The Czech ASSITEJ Centre activities are derived from the amount of funds it may raise for its operations.
The Centre is focused in last few years on respectable celebration of the World Theatre Day for Children and Youth. It supplies information on this event media, theatres, culture centres and schools country-wise. Each year it distributes messages of the theatre world personalities to children related to this feast day.
However to the World Theatre Day for Children and Youth celebration the Centre holds each year show of inspiring performances.
2010 – the jubilee 10th year presented 23 performing ensembles in 28 performances with number of visitors at almost 3000 viewers.
2011 – there were presented 15 performances of local ensembles and 3 foreign guests ( Red the Nose Paper from Sweden and especially Teatr Lalka Warszawa from Poland a Nitra Old Theatre of Karol Spišák from Slovakia presenting with the theatre DRAK (Dragon) joint project Jánošík, Janosik, Jánošík! That show was seen by about 2 080 visitors.
2012 – the 12th year brought 12 performances with number of visitors at 1 800.
2013 – there were 19 festival performances seen by 2 040 visitors.
2014 – this festival year introduced 15 productions seen by 2 450 visitors. We gladly accepted 4 foreign guests – observers.
Such festival can be organised even due to support of the Art Institute – Theatre Institute and of the capital city Prague municipality.
The Czech Centre at the occasion of the World Theatre Day for Children and Youth grants the ASSITEJ Prize, which means symbolic award of the Czech theatre that significantly contributed to development of the theatre for children and youth.
2010 – that year there was awarded poet and writer Pavel ŠRUT the author of many books for children becoming masters for theatre performances. After graduating in 1967 from the Charles University in Prague where he studied English and Spanish, Šrut worked as an editor in a publishing house. Since 1972, he is a freelance writer and translator. Together with poets such as Ivan Wernisch and Petr Kabeš, Šrut belongs to the famous generation of Czech poets who published their first books in the 1960s. Like so many of his contemporaries, he was not allowed to publish books of his poems during the Soviet occupation, except for books for children. His work is often done together with an award-winning Czech painter and illustrator Galina Miklínová (e. g. Verunka a kokosový dědek (2004) which is included on the IBBY list, as is his 1992 book Kočičí král which is a collection of English, Irish, Scottish and Welsh fairy-tales) and lyrics for Czech musicians like Petr Skoumal, and Framus Five. Apart from his celebrated poetry and books for children, he is also a translator from English and Spanish. His translations include books of Dylan Thomas, Robert Graves, D. H. Lawrence, Leonard Cohen, John Updike, Federico García Lorca, and others.
2011 – the prize was awarded to the key personality of the Czech modern dramatic education and children theatre Mrs. Eva MACHKOVÁ.
2012 – there was awarded the founder of amateur Theatre C Svitavy, director, composer and puppeteer MUDR. Karel ŠEFRNA The Céčko Svitavy ensemble has great merit in amateur puppetry; it is a permanent first class fixed star the light of which influenced directly or iindirectly the majority of top ensembles. And it brings pleasure into our lives.The Céčko Svitavy ensemble has great merit in amateur puppetry; it is a permanent first class fixed star the light of which influenced directly or iindirectly the majority of top ensembles. And it brings pleasure into our lives.
2013 – the prize was received by Mr. Marek BEČKA, the founder of the ensemble Cakes and Puppets (Buchty a loutky) – for a systematic and innovative work for children and youth in all theatre branches – authorial, dramaturgic, production and acting.Marek Bečka is a graduate of the Prague Academy of Performing Arts in Puppetry. He is also a skilled director and writer. He is the founder of Buchty a Loutky puppet company (“Cakes and Puppets”) in 1991, which has presented over many years a great range of offerings including Rocky IX and Tibet. Buchty a Loutky is famous all over Europe through its tours.Marek Bečka is lecturer in puppetry at Department of Alternative and Puppet Theatre of the Theatre Faculty of Academy of Performing Arts in Prague, Czech Republic.He has been invited to give master classes in Hong Kong and the Netherlands ect
2014 – actually the last ASSITEJ prize has been awarded to Prof. Josef KROFTA, puppet theatre director and university teacher who is worldwide recognised and appreciated artist. The ASSISTEJ National Centre Award is given for the life work – not only for the focus of the Drak Theatre but also for the continuous work with activation of young audience and significant lecturing as he has educated a number of followers, who are engaged in theatre for children. His work abroad must not be neglected because it has contributed to mutual knowledge and enrichment of national theatre cultures in the field of theatre for children.
