Spitfire Company 2010-2011

spitfire companyphysicalandvisualtheatre Spitfire Company is an artistic platform that includes phys- ical, visual, musical and dance theatre. It is currently one of the most progressive ensambles of author theatre in the Czech Republic. The works that are characteristic for the ensamble include features such as: emphasis of physical acting on the stage, experimenting with new theatrical fea- tures, existential imbalance of the figures, the trend of con- necting different genres and finding new visual stimuli. “Theatre is mostly about emotions, imagination, existence of rhythm. That’s why we believe in the power of fragility of imagination and corporality. Those are the connecters of our consciousness and sub consciousness. Theatre is physical or it is not at all… Theatre has to evoke emotions otherwise it is empty” Spitfire Company is following the artistic lead of these artists: Josef Szajna, Tadeusz Kantor, Jan Švankmajer or theatre groups: Mossoux – Bonté or DV8. Festivals and theatres International festival Zdarzenia [PL], International festival FAKI [CHR], L1 Contemporary Dance Festival [HU], Fringe Festival in Amsterdam [NL[, State Satirical Theatre [BL], Theatre GLEJ [SI], Sám na javisku/ Alone on the stage [SL], The Grotowski Institute [PL], Die Etage [DE], Festival of the European regions [CZ[, Festival Flora [CZ], The International Zero Point [CZ] Awards and acknowledgments Grand Prix – International Festival Zdarzenia [PL], the International festival RomaTheatroFestival award for the personality of the year for Petr Boháč, the Next Wave festival award for the talent of the ear for Jinřiška Křivánková, Divadelní noviny/ Theatre newpaper’s award for the perso- nality of the month for Petr Boháč and the Spitfire Company The International Festival Zero Point Spitfire company holds every year a festival called the Zero Point which is concentrated on physi- cal, visusal theatre with modern dance genres and techniques such as Butoh. The festival was joind by such artists as? Imre Thormann, Sabine Seume, Mossoux – Bonté, A PART, Tantehorse, Juschka Weigel, The Symptoms Members and coworkers P. Boháč, M. Čechová, P. Vaněk, I. Kristeková, R. Janč, P. Refl, M. Vacovská, J. Křivánková, R. Vizva- ry, J. Sozanský, J. Miko, P. Škávová, J. Pokorný, C. du Costa, A. Renč M Špetlík, J. Kučera, , DJ M. Hekela, MR. Ultrafino, P. Vlachynská, B. Wojtkowiak, M. Hořejší, Aneta Kafková, Bětka Serclová, Ludmila Vacková

spitfire company the untouchables 2? 16 the untouchables cast: Miřenka Čechová, Markéta Vacovská a Robert Janč Written by: Jiří Jarkowský directed by: Petr Boháč choreography: JIří Pokorný (NDT, Crystal Pite) music: Jan Kučera light design: Martin Špetlík production: Aneta Kafková stage and costume design: Michaela Hořejší animation: Michal Kubíček We would like to acknowledge the help of Matěj Matěj- ka and Jaroslaw Fret of the Institute im. Jerzego Gro- towskiego, Petr Štulíř, Tomáš Legierský, Martin Mařák, and Eva Chudomelová WWW.bezhlavi.czannotation: A journey into the depths of three people’s subconsci- ous. Filip, Miriam and Josefina long to be together. In spi- te of that, all three of them find themselves in the wake of solitude on that single June Sunday afternoon when the flood hits their place. The wave metaphor, dance, action, speech flow, animati- on, and the tango rhythm of the accompanying music are the layers of this performance’s world. “How strange to feel the line that is spun from us leng- thening its fine filament across the misty spaces of the intervening world (Virginia Woolf: The Waves).” “I can think of many adjectives that would explain what we do: physical, visual, experimental, passionate, dance theatre. But only one collocation is determining for me, it is TOTAL THEATRE. It is the boarder where there is no further border behind.” Petr Boháč: Fragments non-thea- trical This theatre project was realized in collaboration with the Roxy/NoD Experimental Venue. The project was supported by: Ministry of Culture of the Czech Republic, The City of Prague revieWs Beheaded Tri-headed relationship (L. Dombrovská - i-diva- dlo.cz) It is possible to compliment everything – animation (Michal Kubíček), music (Jan Kučera), choreography (Jiří Pokorný) and directing (Petr Boháč). But what is necessary to call overwhelming is the role of Josefína performed by Miřenka Čechová. Thanks to her we had a chance to see a person with mental disability on the stage. This whole thing per- formed through complicated dance and theatrical study. From unknown to here and from here to nowhere – (R. Vašek - Divadelní noviny) It seems so logical and understandable to connect dance, text and projection in The Untouchables. This combination brings in the feeling of an inner dramaturgy even though the real content is quite poor. Thoughtful and per- fectly rehearsed piece from the Spitfire Company is one of the better platforms which Czech dance offers. Are The Untouchables not understandable? (V. Varyš – Týden) A frequent use of projection uncommonly onto the floor allows the video to connect with dance. From a certain point of view it is a fascinating slideshow. A manner which can annoy, which shows superiority – intellectual, esthetical even power – of authors over the audience. It could remind of the films from: Montaneira, Rivetta or Botelha. It is something normally not to be seen in Prague. It is an intricately accessible but beau- tiful show. Tango of The Untouchables (M. Harasimowicz – Nový prostor) The Spitfire Company ensamble is without any doubt the most interesting and the most origi- nal authors one of physical theatre in the Czech Republic. It is one out of many contemporary ens- ambles which is actually capable of connecting an absolute professionalism with an avant-garde touch and with intellectually elaborated concept of the content and the form. The Untouchables (J. Soprová – Český roz- hlas) The performer got persuaded during a workshop where she worked with autistic people. Her cre- ation of Josefína perfectly balances in between child’s naivety and fragility and complete insup- portableness when she repeats the same words and movements over and over. The Untouchables is one of the experiences that no fan of alternati- ve cultures misses. It’s not only for its unusually handled topic but as well for total professionalism TheUnToU- chables

