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What Does - To Be in the Beginning - Mean II.
Šimek, Jiří ; LJUBKOVÁ, Marta (advisor) ; MAKONJ, Karel (referee)
In this master thesis I am analyzing the process of two author performances
GoG & LONELiNESS & STUFF. I am trying to write down basic methods and assumptions
for my own author work without scenario where the beginning of the whole process is only a theme or a literally model (which is more likely main inspiration source rather than
pattern). All those methods and assumptions, I call Beginning which is a word that
represents them in the best possible way. That is also a reason for naming my thesis What does -to be in the beginning- mean, this name should represent my never ending searching of more sophisticated way of developing theatre performance.
The whole thesis begins with a chapter called Starting-points, which collection of
most important things I learned in the Department of alternative and puppet department. The chapter is divided into parts according to the teachers who took turns in leading main subject
Acting. In every part I tried to write about the way of influencing my approach to author
work.
Middle part consists of two chapters GoG and LONELiNESS & STUFF where I
describe my own work on concrete cases from process of rehearsing both performances. In
both chapters I describe my own new methods and experiences. Putting both processes in
context, and trying to explain differences. And I also try to find a connection between the
chapter Starting-points and concrete cases from my own author work.
The whole thesis ends by a chapter What does to be in the beginning mean
where I summarize and generalize issues which we were solving during our author work and I also try to establish requirements for really creative way of creating author performance.
Main message of this thesis is to look back on my own work. Also, from my point of
view, establishing ideal way of creative process and defining spectator as co-creator of
theatre performance. Where this ideal way of creative process doesn’t exist because the
point upgrades my own ability to constant adapt and change, act intuitively.
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DRAMA ACTING ON ALTERNATIVE DEPARTMENT
Majerčíková, Petra ; MAZÚCH, Branislav (advisor) ; KROBOT, Miroslav (referee)
In this diploma thesis named Drama Acting on Alternative Department is author trying
to find connection of classical drama acting and Department of alternative and puppet
theatre. In first part she mentioned how does the department work. As a contrast to
the open and experimental creative work she elected system of Stanislavskij. In every
single chapter she reflected pedagogical methods of directors and their acting
approaches. At the end she foccused on reflection of her own acting and creating
procces in theatre Disk. Last part is based on short questonnaire for students of acting
department.
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Process of Creativity in "Eldorado" of Global Massculture
Burdová, Katarína ; VEDRAL, Jan (advisor) ; HANČIL, Jan (referee)
The presented thesis summarises knowledge and experience of forming pedagogical approach to university students. The models of five projects I worked on together with students of drama art master studies present the most suitable method of motivating them. Having selected particular drama texts and their ideas (Henrik Ibsen: The League of Youth, Samuel Beckett: Endgame, Josef Topol: Nightingale for Dinner, Dea Loher: The Last Fire and Martin Crimp: Attempts on Her Life) I highlighted globalisation and its social impacts.
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Costume in the theatre played by adolescents
Pařízek, Aleš ; PROVAZNÍK, Jaroslav (advisor) ; VOSTÁREK, Karel (referee)
The thesis called The Costume in the Theatre Played by Adolescents attempts to get a look in a specific area which is part of any theatre production. In the theoretical sphere it looks at the concept of the costume from the point of view of the current theatrology, defines its function as one of the important signs of the theatre communication and perceives it as a significant style-forming element of any theatre production. It summarizes the development of the costume in different periods of the history of the European theatre and deals with its use in the context of the school theatre of religious orders. In the narrower point of view it opens up a question of the function of clothing as a costume in civilian life. It specifies it as an important manifestation of identification with the belonging to certain groups - subcultures and looks also at the issue of the use of costumes during experiential events such as LARP and Cosplay. The thesis demonstrates on specific examples of several theatrical productions different variants of the work with a costume in the theatre played by adolescents nowadays. The research section of the thesis offers a framework view on the issue of the use of a costume in theatre groups in elementary schools of arts and their public presentations.
