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• W270512469 abstract "1990s were a difficult time for Czech playwrights. Immediately following the velvet revolution in 1989, there was a surge of productions of previously banned plays by authors such as Vaclav Havel, Pavel Kohout, and other playwrights who were active mainly in the 1960s. This initial enthusiasm for Czech plays quickly waned, however, and during the 1990s only very few contemporary, post-communist plays were produced by the Czech theatres. reasons for such neglect were numerous, but chief among them was the uniquely Czech understanding of the as an art form driven mainly by directorial interpretation and actor personalities. For example, during a 1998 public discussion between the playwright Pavel Kohout and the Czech critic Petr Pavlovsky, Kohout argued that Only a contemporary play can raise the bar of in any country, to which Pavlovsky replied that, on the contrary, The bar of the Czech has always been raised by directors rather than playwrights, and later went on to state that he knew of theoretical argument that would prove that the potential of artistic success is higher by producing a contemporary play rather than the canon (qtd. in Pavlovský 165. All translations in this article are mine.) In the 1990s, Czech managers and dramaturge firmly sided with Pavlovský, leaving young playwrights out in the cold. Attitudes started to change again at the end of the millennium, however, and Czech began to pay more attention to homegrown dramatic talent. This trend started in the smaller, regional theatres. Prague caught up slowly, but by 2000 several Prague theatres, including the venerable National Theatre, included new Czech titles in their repertories, and while many of those plays encountered negative critical and audience reactions, some went on to become hits. Petr Zelenka's Tales of Ordinary Madness became the most celebrated theatrical event of 2003, and other contemporary playwrights have steadily gained acceptance on the Czech stage. However, most of those authors were associated with particular companies led by artistic directors who may have been their long-time collaborators and friends, or whose aesthetic vision was in line with an author's style. As with much else in the life of the Czech Republic, and in Prague in particular, the success of those playwrights had as much to do with personal connections as with talent. Iva Volankova is an exception. Between 2001 and 2006 no fewer than six of her plays have been staged in the Czech Republic by six different theatres, including the venerable and, traditionally, somewhat conservative National Theatre in Prague. This is even more surprising when we consider the unabashedly feminist and political focus of her plays. Feminism is a dirty word in the Czech Republic, and Czech audiences, critics, and dramaturge have traditionally eyed plays with overt topical and political themes with great suspicion. While feminism is seen as an unhealthy and often laughable western (primarily American) import, political and topical themes in the are viewed with even greater disdain. last time topical plays with political content were regularly seen on the Czech was during the infamous reign of socialist realism and, understandably, the Czechs want nothing to do with that anymore. However, Volankova's plays have continued to be staged in quick succession. Her first play, Minach Trilogy, was directed by Arnost Goldflam in 2001 at his legendary HaDivadlo in Brno, the second-largest city in the Czech Republic. lyrical stage poem Anxiety Street 22 ran for two years at the National Theatre in Prague in 2003-2004, and her Benefit Performance, a playful theatre joke, was staged at the Drama Studio in the Northern Bohemian town of Usti nad Labem in 2005. In the same year, her feminist critique of the Czech media and entertainment industry, Barbie Dolls, played at the respected Theatre on Balustrade in Prague [Photos 2 & 5], and her SSisters 2002. …" @default.
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• W270512469 date "2006-07-01" @default.
• W270512469 modified "2023-09-26" @default.
• W270512469 title "Iva Volánková's 3sisters 2002.CZ at the Rokoko Theatre: Emotion and Its Discontents in the Czech Theatre" @default.
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