Alternative and Puppet Theatre (N0215A310005)

Programme objectives

The goal of the programme is to develop versatile, creative personalities capable of asserting themselves artistically in the area of alternative theatre – understood as all artistic currents not based on the traditional dramatic understanding of theatre, i.e. on interpreting a dramatic text. This area of theatre includes puppet (object) theatre – on whose specific Czech tradition the department was originally established – but also a broad spectrum of other currents, such as intermedial, documentary, immersive, improvisational and participatory theatre, as well as theatre in specific groups, non-traditional spaces, etc.

The Master’s programme in Alternative and Puppet Theatre is based on a creative symbiosis of theory and practice. The practical part is built on the student’s own project work in consultation with pedagogues as well as with other Master’s programme students. The theoretical part is based on in-depth study of reform theatre trends and how they relate to the current progressive elements on the theatre scene. This assumes that students will develop distinctive critical thinking skills based not only on thorough knowledge of the history of theatre, but also and above all on the ability to perceive connections with other areas of knowledge (find arts, music, cinematography, philosophy, aesthetics and other fields).

The objective is to develop not only the non-interpretive and post-dramatic tendencies of the 20th century or the participatory techniques of the 21st century, but mainly to create a living theatrical language, which transforms theatre as a medium into a necessary communicative tool for society here and now. What is going on here is not an artist who tries something out and a spectator who receives it; rather, it is a society continuously seeking out for itself the meaning and purpose of theatre. Alternativeness must therefore be understood in its proceduralism, decentralisation of constituents, non-hierarchisation of vocations, parallelism of components, rhizomatic thinking, social crossover, societal meaning, etc.

The programme assumes a sense for collective creation and for the ever-intermediating and interactive nature of theatrical synthesis. Graduates of the Master’s programme in Alternative and Puppet Theatre are versatile creative personalities capable of integrating distinctive theatrical thinking, creating concepts and applying performative skills, in a broader societal context.

Profile of a programme graduate

Graduates of the Master’s programme in Alternative and Puppet Theatre are capable of completely independent, innovative authored theatrical work, can handle the practical questions of execution, and understand the societal impact of their efforts. They have mastered all stage components and can orchestrate them in theatrical synthesis, but are fully aware that this is merely a tool of communication, which constitutes the primary purpose of the work. Graduates are capable of assembling a fully functional creative team, in which each member – using his or her own specific skills – becomes a co-creator of the milieu from which a new theatrical language will emerge. Graduates are well-oriented not only in progressive alternative currents with knowledge of historical connotations, but also in the overall sociocultural discourse of their time, from which they draw inspiration for their creative activity. They understand theatrical creation not only as a means of authorial expression, but also as a necessary reflection of society, as a comprehensive manner of contemplation and as a form of dialogue in both the aesthetic and ethical sense.

Expert knowledge:

• They are well-oriented in contemporary theatre, able to situate individual tendencies into broader societal and philosophical contexts, and can formulate their own position on a given issue.
• They are familiar with the scholarly literature in the area of their programme’s focus.
• They possess advanced knowledge in the area of applied theory and contemporary dramaturgy (theatricality, narration, conception, plasticity, communication, interaction, drama and post-drama, authenticity, post-humanism, identity, etc.).
• They have an overview of the creative methods available in the field, and they know contemporary tendencies and approaches to the material, topic and recipients.
• They have basic knowledge of how to structure a scholarly text.
• They have mastered the principles and methods of artistic research.

Expert skills:

• They are able to select appropriate staging and performance approaches in order to execute their own artistic conception.
• They are able to formulate a topic, apply the methods of artistic research, collect materials online and in the real world, create a structure and compositions, and master constructive and deconstructive techniques.
• They are capable of comprehensive critical thinking, where their accumulated theoretical knowledge is reflected when applied or tested in the empirical world of theatrical practice.
• Based on the laboratory approach (experimentation and its results), they creatively develop authorial approaches to executing a performance.
• They are able to work in a team to prepare and execute an artistic work.
• They are able to reflect in writing on their artistic work in the broader contexts of their own creative path and societal connotations.
• They are able to interpret and develop all knowledge of the field in the context of the basic principles of Western culture, with emphasis on critical developmental thinking.

General competencies:

• They are able to conduct a cultivated dialogue, i.e. not only to formulate dispassionate arguments while supporting their views with adequate examples, but also to listen.
• They are able to apply their creative approach and critical thinking skills not only in art but also in other areas of civic affairs.
• They are able to apply their skills in various cultural and artistic areas, as well as in academia.
• They possess the prerequisites – with a view to their individual specializations – to work independently in a pedagogical role or in theoretical research.
• They are able to situate their own practice into the international artistic context.

Rules and requirements for creating study plans

General information about admission process

In view of the ever-expanding field of performative arts and their practical application across society, the focus of applicants’ previous education is not restricted and no previous experience with theatre is required. The programme is intended for applicants who have completed a Bachelor’s programme of any type and who possess the prerequisites for artistic creation.

A requirement for admission is successful completion of an entrance examination and an assessment of the applicant’s talent prerequisites on the basis of submitted documents.

During the admissions proceeding, emphasis will be placed on:

• the applicant’s personal motivation
• previous creative, scholarly or scientific work
• ability to perform collective work

Applicability to other types of academic programmes

Parts of the state final examination and their contents

Other academic duties

Characterisation of professional practice

Anticipated job placement for graduates (typical employment)