Barbora Etlíková:
GROWING UP, PLAYING, COMING OF AGE
Odivo Company not only at Dotyky a spojenia festival
Toddreaming, concept and direction by Monika Kováčová, Studio Damúza, 2014; Grégoire Mabire, Thierry Robbrecht, Mária Danadová, M.Kováčová: About Wolf, Who Fell Out of a Book, by M.Danadová, 2021; Rudyard Kipling, M.Danadová, M.Kováčová: Mawgli, by M.Danadová a M.Kováčová, Bratislavské bábkové divadlo, 2021; Nested, concept and direction by M.Danadová a M.Kováčová, 2022
AMONG STRINGS OF DEEPEST SENSITIVITY
interview with Mária Danadová and Monika Kováčová
Barbora Sedláková
„TWO OF US WILL GO TOGETHER“
Torchbearer at Kutná Hora
Odivo a Ivan Martinka: Torchbearer, by Mária Danadová, Divadlo Pôtoň, 2020
TODDLERS IN THEATRE TRY TO FIND OUT WHAT IS POSSIBLE TO INVESTIGATE
interview with psychologist Adéla Závorková
TO GRASP THE RUSSIAN LANGUAGE DIMENSION ANEW
interview with Jevgeni Kazačkov
Iva Mikulová
POSSIBILITIES OF A THEATRICAL GRASP OF REGIONAL HISTORY
essay with examples from Wallachia
FOUR HOURS WITH MASTER AND MARGARITA
survey by editors of Svět a divadlo
Michail Bulgakov, Marie Nováková, Ivo Kristián Kubák: Master and Margarita, by I.K.Kubák and M.Nováková, Tygr v tísni, 2022
Vladimír Mikulka
TO BE LOST IN THE TANGLE OF COURTAINS
Life Must Go On by Pomezí Company
Life Must Go On, concept and script Vojtěch Bartoš and Lukáš Brychta, Pomezí, 2022
Zuzana Timčíková
FESTIVAL FREGILITIES
Divadelná Nitra festival 2022
László Göndör: I Was Dreaming With Grandma, by L.Göndör, Trafó, 2021; Slávka Civáňová: When Silence Fall Down, by Iva Ditte Jurčová, Divadlo Andreja Bagara v Nitre, 2021
Jakub Škorpil
CLOWNS AND BUFFOONS
Marthaler and Bodó in Pilsen
Christoph Marthaler: Aucune Idée, by Ch.Marthaler, Théâtre Vidy-Lausanne, 2021; Péter Závada a William Shakespeare: Shaxpear Carwash at Kertész Street, by Viktor Bodó, Örkény István Színház, 2019
Rudo Leška
WOMEN’S STORIES
Káťa Kabanová and Aida at Saluzburger Festspiele
Leoš Janáček: Káťa Kabanová, conductor Jakub Hrůša, directed by Barrie Kosky, Salzburger Festspiele, 2022; Guiseppe Verdi: Aida, conductor Alain Altinoglu, directed by Shirin Neshat, Salzburger Festspiele, 2022
Vladimír Mikulka
FROM GUILLERMO TO WESSEN
Letní Letná festival, 2022
Nuye, by Roberto Magro, Armando Rabanera Muro and Fabrizio Giannini, Compañía de Circo "eia", 2021; Grandiose, by Matyáš Ramba, Losers Cirque Company, 2021; Thom Monckton, Wes Peden & Niko Votkin: Optimismi, by Sanna Silvennoinen, 2022; Johann Le Guillerm: Terces, by J. Le Guillerm, Cirque Ici, 2005
Ester Žantovská
EVERYTHING YOU NEVER WANTED TO SEE
Kim Noble and his Lullaby for Scavengers at Archa Theatre
Lullaby for Scavengers, concept and directed by K.Noble, CAMPO Ghent, 2021
Tereza Teerink Turzíková
NUDITY AS A POLITICAL TEXTURE
on performances at Festival of Naked Forms
Alina Epîngeac
TO FULFIL ONE’S MISSION PATIENTLY
Catinca Drăgănescu – director, who knows what she wants
Roland Schimmelpfennig: Gold Dragon, by Catinca Drăgănescu, Teatrul Andrei Mureșanu Sfântu Gheorghe, 2019; C.Drăgănescu: Disco '89: 7 Deaths of Mihaela Runceanu, by C.Drăgănescu, Teatrul Apollo 111 București, 2021; C.Drăgănescu: (In)dependents, by C.Drăgănescu, Replika Educational Theatre Centre București, 2021; Julia Pospelova: Moscow Calling, by C.Drăgănescu, Stagiunea Unteatru București, 2021
Jakub Škorpil
THE PROBLEM OF REPRESENTATION
Dreamers by Ivaškevičius at Divadlo pod Palmovkou
Marius Ivaškevičius: Dreamers, by Catinca Drăgănescu; Divadlo pod Palmovkou, 2022
Barbora Schnelle
WHICH TEXTS FOR WHICH THEATRE?
