THEATRE AND FREEDOM: Paradigm Shift(s) in the Independent Theatre Culture in Europe after 1989

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The year when we remember the 30th anniversary of political changes in Central and Eastern Europe calls upon looking back on 1990s ideas and hopes. It is independent theatre, which was a key platform for the attempts for their implementation not only at aesthetic and artistic, but also at social and political levels in various models and configurations of existence.

It was largely inspired by the development of the international independent artistic scene, which was difficultly accessible for the majority of artists behind the Eastern side of the Iron Curtain until 1989. Is it possible to consider the development of independent theatre in Central and Eastern Europe in the 90s as a “success story”? Is independent theatre and artistic scene taken for granted nowadays? Are social status and social need for independent art in society today completely different from ideas of 1989? How does contemporary independent scene relate to the avant-garde and neo-avant-garde legacy? Based on their insight in the development of independent theatre in the past 30 years, ten professionals from the Czech Republic, Slovakia, Poland, Hungary, Germany, Austria, Romania, Croatia, Ukraine, Belarus, Latvia, Lithuania and Estonia will try to find the answers. The conference does not deal only with the confrontation of the historical development of this part of theatre culture in their papers, but also with discussion formats focused on visions of European independent theatre for the future.

The conference takes place as part of the Arts and Theatre Institute research project “Czech Independent Theatre after 1989”, accentuating the development of Czech theatre in new social and political conditions, especially in the context of transformation, decentralization of the theatre network and new tools of cultural policy. The main item of interest are the roots, professionalization and development of epicenters of independent theatre stages and companies after 1989 in the Czech Republic and sub-papers on the development in Slovakia.

The conference language is English.


Part I – Studio Hrdinů

9:00 Welcome

JUDr. Kateřina Kalistová, náměstkyně pro řízení sekce živého umění, Ministerstvo kultury ČR

Ing. Pavla Petrová, ředitelka Institutu umění – Divadelního ústavu


Quadrilogue between East and West

Speakers: Martina Pecková Černá (Arts and Theatre Institute, Czech Republic), Jan Jiřík (Academy of Performing Arts, Czech Republic), Carena Schlewitt (HELLERAU – European Centre for the Arts, Germany), Henning Fülle (Berlin University of the Arts, Germany)

Moderator: Alice Koubová (Institute of Philosophy, Czech Academy of Sciences)


Roots of Independent Theatre in Western Europe

Speakers: Christine Standfest (ImpulsTanz – Vienna International Dance Festival, Austria), Jaïr Stranders (Amsterdam University of the Arts, The Netherlands), Paul Bourne (independent, UK)

Moderator: Martina Pecková Černá


Independent Theatre after 1989 in Central Europe

Speakers: Marek Godovič (Theatre Institute Bratislava, Slovakia), Joanna Ostrowska (Adam Mickiewicz University, Poland), Tamás Jászay (University of Szeged, Hungary)

Moderator: Jan Jiřík

Part II – DISK Theatre (Theatre Faculty, Academy of Performing Arts)


Panel discussion organized in cooperation with the Department of Alternative and Puppet Theatre

(In)Dependency, Legitimity and Ethical Principles of Alternative Theatre

Speakers: Tomáš Žižka, Marek Bečka, Ondřej David, Ondřej Cihlář, Tereza Volánková, Boris Jedinák, Jiří Šimek (alumni and students from the Department of Alternative and Puppet Theatre, Theatre Faculty – Academy of Performing Arts, Prague)

Moderators: Marcela Magdová and Ewan McLaren

In Czech, translation into English.


