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Fanta rei; Nisam tražila sam; Autopoetički rad Autostopisanje
No full textDiplomski rad sastoji se od dvije drame - "Fanta rei" i "Nisam tražila sam" i autopoetičkog rada "Autostopisanje"
Povjerenje u ulogu
No full textU ovome radu analizirat ću temu povjerenja u ulogu. Na prvi pogled, tema djeluje jasno, no ubrzo postaje očito da su svi elementi puno kompleksniji. Poput Louisa Jouveta, koji u Rastjelovljenom glumcu detaljno razlaže glumački proces, primjećujem da je povjerenje u ulogu sastavljeno od mnogih, ponekad teško objašnjivih detalja. Jouvet ističe kako intuicija igra ključnu ulogu u tom procesu, a ona glumcu pomaže doseći dublju razinu samospoznaje. Ta spoznaja omogućuje glumcu da bolje razumije i koristi svoj instrument – tijelo i um – na sceni. Intuicija je temelj za razvoj profesionalne svijesti o sebi. Oslanjat ću se na radove Jouveta, Čehova i Stanislavskog te ih povezati s vlastitim iskustvom rada na Krležinom tekstu Pod maskom, kako bih produbila analizu i došla do zaključka.In this paper, I will analyze the theme of trust in a role. At first glance, the topic seems clear, but it quickly becomes evident that the elements are far more complex. Like Louis Jouvet, who meticulously dissects the acting process in The Disincarnated Actor, I observe that trust in a role is composed of many, sometimes difficult-to-explain details. Jouvet emphasizes that intuition plays a crucial role in this process, helping the actor reach a deeper level of self-awareness. This self-awareness allows the actor to better understand and utilize their instrument—the body and mind—on stage. Intuition is the foundation for developing professional self-awareness.I will rely on the works of Jouvet, Chekhov, and Stanislavski, and connect them with my own experience working on Krležaʼs text Under the Mask to deepen the analysis and reach a conclusion
The Art Of Joyful Reproduction
No full textSažetak
Pisani dio svog diplomskog rada odlučila sam posvetiti temi koja me je najviše preokupirala tijekom studija, izazovu s kojim se suočavaju mnogi glumci – kako upravljati vlastitim negativnim emocijama kao što su tuga, stres ili tjeskoba, izazvanih privatnim događajima, a istovremeno kao izvođač ostati fokusiran na izvedbu te biti kreativan i produktivan u samom procesu stvaranja. Na temelju osobnog iskustva, istražujem tehnike i metode koje glumci koriste kako bi prebrodili emocionalne prepreke, a da pri tome zadrže radost stvaranja i izvođenja. Kroz analizu različitih iskustava, tehnika i metoda, rad se bavi pitanjem može li se emocionalna otpornost naučiti te kako glumci balansiraju između osobnog i profesionalnog života na sceni. Poseban naglasak stavljen je na važnost unutrašnje snage, koncentracije i kreativnosti unatoč emotivnim izazovima, kao i na značaj radosti stvaranja.Summary
I have decided to dedicate the written part of my thesis to the topic that preoccupied me the most during my studies, a challenge faced by many actors – how to manage personal negative emotions such as sadness, stress, or anxiety, triggered by private events, while staying focused on performance or remaining creative and productive in the process of creation. Drawing from personal experience, I explore the techniques and methods actors use to overcome emotional barriers while maintaining the joy of creation and performance. Through the analysis of various experiences, techniques, and methods, this thesis addresses the question of whether emotional resilience can be learned and how actors balance their personal and professional lives on stage. Special emphasis is placed on the importance of inner strength, concentration, and creativity despite emotional challenges, as well as the significance of the joy of creation
Gluma kao vještina
No full textU ovom diplomskom radu osvrnut ću se na svoje dosadašnje obrazovanje na Akademiji dramske umjetnosti u Zagrebu i pokušati dokazati kako je gluma ništa drugo nego vješta kontrola vlastitim emocijama i dobro poznavanje svojih mogućnosti i vještina (fizičkih i psihičkih). Uz to, analizirat ću i onaj dio glumčevog zadatka koji se veže uz samo djelo - vješto iščitavanje priče, upoznavanje s likovima i proučavanje njihovih međusobnih odnosa. Kroz analizu, objasnit ću i zašto smatram da je upravo taj dio glumčevog zadatka skoro jednako važan kao i konačna realizacija uloge na sceni ili pred kamerom. Također, bavit ću se i opisom postupnog rada na ulozi i time koliko jedna uloga može utjecati na psihičko stanje pojedinca/glumca i kako se može zaštiti od preranog „pregorijevanja“.In this master's thesis, I will reflect on my previous education at the Academy of Dramatic Art in Zagreb and attempt to demonstrate how acting is nothing more than skillful manipulation of one's own emotions and a thorough understanding of one's abilities and skills (both physical and psychological). Additionally, I will analyze the aspect of the actor's task related to the work on the play itself - skillfully interpreting the story, acquainting oneself with the characters, and studying their interpersonal relationships. Through analysis, I will explain why I consider this aspect of the actor's task to be nearly as important as the final realization of the role on stage or in front of the camera. Furthermore, I will explore the description of the gradual process of working on a role and how much an individual/actor's psychological state can be influenced by a role, as well as how to protect oneself from premature "burnout.
