Theodor, main dancer and director of HILT, was violently attacked — now hospitalized with multiple fractures. April shows cancelled
Theodor, main dancer and director of HILT, is currently in a critical condition and unable to perform or manage regular operations. He remains immobilized due to serious injuries and is only able to work in very limited capacity for short periods of time. All shows are cancelled until the end of April 2026.
I am not going into details of what exactly happened. This is the first moment I am physically able to at least write a short update, so that our audience clearly understands why we are not performing and why it is simply not possible at this time.
Two days after the incident, still under strong pain medication, I completed three performances in one day as part of our Czech tour at the Municipal Theatre in Jablonec nad Nisou, for approximately 1500 spectators. In severe pain, I returned to Prague during the night, believing it was only bruising.
The following morning, I had to call emergency services. Medical examinations revealed two fractured ribs, one of them displaced, along with additional injuries causing serious breathing difficulties.
After short hospitalization, I was released to home care, but I am under constant assistance. My partner and colleague Martin is taking care of me daily, alongside other members of the HILT team who are helping in shifts. In recent days, production assistant Dana has been assisting, and even our youngest performer František has taken night shifts to ensure I am not left alone.
Since the founding of HILT 18 years ago, I have personally managed all core operational access, including booking systems and financial controls, for security reasons. Despite my condition, I have managed to stop all ticket sales until the end of April and have started working, step by step, on refunds.
On March 27, 2026, the first unaware visitors arriving at our Prague theatre learned about the situation directly at the entrance.
Everything is currently very complicated. I am able to work less than an hour per day with assistance. Most of the time I remain lying down, in pain even under medication, alternating between short periods of sleep. I am not taking phone calls and I try to avoid speaking due to breathing difficulties. I will begin responding to selected urgent emails as soon as possible.
HILT Black Light Theatre
Black light theatre is wordless stage magic: under UV light, black-clad performers “disappear,” so masks, puppets and glowing objects seem to move by themselves. It’s pure visual storytelling—playful, surprising, and understood by any audience. HILT is a world-traveling ensemble performing this craft on major stages and festivals. |
Black Light Theatre: Where Visible Spectacle Meets Invisible Artistry
Black light theatre, a captivating and visually stunning art form, is far more intricate than it appears. Behind the mesmerizing glow lies a demanding discipline, requiring performers and creators alike to master the delicate dance between light and shadow. It's a world where actors must know every inch of the stage blind, and directors must orchestrate two distinct realities into a single, breathtaking experience.
At its heart, black light theatre relies on the UV light spectrum to create illusions of floating objects, disappearing performers, and vibrant, luminescent scenes. Costumes and props coated in fluorescent paint explode with color under the black light, while the actors, often clad in black from head to toe, fade seamlessly into the darkness.
This is where the true challenge lies. As Theodor Hoidekr, director of the renowned HILT black light theatre, explains, creating a new show demands a unique perspective: "For me, the most difficult part is thinking separately about the visible scene, the shining props and costumes, and separately about the invisible scene, the actors moving unseen in the dark. In the final result, it must be a precise combination of both."
Hoidekr's statement encapsulates the essence of black light theatre. It’s not just about putting on a visually appealing spectacle; it's about weaving together two distinct performances.
- The Visible Scene: This is the world the audience perceives, a vibrant realm of floating objects, shimmering costumes, and dynamic narratives told through light and color.
- The Invisible Scene: This is the hidden world of the performers in black, the puppeteers of the spectacle. They are the unseen force bringing the visible illusions to life, moving props, manipulating light, and providing the physical foundation for the magic.
These two worlds exist simultaneously, intertwined and dependent on each other. The success of a black light theatre production hinges on the seamless integration of these two realities.
The actors, cloaked in darkness, must possess an unparalleled understanding of the stage. Every step, every gesture needs to be precisely calculated, lest they break the illusion and step into the light. They are masters of spatial awareness, navigating the stage with grace and precision, even when completely blind to their surroundings.
The director, in turn, acts as a conductor, orchestrating both the visible and invisible elements. They must envision the final scene, knowing how each glowing prop will move, how the actors will interact with it, and how the lighting will enhance the illusion. It's a complex process of layering and blending, requiring a keen eye for detail and a deep understanding of the art form's potential.
Ultimately, black light theatre offers a unique theatrical experience, a mesmerizing blend of artistry, technology, and physical prowess. It's a testament to the power of illusion and the dedication of the artists who bring this enchanting world to life, one meticulously planned step in the dark at a time. It's a reminder that sometimes, the most compelling magic happens in the shadows.
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