Iris

A stand-up set in the city of Příbram whose subheading reads: ‘Family is the foundation of life.’ An autobiographical performance about Iris Kristeková, an actress, who—in spite of transgenerational traumas and her family’s miserable situation—pursued her dream while sharing her inner strength with others. Born as the last of six children she grew up in a flat where ‘the fridge was locked and flatmates jumped off the second floor balcony.’ That life full of challenges taught her to find solutions to uneasy situations. She has fought for a better personal and professional life… “In all modesty, it looks as if I’ve already got out of the worst cesspit of my life. When I was ten I didn’t even know the words like ‘microwave’ and ‘coffeemaker’. We’re up to thirteen to share seventy-five square meters. Our relationships? What kind of relationships? The only thing I demand from myself is to preserve my health. I make myself believe that I’m worth something, that getting out of my bed has a sense. I need your consent. When you want to kill yourself all you find in your place is a box of Ibuprofen. Can I ever get out of this sludge? Hats off to your endurance! I wouldn’t be able stand myself anymore. Helping is, somehow, a little bit too much. Enough! I like you as I like my bottle. It’s as hilarious as a graveyard. I’m rather good at expressing emotions on stage… I’ve got a huge stock! Wouldn’t you prefer hearing a joke? Today, the only enemy I have is myself.”

“The Series Invisible about invisible women originated in 2020 out of my personal desire to render visible the autobiographical stories of women, exceptional artists, who—for various reasons—either disappeared from the spotlight, or have never got into it. In defiance of political circumstances, their age, involuntary end of career, or a hereditary illness, those artists pursue their creative lives. The first part of the series is devoted to Hana Frejková, whose father was executed in the Slánský trial. Frejková, who is 88 today, enacts and sings her own life story. The second part looks into the life of Barbora Vašků Kaufmannová, examining the more or less involuntary end of her artistic career and the subsequent emptiness she had to endure. The last part of the trilogy is a tribute to actress Iris Kristeková. The objective of the project is to destigmatize all those who have been trough something similar, and to indicate possible ways out, ways leading to small personal victories. After Ballerinas and the preceding parts of the trilogy Invisible I believe in the healing power of art. It gives spectators a safe possibility to go through their own unregulated psychical contents, either consciously or unconsciously.” Miřenka Čechová explains.

The performance was supported by the Capital City of Prague, the Czech Ministry of Culture, the State Cultural Fund, Rezi.dance and GOGLMOGL Production.