It was only the next day that the organizers thought to place booklets in the foyer, which said something brief about the person who had performed the day before: “Otomar Krejča, one of the greatest directors in contemporary theatre…” Yes, that same Krejča, who after his very first independent show was pronounced a leader of the Czech stage, who in the 60s led the Prague National Theatre, and then, leaving the large theatre, created a different, smaller theatre by the name of “Za Branou” (Behind the Gates) and made it into a center of artistic interest not just for Czech audiences, but to all who came to Czechoslovakia in those years. "The history of this theatre is simultaneously happy and tragic,” it said in the booklet. “Happy, insofar as Krejča and his collective were the avant-garde of the 60s, expressions of the spirit of the time. Tragic, because of the closure of the theatre by directive in 1972. The closing of 'Za Branou' was an echo of the events of 1968.” To this they added that Otomar Krejča lives in Prague, but works in Switzerland, Belgium, and West Berlin. Everything that was said in that short note was already known to me. But the meetings with the artist were not forgotten, and his shows were unforgettable. Maybe a theatre’s existence in a person’s memory is a life in itself? The contact of the living with the living, even from a distance; the influence of one soul on another… Without exaggeration, I can say that Krejča had such an influence on A. Efros, and furthermore that their meetings were few and far between.