The Increased Difficulty of Decisionmaking
Since the first years of study at conservatories and theatre faculties, the actors face many questions that can greatly influence their entire future career. “Is a long‑term engagement in an institution my path, or should I rather become a ‘freelancer’? Where do I see the greatest potential for artistic creative freedom? How do I compare myself to the numerous distinctive individuals in this field? Does my position within the student collective reflect what I will experience in a professional ensemble? Should I focus on building relationships within my class, or rather on my personal development?” But is this individual development possible without the development of the collective as a whole? And can these questions even be answered unequivocally? In the European context, the institutional theatre life operates on various levels, ranging from fluctuating independent creative groups to specifically hierarchical ensembles – such as the ComédieFrançaise in Paris. In the Czech environment, particularly after the changes in the 1990s, we have had the opportunity to explore postmodern theatre and postdramatic situations. This, however, results, in some respects, in lack of ensemble environment due to the abundance of these possibilities. This ranges from new ways for actors to establish themselves as “freelancers”, through numerous onetime and other projects, to a decrease in (Referring to the Czech term „dramatičnost“ as the opposite of epos.), which, as described by Professor Jan Císař, is the foundation of dramatic productions and provides the opportunity for continuous ensemble development and its direction.
“It is not about what we like or dislike, what productions we prefer and accept or reject, which artistic trend we sympathise with, because we consider it to be the theatre of the present and potentially of the future, and which we perceive as a path leading to a dead end, if not directly to hell. The meaning lies elsewhere.” (Císař, J. „Ansámblové herectví včera a dnes, 2. Dnes”. Disk, časopis pro studium dramatického umění, 03/2003, online. Available from: https://edicedisk.amu.cz/wp-content/uploads/2017/02/Disk_3.pdf.)
Study programme: Dramatic Arts
Branch of study: Scenic Art and Theory of Scenic Art
Date of study beginning: Sep. 2020
After two years at Charles University, I graduated in Acting of Dramatic Theatre (Academy of Performing Arts in Prague). During the studies I played in the Kolowrat Theatre where, under the guidance of Štěpán Pácl, I acted Katerina in the adaptation of Bergman’s short story From the Life of Puppets, or Nastěnka in Dostoevsky’s White Nights. I joined the ensemble of the National Theatre Brno in 2019 acting Hanička in The Lantern (A. Jirásek), and since then I have played almost twenty other characters – among them Alena in The Owners of the Keys (M. Kundera), student Aneta Tesařová in The Feminist (M. Šindelka), or Klarisa in the comedy The Liar (P. Corneille).
https://www.archyworldys.com/
Comédie-Française, Hommage à Molière 2020. Available from: https://www.facebook.com/watch/?v=1340489409482059
https://vis.idu.cz
https://www.comedie-francaise.fr/