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THE DRAMATURGIST AS FULL MEMBER OF THE CREATIVE TEAM
Čepková, Kristýna ; Kudláčková, Jana (advisor) ; Vedral, Jan (referee)
The work is focused mainly on the practical part of dramaturgy and the cooperation in staging. In the introduction Kristýna Čepková mentions her own present experience in field of dramaturgy and objective of this work. First chapter considers theoretical preparation of rehearsing the bachelor inscenation of the play by Ann Jellicoe, The Knack. This part of the thesis includes statement of facts, commentary on the adaptation and the text analysis. In the second chapter the author describes individual rehearsals and considers some problems which follow from the specificity of this text. Third part is a reflection of the cooperation and the final production which was presented as part of the bachelor exam. The conclusion contains consideration of the skills and personal attitude to chosen specialization.
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The Myth, the Greek tragedy and their current interpretation
Mikeska, Petr ; Vedral, Jan (advisor) ; Císař, Jan (referee)
The work discusses antic drama, or more specifically, Greek tragedy, ancient Greek mythology, myths and mystery. I have tried to capture and denominate the function and role of theatre and religion in the life of citizen of an ancient Greek polis. On the specific example of my graduation work ? Euripides?s Orestes ? I want to demonstrate the obstacles and difficulties of staging an ancient Greek tragedy that a modern theatre professional has to deal with. My travels in Greek and watching antic plays staged in the original environment, first of all, rewarded me with bountiful resources for my work. In the last chapters I have also included a comparison of three different stagings of Euripides?s tragedy Médeia to demonstrate the specific influence the ancient Greek drama had over development of European culture in its different stages, i.e. how the classical topics were dramatized in the different periods.
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Dramaturgy of the Czech National Theatre During the "Normalization" Era. Czechoslovak Plays During Seasons 1969/1970 - 1980/1981
Dominik, Šimon ; Vedral, Jan (advisor) ; Hančil, Jan (referee)
Presented Bachelor thesis Dramaturgy of the Czech National Theatre During the ?Normalization? Era. Czechoslovak Plays During Seasons 1969/1970 ? 1980/1981 focuses on the topic of Communist propaganda motifs in 11 Czechoslovak plays written after 1945, which were presented at the National Theatre during the specified period. The thesis analyses elements, which function as means of ideological effect, and searches both for their meaning and significance. It does not omit plays which had only been planned and had not reached the stage and suggests, that the administration of the theatre had wished to present more propaganda plays; however, low attendance of some of the staged plays and fear of inappropriate reactions of the audience left their plans unrealised. The chosen period is defined by the years, which the two main exponents of the Communist Party in the National Theatre spent in office, the first being its Director Přemysl Kočí (1969 ? 1978), the second the Artistic Director of the National Theatre Drama Václav Švorc (1973 ? 1981).
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POSTMODERN THEATRALITY IN THE WORKS OF VILIAM KLIMÁČEK
Páleníková, Zuzana ; Král, Karel (advisor) ; Vedral, Jan (referee)
Viliam Klimáček is nowadays the most known and most successful Slovak playwright. He is also called The Slovak Chekhov. His career began in 1985, when he co-founded an amateur theater company GUnaGU in Bratislava where he started as an actor, musician, director and co-author. As time went by, GUnaGU became professional and Klimáček left his original occupation ? medicine. The poetics of his plays and the artistic style of the company influenced each other through the years and became interdependent. Both show obvious signs of what we can call postmodern aesthetics. In this work we try to analyze the specificity of Klimáček?s and GUnaGU?s style and we try to place it in some larger context. This analysis is not only based on theoretical research but also on a practical experience of directing one of his plays ? Maria Sabina.
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THE TIME THEMES AND THEIR STAGE REALIZATION
Ferenzová, Lucie ; Vinař, Josef (advisor) ; Vedral, Jan (referee)
My work is about time themes and their staging. Under concept ?time themes? I mean themes, which now and here are actual for me and people around me and refer about our contemporary life. First I write about texts and performances, which have influenced me and which I cooperated on; second about my baccalaureate performance. I try to find relations between texts ( by M. Bambušek, E. Jelinek, J. W. Goethe, J. Zeh) and between their realization ? performances. And I try to term whot is timeless in these productions, whot transcends us.
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Sound Components of Puppet theatre
Lešková Dolenská, Kateřina ; Dubská, Alica (advisor) ; Vedral, Jan (referee) ; Malíková, Nina (referee)
The thesis is divided into two parts: theoretical and empirical. The first part deals with terminology of the field of sound in puppet theatre and defines basic terms. A brief historical study follows, analysing the use of sound, music and voice in the history of puppet theatre and discussing the changes of voice interpretation as influenced by shifts in contemporary theatre style. In the 20th century part, three concrete phenomena are analysed: the Spejbl and Hurvínek duo, voiceband and the poetics of DRAK Theatre. The third chapter grows out of the author?s own experience as a theatregoer; in it, she characterises the shows that appear on Czech stages, as well as selected shows from abroad, and analyses their creative methods, including a typology of possibilities of unconventional use of sound components.
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Word in dramatic texts of Josef Topol (Konec masopustu) and Jáchym Topol (Cesta do Bugulmy)
Frydrychová, Magdalena ; Vedral, Jan (advisor) ; Kudláčková, Jana (referee)
The first part of my thesis is devoted to thinking about two plays - Konec masopustu by Josef Topol and Cesta do Bugulmy by Jachym Topol - above all from a specific viewpoint of a dramaturgist, who is placed between the text as a component of literature and the theatre scene.The crucial part of the thesis consists of an analysis of individual scenes of the two plays regarding the plot (time, space and factual information provided by the plays) and the identification of all primary topics and motives of the plays.A special chapter concerns the dual layers of the language and the meaning of the Konec masopustu play. It also searches for common points in the content of the two texts and it compares their different language structures.The final part of my thesis touches on the issue of the crisis of the word, which they reflect on in their specific artistic way.
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Woody Allen, the playwright
Šotek, Milan ; Vedral, Jan (advisor) ; Kudláčková, Jana (referee)
In the first chapter the author makes us acquainted with the substance and history of the american stand-up comedy, outstanding representative of which was in the 1960s Woody Allen. The second chapter is engaged in modification of club acts into dramatic texts, namely in the example of Allen's Broadway hit Don't Drink the Water. Also in another notable play, Play It Again, Sam, the author illustrates why he attaches importance rather to the stand-up comic's background than to film director's experience. The third chapter belongs to the American-European culture clash in Woody Allen's work. The author exemplifies that in Death, travesty of Kafka. In the final chapter he first sets the one-act play Central Park West in context to Allen's writings from the 1990s and he adresses the reflection to its stage realization afterwards.
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