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Daily programme

SATURDAY / 21. 4. 10.00 Discussion / DF JAMU Chill-Out Room 10:00 The method of pantomime and physical mime of Radim Vizváry / Astorka / 240‘ / W 10:00 Floor Acrobatics Cirk La Putyka / DF JAMU 202 / 240‘ / W 12:00 Play a Tumour in the Head / Slovenia / HaDivadlo / 140‘ / MP 19:00 The Closing Ceremony / Divadlo Husa na provázku / 60‘ / MP, JP 21:00 Sci-FINALE / Divadlo Husa na provázku / OFF party MP - main programme OFF - off programme W - workshops JP - Jurry path



THE FIFTH DAY, FRIDAY And here it is. The fifth day of SETKÁNÍ/ENCOUNTER. That means that this is our last festival day. So today will be light: one discussion, two workshops, one bombastic Closing Ceremony. In our Editorial Office, we are beyond tired. Now we are efficient. But even efficient people love change, so… The last festival day’s editorial is written by the leader of Promotion Department of the festival, our biggest and best editorial partner, the incomparable Frederika. Fredi, here you are, give this MEETING POINT a bit of Czech. F: I have a feeling that during these five days my Czech has become CzechoSlovak, but I will try, I promise. Hi, for the first time! (today I‘m gonna introduce myself twice - you can also look forward to my “Behind the Scenes” column). Yesterday we saw the three last premieres of our festival. The journey of our crazy spectators is over, and we don‘t know whether they should be happy or sad. On their home stage, JAMU presented a controversial non-controversial play, A Clockwork Orange, a musical Slovenian tangle Play a Tumor in the Head and a play Othello by Poland group that opened a lots of questions and emotions. One performance in the Off programme had to be cancelled for technical reasons. Another one had some technical issues. Oops. But in the end, you could experience the one and only In Da Haus party at our alma mater, which was alive with musical and light design magic. Now it‘s time to put the tear back into your eye and admit to yourself that this is the last day of the 28th edition of the festival. We, at the editorial office, have free time, finally (you can read another MP online on our website), so we look forward to more encounters and goodbyes at the same time. Thank you, editorial office! Especially to its queen, Jules. Thank you for doing this with me. Together I think we managed to move the MEETING POINT further. And to all of our devoted readers and participants in the festival. An unforgettable last day! We are looking forward to seeing you!


PS from JP: I will say goodbye to you in our last MEETING POINT, so be online on Sunday! :)


Review MP


Matouš Ondra

Slovenia HaDivadlo 140 min. Directed by: Maša Pelko

I hope there is another way The Slovenian students are in crisis. They can’t do the kind of theatre what they want to. Conservative, professional theatre vs. experimental, alternative productions. The aim vs. the way. Professors vs. students. But what should such a theatre look like? What does the audience want, and what do the artists want? Do we want actors whom we can simply ask to perform “Tumour in the Head” and they will do it for us?

Even though almost none of the spectators clap, the laughing performers come and take a bow three more times. I confess that I am confused and embarrassed. Was it a pseudo-intellectual performance full of exaggeration and deliberately bad and artificially acted characters? Was the purpose of the performance to show us, unfortunately not very well in my opinion, what Slovenian professional (and non-professional) theatre looks like? A theatre environment which is more successful and prosperous than any other new and alternative one? Or it was simply about a protest against the past and present situation in Slovenia? And which direction should we choose in the field of art? Do we want new art that offends? I don’t want any of these extreme views or movements! Sarah Slavíčková

Marta never wants to see it again.