The Czech ASSITEJ Centre supports each year Festival of one-man production for children.
In conformity with the financial possibilities the Centre supports trips of experts to foreign events.
Prof. Josef Krofta – puppet director and teacher
The ASSISTEJ National Centre Award is given for the life work – not only for the focus of the Drak Theatre but also for the continuous work with activation of young audience and significant lecturing as he has educated a number of followers, who are engaged in theatre for children. His work abroad must not be neglected because it has contributed to mutual knowledge and enrichment of national theatre cultures in the field of theatre for children.
The Festival Database of the Theatre Institute has been updated to provide its non-Czech literate users with an opportunity to locate festivals easily and with more information. Each festival entry contains a short description about the festival in English, as well as the contact information of the festival organizers.
To give you a taste of what’s happening in and around the Czech Republic this fall, here is a brief list of festivals. For a complete list of festivals, check out the database on the www.theatre.cz website:
Babi léto (Indian Summer) Festival at the Bohnice Psychiatric Hospital Grounds
Theatre, Music and Interdisciplinary Arts Festival
110 00 Prague 1
Integration of the Sun – Autumn
Theatre, dance and music festival for mentally and physically handicapped
130 00 Praha 3
This Summer Festival
An Ocean of Theatre and Music on Prague’s Watersides and beaches
http://www.divadlovceletne.cz; www.alfredvedvore.cz, www.formanstheatre.cz
Summer on Letna Festival
Theatre festival located on Prague´s Letna Plain. Music, theatre and circus productions for the entire family.
Kouřimská 12, 280 00 Kolín 1
Vyšehratky Theatre on Vyšehrad 2005
Festival of independent theatre companies takes place throughout the entire complex of the Vyšehrad National monument in Prague.
110 00 Praha 1
International Festival of Nonverbal Theatre
Jiří Turek, Mánesova 88
120 00 Praha 2
International Festival of Theatre for One Actor – Biennial
Divadelní nám. 10
350 11 Cheb
Summer Shakespeare Festival
The Summer Shakespeare Festival is a summer showcase of theatre productions performed in the courtyard of the Burgrave Palace at the Prague Castle. It was originally initiated by President VÁCLAV HAVEL, and now the theatre project has expanded to include outdoor productions performed with the ancient backdrops of Castles of Prague, Brno and Bratislava (Slovakia).
Anenské nám. 2
112 13 Praha 1
Summer Festival of Actors ´Individualities
Summer showcase of contemporary plays featuring well-known Czech and Slovak acting personalities
International Festival THEATRE
The Theatre Festival aims to introduce the most outstanding and remarkable foreign productions, together with a digest of Czech theatres within a broad theme and genre (drama, music, dance, puppet or street theatre), and to create a meeting point for people involved in theatre.
301 35 Plzeň
28.9. – 28.10.2005
Waiting for Václav Festival of Big Little Theatres
The month-long festival is hosted on the large stage of the Klicper Theatre in Hradec Králové
Klicperovo divadlo Hradec Králové
500 02 Hradec Králové
Krakonoš´ Theatre Autumn (Krakonošův divadelní podzim)
National showcase of regional theatre companies, with organized seminars, directing courses, and classes about scenography
IPOS – Artama, Blanická 4
120 21 Praha 2
Festival of Moravian and Silesian Theatres
737 35 Český Těšín
tř. T. Bati 4091/32
761 87 Zlín
Cinderella (Popelka) Festival
National showcase of drama performances for children
120 21 Praha 2
Prague Theatre Festival of German Language
International festival of theatres from German speaking countries
Karlovo nám. 28
120 00 Praha 2
Puppet Theatre Festivals
International puppet theatre festival containing some workshops
729 82 Ostrava 1
One Flew over the Puppetry Nest
Professional, amateur and alternative best puppet performances from last season
110 00 Praha 1
Evaluation of the 17th Meeting of Theatre and People in Ostrava, held November 15-18, 2001.
