L’œuvre de Samuel Beckett (1906-1989) est traversée de diverses figures du spectateur. Le terme de spectateur désigne le regardeur et le témoin oculaire d’un événement, et s’emploie souvent depuis l’Antiquité, avec une connotation négative soulignant la passivité. Penser « le » spectateur ne vise pas directement les spectateurs effectifs : c’est une manière de reconsidérer cette entité perceptive au niveau de l’idée. « Le » spectateur interroge sur la corrélation entre la position passive et la perceptivité. L’étude ici présentée, au travers de ce spectateur idéal, cherche à mettre au jour la manière dont il soutient, par sa force négative et perceptive, la créativité de Beckett. Il est indéniable que la philosophie rationaliste du XVIIe siècle, notamment celle d’Arnold Geulincx (1624-1669) influe sur la genèse des figures du spectateur beckettiennes. Elles apparaissent d’abord dans le roman, évoluent ensuite dans le théâtre et l’art audiovisuel, et finissent par engendrer les proses poétiques ultérieures pleines d’imagination perceptive. Tout en déjouant adroitement l’intention du philosophe, Beckett reconstitue l’ordre de l’univers fictif selon l’irrationnel, et ce geste donne naissance à une nouvelle forme d’écriture qui se libère des présupposés philosophiques et des conventions littéraires. Chez Beckett, la passivité n’est pas le contraire de l’activité ou la négation de l’acte, mais elle est la capacité à sentir et à percevoir les choses, de façon tout à fait originale et productive. Par leur passivité même, les figures du spectateur beckettiennes agissent sur le contenu, voire la forme même de l’œuvre. / The work of Samuel Beckett (1906-1989) is featured by various figures of “the” spectator. The term of spectator refers the viewer and the eyewitness of an event, and is often used since ancient times, with a negative connotation highlighting passivity. Thinking “the” spectator does not mean directly actual audience in the theatre, but it is a way to reconsider this perceptive entity at the level of the idea. “The” spectator questions the correlation between the passive position and perceptiveness. Through this ideal spectator, our study will try to clarify how it supports, by its negative and perceptive power, creativity of Beckett. It is undeniable that the rationalist philosophy of the seventeenth century, particularly Arnold Geulincx (1624-1669), influences the genesis of Beckettian figures of “the” spectator. They first appear in the novel, then develop in the theatre and audiovisual art, and at last, generate the later poetic prose full of perceptive imagination. By outmaneuvering ingeniously the intention of the philosopher, Beckett reconstructs the order of the fictional world according to the irrational, and this brings about a new form of writing that is free from philosophical presuppositions and literary conventions. In Beckett’s work, the passivity is not the opposite of the activity or the negation of the act, but it is the ability to feel and perceive things, in a way absolutely original and productive. Owing to their very passivity, the figures of “the” spectator act on the content and the shape of the work.

This diploma thesis is aimed at the spectator violence during the football matches from the point of view of criminal law. Due to the size of this problematics, the part of the thesis is also devoted to the administrative and private legislation. The term spectator violence can include a whole range of dangerous and violent behavior of fans at the football match. Most often we can qualify such behavior as disturbing the preparations and the progress of organized sports match, so as the criminal offense of disorderly conduct. The first chapter is dedicated to characteristics and typology of visitors of the football matches as potential perpetrators, focusing on football hooligans. The second chapter deals with the various manifestations of spectator violence and the development of this phenomenon in the Czech Republic. The third chapter is devoted to selected offences that can include the spectator violence most frequently. The largest part is devoted to the analysis of current legislation of the criminal offence of disorderly conduct, focusing on the explanation of vague legal terms and the principle of subsidiarity of criminal repression. Furthermore it is dedicated to theoretical analysis and practical examples of other selected offences related to spectator violence such as assault, rioting,...

