Divadelní noviny Aktuální vydání 6/2019

Kulturní čtrnáctideník pro divadelníky a jejich diváky

Vychází za finanční podpory hlavního města Prahy, Ministerstva kultury ČR, Státního fondu kultury a Nadace Českého literárního fondu

6/2019

ročník 25
19. 3.–1. 4. 2019
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  • Facebook Divadelních novin

    S/He is Nancy Joe is an invaluable piece

    Performerka Miřenka Čechová se souborem Tantehorse zabodovala u americké kritiky s inscenací S/He is Nancy Joe pojednávající o tématu transgendru. Představení se ve dnech 8.- 11. listopadu uvádělo v  Mead Theatre Lab at Flashpoint ve Washingtonu D.C. V lednu 2013 bude součástí české prezentace na veletrhu scénického umění APAP v New Yorku.

     

    Nancy joe silhouette… Fotografie Miřenky Čechové z inscenace S/He is Nancy Joe doprovázející recenzi ve Washigton Post. FOTO JAKUB ŽÁK

    Úspěch, či neúspěch umělecké produkce v USA je do velké míry závislý na ohlasu recenzentů a kritiků pracujících v novinách jako The Washington Post nebo The New York Times. Jedna pozitivní kritika od renomovaného novináře může zajistit vyprodané hlediště na několik měsíců dopředu a naopak. Fotografie Miřenky Čechové a recenze její výtvarně-pohybové inscenace S/He is Nancy Joe se objevily v sobotu 10. listopadu na titulní stránce Style deníku The Washington Post. Rozsáhlou text o S/He is Nancy Joe napsala Sarah Kaufman, jedna z nejdůležitějších osobností americké taneční a divadelní kritiky.

    Pozitivní kritika listu The Washington Post je důležitá pro získávání dalších příležitostí k hostování na americké scéně a v dalších zemích. Hodnotu novinového článku navíc umocňuje skutečnost, že ho napsala Sarah Kaufman, držitelka Pulitzerovy ceny, která patří mezi přední osobnosti americké taneční kritiky a jejíž hodnocení v portfoliu kterékoliv taneční formace může být oním klíčem otevírajícím dveře k dalším nabídkám, komentuje publikovaný text Vilma Anýžová, generální ředitelka Českých center. Je dobře, že s kritikou z listu The Washington Post budeme moci pracovat už během veletrhu scénických umění APAP, který se bude konat v lednu 2013 v New Yorku. Česká centra budou již třetím rokem zajišťovat prezentační stánek a koordinovat účast českých divadelních souborů, uměleckých agentur, festivalů a institucí. Součástí programu veletrhu bude i showcase Miřenky Čechové v České národní budově produkovaný Českým centrem New York a podporovaný Institutem umění – Divadelním ústavem.

    Úspěch podtrhuje další nadšeně reflektující recenze od mladého kritika Dona Michaela Mendozy v DC Metro Theater Arts, který inscenaci ohodnotil nejvyšším možným počtem hvězdiček.

    Miřenka Čechová navazuje na úspěchy, kterých dosáhla na přelomu 2010/11, kdy jako držitelka prestižního Fulbright stipendia vystupovala ve washingtonském Studio Theater v Katzen Art Center se starší inscenací Spitfire Company Hlas Anne Frankové a přímo ve Washingtonu s úspěchem ztvárnila roli šaška v Králu Learovi divadelní skupiny Synetic Theater, za niž byla navržena na cenu Helen Hayes Awards.

    V prosinci budou S/He is Nancy Joe spolu s Hlasem Anne Frankové uvedeny v divadle i-camp / Neues Theater München. V květnu 2013 se připravuje tour v Jižní Koreji. Domovskou scénou produkce S/He is Nancy Joe je Divadlo Ponec v Praze.

    Miřenka Čechová and Tantehorse – S/He is Nancy Joe. Premiéra: 16. 07. 2012, Mezinárodní festival Nultý bod Praha.

