Meeting Point | ENG

SETKÁNÍ/ENCOUNTER je mezinárodní festival divadelních škol s více než třicetiletou tradicí. Jedinečnost festivalu spočívá v tom, že hlavní organizátory tvoří studenti Divadelní fakulty Janáčkovy akademie múzických umění.

SETKÁNÍ/ENCOUNTER

In Next Level, a production by the students of the Ludwik Solski State Drama School in Krakow, the audience is presented with a nearly three-hour collage depicting various cults and the situations their members "normally" face. The individual scenes are portrayed expressively but with a certain detachment. The monologues of each character are enhanced by projections (for example the demon hunters document their quest, which is simultaneously projected onto the back of the stage), vocal performances, and live music. The genre and melody of the music illustrate the atmosphere of the sect. There are vocal chants glorifying the Lord God or stereotyping presentation of Satanists supported by metallic death of guitars, drums, and growling.The level of urgency of the acting varies in the depiction of each cult, depending on how serious the consequences of a member's blind and desperate devotion can be. The Pastafarian sect and their central character, the Flying Spaghetti Monster, is widely perceived as something that inspires laughter rather than fear and distrust in society. For Satanists, on the other hand, the central theme is the murder of living beings in order to offer sacrifice to whomever they see as their saviour. For religious fanatics who eat together in brightly coloured sweaters at a white table, conspicuously stylising themselves in the image of the Last Supper, the idea that God is supreme (then Christ, then finally the man whom a woman will have to obey all her life) still holds its power even today. One of the most powerful images is the confession of a trans man trying to find a circle where neither men nor God will judge and punish him.&nbsp;Apart from the embellishment in the form of music, another striking element of the production is its set design, which is dominated by the colour white. The white curtains, costumes, table, and chairs give the impression of a certain sterility and austerity. A place where every smudge, stain, or speck of dirt is visible. A metaspace where everyone is waiting for what is to come. For their next level.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/I3v4OEVi1CACQlXZ5VwRM1aj5L4bcp8l" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/eiJJXPAPRUXOoXJsy1kEtOPJtiuxtWmf" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/o0hcazdPlMeMMlZvzSd3hk7Q5iILcy5I" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media>

Out of this world

The Krakow production was based on the book Sect Made in Poland, which is a kind of document of the most extreme manifestations of Polish spirituality. The visually appealing production presented several phenomena that are not limited to Poland. We are all members of a sect. However, we do not call our communities this.Their leaders/objects can be anyone/anything - a parent, a politician, a friend, a teacher, or food. Despite the fact that the production was engagingly constructed, the main theme of the production got lost several times in the plethora of other issues that were often only hinted at, e.g. satanism, emotionally strained portrayals of LGBTQ+ people and their problems, UFOs, or hints of the ecological issues associated with leaving this planet.The dominant part of the production was the simple and clean set design, which took on many new and interesting meanings as it progressed. However, the spectacular set was rivalled by the balanced performances of the actors. I consider the most outstanding performance to be that of Maria Wójtowicz, who not only sang her solo technically correctly, but made it emotionally rich as well. In general, the singing and movement broke down the minimal language barrier with constantly growing emotion.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/fViCkFRngliujtpVDMriOkUO6orNkgpl" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/xj7Klrs9amlvidA454OJkUPnmQ2IWvuF" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/IqzcNcsI9JoWSEd5y15b9fN1rIyJ3g4v" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media>

Our Macron, who art in heaven...

A small group of participants are sitting down to the prepared chairs. The participants greet each other, all a little nervous, not knowing what is going to happen. First of all, Pavla and Luděk take the floor to shortly introduce the Líšeň Theatre. And who are the workshop participants? They introduce themselves one by one, telling who studies what, whether they are from the Janáček Academy of Performing Arts or from another school of those visiting the ENCOUNTER festival. And why did they decide to take part in the workshop? The answer is easy, they are all interested in theatre and want to learn about and try an untraditional form of theatre performance – a combination of puppet and shadow shows.&nbsp;Before the creation itself starts, it is necessary to explain the different principles which shadow theatre is based on. Luděk and Pavla have a notebook ready with video samples of their staging of Sávitrí and Bound by Grass. While Pavla explains the principles in Czech, her partner attempts at simultaneous translation into English for the foreign workshop participants to be able to follow everything.&nbsp;&nbsp;Puppets, large and small, flat and three-dimensional, lights, candles, torches, paper or canvas? How far or how close to approach, when is the shadow sharp and when blurred? And what are the puppets made of? Nearly anything, colour sequins can well be replaced with splinters of colour PET bottles, and a skewer can serve as the guiding tool for the puppet.&nbsp;After the theoretical introduction, the time comes for the creation itself. Everybody takes a piece of paper, the participants spread around the space to design their own puppets. The lecturers walk around and discuss the ways the puppets can be put in motion, how to fix them to the guiding rods and how to make them move.&nbsp;While some are making their puppets, others play with the light and project various textures and colours on the canvas. The atmosphere of the encounter is pleasant and creative. Puppets made by the individual participants meet on the canvas which is white or slowly changing colour. The group parts after nearly two hours. Some clutch their puppets in their hands, others discuss further programme of the festival, but all leave with a smile on their lips<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/jwnQxeHYBDFc5HE7p18UlhSynpA3dvUA" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/djcM7zuXbxmZXJ9O4ijC4XbQqGWwSWue" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/7meCXlTAtP9wAGzG6FgZMGLqowk2ZEU6" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media>

