In our text we examine aesthetical impact of synchronized sound on film media.

This work is aiming to show costume designing as an essential artistic field of today which surpasses limits of applied arts or mere decoration in an effort of emancipation.It talks about the specific characteristics of this field and how it surpasses into other domains and it opens chapters which I deemed significant to my topic. The text outlines my professional career as costume designer to my pedagogic and finally to my organisational curator?s experience. I describe how I enrich the basic practical and empirical education with an emphasis on the artistic way of expression with more theoretical and analytical abilities. The latter is documented mainly with the exhibition ?Extreme costume? in PQ 2011.An important part is the vocabulary of some rather technical terms; it is very liquid and constantly changing. Predominant tendency is to find terms commonly revealing to help the lay audience understand a discipline which can be attractive when a suitable form and presentation is used. Besides the language it is also new topics reflecting costume and its development such as; costume as performance, nudity as/and costume, event and an act of wearing a dress, installation and costume, light and costume, technology and costume which complete the perspective. The number of themes which emerged in the last 6 years is high and sometimes they are connected only seemingly. Some are entering disciplines which are interconnected and influence each other mutually. Therefore some examples of work process are used repeatedly in a comparative or illustrative role.Throughout the whole work the search is for new paths, techniques and materials for costume design and its emancipation. Next to this stands no less important role of costume as a part of action scenography as well as the postmodernism of 1980?s which is a significant starting point of my own work. In contrast to certain excessiveness stands the concept of unpretentious costume completed with specifics of film costume designing.Fashion show as a show with all the aspects of a dramatic piece/performance considers consumer and sociological topics and can be linked to reshaping and costume recycling which closely relates to economic and ecologic aspects too.Emancipation effort is joined with its presentation in public in the form of exhibitions, events, workshops and its documentation for the future. The technological ?boom? occurred especially with the emerge of light costume and ?wearables? as well as the research for materials and the work of realizers on creative ideas of the artists. An inseparable part is a dictionary of alternative materials used in costume designing and a extensive bibliography.

This thesis is focused on the design of the second housing interior for a family. The introduction summarizes the specifics of recreation in the objects of second homes, historical background and psychological aspects of this phenomenon. Historical continuity of folk architecture and furniture design is also included. The actual interior is designed with regard to the space and requirements specified by the owners. Atypical furniture element is designed for the specified space and function, technical drawings and material costs are included.

This thesis explores the parallels of actor´s training in everyday life. The first part works with individual domains on a general level (perceptivness, breath, voice, movement), the second part is focused more specifically on the field of theatre improvisation. The work names the prerequisites of an open-minded approach towards creation, that help a living and fulfilling process come alive. Based on the idea, that our common life is a result of creation just like a work of art, the work reflects these prerequisites and their impact on the field of everyday actions and on the attitude to life in general.

The thesis "Play and Layers of Playing in Animation" attempts to identify where in the world of animation we meet the phenomenon of a play and which kinds of forms it could have. We answer to this question through the analysis of the first film of the series "Pojďme pane, budeme si hrát" by Břetislav Pojar, "Potkali se u Kolína" and we discuss its general validity.

This diploma thesis is following process of preparing theatre peace which is not based on structural dramatic text, but it is formed from an idea. I´m interested in step by step process of idea development from blank paper to the theatre piece.

Comparing two, on the first look very different storytelling methods, might seem inappropriate. But everyone who saw a film based on a book or the other way around, doesn't have any problem with comparing these two against each other, pointing out strengths and weaknesses of each interpretation of the same story. In this paper I am focusing on comparison of distribution and development possibilities of film and computer game industries. Even though film professionals are trying to be innovative, game professionals are step ahead in the area of digital distribution, mainly if we target independent film or game distribution. The same applies to crowdfunding campaigns, which are in fact a possible beginning of distribution. In the end, it's always the producer who should develop and use a specific type of funding and distribution type for his audio-visual works.

In my thesis I explore the approach of the actor to his role from the perspective of his body language. I analyze the actor's character work using his physical abilities, and utilizing my previous experience (studying at DAMU in professional theater, as well as an internship at the Stella Adler Studio of Acting in New York) I also examine the switches made between spontaneous and technical modes of expression.

The present master's thesis focuses on relationships between the director and the other creators of a theatre production and on the ways in which these relationships develop during the creative process. The author describes and reassesses specific practical examples from her directorial and dramaturgical experience in years 2012-2015. The first part is devoted to those productions in which the author collaborated also on the playtext. It seeks to identify specific primary impulses which had inspired individual projects and to track any subsequent evolution of these impulses, a process which the author defines as assignment formulation. The second part concentrates in more detail on collaboration with actors and explores the circumstances in which a free creative process can be established, the border between the actor's creation and the director's direction of the actor. The third part addresses the interaction between three theatre professions, namely the director, the dramaturgist and the set designer.

The topic of this thesis is the permanently worsening situation in the area of loudness and dynamic range of sound signals being delivered to customers, both on classic media and in broadcast. It discusses the reasons and consequences of the current situation. These problems are global and they have impact on every listener and viewer. Extremely varying loudness of broadcast and terrifying state of some records being published at big media houses are a target of complaints for a long time. At the time of writing, solutions to improve the situation are finally emerging. These solutions are evaluated in the last part of this thesis and using them examples of improperly treated dynamics are given.