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I was appointed for the second time as the Editor-in-Chief of PQ MAG, an official publication of the Prague Quadrennial 2011. The appointment was made by the Arts-Theatre Institute and Ministry of ...

I was appointed for the second time as the Editor-in-Chief of PQ MAG, an official publication of the Prague Quadrennial 2011. The appointment was made by the Arts-Theatre Institute and Ministry of Culture of the Czech Republic.

This broadsheet-style newspaper takes a lively, engaging, pop-culture approach to covering design, performance design, architecture and space. It presents interviews with artists, program tips, photo report and much more.

I produced, edited and directed the content and planning of this daily newspaper. Its circulation reached 50,000 visitors in Prague’s city center. It was distributed at Veletržní Palace (National Gallery), Prague Crossroads (St. Anne’s Church), Piazzeta of the National Theatre, New Stage of the National Theatre and DAMU (The Theatre Faculty of the Academy of Performing Arts Prague).

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    Publication_editor_in_chief_of_pq_mag Publication_editor_in_chief_of_pq_mag Document Transcript

    • FREE 05 FRIDAY, JUNE 24TH 201112TH INTERNATIONAL COMPETITIVE EXHIBITION OF PERFORMANCE DESIGN AND SPACE FOR /////////////////////////////////////// JUNE 24TH —––––— JUNE 26TH 2011I “Scan” a Place,a Situation... I Interpretand RespondStanding solo on the New Stage of the National Theatre, Scanner greatly impressedPrague Quadrennial audiences with his multimedia presentation. Afterward Scannertalks to Randy Gener on the role technology plays when this British sound artistcreates multi-layered pieces that traverse space, image and form. //// Scanner’s real name is Robin Rimbaud. Intensely active in soundart since 1991, Scanner has produced concerts, compositions, instal-lations and recordings. He has collaborated with artists from everyimaginable genre. Recently, for example, Scanner rescored the classicblack & white movie Dr Jekyll & Mr Hyde for a premiere at the EtherFestival London in 2010. His film collaboration Sakoko with fashiondesigner Hussein Chalayan premiered at Paris Fashion week for VogueMagazine. In 2011 he became sound designer for celebrated iPad pub-lication Post, created the sound for the Rugby World Cup Promotion,inaugurated new Paris digital theatre Gaîté Lyrique in collaborationwith United Visual Artists, and presented Blink an ambitious outdoorperformance with Wayne McGregor and Pan-Optikum in Margate UK. //// Where did you get the name Scanner? Why do you feel that theword “scanner” accurately reflects your work? — In the late 1980s bychance I discovered this modest handheld radio device that allowedone to literally scan through the cellular airwaves in real time and pickup private conversations and exchanges between people. Asa teenager I’d recorded crossed lines on our ancient analogue homephone, so this felt like the next step. Incorporating them into thesecinematic dark landscapes of sound seemed to just make perfectsense. Also, at this time the Chill Out rooms in clubs were growing incapacity, and my work was being played out there as well as offeringa very human aspect to digital techno-music by incor-porating thevoice into the electronic atmosphere. So I took on the name of the de-vice I was using to pick up these found voices. In many ways it reflectsthe way that one scans an environment through hearing, sight, smell,touch—using all the senses. I literally “scan” a place, a situation, and,using a combination of intuition and some skill, I am able to interpretand respond. //// Is the sound designer more important than in films, concertsand other media disciplines? — You can see how much our visual cul-ture has expanded into a 3-D cinematic experience—a surround sound,high fidelity–style world. It’s essential that sound maintains a similarlevel of deve-lopment and flow with the images, be it on stage or inthe cinema. The role of a sound designer has always been importantas far back as Shakespearean times when people out of view wouldcreate the sound of a thunderstorm off stage. But I think that todaya development in the