Encounter2017_MP02_EN

SETKÁNÍ/ENCOUNTER
28. 3.—1. 4. 2017
Hard choices?
We would like to thank
all of our partners and supporters,
without whose help the festival
could not have come into being!

Head Editors in Chief:
Adam Harton
Ilona Pawerová
Assistants of Head Editor in Chief:
Nikol Hlávková
David Šamánek
Editors in Chief:
Paulína Mazíková
Monika Okurková
MEETING POINT
The International Festival of Theatre Schools
SETKÁNÍ/ENCOUNTER 2017
Editors:
Libor Brzobohatý, Lenka Dobrovolná, Lucie Hrochová, Pavla Kopřivová, Jana Kühn,
Martina Ligurská, Jiří Liška, Magdaléna Milostná, Jan Motal, Jan Neugebauer, Karolina
Ondrová, Lubica Omastová, Šimon Peták, Anna Ročková, Dagmar Říhová, Marek
Slováček, Miroslav Sýkora, Milada Váchová, L’ubomír Višňovec, Markéta Tulisová
Photographers:
Matouš Ondra, Anna Turková, Rudolf Vodička
Comic:
Eva Polgary
Translators:
Sára Galová, L’ubomír Višňovec, Lucie Kelčová, Vojtěch Marszalek, Eliana Denkocy,
Barbora Schejbalová, Adéla Svídová, Zuzana Kernová
Proofreading of the English Version:
Adrian Hundhausen
Proofreading of the Czech Version:
Anna Burianová, Lucie Říhová
Typesetting:
Kevin Wulfric Scherrer
Publisher:
Janáčkova akademie múzických umění v Brně
Divadelní fakulta
Mozartova 1, 662 15 Brno
IČ: 62156462 | DIČ: CZ62156462
2

CONTENT
THEME OF THE FESTIVAL . 4
EDITORIAL . 5
THE OPENING CEREMONY. 6
BEHIND THE SCENES . 7
WORKSHOP. 8
MAIN PROGRAMME. 9
OFF–PROGRAMME. 15
PROGRAMME. 16
PHOTOGALERY. 18
INFORMATION . 21
COMIC . 25
FREQUENCY BABYLON. 26
10 WORDS. 27
THANKS. 28

THEME OF THE FESTIVAL
HARD CHOICES?
„The amount of information we deal with on a daily basis provides us with so many
options, but we are also under the attack of too much news, an overdose of information
— we have to find our bearings. ‚HARD CHOICES‘ symbolises this phenomena, that
is now an unconditional part of our society. One is confronted with many different
opinions, that are generously opening doors to new points of view, whilst closing them
at the same time.”
Alexandra Bolfová and Martin Hodoň
Department of Theatre Directing and Theatre Dramaturgy
4

EDITORIAL
First day of Encounter. Czech girl sits in the Meeting Point Office, Slovak girl is at a performance.
They haven't really met today. There was barely any encounter, so it's difficult
to overhear their dialogue.
Couple of hours later in front of DIFA JAMU:
M: The performance 'Stab the Hens' is over?
P: Yes. (Runs away from DIFA)
M: Where are you going?
P: (From afar) To HaDi!
Czech girl returns to the office to proofread articles. The Slovak girl and the Cech girl
still haven't really encountered at the Encounter.
Evening. Slovak girls arrives to the office.
P: Are you doing something?
M: Yeah I kinda am…
P: Perhaps we could take a look at the editorial…
M: I am working on it talready… More or less.
P: Ah, okay. I'll go to the grocery store then. Want something?
M: Food!
P: Savoury or sweet?
M: Savoury… and a Kinder Bueno!
Slovak girl calls from the store. Czech girl picks up the phone.
P: Believe me or not, they're out of Kinder Bueno.
M: Hard choices, eh… okay, I'll take Mila then.
Meanwhile two managers speaking, still in the office.
S: How is the big ice cube doing?
F: Freezing.
S: Great.
And so the Czech girl and the Slovak girl hope that they will encounter more tomorrow.
But they are really glad the office is working. And that the big ice cube is freezing.
The editorial bonus: First person that finds out the purpose of the big ice cube at the
festival and tells it to one of the Editors in Chief in person, will win a special price. Right
after they find out who the Editors in Chief are. And how they look like. And also where
is the Meeting Point Office.
And finish this editorial.
Paulína Mazíková a Monika Okurková
Šéfredaktorky Meeting Point
5

