Bulletin EN 2016 by katy

SETKÁNÍ/ENCOUNTER 12.—16. 4. 2016

New Marks & Angles of View View changing

We would like to thank all of our partners and supporters, without whose help the festival could not have come into being!

BULLETIN The International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 2016 Responsible Editors: Martin Hodoň Šimon Peták Translation: Lukáš Bowyer Corrector of the English version: Adrian Hundhausen Correctors of the Czech Version: Barbora Hajdíková, Eva Krčmářová, Kateřina Uhrová Typesetting: Marek Novoměstský Kevin Wulfric Scherrer Print: T.D.V. tiskárna Vladimír Dilhof Vídeňská 282/80, Brno 639 00 IČ: 40974715 DIČ: CZ5805232730 Publisher: The Janáček Academy of Music and Performing Arts Theatre Faculty Mozartova 1, 662 15 Brno IČ: 62156462 DIČ: CZ62156462 Co-organizer: Centre for Experimental Theatre Zelný trh 9, 602 00 Brno IČ: 00400921 DIČ: CZ00400921

CONTENT EDITORIALS

ORGANIZATIONAL TEAM

SUPPORTING PERSONALITIES

PARTICIPATING SCHOOLS

MAIN PROGRAME

PROFESSIONAL JURY

STUDENT JURY

OFF-PROGRAM

INFORMATION 54

THANKS Special thanks to all the students involved in festival preparation, in particular the students of the Theatre Directing and Dramaturgy department, the Audiovisual Creation and Theatre department, the Stage and Costume Design department, the Radio and TV Dramaturgy and Scriptwriting department, the Musical Acting department and the Drama Acting department. We also thanks: Brno City Municipality, The South Moravian Region, Ministry of Culture Czech Republic, International Visegrad Fund, State Fund of Culture Festival Organisers:

THEME OF THE FESTIVAL Every year we choose a theme for the festival that is the contribution of the festival director and the festival dramaturgist. This theme covers that specific edition of the festival. Although the festival has its theme, performances are not required to correspond to the theme. This year we chose the theme “NEW MARKS & ANGLES OF VIEW”. “The confrontation of different, extreme views on one theme (theatre, society, the world where we are living, reality) can move our world and force us to leave our comfort zone. Do not fear to go to extremes and to be distinctive – that’s the only way not to merge with the ubiquitous „grey zone“.” Barbora Chovancová the artistic director of SETKÁNÍ/ENCOUNTER 2016 Jakub Liška the dramaturgist of SETKÁNÍ/ENCOUNTER 2016

EDITORIALS Dear colleagues and friends, We are just commencing the 26th year of the The International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER, an annual friendly meeting of young theatre people and their teachers from many countries. I warmly welcome you to the Janáček Academy of Music and Performing Arts in Brno (JAMU). This school, nearly 70 years old, carries the name of an excellent and world recognized composer, Leoš Janáček, whose music still enchants careful listeners of all generations. He was also a brave and experimental theater lover with great visions. This is proven by his many operas, performed on stages around the world. His great music, together with his original libretti and his outstanding theatrical intuition, which can be seen in all his pieces, still inspires contemporary artists to new interpretations. This tradition continues. JAMU is accredited to offer bachelor’s, master’s and doctoral degrees. Each year, about 360 students prepare for their future at the faculty. You can meet students of Drama or Musical Acting, future directors, dramaturgists and screen writers. Television and Radio Dramaturgy, Screenwriting, Theater Management, Stage Technology, Drama, Dance, and Audio-visual Creation are also taught at our school. Workshops in Physical Theater and Drama for the Hearing Impaired can also be found. There are new classes on Design, Dance and Movement Theater and Education. The faculty also organizes important international symposia and seminars, and engages in research and publication. Our students have prepared a theme for this current festival: New Marks & Angles of View, with emphasis on how there can be many points of view on a specific theme. These days of meeting and friendly confrontation of different artistic processes in all their originality have been in preparation for a year. We expect that there will be debates and mutual inspiration. The name of the festival SETKÁNÍ/ENCOUNTER speaks for itself. Let‘s try and look into the secrets of contemporary theater on this occasion. Let the clash of viewpoints be friendly! doc. MgA. Zbyněk Srba, Ph.D. The Dean of the Theatre Faculty of JAMU 5

EDITORIALS Dear colleagues and friends, Our festival carries the name SETKÁNÍ/ENCOUNTER. It is the simplest name possible because every festival is a meeting, just multiplied, and a meeting of different types of meetings. What kind of meetings are taking place at our festival SETKÁNÍ/ENCOUNTER? The main program is the encounter of theater performances from different theatre schools. That‘s why in each and every one of these performances, performed and directed by students, a first serious encounter with the theatrical profession is had, and the students believe that their lives depend on it! Each one of these performances was prepared using a specific method which that school uses in its teaching. But the method of each school is created through encounters or meetings. The meeting of various influences from different international places, all affect us within our own specific national and artistic culture. From this point of view, our festival SETKÁNÍ/ ENCOUNTER is an international spiritual meeting of connected people that freely travel across the borders of states and continents, and at the same time it is a meeting of specific national theater cultures. It is a pleasure for us to be able to welcome, for the first time at our festival, the theatre and culture of Taiwan, which will enrich our encounter with theatre schools and cultures of not only Europe, but of other continents, as has been the case for the past 25 years of the festival SETKÁNÍ/ENCOUNTER. This festival is an encounter of people with desire and a vision. People with the desire to do theater and a vision of how to do theater — a vision which may be still young and making its first steps. It should be a meeting with the future of theater. The five days of our encounter with the future will be possible only if we are open to everything we meet in the following days, open to one another, open to the desires and visions of others, and prepared to put a lot of energy and invention into our own work. I welcome you all to this encounter. Break a leg! prof. Mgr. Petr Oslzlý Director of The International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER and Director of The Centre for Experimental Theatre 6

EDITORIALS Dear participants, The International Festival of Theater Schools SETKÁNÍ/ENCOUNTER has been here for a quarter of a century and I believe that the 26th year will be as successful as the previous ones. The festival creates a platform where different people, cultures, traditions, and opinions from the whole world meet, inspire, and influence one another. That is reflected in the theme for this year: New Marks & Angles of View, because through various points of view, new possibilities for future jobs and friendships open up. This is all possible because of you – young, talented artists, theater professionals, teachers, and students of different majors – and thanks to our great partners and sponsors. Without all of you, this festival could not even take place. A great portion of the festival is the work of my colleagues, the students of the Theatre Faculty of the Janaček Academy of Music and Performing Arts in all areas of study (from directors and dramaturgists to scenographers and audio-visual production). Nevertheless, the main organisers are the students of Theater Management and Stage Technology. They are the ones who put out a lot of energy, effort, and enthusiasm, in order to make this festival such a unique event. It is my honor to share the atmosphere of five beautiful festival days full of various theater performances, sleepy morning discussions, inspiring masterclasses, and nights of dancing. Let‘s all meet together these wonderful April days, and let the festival SETKÁNÍ/ENCOUNTER change your views! Adéla Svídová Festival Coordinator of SETKÁNÍ/ENCOUNTER 2016

EDITORIALS Dear future theatrical history, The editor in chief of the festival journal Meeting Point is an abstract and lonely creature. Abstract because he exists solely in the mind of his readers, lonely because during a theater festival designed for meetings, he encounters solely his monitor, mouse, coffee, the grammatical and stylistic mistakes of reviewers and his own inability to work 24 hours a day. To change his fate, the editor in chief of the 26th SETKÁNÍ/ENCOUNTER decided to split in half! Due to this radical division, he has taken on a special form – his material body can be sent to meet you, while the other half stays in the office, feeds the monitor, pets the mouse and keeps the coffee at just the right temperature. This is how he outwitted his loneliness. Always, after midnight, he meets up with himself with a cup of coffee, a fed mouse and monitor, and he fixes grammatical and stylistic mistakes in the articles of editors – new points of view. The material half (editor in) is a bon vivant and a Slovak. He likes to kick back, drink his coffee, criticize everything he can and finally have his desired cigarette. The abstract half (chief) is a Czech and is not interesting. He sees the meaning of life only in concepts, analysis, differences between a citation and a paraphrase and he wears conceptual socks in his conceptual sandals. Both halves are looking forward to meeting you, their readers. They believe that the upcoming creators from different parts of the world will bring a wide spectrum of new views on staging, classic theater artwork, space, life, the quality of drinks, the attractiveness of women and men etc. to Brno. We, the dual editor in chief, promise to fight for an honest reflection of the festival’s previous day, and to provide a guide to the current day of the festival via the Meeting Point journal. Beside play reviews, interviews of members of attending groups, photos and glosses, you can also look forward to a comic in each issue. We hope you also meet your point of view every day after midnight. Material Martin Hodoň and abstract Šimon Peták alias editor in chief 8

ORGANIZATIONAL TEAM ORGANIZATIONAL TEAM of The International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 2016 Members of the Festival Board: prof. Mgr. Petr Oslzlý doc. MgA. Zbyněk Srba, Ph.D. MgA. Ondřej Vodička doc. MgA. Blanka Chládková Mgr. et Mgr. Adéla Dědová Adéla Svídová Marie Trefná Gabriela Gálová Eva Sýkorová Kateřina Uhrová Barbora Rosochová Michaela Žůrková Barbora Chovancová Jakub Liška Dominika Hanzlíková Artistic Director of the Festival: prof. Mgr. Petr Oslzlý Supervisors: doc. MgA. Blanka Chládková Mgr. et Mgr. Adéla Dědová Coordinator: Adéla Svídová Economist: Marie Trefná Fundraising: Barbora Rosochová (chief) Michal Prax Denisa Sedláčková Markéta Štefanová Stanislav Čaban Ilona Pawerová

