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Filozofija snimanja na primjeru filma "The Tree of Life" redatelja T. Malicka i snimatelja E. Lubezkog
No full textoai:repozitorij.adu.unizg.hr:adu_493U ovom radu, na primjeru filma The Tree of Life redatelja Terrencea Malicka opisat ću odnos filozofije i snimateljskog rada. Istražit ću filozofska tumačenja sadržaja filma te naći primjenu istih na pristup snimanju. Kao polazišnu točku koristim postavku da je slika glavni nositelj značenja filma te ću analizom snimateljskih postupaka istražiti kako je Emmanuel Lubezki ostvario filozofiju snimanja.In this master thesis, I will describe the relationship between philosophy and cinematography set on the example of Terrence Malick's film The Tree of Life. I will explore philosophical interpretations of the film and find their application to the approach to filming. As a starting point, I use the premise that the image is the main bearer of the film's meaning. I will analyze cinematographer's work in order to show how have Emmanuel Lubezki had achieved the philosophy of cinematography
SLUČAJNOST, PODSVIJEST, SMISAO, MISAO, POVJERENJE, ZABLUDA, ISTINA!
No full textKroz rad pokušavam povezati glumu na sceni i glumu u svakodnevnom životu. Proučavam vlastito djetinjstvo i okolinu koja me okružuje. Pažnju stavljam na instiktivne i slučajne odabire koji kreiraju život. Propitkujem samu sebe kakvo kazalište želim gledati i nudim vlastite ideje. Ideja rada proizašla je iz praktičnog dijela ispita iz predmeta „Govor“ gdje sam napravila videouradak „Baci loptu visoko u zrak“. Za literaturu uzimam Jespera Juula „Vaše kompetentno dijete“, Ervinga Goffmana „Kako se predstavljamo u svakodnevnom životu“ , znanstvene članke, intervjue koji su vezani za tematiku koju obrađujem.During this work, I am trying to connect acting on stage and in everyday life. I study my childhood and environment which surrounds me. I pay attention on instinctive and random selection, who create life. I am questioning myself what a theatre I want to watch and offering my own ideas. The idea of this work came from the practical part of the exam from the subject „Speech“ where I made videoclip „Throw the ball high in air“. For a literature I am taking Jesper Juul „Your competent child“, Erving Goffman „The Presentation of Self in Everyday Life“, scientific articles and interviews which are related to the topic I am working on
Pojam glumačke akcije kroz teoriju i praksu
No full textU ovom diplomskom radu bavim se problemom preciznog definiranja glumačke akcije, odnosno svega onoga što bi glumac morao činiti kako bi njegova priprema u procesu proba i konačna izvedba na sceni imale čvrste temelje. Nadalje, ovim radom pokušavam odgovoriti na pitanje „Na što glumac mora staviti fokus kako bi u svakom trenutku svojeg djelovanja bio svjestan toga što radi, kako to radi i zašto to radi?“. Također, adresiram problem odnosa teorijskog i praktičnog u glumačkoj pedagogiji. Na temelju vlastitog iskustva petogodišnjeg studiranja glume na Akademiji dramske umjetnosti Sveučilišta u Zagrebu i različitih teorijsko-praktičnih promišljanja Branka Gavelle, Cicely Berry, Konstantina Sergejeviča Stanislavskog, Davida Mameta i drugih stavljam naglasak na nužnost egzaktnosti, preciznosti i konkretnosti u školovanju mladih glumaca kako bi se njihovo autorstvo, jedan od najvažnijih elemenata glumačke umjetnosti, moglo ostvariti u punom potencijalu.In this master thesis, I engage in a problem of defining what actor's action precisely is or what an actor has to do in order to ensure that his preparation in the rehearsal process and his final performance on the stage have solid grounds. Moreover, I am trying to present the answer to a question „What should the actor put his focus on in order to be aware of what, how and why he is doing what he is doing in every moment of his activity?“ Also, I adress the problem of the relations between theoretical and practical in acting pedagogy. Based on my own experience of studying acting for five years on the Academy of Dramatic Art, University of Zagreb and on various theoretical and practical thinkings of Branko Gavella, Cicely Berry, Konstantin Stanislavski, David Mamet and others, I emphasize the necessity of exactness, precision and concreteness in young actor's education so that their authorship, which is one of the most important elements of the art of acting, could be achieved in its full potential
