Katedra činoherního divadla / Department of Dramatic Theatre

Permanentní URI pro tuto komunitu

http://hdl.handle.net/10318/3

Procházet

Procházet Katedra činoherního divadla / Department of Dramatic Theatre podle vedoucí "GORIAUX, Jitka"

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  • Režisérská dramaturgie
    Kořínek, Vít
    (Akademie múzických umění v Praze.Divadelní fakulta, 2022)
    Datum obhajoby: 2022-06-14
    Autor se v práci zabývá problematikou režisérova výběru dramatického textu nebo jiné látky ke scénování. Analogicky k ustálenému termínu herecká dramaturgie zavádí v souvislosti s režisérovým osobním repertoárem pojem režisérská dramaturgie. Volbu titulu v moderním divadle pokládá za důležitou součást tvůrčího aktu. Na základě svých tvůrčích i diváckých zkušeností zkoumá, co při volbě titulu různé typy režisérů vede a jak přesně se do ní promítají režisérovo osobnostní založení a jeho osobní téma. Dále se zaměřuje na to, jak mohou realizaci režisérské dramaturgie ovlivňovat různé vnější (např. provozní) faktory nebo osobní témata a osobnostní založení jeho tvůrčích spolupracovníků, a to zejména herců.
  • Staging of The Bear by Anton P. Chekhov
    Cepeda, Jazmin Edeissa
    (Akademie múzických umění v Praze.Divadelní fakulta, 2024)
    Datum obhajoby: 2024-06-19
    The concept of directing for dramatic theatre has greatly evolved over the years with individual theatre practitioners building on the work of other researchers in the field. The work of Constantin Stanislavski has set the base parameters for the exploration of how to work with an actor, keeping the truth of a character as the primary focus. Students of Stanislavski’s teachings have interpreted his methods and expanded their reach so as to fit the needs of their actors’ preparations for their roles. Due to the dynamic and changing nature of society, it is necessary to continue to develop the director’s approach to theatre, for theatrical representation finds its roots in the greater context of the present day. This essay in conjunction with its practical component of realising the staging of The Bear by Anton Chekhov serves as a case study on how to further develop upon pre-existing methods for working with actors as a director. Included is a description of the process of mounting The Bear (2023) from the perspective of the director. Primary focus is given to the exercises and techniques used to work with the actors during rehearsals to help them prepare physically, mentally, and emotionally for their roles. Challenges within the rehearsal process are adressed, establishing methods for alleviating potential problems in future work. Included within the process is textual analysis of the script, that which guides the team’s approach to the deeper subtext of the characters’ situations. Findings show that open communication and analysis of the text with the actors in the rehearsal room serve to heighten the feeling of theatrical ensemble, further aiding the collaboration between actor and director. Provided are potential techniques and methods of communication that may be employed in future directorial work.