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Luigi Angiolini - Life in Service to Tuscany
Prokopová, Oldřiška ; Tinková, Daniela (advisor) ; Klusáková, Luďa (referee)
This bachelor's thesis presents in a chronological order, the life of a Tuscan aristocrat Luigi Angiolini (1750-1821). He was a writer, traveller and diplomat, active in the period of the Habsburg reforms, the French Revolution, the Napoleonic rule, and the restoration in Italy. Based on the available literature and sources, this thesis maps Angiolini's youth, his journey to England and Scotland, his diplomatic career in Paris in the service of Ferdinand III, Grand Duke of Tuscany, as well as his final years spent in the countryside with his family. Angiolini's varied life and his openness to modern ideas allow for conceiving this protagonist as a typical man of his times, while on the basis of his interests and activities simultaneously elucidating the entire historical period in a wider context.
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GIUSEPPE VERDI: DON CARLO ? CONTEMPORARY INTERPRETATION OF VERDI´S OPERAS (HISTORISM AND STYLIZATION IN THE OPERA COSTUME)
Valášek, Aleš ; Zbořilová, Jana (advisor) ; David, Milan (referee) ; Koubská, Vlasta (referee)
Abstract
In the 19th century the scenographic part is gaining importance. Its aim is to render the present or historic reality. Historism appeared in all disciplines including scenography. The theatre is becoming a spectacular, visual show. The development of scene technologies and building of new theatre houses contributes to this (Festspielhaus, Bayreuth).
In the organism of the production the role of the costume is becoming more and more crucial. Theatres start to employ designers and establish specialized costumeshops. In 1888 a manual for designer called Racinet´s Historic Costume (Le Costume Historique) is published,. There were created suitable conditions to fullfill the contemporary demanding staging requirements of the Grande Opera ? for example L'Africaine by Meyerbeer.
The aim was to achieve the unified effect of the whole thatrical piece. An important role in this case had the influence of the Saxon Duke Georg II. of Meiningen (so called Group Meiningen) and Richard Wagner with his theory of Gesamtkunstwerk.
The work continues with a characteristics of the dramatic theatre costume, its function in the entire production and its difference from the historical or civil clothes. The dramatic costume is the result of forming the dramatic character.
The dramatic art is considered as imaging art. The objetive reality is only a refference for the artist. The artist is changing it with certain aim. This process is called the artistic stylization. The same principle is used in creation of a costume. The historic costume is only one of the initial resources. The scope of stylization is subject only to the artist. The spectator perceives the work/costume on the basis of the associative principle of resemblance. This resemblance must be so big to achieve the desired imagination in the mind of the spectator. The contemporary costume creation is working with metaphor. The stylization of the costume is influenced by the colour that is used, its shape stylization and used material.
The stylization of the costume must always give reasons for every staging. In the contamporary opera production is prevailing the minimalistic style. Historizing costume is a costume with a very low degree of stylization which is very close or identical with historic costume.
It is necessary to distinguish between historism, historizing costume or only inspiration by history. The function of historism is mainly a description, reprezentation of the external symbols of the person ( e.g. social, geographic or historic classification). Historic dress is only one resource for creation of a stylized opera costume. The contrary of the historism is an excessive stylization.
The inscenation level of the operas is influenced by cultural historical, political and social development. A big role is the possibility for the artist to work in freedom. Perceivable traces in the Czech Republic had the totality regimes of the second world war and comunist regime till 1989. Opera became a conservative art for upper class. The contrary was the demand in the fifties aimed at masses, commitment, intelligibility.
In the Czech Republic the historism prevails in the production of Verdi´s operas. In the following part the Verdi´s operas Nabucco, Macbeth and La Trviata are presented.
Their historical bacground, issues that they are dealing with and production examples. Special parts are devoted to exemptions in staging of Verdi´s operas: minimalistic Aida directed by Robert Wilson, Rigoletto from the Bayerische Staatsoper in contrast to a very historising production of Don Carlos by Herbert von Karajan. I have particularly analysed Verdi´s Don Carlos, its history, inspiration by Schiller´s drama. Production examples, comparison of costume design for the opera and the Schiller´s play.
In the closing is the solution of the practical part of the master´s thesis ? costume design for Verdi´s Don Carlos.
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