possibilities of using speakers and amplificationhas meant a greater need and emphasis for more detail, more focus onthe sound. Photo © Miroslav Halada //// What (or when) do you consider was that moment/event whensound became a deeply important part of your life? — When I was 11years old, I was fortunate enough to have a piano teacher who played //// Can you give examples of how the Internet has changed the of the leaps it has offered us in so many ways, dissolving ideas of ge-us all the work of the American composer and artist John Cage in way you work or the sounds you produce? — It’s a combination of the ography and time in ways we might never have anticipated. The factschool. That event in itself was enough to open up the top of a sweet speed of communication, access to other worlds and the ability to use that I can collaborate in almost real time with someone else anywherelittle boy’s head and pour in all kinds of possibilities. Watching early the Internet as a time travel tool to connect with others, often figures on the globe is a phenomenal idea.BBC television series with scores and sound design from the BBC Ra- you would most likely never bump into it in real life. Given that I havediophonic Workshop also clearly influenced my upbringing. been working since before the Internet was around, I’m very conscious Randy Gener THE BANANA STREET OCTOBRIANA VERSUS JAN FABRE: ORGY OF MASTERCLASS WITH LIVE EVENTS IN PERFORMANCE GAGARIN TOLERANCE CARLOS PADRISA EXPOSITIONS JUNE 24, 12 AM JUNE 26, 8:30 PM JUNE 26, 10 PM JUNE 25, 4 PM VELETRÎNÍ PALACE JUNGMANN SQUARE PIAZZETTA PIAZZETTA DAMU Day of Finland, June 24, 3–6 pm SCENOFEST INTERSECTION INTERSECTION SCENOFEST // Multilingual guided tour in What can happen with a banana? Some parts of the play are presen- A wild spectacle about excess, C. Padrisa is a founding member the installation (CZ), June 25, What do three strange creatures ted through puppetry, performed greed and the ecstasy of of the theatre group La Fura dels 10 am, 6 pm // Looking for... , do with a banana? They write the in a public space while at the same consumption from performance Baus. Currently he directs the Dutch exposition invites you to story of a murder, which starts with time being projected on a screen. titan J. Fabre and a stunning cast artistic activities of The Naumon a mobile phone walk through the victim’s white traces on the This approach allows the perfor- of performers. He employs actors, Ship – an old cargo ship and Prague based on found floor. Three crazy characters pre- mers to combine sequences of dancers and musicians to paint a floating performing arts center photographs taken around 1968; sent this murder in a completely puppet animation with live action, a provocative panorama of that tours the world with a cargo of June 24–26, 10 am – 6:30 pm. crazy photonovella visual. accompanied by live music. a Visa/MasterCard society. artistic experiences.
    • A Composerat the Edge of SoundA conversation with Tod Machover, the influential composer and head of theMIT Media Lab’s Opera of the Future Group. //// America’s most wired composer, Tod Machover heads //// Machover says the show feature a robotic, anima-Hyperinstruments/Media Lab’s Opera of the Future group tronic stage—the first of its kind—that gradually comes aliveat the Massachusetts Institute of Technology. He has com- as the opera’s main character. “My own personal aestheticposed significant works for Yo-Yo Ma, Joshua Bell, Matt is that what really matters is are the human beings — howHaimovitz, the Ying Quartet, the Boston Pops, the Los An- human beings relate to the world,” Machover says. “Tech-geles Philharmonic, Penn & Teller, and many others, as well nology matters, but it only matters if we can be as fullyas designed and implemented various interactive systems human as possible. The idea of the cyborg is already kind offor performance by and . Machover has now pushed the old. Cyber evolved out at a time when people felt there’sfrontiers again and broken ground again. In Death and the a limit to human physicality, and only way to go is to createPowers, which recently debuted at American Repertory The- a hybrid. More likely, in the future, the technology that willatre in