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Cirk La Putyka, o.p.s.


Culture, Art and History Sport and Leisure Time

Support Cirk La Putyka

Our company started from nothing, with no experience in the contemporary circus genre, initially with minimum support from public funds. We know what it’s like to rehearse under unsuitable conditions and only in your free time, what it’s like to teach yourself and how long it takes to reach a proper level, not only in terms of the show but also in terms of production and creative facilities. We know what it’s like to know how to improvise and how important it is to be sure that you have taken the right path. And how fundamental it is to persist. By giving your support you will help us become a truly strong and viable company that needn’t go down to the bone, has composure and needn’t deal with existential cares. In the years to come Cirk La Putyka wants to bring interesting themes to the Czech scene, to develop the next generation, and to offer space to renowned visiting foreign theatre directors who have not yet created a contemporary circus production and for whom such projects will be a great challenge.

we started on 2019-09-20
We want to continue. We want to search, to create, but we also want to break down prejudices and barriers and reinforce our own poetry that depends on the people who make up our company and the given projects and put their all into it. Become a donor and be with us.
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Cirk La Putyka is not afraid to cross boundaries or of its own shadow. We don’t want our company to stagnate and pander to the expectations of the general or professional public. We want to create freely and with the energy that allowed the company to come into being and live.

The creation of a contemporary circus production can sometimes last from two to three years from the idea to the premiere. Daily practice and education of the entire production-technical team in this genre also takes far more time compared with conventional theatre. All the technical elements – construction, professional rigging, lighting design and sound – are subject to different rules and have differing demands on time. The preparation of actors is a never-ending process of care for the body and mind which you attempt to activate with new impulses and themes.

The shows we have created remain in the repertoire for several years and have far exceeded the expectations and expected figures. A bad performance, too few spectators and few performances given are an existential nightmare. In spite of this we have managed to reach a situation where we can create freely and without pandering. We consider this to be the greatest experience from the past decade. If we only bet on certainties, the trilogy Family Roots in Black Black Woods would never have been created, we would never have initiated co-production with the Dejvice Theatre or project with Rwandan street acrobats. We would never have based projects on artists primarily from abroad, such as ADHD.


We have managed to build up a unique theatre space in which in the first years we invested our own resources, not only of energy but also plenty of money, which was to serve for day-to-day operation and the creation of projects.

For ten years we sought out possibilities for how to create the contemporary circus genre without a base for education and following the loss of continuity during the years of communist totalitarianism. Our roots are in theatre, and when we were starting to create our work we replaced virtuosity and acrobatics with theatricality until we gradually started to create our own contemporary circus theatre style in which the theme is always the heart. We have attempted to express this using various expressive means, multi-genreism and multi-culturalism. We have never enjoyed doing the same thing twice, every project is different, we are constantly searching to find where the boundaries of this genre are (not).








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