SUMMARY: This thesis focuses on theatre, film and television acting of one of the important representatives of Czech dramatic art in Czech artistic and social context in the second half of the twentieth century. The aim of this work is to depict means of expression used by Vaclav Voska in his roles. It provides summary of actor's theatrical work and in the part dedicated to his TV acting tries to comprehensively describe compering television series "We invite you to the theatre". The following part is dedicated to film acting, especially to his cooperation with the Film Academy of Performing Arts in Prague. The work neither neglects his teaching at the Faculty of Performing Arts Theatre nor his political career. The essential part of this thesis is focuses on his role of Emile Magis in Félicien Marceau's game The Egg. The work purposely omits on Vaclav Voska's production of spoken word (radio, Poetic Cafe Viola, Lyra Pragensis) and it refers only to his major achievements only if they are relevant for analyzed topics. Complete list of theatre and film production is given at the end of his work. The TV list is only a selection with regard to the factual ambiguity at the beginning of the functioning of the medium. The work provides factual data - in some cases, they are presented to public for the first time...

Toute société est fondée sur des règles de différentes natures. Les lois édictées en sont un exemple éloquent. Ces conventions auxquelles se soumettent d'une manière générale les citoyens ont été érigées dans le but de former un groupe où l'idée de bien commun est souveraine. Or, dans la réalité, le respect de certains commandements n'aboutit pas nécessairement à l'intérêt de la communauté. Le concept de justice construit à partir de ces règles tient donc jusqu'à ce que les hommes contestent l'autorité de ces dernières. Conscients des imperfections du système judiciaire et des injustices qu'il peut créer, plusieurs écrivains ont ainsi questionné les règles du «jeu» du droit et plus particulièrement des tribunaux. Friedrich Dürrenmatt s'interroge lui aussi sur le bien-fondé des lois et procédures qui régissent nos sociétés occidentales. Il change dans ses récits les normes qui entourent habituellement le déroulement d'un procès ou les frontières traditionnelles du travail juridique sans que l'effet de vraisemblance ne soit affecté: il prend le pari d'affirmer que le droit est une construction au même titre que le sont ses narrations, que le droit est à sa manière une fiction à laquelle on peut croire ou ne pas croire. L'originalité de Dürrenmatt réside dans deux aspects de sa démarche. D'abord, il centre sa réflexion sur la rhétorique juridique, sur le pouvoir du discours. Il situe en effet le pouvoir légal dans l'art d'argumenter et de se justifier bien plus qu'au sein des institutions. Il montre ainsi que le discours est capable de rendre vraisemblable un mensonge et de persuader à tort une majorité d'individus. Le droit, par la voie du discours qui interprète les règles, devient une fiction. Par ailleurs, il distingue de la rhétorique proprement juridique les rhétoriques philosophique et littéraire qui développent une pensée différente autour de la justice. Il décortique donc trois types de rhétoriques et les confronte, de sorte qu'une multitude de vérités contradictoires émerge. Ce faisant, il relativise la responsabilité qu'on peut attribuer spontanément aux règles elles-mêmes. Il n'y a plus de justice immanente représentée par la loi ou un dieu, il n'y a qu'une justice humaine, profondément divisée et relative. Le mémoire analyse dans un premier temps l'articulation des discours sur la justice mis en relation par Dürrenmatt. Il circonscrit ensuite à l'aide de mythes dont l'auteur s'inspire et de sa conception du droit naturel une critique sociale singulière. Les facteurs de la relativité de la justice sont étudiés plus attentivement au chapitre trois. Enfin, la vision éthique de l'écrivain considérée succinctement clôt le travail. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Justice, relativité, rhétorique, moralité, fiction, droit, philosophie.

