IP'10 Reflektor / Spotlight #2

8/9/2019 IP'10 Reflektor / Spotlight #2

1/9

1

EDITORL

Ven a mil,

festival sa nm zaal, ale ete zaleka nie je aniv polovici. Videli sme velio zaujmav, ale do koncafestivalu ns urite mnostvo divadelnch (mono ajinch) prekvapen a zitkov ete len ak.

Dlho som uvaoval nad tmou pre dneneditoril. Kee o jednotlivch inscencicha diskusich sa pe na inch stranch nhoReflektor-u/Spotlight-u a otvracej rky v Cvernovkesom sa nezastnil, jedin o mi napadlo bolo, e saposaujem na neprjemne poasie, ktor nm vetkmstrpuje plynul prechody medzi divadlami a najm

kaz nladu. Ale poasie je hrozn kli a iadnemedzinrodn kandly sa zatia nestali (aspo

ja o nich neviem)? Naastie na ma v pravej chvliosvietilo a stretol som enu, ktor mi jednoznanenaznaila cestu, ktorou sa mm vyda. Cestu k nejsamej. Je to Zuzka S., dieva s vraznmi blondvlasmi a milm, prvetivm smevom. Na to, ovetko stha robi, vybavova, telefonova, preklada,

je neustle zhovoriv a vdy pripraven reagovaa riei akkovek problm. Nem vo zvyku vyvolvafaux pass a medzinrodn afry, (o je ale na druhej

strane koda, aspo by bolo o om psa). V nijakomprpade by som vak neodporal Zuzku S. rozli,najmenia provokcia toti me vyvola neprjemnpohad, o sa pri miere jej dleitosti na kole nemusvyplati. Ako sa hovor, pod lampou je najvia tma.Zo skromnosti neblik kadmu do oka, ale vetcivedia, kto je tu hlavn iarovka! (teda jedna z tchnajhlavnejch). Ona je jednou z tch sto iaroviek,ktor sa staraj nielen o zahraninch delegtov, aleaj o ns vetkch a najm o chod celho festivalu, zao im vetkm patr vek vaka.

Zuzke S. akujem za prjemn (aj keskromn) tmu na editoril a vm prajem prjemnenapredovanie v programe nho osvietenho festivalu.

-km-

Dear festival goers,

the festival has started, but were not even closeto its half. We had a chance to see many interestingperformances, but there are certainly more theatre (orother) surprises and adventures yet to come.

I have been thinking about todays editorialtopic for quite a while. The reviews of perfomancesare on following pages of out Reflektor/Spotlight,and I havent been to the party last night, so theonly thing that came to my mind was to complainabout the unpleasant weather which is embitteringsmooth transitions between theatres and on top of it,it especilly spoills the mood. But still, the weather is

such a clich and there are no international scandalsto discuss (at least I know about none). Fortunately, Igot enlightened at the right time and I met a womanwho clearly indicated me the way to go. The path toher case. Its Zuzka S., a girl with blond hair and avery nice and friendly smile. She handles everything,telephones, translates, but she is still very talkativeand always ready to respond and resolve any problemneeding a solution. She does not usually cause fauxpass nor international scandals (which, on the otherhand, is a pitty, there would be at least something

to write about). In any case, I wouldnt recommendanyone to drive Zuzka S. mad, even the smallestprovocation can cause a very unpleasant look. Whichis at the extent of her importance in the school highlyrisky. As they say, there is darkness under a lamp.She doesnt shine in everyones face because of hermodesty, but everyone knows who the most importantbulb is (one of the essential). She is one of thosehundred bulbs, which take care of foreing delegatesbut also of all of us and especially the literally run thefestival. For which they deserve a big thank you.

Zuzka S., thank you for a pleasant (albeit modest)topic for this editorial and I wish you all a enjoyabletime during out enlightened festival.

-km-


2/9

2

IV MRTVOLA KRSANEKONKRTNOSTI

Studenti VMU uvedli druh pedstaven, kternen typickm vstupem student divadelnchkol. Nejsem si jist, nakolik se jednalo o zmr,

ale vsledn inscenace se pro m stala velmipozoruhodnou. Jedn se o ukzkov pkladinterpretanho divadla pracujcho s textempobvajcm na strnkch uebnic djin svtovliteratury, jen je ovem zrun dramaturgickyupraven. Koat literrn opus se autorkm podailozethlit na hlavn manelsk trojhelnk a postavynezbytn k jeho pochopen.