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    Recenzi Sarah Kaufmanové z The Washington Post 10. listopadu 2012 nabízíme v plném znění bez překladu:

    Dancer Mirenka Cechova explores transgender life in ‘S/He is Nancy Joe’

    Druhý snímek doprovázející recenzi ve Washington Post. FOTO JAKUB ŽÁK

    By

    Nov 10, 2012 01:11 AM EST

    The Washington Post Published: November 10

    It’s a paradox that artists in any medium struggle with: The best art comes from personal excavation that unearths what we least want others to see.In other words, what we hide from the world is what audiences will respond to most. So it is that Mirenka Cechova’s solo docu-dance, S/He Is Nancy Joe, strikes a particularly powerful chord as it takes us deep into the confusion, shame and isolation of the transgender experience. (Scissors loom large. Just warning you.)

    That Cechova, 30, a native of the Czech Republic, delivers this roller coaster of the soul through comic-book projections and a mashed-up dance language that borrows from hip-hop, ballet and the ooze of melted wax speaks to her theatrical talent. As does her ability to perform so freely within the confines of Flashpoint’s tiny black-box space. Her fractured, loopy narrative feels authentic, and she achieves this through wholly unrealistic means. Every one of her movements is stylized. The visuals that accompany her performance are rough-drawn, often-crude sketches (by fellow Czech artist Milos Mazal, with animation by Tomas Tomsa Legierski). Matous Hekela’s sound composition of warbles and groans is an indistinct landscape of turbulence.This hour-long fantasy, presented here in its only U.S. stop, hits so hard because it springs from honest origins. Cechova has a transgender sister who used to be her brother. This piece, as she told me in a phone interview, arose from efforts to reconcile herself to that. In the process, she spent two years speaking with other transgender people, who shared with her their diaries and private pain.

    As a result, what Cechova may have initially longed to bury, she embraces in a most intimate way. In “S/He,” she embodies the mirror image of her sister’s experience, showing us a man imprisoned in a female body.As she interacts with a cartoon alter ego projected behind her, we see flashes of childhood teasing and bathroom awkwardness. Puberty engulfs her in an especially visceral way: A sea of red bleeds across the screen, we hear what sounds like explosions and Cechova, staring bewildered at the betrayal of her crotch, twists herself into a picture of tragicomic humiliation that the middle-schooler in everyone can surely recognize.

    As much as she immerses us in a world of anxiety, Cechova also has a light touch. “S/He” is poignant but also terrific fun. And I’m not just referring to all the winged genitalia that flutter merrily on-screen as her character contemplates the physical equipment she longs to possess. Some of Cechova’s contortions reminded me of Pina Bausch’s corporal exaggerations; other moments brought to mind Gene Kelly’s responsive wit in “Anchors Aweigh,” in which he dances with a cartoon mouse.

    You want dramatic? When confronting the surgical fork in the road, so to speak, Cechova’s character is convulsed by what could be pages out of a graphic horror novel. Drawings of organs and incision marks flash by too quickly for the details to register, but we get the idea. Giant scissors blink across the screen to an ominous beat that recalls “Psycho’s” shower scene.

    But most impressive of all is simply Cechova’s body, which she turns into a battleground of self-identity and societal censure. Amid all the imaginatively used technology of this show, that body is an element of surpassing wonder. Cechova’s spidery limbs can turn her into a stick figure; a moonwalker; a rough, rubbery street dancer; or a fragile sylph. Masculine and feminine, two dimensions and three, play out on that magical canvas with schizophrenic velocity. There’s a message in that, about the universal beauty of the human form — its nonconforming breadth included.

    Cechova is no stranger to this area. A Fulbright scholar who heads two physical theater groups in Prague, she has taught at American University and in 2011 performed in Synetic Theatre’s “King Lear.” Here’s hoping she returns, and soon.

