Universiẗat, Diss., 2003--Karlsruhe.

Ce travail appréhende la théâtralité du jazz au moyen des instruments de l’analyse scénique et dramaturgique. Trois approches sont ici articulées. La première consiste à mettre en évidence la conception symbiotique de l’art qui a présidé à la genèse du genre. Issues d’un paradigme culturel étranger au principe d’autonomie esthétique et à la séparation catégorielle des beaux-arts, les pratiques performatives afro-américaines du temps de l’esclavage n’opèrent pas de distinction entre la sphère artistique et les préoccupations sociales, pas plus qu’elles ne dissocient les différentes modalités de l’expression poétique. Intrinsèquement théâtrales et résolument ancrées dans la réalité populaire, les scènes de la préhistoire du jazz préfigurent les développements d’un art qui n’eut de cesse de déjouer les représentations dominantes pour se légitimer. La seconde approche insiste sur la fonction réflexive des manifestations scéniques du jazz et notamment sur leur capacité à rendre compte des rapports de force qui structurent le champ social. Notre analyse retrace la manière dont le processus de légitimation s’est accordé avec une spécialisation de l’expression jazzistique en un genre musical. Dans l’approche dramaturgique qui clôt notre recherche, la performance apparaît comme une pratique ludique où s’invente un discours collectif dans une dynamique relevant à la fois de l’agonistique et de la coopération. Un tel jeu implique une tentative de dépassement de soi et du médium musical qui confine au tragique. À travers ces perspectives, notre thèse rend compte de la parenté qui unit ces deux arts en même temps qu’elle entend contribuer aux réflexions sur leurs récentes mutations. / This thesis captures the theatricality of jazz through the instruments of the scenic and dramaturgical analysis. Three approaches are articulated here. The first is to highlight the symbiotic conception of the art, which led to the genesis of the genre. Stemming from a different cultural paradigm with the principle of aesthetic autonomy and a categorical separation of Fine Arts, the Afro-American performance practices back to the slavery days does not distinguish between artistic sphere and social concerns, nor do they separate different forms of poetic expression. Inherently theatrical and firmly rooted in the popular reality, the scenes preceding the jazz history foreshadow the evolution of an art that never ceased to thwart the dominant representations to legitimize itself. The second approach emphasizes the reflective function of scenic jazz performances including their capacity to reflect power relations structuring the social sphere. Our analysis tracks how the process of legitimation went along with a specialization in jazz expression shaping a musical genre. In the dramaturgical approach to the phenomenon that closes our research, performances seems like a fun practice leading to a collective discourse and a dynamic that shows as much agonistic as cooperative. This kind of play implies an attempt to transcendent oneself and the musical medium that verges on the tragic. Through these intersected perspectives, our thesis reflects the deep relationship that unites these two performing arts at the same time it intends to contribute to the discussions on its recent changes

The resource of this work is the play The Miller’s Monkey, which was compiled by the author of this work for the Prague Estates Theater. The play is based on all completed comedies of Václav Kliment Klicpera written in Czech. Klicpera’s comedy work consequently appeared to be an ideal material to which the generally defined topic of the author’s doctoral study can be taken in: “Between `grand drama’ theatres and small `cabaret’ stages”, thus basically as well as between drama and mime, between theater and cabaret. There is, in crystalline form, the insight of dramaturgic thinking to the author’s approach, which is the essence of such “research by creation” and which we could call “from the scene to the drama”. 16 chapters were created, based on the particular scenes of The Miller’s Monkey, marked in summary “Klicpera’s reservoir of situations, characters and motives”, dealing with specific questions of Klicpera’s comedy world – such as language, acting, the way of managing the plot and many more –, but also comedies by themselves. The resulting play is not only an annex of this dissertation work, but an integral part of it. How its subtitle sounds: playful dissertation

The theme STAGE DESIGN AND HIS DRAMATURGICAL ASPECTS discusses the principles of the author's sconographic performance based on the dramaturgical thinking. This is in addition to the visual component becomes one of the primary constituent elements in the process of creative theatre work. Image becomes the narrator of the story. Using the installation as a milestone between painting and theater performances. The practical part deals with the dramaturgical thinking by introducing 4 months of Oslo, and A Bar at the Folies which is based on theatre work with people with mental disabilities during the birth of the author´s scenographic performance.

This master thesis explores multichannel formats from the perspective of technology, sound dramaturgy and aesthetics. The thesis engages in the historical development of film sound, technical benefits of individual technologies and final mixing. The last part shows interviews with czech sound designers.

The present master's thesis focuses on relationships between the director and the other creators of a theatre production and on the ways in which these relationships develop during the creative process. The author describes and reassesses specific practical examples from her directorial and dramaturgical experience in years 2012-2015. The first part is devoted to those productions in which the author collaborated also on the playtext. It seeks to identify specific primary impulses which had inspired individual projects and to track any subsequent evolution of these impulses, a process which the author defines as assignment formulation. The second part concentrates in more detail on collaboration with actors and explores the circumstances in which a free creative process can be established, the border between the actor's creation and the director's direction of the actor. The third part addresses the interaction between three theatre professions, namely the director, the dramaturgist and the set designer.

This paper analyzes the potentialities of interactive sound design - especially in computer games. It follows the bachelor thesis "Sound Design in Computer Games", which was aimed at the technical aspects of the process. The goal of this paper is to analyze new approaches and possibilities that come with interactive sound design, as well as the impact of these possibilities on viewers or players.

This study is trying to explore new american tv shows, that are smarter and more intelligent than traditional tv formats. In case of particular show it focuses sound design and its dramaturgy.

Les opéras de Benjamin Britten témoignent de l’engagement de leur auteur pour le renouveau de la scène et de la dramaturgie au XXe siècle. Par son travail avec l’avant-garde théâtrale (musique de scène, drame radiophonique, musique pour films documentaires), Britten a su se nourrir des innovations marquantes du début du siècle, se révélant alors un formidable passeur des théories et esthétiques dramatiques de cette période. Si ses oeuvres lyriques sont le lieu où cet apprentissage est mis en pratique, elles proposent et expérimentent également de nouvelles dramaturgies scéniques. La dramaturgie brittenienne n’a pas laissé le public indifférent : vivement appréciée des grands metteurs en scène européens, elle bouscula les Français dans leurs habitudes et leurs a priori face à la musique anglaise. / Benjamin Britten’s operas are witness to their author's commitment to a renewal of the stage and dramaturgy in the 20th century. Through working with the theatrical avant-garde (stage music, radio dramas, music for documentary films), Britten knew how to take advantage of the outstanding innovations of the beginning of the century, becoming a wonderful conduit of the theories and dramatic aesthetics of that period. While he put this apprenticeship into practice in his lyric works, these works also suggest and experiment with new scenic dramatic arts. Britten's dramaturgy did not leave the public indifferent; keenly appreciated by the great European theatre directors, it jostled the French out of their habits and their prejudices against English music.

This thesis deals with dramaturgy of devised theatre. In the first part we provide an analysis of selected performances of Anicka a letadylko theatre with intention to describe specific ways of participation of dramaturgy as creative, conceptual and reflective activity on the performance formation process and the direction of the theater as a whole. The second part deals with dramaturgy of devised theatre in the sense of a method of use and organization of theatrical signs. The aim of this part is a definition of theoretical grounds of devised theatre in a such a way to open space a wide range of creative dramaturgies of devised theater.