- Performers: Halka Třešňáková, László Fülöp
- Music: Antonín Dvořák, Slavonic Dances no. 72
- Lights: Fabián František
- Directed by: László Fülöp (on Viktor Fülöp Scholarship)
- Co-producer: MOTUS / producers of the Alfred ve dvoře Theatre
- The first two pictures by László Fülöp, then the photos by: Michal Ureš / Urna Kuzimor
Always be realistically fictional. Unless you can be fictionally real. Then whatever. But always have a plan B. ‘Cause it’s all about practical dysfunctionalism. Or about dysfunctional practicism. More or less …
There are two totally different characters on the stage. They’re like escapologists, racing against time and against each other, in the shade of a compressed space-time illusion which has been made of a thick net of memories about a never-existed future. They try to get enough close to each other to have a safe distance from their own selves. But they are like two parallel lines hoping to just bend, to just cross each other before they disappear into infinity. To catch the restlessly transforming will in its rushing stillness sometimes they might also need to remind themselves to release some pressure…
Why do we have this powerful desire to catch and control everything around us? And when does this obsession take us over and start imprisoning us instead of creating enough space to ensure a wide range of choices and possibilities, a sense of freedom. While we’re so busy creating plan B, who is taking care of plan A? What if we don’t even have a clear picture about plan A? What makes us happier in the end? Are we really willing to complete or carry out plan A, or is plan A only an excuse to give life to plan B? The creators have also explored power games, messing around with their fragile balance and with the possibilities of reversing relations within them. Don’t judge too fast about who’s pulling the strings because it might shift in a split second.
Translation; “Second part of the first Saturday block belonged to an internetional creative duo Timothy and the things (László Fülöp a Halka Třešňáková). They are using the principals of physical theatre which they mingle with verbal action, silent comedy (grotesque) and also improvisation. This work in progress, more than any other that I have seen, has it’s basics set on comicality, absurdity, awkwardness and more or less successful gag. Thru these aspects of creative process, the duo is for example questioning what actually creates our identity. Is it our body? Or not? Hard to tell, because according to their point of view, the body can only be a shell, that is sometimes able to do wrong things with which our „self“ doesn‘t agree with. On the other hand it is a significant and recognizable part of human identity.
During this stage draft, both interprets are exchanging submisive and dominant positions in a mutual relationship and attempts of what will these seemingly nonsense situations let them do. „It’s about the fact that it’s not perfect“. The comicality comes from a non-precise gag or a movement that comes after the sound which is it’s sound expression. What do I expects, as a viewer, turnes in a second (I’m not sure how much it’s actually improvised). One bunk turns into another and then into an even bigger one. So for the end there is just one question: What is the thing, that makes the audience laugh? Maybe the fact that they are voluntarely turning themselves into a slightly stupider beings and the audience likes it.”
- Previous performances:
- PREMIER on the 22nd and 26th of May, 2016, in Alfred ve dvoře Theatre in Prague.
- 18-19th/OCTOBER/2016 – at Alfred ve Dvore Theater in Prague
- 25th/February/2017 – at Mala Inventura Festival
- 21st/October/2017 – Plan B at KammerMachen Festival in Chemnitz, Germany