The War of the Buttons
Script: Barbora Kamenická Pokorná and Šimon Spišák
Director: Šimon Spišák
Sets and costumes: Karel Czech
Dramaturgy: Barbora Kamenická Pokorná
Producer: Barbora Kalinová
Executive Producer: Martina Štětinová
Premiere: 12. 10. 2024
The story of a boyish war between two village gangs set against the backdrop of a real war. How does a children’s game mirror the adult world, and what does it reveal about it? What continually fuels their mutual hatred rooted in grudges no one remembers?
Though The War of the Buttons takes place over a century ago, its message remains deeply relevant. By bringing adult conflicts into a children’s setting, Louis Pergaud, its author, insightfully highlights the absurdity of war and the irrational reasons behind it. He has thus created a miniature world where social issues are unmistakably clear: fear of otherness, the need to create enemies, social and gender (in)equality, the uncritical adoption of established patterns, raising children with old wrongs, domestic violence, and much more. These issues remain highly relevant and provide an excellent starting point for sensitive discussions with children.
Director Šimon Spišák’s adaptation draws on the book’s core metaphor, where strength is symbolized by an ordinary button. The absence of the button representing war capital naturally leads to nakedness, both figuratively and literally exposing the enemy to the bone, making fighting impossible. In the world of our child heroes, strength is measured in the most mundane way possible, following the example of their fathers, by physical ability. With a generous dose of humour and exaggeration, the production asks whether there is any escape from this cycle.
Please note that during the performance, child characters occasionally use vulgar language. This choice is not purposeless; it serves to authentically portray the passion of the young heroes within their imaginary world of play.
In the media:
“Šimon Spišák and Barbora Kamenická Pokorná came up with a combination of a highly entertaining, playful, and alienating spectacle with straightforwardly didactic moments. (…) The didacticism of The War of the Buttons is acknowledged but at the same time cleverly dosed not to become obnoxiously violent. This is because it refers with amused exaggeration to a theatrical situation just seen, which might otherwise have passed for a simple joke. It can also be seen more broadly: if I am correct, Drak is consistently involved in this type of production, and they seem to be well aware of what they are doing.”
Vladimír Mikulka, 13. 10. 2024, nadivadlo.blogspot.com