3? 16 SPITFIRECOMPANy@gMAIL.COM WWW.BEZHLAVI.CZ

4? 16 SPITFIRECOMPANy@gMAIL.COM WWW.BEZHLAVI.CZ

theWorldofthe condemned spitfire company the World of the condemned 5? 16 the World of the condemned cast: Miřenka Čechová,Jindřiška Křivánková, Iris Kristeková, Petr Vaněk, Jan Miko Written: Jiří Jarkowský directed by: Petr Boháč music: Jan Kučera light design: Martin Špetlík production: Aneta Kafková stage and costume design: Barbora Wojtkowi- ak a Petra Vlachynská WWW.bezhlavi.czannotation: The connection of physical theatre with active painting by Jan Miko became the event of the year not only on the Czech stage. The World of the Condemned was awarded by grand Prix of the festival Zdarzenia in Poland. The essential purpose of the project is to interconnect physical theatre with the active painting of Jan Miko. During one hour, there will be an original painting made throughout the performance. The performance which includes both dancers and actors influences the artwork both through the energy and mood that is present on the stage. The result is an original artwork which connects dance, physical theatre and most of all unique action painting. The connection in between physical and dance action uncovers unseen possibilities of visual theatre. A dance and art fresco on the feelings of vanity, intolerance and the impossibility of understanding. Physical theatre has the surrealistic flair of a rotting society that has decided to destroy itself. Each performance is an original painting by Jan Miko, made as part of the central character’s sto- ry which ends up revealing the condemner’s world. We play to kill some time, we play to kill ourselves. We hate others because we can’t love, we can’t love because we hate ourselves. The performance was part of the project New web in 2009. The project was supported by The Ministry of Culture of the Czech Republic, City of Prague revieWs: Public inquiry of the Theatre nexspapers, inscenation of the year 2008 - (M. Zdeňková - Divadelní noviny) Especially for the charismatic performance of the three actresses: thoroughly physical, cynically internal. The World of the Condemned on Next Wave (M. Kolářová – NeKultura) This year’s Next Wave became the past so I will remind you a little hindsight into one of the Saturdays performances which was one of the best pieces of the whole theatre marathon. What I have in mind is The World of the Condemned by the Spitfire Company. The Spitfire Company is a group creating plastic thea- tre. This unusual term describes the synthesis of the movement, dramaticaly and mime theatre. The World of the Condemned – The forbidden fruit tastes good - (T. Kůs - Český rozhlas) You could award The World of Condemned with such colorful adjectives as: expressive, cruel, provocative, licentiously open momentarily obs- cene… And despite this it is a gentle and unique performance which is capable of naming very personal and diverse feeling. Zdarzenia even more successful (Małgorzata Bryl - Dziennik teatrálny) The Spitfire Company received the main award called the Grand Prix. It is necessary to admit that the decision of the jury was fair and expected. The performance was formally and choreogra- phically such an experience that it couldn’t leave without the main award. Expression on the stage - (Josef Vomáčka - ČT24) An unexpected and almost incredible experience awaits those who will go and see four young dan- cers from Prague-based Spitfire Company in their performance of The World of the Condemned. It is a sheer beauty to watch the efforts of Miřen- ka Čechová and her colleagues and a challenge for the viewer to decode where the inspirations come from.

