Meeting Point 05 EN

SETKÁNÍ/ENCOUNTER 8–12 APRIL 2014

MEETING POINT 12 April 2014 | 05 | EN

SETKĂ NĂ?/ENCOUNTER 12 APRIL 2014

editorials

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main programme

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offprogramme

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party

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little nothing

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programme

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infocentre

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instagram

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photoreport

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MEETING POINT 24th year of the International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 8–12 April 2014 Editor in Chief Martin Macháček

Vice Editor in Chief Karolína Vyhnálková

Assistant of Vice Editor in Chief Kateřina Uhrová

Redactors Kateřina Balíková, Patrik Boušek, Jasmína Finkeová, Michaela Havlíčková, Jiřina Hofmanová, Tomáš Kubart, Marek Lollok, Kateřina Málková, Katarína Marková, Karolína Svitálková, Miriam Šedá

Translation Lenka Drbalová, Dominika Kováčová

Proof Reading of Czech Version Klára Englišová, Jan Krupa

Proof Reading of English Version Adrian Hundhausen

Typesetting Martina Víchová

Photographers Václav Mach, Pavel Nesvadba, Petr Chodura, Romana Juriňáková, Michal Novotný

Organizer Janáčkova akademie múzických umění v Brně Divadelní fakulta Mozartova 1, 662 15 Brno IČO: 62156462 DIČ: CZ62156462

Toys and hideouts in Brno The umbrella, the fashion accessory, or the blockage of arterial bleeding (as stated

by Miriam Šedá in the bar last evening) – all of this is Meeting Point this year.

While thinking about all the situations in which this common but practical tool can be effectively used, I have completely forgotten about its essential intellectual quality. Therefore, I aim to be intellectual in this, the next-to-last Editorial. Finally, I will shed more light on what our editorial IS NOT. The end of the festival is approaching and I have concentrated exclusively on the material side of our effort so far. It is like writing a poem about the harvester and not praising the diligent laborer. I will try to fix this fatal error in the following lines.

Believe it or not (including those who normally avoid the editorial as a genre), I will be writing the truth for a while. As a result, I recommend this reading for the widest possible readership. Kája Vyhnálková and I were thinking about the main point of the Meeting Point long before the start of the festival SETKÁNÍ/ ENCOUNTER. The moments of creative silence in the conference rooms, which regularly ended with kilometers of blank pages and ink spills, led us to the right solution! COMPETITION! It was so illuminating that we gave it up and replaced it for the higher good in the end. Now, I will dare to announce one small competition. The person who finds a golden earing with 4 pearls (3 small and 1 big) will be rewarded with an invitation to a drink by the original owner.

Hint – a magnifying glass is not necessary and you should be looking around JAMU ( +/- 5 kilometers).

Martin Macháček

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EDITORIALS

Editorial No. 6

MAIN PROGRAMME

NOTHING TO BE DONE SCOTLAND, GLASGOW Meghan Tyler Director:

Joanne Thomson

Assistant Director: Laura Wooff

Costumes: Lisa Bertellotti Music: Selection Lighting Design: Laura Wooff First Night: 19/8/2013 Cast: Meghan Tyler, Emma Curtis, Francesca Tomlinson, Laura Wooff

Are We All “Bitches”?

– Let’s do nothing...

– I don’t know if I’m doing nothing right...

– What is nothing? A Verb? A Proverb?

– But it is physically impossible to do nothing...

An absurd play, presented by the students of the Royal Scottish Academy of Music and Drama, is concerned with one question – whether to “be” is enough of a motivation for human existence. The main characters, the two girls Lulu and Cece, are constantly in verbal confrontation. They even argue about whether it is a disagreement or a mere discussion.

