This final thesis deals with the important work of Czech author of psychological prose Egon Hostovsky and influences on him, which seemed in his literary work. The aim of this thesis is to determine to what extent Hostovský inspired other authors, especially its greatest literary icons F.M. Dostojevsky. To achieve the objective has been selected method based on a comprehensive analysis Hostovsky's the most significant books in terms of literary theory and history. The focus was placed mainly on his early works, where the influence of Dostoyevsky is most marked. This thesis gives a comprehensive comparison Hostovsky's creation with the work of Dostoyevsky, focusing on formal and semantic aspects of literary works of both authors. The first chapter focuses on the specifics of Hostovsky formation and is divided into six sections, each deals with one literary-theoretical aspect, so it consists language means, space- time, description of the characters, narratives and central themes and motifs. To the conclusion of this chapter is attached feedback of Hostovsky's work in our country and in the world. The second chapter is devoted to effects influencing Hostovsky's poetics, where it is mentioned mainly influence of F. Kafka, S. Freud and L. Andrejev. The third chapter includes a list of authors, for whom...

"Living sacrifice" (established by Abraham, continuing in Job, fulfilled in Jesus Christ and emphasized by apostle Paul) is for me a life-attitude originating in relationship with God. The importance and depth of personal self-sacrifice was highlighted by F. M. Dostojevskij. He transformed it into various characters in his novels, which understandably depicted the theme of selfless life in all the complexity of current culture. According to my opinion, selfless existence is a result of God´s wor in a human being. It is a life recast and transformed by the Word of God. A man can only open himself (and decide) to live like a ?living sacrifice?. The beginning of this role consists in unconditional adhering to God, although He can even appear to be a person´s adversary (like in the case of Abraham and Job). ?Living sacrifice? existence is not a gesture to ?bribe? God, or to dazzle crowds. It is a self-sacrifice originating in faith, that ? both in results and secrecy, manifests itself as a creative and life-enhancing selflessness, referring to God and overcoming evil.

In its complexity, human existence cannot be systematised and generalised into a compact concept. Existentialists are those who devoted themselves to Human individuality and phenomena fundamentally related, such as life, death, freedom, absurdity etc. However, considering the specifics of the philosophy of existentialism, it is not possible to only consider philosophers as the only bearers of this intellectual approach, but it is necessary to include certain individuals of world literature in this movement. The concept of human existence has transformed itself in various ways in their philosophy and works. Once it was dominated by the existence of God, to whom it was necessary to set one's mind on, at other times it was thrown into the bleakness and futility of a world without hope. However, the central topic was the same in each of them, the subject that is closest to us people, however, the subject that will always be the great unknown, regardless of the genial thoughts of Sören Kierkegaard, Martin Heidegger, Fjodor Michajlovič Dostojevsky and Albert Camus - the topic of mankind and its place in the world.

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This thesis F. M. Dostoevsky: The Idiot deals with the life of the author with an emphasis on his work, which is always current, because it concerns itself with increasingly vital topics related to human life. The thesis also deals with issues that are key to understanding Dostoevsky and his perception of the world and discusses the previous staging of the play in the Czech Republic, focusing on the work of the director Miroslav Krobot. Primarily, however, this thesis represents a detailed analysis of Dostoevsky's The Idiot and a detailed analysis of the individual dramatic characters within the play, with a focus on their internal processes and relationships, which are then expressed through costume.

In my dissertation "Russian Exile and Inner Emigration An Irregular History of a Cultural Phenomenon" I attempt to examine the issue of the Russian mentality against the background of Russian literary and intellectual trends over the course of one hundred years - from the December Revolt in 1825 to the period after the October Revolution in 1917. The phenomenon of inner emigration and exile, which is characteristic for this period of time, is examined through the use of authentic sources, that is solely literary and epistolary records, as well as through the Czech reflection of the Russian soul, as it was perceived and presented from the time of Masaryk and Slavík and after them by many Czech and foreign scholars up to the present. Examining authentic testimonies, the aim of the work is to make the point that despite the confrontation with European rationalist influences, the Russian world and the so- called Russian soul essentially always retained a spiritual dimension from the Eastern civilizations, based not on rationality but on sensation, not on scholastic argumentation of the external existence of God but on a realization of the unity and the inner interconnection of the material and spiritual world.

In my dissertation "Russian Exile and Inner Emigration An Irregular History of a Cultural Phenomenon" I attempt to examine the issue of the Russian mentality against the background of Russian literary and intellectual trends over the course of one hundred years - from the December Revolt in 1825 to the period after the October Revolution in 1917. The phenomenon of inner emigration and exile, which is characteristic for this period of time, is examined through the use of authentic sources, that is solely literary and epistolary records, as well as through the Czech reflection of the Russian soul, as it was perceived and presented from the time of Masaryk and Slavík and after them by many Czech and foreign scholars up to the present. Examining authentic testimonies, the aim of the work is to make the point that despite the confrontation with European rationalist influences, the Russian world and the so- called Russian soul essentially always retained a spiritual dimension from the Eastern civilizations, based not on rationality but on sensation, not on scholastic argumentation of the external existence of God but on a realization of the unity and the inner interconnection of the material and spiritual world.

This thesis is focused on a concept of revolution in writings of Russian philosopher Nikolai Berdyaev. It starts with general characteristics of a philosopher's works and special attention is given to the style of his writing. Main objective of the thesis is a description of Berdyaev's relation to the term revolution itself, which is given from philosophical, sociological and his- toriosophical perspective, as well as putting his notion of revolution into the context of histor- ical events that has occurred during the first quarter of 20th century in Russia. Thesis draws on Berdyaev's articles that appeared in these collections of papers: The Problems of Idealism (Problemy idealizma), Signposts (Vekhi), De profundis (Iz glubiny) and on his works: The Spir- itual Crisis of the Intelligentsia, The Philosophy of Inequality, The Spiritual Origins of Russian Revolution.

Since time immemorial, humankind has been concerned with freedom. This thesis introduces the most important thinkers who devoted themselves to studying freedom and who greatly influenced the perception of freedom. The thesis includes historical overview focusing on the problem of freedom mainly from theological and philosophical point of view. However, two authors in the field of psychology and sociology are mentioned as well. In existentialist philosophy, the human freedom is one of the most crucial topics, and it is presented here on the work of the writer Fyodor Mikhaylovich Dostoyevsky, the philosopher Jean-Paul Sartre and the theologist Paul Tillich.

The dramatic structure is like the skeleton that holds together the components and gives birth to the orchestration of the performance.This structure is essential to give the performance life.As a director in theatre it is our main tool. In defining the performance we define the dramaturgy. But what does the dramaturgy consist of and how do we get a hold of a tool, which is so driven by our intuition and how do we change it during the process? In this thesis work I will focus on how to use the dramatic principles in different works from interpretation to adaptation. I will explore how these principles function in each process and how they support the dramaturgy towards the creation of the performance.