SAD 5/2020

Miroslav Petříček
THE TRUTH OF STORIES

           Odo Marquard: In the Praise of Polytheism

Karel Haloun
SPANISH SCHOOL

Truth and Lies on the Road – fourth volume

Petr Fischer
THE TRUTH OF ILLUMINATION – SHITTY DISLOCATED REALITY

Documentary Papers – fourth volume

Léo Smeta
THE CONFESSION OF AN OLD CIRCUS ARTIST


Karel Král
FUTILITY OF THE OLD CIRCUS AND HITS OF NEW OPERETTA
(L’ÂNE & LA CAROTTE, CIRQUE GALAPIAT – L’AMOUR VAINQUEUR, FESTIVAL D’AVIGNON)
Lucho Smit: L’âne & la carotte, Galapiat Cirque / Lucho Smit, 2020; Olivier Py: L’Amour vainqueur, directedy by and music by O.Py, Festival d’Avignon, 2019

Barbora Etlíková
THE BLACK NEXT WAVE

Karina Kottová, Matěj Samec, Tomáš Pospiszyl: The World We Live In?, 2020; Petr Krusha: The Hell Guide_Lido di Dante, collaborators Petr Borkovec, Adrian Kukal, Anja Kaufmann, Jana Kozubková, Milan Štěpánek, 2020; Recyquiem – The Burial of a Plastic Bottle, cncept Philipp Schenker and Linda Straub, Spielraum Kollektiv, 2020; Happy End in the Hotel Chateau Switzerland, concept and directed Jakub Čermák, , Depresivní děti touží po penězích, 2020

Marie Reslová
LET IT GET CLOSE TO ONESELF
(AUDIENCE WITHOUT ARTWORK – NEUROPOLIS – JUKEBOX)
Audience Without Artwork, performative installation by Isabela Grosse and Jesper Alvaer at the Panorama Hotel Prague, 2020; Krištof Kintera: Neuropolis, Zdeněk Sklenář Gallery – Schönkirch Palace, 2020; K.Kintera: Public Jukebox – revealing of the statue by the forrest, in frames of 4 + 4 Days in Motion Festival, Hrachov, 2020

Lukáš Dubský
BETWEEN THEATRE AND LARP
(WE DO NOT KNOW EACH OTHER – CITY INSTALLATION)

Vladimír Mikulka
SOME NOTES BY MILAN
(WE DO NOT KNOW EACH OTHER AGAIN)
We Do not Know Each Other, concept and script by Lukáš Brychta, Pavel Gotthard and Tomáš Kopeček, cooperation onthe script Kateřina Studená and Tereza Štěpánová, directed by L.Brychta, Pomezí, 2020

Karel Král
BEFORE EVERYTHING BECOMES OVERGROWN AGAIN
(INVISIBLE MARKET)
Invisible Market, concept, script and directed by Kateřina Součková, Štěpán Gajdoš and Anna Prstková, Pomezí at Holešovice Market, 2020

Josef Rubeš
THE FIGHT ON A BATTLEFIELD AND IN A FLAKING APARTMENT BLOC
(CRIME AND PUNISHMENT – WAR AND PEACE)
F.M. Dostoievsky, Andrzej Wajda: Crime and Punishment, directed by Jakub Šmíd, Divadlo D21, 2020; L.N. Tolstoy: War and Peace, adapted by Iva Klestilová and Michal Dočekal, directed by M.Dočekal, Městská divadla pražská, 2020

Josef Rubeš
ROMEO AND JULIE DO NOT UNDERSTAND EACH OTHER 
(THE GROTTO OF WORDS)
The Grotto of Words, directed by Štěpán Gajdoš, Divadlo X10, 2020

Jakub Škorpil
PATIENTS ZERO
(GRETA AND THE HEROS OF CAPITALIST LABOR)
Marián Amsler: Greta, directed by M.Amsler, Divadlo Letí, 2020; The Heroes of Capitalist Labor, after book by Saša Uhlová, script and directed by Michal Hába, Městská divadla pražská, 2020

Iva Heribanová
POINTLESS LIKE A TREE
(PERCEPTION AT HADIVADLO)
Ivan Buraj and co.: Perception, directed by I.Buraj, HaDivadlo, 2020

Ester Žantovská
ON HEROES BEHIND THE STAGE
(THE MAGNIFICENT 294)
Tomáš Dianiška: The Magnificent 294, directed by Tomáš Dianiška, Divadlo pod Palmovkou, 2020

Vladimír Mikulka
FROM CZECH MEADOWS AND GROVES
(GOLDEN BEACH AND DORTEL)
Jaroslav Žváček: Golden Beach, directed by Jan Prušinovský, Divadlo Na zábradlí, 2020; Kryštof Pavelka: Dortel or How to Cook a Nation, directed by Adam Skala, Divadlo J.K.Tyla Plzeň, 2020

