This dissertation entitled CROSSOVER, between the layers of my own staging experience, on the boundaries of forms, genres and not only those, is divided into three parts. All sections are primarily based on my own theatre experience and are interlaced with numerous examples from performances and theatrically performative thinking of selected foreign ensembles. Given the subject matter, the first part primarily deals with Gob Squad and Shunt ensembles and the director Mike Leigh. In the second part, Rimini Protokoll and again Gob Squad are mentioned. The third part is dedicated mainly to the director Tim Etchells and his Forced Entertainment ensemble. My theatre experience is presented in the introductory part of this dissertation; starting with complex shows which represent a symbiosis of all components and are linked by their staging style and formerly discovered drama methods to authorial/devised projects to theatre which implements documentary and technological elements. In the first part of this dissertation, differences and subtle nuances between authorial and devised theatres are examined with focus on the specific devising creative method. The second part of the dissertation is focused on documentary and technologies. The third part consists of subtopics introduced in the previous chapters with respect to crossing boundaries between forms, genres and methodologies, which are more closely related to the phenomena of boundaries between theatre performances/events, fiction/reality, spectator/witness, actor/performer. The methods or the optics with which I work are based on the phenomenon of the mentioned areas and topics. The manner of addressing the issue can be likened to a phenomenological insight.

This diploma thesis deals with the distinction between fiction and reality in the film using the theory of fictional worlds. It analyzes the effect of fictional worlds and their characters on the viewer's perception and interpretation of fiction. It emphasizes the difference of the impact of fiction on reality, depending on whether the recipient evaluates the fictional work by its relation to reality or realizes that the film doesn't refer to the actual world. The thesis describes the main concepts and problems of the theory of fictional worlds and applies them to the examples of films to show the importance of distinguishing the line between fiction and reality.

The role of a writer in selected metafictional novels Bc. Eva Šulcová Abstract This diploma thesis deals with the genre of metafictional novel. The aim of the diploma thesis is to identify various internal motivations for the usage of metafiction technique in literature and to describe the role of a writer. The first part summarizes the theoretical background of the genre and formulates some characteristic features of metafictional novel (emphasized vicariousness of the narrative, reflection of the creative act, personality of the writer, or the problematized relationship between reality and fiction), which were all illustrated by the analysis of André Gide's novel The Counterfeiters. The second part consists of interpretations of three metafictional novels. The interpretations aim at a complex analysis of the author and at a description of various functions of the metafiction technique as a constituent of the work's meaning. Gide uses metafiction to display the discrepancy between reality and illusion, thus uncovering hypocrisies of society and passing judgement on it. To Čapek, metafiction is a tool for applying multiperspectivity to his storyline, thus creating a metaphor of varying epistemic principles. Metafictional genre was further utilized by Řezáč in his novel Rozhraní to illustrate the polarity...

Still life arise from interactions related to a particular situation, location and experience. They are composed of objects that are located on a given place, of my own and borrowed or donated by my "partners". Reflect the time memory. They are a physical reminder of the experience. Still Life is manipulated, staged, composed of various artifacts that are symbolic bearer of facts that preceded them, Images may affect the perception of emotions associated with the concept of beauty, transience, decay, evoking a feeling of emptiness, to reflect the time - an irreversible momentum. Photos show a banal, everyday objects, often so obvious and neglected, What remains for us ... What remains ... What goes around ... What is gone ... Similar scenarios acquire different meanings, finding what is already absent,

This paper is devoted to a critical analysis of the book I and Thou in the attempt to identify the main points of the dialogical philosophy as presented by Martin Buber. The introductory passages present the background of the book in terms of time (the era after WWI), cultural background (the influence of Hasidism), or the history of philosophy (an opposition to immanentism, monism, idealism, transcendental philosophy etc.). The main goal of the following interpretation is to try to understand man as a person in his complex existential situation, i.e. through his potential relationships or objectifying attitudes to the world. Being is described as a dual structure either of the basic pair of words I-Thou or of the basic pair of words I-It. As opposed to the usual use of the term, dialogue is defined as a specific interaction of man and the remaining world metaphorically expressible by the structure of addressing-responding. By this scheme, the characteristic reciprocity and direct continuity is expressed. The dialogue is also placed in the area "between" I and Thou, which mediates the genuine, immediate and transcendental knowledge constituting the reality. Finally, the dialogical attitude is compared and contrasted to the monological comprehension of the world. Key words: personalism, dialogical...

This work aims, in a rather contemplative manner phased into three related parts, to discuss two concepts indispensable for Hegel's entire philosophy of life and history: language and memory. In Part I, I examine the triple relation between language and thinking, thinking and reality, and reality and language. I argue that language shares a logical structure with thinking and reality, and is itself the performative principle (or acteur) of creating reality, being itself the externalizing tool of the movement of thinking without which any development of the Spirit would not be possible. Part II targets the concept of memory and its function within thinking and action of self-consciousness. It is argued that Hegel's language functions as the modern concept of discourse in terms of its agency in reality. Memory is understood as fundamentally entangled with matter, or the material objectivity that calls in memory to be named, i.e. posited in language. Memory is an interiorizing principle, language is the exteriorizing principle, both deeply rooted in the so-called night of the self of each spirit. I also discuss the subject-objective relation against the background of memory, before moving onto Part III which generally tackles the process of the self-expression of the Spirit in history, the distinction...

This work aims, in a rather contemplative manner phased into three related parts, to discuss two concepts indispensable for Hegel's entire philosophy of life and history: language and memory. In Part I, I examine the triple relation between language and thinking, thinking and reality, and reality and language. I argue that language shares a logical structure with thinking and reality, and is itself the performative principle (or acteur) of creating reality, being itself the externalizing tool of the movement of thinking without which any development of the Spirit would not be possible. Part II targets the concept of memory and its function within thinking and action of self-consciousness. It is argued that Hegel's language functions as the modern concept of discourse in terms of its agency in reality. Memory is understood as fundamentally entangled with matter, or the material objectivity that calls in memory to be named, i.e. posited in language. Memory is an interiorizing principle, language is the exteriorizing principle, both deeply rooted in the so-called night of the self of each spirit. I also discuss the subject-objective relation against the background of memory, before moving onto Part III which generally tackles the process of the self-expression of the Spirit in history, the distinction...

This thesis enquires into the question of the hidden nature of things and reality in the context of David Hume's philosophy. In the context of a Humean approach to reality, it discusses whether the things which we perceive and which are considered to be perceptions can have some sort of non-empirical correlation that lies beneath them and whether it can be called the hidden nature of these things. The first half of the thesis is focused on the philosophy of David Hume. In the second half of the thesis two original considerations about the hidden nature and its characteristics are presented. The thesis starts with three selected theories of substance as presented in A Treatise of Human Nature. The theory of John Locke and the theory of the peripatetics are presented from Hume's critical perspective. Consequently is presented an interpretation called the New Hume. In the context of this interpretation, Hume presumes that there are hidden entities lying beneath empirical reality. Then, there are two considerations focused on the hidden nature of things and its characteristics which are presented. These characteristics are consequently being described in an indirect manner. And finally an original suggestion of how to understand the hidden nature is presented. It has the character of mere...

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