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Between Theatre and Installation Art
Sceranková, Zuzana ; ADÁMEK, Jiří (advisor) ; JIŘIČKA, Lukáš (referee)
In this bachelor thesis, I am going to deal with the idea of an independent scenography in a theatre performance. I am going to reflect this subject trhough a second graduate performance in season 2016/2017 skončí to ústa in Disk theatre. In the introduction I am going to present experimental poetry as a main point of departure for ther performance. This is going to include basic principles of the visual, phonic, concrete and conceptual poetry as well as some of the particular methodologies of the chosen authors – Jiří Valoch, Ladislav Novák, Ladislav Nebeský and Zdeněk Barborka. I am going to describe the way we have integrated those principles into the performance. In the second part I am going to introduce the use an everyday object in the theatre. In skončí to ústa performance, we deal with the everyday object as something between theatre property and ready made object. I am going to analyse similarities and differences between use of the everyday object in theatre, museum and gallery. In the following part I am going to reflect, how we have included principles of the installation art into the performance. Those principles are focusing, decentralization and role of the spectator. Afterwards, I am going to describe Ervin Wurm´s artwork, who I consider as an artist who combines object, sculpture and installation art in his work. I am going to deal especially with his One Minute Sculptures, that represent a very important source of inspiration for the performance skončí to ústa. In the final part I am going to analyse principles of deconstruction, absence and words-objects in the artwork of Ján Mančuška, who is another inspirative point od departure for the performance. In the conclusion, I am going to summarize the parallels and the differences between the theatre and the visual arts as well as the conclusions that I can apply on my future work.
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Puppet Guerilla as a Mirror of Us
Císařová, Kateřina ; LJUBKOVÁ, Marta (advisor) ; BEČKA, Marek (referee)
This thesis deals with the choosing of form, which the performer entres with to the public space, to communicate the purport with public. The aim is to reflect the work done so far from the Bachelor's degree program and, in particular, during the Jsousoší Jsousedi final exam performance in the second grade.
I will focuse especially on describing the chosen form (object, installation, puppets, actions, word) and whether its message works or, on the other hand, is not effective. On the assumption that the form fall flat, I will examine how it affects environs and how it should be reworked.
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ACTIVATION OF SPECTATOR
Jedinák, Boris ; ADÁMEK, Jiří (advisor) ; LJUBKOVÁ, Marta (referee)
Boris Jedinák’s bachelor thesis deals with the tendency of an activation of spectator through analysis of performances realized during 60´ in USA (by The Performance Group and The Living Theatre), the performance by Augusto Boal which implies methods of the Forum theatre, and through contemporary Czech performances (YOU ARE HERE by Petra Tejnorová, Busking un/limited by Linda Straub and Pomezí by Lukáš Brychta). Author reflects his own projects realized during his bachelor study on KALD DAMU where spectators were supposed to accept an active role during the process of reception of a theatre piece.
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Spaces from Elsewhere
Stojčevski, Dragan ; SCHMELZOVÁ, Radoslava (advisor) ; ŠTOREK, Pavel (referee)
The dissertation thesis deals with a specific type of creation of space, that the author tries to define as scenographic installation. In the first chapter, Space as Medium, the author maps work with space of a variety of artists who inspired him in his own research. He deals with scenography in contemporary theatre, installation in visual arts, creation of exhibitions in museums as well as with art projects in public spaces and creation of contemporary monuments.
The author comes to the conclusion that the scenographic installation is a particular type of scenography that appears in site-specific projects, in environmental and immersive theatre. He also defines the scenographic installation as an independent artistic genre, similar to installation in the visual arts. He specifies this genre by its performative and narrative qualities. The author sees the conection of the space with spectator as participant as another of its distinguishing features.
The research is divided into three parts, where the author points out some of the important spatial characteristics of scenographic installation.
In the first part The Re-contextualization of Space, he describes his experience with authorial site-specific project In S(p)ite of Fire and his scenographic work on environmental theatre Oresteia. He describes how a scenographic installation can transform public space and put it in another context as a part of site specific projects and environmental theatre. In the second part The Phenomenon of Relocation, the author discusses the creation of scenographic installations in exhibition spaces of a museum. He is interested in the ability of scenographic installation to re-interpret the artifacts exhibited in museums. He provides his experience with authorial projects Pergamon Set and Room, produced inside of museums.
