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The thesis deals with discourse analysis of a texts published in the magazine "Úchylná mládež". I focus above all on ways, in which bodily "ab/normality" was represented and produced within the Czech eugenic discourse in the first half of the 20th century. The goal of this work is to find out how eugenics influenced the period understanding of ab/normality and how it contributed to perception of ideas of productivity of disabled body. In the work I develop the thesis, that eugenic largely contributed to the incorporation of the disabled body into the productive "collective body" of the national community by supervising and controlling acts, when the "individual body" became a part of "social" and "political" body in the public discourse. Using the conceptual framework of "biopower", I aim at ways in which healthy body was constructed by means of definition of "risky groups". In the work, discursive practices are analysed that made possible to discuss bodily and mental abnormality and to define it in connection with eugenic doctrine and how productivity of disabled body was referred to. In the work, speech agents are analysed that define categories or imaginings about ab/normality.

Riedlbauchová, Veronika: The Conscious Body (Actor Body Language and Stage Composition), doctoral thesis, Theatre Faculty of the Academy of Performing Arts in Prague, Prague 2015, 321 pages. In this thesis, the author explores theatre through the concept of the ?body?. She bases her findings on long-term research into theatre, which she approaches empirically; she draws on her own experience as an actor, director and educator. She supports her conclusions and assertions not only with academic literature, but chiefly by applying theory in practice (to particular physical exercises as well as creative stage work). The thesis is divided into two sections. The first, The Physical Language of the Actor (Methods, Principles, Exercises, Interpretations), focuses on the training of a well-rounded, ?open? actor through bodily expression and physical conduct. The author draws on a wide range of methods employed by theatre reformers of the 20th century, which are connected by rigorous work with human physicality, an emphasis on behaviour incurred by internal and external impulses and systematic training over an extended period time. Adopting various movement techniques and principles shapes the ?physical vocabulary? of the actor, which helps him achieve creative freedom. The explanations within this section are supported by a large number of specific exercises, which serve to help the actor understand how the body functions and learn to ?consciously? use it for self-expression and for theatrical performance. The exercises are supplemented by an analysis reflecting on the author?s experience, as well as the feedback of students and actors who have submitted to them. These exercises (some of which are also recorded on DVD) develop particular aspects of acting: working with energy; with space, a partner and a group; with time, rhythm and dynamics; with gesture; with voice, text and music; and with a mask. In the second section, The Physical Language of Stage Composition (In-Depth Interpretation of Stage Thinking), the author, reflecting on her own creative experience, focuses on the ?conscious body? of the actor in the context of the formation of stage composition. She details the process of rehearsing for six selected productions for which she was the director, and sometimes also the author, the choreographer or an actor. These productions are: the site-specific project Vodu po lžičkách (Water by spoons ? 2007), the movement project Camille (2009), Sarah Kane?s play Očištění/Depurados (Cleansed ? 2010), Jiří Hájek?s chamber opera Slavík a růže (The Nightingale and the Rose ? 2011), work in progress of the social documentary project Plus Minus Praha (Plus Minus Prague ? 2012) and the circus comedy Plovárna (Riverside ? 2013). The author analyses her stage thinking, characterised by ?recasting? themes into movement and visual metaphors, and her way of managing actors in the process of rehearsing. She approaches this process as theatre research and divides it into three stages: study (dramaturgy/stage design preparation), finding theatrical language (discovering expressive material through the body) and the overall organisation of the resulting form. She perceives rehearsal as the design of the whole ensemble and stresses the need for enough rehearsing time, as well as the capacity of improvisation to unlock hidden creative potential

Resumé (En) Key words: Body, soma, sarx, pexis, horizon, aesthesis, corporate scheme, body art, body modifications. This thesis deals with body and its manifestation. The body is conceived as philosophic, anthropologic and psychic phenomenon. Philosophic part determinates body as soma, sarx and pexis. The phenomenon as corporate scheme, horizon, motion and aesthesis are used for better understanding as well. Next part deals with body as anthropologic phenomenon. Body modifications, suspensions and their history are showed here. The research makes clear minds and reasons of extremely modificated persons. The last part is psychological. Problems related with wrong corporate scheme are described, as well as evolution of body's perception.

The Body as a subject and object is the way and possibility how to be in a landscape which does not tell how to touch it, how to move within it, live and die. However, we could find and see which particular behaviour is preferred to others. The landscape is a vertically and horizontally widespread area and a platform for potential range of body activities. Thirdly it is also a material, body, changing in time. We would focus on the moment when the body is trying to fuse into the landscape. So similar, so different, they are. The way how to achieve it for a human body would be a task to live it through, personally, as first shown as Symbiosis, on some examples from visual arts (performance, and site-specific usage of the place potential). In the Second part we would consider understanding the landscape (world) through the narratives with metamorphoses, when both entities are carnal and the same (Synonymical: body as a landscape, landscape as a body). The last Part (Synthesis) concentrates on the arts, rituals, philosophy and other modes of the "life view" in the context of crossing borders and immersion of real and the "different" (in a way virtual) world. Keywords: Body, landscape, arts, mythology, philosophy

In my practical diploma thesis, I’m extending on its theoretical part named Androgyn / The mysterium of completeness, particularly the chapter Bodily construction of the androgynous character (transformations of the body and character, metamorphosis and other deformations). I will explore the theme as a complex using multiple media I was using throughout my studies. These are: A. fragmented drawings, that will eventually be the basis for a graphical novel. In my drawings, I’ll capture the appearance and detailed transformation of bizarre anomalies of an animated body. Another output will be B. an installation of drawings in space. Using monumental digitally printed wallpapers, I’ll create a installation in space, that will represent the “cabinet of body representation”. In my thesis, I’ll also use C. a program for generating the shape of human body out of its basic parameters – I’ll create “real” bodies I’ll use later on in my graphical collection. The last part will be D. photographs of details of human body enlarged to a billboard size.

This thesis explores the view on symbol, body and freedom in Paul Ricoeur's and Olivier Clément's work. The aim is to analyse symbols and explore the benefits they can have for modern society, Western culture and how can these symbols influence people. This topic indirectly allows understanding of the role of tradition, rituals, narrations, myths and traditional wisdom in nowadays Western society. Furthermore, the thesis shows what influences the process of thinking, deciding and deepening one's faith. In particular, I am investigating whether in nowadays democratic and freedom supporting society one really has possibility of free choice. This reflection is to be completed on the basis of previous analysis of the symbol, body and freedom in the view of philosopher Paul Ricoeur and theologian Olivier Clément. The thesis is structured into three chapters. The first chapter is dedicated to the analysis of Ricoeur's view on this subject, in the following chapter I study Clément's theology, and in the third chapter I offer the comparison of these two. In the beginning of each chapter I introduce the life of the authors and influences that they encountered. This will reveal their philosophy and theology in better context. The conclusion summarizes the findings of previous chapters, and shows how they can...