The first part takes place in the foyer of the theatre, where we see students protesting against the contemporary theatre that they learn at their academy. What is more important – the final result or the process? Then comes a journalist with whom we move right through the dressing rooms, across the stage, and into the auditorium – an improvised, small auditorium with just a few chairs and pillows and one hour full of – for me - absolutely nonsensical exercises and experiments. For example, the performers try to connect, via a new means of communication, with aliens, a scene which climaxes in the birth of plush padding. The confused journalist, who is subject to theatrical illusions, is involved in the play and starts to suck fresh milk from the recently - “born” mother. For the last part, we move to the big auditorium of HaDivadlo after one of the performers announces: “Now, after this crazy hour, we will finally show you proper Slovenian theatre!” On the stage, the actors gleam in cheap, glittering costumes, singing and dancing. Their short musical number ends with a fake smile and the most expected pose.

Embarrassment over “Tumour” After entering the foyer of HaDivadlo, where the performance began, I felt mildly disappointed. I could not tell whether I was in a residential apartment, in a bar, in a café, or in a study. The audience seats were facing the bar. We were confronted with simple, typical students dealing with a very serious situation in the world of art which I took a long time to understand. The subtitles passed too quickly for me to read them all. What genre was it – a conversational comedy or what?The audience were embarrassed. Luckily, not for a very long time, as the performance quickly changed into an attractive and dramatic show. We were placed in the middle of a dangerous-looking art experiment. The actors were locked in a hall, separated from the real world, their activity dictated by social norms and stereotypes, such as the idea of the stage as a place for actors to develop themselves. This was more than a just a stage/laboratory - It was a sect. The dramaturge worked without feelings or intuition: everything could be done in a logical way. Everything has already been written and you only need to decode and read it. She and the “doctor” know how. With their help, the actors will grow internally until they become insane, if they are not already. But how will it benefit the director if the actors are not able to do what he needs them to do? What is an actor without his audience? Isn’t the actor here for the audience, after all? “Why did you decide to become an actor?” Although the play deals with doubts about the purpose of theatre, that was no excuse for our leaving the auditorium embarrassed. Just as the first part posed a question about genres and classification, the conclusion left it unclear whether the closing music and dance were meant seriously or not. Was the little dance in glittering costumes the solution? The middle of the work was veiled in a dark and impressive atmosphere which did not leave me indifferent at any time.

Marta is kind of happy

Soňa Mucinová


Michaela Suchรก

Czech republic Studio Marta 90 min. Directed by: Barbora Chovancovรก

A conformist controversy The Clockwork Orange is a notorious piece. Plot of the play by students of JAMU is pretty much the same as the original text. A violent youngster Alex suffers a recovery therapy but eventually becomes the same punk as in he beginning. Just like Kubrick did also authors from Brno reject the later added chapter in which Alex tries to reform himself in order to be of a better example for his son. But do not worry, people do not change. JAMU’s staging of The Clockwork Orange does not try to shock. Choreography of violent sequences are performed impressively. As long as Alex enjoys hurting others there is a classical music in the background. After the treatment the music becomes a sort of a classical / techno mix and together with flashing strobe it gives an accurate sample of the rioter’s feelings. Job done on tempo-rhythm and usage of the space is very inventive. Actors are leaping up and down the scaffolding and the stage design itself is very playful – a flashing stripe of red flood spreads whenever somebody’s head hits the steel griders. Fast, but not furious, pace of the play is often interrupted when humble narrator Alex creates a window for his comments. Protagonist is more comfortable with the role of confident smartass Alex, controlling his outer world. However even when presenting Alex’s weaknesses his performance is decent. Other actors portray wide range of minor characters – sometimes in more and sometimes in less caricatured way. The Clockwork Orange by students of JAMU is entertaining energetic play but lacks some sort of an appeal. Title is often described as a controversial but you cannot really say that about this particular staging. And I think: “what a pity!” There is a plenty of good ideas in the performance but it could use more courage.

