Hq9582_Complete Theatre CZ Bulletin 04-05

8/12/2019 Hq9582_Complete Theatre CZ Bulletin 04-05

1/26

b u l l e t i n 4/05The new s le t t e r fo r t hose in t e rested in t he w or ld o f Czech Thea t re

Published by the Theatre Institute in Prague

If you would like to be removed from our list,c l i ck he re

In this issue:

THEATRE / DRAMACyrano de Bergerac- Marie Reslov

The Nablizko Theatre in Prague presented a minimalist version of Rostands heroic comedy Cyrano d e Bergerac.The production, directed by tpn Chaloupka, was traditionally staged by Nablizkos company of actors and benefitsfrom the imaginativeness of the script, creating an excellent opportunity to explore the use of the word, the poetry, thedelivery and the humour found in the drama in the story.

The Wild Duck- Marie Reslov

Henrik Ibsens The Wi ld Duck, directed by Jan Nebezk at the Theatre on Dlouh, became the first premiere of thenew season that cannot be overlooked. The production contains all of the remarkable attributes of Nebesks previousinterpretations of Ibsen under the externally presented forms of the characters, an underlying layer of old wrongs,secret dependencies and ill characteristics ruthlessly appear.

La devocin d e la cruz- Zdenk Ho#nek

The City Theatre of Brno presented Calderons La devoc in de la c ruz (Dev o t ion to t he Cross - Znam enk e) ,directed by Hana Bureov. The play is relatively unknown here in the Czech Republic, but the production, like the textitself, uniquely unites the genre of the adventurous comedy of the sword and the shield with the secular Spanish autosacramental drama.

Help in the ezn ickTheatr e- Kamila %ern

Czech film director Alice Nellis, who received the Silver Lion for her film Vlet (Some Secrets), has tried her hand atdirecting theatre several times. Now, Nellis has surprised her audiences by selecting Gyrgy Schwajdas He lp (Pomoc)- a Hungarian text from the end of the 1970s. In the play, the strong dramatic image of absurd bureaucraticmechanisms remains, along with the feelings of power (and lack of power) that are sti ll apparent today.

DANCEIntroduc t ion to the 2005 Czech Bal let Season- Roman Vaek

Smaller regional dance companies performed the first three premieres that took place during the ballet season. Theballet productions include The Dance o f Four Fragrances (Tanec #t yv%n)in #esk Budjovice, Coppliain stnad Labem and the new ballet Andersenin Liberec.

Attract ive Guests from Slov akia and Russia- Roman Vaek

Two famous ballet companies visited Prague in October: the State Theatre of Koice with their ballet productions of TheL i t t l e Pr ince, The Ri te o f Spr ingand Carmen, and the St. Petersburg Rimsky-Korsakov Theatre of Opera and Balletwith the production of Don Qu i xo t e.

Fragile Yet Free- Heather Benes McGadie

The performance St ruc tu res o f I ns tab i l i t y Fra i l , created through the co-collaboration of guest choreographer,Canadian-born and Norway-based Karen Foss with young Czech company Nanohach challenges our senses through itstreatment of performeraudience relationship and choreographic structure, its combination of movement styles and itsaudio-visual impact.

Dance Memories of th e Future

- Nina VangeliThe newest work of Petra Hauerovand her company TOW, Tur ingMach ine, premiered in the Ponec dance theatre.The laser choreography was a smash success and reaffirms the young artists World class talents.

PDF vytvoeno zkuebn verz pdfFactory www.fineprint.cz
http://www.fineprint.cz/http://www.fineprint.cz/


2/26

Jarmila Je#bkov Choreo graphy Awar ds 2005- Jana Nvratov

This years winner of the choreography award went to the versatile young Czech artist, Lenka Bart#kov, who has astrong stage presence and charisma, and who used both an oratoria and French chanson compositions of contemporaryCzech composer Sylvia Bodorov for her dance pieces.

PUPPET THEATREPuppet Theatre Highl ights At Home and A broad- Nina Malkov

A brief look at the world of puppet theatre at home and abroad: the new space in the Minor Theatre in Prague; newpuppet productions of ANPU and Na%ve Theatre in Liberec, reviews of puppet festivals and more.

MUSIC THEATRENews and Reviews o f the World o f Opera and Music Theatre in the Czech Republ ic- Lenka aldov

The newly renovated Reduta Theatre opens in Brno; the National Moravian-Silesian Theatre in Ostrava presentRusalka;and a list of anticipated premieres from the upcoming season.

EXHIBITIONSCzech Theatre Related Exhibi t ions of Touring the World

The Theatre Institute undertakes the creation and curating of exhibits related to Czech theatre. Currently, there aretheatre exhibitions touring the USA, Russia, South America and Germany. The preparations of the Prague Quadrennialare also well underway with a total of 55 countries registered!

OTHER NEWS AND IMPORTANT INFORMATIONHistory Repeats Itsel f - Pragues Globe Theatre Burn s to th e Ground- Don Nixon

A replica of the Globe Theatre in the VystavtExhibition Grounds in Prague burned to the ground on November 11th,2005. The cause of the fire is under investigation.

Stat ist ics on Culture 2004- Don Nixon

The Czech National Information and Consulting Centre for Culture (NIPOS) have recently published a statistical analysisof cultural events and services in the Czech Republic. The study provides comprehensive information comparing themost recent data collected in 2004 to that of previous years (2000-2003) in all observed cultural fields. The data itself istaken from the reports that have been approved by the Czech Office of Statistics.

Musica Nova Comp eti t ion Results Are In- Don Nixon

The international jury of the MUSICA NOVA 2005, conducted by the Society for ElectricAcoustic Music of the CzechRepublic selected the winners who were not only Czech artists, but also several young international artists fromSlovakia, Australia and Portugal.

Czech Synchr onized Swimmer Playw right Making Waves Arou nd the World

- Don NixonIn the past issues of the Theatre.cz bulletins, we have informed you about the new play by young Czech playwright,David Drbek. With his successful production of his play Aquabe l le s (Kuns t s chw im mer ) ,he has also grabbedthe attention of the Polish and German theatre communities.

Teatro.cz Czech Season in Latin America Comes to a Close- Sodja Lotker

The Theatre Institute in Prague showcased Czech artists in theatres and festivals throughout Latin America in its 2005project, TEATRO.CZ.

New Projects Add ed to the Czech Produc t ion and Project Catalogue- Don Nixon

The Czech Theatre Production and Project Catalogue is the Theatre Institutes on-line catalogue of Czech productionssuitable for touring to foreign destinations. More than 50 dance, experimental theatre, puppet theatre and operaproductions are included in the catalogue.



3/26

FESTIVALSA Samp le of Theatre and Dance Festivals and Showcases- Don Nixon

Here is a list of festivals happening around the Czech Republic this winter, as well as a preliminary list of thoseannounced for Spring and Summer 2006.

