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Cross-gender casting of tragedies by William Shakespeare
Mašková, Barbora ; Nováková, Soňa (advisor) ; Hančil, Jan (referee)
Cross-gender casting (i.e. the casting of female performers for male parts and vice versa) of plays by William Shakespeare is not a scarce phenomenon and is getting more and more popular in the recent years. In spite of the frequent claim of the theatre-makers and critics that it is in fact a gender blind casting, where the gender of the performer does not matter, the thesis attempts to prove that, in fact, it is not the case. This is exemplified on three most frequently staged and also most commonly cross-gender cast plays: Hamlet, King Lear and Romeo and Juliet. Via these examples the thesis shows the variability of approaches to cross-gender casting and the differences in realization. In the first chapter, the key terminology is defined, in order to avoid confusion, discussing the differences between cross-dressing, travesty and cross-gender casting. That is followed by subchapters in which the basic frame of thought is suggested, building on Judith Butler's deconstruction of gender and the concept of gender performativity. The last subchapter of this section deals with the history of cross-gender casting, including the Elizabethan all-male staging tradition. The next three chapters are then devoted to each of the plays, analyzing the possible interpretive keys and motivations for a cross-gender cast...
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The theme of Hamlet in Joyce's Ulysses: The reflections of Stephen Dedalus's aesthetic theory in his later theory of Hamlet and the specific implications that arise from it
Brymová, Petra ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
The thesis deals with the theory of Hamlet created by Stephen Dedalus, the main protagonist of Ulysses, and with its counterpart in the form of Joyce's theory, which can be imagined as a twisted theory of Stephen reflected in the narrative of Ulysses. The first chapter concerns the origins of Stephen's Hamlet theory; it focuses on Stephen's aesthetic views with emphasis on the terms Stephen uses and shows how Stephen diverts from the models he is drawing on. It is revealed that the basic concept of Stephen's aesthetic theory is the indispensability of "real life" for an artistic creation. Most of the terms Stephen employs include this issue, except for his idea of a "detached artist", which is the very opposite of a contact with reality. However, this paradox is a link towards reconcilliation of two opposing tendencies, which seems to form the essence of an artistic creation. The chapter likewise comments on Joyce's ironical treatment of Stephen's views. Stephen detaches himself from Christianity, yet he uses religious parallels and thus, paradoxically, pays homage to it. Irony also surfaces concerning the relation between an artist and his work of art; Joyce's "new" theory of Hamlet is closer to Aquinas than Stephen's original. In a similar way Joyce regards Stephen's analogy between a literary...
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Hamlet on Screen: William Shakespeare's play in film adaptation
Kurtiak, Tetiana ; Nováková, Soňa (advisor) ; Beran, Zdeněk (referee)
The purpose of my thesis is to study the process of a play-to-film adaptation of William Shakespeare's Hamlet, the Prince of Denmark. It deals with the issues concerning film adaptation, the complexity of transferring drama onto the screen, and, consequently, analyses the individual filmic readings of Shakespeare's play. The four British and American film adaptations discussed in this thesis are: the black-and-white version of Hamlet by Laurence Olivier (1948), the popularized Hamlet by Franco Zeffirelli (1990), the four-hour Hamlet by Kenneth Branagh (1996), and a modern version directed by Michael Almereyda in 2000. This study will focus on the comparison of two forms of art, theatre and cinema, and explore the given adaptations not only as an instrument of transition and improved audio-visual experience, but as a separate work of artistry. The thesis demonstrates how one play alters and redefines its narrative depending on the time period, cultural factors, and enhanced technologies.
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Hamlet on Film: The Screen History of the Man Who Could Not Make Up His Mind
Krejčířová, Kateřina ; Nováková, Soňa (advisor) ; Beran, Zdeněk (referee)
The thesis deals with the film adaptations of William Shakespeare's Hamlet; a multi- layered and deeply ambiguous play. Its innate ambiguity pushes directors to take widely differing stances. The thesis looks at different approaches and contrasts their effectiveness. The aspects of the play different directors chose to highlight and with what result is also taken into consideration. By close watching of selected adaptations, the thesis observes the impact of different aspects of the films such as the acting styles, casting, setting and music. The role of the elements unique to film is also examined. Among them are close-up, distance and camera angle, the tempo of editing, and juxtaposition of shots and the use of flashbacks. The thesis discusses the general issues connected with adapting play-texts into the medium of a film. It will also focus on instances within the particular adaptations that demonstrate the shift between the two means of convening a story. The thesis will be limited to the English language adaptations with one exception: Grigori Kozintsev's 1964 version based upon Boris Pasternak's translation into Russian. The thesis pays close attention to the way Kozintsev uses the film to capture the dynamics of a totalitarian state and its impact on society. He highlights the notion of...
