SETKÁNÍ/ENCOUNTER 8–12 April 2014
We would like to thank all of our partners and supporters – the festival would not have come into being without their support. THANK YOU!
BULLETIN 24th year of the International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 2014 8–12 April 2014 Responsible Redactors Karolína Vyhnálková, Martin Macháček
Authors of Texts Magdaléna Baumannová, Nikola Boková, Jiřina Hofmanová, Michaela Havlíčková, Kateřina Málková, Martina Mašlárová, Barbora Reichmanová, Karolína Svitálková
Translation Dominika Kováčová, Martina Kellnerová, Mária Melegová, Kristína Pavlíková, Lýdia Řezničáková, Hana Smištíková, Eva Šoltésová
Proof Reading of Czech Version Jan Krupa
Proof Reading of English Version Adrian Hundhausen, Hana Mišove
Typesetting Martina Víchová
Print Agentura Promotion v.o.s., Turnov
Organizer Janáčkova akademie múzických umění v Brně Divadelní fakulta Mozartova 1, 662 15 Brno IČO: 62156462 DIČ: CZ62156462
Co-Organizers Centre of experimental Theatre Centrum experimentálního divadla, příspěvková organizace Zelný trh 9, 602 00 Brno Spolek MuseYou Mozartova 647/1, 602 00 Brno IČ: 228 852 69 Rektor JAMU Prof. Ing. MgA. Ivo Medek, Ph.D. JAMU – Rektorát Beethovenova 2, 662 15 Brno
2
CONTENT
Editorials
4
Organizational Team
10
Supporting Personalities
12
School Annotations
14
Annotations of Performances
20
Marta Award
33
Jury
34
Student Jury
36
Offprogram
38
Practical Information
40
3
EDITORIALS
Dear colleagues and friends, Welcome to the Theatre Faculty of Janáček Academy of Music and Performing Arts in Brno. Most of you have come to our faculty and to the city of Brno for the first time. Therefore, let me briefly introduce our institution. I hope It will not sound too presumptuous to say that in the sixty-seven years of its history, Janáček Academy of Music and Performing Arts has raised many outstanding personalities who have achieved admirable success in their own fields, whether in the Czech Republic or abroad. At the Theatre Faculty, 350 students prepare for their future professions every year. Janáček Academy is a university-level institution and is accredited for all three university degree programs: Bachelor’s, Master’s and Doctoral degree programs. The Theatre Faculty educates dramatic and musical actors, directors, dramaturgists and scenographers. Furthermore, the faculty offers degrees in radio and TV dramaturgy and scriptwriting, theatre management, stage technology, drama education and pedagogy of dance and movement theatre. There are also some new and attractive study programs, such as Audiovisual Production or Lighting Design. The rarest and the most exceptional programs are Clown Stage and Film Production and Drama Education for the Deaf. The faculty also organizes prominent international symposia and seminars, courses of life-long ylearning and a large number of research and publishing activities. And, clearly of course, for more than two decades it has organized the International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER, the annual meeting of young artists and their pedagogues , which is prepared by our students and their teachers always the whole year. takes our students and their teachers the whole preceding year to prepare. I wish this year’s festival SETKÁNÍ/ ENCOUNTER as well as all our theatrical activities were marked by creative freedom, diversity and originality and that it left enough room for play, fantasy 4
and experiment. In “live coverage” we all witness how the world around us changes abruptly every day. Every day we fight with that fleeting and elusive presence, which is afterwards shaped and reflected in the works of artists using their newly acquired perceptions, knowledge, visions, dreams and ideas. Peter Scherhaufer, a well-known director, former teacher of our faculty and a life-long experimenter in the field of theatre, used to say that “theatre can do anything” and that “the word cannot impossible does not exist”. He was right. And that’s what I wish to you and to the whole festival. May you all achieve the impossible. Therefore, I wish that the festival and all of you may achieve even the impossible. And may you find the answers to the questions posed at this year’s festival. If those answers exist at all. Welcome to the twenty-fourth annual of festival SETKÁNÍ/ENCOUNTER.
Doc. Zbyněk Srba, Ph.D. Dean of JAMU
5
EDITORIALS
Dear colleagues and friends, This year, the international festival of theatre schools SETKÁNÍ/ENCOUNTER is being organized for the twenty-fourth time and so it continues its already long tradition. However, that is exactly why the festival faces the danger of becoming stereotypical. But I am sure that during the five days that you are going to spend here in Brno, you will become convinced that this threat is far from imminent. In the twentyfour years of its existence, the festival has followed an organizational and artistic model which refuses mere repetition and is open to originality. Every year the SETKÁNÍ/ENCOUNTER festival starts from scratch since, as a rule, its organization always rests on the shoulders of a new (a year younger) organizational and realization team of students. And this new team – although its members have already attended the festival or contributed to its organization – approaches this difficult task as if it was the first time it was stepping into a wild river current. And you won’t step in the same river twice. At first, the team tries to keep balance, often losing it, but eventually it gets hold of its mission in a fresh, idiosyncratic manner. The basic organizational and dramaturgical model developed in the past years forms the bed of this river, while the dynamic current is constituted by the original and inimitable realization of the festival every year. Although many of the participating schools have already presented their work at SETKÁNÍ/ENCOUNTER (some of them even more than once), their productions are performed and realized by different people every time. It is mostly young artists finishing their studies and making a start on their professional careers who present their work here. The festival is a meeting point of people who are at the beginning of their creative life. In this way the festival manages to continue its tradition but also to do it in a way that is always original and unrepeatable: with a fresh zeal and with their eyes set on the future. I would like to welcome the schools from Tehran, Antwerp, Rome, Ljubljana, Lodz, St. Petersburg, Hannover, Cracow, Bratislava 6
and Prague, all of which have already visited ENCOUNTER, and I would also like to welcome the Royal Conservatoire of Scotland from Glasgow, which is coming to Brno for the first time (as well as ENSATT from Lyon, whose performance at the beginning of May will form an epilogue to the festival). Most importantly, I would like to welcome all the students from these schools who have come to the festival, so that, along with our students, they can create its once-in-a-lifetime realization. Break a leg! Prof. Petr Oslzlý Director of the SETKÁNÍ/ENCOUNTER festival (Head of the Centre for Experimental Theatre)
7
EDITORIALS
