Backlash, czyli czego obawiają się twórcy najnowszej dramaturgii czeskiej

In November 1989 various theater groups participated in overthrowing the totalitarian regime by improvising discussion forums. After the so-called Velvet Revolution, it was the writer and playwright Václav Havel who became head of state while another playwright, Milan Uhde, became the Minister of Culture and Speaker of the Parliament. Nowadays the Czech theater scene is immensely diversified. We can divide the authors who began writing their dramas after 1989 into two generational groups. On the one hand, there are authors born in 1960–1970, who entered the post-totalitarian times already as mature adults and who at the moment have long experience in their artistic work as playwrights, actors or directors (it is quite common that those people write and direct their own work). On the other, there is a younger group which is made of people who were still children during the communist era, and their artistic activity was shaped and took place in most recent years. We are talking about a generation of artists who share a common experience of totalitarianism in childhood and adolescence, as well as the difficult transition between the two systems: communist and capitalist.