The thesis Inscenation Principles by director K. H. Hilar in National Theatre from 1921 to 1935 (focusing on cooperation with stage designer Vlastislav Hofman) is about director K. H. Hilar's inscenation principles in position as the boss of National theatre from 1921 to 1935. The aim was to focus on Hilar's work at the National Theatre, as well as its cooperation with the actors, the elements of expressionism and later civilism in his arrangement and last but not least, given his cooperation with the set designer, especially with the architect and artist Hofman. Part of thesis involves a lot of images from Hilar inscenations . Most sources are available in the archives of the National Museum in Terezin, and archives of the National Theatre in Prague. The professional literature is available at the Theatre Institute, also in Prague.

The diploma thesis deals with the issue of proprietorial and institutional connection of five stages and four ensembles of the National Theatre in Prague, which is a contributory organization of the Ministry of Culture Czech Republic. The thesis introduces a cultural policy in general terms and explains development of the National Theatre until 1989. The main point of the thesis is the institutional and financial analysis, the thesis aims to evaluate the consequences of changes in the methods of administration of each stage of the National Theatre, especially merging and splitting stages and ensembles after 1989. The analysis focuses on the founder's contribution, thus demands on public means, but also takes into account visit rate, percentage of self-sufficiency, number of performances, development of revenues, etc. Finally, the thesis presents a model of functioning of national theaters and opera houses in France and in the United Kingdom, and their comparison with situation in the Czech Republic, focusing on the method of financing.

Structures of feeling represent the interaction between personal lived experience and fixed social values and meanings, which are found in interpretations of works of art. Studying various interpretations of any play in performance can provide a point of access into a culture because the choices made in the production can be compared to each other and to the written text and then reveal how the theatrical company views particular issues within their own time period. This study looks at productions of The Winter's Tale between 1981 and 2002 at the National Theatre and the Royal Shakespeare Company. Using numerous versions of this play not only increases the depth of our understanding of the play but also reveals how the actors and directors interact with British culture. Each production reveals a director's vision for the production as well as his or her own experience within the culture. Some issues and ideas that are reflected in these interpretations include both optimism and cynicism with regard to the political situation and public figures, an increase in spectacle, and secularization.

The main aim of this project is to introduce the developement of the national theatre in České Budějovice in 1930s. We got the important information by reading a few books and mostly from period magazines, newspapers and records stored in the National local archives in České Budějovice. Unfortunatelly, despite thorough search for information we cannot ensure it is all credible. However, we tried hard to create complete a complex overview of drama in those days. First, the project focuses on general description of the theatre conditions, who the manager was, how the theatre flourished as far as finance is concerned or how the drama activities were influenced by other industrial or political circumstances. Then, the other topic is dramatics in each season, choice of plays and their reception. The other parts deal with drama tours and Josef Stejskal, who shifted drama to a higher level in 1930s. In appendix you can find the registers of ensemble members, the overview of repertoire in Jihočeské národní divadlo in each season and also several period photos.

This thesis presents the history of opera productions which have been staged by the National Theatre Opera Company in the Kolowrat Theatre during last fifteen years. The author reflects the problems of staging chamber operas in general and, by analysing several productions, she points out certain possibilities of using the chamber space for staging operas.

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.

Název v anglickém jazyce: The Influence of Political Systems and Ideologies on the National Theatre Ballet in Prague in the 20th Century The subject of the Thesis is the influence of political systems and ideologies on the National Theatre Ballet in Prague. The period of research spans mainly from the theatre season 1923/1924, when Remislav Remislavský was appointed the post of ballet master and choreographer, to the season 1989/1990, when Vlastimil Harapes assumed the post of the ensemble's chief. Two main periods are underlined: the period of World War II and the subsequent period of the Communist Party government after 1948. Persons of interest are mainly the bosses of ballet company for example Jelizaveta Nikolská, Joe Jenčík, Saša Machov or Jiří Němeček st. and others, but also soloists, and the repertoire of the ballet corps. This thesis is a scope of the evolution of ballet of National theatre in concern of political changes in 20th century.

The subject of the master's thesis is the royal box at the National Theater in Prague. The diplomat elaborates in detail its construction history from the initial construction, later reconstructions and repairs. She will put the box in the context of type development and will be interpreted in terms of the meanings projected therein. Of course, there will also be analyzed in terms of functioning. The interpretation of the architectural site is supplemented by the analysis and interpretation of the iconography of painting decoration. An integral part of the work will be detailed picture documentation. Keywords National Theatre, The Royal / Presidential box, Vojtěch Hynais, Václav Brožík, Julius Mařák, Josef Zítek, Josef Schulz, Neo Renaissance

The National Theatre's Frankenstein is not the first time Shelley's novel has been adapted for the stage, but it is the first time a stage adaptation has returned the popular story to its source material's feminist themes. Departing from the iterations that portrayed Victor Frankenstein as a Byronic hero, Nick Dear's adaptation has re-designed Frankenstein to be misogynistic and calloused. His new nature is best observed in the scene wherein Frankenstein presents the Woman-Creature he's built for his first Creature. She is naked, silent, submissive, and viciously dismembered at the end of the scene. While such submissiveness might justifiably be criticized by a society that has become incredibly concerned for the representation of women in media, this scene has striking similarities to several performance art pieces of the 1960's and 1970's. Building on an understanding of how these pieces function, the Woman-Creature stops being problematic, and becomes poignant. This thesis compares the Woman-Creature's scene to three particular pieces: Marina Abramovic's "Rhythm 0,"Carolee Schneeman's "Meat Joy,"and Suzanne Lacey's "Three Weeks in May."While not a performance art piece itself, this particular scene in Frankenstein has similar purposes, mainly to show the consequences of a social structure that places men as the dominant leader. By not shying away from the visceral nature of these consequences, this production of Frankenstein shocks the audience and reminds them of the harsh realities of the patriarchal structure still seen today.

This thesis focuses on the issue of Czech drama in the twenties of the 20th century. Specifically, it focuses on the repertoire of the National Theatre. In the first chapters, the state of drama in this period is briefly analysed. In next chapters, dramas are selected that were written by the Czech writers others than the Čapek brothers and introduced in the twenties of the 20th century. Three thematic pairs of dramas were chosen from this limited selection for the purpose of further analysis and comparison. The core and most important elements are the analysis and comparison of pairs of dramas whereas every pair composes of one successful and one unsuccessful drama. All dramas were introduced at the National Theatre in the twenties and all of them were considered as an average when compared to the work of the Čapek brothers. Furthermore, the analysis and comparison of every pair is accompanied by the contemporary critics and reviews published in the newspapers. Based on the comparison of both successful and unsuccessful dramas that are thematically close, the thesis outlines the information on most probable reason why every individual drama was successful or unsuccessful with the audience, on what was popular among the audience, on the contemporary trends and on the common taste of average...