In the third part The Spatial Simulation, he explores scenographic installation within the phenomenon of simulation in space in theatres and galleries. He bases his findings on his scenographic work on King Stag and Experiment Mice Paradise performances and on his authorial project You Are Unique You Do Not Exist, produced in a gallery. He comes to the conclusion that scenography alone, without actors, can make a performative space in which the spectator is the main driver and that it can exist as a separate genre, outside of the context of theatre.
At the end of his research the author describes relations and roles of the spectator in scenographic installation.
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Scenographic Work with Documentary Material
Zemenová, Kateřina ; ŽIŽKA, Tomáš (advisor) ; SVOBODOVÁ-HRABOVÁ, Jana (referee)
Bachelors thesis describes documentary project Family Dinner and the preceding partial
projects Peace Generation and My name is Sara Millesson, which study possible
methods of work with documentary approach to scenography. Thesis puts these partial
topics in context of current world documentary theatre, performance and conceptual art.
It follows the path of the topic from the initial idea to the fully realised thing. The point of
this bachelor thesis is to reverse engineer the processes which lead to the final form and
name them.
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Ivan Kafka, Photography between documentation and art
Mertová, Alexandra ; JANOŠČÍK, Václav (advisor) ; LEDVINA, Josef (referee)
The thesis deals with photographic work of conceptual artist Ivan Kafka and questions regarding the thin line between technical documentation and its artistic quality. It focuses primarily on issues related to the documentation of art and presentation of installa-tion records. Issues accompanying photographic documentation of art are presented using examples of specific works by Ivan Kafka and his approach from a technical and artistic point of view. The text is built around thematic interviews with the author Ivan Kafka, art photographer Martin Polák and art historian Pavlina Morgan. The purpose of these interviews was to present a specification of Kafka's documentary approach from different perspectives and point to the exceptional, as well as problematic aspects of his photographic work. Individual subject areas are developed considering the problematic questions concerning documentation of photography.
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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.
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ANTHONY MCCALL'S "OTHER" FILMS
Břicháčková, Klára ; POSPISZYL, Tomáš (advisor) ; KUBÍČEK, Jiří (referee)
The thesis "Anthony McCall's Other Films" deals with new possibilities of film as a medium. McCall designs light installations which surround the spectator in a gallery space. In my thesis I examine the reasons leading him to the creation of such minimalistic films, exploring his inspirations and interests. Even though his art works at first sight do not resemble films as we know them, I find it intriguing to think of them as films. Anthony McCall enabled us to enter the abstract world of his films. It is a world in which each spectator plays the main part.
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WORKING DIARY
Svobodová, Veronika ; ADÁMEK, Jiří (advisor) ; KRÁLOVÁ, Andrea (referee)
The text is conceptually divided into four segments. In the opening part I
reveal ideological basis, i.e. initial ideas, stimuli and main sources of
inspiration for my artwork. Next section exhibits free associations of thoughts
and follows my stream of consciousness as an author. In the interior
monologue I create network of essential and formative experiences and
encounters that has shaped my approach to creative work. Third part
presents theoretical background of the thesis and I deal with the nature of
perceptual experience and the dominance of visuality in the contemporary
technological and mass popular consumer culture. The chapter also briefly
outlines possibilities of displaying visible objects along with the historical
development of perspective in visual arts. The final part is dedicated to my
own practical outcomes, specifically installation BU (festival Arijuli 2015 in
Norway) and sensory theatre performance Močeradek gre čez cesto
(Lutkovno gledališče Ljubljana 2013) based on work of Slovenian poet Srečko
Kosovel. In these projects, I have dealt with the questions of how to create a
platform on which the viewer and artistic artefact could meet or how to ideally
accentuate space and time in order to encourage audience to stay actively
participating. Both projects are intentionally reflected together with the
description of immersive theatre. At first I describe fundamental principles of
the relatively new phenomenon, in particular the need of complete immersion
of the viewer into the artificial environment/fictional world that is arranged by
special medium aiming to influence his/her senses. The main goal of the
thesis was to uncover practical guidelines related to the issue of creative
methods in the field of immersive theatre. Hence my concluding statements
provide elementary instructions and "rules of game" for both audience and
author.
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Elements of performativity in my theatre work
Hutečková, Klára ; LJUBKOVÁ, Marta (advisor) ; ADÁMEK, Jiří (referee)
This thesis describes performative elements which are present in four theatre pieces, representing the result of the author´s previous directorial experience. The author discovers the mechanisms behind her own projects based on the analysis of these works and by comparing them to other productions, performances and conceptual artworks, in particular in the area of interaction with the audience, the level of their performativity and conceptuality and the reasons inclining her to use elements of this kind.
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