Unique and Raw Prague Quadrennial

The disruptive changes and unrelenting challenges that the current era of human society brings have provided significant impetus for contemplating human vulnerability and our relationship with both our immediate and distant environment. This year, the Prague Quadrennial offers a platform to express visions of the future, centered around the theme of uniqueness and emphasizing immersive and tangible experiences of stage design.

And who better to represent the artistic direction of the festival than its art director? Markéta Fantová, a stage and lighting designer, has not only created numerous stage designs for theatres and galleries but also served as Vice President of International Activities for the United States Institute for Theatre Technology, USITT. Her designs were featured in the U.S. National Exposition at the Prague Quadrennial in 2007, and she subsequently curated the exposition as well. Since 2016, she has held the position of Artistic Director for the Prague Quadrennial.

Can you please introduce PQ? What is the theme and initial idea of this year’s show?

The Prague Quadrennial (PQ) is a multi-genre live festival that is designed to cater to both professionals and the general public. The main idea of this edition is to capture the essence of the times we live in and to explore emerging trends and movements. The theme we have chosen is expressed through the word RARE, which encompasses two fundamental meanings: unique and raw. This theme not only reflects the ongoing search for new ways for theatre to survive amidst the pandemic but also acknowledges the transformative effects of events such as the pandemic itself, the Russian invasion, and the climate crisis.

The theme of this year’s PQ, if I’m not mistaken, was specified three years ago. Have your perceptions of the situation changed since then? Are you facing a reassessment of some of the underlying assumptions? And if so, how does this reflection manifest this in your program and actions?

It is indeed a challenge to come up with a theme for a major international festival several years in advance. The main theme of PQ must be universal enough to resonate with creators from various countries and regions. We aim to showcase the liveliness, diversity, and immersive nature of stage design. The initial inspiration that guided us at the beginning of the planning process is still relevant. Personally, I’m curious to see what new developments this complex time will bring. However, it is difficult to make definitive evaluations today. We haven’t had to reassess the theme yet, as it serves as a catalyst for the creative teams, and the festival itself becomes a reflection of their reactions. The insights and observations we gather through the festival will be further analyzed by theorists and educators from many countries in their articles. These analyses and reflections are crucial for future work and for the planning of the next edition of PQ.

Can you describe the process of selecting art projects for the festival and collaborating with its curators?

The process of selecting art projects for the festival begins by establishing the main theme and the team. We consider the projects that will surround the main competition shows, taking into account not only the theme itself but also the chosen main venue and the grant strategy. The curatorial team is then selected to ensure that each project has its own curator. Each curator develops the basic idea of their project and creates an open call.

The open calls are designed to reach as many potential participants as possible. Given the uncertain circumstances caused by the pandemic, we were unsure of the outcome when the calls were sent out. However, we received more interest than expected. The curators had the challenging task of selecting the participants based on the available space and finances. The entire curatorial team reviewed the proposals and worked closely together to finalize the program.

Only the projects that successfully passed the open call are accepted into the curated projects program. This process may sound straightforward, but it becomes complicated, especially during the pandemic when the curatorial team was unable to meet in person. Once the projects are selected, there is an extensive and intricate process of working with each participating artist to address artistic, technical, spatial, and other production details, which can sometimes take several months.

With over 300 projects in total and an initial team of four people handling the details, the preparations for this edition required more time and effort than anticipated, given the uncertainties caused by the pandemic and its aftermath.

What criteria were key for you in the selection of the representatives of the Czech stage design scene in the Exhibition of Countries and Regions and the Student Exhibition?

Our team is not directly involved in the selection of the Czech national team for these exhibitions. Instead, we aim to communicate the theme and vision of the new year to the committee responsible for the selection process. We emphasize the importance of reflecting or responding to the overarching theme of the Prague Quadrennial in the selected exhibition. We also provide the committee with essential technical parameters and information about the exhibition space and assist with the open call process. The final decisions regarding the representatives of the Czech stage design scene are made by the committee, which is appointed by the Ministry of Culture of the Czech Republic. This approach ensures our impartiality and enables us to treat the representation of all countries and regions fairly and equitably.

How do you assess the significance and influence of the Prague Quadrennial 2023 on the contemporary art scene in Prague and the Czech Republic? What does it mean on a global scale?

The Prague Quadrennial has a significant presence and reputation in the global theatre community. It is widely recognized and followed by theatre professionals worldwide. I have witnessed how the Prague Quadrennial can contribute to the career growth of participants and exhibition curators. The interest and participation from numerous countries around the world have been crucial for the continued existence of PQ. As a team, we are immensely grateful for this support and strive to maintain the interest of professionals from abroad. In terms of the Czech theatre scene, the response has been more lukewarm, despite our efforts. However, excluding students from art schools who actively participate in the creation of the yearbook, the engagement of Czech theatre artists has been limited. In the past, Czech artists were directly approached, but the current approach focuses on teamwork, interdisciplinarity, and ensuring equal conditions for all participants, regardless of their country or region of origin. Transparency in our practices is also a priority for us.

What is the goal of your curatorial team in the preparation and presentation of the Prague Quadrennial 2023?

The primary goal was to create a captivating and engaging environment that fosters lively interactions and provides a diverse range of themes and inspirations. We aimed to reflect the peculiarities of these transformative times and capture the emerging directions and trends that have been instrumental in driving these changes.

I understand that it may be difficult to answer to the following question but can you pick out the highlights of the festival that are interesting to you personally?

Personally, I’m particularly excited about the Student Exhibition as it will be held outdoors for the first time in the history of PQ. This brings a fresh perspective for both us and the student teams, and it will hopefully bring forth innovative ideas and new perspectives. Additionally, the outdoor setting makes the exhibition accessible to a wider audience, which aligns with our goal of making stage design and theater more inclusive for those who may not typically attend traditional theater venues.