I will explain the choice of topic and my attitude towards it; I will introduce the connection between the ritual and my thesis topic.
The thesis will include a thorough analysis of two of my implemented projects based on the subject death and elements of ritual.
I will give a brief explanation to the choise of my thesis topic which is centered around burial traditions, and speak about the elements which gave me particular inspiration. A separate chapter will be dedicated to the works of artists who inspired me the most, thus contributing to the creation of my performance, The Styx. I will reflect on the degree of interrelation and convergence of the theatre theory brought by Antonine Artaud, and theories brought by other artists and art groups, e.g. Sergei Parajanov, Alejandro Jodorowsky, AKHE theatre.
In the first part of my thesis I will speak about the chosen topic and the sources of inspiration, give a description of ritual and bring along the parallels to - herring under fur coat.
The body of my thesis is further divided into two more parts, one corresponding to the procession experiment, and another one describing the implementation in the dark room. In the chapter called ?4 dissolution? I will exlain why this didn't happen. The next chapter contains a description of the preparation steps, which were as follows: hunting for a suitable rehearsal room, actual preparations, rehearsing and the final implementation of the ritual in the dark room, then, giving priority to the particular elements and, finally, the course of performance.
In the conclusion chapter, I will summarize the whole of obtained knowledge and experience, together with the results of my project, and speculate on the bright new opportunities in the world of art which lie before me.
The illustrated appendix contains photographs reflecting the preparation steps to performance, the resulting project, and parallels to the sources of inspiration.
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