jde – -Translation – Keybot Dictionary

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Show textShow cached sourceOpen source URL	Peřinův text je plný duchaplných nadsázek a slovních hříček. Jde o krutou parodii stále absurdněji působících televizních soutěží. Dvořákova režie ústrojně střídá hrané i filmové prostředky, loutky ve své znakovosti dodávají figurám patřičně výraznou „psychologii“.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine festivaldivadlo.cz as primary domain	Peřina’s text is full of brilliant exaggerations and wordplay. It is a brutal parody of the increasing absurdity of television contests. Dvořák’s direction smoothly alternates between stage and film techniques. The characteristic attributes of the puppets imbue the protagonists with the right amount of ‘psychological’ depth. Jan Kerbr: Czech Theatre

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Show textShow cached sourceOpen source URL	Ve hře, kterou napsala Anne-Cécile Vandalem, má ostrov Smutek jen osm obyvatel, jde ale o území, na kterém v dnešní Evropě žijeme všichni.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine festivaldivadlo.cz as primary domain	In Anne-Cécile Vandalem’s play the island of Smutek has only eight inhabitants, but it is a territory in which we all live, in today’s Europe.

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Show textShow cached sourceOpen source URL	nejsou látkou primárně skandální nebo nihilistickou, jak by si to jejich kritici přáli. Stejnou měrou jde o pláč se suchýma očima, o dobovou zpověď, jež nepostrádá ani humor.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine festivaldivadlo.cz as primary domain	is not primarily a scandalous or nihilistic work, as its critics would like to have it. It is just as much a lament for dry eyes, a period testimony, and it does not lack humour.

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Divadlo Gočár Miloše Orsona Štědroně, muzikál o architektuře jako vrcholné zábavě (...) je příkladem nezávislé produkce, která obstojí bez velkého zázemí v pozadí a dokázala již poněkolikáté za sebou vytvořit velké dílo – u něhož nikdo nepochybuje, že jde o umění, i když se při něm diváci celou dobu dobře baví.

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Gočár Theatre by Miloš Orson Štědroň, a musical about architecture that is also extremely entertaining (…) is an example of work by an independent production team that gets by without huge resources to back it up and which has managed to create great works several times in a row – work that no one doubts is art, although the audience members enjoy themselves thoroughly throughout. Vojtěch Varyš, Týden

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(...) Posuny oproti originálu jsou docela vtipné a půvabné, ocení je především ti, kteří se s dílem Gabriely Preissové už setkali. Divadelně jde o roztomilý tvar s fungujícím timingem, k němuž napomáhají především hudební čísla.

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Gabriela Preissová’s rural drama has been rendered considerably more “civil” by these theatrical iconoclasts, and has also been stripped of its tragic dimension. The plot twist in which Mánek Mešjaný marries Maryška Kotlibová for economic reasons, even though he is attracted to Eva, is transformed into a profane pub anecdote. In an unappealing inn with wipe-clean plastic tablecloths, where a band is playing cover versions of classic Czech rock to dance to. People are having fun in their own way, and there is much imbibing… (...) The changes from the original are fairly witty and engaging, and will be most appreciated by those who know Gabriela Preissová’s work. In theatrical terms this is an enchanting form with functioning timing, helped above all by the musical numbers. The most distinctive performance is that of Andrea Ballayová as Eva.

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Muzikál je autorským zpracováním filmu Monty Python a Svatý Grál, ale jde nejen o parodii na legendu o králi Artušovi, rytířích z Kamelotu, Svatém grálu, ale i o zesměšnění muzikálového žánru jako takového.

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Five years after its Broadway premiere, the J.K. Tyl Theatre in Pilsen has produced the Czech premiere of this famous musical, which in New York won an unbelievable 14 nominations and 3 Tony Awards, including a Tony for the best musical of the season. The musical is a reworking of the film Monty Python and the Holy Grail, but it is more than a parody of the legend of King Arthur, the knights of Camelot and the Holy Grail. It also pokes fun at the musical genre itself.