Editor:

Don Nixon

Contributors:

Sodja Lotker, Don Nixon: Experimental TheatreJana Navrtov, Roman Vaek: Dance

Marie Reslov: Theatre / DramaNina Malkov: Puppet TheatreLenka aldov: Music Theatre

Pavel Vokat: Webmaster

Consultants:

Mirka Pot&)kovVlasta Smolkov

theatre.cz bulletinis published four times annually, Theatre Institute Prague, 2005.Back issues of the theatre.cz bulletincan be downloaded from BULLETIN SECTION of theatre.cz.



4/26

b u l l e t i n 3/05

THEATRE / DRAMACyrano d e Bergerac- Marie Reslov

The Nablizko Theatre in Prague presented a minimalist version of Rostands heroic comedy Cyranode Bergerac. The production, directed by t#pn Chaloupka, was traditionally staged by the theatrescompany of actors who are all come from the same generation. The production benefits from theimaginativeness of the script, creating a prime opportunity to explore the use of the word, the poetry,the delivery and the humour found in the drama of the story.

With the assistance of Kateina Mocov, Chaloupkas adaptationofCyrano is sufficient with a cast of only eight performers. Fiveactors alternate the smaller characters, but the actors whoperform the major roles of the central triangle (Cyrano, Christianand Roxanne) remain unchanged. As well as owing to the well-defined performances of the cast, the stage - a simple, angular,multi-levelled iron construction with a platform protruding in thecentre - is unexpectedly transformed into a variety of settings.This particular scenographic characteristic is also used with the

costumes slight alterations in details were enough to indicate the costume changes of thecharacters.

The fundamental principle is the openly acknowledged and performed play about a play: the joy oftheatrical intrigues, mistaken identities, and trading roles are the main features that are performed byall the actors. Nonetheless, all performances are undoubtedly dominated by Lubor plchalsinterpretation of Cyrano. Cyrano is a burly, young man; not foreign to any of lifes joys - including thepoetry and the magic of an imagination that also provides him with a strong passion for good food anddrink. A bruiser who savours the simplicity of every brawl. With exquisite detail, often found in theworld of film, his face is a truly realistic mask, not only because of his expressive nose, but alsobecause of his red blemishes. It seems more apparent that he cares more for the beauty of the soul.plchals strong acting talent rests primarily on his vivid recitations, by his natural sentiment ofhumour and paradox of the situations, and the attractive velvet-like husky and manly colour of hisvoice

His discreet, outlandish personality perfectly blends in with the notion of the tender bruiser, Cyrano.

Nablizko Theatre (Divadlo Nablzko): Edmond Rostand Cyrano de Bergerac (Cyrano)Translation Jind#ch Pokorn, direction - tpn ChaloupkaCzech premiere - September 28, 2005Photo courtesy of the Nablzko Theatre website.More information: http://www.divadlonablizko.cz/

http://www.divadlonablizko.cz/http://www.fineprint.cz/http://www.fineprint.cz/http://www.divadlonablizko.cz/


5/26

The Wild Duck- Marie ReslovHenrik Ibsens The Wild Duck, directed by Jan Nebezk at the Theatre on Dlouh, is this seasonsfirst premiere that cannot be overlooked. The production contains all of the remarkable attributes ofNebesk s previous interpretations of Ibsen beneath what the characters externally present, the

underlying layer of old wrongs, the secret dependencies and ill characteristics ruthlessly that appear.

This time however, the director peered into the story in yet an even more contrasting light than he hasdemonstrated before perhaps in relation to the metaphorical and the real blindness of his characters and brought his grotesque situations to a climax.

Together with set designer Jan t#pnek and costume designer Jana Prekov, Nebesk presents theIbsen characters as pieces of a tasteless, defunct environment literally coated with filth. Fake leatherfrom the Socialist era, formless shapes, cheap luxuries, tiles, sweatpants, worn-out uniforms and beerbottles At a glance, the homely people remind us of insects running in all directions.

The depressing grotesque of Nebesks production is mostdistinctly characterized by his casting of Jaroslava Pokorn in

the role of fourteen-year-old Hedwig (Pokorn is old enough tobe a grandmother). Hedwig, in her wrinkled skirt and sweatshirt,is a large, formless child with a heart of gold. Where adultschoose a lie of self-preservation, she confronts the truth with thegood nature of a simpleton. The actress delicately uses a child-like intonation and unwitting movements - the result of herperformance is exceptionally convincing. Her mother, GinaEkdal (Lucie Trmkov), is a persistent, hard-working and, inessence, sunny creature reconciling her fate. Like a fragilefemale bird, she protects her nest from the complex superior predator, Gregers, who bursts into actionwith his own aseptic truth. Jan Vondr%eks facial expressions, in the role of photographer HjalmarEkdal, are exceptionally repulsive. In his deformed padded costume, we are presented with an illusionthat he is a well-domesticated mealworm who has eaten mountains of butter. Old Ekdal, in sweatpants

stretched above his heroic navel, could easily represent a dung beatle in his insect kingdom, whilefactory owner Werle could extract himself as a cruel, foppish dung beatle hunter.

Nebesks production richly utilizes grotesque, sometimes clown-like, moments in the interpretationand adaptation of the plays setting. The direction succeeds in breaking the certain thesis of the Ibsenplay and bares the relationships of the characters. It partly arises from the possible compassion of theaudience. The symbolic-poetic metaphor of the Ekdal father and sons imaginary hunt of the caged,injured, wild duck, that at the same time becomes the motivation behind Hedwigs resulting suicide, isonly one of the cruelly grotesque episodes.

Theatre on Dlouh (Divadlo v Dlouh): Henrik Ibsen The Wild Duck (Divok kachna)Translation - Frantiek Frhlich, direction - Jan Nebesk, stage design - Jan tpnek, costumes -Jana Prekov, dramaturgy - Kate#ina avlkov

Czech premiere - September 13, 2005Photo courtesy of the Theatre on Dlouhs website.More information: http://www.divadlovdlouhe.cz/index.php?show=engl

http://www.divadlovdlouhe.cz/index.php?show=englhttp://www.fineprint.cz/http://www.fineprint.cz/http://www.divadlovdlouhe.cz/index.php?show=engl


6/26

La devo cin de la cruz- Zdenk Ho#nekThe City Theatre of Brno presented a new production of Calderons La devocin de la cruz (Devotionto the Cross - Znamen k#e),directed by Hana Bureov. The play is relatively unknown here in theCzech Republic, but the production, like the text itself, unites the genre of the adventurous comedy of

the sword and the shield with the secular Spanish auto sacramental drama in a very original way.

This is a tale of passion: a young woman, Julia, falls in love witha man who is despised by her family and who later murders herbrother in a duel. The story comes to life through the narration,stage action and identification of the symbol of the cross. Thesymbol of the cross is condemned by the final repentance ofJulias sinful lover and by her own miraculous redemption. Tenyears ago, director Hana Bureov successfully staged one ofCalderons other plays, "El magico prodigioso,at the NationalTheatre in Prague. However this time, she found an impressivestage expression for the unusual tale by using a strange

mileaux of genres and an extreme display of mortal passion.