THE OPENING CEREMONY
HI FESTIVAL!
Tuesdays are just perfect for starting the festival!
Especially a Tuesday like yesterday. The sun was shining and it was beautifully warm.
Cars were speeding up and down Mozartova Street like never before – and no wonder.
None of the people in cars, on bikes or on foot wanted to miss the beginning of the
opening ceremony.
„Hello!” „Welcome!” „Encounter!” — could be heard from every nook and cranny of the
JAMU Theatre Faculty building. Actors and actresses in various costumes greeted all
the visitors, shouting and waving, leaning out of the windows so much that one was
almost scared they were going to fall out or fly away, but fortunately, none of that
happened. What to choose? Which window to look in? Or should I look at the „vulture”
in the door first? A hard choice. Choose what you please, I said to myself… And before
I could choose, a mass of people had started moving towards the Divadlo na Orlí. And
what a road it was!
Everyone was happy and excited. Actors full of energy overwhelmed us with news,
leaflets, offering „free hugs”, I even saw a „live TV broadcast”. In brief, there was too
much of everything. Is that a true reflection of the world we live in? Are we overwhelmed
by the media? Is there too much information? And how valuable is it? „There is too
much of everything, and nothing has any value”, sprang to my mind.
In Divadlo na Orlí, after we went in and sat down, the ceremony itself began. Five unrecognisable
people, without a face or an identity, had to make their own „hard choices”
in both Czech and English, until they turned into monsters, robots without opinions.
One of them was chosen to be a presenter. Can a robot — a person without an opinion
— be a presenter? He/she/it can, if he/she/it has a translate.google installed. And if it
is used properly, it can even be fun! And robot „C” clearly knew how to use it. Not only
did he/she/it introduce all the members of both juries — the student jury and the expert
jury, but he also introduced colleagues from all the schools, translated everything
that had to be translated, and even gave the festival organisers (Coordinator Denisa
Sedláčková, Professor Petr Oslzlý and the Dean of the Theatre Faculty, Petr Francán,
whose speech was very warm and heartfelt) a chance to speak. So I think that everyone
at the festival can truly feel at home now.
The opening was entertaining and full of promise.
Cheers, Encounter 2017!
Jiří Liška
6

BEHIND THE SCENES
A DAILY COLUMN
My dear theatre friends from all over the world,
I welcome you warmly to the daily column. My name is Jana, Erasmus–Student, actress,
life artist and much more, and for you I will have a look behind the scenes of the Encounter
Festival 2017. I will bring light into the darkness and find out who is working at
this festival to make it such an awesome experience for all the participants. I will enter
all the hidden places for you — backstage, the hearts of the people, even their thoughts
about our collective passion, the theatre, and the most important choices in life!
The day starts in front of JAMU at 10 am – 3 hours left until the opening of a great
international festival in Brno/Czech Republic. While some students from the technical
department enjoy their first cigarette in the sun after many hours of work during the
night, I feel a little excitement in the air. People passing, talking, carrying stuff, nearly
everybody on the phone. After receiving my last instructions in the Newsroom, I start
my first experience as an journalist catching „the moment before”! Management student
Ladislav, in the Infocenter, enjoys the open minded international atmosphere.
Marketa, responsible for the guests, agrees. She plans to sleep in school, knowing
how much work awaits her, but also a never–ending stream of nice people to meet.
Suddenly, the group from Madrid enter the room with a song on their lips. The chill out
room is still empty – time to talk to Sonya
„Suddenly the festival is here, the one we have worked on for a whole year, and in
5 days it will all be over. I hope everything will be ok.” A big smile on her face, and
suddenly the delicious raspberry lemonade colours the white tablecloth pink. Time to
have a look at the Divadlo Na Orli and a rehearsal.
Actors and actresses on stage, underwear, plastic bags. Sasha, the director, gives
some last advice. A sound and light desk in the background! The first taste of what
a theatre should smell like. Sasha explains, in Czech, that this performance is about
the flood of daily information we have to handle from TV and the internet. Where is
the truth? What are we supposed to believe?
I have to believe in the kind English translation by Frantisek. Denise, the management
director, believes in her team: „Now we have to pray that it works.” Back at JAMU, 10
minutes before the opening ceremony: I catch Blanka, supervisor. After 24 years, she
has been with the festival nearly from its beginning. She likes the hour before the
start, when groups are arriving with high expectations. Encounter has grown over the
years. Unbelievably, around 100 people are working behind the scenes. I asked her
what will be her last sentence on Saturday, after the festival: „We know when the next
edition will take place! 2018!”
Jana Kühn
7