Promotion: Kateřina Uhrová (chief) Anna Plevová Eva Krčmářová Martin Srba Barbora Hajdíková Media: Gabriela Gálová (chief) Iva Křenová Petra Srbová Frederika Halfarová Carolin Stiller Guest Service and Participants: Michaela Žůrková (chief) Soňa Alexová Zuzana Kernová Kateřina Balíková Michaela Frimelová Martina Součková Katrīna Dūka Off-program: Eva Sýkorová (chief) Kamila Šulíková Adam Dudek Kateřina Chromečková Lucie Krejčí David Šamánek Leonie Tarris Artistic Department: Barbora Chovancová Jakub Liška Dominika Hanzlíková Author of Visual Identity: Petr Kříž 9

ORGANIZATIONAL TEAM Technical Support: František Kumhala (chief) Zuzana Bottová (chief) Petra Göbelová (chief) Monika Horáková Jan Mach Lukáš Novotný Adam Gazárek Vojtěch Mach Vojtěch Matulík

Vojtěch Matulík Michal Nýdr Roza Zichová Josef Havelka Barbora Jágrová Lucie Pařízková Barbora Sosnovcová Milan Šutka Tomáš Tichý

Graphic Designer: Petr Kříž Michal Kremina

SUPPORTING PERSONALITIES Arnošt Goldflam „Not just for students, this is an opportunity to see how theater is done differently in different places, because only then can a human find his own personal way, themes, form and everything else!“

Martin Sláma „The biggest contribution of SETKÁNÍ/ENCOUNTER is the opportunity to see the performances of foreign students and mutually inspire each other.“

SUPPORTING PERSONALITIES Miroslav Donutil „I am glad that SETKÁNÍ/ENCOUNTER exists and that it receives so much attention.“

Ivana Vaňková „The name itself describes the nature of the festival. I am convinced that artists like to come here, because they have the chance not only to meet each other in person but also in their thoughts, opinions and emotions. If only we were be able to meet like this in real life, but I‘ m afraid that we are passing by each other more and more.“

PARTICIPATING SCHOOLS THEATRE FACULTY OF THE JANÁČEK ACADEMY OF MUSIC AND PERFORMING ARTS IN BRNO (Czech Republic, Brno) The Janáček Academy of Music and Performing Arts was established in 1947. The school consists of two faculties – the Faculty of Music and the Faculty of Theatre. The original programmes of study in dramatic theatre and directing have been supplemented by Stage Design, Theatre Dramaturgy, Musical Theatre, drama in education, Audiovisual Production, Theatre Management, Clown Stage and Film Production, Stage Technology, Drama Education for the Deaf and Radio and TV script editing and scriptwriting. A large number of talented students also develop their skills and perform publicly in the Marta Studio and Orlí Street Theatre. THEATRE FACULTY OF THE ACADEMY OF PERFORMING ARTS IN PRAGUE (Czech Republic, Prague) The Theatre Faculty of the Academy of Performing Arts in Prague has been training young theatre actors since 1946. The backbone of the academy is nowadays comprised of the Departments of Dramatic Theatre and Alternative and Puppet Theatre. Apart from these traditional subjects, the school also offers relatively new specialisations, such as theatre in unconventional environments (i.e. site-specific). Our actors, directors, stage designers, dramaturges as well as theatre theorists, critics, teachers, producers and other graduates easily find engagement not only in leading Czech theatres, but also at alternative scenes and other institutions. The academy´s theatre studio DISK is a popular scene for both faculty members and the Prague public.

PARTICIPATING SCHOOLS

THE POLISH NATIONAL FILM, TELEVISION AND THEATRE SCHOOL (Poland, Łódź ) The National Film School was founded in Łódź 1948. The State School of Drama, whose first director was Leon Schiller, was founded three years before that. These two schools merged into The Polish National Film, Television and Theatre School. Amongst the first students were the directors Andrzej Munk, Andrzej Wajda, and Janusz Morgenstern, who at the end of the fifties became famous as the founders of the „Polish School“ in film, and cinematographers such as Jerzy Wójcik and Witold Sobociński. At present, at the National Polish Film, Television and Theatre School, there are the following departments: The Film/Television Directing Department; The Film/TV Cinematography Dept (including The Animation Dept.); The Acting Dept. and The Film and Television Production Managers Dept. Studies at these departments last for a total of four years, and students graduate with an M.A Degree. There is also a two year course for film and television production managers, a three year external course for professionals already working in television; a two year external course in photography and a two year course in screenwriting. The Film, TV and Theatre School is the only school of this kind in Poland. It is financed by the state and is directly under the supervision of the Ministry of Culture and Art, and indirectly under the National Education Ministry. Polish students do not have to pay for their studies whereas foreign ones do. The school organizes numerous screenings in Poland and abroad, as well as symposiums and conferences on film. For years the school has been organizing a Drama School Festival and since 1994 we‘ve been organizing The International Student Film Festival „MEDIASCHOOL“ which has attracted many student entries from abroad.

PARTICIPATING SCHOOLS ACADEMY OF PERFORMING ARTS BRATISLAVA (Slovakia, Bratislava) The Academy of Music and Performing Arts is the oldest and the most renowned art institution in Slovakia. Professionals in the theatre, dance, music and film domains are trained here. The Theatre Faculty´s graduates have been well-regarded artists, even abroad, ever since the academy´s founding in 1949. Students participate in many projects that develop their imagination and creativity and they are permanently involved in theatre practice during their training. As for cooperation with other schools, the faculty hosts the bi-annual international festival Istropolitana. RUSSIAN STATE INSTITUTE OF PERFORMING ARTS (Russia, St. Petersburg) The Russian State Institute of Performing Arts was established in 1779 and is the oldest and largest institution of its kind in Russia. It trains and educates every possible professional who might be needed in the field of contemporary theatre. In over more than two hundred years of history, the institute has evolved from the realistic traditions of the Emperor‘s Theatre School through the workshop of Vsevolod Meyerhold‘s, world renowned stage director and faculty member of the Institute in the late teens of the XX century. Nowadays the Institute‘s principal approach is mainly based on Stanislavsky’s System, especially his Method of Physical Actions and Method of Action Analysis – his later theatre techniques, well known in Russia but not widespread overseas; our system of actor training also includes Meyerhold‘s Biomechanics. Thus, with true respect for the classical school – a distinctive feature of Saint Petersburg‘s cultural landscape overall – the Institute manages to combine it with contemporary innovations based on the main achievements of Russian theatre in the 20th century. A unique feature of the Institute is that a majority of its faculty are working professionals, half being leading actors and artistic directors of the main Saint Petersburg theatres. This way the Institute remains in touch with current trends and the skill requirements of a modern theatre. Students of the Russian State Institute of Performing Arts have successfully participated in International Student‘s Theatre Festivals in Warsaw, Bialystok, Gdansk, Bremen, Tallinn, Belgrade, Brno, Shanghai and other cities.

PARTICIPATING SCHOOLS NEW BULGARIAN UNIVERSITY (Bulgaria, Sofia) The Theater program at NBU was founded in 1991 by Vazkresiya Viharova, Zarko Uzunov and Veselin Mezekliev, who still teach at the University. In December, 1999, the Department of Theater and the Slug Theater became independent units within the university. Since February, 2010, theater pro-ductions by the Department are performed at the new University Theater headed by Assoc. Prof Vazkresiya Viharova, previously a long-time chair of the Department of Theatre. Since September 2012 the department has been headed by Associate Professor Snezhina Petrova. The department is a member of IETM, EAST, ELIA and continues to expand its network of professional contacts internationally. The Department of Theater provides a solid education firmly based on the most modern teaching methods and practices in the field of arts. The mission of the department is promoting theater as an active part of public life while striving to preserve cultural memory, strengthen its values and expand its spiritual horizons by setting value milestones for people. The Department of Theater is dedicated to preparing qualified specialists in the field of theater and drama, based on both European and universal human values and the priorities in the modern cultural development of the Bulgarian nation. The Department of Theater provides opportunities for dynamic education which bring together students and Bulgarian theater actors by offering: • permanent theater workshops and meetings with acclaimed professional performers and theatrologists; • real performances at the University Theatre stage; participation in national and international projects, participation in festivals, stage performan-ces, master classes, etc; • educational trips, which often include researchers from other departments of the university. The faculty is comprised of recognized working professionals with numerous awards and recognition from prestigious national and international forums who bring their talents, skills and experience to the classroom.

PARTICIPATING SCHOOLS NATIONAL TAIWAN UNIVERSITY OF ARTS (Taiwan, Taipei) In the early history of the school, many well-known and accomplished artists taught at NTUA, creating an entirely new environment in which the arts could develop. The masters who made up the first faculty team then produced countless new talents. A great number of famous directors have graduated from NTUA, including the winner of the 78th Oscar for Best Director, Ang Lee. And there have been countless musicians, artists and designers, too. The NTUA was established as the National School of Arts on October 31, 1955. In 1960, the name was changed to the National Taiwan Academy of Arts, and then in August 1994, the National Taiwan College of Arts was established. The institution took on its present name on August 1, 2001. Education at our institution emphasizes humanistic thinking, creative production, theoretical analysis and hands-on practice. In terms of scope, our education includes the local and the international, the avant-garde and the traditional, the creative and the commercial, and the theoretical and the practical. Our university is made up of five colleges: the College of Fine Arts, the College of Design, the College of Communications, the College of Performing Arts, and the College of Humanities. In addition to daytime undergraduate and graduate programs, there are also Extended Bachelor Degree Cour-ses in the evening, two-year in-service BA programs, and in-service MA programs. The university employs about 186 staff members, 165 full-time faculty members, and 771 part-time teachers. The university is home to about 5000 students.

