For generations of theatre people visiting Prague it was a happy habit to call on the Divadelní ústav and ask for the help of Jarmila. In the ‘sixties and ‘seventies official delegates were warmly welcomed with a glass of Becherovka.
As well as the fact that she knew every person working in the theatre in the Czech Republic, Jarmila had numerous international friends and contacts. When you met her you immediately got the feeling that she loved the theatre and that she knew what she was talking about and would find an answer to your questions and solutions to your problems. Her command of languages was impressive and certainly helped to overcome obstacles. She was always available to visitors from all over the world, but quite soon she came to the point and suggested the way to a solution. Her diplomatic skills were praised worldwide, she didn’t mind working hours, and when guests were around she magically arranged tickets for the theatre and frequently checked in person at the box office if everything was allright. Her extraordinary achievements were enhanced by her tact and her special sense of humour. Always elegant, she often was the star in meetings and official events, though modest as she actually was, she never wanted to be in the front.
She was happily married to her husband František, who when the occasion requested was a great cook. His early death meant a huge loss, but courageously she continued her work. She was always very proud of her two children and grandchildren and enjoyed their successes.
I came to admire her talents at the so-called Liaison Meetings, which were held in Schildow near Berlin, designed to coordinate the activities of many international theatre organisations. Because the Czech Theatre Institute housed several secretariats of these organisations, she was well informed about what was going on in the theatre throughout the world. And so in her diplomatic way together with her deep knowledge, she smoothed out threatening controversies and found ways out of conflicts.
Her activities centred around her work for OISTAT and especially the Prague Quadrennials, those stimulating and unparalleled world exhibitions of theatre scenography and architecture. Of course the whole Divadelní ústav was busy with the organisation of these memorable events, but Jarmila’s role was central over the years. No wonder she was asked to write a book on the PQs, which was published in 2007: Prazskeho Kronica quadriennale. [Chronicle of the Prague Quadrennial].
She was at her best amidst the turmoil of the last days before an opening: inspiring and sustaining the staff, receiving guests, telephoning and solving sudden, but vital problems. Especially, in the early PQs, 1967, 1971 and 1975 in a difficult political situation, it was an immense task with telephones which were intercepted and censored, without computers and data bases, it is hardly understandable how things could be ready in time at all.
In short, it is easy to cherish the memory of Jarmila Gabrielova, treasured colleague, grande dame of the Divadelní ústav, OISTAT and PQ.
Eric Alexander, Amsterdam, April 2013
