Logo HaDivadlo

(Czech) 2022/23
(Czech) Sezona 48:
(Czech) Blízkost

(Czech)

Srpen 2022

Ahoj,

pro novou 48. sezonu jsme v HaDivadle zvolili téma Blízkost. Proto jsme se mimo jiné rozhodli pojmout i náš úvodní text k letošní sezoně ne jako manifest, ale jako pohodovější oslovení blízkých přátel, za které vás, naše diváky, považujeme. Naší výchozí motivací k tématu Blízkost je snaha přiblížit se sobě navzájem. A to jak uvnitř vztahů v našem divadle, tak i ve vztahu k vám našim divákům.

Blízkost, schopnost empatie, vzájemné pomoci a spolupráce totiž budou podle nás klíčovými vlastnostmi pro zvládání čím dál tím turbuletnějších časů naplněných množícími se krizemi všude kolem nás. Ovšem nechceme se ochudit ani o metaforičtější čtení tohoto pojmu. V první řadě se nám ve slově „blízkost“ odráží naše nově prožívaná blízkost s Ukrajinou, která vyvstala po ruské agresi. Kontext východní Evropy, který jsme v porevoluční perspektivě možná vnímali, nebo toužili vnímat, jako vzdálený, je najednou mnohem blíž. V přípravách letošní sezony jsme na začátku cítili nutnost dovzdělávat se a načítat zejména současné ukrajinské texty, protože jsme si říkali, že předsudky, které v naší společnosti odsouvají Ukrajince a Ukrajinky často do pozice nekvalifikovaných pracujících, mnohdy i v nevýhodných podmínkách, se týkají i nás. Odrážejí se třeba ve skutečnosti, že jsme nikdy doposud nevnímali ukrajinskou literaturu jako relevantní literární region pro hledání titulů v připravovaných sezonách. Spolu s tímto výchozím úkolem jsme se na začátku našich příprav rozhodli hledat vedle ukrajinského i ruský text, který by dokládal, že i v totalitních režimech žijí lidé přemýšlející svobodně. Nakonec, po dlouhých diskuzích, jsme usoudili, že vytvoření rovnováhy jeden ukrajinský a jeden ruský text – je umělé. Současná situace není rovnovážná, ale velmi vychýlená a na ruské texty teď zkrátka podle nás není prostor. Toto dilema jsme vyřešili rozhodnutím zpracovat naše debaty a morální polemiky o ruské literatuře autorsky. Věnovat se více lokální pozici a vztahu české a ruské kultury dnes.

Zmíněné motivy jsou látkou pro vznikající autorský text s názvem Humanismus 2022 uměleckého šéfa Ivana Buraje a Bohdana Karáska, kteří autorsky zpracovali už téma klimatické krize v předloňské inscenaci Naši. Bohdan Karásek je zejména filmovým autorem a jeho filmy (nejznámější Karel, já a ty z roku 2019) jsou charakteristické svým civilním projevem a realismem dialogů – to se inspirativně propojuje s naší snahou rozvíjet v HaDivadle práci s přirozenou intimitou studiového divadla, kdy je právě blízkost mezi hercem a diváky podobná důvěrné blízkosti filmové kamery. Tentokrát nás inscenace Humanismus 2022 zavede na dovolenou bývalých spolužáků z divadelní školy, z oborů režie, dramaturgie a produkce, kteří ji tráví v Benátkách. Ve městě na vodě, městě, kde se potkávají vrcholy a ideály západní kultury s mořem a bahenatým proudem. Hlavní postavy v bytě pronajatém přes Airbnb diskutují o etických úkolech současného umění, o ruské kultuře a o tom, jestli je v pořádku bojkotovat v současné situaci ruské texty. Jedna z postav, režisér, chce v následující divadelní sezoně uvést text Vodoznaky od ruského nobelisty Josifa Brodského, o Benátkách a o relativitě smyslu. Snaží se tak obhájit otevřené vědomí, které překonává strany válečného konfliktu. Je však možné zachovat si dnes ve své tvorbě, ale i životních postojích, politickou neutralitu a totální otevřenost? Naši hrdinové se zaplétají do otázek o tom, jaké jsou souvislosti mezi upřímností v uměleckém díle a upřímností v osobním životě, třeba v manželství, a nacházejí nečekané paralely mezi problémy vztahovými a politickými. Jsme schopni žít pořád v pravdě? Nachází se Evropa v morálním úpadku a destruktivním chaosu, jak prezentuje ruská propaganda? Máme být čemu věrni? Je naše kultura už jenom prázdným pojmem sloužícím zakrytí reality zhoubného pragmatismu? A co je ve válečném stavu zbytečným luxusem? Jsme ve válce? Humanismus 2022 jako svědectví o době, ve které hrůza a komfort existují děsivě blízko sebe. Inscenace bude mít premiéru 12. listopadu 2022.

