The aim of this paper is to explore the role of the visual arts and a composer's views in his orchestral compositions. It also examines the composer's attitude to the contemporary world. Based on my own analysis, as well as other published studies and reviews, the paper describes the elements of Havelka's music and reflections of visual and literary sources in his orchestral compositions. We can divide Havelka's orchestral work into three periods. Havelka's personal compositional style was based on the tradition of modern European music of the 20th century during his first period. At this time, Havelka composed his First Symphony and cantata Praise of Light, which manifests the composer's relationship to Communism. In the second creative period (1964-1975), Havelka composed mainly short orchestral compositions, such as Foam, Che Guevara, Hommage á Hieronymus Bosch and Pyrrhos. During this period Havelka's sources of inspiration refer to visual art, paintings and personal visions. The last period of Havelka's work is connected with spiritual work and reflects the composer's relationship to the Christian faith. Due to the fact that Havelka's work is firmly connected with his personal convictions and his relationship to the visual arts, this paper goes through Havelka's entire orchestral work in...

The thesis is in its first part focused to describe the current generation of directors, who started official creative careers after 1989. It locates three basic lines of staging procedures and in the second part aims on five directors of this generation, which currently teaches in the Department of Alternative and Puppet Theatre of The Theatre Faculty of the Academy of Performing Arts in Prague: Petra Tejnorová, Jiří Adámek, Martin Kukučka, Lukáš Trpišovský a Jiří Havelka. The latter is devoted to detail in the third part, which is based on available ctitic reflections of Havelka's work and tries to figure out how is this work received by critics and the public. Attachment contains complete list of Havelka scenical works.