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Actor or Dancer
Šurková, Julie ; NOVÁK, Vladimír (advisor) ; TRPIŠOVSKÝ, Lukáš (referee)
This thesis is a theoretical description of my study of current and modern dance at the
dance conservatory Duncan Centre. The description continues with my study at the
Department of Alternative and Puppet Theatre at the Academy of Performing Arts in
Prague. There is a comparison of acting and dancing. Both are close and, at the same
time, distant areas of performance. The goal of the thesis it to identify the elements
that are shared or unique between them. Specifically, there is a description of the
difficulties for a dancer to become an actor and, on the other hand, for an actor to
become a dancer. There is also a list of conditions that need to be met for somebody
to be a full-time dancer and actor. The first part of the thesis describes my experience
and my view of an actor and dancer. The term 'performer' is discussed as it should not
be used for all the people who do more than one artistic area. The second part of the
thesis deals with training that is needed for dancing and acting. There is a list of the
requirements needed for a dancer to become an actor. The last part of the thesis
focuses on a trial period and it finds events when the areas merge in one.
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The Positive Revolt
Brinda, Antonín ; PILÁTOVÁ, Jana (advisor) ; ADÁMEK, Jiří (referee)
In the first place, the aim of this bachelor work is to reflect The Positive Revolt - author's bachelor artwork. We also aim to explore the research and artistic realizations which lead to its making. We also introduce the Cibulení art project and explain the reasons why the project has failed. The descriptive approach is backed by ideas of theoreticians from different walks of the theory of Art such as Hakim Bey, David Graeber, Guy Debord, Louis Pierre Althusser, Tomáš Kulka and others.
In its last part the work introduces two Czech so-called political art groups (Pode Bal and Rafani) and considers possible ways to understand the term political art notably in its relationship with activism.
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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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Crossover
Tejnorová, Petra ; KLÍMA, Miloslav (advisor) ; KROBOT, Miroslav (referee)
This dissertation entitled CROSSOVER, between the layers of my own staging experience, on the boundaries of forms, genres and not only those, is divided into three parts. All sections are primarily based on my own theatre experience and are interlaced with numerous examples from performances and theatrically performative thinking of selected foreign ensembles. Given the subject matter, the first part primarily deals with Gob Squad and Shunt ensembles and the director Mike Leigh. In the second part, Rimini Protokoll and again Gob Squad are mentioned. The third part is dedicated mainly to the director Tim Etchells and his Forced Entertainment ensemble. My theatre experience is presented in the introductory part of this dissertation; starting with complex shows which represent a symbiosis of all components and are linked by their staging style and formerly discovered drama methods to authorial/devised projects to theatre which implements documentary and technological elements. In the first part of this dissertation, differences and subtle nuances between authorial and devised theatres are examined with focus on the specific devising creative method. The second part of the dissertation is focused on documentary and technologies. The third part consists of subtopics introduced in the previous chapters with respect to crossing boundaries between forms, genres and methodologies, which are more closely related to the phenomena of boundaries between theatre performances/events, fiction/reality, spectator/witness, actor/performer. The methods or the optics with which I work are based on the phenomenon of the mentioned areas and topics. The manner of addressing the issue can be likened to a phenomenological insight.
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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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Action
Zakharova, Iryna ; MUSILOVÁ, Helena (advisor) ; MĚŘIČKA, Jan (referee)
My thesis is focused on the performance art. I am interested in the nature of the action, the environment in which the work is produced (including the author's intention), its socio-cultural impact as well as the spiritual and artistic role of the author. The text begins with an Angela's interview about art.
Then I?m introducing contemplation, as a spiritual category, which defines the rhythm of social life.
Contemplation as the interruption of normal course of things. I?m showing actions, examples of physical performance, which contains more artistic methods. However I try to challenge the definition of the action by mentioning various examples. I continue with the theme of the documentation, where for example photographs may be essential element for action to be truly done.
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SPACE FOR RITUAL?
Straub, Mathias ; PILÁTOVÁ, Jana (advisor) ; SMOLÍK, Robert (referee)
In the first part of this thesis I explain by means of cultural anthropology, religious studies and performance theories the basic characteristics of ritual and the interconnection between both, ritual and theater. In the second part I analyze various important factors for the development of rituals. With these factors I subsequently analyze my own ritualistic theater productions: Hudební Modlitba Lety 1942 (Ponec Theatre - Prague , CZ, 2014) and the installation and performance Memories (HISTeRIA festival - Gračišče, SL , 2013)
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Live Coding - method, art and ideology
Rouš, Jiří ; CÁB, Michal (advisor) ; PEŠEK, Kryštof (referee)
The objective of this work is the depicting and describing of significant features of live coding, a form of audio-visual performance, which has come into existence only lately. For this purpose the work introduces three different ways of looking at this phenomenon. Before defining these methods of viewing in the text, the description of fundamental principles of translation of source code is presented, it being crucial for practicing of live coding. The first perspective looks at live coding as a method of work, the second looks at it as a form of art and the third - as an ideological gesture. Exploiting of these perspectives has helped to discover part of characteristic features of this method, its contextualization in the frame of artistic traditions and the outline of some implicit and explicit ideological aspects, bound to it. The main contribution of the work is creating a general image of this phenomenon in the context of theoretical works in Czech language, devoted to the pursued topic.
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MAIN PART: THE SPECTATOR
Straub, Linda ; HRAB, Ondřej (advisor) ; HAVELKA, Jiří (referee)
The aim of this thesis is to present different ways of audience participation that are applied in contemporary theatre practice. The introductory section outlines the issues of engaging the audience in relation to conventional theatrical practice. Subsequently I give a historical overview of important artists of the 20th century, whose work significantly influenced the contemporary perception of possible ways of audience participation in the field of theatre work. In the central part, based on chosen theatre practitioners from the 20th and 21st centuries, I show specific ways of involving the spectator. The final chapter outlines the theoretical discussion of interactive theatre in relation to the concept of aesthetic distance.
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