Teorija haptičkog i soničnog filma na primjerima filmova Philippa Grandrieuxa
Get PDFOvaj rad usmjeren je na analizu filmskog djelovanja redatelja Phillippea Grandrieuxa u kontekstu primjene teorije haptičkog filma, bazirane na tezama taktilne vizualnosti Laure U. Marks i idejama soničnog filma Greiga Haingea. Koncept haptičkog djelovanja filmskog medija bit će sagledan u širem teoretskom kontekstu suvremenih teza koje postaju popularne u posljednjih dvadeseti pet godine, te na praktičnim primjerima prva tri igrana filma Phillipea Granderiauxa ; Sombre, La Vie Nouvelle i Un Lac nastalih u periodu između 1998 i 2007 godine. Kroz analizu konkretnih audio-vizualnih postupaka te načina kreiranja filmskog iskustva pokušat ćemo doći do odgovara na pitanja kao što su; Na koji način filmskim medijem prenosimo osjećaje koji potenciraju tjelesne fizičke reakcije kod gledatelja te kako audio-vizualni 'podražaji' utječu na osjetilo dodira?This thesis studies focuses on the analysis of films directed by Phillippe Grandrieux in the context of the haptic film theory, based on tactile visuality theses by Laura U. Marks' and Greig Hainge's ideas of sonic film. The concept of the haptic film will be analysed in the broader theoretical context of contemporary theses that have become popular in the last twenty-five years, and practical examples of Phillipe Granderiaux's first three feature films; Sombre, La Vie Nouvelle and Un Lac that were created between 1998 and 2007. Through the analysis of specific audio-visual procedures and methods of creating a film experience, this thesis will try to find answers to questions such as; How does the film medium convey feelings that reflect the physical reactions in the viewer's body and how does it stimulate the sense of touch
ESTHETIC OF LIGHT IN PERFORMANCES OF JAN FABRE
No full textOvaj rad temelji se na proučavanju umjetničkog stvaralaštva Jana Fabrea s posebnim naglaskom na njegovo kazališno djelovanje, koje je kontekstualizirano kroz prizmu postdramskog kazališta. Ukratko se opisuje njegov životopis, glavne umjetničke discipline kroz koje se izražava i kroz studiju slučaja opisuje se rad na predstavi Requiem for a Metamorphosis jer je autor ovog rada sudjelovao u stvaranju iste. Glavni dio rada je Fabreov pristup oblikovanju i dramaturgiji svjetla u istoimenoj predstavi, gdje se opisuju prizori iz predstave iz perspektive njihove svjetlosne estetike. Rad sardži intervju kojeg je autor vodio s umjetnikom.The thesis is based on the research of artistic work of Jan Fabre, especially his theatre which is described as belonging to a contemporary style called postdramatic theatre. The work contains a short biography of the artist, main artistic disciplines he expresses himself through and a case study which deals with the process of creating the theatre piece Requiem for a Metamorphosis. The author chose this particular piece of theatre because he was a part of the team. The main part of this thesis is describing the Fabre’s approach to light design and the dramaturgy of light in the show, and it describes the esthetics of light of important scenes from the show. The thesis ends with the interview the author led with the artist
Contemporary pedagogical approaches in actor shaping
No full textU ovom diplomskom radu bavila sam se pitanjem pedagogije u radu s glumcima. Istražţivala
sam što su sve svjetski pedagozi pisali na tu temu, osvrtala se na svoja iskustva s Akademije i
na svoja iskustva izvan nje. Pisala sam o pedagoškim pristupima, zanimalo me koji je