Certains spectacles, alors même qu’ils n’utilisent aucun matériel ni aucune technique cinématographiques (écran, caméra, images filmées), donnent au spectateur une impression de cinéma. Ils réveillent chez le spectateur une mémoire cinématographique qui tout en étant individuelle, appartient à une culture commune. Parce qu’il constitue un patrimoine commun, le cinéma est un moyen pour le spectateur d’exprimer l’expérience qu’il fait d’un spectacle. Notre idée étant que la présence du cinéma au théâtre dépasse la question de la composition de l’œuvre elle-même et qu’elle s’exerce aussi par le regard de ceux qui le reçoivent. Le cinéma du théâtre auquel nous nous intéressons est un cinéma « intérieur », formé de réminiscences suscitées par des spectacles qui portent en eux les traces d'un cinéma parfois oublié, toujours assimilé, incorporé. Ces « impressions » qui forment le cœur de notre travail résultent donc d’une double pratique de spectateur de théâtre et de cinéma chez ceux qui créent le spectacle et chez ceux qui le reçoivent. Nous proposons d’envisager l’intermédialité au théâtre au sein du spectateur et de sa mémoire, du simple fait que le spectateur de théâtre, est a priori un spectateur d’autres arts et que ses habitudes de perception esthétique se construisent par le biais de plusieurs pratiques. La notion d’impression permet de penser le rapport entre l’œuvre théâtrale et le spectateur. De la réception à l’analyse, l’impression liée au caractère intuitif de la perception et à son ancrage affectif joue un rôle essentiel dans l’élaboration de la pensée. Il s’agit de faire de l’impression un terrain de recherche et de s’en emparer avec ce qu’elle comporte de subjectivité, d’intuition et nécessairement d’approximation. Plutôt que de contourner la subjectivité souvent perçue comme un écueil, pourtant inhérent à l’analyse, il s’agira d’en faire un objet d’étude. L’enjeu sera de comprendre comment le cinéma en tant que culture visuelle et sonore, en tant que pratique façonnant des habitudes de réception, des discours, des réflexions critiques, des courants de pensée peut influencer le théâtre contemporain français notamment par le regard qu’on lui porte. / Certain theatre performances, even if using neither cinematographic material nor techniques nevertheless give the spectator an “impression of the cinema”. They create patterns of perception that films have accustomed us to and solicit a cinematographic memory in the spectator. Even if this is wholly individual, it still belongs to a common culture. Moreover, it takes place through the process of interpretation. For example, the spectator in discussing a theatrical performance borrows from the technical and artistic imaginary of a vocabulary unique to the cinema. These “impressions” form the core of the following work and are the result of a viewing practice that is at once theatrical and cinematic.Impressions play a central role in the elaboration of thought and are connected to the intuitive character of perception and its emotional foundations. What has been made into an object of study in the following work is the very subjectivity that is most often avoided as a stumbling block to interpretation even if it is inherent in any mode of analysis. The following work will make an effort grasp what the passing of cinema in contemporary theatre allows us to say about the latter. It will do this through an analysis of a sample of current representative theatrical works and how the spectator’s speech is produced through them and in relation to the cinema. Several contemporary theatrical productions will be at the centre of this study: Salves de Maguy Marin, Les Marchands of Joël Pommerat, Ricercar de François Tanguy or This is how you will disappear by Gisèle Vienne.

Title: FC Hradec Kralove football match benefits for spectators Objectives: The object of this work is analysis and descriptions of benefits, resulting from the visit FC Hradec Kralove football games to spectators in the season 2015/2016 and 2016/2017. Finding satisfaction with individual benefits and propose measures that could lead to increase satisfaction and traffic of a home football games FC Hradec Kralove. Methods: observation, electronic survey, written interview, personal interview Results: Proposals and recommendations to increase spectator satisfaction and traffic. Keywords: spectator satisfaction, football, FC Hradec Kralove, marketing research

Main goal of this thesis is to analyze the environment of Czech and Slovak football in the area of spectators care. The theory part is focused on theories, which refer to this problem. These are: specifics of the football market, economics of football clubs, theory of marketing mix and fan definition. At the beginning of practice part, the thesis analyzes and compares attendance rate in top leagues of both countries. Next chapter deals with factors, which effect the attendance rate. Its goal is to demonstrate the dependence between attendance rate and achievements, rival attraction and weather. Marketing mix is being applied on football clubs in the next chapter. That means, how are individual football clubs in both countries using marketing mix components (price, place, product, promotion) in order to attract as many spectators as possible. In the last chapter, the thesis analyzes the results of survey, which took place among the representatives of individual clubs. In conclusion, situation in the area of spectators care in both countries is being compared and evaluated.