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Cross-gender casting of tragedies by William Shakespeare
Mašková, Barbora ; Nováková, Soňa (advisor) ; Hančil, Jan (referee)
Cross-gender casting (i.e. the casting of female performers for male parts and vice versa) of plays by William Shakespeare is not a scarce phenomenon and is getting more and more popular in the recent years. In spite of the frequent claim of the theatre-makers and critics that it is in fact a gender blind casting, where the gender of the performer does not matter, the thesis attempts to prove that, in fact, it is not the case. This is exemplified on three most frequently staged and also most commonly cross-gender cast plays: Hamlet, King Lear and Romeo and Juliet. Via these examples the thesis shows the variability of approaches to cross-gender casting and the differences in realization. In the first chapter, the key terminology is defined, in order to avoid confusion, discussing the differences between cross-dressing, travesty and cross-gender casting. That is followed by subchapters in which the basic frame of thought is suggested, building on Judith Butler's deconstruction of gender and the concept of gender performativity. The last subchapter of this section deals with the history of cross-gender casting, including the Elizabethan all-male staging tradition. The next three chapters are then devoted to each of the plays, analyzing the possible interpretive keys and motivations for a cross-gender cast...
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Comparison of Various Film Adaptations of William Shakespeare's Hamlet
Varga, Jan ; Higgins, Bernadette (advisor) ; Ženíšek, Jakub (referee)
The aim of this thesis is to compare various film adaptations of William Shakespeare's Hamlet and to comment on the different style of their adaptation of the original play. A brief description of this Shakespeare masterpiece and of related films and their style followed by a depiction of particular characters and how the movies interpret them will lead to the comparison of the movies within individual motifs. Four film adaptations will be compared: the black-and-white version by Laurence Olivier (1948), Franco Zeffirelli's Hamlet starring Mel Gibson (1990), the four-hour Hamlet directed by Kenneth Branagh (1996) and modern version directed by Michael Almereyda (2000).
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The theme of Hamlet in Joyce's Ulysses: The reflections of Stephen Dedalus's aesthetic theory in his later theory of Hamlet and the specific implications that arise from it
Brymová, Petra ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
The thesis deals with the theory of Hamlet created by Stephen Dedalus, the main protagonist of Ulysses, and with its counterpart in the form of Joyce's theory, which can be imagined as a twisted theory of Stephen reflected in the narrative of Ulysses. The first chapter concerns the origins of Stephen's Hamlet theory; it focuses on Stephen's aesthetic views with emphasis on the terms Stephen uses and shows how Stephen diverts from the models he is drawing on. It is revealed that the basic concept of Stephen's aesthetic theory is the indispensability of "real life" for an artistic creation. Most of the terms Stephen employs include this issue, except for his idea of a "detached artist", which is the very opposite of a contact with reality. However, this paradox is a link towards reconcilliation of two opposing tendencies, which seems to form the essence of an artistic creation. The chapter likewise comments on Joyce's ironical treatment of Stephen's views. Stephen detaches himself from Christianity, yet he uses religious parallels and thus, paradoxically, pays homage to it. Irony also surfaces concerning the relation between an artist and his work of art; Joyce's "new" theory of Hamlet is closer to Aquinas than Stephen's original. In a similar way Joyce regards Stephen's analogy between a literary...
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Hamlet on stage in České Budějovice
TESAŘOVÁ, Martina
In my thesis I will deal with productions of "Hamlet, Prince of Denmark", which was played on the stage of the theater in České Budějovice. I will focus on the different approaches to the game itself in terms of directors and actors, used translations, scenic site games and also for the audience response performance.
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