Marta doesn‘t know

Veronika Švecová

Would you like an orange? The students in the 4th year of the Department of Dramatic Acting at JAMU in Brno decided to dramatize the prose of Clockwork Orange, by Anthony Burgess. In contrast with the book, which is set in London, the students’ production does not specify the venue. This can be an advantage, as the performers point to a timeless period where violence and cruelty are not just abstract concepts. This is also revealed by the scene - dominated by a tall steel structure that symbolizes the rise and fall of the main character, Alex. At the beginning we see him, the leader of the teenage gang, standing on the top of the structure, surrounded by his buddies. When he becomes a doctor‘s guinea pig, the construction becomes a silent observer of the inner and outer suffering of the protagonist. The performance is full of lights, uncontrolled human bodies, music, and violence. As far as the violence goes, we should mention how it was shown to the audience. It was done through slow-motion effects, thanks to which we were able to follow the mime and detailed, focused work with the body. This showed every muscle on the bodies of the actors and actresses. Some of them even performed several characters at the same time, so we witnessed their wide range of expressions (for example, a prisoner slowly chewing meat, walking, a stern view of the face). Despite the believable acting and directing ideas (dancing, light design, etc.), I‘m a little bit confused why the directors decided to perform this particular work. I didn’t see a clear directorial-dramaturgical concept. Or was that the intention? To point out the madness that is gaining in intensity over the years? The violence that surrounds us on all sides? But one thing is clear - this performance, A Clockwork Orange, by the students of JAMU cannot be forgotten.

Marta doesn‘t know

Miroslava Košťálová


Kateřina Veselá

Poland Divadlo na Orlí 180 min. Directed by: Grazyna Kania

Unreachable justice / Through intrigues to doom / Othello’s corrupt world The Polish staging of Othello is a raw and uncompromising. Racial animosity towards Othello, women are being treated rough, deviant sexual behaviour – topics and problems of society are approaching its climaxes. Iago may seem as a trustworthy guy but only until he reveals his true ambitions. Stage design is interesting as well. Warfare pictures and details of faces appear on a wide screen behind the actors. Most of the characters (excluding Desdemone, Othello and Roderigo) seem like they just came from a really fancy party due to their decent robes. Tons of colourful confetti becomes imaginary mud in which characters are getting stuck while trying to avoid death. Whilst scattering them seem like a gesture of arrogance or wasted opportunities the mud also becomes a place to carry out sexual desires – not only the voluntary ones. One of the many questions is whether Cassius had raped Roderigo just because of the lack of sex or driven by his twisted desire to be in control over the weaker. Relationship between Othello and Desdemone is just of a mutual physical attraction in most cases. It is hard to look for love somewhere where there is just a foreplay graduating in the hidden parts of the stage. Later on Othello’s insults towards his lover are becoming more and more disparaging as Iago has powerful influence over him. This makes the relationship even more emotionless. From the very beginning utterly rotten world gets even worse leaving you feel hopeless. The evil is not punished. Injustice is victorious.

Bohunka Vaňková

Marta doesn‘t know

Actor’s performances are powerful and even among all the students involved. And if actor playing Rodrigo did not receive a bunch of roses you really would not be able to tell apart who managed to rehearse this three hour long, controversial and pungent play in a day and a half.

Very hard view The Polish Students‘ Othello brings a classic story to the present. The script keeps the original plot but updates the language and deepens the motivation of individual characters. The origins of human evil are compared with current issues like racism, homophobia, and xenophobia, while the original themes of jealousy, desire, and premeditated evil are preserved as well. The director has created an unusually multi-layered theatrical entity, which is accurate, coherent, and especially powerful. Its combination of various media (video projections, dances, singing, etc.) functionally complements the image of a dystopian world. Is the power of the human ego really strong enough to kill the last positive features in us? Each component of the play is fully realized but subordinate to a clear overall concept. Even the colours used add to the effect, for instance when cold and empty darkness meets colorful confetti and the pink sequins of Desdemona’s dresses. The actors‘ performances are unusually concentrated, precise, and balanced. Each actor and actress has created a precise character down to the smallest detail. They show an extraordinary range of expression. The brutality involved in the actors’ relationships, and especially in every one of Iago‘s word, shows that there is a very fine line between humanity and inhumanity, a difference which turns out to be especially suitable for being portrayed on stage. The creative team tries to point out human frailties by exposing them explicitly and exaggeratedly. It’s not easy to watch, but we know that looking away is an even easier way out …

