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Towards a Poetic theatre
No full textPoetsko kazalište je nedefiniran, pomalo gluhi prostor koji se dohvaća iz različitih teorijskih, pa i autoteorijskih smjerova. U ovom radu uspostavlja se relacija između poezije i kazališta, koristeći niz negativnih kategorija njemačkog teoretičara Huga Friedricha vezanih uz principe moderne lirike.
Međutim. poetski tekstovi ne garantiraju poetsko kazalište, niti kazalište uopće. Zato je bilo presudno odrediti ontološke karakteristike poetskog kazališta. Poetsko nije istovjetno lirskom i udaljava se od njega svojim zanimanjem za heideggerovsku otkrivenost bitka.
Međutim, poetsko kazalište uže je i od mimetičkog, dijegetičkog, epskog i ikonoklastičnog kazališta. Poetsko i epsko kazalište dijele začudnu dijalektiku. S dijegetičkim i ikonoklastičkim dijeli negaciju translacije mentalne slike u spacijalnost (tek je Leonardova slijepa slika). S mimetičkim vodi borbu na kontrapunktualnoj osnovi, a jukstapozicija scene i poetskog daje najbolje učinke. Za definiciju ontološke postavke poetskog kazališta moralo se približiti krucijalnoj materijalnosti scene i ne-koncilijantnosti kazališnog jezika.
Uz to poetsko kazalište mora uzimati u obzir artaudovsku kozmološku okrutnost i njen scenski pandan – neumoljivu preciznost
Anomalije i antinomije poetskog kazališta na kraju diplomskog rada predstavljaju se analizama jukstapozicija u izuzetnim predstavama Grotowskog, Brezovca i Ferlina.The poetic theatre is an undefined, almost deaf space, which is being found in different theoretical as well as autotheoretical schools of thought. This thesis establishes a relationship between poetry and theatre, using a series of negative categories developed by the German theorist Hugo Friedrich related to the principles of modern lyricism.
However, poetic texts are neither a guarantee of the poetic theatre, nor theatre in general. For that reason, it was important to determine the ontological characteristics of the poetic theatre. Poetic does not mean the same as lyrical and it distances even more from it through its interest in Heidegger’sopenness of being.
Nevertheless, the poetic theatre is more specific than the mimetic, diegetic, epic, and iconoclastic theatres. The dialectics of estrangement is common to both poetic and epic theatres. With diegetic and iconoclastic theatres, it shares a common negation of the translation of the mental image into spatiality (it is merely Leonardo’sblind painting). It battles the mimetic theatre on a contrapuntal basis, where the juxtaposition of the stage and poetics creates the best effect. To define the ontological postulate of the poetic theatre, it was necessary to get closer to the crucial materiality of the scene and the non-conciliation of the theatrical language.
Besides that, the poetic theatre ought to take into account Artaud’s cosmological cruelty and its stage counterpart – relentless precision.
Anomalies and antinomies of the poetic theatre are presented at the end of the paper through an analysis of juxtapositions of remarkable plays by Grotowski, Brezovec, and Ferlin
Developmental process of digital post-production of feature film
No full textOvaj rad nastoji anketiranjem kolorista sakupiti podatke o radnom postupku i načinima komunikacije između kolorista i redatelja te direktora fotografije u procesu kolor korekcije filma. Rezultate ankete usporedio sam s detaljno opisanim radnim postupcima i komunikacijom na temelju filmova “Stric“, redatelja Andrije Mardešića i Davida Kapca te filma “Sama“, redatelja Borne Zidarića.This thesis seeks to collect information about the work process and methods of communication between the colorist and the director and the director of photography in the process of color correction of the film by surveying colorists. I compared the results of the survey with the detailed work procedures and communication based on the films "The Uncle", directed by Andrija Mardešić and David Kapac, and the film "Alone", directed by Borna Zidarić
Acting and fear
No full textKako se suočiti sa strahom u glumi? Što učiniti kada nas strah preplavi? Kako ne odustati? Kako se suočiti sa svojim emocijama? Svoj diplomski rad odlučila sam posvetiti upravo tim temama. Pišem o svom iskustvu na Akademiji dramske umjetnosti, o svojim borbama, o svojim razmišljanjima. Retrogradno gledajući na svoje studiranje dolazim do odgovora za koje uopće nisam znala da se kriju u meni.How to face fear in acting? What to do when fear overwhelms us? How to not give up? How to face your own emotions? I decided to dedicate my diploma work to these very topics. I write about my experience at the Academy of Dramatic Art, about my struggles, about my thoughts. Reflecting on my studies, I come up with answers that I didn't even know were hiding in me
Delta Oscar Mike
No full textRad Delta Oscar Mike u formi fotografskog dnevnika reprezentira prostor broda iz pozicije
Drugog. Propitivanjem vlastitog obiteljskog nasljeđa, postavljam pitanje prožimanja
individualnih obiteljskih identiteta i tradicije pomorstva. Rad prikazuje dvomjesečnu plovidbu
teretnim brodom obalama Mediterana, Crnog mora te zapadne Afrike.
