хор – -Translation – Keybot Dictionary

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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

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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?

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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

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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.

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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.

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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.

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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.

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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.

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Dále působil jako umělecký šéf ostravského Divadla Petra Bezruče a pravidelně spolupracoval s brněnským divadlem Reduta. V roce 2013, kdy umělecký šéf Reduty převzal vedení pražského Divadla na Zábradlí, se stal Mikulášek kmenovým režisérem této scény.

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Jan Mikulášek (1978) – After studying drama direction at the Janáček Academy of Musical Arts, which he did not finish, he worked as the artistic head of the Brno theatre Polárka. Together with other young theatre artists he helped make Polárka a closely-followed alternative theatre, focusing mostly on auteur work for as wide an audience spectrum as possible. He was also the artistic head of the Divadlo Petra Bezruče, and worked regularly with the Reduta theatre in Brno. In 2013, when the artistic head of the Reduta took over the leadership of the Divadlo Na Zábradlí in Prague, Mikulášek became director there. The theatre currently has the following productions by Mikulášek in its repertoire: The V + W Correspondence, Europeana, Bourgeoisie, The Grey Seventies, Foreigner, The Golden Sixties, Hedonists and Obsession. Mikulášek’s directorial approach frequently involves the dramatisation of novels, original scripts and auteur theatre. He works with cutting, detail, musical contrapposto and parallel plots. His other major source of inspiration is fine art, from which he “borrows” an emphasis on mise-en-scene and lighting. A marked feature of his work is the way in which he plays with the meaning of speeches, context and associations on a given theme. He manages to materialise on stage entirely abstract, philosophical subjects.

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Název inscenace odkazuje k Čepově prvotině (sbírce povídek z roku 1926), k jeho pojetí dvou světů („v tom druhém, naším očím skrytém, budou všechny věci přítomny zároveň a touha nebude utrpením, nýbrž slastí bez konce“) i k jeho životu ve dvou zemích (po roce 1948 emigroval do Francie, s rodnou zemí však zůstal spjat).

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Double Home / from Čep – A stage collage inspired by the work of Catholic prose writer and essayist Jan Čep. The title of the production is a reference to Čep’s first work, a collection of short stories from 1926, to his concept of two worlds (“in the second, hid to our eyes, all things will be present at once, and desire will be not be suffering, but delight without end”) and to his life in two countries (after 1948 he emigrated to France, but maintained ties with his home country). The multimedia stage composition involves three actors (Alois Švehlík, Lucie Trmíková, David Prachař), an artist (Igor Korpaczewski) and a musician (Martin Dohnal): against a background of Čep’s texts an artistic composition unfolds over the course of the production, a picture of a landscape with two figures and, behind the piano, the composer Martin Dohnal. The set has microphones, a table, chairs, a piano with two pairs of rubber boots, bales of hay and a canvas on the back wall. Among the main props used by the actors are hot potatoes, possibly as a symbol of home, or used “merely” as a grotesque mask. Lyricism alternates with exaggeration, deep contemplation with fleeting thoughts, visual and sound opposites weave themselves together into a whole. The production touches on archetypal symbols (youth, old age, love… and the overall paradox of being), the basic stories, the existential foundation of our existence.

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V letech 1991 až 1994 pracoval jako režisér v Divadelním spolku Kašpar, kde inscenoval Kleista, Tirso de Molinu a Goetha. V roce 1994 se stal uměleckým šéfem pražského Divadla Komedie, jež se za jeho vedení stalo v roce 1996 laureátem Ceny Alfréda Radoka jako Divadlo roku.

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Michal Dočekal, born in Prague, was already working as an actor and director in the theatre A Studio Rubin during his high school studies. Later on, between 1985 and 1991 he studied stage directing at the Academy of Performing Arts in Prague and spent half a year in London. From 1991 to 1994 he directed at the Kaspar Theatre Company, where he staged the works of Kleist, Tirso de Molina and Goethe. In 1994 he became the artistic director of the Comedy Theatre in Prague which won the Theatre of the Year award in 1996 under his direction. There he directed Chekhov’s The Three Sisters, Shakespeare’s King Lear, A Midsummer Night’s Dream, The Taming of the Shrew and The Merchant of Venice. In 2001, he made a legendary production of Marlowe’s Doctor Faustus: he staged the play in the underground of Prague’s Vyšehrad fortress. In 2002, he became the artistic director of the National Theatre in Prague´s drama company where he debuted with Rostand’s Cyrano de Bergerac, then he staged Sarah Kane’s 4.48 Psychosis, Beckett’s Krapp’s Last Tape, Molière’s The Miser, and Shaw’s Pygmalion as well as August: Osage County, Mikveh, Waiting for Godot, and The Inspector General. He has already staged three other plays in Vígszínház before Crime and Punishment: Mikveh by Hadar Galron (2010), The Good Person of Szechuan by Bertolt Brecht (2012) and The Master and Margarita by Mikhail Bulgakov. He has also directed in Slovakia (e.g. A Streetcar Named Desire at the Slovak National Theatre) and Romania (Kafka´s America at the State Theatre of Cluj).

