This thesis focuses on the Theatresports as a general category of improvisational theatre. Theoretically analyses their structure in terms of theatre studies and interprets the principles of this specific approach to theatre production, deals with their history and development, also is trying to establish a suitable theoretical and conceptual apparatus for them. It also reflects the decade of work of Theatresports in the Czech Republic, summarizes their characteristics and places them in context with other selected speeches theatrical improvisation on the Czech scene. Keywords: Theatresports, Keith Johnstone, improvisational theatre, improvisation, contemporary Czech theatre, Czech improvisational League

The thesis' subject is the celebrated poet Jindřich Hořejší (1886-1941) in his lesser-known vocation as a theatre translator whose bulk of work consists of translation of contemporary French drama (eg. Giraudoux, Claudel, Cocteau, Salacrou, Neveux, Passeur, Achard or Pagnol). First, it follows traces of theatre in the poet's life, before discussing various aspects of his role as a translator in the reality of theatre at the time (fnancial conditions of theatre translation, the work of theatre agencies, communication with theatres etc.) and offering a list of his translations of French drama, compiled to be as complete as possible. The next chapter contains analyses of Hořejší's own articles detailing his views on the theoretical aspects of translation (which are also reprinted in the Appendix), putting them into the context of contemporary translation theory and practice. The fnal two chapters analyse selected translations. The frst deals with verse drama translations, Arnoux' Huon of Bordeaux and Racine's Phaedra; the latter with an extensive commentary on the history of Czech stage alexandrine. The next chapter follows Hořejší's work with colloquial language in Pagnol's Fanny and compares his approach to translation of Giraudoux' Intermezzo with that of Karel Kraus.

Puppeteer, World's Oldest Periodical Focused on Puppetry (1912-2009) Diploma Thesis Eva Pivodová Abstract This thesis focuses on the history of the magazine Czech Puppeteer (Český loutkář), or Puppeteer (Loutkář), the world's oldest continuously published periodical of its kind. The first 3 chapters describe in detail the magazine's transformations between 1912- 1950, its further existence is described more briefly in the final chapter. The resource material consisting primarily of the published issues of the magazine served as the basis for historical analysis. The text also puts the history of the magazine into context with the development of puppetry and it includes references to relevant theatrical literature. The magazine was founded by Jindřich Veselý in 1912 in Prague. In the first period of its existence (1912-1913), it helped to integrate the Czech puppetry community and it emphasized the values of genuine Czech puppet theatre. After 1917, Puppeteer (Loutkář) continued to publish both theoretical and practical articles. In 1940, it was replaced by Puppet Theatre (Loutková scéna). But Puppet Theatre was soon cancelled as well and so the only periodical focused on puppetry published during war was a simple cyclostyled bulletin. After the war, the renewed Puppet Theatre had to adapt to the new...

2 Mgr. Jan Petružela Alfréd Radok and His Stage Practices Analysis of the Production of Devil's Circle Abstract Alfréd Radok (1914- 1976) started his second term at the National Theatre (1954-1960) with two moderate productions, in which he, due to the Stalinist régime, suppressed his creative power. However, the following season Radok came with the production of Devil's Circle (1953), schematic play by Hedda Zinner about the Leipzig trial (1933), in which he found his essential topic - to grasp the Zeitgeist and manifest a universal mechanism of totalitarian power and trumped-up political trials. In this production, staged in the period of mild political "thaw", Radok managed to bring back to the Czech theatre modern stage directing practices and re-established the position of stage director, which was reduced in the previous years by the dogmatic aesthetics of socialistic realism. The production of Devil's Circle (prem. December 21, 1955) at the Estates (then Tyl's) Theatre, warmly received by audience as well as critics, renewed and developed for that time unprecedented, though historically verified principles: imaginative, non-descriptive theatre with a meaningful overlap, strict approach to acting with an emphasis on realistic, civil-like expression, interpretation of dramatic sitution, intense work...

