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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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The actor and the character
Čelebič, Vuk ; HRBEK, Daniel (advisor) ; PAVLATA, Michal (referee)
This work is dedicated mainly to the findings about character and acting as well as about myself, which I have gained during the rehearsing of the character Neschastlivtsev in Alexander Nikolayevich Ostrovsky´s play The Forest. This work not only describes the rehearsals of this play from Neschastlivtsev´s view, but also presents other examples of a director´s work and an actor´s interpretation, both from rehearsing before the boarding of the alumni class and from the following outside-of-school acting experiences.I have tried to define the method of my work on this play and on this concrete character; this method may resemble other methods on many other characters in some way. However, Neschastlivtsev is a very unconventional character - maybe because he is an actor himself, which makes him more approachable to the performer. He is a timeless and rare character as well; that is also one of the themes that I have covered in my work
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Acting: Journey to be an actor, journey to play a character
Volavá, Zuzana ; VELDOVÁ, Apolena (advisor) ; SÍLOVÁ, Zuzana (referee)
This Thesis describes my journey towards the theatre and personal and professional developement during my studies of classic theatre acting at the Academy of Performing Arts. I worked with my experience, to compile experience in overcoming obstacles to study specific roles. I touched upon the problem of how to combine internal and external components of actors in confrontation with feedback, defining rules and common objectives of acting. What are the risks, blocks and distractions of how to create and how to fight them? What the acting world does with personality? The goal of this Thesis, after 4 years of study and practice in the theater DISK, is to find out what I could consciously bring into the theater, how it has an effect on me and how I understand the sense of drama and entertainment practice.
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TEXT AND SUBTEXT, MEANING AND EXPRESSION
Šmejkalová, Kamila ; PAVELKA, Tomáš (advisor) ; KUDLÁČKOVÁ, Jana (referee)
The thesis focuses on an entire creative process that an actor goes through. It starts with a first contact with a play and continues with a first production and following reprises. I am writing about particular working concepts and I am trying to find it?s parallels and meanings in my own works. I have gathered most of my theatrical experience during my studies at DAMU and afterwards while I started to work as an actress at J. K. Tyl Theatre in Pilsen
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CREATION OF ACTOR´S PART AND THE UNDERSTUDY
Horáková, Nina ; TÖPFER, Tomáš (advisor) ; KUDLÁČKOVÁ, Jana (referee)
I am particularly interested in the ways of developing a character. The description of actor?s work on the role starting from the read-through to the premiere and acting in the following performances. Where can actors draw inspiration from, how can they cope with the problems related to their preparation at rehearsals, how can they prepare their bodies or what are the limits of an actor's creativity? I am concerned with the creative process, which begins with analysing the drama, identifying its principal motif, as well as the main task of the drama. I deal with this topic on the basis of my own experience using a specific description of the work on the roles during my studies at the Theatre Faculty of Academy of Performing Arts as well as on the roles I performed in my one-year theatrical practice after my studies. The final part explores the issues of the understudies or covers in the theatre.
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