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External and internal means of acting characterization
Trnková, Kamila ; PAVELKA, Tomáš (advisor) ; HLAVICA, Lukáš (referee)
External and internal means of acting characterization
The diploma thesis deals with the differences between the external and internal means used by the actor in creating the role and the suitability of their use. The author first defines the basics terms with which she works in the course of her work and their mutual relationships. Than she deals with self-stylization as a factor that influences actor in real life and consequentlly also during his profession. At the hearth of the work is the author´s reflection on her own acting dewelopment in the context of the initial rejection of external actors, and their subsequent admission. The lessons learned by the author to analyze the possible advantages and disadvantages of the chosen medium have gained from the experience gained during the DAMU studies, the first experience in film acting and the professional theater scene.
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PHENOMENON OF THEATRICAL AUDIENCE IN PRESCHOOL AGE
Molčíková, Kateřina ; BEČKA, Marek (advisor) ; LJUBKOVÁ, Marta (referee)
This thesis focuses on the youngest children aged 3 to 7 years for its ability to receive and reflect the theater's work in the kindergarten environment and in the company of their peers. Based on annual project Phenomenon theatrical audience of preschool age, which took place in five nursery schools of the Central Region. This project registers, analyses and reflects. On the basis of experience investigating whether there are any barriers theatrical production for children of preschool age and presented in non-theatrical environment of their own kindergarten. Based on the dramatic principles used in the six selected productions and the conclusions drawn from the responses of children's audience is examining whether and how the artists in the creation of limited maturity performances of viewers in this age group and pre-school environment. The work has demonstrated that playing theater in kindergartens has meaning and that the preparation of performance is neither appropriate nor desirable to compromise on demands that we ourselves as the creators intended performance or mixed adult audience.
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THEATER VS. ADOLESCENT
Kranich, Dan ; BEČKA, Marek (advisor) ; KLÍMA, Miloslav (referee)
In my Master thesis I deal with the issue of creating a production for adolescents. I am discussing this topic in connection with two theatrical performances: Goon: Krvavá pomsta and Jsou místa oblíbená tmou, kde nikdy a nic na ostrovech se skrývá odlehlých. I describe in detail the implementation of these projects. I compare my creative work in the school environment with staging in a professional theater.
The thesis also deals with the relationship of contemporary adolescents to the theater as well as the relationship of theaters with adolescents. My theses and ideas are based on the practical experience gained by presenting these two projects.
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FROM NON-TRADITIONAL SPACES – INSIDE AND
Huláková, Lenka ; KLÍMA, Miloslav (advisor) ; LJUBKOVÁ, Marta (referee)
The aim of the thesis is to present the Bachelor's degree program KALD DAMU
Theater Creation in Non-traditional Spaces at KALD DAMU (2012–2015),
especially the content of the field of performance. The historical context of the
field both in the Czech Republic and in the world is described in the introductory
part, following that, I continue with my own personal theater history. The specific
experience of my study of Performance and focus on working with space and
place are elaborated on. That is followed by descriptions of projects created in
the course of my master's program in dramaturgy at KLAD DAMU that were
influenced by my studies at DTNP. In the final chapter, I evaluate the significance
of the now defunct study program.
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The Relationship between Human Body and Technology in Dramatic Space
Jan Märcová, Sára ; ADÁMEK, Jiří (advisor) ; MAZÚCH, Branislav (referee)
This diploma thesis is an attempt to reflect the use of current digital technologies in the
scenic space and their influence on the work of actors. It tries to shortly describe the
development and principles of neo-media works, as well as the form of Live Cinema,
mainly in the theatrical context. It examines the position of real, living objects/subjects, in
contrast to immaterial and virtual images that are made up of light or sound. The
possibilities of mutual influence of technologies and bodies are described on selected
performances in the Czech theater context. How does technology change the actor's
work? Does it affect the basic theatrical relationship between the body of the actor and
the spectator's body? Are the mediative forms of theater destructing its "liveness"? How
does viewer perception transforms? These and similar questions are crucial to this thesis.