V návaznosti na tyto otázky spojené s ruskou agresí na Ukrajině a jejími důsledky jsme se rozhodli jít dále cestou dokumentárního divadla a pracujeme na speciálním projektu s názvem Než skončí válka / До кінця війни. Jedná se o koláž osobních výpovědí ukrajinských žen a mužů, které únorová invaze putinovského Ruska přivedla do Brna a okolí. Vlastní silná svědectví i vize o budoucnosti, v režii Maxe Nowotarského. Student Divadelní fakulty JAMU, který sám pochází ze střední Ukrajiny, v průběhu posledních měsíců vedl dialogy s vybranými účinkujícími. Cesta každého z nich do ČR a možnosti navázat zde na život v původní domovině se výrazně liší. Společná je ale snaha integrovat se do jiného, v mnohém provizorního, prostředí. Dokumentární scénická esej zaměřená na zkoumání integrace ukrajinských uprchlíků a jejich každodennosti bude vzhledem k specifickým možnostem performerů uvedena pouze v několika reprízách v závěru roku 12., 13. a 14. prosince 2022.

Současný ukrajinský román Felix Austria od jedné z nejčtenějších autorek tamní scény Sofije Andruchovyč nám nastínil téma Blízkost z nového a v mnohém i nečekaného úhlu: Jak si být blízko a nezničit se? Jak nacházet prostor pro nedestruktivní konflikt? Jak se vypořádat s blízkostí, která se stala už závislostí na druhém? S blízkostí jako nebezpečnou toxickou vazbou? Tyto otázky nám pomůže zodpovědět v autorské adaptaci románu – pod novým názvem Požár v šťastném Rakousku bývalá členka HaDivadla Iva Klestilová a režisér předních, blízkých slovenských scén, v současnosti umělecký šéf Městského divadla v Žilině, a také fotograf, Eduard Kudláč. Původní námět odehrávající se v prostředí historické Haliče, v někdejším Rakousku-Uhersku v roce 1900, budou tvůrci aktualizovat v jeho nadčasové rezonanci se současnou situací. Ukrajina dnes zápolící ve válečném konfliktu stojí před věčnou otázkou své ne/příslušnosti k západu či Evropské unii a vícenárodnostní prostředí je zdrojem stálých nerovností a odlišných životních podmínek obyvatel. Hlavními postavami jsou zde dvě ženy, srostlé k sobě osudem „jako větve stromu“. Rodiče obou zahynuli při masivním požáru, když byly sotva dětmi. Jejich vzájemný vztah až závislost ale nemá šanci překonat rozdíly v původu a odlišné životní pozici – Stefanie je ukrajinskou služebnou v rodném domě Adely, dcery polsko-německého lékaře. Žijí obklopeny postavami z různých vrstev (sochař, farář, iluzionista, prodejce ryb…), které se v jejich blízkosti v epizodickém narativu pohybují a emočné infikují. Analýza, jak širší mnohonárodností společnost při vzájemném střetu a setkávání balancuje na hranici mezi explozí a empatií. Adaptaci věnovanou ohledávání kontrastů v životních podmínkách i vrtkavé psychologii postav odpremiérujeme symbolicky 24. února 2023, tedy rok od vypuknutí stále trvajícího válečného konfliktu.

Jarní období otevře téma Blízkost z dalšího úhlu pohledu – blízkost města Brna a chráněné krajinné oblasti Moravský kras. Stejnojmennou inscenaci zkoumající vztah představ o přírodě a toho, jak je příroda těmito představami ohýbaná, režijně i autorsky připravuje další slovenský tvůrce Peter Gonda se svým týmem. Vyhledávaná oblast, o níž existuje bezpočet legend i expertních studií – v roce 2021 uplynulo přesně 100 let od prvních zdejších speleologických aktivit. Ve zdejších podzemních i divokých lesních vypuklinách jsou hluboce obtištěny tradice i příznaky lidské činnosti již od pravěku, nejen v podobě těžební historie a rozvoje průmyslové revoluce, ale i v příbězích jeskyňářských objevů nebo krajinářských zásahů. Otázky po smyslu slov jako divočina a ochrana nás v dnešním světě vedou k rozkrývání toho, co všechno se v našich představách o krajině stalo romantizovanou fikcí. Věříme, že námětem pro divadlo nemusí být pouze literární text, ale právě i krajinný celek. Projekt Moravský kras je naším experimentem zkoumajícím, jestli takto může vzniknout dramaturgická linie, která zpracovává příběhy lesů, řek nebo hor. Inscenace Petera Gondy, jeho pravidelného dramaturga a jinak taky hudebního performera Adama Draguna a naší dramaturgyně Anny Prstkové, či v HaDivadle již známého scénografa Matěje Sýkory (Čevengur, Moby Dick), se bude opírat o vědecké zdroje, historická fakta a lokální folklor, ale také o vlastní zakoušení blízkosti k této nejen přírodně pestré oblasti. Premiéra proběhne 28. dubna 2023.

