Petra Tejnorová

• The world has destroyed the border|between private and public.00:00:14.133
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• Ethics, morality, appropriate|behaviour, lifestyle -00:00:17.533
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• these notions dealing with borders|and created by civilization.00:00:20.800
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• One day, the difference between|a touch and a blow starts to disappear.00:00:24.133
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• There is no way back,|and the way out is only open to some.00:00:27.400
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• But who has the right to leave?00:00:30.733
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• What seemed firm and solid|is crumbling and falling apart.00:00:34.133
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• There is an abyss in everyone.00:00:37.400
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• A scary chasm better left without light,|not even theatre lights.00:00:40.733
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• Final project of the Dept of Alternative|and Puppet Theatre at DAMU.00:00:44.333
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• Actors:00:00:47.133
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• Concept and direction:|Petra Tejnorová00:00:51.600
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• Dramaturgy:|Lukáš Jiřička00:00:53.800
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• I look for a theatre language00:01:34.600
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• specific for the group working|on a certain topic.00:01:38.800
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• I enjoy crossing genres,00:01:46.667
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• to stop conforming to|theatre conventions.00:01:49.067
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• My project draws inspiration|from many sources.00:01:53.800
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• It is also inspired by the actors.00:01:59.867
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• We used the method "divising theatre".00:02:02.133
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• It's a method based on|collective work and on process,00:02:04.733
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• where the process articulates|the topic of the play.00:02:09.600
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• The play is a follow up to|Haneke's film "Funny Games".00:02:23.200
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• The film made its way|into the stage language.00:02:27.533
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• Many things are said through video,00:02:32.067
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• which is sometimes used against|the actors and the audience.00:02:35.667
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• The primary goal was to stage|a play about manipulation,00:02:41.200
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• about a search for ways |to manipulate individuals00:02:49.467
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• or a small group of people.00:02:56.200
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• How several people can abuse|or manipulate one another.00:02:58.200
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• I beg your pardon?00:03:03.933
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• You bitch!00:03:11.867
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• Ouch! Stop it!00:03:13.000
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• Why does a woman provoke|until she gets slapped00:03:17.133
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• and then wonders why she was|slapped while she is a woman?00:03:20.067
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• You are all watching|but nobody lifts a finger.00:03:25.133
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• Shut up!00:03:27.133
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• Don't preach!00:03:28.267
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• Have you seen it?|You haven't?00:03:30.733
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• I've been dealing with evil|for a while now.00:03:32.533
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• I think one should acknowledge|we all have our dark sides,00:03:36.600
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• and that you cannot fight it.00:03:42.600
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• But it's important to be aware of it00:03:44.267
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• and to work with it.00:03:46.800
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• I think that extreme situations|or critical moments can change you,00:03:50.067
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• or help you move forward.00:03:57.600
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• Maybe it's related to the fact that|I think one needs theatre,00:04:00.800
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• it shouldn't be just for fun|or intellectual contemplation.00:04:04.400
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• This is why I want to get|the viewer to a breaking point.00:04:09.200
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• It's all about the critical moments.00:04:16.133
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• When you go through something,|and you feel you touched the bottom,00:04:17.467
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• you always have the force|to deal with the matter and move on.00:04:23.800
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• As if you were constantly|looking back at yourself00:04:29.000
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• and seeing yourself at a different stage.00:04:31.733
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• Now it's your turn to bite him!00:04:33.800
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• I don't want to sound|too much like a moralist.00:04:35.400
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• I don't think theatre|should preach about morals.00:04:39.667
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• I think theatre has the potential|to change people,00:04:43.867
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• and thus enable them to move on.00:04:48.933
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• Maybe not in the eyes of others,|but in their own.00:04:51.933
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• The screenplay is written|during the rehearsals00:05:02.333
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• and never reaches its final shape.00:05:06.267
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• The scenario set beforehand|had to be destroyed.00:05:09.067
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• Everything is born from|the storytelling of the body.00:05:12.667
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• To head towards unconventional,|wild and risky expression00:05:16.067
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• means for us to call on other forms|of the actor-audience relationship,00:05:19.667
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• of the collective creative process,|theatre language and meaning of the play.00:05:23.200
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• It's always a challenge and I always|use some patterns, we all do.00:05:50.067
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• I have an idea of where|I want to get to.00:05:54.733
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• But usually, I let the process|take over and bring it elsewhere.00:05:57.933
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• To build the project with|the people from its very beginning.00:06:03.933
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• This is why I chose|the "divising theatre"00:06:06.800
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• and not to depart from|from classical dramatic text,00:06:08.667
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• which is determining, in fact.00:06:11.800
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• It's related to performance.00:06:16.267
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• You chose people who don't|do it perfectly.00:06:19.533
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• You don't want to have|trained people, who give the show.00:06:22.800
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• I hope all of your friends|will give up on you.00:06:30.400
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• Day after day you will|drink alone in the pub.00:06:32.867
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• You will sit there and|drink until you drop,00:06:36.333
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• so that you don't have|to think about it.00:06:39.000
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• I hope that once,|on your way back from the pub,00:06:41.600
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• you will trip, fall|and break your head.00:06:45.467
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• I hope to be passing by|at that very moment.00:06:49.733
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• I will see you laying|there on the ground.00:06:53.200
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• Surrounded by vomit, blood...00:06:55.533
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• Please, save me!|Please, help me!00:06:58.400
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• Please! I'm sorry|for everything I've done to you.00:07:01.400
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• Just help me, please!00:07:03.800
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• I won't help you.00:07:07.733
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• You will surely find someone else.00:07:09.267
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• You will wake up in a hospital,|incapable of anything whatsoever.00:07:13.400
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• A cripple who can't even|piss without help.00:07:17.133
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• He fucked and then he left.00:07:21.667
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• This is the life I wish for you.00:07:25.933
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• My path from the 4th year to what|I do now is a very simple simile.00:07:41.267
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• A potter heads towards a product:|he makes a cup, shows it, you buy it.00:07:46.867
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• In theatre you are heading|towards the opening night.00:07:54.000
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• The divising approach also|functions during the process,00:07:56.733
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• the staged play also evolves when|confronted with the audience.00:08:02.467
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• I always thought theatre|should be as important as bread.00:08:06.333
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• Perhaps this sounds naive.00:08:11.800
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• A person should need|to go to theatre.00:08:17.600
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• You can meet a human being there.00:08:24.667
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• The presence of a live person, of a viewer,00:08:29.000
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• can influence the shape|of what's being staged.00:08:33.600
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• There is space for change.00:08:37.200
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• As a viewer, I am not watching|a final shape,00:08:38.733
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• by being there,|I can bring about changes.00:08:41.667
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• I can influence things.00:08:46.333
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• Petra Tejnorová, born in 1984 in Tábor.00:09:05.533
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• Works on her own projects|and as a guest director.00:09:07.800
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• Currently, she teaches at the Dept|of Alternative and Puppet Theatre, DAMU.00:09:11.533
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• She studies the relationships|between actor and audience,00:09:15.267
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• searches for new roles for theatre|in the contemporary world,00:09:19.067
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• experiments with dramatic conventions|and with physical and documentary theatre.00:09:22.667

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