U pismenom dijelu rada Anti brodski dnevnik—Pogled Drugog bavim se pitanjem
reprezentacije mora i pomoraca, obiteljske fotografije, drugosti te ženskog pogleda u odnosu
na relevantne autore i teorijske pravce s ciljem kontekstualizacije praktičnog dijela
diplomskog rada u okviru teorije i povijesti fotografije
Melodramatic Imagination in Stage Performing Context
No full textU središtu interesa ovoga rada nalazi se ocrtavanje vlastitog dramaturškog principa koji će koristiti sentimentalnost kao mehanizam sublimacije scenskog materijala u izvedbeni krajobraz. Da bi se središnji interes rada i ostvario potrebno je bilo posegnuti za konceptom krajobrazne dramaturgije (eng. landscape dramaturgy) kao kontekstom unutar kojeg se u polju teorijske i praktične dramaturgije operira, a istovremeno i osloniti na koncepte i pojmove poput atmosfere, sublimnog i Stimmunga, ali i na analize izvedbenih primjera čiji dramaturški postupci predstavljaju primjere praktičnog operiranja s diskursom sentimentalnosti.The focus of this paper is to outline one's own dramaturgical principle that will use sentimentality as a mechanism of sublimation of stage material into the performance landscape. In order to achieve the central interest of the work, it was necessary to reach for the concept of landscape dramaturgy as a context within which to operate in the field of theoretical and practical dramaturgy, and at the same time rely on concepts and terms such as atmosphere, sublime and Stimmung, but also to analyzes of performance examples whose dramaturgical procedures represent examples of practical operation with a discourse of sentimentality
Acting in the moment
No full textU ovom diplomsku radu opisat će se proces stvaranja uloge i pokušati definirati i odrediti termin “gluma u trenutku” kao teza koja se bazira na vlastitom iskustvu. Također, pokušat će se utvrditi kako je improvizacija temeljna pokretačka snaga glumačkog zanata, odnosno glumčev alat koji unaprijeđuje uspješnost u izvršavanju osnovnog glumačkog zadatka na sceni i razvija spontanost.
