The master’s field of study Musical Acting attempts to organically follow up on the specific tradition of the Synthetic Theatre Genres Department that existed at JAMU in 1969–1990.

Its origin and scope were also based on traditions and possibilities specific to Brno – the existence of a specialised Singspiel ensemble, significant keenness for musical theatre in the drama ensemble of the Brno State Theatre of the 60s, continuous tradition of musicals staging in the former Mrštík Brothers Theatre, specific musical-theatrical productions of the Husa na provázku Theatre in the 1970s and 1980s, as well as the long-term tradition of the musical genre in the Vecerní Brno Comedy Theatre. Last but not least, we need to mention the unique personality of the world-renowned theatre theorist Ivo Osolsobe, whose conception of the musical serves as the programme basis for the field of study to this day. Finally, there is a connection with the Brno City Theatre, basically the only ensemble-type specialised musical stage in the Czech Republic, which, since merging with the former Singspiel ensemble of the Brno National Theatre and opening of the Contemporary Music Stage in 2004, naturally acts as the dominant employer of graduates. The Brno City Theatre also acts as a reservoir of potential teachers and educators.

The field of today is very well aware that it prepares graduates not only for work in specialised musical or Singspiel ensembles, but also for the specific requirements of private one-time musical productions, as well as for employment in permanent drama ensembles, where musical are becoming an increasingly important part of the repertoire. Thus, the effort in education is more and more directed towards an increasingly organic connection between virtuosity and universality, towards the integration of individual skills into a holistic artistic expression.

Musical Acting studies are structured similarly to Dramatic Acting – from elementary acting skills (ability of authentic expression, reaction to the environment, partnership, improvisation skills, etc.) through individual written tasks (monologues, dialogues) to more holistic forms with the involvement of the whole year collective, and then to graduate productions in Studio Marta in the 4th year, which have the parameters of standard professional productions. In addition to their teachers and classmates in the field of directing and dramaturgy, students are cooperating more and more with respected professional directors as well. However, this field is unique because from the 2nd year onwards, it integrates into the acting also singing and dancing skills, which students acquire in an extensive separate education; there should thus be synthetic in the true sense of the word synthetic, i.e. capable of dramatic situation by word, singing and movement. The significant amount of singing and dancing training teach the students a high level of proficiency in these skills, while the acting techniques and theatre theory allow them to use these skills in a learned manner, not just as art for art’s sake, but as a tool of their own artistic message and as a source of aesthetic and ethical enjoyment.