PARTICIPATING SCHOOLS NATIONAL CONSERVATORY OF DRAMATIC ARTS (France, Paris) The “Conservatoire national supérieur d’art dramatique” is a higher education and professional acting school under the direction of the French Ministry of Culture. The Conservatoire’s main mission is to deliver a highly specialized education in the field of dramatic arts, including the practical and theoretical knowledge necessary for a professional acting career. The Conservatoire, created more than two centuries ago, is deeply established in French cultural and theatrical life. It offers a program open to various artistic and aesthetic approaches. This program is in constant evolution, thanks to frequent renewal within our teaching staff, as well as to the personalities of the professors, all professional working artists recognized in their domain, and to collaborations established with other art schools whether French or foreign. The conservatoire offers a three-year cycle of superior education to about 30 students per year, leading to a National Superior Diploma for professional actors. Each year, the curriculum is designed to allow students to develop their particular practical, technical and theoretical knowledge and to affirm their individual artistic personality. • 1st year: weekly courses (acting, singing, dancing, fencing, mask, clown, acting in English, history of theatre, diction…); • 2nd year: weekly courses completed by master classes of one to four weeks directed by invited artists; • 3rd year: no more weekly courses, exclusively workshops directed by professional stage directors leading to public performances. Those workshops are held in completely professional conditions. The Conservatoire was historically an acting school. However, a large number of French directors have studied at the Conservatoire. Realizing this fact, for the very first time in 2015-2016, the Conservatoire is offering to six acting students the possibility to complete their training with cour-ses dedicated to stage directing.

PARTICIPATING SCHOOLS THE ROYAL CONSERVATOIRE OF SCOTLAND (Scotland, Glasgow) Based in the heart of Glasgow, the Royal Conservatoire of Scotland is bustling with creative minds, a center for excellence in performance and production training. The school welcomes everyone without prejudice, and, in fact, is committed to promoting equality in every aspect – whether through employment, learning, teaching, working, or performing. Free from discrimination whether it be gender (actual or perceived), sexual orientation, disability, race, colour, nationality, national or ethnic origin, marital status, age or actual or perceived religious belief. Principal – Professor Jeffrey Sharkey Deputy Principal – Professor Maggie Kinloch Director of Drama, Dance, Production and Screen – Hugh Hodgart Head of Acting – Joyce Deans We came up with this piece during the On The Verge Festival in collaboration with ‘The Arches’, a Theatre Space and Club Venue in Glasgow. Unfortunately, this place has now been shut down. If it wasn’t for the relationship between our school and this venue, we could not have created the piece we did. ALANUS UNIVERSITY OF ARTS AND SOCIAL SCIENCE (Germany, Alfter bei Bonn) Alanus University is a state-approved private university of arts and social sciences. It is a place of arts-based education and academic research. The University offers a wide range of courses covering both artistic and academic disciplines. Since January 2003, Alanus University has offered fully recognised and accredited arts degrees, and since January 2006, has offered fully state recognised academic degrees, including Business Management and Art Teacher Training. In May 2010 the University was awarded insttutional accreditation by the German Scientific Council and was assigned the right to award doctorates. The university was named after Alanus ab Insulis (ca. 1114 - 1203 A.D.) who taught the seven liberal arts as part of a human-centred approach to education.

PARTICIPATING SCHOOLS ACADEMY OF PERFORMING ARTS BADEN-WÜRTTEMBERG (Germany, Ludwigsburg) Besides acting and directing studies, the ADK offers dramaturgy, stage and costume design as well as film acting. The main characteristics of acting and directing studies at the ADK are to encourage and train artistic identity, authorship and individual responsibility. Further characteristics are the self-reliance of the students, their interest in varied themes and topics, and continual correction and expansion. Our students have the ability to take and benefit from criticism, as well as intense practical work in groups. These are the most particular elements of the studies at the ADK. In addition, the Academy, led by Prof. Dr. Elisabeth Schweeger, permanently collaborates with the famous Film Academy Baden-Württemberg and the Academy of Fine Arts in Stuttgart and thus does outstanding work in interactive drama and film studies. This sophisticated approach ensures a traditional education while at the same time enabling new forms of theater. NATIONAL ACADEMY OF THEATRE ARTS IN KRAKOW (Poland, Krakow) The Ludwik Solski State Drama School in Krakow (PWST) was formed in 1946 by Juliusz Osterwa after the merger of the three existing drama schools in Krakow: The Actor‘s Studio at the Stary Teatr, the Actor‘s Studio at the Teatr im. J. Słowackiego and Iwo Gall‘s Drama Studio. At present the school offers one season of master’s studies leading to a Master of Fine Arts degree from the Acting Department, the Drama Directing Department, the Puppetry Department or the Department of Dance Theater. PWST is an academic public school, and it has the authority to issue the following academic degrees: Doctorate, Professor of Theatre Arts. Direct supervision of the school falls to The Ministry of Culture and National Heritage.

PARTICIPATING SCHOOLS ROYAL HIGH SCHOOL OF DRAMATIC ARTS (Spain, Madrid) Royal High School Of Dramatic Arts (RESAD), Spain’s Royal School for Dramatic Arts, is the oldest Spanish theatre school and one of the most prestigious in Europe. Since 1831, the RESAD has trained professionals in the world of theatre through a specialized educational program and personalized teaching approach, enabling students to excel in all theatrical areas and disciplines. This focus is not only technical, but also artistic and philosophical. A faculty of more than 70 professors and a prime location in the center of Madrid near the Retiro Park makes the RESAD an excellent place to study. Our modern building, inaugurated in 1998, has two full theaters: the smaller 100 seat García Lorca for theater in the round, and the 500 seat Valle Inclán for larger productions, in addition to classrooms, rehearsal spaces, a library housing one of Spain’s best collections on theater, a costume collection and many other important spaces. Queen Maria Cristina of the Two Sicilies, wife of King Fernando VII, founded the institution, the first in Spain dedicated to “the interesting and difficult art of declamation or scenic performance” and in 1831 the Royal Conservatory of Music and Declamation opened. With different names over the years, the Declamation Division of the Royal Conservatory in 1952 definitively became the Real Escuela Superior de Arte Dramático (the Royal School for Dramatic Arts). In the decade of the 1970’s, Herman Bonin, García Pavón and Ricardo Doménech introduced innovations that were already being implemented in the rest of Europe. Since 1992, the RESAD offers three university level degrees: Acting, Stage Direction & Dramaturgy, and Scenographic Design. Workshops and seminars are also offered; international relations with drama schools and universities across Europe and South America add another dimension to the RESAD.

PARTICIPATING ÚVODNÍ SLOVA SCHOOLS NATIONAL ACADEMY OF DRAMATIC ARTS „SILVIO D‘AMICO“ (Italy, Rome) The Accademia Nazionale d‘Arte Drammatica „Silvio d‘Amico“ is the only national theatre school in Italy. It was founded in 1936 by Silvio d‘Amico, a theatre critic and pedagogue. The President of the school is Caterina d‘Amico, and the Director is Daniela Bortignoni. The school is divided in two different courses: Acting and Directing, both of them lasting three years. We also have two Master’s degrees, in dramaturgy and theatre criticism. The Accademia is one of the founders of E:UTSA and has promoted many activities for the Net, the most important of which are the European Young Theatre Festival, held since 2013 in Spoleto within the framework of the Festival dei 2 Mondi, and Campus, a series of summer workshop for students with international theatre professionals, teachers and pedagogues.

MAIN ÚVODNÍ PROGRAME SLOVA

BRNO, CZECH REPUBLIC

KASIMIR AND CAROLINE

Author: Language: Length: Director:

Ödön von Horváth Czech 120 min Michal Skočovský

Cast: Viktor Zavadil, Agáta Kryštůfková, Dominick Benedikt, Petr Németh, Martin Hudec, Jakub Urbánek, Kristýna Hulcová, Šárka Býčková, Tereza Slámová A play by Austrian playwright Ödön von Horváth, about a relationship between two young people who are dealing with the impact of destructive unemployment. Conflict between the wealthiest and the lowest classes is unfolding. The decay of basic values leads the young generation to fundamental opinions. One day, one night, one celebration and a generation, that is trying to find itself. The situation which our young protagonists are getting into makes them act against their will, the hypocrisy of the age is slowly emerging, and it seems that it´s not inclining towards idealism.

