SAD 5/2024
In The Eye of a Slovak Cultural Tempest
Róbert Štefančík speaks with Miraim Kičiňová, artistic director of Drama ensemble of Slovak National Theatre
Jakub Škorpil
How Life would be Empty and Bleak
Deti by Slovak National Theatre and Filip by Divadlo Jána Palárika at Dotyky a spojenia festival
Zuzana Timčíková
Czech Directors Criticize the Slovak Situation
Der Theatermacher by Michal Hába at Martin, Pařízek’s Pes na ceste at Slovak National Theatre
Cruel Clowns
survey by editors of Svet a divadlo about Endokanabinoid by Stoka theatre
To Break Free of Acting
interview with Stoka theatre actors Michaela Fech, Martin Kollár, Lenka Libjaková, Tomáš Pokorný a Peter Tilajčík
Be Directive and Do Not Blunt Edges Which Should Scrape
interview with theatre director and translator Šimon Dominik and playwright, dramaturg and translator David Košťák
Vladimír Mikulka
Around Hradec for the Twenty-Ninth Time
Regiony Hradec Králové festival
Michaela Mojžišová
The French and Women Festival
Aix-en-Provence 2024
Anna Klimešová a Halil Ibrahim Yildiz
Festival d’Avignon 2024
Esther Bol
Au-déla
Dawn and Victory of Theatre of Witnesses at the festival in Avignon
Vladimír Mikulka
Letná Fish Harvest or LL AD 2024
Letní Letná festival
Pavel Janoušek
Divine Kája Almost Emigrant
three productions inspired by Karel Gott
Alice Jedličková
Clown of the Night (Ivan) Wernish
STOKA: ENDOKANABINOID
The main topic of this year’s fifth issue of Svět a divadlo (World and Theatre) magazine is Slovakia and Slovak theatre. In the interview entitled “In the Eye of a Slovak Cultural Tempest” Róbert Štefančík has a discussion with Slovak National Drama Theatre art director Miriam Kičiňová on situation of the Slovak National Theatre following the abrupt removal of its head Matej Drlička and in general about the condition of Slovak culture following the appointment of Robert Fico’s government and his minister of culture Martina Šimkovičová. In his essay “How Life Would Be Empty and Bleak”, Jakub Škorpil gives an account of two productions that attracted his attention at the Dotyky a spojenia festival in Martin (Children by the Slovak National Theatre, and Filip by the Ján Palárik Theatre in Trnava), and Zuzana Timčíková writes in her essay entitled “Czech Directors Criticize the Slovak Situation” about productions staged in the Martin Theatre and the Slovak National Theatre by Czech directors Michal Hába (Der Theatermacher, Slovak Chamber Theatre Martin) and Dušan D.Pařízek (The Dog on the Road, Slovak National Theatre). The Slovak section closes with materials dedicated to the Stoka Theatre, a legend of the Slovak alternative scene. The company, the founder of which, Blaho Uhlár, died in July, finished its productions and it also presented itself in Prague at the Next Wave festival. Members of the Stoka Theatre talk about their future plans in the interview entitled “To Break Free of Acting”. Uhlár’s production Endokanabinoid (staged at the Alfred ve dvoře Theatre) is the subject of an editorial survey involving Jakub Škorpil, Ester Žantovská, Barbora Sedláková, Natálie Bulvasová and Vladimír Mikulka. The complete text of Endokanabinoid is also printed in the coloured section of the issue. In the next instalment of Interviews with Translators, Ester Žantovská talks with Šimon Dominik and David Košťák (“Be Directive and Do Not Blunt Edges Which Should Scrape”). They focus on situations when originators – primarily theatre practitioners – turn to translating plays. In the section dedicated to criticism Vladimír Mikulka writes about two summer theatre festivals. In the essay “Around Hradec for the Twenty-Ninth Time” he looks at four titles that attracted his attention at the Regions Hradec Králové festival in June (Summer of 69, Love of Risk, Dissection and The War of the Worlds). In the article “Letná Fish Harvest or LL AD 2024” he mentions the two most hilarious foreign guests to be seen in August in Prague at a new circus Letní Letná festival (Arrêt d’urgence, Concerto pour deux Clowns). Foreign festivals are the subject of essays by Michaela Mojžišová, Anna Klimešová and Halilm Ibrahim Yildiz and Esther Bol. The first of these writes in her article “The French and Women Festival” about operatic presentations in Aix-En-Provence and emphasizes the growing numbers of women working in opera. Particularly she mentions productions of Samson, Madama Butterfly and Pelléas et Mélisande. The Avignon Festival is discussed in articles by the director Anna Klimešová and Halilm Ibrahim Yildiz (“Festival d’Avignon 2024”) and the Russian-French playwright Esther Bol (“Au-déla, Dawn and Victory of Theatre of Witnesses at the festival in Avignon”). Both articles look at productions of Hécube, pas Hécube and Mothers (A Song for Wartime), Bol also writes about productions of La vie secrète des vieux and Los días afuera, Klimešová with Yildiz about the productions of Dämon. El funeral de Bergman, Cercles, Lacrima and Sea of Silence. The critical section is rounded out by two comprehensive studies in which literary theoreticians Alice Jedličková and Pavel Janoušek reflect on theatre productions drawing more generalized considerations. Jedličková writes in her essay “Clown of the Night (Ivan) Wernisch” about Nebeský’s stage adaptation of Ivan Wernisch’s poetry in a production of the National Theatre Drama Company at the New Stage (Wernisch) and she makes use of a metaphor of theatre work as a perfume consisting of many variously potent and variously durable ingredients. Janoušek looks back to three Prague productions dealing in miscellaneous ways with the recently deceased singer Karel Gott and his specific place in modern Czech cultural (and not only cultural) history. His essay “Divine Kája Almost Emigrant (Three Productions Inspired by Karel Gott)” analyses one by one the productions of Mein Gott! (D21 Theatre), The Return of the King (Švandovo Theatre) and God in Las Vegas (Divadlo Na zábradlí).
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