New Theatre, Nitra, Slovakia

The Other Death of Joan of Arc

Fri / 1 / 10 / 21
6:30 PM – 8:00 PM
TICKETS HERE
Zobor Monastery

ACCOMPANYING PROGRAMME

no intermission

We recommend bus Nr. 9 (departing at 5.36 PM from Fraňa Mojtu bus stop, arriving at 5:51 PM to Nemocnica Zobor bus stop).  

 

New Theatre, Nitra, SLOVAKIA

The Other Death of Joan of Arc

directed by: Martin Geišberg

A tragicomedy about God’s plan with his son Jesus, Joan of Arc and the executioner. Agáta Spišáková, Lucia Korená and Martin Nahálka rehearse the well-known story in the unique setting of the Zobor Monastery.
This production was co-selected by the Audience Programme Board of the BeSpectACTive! Project. 

author: Stefan Canev
dramaturgy: Veronika Gabčíková
stage and costume design: Elisabeth Wittgruber a Martin Geišberg
music and directed by: Martin Geišberg

cast: Lucia Korená, Agáta Spišáková, Martin Nahálka

Martin Geišberg (1978) graduated in dramaturgy from the Theatre Faculty, Academy of Performing Arts in Bratislava in 2003. He was briefly active in the Puppet Threat on the Crossroads in Banská Bystrica, where he dramaturged the popular production Kubo (2004) and made his directorial debut titled A Fairy Smaller than a Poppy Seed (2008). He has collaborated with various Slovak theatres as a theatre photographer, author of music, dramaturge, sound engineer, and technician. As an author of music and singer-songwriter, he has worked with numerous traditional and puppet theatres (e.g. Studio of Dance, where he composed music to Various Theories About the Earth in 2014). He performed at ITF Divadelná Nitra 2020 in a joint concert with his brother Marek and the music group Balkansambel.

“When the Executioner enters the prison cell, God hides among the audience. The actress discreetly takes off her glued-on beard, and the final part of the play sees God portrayed as a woman – wearing a dress, with long, fair hair, standing motionlessly, softly but resolutely addressing humanity. Here a turning point occurs in the play, having progressed in a more-or-less comical and tragicomical tone up to now. And here is the proverbial thin line between affectedness and un-affectedness, whose crossing is governed by several factors. For one thing, it is the general course and atmosphere of the specific performance, but it also the mood of the audience, and within it, the individual – the spectator’s attitude to musing on spirituality, fate, one’s role in the fight for good, and whether he or she is bothered by what God thinks about us, humankind.” (Lenka Dzadíková, monitoringdivadiel.sk, 9 Jun 2021)

“Joan wants to survive. Or rather, as we later find out – Janett wants to survive. A travelling actress who has a chance to avoid the death sentence by posing as Joan of Arc. The latter had actually died long ago. Janett thereby faces a difficult choice. Publicly repent in the name of Joan of Arc and survive, or cling to her faith and die a martyr’s death, giving birth to the legend, symbol, myth of the heroic Maid as we know it?” (Nora Ibsenová, mloki.sk, 1 Jul 2021)