Wordplay. That’s what it’s all about between those girls. One says something, the other catches it and they start to mull it over. The never-ending cycle of dialogues between Lulu and Cece resembles the debates between Rory and Lorelai from the Gilmore Girls. Their amusing debates are absurd, with a fast pace. In time, the audience may lose track of what it was actually all 6

about in the first place. The creators of the production point to the fact that repetitive, daily routine is present in human lives.

Here, it is interrupted by a couple of other absurd characters. A superficial madam with her “bitch” on a leash. According to her, this creature has no right to be human, and therefore she treats it/her as a dog. At some point, there is a “bitch-revolution,” but it has no results because of the “bitch’s” own decision.

The action takes place at an abandoned train station, covered in litter, where no train would likely ever stop. One simple bench can serve as a place to rest or hide from peculiar strangers. Both lead actresses are dressed in slightly tattered clothes, so they almost “belong” at the “filthy” station. In contrast to the rich madam, dressed all in white with a fancy hat, high heels and red lipstick, they look like homeless women.

And they probably are.

To schedule an absurd and existential play on the penultimate morning of the festival and after a Let’s Swing party might have seemed to be somewhat “challenging.” But I have to note that the performance Nothing to be done is pleasantly lightened up with various jokes that depend predominantly on excellent performances by all four actresses.

Kateřina Balíková

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„Why Are We Here?“ / „Mind the Gap“

The title of the play, whose author is one of the performers, suggests that it is an absurd drama. The author was inspired by the first line from the play Waiting for Godon uttered by Estrogen, “Nothing to be done.” In contrast to Samuel Beckett‘s play, this play is not about the aimless waiting for something what never comes.

Two girls, Lulu and Cece, are waiting for the train, which is not coming and, most probably, will not come at all. The raised stage looks like an abandoned train platform. One can only see the bench, the dustbin, the old suitcase and a little of garbage. The actresses does not need anything else. The emphasis is moslty laid on the text.

Lulu mostly contemplates the future and the past. She takes care of forgetful Cece.

Cece‘s loss of memory stands for the motif of repetition in the play. Lulu wants to light up a cigarette every day and Cece has always the same broken lighter. Or, on some other occasion, when Cece wakes up and slowly comes to realize with whom she lives, they try doing “nothing.” Seriuos Lulu asks a lot of existential questions about the neccesity of change – how the change may be really good, even vital sometimes. Cece, on the 8

onther hand, is playful, more naïve and lives only for the moment. The symbiosis of theirs is thus reached. The egoistic relationship between Happy and Tits is presented in a contrasting manner. The white “lady” wearing a hat and sunglasses does not only lead Tits on the lead, but she can also call her “bitch” whenever she desires. Tits is also very elegant and her clothes match with the clothing of her lady. She is simply made to look like she. Although she tries to revolt and strangle her, in the end she just smartens up, gives her back her handback and hat, smiles and lets her lady manipulate her again.

Katarína Marková

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THE CIRCLE OF FIFTHS – FRAGMENTS POLAND, CRACOW Szymon Bogacz Director: Aleksandra Popławska Script Editor: Aleksandra Popławska Set: Paula Grocholska Costumes: Adam Kasjaniuk Music: Anna Maria Janicka First Night: 11/10/2013 Cast: Alicja Karluk, Anna Paruszyńska, Ewa Porębska, Lena Schimscheiner, Maciej Charyton, Marek Grabiniok, Mikołaj Jodliński, Kamil Mróz, Michał Nowak, Damian Strzała, Kosma Szyman

“Cracow? I‘ve Never Been There....”

The initial situation is clear and promising.

Because of a snowstorm, a group of individuals are evacuated to the gym of the Franz Kafka school, where they are forced to spend the night together. It is the night before the Christmas Eve. The fact that the cabin fever motif which incites the characters to tell their personal stories will, most probably, never come across as original could have been ignored, had the performance built up the desired suspense, or the tempting atmosphere of the promised Kafkaesque absurdity and hopelessness.

We all have our own unresolved life stories, but one such collection of stories is not enough for the play.

