L'interprétation vocale, parce qu'elle est le point nodal de l'articulation complexe entre le texte et la musique, fournit les coordonnées de la dramaturgie opératique. C'est en effet par le chant que la rencontre hybride entre ces deux médias se coule en une seule et même action, autonome et indécomposable. L'opéra transcende ainsi le hiatus de la juxtaposition de deux contenus protéiformes, aux synergies limitées et aux nombreux antagonismes, en un contenu sémiotique homogène, que l'on goûte par le truchement de la représentation. Il s'agit véritablement du passage d'une matière bipolarisée à une énergie dont l'immatérialité réconciliatrice s'inscrit dans l'espace de la scène. Cette union transcendante fait "souffrir" l'oeuvre source, par l'impact de la technique vocale, du langage musical et des contingences liées à la scène lyrique, de la même manière que la musique se plie, dans une certaine mesure, aux impératifs de la tragédie. Cette recherche vise à soulever des interrogations sur le sens et les enjeux de la tragédie lyrique et de la tragédie shakespearienne, sur ce que fait émerger l'agglomérat du texte, transformé par les exigences musicales, et de la musique, dédiées à ce texte. Elle entreprend aussi d'éclairer certaines fonctions du langage et des formes musicales qui, même si elles ne sont pas fixes et universelles, deviennent opérantes dans le cas singulier des oeuvres traitées, ainsi que certaines données latentes des tragédies de Shakespeare qui ouvriraient de nouveaux canaux à l'effusion des passions humaines. Cela pose la question de ce que la relation des contenus hétéroclites de la tragédie lyrique libère, modifie et étouffe dans le drame source. / Vocal rendition, the nexus of the complex articulation of text and music, gives the coordinates of operatic dramaturgy. It is, in fact, through singing that this hybrid conjunction between these two media appears as one and the same autonomous unitary action. Thus, opera transcends the hiatus of the juxtaposition of two protean contents, with limited synergies and numerous antagonisms, in a homogeneous semiotic content that can be appreciated in its representation. It effects the passage from a bipolarized matter to an immaterial conciliatory energy that is made to be performed. This transcendent combination makes the source work of art suffer, as a result of vocal technique, the musical language and the contingencies of the operatic performance, in the same way that the music submits to the requirements of tragedy. This research work aims at bringing up questions about the sense and the issues at stake in the operatic tragedy as well in the Shakespearean tragedy, about what stands out from the entirety of text altered by the musical requirements and the music given over to it. It also undertakes to shed light on certain functions of the language and the music forms which, even if they are not fixed or universal, become effective in the singular case of the works that are examined; and also on some latent data of Shakespeare’s tragedies which would open new floodgates to the outpouring of human passions. This poses the question of what the connection between the heterogeneous contents of the operatic tragedy, releases, modifies and stifles in the source drama. / L'interpretazione vocale, il nodo della complessa articolazione tra testo e musica, dà le coordinate della drammaturgia operistica. È, infatti, attraverso il canto che la confluenza ibrida tra questi due mezzi di comunicazione si fonde in una stessa azione, autonoma e unitaria. L'opera trascende così lo iato della giustapposizione di due contenuti proteiformi, con limitate sinergie e antagonismi numerosi, per arrivare a un contenuto semiotico omogeneo, che gustiamo tramite la rappresentazione teatrale. Si effettua veramente il passaggio da una materia bipolarizzata ad un'energia la cui immaterialità riconciliante si inserisce nello spazio scenico. Questa combinazione trascendente fa « soffrire » le fonti, a causa dell’impatto della tecnica vocale, del linguaggio musicale e delle contingenze afferenti alla lirica, nello stesso modo in cui la musica si piega, entro certi limiti, ai dettami della tragedia. Questa ricerca mira a porre delle domande sul significato e sulle sfide della tragedia lirica e della tragedia di Shakespeare, su ciò che fa emergere l’agglomerato del testo, trasformato dalle esigenze musicali, e della musica consacrata a questo testo. Si impegna inoltre a illuminare alcune funzioni del linguaggio e delle forme musicali che, anche se non sono fisse e universali, diventano operative nel caso singolare delle opere esaminate, così come certi dati latenti delle tragedie di Shakespeare, che aprirebbero nuovi canali all’effusione delle passioni umane. Questo solleva la questione di ciò che il collegamento dei contenuti eterogenei della tragedia lirica libera, modifica e soffoca nel dramma originale.

