During my directing mentorship I have come to understand how to work in collaboration with most of the different facets of filmmaking that contribute to making successful films. With practical analysis of major films and filmmakers of our history and with the instillment of visual theory, it is clear that filmmaking is never as easy as it looks. My aim is to enlighten some techniques used by the old and new in different variations. My take is directed specifically on how to work with actors. Through exercises, situations, techniques and practical examples, I attempt, with this study, to help developing directors understand the individual variations of working with actors and non-actors. The path of a director is one of countless obstacles, but with intuition and a developed technique the director can be prepared for the unexpected.

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.

The title of this work ?On the edge between distance and self - identification? refers to the problem that Adam Kraus is dealing with for some time. Kraus reflects his own experiences that he got at acting classes, on his internship in London and even during his first experience in stage direction. Although it´s not easy to move on this edge, he explores the conflict between his inclination to analyse things and to approach them in a critical way and between his need to identify himself with the character he creates. He tries to find the essence of this conflict and to find a way out of it that could develop his creative potential.

The thesis inquires into the process of the film director's collaboration with an actor in creating a dramatic character. The chapters analyse the constituent phases beginning with screenplay analysis, through casting, various attitudes towards rehearsals, realization of the film to post-production.

The aim of my thesis is to show based on a compilation of selected documentary films and my own creation that originated documentary department, which does not yet have a specific name . And it is a kind of documentary film in which the central protagonist of director. Based on analyzes of individual directors approach and my own experience in the end trying to create instructions or procedures , which could be used to better understand how this new documentary department directorial grab and how to treat it . In my work I will try to find rules which governed tetno direction .

In my thesis I would like to describe the relationship between the two of the most cardinal professions that take part on the creation of a theatre production. A director is the person who creates and influences the most the idea, thoughts and genre of the production; and an actor is the one who embodies all of this on stage. I want to try to clearly demonstrate difficulties or, in the other hand, inspirational sources, which the actor is dealing with during creation of a role, depending and changing in relation with the director. As a basis of this work I chose my personal experience with two directors, whose stance during the work and relation to the actor is strongly different. First of them is Ladislav Smoček, director and playwright of Cinoherni klub. Then I would like to mention principles of cooperation with director Pavel Khek. In the first part of my thesis I want to make brief insight into history of direction and try to describe basic evolution of actor-director relationship. My goal is not to present comprehensive survey of direction history. My goal is to refer to different approaches and changes in actor-director cooperation.

My diploma work is an analyzation of a cooperation between the DOP and a director.

The thesis deals with the cooperation between the director and actor during individual phases of the staging process as they appear in everyday theatre life. The indiviual phases of the staging process are supplemented by the author's own experience with managing the actors, which she gained especially in the course of her studies at the Drama Faculty of AMU. The second part of the thesis investigates the issues of inner truthfulness and the possibilities of its achievement within the production of a play. As a part of collecting the material for the thesis, the author conducted a research, which included interviews with three professional directors - Hana Burešová, Ladislav Smoček and Štěpán Pácl, whose methods of work are described. In the final part of the thesis the author states that it is difficult to draw general conclusions about the cooperation between the director and actor because it is always of subjective nature. The issue of inner truthfulness is similarly difficult to generalise. Due to the multiplicity of options, however, neither of them loses attractiveness for further research.

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 explores the production of sound for animated film – its specifics as well as aspects of realization and of preparation and audio dramaturgy. It examines how they impact storytelling and the extent to which it is possible and useful to work with them from the very beginning of development of an animated film. The thesis also presents the practical and creative possibilities of cooperation between director and sound designer, alongside factors that may have a positive or negative influence in this regard. It draws on literary sources, interviews with the makers of animated films and knowledge acquired by the author in the field of directing and screenwriting of animated films. The thesis confirms the importance of the role of sound in animated film and its positive influence on the resulting quality of AV work (unless it has been omitted from the start of the filmmaking process). It summarizes the basic approaches that allow animators to work with sound in animated film as a fully-fledged narrative component.