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Submitted by Daniela Manami Mippo null (danielammippo@gmail.com) on 2016-07-05T21:04:26Z No. of bitstreams: 1 Dissertação_Daniela Mippo.pdf: 992577 bytes, checksum: 9ac5def3f36c2f8893e074b814788b04 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-07T18:52:32Z (GMT) No. of bitstreams: 1 mippo_dm_me_arafcl.pdf: 992577 bytes, checksum: 9ac5def3f36c2f8893e074b814788b04 (MD5) / Made available in DSpace on 2016-07-07T18:52:32Z (GMT). No. of bitstreams: 1 mippo_dm_me_arafcl.pdf: 992577 bytes, checksum: 9ac5def3f36c2f8893e074b814788b04 (MD5) Previous issue date: 2016-05-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / É inegável que a sociedade com o passar dos anos tenha sofrido constantes transformações de ordem tanto social quanto econômica, o que não só promoveu uma mudança no homem moderno, como também passou a se refletir nas artes, possibilitando assim o surgimento do drama moderno como forma de representação desse homem em transformação e suas inquietações. Com o advento do drama moderno não se pode mais pensar em uma única maneira de se conceber o teatro, mas passa-se a considerar a existência do drama em sua pluralidade, na qual suas diversas manifestações buscam ora refletir o homem moderno tal qual ele se apresenta, submetido a um sistema cada vez mais desumano e mesquinho, ora propor um teatro engajado, cujo objetivo seria despertar o homem para que, saindo da inércia em que se encontra, comece a agir contra as injustiças veladas que se tornam cada vez mais frequentes. Friedrich Dürrenmatt, dramaturgo suíço, viveu em um período marcado pela guerra e suas consequências. Tal atmosfera somada a uma tendência de composição híbrida própria ao drama moderno resultaria em uma série de peças que refletem de forma crítica e irônica o homem de seu tempo. O dramaturgo em sua visão sobre a sociedade moderna defendia que nenhum gênero seria mais adequado para representá-la do que a comédia. Ainda que não excluísse a possibilidade do trágico, entendia que esse só seria possível em sua forma híbrida, a tragicomédia. Tomando uma de suas obras mais expressivas, o presente trabalho tem por objeto sua peça tragicômica A visita da velha senhora, publicada pela primeira vez em 1956, buscando analisar de que forma o trágico e o cômico manifestam-se dentro da peça, bem como a maneira como tais aspectos interagem entre si e com as demais características da peça, como, por exemplo, o grotesco. Ademais, se observou também o diálogo estabelecido entre Dürrenmatt e o Teatro Épico de Brecht, seu contemporâneo. / It is undeniable that the society over the years has undergone constant changes in both social and economic aspects, which not only promoted a change in modern man, but was also reflected in the arts, allowing the emergence of modern drama as a way of representation of the man in transformation and their concerns. With the advent of modern drama it is not possible to think of a single way of conceiving the theater, since now we can consider the existence of the drama in its plurality, in which its various manifestations now seek to reflect the modern man as it is. Therefore, some now propose a committed theater, whose goal would be to awaken the people out of the inertia that they are, urging them to begin to act against the veiled injustices that become more frequent. Friedrich Dürrenmatt, Swiss playwright, lived in a period marked by war and its consequences. This atmosphere coupled with a tendency to a hybrid composition in modern drama would result in a series of plays that reflect critically and ironically the man of his time. The playwright in his vision of modern society argued that no genre would be more appropriate to represent it than comedy. Although he does not exclude the possibility of the tragic, he understood that this would only be possible in a hybrid form, the tragicomedy. Taking one of his most significant plays, this work is focused on his tragicomic play The visit of the old lady, first published in 1956, seeking to examine how the tragic and the comic are manifested within the play, as well as how such features interact with themself and with the other features, such as, for example, the grotesque. Furthermore, it also noted the dialogue between Dürrenmatt and the epic theater of Brecht, his contemporary.

This study examines the interpretive possibilities in the shorter fiction of Post-War German literature. The corpus includes works by Rolf Hochhuth, Friedrich Durrenmatt and Martin Walser. The historical framework of the theory of the novella and short story provides a basis for a discussion of genre, extended to include the coordinates of metaphor and metonymy. With the exception of one text designated as a novel, these works demonstrate interlocking and restricted motif complexes, repetitive and parallel structure and the integration of most narrative components. They project a tenor of hermetic plurality from a vehicle of abbreviated and truncated referential discourse. They use myth and intertextuality to show general principles to be extrapolated from specific contexts. Metafiction complements the theme of the subject not at one with itself. A partial resolution to the incertitude of existence, rendered according to Freud and Lacan, is offered through the emerging role of women as a stabilizing factor.

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Text in German / Friedrich Durrenmatt hat die meisten seiner Dramen als Komodien oder Tragikomodien bezeichnet, da er davon uberzeugt war, daB es unmoglich sei, in der heutigen Zeit noch Tragodien zu schreiben. Diese Arbeit versucht am Beispiel einiger dramatischer Werke Durrenmatts zu zeigen, daB der Autor der "Physiker", der "Panne" und anderer Stucke, vor allem des "Besuchs der alten Dame", in weit hoherem MaBe der griechischen Tragodie verpflichtet war, als er erkannte oder zugeben wollte / Friedrich Durrenmatt has described most of his dramas either as comedies or as bitter comedies for he firmly believed that it was not suitable to write tragedies in our modern times. This paper was written to prove with the help of a few examples that the author of "The Physicists", "The Puncture" and others especially "The Visit" - was more bound to the classical Greek form of tragedy than he recognized or admitted / Linguistics and Modern Languages / M.A. (German)

Text in German / Friedrich Durrenmatt hat die meisten seiner Dramen als Komodien oder Tragikomodien bezeichnet, da er davon uberzeugt war, daB es unmoglich sei, in der heutigen Zeit noch Tragodien zu schreiben. Diese Arbeit versucht am Beispiel einiger dramatischer Werke Durrenmatts zu zeigen, daB der Autor der "Physiker", der "Panne" und anderer Stucke, vor allem des "Besuchs der alten Dame", in weit hoherem MaBe der griechischen Tragodie verpflichtet war, als er erkannte oder zugeben wollte / Friedrich Durrenmatt has described most of his dramas either as comedies or as bitter comedies for he firmly believed that it was not suitable to write tragedies in our modern times. This paper was written to prove with the help of a few examples that the author of "The Physicists", "The Puncture" and others especially "The Visit" - was more bound to the classical Greek form of tragedy than he recognized or admitted / Linguistics and Modern Languages / M.A. (German)