The Baroque-like escalation of contradictory situations, moods and attitudes was projected onto theblack and white colouring of the stage and costumes, as well as by the actors imaginative stylizedperformances. The scenographic design contains moving stage components and backdrops that fulfilla role of Claudel-like curtains, walls and ramparts instruments and symbols that are hidden,separated, and imprisoned.

Brno City Theatre (Mstsk divadlo Brno): Calderon Devot ion to the Cross (La devocin de lacru z) (Znamenk#e)Translation Vladimr Mke, direction Hana Bureov, dramaturgy tpn Ot'enek, Stagedesign Milan David, music Vladimr FranzCzech premiere September 10, 2005-11-04

Photo courtesy of the Brno City Theatre website.

More information:http://www.mdb.cz/index.php?j=2&PHPSESSID=3db2d1d0434a73c3d9176bb2d806923a

http://www.mdb.cz/index.php?j=2&PHPSESSID=3db2d1d0434a73c3d9176bb2d806923ahttp://www.fineprint.cz/http://www.fineprint.cz/http://www.mdb.cz/index.php?j=2&PHPSESSID=3db2d1d0434a73c3d9176bb2d806923a


7/26

Help in the ezn ic kTheatr e- Kamila %ern

Czech film director Alice Nellis, who received the Silver Lion for her film Vlet (Some Secrets),hastried her hand at directing theatre several times. After the hit theatre production of Perfect Daysat theTheatre on the Balustrades and Martin Shermans When She Danced(an audience favourite at the

Bez Zabradl Theatre), Nellis surprised her audiences by selecting Gyrgy Schwajdas Help (Pomoc) -a Hungarian text from the end of the 1970s. In the play, we are taken back to the half-forgotten era oftotalitarian street commissions and informing on fellow neighbours. The play was performed in thesmall underground space of the Theatre on 'eznick.

In the 'eznick production, the contemporary reference of socialist reality is not as clear as in thedramatic study: the arrangement is suppressed, incidently similar to that reality in Hungary. However,the strong dramatic image of absurd bureaucratic mechanisms remains, along with the feelings ofpower (and lack of power) that are still apparent today.

Neighbourly assistance makes an impact on the life of the central two characters of the play, Jokaand his wife Aranka an impact like a natural disaster. An accusation, that Joka tyrannizes his wifeand children, surfaces. A bizarre merry-go-round of sanctions plotted by the socialist institutions

begins to turn. However in their own implications, the institutions hold Aranka liable for the actionsinstead of Joka, thus liquidating their fundamentally strong, although substandard, marriage. Theunique shared common fate of both husband and wife, in a way stronger than their explicitypronounced love, is one of the most expressive motifs of the production.

Every morning over breakfast in their gloomy kitchen, Aranka (Martha Issov) in a stammering, slow,monotone voice tells her husband what kind of mischief he got up to the night before. Joka (Filip)apka), who cannot remember anything, repeats what Aranka has said in utter astonishment. He doesnot apologize, nor make any promises, and acts as though he had nothing in common with the latenight hooligan. Stereotypically, the situation repeats, the same sentences, the same gestures and thesame phrases. The intensity of Jokas case continues to grow, only with the strengthening pressureon the side of the bureaucracy

It appears to me that what is perhaps most valuable in Alice Nellis production is what remains in thebackground and is not blatantly stated. In addition to the absurd incidents of the neighbourlyassistance and the continuing wilfullness of the bureaucracy, we follow Joka and Arankasrelationship as it oscillates between violence and love. Thanks to the precise direction and theperformances of the main actors, this production is a chamber play about the impossibility ofcategroizing feelings and the courage (or inability) to admit it.

Theatre in )eznick (Divadlo v )eznick): Gyrgy Schwajda: Help (Pomoc)Translation Kate#inaPoov, direction and design Alice Nellis, Stage design: Adam Pitra, Costume design: Eva Pitrov.Czech premiere October 10, 2005Photo courtesy of the Theatre in )eznick website.More information: http://www.reznicka.cz/

http://www.reznicka.cz/http://www.fineprint.cz/http://www.fineprint.cz/http://www.reznicka.cz/


8/26


DANCEIntrodu ction to the 2005 Czech Ballet Season Roman Vaek

The first three premieres that took place during the ballet season were performed by smaller regionaldance companies. The ballet productions include The Dance of Four Fragrances (Tanec 'ty#v+n)in)esk Bud#jovice, Coppliain st nad Labem and the new balletAndersenin Liberec.

The first ballets of the season were staged by the smaller regional companies. On

October 7th

, 2005, in the South Bohemian Theatre in )esk Bud#jovice,choreographer David Slobapycky of the chamber ballet presented his productionof The Dance of the Four Fragrances (Tanec 'ty# v+n). The ballet performancewas presented together with Albert Lortzings opera Die Opernprobe (Zkouka naoperu). For his one act performance, the choregrapher selected music of JosephHaydn.

Photos courtesy of the South Bohemian Theatre website.http://www.jihoceskedivadlo.cz/repertoar/porad.html?qid=120

The premiere of the classic ballet production of Copplia, composed by Lo Delibes,

occurred on the same day in st nad Labem. The traditional staging is the work ofthe Head of the Ballet Department of the st nad Labem Theatre, Vladimr Ne%as,and designer Josef Jelnek.

More information at: http://194.108.147.90/php/internet/en_texty.php

Choreographer and director Gustav Skla chose the 200 thanniversary of thebirth of Hans Christian Andersen as the theme of his ballet production,Andersen, that premiered on October 14, 2005. The famous Danish fairytalewriter, his life-long loves and his artistic inspiration are all a part of the pieceprepared for the F.X alda Theatre in Liberec. As is common in the works of

Gustav Skla, he combines dance with sung passages and this time hasinvited the attractive Michal tpa from the National Theatre in Prague as guestsoloist. Although one cannot deny that several ballet passages are impressiveand effectively dreamlike, An overlying helplessness and choreographicsimplicity dominates the series of situations. Petr imek, in his matureremarkable condition, performs the title role.

More information at: http://www.saldovo-divadlo.cz/page.php?id=10&idp=69

http://www.jihoceskedivadlo.cz/repertoar/porad.html?qid=120http://194.108.147.90/php/internet/en_texty.phphttp://www.saldovo-divadlo.cz/page.php?id=10&idp=69http://www.fineprint.cz/http://www.fineprint.cz/http://www.saldovo-divadlo.cz/page.php?id=10&idp=69http://194.108.147.90/php/internet/en_texty.phphttp://www.jihoceskedivadlo.cz/repertoar/porad.html?qid=120


9/26

Attract ive Guest Art ists from Slovakia and Russia Roman Vaek

Two famous ballet companies visited Prague in October: the State Theatre of Koice with their balletproductions of The Little Prince, The Rite of Spring and Carmen, and the St. Petersburg Rimsky-Korsakov Theatre of Opera and Ballet with the performance of Don Quixote.

http://www.planetaru.com/en/theat/rims/index.shtml

Guest performances enriched this years dance season in the cities of Prague and Brno. On October23rd, the State Theatre of Koice (Slovakia) performed The Little Prince, an original balletinterpretation creating a a small breakthrough with the original music of Czech composer MichalPavl%ek. The new ballet was presented together with two one-act productions of The Rite of Springand Carmen. All three ballets are works of the Artistic Director of the Ballet Department of the Koicetheatre, Ondrej oth, whose has also worked in the Czech Republic.

