Miroslav Petříček
ON TRUTH, LIES AND HYPOCRISY
MICHEL DE MONTAIGNE: ON CRIPPLES AND ON LIARS
Petr Fischer
THE NANOOK EFFECT OF TRUTH
documentary epistles – introduction
Yves Grignard
THE PUPPET AS A MODEL OF INDIVIDUALITY
Cholat Sjachyl
A TWO-HEADED GIRL CONQUERS THE WORLD
THEATRE CRITICS’AWARDS
performance oft he year, actor and actress oft he year, theatre of the year, best first time produced Czech play, scenography, music and talent oft he year
THE CRITICS’SURVEY
in all categories including the biggest experience of foreign production
Jakub Škorpil
NATIONAL SIMULATION (NOT ONLY VELVET SIMULATION)
(THE VELVET SIMULATION, project of National Theatre in Prague, Vosto5 and 8Lidí: Tribune, concept by Ondřej Cihlář, Divadlo Archa, 2019; Federal Parliament, concept and directed by 8lidí, New building of National museum in Prague, 2019; Cabinet, directed by Jiří Havelka, Nová scéna Národního divadla, 2019; Jiří Havelka and col.: No Show Tonight, directed by J.Havelka, Slovenské národné divadlo, 2019)
Iva Heribanová
THE TEXT AS A POWER WEAPON (FIRST LADIES AT HADIVADLO)
(Werner Schwab: First Ladies, directed by Kamila Polívková, HaDivadlo, 2019)
Marie Zdeňková
OEDIPUS BIG AND SMALL (OEDIPUS REX)
(Sofoklés: Oedipus Rex, directed by Jan Frič, Národní divadlo, 2019)
Barbora Etlíková
SEARCHING FOR ODDMENTS AND MYSTERIOUS ENERGY (ON /CZECHO/ SLOVAKIAN INDEPENDENT THEATRE)
(Divadlo Stoka: The Virus, directed by Blaho Uhlár, Divadlo Stoka, 2018; Peter Gonda and col.: A.T.I.S.M.I.A., directed by P.Gonda, Petrohradská kolektiv, 2019; Robinsons or You Can Experience Something Even in Letňany, concept and directed by Eliška Říhová a Jakub Šulík, Hunger and Taste Company; SERIES, SERIES, SERIES, SERIES, directed by Lucia Repašská, D’Epog, 2019; Andrej Kalinka: Eu.genus, directed by A.Kalinka, Honey and Dust Company, 2018; The Dark Night +- Images for Roe Deer, directed by A.Kalinka and Juraj Poliak, Honey and Dust Company, 2017)
Josef Rubeš
THE LIMITS OF LIVE CINEMA (MOVIE CAMERAS ON THE SECEN, ONCE IN BERLINE, THREE TIMES IN PRAGUE)
(Christiane Jatahy: Julia, directed by Ch.Jatahy, Sesc Copacabana Space Rio de Janeiro, 2011; Virginia Woolf: Orlando, directed by Katie Mitchell, Schaubühne Berlin, 2019; Witold Gombrowicz: Cosmos, directed by Ivan Buraj, Národní divadlo, 2019; Putin’s Agents, after book by Ondřej Kundra, directed by Petra Terjnorová, Temporary Collective, 2019)
Ester Žantovská
MORE PESTS AND FEWER ILLUSIONISTS FOR THE THEATRE
(Pests, by Wariot Ideal, 2019; Drain by Wariot Ideal, 2019; Illusionist, directed by Petr Forman, Wariot Ideal, 2019)
Vladimír Mikulka
LIKE A DINOSAURS (FOURTH MONKEY)
(Fourth Monkey, prepared by Veronika Švábová, Anežka Kalivodová, Tomáš Procházka, Jonáš Svatoš, Jakub Hybler, Ken Ganfield, Jan Dörner, Lukáš Jiřička, Jan Brejcha, Mikoláš Zika and Adam Pospíšil, Handa Gote research & development, .2019)
Blanka Křivánková
SEARCHING THE PROCURPINE AND FROM HEAVEN TO THE EARTH (CONSTELLATIONS III.MY SON LOOKING TO THE SUN)
(Spitfire Company: Constellations III. My Son Looking to the Sun, directed by The Death of an Author, Spitfire Company, 2019)
Jan Jiřík
NO LAND ON THE HORIZON (CAPRI BY LUPA)
(Krystian Lupa: Capri – An Island of Refugees, after books by Curzio Malaparte, directed by K.Lupa, Teatr Powszechny, 2019)
Eliška Raiterová
IN THE LAND OF SIMULAKRA (FEW NOTES ON THEATRE FESTIVAL IN CHINESE WUZHEN)
(Euripidés: Trojan Women, directed by Theodoros Terzopoulos, Attis Teatro, 2017; Bertolt Brecht: The Caucasian Chalk Circle, directed by Michael Thalheimer, Berliner Ensemble, 2017; Karamazovs, the fantasia of director Konstantin Bogomolov after novel of Dostoyevsky, Moskovskij chudožestvěnnyj těatr imeni A.P.Čechova, 2013)
Wolfram LOTZ
ON WRITING, CERAINLY: FOR THEATRE
TRUTH, LOVE AND THOSE OTHERS 1/6 - S.d.Ch.: Walpurgis Night’s Dream (no drama)
KLIMÁČEK DANGLÁR: TWINS 1 KLIMT’S ZIP
(fantasy comics about final battle between theatre and television in our as well as parallel world)
content of Svět a divadlo volume 2019
