Živá hudba

Abstrakt (Fulltext in Czech available on the CZ version of our website) The study is based on the long-term comparative-descriptive approach and the principles of Practice-Based Art Research. The main topic touches on criterial nuances suitable or necessary for a partnership of the mime with an imaginary or real object. The performer in the contemporary theatre, whose domain is not primarily the word and verbal expression, but mainly pantomime, the new circus and other forms of movement theatre, perceives and grasps the object as an inexhaustible range of possible ways of relating, indifference and mutual subject-object confusion. The basic premise was that a tangible and sensed object and the nature of the relationship to it within the artistic process in the genre of movement theatre can significantly contribute to deepening the sensory sensitivity of the performer and lead to the prevention of physical and manipulative routine. In conclusion, the study from different perspectives verifies the question whether the object, both functionally classified as imaginary and real, can under certain circumstances be considered as a sensitively tactile path to creative originality in the creation of etudes, scores and choreographies in movement theatre.