Podstatnj je ovem reijn pstup k

inscenan form. Autorkm se podailo piblitse zcela opanmu plu vnmn oproti tradinform inohernho divadla. Zde divk vnm nejdvediskurzivn a a nsledn zapojuje imaginativnmylen, kdeto v iv mrtvole, podobn jako napkladu vtiny pedstavench tanenho divadla, nejdvevnmme imaginativn a a nsledn racionalizujeme diskursivn zptn analyzujeme. Tento zpsob prcememe nazvat pehlcovnm, ale na druhou stranutak synchronicitnm zpsobem pstupu k jednotlivmsituacm. Reie problematizuje text hereckmi akcemi,zintenzivuje jevitn vpov, svm zpsobempesycuje dn na jeviti a smruje k jednomu: nejistotu divka. Neumouje mu pln vnmat ve, co seped nm odehrv, nenabz jasn vklad vech akc,znejiuje ho v jeho pedpokladech a oekvnch,ale i v jeho celkovm uchopovn pbhu. Nut hotedy neanalyticky vnmat pedstaven, nechvat se

jm zasahovat bez filtru okamitho racionalizovnkonkrtnch akc. Tento pstup je velmi nron nadivckou schopnost vnmat, pijmout lehce odlinzpsob sledovn pedstaven.

Autorky bohuel tento pstup neudrely po celoudobu trvn inscenace a od momentu setkn Fei s

Afremovem zan pevaovat bn zpsob hranpro text, hran po smyslu fabule a divck vnmn seme uvolnit: vrtit se k klasickmu postupu. Svmzpsobem je takovto sleven z nrok smutn, i kdypochopiteln, pokud bylo zmrem odvyprvtpbh centrln trojice. Osobn jsem ale velmi vdnza monost bt divkem pedstaven, kter mi, alespozpotku, nepodsouvalo svou pravdu, ale umonilo

mi nechat se unet mnohovrstevnatou strukturouvznam zkrtka ut si ho ve sv nejednoznanosti,klidn i divnosti.

Luk Brychta

THE LIVING CORPSE THE BEAUTY OFINDEFINITE

Students of VMU presented a kind ofperformance that is not an output typical for studentsof performing schools. I am not sure about the deal of

being intentional, nevertheless, from my point of viewwas the performance truly remarkable. This stagingis a typical example of an interpretative theatre workwith text thats resides at the pages of history booksabout the world literature, which, however is skillfullyadapted dramaturgically. Authors managed to slimdown the patulous literary opus and concentrateon the main marital triangle and figures needed forunderstanding the plot.

More importantly, however, is the directingapproach towards the staging form. Authors managedto get close to the opposite pole of perception versusthe traditional form of drama theatre. Here, theviewer sees first discourse, and subsequently involvesimaginative thinking, while in The Living Corpse, justlike most dance theatre performances, the viewer firstperceives imaginative and subsequently rationalizes discursively re-analyzing. This method could beconsidered as over the top but on the other handit is a synchronizing approach towards individualsituations. Directing questions the text by dramaticaction, intensifying stage discourse, gluts the action

on stage in its own way and aimes to one point uncertainty in the viewer. The viewer is not allowedto fully perceive everything that is happening beforehim, directing does not offer a clear intepretationof all events, makes the viewer insecure in all hisassumptions and expectations but also in grippingthe story. It forces him to perceive the performancewithout analyzing it, letting it interfere with no filterof immediate rationalization of concrete actions. Thiskind of approach is very demanding on the viewer, hisability to perceive and to adopt a slightly different way

of tracking the performance.

The authors, unfortunately, did not keep thisapproach during the entire production. The momentwhen Feda and Afremov meet is where the ususal wayof playing the text, playing on the meaning of plotbegins to dominate and the viewers perception maybe released from now on. In a way, such reduction ofdemands is sad, though understandable as far as theintention was to tell the story of the marital triangle.Nevertheless, I am personally very grateful for the

opportunity to see a performance which was nottrying, at least initially, to enforce me its own truth butallowed me to get drifted away by the many-layeredstructure of meanings just to enjoy it in its ambiguity,and quite possibly even its weirdness.

