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Phenomenon of White
Vítek, Petr ; KRÁLOVÁ, Andrea (advisor) ; SMOLÍK, Robert (referee)
This diploma thesis describes the phenomenon of white color
from the Western world’s culture context point of view. The search
for white color in fine arts and white color as an expression and
an art tool in the theater is the main topic of this thesis. I play
with functions of the color in the theater in a way it can appear
completely non-theatrical due to the theatrical convention, and yet,
it is still widely used nowadays. On the other hand, however, in art,
white has become a conventional color in the gallery space of the
20th century.
In the practical part of the thesis, I reflect two theater projects, in
which I participated as a scenographer in the DISK theater. I am
looking for white leitmotifs in the projects and whether you can talk
about the motive that represents my creative handwriting.
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Spaces from Elsewhere
Stojčevski, Dragan ; SCHMELZOVÁ, Radoslava (advisor) ; ŠTOREK, Pavel (referee)
The dissertation thesis deals with a specific type of creation of space, that the author tries to define as scenographic installation. In the first chapter, Space as Medium, the author maps work with space of a variety of artists who inspired him in his own research. He deals with scenography in contemporary theatre, installation in visual arts, creation of exhibitions in museums as well as with art projects in public spaces and creation of contemporary monuments.
The author comes to the conclusion that the scenographic installation is a particular type of scenography that appears in site-specific projects, in environmental and immersive theatre. He also defines the scenographic installation as an independent artistic genre, similar to installation in the visual arts. He specifies this genre by its performative and narrative qualities. The author sees the conection of the space with spectator as participant as another of its distinguishing features.
The research is divided into three parts, where the author points out some of the important spatial characteristics of scenographic installation.
In the first part The Re-contextualization of Space, he describes his experience with authorial site-specific project In S(p)ite of Fire and his scenographic work on environmental theatre Oresteia. He describes how a scenographic installation can transform public space and put it in another context as a part of site specific projects and environmental theatre. In the second part The Phenomenon of Relocation, the author discusses the creation of scenographic installations in exhibition spaces of a museum. He is interested in the ability of scenographic installation to re-interpret the artifacts exhibited in museums. He provides his experience with authorial projects Pergamon Set and Room, produced inside of museums.
In the third part The Spatial Simulation, he explores scenographic installation within the phenomenon of simulation in space in theatres and galleries. He bases his findings on his scenographic work on King Stag and Experiment Mice Paradise performances and on his authorial project You Are Unique You Do Not Exist, produced in a gallery. He comes to the conclusion that scenography alone, without actors, can make a performative space in which the spectator is the main driver and that it can exist as a separate genre, outside of the context of theatre.
At the end of his research the author describes relations and roles of the spectator in scenographic installation.
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Actor and work
Šmíd, Petr ; PAVLATA, Michal (advisor) ; HLAVICA, Lukáš (referee)
The thesis brings the definition of an actor, his work or piece and the relationship between them. Then I describe aspects of that relationship, which has direct influence for actor works. The most important are director and partners on the scene and around and next the theatre space and scene space (set design solution etc.). The thesis has also chapter about needs to know yourself for acting.
And then I describe the ways with a drama text, undramatic text and without text too. How we were working without text and what it mean for me and my character. Next chapters are about extreme forms of actor‘s work. Which is performance and immersive theatre. The last two chapters are about film acting and acting with text in foreign language.
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RELATION OF STAGE AND STORYTELLING
Holec, Jan ; HRBEK, Daniel (advisor) ; KORČÁK, Jakub (referee)
The bachelor thesis deals with stage setting of academic performance Maryso! Evo! Dom! Author analyses the evolution of this stage setting from conceptual preparation to final rehearsing phase. The thesis is also considered on various aspects of stage setting. Author is dealing with relation of stage and actor, stage and theme and also stage and storytelling. In conclusion it is hinting at the issue of transferring the performance to another theatre.
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Building a Relationship with Sapce as a Prerequisite for an Authorial Condition
Durdilová, Tereza ; KOUBOVÁ, Alice (advisor) ; CHRZ, Vladimír (referee)
In my dissertation, I? concentrate on the relationship between people and space. I? consider this relationship to be the basis of an authentic relation to a present situation, and also the condition to experience it fully in everyday life and most of all during a public performance.My dissertation is in two parts. In the first one, I? show the significance of this relationship across various fields, and introduce the genesis of my personal relationship with space. I? stress the importance of the conscious interaction with space and also the desirability to build one's? own inner space, which is necessary to reach the condition for spaciousness. I? consider this to be an essential part of psychosomatic condition as well as of the condition for public performance, which I? prove - among others - on the necessity of space for the work with breathing and voice.
