„Obrazy a vize, volné asociace, komentáře…. Destruovat příběh a přijít s čirou abstrakcí.… Připomíná postmoderní koláž, která bez zábran propojuje motivy a vrstvy textu a uvažuje nad nimi. Není úplně důležité rozečíst Nebeského šifru, ale spíš se poddat proudu obrazů a vizí, které nabízí.“
Jana Machalická, Lidové noviny 17. 11. 2011
V matematice a fyzice se teorie chaosu zabývá chováním jistých nelineárních dynamických systémů, které (za jistých podmínek) vykazují jev známý jako deterministický chaos, nejvýznamněji charakterizovaný citlivostí na počáteční podmínky. V důsledku této citlivosti se chování těchto fyzikálních systémů, vykazujících chaos, jeví jako náhodné, i když model systému je deterministický v tom smyslu, že je dobře definovaný a neobsahuje žádné náhodné parametry.
Systémy, které vykazují deterministický chaos, jsou v jistém smyslu složitě uspořádané. Tím je význam slova v jistém nesouladu s obvyklým chápáním slova chaos jako totálního nepořádku.
Teorie chaosu - Wikipedia
6. – 22. 6. uvedeme na Nové Scéně premiéru a následné reprízy inscenace SWEET / SWEET / SWEET, která vzniká speciálně pro tuto příležitost ve spolupráci s Činohrou ND. Jde o prezentaci několika Nebeského posledních režií, které se uskutečnily v Experimentálním prostoru NoD a Studiu hrdinů, kombinovaných s krátkým představením či performancí. Té se každý večer zúčastní jeho blízcí spolupracovníci. Možná se ocitneme v poli působení magnetu, který přitahuje i odpuzuje zároveň.
Teoretickou složku festivalu tvoří kritické debaty či akce v Café NONA. Sympozia I. a II. (19.6. a 25.6.) budou věnována tématům, která Nebeského inscenace nabízejí a provokují. Po dobu festivalu bude v NONě k dispozici Live archív, vznikající ve spolupráci SWEET SWEET SWEET s Divadelním ústavem a fotografem Bohdanem Holomíčkem.
Expozici na piazzetě Národního divadla a v Café NONA budete moci navštívit až do 28. června 2015.
Sweet Sweet Sweet Nebeský festival vznikl ve spolupráci s Činohrou Národního divadla, na setkání se těší její umělecký ředitel Michal Dočekal.
Tento projekt vznikl ve spolupráci s Pražským Quadriennale scénografie a divadelního prostoru 2015.
Základ skupiny Umělci 9+ jsou scénografové a vizuální umělci, se kterými režisér dlouhodobě spolupracuje ( Michal Pěchouček, Tomáš Ruller, Igor Korpaczewski, Jana Preková, Petra Vlachynská, Jan Štěpánek, Vladimír Kokolia, Ivana Kanhäuserová ). Právě jejich různorodé zaměření a tedy i vystavené koncepty jsou výzvou pro celkové vyznění společné instalace, prostředí, které na piazzetě ND vzniká. To poskytne možnosti a bude výchozím bodem - nabídkou pro další události. Výtvarníci na piazzetě ND vytvoří svými instalacemi prostor, kde se každý procházející může stát performerem.
Během představení na NS ale i koncertů, které proběhnou v rámci festivalu v prostoru NONy uslyšíme hudebníky (Milana Svobodu, Vojtu a Irenu Havlovi, Martina Dohnala, Pavla Fajta, Radima Hladíka, Aleše Březinu, Emila Viklického, Jana Šikla, Joeho Karafiáta a další), ti byli vyzváni zhudebnit báseň Ivana Wernische “Kráčej zvolna” a vstoupit tak do představení každý svým osobitým stylem. Navíc budeme mít možnost každou noc navštívit jejich koncerty.
K základní rodině Nebeského patří zejména herci (David Prachař, Karel Dobrý, Lucie Trmíková, Miloš Mejzlík, Kateřina Winterová, Saša Rašilov, Petra Špalková, Igor Chmela, Miloslav König, Petra Lustigová, Jiříh Černý) a taneční soubor 420PEOPLE. Ti nás budou provázet pěti představeními.
