The main goal of this thesis is to describe the history and significance of one of the less usual band settings that has appeared within the tradition of jazz music – two wind instruments, double bass and drums. In addition to the historic overview of this particular band setting, it‘s main protagonists will be listed as well as their major works and achievements. Emphasis will be put on the contemporary jazz scene, both European and American. In the practical part of this thesis transcriptions of selected works will be presented and analyzed.

The subject of this thesis is to assess a theatrical improvisation and to present it from many different points of view. It contains a cmprehensive description of improvisation and it is also presented as a specific way of thinking and acting. An The act of dramatical improvisation is also shown as one of the posibilities how to invent a concrete dramatic character. It also analyze some of its components which includes fear, happyness, the present moment etc. Eventually the author elaborates the issue subjectively. Therefore, there are mainly reflected and submitted author's experiences and thoughts.

The aim of my thesis is to acquaint the reader with the method of storytelling, which is not well known in the Czech Republic. Throughout the world it is being successfully used in theater, education and dramatherapy. To better understand this method I define the basic features of storytelling, while also defining the differences between storytelling and similar genres such as one-man-shows, monologues or improvisation. The focus of my thesis is the use of storytelling in theater, mainly in acting. This is also manifested in the chapter containing a set of storytelling excercises which I encountered during the rehersals of the První dáma platí, druhá leze z gatí and Všichni Teigeho muži performances. The following comprehensive reflection outlines my own subjective views on both of the performances, the process of developing of the characters in question and the composition of the author's own text. I also attempt to highlight pros and cons of each of the exercises and assess their usefulness to me. I trust that my thesis will draw attention to the benefits of the storytelling method and help raise awareness of this method in the eyes of the public.

This work deals with the teaching of improvisation in basic art schools. It describes the contribution and signifikance of improvisation in the pupil's life, in his musical development. The aim of this work is to focus on the practical aspects of piano teaching, both from the pupil's point of view (pupil's musical needs, difficulties) and from the teacher's point of view. The work refutes the opinion that improvisation is conditioned by special, individual talent, but emphasizes that a suitable approach and methodology can develop improvisation in each student. The work also deals with some of the possible difficulties in learning to play the piano, and these are stress and tremor and musical dyslexia. Work connects both of these phenomena with the ability to improvise and shows how improvisation can have a positive effect on these learning difficulties. Another goal of this work is to map the current state of teaching improvisation in our basic art schools. For this purpose, a questionnaire was created addressing teachers throughout the Czech Republic. The aim of the questionnaire was to find out the state of teaching improvisation at basic art schools, the content of teaching improvisation, the individual time allowance of this teaching and the materials used to teach improvisation. The work...

ABSTRACT I explore in this work three planes of the theme: VERACITY IN INTERPRETATION. In the first plane I look at the interpretation of the actor to dance interpretation. I'm talking about improvisation and creative work of performer. I deal with the phenomenon of internal images. In the second level I observe the work of choreographers Pina Bausch and William Forsythe. In connection with Pina Bausch I think about the role of choreographer in post-modern era. Then I present a new dance program of computer Synchronous Objects created by dance ensemble The Forsythe Company and Ohio State Uiversity. Finally, my work is dedicated to my own experiences and subjective point of view at the work of the choreographer. Not only in the terms of the relationship: artist - choreographer, but also in terms of choreographer as a developing individual.

This diploma thesis named Movements of doubts has no academic ambition. It's only a reflection and summary of authors personal thoughts and themes which has very close connection with doubts. Doubts are valuable and necesarry for those who study acting. There would be no performing arts without the doubts. Doubts has an assurance function. Doubts keep the artist on the right track while creating a piece. This work had been created from emerging doubts and thats why it contradicts itself in so many ways!

The overall focus of the MA Thesis Actor´s Inspiration are predominantly the sources of inspiration for the various stagings the author took part in during his studies at DAMU. Based on his experience, he compares various directors, their approach to work and what inspires them. He also elaborates on what inspires him personally during his creative activities.

The subject of my master thesis is searching for overlaps of both dancing and drama where the means of artistic expression in terms of the performer?s integrity play the key role. The aim is to find and define the crucial points in the art evolution which have been further developed by artists in both drama and dancing. The aim is also to point out the overlapping of genres which either adopted or integrated features of other artistic fields. This master thesis is a follow-up of my bachelor thesis with the main subject being ?movement and voice?. The aim is to pick up the threads of my bachelor thesis dealing with the integration of voice in the contemporary dance and its detailed specification. The source of information are not only the post-modern as well as contemporary artists, but also looking back in the history of modern dance evolution. Vital part of my thesis is a description of my pedagogical experience at the Janáček Conservatory in Ostrava which summarizes my knowledge acquired during the lessons of Modern dance and Dancing Education.

This paper describes the development of a pre-school child, their relationship with their coevals and adults, acquire of social rules and gives a true picture of the main activity of a child of this age. It also deals with drama improvisation as a method of drama education. It deals with its goals, functions, sorting, models in detail and presents the needs of the pedagogue of drama education and their attitude to children. The text is completed with examples of games, plays and exercises focused on drama improvisation. A great part of the work deals with didactics of drama improvisation. It describes the sources of ideas, assignments of themes and topics, preparation, construction, leading, reflexion and evaluation of drama improvisation. It examines attitude, behaviour and action of a teacher during drama improvisation. It then describes the project and its kinds, project method and education, its advantages, problems and principles. The part of the work is a project focusing on drama improvisation which is carried out in praktice.

This thesis explores the parallels of actor´s training in everyday life. The first part works with individual domains on a general level (perceptivness, breath, voice, movement), the second part is focused more specifically on the field of theatre improvisation. The work names the prerequisites of an open-minded approach towards creation, that help a living and fulfilling process come alive. Based on the idea, that our common life is a result of creation just like a work of art, the work reflects these prerequisites and their impact on the field of everyday actions and on the attitude to life in general.