Specifics of the Puppet Theatre 1

Tutor:

Karel MAKONJ

Synopsis:

Illusion in puppet theatre and the entrance of the revealed actor onto the puppet stage.

Application of Eisenstein?s montage to the puppet theatre and an analysis of the concept of a stage figure by J. Císař. Semantics of the material

Prerequisites:

1. Creativity.

2. Capacity for analysis and synthesis.

3. Capacity for reflection and deduction.

4. General knowledge theatre history and the history of puppet theatre.

5. General knowledge of aesthetics, philosophy and theatrology.

Study Objectives:

1. Deeper understanding of the specifics of puppet theatre in its multiplicity.

2. Looking at puppet theatre?s development alongside other artistic directions and movements.

3. The student?s approach to current puppet drama and drama incorporating puppets; the contemporary production possibilities of these plays.

4. Attempt to broaden the student?s interest to include puppet theatre in figurative and non-figurative theatre.

5. Inspiration for acting studies.

Outline and Syllabus:

1. Historical review of puppet theatre types in the past, epic narrative theatre, divided interpretation, theatre of illusion and reproduction.

2. Technological possibilities and the specifics of individual puppet types.

3. The puppet as a ritual and aesthetic object.

4. The person among the objects.

5. Relationship between the actor and the object.

6. Romanticism, Symbolism and puppet theatre.

7. The theatre avant-garde and puppet theatre.

8. Bauhaus and puppet theatre.

9. The puppetry dramatist and plays dedicated to puppets.

10.Grotesque and puppet theatre.

11.Contemporary trends in puppet theatre.

Syllabus (expanding the summary - max. 3000 symbols):

Throughout its history puppet theatre has gone through various waves of interest in its existence. Not all ot these can be attributed only to whether it found itself fashionable or ignored by this or that period. These waves of popularity teach us something about the specifics of puppet theatre and help us to trace many of the puppet?s secrets and its ability metaphorically to reflect man?s situation in the world. By finding how much puppet theatre?s position corresponds to an era?s mentality we learn a lot not only about puppet theatre but also about the time itself. There have been many such periods of great interest in puppet theatre in European history and these could be a source of welcome inspiration for us. For this reason we shouldn?t view the puppetry dramatist merely through the prism of how many of these places are performed on the puppet stage, but should instead broaden our attention to include plays that are dedicated to puppets but which are never or only sporadically realised.

Couldn?t this subject could also aim to find the production keys for rusty locks? Individual creativity derives from instruction and learning to create a deeper knowledge of the subject.

Study materials:

Cervantes: Don Quijote

Rabelais: Gargantua a Pantagruel

M.M.Bachtin: Francois Rabelais a lidová kultura středověku a renesance

Alfred Jarry: Král Ubu (sborník)

Miloslav Klíma: Jan Grossman

František Deák: Symbolistické divadlo

Henryk Jurkowski: Loutka na přelomu tisíciletí

Magie loutky

Dějiny loutkového divadla

Charles Magnin: Dějiny loutkového divadla v Evropě

Bonaventura: Noční vigilie

Bruno Schulz: Republika snů

Jan Hyvnar: Herec v moderním divadle

Jindřich Honzl: Základy a praxe moderního divadla

Smysl nebo nesmysl (sborník)

Rio Presiner: Když myslím na Evropu

Václav Havel: Anatomie gagu

František Sokol: Svět loutkového divadla

Henryk Jurkowski: Magie loutky

Jan Císař: Teorie herectví loutkového divadla

S.M.Ejzenštejn: Kamerou, tužkou a perem

Jan Mukařovský: Studie z estetiky

Jiří Veltruský: Příspěvky k teorii divadla

Miroslav Česal: Živý herec na loutkovém divadle

Rio Presiner: J.N. Nestroy

Paul Pörtner: Experimentální divadlo

E. G. Craig: Herec a nadloutka

Miloslav Klíma - Karel Makonj a kol.: Josef Krofta - inscenační dílo

Mircea Eliade: Mefisto a androgyn

Časopisy Divadlo, Čs. Loutkář, Loutkář, Disk

Note:

Schedule for winter semester 2009/2010:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
Fri
Thu	místnost R208 Kancelář (Karlova 26, Praha 1) MAKONJ K. 11:30–13:00 (paralelka 1)
Fri

Schedule for summer semester 2009/2010:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Doporučený bakalářský režie a dramaturgie ALD (compulsory subject)