Ivana Wojtylová

* 1962

  • "But it was such a treat during the totalitarian times that we played... We had some theatre repertoire in that theatre in Český Těšín and we had a partnership with the Czechoslovak Army mine, I think. There were more mines there, but I think it was the Czechoslovak Army Mine. And the miners would come to see our plays, the premieres, and the miners would give us either a black dot or a red dot. If it was a red dot, the miner liked it, and if it was a black dot, the miner just didn't like it. So we had to work quite hard to fit in with the miner's taste. Those were incredible experiences. And, of course, there were things in that theatre's repertoire that had to fit the ideology of the regime we grew up in. We couldn't frolic on that stage all we wanted. Of course, the theatres tried to make sure that the repertoire was... Let's make it as classical as possible, because it was hard to blame Shakespeare for having something against the communists, or the Brothers Mrštík, or Karel Čapek, but there it was a bit of a stretch. So it also affected the dramaturgical plan terribly."

  • "We all had to perceive the time of normalisation because we lived in it. That is, if I were to compare it to something very simply, I would probably choose a sheep trough. That they locked us up behind those borders, isolated us, isolated us both with information and, of course, with images. There was no internet, we didn't buy newspapers from abroad, we didn't watch any foreign programmes. Everything was created for us. That is, of course, it affected all of us. We had... we had this... We had a bigger wilderness inside of us, I guess."

  • "The uniformity. Actually, it was always the same, so that we wouldn't be different from each other, maybe not envious of each other, or whatever the point of that ideology was... Because we all had the same coats, there were three kinds of balaclavas, we all had the same folding umbrellas, which was an incredible hit when we got a folding umbrella. We all had the same kitchen cabinets, garbage cans, rolling pins, everything was just the same."

  • Full recordings
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    Praha, 13.11.2024

    (audio)
    duration: 57:09
    media recorded in project The Stories of Our Neigbours
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Under the communists we played theatre for miners, we were rated with red dots

Ivana Wojtylová reciting, cultural part time job (1978)
Ivana Wojtylová reciting, cultural part time job (1978)
photo: Archive of the witness

Ivana Wojtylova was born on August 16, 1962 in Třinec. Her mother worked in a kindergarten. Her father came from Poland and was related to Karol Wojtyla, Pope John Paul II. Ivana Wojtylová grew up in the normalized Moravian-Silesian region. As a child, she began attending a folk art school. After graduating from primary school she was accepted to the Janáček Conservatory in Ostrava. After graduating from the conservatory she joined the Czech-Polish theatre in Český Těšín. She spent many seasons in the Těšín theatre and performed countless roles in plays. Later she became the artistic director of the theatre. She played in Těšín until 2002, after which she moved to Prague, where she has been one of the main acting faces of the Theatre pod Palmovkou since 2013. She has been nominated four times for the Thalia Award (for outstanding stage performances in the field of theatre art) and once for the Alfréd Radok Award (for artistic performances in the Czech theatre). She has also worked as an acting teacher at the Higher Vocational School of Acting in Prague and currently teaches at the music and drama department of the Prague Conservatory of Acting. Among her best known series roles is Libuška in Vyprávěj. In 2024 she lived in Prague.