Wednesday, 6 th April, 2005

..........second festival editorial............
Orlando Bloom in Bravo Girl! Czech edition,
2/2005, page 4
you miss it, you’ll miss out! Probably you
won’t hear any deep thoughts there, like
that one in the beginning of this editorial,
but on the other hand - stories of the
older and more experienced members
of the tribe were always popular. Well,
the whole damned thing called theatre
evolved from it…
Silvie Šustrová, Editor in chief
P.S.: I had also resolved that I’m tired of
all that popularity and fame and I decided
to become a Shaolin monk. I mean it seriously - I’m going to devote to it a whole
week 4th - 10th April 2005!
P.P.S.: We would like to thank to the unknown benefactor, who left his issue of
Bravo Girl! in our editor’s room. He enabled us to reach the peace and calm during the Meeting Point preparations. Just
the Donkey is a little bit upset, because
someone stole the poster of Orlando
Bloom, which he likes very much.
pr
il 2
00
1.
5
The artists are a special kind. Sometimes I even doubt whether or not we
still belong to the Homo Sapiens Sapiens
family. Like yesterday, when we had to
help many of the redaction members
to save their files on the computer. But
I don’t mean only those practical things.
Sometimes I have a feeling that our
way of thinking is totally different. For
example, it’s no problem to telepathically
sense that the unhappily looking graphic
designer pacing about the editor’s room
is seeking the newest version of today’s
program and to then give it to him.
(Don’t think we have no system - papers
at the table are carefully parted into
areas: “I have no idea, what is that supposed to be, but it’s quite funny”, “I don’t
understand the point, but we should
publish it”, “Boring, probably important”
and “Changes of changes of yesterday’s
changes of changes”!) . But for instance
to think out a really functional system
of preparations of every Meeting Point
(thanks to which all the editors can just
sunbathe outside and which would give
enough time to the editor-in-chief to
write down a really meaningful and profound editorial, while tomorrow’s issue
is silently preparing itself almost without
our help), that is out of Homo Teatralis’
powers. The question is whether it’s a
sort of another evolution of humankind
or if we are that kind of dead end branch
like the Neanderthals and we are sentenced to an extinction, eventually to be
exhibited in ZOOs. In any case it’s heartwarming to know there are still so many
of us, that from time to time we can
organise an encounter of our tribes. And
because we are presenting that to the
public as an intercultural exchange, we
are even receiving money to do so.
Thanks to that, you have a chance
today to meet a leader of one of the
theatre tribes - JERZY STUHR, the rector of The Ludwik Solski State School of
Drama in Cracow, who is also one of
the recently most acknowledged Polish
actors (let’s mention at least movies
Sexmission and King Size - more info
at page 9). The discussion (translated
also to English) is going to take place at
the Theatre faculty of JAMU, room no.
104 at 17:00 (Change in off-program!). If
6t h a
„I’m tired of that popularity, frivolity and
fame. Now I have only one goal in front
of me. I want to became a Buddhist and
reach the peace and calm. I’m going to
devote the whole year 2005 to it!”
.1
.. . ... ... . .. . .. . .. . e
n c o u n t e r
. . . . . . . . . . . . . . . . . . . . t o d a y
11:00 marta
sergi belbel: THE BED
lodž
20:00 marta
tankred dorst: FERNANDO
KRAPP WROTE ME THIS LETTER
brno
THE POLISH NATIONAL FILM,
TELEVISION AND THEATRE
SCHOOL IN LODZ
lodz - poland
sergi belbel
THE BED
Director: Karolina Szymczyk
Set: Marcin Mostafa
Costumes: Anna Chaniecka
Cast: Kamila Klimczak, Weronika
Książkiewicz, Michał Rolnicki,
Przemysław Redkowski
Lenght of the performance: 90 min.
A young couple orders a new
bed to be delivered to their home.
Unfortunately the bed is delivered on
a day, when because of both personal
and professional reasons neither of
them can be at their apartment. They
make a decision: on the first night they
invite their friends - her girlfriend and
his friend who have never met before
- to „inaugurate“ the new bed. Their
.2
friends take them up on their offer and
the situation makes an unexpected turn.
The main prop and in the same time the
main character is as in the title - the bed.
The concept behind this experiment is
the acing abilities of the four actors,
who are made to act out their roles
in very short scenes, which are not
organised in chronological order. The
audience is forced to recreate the story
by associating the correct situations one
with another.
11:00
Marta
THEATRE FACULTY OF THE
JANÁČEK ACADEMY OF MUSIC
AND PERFORMING ARTS
brno - czech republic
tankred dorst
FERNANDO KRAPP
WROTE ME THIS LETTER
Director: Jolana Kubíková
Dramaturgy: Pavla Kadlčíková
Set and costumes: Marcela Chylíková
Music: David Smečka
Production: Markéta Jeřábková
Cast: Petra Bučková, Jan Grundman/
Martin Siničák, Martin Chamer, Hana
Řezníčková, Šárka Bilíková, Robert
Mikluš
Lenght of the performance: 100 min.
