Questions for creators – The Brothers Karamazov, Czech Republic, DAMU
- Why did you choose this play/book/theme for your production and why this caught up your attention?
The novel always caught up the attention of new artists and thinkers because its wisdom is as wide as elusive. We chose it in the context of the social (rather than political) situation in the Czech Republic after the second election of our current president. We came to realize our homeland lost its father, instead of whom a clown was placed. It was a scary picture we saw and it is the situation of characters of The Brothers Karamazov – having a non-father (unlike having no father) is driving them mad and keeping them doubtful.
- What theater genre can we find in your production?
Pure drama. Nothing more, nothing less.
- Is your production intended for a specific target group?
No – it was intended for us: it was our schoolwork. We wanted to learn more about the world by doing this play and we didn’t expect anyone else to see it. Yet when it happened, we needed to specify the target group and found that it was anyone who wanted to see a performance on the current topic: patricide.
- Is the issue of the situation we are currently living in reflected in your production?
The performance was made in 2018 – so it is very sad to say that the situation has not been changed much: we are still lost, our country is lead by a criminal, and the clownish king is still there. This is what we all live with in the Czech Republic for more than a few years – covid hasn’t changed much about it. Yet fools and saleable beasts decide about our lives, and we only wait for the moment to count the bill in the vote.
- What was the creating process of your production during the last year? Did you have sufficient conditions and space for creating and rehearsing the production?
The production had been made before the covid spread up. So we finished the process in normal sufficient conditions offered by AMU.
- How much is it convenient if an actor become involved to or step in directors’ work/vision in your production? What kind of cooperation is between your company and a director?
I believe every rehearsal process is a cooperation between both sides and I am very open to any ideas that can enrich our drama piece so especially at the beginning I try to give as much space as it’s possible to the actors and their expressions. I choose only plays that have the potential to evolve my actors’ abilities and skills. I always choose plays that fit my actors. Yet I am not very open to share the main concept with them. Unlike other performances, I don’t let actors talk about the screenplay or its adjustment, but I am always ready to change the text when the actor needs to change it. The words of the play don’t have any meaning till they are said with the energy and charisma of the specific actor and thus it is needed for actors to cooperate. But yet there are limits to their imagination of course given by the playwright and my regie and style.
- Would you like to send a word to other production creators of this festival?
Persevere, guys! It’s crucial at this time to keep art alive.
Aminata Keita (DAMU)