ArteActa 2022, 8:21-47 | DOI: 10.62804/aa.2022.012
This paper offers an insight into the lived practice of artistic research at the Faculty of Fine Arts (FFA), Brno University of Technology. Building on my own experience as a PhD student as well as on an archive of first-year doctoral student questionnaires about their motivations for studying an artistic doctorate-their expectations, their perceptions of the demands, and their intended strategies for meeting those demands-I explore the formative influence of the artistic doctorate on the students' practice. The archive of questionnaires has been developed as part of the course Research Through Artistic Practice, which I am involved in teaching. In...
ArteActa 2022, 8:48-78 | DOI: 10.62804/aa.2022.013
The multimedia project Reakce K represents the symbolic return of the organ moved under unclear circumstances in the 1950s from the closed prison chapel of the Brno Penitentiary to the new church building in Úsobrno. Music composer, organist, and improviser Peter Graham has created extensive musical material through free improvisation and various playing techniques, which has been sorted and processed. A corresponding imitation sound bank of selected acoustic instruments was created for this sound material. The project took place in several phases, with each phase having a different output and solving different theoretical questions. The original...
ArteActa 2022, 8:1-20 | DOI: 10.62804/aa.2022.011
This study is focused on the fundamental journey of the neutral mask according to the method of Jacques Lecoq. The qualitative analytical-comparative design of the research seeks parallels of preparatory exercises in relation to ancient philosophy, anthropology and theatre studies. It aims to develop the potential of a neutral mask in theatrical education. The longitudinal process is based on three pillars: personal experience, theory, pedagogical practice. The initial impulse is precisely the paradox that the motivation or engine for exercising with a neutral mask is never related to a specific character but is always based on a realistic situation...
ArteActa 2022, 8
ArteActa 2022, 8:79-92 | DOI: 10.62804/aa.2022.014
In the past three issues of ArteActa, we have presented interviews with theorists and/or practitioners of sound design for film. After we interviewed Michel Chion, we were interested in adding more content dedicated to the practice of sound design for film. That's how we also decided to interview Marie-Jeanne Wyckmans and Paul Davies. However, we thought it would make sense to close the cycle by interviewing someone from the Czech scene, simply to shed light on the rich audiovisual environment that we - artists, practitioners, and technicians - live here. At the same time, we would hope to dissipate a few misconceptions and misunderstandings...
ArteActa 2022, 8:93-105 | DOI: 10.62804/aa.2022.015
