The fundamental topic of my thesis is operetta in the Karlin Musical Theatre. In the first part of the thesis I inquire into the development of the genre itself. The next chapter is dedicated to famous Czech and international authors of the most renowned operetta works. I have dedicated an especial space to the operetta of Mam'zelle Nitouche as one of the most successful foreign operettas in our country. It is followed by an overview of light opera houses, mainly in Prague, that are in operation since the 18th century. I also inquire into the development of the Karlin Musical Theatre and its changes. I my thesis prominent figures in the management of the theatre as well as performing stars are featured. I give a short account of their artistic lives and their contribution to the genre of operetta in Karlin Musical Theatre. My work is concluded by the interviews with influential members of the ensemble of the theatre.

Magíster en artes con mención en composición musical / Hoy en día, en el ámbito de la música escrita, existe un consenso más o menos universal en torno al hecho de que los compositores deben ser capaces de explicar los fundamentos de su trabajo creativo. Esta necesidad de autoexplicación, que se vuelve exigencia en el contexto académico, se refleja también en todos aquellos auditores que antes de escuchar una obra musical se detienen a leer el obligado comentario del compositor acerca de su trabajo disponible en el programa de mano de la mayoría de los conciertos de música actual. El hecho de que a nadie se le ocurriría menospreciar a Ludwig van Beethoven por no habernos dejado una detallada explicación de su Novena Sinfonía nos habla de un cambio de paradigma en la estética musical que se relaciona también, de manera más general, con un cambio en el lugar del individuo dentro la sociedad occidental. Efectivamente, más allá de las razones que explican esta tendencia en el caso particular de la música (ciertamente relacionadas con el abandono de la armonía tonal como lenguaje universal y la consecuente necesidad de cada compositor de encontrar un discurso teórico que valide su propuesta creativa) es posible establecer un paralelo entre la práctica de la auto-explicación estética y uno de los grandes temas de la filosofía occidental desde Hegel: aquél de la auto-conciencia Así, podemos afirmar que este fenómeno no constituye una excepción, si no más bien la regla dentro de un contexto social que ha puesto a la libertad individual – esto es la libertad de decidir libremente los propios gustos, aficiones, y maneras de expresarse – por sobre los grandes relatos comunitarios. En ese sentido, es interesante señalar que la necesidad de auto-explicación se presenta también en otros medios de expresión como las artes visuales, el teatro o la danza, pero no en aquellos que guardan una relación más directa con el público masivo, como el cine, la literatura, el teatro, e incluso la música comercial, donde impera la rentabilidad como parámetro de calidad. La necesidad de auto-explicación parece por lo tanto estar reservada para lo que se considera hoy como “Arte” con mayúscula. Podría decirse incluso que el ejercicio de la auto-conciencia constituye la conditio sine qua non del arte en la actualidad; un punto de partida, una página en blanco, uno de los fundamentos y tal vez una de las razones del impulso creativo. Así las cosas, más vale enfrentarlo de una vez por todas y desde el comienzo. Surgen de esa forma, y de manera urgente, las siguientes preguntas preliminares: ¿Por qué componer? ¿Para quién? ¿De qué manera? A partir de la noción filosófica de la autoconciencia, intentaremos dar respuesta a estas interrogantes y entregar a través de ellas una definición personal de la obra de arte y sus necesidades. Así, surgirán dos características fundamentales de la obra de arte que serán la hoja de ruta de nuestra reflexión posterior: su inevitable contingencia y su problemática relación con el auditor.

This Master's thesis addresses the process of staging musicals and operettas within the Czech theatre?s environment. As an example, the author chose five different titles for comparison and description of the process of preparation of this specific kind of musical theatre focusing on various options for theatre companies, discussing the demands and difficulties of assembling teams of artistic collaborators and the creative process itself during rehearsals. Processes concerned with the first grasp of a title as a dramatic text, through the spatial solutions of a dramatic situation in terms of stage space in a theatre, up to the director-actor collaboration, are documented by authentic findings, which are compared with notes of directors, who significantly influenced the author's view. The text also considers the specific demands of this kind of theatre on the actor (actress) and his (her) education and training

The subject of this thesis is the analysis of the collective literary output of the two young authors - German writer Martin Becker and his Czech friend Jaroslav Rudiš. A part of my thesis concerns also with their lives and own works. The object is to find Czech motives in the work and life of Martin Becker and influence of German culture on the books of Jaroslav Rudiš, to concern on typical characteristics and analysis of their collective works. In my thesis I arrive at the conclusion that the Czech stay, interest in Czech language and literature reflect in works of Becker, in the similar way are books of Rudiš influenced by his interest in German authors, art, history, German language and other. In collective work are these moments interwoven and supplemented.

Dissertation thesis describes the evolution of popular musical theatre ? especially operetta and musical ? in Czechoslovakia after 1945. It analyses particular productions, follows important development periods of this kind of theatre as well as changes of attitude of communistic regime to its existence and artistic expressions ? not only in the overall context of changes in the theatre system or social and political situation in the country but also in the context of development abroad. Study mainly deals with events in major popular musical theatres (especially in the Karlín Musical Theatre in Prague) but it doesn´t neglect major productions of small or regional scenes. Dissertation proceeds both from existing literature and authentic historical sources, evidence and memories.

