Barbora Etlíková
WORK ON GOOD CLIMATE
all that initiative Ne!musíš to vydržet (You /Don’t/ Have to Endure It) started
NOT ALL „HAVE TO ENDURE“
inetrview with Josef Herman, editor in chief of Divadelní noviny
THEATRE IS NOT A UNIQUE SPHERE OF HUMAN ACTIVITY
interview with Veronika Drábková, editor in chief of Hybris
Marika Smreková
TOLERANCE OF TOXIC PRDUCTIVITY IN CULTURAL MANAGEMENT
other perspectives
Josef Rubeš
DEMOLISHED AND CRUSHED
Édouard Louis in Prague theatres
Édouard Louis, Tomáš Loužný: A History of Violence, dir. T.Loužný, Švandovo divadlo na Smíchově, 2022; Édouard Louis, Jakub Čermák: Who Killed My Father, dir. J.Čermák, Depresivní děti touží po penězích, 2021
Barbora Sedláková
EITHER YOU LIKE IT OR YOU DON’T
Hedwig and Her Angry Inch at Malostranská beseda
Stephen Trask, John Cameron Mitchell: Hedwig and Her Angry Inch, dir. Pavel Košatka, 2022
Ester Žantovská
A HEAVEN FULL OF RAPED STARS
The Hand is a Lonesome Hunter at A studio Rubín
Katja Brunner: The Hand, režie Ondřej Štefaňák, A studio Rubín, 2022
Romana Štorková Maliti
TRAUMAS WHICH CAN(NOT) BE EXPRESSED BY WORD
Belarusian playwrights in exile
ANDREI IVANOV: FATHER
a scene from play
ALEXEI MAKEICHIK: PART OF YET UNNAMED PLAY
Tereza Došlová
TRADITION OF ACTORS’ THEATRE
autumn premieres at Činoherní klub
Marius von Mayenburg: The Ugly One, dir. Braňo Holiček, Činoherní klub, 2021; Tracy Letts: Linda Vista, dir. Ondřej Sokol, Činoherní klub, 2021
Jakub Škorpil
AND SURELY WITH ME DISSAPEARED…
end of tetralogy by Sibylle Berg
Sibylle Berg: And Surely the World Has Disappeared With Me, dir. Adam Svozil, Divadlo Letí, 2022
Barbora Sedláková, Richard Grimm
DINMUSICAL OF EPIC PROPORTIONS
Dinopera at Alfred ve dvoře
KHWOSHCH group: Dinopera, dir. KHWOSHCH group, 2021
Barbora Etlíková
SUDETEN TRIPS BEYOND MENTAL BORDERS
Fuga 89 and Zóna kontaktu by VerRich duo
VerRich: Fuga 89, by VerRich, 2019; VerRich: Zóna kontaktu, dir. VerRich, 2021
Vladimír Mikulka
BETWEEN RESEARCH AND WORK
ninth edition of the Cirkopolis festival
Rollercoaster, by Wes Peden, 2022; Through the Grapevine, by Alexander Vantournhout, 2020; Work, by Claudio Stellato, Compagnie Claudio Stellato, 2020
Lukáš Dubský
FROM SHEKESPEARE TO MOSES
three London musicals after reopening of theatres
Max Martin and David West Read: & Juliet, dir. Luke Sheppard, Shaftesbury Theatre, 2019; Dylan Schlosberg and Michael Conley: Indecent Proposal, dir. Charlotte Westenra, Southwark Playhouse, 2021; Stephen Schwartz and Philip LaZebnik: The Prince of Egypt, dir. Scott Schwartz, Dominion Theatre, 2020
Jitka Šotkovská
THREE TIMES WITHOUT THE NOSE
Cyrano in London, Prague and Brno
Martin Crimp, Edmond Rostand: Cyrano de Bergerac, dir. Jamie Lloyd, The Jamie Lloyd Company, 2019; Martin Crimp, Edmond Rostand: Cyrano de Bergerac, dir. Martin Františák, Švandovo divadlo na Smíchově, 2021; Martin Crimp, Edmond Rostand: Cyrano de Bergerac, dir. Petr Smyczek, Studio Marta, 2021
SIBYLLE BERG: AND SURELY THE WORLD HAS DISAPPEARED WITH ME
OUTSIDE THE BOX 1: Andrej Kalinka
Petronela (Ela) Brotková
INTO THE DEPTHS OF ONESELF
Monologues and Dialogues by Andrej Kalinka and comp..