    S/He Is Nancy Joe by Mirenka Cechova. Saturday at 3 and 7:30 p.m. and Sunday at 2 p.m. at Mead Theatre Lab at Flashpoint, 916 G St., NW. $20 general admission, $10 students. mirenkacechova.com.

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    Recenze Dona Michaela Mendozy z DC Metro Theater Arts 9. listopadu 2012 (plné znění):


    NancyJoe’ at Mead Theatre Lab at Flashpoint

    Snímek Miřenky Čechové z inscenace S/He is Nancy Joe doprovázející Mendozovu recenzi. FOTO JAKUB ŽÁK

    I am going to cut straight to the point before I explain why and say outright that Fulbright Scholar Miřenka Čechová’s S/He is Nancy Joe is an invaluable and spectacular piece of performance art that should be seen by everyone during this weekend’s run at The Mead Theatre Lab at Flashpoint. S/He is Nancy Joe is an in-your-face, real look at the issue of transgender identity and equality through art – not just in America, but in Europe too – as this show hails from the Czech Republic.

    According to the show’s description, it’s “a movement and visual performance piece that combines hip-hop, pop, physical mime, contemporary dance and classical ballet with interactive comic book visuals, lighting, sound and spoken narrative,” and not only lives up to, but surpasses its outlined expectations.

    Čechová’s movements fit perfectly with Technical Artist and Lighting Designer Martin Špetlík and Sound Designer Matouš Hekela’s multimedia video. The set and costumes by Meghan Raham made the performer and set ‘one and the same.’

    Miřenka Čechová in ‘S/He is Nancy Joe’. FOTO JAKUB ŽÁK

    Čechová was silent as she conveyed her pain and anguish as a struggling transgender through dance and facial expression. Raham’s set was made up of white screens – and Čechová’s costume was white too – where lights and video were synchronized to her movements along with music. In the beginning, it seemed as if there wouldn’t be a clear plot line, but the journey of the character grew obvious as the show went on, and it was easily accessible to any audience member open to learning more about the presented topic.

    There were several moments that moved me the most. The first was the opening that represented a child growing up awkward and alone in a world full of labels. Čechová had a way of portraying that pain through mime that put my emotions on a roller coaster ride. The next was when the character hit rock bottom mid-show when the solution of gender reassignment surgery was described as ‘self-mutilation’ and part of a deeper ‘psychological problem.’

    However, the moment I loved the most was when the character grew to love the skin he or she was in near the end of the piece – and celebrating with a dance filled with sweeping movements and surrounded by vibrant colors on the video screen and bright lights.

    S/He is Nancy Joe is an experience that made me realize how little transgender issues are spotlighted in today’s society, and hopefully this high quality collaboration will bring this seldom discussed and misunderstood topic to the forefront when playing to many audiences around the world.

    Open your mind and see into the mind of a beautiful transgendered character presented by the artistic genius of Miřenka Čechová.

    Running Time: One hour without an intermission.

    S/He is Nancy Joe plays on November 8th, 10th and 11th in the Mead Theatre Lab at Flashpoint – 916 G Street, NW, in Washington, DC. For tickets, purchase them online.

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    About Author Don Michael Mendoza

    Don Michael MendozaAlthough born in Washington, DC, he grew up in Pittsburgh, PA and returned to DC in 2006 to study musical theatre and broadcast journalism at American University. Since graduating in 2010, by day he works for Vida Fitness, is a Theatre Progam volunteer for BloomBars – a not-for-profit arts center in Columbia Heights – and by night, you can find him acting, singing, dancing, and producing all around the DC/MD/VA region… and now for his weekly cabaret series caleld La-Ti-Do at Black Fox Lounge. He was recently featured in a spotlight article in Manila Mail newspaper about his career as an actor of Filipino ethnicity.

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    S/He is Nancy Joe – youtube: S/He is Nancy Joe

    /pro i-DN z více zdrojů zpracoval hul/

     
    • Autor:
    • Publikováno: 11. listopadu 2012

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