Lída Engelová

* 1944

  • "One of the most charming moments was that when one strike was about to begin, on the other side - where there are two Ostravas, actually, behind the bridge, behind the Sýkora's Bridge, there were garbage collectors who were not going to the square, but Ostrava garbage collectors who all started honking. And the moment the Ostrava garbage collectors honked, everybody understood that this was the end of the 'red kingdom'. In the theatre - the whims, all of them that were there, so I made it a point... and it was somewhat of a personal matter, I would say, in connection with Antichart, which I've already talked about, and the fact that actually almost all of us signed it in Pilsen at that time without being given the opportunity to read it. So I had the feeling that I should do something to protect my conscience a little bit, and I did it by declaring - and I must say that everybody respected it - that there would be no lynching in the theatre."

  • "Until one day - and this was the end of the Pocket Theatre - we were supposed to go to Greece for a festival, and Zdenka Kratochvilová's solo production for adults, The Dressing Room on the Beach, was playing, and suddenly they sent me that I wasn't allowed in. In Pilsen. I always had to come back on time so that I could start rehearsing or so that I wouldn't miss anything. So then it turned out that there was an approval meeting, and there, a lady we knew from across the street from the greengrocer said, 'But this comrade, she is travelling around too much.' And that was it. And now suddenly Zdenka - and this was very prestigious for Pragokoncert because it was for a fee - so she said, 'I'm not going.' We were such a small theatre - I was everything. I was the director, I was the interpreter, I was the lighting electrician, and when we needed it, one guy came with us. Mostly Vašek Kotek, Vojta Kotek's dad. And suddenly they said: 'Oh, you're not going? Well, you won't be teaching at the conservatory, and the Pocket Theatre is closing.' So Zdenka left three days late, but because Dressing Room on the Beach, it was solo - she was alone on stage for an hour and ten minutes, and at the end, she was still blowing the saxophone. So, playing it two days in a row is almost out of the question. But she had to fill the number of performances, and when she came back, I was waiting for her at the airport, I could only take her in my arms. Or a scoop. So we practically closed the Pocket Theatre after Greece because she was completely physically exhausted."

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    Praha , 28.03.2023

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    délka: 02:02:26
    nahrávka pořízena v rámci projektu Stories of the 20th Century TV
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    Praha , 13.04.2023

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    délka: 01:53:25
    nahrávka pořízena v rámci projektu Stories of the 20th Century TV
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Not to be bound by anyone or anything but your own decision

Lída Engelová with her brother Tomáš, National Theatre, 1970
Lída Engelová with her brother Tomáš, National Theatre, 1970
zdroj: Witness archive

Lída Engelová was born on 14 May 1944 in Prague. Her mother, Ludmila, worked in the Foreign Ministry before the Second World War, and her father, Ferdinand, was a customs officer. This was enough for Lída to be attributed bourgeois origins by the Communist Party street committee and be denied a recommendation to study at university. After graduating from high school, she first completed a two-year apprenticeship as an electrical fitter for high school graduates at the ČKD in Vysočany to improve her origins. This was successful, and in 1967, she graduated in acting from the Theatre Faculty of the Academy of Performing Arts (DAMU). However, already during her studies, she also began to incline towards directing. She became friends with Václav Havel and Jan Grossman at Divadlo Na zábradlí, starred in some plays and worked as an assistant director. After graduation, she stayed with directing. Right at the beginning of her career, she joined the National Theatre as an assistant director. In order to pursue independent work, she moved on to the J. K. Tyl Theatre in Pilsen and later to the State Theatre in Ostrava. She was forbidden to work on Prague stages because she refused to join the Communist Party. In 1973, together with the dancer and mime Zdenka Kratochvílová, she founded the pantomime Pocket Theatre, thanks to which they were able to perform in many places around the world. However, all of this took place under the supervision of the State Security Service and due to this pressure, the theatre closed down in 1987. She experienced the Velvet Revolution in the theatre in Ostrava and was the chairwoman of the Civic Forum during the Revolution. She refused the offer of the director‘s post and returned to Prague. Until 1993, she worked in the Prague City Theatres and eventually went freelance. During her lifetime, she participated in performances on many stages. She has practically never interrupted her collaboration with the Viola Theatre, where she directs at least one play a year. Throughout her life, she has prided herself on ensuring that her work not only conveys a message but also provides plays of a high linguistic standard. She has received many awards for her work, and in 2003, DILIA awarded her an Honorable Mention for a lifetime of outstanding artistic work. At the time of the filming (2023), she was living in Prague and still working as a director.