SAD 6/2024
Not to Destroy the Authentic
interview with dramaturg Natálie Strýčková Preslová about theatre for teenage audiences
Ester Žantovská
About Us, Not Without Us
Firts Strike of the Captain and Thus About That at Nová scéna Národního divadla
Vojtěch Voska
TikTok Contemplation and Regal Slay
Love from TikTok and Princ & Princ at Polárka Theatre
Barbora Sedláková
When We Meet Again I Hope There Will Be No Rush
Clouds and Garden of Labour at ARCHA+ Theatre
Vladimír Mikulka
On Wars Then and Now
War of Buttnos at Drak Theatre
Zdeňka Horváthová
Karen, Fuckboy, TruthLoveLover and Junkie
camp fenomenon and performance of Shrex: A Game of Survival
ADINA ŠULCOVÁ: SHREX: A GAME OF SURVIVAL (the text)
More Than Just the Common Denominator of Three Professions
interview with Pavel Drábek not only about „dramturgical translations“
Martina Pecková Černá
Theatre of Global South
On the Sense and Nonsense of Organizing Large International Professional Events
interview with members of Czech ASSITEJ Centre members about the 21st World Congress of ASSITEJ
Vladimír Mikulka
More or Less Ordinary People
adaptation of Pasolini’s Teorema at Divadlo v Dlouhé
Natálie Bulvasová
Shattered Pieces of Uranium
Manhattan Project at Jihočeské divadlo
Natálie Bulvasová
Ideas, Ideas, Ideas
three times Městská divadla pražská: The Little Foxes, The Moors and Metamorphosis
Klára Madunická
A Probe into the Soul of the Individual as well as Society
Cunning Little Vixen at Slovakian National Theatre
Marekl Lollok
Ancient Tragic Heroines Today
Médea at National Theatre Ostrava and Like Lovers Do v National Theatre Brno
Daydreaming about Notice
Justyna Jaworska speaks with Daria Sobik
DARIA SOBIK: TIRED (the text)
The main topic of the sixth issue of Svět a divadlo (World and Theatre) magazine is theatre aimed at teenagers. It opens with the interview “Not to Destroy The Authentic”, where Jakub Škorpil and Barbora Sedláková talked to the dramaturg of the NoD Theatre Natálie Strýčková Preslová who, together with her standing collaborator Janek Lesák, worked with a group of teenagers at the New Stage of the National Theatre. The group includes some teenagers, who have been or are still going through the institutional foster homes. The interview relates not only to their piece (entitled Thus About That) but also to more general issues linked to this type of theatre project. The review of the production is provided by Ester Žantovská, writing in her essay “About Us, Not Without Us”, also writing about the production The First Strike of the Captain staged at the Vzlet community centre. In this case, the creators follow a similar principle (and young non-actors perform in the production). Other authors also consider productions dedicated to the aforementioned target group. In his essay “TikTok Contemplation and Regal Slay” Vojtěch Voska writes about a couple of productions of Polárka Theatre from Brno: Love from TikTok and Prince & Prince. Barbora Sedláková’s article “When We Meet Again I Hope There Will Be No Rush” discusses the productions Clouds and Garden of Labour, thus ushering the new management of Prague’s Archa+ Theatre (formerly Archa Theatre), a venue which wants to systematically approach audiences of this age group. In his essay “On Wars Then and Now” Vladimír Mikulka looks at a much updated adaptation of the renowned War of the Buttons at the Drak Theatre in Hradec Králové. In the article “Karen, Fuckboy, TruthLoveLover, and Junkie” Zdeňka Horváthová takes a general look at the phenomenon of “camp” (that is theatrical oddity and artificiality) and relates it specifically to Adina Šulcová’s production of Shrex: A Game of Survival, staged at Kasárna Karlín. The review is accompanied by the script of the play. The last instalment of the loose series of interviews with translators is primarily dedicated to so-called dramaturgical translation. Barbora Sedláková talked to theatre expert, English scholar, librettist and translator Pavel Drábek, head of the Department of Theatre Studies in Hull, England (“More Than Just the Common Denominator of Three Professions”). In conversation with the Czech ASSITEJ Centre members Martina Pecková Černá talks about the 21st World Congress of the International Association of Theatre and Performing Arts for Children and Young People held in Havana, Cuba, (“Theatre of the Global South”, “On the Sense and Nonsense of Organizing Large International Professional Events”). The review section of the magazine reflects on two productions by director Jakub Čermák. Vladimír Mikulka writes about the adaptation of Pasolini’s movie Theorem (“More or Less Ordinary People”) at the Dlouhá Theatre, Natálie Bulvasová looks at The Manhattan Project, Čermák’s first production in his role as artistic director of the South Bohemia Theatre (“Shattered Pieces of Uranium”). In the article “Ideas, Ideas, Ideas”, the same author looks at three productions of Prague City Theatres: The Moors by the contemporary American author Jen Silverman, directed by Viktorie Čermáková, Lillian Hellman’s classic socially critical drama The Little Foxes directed by Michal Dočekal, and an adaptation of Kafka’s Metamorphosis, staged by Ukrainian director Ivan Uryvsky. In his review entitled “Ancient Tragic Heroines Today”, Marek Lollok ponders on two productions that take a different approach to classical materials: Medea at the National Moravian-Silesia Theatre in Ostrava and Like Lovers Do (Memoirs of Medusa) at the National Theatre Brno. Jakub Šmíd approached the former as an updated version of Euripídes’ tragedy, while Brno director Aminata Keita staged a contemporary play by Israeli-German playwright Sivan Ben Yishai, who approaches the famous character of ancient myth from a feminist point of view. Klára Madunická writes about the provocative feminist and eroticized production of Janáček’s opera The Cunning Little Vixen at the Slovak National Theatre, Bratislava in her essay “A Probe into the Soul of the Individual as well as Society” (the production was directed by Sláva Daubnerová). The last section of Svět a divadlo (World and Theatre) issue 2024/6 consists of the play Tired, in which Polish playwright Daria Sobik describes with ironic exaggeration the theatrical environment seen from within, but from the perspective of an administration staffer. It is accompanied by an interview with Daria Sobik conducted by Justyna Jaworska (“Daydreaming about Notice”).
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