Editorial no. –1 Dear readers and participants of the SETKÁNÍ/ENCOUNTER festival, I would like to present to you the first (although not official) number of the Meeting Point Magazine, Bulletin. I am honoured to introduce this volume, which is, at least from my point of view, remarkable not only for its brilliant graphic design, but also for its unusual topic. Surely you have noticed the charmingly minimalistic cover of the magazine. The traces of this simple and pure style will accompany the whole festival and our humble modest bulletin in its graphics. Dáša Haladová and Michal Skočovský, the artistic directors of the festival, have,, prepared quite a conceptually varied event with a provocative title (WHO, WHERE, WHEN, WHY)… TO BE?!. The immense number of meanings and answers to these questions promises pure theatrical excitement and I dare say this diversity will be reflected in the program of the festival as well. The above questions touch on what all cultures in the world have in common – pondering on the nature of existence and on the presence of a higher principle in life. Beside such spiritual musings, they also invite us to wonder at purely humanistic phenomena, such as democracy or moral responsibility of an individual with respect to others. Briefly, there is much to look forward to. This number of the festival Magazine is quite special also because it offers a lot of information about the form and organization of the festival. The carefully chosen team of editors has prepared brief profiles of the participating schools and invited productions. Moreover, the bulletin introduces guests from the international jury of students, theatre practitioners and experts. Of course, the festival nightlife will not be omitted: we invite you to various bars and to a whole range of wild parties. The next numbers of the magazine will bring many more interesting articles, the contents of which will not be revealed yet. On behalf of the whole realization and editorial teams Martin Macháček 8
One of the thematic questions of this year’s festival is Who to be?! Over 30 students of the Theatre Management and Stage Technology Department at JAMU can proudly call themselves organizers of the 24th International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 2014. Organizing such a festival is no easy task, but rather a very multifaceted one, involving telephone calls, e-mails, paperwork, copying, scanning, printing, meetings, conferences, conceptualization, translation, approvals, calculations, monitoring, planning, organizing, supervising, management, and much more. All these students work extremely hard to ensure yet another year of the festival runs smoothly. Where…?! Somewhere on the third floor of the JAMU Theatre Faculty you will find an office that’s as busy as a bee’s nest, swarming with managers and tech specialists managing, meeting, discussing, resolving… You know the deal. When…? From the first year of their bachelor’s studies till the last, JAMU students of the aforementioned department join in organizing the festival. In their third and final year, these students take charge as the leaders of the festival’s individual working teams. They plan, manage, supervise and carry out all aspects that go into organizing the festival. Why…?! Because all that head-spinning work achieves a result – another successful festival and another opportunity for students, educators, and theatre lovers to get together, meet new people, see once-in-alifetime performances and learn something new. People from all corners of the globe get together to share 5 days full of unforgettable experiences. And that is why we are here. I would like to take this opportunity to thank everyone involved in organizing the festival this year. It is through their efforts that we are able to meet in Brno on 8–12 April at the 24th International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 2014. Veronika Bošelová 9
EDITORIALS
WE, THE ORGANIZERS!
ORGANIZATIONAL TEAM
ORGANIZATIONAL TEAM Director of the festival prof. Petr Oslzlý
Dean of JAMU doc. MgA. Zbyněk Srba, Ph.D.
Festival Committee Members prof. Petr Oslzlý doc. MgA. Zbyněk Srba, Ph.D. doc. Jan Kolegar MgA. Ondřej Vodička MgA. Blanka Chládková Mgr. et Mgr. Adéla Dědová the third-year students of the Theatre Management department
Supervising Professors MgA. Blanka Chládková Mgr. et Mgr. Adéla Dědová
Festival Coordinator Veronika Bošelová
Financial Administrator Andrea Kseničová
Performers Support Team Pavla Šoukalová (supervisor) Anna Burianová Gabriela Gálová Adéla Svídová
Off-programme Team Marie Rotnáglová (supervisor) Barbora Leskovjanová Anna Plevová
Promotions Team Kateřina Puczoková (supervisor) Karolína Vyhnálková Michaela Rusňáková Monika Bársonyová Kateřina Uhrová
Guests, Jury, and Participants Team Daniela Zarodňanská (supervisor) Pavlína Spurná Anna Machová Marie Trefná
10
Media Team Tereza Řezníková (supervisor) Nikola Cziglová Karolína Gumulcová Eva Sýkorová
Fundraising Team Šárka Mikesková (supervisor) Barbora Holanová Barbora Rosochová Michaela Žůrková Ludmila Havelková Martin Novotný
Chill-out Team Hana Horáková (supervisor) Kamila Šulíková Monika Horáková
Technical Support Petra Konvicová (supervisor) Martin Čepec Holoubek Jakub Podešva Tomáš Tušer Martin Hamouz Tomáš Balga Petra Göbelová Matěj Klíma Jan Mach Lukáš Novotný Jakub Šotola Jakub Kubíček
Artistic Direction Michal Skočovský Dagmar Haladová
Special thanks also belongs to all the students involved in festival preparations, and in particular the students of the Audiovisual Creation and Theatre department and first-year students of the Stage and Costume Design department and also to Jitka Gazdošová, Kuba Mareš and David Kraváček.
11
SUPPORTING PERSONALITIES
SUPPORTING PERSONALITIES Dagmar Havlová actress, former first lady of The Czech Republic
„The 24th Encounter festival will be held in a spirit of questions, and so I hope that everyone participating will find their answers. I wish the festival Encounter 2014 much success!“ Miroslav Krobot actor
„As a faithful JAMAK I wish you an awesome festival – and hang on!“ Jana Plodková actress
“I have some great memories of the festival from my studies!” 12
Arnošt Goldflam playwright, writer, director, screenwriter and actor
“I spent more than 20 amazing years with my most talented students at JAMU! I wish the festival luck – in future as well – and great artistic achievements from all participants!” Pavel Liška actor
“I am rooting for the festival!” Pavel Zedníček actor
“Lots of energy for the preparation and plenty of sponsors!” 13
SCHOOL ANNOTATIONS
SCHOOL ANNOTATIONS
Belgium, Antwerp Royal Conservatoire Antwerp / AP University College The Royal Conservatoire of Antwerp aims to educate enthusiastic and talented people to become creative, professional musicians and performing artists with great autonomy and personality, able to fit into the contemporary socio-cultural and artistic frame of reference. The Royal Conservatoire of Antwerp offers opportunities for extensive artistic cross pollination, as courses in the three performing arts as well as teacher training are all grouped together on the deSingel International Arts Campus. The partnership with deSingel ensures a unique exchange of talent, art and knowledge that supports and fosters a strong international profile.
