ČÁSLAVSKÁ – TOKYO – 1964 The production narrates the story of Věra Čáslavská’s success at the Tokyo Olympics. It is no historical reconstruction, but rather a fictional story spiced with fable and fairy-tale motifs that merely stems from certain real events. Besides the birth of (not only) sports legend Věra Čáslavská, who won the hearts of the Czech and Japanese public in her time, the production also tells another story: that of Japanese-Czech encounters manifested not only through the characters as such, but also through the cast. Indeed, half of the performing puppeteers in the production are Czech and the other half are Japanese. They can thus look beyond the story and explore our common and different characteristics and the inspiration we can draw from each other. Two sports commentators – one Japanese and one Czech – take us through the Tokyo 1964 Olympic Games, and thus the whole story, just like in a live broadcast. They comment, narrate and translate everything, making the story comprehensible and partly mysterious for both Japanese and Czech audiences. The production combines various forms of puppet, object and shadow theatre and projections.
“The mutual awareness of and interest in Czech and Japanese cultures is surprisingly strong in both countries, despite their great distance and differences. The story of Věra Čáslavská, her success at the 1964 Olympic Games in Tokyo and the spell she had over the Japanese sports fans plays a significant role in this. Indeed, both countries saw the 1960s quite similarly in many respects until 1968. For the Czech and the Japanese alike, it was a period of hope, optimism and also a return to the world stage after years of isolation. In the 1960s, the trajectories of the two countries diverged dramatically due to the Soviet occupation, and Czechoslovakia fell into another dark period that only ended in 1989. In relation to Japan, the visit of Václav Havel in 1992, accompanied by no other than Věra Čáslavská, was a symbol of renewed reciprocal encounters and co-operation. When we were looking for a theme for a Czech-Japanese co-production, as an opportunity to meet and get to know each other through creation, the choice was thus quite obvious.” Tomáš Jarkovský, author of the play.
JAKUB VAŠÍČEK AND TOMÁŠ JARKOVSKÝ (playwright–director tandem) studied directing at the DAMU Department of Alternative and Puppet Theatre under Ivan Rajmont and Jan Borna. During their studies, they staged their own play Neklan.cz or From Old Czech Legends at the Naive Theatre in Liberec as a creative tandem. It marked the beginning of their artistic collaboration that has lasted to date. In autumn 2014, they found their home stage at the DRAK Theatre in Hradec Králové. They also regularly perform as guests at the Alfa Theatre in Pilsen, the Minor Theatre in Prague, and D21. They have also collaborated with the South Bohemian Theatre in České Budějovice, the West Bohemian Theatre in Cheb, the F. X. Šalda Theatre in Liberec and the Slovenian Maribor Puppet Theatre. They co-founded the independent theatre Športniki. Their productions received many awards at international festivals, won three Erik Awards for the most inspiring puppetry production of the season as well as the Mark Ravenhill Award, and were nominated repeatedly for the Divadelní noviny Award (one of the nominated productions, The Enlisted Society of Czech and Slovak Puppeteers presents: The Jester and the Bandit, received the award) and the Theatre Critics Award. Their first production to be presented at the Divadlo festival was Hamleteen (2012, Alfa Theatre Pilsen), the latest one was Sleeping Beauty (2021, DRAK Theatre Hradec Králové).
ALFA THEATRE was founded as a puppet theatre in 1966 and continues to focus on pieces for children and teenagers. One of its dramaturgical lines stems from the roots of Czech folk puppeteers and develops their legacy in the context of contemporary puppet theatre. Another line explores alternative puppetry approaches to classics and original theatrical productions. In addition to their work for the youngest, the theatre makers wish to attract demanding teenage audiences, including through European projects. Known for their puppeteer mastery, Alfa Theatre is invited for guest performances at many Czech and foreign festival. Since 1967, it has organised the Skupa’s Pilsen festival.
PUK THEATRE The PUK puppet theatre was founded in 1929 in Tokyo and this year marks its 95th anniversary. In 1971, the ensemble opened the first permanent puppet theatre in Japan, the PUK Puppet Theatre, in the Yoyogi district, Tokyo. PUK premieres several new productions each year, guest performs throughout Japan, and actively participates in international exchanges. The PUK Theatre includes the acting ensemble, a production centre and an audiovisual production centre. The PUK Theatre has toured Europe several times and maintains close contacts with puppeteers in Japan and overseas. The Japanese UNIMA Centre is located in its premises.