Shadow Workshop: Even in Darkness There Are Colours

There are many ways of interpreting this play. The poorly visible captions however move its interpretations to supra-interpretational heights. A simply furnished mental hospital, a triplet, maybe a quadruplet of actors, and lots of traumas not ever voiced and listened to. What or who is the cure? Is it music with its liberating effects on the patients? Is it the God himself? Or is it the woman that observes her patients tacitly like the Supreme Being?&nbsp;The original version of the staging worked with a much larger cast, but the lady director, Ira Süssenbach, restricted it a lot, dividing all traumas of the world among the three main characters, who reveal their/our traumas in front of the audience and the fourth actor on stage. In a metal cage, the actors transform themselves not only to baroque or biblical figures, but even to dogs of various natures. Through these delirious states, the spectators learn about their problems, finding out that even though the world keeps changing, the problems of its inhabitants remain the same. Maybe only much worse.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/V46Q8dY5bPMelfUFN2g2qN9FTOtQDJLc" alt="Foto: Vojtěch Šoula" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/XJuWjXY4W1U6Xl3XplK4gVLYC5vsfixc" alt="Foto: Vojtěch Šoula" content_type="image/jpeg" type="image"></component-embed-media>

The Most Beautiful Gift

The dance adaptation of Lysistrata, performed by the students of the Georgian University of TAFU, does not only involve genre differences in terms of the communication code, but also in terms of the way it views its subject matter. While Aristophanes portrays the protest of the women, who decide to deny the men sex until peace is established, as a comedy, here the perspective is reversed to the point where the act is held in reverence. As the audience arrives, the nine dancers together form a living sculpture, a kind of memorial, from which they begin the “story” of Lysistrata in movement and in voice.The choreography is inherently narrative, and clear references to situations written by Aristophanes emerge. However, the topic is primarily conveyed by the riveting energy, the concentrated expression, and the powerful acting of the dancers. Every single movement, every single breath they take is experienced deeply. The blows leave crimson marks on their skin. Their singing pierces, their roars are deafening.At the end of Aristophanes’ comedy, there is a communal celebration in which the women lose their central position. They return to ‘their’ place, and the discourse is taken over by the dominant male voices – the world is ‘right again’. The key role of the women in ending the war is easily forgotten. But the TAFU dancers send a clear message: there should be no forgetting. Their hypnotic performance is etched in the memory beyond any shadow of a doubt.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/T3ZJUmuEHE0ePJvicfas7xURCI1I6dWK" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/fQDerA72HcvnoPrXyblGZPDY5cGeHXE8" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media>

LYSISTRATA: Reclaimed

One of the issues was sexual harassment, not only at art schools. This issue is unfortunately still quite relevant, and it is addressed in the productions of Aminata Keita. Despite the fact that it was addressing a serious and traumatizing topic, the contribution of the Hungarian juror Antal Bálint, who brought the audience closer to the Hungarian context and the story of a university without students, is one that I found the most powerful. They have resolutely defended their school, which has lost all its independence in the Orbán regime. Suddenly, students from Budapest were, formally speaking, visitors to other European schools, thanks to which they were able to graduate and get their degrees.&nbsp;But the problem did not go away! Bálint’s contribution highlighted the fragility of freedom and democracy in one of the V4 countries. At the same time, it was a warning finger to our countries, where populists often gain power.&nbsp;I also found some guidance on how to avoid similar situations thanks to the contribution of Sonia Murcia Molina, who focuses on educating young people through the theatre. Sascha Kühne, on the other hand, talked about the fact that perceiving silence helps us concentrate and find not only new meanings but also hidden connotations that we had not noticed in the jumble of words. Kühne also demonstrated his ideas with a simple image. In a simple and at a first glance uninteresting picture, colours and shapes that had previously eluded us emerged through deeper analysis. So, if I were to sum up the discussion in one sentence, it would be something like this: Listen more, observe more and, last but not least, MEET more.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/FKaPTfkGjvrl1ruQQX6vyw8ek4vI7q72" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/fYJ11L20QtK6CcGFTmVsO7LeEXWeq1rU" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media>

