Petra Tejnorová was born in 1984. She is a theatre director and head of the creative czech cross-over group Sergeant Tejnorová & the Commando (formerly also known as Tejnorová & the Company – www.sgt.tejnorova.com). At the Theatre Faculty of the Academy of Performing Arts in Prague, Czech Republic, she studied Directing Alternative and Puppet Theater, where she is currently doing doctoral studies.
Since 2006, she has directed various plays in different theaters mainly in Prague, such as The Sufferings of Prince Sternenhoch, for which she was awarded, Hole in the Wall, Titus Andronicus_The Flight of a Fly, the Czech-Polish project Memory of Landscape and Lanscape of Memory, Personal Anamnesis. In her original productions she emphasizes team work, devising methods and processuality – perceiving a performance as a unique event.
When Petra Tejnorová works with text she aims at loosening the structures of dramatic texts, at non-fabulative compositions such as montages, collages etc. She is also interested in so-called open texts: texts, which are not originally dramatic.
She has cooperated with the National Theatre New Stage, Dejvicke Theatre, Archa Theatre, Minor Theatre, Alfa, Ponec, Alfred ve Dvoře, Roxy/Nod and Disk. Her 2013 works are Edge and John Sinclair on Air. As stated on her homepage, Edge is “an international performance which examines the lives of people over 50 who worked in the theatre in various professions and roles. The performance will formally work on and blur the almost unexplored area on the border of theatrical and dance language. It will cross the borderline between a “documentary” style of narration, which is based on real-life stories of the participants, and a highly stylized theatrical form.”
In her project Jižák, City of Dreams in collaboration with youth from the district of Prague Jižní město (South City) she asks the following questions: “How do teenagers see the future of Jižní Město and their role within it? What can be changed in this space? What is the teenagers’ future on the periphery and what is the future of Jižák – the unexplored territory?”
Her 2012 interactive production LIFEshow “demonstrates new possibilities of combining theatrical language and modern technology. The project focuses on finding the borderline between actors and performers, between being in a role and being oneself, on examining the borderline between reality and show, between documentary and acting, truth and lie.”
Since 2006, Petra has taken part in several workshops, where she did movement collaborations. Petra Tejnorová’s productions and original projects have been presented in several prestigious festivals abroad, where they were appreciated both by professional and non-professional audiences. (Poland – Wroclaw and Warsaw, Slovakia – Bratislava and Žilina, Italy – Rome, Hungary – Budapest, Sweden – Stockholm, Portugal – Lisabon, Great Britain – London). Beside directing and original productions, she has issued two publications at AMU publishing. They are the anthology Memory of Landscape – Landscape of Memory: the Perception Shape Depends on the Viewpoint and Ias On Me De A (Myth, Material, Discourse, Dialogue). She wrote several texts including publishing in the magazine Amatérská scéna (Amateur Stage). At the festivals Loutkářská Chrudim (The Puppeteer’s Chrudim Festival) in Chrudim and Oblastní loutková přehlídka v Plzni (The Regional Puppet Festival in Pilsen) Petra was a jury member. Her recent awards are, among others, the Prize of Josef Hlávka awarded to the most successful students and graduates from Prague universities and the Dean’s Award at the Theatre Dept. of the Academy of Performing Arts in 2009, in 2008 she was nominated for the Alfred Radok Award in the Talent Category. She is also a teacher at the Department of Alternative and Puppet Theatre of the Academy of Performing Arts – Theatre Faculty (KALD DAMU) at present.
Jaro Viňarský was born in 1978 in Slovakia. He studied Choreography of Ballet at the Academy of Performing Arts in Bratislava, Slovakia and Choreography at the Academy of Performing Arts in Prague, Czech Republic. Since 1998 he has collaborated as a dancer and performer, as well as choreographer with various artists from Slovakia and from abroad (e.g. making a dance movie) as well as with the Grotowski Institute in Poland. He also gives dance workshops, mainly to non-professional dancers. Jaro received several awards including the 2nd award of the Jarmila Jeřábková Award in Prague in 2001 and 2003 for Sorton and Tea Never Brewed, respectively. In 2004 he received The Audience Award at the Czech Dance Platform and the Award of Sazka for “Discovery in Dance” in 2006, both for his work The Last Step Before. In 2011 Jaro founded a non-profit organization SKOK! working for the development of contemporary dance and physical theatre in Slovakia. The themes of the workshops that he did in collaboration with other artists included group work, partnering, dance and space, dance and its dynamics, form and content in movement, dance and circus in performance, Alexander and Feldenkrais technique, movement and voice, Merce Cunningham – composition techniques, improvisation and composition, light design in dance performances.
In his last two pieces, Jaro was exploring identity and the human body. In the 2013 duet dance performance XIRA he asks the question „If your awareness can be visualised as a spectrum from an internal or private consciousness to an external spatially expansive consciousness, where are the possibilities to form relationships to others?” For him, XIRA is “a moment in the complex memory register, shared by two people, brought back to reexamine the corporeality of their first meeting, a documentation of an uncommon intimacy, the identity of a human being who has not been gendered by society”. His 2012 physical performance, ANIMALINSIDE, explores “body language painting called forth by the apocalyptic battle with memory thoughts ideas and imaginations on human kind on power on God on senses on beauty on dreaming on love wolves and other animal forms inside us the howling in bodies in the space of cruel time. Physical images from fine arts and a textual world of the unspeakable emotional states of mind languages and bodies pushed over the borders of their own comprehension the game of arresting the audience's nervous system.”
Last year Jaro received The Bessies 2013, The New York Dance and Performance Awards in category Outstanding Performance in Pavel Zustiak Palissimo’s Bastard at La MaMa Moves! Dance Festival. "A coiled bolt of energy capable of captivating stillness and explosive physicality, he made every moment harrowing, sharp and urgent."
With the support of the Culture Programme of the European Union