I graduated during the last year of communism. You can imagine what my studies were like. After that I wanted to paint as good as I could. At least it gave me some kind of material. Painting is interesting, because it can offer a projection of feelings and intuition and a structure of thought - it&amp;#039;s abstract and systematic. And you can connect the painting-thinking to the consciousness of the era. I&amp;#039;m not trying to avoid illustration, I&amp;#039;m far from that. But the way how it&amp;#039;s done is important. Later I was interested in the question how I can confront painting in other ways. I started creating installations in galleries, which were bound to a specific space and often intended as 3D pictures. I often work with light and sometimes even with movement and sound. I&amp;#039;ve also created a couple of large format free paintings for houses.
THE MONUMENT OF J.N.&amp;#039;s DIRECTORIAL METHOD Initially I wanted to have a balloon above the Piazzeta - in the form of Jan Nebesky sitting like a Budha. But hellium was dangerous, and then the budget and the impossibility of binding anything to the National Theatre&amp;#039;s buildings... The second version is better. It doesn&amp;#039;t elevate Nebesky, but his directorial method. An honest column of Simeon Stylites with a seemingly arbitrarily free form on top. But only seemingly. A this is what &amp;quot;I like&amp;quot; most about Nebesky&amp;#039;s directorial method but most of all about himself.
MgA. Ivana Kanhäuser - born on the 7th of January 1982. She graduated from the Artistic-Industrial Highschool in Zizkov with a degree in Stage technology. She holds a degree in Stage design from DAMU. During her studies she worked with Katharina Schmitt (Koltés – ZÁPADNÍ PŘÍSTAV, divadlo DISK 2004), with Spitfire company (HLAS ANNE FRANKOVÉ, 2007, NoD- Roxy), with Jakub Folvarčný ( UŠIMA PODZIMU ) and Veronika Riedlbauchova (Sarah Cane OČIŠTĚNÍ / DEPURADOS, 2010, česko-španělský projekt) and Jan Nebeský ( PŘÍLIŠ TICHÝ NOS, site specific v prostoru Nekázanka). She's the long-term coworker of Jiří Adámek.( 12 MILOSRDNÝCH, POŽÁR, ŘEKNI NĚCO, PŘÍBĚHY.) She doesn't like doing theatre for 700 spectators (or more), with her own project (OUTSIDERSKÁ SCÉNOGRAFIE) she enquires into possibilities of making unfunctional, conceptual scenography, preferably for only one spectator.
THE MIRROR The angle of the reflection is the same as the angle of impact, whereas the reflected wave stays within the plane of impact. The reflected ray stays within the plane of impact (within the plane dictated by the impact of rays and the impact's perpendicular) and grips the angle of the reflection in the impact's perpendicular, which is of the same size as the impact's angle. If it rains or if it's cloudy, it won't work at all... but at least they'll be watered and maybe they'll grow, won't they?! Spatially and light- interactive installation in progress. Part of the project Outsider Scenography. SACRALIZATOR Ivana Kanhäuserová, Petra Vlachynská, Michal Cáb
Jan Stepanek, Czech scenographer. After his exam at DAMU in the scenography class in 1997, he started to work in the theater concentrating mostly on experimental works. 2003 he started to teach a stage design class at JAMU in Brno. He also works on TV projects and participates in exhibitions.
SQUARE OF HEAVENLY PEACE
An experience changes things on the cellular level. Scenographer, visual artist and pedagogue. Cofounder of the Atelier of body design at FaVU VUT and the stage design atelier at JAMU in Brno. She works in experimental spaces as well as in theatre houses.
SOMEONE TOLD ME, THAT THE RELATIONSHIP IS RATHER A CIRCLE
Fine arts, which until recently I have been part of, I consider to be a slightly protective sister of the theatre. She too is capable of sensual, indirect expressions and peculiar thinking. My recent decision to turn my attention to the theatre is a result of my inner need of finishing my work in peace with the more inspiring sister. I feel more free at her side, because I can touch upon different topics, topics I lacked the medium to tackle while working in fine arts. I enter the dramatical space of the theatre and this step allows me to escape certain monotonic facilities of the gallery space. I think of my previous artistic work as a way of preparing myself for the dramatic work.
