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Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

No description available.

Mgr. Tomáš Vokáč Engaged Drama of Everyday Life (Socially Engaged French Drama of the late 19th and 20th Century) Abstract This thesis describes the fundamental ontological change in the character of the French drama of the 19th and 20th century which became the basis for the modern French drama of the 20th century. The thesis is based on the analysis of the selected plays with the focus on socially engaged and socio-critical themes. This thesis defines the basic line of development of the socially engaged drama that begins with the work of naturalistic writers Émile Zola and the Goncourt brothers, continues in the form of Henry Becque's playwrights and the authors grouped around Andre Antoine's Théâtre Libre, especially Jean Jullien and his theory of "live theatre", and results in the definition of Eugène Brieux's, François de Curel's and partly Octava Mirbeaua's drama. The opposite character of French theatre and drama at the turn of the 19th and 20th century is described as the counterpart to this line. The thesis provides comparison with the contemporary influences of commercial and subsidized theatres, refers to the symbolist theatre and to the work of late Parnassians. It also closely describes Neo- Romanticism Drama in verse represented by the works of Edmond Rostand, Jean Richepina and, partially,...