WORKSHOP
METAPHORICAL ACTING WITH OXANA SMILKOVA
I was looking forward to seeing „The Life Story of Puppets” performed by the second
year students of dramatic acting. The actresses lost their voices, though, and so instead
of this performance, I attended a workshop of metaphorical acting, led by Oxana
Smilnikova, their head of atelier and the director of that very production. We all
knew that you need more than just an hour for a real workshop. But as far as tastings
go, this one, with Oxana and her students, was a satisfying one.
Oxana Smilkova splits characters’ motivations into psychological and metaphorical
ones. And today we worked with just the metaphorical ones. We filled our bodies with
ash, shards, and black and white balls, and we became air, water, stone and a volcano.
And in the most ambitious example of embodiment, we performed a famous line
from a play by Chechov. Or at least we tried.
Even though I didn’t see the intended performance, I still saw the Oxanisty in action.
They gave 100 % of themselves during the acting exercises, and to liven up the action
they play the piano and the cajón. They proved very capable of quickly assembling
a rough draft of a play.
And in the end, the things that impressed me the most were:
— A really good actor should know how to kill the bad director using his performance,
— If an actor is not just an actor, but a creator, too, then he is a revolutionary who has
an influence on world affairs, and by pointing out the uniqueness of man, he could
prevent World War Three,
— A big role and a big actor will fight each other to the death,
— Great art can affect even the most experienced and jaded spectator.
Lucie Hrochová
8

MAIN PROGRAMME
PAVILLION
Prague, Czech Republic
Author:
Director:
Language:
Lenght:
Cast:
Collective work
Anežka Kalivodová
Czech
85 min
Jan Strýček, Dominik Migač, Julie Šurková, Lumíra Přichystalová,
Martin Cikán, Ladislav Karda, Nataša Mikulová, Anita Gregorec,
Anežka Kalivodová, Mikoláš Zika
WHEN I WILL TAME A CHOLOEPUS DIDACTYLUS
When I walk into a theatre and have to walk through a metal detector, I sense that something
wrong is going on. Terrorists? Zeman? Not at all. DAMU has just arrived at the
Husa na provázku Theatre to perform the play Pavilion for the festival’s guests. „The
Pavilion” was built by the Institute of Post–Corrosion Flora and Fauna. In the Pavilion,
you can come across the most bizarre creatures (and actors) that were saved and have
grown up after the atmospheric corrosion that hit the entire Earth. And humanity was
to blame. It is hard to tell if things are going in the right direction, or if everything is in
decline.
In the Pavilion, you can see also terraria with visitors avidly queuing to see the creatures
inside. However, this is not all. If you take delight in looking at the future of nature
for a while, you will see all the protagonists dancing on display cases. In that moment,
any thought of beginning the Festival with a bit of feel–good entertainment will disappear.
And yet, do not despair. You will be directed to the auditorium, where you can
relish a show that combines circus dressage with a supposed–to–be funny cultural
insert by Peter Novotný.
All in all, I returned to my childhood when I used to enjoy such small trifles while living
in a small city. However, it is different today. Today, the animals were wilder, the people
more intrusive and everything happened in one place.
In this play, there were either so many messages that I was not able to choose one, or
there were not any at all. However hard I think about it, I cannot choose the pivotal
one. So, I have chosen the environment because they sing, in one song, „we sorted out
the garbage and it was useless”.
Well… this topic is not good enough, and so I say that there were too many topics and
I still haven’t been able to choose one. From the visual point of view, the Pavilion was
indeed unforgettably spectacular. If atmospheric corrosion sweeps over Brno, and
I tame a Choloepus Didactylus, I will be nothing but glad that I have already seen it and
have fond memories of it. It was indeed an interesting start to the Festival Encounter
and a lovely prelude to any kind of doomsday.
Petr Theodor Pidrman
9