A relationship between a rich and
respected man, Fernando Krapp and
a girl Julia, who he „bought“ from her
bankrupted father, is the core of Dorst’s
play. But a third character, a poor Earl
becomes involved with the marriage
of these two people based on Krapp’s
power and manipulation. The love triangle evolving in the play is violated by
hidden jealousy and desire to evoke this
jealousy. How to deliver ones wife from
chains of a love affair and preserve a
face of an uncheated man? How to run
down your enemy in a most artful way?
How not to be involved in own passions
which could later lead into a vortex of
bottomless and deadly abbys?
A concept of adaptation of the play
arises both from Dorst’s text and from
a short story by Miquel de Unamun, on
which Dorst’s play is based. A production full of passion, outbursts and “crueltender“ is supported by monstrous
scenes of a manipulated crowd, filling
the streets and squares like in Germany
in the 30s. Scenic interpretation of this
drama is strongly underscored with music composed especially for the production. The music is based on a particular
concept, helping to highlight the atmosphere of the play, whose characters are
heading to a point of no return.
20:00
MARTA
offflection.......s. beckett: ENDGAME....................brno
end-play
Didn‘t it sometimes seem odd to you
that the cog wheels of your tongue got
so stuck at times, that the only thing you
could do was to stick out your tongue?
Most probably not - it is a purely human quality to do so when your words
lose hard palate beneath their „feet“.
The antiheroes of Beckett‘s Endgame
were deprived of this pleasure in pure
pronouncements by the inscenators of
the play and the core of the characters
remains distressfully hidden behind the
facade of mere speaking for speaking.
It‘s mostly speaking for the habit of it,
less for itself, even less for other people
and least of all for the meaning of the
words. Because the words don‘t hold
any meaning here at all.
However, it is mainly words that have
the most important role in this play. The
erasure of the characters of Nagg and
Nell brought the effect of concentrating
the attention to the main tandem. If you
expect a splendid stage action, you do
so in vain - it is measured out very precisely and sensitively. Both actors hold
their characters on a very short string
as far as their movement is concerned
- if there is any movement at all, it takes
place mainly between Hamm‘s wheelchair without wheels and Clove‘s kitchen;
the movement is limited to two steps at
best, if we omit the occasional minidance of the servant around his master.
A more vehement movement could be
compared to a blow of a mallet; these
blows function as a means of making us
maximally concentrated. The blows are
served to us in small portions - most
of the time the characters stand and
speak, or rather sit and speak, according to their possibilities.
We are not distracted from the text
itself by anything else. The number of
requisites corresponds to the number
of the actors - there are only two of
them, and their role in the play is also
very little, though important. There is no
need to engage on the stage anything
else than a reflector (transferable) and
a pullover (woolen). Simple, playful and
praiseworthy. The scene is not realy
worth describing. Blackness all around
you, one chair in the middle.
The need of some meaning of the
words is felt even more strongly in this
world of hints - it‘s the words that are
the most real thing on the stage. Greater is the pain brought by every misunderstanding, which is caused by the words,
by simply reuttering phrases hundreds
of times. The very use of words as the
most tangible thing on the scene gives
giddying depth to everything heard and
spoken. In reality not a very effective
text, which, concerning previous experience with it, could arouse many dubious
ideas, suddenly beating in our ears with
unexpected strength.
I do pity only one thing - that this
whole contemplation about life was
given a shrowd of theatre in theatre.
In addition to this, the shrowd is a very
imperfect one. The opening curtainraiser seems to be trying to project the
relationship of the actors played into the
subsequent action, and to demonstrate
the friction of Beckett‘s absurd world
with the theatre reality. However, the fullfillment of this superb goal is far from accomplished. There are some moments
when the actors let the characters of
the actors emerge from underneath
their own selves, but these are only accidental. Two cases of alienation, when
the text was abandoned completely, are
useless here and rather harmful to the
whole atmosphere of the play. And if we
hope for some point, which would put
both the worlds together or apart, our
hopes are not fullfilled at the end of the
End. Regardless of this wrongdoing, I‘d
like to make a compliment to the inscenators for their considerate approach to
Beckett‘s difficult and high/quality text,
for good acting, their sense of rhythm
and tension, in short, for a solid meditatively inscenation without efforts to
dramatically change the model play according to the wishes of the director. So,
I have no other option than to take this
inscenation of the Endgame as a wouldbe effort to change the model play,
which, however, remained unchanged.
Nevertheless, I‘m far from sticking out
my tongue at boys...
Mikuláš Bryan
.3
reflection.........m. haasová: RiNCiNCuM..............amsterdam
STRONG WEST WIND
From a beautiful, sunny spring afternoon we - the visitors of the first
performance of this festival - moved to
the chilly and totally inhospitable steppe
somewhere in Mongolia.
