This thesis deals with the key ideas of the popular education concept of Professor Tomáš Trnka, who is considered to be a leading theorist of popular education in the interwar Czechoslovakia, and who has significant merits in the gradual constitution of andragogy as an independent scientific discipline. The main focus of the thesis is on the analysis of his key publications The Basics of Popular Education (published in 1934) and Popular Education, its theory, components, methods and organization (published in 1946). The text aims to provide a comprehensive overview of Trnka's work in the field of popular education, with regards to relevant andragogical and historical contexts. The thesis also contains a critical evaluation of Trnka's work and a reflection of its development in the following historical periods. Key words: Tomáš Trnka, popular education, public education, Masaryk Institute for Popular Education, interwar Czechoslovakia, content analysis

The diploma thesis consists of two main parts {--} theoretical and practical. The theoretical part deals with a character of collected tales with regard to a region and explains the meaning of the word ``legend{\crqq}. Furthermore it summrizes briefly what is an illustration and targets four illustrators of Old Czech Legends by Alois Jirásek (Věnceslav Černý, Antonín Procházka, Mikoláš Aleš and Jiří Trnka). At the conclusion of this part the illustration processing itself is inscribed. Creating a set of illustrations {--} the practical part {--} is the produce of the thesis. A supplement, that contains the set of collected legends, is added to the thesis.

Jiri Trnka (1912 - 1969) ranks among the foremost representatives of Czech modern art in the 20th century and alongside the most remarkable protagonists of the visual art scene over a period ranging from the late 1930s through the end of the1960s. He stood out within that movement for his multiple talents, as a draughtsman, book illustrator, puppet designer, painter, animated film-maker, sculptor and stage designer. He achieved admirable success in these fields of activity. In the early 40s a new prospect opened up for him connected with work in theatre, as he took up the post of stage designer at the National Theatre in Prague, an assignment which enabled him to put to use his specific talent for stagecraft. He created 13 stage decorations together. Trnka was able to create unforgettable productions thanks the cooperation with Jiri Frejka or Karel Dostal. I documented and explained Trnka's work in the context of the Nation Theatre during the Second World War. I defined his style in the relation to his contemporaries in the end of work. KEY WORDS Jiri Trnka, National Theatre, set designer, scenography, stage decoration, costume, properties, scene, 40s, space, stage, style, set, constructed set, stage design, didascalia, theatrical space, animated film.