This year’s Meeting of Theatre and People in Ostrava differed considerably from previous meetings on a number of issues. First of all in the ages of the performing companies. There were ensembles of the youngest children “Malik” and “Pripravky” (preparations) of the DIVIDLO (Ages 5 -10), of children’s ensembles (HUDRAADLO, Zliv, BRNKADLA, Brno), of youth groups (KSNDY, Brno) and some sections of DIVIDLO and members of the Workshop up to groups of adults and older participants, particularly the Slovak troupes. The audience for which performances were intended were just as varied. There were the fairy-tales for children (“Otesanek” by DIVIDLA, “About the sparrow with a cut-off tongue” or “Slavik” (nightingale) by HUDRADLA Zliv), the non-sensical poetry of the STRELKA company of Cesky Tesin (“Twice from the Book of Nonsense by Edward Lear”) An interesting attempt to dramatize the life stories of children (Na Tabore (in camp)), or Werich’s tales “Az opada listi” (when the leaves fall) the ensemble KSANDY, Brno up to classical forms of Comedie dell Arte (Comedye of Frantisce…by the DIVIDLO, Ostrava “Brigid’s Wedding” by BRNKADEL, Brno up to the specific stage production intended for all generations (“Dva muzi v sachu” by DIVIDLO, “Samko Tele or O cintorine” by DS DAXNER Tisovec, Slovakia, or the “Nevesta hol” by DS Doubleface of Bojnice.) Lovers of poetry theatre could also get satisfaction from (“Valerie…” by DIVIDLO, Ostrava and “Nahradni slavnost” of the DS ALTERNA of Rimavska Sobota, Slovakia.
An independent and natural height were two performances of the participants of the summer Workshop of young people of the Czech Republic, Slovakia, Germany and Poland – “Orpheus and Euridice” The fifty-five minute whirlwind of music, motion, lights, costumes, scenic details, but mainly the tremendous energy and communication of the 45 children aged fifteen to twenty-five, supported by adult professionals (Vlado Sadilek, Marian Lacko, Renata Bubniakova, Vladislav Georgiev, Hanka Strbova, Jitka Kvasnickova) but also by those who “only” helped with the organization, certainly entertained and engrossed all 260 spectators on Saturday, as well as the 220 on Sunday afternoon. And then it says there is no interest in the theatre….There were 185 of direct performers (and those participating in discussions, directing, sleeping, eating and falling in love, passing through Ostrava, not watching television).
We participated in the Festival of the Biennale du Theatre Jeunes Publicduring June 8 – 15, 2001. During this period we viewed 18 performances, handed over publicity material of the Theatre Institute to the Art Director of the Festival, Mr. Michel Dieuaide, established contacts with the representatives of companies which had the most interesting productions, as well as with organisers of the Festival and other delegates.
LA CLE DU CHAPITEAU – Quelli di Grock, Milano, Italy
One of the top performance of the Festival, not only in our opinion . The topic of the circus as a world within a world was conceived by the authors as a look behind the scenes as well as into the soul of a circus artist. The production which was, at the same time, meant to honour all “invisibles” in the background, consciously resembles Fellini’s poetry. The technical precision of the dance and circus numbers is combined with excellent acting performances.The comedy-lyrical style of the whole addressed the audience of all ages. We have photos of the performance as well as contacts with the company.
FILI – Circus Ronaldo, Gand, Belgium
A circus in theatrical form, drawing from the poetry of the comedia del’arte and old fairground performances. It contains, among others, outstanding clown actions, marionette theatre, parodies of opera, pyrotechnical effects and unexpected humourous turns. A rewarding, for the audience, well staged, comedy style production taking place in a specially construed circus tent. The language barrier is of no importance, the staging presents here a very rewarding family entertainment giving a great emotive experience, particularly to the children.
(The atmosphere remotely recalls the “Bouda” (the shack) by the Forman brothers.- however it is more spirited)
MOI, FIFI, PERDU DANS LA FORET – Theatre du Tilleul, Linkebeek, Belgium
A marked didactic performance for the smallest children, the topic of which is “how I got lost in the forest and whom I met there”. The staging uses effective means (play of shadows, slides) but the educational story rather resembles television shows for schools.
BING & BANG – Theatre du Verseau, Oullins, France
Buffoonery along the lines of comedians Jacques Tati and Buster Keaton used a sort of forced pseudo-bean like humour which did not engross the adult or children audience.
RAVEL – Theatre Sans Fil, Montreal, Canada
A well-staged black theatre, basically only illustrating Ravel’s compositions Bolero and the Child and Magic Tricks. Externally effective, but particularly in the second part somewhat outdated. Moreover, the spectator’s illusion is damaged by purely technical shortcomings in the manipulating of puppets and a lack of sensitiveness (black figures pass in front of the led object or even carelessly carry off puppets whose action is completed as if it were a television shooting). We have seen quite a similar production twenty years aago, at Skupa’s Pilsen.