A topical woman lives here her everyday reality (first we see a green monster
in a huge raincoat). She fights with omnious weather and tries to warm up some
water with the help of primitive tools,
very, very slowly and clumsily. Everything
that she needs she has. Maybe that‘s
why she initially seems to be a formless
ball, but at the moment,as she begins to
get out individual things from under her
coat, we recognize that she is a quite
petite (maybe handicapped) girl.
This slow introduction is first disturbed by some snow queen in a blue
dress who passes through the stage accompanied by the soft sound of bells.
The daily ritual goes on. The girl
wobbles back to her house, bringing
bundles of wood, and she tries to light
a fire with the help of matches, but in
this impotencial activity she is disturbed
by the arrival of the „Moderator“. Her
penetrative entry to the privacy of
the local girl brings an energy to this
.4
performance. The difference between
original slowness and present quickening is very perceptible. The Moderator
is the only one who speaks, she shoots
a story for the television. The audience
in front of the telescreen have a chance
to see a „really interesting“ life of a lonely
woman from the Mongolian town Rincincum. However the affected Moderator
doesn‘t interest the local woman very
much. She doesn‘t uderstand why the
strange woman in the red dress with
strange shoes pours out nearly all her
salt (shooting the act „How do they cook
in Mongolia“). The woman doesn‘t understand why she destroys the matches,
which are important for her, hysterically
singing and laughing as she does it. At
the moment when Moderator powders
her nose, our local girl takes out the
same powder box and sighs, for she
wants to be more beautiful. But the girl
in blue comes again and takes her powder box away.
The Moderator gives the local girl
something in a red bag, takes a seat
beside her, peels some exotic fruit, gives
a piece to the girl to taste and talks - as
a woman to another woman - about her
solitude. This is an example of women
from the contemporary Western world
who make a decision to be „single“. The
Moderator wants to go away after no response , but there is a fight and the local
girl unwillingly suffocates the Moderator.
The Mystic girl in blue walks onto the
stage again, and invades the body of the
girl. They move in a strange way, then
they throw the green raincoat and other clothes away, and The Mongolian girl
becomes attractive in a miniskirt with
Mickey mouse on her jumper. Regeneration of a woman of the Western world is
finished. But for me the performance is
losing its purity in this part, because the
function of the girl in blue is becoming
more unnoticed. But this place is very interesting in the visual way. It seems to be
some kind of modern motional theatre.
The arrival of another woman in a green
raincoat evokes repetition - the original
girl pops under her coat and advises
the new girl what to do. The new girl
takes the Moderator‘s red bag with „the
present from the West“ which turns in
to a modern rustless heater. Music, a
dreamy look to the distance. Do we know
her future fates? Darkness.
Ivana Skokanová
...............m. haasová: RiNCiNCuM........reflection
amsterdam
lonelines named rincincum
It’s been a while since I left the overcrowded auditorium of the Hadivadlo
theatre, but even now I can hear the
wind of Mongolian steppes in my ears. I
can see endless plains flanked with grey
sky, and somewhere in this wasteland
there is a woman shrivelling behind the
trestleboard - she‘s not a woman, she
‚s actually a small animal muffled up
in a huge green raincoat. She can look
calmly, but watchfully for a very long time
from her hiding place. Then she starts
to move. It‘s a slow, careful movement
that fights with the wind and the woman
is eventually pulled down by it. She has
to struggle out every little action of hers.
That‘s the way to achieve your goal - you
have to be firm and insistent.
The woman goes out of her hiding
place and follows a protractor (a path)
to a place of ritual sacrifice. She takes a
cooker, pot, funnel and water out of her
clumsy raincoat. The water is boiled after long, emotional and scabrous preparations. The sound of bells is heard. A
woman in blue comes in. She passes
through the scene with a cunning,
tempting smile and disappears in the
portal. The woman - animal once again
pours the water back into the bottle in
a very complicated way and then she‘s
probably trying to light a fire; but suddenly, a black loudspeaker emerges on
the stage followed by a coquettish „miss
reporter“ dressed in a tiger-patterned
miniskirt and carrying a cap of the same
pattern. She‘s here to film a document
about the life of an amazing woman, who
lives in the middle of the wasteland.
Unfortunatelly, she is so absorbed in
her work that the object of her study remains completely secondary for her. The
selfish endeavour of „miss reporter“ to
create an entertaining, though informative report deprives the woman-animal of
everything that‘s essential for her. Their
mutual misuderstanding culminates in a
fight, which is fatal for „miss reporter“.
It might seem that the story comes to
its end at this moment, that there is
nothing to speak about; however, the opposite is true, the real point of the story
comes only now. It might also seem that
a tragical clash of worlds is a sufficient
theme for an hour‘s performance, but
an even more interesting theme appears after the clash of the worlds. The
clear world of Mongolian plains, which
was so strictly limited by the protractor
for our heroine, has changed.
The certainty of accustomed actions has ceased, a confusion emerges
and the newly discovered space can be
filled with questions. The woman in blue
enters again - we know her already from
the time before the coup d‘etat, and it‘s
her who embodies the cultural exchange
mentioned in the festival bulletin in the
annotation to this performance. She
enters the body and mind of our heroine
like a mischievous trickster and changes
her into a person without her own identity, who can neither go back to the roots
of her being, nor find a new meaning after that experience of hers. The movement, which was concentrated at first,
suddenly converts to uncontrollable
outbursts of contradictory feelings.
