Šiame diplominiame darbe yra apžvelgiama nebyliojo kino analizė. Kurią sudaro kino pradžios ir vystymosi aptarimas, remiantis istoriniais literatūros šaltiniais. Neišskiriant konkrečių pavienių filmų yra smulkiau analizuojas nebyliojo kino sudėtiniai elementai, tokie kaip muzika ir rašytinis tekstas filme. Aptariama jų stilistinė ir emocinė vartosena nebyliajame kine. Svarbi darbo dalis siejama su garso atsiradimo kine sukeltomis permainomis. Iškilę to laiko režisierių ir teoretikų, tokių kaip Eizenšteinas ir Pudovkinas, debatai dėl garso naudojimo kine keliamos reikiamybės ir pavojų vėliau realiai pasitvirtina praktikoje. Nebylumas kine analizuojamas ne vien istoriniu, bet ir filosofiniu aspektu. Antroji šio darbo dalis skirta pasikartojančioms nebyliojo kino apraiškoms išskirti. Tylos ir nebylumo vartosenos tyrimui remiuosi Susan Sontag tylos estetikos studijomis šiuolaikiniuose menuose, kurias savo ruoštu pakreipiau nagrinėdama idėjinį nebylumo poreikį kine, kuris kyla iš persisotinimo kalba ir daugžodžiavimo. Kūrybinėje darbo dalyje yra aptarimas klausos sutrikimų turinčių žmonių poreikis save reikšti bylioje raiškoje. Ir atliekamas video darbas šia tema. / This thesis is an overview of silent film analysis. This contains of early cinema beginning and development steps according historical researches. Without a need of separating concrete single movies and analyzing them as canonic examples I put my attention on music and written text stylistic influences. It discusses the emotional and stylistic usage silent cinema. An important part of this work is associated with the emergence of sound cinema – related changes. The evocation of that time, directors and theorists such as Eisenstein and Pudovkin, debate on the use of sound in cinema, and the risk posed by the necessity which actually proves in a later practice. Silence is analyzed not only in cinema history, but also the philosophical aspect. The second part of this work is given for manifestation of silent cinema release. Susan Sontag's survey of silence aesthetic studies of contemporary art, by its turn, examining the ideological tilt gives idea of need of deafness for the cinema, which arise from satiety language and repetition. Creative part of this work is hearing impaired people need to express themselves in resolution which is based on sound media. And according this topic I made a video work.

Communication remains the most important matter trough all periods of life and all epoches. We communicate , reflect, exchange information since an infancy till an old age. The speech is the main form of communication. Therefore every human‘s look, step, moove, gesture are meaningful. Even every object breaks about it‘s existance. A poetic speech makes the meaning of object and classical picture to turn to tangible individual form. It „brings up the picture of what we see and makes to forget what appeared untill up to us“ (Cezanne). Our interest in out of the picture takes us to new limits of seeing and listening.