The producers of the play must have been tricked by the dramatization itself. The fragmentation of the story into segments according to musical tonality might work in the novel on which this play is based. This fragmentation and the unfinishedness of 10

the story, however, lessen the possibility for dramatisation and emotional impact.

The ending – the release of the overnight guests from their quarters – does not help to overcome this disadvantage.

Although the stage setting is rather problematic, the audience is kept in suspense by the spectacle of the young Polish actors feeling their way through it. There are a few scenes which have the potential to create a bloody psychodrama, for instance the smokers‘ discussion of their last wishes, the demonstration of repressed aggression and aversion between the school director and his wife (or the surprise of seeing that your boss can turn up even in a Polish play). Because of its eloquence, the role of the robber is probably the most effective. His floating above the earth and his old acquaintance from a long-ago-planned robbery are intertwined with slow, smooth monologues about robbery. To some extent, it seems as if it were taken from Fight club. He is actually one of the few characters whose story is resolved – instead of adopting the manners the society, he cuts his wrist in the school toilets.

The circle of fifths thus remained a circle.

It did not rise, fall or aimed for a clear but unhappy ending. The aroused nun, the drunken priest, the depressed manager and the excited truck driver returned to their everyday lives and problems, just like the audience. The impressive stage show left them stuck in a rut. Snow keeps falling. It covers the melting figures and the melancholy of their souls. Speaking of us, the audience: we slowly return to cold light of a Friday afternoon.

Jiřina Hofmanová

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The Night Was Too Long, the Play Was Too Long

An energetic school director welcomes the victims of a highway accident into the musty, newly-reconstructed gym. They are offered shelter, warmth and homemade food – borscht and sandwiches. An extraordinarily long night full of odd, probably unreal, life stories is just about to start.

It might have been the language barrier, as our Polish colleagues sitting one row ahead were evidently having a lot of fun. But maybe the misunderstanding has nothing to do with language.

The evening just before Christmas and the following night are marked by a cliched musical background, be it White Christmas or Silent night. Unlike the life stories, which are dispassionately narrated by the victims, the Christmas carols incite love, calmness and comfort. Even though the performance is quite clumsy, the desperate characters are played by quite promising actors.

The play is often realistic, except for the mirror scene which distorts the characters.

Their life stories and ideas are as twisted as their reflections, be it the furious truck driver, the perverted robber, the loving nun, the panty sniffer, or the funny drunken priest.

The more stories are told, the more the initial, insincere, and idyllic gym setting falls apart. People are eating, drinking, talking, cutting their wrists with razors in other words, waiting for Christmas Eve to come, each in a particular way. Finally, they will be able to escape, or rather flee from this forcibly created situation into the 12

snow-covered village, which is continually depicted in the background.

Sadly, the discussion between the director of the school and his wife taking place in the gallery above the stage is easily missed due to lack of prominence and bad lighting.

Nevertheless, this side-scene can get by without the pointless talking which seems to everywhere in the other scenes of the performance.

A few hours after the performance, there are still some names stuck in my head, namely Franz Kafka, Helenka Vondráčková and Psychosanta. The other characters have no chance to survive in this kind of company. What is more, these names were only randomly mentioned.

Kateřina Málková

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THE CONFESSIONS OF FELIX KRULL, CONFIDENCE MAN THE CZECH REPUBLIC, BRNO Thomas Mann Director: Lukáš Kopecký Script Editor: Martin Sládeček Translator: Martin Sládeček Music: Martin Holoubek Lighting Design: Petra Konvicová Graphics: Anna Stránská First Night: 9/2/2014 Cast: Zbyšek Humpolec, Jakub Rek, Ida Sovová, Alžbeta Vaculčiaková, Libor Stach, Jan Řezníček, Sarah Haváčová, Lucie Ingrová, Táňa Malíková, Vojtěch Říha

Felix Krull Leaves Behind a Confused Viewer The first intention of the writer of “Felix Krull, Impostor” was to convince the world that Mann was not a “heavy-handed philosopher.” Heavy-handed he certainly was not, but this production did not rid him of the label writer-philosopher. Mann‘s theme of the thin, easily-crossed line between the imperative of social roles and the true self is introduced in a lighter form, but it is still there.