BOHEMIAN LANDSCAPE A transformation of a state symbol into the genre of painting.
Petra Vlachynská (born 1978 in Uherské Hradiště) Vlachynská began caring for hair from her early childhood. She graduated clothing design at TU in Liberec. At DAMU in Prague at the department of Scenography she finished her studies in costume and masks at the department of alternative and puppet theatre, with focus on site-specific theatre. Her work includes costume design for theatre and film, site-specific projects, styling and fashion design. Besides this she also works on original creations. Vlachynská works collaboratively with Jan Nebeský, Jan Frič, Braňo Holiček, Jan Busta, Spitfire company, Tantehorse company and other artists. She has been involved in several films, of which the film Bába (directed by Zuzana Kirchnerová/Špidlová) came first place in the student films section at Cannes festival. She even brushes her daughter&amp;amp;amp;#039;s hair.
Prof. Tomas Ruller was born 1957 in Brno, Czech Republic, where he still lives. In 1982 reached MFA in sculpture at Academy of Fine Arts Prague, since 70´s works in media &amp;amp;amp;amp;amp;amp; performance art. He was a cofounder of East-West / School of Attention performance art movement in 1983 in Poland &amp;amp;amp;amp;amp;amp; Black Market Project in1985, since 1989 organizing Open Situation / European Project. He was active in resistance before 1989 (i.e. Open Dialog 1988) and in Velvet Revolution as member of Civic Forum 1989/90. He became cofounder of Faculty of Fine Arts at BUT Brno from 1992, in 1993 built department of Video-multimedia-performance including Media-archive and Multimedia Lab, in yars 1992/97 organized international exhibition and festival Hi-tech/Art, restructured faculty in years 1998/2000 from position of dean, in 2004 reached the status of Professor in Fine Art, now being head of Performance Studio (http://performance.ffa.vutbr.cz/);
REAL VIRTUAL PERFORMATIVE STAGE Real action space shared by streaming via inter-net globaly - in a feedback loop: inviting to present play (solo or collective) with the retreating and vanishing image of its passing time - in relation to a variety of distant real places: offering live inter-action in the close passing of a time delay on a background of flux from the presence to the past rtsp://stream.ffa.vutbr.cz/ruller.sdp
Painting is believed to be like a spring with fresh water, that&amp;amp;amp;amp;amp;#039;s why painters walk with rods. But it is also possible to paint according to an algorithm. Everything can be done according to an algorithm, it is even possible to direct an accident or a paradox this way and maybe even this spring. I fear that the algorithmized creativity prevails. That&amp;amp;amp;amp;amp;#039;s why I&amp;amp;amp;amp;amp;#039;m always looking for people whose creativity is unforseeable and nocessary at the same time. Just like using the rod. Jan Nebeský&amp;amp;amp;amp;amp;#039;s directorial work is exactly this.
En plein air Jan Nebeský is a theatre director, but I associate him with a couple of paintings which I&amp;amp;amp;amp;amp;#039;ve seen while visiting them in the morning in their home, where a small child cried from time to time. What struck me most in these paintings was the colorism, they were like a piece of handwriting, but other than that nothing. I will be making a portrait of Jan Nebeský on Piazzeta by the means of painting (people and maybe other stuff) and I while doing that I will feel as if I were him.
Aleš Březina (*1965) is a Czech composer and musicologist. He&amp;#039;s the author of the opera &amp;quot;Zítra se bude...&amp;quot; about Dr Milada Horakova&amp;#039;s process (ND Praha 2000) together with the director and librettist Jiří Nekvasil. 2013 his second opera &amp;quot;Toufar&amp;quot; had it&amp;#039;s premiere in the Czech National Theatre. Apart from this concert activities, Březina has written music for movies directed by Jan Hřebejk, Petr Zelenka, Dagmar Knöpfel, Petra Nikolaeva, Dan Wlodarczyk, Jiří Menzel, Olga Sommerova a Olga Špátova and for theatre productions directed by Robert Wilson, Jiří Ornest, Jiří Nekvasil, Šimon Caban, Jan Nebesky, Martina Schlegelova and Michal Dočekal. He was nominated for several film and theatre prizes for his music. At the moment he&amp;#039;s working with the director and producer David Mrnka on the movie &amp;quot;Milada&amp;quot;.
