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

SETKÁNÍ/ENCOUNTER

Taneční adaptace Lysistraty v podání studentek gruzínské univerzity TAFU se žánrově neliší jen co do komunikačního kódu, ale také náhledem na svůj námět. Zatímco Aristofanes vyobrazuje protest žen, které se rozhodnout odepřít mužům sex, dokud se neuzavře mír, jako komedii, zde se perspektiva přetáčí a dochází naopak až k&nbsp;uctění tohoto aktu. Devět tanečnic je při příchodu diváků seskupeno do živého sousoší, pomyslného pomníku, z&nbsp;něhož se pohybově, ale i hlasově rozžijí do „příběhu“ Lysistraty.Choreografie je ve své podstatě narativní a vynořují se z&nbsp;ní zřetelné odkazy na situace napsané Aristofanem. Avšak téma tlumočí především strhující energie, koncentrovaný výraz a silně herecký projev tanečnic. Každý jeden pohyb, každý jejich nádech je hluboce prožitý, od úderů zůstávají na jejich kůži rudé stopy. Jejich zpěv se zabodává, řev ohlušuje.V&nbsp;závěru Aristofanovy komedie dochází ke společné oslavě, při níž už ženy pozbývají svého centrálního postavení. Navrací se na „své“ místo a diskurz přebírají dominantní mužské hlasy – svět je „zase v&nbsp;pořádku“. Na klíčovou úlohu žen v&nbsp;ukončení válečného konfliktu je snadné zapomenout. Tanečnice z&nbsp;TAFU ale předávají jasné sdělení, že by k&nbsp;zapomínání docházet nemělo – jejich hypnotizující výkon se do paměti zarývá bez nejmenších pochyb.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/lPhIWCtinmB0ajabEeJM6yOO5Rx8XE7V" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/ZVGEWoeQ8hCp0BPTA0W6bqbNCoVT46cP" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media>

LYSISTRATA: Reclaimed

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

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

Problems not only of our jury

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

The Most Beautiful Gift

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

Ancient bust in motion

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

Temporary, close relationships in movement

Tanečná performance čerpá námet z&nbsp;pôvodného Aristofanovho diela Lysistrata. Dej sa odohráva na pozadí peloponézkej vojny. Vo väčšine prípadov sa diskusia o&nbsp;vojnách vedie primárne z&nbsp;mužského pohľadu, no práve táto dráma sa zameriava na svet nežného pohlavia, ktoré má v&nbsp;rukách moc ukončiť rozbroje.&nbsp;Táto performance však, narozdiel od pôvodného diela, ani zďaleka nenúti človeka k&nbsp;výbuchom smiechu. Hrubá sexuálna surovosť a&nbsp;vulgárnosť bola nahradená kontrastom medzi neutíchajúcou priebojnosťou a&nbsp;krehkosťou žien. O&nbsp;to silnejšie táto adaptácia pôsobila práve v&nbsp;dnešnej dobe, keď sa Európa nachádza na pomedzí obrovského vojnového konfliktu. Pokiaľ by ste sa snažili nájsť „tú jednu“, ktorá všetko zmení, hľadali by ste márne. Nie je to tak celkom príbeh o&nbsp;Lysistrate. Je to príbeh o&nbsp;všetkých ženách ako celistvom útvare znášajúcom rovnaký osud.Študentky Shota Rustaveli divadlo a&nbsp;film Georgia State University prostredníctvom tanečných a&nbsp;pohybových kreácií dokázali vytvoriť zaujímavý súlad úzkosti, strachu a&nbsp;razantnej priebojnosti. Tieto dámy v&nbsp;sebe ukrývajú neskutočnú silu, čomu nasvedčujú aj červené fľaky na koži&nbsp; spôsobené neustálym bytím sa do hrude, bez strachu zraniť samé seba.Scéna je pomerne jednoduchá, kostýmy dokonale dopĺňajú pohyby aktérok – po vizuálnej stránke nebolo nutné nič preháňať, v&nbsp;jednoduchosti bola krása diela. V&nbsp;neutrálnom prostredí výrazne pôsobilo niekoľko prvkov červenej farby (ktorá symbolizuje nielen krv, ale aj samotný&nbsp; ženský princíp) – tú si v&nbsp;závere diela tanečníčky rozmazali aj po tvári.&nbsp;Popri hudbe sa v&nbsp;inscenácií výrazne pracuje aj so zvukom. V&nbsp;úvode inscenácie deväť prekrásnych žien uložených do symetrického súsošia – s&nbsp;kamenným výrazom v&nbsp;tvári -&nbsp; odspievalo baladickú pieseň. Rovnako tak celkovú atmosféru inscenácie podporujú aj ich výrazné dýchanie či hlasný infantilný smiech a výkriky. To všetko bez zbytočného presýtenia a&nbsp;v&nbsp;absolútnom súlade s&nbsp;ostatnými využívanými prvkami.&nbsp;Celá inscenácia sa teda dá definovať dvomi slovami – jednoduchá krása. Všetko sa odohralo v&nbsp;dokonalom súlade, bez nutnosti nič preháňať. Odkaz jasný, prevedenie zvládnuté. Napokon burácajúci potlesk hovorí sám za seba.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/Dx3nKdPxwh7C0S4bKdSjCfKKoBwQBwGR" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/GUDM5R180baUSVp6EhCCEdyTGlAfo9od" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/iPgxdBtAADkeAnrw9nLEMOS5EYUUotsH" alt="Foto: Bohdan Chrastil" content_type="image/jpeg" type="image"></component-embed-media>

