Lysistrata

“A woman must restore to humanity the lost paradise, that precious pearl. But first she must know that this pearl lies at the bottom of her own heart, and that she must dive there to find it.”
— Božena Němcová

The Lysistrata Reloaded project is based on Aristophanes’ comedy from the fifth century BC, whose pacifist message has, unfortunately, become ever more relevant. The production uses its central theme — the women’s strike — in a renewed form and under the slogan No peace? No sex! It strives for a theatrical interpretation of questions that resonate in today’s world:
How can war be stopped?
Is war inherently masculine?
What can – and should – women do?

This multidisciplinary theatre piece is created by a collective of young artists who project into it their personal frustrations in the form of intimate testimonies, as well as experiences rooted in diverse cultural backgrounds and various dance or performance practices (from contemporary dance to vogue femme). This blend forms the basis for a highly vibrant interpretation that combines different languages, different movement vocabularies, and different personal attitudes toward war and peace.

The creators drew inspiration not only from Aristophanes’ comedy, but also from the writings of feminist anthropologist Riane Eisler, who defines two models of human coexistence throughout history:
the dominator model, familiar from our present – marked by pronounced hierarchy, male domination over women, accumulation of material wealth and power, and… WARS;
and the partnership model, in which society is organized non-hierarchically, relies on highly developed communication, no one rules over another based on gender, and it nurtures PEACE. It is toward this model of human community that the production calls.

The title role of Lysistrata is played by Anežka Rusevová, who, in addition to her dramatic acting, also reveals her physical talent. Few people know that Anežka Rusevová is a former outstanding modern gymnast, and in the production she beautifully combines her comedic skill, strong tragic undertones, and remarkable physical abilities.

A striking element of the production is its scenography, built around the wreck of a car, representing patriarchy as a decaying system of dominance and power that must be transformed. The wreck functions as a symbol of toxic desire to control nature, feminine energy, and the energy of life itself.

Equally essential to the overall impact of the production are the costumes, which transform dynamically throughout the performance. They begin as a citation of antiquity, enriched with the motif of pure white fencing vests, continue through revolutionary erotic red, and end in absolute simplicity – an accentuation of “undressing” everything that restricts us. Most costume and scenographic elements are upcycled.
The scenography and costumes are designed by Emma Fiala.