Cambridge, Mass., and kicked off the Chicago Opera dominate is the technology that disappears — where you doTheater season, he has written a “Robot’s Opera.” And he not notice it. One idea for the opera is for the physical ob-means it. jects to move, but you will not be able to see the gadgets or //// With a libretto by Robert Pinsky, the former U. S. poet the loud speakers.”laureate, Machover’s opera concerns a dead man who man- //// Machover understands the cyberspace is very power-ages to perpetuate his existence beyond the decay of his ful among young people today. “The ability to connect virtu-physical being. Simon Powers, a rich inventor, embeds him- ally and to live online is growing so fast,” Machover says.self into the objects surrounding his family, leaving his lov- “Young people have no reason to go out anywhere anymore.ing wife and daughter struggling to move on with their lives. They don’t want to go to the theatre to see a show, orThe opera had its world premiere last fall at Monte Carlo a movie, or go to a playground. Not only can you do anythingOpera. online, you can cut to the future. There’s fluidity online, and //// The production surrounds the cast of seven singers you can multiply your connections to the community.”with screens lit with bright columns of shifting colors and //// What can be done to slow down this move into virtuala tensile, web-like musical chandelier that becomes an al- space? “We have to rebuild public experiences from themost-human figure. There are luminous, triangle-headed ro- ground up,” Machover says. “We have to build new reasonsbots, 143 speakers scattered about the theater and dozens of for people to come together. You can no longer assume thatcomputers to control the lavish sound and light show. people will want to go to a normal theatre hall — we cannot //// “The basic idea of a hyperinstrument,” Machover says, take for granted this new impulse. It has to be part of the“is where the technology is built right into the instrument so new composition.”that the instrument knows how it’s being played — literallywhat the expression is, what the meaning is, what the di- Randy Generrection of the music is,” Machover says. “If a performerpushed to a downbeat or relaxed on a phrase or brought outa particular F-sharp, those things would be recognized andvalued by the instrument.”PQ PORTRAITS Tomáš Žižka Tomáš Žižka (CZ) is a Czech multi-disciplinary artist and the Artistic Leader of the Mamapapa theatre company. He has worked on scenography projects across the Czech Republic as well as in Europe. His primary interest in collaboration with teams of visual artists, dancers, musicians, and other art specialists on contemporary independent and experimental art projects. At the PQ 2011 he works as workshop leader in Scenofest student project: Fifth Act (June 23 & 24, 9 pm; Náprstek Museum). PQ Live Event in the Exposition of Korea // Black Sail, White Sail // Open Lab Review // Mariaelena Roqué: Aurembiaix Paul Zaloom Paul Zaloom (USA) is a comedic puppeteer, political satirist, filmmaker, and performance artist who lives and works in Los Angeles and tours his work all over the world. Zaloom has written, designed and performed 12 full length solo spectacles, including Fruit of Zaloom, Sick But True, his latest, Mother of All Enemies and, with Lynn Jeffries, The Abecedarium. Since 1992, Zaloom has also appeared on the science educational TV show Beakman’s World as Beakman. At the PQ 2011 he creates a toy theater spectacle about the male Caucasian human in American exposition: The Adventures of White-Man (June 24, 12 am, 5 pm / June 26, 12 am; Veletržní Palace, Hall A).PQ JP.CO.DE DIARYKrétakör: Ahoj from the front line!With the clear sign that we had received at least a 10-member adventure, a unique cinematic experience combined with antechnical crew from Budapest, we all knew, we have turned into experiment - a live performance by our volunteers. Do not missthe finish line of our artistic experiment here at PQ’s Intimacy the last chance: TODAY 3 PM, 6 PM, 9 PM at the Právoand Spectacles Intersection. The last 12 days we’ve been part of Building, Na Florenci street 19.a unique community building process. A personal and emotional Róbert Vágó