anglicky: Title of the thesis: Molière in modern Czech theatre Keywords: Molière, preciousness, classicism, baroque, comedy, commedia dell'arte, comedy-ballet. Abstract: The thesis treats the works of Jean-Baptiste Poquelin also known as Molière and their legacy in modern Czech theatre. It characterizes French society of the seventeenth century and the main features of contemporary philosophical and artistic styles, focusing on the dramatic creation of classicism. It also summarizes the life of Molière and his work, subdividing it according to generic, formal and thematic criteria. Within this frame, it gives a detailed analysis of the most important plays, representing the individual categories. It also studies the modern Czech theatrical stage. Focusing on the historical context, it explores the development of the stage from the end of the Second World War until nowadays. It gives a complex outline of Molière's plays presented during the different periods, evaluating the influence of cultural and historical context on the particular interpretation. This evaluation is based on the information presented in contemporary press and promotional materials of the given theatres and thus examines Molière's plays performed on Czech theatre stages in the present. On the basis of a questionnaire...

Au-delà des trois Psyché de Lully (ballet, 1656 ; tragi-comédie et ballet, 1671 ; tragédie en musique, 1678), apparaît, entre 1671 et 1718, sous la plume de différents auteurs, une multitude de pièces ou d’œuvres se réclamant des Psyché de Lully, alors mêmes qu’elles en divergent, parfois au point d’en récuser les fondements. L’objet de ce travail consiste donc à comprendre comment une telle situation est possible. Parallèlement à leurs spécificités respectives, les trois Psyché de Lully, mettent en œuvre un principe de création par réécriture musicale, que les successeurs de Lully vont durablement exploiter. En dépit de matériaux originels lacunaires ou discordants, les contemporains de Lully identifient chacune des Psyché comme telle, attestant qu’au-delà de leurs disparités existe un certain nombre de traits communs à l’écriture de Psyché, quel que soit son ‘genre’. Cependant, les variations apportées par les diverses réécritures, de Lully, de ses contemporains ou de ses successeurs constituent des ensembles dont on peut suivre l’évolution, ce qui signifie qu’au-delà des seules Psyché de Lully, le corpus global des réécritures fait sens. De fait on identifie en même temps qu’une dramatisation de la musique par le chant, la disparition du drame par la dramatisation même de la musique. Ce phénomène se réfracte dans la lecture du mythe et du sujet tragique en général : de symbolique et religieuse, elle se fait laïque et critique, épousant par là-même l’évolution du concept d’harmonie dans le spectacle de Cour. Ainsi les Psyché de Lully apparaissent-elles comme un laboratoire de l’histoire du spectacle de Cour. / Beyond Lully's three Psychés (a ballet in 1656 ; a tragicomedy and ballet in 1671 ; an opera in 1678) a multitude of plays or works appear between 1671 and 1718. Composed by various authors they all claim to draw their inspiration from Lully's Psychés although they differ from it or even refute its foundations. Hence, the purpose of this work is to understand how such a situation is possible. Parallel to their respective specificities, Lully's three Psychés implement a principle of creation through musical rewriting which Lully's successors will make use of for years. In spite of incomplete or conflicting original materials, Lully's contemporaries identify each of the Psychés as such, showing that beyond their disparities a certain number of common points in the writing of Psyché can be found, whatever the 'genre'. Yet the variations brought by the various rewritings, whether by Lully himself or by his contemporaries or successors, make up wholes the evolutions of which can be followed, which means that beyond Lully's Psychés the global corpus of the rewritings makes sense. De facto, as well as a dramatization of music through singing, we can identify the disappearance of drama through the actual dramatization of music. This phenomenon is refracted in the reading of the myth and the tragic subject in general : from symbolic and religious it becomes secular and critical , thus embracing the concept of harmony in court entertainment. Therefore, Lully's Psychés appear as a laboratory of the history of court entertainment.