In this diploma thesis are examined importance and practical form of physical education for students of opera singing. This physical preparation is although automatically a part of art education in schools, but is determined by a number of lessons and their ideological fulfillment. The work also introduces basic dance styles and their elements, that can assist future opera singer in finding the optimum engagement.

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The thesis analyses a demand on dancing schools, meaning the rate of intentions for dancing classes and particular customers' wishes about the form and content of a dancing class. It further compares wishes in question with the contemporary supply of dancing schools and, regarding to this information, formulates problems and ways of solving by changing components of the marketing mix. Thesis further summaries theoretical principles of marketing research and applies them on particular research. The practical part presents the results of evaluation and forms recommendations.

The theoretical part of this thesis describes marketing in the field of culture, particularly dance, and it defines today's Internet world. It focuses on the tools and the most important aspects of current marketing practices. It also defines the dance 'twerk' examining its history, present and also the reasons why it became an international sensation. The practical part is then devoted to a detailed analysis of three subjects - dancer Aneta Antošová, STAGE Prague dance studio and Ballet of the National Theatre Brno. By a comparison of quantitative data of the 'before and after twerk marketing' period the thesis is trying to evaluate the applicability and success of this marketing decision. Qualitative expert interviews with big names of Czech dance and marketing fields are accompanying the analysis.

ABSTRACT. This research is following Ecological Theory about the ability of humans to form impressions from observing the behavior of other people. The current study examined whether personality traits were related to the way in which people walked and moved to certain music. Twenty-one young females were asked to walk and to move to slow and fast music and to dance with a partner. Their movements were tracked with a MOCAP system which can produce coordinates of points on a moving body. A number of different measurements of body movement were produced and analyzed. Participants also completed the Big Five personality inventory. A number of trends were found in relationships between personality traits and gait and dance movement. Extroversion had the biggest influence. It was related to bigger and faster movements, especially with movements of head, hands, shoulders, hips or footstep. Openness to experience tended to have similar influence as extroversion. Neuroticism influenced slow dance the most. Agreeableness and conscientiousness had both positive and negative influence to a lesser extent. They influenced especially movements of hands, hips or footstep.

The diploma thesis "Dance as a Manifestation of Devotion, its History and Use in the Christian Liturgy" enquires into the phenomenon of dance in the context of Christian culture. It outlines the development of the religious dance in the history of mankind, its forms and modes of perception in different cultures and religions. The thesis also deals with dance as an expression of faith in Jewish culture whence the Christian liturgical dance often drew inspiration and thus went back to its own roots. It seeks to explore the positive attitudes of believers towards dance, but also the mistrust that accompanied dance throughout the history of Christianity. Additionally, the paper presents the situation of dance in the contemporary Christian culture on different continents (Europe, America, Africa), to pursue finally the question of dance as a manifestation of devotion in the Czech Republic. Based on the collected material, the thesis seeks to present the deep potential of dance that make believers express through gestures and movements their respect to God, their joy and anxiety, grief and hope, and thus can, alongside music and singing, enrich the liturgy to a great extent. Keywords Dance, gesture, liturgy, prayer, expression.

This thesis consists of two parts - theoretical and practical. The theoretical part deals with individuals with physical disabilities and limitations resulting therefrom, characteristics of selected types of physical disability and dance as a therapeutic method. The practical part consists of the possibility of applying dance techniques for clients with physical disabilities and the possibility of conducting a dance lesson. The following is part of the research that deals with dance as a means of stimulation and its effects on people with physical disabilities. Keywords: physical disability, stimulation, basal stimulation, dance, scenic dance, movement

This thesis intends to introduce Israeli folk dance from a number of different perspectives. In the first part, based on literature review, the author presents the origins of Israeli folk dances in Israel as well as their roots and the way they further function in a current Israeli society. Special attention is given to the problematic labeling of Israeli folk dance as "folk". The second part of the thesis is based on the author's own field work and describes the ways Israeli folk dances are practiced in the Czech environment. Whereas in Israel these dances are mostly connected with demonstration of Israeli identity, they get different meanings in the Czech environment. Firstly the author attempted to reconstruct the history of spreading of Israeli folk dances in the Czech environment and to map the different groups involved in these dances. Collection of these facts can be further used as an information source for all researchers wishing to conduct studies on Israeli folk dances in the Czech Republic in the future. Secondly the author concentrated on the ways of practicing Israeli folk dances in a Prague group called Besamim. Based on participant observation and interviews with the dancers the author attempted to illustrate the significance of these dances in the lives of people, who practice them...

The idea that dance can be understood as an act of communication and a form of language has been already taken into account by scholars. The hypothesis that will be discussed in this MA dissertation concerns a more specific matter: a semiotic approach to different forms of dance improvisation, and notably the method traditionally labeled "intuitive dance". To understand this phenomena two main concepts will be conveyed: that of "quotation" understood via W. Benjamin's essays on Brecht, and that of "notation", as defined by N. Goodman in his Languages of art. Can we understand dance as a language - id est a quotable and notable code - even in its more intuitive forms? How is it possible to "understand", "quote" and "address" gestures, even in front of a wide heterogeneous audience and without any prefixed choreography but only on the base of a free and in-time creating process? Can we understand improvisation as a complex code? what and how does this code mean? Keywords: improvisation, Intuitive Dance, semiotics, notation, gesture, Nelson Goodman, Walter Benjamin, dance, code

Key words: dance - body - corporeality - dance aesthetics - aesthetic experience - phenomenology - Maxine Sheets-Johnstone - contemporary dance Abstact: Dance's various forms and appearances are connected through one universal aspect - the presence of corporeality as represented by the moving human body. The role and the experience of body is essential for the description of dance even in its aesthetical and philosophical interpretation. First of all, this diploma theses aims to map the field of aesthetics and philosophy of dance from wider historical perspective and consequently to find support in dance basic division and its connected experiences in practice of inner ecstatic immersion. Furthermore, the focus is also given to the type of experience that is subordinated to visual effect of dance. This foundation is further elaborated in second part of this thesis, which discusses dance experience in its aesthetic dimension through context of phenomenological philosophy in thinking of Maxine Sheets-Johnstone. This concept of dance reveals other important qualities in dance as an art. In addition, it shows one of novel approaches to corporeality in the aesthetic experience of dance, which could built on the dichotomous differentiation of the dance experience and open new perspectives on the aesthetic...