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Jiri Trnka's Scenography in the National Theatre
Vöröšová, Markéta ; Just, Vladimír (advisor) ; Topolová, Barbara (referee)
Jiri Trnka (1912 - 1969) ranks among the foremost representatives of Czech modern art in the 20th century and alongside the most remarkable protagonists of the visual art scene over a period ranging from the late 1930s through the end of the1960s. He stood out within that movement for his multiple talents, as a draughtsman, book illustrator, puppet designer, painter, animated film-maker, sculptor and stage designer. He achieved admirable success in these fields of activity. In the early 40s a new prospect opened up for him connected with work in theatre, as he took up the post of stage designer at the National Theatre in Prague, an assignment which enabled him to put to use his specific talent for stagecraft. He created 13 stage decorations together. Trnka was able to create unforgettable productions thanks the cooperation with Jiri Frejka or Karel Dostal. I documented and explained Trnka's work in the context of the Nation Theatre during the Second World War. I defined his style in the relation to his contemporaries in the end of work. KEY WORDS Jiri Trnka, National Theatre, set designer, scenography, stage decoration, costume, properties, scene, 40s, space, stage, style, set, constructed set, stage design, didascalia, theatrical space, animated film.
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Radio Plays in Czech Radio during the Period of Normalization
Míšková, Gabriela ; Just, Vladimír (advisor) ; Topolová, Barbara (referee)
The master's thesis is dedicated to Ivan Škapa and his dramaturgical work on the original radio plays in the Czechoslovak Radio in the years 1977-1984. His personal fate demonstrates some tragic aspects of the so far little-described and complicated period of normalization in the Czechoslovak Radio, as well as the daily radio practice in the Radio Plays Department during the observed period. The key point of the work is the extensive case surrounding Jiří Just's original radio play Clowns and Patriots. The detailed analysis of the case is a model example of the functioning of an institutions in a totalitarian regime and the subsequent effects on the fate of an individual. The inventive dramaturgical work of Ivan Škapa is placed in the context of the dramatic creation of the given period, and the analysis of the play Clowns and Patriots and its clash with normalizing censorship also affects the difficult conditions of the dramaturg's work in the given period. The master thesis is based on available sources and literature for the given period, which it was necessary to confront with the oral history research method.
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"A Cosmic Spring" made by Ladislav Smoček - from Drama to Stage
Horňáková, Tereza ; Christov, Petr (advisor) ; Just, Vladimír (referee)
The bachelor thesis deals with the drama Cosmic Spring (1970) written by Ladislav Smoček and three productions of the text with an emphasis on the last one. Two productions were presented in the Smoček's native Činoherní klub (1970 and 1995), where he directed both the plays, and the latest production was directed by Michal Zetel at Slovácké divadlo (2019). In the following chapters is brief introduction of Ladislav Smoček, analysis of his text with regard to thematic focus and also analysis of the productions. The aim of the thesis is to find out the essence of timelessness and excellence of Cosmic Spring and follow up the differences between the individual approaches and possibilities of productions. Keywords Ladislav Smoček, "A Cosmic Spring", drama, grotesque, analysis, themes, Činoherní klub, Slovácké divadlo, Michal Zetel, production
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Drama in Neues Deutsches Theater and Kleine Bühne in the hand of theatre director Dr. Paul Eger (1932-1938)
Melkusová, Jitka ; Just, Vladimír (advisor) ; Kazda, Jaromír (referee)
In the 1930ies prague had about a million citizens. Approximately 45 000 of them were native German speakers. Around a half of these were clerks and industrialists. Both scenes of the Prague German Theater had all together a capacity of 2100 spectators. This disproportion together with inadequate state funding led to the fact that the price of a regular ticket to the prague German Theater was four times higher than to other state and city theaters. Withal especially German theaters were exceptionally financially dependent on their spectators. Despite relatively high tickets costs the management of the theater usually regularly ended up with a deficit budget. The status of the Prague German Theater (apart from its operation) was incomparable with the status of the National Theater. National Theater was considered the most important stage in the republic, and was abundantly visited by nonPrague audiences as well. German citizens were converged especially near the Czech-German border where they had their own theaters, and where they were much closer to big German or Austrian towns than to Prague. In 1932 Dr. Paul Eger became the managing director of the prague German Theater. He had previously worked in prague between the years (1908 - 1911) when in charge of the theater was Angelo Neumann, and after his death...