Snahou letošní sezony bude i přibližování myšlení o divadle našich spolupracovníků. Proto připravujeme sérii masterclass hostujících umělců a umělkyň, ve které s námi budou sdílet svoje metody práce, ale i pohledy na současné a budoucí divadlo. Vedle setkání s režiséry premiér budeme moci lépe poznat např. tvorbu mezinárodně renomovaného slovenského skladatele Petera Machajdíka (Požár v šťastném Rakousku) či naopak příslušníka mladé generace taktéž slovenské hudební scény, autora hudby k řadě audiovizuálních i scénických děl Jonatána Pastirčáka (Moravský kras). Tyto masterclass pak doplní i hostování vybraných inscenací Eduarda Kudláče či Petera Gondy, ukázané ve snaze porozumět a přiblížit se komplexněji jejich poetice. Vnímáme jako důležité nekoncipovat naše divadlo jen jako místo, kde se produkují nové inscenace, ale také jako prostor pro bádání, hlubší poznávání jak světa, tak umění. Příprava každé inscenace je pro nás intenzivním nořením se do jejího kontextu, který souvisí i s poznáváním přizvaných tvůrců. Čím déle v našem divadle pracujeme, tím více nám dochází, jak důležitý je tento proces pro vnímání samotného díla, a proto bychom se o něj s vámi rádi podělili.

Speciálním projektem je i naše snaha dovršit téma Blízkost v rovině spoluúčasti na tvorbě dramaturgie sezony, kterou chceme otevřít náhledům vás diváků. Hledáme nástroje, jak vás učinit spolutvůrci dramaturgie příští sezony. Diskutujeme podobu veřejnosti otevřených dramaturgických porad, kdy bychom rádi pracovali s diváckou participací. Podrobnosti zveřejníme v průběhu sezony.

Stále se soustředíme na dramaturgické úvody a besedy po představeních a další doprovodné vzdělávací aktivity, na které vás i v letošní sezoně srdečně zveme. Pro možnost načerpávání širších společenských kontextů naší tvorby tu budou i nadále Diskuze A2 opět svázané s jednotlivými inscenacemi jako jejich extenze do společné debaty.

Chystáme se také na oslavy 30. výročí naší domovské instituce Centrum experimentálního divadla, jíž jsme součástí spolu s Divadlem Husa na provázku a platformou Terén. V rámci celodenního programu připravujeme spolu s redakcí CEDového časopisu CEDIT program s názvem Divadlo pro všechny, který bude zkoumat možnosti i limity současných kulturních institucí. Večer nás pak čeká portrét naší instituce, v režii Ivana Buraje, skrz mikropříběhy a zkušenosti podané jejími dřívějšími i současnými zaměstnanci z různých pozic a období.

Uvidíme, co jiného a nového Sezona 48: Blízkost otevře za obzory a kvality. Těšíme se na vás a naše společná setkání, která jsou základní podmínkou vzniku divadla. Buďme si nablízku!

Ahoj v HaDivadle!

Humanism 2022 Until the War Is Over / До кінця війни Fire In Felix Austria The Moravian Karst


