This thesis called Hidden aspects of the directing work deals with thepreparation process of the production, with the set of decisions, which (by theauthor of the thesis) director has to make before the process of rehearsing willbegin. Although these decisions remain invisible to the audience, however, affect all components which are involved in the final form of production.

This work is a reflection on three projects grouped under the name Modrý jelen (The Blue deer) whose main axes are the Huichol myth of the Creation of the World and walking. From these two lines, the author reviews these projects, intertwining the story of walking as an artistic practice with the use of myths as inspiration and intervention in the landscape.

In this dissertation I am concerned with my role of a stage designer in a particular creative team, whose members are: Jakub Vašíček ? director and author, Tomáš Jarkovský ? dramaturgist and author, Tereza Venclová ? stage designer, Kamil Bělohlávek ? stage designer, Ondřej Müller ? composer. In individual examples of realizations of inscenations I compare the method of working in teams and working with directors, who I call solitaires. The solitaires are: Dodo Gombár, Jiří Jelínek, Janek Jirků, Ondřej Pavelka, Ivan Ramont and Martin Tichý. I research aspects which determine the quality of cooperation with solitaires and the team from my own experience, as well as advantages and disadvantages of working in collective. Since I am not a theorist, I consider the creation as a focal point of my work. So that my aim is not to create a comprehensive research dealing with general rules, but to inform about how my thinking of my own creative work has been developing in the time of my studies and where I got. I believe in making a good use of this reflection in my future work.

In my diploma work I describe my own experiences and emocions of me like an actor during playing two theather roles on stage. Fist of them is Moritz Stiefel from drama Spring awakening. These part I rehearse in theatre Komorní scéna Aréna in Ostrava. Second part, wchich I am speaking of is Prince Myshkin, wchich I play in Theatre Petra Bezruče in town of Ostrava too. Because of the fact, that my real life has very comon moments with these two men I include to my diploma work fragments from my own liwing. In last two chapters I write brief facts about F.M. Dostojevskij and about Frank Wedekind.

The purpose of my masterš thesis is to present and to defense my progress over two - year - master degree study program at the Academy of performing arts and in this way to crown the whole five - year - study of opera directing at the university of art. First of all I preform the integration the work of art Jiří Antonín Benda into historical context, then follow: the conroversy about the choice of the title for my master´s staging, the description of project - realization, the primary scheme an the final result of the whole project. In my thesis I set in detail to the analysis of this Benda´s singspiel. I judge this work of art both from the classicist and contemporary view. I compare Shakespeare´s drama with work by Gotter. Not least I refer to the mastery work of art Jiří Antonín Benda.

The thesis Coproducing in Opera discusses opera productions and opera joint projects that are based on the cooperation between theatres or festivals. While the thesis provides an insight into various issues of contemporary Czech opera scene, it comments on positive impact of the coproduction. For the respective theatres, the coproduction decreases the costs of the production, as well as it broadens the repertory. Yet, the coproduction shows are still quite rare. The thesis describes a process of a creation of such a project in the theatre operated by more than one theatre company; it discusses it's specific management and contractual relationships. The thesis also mentions other types of cooperation, e.g. purchase of the production or lease of the production. The opera coproduction is the future of the Czech opera theatre.

Diploma work deals with the comparison of the scenographic approach at author´s and interpretative work. It considers the comparison of author´s and interpretative theatre and the work of a scenographer in both types of staging. It analyzes the procedures used in different stagings of both genres that the author has used. The work is accompanied by own reflections about the work in concrete described stagings. A part of the diploma work is the author´s reflection of own artistic preformance and of single practical moments of realization, by means of which the author checks the theorethical approaches. The photo attachment is a part of the work. There is also a DVD included, on which there are records of some stagings mentioned in the text, or other files, that can´t be reproduced in printed version of the diploma work.

This work named When actor writes a play is mostly dedicated to the Authorial theatre and the Authorial acting. I tried to describe the creation and the production of graduate and other authorial performances that I personally contributed to. I also described the creation of the play Siegfried´s Idyll, which I wrote and staged. The original text of the play is included in my dissertation work. By writing the paper I recapitulated my present theatre life and hopefully I learnt my lesson for the future career.

The aim of the thesis is to deal with a complex description of tasks and processes regarding the entire musical preparation period of an opera production by a conductor. All actions are described from a practical point of view giving a clear insight in the ideal and desirable form of rehearsing and time management. At the same time, common shortcomings and difficulties that disrupt the ideal state are introduced. An anaylysis of the choice of the right voice types precedes a linear description of the rehearsal process, checkpoint meetings and finally the stage rehearsal period. A special attetion is devoted to the tasks and functional profile of the conductor's assistant. A detailed description of past theatre practices and current form of the assistant's work is given together with an outline of his contribution to the superior level of the production.

The work of A.K. attempts to capture the thought-process development of a young actress, which is then mirrored in her approach to her work. Within the scope of her experience, the author addresses the diversity in actors’ approaches to their roles, depending on the genre of the play, as well as the director’s influence with respect to his or her approach, process and even personality. The author outlines the process of preparation for a role, rehearsals and re-runs of roles from the following graduate productions: Denis Kelly: Ritual Slaughter of Gorge Mastromas (A. Svozil, K. Kosová), Ö. Horváth: Stories from the Vienna woods (J. Kačmarčík), I. Vyrypajev: Drunk (A. Burianová) and A. P. Čechov: Gull (I. Krejčí). She also addresses her inspirational experience of immersive theatre as part of the Pomezí project (L. Brychta, Š. Tretiag, K. Součková). Additionally, the author contemplates the issue of a common journey of director and actor in an instance when they have differing tastes, and thus also different opinions regarding the production itself. Finally, the author concludes with a reflection on the essential role of an objective and detached view in production.