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Show textShow cached sourceOpen source URL	Když deklasovaný opilý nájemník spořádané rodiny Ekdalovy jde z nouze vrhnout z balkonu, přilípne se obsah jeho žaludku na vzorovou tapetu města, čímž je celá pracně budovaná „ikea idyla“ Ekdalových usvědčena z umělé papírovosti – nejde o samoúčelný gag, ale i o sémantické gesto.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine festivaldivadlo.cz as primary domain	When a non-too-classy drunken tenant of the orderly Ekdal family goes to throw up off the balcony in an emergency, the contents of his stomach stick to the wallpaper with its city pattern. The carefully-created “Ikea idyll” of the Ekdals thus becomes an artificial paper construction – it is not a pointless gag, but a semantic gesture

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Fričova inscenace je divokým rejem vtipů, odkazů i žertů včetně "televizního" receptu na orestovanou chobotnici, písně Voyage voyage nebo (opět dětských!) her na skákání panáka a gumy s pokřikem "jedna dvě, hybris jde...", v němž se divák může občas ztratit.

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Frič's production is a whirl of jokes, references and gags, including a "television" recipe for grilled octopus, the song Voyage voyage, children's (again!) games involving a little jumping man, and the shouts of "Look out, here comes hubris..." in which the audience can occasionally lose itself. But there is no harm in letting yourself be carried away by a roller-coaster with no brakes, only coming round at the end.

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Jak napsala Veronika Urbanová: „Dramaturgické zaměření ostravské Komorní scény Aréna jde především třemi směry: uvádějí zde náročnou světovou dramatiku, hry polských autorů řekněme avantgardního zaměření a hry, které jsou spjaté se zdejším regionem.

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The editorial staff of Divadelní noviny (Theatre News) twice (!) labelled With or Without Hope Success of the Month: “Above all, we would like to highlight the script by Aréna’s dramaturg, Tomáš Vůjtek, which avoids black and white attitudes. The tragic fate of the wife of Rudolf Slánský, with its many twists and turns, is portrayed in a grotesque manner. It takes the form of reminiscences into which Slánská is forced by her investigators. As played by Sasínová – Polarczyk, she remains convincingly serious throughout, proud and determined to bear the consequences of her decisions.

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Sorokinův text sžíravě reflektuje budoucnost putinovského samoděržaví a Karel Dobrý této mrazivé grotesce ne propůjčil, ale odevzdal vše: tělo i jazyk ruského nadčlověka, z něhož jde děs a hrůza, ale též katarze totálního odhalení.

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Day of the Oprichnik was labelled Success of the Month by the editorial staff of Divadelní noviny: “Sorokin’s brilliant satire has been given an exceptionally sensitive theatrical interpretation, with the director focusing on the wizardry of the actor in the title role. Sorokin’s text is a searing reflection on the future of Putinesque absolutism, and Karel Dobrý has not lent, but given his all to this icy grotesque: the body and language of a Russian superman who radiates dread and horror, but also the catharsis of total revelation. Studio of Heroes has here a production that will conquer foreign festivals.”

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V její tvorbě z let 2008 až 2013 hraje velkou roli způsob bydlení. Podle jejích slov jde o svého druhu vězení, v němž a kvůli němuž se všechno děje. Vychází z ultra-realistického světa a jako model si bere takzvanou domácí tragédii, a to v inscenaci (Self) Service individuální, v HABIT(U)ATION rodinnou a v After the Walls (UTOPIA) kolektivní.

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Anne-Cécile Vandalem (b. 1979) began as an actress, working with directors and theatre collectives such as Charlie Degotte, Dominique Roodthooft, and Transquinquennal. She has also appeared in films directed by, amongst others, Anne Leclercq, Frédéric Forestier, Xavier Serron, Frédéric Fonteyne, Dominique Standaert and Karine Devillers. In 2003, she decided to embark upon the writing and conceiving of theatre shows, and together with Jean-Benoît Ugeux (who portrays Soren in Sadness) created Zaï Zaï Zaï Zaï and Hansel and Gretel. In 2008 she created Das Fräulein (Kompanie) within which she will develop her work. From 2008 to 2013, habitation plays a major role. The artist sees it as the perfect place of confinement, by which and with which everything happens. Starting from an ultra- realistic universe, Anne-Cécile defines the framework of so-called domestic tragedies, within an individual frame with (Self) Service, a family one with HABIT(U)ATION and a collective one with After The Walls (UTOPIA). Looking for DYSTOPIA, hinge show currently being written, opens a new cycle of work for the artist, including Still too sad to tell you, TRISTESSES and WHAT CAN I DO FOR YOU?

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Ačkoli jde o jeho dosud nejeklektičtější, nejfragmentárnější práci, sestavenou z antických i moderních textů, poskytuje tato inscenace promyšlené svědectví o selhávání racionality a jazyka tváří v tvář realitě, která se vzpírá popisu.