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THE POSSIBILITIES OF APPLYING MINIMALIST APPROACHES IN THEATRE
Hutečková, Klára ; ADÁMEK, Jiří (advisor) ; TOMÁNEK, Karel František (referee)
This thesis deals with what minimalism means in the context of theatrical creation. It aims to define different minimalist approaches. The first part of the thesis examines the meanings and particular physical manifestations of minimalist tendencies in various arts. Using these findings, the works of three important minimalists, who work with different art media, are analysed: the film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles by Chantal Akerman and its remix Jeanne Dielman 23 Quai du Commerce, 1080 Bruxelles Day x Day x Day, the video New Book and the minimalist symphony Tangoby the Polish cameraman and director Zbigniev Rybczyński and the production Einstein on the Beach by the theatre director Robert Wislon. As a result of this analysis, the minimalist approaches are introduced, their functioning is characterized and key points, which could be relevant for the theatrical medium, are emphasised in the third part of the work. The last part of this thesis reflects upon my own theatrical work and explores the future possibilities expanded by this new labelling of my artistic tendencies as minimalist.
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Project of building, renovation and adaptation of theatre
Hodonický, Václav ; JEŽEK, Vlastimil (advisor) ; PROKOP, Petr (referee)
This thesis deals with building or renovation of theatre building or adaptation of non-theatrical space into theatre. The project is examined in terms of director of the theatre or the person who is responsible for the result. First of all, basic terms are defined and the general requirements on future theatre are summarized. Than role of theatre artists and architects are described. They can get into trouble with each other when trying to meet their (sometimes contradictory) requirements. This is why it is necessary for the responsible person to deal with these contradictions.
There are important and obligatory legal institutes and procedures being described in second chapter, especially procurements, fundraising and building procedures, which are held by the local building authorities. There are obligatory studies and concepts explained. The legal processes held during and after the building works are described. All of these institutes are examined here.
There are four case studies of relevant projects brought in the third chapter to show how do the described procedures work in real praxis. These projects differ from each other in many ways, especially their size and nature, but there are many similarities also.
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Intellectual Property Rights in the Theatre Practice Context
Hájková, Martina ; SRSTKA, Jiří (advisor) ; JAKL, Ladislav (referee)
This master thesis is focused on the intellectual property rights in the context of theatre practice. Its aim is to analyse the area of intellectual property rights and to show that intellectual property rights do not end with copyright, but it is just a beginning.
The results are answers to following research questions: What are intellectual property rights and what does this term include? How are intellectual property rights applicable within the theatre practice? What are the basic types of protection when these rights are violated in the theatre / by theatre?
The diploma thesis is composed of three main chapters, in which I progressively try to find answers to the above mentioned research questions. The first chapter is focused on the intellectual property rights and on their definition, including their terminological distinction from similar definitions, and analysis of that area. The second chapter introduces selected areas of intellectual property rights that are relevant for the theatre practice, and these selected areas are illustrated by examples. The third and last chapter outlines some of the basic mechanisms in the protection of intellectual property rights.
The conclusion summarizes the findings and on their basis it tries to answer the research questions on their basis.
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Theatre and Incoming Tourism in Prague
Hubálková, Michaela ; KAŠPAR, David (advisor) ; DOLANSKÁ, Nora (referee)
This diploma thesis focuses on the issue of cultural tourism, particularly focusing on Prague theatres and incoming tourism in Prague. This work specifically examines the relationship between these two areas.
The aim of this study is to confirm the hypothesis whether it makes sense to look at theatres in Prague as one of the tools of marketing strategies and promotion of the city in relation to foreign visitors. First part of this work is theoretical. It deals with the definition of culture, performing arts and tourism. This part also examines theoretical approaches to the issue of cultural tourism and cultural tourist.
Practical part of this study includes a survey and interviews in selected theatres and institutions, thematically focused on marketing communication and overall approach to the target group of foreign visitors.
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CO-CREATING THEATRE
Petrovič, Zoran ; MAKONJ, Karel (advisor) ; KLÍMA, Miloslav (referee)
This graduate paper deals with the phenomenon of the theatre
spectacle that truly becomes alive no sooner than when the actor and the
spectator meet in the same space and time; the paper is also occupied with
the (pre)conditions that have to be met in order for the interaction between
the actor and the spectator to begin.
The paper draws conclusions from the theatre creator?s and the
spectator?s perspectives, it wonders about the meaning and the origin of
theatre (co)creation, and is based on practical experience, as well as on the
findings of theatre practitioners and theoreticians.
The concept of theatre is used in the widest meaning of the word.
The paper intentionally originates from and connects various performance
arts ? it draws from the realization that the theatre is basically one, and
that for theatre to happen one needs both: an active actor and an active
spectator.
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