SETKÁNÍ/ENCOUNTER

Meeting Point | ENG

Sunset in the mountains
Meeting Point | ENG
19. dubna 2026

Medea Runs Wild in Brno, Wearing an Old Woman’s Mask

This production by the Latvian Academy of Culture offers the festival a distinctive take on the poetics of commedia dell’arte, where traditional character types, masks, and physical acting meet ironic distance and contemporary elements. This grotesque family story, oscillating between comedy and tragedy, demonstrates how a historical form can be approached freely without striving for reconstruction, but with respect for its core principles.

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Sunset in the mountains
Meeting Point | ENG
19. dubna 2026

The mask and its part,  In Comedie dell’arte

What you see when you watch The Dreamers

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Sunset in the mountains
Meeting Point | ENG
19. dubna 2026

The Path of the Spiral

“Imagine your spine as a lighthouse,” says Bibiana Krausková, a performer of movement and expressive arts from Bristol. How can one deepen a relationship with their own body? How can spirals be found in all of their forms? These questions were the topic of the workshop The Body as a Living Instrument: Stories of Spiral.

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Sunset in the mountains
Meeting Point | ENG
19. dubna 2026

Stay or Leave? A Workshop on Democracy as Something That Must Be Practiced

On Friday morning, a semicircle of participants gradually forms in one of the festival rooms for a workshop led by theatre critic and academic Noémi Herczog. In her brief opening lecture, she outlines how theatre can function as a manifestation of democracy. To make her point, she draws on the Hungarian protests of 2020 staged by the FreeSZFE movement.

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Sunset in the mountains
Meeting Point | ENG
19. dubna 2026

Thus With A Kiss I Die: Romeo and Juliet… and Juliet… and Juliet…

Eyes, look for the last time. Arms, take your last embrace.   And, lips, O, you doors of breath, seal with a righteous kiss a dateless bargain with engrossing death.Come, bitter conduct, come, unsavoury guide! Thou desperate pilot, now at once run on the dashing rocks thy seasick weary bark!Here’s to my love.  O true apothecary, thy drugs are quick. Thus with a kiss I die.

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Sunset in the mountains
Meeting Point | ENG
19. dubna 2026

Two’s a Crowd

SETKÁNÍ/ENCOUNTER 2026 is already successfully in full swing; hotel beds are slowly becoming familiar, breakfasts are still hearty, and faces that were once unknown are now at the very least... recognizable. Individual experience is gradually transforming into collective co-experience – have you stopped to realize that there are more of us here, that we aren't alone at the festival? While the lecture Better Safe Than Sorry: How Crowds Really Work at Live Events didn’t focus specifically on this view of togetherness and the co-presence of visitors or, by extension, the audience, it did at least point out several remarkable phenomena that I, as a theatre scholar, seek out and encounter in various forms nearly every day.

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Sunset in the mountains
Meeting Point | ENG
19. dubna 2026

The Camera on Stage

As part of the OFF program of Encounter, the festival ambassador Kamila Polívková also gave a lecture, entitled Visual Storytelling, in which she presented the principles of her work with live cinema and projections, using examples from her own productions. The lecture offered insight into a director’s way of thinking about this topic.

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Sunset in the mountains
Meeting Point | ENG
17. dubna 2026

Actors do weird sh*t

The third festival day of The International Festival of Theatre Schools SETKÁNÍ/ENCOUNTER 2026 kicked off with a workshop called Actors Training, led by young actor Tomáš Weber, who stars in the new adaptation of the fairy tale Goldilocks (2025). Weber, alumnus of the Janáček Academy of Performing Arts (acting) and ambassador of this year’s festival, utilizes not only the techniques of Jerzy Grotowski or Michail Chekhov, but also of his teacher, Oxana Smilková.

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Sunset in the mountains
Meeting Point | ENG
17. dubna 2026

ec dysis crisis, mami: When crisis becomes the norm and you don't know where to look first

Time has sped up, language is disintegrating, and we are constantly chasing after something. The immersive production ec dysis crisis, mami by a student theatre company from the Janáček Academy of Performing Arts abandons traditional theatrical comfort, plunging the audience straight into the vortex of generational burnout and performance pressure. What is it like to find oneself in a space that, instead of an escape from reality, offers a raw and tangible reflection of our own everyday crisis?

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