Analyser l’ensemble de l’œuvre dramatique disponible de Maurice Maeterlinck, soit trente et une pièces de théâtre, en se laissant guider par le fil rouge majeur, son rapport avec les textes sacrés du christianisme, tel est l’objet de cette thèse. Les deux premiers théâtres maeterlinckiens apparaissent nettement comme deux tablettes antithétiques d’un même dyptique représentant respectivement l’enfer et le paradis. Aussi la notion biblique du libre arbitre s’impose-t-elle comme un facteur différentiel pertinent entre le théâtre du silence et d’aliénation et le théâtre de la parole et de libération. Des principes bibliques tels que la loi de la croyance, la puissance de la confession, le contraste entre les ténèbres et la lumière, la guerre et la paix, la perdition et la rédemption, la justice humaine et la justice divine, la mort et la résurrection des morts semblent s’ériger en métaphores obsédantes et en thématiques transversales unissant les quatre principaux moments du théâtre maeterlinckien. / Analyzing all the available dramatic work of Maurice Maeterlinck, about thirty-one plays, guided by the main thread, his relationship with the sacred texts of Christianity, this is the aim of this thesis. The first two Maeterlinck’s theaters appear clearly as two antithetical tablets of the same bifacial painting representing the hell and the paradise. Also the biblical concept of the free will is required as a relevant factor of difference between the theater of silence and alienation and the theater of the speech and release. Biblical principles such as the law of believing, the power of confession, the contrast between darkness and light, war and peace, perdition and redemption, human justice and divine justice, death and resurrection of the dead seem to stand in haunting metaphors and transverse themes linking the four key moments of Maeterlinck’s theater.

This thesis is dealing with the work of the dramaturge, translator and the theatre theorist Karel Kraus (1920 - 2014). The activity of this author is presented gradually with an accent on the chronology and domains of his production, as well as on the most significant subjects in his works. The main purpose of this thesis is to characterize and summarize Kraus's work as a whole unit. And there are primary sources (writings of Kraus) which are used to accomplish this intention. While the unit of Kraus's works is described step by step, we are also getting familiarized with his way of writing and his attitude. The thesis is extended of a supplement which consists of the bibliography of the essays and articles by Karel Kraus in the period from 2000 to 2014.

Cette étude se propose de montrer comment Yukio Mishima a renouvelé l’art du nô tout en conservant de nombreux concepts dramaturgiques et esthétiques. Créant un genre nouveau, le nô moderne, l’écrivain a revitalisé ce théâtre en privilégiant son obsession du désir de mort. Greffés sur des nôs anciens, les pièces de Mishima revitalisent des figures et des mythes du passé dans un monde moderne dégradé, où la seule voie possible est celle qui mène à la douleur originelle, un retour vers un sacré dans lequel se lisent les obsessions et les rêves de mort du dramaturge. / This study offers to show how Yukio Mishima has renewed the art of nô while maintaining numerous aesthetic and drama concepts. By creating a new genre, the modern nô, the writer has revitalized this type of theatre, focusing on his obsession with death desire. Based on ancient no’s, Mishima's plays revitalize figures and myths of the past, in a deteriorated modern world where the only possible path is the one leading to original pain, going back to the sacred, which reflects the playwright's obsessions and dreams of death.

The aim of this thesis is to map and subsequently analyse and evaluate all the processes that are going on in the Ponrepo cinema. Even though it is an archive cinema it is currently participating in more complex and broader activities than just film screenings. Therefore, this thesis deals with the processes associated with traditional function as an intermediary of collections of the National Film Archive to the public and the processes associated with the new mission as a creative centre or platform for film education.

