In my master thesis, I am trying to name the origins and signals of an actor`s fear. I have came from my own existing stage experiences previously and whilst studying classical acting at the Dramatic Faculty of the Academy of Performing Arts in Prague, and also from my first experiences with differing professional groups from theatres from around the Czech Republic. My thesis is supported by professional literature, with which one I have read during my studies at the Academy, and it is inspired by talks and by consultation with people who are active in an artistic field. In my work I reflect my mental prosesses, states and blocks, not only during stage creations, but also in my personal life. I think that a fear can rule an actor and cause stage fright. This is why I have decided to choose this subject for my thesis.

The thesis examines the processes as they occur in the actor ́s mind during work on the character while rehearsing and acting. It also describes extensively the steps prior to the rehearsal process and acting from the actor ́s point of view regarding the actor ́s mental states. Additionally, the focus is on various approaches to character building during rehearsals and on various wals of working with the text. In her analyses, the authoress is aware of the specific differences of the theatrical genres. The thesis is based largely on her experience.

This thesis deals with theme The actor and the monologue. After defining the concept of monologue, there is an excursion into history and the development of the monologue. There are given personal experiences of working on monologues during the studies and talks about transformation of the ideas about monologue. In the end there is also definition of the concept of monodrama and experiences with unfinished work on monodrama by Ivan Vyrypajev called July.

This magister thesis is about the task of contemporary performer in mime theater. The thesis deals with a question of authorship and physical being of the performer on the stage. The thesis is based on analysis of graduation performence of Jindřiška Křivánková titled The hunters and on the basis of this analysis entitle principals of authorial theater and contemporary acting.

This Master's thesis addresses the process of staging musicals and operettas within the Czech theatre?s environment. As an example, the author chose five different titles for comparison and description of the process of preparation of this specific kind of musical theatre focusing on various options for theatre companies, discussing the demands and difficulties of assembling teams of artistic collaborators and the creative process itself during rehearsals. Processes concerned with the first grasp of a title as a dramatic text, through the spatial solutions of a dramatic situation in terms of stage space in a theatre, up to the director-actor collaboration, are documented by authentic findings, which are compared with notes of directors, who significantly influenced the author's view. The text also considers the specific demands of this kind of theatre on the actor (actress) and his (her) education and training

This thesis is about acting in theater or in front of camera. At the beginning it is focused to these directions individually and later summarizes their differences, which include: what function the audience has; what options of movement the performer has; what style direction the actor uses; what the difference of collaborations between actors on the stage or in front of the camera have.It talks about the different approach of directors and self-expressions of actors and analyzes the different effects that each actor during their performance. It doesn’t only talk about the differences, but also includes the inter-connections of both styles. The next part is focused on creating a character and comparison of current and passed actors that were acting in theater as well as in movies. The conclusion is about my personal acting experience in film and in theater. It evaluates my work at the school theater DISK and also asses the transition to my advanced work.

In my master thesis I focus on psychosomatic, internal and external, actors assumptions, which are an essential part of acting talent. I deal with the question of to what extent is an anctor influenced by the nature of man, his qualities and character. The work is examining the relationship between the body and the psyche, especially its impact on creating a dramatic character during the rehearsing process and the overall speaking and physical stage of negotiations. I am naming not only my own acting assumptions, but also the problems that accompanied me during the study, whether cloistered and in graduate roles in the theater Disk . I am referring to the actor's bad habits, risks of relations between acting partners and creative team as well as the necessity of pursuing the profession responsibly and artistically, realize of my strengths and weaknesses and targeted work to eliminate them.

The thesis describes my personal experience which I gained during my studies at the Academy of Performing Arts (DAMU), rehearsals at the Theatre Studio Disk as well as experience gained out of school. This experience is illustrated with several examples of practical work which I participated in. Specially is described the interaction with the director, my theatrical partners, theatre-goers and with my own during the process of rehearsals.

I would like to understand the importance of an actor in a movie. I choosed Serge Reggiani, a french actor, who never became a star number one. Reggiani went through a lot of important movies in principal or small roles. What it really means acting in a movie, what brings freedom to an actor in front of a camera and is one actor able to play different characters in every other movie. A diversity and length of his filmography, different directing styles he went through will help me to concretize attitude of an actor and perception of his „different“ characters by audience. I would like to bring up some acting metodes in cinematography in my work too.

The thesis is focused on basic understanding of the actor as an acting component of the theatre piece and follows his work and creation during the life theatre performace as well as during the rehearsing process (with description of general acting technics).