SAD 4/2024
Brno
survey by Svět a divadlo
respondents: David Drozd, Martin Glaser, Jiří Honzírek, Luboš Mareček, Hana Mikolášková and Jitka Vrbková
Lukáš Dubský
Focused on Contemporary Plays
spring at Reduta Theatre
Ester Žantovská
To Be, To Dwell, To Inhabit
four times from Husa na provázku theatre
Jakub Škorpil
Pairs
festival Divadelní svět Brno 2024
Vladimír Mikulka
It’s Not Recommended to Mess with Robots
Employees by Teatr Studio Warszawa
We Hold Very Sharp-Edged Discussions about Different Productions
interview with Barbara Gregorová, main dramaturg of Divadelní svět Brno festival
A Translator Should Not Empathize, a Translator Should Understand and Know How
interview with Filip Krajník not only about new translation of Hamlet
Markéta Polochová
Six Actors in Search of Hamlet
five performance in 2023/24 season
Vladimír Mikulka
Skupa’s Whirlwind
29. edition of Skupova Plzeň festival
JUAN PEREZ ESCALA: KAZU
Lucie Kocourková
On Heroes Both Small and Big
two projects by Farma v jeskyni
Barbora Sedláková
Monodrama for Eight Voices
Vanya from London
PETR ERBES, BORIS JEDINÁK & KOL.: REALITY
The topic of this issue, theatre in Brno, opens with a survey where prominent figures in Brno theatre life (theatre researcher David Drozd, director of the National Theatre Brno Martin Glaser, head of the Feste Theatre Jiří Honzírek, journalist Luboš Mareček, director and screenwriter Hana Mikolášková and director of the Aldente Theatre Jitka Vrbková) answer questions about the conditions for the existence of both independent and established theatre in Brno. Writing about productions of The Choir by Andrej Kalinka, The Audition by Losers Cirque Comapny, Dvořák’s opera Rusalka directed by David Radok, and Hocus Pocus by Compagnie Philippe Saire, Jakub Škorpil looks back at the fifteenth volume of the Theatre World Brno festival (“Pairs”). Vladimír Mikulka (“It’s Not Recommended to Mess with Robots”) reviews one of the “headliners” of the festival – a multimedia production The Employees by Warsaw Teatr Studio. We also bring an interview with Barbara Gregorová entitled “We Hold Very Sharp-Edged Discussions about Different Productions”. In his essay “Focused on Contemporary Plays” Lukáš Dubský writes about spring premières of Reduta Theatre (one of the stages of the National Theatre Brno): (R)Evolution by Yael Ronen and Dimitrij Schaad and directed by Lukáš Brutovský, The Girl’s Room by J. A. Pitínský, directed by Anna Davidová, Art by Yasmina Reza, directed by Štěpán Pácl, and Jaroslav Rudiš’s Blood Moon directed by Thomas Zielinski. Ester Žantovská writes about four productions by the Goose on a String Theatre in her essay “To Be, To Dwell, To Inhabit”: Boris Jedinák and Petr Erbes wrote the text Realty (printed in this issue) based on interviews with participants of the Rapid Re-Housing project and records from Brno municipality proceedings which they directed themselves; Kamila Polívková directed a work comprising Dora Kaprálová’s texts Hadn’t I Fled Brno, I Would Be a Sour Doe; Martina Kinská adapted letters (or rather notes) exchanged between the ageing legendary Slovak musician Dežo Ursiny and his son Jakub and the text is directed by Anna Davidová under the title We are not Home; dramatic adviser Martin Sládeček and director Jan Mikulášek stage an adaptation of Juan Goytisolo’s book The Marx Family Saga dedicated to the life and legacy of Karl Marx. The series “Translations and Translators” continues under the title “A Translator Should Not Empathize, a Translator Should Understand and Know How” with an interview with Filip Krajník, author of the newest translation of Hamlet into Czech and an expert on late Elizabethan and Restoration drama. The interview deals with the general work conditions of a translator of not only drama and also with the specifically Czech tradition of Shakespearean translations and translations of his contemporaries and successors. The interview is supplemented in the same section with Markéta Polochová’s essay “Six Actors in Search of Hamlet” responding to “a wave” of productions of Hamlet, five in total at the end of the 2023/24 season: at the Municipal Theatre Brno the play was adapted and directed by Stanislav Moša under the title Hamlet or The Fight of Body and Soul; at Ostrava’s Petr Bezruč Theatre it was directed (and adapted) by Dodo Gombár; at the National Theatre Prague the play was staged by the duo SKUTR; Pavel Khek directed at the Klicperovo Theatre Hradec Králové; and Martin Čičvák at the National Theatre Brno. Vladimír Mikulka writes in his essay “Skupa’s Whirlwind” about the international puppetry biennial Skupa’s Pilsen, and particularly about the productions A Show With Strings by Lee Dae Yeol and Long & Short Company, Flying Dutchman, Frozen Ocean by Buchty a loutky (Buns and Puppets) Theatre, Horror vacui by Filip Homola and Robert Smolík staged by the Naive Theatre Liberec, Stickman by Darragh McLoughlin and Squarehead Productions, and Kazu by Juan Perez Escala, the basic text of which we also publish in this issue. The issue closes with the “Heroes and Hero” section where Lucie Kocourková (“On Heroes Both Small and Big”) writes about two productions by the experimental dance company Farm in the Cave (Farma v jeskyni), led by Viliam Dočolomanský which deals with a theme of manipulations and fake news: Czech Hero and Commander. Barbora Sedláková writes about a monodrama Vanya, an adaptation of Chekhov’s Uncle Vanya by Simon Stephens with a superb solo performance by Andrew Scott and which could be seen in the framework of the NT Live project.
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