LETTRE A UN HERISSON – Theatre de Jeunes Annees/CDN, Lyon, France
A static performance (rather a theatre of poetry) was based on the interpretation of texts by a cult author, and the language barrier thus functioned greatly. We can only note, that the local children audience seemed rather politely bored than interested.
FLY BUTTERFLY – Teatre del Buratto, Milano, Italy
A marionette production using the principles of black theatre. Externally effective, however, unfortunately incomprehensible and uncommunicative. It was the only performance where even the model and quiet French children stopped watching the show, whispered and looked at their watches.
LE SILENCE DES SABLES – Coeur d’Artichaut Theatre, Villeurganne, France
A somewhat static staging about the relationship of two people in an isolated oasis, based on the dialogue of two protagonists. Extremely restrained setting. We did not succeed in unveiling whether it symbolizes a sort of movement of something living, a story of an uninvolved musician around a circular stage.
EN ATTENDANT LE PETIT POUCET – Compaganie Pour Ainsi Dire, Charenton, France
A delicate playful performance resembling the direction style of Pavel Polak in his “Materinky”. Two actors meet accidentally in one place without knowing about each other, finding traces, meeting each other, getting acquainted, playing together, being spiteful, drawing close together. All this on a bare, darkened stage with a minimum of props (stones, a wooden horse on wheels) While in the case of Polak, this rapprochement serves as a starting point for the development of the performance, here the staging ends. The stereotype series of endlessly repeated etudes did not hold the attention of the child’s (or adult’) attention.
L’ARCHE DE NOE – Le Petit Theatre, Pontault-Combault, France
An exquisitely staged production taking place inside the realistically furnished Noah’s Arc. After a promising beginning, where the performers lead the spectators inside and check off the various animals on the list, nothing interesting happens from the theatrical point of view. Despite the fact that the strongly made-up and masked actors move among the crowded spectators, they play a realistic spy-glass theatre (including the scraping of potatoes) which consists of long-winded dialoques (the fights of Mr. and Mrs. Noah). The beautiful design of the arc remains practically without use. The discrepancy between the scenographic element and the unimaginative concept of the text is extreme. A discussion with the protagonists indicated that they are determined to enter it in the Festival of European Regions at Hradec Kralove.
LA CHASSE AU SNARK – Theatre de Petites Fugues, Taverny France
A playful, imaginataive, clever and witty staging based on the motives of tales and non-sensical poems by Lewis Carrol which end by the “Birth of Little Alena”. The “collapsible” sets are not too rich but functional, the jazz music is highly functional, the acting and singing are excellent, the pleasure from the play overflows the ramp.
Paradoxically, the ensemble has problems with the acceptance of this production in France because, according to the director, the French are “too cartesian” they do not understand the symbol and play of “make believe”. They brought the text for an expert opinion.
LES MALHEURS DE SOPHIE – Compagnie Jose Manuel Cano Lopez, La Riche, France
A traditional work of French literature about the adventures of the cheeky little girl, was fashioned as a rococo picture come to life. The principle of figurines coming out of the picture and returning into the frame soon grew tedious. Even the intrusive comedy and grotesque acting was a stereotype. I believe that Czech children (contrary to the politely bored little Frenchmen) would break up this perforance after fifteen minutes.
BENTENKIK – Speelteater Gent, Gand, Belgium
A highly emotive staging with a socio-critical topic. The investigation of the death of one of the characters of the story leads to a mosaic of the break up of a family and mainly the lonesomness, defenselessness of deprived children. Although the cliche accompanying this topic appeared here too, the courage to present such a difficult text for the given age group (over 14) is praiseworthy. The acting ranks this performance among the unforgettable ones.
PIERROT OU LES SECRETS DE LA NUIT – Theater im Marienbad, Freiburg, Germany
The poetic text on the motives of Michel Tournier was worked out with precision and resourcefulness of the puppetry. The layered action, clever stage sets, acting performances, precision manipulation with puppets, staging resourcefulness were, in our opinion, greatly supported by the high-quality screenplay. Due to time pressures, we were not able to meet the creators in person, but we got into touch witht he literary agency where the text in German is available. In our opinion it would be a great asset to the somewhat stereotype repertory of some Czech puppet theatres.
