WHAT IS „OURS“ IS NOT ONLY OURS
interview with Lucia Kašiarová about Studio ALTA
Blanka Křivánková
THE DRYADS OF A RESTLESS TREE
Tremula at Studio ALTA
420PEOPLE FIFTEEN YEARS LATER
interview with Václav Kuneš and Nataša Novotná
Lucie Dercsényi
IN CHANGES OF TIME, PLACE AND STORY
fifteen years OF 420PEOPLE
Lucie Kocourková
DANCE FACE TO FACE WITH WAR
contemporary Palestinian dance and reminiscences of performance by Yana Reutova
Milo Juráni
ABSORBING AND FUTURE OF ECO-DRAMATURGY
manifests and challenges for more ecological theatre, part 6
Jan Šotkovský
AMERICA THREE TIMES IN ENGLAND
Guys and Dolls, Groundhog Day and Oklahoma! in London
Lukáš Dubský
BEGGINERS AND LEGENDS
from West End
Zuzana Timčíková
FLEETING ECHOES OF INTERNATIONAL THEATRE PRODUCTIONS
Divadelná Nitra 2023 festival
Barbora Sedláková
PUPPETRY AND PUPETEERING OF THE WHOLE EUROPE
Spectaculo Interesse festival at Ostrava
David Livingstone
FROM A SHELTER TO THE FESTIVAL
from Kyiv Fringe Festival
Jakub Škorpil
THE POWER OF POWERLESS WORD
Vyrypayev’s Cherry Man
Josef Rubeš
WHEN WOMEN ARE UNHAPPY
Lukáš Brutovský in Prague
Ester Žantovská
ON DEMANDING PIECES AND OTHER THINGS
Original Forrest by Wariot Ideal and Heavy theatre by KWOSCH
Jakub Škorpil
MOST OF THE TIME THEY SPEAK ABOUT NOTHING
two Prague premieres by SkRAT
I START WRITING AT THE MOMENT WHEN THE SYSTEM SIGNALIZES I SHOULD BE SILENT
interview with playwright Sivan Ben Yishai
SIVAN BEN YISHAI: OFFENDING THE STAGE
The main theme of the sixth issue of this year’s Svět a divadlo (World and Theatre) is dance. The section is introduced by Barbora Etlíková’s interview with Lucia Kašiarová, director of the Alta Studio, who talks about the studio’s recent shuttle between various stages and how the company finally settled into its new home in the Libeň Brewery. Blanka Křivánková then writes about Alta Studio’s production Tremula (“The Dryads of a Restless Tree”). The fifteenth anniversary of the ensemble 420PEOPLE, founded by Václav Kuneš and Nataša Novotná (former members of Kylián’s Nederlands Dans Theater), is mentioned in two texts: In her essay “In Changes of Time, Place and Story”, Lucie Dercsényi follows the artistic trajectory of the company, while Josef Bartoš carries out an extensive interview with both artists (“420PEOPLE Fifteen Years Later”). The section concludes with Lucie Kocourková’s essay (“Dance Face to Face with War”) where she writes about the contemporary Palestinian dance scene and Yana Reutova’s production Together Alone, staged as part of The 4+4 Days in Motion festival. The series “Manifests and Challenges for a More Ecological Theatre” continues with its sixth and final part. This time Milo Juráni has chosen the theme “Absorbing and Future of Eco-dramaturgy” for his reflections. Two essays look at the London’s West End musical scene. In his essay “America Three Times in England” Jan Šotkovský writes about three new productions of Broadway hits: Guys and Dolls, Groundhog Day and Oklahoma!. Lukáš Dubský (“Beginners and Legends”) looks at Gershwins’ retro-musical Crazy for You and an “inclusive” musical The Little Big Things by the relatively inexperienced trio Nick Butcher, Tom Ling and Joe White, staged in the newly opened theatre @sohoplace. The following section is dedicated to autumn theatre festivals. Zuzana Timčíková (“Summer Echoes of International Theatre Productions”) offers comprehensive reviews of two documentary titles at the Theatre Nitra: a Zvolen production by the Czech authors Petra Tejnorová and Marta Ljubková We Are Landscape: A Story of People, Dam and Time, and an environmental trilogy by the Belgian duo Silke Huysmans and Hannes Dereere, where she focuses primarily on the part entitled A Pleasant Island. Barbora Sedláková (“Puppetry and Puppeteering of the whole of Europe”) looks at the international festival of puppet and object theatre Spectaculo Interesse Ostrava; and the festival section closes with David Livingston’s reportage “From a Shelter to the Festival” in which he describes his visit to the Kyiv Fringe Festival held in extraordinary circumstances in war-endangered Kyiv. The first of four drama reviews is dedicated to the world première of the play Cherry Man by the Russian-Polish playwright Ivan Vyrypaev, staged at the National Theatre and directed by Kasha Jandáčková. Jakub Škorpil writes about this production in his essay “The Power of the Powerless Words”. In his second text “Most of the Time They Speak about Nothing Anyway” Škorpil deals with two productions (A Tired Request and Group Therapy) by the Bratislava theatre SkRAT and with their October guest appearance in Prague. In his review “When Women are Unhappy” Josef Rubeš considers three productions by the Slovak director Lukáš Brutovský: a feminist version of Queen Jocasta’s story, written and directed by Brutovský in co-production between the Slovak Chamber Theatre Martin and Prague City Theatres, Hecuba by Marina Carr and Ivan Stodola’s Shepherd’s Wife staged in the Slovak Chamber Theatre Martin. The final review of this section is written by Ester Žantovská (“On Demanding Pieces and Other Things”) in which she deals with two productions that are focused primarily on the theatrical rendering of completely ordinary manual activities, instead of developing a story or common theatrical situations (Original Forest by Wariot Ideal and Heavy Theatre by KHWOSHCH group). The play of this issue is Offending the Stage by a Berlin-based author of Israeli origin, Sivan Ben Yishai. In a polemical and aggresive way she presents a grotesquely ironic and apocalyptic image of theatre (or rather theatre makers) yearning to be activist and committed, but without the courage to cope with its own problems. The translator Barbora Schnelle complements this with an interview, in which Sivan Ben Yishai describes how she has become a German author and explains the motivations for writing this play.
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