This Master thesis is about Peter Shaffer´s play Equus (1973). It looks at identity and the relationship of humans and horses in the text. In the introduction the author, his work in general and particularly Equus, further research and own aims and motivations for the thesis are presented. The second chapter explains the methods used to understand the play as a descriptive, narrative piece of literature according to Mick Short. Analyzing takes place in the main part: chapter three works on the concept of identity, gives a theoretical frame based on Stuart Hall´s ideas, and then characterizes and interpretes the figures Martin Dysart and Alan Strang. The two protagonists form themselves in endless processes of identification. Chapter four elaborates the historical human-horse-relationship, its characteristics and its relevance in the text. Humans and horses are presented together due to their complex similarities. The discussion following combines the results of the main chapters and states their overlapping and support of each other. Conclusions are, that Hall´s concept of constant identification is true for the two analyzed characters, that the common history of humans and horses can be found as a complex companionship in the play, that the topics of identity and the horse-human-relationship interfere with each other, and finally, that Dysart and Strang use horses to create their individual identities.

本論文自後殖民角度檢視英國劇作家彼德•謝弗之《皇家獵日》一劇。筆者論證，劇作家雖身為當代殖民國之一員，在劇中卻撻伐殖民主義且對被殖民者深表同情。此外，劇作家在劇中亦強調殖民者遭受之反撲，藉以呈現十六世紀時，西班牙與印加帝國跨文化接觸對被殖民者及殖民者造成之毀滅。 論文第二章探討謝弗在劇中對殖民的控訴。筆者援引薩依德（Edward W. Said）、西賽爾（Aimé Césaire）、戴蒙（Jared Diamond）及帕瑞克（Bhikhu Parekh）之觀點，分析殖民利益薰心的真面目及藉口。筆者試圖證明，劇作家藉由揭露劇中各殖民者汲汲營營追求各自的利益，表達他對此類唯利是圖的殖民者之唾棄及控訴。 第三章重點則在討論劇作家對劇中皮薩羅（Francisco Pizarro）此殖民者之矛盾的情感。劇作家一方面批評皮薩羅對印加帝國及其國王的迷思，另一方面又表達對此年邁又絕望的殖民者的同情。在探討劇作家對皮薩羅的批評時，筆者引用薩依德在《東方主義》（Orientalism）中對他者（the other）的探討。而討論劇作家對皮薩羅的憐憫時，筆者則並置歷史中之皮薩羅及劇作家呈現之皮薩羅，藉以比較出劇作家對此角色之同情。 筆者於論文第四章則著重在劇尾之探討。筆者援引梅彌（Albert Memmi）及西賽爾之觀點，指出事實上殖民對殖民者有一反撲之力量。劇末，不論是殖民者或被殖民者，其國家、宗教及個人都呈現出毀滅之狀。筆者認為，劇作家藉此結局表達對殖民（colonial apparatus）的強烈譴責，並傳遞「掠奪者必遭應得之懲罰」的訊息。此結局同時也透露出劇作家悲觀的情懷。 謝弗於1950年代創作此劇，於1964年上演，當時後殖民意識並不普遍，然有感於周遭大環境之改變，敏感如謝弗之劇作家，於劇中表達他的看法。謝弗一方面站在人道立場，表達他對被殖民者的同情，另一方面則試圖為殖民者表達其遭受殖民反撲之痛苦命運。此一探討殖民者受到的反撲於後殖民研究中相當罕見，謝弗這一觀點實為他的遠見及對後殖民研究的貢獻。 / This thesis examines The Royal Hunt of the Sun written by the British playwright, Peter Shaffer, from a post-colonial perspective. I argue that Shaffer, as a member of the twentieth-century colonial world, censures colonialism and holds a sympathetic attitude towards the colonized in The Royal Hunt of the Sun. Accentuating the backlash against the colonizer, the playwright presents the destructive force in the cross-cultural encounter for both the colonizer and the colonized. In chapter two I discuss Shaffer’s accusation of colonization. To analyze the profit-driven colonization and the pretexts adopted by the colonizers, I apply post-colonial and anthropological concepts expounded by Edward W. Said, Aimé Césaire, Jared Diamond, and Bhikhu Parekh. I maintain that by disclosing the colonizers’ fervent pursuit of interests in The Royal Hunt of the Sun, the playwright brings his accusation against both the colonizer and the act of colonization. After showing Shaffer’s common stance with most post-colonial scholars—accusation of colonization and sympathy for the colonized—I highlight in chapter three the playwright’s ambivalent sentiment of the colonial commander, Francisco Pizarro. To examine Shaffer’s critique of the Conquistador’s projected expectation of the Inca Empire and its king, I adopt Said’s criticism of Westerners’ stereotypical imagination of the other in Orientalism. I also juxtapose the historical Pizarro with Shaffer’s Pizarro and the turning point of Adela Quested’s attitude in the trial scene of E. M. Forster’s A Passage to India with the change of the colonial general’s attitude in The Royal Hunt of the Sun in order to demonstrate the playwright’s compassion for the aged colonial commander. Chapter four focuses on the discussion on the ending of the play. Albert Memmi’s and Césaire’s sharp points of colonization’s boomerang effects on the colonizer are brought into this discussion. I argue that the ending shows the playwright’s ultimate reprimand of colonial apparatus and his pessimistic attitude toward cross-cultural contact. The colonized as well as the colonizer is shown destroyed by colonization, and plunder, in whatever means, receives its deserved punishment. In the global post-colonial sentiment permeating the 1950s and 1960s when Shaffer wrote this play, the playwright expresses his concerns through this play. On the one hand, in the humanistic position, he is sympathetic to the colonized. On the other hand, he also attempts to stand in the perspective of the colonizers in order to express the backlash and harm the colonizers undergo. This perspective is indeed rare in the post-colonial study nowadays and can be treasured as Shaffer’s vision and contribution to the post-colonial study.

