anytime, anywhere is a multilingual piece about two young women from different continents, who openly
share their experiences and emotions about missing people in their lives. Navigating through departures,
in-betweens, split identities and a shared reality, autobiographical materials are intertwined with
abstraction, which arrives on the scene through multidisciplinary media.
Any event can be erased, but it exists in many sleepless nights, letters from prisons, silenced candlelights, screams of bereavement, eyes of tens of millions of billions.
The Mending Room is an immersive piece which combines sensorial, participatory and performative elements, in which spectators will experience a fragmented stream of thoughts, roving through hyperrealistic memories, imaginary landscapes and forgotten nightmares.
Vodník’s Jar
In the quiet waters of a deep lake in the mountains, an old Vodník cherishes his beloved jar—a vessel filled with the souls he’s captured, each a story he loves to retell. His son, an ambitious young Vodník, dreams of becoming the most powerful soul-catcher of all. When he asks one of the jar-trapped souls for advice, a plan is set into motion. But during his first attempt at capturing a soul, the young Vodník is swept away suddenly and ends up in a faraway land, home to strange salty waters and even stranger creatures. There, he meets a mysterious local river monster, amongst other strange characters. Will the young Vodník be able to achieve his dream, or will he find a new path for himself? Along his journey and clash with foreign magic, he will have to face the question of what it means to catch a soul. And is he willing to pay the price?
Vodník’s Jar is a cross-cultural puppetry and visual performance for children, a collaboration between Osu and Hong Kong artist Genna Leung. It embodies a unique dialogue between Czech and Hong Kong artistic traditions. The project investigates how puppetry and visual theatre can serve as mediums for cultural translation, using folklore as a shared yet transformable narrative source. By drawing parallels between the Czech water spirit Vodník and water-related myths (水⻤) from Hong Kong, the work explores how traditional stories migrate, mutate, and acquire new meanings across cultural, linguistic, and geographical boundaries.
Rather than treating folklore as a fixed heritage, Vodník’s Jar approaches myth as living material - fluid, adaptable, and responsive to contemporary contexts. Water, both as a physical element and a metaphor, becomes a central poetic device symbolising transformation, displacement, and the fluidity of culture itself.