Great emphasis in the production of The Little Princewas placed onthe large film projection. In spite of this, oth did not succeed inrevealing Saint-Exuprys well-known tale. His interpretation of TheRite of Spring, with the absence of an ingenious dramaturgy,

enthralled the audience with great dance dynamics and excellentperformances of the entire company. The evening culminated withoths reworked adaptation of Carmen (the original productionpremiered in the 1990s in st nad Labem). In this piece, oth

surprised us with the diversity of the choreography as well as with the cleverness in the discovery ofthe ballet soloists. The emphasis of rhythm was a significant motif in this production: the prevailingmusic of George Bizet and Radion %edrin was outlined by the resounding sound of drums.

The other anticipated guest performance took place on October 26 in Prague and October 27th inBrno. The Rymsky-Kosakov Theatre of Opera and Ballet from St. Petersburgpresented Don Quixote, choreographed by Nikita Dolgushin. Soloists from theMariinsky Theatre, Michail Lobuchin and Irma Nioradze, performed the mainroles of Basil and Kitri. In spite of its expectation, the production was a ratherconventional staging with a lack of additional comical characters and situationsand the performances of the ensemble were quite standard. However, the twostars of the Mariinsky Ballet received an uproarious ovation for the final pas de deux.

http://www.planetaru.com/en/theat/rims/index.shtmlhttp://www.fineprint.cz/http://www.fineprint.cz/http://www.planetaru.com/en/theat/rims/index.shtml


10/26

Fragil e Yet Free- Heather Benes McGadie

The performance Structu res of Instabil i ty Frail, created through the co-collaboration of guestchoreographer, Canadian-born and Norway-based Karen Foss with young Czech company Nanohachchallenges our senses through its treatment of performeraudience relationship and choreographic

structure, its combination of movement styles and its audio-visual impact.

Multi-textured yet coherent, genuine yet revealing ofthe human capacity for superficiality, poignant yethumourous in places, the performance deals with thetheme of human fragility in some of its many guises.This is done not through highly abstract movement northe recounting of a narrative, but by producing a richblend of the moderately abstract and thoroughly realgesture and behaviour of the individual as he/sheexperiences different levels of psychological andphysical instability.

The performance unfolds as a series of glimpses at individuals, couples and groups reflectivemeanderings and exchanges between themselves, each other and the audience. The performers areintroduced one after another. They skirt the outer edges of the stage space with movement of varyingdynamics which recognisably expresses their sensitivity spanning a subtle stream of moods colouredwith anxiety, uncertainty and insecurity on the one hand, and determination, false confidence, burstsof nonchalance and courage on the other, and many nuances of all of these: the movement iscomplex yet familiar to the spectator as a human being, regardless of the extent of his/her experiencewith dance. Each time an interpreter reaches the front of the stage and is faced with the proximity ofthe audience, on whom there is some light from the rows of giant, suspended lightbulbs which light thestage and continue above the audience, there is an effort by the dancer to initiate a dialogue with the

latter. The efforts are both verbal and nonverbal and have varying degrees of success. Discerningaudience members are thus drawn into the action on stage right from the start, and their more activepresence is maintained throughout the piece by the confrontation and approaches of the performers,the choice and source of sound and the use of lighting. The dancers progress through groupchoreography, solo and duet work, picking up impulses from each other and from the audience,helping and hindering one another and always exposing weaknesses to a greater extent thanstrengths. Strength in this piece is in fact shown only in the form of bursts of artificial extravagance,which in places take the form of moments of jazz-based choreography reminiscent of the showbizpizazz of the musical, in places feature in the soundtrack, and in places are something more personalin the expression of the performer.

Karen Foss explained that the concept arose partly from a desire to put a political voice into the piece;she sees it as political in itself to allow oneself to be PERSONALLY present on stage and therefore

vulnerable before the audience. It also partly arose, said Karen, due to the fragility of the artistscollaborating as a result of the Company not knowing the choreographer and vice versa at the start ofthe rehearsal period. Karen admitted she was initially surprised that Nanohach was not underobligation from the project supporters to meet strict criteria regarding the concept. In Norway, it seems,funders attend performances and are interested in whether or not the artists are truly working toachieve the goals they stated on their applications for support. This is a predicament which is unknownin the Czech Republic. I say predicament with tongue-in-cheek, but I believe it is a highly positive stateof affairs that artists are valued sufficiently by funders for them to take such a strong interest in theresults achieved and presumably to give future support to those who reach their goals.

The political voice mentioned, then, is present in the very theme of the piece. It also manifests itself inspoken text, part of which was pre-recorded and added to the soundtrack, and part of which is spokenby the dancers live on stage. It deals with issues of human beings responsibility for one another s

welfare and support, and a recurrent issue is one which concerns the majority of artists in society:namely how to survive materially in a material world which does not treat the production of



11/26

performance art as a skill to be rewarded financially as are professional skills and business acumen inother fields. The dancers profess to being constantly tired. I like to give,but I also like toreceiveand I also have to be paid for my work says Martha Trpisovska quite frankly toward the endof the piece. One would think it obvious to society, and yet unfortunately, as was discussed in theprevious issue but one of Tanecni Zona, the majority of performance artists cannot survive by pursuingtheir profession alone.

The saying Man cannot survive on bread alone springs to mind. Artists know this only too well; whatconcerns them is that Man cannot survive without bread! The performers in this piece then, ponderthe questions of where responsibility for this error lies, and if those in power do not take it on, thenshould we support one another? What is more, for man in general, and not only for artists, where isthe shame in admitting to ones frailties? After watching Structures of Instability, I was compelled tolook around me and assess the human condition in this respect, and I concluded instantly that it is atrait of the majority and not the minority, to be prone to instability.

Used with permission of the Tane'n znamagazine.For more information about obtaining a copy, contact [email protected] or visit thewebsite (currently in Czech) at www.tanecnizona.cz

NANOHACH Dance Company/Karen Foss: Structures of Instability - Frail, choreography KarenFoss.World premiere September 28, 2005Photo courtesy of the the NANOHACH dance company.More information: http://www.nanohach.cz/

mailto:[email protected]://www.tanecnizona.cz/http://www.nanohach.cz/http://www.fineprint.cz/http://www.fineprint.cz/http://www.nanohach.cz/http://www.tanecnizona.cz/mailto:[email protected]


12/26

Dance Memori es of the Future- Nina VangeliTur ingMachine, the newest work of Petra Hauerovand her company TOWpremiered in the Ponecdance theatre this fall. The laser choreography was a smash success!

