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Keybot 12 Results  gdriqfa.unice.fr
  25. ROČNÍK MEZINÁRODNÍH...  
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Scéna: Jan Konečný, Barbora Konečná
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Movement work: Zoja Mikotová
  25. ROČNÍK MEZINÁRODNÍH...  
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Scéna: Jan Konečný, Barbora Konečná
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Movement work: Zoja Mikotová
  25. ROČNÍK MEZINÁRODNÍH...  
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Další závěr, ke kterému došli, je, že charakteristickým rysem autentického venkova je vesnický a rolnický způsob života, jenž v Lotyšsku zahrnuje nezbytně pěstování dobytka. A konečně – až se poslední lotyšská babička vzdá své poslední krávy, autentické Lotyško se stane historií.
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During two years, the New Riga Theatre actors have collected the stories about the Latvian countryside. The actors have come to a conclusion that the true Latvian identity can be found not in the city, but in the countryside. Only in the countryside it is obvious, that Latvians are different from the others. These differences disappear in the cities. Another conclusion is that the authentic countryside is characterized by the rural and the agricultural way of life, which, in Latvia, definitely includes having a livestock. The final conclusion – when the last Latvian grandmother will hand over her last cow, the authentic Latvia will be a subject to the past. Therefore, the performance is also about the cows.
  25. ROČNÍK MEZINÁRODNÍH...  
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Kukura – Bernhardovsky laděná hra o bilancování vlastního života i o analýze kultury, potažmo společnosti. Ředitel divadla a režisér čekají na příchod herečky, která se má konečně vyjádřit, zda přijme nabídnutou roli Médey.
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Kukura – A Bernhard-like play in which an individual looks back at his life, and which also analyses culture and, indeed, life. A theatre manager and a theatre director await the arrival of an actress who is going to tell them, finally, whether she is accepting the role of Medea that she has been offered. For Kukura, the manager, it is time for a monologue in which he assesses his life, for the young director it is a rite of passage. The play takes an open and critical look at the state of culture today, and is directly inspired by the figure of Juraj Kukura – man, actor and director. Rastislav Bellak’s production was nominated for a Dosky award in three categories (Jana Oľhová for best female performance, Ivan Martinka and Martin Čičvák for discovery of the year). The production is part of a cycle of original Slovak plays with a social and political content, among them being Tiso, Dr. Gustáv Husák and Communism.
  25. ROČNÍK MEZINÁRODNÍH...  
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Když k tomu zahraje záměrně rozvrzaná a poněkud svévolně intonující kapela, nabývá dění rázu takřka marthalerovského. A konečně, jednoho vždy potěší, když vidí, že inscenátoři nelitovali času a energie na naprostou volovinu.
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Basing a production on quotes from postcards (…) seems like a suicidal idea. Here, however, under director Lukáš Brutovský and dramaturg Miro Dacho the Bezruč theatre has managed to create a production that for me personally is the most pleasant surprise of the 2017 theatrical year. (...) The acting is mostly excellent, with a number of scenes rendered endearing precisely by the way in which they are acted (such as, for example, the would-be-self-confident rants of a formless schoolgirl). They are given a darker undercurrent (although not entirely consistently) by the letters from hospitals and various death notices. When to this is added a deliberately creaky and somewhat capriciously intonating band, the effect becomes almost like that of Swiss director Christoph Marthaler. Finally, it is always a pleasure to find that a production’s creators do not regret time and energy spent on goofing around.
  25. ROČNÍK MEZINÁRODNÍH...  
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A Váňa pracoval celý život pro Serebrjakova. Obětoval se. Teď je čas vše rozebrat, všemu porozumět, čas být konečně spolu. Všichni trpí a každý zoufale hledá svoji pravdu a i ta ztrácí na věrohodnosti.
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Uncle Vanya – A collection of people has met in a house in the Russian countryside. Professor Serebryakov has finished his work and is returning back to the countryside from the city. All his life he has devoted himself to art, realism. And Vanya has worked all his life for Serebryakov. He has sacrificed himself. Now there is time to take everything apart, understand everything, time to be together again finally. Everyone is suffering, and everyone is desperately looking for his or her truth. And yet even truth is losing credibility. Any sort of certainty is trickling away. Everything is cloaked in cynicism. Is it still possible to understand one’s life? Is there still any sense in sacrificing oneself for someone? How should one live with ones’ truths and also with other people? How can one carry on living – and on, and on? HaDivadlo last performed Chekhov eight years ago – Three Sisters, directed by Sergei Fedotov. A dramaturgical exception, it broke a run of productions of almost exclusively modern works. The theatre’s dramaturgy is now becoming less focused – the new management is maybe looking for a direction in which to head. The young team does not approach the text in an iconoclastic way, but with respect highlights the subject of burning individualism. Uncle Vanya is shown here almost without cuts, with devotion and discipline, with only the outer part wrapped in the present day. With distinctive support from several of the acting performances, a pulsing production has been created that shows – once again – the greatness of Chekhov’s text.