Wallensteincultural event between 12 volunteers from 9 different countries.It had become so intimate that one of us could not handle itanymore, and left us. One of the most free spirited and mostcreative one, Christian. We all discussed inside our communitythe possible reason of his leaving. It was a mixture of shock anda well predicted, natural cause. He chose to be part of us as longas he felt he can be a children in our huge playground at theruined but mysteriously beautiful printing house. Most of uscouldn’t wait to interact with the public, to share their experiencewith the PQ visitors, Christian felt different. We respect hisdecision, wished him good luck on his cross-continental bicycletour, but with full intensity we are focusing on our duty here: topresent the achievement of our community building game. In themiddle of the week we had a rocking start! We got a 3 time-fullhouse premier with over 300 people. Not bad a for a communitygame! Catch us, if you can on the last day of our unusual
    • PQ EDITORIAL Performance Space at Prague’s Literal and Metaphorical Crossroads. // The Architecture Section, held in the wonderful site of St Anne’s at the Prague Crossroads, is conceived as a place for debate and discussion over the current state of performance space and its future potential. If you are able find this beautifully renovated deconsecrated church within the labyrinth of old Prague you will discover a space alive with dynamic exhibits set into timber tables, videos showing projects that explore sceno-architectures and a space upstairs where 20 performance architects, scholars, designers and makers are working together to create proposals for new spaces. // Each of the 32 nations participating in the exhibitions were given a timber table by PQ as a spatial element for them to inhabit with projects representing their current state of theatre. The range of responses has been marvellous and often provocative: Lebanon created a prayer rug of the Mediterranean where their Moschea del Mondo (Aldo Rossi’s floating Teatro del Mondo renovated with minarets) will voyage between East and West; France presents an exquisitely crafted steel table that reveals interesting projects to those who are willing to discover its contents; Italy’s table shudders and gasps, expressing the frustrations at a lack of political imagination and funding; and Nigeria lays out a simple yet effective diagram of village performance space for their “folkist” theatre tradition. // The jury decided to award two gold awards in the architecture section to projects that show the range of possibilities for spatial performance: Greece’s small and flexible studio machine for their national theatre, capable of transforming through shifting elements of walls, floor, ceiling and seating; and Mexico’s assemblage of socially inflected events staged in found spaces, which is presided over by a live axolotl. // The Architecture section offers, in my opinion, the best coffee in Prague from an espresso bar sited next to a table laden with architecture books where people can meet and enjoy the videos housed in a 10-meter high tower. These moving images show projects such as Willi Dorner’s Bodies in Urban Spaces where dancers run through the city and embed themselves in the cracks and folds of the architecture; Sasha Waltz’s choreographic Dialogues with Architecture; the responsive structures of Omar Khan, Mette Ramsgard-Thomsen and Rodrigo Tisi; and a wonderful event where the West Bank Wall is momentarily rendered transparent by the Palestinian and Israeli Artists Without Borders. While impressive new auditoria by ‘starchitects’ such as Zaha Hadid and Jean Nouvel are included, the projected projects aim to show how fleeting events can transform any space into a performance space. // And upstairs we are continuing to ask simple but important questions about theatre as both built form and art form. The makeshift auditorium under St Anne’s spectacularly restored roof is made up of a long table and a landscape of wooden platforms gathering colleagues and visitors interested in those guests who address what, when, why, where and how a theatre is and could be. Architect Charles Renfro has shown when theatre appears in the city through