SAD 2/2026
Lukáš Dubský
EXPLORING OF ETHICAL BOUNARIES
Nightscape and Cardinal Error at Ostrava
Natálie Bulvasová
HOW WE PROBABLY GOT HERE
Birds of a Kind and Blood Wedding at OST-RA-VAR Festival 2025
Natálie Bulvasová
NORA AND OTHER WIFES
Nora and Gazdina roba at Zaráz Festival 2025
Vladimír Mikulka
NEW CIRCUS FOR AFICIONADOS
thirteen edition of Cirkopolis Festival
Štěpán Truhlařík
POLISH THEATRE IN SHADOW OF BARBARS
International theatre festival Boska Komedia 2025
Jan Šotkovský
DUBLIN UNDER CONTROL OF GODS AND MUD
Dublin Theatre Festival
Barbora Sedláková
ADMIRABLY ORDERED EMOTIONS
Dangerous Liaisons at Liberec
Vladimír Mikulka
LIKE MUZZLE INTO PUDDLE
Dejvické divadlo starts season with Facka
S.d.Ch.
UNGRATEFUL BASTARDS
night talk at theatre lab for rewriting tried and tested works – Sternenhoch and The Black Rider v MDP
Vladimír Mikulka
DIFFICULT SEARCH FOR A DIFFERENT RIVER
The End of a Priest movie and its addaptation at The National Theatre
Zuzana Timčíková
EXCEPTIONAL FEAT AT TRNAVA THEATRE
Negative Aspects of Snow as Memento of the Present
Lukáš Dubský
TRAVELS THROUGH TIME ENGLAND AND MYTHS
three London musicals
Vladimír Mikulka
CUNNING DUPE, AMUSING TRAGEDIENNE
on acting of Anežka Kubátová
PETR MICHÁLEK: BEČVA (TRUE CRIME)
Jan Šotkovský
COWS OLD RAWEN, WON’T STOP COWING
Balada pro banditu
SIX TIMES SIX TIMES THREE
interview with David Oupor, technician of A studia Rubín
The opening section of the Svět a divadlo (World and Theatre) magazine’s second volume pursues both home and foreign festivals. Lukáš Dubský and Natálie Bulvasová go back to the December presentation of Ostravian theatres at OST-RA-VAR festival, particularly those presented by the National Moravian-Silesian Theatre. The first mentioned writes in his essay “Exploration of Ethical Boundaries” about the sour comedy Nightscape and about The Cardinal Error with a tinge of satire. Natálie Bulvasová replenishes him in her text “How We Probably Got Here” with reviews of productions elaborating ethical themes more seriously: Birds of a Kind are situated in contemporary Middle East, Blood Wedding combines timeless symbolism with actualisation. Same author writes also about presentation Zaráz 2026 dedicated to productions of the Theatre of Moravian Slovakia Uherské Hradiště and Municipal Theatre Zlín. Her attraction was captured there chiefly by productions of time-proved classic pieces: Ibsen’s Doll’s House in Zlín and Gazdina roba (The Landlord’s Woman) in Uherské Hradiště. Vladimír Mikulka has paid attention to 13th international festival Cirkopolis which took place in Prague in February. He was particularly captivated by two productions from the fringe of genre: musical buffoonery by the French Rémi Luchez L’Homme Canon and poetical object theatre Tout Rein by Belgian performer Alexis Rouvre. Štěpán Truhlařík writes in his essay “Polish Theatre in Shadow of Barbarians” about Cracow International Theatre Festival Boska Komedia 2025, and Jan Šotkovský (“Dublin under Control of Gods and Mud”) about allegedly the oldest European theatre festival, Irish Dublin Theatre Festival. In the section dedicated to home premières Barbora Sedláková writes about the production Dangerous Liaisons, staged at F. X. Šalda Theatre in Liberec by Jakub Čermák, art director of the South Bohemian Theatre (“Admirably Ordered Emotions”). Vladimír Mikulka (“Like Muzzle into Puddle”) deals with documentary production The Slap, starting a new era of the Dejvice Theatre under the new art director Jiří Havelka who not only directed the play but also has contributed to its script. The same author also pursues a free adaptation of the Czech movie The End of a Priest presented at the National Theatre by Jan Mikulášek (“Difficult Search for a Different River”). Writer and playwright Miloslav Vojtíšek (writing under pseudonym S.d.Ch.) has seen two musical productions at the Prague City Theatres, the opera Sternenhoch and musical The Black Rider, and he reports on them in a form of fictitious interview of their authors (“Ungrateful Bastards”). Zuzana Timčíková (“Negative Aspects of Snow as Memento of the Present”) writes about project Negative Aspects of Snow in which three ensembles took part under direction of Dávid Paška: Ján Palárik Theatre of Trnava, Jan Kochanowski Theatre in Opole and Academy for Theatre and Digitality Dortmund. Two thematically connected theatre productions and film pursue fates of several historic figures taking places in the course of WWII. Lukáš Dubský has dealt this time with two “folk” musicals, Ballad Lines and The Unlikely Pilgrimage of Harold Fry, and the family musical Hercules in Disneyesque production (“Travels through Time, England and Myths”). In the series of actors’ portraits Vladimír Mikulka in his essay “Cunning Dupe, Amusing Tragedienne” writes about Anežka Kubátová, a distinctive personality of the Divadlo Na zábradlí. The same author also opens loose series of interviews with technicians of theatre houses of various sizes. In the early going he talks with a technician, sound and lightning engineer (in one person) David Oupor from the Prague club theatre A studio Rubín (“Six Times Six Times Three”). In his series dedicated to “Notable Czech Dramas” Jan Šotkovský has focused on Milan Uhde and Miloš Štědroň’s musical Ballad for a Bandit. Following the original presentation at the Divadlo na provázku in the mid-1970s the musical waited to see not only a successful film form but a whole range of further theatre productions, and the songs included in it became quite popular. The play of this issue is the script of Petr Michálek’s documentary authorial production Bečva (True Crime) dealing through cabaret form with to this day unsolved leakage of poisonous stuff into the Moravian river Bečva which took place in 2020. The issue closes with a picture gallery of photos from The Theatre Critics’ Awards 2025 presentation, organized by the Svět a divadlo magazine on the basis of its critical survey.
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