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Aviv, Milan, Amsterdam, Hanover, Stuttgart and Paris among others.). In collaboration with set designer Małgorzata Szczesniak, Warlikowski creates outstanding theatrical images. Shakespeare has an important place in his work, with another area of interest being ancient theatre, including revolutionary interpretations of Greek tragedies (such as Sophocles’ Electra!). Another field of interest is productions of plays by contemporary authors, such as Bernard-Marie Koltès and Sarah Kane – the success and enthusiastic critical reception of his production of Kane’s play Cleansed at the Avignon Festival in 2002 and the Festival of the Americas in Montreal won him recognition and a place on the international scene. His productions are regularly invited to esteemed international festivals like the one in Avignon. He has also regularly directed operas on Europe’s most prestigious stages (including Paris, Madrid, Munich etc.). In October 2008 Warlikowski, together with a group of colleagues, opened his own theatre, Nowy Teatr. He has won a number of awards, including the prestigious Meyerchold Prize in

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Uhlár není patetický bojovník proti státem řízeným a placeným divadlům, pouze předkládá nepříjemné pravdy. A jednou z nich je i zpráva, že kdo koná z přesvědčení a jde mu o věc, často nedopadá nejlépe.

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It is a self – portrait of a kind, in which the artist grimaces not only at himself, but with caustic iron and amusing cynicism comments on the world around him. If anyone else were to do it, it would look like a pose. However, Uhlár is authentic, whether he is stripping naked, showing himself in his „bare flat“ and forcing other people to say to camera things they would rather not say. Uhlár is not an impassioned fighter against state – managed and funded theatre, he is merely putting forward some unpleasant truths. And one of them is the fact that when someone acts out of conviction and is concerned about what he does, it often does not end as well as it might. One of the highlights of the documentary is when Uhlár walks through the devastated space in Bratislava, saying: “Turn off here, we’ll find some beer. Go straight a bit, we won’t find shit. But where will we find something to feed the spirit?” Another shot of the destroyed building. “Is this spiritual? Can this be spiritual?” He enters the building in which he lives. On the door is a sticker with the logo of a bank. Uhlár reads its name mockingly, and disappears. Or when the camera takes rapid shots of advertising leaflets. Uhlár has an excellent nose for detail, and is a virtuoso in the art of composing pictures out of rubble. For all his proclaimed cynicism, many years later he is still the same idealist, rebel and romantic. Jana Machalická, Lidové noviny

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To, co Gay a Brecht sdělovali divákům pomocí hudby a písní, vložil Václav Havel do úst jednajícím postavám. „Psal jsem to rychle, uvolněně a s chutí, bez zbytečného spekulování a nedrcen pocitem, že jde o vše.

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Václav Havel wrote The Beggar’s Opera in 1972 at the behest of Prague’s Činoherní klub theatre. It was his fourth play. The reason it was not in the end shown was doubtless the theatre’s justified fear of working with a banned author. Havel did see the premiere of his play some time later, however, when it was performed on 1 November 1975 in the pub “U Čelikovských” in Horní Počernice. The play is based on John Gay’s original, but what Gay and Brecht tells the audience by means of music and songs, Václav Havel puts into the mouths of the characters as they speak to each other. “I wrote it quickly, in a relaxed mood and with gusto, without unnecessary speculation and not held back by the feeling that everything was at stake. The possibilities hidden in my model, and the hope – albeit hazy – that the play would be staged made my work easier, understandably. I like the play, and it seems to me to have a feeling of vitality, something confirmed by the favourable reception that it met with among my friends and acquaintances,” Václav Havel wrote of the Beggar’s Opera in 1977. Špinar’s adaptation of Havel’s text is its eleventh stage version. The breadth of genre classification to which it has lent itself is shown by the following subtitles: The Beggar’s Opera, A Mafia Grotesque (in Hradec Králové), The Beggar’s Opera or Václav Havel’s Brilliant Text (Daniel Špinar’s provocative production) and finally The Beggar’s Opera or A Wild Ride in an American Cabriolet on the Waves of Czech Absurd Humour.

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Titul je tentokrát určen dospělým divákům a byl inspirován knihou Atlas odlehlých ostrovů německé autorky Judith Schalansky (narozena1980). Jde o spisovatelku a designérku, která se narodila v Greifswaldu, v blízkosti ostrovů Rujana a Usedom.