Luk Brychta


3/9

3

ENBA SO ENBOU

enba Nikolaja Vasilijevia Gogoa je jednouz jeho najhrvanejch hier nielen u ns, ale ajv mnostve inch krajn, kde si tento rusk komdiografdevtnsteho storoia zskal vek obubu.

Po roztvoren opony ns akalo zaujmavprekvapenie v podobe minimlnej scnografie

- divn a in nevyhnutn nbytok. iastkov premenynbytku sa uskutoovali len poas prestvok.Najzaujmavejm scnografickm efektom bol oceovrm okno, v ktorom, ke prila na nich re, saobjavovali ndejn Agafini ensi.

Z reijnho hadiska inscencia neprinieslavraznejiu interpretciu a spoahla sa na pvodnGogoov text. Reisr text takmer neskracoval,neupravoval, ani ho neviedol do extrmneexponovanho tvaru. Jednej vraznej zmeny sadivci, ktor poznaj text dokali v zvere. Moskovskinscencia sa nekon enbou bez encha, ale(nantenm) nvratom Podkolesina a nslednouvekolepou svadobnou diskotkou.

Je zrejm, e reisr pri prci na podobnom textepotrebuje siln hereck individuality, ktor dokuvykresli Gogoov ostrovtip, vytvori dobov karikatrymetiackeho stavu a s vnou tvrou vyslovi tienajkomickejie vyhlsenia. tudenti tretieho ronkana moskovskom GITISe predviedli neuveritenhereck koncert, ktor predovetkm v prvej polovici

predstavenia ptal divkov svojou autenticitou,koncentrciou, drobnokresbou charakterov, ktormnoh z nich naozaj vykreslili do najmench nuns.Nehrali s povrchnou snahou upta divkov a vyvolasmiech. Za vetkch musm spomen predstaviteaKokariova Romana Bogdanova, ktor svoju postavu

MARRIAGE WITH A MARRIAGE

Marriage by Nikolai Gogol is one of his moststaged plays not only in our theatre enviroment,but also in a number of other countries, wherethe nineteenth-century Russian author won greatpopularity.

After the curtain has opened, an interesting

surpise was waiting for us in the form of a minimal setdesign sofa and other necessary furtniture. Partialtramsformation of furniture were made only duringbreaks. The most interesting stage effect was the steelframe a window, in which Agafias possible groomsappeared (when they became a topic in a debate).

The director did not bring a strongerinterpretation and relied on Gogols original text,which was not shortened, changed nor exposed toextreme shape. One significant change appearedin the end - Moscow staging does not end with a

marriage without groom, but with an (imposed) returnof Podkolesin followed by a magnificant wedding-disco.

It is clear that while working on such play, adirector needs actors with strong individuality whocan portray Gogols acumen, contemporary cartoonsof petit bourgeois and who can give the most comicstatements with straight faces. Third grade studentsof the Moscow GITIS brought an incredible actingconcert, especially in the first half of the perfomance.

Their acting was captivating the viewers with itsauthenticity, concentration, sketching the characters,which many of them portrayed to the smallestnuances and without trying to attract the viewers withshallowness and provoking laughter. For all I haveto mention the representator of Kochkariov, Roman

Nrodn akadmia divadelnho umenia GITIS,Moskva, Rusko/Russian Academy of TheatreArts GITIS, Moscow, RussiaNikolaj Gogo: enba/MarriageRia/directed by: Vladislav DolgorukovHudba/musi:Composer N. Orlovskiy, Folkloreensemble by Dimitriy PokrovskiyScna/set design: Vladislav DolgorukovHraj/cast: Tatiana Mazurova, Elizaveta Galkina,Yana Pryzhankova, Roman Panov, Roman Bog-danov, Timour Pshukov, Aleksey Koval, DenisKoutouzov, Zoya Elagina, Sergey Burlachenko

Vysok kola mzickch umen, Bratislava, Slov-ensko/Academy of Performing Arts, Bratislava,SlovakiaL. N. Tolstoj/iv mtvola/The Living CorpseRia/directed by: Jlia RzusovDramaturgia/dramaturgy: Michaela ZakuanskPreklad/translated by: Jn FerenkScna/set design: Michal Loonsk

Hudba/music: Hanka Kovov, AlenaSpikov, Simona Vajdulkov, MarianaKonen, Andrej KozrProdukcia/produced by: Zuzana Staroov,Nadeda ahk, Natlia SchwarzovHraj/cast: Soa Hatalov, Erika Havasiov, Mi-chal Rosk, Tom Kostelnk, Gabriela Marcink-ov, Zuzana Maruinov, Adela Mojiov, Ro-man Polik, Daniel Ratimorsk, Viktor Szab,Martin Sandtner (alt. Grfka)


