Main task of this work is to present painted curtains of the Czech provenance and situated on the Czech territory during last quarter of th 19th century. At the beginning I will present the development of theater curtains in general. There will be also described Czech painted curtains from the end of 18th and 1st half of the 19th century and the foreign examples. Subsequently will be analyzed the curtains of the national Czech and German theaters ant there will be made comparison between these two types. At the end will be described the specific element of painted curtains. Powered by TCPDF (www.tcpdf.org)

Cette étude est consacrée au parcours créatif du Théâtre d'Art Polonais. Il m'a paru utile de faire des recherches sur l'origine de ce théâtre, sur les sources de son inspiration et son activité. J'appuierai mes constatations sur des citations de théoriciens, ainsi que sur des écrits des créateurs et autres interprètes de Reduta. J'aimerai présenter les créateurs du Théâtre d'Art en Pologne, leur parcours créatif dans le contexte socioculturel de l'époque, leurs réalisations en collaboration avec les auteurs des pièces présentées et leurs relations avec tous les participants à la création scénique. Un point important de mon travail consiste à retrouver et à classifier les éléments caractéristiques des représentations scéniques. On peut constater que les conditions et les circonstances assez spécifiques du travail créatif de Reduta ont donné une existence autonome et unique aux oeuvres présentées. Un examen approfondi de documents et d'articles, conjointement à l'étude de l'iconographie permettra de dégager les caractéristiques principales des ouvrages analysés et présentés et de définir leur structure. Mon objectif est d‟arriver à faire une synthèse permettant de définir l'esthétique et la spécificité des créations théâtrales du Théâtre d'Art Polonais. Je ferai donc la description des quatre périodes caractéristiques de l'activité de Reduta : la Première Reduta Varsovienne (1919-1925), Reduta à Vilnius (1925-1930) et la Deuxième Reduta Varsovienne (1930-1939), la Quatrième Reduta (1939-1946). Enfin, je situerai ce théâtre dans un courant européen de renouveau artistique en précisant les voies de son évolution à travers une multitude d'évènements artistiques, en montrant ses aspects innovateurs et ses transformations au cours de la longue période de son existence. / I devote my studies to the creative activities of the Polish Art Theatre, called Reduta, against the background of general European culture. I would like to focus on searching for the sources of this theatre, on all aspects which provided its inspiration and paved the way for creative action. I will base many of my reflections on the theories and quotations of the theorists of this theatre, as well as on the thoughts of its creators expressed in many works, as for example in memoirs or letters addressed to their closest associates. I would like to present the creators of the Polish Art Theatre such as Juliusz Osterwa and Mieczysław Limanowski, in order to indicate certain aspects of their private lives, their artistic ambitions, their memoirs, their theoretical work, their road and their aspirations for excellence in the theatrical domain, most fully expressed in the innovative directing and acting aspects of the artistic creations presented, based on naturalness and direct contact with the spectator. Therefore, one very important element of my study will be to determine the character of the work for this theatre and the participation of the entire theatrical team, both acting and technical, in the creation of a given show. The methodology of acting work introduced by Mieczysław Limanowski and Juliusz Osterwa was very significant in the artistic development of an actor, his means of presentation, the shaping of his creative personality. I would like to analyze and indicate three major periods in the existence of the Polish Art Theatre.

A l’opposé des spectacles traditionnels iraniens qui sont un sujet exploré depuis des années par la recherche théâtrale notamment à l’extérieur des frontières iraniennes, l’étude du« théâtre en Iran » est encore à ses balbutiements. La présente étude se concentre sur une période cruciale de l’histoire contemporaine iranienne où dans un contexte très agité les efforts sincères de trois initiés : Mir Seyfeddin Kermanshahi, Abdolhossein Noushin et Shahin Sarkissian parviennent au lancement d’un théâtre qui se réclamant de l’art, dépasse le cadre du simple divertissement ou de la pure propagande et est capable de méditer sur les interrogations fondamentales du peuple iranien notamment la question de l’identité.Le facteur déterminant à prendre en considération dans leur parcours est sans doute leur formation on Occident, en Russie et en France, et leur rencontre avec le mouvement européen du Théâtre d’Art. / While the traditional Iranian performances have been, in the late years, an object for theatre studies, notably outside of Iran, research on « Theatre in Iran » is still to be developed.This study zooms on a crucial period in contemporary Iranian history, when in a verycomplex context the earnest endeavours of three specialists, Mir Seyfeddin Kermanshahi, Abdolhossein Noushin and Shahin Sarkissian, succeeded in launching a theatre that, claiming the status of art, out passed the boundaries of plain entertainment or pure propaganda and wasable to consider the fundamental questionings of the Iranian people and notably the question of identity.The determining factor to be considered in their enterprise is doubtlessly their Occidental formation, in Russia and in France, and their confrontation with the European movement of Art Theatre.

The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.

“Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972” presents a historical narrative of the art house theatre during the 1960s and its surrounding years, examining the ways in which art theatres transformed into adult theatres during the 1960s and 1970s. Beginning in earnest in the immediate post-war period, art houses in America experienced a short period of growth before stagnating in the middle 1950s. With the release in 1957 of the erotically charged Brigitte Bardot film …And God Created Woman, a new era of art houses followed, one that is characterized by the emergence of sexualized advertising, content and stars. As the 1960s came, sex films like The Immoral Mr. Teas played on art film marketing strategies and even screened in many art houses. Gradually, sexploitation films began to dominate art house programs and replace European art films and Hollywood revivals. In this transitional period, however, sexploitation films used key strategies to emulate many art film characteristics, and likewise art films used sexploitation techniques in order to maintain marketability for American distribution and exhibition. By studying the promotion and programming used by art house theatres during this period, this thesis identifies and announces a number of key trends within the dynamic period for art houses. The period is distinguished by its convergence of practices related to prestigious and prurient signs, merging art and sex in ways unique to the era and to the circumstances by which sex films infiltrated art houses and art films pandered to salacious interests. It presents a new perspective on the history of art houses, art cinema, American exhibition, sexploitation films, hardcore pornography and censorship. / text