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Movement in connection with space, structure and sound of material in architecture Josip Plečnik
Palátová, Dana ; KODET, Jan (advisor) ; Čeňková, Jitka (referee)
Being inspired by architecture and using non-traditional space for new dance production is nowadays an increasingly popular feature. This thesis extends the research on the functionality and operation of space on building the choreography; it looks at this relationship especially through dance, which is based on these two concepts. In my choreographic works, I focus on this issue as could have been also proved in my previous thesis Scenography and space in choreography of Sasha Waltz from 2011.
When preparing chorographical and subsequently theoretical research for my diploma thesis, the procedures governing architects were practically applied to the movements. I observed the movement and creation process being influenced by my choreography. The work title also stresses out, except the space itself, the importance of texture, shape and sound materials in it that advance the creation of dance choreography. On this basis, I created choreographic principles which I analyze in detail also in my work.
This work is divided into four main chapters. The first chapter is devoted to the issue of connecting architecture and dancing, its historical development, the concept of site specific performances, to the choreographers who work with this theme and particularly dance in sacred space. The second chapter describes the creations and bibliography of architect Josip Plecnik. He constructed the church of the Sacred Heart by which I was initially inspired for my choreography. This architectonical treasure is in more details described in the third chapter. The last chapter as the final shape is represented by the choreography Materia which was created on the basis of the findings from previous chapters that means of the spaces of Plečnik's church. An integral part of this thesis is a DVD attached, showing the performance Materia, and embedded images which shall serve for better orientation and visual imagination to the topic.
The aim of this work is multiple: to point out the relationship between architecture and dance; to address the problems existing in contemporary dance due to its transfer into certain areas and propose possible solutions for avoiding that problem or using this issue for chorographical inspiration.
In this work, I use a compilation method based on an analysis of the basic sources and documents and I add my own texts and knowledge gained during the process of creating this production. This piece can also serve as a source for further research in the field of choreography.
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The Meaning of Scenography in Children´s Theatre
Čmelíková, Barbora ; VOSTÁREK, Karel (advisor) ; MARUŠÁK, Radek (referee)
This diploma thesis presents a theoretical contemplation of scenography in children´s theatre supported by examples from the author´s own experience. It confirms scenography to be closely connected with the dramaturgical and directorial part of the whole creative process and to be a full-valued component of every single inscenation´s preparation. The work analyses the theatre space, mutual relations between the stage and the front, particular scenographic elements and the objective factors that influence creation of stage setting in children´s theatre. The thesis shows that the most determining of these are the specific characteristics of the children´s group and the personality of their teacher or leader. It also examines how technical as well as material conditions affect the choice and creation of stage setting. This diploma paper comes to the conclusion that limited conditions may obstacle the way to a theatre performance and mainly its scenography, but in the end they represent a challenge to search for creative solutions.
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PERCEPTION OF SPACE - DIMENSIONS OF SET-UP VIEW
Vondruška, Prokop ; ŽIŽKA, Tomáš (advisor) ; MAKONJ, Karel (referee)
The thesis deals with the perception of space as in theater and in public.
It is trying to find a way how to work with the perception of space and how to bring life to the space with activators. It also explains the term "pohledovost" - (visual perfection ? set-up view) and its impact on the work in expanse. All this is explained from the feedbacks from projects, that arose during the studies from 2010 to 2013.
The thesis is divided into seven parts. The goal of this dissertation work and its impulses are explained in the first part. The second part clarifies the processes of thoughts leading to the perception of space. The third section describes the development of considerations to an activator. The fourth section describes the production, application and transformation of the activator. The fifth section deals with the perception of theatrical space and with the visual perfection. The sixth section summarizes my findings. The final chapter contains the list of used sources.
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Space for Art
Šimášková, Lucia ; JEŽEK, Vlastimil (advisor) ; LUKEŠ, Zdeněk (referee)
The diploma thesis is focused to an adaptive re-use of buildings for cultural purposes, especially for cultural centres. The thesis depicts in short the benefits of conversion, the influence of heritage protection, offers a brief insight into the management, basic sources of funding and programming of adapted cultural spaces. There are also listed examples of good practice of various types of re-used buidings in different countries and under various conditions. The thesis mentions broad range of cultural centres located in industrial factories to churches or stone-pits. The selected examples illustrates the process as well as map the current challlenge opening in the field. A general idea of this work was to create a practical handbook for the journey of building?s adaptive re-use.
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