Czech Republic, Brno Janáček Academy of Music and Performing Arts – Theatre Faculty Janáček Academy of Music and Performing Arts was established in 1947. The school consists of two faculties – the Faculty of Music and the Faculty of Theatre which has a seat in Mozartova street. The following years were inextricably linked with the name of J. Kovalčuk and many other outstanding personalities (B. Srba, A. Goldflam, V. Cejpek, A. Přidal, P. Švanda). The existing study programmes of dramatic theatre and directing have been supplemented by stage design, theatre dramaturgy, musical theatre, drama education, audiovisual production, theatre management, clown stage and film production, stage technology, drama education for the deaf and radio and TV script editing and script writing. A number of talented students develop their skills and perform publicly also in the Marta Theatre.
14
Czech Republic, Prague Academy of Performing Arts in Prague – Theatre Faculty The Theatre Faculty of the Academy of Performing Arts in Prague has been training young theatre actors since 1946. The backbone of the academy nowadays comprises of the Departments of Dramatic Theatre and Alternative and Puppet theatre. Apart from these traditional subjects the school also offers relatively new specialisations, such as theatre in unconventional environments (i.e. sitespecific). Actors, directors, stage designers, dramaturges as well as theatre theorists, critics, teachers, producers and other graduates do not have problems getting engagement not only in leading Czech theatres, but also at alternative scenes and other institutions. The academy‘s theatre studio DISK is a popular scene for both
France, Lyon The National School of Arts and Techniques of Theatre The National School of Arts and Techniques of Theatre (École Nationale Supérieure des Arts et Techniques du Théâtre – ENSATT) celebrated its seventieth anniversary in 2011. Better known in Paris as “The Rue Blanche School”, the ENSATT settled on the hill of St Just in Lyon in 1997. The ENSATT is a “School – Theatre” that welcomes around 180 students every year. The school has modern facilities such as class rooms, offices, construction workshops, rehearsal-rooms, recording and research studios, a black box stage with an audience capacity of 187 spectators and a 219-seat theatre. The presence of all theatre professions under one roof allows the creation of dramatical workshops, essays, work hypotheses, production studios and workshops led by professional directors, who are connected to creative team and create artistic project, which will be presented to spectators at school as well as on tour. 15
Iran, Tehran University Theater House of Iran University Theater House of Iran was founded by Abbas Aghsami with three purposes: education, research and performance in the area of university Theater in 2006. Research and Technology as an artistic and scientific organization continues its work on academic teaching theater, publishing books, students performances in professional and academic centers in Iran and participating in International festivals around the world. Italy, Rome Silvio d‘Amico Dramatic Arts
National
Academy
of
Silvio d‘Amico National Academy of Dramatic Arts was founded in 1936 by Silvio d‘Amico. It is the only institution in Italy offering trainings of actors and directors that grants degrees at a university level. It focuses on traditional theatre, but it also welcomes experiments and research in Italy and abroad. The Academy is particularly interested in contemporary drama. Extensive and long-term international cooperation enables an exchange of experience, projects, pedagogues and students. There are four study fields: Directing Course, Acting Course, Theory and Criticism, Technical-artistic Studies. Directing and Acting courses are considered basic and Theory and Criticism and Technical-artistic Studies are supplemented. The program is structured into three stages. The first and the second stage, each last three semesters. The third cycle spans one or two semesters. Overall degree lasts three years and the admission to the Academy is determined by a public entrance examination. The academic year begins in November and ends in June. The summer is dedicated to thea vast variety of special events and activities. Germany, Hannover The University of Music, Drama and Media The University of Music, Drama and Media Hanover (Hochschule für Musik, Theater und Medien Hannover) is one of Germany‘s most renowned institutions 16
for professional training and academic study in the cultural and artistic field, and offers more than 30 courses of training for musicians, actors, music teachers, musicologists and media scientists. More than 1,400 students from all over the world are taught and helped on their way here by a teaching staff of 350, including numerous artists, teachers and academics of international renown. People who are recognised nationally or internationally as authorities in their respective fields are regular guests at the University, giving master classes, lecture series or seminars which form valuable supplements to the students‘ courses of training.
Poland, Cracow The Ludwik Solsko State Drama School in Cracow The Ludwik Solsko State Drama School in Cracow is an institution with a long tradition in education of dramatic arts such as acting or directing. The school represents progressive, variable place for changing educational preferences and also for changing actual perceptions of a theatre. Workshops organized for students are lead by prominent personalities of polish art (for example Adrzej Wajda, Krzystof Krauze, Grzegorz Jarzyna and Krzysztof Warlikowski). Poland, Lodz The Leon Schiller National Higher School of Film, Television and Theatre The Leon Schiller National Higher School of Film, Television and Theatre was founded in Łódź in 1984. The alumni of the school include Andrzej Munk, Andrzej Wajda and Janusz Morgenstern. The university is the only one of its kind in the country. It is also known for organizing several festivals such as School Theatre Festival and Mediaschool, an international Film and Television Schools‘ Festival attended by many foreign students.
17
Russia, Saint-Petersburg The Saint Petersburg Theatre Arts Academy The Saint Petersburg Theatre Arts Academy was established in 1779 and is the oldest and largest institution of its kind in Russia. During over two hundred years of history, the Academy has evolved from the realistic traditions of the Emperor‘s Theatre School to Vsevolod Meyerhold‘s workshop. Nowadays the Academy‘s principal approach is mainly based on the Stanislavsky System, especially his Method of Physical Actions and Method of Action Analysis; the system of actor training also includes Meyerhold‘s Biomechanics. Thus the Academy manages to combine true respect for the classical school – a distinctive feature of Saint Petersburg‘s overall cultural landscape – with contemporary innovations based on the main achievements of Russian theatre in the 20th century. A unique feature of the Academy is that a majority of its faculty are working professionals, half being leading actors and artistic directors of the main Saint Petersburg theatres. This way the Academy remains in touch with current trends and the skills requirements of a modern theatre.
Scotland, Glasgow Royal Conservatoire of Scotland The Conservatory was established in 1845 with a name Glasgow Educational Association. It is situated in a city centre of Glasgow. In 1950 was established a theater faculty, which has become the first britishdramatic school. In 1968 it changed its name to Royal Scottish Academy of Music and Drama a presented its first study facilities which were approved by University of Glasgow, the oldest university in this city. The school offers prestige special education in Bachelor and Doctoral studies. It expands talent in every level and every age. It contains rich offerings of courses of different focus. From weekly to intensive summer courses. The lecture is also bind together with perfect preparation for employment. 18
Slovakia, Bratislava Academy of Music and Performing Arts in Bratislava – Theatre Faculty The Academy of Music and Performing Arts is the oldest and the most renowned art institution in Slovakia. Professionals in the theatre, dance, music and film domains are trained here. Theatre Faculty‘s graduates have been well-regarded artists even abroad ever since the academy‘s founding in 1949. Students participate in many projects that develop their imagination and creativity and they are permanently involved in theatre practice during their training. As for cooperation with other schools, the faculty hosts bi-annual international festival Istropolitana projekt.
Slovenia, Ljubljana University of Ljubljana Academy of Theatre, Radio, Film and Television The Academy was founded in 1945 and remains the only University institution to teach theatre and film in Slovenia. The Academy consists of four departments: Department of Theatre and Radio, Department of Film and Television, Department of Drama and the Centre for Theatre and Film Studies. The first three departments carry out the didactic activities of the Academy and correspond to the four courses of study: acting, theatre directing, film directing and dramaturgy. The Centre for Theatre and Film Studies is conceptualised as an information and documentation centre where research projects in the fields of performing arts and audio-visual media take place. The Academy is located in downtown Ljubljana in the vicinity of theatres, museums, galleries and other urban cultural spaces.
19
ANNOTATIONS OF PERFORMANCES
Belgium, Antwerp
WHO HAS NOT GONE Language: Dutch Length of performance: 55 min Author: Nina Herbosch Translator: Nina Herbosch Director: Freek Vielen Script editor: Nina Herbosch Set: Nina Herbosch, Freek Vielen & Lucas Vandervost Costumes: Nina Herbosch Lighting design: Nina Herbosch, Freek Vielen, Rik Suijs & Hugo Moens Music: Antsy Pants, Charles Bernstein, Sleeper, Brother Dege Cast: Nina Herbosch
Nina Herbosh, author and performer in her own piece, explores the soul of an individual in today‘s society. She portrays the necessary detachment from our roots that each of us has to undergo in order to find our true selves, and the process of defining in what ways we want to relate ourselves to the outside world. She shows the possibility that all of us have, a possibility of seeing things differently than we were taught to, the possibility of becoming the people we really want to be. Herbosh touches upon the difficulty we experience when we are forced to define our personality even before we figure out who we want to become. She demonstrates our feelings and the way we see, according to her, the illogical world through the performances of actors and photography. According to her, photos are the best tool for describing everything that goes on around us. The text is inspired by the books Alice in Wonderland and Through the Looking Glass by Lewis Carroll, who describes a fantasy world full of nonsense. Nina Herbosh sees the parallel with Alice mainly in the way the girl perceives her surroundings in an incomprehensible wonder-world.
20
Czech Republic, Brno
CONFESSION OF FELIX KRULL Language: Czech Length of performance: 90 min Author: Thomas Mann Dramaturgy: Martin Sládeček Director: Lukáš Kopecký Light design: Petra Konvicová Music: Martin Holoubek Cast: Jakub Rek, Ida Sovová, Alžbeta Vaculčiaková, Libor Stach, Jan Řezníček, Sarah Haváčová, Lucie Ingrová, Táňa Malíková, Vojtěch Říha
This year’s graduates from the Faculty of Theatre at JAMU Brno present The Confessions of Felix Krull, Confidence Man. This unfinished comic novel, written by Nobel laureate Thomas Mann, appeared for the first time this year on the Czech stage in this original dramatization, with translation by Martin Sládeček. Fourth year students from the Department of Dramatic Theatre, under the direction of Lukáš Kopecký, will perform this play about a world willing to be cheated and a man blessed with such talents. This performance shows that even 6 decades after its writing in 1954, Mann’s cult novel remains topical. The world is just a game, and confidence man Felix Krull knows its rules. Like many of us, he desires to acquit himself masterfully in his different roles. But to what lengths will he go to achieve this? His adventures are amusing and thrilling, but always teeter on the edge of an abyss. Are you excited? You should be! Lady Luck has already fallen for him, and you will too! Here you are, beautiful, illusive world. I am yours! Don’t you want me? Don’t you all want me?!
21
Czech Republic, Prague
THE WAR Language: Czech Length of performance: 60 min Author: Emil František Burian Director: Jaroslava Šiktancová Dramaturgy: Zuzana Burianová Lighting design: Ondřej Růžička Choreography: Martin Pacek Music: Emil František Burian Cast: Michal Balcar, Vojtěch Bartoš, Petr Buchta, Izabela Firlová, Iva Holubová, Tereza Krippnerová, Jakub Koudela, Marek Mikulášek, Michal Necpál, Kristýna Podzimková, Marie Radová, Maja Štípková, Štěpán Tretiag, Ondřej Vacke, William Valerián, Tereza Vítů, Josefína Voverková
The dramatic musical composition The War was prepared by the graduating class of the Department of Dramatic Theatre with director Jaroslava Šiktancová and choreographer Martin Pacek. The original author and director of this work was Emil František Burian. His libretto takes place during the First World War, although it is based on folk poetry collected by K. J. Erben. The musical score features typical Burian jazz elements, which have been adapted for this interpretation by D. Navařík, Z. Dočekal and M. Kroupa, using only seven of the original twelve instruments. Such timeless themes as the deterioration of relationships, conflicts of war, love and forgiveness have current significance. The creators of this musical dance production have focused especially on E.F. Burian’s concept of “synthetic theatre” and through the act of creation have sought to explore its limits in modern theatrical practice.
22
Iran, Tehran
DON´T HESITATE HORASHIO Language: Persian, English Length of performance: 70 min Author: Saeed Hashemipoor Director: Abbas Aghsami Set: Reza Mehdizadeh Costumes: Sahar Ebrahimi Mehr Lighting design: Abbas Aghsami Choreography: Aram Khalkhali, Amirhossein Hariri Music: Farhad Rezaee Production: Sokoot theatre Group, Abbas Aghsami Cast: Hossein Moheb Ahari, Ali Taghizadeh, Mehran Nael, Behnaz Naderi, Mehdi Hajian
A group of Danish performers runs away from a royal palace after performing the play “Mouse Trap” from Hamlet. They encounter Fortinbras at the Polish border and are forced to come back to the palace, but the performers run away again. They read Hamlet’s story aloud to people and arouse a public distaste for Fortinbras’ dictatorship. He imprisons the actors and tries to force them into performing a play for him. The whole cast, including Horatio, refuses to perform. In the end, a conflict appears on stage, causing the death of Horatio and two other actors. Only one man stays alive and he decides to continue in Horatio’s footsteps. The performance is based on principles of the Commedia dell‘arte and parody of traditional Persian performances. The goal of the play is to broaden international cooperation between countries, based on theatre performances. The director’s aim is to work on problematic socio-political topics and subjects usually taboo in Iran. It is mainly his interest in parody and the Commedia dell‘arte which highlights the social phenomena, something not given much importance in Iran.