Les quarante "Miracles de Nostre Dame par personnages" constituent l'immense majorité du corpus dramatique de langue française du XIVe siècle. Malgré cette importance historique majeure, ces pièces n'ont jusqu'à aujourd'hui pas fait l'objet d'une étude littéraire spécifique. Victimes du manque de légitimité poétique que l'on prête au théâtre médiéval en général, mais aussi tributaires de leur apparente simplicité, ces drames présentent pourtant de nombreuses similarités qui témoignent de l'homogénéité stylistique du corpus. Envisageant tour à tour le corpus en tant que texte, spectacle et livre, le présent travail vise donc à rendre raison de sa concertation dramaturgique. L'étude se donne d'abord pour objet de repérer les lois implicites du recueil : tandis qu'une analyse en synchronie permet de dégager les lois structurelles et discursives du corpus, une étude en diachronie permet de comprendre ses lois de composition, élaborées au fil du temps et des expériences scéniques. C'est finalement dans le dialogue incessant entre la scène et les spectateurs que s'élabore la spécificité du Miracle dramatique, dont la dramaturgie propose une approche singulièrement subtile de son public. Cette relation étroite entre la scène et les spectateurs se poursuit lors du passage des pièces de l'espace scénique à l'espace du livre. Mises en drame, en scène et en texte, ces quarante histoires miraculeuses offrent finalement l'évidence de la profonde cohérence de leurs transpositions successives. Témoignages de la vocation éducative des confréries, elles s'avèrent être de riches et étonnants objets de théâtre, dont la portée esthétique ne s'est pas tout à fait éteinte. / The forty "Miracles de Nostre Dame par personnages" stand for the immense majority of the dramatic French-language corpus of the fourteenth century. Despite this major historical importance, these plays have not been the subject of a specific literary study. Despised for the lack of poetic legitimacy attributed to medieval theater in general and for their apparent simplicity, these dramas present many similarities which show the evidence of the stylistic homogeneity of the corpus. Considering in turns the corpus as a text, a show and a book, this work aims to reveal the dramaturgical project behind the plays. First of all, this study intends to identify the implicit laws of the collection. A synchronic analysis allows to identify the structural and discursive laws of the corpus, while a diachronic study reveal its laws of composition, created by succesives scenic experiences. Finally, the specificity of the dramatic Miracle appears to be based on this constant dialogue between the stage and its audience. This close relationship continues as the pieces move from the stage space to the book space. Dramas, stagings and texts, these forty miraculous stories offer the evidence of the deep coherence of their successive transpositions. As these plays are proofs of the brotherhoods' educational vocation, they turn out to be amazing theater objects, whose aesthetic significance has not quite extinguished.

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This diploma theses titled Story building in serial format focusing on the Chernobyl miniseries analyses the serial Chernobyl coproduced by American HBO and British Sky aired in 2019. Chernobyl miniseries gained public recognition and still ranks as one of the highest-rated TV shows in history according to movie databases in the Czech Republic and abroad. It also received wide media coverage from different newspapers and movie servers. The miniseries has five episodes it describes primarily the human aspect of a horrifying disaster in the Chernobyl Nuclear Power Plant in 1986. The main aim of this theses is content and dramaturgy analysis, description, and development of individual characters and themes. This diploma thesis also focuses on the story building of a serial in terms of theoretical concepts and aspects typical for making serials and series. Moreover, the thesis mentions particular Czech and international reviews of Chernobyl.

1 Stopami Krejčovy divadelní poetiky ve frankofonní Belgii Disertační práce se zaměřuje na české divadlo od první do druhé avantgardy. Především je zaměřená na divadlo Otomara Krejči a jeho vztah s belgickým divadlem v rámci druhého českého avantgardního divadla do doby normalizace (do r. 1982). Hlavní hypotéza je v tom, že Krejčův přínos byl významný pro belgické pojetí dramatického umění. Existuje dnes belgické pokračování divadelní poetiky Krejči ve frankofonní Belgii a pokud ano, proč ? Krejča realizoval důležitou část svého uměleckého života v Belgii. Belgická divadelní činnost Krejči se dělí do dvou odlišných období. První z nich začíná založením Divadla za branou v Praze v roce 1965 a je spojené s působením v belgickém Národním divadle v Bruselu. Tato léta spadají do československé destalinizace a jsou velmi produktivní v umělecké oblasti. V Bruselu Krejča režíruje celkem čtyři hry : v roce 1965 Hamlet, v roce 1966 Racek, v roce 1970 Tři sestry a v roce 1978 Romeo a Julie. Ty tři první hry jsou inscenovány před odjezdem Krejči do jeho polo-exilu a před dobou normalizace. Poslední hra znamená začátek jeho druhého období v Belgii, spojeného s městem Louvain-la-Neuve. Druhé období začíná v době normalizace, kdy bylo zlikvidováno Divadlo za branou, zatímco jsou Krejčovy inscenace již velmi známé v...

Besieged by a Nation of Playwrights Jan Lier Critic and Dramaturge of the National Theatre in Prague The cultural endeavours of the second half of the 19th century and the turn of the 20th century - from which we have inherited more than is immediately apparent - have for the most part already been described. Nevertheless, most of what we know about them comes to us only through selected figures from the realm of politics, literature, or theatre. At the same time, there existed many other individuals who had a significant influence on their time. They may not have been "pillars" of their era - many of which are retroactively constructed by subsequent eras and have often been uncritically conserved to this day. We have thus chosen to take a new look at this era in question through the figure of Jan Lier. Although Lier had been quite popular during his life and held several important positions in society, he was ignored by later historians. This dissertation presents the full range of Lier's activities, which we divide into three parts. The first section (Ecce Homo Jan Lier) describes the author's life from his youth to his literary debut and popular novels, which brought him fame as an author of railway novels and stylistically refined (perhaps excessively so) salon prose that irritated contemporary...