Institute for Research and Study of Alternative and Puppet Theatre and Theatre in Special Needs Groups

The main research aim of the Institute is fulfilled within the project Interdisciplinary research of stage component interaction in puppet and alternative theatre and in theatre in special needs groups. Its basic principle is support of creative interaction between scholarly research, technological development and the field of contemporary alternative and puppet theatre and theatre in special needs groups. As a result, one can observe innovative, theoretical, methodological and applied progress with consequences beyond the borders of the theatre world.

Statute
Projects
Publikace
Ostatní výstupy

Statute
Institute For Research And Study Of Alternative And Puppet Theatre And Theatre In Special Needs Groups

I. Introductory Provisions

  1. The Institute for Research and Study of Alternative and Puppet theatre and theatre in special needs groups of DAMU (hereinafter referred to as the "Institute") is a faculty-wide scientific research, art research and study department of the theatre Faculty of the Academy of Performing Arts in Prague (hereinafter referred to as "DAMU").
     
  2. The Institute was established by the transformation of the KALD Research Institute, and is established in accordance with § 24 and § 34 of Act 111/1998 Coll., On Higher Education Institutions, as amended (hereinafter referred to as the “Act”). The DAMU Artistic Council approved the transformation of the KALD Research Institute into the Institute for Research and Study of Alternative and Puppet Theatre and Theatre Production in special needs groups on the 11th of March, 2020. The DAMU Academic Senate, pursuant to § 27, par. 1 a) of the Act, stated consent to the transformation of the Research Institute into the Institute on the 18th of June, 2020.
     
  3. The Institute connects to the artistic-research and pedagogical activities of DAMU, and its activities are closely connected with the activities and measures of the Department of Alternative and Puppet Theatre (ALD) of DAMU in particular.

II. The Aims and Focus of the Institute

The mission of the Institute is to research the interaction of stage components in the field of alternative and puppet theatre and to research theatre production in special needs groups.

III. The Scope of the Institute's Activities

In the field of original research into the interaction of stage components, the following corroborate the fact that it is necessary to use the term authorship differently when components interact: creative practice and a number of conferences, publications and workshops. The term is understood not only as the authorship of a text, play or libretto, but as the joint authorship of the whole production in all components and their parts; namely authorship in the true sense of the word, i.e. the original contribution and share in the whole work in mutual procedural, i.e. permanent influence. In addition to creative work, emphasis is placed on research into general and partial aspects of authorial and shared theatre and theatre production in special needs groups, with the aim of obtaining methodological lessons and partial summaries in the process of newly emerging development tendencies.

  1. The Institute's research focuses on topics that follow on from the ALD master's studios and doctoral studies in the areas of:

    a. theatre production in special needs groups, which is based on the basic premises of theatre anthropology. The condition of the research is the realisation of theatrical productions aimed at analyses and formulation of methodological knowledge through workshops, studies, symposia, exhibitions and publications.

    b. Alternative theatre as a permanent developmental phenomenon, in which it is appropriate to name currently emerging, vanishing or otherwise transforming tendencies in the dialogue between theoretical reflection and elemental creation at various stages of development, where phenomenology prevails over semiotics, performativity prevails over mimesi and corporality over textuality.

    c. Theatre of puppets and objects
    i. in terms of theory, history and also as a living part of the UNESCO cultural heritage,
    ii. from the point of view of current development and experimental practice of theatrical production, which uses objects, objects, figural and non-figurative puppets in the creation of a stage.

    d. in the site-specific non-traditional space, with an overlap with fine arts, design, architecture, sociology examining creative movement in the physical, common, political and social space in terms of creative reflection on current reaction.

    e. research into stage component changes and their interaction in the process of current, functional transformation such as:
    i. dramaturgy and its changes in the period of the dominant position of documentary theatre;
    ii. functions of sound, music and their dynamic movement in the moment of participation in the creation of a stage project;
    iii. others according to current research needs.
     
  2. The Institute participates in the implementation of doctoral study programmes in accordance with Article 13 of the Statute of DAMU, primarily in the implementation of the programme Alternative and Puppet Creation and its Theory. In the pedagogical part of the Institute's activities, the aim is for the doctoral graduate to be prepared to find and formulate links and connections between components with regard to historical inspirations that contribute to the current development of theatre culture, especially in the field of alternative and puppet theatre and theatre production in special needs groups,  where the author's contribution to components of the stage work is programmatically accentuated and they are fully shared in the creation of the whole.
     
