Spitfire Company, Temporary Collective and tYhle: Why are we leaving PONEC theatre?

Spitfire Company, Temporary Collective and tYhle: Why are we leaving PONEC theatre?

Author Josef Bartoš

When did you start thinking about leaving PONEC Theatre?
Florent Golfier-Brechmann, Marie Gourdain, Lukáš Karásek, Zuzana Režná (tYhle): Thoughts about the possible termination of cooperation with PONEC began to emerge intensively in our collective after the first meeting on 20 December, where the current situation in the theatre was discussed. It seemed to us that there was no dialogue between the management of TANEC PRAHA and the representatives of the artistic community and that the management of TANEC PRAHA was only trying to defend their decisions and position.
Petr Boháč (Spitfire Company): I can't be sure of the first impulse to leave. It was a continuous reflection that became more certain as time went on. When I heard about the changes at PONEC, I was struck by the purposeful language, reminiscent of a washing powder advertisement, which was completely divorced from the reality of what it was announcing, namely that the artistic director was leaving. And when I learned that it would not stop at one departure and that the whole team of the TANEC PRAHA organization was collapsing, I decided to be part of the manifesto, which we called For TANEC PRAHA. At this time, I found out that I was not alone in my indignation. I realised that if nothing changed, I would have to break off all cooperation with TANEC PRAHA. The final decision came in the moment when the management of TANEC PRAHA did not accept the artists' offer to make a regular and transparent call for a new management of the PONEC theatre, which could be inspired by similar calls from contributory organisations. The management stubbornly stood its ground and said that the only option left was a call to the dramaturgical board, which, in my opinion, has no decision-making power. It is clear from the whole case that the owner of TANEC PRAHA is its founder and director Yvona Kreuzmannová and that she can de facto do whatever she sees fit. And this even at the cost of breaking up the entire team and the departure of most of the performing artists.
Tereza Ondrová (Temporary Collective): In November 2023. GEO premiered at Prague's PONEC theatre in October 2023 at a time of existential changes in the theatre's management. This change was so contrary to our values that after almost 20 years we decided to end our collaboration with PONEC and TANEC PRAHA.

What is the reason for your departure? What was the decisive moment?
Florent Golfier-Brechmann, Marie Gourdain, Lukáš Karásek, Zuzana Režná (tYhle): The decisive moment of termination of the cooperation was the meeting of the management of TANEC PRAHA after the discussion meeting at HAMU. On behalf of the artists, we came up with a proposal to announce a tender for the position of artistic management of the PONEC theatre. Despite the director's promise to comment on the proposal, no response was received, and instead a week later they announced a tender for the last member of the dramaturgical board. The current management of TANEC PRAHA has thus shown us that it will not take the demands of the artistic community into account and that it is going to act as it sees fit. For us, this was a warning signal that the values we associated with PONEC, such as dialogue with artists, active self-reflection, and transparency, are not upheld by the current management.
The reason for our departure is the loss of trust we had towards PONEC and TANEC PRAHA. Now it seems to us that they stand for values that they do not really fulfil. Since the end of the previous cooperation with the artistic director of PONEC, Markéta Perroud, we feel that the communication with the artists is unclear and insufficient. What was originally a strong and trusted partner has suddenly become a completely unknown organisation. We do not want to stay in such an environment.
We are reluctant to leave PONEC, the theatre has always supported the artistic creation and development of many projects. In this situation, however, we consider this step inevitable. At the same time, this situation has illuminated a long-standing reality that we were not so aware of: TANEC PRAHA centralizes Czech contemporary dance too much. One non-established organisation covers the operation of the big festival TANEC PRAHA, the Czech Dance Platform and PONEC - theatre for dance. At the same time, it is run by a single person who does not have to answer to anyone for his or her decisions. This is neither healthy for contemporary dance, nor for TANEC PRAHA, nor for the PONEC theatre. For the good development of the Czech independent dance scene, it is important to have diversity and real decentralisation.
Petr Boháč (Spitfire Company): The realization that as an artist I have no power to change anything, that I am only welcome if I agree or remain silent. But I can't and don't want to be that kind of artist. And I also realized that creativity, responsibility, and a sense of security in creating do not come from the walls of the theatre itself but are connected to the people who run the theatre, provide artistic direction, and de facto determine the identity of the organization. All that was swept away, PONEC lost its identity for me, and that's why I couldn't stay. 
Tereza Ondrová (Temporary Collective): My reasons are contained in the epilogue that is part of the GEO production. I talked last time yesterday about the many memories I have associated with the PONEC theatre. It is a very important place for me, and for many other artists. And after twenty years here, it made me think about a few things. Who does PONEC belong to? The land below? Or to the people above? How do we measure it? Does it belong to people like me who have filled it with dance and memories? Does it belong to all of you who fill the seats in the auditorium every day? It's a building designed for dancing... so does it belong to the dancers? To the choreographers, the set designers, the technicians, the costume makers, the musicians, the production people, those who clean the place, and everyone who works here? And how do we measure that? Is it by the time spent? The money spent? Emotions spent? Does it matter to anyone who wants to participate in its future? Of course, I know there are contracts that define exactly who owns it, but over the years, doesn't the field expand to include those who have helped fill the space with dance, relationships, dreams, memories, injuries, risks? I think so...

When exactly are you leaving? Are you leaving completely, or will you still be doing some productions at the theatre?
Florent Golfier-Brechmann, Marie Gourdain, Lukáš Karásek, Zuzana Režná (tYhle): This year, we have ended communication regarding the planned premiere and we are pulling all of our re-runs. Unless there is a deeper self-reflection within PONEC, we will not consider further collaboration.
Petr Boháč (Spitfire Company): We currently have three performances coming up. We are performing at the Czech Dance Platform, we have one re-run in May and we have a premiere at the TANEC PRAHA festival in June. Personally, I'm glad to say goodbye with the premiere event, as our new show will take place at the Hybernia Theatre. So, paradoxically, we will say goodbye with the biggest and most extensive collaboration. We have spent wonderful ten years in TANEC PRAHA. Thanks to its team we started to cooperate with many foreign artists and organizations. I salute the old team of TANEC PRAHA and look forward to seeing what new things we will come up with, because every emancipatory wave ultimately means the birth of new possibilities.
Tereza Ondrová (Temporary Collective): We have decided to end our cooperation with PONEC and TANEC PRAHA in June 2024. Yesterday I thanked everyone who came to GEO and was with me during the moment when this one phase was concluded. We still have the Prague closing night of DUETS on May 14th and one more performance in the regions as part of the TANEC PRAHA festival.