Describing the understanding of the term ´dance minimalism´ is the content of this theses. Following the minimalism´s journey (in the history of dance) and exploring how minimalism changes the ways of thinking and attitude helped me to clear my intention. I present information about radical figures, who were at birth (of minimalism), and period context mainly in the matter of searching and exploring the new ways of creation and also change of perceiving art that goes with it. The most important criterion is the change, which brings not only artist but also spectators to the new ways of thinking. The methods and ways of work of the important creators/artists, who work with or through out minimalism their own way or even create it are described with more depth. Music inspiration and its infiltration and impulses brought into the field of dance are at the forefront of the theses. I deconstruct and generalize the principles of minimalism, that go beyond to philosophical thougths and questions. The these also follows up the fundamental essence of minimalism - time, which in it´s innovative and till then not used ways affects spectators meditatively/contemplatively and even transcendently.

The diploma thesis surveys the genesis and evolution of jazz dance largely on

My dissertation seeks to outline the social and economic status of members of the ballet troupe of the National Theatre in Prague after 1945. a defining aspect of this period was the effort on the part of the ballet ensemble to achieve recognition for ballet as an autonomous genre of theatre in its own right, and to achieve a status independent from the Opera, of which the troupe was part until 1958. The inferior status of ballet in terms of the theater hierarchy was reflected by the remuneration of the dancers themselves; their wages were always lower than those of the staff of the Opera or Drama troupes. i have tried to document the evolution and changes in the social and economical status of ballet artists as employees of state repertory theaters, depending on the context of each period and also by presenting them on two concrete trajectories and the experiences of individual artists. The financial conditions are documented by contracts, and the general situation further attested by additional personal documents, particularly correspondence. Frequent requests for a raise in wages or the paying of an advance, pleading and often no less than abjectly humiliating letters are ample evidence that the economic situation of dancers as professionals often stretched the limits of a basic living wage.

In my thesis I am giving a description of an Imperial Society of Teachers of Dancing (later only ISTD). ISTD is an international board based in London. Its main purpose is to teach dancers and teachers of dance from around the world. I am describing its history, options of membership, types of examinations and particular faculties. An education of ISTD is divided into twelve faculties of dance: Tap Dance, National Dance, Modern Theatre, Classical Greek, Classical Indian Dance, Modern Ballroom, Latin American, Sequence, Disco, Freestyle & Rock?n?Roll, Club Dance, Cecchetti Classical Ballet and Imperial Ballet. Considering that I am studying the classical dance I have decided to focus on the faculty of Imperial Ballet. I am depicting syllabuses of all periods of examinations and expertises on ISTD.

This thesis provides a comprehensive overview of dance movement therapy and the condition surrounding its application in the Czech Republic. It also proposes to introduce this psychotherapeutic method as a supplementary treatment therapy for eating disorders. The theoretical part of this thesis is based on knowledge taken from educational literature by variety of Czech and foreign authors and the practical part is derived from specific research that includes two case reports of clients with eating disorders as well as interviews with experts.

The main subjekt of this master thesis is to approach the issue of partnering in a contemporary dance, summarize the knowledge, and subsequently to apply at the classes in the elementary art school. The issue of partnering withinn a historical kontext where the contact improvisation came from. This Works summarizes the basic principles of partnering . The second part is a set of training execircers and elements that are easily applied in the field of dance education at the elementary art schools . This section os followed by challenging execirces, suitable for an extremly talented groups, or to the second level of art education. In the final section lists possible use of this elements in a choreographic and dance practice

The objective of this thesis is to give a practical overview of the phenomenon of dance on TV and in film - the theoretical, artistic, cinematic and technical principles that should be taken into consideration when attempting to record a dance performance in a 2D moving image, the options and possibilities available, the current state of discourse on the topic as well as potential future development in this area. The author's decision to focus on the latest developments (especially in the more technical Chapters 3-5) may come at the risk of the information described in these Chapters becoming obsolete rather fast. However, the numerous links to online sources provided in the Reference section will make it easy to update the paper.

Within the final thesis, the main focus is directed towards history of modern dance techniques, their principles and terminology associated with respective time periods. Furthermore, significant personalities of these periods will be introduced. Following chapters will depict underlying conditions in formation of contemporary dance and also terms often associated with such dance practice. Fourth chapter is dedicated to specific figures, that we were able to encounter within studies on the Academy of Performing arts. We will elaborate specific training approaches and moreover try to discover context and influence of modern techniques contained in their work. Last chapter will summarize the influence of modern art techniques on contemporary dance, what they share and also the role of dance in current society.

This work defines the term interactive media and explains how it differs from the till now known term “new media”. It leans on the history of technology progression and the theory of new media. For better understanding of how one views new perception, it touches the basics of esthetics. It maps the development of dance visual forms labeled as digital dance and it lists the main pioneers and their methods. In the final part of the thesis, three current artists who use interactive projections in their performances are listed and their work is analyzed.

Master´s thesis solving art of polish mime, director and theatremaker Henryk Tomaszewski