VOJTA VEJDA hat
die besondere Fähigkeit, eine Handlung, Situation, Stimmung... ohne
Worte so darzustellen, wie dies vergleichsweise in Comics geschieht. In
seiner aktuellen Produktion ALBERT SE BOJI, Alberts Ängstlichkeit,
in Zusammenarbeit mit JAMES DONLON (US), porträtiert er den kleinen
Albert, der versucht, seine Ängste loszuwerden.
James Donlon, Vojta vejda
no language barrier
"I'm here, I'm behind you, I'm in your eyes, in your voice, in your heart. You can't see me, but I can see you." Can Albert manage to outstep his shadow? Can he do it alone? A fantastic imagination versus dwarfish courage. Fear comes to the theatre.
Vojta vejda again places a dramatic bet on pantomime and clowning, where he has found his own personal form of expression. He has recently succeeded in lifting these rather neglected acting techniques back up to the lofty heights of modern theatre. The project is stamped with an exceptional hallmark with the invitation of the renowned American clown, mime artiste, teacher and director James Donlon. This is the second time the two authors have worked together - a few years ago they collaborated on a performance entitled Truck Dog, which was shown in the CR and other Eastern European countries.
"We attempted to examine fear from many different angles. It is as if you were observing a thing through a crystal. You see a multiple image of a single object and each reflection looks a bit different. Fear is a broad term, and one could write a thick book or several plays about fear and this is why we have decided to focus only on certain aspects of fear. Our work resulted in a story of little Albert, who acquaints himself with his fear and tries to overcome it. In fact, it is a free sequel to Bliss (ed. note: vejda's 2002 scenic comic strip debut) - a character who struggles with himself rather than with his environment. He has a vivid imagination and drowns in doubt before taking any action. He is afraid even if nothing is happening" says vejda and continues with the comparison of American and European approach to pantomime: "I find the American pantomime more free and lively. Americans are not so bound by history; after all, pantomime has its origin mainly here, in Europe. They see it from a distant perspective and understand it in a different way. They are not afraid of introducing features from different genres such as stand-up comedy."
"Darkling space, prolonged bass and clarinet tones:
Albert is really afraid, he is afraid of going to bed and waking up, he
is afraid of passing a dark corridor; at home, at school or in hospital.
To find comfort for his timidity and indecisiveness, Albert reads books!
Cut! Valiant captain with a devoted parrot on his shoulder in an uneven
battle with a pirate horde. Captain wins not only the battle but also
the treasure. Cut! A reckless poker-faced cowboy who excels in shuffling
cards, highly respected. He is cool, even when mercilessly killing skunks
swarming all around. Bang! Bang! Cut! But Albert is still afraid