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  25. ROČNÍK MEZINÁRODNÍH...  
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Každá z postav, ztělesněná jedním ze 13 herců souboru, je zároveň důstojná a dojemná. Souvislost s Rakouskem byla potlačena, a tak mohou tito ztracení “umělci” představovat kohokoli z nás.
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Every single character, skillfully rendered by one of the 13 actors in the troupe, is dignified and moving at the same time. The link to Austria has been played down, and so these lost “artists” could be any one of us.
  25. ROČNÍK MEZINÁRODNÍH...  
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Jižák Open (fringe fair) - Celodenní pobývání na opuštěném nádraží s divadlem, výtvarným uměním, filmy, ale také řečmi a prostým potkáváním. Ve volně se přelévajícím programu se představí umělci a umělkyně žijící kolem „jižáku“, pobývající v rezidenci a využívající jeho zázemí ke svým tvůrčím aktivitám.
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Jižák Open (fringe fair) – A day at an abandoned station with theatre, art, films and also speeches and just meeting people. The freely-flowing programme introduces artists who work at the "Jižák" – Pilsen's former Jižní Předměstí station – engaging in residence programmes there and using its facilities for their creative activities. Those appearing include:
  25. ROČNÍK MEZINÁRODNÍH...  
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Divadlo je pro mne v podstatě „gesamtkunstwerk", tedy druh umění, které v sobě obsahuje všechny umělecké disciplíny, od slova a hudby po obraz, prostor, práci s časem a moderními technologiemi. Jako divadelní ředitel Toneelhuis se snažím stavět mosty mezi všemožnými formami umění a umělci.
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Theatre is for me fundamentally a ‘Gesamtkunstwerk’. Already during my studies in the graphic arts I discovered that one artistic medium is not enough to express what I wanted. Already then I brought together different artistic disciplines and different artists. That attitude is still the same. As a theatre director I try to built bridges between different arts and artists. Theatre gives me the possibility to tell a story in a fragmented way. Some aspects are told in words, others in images, still others in sounds. It is up to the viewer to finish the painting. I just offer the canvas, the brushes and the colours..
  25. ROČNÍK MEZINÁRODNÍH...  
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Orchestr, složený z piána, kontrabasu, klarinetu, akordeonu a bicích, dodává šťávu svému okolí. Muzikanti v groteskním líčení, kostýmech a maskách, stejně jako kabaretní umělci vynikají expresí a bizarní image.
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Jan Borna and Miroslav Hanuš’ production transports the audience to the provocatively decadent salon of the 1940s, gives them intellectual asylum and deluges them with the black humour of the harsh songs by London trio The Tiger Lillies. The orchestra, made up of piano, double base, clarinet, accordions and percussions, gives piquancy to the surroundings. The musicians, in their grotesque makeup, costumes and masks, are, like the cabaret artists, excellent in their expressions and bizarre image. The musical and acted passages come in precisely-calculated doses, and the avant garde medicine works perfectly. The actors’ expressive singing is not a background, but an equal narrative, a partner and counterpart to the front-of-stage dialogues of the key characters.
  25. ROČNÍK MEZINÁRODNÍH...  
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Orchestr musí brilantně zahrát pořádnou porci muziky a ještě přitom odlišit příslušné styly – a to také s úspěchem pod taktovkou dirigenta Pavla Kantoříka předvedl. Výtvarný rámec pro svéráznou poetiku Monty Python stvořili umělci, kteří jsou podepsáni pod mnoha závažnými projekty – scénograf Daniel Dvořák a autorka kostýmů Ivana Brádková.
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The orchestra has to play a good chunk of music in sparkling form, and on top of that has to differentiate between the various styles – and this it manages to do successfully under the baton of conductor Pavel Kantořík. The artistic framework for the eccentric style of Monty Python was created by artists who are known for numerous weighty projects – set designer Daniel Dvořák and costume designer Ivana Brádková. Few people would be willing to undergo the marathon of rehearsals that the actors and dancers of Spamalot have had to, under the demanding requirements of director Roman Meluzín and choreographer Pavel Strouhal. At the premiere, however, all the performances appeared as effortless and carefree as they ought to do, as if quite free of all the hard work behind them.
  25. ROČNÍK MEZINÁRODNÍH...  
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Výraznou součástí dramaturgie Dejvického divadla jsou i svébytné interpretaci děl světové klasiky. Během své existence se Dejvické divadlo stalo pětkrát divadlem roku, řadu významných ocenění získaly nejen inscenace, ale i jednotliví umělci.