Savo diplominiame darbe svarstau Heideggerio požiūrį į kalbą kaip į neobjektinę ir kartu pateikiu oponuojantį pirmajam objektinės kalbos požiūrį. Neobjektinio požiūrio į kalbą esmė yra įvairių filosofinių klausimų apmąstymas remiantis filosofo vaizduote ir kritiniu filosofiniu konkretaus klausimo apmąstymu. Originaliai filosofinio klausimo plėtotei neobjektiniame požiūryje į kalbą būtinas mąstytojo susikaupimas ties konkrečiu filosofiniu klausimu ir mąsli ramybė. Priešingas nei Heideggerio filosofinis požiūris yra vadinamas objektiniu požiūriu į kalbą. Logikas Rudolfas Carnapas, vokiečių filosofas Immanuelis Kantas atstovauja objektinės kalbos filosofinei pozicijai. Abu mąstytojai kalbą apmąsto kaip kalbos faktų rinkinį. Antrojo filosofinio požiūrio į kalbą esmė: mąstytojas savo darbe taiko tik techninius įgūdžius, dėl to jam nereikia arba reikia tik labai minimaliai asmeninės vaizduotės. Dėl to šiuolaikinėje filosofijoje yra daug “mirusių” tekstų (be filosofinės vaizduotės jėgos). Rašto ir šnekos skirtis reiškia, kad filosofiniame diskurse pirmenybė yra teikiama arba raštui, arba šnekai. Prancūzų filosofas Jacques Derrida teigė, kad raštas kalboje yra pirmapradis. Kitaip nei raštas, šneka nėra pirmapradė kalbos diskurso dalis Derrida filosofijoje. Vokiečių filosofas Martinas Heideggeris šneką suvokia kaip filosofinio apmąstymo plėtojimo būdą. Šis būdas kyla iš sokratiškojo dialogo formos. Mano nuomone, pati rašto ir šnekos skirtis yra sąlyginė. Tekste Heideggerio mintys... [toliau žr. visą tekstą] / In my graduation dissertation I discuss the non – objective language conception of Martin Heidegger and the opposite philosophical view. The essence of this philosophical conception is a contemplation of various philosophical questions. An elaboration of the philosophical thinking consists of the philosophical imagination and the critical reflection on the particular question. It has generally been needed for the cogitative tranquility and concentration by the thinker. The opposite philosophical view to the language conception by Heidegger is the objectification of the language. The logician Rudolf Carnap and German philosopher Immanuel Kant represent the position of the objective language. The language is cogitated by both thinkers as a set of language facts. The essence of the second philosophical view: the thinker needs the knowledge of the philosophical technique without use of his own imagination. There are eventually a lot of „dead“ texts (without a power of the philosophical imagination) in the present philosophy. The distinction between the writing and the speech means that the philosophical priority belongs either to the writing or to the speech. French philosopher Jacques Derrida suggests the primeval writing is in the language. According to the philosophy of Derrida, contrary to the writing, the speech is not a primeval part of the philosophical discourse. German philosopher Martin Heidegger perceives the speech as a way for the development of the philosophical... [to full text]

Annotation The thesis "Economy of theatre foundation" aims to show all the contingencies that should be done before founding the theater, but not in the sense of artistic vision or permission from the competent authorities, but on the basis of calculations, analyzes, calculations and considerations, how the theater should be working effectively. The work is mainly focused on the part of the budget devoted to the main activity, which is further divided into fixed costs and the variable factors such as number of artistic and technical employees, the number of seats in the auditorium, ticket price, number of playing days and attendance. Then, based on these funds, we can see, how big the influence of the different variables is on the overall result of the budget theater. One chapter is also devoted to human resources that are closely connected to the budget, not only because they often represent more than two thirds of its value. For your convenience, as an example we worked out a plan of a new private theater in Pilsen, which should be provided with facilities for the activity from a private investor. In conclusion of the thesis we can see proposal of an ideal solution to the situation.

The thesis' subject is the career of Gustav Voborník, a reliable dancer and an accomplished choreographer, in the J. K. Tyl Theatre in Pilsen from 1968 till 1981. The chief part of the thesis deals with the total of nineteen ballet productions that Voborník created in the Pilsen theatre in his lifetime. A brief introduction discussing the problem of sources in this field of research is followed by a biography of Gustav Voborník, detailing his experience as a dancer and as a choreographer as well as his preparation for a production and for a work with dancers. To complement the overview of Voborník's artistic work, this part also features chapters dedicated to various ensembles that helped shape his artistic personality: the Czechoslovak State Song and Dance Ensemble and the Vít Nejedlý Army Artistic Ensemble. The final chapter before the part describing Voborník's Pilsen works as a choreographer is a short one introducing his views of the folklore, since folk dances and culture in general are the sources of many of his choreographies, while the 2nd half of the 20th century is known as an era of substantial shift in the perception and practice of folk traditions. This most extensive part of the thesis also features an overview of Gustav Voborník's cooperation with the drama ensemble, the operetta,...