Papers by Lukas Brychta
AntropoWebzin, č. 3–4, s. 133–139, 2017
Text in czech
The paper deals with ethically problematic situations in larps. At first, the auth... more Text in czech
The paper deals with ethically problematic situations in larps. At first, the author describes larp as an artistic medium through comparison with other kinds of artistic media. The measure of mediation in different media is analyzed in order to ascertain how immediate the recipient's contact with the piece of art is. Due to its material conditions, ie. participants' bodies, larp is defined as a medium with strong immediacy. This is taken as a reason why recipients of this artistic medium are directly affected by ethically problematic situations.
Kunderová, Radka (ed.). Papers for International Conference of Doctoral Studies in Theatre Practice and Theory: Current Challenges in Doctoral Theatre Research. Brno: JAMU, s. 77–83, 2017
I would like to discuss the concept of an active spectator in the light of theatre semiotics and ... more I would like to discuss the concept of an active spectator in the light of theatre semiotics and comparative game theory; what are its opportunities but also its danger. As a case study, I am going to use with a reference story based on my own spectator experience of SIGNA's performance Ventestedet (The Waiting room) which will support my consequent claims about the topic.
Klíma, Miloslav a kol. Divadlo a interakce IX. Praha: Pražská scéna, s. 53–74, 2015
Text in czech
In Miloslav Klíma a kol. Divadlo a interakce IX. Praha: Pražská scéna, s. 53–74.
Zvěřina, Petr (ed.). Teritoria umění: Studentská vědecká konference AMU 2014. Praha: NAMU, s. 76–101, 2015
Text in czech with english abstract.
The essay examines different forms of attention paid to imm... more 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.
Klíma, Miloslav a kol. Divadlo a interakce VIII a ½ – Modré stránky. Praha: Pražská scéna, s. 49–80, 2014
Text in czech
Thesis by Lukas Brychta
Master Thesis - only in czech Magisterská práce
The aim of this thesis is to present the specifi... more Master Thesis - only in czech Magisterská práce
The aim of this thesis is to present the specific theatricality of immersive theatre with use my own performance Pomezí as an example. Firstly, immersive theatre is situated in the context of the 20th century theatre development and it is named its origin in digital culture. Subsequently, it is tracked the dynamics of the triad author – work – recipient primarily using the theoretical apparatus of Umberto Eco and this analysis is used to identify specific moments in actor – audience interactions. The last part presents in more detail the development of Pomezí and selected moments from it as well as it describes the amplified theatricality on concrete examples.
Bachelor Thesis - only in czech Bakalářská práce
The aim of this thesis is to present features a... more Bachelor Thesis - only in czech Bakalářská práce
The aim of this thesis is to present features and methods of immersive theatre. The first chapter introduces the term itself, the discussion about its use and my opinion on it. I also outline my own research of this kind of theatre and support it with foreign examples. In the second chapter I describe my artwork in the field of immersive theatre with emphasis on the performance Letec – l'Aviateur. I reflect the dramaturgical preparation, the rehearsal period and the specificity of acting in this kind of theatre. Finally, I focus on dramaturgy of the space and specific features of scenographic work.
Master Thesis - only in czech
Magisterská práce
The aim of this thesis is to offer an applicati... more Master Thesis - only in czech
Magisterská práce
The aim of this thesis is to offer an application of the concept of pervasivity on the field of live art. The first chapter introduces the concept as it was defined in the field of game studies, mainly by scholars of Tampere school. To fill this aim it makes use of terminology coming chiefly from social sciences. The second chapter describes the relationship between game and theatre including their common as well as dissimilar features and then adapts the pervasivity concept for the theatre field. The third chapter brings possible applications of the concept by presenting three examples of a piece's confrontation of everydayness: through accentation, fabrication and construction. The conclusion sums up possible pervasive moments in the examined pieces of art.
Bachelor Thesis - only in czech
Bakalářská práce
The thesis aims to name the constitutive featu... more 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.
Conferences by Lukas Brychta
Analýza interakcí v divadle pro jednoho diváka za pomoci smíšených kvalitativně kvantitativních m... more Analýza interakcí v divadle pro jednoho diváka za pomoci smíšených kvalitativně kvantitativních metod
Příspěvek představí první fázi výzkumu diváckého komponentu v interaktivním divadle, respektive v jeho specifické podobě tzv. one-on-one neboli divadla pro jednoho diváka. Výzkum kombinuje kvalitativní aspekt hloubkových rozhovorů s diváky i tvůrci představení zpracované metodou tématické analýzy s analýzou interakcí v rámci představení, které vycházejí z video záznamů jednotlivých uvedení a jejich interpretace za pomoci síťové analýzy. Výzkum se v této fázi zaměřil
na inscenaci Veduty, jejíž jednotlivá uvedení analyzuje za pomoci výše zmíněných metod. Příspěvek představí nejen užité metody a první závěry, ale i zkušenosti výzkumného týmu s užitím těchto postupů v kontextu divadla jednoho diváka a zhodnotí další možné využití při výzkumu diváctví v divadle.
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Papers by Lukas Brychta
The paper deals with ethically problematic situations in larps. At first, the author describes larp as an artistic medium through comparison with other kinds of artistic media. The measure of mediation in different media is analyzed in order to ascertain how immediate the recipient's contact with the piece of art is. Due to its material conditions, ie. participants' bodies, larp is defined as a medium with strong immediacy. This is taken as a reason why recipients of this artistic medium are directly affected by ethically problematic situations.
