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The Death Pit and the Glowing Swamp: A Permeation
Smutný, Jan ; Marek, Petr (referee) ; Cenek, Filip (advisor)
The work is connecting well-known symbols of alchemy and various esoteric traditions and giving them visual and narrative form. There is deconstruction and glorification of this type of philosophy in the same time. The characters of the story are symbolizing the german and slavic archetypes. Their voyage from the pit of death to the glowing swamp and vice versa is representing the ageless story of life and death, creation and destruction, body and soul, light and darkness. All the symbols are used in the ironic and serious way in the same time.
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Cross-gender casting of tragedies by William Shakespeare
Mašková, Barbora ; Nováková, Soňa (advisor) ; Hančil, Jan (referee)
Cross-gender casting (i.e. the casting of female performers for male parts and vice versa) of plays by William Shakespeare is not a scarce phenomenon and is getting more and more popular in the recent years. In spite of the frequent claim of the theatre-makers and critics that it is in fact a gender blind casting, where the gender of the performer does not matter, the thesis attempts to prove that, in fact, it is not the case. This is exemplified on three most frequently staged and also most commonly cross-gender cast plays: Hamlet, King Lear and Romeo and Juliet. Via these examples the thesis shows the variability of approaches to cross-gender casting and the differences in realization. In the first chapter, the key terminology is defined, in order to avoid confusion, discussing the differences between cross-dressing, travesty and cross-gender casting. That is followed by subchapters in which the basic frame of thought is suggested, building on Judith Butler's deconstruction of gender and the concept of gender performativity. The last subchapter of this section deals with the history of cross-gender casting, including the Elizabethan all-male staging tradition. The next three chapters are then devoted to each of the plays, analyzing the possible interpretive keys and motivations for a cross-gender cast...
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Dvě verze Děvína Šebestiána Hněvkovského. Proměny textu ovlivněné dobovou normou
Vítová, Andrea
Hrdinský epos Děvín autora básníka Šebestiána Hněvkovského zachycuje ve svých dvou verzích proměny literárního díla dané změnou dobových preferencí. První verze, vydaná roku 1805, představuje směšnohrdinský epos, který na základě pověsti o dívčí válce parodoval autorovu současnost. Spolu s tím, jak národní historie a mýty nabývaly v letech národního obrození na důležitosti, přestávaly být pověsti vhodnou látkou pro žertovné zpracování. To se odrazilo v nové, přepracované podobě eposu, který vyšel roku 1829, tentokrát jako báseň romanticko-hrdinská. Z textu zmizely přímé, humorné narážky, naopak zesílila snaha o vzletné, metaforické pojmenování skutečnosti; zvláštní důraz byl kladen na statečnost a další kladné charakterové vlastnosti hlavní hrdinky příběhu Vlasty. Zatímco v první verzi eposu bylo jednání lidí, často svévolné, zdrojem humorných situací, hrdinové romantické skladby se nechávají vést vůlí bohů. Idea vlastenectví a slovanské sounáležitosti je rovněž pro přepracovaný text podstatná. Přesto Hněvkovského Děvín vychází ze srovnání s dalšími romantickými eposy o národní minulosti jako dílo s poutavým dějem a méně vykonstruovanými postavami, které neztratilo zdaleka vše ze své původní živosti a vtipu. Jako by se autor snažil vyhovět změněnému vkusu doby, ale v jádru stále zůstával věrný předešlému, svého času tolik oblíbenému zpracování příběhu.
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Cross-gender casting of tragedies by William Shakespeare
Mašková, Barbora ; Nováková, Soňa (advisor) ; Hančil, Jan (referee)
Cross-gender casting (i.e. the casting of female performers for male parts and vice versa) of plays by William Shakespeare is not a scarce phenomenon and is getting more and more popular in the recent years. In spite of the frequent claim of the theatre-makers and critics that it is in fact a gender blind casting, where the gender of the performer does not matter, the thesis attempts to prove that, in fact, it is not the case. This is exemplified on three most frequently staged and also most commonly cross-gender cast plays: Hamlet, King Lear and Romeo and Juliet. Via these examples the thesis shows the variability of approaches to cross-gender casting and the differences in realization. In the first chapter, the key terminology is defined, in order to avoid confusion, discussing the differences between cross-dressing, travesty and cross-gender casting. That is followed by subchapters in which the basic frame of thought is suggested, building on Judith Butler's deconstruction of gender and the concept of gender performativity. The last subchapter of this section deals with the history of cross-gender casting, including the Elizabethan all-male staging tradition. The next three chapters are then devoted to each of the plays, analyzing the possible interpretive keys and motivations for a cross-gender cast...
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The Death Pit and the Glowing Swamp: A Permeation
Smutný, Jan ; Marek, Petr (referee) ; Cenek, Filip (advisor)
The work is connecting well-known symbols of alchemy and various esoteric traditions and giving them visual and narrative form. There is deconstruction and glorification of this type of philosophy in the same time. The characters of the story are symbolizing the german and slavic archetypes. Their voyage from the pit of death to the glowing swamp and vice versa is representing the ageless story of life and death, creation and destruction, body and soul, light and darkness. All the symbols are used in the ironic and serious way in the same time.
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