The master theses is concerned with the authenticity and veracity of actors’s utterance during the creation of characters from different genres. In the first part, the author relies on selected technical literature, through which we get acquainted with the ways actors can theoretically achieve the authenticity and veracity of their utterance using different well-known approaches to create the character. In the second part the theoretical knowledge is confronted with the author’s personal experience as a starting actor. The absolvent productions are used to demonstrate the author’s search for authenticity and veracity in different productions and genres during his work on the characters he embodied in the Disk theatre in the final year of his studies.

I dedicate the first part of my master thesis, entitled The Civilian and Stage Spontaneity, primarily to my Disk season and experience with spontaneity on the stage and to the topic of the way to freedom conduct in the individual productions. The second part of the thesis is dedicated to the history of film acting and I return again to my own experiences and to the comparison of the acting in the film and in the theater in the last section of the thesis. I conclude the topic with the summary of the differences in the spontaneity of both disciplines and of the civilian life.

This master’s thesis deals in the development of jazz in terms of traditional and new and innovative influences especially from the perspective of a professional jazz musician acting on the Czech jazz scene. So mapping the general influence of traditions and innovations in the world and deeply deals with the influence of the Czech jazz musicians across generations.

My thesis discusses not only an influence of dramatic genres and styles on the actor during creation of character and its performance, but also it is about options and differences in the acting stylisation, its understanding and theoretical overview. It is expressed here through my own experiences with examples of my work from my study on DAMU, my previous and following works in praxis. I'm trying to express my own opinion on styling actor in the genre, based on my experiences and I'm trying to figure out, how the experiences affected or could affect my creation.

The aim of this diploma thesis is to describe and map the development of the phenomenon of a jazz quartet not containing a harmonic instrument and consisting of two wind instruments, a double bass, and drums from its beginnings in the second half of the 20th century to present day. My second goal is to point out historic transformations of style and changes in the roles of individual instruments from the point of view of composition on the one hand and interpretation and interaction within the band on the other. The practical section of the thesis demonstrates these transformations by showing specific examples in transcriptions. The last but not least of my objectives is to describe how this format reflects in my own musical activities and my personal techniques of both composition and interpretation.

In this master ́s thesis l am trying to bring closer one very specific form of jazz interpretation which is playing in duo and from my very personal point of view, as a bass player, to focus on specific aspects of duo performance. I've chosen music of Charlie Haden as the essence for the thesis, because acoustic bass is my main instrument and also because Haden could initiate duo or rather be part of duos in other musician ́s projects. I wanted to compare differences between specific duos according to historical or aesthetical character.

This thesis is about acting in theater or in front of camera. At the beginning it is focused to these directions individually and later summarizes their differences, which include: what function the audience has; what options of movement the performer has; what style direction the actor uses; what the difference of collaborations between actors on the stage or in front of the camera have.It talks about the different approach of directors and self-expressions of actors and analyzes the different effects that each actor during their performance. It doesn’t only talk about the differences, but also includes the inter-connections of both styles. The next part is focused on creating a character and comparison of current and passed actors that were acting in theater as well as in movies. The conclusion is about my personal acting experience in film and in theater. It evaluates my work at the school theater DISK and also asses the transition to my advanced work.

This thesis {\clqq}The last paladin`` of czech decadence Jarmil Krecar from Ruzokvet. Erotic, stylization and inspiration in his life and creation tries to present the personality of Jarmil Krecar and tries to place him in to the cultural {--} historical context of Czech history at the end of the 19th century and the beginning of the 20th century. Than reflects the erotic themes in his literary works and his life attitude. And also concentrates how his life was pervaded by anachronism decadent stylizations, esthete and dandyism. The thesis is devided into five chapters. The first part of the introduction essay should outline the complex atmosphere of the end of the 19th century and the beginning of the 20th century and should deal circumstances, rise and progress of the important periodical organ of Czech decadent artists, Moderni revue. The second part of the introduction essay tries to describe the phenomenon of decadent stylizations and place it in to the larger Europe connections. The subject of the third part of the first chapter is the reflection of erotic and sex in Czech culture at the end of the 19th century and the beginning of the 20th century. The second chapter describes Jarmil´s life, emphasizes to the condition which Jarmil came from and the condition he was later living in. The third chapter analysis in literary way Krecar´s published and unpublished literary works with consideration to the substitution of erotic and pornography motives. The fourth chapter tries hard on the basis of the relation to Jarmil´s Muses and mistresses to understand his personality of a radical decadent artist. The fifth chapter want to present by using concrete example the selfpresentation of the decadent personage in his imaginary and his real world.

This diploma thesis is based on the bachelor thesis Chodské nářečí ve třech generacích. It expands on the topic of the "chod" dialect from the works of Jindřich Šimon Baar aswell as contemporary authors. The basis of this work is formed by a comparison of the current spoken form of the dialect with the dialect's version from the 1950s and comparison of the dialect stylization in Baar's books with todays stylization. The aim is to examine the evolution of the "chod" dialect's stylization and spoken form. This thesis is based on the hypothesis of a slowly disappearing dialect in all aspects and searches for evidence of this occurrence. Basis for the theoretical part are findings about Jindřich Šimon Baar, his life and his work. Furthermore the current knowledge about dialects with a focus on the southwestern dialect "chod". No less important is the part examining text stylization. The practical part is based on the language analysis of Baar's books partly written in a dialect in comparison with books of contemporary authors. And also comparison of audio recordings of the dialect with recordings from the archive of Jindřich Jindřich.

This thesis deals with the problematics of stylization in figural sculpture creation with regard to realizations of chosen sculptors of 20th century. Thesis is devided into a theoretical part and a practical part. The theoretical part discusses some of the formal possibilities of stytization and its application in sculptural creation. Basic artistic means of expression and some determinants of sculptural creation together with nonverbal means are analyzed and used in characterictics of sculptural artworks of some Czech creators of 20th century. The practical part consists of a series of sketches, studies and variants of figural stylization, that applicates findings emerged from the theoretical part.