Within the framework of the EUROPEAN SCHOOLYARD STORIES PROJECT we succeded to view another four performance outside of the scheduled programme.
Three of these (from the Theatre des Jeunes Annees from Lyon, Carrousel Theater, Berlin and Theater an der Sihl from Zurich) were minor studies or micro-stories dealing with the topic of first love, school chicanery, alienation, etc. These minute shapes as presented by young actors engrossed us primarily by its authenticity and humour. The Tomsky Dramatichesky Teatr brought a most valuable staging which was the highlight of the official as well as the additional programmes. The play Kuba – ljubov moja by Michail Bartenjev deals with the subject of guilt and absolution as well as growing up and maturity. To be an adult also means to acknowledge one’s guilt and take the consequences. Without that man remains mentally in childhood, i.e. in childishness. And guilt does not only mean to do something evil, it also means to do nothing. And it is these childish heroes who, after thtirty years, are being confronted with their guilt, i.e. directly with the victims of their inactivity. A very difficult, somewhat mystical text was presented with humour (also black) and an unbelievable lightness and delicacy of the acting. The small arena representing a schoolyard enabled the actors to play with the audience “eye to eye”, and employ fine mimicry and little gestures without giving up exaggerations and grotesqueness.
The experience from this performance is truly one of the most profound ones. The screenplay is at our disposal on diskette in Russian. Although the topic is most relevant, the play is unfortunately too concretely restricted to its location for it to be translated and introduced here. Any adaptation to “Czech conditions” could damage its structure and its purport.
This much about the performances. It should be mentioned that although this evaluation of the stagings is subjective we also spoke about our impressions with the other delegates and in most cases we agreed.
We viewed 18 performances. For the Theatre Institute we established connections with all ensembles that performed at the festival, we have photographs of the best stagings and promotion material. We established informal contacts with the representatives of the troupes and with the organisers of the festival. We have been approached by the delegates of Finland, who were preparing to leave for the International Theatre Festival of European Regions to Hradec Kralove and they asked us for our ideas on children performances suitable for presentation at the festival in Oulu. We complied with their wishes and also recommended a visit to the Materinky in Liberec taking place at this time. In turn we brought back one text suitable for puppets and two interesting theatre texts for children and young people.
We are preparing a more comprehensive contribution about the Biennale du Theatre Jeunnes Public for the internet pages of ASSSITEJ.
Prepared by Marketa Hoskovcova and Ludek Horky
Following the success of the Czech Music 2004 project, promoting Czech music at home and all across the world, the Theatre Institute, the Czech Music Council and the Arts Institute have recently published the director of Czech Orchestras. Published in English, the handbook is ideal for those wishing to obtain contacts and background information about the professional and amateur orchestras based in the Czech Republic.
Czech Orchestras presents the vast panorama of Czech Symphony and Chamber orchestras including their history, a short profile of their activities and contact information about their current personal administration. The list of orchestras is a representative selection of the organizations that currently exist in the Czech Republic. The publication also provides an interesting look at the brief history of Czech orchestras, dating back to 1831 when orchestras in the spa cities of Teplice and Karlovy Vary were prominent.
Price: 5 Euros (+pp and VAT where applicable)
The 5 CD collector’s edition of the Czech Music is also available. More information about the Czech music CDs can be found here.
The Salon of Czech Scenography 2005, the national showcase of theatre, film and television scenography, will take place at the Lobkovicz Palace at the Prague Castle from September 1 to October 15, 2005. The exhibition will display the works of more than seventy contemporary scenographers, presenting their designs, stage models, photographs, video-presentations and realised costumes.
The exhibit will provide spectators with an opportunity of discovering the magic of the theatre technology, and learn more about the contemporary dialogue between drama and the images used to portray it. A Discussion Forum focusing on current issues in the field of stage design, as well as presentations of new projects, will also be a part of the exhibit. In addition, a programme for children is also designed to bring the younger spectators closer to the creative world of theatre and allow them to understand the individual components of stage design. The children’s programme will include workshops in which the children and students can try to create a space for a dramatic play.
The tradition of the Salon of Czech Scenography has been around for several years. The first Salon took place in 1977 and has since taken place in irregular intervals, and has had various names. Its ambition is to present the broad spectrum of Czech scenographic creation between the intervals of the Prague Quadrennial International exhibit of Scenography and Theatre Architecture.
