Splitting Reality
Kolektiv Nesladim (Czech republic)
Oct 5 Saturday | 11:00–19:00 (every 20 minutes) | Hybernská 2 | Tickets | |
Oct 6 Sunday | 11:00–18:00 (every 20 minutes) | Hybernská 2 | Tickets | |
Oct 7 Monday
/ added slots |
15:00–19:00 (every 20 minutes) | Hybernská 2 | Tickets |
The ticket is valid for the exact start time of the installation. Also it is valid for visiting the entire exhibition.
Where do my parents’ wounds end and mine begin? From shards with sharp edges, I assemble a picture of reality.
This immersive performance piece will transport you into the world of someone grappling with narcissistic injury, offering a glimpse into a mind where vulnerability shapes their understanding of both self and the external world.
Established in 2019, Kolektiv Nesladim is built around a core group of independent artists based in Prague and Paris. Operating with an open structure, the collective maintains a long-term commitment to destigmatising mental health issues through its theatrical work. Building on their previous production, “Love Bombing,” which explored the experiences of those in manipulative relationships, the Kolektiv Nesladim now turns their attention to the other side of the coin. They delve into the internal struggles of individuals with narcissistic injuries, highlighting how their altered perception of reality serves as a coping mechanism.
The installation will be open throughout the festival as part of the exhibition. On the weekend of October 5th and 6th, you will be able to experience its performative form adapted for one spectator. Please reserve the exact time of your visit.
Suitable from the age of 12
In English too.
Concept: Kolektiv Nesladim
‘Execution: Linda Dušková, Lucas Lelièvre
Dramaturgy: Sodja Lotker, David Košťák
Text: David Košťák
Actors: Pavel Neškudla, Lola Veselá
Producer: Lucie Špačková, Barbora Kousalová
PR: Pavla Chlebounová
Assistant director: Peter Kasten
Consultation: Martin MaryškaThe project is implemented with the financial participation of the EU through the National Recovery Plan and the Ministry of Culture. We also thank the Czech State Cultural Fund and Truhlárna for their support.