MAIN PROGRAME

PRAGUE, CZECH REPUBLIC

DRUNK

Author: Language: Length: Director: Dramaturgy:

Ivan Vyrypajev Czech 135 min Alžběta Burianová David Košťák

Cast: Matyáš Řezníček, Eliška Jansová, Eva Hacurová, Veronika Lapková, Adam Ernest, Ihor Krotovych, Elizaveta Shvachko, Matěj Vejdělek, Tereza Terberová, Vít Roleček, Jáchym Kučera, Michal Lurie, Viktor Javořík, Anna Kratochvílová “We live to the end and hope for fulfilment” A contemporary play about a generation that got so drunk on possibilities that it forgot about getting sober. The newest script by Ivan Vyrajev, the world premiere of which was held in February 2014 in the Düsseldorfer Schauspielhaus. The script was chosen as the alumni play by director Alžběta Burianová, who sees the play “Drunk” as the confession of a generation: “The drunkenness caused by alcohol serves as a metaphor for the “drunkenness” caused by or nourished by specific dominant forces in modern society. The fact that this play will be acted by a group formed by members of our generation is an advantage, because these trends show up the most in our post-revolutionary generation. The alumni performances from DAMU not only introduce the director but also the class of actors that the play was chosen to suit. “To understand the characters of the play ‚Drunk‘ we refer to the theses of Zygmunt Baumann and his Liquid Modernity. The characters of Vyrypajev are pulled out of the context of their life, their behavior is incoherent and discontinuous. They decide based on present circumstances without thinking about the past or future. They omit or ignore the fact that from everything they do, consequences will arise for themselves as well as for others”, the director explains and justifies her conviction about the script. “Above all, the fear of judgement day in the form of sobriety, hangs over them. It can be said that in our conception, we trail Generation Z, which has begun to doubt its omnipotence and to suspect that there is something more. In light of this, “Drunk” has an almost baroque dimension,” adds the dramaturge David Košťák. For this play, the students of DAMU work in cooperation with the professional musician Ventolin, who became famous via the musical project Kazety.

MAIN PROGRAME

ŁÓDŹ, POLAND

MARY STUART

Author: Language: Length: Director:

Friedrich Schiller Polish 135 min Grzegorz Wiśniewski

Cast: Maria Dębska, Michał Floriańczyk, Filip Jacak, Jakub Nosiadek, Maja Pankiewicz, Krystian Pesta, Krzysztof Rogucki, Bartosz Sak Grzegorz Wisniewski, one of the greatest directors of his generation, together with the students of the Acting Department of the Lodz Film School diploma has prepared a work based on Friedrich Schiller‘s Mary Stuart. As in the case of his previous productions of Richard II. and Queen Margot, revision is made to theatrical tradition here. The work of the Romantic poet sticks in the modern actor‘s body, for he was a man entangled in politics. Schiller‘s romantic tragedy was treated as a matter of two fighting queens: the beautiful, oppressed Mary and the cruel, ugly, but omnipotent Elizabeth. Thus, it was interpreted in the spirit of the sentimental or melodramatic opposition of good and evil. But our director of Mary Stuart has drawn rather towards historical truth, or the truth of psychological reactions resulting from the two queens’ situation. „Mary Stuart“ has the best qualities of the theater of Wisniewski, which does not need to build a beautiful scene on the stage, because his min

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BRATISLAVA, SLOVAKIA

THE PERIPHERY

Author: Language: Length: Director: Dramaturgy:

František Langer Slovakian 170 min Matúš Bachynec Lucia Mihálová Šuľová

Cast: Martin Varínsky, Monika Potokárová, Tomáš Stopa, Simon Kopunec, Roman Polák, Samuel Šimko, Monika Horváthová, Barbora Palčíková, Marek Koleno, Dominika Žiaranová, Adam Jančina, Danka Svetlíková, Martin Kochan, Anna Rakovská During Langer’s youth, the Royal Vineyards were on the outskirts of Prague. An uncomfortable periphery, where the lifestyle was much different from majestic Prague. Life in the suburbs of Prague was rough and complicated, but full of joy, freedom and spontaneity. Langer used to go to read in the garden of a pub, and this is where he got the inspiration for the concrete characters of the Periphery. They were people he knew, but also random guests that were somehow unique or interesting. On the basis of his observations, Langer created a colorful mosaic of personalities, from a prostitute or a paralyzed harmonica player to an alcoholic judge. The Vineyards behind Marsners‘s factory were deserted fields, junkyards, an interesting long barn and a pub with a little garden. It wasn‘t even a garden, it was just a few thin trees surrounded by a little fence. Under the trees, there were 10 tables with benches anchored in the ground and a half destroyed stand in the corner, from which beer flowed every Sunday. František Langer The Periphery, Angels amongst us and Seventy-two create a trilogy of plays about justice. They are the most performed plays of Langer and have been translated into multiple languages. They have also been performed in prominent venues abroad (Berlin, Vienna, Zagreb...). Langer expresses his opinions on true justice, which do not go hand in hand with human law.

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ST. PETERSBURG, RUSSIA

I, IAGO

Author: W.Shakespeare Andrei Zagorodnikov Language: English Length: 45 min Director: Andrei Zagorodnikov

Cast: Andrei Zagorodnikov This performance is a solo work by a 5th year directing student at the Russian State Institute of Performing Arts (ex-St.Petersburg State Theatre Arts Academy), from the studio of Professor Veniamin Filshtinsky. The analytical perusal of classical texts by the director is followed by improvised action — so-called “etudes” that display the life of drama beyond its canonical surface. Instead of illustrating verbal action, the director makes an attempt to stage fresh non-literary actions that reveal the psychology of the character’s existence.This performance is a fresh view on classical texts that goes through two prisms: the story is told from the point of view of Iago and delivered by the actor-author of the performance. The name of the performance is “I, Iago” and that means a attempt to find Iago inside yourself and admit his existence. The first step – the admission – starts the journey through the depths of your soul… The form of this performance always differs not only because of its“etude philosophy”. The director insists that two things should happen with the performance through time. Firstly, it is a performance that changes through time, it is never completely done, and there‘s always room for adding or taking a scene out of the sctructure. Because a performance should be a living organism — not developing means being dead. And secondly, the same structure is played in different ways every performance, because the acting is based on improvisation with things that cause new reactions all the time (like the dough). The performance was conceived as an international festival project — initially for the festival of short performances (not more than 30 minutes) at Spoleto, Italy, but then developed into a bigger one. Then a premiere in St. Petersburg on the 20th of December, 2014. In October, 2015, the renewed work was performed during the UWE festival in Munich. The performance may be followed by a conversation focused on the updated methodology of the “Stanislavskian” school: an approach to analysis of dramatic action and a methodology of rehearsing of the actor for the director of a contemporary post-Stanislavskian school. The “Stanislavskian” method may be paradoxically conceived as the basis for non-realistic art.

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SOFIA, BULGARY

Author: Language: Length: Director: Dramaturgy:

A COUPLE OF POOR, POLISH-SPEAKING ROMANIANS

Dorota Maslowska Bulgarian 100 min Desislava Shpatova Martina Apostolova

Cast: Emanuil Kostadinov, Martina Apostolova, Katerina Zlatarova, Mitko Yakimov, Rositsa Karadzhova, Simeon Galabov, Velislav Pavlov, Diana Spasova This project brings together students in NBU theatre programs from different generations – some of them became professionals, others are in their last semester of a Master’s degree, and some of them are graduates of the B. A. program in theatre. Part of the cast are two deaf students, whose presence makes a social commentary on diversity and our ability to integrate them. All the participants in the project are independent. Working on Dorota Maslowska’s play we confirm our independence – as artists, humans and citizens of European suburbs. Written in 2006, “A Couple of Poor, Polish -Speaking Romanians” is the first play by 24 year old Polish literary phenomenon Dororta Maslowska. Maslowska draws attention to the new stratum of ‘semi-satisfied middle -class citizens’ who don’t see the reality of poverty. The idea expressed in the title – that Dzina and Parcha are pretending to be Polish-speaking Romanians – is, she says: “A joke which isn’t really so funny at all. In Poland there are no Romanians, but there are the Roma minority. It’s a symbol for a certain sort of person, a gypsy standing on the street in a long skirt”. The play itself is a grotesque based on national stereotypes, showing a couple pretending to be two poor Romanians called Parcha (a sitcom actor in real life) and Dżina (a pregnant single mother) as they joyride across Poland. They meet a number of people on their way to the ferry, and a toxic psychodrama evolves, with Parcha demonstrating his supremacy at all times, ending in Dżina‘s suicide. ”A general description of Masłowska‘s work would naturally emphasise two things: its pessimistic-ironic view of the world and its extraordinary linguistic power. Masłowska‘s language has often been called ‚rotten‘ with reference to the concept of, ‚rotten literature‘ first promulgated by Łukasz

MAIN PROGRAME Gorczyca in the magazine Raster in 1998. Gorczyca defines ‚rotten literature‘ as an artistic and literary trend announcing the crisis of highbrow art and literature and, in consequence, advertising the need for lowbrow, substitute productions with catchy plots, aestheticism, numerous quotations and mixed conventions.” Masłowska’s techniques — citing out-of-context quotations, statements, viewpoints, adverts – helps her present the vision of a degenerate world and of fake interpersonal liaisons. As she explained in an interview: “My thinking goes: one third of an advert, then a bit from a poem and an excerpt from religious instruction for ten year old schoolchildren.” Gazeta Wyborcza (September 25, 2003) Masłowska‘s radicalism inspires a radical theatre aesthetic and free cultural and social translation of her ideas. We focused on the idea of modern barbarism and its fate, the replacement of culture with subculture, the marginalization of traditional values. Our 100minute ride follows the travel experience of Dzina and Parcha — hitchhikers from hell. Hysterical, funny and scary strangers, lost in the Polish suburbs — in our translation: lost in chaotic identity, lost in communication, drowned in colors, junk, alcohol and text. The skepticism of the Romanian Nobelist – Emil Cioran is relevant to our perception of contemporary civilization: “The world is nothing but an omnipresent nowhere. Therefore a man is never able to start traveling.” That’s why our Parcha and Dzina cannot escape from the kaleidoscopic interior of the set, although in the story they almost cross the country. “There are no arguments. Can anyone who has reached the limit bother with arguments, causes, effects, moral considerations, and so forth? Of course not. For such a person there are only unmotivated motives for living. On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos. When all the current reasons—moral, esthetic, religious, social, and so on—no longer guide one‘s life, how can one sustain life without succumbing to nothingness? Only by a connection with the absurd, by love of absolute uselessness, loving something which does not have substance but which simulates an illusion of life.”