MAIN PROGRAMME
PAVILLION—DAMU—DEPARTMENT OF ALTERNATIVE AND PUPPET THEATRE
Cholopeus Didactylus, an exhibition of absurdly ugly, beautiful and synthetic animals;
unpleasant cleaners; a painful encounter with a fly swatter, and the saliva of hideous
creatures on the heads of teachers; the beauties of the „former Yugoslavia”; extremely
cacophonous music and much, much more. All this can be found in the play „Pavilion”
by those students of the Department of Alternative and Puppet Theatre who will
graduate this year. With humble gentleness and a humour which has to be accepted
by the viewer, the actors took charge of the task: to present their circus. A circus, or
a collection of curiosities, which are bad, silly, shallow, dripping, making photos, evil
and tasteless. „It is something between theatre and an intestinal operation. It is spicy
but you have to consume it quickly. Otherwise the seats will be burned. I would never
come to see such a show. You know, each and every part of it is no good. If you put it
together though… If you do, it works somehow. It’s the stuff! The whole idea of alternative
theatre. The show is totally alternative theatre.”
The play is built on a post–apocalyptic vision of the world’s future which — ecologically
— simply fell into an abyss. It reflects a society which has been reduced ad absurdum
and thus, thematically, has a solid foundation. In addition to that, the show also
interacts with the viewers to a large extent. First it lets them stand at an exposition of
weird beasties, kibitzes them for no reason and, after the exhibition, it puts them in
medias res of a quarrel of two former owners of the Pavilion. Slowly, the viewer gets
into the circus world, full of harsh drill and odd relationships which are commented
on by two presenters, sometimes accompanied by music or a performance by the
„animals”.
The play excels at creativity, playfulness and a kind of dull — or almost absent —
humour, exactly as is the case with most low–cost circus performances. But this creative
imitation of something worthless makes the play spicy, juicy and charming. This
project is a presentation of the self and one’s own perception of the world, or maybe
one’s perception of the end of the world. Things which are supposed to be funny really
become funny. What is supposed to make the viewer uncertain really has the desired
effect. A human freak show.
Dagmar Říhová
10

PHAEDRA‘S LOVE
Vienna, Austria
MAIN PROGRAMME
Author:
Director:
Language:
Lengt:
Cast:
Sarah Kane
Mira Stadler
German
60 min
Max Gindorff, Lena Kalisch, Maximilian Herzogenrath, Marlene Hauser
A DANCE AROUND THE ABYSS
Playing Phaedra can be very difficult for young actors. It is necessary to play her as
a mature person who is gradually losing her self–control. The protagonists of Greek
dramas fight against their own perversity until they destroy everything in themselves,
and everything they have at hand. The author of this modern adaptation, Sarah Kane,
has emphasized crude bodily desires, the cruelty of the main protagonist, and rough,
impersonal sex that degrades the participants and turns them into animals with no
personal boundaries.
The main question we have to ask ourselves, if we want to talk about this performance
by the Max Reinhardt Seminar of Vienna, is the following: Who is Phaedra supposed to
be? Phaedra, as a lady who had ruled her country for quite some time, was certainly
a woman capable of hiding her own opinions and emotions in order to make difficult
diplomatic decisions. Over the course of time, she started to be controlled by her insatiable
desire for her own stepson. The Phaedra of this production acts like a young,
immature girl who cannot conceal her own feelings very well, and her obvious grimaces
and unconstrained gestures contradict our expectations. After that, we begin to
doubt the psychological motivation of this character, and the other characters treat
her like a young girl. They do not respect her, and they talk to her as if she was a young
girl of little importance. That is why this performance loses our interest after a while.
I consider the intentional separation of the dance scenes from the acted scenes to be
a very good move. The intention was probably to use two forms of communication.
Acting, in which we try to hide our feelings in public, and dance, in which we reveal our
inner experiences from the previous scene. Unfortunately, this intentional separation
did not fully work because the characters performed even the acted scenes with the
same expressions as at the beginning of the play. Therefore, the acting soon started
to duplicate the dancing. The end of the story was told with movements that were
supposed to express the fact that the characters had been taken over by their own
desires. I think this worked, but it might have been confusing for those in the audience
who did not know, by the end of this play, what was actually going on. The choreography
between the scenes was really good. It expressed and completed the inner life of
the characters. Max Gindorff, in the role of Hippolytus, demonstrated his talent for
movement. He managed to precisely control his body and present his understanding
of the character to the audience.
11

MAIN PROGRAMME
Vienna’s „Phaedra’s Love” is a student production of a demanding play. From the dramaturgic
and directorial point of view, I find this production unsatisfactory because it
failed to give the main character the psychological motivation on which the entire play
either stands or falls. The actors showed that they are able to deal with a difficult text
and express their feelings through movement. Nevertheless, it is difficult to evaluate
their performances because they may not have been totally sure how to play their
characters.
Magdaléna Milostná
BLOOD IS NOT WATER
—
Instinct and disgust with their own flesh. Unfulfilled love, never fulfillable. Erotic tension
and unilateral love versus loyalty to tradition and exemplary customs. These are
the principle themes of a production leaving no observer cold, listless or sleepy. A psychedelic
whirlwind of crazed emotions, its inspiration drawn from ancient tragedy, is
re–imagined in a period not specified. Yet despite, or perhaps because of this, it loses
no relevance or validity. The narrative, expressed with a paucity of words and psychological
abbreviations, recounts a multi–layered plot which strikes the onlookers with
well–aimed blows. The time–honoured tradition of glacial movement — saying so little
yet expressing so much — is successful here, in no small part due to the excellent performances
of the actors and dancers, who perform everything with enormous range
and nuance. The red–coloured scene is laced with anger, eroticism, aggression and
blood devoid of water. We feel a hint of Phaedra and Hippolyte‘s perversion of feeling.
The destructive, unfulfilled love of Phaedra for her step–son (who despises everything
— people, life, himself and his own actions) is shown by dance sequences and the
cathartic movements of the actors, submerged beneath almost deafening music. Hippolytus,
at least as a character in Sarah Kane‘s drama, personifies a plethora of deplorable
attributes. A debauched pig abusing his power, popularity and status for nothing
more than personal pleasure, longing solely for the hatred of all who surround him.
The description, it would seem, of a human beast, but one that the viewer cannot
reject. His very perversion is the culmination of a futility based on legitimate observation.
The desires of so many people, so rarely fulfilled, are offered to him, on a silver
plate, without cost. Phaedra‘s feelings disgust him. When he offers his own body, and
allows her to think that she has achieved her goal, she has signed her own death sentence.
His death, in turn, is at the hands of the angry mob, who lynch him as he still
smirks ironically.
Martina Ligurská
12

MAIN PROGRAMME
THE FARM
Rome, Italy
Author:
Director:
Language:
Director:
Cast:
Paolo Alessandri
Paolo Alessandri
English
75 min
Gabriele Namio, Stefano Bramini, Daniele Flamini, Eleonora La Pegna,
Ilaria Arcangeli, Alessandra Barbonetti, Sara Roscetti, Selena Bellussi,
Lucrezia Coletti, Linda Lauretta, Sophia Angelozzi
THE FARM
Animal Farm by George Orwell was the first book to make me cry, and an impressive
animated movie was made based on the book. Perhaps because of the brutality and
cruelty with which it depicted the horrors described in the book (which I did not read
until many years afterwards), the movie showed many people that cartoons were not
just for children.
This Italian performance managed to do the same. Like the animated version, this play
uses some impressive theatre shortcuts. The actors are smeared and dirty, wearing
torn workwear which symbolizes hard labour at the farm. Rhythmic panting and groaning
turn into a children’s song about old McDonald, only this time in the impressive
and slightly terrifying form of a chorale.
The actors put on masks to display what animals they are. However, they continue
to use movement as a means of expression, and this also helps them to stylize their
characters. There is a breath–taking portrayal of a windmill. Speech takes turns with
movement, dance, and song.
Each part of the story is framed by the rattling of chains and a voice from a recording
that plainly announces the number and the name of the chapter. Under the leadership
of pigs, the animals seize the farm. A parrot teaches them how to read and write, thus
giving them power over the others. The pigs are not as cold–blooded as they are in the
book. They rather cleverly improvise. Nor do we find here any carnivore, and since the
pigs do not have teeth or claws, they cannot create fear as easily as in the book. Lack
of information and mass hysteria are their only means of manipulation. This brings us
to the most important thing. Update.
Animal Farm by George Orwell describes communism’s rise to power in a satirical
way. However, Rome’s production of the Farm is not just a criticism of communism,
but of totalitarianism in general. It describes mass hysteria and manipulation within
a group. Banal slogans, shouted out in enthusiasm, become bitter. But they do not
know anything else. They have nothing else left.
13

MAIN PROGRAMME
Thus, the play becomes a criticism of the totalitarianism of today. The totalitarianism
of information overload and media illiteracy. We are free, but we must know what to
do with our freedom. Otherwise, we will become slaves again.
„Free to be a slave” should become another popular hashtag.
Patrik Boušek
MOLOCH
—
Ahaaaahhaahhaaaa ha ha ahha a a a ha ha h.
You are a part of Moloch. You are an irreplaceable part of Moloch. You are a unique,
real, present being and Moloch is your lord. Do you want to resist? Go ahead! Do it!
Unite! Viva la revolucion!
Now that you are free, what are you going to do? Loiter? Ah? You are hungry… hmm…
what are you going to do about that? Food. Food. Food. It is all around us! Up, next, on
the left, behind! Simply everywhere. But will it be there forever? If you do something
to earn it, it will be there. Will you? You cannot die from hunger. Hunger is an enemy;
we need to fight it and we will win our fight! Freedom is gluttony! In unity is strength!
Hey, you! Work or die!
We have land. We have power. We are united! What else do we need?
We need a wall! A wall all around us. As far as the eye can see.
Everything behind the wall is simply evil. Pure evil which wants to destroy us, absorb
us, rape us, rip us up into pieces of shit. Do not let this evil penetrate our ideal world,
our ideal freedom, our ideal consciousness.
Are we satisfied? We are not? And why not?
We do not want to work. That is bad… We will do something about it. I will think about
it… Magic!
Now, it is time to make a move! We need „something” and this „something” will do everything!
We need to construct, construct, construct, demolish, construct, construct.
It hurts, it hurts, it hurts, it hurts. Endure the suffering now and then the Earthly Paradise
will arrive!
Do you think? What do you think? Are you… really? How did you come up with that?
Thinking? Traitor! Traitor! Traitor!
We are all equal! No one will look down on the others! I will not permit this! This is
strictly forbidden! You will pay for all of this! We are building a society of comrades, not
individualists! Individualism always ends badly!
Thinking creates NonFreedom! Thinking will be destroyed! We will all bear guilt for our
past, present and future. We are all guilty.
WE, AS UNITED COMRADES, WILL BUILD PEACE AND LOVE. FOREVER.
Marek Slováček
14

OFF–PROGRAMME
STAB THE HENS
Director:
Dramaturgy:
Cast:
Alexandra Bolfová
Karolína Ondrová
Barbora Bezáková, Pavel Šupina, Petr Németh, Jordana Blažková,
Marie Klemensová, Lucie Kučerová
DAVID HARROWER IS A GOOD PLAYWRIGHT. HE LIVES IN GLASGOW.
ALEXANDRA BOLFOVÁ HAS PRODUCED HIS PLAY. IN BRNO.
Harrower’s poetic drama is often referred to as a magical play. What is magical about
it is its implicitness as well as its sensations, perceptions and images, all between
the lines of a powerful text. Another magical element of the play is its setting: a rural
world somehow — whether willingly or unwillingly – unaffected by the city or urban
intelligence. There is magic in the eyes of a young black–haired woman when one looks
at her ink–stained hands.
The first image is of two beautiful young people. The man is stoically calm. The woman
craves something… Sweet. The ploughman speaks for the first time. He earns respect
with his voice, so he does not have to do much. And he isn’t doing much. They are
tied with a rope and horse belts, and they use sugar as a sensuous glitter. The power
of these delicate metaphors is both pleasant and chilling. Then come the intimate
moments of the young woman’s monologues — her mental and emotional hurry is
shown by regular tastings of the world, more than by anything else. Quietly, peacefully,
in detail. As a result, the miller is the fatal character in the (un)happy couple’s story.
The young woman is sent to see the miller, repeatedly, by the ploughman himself, with
an Oedipal naivety. A choir full of people with dull expressions (in the best sense of the
word) observes it all and vocally supports the gloom and folksiness of the dramatic
atmosphere. The choir tells the story as well — the echoes of the country crowd where
the educated and learned miller, writing with a pen, is on the fringe of society. With
the miller, the tactile and audio–visual heart of the work arrives. The image, intensified
by a projection, becomes more dramatic. Horrible dreams, infidelity, prayers. A millstone.
The ending is powerful, as it is a naturalistic fight. The fight is moderated as
well as intensified by poetic images of the omnipresent grains, a rope, and the facial
expressions of the actors.
Harrower’s creation and intention are respected. The dramatic scene and plot complete it.
David Harrower is a good playwright. He lives in Glasgow.
Alexandra Bolfová has produced his play insightfully. A dramaturgical and directorial
personality is growing in Brno.
Kamila Konývková Kostřicová
15