4/9

4poal ako mua, ktor sa nikdy nevzdva a zo vetkchsl sa usiluje zachrni kad, aj bezndejn situciu.Neprosne sa sna dosiahnu sebou stanoven cie,o sa mu na konci aj podar oen svojho priateaPodkolesina. Bogdanov dokzal okamite striedapolohy, prjmal a reagoval na kad nov podneta jeho zaplenos pre vec neustupovala poas celhopredstavenia. Na tento problm pravdepodobnedoplatili ostatn predstavitelia a mono aj celinscencia. Inscentori sa spoahli na vraznhereck ansmbel a venovali mu vetku pozornos.Pravdepodobne ale zabudli na temporytmusa gradciu inscencie. Zaiatok predstaveniamal rchly spd a herci svojimi prepracovanmiinterpretciami postv ptali vetku pozornos, alepo vye dvoch hodinch zaalo predstavenie psobimonotnne. To nedokzal odstrni ani Gogoov text,ani vehementnos hereckch vkonov.

enba so enbou bola hereckou lahdkou, ktor

sme si uili aj my, ruskho jazyka neznal, len koda, eostatn javiskov zloky zostali v zad a nedokzalirovnocenne spolupracova na komplexnom javiskovomtvare.

Karol Miovic

Bogdanov, who encompassed his character as a manwho never gives up and seeks all his power to saveevery, even the most hopeless situation. He relentlesslytries to achieve his goal, in which he succeeds hisfriend Podkolesin gets married. Bogdanov was able torotate his acting positions immediately and respondto any new impulse on the stage. His enthusiasmdid not take a step back throughout the wholeperformance. Ironically, strong acting element did nothelp other elements and not even the entire staging.Directing has relied on the strong ensemble of actors,concentrated all attention on it, but forgot aboutgradation of situations. The beginning has a veryfast cadence and actors are captivating all viewersattention. After more than two hours the performanceturns monotonous.

Marriage with a marriage is a dramaticaldelicacy when it comes to acting, which we enjoyed,even those non-russian speaking of us. It is just a

disadvantage, that the other theatre componentsremained behind acting and failed to cooperate increating a complex stage form.

Karol Miovic

NA ZHA WRECKS HAVOC PRIJUHONSKOM MORI ... A NEJAK

NSKE DIVADELN PIKOKY

Biely drak, princ Juhonskeho mora je chamtivtyran, ktor zneuva svoju moc, aby sa zmocnilvetkho, o sa mu len zachce. Svojvone prevracialny rybrov, una dedinsk dievat, nivo plantea ryov polia. Ke sa to dozvie Ne Zha, syn generla,ide k Juhonskemu moru a vyjednva s princom.Ke Biely drak vid, ak je Ne Zha mlad, vysmeje samu a odoenie ho. Ne Zha, nahnevan princovmnezmyselnm sprvanm a jeho zlobou, sa rozhodnes nm bojova. Doke Ne Zha premc tyranskhoprinca a jeho mocn vojsko?

Nepochybne sa aj do naich pamt zapsalinajmlad astnci festivalu ( 13 18 rokov), ktor sanm vera predstavili v DPOH. Nazreli sme spolones nimi do nskej mytolgie prostrednctvom starhoprbehu o princovi Na Zha. Samotn prbeh je vemidlh, a tak sme mali monos zhliadnu len jeho prvas narodenie princa Na Zha. Tvorcovia inscenovali

tradin divadlo nskej opery s pouitm novchprvkov. Najv prnos je v samotnom jazyku, ktornie je archaick. Druhm a rovnocennm vyjadrovacmprvkom inscencie je pohyb. Kad gesto a kadkrok m svoj vznam. Vyjadruje emciu aj innos.

NA ZHA WRECKS HAVOC AT THEEASTERN SEA AND SOME CHINESE

THEATRE TIDBIT

The White Dragon, Prince of the Eastern Sea,is a greedy bully who abuses his power to get whathe wants. He overturns fishermens boats, capturesvillage girls and destroys plantations and rice fields atwill. When Na Zha, the son of a general learns of this,he goes to the Eastern Sea to reason with the Prince.