The long awaited premiere of the new work by choreographer Petra Hauerov and her company TOWwas met with great anticipation. Petra Hauerov received the Sazka award for contemporarychoreographers in the category dance discovery for her previous work, Night Moth (No'n m+ra).This support prize provides young creators with an investment toward the development of their newworks. Night Moth was truly a discovery, with its own multimediality, cosmic imagery and non-dance performance aspects that distinctly varied from everything that was to be seen on thecontemporary Czech dance scene at that time. It promised thrills as well as resistance. Along thesesame lines, Hauerov and the entire company of TOW confirm that with the new work,Tur ingMachine,they have taken themselves even further the investment into their talent was wellspent. The premiere was a definite, convincing success.

Like Night Moth, Tur ingMachineis played out somewhere in a laser Utopia. This time, however,the space is not only sombre and eery, but it also features a fascinating beauty. Travelling laser

elements, circles and labyrinth-like illustrations projected on the stage, create a surprisinglycontrasting, fluctuating scenery; the secular theatrical illusion of space is ultimately conquered by atechnological inebriation (scenography Vladimr Bro, lighting Ji Mlek). The human body acquires amuch larger space on these cosmic crossroads, streets and antechambers than in the previousproduction. Three dancers (Petra Hauerov, Petra Brabcov, Veronika Kacinov), dressed likehomunculus, or artificially created human beings (costumes TOW, Chatty, Michal Cimala), cower in adusk-like atmosphere; above each, her own rippling coloured circles precisely drawn by a laser.

In this dusk, they appear as naked, sand-covered relics that have been excavated from Pompei andwho have just awakened in a new life, leaning above them three energetic wells or mirrors. In the shortintervals of light, the dancers transform into almost ethereal shadows that have been left on the wallsof their home after a nuclear explosion; through an optical illusion created by the laser, the dancersastral twins loom alongside themselves. One of the most interesting and characteristic sequences (in

terms of this choreographers style) is the etude of the pallid, long, oversized, reclining homunculus.The figure has a female bosom, long hair and over-stretched artificial legs. Spastically, the wavelikemovements of the chest and hair and the geometric spikes of ingeniously stretching legs create amermaid-like third type of creature.

The main ingredient of this piece is its naturalness, with which all expressive elements organicallyflow. This also applies to the music (David Vrbk) we percieve the music as an adequate, non-violentenvironment of sound. The performance does not lack even a drop of humour it ends with a cosmicjoke that would be perhaps impolite to give away. I consider this performance a milestone;contemporary Czech dance art has now entered onto the world stage in perfect form with this piece.Its concept is original; it displays a capacity for multimedia ideas. It is extremely professional in allaspects. Together with this however, it does not lack fragility nor suspense its sophisticatedtechnique can collapse in a moment just like a tightrope walker under the dome of the circuses; the

human body must win in the survival of technology. In the struggle between the human body andtechnology, the body joins forces with the cosmos to open up and distort a hidden psychologicaldimension that technology cannot perhaps discover alone, but in spite of this, it eventually helps tofind it in a roundabout way.

Petr Hauerov/TOW: TuringMachine, choreography: Petra Hauerov, scenography: Vladimr 518,Lights: Ji# Mlek, costume design: TOW, Chatty, Michal Cimala.World premiere November 8, 2005



13/26

Jarmi la Je#bkov Cho reog rap hy Awards 2005- Jana Nvratov

The sixth annual Jarmila Jebkov Choreographic Competition took place in November 2005. Thecontest is geared towards young choreographers from Central and Eastern Europe younger thanthirty-five years of age. Its aim is to awaken the consciousness of bilateral cultural ties, the common

roots of the different cultures, and the historical experience of the young contemporary dance artistsand contribute to the beginning careers of the young artists. The basis of the contest is fixed on thework of a contemporary music composer. This years contestants had to base their dance creations onthe composition of Sylvia Bodorov.

The international jury observed fourteen choreographic works. Firstplace was awarded to Lenka Bart#kovof the Czech Republic, whopresented two solo pieces. Both creations proclaimed that Bar+.kov isa mature artist with clear and precise articulated intentions andachievements. She has the ability to create a piece that confines theuniverse within her.

The choreography Libera me (photo above),based on an oratorium byBodorov, was worked as an oppressive dramatic solo, inspiring thegestures of the historic emperors and commanders. Yet at the sametime, the young artist was able to embody the theme of the destructiveinfluence of blind faith through the gestures. The second, freechoreography, Caf (photo left),was performed to a melody of Frenchchansons and very stylishly different from the required composition.

A light playfulness and inventiveness, together with a strong stage presence and charisma, are otherqualities of this young hopeful Czech choreographer. Lenka Bat+.kov is a graduate of the DuncanCentre Conservatory in Prague and recently graduated from the Folkwang Hochschule in Essen,Germany.



14/26


PUPPET THEATRECzech Puppetry At Home and Abroad and in Brief- Nina Malkov

News about the world of puppet theatre at home and abroad: new space in the Minor Theatre inPrague; new puppet productions of ANPU and Na0ve Theatre in Liberec and more.

PragueA new small multi-purpose hall has been opened on the 1st floor of the Divadlo Minor building with a

seating capacity of 100, and complete with rehearsal and utility space for actors! The Small Theatre atDivadlo Minor should function as an alternative for the large hall. Apart from its own domesticprojects, the theatre is also planning a major international project entitled Cultural Alchemy, which willalso involve theatres from Ireland, Poland, Lithuania, Estonia and Latvia. Each of the theatrecompanies will create a production based on the theme express your culture, which should becomprehensible for international audiences.

ANPU is the name under which the independent group led by Bela (Isabela) enkov has beenperforming for several years now. The company has embarked on a clever adaptation of Viktor Hugosnovel The Hunchback of Notre Dame and premiered on October 28, 2005 at the new Lighthousecommercial development area in Prague. The artists utilized various elements of puppet theatre,maskwork, and commedia dell arte to create a moving, amusing yet haunting piece about thelegendary character. Special note must be given to Mat#j Forman and Adriana Sklov whose

beautiful trade-mark set design uses simple effects to create stunning results.

VOHis a theatre college based in Prague-Michle. The first premiere of the new school year was theproduction About Gulliver (or about potatoes?), or, put together by the pupils of this school withthe help of director Karel Broek.

LiberecNa0ve Theatre Liberecs production of Tristan and Isolde took away one of the three main prizes atthis nationwide festival for theatres outside Prague, Czech Theatre 2004-2005 for the mostremarkable achievement of the 10th year of the festival.

More information and photos of the production can be found on the Na 0ve Theatre Liberecs website:http://www.naivnidivadlo.cz/ndl.html

OstravaThe 6th year of the international festival Spectaculo interesse in Ostrava came to an end onSeptember 24th, 2005. The review of the festival, including responses from spectators from the CzechRepublic and abroad, is contained in Puppeteer 6/2005. In addition, the winner of the Grand Prize andthe Spectators Award during this years festival was Eduaurdo de Paiva Souza for his originalproductionANGEL- a true discovery for the festival.