Comedy Mix Special - VOLODYMYR ZELENSKY
Natallia Skarynka
THE BOOK-PERFORMANCE
Dáša Čiripová: Experiment Debris Company
HUBERT KREJČÍ: CHEKHOV IS LEAVING (a collage)
Karel Král
NIN MEMORY OF A CUNNING PROPHET
Hubert Krejčí: 11.11.1944-10.2.2022
LUKÁŠ&BELIS: DISASTERS 2 BLACK PLUMAGE
The issue opens with the section “Topic… Initiatives” on issues raised by the student initiative You Don’t(!)Have to Endure It. Barbora Etlíková in her essay “Working on Good Climate” sums up events following the DAMU students’ performance both at their own college and JAMU in Brno. In twin interviews the same theme is discussed in a more sceptical tone by the Theatre News fortnightly editor-in-chief and DAMU teacher Josef Herman (“Not All «Have to Endure»”) and a student of the Department of Theory and Criticism at DAMU, Veronika Drábková (“Theatre is not a Unique Sphere of Human Activity”). A gender point of view on the Czech theatrical environment is offered by JAMU graduate Marika Smreková in her reflections “Tolerance of Toxic Productivity in Cultural Management”. The section “Demolition of… the Stars” is dedicated to productions considering themes of violence and oppression. In his essay “Demolished and Crushed” Josef Rubeš writes about two Prague adaptations of Édouard Louis’s novels, Who Killed My Father at the Venuše ve Švehlovce Theatre, and A History of Violence at the Švanda Theatre. Barbora Sedláková writes about a drag musical Hedwig and the Angry Inch at Malostranská Beseda Music and Theatre Club (“Either You Like It or You Don’t”), and Ester Žantovská about a production of feminist drama by Swiss playwright Katja Brunner, The Hand is a Lonesome Hunter (“A Heaven Full of Raped Stars”) at A Studio Rubín. In the section “From Miscellaneous Sides… Belarussians in Exile”, Romana Štorková Maliti’s essay “Traumas which Can(not) Be Expressed by Words” looks at Belarussian authors who spent time in residence organized by the National Theatre and the Prague Crossroads Festival. It is accompanied by excerpts from plays originating in the course of this residency and evoking the situation in Lukashenko’s Belarus today (translated by Tereza Krčálová). In particular, there is a scene from Andrei Ivanov’s play Father and an excerpt from an as yet untitled play by Alexei Makeichik. In the first of two review sections, entitled “Tradition… of Works”, Terezas Došlová writes about two autumn premières at the Drama Club (“Tradition of Actors’ Theatre”), Jakub Škorpil about a production And Surely the World Has Disappeared with Me by the Letí Theatre (Sibylle Berg’s text in translation by Helena Singh Eliášová is the play of this issue), Barbora Sedláková and Richard Grimm about Dinopera by the KHWOSHCH group (“Dinmusical of Epic Dimensions”), Barbora Etlíková about the productions Fugue 89 and Contact Zone by the duo VerRich (“Sudeten Trips Beyond Mental Borders”), and Vladimír Mikulka about the ninth edition of the festival Cirkopolis (“Between Research and Work”). In the second section, entitled “London, Smíchov… Brno”, Lukáš Dubský looks at three London musicals (“From Shakespeare to Moses”) and Jitka Šotkovská analyses London, Prague and Brno stagings of British playwright Martin Crimp’s new adaptation of Cyrano de Bergerac (“Three Times Without the Nose”). The section “Mix… and Comics” starts with the first instalment of the series “Outside the Box” which includes various works by both theatre and non-theatre authors. The first instalment is dedicated to the Slovak theatre maker, artist and musician Andrej Kalinka. A series of his short texts is supplemented with reviews of Kalinka’s productions Monologues and Dialogues by Petronela (Ela) Brotková “Into the Depths of Oneself”. The Comedy Mix Special includes samples of several comedy sketches by Volodymyr Zelenskyy from his pre-presidential entertainer’s period, specifically from 2011–2016 (translated by Světlana Silič). Natalia Skarynka reviews Dáša Čiripová’s monograph The Experiment Debris Company discussing this Slovak alternative and dancing company (“The Book-Performance”). Karel Král then recollects the late playwright Hubert Krejčí (“In Memory of a Cunning Prophet”), followed by Krejčí’s playlet Chekhov Is Leaving. And finally, the comic strip Disasters continues with the instalment Black Plumage, drawn by Silvie Belis on the basis of Karel Lukáš’s rhymes.