architectural events; sociologist Richard Sennett has displayed that theatre is located in the simple gesture of touch and being in-touch; and Marvin Carlson has discussed theatre as a place that is simply named such, often far away from the auditoria that many artists and audiences are challenging and rejecting. // Please join us for ongoing presentations in the Architecture Section as an Open Spatial Laboratory for continuing animated discussions over what a theatre is now and what it is still capable of being. Dorita Hannah, Commissioner of the Architecture Section Krétakör: A Review became the 12th volunteer of Hungarian director Árpád Schilling’s site-specific art experiment—suggested that he is simply too cool, too individual, to hang around in jp.co.de. //// If you drop by Krétakör’s Crisis Trilogy / Part 1: jp.co.de, you will encounter a gorgeous photo installation in a lobby area, a film about the birth of a fictional charac- ter named Balasz in an auditorium, followed by an aca- demically shaky talk by a crack sociologist who drops the names of Johannes Kepler and Jesus Christ. (Christian is a Jesus Christ-ian in a Jesus project. Get it?) Next, a reality- show–style film is shown chronicles how Christian entered the fold. //// In its final version, Schilling says jp.co.de will be a film Tsang Man-Tung: White Paper Workshop / Photo © Petr Jedinák about Balasz, a Central European figure who had presum- ably left his family to re-invent himself as a new individual in a different community. It is not clear how the quickly edi- PHOTO REPORT ted film of these 12 young people would fit Balasz’s larger Crisis narrative. Posed this question, Schilling tells me, “ItPhoto © Petr Jedinák, Miroslav Halada, Luděk Neužil, Martina Novozámská is all a dream”—an answer that seems convenient. Photo © Miroslav Halada //// When I first met Christian in the Pravo building, he was the only volunteer whom I interviewed who declined to //// Where is Christian? I saw Christian in the film. Three give me his surname. He also does not own a cell phone. days ago I met Christian in person in fact. But he was Asked why he agreed to follow Simon, Christian replied to nowhere to be found during the oddly fragmented public me, “Why not?” In a way, he was the ideal volunteer. His ac- presentations of Krétakör’s Crisis Trilogy / Part 1: jp.co.de at tion not to join the others is the risk of betrayal that courses Prague Quadrennial. through the design of any artistic community of strangers. //// Oliver, too, felt that confusion. Emblazoned in giant, When you play the game of real feelings, the bonds between bold, red, handwritten letters on one wall of Rudé Právo, people always remain fragile. Even with the best of inten- a former printing house in Prague, is this hand-scrawled dec- tions, the ways of people are strange, full of caprice and laration: “We are just guinea pigs.” In a gesture of perhaps wracked by uncertainty. revolution, the fair-haired, boyish Oliver Music put up graf- fiti in response to Christian’s disappearance. Leaving only Randy Gener a handwritten letter of goodbye (it’s tacked on a wall of bi- ographies), Christian—a heavy-smoking German nomad who Theatre Svoboda: A Review //// The most riveting scene of Theatre Svoboda — the fea- //// Hejna’s film gorgeously evokes the metaphoric spec- ture-length documentary film about the famous Czech tacle that marked Svoboda’s scenography. All throughout, scenographer Josef Svoboda — takes place when the play- the delicately tough film unravels for us the images, sceno- wright and stateman Václav Havel confesses to destroying graphic ideas and productions that catapulted Svoboda to a set created by Svoboda for an opera. The scenery, Havel prominence. And yet the film also deeply complicates and says, was simply no good. An actor could not perform in darkens Svoboda’s luster. We are shown, for example, how front of it or behind it. Havel and a friend were hanging out Hejna feels that his grandfather treated his wives as a ser- at a pub when both decided to sneak out the back door, run vant. We are vividly exposed to the possibility that Svoboda to the theatre, destroy Svoboda’s set, and then return to the might have been an informant of the