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Dejvice Theatre Founded in 1992. Following the departure of the original company, headed by Jan Borna, its artistic head from 1996 to the end of the 2013/14 season was director Miroslav Krobot. From 2014-2016 the artistic head was Michal Vajdička, who had been working with the theatre from 2011 as director of the production A Blockage in the System. Since January 2017 the new artistic head has been Martin Myšička, a member of the theatre’s company since 1997. The theatre’s dramaturgy goes in several directions. As well as showing original plays by contemporary European and world authors, the theatre focuses on works by distinguished Czech and Slovak playwrights who write their work directly for the DD’s company, and in most cases also participate in directing it (J. A. Pitínský, Miroslav Krobot, Petr Zelenka, Jiří Havelka, Karel František Tománek, Viliam Klimáček, Petra Tejnorová, Daniel Majling and others). A further significant component of the dramaturgy is singular interpretations of world classics. During its existence the Dejvické divadlo has five times been declared Theatre of the Year, with further significant awards being won both by productions and the the theatre’s individual actors. In 2017 the Dejvické divadlo celebrates 25 years since its foundation.
  25. ROČNÍK MEZINÁRODNÍH...  
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Inscenace divadla i jednotliví umělci obdrželi řadu národních i mezinárodních ocenění: Semeloumězmizelsem Viktora Bodó získalo Zlatý vavřínový věnec za nejlepší herecké výkony a nejlepší režii v Sarajevu (2005), obdrželo několik cen na festivalu Kontakt v Toruni (2006) a také několik cen na Festivalu malých scén v Rijece (2007), včetně té za nejlepší představení.
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The Katona József Theatre is one of the best-known theatre companies in Hungary. It was founded in 1982, in a building that was previously used as the studio theatre of the National Theatre. The theatre’s first directors were Gábor Székely and Gábor Zsámbéki (artistic director); since 1989 Gábor Zsámbéki has been its only director. Gábor Máté has been the Theatre’s chief stage director since 2001, and he became the director of the theatre on 1 February 2011. Performances directed by Tamás Ascher, Péter Gothár and Viktor Bodó can regularly be seen on stage at the Katona.The company regularly tours abroad. From 1985-2009 the company made a total of 159 tours, showing 54 different productions in 88 cities and 39 countries. The theatre’s productions and members of its company have won numerous awards, both domestic and foreign. Viktor Bodó’s Semeloumězmizelsem won the Golden Laurel Wreaths for Best Director and Best Performance at the MESS Festival, Sarajevo (2005), several awards at the Kontakt Festival in Torun (2006), and also several awards at the Small Theatres Festival in Rijeka (2007), including Best Production. Ivanov won a Golden Laurel Wreath for Best Director and Best Production at the MESS Festival, Sarajevo (2004) and the Prize of Budapest City Council in 2004 for Best Director and Best Actor (Zoltán Bezerédi). It also won a Golden Mask for Best Foreign Production in Russia (2008). The productions of Semeloumězmizelsem and Christmas at the Ivanovovs were seen at the THEATRE International Festival in Pilzen in 2006 and 2009.
  25. ROČNÍK MEZINÁRODNÍH...  
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Łaźnia Nowa nemá stálý soubor a do svých inscenací zve spolupracující herce a režiséry. Uznávaní i začínající divadelní umělci zde nacházejí výborné podmínky pro svou práci. Zatím v divadle vytvořili své inscenace umělci jako Michał Borczuch, Łukasz Czuj, Iga Gańczarczyk, Paweł Kamza, Marcin Liber, Paweł Passini, Wiktor Rubin, Monika Strzępka, Marcin Wierzchowski, Paweł Świątek, Weronika Szczawińska a Michał Zadara.
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Łaźnia Nowa Theatre is an active Cracow theatre, located in the renovated postindustrial space of the former workshops of the communist School of Mechanics in Nowa Huta. In the ten years of its existence, the theatre has become a recognised trademark in Polish theatre. It initiated a number of popular festivals, such as Genius Loci Theatre Festival, the Divine Comedy International Theatre Festival and Mrożek Festival. Łaźnia Nowa does not have a permanent company and its productions follow the practice of inviting various actors and directors to cooperate. It gives both recognised and budding theatre artists excellent conditions to produce their work. To date, the theatre has hosted productions by artists such as Michał Borczuch, Łukasz Czuj, Iga Gańczarczyk, Paweł Kamza, Marcin Liber, Paweł Passini, Wiktor Rubin, Monika Strzępka, Marcin Wierzchowski, Paweł Świątek, Weronika Szczawińska and Michał Zadara. Between 2005 and 2015, Łaźnia Nowa theatre produced more than 40 shows, both independently and in co-production with other institutions. Łaźnia Nowa’s productions successfully participate in numerous Polish theatre festivals and are also regularly shown abroad, for instance in Berlin, Madrid, Mexico City and Singapore. The unusual space of Łaźnia Nowa theatre (there are two stages with auditoriums of up to several hundreds spectators, as well as a spacious foyer) attracts the best productions from Europe. The rich artistic range of Łaźnia Nowa proves wrong all those who like to believe the worst about the district of Nowa Huta and complain that nothing can be done here.
