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Andrej Krob
Jančálková, Petra ; Topolová, Barbara (advisor) ; Jiřík, Jan (referee)
Dissertation work Andrej Krob follows Krob`s remarkable journey to theatre from meeting Vaclav Havel during his military service in 1957, through Krob`s arrival to Divadlo Na zabradli in the early sixties of 20th century and especially his collaboration with director Jan Grossman, next to who Krob gradually work his way up from stage technician to the director. From the numerous Krob`s productions is the attention paid to the very first one, almost unknown directorial act, student production of Kral Ubu, presented on chateau Breznice in 1964, however this dissertation is mostly dedicated to the selected and key Krob`s productions of Vaclav Havel`s plays. Meeting this author was for Krob personaly as well as for his directorial poetics progress entirely fundamental. That`s why this work describes and analyses in detail semi illegal production of Havel`s play Zebracka opera, presented by Krob in Horni Pocernice in 1975, which has became establishing production of Divadlo na tahu, as well as Krob`s production of the same play from 1995. Separate chapter of dissertation has been also dedicated to Krob`s video production of Havel`s play Pokouseni from 1988 that brings unique opportunity of artistic performance observation. This dissertation determines at the very end, based on in-depth analysis of the...
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Rěžie Autorského Divadla
Lalos, Evangelos ; HANČIL, Jan (advisor) ; MALANÍKOVÁ, Hana (referee)
V této práci se budu zabývat svým kreativním procesem jakožto režiséra souborů, které se věnují autorskému divadlu. Od prvních pokusů vytvořit hru a pocitů zadostiučinění, které jsem během kreativního procesu pociťoval, až po roky v,,TeArt”, kde jsem si na vlastní kůži vyzkoušel, co to znamená být režisérem skupiny sobě rovných kreativních jedinců; Dále se budu věnovat svým studiím na dvou školách, DAMU a Resad. Tomu, co jsem se během těchto let v průběhu prohlubování mých dovedností naučil, až k poslednímu projektu, ve kterém věřím, že jsem převedl do praxe všechny své získané znalosti. Jedná se o úvahu, která klade vedle sebe teorii autorského divadla a mojí vlastní dosaženou praxi.
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Genre as Method of Staging Thematization
Kačmarčík, Josef ; OTČENÁŠEK, Štěpán (advisor) ; DEÁK, Juraj (referee)
Thesis is concerned about theatrical and dramatic genres. It tries to seek for ways how choice of genre can influence the staging thematization. It provides brief outlook trough history of this problemacy, but it also explores contemporary trends. Than it especially concerns about options of stylish approach from the point of director. These informations are compared with experience gained trough staging of Ödön von Horváth´s play Povídky z vídeňského lesa and also other stagings. Author also seeks for genre specifics of Horváth´s work, especially in relationship with epoque of Viennese popular theatre.
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ACTING IN VARIOUS GENRES OF GRADUATE PRODUCTIONS
Kratochvílová, Anna ; KUDLÁČKOVÁ, Jana (advisor) ; TICHÁ, Petra (referee)
The work of A.K. attempts to capture the thought-process development of a young actress, which is then mirrored in her approach to her work. Within the scope of her experience, the author addresses the diversity in actors’ approaches to their roles, depending on the genre of the play, as well as the director’s influence with respect to his or her approach, process and even personality. The author outlines the process of preparation for a role, rehearsals and re-runs of roles from the following graduate productions: Denis Kelly: Ritual Slaughter of Gorge Mastromas (A. Svozil, K. Kosová), Ö. Horváth: Stories from the Vienna woods (J. Kačmarčík), I. Vyrypajev: Drunk (A. Burianová) and A. P. Čechov: Gull (I. Krejčí). She also addresses her inspirational experience of immersive theatre as part of the Pomezí project (L. Brychta, Š. Tretiag, K. Součková). Additionally, the author contemplates the issue of a common journey of director and actor in an instance when they have differing tastes, and thus also different opinions regarding the production itself. Finally, the author concludes with a reflection on the essential role of an objective and detached view in production.
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Characteristics of David Drábek's directorial style by examples of his three Shakespearean productions
Šafářová, Tereza ; SCHLEGELOVÁ, Martina (advisor) ; KYSELOVÁ, Eva (referee)
This bachelor thesis is focused on characterization of some distinctive features of a directorial style of David Drábek, who is a Czech playwright, a dramaturgist and a theatre director. The topic is examined by examples of his three productions of William Shakespeare’s plays Macbeth, Richard III. and Romeo and Juliet. He directed them in the Klicpera’s theatre in Hradec Králové, the last two mentioned as an Artistic director of the local ensemble. Introductory part of the thesis contains brief Drábek’s biography and his contribution to the Czech theatre world as a playwright and a director. It will be followed by an analysis and an interpretation of individual components of the three productions. The final part of the thesis is a summary of major features of the analyzed productions and you will also find a resume of the whole thesis there. At the end of the thesis there are two attachments. The first one includes a list of all productions Drábek directed in the Klicpera’s theatre. The second contains selected photos from the three chosen productions.
