O něco horší než Romeo: tragédie z rozmaru

• It is an exhibition and a theatre performance.00:00:35.447
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• It was created because here in MeetFactory we function00:00:41.105
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• as an institution of four dramaturgy departments.00:00:45.419
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• In all grant applications we mention it has been very exciting00:00:48.862
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• when the four dramaturgies meet,00:00:52.753
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• when fine art influences theatre, theatre influences music and so on.00:00:55.767
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• So we thought with Karina it would be nice to make it really happen00:01:00.506
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• and to try to create something together,00:01:06.125
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• to make an exhibition and a theatre play in one piece.00:01:10.073
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• So that was our basic challenge.00:01:16.268
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• We drew inspiration from several texts00:01:33.959
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• and all components reacted to each other.00:01:37.654
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• Last summer Matěj suggested that we could adapt Shakespeare's Romeo and Juliet.00:01:41.022
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• My reaction was it would be good to add for example Soren Kierkegaard's00:01:45.815
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• "Diary of the Seducer"00:01:50.832
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• in which he deals with the same theme00:01:53.518
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• of love and seducing but from a completely different perspective.00:01:56.377
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• It's a perspective of a philosophical and an aesthetical00:02:00.166
• Then we involved another text by Juli Zeh00:02:05.696
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• and we managed to create one story from the three texts.00:02:09.648
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• It's a story about love but at the same time00:02:14.534
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• about certain cycles in which we all move around.00:02:16.766
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• Not only us but also historical and literary characters,00:02:20.464
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• it's a circle of falling in love,00:02:24.187
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• becoming enthusiastic about something, then waiting,00:02:27.575
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• culmination and being disappointed and then it all starts again.00:02:30.296
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• All this goes on at rather poetic,00:02:34.948
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• somehow embarrassing and naturalistic levels all over again.00:02:38.591
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• We wanted to take hold of it somehow and we00:02:46.186
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• decided to ask Jan Haubelt to work on the visual part.00:02:48.586
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• He created a very monumental sculptural installation which also00:02:53.001
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• works as a separate exhibition unit.00:02:57.447
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• In a co-operation with Jiří Thýn we made lights to the exhibition.00:03:01.047
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• But the theatre performance has the same focal point,00:03:06.969
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• the sculptures reacted to the texts and actors00:03:11.389
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• the actors reacted to the sculptures.00:03:14.411
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• We wanted to create a meaningful whole if possible.00:03:17.166
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• After asking Jan Haubelt to co-operate with us,00:03:28.662
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• I decided to call in Halka Třešňáková,00:03:32.136
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• an actress and a performer who I have known for ages.00:03:38.177
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• She is not only an interesting actress but she is also willing00:03:42.004
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• or happy to co-operate on the performances as an author.00:03:48.612
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• Since winter we were meeting up with with Karina, Jan and Halka00:03:55.209
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• and we slowly came up with the final result.00:04:00.805
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• Regarding our choice of Shakespeare's Romeo and Juliet,00:04:07.527
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• as we decided for quite a complex structure00:04:11.686
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• of art, theatre and experimental work,00:04:16.933
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• I felt we should base it on some well-known work,00:04:21.548
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• so that's why we went for Romeo and Juliet.00:04:26.892
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• We wondered what would happen with the story if00:04:35.898
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• we dealt with it now and here in MeetFactory.00:04:39.960
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• I guess this year's summer is really full of love,00:04:43.698
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• they play the real Romeo and Juliet at the Prague Castle00:04:49.345
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• and here we play kind of an alternative,00:04:54.373
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• something a bit worse than Romeo and Juliet.00:04:59.263
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• Another interesting moment which fitted in is that Viktorie Čermáková,00:05:16.667
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• who directed the theatre part of this project,00:05:21.907
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• formerly an actor, today primarily a director,00:05:25.876
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• is known for getting into theatre when she was only 14 years old.00:05:30.047
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• She has always loved Romeo and Juliet,00:05:36.483
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• and at the times of deep communism she came to the theatre A Studio Rubín00:05:40.739
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• and she said: "Hello, do you play Romeo and Juliet here?"00:05:45.031
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• And Eva Salzmanová who played the role of Juliet back then00:05:48.496
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• said they did.00:05:51.864
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• It was quite an avant-garde performance for that time.00:05:52.082
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• So she went in and since then00:05:58.926
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• she has not abandoned theatre.00:06:01.082
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• Although she loves the play very much,00:06:03.156
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• she had never directed it before.00:06:05.727
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• So we could say it is a fatal matter in this case.00:06:08.374
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• I'd like to say something about the sculptures made by Jan Haubelt.00:06:47.460
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• He based on the principles he usually works with but00:06:52.071
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• at the same time he adjusted them to the theatre.00:06:58.341
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• I guess it must have been an interesting experience for him.00:07:01.585
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• A kind of chessboard was created here,00:07:04.624
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• a play of characters and shapes originally inspired by00:07:07.139
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• Karel Teige's collages made for Vítězslav Nezval's Alphabet.00:07:11.779
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• The alphabet is being portrayed by gestures through dancing00:07:16.554
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• and Jan Haubelt adjusted the motives and made them into a universal face00:07:23.656
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• representing the actors who refer back to them00:07:33.878
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• and use them during the performance.00:07:39.049
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• But at the same time there is still the motive of cycles00:07:43.126
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• or a circle going on during the whole performance.00:07:47.276

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