La thèse démontre l’impact du théâtre de Krejča sur l’évolution de l’art dramatique belge francophone. Elle scinde l’activité théâtrale de Krejča en Belgique en deux parties, chacune placée sous le sceau d’une réalité politique différente. La première correspond à un moment de détente dans le paysage politique tchécoslovaque et débute avant la création du Divadlo za branou. Assimilée à la seconde avant-garde théâtrale tchèque, elle inaugure aussi la série de succès internationaux de Krejča dans des pays non socialistes. La seconde période survient après la liquidation du Divadlo za branou par les autorités communistes tchécoslovaques et après le départ de Krejča en semi exil. Théâtralement, la Belgique francophone est alors en pleine émulation, qui s’observe notamment dans les propositions artistiques du « Jeune théâtre » (1976-1986). <p><p>L’arrivée de Krejča, dans les années 1960, sur la scène du Théâtre National de Belgique s’inscrit dans la dynamique des échanges théâtraux européens et dans une volonté diplomatique de rapprochement entre la Tchécoslovaquie et la Belgique. La thèse insiste sur ces rencontres entre les artistes belges francophones et les artistes internationaux car elles jouent un rôle fondamental, auquel prend part Krejča, dans l’histoire du théâtre belge de langue française. Fort de sa réappropriation de la tradition théâtrale tchèque et des concepts de Stanislavskij, Krejča est l’un des premiers à apporter en Belgique francophone un regard dépassant la dimension représentationnelle de la première lecture du texte et à proposer une alternative au manque laissé par le retard de l’avant-garde théâtrale belge francophone. Sa poétique, principalement influencée par le théâtre atelier d’E.F. Burian, le théâtre poétique de Frejka, le civilisme d’Hilar, les théories préfigurant la sémiologie théâtrale initiée par l’école de Prague et par les développements du « Mchat », rencontre un accueil mitigé parmi les journalistes polygraphes mais ne manque pas d’impressionner certains animateurs de la scène théâtrale belge à l’instar de Janine Patrick ou de Marc Liebens. Aussi trouve-t-elle notamment un prolongement dans le Théâtre du Parvis.<p><p>La thèse situe l’apport le plus évident de la poétique krejčaïenne en Belgique francophone dans le traitement dramaturgique, polyphonique et préfigurant le théâtre postdramatique, que le metteur en scène propose. A Louvain-la-Neuve, c’est à nouveau la puissance de la tradition tchèque et la conviction philosophique de Krejča qui impressionnent ses collaborateurs et se déclinent à travers les excroissances théâtrales francophones belges dont la plus manifeste est une expérience théâtrale, toujours en cours aujourd’hui :le théâtre de l’Éveil.<p><p>La dissertation délimite d’abord les spécificités de la poétique théâtrale de Krejča, puis, après une analyse des mises en scène de Krejča, elle retrace et détaille les diverses formes sous lesquelles son esthétique se manifeste :transmission d’un héritage théâtral (avant-garde historique tchèque, sémiologie théâtrale développée par l’Ecole de Prague) et littéraire (mise à l’honneur de Schnitzler et de Nestroy), prolongement de la recherche théâtrale jusqu’à l’approche postdramatique (révélation de la dramaticité des pièces de Tchékhov, importation du théâtre musical), regards dramaturgique et philosophique, écriture dramatique (influence sur l’écriture d'auteurs dramatiques, Krejča-personnage dans des pièces d’acteur)… <p><p>/ The thesis focuses on Czech theatre from first avant-garde to second avant-garde; mainly it is focusing on Otomar Krejča’s theatre and its relationship with Belgian theatre within the second Czech avant-garde theatre to the end of the Normalization. <p>Krejča worked an intensive part of his artistic life in Belgium. His Belgian theatrical activity can be divided into two distinct periods. The first one was coinciding with the foundation of his “Theatre Beyond the Gate” (Divadlo za branou) in Prague in 1965 and took place in the Belgian National Theatre in Brussels. Those years were squaring with Czechoslovakian destalinization and were particularly productive in the artistic field. In Brussels Krejča directed four plays: in 1965, Hamlet, in 1966, The Seagull, in 1970, Three Sisters, in 1978, Romeo and Juliet. The first three plays occurred before the Normalization and his departure in specific exile. The last one marked the beginning of his second period in Belgium, closely bound to Louvain-la-Neuve city. The two following Krejča’s productions were first created for the Festival d’Avignon: in 1978, Waiting for Godot and Lorenzaccio in 1979, before being performed at Atelier théâtral Jean Vilar in Louvain-La-Neuve. The three following plays were the last of Krejča’s Belgian works: Three Sisters in 1980, A. Schnitzler’s The Green Cockatoo in 1981 and Dostoevsky’s The Possessed adapted by Krejča himself in 1982. <p><p>In Belgium, the reception of his plays was mitigated. Duality between critics can be explained by Krejča’s new regard on plays, by Krejča’s use of dramaturgy. Krejča’s productions in Belgium were innovating because through dramaturgy they paved the way for something new :it was the end of a romantic Hamlet in the Shakespearian tradition and the end of Pitoëff’s aesthetic in Chechov’s productions. <p><p>Krejča’s work of art, impregnated by Czech tradition theatre of avant-garde, influenced his Belgian collaborators. Krejča was influenced by leaders in Czech first avant-garde theatre such as Burian, Frejka, theatrical theory of Honzl and Hilar’s theatre conception. When Krejča started to work in Belgium, the country was undergoing a theatrical revolution. At the end of the 1960s, French-speaking Belgium lived at the rhythm of its first avant-garde in staging. According to me, this fact is the main explanation to Krejča’s significance in French-speaking Belgium. Thanks to Krejča’s Belgian productions, a part of the first Czech theatrical avant-garde and the second Czech theatrical avant-garde penetrated in Belgium. <p><p>All of Krejča’s concepts (human beings, ethic of responsibility, importance of dramaturgy, personal appropriation of Stanislavski’s approach) slowly instilled French-speaking Belgian theatrical life. Sure an evident mark of continuity of his aesthetic cannot be seen in the long time, nevertheless Krejča’s influence was considerable and briefly materialized in many fields. It is obviously still vivid in the way some actors play, feel and teach theatre. <p><p><p><p><p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished