(*24. 4. 1981)
Contact with the Drama Studio in Ústí nad Labem inspired her to her own work in the theatre. She wrote her first play when she was 19. Her personal life is reflected in her work up to now. After three years abroad (Japan and Canada) she returned to the Czech Republic. She is editor in Prague of the magazine Cosmopolitan and regularly works with the Organisation for Assistance to Refugees. In 2003 she attended the Australian festival of young dramatists, World Interplay. Her play, The Moment Before I Opened the Drawer and Took Out a Knife (rewritten at World Interplay as Opening the Drawer and Pulling out the Knife) won 3rd prize in the Alfréd Radok Awards for 2002.
List of plays:
Hra na někoho jiného, 1999
Znicit sebe sama, 2000, première 22. 5. 2001 Les scénických ctení, Universal NoD - Roxy, Prague (staged reading)
Noční tance, 2001
Chvíli před tím, než jsem otevřela zásuvku a vyndala nůž, 2002, première 12. 12. 2003 Divadlo Na prádle, Prague (staged reading)
Otvírám zásuvku a vyndávám nůž, 2003, première 7. 5. 2004 Joe Papp Public Theater, New York (staged reading, new version of the play Chvíli před tím, než jsem otevřela zásuvku a vyndala nůž)
As usual, 2003, in English
Translated plays:
OTEVÍRÁM ZÁSUVKU A VYNDAVÁM NŮŽ / OPENING THE DRAWER AND PULLING OUT THE KNIFE
1 woman, 1 man
This play, inspired by a text by Sarah Cane, is divided into two parts. In the first part, stylised poetically and linguistically for puppets, a puppet-woman appears in an inner monologue related to the sleeping puppet-man also onstage. In this part of the play the puppet-woman herself speaks most of the man's lines, which are supposed to evoke important moments of their relationship. The puppet-woman plays them over, parodies them, treats them with irony. The first part takes place in the early morning, after a night spent together. Separate motifs are associatively layered and piled up. In the second naturalistically conceived part, the man meets the woman in the evening. The characters play essentially the same situation on which the puppet-woman reflected. Through being dismembered into the lines of the characters, the texts of the inner monologue gain rapaciousness and rawness. The second part could be understood as the evening before the night spent together. Two barren lovers meet, tossing between love and hate, tenderness and brutality, mutual exhaustion and the need to be with each other, in a vicious circle of longing and its discharge. By inverting the time, the two parts of the play illuminate each other and at the same time throw light on the one-sided interpretation of the relationship between a man and a woman.