Farm in the Cave
The company established itself in 2001 around its leading personality, the director Viliam Dočolomanský. Their pieces, resulting from long-term research in culture and anthropology, resemble music compositions: each performer plays a role of an instrument. The main subject of their research is what they call “expression”, a result of complex physical expressivity, including that of voice and rhythm. Their pieces transcend diverse genres of performing arts: music, dance, physical theatre or classical theatre. Dočolomanský’s pieces have received many prizes in the Czech Republic as well as abroad. Dočolomanský himself is a holder of XIIth Europe Theatre Prize (2010); the company was awarded the main prize at Edinburgh Fringe Festival in 2006. Under Dočolomanský’s direction, all members of the company are intensely involved in the creative process of each piece. Already in his very first piece, Sonnets of Dark Love (2002) inspired by the poetry and life of F. G. Lorca, Dočolomanský presented original physical language. It was then fully developed in Sclavi / The Song of an Emigrant, a piece to receive a number of prestigious prizes in the Czech Republic and abroad. Waiting Room followed in 2006, based on a particular historical event, that of the resettlement of Slovak Jews during World War II. On the other hand, the company’s most recent piece Theatre (2011) is an abstract scenic composition, based on research of rhythm and dance steps of Brazilian slaves. Farm in the Cave regularly organize the so-called Work Demo – scenic presentations of their research, a sort of live behind-the-scenes of their pieces. The company also give expert seminars of their characteristic performing method.
“Drawing on authentic letters and fragments of polyphonic songs form Slovakia and Ukraine, a ravenously sensitive and physically electric cast of eight follows a poetic, rather than literal, plotline about the emigrant experience. In Viliam Docolomansky’s impressive staging, their collective voice is both howl and lullaby.”
(Donald Hunter: Fringe, THE TIMES, 2006)