The White Dragon, seeing Na Zhas youth, laughs andtells him to get lost. Riled at the Princes unreasonablebehaviour and wickedness, Na Zha decides to fight thePrince. Will Na Zha succeed in defeating the bullying

Prince and his mighty army?

Admittedly, the youngest participants of thefestival (13-18 years) enrolled to our memories. Wegot to take a sneak peek into Chinese mythology, anancient story of Prince Na Zha. The sotry itself is verylong, Chinese theatre-makers therefore presentedonly its first part, the birth of Prince Na Zha. It is atraditonal Chinese opera staged with the use of new,contemporary elements. The greatest contribution isin the language itself which is not archaic. The second

element of staging, equal to the verbal, is movement.Every gesture and every step has its own importance.It expresses emotion and action. Walking in a circlemeans travelling, walking in a circle with ones handsin front him means riding on horseback, moving armsand sleeves zip down the mountain towards another


5/9

5Chodenie do kruhu znamen cestovanie, chodeniev kruhu s rukami pred sebou znzoruje cestu nakoni, pohyb rukou a vih rukvom z hora nadolsmerom k inmu loveku znamen urieknutie, vysokzdvihnutie nohy znamen prekroenie prahu (tie sv ne vysok asi 20 cm), a teda vstup cez dvere....

Vemi dleit je aj dranie rk, ktor je rozdielnepre muov a eny. Postavy na scne s rozdelenhierarchicky, poda ich postavenia. S vemi vrazneodlen kostmovo a lenm, farebne poda nskejtradcie. lt me nosi len kr a jeho najbliprbuzn (len krovn, druh eny kra nie), aleme aj darova as ltho odevu ako napr. vestuza zsluhy. lovek takto obdarovan m moc bezpovolenia kra zabi kohokovek. Ruov znamenmier, modr nebo. Dleit je aj zdobenie nakostmoch mytologickmi vjavmi zvierat drak, tiger,fnix. Drak je v nskej mytolgii esencilny. Draci a ich

pvod sa vzahuj k oblasti toku ltej rieky. Maj svojuhierarchiu, od 3 prstho a po 9 prstho. Biely drakz festivalovho predstavenia je 9 prst, m teda vekmoc.

Na rozdiel od naich rozprvok princovia drakomnestnaj hlavy ... a draci nelietaj, aj ke udia v nevraj veria, e no.

Dleitou sasou je hudobn zlokapredstavenia, ktor je vrazov a dramatick.

Nai najmlad herci sa drali vemi statonea komplikovan mizanscny, javiskov pohyb a vrazzvldli vynikajco. V ne sa rozprva prbeh o princoviNa Zha deom pred spanm a aj nai mal vek hercisa po predstaven pobrali do postielok.

Naa Uherov

man means hex, high leg lift meand crossing thethreshold (which are in China about 20 cm high), entrythrough the door.

The manner of holding hands is very important,it is different for men and women. The character onstage are divided hierarchically according to theirposition. The distinction in costumes is significant,also make-up everything according to the Chinesetraditional meaning of colours. Only King and hisclosest relatives can wear yellow. Also the Queencan wear yellow but not kings other wives. Kingor Queen can dedicate a piece of yellow clothing tosomeone with great credit. One benefited like this cankill anyone without the permission of the King. Pinkmeans peace, blue colour means sky. Ornaments oncostumes are also important they are decoratedwith mythological animals such as dragon, tiger,phoenix. The dragon is basic in Chinese mythology.Dragons and their origin is related to the flow of the

Yellow River. They have their own hierarchy, from 3to 9 fingers. The white dragon from this particularperformance has 9 fingers, therefore great power.

Unlike our fairy tales, princes do not cut dragonsheads off dragons do not fly, although Chinesepeople believe they do.

An important element of the performance ismusic, which is expressive and dramatic.

Our youngest actors were brave and handleddifficult mise en scenes, onstage movements and theexpression very well. In China, there are stories toldabout Prince Na Zha, before bedtime and our bigsmall-sized actors have gone to their beds, too.

