This paper intends to answer the question of when and how we can consider a theatre criticism or review of a play to be more objective than another one. First we define the field of inquiry, art criticism and theatre criticism in particular. In doing so we describe how objectivity, truth, the author of a review and his or her intentions are related. We also explore various forms and functions of theatre criticism. While describing the process how criticism is created (perception, interpretation, evaluation and repeated search of arguments for the subjective view in the theatre piece itself) we identify how the different steps of such process influence the level of objectivity. At the end of the theoretical part this paper offers a synthesis of different criteria for objectivity in theatre criticism. The second part compares the criteria of objective criticism with a set of current theatre reviews in the daily press, weekly magazines and professional publications. We analyze ten reviews of Václav Havel's The Garden Party (Zahradní slavnost) directed by Dušan Pařízek at the Prague's Estates Theatre (Stavovské divadlo). This set of the ten reviews includes an article by the author of this paper herself. Based on the criteria described in the first part of the paper we evaluate reviews by Radmila Hrdinová, Marcela Magdová, Marie Reslová, Vladmír Just, Richard Erm, Vojtěch Varyš, Vladimír Mikulka, Vladimír Hulec, Milan Uhde and Pavlína Pacáková. The evaluation shows the criteria can distinguish the reviews on a subjective-objective scale. We conclude that an objective criticism fulfils several key demands: it openly defines the criteria of its evaluation, offers consistent reasoning, evaluates the theatre performance as a whole and not only as individual elements and helps the reader to make his own opinion and conclusion based on the given information.

The whole thesis has been trying to have a look into marginal music subcultures as a field of inspiration necessary with forming an author´s performance. One of the main sources of that is the metal sub-culture which is divided into other sub-sub-fields. Author is fixing the blackmetal sub-culture into center of attention and she is trying to undercover its possibilities by theatrical items. She is trying to look at common values between theater and metal music and she is interested in how to utilize music itself, which actually serves as sound curtain only. During authors creation she is interested into expression means replacing the text. Into the front position metal aesthetic is posted, as an outlet of scenographic way of thinking and creating, and last but not least, it is the main concern of interpretation of Sami´s culture and its transformation into theatrical form.

The thesis A Voice in the desert examines the possibilities of beginnings, their continuance and reflection.

In the thesis entitled Mechanisms of Creative Process, the author examines and reflects her own creation and creative process. The purpose of this study is to discover the internal order and logic of the creative process, respectively to discover the mechanisms and tools with which it works. Knowledge and awareness of the used techniques should serve to make the tools know better, consciously grasp and, above all, develop. The most important aim of the thesis was to try to follow the phases and transformations of the creative process from the creative idea to the realization of the performance. For better orientation, the process of creation and the text of the thesis are divided into four phases and two wider circuits. The first circuit deals with the period of preparation, the second part is the reflection of its practical part, the theatrical rehearsals. Tracking her own path and distinctive way and approach to creation from a distance, has given the author a clearer picture of how the mechanisms and tools work inside the process. Their knowledge and development gives them the ability to transform the thoughts, ideas and visions into reality more consciously and purposefully.

TITLE : Paris-Prague : converging surrealist views. Poetical birth of town AUTHOR : Sophie Ireland DEPARTMENT : Literature,languages, theatre - Romance literature SUPERVISORS : Prof. Myriam Boucharenc - Doc. PhDr. Aleš Pohorský, Csc ABSTRACT : This work aims to study the intersection of urban poetry produced by trips to Paris and Prague of artists who have contributed to the foundation of surrealism and by publication of their works in both cities. The travels of artists from Paris and Prague in each city allow encounters revealing artistic affinities. They promote aesthetic links and poetic exchanges between the founding artists of surrealism in Paris and Prague. The treatment of each capital through poetic transcriptions of stays in a foreign city and through works that reveals the possibilities of adventure in a familiar ciy leads to a comparaison of realities from Paris and Prague. The study of works makes possible to distinguish subjects circulating from a text to another and to put in light a common semiotic through witch appear features of surrealist city. The revival desire of avant-garde artists underlies that exploration of the city and contributes to the development of a subversive image of the city. Poetry creates a disruption of representations and is an opposition to ordinaries...

v angličtině In this paper will be described fresh history (after 1989) of culture life in the region of Aš. The art agency in the conditions of regional culture will be described and compared with simile institutions in the Czech Republic. The aim of this paper is to explore the aktivity of a such agency, its results in education system, church, community and european cooperation. In the general analysis the will be specified the means, the problems and the results of explored activities.