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TAIPEI, TAIWAN

AN ISLAND

Author: Language: Length: Director: Dramaturgy:

Tien Tan Mandarin, English 60 min Tien Tan Tien Tan

Cast: Tien Tan, Shu-Ci Liu, Yan-Ru Lin, Yin-Shao Chang, Ting-Yin Tang, Ying-Tung Lin, Yu-Chia Chen, Wei-Siang Huang, Ho-Yin NG, Min-Yin Cheng This performance is divided into seven parts, looking at the rest of the world from our homeland, Taiwan, extending from our own encounters, and through our life experiences, information from the media, and the training from our education. It explores the values of civilization via the views and thoughts of young Taiwanese in their 20s. We call ourselves civilized, but do we understand the definitions of civilization? What kind of oecumenical values do we want? What is real happiness? Or what is our central tenet? The centralization of power is a product of liberty. Human rights endow liberty to the people, but if liberty is not built on respect and equality, when one explores the boundaries of liberty and the realities behind the freedom of speech, one will often find bias and prejudices that were not obvious at first glance. It is precisely these prejudices that have increased the distances between people. Although civilization has made significant advances, the distance between our hearts is becoming ever wider. Do we not have more freedom? If I cannot affirm my freedom, do I still have the freedom to express myself? Do I still have the freedom to love? When we establish a standard, do we use this standard to hurt and even kill others, or hold onto this standard to alienate others? Starting from an island concept, this work has its origin in the similarities between an island and a human body. It is believed that humans living on an island will naturally come with bodies and physique of that island. Hence, based on an island concept, we try to understand and explain the issues of the times, and locate the center or focal point in the midst of the sea. Thereâ&#x20AC;&#x2122;s hardly any doubt that this is a strong conceptual experimental performance, with which we seek to get our voices heard via our limbs and poetic prose.We make use of theatrical drama, in a light and humorous fashion, to communicate with university students around the world through verbal communication, body language, and music. We use Taiwanese survival philosophy to look at the conflicts that exists in the world, the ancient Chinese philosophies to explain the values of acceptance and tolerance, and the gung-ho and unbending attitude of 20 year olds to tell everyone that the world will become a better place because of us. 30

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PARIS, FRANCE

MORSURE

Author: Language: Length: Director:

Manon Chircen French 55 min Manon Chircen

Cast: Manon Chircen, Asja Nadjar, Louise Chevillotte, Léa Tissier, Louise Guillaume, Morgane Réal, Maïa Foucault « I wanted to make us laugh, smile, where we have already cried. Say words, speak, say what should have been said, say what has already been said. I wanted silence, when I lost my words, silence, when I found them. I wanted bodies, brought back, coming to break the present, the time of the privileged instant. » M. C. Seven figures, seven women come to tell us, show us, about acts of violence. The small and the big ones, those which we see without even looking, and others, about which we have already heard. They come to tell a story, all women, about yawning wounds which we had thought were closed. They laugh, shout, and dance about their desires and their hope. And sometimes, make room for silence. « I will forget you, violence, I will forget you, bad memory. You, who want to live in the present, we will forget you, and without us, you will have no more name.» There will be the analysis of the «guide to womanhood», some shaving foam, the desire to feel pretty and female. There will be small papers to read, the impetus of love and anger, laughing, children‘s words, figures to remember, words, blood. There will be the feeling of believing in it, the need to speak and to be silent. « Seven actresses on the set also come to testify, with their own youth, of their time. MORSURE tells us about today, about the fact that many women live in silence, about what is heard every day in the underground, on the street, and this is what I want to report. Small daily acts of violence which harass us and choke us. They are constant, silent, «we get used to it», that is what is so serious, what I reject. » M. C. « It is my hymn of love — It is my Holy Grail — I may have no more voice — But I will shout nevertheless — I will shout without sound — I won’t be scared anymore — I will be free — I won’t feel nausea anymore — foul nausea which lues me — prevents me from speaking — but which allows me to shout — Welcome in my head — Welcome, as they say.» 31

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GLASGOW, SCOTLAND

THAT FUCKING F WORD

Author: Language: Length: Director: Dramaturgy:

Collective English 45 min Collective Collective

Cast: Conor Hinds, Emilia Mordal, Chloe-Ann Tylor, Alex Kampfner, Rebekah Lumsden Witty verbatim theatre exploring equality and feminism. That Fuckin’ F Word brings to life real people’s views on feminism. We’ve spoken to men and women, friends and strangers, young and old and share their stories and views on equality through an honest and humorous piece of verbatim theatre. We hope to give you a good night out and to open some interesting discussions. Oh, and we promise great music and some sweet moves. There is a stigma attached to it. There is. I’d like to think so, but I can’t help, I can’t lie in this situation and say that there’s not a stigma. Ehm, there is that kind of tree hugging, yoghurt eating, you know, “I’m a feminist”. Ehm. And I think that’s a shame because all you have to do is look at the statistics to show that it’s not equal. So if it was to do with race, ehm, what the, there clearly wouldn’t be a stigma attached to that, so I’m not sure why there’s a stigma attached to gender equality as well, which is a shame. That Fuckin’ F Word was first developed and shown in June 2015 as part of On The Verge, an annual new writing festival that takes place in Glasgow, Scotland. It is a verbatim theatre piece, and around 50 people in Glasgow were interviewed about their relationship to the word “feminism”. We felt there was stigma attached to the feminist movement and wanted to make our audience reflect on their ideas and opinions on feminism and what it meant for their lives. The initial questions asked were: “Would you call yourself a feminist?” “What does feminism mean to you?” “Have you ever felt discriminated because of your gender?”

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ALFTER BEI BONN, GERMANY

SHOOT/ GET TREASURE/REPEAT

Author: Language: Length: Director: Dramaturgy:

Mark Ravenhill German 120 min Michael Funke Nora Giese

Cast: Sophia Carla Brocker, Olivia Gajetzki, Nina Karimy, Jaschar Markazi Noubar, Alexander Prizkau, Janina Raspe, Alina Rohde, Simeon Johannes Wutte, Aljoscha Zöller Since the violent attacks in London in 2005, terror has bombed its way into our awareness. The conflicts – until then suppressed – have arrived in our European comfort zone. Mark Ravenhill composed a cycle of short plays in which he conveys a big theme made of little fragments: What has the shock done to us? And what are the consequences of our desire to spread our values and ideas of freedom and democracy around the entire planet? An exaggeration – painted with REAL colours.

LUDWIGSBURG, GERMANY

5.6.—11.6. (TOT) 15.6. (AUFERSTEHUNG)

Author: Language: Length: Director:

Einar Schleef German 130 min Christiane Pohle

Dramaturgy: Malte Ubenauf Christiane Pohle

Cast: Lea Beie, Laila Richter, Anna Gesa-Raja Lappe, Esra Laske, Ann-Christin Muendner, Dario Neumann, Louis v. Klippstein, Tobias Loth, Janosch Fries, Jens Lamprecht 5.6.–11.6. (tot) 15.6. (Auferstehung). A rare occurrence. Actually only happening in the so-called holy writ. And also in the early diaries of author, painter, and director Einar Schleef — composed between 1953 and 1963. This youth, born in 1944, reports – almost every day — the solitudes, 33

MAIN PROGRAME desires, and distresses of an adolescent living in an unspectacular small town named Sangerhausen in the east of the divided republic. Notes about excessive observance by his mother Gertrud, and simultaneously, a feeling of utter abandonment. For Schleef, Sangerhausen is a vacuum composed of parents, teachers, pubs, bus stops, report cards, phone booths, parking lots, dancing-class halls, unanswered letters from his mother’s lover Rolf, and a heartfelt and devastating shortage of real friendships. He longs for — but also fears — the dissolution of this vacuum. Amid these notes, protocols, poems, raptures of love and the rage of young Schleef’s diaries, one finds a number of specific dates respectively followed by the word “dead”. Suddenly, three days later: “resurrection”. Anyone who was ever a teenager knows about such inscriptions. No further explanation necessary. Or? For what does it exactly mean, if young actresses and actors – born after 1989 – quarrel about diary inscriptions by an artist growing up in the former GDR. How clear or blurry is the affinity, how close or insuperable is the distance when we use words like “home”, “truth”, “dead”, and “resurrection”? “Aren’t all of us huge cowards? Why do we dread the incredible, lucid, victorious power of truth? Why do we stomp it, smash its face in and pass off untruth as truth? Why, always, when I am gone from home, do I feel so strange, want to go home so fast? I know what that means. It’s always like that; I cannot ever free myself.” /// Einar Wilhelm Schleef, born in Sangerhausen in 1944, initially studied painting, followed by stage design at the Kunsthochschule Berlin—Weißensee. In 1971 Karl von Appen admitted him to a master class at the Deutsche Akademie der Künste. Together with B.K. Tragelehn, he directed several stagings at the Berliner Ensemble. In 1976 he made use of a stay in Vienna to travel to the Federal Republic of Germany and was declared “republikflüchtig” (defector from the GDR). Subsequently, Schleef lived in Frankfurt am Main and (West) Berlin. He wrote multiple plays, audio dramas, and novels (among others “Gertrud”), and worked as a director; after the fall of the Berlin Wall he returned to the Berliner Ensemble. Einar Schleef died in Berlin in 2001. Schleef – as a writer, photographer, stage designer, and filmmaker – produced a comprehensive but divisive oeuvre, which reflects his biography – a life in a divided Germany.