23
Italy, Rome
FROM PINOCCHIO Language: Italian Length of performance: 1 hour 15 min Author: group dramaturgy Director: Emiliano Russo Set: Bruno Buonincontri Costumes: Emiliano Russo Lighting design: Sergio Ciattaglia Choreography: Monica Scalese Cast: Valentina Carli, Barbara Chichiarelli, Flaminia Cuzzoli, Valerio D’amore, Arianna Di Stefano, Desiréé Domenici, Carmine Fabbricatore, Matteo Mauriello, Marco Mazzanti, Gianluca Pantosti, Ottavia Orticello, Matteo Ramundo
The production is the diploma project of directing student Emiliano Russo. Through twelve representations of Pinocchio, the director tries to show not only the development of a human being from childhood to adulthood, but also the individual steps of aging that each one of us faces in life. Emiliano Russo commented on the creation of the play: “I’ve seen Pinocchios cry and laugh, I’ve seen their eyes change: rediscovering themselves as children that play to grow. Maybe the real Pinocchio is me: a polymorphic being divided between fairy tale and reality.” The text being staged is the result of a group project led by the director in collaboration with Michael Degan and David Proietti, students of the Master’s Program in dramaturgy and scenography at the Accademia Nazionale d’Arte Drammatica “Silvio d’Amico.” The production is a tribute to the Tanztheater Wuppertal and its famous choreographer Pina Bausch, as well as to the Italian writer Carlo Collodi, the author of Pinocchio’s adventures.
24
Germany, Hannover
THE WARDROBE Language: German Length of performance: 64 min Author: Team work Director: Prof. Stephan Hintze Set: Katharina Zerr, Anika Neubert (students University Hannover) Costumes: Aurelia Stegmeier, Hanna Peters ( students University Hannover) Lighting design: Thorsten Keppler Choreography: Stephan Hintze Music: Heiko Klotz Cast: Alexandra Ostapenko, Lisa Schwindlng, Sophia Vogel, Sven Daniel B端hler, Lucas Federhen, Maurizio Miksch, Tomasz Robak, Yassin Trabelsi
At the beginning of the play, we find ourselves at an auction. The item being sold is an old wardrobe. The potential buyer will buy not only the wardrobe, but also the ghosts in it and their stories and fairy tales. The ghosts step into our world through the wardrobe and they tell us all their stories. Stories of childhood, stories of life full of humour and a strange childlike reality. We are allowed to see beyond the wardrobe, straight into their universe of surrealistic dreams, nightmares and desires. The wardrobe symbolizes such mysteries as the tower of Babel, the box of Pandora and a Dibbuk box for the audience. Students from The Hannover Academy of Music use, among other things, the technique of Meyerhold to build expressive figures. The comic style of the play is related to the humour of the grotesque worlds of Kafka, Gomrowicz, Tschechov and Charms. Seven languages appear on the stage, from Spanish to Romanian, from Arabic to Polish, from Russian to French and, last but not least, German. An important part of the play is improvisation. Students spent the first three weeks rehearsing it and researching the psychology of characters in order to create an unforgettable experience.
25
Poland, Cracow
CIRCLE OF FIFTHS – FRAGMENTS Language: Polish Length of performance: 100 min Author: Szymon Mogacz Director: Aleksandra Poplawska Set: Paula Grocholska Costumes: Adam Kasjaniuk Music: Anna Maria Janicka Cast: Alicja Karluk, Anna Paruszyńska, Ewa Porebska, Lena Schimscheiner, Maciej Charyton, Marek Grabiniok, Mikolaj Jodliński, Kamil Mroz, Michal Nowak, Damian Strzala, Kosma Szyman
It is December 23rd. A truck rolls over and blocks national road No.8. The city authorities decide to evacuate all passengers to a nearby elementary school until the scene of the accident is cleared. And here begins another journey, the right one. On this cold winter night just before Christmas, the circle of fifths is formed. Sharps and flats come to life and the major scales turn into minor ones. The pre-Christmas carol is played but it sounds like a confession about what plays in someone’s soul. The unexpected stop makes the nameless heroes think about it. They are made to rethink and revise the goals of their lives. They have to find the answers to question about what they are up to, where they are going and whether it is the right direction. “The Lord God has brought this winter to make us stop, think, meet and talk,” is the motto of the play. This successful adaptation of Szymon Bogacz’s novel The Circle of Fifths (Polish Koło kwintowe) will be performed in fragments and in eleven variously sounding tones. This modern drama helps students develop and demonstrate their acting skills.
26
Poland, Lodz
A COUPLE OF POOR, POLISH-SPEAKING ROMANIANS Language: Polish Length of performance: 1 hour 50 min Author: Dorota Masłowska Director: Małgorzata Bogajewska Set: Maciej Chojnacki Music: Tomasz Krezymon Cast: Milena Staszuk, Marta Jarczewska, Kamila Kamińska, Hubert Kułacz, Tomasz Lipiński, Patryk Pietrzak
“It is the darkest and the most serious play I have ever written. But we have to remember that it is also very funny. It tells the story of two young people who always find their way into somebody’s car, saying every time that they speak Polish very badly. The first part is the story of their chaos and disorientation while the second one tells us about their sudden awakening somewhere in the middle of Poland, about their sudden feeling of loneliness and about what soon begins to be their mental fight for life,” says Dorota Maslowska. The play A Couple of Poor, Polish-Speaking Romanians by Dorota Maslowska depicts a constant struggle with dominant loneliness. Through the journey of the main characters, Dzina and Parcha, the story presents the problems of educated young people to whom their job and career mean nothing more than a way to earn money. The story shows how they deal with loneliness and how they try to escape it. At other times they don‘t even notice each other. This play presents a chance to work on expressive and comic acting, which sometimes even leads to the grotesque.
27
Russia, Saint-Petersburg
HOW CAN I RUIN YOU IF I LOVE YOU MORE THAN LIFE... Language: Russian Length of performance: 90 min Author: Alexandr Ostrovsky Director: Maria Romanova Set: Collective work of students Costumes: Collective work of students Lighting design: Piotr Kasatyev Production: Saint-Petersburg State Theatre Arts Academy Cast: Rimma Sarkisyan, Mark Ovchinnikov, Nikita Volkov, Galina Kochetkova, Antonina Sonina, Filipenko Anton, Artem Loschilin, Anna Zhmaeva, Sofia Nikiforova, Kirill Frolov, Oleg Lukonin, Sergei Volkov
The performance is based on The Storm, a well-known drama by Alexander Ostrovky, a classic Russian author of the mid-19th century. Even though the piece itself serves mostly as source material for improvisation, the basic plot structure stays the same. Katerina, a young lady of romantic soul, is forced to marry the coward Tikhon Kabanov, who is not capable of standing up to his own mother. Miserable and suffering Katerina falls in love with Boris, who comes to visit his uncle. Their dates are kept secret. When an insane old lady predicts punishment for breaking moral values, Katerina reveals her affair and runs away. Her body is then found in a lake. The Strorm was assigned to students as a school project. It is traditionally perceived as a criticism of the dark and gloomy lives of lowbrow townsfolk. The thing that interests young director Maria Romanovova more than anything is the motivation of the characters. She rearranges specific scenes and adds several situations that originally took place offstage. One of the most valuable outcomes is a composition involving everybody in the life of the performance. A composition achieving a relationship with the audience.
28
Scotland, Glasgow
NOTHING TO BE DONE Language: English Length of performance: 1 hour Writer: Meghan Tyler Director: Joanne Thomson Assistant Director: Laura Wooff Cast: Meghan Tyler, Emma Curtis, Francesca Tomlinson, Laura Wooff
Nothing to be Done is an absurdist piece of theatre that explores this quintessential theme – the theme every human being is confronted with. It looks at how we spend our existence every day and asks if ‘just being’ is ever enough. This piece of theatre questions if life is just an extended period of repetitive loitering, or if there’s something more... Nothing to be Done is a Godot-inspired piece which explores the effects of re-living the same day, day in and day out. Modern society finds solace in routine – we go through the motions without questioning what we’ve experienced. Human beings have always searched for the meaning of life. We’ve come up with a number of answers from “God created the universe and had a purpose in doing so” to “life is without objective meaning”. No matter who we are, or what we believe, all of us at some stage have wondered why we’re here. In Nothing to be Done this question is tackled by looking at the play’s main characters – Lulu, who bogs herself down with philosophical questions, and Cece, who ignores and forgets them.
29
Slovakia, Bratislava
MACBETH, PLAY ABOUT BASTARDS Language: Slovak Lenght of performance: 105 min Author: William Shakespeare, Heiner Müller Director: Tomáš Procházka Dramaturgy: Pavol Száz Set: Ľudmila Bubánová Costumes: Zuzana Hudáková Choreography: Marta Poláková, Sumako Koseki Cast: Ferstl Šimon, Andrejcová Katarína, Pokorný Tomáš, Turek Tomáš, Kovalčíková Jana, Mosný Braňo, Kvietik Matúš, Kyseľ Jaroslav, Zeleníková Dominika, Rákovská Anna, Staroňová Paula, Palatínusová Alexandra
The ideological and dramaturgical intention behind the production of the play Macbeth: A Play about Bastards at VŠMU’s LAB Theatre was to change established traditional theatre. This bold interpretation of Shakespeare’s play produced by VŠMU students questions what the essence of masculinity, heroism and free will is. With this production, director Tomáš Procházka triggers a discussion through a contemporary adaptation of Macbeth in which the main motif is a masculine/feminine duality and crisis, or rather a loss of masculine identity. Furthermore, the play paints an unforgiving picture of a contemporary society without rules. The world portrayed is one with no God or king, in which the murder of Duncan is not the result of Macbeth’s pathological ambition, but a catalyst for the total decay of society. Although independently produced by students, this production received an unprecedented response not only from audiences but also from professional critics. It was even nominated for the most prestigious Slovak theatre awards, organized by The International Festival Divadelna Nitra (DOSKY 2013). The production also was successful during the international Shakespearean colloquium “Shakespeare in Central Europe”. The play was also awarded two VŠMU awards: best director and scenography.
30
Slovenia, Ljubljana
CALIGUA: GOING! GOING! GONE! Language: Slovenian Length of performance: 1hour 35 min Author: Albert Camus, adapted by Ana Obreza Director: Tjaša Črnigoj Costume adviser: Andrej Vrhovnik Lighting design: Hotimir Knific, David Andrej Francky Choreography: Stephan Hintze Music:Heiko Klotz Cast: Matija Rupel, Lucija Tratnik, Benjamin Krnetić, Rok Kravanja, Robert Korošec, Nejc Cijan Garlatti, Nik Škrlec, Lovro Finžgar
Tjaša Črnigoj, the director of the play, was already working on a project connected to Caligula four years ago. At that time, she saw him as a person searching for truth in the world, exactly the same thing she was attempting to do herself. She hoped to find truth through theatre, but all her findings appeared to be false up to that point. However, she didn’t give up; she decided to find a way out of and started her quest for “theatre truth”. Her Caligula is not understood; he is trapped in many (mis)interpretations. The staging raises various questions and searches for answers. What seems like an improvised performance is in fact a carefully structured play ranging from personal to political, from traditional drama to pure performance; it invites the audience to become part of the play, but still leaves them in their seats. The everlasting re-staging of Caligula’s experience embodies a young artist’s meditation about their place in the modern society as well as their possibilities; for this reason the play presents itself as a never-ending process.
