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Irish drama in a repertoire of Cinoherni klub
Bližňáková, Magdalena ; Kupcová, Helena (advisor) ; Sládek, Miloš (referee)
The author's aim for her diploma thesis is to examine the phenomenon of Irish theatre, which existed in repertoire of one of the most influential small scenes in Prague - Činoherní klub. The work will delve into Czech-Irish cultural relations as 19th century as well as illustrate the way poetics of theatre align with tragicomical poetics of Irish theatre. This will be demonstrated on examples of specific plays by Irish authors The Drama Club put out throughout the years.
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The Reception of Irish Literature and Drama in Czech Translation
Laurincová, Alžběta ; Pilný, Ondřej (advisor) ; Markus, Radvan (referee)
1 Abstract The main aim of the thesis is to introduce the problematics of Czech translations from Irish literature published in the Czech Lands in the period between 1945 - 2014. The author of the thesis provides the list of the authors that were translated in the Czech Lands in that period, and comments upon the literary tradition related to it. Due to the extensive amount of works, the thesis is divided into several chapters, introducing four specific periods: 1945 - 1948 (the end of WWII - the beginning of the Soviet control), 1949 - 1968 (Soviet control - the occupation of the Troops of Warsaw Pact), 1969 - 1989 (the occupation - Velvet Revolution) and 1989 - 2014 (Velvet Revolution - "Velvet Divorce" - the present day). In each chapter the historic introduction is provided mainly to foreshadow the context of the whole era. The discussion about the translations from Irish literature consists from general list of works by individual authors and comments upon their presence at the Czech literary market, the frequency of publishing, the reception of individual authors etc. The author also considers the socio-political occurences that might have influenced the final shape of the Irish-Czech literary canon, and, when possible, tries to demonstrate the extent of such influence.
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Mai, Portia and Hester - heroines of Marina Carr's trilogy - their irish identity in the background of antic tragedies
Bližňáková, Magdalena ; Kupcová, Helena (advisor) ; Sládek, Miloš (referee)
The aim of this bachelor thesis is the characterization of three female protagonists appearing in the work of the contemporary Irish playwright Marina Carr. Through in-depth analyzation of heroines Hester (By the Bog of Cats), May (The Mai) and Portia Coughlan. I revealed their symbolic relationship, which is analogous to protagonists characteristic for tragedies of the antic Greece. Moreover, this thesis also investigated, how gender and national identity is reflected on the actions of heroines. Last but not least I explained the importance of Marina Carr in the broad context of the modern Irish drama, while presenting the essence of her creative work.
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Spirituality in the drama of Tom Murphy
Šmídlová, Eliška ; Pilný, Ondřej (advisor) ; Wallace, Clare (referee)
The thesis "Spirituality in the Drama of Tom Murphy" analyses three of Tom Murphy's plays of his mature period of the late 1970s and early 1980s in which the playwright explores the metaphysical question of the existence of God in contemporary post- lapsarian world. The main aim of the thesis is to elucidate how Murphy dramatically engages with the inherited Christian tradition and to analyse the spiritual quests for transcendence of his characters, stemming from a state of "metaphysical homelessness". Its overall claim is that these quests take place outside the realms of an institutionalized religion and that at its end the divine manifests itself through the human. The works examined are The Sanctuary Lamp, The Gigli Concert and Bailegangaire, all of which demonstrate a profound engagement with faith. Devoting a separate chapter to each, the thesis examines and compares, how Murphy dramatizes the "common human need for belief" of his characters, despite their urge to defy God at the same time. This thesis also analyses how Murphy employs religious imagery and vocabulary in the individual plays, paying special attention to his dual use of the motifs that seem as irreconcilable opposites and which is closely connected to the author's frequent use of the dramatic method of reversal with which he...
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The Production History and Reception of Brian Friel's Dancing at Lughnasa in Irish and Czech contexts
Pínová, Kateřina ; Pilný, Ondřej (advisor) ; Wallace, Clare (referee)
Thesis Abstract The aim of this thesis is to compare the production history and reception of Brian Friel's Dancing at Lughnasa, arguably one of his most famous and successful plays, in Irish and Czech contexts. Following its triumphant premiere at the Abbey Theatre in 1990 directed by Patrick Mason, the production transferred to London and Broadway, where it garnered further critical acclaim and several prestigious awards. The first Czech production, directed by Jan Burian, opened at Divadlo na Vinohradech in Prague in 1993, and over the course of the next twenty years it was staged another eight times on Czech professional - mostly regional stages. The opening chapter of the thesis focuses on the analysis of Dancing at Lughnasa using the method of close reading, as well as consulting secondary literature. The following chapter is divided into two parts, the first of them attempting to outline the background of the play by focusing on the events of the 1930s in Ireland. The second part is concerned with the context of writing Dancing at Lughnasa. Chapters four and five comprise the main body of the thesis and deal with the description of the five most significant productions in Ireland and the Czech Republic. These chapters focus on the context, the directors' concept, the acting and the critical acclaim....