Naa Uherov

Intitt nskej opery a Stredn kola Xinmin, Sin-gapur/The Chinese Opera Institute and XinminSecondary School, SingaporeDr Chua Soo Pong: Na Zha Wrecks Havoc priJuhonskom mori/ Na Zha Wrecks Havoc at theEastern SeaRia/directed by: Guo Xu QianHudba/music: Zhuang Hui XuanScna/Set design: Chua Soo PongPreklad/translated by: Chua Yi HuiHraj/cast: Bai Yun, Lu Yu, Gao Rui Yang, Zhang

Dong, Li Jing Ting, Wu Yue, Song Yi Hang, RanZhi Zhong, Marcus Chua Wei Kang , CHan CH-euk Yan Cherry


6/9

6

STPEK ADRIANYTOTIKOVEJ

SMIECHY A SMIEKY

V poslednch hodinch som

sa nasmiala viac ako obyajne.A boli to rzne smiechy. primnsmiech radosti z mojich spoluiakov pokajcich sao opern sla, smiech zvodnosti, ke som ukecvalauja ofra, aby kvli lnku zmenil trasu festivalovhoautobusu a zastavil pri mojom dome, smiech lskya lskavosti pri mojich kamartoch- milikoch,smiech nadenia z krsneho ruskho herca a jehovkonu, smiech pohladenia pri pozorovan nasadeniasingapurskch mladch kolegov, smiech v krnemojej vhovorky nemenovanmu, smiech hrzy

splesnetch tyiniek, smiech obavy z nevhodnej otzkya smiech desu z odpovede, ktor sa mi vynralav hlave. Smiech je teda pn, sluha, pomocnk aj kat.

V divadle sa smejeme radi a nahlas, lebo je nkazliv/u je to aj vedecky dokzan/, preto som rada, esa venujem prve tomuto kumtu. Nepamtm sa,kedy som sa puila od brunch vibrcii stojac samav galrii, i doma pri povan artovnch motvovv klasickej hudbe. Ke sa to podar, ten pocit si v sebeete dlho nesiem, ale radej mm tie kolektvnechvkov burcania sly. Ak v tej chvli prechdzaneznmy okolo, povie si: Blzni?! Do sly divcivbiehaj na posledn chvu alebo v nej sedia u polhodinu pred predstavenm a s dostatone unuden,unaven, i doslova uspat, ale ke sa smiechov elixrpodar, po potlesku zo sly vystupuj postavy vesela rozjaren. Navzjom sa pozoruj, prenaj sivzjomn pocit voavej esencie, ktor z toho elixruprchala a opantala ich tvre, tel, dostala sa a dokadej bunky, aj boavch miest. Ozveny smiechu ctiv atni, v koberci, na toaletch, lep so do divadlenchplagtov aj stien. Cigaretka pred divadlom chutvtipnejie, divci si opakuj situcie z predstavenia,

napodobuj hercov, seba, svojich znmych, prestalisa ponha. Aspo na chvku. Smiech je manipultor.Rob si s nami, o chce. Zvdza ns, priahuje na svojustranu, nti, aby sme mu podahli. A podahn mu jekrsne aj slastn. ivot, s ktorm sme na predstavenieprili, ten nudn, vedn, otravn, skujci, je aleko.

V inej dimenzii. Smiech je pium. Vieme, e jeho inokvyprch a napriek tomu, pri kadej monej prleitosti,honme draka. Vo svojom ivote sa snam vyhbarznym zvislostiam. Nepijem alkohol, fajm, len kesa chcem integrova /sama so sebou alebo s inmi/,

nepovam ttom zakzan ltky, ale mm dve dveobben tajn zvislosti. Zvislos od milovanch uda zvislos od smiechu. Ktor mi kod na zdrav viac?

Adriana

COLUMN OF ADRIANA TOTIKOV

LAUGHTERS AND GIGGLINGS

I laughed more than usual in the last few hours.And it were different types of laughter. Sincere joy oflaughter caused by my classmates trying to sing opera,seducing laughter when I tried to talk mister driver of

the festival bus into changing his road line and stoppingby my house because I had to write an article, laughterof love and kindness for my friends-darlings, laughterof exaltation about a gorgeous Russian actor and hisperformance, laughter of caress about the observation ofthe employment of young Singaporean fellows, laughterin a smirk of my excuse to the unnamed, laughter ofhorrification about blighted food, laughter of concernabout my innapropriate question and laughter of shockfrom the answer that did not follow but kept emerging inmy head. Laughter is, therefore a master, servant, helperand even an executioner. In theatre we love to laugh

