Michal Bednář and Vojtěch Vondráček on Bear with a Chainsaw in Divadlo Na zábradlí
O epizodě podcastu
Do Michal Bednář and Vojtěch Vondráček have a specific way of performing when they are acting in absurd situations? What are their dramaturgical strategies? How do they describe their acting methods? Moderated by Kent Sjöström, who comes from Sweden, where he has been working with actors‘ training for a long time. Now a resident of Prague, he is happy to take part in Czech theatre life, and recently he saw a performance which he found very interesting. Bear with a Chainsaw in Divadlo Na Zábradlí. The play is based on several short stories written by the Finnish author Rosa Liksom, and they show or describe some absurd events in the countryside life of Finland. A few weeks after, he had the opportunity to meet two actors who took part in the play: Michal Bednář and Vojtěch Vondráček. He felt privileged to ask them a few questions as he is very interested in the actors‘ knowledge and how they formulate themselves about their work.
Do Michal Bednář and Vojtěch Vondráček have a specific way of performing when they are acting in absurd situations?
What are their dramaturgical strategies?
How do they describe their acting methods?
Moderated by Kent Sjöström, who comes from Sweden, where he has been working with actors' training for a long time. Now a resident of Prague, he is happy to take part in Czech theatre life, and recently he saw a performance which he found very interesting. Bear with a Chainsaw in Divadlo Na Zábradlí. The play is based on several short stories written by the Finnish author Rosa Liksom, and they show or describe some absurd events in the countryside life of Finland. A few weeks after, he had the opportunity to meet two actors who took part in the play: Michal Bednář and Vojtěch Vondráček. He felt privileged to ask them a few questions as he is very interested in the actors' knowledge and how they formulate themselves about their work.
Popis podcastu
Podcast blogu Podhoubí, který se zaměřuje na experimentování s jazykem současné divadelní kritiky. Dává prostor hlasům, perspektivám a způsobům formulování, které by ho jinde možná nedostaly.