  25. ROČNÍK MEZINÁRODNÍH...  
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Divadlo iniciuje vznik původních českých textů (Petr Zelenka: Příběhy obyčejného šílenství, Teremin, Miroslav Krobot: Sirup, kft/sendviče reality®, Brian, Viliam Klimáček: Dračí doupě a další) a klade důraz také na autorskou spolupráci s umělci názorově i generačně spřízněnými (Jiří Havelka: Černá díra, Petra Tejnorová: Modrovous/suovordoM a další).
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Dejvice Theatre – Founded in 1992, the Dejvice Theatre has become one of the most sought-out and most-visited Czech theatres. Following the departure of the original company, headed by Jan Borna, its artistic head since 1997 has been director Miroslav Krobot.An important part of the Dejvice Theatre’s dramaturgy consists of contemporary drama, both Czech and foreign (Joe Penhall: Landscape With Weapon, Denis Kelly: Debris, Patrick Marber’s Dealer’s Choice and others). The theatre initiates the creation of original Czech plays (Petr Zelenka: Tales of Common Insanity, Teremin, Miroslav Krobot, Syrup, kft/reality sandwich®, Viliam Klimáček: Dragon’s Lair and others) and also emphasises cooperation between artists of a similar outlook and generation (Jiří Havelka: Black Hole, Petra Tejnorová: Bluebeard/draebeulB and others). However, adaptations of world classics also have a firm place in the theatre’s repertoire (adaptations of Goncharov’s Oblomov, Dostoyevsky’s The Brothers Karamazov and The Idiot, Isaac Bashevis Singer’s Love Story, Goethe’s Elective Affinities) and classic plays (Shakespeare’s Hamlet and Twelfth Night, Gogol’s The Government Inspector, Chekhov’s Three Sisters and others).The Dejvice Theatre regularly wins or is nominated for leading theatre awards. It has won the Alfréd Radok Award for Theatre of the Year four times, and can seemingly boast one of the country’s most harmonious acting teams.
  25. ROČNÍK MEZINÁRODNÍH...  
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Łaźnia Nowa nemá stálý soubor a do svých inscenací zve spolupracující herce a režiséry. Uznávaní i začínající divadelní umělci zde nacházejí výborné podmínky pro svou práci. Zatím v divadle vytvořili své inscenace umělci jako Michał Borczuch, Łukasz Czuj, Iga Gańczarczyk, Paweł Kamza, Marcin Liber, Paweł Passini, Wiktor Rubin, Monika Strzępka, Marcin Wierzchowski, Paweł Świątek, Weronika Szczawińska a Michał Zadara.
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Łaźnia Nowa Theatre is an active Cracow theatre, located in the renovated postindustrial space of the former workshops of the communist School of Mechanics in Nowa Huta. In the ten years of its existence, the theatre has become a recognised trademark in Polish theatre. It initiated a number of popular festivals, such as Genius Loci Theatre Festival, the Divine Comedy International Theatre Festival and Mrożek Festival. Łaźnia Nowa does not have a permanent company and its productions follow the practice of inviting various actors and directors to cooperate. It gives both recognised and budding theatre artists excellent conditions to produce their work. To date, the theatre has hosted productions by artists such as Michał Borczuch, Łukasz Czuj, Iga Gańczarczyk, Paweł Kamza, Marcin Liber, Paweł Passini, Wiktor Rubin, Monika Strzępka, Marcin Wierzchowski, Paweł Świątek, Weronika Szczawińska and Michał Zadara. Between 2005 and 2015, Łaźnia Nowa theatre produced more than 40 shows, both independently and in co-production with other institutions. Łaźnia Nowa’s productions successfully participate in numerous Polish theatre festivals and are also regularly shown abroad, for instance in Berlin, Madrid, Mexico City and Singapore. The unusual space of Łaźnia Nowa theatre (there are two stages with auditoriums of up to several hundreds spectators, as well as a spacious foyer) attracts the best productions from Europe. The rich artistic range of Łaźnia Nowa proves wrong all those who like to believe the worst about the district of Nowa Huta and complain that nothing can be done here.