31
EPILOGUE TO THE FESTIVAL
France, Lyon
THE ARGUMENT, LA DISPUTE Text: Marivaux Art leader: Richard Brunel Asisstent of director: Louise Vignaud Scenography: Guillemine Burin des Roziers, Gala Ognibene Light design: Julie Lorant, Luc Michel Costumes: Carole Nobiron, Cindy Lombard Music: Lola Etiève, Estelle Gotteland Dramaturgy: Catherine Ailloud-Nicolas Cast: Jérôme Cochet, Pauline Coffre, Ewen Crovella, Charlotte Fermand, Thomas Guené, Daniel Leocadie, Clémence Longy, Solenn Louër, Maxime Pambet, Manon Payelleville, Noémie Rimbert, Théophile Sclavis
Twelve nomadic young actors of French school ENSATT mediate viewer dialogue Marivaux, Fellini and Sad. „The man or woman who was first in love unstable?“ It is vexing question. According to Marivaux this was the subject of a dispute that broke out in the courtyard of the Prince. And because the debate was inconclusive, the monarch held secret plan: chose four children who were brought separately in a secret place. Eighteen years later, in the courtyard of the new Prince and his bride Hermiana, the dispute revived. But this time, it is possible to answer the question: just watch the prisoners, who grown up. Observe what happens to the lab rats. Theatre of evidence can begin. Dispute late work Marivaux is a little gem of a theater. Impressive work, in which author deftly weaves his favorite themes: the birth of love, suffering, the connection between knowledge and expressive abilities. Richard Brunel in the work highlights the topics that are constantly engaged in: a monstrosity and an innocence, social oppression crushing individual and vitality of youth. Under his leadership, the actors and creators of 73 year ENSATT invite viewers to real theater adventure. With members of the royal family, the viewers dipped in the intricacies of the dispute. They follow along with Hermianou and Prince strange experiment where Marivaux dialogue with Fellini and Sad. There is no doubt that once the performance is over and the lights go down, the end of the play arouses the viewers interested in discussing a keep perpetual disputes.
32
The Marta Award is a prize awarded at the non-competitive festival. The award does not establish an evaluation order of the individual productions of the main festival programme but rather highlights the most inspiring and innovative artistic achievements of the young theatre artists. The festival jury selects the winners (the jury members are appointed by the dean of the Theatre Faculty of JAMU) and award students in various categories – director, stage designer, female/male performance, dramaturgy, stage music and so on.
33
MARTA AWARD
MARTA AWARD
JURY
JURY Although the festival is non-competitive, the best and most inspiring student artistic performances are awarded with Marta Award by a jury consisting of Czech and foreign theatre professionals every year. Jury offers its point of view and assessment of the particular student artistic achievement. Jury can award four separate awards in any of the following categories: Director, Stage Designer, Actor or Actress, Dramaturgy, Music and Sound design, Screenplay, etc. We are very pleased to welcome these following theatre professionals:
KRISTINA ŽANTOVSKÁ Kristina Žantovská is a dramaturgist, journalist and translator. She graduated at the Theatre Academy of Performing Arts in Prague, Department of Dramaturgy. As a dramaturgist, she has worked in several leading theatres: Vinohrady Theatre, Pod Palmovkou Theatre and Theatre Na Zábradlí. Since 2000 she has worked for Czech Radio, since 2012 Kristina Žantovská has been the chief dramaturgist of the Production Centre.
FILIP NUCKOLLS Filip Nuckolls graduated from the Directing Department at the Theatre Academy of Performing Arts in Prague. Since 2001, he has worked at the Celetná Theatre, where he directed a number of productions (Blood Wedding, Communism, Rosenkranz and Guildenstern are Dead). Filip Nuckolls has performed in major theaters of the Czech Republic: National Theatre of Moravia and Silesia in Ostrava, Theatre HaDivadlo in Brno, Theatre Komedie in Prague. Since 2002, Filip Nuckolls has worked in the Drama Studio in Prague as a visiting director, since 2005 he has become an official director of the theater and since 2011 he has been the artistic leader of the Drama Studio.
34
CHRISTINE RICHIER Christine Richier is an expert in the field of lighting design, she also engages in academic teaching and research in the field of art history. In the field of lighting design she has worked with dancer and choreographer Blanca Li, musical group Les Percussions de Strasbourg, and director Zaza Disdier. She currently teaches lighting design at ENSATT (Ecole Nationale Supérieure des Arts et Techniques du Théâtre). Christine Richier’s work is also dedicated to the Czech stage designer Josef Svoboda, her findings will be presented at the festival for students of scenography.
CHRIS EDMUND Chris Edmund is an Australian director, writer and painter. His directing career counts over 150 productions.He began in the United Kingdom in the following theatres: The Gate Theatre Notting Hill, The Riverside Studios, the Kings Head and New End Theatres. After that, in 1985, he moved to Australia, where he became a pedagogue (teacher) at the leading theatre academy: Western Australian Academy of Performing Arts. Thanks to him, many eminent actors were „born“: (Hugh Jackman, Frances O´Connor). He did not work as a director and teacher only in Australia, he also worked in Singapore, Hong Kong and Brazil. Chris Edmund is a member of jury for the second time. The first time he attended the festival as the member of jury was in 2012, during the 22nd year of SETKÁNÍ/ENCOUNTER.
JUSSI KAREINEN Jussi Kareinen is a senior docent at the program of Cultural Management at Seinäjoki University of applied sciences (Seinäjoen Ammattikorkeakoulu)and theather journalist. He is a member of the Finnish Association od Critics, which was founded in 1950 and which consists of almost 1000 members.
35
STUDENT JURY
STUDENT JURY The new idea of the festival is a student jury. The attitude and view of the young students will bring new dimension to the festival.This jury consists of of students from schools which are E:UTSA members (Europe: Union of Theatre Schools and Academies). The student jury will reward the best performance with the E:UTSA award.
ANDREY ZAGORODNIKOV Student of Drama Directing, who participates in many projects not only as a director but also as an actor. The idea of familiarization of the European theatre is very interesting for him because as a director he needs to know different types of world‘s theatre, different types of acting schools. Finally, he is keen on meeting theatre students from the whole world and theatre professionals – it was the main reason why he has joined the Student Jury at SETKÁNÍ/ENCOUNTER 2014.
LAURA GUHL Student of Dramaturgy, who has also worked in many theatres in Germany. The participation in the Student Jury is an opportunity for meeting theatre students from all around the world who have different cultural backround. She thinks the open cross-cultural meeting is the best way to expand our horizons.
EGLE KIZAITE Lithuanian student of the Theatre Directing, who participates in many international projects and who worked in professional Lithuanian theatres last year. She tries to participate in international projects as often as possible because it enriches her personal experience and lets her see theatre not only as a rich multidisciplinary form of art but also as a multicultural phenomenon.
36
MATEUSZ KORSAK a Student of Acting from Poland, who has participated in several international projects, mostly as a volunteer who took care of participants. He also participates in charity projects in the local theatre. He is very keen on all that is connected with theatre and he enjoys cooperatin with students of other fields, such as scenographers, light designers and many others. He would like to participate in SETKĂ NĂ?/ENCOUNTER 2014 to watch the work of theatre students from the whole world as well as ways of education in different places.
