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Acting in Alternative Theatre
Dvořáková, Kateřina ; ADÁMEK, Jiří (advisor) ; HAVELKA, Jiří (referee)
This thesis describes the specific aspects of actors’ work in the productions
directed by Klára Hutečková. The actor shows how the collaboration developer
during the years of study at DAMU, noting that from the very beginning it
exceeded traditional concepts of acting as the creation of a character. The
collaboration culminated in 2015 with the graduation production To the
Lighthouse, up to the Page 73, which made use of experience gained in previous
works. They key part of the thesis id, therefore, analysis of this production,
focusing on the acting and defining three types of means of actors’ expression:
the character, between the character and the intermediary, the intermediary. In
the conclusion, those three types are applied to concrete examples from the
production.
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On puppet and non-puppet theatre
Stárková, Jana ; NEZNAL, Vít (advisor) ; CÍSAŘ, Jan (referee)
This bachelor thesis examins the form of nowadays puppets in the theatre of non-physical acting. This thesis are based on Czech and Polish theatre theory and work foremost with Czech terms jevištní postava, dramatická osoba and integrovaný herecký komponent loutkového divadla. For this bachelor thesis is essential the diference between figurative and non-figurative puppet theatre, based on the definition of prof. Jaroslav Etlík. An initial impetus for its creation was an attend on colloquium at theatre parade Přelet nad loutkářským hnízdem, article from 1999 Loutkář (Puppeteer) magazine called Hledání souvislostí: Co je to loutka? and general confusion on the item.
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A Selfreflection of a Creative Process of Working on Nevina and Erectionof the Heart
Blažková, Anděla ; TEJNOROVÁ, Petra (advisor) ; ADÁMEK, Jiří (referee)
This master thesis is a subjective reflection based on proper selfreflection
during my work on performances Nevina and Erection of the heart. It is not a
theoretical study but more an understanding and defining of my own ways of
searching between a dramatic character of Absolut and function of a performer.
In first part I analyze the performance Nevina directed by Petra Tejnorová. I
present some conditions and forms of realisation a live cinema project.
In next chapter I point out names of all the dramatic characters with their
description from my point of view and I search connections and facts of a
dramatic character of Absolut, that is communicating me the text. Then I am
reflecting the dramatic character from my point of view with my own
imagination.
I analyse all the dramatic situations in which Absolut is present and I
present the ways to get to her own emotions.
I search connections between emotions and experiences of a dramatic
character and my own.
I find out the importance of knowing what I am performing and at the same
time I find out the importance of a fact that a dramatic character should not
know what is he performing at the same time.
I analyze a searching of a „mask“ for a scenic adaptation of being blind and
I mention a part from my own notes based on my own experimentation with
vision.
I clarify technical requirements for an actor to work with during the
realization: a camera, a microphone – microport, space and I mention the
importance of the fusion of actor with this technical issues.
I am reflecting the truthfulness, certainty and authenticity of film acting.
In the second part I am mentioning experiences of working on school
performances with directors during my studies on the accademy and I mention
reasons of importance of searching for an own topic. I am analyzing the creative
process of Erection of the heart directed by Petra Tejnorová.
In next chapters I uncover the creative process – contact improvisation and
searching of my own topic. I analyze the ways of touching the core of my own
topic and I mention the final version of my monologue in this performance.
I outline my own reflections – possibilities and rules of a way to get in touch
with a spectator. I realise the possibilities of a performer while knowing the
possible winning and loosing during the playing.
I mention a reaction of one spectator after seeing our show.
In the end I answer myself a question if the authenticity of an actor is
changing while he is telling someone else's story or his own thoughts and oppinions.
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Creating a comedy and drama charakter
Javořík, Viktor ; TÖPFER, Tomáš (advisor) ; SCHEJBAL, Milan (referee)
The present thesis deals with the process of creating a comedy and drama character. The work is built upon comparing the similarities and differences of their creating. It is based on my previous acting experience and knowledge and skills acquired in the course of the training at the Theatre Faculty of the Academy of Performing Arts, during the rehearsals or final exams at the Department of Dramatic Theatre, or performances at professional theatres. I believe that I am a comedy actor, therefore I chose a topic which may help me sort out the approach to acting in general, but also realize my own capabilities, skills, obstacles and limits which affect the comedy and drama character creating process. I supported the thesis with specialised literature with which I was acquainted during the studies at university.
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Acting, living through and the influence of external inspiration while working on the role
Černodrinská, Sandra ; SÍLOVÁ, Zuzana (advisor) ; SALZMANNOVÁ, Eva (referee)
My thesis is entitled Acting, living through and the influence of external inspiration while working on the role. In my work i concenrate particurarly on my beginnings at DAMU, as so as on the progression during the studies and my profesional opportunities. This thesis is mainly self – reflection trying to answer following question: External inspiration or living throug? Can we clearly define these therms and separate one from each other? Is it valid for every situation? I am describing what is while working on the role the most important for me and why. I choose the most interesting experiences from the acting lessons at DAMU, from the school theatre Disk or other theatres.
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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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The actor and the character
Čelebič, Vuk ; HRBEK, Daniel (advisor) ; PAVLATA, Michal (referee)
This work is dedicated mainly to the findings about character and acting as well as about myself, which I have gained during the rehearsing of the character Neschastlivtsev in Alexander Nikolayevich Ostrovsky´s play The Forest. This work not only describes the rehearsals of this play from Neschastlivtsev´s view, but also presents other examples of a director´s work and an actor´s interpretation, both from rehearsing before the boarding of the alumni class and from the following outside-of-school acting experiences.I have tried to define the method of my work on this play and on this concrete character; this method may resemble other methods on many other characters in some way. However, Neschastlivtsev is a very unconventional character - maybe because he is an actor himself, which makes him more approachable to the performer. He is a timeless and rare character as well; that is also one of the themes that I have covered in my work
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The relation between text and actor´s gesture,
Vaverka, Josef ; SALZMANNOVÁ, Eva (advisor) ; KUDLÁČKOVÁ, Jana (referee)
During my studies at the Academy of Performing Arts, I studied ancient Greek drama, commedia dell'arte, Shakespearean drama, comedy farce, absurd drama and contemporary English plays. In my master´s thesis I concentrate on the relationship between the text and actor's gestures. I gathered all the historical facts from these books: O. G. Brockett, History of Theatre and Jaromir Kazda Chapters from theater history, unless otherwise stated.
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Actor's character at theatre and film/TV - tools and creative process
Josefíková, Eva ; SALZMANNOVÁ, Eva (advisor) ; MRKVIČKA, Ladislav (referee)
The goal of the thesis set by a student is to summarize her studies at
DAMU as well as to reflect her later experience of hosting in professional theatres
and short engagement in Kladno theatre. Appearance in front of the camera is
addressed as well.
The thesis describes the school dramatic seminars, stage or film and
television projects, which helped to change her reasoning about the work as an
actor. These projects taught her new processes and allowed her to professionally
evolve. Based on this experience, she tries to find and define mainly the
common ground for both disciplines, what resources do they require and in which
way they can influence each other.
Considering the fact that acting in front of the camera is not being taught
at DAMU, she describes her search by trial and error, or rather by collecting and
improving her experience from one project to the next. Her findings are
supported by citations from foreign literature on film acting, so far not published
in Czech Republic. Quotes are therefore her own translation.
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