Marta doesn‘t know

Diana Pavlačková

BEHIND THE SCENES: PROMOTION Have you noticed anything about our festival? When it takes place and who attends? Have you seen scanned faces everywhere? Have you downloaded our app onto your mobile phone? Have you bought any of our merchandise? Have you read at least one edition of the MEETING POINT journal (doesn‘t have to be the whole thing)? If you answered yes to at least one of those questions, that means that you have noticed the work of this section. Hi! My name is Frederika and I rule the promotion, but we are a team of six people: Jules, Míša, Ilča, Anička, Marek and me. We make sure that you won‘t miss any information before and especially during the festival! For most of the festival, we sit in the editors’ office, furiously asking for reviews, getting them translated, then sending everything to the most awesome man in the world, Adrian, at 1 o’clock in the morning for proofreading so you can pick up your festival journal at the start of the next day. When the proofreading is done, we pass it all to our incredible typesetter, Monika. She is the reason our MEETING POINT looks as great as it does. Many thanks and much admiration to her for that! When the graphic process is over, we proofread it all once again, and again, and again… Unfortunately, sometimes we overlook some mistakes because we have already read it too many times, or our eyes are just rebelling. What‘s next is three hours at our beloved printer. We change toners, refill papers, stack individual editions. And at dawn, with any luck, we finally leave for a few hours to sleep. Another thing we do: we document how you like it here and publish it! Don’t forget to use hashtag #enc18 with all your photos, so we can see what kind of encounters you‘ve had. During the preparations, our best friend was the HP60600 scanner, which enabled us to create this year’s visuals. ENCOUNTER IS YOU, you are a part of the festival, so run to the Infocentre to scan your face into our collection! Frederika Halfarová

BEHIND THE SCENES: MEDIA My name is Michaela Frimelová and I am in charge of section Media the festival. Our job is to spread the word about SETKÁNÍ/ENCOUNTER among students, theatre goers and the general public as well. We basically try to reach our audiences via several TV and radio spots, articles on theatre dedicated websites and in magazines and so on. We also held events like the press conference or photo exhibition in cafés. In cooperation with other students of JAMU we created many video spots and photos we use on our socials, website and all the media outputs. And if you want to you can meet us at the infocentre which is also in our charge. When I look back on our work in the past year I think we managed to shoot pretty funny and cool TV spots featuring the festival ambassador Jiří Bartoška – and I must say that we are very proud to have him as our ambassador. Exhibition of photos from previous editions of the festival, displayed in five cafés around Brno, turned out very nice as well. Visiting all the cafés we “travelled the whole world” – and even got a free coffee at the end of the journey. I am also proud of the number of various articles and references which appeared in many magazines and so and of course I am very very proud of all the members of my team! I hope they learned – just like I did – a lot of new skills which will come in handy sometime in the future. Thanks a lot my “mediababes”: Sara, Katka, Laďa and Nikol! Michael Frimelová