September 1 to October 15, 2005
Lobkovicz Palace, Jiřská 3, Prague Castle
Open daily from 9:00 a.m. to 5:00 p.m. (except Mondays)
Coordinated by the Theatre Institute, National Museum, and the Czech Organization of Scenographers, Theatre Architects and Technicians (ČOSDAT)
More information in Czech at: www.divadlo.cz/salon
Prague Quadrennial Update and Heart of the Prague Quadrennial in the Americas – Daniela Pařízková, Sodja Lotker
Even though the deadline for the Prague Quadrennial 2007 (June 30, 2005) has passed, the Prague Secretariat has recently received a few unexpected applications. Currently, almost fifty countries have registered to participate in the National Section, and first-time countries include Georgia, Malaysia and Ireland. More information will soon be available on the www.pq.cz website.
The Heart of the Prague Quadrennial is also touring the globe. Following a tour through Latin America, the photo exhibition of the interactive exhibit that took place during the Prague Quadrennial in 2003, will continue to the CzechFront Gallery at the Consulate General of the Czech Republic in Los Angeles. The exhibit will also include a presentation by dramaturge of the Heart of the PQ interactive exhibit, Sodja Lotker, on September 8, 2005, and will run until the end of September. The CzechFront Gallery is located at 10990 Wilshire Blvd., Suite 1100, Los Angeles, California, USA. More information can be obtained by contacting the Consulate directly at email@example.com.
The Heart of the PQ exhibit is also scheduled to travel to Santiago de Chile as part of the Czech Season in Latin America. More details will become available and posted on the www.teatro.cz website.
“I am no Artist…” – Petr Lébl – Vlasta Smoláková
On November 11, 2005, the Czech Centre Munich will open the exhibition Petr Lébl: “I am No Artist…”
Petr Lébl (1965-1999) was a unique creative personality in the history of Czech performing arts during the 20th Century. His work as director, actor, author, as well as graphic designer, received critical acclaim at home and abroad. Lébl himself was also an important character in the development of the Theatre on the Balustrades in Prague. The exhibit will include some of the works from his productions at the Theatre on the Balustrade (The Seagull, Uncle Vanya and Ivanov).
The exhibit is open during the regular hours of the Czech Centre Munich, Prinzregentenstr. 7
80538 München, Germany.
More information can be found at: www.czechcentres.cz/munich
News about the world of puppet theatre at home and abroad: Spectaculo interesse Festival in Ostrava; Czech activities at Expo 2005; Petr Nikl and UNIMA´s World Puppet Encyclopaedia.
Spectaculo interesse – Ostrava 2005
From September 19th to the 24th 2005, the 6th annual international puppeteer festival, Spectaculo interesse, will take place in Ostrava. The festival is a showcase of Czech companies, and this year will present companies from Belgium, Germany, Poland, Hungary, Spain, Korea and Japan. This year, the festival will also involve the participation of students of puppet schools from Poland, Germany and France, as well as student works from the Academy of Alternative and Puppet Theatre in Prague.
More information: http://www.dlo-ostrava.cz/
Performer and visual artist Petr Nikl fascinated audiences with his dramaturgical and visual concept of the Czech Pavillion during Expo 2005 in Aichi, Japan. The Spejbl and Hurvínek Theatre from Prague and the independent company Continuo Theatre from South Bohemia performed during the EXPO 2005 celebrations. Using their own unique approach to puppet theatre, Continuo Theatre has gradually crossed over to create performances that combine the elements of visual and movement theatre with those of “nouveau cirque”, thus continuing to discover new ways of making their ideas come to life. At the end of June, eleven members of the company travelled to Japan to present a special street performance. The designs (costumes, masks, props and even some musical instruments) were created entirely out of paper.
More information about the Czech Pavilion in Aichi:
There and Back Again
From Japan to Prague – Petr Nikl Visual Artist at Play
Just before the summer holidays, visual artists and author of the Czech pavilion at Expo 2005 in Japan, Petr Nikl, presented his new two-part performance entitled Dance of the Toys (Tanec hraček) at the Archa Theatre in Prague. The production is part of the project entitled A Child’s Soul in an Adult Body, inspired by the works of Hans Christian Andersen. Nikl, who has continuously been inventing new ways of exploring the techniques and possibilities of puppet theatre (creative artefacts, objects, classical marionettes, dolls, toys, etc), once again used his clever elements to contrast the fragile world of dreams and the contemporary brutal reality. A more detailed review by Jana Návratová can be found in the Dance Section of the theatre.cz bulletin.