L’œuvre du cinéaste Harun Farocki permet de repenser les rapports entre cinéma et histoire et de dépasser l’habituelle conception selon laquelle l’historiographie serait une articulation compréhensible et analytique des événements passés entre eux. En reliant l’homme non pas tant à son passé qu’à sa condition historique actuelle, ses films se proposent d'écrire l'histoire comme une expérience, avec les moyens du cinéma. Ils annoncent les enjeux de diverses modalités d’écriture proprement filmiques de l’histoire, ce qui permettra d’interroger plus largement les pratiques qui cherchent réellement à employer et créer une forme cinématographique à même de rendre sensibles les interrogations historiques qu’elles soulèvent ou proposent. C'est en ce sens que cette thèse se donne pour projet de décrire quelles sont les « reprises » du cinéaste Harun Farocki qui concourent à écrire, au cinéma, une histoire dont nous pouvons en tant que spectateurs faire l'expérience. Il s'agit de voir comment ses reprises d'images posent, grâce à la mise en scène et au montage, des enjeux historiques et cinématographiques qui sont de réelles nouvelles manières de voir et d’entendre, et comment le cinéaste propose, avec les moyens inhérents à son art, de nouvelles écritures, de nouvelles lectures, une lisibilité inédite – pour l’histoire et pour le cinéma. / The work of filmaker Harun Farocki helps us to think the relationships between cinema and History and go further the usual conception of historiography, where history would be an analytic and understandable writing of the past events. Because they are linking us to a present historical condition rather than simply binding man to his past, his films try to write history as an experience, with the means of cinema. They will allow us to observe the methods and ways of writing films which really search to create a cinematographic form able to read in a new and sensible way the historical questions films can sustain. That's why this research proposes to enlighten and describe what are the “retakes” (“reprises” in french which also means “sew on again”) of filmmaker Harun Farocki which contribute to write history which we can experience as spectators. It intends to examine how his editing of already existing images invents its own aesthetic to write history with film – and how an “experience” can be offered specifically by new ways of writing, seing and hearing films, and by doing so, deepening our reading of film and history altogether.

This Master Thesis maps the scene of the professional theaters in Prague from the spectators' perspective. Consequently it points out the most important motivation factors for each market segment that leads people to visit the shows. The theoretical part defines the terms theater and drama. It also analysis theater market in the Czech Republic and Prague's professional drama scene. Moreover, it specifies a marketing mix in the context of theaters, introduces the basic principles of marketing research and states the fundamental basis for a theory of motivation. Analytical part is based on a quantitative research realized through a questionnaire survey. Subjects were Prague residents, both men and women across all age groups and different levels of education. Minor improvements for theaters marketing strategy were proposed according to the research findings. Particular attention was paid to the special theatrical events held in Prague.

Video modeling is an evidence-based practice for teaching a wide range of skills to individuals with disabilities. Recent advances in technology have also made video modeling and video prompting more accessible and feasible for teachers and practitioners. This study aims to see if a functional difference exists between two filming perspectives: point-of-view and spectator. Using a single-subject alternating treatments design with least-to-most prompting, the researcher investigated differences between the two perspectives. Four individuals participated in this study—two males and two females between the ages of 19 and 21 with varying disabilities. Data were analyzed visually. Tasks that were taught are: cutting paper using a paper slicer, gluing paper onto a painted wood block, and opening a combination lock. At the conclusion of the study, it was determined that there is not a substantial difference between the two perspectives. However, participants successfully learned the new skills in both perspectives, indicating that positive outcomes may be observed when using a video prompting intervention to teach new skills to young adults with disabilities.

v anglickém jazyce This thesis deals with a Czech legal regulation of the crime of disorderly conduct, defined in section 358 of the Criminal Code in a very abstract way as a gross indecency or disorderly conduct committed publically or in a publically accessible place. The main aim of the thesis is to offer a general characteristic of the crime, to specify its appropriate interpretation, to propose potential alterations of the current legislation and finally to describe a problem of spectator violence as a specific type of disorderly conduct. The thesis consists of six parts, the first of which analyses elements of the crime with a focus on elements laid down by indefinite concepts of law. Problems of the current legislation and proposals of its potential changes are also mentioned in a final chapter of this part. The second part deals with admissibility of concurrence of disorderly conduct with other crimes and special attention is paid to impossibility of such concurrence on the grounds of consumption of crimes. The next part is concentrated on administrative delicts committed in cases of less serious disorderly conducts, i.e. administrative delicts against public order and against civil coexistence. This part also provides main indicators determining a decision if particular illegal behaviour...

This diploma thesis is about audience of theatre performance. It focuses on specificity of individual perception but also on perception of the audience as a unit and it examines relations between them. The thesis is based on interdisciplinary cooperation of theatre studies, cognitive science, neuroscience and psychology. It finds its goal at the topic analysis based on approach of theatre and cognitive studies. It offers a few ways, that is possible to use during the perception analysis and its specificity. In the final part it offers several ways of experimental research of the topic and its risks. Key words: theatre, spectator, perception, memory, cognitive science, psychology