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V letech 1991 až 1994 pracoval jako režisér v Divadelním spolku Kašpar, kde inscenoval Kleista, Tirso de Molinu a Goetha. V roce 1994 se stal uměleckým šéfem pražského Divadla Komedie, jež se za jeho vedení stalo v roce 1996 laureátem Ceny Alfréda Radoka jako Divadlo roku.

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Michal Dočekal, born in Prague, was already working as an actor and director in the theatre A Studio Rubin during his high school studies. Later on, between 1985 and 1991 he studied stage directing at the Academy of Performing Arts in Prague and spent half a year in London. From 1991 to 1994 he directed at the Kaspar Theatre Company, where he staged the works of Kleist, Tirso de Molina and Goethe. In 1994 he became the artistic director of the Comedy Theatre in Prague which won the Theatre of the Year award in 1996 under his direction. There he directed Chekhov’s The Three Sisters, Shakespeare’s King Lear, A Midsummer Night’s Dream, The Taming of the Shrew and The Merchant of Venice. In 2001, he made a legendary production of Marlowe’s Doctor Faustus: he staged the play in the underground of Prague’s Vyšehrad fortress. In 2002, he became the artistic director of the National Theatre in Prague´s drama company where he debuted with Rostand’s Cyrano de Bergerac, then he staged Sarah Kane’s 4.48 Psychosis, Beckett’s Krapp’s Last Tape, Molière’s The Miser, and Shaw’s Pygmalion as well as August: Osage County, Mikveh, Waiting for Godot, and The Inspector General. He has already staged three other plays in Vígszínház before Crime and Punishment: Mikveh by Hadar Galron (2010), The Good Person of Szechuan by Bertolt Brecht (2012) and The Master and Margarita by Mikhail Bulgakov. He has also directed in Slovakia (e.g. A Streetcar Named Desire at the Slovak National Theatre) and Romania (Kafka´s America at the State Theatre of Cluj).

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Sám téhož roku debutoval v opolském Divadle Jana Kochanowského s inscenací Sportštyk Elfriede Jelinekové. Tam se také nad inscenací Homérovy Odyssey o rok později poprvé pracovně setkal se spisovatelem Marcinem Ceckem, který se stal jeho dvorním dramaturgem.

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Krzysztof Garbaczewski (1983) – Theatre director and set designer, known for his elaborate sets and innovative adaptations. He graduated in direction from the Ludwik Solski State Theatre School in Krakow. He studied uner the director Krystian Lupa, in 1998 assisting him with his award-winning production Factory 2 at the National Old Theatre in Krakow, inspired by the life and work of Andy Warhol. In the same year, he made his own debut in the Jan Kochanowski Theatre in Opole with a production of Elfriede Jelinek’s Sports Play. A year later he first worked with the writer Marcin Cecko, on a production of Homer’s Odyssey. Cecko continues to be his chief dramaturg. The Odyssey brought him an award for best direction and set design at the Krakow Divine Comedy festival. Together they have created a number of distinctive productions from various literary sources, from a pop-culture/deconstructivist look at Star Wars entitled Death Star (2010, Wałbrzych Theatre), Dostojevsky’s Demons (2010, Polish Theatre, Wroclaw) and the well-known work of the anthropologist Bronisław Malinowski The Sexual Life of Savages (2011, New Theatre, Warsaw). His production in Opole of Gombrowicz’s Ivona, Princess of Burgundia (2012) gained two awards at the Divine Comedy festival, for set design and visual effects. Garbaczewski continues to be interested in fundamentally Polish works and themes – his production of Slowacki’s Balladyna in at Wroclaw’s Polish Theatre was both award-winning and controversial. He has continued in the National Old Theatre with an original work by Marcin Cecko, A Gallery of Polish Kings. Garbaczewski has also worked in the New York theatre La MaMa, and in 2014 directed Camus’ Caligula in Stuttgart.

