The aim of this thesis is to highlight key moments based on the practical experience of a student of dramatic arts on his way to the theater. It tries to capture the contribution that was mainly formed by experiencing improvised and professional motion theater, and how these experiences shifted his perception of acting, which was until then mainly formed by the approaches taught in the Department of Dramatic Theatre. It also addresses the question of the extent to which the projects contributed to his actors' and personal self-knowledge. The following chapters try to show by what means it is possible to achieve complete freedom on stage and how to best assess the actors own personality. It analyzes the conditions necessary to achieve this creative freedom, as well as the phenomena that lead to the opposite. The actor's body is here perceived as a basal platform for self-knowledge. Since the thesis is based on personal experience and primarily deals with the student's self-reflection, it is written mainly in the first person singular.

This thesis has two main goals which it wants to achieve and explore. First one is to make an encyclopedia of different workshops that we have passed during our time of studies at school. It should serve me as a usefull book in the future years and help me howremember the things we have done at school. The second big goal is that it is trying to find out if the new, workshop - oriented educational system, has trully created an actor out of me, and most important, what kind of an actor I became finishing the school.

The subject of this thesis is the analysis of studies of the graduates of drama2013/2014 at the Theatre Faculty of the Academy of Performing Arts in Pragueunder the guidance of teachers MgA. Jaroslava Šiktancová Ph.D., MgA. LukášHlavica and doc. Marie Málková. I am describing the methods of our dramatictraining, which formed the basis for further joint work leading to the creation ofthe company BodyVoiceBand. My thesis describes the process chronologicallyfrom the very beginning of the study to the birth of the performance Vojna (TheWar), which we already prepared under the heading of BodyVoiceBand.I divided the thesis into three parts. In the first one I deal with the workshops ofFarma v jeskyni (Farm in a Cave), which were decisive for all our future work, forboth the ensemble, and the individuals. I described what kind of training wewent through during the workshops and the way it prepared us for furtherstudies. The second part deals with the study at the faculty. It is divided intosubheads according to the phenomena we were dealing with and which are thestarting point for a certain kind of work, thanks to which the bodyBodyVloiceBand started to shape. The third part is devoted to the production ofVojna /War, which is the result of our efforts, and which is the starting point ofthe formation of BodyVoiceBand. I focused on the way and course of preparingthe production.

The given master’s thesis deals with the process of learning which is based on my own experience. I have taught the movement education in two primary schools, one time in a preparatory class and another in a first class. The experience of acting with inner partner attained at the Department of Authorial Creation and Pedagogy has been inspiring. During the classes I have used this predisposition to confirm that it can be used as one of the basics in pedagogical practice. In this paper I map my journey of a pedagogue. The emphasis is on the group and the role of the pedagogue in it. I am also taking into consideration the influence of movement education on the children and the way they learn through movement, which is a part of their personal growth. The interconnection between dancing and the pedagogical practice was essential for writing this paper.

This thesis follows the genesis of three authorial performances, that I and my partners created in collaboration during my study at the Department of authorial creativity and pedagogy DAMU. From the perspective of my own experience I am trying to monitor the specifics of such cooperation, the issues of rehearsing and performing with a fixed script and without a fixed script but with a list of points/a score instead. I am describing the influence of impulses and reflections from pedagogues given to us during our quest and I am also mentioning the working methods and exercises used when discovering the performance and my reflections of rehearsals. DVD of the three performances and two examples of point scripts is attached. One of which of a performance described in this thesis, the other of a solo authorial/devising work is attached for comparison.

In my dissertation, I try to reflect my own experiences with application of authorial approach to acting in therapeutic community for drug addicts. I work as a therapist for twelve years in therapeutic community Magdaléna. I guarantee nonverbal technique program and I lead a theatre project once a year periodically.My dissertation is divided to two main parts. First I focus on questions about authorial acting and its pedagogics. I try to explain specifics that are brought by authorial approach to acting. I also describe acting with the inner partner and drama propaedeutic based on free playing and collective improvisation. These dramatic experiments help participants during their own building of psychosomatic condition, which is core of studies on Authorial acting and pedagogics department, DAMU in Prague.Second part of my dissertation is dedicated to my own work with drug addicts. I try to describe problems of therapy in community, especially the questions connected with dramatic expression of the clients. As I told before, I lead nonverbal technique program in Magdaléna community and I created my own conception of such program and it is described enough in my dissertation. I also try to explain drama projects preparations in community and show such cooperation in eleven specific performances we did with different clients during the time.Finally, I reflect relationship between authorial acting and psychotherapy. I perceive the ability to act creatively in direct contact with the others as the most important thing in both cases. That is why I demur at the question of a self-experience in therapy and psychosomatic condition in authorial acting and their mutual relationship.

The master thesis explains the concept of marketing strategy of Jazz club Reduta and the improvisational group Improvariace. The theoretical part defines the marketing in general, marketing process and marketing mix focused on culture and the cultural product. This part of the thesis deals with the importance of marketing in culture and it describes the typology of audiences. Following the theory and the facts established in it, the practical part is set on monitoring a particular marketing strategy for improvisational group Improvariace and their performances in Jazz club Reduta. The goal is to critically evaluate their strategy and to propose improvements.

The aim of the thesis is to evaluate the contribution of Božena Viskupová in the development of musical-pedagogical pedagogy. The thesis has a research character based both on a professional as well as a methodical analysis of Božena Viskupova's work. It also shows her yet unpublished manuscript and personal documents to the extent her family allows. The research part of the thesis includes an analysis of the interviews with musical personalities and contemporary educators.

The aim of the diploma thesis is to map the meanings of salsa in the life of recreational dancers. Pair salsa dance was intentionally chosen as a representative of the so-called social dance group, which is characterized by its unique improvisation and self-expression. The theoretical part will be devoted to key topics focused on salsa dance and improvisation, phenomenon of flow, self-transcendence, expression of emotions, dance movement therapy. In the theoretical part, we were interested in other professional research with similar topics. The empirical part of the diploma thesis deals with the research topic of the importance of salsa for recreational dancers. This research served as an exploratory study of salsa, which is not yet very psychologically explored. It is a qualitative research that uses analytical procedures with elements of grounded theory. Research data were obtained through an in-depth interview with 13 informants. We interpreted the resulting information to understand the mental states and processes on multiple levels in the context of salsa and its importance in the lives of recreational dancers. From the data analysis, we created a Bio-psycho-socio-spiritual model of salsa. At the same time, we received answers to research questions, what impulses lead informants and their...

Improvisation as a musical-pedagogical discipline in the preparation of organists for the liturgical environment. MgA. Jan Steyer Abstract The dissertation solves the issue of organ improvisation in the liturgical environment in the Czech Republic and focusing mainly on the pedagogical aspect of the topic. The first part deals with theoretical problems. Improvisation is defined, classified and put into context of psychology and history. There is also a mapping of the position of organ improvisation in the liturgy on the basis of church regulations. The second part of the work is a research about the situation among church organists in the Czech Republic. Using the questionnaire, basic data on the researched group were obtained (age, gender, general and musical education, place of organ action and information about organ liturgical practice). In addition, the research analyzes the musical theoretical and practical playing skills of church organists. There is also a finding of educational requirements of research participants and description of their own experience with organ courses and various methodological procedures in teaching improvisation. This information are very useful for pedagogical purposes. The third part of the dissertation deals with qualitative research carried out on summer courses for...