What is Rincincum indeed? It‘s misunderstanding. It‘s passing. It‘s incommunability. It‘s loneliness.
Iveta Ryšavá
.5
reflection.....l. norén: DEMONS..........................wien
demons of michaela rosová
Deriving benefit from this article
shoud not be a critique but some kind
of reflexion, I am going to be subjective
instead of analyzing it exactly.
I would like to know why the
inscenation´s creators have chosen just
this piece when Lars Norén produced
many better ones which don´t deal
with family problems and much better
reflect Norén´s own destiny, that´s why
I can believe them better. The Vienna
inscenation didn´t impress me because
I really don´t like the crisis of relations,
watching quarreling couples, listening
to hysteric effusions and awkward remorses: Nothing new, nothing original,
still repeating a story about a man and
woman´s relation.
I suppose there is something that
can enrich a piece but I am quite sure
it isn´t presented in this drama. On the
other hand there are of course amusing
dialogues, well pointed irony.. I would
appriciate more „The Demons“ like an
inscenation of radio to avoid watching
.6
four mad people
swinging up on the
stage.
Concerning
performances I have
to name only one
actor - Alexander
Gier - because of his
inconvincible acting; a
student who is taking
effect as a post-adolescent and fighting
against the problem
of his infancy and the
demands of an older
woman. I could do
without seeing people
getting soaked with
water or being kicked
on the floor. I could
stand at „Astorka“
to have the same
visual experience (I
would observe events
from gipsy flats), even
that would be more dynamic and more
original. Someone´s hate, tears, egotrip... What am I supposed to do about
it? Tell me you
are in love with
me, and he stays
silent. What emotions! Everything
that actors were
resolving in the
space of one hour
could be summarized in four
gestures. I know
it all stands on
dialogues therefore I don´t want
to suggest any
cuts. I really don´t
know if it is necessary to act just
this theme today.
Recapitulated: I
don´t criticise a
direction, I muse
on dramaturgy.
Michaela Rosová
...................l.
wien.
about him and about her
Once upon a time there were two
young, beautiful and perspective people.
They were expected to live a satisfied
and happy life, but nothing is as easy
as it seems. When two people live together they can have some problems
and as we know if we don‘t solve these
problems they start to get worse and
worse. Especially if your neighbours are
young, beautiful and perspective people
as well. In Noren‘s drama „Demons“
there is a very trivial conflict. Katarina
and Frank don‘t want to live together
anymore (we find out their reasons during the performance) and the audiance
know about it. But it is not so easy. We
can say: they don‘t want to be together,
they have an arguement, they talk about
it and then they break up. But how many
people would solve it this way? They even
don‘t have any arguments any more,
they are just surviving. And suddenly
Frank‘s mother dies. This situation is a
catalyzer for the future events and the
audience enter the performance. In it is
...........reflection
norén: DEMONS
Katarine in a dressing gown with a cigarette (maybe a little bit drunk) waiting for
her boyfriend. Her words are gruesome.
She wants to shout: this measure of
noncommunication and intolerance is
possible only on the stage. But a roundabout of noncommunication and aggressive attacks is starting. Katarina and
Frank don‘t want to and they even can‘t
be alone and so they have some visitors
- another young couple who live in neighbourhood . They offer them some drinks
and they converse together. But the new
visitors can soon feel the tension between Katarina and Frank. This situation
leads to aggressive attacks, a sexual failure (impossibility of infidelity) and in the
end they blame everything. The sense
of indeterminateness is very strong and
this is the end of the story.
This was a very superficial description of the story of this performance. I
am sorry to everyone who spent nearly
two hours in the auditorium in CED and
didn‘t understand German. Nothing happened on the stage (except for one bro-
ken vase, one tilt urn and one dropped
shelf). The story is dependent on actors‘
performances, without the help of lights
or sounds. It is necessary to highlight the
performances of Melanie Luninghoner
(Katarina), Monika Wiedemer (Jenna),
Alexander Gier (Frank) and Anton Nouri
(Thomas), because the play is based on
their performances and expressions
which are very important for the audience to understand. Thanks to them,
the audience can be sick when Frank
pours the mother’s ashes on Katarina’s
head.
Demons presented by Max Reinhardt Seminar is an actors’ concert
for me. The actors could engage the
audience for almost two hours inspite
of the language barrier. But that is all. I
miss some reason why. I think, that the
audience can get more than just a view
of a good dramatic trade.
Gabriela Starečková
.7
...offprogram
.................................today
w. shakespeare:
HAMLET
Director: Oxana Smilková
Hrají: Studenti 2. ročníku herectví a studenti doktorského studia na DiFa JAMU
Délka představení: 145 min.