Nastojat će se i dokazati kako je “gluma u trenutku” rezultat cjelokupnog glumačkog procesa: tehničke i normativne ličnosti glumca, njegove zaokupljenosti radnjom u danoj situaciji i okolnostima kao i usmjerenosti na partnera i publiku.This dissertation will describe the process od creating a role and try to define the term “acting in the moment” as a thesis based on my own experience. Also, this thesis will try to determine how improvisation is the basic driving force of the acting craft, or as an actor's tool that improves the success in performing the basic acting task on stage, and develops spontaneity. Also, the dissertation will try to prove that “acting in the moment” is the result of the entire acting process: the technical and normative personality of the actor, his preoccupation with the action in a given situation and circumstances, as well as focus on the partner and the audience
Gluma kao operacija ljubavi
No full textOvaj rad govori o svemu onom s čim sam se susrela od svojih prvih doticaja s glumom. Pišem o stvarima koje su me osvijestile i otvorile mi nove svjetove, kao i onima koje su me blokirale i s kojima sam vodila bitku. Pokušavam si odgovoriti na pitanja: ‘’Što je uistinu glumačka prisutnost?’’, ‘’Odakle potječe strah?’’, ‘’Tko sam ja publici i tko je ona meni?’’, ‘’Jesmo li sposobni za stvaranje katarzičnog kazališta?’’, ‘’Zašto su riječi nužno zlo?’’ i još mnoga druga. Analiziram što je potrebno da bi se izbjegla izvanjska gluma. Dotičući se pojedinih tema i pitanja, utvrđujem snažnu korelaciju između vlastitog odrastanja i formiranja te profesionalnog razvoja kao glumice. Osim vlastitih promišljanja i doživljaja, u ovome radu predstavljam i spoznaje iz knjiga maestralnih Branka Gavelle, Petera Brooka i Cicely Berry, kao i iz knjige ‘’Moć sadašnjeg trenutka’’ Eckharta Tollea koja je ostavila snažan utisak na moj osobni i profesionalni razvoj. Povezujući sve nabrojeno ove stranice postaju najsažetiji presjek esencije onoga što je činilo moje dosadašnje putovanje u svim njegovim segmentima. Nadam se da će ovaj rad pomoći budućim generacijama da malo više vjeruju u sebe i da pronalaze rješenja unutar, a ne izvan sebe.In this thesis I am talking about everything I have experienced since my very beginnings in acting. I am writing about experiences that broadened my consciousness and opened new worlds to me, as well as about things that blocked me and which I had to fight through. I am attempting to answer the following questions: “What does it mean to be present as an actress?”, “Where does the fear come from?”, “What do I represent to the audience and what does it represent to me?”, “Are we truly capable of creating cathartic theatre?”, “Why are words a necessary evil?” as well as many others.I am conducting an analysis with a goal to define what is necessary to avoid superficial, unauthentic acting. Going through different subjects and questions, I am establishing a strong correlation between my personal journey of growing up and my professional life as an actress. Furthermore, I am reffering to knowledge I gathered from books written by ingenius Branko Gavela, Peter Brook and Cicely Berry, as well as from the book “Power of the Now” written by Eckhart Tolle – a book that made a strong impact on my personal and professional development. Connecting all of these aspects and thoughts, these pages represent the most condensed form of what I consider to be the essence of my journey, both as a human being and as an actress. I hope this thesis can encourage generations to come to develop selftrust and inspire them to find solutions inside of themselves rather than outside
Applied Theatre
No full textDiplomski rad analizira teorijski pristup primijenjenom kazalištu, prikazuje njegove različite oblike i aktualne prakse u Hrvatskoj. Primijenjeno kazalište može se istovremeno shvaćati kao pedagoški i andragoški alat, odnosno kao sredstvo za stvaranje društvenih promjena, ali i medij koji pridonosi osnaživanju pojedinca i dovodi do emancipacije. U radu je predstavljen povijesni kontekst razvoja terminologije primijenjenog kazališta; te je istražen primjer uspješne hrvatske nezavisne inicijative kazališta Novi život i drugih organizacija koje djeluju u području primijenjenog kazališta u Hrvatskoj. Gradeći na tome, rad razvija terminologiju invaliditeta i dodatno apostrofira važnost Kazališta potlačenih kao jedne od struja primijenjenog kazališta.
Primijenjeno kazalište možemo definirati kao skup kazališnih praksi i procesa koji se bave temama „običnih” ljudi i njihovim pričama, lokalnim uvjetima i potrebama, a u svrhu obrazovanja, emancipacije ili terapije. Oblici primijenjenog kazališta opisanih u radu su kazalište zajednice, kazalište za društvene promjene, kazalište u zatvorima, razvojno kazalište, kazalište u zdravstvu i obrazovanju i drugi. Kazalište Novi život, kao jedan od najuspješnijih primjera hrvatskog primijenjenog kazališta, započelo je sa svojim djelovanjem 1948. godine u Samoboru. Prakse primijenjenog kazališta u Hrvatskoj poput muzejskog kazališta, kazališta za obrazovanje, kazališta u zatvorima i druge ostvaruju nezavisne organizacije u kulturi poput Male scene, Hrvatski centar za dramski odgoj, Dramska grupa Odgojnog zavoda u Turopolju, Udruga Ardura iz Šibenika, zagrebačko savjetovalište Luka Ritz, amaterska zagrebačka dramska družina Sineki, tateki, dedeki i druge.
