Dream of Ostrava (2. strana)

STYLE Radúz, what are your memories of your early years and the conservatory in Ostrava? I remember I was very busy even as a little boy. In Rožnov, where I come from, I played ice-hockey, tennis, and attended drama classes at the local Elementary Arts School. It was a real challenge to coordinate these hobbies and my mom was my exclusive “taxi driver”, taking me from one program to another. However, I do not believe that anybody expected that one of the hobbies would become my professional career. When I was 15, I had the idea to apply to the conservatory in Ostrava. Only then did I realize all the efforts which the job demands, and what a journey I had chosen. My parents were not willing to let me go to Ostrava: I spent a lot of time persuading them and justifying my dream. My mom was particularly unhappy and cried. I was 15, looking after myself on my own, growing up very quickly as a stranger in a big city. But those were absolutely an amazing four years; I wouldn’t change anything about them. The conservatory brought me many great friends (my present colleagues), opportunities to get close to professional actors and theatres in Ostrava and Český Těšín, and last but not least, that was also where I met my wife. Theatres of Ostrava have many talents and enjoy a great reputation all over the Czech Republic. Why did you not start working with a theatre in Ostrava? Sincerely, I did not feel ready. I did not consider myself mature enough. My dream was to continue my education from conservatory to DAMU (the Academy of Performing Arts) in Prague, to go on learning, and as my girlfriend started working with the Ballet of the National Theatre in Prague, that is where I obviously wanted to go as well. I went through all three application rounds reducing the applicants from 300 to 20, but did not qualify. My world crumbled to pieces then. If it had not been for my father, I would not have applied at JAMU. I was absolutely not interested in going to Brno, but funnily enough it was JAMU that opened the door to the National Theatre in Prague for me. Zoja Mikotová, a professor at JAMU, was looking for a new Kai to play with Pavla Beretová, Iva Janžurová and Vladimír Javorský in the fairy tale of the Snow Queen which she was directing at Stavovské divadlo (the Estates Theatre). She had known me from various demos and projects at school, so she addressed me. That is how I got my first job in Prague, followed by two more guest roles and an engagement in the National Theatre. I have heard that JAMU was a great challenge as your director was a very strict Russian. Yes, that is right. While in Ostrava I could play guest roles in any theatre and play almost every day, in Brno I spent all my time at school: Oxana Smilková, the head of our studio, demanded permanent concentration, strict discipline, many tasks and various kinds of emotional training. I was at school every day, Saturdays included, from ten to ten o’clock. The night janitor would typically push us away from the school when he went on his evening patrol, locking the school. It was a truly intense physical and mental challenge, but I think that now I will endure anything. Having graduated from JAMU, you were offered a job in Prague. Was the National Theatre an obvious choice? It was not all that simple. I had some guest roles in the National Theatre but I absolutely did not expect a full engagement. In the mid-fourth year of school I was really concerned about my future. Then, within a week I was offered engagement Husa na Provázku and Hadivadlo theatres in Brno. And the week after two more offers came from Prague, the theatre in Vinohrady and the National Theatre. And you cannot turn down an offer from the National Theatre, can you? I did not get as many opportunities as I had wished, yet it was a great professional training with actors whom I had always admired. A lot has changed with a new Artistic Director of the National Theatre: the company has grown younger, and I have been through a few big jobs already. I consider last year being the greatest success in my career. It brought fine opportunities to enjoy acting and grow. For the first time I have been the leading actor, and during the play Netrpělivost srdce (literally The Heart‘s Impatience, known as Beware of Pity) I spend two hours on stage. I love this performance. I am so happy for positive reviews, and want to invite everyone to come and see us. As my second premiere last year, I rehearsed Erben’s Kytice (Bouquet) with the directorial duo Skůtr (Martin Kukučka and Lukáš Trpišovský) as the bridegroom in the ballad Wedding Shirt. This performance is an immense success, people queue up for the tickets, it is incredible. Thinking about it, I am very happy that I chose my career with the National Theatre even when I had absolutely no guarantee that I would play these significant characters. I have already worked with the best Czech directors, J. A. Pitínský, Michal Dočekal, Jan Nebeský, Daniel Špinar, Jan Frič, Lucie Bělohradská, Jan Mikulášek, Duo Skůtr, Juraj Herz, Martin Čičvák, Vladimír Morávek and Štěpán Pácl. My international jobs include the project 1914 with American director Bob Wilson. This programme took me to various theatres of Europe and to meet Soňa Červená at work, a lady whose professionalism and dedication I sincerely admire. Do you often come to Ostrava, Wallachia and see your family? Unfortunately, a lot less often than I would like to. I come more often on business than to see my family and friends. I played Claudius in Much Ado About Nothing at the Shakespeare Festival in Ostrava. I also play in the comedy Bosé nohy v parku (Barefoot in Park), a travelling performance with Veronika Freimanová, Rudolf Hrušínský and Anička Kameníková/Linhartová. A few weeks ago we went to Orlová, Frýdek – Místek, Frýdlant and Ostrava. The audiences in this region are amazing and they respond so very well. Your voice is recorded on a new album by Radůza. That’s a fine combination of two unusual names. My theatre colleagues, Radůza, and myself recorded the narration and songs of the fairy tale “Coalman, Prince, and Dragon” where I am the Prince Kryšpín. Nature punishes a king who did not appreciate and wasted nature’s gifts. The moral of the tale is that humans must improve their behaviour and relations to their environment and protect it. I sincerely enjoyed this collaboration, and to tell you the truth, at age 32 I finally played my first prince. Thank you for the interview. -editorialText: redakce Foto: Kytice (Pavel Hejný) Netrpělivost srdce (Martin Špelda) POSITIV 4/2019 ǀ 65