The theme of this diploma thesis is perception of time within the audiovisual work. Particular attention is paid to the audio component of the audiovisual work, from which perspective is seen the phenomenon of time. First there is briefly introduced understanding of time evolved within the philosophical context. The next part presents film as a medium that, from its formal nature, brings new impetus that further develops the thinking of time. After this introduction work focuses on the way of perceiving time within the sound itself, respectively in music composition. It is based on the findings of psychoacoustics and, above all, on the theoretical considerations of French composer Gérard Grisey, to which is trying to find parallels in the context of the sound dramaturgy of the film work. The last part deals with time relations arising from the relationship between film image and sound. It is trying to question and then generalize specific formal relationships within the audiovisual work, influencing the subjective perception of time.

The ethnographical study of production culture of Czech television, its character is interdisciplinary.

Masters diploma thesis The Mary Sue Principle or How Not To Create A Too Perfect Character is focused on the literary phenomenon of fan literary work – fan fiction – and its specific genre, Mary Sue. For this genre are typical almost ridiculously/absurd perfect characters, which attract all of the attention to themselves and often have excessive superpowers on their disposal. The theoretical part of the thesis outlines the reasons for the creation of Mary Sue and explain specifics of this phenomenon. Moreover, it describes describe dramaturgic rules, which are supposed to help authors to create a character. The analytic part of the thesis then analyzes three movie and TV series characters – Jon Snow from Game of Thrones, Ray from Star Wars: The Force Awakens and Grace from Peaky Blinders – which can be used to demonstrate components of a Mary Sue type of character. The goal of this thesis is to propose the use of the Mary Sue principle as a dramaturgic tool for character building.

Dans cette recherche doctorale, nous analysons le traitement de la violence dans la production dramatique de Juan Mayorga et tentons de montrer en quoi la violence est non seulement un thème fondamental de son théâtre mais également un des piliers de sa dramaturgie. Notre travail repose sur une étude de la violence à travers la formation intellectuelle et théorique de Juan Mayorga, docteur en philosophie, spécialiste du penseur judéo-allemand Walter Benjamin et fin connaisseur de la pensée philosophique post-Auschwitz (entre autres Hannah Arendt, Hans Jonas, Paul Ricœur, Emmanuel Levinas). Nous procédons ensuite à des analyses dramaturgiques sur un corpus de pièces choisies afin de délimiter les lignes de force de son théâtre et d’étudier la manière dont la violence modélise l’architecture d’ensemble de son œuvre. À travers ces analyses, nous réussissons à déterminer les procédés dramaturgiques qui font de ce théâtre de la violence un théâtre paradoxalement non violent, où la fascination cède la place à la raison et à la critique. / In this doctoral research, we analyse the treatment of violence in the dramatic production of Juan Mayorga and we try to show at what point violence is not only an essential aspect of his theatre but also one of the foundations of his dramaturgy. Our work is based, first, on a study of violence through the intellectual and theoretical formation of Juan Mayorga, Doctor of philosophy, specialist in the Jewish-German thinker Walter Benjamin and a great expert on post-Auschwitz philosophical thought (among whom the philosophers Hannah Arendt, Hans Jonas, Paul Ricoeur and Emmanuel Levinas can be found). Subsequently, we analyse several of his plays in order to delineate the lines of force of his theatre and study how the violence models the overall architecture of his work. Through these analyses, we manage to determine the dramaturgical procedures that make this theatre of violence a paradoxically non-violent theatre, in which fascination is replaced by reason and criticism.

