This work is about three famous personalities of the Soviet ballet in the second half of the 20thcentury; Valentin Yelizariev, Dmitry Bryancev and Boris Eifman. Through their works we can see an influence of social, cultural and political events on the progression of ballet and art in the countries of Post Soviet Union. The first part of the work focuses on art works of choreographers from the '70s of the 20th century till nowdays. The second part focuses on their works made in the middle of the '90s. The end of the work shows how their works were influ-enced by political changes.

The aim of this thesis is to describe the structure of Countertechnique movement system. The thesis itself is divided into three chapters. The first chapter describes personality of Anouk van Dijk, her interpretational and mainly choreographic experience. As the Countertechnique movement system is tightly connected with creative process of Anouk van Dijk, it is crucial not to omit her influence and contribution to it. The second chapter is fully dedicated to the description of the Countertechnique system. I try to look at the formational process of this method in a complex way and consider all influences that had some impact on its current form. I also analyze the methodology and conception of Countertechnique and add my own practical experience with the technique. In the third chapter, I compare Countertechnique with other movement systems and methods. In the end of the thesis, I attach interviews with Countertechnique teachers Nina Wollny and Elita Cannata and Czech dancer Anna Jirmanová, who got into contact with this method during her work abroad.

This thesis deals with the use of dancers´ body and its abilities by choreographers. The work is based not only on the study of literature (theoretical and practical part) but also on the research, which was part of the work carried out (questionnaire for dancers and choreographers). The aim is to describe what is the vision of the dancing body in the contemporary world. Is a relatively advanced age of a dancer an advantage or disadvantage on stage? The question is dealt with in terms of physical parameters, aesthetics, attractiveness for dancers and choreographers. At the same time this work is about dance medicine as a means of prevention, which can help prevent accidents in the choreographic rehearsals and contribute to the conscious use of physical possibilities of bodies of the dancers. Do the choreographers use bodies of the dancers primarily in terms of age and physical or mental abilities fully?

The objective of this thesis is to give a practical overview of the phenomenon of dance on TV and in film - the theoretical, artistic, cinematic and technical principles that should be taken into consideration when attempting to record a dance performance in a 2D moving image, the options and possibilities available, the current state of discourse on the topic as well as potential future development in this area. The author's decision to focus on the latest developments (especially in the more technical Chapters 3-5) may come at the risk of the information described in these Chapters becoming obsolete rather fast. However, the numerous links to online sources provided in the Reference section will make it easy to update the paper.

This work defines the term interactive media and explains how it differs from the till now known term “new media”. It leans on the history of technology progression and the theory of new media. For better understanding of how one views new perception, it touches the basics of esthetics. It maps the development of dance visual forms labeled as digital dance and it lists the main pioneers and their methods. In the final part of the thesis, three current artists who use interactive projections in their performances are listed and their work is analyzed.

The thesis called Music in Choreography with the subtitle Interaction of Dance and Music with the Use of Motion Sensors aims to characterise the relationship between dance and music, and how this relationship was influenced by the advancement of technologies during the 20th century. The work pays close attention to the possibilities of using motion sensors, it presents the basic types of sensors and their use in choreographic work. Based on analysis and exploration of her own master´s degree choreography, The Art of Manipulation, the author describes the process of collaboration between a choreographer and a composer in creating a performance which uses modern technology in the form of Hot Hand motion sensor.

Title: Compared creative approaches in creating a dance composition. Goals: The aim of this thesis is to find similarities and differences in the creative approaches of selected Czech and foreign authors of choreographies. Methods: A qualitative research and casuistry as the main research method was selected for this thesis. Namely comparative studies, which together with the survey through semistructured (depth) interview, conducted with selected experts in the field of choreography, compared the two cases among themselves - Czech choreographers with foreign reformers. Results: In the research part of the thesis, based on the literature research and accomplished investigation, there are similarities and differences found in creative approaches of Czech choreographers and foreign reformers. The outcome of the research is a comparative table following the life and work of choreographers in three areas: the entry conditions, the process of creation and creation outputs. Research has found possible functional approaches to dance practice and experience. Keywords: Art, dance, choreography, creation, comparation.

My Diploma Thesis deals with a hip hop as a dance style called also hip hop dance. First, I briefly described hip hop as a culture in general and then paid closer attention to the one of the most important section the dance itself. I described formation and gradual advancement of the hip hop dance, I characterized the way of movements in this style and I dealt with its classification and categorization. I tried to find a way which hip hop dance has undergone from the street, where it was created, into the dance schools and studios and finally into the theatre stages. I was searching for the theatre hip-hop dance performances, which have been fortunate to be spread all over Europe and I have picked one of them for the detail analysis. Last but not least, the part of my Diploma Thesis is a survey in a form of questionnaire trying to find out opinion of the current dance community in a question of hip-hop dance style and its application in a stage choreography and all in all in a theatre environment.

Being inspired by architecture and using non-traditional space for new dance production is nowadays an increasingly popular feature. This thesis extends the research on the functionality and operation of space on building the choreography; it looks at this relationship especially through dance, which is based on these two concepts. In my choreographic works, I focus on this issue as could have been also proved in my previous thesis Scenography and space in choreography of Sasha Waltz from 2011. When preparing chorographical and subsequently theoretical research for my diploma thesis, the procedures governing architects were practically applied to the movements. I observed the movement and creation process being influenced by my choreography. The work title also stresses out, except the space itself, the importance of texture, shape and sound materials in it that advance the creation of dance choreography. On this basis, I created choreographic principles which I analyze in detail also in my work. This work is divided into four main chapters. The first chapter is devoted to the issue of connecting architecture and dancing, its historical development, the concept of site specific performances, to the choreographers who work with this theme and particularly dance in sacred space. The second chapter describes the creations and bibliography of architect Josip Plecnik. He constructed the church of the Sacred Heart by which I was initially inspired for my choreography. This architectonical treasure is in more details described in the third chapter. The last chapter as the final shape is represented by the choreography Materia which was created on the basis of the findings from previous chapters that means of the spaces of Plečnik's church. An integral part of this thesis is a DVD attached, showing the performance Materia, and embedded images which shall serve for better orientation and visual imagination to the topic. The aim of this work is multiple: to point out the relationship between architecture and dance; to address the problems existing in contemporary dance due to its transfer into certain areas and propose possible solutions for avoiding that problem or using this issue for chorographical inspiration. In this work, I use a compilation method based on an analysis of the basic sources and documents and I add my own texts and knowledge gained during the process of creating this production. This piece can also serve as a source for further research in the field of choreography.

Title: Evaluation of Developmental Tendencies in Fitness Aerobic Goals: Based on the content analyses and timelines of successful professional choreographies from the World Championship 2006-2016, the aim of this work is to forecast developmental tendencies and trends including the optimal content of professional choreographies within the organization FISAF for 2018. Methods: This Thesis has a character of a quantitative research. The main researching method is the timeline created with the help of a special program called Statistica 2017 and the content analysis developed with the help of a video recording. Results: Based on the results, it is possible to suppose that a composition can be successful only when it contains 15-16 swinging movements of legs and 17-20 vertical changes (squats, crouch positions) in the physical part, the musical part should consist of 2-4 musical artworks and within the part of choreography there should be 35-40 positions, approximately 25 - 28 contrasting divisions of the group in the movement and space and 10 - 12 interactions between the team members. Keywords: aerobics, fitness team, FISAF, choreography