Communists. Svoboda’s bar in the nick of time. Neither the police nor Svoboda ever desire to rub elbows with Czech and famous international discovered who ruined his work. Svoboda simply had no artists (Alfred Radok, Otomar Krejča, Laurence Olivier, choice but to create a whole new one. Leonard Bernstein, Peter Brook) forced him to quietly col- //// Theatre Svoboda, the only Czech documentary dealing laborate with the Cold War politics of the day. Through jux- with Svoboda’s life and work, compellingly gives flesh to an tapositions with film excerpts from Svoboda’s legendary icon and quietly chips away at rock-hard giant whose name productions (for instance, Romeo and Juliet, National The- and fame absolutely precede him. The filmmaker, Jakub atre in Prague, 1963; The Ring, Covent Garden London, 1974- Hejna, is the grandson of Svoboda. Although they lived in 5; Faust, Teatro Picolo Milan 1989-91), Theatre Svoboda the same house, Svoboda did not know his grandfather well, always reminds us of the artistic purity and the costs he paid because he did not talk very much, and he was always to achieve it. This is a powerful film that every scenographer abroad. He was 25 years old when Svoboda died, and these in the world must see. elements explain the obsessive distance from which Hejna views his own dark personal legacy. Randy Gener
    • //// Ačkoliv jsme byli v posledních desetiletích svědky nebývaléhoPQ QUESTIONNAIRE âeské odpoledne světového boomu nových kulturních staveb, divadelní budovy nevyjímaje, v českém prostředí se tento trend příliš neprojevil. Až na několik výjimek, mezi něž patří třeba pražské divadlo Alfred ve dvoře1/ What’s so extreme about your costume design? o architektufie či několik zdařilých rekonstrukcí a adaptací stávajících prostor, tu nová divadla nevznikala. Až v poslední době se zdá, že se začíná blýskat na lepší časy. Důležitou úlohu hraje město Plzeň, které bylo2/ To what extent can your extreme Pátek v PraÏské kfiiÏovatce – kostele vyhlášeno Evropským hlavním městem kultury pro rok 2015. Tento titul podnítil úvahy o iniciování stavby nových kulturních stánků, mezi costume be used in other, sv. Anny bude patfiit ãeské architektufie. nimiž nechybí ani divadlo a nové kulturní a rezidenční centrum non-artistic areas of life? Pfiedstaveny budou nejen souãasné ãeské v areálu památkově chráněného bývalého pivovaru Světovar (jež je také tématem české expozice v Architektonické sekci PQ). V mnoha Is there a limit to extremity? prostory pro divadlo, ale – v souladu ohledech se jedná o v českém prostředí bezprecedentní aktivity: nové divadlo navrhl renomovaný zahraniční architektonický atelier s my‰lenkou Architektonické sekce PQ 2011 (lisabonské studio Contemporânea ve spolupráci s českou firmouMarina ReisParangolixoluxo 2, Brazil – se bude diskutovat i o jejich budoucnosti. Helika), v případě konverze starého industriálního areálu na kulturní centrum se jedná o jednu z prvních podobných realizací. To mimo jiné1/ Both by the material used, as its concept. In addition Opomenuta nebude ale ani divadelní vyvolává potřebu diskuse o podobných stavbách, o kterou by se chtělto it being made of plastic covers with trash — in otherwords, the inorganic waste of the performers — my architektura minulá, která ãasto nabízí klíã pokusit právě páteční Český stůl. Bude se tázat na možné způsoby přístupu k realizaci nových kulturních center a na to, jak tato centracostume has conceptual weight. It speaks about recycling k chápání souãasnosti. odpovídají představám občanů, nakolik město spolupracuje s místníand how much waste we produce per day (or, morespecifically in this costume, for seven days). This theme of //// Historické i současné divadelní architektuře se věnoval ně-recycling is a subject much discussed today in the world, kolikaletý projekt Národního divadla v Praze s názvem Divadelníso this costume adds this reflection in the viewer. It is architektura ve střední Evropě (TACE). Jak z názvu vyplývá, mapo-about [the relationship of] the individual to the collective val nejen českou divadelní architekturu, ale také obdobné stavbyin our consumer society. v Polsku, Maďarsku, Slovinsku, na Slovensku a v Rakousku. „Přis-2/ Experimentation implies that the work can happen