HAMLET - several scenographic versions ( The whole play was supposed
to take place at the seaside graveyard,
where
Yorick and Ophelia are buried. In the
centre of the pageant there was supposed to be a Celtic spiral and some
stones - something like Stonehange.),
throwing away all the sets from the
scene, till the end of the play
HAMLET - the empty space. Just the
heap of ordinary chairs. And an unexpected vertical break-through - the rope
hanging from the ceiling. So
HAMLET - the poor theatre. Without
any sets, without expensive costumes,
on the empty stage, inciting spectators’
imagination. Poor theatre, where you
can see the actor very clearly, because
everything depends on him. Poor theatre, where the actor can prove himself,
because everything depends on him.
And also
.8
HAMLET - Elisabeathan theatre.
Without interval, without chairs, without
spectacular scenography, without intellectual complex, that noone understands
the play.
HAMLET - where none of the essential themes are missing even if there are
lots of cutouts - because the present-day
theater-goer isn‘t able to bare a threehour performance without an interval,
like people did in the Globe. You won‘t find
Fortinbras in our production but the motive of tension between the individuum
and the state is still there.
HAMLET - the result of cooperation
between HaDivadlo and Theatre faculty
of JAMU. Or production, where as well as
the actors from HaDivadlo, you can also
see ten second grade acting students of
JAMU, and for some of them it‘s their
first time on the professional stage.
n
14:00
hadivadlo
...................
MASKS AND FACES
a videodocumetary
l
1st year Class projects by Clown
Creation for Stage & Film Studio
students, under Professor Ctibor Turba;
JAMU, Brno.
v
This is not a performance, but a
demonstration of the results of the
“Basics of Motion Acting” study programme. FAMU film academy students
used to have the funny job of presenting
kapesníček or „little handkerchief“ studies; we now present „hand studies“. Our
triptych consists of these studies, complemented by a „ritual of entry“ and the
work of film director Petr Skala.
I take responsibility for the resulting
work. I mean: Turba. But I don‘t teach
alone and so results are influenced also
by the work of other teachers: Husa na
provázku theatre actor Pavel Zatloukal;
Alena Dittrichová - the newest branch
on the mime/creation family tree; film
director Jiří Vanýsek; PhDr. Jarmila
Turbová, who teaches the psychology of
gesture and mime; but most importantly it is the free thought of the students,
their varying steps towards a world of
art which prefers ethics to the mendacious world of business and entertainment.
Creative team: Anna Kubějová, Martina Krátká, Sára Venclovská, Roman
Blumaier, Saša Stankov, Pavel Sterec
and Pavel Skala
11:00, 18:30
theater faculty, mozartova 1
......................festival guest
JERZY STUHR...................
So Jerzy Stuhr (1947) is going to
come here, it’s great. Especially, because really he is a Renaissance personality therefore we can suppose he
knows what he does, because he just
somehow does.
Jerzy is Polish. He studied philology and dramatic art and then he became actor of Krakow‘s theatre The
Stary
Teatr and he has been
performing there to
this day. In 1971 he
made his debute
maybe by the best
way which he could
- like Vrchovensky in Camus‘
dramatization of
The Devils by
Dos t ojevsky
under
the
director Andrzej Wajda.
In 1981 he impersonated Hamlet here.
Massmedia brought him popularity,
especially TV moderating. However, in
the late 70‘ s he aroused public notice
in „the movies of moral unrest“ and this
meant more. In these nonalibistic films
about conterporary polish society he interpreted neither goodie nor baddy - he
was simply a conterporary hero, „ who
was resonating“. For this „resonating“
he was reawarded by lots of prizes from
the viewers as well as by the critics from
Gdansk to Chicago. He obtained a prize
for role in The Dance Leader by Falk,
for the Amateur, for the Chance by Falk.
But it is true that Jerzy has a talent for
comedies, which he proves in movies by
Juliusz Machulsky, e.g. Sexmisson, King
Size or Deja vu. And then the director
debut came - erotic comedy based on
the story by Jerzy Pilch “The list of adulteresses“ (1994), he wrote scenario
for this film and he impersonated here
main character of a university student,
„The Love stories“, „The big animal“ and
„A week in the Life of a man“ followed.
Now he teaches at the University of
Krakow, where he is vice chancellor,
and also abroad. He was also a guest of
the International festival of films in Karlovy Vary and in 1998 he even became
a member of the jury in this festival. His
son Maciej is an actor too.
So come and have a chat with
Jerzy and be glad, that we give you the
chance. Jerzy knows enough about
chances (see his film), but he knows
other things as well. Likewise you can
wish him happy birthday which he celebrates in eleven days. We wish him all
the best.
Jana Alfabeta Cindlerová
ATTENTION!!!ATTENTION!!!
The meeting with Jerzy Stuhr at
17:00 is moving from the Bolek Polívka´s Theatre to the Theatre Faculty of
JAMU, room no. 104!
.9
interview
with...................
actress monika wiedemer......................max reinhardt seminar
You tell a story of people who are not
satisfied and who are bored, although
they have almost everything. Are these
types of relationships influenced by the
life in consumer society? What does the
rejoinder „Ich hab‘ dich satt!“ (in English
I am fed up with you!/I am sick of you!)
reflect?