out loud because laughter is contagious (scientificallyprooved) and that is one of the reasons why Im gladto be a theatre-maker. I dont remember whether I wasever dying of abdominal vibrations standing alone in themiddle of an art gallery or at home listening to funnymotifs in classical music. If something like this happens,I always carry the feeling in me for a long time but I doprefer those short collective bluster of laughter in a hall.If anyone unknown walk by at that time, is he thinkingFools?! Spectators are running into the audience hallat the last minute or they already sit in there half anhour before the performance begins and are sufficiently

bored, tired or literally sleepy. When the elixir of laughterworks as its supposed to, merry people come out ofthe hall after the applause. They are observing eachother, share the mutual feeling of aromatic essencewhich was draining out from the elixir and dazzled theirfaces, bodies, got into every cell and even into theirmost hurting spots. The echoes of laughter are in thecloak-room, in the carpet, in the rest rooms, it soaks upinto theatre posters and wall, too. A cigarette outsidethe theatre tastes more jolly, viewers are repeatingthe situations from the performance, imitating actors,themselves, their friends, they stopped the rush. At leastfor a while. Laughter is a manipulator. He does whateverhe wants to do with us. Seduces us, misleads, drags us tohis side, forces us to surrender. Surrendering to laughteris beautiful and delightful. The life, from which we cameinto theatre, the boring, usual, tiresome, sad everydaylife is far away. In a different dimension. Laughter isopium. We know, its effect will drain out but still, we tryto chase each and every opportunity we have. In my life Itry to avoid any kind of addiction. I dont drink alcohol, Ismoke only when I need to socially intergate (with myslefor others), I dont use substances forbidden by the state,

but I do have two favorite secret addictions. Addiction topeople I love and addiction to laughter. Which one harmsmy health more?

Adriana


7/9

7KONENE DISKUTUJEME!

Tak a mme to za sebou! Statone sme saprebojovali alm dom naplnenm divadelnmizitkami, no pribudol i al. Prvkrt sme sa nanaom festivale poksili o teatrologick diskusiu, ktorns budcich divadelnch teoretikov aj zahraninchastnkov festivalu skutone obohatila. Lene ako?tajte alej.

Ako prv sa pod pabu otzok dostali Ameriania,ktor sa predstavili s hrou mladej autorky JaroslavyPulinoviovej Natain sen. V divadle Astorka nmpredviedli len jednu as. Spomnala sa vysok roveherectva, ktor svedila o herekinom dokonalomporozumen tejto monodrmy. Potom prili na radotzky. o symbolizovali dva nasvieten pagty? Kdesa vlastne Nataa nachdza? Komu je adresovanNataina vypove? Tvorcovia inscencie boli nten

prizna nedostatky spsoben presunom inscenciedo novho priestoru, v ktorom sa im nepodarilohereku umiestni do kta, tak ako to bolo v pvodnejkoncepcii. Preto prili s provizrnym npadom vytvoriilziu kta prostrednctvom dvoch spomnanchpagtov. Mylienka hereky zahnanej v kte maladotvra dusn atmosfru sdneho pojednvania.

Vetko je to vak len atmosfra, sami nevieme, kde saskutone Nataa nachdza a nevieme ani to, komu saspoved. Dozvedeli sme sa vak in dleit vec a sce takto typ statickej drmy napriek tomu potrebuje

publikum, ktor sa spoludiea, text potrebuje sptnvzbu publika. Paradoxn je, e hereka s divkmineudriavala on kontakt.

Druh boj sa zaal s Triednym nepriateom.Slovinsk mlad teoretika pozitvne reagovala nafakt, e tto adaptcia hry trefne reflektuje politicksituciu v Srbsku, ktor vytvra prv hlbok vrskyna mladch tvrach, od ktorch sa neustle vyadujeaby boli trpezliv. Preo im vak nikto nepovie akoby dobr? Preto sme svedkami mnohch vemi silneagresvnych momentov, ktor divkov priam dvhaj zostoliiek. Diskutujci sa zaujmali s vekm zujmomo priestor, ktor si srbsk sbor zvolil. Padla aj otzka,preo prve postrann sedenie. Strune a jasne divci s voyeri, s sasou, no nemu zasiahnu.

