Staging of The Bear by Anton P. Chekhov

Jazmin Edeissa Cepeda

Diplomová práce

Staging of The Bear by Anton P. Chekhov

Anotace:

The concept of directing for dramatic theatre has greatly evolved over the years with individual theatre practitioners building on the work of other researchers in the field. The work of Constantin Stanislavski has set the base parameters for the exploration of how to work with an actor, keeping the truth of a character as the primary focus. Students of Stanislavski’s teachings have interpreted his methods and expanded their reach so as to fit the needs of their actors’ preparations for their roles. Due to the dynamic and changing nature of society, it is necessary to continue to develop the director’s approach to theatre, for theatrical representation finds its roots in the greater context of the present day. This essay in conjunction with its practical component of realising the staging of The Bear by Anton Chekhov serves as a case study on how to further develop upon pre-existing methods for working with actors as a director. Included is a description of the process of mounting The Bear (2023) from the perspective of the director. Primary focus is given to the exercises and techniques used to work with the actors during rehearsals to help them prepare physically, mentally, and emotionally for their roles. Challenges within the rehearsal process are adressed, establishing methods for alleviating potential problems in future work. Included within the process is textual analysis of the script, that which guides the team’s approach to the deeper subtext of the characters’ situations. Findings show that open communication and analysis of the text with the actors in the rehearsal room serve to heighten the feeling of theatrical ensemble, further aiding the collaboration between actor and director. Provided are potential techniques and methods of communication that may be employed in future directorial work.

Abstract:

The concept of directing for dramatic theatre has greatly evolved over the years with individual theatre practitioners building on the work of other researchers in the field. The work of Constantin Stanislavski has set the base parameters for the exploration of how to work with an actor, keeping the truth of a character as the primary focus. Students of Stanislavski’s teachings have interpreted his methods and expanded their reach so as to fit the needs of their actors’ preparations for their roles. Due to the dynamic and changing nature of society, it is necessary to continue to develop the director’s approach to theatre, for theatrical representation finds its roots in the greater context of the present day. This essay in conjunction with its practical component of realising the staging of The Bear by Anton Chekhov serves as a case study on how to further develop upon pre-existing methods for working with actors as a director. Included is a description of the process of mounting The Bear (2023) from the perspective of the director. Primary focus is given to the exercises and techniques used to work with the actors during rehearsals to help them prepare physically, mentally, and emotionally for their roles. Challenges within the rehearsal process are adressed, establishing methods for alleviating potential problems in future work. Included within the process is textual analysis of the script, that which guides the team’s approach to the deeper subtext of the characters’ situations. Findings show that open communication and analysis of the text with the actors in the rehearsal room serve to heighten the feeling of theatrical ensemble, further aiding the collaboration between actor and director. Provided are potential techniques and methods of communication that may be employed in future directorial work.

Klíčová slova

divadelní režisérky

Klíčová slova

Čechov, Anton Pavlovič, 1860-1904. Medved‘. Česky

Klíčová slova

divadelní inscenace

Klíčová slova

divadelní režie

Jazyk práce: čeština

Datum vytvoření / odevzdání či podání práce: 21. 5. 2024

Obhajoba závěrečné práce

• Obhajoba proběhla 19. 6. 2024
• Vedoucí: Jitka GORIAUX
• Oponent: Michal ZAHÁLKA

Akademie múzických umění v Praze

Divadelní fakulta

Magisterský studijní program / obor:
Dramatická umění / Režie činoherního divadla