  25. ROČNÍK MEZINÁRODNÍH...  
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20. století se na formování divadla a jeho renomé podíleli vynikající umělci jako Tadeusz Kantor, Lidia Zamkowá, Jerzy Grotowski, Zygmunt Hübner, Konrad Swinarski, Jerzy Jarocki, Andrzej Wajda, Krystyna Zachwatowiczová, Krystian Lupa, Jerzy Grzegorzewski, Stanisław Radwan, Zygmunt Konieczny, Zofia a Jerzy Skarżyńští, Jerzy Juk-Kowarski, Wojciech Krakowski, Kazimierz Wiśniak a řada dalších.
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National Old Theatre of Helena Modrzejewska in Krakow – One of Poland’s oldest theatres, founded at the end of the 18th century. It bears the name of a famous actress, who in the 19th century gained a name on both European and American stages for her remarkable performances in Shakespearean roles. Since the second half of the 19th century the theatre’s reputation has been shaped by outstanding artists such as Tadeusz Kantor, Lidia Zamkowá, Jerzy Grotowski, Zygmunt Hübner, Konrad Swinarski, Jerzy Jarocki, Andrzej Wajda, Krystyna Zachwatowiczová, Krystian Lupa, Jerzy Grzegorzewski, Stanisław Radwan, Zygmunt Konieczny, Zofia a Jerzy Skarżyńští, Jerzy Juk-Kowarski, Wojciech Krakowski, Kazimierz Wiśniak and many others. Grzegorz Jarzyna and Krzysztof Warlikowski made their directorial debuts here. In recent years significant directors of the younger and middle generation have worked with the theatre, such as Maja Kleczewská, Monika Strzępková, Barbara Wysocká, Michał Borczuch, Wojciech Faruga, Wojciech Klemm, Marcin Liber, Wiktor Rubin, Paweł Świątek and Michał Zadara. Since January 2013 the theatre’s managing director has been Jan Klata. The current repertore consists of productions of contemporary works and reinterpretations of classics, as well as groundbreaking multimedia and musical projects. The Old Theatre is permanently open to young artists: directors, set designers, composers and choreographers, as well as dramatists – a number of the plays produced were written directly for the Old Theatre. Since 2009 the theatre has been part of the international Mitos21 European Theatre Network of leading European theatres. This cooperation is bearing fruit in the form of joint international theatre projects.
  25. ROČNÍK MEZINÁRODNÍH...  
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Od roku 2006 tvoří monodramatické kompozice na rozhraní divadla a performance, které překračují žánr činohry použitím nových médií, pohybu a dekonstruktivního zacházení s textem, jako i projekty v kooperaci s hostujícími herci, tanečníky, choreografy, hudebníky a vizuálními umělci.
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Sláva Daubnerová (1980) – Graduated in cultural studies from Comenius University in Bratislava, going on to study for a PhD at the VŠMU theatre faculty in Bratislava. Since 2006 she has been creating monodramatic compositions on the border between theatre and performance, going beyond the genre of drama by using new media, movement and a deconstructive treatment of the text, as well as projects in cooperation with guest actors, dancers, choreographs, musicians and visual artists. She produces her projects under the P.A.T. trademark, which she founded as a professional independent platform for contemporary theatre, dance and new media. In 2006 she produced her first solo project, drawing on the diaries of Louise Bourgeois, Whole, which won the special jury award for stage concept and direction at the New Drama festival in 2007. In 2007, using Müller’s work Hamletmachine, she produced a spatial multimédia installation of the same name, and in 2008 a stage concept called Polylogue based on Jon Fosse’s novel Melancholy. Her project M.H.L, a documentary monodrama inspired by the life and work of the director Magda Husáková Lokvencová, has also appeared at the Theatre festival and in 2010 was the Discovery of the Season in the prestigious critics’ survey, Dosky, finding itself among the three finalists nominated in the Production of the Season category. Her creation, as director and actor, of the figure of Magda Husáková also won the Annual Award of the Literary Fund in the field of theatre and dramatic work, and at the end of the year M.H.L. was nominated as one of the three theatrical events of the year in the daily SME’s annual cultural awards. In 2011 she begame the most popular theatre artist under 33 in a survey of theatre faculty students from the VŠMU in the Theatre Studies Dionysia. In 2011 she created the production Iluminarium (a cabinet of curious phenomena), inspired by paranormal phenomena, and in the same year, together with Pavel Graus, she created the musical performance Some Disordered Interior Geometries, based on the poetry of Heiner Müller and his wife Inge. Her solo performace inspired by Francesca Woodman’s photographs, Untitled (2012), gained a Dosky award for Best Production in the 2012/2013 season, and was nominated in the categories of best direction and best actress, as well as gaining an award for best light design at the KioSK 2013 festival. As an actress and performer she has taken part in international site-specific projects (Tra