SAD 6/2025
WE MUST CONSTANTLY LEARN TO TALK TO EACH OTHER
an interview with new artistic leadership of Divadlo v Dlouhé, director Ivan Buraj and dramaturgists Tereza Marečková and Nina Jacques
Tomáš Kubart
POWER HORIZONS: HADIVADLO BETWEEN PATRIARCHY AND EMANCIPATION
Night of Tribadema, Axe, Agony (Ancient Reality Show)
Jakub Škorpil
MATRIX ON BLUE DANUBE
The Golden City at Dlouhá
Barbora Sedláková
EUROPEAN OBJECTS IN OSTRAVA
15. Edition of Spectaculo Interesse Festival
Vladimír Mikulka
FROM THE OTHER HAND
Drak Theatre: Metamorphosis and School by Hron
Barbora Sedláková
THE EMPEROR’S DOUBLE
Apples and Maryša Vávrová
Ester Žantovská
NEVER LOOK A WACKY HORSE IN THE MOUTH
Horsing Around at Zábradlí
Natálie Bulvasová
ON FORMAL UNCERTAINTY OF ONE FESTIVAL
...příští vlna/next wave...
Vojtěch Voska
VENUS’S QUEERING AMONG THALIAS
Fallen Olymp and Black Dress at Venuše ve Švehlovce
Tobiáš Waller
ARCHA+ AS FOCAL POINT OF NEW DANCE WORLDS
Burkicom and DEKKADANCERS at ARCHA+
Ester Žantovská
IN THE FOOTSTEPS OF THE COBAIN PHENOMENON
Kurt and Sid at Malostranská beseda and The Rules of Nirvana at Švandovo divadlo
Lukáš Dubský
FROM MOVIE AND TV SCREENS TO THE STAGE
three London musicals and one drama
Marie Zdeňková
LUCIE TRMÍKOVÁ: ACTRESS-AUTHOR-EXPLORER
VÍT PEŘINA: HORSING AROUND AND OTHER BULLSHIT (Horsing Around, Vinnetou TWO, And They Lived Together Happily Ever After)
Jan Šotkovský
SUCH IS THE NATURE OF THE WORLD
Playing with the devil
The issue opens with a thematic section dedicated to the director Ivan Buraj, who was named artistic director of Divadlo v Dlouhé from this season. It begins with an interview “We Must Constantly Learn to Talk to Each Other”, with Buraj and dramaturgists Tereza Marečková and Nina Jacques by Vojtěch Voska and Jakub Škorpil, in which they talked particularly about their plans in the new engagement. Tomáš Kubart in his essay “Power Horizons: HaDivadlo Between Patriarchy and Emancipation” writes about the latest season of HaDivadlo Brno (about Enquist’s Night of Tribadema, an adaptation of Ludvík Vaculík’s Axe, and Alexandra Bolfová’s project Agony /Ancient Reality Show/ which was Buraj’s farewell to its management before his switchover to Prague. Under the title “Matrix on the Blue Danube” Jakub Škorpil then reviews The Golden City, Buraj’s first production in Dlouhá, in which he combines two Ödön von Horváth plays – Tales from the Vienna Woods and Faith, Hope, and Charity. The next section is dedicated to puppet and object theatre. It’s begun by Barbora Sedláková, whose essay “European Objects in Ostrava” focuses on the fifteenth biennale festival of puppet and object theatre Spectaculo Interesse. She writes about the productions Dictatorship by the Russian ensemble AKHE working in their French exile, Annina Mossiman’s Mycelium, The Red Ballon by the Naïve Theatre Liberec, and Lukas Roth’s Essay About Nothing. Vladimír Mikulka writes in his essay “From the Other End” about two productions by Tomáš Jarkovský and Jakub Vašíček in the Drak Theatre Hradec Králové: an adaptation of Kafka’s Metamorphosis and School by Hron. Barbora Sedláková’s essay “The Emperor’s Double” deals with two productions which received the annual Erik puppetry award – Hana Voříšková and Markéta Stránská’s Apples and Maryša Vávrová by Bažant Puppetry Crew Poniklá, that is Tomáš Hájek. Ester Žantovská (“Never Look a Wacky Horse in the Mouth”) then closes the section with a review of the production Horsing around directed in Eliade’s Library of the Divadlo Na zábradlí by Michaela Homolová. The text of this fairy tale variation written by Vít Peřina, together with another fairy tale parody And They Lived Together Happily Ever After and a playlet Winnetou Two are published in this issue under the joint title Horsing around and Other Bullshit. The section “Waves and Dances” is a reflection on selected productions of this year’s festival of alternative and independent theatre …příští vlna/next wave… Its author, Natálie Bulvasová, entitled her review “On Formal Uncertainty of One Festival”. She looks at the project Czech Factory of Lies by Bára Viceníková, Darja Kukal Moiseeva and Natálie Pleváková’s opera Proč je taková?, Lenka Dombrovská and Tomáš Loužný, staged under the heading of the association Dílo, and Family Issues by Kristina Günther, Anna Wańtuch, Jiří Honzírek and Theatre Feste. In his essay “Venus’s Queering among Thalias” Vojtěch Voska writes about two queer productions staged in the space of Venuše ve Švehlovce – Fallen Olymp by the PiNKBUS ensemble and Becky McFadden’s solo Black Dress. Tobiáš Waller’s essay “ARCHA+ as the Focal Point of New Dance Worlds” is about two dance productions: Studio 54 by the ensemble DEKKADANCERS and The Sun by Burkicom. In the next section “Music and Stage” Ester Žantovská (“In the Footsteps of the Cobain Phenomenon”) writes about two Prague productions inspired by Kurt Cobain’s life: Pavel Košatka stages Roy Smiles’s play Kurt and Sid in Malostranská Beseda and in the Švanda Theatre Thomas Zielinski directed Martin Františák’s play The Rules of Nirvana. In his essay “From Movie and TV Screens to the Stage” Lukáš Dubský looks at the London musicals 50 First Dates by Dave Rosmer and Steve Rosen, The Producers by Mel Brooks and Thomas Meehan, The Devil Wears Prada by Elton John, Shaina Taub, Mark Sonnenblick and Kate Wetherhead, and Stranger Things: The First Shadow by the Duffer Brothers, Jack Thorne and Kate Trefry. In the series “Portraits” Marie Zdeňková introduces the career of the well-known actress, author and director Lucie Trmíková, while Jan Šotkovský’s series “Notable Dramas” continues with an instalment dedicated to Jan Drda’s “fairy tale” Playing with the Devil and its interpretative changes.
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