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The Mediatization of Rusalka - A Language Semiosis of the Opera and the Musical (A Comparative Semiotic Analysis)
Pavézková, Tereza ; Šoltys, Otakar (advisor) ; Podzimek, Jan (referee)
In this Master's thesis, I attempt to capture the disparate semiosis of two musical genres - a traditional opera, Rusalka, which has a unique position in Czech national music, and a musical of the same name. On the basis of theoretical findings from semiotics as a science, from the approaches of F. de Saussure, C. S. Peirce and R. Barthes, and by means of semiotic analysis, the thesis unravels semantic elements that are specific for theatrical art. Attention is directed at the symbol as a major tool for semiosis and the classification of symbols on the basis of Peirce's three ontological categories. The analysis focuses on decoding the semiotic systems used in the two genres (the libretto, the music, the characters, the story, and the technical and symbolic means that are employed). The analysis also deals with the question of intertextuality and the ideological background of the text, and attempts in this way to compare the differences and/or the similarities of diverse semiotic codes of the same class, and to capture their originality and specificity. At the same time, the thesis is focused on the dominant semiotic code of the two genres. This is, on the one hand, determined by the systemic distinctions between opera and musical theatre, while, on the other hand, it is primarily predetermined by...
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Opera Perdita of Josef Nešvera in context of its source material
Hanušová, Kateřina ; Gabrielová, Jarmila (advisor) ; Myslivcová, Eva (referee)
Perdita is an opera written by Jaroslav kvapil and composed by Josef Nešvera. Its' libretto is based on one of William Shakespeare's late romances The Winter's Tale. First part of this thesis focuses on characterization of the genre of romance as well as on The Winter's Tale and its place among other Shakespeare's plays. It also describes life and work of both Josef Nešvera and Jaroslav Kvapil, and Perdita's place among their work, which is not primarily operatic for neither of them. Perdita is described on basis of operatic style, derived from plays written and composed by these authors. In the second part of this thesis Perdita is compared to The Winter's Tale, in structure, work with themes and characters. At the end the thesis focuses on the opera's first performance and it`s reflections in press and contemporary sources.
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The Mediatization of Rusalka - A Language Semiosis of the Opera and the Musical (A Comparative Semiotic Analysis)
Pavézková, Tereza ; Šoltys, Otakar (advisor) ; Podzimek, Jan (referee)
In this Master's thesis, I attempt to capture the disparate semiosis of two musical genres - a traditional opera, Rusalka, which has a unique position in Czech national music, and a musical of the same name. On the basis of theoretical findings from semiotics as a science, from the approaches of F. de Saussure, C. S. Peirce and R. Barthes, and by means of semiotic analysis, the thesis unravels semantic elements that are specific for theatrical art. Attention is directed at the symbol as a major tool for semiosis and the classification of symbols on the basis of Peirce's three ontological categories. The analysis focuses on decoding the semiotic systems used in the two genres (the libretto, the music, the characters, the story, and the technical and symbolic means that are employed). The analysis also deals with the question of intertextuality and the ideological background of the text, and attempts in this way to compare the differences and/or the similarities of diverse semiotic codes of the same class, and to capture their originality and specificity. At the same time, the thesis is focused on the dominant semiotic code of the two genres. This is, on the one hand, determined by the systemic distinctions between opera and musical theatre, while, on the other hand, it is primarily predetermined by...
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Fairy Tale Drama around the turn of the 19th and the 20th century
Šestáková, Kristýna ; Vaněk, Václav (advisor) ; Wiendl, Jan (referee)
The aim of this bachelor thesis is an attempt to define and characterize the genre of fairy tale drama and also by analysing individual plays we outline the changes within the entire genre. When defining the term of fairy tale drama, we highlight mainly the elements that show the difference between the fairy tale drama and the fairy story. As to the changes within the genre we will first focus on authors from other countries and then we will deal with Czech authors. To characterize the changes within the genre in Bohemia, we have selected seven texts in which we will observe the circumstances leading to their conception and creation, as well as the composition, reception, motives, the way of describing space-time and the psychology of the characters featured.
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Success and Failure of Vilém Mrštík (Maryša and Anežka)
Smolíková, Miroslava ; Mocná, Dagmar (advisor) ; Brožová, Věra (referee)
The thesis called "Marysa and Anezka. Success and failure of Vilem Mrstik" deals with Marysa, a drama co-written by V. Mrstik and his brother A. Mrstik in 1894, and Anezka, a play finished by V. Mrstik in collaboration with his wife B. Mrstikova in 1912. Both dramatic works are introduced within the literary-historical context and within the personal history of the author. Introduction provides insight into source-books, the most important previous studies of the field and basic propositions around which the thesis revolves. The Marysa part expands the research of M. Ljubkova with information from correspondence between V. Mrstik and L. Stroupeznicky. It also questions the importance of V. Mrstik's inputs to the collective work and analyses premiere and critical reception of the drama, using contemporary reviews. The Anezka part follows genesis of the play with use of correspondence and manuscripts from literary archive of The Museum of Czech Literature (PNP). The genesis includes quotes of V. Mrstik defending the drama. The thesis also describes circumstances of Anezka's premiere and its disappearance from the stage and mentions the probability of guilty conscience that dramaturgist J. Kvapil might have had about V. Mrstik's suicide. Reception of Anezka is depicted with the help of contemporary...
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