najzdraviji pristup mladom glumcu da ga se ne zatvori i da mu se pomogne da razvije svoje
talente i sposobnosti.In this thesis, I dealt with the issue of pedagogy in working with actors. I researched
what world pedagogues wrote on the subject, looked back on my experiences from
the Academy and my experiences outside of it. I wrote about pedagogical approaches, I was
interested in what is the healthiest approach to a young actor not to close him down and to
help him develop his talents and abilities
The Unsatisfied Ones The Unsatisfied Ones My end view on studying
No full textDrama, scenarij i autoreferencijalni esej.Drama, screenplay and auto-referential essay
Dramaturgical aspects of time travel : Screenplay for the TV series "Restart"
No full textOvaj se diplomski rad sastoji od tri veće cjeline: teorijskog rada, scenarija i eseja. U teorijskom se radu razmatra korištenje motiva putovanja kroz vrijeme na primjeru nekolicine odabranih filmskih i televizijskih ostvarenja. Također se kroz njih analizira i pitanje slobodne volje, kao inherentna tema takvih priča, te struktura takvih, nelinearnih sadržaja. U drugom dijelu nalaze se materijali za znanstveno-fantastičnu TV seriju Restart, scenarij pilot epizode, scenoslijedi druge i treće epizode te sinopsisi za preostale epizode do kraja prve sezone, kojih je ukupno osam. Završni je dio autoreferencijalni tekst, u kojem se osvrćem na ove dvije godine studiranja na diplomskom studiju filmske dramaturgije i na radove koji su nastali u tom periodu.This graduate thesis consists of the theoretical paper and the screenplay with the accompanying materials. In the first part, the paper tends to present the use of time travel trope by analyzing a few selected films and TV series. It also analyzes the question of free will, which poses itself inherently when it comes to that kind of stories, and the structure of that particular kind of nonlinear content. The second part is comprised of materials for the Restart TV series, the pilot script, the outlines for the second and the third episode, and the synopsis for the rest of the episodes in season one, of which there are eight altogether
From Text to Stage : Mise en scene of the play L.Vlašić: Nothing New
No full textOvaj rad bavi se opsegom, granicama i područjima ispreplitanja pojmova dramaturgije i režije
te proučavanjem procesa prijelaza iz dramskog u scensko pismo, odnosno prijelaza iz
(dramskog) teksta u predstavu na primjeru režije praizvedbe suvremenog dramskog teksta Ništa
novo autora Luke Vlašića. Polazeći od shvaćanja režije kao implicitnog sustava organizacije
značenja unutar kazališne predstave i dramaturgije kao pragmatičnog čitanja drame kao
izvedbenog teksta namijenjenog za postavljanje, dramaturgija i režija uspostavljaju se kao
međusobno isprepletene djelatnosti između teorije i prakse čije se granice ne mogu strogo
definirati i odvojiti, što potvrđuje i praktični rad na postavljanju praizvedbe teksta Ništa novo,
kojem autor pristupa i analizira ga iz perspektive intertekstualnosti i citatnostiThis thesis deals with extent, thresholds and areas of interweaving between dramaturgy and
mise en scène, as well as with study of transmission process from drama text to stage text i.e.
from (dramatic) text into a play. Contemporary dramatic text Nothing New by playwright Luka
Vlašić is used as an example for this kind of analysis. Starting from understanding of mise en
scene as an implicit system of organisation of meaning within a theatre performance and
dramaturgy as a practical work of constructing the piece, both are being established as
reciprocal and interconnected activities in between theory and practice, the borderlines of which
are hard to determine or strictly divide. This was confirmed throughout the practical work that
led to the premiere of drama text Nothing New as a theatre performance, which author
approaches and analyses from the perspective of intertextuality and quoting