The aim of this thesis is to structure the philosophy of block theater realized by its author from the perspective of mimesis and, on the other hand, to outline the diverse concept of mimesis with the help of block theater. The thesis explores how the mimesis concept can be used to demonstrate what is happening on the block theater stage.

Block theater is visual theater and a method born in the field of art, developed and practiced by the author over the last ten years within the KO-KOO-MO concept. The core of block theatre is emptiness. The neutral, abstract blocks of wood are empty per se, and as such have full potential of being anything.

The thesis raises the concrete aspects of block theater in the contexts of philosophy of art and theater. Mimesis is the core concept of western philosophy of art, its roots go back to ancient times. The thesis examines the perceptions of the ancient philosophers Plato and Aristotle about mimesis and Heidegger 's thoughts on the subject, carrying with it the essence of wooden blocks in support of the perception of philosophy. Through wooden blocks, the thesis considers the activeness of the experiencer in block theater as well as the power of the imagination as a human ability and the engine of the realization of mimesis. The thesis discusses the multilevel role of mimesis in contemporary puppet theater and approaches the mimetics of block theater through the philosophy of emptiness and existentialism. The final part of the work considers the intertwining of block theater and mimesis to support the experience of empathy and the unity of everything.

The thesis states that by building with wooden blocks, we can describe and perceive the relationship to the world around us and within us. At the same time, through wooden blocks, we can outline and concretize the essence of the mimesis. In the blocks, several levels of ambiguity of images and seeing as well as the experience of reality meet.