2021/22
Season 47:
Degrowth

One of the opportunities, the most important one probably, that the coronavirus pandemic brought was the possibility of realising how many things in the world we live in cannot be taken for granted. While the world has been searching its conscience, people reflected on slowing down, rethought consumption and production frameworks and asked questions about where our civilization is heading. The theme of return, the lifeline in the moment of sudden and profound instability, turned out to be no more than an effective marketing slogan for further acceleration. The reset was, actually, a return to disregarding limits set by the material world and our vulnerable bodies as well. The striving for GDP growth prevailed yet again over the expanding rifts in the ecosystem and the more and more alarming social inequalities. Art as a potential source of social imagination and a hunting ground for future possibilities failed on many occasions and rather passively joined the movement of a burst dam of performance by the rest of society. Care or sustainability are now only discussed at expert conferences. With the past years’ focus on quantity instead of quality and reporting performance instead of an honest search for meaning, such tendencies are twice as strong in the restarted society as they were. Art seems to have lost its ability to be the medium of otherness and has become an under-funded slave of uniformity. In response to the general acceleration, we decided to devote the new season to DEGROWTH. We see the imaginative concept of degrowth, based on several decades of interdisciplinary thinking and actions, as the most inspiring way of finding a way out of crisis, in which society puts economic laws above all other laws and GDP growth prevails over all other values, ignoring the complexity of the topic of quality of life. We do not see degrowth as resignation or inaction, we see it as a means to deepen our view of the world around us and improve our ability to find other goals than productivity. Degrowth invites us to remove things, to slow down, and, paradoxically, to gain more. We understand the concept as redirecting our focus from quantity to intensity and quality, from statuses to relationships and bonds. We would like to explore these principles during our work, while redefining the mission of restored theatre activities. How to create sustainably? What is the capacity of our consciousness for new pieces? What is the purpose of our activities? How to not drown in the flood of ‘Potemkin villages’ built to show productivity? How to create happily? How to rebel against the dictate of efforts to capitalise on everything? How can we avoid social disintegration and nature’s decline? How to be together? After a break of nearly one year, we decided to apply this season’s title Degrowth not only to the dramaturgy of potential new plays, but also to the functioning of our theatre, and, therefore, we will not produce any new plays for season 2021/22. Instead of constantly producing new things, we want to shift our focus onto our current plays, recontextualize them and deepen our perspective on these pieces. Imagine that you wouldn’t buy any new things for one year and would only explore new qualities of relationships to the things you already have. Therefore, we would like to invite creators who have already worked with us as well as members of our collective to join us for a season in which we will not produce new plays, but there will be a series of unique events such as discussions, lectures, happenings, paratheatrical events, hybrid genres, authors’ analyses of current pieces bringing a new perspective on old works. The instructions are simple: to create sustainably, with joy and as a community, to risk, to search, to come back, to build relationships. In addition to evening events planned in a brief time frame, spontaneously and without self-censorship, which is needed when requesting repetition, we will also organise two projects for season 2022/23 on a long-term basis and the degrowth season will feature their first chapters and pre-events. We see the new season’s concept as a journey which takes HaDivadlo from framing a classic repertory theatre towards a cultural institution, a laboratory for Utopian thinking, which, in addition to artistic activities and their multiplication, engages in erasing boundaries between art and society. Join us on this journey! Happiness matters more than productivity! Degrowth!One of the opportunities, the most important one probably, that the coronavirus pandemic brought was the possibility of realising how many things in the world we live in cannot be taken for granted. While the world has been searching its conscience, people reflected on slowing down, rethought consumption and production frameworks and asked questions about where our civilization is heading. The theme of return, the lifeline in the moment of sudden and profound instability, turned out to be no more than an effective marketing slogan for further acceleration. The reset was, actually, a return to disregarding limits set by the material world and our vulnerable bodies as well. The striving for GDP growth prevailed yet again over the expanding rifts in the ecosystem and the more and more alarming social inequalities. Art as a potential source of social imagination and a hunting ground for future possibilities failed on many occasions and rather passively joined the movement of a burst dam of performance by the rest of society. Care or sustainability are now only discussed at expert conferences. With the past years’ focus on quantity instead of quality and reporting performance instead of an honest search for meaning, such tendencies are twice as strong in the restarted society as they were. Art seems to have lost its ability to be the medium of otherness and has become an under-funded slave of uniformity. In response to the general acceleration, we decided to devote the new season to DEGROWTH. We see the imaginative concept of degrowth, based on several decades of interdisciplinary thinking and actions, as the most inspiring way of finding a way out of crisis, in which society puts economic laws above all other laws and GDP growth prevails over all other values, ignoring the complexity of the topic of quality of life. We do not see degrowth as resignation or inaction, we see it as a means to deepen our view of the world around us and improve our ability to find other goals than productivity. Degrowth invites us to remove things, to slow down, and, paradoxically, to gain more. We understand the concept as redirecting our focus from quantity to intensity and quality, from statuses to relationships and bonds. We would like to explore these principles during our work, while redefining the mission of restored theatre activities. How to create sustainably? What is the capacity of our consciousness for new pieces? What is the purpose of our activities? How to not drown in the flood of ‘Potemkin villages’ built to show productivity? How to create happily? How to rebel against the dictate of efforts to capitalise on everything? How can we avoid social disintegration and nature’s decline? How to be together? After a break of nearly one year, we decided to apply this season’s title Degrowth not only to the dramaturgy of potential new plays, but also to the functioning of our theatre, and, therefore, we will not produce any new plays for season 2021/22. Instead of constantly producing new things, we want to shift our focus onto our current plays, recontextualize them and deepen our perspective on these pieces. Imagine that you wouldn’t buy any new things for one year and would only explore new qualities of relationships to the things you already have. Therefore, we would like to invite creators who have already worked with us as well as members of our collective to join us for a season in which we will not produce new plays, but there will be a series of unique events such as discussions, lectures, happenings, paratheatrical events, hybrid genres, authors’ analyses of current pieces bringing a new perspective on old works. The instructions are simple: to create sustainably, with joy and as a community, to risk, to search, to come back, to build relationships. In addition to evening events planned in a brief time frame, spontaneously and without self-censorship, which is needed when requesting repetition, we will also organise two projects for season 2022/23 on a long-term basis and the degrowth season will feature their first chapters and pre-events. We see the new season’s concept as a journey which takes HaDivadlo from framing a classic repertory theatre towards a cultural institution, a laboratory for Utopian thinking, which, in addition to artistic activities and their multiplication, engages in erasing boundaries between art and society. Join us on this journey! Happiness matters more than productivity! Degrowth!