Antická busta v pohybe

Jedným z problémov bolo aj sexuálne obřažovanie nielen na umeleckých školách. Tento fenomén&nbsp; je bohužiaľ stále aktuálny a v inscenáciách sa mu venuje Aminata Keita. Aj napriek skutočnosti, že sa jednalo o vážnu a traumatizujúcu tému, za najsilnejší považujem príspevok od maďarského porotcu Antala Bálinta, ktorý publiku priblížil maďarský kontext a príbeh univerzity bez študentov. Tí odhodlane bránili svoju školu, ktorá v Orbánovom režime stratila akúkoľvek suverenitu. Študenti a študentky z Budapešti sa tak zrazu papierovo stali návštevníkmi iných európskych škôl, vďaka ktorým mohli absolvovať štúdium a získať titul.&nbsp;Problém však nezmizol! Bálintov príspevok poukázal na krehkosť slobody a demokracie v jednej z krajín V4. Zároveň bol zdvihnutým prstom pre naše krajiny, v ktorých populisti často preberajú moc.&nbsp;Akýsi návod ako sa vyhnúť obdobným situáciám som našiel aj vďaka príspevku Sonii Murcii Molinovej, ktorá sa venuje vzdelávaniu mladých ľudí pomocou divadla. Sascha Kühne zase rozprával o skutočnosti, že vnímanie ticha nám napomáha k sústredeniu a hľadaniu nielen nových významov, ale aj skrytých konotácii, ktoré sme si predtým v spleti slov nevšimli. Kühne svoje myšlienky demonštroval aj pomocou jednoduchého obrazu. V jednoduchom a na prvý pohľad nezaujímavom obraze sa po hlbšej analýze objavili farby a tvary, ktoré nám predtým unikali. Ak by som mal teda zhrnúř diskusiu jednou vetou znela by asi takto: Viac sa počúvať, viac sa pozerať a v neposlednom rade sa aj viac SETKÁVAT.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/rjHrcAbEzBCf3VYzkaz3HE11xZxrNXZC" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/EDx8Sj9tQztchDsyE14tZ8Papv0Hqyqs" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/pTcOqdBEhP8nC7K8WOzd2rhImJ91BTKo" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media>

Problémy nielen našej poroty

This parody of musical theatre, which features live music, presents musical theatre students in London, none of whom are native Brits. Over the course of the show we learn the details of their varied, always interesting, and witty interests and traditions from their respective homelands. During the show there are notes from a keyboard, flute, and guitar.&nbsp;Although the whole format of the show was Anglo-centric, each contestant had a musical performance in their native language. Thus, different languages are heard: French, Italian, Portuguese, Slovak, Spanish, but the meaning of their words remains hidden to the viewer because the subtitles deliberately did not translate these languages. All the lyrics were given in the original. The London dialect of cockney was heard, as a specific kind of language spoken by British 'natives'.At the same time, we also learn how the contestants are chasing their glamourous dream of living in England. Watching the contestants, their diverse backgrounds and traditions, perhaps reveals that Britain itself lacks an identity. Meal deal, fish and chips, queen's queue, pouring tea, or Big Ben. Are these real traditions or touristy knockoffs? Are they not remnants of what is, in the end, a mere ornament, Britain simulating itself? So what really constitutes the identity of the United Kingdom? Let's hope it's not just this exploitation of foreign cultures and their absorption by the great hegemon called Britain.<component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/9vRCrGfWpnOiwNpDNVQTc9uB1STmj1OH" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/Ss6v4XzzQbj033gyRaKaKunDTrS9BKy8" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/6AL0MXS3H5tTeihmmL4pcal1rahtCMEp" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media><component-embed-media src="https://s3.eu-central-1.amazonaws.com/mediaboard-publishing/blogs/yRB6BZJbr3X6zl3EiJ68VPFpERNwBYio" alt="Foto: Hanka Ptáčková " content_type="image/jpeg" type="image"></component-embed-media>

LYSISTRATA: Reclaimed

LYSISTRATA: Reclaimed

Problems not only of our jury

The Most Beautiful Gift

Ancient bust in motion

Temporary, close relationships in movement

Antická busta v pohybe

Problémy nielen našej poroty

The Estrada competition, which will be won by the one who assimilates the best