or tupovali jsme k tématu tak, že architektura není jen nějaká fyzickánot, can go in on way or in the opposite, or can completely věc, ale že je to materializace historie, nebo spíš materializace sku-change during the scene, so another very important tečnosti,“ řekl v roce 2010 při příležitosti uspořádání výstavy o di-characteristic in this work is the risk. The limit of extremity vadelní architektuře ve střední Evropě její kurátor Igor Kovačevič.is not in the concept or creativity, but in the nature of V souladu s tím se projekt zabýval nejen architekturou jakocollective creation, which is what theatre is. An extreme prostorem, který zásadním způsobem ovlivňuje podobu předsta-costume has to be within the general concept of the play. vení a vztah mezi performerem a divákem, nýbrž také zkoumalThere is also the limit of the actor, who is the person that divadelní architekturu jako prostředek národní a etnické repre-will make the costume alive, or who will enter into zentace. Právě teritorium střední Evropy, na jehož vývoji se výraznědiscussions with the costume. podepsaly snahy o národní osamostatnění, která se však (alespoň do druhé světové vál- ky) vyznačovala takéMisha Le Jen určitou multikultur- ností, je totiž pro ta- Eva Jifiiãná: Prague Crossroads asExtreme Birthday Suits, Russia1/ The costume (vestment, covering, envelope) is only an kové pozorování ide- the Space for Open Global ální. „Divadlo býváobjectification of its content, which is not the body, but theemotion. Extreme means “just new” or “of the mo-ment”. označováno jako pilíř Dialogue // Czech Table // Theatre Photo © Pavel Štorek národní kultury a ja-Extreme emotion can be discovered by working on thecover. Discovering the cover is the extreme costume. And zyka. Zdá se, že ani ar- Architecture in Central Europe komunitou a zda je vlastně v silách Plzně chitektura není vůči takové ambiciózní a nákladné projektyit is a good instrument for poetical research and the národním či nacionál- (TACE) Presentation & Book Launch provozovat.creation of new emotional formulas. ním atributům imun- //// Podobné otázky po ideových, spole- JUNE 24, 2 PM / 4 PM / 6 PM2/ I’m not a theatre designer but a visual artist, embodying ní. Je to dobře, nebo PRAGUE CROSSROADS – ST. ANNE’S CHURCH čenských a politických náplních kulturníchthe poetical ideas in form of art actions. The extreme špatně?,“ kladl si otáz- center (včetně divadel) si bude klást takévestment I created can be shown separately like a trace of ku Kovačevič, jenž se britská architektka českého původu Evaa “deed.” The limit of extremity would mean the end of the vedle přípravy výstavy ujal také role hlavního editora knihy Za Jiřičná, autorka adaptace kostela sv. Anny. Pražská křižovatka seimagination. Today something has been opened like všedností o divadelní architektuře ve střední Evropě, která bude zásluhou její a jejího iniciátora Václava Havla stala místemextreme-new-dream, and tomorrow it serves as v pátek v kostele sv. Anny pokřtěna. Projekt TACE se však věnoval nerozmanitějších setkání, z nichž jedním je i Pražské Quadrennialea common emotional platform. It was a personally made také současnému prostoru pro performanci, a to především pro- 2011.extreme costume today — an envelope with the new střednictvím workshopů a soutěží pro studenty architektury. MaHemotional power. Tomorrow everyone will wear it likea birthday suit. REKLAMAPQ BOOKSOscar G. Brockett, Making the Scene isMargaret Mitchell & Linda a landmark work.Hardberger, Making the A magisterial survey of theScene: A History of Stage context, theory andDesign and Technology practice of scene designin Europe and the United from the ancient Greeks toStates, publisher: the present, it sweepsUniversity of Texas Press. authoritatively through the history’s sea changes — from Classicism and Romanticism to Naturalism and the influences of perspective-based thought. And its visual documentation dazzles the eye. — Gener TAGANKA THEATRE MOSCOW JUNE 24, 8 PM NEW STAGE PQ+ The legendary performance The Good Person from Sechuan became the first page in the history of the Taganka Theatre led by director Yuri Lyubimov. The historical performance is the subject of study and an example for theatrical chroniclers until now.