A Woman’s Unyielding Life: Hana on Stage in Vinohrady
Theater Review: ‘Hana’ at Prague’s theater Na Vinohrady
Table of Contents
- Theater Review: ‘Hana’ at Prague’s theater Na Vinohrady
- Hana at Prague’s theater Na Vinohrady: A Review & Q&A
- Q&A: Unpacking the ‘Hana’ Production
- Q: What is “Hana” about, and why is it considered a compelling story for the stage?
- Q: What makes the Theater Na Vinohrady production of “Hana” unique compared to previous adaptations?
- Q: How effective is the acting in this production?
- Q: what elements of the Vinohrady production, if any, could be improved?
- Q: Could you elaborate on the stage design and its impact?
- Q: is the Theater Na Vinohrady production of “Hana” worth seeing?
- Production Details
- Q&A: Unpacking the ‘Hana’ Production
PRAGUE (April 17, 2025) – Alena Mornštajnová’s bestselling novel, “Hana,” has taken the stage at Prague’s Theater Na Vinohrady in a new adaptation directed by Petr svojtka.this marks the third stage iteration of the acclaimed work, following numerous translations, an audio version, and with a film adaptation currently in progress. The production hinges on the strength of its ensemble, with Andrea Elsnerová leading the cast in the titular role.
A Story of Trauma and Remembrance
“Hana” centers on a woman living in isolation, seemingly detached from time. A typhus epidemic in the Wallachian region during the 1950s, based on historical events, forces her back to reality. The death of her sister and brother-in-law from the disease compels Hana to care for their orphaned niece,Mira. This sudden duty unlocks suppressed memories tied to World War II and the holocaust, exploring themes of guilt and retribution.
The narrative unfolds across multiple timelines, gradually revealing the past to contextualize the present and shape the future. It blends intimate family history with the broader sweep of historical events, a quality that makes it compelling for theatrical adaptation.
Previous Adaptations: Brno and Hradec Králové
Two years after the novel’s publication, the Brno National Theater presented the first stage version, adapted and directed by Martin Glaser. That production favored an archetypal setting, employing minimal scenographic elements. A central structure symbolized the interconnectedness of lives within a shared dwelling, while refined lighting highlighted specific narratives, leaving others in shadow. The emotional tone aimed for a detached exaltation, portraying suffering with a degree of formality. Scenes from the concentration camp were presented abstractly,avoiding literal depictions.
In contrast, Diana Šoltýsová’s 2021 production at the Klicpera Theater Beseda in Hradec Králové relied heavily on external visual elements.The camp sequences were replete with familiar imagery: striped uniforms, clanging metal buckets, and piles of shoes. The adaptation featured nine actresses, some portraying male characters through symbolic gestures, and incorporated choral songs in Yiddish. Lucie Andělová and Anna Kratochvílová, as Hana and Mira respectively, were exceptions to the production’s otherwise schematic approach.
Vinohrady’s Approach: clarity and Acting Excellence
The Theater Na Vinohrady production emphasizes a clear narrative, grounding the story in time and place while showcasing strong acting performances. Jiří Janků’s dramatization closely follows the source material, sometimes to the point of over-clarification. Certain motifs, such as poisoned wreaths and ancestral voices, might have been more effective if introduced later, allowing the past to unfold more gradually. Conversely,Hana’s traumatic memories could have been more vividly visualized. The dialog occasionally veers into exposition, with Mira’s observations feeling didactic. Though, the adaptation provides a solid foundation for the actors to explore the nuances of their characters.
Michal Syrový’s stage design also reflects a desire for clarity. The set features multiple levels, including three walls and versatile cabinets that transform into various settings, such as a prison or mortuary-like chambers. however, neon signs reading “Transport” and “Arbeit Macht Frei,” along with symbols like the swastika and sickle and hammer, feel heavy-handed.
The inclusion of a Stalin bust and a Masaryk statue, the latter representing the Protectorate, also appears excessive. A youth agitator in the introduction seems out of place. The production could have relied more on film posters and carefully chosen costumes to convey the shifting time periods. Vladimír nejedlý’s music, rather than creating atmosphere, often underscores what is already evident.
acting Triumphs
The strength of “Hana” at the Vinohrady Theater lies in its acting. The performers convincingly portray characters across different ages and identities. Andrea Elsnerová embodies Hana’s transformation from a rigid, withdrawn old woman to a vibrant young girl and back again.Tereza Emperor,as mira,undergoes a similar metamorphosis in reverse,evolving from a grieving teenager into a confident adult.
