The aim of the thesis is to analyze distancing effects in productions of the Komedie Theatre. As a subject of analysis I only chose such plays of the Komedie Theatre that I consider highly representative in their usage of distancing effects and principles, reason of which is the chosen analytical method is relatively detailed and the extent of the thesis is limited. The plays chosen are Kanibalové, Kvartet and Sportštyk. I separately analyzed each drama, then I analyzed its production. Each play is addressed in a separate chapter. In these chapters I focused especially on the possibilities of using distancing effects that are hinted at in the text by the author. In the chapters dedicated to production I analyzed the way how the directors worked with distancing effects utilized by the authors and how they developed and enriched them. The objective of my analysis was to identify the distancing effects used in plays of the Comedy Theatre and also to define their role in context of the overall poetry of the Komedie Theatre.

Igor Stravinskys collaborations with contemporaries including Picasso, Nijinsky, and Cocteau are well documented. Less familiar, however, are the anachronistic collaborations suggested in one short movement Stravinsky wrote in 1918, and involving the Germans Luther and Bach, the Swiss Ramuz, the Russian Stravinsky, and the American Kurt Vonnegut Jr.<p> Grand Choral, the penultimate movement of Stravinskys lHistoire du Soldatwritten in 1918provides a key to unlocking the mysteries of construction, ideology, and by extension, performance of the work. Grand Choral parodies J.S. Bachs Cantata 80 (1715) which, in its turn, is based on Martin Luthers 1529 hymn, Ein feste Burg ist unser Gott. C.F. Ramuz, Stravinskys original collaborator on lHistoire du Soldat, based his libretto on a Russian folk tale, but in 1993, Vonnegut wrote a new text to accompany Stravinskys music, a text inspired by the true story of Private Eddie Slovik, the last American soldier executed for desertion. In essence, Vonnegut collaborates with Stravinsky in a posthumous sense, as Stravinsky does with Bach and Bach with Luther. Vonnegut and Stravinsky each write themselves into an existing work, giving it contemporary meaning and a new poignancy.<p> The principal aim of my paper is to document the process by which I studied and conducted lHistoire du Soldat with one libretto by Ramuz and another by Vonnegut. In the paper, I will first examine the historical context in which each of the collaborators contributed to lHistoire du Soldat. I will also present an analysis of Grand Choral with regard to the source material by Luther and Bach. Finally, I will document the process and findings of my study, rehearsal, and performance of each of the two versions of lHistoire du Soldat which I conducted on March 31, 2009 in Quance Theatre, on the campus of the University of Saskatchewan with a full cast of musicians, dancers and actors.

This oral interpretation thesis describes and analyzes Chamber Theatre as a technique for the presentation and critical understanding of narrative prose. Arthur Schnitzler and his work are analyzed, and his short story, "The Blind Geronimo and His Brother," is adapted to Chamber Theatre script form. It was discovered that Schnitzler's work is well suited to and would probably benefit from Chamber Theatre productions.