We did not much touch upon this
question while rehearsing the play. People are so flooded with outside impulses
that they forget their inner world of
relationships. Inability to be with a person that is right next to us is a typical
problem of modern society. One rather
clings to fiction - television, advertisements, everything that is in some way
beautiful and colourful - than on what is
real, and longs for the unreachable. So I
think there is a connection. In addition,
at present you cannot make a play that
would not deal with society in some way.
Although the situation on the stage
was not ridiculous at all, the audience
laughed at some moments of the play.
Where is the border of tragedy and
comedy in this play?
.10
There was no laughing matter for me
in the play. It is a very ponderous play but
there are always people who will laugh at
it. They laugh to dispel the fear. The play
is so cruel and brutal that people cannot
or do not want to bear it and that is why
they laugh. The beginning of the play is
funny but it is the kind of laugh that sticks
in your throat. At once you realize that
something which matters is going on.
And it is not funny at all.
Is something like woman‘s solidarity at
work in the relationship between the two
main heroines?
It rarely operates. There is so much
jealousy in the relationships of the couples that there remains no space for
solidarity. If the main heroines were
sympathetic and acted in pursuit of common goal they might resolve everything
better. „We are free and we leave.“ But
constant jealousy and selfishness prevent them from it. Everyone minds only
his or her business so they can hardly be
sympathetic.
Is this type of egoism typical of the young
generation or does it touch the whole
society?
x
Surely it touches
the whole society. Everywhere can be heard:
„Be ready! You have to
achieve everything!“ One
is forced to fight selfishly. It is much easier to
manipulate lots of these
lonely individuals than a few closely-related people for those who have the power
to manipulate.
For the audience the notion of ash, that
you work with, is very intensive. What
does it mean to you?
In the play Frank covers his wife with
the ash of his mother. It is symbolic for
me. Mother as earth, the origin of everything. I understand the apocalyptic dimension, the ash is what we came from
and what we will be.
Saavedra, Janetišoun
j h j
...................interview
with you miss it
daniela pořízková...............................................difa jamu, brno you´ll miss out...........................
festival and deaf students
What does the Encounter imply to you?
A festival is just a festival. It enables actors and audience to communicate, it
amplifies culture, it shows what is going
on. It also offers comparison of performances and of theatres.
Last year you performed „SEM TAM“
during the festival. Do you remember
what the audience was like? Did anybody
try to get in touch with you?
There were a lot of people in the auditorium and we liked them very much.
Actors from Kosovo appreciated our
performance „SEM TAM“ directed by
Zoja Mikotová so much that they invited
us to Kosovo to play it there.
What matters when you chose a performance to attend?
I would visit those plays in which motion, not
speech, is emphasized. That is why I favour
deaf actors and modern effective dance.
You saw a motion-dominated performance from Amsterdam this afternoon.
Was this play comprehensible for you?
I did not comprehend this performance
very much because it was not motiondominated enough and it was in English.
Are you going to visit another performance?
I look forward to the deaf actors from
Moscow a lot. I am going to visit their
show because I would like to know what
is the difference between their theatre
and ours.
p
-Ymi-
MEETING POINT PARTY
one of the traditional
festival’sth peaks
thursday 7 april 2004, fléda
The Benedikta group is going to take
charge of the music, performing a style
called world fusion. Marilyn Monroe,
2 sweet pastry-cookies and almost a
midnight surprise will take care of your
enjoyment. And you could of course look
forward to your two pubescent guides
through the whole festival too.
DISCUSSION
another one of the
traditional
festival’s peaks
th
saturday 9 april 2004,10:00 - 13:00
difa, mozartova 1, učebna č. 104
We will talk.
We will talk about performances.
We will talk about performances with
you.
We will talk about your performances
with you.
We will talk about your performances
with you in English.
Come on.
pppppp
.11
..the international theatre...MARATHON....
of young makers.......
ced, saturday 9 april, 15:00
th
This year our festival Setkání/
Encounter 2005 also becomes one of
the places, where the participants of international the Marathon of Young Makers are going to introduce themselves.
The Marathon is a common activity of
a number of European theatre schools‘
festivals. Each of the participating festivals is going to prepare a small production for 2-3 actors, about half hour long
and with this production they are going
to participate at other festivals creating
the web of the Marathon.The productions are going to be performed along
with a small intermissions for a transformation of the set:
NSDF, SCARBOROUGH, ENGLAND
DARTINGTON COLLEGE OF ARTS
Tea without Mother (23 min.)
.12
Eleanor! (10 min.)
With: Eleanor Bauer
A student from New York shows us how
relative art can be.
Champ/Contre-Champ (10 mins)
With: Sanda Iché
Perfect example of a pure and
contemporary dance performance.
ENCOUNTER, BRNO,
CZECH REPUBLIC - JAMU
Childhood (25 min.)