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SING A MONOLOGUE, SISI DANCER! - or synthetic actor
Cina, Jan ; TRPIŠOVSKÝ, Lukáš (advisor) ; KUKUČKA, Martin (referee)
In my thesis, I decided to describe how all the means that actor?s body and soul comprise can by synthesized into something that is able to tell a story, communicate and be passed on. I myself am still in the middle of the process of discovering all the separate particles of those means, as well as of how they function, how they can be used and how they can be worked with. During my studies, and moreover during my lifelong encounter with theatre and art, this topic has intrigued me and I have always come across it to some extent. That is why in my thesis I focus not only on the already discovered andexamined kind of synthetic stage appeal, but also on the undiscovered one. Because a man himself represents his one and only primordial universe and his own utterly first teacher, through whom every perception has to pass. And it goes differently with every single person. Whether the person is an actor, a ballet girl, or a singer.
In the first part of my thesis, I mainly focus on the historical overview of theatre?s origin and function and I follow the evolution of the so-called synthetic acting. Furthermore, I present several individual personalities, theatrical groups and their artistic movements, who later explored the concept of synthetic acting intentionally. To sum up, I try to reflect my own experience with synthetic acting and, in the end of my thesis, I concentrate on my search for my very own form of synthetic acting.
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Using of drama methods in project Dating is a game
Soukupová, Kateřina ; MACHKOVÁ, Eva (advisor) ; VALENTA, Josef (referee)
The thesis describes the benefits and possibilities of using drama methods in the context of dating events. In the theoretical part compares the behavior of animals and people in the process of courtship, briefly introduces history of dating , the phenomenon of "singles" and deals with today's possibilities of dating. Further looks into the adult education in context with drama education to a general level of communication. The practical part describes the genesis process of authorial project " Dating is a game " and presents an example of three programs which were realized as a dating event for singles by using dramatic methods.
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ACTOR IN HIS OWN BODY
Legierski, Tomáš ; RIEDLBAUCHOVÁ, Veronika (advisor) ; ETLÍK, Jaroslav (referee)
Legierski, Tomas. The actor in his own body. Prague: Academy of Performing Arts in Prague, Faculty of Theatre, 2013. 74 pp.
In this work, Tomas Legierski is attempting to show that acting is an autonomous and creative artistic work that does not consist of the mere reproduction of directorial ideas. The main starting point, according to this author, begins with an actor's body, his physicality/corporeality. Each role or character that the actor tries to grasp, with the help of the director, is primarily based on the actor's "being" on stage, which implies a certain behavior. Whether the actor is static or in motion on the stage he is still acting. Legierski seeks to examine the resources and ways of action that comprise the total expression of an actor´s performance. At the inception of theatrical action is conceived a gesture that represents communication with itself, colleagues on stage and the audience. Gesture and movements are perceived by this author to be intertwined.
The core of this thesis is presented in three main chapters. In a chapter 1, Gesture in Actors, Legierski examines gesture as a movement and shape, its clarity and manner of its exercise. Chapter 2, Performing Being, describes the actor as a "total man", and examines the energy, dynamism and rhythm of the gesture which composes the essence of the actor´s existence on a stage. In chapter 3, Actor in a Composition, the author describes actors in specific theatrical situations where they make use of negotiation, revision and editing to create the composition stage. In these three chapters, the author identifies his inspiration for his graduate discipline of Pantomime while also describing how this technique and its protagonists have influenced his examination of the topic of a gesture.
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To be actor or player
Besta, Petr ; HANČIL, Jan (advisor) ; POKORNÁ, Jaroslava (referee)
This Thesis is based on reflecting my four year old study on Theatre faculty. Particularly it is study of classical acting and acting with the focus on authorship and pedagogy. Thesis is divided in to two parts. First part describes my experiences as an actor and second part describes experiences as a player.
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Michael Chekhov's Actor's Technique
Vavroch, Jaromír ; VINAŘ, Josef (advisor) ; KORČÁK, Jakub (referee)
The thesis deals with Michael Chekhov's actor's technique. It stresses out free creation of artist based on developing of imagination, feeling of atmosphere and work with personal unconscioussness. The creation stands against analysis and reason. Inspired by Jung and Nietzsche I come to conclusion the creation's territory is the area of mythology.
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