SAD 1/2025
WHAT WE DID AND WHAT WE DID NOT FOUND OK
Prague German Language Theatre festival by editors of SAD’
Barbora Sedláková:
DESINTEGRATION OF MOTHERHOOD
#Motherfuckinghood
Ester Žantovská:
YES, WELL...
ad #Motherfuckinghood
Jakub Škorpil
AT THE PERFORMANCE...
ad #Motherfuckinghood
Jakub Škorpil
WHEN WE THREE...
Macbeth
Vladimír Mikulka
VIEL SPASS!
Scenes from a Marriage
Vojtěch Voska
SCENES FROM A FAMILY
The Silence
Natálie Bulvasová
NO MORE CONTINUATION
ja, nichts ist ok
Vladimír Mikulka:
I SUFFER WELL, I LOVE SUFFERING
on perfromances and Silence and ja, nicht ist ok
Eliška Hankovcová
TRIPTYCH OF DESPAIR AND HOPE
Prague Crossroads 2024
THE THEATRE CRITICS’ AWARDS best performance of 2024, best actor and actress, theatre, Czech play, scenography, music and talent
CRITICS’ POLL complete poll organized by Svět a divadlo
Lukáš Dubský
POLITICAL INTRIGUE IN OSTRAVA
Richard III. and Marie Stuart
Aleš Merenus
THREE TIMES ABOUT MUNICH CONFERENCE WITHOUT MUNICH
new Czech comedy at Slovácké divadlo
Lukáš Dubský
ALL TOGETHER IN THE ANIMAL KINGDOM
Animal Farm and The Seagull
Lucie Kocourková
ON THE THORNY PATH TO PURE PHYSICALITY
four years of Laterna Magika lead by Radim Vizváry
Radmila Hrdinová
WOMEN WHO WANTED MORE FROM LIFE
Gazda and Roba at Švandovo divadlo and Madame Bovary at Národní divadlo
Vojtěch Voska
TWICE FROM (INTER)WAR CZECHOSLOVAKIA
Wandervogel at Alfred ve dvoře and Na smrt at Divadlo D21
Markéta Polochová
„IN LIFE WE CHANGE LIKE PAINTINGS ON CANVAS“
Ej Áj at Divadlo Na zábradlí
KLÁRA VLASÁKOVÁ: LIARS (the text)
CONTENT OF SVĚT A DIVADLO 2024
As usual, the first issue of this new volume includes the results of the traditional complete survey of Czech theatre critics on which the Theatre Critics’ Awards 2024 are based (q. v.). The opening section “PDFNJ and Crossroads” looks back with an “editorial glossary” at the productions presented at last year’s Prague German Language Theatre Festival (#Motherfuckinghood, Macbeth, The Silence, Scenes from a Marriage and ja nichts ist ok) and also brings a reflection of the international Prague Crossroads Festival, which presented productions This Is Not an Embassy, Medea’s Children and Extra Life. These articles introduce the new members of the editorial staff, namely Vojtěch Voska, Eliška Hankovcová and Natálie Bulvasová. Lukáš Dubský also focuses on festivals – this time outside Prague – and writes about the productions of Richard III. (directed by Ivan Krejčí, National Moravian-Silesian Theatre) and Mary Stuart (directed by Jan Holec, Petr Bezruč Theatre), which were presented at the Ost-ra-var, festival of Ostrava theatres (“Political Intrigue in Ostrava”), and about the productions of The Seagull (directed by Patrik Lančarič, Slovácké divadlo Uherské Hradiště) and Animal Farm (directed by Dodo Gombár, Zlín City Theatre), which Dubský saw at the festival Zaráz (meaning “All Together”; thus the title of his article - “All Together in the Animal Kingdom”). The section is completed by Aleš Merenus’s essay about the production of The Monument for Hradiště (“Three Times about Munich without Munich”). In her extensive study, Lucie Kocourková evaluates four years of Prague’s Laterna Magica under the management of artistic director Radim Vizváry (“On the Thorny Path to Pure Physicality”). In the closing section, Radmila Hrdinová (“Women Who Wanted More from Life”) writes about productions with tragic heroines – the adaptation of Flaubert’s Madame Bovary (directed by Tomáš Loužný, National Theatre) and striking adaptation of Preissová’s Eva (Gazdina roba), staged at the Švanda Theatre in Smíchov under the title Gazda and Roba (The Landlord and the Woman) and directed by Kasha Jandáčková. Vojtěch Voska (“Twice from /Inter/War Czechoslovakia”) reviews two productions set in 1918–1938: Jan Mocek’s Wandervogel (staged at Alfred ve dvore theatre) and an adaptation of Jozef Karika’s crime novel On Death (directed by Adam Steinbauer, Theatre D21). The final review is entitled “In Life We Change like Paintings on Canvas” and its author Markéta Polochová addresses the production Ej Áj by Petr Erbes and Boris Jedinák at the Theatre on the Balustrade, in which AI, also the theme of the project, plays a significant part. The play of the issue is Klára Vlasáková’s Liars, which was also voted the best new Czech play of 2024 in the critics’ poll.
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