As in the case of other productions, it is impossible to criticise the choice of theme for performance – the eternal question of whether our deeds and emotions are truly ours, or a mere result of the roles that we play (and not only the articulated ones).

This leads to the question of whether we still have a chance to be ourselves – or whether we even desire this - in a world that wants to be deceived.

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The performance does not answer this question, and that was not its intention.

But at the same time, the crook, however energetic and charismatic, does not manage to do what he does best – and that is to deceive the world. It is difficult to establish the reason for this, even thought there are some hints.

To take a classic and re-present it poses a challenge, especially if its language is difficult. Maintaining the authenticity and meaning of the whole work is obviously crucial, but a certain shift with regard to language and sentiment has to be taken into account. There is a danger that the final script will sound unnatural and fettered. As a result, the actors may appear unconvincing and artificial in their roles, as if they were reciting passages from a book. And during most of this particular performance, the viewer has a strong sense that he would much rather read the dialogue for himself, from a book.

On the other hand, we encounter the popular question of whether it is even possible to satisfactorily transform an original work.

Whether it can be successful with Thomas Mann is as disputable as with anybody else.

The fact is that after the impressive ending of this performance, the spectators remain slightly confused and ask themselves whether the subtle indication of parody was a deliberate part of the play or an unwanted stumble.

Michaela Havlíčková

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A Very Serious Krull

DIFA JAMU‘s own ensemble introduced itself on the penultimate day of the festival with a performance “Felix Krull, Impostor.” Choosing this production for an international presentation was quite bold. It is the first Czech interpretation of Thomas Mann’s novel, translated and dramatised by Martin Sládeček.

The theme of the human-chameleon seems to be attractive to every age.

This topic occurs in various versions in a number of prominent works of the 20th century – Havel’s Hugo Pludek, Hrabal’s Jan Dítě or Allen Leonard’s Zelig could be Krull’s relatives. But Mann’s Krull conceals many pitfalls – not so much its archaic tone as Mann’s unique style. The poetry and humour that are usually evident in Czech translations of Mann (and this is also mentioned in the programme) are truly distant from our tradition.

Director Lukáš Kopecký decided to rely on a strong and uniquely balanced but diverse ensemble (judging by my own experience with their different performances) starring Zbyšek Humpolec – with his somewhat aristocratic features, diction and movement – in the main role. He manages to maintain this character, and despite the intangibility that is ascribed to the part, he still has a serious, speculative expression in one of the two main aspects of his delivery – the more civilized monologues addressed to the audience, in which he comments on his life and his actions. (Krull’s own involvement in the story is the other aspect).

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Mann’s intellectual stylization was expressively visualised through the set and costumes by Monika Urbášková. A large, light, transparent wall enables the stage to be extended or limited, and at the same time provides space for “behind the scene” visualizations. One of the most powerful moments is a dance scene for the German elite, a scene where Krull is seduced by the dominant Diana using whips, as well as battle between a bull and a toreador.

The shortcoming of the performance is its detachment and the aforementioned lack of humour.

Marek Lollok

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OFFPROGRAMME

If We Don’t Understand Each Other – Then No One Does, Do You Understand?

Empty screen in the dark and two laps. Two actors in a bed. Two stage directors by the equipment. Two languages in a space. They have to be two – only that way can there be a conflict.

I hope I understand...

Gripped by the silence.

The audience is mute. They witness the course of one day in the life of one couple. Each perhaps has different views about life, but they cannot agree on them.

Understandable.

