DEPARTMENT OF ALTERNATIVE AND PUPPET THEATRE

“…experience becomes real only once we have understood it.”
– Elias Canetti

Program Overview

Object, Space, Dramatic Situation, Communication and Visual Metaphor

The first phase of work in a stage design atelier is on investigating the relationship between body and space in various types of environments and dramatic and spatial situations. Students explore the possibilities of transforming their own position in space through the most simplest of means: walking, waiting, sound, light.

Another line of study is directed towards working with materials, initially in a somewhat primitive, natural manner: fi nding, gathering, collecting. Gradually, the process continues by copying, that is, following someone else’s path. Only after completing these stages do students begin working on their own authorial proposals, starting with puppets and masques, then move towards more holistically spatial theatrical actions.

The theme of the next study phase is the relationship between the artifi cial and the natural. Research focuses primarily on cultural anthropology and departs from a history of the relationship between the human being and technology. This involves individual work on interpreting themes through temporal-spatial metaphors; defi ning space through artistic gestures; the interaction of body and space, be it completely primitive or totally hi-tech. Studying these practical and theoretical orientations in space through theatrical and non-theatrical means and connections will open up an interdisciplinary laboratory at the boundaries of genres and styles. Body and matter will realize themselves in a compilation of biomechanics, architecture and light design.

The third study phase consists of practical (atelier) work – building your own project from conception to realization. This is based on a working philosophy of DIY – Do It Yourself. Students must experience the responsibility the creator feels for his/her work. Simultaneously, the entire atelier works collaboratively on a group project. The Master’s study program is individual, developed in collaboration between each student and the course leaders. Students may take advantage of the opportunity to consult with faculty members on their projects and events in various contexts and particular theatrical situations. In order to develop this specifi c creative study program, theatre needs to be understood as a social act for which a particular location has been found and previous sociological studies or studies of sources have been made. Selected projects are created with feedback and input from the scene design faculty as well as faculty from various workshops (sculpting, modelling, joinery, sewing, digital technology, light).

Study Program

Lectures and Courses

Students can attend courses in subjects related to their principal studies, like painting/drawing, sculpting, modelling, joinery, sewing, digital technology, light design). Students can choose from the following study strands:

Intuition versus Concept

Leader: MgA. Tomáš Žižka www.open-here.eu/artists/index.htm
This strand is a meeting of various fi elds: visual studies and art history in the context of communication, manipulation, propagation/propaganda. An integral part of the program includes excursions to sites, into space, working with space. Technology and manual skill become part of a different communicational code. We conceive objects, puppets, scenographic signs, not for their aesthetic value, but for a given communicative and social context. An integral element of this strand involves hands-on development of various artistic skills.

Pattern: Space, object and human

Leader: Prof. Petr Matásek www.petrmatasek.cz
The following are thoroughly investigated from two basic positions, objective and subjective: Analyzing themes selected by students; working to search for and discover concept and dramatic situation; creative problem solving and experimental expression. The necessary oscillatory thinking process in the work of the scene designercreator is based on the polarization between personal, authentic testimony and the outer societal, which defi nes contemporary dramatic creation and determine creative conditions. Spiritual essence, creative metaphor and the actualized point of departure. The following circles of interest are central to this atelier. Scenographic Projects – Working with space using text or a free theme in conjunction with objects and light (presentation).

Space and Scale – Dealing with dramatic space in terms of the technical and material context of the stage (installation).

Musical Theme – Graphically/visually resolving and interpreting the relationship between the theatrical object/ puppet and music (presentation).

Puppet, Sculpture and Actor – An alternative dramatic project combining puppet, graphic/visual theatre and new media (installation).

Performer – The solo artist and a graphic/visual realization of objects/puppets (presentation).

Body, technology, environment

Leader: MgA. Robert Smolík www.handagote.com
Students will investigate inner and outer landscapes through the interaction of subject and object, the human being and technology. They will also search for strategies and concepts necessary for free, authorial creation. The foundation of this atelier involves straddling precise conceptual work, humble self-improvement of manual skills and mastering working with materials. The program demands an uncompromising individual stance, yet also requires the ability to work in groups on collaborative projects.

Admission to the Program

Successfully passing talent/entrance exams; CV and a motivational letter, including a description of the applicant’s specific  Master’s project. These will be presented to the Department’s examination committee.

Entrance exam information

Evaluation of candidates based on sent materials:

1. Detailed documentation of previous and current creative work on CD (or DVD), which contains art work and technical documentation from the fields of scenography, drawing, painting, sculpture, a record of free creation.
2. Masters Studies Project - A4 portfolio with picture documentation and a written statement of their creative intentions connected with the masters studies

application deadline March 20, 2012

 after April 6, 2012 2012 you will be notified if you fulfilled the admission criteria.
Entry exams: May 21, 2012.

Assessment

The climax of the study program involves completing a thesis assignment. This usually involves presenting a mise-en-scene, performance, exhibit or other practical presentation with a particular accent on the investigative process as well as a self-refl ection of the fi nal result. Faculty also give a fi nal assessment of the project. Students also need to complete the necessary number of ECTS credits to obtain the Master’s degree.

Course Leaders

MgA. Tomáš Žižka, Prof. Petr Matásek. MgA. Robert Smolík