See also related article Dance of the Toys in the Dance Section of this newsletter.
More information can also be found in the Loutkář magazine: www.divadlo.cz/loutkar
Information about the production can be found at: www.archatheatre.cz
World Puppetry Encyclopaedia
Intensive preparations on the work on the Encyclopaedia of World Puppetry, that began almost ten years ago, have once again resumed. The publication will take the form of an encyclopaedia as presented Professor Henryk Jurkowski at the UNIMA Congress in Magdeburk. The preparation work has been taken over by the Laffont Publishing House in Paris, and Tierry Foulc leads the editorial team. According to the new revisions, new entries have been rewritten and expanded to include the history of Czech puppet theatre, individual personalities, theatres, and terminology (i.e. Kasparek, Pimperle, black theatre, etc.). In accordance with the decision of the UNIMA executives, who indicated some deficiencies in the work of the new editor (during the meeting in Croatia this June, the editors delivered the newest version without little graphic detail and in paperback form), and are currently considering the Acta Sud Publishing House as the new publisher. The final decision will be made in December 2005. For those who have been waiting impatiently, or who have been working painstakingly on the publication, this is perhaps not very stimulating news.
THEATRE FACULTY, JANACEK ACADEMY OF MUSIC AND PERFORMING ARTS
has the honour to invite You to active participation at
2nd International Seminar of Doctoral Studies of Theatre Schools
from 8th to 10th December 2005 in Brno.
The aim of the seminar is to continue in the mapping of doctoral research undertaken at practically specialized theatre schools and academies. The seminar is a platform for confrontations of different concepts of post-graduate study and doctoral research in the field of theatre practice.
This seminar took place in Brno for the first time in December 2003, when 13 participants presented their papers to international auditorium of students and teachers coming from Slovakia, Hungary, Poland, Scotland, Finland and Sweden.
We expect one student and one teacher (ideally student’s tutor) from every school to take part in seminar. Every participant will cover all his/her costs connected with the travel and stay in Brno. Organisers will provide accommodation in a hotel (The hotel is situated approximately 4 km far from town center. The tram connection nr.1 is working day and night and takes 20 minutes, there is also a snack bar, restaurant that provides colorful offer of starters, Czech cuisine, beer, wine from the South Moravia, soft drinks and many kinds of coffee, www.hotel_imos.cz) or they can reserve you accommodation in a three-star hotel at your own expenses.
Deadline for applications is 30th September, papers must by sent in electronic form by 6thNovember – we will circulate papers by email during November, so everyone could be acquainted with presented topics. Seminar starts on 8th December in evening by performance in school studio MARTA and informal introductory meeting of all participants and that proceeds for two days.
Every participant will have 30 minutes for presentation, which will be followed by 20 minutesfor open discussion. Please note all participants should send their papers to the organisers in advance. This paper can be more extensive, can include more detailed descriptions of research and present different extensive information (statistics or other data), while presentation can concentrate on more general aspects of the research.
As we see doctoral studies and research in the field of theatre practice as new and still establishing subject, we ask all participants to include in their presentations special chapter/paragraph dedicated to description of methodology and development of their research.
The organisers will publish the conference proceedings. The official language of the symposium will be English, we will provide simultaneous interpreting Czech/English.
For further information please contact co-ordinators of the symposium:
MgA. David Drozd ( firstname.lastname@example.org ),
MgA. Lukáš Rieger, PhD. ( email@example.com )
DIFA JAMU, Mozartova 2, 662 15 Brno, Czech Republic,
tel. and fax: 00420 / 542 210 136
Title: Financing of Czech Theatre
Tradition of Czech Theatre
40 Years of the State Monopoly
Liberalism versus the Open Arms of the State
Theatre as a Subsidiary Organization
Non-Profits and Private Theatres
Transformation in Prague
Perspective – Towards the Future
A study about the transformation of Czech theatre as contemporary society´s cross-over to democracy and market economy – written by American researcher Stepan S. Simek
Originally published in: Slavic and East European Performance (July, September 2005, abridged version) Theatre Institute Prague – August 2005 (complete text)
Key words: transformation, subsidiary organization, non-profit theatre, private theatre, public service, financing
Date: August 2005
Author of text: Stepan S. Simek, Professor of Theatre Lewis and Clark College, Portland, firstname.lastname@example.org Click here for complete word document