With: Eva Kodešová, Robert Mikluš,
Radomír Švec
Childhood is the most important part of
a human life. It constitutes characters
and creates presumptions for the development of people. Come to see this play
and compare West and East European
youth.
20 min. break
THEATER AAN ZEE, OSTEND, BELGIUM
Before…..Existential Make-over (30 min.)
With: Laura van Dolron
1946: Philosopher Jean-Paul Sartre is
having a rather confronting conversation in a bar with the actress of this solopiece. Later on Martin Luther King and
John Lennon walk in too. Step into their
world and think about individual freedom.
ACT FESTIVAL, BILBAO, SPAIN BIZKAIA THEATRE SCHOOL BAI
Was Monna Lisa una lámpara? (30 min.)
With: Unai Izquierdo, Saioa Fernández
Starting from the myths that surround
the painting of genius Leonardo da Vinci,
this piece creates its own doubts about
the acting game. Two restores, two
friends, two performers who finally will
disguise themselves as Monna Lisa. A
fairy-tale about a remarkable transgression.
30 min. break
ITs FESTIVAL, AMSTERODAM,
NETHERLANDS
SCHOOL FOR NEW DANCE
DEVELOPMENT (SNDO), AMSTERDAM
This is not a Romantic Duet (40 min.)
“This is not a Romantic Duet“ creates
a physical speech coming from the
warmth and safety of human situations.
What happens inside me that makes me
move? Can we control emotions? From
real to abstract, warmth disappears,
roughness appears. Come experience
this dance piece full of emotions.
k
k
k
k
k
k
k
k
k
k
With: Joe Mapson, Lynnette Oakey,
Mark Stephens, Anna Stewart
He pulls her along slowly behind him. He
gently tilts her back, unwinds her cable
and plugs her in. A bird-man, a butler
and a girl called Steve all try to discover
the secrets of an extraordinary mother
in this absurdist tale set inside a world
without weather.
ITs FESTIVAL, BRUSEL, BELGIUM
- P.A.R.T.S
.........festival.........theatres........
.........POLÁRKA THEATRE.......................................................
Polárka Theatre is a professional
Brno theatre that came in to the being
in 1999 from the former puppet theatre
Jitřenka. The originality and magic of this
theatre lies in the fact that its repertory focuses onto 2 streams: plays for
children and the young, as well as a rich
programme for all age groups.
In the field of children’s plays we are
trying to find contemporary original
fairytales that are not so known to the
public and we are also trying for a fresh,
original, playful approach to the classical
ones.
The programme for the young
dates from the beginning of the season
2000/2001. It offers 3 basic types of
programme: scenic reading, musical
concerts, and theatre stagings, which
form the mainstay of the evening programme. Last year we accompanied the
three mentioned streams by the experimental workshop that takes place in the
rehearsal room.
The programme for the young
dates from the beginning of the season
2000/2001. It offers 3 basic types of
programme: scenic reading, musical
concerts, and theatre stagings, which
form the mainstay of the evening programme. Last year we accompanied the
three mentioned streams by the experimental workshop that takes place in the
rehearsal room.
hungry and thirsty
the festival pub
It is called Strakonický dudák.
Open from Monday to Friday.
From dark to dark.
They accept meal tickets, money
even more glady.
Beer, meals, music and women are
waiting for you.
You don´t need a compass to find it.
Here you have the map:
http://www.divadlopolarka.cz
BALLAD
ABOUT
LAYOUT-MAKERS EYES
jan bolívar pohořelický
this time layoutmaker of meetingpoint
in the evening - a new layout,
layout, layout, layout.
at the midnight - a new layout,
layout, layout, layout,
it´s morning - a new layout,
layout, gonna lay out,
i feel a bit like l-eye-out.
finally a printout.
P. S.: Hannah and Hannah are already there!
P.P.S.: Vojta the Donkey too!
.13
each other. It is quite good then. A
strange absence of a time. The dialogue
was somehow clear. It is well done and
well acted, because I understand the relationship of those two guys. Something
is pulsating there. Essentially there’s no
evident continuity, but their relationship
is gradually revealing.
František Defler, pedagogue Brno
Milan Kaplan, student Brno
I didn’t understand it a lot. I liked the
girls, the boys were worse. But I can’t
really judge it. There were the moments
that interested me and the moments, in
which I saw things that were not my cup
of tea. This is my immediate opinion that
is not a structured one and maybe is
never going to be.
It was great. Both of the young men
manifested, that they are brilliant actors. It wasn’t strong stuff, it was tiring.
I was a bit upset that the concept of
theatre on theatre with which it started
then fluently disappeared and ended up
being just a theatre itself. The performance lost its expressive point. I’m sorry
that it was tiring for me and it was a
little bit boring, because if I analyse individual parts I like it. It lacked gradation.
Generally I can’t comment upon errors,
except the compact finish which I have
expected.
I like it very much, it was a strong experience for me. It was really good. I have to
breathe it out.
