|
|
HUDBA JAKO PROTAGONISTA
Bjørknes, Bård ; JIŘIČKA, Lukáš (advisor) ; PROCHÁZKA, Tomáš (referee)
Tato diplomová práce je výzkumem žánru hudebního divadla (music theatre). Mým
záměrem je prověřit, jak může využití hudby a zvuku jako hlavních komponent
inscenace otevřít nové struktury a metody v divadelním procesu a výsledné
inscenaci. Tento žánr je v situaci neustálého zkoumání, což vede k tomu, že umělci
nacházejí nové metody pro svou uměleckou práci.
Tuto diplomovou práci začínám menším výzkumem o sluchu a funkci uší v
divadelním kontextu. V této části se zaměřuji na základní poznatky o tom, jak
používáme své uši při návštěvě divadla. Pokračuji psaním o žánru hudebního divadla
z historického hlediska. Hudebním divadlem ve starém Řecku počínaje a hudebním
divadlem naší doby konče; zaměřuji se na různé formy, umělce a události, které jsou
pro hudební divadlo a jeho vývoj důležité.
Dále píšu o pojmu hudební divadlo a jeho mnoha definicích, a ještě předtím, než
ukončím tuto kapitolu, představením režiséry a skladatele Nikolaje Cederholma a
Heinera Goebbelse. Analyzuji dvě různé hudebně-divadelní inscenace:
Cederholmovu s názvem Teaterkoncert Beethoven a Goebbelsovu Stifters Dinge,
abych získal hlubší pochopení jejich metod a vizí ohledně hudebního divadla.
Zaměřuji se na rozdíly a podobnosti obou inscenací.
Další část mé práce je věnována mé vlastní zkušenosti z tvorby hudebního divadla.
Dělím se o své myšlenky a úvahy o dvou procesech zkoušení a inscenacích, které
jsem režíroval v závěrečném ročníku studia. Poslední část práce tvoří diskuse a
úvaha o výzkumu, který jsem udělal, o zkušenostech, které jsem ohledně hudby a
zvuku v divadle získal, a také o tom, jak to může otevřít nové struktury a metody
práce v divadelním kontextu.
|
|
|
The theory of intermediality in Heiner Goebbels's theatre
Mocek, Jan ; Pšenička, Martin (advisor) ; Just, Vladimír (referee)
The goal of the Master Thesis is to analyse the performance Eraritjaritjaka created by the leading director of German experimental theatre Heiner Goebbels. The first part exposes the new theatrical genre Théâtre musical as a theoretical framework. The following text focuses on Goebbels's theoretical views and the basics characetrs of his theatre poetics. The main part of this study is devoted to analysis of performance Eraritjaritjaka. The analysis itself focuses on the functioning of basic components of the performance, its principles and shifts in overall structure.
|
|
|
From Radioart to Musical Theatre
Jiřička, Lukáš ; KLÍMA, Miloslav (advisor) ; NOVOTNÝ, Pavel (referee)
This dissertation From Radioart to Musical Theatre aims at showing connections between seemingly different fields ? mainly sound-drama radioart, which in German is called Hörspiel, and musical theatre. In my dissertation, I try to define the characteristics as well as structural principles of text, space, sound, voice, acting, music and body in these transdisciplinary forms and genres, which have never retained any kind of purity in the traditional sense.In the analytical and introductory historical part of my dissertation, various seemingly different areas were introduced and discussed. These areas were musical or sound theatre in its general as well as specific form and its interrelation with sound installations, performance, radioart in form of Hörspiel, musical composition and sound art. In the following chapters, I used examples of several pivotal personalities from the German speaking area skilled in musical composition as well as directing and dramatics to present for instance the influence of musical structure on composition and other performing activities or the relationship of dramatic or literary model to its scenographic adaptation. The whole issue of relationships of disparate art forms is being showed on the examples of several artists ? directing composers who create these links thanks to their activity in various fields, as they intertwine musical and performing worlds on the level of structure, motifs and dramatics. The creators of such heterogeneous artworks using the strategy of the so-called negative dramatics are inherently split personalities - Heiner Goebbels, Helmut Oehring, Olga Neuwirth and Andreas Ammer. Goebbels as well as Oehring, Neuwirth and Ammer