SET DESIGN IS NOT A GIVEN POINT OR CONDITION
interview with set designer and head of the Stage Department of the Academy of Performing Arts in Prague doc. Jan Štěpánek
Barbora Etlíková
SEVERAL JOURNEYS THROUGH MACROCOSM
From Exhibitions of Countries and Regions at PQ
Milo Juráni
POLEMICS WITH ANTHROPOCENTRISM
manifests and challenges for more ecological theatre, part 4
Martina Pecková Černá
A LETTER FROM CHILE
Czech Theatre Makers at the Festival Internacional Santiago a Mil
Barbora Schnelle
ORGISTIC HIGHTS AND FORMALISTIC ESCAPADES
Theatertreffen 2023
Tomáš Kubart
WE ARE ONLY PEOPLE IMPRISONED IN MEMORY
Die Grosse Europa Show
Lukáš Dubský
UNDER NEW MANAGEMENT
Horácké divadlo Jihlava in Season 2022/2023
Markéta Polochová
THE CONSUBSTANTIAL MYTH
The National Theatre Following the Arrival of Milan Šotek
Marek Lollok
THREE TIMES ABOUT PEOPLE IN A WORLD OF EXPANDING EVIL
Feuchtwanger’s trilogy at Theatre X10
Radmila Hrdinová
I KISSED YOUR LIPS, JOCHANAAN!
Strauss’s Salome at National Theatre Brno
Marie Reslová
THE MASSACRE IN NOVÁ PAKA
The Whole Life Is Not Enough at Klicperovo divadlo
Vladimír Mikulka
FOR AUSTRALIANS TO PODKRKONOŠÍ
Cirk-UFF festival Trutnov
Barbora Sedláková
A BIT OF EVERY BIT
Us Boys Who Go Out Together group everywhere
Veronika Švecová
SPECIFICS OF USE OF LIVE CINEMA IN PUPPET THEATRE
RENÉ LEVÍNSKÝ: THE WHOLE LIFE IS NOT ENOUGH
The main theme of the fourth issue of this year’s Svět a divadlo (World and Theatre) is stage design and the Prague Quadrennial. Stage designer and head of the Stage Design Department of the Academy of Performing Arts in Prague Jan Štěpánek talks with Jakub Škorpil in the interview “Set Design is not a Given Point or Condition”, discussing this exhibition and wider context. Barbora Etlíková sums up her impressions from the Prague Quadrennial 2023 in her essay “Several Journeys through the Macrocosm (From Exhibitions of Countries and Regions at PQ)”. The series on ecological theatre and live cinema continue. Milo Juráni has entitled the fourth instalment of his series Ecological Thinking Onstage (Manifestos and Challenges for a More Ecological Theatre) “Polemics with Anthropocentrism”. Backed by quotes from many ecological experts he disputes the usual anthropocentric understanding of the story of human civilization misrepresented by the self-centredness of the global North. Veronika Švecová looks at the specifics of using live cinema in puppet theatre. In her essay “A Letter from Chile (Czech Theatre Makers at the Festival Internacional Santiago a Mil), which is a continuation of the open cycle From Various Sides, Martina Pecková Černá considers Czech theatre makers’ expedition to Chile. Soňa Borodáčová, Lucia Šimášková, Lukáš Jiřička, Matouš Danzer and Boris Jedinák discuss productions they saw at the local international festival. The review section of this issue opens with two articles dealing with German language theatre. Barbora Schnelle writes in her essay “Orgiastic Highs and Formalistic Escapades” about Theatertreffen 2023 in Berlin, and she pays more detailed attention to the Volksbühne production Ophelia’s Got Talent directed by Florentina Holzinger, who tries to break through social standards imprisoning women in roles of passive beings and subjects of male erotic fantasies. Tomáš Kubart (“We are Only People Imprisoned in Memory”) looks at the production Die Große Pension Europa Show by the Austrian Aktionstheater Ensemble – director Martin Gruber’s work investigates possibilities of the further development of Western society against the background of climate change. Lukáš Dubský and Markéta Polochová follow the progress of two Czech theatres whose managements changed in recent years. In a comprehensive essay “Under the New Management (Horácké Theatre Jihlava in Season 2022/2023)” Dubský considers five new local pieces and particularly appreciates that the Jihlava Theatre under the new management of Michal Zetel opted for the less easy path of authorial productions. In her essay “The Consubstantial Myth (The National Theatre Following the Arrival of Milan Šotek)” Markéta Polochová ponders the shape of this Brno theatre, which is determined not only by its artistic director but predominantly by two directors, Štěpán Pácl and Aminata Keita, while looking in more detail at the productions Idomeneus and Amphitryon. In his essay “Three Times about People in a World of Expanding Evil” Marel Lollok assesses the first compendium production of Lion Feuchtwanger’s “Nazi” trilogy presented by Theatre X10 at the beginning of the Theatre World Brno Festival (the production includes Success, The Oppermanns, Exile, premièred over the course of three years). Radmila Hrdinová in her review “I Kissed Your Lips, Jochanaan” reviews the production of Strauss’s Salome, directed at the National Theatre Brno by David Radok, and Marie Reslová’s essay “The Massacre in Nová Paka” is about the collaboration of playwright René Levínský and director Jan Frič at Klicperovo Theatre Hradec Králové where their première The Whole Life is not Enough took place. The text of the latest Levínský play is published here in full. The closing section of reviews is dedicated to new circus and improvisations. Vladimír Mikulka’s essay “For Australians to Podkrkonoší” is about the Trutnov new circus festival Cirk-UFF. He deals in detail with the Australian title Sissy (which had its world première in Trutnov, staged by the duo Dylan Phillips and Jordan Hart) and the clowning Across by the local ensemble Squadra Sua. Barbora Sedláková looks at various creative settings of the improvisational group Us Boys Who Go Out Together from “pure” improvisations up to partially rehearsed titles (Feast, Submarine) where improvisation is embedded in a firmly established story and the concept of stage design.
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