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Kateřina Štefková

Kateřina Štefková studied set design at the Theatre Faculty of the Academy of Performing Arts in Prague (DAMU, 1989-1994). In 1992 she began collaborating with the stage director Petr Lébl, first at the Labyrint theatre and subsequently at the Na zábradlí theatre, designing costumes for all his productions. In 1995 she became the main costume designer at the latter. She has frequently co-operated with the stage director Jan A. Pitínský (Na zábradlí: Ritte, Dene, Voss, The Theatre Maker, Intrigue and Love; the Dlouhá theatre: The Magic Mountain), as well as Jiří Pokorný (DISK theatre: costumes and sets for his production of Jenufa; Dejvice theatre: costumes for Walachian Quadrille; Rubín theatre: The Stranger; HaDivadlo in Brno: Faust is Dead; Na zábradlí theatre: Terrace, Ballad of Wiener Schnitzel, Mr. Kolpert). She has also designed costumes for productions by Jiří Ornest, Juraj Nvota, Alice Nellis, David Czesany, Petr Tyc, Jan Nebeský and other directors. In Schwerin she created costumes for The Resistible Rise of Arturo Ui (director: D. Levin), in Tel Aviv for a production of Cyrano de Bergerac (director: P. Lébl), at Budapest’s Vígszínház theatre and Bratislava’s Slovak National Theatre for Antony and Cleopatra (both directed by E. Eszenyi). She has received several awards for her work, including the Hlávek Foundation Prize (Best DAMU Student). She and other participants shared the Golden Triga PQ 1999 and she has been nominated for several Alfréd Radok Awards and Slovakia’s Dosky theatre awards. Kateřina Štefková has exhibited her designs at the Czech Set Design Salon (1994), the Prague Quadriennale and at the Triennale in Novi Sad (2001). At the National Theatre in Prague she has created costumes for Smetana’s opera The Brandenburgers in Bohemia (1997), as well as Sheridan’s play The School for Scandal (2004), Stroupežnický’s Our Uppish and Defiant Fellows (2004), Tyl’s Bloody Christening, or Drahomíra and Her Sons (2005), Lope de Vega’s The Dog in the Manger (2005), Šrámek’s The Bells (2006), Zeyer’s Radúz and Mahulena (2009) and Jelinek’s What Happened After Nora Left Her Husband (2010).

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