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Scenographic Solution for a Production in the Spirit of Gypsy Culture
Fonová, Klára ; Tománek, Alois (advisor) ; Matásek, Petr (referee)
The thesis describes the material culture of the Roma in Central Europe. Here material culture constitutes the basic types of dwellings of nomadic and settled-living Roma, including interior decoration. Principally I describe the traditional garments
of Roma in detail. I point out the differences between the general concept of habitual gypsy clothing and its historical reality. I also mention the differences in the garment over the centuries and in other parts of Europe. I breifly discuss the current clothing of Roma, Roma traditional crafts, and the working methods of some contemporary artists. The second half of the text summarizes the basic stage design approaches
to show Roma culture, mainly in Czech theaters. I also present examples of two foreign productions that express the typical character of Gypsy culture. This is
a presentation of Slovak theatre Romathan and French Zingaro circus. The final section presents stage design solutions of the production inspired by Roma tales Romaldíno a Kamila realized in Bábkové divadlo Žilina (Puppet Theatre in Žilina, Slovakia).
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Visual Design of Presentations: B.Baronová Alter ego, V. Klimáček Mária Sabína
Fonová, Klára ; Tománek, Alois (advisor) ; Žižka, Tomáš (referee)
The aim of the thesis is to confront processes of searching for the right presentation means of staging two contemporary drama pieces (Viliam Klimáček: Mária Sabína, Barbora Baronová: Alter ego). Both of the plays involve simmilar themes: namely a theme of two women, that are in principle two parts of one being, the theme of desire for a man and unfulfilled love. Both plays have mysterious atmosphere full of magic and uncanny visions. The means of visual conception were considerably determinated by the character of particular places where the performances took place: exterior atrium or intimate space of a small theatre. The process of searching for a final shape of presentations is described in this work, as well as non-realized ideas and conceptions. It compares different approach of both directors to cooperation with a scenographer. First one, less experienced in working with a scene, set a task for a stage designer and was expecting the solution. The other director was on oposit very much involved in searching for visual means. I tried to find both, positives and negatives, of those different ways of approach.
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