When they start speaking, they miss. Only when they don’t speak, when silence settles between them, only then is it as if they had a chance to understand. There is an unused field of communication dividing them.

And it will be laid waste.

Film devices transported onto the stage enable the audience to continuously cut out impressive images.

The stage divided into two halves.

Darkness between the walls and a lamp in the dark, shining straight into the audience.

A unity.

A Scene across half of the stage, simulating the living environment of the characters.

Half-unity.

Zoomed shots from a camera projected onto a screen on the other half of the stage.

Detail.

Choose for yourselves what you want to look at, what you want to understand.

Confused?

Fiddle-dee-dee!

Choose for yourselves what you want to look at, but choose fast – no one is going to wait for you, there is no mercy for anyone.

We go back to discourse as the basic communicative channel.

A slop of words has, however, no value and the shared life of the characters drowns in it.

Deadlocked, persistently silent.

The inability to communicate as a lifestyle.

No input.

Patrik Boušek

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To Be Cyrano, Romeo or To Stay “Ordinary”?

WHO...to be? Is not only one of the main questions of the festival, but also the title of a street theatre production. On Náměstí Svobody, under the clock on Česká Street and finally on Jakubské náměstí, eight firstyear dramatic acting students performed an original play.

This time, the subject of the offprogram was a love duel between two well known theatre lovers, Cyrano and Romeo, set in contrast to an ordinary boy. They both try to convince the girlfriend of the “ordinary” boy that only one of them is the right one.

They let their egos speak, and the scene ends with a swordfight. A likeable brunette, who might or might not be part of the performance or not, chooses her “ordinary” boyfriend. The boyfriend who concisely remarks: “They would both die for your love, but I would live for you.”

What I enjoy about street theatre is the reaction of people. It is certain that every performance is going to be different, even with the same actors and the same script. And even though the production is based on a simple foundation, passersby nevertheless stop and enjoy it.

Karolína Svitálková

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Professors’ Meeting – a Rally of White Crows

This year’s festival SETKÁNÍ/ENCOUNTER had two teachers‘ meetings scheduled.

The second one took place Friday morning, again on the premises of the Divadlo na Orlí studio. Surprisingly, more people participated than at the introductory meeting. In my opinion, the reason behind this is the fact that the meeting was accompanied by a performance by the student organization E:UTSA. The lecture that was originally meant to last four hours was eventually shortened to less than two. The general introduction to the essence and purpose of the organization was followed by a discussion.

The atmosphere was, as at the first meeting, very friendly. Among the visitors were not only professors, but also several students from international faculties and members of student jury. However, after nearly two hours, most of the attendees suddenly left to attend a performance. This obviously interrupted the scheduled program of the presenter Piotr Cieslak and they therefore hurried to arrange a new date.

Karolína Svitálková

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Twenty First Century Performance Reader

Noel Witts has been commissioned

by Routledge to compile a collection of writings by the most important performance (theatre, dance, music, performance art) artists of the Twenty-First century, and he would like suggestions as to which artists he should include. He would also like an indication of where he can find writings, blogs, interviews etc. with particular artists. Any suggestions will be acknowledged, and the book is due to be published in 2015, so he would be grateful if you would email suggestions to him at: nwitts@btinternet.com.

With thanks in advance for your interest.

Noel Witts Postscript: Noel Witts is together with Teresa Brayshaw co-editor of third edition of The Twentieth Century Performance Reader that has been launched during the festival SETKĂ NĂ?/ ENCOUNTER to the public. The Twentieth Century Performance Reader has been the key introductory text to all types of performance for over fifteen years. Extracts from over fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art form an essential sourcebook for students, researchers and practitioners.

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...This Was Filled With Emotions

The main topic of Friday’s discussion was the difference between the Russian and Anglo-Saxon productions. The St Petersburg ensemble was represented by one of the actresses, whose responses and suggestions were translated by her colleague from DAMU. “Working on the performance, above all, changed the way we look at ourselves. It was directed by the students themselves, who wanted a contemporary approach to Ostrovsky.”