6? 16 SPITFIRECOMPANy@gMAIL.COM WWW.BEZHLAVI.CZ

7? 16 SPITFIRECOMPANy@gMAIL.COM WWW.BEZHLAVI.CZ

unicorn spitfire company unicorn 8? 16 unicorn actor: Petr Vaněk scriptwriter: Jiří Jarkowský directed by: Petr Boháč dramaturgy: Adam Renč light design: Martin Špetlík production: Aneta Kafková stage and costume design: Daniela Klimešová WWW.bezhlavi.czannotation: Unicorn – an existential detective story for one actor – is the first play from Spitfire Company repertoire where dramatic text plays the main role. Petr Boháč works with outside wordage which enhances the texts (by Jiří Jar- kowský) logical absurdity. The texts author was inspired by the works of S. Beckett: Waiting for godot, Malone dying, The Unnamable. The main character is an egoist, a person unattached, isolated, full of anxiety, nothingness and fear with no social relationships. He evocated the feelings of: fear, sympathy and regret as well as the one of a disgust. “The most important for me and as well for Petr Vaněk (the main actor) was the excursion into the feeling of loneliness. We tried to understand a human being who ended up alone. It suited our perception of the current world-being. We have noticed that people are often alone even though they are in the middle of a billboard society. The performance was a part of project Nová síť/New Web in 2010. Project was supported by: Ministry of Culture Czech Republic, City of Prague revieWs: Petr Vaněk (Lenka Dombrovská – Divadelní noviny) Petr Vaněk persuaded me of his acting qualities in the exis- tencialistic detective story for one actor that has the name Unicorn. A text inspired by the works of Samuel Beckett was written by Jiří Jarkowský right for this actor. It pre- sents anxiety moments which him, the author and even the director Petr Boháč went through. During the rehearsals I used myself my own feelings. I was in Kyjev back then and I saw a partially ruined house which didn’t have any win- dows just on the top floor there was a little window. I took a picture of it and send it to Boháč – it was obvious that this is the house where my character lives. Petr not only thought of where the character lives but he as well brought him to life. He became a scruffy individual of a non-specific age that awakens regret as well as disgust. Theatre The International Festival Zero Point (Lenka Dombrovská – Divadelní noviny) Unicorn in the whole context of this theatre group is exceptional mainly becase the base of the who- le play is neither dance nor movement, it is the word – the text by Jiří Jarkowský inspired by the works of Samuel Beckett. This is interpreted by the charismatic and demonic actor Petr Vaněk. Loneliness of the perfect presence (Marta Harasimowicz- Nový prostor) Even though darkness and anxiety are the domi- nant feeling of the play the creators of Unicorn skillfully vary different emotional situations. Th- rough that the relationship between the specta- tor and the main character changes in a fast pace. Once we pity him, then he annoys us or we laugh at him and then again he disgusts us. We find ourselves is a state of perfect presence where the past in full of emptiness and the futu- re equals uncertainty and suffering which results in expectation Theatre is about the corporality of the liveliness and metaphysics of experience.

9? 16 SPITFIRECOMPANy@gMAIL.COM WWW.BEZHLAVI.CZ

10? 16 KontaKtní informace SPITFIRECOMPANy@gMAIL.COM WWW.BEZHLAVI.CZ

thevoiceof annefranK spitfire company the voice of anne franK 11? 16 the voice of anne franK actor: Miřenka Čechová scriptwriter: Miřenka Čechová, Petr Boháč directed by: Miřenka Čechová, Petr Boháč light design: Martin Špetlík production: Aneta Kafková stage and costume design: Petra Vlachynská a Ivanka Kanhouserová WWW.bezhlavi.czannotation: Dance and visual theatre with a masterpiece acting per- formance of Miřenka Čechová. Thanks to this performan- ce Miřenka obtained the Fulbright scholarship to a study program in the USA. The Voice of Anne Frank touches the woes and delights of a thirteen year old girl. The girl is forced into hiding in a back tract of a house. However in the voice of the diary it is not only Anne talking but all the problems of the hiding people - those who survived and those who didn’t. The life of Anne doesn’t end at the last page but in a concentration camp. But what do we know about the convicted who were forced to live their non-life? And what do we know about the non-life of those tortured to death? Despite the deep emptiness we are trying to com- prehend; we are trying through the existence of the body, search for identity, through the details of everyday life. And in this “despite” we can hear the voices that were meant to fade. Project supported by: Jewish Culture in Europe, Nadace Život umělce revieWs: The Voice of Anne Frank (Jana Soprová - Scéna.cz) The complex story of a heroine on the border between child- hood and adulthood during the Holocaust is interpreted with exceptional movement invention but presents even more. Rehearsals and certainly, still, performances have deman- ded a great deal of physical and psychological strength from the protagonists. Honestly, for me, this is a project which is clearly destined, with both its topic and performan- ce, for international festivals. The Voice of Anne Frank (Taneční aktuality) Her character was impersonated by Miřenka Čechová. She perfectly cohered the experience of a dancer, actor, chore- ograph and a mime. Even though she was all alone on the stage, she was able to rule the space with her charm and her craft. She attached the attention of the audience in such a way that they didn’t even have time to get bored which during long solo parts usually isn’t a problem. She was able to talk to the audience with her who- le body. She added cogent movements, to the excerpt of the diary. The expression and gestu- re didn’t miss convincingness. She was able to express the mentality of a 13 year old girl. The Voice of Anne Frank (Culture and experi- ences) The first part is a solo masterpiece by Miřenka Čechová. She acted (danced – I am not sure which verb is more suitable) with every single muscle in her body. Even though the first couple of minutes she is turned backwards spectator; she was still able to attract him. Another perfect part was the dinner of 6 people which she was able to perform on her own. You see the people sitting at the table arguing about who is meant to eat the vegetables. glosárium Hadrián 2010 – (Festival of the Euro- pean regions) After a week of the festival and under the pres- sure of exhaustion (especially the theatrical) I was still able to stare with an open mouth and almost in trance I watched an unbelievable acting and movement performance of Miřenka Čechová accompanied by violoncello.

