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Directing a so-called irregular text
Páleníková, Zuzana ; Šiktancová, Jaroslava (advisor) ; Korčák, Jakub (referee)
My work reflects upon a particular middle European concept of irregular dramaturgy which means performances that are not based on original theater plays. This expression could be also understood as dramaturgy of themes or subject-matters. It includes all types of adaptations of literature artworks even theatre without any written pattern, just based on improvisation. Through the analysis of my own experience (as an assistant dramaturgist in Dejvické theatre and as a director of two irregular texts ? Pannenky and Svět kolem ní) I try to figure out the specificity of work with irregular dramaturgy. I try to find some connection with today?s phenomenon of postmodern theatre. On the other hand some facts on today?s dramaturgy prove that postmodern aesthetics is somehow insufficient. There is a great demand of understanding from the spectators; they seem to be tired of postmodern ambiguity. That?s what leads us back to one of the basic categories of theatre which is the story. We can conclude that without an intelligible narration of the story, the subject-matter itself won?t be correctly perceived.
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Performance as a realization of direction - dramaturgical conception
Zembok, Ewa ; Hrbek, Daniel (advisor) ; Korčák, Jakub (referee)
The Ewa Zembok?s Bachelor Thesis ?Performance as a realization of direction ? dramaturgical conception? records the staging of Bertolt Brecht?s Baal. The first chapter describes in details the searching process, the choise of text and it?s best version then. The second part focuses on direction ? dramaturgical interpretation of Baal with contemplatation about essence of ?interpretation? and ?motif? in the foreground and theirs? application to the text. Next she writes about the meaning of space, stage design, music, work with language and other staging elements. In next chapter Zembok deals with problems arising from the rehearsal process. In the conclusion section the author reflects on performance after the premiere.
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MANIPULATING AND PARTIAL PERSPECTIVES
Šiktanc, David ; Burian, Jan (advisor) ; Korčák, Jakub (referee)
Bachelor thesis Manipulating and partial perspectives is looking back to the tasks, which were realized in subject Scenic activity from the third semester till the sixth semester of study of directing-dramaturgy of dramatic theatre. I laid special stress on process of staging Tankred Dorst´s play Fernando Krapp wrote me a letter. I was trying to describe this process from the selection of the play, across its analysis, up to rehearsing. In the context of rehearsing I cultivate three aspects of staging, which I´ve indicated in the first chapter. These aspects are: a language, a way of behavior, space.I´m also trying to describe the influence, which language has on the two other aspects ? coming near, postponing, deciphering etc. Because, how I´ve found out, this influence is never unmeaning.
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The Open-ended Play
Rut, Adam ; Korčák, Jakub (advisor) ; Šiktancová, Jaroslava (referee)
In the prologue Adam Rut writes about an effort to hold of direction like an open-ended play.In the first part he describes the primary starting-point. Within the second part, in relation to theme he contemplates about comments, that he got from his pedagogues during three years of his Bachelor studies.In the third part he describes process of rehearsals and tries to find impulses and experiences, that is possible to exploit for the next cooperation with author, dramaturgist, scenographer as well and especially with actors so that the play will be still open-ended. In the fourth part he writes about viewers, doubts of directors and about the fact what is within our powers.
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Dynamism of Scenic Creation and Dynamism of Specator?s Experience
Pácl, Štěpán ; Vostrý, Jaroslav (advisor) ; Korčák, Jakub (referee)
This thesis tries to phrase specifics and patterns of a stage creation that contains latent possibilities, which challenge an actor (a performer) to dynamic and physical acting.
Simultaneously this thesis researches, how such stage creation works upon a spectator, how it acts on a spectator?s ?inner feel? and how it participates in creation of a spectator?s experience from a whole performance.
This thesis is mainly based on author?s practical experiences with theatre works.
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Tragedy and its possibilities in contemporary world
Tošovský, Jan ; Ullrichová, Daria (advisor) ; Korčák, Jakub (referee)
The composition deals with the question whether tragedy as dramatic genre is possible in contemporary world. In the first part it summarises the history of theoretical thought about the genre from the beginnings in Greek antiquity until present and hence tries to deduce a "common theory" of tragedy, viable in the context of contemporary world. Special attention is paid to the work of Georg Lukács, a pertinent critic of modern drama. The second part examines the world(s) in which tragedy was growing naturally, i. e. preeminently antique Athens and Elizabethan England, and notices several structural coincidences in the historical periods in question. Subsequently it tries to discern such structures in the contemporary world and hence deduce whether the character of our world is compatible with the development of authentic tragedy. Doing this, it uses as key notions the "tragical life feeling" and the "myth" comprehended in broad sense as dynamically conflicting constants of human understanding of the world and attitude towards it.
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SPECIFICS OF COOPERATION BETWEEN A DIRECTOR AND AN ACTOR DURING THE CREATION OF A DRAMATIC CHARACTER
Ludvíková, Tereza ; Korčák, Jakub (advisor) ; Burian, Jan (referee)
This thesis is based on a reflection of the rehearsing of the performance Carmencita. It is divided in two parts. The first part deals with the concept of the director. The main themes of the performance are: passion, order, fate and conciliation. It defenses prominent position of the narration in the performance. The narration gives to the main character the possibility of reflection and testimony. The second part deals with the process of the rehearsing and with the cooperation between the director and actors. It compares the director´s idea of the characters with the achieved results. The author finds out the importance of willingness of an actor to extend beyond the borders of his civile nature for a successful creative work.
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