The first issue of the year publishes the complete results of the traditional critical survey that forms the basis of the Theatre Critics’ Awards (q. v.). Miroslav Petříček’s essay “On Truth, Lies and Hypocrisy” is accompanied by excerpts from Michel de Montaigne’s essays “On Cripples” and “On Liars” and it introduces a thematic series “Truth versus Lie”, which will continue in various interlinked forms throughout the year. It includes, for instance, Petr Fischer’s series about the “truth” of documentary films, which opens with an introduction “The Nanook Effect of Truth”. The opening section “On Liars… and a Two-headed Girl” is completed with an excerpt from Yves Grignard’s study “The Puppet as a Model of Individuality” and Kholat Syakhl’s report “A Two-headed Girl Conquers the World”. In the section “Truth… Only the Truth” Jakub Škorpil writes (“National November”) about a project by the National Theatre, VOSTO5 Theatre and 8people Society entitled Velvet Simulation, and about Jiří Havelka’s production No Show Tonight staged at the Slovak National Theatre. Iva Heribanová reviews Werner Schwab’s First Ladies, staged at HaDivadlo by Kamila Polívková (“The Text as a Power Weapon”) and Marie Zdeňková Sophocles’ Oedipus Rex, directed at the National Theatre by Jan Frič (“Oedipus Big and Small”). In her essay “Searching for Oddments and Mysterious Energy” Barbora Etlíková describes intersections between Czech and Slovak independent theatre in the productions The Virus by Stoka Theatre, A.N.T.I.S.M.I.A. by Peter Gonda & Co., Robinson… by Eliška Říhová and Jakub Šulík, Series, Series, Series, Series by the D’Epog Theatre, and Eu.Genus and The Dark Night +/- Images for Roe Deer by the Honey and Dust Theatre. The Section “Independent Oddments… and Live Cinema” is rounded out with Josef Rubeš’s study “The Limits of Live Cinema” in which he writes about productions by Christiane Jataha (Julia), Katie Mitchell (Orlando), Jan Frič (Cosmos) and Petra Tejnorová (Putin’s Agents). The Czech alternative Scene is dealt with in the section “A Menagerie… of the Alternative” where Ester Žantovská writes (“More Pests and Fewer Illusionists for the Theatre”) about the productions Pests, Drain and The Illusionist by Wariot Ideal Theatre and The Fourth Monkey by Handa Gote Research&Development, while Blanka Křivánková (“Searching for Porcupine and From Heaven Down to the Earth”) reviews Constellations III. My Son Looking to the Sun by the Spitfire Company. In the section “The Island… and the Open-Air Folk Museum” Jan Jiřík (“No Land on the Horizon”) writes about a new production by Krystian Lupa entitled Capri – An Island of Refugees and Eliška Reiterová (“In the Land of Simulacra”) reports on the international festival in Chinese Wuzhang and about productions by Theodoros Terzopoulos (The Trojan Women), Michael Thalheimer (The Caucasian Chalk Circle) and Konstantin Bogomolov (Karamazovs). The play of this issue is Wolfram Lotz’s “dramatic essay” On Writing, Certainly: For Theatre. The “Comedy Mix” this year will introduce dramatic miniatures by Czech playwrights under the common title “Truth, Love and Those Others” and the series is opened by S.d.Ch. with his text Walpurgis Night’s Dream. “The fantasy comics about the final fight between theatre and television in both our and parallel worlds” by the duo Klimáček-Danglár also begins with its first instalment entitled Klimt’s Zip.
The Theatre Critics’ Awards The Awards are a continuation of the former Alfréd Radok Awards. They are traditionally based on the sums of votes in a survey held by the Svět a divadlo magazine in which 82 critics participated this year. The Best Production of 2019 and also the Best New Czech Play of the Year were won by Trans, Points, Seconds, directed by its author Tomáš Dianiška at the Ostravian Petr Bezruč Theatre. In addition, its starring actor Jakub Burýšek was named the Talent of the Year (see SAD 5/2019, Bergmannová: “Slightly Different Heroes”; the text of the play was also published in that issue). In the Best Actor of the Year category critics recognised Jakub Albrecht in the title role of another of Tomáš Dianiška’s works, Frankie: The Armless at Prague’s Divadlo pod Palmovkou (see SAD 6/2019, Žantovská: “About a Man Who Was All Legs”). The Best Actress of 2019 was won by Erika Stárková for her role of the Girl in the musical Lazarus by David Bowie and Enda Walsh, directed at the Prague Municipal Theatres – Comedy by Marián Amsler. And the Prague Municipal Theatres were also named the Best Theatre of 2019. The Best Set Design of the Year was created by Jakub Kopecký for the production of A Bouquet, staged at the Prague National Theatre by the duo SKUTR, and the Best Music of the Year was composed by Tomáš Vtípil for Miroslav Bambušek’s Woyzeck, presented by the HaDivadlo of Brno.
2020 - XXXI. VOLUME