The thesis presents R. M. Rilke's attempt to rehabilitate human speech, which can be found in Duino Elegies and Sonnets to Orpheus. Starting with implicit questions, such as whether our sensual world is a product of our arrangement, or in what way the inner experience corresponds to external knowledge (i. e. he deals with the relation of the experiencing person and the experienced object), he eventually focuses on the relation between knowledge and language. The examined author could provide a new point of view on the theory of knowledge, namely on the certainty of knowledge, which is permanent, contrasted to the value of experience, which is ephemeral. His view on the problem of knowledge is based on the analysis of language, which he examines from the perspective of a poet who does not, nevertheless, consider verses for emotions but for experience. The poet analysed the relation between knowledge, experience and language already in his early poems, the so called Dinggedichte in a relationship their realization. In his late and the most famous two anthologies (Duino Elegies and Sonnets to Orpheus), Rilke tries to introduce the world of an artist who could adopt a new attitude to language. When seeking this new perspective, R. M. Rilke makes effort to deal with the duplicity of speech - authentic...

The diploma thesis deals with the problematics of cooperation among pedagogical employees from the point of view of executives of an elementary art school. It is devided into a theoretical and empirical part. The theoretical part specifies the concept of cooperation, sets it in the conditions of the elementary art school and describes the possibilities of cooperation control as well as approaches of the executives. Further it deals with concepts which influence the cooperation process, competences of the executives, organization structure and gender of the school director. The empirical part refers to a quantitative research which principle is questionnaire investigation of an accidentally chosen sample of directors of elementary art schools. The results of this investigation are further confirmed by interviews with the school directors and consequently with teachers. The subject of research are two experiments verifying the application of cooperation forms on this type of schools and observation of the cooperation process at the school of researcher's operation. A part of the thesis is also the overview of the results of used research methods. These are further analysed based on given hypotheses. The thesis is closed with an abstract of recommendations for the management of the elementary art...

This thesis deals with the Benedetto Croce's influence on the aesthetics of Josef Bartoš mainly between the years 1920 and 1929. It presents the historical facts effecting this influence and also the theoretical themes that determine the nature of the connection between Benedetto Croce and Josef Bartoš. Focusing on the historical parts of this thesis, the main point is to describe the evolution of the aesthetic attitudes of Josef Bartoš towards Benedetto Croce's philosophical system, and to find out the possible historical events that could play certain part in the evolution. On the level of theoretical survey the thesis describes the change of aesthetic attitudes of Josef Bartoš concerning the evolution of his theoretical specialisations and also the change in the scale of his philosophical studies. Mainly, the evolution of his attitudes is evident in his journal studies and also in his unpublished personal notes which are gathered in the estate of Josef Bartoš in Czech Music Museum.

This thesis named "Analysis of natural organic dyes and pigments by mass spectrometry" investigates the identification of selected natural organic dyes and pigments by qualitative Laser Desorption/Ionisation - Time of Flight Mass Spectrometry analysis (LDI-TOF MS). The advantage of LDI-TOF MS method is its quick and reliable identification of low molecular weight material without preparatory chemical or time-consuming modification of samples. This method can be used for the analysis of works of art or for verifying their authenticity thanks to requiring only a little amount of sample. The LDI-TOF MS was tested on 19 organic dyes and pigments (e.g. alizarin, apigenin, baicalein, flavone, xanthone, tannic acid), four exemplarily prepared lakes (alizarin, purpurin, chrysin a quercetin lakes) and lakes mixed with organic binding media. The method was also successfully applied to two samples of blue color that were taken from Josef Čapek's painting called 'Procházka' (The Walk), that was dating back to 1936.