More information can be found on the Puppeteer website:http://www.theatre.cz/loutkar/english/index.htm

http://www.naivnidivadlo.cz/ndl.htmlhttp://www.theatre.cz/loutkar/english/index.htmhttp://www.fineprint.cz/http://www.fineprint.cz/http://www.theatre.cz/loutkar/english/index.htmhttp://www.naivnidivadlo.cz/ndl.html


15/26

Puppet Festival Reviews

The end of the summer had an abundance of festivals including the 2nd international showcase ofnew circus, theatre, music and visual art, Summer Letn, which took place from August 22 nd toSeptember 4th. The adult production that was of great interest and audience success was CaravanEvropa by the Vosto5 Company. The festival was held however at the same time as the Vyehrtky

Festival from September 1

st

to 11

th

at the historic site of Vyehrad in Prague, and includedperformances by the recent graduates of KALD the Department of Alternative and Puppet Theatre.This showcase of festivals concluded with the 12th showcase of theatre, music, dance, literary, art andother alternative culture, Next wave.

Olomouc was the setting for the well-known )echova Olomouc (Chekhovs Olomouc), non-competitive festival of amateur puppet-theatre companies that included the participation of manyamateur puppet-theatre ensembles from Moravia and Bohemia. The festival took place this year onthe weekend of November 12thand 13th.

A Retrospective of the One Flew Over the Puppeteer Festival

In 1991, the puppet showcase One Flew Over the Puppeteers Nest was created on the initiative ofthe then-chairman of the Czech Centre of UNIMA. His objective was not only to rejuvenate the Czechmembers of the international puppetry organization, but also provide the public an opportunity oflearning more about Czech puppet theatre. The showcases first year took place in rather modestconditions and was considered a great success. Over the next fifteen years, many personalities havealternated the roles of the management of the One Flew Over the Puppeteers Nest. The fact remainsthat this confrontation of the works of professional and amateur puppeteers has won a distinguishedplace among theatre festivals.

More English reviews of this and past years festivals, as well as a complete list of the ERIK Awardrecipients, and information about UNIMA can be found in the latest edition of Loutk# (Puppeteer)Magazine, Issue 5/2005. The periodical is one of the oldest publications for puppeteers and has beenin existence since 1912. The magazine also contains more photographs as well as accompanying

texts.

For more information about obtaining the magazine, or inquiries about subscriptions, can be directedto Nina Malkov or Klara Lichtagov: [email protected] or visiting the Puppeteer website:www.divadlo.cz/loutkar

mailto:[email protected]://www.divadlo.cz/loutkarhttp://www.fineprint.cz/http://www.fineprint.cz/http://www.divadlo.cz/loutkarmailto:[email protected]


16/26


MUSIC THEATRECity Theatre of Brno Alive with Music- L. aldov

Opening Reduta Vt Zouhar: Der Zauberflte zweiter Teil (Noci dn em)

After twelve years, the renovated Reduta (photo left) has once againopened in Brno the history of the theatre dates back to the 17th century. Aglass elevator dominates the modern polished foyer; the red walls shine

with freshness in the Reception Hall (Slavnostn sl). As is typical forarchitect Miroslav Melena, the auditorium can accommodate a socialprogram for all companies of the National Theatre in Brno drama, balletand opera.

The production of Zouhars opera Der Zauberflte zweiter Teil(Noci dnem)is remarkable: a clever, amusing opuscule that demonstrates how

colourfully and emotionally rich minimalist music can be. The composer borrowed the basis of thestory from J.W. Goethes Der Zauberflte zweiter Teil, but condensed the text of the libretto into short,concise and striking replicas. In addition, he affectedly amassed twelve different scenes and retainedthe basic nature of the characters as Mozart had originally intended. Slovenian director and designerRocc had a strong grasp of Zouhars sense of exaggeration and understood the basic minimalistmusical gesture: he does not psychoanalyze, but in the simple space (the floor was covered with sand

and one wall) develops the play through shapes and colours associative, eye-catching blue and goldtheatre.

In addition, three world famous musicals were staged at the Brno City Theatre this fall Oliver!,Ginger and Fred, and Jesus Christ Superstar.More information: www.mdb.cz

Dvo&ks Rusalkain OstravaA remarkable production of Dvoks Rusalka (photo right) was staged at theNational Moravian-Silesian Theatre in Ostrava. The flawless musicalproduction includes first-rate artists, such as Gianluca Zampieri and LucianoMastro (as the Prince), Martin Gurba3(as the Water Sprite) and Eva Dzgov-Jiruov (as Rusalka). Director Lud#k Golat and his team of designers,

Jaroslav Malina and Helena Anov, created a fine-tuned performance withno inkling of any clich: their Rusalka is absorbing, fairy-tale like, butnonetheless, it is primarily a tale of humanity.More information: www.ndm.cz

Whats happening Anticipated PremieresThe Jan%ek Opera of the National Theatre in Brno is currently preparing Prokofjevs War and Peace.The production of Bohuslav Martin+s Greek Passion, directed by Michael Turant, will premiere in theNational Moravian-Silesian Theatre in Ostrava. And young Czech director Ji Heman, after hissuccess of Lamentiand The Flying Dutchman, is now engaged on a co-production with the NationalTheatre in Prague Benjamin Brittons Curlew River.http://www.ndm.cz/http://www.ndb.cz/http://narodni-divadlo.cz/

http://www.mdb.cz/http://www.ndm.cz/http://www.ndm.cz/http://www.ndb.cz/http://narodni-divadlo.cz/http://www.fineprint.cz/http://www.fineprint.cz/http://narodni-divadlo.cz/http://www.ndb.cz/http://www.ndm.cz/http://www.ndm.cz/http://www.mdb.cz/


17/26


EXHIBITIONSPrague Quadrennial Update

The Prague Quadrennial International Exhibition of Theatre Architecture and Scenography hasregistered an amazing 55 countries for this one of a kind event! New countries that will exhibit theirnational scenographic works include: Georgia, Malaysia, Ireland, Bosnia and Hercegovina, andArmenia.Details of the exhibition plans are outlined in the Circular that has been distributed to the nationalCurators.

If you are interested in contacting the Curator from your country, please contact:[email protected]

Prague Quadrennial is Coming Your Way!

An exhibition to promote the Prague Quadrennial first appeared at the World Stage Design in Torontoearlier this year. Now, as the PQ draws closer, this exhibit will travel throughout Europe to give thoseinterested in the world of stage design a glimpse of what took place in the last edition of the PQ in2003, and what will take place in 2007. The preliminary list of countries includes: Belgium, Spain,Great Britain, Slovakia, Serbia and Montenegro. A more detailed list will be made available at thebeginning of the new year.

Information about the PQ is updated regularly. Visit the website for more detailed information:www.pq.cz

Josef Svobod a in South America

As part of the Teatro.cz Project, the exhibition of world famous Czech scenographer Josef Svobodacontinues to the Espaco Escenografico in Sao Paolo, Brazil. The works of Svoboda will be presentedin the form of large photographs of his designs and stage productions, as well as original stage modelsand video projections. The exhibit will run from December 8, 2005 to January 29, 2006.