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Alfréd Radok's dramatization and staging of Heinrich Böll's "The Clown" in the context of Radok's productions in German speaking countries
Slavíčková, Eva ; Stehlíková, Eva (advisor) ; Just, Vladimír (referee)
The intention of the author of this diploma thesis is to acquaint its readers with the theatre productions in German speaking countries by the foremost Czech theatre director Alfred Radok (1914- 1976). They date back to the period of the 1960s and 1970s. So far only minimum attention has been paid to them in the Czech environment. The productions include: A. P. Čechov - A. a. M. Radoks: The Swedish Match in the Theater in der Josefstadt (Vienna, 1965); M. Gorkij: The Last Ones in the Müncher Kammerspiele (Munich, 1965); F. G. Lorca: The House of Bernarda Alba in the Schiller Theater, Schlosspark Theater (West Berlin, 1966) and H. Böll - A. a. M. Radoks: The Clown in the Schauspielhaus Düsseldorf (Düsseldorf, 1970). All the above productions, with the exception of The Clown, were staged by Radok in the Czech (Prague) and in the German speaking environment. In the centre of the present thesis is Radok's dramatisation and Düsseldorf production of The Clown. In addition to the partial reconstruction of The Clown, in which Radok again used his typical combination of film projection and live performance (he used the same procedure in The Last Ones on the stage in Munich); this thesis gives a brief comparison of The Clown, as dramatised by the Radoks, and the original novel by Heinrich Böll, and also other theatre...
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Jiří Frejka at the Karlín theatre 1950-1952
Bár, Pavel ; Herman, Josef (advisor) ; Just, Vladimír (referee)
Jiří Frejka integrated the tenets of avant-garde, classical drama and poeticism. He entered the Karlín Theatre (at that time the Theatre of Czechoslovak State Film in Karlín) to direct the play "Nebe na zemi" by Jiří Voskovec, Jan Werich and Jaroslav Ježek in autumn 1950, after he was pushed off his post as the art chief of the Vinohrady Theatre (for political reasons). Inspite of this forced move he immediately started working on the development of the Karlín Theatre. He invited the contemporary first class artists to cooperate - the composer Václav Trojan, the choreographer Saša Machov, the poet Vítězslav Nezval or the set designer František Troster. Five peďormances which Frejka directed during his short work are some of the best and most successful those have ever been created in the Karlin Theatre. Although he had to give in to the demands of the regime of that time and he had to present plays from the Soviet Union ("Akulina", "Keto and Kote"), he also managed to present idyllic plays - "Paní Marjánka, matka pluku" by Josef Kajetán Tyl, or versicular "Schovávaná na schodech" by Vítězslav Nezval. Meanwhile he was trying to introduce the actors to a synthetical, leťs say musical-like acting - for the sake of the education of these "singing actors" he wanted to establish a new department ofmusical comedy...
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Theatre Na zábradlí in the period from the leaving of Jan Grossman till the coming of Evald Schorm
Fialová, Daniela ; Just, Vladimír (advisor) ; Topolová, Barbara (referee)
This thesis deals with the Theatre Na zábradlí in the period since the leave of director Jan Grossman in 1968 until the arrival of director Evald Schorm in 1976. The work at first summarizes the social and political situation after the invasion of Warsaw Pact troops in August 1968 and put this situation into the context of culture. Then there is summarized the first ten years of the Theatre Na zábradlí and described the reason why the artistic director Jan Grossman had left.The main part is devoted to the Theatre in the years 1968-1976, and personalities which at that time worked in the theater. They were especially Jaroslav Gillar, Jaroslav Chundela and film directors - Jiří Menzel, Juraj Herz, Jiří Krejčík, Jaromil Jireš and Evald Schorm. The face of this scene in the difficult period of the Czech history is created through the contemporary reviews. The years 1976-1978 (time until the emigration of Jaroslav Chundela) are then described shortly to make complete documentation of this period.
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Russian Theatre Life in Interwar Prague
Kuncová, Simona ; Sarkissian, Alena (advisor) ; Just, Vladimír (referee)
This bachelors thesis investigates theatre activities of Russian artists who arrived in Prague between the first and second world war as a consequence of political clashes in their country. The first part of the thesis looks at the attitudes of Czechoslovak nation towards Russian immigrants, in particular the opportunities Russian theater artists were given in Czechoslovakia. In the second part of the thesis, the so-called Prague MAT group is introduced. This is a group formed of artists from the Moscow Arts Theatre permanently located in Prague. The so- called Kachalov group, from which the majority of the Prague MAT group originated, is investigated first. This is followed by the introduction of the Prague group as such. Its developments are explored by looking at three of the group's plays.
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