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Staging a non-dramatic text
Svozil, Adam ; KORČÁK, Jakub (advisor) ; HRBEK, Daniel (referee)
This thesis deals with the topic of narrative (or ´diegetic´) theatre plays. It aims to map out the processes which emerge after the mimetic mode of representation is partly or wholly replaced with the diegetic one., i.e. the decline in their ´dramatic´ quality and the structural changes which are being conceptualized mainly within a narrative framework. The thesis consequently looks at specific historic moments which propelled strong contemporary presence of diegesis on theatre stage; namely the theatre of Bertolt Brecht, the performative turn and postdramatic theatre and the storytelling movement. With these circumstances in mind, the author reflects on his practical theatrical work: The Ritual Slaughter of Gorge Mastromas (DISK Theatre, Prague) and Illusions (DJKT Theatre, Pilsen.)
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Productions of Franz Kafka's work in directorial generation at the turn of the 1980s and 1990s in the wider context of alternative culture
Pavelková, Tereza ; AUGUSTOVÁ, Zuzana (advisor) ; SCHLEGELOVÁ, Martina (referee)
Master's thesis deals with the reception of Franz Kafka's personality and works by generations of directors at the turn of the 1980s and 1990s. The main question discussed is what Kafka's work meant for these directors, which subject it represented for them, and how their theatrical adaptations reflected the socio-political conditions of the socialist Czechoslovakia in the period of normalization. The first chapter reflects the social and cultural context of the period while focusing on the position of the theater and movement of the small scenes which belonged to the current alternative culture. The second chapter focuses on Franz Kafka's reception by 1989 and also contains a literary interpretation of his work, on which is based the main part of the thesis. There are the analyses of the productions of America (1985, J. A. Pitínský), The Trial (1989, Arnošt Goldflam), The Metamorphosis (1988, Petr Lébl) and Josephine the Singer, or the Mouse Folk (1989, Petr Lébl). On grounds of these analyses, we can argue that Kafka’s work served to the explored generation as an expression of the existential feeling of an individual in totalitarian society. The last chapter deals with The Wish to Become an Indian (1991, J.A. Pitínský), which was created after the revolution, and shows how Franz Kafka's theatrical interpretations changed at the end of totalitarianism.
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Alfréd Radok and His Stage Practices. Analysis of the Production of Devil's Circle
Petružela, Jan ; Christov, Petr (advisor) ; Stehlíková, Eva (referee) ; Šormová, Eva (referee)
2 Mgr. Jan Petružela Alfréd Radok and His Stage Practices Analysis of the Production of Devil's Circle Abstract Alfréd Radok (1914- 1976) started his second term at the National Theatre (1954-1960) with two moderate productions, in which he, due to the Stalinist régime, suppressed his creative power. However, the following season Radok came with the production of Devil's Circle (1953), schematic play by Hedda Zinner about the Leipzig trial (1933), in which he found his essential topic - to grasp the Zeitgeist and manifest a universal mechanism of totalitarian power and trumped-up political trials. In this production, staged in the period of mild political "thaw", Radok managed to bring back to the Czech theatre modern stage directing practices and re-established the position of stage director, which was reduced in the previous years by the dogmatic aesthetics of socialistic realism. The production of Devil's Circle (prem. December 21, 1955) at the Estates (then Tyl's) Theatre, warmly received by audience as well as critics, renewed and developed for that time unprecedented, though historically verified principles: imaginative, non-descriptive theatre with a meaningful overlap, strict approach to acting with an emphasis on realistic, civil-like expression, interpretation of dramatic sitution, intense work...
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Andrej Krob
Jančálková, Petra ; Topolová, Barbara (advisor) ; Jiřík, Jan (referee)
Dissertation work Andrej Krob follows Krob`s remarkable journey to theatre from meeting Vaclav Havel during his military service in 1957, through Krob`s arrival to Divadlo Na zabradli in the early sixties of 20th century and especially his collaboration with director Jan Grossman, next to who Krob gradually work his way up from stage technician to the director. From the numerous Krob`s productions is the attention paid to the very first one, almost unknown directorial act, student production of Kral Ubu, presented on chateau Breznice in 1964, however this dissertation is mostly dedicated to the selected and key Krob`s productions of Vaclav Havel`s plays. Meeting this author was for Krob personaly as well as for his directorial poetics progress entirely fundamental. That`s why this work describes and analyses in detail semi illegal production of Havel`s play Zebracka opera, presented by Krob in Horni Pocernice in 1975, which has became establishing production of Divadlo na tahu, as well as Krob`s production of the same play from 1995. Separate chapter of dissertation has been also dedicated to Krob`s video production of Havel`s play Pokouseni from 1988 that brings unique opportunity of artistic performance observation. This dissertation determines at the very end, based on in-depth analysis of the...
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Perské vyprávění & Evropské vyprávění
Mohammadi Kangarani, Azadeh ; KORČÁK, Jakub (advisor) ; NEUMANN, Julius (referee)
Hlavním cílem mé práce je popsat a definovat mou cestu od herectví, od doby kdy jsem neměla žádné zkušenosti s režií, k režírování divadelních her, což byl můj hlavní důvod pro studium na DAMU, ale také mou cestu objevování vlastního vnitřního hlasu a režijního přístupu. Popisuji svůj studijní proces a získávání vědomostí, jak používat divadelní techniky a způsoby komunikace s různými složkami divadelní inscenace. V úvodu popisuji své předchozí zkušenosti. Moje diplomová práce má pět kapitol včetně chronologického přehledu mého přístupu ke každé jednotlivé inscenaci, na které jsem pracovala od prvního dne na DAMU dodnes. Závěrečná kapitola shrnuje mé dosavadní přístupy divadelní režisérky
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