O foco principal deste estudo volta-se para a fala no jogo dramático, a fala que acrescenta ao significado semântico a expressão sonora, sua musicalidade. O caminho que leva a este estudo, no entanto, é fundamental para sua compreensão. A sensibilidade, a invenção, presentes nos jogos e brincadeiras durante minha infância, prosseguiram até a concretização da vida profissional. A EMIA, Escola Municipal de Iniciação Artística, é o lugar que, além de apresentar estas características, estimulou a pesquisa constante. A Música, área da minha formação, pôde ampliar seus limites e adentrar o universo do Teatro. A pesquisa da sonoridade da fala no jogo dramático apoia-se em procedimentos da música contemporânea, acompanhando o mesmo foco enfatizado por Jean-Pierre Ryngaert a respeito da utilização dos procedimentos teatrais. Ryngaert é uma referência central neste estudo. O grupo que se apresenta como objeto experimental da pesquisa é formado por alunos da FAAM, da Licenciatura e do Bacharelado de Canto. Além de o trabalho estar diretamente voltado para a materialidade sonora e expressiva da fala, este estudo também aponta para possibilidades no campo da Educação Musical. A poesia é a matéria prima que dará corpo à nova materialidade durante as improvisações. É a partir das discussões com os alunos na \"Roda de conversa\" que o texto poético vira fala e que a fala vira pura poesia. A \"Roda de conversa\" instala-se como grande forma neste estudo, na medida em que se alastra fora da sala de aula e passa a criar um espaço ainda mais amplo, incluindo o diálogo com as vozes dos autores escolhidos como convidados nesta grande roda. O jogo dramático concebido por Ryngaert, enriquecido pela pesquisa sonora da fala aqui apresentada, busca a possibilidade da ampliação do universo sensível e artístico dos participantes através da integração de duas linguagens artísticas, o Teatro e a Música. O campo de pesquisa que acolhe este estudo é o Ensino da Arte. / The main focus of this study directs itself to the speech in the dramatic play. The speech that adds to the semantic meaning its own sound expression, its musicality. The way taken to this study, however, is fundamental or essential to understand it. The sensibility and the invention, both present in the plays and games of my childhood have evolved to the concretion of my professional life. EMIA, the Municipal School of Artistic Initiation, is the place that has not only accepted these characteristics but also stimulated this constant research. Music, my major, could expand its limits and get into the Theatre universe. The research on the sonority of the speech in the dramatic play sustains itself over contemporary music procedures, accompanying the same focus emphasized by Ryngaert, who is the main reference in this study, in the use of theatrical procedures. The group presented here as the experimental SUBJECT of this research is formed by bachelor and undergraduate students of FAAM. Besides the fact that this work is faced to the speech\'s sound and expressive materiality, it is also sustained over educational aspects, showing opening possibilities in the Educational Music field. Poetry is the feedstock/raw material that will shape up the new materiality that will rise over the improvisations. It is from the discussion process made with the students in the \"Conversation Circle\" that the poetic text becomes speech, and the speech becomes pure poetry. The \"Conversation Circle\" settles itself as the major form in this study; it spreads out of the classroom and starts to create an even wider space, which includes dialogs with the chosen authors\' voices as guests in this great circle. The dramatic play as conceived by Ryngaert, enriched by the sound research of the speech which is presented here seeks a possibility to extend the sensitive and artistic universe of the participants through the integration of these two distinct artistic languages: The Theatre and Music. The Field research that determinates this study is the Teaching Art.

Text in Afrikaans / Een van die funksies van die Kerk is om vir sy lidmate te sorg. In die praktyk wil dit voorkom asof die Kerk se sorg meer gerig is op die adolessent en die volwassene. Vanwee verskeie faktore ontvang kinders baie min of geen sorg in die vorm van pastorate sorg of pastorate beraad nie. 'n Gespreksmetode van beraad slaag nie altyd as daar met kinders gewerk word nie. In die veld van die psigoterapie en maatskaplike werk word daar algemeen gebruik gemaak van spelterapie wanneer daar met kinders gewerk word. Laasgenoemde kan ook in die pastoraat met kinders gebruik word sonder om die unieke karakter van pastoraat verlore te laat gaan. Die Kerk kan langs hierdie weg ook sy pastorate verantwoordelikheid teenoor kinders nakom. / One of the functions of the Church is to care for people. The children, however, are often neglected with more attention being paid to the adolescent and adult. Moreover, the verbal approach used when pastors work with children who experience difficulties do not seem to address this fully. Play therapy, on the other hand, appears to be a useful means of addressing this deficiency. It is often used in psychotherapy and social work and can be used to good effect in the caring of the Church for children. Play therapy enables the pastor to fulfill the Church's obligation to care for children, without disregarding the unique character of pastoral care and pastoral counselling. / Philosophy, Practical and Systematic Theology / M. Th. (Practical Theology)

The Framework Education Programme for Preschool Education is a legislative curriculum document which establishes the basic requirements for the state preschool education. The educational objectives and requirements are binding for the teachers. However, the way in which those objectives and requirements are met, is fully in the hands of each nursery school. This diploma thesis illustrates one of the possible ways of educating preschool children, namely the dramatic education. The dramatic education is presented here not only as an educational method but also as a style of pedagogical work. This particular style respects individuality and originality of each child with the intention of developing his/her potentials and with the effort to equip the child with necessary social skills. The practical part of the diploma thesis offers insight into the authentic dramatic and educational process which explores topics of human life. During this process, each child goes through a full-fledged personal and social development by means of dramatic activities, which are based on topics of literary text

This thesis deals with the possibilities of application of Zdenek Sverak's work in a kindergarten drama education. The theoretical section summarizes the information about the life and works of Zdenek Sverak and the findings regarding the possibility of using a literary narrative in a kindergarten, while applying the methods of drama education. There follows a description of the developmental patterns of preschool children and their significance for the drama education. The practical part of the thesis uses the books of Zdenek Sverak to process and reflect upon thematic units, in which the drama education methods were used. At the conclusion of the thesis, there is an evaluation of the research observations, obtained during my implementation of the thematic units.

The present thesis focuses on the representations of gays in Czech and Slovak contemporary theater plays. Its aim is to analyze the queer and campy aspects of the representations of gays in the mainstream plays and uncover the principles of creation of the gay character in the structure of dramatic Arts. The results of analysis explain the integrative mode of representation of gays in Czech and Slovak contemporary plays.

This thesis deals with the theory of speech acts which is based mainly on analysis of speech and its function in communication. We use speech not only to convey something but to also do something, to change the state of things around us and to accomplish specific goals. Speech acts in a literary piece are then analyzed on theoretical basis, specifically in Milan Kundera's dramatic play Majitelé klíčů.