are able to make use of their experience with musical composition and/or work for the radio in the creation of musical performances in the way that they let particular composition techniques and staging be freely influenced by the knowledge of other media. Besides the above mentioned group of artists, I mention also other significant authors from the 20th and 21st century, who dealt with radioart, musical composition, collage and montage, performance and musical theatre - Bertolt Brecht, Dziga Vertov, Emil František Burian, Walter Ruttmann, John Cage, Karlheinz Stockhausen, Dieter Schnebel, Georg Katzer, Friedrich Schenker, FM Einheit či Laurie Anderson and Georges Aperghis. Without the influence of the last fifty year-history of radioart, musical theatre would certainly not be such an important form of alternative theatre and performing art as such. Especially nowadays, when thanks to the emancipation and stressing of sound at the expense of acting a new stage language is being created within musical theatre, and the form itself transforms into yet little analysed field of the so-called postspectacular or mechanical theatre without actors.
|
|
|
Operetta in the Karlin Musical Theatre
Benešová, Zuzana ; PŘÍVRATSKÁ, Jiřina (advisor) ; VOTAVOVÁ, Yvona (referee)
The fundamental topic of my thesis is operetta in the Karlin Musical Theatre. In the first part of the thesis I inquire into the development of the genre itself. The next chapter is dedicated to famous Czech and international authors of the most renowned operetta works. I have dedicated an especial space to the operetta of Mam'zelle Nitouche as one of the most successful foreign operettas in our country. It is followed by an overview of light opera houses, mainly in Prague, that are in operation since the 18th century. I also inquire into the development of the Karlin Musical Theatre and its changes. I my thesis prominent figures in the management of the theatre as well as performing stars are featured. I give a short account of their artistic lives and their contribution to the genre of operetta in Karlin Musical Theatre. My work is concluded by the interviews with influential members of the ensemble of the theatre.
|
|
|
Scenography of a musical theatre. Opera composed by Carl Orff, "Prometheus" - a complex scenographic project
Gospavić, Jovana ; ZBOŘILOVÁ, Jana (advisor) ; ZÁBRODSKÁ, Dana (referee)
The goal of this thesis is to comparatively analyses, on theoretical level, Carl Orff's manner of viewing musical work in connection with his scenical theatre pieces. Major focus is on composer's notes and ponderings on then-common opera arrangements, and on the meaning of his Musical Theatre of Minimal Means. The paper compares his style with contemporaneous tendencies of production of Modern Greek theatre. Moreover, it addresses the portability of social aspects of myth and their applicability to modern age, their dramatical potential, and different approach of leading modernists towards this issue.
Second part of this thesis discusses and interprets opera Prometheus and investigates possibilities of its scenographic and costume arrangement
|
|
|
Scenography of musical theatre. B. Martinů's and G. Neveuxe's opera "Julietta" - complex scenographic project
Tereba, Ján ; DUŠEK, Jan (advisor) ; ZBOŘILOVÁ, Jana (referee)
In the first part of my graduation thesis I will analyze the causes that stood behind birth of surrealism, its manifest on philosophy, literature and visual arts. I will demonstrate the methods of surreal visual poetics on several examples. I will describe the influence of surrealism on theatre in general and in Czech Republic and I will evaluate how (and which) much of these methods were used in the process. Analysis of and attempt to reconstruct the stage adaptations of Juliette ou la Clé de songes based on gained informations. Withdraw the results.
In the second part I will use knowledge from the first part in behalf of my own stage and costume design for the opera by Bohuslav Martinů: Julietta (the Key to dreams).
In the conclusion I will interface the results from the first part, with the final concept of stage design. The goal is to find out, if the gained information had effect on the concept of the stage design.
|
guest ::