MAIN PROGRAME Author: Lars von Trier Language: Polish KRAKÓW, POLAND Length: 150 min DOGVILLE Director: Aleksandra Popławska Cast: Weronika Bartold, Agnieszka Bielecka, Sylwia Gola, Stephanie Jaskot, Karolina Kuklińska, Karol Bernacki, Konrad Cichoń, Filip Jasik, Mateusz Kwiecień, Mateusz Marczydło The performance “Dogville” is the story of human cruelty, and raises a very important issue in today‘s world — the problem of the „foreign“. The main character – Grace – is a refugee in a small forgotten village and asks locals for shelter. The residents of Dogville give her the right to stay there. At the beginning everything seems normal: overcoming mistrust, getting to know each other. As time goes by, more and more people in Dogville realize the hopelessness of Grace’s situation, her weakness and vulnerability. They have more control over her destiny and they become sadists. They are a perfect illustration of the theory of Erich Fromm, saying that the „core of sadism is a desire to have absolute and unlimited control over living things, to take the position of God“. Fromm points out that sadism relates specifically to people like the residents of Dogville, who have few possibilities or achievements in their lives. „The experience of absolute control over another human being in fact creates the illusion of overcoming the limits of human existence, especially for those whose lives are stripped of productivity and joy. Sadism is a transformation of inability into an experience of omnipotence, it is the religion of human cripples“. Saviors become torturers, and the gangsters who release Grace from captivity of „good people“ are benefactors. The story about the town of Dogville becomes a terrifying study of human cruelty.

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MADRID, SPAIN

IONESCO 4G

Author: Eugéne Ionesco Language: Spanish Length: 60 min Director: Hernan Gene

Cast: Laura Ayala, Mar Balaguer, Laura Cuenca, Juan de Vera, Alba Fernandez, Lara Jimenez, Elisa Munoz, Itziar Nuria Palet, Livia Ramos, Alfonso Rodriguez, Oscar Rodriguez, Angel Villalon, Atik Heredia Ionesco 4G is a work about the figure of the author as well as the theater of the absurd. It is presented to the viewer through a collage in four parts: Greetings A Scene with Four Characters Anger (a scene from the movie „The Four Cardinal Sins“) The Man with Suitcases. With 4G we refer to a double meaning, firstly, that we are in the last year of our studies, foccusing on the science of gestures, and secondly, to audiovisual language that serves as a common thread through the works, achieving plasticity. The work is inspired by the author‘s autobiography. Through it we can witness his travels and social reflection, and how they can assimilate each other. Between the wars, when censorship is in vogue, a secret literary code is set up to help authors to think critically and uncover social hypocrisy. Over the course of the work’s four parts, apparently absurd and ironic, criticism of power is depicted. Some of the topics included are: Fighting social stratification, societal roles, the idea of idyllic happiness. The banality of disguised superiority ultimately reveals what is hidden behind social conventions. This piece is part of a drive to express these issues within our social reality in Spain. Ionesco 4G is characterized by rhythmic and visual composition. The plasticity of the proposal gives great importance to the use of body language in space. It is thus committed to a code in which any audience, regardless of their native language, is able to appreciate the message of the work.The show is set in France in the first half of the twentieth century. We realise this from the costumes and the music. Despite the fact that the work is fresh, attractive, and highly comic, between the lines is social criticism.

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ROME, ITALY

DREAMS OF DREAMS

Author: Language: Length: Director:

Collective Without words 60 min Giovanni Firpo

Cast: Giovanni Firpo, Francesco Iaia, Elisabetta Mirra, Antonio Orlando, Carola Ripani, Giulia Trippetta, Francesco Leineri Dreams of Dreams is a white fable based on music and larval masks. Dreams of Dreams is a physical theatre project born from a concept of Giovanni Firpo, a directing student from the Accademia Nazionale d‘Arte Drammatica “Silvio d‘Amico” and Francesco Leineri, a student in Music Composition and Conducting from the Conservatorio „Santa Cecilia“ of Rome. Having studied as an actor in the Scuola di Teatro di Bologna “Alessandra Galante Garrone”, Italy’s most important Lecoq-method-based school, he decided to start a production from the Larval Masks imagined by the French pedagogue. The dramaturgy was based on the actors’ personal experiences and on common human dreams and desires. The work with the music, originally written and live performed by Francesco Leineri, was twofold: there were cases when the music was written starting from dreams, and others where the dreams were created by the music. The musical set was especially conceived for this play and formed by: a vibraphone an electric piano, a loop station, a toy piano, an accordion, a bass drum, a sea-box, a sand maraca and ring bell. The props were built by the ensemble starting from humble materials. This collective work on dramaturgy, music and construction was made in order to find a universal poetry of the highest level, but utilizing the poorest materials. SHORT STORY Six masks dream of each other and build a story of love, humor, fear and desire within 13 frames, following the classical Propp‘s fabula structure in a highly onirical atmosphere.

THE PROFESSIONAL JURY

CRITERIA FOR AWARDING THE “MARTA PRIZE” 1 The “Marta Prizes” at the International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER are not intended to create a ranking of individual performances within the main festival program, but to highlight inspiring and groundbreaking work by young artists. 2 Prizes are awarded as an expression of appreciation for an extraordinary performance by students involved in the main program. Teachers or theatre professionals cannot be awarded prizes. 3 Prizes are awarded by the festival Jury, which was named by the Dean of the Janacek Academy of Music and Performing Arts in Brno based on nominations from the festival council. The jury consists of foreign and Czech professionals from theatre or educational backgrounds. The ratio of Czech and international members of the Jury is not fixed. Persons working for the schools taking part in the main festival program cannot be jury members. 4 The Jury can award four prizes in the following categories: Directing Scenography Best Actress Best Actor Dramaturgy Screenwriting Musical score Usually one prize in each of the above mentioned categories is awarded. In extraordinary cases there can be more prizes within one category. There is also an option not to award a prize at all in a particular category if the level of the performances does not satisfy the required criteria. The final decision about the awards is reserved exclusively for the festival jury.

THE PROFESSIONAL JURY

5 The director of the Festival has the right to award a fifth prize, the “SETKÁNÍ/ENCOUTER Festival Director’s Prize” at his own discretion. The director’s opinion is independent and can differ from the opinion of the jury and the individual categories. The festival director is not obliged to award this prize. 6 The “Marta Prize” is awarded at the closing ceremony of the festival.

THE PROFESSIONAL JURY PAUL BOURNE Great Britain - Director Theatre Director and Artistic Director of Menagerie Theatre, Cambridge, UK. Over the past 25 years Paul has directed and produced over eighty professional productions in ten different countries. He has also been the Artistic Director of The Hotbed Festival of New Writing in Cambridge since 2002. His work has ranged from small-scale productions to major national and international work. Highlights include Guignol (Tennessee Williams) in New York, the world touring pro-duction of the Complete Works of William Shakespeare Abridged (out of Washington D.C.), and the European premieres of Oleanna and The Secret Garden. Paul was previously Artistic Director at the Frankfurt Playhouse Germany and Center Stage, New York. His current focus is on commissioning and developing new work for the stage, creating productions that entertain, challenge and inspire. Based at the Junction Theatre in Cambridge, Paul also teaches at the University of Cambridge and at the Russian Theatre Leaders School, Meyerhold Theatre, Moscow. PÉTER FORGÁCS Hungary - Director Péter Forgács studied theatre directing at the Universtiy of Theatre and Film Arts in Budapest and English Literature and Theatre history at Hebrew University in Jerusalem. After his studies, he directed many plays in theatres in Nyíregyháza and Budapest, and in 2003 he started working in the Jókai Theatre in Slovakia. Among his most remarkable works are, for example, The Death of a Salesman (Jókai Theatre, Komárno), Three Sisters (HOPPart Company, Budapest) and many more. Since 2001, he has been teaching at the University of Theatre and Film Arts in Budapest. 40

THE PROFESSIONAL JURY FILIP NUCKOLLS Czech republic - Director Nuckolls graduated from DAMU as a drama director with his performance of B. M. Koltéz: Roberto Zucco. During his studies he founded, to-gether with V. Čepek, T. Zielinski and J. Šimek, the theater M.U.T. They toured European festivals with plays from this theater. From his third year at DAMU, he was a member of the Kašpar group in the in Celetná Theater. From 2002 to 2015 he was di-rector, artistic director, and chairman of the board of the Drama Studio in Ústí nad Labem, the Drama Theater of Ustí nad Labem. He works with many Czech theaters e.g. HaDivadlo, Divadlo Petra Bezruče, Studio Rubín, PKD in the Komedie Theater, City Theatre Zlín etc. FRÉDÉRIC POTY France - Director Frédéric Poty is a French director specialized in travelling theatre. As the youngest student ever, he entered the Theatre Comédie de Saint-Étienne at the age of fourteen, attending professional workshops. In 1985, he opened the small theatre Le Cocotier in Saint-Etienne and in 1994, Frédéric Poty became the artistic director of the Compagnie l’Equipage. In 2005, the city of Ville-neuve decided to entrust the artistic direction of the festival Villeneuve en Scène to Frédéric Poty, and he led the theatre festival until summer 2014. The festival offered quality theatre to a wider audience and the best conditions for theatre groups. Frédéric Poty is now the administrator of the Theatre NoNo, one of the most important indépendant theatres in Marseille. In 2015 he was awarded the Medal of Arts and Letters by the French government. 41

THE PROFESSIONAL JURY

KRISTINA ŽANTOVSKÁ Czech republic - Dramaturge Kristina Žantovská is a dramaturge and a journalist. She graduated from DAMU in Prague with a major in dramaturgy. She has worked as a drama-turge in several leading Czech theatres: Theater na Vinohradech, Theater pod Palmovkou, Theatre Na Zábradlí. Her adaptation of Yes, Minister, the British sitcom, was performed for 7 seasons and had 240 reruns. In recent years, as a dramaturge in new formats, sshe has brought to life an adaptation of a romance for kids and youngsters, prepared a work by Michael Houellebecque, “Map and Territory”, and produced the first Roma radio musical fai-rytale with Romani performers. She participated in creating the first contemporary radio docudrama and a thirteen-part series about Jan Hus aired for the 600th anniversary of his burning. Since March, 2016 she has been a freelancer.