contemporary German plays and adaptations
Elfriede Jelinek: Noise. Blinded Vision. The Blinds Can See!, by Frank Castorf, Burgtheater Wien, 2021; Teresa Dopler: Monte Rosa, by Matthias Rippert, Schauspiel Hannover, 2022; Sivan Ben Yishai: Wounds are forever (Self-Portrait as National Poet), by Marie Bues, Nationaltheater Mannhein / Theater Rampe Stuttgart, 2021; Bonn Park: Heart Robbers, by Bonn Park, Deutsches Schauspielhaus Hamburg, 2021; The War With Newts, by book od Karel Čapek, adapted by Soeren Voima, directed by Clara Weide, Schaubühne am Lehniner Platz Berlin, 2022
YAEL RONEN AND DIMITRIJ SCHAAD: (R)EVOLUTION
OUTSIDE THE BOX 5: Martin J.Švejda
Barbora Sedláková
HYPERTEXT SHOWN IN WHITE
There is Nothing to Be Done at Divadlo v Dlouhé
Kateřina Součková, Jan Frič and col.: There is Nothing to Be Done, directed by J.Frič, Divadlo v Dlouhé, 2022
LUKÁŠ&BELIS: DISASTERS 6 JOSEFÍNA
The issue opens with a section dedicated to theatre for babies. Barbora Etlíková in her essay “Growing Up, Playing, Coming of Age” writes about the Dotyky a spojenia (Contacts and Connections) Festival in the Slovak town of Martin where she watched productions signed by performers Mária Danadová and Monika Kováčová. Barbora Sedláková writes about the production Torchbearer (Světlonoš) staged under the lead of the Odivo company at a festival in Kutná Hora (“Two of Us Will Go Together”). The theme is examined from another perspective by psychologist Adéla Zázvorková in her interview with Barbora Etlíková, entitled “Toddlers in Theatre Try to Find Out What It Is Possible to Investigate”. Eugene Kazatchkov, Russian playwright and former art director of one of the art crews from the Lyubimovka Festival of Young Drama, talks in an interview with Tereza Krčálová (“To Grasp the Russian Language Dimension Anew”) not only about the festival itself but also about changes which Russian culture and the cultural public have been recently undergoing. In her essay “Possibilities of a Theatrical Grasp of Regional History” Iva Mikulová reflects on recently popular “regional dramaturgy”, primarily on productions of Moravian theatres. In more detail she writes about the production of Františák’s play Blackthorns and Stars and Stoppard’s Leopoldstadt staged at the National Theatre Brno. A section on immersive theatre is dedicated firstly to an adaptation of Bulgagov’s novel The Master and Margarita staged by the Tygr v tísni (Tiger in Difficulties) Theatre in the Hrzánský Palace in Prague: in the survey entitled “Four Hours with the Master and Margarita” editors of the Svět a divadlo (World and Theatre) magazine comment on the exceptional success of this production. In his review “To Be Lost in the Tangle of Curtains” Vladimír Mikulka writes about the more modest production Life Must Go On by the Pomezí association. The next section looks at autumn theatre festivals. Zuzana Timčíková writes in her essay “Festival Fragilities” about the prestigious Slovak festival Divadelná Nitra, Jakub škorpil meditates on two productions by renowned foreign guests at the International Festival Theatre in Pilsen (“Clowns and Buffoons – Marthaler and Bodó in Pilsen”), Rudo Leška looks back at the opera festival in Salzburg (“Women’s Stories – Káťa Kabanová and Aida at the Salzburger Festspiele”), and Ester Žantovská writes about a challenging production Lullaby for Scavengers by London performer Kim Noble, staged during the Prague festival, 4+4 Days in Motion (“Everything You Never Wanted to See”). Vladimír Mikulka looks back at the festival of new circus Letní Letná (“From Guillermo to Wessen”) and in her essay “Nudity as a Political Gesture” Tereza Teerink Turzíková ponders the Festival of Naked Forms (FNAF). At the end of the issue there is also a review of the controversial production of the Divadlo v Dlouhé (Theatre on Dlouhá Street), There Is Nothing to Be Done Anymore. Barbora Sedláková writes about this production in her essay “Hypertext Shown in White”. In the section dedicated to the Romanian director Catinca Drăgănescu, Alina Epîngeac describes her artistic career and expands in detail on four recent Romanian productions (“To Fulfil One’s Mission Patiently”). Jakub Škorpil then reviews, in his essay The Problem of Representation, the new production of the Divadlo pod Palmovkou where the visiting Drăgănescu staged the dystopian drama Sleepers by the Lithuanian playwright Marius Ivaškevičius. Yael Ronen’s and Dimitrij Schaad’s play(R)evolution (A Manual for Survival in the 21st Century) looks into the future dominated by advanced technologies, originally designed to help people but slowly becoming a new form of totalitarianism. The drama is translated from a German original by Barbora Schnelle. The issue closes with a recollection on the recently deceased critic Martin J.Švejda. In the section Outside the Box we print a selection of his short theatre pieces written for the theatre company Antonín Puchmajer and they are accompanied by photographs of Švejda as a distinctive performer. The whole issue of Svět a divadlo (World and Theatre) closes, as per tradition, with the comic strip Disasters by the duo Karel Lukáš and Silvie Belis. The sixth and final instalment is entitled Jozefína.