Design of national theatre in city centre of a capital. The building plot is defined by block of existing buildings. With my propose i am defining new theatre squere.

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Thesis (M.A.)--Brigham Young University. Dept. of English, 2005. / Includes bibliographical references (p. 93-100).

The aim of the project is to conceive a new theatre house in the Ljubljana city centre.

The aim of the project is to conceive a new theatre house in the Ljubljana city centre.

Architectural design of building for the Slovene National Theater with two experimental halls for 500 and 100 spectators.

Duties through the back door diplom work was design Slovinian national theatre in Ljubljan. Ljubljan is main city Slovene. It takes plain 275 km and has 271 881 inhabinants.Throw the city flows river Ljubljanica, which making had not had great filling of the city. Determine grounds for proposal theatre is situated into the blok near the congress square. That is joined whit his upper part on main ljubljans road Slovenska way. Congress place is one of the most important squars in the city. At the first time I desing on well settle theatre on appoint grounds. The buildings at the gas site have windows and that was for me one of the stoping factors. I was worked whit two main ideas. First thought led me to compar the theatre to Congress squar , so that theatre was not drowned within gap site, but I want to show some part of theatre in Congress square. Second thought relates with making some small square before the enter to theatre. And these both ideas leads to my finaly building. The national theatre is compair of three parts. The first part is in the middle and it leads to the square. In this part you can finde a technics rooms a some office. The secound part is intended for public people. In this part is situated theatre front for 502 people. In third floor is situated the gallery. In the fourth floor is the smoll alternative theatre front for about 100 people. In the third part of theatre is situated stage, dressing rooms for actors, day rooms and some storge areas.

En tant qu’espace public, la scène théâtrale est le lieu de la construction et de la déconstruction de représentations de la nation, dans un dialogue incessant entre art et politique. En Écosse, la tension qui fragilise l’idée même de nation est exacerbée par le contexte géopolitique récent (référendum de dévolution en 1979, 1997 et référendum d’indépendance en 2014, puis Brexit en 2016). Miroir de cette instabilité, la scène écossaise réinvente ainsi son rapport à l’espace national en jouant sur les représentations spatiales et communautaires à différentes échelles, du local au global. Espaces et lieux, constamment problématisés, se changent en objets de représentations qui interrogent les multiples façons de faire, de montrer et de voir le théâtre. Ainsi, dans sa pratique comme dans son idéologie, le National Theatre of Scotland (NTS 2006) réinvente la nation : théâtre national sans espace physique de représentation, sans scène nationale, le NTS investit tous types d’espaces réels ou virtuels, qui donnent à repenser la présence et l’absence du corps en scène et font advenir de nouvelles communautés de « spect-acteurs » hors-frontières. Ce théâtre sans murs est métonymique de cette ouverture radicale du théâtre écossais, qui fait place à une représentation identitaire postnationale et horizontale. La scène écossaise offre donc un paradigme fécond pour rendre compte du renouvellement d’une pensée de la nation et des formes dramatiques contemporaines qui en émanent. / As a public space, the theatrical stage is where representations of the nation are constructed and deconstructed, in an unceasing dialogue between art and politics. In Scotland, the tension that destabilizes the very idea of nationhood is exacerbated by the recent geo-political context (the referenda on devolution in 1979, 1997, the referendum on independence in 2014, and Brexit in 2016). Reflecting this instability, the Scottish stage similarly reinvents its relationship to the national space by playing with the very scales of space and community, from the local to the global. Space and place, constantly challenged on the stage, become objects of representation that question the multiple ways of doing, showing, and seeing theatre. Both in its projects and its ideology, the National Theatre of Scotland (NTS 2006) seeks to reinvent the nation. As a building-less national theatre, the NTS reinvests all types of spaces, be they real or virtual, asking us to rethink the presence and absence of the body on stage, and fostering new transnational communities of “spect-actors”. This theatre without walls is a metonymy for the radical opening up of Scottish theatre itself, which invites postnational and horizontal representations of identity. The Scottish stage thus presents us with a productive paradigm to explore new understandings of the nation and the contemporary dramatic forms it fosters.

Bc. Kateřina Řeháková Searching for staging tradition of Bohuslav Martinů's opera Julietta on Czech stages Abstract The master's thesis depicts all productions of Bohuslav Martinů's opera Julietta on Czech stages since the world premiere in Prague in 1938 till the last one, performed in Brno in 2009. It describes staging techniques and their transformations and shows how the productions make use of other productions' methods or how they are original. The pivotal production was the very first from 1938 produced by conductor Václav Talich, stage director Jindřich Honzl and set designer František Muzika who - in harmony - created a performance, which was considered perfect by the composer himself. Jindřich Honzl came up with the crucial staging dilemma which impacted next directors as well: to stage Julietta rather as a dream or more as a realistic story? The directors who were able to find a balance were more successful.

The première of Meyerbeer\'s Le Prophète in the Hungarian National Theatre on June 12th 1850 was an event of unprecedented importance in the short history of professional opera in the Hungarian language. In my paper I am going to demonstrate the role of the orchestra in the success of this work. I shall combine this with the presentation of other outstanding aspects of the performance so that we shall be able to fairly judge the orchestra\'s contribution to the success.