The subject of my master´s thesis is focused on the evolution of the concept of ballet-pantomime in the Europe of the Enlightenment, that is in the second half of the 18th century. Ballet-pantomime was a new genre in the art of ballet, which was treated in theory and afterwards brought into practice in this historical epoque. After the outline of political and cultural context of the Enlightenment period, analysis of the most important theoretical texts and reflexions compiled by important cultural personalities follows. The next part of the thesis treats different dance styles and the state of ballet in the most important European cities where the genre of ballet-pantomime was introduces into practice.

The aim of the thesis is to survey the connections among basic concepts like symbol, archetype, story in connection with their use in physical theatre. The symbol itself is more visual than verbal and therefore it works as one of the basic elements of the physical theater production. By defining common definitions seen in the wider context associated with the concepts of physical theater – whether it's mimésis, sign, symbol or archetype – the thesis aims towards the essence of the nonverbal dramatic works, namely the plot and the story. I link overall conclusions of researched terms and practical production concept on example of project Uroboros by Barbora Debnárová.

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The work examines Czech ? French relations and its impact on modern Czech pantomime after 1945 in three respects. The aim of this work was to create an overview mapping French contacts with leading figures of modern Czech pantomime. The first section is concerned with historical perspectives. Based on the direct testimony of participants, research, and the discovery of yet unpublished archive material, I introduce new facts and verify the historical context during the renewal of interest in pantomime art in Czechoslovakia after 1945. While I was guided by historical events in interpreting this considerable body of material, I endeavored to record and develop the most significant events in broader and deeper contexts. The second aspect of my research focuses on a comparison of individual French mime techniques which have been and continue to be used here. I then attempt to compare these with my own method. I particularly understand them from a practical point of view, as I have learned and mastered these approaches and even adopted some for my own performing and teaching. In the third section, I assess the influence of French mime art on my artistic activity with respect to my teaching practice and own artistic work. This was most evident in the creation of Mesdames & Messieurs, Deburau!, where I played the main character, and while directing the opera Theater Beyond the Gate by B. Martinů.

Master´s thesis solving art of polish mime, director and theatremaker Henryk Tomaszewski

This magister thesis is about the task of contemporary performer in mime theater. The thesis deals with a question of authorship and physical being of the performer on the stage. The thesis is based on analysis of graduation performence of Jindřiška Křivánková titled The hunters and on the basis of this analysis entitle principals of authorial theater and contemporary acting.

Esta tese é a organização de uma prática de 15 anos de pesquisa. Ela trata de procedimentos aplicados em ensaios na fase final de montagem de um espetáculo, a fim de que o ator fique mais consciente de suas ações, e conseqüentemente possa atuar de forma mais precisa e segura. Nomes como Evreinov, Meyerhold, Étienne Decroux, Tomaszewski e Dario Fo, mestres cujo pensamento da prática teatral nortearam a postura como ator e pesquisador do autor desta tese, constituem o arcabouço teórico da abordagem prática aqui apresentada. Tais procedimentos são reforçados por relatos de profissionais de renome que vivenciaram a experiência dessa prática teatral e puderam observar resultados satisfatórios. Esta tese demonstra, ainda, a praxis teatral do autor durante o processo de montagem do espetáculo teatral Fala Ou Não Fala?, desde os ensaios para criação do texto; concepção do cenário, figurino, sonoplastia, até a conclusão do espetáculo. A descrição dos procedimentos propostos e o resultado de sua aplicação em algumas cenas são apresentados através de documentação em vídeo da montagem teatral O Pedestre, com a finalidade de comprovar e demonstrar a possibilidade de transmissão dessa forma de pensar e fazer teatro. A tese é enriquecida, ainda, com relatos dos artistas participantes desta pesquisa, dados complementares das montagens teatrais e um vídeo do espetáculo teatral Fala Ou Não Fala? / This thesis is the organization of a practice of 15 years of research. It deals with procedures applied to rehearsals at the final steps of a show establishment, so that the actor can be more conscious of his actions and consequently can act more precisely and securely. The thoughts of such authors as Evreinov, Meyerhold, Étienne Decroux, Tomaszewski and Dario Fo are the main stream the author of this thesis follows as an actor and researcher and also constitute the theoretical basis for the practical approach presented here. Such procedures are reinforced by testimonies given by notable professionals that have experienced such theater practice and could notice satisfactory results. This thesis also shows the authors theater practice during the development of the show Fala ou não fala?, from early rehearsals to create the text, conceive the set, costume design, sound effects to the conclusion of the show. The description of the proposed procedures and the result of their application in some scenes have been documented in the recorded video of the theater production called O Pedestre, which main objective is to prove and to demonstrate the possibilities of this way of thinking and doing theater. Still, the thesis is enriched with the reports of the actors that took part in this research, more data about the theater productions and a video of the show Fala ou não Fala?.

This master thesis highlights one way of specifying a relationship of topic and content in the present mimical theatre. Most importantly it deals with finding, creating and functioning of body expression form. It comes from an analysis of graduation (master) performance Uroboros and on the basis of the analysis it names some of principles, with which the actual movement theatre works-

Esta tese é a organização de uma prática de 15 anos de pesquisa. Ela trata de procedimentos aplicados em ensaios na fase final de montagem de um espetáculo, a fim de que o ator fique mais consciente de suas ações, e conseqüentemente possa atuar de forma mais precisa e segura. Nomes como Evreinov, Meyerhold, Étienne Decroux, Tomaszewski e Dario Fo, mestres cujo pensamento da prática teatral nortearam a postura como ator e pesquisador do autor desta tese, constituem o arcabouço teórico da abordagem prática aqui apresentada. Tais procedimentos são reforçados por relatos de profissionais de renome que vivenciaram a experiência dessa prática teatral e puderam observar resultados satisfatórios. Esta tese demonstra, ainda, a praxis teatral do autor durante o processo de montagem do espetáculo teatral Fala Ou Não Fala?, desde os ensaios para criação do texto; concepção do cenário, figurino, sonoplastia, até a conclusão do espetáculo. A descrição dos procedimentos propostos e o resultado de sua aplicação em algumas cenas são apresentados através de documentação em vídeo da montagem teatral O Pedestre, com a finalidade de comprovar e demonstrar a possibilidade de transmissão dessa forma de pensar e fazer teatro. A tese é enriquecida, ainda, com relatos dos artistas participantes desta pesquisa, dados complementares das montagens teatrais e um vídeo do espetáculo teatral Fala Ou Não Fala? / This thesis is the organization of a practice of 15 years of research. It deals with procedures applied to rehearsals at the final steps of a show establishment, so that the actor can be more conscious of his actions and consequently can act more precisely and securely. The thoughts of such authors as Evreinov, Meyerhold, Étienne Decroux, Tomaszewski and Dario Fo are the main stream the author of this thesis follows as an actor and researcher and also constitute the theoretical basis for the practical approach presented here. Such procedures are reinforced by testimonies given by notable professionals that have experienced such theater practice and could notice satisfactory results. This thesis also shows the authors theater practice during the development of the show Fala ou não fala?, from early rehearsals to create the text, conceive the set, costume design, sound effects to the conclusion of the show. The description of the proposed procedures and the result of their application in some scenes have been documented in the recorded video of the theater production called O Pedestre, which main objective is to prove and to demonstrate the possibilities of this way of thinking and doing theater. Still, the thesis is enriched with the reports of the actors that took part in this research, more data about the theater productions and a video of the show Fala ou não Fala?.

No description available.