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David Vojáček

@vojacek.d

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Dnes bude Alkéstis umírat naposledy, naposledy se vrátí z podsvětí a naposledy se srovná se svým osudem 🙌 Připomínáme dnešní derniéru — a taky to, že jsme navýšili kapacitu, aby se vešli všichni, co jste Alkéstis ještě nestihli vidět ✨ Především ale chceme poděkovat celému našemu skvělému týmu, jehož obrovské úsilí a um daly vzniknout něčemu tak výjimečnému, jako je tato inscenace 🔥 Děkujeme i vám 💜 za podporu a důvěru, kterou do Antické Štvanice vkládáte, a za všechna milá slova, která k nám po reprízách doputovala 🌙 ❤️‍🔥

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Let's go

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1st place at badminton and summer so far🤩😎

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druhák na damu, druhák v praze🧡

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Včera před ministerstvem kultury přečetl své texty o naději i beznaději autor a divadelní režisér @vojacek.d
Fotila @annan_cer
Protože umění trvá na svobodě.
#umenitrva

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ASI DIVADLO, BABI

Dnešní svět je příliš rychlý na to, aby se moudrost předávala z generace na generaci, no ne? A tak děda jenom sedí u televize a nadává. “Ta moderní hudba je nesnesitelná” a “ten kovid vymýšleli x let aby strašili lidi”. A babička čeká, až ji přijdeme navštívit, zatímco se o ni starají cizí lidé. Samota není úplně to nejlepší. Anžto doma je doma.

Není to přece naše vina. Naše doba nepočítá s tím, že se budeme o někoho starat a každý den o něj pečovat. A navíc, ,,na staré lidi není hezký pohled”.

Text, složený z různorodých fragmentů, které spojuje jedno: vztah dnešní společnosti k seniorům.

Inscenační tým: M. Đurović, L. M. Marešová, J. Novotný, D. Vojáček, D. Zbořil – všichni na pozici autor, režie, dramaturgie
Šimon Javorský – výprava

Obsazení: A. Švomová, A. Jakubcová, A. Ondrušová, T. Hubáčková, L. Hlinová, P. Vrla, V. Cao, F. F. Hlavica, Š. Tintěra, M. Chochola, M. Košař
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#cinohra29 #damu #nadamu
#actor #actors

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“Asi, divadlo babi” PT. 2 - party time
#dokudrama #klauzury #damu

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We’ve changed more about light in 25 years than the entire century before.

Michael Rathbun walked us through how LEDs and moving light technology fundamentally shifted the relationship between lighting designers and everyone else in the room.

Common LED color mixing fails diverse skin tones. Badly. Rathbun didn’t dance around this- he named the problem and demonstrated the solutions we should all know by now. Technology expands possibility, but only if we stay critical about what it flattens or erases.

Projection design entering as a standard collaborator, not a special effect, changes the conversation again. How do you integrate media into the world of the play without it becoming wallpaper or spectacle? The tools shape our approach whether we admit it or not.

Rathbun has designed for Kanye West’s Sunday Service Choir, LA Dance Project, Steppenwolf, Old Globe, and stages from LA’s Hollywood Bowl to Lyon’s ancient amphitheater. He teaches at Binghamton University and belongs to USA 829. His work lives at the intersection of technology and human collaboration - which is exactly where most of us are trying to figure things out right now.

Check his portfolio at mfrdesigns.net if you want to see how these principles translate to actual design. The Changing World of Light on Stage: Adapting Lighting Design Practices to new technologies, approaches, and collaborators

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When you give your weight to another person, what story does that tell?

Kim Wildborne’s workshop “The Physical Storyteller” asked us to interrogate weight sharing as narrative craft. Not as spectacle. Not as trust-building exercise. As the actual grammar of physical storytelling.

Counterbalancing between partners creates connection, sure - but Wildborne pushed further. How does the act of giving and taking weight forge emotional bonds that text can’t touch? Where does humour live in gravity? How do you layer levity and depth through dynamic contrast instead of choosing one or the other?

The session moved through partner work into Meyerhold’s Biomechanics, grounding everything in intention and clarity. Every action carries purpose, rhythm, psychological depth - even the simplest movement. Especially the simplest movement. That’s where most directors lose the thread.

Wildborne founded RoguePlay Theatre and has spent 16 years directing highly physical work that borders contemporary circus and physical theatre. She’s worked on the Commonwealth Games opening ceremony, manages West Midlands Circus Centre, and produces the annual TILT festival. Her practice lives in vertical and horizontal space, using aerial and acrobatic movement to build theatrical narrative where conventional staging ends.

This wasn’t theory. It was applied craft for anyone working with bodies in space who wants their physical choices to land with the same precision as their textual ones.

Check rogueplay.co.uk for more on Kim’s work.

#PhysicalTheatre #Biomechanics #ContemporaryCircus #NIPAI #Meyerhold

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Basking in the glow of creative community, and so grateful to have spent the past two weeks researching, training, exploring and breathing with this incredible cohort of international artists at @nipai_org and @iugte_conf

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#performingartsconference #2025 #four #days between tradition & contemporaneity, rarely write this but it was an honor to work with you, thank you 🤍

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Sometimes all it takes is one shared space to feel that you’re not alone in your questions.

Our conference “Performing Arts Between Tradition and Contemporaneity” is a living conversation between practitioners - a place where tradition and contemporary practice meet, challenge each other, and open new ways of seeing. Lectures, workshops, exchanges, observations, and that rare feeling when curiosity moves faster than fatigue.

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