Theory and Criticism

The author analyses multiple and sometimes contradictory hierarchical structures in the collaborative project Together produced by Eastern and Western companies during the Cold War in 1983. It was premiered as a part of the international theatre festival Fools 4 in Copenhagen, Denmark, by Divadlo na provázku (Theatre on the String) from Czechoslovakia, Teatr 77 (Theatre 77) from Poland, Teaterværkstedet Den Blå Hest (Blue Horse Theatre) from Denmark and Cardiff Laboratory Theatre from Wales. The paper also discusses a question of theatre's potential to resist political stratification by performing it.

Almost every generation brings a " new theatre " , but few want to reform theatre as radically as Lucia Repašská and her actors at the D'EPOG Theatre of Brno. The young Slovak director aspires to a third reform of the theatre. While the first one liberated the director and the second the actor, Repašská wants to liberate the spectator through experiments with space, with the actors' performances or by a fabricated superimposing of meanings and actions.

Studie zkoumá koncept lidovosti v myšlení divadelního režiséra a teoretika Jindřicha Honzla (1894-1953). Prostřednictvím analýzy jeho studií a článků autorka pojmenovává proměny pojetí lidovosti v Honzlově uvažování během jeho divadelní kariéry a zasazuje je do divadelně-historického a politického kontextu. Na základě diskuse s dosavadní českou divadelně-historiografickou literaturou o Honzlovi, jejíž většina byla publikována před rokem 1989, přináší studie poznatky a souvislosti, které byly dosud-nezřídka z ideologických důvodů-opomíjeny. Autorka se podrobně zabývá Honzlovými inspiračními zdroji na počátku jeho divadelní činnosti v období tzv. proletářského divadla, zejména ukotvením Honzlova myšlení v sociálně-demokratické ideologii a jeho obeznámeností s porevolučním sovětským divadlem do roku 1925. Následně charakterizuje proměny Honzlova chápání lidovosti divadla v průběhu jeho poetistického a surrealistického období a po konci druhé světové války, kdy se přiklonil k socialistickému realismu.

You have been leading a team within the research project Affective Societies, which represents a unique structure of collaboration of scholars from ten disciplines in the humanities and social sciences, developed at the Freie Universität Berlin. Your team's research Emotion and Relationality in Forms of (Post-)Migrant Theater compares (post)-migrant theatres in Berlin and London and thus analyses very contemporary phenomena. Which advantages or, potentially, disadvantages of researching ongoing phenomena do you see? [MW] I believe it to be important that theatre studies express their view on the most urgent contemporary questions of the theatre. Of course, it brings with it some uncertainties when you write about developments that are still going on. But I think we must take these risks if we do not want to limit our discipline to theatre historiography. At

The chapter reveals the influence of the Prague Linguistic Circle's structuralist theories on the debate concerning Czech theatre's new social function in the early 1990s. Drawing on an analysis of writings on the post-1989 changes in Czech theatre authored by the theatre critic, scholar and dramaturg Václav Königsmark (1946–1996), the author identifies his structuralist premises, which resonated especially with the concept of the aesthetic function by Jan Mukařovský (1891–1975), the leading member of the Prague School.

Bachelor Thesis - only in czech

Bakalářská práce

The thesis aims to name the constitutive features of larps (live action role- playing games) and it is based on theatre theory and theory of games. The first chapter focuses on larp itself, sketches its historical background and shows few examples of larp. The second chapter describes some problems of basic aesthetic which will help us to understand some theoretical concepts later. The third chapter deals with the theory of games, tries to outline the specifics and and looks for similarities between a game and larp. The last chapter focuses on theatre theory, specifically touches upon theatre as artistic media. It also discusses questions of generally conceived performativity and looks for similar elements in theatre and larp. The conclusion is built from discovered facts and summarizes constitutive features of larps.

Text in czech with english abstract.

The essay examines different forms of attention paid to immersive theatre by its audience. Specific features of immersive form are addressed first, with particular emphasis on environment to equalize acting and interactive installation. Such a form is conducive to a playful engagement, itself necessary in order to properly perceive such performance. Further, the form is ergodic meaning the spectator must configure his own conception during the production.

The second part of the essay, based on the Peter Bøckman Three Way Model, distinguishes between three types of spectator interest possible during such performance: drama as interest in narrative and situation; game as the engagement of the spectator; and immersion as the wish to be submerged in the fictional world of the piece. The third part of the essay contains further elaboration, as per the J. Thuomas Harviainen Multi-Tier Model. It is possible to differentiate between three layers of engagement (Gordon Callejas' term): narrative, game, and environment. An audience member able to engage all three layers simultaneously is in the full immersion mode and engagement in any two of three layers is immersionist or semiimmersionist.