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on the terrace of the Veletržní Palace
In Mistermissmissmister three naked bodies engage with the spectators sitting in front of them. Nudity, in this case, does not stand as a private invitation, but a challenge, since each performer displays in his/her head and face signs of a sexual identity that their bodies deny. In fact, sexual and social identities are reassigned in this performance aiming at a politics of gender, which is better described as ‘un-political’. The performance approaches the trouble of gender (reference to Judith Butler’s famous title) lending to this a frame of extreme exposure, disruptive intimacy, and an indiscernible ambiguity.

The spectators are provided with: a seat facing directly toward the performers (each spectator can choose to sit in front of only one of the three performers), centring on visual contact, the obviousness of ambiguity, and the disruption of intimacy. The performance turns into a kind of ‘open experience’ (in the same way we refer to an ‘open work-of-art’) in which what happens is, first and foremost, in the hands of the spectator.

Between the spectators and performers there is a table and a love song, which each spectator can find in one of the three headphones available on the table. The undetermined time of the experience places the spectator in the position of deciding: in front of which performer to sit, what kind of relationship does s/he wants to establish (Inquisitive? Voyeur? Shy? Confident?), how long does s/he want to keep his/her role, and when does s/he want to break that connection and give up his/her seat to another spectator (in any case s/he can continue to watch the performance from the outside, as an observer).

Placed in a public space, the performance Mistermissmissmister dislocates intimacy into spectacular, addressing not only each spectator individually, but also the collective space of identities’ representation, a site where the ‘trouble of gender’ (Butler, again) finds undisputable significance.

Concept and Artistic Direction: Ana Borralho & João Galante
Performers: Ana Borralho, João Galante and Miguel Moreira ( or Bruno Simão)
Make-up artist: Jorge Bragada
Music: Platters, David Bowie, Beyonce
Production: casaBranca
Co-production: Centro Cultural de Belém, Eira, wid.lov
Production assistence: Mónica Samões/casaBranca
Thanks to: Patricia Leal, Cristina Piedade, Filipa Francisco, Helena Batista, Miguel Abreu, Rui Viana, Vítor Rua, Olho, Eira, and David Gueniot e alkantara.

THE KAMPA SONATA, a magical movement/audio performance // JAN KOMÁREK
Kampa park 
A movement project for 40 dancers and 10 acoustic instruments.

Jan Komárek spent many years creating his own brand of movement theatre in Toronto, where his work was rewarded more than once with the Dora Mavor Moore Prize. He is now working as a director, choreographer and lighting designer, primarily in Prague’s alternative scene – creating original movement projects such as Dance of the Paper Dancers (Czech Museum of Music) and Awakening the Genius Loci (National Museum). In 2008, he received the “Theatre Personality of the Year” award at the …next wave… festival. He received an award for lighting design at the 2010 Czech Dance Platform.

Idea, design, and directing: Jan Komárek
Choreography: Jan Komárek and Andrea Miltner
Movement coordination: Michaela Susa
Musical collaboration, conductor: Michal Nejtek

The art projects from the areas of theatre, dance, and the visual arts presented in this section work intensively with place, responding to the architecture, scenography, and design of public space. The selected artists address the subject of architecture and urbanism in a city where one can be an active participant, spatial catalyst, and true spectator of a new image of scenography. The selected projects present various different artistic approaches and ways of working with public space – site-specific projects, interventions, improvisation, performance art, or installations. The project’s main dramaturgical theme is playfulness, the tracing and exploration of the city’s iconography, and a shared interest in communicating about public space primarily with the city’s inhabitants. 

Program coordinator Out of the Box - Projects for Public Space: Denisa Václavová, Čtyři dny www.ctyridny.cz

meeting at Piazzetta of the National Theatre, city walk 
Prague’s Old Town today has been almost completely stripped of authenticity, a place haunted by tourists and the “services” that accommodate their needs. It is also a picturesque arena full of architectural gems, a thousand years of history, and the imprint left by multitudes of past and present lives. Walking through Prague’s centre, at every turn you will cross paths with countless Mozarts, knights, and street vendors from all corners of the world. The cheap globalized made-in-China glitter, underscored by international pop music, combines to create a sublime operatic scenography. And still, all of this somehow blends with normal, everyday life.

Voicequake invites you on an unusual journey to various corners of the city, brought to life by our imagination. The voices of the past contrast sharply with the songs of the future, dreamy visions do battle with commercial hyper-specificity, the city’s Czech essence evaporates in global gibberish; words, song and movement create idiotic, logical, priceless and absurd phenomena and structures. Voicequake uses voice, audio, performance, and elements of the flash-mob.

Production Team
Stage Code & La Grande Bande & Guests
idea and dramaturgical development: Daniela Voráčková, Philipp Schenker
music/choir: Matěj Kroupa / La Grande Bande
artistic collaboration: Rasťa Juhás, Magdalena Prousková
final directing/dramaturgy: Philipp Schenker & co.
production: SPREAD O.S.

