By: Stephanie Lynne, SUNY Oneonta
This past month, I have had the opportunity to participate in Prague Shakespeare’s Company 2026 Summer Shakespeare Intensive in Prague, Czech Republic. By joining the directing track, I spent the last four weeks studying methods of directing and analyzing the work of William Shakespeare, while also receiving hands-on experience by assistant directing a production of Love’s Labour’s Lost (directed by Evren Odcikin.)
The first week of the intensive included standardized classes taken by all students in every track (Acting, Stage Management, Directing and more). These classes included learning how to scan pentameter in Shakespeare’s text, analyzing the first folio of Shakespeare’s work, and various voice classes. As I attended the second session of the program, the second week we had classes off while the first session wrapped up their rehearsal process and moved into tech. That is where the play comes together with lighting, sound, costumes and scenery on the stage. A few examples of plays I saw were Othello and Cymbline at Divadlo Na Prádle, and Twelfth Night at Prague Castle.
Me with the other SUNY Oneonta students who participated in the Intensive with our professor, Kiara Pipino, director of Twelfth Night at Prague Castle
After taking required, acting based classes for the first week, by week three I was taking electives based on how to direct Shakespeare’s work. Furthermore, I attended electives about directing new plays, listened in on directing/producing masterclasses and took other electives such as Intimacy Directing, and Playwriting with Lauren Gunderson. My main directing electives were taught by Odcikin. Throughout these classes he conversed with us on how to find ourselves as young directors starting our careers, often giving first-hand accounts on how to begin a rehearsal process, collaborate with various members of a production from actors to designers, and how to grow as strong creative leaders.
Outside of classes, three hours of the day were dedicated to rehearsals. Each production was a unique vision tailored by its director. This production of Love’s Labour’s Lost was an all femme cast, based on the silent film comedies of the 1920’s starring Charlie Chaplin and Buster Keaton. Themes of our production touched on gender politics, poking fun at the androcentrism society we live in through what is one of Shakespeare’s earliest, and more progressive comedies.
The cast of Love’s Labour’s Lost with director, Evren Odcikin
As the assistant director on this production, I started off writing blocking notes in my script, tracking where each actor is supposed to be and when. Later in the process I was tasked to
track each of the many props used throughout this play. This included creating a spreadsheet with my co-assistant director, Ollie Escobedo. The spreadsheet included each prop used, who uses them, and what side of the stage they belong on. During the performance of our production at Divadlo Bez Zábradlí, I was backstage organizing props and making sure each actor had the correct objects.
One fond memory of this rehearsal process is having to step in and play three different characters while our actresses were participating in a production of The Tempest that toured briefly to Italy. While I had fun stepping in when needed, I much preferred watching every actress play their retrospective role. Each of them (Sarah Spring, Helen Hopkins and Elissa Levitt just to name a few of many) are incredibly hard working and talented performers, and watching their acting methods throughout this short, complicated rehearsal process was fascinating and a joy.
The time of this intensive was often 12 hour days, six days a week, leaving very little free time. Despite that, I was able to explore multiple areas and neighborhoods in Prague. I climbed the steps of Prague Castle, walked across the Charles Bridge, explored Old Town, saw the John Lennon Wall while also discovering local restaurants, coffee shops and bookstores. Furthermore, I took a day trip to Vienna, Austria, and spent a weekend in Český Krumlov, a small town three hours outside of Prague. In Český Krumlov, I saw a production of Sense and Sensibility spoken in Czech at the Revolving Theatre, the world’s only open-air theatre with a rotation audience.
View of the city from Prague Castle
The John Lennon Wall
The Revolving Theatre in Český Krumlov
The main hurdle I’ve had to overcome during this process is exhaustion. There are two main theatres that I spent my time at over the past four weeks, Divadlo Na Prádle and Divadlo Bez Zábradlí, each are on opposite sides of the Vltava River. The main tram line we took to get back and forth to each theatre shut down after the second week of the intensive, meaning we had to walk 20 minutes across the river, sometimes multiple times a day. But despite that, 12+ hour days of classes, rehearsals and exploring Prague six days a week will take a toll on anyone’s energy. It was a challenge to find a balance between times to explore new areas and simply rest when you could.
Even though I am leaving Prague, I still have one more week in Venice, Italy where Love’s Labour’s Lost will perform at Teatro a l’Avogaria. Our rehearsal schedule will be condensed to only one day of tech, before our performance the evening of August 5th. The process will include how to transfer our production into a brand new space and shift entrances, exits and blocking for the actresses. At this point in my research, I have concluded the main study of Shakespeare language and rhetoric. I am now going to observe the differences between how the production performs in two different venues, and how my roles change amongst others throughout the process.
As my time with the Prague Shakespeare Company comes to an end, I have grown my directing skills in areas of confidence and collaboration. I have professional hands-on experience in multi-tasking, such as note taking and prop tracking, and time management, including when to catch the tram every morning, or when to leave dinner to get across town to rehearsal with time to spare. These skills enhance my interest in directing because it has taught me if I can succeed in what I am passionate about in Prague, I can succeed anywhere.
Outside Divaldo Bez Zábradlí, one of the 70 theatres in Prague
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