Kazalište potlačenih forma je popularnog, participativnog i demokratskog kazališta, uspostavljena tijekom 1950-ih i 1960-ih, sa svrhom postizanja participativne društvene promjene i stvaranja „nejednakih jednakima”. Kazalište ima za cilj svim ljudima ponuditi tehnike pomoću kojih će moći diskutirati, analizirati i rješavati situacije opresije. Najčešće primjenjivane tehnike upravo su one koje je Augusto Boal predstavio u „Drvu kazališta potlačenih”, a sastoje se od igara, kazališta slika, forum-teatara, nevidljivog teatra, legislativnog kazališta, duge želja i novinskog kazališta.In this thesis, theoretical approach to applied theatre is analysed and its various forms and current practices in Croatia are presented. Applied theatre can be simultaneously understood as a pedagogical and andragogical tool, or as a means of creating social change, but also as a medium that contributes to the empowerment of an individual and leads to emancipation. In addition to that, in this thesis, the historical context of the development of applied theatre terminology is presented and the example of a successful Croatian independent initiative, launched by the New Life theatre (in Croatian: Novi život) and other organisations operating in the field of applied theatre in Croatia, is explored. Bearing in mind the aforementioned, in this thesis the terminology of disability is elaborated, and further emphasis is put on the importance of the Theatre of the Oppressed as one of the theatrical forms of applied theatre.
Applied theatre can be defined as a set of theatrical practices and processes that deal with the topics of “ordinary” people and their stories, local settings and needs, all for the purpose of education, emancipation or therapy. The forms of applied theatre described in this thesis are community theatre, theatre for social change, theatre in prisons, theatre for development, theatre in healthcare and education and various other forms.
The New Life theatre (in Croatian: Novi život), which is one of the most successful examples of applied theatre in Croatia, started operating in 1948 in Samobor. Practices of applied theatre in Croatia such as museum theatre, educational theatre, prison theatre and numerous others are performed by independent cultural organisations such as the Mala Scena Theatre, the Croatian Centre for Drama Education (in Croatian: Hrvatski centar za dramski odgoj, HCDO), the Drama Group of the Turopolje Juvenile Correctional Facility (in Croatian: Dramska grupa Odgojnog zavoda u Turopolju), the Ardura Association from Šibenik, the Luka Ritz Counselling Centre in Zagreb (in Croatian: Savjetovalište Luka Ritz), the amateur Zagreb-based theatrical troupe Sons, fathers, grandfathers (in Croatian: Sineki, tateki, dedeki) and various other organisations.
The Theatre of the Oppressed is a form of a popular, participatory and democratic theatre, established during the 1950s and 1960s, with the aim of achieving participatory social change and creating “unequal equals”. This form of theatre aims to provide all people with techniques which will enable them to discuss, analyse and solve situations in which they feel oppressed. The most commonly used techniques are precisely the ones presented by Augusto Boal in his Tree of the Theatre of the Oppressed, and they include Games, Image Theatre, Forum Theatre, Invisible Theatre, Legislative Theatre, Rainbow of Desire, and Newspaper Theatre
Gluma kao terapija
No full textMože li gluma imati terapijski učinak? Postoji li povezanost između procesa kreiranja uloge i privatnih emotivnih procesa u životu glumca? Kako određene uloge mogu rezonirati s glumcem prije, za vrijeme i poslije glumačkoga procesa i na taj mu način pružiti odgovore na dotad možda duboko potisnuta i nikada postavljena, životna pitanja? Psihoterapijom triju dramskih lica i glumice koja ih je odigrala rad će pokušati odgovoriti na prethodno postavljena pitanja.Can acting have a therapeutic effect? Is there a connection between the role creation process and the private emotional processes in an actor’s life? How can certain roles resonate with the actor before, during and after the acting process and provide him with answers to perhaps deeply repressed and never asked, life questions? Through the psychotherapy of the three played roles and the psychotherapy of the actress who played them, the paper will try to answer the above-mentioned questions