  3. The department organizes seminars independently according to current research results, as well as doctoral studies, colloquia on research topics and conferences summarizing partial knowledge. Based on the results arrived at, it publishes peer-reviewed professional publications, anthologies and monographs as well as articles in professional journals, and participates in summary displays.

IV. Management of the Institute and its Organisational Structure

  1. The Institute is headed by a director, who is appointed and removed by the Dean of DAMU after consultation with the Vice-Dean for Pedagogical Affairs and Research.
     
  2. The Director of the Institute is responsible for the leadership and management of the Institute, including the organization of the Institute's activities, for the preparation and implementation of the concept, the long-term plan and the scientific research plan and professional activities of the Institute, the presentation of the Institute within the faculty and externally, and the management of allocated funds. The Director of the Institute is responsible for the proper management of the Institute, including the fulfilment of the above duties to the Dean of DAMU.
     
  3. The Director of the Institute is also the Chairman of the Scientific Council of the Institute. The members of the Scientific Board are appointed and removed by the Dean of DAMU on the proposal of the Director of the Institute from among the researchers of individual research projects and other experts from the areas of scientific research focus of the Institute. The members of the Scientific Board are, due to their positions, Vice-Dean for Pedagogical Affairs and Scientific Research and Head of the Department of Alternative and Puppet Theatre at DAMU. The Scientific Council is convened by the Director of the Institute as required, but at least once a year. The term of office of members of the Scientific Council of the Institute is five years. The number of members of the Scientific Council of the Institute is determined by the Director of the Institute, but the number of members must be a minimum of three and a maximum of ten.
     
  4. The Scientific Council above all:

    a. is a consultative body of the director of the Institute in matters concerning activities and outputs of the Institute, including questions related to all research activities of the faculty;

    b. on the basis of proposals by the Director of the Institute, discusses and assesses the long-term plan, directions and areas of scientific research and scientific-artistic activities of the Institute in accordance with the long-term plan of the AMU theatre Faculty and submits them in the form of research topics for the period;

    c. comments on questions submitted by the Director of the Institute;

    d. acts as an editorial board overseeing the Institute's publication outputs.
     
  5. The Production Institute is usually entrusted with ensuring the organizational-technical and material basis of the Institute's activities, and it cooperates in mainly with the relevant departments and units of the Dean of DAMU's Office, the Faculty Secretary, the Vice-Dean for Pedagogical Affairs and the Vice-Dean for Scientific research activity, in relation to this.

V. Final Provisions

This Statute shall enter into force on the 1st of September, 2020.

 

In Prague, on the 27th of July, 2020

……………………………………………….

Mgr. MgA. Doubravka Svobodová

Dean of DAMU

Projects

The main research aim of the Institute is fulfilled within the project Interdisciplinary research of stage component interaction in puppet and alternative theatre and in theatre in special needs groups. Its basic principle is support of creative interaction between scholarly research, technological development and the field of contemporary alternative and puppet theatre and theatre in special needs groups. As a result, one can observe innovative, theoretical, methodological and applied progress with consequences beyond the borders of the theatre world.

The project includes theoretical, practical as well as experimental research work leading to acquisition and verification of the new findings, knowledge and skills necessary for progressive development in the field of alternative and puppet theatre and in theatre in special needs groups. This dynamic research (focused on theoretical, practical and experimental art production) also focuses on the means of presentation of the attained knowledge, in order to reach not only professionals in different segments of the fields but also the general public.

The creative systematic research activities of the project lead towards ongoing expansion of the state of knowledge, including integral knowledge about human beings, culture and society as such and search for new means of their application in artistic practice. They promptly react to the current trends of development and help stabilise the innovatively forming platform of alternative and puppet theatre and theatre in special needs groups, which is supported by interdisciplinary applied research and experimental development. The research goes beyond the borders of theatre art and covers a wide range of additional disciplines and fields (anthropology, sociology, psychology, cultural sociology, special education, history, traditional Czech puppetry and its legacy etc.). It is carried out by means of modern research methods and approaches, including the research of various ways of historical context, criticism and analysis. The focus of the research is not only academic data but primarily the defining of possible starting points based on field and practical work and an effort to modernise the aesthetics of the studied spheres of theatre production. The project includes three main sectors of research priorities.

  1. Shared theatre and its alternative tendencies.
  2. Puppet theatre, its history, tradition and live transformations.
  3. Theatre production in special needs groups.

