Theatre "Minor" From The Year 1989 Up To Present (Changes In a Staging Style) This thesis concerns itself with the Minor Theatre after the year 1989, namely with changes in a staging style of this prague platform that focuses mainly on a production for the child audience. In the production of the theatres principal directors (Karel Makonj, Jan Jirků, David Drábek, Jiří Adámek) we can observe distinctive courses of staging methods, that shape the Minor's character. The primary aim of this thesis is to attempt to reflect these staging courses and demonstrate them using profile plays. An excursus into the history of the Minor Theatre precedes these analyses to define its character. Biographies of the said directors are also included in the thesis, as well as the list of theatre's plays form 1990 (with the dates of premieres) and photographic material ilustrating the theatricals analysed here.

This thesis concerns itself with the Minor Theatre after the year 1989, namely with changes in a staging style of this prague platform that focuses mainly on a production for the child audience. In the production of the theatres principal directors (Karel Makonj, Jan Jirků, David Drábek, Jiří Adámek) we can observe distinctive courses of staging methods, that shape the Minor's character. The primary aim of this thesis is to attempt to reflect these staging courses and demonstrate them using profile plays. An excursus into the history of the Minor Theatre precedes these analyses to define its character. Biographies of the said directors are also included in the thesis, as well as the list of theatre's plays form 1990 (with the dates of premieres) and photographic material ilustrating the theatricals analysed here.

Made available in DSpace on 2016-12-08T16:51:58Z (GMT). No. of bitstreams: 1 ROBERTO.pdf: 518630 bytes, checksum: fbfef8edee4d11a7fc02ede4ec399772 (MD5) Previous issue date: 2013-03-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research discusses the relashionship between body and objects in the Puppet Theatre. To think about these direct and tactile relashionships whith materials and objects, is to think about the act of animation. This act is more than simulation of life in one inanimated object, animation is also transformation. Body and object have their physical and metaphorical caracteristics changed when are in contact. The present research is about these changes and how they can happen. One question of this research is about how body and others materials works in tactile contact. The current research is based in texts where the proximity between body, objects, materials and space creates contact images. This contact, reveals qualities perceived only by touch, creating one space of tactile interactions between human body and other external materials. The concepts that are discussed in this text, emerges from this moment: the moment of interaction between body and object / A presente pesquisa tem como objetivo levantar questionamentos sobre as relações entre corpo e objeto no Teatro de Animação. Pensar nessa relação direta, tátil com os materiais, é pensar também que tal relação não se limita apenas ao ato de simular vida em um objeto inanimado. Corpo e objeto têm suas características físicas e metafóricas reelaboradas quando estão em contato e é refletindo sobre tais alterações e mudanças, que esta pesquisa se desdobra. Como o corpo e o objeto se modificam nesse diálogo tátil, é uma das questões presentes. Os questionamentos levantados sobre como corpo e objeto atuam na transformação um do outro, nessa pesquisa, se dão a partir de reflexões sobre textos que suscitam imagens onde o contato entre corpos, objetos, materiais e espaço é a matriz das relações. O contato entre corpo e objeto revela qualidades que a distância não podem ser percebidas e é desse momento, desse espaço de interações táteis entre corpo humano e outros materiais considerados externos, que emergem os conceitos discutidos

Puppeteer, World's Oldest Periodical Focused on Puppetry (1912-2009) Diploma Thesis Eva Pivodová Abstract This thesis focuses on the history of the magazine Czech Puppeteer (Český loutkář), or Puppeteer (Loutkář), the world's oldest continuously published periodical of its kind. The first 3 chapters describe in detail the magazine's transformations between 1912- 1950, its further existence is described more briefly in the final chapter. The resource material consisting primarily of the published issues of the magazine served as the basis for historical analysis. The text also puts the history of the magazine into context with the development of puppetry and it includes references to relevant theatrical literature. The magazine was founded by Jindřich Veselý in 1912 in Prague. In the first period of its existence (1912-1913), it helped to integrate the Czech puppetry community and it emphasized the values of genuine Czech puppet theatre. After 1917, Puppeteer (Loutkář) continued to publish both theoretical and practical articles. In 1940, it was replaced by Puppet Theatre (Loutková scéna). But Puppet Theatre was soon cancelled as well and so the only periodical focused on puppetry published during war was a simple cyclostyled bulletin. After the war, the renewed Puppet Theatre had to adapt to the new...

This thesis deals with the acting, directing and authorial personality of Vitezslav Marcik. The text was based on researches in regional and national press and sorting by that time disarranged Marcik?s archive. An important source of information was the website of Teatr Viti Marcika and also personal recollections of family and colleagues. The main part of the work is clear, chronological account of Marcik?s career in 20 chapters, in which we watch changes of the theatre´s action radius in the course of years and how its repertoire and dramaturgy developed.

The subject of this thesis is Slovak mime theatre. It begins with the connections to the period of its foundation and introduces topic about founder of Slovak mime theatre - Milan Sládek. The next part of the thesis focuses on Slovak amateur theatre artists and their work at the time when professional mime theatre didn't exist in Slovakia. These artists used to experiment with different kinds of theatre technics, including mime theatre. Last part is based on analysis work and performances of the modern authors - Miroslav Kasprzyk, Štefan Capko, Juraj Benčík, Tomáš Kasprzyk, Valéria Daňhová, Barbora Debnárová, Pavol Seriš and modern theatre companies - Puppet Thetare Žilina, Debris Company, Teatro Tatro and Theatre Silent Sparks. It describes how the character of Slovak mime theatre has changed within more than fifty years of existence.

The Abstract This diploma thesis discusses three lawsuits at the period of normalization, when participants were sued and later sentenced for provocation and denigration of the Czechoslovak Socialistic Republic and its representatives during their theatre activity or improvisation with theatrical elements. The first from three lawsuits had been taking place during 1971 and 1972 in Ostrava. There was a parody of the novel called Son polka by Valentin Katajev put on stage in the Waterloo Theatre in 1969. The production was banned after several repetitions. Some participants were involved in producing the Tramp magazine which was unwanted and watched by the state authority. There was and editorial board organized by this magazine like a tramp party where besides other songs Son polka's songs were sung. Shortly after those events the members from the Waterloo Theatre: Petr Podhrázký, Ivan Binar, Josef Frais, Petr Ullmann, Edvard Schiffauer a Tomáš Sláma were arrested and sentenced to jail. The second case took place in Kroměříž in 1974. A group of friends led by an amateur puppeteer Emil Hauptmann had staged an improvised presentation during the Hostýn pilgrimage. Playing the puppets Emil Hauptmann committed lots of utterances which were considered as provocations according to an actual penal code and that is...