THE STUDENT JURY

THE CRITERIA OF THE SWAG OF SETKÁNÍ/ENCOUNTER Preamble The statutes of the Student Jury Award were approved in this form in the pilot year 2014. The award was originally connected with the E:UTSA organization, when members of the Student Jury could only be students of member schools of E:UTSA. For the 26th edition of the festival SETKÁNÍ/ENCOUNTER (as well as successive festivals), it was decided to open the Student Jury to students of all theatre schools at the university level (or other equivalent national institution) from all over the world. The Student Jury awards The SWAG of SETKÁNÍ/ENCOUNTER since 2016 The Student Jury awards The SWAG of SETKÁNÍ/ENCOUNTER. Statute 1. The SWAG of SETKÁNÍ/ENCOUNTER is awarded within the non-competitive International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER. 2. The SWAG of SETKÁNÍ/ENCOUNTER is given for originality, innovation and a distinctive generational statement. 3. The Student Jury decides on The SWAG of SETKÁNÍ/ENCOUNTER. The Jury usually consists of five students of theatre schools at university level (or other equivalent national institutions) from all over the world. a. The Festival Council will agree on a way of reaching out to schools for no-minations to the Student Jury and define the basic terms associated with nominating and selecting members of the Student Jury no later than June of the previous year. b. Candidates for the Student Jury are nominated by their home school. Stu-dent Members of the Jury are chosen, in particular, in order to balance the jury in terms of gender/specialization/nation. 43

THE STUDENT JURY

c. Members of the Student Jury cannot include student representatives of those schools which will participate in the main festival programme of the SETKÁNÍ/ENCOUNTER festival. d. The Student Jury is appointed by the SETKÁNÍ/ENCOUNTER organisational team and is approved by the Festival Council. 4. The Student Jury will be constituted before the first performance of the main festival program and will elect its chairman and will also set rules and a voting system. The Student Jury will observe all performances in the main festival programme and then, on the last day of the festival, agree on the award. The Student Jury has to provide results and announce its decision at least one hour before the Closing Ceremony of the Festival. 5. The SWAG of SETKÁNÍ/ENCOUNTER is not restricted to any specific area of art. The award may be granted to more than one student, if the artistic contribution is their collective work. The SWAG of SETKÁNÍ/ENCOUNTER may not be granted to the whole performance. The award may be granted only to persons with student status. The Student Jury always has to justify their award in written form. 6. The SWAG of SETKÁNÍ/ENCOUNTER is represented by a statue and diploma with the signature of the festival director and the chairman of the Student Jury. The SWAG of SETKÁNÍ/ENCOUNTER is granted at the Closing Ceremony - on the last day of the festival SETKÁNÍ/ENCOUNTER. 7. The Statutes may be changed accor-ding to the trends and needs of future years of the festival. The form of the Statutes must be approved in advance by the Festival Council.

THE STUDENT JURY

THE STUDENT JURY The Student Jury, re-established in 2014, is rather a novelty of the festival. The attitudes and views of the young students will bring new depth into the festival. CATALINA ARENAS Colombia - University of Antioquia Theatre has been my passion, my profession, my job, my way to explore love and humanity in all its expressions and the happiness to feel free being me or pretending to be others. For me, to participate as a student juror means having the possibility of exchanging knowledge with people from around the world. This will contribute to my growth as an actress from another point of view, the audience, and I will learn from each play and offer my opi-nion in the new role of juror. I would like to share that experience with my school partners. Another reason to be a part of this festival is to measure the cultural impact that theater has in a foreign country, compare it to the culture level in my city, and learn new strategies to promote art and identify differences between cultures. JAY LORENZ CONANAN Philippines - De La Salle-College Of Saint Benilde As a member of the Student Jury, I can use my knowledge from my involvement in education and production to determine the strengths and weaknesses of performances and to point out further potential of performances. I would like to explore the border between theater arts and visual design, where a performance or piece is created by working with diverse theater artists all over the world with different cultures, artistic personalities and working methods and techniques. I also want to be exposed to a global community of theater students, practitioners and professionals to broaden my network and also develop working skills and values. With my passion for arts and theater, I also want to help enrich this field in my school and in the organizations 45

THE STUDENT JURY I am involved in, and hopefully even in my country, using the knowledge and ideas this festival would give me. GÁBOR VIKTOR KOZMA Romania - University of Arts in Tîrgu-Mureș In the past few years I have participated in a couple of international projects which have helped me to widen my artistic views. All occasions when artists or art students can meet, share experiences or observe each others’ work are good chances to gain more experience and thus to enrich our own cultures. This opportunity to observe the differences in cultural and artistic views between projects makes me really excited. Theatre is the meeting point that helps us leave our differences behind, and this festival is a perfect occasion for these meetings. I consider it a huge responsibility to objectively compare these projects with each other. PERNILLE OLESEN Denmark - Aarhus University I really love being inspired by other people‘s artistic work, and would like to meet new people and discuss the latest trends in performance art. Moreover, I would like to inspire and help projects grow into new things and help people see the potential that lies in every project, focusing on strengths and making coherent choices. I find that processes and leadership are what interests me the most.

THE STUDENT JURY RINGO RAMUL Estonia - University of Tartu Viljandi Culture Academy I come to Brno to meet theatre students from other countries, to see what kind of theatre they are doing and get to know their artistic beliefs. Who are they? What is on their minds? What makes them happy or sad? What is their idea of perfect theatre? There is definitely a lot to be learned by seeing other studentsâ&#x20AC;&#x2122; work and hope-fully a chance to get inspired. A theatre festival is also a good place to get aquainted with other students, exchange thoughts and maybe even find possible collaborators. I have always wanted to see varied theatre from across the world. With their soulful enthusiasm and energy, theatre students are always more likely to break the borders of theatre than actors who have been professional for years.

OFF-PROGRAM Aside from the main programme, you can also enjoy off-programme performances which have been chosen from projects originating at the JAMU Theatre Faculty. ON THE SCENE Once you walk out of your changing room – womb, you are acting. How can you play your role in life? And what if you can‘t? A dance, a little bit of singing and a bit of acting... The monodrama “On the Stage” talks about the life of one person. Eduard Vanek looks back at the way he has acted in retrospect. Remembrance brings him all the way to the present moment on the stage. Is he going to realize anything? If he got a second chance, would he live a different way?... It is also possible that it was just a dream and his first step onto the stage still awaits him. Director: Supervisor: Dramaturgy: Scenography: Lights: Sound: Cast:

Dalibor Buš, Ludvík Kavin Radim Svoboda Kolektiv Vojtěch Matulík Dalibor Buš/Adam Dudek Dominik Teleky

HARDHEADED HUNTER A grotesque, which we shed some light on. Warning! On the 4th floor there is a deer running around. The deer hasn‘t been chased down yet. A romance, to be continued, which hasn‘t been here yet. And what about Jaroslav – is he going to leave? If you can hear halali, it will end soon. Or is it the beginning? Director: Cast:

Tereza Agelová Klára Jírovská, Lucie Kučerová

OFF-PROGRAM MEZIZEMÍ How many of us are there amongst us? How many of us are in ourselves? Your world is going back to the inside, where borders end and links emerge. It forms me within you. Every ritual has its time of change, a time where you do not belong anywhere... Space is a state of mind. It is a choice. ‚During the long night, we think about how to catch the moon.‘ Director: Scenography: Cast: Production:

Martin Šalanda, Tereza Sikorová Monika Urbášková Martin Šalanda, Tereza Sikorová Soňa Alexová

MY ROOM The reason for and way of telling John‘s true memories is found in a fictive (and maybe a bit real) relationship with his room in his parent‘s flat in Ceske Budejovice. Director: Supervisor: Cast: Production: Lights/sound:

Igor Dostálek Nika Brettschneiderová Jan Mansfeld Kateřina Chromečková Adam Gazárek

OFF-PROGRAM FROM THE SKETCHBOOK The etude performance ‚From the Sketchbook‘ was created on the basis of the work of the 1st year acting students and was performed at their final exam at the end of last semester. After the presentation to an audience, a few etudes connected to the main method of workshop teaching were chosen – a metaphoric technique in authorial acting and creating a personal picture language with the topic ‚humanizing a living being‘. Director: Production: Lights/sound:

Oxana Smilková Stanislav Čaban Barbora Sosnovcová

Cast: Šimon Bilina, Matyáš Darnady, David Hruboš, Dana Jaceková, Ondřej Kolín, Aneta Klimešová, Michal Kraus, Vít Malecha, Radek Melša, Viktória Pejková, Simona Rejdová, Anna Řeháková