Music in drama theatre : Basic concepts with examples from student acting practices
No full textU prvom dijelu rada Glazba u dramskom kazalištu empirijski se ispituje status glazbe na uzorku
više od sto programa dramskih predstava na repertoaru zagrebačkih kazališta u sezoni
2023./2024. kao uvod u pojašnjenje nekih osnovnih pojmova relevantnih za razumijevanje
„složenog i spornog odnosa“ glazbe i kazališta. Polazeći od empirijskog nalaza, identificirana
su četiri pristupa koja su označena i opisana kao četiri kazališnoglazbena umjetnička lika: (1)
Kazališna glazba kao glazbeni žanr, (2) Kazališna glazba kao usputna glazba, (3) Kazališna
glazba kao majstorstvo tona i (4) Kazališna glazba kao dizajn zvuka. U drugom dijelu rada
izlaže se šest primjera studentskih glazbenokazališnih uradaka uz (samo)kritički osvrt na
njihove konceptualne i praktične dosege. Primjeri su grupirani prema suradnjama s redateljima
odnosno profesorima pod čijim mentorstvom su se ostvarivali: (1) s prof. Krešimirom
Dolenčićem (Kratka povijest Rosa i Guila i Don Juan se vraća iz rata); (2) s prof. Bornom
Baletićem (Mrtvački ples i Superpozicija) te (3) s Miranom Kurspahićem (Trending i Kralj
Ubu). Primjerima su pridodana i dva za temu relevantna iskustva suradnje s RadioTeatrom
(predstave Ubu Ovo Ono i Hoerspiel). U zaključnom dijelu rada izlaže se za razumijevanje
glazbe u dramskom kazalištu koncept muzikalnosti koji najobuhvatnije i najsvestranije ulazi u
bit „složenosti i spornosti“ odnosa glazbe i kazališta kao putokaz za daljnja promišljanja, ali i
praktičan rad na tom polju.The first part of the paper Music in Drama Theatre empirically examines the status of music
on a sample of more than a hundred programmes of drama performances in the repertoire of
Zagreb theatres in the 2023/2024 season as an introduction to the clarification of some basic
terms relevant to understanding the "complex and controversial relationship" between music
and theatre. Starting from the empirical findings, four approaches have been identified that
have been marked and described as four theatrical musical artistic characters: (1) Theatrical
music as a musical genre, (2) Theatrical music as incidental music, (3) Theatrical music as a
mastery of tone, and (4) Theatrical music as sound design. The second part of the paper
presents six examples of student music theatre works with a (self)critical review of their
conceptual and practical achievements. Examples are grouped according to collaborations
with directors or professors under whose mentorship the following were realized: (1) with Prof.