Part III - Studio Hrdinů


Independent Theatre after 1989 in Southeastern Europe

Speakers: Višnja Kačić Rogošić (University of Zagreb, Croatia), Barbara Orel (University of Ljubljana, Slovenia), Kamelia Nikolova (National Academy of Theatre and Film Arts, Sofia & Institute of Art Studies, Bulgaria), Iulia Popovici (Observator cultural magazine, Romania)

Moderator: Jan Jiřík


Independent Theatre after 1989 in Eastern Europe

Martynas Petrikas (Faculty of Communication, Vilnius University, Lithuania), Zane Kreicberga (Latvian Academy of Culture), Madli Pesti (Estonian Academy of Music and Theatre), Iryna Chuzhynova (Ukrainian Cultural Foundation), Tania Arcimovič (independent, Belarus)

Moderator: Martina Pecková Černá



Part IV - Studio Hrdinů


Panel discussion organized in cooperation with the Association of Independent Theatres Czech Republic 
European Independent Performing Arts Scene in Search of Future and definition


The Future of Independent Theatre – Lobbying, Collaboration with Political Scene and Second Pillar of Culture

Panel discussion

Speakers: Ulrike Kuner (IG Kultur / European Association of Independent Performing Arts, Austria), Axel Tangerding (Bundesverband Freie Darstellende Künste / European Association of Independent Performing Arts, Germany), Jan Žůrek (Association of Independent Theatres Czech Republic)

Moderator: Martina Pecková Černá


The Definition of Independent Theatre

Round tables inviting all conference participants to discuss the definition and data metrics of “independent theatre”.

Introduction: Luboš Louženský (Theatre Faculty of Academy of Performing Arts, Czech Republic), Petr Prokop (Theatre Faculty of Academy of Performing Arts, Czech Republic), Eva Žáková (Arts and Theatre Institute, Czech Republic)

Moderators: Luboš Louženský, Petr Prokop, Martina Pecková Černá

In Czech and in English. Findings and final summary will be translated into English.

Profiles of Speakers:

Tania Arcimovič

Tania is a researcher, curator and art critic based in Minsk, Belarus. She graduated from the Belarusian State Academy of Arts in Minsk (History of Theatre Department) and received a Masters in Sociology (Cultural Studies) from the European Humanities University (Vilnius, Lithuania). She is a member of the East European Performing Arts Platform. Since 2014, she has been curating exhibitions, theatre and educational projects in collaboration with the Goethe Institute in Minsk, the Adam Mickiewicz Institute in Warsaw, Ў Gallery of Contemporary Art, Lohvinau publishing house, Month of Photography in Minsk, TEART Theatre festival and others. She is a founder of ziErnie Performative Practices Platform Since 2016, she has taught a course on modern theatre at the European Liberal Arts College in Minsk.

Paul Bourne

Paul is a world-rated theatre director with 25 years of national and international experience, during which he has directed over 90 professional productions. He runs his own production company “Menagerie” and also works as a freelance director in the UK and abroad. He is an expert in creativity and communications, articulated through collaborations, interventions, trainings projects and programmes and has had twenty years experience of designing and delivering creative workshops and programmes world-wide. He has also designed, developed and delivered world-class creative projects and programmes for business schools, corporations and start-ups, as well as international agencies and governments.

Henning Fülle

A dramaturg and researcher in cultural practice and theatre politics in Berlin, Henning teaches at the universities of Hildesheim, Berlin (Universität der Künste) and Karlsruhe (Hochschule für Gestaltung). Previously dramaturg for Kampnagel Hamburg (1977-2001), he then moved into freelance work, most recently collaborating with

Mona el Gammal and Ingrid Lausund. He studied History and Political Science at Marburg University and completed Teacher‘s Training in West Berlin. His career has included work in adult education and he is a co-founder and board member of several cultural and political institutions. He completed his PhD at the Institute for Cultural Politics at University of Hildesheim under Prof. Dr. Wolfgang Schneider, with a thesis titled Freies Theater: The Modernisation of the German Theatre Landscape, 1960-2010 (Berlin 2015/16). He collaborates on the Initiative for an Archive of Independent Theatre in Germany and is co-editor and author of Performing the Archive – Study on the Development of an Archive for Freies Theater in Germany (Hildesheim, 2018). He is currently researching for a study about the GDR’s theatre landscape between the building of a socialist society and artistic modernisation, 1949-1989.