MACBETH … STEPS … BLADE Macbeth … steps … blade is a play composed of a couple of scenes from Act I and Act II of Shakespeare‘s Macbeth. Specifically, it looks at the part after the murder of King Duncan. It is built like a dark ritual of change, where inside the good and virtuous Macbeth, aggressive forces awaken and completely take control of him. Director: Dramaturgy: Production:

Vítězslav Dvořák Jakub Liška Zuzana Kernová

Cast: Petr Hanák, Markéta Hausnerová, Dominik Teleky, Jaroslav Tomáš

OFF-PROGRAM WARDROBERS Siblings live together in a wardrobe. Thanks to their dreams and fantasies, they get into many situations. Everything is just in their heads, and one day their peace is disturbed. Author: Director: Dramaturgy: Scenography: Cast: Sound: Lights:

Aneta Červená, Vojtěch Hříbek Aneta Červená, Vojtěch Hříbek Šimon Peták Anna Chrtková Aneta Červená, Vojtěch Hříběk Petra Gobelová Jan Mach, Lukáš Novotný Jonáš Garaj, Michal Fridrich

OFF-PROGRAM PAROLAPOLEA Thanks for help with creating this performance go to Pierre Nadaud, Tomas Hubacek, Ivana Kloubkova, Jakub Cira, Kamila Murlova, Simon Petlak, Studio Marta and Orli street Theater. The performance was supported by the Fund for Educative and Artistic Performances at JAMU. The premiere: 16th March 2016, Studio Marta, Brno. The main thought of the play is the influence of surroundings on human behavior. Parolapolea enhances the visibility of the physical world, which pulls a person from idleness and makes him move. Gravity, inertia, the volume of space, light and sound, those are all factors we react to in every moment of our life. How does our human will exhibit the influence of so many forces? A solo for one dancer, two poles and the three dimensions of the outer world. Choreography: Coaching : Scenography: Sound design : Lighting design : Production :

Viktor Černický Jaro Viňarský Stanislav Cibulka Panáčik Zuzana Režná Markéta Štefanová

MILA Maybe she doesn‘t sleep well. Maybe she suffers from the lack of dreams. So she curls up, climbs deeper into her shell of fantasies. There, where an old person meets a child. Director: Dramaturgy: Cast: Production:

Marie Svobodová Šimon Peták Marie Svobodová Petra Srbová

OFF-PROGRAM UNIDENTIFIED HUMAN REMAINS AND THE TRUE NATURE OF LOVE This Canadian author‘s play is a tragicomic look at the life of some sexually frustrated young people who try to find true love, while the city where they live in is paralyzed with fear of a seriál killer. Candy is searching for her ideal partner, and in the meantime flirts with women, and her room-mate. Homosexual David is convinced that love does not exist. Teenager Kane speaks of himself as of a heterosexual but it seems he is in love with David. Bernie is simply lost. The lesbian Jerri loves Candy, and Benita, a prostitute and medium, looks at all the sexual action with great interest while they all tell scary stories of the dead and the reality is similarly scary.

Director: Cast: Production:

Petr Štěpán a Miroslav Ondra Diana Velčická, Dagmar Křížová, Kristýna Daňhelová, Veronika Morávková, Marianna Polyáková, Paulína Palmovská, Robin Schenk, Ondřej Halámek, Jonáš Florián, Marco Salv adori Ondřej Halámek

OFF-PROGRAM

MASTERCLASS Apart from the main performances and off-program performances of DIFA JAMU, two masterclasses aimed at current trends in physical theater have been prepared. The first of them is a masterclass by the Colombian performer Josue Gabriel Santamaria Perez. The second masterclass will be led by the Slovak performer Lucia Kašiarová, who performs at Studio ALTA in Prague. SOLO FOR BODY – LUCIA KAŠIAROVÁ A dance and movement workshop led by the dancer Lucia Kašiarová We will activate our body to develop our physical abilities and motivate our natural body instinct. We will work with our body in the most effective way in order to relax tension, which is not needed, but not in a way that would harm the physicality of dance. We will explore how our technical abilities can be developed without losing our own dance identity. We will look for creative techniques, specific expressions, body shapes in separate physical actions. We will ask questions through our own experience and observation. We will research the solo phenomenon. The basic principle of our research will be mental and physical improvisation. Am I able to be myself in space? For how long? How much does my outer form limit me? Can I recognise my own movement stereotypes? Can I change them? We won‘t be seeking answers, but more inspirational questions that arise from the foundation of observation, inner and outer inspiration.

OFF-PROGRAM ANIMAL TECHNIQUE - JOSUE GABRIEL SANTAMARIA PEREZ The issue of body language in our context is no longer a purely physical practice detached from the actorâ&#x20AC;&#x2DC;s training. For this reason, exploring other aspects that contribute not only to physical labor but to the possibility of new input from the environment can contribute to developing the capacity for new perspectives in research. From our own body-memory we can discover new potential as actors.

INFORMATION INFOCENTRE

Theatre Faculty of JAMU Room No. 4 Mozartova 1 622 15 Brno Opening Hours 11th–16th April 2016 Monday 10.00 AM – 8.00 PM Tuesday - Friday 9.00 AM – 8.00 PM Saturday 9.00 AM – 4.00 PM Infoline +420 733 127 612 Chill-out Room Chill-out Room is a place open to all festival participants who seek peace and quiet. Theatre Faculty of JAMU Room No. 3 Mozartova 1 622 15 Brno Opening Hours 11th–16th April 2016 Tuesday - Friday 9.00 AM – 8.00 PM Saturday 9.00 AM – 4.00 PM

INFORMATION

TICKETS The tickets will be available from 11th April at the Festival Infocentre. Tickets for the performances can be purchased at the festival Infocentre until 30 minutes before the performance. At that time, any unsold tickets will be taken to the ticket office of the theatre, where they will be sold beginning 15 minutes before the performance. TICKETS PRICES Main programe Public 150 CZK Students and seniors 100 CZK JAMU students and teachers 50 CZK Meeting Point Party JAMU Students and teachers Other

150 CZK In advance at Infocentre 200 CZK At the venue 250 CZK In advance at Infocentre 300 CZK At the venue

Off-program Off-programme performances are free of charge, although tickets need to be collected at Infocentre. At off-programme performances, free seats can be taken without a ticket 5 minutes before the start. Masterclass Entrance is free but due to the limited number of places you need to register in advance at the Infocentre. Morning discussions Entrance is free. Registration is not necessary. Festival ware You can purchase the following festival ware: Drawstring bag Canvas Bag T-shirts Button Matches Postcards

170 CZK 150 CZK 150 CZK 20 CZK 20 CZK 10 CZK 57

INFORMATION Off-programme wristband Available at the Infocentre, price 50 CZK • entry to all Late Night Reflections (excluding Meeting Point Party) • discount at festival restaurants (their list is available at the Infocentre) • discount of 15 % on festival ware Late Night Reflections Music program 5 evenings, 4 clubs in Brno. Rehabilitation after theater. Look at the day from a distance. Dance your shoes off. Awaken the wild animal within. Dreams come true every night. Contemporary dance music. You and Brno. You and the night. 12. 4. WELCOMEparty – Kavárna Trojka (Dominikánská 9) 13. 4. YOLOparty – Music Lab (Opletalova 1), 14. 4. Meeting Point Party – Kabinet múz (Sukova 4), 15. 4. DIRTYparty – Skleněná louka (Kounicova 23), 16. 4. ALL/NIGHT/LONGparty – Kavárna Trojka (Dominikánská 9) Meeting Point Party We have chosen the best from both Czech and foreign music scene, like the London electropop singer Krista Papista or Slovakian DJ duo MALALATA. DJ AID KID, the winner of the 2015 Newcomer of the Year Vinyla Award, is running the afterparty show. Come burn up the dance floor after a long day! Morning discussions Discussions with breakfast will be held at 9 AM every day of the festival (except for the first day) in the Chill-out Room. Discussions will focus on the performances from the previous day. The discussions will be led by moderators so that the issues that visitors will be most interested in will be dealt with. These will include the specific features of works, differences and procedures for production of a specific performance as well as general differences and procedures in different schools, countries and cultures. Postgraduate students Mária Smreková (graduate of Theatre Directing), Pavol Seriš (graduate of Clown´s Scenic and Movie Creation) and Rebeka Uličná (graduate of Radio and TV Script Editing and Writing) will moderate the discussions. Discussions will be held in English and operated by two hosts. Coffee, tea and pastries will be served for breakfast.

INFORMATION TVEncounter You can watch videos capturing the festival and its atmosphere on the festival YouTube channel and The Facebook profile (facebook.com/setkani) The videos are made by TVENcounter, i.e. students of Audiovisual Production Studio and the theatre. Festival premises DIFA JAMU – The Theatre Faculty of The Janáček Academy (Infocentre, Chill-out room, Dalibar, Editorial office, Off-program), Mozartova 1 Astorka – Off-program, Novobranská 3 DnO – Divadlo na Orlí / Hudebně dramatická laboratoř JAMU (Orlí Street Theatre), Orlí 19 Marta – Divadelní studio Marta (Studio Marta), Bayerova 5 DHNP – Divadlo Husa na provázku (Theatre Goose on the String), Zelný trh 9 HaDi – HaDivadlo, Poštovská 8d Festival restaurants Freeland - 20 % discount Padowetz - 20 % discount Diamond Café Bar - 20 % discount Havana Club Bar - 20 % discount Veselá Vačice - 20 % discount (except menu of the day) V-Bistro - 20 % discount vouchers (available at the Infocentre)