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This master's thesis concerns itself with the motive of "despair" in contemporary Czech drama. It includes an analysis of selected plays written after 2000 by leading Czech authors belonging to the middle generation (Petr Zelenka; David Drábek; Jiří Pokorný; Petr Kolečko; Tomáš Svoboda; Lenka Lagronová; Iva Klestilová, born Volánková). The aim of the thesis is to analyze these dramas, to define characteristic elements and to determine whether we can identify a clear "desperate people" motive within their characters, deeming it a characteristic feature of contemporary Czech drama written by the middle generation. Using a comparative method we explore typical repetitive motives of the characters - anti- heroes, which suffer from having an unfulfilled personal life, a feeling of loneliness or a midlife crisis. The master's thesis describes the causes and manifestations of despair of the characters, as well as the solutions the dramas offer to the bleak situation (insanity, suicide, miracle). KEYWORDS contemporary Czech drama, motive of "losers", in-yer-face theatre, Petr Zelenka, David Drábek, Jiří Pokorný, Petr Kolečko, Tomáš Svoboda, Lenka Lagronová, Iva Klestilová (Volánková)

Mémoire en recherche-création / Le présent mémoire propose d’interroger la construction du récit médiatique dans la fable théâtrale contemporaine. D’abord par une fiction au dispositif épuré, mais au verbe cru et humoristique, la pièce de théâtre Transactions, puis par un essai sur la pièce de théâtre Rouge Gueule d’Étienne Lepage, nous désirons explorer les liens qui unissent le comique et la violence du langage, notamment par des affinités avec le mouvement britannique In-Yer-Face (Sarah Kane) et tels que mis de l’avant par un « personnage-réseau » porteur de discours, en écho à l’« impersonnage » de Jean-Pierre Sarrazac. En ce sens, nous avons convoqué les notions de dialogisme (Bakhtine) hétéromorphe (Hervé Guay), d’esthétique de la divergence (Hervé Guay), de polyphonie (Bakhtine) hétéromorphe (Hervé Guay) et de la mise à mal d’un conflit afin d’expliquer le renouvellement d’une esthétique dramaturgique tout à fait contemporaine, se rapportant à la Toile et dont le spectateur émancipé (Jacques Rancière) devient un actant principal par l’intermédiaire duquel le théâtre prend tout son sens. / This thesis aims to question the construction of the media narrative in the contemporary theatrical fable. First, by analyzing the play Transactions and its sober scenography, yet raw and humorous words, and subsequently examining Étienne Lepage’s Rouge Gueule, we will explore the links between the humor and violence of language. This includes the affinity with the British movement In-Yer-Face (Sarah Kane) as put forward by a "network-character" speech bearer in response to Jean-Pierre Sarrazac’s "non-character". Thus, this paper will study concepts including heteromorph (Hervé Guay) dialogism (Bakhtin), aesthetics of the divergence (Hervé Guay), heteromorph (Hervé Guay) polyphony (Bakhtine) and the redefinition of conflict in order to explain the replenishment of an aesthetic dramaturgy that is quite contemporary, relevant to the Web and in which the emancipated audience (Jacques Rancière) becomes a main actor through which the play takes on its full meaning.

The gay male emerged as a visible public consumer during 1990s, when the LGBTQ movement in the United Kingdom and the United States was marked by conflicting commercial and political motives, heightened by the AIDS crisis. The cultural tension surrounding the gay male subject was reflected through various literary expressions. In the United Kingdom Mark Ravenhill’s Shopping and Fucking (1996), as part of the in-yer-face theatre, exploded in the face of the bourgeoisie. In the US America Dennis Cooper’s highly publicised George Miles Cycle (1989-2000), was followed by The Sluts (2004) as part of the transgressive literature, provoking both straight and gay communities. Through an analysis of themes such as capitalism, commerce, hyperreality, internalised fear, desire, and violence in the works, an alternative image of the gay male is distinguished. This is an image of the gay male subject that is complex, multi-faceted, contradictory and polyvalent. The characters relate differently to the hegemonic hyperreal role model, but are exposed to the same social structure that dictates their living conditions and positioning them as objects possible to practice violence on. The works provide a widened and complicated image the public image of the gay male. Their countercultural narratives trace how the gay male subject have been affected by the heteronormative society. When the provided stereotype is too narrow to express the burden and the joy of the contemporary gay male subject, alternatives, like the depictions by Ravenhill and Cooper, may allow the subject to fully possess the gay experiences of pain, sorrow and anger that he has been forced to bear. This research explores how the violence within the texts holds a liberating potential.

This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.

This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama. / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished