english annual 2012

1 CONTENT

interview festival 3 Untitled. Miriam Kičiňová with dramaturg Martin Kubran 10 Search and discovery of something new. Dáša Čiripová with choreographer Matej Matejka 58 The New Drama Festival showed its true colours 17 Today, I consider more each note. – and the colours were bright. Martina Mašlárová Michaela Mojžišová with composer Peter Zagar 22 Reading unimportant things is not part of my life. Miriam Kičiňová with Daniel Majling 64 The International Theatre Festival Divadelná Nitra analysis and review Appealed to our Conscience. Martina Mašlárová

32 Bartimaeus’s unusual message of faith. 70 More than twice an impulse. Dominika Zaťková Elena Knopová theory/history/critic 75 History of 20th Century Drama. Ján Šimko 84 Music of Languages in the Country of Theaters. 37 A play of varying forms. Tomáš Hájek Stanislava Matejovičová extra 87 Till December 2001. Miro Zwiefelhofer about Studio 12 – space for new drama 44 Seven Days longer than human life. Dária F. Fehérová play 89 Gabriela Alexová: Losers

2 × 2 48 Jánošík, Rózenkrac and Gilderštén get on „tanks” 98 Can the culture support itself? in Žilina. Miro Zwiefelhofer Ingrid Hrubaničová, Zora Jaurová Pavel Graus, Silvester Lavrík

52 A Theatrical Slap in the Face, or Real Misery in Bátovce. Martina Mašlárová 1

cøntent THE CODE TO THE DÁŠA ČIRIPOVÁ SLOVAK THEATRE An Annual 2012 of The challenges of the slovak independent theatre the Theatre Monthly ´kød – konkrétne Several years of stagnation of “stone” theatres caused an unusual situation for the independent o divadle´ in English theatres and independent associations in Slovak theatre. Their activity, production, and last but not least the Editor in Chief quality is not only original and unique, but belong to what the Slovak theatre can present and confront the Dáša Čiripová international theatre scene. The wave of independent theatre in Slovakia is positivly effecting the creation of new aggregation even though the conditions of their existence are uncertain. In general, independent Associate Editors theatres are more agile in dealing with their cultural policy and fi nding their own fi nancial resources. Juraj Hubinák Zuzana A. Ferusová The independent, authorial associations followed in the footsteps of director and the legend of independent Slovak Theatre Uhlár and his Theatre Stoka. (Authorial theatre and Compiled by theatre in which actors collectively participate in the creative process have fought hard for their Dáša Čiripová existence and helped to change the perception of different styles of theatre language.) and Juraj Hubinák The poetics of SkRAT Theatre is based on brief, fragmented dialogues and monologues grasping mostly absurd, tragicomic actions of individuals, thus offering a new form. Theatre SkRAT is one of English Translation Bratislava’s iconic theatres. Theatre SkRAT is based on Stoka’s foundations, it has taken them towards Ivan Lacko a more specifi c, detailed and concentrated comprehension of problems and situations, towards Mira Húsková thematic unity, using elements of documentary theatre in the process. They try to communicate with Lenka Ertlová viewers. Despite the fact that their productions are based on texts, occasionally they experiment. Edited by Debris company engages in motion-physical theatre, action art and performance. Expressive, Conrad Brand contrasting, sensitive or rough, intensifi ed movements hide a powerful testimony and attitude of the authors – boundary between consciousness and unconsciousness, day and night, where Publisher we struggle with ourselves. Their performances present swinging values, doubts, relation of man Divadelný ústav Bratislava and woman, contemplation on issues of identity, truth. In Debris company music, movement, The Theatre Institut fi ne arts, philosophy, non-verbal moves come together and transform into a thought. Bratislava The Theater Pôtoň, active in the small village Bátovce, focuses on the search of interesting and Jakubovo námestie 12 813 57 Bratislava controversial societal themes. Preceding production, fi eld research is conducted including the compilation of Tel.: + 421 2 20487504 authentic material also involving the participation of citizens from that particular environment. By producing Fax: + 421 2 52931571 the plays, they are creating a progressive form of educating both the public and professional artists. e-mail: [email protected] The Theater non.garde focuses on the creation of original theatrical author productions, while www.casopiskod.sk its members are active also in the fi eld of music, literature, movements and visual arts. non. garde www.facebook.com is a young theater open to experimental projects – poems, collages, performances and all these /casopiskod in an environment of symbols, myths transformed into contemporary language. Their esthetic www.theatre.sk relates to the poetics of avant-garde, and shifts those to new forms with current themes. Graphic design, Theatre P.A.T. personifi es the versatile performer Sláva Daubnerová. All her productions are logo & cover different, always widening her own creative and theatrical boundaries. Texts with which she works are ZELENÁ LÚKA s.r.o. also not written as theatre plays. She puts together diaries, personal notes, and letters of a sculptor L. Print Bourgeois, director Madga Husáková- Lokvencová (M.H.L.) and of photographer F. Woodmann, who was DOLIS, s. r. o. Heiner Müller’s ex-wife. The production M.H.L. is a documentary theater, while in the staging of Cells, Some Disordered Geometries and the newest production Untitled she is playing with symbols, fragments of records, abstractions by relying on projections, artistic stylization and mostly electronic music. In 2011, Anténa (Antenna) was founded – it is a network of cultural centers and organizations active in the fi eld of independent contemporary art and culture in Slovakia. Anténa conducts activities aiming to develop a better position of independent culture within the society. Anténa also initiates cooperation, 2 exchange of experiences, creating common projects and it supports the distribution of art productions. intrøduction MIRIAM KIČIŇOVÁ Martin Kubran dramaturge Untitled

Where and when did Martin Kubran make the decision to become a dramaturge? Dramaturgy is not a standard study programme – it’s not something high school students are seeking to study. Nobody’s interested in that and besides, it’s in my CV.

A dramaturge has to be able to think in When did the transformation parallel universes and be connected to from a theorist to a practitioner – reality at the same time. He has to be a dramaturge – take place? During sensitive to small social and cultural meetings with artists in school? Or changes, while uncompromisingly because of too much time spent at the resisting the wish to take the path Department of Theatre Studies? of cheaper, easier and more relaxing I didn’t spend that much time at the theatre. He has to be on hand for the department. I also studied philosophy at the director and for the actors; he has to Faculty of Arts, but spent no more than two be both the brain and the heart of the semesters there. I realized that the school theatre. A dramaturge thus lives on system didn’t suit me as much and I preferred the edge of two worlds – the practical to study on my own. I liked theatre that was and the theoretical one. Martin based on an interesting philosophical premise, Kubran, dramaturge of the Slovak interconnecting a philosophical issue with National Theatre, speaks about the theatricality and performance. This approach current trends in Slovak theatre (and excited me. I began collaborating with not just the National Theatre), about Rastislav Ballek and Martin Čičvák, and I think the crisis of the theatre language and that back then we were all fascinated by all the ways in which it can be saved. those “new things” they were selling in the Artforum bookstore: titles on semiotics and

photo Archive of M. K. hermeneutics, Foucault, new music, new circus, new dance and so on… but not old theatre. 3

interview What kind of theatre more precise, since the mid-1990s. Most audiences fascinates you today? have no idea of the social function theatre plays, In every great theatre culture, there are certain even though this function is crucial and generally things which fascinate and irritate me at the same recognized in the surrounding countries with time. I’m irritated because I am aware of what advanced theatre cultures. It’s not only part we are missing in order to start feeling we’re of the cultural heritage, but also of live culture. part of a theatre culture. I’m fascinated by how In Slovakia, however, live culture sounds like thorough, strong and effective German theatre a calque from another language. I think most is – how engaged it is, and I mean that in the Slovaks associate live culture with yoghurt. most positive connotation of that word. When you say “engaged” in this country, it immediately Your collaboration with Rastislav acquires a bitter taste. In Germany, theatre has Ballek and Martin Čičvák displays had a clearly defi ned agenda since Lessing, Goethe a degree of social engagement and and Schiller. German theatre has always been commitment to the social function a platform for social and political debate, and of theatre. Your choice of marginalized German theatremakers have always been part themes testifi es to it. Do you intend of the discussion. I like theatre that is cheeky and to continue working in this vein? uncompromising in the way it addresses issues We’ll defi nitely continue working in this vein of the past as well as its own tradition, expresses because nothing else seems to be as exciting as to its clear standpoint in a form which may be often make us continue to work in theatre. Working with “incorrect”, yet always conveys a lot of ethos. Martin Čičvák and Rastislav Ballek is like working It is the exact opposite of the “wishy-washy” in real time: we keep returning to certain themes theatre of the bourgeois type, which has always and means of expression and banging our heads dominated stages and auditoriums in this country. against the walls and ceiling of the Slovak brick- and-mortar theatre. What I primarily mean by Would you say that theatre in Slovakia the walls are not the conditions in which we work, has also become an instrument but limits, conventions and stereotypes arising which helps to start discussions from the fear of losing the audience. This fear about issues and produces socially controls everything in brick-and-mortar theatres. engaged responses to them? They’re struggling for bare survival, although I don’t think so. There were a lot of theatremakers it’s not that clear what is supposed to survive. who made such attempts in the past, and there are quite a few today who are still making such Is the situation different abroad? Are attempts despite the dismal conditions they’re your generational contemporaries there facing, but even if theatre touches upon an issue, also restrained by this fear (existential it fi nds minimal response in society. Of course, fear, fear of losing the audience, etc.)? it is not so much about theatre as it is about While I was putting together my own database society. In this society theatre has been pushed of theatre recordings, I noticed that our to the very margin of social attention; it’s been generationally close colleagues from the 4 marginalized in the past fi fteen years or, to be neighbouring countries such as Krzysztof interview Warlikowski, Grzegorz Jarzyna, Arpad Schilling, created new fl agships of their theatre cultures but also Czech theatremakers David Jařab, Dušan and, as a result, they’re recognizable from afar D. Pařízek, and David Drábek, had been fascinated and embraced as ambassadors. At home they’re by the very same things as us in the same time respected as authorities and participate in the period. Retrospectively I realized that we had not creation of the state cultural policy without been communicating with them and with each actually getting their hands dirty in politics. other at all. We occasionally met at festivals, but We’ve become readers of magazines like SAD, that was it. And while our Polish, Hungarian and kød and Dialóg and regular viewers of channels Lithuanian colleagues are now the headliners like ARTE and 3Sat… in order not to lose contact. at the most prominent European festivals and The turbulent years gave way to “normalization”, regularly play in prestigious theatre houses, a return to ideological conformity. We still Slovaks and Czechs (with some exceptions), manage to surprise our audiences from time to subjugated by the cultural policy of survival fear, time and occasionally there’s someone generous haven’t made it outside of the regional league. enough to award us a national theatre award. The Maybe we are to blame for the decline that we’re horizons and ambitions of Slovak theatremakers becoming more and more intensely aware of. have dwindled to mere survival. There are probably no topics we could talk about with What should/could the communication the colleagues playing the European league. with the colleagues from abroad be like? Should it take the form of information Are you saying it’s too late to strike exchange, personal communication or up a conversation with them? cooperation between theatres? In this For the upcoming generation of theatremakers, sense, festivals are the best places who will represent Slovak theatre for the next to see theatre productions and meet ten years, there are no threads to pick up at the directors you’ve mentioned. the moment. The common themes I’ve spoken Well, the communication could develop in different of have disappeared. They’ve been replaced directions. In the mid-1990s we had some themes with new ones, which the theatre cultures in in common. Our countries were going through the surrounding countries are dealing with in a great political and economic transformation, different ways. It would be diffi cult to fi nd the coming to terms with the past, looking for a “new understanding and compatibility that we once had place” in Europe, developing new systems of social in terms of themes and means of expression. We values, trying to reconnect with the interrupted will have to start from scratch – look for things tradition, opening safes and archives… Journalistic we have in common, but especially create our clichés like these fl ooded the newspapers, theatre own original theatre language, which would be programmes, as well as the overall atmosphere somewhat distinguishable at least in the European in our countries. Our colleagues from abroad context. The institutions and people who were perfected their cheeky contributions to a point responsible for achieving this, for developing of originality. Until today they’ve been pestering and promoting Slovak theatre, overslept and audiences in Avignon and Edinburgh with past missed the opportunity. Unfortunately, the Slovak traumas and nostalgia. On the other hand, they’ve National Theatre is one of these institutions. 5

interview Do you think there is a chance to turn is never reached without quarrels and some the tide? You work as a dramaturge “bloodshed”. This contradiction between the need for the Drama section of the Slovak for harmony and the need to maintain the vital National Theatre, as well as for another creative tension is integral to theatre. Already at national theatre. As a dramaturge, its inception in Athens, in ancient Greece, theatre can you help your institution regain was a discipline of agon, contest and struggle. the will to deal with what should be It was a contest not just between playwrights the fundamental agenda of theatre? and actors, but also between “productions”. I don’t know if there is a chance. The issue with Although original ideas and productions pose big brick and mortar theatres, and particularly a risk in terms of the audience’s reaction, it is national theatres, is that a great majority of their originality that has catalyzed the development employees take their jobs as jobs only, and jobs of drama and theatre. Creativity and a contest performed according to proven in-house rules of ideas and concepts must become integral to all at that. Keeping alive a repertory theatre is like aspects of great theatre; they can’t be required getting accustomed to the sound of Damocles’ to come from the poor marketing people only. sword swishing through the air over your head. It appears to me that big theatres have since It means that whoever would like to introduce long been, under the threat of Damocles’ sword, some novelties or, God forbid, implement their looking for a panacea (not dissimilar to the one own know-how is inevitably confronted with used by commercial television channels) – or the prevailing opinion of the majority: that they how to make a theatre production appeal to all are absolutely not aware of how diffi cult it is, types of audience and sell out a hundred times. and that they don’t have the slightest idea what They’ve been looking for the golden calf that they’re doing. Our tradition has it that there’s everyone would look up to instead of trying to nothing more dangerous than an idiot with appeal to different types of audience with different initiative. The thirst for novelties is almost non- kinds of attractive theatre productions – even at existent and the fear of losing one’s audience the risk that they would sell out only ten times. is overwhelming. Please note that whenever If theatres remain places where everyone will “a sense of restlessness” emerges in big three- retreat to their corner to quietly fulfi l their daily ensemble theatres (the Slovak National Theatre, duties and earn their “peanuts”, we’re lost. the National Theatre in Prague, or lately also the National Theatre in Brno), people always voice Do you think that there is a chance to the need to appease the situation, to consolidate, improve the situation by occasionally stabilize or bring the situation back to normal inviting the directors you’ve mentioned so that everyone, and especially artists, can work to guest-direct some productions again in peace. It’s true that a petrochemical plant at the National Theatre? with one thousand staff is dependent on things That would defi nitely be a way forward. being consolidated, but theatrical creation is in principle unsettled, with actors, directors and Can we afford such expensive directors? dramaturges always arguing. The “consensus”, Their remuneration requirements are far 6 the fi nal version of the production in performance, beyond what we can pay, aren’t they? interview Money is not the issue here. We’ve been doesn’t have time to focus on creating and squandering great amounts of money on infl uencing the environment programmatically nonsense, so adequate remuneration for artists and continually. One of the roles of the is a marginal issue. It’s true that criteria are dramaturge is to be in a permanent dialogue set differently. One can often hear that there is with the director, but he should also cultivate, no money for things like this. But I think this is remould and communicate the environment. a top priority. Unless we strike up a conversation And this is also a problem. In big theatre with artists from outside Slovakia, who are houses powers, functions and responsibilities networked, have contacts, have experience with of dramaturges must be defi ned more precisely. European theatre, and not only experience but also self-confi dence, we don’t stand a chance Is there a difference between being of surviving as a vital theatre culture in the next a dramaturge for a dance performance ten years. This confrontation is a life necessity. – we’ve heard you’re working on one right now – and being a dramaturge As a dramaturge seeking young for a drama production? blood and progress, are you It depends, but the collaboration between interested in recent graduates? Do dancers and the dramaturge is usually different. you know what is going on among For them the dramaturge is a person who is the young people in the Czech and seeking to put into words what they’re doing Slovak theatre space? Are there and what their intention is. Since dancers use any new talents for whom adequate other means of expression, they need someone conditions should be prepared? who will verbalize their work so that they can It’s not only about talent, but also about connect and communicate with their audience a person’s values, gradual specialization, through more than one channel. Personally, refi nement of style and distinct expression. I can’t see much difference between these two. On the other hand, it’s also about acquiring Just like I’m in dialogue with dramatic actors, experience. These things are interrelated. I’m also in dialogue with dancers. Only the result It would be good if as many young people of this process, of this dialogue, is different. as possible went abroad to gain theatrical experience and then came back home and used Martin Kubran is a dramaturge and the acquired know-how in this country. I’m translator. Why don’t you adapt texts using economic vocabulary because it’s fi tting. for stage or write your own plays? Or isn’t it what you take interest in? Don’t Could you defi ne the role of the you want to devote yourself to writing? dramaturge in the rehearsal process? The directors I regularly collaborate I’ll try to defi ne it in negative terms if you with are also active as authors and I’m don’t mind. If the director is very active and totally satisfi ed with my role of a sparring takes care of the production he’s working partner in this dialogue, or sometimes even on and makes it his priority, which requires an advocatus diaboli asking check questions. a profound commitment to the work, he I don’t think I have ambitions as a writer. 7

interview Martin Čičvák is often labelled meditate on the theme or phenomenon which a postmodern and eclectic director is the subject of the production he’s working who employs a great number of diverse on. It also helps him fi nd an adequate form. means of expression and combines Čičvák is different. He loves working with different creative principles and existing forms and combining them to come styles. Is it also a result of your up with some eclectic wholes. Despite that, infl uence as a dramaturge? the form that’s the result of this creative Martin Čičvák studied direction at the Janáček process is coherent and doesn’t fall apart into Academy of Music and Performing Arts in Brno, autotelic attractions. Both of these approaches which was back then under the infl uence of Prof. are regular, sound and highly creative. Hajda and Prof. Scherhaufer. He was exposed to different “teaching”. Martin often uses means Would Martin Kubran enjoy working of expression that are considered heretical in as a dramaturge on the independent this country. For example, theatre as a montage theatre scene or does he enjoy working of attractions or entertainment. Also according in the brick and mortar theatre? to Brecht, theatre should be entertaining, I think I’ve spent most of my “career” working but in this country the term “entertainment” freelance. For example, my work for the Aréna has been downgraded to mere entertainment Theatre. It’s not only about the way of working, without any message capable of provoking but also about communication, which fruitfully social change. But Martin combines social combines the possibilities offered by alternative engagement and entertainment, which have theatre with those provided by an established always been at the heart of Brechtian theatre. theatre house. What’s missing here are more I don’t think it is related to “postmodernism”. theatres that would use the “stagione” system with a limited number of creative professionals I have also heard Rastislav Ballek and that would benefi t from collaboration say on several occasions that theatre with authors from outside the theatre by should be a montage of attractions, discovering new ways of making theatre. but when I see his productions, I don’t Besides Martin Čičvák and Rastislav Ballek, it feel it is. He seems to have a very was Juraj Kukura who most infl uenced the way different understanding of the term. I think about theatre and its possibilities in the I fi nd myself particularly lucky to be able to Slovak context. It was thanks to him that we work with both Rastislav Ballek and Martin could do a lot of things that we wouldn’t have Čičvák. They are very different personalities pushed through in brick and mortar theatres. and mentalities. They are so diametrically and Doing them freelance would have been hard profoundly different from each other that they and it would have involved a lot of suffering. can be friends and be in dialogue with each Juraj Kukura is, besides other things, a very other. There is no threat that they wouldn’t see inspiring personality. Although complicated, eye to eye about something. Ballek’s approach he is a respectable partner who is worth having to theatre is in some respects more thoughtful an argument with. Retrospectively I realize 8 and more philosophical. He always needs to that his foreign experience is a priceless interview source of inspiration. He is still vivacious and creatively restless. Working for the Aréna Theatre constitutes an alternative in the true sense of the word. Now ask me what I read Martin Kubran (1970) and what I’ve been up to this past year… just He graduated in theatre science from the Academy to throw this interview into utter disarray. of Music and Performing Arts in Bratislava. Already as a student, he intensively collaborated What do you read and what have as a dramaturge and co-author with the directors you been up to this past year? Rastislav Ballek and Martin Čičvák. From 1998 to 2000 I’ve been lucky to be dealing with ancient theatre he was employed as a full-time dramaturge by the SNP for the past year. We did The Clouds, now we’re Theatre in Martin. He attended the creative workshop working on Oresteia, and in Greece I’m involved, Young Theatremakers’ Forum under the leadership together with Jožo Fruček and Rootlesroot of Roland Schimmelpfennig and Paul Binnerts which Company, in a theatre project on an antiquity took place within the Berliner Theatertreffen festival. theme. It’s a free series of theatre productions, In the theatre season 2003–2004 he worked as a full- a sort of trilogy, which proves in a very odd and time dramaturge for the Žilina City Theatre, later, unambiguous way how close antiquity can be to between 2004 and 2008, for the Aréna Theatre in modern people. While Oresteia concludes with Bratislava. In 2008–2010 he was a dramaturge with the rise of Athenian democracy, The Clouds shows the National Drama Theatre in Brno. He was holding how susceptible to illness democracy and the the post of the Drama section dramaturge at the principle of civil society can be. The production Slovak National Theatre, and at the Brno National that I’m working on in Athens reveals nearly Theatre. He also collaborates with other theatres apocalyptic consequences: a downfall of this in Slovakia and the Czech Republic (e.g. Činoherní fragile order and system of values and a return klub in Prague and the Aréna Theatre). Together with to wreck and ruin. What I experienced in Greece Rastislav Ballek and Eduard Kudláč, he is interested corresponds with what Athenian democracy in non-traditional themes and theatrical narrative went through and what is found in many ancient techniques. Their collaboration further continued Greek texts – a transition from a functional in the theatre of Martin: R. Ballek – M. Kubran – management of the society through a phase S. Vajanský: Wastefl ower, 1997; R. Ballek – M. Kubran of decadence to total downfall, scepticism and – G. Vámoš: Atoms of God, 1998; K. Royová: In destruction that affects people as individuals a Godless Worlds, 1999). In the Aréna theatre they and the value system of the entire society. The staged the critically acclaimed drama Tiso, in The production offers a lot of food for thought. It Slovak national theatre – Aeschylus´s The Oresteia. may sound like a cliché to say that what we’re Kurban closely collaborates with the director Martin experiencing now isn’t an economic crisis but Čičvák. Their latest work are Mother Courage, a crisis of values, morals and ideas. The reason J. W. Goethe: Faust I., II. (SND), E. Albee: The Goat, it’s tougher for us than for others is that we or Who Is Sylvia?, V. Klimáček: Communism, Dr. still believed in certain things in the 1990s. This Gustáv Husák (Aréna), Aristophanes: The Clouds. is what I’ve been doing for the past year. ø 9

interview DÁŠA ČIRIPOVÁ Matej Matejka theater critic Search and discovery of something new Originally it was supposed to be a short interview to the section Extra, as Matej Matejka was in Bratislava only for a few days because of the workshop called “Body action/motion – actor – physical theater” held in Bateliere, so he was busy and had a little time to spare. Finally, we met at the end of the workshop and I realized that it would not be a short interview. Matej Matejka has had, despite his age, many incredible experiences, work and achievements. It is not a coincidence For several years you were a member that international studio focused on of a theatre a Farm in a cave, you physicality of the actor, performer, is participated in one of its fi rst projects. named after him. His charisma, energy, How did this collaboration start and determination and vision lead him to what infl uence did it have on your constantly explore new inspiring ways. next professional development? Working with Viliam Dočolomanský had a huge impact on me. It completely changed the direction of my theater thinking. I actually got into Farm by coincidence. I studied musical acting at JAMU (Janacek academy of performing art). After the photo K. Jarek 10 fi rst year I interrupted my studies, as I realized interview that musical acting was not exactly what I wanted the play Sclavi was premiered. I was really to do. I originally thought about studying at considering quitting work in the Farm and Academy of Performing Arts, but the text-based so I did. It might not have been the best theater did not tempt nor satisfy me. However, way because we continued to play Sclavi in the second semester of the fi rst year Viliam performance. This is why we got into Wroclaw. It came to JAMU as a director. He was known was a period when I was physically exhausted. already, people were talking about him and it was I played two shows on medication. I had ruptured fascinating to see him causing various different lung about which I did not know, of course, emotions. In his interpretation of The Wizard I thought there was something wrong with my of Oz I fi rst saw the union of the movement, spine. To play this show was very important for body expression and theater. And I liked it. us, as it was the ISTA festival with some very They got invitation to perform at the festival in important personalities and theater icons. After Amsterdam. I planned to go to Amsterdam, too, that I had a surgery in Wroclaw and I stayed I wanted to work there, so I went with them. But there to recover. My girlfriend was there, too, the actor who was supposed to play one of the so I had no reason to get back to Prague. I got main roles didn`t turn up. They offered me the offered a job from Jaroslav Freta the director role and we had 2 days for rehearsals. So instead of the Grotowski Institute who later became of looking for work I was learning my role and my theater director. I had to continue the the colleagues were rehearsing with me instead development of physical training of an actor. (For of enjoying days off. However, we managed. me it was an amazing opportunity and possibility After performance we returned home and in to get acquainted with deeper ideas, methods couple of days Viliam called me with an offer to and work environment of Jerzy Grotowski. collaborate on a new project with them on the For several years in the Grotowski Institute, Lorco`s Sonnets of Dark Love. I thought it was I had the opportunity to personally meet and about a three months project and then I was work with people who profoundly deepened my planning to go to India. The play was eventually understanding and approach to theater and to premiered a year later and I managed to go to the work of an actor / performer). In addition India only a few years later. I stayed in Prague to workshops for participants from Poland and for fi ve years. We worked on several projects other countries, I had the opportunity to develop together in the Farm. Later on Viliam gave me the training mainly in the theater ZAR. I started opportunity to lead some trainings. Gradually, leading the trainings there and later remained I developed a methodology of teaching, bringing as a member – actor in ZAR. I`ve collaborated new forms and structures to the movements. with the theater ZAR for seven years, we had However, it was Viliam who always decided three performances. One of them – Caesarian about the rate, rhythm, timing and precision. Section, Essays on Suicide, where I developed physical training, created the physical structure So how did you get from and I also play there, received this year‘s major Czech` s Farm to Poland? awards at the Edinburgh Festival – Herald Again, it was an incredible network Angel Award and the Total Theatre Award (also of coincidences. It was in the period when Farm in a cave `s Sclavi got an award in 2006). 11

interview When and how did the idea have to be found. However, it is diffi cult to defi ne of foudning a Studio Matejka start? what physical theater actually is. I imagine This idea was based on leadership workshops and it e.g. certain forms of legendary DV8 or Wim several years of experience that I had. Vandekeyubus. Dancers are trying to break Also, I got frustrated when I had created through a form of theater and transfer the action something with someone and that person then and motion to the present stories. I am extremely disappeared. In the theater ZAR it was a bit interested in it and admire it. However , I`m different, I worked there as an assistant director an actor, not a dancer, so my base is a dramatic responsible for the movement, but I did not theater and I see huge potential in possibility to have as much space as I wanted. The director be physical, to express motion, show expression, of Grotowski Institute once suggested that namely body expression. I really come from the I should found my own studio based on a principle tradition and principles of Grotowski, which Viliam of summer schools of Grotowski Institute, where Dočolomanský in many cases applied and used. It I occasionally led workshops, too. We wanted is literally an inspiration, not an attempt to invoke to use that model for a broader period of time the Grotowski method, which is now very popular so as to create a larger laboratory. The initial in the world. It’s a paradox, as there is no such idea was to repeat workshops and lectures every thing as Grotowski method, but everyone would three weeks. But when we announced the fi rst like to apply it. There are many cheaters who claim workshop, many people from abroad responded that their training and methods are based on to it. We realized that three weeks are something Grotowski principles. Grotowski left the theater in unreal and fi nally, we prepared a two-, three-, the 80s, when he began to focus on para-theatrical four-month internship. This model has worked activities. He invented many training systems, so far. Currently there is a new phase ahead of us. principles of work actors / non-actors within Studio Matejka had a program for a year and the theater space, working with energy. These a half, and this fi rst stage ended with a certain trainings, exercises and practices are what I`m number of completed internships. This was the interested in. I try to bring them into our work, phase of the input and research of the laboratory, but only under the condition that we can work where we – eight actors, two academics, and me with it in the theater. This is where I like to move. got an opportunity to look at different methods of work of an actor with his body, principles And what is the second that we knew and could analyze them in more phase of the Studio? details, as well as procedures that I have gained We ended the fi rst phase in March and by studying and observing Grotowski principle. I immediately went to America, from there Is your theatre based on a purely physical straight to Bratislava. We agreed that Studio theatre of Grotowski and his thought of theater? would continue, but in a modifi ed form. We agreed Physical theater at present doesn`t necessarilly to not only work on intensive laboratory research, have to be associated only with Grotowski. It can as the research itself is a natural part of our be seen more widely. work. We want to focus more on each other – me Often there are tendencies to see things in as a director will be focusing on the actor and the 12 a certain way, which is natural, certain criteria actor on me. It‘s not a mainstream approach that interview works in most cases when the director tells the at 100%. This is I feel a growing problem with actors his idea, and they are trying to fi ll it. We young artists and performers, especially in our start from the intuitive images, write a lot about country. Many get into their work too carefully, emotions, there is a lot of improvising and we are always thinking about something, analyze and trying to fi nd the form which is then amended into assess, instead of really get into their work, they yet another form. A surprisingly new situation are wasting their time and energy deciding how can arise without us inventing it in advance. We much they need to be involved, to engage. I call it create situation in a collage system, we work very „artistic tourism „. These people would like to try intuitively, but it is not complete chaos, a kind everything, but only in small portions, but nothing of shooting in the dark as someone might imagine. in depth, with a real personal commitment. In On contrary, this is stubborn precision, working this laboratory work one can fi nd huge talent, with tensions and releases of the body, with incredible skills and experience, but if an artist a constant need to articulate abstract and get to is not open to experimentation and fi nding his concrete, that there is in the body. For dancers it peak, if he refuses to inspect the sites in himself is enough to be abstract only in the motion, but not known to him and therefore often he doesn`t the actor wants to go further, he asks, what can he feel comfortable, he is stopped at each step he bring, where to bring it, and if it is understandable makes. In this case, it is diffi cult to ever move for the audience. And if not whether audience somewhere. Then the confl icts come and we end suspects anything more than a dance audience. up dealing with something else, but not work.

Studio is an international ensemble. But there is a risk of confl icts also with Do you have any special criteria your members, as you are together for selecting its members? every day for several hours. They are all actors, except for Magda who studied Yes, it happens. Crises are part of the dance and was dedicated only to the dance until process and all eight of us have had them. started working in the studio. I chose them online, Some were considering leaving, but we there was a kind of interview via e-mail. We survived and we are happy. Crises always attended some workshops together afterwards eventually opened a new door. I selected those who would be interested in working with me. Through workshops, I knew Apart from long-term projects, you also exactly whether there is something we can pass organize short workshops such as now to each other. My condition was that we had to at the train station in Žilina or in June in get to know each other through work. The person Bratislava` s Bateliere. To what extent I selected did not have to be an actor or a dancer do you manage in such a short time to it could have been even a non professional. work and “open” people that are there? I picked them based on my criteria, the level This is a question I often ask myself, too. More of maturity of the performer. Not only by the elements can be crucial, but the most basic readiness of the body, but also by their artistic condition is, that working with them will be and personal potential. The most crucial factor successful to that extent, to which extent the is the commitment and ability to deliver work person wants. If someone is open and dedicated 13

interview Workshop of M. Matejka to work, usually he is not afraid to cross their Can you guess whether some photo I. Lipinska boundaries and discover new and that` s how you of those people at the workshop can learn the most. I don t feel that I am a great have the potential to open up and teacher. I just try to bring challenges that can also open that physical side? be more diffi cult. But it’s up to the person, what Regarding the work on the workshop, I see when he will accept. Some people defend themselves the person wants to. And even if he has some they make me feel that I want something from barriers, he is brave enough to overcome them, them. That’s a big misunderstanding, I do not to break them. I appreciate it tremendously. Such want to work with pressure, I have no reason or a person will certainly make progress. I believe in right to do so. And I think that every person must the man, human will and human values. I recently decide for himself to what extent they undergo heard very wise advice from a close friend: „Do 14 the risk of involvement and self investigation. not dream about things, that you won`t carry out.“ interview And regarding the physicality of man, the idea that attacks – ukemi – must know how to fall. It‘s anyone could ever be without it, is absurd. It‘s amazingly sophisticated technology. I began to about feeling comfortable in our bodies, feeling “at gradually transform Aikido training into theater home”, as we feel in our thoughts, in our heads. training and that is also used in performance Anhelli. Of course, my whole methodology is You have been devoted to Indian infl uenced by all the mentioned techniques – by martial arts. Has it infl uenced your the way of working with the earth, a method direction, the way are you going? of working with a partner or warm up. Lately It infl uenced me immensely. It affected me I`m discovering butó. In California, I met two as a person, but also as an actor. Martial art is outstanding champions. Their work incredibly not only about technique, it is a state of constant hit me and I was convinced that Grotowski readiness to a potential attack. It‘s ideal of a fully would be thrilled. Asian dance is incredibly aware warrior. For me this is one of the principles concentrated energy of the body in space. that actor on the stage must control. But it is not enough just think about it. There are many Your Studio has an attribute of physical exercises that I implement to my training from theater. In Slovakia, there is the only Kalarippayattu. I just went through the fi rst physical heater, Debris Company. In phase, where practicing martial structure alone, many cases, however, we could say it is without a partner and without weapons. In this more about dance, it is a dance theater. fi rst part, Kalarippayattu has about twenty-six I focus on the actor, his physicality, which is more exercises that focus on legs and their stretching. specifi c than a physicality of the dancer. I would It‘s a great way to wake up and stretch your like to go beyond the boundaries of dance and body. For me as an actor it is a great experience. further away from it. However, it has many other Jerzy Grotowski was also inspired by it. He even problems. Dancers` work is too abstract and said that if he had known Kalarippayattu in the sometimes diffi cult to transfer their movements 90ies, he would include it in his training instead to what I call the action. That is a specifi c act of yoga. Grotowski institute sent me to India without unnecessary ornaments. Transmitting because of this martial art. Finally my dream values of Dočolomanský and Grotowski to came through... When I returned, I invited my work, I have a strong tendency to reject a few people to Poland from India to continue superfi ciality and constantly ask myself and my teaching this art. Sankar, my teacher now lives colleagues the question: „Why?“ I would like to in Wroclaw and he teaches Kalarippayattu work with text and one day even with the classic in Kalari studio within our Institute. At the theater plays. But I`ll try it in couple of years. moment I do not practice this art, I discovered To make the body „physical“, you must fi rst put aikido. In the Theatre ZAR we started working it into motion and it is not an easy nor quick on a project Anhelli, the idea was based on task, it takes years. My dream for a performer the fall. Aikido he most advanced techniques is to be able to express himself with his body to of falls, because you all the time work with your the same level as an actor works with words, partner. When you throw your opponent to the a singer with his voice, a musician with a musical ground or there is some kind of spin, one who instrument. The combination of these capabilities 15

interview not only provide great opportunities for actor fi lms for the presentation of the Studio. These are / dancer – performer, but it opens up a whole the experiments created during the rehearsals new space to theatrical and fi lm language. shot by the camera. These fi lms were created thanks to the cooperation with Adam Hanuljak Any plans for the future? and Peter Kotrha from the Slovak documentary Currently I would like to prepare a series group DogDogs. Adam spent many months with us of short performances in the Studio, which shooting the fi lm material that will now be used for would act as separate units or solos, possibly the fi lm about Studio Matejka. One of these fi lms duets. It would be ideal if they were compatible, already won the top prize for best experimental so they can be shown together in one evening. short fi lm at Los Angeles Underground Theatre The creating of a whole performance is now Festival. Another has just been fi nished and essential to me as a „laboratory“. Being in the we are about to distribute it worldwide. ø laboratory is important, but equally important is the moment of coming out and opening up. Studio Matejka is now at the stage where we are going to open up to the world and prepare some of the material we have created and formed throughout the year. It‘s a natural necessity. The studio has big ambitions at various levels. The most basic is the process of how an actor is working. Another aim of the Studio is expanding the medical and rehabilitation activities. We work with a physical therapist for the Polish Olympic team. Together we are looking for Matej Matejka (1978) a concept that would help bring an actor to his A founder and a leading fi gure of Studio Matejka in physicality. Another thing is pedagogy. We teach Wroclaw. He graduated from the State Conservatory in schools, do workshops for actors, for theater- in Bratislava, later studied Musical Performance at dance faculties. In more details we would like to JAMU (Janacek academy of performing art). From 2001 dedicate to fi lm media in connection to capture to 2006 he worked as an actor in the “Farm in a cave” our language in motion (motion language). I would and together with Viliam Dočolomanský created like to continue creating short and longer fi ction a project Sonnets of the Dark Love, Journey to the fi lms focusing on body language, combined with station and SCLAVI / Emigrant` s song. Since 2005 he expressive reality and the abstraction of the has worked with the Grotowski Institute in Wroclaw, situation, the real physical situation and acting where he has been involved in research about physical and how they work together. For example last expression in the theater. Matej Matejka worked year Peter Pavlac and I wrote fi lm screenplay as an actor and a leading fi gure in the physical training that I would like to see come to life make alive. in Teatr ZAR, where he worked on several projects. I would like to transfer body language into a real Currently he leads workshops, internships not only collaboration with dramaturges, real situations, in Studio Matejka, but also in Europe and America. 16 with real stories. So far we have created six short interview MICHAELA MOJŽIŠOVÁ Peter Zagar opera critic Today, I consider more each note

You belong to a small group of composers who continuously compose incidental music. Therefore a somewhat trivial question for the beginning: what is your relationship with the theater? I started as a completely usual viewer; nothing that would arouse from childhood, nor any family tradition. I got closer to the theater while studying at the Music Academy composing the music for some colleagues from the Theatre faculty. Since then, the theatre has attracted and entertained me, although I‘m not a fanatical visitor of every production. However, my positive attitude towards the theatre is probably determined by the overall inclination towards Music is a part of production that visual expression – I also like fi lm and kinetic art. viewers generally perceive subliminally. Inspite of that or on contrary because An interesting part of your „theatrical of that it is the spice of good live resume“ is a chapter Stoka (theatre theater projects. One of the few Slovak Stoka) . Do you consider it important? composers who regularly works with Looking back, I realize that it was an important the theater is Peter Zagar who recently stage of my life, However, at those times,it celebrated his fi ftieth birthday (1961). wasn`t so obvious, I took it quite spontaneously. Stoka was exceptional for the way of work photo R. Hutter as well as type of the theatre that it produced. I have some nice memories from that period. 17

interview Let‘s talk about your work. What composer is equal. Usually I received the topic follows after you agree to compose of the play but without exact requirements. incidental music for dramatic staging? Choreography was done on the basis of the Do directors try to infl uence you music already created and therefore music to follow their vision, or are you became one of the inspiring factors. However, completely free when composing? I participated in some projects where music was First I need to familiarize myself with the created during the rehearsals, an improvisation upcoming stage form and specify what function and we „recorded it“ in that way. music has in the production. Whether it should be referred to as „incidental“ in the sense of musical Another case is, when the dancers bulkheads, or it should reveal something not choose your composition/music for mentioned or whether it should have the motion their choreography. Do you think that function. Anyway, I`m not trying to illustrate your music has „dancing nerve“? something, I want the composition to be I really believe that music is bound with autonomous in terms of musical values and movement. Not only on that elementary level that it metaphorically correspond to the scenic that dancers dance on the music with the music. action. It wouldn`t really like to underline the Music as an art is a vibrating movement. It dramatic action with some dramatic music. is not crucial if the rythm is on three or four beats. Even songs which do not demonstrate Up to now, most of your drama a clear impetus to dance, move. Musical idea, productions have been done with melody, it is metaphorical motion. Perhaps Svetozár Sprušanský. How would you this moment in my perception of music has the characterize your mutual cooperation? effect that someone is inspired to dance. I think it was well balanced. He expected that I would come up with an idea or impulse, You are not only a composer of the music but he himself had a good idea of what for several choreographic projects, he is going to do. I got well formulated but also the author of the full-length expectations but not ultimate expectations ballet Midsummer Night‘s Dream. towards incidental music. He outlines some This is your largest piece, before you boundaries but within them I had a free hand. composed smaller pieces. How have you coped with the larger space? A major part of your cooperation Suddenly I found myself in a completely with the theatrical sphere is dance different „mode“ than I was used to so far. theatre. My guess is that there is more The task was clear full-length ballet which space for you and to your own input means about an hour of music twice. I received as a composer than in drama... a screenplay with the strict order of the scenes, I worked on some projects of contemporary respecting the Shakespearean original. Even dance and there, at least in my experience, the choreographer had choreographic approach the relationship between choreographer and based on clearly illustrated storyline. 18 interview It must have been hard for you – Other role models and their influence? I know that you prefer abstract or Brahms, Chopin. Also Bach and Beethoven. methaphysical principal to a plot The more I listen to them, the more I discover illustrating principle, is that right? the depth and realize they are untouchable. Not really. When I accepted a Midsummer But I was also influenced by American Night‘s Dream, I knew that it shouldn`t be minimalism. I like contemporary music a vague paraphrase or imitation, but the classic composer John Adams and his works. concept of the dance version of the famous play. A bigger challange was the system of work; You mentioned Brahms, Chopin. order of the scenes determined the proportions This leads me to my next question of the scenes and I had to fullfi l the given periods – you studied piano, but you don`t of time with music. Some of them, however, compose any music for it? were longer than I was able to adequately Only a little. My hands are bound at the piano. embrace. At times it resembled a jigsaw puzzle. Playing it for such a long time, my hands I guess I need to make a few more ballets remember a lot. When I write something, to become a real professional (laughter). I fear that it will have trodden paths. Simply, I have too much respect for piano. As a creator and a recipient you have a deep relationship with Igor Stravinsky, For a certain period of time (1994 – admiring Arvo Pärta ... so composers 1997) you have worked as a freelance of the 20th century whose music despite artist. Isn`t it a bit adventurous for the all modern music „achievement“of the the composer‘s existence to do that? time remained very communicative, At that time I felt that I was working on creatively confronting the past. many projects , so I had no fear of making Have you ever been tempted to go a living out of it. Maybe if I just focused down the path of „avant-garde“? on the music, I would have felt more Certainly in the early days – at school and just an existential pressure. However, in addition afterwards – I was more like a sponge. I tried to composing, I also translated and wrote to absorb all main and smaller directions and for magazines and professional journals – participate in the sphere of music. But eventually I didn`t dedicate myself only to music. I realized and made it clear to myself that I`m not that kind of person who longs to shock, or Can you make a living out in any new work break down everything and of composing music only? build something new. I fi nd rather challanging If a composer doesn`t compose music to fi nd continuity without slipping into for commercial sphere or for advertising anachronism or taking excessive eclecticism. companies, then no, I wouldn`t be How to make the most of the things I carry able to make a living out of it. inside of myself, my own musical language.

19

interview The Magic Flute (d. S. Sprušanský, Slovak National Theatre, 2010) photo C. Bachratý

adapts tightly to the music. The Slovak language with its diction, accents, number of syllables often leads to empty phrase (fi ller). The problematic are three syllable words with an accent on the fi rst syllable that are very common in our language, which automatically evokes triplets Since 2000, you are the head of the (triola). And triplets are really cliches in vocal editorial department of the Music music. I have to really consider what text to use. Centre. Do occupational requirements But the result is worth it – a quality text made deprive you of your creative energy? into music is one of my compositional dreams. Yes, I have to admit that. Although the professional work that I do in the Music Centre And while we‘re on the topic of singing – brings me joy. But the fact that now I compose what is your relationship to the opera? less than I used to is not due to my work here, It is developing in the sinusoid from the lower actually there are more artistic reasons behind it. to the upper extreme. Initially I was impressed I think more about what to write, when there is by Wagnerian principle, his sence for symphony so much music already written. Twenty years ago and its harmonious openness. Howerver, I composed spontaneously, nowdays I consider it has changed over the years – now I love every note. But it is true that an administrative numbered, canonized opera, where everything job is not exactly a source of artistic inspiration. is clear. It is more exciting to discover it again than to fulfi ll the scheme with live music. A considerable part of your compositions are you dedicated to the human voice Is an idea of composing – whether as a solo instrument or an opera appealing to you? choral ensemble. Is there a larger I keep saying „yes“ for years, but I do not have demand for this type of compositions suitable libretto, so it‘s a bit embarrassing to or is it your inner inclination? repeat it over and over. I would love to compose Partly, it‘s really a matter of demand. Slovakia has an opera, but so far I have not sat down and a strong choral tradition, making music for the done it. An important decision is, as I mentioned choir usually meets a potential artist. In principle, earlier when talking about vocal music, what I have a close relationship to vocal music, language to choose. In addition to opera, although making texts into music is far from easy. I`m also thinking of composing a performing I personally like working with the Latin texts, oratory, something similar to what Igor 20 mainly due to the rhythm of the language, which Stravinsky composed on classical themes. interview For the past twenty years, Slovak operas Currently I have been involved in organizing the are as rare as hen`s teeth, and those festival Melos Etos, where I had a couple of nice that get on stage, even less. Why? experiences. And before this event I participated in I think the problem is on both sides of the the festival in Lower Austria Grafenegg which was „barricades“. Composers ask: why should we quite energetic experience as well. It is organized write an opera, if nobody will adapt it on stage. by a pianist Rudolf Buchbinder and this year the Opera theaters suggest that there are no new residential composer of the festival was HK Gruber, existing works available. So composers should an Austrian, who thirty years ago had become compose more operas and theaters should famous for his cantata Frankenstein! Currently he is motivate the composers to do it by giving experiencing a renaissance, and composes a lot. In more stimulus – perhaps through contests. addition, in Grafenegg he introduced Brecht-Weill And another problem is a lack of trust and scenic oratorio The Seven Deadly Sins, starring underestimation of contemporary works Angelica and Ian Kirschlager Bostridgeom. It was by authors as well as artists themselves. a breath of fresh air for me – to know that you can So as always – the truth is somewhere in exist normally and play music with passion. ø the middle. There are no new works, and if productions that get on stage don`t meet the expectations of the authors, then comes Peter Zagar (1961) dissillusions and we are in a vicious circle. Studied composition at the Faculty of Music and Dance Academy of Performing Arts in Bratislava under What do you think about Slovak opera Ivan Hrušovský (1981 – 1986). He worked as a music theater in general? Do we have the director of the Slovak Radio in Bratislava (1987 – potential to fall in the European context, 1992) as well as an editor of the Slovak Philharmonic or are we doomed to provinciality? orchestra(1992-1994). He spent six months in France I see potential in the young generation, (1992) and got a scholarship ArtsLink in Philadelphia especially in singers. The problem is the (1999 – 2000). During the years 1994 – 1997 he was orchestral component. The situation calls for a freelance artist, since September 2000 he has been a conductor or director who could motivate the acting as head of the Department of Music publishing ensemble. Currently SND Opera is in decay, business center in Bratislava. His compositions people are discouraged. Protruding talents were introduced at prestigious festivals home fi nd jobs abroad. They might be interested in and abroad – in Prague, Vienna, Krakow, London, taking part in the events, but less successful Paris, Amsterdam, New York and St. Petersburg. In colleagues do their best to make it the least addition to composing chamber music, symphonic pleasant possible. But if there are more and vocal tracks, he regularly collaborates with motivated, less dissappointed people, I think a drama and dance theatre. He has received several that this potential would be fully manifested. awards, including prize Dosky '98 for his staging Courtship / Bear in Nitra. He is also a journalist Finally something optimistic: have you and translator, he is one of two editors working on got any strong experience recently Encyclopedia of One hundred Slovak composers. that would give you energy? 21

interview MIRIAM KIČIŇOVÁ Daniel Majling dramaturge Reading unimportant things is not part of my life

Dramaturgy is the least comprehensible occupation among theater professions. Regardless of exact defi nitions in various dictionaries, competences and creative contribution of a dramaturg for the stage production is still questionable. “Supposedly”, his work begins to be visible exactly when it is not sensed and something does not function in the production. We spoke with Dano Majling about the obstacles and the creative opportunities of dramaturgy. photo Archive of D. M.

22 interview Where and how did Dano Majling learn When you resolved to attend the about the study of dramaturgy in entrance examination, did you not Muránska Dlhá Lúka? Would he guess have a problem with for example while at the gymnasium what it takes? analysis? Not every high school No he didn’t. During the gymnasium in Tisovec, primary dedicates time to dramatic I was convinced that I will study literature and text analysis. Did you attend preps? Slovak language. Not until the fourth grade did As far as I know high schools don’t teach analyzing I fi nd out what the study of Slovak language any text, not that of dramatic ones. Frankly, bears – grammar, phoneme, morpheme, etc. I didn’t even attend consultancy days. In my view, and I got a bit scared. I realized I have to quickly if one goes for medical school nobody asks at the change my life plans. At the Tisovec school, entrance examination how to perform a surgery. I was also doing theater which enchanted One learns it there. I’ve rather had problems with me. When you write – back then I’ve already collecting the plays given us for analysis, since the drawn comics – is a very asocial work. When library in Tisovec doesn’t belong to the list of the you want to do it properly you got to have most equipped ones. So at school we didn’t have “sitzfl eisch” – sit through it on your own. One any analytical activities, but I remember that gets a bit set apart from a community by this several times I went to the literary club of Ľubo activity. I’m an introvert, but only moderate. Šárik in Rimavská Sobota. Or maybe it was only So in high school times, it seemed theater has once. Remembering now, there was the analysis a lot in common with things I like – literature, of one poem by Válek and on the way back our bus drawing, and writing and also encompasses had an accident. Owing to that crash, I stopped social interaction with other people. True, going to the literary club in Rimavská Sobota I didn’t suspect yet what the communication – literature seemed to me as too dangerous. with actors will later mean. Then when I decided that Slovak language and literature studies are What did you learn about dramaturgy not what I want, I went through the book Where in school and in practice? After fi nishing for a University, I found the major dramaturgy. your studies, you’ve directly gone to the I verifi ed the exact meaning in a dictionary Theater of Andrej Bagar in Nitra. Studies and concluded that it is precisely what I want differ from problems brought by practice to do in my life. With Soňa Uličná, I think we with which a dramaturg is confronted. were only two students in that year applying I was in the year under Peter Mikulík and we, directly for dramaturgy. I used to get mad and dramaturgs were supervised by Martin Porubjak. still I’m – I’ve already mentioned it more times, He often used to talk about his experiences in but it must be repeated – that a dramaturg detail and when he saw something interesting is often considered a director without talent. clarifi ed it even more. Martin knew perfectly An unsuccessful applicant for the study and arrestingly to analyze a stage production. of direction was often told: “Unfortunately, you I do believe it’s the right method of dramaturgy don’t have what it takes for direction, but you studies, because dramaturgy is nothing else would still manage the study or dramaturgy.” than contemplating about things I saw, read 23

interview and what is happening around us. Of course, during Mišo’s rehearsal, then I’ll go to him there is a difference between school and real whisper couple words and he knows exactly what life. In practice, very strange ideas prevail in I mean. Our communication is very swift, what the role of a dramaturg. Sometimes actors is important for not hindering run-throughs. view him as a head of a union and ask him to He is able to judge if what he hears from me is convey their feelings to the director. Almost, good or bad. Indeed, it was necessary to build like the director being an exotic animal and the up mutual trust, also for me to know that if he dramaturg a tamer. Besides, only real world refuses suggestions I should not take it personally. teaches you how to pass on ideas. It’s very After our studies, while working together for important. Especially, when a director works with long days in Košice, Martin, Nitra, machine a dramaturg for the fi rst time, awkward tension of our cooperation was fi ne-tuned. Certainly could arise between them. For instance, an actor nothing is idyllic. Occasionally we argue, bark says at the rehearsal: “But we talked about at each other, but it’s normal – I always have this with Dano in the cafeteria and we think…” some tension with every director with whom The director could have a feeling the dramaturg it was or is worth to have. Also with Roman is directing behind his back. If I had missed Polák we sometimes “provoke” each other. a subject in school, certainly it was diplomacy. For the fi rst time, did you meet Roman In the world of theater, it is customary Polák while working together on Piargy? and quite welcome if there is a stable Yes. Of course, I knew who Roman Polák was, pair of director and dramaturg. Even saw his productions, Porubjak talked about more fulfi lling is if a directing tandem him, and till Piargy I’ve met him in person only fi nds each other during their studies. twice. For the fi rst time during a competition, In a similar way, you have teamed up where he was quite unpleasant towards me, with Michal Vajdička. How did it come and the next time on a school trip to Vienna for about to search for your own director? Roberto Zucco where he was present as well. Though, I mean „own“ in quotation marks without any heroizing. Eventually this transformed into Actually it was by coincidence – we were a more permanent cooperation. classmates. In our class year, there were fi ve More frequently you end up in dramaturgs and two directors – Roman Olekšák creative teams exactly with him (not and Michal (Mišo) Vajdička. We needed to split referring only to Anna Karenina)… up. So then, Mišo and I had begun to work on We’ve worked together in the TV movie Devil, Stodola’s Comedy during which we often quarreled. twice in DABe, in SND Karenina, we’re preparing I like working with Mišo, since we differ so much. The Brothers Karamazov and Castle…Refusing He is great at communicating with actors, is cooperation with Roman Polák would be hard. able to simply explain things I would otherwise He is a director fascinating already during run- pointlessly blabber about as a dramaturg. Then throughs…He can very well pre-act which I enjoy again I have literary knowledge. Now we are looking at. I’ve worked with many directors, 24 so coordinated that if I come up with an idea but as he constructs a situation right from the interview beginning is better than many other directors’ I enjoy working with Polák and Vajdička. At the fi nal outcome. Emphasis on the theme suits me beginning of each project, there is a topic. I don’t as well. For me an explicitly formulated theme claim we always succeed in saying something is more important than pursuit of some kind essential, but most importantly we always try. of remarkably aesthetic experience or novelty. I might talk as a sixty years old, but really I’m During our walk to the café we’ve talked not interested in a theater neurotically seeking about how our theater is not invited something new what would pull us out from to Europe, to international festivals, boredom. I’m not interested in “interesting” don’t you think it is due to us being books, movies, theaters; in life I need essential narrowly connected to interpreting the books. I’ll not live here so long to be able to word by word, rather than expressing afford reading unimportant things. Similarly in substance by other means? That we are theater, for me the most important aspect is not innovative in form and currently when the director asks a fundamental question, Europe being more attracted by and I don’t care if his ways of expressing himself conveying the word in other forms? are repetitious. Prose is closer to me than Our theater will begin to interest Europe as soon poetry, a theater of exact formulations than to as it will interest us. The problem is not about associations. To be more specifi c: imagine two Europe not yet discovering us or not having people, whom you would request to say something talented people. Culture is not done for export. about war. The fi rst would begin by associations, The problem is here when somebody writes would search for untraditional links such as war a good book it’s like throwing a rock into the is like fl ower, meadow, sky, sea, a war is black, water. If Timrava was read by people, meant death, etc. and this speaker would say that it’s up something for them, created polemical debate to the audience to chose which aspect he or she which would attract more than just three weird prefers. This speaker offers several options and nationalists from Martin, if Slovak theater was doesn’t want to impose obvious interpretations. important for the Slovaks themselves then it While the other speaker would say for example doesn’t matter if it interests the world or Europe. war is transforming European rationalism into Maybe eventually it would. And maybe not. More perfection. Or big national wars are logical crucial is, if Slovak culture is essential for Slovaks. consequences of a social system emerging for I would be very curious to know how many artists, two hundred years now. I would prefer the later cultural staff of theaters, libraries or galleries type of statements – similarly as if somebody have read at least the Anasoft litera fi nalists. wrote for example in a classical, boring and old Since it doesn’t even interest people working sentence something essential on war. In case the in the cultural sphere, how could we expect to topic of the sentence is troubling enough, radical arouse interest in Germany? This is one thing. enough in its statement while also provides Other issues concern the non-verbal theater, evidence, then I don’t mind if the sentence which is defi nitely more suitable for a festival due loses its rhythm, don’t contain neologisms, to practical reasons. I myself would rather watch and uses words I’ve heard million times before. something without words. Who would like daily to This same is valid for me in theater. This is why read three plays? And then you sometimes don’t 25

interview even know who played in it, because you were even this examinational period was “agitative”. reading the subtitles the entire time. Though, it’s We dealt with folk theater, read works by my laziness. Besides, I believe that the word- Bogatyriov, Propp, Šklovsky and we were reading speech is underrated. I don’t mean to offend folk tales. It was fun and useful also from the anybody, but a dancer would hardly dance about aspect of mental hygiene of the ensemble. the social causes of the Great French Revolution. I regard this one of the best examinational Please don’t get me wrong, I’m not attacking periods when taking into account the mood dance and music, but word as such is momentarily of the collective. The actors didn’t consider in a defensive position, thus I try to argue for that they expressed something fundamental the “talkative” drama. It’s not an obsolete in Piargy or Everything for the Nation and now issue. We should not make fools of God or they will do something “banal” for the kids. evolution creating words, which they created fairly uselessly, as it would have been simpler Co-work with Kamil could be quite to dance and sing away everything. Possibly odd, couldn’t it? First, he has to recast with words such things could be expressed everything on his own, then digest it for unable to defi ne by pictures, dance or music. a long time and nobody knows what, when or where it will be or go. But he From time to time, as an internal has an enormous ability to open up dramaturg of a repertory theater you actors. And it is not very hard to crack have to select titles less fundamental an actor to play by “Kamil” style… due to their context and without Two moments were important while working meaningful messages, because people with Kamil. Firstly, it was fi nding people willing to don’t want to think about essential “play” with him. Not even in our theater everybody issues. They come to relax in the theater. would commit with the same vigor. While Kamil How do you deal with the fact, that the is a very subtle person – not only by his looks, idea of dramaturgic thinking is about but also by self-representation, doesn’t yell or proposing agitative issues, provocations scream, doesn’t spread fear, then again he needs for brain cells or emotions and this exactly such colleagues. Second thing is that he cannot be often fulfi lled in a repertory needs time to digest issues. It is most unfortunate theater? In this sense, a dramaturg is that we often try to outrun things and don’t give a person obliged to make compromises, them enough time. Afterwards we see all those artistic, personal, creative... semi-products on stage. Probably it is time to Actually, I have had several titles not being at all reassess to prolong the term of rehearsing period. agitative. I worked on compulsory dramaturgic For the Mátohy (Scarecrows) we prepared for over challenges, such was a fairytale with Kamil a year. We were looking for materials, talked one Žiška. No doubt, the task of tales isn’t about week only about this. It was summer; I didn’t disturbing messages encouraging children to have to deal with anything else, fi nish bulletins ponder upon life that it is not just about playing or a play dramatization or reply to spectator’s or kindergarten, but there is death, neurosis letter unsatisfi ed with one of our productions. 26 and psychosis waiting for them. However for us, It was a week spent only with Mátohy. interview When you are working as a dramaturg means nobody wouldn’t even notice I’m not with a director unknown yet, you are there due to the high spirits of the celebration. meeting him for the fi rst time, how is the concept created? Suppose the Till when, before the premiere is director comes up with a title’s clear possible to say fundamental and crucial interpretation, which he chose, and things supporting the entire work? do you adjust to his thinking or do you Even during the preview. At that time, as a dramaturg suggest him to proceed I communicate only with the director. This is to interpretively in another direction? ensure the kids have an impression of mom and How does this exchange of opinion, dad working on the same side and not trying to dialogue happen with the director? traumatize them with disagreements. Of course, In the fi rst phase I don’t adjust at all. During this dad is the dramaturg and mom the director. period, the dramaturg has to have an apparent idea of the text – what topics it could refl ect Isn’t it the other way around? upon, what still a correct interpretation is and It’s not. In theater, dramaturgy represents what goes beyond it, etc. This is my job – to know a male and direction a female approach. After the more about the text than the director. Later at the dramaturg impregnates the director with a title rehearsals, indeed I let myself to be captivated and his concept engraves a form into the future by the director. I don’t necessarily have the stage production, he leaves alone the director urge to “complain” or comment everything just at the “arrangements” just as the mother takes to prove I earned my salary. I’m very happy to over nurturing of the child right after giving birth. be the “yesman” to the director. It is the best A dramaturg remotely follows events, talks with feeling at run-throughs – a sense of uselessness, the actors in the cafeteria, at the end of run- when the only thing I can say is “Good!”. throughs comes in to “kid around” with actresses, just as a dad does after work with his kids. At Up till when has the dramaturg a real this stage, a dramaturg is the good one. The chance to intervene in the emerging stage director represents fertility, from whose breast the production? When does his work end? production receives its energy, substance. When Work doesn’t even end after the premiere. It’s the production is old enough, the dramaturg gets good when a production holds it all together even on stage – serious, without a maternal love that after the twentieth performance and either the the director eventually acquires towards the play. dramaturg or director attends individual plays He criticizes. He reveals the differences between to “guard” it. In this I’m a bit lazy. If I was to plans and the actual state, to which the director’s receive sanction from our director, then it would playfulness led the project. The director asks the be for this. During the premiere, I’m already dramaturg where in the hell he was up till that thinking about issues waiting for me, and I feel point. After the premiere, actors maintain cordial aversion and distaste towards the current play. relations with the director. With him they have Thus, I pray for the premiere to be successful, a physical tie a nurtured one under his heart. The otherwise absence at the reception would be position of the dramaturg is clearly not defi ned. viewed as cowardice but a positive outcome Here also a Latin saying holds mater simper certa 27

interview est, pater incertus. After the premier everybody theaters. Here, we are always stressed. We asks what his imprint is on the production. It don’t know if these are economic pressures, or is only subtle, invisible information existing pressures from the founders, but we are stressed on the borderline with the visible elements. by everything. Julka Rázusová says, the killer So as there are repeated refl ections on how of Slovak theaters is fear. How it ends, how it will the father’s presence is negligible when raising be received, who will and how they will read it, children, since he would never be so close to them what will be written about us. We focus solely as a mother due to the umbilical cord, then there on results and success. If in any Slovak theater is contemplation on the purpose of a dramaturg. had happened what in the Dejvicke Theater then half of the ensemble would have been Have you had a case, where you were admitted to the emergency with heart attack. divorced as a dramaturg? In such We had been preparing for a title half a year, cases, raising kids is more complicated which we canceled after two weeks of run- and mutual dialogue is harder, but throughs due to illness. Suddenly, we had six children have to be brought up. weeks to write a text, come up with stage works, Inside I was divorced, but pretended costumes, and study. And nobody was stressed in front of the kids. For the children we about it. It was considered as a normal progress obtained the illusion of marriage. of rehearsal period. They counted on a situation that everything we had, we have to throw away When Dano Majling conducts dramaturgy and start over. Actors were prepared for such at home it is different from when he visits circumstances and nobody had a negative or another theater. How is to be a visiting non-constructive attitude. In our theaters dramaturg? Does it affect your work? we got many opposite types. Slovak directors Basically, I am approached by directors based spend a lot of time in theater just convincing on previous cooperation, a model which we actors that what he means might not be as awful follow during these guests visiting dramaturgy as everybody sees it with his or her “optimism”. works, too. More or less, it is about if cooperation It is also exciting to work with a different type functions with the ensemble. There was a case of actor – an actor of a big city, other culture with when it didn’t work out at all, so it was suffering diverse view. It was completely normal for the to be somewhere where you knew during older generation of Slovak actors to build up their the second week of run-throughs that there own library. I don’t have a problem to visit Žofka is no way out and the prospect of premiere Martišová with a request to borrow Hviezdoslav, represented a big black whole ahead of you. she would defi nitely have it. If I asked the younger On the other hand, when chemistry is just right generations, they would laugh and consider it between the direction and group, then it feels a joke. It only seems that absence of a library refreshing. For example my current experience for acting isn’t a setback. Indeed, its absence is from Prague is very inspirational for me, though a setback. For example, about recent work of Czech at this point I don’t know how it will all end. literature I’ve learnt from Martha Issová, while But you suddenly work in a big city, without all news about CERN from Martin Myšička, who by the 28 that pressure a dramaturg faces in provincial way graduated from nuclear physics, etcetera… interview Piargy (d. R. Polák, Andrej Bagar Theatre Nitra, 2007) photo Collavino

It has begun by a co-operation with Roman Polák during the Piargy. Initially, he was supposed to do it on his own, but right from the beginning we closely worked along with each other and eventually I fi nished the last scenes. At the beginning of our interview I mentioned writing is an asocial thing, in this case all of a sudden co-writing entertained me. Heretofore, I enjoy stage adaptations the most with Roman Polák.

How is the adaptation’s structure built up? For you what is the guiding thread? You don’t always follow only narration During these visits, which ensemble of the story, but you often select a topic, does Dano Majling consider to respectively a broader completed be in a very good state? segment, which do you go through? Nitra would be in a good state, if we had Roman Polák is more intuitive, I am more a generation of people in their forties and systematic. I take a novel, read it through fi fties. It’s only a question of ten years for our twice or thrice afterward I dissect it. In details ensemble to age though. Exactly the problem I make notes, categorize the motives, and select of aging traumatizes actors, while it makes me the dialogues. Then I write the adaptation’s happy professionally as a dramaturg. However synopsis, what Polák doesn’t do, he simply begins. in Nitra, I’m connected with the actors more I sketch everything in advance. An example than professionally, so I cannot be objective. of a typical note of mine: “The fi rst scene is Here I enjoy working the most with actors, with based on a situation found in the novel on pages them I did a lot of productions, I trust them 36 to 42. It will be a leading situation, which the most and vice versa, they given up illusions I will make even more dramatic by including about me, so we play with clear cards… information from page 55. For easing the scene, I suggest to put on an anecdote from page 325, You have dramatized many big opuses thematically interlinked with the confl ict.” And and are preparing further. Are these so it goes. I love books offering immense amount commissioned by dramaturgy or are of variability, thus a lot of material – so long you accepting director’s proposals, novels. I have already adapted also “thin” or yours? How did Piargy, Anna stories – short stories, but it’s much harder. For Karenina, Dead Souls emerge…? this reason, I love Russians – there are so many 29

interview thoughts, topics and motives, from which you to meet or take calls. So really I have no idea can draw inspiration. Indeed, I enjoy living off on what even theoretically I would anticipate from something so stuffed as the Russian literature. a dramaturg….(very long silence)…I don’t know. Just recently I was working on Irvine Welsh. His short stories are excellent literature serving How did you come across a co- as a suitable base for fi lm, but for theater it is operation with Edo Kudláč on the too “thin”. I opted for a method of reading his Crime and Punishment in Košice? other novels and books – Trainspotting, Porno, It began after his The Idiot. Edo told me of his The Acid House, Ecstasy, in order to penetrate intention to do another Dostoyevsky. So I read his topics, absorb the style of his syntax and every novel by Dostoyevsky. I wished to work humor, and by this to achieve imitation, develop on Bessy, but we ended up selecting Crime and situations in his way of poetics. In other words, Punishment. I was following Edo’s work and to create variations in his style. It’s like a forger dramaturgy in the Žilina theater, which I grew very studying the style of Leonardo da Vinci and fond of. I don’t really know him too well as I do eventually he will paint a completely new painting Mišo, but I’m curious about his work. I would like utilizing da Vinci’s characters and technique. to be at the processes, too. Surely, I don’t want to interfere into the dramaturgy of Martin Gazdík, Which of these adaptations but I’ve spent so much time sitting and considering were the most diffi cult? this novel that I cannot ignore the outcome. The most complicated stage adaptation was the Dead Souls. You have to come up with Don’t you think we have more potential an ending as they are not completed. It does in prosaic works and their eventual seem as an easy job, albeit full of pitfalls. The adaptation than in original plays? writing is too epic, including lined up episodes, In my opinion, situation around Slovak drama which each ending everybody recognizes. You is not bad at all as it is regarded. The problem is cannot create a narrative tension. In Piargy authors need their directors. In Germany, Dea having a lot more complicated and spread out Loher has Kriegenburga, etc. Importance is in structure, paradoxically it was a simpler task. director-author tandem founding. I don’t have a feeling of missing authors. Not even what they What does Dano Majling expect write are rubbish. For instance Zaki (ed. note: from a dramaturg of a specifi c M. Zakuťanská) is very talented, but for her to theater? I assume communication be recognized, she needs Rázusová or Zupková regarding the dramatization isn’t to direct her plays in professional theaters. just with the director…? So I would not underestimate Slovak drama. I can answer only theoretically, because even And regarding Slovak prose, there are interesting when I was working for other theaters then authors I keep thinking about. Indeed, in our comments from the dramaturg were conveyed theater in Nitra what really made an impact was to me mostly by the director. I’m always rather the Slovak season. The Statky-zmätky (Estates- stuck here in Nitra or at home, and entrust Confusions) has its seventieth performance in the 30 every meeting to the director. I don’t really like Great Hall, which is not even allocated to some interview musicals. The audience simply seeks to watch poetics and attitudes. This doesn’t refer to us. this compulsory reading from their school days Currently, there are not so many individuals refl ecting their own character, though a picture as in the eighties such as Vajdička, Bednárik, not very fl attering. Possibly this is a path to fi ll Uhlár, Nvota, Polák etc. – altogether maybe ten up six hundred seats with good quality titles – to directors born in a time scope of 15 years. About adapt great Slovak novels such as Červené víno them we could also talk as a generation, though (Red Wine), Tisícročná včela (The Millennial Bees), in a different sense as about the “korzists”. Živý bič (The Living Whip), Agáty (Acacia)… So far, we are just scattered individualists. To create a strong generation, theaters should offer Talking about playwrights, could Dano more ambitious projects to young graduates. Majling one day become a dramatist? And not only one chance. They cannot work No. I would rather be author of pseudo-scientifi c under the prospect of not succeeding for the tracts on evolution, quasi novels and comics. fi rst time, and their work doesn’t appear on the Dosky, meaning they lack talent. Novices Do you have a dream should have the opportunity to try out processes, of a stage adaptation? experiment and theaters should cease to stress I always wanted to do The Brothers Karamazov, them about the anticipated outcomes. ø which came true. It’s a good example of a work I consider a crucial reading. I would also like to adapt Woodcutters by Thomas Bernhard. It consists of essential issues on artists, described sharply, specifi cally but with irony. Daniel Majling (1980) Is there a functioning generation, Graduated from dramaturgy at the Academy inter-theater communication? Is of Performing Arts in Bratislava. Right after graduation it necessary? Maybe calling for he has become the internal dramaturg of the Theater a certain dialogue is unnecessary… of Andrej Bagar in Nitra. Since then, for this theater in practice nobody is interested in he’s adapted several prosaic works, e.g. Piargy, talking among themselves…about Dead Souls. He co-operates with other theaters in theater…about all sorts of things… Slovakia. For the Slovak National Theater (SND) A generation dialogue cannot exist, together with director Roman Polák prepared the if a generation doesn’t exist. I guess dramatization of Tolstoy’s novel Anna Karenina, I communicate with my entire generation for the State Theater in Košice Dostoyevsky’s – Vajdička, Žiška and who else is there? Crime and Punishment, for the Dejvicke Theater in Prague Ucpanej system (A Blockage in the System) – There are more of you. Viktor Kollár, adaptation of a prose by Irvine Welsh. Dano Majling Mišo Náhlik, Kubo Nvota, Monika is author of a comic book fi gure Ruda, a frustrated Michnová, Martin Gazdík... individual, formulating answers to not yet revealed When it’s said “Generation of Theater on Korzo”, basic epistemological and ontological inquiries. everybody imagines something specifi c – faces, 31

interview ELENA KNOPOVÁ Andrej Kalinka – Ivan Martinka theater critic Bartimaeus Passion Bartimaeus’s unusual message of faith „ Contemporary Slovak theatrical production, and simultaneously emphasizing Andrej Kalinka productions sporadically reach out signifi cant moments of the turnabouts. has composed for adaptations of biblical or New The new study of Bartimaeus Passion got an impressive Testament stories. Although they hold produced under the theatrical association music replenishing an exceptionally rich source of inspiration Ticho and spol., in the Old town club 10x10 the entire intimate both thematically and dramatically, (Staromestský klub 10x10). Authors have labeled atmosphere of the current dramatists seem to avoid stories it as a mono-dilemma about truth and fear. It production, and and characters aspiring to receive a direct is a one actor theater and indeed in its form simultaneously labeling as Christian. Nevertheless, our is somewhere on the line between theater emphasizing culture derives from and grows exactly and oratory. So to speak between a scenic signifi cant from Christian teaching, philosophy formation and a broader epic (narrative), vocal- moments of the and conviction – so to speak a value instrumental composition with spiritual theme turnabouts. system, deeply incorporated in one’s and in this case meant for a soloist. Main author “ daily being and self-refl ection. of the project and libretto Andrej Kalinka has composed an impressive music replenishing the entire intimate atmosphere of the production, and simultaneously emphasizing signifi cant Andrej Kalinka and Ivan Martinka, authors moments of the turnabouts. A dominating of the libretto and direction of a production musical instrument is the double-bass (Michal form are returning to the project Bartimaeus Mikuláš), and silent bell tingles are outlining Passion (Bartimejové pašie) for the second the story, reminding of moment of confession time. For the fi rst time, its introduction during mass just before the Eucharist. Together was on the stage of the Musical Theater in with actor Ivan Martinka, they created a story, Trenčín (2006) and was preceded by a “scenic which theme was Christ healing the blind oratory” Night of light and day of dark. Bartimaeus near Jericho (as one of His last Andrej Kalinka has composed an impressive music miracles) shortly before famously entering 32 replenishing the entire intimate atmosphere of the Jerusalem and being crucifi ed on Golgotha. analysis and review In the Bible, we can fi nd several references to this event in the New Testament: in the Gospels of Matthew, Mark and Luke. However the name Bartimaeus is mentioned only once in the tenth chapter of the Gospel according to Mark, in the part Blind Bartimaeus Receives His Sight (10, 46-52).

“46 Then they came to Jericho. As Jesus and his disciples, together with a large crowd, were leaving the city, a blind man, Bartimaeus (which means “son of Timaeus”), was sitting by the roadside begging. 47 When he heard that it was Jesus of Nazareth, he began to shout,

“Jesus, Son of David, have mercy on me!” 48 Many rebuked him and told him to be quiet, but he shouted all the more, “Son of David, have mercy on me!” 49 Jesus stopped and said, “Call him.” So they called to the blind man, “Cheer up!

On your feet! He’s calling you.” 50 Throwing his cloak aside, he jumped to his feet and came to

Jesus. 51 “What do you want me to do for you?” Jesus asked him. The blind man said, “Rabbi,

I want to see.” 52 “Go,” said Jesus, “your faith has healed you.” Immediately he received his sight and followed Jesus along the road.” New Testament Passions are testimonies of Jesus and His deeds left behind by His disciples, known to us as Gospels according to Matthew, Mark, Luke and John. Among them we would vainly search for a Bartimaeus one. Nevertheless, there is an interesting attempt to bring out to the theater stage a hypothesis – a testimony to events before and after Christ’s ordeal on the cross from the perspective of a healed blind man who was not one of the Apostles of Jesus, but was enchanted by the miracle and followed Him with the community

Bartimaeus Passion — Ivan Martinka photo L. Doubravová 33

analysis and review of followers and later schismatics. Bartimaeus his own zeal by the word “jeeezus”). Passion is mainly a story of a transformed life By a metaphor in the gloom of sharp path of Bartimaeus, son of Timaeus, and his ray of light touching upon a white stick (sign historical account on Christ’s agony from the of Christ) eyesight is restored to the blind. perspective of a simple man – once a beggar, Enthusiastic, imitating pair dance with the whom the miracle of returning his eyesight cloak, he is leaving his home and follows led to the discovery of Christ in his heart. It is Jesus on His way to Jerusalem, to which a story of love and suffering, doubts and faith we could refer as a road of tried faith. as well as fear and courage, but does not lack During an emotive singing particularly humor or seriousness. The stage production in higher tones, he washes himself naked begins right at the end – by the state of the waist up evoking baptism, as well as the healed immediately after Crucifi xion of Jesus. descending Holy Spirit. He conducts a baptism „ A fi gure in a black cloak with a hood rushes upon of repentance for forgiveness of sins, seeks Ivan Martinka has a reduced chamber stage wearing strap sandals mercy, while the past smoothly intersects with demonstrated his and tears down a stage curtain. A frightened the present. And indeed, Bartimaeus eats from brilliant acting fugitive, carrying (also protecting) a strange the forbidden fruit offered him by a mechanical talents. At the little bundle, lighting up a burner, who attempts marionette stepping out of the shadows. technical side, he to hide in a rectangular glass walled space A current feeling of guilt deriving from doubt, is an actor of rare (call it a space of crises and scepsis) below fear and denial transfers into talking and acting multi aptitude in an elevated wooden construction, reminding of past events. Despite this, the play structure speech, motion, three mutually connected footbridges. Before remains well arranged and comprehendible singing and them stretches an area fi lled with water, fi rst – additionally the dramatic impact multiplies working with shaded but eventually illuminated by burners. by a seeming intertwining of acts. a marionette. As soon as the fugitive puts away the little The production opens up a pressing “ bundle, together with him once again we question on what to do next with the begin sharing Jesus’s message of love and healed after Christ’s death, which is rather sacrifi ce via the emotional experience and a metaphor and theme creation of our current encounters of the main character Bartimaeus. problem of confessing sins and admitting Ivan Martinka as Bartimaeus explains faith as a path to seek inner truth in man. the world of darkness, in which this beggar Even Bartimaeus, a psychologically till then lived. It was a world known solely demanding and deeply fabricated by hearing, sense of touch and breathing, character (dramatically as in acting) a world of mockery and humiliation from succumbs to skepticism and doubts. the outside world, but paradoxically a world Do they have a place to return to? What of blind security. Apparently he interpreted the will they do when they do not have different, initial stage of Bartimaeus’s life as a stylized more realistic experience than the encounter caricature of persons being in contact with with Christ and His power as Son of God? They him, at some aspects as a witty reference don’t possess any profession previously living (walks on water as Christ, challenging off material and emotional charity of others, 34 the necessity of this reference, sighs at living as outsiders on the edge of society. As we analysis and review Bartimaeus Passion — Ivan Martinka know, the last becomes the fi rst, so those fi nding him, that he does not imagine, that he still sees, photo L. Doubravová themselves among the chosen ones healed by walks all over the stage from one to the other their faith. They became alive (demonstratively), end, up and down, kneels, and forcedly curls up. proof to Christ’s (God’s) power, even after He asks himself if he should still believe in Jesus his departure from this world. What will be even after His death, or he would be better off with them now, after His betrayal, requested denying, betraying Him and won’t be the fi rst crucifi xion and ordeal? “If they did this with one to do so…In his suffering fear and anxious You, Christ, what would they do to us?” What loneliness he even requests back his blindness: will people do to them as a visible, prevailing “Why I haven’t stayed blind!” At the same time, bad conscience, as those voluntarily getting rid he cannot imagine his life without Jesus, who of the Jewish King so much celebrated before? would persuade him in his conviction? Since it Even Bartimaeus, a psychologically is easier to believe and undergo an obstacle, demanding and deeply fabricated character while having evidence near at hand. Without (dramatically as in acting) succumbs to skepticism it, faith can be further nurtured only by hope. and doubts. He examines his own experience, Crucifi xion of Christ is taking place, again asks that only his emotions might have failed as an aesthetic, extraordinarily provoking 35

analysis and review scene of washing the white stick in water, beginning, cadence of his speech (without any where we are able to detect hints of blood and hesitation in articulation) was so fast, demanding follow it in detail in the touching ray of light. intensifi ed attention from the spectator. Ivan Martinka has demonstrated his Authors of the visual art concept Andrej brilliant acting talents. At the technical side, Kalinka and Ivan Martinka used an almost he is an actor of rare multi aptitude in speech, painterly technique of playing with gloom and motion, singing and working with a marionette. the appearing ray illuminating details. Images This act is supplemented with woeful singing of the baptism and crucifi xion were striking in two basic tones (similarly as by Christ’s aesthetic experience, the visual interpretation baptism). Silence sets in and perhaps the most of mentioned images were themselves bearers important scene of the play is performed without of precisely coded meanings. Concluding any words, almost in complete darkness, by moments of the play with the puppet might have the help of the actor’s “co-play” and fragile called for a more intensive illumination, for better manipulation of a puppet of a child – mannequin, to see both the actor’s face and the puppet’s up till now hiding in the little bundle under motions. While this is the most signifi cant the wooden construction. The puppet could passage of the play, expressing how faith, be perceived as a metaphor for Bartimaeus’s respectively deeds based on belief, or remaining faith. He feels his fear and pain, hugs and faithful to your conviction is often a burdensome caresses him, and he gives him courage as well. challenge the result of a painful struggle in each Bartimaeus knows he will never be able to of us. And most probably, we will not receive any deny the legacy of God’s presence, regardless further miracle as a confi rmation of assurance of having or lacking proof, he will not be blind or proof for the rightness of our decision. ø anymore. Thus, he places the puppet upon his shoulders and sets out towards the audience. Ivan Martinka has demonstrated his brilliant acting talents. At the technical side, he is an actor of rare multi aptitude in speech, motion, singing and working with a marionette. He feels the space, moves around in absolute confi dence, perceives the text and presence of the audience. It is not commonplace that today’s Slovak actors are able to interpret and Andrej Kalinka – Ivan Martinka: express profound messages, hidden meanings Bartimaeus Passion without sounding artifi cial or having excessive libretto A. Kalinka directed by A. Kalinka pathos. While playing Bartimaeus, he applied and I. Martinka music A. Kalinka visual concept means of psychological acting, smoothly I. Martinka and coll. fi ne arts cooperation on puppets transferring into a position of the narrator’s Z. Zupková costumes Z. Malcová cast I. Martinka detachment and humorous commentating. premiere 5 May 2012, Ticho a spol., Bratislava Though at some point, especially in the 36 analysis and review STANISLAVA MATEJOVIČOVÁ Anna Grusková theater critic Rabínka A play of varying forms

Gisi: “It was a second that I was director Viktorie Čermáková and dramaturge gone, but life waited for me, halted. Matej Samec. They altered it by adding Grusková’s So here I am standing and looking at research conducted at home and abroad myself: she from the pulled out drawers (Israel) and current, socio-political aspect. and at her who just returned.” The Studio of SND Drama has introduced by The Theater production series the means of a documentary drama production of SND Drama and Arena the brave Bratislava born Gisi Fleishmann, who Theater commemorating the believed based on correspondence with ‘grey transports of European Jews into eminence’ of Jewish policy – Wisliceny – in concentration camps between halting transports to concentration camps 1942 and 1944 is expanded by by bribery. Combination of video projections another production – Rabínka. of reality (documentary and artistic recordings of departing Jews, trains, portraits of Gisi, her letters, journals of that period, photographs, etc.) and intuitively directed symbolical images Anna Grusková, author and theatrologist, are replaced by predominance of words on stage, despite not having Jewish ancestors is evidently refl ecting in fragments the historical context. All and eminently fascinated by Jewish heroine this exclusively is experimenting from perspective Gisi Fleischmann (Gisela Genedel Fischer, 1892- of women, and only women (actresses are 1944), “mother” of endangered Jews not only in playing male characters as well). Regardless Slovakia, but also in Europe. Grusková has written of the quantity of information, only fragment Rabínka (Female Rabbi) in couple versions (the of which sticks in one’s memory, but form fi rst, an intimate version was awarded in the captures attention. It invites us subconsciously competition Drama 2006, among others also for to answer the unanswered questions alone at radio). All these have contributed to the issue home or return to the theater once again. Many of book publication and movie about the main of the answers are found in the prepared high- heroine, head of an illegal Working group fi ghting quality pamphlet or in the fi lm addendum on against the terrible genocide of modern European the SND Theater’s website. The most intriguing history. For the Slovak National Theater Anna is the contemporary formulated technique Grusková has adapted the text together with of adaptation of such a serious topic as The 37

analysis and review Female Rabbi — Ingrid Timková and Emília Vášáryová photo J. Chlpík

Holocaust (Shoah) in Slovakia, respectively the even by the selection of a particular director. Holocaust en bloc. It might surprise us that the Guest director Viktorie Čermáková was invited play is not attacking emotions and doesn’t allow by SND from the Czech Republic, so as a non- to yield to those. The play keeps us in guard in native insofar was internally and emotionally order to think rationally about the committed less infl uenced. Viktorie Čermáková claims horrors. Yet it is not an easy task. It is not she was attempting to provide in the play the possible to comprehend the real tragedy. And it most objective and truthful information from is not possible to comprehend everything in the the documents. According to her, if the theme production. In which the producers succeeded. We is a “useless” war against predominance can state that if we feel something in the theater of accumulated evil, it is not possible to fi ght it then it is we feel the lack of understanding. In other than by humor. Thus, in the production she private we would rather prefer our emotions. offers the best means of combat as caricature Therefore, the play is with its emotional theme and mockery of evil. In sum, no tears, but disgust paradoxically untypical. By this it evokes besides over the machinery of power taking place seventy others, questions why we do not cry, and evokes years ago. This time the SND Studio aims at doubts if we are completely insensitive…Could the senses, especially at sight and hearing. We this method suffi ciently represent a catharsis, are looking at an unpleasant Ironman (Halka which is practically demanded by this theme? Třešňáková, a. h.) dressed in a tragicomic costume The dramaturgy itself (Matej Samec, of a modern uniform a character padded into Rastislav Ballek) is pushing us into being (un) grotesque extent. Although the Ironman is short, 38 feeling, respectively into rational self-refl ection he is still visible from afar due to moving around analysis and review on instable stilts. His costume (Jana Preková) is little paper lambs are leaning against it. Together hulking, on top of that is characterized by inhuman with rakes these are brought in by men in tank speech, which scares not only by contents but tops with worked out body rubbed in with oil – also formally and evokes disgust and perceptible only men, who silently move around materials distaste. Actually the voice is toned by a mixed (clean up the case with money for bribery) on the sound, a kind of mutating effect and languages stage, as trained fi gures of something, stipulated (translated from German). It is like the devil in Slovak folk realities. On the green carpet is speaking to us from stage…embodiment of evil… an old-fashioned microphone broadcasting Equally frightening is him reminding the victims, speeches of fascist politicians. Speeches who deceased inhumanly in gas chambers behind of representatives of the clerico-fascist Slovak barbed iron, also including Gisi (Ingrid Timková). state are presented by Timková as zealous, The Ironman on stilts rips of Lici’s skirt and tosses keen, suggestive Representative 1 and Ivana it on the fl oor, similarly as he does to life itself … Kuxová as Representative 2. Both are doing it by In view of the fact that production approaches agitational, assaulting and ironical intonation, the topic by almost brechtian distance and attitude and gesture. They are joined in by Emília disillusioning, we cannot anticipate from actresses Vášáryová as Minister Mach, with hyperbole in her the embodiment of characters or plunge into the voice, ironic intonation and declamatory gestures. „ psyche of sorely tried persons. Indeed, these In black male suits with male hats but also In sum, no tears, dramatic characters are not even written that admitting female costumes wear hidden under but disgust over way. Not even the tension of the plot line copies them are presenting and apologizing for their the machinery of the “ideal” Freytag dramatic arc. Actresses are deeds by comments on problems of the socio- power taking place presenting and not embodying the edited mosaic economic power of Jews, which they intended seventy years like fragments of the plot or rather references to it. to take away from them. Their speeches are ago. This time the The untraditional style of various forms of playing fl oating towards the audience in semi-darkness SND Studio aims multiply characters and relations between them enabling us to see not only the speakers but also at the senses, is elaborated very thoroughly, creatively and each other as spectators…Moreover, actresses especially at sight earnestly. It is interesting how the attempt to are signaling impulses that all this is “theater”, and hearing. depict nonlinear structure of relations can lead for instance when Timková is talking she also “ us to a profound stimulating motive. Since it is requests the music to be turned down. Kuxová worth to consider that in this production one man changed her clothes on stage and is becoming is able to introduce extremes of dual principles a schoolgirl, who is writing on the blackboard not of good and evil, aggressor and victim, etc., only slogans but also numbers expressing the which could indirectly and analogically lead us number of Jews transported…Besides drawing to monism. Then once again it is a question… the Star of David, draws a dream family with In the middle of the scene (Jana Preková) is house, smoke coming out of the chimney… a scaffold with green carpet, like grass, and Symbols explain themselves… around it on the wooden horizon (on which Kuxová By the right portal, there is a tiled wall, is writing by chalk slogans of that period: “Long on which white tiles are marked by red color live President Jozef Tiso; From Prešov a train and illuminated by red light. Constant water arrives on which Šaňo Mach is seated…”) 2D drips unable to purge crimes. For a moment the 39

analysis and review “deadly” hose is becoming a microphone, into Gisi must have used many creative, helpful which in a rocker and aggressive way Koxová’s and submissive “ideas” to bribe the powerful. Girl is singing in overstated extravagant Timková’s Gisi also visually resembles the real costume wearing a white wig. As a bar singer one, as we see her on video projections or on bubbling with life. Maybe it is Lici… a picture with black hair included within a scene White tiles “decorate” three armchairs, reconstructing an interview with unpleasant slick into which the trio of women is seated at the Dietrich Wislicieny. It is a scene where authors proscenium – three generations of Gisi’s family in are playing with the spectator’s emotions just to order to recapitulate how the middle one of them pull them out right on time. It is an excellent play ended. They are reading hardly readable texts, within a play, theater on theater of Timková and what they admit to the audience. Once again Třešňáková. Gisi in black wig (the real color of her „ this reservation disrupts emotion. Formulation hair) her hair is combed by the aggressor in blue Rabínka in SND is replaces formulation. An interesting act is the cap of the Ironman. Seemingly they are jovially an interesting play arrival of Mrs. Kosová in an expressive red talking in German and Slovak about coffee, but offering incredibly coat, a lady full of enthusiasm and eagerness. quietly the hair combing turns into hair pulling. important Emília Vášáryová plays this splendid affected Aggression makes its way through kind words, precious character of a wife of the corrupted man and with which Třešňáková’s character plays around, information in is losing her memory. The principle of theater changing intonation and language in such way untraditional form. on theater is exposed by Timková’s Gisi, who we are not sure if we should be afraid, stiffened “ still hopes to awaken her own mother in this or consider it indifferently…Into this a violin’s woman – and constantly repeats “mom”. It obnoxious wailing is heard. By admitting playing is like she does not want to play this game, and keeping our distance fi nally we are relieved… where Mrs. Kosová indifferently goes up to Despite of all, for an instant the production the microphone and asks: “What is this?” Like space is fi lled with emotions experienced by the she wants to believe in “family” relations… actor, when Ingrid Timková carefully played with A distinct element of the production is the intonation. For instance, in the case of brave Gisi formulated motion on stage (motion cooperation talking via correspondence to her daughter with by Halka Třešňáková, a.h.), which creates symbols tenderness and kind hope for understanding epitomizing events. Thus, not only coherent her absence. Or in the role of the daughter, who mise-en-scènes, but certain fragmentary etudes exhibits powerlessness, exhaustion and doubts are calling for fantasy and imagination – for while living with authoritative mother Jetta on example etude of sexual moves of Genendel, Klariská Street. When a strong emotion appears in holding and snuggling on top of a suitcase, the play – for example Timková’s Gisi throws away who is another face of Gisi (Halka Třešňáková, an empty mug into the backstage immediately this a.h.), her alter-ego, willing to give herself in to pathos is interrupted by another stage element the hands of the “iron”, subsequently falling – a formulated scene word, motion or smooth off the suitcase. Or her fi nal acrobatics on bare, contrary melody. Consequently, the musical unmercifully stuck in bars reducing movement, motive enables us to disengage from the traps similarly as was inside the livestock wagons, of emotionally appearing context of historical 40 also transporting Gisi Fleischmann. Certainly, events, against which vis-a-vis a woman stood analysis and review Female Rabbi — Ingrid Timková photo J. Chlpík

up. At some other moments very strong and loud important. I followed the fragrance of God’s music (Petr Kofroň) with Jewish motives rush tree, but either it has not bloomed yet or it was into direct aggressive combat (musical element) too late. Nine months I had been lying without with the actor. Who will over shout whom? any help, neglected, seriously sick, but I did not Lici, daughter of Gisi played by Ivana want to write to her knowing how diffi cult her Kuxová is not very distinct in expression, so it work is. I did not know how to lie, so I did not is not easy to distinguish when she plays Lici or write anything. She learnt about my state from a Girl. However, her costumes are noticeable, other people, just when she was released from which “shine out”, such when stands up on one prison for a short time. Afterwards, she was armchair holding a scythe of the Ironman and again imprisoned for another four months…” wearing stylish sunglasses and long hair white By this, daughter of Gisi – Lici, whom she sent wig. Slowly the back textile portal is pushing and off in faith to “safety” to the Promised Land Erec descending on her. Lici in her verbal expression Israel (also with her sister), Lici becomes Queen explains another perspective of her mother, who Esther, decorated by gold in historical biblical creates inter-group confl ict of family and nation. costume. Allusion to the Book of Esther in the Old This is a view of an abandoned child in a “foreign” Testament, where the Jewish nation is saved by country: “Mom has thought in Palestine they their Queen, raised various connotations. An eye will take care of me, because she takes care for an eye, a tooth for a tooth had been literally of Jews here in Europe. But it was not like that. fulfi lled; who wished anything to the other it At the headquarter of the Women‘s International turned against him. So the Jews on the territory Zionist Organization they told me she just acts of the Persian King Xerxal I (Asuera) in the 5th 41

analysis and review Female Rabbi — Ivana Kuxová photo J. Chlpík

century BC seized an opportunity to revenge suppressed anger, despair, fury and intuition that anybody who wished them death in order to live request will not work in this period of time…Joy freely and according to their principles and faith, from learning quotations from the Holy Books eventually celebrating it at the event Purim. Is as acclamation to traditional values of family also also the modern 20th century Esther loved so much approved by grandmother are gone…But how by a peculiar man on such a position to be able to to “pray” to her mother, she does not know… stop Asman’s, respectively Hitler’s hatred? Would Gisi, mother of this modern Esther (Ingrid formulation of transcendent, modern wailing Timková) in fact believed in saving Jews until the of singing and recitation of the frightened nation last moment. And in such extent that she was expressed by Kuxová help to penetrate to ears ready to lay down her life for the Jewish community of those able to do something? Was it possible to en bloc; the extensive family of her faith and stop? Koxová’s acting in the role of Esther has its ethnicity, though at the expense of her own family, defi ned place – either above the scene in a kind about an aspect she was aware too well. Her of “dimmed” in aquarium by white marker pens husband languished and certainly the kids missed (invoking gas chambers), where she is trying to their mother. Allegedly, Gisi had few opportunities recite words of faith through the smallest gaps to escape, yet she was too zealous, possibly naïve that in the end as a Queen squeezed onto the tiled and heroic believing until the end in stopping armchair with a gold staff in her hand would drop transports. In fact, transports were halted for and curl up under the burden of words. She sings two years. According to the authors of the play we 42 recites repeatedly a kind of forced prayer – with can just guess the causes. Was it a consequence analysis and review of Gisi’s attempt to bribe high profi le Nazis? Such documents and letters survived, and also thanks to Rabínka we learn that this admirable woman received huge amount of money and indeed she managed to save lives of numerous Jews. There are accompanying critical voices but those coming from her closest family hurt the most. Her own mother Jetty (Emília Vášáryová) under the pressure of motherly worry questions Gisi’s effort to fi ght windmills and positioning herself almost as a female Rabbi. Similarly as Gisi’s daughter feels. Vášáryová’s acting indicates the mentioned shadows of worry and anger by which she opens a platform for doubts about the concern that maybe it is more important to devote oneself to one’s own family… Because maybe the Central of Jewish Community collaborated with Germans and bribes were worthless and could have helped to Gisi’s dying husband and abandoned daughters. Thus, it uncovers the opposite perspective on heroism of a brave Female Rabbi — Ingrid Timková woman, whom supposedly also Israeli historians and Ivana Kuxová regard as one of few (if at all) upper middle class photo J. Chlpík women personalities, who fought against Nazism. The spectator can select the answer on his own. us with its superior degree of information, Rabínka in SND is an interesting play offering action on stage, character changes, might seek incredibly important precious information in time from us to ‘ferment’ the experience, but untraditional form. It is a highly valued work defi nitely arouses questions within us an impact of Anna Grusková. She provides an aspect of Gisi achieved by very few plays of present time. ø Fleischmann, a woman, who was forming the history and environment of our capital city, whom we should know and appreciate. This Anna Grusková: Rabínka production work is something new within our dramaturgy M. Samec a R. Ballek theater context and is a kind of not yet “refi ned” directed by V. Čermáková stage and costumes genre – like documentary satiric tragicomedy. J. Preková music P. Kofroň motion cooperation The theater on theater at some instances creates H. Třešňáková cast I. Timková, E. Vášáryová, a delight for the eyes, but rather based on a very I. Kuxová, H. Třešňáková unpleasant and traumatized setting of events, premiere 3 and 4 March 2012, which unfortunately really happened. It may The Slovak National Theatre Bratislava seem less is more, and this play could confuse 43

analysis and review DÁRIA F. FEHÉROVÁ Ján Rozner theater critic Seven Days To Funeral Seven Days Longer Than Human Life

The Slovak Chamber Theatre in Martin to it. Rozner writes about seven specifi c days regularly stages dramatizations at the end of 1972, and through the memory of original Slovak works while searching of his own experience he refl ects upon for topics that would portray our past in numerous events from the less past, including an idiosyncratic manner. The previous the fi rst three years of Soviet occupation. productions included Wastefl ower (1997), Peter Pavlac’s dramatic text is a very subtle Atoms of God (1998), both directed adaptation of the novel. It does not solely portray by Rastislav Ballek, or And We Will a world in which the political environment is Whisper (2009), directed by Kamil Žiška, refl ected in the personal lives of the characters: among others. The past season was Pavlac introduces both protagonists, Ján (Rozner) 1 comment The title concluded by Seven Days to Funeral, and Zora (Jesenská), and focuses mostly on of the book is the same an adaptation of Ján Rozner’s novel of the Rozner’s inner world which is largely fi lled up by as the title of this same title. The dramatization is a result Zora. This is why Pavlac divided the lines, which performance: Seven of the creative work of Peter Pavlac, and in the book are Rozner’s (e.g. his thoughts and days to funeral. Ján the play was directed by Ľubomír Vajdička. memories), between Ján and Zora. The key to Rozner and his wife Zora a successful transfi guration of the novel into Jesenská were very well drama is the presence of the deceased Zora known and intelectual as a living part of Ján’s thoughts. She becomes not couple – Ján Rozner was Rozner’s autobiographical novel was only the narrator, but also the interpreter of his journalist, translator, published thirty years after it was written and mind. The loss Ján has experienced is emphasized theater critic and Zora became the 2009 Book of the Year (according to by the fact that the object of his grief is still active Jesenská one of the best the reader survey of the Martinus bookshop).1 and visible to the audience. The director stressed translators of englishf The novel introduces a topic that will never this point in scenes when Zora describes Ján’s english, german, french cease to be disturbing – it tackles the fairly activity, while in fact he is not doing anything and and russian literature. recent period of Slovak history which has not is just sitting, standing, or deep in his thoughts. Both were both were yet been confronted critically. It nearly seems Ján’s activity (for example warming up his dinner) constantly in the 44 as if statutes of limitations have been applied appears only in words. It becomes something police's spotlight. analysis and review „ The production is very insignifi cant for the given situation. The when the “men in coats” appear – six men comprehensible important thing is that he is absorbed in himself. watching the action on the stage as well as in the in all aspects and The fi rst part of the production is very audience. This makes the atmosphere even more easy to navigate intimate. Piercing, sharp music and bleak strings desolate and heavy, primarily because we get through even for alternate with a lyrical trumpet. The music to taste the bitterness of the historical period. those who are not evokes many moods. We never enter the past The production is comprehensible in all familiar with the family life of the married couple, but get to see aspects and easy to navigate through even for historical context. how strongly Ján was hit by Zora’s death, how those who are not familiar with the historical “ he does not know what to do, how everything context. Besides, there are suffi cient hints and suddenly seems so banal – just like the death one is left wishing to do more research and studies mask he has made for her. What we get to see is later. The play does not aspire to create period- very human, multiplied by Zora‘ presence, but specifi c, politically painted pictures based on the mostly by the fact that the story is being told by external point of view of outsiders, i.e. people her. It allows a deep insight into the privacy, life who are involved in the organizing of the funeral, and philosophy of the two partners shaped by even though all their names are mentioned. the day and age in which they live their lives. The identity of Peter (Karvaš) remains secret, The second half of the production is however, the in-crowd will recognize him in the increasingly abstract and open. The preparation miniature character played by Ján Kožuch as a lily- of funeral speeches reveals the political livered alibistic weakling who cannot look people atmosphere of the time and its consequences. in the eyes. Primarily though, Ján Kožuch’s task The intimacy of Rozner’s household is gone was to create the character of an older Ján Rozner, the one who is writing the novel. Because he does not appear until the second half, the present he lives in smoothly connects with the present time of the younger Ján at the moment when he is beaten up. This doubling of Ján’s character can be seen as the instant in time when Ján ages so much that his hair turns grey and his physique radically changes. Similarly, in a metaphorical sense, he could grow old during the seven days leading up to the funeral. The scene at the communist national committee’s offi ce is particularly expressive when the older Ján is being interrogated in connection with the funeral and he is asked all kinds of questions: e.g. who is going to hold the funeral speech and what it will be about, Seven Days to Funeral what music will be played, and so on. Ján always — Ján Kožuch, answers politely, while his interrogators intensify Daniel Heriban, and Lucia Jašková their pressure. The despair that overcomes photo B. Konečný him shows only through his resigned smile. 45

analysis and review Seven Days to Funeral — Daniel Heriban and Lucia Jašková photo B. Konečný

Director Ľubomír Vajdička let the power difference between Zora and Ján. Heriban plays of words resonate on stage. He did not try to the role of Ján Rozner with civil expression, very do extra work on top of the author’s text by typical for his acting. In doing so, he suppressed producing fancy scenes. His direction is humble the kind of naiveté with which he sometimes to the text and prefers very civil acting. He portrays his characters. There is less sadness in communicates his opinion via Rozner’s text. The his words than there is exhaustion. He delivers poetry and provocation of the production are some of the lines in a relaxed tone and keeps based on words and the way in which the text and a distance from the meaning, as if suddenly characters were interpreted by the actors. There switching into the position of an uninvolved are moments, though, in which the director relied narrator. His exchanges with Zora are very civil, too much on the actors’ mastery and let them fi lled with intellectual discourse and infused act out a dialogue just sitting down or standing with the passion of both partners – passion for up, without much directorial interference. work, their relationship and mutual support. Vajdička entrusted the role of Ján Rozner to Heriban switches between his moods to evoke 46 Daniel Heriban in order to emphasize the age feelings of sorrow and compassion. In the second analysis and review part of the play, he is more ironic, his delivery is characterized by a sardonic sneer, and more increasingly also by apathy and resignation. Jana Oľhová, who plays the character of Zora, is very low-key, and in the best meaning of the term. She presents Zora’s personality merely by sitting on one side, watching the action, reacting to all that happens and making gestures. She, too, is and has to be part of the whole. The most beautiful exchanges between Zora and Ján are „ the undertoned ones. At the same time, Oľhová Director Ľubomír radically and emotionally communicates the Vajdička let the injustice and injury which Zora felt when she was power of words disposed of as a politically unwanted person. resonate on stage. Lucia Jašková portrays all characters she plays He did not try to appropriately and elastically, as needed. She do extra work on plays men, women, family members, literary top of the author’s authors. Her best opportunity was the role of the text by producing pragmatic, yet very sensitive cousin, who endows fancy scenes. the story with a view from the outside world, from His direction is a dimension beyond the world of Zora and Ján. humble to the Seven Days to Funeral is a play that text and prefers introduces an important issue. It is a subjective very civil acting. statement about the beginning of the so- “ called normalization process, a statement Seven Days to Funeral — Jana Oľhová and Daniel Heriban that resonates with relentless intensity. Not photo B. Konečný because it would present a protest, opposition or struggle, but because it is so resigned. It conveys hopelessness. The creators entered Rozner’s novel gently, with pure and humble acting and direction. The power of the subjective statement is amplifi ed in the fi nal Ján Rozner: Seven Days to Funeral directorial stunt: applause, encore and exit dramatization P. Pavlac dramaturgy of the spectators are performed under the R. Mankovecký directed by Ľ. Vajdička watchful eyes of the “men in coats” who were set design J. Ciller costume design M. Havran present on the stage all the way through the music P. Mankovecký cast J. Oľhová, D. Heriban, second half, albeit inconspicuously. And the L. Jašková, J. Kožuch, and others spectator, carrying deep inside him an emotional premiere 25 May 2012, Studio of experience from the story he has just seen, will The Slovak Chamber Theatre Martin suddenly feel naked and will understand. ø 47

analysis and review MIRO ZWIEFELHOFER Michaela Zakuťanská theater critic Jánošík 007 Jánošík, Rózenkrac and Gilderštén get on „tanks” in Žilina

Juraj Jánošík. A Slovak Robin Hood, his ghost appears on a creek’s bank indicating the fi rst Slovak leftist or leader of the his as is the killer and expresses a wish that his fi rst mafi a-political organization son should become a bandit (zbojník) liberating (party?) on our territory. What was he his nation from tyranny. In his attempt to also like, as well as the people surrounding avoid also the “career” of an evangelical priest, him? The Žilina City Theater (Mestské Juraj Jánošík leaves his home and together with divadlo Žilina – MD Žilina) offers the his most loyal friends Rózenkrac and Gilderštén “true” story of Juraj Jánošík under the established an outlaw gang. They are not really direction and adaptation of Mariana succeeding in killing, not until meeting Polish Ďurčeková and Ján Luterán. Jerzy Janoszyk, who wanders away during his walks over the Tatras. He provides them with the bandit “know-how” of martial arts. In exchange, the Slovak bandits offer him their marketing On March 30th, the hundredth jubilee slogan: “Taking from the rich and giving to the „ premiere of MD Žilina was the stage adaptation poor.” Shortly, disputes over profi t sharing Jánošík 007 is of Michael Zakuťanská’s text Jánošík 007. In it, lead to the departing of the Slovak gang from an excellent a young Slovak author offers her version of the Janoszyk. Their subsequent activities are a mix example of how jánošík myth. A version, full of inter-textual of a certain pre-election campaigns and tour the theater’s references partly related to the beginning of our of a rock-band. They arrive in a town, where by signifi cance professional theater craft as well to the works distributing robbed money or at least goulash they as a moral of William Shakespeare especially to his Hamlet. “bewitch” the populace for the main program, institution has The story of Jánošík begins in Žilina from the which is the ardent speech of Juraj Jánošík. For not yet perished. moment when his mother suffocates his father by this, young Slovak girls reward them with pieces “ the help of quadriceps muscles. As a result of his of underwear and fondling. Financial issues also father hiding from the pandurs (i.e. cavalry soldiers become a problem for Rózenkrac and Gilderštén of the Habsburg Monarchy) collecting taxes who do not identify with the idea of immediate 48 under the skirt of his wife. Soon after his death, giving away of everything robbed to the people. analysis and review Thus, Jánošík departs the gang and returns to of panel discussion. Later the table serves his mother. In fact, in his hometown he meets as a division line for the back wall of the acting the theater group Marška with “all stars” such space. Actors temporarily not participating as Janko Borodáč, Oľga Országhová-Borodáčová, in passages are seated behind the table. Andrej Bagar and Jozef Kello. Jánošík uses this However, an essentially more important opportunity and agrees with Marška to perform change is the edited concluding part of the Jánošík a play in front of the whole village (including his story. In the Žilina production, Jánošík is not saved mother and a Pandur who eventually became by Marška’s caravan, but takes the parliamentary his stepfather) describing his father’s murder. oath. Just when Pandur captures the outlaw, Shortly afterwards, the Pandur realizes who a metal hook is lowered on stage with a red tie his stepson really is and it seems nothing could bound on it (reference to caricatures of Martin prevent the arrest of Juraj Jánošík. Suddenly, Šútovec). When Jánošík ties it around his neck Marška’s caravan emerges on top of which our and places his two fi ngers on the hook while national hero jumps up and “leaves afar”. ceremonially swearing the parliamentary oath the Despite the Žilina production is a premier bandit acquires immunity. This exact scene most staging of this text; Ján Luterán and Mariana signifi cantly characterizes the shift set in between Ďurčeková have adapted it in several aspects. the original dramatic text and the staged form.

ík, This appears most distinctively in the story’s While Michaela Zakuťanská’s text is a comic č composition in form of a lecture on a newly play with references to various theater related ková č discovered document revealing the actual truth facts from the past and linking it to Shakespeare’s about Jánošík. Then the whole production has Hamlet, then adaptation under the direction

ný a character of theater on theater, to which the of Mariana Ďurčeková and Ján Luterán is becoming č stage itself is adjusted (Zoja Zupková). The a harsh political satire. The story of a bandit and onková, Peter Brajer Č basic spatial element is a long table located at apparition of his father’s ghost do not form the the top of a sloping surface ending in a lecture base of the storyline, but rather a background Jánošík 007 Jánošík — Anna Gabriel Tóth, Ivana Kubá Gabriel Tóth, Kone B. photo stand at one end, creating the character for countless quotations from politicians and allusions to their actions. Some politically tuned repartees are also present in the original text, for instance a red glory occasionally appearing above Jánošík’s head or the legendary statement on tanks geared up for Budapest – are included in the text for a reason, that certain segment of our country’s political spectrum constantly rattles on nationhood topics with misinterpreting those. On the other hand, the production attempts something else. It presents a country, where twenty-three years after the November happenings; actually which went unnoticed by the current Prime Minister; it is still valid that who does not steal then robs of his family. 49

analysis and review Jánošík 007 — Peter Brajerčík, Ján Dobrík, Anna Čonková, Gabriel Tóth photo B. Konečný

A country, where by parliamentary oaths bandits of overwhelming parts within the production and oafs are altering into representatives of the is far from being intensive rather has a more nation, though “tie color” is not relevant. continuous character. Therefore, the mentioned Jánošík 007 is an excellent example divides have a distracting effect, and especially of how the theater’s signifi cance as a moral derail actors from rhythm for a few minutes. institution has not yet perished, not even This same is also true about individual in a country where the relation to ethics acting performances. Mixing passages, where is so lukewarm just like in Slovakia. civil acting with expressive positions dominates Considering the professionalism of the is a demanding task for an actor. A transition mastered production, there could be couple from zero tension to expressive positions without of problematic spots. The most consequential is expressivity’s overgrowing into a sterile cramp, the composition divides (predel) between acts. is a challenging task for even more experienced These are conducted by the help of abrupt cuts, actors than are Anna Čonková, Ivana Kubačková, when actors remain standing motionless “stock- Peter Brajerčík, Ján Dobrík and Gabriel Tóth. On „ still” and one of them announces the next act’s this occasion, I cannot abstain from a remark, Mixing passages title (1 – How the good parents of Juraj have that in Žilina they should avoid a traditional where civil acting been deciding on his career; 2 – How Juraj was Slovak vice to view a premiere as an end of the with expressive mastering banditry and formulating the basics creative process. Since additional performances positions of his ideology; 3 – How Juraj was forced to leave and few further rehearsals, which should not dominates is his profession, return home and die heroically). have a character of only “brushing up”, could a demanding task 50 The highlighted problem is that the tempo-rhythm indeed shift the whole production up a level. for an actor. “ analysis and review Jánošík 007 — Ivana Kubáčková, Even though in our culture a socially to the social role of theater art could be only the Peter Brajerčík engaged theater does not have a strong root, fact, that this production has been introduced photo B. Konečný it is interesting that in the past period several by a theater, which founding was initiated by Ján productions were created focusing not “solely” Slota. A man, personifying the most disgusting on intimate themes. Undoubtedly, more factors of what our politics has created after 1989. ø are decisive in this aspect. The fi nancial crises, society’s development and its overall situation are all offering endless inspirational sources. Surely, for our society and theater enrichment would mean, if a current “nationwide” marasmus and Michaela Zakuťanská: Jánošík 007 attempts of not succumbing to it would create adaptation J. Luterán, M. Ďurčeková dramaturgy a strong generation of theater professionals P. Kováč directed by J. Luterán, M. Ďurčeková viewing the theater as a sort of political platform. stage design Z. Zupková costume design It is too early for hasty conclusions. Also as for T. Mojžišová musical cooperation G. Tóth the case of Jánošík 007, which social function has cast A. Čonková, I. Kubačková, exceeded the shadow of Slovak theatrical reality, P. Brajerčík, J. Dobrík a G. Tóth but its artistic feature fails to surpass domestic premiere 30 March 2012, The City Theatre Žilina context. A partial satisfaction as well confi rmation 51

analysis and review MARTINA MAŠLÁROVÁ Michal Ditte student at the Theatre Faculty, Academy of Performing Arts Misery A Theatrical Slap in the Face, or Real Misery in Bátovce The year 2010, when the theatremakers of the Pôtoň Theatre started their work on the latest devised production called Misery, was also the European Year for Combating Poverty and Social Exclusion. That year, issues related to poverty and social exclusion became the creative incentives for several art projects, mostly fi lms. A documentary fi lm about poverty in Slovakia was shot – Hidden Worlds of Europe – which continued the story started in the previous short footage titled simply Poverty. A year later, well-known director Martin Šulík fi nished his most recent feature movie Gypsy which, despite its title, discusses more than just the Roma issue. It tackles the nationwide problem of socially weak individuals who fi nd themselves on the edge of bearable living, captured in the snares of the capitalist system.

„ The aim of the It could appear that the issue of poverty has high unemployment rates, where, at the same production is not been analyzed often and vociferously enough. time, opportunities are very limited. There are to point out the And yet, the situation has not changed in any places where people live in conditions which are present situation way so far, and many of us who have never hardly suffi cient for a normal, respectful life. in Slovakia, on the faced real poverty, can barely imagine what The village Tekovské Lužany is one of such contrary, the play poverty-stricken people go through. Poverty is places. It became the location where the makers aspires to rouse a serious problem, rarely considered by those of Misery did their fi eld research (the theatre did the audience to who are not poor, and equally rarely by those similar projects in the past, for example, Terra start worrying who are. After all, the poor do not know what to Granus for which the basin of the river Hron was about what the do with their poverty, having minimal resources used as location). Besides the research itself, future might to escape from it. In many cases, they have to the creative team worked in several stages: they bring – regardless take refuge in extreme solutions. We do not interviewed social workers, talked to non-for- of how stretched need to know statistics to realize that there are profi t activists, studied specialist literature it may seem 52 regions in Slovakia suffering from incredibly related to poverty and social exclusion, and to us today. “ analysis and review searched for media stories dealing with the poor of a long-term effort of the theatremakers who living standard of individuals or communities. aspired to present this burning issue publicly Misery should be the fi nale of a whole series and using a different genre than evening news or of projects in which the Pôtoň Theatre continued the above mentioned documentary fi lms (which

. Dobiás to tackle the issue of poverty, mostly in the form did not gain much popularity and were, with the Ľ of activities for primary and secondary school exception of Gypsy, also very poorly advertised).

Misery photo students. The production was created as a result However, the authentic material collected during fi eld research did not get into the production directly. The interviews and various encounters with poverty in their purest and most theatrical expression were transformed by director Iveta Ditte-Jurčová and dramaturg Róbert Mankovecký into a classical dramatic form. Those who expected documentary drama and a peek into the real world captured in a several-hour-long recording, had to settle for what writer Michal Ditte extracted into a dramatic story. In the end, the story became a concentrate of all of the mostly minor stories the creative team came to hear during the research stage. Unfortunately, as a consequence of the effort to retain all of the motives, each of which would have suffi ced for a separate production, the fi nal text suffers from a lack of depth and the individual issues are only superfi cially sketched out. This suggests a consideration whether it is not a shame because consequently, the text loses the power of its message. The creators tried to transport the lives of people from the impersonal world of the TV screen, which stultifi es the viewers and makes them oblivious, into the audience’s immediate proximity. On stage, the remote destinies are acted out by people made of fl esh and blood. And although we realize that the template for their characters is real life, the chosen form ultimately evokes the feeling that it is just fi ction. It is much easier to detach oneself from fi ction than from a statement made by a concrete, albeit unknown person quoted on the rear side 53

analysis and review of a bulletin. Even though we only get to see chores evokes the familiarity of home where a fragment of this statement, it crawls deep everything is still all right. All it takes is under our skin. Nonetheless, the creators do a prayer so that the guardian angel protects not aim to point out the present situation in our pantry. This feeling remains unchanged Slovakia, on the contrary, the play aspires to until the father (Marián Viskup) loses his job. rouse the audience to start worrying about From this moment on, the intensity of the plot’s what the future might bring – regardless of how gradation is proportionate to the degradation stretched it may seem to us today. This futuristic of the characters: loving parents become message is being mediated also by means of the human debris, and playful children turn into visual aspect of the staging. The set by Zuzana traumatized, prematurely adult and rapidly Formánková, at fi rst sight giving away the long destroyed individuals. The caring housewife and process of “collecting material”, is a long solid mother, who uses three ingredients to conjure wall made of old and new refrigerators of various up combinations of possible and impossible food sizes, ingeniously put together like Lego pieces variations to make dinner, becomes a broken so as to create a multifunctional living space. The being forced to abandon the longed-for baby. individual, confi ning units of this strange house In desperation, she uses mother’s milk to nurse are reminiscent of the units inhabited by students her older children and her husband, and long or tourists in Japanese and Chinese cities. The opposes the suggestion to go looking for a job in undoubtedly interesting and creative stage Austria. She keeps fi ghting and when she fi nally design solution includes all rooms of a typical succumbs, she believes it will last only for a while. house, while directly addressing the confi nement It turns out, however, that she will not return of a small fl at in an apartment house, in which until many years later and the affection and

four family members are forced to live and coexist. gentleness of a mother and wife is gone for good. . Dobiás Ľ One does not mind even a certain clumsiness The mother’s action is catalyzed by her

and, after a while, also monotonousness of the neighbour (Daniela Gudabová), the village Misery photo incessant movement between the individual cubicles because it emphasizes the rhythm and stereotype of everyday household operation. The construction, in spite of its minuteness, is dominated by a TV set which signifi es the altar of “a better life” and is located in the exact centre of the wall. The play’s funniest scene involves the recording of news from earlier of the day when the performance takes place. What is less funny, however, is the realization of the absurd and abysmal gap between the reality as presented by television celebrities in all kinds of shows, and the other reality – the actual one. The long exposition in which the mother 54 (Andrea Sabová) joyfully performs her routine analysis and review Misery photo Ľ. Dobiás

butcher (read: pimp) who is an archetype character and differentiate its individual aspects of evil, a character very easy to fi nd in this type (mostly succeeding in the lighter scenes at of environment. Considering Gudabová’s very the beginning), the ending is fl at – changes specifi c physiognomy and acting typology, of costume and a more vulgar vocabulary are she is very much typecast. What is more, her not enough for a convincing transformation. authentic expressivity, cultivated in experimental Her acting partner playing the father of the theatres such as Disk and SkRAT, ideally fi ts family shows a more balanced performance. the naturalist direction of Ditte-Jurčová who Viskup’s character evidently suffers under the does not embellish anything, quite the contrary. burden of the conditions and consequently The role of the mother proved to be much more changes from a simple, but gentle and challenging for Sabová, last year’s graduate from affectionate father to a desperate man, until the Academy of Performing Arts. She fi nds it he falls into utter apathy. Initially a reasonable diffi cult to handle all the stages of transfi guration and determined man, the father reacts to the during which a woman, who is also a mother, affl iction with poverty by abandoning himself. becomes a prostitute. Sabová is rather the girly He is tense and edgy towards his children and type and she was cast in the role of a young ends up just surviving, with no resolution. mother which did not fi t her too well. Though Viskup uses both his body and facial expressions we feel her intense effort to identify with the to multiply this ominous conversion and his 55

analysis and review despair is nearly tangible not only in the words by a small boy, a messiah in white, a twisted he uses, but also in the look in his eyes. angel. While shots from concentrations camps The most drastic, however, is the are being projected, the boy promises to help development of the children. Henrieta Rabová everybody and sends them all to a gas chamber. and Marián Andrísek play little children in Compared with several strong moments in the a surprisingly suggestive way, and their games show (for example, when the parents have to and education rests on their imitating the parents give up their baby, or when the hopeless father (as well as other “role models“). At fi rst, this sends his underage daughter to sell her body), the provides endearing elements of comedy, when ending is full of unnecessary pathos and the forced they jump on the bed and scream to imitate the moralizing via an analogy with the Holocaust is sounds of sexual intercourse, but later it turns far from cathartic. What is more, as opposed to into very black humour – when the son yells the musical score, which aids the production and the mantra “fuck – cunt – bollocks” at the top evokes the appropriate atmosphere, the videoart of his lungs and in all alterations. The laughter at the end (Erik Bartoš, Peter Višňovský) is not becomes a shock when the mentally affected girl an integral part of the whole, but an artifi cially consciously hurts herself and the boy uses the incorporated element which feels superfl uous. most vulgar vocabulary and harshest behaviour Despite these unfl attering words, however, to show his sister what he has learned on the I have to admit that, regardless of its shaky „ street. Swear words (the most frequent word artistic quality, Misery has left in me a much The production became the unusually coined term “fucktard”), deeper trace than many “well-made” productions. is soaked with as well as the effort to paint a totally authentic Its redeeming feature is that it is controversial naturalism – picture of the crudeness of the environment in which, according to Jan Werich, is the best thing nothing is hidden which this social class lives, became the distinctive a theatre play can be. Werich believed that there under the veil foundation on which the production rests. It is is no reason to talk about a common pear – in of dramatic soaked with naturalism – nothing is hidden under order for the pear to be interesting, it needs to metaphor and the veil of dramatic metaphor and imagery, and look or taste like an apple. The pear from Bátovce imagery, and all all poetic moments are drowned out by the harsh tastes a little bit like a bitter apple, but on the poetic moments ones, be it a bleeding child, father who wets his whole it tastes very good – apart from other are drowned out pants, or their dinner made from tap water which things also owing to the fact that this is ultimately by the harsh ones. they eat from bowls. It is diffi cult to set a limit a site-specifi c performance. After all, since 2009 “ up to which it still works – for me personally the theatre has resided in the village of Bátovce it was the coitus of the parents and the ending (which must be the smallest centre of professional in which the bestial family murders the wicked theatre in Slovakia) and the environment of the neighbour (not that she would not deserve it) reconstructed house of culture on the edge of the and feasts on her fl esh. The creators indicate – village only enhances the experience and feeling sometimes very indiscriminately – that in certain that the theatremakers from Pôtoň know what conditions, people become animals again. they are talking about. The other reason why Paradoxically, the weakest part of the Misery is worth seeing is that the creators openly production is its very ending, which is overly raised an issue which is rarely refl ected in Slovak 56 monumental and during which the family is visited theatres and if it is at all, it is never done in such analysis and review Misery photo Ľ. Dobiás a forthright and crude manner. But “crude” does not necessarily have to have a derogatory meaning here, though it may become a double-edged sword Michal Ditte: Misery for the producers of Misery. “Crude” can also directed by I. Ditte-Jurčová dramaturgy convey a positive message about the performance R. Mankovecký set design Z. Formánková videoart which, though unable to change anything, can at E. Bartoš, P. Višňovský cast H. Rabová, M. Andrísek, least sow a seed of doubt, cause an outrage, incite A. Sabová, M. Viskup, D. Gudabová, R. Ligač to think, or even encourage people to help others premiere 24 February 2012, in any way they see fi t. Misery has the power to The Pôtoň Theatre, Bátovce plant this worm into the head of the viewers. ø 57

analysis and review MARTINA MAŠLÁROVÁ The New Drama Festival student at the Theatre Faculty, Academy of Performing Arts The New Drama Festival showed its true colours – and the colours were bright Despite the fact that one has to make considerable effort to fi nd the New Drama festival in programme bulletins (verging on the proverbial search for the needle in a haystack), it has repeatedly proved that contemporary drama is enjoying an autonomous existence parallel to the classical works (as well as tabloid comedies). The eighth festival, named after and celebrating new drama, was, as usual, organized by the Theatre Institute in Bratislava. And it has to be said right at the beginning that this year’s festival was a true success. It met all the requirements for a fi rst-rate theatre festival – it was well promoted, had a rich and dramaturgically well-balanced programme, interesting accompanying events, and, in the evening, parties in smart venues. In short, it was bright and vibrant. Kukura (The Aréna Theatre, Bratislava) Babka P. photo

This year, the festival was promoted with colours. Besides the lovely trinkets, for example, the crayons which were given to festival participants and which sported the text “New Drama Is Showing True Colours”, the organizers gave everyone an even more valuable present – a diverse selection of shows. Having seen them all, one must admit that – even though many may feel the opposite – Slovak theatre is not grey, dull or stereotypical after all. On the contrary, there are many colourful tinges on the outside as well as on the inside. The impression of a colourful event has lasted out, although every 58 production that made it into the fi nal selection festival seemed to communicate some darkness – be it the dark chambers of the human mind, the gloomy moments of our historical past, the far from optimistic present, or a bleak vision of the future. Fortunately, however, the productions presented none of these issues as black and white. The fi rst contestant in the festival was Martin Čičvák’s critical text Kukura, directed by Rastislav Ballek. Prior to its premiere, this Arena Theatre production raised a lot of doubt among theatremakers, but ultimately, it has become a very accurate and striking critique of the Reality of Dreams present situation in the arts and culture in our (Puppet Theatre at the Crossroads Banská Bystrica) society, in which commercial goals are favoured photo J. Šamaj over artistic expression. In the play, the opinions and attitudes of Juraj Kukura, the famous actor whom audiences are used to a different dramatic and director of the Arena Theatre, are being character, gave a surprisingly good performance repeated ad nauseum by the mouths of four of the grotesque president. It is a shame, actors playing one part, and are related also to however, that the production did not end after the subtitle of the show – “Capitalism”. Luckily, the fi rst half and continued after an intermission these views are counteracted by the character in a forced, motivationally replete, and of Čičvák, who has not yet lost his illusions and unnecessarily complicated second part. love for theatre. The production is impressive An interesting contrast to Kukura was both visually and in terms of direction. It does presented by the Žilina Puppet Theatre in not aim to examine the possibilities of “theatre their show Epic. This production became the in theatre”, but instead introduces the principle offi cial opening show because it was preceded of a discourse done “in theatre about theatre”. by opening speeches of actress Zuzana The fact that the show opened the festival could Kronerová, honorary director of the festival, also be interpreted as the organizers’ statement and Vladislava Fekete, director of the festival relating their strong feelings about this issue. and the entire event. As opposed to the social On the second day of the festival, the signifi cance of Čičvák’s play, the production Arena Theatre performed another production, devised by Andrej Kalinka and Ivan Martinka is David Mamet’s 2007 play November. The story an exclusively introspective look at the human of a U.S. president, who is at the end of his destiny, which includes the realization of the term and will do anything to keep his position, necessity of death and the importance of leaving seems to be another example of social satire something behind. To a degree, unnecessary with political content. But Martin Čičvák, this pathos was added to the strong topic through the time not as the author, but as the director, offers song and dance creations, as well as dialogue. the audience a funny parody of a man chasing However, the effort to produce a new type after his egotistical goals. Tomáš Maštalír, with of performance with a focus on movement 59

festival Epic (Puppet Theatre Žilina) photo M. Fabian

and playful setting balanced the sentimental confi ning it may be. Similarly universal are expression suffi ciently. The tangible energy issues of family relations, stereotypes and the emanating from the actors and the honesty ensuing tensions – all themes proposed by the of the statement enchanted the audience production of The Realities of Dreams performed so much that the production received enough by the Banská Bystrica Crossroads Puppet votes to receive the Bratislava Audience Prize. Theatre. The staging of Jana Juráňová’s text The second day of the festival was rich maintains its gender focus, which is the Puppet in emotions and experiences as well. Besides Theatre’s main line of work, even though feminist November, two family dramas were on the undertones were less perceptible than in its playbill. The Prešov-based Alexander Dukhnovich other productions. Iveta Škripková’s direction Theatre spiced up the programme with their may be considered controversial, but it is Dano production of Hawaii by young playwright Heriban’s exquisite music which becomes Michaela Zakuťanská. Even though the play was the production’s valuable asset, besides Jana partly performed in the Rusyn language, it was Oľhová’s brilliant acting. This was Oľhová’s third more than intelligible – not only because of great stunning performance this year – after Kukura acting, but also because of the universal feeling and November – and the jury acknowledged that it is very diffi cult to leave the environment the effort by awarding her a special prize. 60 and background we live in, no matter how Family themes were present also in the festival productions performed on Wednesday. Such A Couple of Poor, Polish-Speaking Romanians, a Nice Girl Like You staged by the Town staged in the Nitra-based Andrej Bagar Theatre, Theatre in Žilina narrates the story of the had to wait to collect a prize until the New mentally disabled girl Hanni and her sister Drama festival. Directed by young and promising Matti who is forced to earn their living by Slovak director Júlia Rázusová, this crazy road working as prostitutes. The young and talented trip, which does not appeal to all audiences, director Adriana Totiková staged a simple was awarded a prize by the student jury (made production bursting with fragile humour, using up of participants of the young critic’s seminar the interpersonally intimate text by Ingmar led by the Prague theatrologist Jakub Škorpil). Villqist. The show is distinctive mostly because The production Experiment, which of Kristína Sihelská’s outstanding performance surprisingly collected the festival’s Grand in the role of Matti, but even more so owing to Prix award, was performed alongside with Ivana Kubáčková’s portrayal of Hanni. Kubáčková A Couple of Poor, Polish-Speaking Romanians communicated the behaviour of a mentally on Thursday. It is diffi cult to condense the disabled girl with precision and humour. The content of this video piece into a few words. It second competing production on Wednesday was is related to the story of the Stoka Theatre (and The Master’s Blood by Theatre Astorka Korzo its successor S.T.O.K.A. by which this production ’90, directed by Ondrej Šulaj. It does not need was devised), to the fate and opinions of its a more elaborate assessment since its excellence protagonist and leader, the unconventional has been confi rmed by a number of critics and director Blaho Uhlár, and to the ever cheerless the positive reviews were sealed by the Dosky state of alternative theatre in Slovakia. Video Awards for best actors in the leading roles – the sequences packed with symbols – in which the fascinating Szidi Tóbiás and her acting partner creator has exposed himself in all senses of the Miroslav Noga. As opposed to The Farmer’s word – are combined with short staged scenes

A Couple of Poor, Polish – Speaking Romanias A Couple of Poor, (The Andrej Bagar Theatre Nitra) Collavino photo Blood, the production of Dorota Maslowska’s performed by three puppetry undergraduates at the Academy of Performing Arts. The audience’s reaction to the production was half-hearted, some even seemed offended. It is the more gratifying that the international jury found Experiment to be worthy of the Grand Prix award. Linking its performance to Experiment, the last of the competing productions was Some Disordered Interior Geometries by the P.A.T. Theatre. Performer Sláva Daubnerová, who devised this show with Pavel Graus, provides a tangible piece of evidence that alternative theatre has its specifi c place in Slovakia. Even though P.A.T. does not have its own scene, which is why it performs this show in the elledanse theatre, its performers have been very successful 61

festival has become known for experimenting with perception and experience. Nine spectators are blindfolded and driven in a car to an unknown place, and consequently they become part of the investigation of a curious murder of nine people whom the murderer left in very specifi c positions in a dark cellar. Each of the spectators fi nds out how he or she has been murdered, while the sound and light effects terrifyingly contribute to the already very ominous atmosphere. In contrast to the intense experience of 9 Kukura (The Aréna Theatre, Bratislava) Reconstruction, Our Class performed by the Teatro photo P. Babka na Woli from Warsaw was notably more “classical”. The group staged the text by Tadeusz Słobodziank in shifting the boundaries of their creativity, under the direction of Slovak director Ondrej performance and theatrical perception. In Spišák and the show became the imaginary piece comparison with the performance of Experiment, de resistance of the New Drama festival, performed P.A.T.’s production shows an explicit opposition after the announcement of the competition results between the public and the intimate, just like and awarding of the main prizes. Using the life we got to see during the opening evening of the stories of classmates from a mixed Jewish and festival. Even some of the themes seemed non-Jewish Polish class, the play reveals the harsh to overlap. The very personal statement reality of the injustice and trauma suffered by (Kukura’s and Uhlár’s) expressing their view Poles from the 1920s until the fi rst decade of the of the society is contrasted to a public analysis new millennium. Because of the play’s broad

of close interpersonal relationships, the death political outreach, I unwittingly reminded of the Experiment (In Quest For Spirituality) (Stoka Theatre, Bratislava) C. Bachratýphoto of a close person, and inner values of people, as they are presented in Epic and Geometries. Besides the main programme, the festival was spiced up by the associated events. This year, these were typifi ed by the red and white colours since most of them fell under the Focus on Poland section. The accompanying activities included a translation seminar, an exhibition of Polish photographer Bartłomiej Sowa, a presentation of the Polish Drama anthology (including staged readings from it attended by authors), a lecture by theorist Justyna Jaworska, and two very different productions. The fi rst was a project titled 9 Reconstruction by the 62 Wroclaw-based ensemble Ad Spectatores which festival Warsaw Meetings festival about which I wrote in the previous issues of kød. In a stark opposition to Polish trends, the productions performed at the New Drama festival proved that contemporary Slovak theatremakers are more interested in problems people deal with as individuals, rather than tackling large social issues. Perhaps this was why the hopeless story about a single class did not resonate as expected – at least judging from the discussions during the fi nal reception, although the brief encore at the end of the show was followed by a long applause echoing on the empty stage. Even though the lines above deal with the ending of the festival and thus foreshadow the ending of this article as well, I would like to conclude by discussing one fi nal event I feel I have to mention. It is the Triathlon, a staged reading of the Drama 2011 winning texts. Directed by Júlia Rázusová, this year’s Triathlon proved that good material for theatre need not be written by grey-haired and award-wielding authors, or that we have to dig out the yellowed pages of the texts written ages ago by the masters of old. From among the 27 texts which entered the competition, the jury awarded 1st prize to Gabriela Alexová’s play Losers, which also received the Slovak Broadcast prize and will be produced as a radio play. We should also hope that some of the competing texts will be performed at one of the New Drama festivals in the future. SDIG This year’s colourful visual and advertising (The Theatre P.A.T., Bratislava) concept will be very likely replaced by a new one photo K. Jesná next year. The one thing we should hope will remain, however, is an equally rich spectrum of events painting a similarly varied picture New Drama 2012 of how well new drama is doing on Slovak stages. 8th Festival of Contemporary Slovak The colour palette used by the organizers this and International Drama year was extra large and the result was certainly 14–19 May, 2012, Bratislava worth seeing. Let us hope that next year the www.novadrama.sk colours of New Drama will not fade. ø 63

festival MARTINA MAŠLÁROVÁ Divadelná Nitra 2012 student at the Theatre Faculty, Academy of Performing Arts The International Theatre Festival Divadelná Nitra Appealed to our Conscience Last year, Divadelná Nitra made us confess our secrets. This year, it got even more radical. The festival attempted to jerk us out of the comfortable alibism of being hidden in the audience and mercilessly made us face our own responsibility. Guilty or innocent? The festival nagged and taunted, wanting to make us confess our sins. Our witnesses and mute judges in one were fi sh – the primary element of this year’s visual concept. Fish as the symbol of Christianity, and therefore also some idea of morality (at least an outwardly presented one); fi sh as evidence of the imaginary pollution of the waters of morality by actions which goes against it.

The issue of guilt vs. innocence is truly broad a straightforward manner, it is good to know and we fi nd it, quite naturally, in almost every that his year’s dramaturgical committee kept story, whether on or off the theatre stage. The their word. Both the main and accompanying particularity in this year’s dramaturgical selection, programmes became mirrors of the society we however, was an emphasis on productions which live in, including all of its infi rmities and faults, use individual and personal misdemeanours to however, making sure that this unembellished divulge the larger scale of guilt in the society. picture does not give rise only to scepticism. For this reason, the 21st of Slovakia’s largest The shows could be divided into two groups: international theatre festival could bear the those that talk about the collective guilt through subtitle “committed”. The only platform for the intimate stories of particular individuals, and this kind of theatre in Slovakia is provided by those that directly confront us with a universal the Arteterapia festival held in Banská Bystrica, social issue. Two in Your House, X millimetres which has dealt with similarly focused theatre out of Y kilometres, and Seven Days to Funeral productions for several years. Even though it are three productions from the fi rst category, would be unfair to demand from a festival like tackling issues which appear to be more or less 64 Divadelná Nitra to always profi le itself in such the same, at least at fi rst sight – the right to festival the freedom of expression and the problems which to the active rebellion on the part of his wife – ensue when one wants to exercise this right in which raises the question of the necessity and a totalitarian political regime acting against the possibilities for fi ghting for freedom. Through freedom of speech. The protagonists of all three the characters of the agents, who are not productions are publicly known personalities, portrayed one-sidedly, or as plainly negative, writers whose fi ght against the regime made them the authors also remind us that a fi sh always endure the hardships brought about by censorship rots from the head down. In spite of strong and limitations of the freedom to work or travel. motifs, the production has little directorial The productions are similar also in inventiveness and the acting is drab. As a result, their minimalist set design and an overall the impression it makes is rather perplexing. effort to be anti-illusional, nevertheless, The Romanian production X millimetres out they differ in the extent to which they are of Y kilometres, directed by Gianiny Cărbunariu, documentary, as well as in their directorial brings even more perplexing results. The title and approach and background material. subject matter of the play refer to the number In the fi rst show, members of the Russian of kilometres the preserved secret police fi les alternative theatre Teatr.doc adapt the story would cover if spread over in a line. Few meters of the Belorussian poet and activist Vladimir of the documentation would be covered by the fi les Neklyaev who was confi ned to house arrest on writer Dorin Tudoran. Despite the necessary under the supervision of agents for his opposition reduction, the show feels too long, mostly due to to President Lukashenko (for this reason, the repetitive passages which, along with the actors production could not be staged in Belarus). It is swapping roles and relocating the stage area in a staged reconstruction of the absurd situation space (among the spectators), became a tedious, which is recorded using the verbatim method on and quickly also tiring, formal inhibitor of the the basis of interviews and authentic materials. plot. Granted, the creators want to point out

X milimetres out of Y kilometres (colectivA, Kluj Napoca, Romania) C. Bachratýphoto Neklyaev’s passive resistance is contrasted that the truth is just a matter of our point of view and that if somebody desires to discredit us, it is very easy to distort the truth. It is ironic that, despite the similarities, Tudoran’s story appears to be much less transferrable and universal than Neklyaev’s. Then again, it is very likely that even a production like Seven Days to Funeral would not resonate the same way in Romania. Seven Days to Funeral was – when compared with the Martin Theatre’s previous shows – perhaps the most classical (fellow theatremakers from the Czech Republic even gave it the unfavourable attribute “old theatre”). Some might object to slow pacing and acting pathos, nonetheless, it naturally works this way best in these parts of Europe. Despite 65

festival Clouds (Handa Gote, Prague, Czech Republic) photo C. Bachratý

acoustic problems of the stage in Nitra, the she baked using her grandmother’s recipe to story of Ján Rozner and Zora Jesenská makes use make us feel as if we were old friends. Owing to of an excellent dramatization, as well as very the impressive visual design and choreography, intimate and lyrical acting, to caress our souls. the shared viewing of family albums became Quite deservedly, it was awarded the Main an unusual and fascinating theatre experience. Prize for best production and for best male A peculiar antipode to Clouds is the actor (Dano Heriban in the role of Rozner). performance, or better a commented movie, The Very specifi c example of a production More of Us There Are, The Faster We Will Reach which fi lters big historical events and tackles Our Goal by Slovenian artists Janez Janša, Janez guilt as a phenomenon through the life story Janša and Janez Janša. It also reveals familial and of a particular individual is the show Clouds, a work personal stories related to the act of changing of the Czech artistic group Handa Gote. Veronika one’s name, undertaken by three artists. Their Švábová, one of the group’s performers confronts project raises the issue of identity, the bond the past of her own family and the house where between a person and his name, while at the same they have lived since 1938. Through the family time being a distinctive political provocation, history we perceive the details of the larger history since Janez Janša is the Slovenian prime minister much more clearly and feel closer to the people and one of the longest serving politicians in 66 involved. In the end, Veronika offers us a cake the country. And yet, the Janšas do not adopt festival an openly critical or positive attitude towards him, instead, they let the consequences of their action “assume a life of their own”, leaving people and the media speculate about why they did it in the fi rst place. This is what piques the audience’s interest in their artistic concept. The dramaturgical decision to bring this fresh, funny and provocative play to Nitra was very bold and very enlightened. Three other titles tread on the territory just on the edge between the fi rst and second category of productions: the Slovak production Kukura, and Anamnesis the dance shows Open to Everything and It’s Going (József Katona Theatre and Sputnik, Budapest, Hungary) to Get Worse and Worse and Worse, My Friend. photo C. Bachratý The reason why Kukura falls into this category is that – although the statement of the play is different – people’s capacity to let themselves inseparably connected with the real personality be swept off their feet by intense rhetoric, until of Juraj Kukura – his character functions solely they are witlessly fascinated. In doing this, as the mouth through which accusations are Gruwez seems to alternate between the roles made and states of affairs are being named. In of the ruler and the ruled. In combination with a similar way, the solo performed by Belgian minimalist lighting design, and the sound and dancer Lisbeth Gruwez is interconnected with audio effects, the expression of the Belgian dancer televangelist preacher Jimmy Swaggart and his is captivating and cautionary at the same time. sermons, used to transfi x the masses via TV and In contrast to Gruwez’s terrifying the internet. But Gruwez’s syllables and sentences minimalism, the festival audience enjoyed the

Open for Everything (Constanza Macras / DorkyPark, Berlin, Germany) C. Bachratýphoto created through movement refer to something playful, impressive and grand production Open to Everything which was created as a project of the Goethe Institute in Prague. The project joined professional dancers, a well-known choreographer, and eighteen Romani amateurs. Clichéd scenes from Romani life are interspersed with realistic stories experienced by the project participants. The elaborate movement under the choreography of Constanza Macras is an elemental peek into the life of a minority. Ultimately, however, it does not communicate any serious statement – it is just a nice, if slightly banal celebration of the transgression of borders between “them” and “us”. This trio of productions could be completed with the Hungarian show Anamnesis. It is 67

festival III Furies a macabre, Monty Pythonesque diagnosis about a functional system of health care. (Modjeska Theatre of the diseased Hungarian health care system, Even though the production Misery by the in Legnica, Poland) based – among other things – on interviews Bátovce-based theatre Pôtoň came to being photo C. Bachratý with actual doctors. These were projected in a way similar to Anamnesis, the material during the show. Anamnesis became one of the gathered during fi eld research (mostly from climaxes of the festival – not only because the interviews) did not become part of the production. Hungarian and Slovak health care systems It was, however, transformed into a universal suffer from very similar defi ciencies, but also story about an impoverished family, which is because the energy, inventiveness, and well- a commonplace phenomenon in the poverty- dosed blackest-black humour is in adequate stricken valleys in Slovakia. Just like it is often the balance with serious moments in the play. The case in other, similar events, this controversial mixture of these elements produces an explosive production sparked a broad range of reactions. which sends the audience rolling on the fl oor, Its naturalistic straightforwardness and rough 68 while mercilessly detonating our last illusion imagery, which are the most idiosyncratic festival of the show is in no way different from its course. This narrative theatre, composed from an infi nite number of future forecasts being told by two protagonists, is a witty and resourceful means to use bizarre scenarios of our future to point out the absurdity of our present. Naturally, Divadelná Nitra offered its audiences much more than just the productions that made it to the main programme. The ongoing appeal to our conscience continued with the morning discussions with the theatremakers, as well as fi lm showings as part of the accompanying programme. Theatrologists had The More of Us There Are, the Faster We attributes of the play’s aesthetic, found its a chance to listen to the voices of their conscience Will Reach the Goal supporters as well as opponents. At any during the award-giving ceremony. There is also (Maska, Ljubljana, Slovenia) rate, this small, decentralized theatre is one a promise of a search for evildoers – as part photo C. Bachratý of the few scenes in Slovakia where big and of the Parallel Lives project which involves current social issues are being dissected. artists from six countries whose task is to create In Poland, on the other hand, political and documentary productions using fi les found in committed theatre is very common – the Poles the archives of the six countries’ socialist secret are a nation with a chronic need to come to terms police. The dramaturgical committee should with their own history and adversities. This is also prick their conscience for the productions often done by means of art. The production which did not bring the expected quality to III Furies directed by Marcin Liber, which uses the festival. Ultimately, however, it is hard to a twisted mythological parable to attack Polish please everybody – and if some spectators did myths and national pride, is thematically more not like any particular production, maybe it is strictly defi ned that the previous two shows. It their fault in the fi rst place. But it seems a futile is a visually attractive piece with live punk rock fi ght trying to make the government (and its music, as well as a whole parade of grotesque, representatives who control the mechanisms often even monstrous characters which do of arts funding) to feel responsible for forcing not give the audience a single breather. For cultural institutions to make compromises and the Slovak audience, however, stretching concessions because there is never enough money borders and experimenting can be seen more available. The government is always innocent. ø on the formal level rather than in content. For this reason, it is rather complicated to demand even some sort of catharsis. International Theatre Festival In a different example, however, catharsis Divadelná Nitra is being seemingly deliberately eschewed by 21–26 September, Nitra well-known British group Forced Entertainment www.nitrafest.sk in its production Tomorrow’s Parties. The ending 69

festival DOMINIKA ZAŤKOVÁ Bábkarská Bystrica 2012 theater critic More than twice an impulse

At the turn of September and October, of theater professionals and experts. The jury the city of Banská Bystrica held the 18th of First Impulse is made up of 12 to 15 year old international festival of contemporary children attending theater workshops such puppet theater for adults and children as drama or creative writing activities at the Bábkarská Bystrica/ Double Impulse. Puppet Theater at the Crossroads (Bábkové divadlo na Rázcestí – BDnR). For their age the children had demonstrated extraordinary theatrical perception, insight and adequate Under the title Theatricals, organizers had professionalism at decision making also thanks dedicated the fi rst day of the festival to the to close ties with a professional theater. Despite

residents of Banská Bystrica. This grand street this, it is worth a contemplation if the absence The Little Match Girl Hradec Králové) (Dragon Theater, photo Archive of the Festival event of the festival lasted the entire afternoon where ten performing groups and individuals from the Czech Republic and Slovakia livened up the city by theater and attracted spectators by stilt walkers, street organs, clowns, fairytales, interactive games and even by an erotic cabaret. It was a good start indicating the festival’s and puppet theater’s multifariousness throughout a variety of poetics, styles and addressees. Since last year, organizers are dividing the festival into two parts. The First Impulse is dedicated to children puppet theater and the Second Impulse represents puppet theater productions for adults. Though both parts are a competition, in First Impulse prizes are awarded only by a jury consisting of children. A curiosity, to which we are accustomed mainly at festivals as part of a spectator’s voice, rather 70 than an alternative to a “big” jury consisting festival of a professional jury in First Impulse is not for children focused on the aspect why certain counterproductive – on the one hand puppeteers topics in productions for children are made taboo and authors of plays for children denote the lack (death, physical or mental handicap, tyranny) of seriousness towards productions for children and illustrated examples of ensembles and stage (including in professional theaters), but on the works transcending those. Director personalities other hand by a missing professional jury it is in puppet theater for adults was a conference like saying a spectator’s (child’s) valuation is introducing one of the most signifi cant European suffi cient. And this is a double-edged sword. puppet directors Jozef Kroft and the poetics of two The organizers had indeed succeeded in Slovak directors Marián Pecko and Ondrej Spišák, creating a compact program as well as fi lling who for years now are not dividing their works in every free gap between the First and Second neither for children and adults nor for puppet Impulse by attractive accompanying events. For and drama. At the same time the conference the fi rst time, the festival program included for discussed important questions such as how example a fi lm section, which introduced unique puppet theaters for adults could compete with Czech and Slovak animated fi lm classics (by the repertoire of drama theaters and concluded Švankmajer and Bárta) and also some by young the indifference of the broader theater community authors (Kerekesová, Laučíková/Snopek, Struss). (as well the critics) about such productions and A seeming diversion from theater offered further observed the persisting prejudice that puppet inspiration for puppeteering. Two conferences theater is only for children. There was also opened up neuralgic topics relevant not just for a seminar on gender issues in theater, during to the puppet theater. The fi rst Taboo in works which festival director Iveta Škripková explained the principles on which she creates her own Face me (international project work. Thanks to the cooperation of BDnR (the Platforma 11+ Puppet Theater at the Crossroads from Banská SK, UK, NL, IT) Bystrica) and The Theater Institute (professionally photo Archive of the Festival supervised by Lenka Dzadíková), a remarkable exhibition Visegrad Four: sketch, object, puppet, theater was prepared for festival visitors in the Central Slovak gallery. The project introduced four stage designers: Eva Farkašová, Szilárd Boráros, Rafal Budnik and Tomáš Volkmer. Within the First Impulse we had an opportunity to see eleven competing productions for an audience of toddlers up to teenagers. Some of them were inspirational, playful, interesting visually and solely theatrical, while others were far from new trends and theatrical impulses. As a representative of the fi rst group was a captivating and perfect stage production worthy of the theatrical craft The Little 71

festival Match Girl by the theater Dragon from Hradec viewers caused by the infantile and affected Králové also awarded by the children’s jury. expression of the actress playing the child. Neither Poetic feature and playful acting characterized a traditional, illustrative stage production of the the Journey to the Land of Tuwim by K. Spišák fairytale Cinderella by the guest Bulgarian Stara Old Theater in Nitra. For a performance by the Zagora State Puppet Theater can be considered Polish theater Atofri from Poznan Mr Satie – as a creative impulse, though we understand the Made of Paper, music and visual features were social signifi cance of this invitation – the Bulgarian pivotal. Two actresses, to the accompaniment theater performed for the fi rst time at the festival of melodic tunes by French composer Eric Satie and as its members expressed in an interview, are presenting the most ordinary material – participation at the festival was a great inspiration paper – by means of senses: hearing (crunching, for all of them. A shocking astonishment in tearing), sight (colors, forms) and lastly touch a negative sense was the stage production (touching or walking on torn paper bits). Similarly Thumbelina by the Polish Banialuka Puppet sensational was the performance Batolárium Theatre from Bielsko-Biała, thus an ensemble, (Toddlerium) for the youngest from the age of ten a regular guest at the festival Bábkarská Bystrica months produced by the Puppet Theater at the where its performances have always belonged to Crossroads from Banská Bystrica. Almost without the most interesting ones (recalling Snow Queen, any words, the actress demonstrated to the BB 2008 or Ionesco: Exit the King, BB 2010). It children a simple story of the butterfl y emerging was like the descriptive fairytale clouded by songs from egg (via larva and pupa), while musical from playback and tasteless setting was lost accompaniment was created directly during the in poetics of twenty years ago. Unfortunately, performance on stage by one musician. Theatrical the host theater had not really succeeded by its production for toddlers is undoubtedly distinct second production included in the program of the already in approach. It works with simple, but First Impulse. The original children’s encyclopedia

expressive features, avoids complicated stories, Tatranky about the meaning to be Slovak suffered The Metamorphosis (The Puppet Theater at the Crossroads, Banská Bystrica) photo Archive of the Festival offers children incentives. The best examples of such production were the two aforementioned performances. Unlike these, other stage productions for this age category offered by the festival cannot be considered similarly good. Four seasons by Hungarian company of the choreographer Yvette Bozsik from Budapest was a sequence of trivial dance performances of three actors in kitschy plush animal costumes resembling advertisement shows in shopping centers. Although, a French production To Kiss the Moon by Le Fil Rouge Theater presented different, at some point ceremonial non-contact approach to toddlers preserving the illusion 72 of theater, still resulting in puzzlement of the festival was to the disadvantage of the latter. Probably, the organizers should have contributed more attention to the selection of productions preferring rather a less amount of outstanding works – such as they managed in the Second Impulse. When two years ago organizers of the festival Bábkarská Bystrica came with the new idea of dividing the event into two sections and contributing the Second Impulse entirely to puppet theater for adults, they did it with an obvious goal to proceed contrary to stereotypical concepts viewing puppet theater as a form of entertainment for children. And it was a good decision. Notwithstanding fi nancial reasons curtailing the Second Impulse for two days, presenting only six productions, but all confi rming that puppet theater for adults in Variations on Love (The Puppet Theater from the absence of a dramaturg, who could help both Slovakia and abroad not only exists but at the Crossroads, to resolutely adjust the too sluggish story and its represents an equal partner to other genre Banská Bystrica) stage direction. The production Without Earth by of theater production. Sadly, due to technical photo Archive of the Festival the company Décalages from Prague benefi ted obstacles two major Slovak productions could from the attractiveness of new circus, but it not participate in the festival – Epic (Epos) by the offered neither artful acrobatics nor a readable Žilina based Puppet Theater and Bartimaeus story or message. A curiosity of the festival was Passion (Bartimejove pašie) of the theater Ticho stage production Face me that of the international and company, both from the creative workshop project Platform 11+, whose partners were also of I. Martinka and A. Kalinka. Though, both the Theater Institute and the Puppet Theater could cope with an international confrontation. at the Crossroads. In Banská Bystrica, it has The professional jury of the Second presented one of its three independent parts Impulse consisting of Jakub Kroft, Soňa of a production as a site-specifi c project on the Ferancová and Robert Mankovecký (“fi lled premises of an elementary school in the city. in” for Henryk Jurkowski, who called off his If we considered the festival as a happening participation couple days before the festival) it ought to represent the best, which was created considered two Slovak, two Czech, a Polish in a certain fi eld as something inspirational, and a German-Greek production. Both displaying new ways, new trends (such as a special Slovak projects were from the repertoire Sunday meal full of selected delicacies) – then of host theater the Puppet Theater at the the First Impulse of Bábkarská Bystrica did Crossroads refl ecting the essence of this not entirely satisfy the expectations. The ratio institution, which poetics is formed by two of average, descriptive, traditionalistic productions personalities – by Iveta Škripková and her gender versus to inspirational, innovative, progressive theater (Variations on Love based on prose 73

festival Clown’s Houses (The Merlin Theater, Berlin) photo Archive of the Festival

at the marionette and via its hidden guiding they staged a dark puzzle of fi ve absurd stories on today’s man solitude, imprisoned in his own apartment, habits and empty ideas. The precise marionette-guiding skills, visual style, clip like feeling as well as emphasizing the stories affected almost as a “live” animated fi lm. In the end, the professional jury awarded the Polish ensemble Grupa with the Henryk Jurkowski Prize for its works of B. Slančíková-Timrava and E. Maróthy- production Turandot. This extraordinary testimony Šoltésová) and Marián Pecko with his gloomy about betrayal, love, cruelty and immortality stylized visions (F. Kafka: The Metamorphosis). phenomenally interconnected the scenic, acting, Another production at the festival – Lebensraum motion adaptation into a multilayer unique by the Loutek Theater from Ostrava was entity. The production won the Total Theatre directed by Marián Pecko, as well. This riveting Award at the 2011 Fringe festival in Edinburgh in politfantasy with a powerful moral message, the category of physical/visual theater, too. performed in an arena surrounded by spectators, The festival’s subtitle – the Second Impulse was fi lled with three actors’ ceaseless presence refl ects the immense attempt of organizers and their brechtian style of portraying numerous of Bábkarská Bystrica to prepare a program, characters while simultaneously commenting on which inspires in many ways, but not only by the story. Thanks to its strong idea it received presenting theater but its research as well the festival Award of the President of the Banská (conferences, seminars, exhibition). Hence Bystrica region for the moral message. In fact, the we can interpret it not just by the addressees: production Amberville based on the novel of T. children and adults, but by further staging as well Davis by the theater Alfa from Plzen has proved as theatrical impulses brought by the festival. ø that puppet theater for adults has a long tradition, highly professional and excellent achievements in the Czech Republic. A fatal combination of a detective thriller played by plush toys, the Bábkarská Bystrica 2012 production attracted attention and enthusiastic 18th International festival of contemporary admiration. A completely different production puppet theater for adults and children approach was selected by Greek authors of the 28 September – 3 October 2012, Banská Bystrica puppet theater Merlin from Berlin in the stage www.bdnr.sk/bab 74 production Clown’s Houses. Attention was directed festival JÁNJÁN ŠIMKŠIMKOO dramaturg, director, theatheater critic

History of 20th Century Drama

On 27 March 2012, the World Theatre Day, experienced a principal turn in the relationship Studio 12 organizedor a launch of the long- between the actors on the stage and the audience. awaited publicationpu History of Slovak It was the audience coming to theatres to discuss Drama of the 20th Century, compiled by the current events who would start writing the theatroltheatrologist Vladimír Štefko, et. al. It script of each evening by means of very expressive is the fi rst edition of 20th century Slovak input and personal stories. The revolutionary drama – which is why the publication movement completely broke the principle and launchl became a theatrical event. of a ramp separating the actors from the audience. We have selected a section from the While before 1989, such practice took place only bobook – a part of Ján Šimko’s study in some theatres – in the so-called small-stage oof Slovak drama in the 1990s. theatres – during the Velvet revolution, this particular way of communicating, which brought Ján Šimko: Slovak Drama After 1989 along a new, strong experience, spread into all Even though the revolutionary events theatre buildings and went out to the streets of November and December 1989 are true as well. The revolutionary events changed thee milestones of the modern history of Slovak society interaction between the actors and the audienceence and culture, and have always piqued the interest most signifi cantly in the theatres whose poeticsoetics of historians and other researchers (mostly in was reliant on a strict adherence to the ideadea social sciences), there are still many aspects of the separating ramp. Besides a new formorm of these events which are yet to be explored. of interaction, whereby the actors triedd to start In 1989, theatre became an essential link in the a dialogue with the spectators and, inn some cases, chain which led to social changes. Considering the ended up listening to stories told byy the audience, importance of art and culture in Slovakia during the most important element, in particulararticular for the totalitarian regime, it could have been foreseen repertory theatres, was the experiencerience of “not that theatre was going to take on an essential role acting”. During the theatre strike,ke, theatres fulfi lled in the process. In practice, the society experienced their social role by not performing.ming. Instead of the – for a few weeks – the realization of an ideal called production of illusory reality,, there was silence for in articles and manifestos by many theatre – it was socially recognizedd and became an act theorists and critics. This was an ideal dreamed which acquired an essentialial meaning. Stehlíková about by Slovak revivalists already back in the posits that the experiencece of mutually expressed 19th century. 1989 was a time when theatremakers courage, determinationn and solidarity led to 75

theory/history/critictheory/history/ “the gradual acquisition of a feeling of personal writing for them, or even their specifi c poetics, freedom and thereby of a responsibility for a public but also by the way in which these theatres were cause” (Stehlíková, 20092009, p. 30). Stehlíková fi nding their audiences. While studio theatres believes that the crowd began its transformation were purposefully scouted out by the spectators, ttoo a demodemoss and made upu a conscious polis. brick-and-mortar theatres, for the most part, had to recruit their audiences. This was refl ected in After all, the progressp of the demonstrations the stratifi cation of the spectators, as well as in – organized by theatremakersth – contained their awareness of the play they would go to see. signifi cant theatricaltheat elements. Though it may not Whereas studio theatre audiences would choose appear so at fi rstr sight, even the demonstrations the play they went to see and knew the author, were not just a spontaneous expression of civil title or theatre company, recruited audiences dissatisfactiondissatisfacti and opposition against the regime. often did not know beforehand what play they On the contrary,con they were directed using clearly were about to see. After November 1989, the structuredstructure scenes. Although the demonstrations recruited audiences of brick-and-mortar theatres provided opportunities for improvisation, the rejected the repertory which did not correspond rallies on the town squares used scripts with with their new perception of reality. In a situation an exactex order of speakers and stories which were dominated by uncertainty and the search for new to beb presented, as well as with slots for songs audiences, the theatres’ dramaturges relied on the andan slogan chanting. The direct participants tried classics of world drama, or they either kept rememberr not only the fact that the rallies were or reintroduced productions which were highly run under specifi c dramaturgy, but also claim that successful with the audiences in the past years. the Prague demonstrations were the best theatre In this period, drama written by Slovak play ever written by the playwright, director authors was pushed out to the margin of the brick- and actor Václav Havel. The transformation and-mortar theatres’ programming. There were of a crowd to a demos and a polis, assisted by several reasons for this. After the 1989 events, the theatremakers, took place at demonstrations audience’s expectations and repertory demand which were organized like theatre performances. changed. Although the spectators themselves were This is one of the reasons why the attitude of the unable to articulate what they might be interested audiences to theatre had to change after the in (this was the task of the theatremakers), they November events. This change of attitude forced sent a clear message that the current repertory theatremakers, in particular those working in of brick-and-mortar theatres was of no interest the so-called brick-and-mortar theatres, to fi nd to them. Theatremakers found themselves a new role and social place for theatre. In the fi rst in a position where they had to redefi ne their months of 1989, this change became apparent repertories, which turned out to be the most mostly in the radical drop at the box offi ce in diffi cult stage in the development of contemporary brick-and-mortar theatres. While studio theatres Slovak drama. The problem was twofold – on the did not record any change in attendance, brick- one hand, the then creators in brick-and-mortar and-mortar theatres gaped empty. This was not theatres were not suffi ciently prepared to do any only caused by a different dramaturgy used by other type of drama than that which made use 76 brick-and-mortar theatres, or the circle of authors of the poetics of psychological realism, and on the theory/history/critic other hand, brick-and-mortar theatres were unable The forced gaps in their repertoires were another to stage the existing plays of devising theatres, signifi cant reason. Dramaturges now tried to or hire the creators of devising theatres for their introduce plays which were either outright banned,ned, productions. In the early 1990s, this brought about or whose productions were limited prior to 1989.89. a paradox: the gap between the production of the However, it was mostly the cultural policy beforeefore brick-and-mortar theaters and devising theatres 1989 which brought about the loss of interestest in grew even bigger. Devising theatres not only Slovak authors – a policy which was applied,ed, with staged plays which were attractive for audiences, minor adaptations, from 1948 until 1989. For the but also had the necessary human resources: network of state-run repertory theatres,s, the policy playwrights, actors-authors, stage designers and planned out preferences for Slovak dramarama which directors who were able to stage the devised texts. was supposed to be accessible to thee general This is why many people expected that, in order public (for several reasons). In addition,dition, theatre to renew their repertories, the brick-and-mortar was proclaimed to be a traditionalal art form which theatres would turn to those theatremakers belonged to the people and wass to be universally who had had experience with devising plays. In accessible. Just like all of the other art forms, it had exceptional cases when this happened, however, to get rid of the aura of a bourgeoisrgeois genre. Theatre the brick-and-mortar theatres were not consistent was thought to serve in particularticular as an effective and so the interaction could not work, mainly propaganda tool, providingg the audience with because cooperation with playrights that used pictures from the life of thehe new, socialist man, to work in devised theatres was different than and showing his dilemmasmas and internal struggles cooperation with authors writing for brick-and- on the stage. This rolee was to be fulfi lled by mortar theatres. Texts written by authors working drama with a clear statementtatement and message, for devising theatres were incompatible with the with straightforwardrd schematic plot (clarity and poetics of psychological realism which dominated simplicity were requiredquired also because the contentconte the repertory of the brick-and-mortar theatres. of plays had to bee controlled ideologically). Besides, devised theatre presumes a different Paradoxically, the drama of socialist realism type of performance, as well as a distinct authorial found its aesthetichetic footing in the bourgeois drama input in terms of direction and acting. The of the 19th century,ntury, as well as in psychologicalpsycholog situation seemed to improve after 2000 when realism derivedrived from the theoretical workwor of K. the repertories of brick-and-mortar theatres S. Stanislavski.avski. Repertory theatres werewer forced started using texts written by playwrights who to produceuce this type of schematic SlovSlovak drama had experience with devised theatre (mostly using thehe staging style of an illusory imitation plays by Viliam Klimáček). However, it ought to be of reality,ality, which was absolutely susubmitted to noted that this could have been done only at the a rigidgid literary text. This was so becauseb meaning expense of radical concessions on the part of the in the text was easier to censor than the nuances authors who had to submit to the poetics of the thathat would originate in the staging.sta This was kind of bourgeois drama of psychological realism. the type of drama reserved forfo brick-and-mortar The waning interest in theatre after 1989 was repertories, mostly because of their grand not the only reason why brick-and-mortar theatres portal-style scenes, where illusory productions turned away from contemporary Slovak drama. could be staged, most of which were acted out 77

theory/history/critic behind the imaginary fourth wall. Theatres, stage setting, and rarely, or only marginally, used as well as authors of SlovaSlovak plays, were rewarded stage equipment (e.g. lighting, rigging). In today’s for their ideological serviservices with generous terminology, small-stage theatres are referred subventions. After 19891989, dramaturgies of the to as studio theatres or theatre labs. The term brick-and-mortar theatheatres became more reserved theatre lab is used mostly in the case of theatres and disapproving of the new setup. They had to seeking new ways of expression in performance start looking for nenew authors and set up new ways or stage design. However, this is a marginal of working with tetexts. Considering the quickly phenomenon in the Slovak drama which is the changing conditconditions, this process demanded subject of this study. This is why I will use the term the setting of a goal which was too long-term studio theatres instead. In many cases, the term to be attractivattractive for the theatres’ dramaturges. studio theatre will overlap with the term devising As a reareaction to the ideological pressure and theatre. (Devising theatres challenged the idea censorship that were present from the 1950s, of the traditional labour division and brought all kinds oof so-called small-stage theatres and along creative authorship visible on all levels devising theatres were established all over of theatrical creation – from the playwright, who CzechoCzechoslovakia. They provided a creative space was traditionally referred to as the author, through for arartists who did not want to submit to the authorial direction all the way to authorial acting.) cencensorship or operational coercion present in Authorship on all levels signifi cantly affected reprepertory theatres. Repertory theatres also found the form in which dramatic texts were created ssome space – mostly in their studio scenes or on and brought along several new phenomena, smaller stages – for other types of poetics. The e.g. collective authorship or individuality-based term small-stage theatres was used collectively to acting. It was the authorial approach which, prior name devising theatres, cabaret theatres, poetry to 1989, distinguished small-stage theatres from theatres, improvisation scenes and theatres using operational brick-and-mortar theatres, the latter methods other than psychological realism, which of which typically specialized in specifi c areas was preferred and dictated by the dramaturgies when creating reproduced theatre works using the of brick-and-mortar theatres. Small-stage theatres model of written theatre plays. Vladimír Just claims produced the most valuable Slovak plays staged that the practice of this kind of theatres made us before 1989. It was in small-stage theatres, “lock up the term ‘authorship’ somewhere totally either those that existed before 1989, or those outside public performance – within the four walls established after, where Slovak drama originated of a quiet study room, while the term ‘theatre’ and was staged. The term small-stage theatre (‘acting’, ‘direction’) is somewhat automatically is based on the Czechoslovak terminology of the associated with the executive, reproductive, 1960s and refers to the fact that these theatres and never the originating, authorial activity.” – established by youth organizations or interest (Just, 1984, p. 10) Devising theatres, just like their groups (such as the Association of the Socialist predecessors in the past (medieval comedians, Youth), or factory and municipal culture centres – actors in commedia dell´arte, but even authors worked on small stages, or even in non-theatrical like Molière, or Jiří Voskovec and Jan Werich), spaces. The productions which originated in these returned the multifaceted personalities of authors 78 theatres often did not have any, or just minimal, into the theatres. The creative approaches theory/history/critic broughtb onto the scene by studio theatres before or librettos which could rarely be read without 1989 signifi cantly expanded the defi nition of the referring to a specifi c production. In this chapter,r, term ‘drama’. This is why, particularly if we try to I would like to look at this type of scripts and assess the development of Slovak drama after librettos, trying to perceive them as an integralal 1989, we have to take into consideration also part of the development of Slovak drama afterter texts which were not fi nished before the work 1989. The close interconnection of drama andnd was staged, that is, texts which do not exist in individual productions in the studied periodod the literary form of a dramatic work, or texts contributed to the playwriting process by enriching which were not written by a single author, or it with new formal approaches (I will mention even texts which quote, or in any other way make these when talking about specifi c works).rks). In their use of, the works of other authors (for example, aesthetic approach, the studio theatrestres relied on documentary drama or the texts by Rastislav the traditions of early 20th century avant-garde Ballek and Martin Kubran). The most noteworthy and followed up the works of studiodio theatres innovation in drama was introduced by the studio or labs which started to performm in the 1950s theatres. Most importantly, these theatres’ work and 1960s all over Europe and North America. rested on a close contact with the audience and Just like in other westernn theatre cultures, their performances broke, or in different ways the Slovak devising and studiodio theatres became commented on, the illusion of the fourth wall. the place where artisticallyy innovative and Studio theatres enriched Slovak drama with the progressive theatre was born. In comparison, genres and means of anti-illusionary theatre. the production of the brick-and-mortarrick-and-mortar theatres They created the space for such forms as the felt torpid. Even thoughgh both types of theatrical monologue, lecture, song, versed text, parallel expression were on the tail of the contemporary monologue, gag, cabaret dialogue, repetitive European theatre of that time, the production structures, and so on. Studio theatres contributed of the studio and devising theatres was slightly to the origination of various projects and theatre closer to the latestest trend of European theatre productions which traditional theatrology referred and drama. Paradoxicallyradoxically though, the productionprodu to as cross-genres. Many of these theatres were of devising andd studio theatres (compared with either founded by a specifi c playwright, or directly the brick-and-mortard-mortar theatres) was much less connected to his personality (in the Bratislava- frequently refl ected in the theatrologicaltheatrologica and based GUnaGU it was Viliam Klimáček, in the historical literature; what is more, this refl ection Student Theatre in Prešov playwright Karol was ratherher unsystematic. European theatrology,t Horák, the Radošina Naïve Theatre had its writer and, withith some delay, also Czech theatrology,th Stanislav Štepka, and Štúdio S its authors Milan had been observing the trends in theset theatres Lasica and Július Satinský, etc.). In some cases, the sincee as long ago as the 1920s. SlovakSlo scholarship authors were the founding directors of theatres, placedaced the production of theatrestheatre like Stoka, for example Karol Horák in the Student Theatre, GUnaGU, the Student Theatre,Theatre among others, in or Blahoslav Uhlár in the Bratislava-based Stoka the common category of alternativealte theatre with Theatre. The productions of these theatres did not its own parallel theory and history which was present drama as a genre in the strictly theoretical incompatible with the big history written by the literary meaning, but rather as theatre scripts brick-and-mortar theatrestheatre and their vanguard – 79

theory/history/critic the Slovak National Theatre.Theatr The development Jonáš Záborský Theatre, and the State Theatre of Slovak theatre and dramdrama after 1989 (and 1992) in Košice and its director Peter Scherhaufer, the proved that even in fi elds such as history and founder of the Husa na provázku theatre in Brno. theory, the categorizatcategorization into brick-and-mortar In the early 1990s, Scherhaufer, in and alternative theatrtheatres had only a temporary collaboration with Jonáš Záborský Theatre’s validity which was lolost with the two-way mingling dramaturge Štefan Fejko, initiated several of authors and creacreative methods. The mingling interesting projects in which local playwrights were took place already in the 1980s, mostly in the involved. His project Who Needs You received a lot works of such ununique authorial and directorial of attention and popularity. The project was done personalities lilike Blahoslav Uhlár, Juraj Nvota, in seven parts: the fi rst titled A List of Predators Jozef BednáriBednárik, Jozef Prážmári, Roman Polák, was made up of nine microdramas written, or and many otothers. Their authorial approach to inspired by authors from eastern Slovakia. The direction in brick-and-mortar theatres signifi cantly second part, I Never Get Out of Shape Because infl uenceduence the work of playwrights and brought I’m Never in Shape was dedicated to the founder along nenew ways of approaching playwriting. of pop art and son of emigrants from eastern AfAfter 1989, there were quite a few creators Slovakia, Andy Warhol. The third part subtitled of thithis kind. In post-1989 Slovak drama, three Paradise Lost? was inspired by the memoirs notanotable tendencies can be distinguished: of Vasiľ Biľak, the fourth, The Prešov Massacre a ddecrease in the number of productions of Slovak dealt with the historical event in which high- ddrama, an extension of genre diversity, and position townspeople in Prešov were slaughtered a decline in the productions of the bourgeois type during the period of re-Catholization of the of drama relying on the methods of psychological Austro-Hungarian empire, the fi fth, The Black realism. The diminishing number of Slovak Hair was a montage of gypsy legends, the sixth productions was noted by several analysts who Love, dear Lord, Love introduced variations on the studied this period. Many of them noticed that Zemplín region’s love poetry and songs, and the it was observed predominantly in the brick-and- fi nal part A Tavern Built of Bricks in the Middle mortar theatres, in particular those located in of America dealt with the issue of emigration. Bratislava. As Andrej Maťašík writes, “Slovak Peter Scherhaufer was the author of most of the theatre criticism, mostly in 1990 and 1991, scripts of the production, while the authors of the frequently pointed out the danger resulting from sub-parts in A List of Predators included Ján the growing distrust of Slovak theatremakers in Patarák, Peter Juščák, Štefan Oľha, Pavel Taussig, Slovak drama.” (Maťašík, 1999, p. 242) The fact Karol Horák, Stanislav Rakús, Milka Zimková that in the early 1990s regional theatres tried to and Pavla Sabolová. According to Maťašík, the create their own dramaturgical plans containing dramaturgy applied by the artistic team of the different ambitions than those of the central newly opened Jonáš Záborský Theatre in Prešov theatres may serve as proof of the beginning during the seasons of 1990-1991 and 1991-1992 of a dramaturgical decentralization of the Slovak proved “the maturity and multifacetedness of the theatre network. Good times began for original Slovak dramatic literature.” (Maťašík, 1999, p. 241) Slovak drama especially in eastern Slovakia, The Who Needs You project, owing to its scope, 80 mostly owing to the contacts of the Prešov-based refl ection of local issues, number of involved theory/history/critic authors and staged contemporary plays, turned playwriting. The situation in this area, in the samee out to be a unique undertaking and did not fi nd way as before 1989, was saved by devising theatres.res. a pendant in the twenty years to come after 1989 If any remarkable trend is to be discoveredd in any of the Slovak brick-and-mortar theatres. To at all in Slovak drama after 1989, it is, most of all, some extent, the only parallel that can be drawn the decline in the psychological realism of thehe is to the dramaturgy of the 2008-2009 season bourgeois type of drama which dominated the at Andrej Bagar Theatre in Nitra -- dramaturges productions of the brick-and-mortar theatrestres Svetozár Sprušanský and Daniel Majling titled from the 1950s. Concurrently, original dramaticramatic it Family Silver and conceived it as a season works display an extended diversity of genres. of new interpretations of Slovak classics. Authors from devising theatres and studios,tudios, The fi rst to react to the decline in the interest as well as the new generation of authors,thors, follow in the productions of the brick-and-mortar theatres different traditions than bourgeoiss drama and was the National Theatre Centre which organized psychological realism. Many of themhem openly the Festival of Slovak Theatre Productions (in state their opposition to realismm (Uhlár, Karásek, 1991, 1994, 1995 and 1997). The festival presented Klimáček, Maliti-Fraňová, Ballek,lek, Juráňová). contemporary Slovak works, as well as the classics, Just like at the end of thee 1980s, many regardless of the genre or environment in which important productions stagedged after 1989 did the production was made. The important thing was not use dramatic texts as the starting point, that one platform enabled a direct confrontation but used staging scripts or scripts created of the brick-and-mortar and alternative theatres collectively. Blahoslav Uhlár was the prominent (if we accept the contemporary terminology). director who employedd this creative method. The Since 2000, the Theatre Institute has organized independent works of Uhlár’s collaborators (Jana a competition for best Slovak drama text called Juráňová, Miloš Karásek,rásek, Ladislav Kerata, Ingrid Drama whose ambition is to stimulate playwriting Hrubaničová, the SkRAT Theatre) produced laterlat and initiate productions of original works. At fi rst, is based on similarar methods and varies themestheme the Theatre Institute tried to induce theatres to similar to thosee used during the collaborationcollaboratio stage the winning texts. However, the competition with Uhlár. In their nature, many plays by partner, the Slovak Chamber Theatre in Martin, Stanislav Štepka,epka, Karol Horák or Viliam KlimáK ček after having produced three years’ winners, are also akinin to staging scripts. An exclusiveexclu withdrew from the project. One of the reasons was trait of textsxts produced in devising theatresthea that the theatre could not infl uence the form and (many off which are the result of transtranscribing quality of the winning text. The attitude of the stagingg texts) is a stronger relatednessrelatedn to the Slovak Chamber Theatre is symptomatic for Slovak resultingting stage form than to literarliterary drama. brick-and-mortar theatres after 1989 – staging In the early 1990s, the creativcreative duo Rastislav a contemporary Slovak author carries the risk Ballekllek and Martin Kubran introdintroduced a very of a disinterested audience and artistic failure in originalriginal way of creating staginstaging scripts. Director delivering a good staging. If the brick-and-mortar Ballek and dramaturge KubraKubran focused on theatres were the only places where contemporary marginalized texts among tthe Slovak classics, Slovak drama could be staged, their attitude (as though not only in order to make an interesting mentioned above) would eliminate original Slovak production or interpretatinterpretation of a classic literary 81

theory/history/critic work – which was the typicaltypica way of producing our self-knowledge, to make our doubt appear shows in the earlier days. Ballek and Kubran’s banal, to conceal the existence of the grotesque, approach is more penetrpenetrative and they apply it the embarrassing, the puppet-like nature of our to the canonical works of Slovak literature, while lives. After all, these are the things that matter subverting the corpus of the canon itself, working most!“ (unpublished interview with Jana Beňová) against the discoursdiscourse of classic Slovak literature Ballek does not deal with the dramatic tension and using the selecselection process itself to fi nd holes among the characters in a text, he does not in the canon. BalleBallek considers a theatre production tackle dramatic situations. Drama is not closed to be an event wwhich has the power to open the in a text, drama takes place between the record discussion aboabout a historical author, his work and of the author’s life, his artistic work (text) and its worldview. BaBallek deliberately chooses authors recipients. Ballek and Kubran took this approach who set thethemselves against the kind of picture already in one of their fi rst works for the theatre of Slovak hhistory and literature that prevails in the – Mikuláš Dohnány: Departure from Bratislava offi cial discourse.di Therefore, every single of his (VŠMU Bratislava, 1995). Dohnány, in his drama staged ttexts is a dialogue with the audience and Departure from Bratislava, describes a historically with ththe offi cial history of Slovak culture. “The important event – the protest departure of twenty rule tthat only something that matters can be students of the Bratislava Evangelic Lyceum in googood should apply in literature, too. And if we March 1844. They left school as a reaction to the loolook at the school reader, we’ll soon fi nd out what fact that Ľudovít Štúr was accused of high treason sshould matter to us. And this could serve as our and dismissed from the post of deputy professor own characteristic. Here’s my favourite example: at the Department of Czecho-Slovak Language The Ginger Heifer (author’s note: a short story and Literature. Mikuláš Dohnány, Štúr’s student, by Martin Kukučín). It’s in almost every school captured the event in a preserved dramatic fraction reader published in the past hundred years. Is which, because of illegible handwriting, has not it good literature? Is it typically Slovak? (...) The yet been deciphered. Slovak literary discourse mid-1870s, when this quaint short story was does not consider Dohnány, just like all the written, were a time of the most horrifying doubts, other playwrights of the Štúr generation, to be fears and confusion about the existence of our an important author (he was important as a drama language and nation. How much of these negative theorist). For Ballek and Kubran, fractions from emotions – and in what manner – comes across in Dohnány’s drama, excerpts from his diaries, this anecdotal tale about cheerful, scatterbrained and his lecture titled A Word on Slavic Drama neighbours? While The Ginger Heifer hides these served as the model for their portrayal of a key emotions, Vajanský’s story The Flying Shadows, event of the Slovak national revival in the 1840s. written in the same period, deals with nothing else Mikuláš Dohnány (like Svetozár Hurban Vajanský but these emotions. The former can be found in any in other works) becomes the central fi gure of the reader – the latter is virtually unknown. Without text: “We do not demand masterpieces from him pointing my fi nger at any particular culprit, I have because we see an inherent confl ict in a writer’s a conspiracy theory about this: It’s a conspiracy mission, in the very transformation of a thought against negative emotions, an attempt of the dark into a word, precisely in the unreal place and at 82 forces to de-theatrize reality, to de-dramatize the imperceptible moment when the individual theory/history/critic featuresf of a writing individual transmute into rules takes place between an individual and memory, which are typical for writing as a social practice. In or between an individual and the language, the author’s life we searched for facts, information which constitutes memory and discourse, is and situations which would prove that it is this the central axis of the confl ict in Ballek’s and very confl ict that provides the most suitable Kubran’s scripts. Their writing is similar to dramatic material to be staged. We focused our the Foucauldian archaeology and – thoughh attention on the extremes of his literary activity – Ballek and Kubran have never openly professedfessed those that evidently display an absence of form: their reliance on this method, Ballek actuallytually the non-literary formulation of something which mentions the term “archaeology” in thehe interview could not be taken down in writing.” (Ballek, 1996, I already quoted above: “The Dohnányny issue is p. 34) Ballek believes in the power of the text – he an adventure of exploring the Slovakak National considers an author to be somebody who forms Library’s department of illegible manuscripts. (and formulates) reality. The author’s situation, (...) I once thought that because Dohnány is one his struggle with reality (as perceived by the of us, he must matter. But he doesn’t.oesn’t. It’s like people around), his effort to change the reality to being an archaeologist in Slovakiavakia – you have to his own image – this is what interests Ballek also settle for the shards. No Tutankhamun’sankhamun’s crypt, in the case of Svetozár Hurban Vajanský. Ballek or Agamemnon’s mask. Perhapsrhaps they would dramatized, or, to be more exact, transformed matter.”(unpublished interviewerview with Jana Beňová) into theatre, three prose pieces by Vajanský: Ballek and Kubran compiledompiled the popular Vajanský’s début novel The Flying Shadows (staged and critically acclaimedd monodrama TisoTiso 1994, unpublished), the novella Weirdoes (staged (staged 2005, unpublished)shed) from the diaries 1995, unpublished) and the novel Wastefl ower of Jozef Tiso, presidentent of the wartime Slovak (staged 1997, unpublished). The selection itself Republic (1939–1945),5), who signed the order for plays an important role here. All three chosen the deportations of Slovak Jews. Because BallekBalle pieces are not only among the less known works and Kubran focusedsed their attention on a fi guregur by Vajanský, but also those that were rebuffed by of modern Slovakvak history – about whom SlovakSlo critics and historians. Ballek revives the stories, historians andd politicians have expressed veryv thus directing our attention to the social situation ambiguous views – they succeeded in startingsta of the author: Vajanský in the midst of social a broad publicblic discussion about the interpretationinte hopelessness, writing his début novel (The Flying of Jozef Tiso’siso’s political decisions and hish role in Shadows), then Vajanský imprisoned in Szeged modern Slovak history. Even though the model (Wastefl ower). It seems that literary texts which for the production (including the productionpro are not loaded with the interpretative tradition are itself)) was not so elaborated as theth previous more suitable for this purpose. In the texts, Ballek worksks by Ballek and Kubran, the topicality of the and Kubran fi nd their “antiheroes” – characters issueue as well as the casting (the famous Marián from the “discursive trash” – who are forgotten Labudaabuda in the main role) helpedhelpe the authors in the folds of the stories and pushed back by the to achieve the desired effect of their working discursive effort to the very margin of interest, method: to start a discussiondiscussio about forgotten, or who have been forced out, if not completely put-aside or marginalized texts, decisions denied, by theoretical discourse. The drama that and fi gures from our culturalcult memory. ø 83

theory/history/critic TOMÁŠTOMÁŠ HÁJEKHÁJEK philosopher and theater columnist

Music ofo Languages in the CouCountry of Theaters

This text strstrives to defi ne the basic another revolutionary time – in 1990. Magyar categories for a description of the Terűleti SZÍNHÁZ Theatre in Komárno was created current aestheticae logic, but also the by a political decision of the then ruling Communist aesthetic possibilities of the distinctive Party in 1952, during the height of the fi rst phase group ofo theaters. It builds on the of the Cold War. Hungarian theater in Košice was contributionscontrib and issues presented created by a gradual profi ling of Hungarian versus at the seminar What is the future German theater in 18th century. It went through of ththe professional repertory theaters many ups and downs and the really professional and artistic ensembles of the national repertory theater Thalia SZÍNHÁZ began to work minoritiesm in Slovakia? which was held in Košice in another revolutionary time, after the in Bratislava in December 2011. already mentioned fall of the Iron Curtain in 1990. When a theatrical institution combines Professional theaters of national minorities in Logos and Ethos, it can never be a purely the Slovak Republic are as a rule crown witnesses cultural institutions (if such a thing is ever of time. They were established as part of major possible), but an institutions with more or less geopolitical changes, revolutions, and reforms. prominent political and ideological charge, Some theoretician and writers of “eternal return” which is practically demonstrated by activities or archetypal forms of history, often divide the like education, awareness raising, and in serving history according to the period of Logos (when the as kind of museum within the language framework only activities are those sorely needed – those in of one the other national minority. Repertory the areas of politics, economy and military), and theaters of national minorities are therefore the period of Ethos (when there is time to invest in always “culturally-political institutions.” culture). Although theaters of national minorities In their aesthetic logic – the language is are cultural institutions, they were established in fundamental; Rudolf Chmel noted: “As I know times of Logos, which are always tense, hurried, Hungarians and particularly Hungarians in some time violent. Today´s Theatre DAD in Prešov Slovakia, where they are the minority, they was created as the Ukrainian National Theater in consider language to be the most important the extremely revolutionary period in fall of 1945, element of their identity.” Theatre DAD Prešov by the decision of the Ukrainian National Council. puts emphasis on staging in the Ruthenian It gained today´s name – Alexander Duchnovič language, which was codifi ed in the nineties of the 84 Theatre after the fall of the Iron Curtain – in 20th century, although some of its productions theory/history/critic Jókai Theater in Komárno - lobby photo T. Hájek

are also in Ukrainian language. The basic style the post dramatic theater. If heterogeneity of post purpose of the Roma professional theater dramatic theater offers unprecedentedrecedented artistic Romathan (founded in 1992) is the presentation freedom, then theaters of national minorities of the original Roma works in the Roma language. consciously grow as if fromom a narrower base, Psychological complex is another category and that provides them with their leading line. in terms of aesthetic logic. Danube area is When talking aboutut the complexes of people a spectacular panopticon of real and perceived in the Danube area, about what is obvious and historical injustices. Claudio Magris was amazed what is hidden, aboutout those “offended and by its colorfulness, but also by a special cultural humiliated” in thee past generations, a general creativity which he depicted in his Danube. statement aboutt injustice, guilt and punishmentpunishme Complex as such entails and feels heavy, draws may arise. In thishis sense Freud’s analysis strength. But it is also the source of the energy of attraction inn the Oedipus thethe KingKing drama is that is capable of sublimation into the best cultural very instructive,tive, the one that Freud made in performances, when the complex overgrows itself. the Interpretationretation of Dreams; the tragic ffate It was said that the theaters of national minorities of Oedipusus is fascinating, because evereveryone are “culturally-political” (this term we indeed used experiencednced it in one way or another. Moreover with a heavy heart, because it is slightly pejorative, the psychologicalychological complex is to somesom extent the especially in Central Europe), so they have truestt expression of humanity, becbecause it arises a political-party bias. Mechanism of enantiodromia as a natural restriction of instinctiveness,instinct of a wild – a reversal of the opposites – in heterogeneous andd warlike temperament of the original man. environment of contemporary theater may Seemingly disparate groupgrou of theaters as Jókai cause that “the political-party bias” eventually Theater in Komárno, Košice SSZÍNHÁZ Thalia turns into universal artistic values. Indeed, the Theatre, Alexander DuchnoDuchnovič Theatre in Prešov, political-party bias sounds like a thesis and thesis, Romathan, as well as PoddPoddukelský Artistic Folk according to Lehmann, plays a substantial role in Ensemble and the Dance Theater Ifjú Szivek form 85

theory/history/critic a single entity, at least in theth refl ection of theatre musicality; the national minority theaters orientations. Let’s ask a pprovocative question: almost automatically evoke a sense of musicality Which theater is the best of all? And can we of theaters and of theatrical speech, just by evaluate them in terms of the absolute theater using the mother tongue of national minorities. quality, if so, with the uniqueness of each national Subtitling in turn may interfere with the focus minority, what critercriteria can we use when taking on overall musicality of theatrical performances, into consideration tthe crown witness, culturally- the musicality in a broader sense, of course political charactecharacter, overcoming psychological only for certain type of performances. Since the complexes, thesthesis-like presentations? repertory theatres of national minorities are not The conneconnections between professional “a structure”, where the purpose is given only by theatres of nanational minorities in the Slovak order and topos, but by the country, they can be Republic is rrather built on colorful, non-hierarchy, endowed with a genius loci, “the spirit of place”, fuzzy meanmeanings, forming kind of horizontal which forms a substantial part of their appeal. relationshrelationships – thus it can be compared to the Jiří Šípek notes: “When something has spirit landscalandscape. In an oblate, rolling countryside (genius loci), loosely speaking, it means that it has of theatheatres, what leads is a sharp horizon direction, somewhere over and above the specifi c of ababsolute theater quality, whereas the sharp details of the practical operation and functioning.” signsignal “to be the best”, “to have the best Genius loci is translated into Greek as a daimonion prproduction” is not important, it disappears and and thus relate to Eros, which is, according to is gradually lost in a landscape full of echoes. the Greek philosophy, “irrational driving force Moreover, if they are the landscape they need of intellectual abilities and activities.” According the viewer as a Homo Viator, who wanders to Socrates in Plato’s Feast, Eros is a daimonion: from Komárno to Košice, then to Prešov, and “As a mediator and a messenger he walks to the later returns back to Bratislava. Let´s browse gods from people and to people from the gods ... through Lehman´s Post-dramatic Theatre he is in the middle and fi lls the gap between both.” and the section about the Panorama of Post- It seems as if the entity of theaters dramatic Theater. We’ll fi nd terms there like “rite, of national minorities has the ability to look sound in the space, cancellation of synthesis, beyond post dramatic theater and to search dream images, synaesthesia, parataxis / creatively for contours of a completely new nonhierarchical, simultaneity ... -” that show the synthesis – especially in the dialogue between superiority of the synchronous component over the practical and timeless, the divine and the diachrony. The basic framework of the aesthetic human. Architectural and urban characteristics logic of national minority theaters therefore of the national minorities’ theaters prove also that surprisingly resonates with theatrical elements genius loci is present, that it refl ects and creates of the post dramatic theater. For the majority at the same time. Professional repertory theaters of the population, the folk traditions of national of national minorities in Slovakia represent minorities seem to be a “ceremony”. Thesis-like nodal accumulation of purely artistic energy in approach within the culturally-political theater the lines of induction of the regional cultural is synonymous with the abolition of synthesis. map. Their importance in a purely artistic sense 86 Emphasized post-dramatic efforts for has not been thoroughly recognized yet. ø theory/history/critic MIRO ZWIEFELHOFER ago, stone theatres arose mainly on demand project manager, Studio 12 of „ministerial directives“ meanwhile the foundation of independent theaters is linked with a specifi c, artistically clearly defi ned group Till December 2001 of people, with clearly legible artistic opinion and an urgent need to express opinion on the specifi c topic. In fact, this is one of the main differences between stone theaters and independent scene. The foundation of Studio 12 wouldn`t be possible without personal commitment of individuals – specifi cally of Sylvie Hroncová , at that time a director of the Theatre Institute and Roman Maliti. The Theatre Institute, whose founder is the Ministry of Culture, had an obligation to do There were no standard functioning research and documentation activities, but not premises providing independent theater to provide space for progressive theater artists. artists with the opportunity to work Theatre institute could have accepted that and in a stable institution that wouldn`t state that Slovak theater is in serious crisis, when be tied up by the reality of work of the stone theaters are afraid of presenting world repertory theaters in Slovakia. drama, not mentioning the Slovak drama, there is a lack of systematic conceived dialogue among A4 – Nultý priestor (A4 – Zero Space,) directors, dramaturge and playwrights of more Dom T & D elledanse (House T & D elledanse) generations. Taking into account the fact that and Non.Garde in Bratislava, Train Station “Dvanástka“ (Studio “Twelve”) is located in the Žilina – Záriečie, Tabačka Kulturfabrik and quite lucrative place in midtown and that private Kulturpark Kasárne (Tobacco Kulturfabrik and business subject could easily „fi ll“ it with some Kulturpark Barracks) in Kosice, Klub Lúč (Club commercial activities (what a difference compared Beam) in Trenčín or Záhrada (Garden) – Center to the steps that the Ministry of Culture carried of Independent Culture in Banská Bystrica. out at the end of 2011 not in favour of independent Ten years ago none of these theatres existed culture). We can also illustrate it on the example in Slovakia. The only alternative to the offi cial of the former Slovak Radio which premises were scene was STOKA Bratislava, which was not taken over by the Theatre Institute that required a classic residential theater, but it was intimately a signifi cant degree of personal commitment. connected with the people around Blaho Uhlár. Studio 12 had its fi rst premiere, directed Tenth anniversary of Štúdio 12 (Studio 12) by J. Krekáň, three months after its offi cial – Studio of new drama cannot be seen „just“ opening – 20th March 2002. It was a play by as a 10th anniversary of its foundation but Sarah Kane called Faidrina` s love. Studio 12 as a beginning of the process of such importance thus became the fi rst Slovak theatre, which comparable to the creation of network of theatres introduced the play of this British playwright. after World War 2. However, over sixty years Two years after her death, Slovak spectators 87

extra had a chance to fi nd out that „some“ Sarah valued by critics, such reviews would be based Kane even existed. After that the Studio 12`s on subjective assessments of individuals. programme included additional activities. While Therefore, at this point, let me reveal my in 2002, the program fi tted to one poster to highly personal and subjective view on Studio promote activities during the period of three 12, based on the fact that I worked there during months; in December 2011 fi fteen organized my university studies at Academy of Performing events could be found on the programme. Arts. I was kind of a „Jack of all trades“ there and Many other activities have complemented had the opportunity to personally meet virtually contemporary drama productions over ten years. anyone who worked for Studio 12 since 2006. Cycle of staged reading Listování.cz, focusing Even when doing jobs like carrying cables or on the current world and Czech literature, Milk washing fl oors, a student of the theater science Teeth project, which provides the opportunity to can learn something about theater, literature, at least three creative teams staging authorial fi lm, music and cultural policy when these famous text within one season, long-term cooperation people are around: A. Grusková, U. Kovalyk, with The homeless theatre resulted in programme A. Lelková, P. Fornayová, K. Weiss, S. Daubnerová, called Peripheral vision. It is devoted to present M. Vannayová, K. Ďurčová, R. Maliti, M. Hriešik, the theater of marginalized groups (vendors M. Philippsen Langer, J. Simko, P. Graus, M. Hvišč, of the magazine Nota Bene, members of the LGBT A. Kuruc, P. Krebs, L. Hejlík, M. Chalmovsky ... community, people with disabilities etc.) as well Sooner or later the decision about future of the as organising music concerts, fi lm festivals, Studio 12 should be made. Investing into / debates, book presentations and workshops. acquiring premises and improving the technical Studio 12 is in its interface. It is impossible equipment, or vice versa limiting activities to store the scenes of all projects and often they like it was about three years ago? The answer don` t fi t into creators` ideas or visions anyway. to these questions will probably be revealed These premises are also considered a monument, during the second decade of Studio 12. ø so it is not possible to drill a hole in the wall as in

other theaters but need to use 3 extending leads Studio 12 photo The Theatre Institute´s archive instead, which in the light of current trends in multimedia theater is a major handicap. Now the list of the most successful productions and playwrights should follow. However, there is no space for that here. There would be dilemma – which of the actors should be mentioned – P. Fornayová or L. Bukový; whether it was more important to have V. Dočolomanský or A. Schilling as the guest actors or what is pivotal for the Slovak spectators showing Mayenburg`s play Eldorado or Vyrypajevova` play July? It would only result in the incomplete list and if we mention 88 only productions that were nominated, or highly extra GABRIELA ALEXOVÁ Translated by Ivan Lacko Losers

In 2012 27 plays were entered in The Drama Characters 2011 competition of original dramatic play Mother, Agata – just turned sixty in Slovak and Czech language. There were Father, Pavel – over sixty three fi nalists selected: Gabriela Alexová Older son, Pavel – in his forties with a play titled Lúzri, Alice Jenski with Younger son, Bruno – thirty-three years old a play titled Neseš jí dítě and Laco Remen Zoja – nurse, twenty-one, very pretty with his play titled Urob to sám. The winner of the competition was Gabriela Alexová. We would like to give you a closer look at the winning play, Losers (Lúzri).