The play Eguus presents a series of dialectics, opposing forces in dramatic tension. The multi-leveled subjects with which Shaffer works confront each other as thesis and antithesis working towards a tentative synthesis. The contrasts include the conflict of art and science, the Apollonian and Dionysian polarity, and the confrontation of Christianity and paganism. Modern man faces these conflicts and attempts to come to terms with them. These opposites are really paradoxes. They seem to contradict each other, but, in fact, they are not mutually exclusive. Rather than contradicting each other, each aspect of a dialectic influences its counterpoint; both are necessary to make a whole person.

This study brings the insights of Slavoj Žižek’s Lacan-inspired approach to bear upon a series of influential 20th century plays and their engagement with what Lacan calls the Real. The plays to be explored share a focus on experiences, events or encounters which transcend, exceed, disrupt, and in some cases shatter characters’ normal, familiar realities. Examined through the lens of Žižek, these confrontations with the sublime and the fantastic reveal a crucial relation to the plays’ contemporary contexts, prompting us to “look awry” upon the dynamics of our own symbolically-regulated reality and the ever-changing and precarious nature of our relation to it. Similarly crucial is the relation of the Lacanian Real to our theatrical forms and modes of perception in the theatre. In staging “encounters with the Real,” these plays prompt us simultaneously to explore the ways in which the Real operates —and “appears” — in our own theatrical experience, ensnaring our gaze and the force of our desire. The study offers a Žižekian approach to works including Peter Shaffer’s Equus, John Mighton’s Possible Worlds, S. An-sky’s The Dybbuk, or Between Two Worlds, Caryl Churchill’s The Skriker, Tony Kushner’s The Illusion, and Eric-Emmanuel Schmitt’s Enigma Variations.

This study brings the insights of Slavoj Žižek’s Lacan-inspired approach to bear upon a series of influential 20th century plays and their engagement with what Lacan calls the Real. The plays to be explored share a focus on experiences, events or encounters which transcend, exceed, disrupt, and in some cases shatter characters’ normal, familiar realities. Examined through the lens of Žižek, these confrontations with the sublime and the fantastic reveal a crucial relation to the plays’ contemporary contexts, prompting us to “look awry” upon the dynamics of our own symbolically-regulated reality and the ever-changing and precarious nature of our relation to it. Similarly crucial is the relation of the Lacanian Real to our theatrical forms and modes of perception in the theatre. In staging “encounters with the Real,” these plays prompt us simultaneously to explore the ways in which the Real operates —and “appears” — in our own theatrical experience, ensnaring our gaze and the force of our desire. The study offers a Žižekian approach to works including Peter Shaffer’s Equus, John Mighton’s Possible Worlds, S. An-sky’s The Dybbuk, or Between Two Worlds, Caryl Churchill’s The Skriker, Tony Kushner’s The Illusion, and Eric-Emmanuel Schmitt’s Enigma Variations.

Forman's Amadeus and the Role of Music in Film Narrative Vedoucí diplomové práce (supervisor): Zpracoval (author): Mgr. Tereza Havelková, Ph.D. Tomáš Bazika studijní obor (program): Praha, July 2020 Obecná teorie a dějiny umění a kultury Abstract The subject of this thesis is a study of the ways of using the music of Wolfgang Amadeus Mozart in Miloš Forman's motion picture Amadeus. In my thesis, I focus on how Amadeus employs pre-existing classical compositions to create a new, largely fictional narrative based on the life and music of Mozart. I argue that instead of applying pre-existing pieces as film music, Amadeus conceives individual scenes as well as its overall filmic structure to accommodate the music's expressive qualities and biographical associations. I engage in a conversation with relevant existing scholarship to establish a theoretical framework for a systematic interpretation of the meaning-making roles of music in Amadeus. Drawing on Claudia Gorbman's concept of diegetic, non-diegetic and metadiegetic sound categories, I apply her taxonomy to Amadeus in order to show how not only the selection and placement of music but also its relation to the diegesis determine its impact on the narrative. I propose that in its treatment of Mozart's music, Amadeus reverses the traditional hierarchy of the...