Marek Godovič

Marek graduated from the Academy of Performing Arts in Bratislava (theatre science and Polish studies) and the Film and Television Faculty of the Academy of Performing Arts in Prague (screenwriting and dramaturgy). As an author, dramaturg and screenwriter, he has worked on various theatre and radio productions (FAMU, Czech Radio, RTVS). He made it to the finals of Short Story, Drama and Artscript competitions. From 2011 to 2018 he worked as dramaturg in Studio 12. He currently works as the theatre expert at the Theatre Institute in Bratislava. He has published numerous reviews, studies and critiques in theatrical magazines and on radio. His radio plays have been produced by Slovak Radio and Czech Radio. As dramaturg he has collaborated with independent theatres Farm in the Cave, Pôtoň and NUDE.

Iryna Chuzhynova

Iryna is a theatre critic and theatre manager. From 2013 till 2019 she was the Head of Theatre Platform NGO (Kyiv, Ukraine). Since 2019, she has been the Head of the Analytical Department of the Ukrainian Cultural Foundation, the first governmental foundation to support the arts and cultural and research projects. She is co-founder and curator of the Emerging Ukrainian Directors Festival (2012-2015, Kyiv), curator of all-Ukrainian competition TAKING THE STAGE, in cooperation with British Council in Ukraine (2016-2019) and the author of more then 350 publications in newspapers and magazines about Ukrainian theatre practice.

Tamás Jaszay

Tamasz is an assistant lecturer in the Department of Comparative Literature at Szeged University and a freelance critic and cultural journalist at many journals and magazines. Since 2008, he has been editor and critic at He graduated in comparative literature from Szeged Univeristy, with a dissertation titled Circumscriptions: Chapters from the History of Kretakor Theatre, 1995-2011.

Jan Jiřík

Jan is a theatre historian, curator and editor. He currently works at the Academy of Performing Arts in Prague as researcher, teacher and editor of ArteActa, a journal for the performing arts and artistic research. He is also the main curator of the international theatre festival Palm Off Fest. He graduated from the Department of Theatre Studies at the Faculty of Philosophy and Arts, Charles University in Prague, where he completed his PhD focused on Polish avant-garde theatre. Jan is involved in a number of research project as a theatre expert, editor and consultant.

Višnja Kačić Rogošić

Višnja is Assistant Professor in the Department of Comparative Literature at the Faculty of Humanities and Social Sciences of the University of Zagreb. She is a member of the Editorial Board of Croatia’s Theatre journal and a permanent contributor to the editions of The Miroslav Krleža Institute of Lexicography. She published a book on Croatian devised theatre (Group Devised Theatre, 2017) and, with Miroslava Vučić, co-edited the first historical overview of performance art in Croatia (Marjanić, Suzana, Chronotope of Croatian Performance Art, 2014). She has published and presented widely on contemporary theatre and performance.

Zane Kreicberga

Zane is theatre director, international festival curator, international project manager, cultural expert, performing arts researcher, and associate professor. Currently she is associate professor of contemporary theatre theory and practice, Head of the Performing Arts Department and Head of MA Audiovisual and Performing Arts at the Latvian Academy of Culture. Since 1998, she has been responsible for cultural management, performing arts and international collaboration at the New Theatre Institute of Latvia. From 2010 to 2012 she sat on the board of the Association of Contemporary Culture NGOs. She is currently a student in the doctoral programme at the Latvian Academy of Culture. Her thesis discusses transitions in Latvian theatre of the 1990s.

Ulrike Kuner

Ulrike holds a Masters Degree from the University of Vienna. She is experienced in production and project management at major international festivals and houses, EU projects and networks. She has successfully developed and managed EU-funded projects, such as modul-dance (2014-2014) and EDN – European Dancehouse Network (funded since 2014). Since September 2017, she has been managing director of the IG Freie Theaterarbeit, promoting this service and its information tools for freelance artists throughout Austria and working closely with artists and cultural politicians on new decision-making and funding. In 2018, she became the president of a newly founded umbrella organisation, The European Association of Independent Performing Arts.