The Lithuanian professor brought up the topic of the study programmes of the St Petersburg school which had performed the Ostravsky drama. Robert Gordon enthusiastically congratulated to “students and their pedagogues for the work that they have done.” In his own words he saw in the staging the positive influence of Stanislavsky and Mejerchold. “I see it inside the work...in western countries, we often have problems with expressive postmodernism... but this was filled with emotions. Simply: bravo!”

Director and Professor Paule Bourne remarked that he likes the Russian style of staging because it allows the preparation of the performance to last, for example, 18 months, in contrast to the practices in western countries. There, the time devoted to rehearsal is about 5–6 weeks. His colleague Robert Gordon added: “It’s like that everywhere – in the States, in Britain, France, we simply have 5–6 weeks per performance.”

Another professor commented on the dilemma concerning the preparation of a performance: “Sometimes, you just have to do the project right then, in that particular 22

moment, and not protract it.” “It was very inspirational,” was the way another debater complimented the Russian crew.

The ensemble from Antwerp expressed its thanks to the presenter for preparing the performance in English. Performer and author Nina Herbosh added: I wrote it in September and then kept rewriting it...the audience continue to interpret it in different ways and find their own meanings, and I say: Sure, that is there.”

The Slovenian Caligula was similarly praised by the debaters. Like the majority of the ensembles, the one from Ljubljana chose the method of collective rehearsal in a neo-vanguard style: “Everyone had a chance to say how they imagined it, how they felt, what they wanted to do with it.” The Belgian women spoke about a different method than the one mentioned by the Italians the day before. “Are you Caligula?

And she said “Yes” and that is the reason for the real cigarette burn.”

Prague’s phenomenal War was in production for over two years. “The first part of the performance is a carnival. We visited one and observed how they moved etc. then we listened to the music, the recording of Burian’s original performance, and tried to take inspiration from it.

Tomáš Kubart

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PARTY

Czech Night? Not Much!

Discussions full of smoke went back and forth – noise and noise and noise and puff.

The courtyard of Dom panů z Kuštátu was full of people. Debate circles and squares were, more or less (mostly more), puffing and the smoke formed in the circle of fifths was going up to the clouds. Needless to say, it was often minor-scale drunk.

The dscussions were about kefir, stereotypes and camels.

The fresh air was gradually and unmercifully pushed aside to make space for the atmosphere of intellectual discussions.

Cymbalo music „here we fucking go!“ Go, Scot! Go, Scots!

The hall of café Trojka was overwhelmed by the Moravian cymbalo music band Midnight Coffee Seession.

The chairs reserved for various nationalities smelled after ″Czechdom.” Poland was the only one to offer the special way of the consumption of vodka, cucumbers and meat – vodka and cucumbers in halves.

Czechs offered the card game “šoi šoi” in return. Therefore, vodka, rum and the peppermint were pouring!

The cymbalo music band played some traditional Slovak folk songs, too. “Á la To ta heľpa!”

The passers-by could have thought that it was some kind of jazz improvisation.

Scots were amused.

While swarming by the bar, the discussion groups were formed and they all shared the waiting for the “beer-ot.” Some promising debates, however, ended up in the bathroom.

In the Minus trojka, promising young directors and editors were dancing on the chairs. The music was strange, though.

Incredible experience indeed.

Jasmína Finkeová, Patrik Boušek

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Not long ago, I encountered something I privately call “the gig with drunken (non-) sculptor in Brno,” which happened to become the prelude to the weirdest experience.

Brno is really “dangerously” artistic town.

“May – the time for love,” repeated another suitor over and over again. I politely ignored the talk about the garage and the regular pounding of the mattress as I noticed the “pleasant” tattoo covered by the sleeve.