La thèse actuelle présente une étude de l’œuvre complète du dramaturge, écrivain, metteur en scène et acteur français contemporain Jean-Luc Lagarce (1957-1995) dont la création dramatique a été pleinement reconnue après son décès et la découverte de sa dernière pièce Le Pays lointain qui a tout de suite connu un énorme succès critique et a été plusieurs fois mise en scène. Organisée en quatre chapitres majeurs, la présente recherche rencontre nécessairement les préoccupations des spécialistes du langage et plus particulièrement de la linguistique conversationnelle et de l'approche pragmatique. Ce regard croisé permet une réflexion sur la nouvelle poétique dramatique et littéraire de Jean-Luc Lagarce centrée sur la complexité inhérente à la réalisation empirique de la parole, au lieu de se réduire à un simple fonctionnement des interactions verbales attestées dans la société contemporaine. L’œuvre de Jean-Luc Lagarce se présente ainsi comme la résultante dramatique, stylistique et littéraire spécifique de ce théâtre discursif qu’est le « théâtre du langage ». / The present thesis presents a study of the complete work of contemporary French playwright, writer, director and actor Jean-Luc Lagarce (1957-1995) whose dramatic creation was fully recognized after his death and the discovery of his last play The Far Country, which has immediately been enormously critical and has been staged several times. Organized into four major chapters, this research necessarily meets the concerns of language specialists and more particularly of conversational linguistics and the pragmatic approach. This cross-look allows a reflection on Jean-Luc Lagarce's new dramatic and literary poetics centered on the complexity inherent in the empirical realization of speech, instead of being reduced to a mere functioning of verbal interactions attested in contemporary society. The work of Jean-Luc Lagarce thus appears as the dramatic, stylistic and literary resultant specific to this discursive theater that is the "theater of language".

This thesis deals with nthe emergence of the summer festival Nabucco. The first part introduces the opera by Giuseppe Verdi and opera storyline and characters. The second important part is focused on the actual implementation of the project and interviews with key personalities involved in the performance itself. The aim is to outline the work processes that lie behind the final performances of Nabucco productions.

Diploma thesis describes engineering of a music recording and is focused on creative potencial of the discipline. Text covers possible attitudes towards sound design of a musical work and refer that the result is invariably influenced by individual conception and creative vision of the sound engineer. Thesis deals also with music perception in its different forms, recent transformations of music industry, sound aesthetics, dramaturgy, sound image and its qualities. These topics are applied to practical aspect of sound engineering. Thesis is based on author's personal experiences and availabe bibliographical resources.

The main goal of this thesis is to describe the unofficial genre of films without speech and to analyze principles of the use of sound and film language in such films. Initial chapters speak generally about the phenomenon of feature nonverbal cinema with the focus on its historical development and general film language. The middle part presents, and briefly describes chosen films without speech, and suggests their sorting into sub-genres. The last, vastest part of the work, is an analytic study of various approaches to reduce speech generally throughout film. This part leads into the final theoretical description of soundtrack in films without speech.

Made available in DSpace on 2016-12-08T16:52:05Z (GMT). No. of bitstreams: 1 Magali.pdf: 409841 bytes, checksum: 00ba507c1071a1a1c0eaa8b1e9b9f508 (MD5) Previous issue date: 2007-02-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ce travail recueilla, par l´intermédiaire d´une recherche bibliographique et électronique, ainsi que par des interviews, certaines données concernant le dramaturg: le concept, les functions, les activités, le rapport avec le metteur en scène, les acteurs, l´auteur, le public. Ont été repertoriées et classées aussi des informations sur l´importance et l ´utilité du dramaturg, certains aspects considérés comme étant négatifs ou encore des difficultés présentées lors de l´exercice de cette profession. Le résultat en est un ensemble d´informations organisées. Outre, le travail compare les activités des Dramaturgs brésiliens avec celles des Européens et Nord-Américains / Este trabalho coletou, através de pesquisa bibliográfica, de meio eletrônico e de entrevistas, dados a respeito do dramaturgista: conceito, funções, atividades, relacionamento com o diretor, os atores, o autor, o público. Foram levantados também dados a respeito da importância e utilidade do dramaturgista e os aspectos considerados negativos ou dificuldades da atividade profissional. O resultado é um conjunto de informações organizadas. O trabalho também compara as atividades dos dramaturgistas brasileiros com aquelas dos europeus e norte-americanos

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