SAD 1/2024
RUNNING VERY LONG TRACK
interview with Dominika Široká, literary manager of Nationaltheater Mannheim
Róbert Štefančík
INTERPRETATIVE TRAP
28. issue of Prague German Language Theatre Festival
Eliška Raiterová
SHAPES OF WOMEN POWER
svereal reminiscences from autumn Berlin
THE THEATRE CRITICS’ AWARDS
Perfomance, Actor, Actress, Theatre, New Czech Play, Scenography, Music and Talent of year 2023
CRITIC’S SURVEY
in all categories including most interesting foreign performance
Lukáš Dubský
HEROINES IN OSTRAVA
25th edition of OST-RA-VAR festival
Vladimír Mikulka
ON LOVE, DEATH, HATE, ALCOHOL AND SUCH
Zaráz 2024 festival
ALL QUIET ON ESTERN FRONT / GREEN CORRIDORS
survey of Svět a divadlo editors
Ester Žantovská
EXISTENTIAL EXPLORATIONS WITH A CUP OF COFFEE OR ON BACK OF A BULL
How is the Weather? and Miss Rodeo
Tereza Konývková Frýbertová
HOW NOT TO LOSE ONE’S HEAD? ABOUT PERSONAL DEVELOPMENT OF MARIE ANTOINETTE
Marie Antoinetta in Liberec
TOMÁŠ DIANIŠKA: THE BODY OF A SECRET AGENT
The first issue of this new volume includes the results of the traditional survey of Czech theatre critics on which the Theatre Critics’ Awards are based (q. v.). The opening theme of this issue is German theatre. The section starts with an interview with Dominika Široká, literary manager of Nationaltheater Mannheim, which covers not only theatre but also a system of education or dramaturgical practice. In his essay „Interpretative Traps”, Robert Štefančík looks back at last year’s Prague German Language Theatre Festival, particularly productions of Ophelia’s Got Talent by the provocative director and choreographer Florentina Holzinger, Odysseus kauft sich ein Pferd oder Wie wir Helden wurden (Odysseus Buys a Horse or How We Became Heroes) directed by Lena Reißner, and Sarah Kane’s Crave directed by Christoph Rüping in a production by Schauspeilhaus Zürich. After her intership at the journal Theater der Zeit in autumn 2023, Eliška Raiterová in her essay „Shapes of Women Power” describes her findings both from the practical training and especially from the Berlin theatre scene. She looks in more detail at the productions TANZ: Eine sylphidische Träumerei in Stunts by Florentina Hlozinger, Prima Facie by Suzie Miller, directed at Deutsches Theater Berlin by Andreas Dömötör, and a project Mothers: A Song for Wartime, created for the Maxim Gorki Theater by Marta Górnicka with Ukrainian women refugees. In his essay dedicated to the 25th volume of the OST-RA-VAR festival, Lukáš Dubský as well focuses on the theme of women. He deals particularly with an adaptation of Zweig’s Marie Antoinette (directed by Vojtěch Štěpánek, Antonín Dvořák Theatre), Ibsen’s Doll’s House (directed by Pavel Gejguš, National Moravian-Silesian Theatre Ostrava), and Simon Stone’s Yerma (directed by Kateřina Dušková, Arena Chamber Theatre Ostrava). In his survey of the joint presentation of productions by the Theatre of Moravian Slovakia in Uherské Hradiště and Municipal Theatre Zlín, Vladimír Mikulka deals with productions of E. F. Burian’s Love, Resistance and Death, directed by Lukáš Brutovský, Béla Pintér’s Muck directed by Patrik Lančarič, and Ivan Vyrypaev’s The Drunken Ones directed by Anna Davidová. The review section of the issue opens with a survey of SAD’s editors looking at the production All Quiet on the Western Front / Green Corridors in which director Dušan D. Pařízek linked texts by E. M. Remarque and a Ukrainian author Natalya Vorozhbyt. Ester Žantovská („Existential Explorations with a Cup of Coffee or on the Back of a Bull”) writes about a project How is the Weather? by the Secondhand Women formation and Miss Rodeo by Anežka Kalivodová and Co. Tereza Konývková Frýbertová („How Not to Lose One’s Head?”) reflects on the Liberec production of David Adjmi’s Marie Antoinette directed by Janka Ryšánek Schmiedtová. The play of the issue is Tomáš Dianiška’s The Body of a Secret Agent, which was selected as the best new Czech play of 2023 in the critics’ poll.
The Theatre Critics’ Awards are bestowed on the basis of simple sums of votes submitted in the Svět a divadlo (World and Theatre) magazine’s survey (66 critics participated this year). The Best Production of the Year was Euripides’s Bacchae, directed by Jan Frič at the National Theatre Prague and the production also scored in the Best Music category, the award going to Jakub Kudláč. The Best Actress of 2023 in the critics’ view was Anežka Kubátová for her leading role as the writer Daňa Horáková in the production About Pavel, directed at the Divadlo Na Zábradlí (Theatre on the Balustrade) by Anna Klimešová. The Best Actor category brings a sad undertone since its laureate Norbert Lichý, awarded for his leading role in Zeller’s Father (directed by Jan Holec, Petr Bezruč Theatre Ostrava), unexpectedly passed away in January. The Theatre of 2023 is Prague Theatre X10, praised particularly for its contemporary dramaturgy. The award for the Best Set Design of the Year went again to last year’s winners, the duo Tereza Gsöllhoferová and Eva Justichová, this time for their design of the immersive production Climax, directed for the Pomezí Association by Lukáš Brychta. The Talent of the Year, according to critics’ votes, is the director and playwright Tomáš Ráliš. In the out-of-competition category „the greatest experience from a foreign theatre” scored the production Spartacus: Love in the Time of Plague, directed by Jakub Skrzywanek at Teatr Wspołczresny in Szczecin.
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