12? 16 SPITFIRECOMPANy@gMAIL.COM WWW.BEZHLAVI.CZ

13? 16 SPITFIRECOMPANy@gMAIL.COM WWW.BEZHLAVI.CZ

chaplin’s trial spitfire company chaplin’s trial 14? 16 chaplin’s trial cast: Miřenka Čechová, Jindřiška Křivánková, Radim Vizváry (j.h.), Robert Janč scriptwritter: Miřenka Čechová directed by: Miřenka Čechová intermezzo: JJIří Pokorný dramaturgy: Adam Renč a Petr Boháč light design: Martin Špetlík production: Aneta Kafková stage and costume design: MIchaela Hořejší WWW.bezhlavi.czannotation: Josef K., dragged through Kafka’s Trial, is replaced by Everyman in the new inscenation of the Spitfire Company. Our Everyman is soon revealing certain characteristics of Ch. Chaplin. The proper human being is replaced by an anarchist, a blind trust in law is replaced by reality. Once skeptical other time licentiously idealistic, contrasting, in light exaggeration the problems of being. Chaplin wasn’t a coincidental choice. His life and works justify his role as a fighter of the System, the protector of the “discri- minated majority”. And Process “metaphor of against the world-wide individualism”, gave the inscenation timeless plot. The anti-hero can be anybody and anytime. Josef K. persuaded of his truth remains in passivity so long that he gets murdered as a wandering dog. Is Chaplin prede- stined the same? The inscenation was made with the cooperation with Palác Akropolis and with the support of the city of Prague. revieWs: Chaplin’s Trial (Kateřina Dolenská - Mladá fronta Dnes) Existentialist grotesque with an unusual inner logics con- nects Kafka’s Josef K. and Chaplin. The inscenation uses film shots and creates a very heavy atmosphere. The phys- ical creations of the actors are brilliantly thought of as well as performed. Chaplin’s Trial (Barbora Šulcová - Divadelní noviny) The connection of Chaplin and Kafka can seem problematic. The authors are trying to prove that it has its logics. They are building safe points from the beginning of the perfor- mance. In those they show that it is one same person. The link can be seen especially in their relation towards absur- dity – in this case: Kafka in situations where he is forced to act and exist in Chaplin’s code, through which he talks to the world. Chaplin’s grotesque includes many absurd features on the other hand the absurdity of Kafka’s works includes much of a grotesque. Kafka’s profile is turned at the end of the play and at this point the spectator notices that the second profile is actual Chaplin. The inspiration by Kafka can be seen even in the participation of the audience especially at the end. After Chaplin’s execution as well as Jose K.’s the lights light up and there is a new play coming up. The authors are clearly explaining that there is no escape and it invol- ves every one of us. Those who don’t formulate their own attitude who don’t overrule their fears and who don’t refuse to subordinate – those they are awaited the same destiny as Josef K.’s. It is necessary to ask the questions not only to pas- sively answer – no more waiting for the destinies decision for oneself and for others. Process of Charlie Ch (Kateřina Dolenská - MaPa 06) Experimental ensamble the Spitfire Company where in the lead is dangerously talented Miřenka Čechová has in their new inscenation decided to impersonate two unmergeable cultural phenome- na of the 20th century. They chose the persona- lity of Charlie Chaplin and the character of Josef K. Bizarre combination at first, great performance on the stage of Prague’s Akropolis, later on.

15? 16 SPITFIRECOMPANy@gMAIL.COM WWW.BEZHLAVI.CZ