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Themes and Techniques in Denis Johnston's Early Plays
Světlík, Martin ; Pilný, Ondřej (advisor) ; Wallace, Clare (referee)
in English The thesis is concerned with the analysis and comparison of the first two plays of the Irish playwright Denis Johnston, The Old Lady Says "No!" and The Moon in the Yellow River, in terms of their thematic and formal aspects. While in the case of themes both plays deal with topical issues of Irish history and politics of the 1920s, at times touching upon more universal problems (such as the question of idealism, progress or violence), the dramatic treatment of these topics is markedly different in each of the two dramas. Whereas The Old Lady Says "No!" is essentially an experimental comedy that draws inspiration from international avant- garde movements, The Moon in the Yellow River works in a much more traditional, realistic mode. The thesis is divided in two parts, dealing with the themes and the use of dramatic techniques respectively. The first chapter summarises the main thematic concerns of both plays and focuses on the way in which they react to a specific political and cultural climate of Ireland in the 1920s. The chapter examines the plays mainly as Johnston's critical reflection on Ireland after the Civil War, but also tries to distinguish the instances when Johnston transcends the topical nature of his drama and uses Irish issues to move into a more universal territory. The two...
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Martin McDonagh and The Leenane Trilogy
Březinová, Tereza ; Jiřík, Jan (advisor) ; Pšenička, Martin (referee)
Tereza Březinová, DiS. Martin McDonagh a The Leenane Trilogy 1 Abstract in English The subject of the thesis is the work of playwright Martin McDonagh and in particular the so- called Leenane trilogy, which consists of his plays The Beauty Queen of Leenane, A Skull in Connemara and The Lonesome West. The first part of the thesis attempts to put McDonagh's work in the context of then-contemporary culture and literature, briefly outlines his journey towards writing for the theatre and seeks his inspirational sources, which are observed not only in the tradition of Irish drama, but also in a general pop-cultural context of the English- speaking world of the late 1980s and early 1990s. In the second part, the Leenane trilogy is a subject of analysis, with special attention to the character of Father Welsh, who (in spite of not being a leading character in either of the plays and not even appearing directly in two of them) proves to be a notable thematic link within the trilogy. Along with that, the thesis also discusses the way the trilogy's characters relate themselves (through their approach towards Father Welsh) to the Church and questions of faith.
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Fragmentation and Disjointedness in Samuel Beckett's Plays
Halášková, Lucie ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
The aim of this thesis is to explore different levels of fragmentation and disjointedness in Samuel Beckett's Endgame, Krapp's Last Tape, Happy Days, and Play. Firstly, certain concepts are exposed as being fragmentary. The concepts which are examined in relation to fragmentation and disjointedness are language, time, identity, and reality. The motivation behind this part of the research was to expose the subjectivity and multiplicity of these concepts, and to examine how they function in the four treated plays. Furthermore, this thesis seeks to examine Beckett's use of fragmentation and disjointedness in correlation with incompleteness, examining the importance of what is present but also what is absent in the treated plays. In chapter 2, the relationship between the form and function of language is examined, exploring the different factors that affect one's perception towards language. Language is examined within a subjective, contextual, and social framework. The characters of the treated plays prove that language is a delicate method of expression, often resulting in rifts in communication. The third chapter deals with the fragmentation and subjectivity of time, identity, and reality. Time is examined in relation to the characters, delving into the problem of the characters' perception of the...
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Brian Friel's Conception of Forming History and Its Implications
Kantorová, Aneta ; Pilný, Ondřej (advisor) ; Wallace, Clare (referee)
Thesis Abstract The aim of this thesis is to provide a thorough overview of Brian Friel's attitude to historical writing based on an analysis of three of his plays that directly deal with the themes of Irish history and heritage - Translations, The Communication Cord, and Making History. The plays are analyzed from different perspectives, applying various sources and influences shaping Friel's understanding of the concept of history as such and its fictional representation in art. Upon this careful examination, major tendencies in Friel's historical writing are revealed offering a concise characterization of not only the plays in question but also of the Irish historical consciousness in general. The thesis is divided into four major chapters - one providing a theoretical background which would be later applied to the other three parts that deal directly with Friel's works. The theoretical part is further divided into a brief summary of the philosophy of history and a short introduction of the Field Day Theatrical Company. The former segment is based on Hayden White's Metahistory for he treats historical writing as a narrative rather than a scientific objective report. This part follows the development of the concept of history, truth, and art, and is mainly focused on Friedrich Nietzsche as an ideological...
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The past as a leitmotif in Stewart Parker's dramatic work for stage
Raisová, Michaela ; Pilný, Ondřej (advisor) ; Wallace, Clare (referee)
The main objective of this thesis is to analyze the use of the past in Stewart Parker's dramatic work for the stage. A recent historian Hayden White formulated that the work of a historian is in fact similar to the work of a historical fiction writer - the difference lies mainly in the extent of their invention. In that respect, Parker's work can be regarded as a fictional alternative to the official depiction of history. In his plays, Stewart Parker often deals with the Troubles and Northern Irish history and politics. Apart from using real historical events around which Parker revolves the plot of his plays, he often explores the effects of personal pasts of his characters and uses it as leading dynamics in the plays. The main motto of his plays is 'coming to terms with the past'. His plays also often feature ghosts which can be regarded as a reflection of the past. In my thesis, I examine their role and Parker's use of the past in Spokesong, Catchpenny Twist, Nightshade, Pratt's Fall, Northern Star, Heavenly Bodies and Pentecost.
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