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CZECH NATURALISTIC RURAL DRAMA IN POSTMODERN PRODUCTIONS
Pokorný, Vít ; VEDRAL, Jan (advisor) ; FRANZ, Vladimír (referee)
This thesis analyses several plays of postmodern Czech naturalistic rural drama. By using comprehensive analysis and numerous examples, the work deals with the key question why traditional realistic dramas based on the mimetic principles are so attractive for the nonconformist and provocative authors, generally known as postmodernists.The work introduces the term postmodernism as a new philosophical way of seeing Euro-American civilization but also as an artistic style, which gives these thoughts an aesthetical basis in the context of Czech and also world history and culture. To get the essential knowledge of the topic, the main principles of realistic and naturalistic poetics are introduced. The work is trying to find an answer to the question ask above by analysing seven plays of postmodern Czech naturalistic rural drama. The analysis is based on experience of spectators and readers and also numerous examples from postmodern literature, film, fine art and music. The key factor of this analysis is the conflict of archetypal human essence and today often discussed absence of transpersonal order, which affects humans even against their will. The interpreted texts work with the topics of human struggle with love, faith, responsibility and compassion, which seem to be very attractive for the postmodern artists. These kinds of texts can give us an evidence of the epoch we live in. Whether the personal freedom ruined human faith in some greater sense or the sexual revolution actually buried the metaphysical essence of love. As an author, I came to the conclusion, that discussed plays demonstrates a postmodern human as a schizophrenic being, denying under the influence of general moral status existence of universally valid order, in spite of seeking this order in its soul desperately. Introducing my own concept of “the great second”, I try to defend my conviction, that in this exhausting struggle, the art can be for human desired, purifying and fulfilling power
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Theatre and Postmodernism
Pokorný, Vít ; Jobertová, Daniela (advisor) ; Císař, Jan (referee)
The aim of this work is to describe and analyze the development and the form of the post-modern drama from the 1980's till present. In the first part, post-modernism is characterized from philosophical point of view. Post-modern art is introduced in general, with emphasis on post-modern literature. The author deals with possibilities of an objective interpretation of a post-modern text in relation to the basic doctrine of this art movement according to which is not possible to determine any clear meaning. The second part of this work contains five analysis of post-modern drama which leads the author to the conclusion that in artwork it?s possible to find a stable semantic core which is influenced by cultural and civilizational tradition. It connects art and philosophy, and also everyday practical life in general which is according to the author the main source of artistic creation.
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The ways of czech theatre criticism after 1989
Pokorný, Vít ; Hrdinová, Radmila (advisor) ; Jobertová, Daniela (referee)
This work is mainly focused on the evolution of art criticism after the restoration of democracy in Czechoslovakia in 1989. At first the author describes the changes in the whole society after this date and then he relates them to the specific field of culture. As art criticism cannot exist without practical artistic results, the autor also analyses the problematic development of the Czech theatre in democracy. The theatre liberates itself from the restrictions imposed by the totalitarian regime, but at the same time its aesthetical influence is endangered by commercial purposes and by the general decline of taste. We can say the same thing about art criticism. The author focuses on specialised periodicals but also on criticism appearing in regural journals and on the internet. He writes in detail about the greatest personalities of the Czech criticism after the revolution, those who most influenced its prezent situation. He asks to what extent a contemporary critic can expose his/her personal point sof view and how much he/she is influenced byt the commercial charakter of nowaday media. In the last chapter the author gives some rather philosophical thoughts to the future of art criticism. He suggests that institutionalised theatre criticism is probably going to disappear, but it will transform itself into the general ability of men and women to think critically about themselves and about the world.
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