THE THEATRE FOR CHILDREN NEVER LOST IST MAGIC TO ME
interview with Luďek Horký, chairman of the Czech centre of ASSITEJ
Pavlína Hořejšová
HOW HEROES ARE BORN
Theatre Minor /not only/ in 2023
Tereza Konývková Frýbertová
WHO IS PERFORMING AND WHO IS WATCHING?
on the margins of spectatorship at Mateřinka festival 2023
Ester Žantovská
NOT MUCH PLUSH, NOT MUCH GANGSTA
Amberville at Divadlo v Dlouhé
Zuzana Timčíková
ROAMING THROUGH IMAGINATIONS
Jiří Austerlitz at Bratislava
Ester Žantovská
FAIRY TALES OF MOSS AND ROCK
Fabula Sylvestris at Alfredu and Mikrosvěty at Alta
I LIKE THIN LINE SOMEWHERE IN BETWEEN
interview with Vít Peřina, playwright and literary manager of Naivní divadlo Liberec
Milo Juráni
WHEN THEATRE HELPS SCIENCE AND SCIENCE PROPELS THEATRE
manifests and challenges for more ecological theatre, part 5
Tomáš Blatný
THROUGH THE LANDSCAPE OF PARADISE AND APOCALYPSE
about five performances from Festival D’Avignon
Barbora Etlíková
FROM TRAGEDY TO COMEDY AND BACK
five times from Gdansk Shakespeare Festival
Michaela Mojžišová
ON EXIETNTIAL ISSUES OF HUMANKIND
at Salzburger Festspiele
Vladimír Mikulka
ON BORDERS OF REGIONS
from 28th edition of Regiony Hradec Králové festival
Barbora Sedláková
DEVIL IN ATTRACTIVE ROBE
Tomáš Loužný: Double Feature
Vladimír Mikulka
WOULD YOU LIKE ATTRACTIVE SHOW OR MAYBE SOMETHING MORE?
Letní Letná festival, 2023
Veronika Švecová
CAN LIVE CINEMA BE A PUPPET?
VÍT PEŘINA: SUPERMAŇÁSCI (SUPERHANDPUPPETS)
JANEK LESÁK & NATÁLIE PRESLOVÁ STRÝČKOVÁ & IVANA & ONDRA: HAMLETEK (LITTLE HAMLET)
The main theme of the fifth issue of this year’s World and Theatre Magazine is theatre for children. It is introduced with a wide-ranging interview “Theatre for Children Never Lost Its Magic for Me”. Luděk Horký, chairman of the Czech centre ASSITEJ and creative producer of programmes for children for Czech Television, talks about the state of contemporary Czech productions for children and youth, about their artistic merits and limits, and also about its organisation and financial conditions. In the second interview Vít Peřina, literary manager of the Naive Theatre Liberec and recognized author of plays for children, talks about his production (“I Like a Thin Line Somewhere in Between”). The theme is continued in several essays dedicated to particular productions. Pavlína Hořejšová’s essay “How Heroes are Born” considers productions of the Minor Theatre from the past season and she adds many overlapping reflections on its older profile titles. Tereza Konývková gives an account of the theatre festival Mateřinka for the youngest audience in her essay “Who is Performing and Who is Watching”. Ester Žantovská offers two separate reviews of the productions Amberville at the Divadlo v Dlouhé (“Not Much Plush, Not Much Gangsta”) and other alternative creations for children to be seen at the Alfred ve dvoře and the Alta Theatre (“Fairy Tales of Moss and Rocks”). Zuzana Timčíková adds her review of the production Hugo staged by the Czech director Jiří Austerlitz at the Bratislava Puppet Theatre (“Roaming through Imaginations”). The drama for children theme is also followed up with two short plays published at the end of this issue: Superpuppets (Vít Peřina) and Little Hamlet (Janek Lesák & Natálie Preslová Strýčková). The series on ecological theatre and live cinema also continue. Milo Juráni entitles the fifth instalment of his cycle “When Theatre Helps Science and Science Propels Theatre”. In the fourth instalment of the series on live cinema in puppet theatre Veronika Švecová considers whether live cinema can be a fundamental part of puppet theatre or whether it is in fact a deviation from the craftsmanship of puppetry. The section of SAD dedicated to foreign summer festivals opens with Tomáš Blatný’s essay (“Through the Landscape of Paradise and Apocalypse”) about the Avignon Festival, this year under the management of a new director, the Portuguese director and actor Tiago Rodrigues. It looks at five productions: A noiva e o boa noite Cinderella. Capitulo I da trilogia Cadela Força by Brazilian company Cara de Cavalo, and the production Extinction staged jointly by the ensemble Si vous pouviez lécher mon cœur and Volksbühne am Rosa-Lusemburg-Platz, as well as the collective open-air project Paysages partagés. 7 pièces entre champs et forêts came into existence under the leadership of Stefan Kaegi (Swiss director and member of Rimini Protokoll) and Caroline Bernaud (director of Théâtre Vidy-Lausanne), and the productions Le jardin des délices by the ensemble Vivarium and Angela (a strange loop) of the Belgian Théâtre National Wallonie Bruxelles. Barbora Etlíková gives an account of this year’s Shakespearean Festival in Gdańsk. In her essay “From Tragedy to Comedy and Back Again” she writes about the productions Billy’s Joy (Akademietheater Vienna), At Home with Will Shakespeare (Pip Utton Theatre Company), Truth’s a Dog Must to Kennel (Tim Crouch at the Lyceum Studio Theatre), A Midsummer Night’s Dream (Molodyy Theatre Kyiv) and The Winter’s Tale (Teatr Wybrzeże Gdańsk). And finally Michaela Mojžišová (“On Existential Issues of Humankind”) has chosen from the Salzburg Theatre Festival the operas Macbeth staged by Krzysztof Warlikowski and Orfeo ed Euridice directed by Christof Loy. Essays by Barbora Sedláková and Vladimír Mikulka are dedicated to theatre productions and festivals during the summer months in Czechia. The former reviews two productions by Tomáš Loužný, The House That Jack Built Comedy (Divadlo Komedie) and the open-air Ecstasy (Meetfactory in the former swimming pool under the Barrandov Terraces). Vladimír Mikulka looks back at the Hradec Region festival, where his attention was caught by the visual performance Transfiguration by Olivier de Sagazan and also by three puppet productions: Odysseus by Pilsen Alfa Theatre, Punch and Judy by Buchty a loutky and Raw by the duo Sleď pod kožichem. He also reviews productions staged at the contemporary circus festival Letní Letná by five outstanding foreign guests. Besides the opening outdoor show Aquanauts these include: Animal by Canadian Cirque Alfonse, Sabotage by the British NoFit State Circus, A ciel ouvert by the duo Cirque Aïtal and Belgian Bitbybit in joint production by Collectif Malunés and Movedbymatter.
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