The moment might have been really romantic, were it not for the crooked tattoo of the unicorn on his hand. The “May piper‘‘ slowly turned into the sweating monster. There was no option for me but to add “It‘s still April...”. Afterwards, he was shocked. Nevertheless, this encounter gave me a kick and I went to park to observe the euphoria of the blooming trees.

All buds are opening (sometimes the smaller ones, too). I would like to remind you that my arrival in Brno was incited by the insatiable terrible desire to make fun of much more serious issues. As a result, I swore to myself that I will not remind my suitors standing under the spreading fruit trees that, in this time of the year, the pollen is extremely allergenic and deadly when treated carelessly.

Afterward, the first-class queer jogger ran through the cascade and his massive headphones were spreading positive vibrations of the song Love is in the air. The voice of John Paul Young reminded me of my friend who loved to repeat his pearl of wisdom, “When two, three, or more love one another – everything‘s always pretty.”

I immediately wanted to engage in the threesome, or to look for a symbiotic relationship. To cut a long story short, I just wanted to find my shamrock. I ended up in Tro3jka, though, and my partial disappointment was replaced by Čtyřlístek (eng four-leaf clover, Czech comic book).

Miriam Šedá

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LITTLE NOTHING

Who – To Become in a Symbiotic Relationship

PROGRAMME

PROGRAMME APRIL 12 SETKÁNÍ/ENCOUNTER 9:00 Discussion with a breakfast

Chill out room

12:00 Germany, Hannover [WJ]

The Wardrobe

Na Orlí Theatre

15:30 Germany, Hannover

The Wardrobe

Na Orlí Theatre

18:00 Closing ceremony [WJ]

Goose on a String Theatre

20:00 Texas Night

Livingstone Club

The list is subject to change.

[WJ] – Way of Jury

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INFOCENTRE

INFOCENTRE Theatre Faculty JAMU Room No. 4 Mozartova 1 662 15 Brno Open from the 7th to the 12th of April 2014 Monday–Friday: 9:00–21:00 Saturday:

9:00–16:00

Infoline: +420 733 127 612

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 sales 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 Kč students and seniors – 80 Kč students and JAMU pedagogues – 50 Kč Offprogramme: Off-programme performances are free but it is necessary to collect the tickets at the Infocentre.

Meeting Point Party: In advance – 100 Kč On the spot – 150 Kč

THE OFFPROGRAMME WRISTBAND Price 30 CZK per band includes:

•

discount at selected restaurants (the list of companies will be available at the Festival Infocentre and on the website)

• •

discounts on merchandise 10%

access to the VIP Lounge Club Livingstone (applies to final Festival night)

• ticket

to all Encounter nights (except 27

Meeting point party).

The Offprogramme wristband is cool!

FESTIVAL WARE At Infocentre you can buy this festival ware:

• • • • • • • • • •

T-shirts (men, women) – 200 CZK Badge small – 15 CZK Badge middle – 20 CZK Canvas bag – 100 CZK Lighter – 20 CZK Glasses – 100 CZK Pendant Minimon – 100 CZK Earring Minimon 1pc – 50 CZK Brooch Minimon – 80 CZK Chocolate S/E 2014 – 30 CZK

FESTIVAL PREMISES Theatre Faculty JAMU (Infocentre, Chill Out Room, Dalibar 013) – Mozartova st. 1 Na Orlí Theatre / Music and Drama Laboratory JAMU – Orlí st. 19 Theatre Studio Marta – Bayerova st. 575/5 Goose on a String Theatre – 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

CHILL OUT ROOM Theatre Faculty JAMU, open every festival day 9:00–20:00 hod.

The chill out room is a place for all the 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 and beer will be available on tap in the chill out room from our sponsor – Starobrno brewery.

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INSTAGRAM

INSTAGRAM • follow us on Instagram!

• account: setkani_encounter • hashtag for your photos #festenc14

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PHOTOREPORT

PHOTOREPORT FROM FRIDAY

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