A concert performance of a song and scenic music from the production &amp;quot;King Lear&amp;quot; (directed by Jan Nebesky) performed by the actors from the production (David Prachař, Kateřina Winterová, Petra Špalková, Eva Salzmannová, David Švehlík, Saša Rašilov, Jan Bidlas ad.)
Born: November 23rd, 1948, Olomouc, Czechoslovakia • born 1948 in Olomouc, Moravia, Czech Republic. • 1971 - graduated at Palacky University, Olomouc - as mathematician. • 1976 - First prize for composition “Green Satin”, Monaco. • 2000 - First prize in “New opera for Prague 2000” - full scale opera“Phaedra”, first performance Sept 20th, 2000 - State Opera Praha. Also played in Deutsches Oper, Berlin and Oper Unten den Linden, Berlin. • 2002 - “Der Ackerman und Der Tod”, concert performance of opera June 16th, 2002 in Berlin, Opera Unten den Linden. • 2003 - “Mácha Diary” opera for National Theater Prague, May 1st, 2003. • 2004 - “The Mystery of Man”, melodrama for Wynton Marsalis Concert Bigband and 2 narrators, on the texts of Václav Havel. Premiere: New York City, Lincoln Center, Oct 28th, 2004. • 2006 - Emil Viklicky Trio have played London jazz festival and have received 5 reviews in all important english press (The Times, Guardian, etc.) • 2007 CD “Cookin in Bonn”, Emil Viklicky Trio, issued in London by Dekkor Records. • 2007 CD “Moravian Gems” Cube-Metier, UK, with George Mraz, Iva Bittova, Laco Tropp. All compositions and arrangements of Moravian folk tunes by Emil Viklicky. • 2009 CD “Sinfonietta - Janáček of Jazz”, VENUS Records, Japan. With George Mraz - bass, Lewis Nash - ds. • 2011 CD “Kafka on the Shore”, VENUS Records, Nissan prize for the best sounding CD in Japan 2011. • 2011 “Medal of Merrit” from Czech president Vaclav Klaus for lifelong music achievements. • 2014 CD “Together Again”, ACT Records 9622, Germany, duet with George Mraz - bass • 2014 CD &amp;amp;amp;quot;Live at the Box&amp;amp;amp;quot;, Peter Bielicky records 001, Germany.
Jan Šikl (*1984) started composing while he was attending the Jaroslav Jezek's conservatory and he finished his degree the the conservatory in Prague. Apart from classical compositions, he also creates stage and film music and participates in nujazz projects (Zabelov Group, Soliloqio) and world music (Korjen). He finds inspiration in northern jazz, electronic music and in the European minimalism. In his free time he searches for the sense of life.
KORJEN "Three nymphs of diverse European lands together on a root-seeking journey, letting themselves be carried by three homegrown Sherpas. Thus the magic of folk artistry meets the beauty of their individual souls to the rhythm of modern beats.” ..in other words, Korjen is an international world-music group based in Prague, transforming traditional folk music from the whole of Europe into their own aesthetic of broken beat, jazz, hip-hop, drum'n'bass, rock, and anything else they come across... http://www.korjen.cz/
After graduating from DAMU (1982), he started his professional career in the Divadlo S. K. Neumanna in Liben, where he met the legendary director Jan Gross during rehearsals for his production Albeeho hry Kdopak by se Kafky (vlka) bal?. He played Nick, he was a part of the choir in Sofocles' Oedipus; he was employed by other directors, i. e. Jan Nebesky casted him as Osvald in Přízraky. 1989 he played in Nebesky's Strindbergove Veritele in Divadlo E. F. Buriana, then he joined the Činoherní klub (1989-92) together with Nebesky, where he played Oerst in Euripides' tragedy. The next two years he worked as a free lancer. In 1994 he joined the cast of Divadlo Komedie and worked there until 2002. This period was very important for his artistic career. He performed a lot of successful roles (i.e. Lenglume in Okno do hlavy, Hamltet (Alfred Radok Prize 1994), Clov in Endgame, he also directed his own play Tiše ke světlu). He performs in different venues from time to time. He's been employed in the National Theatre since 2002. He performed in a variety of plays, including Rostandovy Cyran z Bergeracu, Dobry clovek ze Secuanu, Coriolan, Eldorado, Uklady a laska, Schnitzlerova duse and Nosorozec. At the moment he's starring in Nasi furianti in the National Theatre, in Rack and Jedenacte prikazani, Tartuffe Impromptu! and Othello in Stavovske Divadlo and in Waiting for Godot on Nova Scena.
