{"id":3855,"date":"2025-12-05T21:25:51","date_gmt":"2025-12-05T20:25:51","guid":{"rendered":"https:\/\/www.talentdrama.cz\/?page_id=3855"},"modified":"2026-06-14T22:02:53","modified_gmt":"2026-06-14T20:02:53","slug":"zazraky-patecnich-veceru-tema-dialogicke-jednani-2-cast","status":"publish","type":"page","link":"https:\/\/www.talentdrama.cz\/en\/zazraky-patecnich-veceru-tema-dialogicke-jednani-2-cast\/","title":{"rendered":"Miracles of Friday Evenings: TOPIC \u2013 DIALOGICAL ACTING \/ PART 2"},"content":{"rendered":"

We continue the conversation between Hana Sr\u0161\u0148ov\u00e1 and Erika Merjav\u00e1 at a shared table. In the September issue, we spoke about Dialogical Acting, the role of empty space within it, the receptive public, and the inner partner.\n\nIn this issue, we bring you the continuation of the interview, exploring what real impact Dialogical Acting has on a person\u2014and what voice and word actually mean.<\/strong><\/p>\n\n\n\n

VOICE AND WORD POINT TOWARDS US AND LEAD US FURTHER<\/strong><\/p>\n\n\n\n

What role does the voice play in Dialogical Acting?<\/strong><\/p>\n\n\n\n

Dialogical Acting is not just a discipline or an exercise, but a mirror of the human being. It points us back to ourselves. That is what makes it so fascinating.\n\nAs for the voice, it maintains tension. It connects the whole body and extends beyond it. It shows us not only who we are, but also points to further possibilities of who we might become.\n\nWith a weak voice and whispering, we cannot sustain tension or attention. Our energy drops, we stop hearing ourselves, and we lose interest. Because we no longer receive feedback\u2014we cannot hear ourselves. It is as if someone were speaking to us too quietly; we lose engagement.\n\nWhen we are too quiet, we cannot even engage with ourselves, because we do not hear ourselves and therefore learn nothing from ourselves. We must be able to hear ourselves in order to respond.\n\nIn Dialogical Acting, we discover things from ourselves, because the \u201cother\u201d is still only ourselves. <\/p>\n\n\n\n

What if the voice is, on the contrary, too strong?<\/strong><\/p>\n\n\n\n

Too strong a voice also lacks feedback. When a person is shouting, they cannot hear the other. Shouting becomes a monologue. People argue, raise their voices, and stop listening to one another.\n\nIt is the same in Dialogical Acting. When someone overwhelms the space with their voice\u2014overpowers even themselves\u2014they lose contact.\n\nThe voice also needs to be tuned: in space, with oneself, and with the partner. It is a way of learning how to communicate with both oneself and others.<\/p>\n\n\n\n

Why is it good to write reflections after Dialogical Acting? <\/strong><\/p>\n\n\n\n

A person becomes aware of things through writing. And when they return to them later, they can see their own development and shift.<\/p>\n\n\n\n

So the word is important too?<\/strong><\/p>\n\n\n\n

Vysko\u010dil said that if something is not named, it is as if it \u201cdoes not exist.\u201d It remains unconscious, unrecognized. The word is a form that makes a thought concrete.. <\/strong>Word gives shape to a thought, places it into form, and allows it to be further developed. It is a step toward understanding and toward creating feedback. When you speak something, you become aware of it.\n\nYou can refer back to the word, define it, continue from it, and develop it further. You create a relationship with it. It is similar to writing: as long as a story remains in the mind, it has no form. Only through words does it become concrete and turn into a story\u2014something communicable.\n\nYou can read it, see images behind it, touch its destinies, and continue to develop it further.<\/p>\n\n\n\n

Can the word sometimes also become an obstacle? When a person speaks too much and no longer perceives the word?<\/strong><\/p>\n\n\n\n