The ensemble’s dedication, combined with skillful direction, compensates for some of the production’s more descriptive elements, demonstrating the enduring value of solid craftsmanship.
Hana at Prague’s theater Na Vinohrady: A Review & Q&A
Prague’s Theater Na Vinohrady is currently staging a new adaptation of Alena Mornštajnová’s acclaimed novel, “Hana.” This production,directed by Petr Svojtka,offers a fresh outlook on a story that has already captivated audiences in various forms. Below, we delve into the production, exploring its strengths, weaknesses, and the themes it brings to life.
Q&A: Unpacking the ‘Hana’ Production
Q: What is “Hana” about, and why is it considered a compelling story for the stage?
At its core, “Hana” is a deeply moving, and sometimes harrowing, exploration of trauma, memory, and the enduring effects of the past. Centered on a woman living in isolation, seemingly detached from reality, the story is jolted back to life by the impact of a typhus epidemic in the Wallachian region of the 1950s. This historical event forces her to confront the death of her sister and brother-in-law, thrusting her into the role of guardian for their orphaned niece, Mira. This sudden responsibility then unlocks suppressed memories linked to World War II and the Holocaust.
The narrative’s strength lies in its ability to blend intimate family history with the broader scope of historical events. It unfolds across multiple timelines, gradually revealing the past to contextualize the present.This carefully constructed layering makes it a powerful and compelling subject for theatrical adaptation, allowing for a rich exploration of themes such as guilt, retribution, and the resilience of the human spirit.
Q: What makes the Theater Na Vinohrady production of “Hana” unique compared to previous adaptations?
the Vinohrady Theater’s production strives for a clear narrative, prioritizing acting excellence and grounding the story in a specific time and place. While previous adaptations, such as those by the Brno national Theater and the Klicpera Theater Beseda in Hradec Králové, took different approaches, this version, directed by Petr svojtka, offers a more traditional, narrative-driven approach.
Q: How effective is the acting in this production?
The acting is undoubtedly the cornerstone of this production’s success. The performers deliver convincing portrayals of characters across different ages and identities. In particular, andrea Elsnerová, who embodies Hana’s transformation from a withdrawn older woman to a vibrant young girl and back again, delivers a particularly compelling performance. Tereza Emperor, as Mira, also showcases the nuanced evolution of her character.
Q: what elements of the Vinohrady production, if any, could be improved?
While the acting shines, the production’s dramatization, penned by Jiří Janků, closely follows the source material, sometimes to the point of over-clarification. Certain symbolic motifs might have been more effective if introduced later, allowing the past to unfold more deliberately. Conversely, the visualization of hana’s traumatic memories could be more vivid. the set design, despite striving for clarity, incorporates elements like neon signs and historical symbols that, at times, feel a bit heavy-handed, potentially distracting from the narrative’s emotional core. For instance, some reviewers felt the inclusion of a Stalin bust and a Masaryk statue were unnecessary.
Q: Could you elaborate on the stage design and its impact?
Michal Syrový’s stage design aims for clarity, featuring multiple levels and versatile cabinets that transform into various settings. However, the use of neon signs displaying phrases such as “Transport” and “Arbeit Macht Frei,” alongside symbols like the swastika and the hammer and sickle, is quite noticeable. in an attempt to immediately inform the audience of the various time periods, some may argue that the set design detracts from the performance and that the stage design could have relied on film posters and carefully chosen costumes to convey the changing time periods.
Q: is the Theater Na Vinohrady production of “Hana” worth seeing?
Yes! Despite some minor shortcomings in terms of stage design and narrative pacing, the “Hana” production at Theater Na Vinohrady offers a powerful and moving theatrical experience. The extraordinary acting, particularly by Andrea Elsnerová and Tereza Emperor, provides a strong foundation for the story, drawing the audience in and emphasizing the enduring value of solid craftsmanship and strong storytelling.