Krešimir Dolenčić (A Brief History of Ros and Guil and Don Juan Returns from the War); (2)
with Prof. Borna Baletić (Dance of the Dead and Superposition) and (3) with Miran Kurspahić
(Trending and King Ubu). The examples are accompanied by two relevant experiences of
cooperation with RadioTheatre (the plays Ubu Ovo Ono and Hoerspiel). In the concluding part
of the paper, the concept of musicality is presented for the understanding of music in dramatic
theater, which most comprehensively enters the essence of the "complexity and
contentiousness" of the relationship between music and theater as a guideline for further
reflections, but also practical work in this field
In fact and in fiction
No full textU fotografskoj seriji U stvarnosti i u fikciji bavila sam se (de)konstrukcijom
reprezentacije planinskog pejzaža kroz kreiranje osobnog pogleda na planinski pejzaž
te kroz dokumentiranje različitih oblika društvene imaginacije planina. Fokusirajući se
na privatne predmete koji služe kao medijatori mojeg osobnog planinarskog iskustva,
u radu sam prikazala simboličke i imaginarne dimenzije planinskog pejzaža koje su u
javnom polju rjeđe vidljive. U drugom, dokumentarističkom dijelu rada fokusirala sam
se na bilježenje različitih načina reprezentacije planinskog pejzaža u raznim
(ne)planinarskim kontekstima, naglašavajući pritom njihovu konstruiranost.
U pisanom dijeli rada analizirala sam planinski pejzaž kroz niz aspekata koji su važni
za teorijsku i umjetničku kontekstualizaciju praktičnog dijela diplomskog rada. Nakon
teorijskog definiranja pojma pejzaža, kao temeljne karakteristike dominantne
reprezentacije planinskog pejzaža istaknula sam pastoralnost i uzvišenost. Odmicanje
od navedenih karakteristika postavila sam kao centralni motiv daljnjeg razvoja
fotografske serije. Analizirajući fotografske koncepte korištene prilikom razvoja serije
(konstruirana, meta i tiha fotografija) u radu sam nadalje definirala različite umjetničke
odluke nastale tijekom istraživačkogIn the photographic series In Fact and in Fiction, I have explored the (de)construction
of the representation of mountain landscape by creating a personal perspective on the
mountains and documenting various forms of social imagination about mountains.
Focusing on personal items that serve as mediators of my personal hiking experience,
I have depicted the symbolic and imaginary dimensions of mountain landscape that
are less visible in the public sphere. In the second, documentary part of the work, I
have focused on recording different ways of representing mountain landscape in
various (non)hiking contexts, emphasizing their constructed nature.
In the written part of the work, I have analyzed the mountain landscape through a
range of aspects important for the theoretical and artistic contextualization of the
practical part of the thesis. After theoretically defining the concept of landscape, I have
highlighted pastorality and sublimity as the fundamental characteristics of the
dominant representation of the mountain landscape. Moving away from these
characteristics has been the central motif of further development of my photographic
series. By analyzing the photographic concepts I have used in the development of the
series (staged, meta, and silent photography), I have further defined various artistic
decisions made during the research process and elaborated on the specifics of the
final gallery set-up
Neizgovoreno u govoru glumca
No full textInspiriran romanom Neimenjivi Samuela Becketta, te društvenom opterećenošću bukom, ovaj rad istražuje mogućnosti tišine u prostoru glumačke igre i autorskog stvaranja. Kroz rad se analizira pojam tišine unutar jezika i govora, a potom glazbe i kazališta. Radom se pokušava skrenuti pozornost na višestrukost značenja tišine u suvremenom kazališnom izrazu te potcrtati važnost tišine kao elementa glumačkog govora koji unatoč svojoj akustičkoj manjkavosti, može postati snažan materijal.Inspired by the novel The Unnamable by Samuel Beckett, and the social burden of noise, this work explores the possibilities of silence in the field of acting and creating. The paper analyzes the concept of silence within language and speech, and then music and theater. The work tries to draw attention to the multiple meanings of silence in contemporary theatrical expression and to underline the importance of silence as an element of actor's speech which, despite its acoustic shortcomings, can become a powerful material
Character work : Presence
