(Anglicky) This diploma thesis conducts a survey of dramatic and theatre work of contemporary German dramatist and director Falk Richter (born 1969) in the context of German political theatre of 20th century, thus primarily Brecht and Piscator tradition. At the same time, the concepts of political and post-dramatic theatre are defined and elaborated. The work points out that the current political function of theatre and its chance to directly influence social reality is understood differently than in the case of both pre-war and post-war epic drama by Erwin Piscator and Bertolt Brecht, or in the documentary drama of the 1960s. The key goal of the thesis is to analyze and interpret chosen Richter's dramatic writings and mainly the project Trust, which was created in collaboration with Dutch choreographer Anouk van Dijk. The project can be perceived as a current form of Richter's poetry, which gradually deviates from the "drama" theatre and inclines to motion drama with dance and performance elements. It is showed how the authors deal with present social and personal issues, which are transformed into theatre expression, motion and dance. At last, the thesis examines in what consists the politics of this project.

This thesis presents the work of a contemporary German playwright Roland Schimmelpfennig in a wider context. In the main chapter, the author focuses on the analysis of five Schimmelpfennig's plays that have been performed also on Czech theatre stages. The analysis emphasizes the elements of a dramatic structure that Schimmelpfennig uses in an innovative way: epization of texts, unrealistic treatment of dramatic time, elements of magic realism etc. The author also pays attention to a general characteristic of a contemporary German-speaking theatre with respect to the topics that it deals with. A significant part of the work is devoted to classifying Roland Schimmelpfennig's work in the historical and theoretical context of a contemporary German-speaking theatre. A book called Die Rückkehr der Helden by a German author Nikolaus Frei, which questions some opinion on the recent development of theatre presented in a book Postdramatisches Theater by Hans Thiese Lehmann, has become a crucial source for this thesis. Nikolaus Frei copes with the question of animateness/inanimateness of theatre and by using extracts from particular dramatic texts by contemporary authors proves a possible continuity of mimesis, realistic acting and conflicts on the stage until the 21st century. In conclusion, it is possible...