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  25. ROČNÍK MEZINÁRODNÍH...  
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Tomáš Dvořák ( ⃰ 1956) - Vystudoval kamenosochařskou školu v Hořicích. Na loutkářskou katedru DAMU nastoupil v roce 1975, po třech letech se svým ročníkem odešel na praxi do plzeňské Alfy, již zůstal věren dodnes.
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Tomáš Dvořák (born 1956) – Studied stone sculpture in Hořice. Entered DAMU’s puppet faculty in 1975, and three years later went with his year to gain experience in the Alfa Theatre. He has remained loyal to the theatre ever since – first as a puppet manipulator, and then from 1990 exclusively as a director and artistic head. He has created dozens of productions for Alfa, many of which have won festival awards. His first great work was a production of Iva Peřinová’s play
  25. ROČNÍK MEZINÁRODNÍH...  
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Zostáva verný svojim srdcovým témam, ktorým dominuje odpor proti štátnej kultúre. Zostrih z televíznej debaty o budúcnosti SND s vtedajším ministrom kultúry Milanom Kňažkom sa s odstupom rokov stal tragikomickým číslom.
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He stays faithful to the subjects that are close to his heart, dominated by an aversion to state culture. The clip from a television debate about the future of the Slovak National Theatre with the then culture minister Milan Kňažko is now, with the passage of time, a tragicomic number. If Uhlár were a journalist, we would label him prejudiced – he is not ashamed to force his own opinions on the audience of his film. As a performance, however, it is juicily provocative and captures the sadness of human existence. Zuzana Uličianská, SME
  25. ROČNÍK MEZINÁRODNÍH...  
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Vzkříšení Tento příběh o lásce a pochybnostech, pokud se skutečně stal tak, jak je popisován, je tím nejneuvěřitelnějším příběhem, jaký mohli jeho aktéři zažít… Jaká je pravděpodobnost, že se opravdu mohl odehrát?
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Resurrection If this story about love and doubt really did take place in the way it is described, then it would be the most incredible story its protagonists had ever experienced… What is the probability that it might actually have taken place? Could it happen in real life? Is it really just an absurd coincidence that took place at a certain time in a certain place, or is what we see as coincidence in actual fact deliberate, and there is no such thing as coincidence? How should we perceive the various signs that appear in our lives?
  25. ROČNÍK MEZINÁRODNÍH...  
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Miroslav Krobot ( ⃰ 1951) - Od roku 1996 působí jako umělecký šéf Dejvického divadla, kam přivedl tehdy celý svůj absolventský ročník katedry KALD DAMU. Ten se stal základem nového divadelního souboru, který do DD přenesl svá absolventská představení.
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The story of the man, played by David Novotný (…) flows gradually. Peacefully. Like a lyrical poem. With northern melancholy. Like a ballad. But with a happy end. Unlike the film, the production is much more humorous. However, the comedy for themost part does without notable set pieces. It appears spontaneously, as it were. Although the biggest set piece, in which vodka found by chance in an old fridge is drunk by the three men immediately, is brilliantly executed. And, moreover, unforced. Without cheap laughs. Everything here is carefully measured.
  25. ROČNÍK MEZINÁRODNÍH...  
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Tamás Ascher (1949) - Po dokončení Divadelní a filmové akademie studoval na Filozofické fakultě. Režisérský diplom získal v roce 1973 a stal se členem Divadla Csiky Gergelyho v Kaposváru. Na výzvu Gábora Zsámbékiho se roku 1978 spolu s několika významnými herci z kaposvárského souboru připojil k novému Národnímu divadlu.
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Tamás Ascher (1949) – After finishing the Academy of Theatre and Film, Tamás Ascher studied at the Faculty of Humanities. He graduated in direction in 1973 and then became a member of the Csiky Gergely Theatre of Kaposvár. Prompted by an invitation from Gábor Zsámbéki, he joined the new National Theatre in 1978, along with several leading artists from the Kaposvár company. He continued working at Kaposvár as guest director, and held the position of chief director until 2003. Since 1983 he has also worked at the Katona Theatre, becoming a member of the company in 1989 and a director there from 2011. He also works abroad regularly. Since 2006 he has been president of the University of Theatre and Film.
  25. ROČNÍK MEZINÁRODNÍH...  
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Tamás Ascher (1949) - Po dokončení Divadelní a filmové akademie studoval na Filozofické fakultě. Režisérský diplom získal v roce 1973 a stal se členem Divadla Csiky Gergelyho v Kaposváru. Na výzvu Gábora Zsámbékiho se roku 1978 spolu s několika významnými herci z kaposvárského souboru připojil k novému Národnímu divadlu.
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Tamás Ascher (1949) – After finishing the Academy of Theatre and Film, Tamás Ascher studied at the Faculty of Humanities. He graduated in direction in 1973 and then became a member of the Csiky Gergely Theatre of Kaposvár. Prompted by an invitation from Gábor Zsámbéki, he joined the new National Theatre in 1978, along with several leading artists from the Kaposvár company. He continued working at Kaposvár as guest director, and held the position of chief director until 2003. Since 1983 he has also worked at the Katona Theatre, becoming a member of the company in 1989 and a director there from 2011. He also works abroad regularly. Since 2006 he has been president of the University of Theatre and Film.
  25. ROČNÍK MEZINÁRODNÍH...  
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Antverpské městské divadlo Toneelhuis už neměl dále řídit jediný principál, který by zval hostující režiséry. Tonneelhuis se namísto toho stal skupinou sedmi tvůrců, které Guy Cassiers vybral pro jejich umělecké kvality a rozdílné přístupy.
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Toneelhuis – With every passing year Toneelhuis refines the formula it came up with for the new-style Toneelhuis back in 2006. That new formula was initiated with the appointment that year of Guy Cassiers as artistic director. Antwerp’s municipal theatre Toneelhuis would no longer revolve around one theatre director-in-chief who would regularly invite guest directors to direct his troupe of actors. Instead, Toneelhuis became a group of seven creators, chosen by Guy Cassiers for their intrinsic artistic merit and because together they embodied a world of difference. In today’s complex society there can be no single theatrical answer; given the stratification of our world, there have to be a number of answers, in a number of disciplines.From the very outset it was the firm intention – even within the large structure of a municipal company – to place the artist at the centre of the whole organisation and to make him/her the starting point of every action.
  25. ROČNÍK MEZINÁRODNÍH...  
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Srbské národní divadlo Novi Sad – Historie divadla sahá do roku 1861, kdy bylo přijato rozhodnutí založit Srbské národní divadlo. Novi Sad se tak stal kolébkou srbského divadla - ne náhodou se mu přezdívá srbské Atény.
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The Serbian National Theatre Novi Sad – The roots of the Serbian National Theatre reach back to 1861, when the decision to found the Serbian National Theatre was made. Novi Sad became the cradle of Serbian theatre, and was with good reason named the “Serbian Athens”. The theatre’s actors were also cultural missionaries, who had a fundamental influence on the cultural identity and conscience of the nation. The principal aims of the Serbian National Theatre are to promote and preserve the national and international theatrical and cultural heritage, and to present the most valuable contemporary creative practice. It therefore stages large, ambitious productions. The Serbian National Theatre has represented Serbian culture throughout the country – having played in more than 300 venues with around a thousand performances – and abroad. The theatre has presented its work – and gained many awards at the main festivals in Serbia, and also at many European festivals. The Serbian National Theatre is a member of the European Theatre Convention, a theatrical association of 32 European theatres. At the same time, it is one of the initiators and co-founders of the international theatre festival Theatre Without Frontiers.