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STYLIZATION VERSUS AUTHENTICITY, SCENOGRAPHY IN
NON-THEATRICAL SPACE.
Svobodová, Barbora ; SMOLÍK, Robert (advisor) ; TÄUBELOVÁ, Kristýna (referee)
This studie thesis make an attempt to identify issues related to the staging in nontheater
space. It make an effort to point out the pros and cons hidden in non-theatre
space and search for possible solutions resulting complications. The author deals
with the question of what degree of stylisation and authenticity is suitable and
appropriate for the non-theatre space conditions to avoid dilution and elusiveness of
the final theatrical form. Attention is paid mainly to visual solutions of the costumes
and masks, their function and redeemable value in physical and documentary theatre
and their relationship to selected non-theatre space. On the example of the physical
and documentary project Mary gave it. How will you give it? (directed by: Linda
Petáková) make the paper an attempt to specifically identify the different staging
folders in which the emphasis is on the communication with authenticity of nontheatrical
space. The last of all make the author an effort to other custom solutions for
staging posibilities for this particular type of theatre.
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The Development of Masquerade and Carnival Costumes
Nečas, Jan ; KRÁLOVÁ, Andrea (advisor) ; SMOLÍK, Robert (referee)
This dissertation notices development of masquerade costumes in the Czech
Republic and carnival costumes in Venice. In introductory part Jan Nečas describes
the beginnings of Shrovetide festivities and their development in costumes and
masks. In the next part of this dissertation he deals with the development of
carnivals, typical masks and carnival costumes in Venice. In the fourth part of this
dissertation author introduces and reflects his own work in pursuance of production
of a folk masquerade and city carnival costume which is used for carnival procession.
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Theatre mask and make-up as an artefact and a process
Šonková, Monika ; PETIŠKOVÁ, Ladislava (advisor) ; KRATOCHVÍLOVÁ, Zdeňka (referee)
This work represents a process of a search of a relationship to the theatre mask and costume, it is an evidence of the process of enquiry mainly through theatrical experience.
The first part of the paper is introducing historical development of a mask, however it?s goal is not to describe the journey of a mask, ritual and theatre, it only sometimes refers to such anthropological studies. The next part is related to active application of mask in all aspects of human activities. Further work describes the finding of its own way of application and work with a mask and a costume and is reflecting on the authorship performances. Also the pedagogical methods of using a mask are being mentioned. The end of this work is dedicated to a research of a mask and a masked person in the context of theatrical work. In the appendix, there are the interviews with some of the contemporary artists related to the acting with a mask and use of mask in theatre plays.
The discovering of a need and an effect of a mask through a play, through a possibility of change, that is a question for an actor. A mask is also an aesthetic component of theatre, it is a part of a costume, a part of scenography. But for an actor, mask is a partner. It is a chance to extend the limits of an expression into imaginary dimension. This work is a search into what exactly mask is, if the make-up-covered face of actor is a mask or an aesthetic supplement, if it can change the actor?s identity, if he needs it, but above all ? how can he approach it and make it his own.
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