Kamelia Nikolova

Kamelia is a Bulgarian theatrologist, theatre researcher and theatre critic. She is Professor of European Theatre and Head of the Theatre Studies Department at the National Academy for Theatre and Film Arts in Sofia, Research Fellow at the Theatre Centre of the Institute of Art Studies, Bulgarian Academy of Sciences and a visiting professor at other universities. Her research and teaching interests are connected with the history of Bulgarian and European theatre, theories of dramatic literature and performance, theatre and society in Central and Eastern Europe after 1989, stage directing, new playwriting and independent theatre. She has published ten books, including The Other Name of Modern Theatre. Stage Director (1995), Expressionist Theatre and the Body Language (2000), Theatre on the Border of 20th and 21st Century (2007), History of Bulgarian Theatre. Volume IV” (2011, in a research team), Bulgarian Theatre after 1989 and New British Drama (2013, 2018), Theatre in the Beginning of the 20th Century (2015), and many studies and articles in the Bulgarian and international specialised press. Her texts are published in over ten languages. She is a member of the editorial boards of Homo Ludens theatre magazine, and scientific magazine Papers of BAS - Humanities and Social Sciences and deputy editor-in-chief of Art Studies Quarterly. She is also a member of the Publication and Communication Commission (PCC) of OISTAT, IACT and THE FENCE international network for new dramaturgy. She holds a PhD and a DSc.

Barbara Orel

Barbara is Professor of Performing Arts and head of the research group of the Academy of Theatre, Radio, Film and Television at the University of Ljubljana. Her main areas of research are experimental theatre, avant-garde movements and contemporary performing arts. She is the author of the book Igra v igri (The Play Within a Play, 2003), editor of numerous collections of essays and monographs, most recently Scenske umetnosti, migracije, politika: slovensko gledališče kot sooblikovalec medkulturnih izmenjav (Performing Arts, Migration, Politics: Slovenian Theatre as an Agent of Intercultural Exchange, 2017). She participated in the research projects of the Theatrical Event working group of the International Federation for Theatre Research. She also co-founded the journal of performing arts theory Amfiteater (editor in 2008– 2010) and curated Slovenian national theatre festivals the Week of Slovenian Drama (2006–2007) and the Maribor Theatre Festival (2008–2009).

Joanna Ostrowska

Joanna is a professor in the Cultural Studies Institute, Adam Mickiewicz University in Poznań. Her main fields of interest are alternative theatre in Poland and abroad, radical street theatre, theatrical places and their spatial dimensions and performances of remembrance. Her articles have been published in journals such as New Theatre Quarterly, Pamiętnik Teatralny, Kultura Współczesna and others. She is co-editor of three books, co-author of Sketches on Alternative Theatre and author of The Theatre Can Be Anywhere: On the Concepts of Space and Place in a Theatre and the only Polish monograph on The Living Theatre. Between 2005 and 2012, she took part in the international European Festival Research Project and in 2006 and 2007 she was a member of the team preparing the report Street Artists in Europe for the European Parliament. From 2009 to 2011, she participated in the project Theatre Architecture in Central and Eastern Europe. Between 2010 and 2014, she was co-convenor of the International Federation for Theatre Research’s Working Group Performances in Public Spaces. She has recently published a book on Poznań’s alternative theatres, Poznański SpacerOFFnik Teatralny.

Madli Pesti

Madli Pesti holds a PhD in theatre research from Tartu University, Estonia. Her dissertation was “Political Theatre and its Strategies in the Estonian and Western Cultures” (2016). The theme of her M.A. thesis was “Political Theatre in Estonia and Germany in the 20th and 21st Centuries”. She has a B.A. in Scandinavian Studies, specializing in contemporary Danish drama. Madli works as a researcher in the Estonian Academy of Music and Theatre and runs its practice as research PhD programme. Her research areas are performance analysis and theory, political and applied theatre and contemporary theatre. In 2018, she published 100 Years of Estonian Theatre, an overview of Estonian theatre in the past and today. Since 2002, she has written theatre critiques for cultural magazines and newspapers. In 2019 she was named best theatre critic at the Estonian Theatre Union’s Annual Theatre Awards. In 2015, she was the head of the Estonian Theatre Researchers’ and Critics’ Association. From 2015 to 2017, she curated the programme of the new performing arts center Open Space (Vaba Lava) in Tallinn, Estonia. Madli is a member of IFTR and EASTAP.

