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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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Lubos Hruza's scenography in the Cinoherni klub in 60s
Vöröšová, Markéta ; Just, Vladimír (advisor) ; Augustová, Zuzana (referee)
The presented thesis deals with the set design of one of the most important Czech artist, Lubos Hruza, that he created for the Cinoherní klub between 1965 and 1968. What is most accentuated is the restoration of twelve of his scenographies followed by a comparison between the final stage creation and the dramatist's written stage directions. The text concentrates at finding a characteristic expression of Hruza 's style. It also notices a specific space of this theatre that is believed to necessarily influence an artist in his work. Further, the thesis analyzes the changes between the draft scenic designs and the final stage realization.
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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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Lubos Hruza's scenography in the Cinoherni klub in 60s
Vöröšová, Markéta ; Just, Vladimír (advisor) ; Augustová, Zuzana (referee)
The presented thesis deals with the set design of one of the most important Czech artist, Lubos Hruza, that he created for the Cinoherní klub between 1965 and 1968. What is most accentuated is the restoration of twelve of his scenographies followed by a comparison between the final stage creation and the dramatist's written stage directions. The text concentrates at finding a characteristic expression of Hruza 's style. It also notices a specific space of this theatre that is believed to necessarily influence an artist in his work. Further, the thesis analyzes the changes between the draft scenic designs and the final stage realization.
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Theatre decoration? Set design? Scenography?
Vöröšová, Markéta ; KOUBSKÁ, Vlasta (advisor) ; CÍSAŘ, Jan (referee)
This thesis focuses on and compares the theoretical perception of scenography in the works of Czech aestheticians Otakar Zich and Růžena Vacková.
The whole comparison is integrated into the context of Czech modern scenography. Several key productions were chosen to demonstrate new tendencies that appeared at the specified time point in our theatre history. The thesis mentions theatre authors together with their works that played important role in forming Zich?s and Vacková?s opinions and theatre conceptions.
Taking into account how versatile personalities Otakar Zich and Růžena Vacková were it was necessary to bring up all areas of their activities. I attempted to summarize their professional careers and their influence on followers and I also wanted not to omit their life?s history . I deal with the importance of Zich´s key work Estetika dramatického umění and I also focused on personality of Vacková and the circumstances of the creation of Výtvarný projev v dramatickém umění.
It is a compilation work in which I try to present two approaches to the visual component of theatre performances. I compare their terminology used. I try to describe some aspects of scenography which Vacková developed under the influence of her predecessor and teacher and also the aspects that she was not in accordance with. Further, I focus on the problems of the possible forms of set design, connection between scenography and painting or architecture, and also on how the authors conceived the ideal scene, on whether they attached greater or lesser importance to stage directions and also on the problems of light, costumes, masks, stage objects?
This thesis should be perceived as a mere starting point for further in-depth exploration. There is a possibility to go deeper into details and/or extend the view so as to cover also other representatives of the Czech theatre theory with their scenography conceptions. I hope that, in the future, I will be able to continue working on this topic and to cover the history of Czech set desing theory in its integrity up to present days.
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