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Vplyv sadzby dane z príjmov na prosperitu štátů vo vybraných krajinách EÚ
Páleníková, Zuzana
The paper describes the development and main changes in systems of direct taxa-tion in Slovakia, Czech Republic and Hungary. The influence of nominal personal and corporation income tax rate on GDP and unemployment rate are described by means of regression and correlation analysis. The analysis forms the basis for rec-ommendations regarding the level of nominal tax rates for each country.
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Directing a so-called irregular text
Páleníková, Zuzana ; Šiktancová, Jaroslava (advisor) ; Korčák, Jakub (referee)
My work reflects upon a particular middle European concept of irregular dramaturgy which means performances that are not based on original theater plays. This expression could be also understood as dramaturgy of themes or subject-matters. It includes all types of adaptations of literature artworks even theatre without any written pattern, just based on improvisation. Through the analysis of my own experience (as an assistant dramaturgist in Dejvické theatre and as a director of two irregular texts ? Pannenky and Svět kolem ní) I try to figure out the specificity of work with irregular dramaturgy. I try to find some connection with today?s phenomenon of postmodern theatre. On the other hand some facts on today?s dramaturgy prove that postmodern aesthetics is somehow insufficient. There is a great demand of understanding from the spectators; they seem to be tired of postmodern ambiguity. That?s what leads us back to one of the basic categories of theatre which is the story. We can conclude that without an intelligible narration of the story, the subject-matter itself won?t be correctly perceived.
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POSTMODERN THEATRALITY IN THE WORKS OF VILIAM KLIMÁČEK
Páleníková, Zuzana ; Král, Karel (advisor) ; Vedral, Jan (referee)
Viliam Klimáček is nowadays the most known and most successful Slovak playwright. He is also called The Slovak Chekhov. His career began in 1985, when he co-founded an amateur theater company GUnaGU in Bratislava where he started as an actor, musician, director and co-author. As time went by, GUnaGU became professional and Klimáček left his original occupation ? medicine. The poetics of his plays and the artistic style of the company influenced each other through the years and became interdependent. Both show obvious signs of what we can call postmodern aesthetics. In this work we try to analyze the specificity of Klimáček?s and GUnaGU?s style and we try to place it in some larger context. This analysis is not only based on theoretical research but also on a practical experience of directing one of his plays ? Maria Sabina.
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