Martina Pecková Černá

Martina is a cultural manager, theatre researcher and translator. She graduated from the Department of Theatre Studies at the Faculty of Philosophy and Arts, Charles University in Prague and completed her PhD at the Academy of Performing Arts in Prague. She focuses on the current Czech performing arts scene and the cultural, historical and political contexts of the Central European region. In the past she was involved in a number of independent theatre projects as a translator of plays, dramaturg, project manager and/or theatre expert. These include the publishing and research activities of the TRANSTEATRAL NGO (co-founder), collaborating as project manager for LETÍ Theatre’s Centre for Contemporary Drama and serving as an expert on contemporary drama written in German and Spanish for the DILIA theatre, literary and audiovisual agency. Since 2010, she has been Head of the International Cooperation Department of the Arts and Theatre Institute, an organization established by the Ministry of Culture Czech Republic. Martina is coordinator of the PACE.V4 project (Performing Arts Central Europe – Visegrad Countries Focus) and Secretary of the Czech ITI Centre.

Martynas Petrikas

Martynas is the Vice Dean of Studies in the Faculty of Communication, Vilnius University (Lithuania). His research interests include: the history of theatrical discourse, the history and theory of theatre criticism, and the aesthetic, social and political aspects of theatre production. He is the author or co-author of numerous publications, including Post-Soviet Lithuanian Theatre: History, Identity, Memory (Vilnius: Vilniaus dailės akademijos leidykla, 2014); Avant-garde Theatre and Social Space: Lithuanian Examples // Reclaimed Avant-Garde: Spaces and stages of avant-Garde Theatre in Central-Eastern Europe (Ed. by D. Kosiński, Z. Imre. Warsaw: ZRI, 2018); and Centripetal Force of locus: Dilemmas of Nomadism in Contemporary Lithuanian Artistic Practices (Nordic Theatre Studies vol. 27: No. 1., Stockholm, 2015.

Iulia Popovici

Iulia holds a BA in literature from Bucharest University and an MA in playwriting from the Faculty of Theatre, National University of Theatre and Cinema, Bucharest. She is currently editor of the performing arts section for the weekly culture magazine Observator. She served as artistic counsellor at the National Theatre Tîrgu-Mureș and Bucharest National Theatre. Iulia is a member of the Directorial Committee of ActiveWatch – Media Monitoring Agency and of the Eastern European Performing Arts Platform (EEPAP). She is the author or co-author of numerous publications such as The Elephant in the Room: A Guide to Independent Theatre in Romania (Idea Design & Print/Colectiv A, Cluj, 2016), A Theatre by the Side of the Road (Cartea Romaneasca, 2008) and The Feminine Experience Under Communism (Polirom, 2008).

Carena Schlewitt

Since the 2018/19 season, Carena is the artistic director of HELLERAU – European Centre for the Arts in Dresden. From 1980 to 1985, she studied theatre sciences at the Humboldt University in Berlin. She worked at Performing Arts/Theatre department at the East Berlin Academy of Fine Arts from 1985 until 1993 and then, until 1999, at the

International Arts Centre Podewil, Berlin and as an associate for the Festival Theater der Welt 1999, Berlin. From 1999 to 2003, she worked as dramaturg and co-director of the newly founded Forum Freies Theater in Düsseldorf, returning to Berlin in 2003 as curator at the Theater Hebbel am Ufer (HAU), where she worked until 2008. Carena served as the artistic director of Kaserne Basel and the International Theatre Festival Basel from 2008 to 2018. She has also sat on diverse juries in the fields of theatre, dance and cultural exchange.