More information can be found at: www.teatro.czand www.espacocenografico.com.br

Petr Lbl: I am No Artist (Nej sem vtvar nk ...)"Continues to Munich

The Czech Centre in Munich and the Society for Bohemists will host the exhibition Pet r Lbl : I amno Ar tis t (Nejsem vtvarnk) beginning November 29, 2005 at the Czech Centre in Munich.The exhibit of the famous Czech director and all-round artist was curated by the Theatre Institute inPrague and has travelled to many eastern European cities over the past two years. The exhibitionportrays the life and work through a collection of photographs, designs, and artefacts from his theatreproductions. The young innovative Czech artist had a leading role as artistic director of the Theatre onthe Balustrades following 1989 and died in 1999.

More information, contact the Czech Centre in Munich: [email protected]

mailto:[email protected]://www.pq.cz/http://www.teatro.cz/http://www.espacocenografico.com.br/mailto:[email protected]://www.fineprint.cz/http://www.fineprint.cz/mailto:[email protected]://www.espacocenografico.com.br/http://www.teatro.cz/http://www.pq.cz/mailto:[email protected]


18/26

Last Chance to see Metaphor and Irony 2 in the USA

The exhibition, Metaphor and Irony 2, has been travelling to galleries and museums throughout theUnites States since August 2004 presenting the works of contemporary Czech scenographers. Artistsdisplayed in the exhibit include the pupils of Frantiek Trster from Prague's Academy of PerformingArts (AMU), as well as the works of the youngest Czech scenographic generation, who learned their

trade under the guidance of Trsters pupils. The final stop before the exhibit returns to the CzechRepublic is the Ohio State University-Limas Martha W. Farmer Theatre for Performing Arts Gallery inLima, Ohio, where the exhibit runs until December 10, 2005.

More information with photographs of the exhibition: www.theatre.cz/mai2

http://www.theatre.cz/mai2http://www.fineprint.cz/http://www.fineprint.cz/http://www.theatre.cz/mai2


19/26


OTHER NEWS AND IMPORTANT INFORMATIONHistory Rep eats Itself - Globe Theatre Burn s to the Ground- Don Nixon

The Globe Theatre in Prague, an exceptionally constructed replica ofLondons Elizabethan Theatre, burned to the ground in the earlymorning hours of Saturday, November 11th. Unlike its predecessorwhose cause was the result of an explosion from a cannon fired duringa performance of Henry VIII in 1613, the Prague blaze remains amystery. At the time of publication of the Theatre.cz Bulletin, the causeof the blaze is still under police investigation. The police have not ruledout the cause of the blaze to be arson nor homeless seeking shelter.

(Photo HZS Praha)

The Globe Theatre was built in 1999 in the Vystavt#Exhibition grounds inPrague. Since that time, the theatre suffered a short-lived and difficultexistence. After its opening, the theatre required additional reconstructionto resolve acoustic problems caused by the neighbouring Krizik Fountain.The August floods that swept through the Czech Republic made thetheatre practically unusable. However, the theatre spaces were used forthe Czech Theatre Architecture exhibit during the Prague Quadrennial in2003. There are currently no plans to rebuild the structure.

(Photo Praha.cz)



20/26

Statist ics on Czech Culture 2004- Don Nixon

The Czech National Information and Consulting Centre for Culture (NIPOS) have recently published astatistical analysis of cultural events and services in the Czech Republic. The study providescomprehensive information comparing the most recent data collected in 2004 to that from previous

years (2000-2003) in all observed cultural fields. The data itself is taken from the reports that havebeen approved by the Czech Office of Statistics.

The study contains reports in the following categories: Audiovisual Works Theatres, Galleries (Visual art museums, museums, and monuments) Music ensembles Observatories, planetariums and astronomical observation posts Libraries Non-periodical publications Periodicals Historical monuments

Publishers Exhibitions of Professional Graphic, Plastic Arts and Architecture

With respect to Czech theatre, the study contains statistical information about: Activity of Theatres and Theatre Groups in the Czech Republic 2000-2004 Selected Data from Statistical Reports on Theatre in 2004

For more information about obtaining your own copy in English, contact:[email protected].

mailto:[email protected]://www.fineprint.cz/http://www.fineprint.cz/mailto:[email protected]


21/26

Mus ica Nov a Compet i t ion Results Are In- Don Nixon

The Society for Electro-acoustic Music of the Czech Republic has recently announced the winners ofthe international Electro-acoustic Music Competition MUSICA NOVA 2005.

The history of the Society for Electro-acoustic Music goes back a long way. In 1969, the Studio forElectro-acoustic Music at the Czech Radio in Pilzen organized an international competition forelectronic music, entitled MUSICA NOVA. After a brief period of an optimistic development of electro-acoustic music in Czechoslovakia, the political situation in the country caused a halt to its progress.The production of electro-acoustic music had more or less completely come to a halt in the studios ofthe radio stations, and the only radio station that barely functioned was the Czech Radio station inPilzen. Electronic and computerized music was suppressed as it was in general discriminated andcould not be performed, broadcast on radio or television, and could not be released on LPs.

Since 1990, it was necessary to remedy the situation of the previous cultural development and stepswere taken to support the production of electro acoustic and computer music works throughcompetitions, which would certainly increase the interest of young composers. In 1992, the "MUSICANOVA '93" was prepared by the Society for Electro acoustic Music in the Czech Republic in co-

operation with the Czech Music Foundation and Czech Radio. Applicants were invited to participate inthe 25th anniversary of the founding of the experimental music studio at the Czechoslovak Radio inPlzen. The competition's requirements was inspired by the international competition for computermusic NEWCOMP (the competition held by the New England Computer Art Association), which runs inBoston (in America) and yearly has series of artistic competitions devoted exclusively to computer art.

This year, 111 pieces were submitted from 32 different countries, and the jury included:Rainer Brck (Germany), Lenka Dohnalov, Juraj 4uri (SR), Pavel Kopeck,Michal Kout, Rudolf R+i%ka, Milan Slavick

Category A - Compositions of Autonomous Art Electro-acoustic MusicFirst Prize: Petra Bachrat (Slovakia/Portugal) Nunataq

Honorary Mention: Robert Sazdov (Australia/Macedonia) Bogorodica 28.08

Category B - Compositions for Acoustic Instrument/Voice/Ensemble & Electro-acoustic Media)First Prize: Jo6o Pedro Oliveira (Portugal) A Escada Estereita

The Society for Electro-acoustic Music of the Czech Republic is supported by the Ministry of Culture ofthe Czech Republic, the Czech Music Fund, the OSA Music Foundation in cooperation with the CzechMusic Council and the Theatre Institute in Prague.

