This master thesis focuses on the possibilities and limits of the dramaturgist during the creative process of rehearsal and on the dramaturgical parts of development of new dramatic texts. The author reflects her previous encounters with dramaturgy and her British experience gained during a study visit of Rose Bruford College in London.This master thesis does not lead towards theoretical generalization, but to the notation of the growing experiences, from which it draws conclusions for her own dramaturgical work (and her playwriting).The first part analyzes the phenomenon of the 'first reading rehearsal' in Czech and British context and the definition of relations between the various parts in this process.In the second part, the author describes two different principles of work aimed at developing new dramatic texts and compares them with her own experiences. As s part of this master thesis, there is also a transcript of an interview with Christopher Campbell, literary manager of the Royal Court Theatre in London.

This master thesis deals with one of the current trends in contemporary British drama – the so-called „climate change plays“. In the first part of this thesis my aim is to briefly introduce the history and context of climate change debate from the 1970s to the present day and explain how environmental problems started to arise in different art spheres, above all in Anglophone literature. In the second part the focus is on the climate change plays that emerged in English speaking countries in the past 15 years. The core of this thesis are analyses of four plays premiered in major London theatres between 2009 – 2011: The Contingency Plan by Steve Waters, The Heretic by Richard Bean, Mike Bartlett’s Earthquakes in London and Lungs by Duncan Macmillan. The main objective of these analyses is their approach towards climate change science and their shared ideologies, motives and themes. The last chapter attempts to evaluate this social phenomenon and to consider the difficulties artists have to face when dealing with such complex scientific problems like climate change.

The presented thesis is looking at or searching different educational methods connected with drama and graphic art. The author is describing her own search and favours a variety of drama technique (activities) as a way of graphic art expressions. The first part of the thesis is including a description of her current theoretical findings, gained as an art teatcher as well as a wide overview of graphic art drama in general. Structural basis of the art and drama (the style of graphic art drama), which have been tested out in the practice sessions, are also well depicted. Some more possible pathways of graphic art and drama together are indicated as well, and their potential to resonate in the same time in the subconsciousness of this field. Four visual drama art works are the main focus of the second part of her thesis. She has experience them together with her pupils during her work as art/drama teacher at Radotin Primery Art school of Klement Slavicky in Prague 5. It is a detail description “step by step” of each of her art-drama projects including a small reflection and feedback of each step. Final evaluation and reflection is included at the end of each drama project. The published four projects allow us to observe the authors change of perception and view on the educational approach. Every following art-drama unit offered an opportunity for growth and expended the authors spectrum of graphic art methods and drama techniques. Overall it has deepened her insight not only into the specific project, but the entire field of graphic art drama. Photo-documentation of several specific art presentations has been assigned to some of the tasks presented in the work as they were the result itself.

The thesis deals with the notion of monologue and monologicity as a peculiar means of expression of the modern drama. The concept of monologue is defined within the frame of its relation towards dialogue, in the context of theoretical thinking about drama and theater, and in terms of the application of these concepts in everyday life.It is based on the theoretical works by Jan Mukařovský and Jiří Veltruský. The concept of monologue as a lack of dialogicity is being challenged with understanding monologue as a haven of authenticity, a space for authentic testimony. Through the general reflection, thoughts are put in connection with modern drama and illustrated on examples from particular drama works. The thesis leads into a reasoning about the dialogue between the stage and the auditorium as a way-out from the monological situation on the stage.

The thesis will focus on problems of the reception of dramatic opus of Bulgarian prosaist, dramatist and scenarist Yordan Radichkov (1929 - 2004) in the Czech and Slovak area from 1976 (premiere of first drama - January) until nowadays. The thesis will try to discover elements of magic realism, anecdote, comedy and satire which creatively follow fabulative elements and style of folktales in dramas of one of the most famous and world popular Bulgarian author of the 20th century. The thesis will be based mainly on the confrontation of the reception of agreement and difference in the plays staged in two comparison areas - Czech and Slovak. Part of the thesis will be detailed bibliography witch will capture production in Czech and Slovak theatres and their responses in press.

