Oksana Zarzhevskaya-Kravchenko has been working with IZOLYATSIA, the Platform for Cultural Initiatives, on different cultural and social projects since 2010, and in 2016 she became IZOLYATSIA's director. In the talk with Marketa Fantová, Oksana introduces us to the cruelty and inhumanity of war in Donetsk where the IZOLYATSIA was formerly located. How important is memory of the place and how does it reframe the identity of citizens?

How to archive and exhibit theatrical art so that its ability to communicate with the audience is preserved and used? Markéta Fantová, the PQ Artistic Director, talks not only about that with Kate Bailey who is the Senior Curator and Producer in the Theatre and Performance Department at the Victoria and Albert Museum. Kate has over 20 years long experience of working extensively on the design and content development of new museums and exhibitions in UK, Europe, Middle East and Russia, seeking innovative and theatrical interpretative and display solutions to complex and challenging subjects.

Why be interested in every team member to not only clearly understand the artistic concept but love it at least as its creator? In the eighth episode, Markéta Fantová talks to writer and director Michel Laprise about crossing the arrogant ego and questioning the authorship of a theatrical performance, which is ultimately a joint work of various professions, without which there would be no.

What is scenography, and how can help us to learn something about themselves? Barbora Prihodova, co-curator of PQ Talks, talked about it with scenographer and designer Natta Thapparat who was a curator of the Thai exhibition Same Same But Different at Prague Quadrennial 2019.

Gender, political, ethnic and national inclusiveness and exclusivity. It is about finding a balance between local and global, between individuality and colonialism. How does this topic resonate in the field of scenography that depends on team collaboration? Barbora Prihodova, co-curator of PQ Talks, discuss it with stage, light and costume designer Tamara Figueroa who is a professor in Theatre Design at the University of Valparaiso in Chile and founder of the research platform Escenotécnica. 

Creative, cultural or entertainment industry. Regardless of the term, those were one of the first industries worldwide to be closed by the coronavirus pandemic. And they will probably be one of the last to open. But suppose you want to continue organizing events. Then this situation can become a challenge as well as an excellent opportunity to change your thinking about the theatre and scenography and forms of connections. Michaela Buriánková talked to David Grindle, the executive director of USITT, about how these changes are reflected in USITT's activities.

How do the different life roles of two women intertwine in their cooperation, and how do they deal with them during intense situations of a global pandemic? Marketa Fantova, the artistic director of Prague Quadrennial, discussing with costume designer Fruzsina Nagy and costume & stage designer Juli Balazs.

Right now. Immediately. Close your eyes and say what surrounds you. What is the t-shirt colour of your colleague? From where does the sound come? If you don't know, you forgot to watch and perceive the world around you. That is Arnold Aronson, the theatre historian and professor of Theatre at Columbia University, in discussion with Barbora Příhodová, the curator of PQ Talks.

In this episode of the PQ Podcasts Michaela Buriánková, the PQ General Manager, invites Kathy Hong to speak about aspects of managing cultural organisations in Taiwan, about dealing with the pandemic situation, and about working in the national and international theatre community.

Listen to a very first episode of new podcast series made by Prague Quadrennial of Performance Design and Space. Marketa Fantová, the artistic director of PQ, is talking with designer Sven Jonke, who is part of Numen, the collective working in the fields of conceptual art, scenography, industrial and spatial design. What are possible forms of collaboration in creative teams working on such a tricky thing like the theatre is? How can horizontal (non)hierarchies work, and why is it useful to share resources as well as outputs?