Yes.\n\nPeople often speak in order to cover up fear or emptiness. Children, during improvisation, love words\u2014they speak without stopping, because words are an easy place to hide. But very often those words lack content, situation, and action. They lack the spirit that fills the word with meaning. <\/strong>Form without content is empty. Spirit is what gives text or action life. When content is missing, it is just words\u2014sound without meaning.\n\nTo fill form with content, a person must open space for the word: silence, stopping, listening. Time for filling and for feedback.<\/p>\n\n\n\n

DIALOGICAL ACTING AND AUTHENTICITY<\/strong><\/p>\n\n\n\n

How do you view experimental dialogical acting? When there are more people in the space?<\/strong><\/p>\n\n\n\n

That is a question. Doc. Standa Suda is doing experiments with dialogical acting in pairs. That is already more difficult, because I have both an inner partner and I also have to perceive the outer partner. To stay in contact with myself and my inner partner, and at the same time to perceive the outer partner and what emerges between us.\n\nThat is already a kind of overlap into life, where we are not only with ourselves, but also with others. How to remain authentic, faithful to oneself, and in contact with others.<\/p>\n\n\n\n

When we are on \u2018stage\u2019 with someone else, does our communication with the inner partner get lost?<\/strong><\/p>\n\n\n\n

Our inner partner is usually kept hidden. It lives in our internal dialogue, in inner comments such as \u2018I ruined it,\u2019 \u2018I\u2019m afraid,\u2019 \u2018I\u2019m ridiculous,\u2019 \u2018I\u2019ll show them.\u2019 On stage, or during public presentations, we do not make this inner voice visible. It remains in our inner silent voices.\n\nIt is interesting to observe politicians, for example, when they speak on camera and when they are off it. They seem like different people. With a mask and without one.\n\nIn dialogical acting, these inner voices are made visible and conscious. The inner and outer voices communicate with each other, and the person becomes authentic. The masks fall away. In this way, we learn from ourselves by making our inner voices present, or at least becoming aware of them. And not only do we learn through them, but they also guide us further through play.\n\nThese inner voices, comments, and doubts can become part of the play. A personal dramaturgy emerges, an authentic life. I play my own life role in a broader context.\n\nIn this way, I become an authentic being\u2014who I am. I hear myself, I hear others. And through play, I can further develop things.<\/p>\n\n\n\n

So if someone gets startled or forgets something, should they take it into the play?<\/strong><\/p>\n\n\n\n

Exactly. Either they take it into the play, or they get startled, close themselves off, and the flow of the play is interrupted. <\/strong>In theatre based on a precisely rehearsed text, of course this would not be possible. An actor cannot say to the audience: \u2018I messed it up, let\u2019s start again.\u2019 But in authorial performance, even this possibility can exist.\n\nEven in actors performing scripted texts, an inner dialogue is always present, it is just not made public. That is why dialogical acting is so unique in the study of dramaturgy and theatre, and why it is studied by students at DAMU.\n\nDialogical acting allows us, through awareness, to discover new things about ourselves. In the dramatic process, we can take them into the play, and in authorial performance that allows it, we can also work with them in front of the audience\u2014use them as material. <\/strong>When a person makes their inner partner visible, lightness, humor, and freedom emerge. We become closer to the audience, because we all share it\u2014doubts, failures, mistakes, the effort to be better.\n\nAnd when this is made visible without the fear of failure, humor arises. Tension is released inside the person, and also between the actor and the audience. It is therapeutic.\n\nWe are all a bit like clowns. And we discover that in our weaknesses, we are not alone.<\/p>\n\n\n\n

Do you think dialogical acting should be taught in schools? And if so \u2014 who could teach it?<\/strong><\/p>\n\n\n\n