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.
Thesis by Lukas Brychta
The aim of this thesis is to present the specific theatricality of immersive theatre with use my own performance Pomezí as an example. Firstly, immersive theatre is situated in the context of the 20th century theatre development and it is named its origin in digital culture. Subsequently, it is tracked the dynamics of the triad author – work – recipient primarily using the theoretical apparatus of Umberto Eco and this analysis is used to identify specific moments in actor – audience interactions. The last part presents in more detail the development of Pomezí and selected moments from it as well as it describes the amplified theatricality on concrete examples.
The aim of this thesis is to present features and methods of immersive theatre. The first chapter introduces the term itself, the discussion about its use and my opinion on it. I also outline my own research of this kind of theatre and support it with foreign examples. In the second chapter I describe my artwork in the field of immersive theatre with emphasis on the performance Letec – l'Aviateur. I reflect the dramaturgical preparation, the rehearsal period and the specificity of acting in this kind of theatre. Finally, I focus on dramaturgy of the space and specific features of scenographic work.
Magisterská práce
The aim of this thesis is to offer an application of the concept of pervasivity on the field of live art. The first chapter introduces the concept as it was defined in the field of game studies, mainly by scholars of Tampere school. To fill this aim it makes use of terminology coming chiefly from social sciences. The second chapter describes the relationship between game and theatre including their common as well as dissimilar features and then adapts the pervasivity concept for the theatre field. The third chapter brings possible applications of the concept by presenting three examples of a piece's confrontation of everydayness: through accentation, fabrication and construction. The conclusion sums up possible pervasive moments in the examined pieces of art.
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.
Conferences by Lukas Brychta
Příspěvek představí první fázi výzkumu diváckého komponentu v interaktivním divadle, respektive v jeho specifické podobě tzv. one-on-one neboli divadla pro jednoho diváka. Výzkum kombinuje kvalitativní aspekt hloubkových rozhovorů s diváky i tvůrci představení zpracované metodou tématické analýzy s analýzou interakcí v rámci představení, které vycházejí z video záznamů jednotlivých uvedení a jejich interpretace za pomoci síťové analýzy. Výzkum se v této fázi zaměřil
na inscenaci Veduty, jejíž jednotlivá uvedení analyzuje za pomoci výše zmíněných metod. Příspěvek představí nejen užité metody a první závěry, ale i zkušenosti výzkumného týmu s užitím těchto postupů v kontextu divadla jednoho diváka a zhodnotí další možné využití při výzkumu diváctví v divadle.
The paper deals with ethically problematic situations in larps. At first, the author describes larp as an artistic medium through comparison with other kinds of artistic media. The measure of mediation in different media is analyzed in order to ascertain how immediate the recipient's contact with the piece of art is. Due to its material conditions, ie. participants' bodies, larp is defined as a medium with strong immediacy. This is taken as a reason why recipients of this artistic medium are directly affected by ethically problematic situations.
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.
The aim of this thesis is to present the specific theatricality of immersive theatre with use my own performance Pomezí as an example. Firstly, immersive theatre is situated in the context of the 20th century theatre development and it is named its origin in digital culture. Subsequently, it is tracked the dynamics of the triad author – work – recipient primarily using the theoretical apparatus of Umberto Eco and this analysis is used to identify specific moments in actor – audience interactions. The last part presents in more detail the development of Pomezí and selected moments from it as well as it describes the amplified theatricality on concrete examples.
The aim of this thesis is to present features and methods of immersive theatre. The first chapter introduces the term itself, the discussion about its use and my opinion on it. I also outline my own research of this kind of theatre and support it with foreign examples. In the second chapter I describe my artwork in the field of immersive theatre with emphasis on the performance Letec – l'Aviateur. I reflect the dramaturgical preparation, the rehearsal period and the specificity of acting in this kind of theatre. Finally, I focus on dramaturgy of the space and specific features of scenographic work.
Magisterská práce
The aim of this thesis is to offer an application of the concept of pervasivity on the field of live art. The first chapter introduces the concept as it was defined in the field of game studies, mainly by scholars of Tampere school. To fill this aim it makes use of terminology coming chiefly from social sciences. The second chapter describes the relationship between game and theatre including their common as well as dissimilar features and then adapts the pervasivity concept for the theatre field. The third chapter brings possible applications of the concept by presenting three examples of a piece's confrontation of everydayness: through accentation, fabrication and construction. The conclusion sums up possible pervasive moments in the examined pieces of art.
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.
Příspěvek představí první fázi výzkumu diváckého komponentu v interaktivním divadle, respektive v jeho specifické podobě tzv. one-on-one neboli divadla pro jednoho diváka. Výzkum kombinuje kvalitativní aspekt hloubkových rozhovorů s diváky i tvůrci představení zpracované metodou tématické analýzy s analýzou interakcí v rámci představení, které vycházejí z video záznamů jednotlivých uvedení a jejich interpretace za pomoci síťové analýzy. Výzkum se v této fázi zaměřil
na inscenaci Veduty, jejíž jednotlivá uvedení analyzuje za pomoci výše zmíněných metod. Příspěvek představí nejen užité metody a první závěry, ale i zkušenosti výzkumného týmu s užitím těchto postupů v kontextu divadla jednoho diváka a zhodnotí další možné využití při výzkumu diváctví v divadle.