Review OFF

Kateล™ina Veselรก


I am sure I speak for many when I say that to wake up early in the morning after the Thursday Meeting Point Party was a big challenge. Despite that, the Chill-Out Room slowly began to fill up and a vivid discussion developed, with its themes reaching far beyond theatre. We were again welcomed by the pair of moderators, Barbora Chovancová and Jakub Liška. The discussion was opened by an interview with the Scottish students, who described the details of their performance development, from deep research into autism to the search for the correct way to deal with the theme. They collectively discussed ideas about how to depict the individual stories they had collected in the course of their research. The discussion, quite unexpectedly, moved towards the relationship of theatre to film and the role of theatre vis-a- vis film. The longing for peace and the relevance of their script to Israeli politics was described by the team from Israel in a very engaging manner. Military conscription and the education system in their country were two of the many factors in their script selection. Then we moved from politics back to the academic world, thanks to the performers from Great Britain. These students described, in great detail, how their course works and how they achieve personal progress. The intense two-hour discussion closed with an interesting discussion about Czech and Slovak theatre, especially about the thin line between chaos inspiring a performance and chaos killing even the ability to think. Such questions were inspired by Bratislava students’ Visit (and visit). We opened our eyes, extended our horizons, and started the day well. The only thing left was to not fall asleep during the day. Diana Pavlačková

WAITING FOR A MIRACLE Even though we had to wait for a quite long because of some technical issues, there we go! Three short movies by students of departments of physical theatre and audio-visual creation at JAMU, in cooperation with students from Zlín University are ahead of us. All of them are set in industrial area of Dolní Vítkovice and do feature dance bits so they have quite unusual vibe. The shortest one is called JA:PA. Fragile girl in the middle of former factory compound catches us off guard dancing aggressively and later leaving the space after touching her reflection in the window. Due to quite short footage the message was not really clear – on the other hand everyone can look for his own explanation. Humorous movie teČepelin amuses and surprises with jocular grimaces and Chaplin-like moves. The last one – Siroty (The Orphans) – has interesting approach. Man does not let women to carry on with her own decisions but won’t let her fall down at the same time. Ending of the movie is basically the same, just the roles switch over. The core of all the movies is motion – a way to express one’s dreams, feelings, lifeway. Although all the movies are around 5 minutes long, the movement is clear and so you do not have hard time understanding the basic principles. The stories are not descriptive, giving the audience freedom to create their own interpretation. None of the movies answered my questions, nevertheless the one hour long waiting was worth it. Kristýna Staroštíková


INTERVIEW: CHENGYU TAN Can you introduce yourself and tell us what are you working on right now? I am doing a Phd. at the Royal Centre Drama School Drama in London, and it’s about sexuality in theatre in China. And right now, I am mostly working on the written theory part, but it will be also developed in performance. And what did you do before this? Before this Phd. I did a Master’s in Devised Theatre and well...I was creating… stuff (laugh). I noticed that you are into queer theatre. Can you tell us what that means? Of course, it’s a term – it doesn’t have a fixed definition. I think it names, generally, people who resist gender bias nouns. Gender is not male or female. It’s constructed by society and by the culture you grow up in. Basically, it’s a very western idea…and what I am working on is when this idea was transported into China, and how it is accepted, and how Chinese people perceive it...If there is already a queer thing there. And how Chinese people will see it in this age of colonization. Have you been to this festival before? No, actually this is the first time (laugh). And ehat about another festival - somwhere in europe? I have been to several festivals in London, and also the Mime Festival because I really love physical things…And also the Edinburgh Festival, by the way when I saw a programme of this festival I found it quite similar to that one! You have main programme, off-programme, and at the end of the day…a party (laugh). Like a small version of Edinburgh Festival, and it’s very inspiring. Many immersion artists, very talented young people. How do you liike czech theatre? I love it! I really, really love it! I would say the reason I want to do theatre is because of black light theatre! I know that nowadays, many people enjoy immersive theatre…but that’s not really my thing. I just remember the first time I was in a black light theatre…several minutes before the show really started...everywhere was black. It’s like a black hole, and when I looked at my hands I literally couldn’t see my fingers. I was so impressed by that black hole, and that´s the moment I felt I needed to do something with theatre.