The thesis focuses on the staging of Soviet operettas in Czechoslovakia between 1946 and 1987. The import of the Soviet repertoire to Czechoslovak operetta theaters was linked to the cultural and political transformations at the outset of the communist regime in Czechoslovakia. The so-called Soviet socialist operetta would soon have been established as a model for new Czechoslovak operettas. As such, it became an important part of the repertoire which was influenced by the official polical system. The thesis surveys the progressing intensity of the import and the developing operetta genre in the Soviet Union. On the examples of Isaac Dunayevsky's operettas Free Wind and, more intensively, White Acacia, in comparison with the original versions of these operettas, it shows the tendencies of interpretation of Soviet operettas in Czechoslovakia, in the changing cultural and political context. The thesis also concerns the topic of critical perception in both cultural environments and, overall, it aspires to capture the examined topics in the widest possible contextual horizon.

TITLE: German-Czech meetings in books written by Martin Becker and Jaroslav Rudiš SUMMARY: The subject of this thesis is the analysis of the collective literary output of the two young authors - German writer Martin Becker and his Czech friend Jaroslav Rudiš. A part of my thesis concerns also with their lives and their works. The object is to find Czech motives in the work and life of Martin Becker and influence of German culture on the books of Jaroslav Rudiš, to concern on typical characteristics and analysis of their collective works. In my thesis I arrive at the conclusion that the Czech stay, interest in Czech language and literature reflect in works of Becker, in the similar way are books of Rudiš influenced by his interest in German authors, art, history, German language and other. In collective work are these moments interwoven and supplemented. KEYWORDS: Martin Becker, Jaroslav Rudiš, radio play, operetta, story, collective work, novel

O objetivo deste trabalho é apresentar um estudo, de cunho histórico e crítico, sobre o teatro brasileiro, a partir de pesquisa realizada nos periódicos da cidade de São Paulo do período de 1901 a 1922. Com base nos dados colhidos, como notícias e críticas de teatro, buscou-se analisar a atividade teatral desse início de século, e repensar suas contribuições, seu papel social, e aparente estagnação - tão divulgada por intelectuais à época. O estudo interpretativo encontra-se no volume I. No volume II há um índice dos periódicos consultados, contendo uma síntese dos temas relativos ao teatro, abordados por escritores e intelectuais desse período. / The objective of this work is to present a study, of historical and critical matrix, on the Brazilian theater, from inquiry carried out in the magazines of the city of Sao Paulo. On basis of the gathered data, like news and criticism of theater, it was carry out analyze of the theatrical activity of this beginning of century, and rethought its contributions, social paper, and apparent stagnation - so spread by intellectuals. The interpretative study is presented in the volume I. In the volume II there is a rate of the consulted magazines, containing a synthesis of the relative subjects to the theater, boarded by writers and intellectuals of this period.

Oskar Nedbal patří mezi nejvýznamnější české hudební osobnosti konce 19. a počátku 20. století. Jeho přínos lze spatřovat nejen v oblasti interpretačního umění a hudebně organizačního úsilí, ale rovněž na poli skladatelském, především díky operetě Polská krev (Polenblut). Disertační práce se kromě nezbytného přehledu pramenů a literatury a nástinu života a díla Oskara Nedbala soustředí na otázku postavení operety Polská krev jak v rámci skladatelovy ostatní tvorby, tak i v širším kontextu vídeňské operety. Zároveň přináší doposud nepublikované informace o nedbalianech z depozitáře divadelního oddělení Národního muzea v Terezíně a ve světle průzkumu těchto pramenů se pokouší definovat základní atributy Nedbalova způsobu práce při kompozici operety Polská krev i dalších významných děl. Nedbalova vrcholná operetní tvorba je ukázkovým příkladem populární hudby vysoké umělecké úrovně, ve které se odráží skladatelův vysoce seriózní kompoziční přístup. Zejména opereta Polská krev dokumentuje Nedbalův záměr klást na tento žánr vyšší umělecký nárok, než jaký byl běžný zejména ve Vídni počátkem 20. století. Abstract: Oskar Nedbal is one of the most important Czech music personalities of the end of 19th and the beginning of 20th century. His contribution can be seen not only in the fields of interpretive art...

O objetivo deste trabalho é apresentar um estudo, de cunho histórico e crítico, sobre o teatro brasileiro, a partir de pesquisa realizada nos periódicos da cidade de São Paulo do período de 1901 a 1922. Com base nos dados colhidos, como notícias e críticas de teatro, buscou-se analisar a atividade teatral desse início de século, e repensar suas contribuições, seu papel social, e aparente estagnação - tão divulgada por intelectuais à época. O estudo interpretativo encontra-se no volume I. No volume II há um índice dos periódicos consultados, contendo uma síntese dos temas relativos ao teatro, abordados por escritores e intelectuais desse período. / The objective of this work is to present a study, of historical and critical matrix, on the Brazilian theater, from inquiry carried out in the magazines of the city of Sao Paulo. On basis of the gathered data, like news and criticism of theater, it was carry out analyze of the theatrical activity of this beginning of century, and rethought its contributions, social paper, and apparent stagnation - so spread by intellectuals. The interpretative study is presented in the volume I. In the volume II there is a rate of the consulted magazines, containing a synthesis of the relative subjects to the theater, boarded by writers and intellectuals of this period.