STAGE CODE // The Stage Code theatre group, founded by Daniela Voráčková and Philipp Schenker, has been active in Prague since 1999. In collaboration with various Czech and foreign artists, the group creates theatre projects in a diverse range of genres (visual theatre, object-theatre, site-specific, street theatre, cabaret, dramatization of texts, and children’s theatre, etc.). Stage Code’s work is organized and produced by Spread, o.s.

LA GRANDE BANDE // La Grande Bande, led by composer and violist Matěj Kroupa, was founded in 2004. The choir has a broad repertoire of songs, including works by eminent Czech and international composers, and works composed by its choirmaster. The choir performs at a diverse range of events, including gallery openings, but also gives its own concerts; it regularly sings during mass at the Church of St. Stephen.

Free entrance for a limited number of visitors.  To make reservations, please send your name and the number of tickets requested to denisa.vaclavova@pq.cz

the Piazzetta of the National Theatre

A non-violent intervention in what remains of a public space
A 24-hour camping experience on the National Theatre’s piazzetta

The Handa Gote performance ensemble will spend 24 hours camping on the National Theatre’s piazzetta in homemade ceremonial masks and clothing. Relaxation, conversation, and games; a further unspecified ceremony; the erection of a portable temple for further unspecified godheads; cooking food and whiling the time away by playing on homemade instruments, through song and dance, the creation of arrowheads and other practical tools using available materials (glass from bottles, replacing the more difficult-to-find obsidian or flintstone), and a two- to three-hour ritual invocation of money.
The camp’s participation will in no way accost passers-by or onlookers. Their form of communication with be the radical absence of any outwards signs of belonging to majority society. These nomadic artistic homeless won’t have anything to be afraid of, either. They, too, know that it is normal to adapt. Inadaptability goes against the natural order and against culture itself.

Any gathering of people is legitimate, even if it has no aim of achieving a specific goal.

Prepared and performed by: Handa Gote research & development and guests
Tomáš Procházka / Robert Smolík / Pasi Mäkelä / Martin Janíček / Miloš Šejn / Jan Dörner / Jakub Hybler
production: jedefrau.org Cavina/Kalivodová
photo: Martin Vosáhlo

The artistic group Handa Gote research and development is a conceptual post-dramatic theatre ensemble working with audio installations, movement and dance theatre, live music, visual theatre, and technology. Its performances are characterized by a hidden poetics and a unique aesthetics, influenced by minimalism, eastern philosophy, the Do-It-Yourself movement, and the combination of old and new on both the technological as well as mental level. Handa Gote mixes Czech do-it-yourselfism, the reuse of objects and technologies, and inspiration from Japanese wabi-sabi aesthetics.


STAGING // TOMÁŠ SVOBODA – installation
parking on Národní třída (corner of streets Mikulandská and Národní)
Using simple installation elements, the project presents everyday life on the stage, subjecting it to the viewer’s exploration. It enables us to rearrange a situation in order to be able to perceive what we see as theatrical. Tomáš Svoboda studies at the Academy of Fine Arts in Prague and the State Academy of Fine Art in Karlsruhe. He helped co-found the Display gallery, today called tranzitdisplay. Svoboda works with non-narrative text and its ability to convey information, as well as with the relationship between text and image. He does not, however, ignore social topics, media critiques, or various forms of commercial information. His installations and videos address themes related to the transformation of the environment and shifts in stereotyped ways of seeing. Exploring the possibilities of abstract narrative, he develops situations where the key component of the message is transferred onto the viewer.

the Piazzetta of the National Theatre

The theatre performance Octobriana versus Gagarin involves several theatre methods and techniques. Some parts of the play are presented through puppetry, performed in a public space while at the same time being projected on a screen. This approach allows the performers to combine sequences of puppet animation with live action. The entire play is accompanied by live music and something that might be called a specific form of dance. An important aspect is the energy of the performance, its unrestrained improvisation, the resultant adrenaline, and the entire piece’s meticulous visual form. The creators definitely deny the possibility of their work being puppet pornography.

Octobriana: You’ve really never heard of me?
Gagarin: No…. nothing….  I spent X years locked up in Star City. I made friends a little with Neznaika, Ponchik, and Knopochka… All in all, I don’t really know anyone.

text: Egon Tobiáš
puppet and set designer: Jan Lepšík, Jan Kačena
directed by: Jan Kačena
performers: Jan Lepšík & co.

Jan Lepšík is a graduate of the Department of Alternative Theatre at the Theatre Faculty of the Academy of Performing Art (DAMU). Since 1995, he has been an actor at the Ústí nad Labem Drama Studio, where he worked with orphanages as a theatre workshop director, and also with Roma children as part of the Bareder papežis theatre project. In 2005, he shifted his activities to Prague, where has worked with the Theatre on the Balustrades, the Řeznická Theatre, La Fabrika, and MeetFactory. Since 2007 he has co-taught (with Viktoria Čermáková) of the main acting course at the College of Acting in Michle. He is also involved with the Mezery civic association, contributing to Porta apostolurum, Leave Fidel Alone, Good Luck, To the Jews and other theatre projects.  

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