Creative Interventions – Season 47: Degrowth (Czech) Dům kultury a naděje


2020/21
Season 46:
Adaptation

Our global civilization has already experienced so many ups and downs that, compared to human life, it is more in retirement age (in which it must reckon with its fragility). However, our behaviour seems more as if we were showing signs of never-ending youth and were only offered opportunities for unlimited growth. We have the means to destroy not only ourselves, but also to threaten the existence of future forms of life that could come after us. Our maturity and experience have so far brought neither wisdom nor responsibility – instead, we find ourselves in a dangerously prolonged midlife crisis, constantly buying Harleys of civilization and embarking on wild journeys in an effort to simulate lasting happiness and ignore all the limits that our era imposes on us. But as we are finding out, we are not the only ones who have something to say about the shape of the world. The COVID-19 crisis was seen by many as the first global crisis after a long period of apparent peace and prosperity. But can we really call the corona crisis a crisis and that which preceded it a normal state to which it is worth returning? Is it not more valuable in this altered (emergency) state of consciousness to grasp this crisis, so impressive in the media, as an important background that reveals our vulnerability as well as other crises threatening the survival on our planet? What we have witnessed in this new experience was a definite and clear understanding of the interconnectedness of all – not only in our bodies but also our societies. Also the line between natural and human, which has until recently been very clear, has disappeared, and we have the opportunity to see to what extent we all overlap and how much we depend on each other. In short, we live in an environment for which we are co-responsible, but which at the same time will never be completely understandable and will therefore forever remain a little out of our control. It is therefore essential to start talking about ways of adapting to this fragility and interdependence – the adaptation will be either conscious or forced by external circumstances (and even in the first case does not envisage any certainty and guaranteed outcomes). The world which we laboriously tried to explore and conquer and which we wanted to grasp in its totality and to bring under control, is simply gone. Now the most realistic view of the world seems to be one that is constantly in motion and allows for the unknown and incomprehensible. But how should we really feel in a world of multicrises, which is so unpredictable? Can we feel hopeful? Is it possible to adapt without joy? When did the whole crisis actually start? Is it not connected to the excess of human occurrence? After all, isn’t all organic life (in the otherwise inorganic Universe) an excess? And what if crises and excesses are the essence of our being, because outside them only the “normalcy” of death and non-existence awaits us? Crisis and excess as our living space. Human and inhuman. The joy of creative potential is unknown. We’re still here. ‘We’ is more than we thought. ADAPTATION.Our global civilization has already experienced so many ups and downs that, compared to human life, it is more in retirement age (in which it must reckon with its fragility). However, our behaviour seems more as if we were showing signs of never-ending youth and were only offered opportunities for unlimited growth. We have the means to destroy not only ourselves, but also to threaten the existence of future forms of life that could come after us. Our maturity and experience have so far brought neither wisdom nor responsibility – instead, we find ourselves in a dangerously prolonged midlife crisis, constantly buying Harleys of civilization and embarking on wild journeys in an effort to simulate lasting happiness and ignore all the limits that our era imposes on us. But as we are finding out, we are not the only ones who have something to say about the shape of the world. The COVID-19 crisis was seen by many as the first global crisis after a long period of apparent peace and prosperity. But can we really call the corona crisis a crisis and that which preceded it a normal state to which it is worth returning? Is it not more valuable in this altered (emergency) state of consciousness to grasp this crisis, so impressive in the media, as an important background that reveals our vulnerability as well as other crises threatening the survival on our planet? What we have witnessed in this new experience was a definite and clear understanding of the interconnectedness of all – not only in our bodies but also our societies. Also the line between natural and human, which has until recently been very clear, has disappeared, and we have the opportunity to see to what extent we all overlap and how much we depend on each other. In short, we live in an environment for which we are co-responsible, but which at the same time will never be completely understandable and will therefore forever remain a little out of our control. It is therefore essential to start talking about ways of adapting to this fragility and interdependence – the adaptation will be either conscious or forced by external circumstances (and even in the first case does not envisage any certainty and guaranteed outcomes). The world which we laboriously tried to explore and conquer and which we wanted to grasp in its totality and to bring under control, is simply gone. Now the most realistic view of the world seems to be one that is constantly in motion and allows for the unknown and incomprehensible. But how should we really feel in a world of multicrises, which is so unpredictable? Can we feel hopeful? Is it possible to adapt without joy? When did the whole crisis actually start? Is it not connected to the excess of human occurrence? After all, isn’t all organic life (in the otherwise inorganic Universe) an excess? And what if crises and excesses are the essence of our being, because outside them only the “normalcy” of death and non-existence awaits us? Crisis and excess as our living space. Human and inhuman. The joy of creative potential is unknown. We’re still here. ‘We’ is more than we thought. ADAPTATION.

(Czech) Budoucnost divadla (Czech) Remediace rozpracované inscenace Zeď The Wall There Is a Show Going On During the Length of the Show (Czech) Dům kultury a únavy

