Aicha Roubíčková and Jana Vaverková: Without mutual dialogue, we will not move forward

Tereza Turzíková: You have moderated the Debate for Puppets together on several occasions. How do you prepare for each debate as a moderator duo? Do you have any shared rituals, meetings, or a tried-and-tested "pre-debate" procedure?

Aicha Roubíčková: Preparations for the debate with the whole team take several months: we do research, read materials on the topic, and create a script. Jani and I usually meet just before the debate, read through the materials, and discuss them.
But we also have specific rituals. In Brno, we go to sauna (or at least we try to), we talk in the dressing room right before the debate, we put on our makeup, we read the introductions to the questions aloud, and we always hug each other before going on stage—that's a must. And while waiting for our turn behind the door, we dance to awesome music either from Pája (Tokyo Drift) or David (DJ Chubasquero). I also have some rituals of my own because I'm quite superstitious, but that's embarrassing, so I won't mention them.

Jana Vaverková: Before we start preparing, we have a round of sharing with the directors, where we discuss what interests each of us about a given topic, and based on that, we then divide up the thematic areas. A personal connection to the topic helps a lot, because you already have some knowledge to draw on when you start researching. For example, the debate on polyamorous relationships was very much about personal experiences, so it helps to bring the whole team closer together. In addition, thanks to years of collaboration, we already know our range of opinions and we know that if we want to be objective, we need to invite an expert who can offer us a missing perspective.

Aicha Roubíčková in the set design for Debate for Puppets
photo: Alžběta Drcmánková

What has been your most powerful experience moderating Debate for Puppets so far? Can you recall a moment that was exceptionally funny, surprising, or emotionally challenging?

A: Gosh, the most powerful experience? That's a tough one! At the last debate at Archa, we forgot to bring the phone we use as a timer and to communicate with the director onto the stage. That was surprising and emotionally challenging for a moment, but it was quickly resolved. Powerful moments come when the audience supports one of the guests with loud reactions. Whether it's applause or boos. That's pretty emotional. It was also quite funny when Jani and I decided to greet the high school students at the morning debate with the then-viral greeting "No tak zdravim zdravim, dobrý dopo" ("Hey, hello, good morning") and there was dead silence. That was great.

J: And we've had a lot of embarrassing moments like that. But the hardest thing is when your crush shows up in the booth.

A: I agree.

The upcoming Debate poses the slogan "From the River to the Sea" as a question. What is it like for you to moderate a discussion on such sensitive and highly polarizing topics?

J: It's a big challenge, but I think it's important to address this issue. In my personal life, I feel that I am very cautious about the whole situation so as not to put my foot in it or offend anyone, but unfortunately, it still happens. On the other hand, I have moments when I feel compelled to lecture people on what they should think, and it upsets me that Czech society is generally silent and that so many people do not recognize that genocide is taking place in the Gaza Strip. Nevertheless, it is a great challenge for me to navigate the whole context and argue my case, and I am constantly discovering new historical connections that surprise me. I see silence as one of the biggest problems. It is a great challenge that HaDivadlo will provide a space for debate and that participants who are likely to have very polarizing opinions will be able to take part. It is essential for me to look at the past and the present, to talk, to contextualize, and to clarify (not only) my own position so that we as a society can take solidarity measures towards all those who are currently suffering.

A: I am very curious. It is the most challenging topic we have ever had – precisely because of its sensitivity and topicality. At the same time, it is not often discussed in public. We don't discuss it in my circles either. We are clear about it. For many people, discussing it may already be out of the question because there is nothing left to discuss. For example, the fact that genocide is taking place in Gaza is, for me, a statement of reality, not a topic for discussion.
At the same time, however, I feel an increasing need for dialogue. Not so that we can question fundamental human rights principles, but because without mutual dialogue, we will not move forward. I think that right now, a joint discussion is very much needed. I am curious about the guests, but also about the audience. I am also curious about myself, because this will be one of the most challenging moderations. Yes, I am very curious. It will be challenging, but I am glad it is happening.

Jana Vaverková in the set design for Debate for Puppets
photo: Alžběta Drcmánková

What does the Debate for Puppets format allow you to say or reveal that a traditional public discussion would not?

J: I think this format brings together guests who would not normally discuss things together, so diversity is key. Take Jana Yngland Hrušková and Pavel Klusák, for example — those two would probably never meet at Artzóna. Or Jaromír Soukup and Petra Hůlová, she probably wouldn't visit him at Barrandov either. And here they talk to each other, they even agree on some things, and that's what makes it magical. It's very difficult not to have prejudices, and this debate teaches me a lot about listening more than automatically disagreeing. Even though disputing is essential in the position of a moderator, it's not like in classic debates; you often have to be gentler. Guests in the booths sometimes become uncertain and don't act as if they have the support of "their identity"; suddenly, what they say here and now matters much more than what they have behind them.

A: I agree with my colleagues here that the uniqueness of this debate lies in the fact that it brings together people who might not otherwise have a conversation with each other. I am sometimes surprised by who I share similar views with and vice versa. People tend to listen more when they don't know who they're talking to, and the guests are really there for themselves, which can increase the intimacy of the discussion. Everyone is on the same level. This simply isn't possible without hidden identities, even if we wanted it to be.

Debate for puppets at HaDivadlo
photo: Alžběta Drcmánková

Debate for Puppets is a unique debate format that originated at DAMU in Prague and has also been presented at HaDivadlo since 2025. It is based on the secret identities of the guests, who are represented in the debate by puppets, and neither the audience nor the moderator team know their identities. The project explores how prejudices influence the perception of the participants and allows them to focus exclusively on ideas, arguments, and attitudes in a humorous and light-hearted way.

The next Debate for Puppets: From the River to the Sea? will take place at HaDivadlo on March 5, 2026, at 7:30 p.m.