This graduate paper deals with the phenomenon of the theatre spectacle that truly becomes alive no sooner than when the actor and the spectator meet in the same space and time; the paper is also occupied with the (pre)conditions that have to be met in order for the interaction between the actor and the spectator to begin. The paper draws conclusions from the theatre creator?s and the spectator?s perspectives, it wonders about the meaning and the origin of theatre (co)creation, and is based on practical experience, as well as on the findings of theatre practitioners and theoreticians. The concept of theatre is used in the widest meaning of the word. The paper intentionally originates from and connects various performance arts ? it draws from the realization that the theatre is basically one, and that for theatre to happen one needs both: an active actor and an active spectator.

In this essay, I focus on the issues of theatre production in an originally non-theatrical space. The work aims at describing the relation between the space and the directorial, stage design and visual component of a production, setting specific projects as examples. I map my work in an originally non-theatrical space and I describe the process of creation of individual projects of that kind. Based on the realization of many productions, theatre installations and one visual installation, I introduce possible artistic approaches and working procedures. The essence of this work lies in finding and naming the moments where the project is formed by the space and those where, in the contrary, the project affects an existing non-theatrical space. The thesis provides a summary of experience gained by working in non-theatrical spaces and suggests possible connection between artistic and production management activity. The reader is offered a number of starting points and assumptions in the matter of working in a non-theatrical space and our attention is brought to the advantages and difficulties of such work.

The master's thesis deals with characterization of forms of subjective sound in film. The thesis is divided into several main parts. The first part is concerned with the principles of perception of sound and picture from the perspective of psychology, physiology and technology. Next part focuses on subjectivity in film itself. The aim of the remaining parts is to deal with subjectivisation of film sound, definition of Point of Audition (POA) term, analyzing categories of POA and the use of POA in the selection of films. Finally, a creative expression of POA is described and discussed. The analysis is accompanied by a DVD with clips.

In this theoretical thesis I want to explore the interaction of theater and film. I do not want to be preoccupied with "filmed theater", but only with film adaptations of theatrical productions. Dramatic works became really often template for films, but what leads the creators of the movie to film the specific theatrical productions? How will the filmmakers be affected by existing artwork, and which path to take when theater and film have so many different ways of expression? What has the movie theater to offer, and what the film is able to borrow, take, or transform? And in this case,are there any rules?

The main topic of this thesis is restoration of optical soundtracks on films. The thesis includes rough introduction of historical evolution of technical means of film soundtracks as well as problematics of optical soundtrack reading, restoration of optical domains of soundtracks and postproduction restoration. Postproduction phase of the restoration process is demonstrated on a specific restoration example of the film "Ostře sledované vlaky" soundtrack. A brief discussion about specifics of the film restoration field is given at the end of the thesis.

This thesis deals with yield formation with the 12 varieties of winter wheat during growing season 2013/2014. The experiment was established in four repetitions on the plot of Faculty of Agriculture, University of South Bohemia in České Budějovice. Examined yield components were the amount of spikes per 1 m2, amount of grains per spike and weight of thousand grains. Furthermore evaluated were the amount of plants per 1 m2, amount of spikelets in spike, real and theoretical yield, spike length and density. The next step was the processing of the results where the average value of all the varieties in the amount of ears per 1 m2 was 783 units/m2. The second element of the yield varieties reached the average number of grains per spike 36.2 pieces. And the mean weight of´thousand grains was 44.42 grams.

Abstract The main content of my master degree work is the concept design for film based on unpublished screenplay by David Lynch. The master degree work consists of practical and theoretical part. The theoretical part, called Visual World of David Lynch's Films, points out the influence of cultural environment, inspirations and art on visual style of his films. It finds out elementary symbols from his cultural enviroment and demostrates the way, how David Lynch use these motifs in his films. In the film analyzes, there have been found some more visual elements, which became part of David Lynch's visual style. The practical part presents my own concept design for film based on the screenplay "RONNIE ROCKET OR The Absurd Mystery of the Strange Forces of Existence" by David Lynch. The practical part includes Screenplay synopsis, graphic part, breakdown nad visual reference.

Entertainment has been one of the major genres throughout the history of television, which has served an entertainment function from its very beginning. With the arrival of the dual broadcasting system, the genre became controversial in the context of public service to citizens. The thesis discusses the evolution of entertainment programmes in Czech television, placing an emphasis on Česká televize (Czech Television), the public TV. The thesis provides a comprehensive picture of the genre, putting it in the context of the historical development of Česká televize and, later, the arrival of commercial broadcasters in the Czech Republic. It discusses the development of TV entertainment formats in terms of programming, as well as the possibilities and types of programme production. Yet the most important part is the comparison of private broadcasters' and the public institution's approach to the entertainment genre, which, by definition, tends to be rather commercial in its concept.

This thesis deals with the yield ability of chosen winter wheat varieties during growing season 2014/2015. Comparison of the two varieties (hybrid and linear). The experiment was established in standard and reduced seed rates and also in four replicates on the plot of Faculty of Agriculture, University of South Bohemia in České Budějovice. Were examined yield components: the amount of spikes per 1 m2, amount of grains per spike and weight of thousand grains. During the vegetation observed were the amount of plants per 1 m2, each growth phase, the number of stalks per 1 m2 and plant height. Furthermore, measured were amounts of units of chlorophyll in plants using device N-Tester and the SunScan device sunlight usable for photosynthesis of plants wherein the processed values of leaf area index (LAI). At the end, compared were the theoretical and real yield and evaluated were spike length, amount of spikelets in spike and density.

On the grounds of the South Bohemian University was founded in 2015 oneyear experiment. In this experiment we compared three classical and one naked variety of spring barley. Each variety were planted in four replications. For each repetition was assessed the number of emerged plants, number of tillers, number of ears, yield, thousand grain weight, the proportion of leading grain, density andcontent of nitrogenous substances. The average yield of the hulled varieties exceeded 6 t/ha, while in the nudevariety was 4,68 t/ha. The nude variety also showed the lowest HTZ, highest densityand the highest content of nitrogenous substances.