What do you think?<\/p>\n\n\n\n

I think yes. It would be extremely necessary in the school environment. School is often focused on performance, on results, on grades. Children are constantly trying to \u2018succeed,\u2019 but they rarely have space just to be themselves.\n\nIf they had a lesson where they could pause, breathe, and perceive who they are. Where they are accepted as they are. It would help them a lot. I think they would then perceive school differently.\n\nBut the problem is that there is no one to teach it. Very few people know about it, and very few have personal experience with it.<\/strong><\/p>\n\n\n\n

Psychosomatics is missing in schools. Both teachers and pupils are often disconnected. In the current mainstream education system, body and soul are not integrated.\n\nAs a result, pupils often learn only because an authority demands it, for grades, to be evaluated, to achieve results. But what is most important is missing: free will, personal responsibility, and creativity.<\/p>\n\n\n\n

Moreover, disconnection from the body feels like the worst part to me. Children at school are sitting all the time. When they want to stretch, it is seen as disruption. It is more convenient for teachers, but it takes away the children\u2019s natural movement.\n\nThe body becomes passive, and as a result the psyche suffers as well.<\/strong><\/p>\n\n\n\n

From this, children can experience feelings of frustration, helplessness, and apathy. They get the sense that they don\u2019t matter, that everything is controlled by someone else\u2014authority, the system, money.\n\nAnd then they start reaching for \u2018shiny things,\u2019 things that promise happiness but don\u2019t deliver it. Because they lose themselves; they lose contact with themselves and their inner world. <\/strong>And yet it is precisely contact with oneself, with the body and perception, that is a basic condition of freedom. But without freedom, we cannot be creative, authentic, alive, or responsible\u2014because we do not know who we are.<\/p>\n\n\n\n

Do you think there is a chance that this could ever change? That dialogical acting could make its way into schools?<\/strong><\/p>\n\n\n\n

Hard to say. But I believe that any idea that enters the world once does not disappear. <\/strong>Mo\u017en\u00e1 je\u0161t\u011b nenastal \u010das, je to jen n\u011bjak\u00e9 zrnko mo\u017enosti, nov\u00e9 cesty. Ale i jedno zrnko \u2014 jeden u\u010ditel, kter\u00fd za\u010dne jinak p\u0159em\u00fd\u0161let \u2014 m\u016f\u017ee n\u011bco zm\u011bnit.<\/p>\n\n\n\n

That is a beautiful idea. I think the strength of dialogical acting lies exactly in that. It is not about the result, but about presence and relationship.<\/strong><\/p>\n\n\n\n

Yes. It is not about performance, but about being. And that is perhaps what we need to hear. <\/p>\n\n\n\n

Asked by Hana Sr\u0161\u0148ov\u00e1, answered by Erika Merjav\u00e1.<\/p>\n\n\n\n

To be continued in the next issue<\/p>","protected":false},"excerpt":{"rendered":"

Pokra\u010dujeme ve spole\u010dn\u00e9m pov\u00edd\u00e1n\u00ed Hany Sr\u0161\u0148ov\u00e9 a Eriky Merjav\u00e9 u spole\u010dn\u00e9ho stolu. V z\u00e1\u0159ijov\u00e9m \u010d\u00edsle jsme se bavili o Dialogick\u00e9m jedn\u00e1n\u00ed, jakou roli v n\u011bm hraje pr\u00e1zdn\u00fd prostor, vst\u0159\u00edcn\u00e1 ve\u0159ejnost a vnit\u0159n\u00ed partner. V tomto \u010d\u00edsle v\u00e1m p\u0159in\u00e1\u0161\u00edme pokra\u010dov\u00e1n\u00ed rozhovoru, jak\u00fd m\u00e1 Dialogick\u00e9 jedn\u00e1n\u00ed re\u00e1ln\u00fd dopad na \u010dlov\u011bka. A co znamen\u00e1 hlas a slovo. HLAS A SLOVO ODKAZUJE … Read more<\/a><\/p>","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"episode_type":"","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","footnotes":""},"class_list":["post-3855","page","type-page","status-publish"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t