2019/20
Season 45:
Sources

The climate crisis is not a future threat – it has already begun. We have never inhabited the world we live in now. Humanity has already crossed four of the nine planetary limits – guarantees of habitability and survival on Earth. Sustainable development remains unsustainable, resources are running low. People’s black conscience has been, at least since the Industrial Revolution and the beginning of the Anthropocene era, too dark. We fly recklessly, consume unecologically and too often burn coal and oil. We are units of a growth market mechanism, running gigantic corporations devastating nature on an unprecedented massive scale, while we ignore reports of possible solutions coming from all sides. How to break the fall? What should we do when we have enough of our own problems? Is it time for nihilism? Or is the climate crisis rather an opportunity to reconstruct the notion of “humanity” as a return to a collective and co-responsible project not produced by any ideology but by an indisputable need of our planet, which is becoming a new player in history? And what other projects does the effort to save the planet bring? Should we continue to think only about recycling and electric cars? Believe in technological progress? Or do we have to become the solution ourselves? It’s time to rethink our personal dreams and life strategies. It’s time to rethink the essence of our society, which no longer illuminates the darkness of nature with the light of civilization, but brings its own darkness. Sustainability. Activism and slowing down. Degrowth. All this poses entirely new challenges to our perception and its complexity. That is why we’re dedicating our 45th season to the topic of RESOURCES! The future is now. Join it with us!The climate crisis is not a future threat – it has already begun. We have never inhabited the world we live in now. Humanity has already crossed four of the nine planetary limits – guarantees of habitability and survival on Earth. Sustainable development remains unsustainable, resources are running low. People’s black conscience has been, at least since the Industrial Revolution and the beginning of the Anthropocene era, too dark. We fly recklessly, consume unecologically and too often burn coal and oil. We are units of a growth market mechanism, running gigantic corporations devastating nature on an unprecedented massive scale, while we ignore reports of possible solutions coming from all sides. How to break the fall? What should we do when we have enough of our own problems? Is it time for nihilism? Or is the climate crisis rather an opportunity to reconstruct the notion of “humanity” as a return to a collective and co-responsible project not produced by any ideology but by an indisputable need of our planet, which is becoming a new player in history? And what other projects does the effort to save the planet bring? Should we continue to think only about recycling and electric cars? Believe in technological progress? Or do we have to become the solution ourselves? It’s time to rethink our personal dreams and life strategies. It’s time to rethink the essence of our society, which no longer illuminates the darkness of nature with the light of civilization, but brings its own darkness. Sustainability. Activism and slowing down. Degrowth. All this poses entirely new challenges to our perception and its complexity. That is why we’re dedicating our 45th season to the topic of RESOURCES! The future is now. Join it with us!

Ours Perception Moby Dick (Czech) Sedimenty, diagnózy, wellness

2018/19
Season 44:
Work

We seem to be a society obsessed with performance and personal status, but also a society without clear direction and shared values. Mass resignation to public space and emphasis on personal success put the work for which we receive money in the position of the most important criterion determining our value and informing our view of the world and others. The world has become economical and poured into spreadsheets. The idea of mission is increasingly disappearing from work driving our economy, leaving in its place only a pragmatic view of income and social status. Concepts such as care, public service and sustainability are, despite the ubiquitous ecological collapse of our planet, overshadowed by those of efficiency, profit or growth. Value-creating work is displaced by money-only work. The social divide between radically overestimated and radically underestimated work is widening more and more. The idea that human dignity is given only by the ability to meet all work-related demands, however absurd they may be, is becoming more and more compelling. The growing incidence of depression ceases to be a personal problem and becomes a political problem. As if the value of work went crazy and we with it. That is why during this 44th season we ask: Can today’s society really appreciate the value of our work? Does the work of most people really help society and nature, or is it just a ticket to the zone of unlimited consumption? Aren’t we using our performance to cover up our inner chaos? Do we understand the consequences of our work? Is art work? How valuable is it and for whom? And what about education, does it prepare us to face the tasks needed in our future work, or is it more of an initiation into the world of meaningless work? Aren’t we missing out on real work because of artificial work? Perhaps we should be working on our public spaces? On interpersonal relationships? On ourselves? And who will evaluate this work? And finally, aren’t we approaching the time of a new era, the era of machine work? What will be our work in such a world? And anyway – will future work serve anyone?We seem to be a society obsessed with performance and personal status, but also a society without clear direction and shared values. Mass resignation to public space and emphasis on personal success put the work for which we receive money in the position of the most important criterion determining our value and informing our view of the world and others. The world has become economical and poured into spreadsheets. The idea of mission is increasingly disappearing from work driving our economy, leaving in its place only a pragmatic view of income and social status. Concepts such as care, public service and sustainability are, despite the ubiquitous ecological collapse of our planet, overshadowed by those of efficiency, profit or growth. Value-creating work is displaced by money-only work. The social divide between radically overestimated and radically underestimated work is widening more and more. The idea that human dignity is given only by the ability to meet all work-related demands, however absurd they may be, is becoming more and more compelling. The growing incidence of depression ceases to be a personal problem and becomes a political problem. As if the value of work went crazy and we with it. That is why during this 44th season we ask: Can today’s society really appreciate the value of our work? Does the work of most people really help society and nature, or is it just a ticket to the zone of unlimited consumption? Aren’t we using our performance to cover up our inner chaos? Do we understand the consequences of our work? Is art work? How valuable is it and for whom? And what about education, does it prepare us to face the tasks needed in our future work, or is it more of an initiation into the world of meaningless work? Aren’t we missing out on real work because of artificial work? Perhaps we should be working on our public spaces? On interpersonal relationships? On ourselves? And who will evaluate this work? And finally, aren’t we approaching the time of a new era, the era of machine work? What will be our work in such a world? And anyway – will future work serve anyone?

