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The theoretical section of the thesis Comparison of the misanthropic Show Jana Krause and the philanthropic Mark Eben's show Na plovárně aims to characterize the talk show genre both abroad and in the Czech Republic. It briefly outlines the development of the genre and its arrival in the Czech television stations. It also gives a definition of a presenter, describes the ways of communication, construction of the interviews with the guests, their selection, introduces Jan Kraus and Marek Eben and characterises both talk shows - Na Plovárně and Show Jana Krause. The practical section deals with an analysis of production in which interviews with representatives of both production teams are analysed. A qualitative analysis aims to answer the question: "How do the philanthropic and misanthropic concepts of the talk show differ, from the perspective of content and production intentions?" The conclusion contains a summary of the collected data.

This diploma thesis researches the Czech printed magazine Kraus which was launched in November 2011 and ended in July 2012. The magazine was unique due to its media format of so called personality magazine. Kraus magazine was the first personality magazine in the Czech republic and no such other has been released since then. The thesis tracks and analyzes the existence of the magazine in Czech media market, while following the perspective of the critical political economy of communication. In order to put the Kraus magazine into a broader context of the political economy of communication, one part of the thesis is focused on foreign personality magazines such as Dutch Linda or American O, The Oprah Magazine. The successful Dutch Linda magazine was explicitly a pattern for Kraus, being published by the same media production company Sanoma Magazines. Another part of the thesis characterizes the public media image of Jan Kraus, a well-known Czech TV host, whose name and face the first Czech personality magazine bare. Marketing strategy, influences of the media management and ownership, advertising, internationalization, concepts such as commodification and structuration and more are the main interests of critical political economy and the key areas of this study too. The thesis includes a qualitative...

This thesis gauges the contemporary landscape of political theatre at a time in which everything, and consequently nothing, is political. That is, almost all theatres today proclaim a politics, and yet there is widespread resignation regarding the inevitability of capitalism. This thesis proposes a theory of political action via the theatre: radical theatre today must employ a strategy of "moving targets". Theatrical actions must be adaptable and mobile to seek out the moving targets of capital and track down target audiences as they move through public space. In addition, political theatre must become a moving target to avoid amalgamation into the capitalist system of exchange. I approached this topic through four case studies. Two of the case studies, Reverend Billy's Church of Stop Shopping and the Critical Art Ensemble, are based in the United States. I studied their work via materials - books, essays, videos, websites, interviews, and more - but not in person. The other two case studies are lifted from my own experience with the Christchurch Free Theatre: an original production of Christmas Shopping and a devised production of Karl Kraus' play The Last Days of Mankind. These latter two case studies served as laboratory experiments through which I was able to test ideas and problematics of political theatre that arose through my research. These case studies led to the determination that creating aesthetic experiences and actions - as opposed to having explicitly political content - can be a strategy or foundation for a radical political theatre that resists, undermines, and at times transcends the seeming inevitability of consumer capitalism. In an age in which any political intervention is seen as senseless disruption, a form of pointless violence, this theatre has adopted the strategies of terrorist actions to have a disruptive effect without positing a specific alternative social structure.