Chris Standfest

Chris is a dramaturg, curator and lecturer based in Vienna. After and during her studies of linguistics, literature, gender, cultural studies and education sciences at the FU Berlin and Lancashire University (GB), she turned from political activism and collective projects in various fields to theatre, performance and theory. From 1997 to 2010, she performed and worked mainly with theatercombinat and Claudia Bosse in Vienna, Berlin, Hamburg, Dusseldorf, Geneva, Podgorica and other cities. Alongside teaching (Universities of Bochum, Leipzig, Innsbruck, Vienna) and writing activities, she collaborates as a performer and dramaturg with various artists and institutions, such as Festival Theaterformen, Donaufestival Krems, and Tanzquartier Vienna. Since 2013 she has held the position of dramaturg at ImPulsTanz – Vienna International Dance Festival, where she curates the festival’s cooperation with mumok – Museum Moderner Kunst Stiftung Ludwig Wien and is artistic director of the [8:tension] Young Choreographers’ Series at ImPulsTanz.

Jaïr Stranders

Jaïr is a graduated philosopher, drama teacher and theatre maker. He is artistic director of the Dutch theatre initiative ‘Theater Na de Dam’, held on the 4th of May, when the Netherlands commemorates the Second World War. In addition to teaching philosophy, dramaturgy and acting at High Schools of Art, he is a member of the Arts Council of Amsterdam, which advises the city government on arts policy. He is involved in several theatre organisations, either as co-producer or as member of the board.

Axel Tangerding

Axel is an architect, director and actor. As an architect, Axel was strongly influenced by the Bauhaus tradition, with its clear design language of clean forms. His theatre work has been influenced by Ellen Stewart and her La Mama Experimental Theatre in New York and Jerzy Grotowski’s Teatr Laboratorium in Wroclaw, Poland. Axel founded Meta Theatre in Munich in 1980, developing a series of unique productions and organising international touring and exchanges with non-European artists. In 2002, he received the State Award “Bundesverdienstkreuz” in recognition of his work in intercultural and international artistic engagement. He has been a member of IETM since 1991 and from 1999 to 2007 was a board member of IETM in Brussels. Since 2001, he has been a member of ITI Berlin and is a board member of the Music Theatre NOW Network (2010-present) and the German Association for Independent Performing Arts (2013-present).

Main organizer:

Arts and Theatre Institute
Our mission is to provide the Czech and international public with comprehensive services in the field of theatre and individual services relating to the other arts (music, literature, dance, and the visual arts). We collect, process, and provide access to archival materials relating to the theatre. We conduct research in the field of theatre, performing arts and cultural policies, pursue educational activities, promote Czech performing arts and music and publish specialised and scholarly literature. We are also home to the Creative Europe Desk Czech Republic – Culture Programme. The ATI is a government-funded organisation established by the Ministry of Culture of the Czech Republic. Founded as the Theatre Institute in 1959, it changed the name to the Arts and Theatre Institute (ATI) in 2007.

The International Cooperation Department’s mission is to promote Czech performing arts abroad. We share information, keeping the Czech public informed about international developments in the performing arts and bringing news from the Czech performing arts scene to international audiences. Thanks to the interdisciplinary nature of the field of performing arts, with its diverse range of possibilities and platforms, our work often goes beyond theatre, branching into areas such as dance, music, literature, theatre research, cultural and creative industries, cultural policy, cultural diplomacy and branding. The artists, companies, productions, activities and organisations involved in our promotional programmes are selected in consultation with the ATI´s experts and members of the Dramaturgcial Board PerformCzech. A fundamental part of the department’s work are its close collaborations with other partners, such as the Czech Centres, international professional networks and NGOs, and national and international independent or state-run cultural organisations.


ENICPA, The European Network of Information Centres for the Performing Arts

ENICPA is a network of specialists from Europe in the field of performing arts information, documentation and collections. The aim of the network is to train these professionals by sharing expertise and knowledge, to share information and experience and to build partnership to both formal and informal level. ENICPA firmly believes in building trust by getting to know each other. The members of ENICPA meet once a year in one of the member countries. Being a network of colleagues, ENICPA provides a platform for cooperation between the member organizations. At the annual meetings we exchange information about projects, developments, ideas and tools, not just in the field of documentation, digitization, and information databases but also in law, public relation, audience development, artistic mobility and more. As each meeting is hosted by one member organization, it is a unique possibility to learn details about how they run their organization.