About this performance I think that it
was good concerning the actors, but
regrettably I didn’t understand the
text. Finally I was angry, because in the
programme there was written, that the
ENDGAME - BRNO
I liked this performance very much
and I´m happy about both young men,
because they are my students and my
cooperators in one performance. I think
that it turned out well for both the director and the actors. Carry on like that!
Alfabeta, student Brno
It was a good performance. I think the
actors fulfilled everything the director
wanted from them.
Oxana Smilková, pedagogue Brno
I like the relationship of those people,
how they need each other, how they
hate each other and how they tease
.14
Petr Jan Kryštof, student Brno
Veronika Poláčková, student Brno
WHAT ABOUT.....................
DEMONS - WIEN
For me it was especially beautiful, because I heard German. But I would like
to know if it fulfilled its function, as the
audience didn’t understand…?!? I understood it, for me it was compact and
I liked it, particularly the acting performances. For those who didn’t understand
it was maybe too long.
Wolfgang Spitzbardt, Brno
It was a concentrated boredom. Langweilig.
Jan Kačena, student Brno
production will take 100 minutes and for
me it lasted like 200 minutes.
Bob, student Brno
It‘s too difficult to tell my opinion immediately after the performance. I remembered one American movie, now I can‘t
remember its title. The friends went to
the seaside to throw off their friend and
they powder themselves. It was a beautiful and sensitive movie in a contrast to
this performance. The older I am, the
more I look for nicer and more agreeable things.
Silva Macková, pedagogue Brno
I have to say I feel empty and I like how
she was nervous because I was really
thinking about someone who hurt himself.
Student, Geneva
For me the production was noteworthy. I
would perhaps think about the play itself.
But I think the Max Reinhardt Seminar presented itself in its true shape,
focused on acting the way its founder
imagined. Thus we saw a classical acting school, Austrian one, Viennese one,
performed at a very difficult characters.
That’s the dramaturgical doubt I was
speaking about. But that young people’s
There is a huge work behind that. What
all those people can do. Very pleasant
and good acting performances. The
performance of nursing mother was
very pleasant. The way it was done was
suitable rather for a movie because the
theatre magic wasn’t used so much. We
know the film is better in realism.
Alexej Pernica, pedagog Brno
I didn’t understand a word, but they
were connatural.
Tereza Vyvialová, student Brno
...............YOUR OPINION?
performance was amazing.
prof. Václav Cejpek, the rector of JAMU Brno
- I have a language barrier so the conversational German play was for me just a
sort of image observing.
- Unfortunately there were no images to
observe. Every minute I was suffering and
I wanted to get out.
- But young people care about those
themes.
- But they shouldn’t just sit there and
speak. I would be upset about that, no
matter if the production is in Czech or
not. Language barrier wasn’t the only
reason but maybe I would be good if I
would understand.
Talk of Klára and Lenka, students Brno
It was too long and too much speaking
for my ability to understand German, but
apart of that I think it was good. I’m just
sorry I didn’t understand.
Radka Macková, pedagog Brno
I didn’t like it very much. This kind of theatre does not touch me.
Lady from Geneva
Rincincum - Amsterdam
I can’t say, if I liked this performance or
disliked it, because I don’t judge it by this
way. In my opinion it is important , how
the man who did it sees the world like an
author. And this was a beautiful poetic
world in which people appareared and it
was good. It’s good, if it managed to say
something to me and I needn’t to worry,
if I liked it or not.
Pavel Baďura - Brno
It described the loneliness of a human
near the Arctic Circle (in the middle of
the Greenland). I really liked the sound
and the set.
Tomáš Gruna, pedagogue Brno
It was pretty nice, for me there was a
certain experience. I have to think a little bit more about the fact it was a kind
of endearingly kitshy. A little bit long, but
fine. In this moment I’m feel about it
pleasantly tuned.
Marie Jansová, student Brno
It is very fresh now, but I have got a lot of
questions. I don’t know what really happened. There were so many elements I
didn’t really understood. But I thought in
the beginning there was a huge amount
of presents of that actors. I thing that
something was very deep. I don’t understand the woman that came as the
reporter. I don’t understand what she
wanted actually.
Unknown girl with deep eyes
.15
.16
and
hannah........festival
editor in chief:...........................................Silvie Šustrová
editor in chief ENG version: ......Kateřina Boukalová
production:........................................Ludmila Frištenská
graphics & DTP:.....................Jan Bolívar Pohořelický
corrector CZ version:.........................Jitka Páleníková
corrector ENG version:.............................Henry Majer
photographer:.....................................Zuzana Pitnerová
Gabriela Starečková, Michaela Rosová,
Mikuláš Bryan, Jana Alfabeta Cindlerová,
Jana
Prokešová,
Jana
Saavedra,
Miloš Maxa, Ilona Bára Šumná, Broňa
Krchňáková
translators:..............................Iva Dankovčíková, Alice
Dvořáková, Martina Procházková, Lenka
Váňová, Míša Tvrdoňová
editors:......................Ivana Skokanová, Iveta Ryšavá,
.................editorial board of meetingpoint no. 1.....................
hannah