SAD 3/2026
Vojtěch Voska
WHEN GREGERS SHITS MARBLE
Wild Duck at Švandovo divadlo and Národní divadlo Brno
Jakub Škorpil
POWERPLAY IN HOLMENKOLLEN
Bodó’s Heda Gabler at Prague
Jan Šotkovský
LADY FROM THE POND
Stone’s Lady from the Sea at Brifge Theatre
FROM A PROVINCIAL FORM TO A THEATRE WITH A DISTINCTLY AESTHETIC EDUCATION
interview with Kristian Seltun, CEO of Norwegian Nationaltheatret
Karolína Stehlíková
WHO AM I A WHO IS THE OTHER
on contemporary Norwegian drama
Ester Žantovská
SONGS FROM UNCONSCIOUSNESS
Phaedra (Eclipse) at National Theatre Brno
Ester Žantovská
THE IDEAL DOSE OF INTENSITY
The Curse of the House of Mann and This Happened! by JEDL
Klára Madunická
JOYLESS REPORT ON STATE OF THE WORLD
Rheingold in Prague
Jakub Škorpil
PRETENCES, GESTURES, GLANCES
on acting of Pavla Beretová
DAVID HARE: GRACE PERVADES
Jan Šotkovský
BEING AN EMBERRASSMENT TO THE WHOLE CITY
The House in Heaven
EIGHT METRES BETWEEN COLUMS
interview with Karel Koláček, head of artistic-technical operation in Činoherní klub
A substantial part of this issue is filled with texts dedicated to productions of Henrik Ibsen’s plays and Norwegian and Swedish drama. In the essay entitled “When Gregers Shits Marble” Vojtěch Voska writes about new productions of Wild Ducks. The more conservative one, although with performances of varying quality, was directed at the Švanda Theatre Smíchov by local art director Martin Františák. The more modern and as usual worse interpreted version was staged at the National Theatre Brno by its guest director Jan Frič, who assigned the role of Hedvig to an actress from Aldente Theatre working with handicapped artists. In his essay “Powerplay in Holmenkollen” Jakub Škorpil reviews the perhaps surprisingly restrained Hedda Gabler presented at the National Theatre Prague by well-known Hungarian director Viktor Bodó, known in Czechia particularly for his vigorous reworking of classical works. Jan Šotkovský in his essay “Lady from the Pond” describes a reworking of Ibsen’s Lady from the Sea by Simon Stone, who is both the author of the adaptation and director of the production at the Bridge Theatre London with Alicia Vikander in main role. This is followed by the interview with Norwegian Nationaltheatret’s director Kristian Seltun entitled “From a Provincial Form to a Theatre with a Distinctly Aesthetic Education”. Seltun summarizes his career, talks about guiding Nationaltheatret, Norwegian theatre development in recent years and about the international Ibsenfestival. Though Karolína Stehlíková in her essay “Who am I and Who is the Other?” focuses primarily on Monica Isakstuen’s play The Other staged at the Nationaltheatret at the end of 2025, at the same time she offers an interpretation of contemporary Norwegian drama and particularly about so-called “Fosse dramaturgy”, which is a group of authors with specific poetics inspired by Nobel prize winner Jon Fosse. The section closes with Ester Žantovská’s review “Songs from Unconsciousness”. She writes about the production of Per Olov Enquist’s play Phaedra (Eclipse) directed at the National Theatre Brno by Jakub Šmíd. In the section “Curse of the Rhine” Ester Žantovská writes (“The Ideal Dose of Intensity”) about two productions associated with the JEDL Society. The production inspired by the family of the novelist Thomas Mann and entitled The Curse of the House of Mann was developed within the “workshop JEDL” platform by Maxim Bitto and Kristýna Nebeská. Her father and JEDL founder, director Jan Nebeský, arranged a “storytelling” production of This Happened!, Lucie Trmíková’s stage adaptation of Henri Poucart’s short stories. In her essay “Joyless Report on State of the World” Klára Madunická reviews a presentation of Richard Wagner’s opera The Rheingold, conducted at the National Theatre Prague by Robert Jindra and directed by Sláva Daubnerová, who, as is her wont, emphasized ecological and feministic themes. The series of actors’ portraits continue with the essay “Pretences, Gestures, Glances” looking at the National Theatre actress Pavla Beretová, in which Jakub Škorpil focuses on the tangible description of her expression tools as shown in her actual roles. The series dedicated to theatre technicians continue with an interview with Karel Koláček, head of artistic-technical operation in Činoherní klub (“Eight Metres Between Columns”). The next instalment of Jan Šotkovský’s series dedicated to “Notable Czech Dramas” is entitled this time “Being an Embarrassment to the Whole City” in which the author deals with Jiří Hubač’s highly popular drama of the 1980s, The House in Heaven. Grace Pervades, the latest drama by David Hare is published in Michal Zahálka’s translation as the play of this issue. It follows the professional and personal fates of Henry Irving and Ellen Terry and her children Edith Craig and Edward Gordon Craig.
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