This study examines the relationship between sexuality and actorial artistic creation in the autobiographic writings of the German actor Klaus Kinski (1926-1991). Departing from Socrates’ appraisal of Eros in the Platonic dialogue Symposion, the text confronts two classic theories on sexuality and art: Christoph Wilhelm Hufeland’s book on macrobiotics and vital power (Lebenskraft), The Art of Prolonging Human Life, and Sigmund Freud’s texts on sublimation. Plato, Hufeland and Freud have in common that they see art and sexuality, representing spiritual and carnal life, as rivals. Hence, artistic production has to rely on a renunciation of physical love, either through abstinence or transformation of sexual energy into spiritual creative power. The case of Klaus Kinski is particularly important, since his literary works seems to resist sublimation of any kind. While devoting himself to libertinage – which he renders in detail – he still succeeds in creating works of art, as an actor and as a writer. The artistic conditions for Kinski the actor, being an active force in control of theatrical objects and means, in contrast to the passive-receptive actor in Rainer Maria Rilke’s The Notebooks on Malte Laurids Brigge, further adds to this particularity. Kinski’s refusal to recognise a rivalry between love and art has its roots in Constantin Stanislavski’s method of acting, in which the task of the actor is to give life to the role by giving it both spiritual and bodily life, having body and mind working together towards the higher aim of theatrical performance. Yet this paradigm of incarnation, as opposed to inspiration, does not apply exclusively to theatrical and performing arts, where the work of art is constituted by the actor’s body. In a text from 1927 about the rhyme, the Austrian writer Karl Kraus proposes an „erotics of language”, in which the ideal Paarung (coupling or mating) implies both the physical act of reproduction, and sonorous combination of two rhyming words, uniting distant spheres or entities. In this sense, Kinski’s ideal coupling can be understood as a joint venture between mind and body, art and sexuality, theatre and life, enabling him to enjoy a frivolous love life without abandoning artistic creation.

English: In this thesis I examine the concept of satirical silence as the compositional principle of Karl Kraus’s drama Die letzten Tage der Menschheit to demonstrate the ways in which the features of modern satire introduce the recipient to the construction of its critique. In Kraus’s drama, silence manifests itself twofold: as a reaction to the First World War and as the only remaining form of satire in the context of public war-euphoria and the widespread use of the press and war-coverage as propaganda tools. From the interruption of Kraus’s periodical Die Fackel at the beginning of the war to the satirical treatment of the homefront in his drama, Kraus’s silence represents a performance of imposed powerlessness. By approaching Kraus’s drama with Walter Benjamin’s concept of storytelling, I analyze satirical silence as an appropriate aesthetic response to the prevailing social conditions and thus to the changing character of the public sphere in modern society. Benjamin’s concept of storytelling and his description of incommunicability as a characteristic of post-war society are at the center of my analysis of modern satire as a reception-based literary practice. Given that satire is a social conversation practice between satirist and recipient, I argue that Kraus’s use of drama as a medium for reprocessing the First World War is built upon the ability of the dramatic form to show how silence emerges as the result of a break between the conversation partners of satire. German: In dieser Arbeit beschreibe ich das Konzept des satirischen Schweigens als Gestaltungsform von Karl Kraus’ Drama Die letzten Tage der Menschheit, um hierin die Züge der modernen Satire in der Hinwendung zum Rezipienten zur Formulierung der satirischen Kritik zu erweisen. Das Schweigen manifestiert sich in Kraus’ Drama sowohl als Reaktion gegenüber dem Ausbruch des Ersten Weltkrieges, wie auch als die einzig verbleibende Gestaltungsform der Satire angesichts des Verlusts ihres Publikums an den Kriegsenthusiasmus und die propagandistisch gestimmte mediale Berichterstattung. Von der Unterbrechung der Publikation seiner Zeitschrift Die Fackel zu Beginn des Krieges hin zur Dokumentation der Heimatfront in seinem Drama bekundet das Schweigen des Satirikers eine Ausdruckskraft in der erzwungenen Ausdruckslosigkeit. Mit Walter Benjamins Konzept des Erzählens analysiere ich das satirische Schweigen als angemessene ästhetische Reaktion auf die gesellschaftlichen Gegebenheiten und somit veränderten Umstände der öffentlichen Rezeption in der modernen Gesellschaft. Benjamins Konzept des Erzählens sowie seine Beschreibung der Unmitteilbarkeit der Nachkriegsgesellschaft bilden die theoretische Fundierung meiner Analyse der modernen Satire als rezeptionsästhetische Kategorie. Ausgehend von dem Verständnis der Satire als ein soziales Gespräch zwischen Satiriker und Rezipient, sehe ich Kraus’ Zuwendung zum Drama als Medium der Aufarbeitung des Ersten Weltkrieges in dem dramatischen Vermögen begründet, das Schweigen als Bruch der Gesprächsteilnehmer, als Bruch der Beziehung von Satire und Öffentlichkeit zu dialogisieren. / Graduate / 2020-09-25