SAD 5/2025
UNCERTAIN CHARM WITH MANY VARIABLES
editorial reflections on Jiří Adámek Austerlits’ performances Around the Corner, World and Ring the Bell Please
Natálie Bulvasová
AROUND THE CORNER, WORLD
Ester Žantovská
RING THE BELL PLEASE
EDITORIAL REFLECTIONS
Kristýna Vinařová
IN A TEMPO OF DREAMS AND REBELLION
twice Jiří Adámek Austerlitz at Alfredu ve dvoře
IT IS ESSENTIAL THAT SOMETHING IS LET OUT LEFT TO HAPPEN
interview with director Jiří Adámek Austerlitz
Ester Žantovská
THE APPEAL OF SOCIALIST UNIFORMITY AND RENAISSANCE OPULENCE
Loops and hoops and Shakespearean Puppet Mass at Alfred ve dvoře
Natálie Bulvasová
HOW WOMEN LIVE WITH A*SHOLES
Waiting for and Asshole and Oidipussy by Maso Krůtí Company
Lukáš Dubský
TYSTERIOUS TRIP INTO SWAMPS
Pomezí presents participative and immersive performance The Caravan
Vladimír Mikulka
HRADEC REGIONS JUBILEEE
Vladimír Mikulka
TWENTY SECOND LETNÍ LETNÁ
Vladimír Mikulka
THIRTY THIRD DIVADLO PLZEŇ
Dária F. Fojtíková
BRATISLAVAN, SLOVAK, EUROPEAN, NATIONAL
Drama company of Slovak National Theatre
Karolína Stehlíková
INTERNATIONAL FESTIVAL FOR NOBELIST
Det Fosse international Festival
Radmila Hrdinová
PECULIAR BEING OF JAN SKLENÁŘ
JON FOSSE: WINTER
Jan Šotkovský
NOW WE HAVE YOU, WHERE WE WANTED, POET OF THE POOR!
Rag Ballad
This issue opens with a thematic section dedicated to the director Jiří Adámek Austerlitz. It begins with “editorial reflections”, that is a series of short contemplations and responses to them, on Adámek Austerlitz’s June productions – Around the Corner, the World (Za rohem svět; staged at Studio Hrdinů) and the immersive project Ring the Bell Please (Prosím, zvoňte) staged in an unconventional space of a former supermarket in Holešovice. Kristýna Vinařová writes in her essay “In a Tempo of Dreams and Rebellion” about two September premières, the Berg Orchestra’s interpretation of Petr Hora and Jiří Adámek Austerlitz’s opera Předřeč šelmy (Beast’s Prior Speech) and the live version of an original radio work Mother of God, Banish Putin, both presented at Alfred ve dvoře. The section closes with an interview with Jiří Adámek Austerlitz “It is Essential that Something is Let Out and is Left to Happen”, revolving particularly around his creative method and how it has changed over time. The section “Alfred and Alterna” begins with Ester Žantovská’s review of two puppet productions staged at Alfred ve dvoře. Under the title “The Appeal of Socialist Uniformity and Renaissance Opulence” she writes about Loops and Hoops by Dominik Migač and Shakespearean Puppet Mass by Anastázie Dobrodinská and Daria Gosteva. Then Natálie Bulvasová writes in her review “How Women Live with Assholes” about two productions by the feminist-oriented collective Maso Krůtí, staged in the NoD space: Čekání na kokota (Waiting for an Asshole) and Oedipussy. The section concludes with Lukáš Dubský (“Mysterious Trip into Swamps”) writing about the newest immersive production of the Pomezí Society entitled Karavana (The Caravan). The festival section includes three articles by Vladimír Mikulka. In the first one, entitled “Hradec Regions Jubilee”, he writes about the puppet production The Mountain by Spanish Agrupación Señor Serrano, about Alžbeta Vrzgula’s authorial project Happy End staged by the Slovak ensemble Uhol_92, and about Mesarica (The Hatchet) presented by Teatro Matita from Ljubljana, directed in Czechia by the well-known Matija Solce. In the second essay Mikulka chooses for his review from programme of the renowned new circus festival Letní Letná productions Ostinato by Akoreacro ensemble, Décrochez-moi-ça by Bêtes de Foire, and Playing Dead by People Watching ensemble and he considers the last of these the best. In the final essay the author returns to the Pilsen international festival Divadlo and chooses three foreign productions: La Distance, co-produced by the festival, by director and current manager of Festival d’Avignon (where the production premièred) Tiago Rodrigues, Parallax, staged by Hungarian director Kornél Mundruczó with his Proton Színház on the basis of Kata Wéber’s text, and finally Brecht’s Saint Joan of the Stockyards, brought to the stage by Czech-German director Dušan D. Pařízek at the Berliner Ensemble. In her essay “Bratislavan, Slovak, European, National” Dária F. Fojtíková describes the 2024/2025 season at the Slovak National Theatre Drama Company led by Miriam Kičiňová. She pays attention particularly to Tereza Tursinová’s text A Dog’s Life of Gertrude S. directed by Jana Wernerová, My Beloved Enemy written and directed by Romanian playwright and director Gianina Cărbunariu, Ionesco’s Rhinoceros directed by Júlia Rázusová, Molière’s Imaginary Invalid by director Pavol Viecha with Emil Horváth Jr. in the leading role, and finally she writes about the production of Katja Brunner’s text Ghosts are Only Humans Too in which take part mostly doyens of the Slovak National Theatre Drama Company under the direction of Kamila Polívková. In the last section Karolína Stehlíková reports about Det Fosse international festival dedicated to works of Norwegian Nobel Prize winner Jon Fosse in both Norwegian and foreign productions. The author chooses to review two productions by the organizing theatre Det Norske Teatret – Winter directed by Lisaboa Houbrechts and The Play directed by Johannes Holmen Dahl – and two foreign productions: The Name directed by Kay Voges at Schauspiel Köln and a monodrama How It Was produced by director Etienne Glaser. Fosse’s Winter is published in this issue in a translation by Karolína Stehlíková. The series of actors’ portraits continues with Radmila Hrdinová’s contribution entitled “Peculiar Beings of Jan Sklenář”. Jan Šotkovský’s series “Notable Dramas” continues with an instalment dedicated to Rag Ballad by Jiří Voskovec and Jan Werich.
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