Point 1.) The natural reflections on the current development of alternative theatre production serve to move the research towards a newly understood content of the term theatre production from the point of view of all the participating components – as a phenomenon of shared theatre where each of the initially independent components fully contributes to the creation of the theatre production in a mutual influencing relationship. With the current shape of stage activities, the interaction of stage components has reached a point in which all the participants – creators – have a share in the inception of the production or project. It is time to begin to individually and systematically explore the tangle of different directions and developments and through a mutual comparison search for more general postulates and regularities which influence the original stage components and modify them.

Point 2.) In the realm of puppet theatre, the project focuses on research into the history and traditions of Czech puppetry and inspirational ways of interacting with other forms of theatre production. It further studies the transformation of the cultural heritage in the context of artistic development. It follows and inspires the transformation of the puppet theatre in the current phases and forms of the development and reflects on how puppet theatre continues in the tradition of Czech puppetry registered on the Intangible UNESCO Cultural Heritage List.

Point 3.) Within the sphere of theatre in special needs groups, the research focuses on the concrete conditions of interaction of individual components over the course of realisation of integration projects, first and foremost the project Theatre in special needs groups which has been organized since 2001. The research is based on many years of practice in the field of artistic production with special needs groups as well as on the fundamental assumptions of theatre anthropology. The core of the artistic production and its research with a special needs group involves searching for means of creative expression of disabled people and their subsequent adaptation and integration into society by way of artistic creation. The effort is therefore to assist with their self-realization and individual growth. The integration aspect consists of expanding artistic work with a social and cultural context (even involving connecting groups of artists with disabilities and professional artists). The main aim of the research is a well-rounded artistic (theatre) production, which accentuates the actor’s movement, playing with puppet and alternative theatre principles while working with people with disabilities as well as articulates the generally applicable methodical findings. The project also focuses on expansion of the education of theatre professionals, who will be able to work with special needs groups of people with various handicaps. The study is organized within three optional subjects Directorial, dramaturgical and actor’s production in special needs group, Stage design creation in special needs group and Basics of special education and anthropology. (www.specifickedivadlo.cz)

The Institute for Research and Study of Alternative and Puppet Theatre and Theatre in Special Needs Groups was formed by transformation of the Research Department of KALD. The department was twice supported with a three year grant of GAČR (408/06/0114 and 409-12-1065), and since 2011 the project Interaction of stage components in puppet and alternative theatre has been regularly supported as part of the project competition of AMU academy from the institutional support for long-term conceptual development. The development project CSM3 Extension of expert education of AMU students with specialisation in theatre work in special needs groups was supported in 2014. Between 2018-2020, the project Research of artistic production in a specific integration group (with people with disabilities) – DG18P02OVV046 was supported by the MK ČR project of NAKI II – Programme for support of applied research and experimental development of national and cultural identity for the years 2016 to 2022 (NAKI II).

Publikace

K. Šplíchalová, M. Klíma, V. Novák a kol. Tětivou snů: metodicko-etické principy divadelní tvorby ve specifických skupinách, 2020.

KLÍMA, M. a kol. O animaci: z různých stran současného loutkového divadla, 2019.

NOVÁK, V. a kol. Hnízdo pro duši – umělecká tvorba lidí s postižením, 2019. (Jedná se o kritický katalog ke stejnojmenné výstavě, která byla realizována v rámci projektu NAKI II Výzkum umělecké tvorby ve specifické integrační skupině.)

BLAŽEK, B. Divadlo v proměně civilizace, 2018.

KLÍMA, M. a kol. Divadlo a interakce XI., 2018.

MIKEŠ, Vladimír. Proč hrát: k divadelní antropologii, 2017.

KLÍMA, M. a kol. Divadlo a interakce X. – Modré stránky podruhé, 2017.

KLÍMA, Miloslav. O dramaturgii, 2016.

NOVÁK, V., ŠPLÍCHALOVÁ, K. Problematika režie a dramaturgie ve specifické divadelní skupině, 2016.

VOJTÍŠKOVÁ, Zuzana. Srovnání různorodých cest loutkového nastudování norské pohádky, 2016.

JIŘIČKA, Lukáš. Dobyvatelé akustických scén: Od radioartu k hudebnímu divadlu: Goebbels, Neuwirth, Ammer, Oehring, 2015.

KLÍMA, M. a kol. Divadlo a interakce IX, 2015.