Problems not only of our jury

There are many ways of interpreting this play. The poorly visible captions however move its interpretations to supra-interpretational heights. A simply furnished mental hospital, a triplet, maybe a quadruplet of actors, and lots of traumas not ever voiced and listened to. What or who is the cure? Is it music with its liberating effects on the patients? Is it the God himself? Or is it the woman that observes her patients tacitly like the Supreme Being?&nbsp;The original version of the staging worked with a much larger cast, but the lady director, Ira Süssenbach, restricted it a lot, dividing all traumas of the world among the three main characters, who reveal their/our traumas in front of the audience and the fourth actor on stage. In a metal cage, the actors transform themselves not only to baroque or biblical figures, but even to dogs of various natures. Through these delirious states, the spectators learn about their problems, finding out that even though the world keeps changing, the problems of its inhabitants remain the same. Maybe only much worse.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/JlEtkFIYtgsezhQPD3Qgh2fWfLydH5O6" alt="Foto: Vojtěch Šoula" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/VVeD2QMROPRusCKPNt8NEkjcSjr1AYP2" alt="Foto: Vojtěch Šoula" content_type="image/jpeg" type="image"></component-embed-media>

This dance performance takes its theme from Aristophanes’ comedy Lysistrata. It is set against the backdrop of the Peloponnesian War. In most cases, the discussion of war is from a male perspective, but this particular drama focuses on the world of the fairer sex, who hold the power to end the strife.&nbsp;Unlike the original work, however, this performance is far from making one burst out laughing. The crude sexuality and vulgarity has been replaced by a contrast between the women’s unflagging resistance and their fragility. This adaptation is all the more powerful today, when Europe is on the brink of a huge war. If you tried to find ‘the one’ who would change everything, you would search in vain. It's not quite the story of Lysistrata. It's a story about all women suffering the same fate.Through dance and movement, Georgia State University's Shota Rustaveli Theatre and Film students have managed to create an intriguing juxtaposition of anxiety, fear, and punchiness. These ladies harbour an incredible strength within themselves, as evidenced by the red patches on their skin caused by constantly beating their chests without fear of hurting themselves.The set is relatively simple, the costumes perfectly complementing the movements of the actresses - visually there was no need to exaggerate anything, simplicity providing the beauty of the piece. In a neutral environment, several elements of the colour red (which symbolises not only blood, but also the feminine principle itself) made a strong impression. The dancers smeared it on their faces at the end of the piece.&nbsp;In addition to the music, the production also works heavily with other sounds. At the beginning of the production, nine beautiful women, placed in a symmetrical formation - with a stony expression on their faces - sang a ballad. Likewise, their expressive breathing or loud infantile laughter and screams support the overall atmosphere of the production. All this occurred without over-saturation and in absolute harmony with the other elements used.&nbsp;The whole production can thus be defined in two words - simple beauty. Everything happened in perfect harmony, without the need to overdo anything. The message was clear, the execution masterful. In the end, the roaring applause spoke for itself.&nbsp;<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/KY7OtqH3uS68Gqo9HDv9okGvD0M1bTLQ" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/vTccT8k5C2gLI1Btw1kWyOPl8Cx9d3HP" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media>

Ancient bust in motion

The workshop began with a movement exercise to warm up. We closed our eyes and, following the instructions of the instructor, gradually moved different parts of our bodies. This not only activated the muscles but also stimulated the imagination. What kind of patterns do we actually create with our movements? How do we move in space in the absence of the most used of senses?&nbsp;&nbsp;Next, it was necessary to make pairs. The instructor always demonstrated what kind of creations we would be creating; then we’d boldly go ahead. The difficulty gradually increased and with it our sense of belonging. The climax was the group exercises. To start running, to jump, and to rely on others. At the end came the fall into the unknown.&nbsp;After three intense hours, it was just a matter of overcoming our own fears and sealing our newly established intimate relationships. We built stairs with our bodies; and every time one of us climbed them. The goal was to get on the back of the last person standing upright. To stand on their shoulders and to remember to stand upright, too. To hug yourself, ideally close your eyes, and hope.&nbsp;Both the beginning and the end of the workshop involved the sharing of names, experiences and feelings. It turned out that even temporary close relationships can’t be based merely on an inner sense of security; a kind of bodily trust is also important. The collective sense of belonging that emerged helped even complete beginners in New circus and pair acrobatics in creating a comfortable and safe space in which we could unabashedly engage and in which we would not be afraid to fall.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/XWC4tXwE2BydVnscaFAG0RMufiNc1kOj" alt="Foto: Tereza Ondryášová" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/sPyx2t2t3EXTgWhNUKeK1eO2xnNS0A95" alt="Foto: Tereza Ondryášová" content_type="image/jpeg" type="image"></component-embed-media>

Meeting Point | ENG

Out of this world

Our Macron, who art in heaven...

Shadow Workshop: Even in Darkness There Are Colours

The Most Beautiful Gift

LYSISTRATA: Reclaimed

Problems not only of our jury

The Most Beautiful Gift

Ancient bust in motion

Temporary, close relationships in movement