No full textU ovom diplomskom radu bavim se ključnim fazama rada glumca na ulozi. Počinjem s osnovnom analizom situacija i teksta na početku rada, istražujući kako se te situacije mogu pronaći u vlastitom iskustvu i emocionalnom registru. Daljnje faze uključuju proces istraživanja i improvizacije, koje su neophodne za dublje razumijevanje lika. Rad također pokušava objasniti koje preduvjete glumac mora ispuniti kako bi postigao tu razinu prisutnosti i ostvario autentičnu izvedbu.In this thesis, I focus on the key stages of an actor's work on a role. I begin with a basic analysis of the situations and the text at the start of the process, exploring how these situations can be found within the actor's personal experience and emotional register. The next phases include the process of research and improvisation, which are essential for a deeper understanding of the character. The thesis also aims to explain the prerequisites that an actor must fulfill in order to achieve a heightened level of presence and deliver an authentic performance
Mike Leigh's poetics
No full textCilj je ovog rada istražiti poziciju filmova Mikea Leigha u kontekstu modernizma čije odrednice pronalazimo u njegovoj metodi – radu s glumcima, fabuli koja se zasniva na psihologizaciji likova, epizodističkom strukturom te pasivnim likovima bez cilja. Za presjek njegovog opusa odabrani su filmovi Life is Sweet i Naked zbog njihovih podudarnosti, ali i radikalnih odstupanja u narativnim postavkama. Pomoću analiza tih dvaju filmova istražuje se na koji način (anti)junaci oblikuju dramaturški koncept Leighovih filmova.The aim of this paper is to investigate the position of Leigh's films in the context of modernism, the determinants of which can be found in his method - work with actors, a plot based on the psychologization of characters, an episodic structure and passive characters without a goal. The films Life is Sweet and Naked were chosen for a cross-section of his oeuvre, due to their similarities but also radical deviations in narrative settings. By means of a filmological analysis of those two films, it is investigated how (anti)heroes shape the dramaturgical concept of Leigh's films
ACCESSIBILITY OF PUBLIC THEATERS OF THE CITY OF ZAGREB FOR PEOPLE WITH DISABILITIES - MAPPING AND ANALYSIS
No full textRad kao polazište istraživanja predstavlja pojmove „osoba s invaliditetom“ te „javno kazalište“. U radu se predstavljaju uvažene mjere prilagodbe kazališnih programa osobama s invaliditetom u tri kategorije: intervencije, tehnologije i prilagodbe programa te spominju primjeri dobre prakse u inozemstvu.
U sklopu rada provedena su dva anketna istraživanja usmjerena prema članovima udruga osoba s invaliditetom te tehničkim službama javnih kazališta grada Zagreba. Cilj prve provedene ankete bio je utvrditi potrebe potencijalnih kazališnih publika s invaliditetom te koliko smatraju da su im programi javnih zagrebačkih kazališta dostupni. Cilj druge bio je utvrditi trenutno stanje dostupnosti i prilagodljivosti programa kazališta osobama s invaliditetom te ispitati postoje li planovi za uvođenje dodatnih praksi te ako ih nema, koji su razlozi za manjak angažmana oko ove teme. Rezultati anketa se analiziraju te se predstavljaju u svrhu mapiranja stanja u praksi.
Posljedično, sve navedeno dovodi do zaključka o trenutnom stanju prakse s jedne i prijedloga pozitivnih praksi koje ne zahtijevaju infrastrukturne adaptacije s druge strane, a dovest će zagrebačke institucije na konkurentnu razinu s ostatkom Europe.In its starting point for research, this work presents the term „person with disabilities“ and „public theatre“. The work presents well respected adaptation measures of theatre programmes for people with disabilities in three categories: interventios, technologies and programme adaptiations, and mentions examples of good practice, both domestic and foreign.
As part of the work, two surveys were conducted aimed at members of associations of people with disabilities and technical services of public theatres in the city of Zagreb. The aim of the first survey was to determine the needs of potential theatre audiences with disabilities and how accessible they think the programmes of Zagreb's public theatres are. The goal of the second one was to determine the current state of accessbility and adaptability of Zagreb public theatre programmes to people with disabilities and to examine whether there are plans to introduce additional practices, and if not, what are the reasons for the lack of engagement around this topic. The results of the surveys are analyzed and presented for the purpose of mapping the situation in practice.
Consequently, the before mentioned activities lead to a conclusion about the current state of accessibility and proposals for positive practices that do not require infrastructural adaptations, but will bring Zagreb's institutions to a competitive level with the rest of Europe