Procházet podle oponent "RAISOVÁ, Michaela"

Nyní se zobrazuje 1 - 5 z 5
  • Dialogické jednání, improvizace a já
    Karda, Filip
    (Akademie múzických umění v Praze.Divadelní fakulta, 2020)
    Datum obhajoby: 2020-01-10
    Práce sleduje vývoj Filipa Kardy skrze divadelní improvizaci a dialogické jednání s vnitřním partnerem. Mapuje jeho začátky v improvizaci, hlavní milníky a postupné přecházení od středoškolských let až ke studím na DAMU, kde se seznámil s dialogickým jednáním s vnitřním partnerem. Opírá se o své záznamy z improvizačních představení, záznamy svého dialogického jednání, tří praktickoteoretických setkání na interpretačním semináři s tématem improvizace a reflexí dialogického jednání. V rámci ohlížení se zpět vyvozuje konkrétní představy a myšlenky, které se týkají samostatně, ale i propojeně divadelní improvizace a dialogického jednání. Cílem je přiblížit tuto problematiku a hledat, kde se tyto disciplíny vzájemně prolínají, kde se naopak rozcházejíí a co si mohou nabídnout.
  • Documentary Theater in Post - War Communities
    Blaskó, Lea
    (Akademie múzických umění v Praze.Divadelní fakulta, 2019)
    Datum obhajoby: 2019-01-15
    In this thesis I explore the connection between documentary theater and its possible influence on various communities, focusing on the former Yugoslavian region that tends to use theater as a tool for facing its turbulent past. I reflect on my personal path and experiences regarding documentary theater, both as a spectator and as an author. For this reason, I examine the different approaches towards the fragile theme of war on stage; moreover, I am interested in the relationship between the authors and the topic itself. As a form of an empathetic documentation, hereby I discuss and highlight the importance of varying narratives in documentary theater.
  • Movement and Creativity
    Golob, Polona
    (Akademie múzických umění v Praze.Divadelní fakulta, 2018)
    Datum obhajoby: 2018-09-25
    The topic of this master thesis is to explore the methods and principles of movement education at the Department of Authorial Creativity and Pedagogy (KATaP). The Authorial Acting program in English started in 2015. Throughout the span of two years, movement classes are taught by three professors. All of them have different approaches, yet they strive towards the same goal – that students gain a higher awareness of their body and can attain better control over their everyday movement habits as well as their movement on stage. Though the study program is designed as a mirror of the Czech program, changes were made due to the different cultures, temperament and skills of the English program students. This represents a great opportunity to revise how movement is being taught at the department. The body of this thesis is divided into three major chapters dealing with: posture, space and imagination. Each chapter includes a description of exercises that we did in KATaP movement classes related to a specific topic. Sources for the exercise descriptions as well as my reflection on how I felt and what changes I experienced during and after the exercise are taken from my class notes and semester reflections. At the same time, each topic is explored through published theory to give the movement classes a theoretical perspective. The last chapter is devoted to exploring the connection between imagination and movement and how this affects an actor's creativity. The main motivation for writing this thesis is my appreciation for the transformation my body has undergone during my studies at KATaP. That is why I believe that many can benefit from its content be it theoreticians, teachers or other practitioners in the world of performing arts as well as people who are simply interested in learning something new about their bodies.
  • "Neither here nor there"
    Hannon, Margaret
    (Akademie múzických umění v Praze.Divadelní fakulta, 2018)
    Datum obhajoby: 2018-06-27
    Throughout this thesis I have been trying to clarify for myself what I am doing and why. I have had the profound privilege of being able to begin again. A poem captured what I felt about being in this liminal phase. I knew I wanted to explore what I was learning in DAMU fully and concretely. I needed to learn how to be still and wait. I realised how fundamental breathing is in connecting mind and body, and I learnt what a bane the ego can be. I mean ego in the colloquial, not psychoanalytical, sense. It is only by detaching from the criticisms, positive and negative, of others (including mine) that I have any hope of cultivating my own voice. I wrote out of myself and through the process of writing I was more open to the lessons I was being taught every day in classes, and readings. The secret lies in not caring whether I am great or not. Being great is not what is important. Being your self is. As a teacher said, ‘It is difficult, and very easy.’ I finally came to the point when I had written about myself enough. It is time to locate the centre of attention in the world, the audience.
  • Výchova k herectví jako proces objevování a obnovování
    Kozak, Marianna
    (Akademie múzických umění v Praze.Divadelní fakulta, 2018)
    Datum obhajoby: 2018-09-26
    Ve své diplomové práci jsem se pokusila sledovat a pojmenovat svou cestu k autentickému, autorskému hereckému projevu. A to skrze reflexi určitých přístupů, disciplín a škol se kterými jsem se na této cestě setkala.