PROGRAMME
16

PROGRAMME
17

PHOTOGALERY
The Opening Ceremony
Phaedra's Love
18

PHOTOGALERY
The Farm
Pavillion
19

PHOTOGALERY
The Life Story of Puppets
TO MEAT / TO VEGE Party
20

INFORMATION
INFOCENTRE
Theatre Faculty of JAMU
Room No. 4
Mozartova 1
622 15 Brno
Opening hours 27. 3.–1. 4. 2017
Monday 10.00–20.00
Tuesday–Friday 09.00–20.00
Saturday 09.00–16.00
Infoline: +420 733 127 613
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 28.3.–1.4.2017
Tuesday–Friday 09.00–20.00
Saturday 09.00–16.00
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INFORMATION
TICKETS
The tickets will be available from the 27th of March 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 30 minutes before the performance begins.
Ticket prices
Main Programme
Public
Students and seniors
JAMU students
JAMU teachers
Meeting Point Party
With Off–programme wristband
Public
100 CZK
80 CZK
50 CZK
70 CZK
120 CZK
170 CZK
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.
Workshops
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 merchandise
You can purchase the following festival merchandise.
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 on festival merchandise
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INFORMATION
NIGHTS OF CHOICES
TO MEAT / TO VEGE Party
28. 3. 2017, Kavárna Trojka
We're kicking off the 27th edition of the festival! You can look forward to a blend of folk
and rock music as played by The Oakland Sisters, a bit of blues–rock by the Tatlo Quartet
and last but not least, a good dose of honest–to–God oldies hits from DJ LAICH to
finish you off! Will you be a veggie or a meat–eater? Your choice entirely…
TO DRINK / NOT TO DRINK Party
29. 3. 2017, Schrott
Hilarious musical jamboree in a storm of passionate rhythms and colorful melodies.
A crazy trip into the world of genres of Balkan beats, gypsy sound, swing or Latino.
DJ Gadjo.cz and the king of saxophone El Checo will play the best selection of dancing
music with spirit just for you.
TO MEET / NOT TO MEET Party
30. 3. 2017, Buranteatr
We are in the middle of the festival! And that means—Meeting Point Party! The biggest
party of the whole festival. This year it will move your feet in the BURANTEATR. The
dance floor heaves with Brno's funky blitz — Funky Chicken! When you are warmed
up, the Ukulele Orchestra Jako Brno will show up on the stage with well–known songs,
but in a way you have never heard before. We will bring our evening to a climax with
a DJ trio from JAMU, Astronauts Without Helmets. For the whole time there will be
plenty of hard choices at hand. Lose yourself on the dance floor? Get to know the
actor from today's performance? Have another shot? These are the questions! Enjoy
the helterskelter!
TO SING / NOT TO SING Party
31. 3. 2017, Kavárna Trojka
Almost everyone sings in the bathroom or at the bus stop with headphones in ears,
just for themselves. Don't be shy and sing for the other people! You will be able to
choose from the list of globally popular songs and countries where the festival's participants
are from. Later, the singing will be replaced by a huge dancing explosion,
performed by DJ Aid Kid's music.
TO BE / NOT TO BE Party
1. 4. 2017, Divadlo Husa na provázku
An avalanche of fantastic music which is going to get yo!. The band from České Budějovice
VEES launches the evening. The rhythm of dulcimer music warms you up, and
Dj Balzaš sets in motion the final hours. The choice is yours. Come and enjoy the final
party of the 27th edition of the festival. The night belongs to us!
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INFORMATION
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 will moderate the discussions.
Discussions will be held in English and operated by two hosts. Coffee, tea and pastries
will be served for breakfast.
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, Meeting Point office, Off–programme), Mozartova 1
— Astorka (Off–programme), Novobranská 3
— DnO — Divadlo na Orlí, Orlí 19
— Marta — Divadelní studio Marta (Studio Marta), Bayerova 575/5
— DHNP — Divadlo Husa na provázku, Zelný trh 9
— HaDi — HaDivadlo, Poštovská 8d
— DUS — Divadlo U stolu, Zelný trh 295/8
FESTIVAL RESTAURANTS
— Bageterie Boulevard
— Veselá Vačice
— V–Bistro
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COMIC
— in the meantime, ossuary of
st. jacob —
— to be…
— Please, don't touch the exhibit!
HARD CHOICES?
for setkání/encounter
By Eva polgary
© 2017
… or not to be?
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FREQUENCY BABYLON
ČESKY ENGLISH ITALIANO DEUTSCH
ahoj hello ciao Hallo
pivo beer birra Bier
víno wine vino Wein
párty party festa Party
kavárna cafe caffè Cafe
vegetarián vegetarian vegetariano Vegetarier
park park parco Park
škola school scuola Schule
divadlo theater teatro Theater
diskuze discussion discussione Diskussion
slepice hen gallina Henne
venkov countryside campagna Landschaft
nevěra infidelity infedeltà Untreue
pavilon pavillion padiglione Pavillon
změna change cambiament Veränderung
farma farm podere Bauernhof
příroda nature natura Natur
láska love amore Liebe
krutost cruelty crudeltà Grausamkeit
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10 WORDS
The first day of the festival in ten words.
—
{OLD MACDONALD:
„WELCOME, LIVE WITH
US. IT’S FULL. FESTIVAL‘S
CANCELED.“}
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THANKS
Special thanks to all the students involved in festival preparation, in particular the students
of the Theatre Management and Stage Technology department, Theatre Directing
and Dramaturgy department, the Audiovisual Creation and Theatre department,
the Stage and Costume Design department, the Musical Acting department and the
Drama Acting department.
WE ALSO THANKS:
City of Brno
The South Moravian Region
The Ministry of Culture
The International Visegrad Fund
State Fund for Culture
PRODUCERS OF THE FESTIVAL:
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