Last question: who is your favourite actor or director? You know I am not very much into big names, because I think what really speaks is the performance itself. So, I am very much into alternative aesthetics, so it does not matter who the person is, or what kind of show it is, as long as it says what it wants to say. As long as it has some breakthrough and makes me feel there is some new power in it. Sarah Slavíčková


Responses of the festival

TUMOR IN THE HEAD In the second part, there was a pair of impressive acting performances. Iva k. You know, I do not follow the world of Slovenian theater, so I couldn’t catch what was supposed to be funny and what serious. Tomáš B. I liked the part in the foyer at the beginning, and then I was lost. Eliška S. Either it was ingeniously terrible or terribly brilliant. Ivan H. A CLOCKWORK ORANGE It was good, but I expected a more radical version from the students. The text is so controversial, but this performance was too quiet. Petra S. It was something like a montage of attractions Fantomas It was good. That’s all I want to say. Romualdo

OTHELLO It was very insulting to Africans and blacks, yelling as if at bushmen and the like. It seems to me quite inappropriate, although I like Polish theater and I have seen some very good things. Luntu M. It was a good performance, the only problem was that two hours and 45 minutes without a pause are quite demanding for the viewer, especially if it‘s a tragedy and a complex topic. Patrik F. It was too long, and a break would be good. I heard they had a change at the last minute, but I could not even tell which actor it was. Very admirable. KristĂ˝na J. Lots of things all at once. I need to see it three more times before saying anything. Tereza T.



„Because in a way I am a bit ill, in the sense that I can’t do anything for longer than 2 to 3 years. In acting you have to explore yourself anew in every piece so that you never get bored. It‘s my way to hide from the getting-bored thing“ LEON SINGER - performer from Germany What makes a story good? Inner conflicts between people, I think if we express these (conflicts) in theater, that’s a good thing. CHELLO TODHESHINI - student of physical theatre Galicia, Spain “Love is not like a romantic idea, something just touches you and you don‘t have to do anything about it. FREDERIK GORA - performer from Germany “At last year’s ENCOUNTER, there was one performance which I liked a lot. It was called “Insomnia”, directed by Pavel Štourac. It was about that what artists, creators, and actors need to do for a living and about that how hard it is for an artist to find and choose means of being creative that allow you to do your best and express yourself, and at the same time make your living as an artist and survive. I felt while I was watching that performance that I could really understand them, and I felt after the performance that it was an hour well spent watching that play. It was encouraging.” ANNA KVAŠŇOVSKÁ - erasmus student from Banska Bystrica

Jiří Karmasín

Kateřina Veselá

Michaela Suchá

MEETING POINT The International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 2018 Heads of the Editorial Office Frederika Halfarová Júlia Pecková Assistants of the Heads Marek Hebelka Ilona Pawerová Anna Sáčková Michaela Zemčíková Editor in Chief: Júlia Pecková Editors: DAMU: Sarah Slavičková, Veronika Švecová, Martin Tilšar JAMU: Jiří Liška, Marie Mlatečková, Soňa Mucinová, Petr Theodor Pidrman, Pavel Zarodňanský, Barbora Hajdíková MUNI: Vendula Kacetlov, Barbora Kašparová, Kristýna Staroštíková VŠMU: Miroslava Koštáľová, Diana Pavlačková, Bohunka Vaňková Photographers: Jiří Karmasín, Matouš Ondra, Kateřina Veselá, Michaela Suchá, Paulína Ščepková Translators: Adam Dudek, Michaela Dudriková, Frederika Halfarová, Jakub Julina, Zuzana Kernová, Martina Součková HOPE jazykový servis Proofreading of the English Version: Adrian Hundhausen, Adam Dudek, Zuzana Kernová

Proofreading of the Czech Version Frederika Halfarová, Lucie Říhová, Markéta Stehlíková, Barbora Hajdíková Typesetting: Monika Řeháková Publisher: Janáčkova akademie múzických umění v Brně Divadelní fakulta Mozartova 1 662 15 Brno IČ: 621156462 / DIČ: CZ62156462


M at ou šO




5 en  

The fifth edition of Meeting point of The International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 2018

5 en  

The fifth edition of Meeting point of The International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 2018