SAD 2/2025
VISIBLE AND INVISIBLE
with dramaturg Kateřina Součková not only about Mrs Dalloway and A Woman’s Story
Ester Žantovská
WHY IS SHE SUDDENLY SO DESPERATELY UNHAPPY
Mrs Dalloway at Divadlo na Zábradlí
Kristýna Vinařová
ABOUT SEX, GENDER AND INTIMITY WITH YOUNG ADULTS
Poprvé and Born This Way by Štěpán Gajdoš
Josef Rubeš
BECOMING AN ACTOR
the Fragile and Courageous Vojtěch Franců
Jan Šotkovský
SPIES FISHERMEN AND NAZIS
three times from musical London, spring 2025
Lukáš Dubský
ENTERTAINMENT COMES FROM NEW YORK
musicals MJ, Mean Girls and Titanique
Barbora Sedláková
DISPOSABLE WORK AND ENTERTAINMENT
vojcek_jednorozměrný člověk by Lachende Bestien
Vojtěch Voska
STORM FOR CHILDREMI
Pippi Longstocking at Ústí nad Labem and Little Princ at Šumperk
Natálie Bulvasová
DO YOU KNOW HOW MUCH ARE TWO CARS?
Tomáš Ráliš at Hradec Králové
Jakub Škorpil
THOU ARE PETER
Privatization at Nová scéna
Vladimír Mikulka
FROM ONE NEST
three times Alfred ve dvoře
Pavlína J.Hořejšová
GOOD NIGHT GULLIVER
coproduction performance by MDP and Spitfire Company
Zuzana Timčíková
BETWEEN SILENCE AND TECHNO RHYTHM
coproduction performance by Schauspielhaus Wien and Slovenské národné divadlo
ISLEY LYNN: THE SWELL (the text in translation by Ester Žantovská)
Jan Šotkovský
THE SOVEREIGN THINKING ABOUT BOHEMIA’S BLISSFULNESS AND A LOVING MAN
Night at Karlstein
The main theme of this second volume of the SAD (World and Theatre) magazine is entitled “(new) sensitivity”. It opens with an extensive interview “Visible and Invisible”, in which Jakub Škorpil, Ester Žantovská and Barbora Sedláková discuss with dramaturgist Kateřina Součková the principles underlying the productions of Mrs Dalloway at the Theatre on the Balustrade (Divadlo Na Zábradlí) and A Woman’s Story at the MeetFactory. However, they do not only talk about the difficulty of defining the term “new sensitivity” itself, but also about its specific manifestation both in these productions and in contemporary Czech theatre as a whole. In addition, Kateřina Součková describes in detail how she chose the plays in question and how both productions gradually took on concrete shapes. Ester Žantovská’s review of the first of these productions follows (“Why Is She Suddenly So Desperately Unhappy”). More loosely related to the topic are two reviews by Kristýna Vinařová, dealing with Štěpán Gajdoš’s productions For the First Time and Born This Way (About Sex, Gender and Intimity with Young Adults), and Josef Rubeš’s essay looking at the trio of productions Simply Simplicius or My Goodness!, Orlando and Peer Gynt through the acting of their protagonist (“Becoming an Actor, the Fragile and Courageous Vojtěch Franců”).
The next section is dedicated to the current events on the London musical scene. Jan Šotkovský writes in his essay “Spies, Fishermen and Nazis” about two new productions and one well established theatre piece: Operation Mincemeat (Fortune Theatre), The Curious Case of Benjamin Button (Ambassadors Theatre), and Cabaret at Kit Kat Club (Playhouse Theatre). Lukáš Dubský looks at three works of a light nature: MJ The Musical (Prince Edward Theatre), Mean Girls (Savoy Theatre) and Titanique (Criterion Theatre).
The review section of the magazine opens with a detailed analysis of the production Woyzeck_One-Dimensional Man, staged by Michal Hába with his ensemble Lachende Bestien in the Theatre X10 (Barbora Sedláková: “Disposable Work and Entertainment”). Natálie Bulvasová writes about two productions staged at the Klicpera Theatre Hradec Králové, written and directed by Tomáš Ráliš: Vyhubyt and Compatible Parts (“Do You Know How Much Are Two Cars? Tomáš Ráliš in Hradec Králové”). As in the case of Hába’s heavily updated Woyzzeck, both of Ráliš’s productions deal with current social problems, marginalization and social exclusion. The production Privatisation, reviewed by Jakub Škorpil, also has a social or even political theme. It is dedicated to the recently deceased entrepreneur Petr Kellner, who managed to become the richest Czech in the 1990s and succeeded with his businesses in countries such as Russia and China.
The next two authors deal with theatre for children or young adults. Vojtěch Voska writes in his essay “Storm for Children” about adaptations of popular prosaic originals: Pippi Longstocking (Drama Studio Ústí nad Labem) and The Little Prince (Theatre Šumperk). Vladimír Mikulka focused on three productions of similarly poetical ensembles performing in the theatre Alfredvedvoře. The essay “From One Nest (Three Times Alfred ve dvoře)” looks at the productions I’ll Make a Hole by Berta Doubková, Bowls by the ensemble Handa Gote research & development, and Rock Paper Scissors by Wariot Ideal. This section of the magazine concludes with a rewiew by Zuzana Timčíková, who writes about a joint production of the Schauspielhaus Wien and the Slovak National Theatres, staged at both theatres under the bilingual title Am Fluss/Pri rieke.
As usual, in the final section of the issue is printed a play, this time The Swell by the British author Isley Lynn. It offers a drama of a female love triangle in which the author explores themes of care and its abuse, trust, dependency and the ever-changing distribution of power in emotional relationships.
The final section also offers the first part of a series, in which Jan Šotkovský will discuss important dramas that made their mark on the history of Czech theatre, their specific productions, their creators and the context in which they were created. The series opens with Vrchlický’s Night at Karlstein (“The Sovereign Thinking about Bohemia’s Blissfulness and a Loving Man”).
2025 - XXXVI. VOLUME / 2024 - XXXV. VOLUME / 2023 - XXXIV. VOLUME / 2022 - XXXIII. VOLUME / 2021 - XXXII. VOLUME / 2020 - XXXI. VOLUME / 2019 - XXX. VOLUME / 2018 - XXIX. VOLUME / 2017 - XXVIII. VOLUME / 2016 - XXVII. VOLUME / 2015 - XXVI. VOLUME / 2014 - XXV. VOLUME / 2013 - XXIV. VOLUME / 2012 - XXIII. VOLUME / 2011 - XXII. VOLUME
PREVIOUS VOLUMES - SPECIAL ISSUES - DRAMATIC TEXTS