Palm off Fest, International meeting of Central European theatres

The festival is focused not only regionally (theatre and culture of Central European countries) but also thematically. The topic of the last year was the state of democracy in the Visegrad countries. We wish to revisit this topic again this year. Thirty years after the Velvet revoltution, the main slogan of the Palm Off Fest is the following: Heroes like us. Apart from the theatrical performances, the festival will once more offer discussions with the authors and the showcase of important documentary films prepared by our partner, Institute of Documentary Film. This year's program also includes an international conference with prominent representatives of cultural and political life, organized in cooperation with Arts and Theatre Institute on the topic of Theatre and Freedom: Paradigm Shift(s) in the Independent Theatre Culture in Europe after 1989. The organizer of the festival is the Divadlo pod Palmovkou.

Department of Alternative and Puppet Theatre, Theatre Faculty, Academy of Performing Arts

Department of Alternative and Puppet Theatre
Study programmes at the Department of Alternative and Puppet Theatre at the Theatre Faculty of Academy of Performing Arts explore the nature of what we call theatre, the ways it can be perceived, its role in modern society, how it can develop and change, and where its boundaries and crossovers are. The course builds on one side on the long-standing teaching experience of a traditionally puppetry-oriented school, and on the other side works with trends stemming from avant-garde drama and the „open theatre“ movement. Courses include the teaching of practical skills as well as theoretical and historical understanding of theatre. They explore the original role of drama and revisit the traditional divide of professions within theatre (directing, dramaturgy, set and costume design, acting, music, dance), with a special emphasis on collective work where these professions overlap and blend. This is emphasised especially in the rehearsal process, which is considered the core of the dramatic arts.

Association of Independent Theatres Czech Republic

Czech Association of Independent Theatre (AND ČR) was established in 2016 by representatives of the Czech independent theatre scene. The idea of establishing professional organization arose from the need for its own professional platform to formulate questions about the meaning and status of independent theatre across genres, based on alertness to respond to social issues, transgressing temporary trends and gusts. AND was established as an open association of theatrical entities, production houses and individual creators operating in the field of theatres not established by public administration across the whole republic and to communicate with other theatre entities on common issues. The primary interest of the non-profit sector is the transparency of the environment and the conditions in which publicly beneficial artistic activity is developed.

• strives for the continuity of political decisions in the theatre field
• establishes communication with all levels of public administration and
contributes to improving cultural policy
• defends the interests of association members at all levels of public

PACE.V4 (Performing Arts Central Europe - Visegrad Countries Focus)

PACE.V4 is a project of a continuous co-operation of Visegrad performing artistic and cultural organizations. This network was established in 2012 in order to develop a common presentation and research strategy with the goals to strengthen the coherence of the Visegrad group countries, to foster its visibility at the international cultural scene, to promote current performing arts sector of the Visegrad countries and the brand “Visegrad” in general and to enhance international contacts and co-operation of Visegrad artists and stakeholders on the international level. The strategy is applied as in priority international events such as the biggest world performing arts markets or important international theatre/dance/music festivals, so within the Visegrad region in form of specialized events (conferences, meetings, workshops, presentations, networking program).

Organization team

Concept and dramaturgy:

Martina Pecková Černá
Jan Jiřík

Production manager and contact person:

Barbora Comer

Type of event

Date and time

23. 10. 2019 9:00 - 23. 10. 2019 17:30
24. 10. 2019 9:30 - 24. 10. 2019 17:30


Studiu hrdinů, Divadlo DISK

Entrance fee

Free entrance to the conference.


Oddělení mezinárodní spolupráce


Registration beforehand is required under this link:


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Martina Pecková Černá


+420 224 809 113
+420 775 858 794

Research profile

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Barbora Comer


+420 775 856 540

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