For more information, contact [email protected] or visit http://www.musica.cz/musnova

mailto:[email protected]://www.musica.cz/musnovahttp://www.fineprint.cz/http://www.fineprint.cz/http://www.musica.cz/musnovamailto:[email protected]


22/26

Czech Synchron ized Swimming Playwr ight Making Waves Aroun d the World- D. NixonIn past issues of the Theatre.czwe have informed you about the new play by successful young Czechplaywright, David Drbek, that is gaining a lot of attention on the international theatre scene with itsvarious translations. Recently, two new translations have grabbed the attention of the Polish and

German theatre communities.The play Aquabelles, which received The Alfrd Radok Foundation Award in 2005 for Best NewPlay, has been recently translated into Polish, Plywanie Synchroniczne. The first presentation of theplay in the form of a staged reading took place on November 19th, 2005, at the Jan KochanowskiTheatre in Opole, Poland, within the framework of the project ODRAMA - International Days of NewDrama. During the Czech Day, contemporary Czech drama was represented solely by David Drbekand improvisations based on the play and discussions with local artists and professionals were alsoheld.

More information in Polish can be found on http://www.teatrkochanowskiego.art.pl/

We have received news from the Dilia Agency that the prestigious Henschel Schauspiel Literary

Agency will also addAquabelles (Kunstschwimmer)to their 2006 catalogue of new plays. Each year,only 15 of the most successful new plays are represented by the agency, and are distributed to allGerman speaking countries and most of these plays are of Germany, Austria and Switzerland.Henschel Schauspiel Literary Agency also represents other Czech playwrights such as Jchym Topoland Petr Zelenka.

For more information about David Drbek or his plays, contact Luk Matsek of the DILIA LiteraryAgency - [email protected]

http://www.teatrkochanowskiego.art.pl/mailto:[email protected]://www.fineprint.cz/http://www.fineprint.cz/mailto:[email protected]://www.teatrkochanowskiego.art.pl/


23/26

Teatro.cz Czech Season in Latin America Comes to a Close- Sodja Lotker

Teatro.c z Season of Czech Theatre i n L atin Am erica 2005will come to a close at the end of thisyear. The project was organized by the Theatre Institute Prague with the support of the Ministry of

Culture of the Czech Republic, the Ministry of Foreign Affairs of the Czech Republic and the City ofPrague.

Teatro.cz is a showcase of Czech theatre and dance performances, exhibitions, lectures, and alsoincluded the publication of books and magazines. The project could be seen in several Latin Americancountries including Columbia, Argentina, Venezuela, Chile, Brazil, Mexico, and Bolivia. Each projecthas been met with great success, and has initiated future collaborative projects between Czech andLatin American artists that will be realized in the near future. The project is planned to continue nextyear with presentations and co productions in Costa Rica, Mexico, and Venezuela. A more detailedreport will be available in the next issue of the newsletter.

More information in Czech and Spanish can be found on the www.teatro.czwebsite.

http://www.teatro.cz/http://www.fineprint.cz/http://www.fineprint.cz/http://www.teatro.cz/


24/26

New Projects Added to the Czech Produ ct ion and Project Catalogue- D. Nixon

The Czech Theatre Produ ction and Pro ject Catalogu e is the Theatre Institutes on-line catalogue ofproductions suitable for touring to foreign destinations. Almost 70 dance, experimental theatre,puppet theatre and opera productions are now included in the catalogue.

www.theatre.cz/catalogue

The On-Line Project Catalogue is a useful working tool for international promoters, venue managersand festival organizers, and contains basic production about the project and the artists, as well asbasic information about the production, including the technical requirements of the productions, andthe number of artists travelling with the company.

An additional 8 new projects have been added to the catalogue. Simply click on the desired genre tosee the new companies that have been added!

1 New Experimental Theatre productions7 New Dance and Dance Theatre productions

The number of productions continues to grow, and information about the companies is continuouslyupdated. If there is a Czech company not listed in the Czech Theatre Produc tion and ProjectCatalogue, contact us.

http://www.theatre.cz/cataloguehttp://www.fineprint.cz/http://www.fineprint.cz/http://www.theatre.cz/catalogue


25/26


FESTIVALSA Sample of Theatre and Dance Showcases and Festivals- D. Nixon

The Festival Database of the Theatre Institute has been updated to help you locate festivals easilyand obtain more information. Each festival entry contains a short description about the festival inEnglish, as well as the contact information of the festival organizers. For a completelist of festivals,check out the database on the www.theatre.czwebsite:http://www.theatre.cz/adresar/default.asp?f=3&mn=1

Drama and Puppet Th eatre Festivals i n the Czech Republi c January March 20065.2. 12.2.2006GRAND FESTIVAL of Laughter(Grand festival smch)Organizer:V)D Pardubice, U Divadla 50531 62 Pardubicetel.: 466 616 411, 466 616 431, fax: 466 210 [email protected]://www.vcd.cz

18.2. 30.5.2006Festival of Slovak Theatre in Prague(Slovensk divadlo v Praze)Organizer:Bez zbradl TheatreJungmannova 31110 00 Praha 1tel.: 224 946 436, fax: 224 947 [email protected]://www.bezzabradli.cz

22.2. 26.2. 2006Little Inventory(Mal inventura)Organizer:Alfred in the Courtyard, Frantika Kka 36170 00 Praha 7tel.: 233 376 [email protected]://www.alfredvedvore.cz

1.3. 5.3. 2006OST-RA-VAR9th Ann ual Festival of Theatre from OstravaOrganizer:National Moravian-Silesian Theatre in Ostrava.)s. legi 14, 701 04 Ostravatel.: 596 112 [email protected] http://www.ndm.cz

http://www.theatre.cz/http://www.theatre.cz/adresar/default.asp?f=3&mn=1mailto:[email protected]://www.vcd.cz/mailto:[email protected]://www.bezzabradli.cz/mailto:[email protected]://www.alfredvedvore.cz/mailto:[email protected]://www.ndm.cz/http://www.fineprint.cz/http://www.fineprint.cz/http://www.ndm.cz/mailto:[email protected]://www.alfredvedvore.cz/mailto:[email protected]://www.bezzabradli.cz/mailto:[email protected]://www.vcd.cz/mailto:[email protected]://www.theatre.cz/adresar/default.asp?f=3&mn=1http://www.theatre.cz/


26/26

Other festivals in March (dates not yet determin ed)Festival of Theatre for 2-3-4 Actors(Festival divadla 2-3-4 herc)Organizer:KVIZ Teb%

Karlovo nm#st 53674 01 Teb%

tel.: 568 840 459, 777 622 [email protected]

International Day for Theatre for Children and Young People(P&ehldka ke sv(tommu dni divadla pro d(ti a mlde)20.3. 23.3. 2006Organizer:Divadeln stavCeletn 17110 00 Praha 1tel.: 224 810 [email protected]

http://www.divadlo.cz/assitej/
mailto:[email protected]:[email protected]://www.divadlo.cz/assitej/http://www.divadlo.cz/assitej/mailto:[email protected]:[email protected]

Documents

Hq9582_Complete Theatre CZ Bulletin 04-05