1. It is dark. Connected living room and kitchen. Center stage, BRUNO: Dear Pavel, all of us, including this wine- a ceremoniously set table. A French window at the back. stewed deer, are very grateful to you. Is this what you A statuette of the Virgin Mary is hung up on the rear wall. wanted to hear? A family is seated around the table: mother, father, Bruno, FATHER: Take no notice of him. It’s a big day today. I’m the younger son, and Pavel, the older son. Pavel is wearing happy we can be here together like this. huntsman’s clothes. Father is wearing white gloves on his MOTHER: I want to tell you something. hands. A huge parcel, a gift, is wrapped up next to the table. PAVEL: Father, did you fi nish the picture? Side lights come on one by one. The men are talking in hushed FATHER: Last night. At midnight. tones. Mother keeps getting up from the table. PAVEL: Thanks. I want to give it to Verona. As a gift. MOTHER (singing): Let us be one heart, let us be one soul, to BRUNO: Come to think of it, where is Verona? your glory, dear Lord. PAVEL: She didn’t feel well. But says hello to all of you. FATHER: Sit down. Where are you going again? MOTHER: I’ll send her some of the goulash. She should MOTHER: I want it to be pretty. eat some of it at home. BRUNO: Mom, it’s all right. PAVEL: OK, I’ll tell you. Verona is pregnant. She’s all MOTHER: Forgot the napkins. right. It’s just that she keeps throwing up. Mom, Mother returns with a candleholder. please, no deer goulash for her. PAVEL: That’s our mom. Forgets the napkins, brings the MOTHER: Our fi rst grandchild. Dear Lord! candleholder. PAVEL: You’ll have someone to take care of, mom. BRUNO: Let me light the candles. BRUNO: Finally I achieved something. I’m going to be More lights come on. an uncle. MOTHER: It’s pretty now. Is the meat tender? FATHER: Is it going to be a boy? PAVEL: Let’s say it’s juicy. I don’t know if you realize this, PAVEL: It’s going to be a hunter. but it is very precious meat. BRUNO: The buttons on his rompers will be made from 89

play antlers. Just like the buttons on his father’s suit. MOTHER: Going to get some festive glasses. The gold- PAVEL: Don’t even try. You’re not gonna piss me off rimmed ones. I’m going to be a grandma. today. PAVEL: I’m dog-tired after all week’s work and he’s trying FATHER: To the little one! Bottoms up! to piss me off. PAVEL: Will you show me the picture, father? BRUNO: Every normal person works all week. Even I do. FATHER: When we’re done eating. See how angry mom PAVEL: You? You sit at a computer and drink espresso. You is. She gets angry when I paint. call that work? MOTHER: The paints stink like hell. I always get BRUNO: They pay me better than they pay you. a headache. PAVEL: Me! I have to manage a class full of pesky kids. Kids FATHER: That’s our mom. Doesn’t understand art. who scream, jump around, and got runny noses because MOTHER: Only art that stinks. Am I really going to be they have the most revolting allergies in the world. Kids a grandma? who are almost idiotic and never put their slippers on. PAVEL: In just eight months. That’s a real job! BRUNO: Father, what is it you painted for him? The BRUNO: That’s not a job. It’s a vocation. peaks of the Tatras, Opus 228? PAVEL: I... I got fi ve kids with ADHD in one class! Do you FATHER: Don’t talk to me like this. see the difference? PAVEL: Is there anything purple in the picture? MOTHER: Who’d like coffee? FATHER: The sky. FATHER: Give us coffee and please sit down for once. PAVEL: The same shade we agreed on? MOTHER: I‘d like to tell you something. FATHER: The same that’s on the fabric. I spent two BRUNO: What’s ADHD? hours mixing the colors. PAVEL: Forget it. You understand external disk drives. BRUNO: What fabric? That’s all you need. PAVEL: The fabric on my couch. Mom, where are you BRUNO: Moron. going now? PAVEL: Jerk. MOTHER: To get the souffl é. I‘ve got some ready. It’s BRUNO: Loser. nice and thick, golden yellow. From home-laid eggs. PAVEL: What? BRUNO: You‘re gonna have a painting to match your MOTHER: Stop it. Both of you. Please. couch? That’s so wicked, bro. PAVEL: He started it. PAVEL: You got a problem? FATHER: Enough! It’s mom’s birthday today. Is that so? BRUNO: On the contrary. You amuse me. BRUNO: Mom, what was it you wanted to say? PAVEL: You think I’m ridiculous? MOTHER: Doesn’t matter now. BRUNO: Of course. Did I ever claim the opposite? BRUNO: Do you like the plant I gave you? Don’t water it Mother enters carrying the souffl é. before the soil becomes loose. It needs a lot of light too. PAVEL: You know nothing about real life. Absolutely Place it next to the Virgin Mary there. Under the bulb nothing. of eternal light. I replaced the ordinary bulb with a UV BRUNO: I’ve got you. You‘ll tell me all about real life, lamp. It’s pretty, huh? The Virgin Mary in a mystical won’t you? bluish light. PAVEL: You see that, father? He’s starting again. Mother places the marijuana plant beside the statuette FATHER: Calm down. It’s a big day today. Where are of the Virgin Mary. 90 you going again? PAVEL: Open the big parcel too, mom. Why don’t you play unpack it now? Silence. FATHER: We chose it together for you. Lights out. BRUNO: With love. PAVEL: We almost killed each other in the electronics store. 4. BRUNO: ‘Cause you missed the point again. Like 3D plasma Mother is lying in bed. Her singing can be heard from TVs. the speakers over and over again: Let us be one heart, PAVEL: Don’t start again. The world expert on 3D plasma let us be one soul, to your glory, dear Lord. TVs is starting again. Mother is lying in bed, an IV drip injected into her arm. BRUNO: Get fucked. Lights out. Lights on. PAVEL: You get fucked. Mother sitting on the toilet. She is crying. She has got BRUNO: You know what, maybe your wife should get fucked shaking chills. fi rst. Lights out. Lights on. Pavel grabs Bruno’s neck and starts strangling him. Father Mother lying in bed. She leans to one side and vomits smashes a glass against the fl oor. into a bucket. FATHER: That’s enough! Let him go! Now! And you shut up! Lights out. Lights on. (Pause.) How stupid can you be? Mother asleep. Father and both sons enter. Father Silence. carries a small backpack, his hands covered in white MOTHER: You broke a gold-rimmed glass. Why did you do gloves, wearing a gauze face mask. He is pacing in front that? of the door. His glove-covered hands are behind his back. Silence. BRUNO: She lost weight. My God, she lost so much BRUNO: Mom, you’ve got a silver-rimmed Panasonic, weight. a decent FULL HD LED TV set. PAVEL: She doesn’t look like herself at all. PAVEL: Talk to her like a human being, please. Mom, it’s BRUNO: Look at the jawline. a television for you. A 44-inch screen. Are you happy? PAVEL: She never had a sharp chin like that. BRUNO: Mom, now you can watch your favorite TV Paprika BRUNO: You can see the skull through her face. Dear and the sexy Nigella will cook for you right in your living God. The skull shines through her skin. room. PAVEL: I don’t want to see mom’s skull. PAVEL: One doesn’t feel as lonely with a solid TV BRUNO: But you can almost see it. This won’t last as without it. Mom, come on, say something! long. BRUNO: That’s our mom. Now she’ll be quiet. PAVEL: When will they discharge her? PAVEL: We’ll have to beg her to talk to us. BRUNO: End of the week. FATHER: And to go down on our knees too, right? PAVEL: I’ll take the car, pick her up and drive her home. MOTHER: I got the test results last week. I have cancer. BRUNO: All right. But she can’t stay at home. Well, it’s not cancer really, but a lymphoma. But I’ll be PAVEL: What the hell do you mean by that? a grandma. BRUNO: It’s not going to work. Father won’t touch her. Silence. He won’t even wash her. FATHER: That’s not possible. You look healthier than ever PAVEL: You can’t be serious. Of course he’ll wash her. before. BRUNO: He can’t even touch her now. He’s afraid PAVEL: Why didn’t you tell us earlier? of her. MOTHER: I’m telling you now. PAVEL: Stop it! 91

play BRUNO: Our mom disgusts him. She threatens him. she’ll be in her own place. We’ll move her bed to the living That’s a fact. room. She’ll be able to watch TV. PAVEL: You’re exaggerating. BRUNO: She’s our mom. BRUNO: He might not even feed her. At least not PAVEL: We’ll take care of her. There’s just one last problem. regularly. BRUNO: I’m listening. PAVEL: Are you fucking crazy? PAVEL: I don’t have that much money. BRUNO: She can’t stay at home. At least not with him. FATHER: And we have no food at home. There’s no food left. PAVEL: OK, so you take care of her! BRUNO: OK, I’ll pay for the nurse. BRUNO: Forget it. We’re fi nishing a project. PAVEL: I’d do the same thing if I had your income. I swear PAVEL: Take a vacation. You can do that, can’t you? I would. BRUNO: Sorry, bro, but I have to slave till late. I sleep Father starts rummaging in his backpack. He pulls out over in the offi ce or at my girlfriend’s place. a clean sterile mask. He puts it on carefully. He starts PAVEL: So you’re not gay? talking. He is unintelligible. BRUNO: Don’t fuck with me. Mom has to go to your BRUNO: I’ll pay for everything. But you take this loser back place. There’s no other option. home! PAVEL: No way. Verona is expecting. She needs peace Lights out. and quiet. Father enters. He speaks through the gauze of this face 11. mask. He is unintelligible. Two weeks later. A store with women’s clothing. A rack full PAVEL: Fuck! Take off the mask! of clothes. Two armchairs, two fi tting rooms. Zoja is browsing BRUNO: Why do I have the feeling that this is the through the clothes. Mother is disgusted. beginning of some seriously awful nightmare? mother: I don’t like it here. I don’t need anything. I’m out PAVEL: Father, take it off! For fuck’s sake, take it off! of here. Pavel tears the mask off Father’s face and throws it into ZOJA: Agata, come on. Try to relax. the wastebasket. Father is shaking with rage. MOTHER: Vanitas vanitatum. PAVEL: Goddamn it! Sonofabitch! God damn you! ZOJA: Is that some quality Italian brand? Father starts punching Pavel with his glove-covered MOTHER: Yep, a multinational one. I’m leaving. hands. Pavel is laughing. Father gets startled. He stops ZOJA: The shit you are. One has to be able to enjoy life. above the sleeping Mother and watches her with dread. Reward oneself. And you, for fuck’s sake, you have a good FATHER: She can’t stay home. reason to get a reward! I’m sorry, I’m swearing again. BRUNO: What did I tell you? What do you think about this blouse? Father starts to whimper. MOTHER: Too see-through. FATHER: I don’t want her to be home. ZOJA: And this slipover? BRUNO: OK, let’s put her in a hospice. MOTHER: I hate slipovers with a leopard pattern. What do PAVEL: You idiot! you think about the black one? BRUNO: Loser! ZOJA: That’s not for you. PAVEL: What? MOTHER: For whom then? BRUNO: We’ll pay a nurse. An all-day nurse. Maybe ZOJA: For emotional losers. Or alternative artists. all-night too. MOTHER: And that tweed skirt? 92 PAVEL: Finally you’re thinking. Mom will be at home, ZOJA: A friend of the black slipover. play MOTHER: I don’t want anything else. MOTHER: There’s nowhere I can wear it. ZOJA: Agata, what woman have you always wanted to look Charmingly, Mother strikes a pose in the red dress. like? Which one has really appealed to you? Zoja sings the tune from “You’re my fi rst, my last, my MOTHER: The Virgin Mary. And you? everything”. ZOJA: Penélope Cruz. ZOJA: Holy cow, callboys come and roll out the fucking MOTHER: That explains a lot. red carpet – a tigress is coming! Wow, rawr, rawr! ZOJA: Aaaaaah, for God’s sake! Try this decent beige top. Zoja and Mother are laughing. And a skirt with a placket to match. Agata, it looks like we MOTHER: Zoja? caught the right wave. Take the jacket too. And this red ZOJA: Yes? dress, that’s a must. A beautiful red dress for a beautiful MOTHER: The doctor... today... mature woman. ZOJA: What? MOTHER: I don’t feel like doing this. I had to undress in MOTHER: Nothing. front of a doctor just a short while ago. ZOJA: What did the doctor tell you? ZOJA: Do it for me. It’ll be something like a good deed. MOTHER: Nothing. Zoja and Mother go into the fi tting rooms. They both carry ZOJA: Please. piles of clothes. MOTHER: It looks like remission. ZOJA: I need a larger size of the leopard-patterned ZOJA: Say what? slipover. Can you throw yours over the top? MOTHER: Eighty percent remission. MOTHER: I’d like to try your fur vest. ZOJA: And you’re telling me just like that? Agata, let’s ZOJA: OK, let’s swap on three. One, two, three. pay for this dress and we should get out of here. They throw the clothes over the top rim of the fi tting box. MOTHER: It’s too expensive. ZOJA: Shit! I got stuck in this top. Won’t fi t over my boobs. ZOJA: Oh come on! New image, new life. MOTHER: Why don’t you get a bigger size? MOTHER: I haven’t won anything yet. ZOJA: ‘Cause I’m size 6. Once and forever. ZOJA: Agata, life wanted to screw you up, but you MOTHER: I think you’re size 8. really knocked it for a loop. You pounced back and ZOJA: I can’t take it off! Can’t breathe! I’m stuck in the top now that you’re squeezing its artery you’re the front like a baby during birth. Agata... runner. MOTHER: I knew it. You’re size 8 and paranoid. MOTHER: You think so? Mother steps out wearing the red dress. She is helping Zoja. ZOJA: Agata, we’re gonna spin it tonight. We’re gonna ZOJA: Agata, I owe you one. paint the town red! MOTHER: That’s a great feeling. ZOJA: What is? 13. mother: To be needed by someone again. Living room. Siesta. Zoja and Mother are sitting on the ZOJA: Agata, the red dress loves you. And will do so for couch, looking at pictures. Mother is wearing the red years to come. dress. MOTHER: You think I look pretty in it? MOTHER: And this one’s from the wedding. ZOJA: You’re beautiful. ZOJA: You look happy. MOTHER: I’ve always wanted to wear a red dress when MOTHER: Do you know what I felt back then? I grow up. Just like grandma. ZOJA: No idea. ZOJA: Come now, take a walk in the dress. MOTHER: Relief. Relief that I was fi nally taken care of. 93

play ZOJA: That’s also part of life sometimes. MOTHER: Tell me, how are you? How did you manage MOTHER: What is? everything without me? ZOJA: That you slip up. BRUNO: No problem, mom. MOTHER: A woman can’t understand certain things MOTHER: I’ve been thinking about you all the time. until she’s married. How you were. What you might have been up to. If you ZOJA: Oh my God! I know this one. I got the same managed to get something to eat at all. Tell me, what did picture. A group picture from the spa. (Pause.) What you have for lunch today? do you think about my mom? BRUNO: Mom, stop it. MOTHER: Is that her? MOTHER: Admit it, you didn’t have a warm meal. ZOJA: Yeah. ZOJA: Boom-boom-boom-boom. MOTHER: Very elegant. Is your father in the picture? BRUNO: What’s she doing? ZOJA: He’s not. They say he popped out somewhere. MOTHER: Take no notice of her. Isn’t that funny that Mr. Weird went to the spa with BRUNO: I had chicken and rice. my mom? It’s a small world. MOTHER: It’s getting cold. I hope you started to wear long Father enters the living room. underwear, Bruno. FATHER: Tell her I heard that. ZOJA: I bet anything that he’s not wearing it. MOTHER: Just imagine, you went to the spa with her BRUNO: Could you both stop please? mother. MOTHER: It’s getting cold. You have to wear long FATHER: Tell her not to call me Mr. Weird. underpants. MOTHER: Look here. This is my younger son, Bruno. BRUNO: I’m a grown-up, mom. Handsome, huh? ZOJA: Boom-boom-boom-boom. ZOJA: Not bad. BRUNO: What is she doing? FATHER: Tell her not to call me Mr. Weird. ZOJA: That’s not me. It’s the globe wrapped around by MOTHER: Leave me alone. an umbilical– FATHER: Tell her! MOTHER: Zoja, that’s enough. Father exits. Bruno appears in the doorway. Father enters the living room. MOTHER: Bruno! Speak of the devil. BRUNO: Father, what are you doing here? BRUNO: Hi, mom. You look great. Really great. FATHER: I’ve come back home. ZOJA: She’s got a new dress. BRUNO: That’s bullshit. MOTHER: That doesn’t matter. Come here. I missed FATHER: I’ve come back to mom. you, sweetie. You know how much. BRUNO: I’ll fi nd out anyway. Mother embraces Bruno. FATHER: I had a row with your brother. I’m not going back BRUNO: I suspected Zoja wasn’t going to be enough. to his place. MOTHER: Do you guys know each other? BRUNO: Well, well, well… Pavel fell out with Pavel. Sounds ZOJA: No. interesting. I want to know every single detail. BRUNO: I just remembered the name. The name on the MOTHER: You didn’t come home because of me? bills I have to pay. BRUNO: Why did my fucking brother piss you off? mother: Why do you call her Zoja straight away then? FATHER: He didn’t. Verona did. I came to the living room in Didn’t I teach you anything? the morning and almost had a heart attack. 94 ZOJA: Hi, I’m Zoja. You can call me that, Bruno. BRUNO: Slow down. So it’s morning. You’re in the living play room. What next? Zoja is putting her coat on. FATHER: I came into the living room to get some fresh air. FATHER: She should stay here all night. Just to be on BRUNO: All right, you’re in the living room getting some the safe side. fresh air, and then? BRUNO: She can stay in my room. MOTHER: You didn’t come home because of me? MOTHER: How do you know she sleeps in your room? FATHER: I’m standing there in the living room and see BRUNO: I’ll sleep in the living room. a new, sand-colored carpet. Zoja opens the door. She is leaving. BRUNO: Hold on. You almost had a heart attack because MOTHER: Zoja, stay. Please. of a carpet? Zoja lingers in the doorway. She waits. In the end, she FATHER: No. takes off her coat and comes back inside. BRUNO: Why then? FATHER: Verona ruined my painting. 17. BRUNO: What? Living room. A Saguaro cactus in the French window. MOTHER: I’m in remission. It is getting smaller. Zoja and Mother are seated on the BRUNO: How is the carpet related to your painting? couch. They are drinking coffee. MOTHER: Do you hear me? I’m in remission. ZOJA: Agata, I’m, leaving. You don’t need me any FATHER: Mom always has to be in the front seat, doesn’t she? longer. MOTHER: The doctor said that... MOTHER: No problem. It’s OK if you come only in the BRUNO: Mom, just a sec. Could you… please, just afternoons. a second? ZOJA: I won’t come back anymore. FATHER: I doubt that. MOTHER: Excuse me? BRUNO: What did Verona do with your painting? ZOJA: I’m starting to be in the way. FATHER: She put wallpaper over it. All over the painting. MOTHER: In whose way? Wallpaper. ZOJA: Mr. Weird, for one. BRUNO: Fuck me! What wallpaper? MOTHER: But it’s not his decision to make. FATHER: Two camels in front of a pyramid. ZOJA: It’ll be better that way. BRUNO: But why? Silence. FATHER: Because camels are sand-colored. Just like the MOTHER: Zoja? carpet. ZOJA: Yes? MOTHER: My doctor said it looks very promising. MOTHER: Thank you. BRUNO: No fucking kidding! She put wallpaper all over your ZOJA: Well, thank you. painting?! They embrace. Pavel enters. MOTHER: My doctor said it’s looking great. PAVEL: You’re beginning to piss me off. I’m fucking ZOJA: Aaaaaaaaaaaaaaaaaah! serious. BRUNO: What’s she yelling for? MOTHER: What are you talking about? FATHER: She shouldn’t be taking care of mom. She’s crazy. PAVEL: Yesterday, some money disappeared from your ZOJA: Shut up! Agata just said she might be healthy again! account and just now more money is gone from dad’s Silence. account. What’s wrong with you? FATHER: I spent a month painting that picture. MOTHER: You have access to my account? ZOJA: I’ll be back tomorrow morning. PAVEL: What did you buy for 29.99? 95

play ZOJA: A dress. She bought a dress and paid for it with BRUNO: Mom, that’s impossible. To our father any other her money. You loser. woman is a slut. PAVEL: Shut up, slut. MOTHER: He was in the spa with her mother. Bruno enters. BRUNO: Mom, stop it. BRUNO: Pavel, leave her alone. MOTHER: He got scared because of her name. PAVEL: Why did dad take money out of his account? FATHER: You’re embarrassing me. ZOJA: I better get going. MOTHER: And then he forced her to take the money and get PAVEL: You’re going nowhere. out of here. BRUNO: Leave her alone. You hear me?! FATHER: You’re embarrassing me and my children. PAVEL: The money went to her account. MOTHER: Bullshit, what did you pay her for?! BRUNO: What? FATHER: I was never infi del to you. Never. PAVEL: 800 euros. MOTHER: Swear on the Virgin Mary. BRUNO: Holy shit. I’ve paid her already. FATHER: You humiliate me again. How can I prove MOTHER: Don’t you want to explain something? something that never was? ZOJA: No. I’m leaving. That’s why he paid me. To leave. MOTHER: Swear! MOTHER: But why? FATHER: I swear on the Virgin Mary. ZOJA: No idea. And I don’t give a shit. ZOJA: You stupid fucks, he’s not my father! My father was PAVEL: He kept repeating her name. He must have a big guy. A big, hairy guy. My father loved me. He loved known her. me and my mother! Do you get it?! ZOJA: I never saw him in my life. pavel: This is great. Like from a bad novel. MOTHER: Your mother was never married? MOTHER: Shut up! ZOJA: What’s my mother to do with it? BRUNO: A bad novel in which we’re all the children PAVEL: He once was in a spa with her. That’s where he of losers. knows her from. MOTHER: Bruno, shut up! MOTHER: In a spa where they made her. BRUNO: All the heroes’ sperms died together with the ZOJA: Are you fucking mad? heroes. In winning battles, for big ideals. All that’s left are Father enters the room. All eyes are on him. losers and we’re their offspring. Ha-ha. FATHER: You’re still here? PAVEL: And you’re their king. You fucked your own sister. MOTHER: You paid her to leave. BRUNO: Shut up! She’s not my sister. FATHER: I don’t know what you’re talking about. PAVEL: You should’ve remained a homo. Better than MOTHER: Why? Why did you pay her? fucking your sister. FATHER: I don’t know what you’re talking about. Bruno hits Pavel. They start fi ghting. Bruno knocks Pavel Mother smashes a cup against the fl oor. down. Pavel is laughing hysterically. FATHER: See? She’s far from healthy. Still hysterical. PAVEL: Fucking his own sister. You can’t beat that! Father wants to leave. Mother grabs him. Bruno is beating Pavel. FATHER: Don’t touch me. Don’t you touch me! BRUNO: When I was twelve, I killed all your fi sh. MOTHER: Pavel, did you cheat on me?! Look at me. PAVEL: What? Please! Look at me! BRUNO: All your fucking discus red melon. FATHER: Mom seems to be getting cancer again. PAVEL: I don’t believe you. 96 Brain cancer. BRUNO: Wanna know why I killed them? I wanted you to play lose money. Remember? You wanted to sell the fi sh for MOTHER: I hate youuu! a good price. That’s all it was. Zoja places the barrel of the gun to her throat and starts PAVEL: I’m gonna kill you, you bastard. screaming. Bruno approaches her. They start strangling each other. Zoja gets hold of a shotgun BRUNO: Zoja, stop it. Don’t believe a word he’s saying. and points it at Father. BRUNO: He can’t be your father. ZOJA: Fuck it, are you my old man or not? BRUNO: Look at me. Look at Pavel. We’re losers. You’re FATHER: Call the police. not. He can’t be your father. You’re better. Better ZOJA: Speak, or I’ll shoot you. You know I will! than the rest of this fucking world. Silence. ZOJA: Speak, for fuck’s sake! Mother smashes the gold-rimmed glass set against the FATHER: She slept with others as well. She did it with wall. She is wrecking the apartment, yelling: Let us be one anyone. Your mother sure did. heart, let us be one soul, to your glory, dear Lord. Zoja is MOTHER: You swore on the Virgin Mary. shooting. She shoots at the TV. At the pictures. At the The Saguaro cactus disappears from the French window. furniture. Father is hiding underneath the table. Bruno and ZOJA: Fuck you, are you my father?! Pavel are crouched behind the couch. Mother is breaking MOTHER: Now I fi nally understand. everything comes upon. Zoja throws the shotgun away. She FATHER: Understand what? takes the marijuana plant from the window and leaves. MOTHER: Why you wear the white gloves. Mother is standing in the middle of the destroyed room. Father approaches Mother. Zoja appears in the French window. She is leaving and MOTHER: Don’t you touch me with those dirty hands! becoming smaller until she is totally miniature. The lights FATHER: Agata, I’m so fond of you. go out. The last to go out is the bluish spotlight over the MOTHER: Don’t touch me! statuette of the Virgin Mary. It goes out half a second Father almost reaches Mother. later than the other lights. ZOJA: One more step and I’ll shoot you in the knee! The end. Father stops in his tracks. MOTHER: You’re not going to wash this off! Even if you keep scrubbing the hands until the end of your days. This thing Gabriela Alexová (1975) is a Slovak language and can’t be washed off! literature graduate from the Faculty of Arts at BRUNO: Zoja, give me the shotgun. Please. Comenius University in Bratislava. In 2006, she was MOTHER: That’s so good that he keeps wearing those gloves. a fi nalist of the Short Story contest and a laureate He won’t make us dirty. He’ll never make anything dirty. of the literary competition Jašík’s Kysuce. A year later, ZOJA: Fuck, are you my father or not?! Speak, or I’ll shoot she fi nished third in the Short Story 2007 contest. you!! Her 2009 debut novel Three was shortlisted for the FATHER: You’re a slut just like your mother. She also tried to Ján Johanides Prize. Her theatre play Night Popcorn destroy my family. earned her 1st Prize in the Drama 2009 competition Zoja shoots into the air. and won the Slovak Radio Award. She works part- ZOJA: This is the last warning, you bastard. Tell me, yes or time for the Slovak Radio and Television, where she no! I count to three. One, two... authors a program about children’s books titled FATHER: I don’t know! I slept with her for years, but I don’t Reading is Cool. She is a co-writer of the radio sitcom know. Your mother always acted like a real whore! Outsiders and the entertainment show For Real. 97

play INGRID HRUBANIČOVÁ ZORA JAUROVÁ writer, performer, linguist expert for cultural policy

Is culture able to sustain itself fi nancially?

I work in an area where demand for cultural The question is rather whether people are able products is scarce. My work on the dictionary to create fundamentals for culture. And this not is research and it produces not only knowledge only (but also) in the literal sense. In fact we are about the language and culture, but also "preparing" for culture in schools, living rooms, knowledge about the way of thinking. The media, in the streets, in parliament ... wherever production of a dictionary is a long and slow our reality is formed, everything who we are. When process. I can´t imagine that someone provides me we prepare the dough well, it will rise nicely... a three year loan for my daily-life expenses, which And we will not need to ask such questions. I will repay from the profi t after the dictionary has been published. The manager would say, "Well, do not do the dictionary, do things that people do want." But you can´t translate without a dictionary, do dubbing of fi lms, lecture in schools, or exchange information. A dictionary is not shoes that one buys for one season. A similar inequality is present in the theater. I do not want to respond to demand, be a slave of the demand, 98 I want to search and shape new options of supply.

2 × 2 PAVEL GRAUS SILVESTER LAVRÍK dramaturge director, playwriter

Is culture able to sustain itself fi nancially?

Culture yes. But it is worse with the theater. If we consider that culture is playing music It is probably the only art from that is totally and juggling on the street, then obviously ineffective. Many people are involved, they yes. Although probably just due to the fact must be paid, a lot of work has to be done that those performers do not pay taxes and before the premiere and also after the premiere, contributions. But there is also a part of culture while the audience capacity is limited, and (art), which has an urge to deliver values. there are lease terms ... And one has to print Ethical and aesthetical. It often suffers from invitations, send reminding e-mails and buy child diseases. Sometimes because of beauty, cookies for the premiere ... Underlined – too sometimes because of infi rmity, sometimes many mental, time-consuming, material and both. But most often because of lack of interest. fi nancial investments into something that will But the culture does not need palliative care be seen by a thousand, sometimes two thousand from the society. It needs healthy and generous people. And if this is what has to pay for itself, investments. If we use the concept of creative tickets would have to have a different price. industries, it may be clearer what I mean.

99

2 × 2 The Theatre Institute (1961) is a modern present day. The institute takes part Contact European institution under the Ministry of in other research activity of partner Theatre Institute Culture of the Slovak Republic and its mission institutions in the fi eld of theater culture Jakubovo námestie 12 is to provide the Slovak and international in Slovakia and abroad, while signifi 813 57 Bratislava 1 public with complete information service about cantly engages in organizing professional Tel.: +421/2/20487 102, theatre. The priority of the Theatre Institute symposiums, seminars, conferences and +421/2/20487 103 is its documentary activity – a systematic other forms of presentations focusing on [email protected] compilation, editing, preservation and public research, monitoring or on evaluation www.theatre.sk access creation to collections. At present day, of the Slovak dramatic production. the Institute also carries out services deriving By way of joining the network of from its special status as the Public Specialized international and non-governmental Archive and the Museum of Theater Institute, organizations – ITI, ENICPA, IETM, both administered by the Department of theater Culture Action Europe, FIRT, SIBMAS, documentation, information and digitalization. AICT – the Theater Institute strives to Similarly, the Institute performs an foster its professionalism and integrity information-promotion purpose including the into the European context, too. task of regularly informing the public about its The modern and regularly updated own activities as well as various theater related website, the www.theatre.sk offers not events organized in Slovakia or abroad. It only information on programs, projects provides information about theaters, prepares or the Theatre Institute’s activities, statistics on Slovak theaters and analytical but provides the most comprehensive papers within the fi eld of cultural policy. overview of the theatre culture in Slovakia The Theater Institute actively participates both in a Slovak and English version. in organizing cultural and educational events – either individually or in cooperation – while utilizing its own multimedia space The Studio 12. It organizes the festival New Drama/Nová dráma) and the competition ‘Drama’ for the best original play in Slovak and Czech language. Another major agenda of the institute’s activity is its productive publication platform. The scientifi c and research activity of the Theater Institute includes the research of the Slovak theater since the founding of its professional stage in 1920 up till