The presented diploma thesis is divided into two parts. The crucial part consists of a translation of a theatre play La Seconde Chute au Godot, Acte III (1993) written by Swiss French-writing author Sylviane Dupuis. This play continues one of the most important plays of 20th century - Waiting for Godot by Samuel Beckett - and it wants to provide a new outlook on its topics. The translation is completed by a study about Swiss francophone theatre focused mainly on Sylviane Dupuis and a thorough analysis of the play. The center of interest of the second part of the thesis is La Seconde Chute's strong intertextuality and the problems it brings to the phase of understanding and interpretation, as well as in the translation itself. Key words: interpretation, analysis, theatre, Swiss theatre, Sylviane Dupuis, translation of dramatic texts

(in English): The master's thesis deals with the use of dramapedagogy in grammar teaching in Czech for foreigners. The issue is explored through a pilot study focusing on the instruction of past tense in a university course in Germany. For the purpose of the study, the drama grammar method, which combines explicit grammar exploration and acting in communication situations has been modified. Firstly, the paper specifies the chosen grammatical structure didactically. Secondly, the options of using dramapedagogy in foreign language teaching are introduced. The focus lies on the methods theatre pedagogy (metoda jevištního tvaru) and drama grammar. The presented pilot study examines three research questions (referred to as VO). According to VO1, subjects taught through the drama grammar method will achieve better results in grammar. VO2 verifies if applying dramapedagogy influences the consolidation of student's linguistic performance in a long-term perspective. VO3 expects that using dramapedagogy will increase student's motivation.

Title Use of a literary text in a dramatic project Summary The work deals in its theoretical part with definition of dramaturgy; means, approaches and methodology of creative dramaturgy. What is more, it deals with possibility of using the literature (fairytale) in work with prep school children. The practical part deals with a project, which applies the fairytale text in dramaturgy in educational announcement of a prep school. It applies different dramatics, feelings and sense, pantomimic and other plays during February. The project is finally assessed with focus on affectivity of applied means, approaches and methodology of creative dramaturgy with respect to personality of the prep school children. Keywords Creative dramatist, literary text, pre-school age, drama, dramatization, pre- school education, nursery school.

The author's aim for her diploma thesis is to examine the phenomenon of Irish theatre, which existed in repertoire of one of the most influential small scenes in Prague - Činoherní klub. The work will delve into Czech-Irish cultural relations as 19th century as well as illustrate the way poetics of theatre align with tragicomical poetics of Irish theatre. This will be demonstrated on examples of specific plays by Irish authors The Drama Club put out throughout the years.

This master's thesis concerns itself with the motive of "despair" in contemporary Czech drama. It includes an analysis of selected plays written after 2000 by leading Czech authors belonging to the middle generation (Petr Zelenka; David Drábek; Jiří Pokorný; Petr Kolečko; Tomáš Svoboda; Lenka Lagronová; Iva Klestilová, born Volánková). The aim of the thesis is to analyze these dramas, to define characteristic elements and to determine whether we can identify a clear "desperate people" motive within their characters, deeming it a characteristic feature of contemporary Czech drama written by the middle generation. Using a comparative method we explore typical repetitive motives of the characters - anti- heroes, which suffer from having an unfulfilled personal life, a feeling of loneliness or a midlife crisis. The master's thesis describes the causes and manifestations of despair of the characters, as well as the solutions the dramas offer to the bleak situation (insanity, suicide, miracle). KEYWORDS contemporary Czech drama, motive of "losers", in-yer-face theatre, Petr Zelenka, David Drábek, Jiří Pokorný, Petr Kolečko, Tomáš Svoboda, Lenka Lagronová, Iva Klestilová (Volánková)