Provincials Woyzeck First Ladies (Czech) Doktorand Jan Faust

2017/18
Season 43:
Eternal return — Crisis of the future

While it is possible to perceive the title of the Eternal Return season as something sinister, even undead, this may not be entirely true. The past is necessary for every society, but not as a machine generating the same solutions, but as a source of unfinished projects in search of the future. Maybe we got lost (for a while?) in the labyrinth of consumption and exchange. Perhaps the seemingly only remnant of all struggles for a better society is the nihilism and cynicism of those who have definitely seen through the possibilities of the future. Perhaps it is easier to imagine the end of the world than the end of this timelessness (capitalism). But maybe it’s all just an impulse to look for a lost future in the past. Maybe it’s an opportunity to return the topic to this generation! Boris Buden sees the disintegration of the Western welfare state in the 1970s not only as a moral problem, but especially as the problem of the loss of meaning. When solidarity disappears, the bonds between people disappear. When the bonds disappear, there is nothing to construct a common meaning against the background. Thus, things take the place of people and people objectify themselves as the products of their own economic strategies. Economics as the only logic of everything. War of all against all! So is it not high time to try to restore the meaning of society after the cleansing therapy of the eternally ironic postmodernism, isn’t it time to move on? Isn’t it time to demand a future instead of growth? So we know: meaning is permanent diplomacy, permanent negotiation, which, however, should not end with the deification of opinionlessness freeing up a navigator’s place in an uncontrolled market, but with negotiation as a search for a common direction. Neither the state nor our society is a company. The state is a dialogue! And if we desire a state to which we are to be faithful, we must desire a dialogue seeking future direction. May our season be a laboriously negotiated direction that will inspire further negotiations. Let it be understood not only as a polemic about the alleged end of history, but also as an inquiry into the aims of future art and into what our future selves should be like. The fight for perception begins. Come with us into the past to get the future. Come with us to look for what is missing!While it is possible to perceive the title of the Eternal Return season as something sinister, even undead, this may not be entirely true. The past is necessary for every society, but not as a machine generating the same solutions, but as a source of unfinished projects in search of the future. Maybe we got lost (for a while?) in the labyrinth of consumption and exchange. Perhaps the seemingly only remnant of all struggles for a better society is the nihilism and cynicism of those who have definitely seen through the possibilities of the future. Perhaps it is easier to imagine the end of the world than the end of this timelessness (capitalism). But maybe it’s all just an impulse to look for a lost future in the past. Maybe it’s an opportunity to return the topic to this generation! Boris Buden sees the disintegration of the Western welfare state in the 1970s not only as a moral problem, but especially as the problem of the loss of meaning. When solidarity disappears, the bonds between people disappear. When the bonds disappear, there is nothing to construct a common meaning against the background. Thus, things take the place of people and people objectify themselves as the products of their own economic strategies. Economics as the only logic of everything. War of all against all! So is it not high time to try to restore the meaning of society after the cleansing therapy of the eternally ironic postmodernism, isn’t it time to move on? Isn’t it time to demand a future instead of growth? So we know: meaning is permanent diplomacy, permanent negotiation, which, however, should not end with the deification of opinionlessness freeing up a navigator’s place in an uncontrolled market, but with negotiation as a search for a common direction. Neither the state nor our society is a company. The state is a dialogue! And if we desire a state to which we are to be faithful, we must desire a dialogue seeking future direction. May our season be a laboriously negotiated direction that will inspire further negotiations. Let it be understood not only as a polemic about the alleged end of history, but also as an inquiry into the aims of future art and into what our future selves should be like. The fight for perception begins. Come with us into the past to get the future. Come with us to look for what is missing!

Eyolf K antropocénu ’68 Čevengur

2016/17
Season 42:
Us and them

Europe is at a crossroads. Pragmatism, hopelessness, narcissism, capitalism, refugees, brexit, czexit, exit, cancellation! The uncertainty caused by the turbulent globalised world of today, when everything is so far and so close at the same time, creates fear and uncertainty. The world seems like a hostile, chaotic and cold place. Fanaticism alternates with nihilism. There is a desire for clarity. Longing for home. But this home creates an impenetrable border! This is US and there are THEM. A definition of negation that says, “I am what you are not!” But then who are we? We dedicate our 42nd season to the topic of SELF-REFLECTION, the only way to see ourselves through self-doubt and to know the common essence of our fear. Because it is quite possible that in our pampered uncertainty we are finally unexpectedly together. It is high time to understand that ALL OF US must face today’s global problems! But how to rise above our stereotypical views of the world and see the falseness of the boundaries of US and THEM?! How many of you are there?Europe is at a crossroads. Pragmatism, hopelessness, narcissism, capitalism, refugees, brexit, czexit, exit, cancellation! The uncertainty caused by the turbulent globalised world of today, when everything is so far and so close at the same time, creates fear and uncertainty. The world seems like a hostile, chaotic and cold place. Fanaticism alternates with nihilism. There is a desire for clarity. Longing for home. But this home creates an impenetrable border! This is US and there are THEM. A definition of negation that says, “I am what you are not!” But then who are we? We dedicate our 42nd season to the topic of SELF-REFLECTION, the only way to see ourselves through self-doubt and to know the common essence of our fear. Because it is quite possible that in our pampered uncertainty we are finally unexpectedly together. It is high time to understand that ALL OF US must face today’s global problems! But how to rise above our stereotypical views of the world and see the falseness of the boundaries of US and THEM?! How many of you are there?