Jiří Černý graduated from the Prague conservatory in 2001. Before his employment in the Činoherní Studio in Ústí nad Labem he completed a bilingual theatre internship in the French institute. Today he performs often in the projects of theDivadelní studio Továrna on the Nova scéna of the National Theatre. He performed in NoD (Murlin Murlo) and Ponec Theatre (Poslední dvě cigarety). He also plays in movies and on television i.e. Četnické humoresky, Černí andělé, Odpad město smrt, Příběh kmotra. He's the vice champion of the Czech Republic in slam poetry 2004.
Karel Dobrý studied acting at DAMU, but never finished his degree. In the beginning of the 90s he performed in Divadlo E. F. Buriana (today's Archa theatre) and with Spolek Kašpar Jakuba Špalka. 1993-2002 he was employed in Divadlo na zabradli. Later he collaborated with Pařízkove Pražske komorní divadlo in Divadlo Komedie, he also performs at the Summer Shakespear Festival, in Archa Theatre, Ta Fantastika etc. He plays on alternative stages i.e. Roxy/NoD and Studio Hrdinu. He's been part of the National Theatre's cast since 2014.
She holds a degree in acting from the Prague conservatory. While she was studying she performed in Divadlo pod Palmovkou. After graduation in 1996 she performed in two plays in Klicperovo divadlo in Hradec Králové and in the National Theatre in Prague. She's been part of the National Theatre's cast since 1998.
Miloslav König graduated acting from DAMU (graduated in 2007). Already during his studies he appeared on the Prague scene by taking on roles at several different theatres. From 2007 he had a long-term contract at Dlouhá Theatre (as a freelancer from 2010) and there took on several smaller roles. Today it is still possible to see him play at Dlouhá Theatre.
Petra Špalková began acting as a child at the Hus Theatre in Brno with a long line of roles. During her studies at high school she performed at the Kašpar Society, during the years 1996-99 she was a member of the Drama Club. During this time she also appeared at the Dlouhá Theatre. During the years 1999-2004 she worked at the Theatre "Na zábradlí". Before becoming a member of the National Theatre, she appeared there in several roles. From 2004 she has been a member of the drama group at the National Theatre and has held many roles since then. Currently spectators can see Špalková act at the Nová scéná.
Graduated from the Music and Drama Department of the Prague Conservatoire (under Prof. Helena Lehká-Rejšková) and then later (1990-94) acting at DAMU under Prof. Luboš Pistorius and Jiří Adamír. In the years 1991-94 he was already acting for Boris Hybner&amp;#039;s Studio GAG and from the year 1994 until 2002 he was a member of the Prague Comedy Theatre. He also appeared as a guest on several other stages and along with his wife, Vanda Hybnerova, he has written and directed four projects.
&amp;quot;You can have a nice evening this way too.&amp;quot; commented Jan Nebesky after he saw our performance &amp;quot;Mirage&amp;quot; for the first time on the stage of the National Theatre together with Lucie Trmíkova a David Prachař. A very straightforward, yet pleasant exchange about what he did and did not like followed. It was this kind of sincerity along with respect and pursuit of the best possible outcome for everyone, which heralded our full-time cooperation.
&amp;quot;You can have a nice evening this way too.&amp;quot;
Piazzetta ND je místem, kde výtvarníci vytvorří svými instalacemi prostor pro recyklaci umění. Každý, kdo tudy projde se tak stává performerem!