MIRA ASKELUND Student of Acting from the Royal Conservatoire of Scotland, who participates in many projects, not only as an actress. As a member of the E:UTSA, she she was able to take part in festival in Spoleto, where she later brought her own performance. She co-founded a theatre improvisation group in Oslo and participated in improvisation workshops in Canada.
37
OFFPROGRAM
OFFPROGRAM WHO, WHERE, WHEN, WHY TO BE AT ENCOUNTER NIGHTS?
WHO TO BE? Hawaian – Come to become a Hawaian! WHAT? Havajská noc WHEN? 8. 4. 2014 WHERE? Klub Livingstone, Dominikánské náměstí 5, Dům pánů z Lipé The first night will be appointed in a tropical style. You can look forward to a limbo contest as well as to dance and musical performances. And most importantly, you can sample special themed drinks!
WHY TO BE? To be a party animal! Meeting Point Párty – Come to enjoy great concert and other activities and contests! WHAT? Meeting point party WHEN? 9. 4. 2014 WHERE? Klub Melodka, Kounicova 20/22 Brno Meeting point party is the biggest party of the festival nights. Our program offers plenty of choices. To concerts, dancing and crazy accompanying program, bartenders will mix special festival drinks with discount. DJ Schaff plays and band The Prostitutes performs!
WHEN TO BE? – on 20´s – Come back in time to 20´s! – Let´s swing! WHAT? Swing! WHEN? 10. 4. 2014 WHERE? Klub Livingstone, Dominikánské náměstí 5, Dům pánů z Lipé This party will be inspired by the 20s, the the era of swing, but in a more modern concept 38
of this musical style – ELECTROSWING. The participants will be able to compete in a dance marathon with interesting prizes and retro cocktails for participants. At the entrance, a surprise will be waiting for every newcomer to show our appreciation for each and every participant.
WHERE TO BE? – All around the world – Czech Night – Come to explore not just Czech culture but other culture from all around the world! WHAT? Česká noc WHEN? 11. 4. 2014 WHERE? Kunštátská Trojka Café, Dům pánů z Kunštátu, Dominikánská 9 The Czech Night is not going to be only about the Czech Republic. Come and see how the culture of participating theatre schools looks like – especially their national dances. You will become a bit more familiar with the Czech culture. You can look forward to Czech music, drinks, games and much more.
WHY TO BE? – To say goodbye in Texas! – Texas Night – Come to last party of festival and say goodbye in Texas style! WHAT? Texaská noc WHEN? 12. 4. 2014 WHERE? Klub Livingstone, Dominikánské náměstí 5, Dům pánů z Lipé The last night of the festival. The party is a continuation on the closing ceremony of the festival. You can enjoy the line dance and competition in throwing a lasso. Those Who will come in a themed costume, will be entitled to special drinks.
39
PRACTICAL INFORMATION
INFOCENTRE Theatre Faculty JAMU, Brno Room No. 2 Mozartova 1 622 15 Brno Open from 7–12 April every day of the festival. Monday - Friday 9.00 – 21.00 Saturday 9.00 – 16.00
TICKETS Tickets can be bought at the Infocentre 30 minutes before the performance at the latest. If the performance is not sold-out, additional ticket sale will start 15 minutes before the performance at the ticket office of the respective theatre. At off-programme performances, free seats can be taken without a ticket 5 minutes before the start.
TICKET PRICES Main programme: public – 100 CZK students and seniors – 80 CZK students and pedagogues of JAMU – 50 CZK + STUDENTS AND PEDAGOGUES OF JAMU – MORNING PERFORMANCE – 20 CZK
OFFPROGRAMME Off-programme performances are free but it is necessary to collect the tickets at the Infocentre.
OFFPROGRAMME BAND price 30 CZK per band includes:
• Discount at selected restaurants – the list of companies will be available at Infocentre and on the website •
Discounts on promotional ware 10 %
•
Access
40
to
the
VIP
Lounge
Club
Livingstone (applies to final Festival night).
• Offprogramme band is your ticket to all
Encounter nights (except of Meeting point party)
• Offprogramme band is cool!
MEETING POINT PARTY Advance ticket sales for MPP takes place at the following locations: Dalibar (Theatre Faculty, Mozart st. 1) and Tembo (Kounicova st. 20) to 7. 4. 2014. Ticket price: 100 CZK Sale on the spot at Infocentre on days of festival and in Melodka on day of party – 150 CZK
FESTIVAL WARE At Infocentre you can buy these festival ware:
• • • • • • • • • •
T-shirts (men,women) – 200 Kč badge small – 15 Kč badge middle – 20 Kč canvas bag – 100 Kč lighter – 20 Kč glasses – 100 Kč pendant Minimon – 100 Kč earring 1ks – 50 Kč brooch – 80 Kč chocolate S/E 2014 – 30 Kč
CHILL OUT ROOM Theatre Faculty JAMU, open every festival day 9:00 – 20:00 Chill out room is a place for all participants of the festival, who are searching for a quiet place to relax and to rest. There will be free magazines to read, board games to play, table football and a Wi-Fi connection. Soft drinks on tap and beer will be available from our sponsor – Starobrno brewery. 41
FESTIVAL DISCUSSION Every morning, there will be discussions dedicated to individual productions at the Theatre Faculty, in Chill Out Room. The productions performed the previous day will be discussed the morning after. The hosts of the discussion (PhD. students of Theatre Studies) will focus on general questions that should explore the particularities of theatre work, the differences and various methods while preparing a production at the particular school, as well as a more complex view on the school or the overall culture where the production originated. The discussions will be organized in form of breakfasts – the participants will be served coffee and some pastry.
FESTIVAL PREMISES Theatre Faculty JAMU (Infocentre, chillout room, Dalibar, 013) – Mozartova st. 1 Na Orlí Theatre / Music and Dramatic Laboratory JAMU – Orlí st. 19 Theatre Studio Marta – Bayerova st. 575/5 Goose on a String Theatre / Great Hall + Cellar Stage – Zelný trh sq. 9 HaTheatre – Poštovská st. 8d Melodka Club – Kounicova st. 20/22 Livingstone Club – Dominikánské sq. 5 Kunštátská Trojka Café – Dominikánská st. 9 Cabinet Muses – Sukova st. 4
42