Iris Kristeková and Mark Kristián Hochman won the Divadelní noviny awards for the acts that were created last season, regardless of genre, for their acting performances. She won the prize for her role as Iris in the autobiographical production of the Tantehorse theatre about an actress who, despite transgenerational trauma and an extreme social situation, was able to follow her dream.
Hochman impressed the judges with the role of Vojcek in the production, which was staged by the Lachende Bestien troupe based on Georg Büchner’s play. Actresses Hana Mathauserová and Ivana Huspeková announced the laureates of eight categories this Thursday in the style of Jiří Voskovec and Jan Werich. It took place in the D21 Theater in Prague.
“This prize is an award for all those who did not give up the fight for themselves,” thanked Kristeková. Her colleague Hochman said he needed the award because he had never won anything. “Now I will be able to ask for a higher fee in the theaters,” he made the audience laugh.
According to the editor-in-chief of the organizing theatre newspaper Josef Herman, the awards were probably handed out for the last time. “The current editorial office ends in December, Jana Machalická is taking over my position, and so far she has pretended that she will not award the prizes,” he said in his final speech, which was accompanied by long-lasting applause from those present.
In the drama theatre category, director Dušan Pařízek received a winner’s certificate and diploma for his adaptation of Erich Maria Remarqua’s novel and the contemporary play by Ukrainian author Natalie Vorožbyt, which is presented by Prague’s Divadlo X10 under the title On the Western Front Quiet/Green Corridors.
Director Viktor Tauš came to the alternative theatre for the award thanks to the epic show Snowflakes, a “live trailer” for his film American Girl.
The musical theatre category was dominated by Slovak composer Ľubica Čekovská’s opera Here I am, Orlando presented by the National Theater in Brno.
In the dance and movement theatre category, the Dekkadancers troupe won with their performance Tram to the Desire Station based on the play of the same name by Tennessee Williams.
For puppet and art theatre, the organizers awarded the Red Balloon performance of the Liberec Naivní Theater, inspired by the French film of the same name by Albert Lamorisse. The book Svět na divadle úkazát, a whole… from the edition series Essays, criticism, analysis was announced as a publishing effort related to theatre. It brings a collection of studies and criticism by theatre scholar and critic Jana Patočková.
The jury for awarding the Theater Newspaper Awards consists of the editors of this fortnightly newspaper, members of the Society of Theater Newspapers and contributors selected by the editors. Experts can also be included in the jury, on which the editors agree with the majority.
This year, 65 people were approached. In the first correspondence round, 35 of them voted, in the second round, after the debate on the nominees, 19. Together with the Theater Criticism Awards, the Divadelní noviny Awards belong to the prestigious Czech theatre awards.
What impact do awards like the Divadelní noviny have on emerging theatre artists?
Interview Between Time.News Editor and Theatre Expert
Editor: Welcome, Mark! Congratulations on winning the Divadelní noviny award for your remarkable performance as Vojcek. How does it feel to be recognized in such a competitive environment?
Hochman: Thank you! Honestly, it feels incredible. Winning this award is validating, especially since I’ve never won anything before. It not only boosts my confidence but also gives me leverage to negotiate fees at theaters now! (chuckles)
Editor: It’s wonderful to hear that! Iris Kristeková also won for her moving portrayal in Tantehorse’s autobiographical production. Can you tell us what makes her performance stand out?
Hochman: Absolutely. Iris’s portrayal captures profound emotional layers that resonate deeply with the audience. Playing an actress facing transgenerational trauma while pursuing her dreams is no small feat, and she embodies that struggle beautifully. It’s inspiring to see someone bring such complexity to the stage.
Editor: Both of your performances were clearly appreciated by the judges, but I’m curious about the event itself. It was staged in a unique manner this year, reminiscent of the famous duo Voskovec and Werich. How did that atmosphere contribute to the awards night?
Hochman: The nostalgic touch added energy and charm to the ceremony. By invoking such legendary figures in Czech theatre, it reminded us of the rich history we are part of. The moment when Hana Mathauserová and Ivana Huspeková announced the winners felt almost magical—it connected the past with our present.
Editor: On a more somber note, the editorial office of Divadelní noviny is ending its run, and there are uncertainties about the future of these awards. How does that affect the theatre community?
Hochman: It’s a bittersweet moment. While it’s unfortunate that this may be the last time these awards are handed out, it’s vital for the community to recognize and celebrate its artists, especially now when we’re emerging from challenging times. Awards like these foster encouragement and motivation among performers. It’s a loss if they go away.
Editor: Iris mentioned that her win is for “all those who did not give up the fight for themselves.” What does that message mean to you, especially in the context of your role as Vojcek?
Hochman: That sentiment resonates deeply with me. Theatre often mirrors life’s struggles, and Vojcek in Büchner’s play is a character grappling with existential despair. To embody that fight for survival and recognition is paramount, both in the context of the character and as artists ourselves—the message of resilience is what theatre is all about.
Editor: It’s enlightening to listen to your insights, Mark. what would you hope to see in the future of Czech theatre following such pivotal moments?
Hochman: I hope to see a continued investment in diverse voices and innovative stories. Theatre is a reflection of society, and it’s essential for us to embrace narratives that challenge, entertain, and provoke thought. Whether it’s through awards, new productions, or the support of emerging artists—this is the lifeblood of our cultural landscape.
Editor: Thank you so much for sharing your thoughts, Mark! It’s always a pleasure to discuss the richness of theatre with someone so passionate. Best of luck with your future performances!
Hochman: Thank you! I appreciate the opportunity to share. Let’s keep the spirit of theatre alive!