  25. ROČNÍK MEZINÁRODNÍH...  
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Obtížnost vztahu mezi mužem a ženou, strach ze života i ze smrti, posedlost tělesností a konečností, vzpomínání a zapomínání, zápas s literaturou a nezbytnost psaní – to vše se v jeho knihách znovu a znovu vynořuje jako hudební motivy v neustále proměnlivých variacích.
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Sunken Red – In 2004, Jeroen Brouwers (1940) celebrated the fortieth anniversary of his career as an author. Over a period of four decades, his work has come to occupy a unique place in Dutch literature. His oeuvre centres around three themes: love, literature and death. The difficult relationship between man and woman, the fear of living as well as death, the obsession with corporeality and finiteness, with remembering and forgetting, the struggle with literature and the necessity of writing; they reappear throughout his books like musical motifs in ever-changing variations. The autobiographical novel Sunken Red (Bezonken Rood) is a lamentation for his dead mother and a bitter memory of of the Japanese prisoner of war camps during the Second World War. This harsh and moving story of the “limits of human memory and the inability to forget” is communicated by a single actor. His impersonal narration, supported only by projections, is close to ancient drama – all the horrors take place off stage. In the production Sunken Red, Cassiers works with Dirk Roofthooft, one of Europe’s leading actors, who plays the monologue in either Dutch, French, Spanish or English.
  25. ROČNÍK MEZINÁRODNÍH...  
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Václav Havel napsal Žebráckou operu v roce 1972 na objednávku pražského Činoherního klubu, šlo o jeho čtvrtý dramatický text. Důvodem, proč hra nakonec nebyla uvedena, byla zřejmě oprávněná obava z postihů za spolupráci se zakázaným autorem.
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Václav Havel wrote The Beggar’s Opera in 1972 at the behest of Prague’s Činoherní klub theatre. It was his fourth play. The reason it was not in the end shown was doubtless the theatre’s justified fear of working with a banned author. Havel did see the premiere of his play some time later, however, when it was performed on 1 November 1975 in the pub “U Čelikovských” in Horní Počernice. The play is based on John Gay’s original, but what Gay and Brecht tells the audience by means of music and songs, Václav Havel puts into the mouths of the characters as they speak to each other. “I wrote it quickly, in a relaxed mood and with gusto, without unnecessary speculation and not held back by the feeling that everything was at stake. The possibilities hidden in my model, and the hope – albeit hazy – that the play would be staged made my work easier, understandably. I like the play, and it seems to me to have a feeling of vitality, something confirmed by the favourable reception that it met with among my friends and acquaintances,” Václav Havel wrote of the Beggar’s Opera in 1977. Špinar’s adaptation of Havel’s text is its eleventh stage version. The breadth of genre classification to which it has lent itself is shown by the following subtitles: The Beggar’s Opera, A Mafia Grotesque (in Hradec Králové), The Beggar’s Opera or Václav Havel’s Brilliant Text (Daniel Špinar’s provocative production) and finally The Beggar’s Opera or A Wild Ride in an American Cabriolet on the Waves of Czech Absurd Humour.
  25. ROČNÍK MEZINÁRODNÍH...  
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Hra je součástí volného historického cyklu dramaturga a dramatika Tomáše Vůjtka - prvním dílem byla hra S nadějí, i bez ní, dalším je Smíření, které bude mít v Aréně premiéru v příští sezoně. Hlavní postavou Slyšení je bývalý nacistický pohlavár Adolf Eichmann, úřednický perfekcionista, který své schopnosti věnoval „konečnému řešení židovské otázky“.
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Hearing – The production won three Theatre Critics’ Awards (production, text, best actor) in 2015. The play forms part of a loose historical cycle by dramaturg and dramatist Tomáš Vůjtek, the first being the play With and Without Hope and the next Conciliation, which will be premiered in the Arena next season. The main character in Hearing is the former Nazi leader Adolf Eichmann, a bureaucratic perfectionist who devoted his abilities to the “final solution to the Jewish question.” In Hearing Eichmann tries to defend himself and asks for a hearing in front of God – who does not seem to be coming. The career of a Nazi criminal who wants to tell God himself his own version of events is confronted with the fates of the Jews who were taken in 1939 to the camp at Nisko on the San, the destination of Eichmann’s first transports. The very first transport left Moravská Ostrava on 18 October 1939. As in the play With and Without Hope, Vůjtek uses black humour to reflect on this Nazi career, coming from the fact that the figures talk about their fates using an authentic lexicon that is in dramatic, and often sarcastically heightened, contrast with the terrible reality of the historical events. The author himself says: “I cannot imagine my writing without humour; these great themes, in particular, require it. Otherwise there is a threat that the testimony will slide into sentimental pathos. We can be moved by the suffering of the victims, but I believe it is more beneficial if we can manage to make fun of the evil that caused it. We may not save our world in doing so, but at least we will get to know it better. This cognitive function of humour I find essential.”