Vernissage The Sleepwalkers (Imitation and Intuition) Směšná temnota Premiérareprízareprízaderniérapremiéra Síla zvyku Macocha

2015/16
Season 41:
Individualistic society – To be (with) someone?

The topic unifying the forty-first season of HaDivadlo is individualism. We live in a time when, as Zygmunt Bauman writes, “identity ceases to be a given, but becomes a task.” The challenge to be original, special, to take care of the uniqueness of one’s SELF, becomes the universal premise of our lives. The originality of a personality, that is what an individual must not lack, otherwise he or she has lost in their existence. In addition, individuality can be easily bought and is not even expensive. However, the personality and uniqueness of the modern SELF are largely formed by the media and marketing. The obsession with individuality in recent years has only been intensified by social networks, supported by the rapidly growing technological quality of mobile phones, which are largely built on the narcissism of their users. Social networks become an initiator, which inspires in its users a constant desire to create a unique image of their individuality against a multitude of cyber friends. At the same time, the cynical environment of free competition of late capitalism and neoliberalism proclaiming an apparent equality of conditions contributes to this search for uniqueness, so that one does not “get socially lost”. We are constantly being instilled with a responsibility for ourselves and for what our lives look like or will look like. Everything is limited to how right our personal decisions are and if we can prove our abilities. The self becomes a product that must stand out from the competition. But are we really so independent of the world around us, of the society in which we move? In today’s ideologically fragmented, hyper-informed, but also hyper-confused age, where – as Slavoj Žižek wrote “reality is diminishing” – is it really possible to rationally and freely manage the project of one’s life? Is the desire for uniqueness really something natural or is it just very clever marketing that is supposed to give rise to new and new desires in us that cannot be satisfied? And what about people who have not become individuals? Do they have the right to participate in the creation of this individualistic society? Is there a place for solidarity in the age of individualism? Can there be a state and democracy at all? Can we form a community? Is it possible to differentiate between good and evil in today’s illegible times? What are the principles for defining them? Is it possible to be together? Is cyberspace an extension of public space or just a water surface of postmodern Narcissus? Based on these questions, we decided to dedicate the whole new season to the topic of individualism and society. The basic communication code of this season reflecting this theme is portrait. Each of the four upcoming productions on the main stage of the HaDivadlo will be a de facto portrait of the central character and “his or her” society.The topic unifying the forty-first season of HaDivadlo is individualism. We live in a time when, as Zygmunt Bauman writes, “identity ceases to be a given, but becomes a task.” The challenge to be original, special, to take care of the uniqueness of one’s SELF, becomes the universal premise of our lives. The originality of a personality, that is what an individual must not lack, otherwise he or she has lost in their existence. In addition, individuality can be easily bought and is not even expensive. However, the personality and uniqueness of the modern SELF are largely formed by the media and marketing. The obsession with individuality in recent years has only been intensified by social networks, supported by the rapidly growing technological quality of mobile phones, which are largely built on the narcissism of their users. Social networks become an initiator, which inspires in its users a constant desire to create a unique image of their individuality against a multitude of cyber friends. At the same time, the cynical environment of free competition of late capitalism and neoliberalism proclaiming an apparent equality of conditions contributes to this search for uniqueness, so that one does not “get socially lost”. We are constantly being instilled with a responsibility for ourselves and for what our lives look like or will look like. Everything is limited to how right our personal decisions are and if we can prove our abilities. The self becomes a product that must stand out from the competition. But are we really so independent of the world around us, of the society in which we move? In today’s ideologically fragmented, hyper-informed, but also hyper-confused age, where – as Slavoj Žižek wrote “reality is diminishing” – is it really possible to rationally and freely manage the project of one’s life? Is the desire for uniqueness really something natural or is it just very clever marketing that is supposed to give rise to new and new desires in us that cannot be satisfied? And what about people who have not become individuals? Do they have the right to participate in the creation of this individualistic society? Is there a place for solidarity in the age of individualism? Can there be a state and democracy at all? Can we form a community? Is it possible to differentiate between good and evil in today’s illegible times? What are the principles for defining them? Is it possible to be together? Is cyberspace an extension of public space or just a water surface of postmodern Narcissus? Based on these questions, we decided to dedicate the whole new season to the topic of individualism and society. The basic communication code of this season reflecting this theme is portrait. Each of the four upcoming productions on the main stage of the HaDivadlo will be a de facto portrait of the central character and “his or her” society.

Madame Bovary Laserová romance Big Sur Ice Pøz Uncle Vanya Dokonalost ON

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