No a erenika na koniec. Stanislavskij a Sldek,Tom a Jerry alebo inmi slovami - Metla v rukchindonzskych hercov upratujcich pinu a smetiprinesen z priamo z Jakarty. Gabriel ifk skutonepomenoval formu predstavenia Indonzie ako sborgagov v tle Toma a Jerryho. Z plyncej diskusie

sme sa dozvedeli, e z dvodu jednho chbajceholena sboru sme naozaj boli svedkami dokonalezosynchronizovanej improvizcie. Vetci sme si vaklmali hlavu nad tm, preo zvolili prve formupantommy, s ktorou im pomhal z vekej asti Milan

DISCUSSIONS, FINALLY!

We did it! We bravely fought our way throughanother day filled with theatre experiences whichincreased by a new one. For the first time at outfestival we tried to discuss the seen performances,which truly enriched us, future theatre theoreticiansand foreign participants of the festival. How so? Readfurther.

The Americans were first to go. They introduced aplay by young author Yaroslava Pulinovich, NatashasDream. The high level of dramatic acting wasmentioned, which testified the perfect understaningthat the young actress Julia M. Smith had towardsthe topic. Then came a series of questions. What didthe two ropes symbolize? Where actually is Natasha?

To whom does she adress her confession? The theatremakers admitted some difficulties and defects

caused by transmision of the perfomance from onestaging area to another. They were not able to placethe actress into the corner, as she was placed in theoriginal concept. It came to a provisional idea tocreate the illusionof a corner by these two ropes. Theidea of an actress driven into a corner should add tothe suffocating atmosphere of the trial. It is just theatmosphere, they do not know themselves, whereNatasha actually is, it is not even known who does sheconfess to. We learned, however, another importantthing this kind of drama needs audiences feedback.

Ironically, the actress did not maintain eye conatactwith the audience.

The second fight began with the Class Enemy. Ayoung student from Slovenia, Nua Komplet reactedpositively to the fact that this adaptation of the playreflects the political situation in Serbia which causesthe first wrinkles on the faces of young people whoare constatnly required to be patient. Why doesnobody tell them how to be good? Therefore, wehave witnessed many moments of agression in theperformance which literally lifted the viewers fromtheir seats. Debaters had a great deal of interest inthe choice of staging area a classroom. They werecurious, why did they choose runway seating. Simpleand clear a viewer is a voyer, included but not able tointervene.

And a cherry on top Stanislavsky and Sldek,Tom and Jerry, or in other words the broomin hands of Indonesian actors cleaning up thedirt brought directly from Jakarta. Gabriel ifkactually named the form of the Indonesian show

as a set of gags in the style of Tom and Jerry.Discussion revealed the fact that because of one actormissing, we have seen one perfectly synchronizedimprovisation. We were, however, trying to find ananswer for the question why did the choose the


8/9

8Sldek. Zmerom bolo ukza nieo in, netradina vzhadom na to, e pantomma je stle sledovanvo svete len minoritnou asou divckeho publika,vyhovovala. A hereck technika? Prekvapenie nmpriniesla odpove Stanislavskij. Bolo nm ozrejmen,e technika Milana Sldeka a Stanislavskhopredsalen nie s tak rozdielne. Ve predsa v obochsme nten rozma, kto ako postava sme, v akejsitucii sa nachdzame. No a smeti. Nao tie smeti?Prli vea npadov, prli vea ponknutch koncov.Niekedy je menej viac.

Jana Hlodkov

pantomimic form with help of Milan Sldek. Theintention to show something different, unusual andgiven, that pantomime is still a concern of a minorpart of the viewing audience, match. And the actingmethod? The answer was surprising Stanislavsky.

According to the Indonesian artists, methods of Sldekand Stanislavsky are not that different. Afer all, inboth the actor is forced to think about who he is, whatsituation does he have to deal with. And the trash?

Too many ideas offered too many endings. Less issometimes more.

Jana Hlodkov


9/9

9

Tir: hlavn osvetovai: Karol Miovic,Greta Cvekov, osveovai: Luk Brychta, NaaUherov, Adriana Totikov, pecilne efekty:Michaela Mokr, hlavn technik: Lucia alovkov,

jazykov okienko: Greta Cvekov, bilingulny

spna: Greta Cvekov, blesky foky: LuciaLejkov, Karol Miovic, Veronika Pavelkov, LviaBrixov, Luk Hrabinsk, Zuzana Stranovsk

Dear readers, please accept our apologies forany mistakes in translations. We are only gettingready for our perfection to be revealed under thespotlights.

Documents

IP'10 Reflektor / Spotlight #2