The state final examination consists of two parts: a written test and an oral examination. It is public and takes place before a three-member committee. The rules governing the defense are defined by the Study and Examination Regulations of Palacký University and its implementing internal regulation of the Faculty of Arts. The test and oral examination are based on the knowledge and skills acquired in the core theoretical subjects, which are divided into the thematic areas listed below for the purposes of the examination. The test, consisting of multiple-choice questions, verifies basic subject knowledge and is conducted electronically. To pass, the student must correctly answer at least 80% of the questions; otherwise, they fail the state examination. After successfully completing the test, the student draws two questions from the state exam topics and chooses one to answer. They have three days to prepare an independent response to the question, which should take approximately 20 minutes to present. The precise wording of the state exam questions elaborates on the thematic areas listed below. Each question contains several sub-questions related to theoretical concepts, as well as a selection of artefacts (dramatic texts, theatre and cultural performances, or their recordings) that must be analyzed as part of the answer. The text of each question also includes recommended literature. All exam topics are based on the core theoretical subjects of the program. The combination of a test, open-ended questions with advance preparation, and the integration of theoretical knowledge testing with the assessment of analytical abilities with an emphasis on clarity and demonstrative analysis is modeled on the structure of state examinations in Sociology (Faculty of Social Studies, Masaryk University), Musicology (Faculty of Arts, Masaryk University), and Theatre Studies (Faculty of Arts, Masaryk University). Thematic Areas: What is theatre in culture, and how do we study it The concept of cultural performance Theatre and power Theatre and ritual Forms of theatrical and performance space Spectacularity and post-spectacularity in production and staging mechanisms (Non-)professional acting in theatrical and cultural performances Dance, corporeality, physical theatre Women in the history of theatrical and cultural performances Indirect representation in theatrical and cultural performances The question of realism in theatre and drama Visual representation in performance The theatrical text Music as a component of performance Reception of theatrical and cultural performances Theatre and media Intermedial aspects of cultural performance Carnival and subversion Decolonization and intercultural exchange in theatre and performance culture Mask and costume in theatrical and cultural performances Theatre in the age of posthumanism Applied theatre
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The purpose of the state exam is to verify the acquisition of knowledge and competencies defined in the accreditation file of the study programme.
After passing the state examination, the student will: - know and be able to explain the world, European, and Czech history and present of theatre and performance culture in terms of their mutual interconnections; - know and be able to explain the fundamentals of production, legislative, economic, environmental, and political aspects of performances and theatre institutions; - be able to apply basic theories and critical-analytical methods based on theatre semiotics, poststructuralism, and the aesthetics of performativity; - be capable of explaining historical and contemporary processes and transformations of theatre and performance culture in essential interdisciplinary contexts, including complex and controversial issues related to performance form, corporeality, and role-playing; - be able to competently analyze both a literary text and a staged event.
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ALEXANDER, Jeffrey C., Bernhard GIESEN a Jason L. MAST (edd.). (2006). Social Performance. Symbolic Action, Cultural Pragmatics,and Ritual. Cambridge: Cambridge University Press.
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AUSLANDER, Philip. (1999). Liveness: performance in a mediatized culture.. London.
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BALME, Christopher. (2018). Úvod do divadelnej vedy. Bratislava.
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BAY-CHENG, Sarah, KATTENBELT, Chiel, LAVENDER, Andy a NELSON, Robin (eds.). (2010). Mapping Intermediality in Performance. Amsterdam: Amsterdam University Press.
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BENNET, Susan. (2003). Theatre audiences: a theory of production and reception. London.
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BOURDIEU, Pierre. (1986). The Forms of Capital, In: Richardson, J. (ed.) Handbook of Theory and Research for the Sociology of Education. New York.
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Burzyńska, Anna R. (ed.). (2016). Joined Forces Audience Participation in Theatre. Berlin: Alexander Verlag.
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DVOŘÁKOVÁ, Dita. (2017). Tanec, světlo a prostor. Brno.
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Edited by Peter Marx. (2022). A cultural History of Theatre in the Age of Empire (1800-1920). Vol. 5.. New York, Bloomsbury Publishing.
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ENDERS, Jody (ed.). (2017). A Cultural History of Theatre in the Middle Ages. LOndon.
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FERJENTSIK WERNEROVÁ, Blanka et al. (2009). Tanec a společnost. Praha.
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FISCHER-LICHTE, Erika:. Estetika performativity. Mníšek pod Brdy: Na konári, 2011..
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FISCHER-LICHTE, Erika, JOST, Torsten, IRIS JAIN,Saskya (eds.). (2014). The Politics of Interweaving Performance Cultures. Beyond Postcolonialism. London, New York: Routledge.
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FISCHER-LICHTE, Erika. (2014). The Routledge Introduction to Theatre and Performance Studies. London, New York: Routledge.
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Hadley, Steven. (2021). Audience development and cultural policy. Cambridge: Pagrave Macmillan.
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HASSELMANN, Kristiane ? FISCHER-LICHTE, Erika. (2013). Performing the Future. München.
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HENKE, Robert. (2017). A Cultural History of Theatre in the Early Modern Age. London.
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KATTENBELT, Chiel. Intermediality in Theatre and Performance: Definitions, Perceptions and Medial Relationships. Culture, Language and Representation. Cultural Studies Journal of Universitat Jaume I Vol 7, 2008, p. 19?29..
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KOTTE, Andreas. (2010). Divadelní věda: úvod.
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KOTTOVÁ, Karina. (2019). Instituce a divák. Praha: Display.
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Kulka, T.- Ciporanov, D. (ed.). (2010). Co je umění? Texty angloamerické estetiky 20. století. Červený Kostelec.
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LEHMANN, Hans-Thies. (2007). Postdramatické divadlo. Bratislava: Divadelný ústav.
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MECHELE, Leon. (2017). A Cultural History of Theatre in the Age of Enlightenment. London.
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MÜLLER, Richard a kol. (2020). Za obrysy média: literatura a medialita. Praha.
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NICHOLSON, Helen. (2014). Applied Drama: The Gift of Theatre. Bloomsbury.
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PAVIS, Patrice. (2020). Analýza divadelního představení. Praha: Nakladatelství AMU.
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PAVIS, Patrice. Divadelní slovník..
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REVERMANN, Martin. (2017). A Cultural History of Theatre in Antiquity. London.
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Romanska, Magda (ed.). (2016). The Routledge companion to dramaturgy. London: Routledge.
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SALTER, Chris. (2010). Entangled: technology and the transformation of performance.. Cambridge, Massachusetts: MIT Press.
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STALPAERT et al. (eds.). (2021). Performance and Posthumanism. Palgrave MacMillan.
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WEBER, Samuel. Theatricality as medium. New York. 2004.
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ZARRILLI, Phillip B. (ed.). Theatre Histories: An Introduction. New York: Routledge. 2009.
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