Marta Kacwin-Duman
HOW TO COPE WITH WAR WHEN IT COMES?
Chronicles of War and Hate and Danse Macabre
Barbora Etlíková
WHAT IS LIFE LIKE FOR THOSE WHO COME HERE?
on several Czech-Ukrainian cooperations
Iva Mikulová
THE APPEAL OF NECESITY OF NOT FORGETTING
Revolution and Moskoviáda
WE HAVE CHEATED OURSELVES
interview with Russian exile playwright Asya Voloshina
Barbora Etlíková
ARCHIPELAGO THOUGHTS FROM MARTINIQUE
from Les Théâtrales de Novembre festival
Barbora Etlíková
SUFFRIN – LANGUAGE DELIRIUM AND INSERTED IDENTITY
(about newly translated play from Martinique)
ALI BABAR KENJAH: SUFFRIN
Milo Juráni
TO FILL THE STAGE WITH SOIL
manifests and challenges for more ecological theatre, part 2
Lukáš Dubský
AN OSTRAVIAN FLIGHT THROUGH CZECH HISTORY
three texts by Tomáš Vůjtek
Barbora Sedláková
LOSING CONTROL OF MEANING
Smokeout and at Husa na provázku and Humanism 2022 at HaDivadlo
Vladimír Mikulka
SEARCHING FOR SENSE IN NON-SENSE
three times from Alfred
Jakub Škorpil
GOD ON A BENDER
Frič’s Bacchae
Veronika Švecová
LIVE CINEMA IN CONTEMPORARY CZECH PUPPET THEATRE I..
ASYA VOLOSHINA [ESTER BOL]: CRIME
The second issue of this year’s Svět a divadlo volume is dominated by a wide range of texts related to the Russian war against Ukraine. The opening section begins with the essay “How to Cope with War When It Comes?” by Slovak author Marta Kacwin-Duman. She writes about two productions that directly reflect on the war. The first is Chronicles of War, Love and Hate by Ukrainian documentarist Sascha Brama, staged at the recent Theatre Nitra Festival, while the second concerns a theatrical form of the Danse Macabre concert of the Ukrainian all-girl band Dakh Daughters premièred at the Parisian Théâtre de l’Odéon in June 2022. Barbora Etlíková in her essay entitled “What is Life Like for Those Who Come Here?” deals with several productions on which Czech and Slovak theatre makers collaborated with Ukrainian artists who left Ukraine for the Czech Republic. She writes about the projects The Indomitables (at Divadlo X10), Until the War is Over (at HaDivadlo), The Trojan Women (at Venuše ve Švehlovce), and the audiowalk Various People which was staged at the Prague Main Station (prepared by the Prague Municipal Theatres). In her essay “The Appeal to the Necessity of Not Forgetting”, Iva Mikulová writes about two productions by the director Dušan Pařízek. He staged his own adaptation of the novel Moscoviad by the Ukrainian author Yuri Andrukhovych at the Prague theatre Divadlo X10, and for Schauspielhaus Hamburg he prepared an adaptation of the prose work Revolution by Belarusian author Viktar Martinowich. A further part of the “Ukrainian” section is an interview “We Have Cheated Ourselves” with Russian playwright Asya Voloshina, who emigrated to Israel at the beginning of the war. She describes the shock and feelings of complete helplessness experienced in the hostile and frightening atmosphere of Russian society by anti-Putin-inclined Russians, and also their feelings of wrongdoing towards the invaded country. Voloshina elaborated on the same theme in her play Crime, which is published in the final section of this issue (translated by Marina Feltlová). The next section is dedicated to the journey of SAD reporter Barbora Etlíková to Martinique, where she attended the festival Les Théâtrales de Novembre. In her essay “Archipelago Thoughts from Martinique” she reflects on both the experience from her stay there and productions at the festival. In the following essay “Suffrin – Language Delirium and Inserted Identity” she also provides context to the short play of the same name by Martinique playwright Ali Babar Kenjah. The play itself follows, translated from French and Creole by Martin Pleško and the author himself. The second instalment of Milo Juráni’s series “Ecological Thinking Onstage” is entitled “To Fill the Stage with Soil”. Juráni quotes many eco-thinkers and contemplates, among other things, eco-criticism and eco-dramaturgy. Veronika Švecová’s series “Live Cinema in Contemporary Czech Puppet Theatre” is launched here. In the first instalment the author defines the concept in general terms and introduces various examples of the use of live cinema by Czech theatre makers. The review section of this issue opens with Lukáš Dubský’s essay “An Ostravian Flight Through Czech History” about productions of three texts by Ostravian dramaturgist and playwright Tomáš Vůjtek. It deals with productions of The Ascension of Lojzek Lapáček from Silesian Ostrava (National Moravian-Silesian Theatre), Fighting about the General and the Return of Schweik (both staged at the Komorní scéna Aréna). Barbora Sedláková’s essay “Losing Control of Meaning” looks at two Brno productions, Smokeout (Divadlo Husa na provázku) and Humanism 2022 (HaDivadlo), while Vladimír Mikulka in his essay “Searching for sense in non-sense” draws attention to three alternative titles staged by various ensembles at the Alfred ve dvoře Theatre in Prague: From the Ashes (Teres Bartůňková, Jan Burian, Adam Železný), Landscape with Pheasant, Hare and Roe Deer (Jan Mocek), and Woman on the Moon (Wariot Ideal). The review section is rounded off by Jakub Škorpil with his analysis “God on a Bender”, dedicated to the Jan Frič’s production of The Bacchae in the National Theatre. The issue closes with a photographic reportage from the Czech Theatre Critics’ Awards ceremony which took place at the Dejvické Theatre, moderated by the improvisation ensemble Us Boys Who Go Out Together (My kluci, co spolu chodíme).
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