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There are Places the Dark Likes, Where Never and Nothing Hide on Islands Remote After the faery of Bohemia is by the Sea, designed for the whole family but awakening the imagination of above all small children, the Naive Theatre Liberec has come up with another production that evokes the mystery and force of a basic element. This time it is aimed at grown-up audiences, and was inspired by the book Atlas of Remote Islands by the German author Judith Schalansky, born in 1980. Schalansky was born in Greifswald near the islands of Rugen and Usedom. This appears to have had an influence on her most successful book, published in 2009. Subtitled Fifty Islands I Have Never Set Foot On And Never Will, Schalansky introduces it with a foreword in which she returns to her childhood in communist East Germany. Although she is a child from a coastal town, the closed borders meant she had to forget about travelling around the world. She made up for it by travelling with her finger around a map – she was an atlas child. And she remained one, so she says, even after the change of regime. For her book she chose fifty islands, scattered around the oceans of the world. Liberec puppet actor Filip Homola, also a member of the ambient music duo Kora et le Mechanix, and his musical colleague Michal Kořán, were inspired by the names (as well as the stories that Schalansky attaches to the islands) first to create small compositions that then became the basis for a magical production that brings to life eight of the small continents from Schalansky’s atlas.

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Je proto celkem přirozené, že v centru Eyolfka, podobně jako v obou výše zmíněných hrách, je nepříliš dobře fungující manželství. V tomto případě jde o svazek Alfréda a Rity Almersových, v němž cosi skřípalo už dříve.

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Karolína Stehlíková has written of Henrik Ibsen’s half – forgotten play: “Little Eyolf is one of Ibsen’s four final plays, marked by a growing symbolism. He wrote them on the threshold of old age, when after almost thirty years away he returned to his native land in order to have a break from his world fame, and also to rest on his domestic laurels a little. However, he was followed to Norway by his wife, with whom at that time he had a somewhat cool relationship. Their partial separation was in part due to his wife’s rheumatism, which forced her to seek out warmer climes, but above all the result of Ibsen’s late loves – the models for his young and daring heroines, such as Hilda Wangel in The Master Builder and Irena from the epilogue of When We Dead Awaken. It is thus natural that at the centre of Little Eyolf, as in the other two plays mentioned above, there should be a rather non – functioning marriage. In this case it is that of Alfred and Rita Allmers, whose relationship has been on the rocks for some time. It is affected above all by their crippled son Eyolf, with whom both parents have a slightly strange relationship. A no less disruptive element is Allmer’s stepsister Asta, who has made herself very much at home at the Allmers’, to Rita’s displeasure. The role of Borghejm, the engineer, is rather to make up the numbers – he is courting Asta, and thus brings an element of uncertainty into the strange triangle. Little Eyolf drowns at the end of the first act. For the rest of the play, Alfred, Rita and Asta take turns in talking about what this means to them, and at the same time examine their own pasts. As happens with Ibsen, they find out all sorts of things in doing so.”

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Obsahově jde v jeho inscenacích často o demytizaci, nahlížení věcí z druhé strany; odhaluje nejrůznější zdánlivě nezvratné jistoty, mýty či legendy, ale i módní idoly, ikony, filmové, hudební, divadelní i životní manýry a stereotypy.

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Jiří Jelínek (1973) – A representative of auteur-style theatre who, as well as producing auteur texts, also directs, creates sets and acts. He is the founder of the distinguished Czech puppet company Dno Hradec Králové, in which he has been active for over ten years. After a few years he and other members of the company started to work with Vladimír Morávek in the Klicpera Theatre in Hradec Králové, where he acted and directed. Together with Morávek he then went to Brno to the Goose on a String Theatre, leaving after four years to go freelance. He works with the Divadlo Minor, the Reduta Theatre, the Tramtárie Theatre and Studio Ypsilon. In terms of content, his productions are often attempts at demythification, to look at something from the other side. He strips bare all kinds of apparently incontrovertible truths, myths and legends, as well as fashion idols, icons and the mannerisms and stereotypes of music, theatre and life. Jelínek typically uses wordplay based on the paradoxes that arise from multiple meanings of words, from homonyms and words that sound similar to each other. Grotesque elements are ever-present, creating an impression of non-committal lightness, but in reality the best always contain an attempt to precisely formulate a theme that is often of a serious or tragic nature (Cyrano, Hamlet, Richard 3., Paris from Romeo and Juliet…, but also Bye – Bye, Little Donkey, Roundthetable…). A further typical characteristic of his productions is a rich web of theatrical, literary, musical and artistic elements, mostly following the compositional principle of the revue.