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The festival is also taking an inventory of itself: the festival’s dramaturgical team has recently grown and for the upcoming year has chosen the subtitle – The Inkling Theatre Festival. We see Inkling – something which subtly conveys an intuitive sense or rather positive suspicion – as a certain “translation” of novelty, as a certain updating of the main concept: new theatre is Inkling theatre for us at the moment. The motif of Inkling began to appear with striking frequency in the joint discussions of the dramaturgical team, and at the same time it emerged as a key feature of the productions that entered the open call. It is therefore impossible to determine exactly who chose whom: whether the festival chose the motive of Inkling, or whether the motive of inkling inevitably asked for its own visibility at the upcoming edition.

We understand Inkling as the capturing of the first vibration of motion before the action is triggered. It’s as an attentiveness and willingness to notice even the less obvious clues, as the courage to admit one’s own biases and be able to change one’s attitude, as the ability to switch perspectives, to tune in and keep one’s eyes peeled.

What and how can contemporary theatre be Inkling? We are exploring waters that are not quite transparent. Every now and then, something glimmers in them. Smudges that flicker in the field of vision, sounds that whistle from nowhere. We suspect that hope and mutual support has begun to flow across contemporary Czech theatre. We suspect that it is still necessary to dream of the future, that ghosts are also cheerful and that meeting in the theatre is much more than just receiving a coded message from the stage. Inkling is a quality that brings us closer to the moment of discovery, Inkling is a compass, Inkling has a power that draws and does not let go.

Change of the program reserved.