KLÍMA, M. a kol. Divadlo a interakce VIII., 2014.

KLÍMA, M. a kol. Divadlo a interakce 8 a půl – Modré stránky, 2014.

KLÍMA, M. a kol. Divadelní osmdesátky a Studio Beseda, 2014.

RÝGROVÁ, Michaela. Udržitelné divadlo, 2014.

NOVÁK, V., ŠPLÍCHALOVÁ, K. Specifické divadlo, 2014.

MATÁSEK, Petr. Prostor, hmota, divadlo, 2013.

KLÍMA, M. a kol. Studio Beseda – setkání režisérů, 2013.

VOJTÍŠKOVÁ, Z. (ed.). Živé dědictví loutkářství, 2013.

KLÍMA, M. a kol. Divadlo a interakce VII., 2013.

NOVÁK, V. a kol. Divadelní tvorba ve specifických skupinách, 2013.

HAVELKA, Jiří. Zmrazit čerstvé ovoce, 2013.

ŠPLÍCHALOVÁ, Kateřina. Z pozůstalosti Jana Malíka, 2012.

KLÍMA, M. a kol. Divadlo a interakce VI., 2012.

KLÍMA, M. a kol. Divadlo a interakce V., 2011.

TEJNOROVÁ, P. IAS ON ME DE A, 2010.

ADÁMEK, Jiří. Théâtre musical, 2010.

KLÍMA, M. a kol. Divadlo a interakce IV., 2010.

KLÍMA, M. a kol. Divadlo a interakce III., 2008.

KLÍMA, M. a kol. Divadlo a interakce II., 2007.

KOČVAROVÁ-SCHARTOVÁ, M. (ed.). Erik Kolár, 2007.

MAKONJ, Karel. Vedené divadlo, 2007.

MAKONJ, Karel. Od loutky k objektu, 2007.

DVOŘÁK, J. a kol. Jan Schmid: režisér, principál, tvůrce slohu, 2006.

KLÍMA, M. a kol. Divadlo a interakce, 2006.

TICHÝ, Z. A. Ivan Rajmont, 2005.

KLÍMA, M., MAKONJ, K. Josef Krofta: inscenační dílo, 2003.

DVOŘÁK, J. (ed.). Drak: Mezinárodní institut figurativního divadla, 2001.

KLÍMA, M. Jan Grossman – Post scriptum, 2001.

KLÍMA, M. a kol. Jan Grossman – Texty o divadle 2, 2000.

KLÍMA, M. a kol. Jan Grossman: texty o divadle 1, 1999.

KLÍMA, M. a kol. Jan Grossman: interpretace, 1998.

KLÍMA, M. a kol. Jan Grossman: inscenace, 1997.                   

KLÍMA, M. a kol. Jan Grossman: svědectví současníků, 1996.

DVOŘÁK, J. (ed.). Josef Krofta: Babylónská věž, 1993.

Ostatní výstupy

Výsledky a výstupy ze své činnosti prezentuje výzkumný ústav mimo jiné na symposiích, konferencích, odborných seminářích, výzkumných workshopech, festivalech apod., které pravidelně pořádá či spolupořádá.

Jsou to především:

Symposium Výzkum umělecké tvorby ve specifických skupinách

Symposium Interakce jevištních komponentů

Rynholecký festiválek – divadelní integrační happening

Hnízdo pro duši – umělecká tvorby lidí s postižením (výstava realizovaná v roce 2020 ve spolupráci s Muzeem loutkářských kultur v Chrudimi)

Pravidelné série výzkumných workshopů s divadelníky s postižením v sociálních zařízeních (např. Zahrada, poskytovatel sociálních služeb na Kladně, Koniklec, poskytovatel sociálních služeb v Suchomastech či Speciální MŠ a ZŠ v Rakovníku)

Pravidelné série výzkumných workshopů z oblasti alternativního a loutkového divadla – výzkum scénografického, pohybového, hereckého, režijně-dramaturgického, hudebního komponentu a výzkum aktuálních trendů a tendencí z oblasti divadla loutkového (i v kontextu tradičního loutkového divadla)

Audiovizuální výstupy – dokumenty (např. ve spolupráci s ČT dokument o divadelní tvorbě ve specifických skupinách – Klíč 2020 https://www.ceskatelevize.cz/porady/1096060107-klic/220562221700009/)

Vědecká rada výzkumného ústavu

ZÁSTUPCE ŘEDITELE ÚSTAVU