Résumé en français Le personnage homosexuel masculin dans le théâtre en France au cours du XXème siècle a singulièrement évolué. Nous analyserons d’une part, les typologies de ce personnage, à travers huit pièces. D’autre part, pour chacune d’entre elles, nous verrons comment la presse et les publics ont interprété ces personnages. Nous verrons comment, au delà de la forme théâtrale, c’est tout un discours sur les homosexuels qui est donné à voir et qui vient par là interroger les rapports entre le théâtre et la société. Dans la première partie de notre présente étude nous avons présenté le personnage homosexuel dans trois pièces, de facture différente, mais qui donnent toutes les trois à voir une figure de solitaire : Le Monsieur aux Chrysanthèmes, Armory, Un Taciturne de Roger Martin du Gard er Adam de Marcel Achard.. Il est solitaire car emmuré dans une tradition qui le condamne pour son désir alors même qu’il est resté inassouvi. L’homosexualité serait donc la marque d’un esprit faible, qui ne sait pas taire ses penchants et ne s’y employant pas suffisamment bien, se suicide.La deuxième partie de notre travail s’est penchée sur le personnage homosexuel présenté comme source de comique. Il s’agira le plus souvent de montrer que le rire qu’il suscite est une autre forme de condamnation par la société. Il s’agit alors d’un mode mineur, moins violent apparemment, mais tout aussi significatif d’un regard porté par la société sur les homosexuels. Cette partie est centrée sur les pièces d’Edouard Bourdet, La Fleur des Pois, d’André Roussin, Les Œufs de l’Autruche et enfin de Jean Poiret, La Cage aux folles. Le personnage homosexuel fait rire car il est incapable de se conformer à ce que la société, implicitement, attend de lui. Un homme doit, naturellement aimer les femmes, être viril, masculin, maîtriser ses sentiments et ses émotions, ne pas pleurer. Dans notre dernière partie, apparaîtra, pour la première fois, une réappropriation qui va se faire par les homosexuels eux mêmes et, de ce fait, ouvrir la voie à d’autres artistes qui ne parleront pas à la place des homosexuels. Au contraire, naîtront des formes qui seront revendiquées comme étant écrites par des homosexuels. C’est le cas avec les deux dernières pièces que nous avons réunies dans notre corpus : Angels in America de Tony Kushner et Le Pays Lointain de Jean-Luc Lagarce. Elles évoquent, de manière plus directe pour la première, l’épidémie de SIDA dans les années 1980 et 1990 au sein de la communauté homosexuelle. / In the XXth century, in French theatre, the gay male character has remarkably changed. We will analyse on one hand the character typologies across eight plays. One the other hand, for each of the plays we will see how the public and the press interpreted these characters. We will see, above the theatrical form, how it finally is a speech on homosexual that is given and that comes and asks the links that are between theatre and society.In the first part of our study we introduced, the gay male character in three plays, with different styles but the three of them will give a solitary figure : Le Monsieur aux Chrysanthèmes of Armory, Un taciturne of Roger Martin and Adam of Marcel Achard. It is a solitary character because it is walled in a tradition that condemns it for its own desire where it is already unfulfilled. Homosexuality will then be seen as the mark of a weak spirit, that can not shut its inclinations and when it’s too obvious the character will commit suicide.The second part of our work underlines gay male character seen as a comic part. The point will show how the character generates laughter, and so, it does prove society condemnation. It is a minor mode indeed, apparently less violent, but it just shows how society sees homosexuals, in an other way . This part will be focused on 3 plays : La Fleur des Pois of Edouard Bourdet,, Les Oeufs de l’Autruche of André Roussi and La Cage aux folles of Jean Poiret. The homosexual character does make laugh because it is unable to conform to what society really expects from him. A man has to love a woman, be manly, masculine, he has to master his feelings and not cry.In our last part will appear for the first time, an acquisition of homosexual signs. Thanks to that other artists will not talk instead of homosexuals. On the contrary, some forms will be born and they will be claimed as written by homosexuals. It is the case in the last two plays we gathered in our corpus: Angels in America of Tony Kushner and Le Pays Lointain of Jean-Luc Lagarce. They both talk, in a more direct way, of the AIDS epidemic in the 80’s and 90’s among the homosexual community.

This diploma thesis remarks on the beginning of the equality of rights and the complete social recognition of the puppetry in Czech theatres in the years 1973 - 1982. The thesis deals with the history of the East Bohemian theatre DRAK in Hradec Kralove from its foundation, it describes the arrival of the director Josef Krofta, Prague's performances of DRAK in 1977, the first tours abroad, it observes DRAK in the context of totality, it outlines Krofta's directorial principles and the perspective of the DRAK's Theatre poetics within a decade. Significant attention is dedicated to the reconstruction of the top chosen period plays from the DRAK Theatre, directed by Josef Krofta, because these plays reflect the best the emancipation of the Czech puppet theatre.

My thesis follows up life and work of Bohumil Schweigstill, teacher and puppeteer living in First Republic of Czechoslovakia. First chapter is about social situation in Příbram, about his childhood and studies in this famous mining area. Then it focuses on the beginning of his career as a teacher at Klatovsko and subsequent move to Prague, where until the end of the 30s of the 20th century has taught at several schools. Thesis then makes a closer look at his puppeteering work in Prague theater in Vladislavova street and theatre in the garden of Kinský, monitors normal operation of both theatres, structure of performances, ensemble and repertoire. Stand-alone chapter is devoted to Schweigstill's dramas and its benefit for forms of puppet - Punch, because he was one of the first to come up with a brand new concept. The final chapter then examines his tenure at the magazine Little Reader and Heart, as well as end of his life, where despite leaving both of its own puppet theaters, he didin't hesitate to help other amateur and professional theatre groups, and finally the overall contribution that Schweigstill's playwright and theatrical activity had. Key words Bohumil Schweigstill, puppet theater, marionette, puppetry, Punch, the Kinsky Garden Theatre, the Theater at Vladislavova Street, the Society for...