Marie Zdeňková
TWO (OR EVEN THREE) ARE BETTER THAN ONE
(DIRECTORIAL-SCENOGRAPHIC TANDEMS IN CONTEMPORARY CZECH THEATRE)

S.d.Ch.
KAFKOCOLA
(OR TO SWALLOW THE JEDL THEATRE COMPANY HOOK AND THEN DISGORGE IT SLAP BANG)
 
Egon TOBIÁŠ
LITTLE DEMIURG
(DER KLEINE FRATZ)

AndreI KUREICHIK
THE INSULTED. BELA(r)USSIA

DICTATOR AND LOVE (interview with Andrei Kureichik)

VÍT PEŘINA: TO RING THE END
truth, love and the others 5/6

KLIMÁČEK DANGLÁR: TWINS 5 – ECHTE SATANKUGELN
(fantasy comics about final battle between theatre and television in our as well as parallel world)


Confession of an Old Circus Artist” by Léo Smety. In the section “Futility and Hits… of Festivals”, Karel Král (“Futility of the Old Circus and Hits of New Operetta”) writes about productions L’âne & la carotte by Cirque Galapiat and L’Amour vainqueur by the director Oliver Py from the Festival d’Avignon, presented at the festivals Letní Letná and Theatre Pilsen 2020. In her essay The Black Next Wave, Barbora Etlíková considers selected productions from this year’s festival of alternative and independent art …příští vlna/next wave – The World We Live In by Karina Kottová, Matěj Samec and Tomáš Pospiszyl; The Guide_Lido di Dante by Petr Krusha; Recyquiem – The Burial of a Plastic Bottle by Spielraum Kollektiv, and Happy end in the Hotel Château Switzerland by the organisation Depresivní děti touží po penězích. The section “An Installation… on the Edge of the Slaughterhouse” opens with Marie Reslová’s essay about Kryštof Kintera’s exhibition Neuropolis at the Zdeněk Sklenář Gallery and the revealing of his Public Juke Box in open nature. At the same time, she looks at the “performative installation” Audience without Artwork by Isabela Grosse and Jesper Alvaer. Similarly immersive is the “urban installation” We Do Not Know Each Other by the Pomezí Project and both Lukáš Dubský (“Between Theatre and Larp”) and Vladimír Mikulka (“Some Notes by Milan”) write about it. The section closes with Karel Král’s essay (“Before Everything Becomes Overgrown Again”) about the new audiowalk Invisible Market, realized by the Pomezí Project in the former Prague slaughterhouse. The section “The Czech… Nation Is Cooking” summarizes reviews of premières before the second wave of pandemic: Josef Rubeš (“The Fight on a Battlefield and in a Flaking Apartment Bloc”) writes about productions of Crime and Punishment (directed by Jakub Šmíd, Theatre D21) and War and Peace (directed by Michal Dočekal, Prague Municipal Theatres) and also about The Grotto of Words presented by Štěpán Gajdoš in the Divadlo X10 (“Romeo and Juliet do not Understand Each Other”). Jakub Škorpil (“Patients Zero”) reviews politically-charged productions of Greta (directed by Marián Amsler, Theatre Letí) and The Heroes of Capitalist Labour (directed by Michal Hába, Komedie Theatre). Iva Heribanová (“Pointless Like a Tree”) considers Perception, written together with the ensemble and directed by Ivan Buraj at the HaDivadlo Theatre of Brno. Tomáš Dianiška’s recent première The Magnificent 294 (Pod Palmovkou Theatre) is the focus of Ester Žantovská in her essay “On Heroes Behind the Stage”. Vladimír Mikulka (“From Czech Meadows and Groves”) reviews two new Czech plays, Golden Beach by Jaroslav Žváček (directed by Jan Prušinovský, Divadlo Na Zábradlí) and Dortel by Kryštof Pavelka (directed by Adam Skala, J. K. Tyl Theatre Pilsen). The section “Golden Age… with Fratz” includes another study by Marie Zdeňková. It is entitled “Two (or Even Three) are Better than One” and looks at “directorial-scenographic tandems in contemporary Czech theatre”. The following essay “Kafkocola (or To Swallow the Jedl Theatre Company Hook, Line and Sinker and then Disgorge It Slap Bang)” by S.d.Ch. is a specific review of Egon Tobiáš’s Kafkaesque variation Der Kleine Fratz, which we publish in its entirety. In addition, we are publishing the Czech translation of the Belarussian playwright Andrei Kureichik’s play The Insulted. Bela(R)ussia, which is based on the first month of the Belarussian opposition protests. The play is accompanied by an interview with the author entitled “Dictator and Love”. The series of flash dramas “Truth, Love and Those Others” continues with Vít Peřina’s play To Ring the End, and the next instalment of The Twin, the “fantasy comics about the final struggle between theatre and television in both our and parallel worlds” by the duo Klimáček-Danglár, is entitled Eschte Satankugeln.