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V roce 2002 přihlásil svou hru Úsměv grapefruitu do soutěže prvního ročníku wrocławského Fóra současného dramatu EuroDrama. Získal zde cenu a dostal šanci inscenovat svůj text jako svůj režijní debut.

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Jan Klata (1973) - Theatre director, playwright. He studied directing at the Theatre Academy in Warsaw, after which he moved to Cracow’s State Higher School of Theatre. In 2002, he provided his play The Grapefruit’s Smile to the competition accompanied the first edition of the Wroclaw’s Contemporary Drama Forum EuroDrama. He was awarded and got a chance to direct the debut performance based on his own text. Later, the production was kept in the repertoire of Polski Theatre in Wroclaw. Next performances he directed at the Jerzy Szaniawski Drama Theatre in Walbrzych (Nikolai Gogol’s The Inspector General, 2003, in Wspolczesny Theatre in Wroclaw (Vatican’s Cellars by André Gide, 2004; in Wybrzeże Theatre in Gdansk (H. based upon William Shakespeare’s Hamlet, 2004;, in Stary Theatre in Cracow (Oresteia by Aeschylus, 2007), Rozmaitości Theatre in Warsaw (his own play Cut it out, 2006; Shoemakers at the Gates based upon Witkiewicz’s Shoemakers, 2007), Schauspielhaus in Graz (Shakespeare’s Richard III, 2006), Düsseldorf Schauspielhaus (Shoot / Get Treasure / Repeat by Mark Ravenhill, 2010), Schauspielhaus Bochum (America by Franz Kafka, 2011, and The Robbers by Friedrich Schiller, 2012) and the Capitol Theatre in Wroclaw (Jerry Springer – The Opera by Richard Thomas and Stewart Lee in, 2012). After six years he returned to Polski Theatre in Wroclaw and directed the award-winning production of The Danton Case by Stanisława Przybyszewska (2008), and later A Piece on Mother and the Fatherland by Bożena Keff (2011) and Shakespeare’s Titus Andronicus (20120 [co-production with Staatsschauspiel Dresden]. In January 2013, Jan Klata became the general and artistic director of Stary Theatre in Cracow.

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Na škole strávil tři roky, nejdříve pod vedením Petera Scherhaufera a poté Zbyňka Srby. Po úspěšné inscenaci Let přes oceán (B. Brecht) se v roce 2001 stal uměleckým šéfem brněnského divadla Polárka. Spolu s dalšími mladými divadelníky vytvořil časem z Polárky sledovanou alternativní scénu, zaměřenou především na autorskou tvorbu pro nejširší spektrum diváků.

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Jan Mikulášek (b. 1978) – Born in Zlín, where both his parents were actors in the local theatre. After studying at the Academy Grammar School in Brno he gained a place at the Janáček Academy of Arts to study drama direction. He spent three years there, being taught first by Peter Scherhaufer and then Zbyněk Srba. After a successful production of Bertolt Brecht’s The Flight Across the Ocean he became the artistic head of the Brno theatre Polárka in 2001. Together with other young theatre artists he helped make Polárka a closely followed alternative theatre, focusing mostly on auteur work for as wide an audience spectrum as possible. He has also held the position of artistic head of the Petr Bezruč Theatre in Ostrava. In addition to directing, he actively devotes himself to composing music for the theatre. He is currently one of the most in-demand theatre directors – in addition to directing at the Reduta (Atomised, The V + W Correspondence, Europeana, The Discreet Charm of the Bourgeoisie) he regularly works with the Petr Bezruč Theatre, the Goose on a String Theatre and the Theatre in Dlouhá. From this season on he is to become an in-house director at the Theatre on the Balustrade. Mikulášek’s direction is notably influenced by film approaches – in addition to having directed many adaptations of films, he also uses elements of film language on stage, such as cutting, detail, musical contrapposto and parallel plot unfolding. His other major source of inspiration is fine art, from which he “takes” an emphasis on mise-en-scene and lighting. Mikulášek is also well-versed in different genres, and inclines towards grotesque stylisation, something for which he finds space even in major dramas.