“Theatre is a place where you think; where you can question I n t e r v i e w s things and shake norms and stereotypes. It’s a total experiment; 2 Art and Culture are Important Components there are no limits“ of a Modern Economy. Zora Jaurová, Rabih Mroué Vice President of the European Organization Culture Action Europe 6 We Live in an a Time of Growing Emptiness. Dear readers, Roman Polák, director These words of playwright and director R. Mroué indicate the direction of his theatrical 13 Dark Room. Jozef Vlk, performer, director, musican poetry, which can be called politically committed with well-defined social consider- 21 A Critic in a Theatre Motion. Vladimír c o n t e n t s ations. When reading his words I somehow realized that for some period already, that Štefko, theatre historian and critic theatre in Slovakia is going in a direction that avoids direct confrontation with the pres- 27 Narrative of the Theatre Architecture. ent situation, whether political or social, and even artistic, which is even less pleasing. Henrieta Moravčíková, architectural historian and critic In the year a crisis hanged over us like “the Sword of Damocles,” and it was reflected in Slovak theatre. At first glance it would seem that culture, including theatre, is financial- Analyses and Reviews ly under-valued. But first and foremost there is a crisis in terms of mediocrity and lack 31 The Quiet Tone of Creativity. Dária F. Fehérová of invention. But even in situations like this, there are from time to time productions 34 Sloboda´s Freedom of Speech Normally that are interesting either by theme, dramatizations, directorial interpretation, or by or Unusual Messages. Zuzana Bakošová- linking form and content in a more original way. The English version of the KØD Journal Hlavenková Dying Function of Relationship.Marek offers you analyses and reviews of some of them. We focus specifically on creative 39 Godovič Slovak production projects. Slávka Daubnerová´s theatreP.A.T. and the performing and 42 Work Sets Us Free... From Our Personal physical dance company, Debris comp., represent theatres that have not ceased to en- Lives. Dáša Čiripová Successful Comeback of Coriolanus to its joy experimentation and searching for new creative possibilities.Station Žilina Záriečie 45 Homeland. Michaela Mojžišová is a space which has been for several years exploring similar concepts. We describe the activities of these independent groups in review Theatre– P.A.T., an interview with F e s t i v a l s Jozef Vlk, the founder of the Debris comp. and evaluation of KioSk Festival. 48 A Modest Annual. Stanislava Matejovičová “New” Era of (No) Ambitions, Talents and Stoka 53 The legendary theatre celebrated its twentieth anniversary in 2011. In the eight- Perspectives. Milan Zvada ies Stoka created underground theatre with provocative poetry, authenticity and visual 59 Detection of Theatrical Mystery. Tereza experiments, combined with the almost documentary capture of the reality in their Hladká texts. It was initiated by the playwright and director Blaho Uhlár. It is not by chance Theory/History/Critic that we mention this. The fate of this theatre pretty much reflects the cultural real- 64 Song of STOKA. Zuzana Bakošová- ity and standing of theatres in a Slovak context. The Stoka theatre company is not -Hlavenková operating today – the director remained alone in the rebellion. He is back staging in 68 The New Dramaturgy. Viktor Varga 71 First Steps to Become Independent. Kopanka Stoka a semi-amateur theatre in Trnava, and the building was demolished. For Martin Timko five years now KØD Journal has tried to draw attention to events in Slovak professional theatre. This is actually KØD´s aim and purpose. Although Slovak theatres, contrary to B o o k s High Time to Discover Dance. R. Mroué´s beliefs, only seldom carry his message to society and try to shake it, the 76 Maja Hriešik 78 Elixir of Laughter. Stanislava Matejovičová concept of KØD is to reflect this. Dáša Čiripová Cultural Contact Point Editor in chief of kød 82 EduMEMA – Artful Education

P l a y >>>> www.casopiskod.sk www.facebook.com/casopiskod 84 Peter Janků: The Stones of Life 1 >>>> 2011 A rt and Culture are Important Components of a Modern Economy i n t e r v i e w s i n t e r v i e w s

“I am convinced that Europe’s advanced economies are experiencing a new economic revolution. During the past century we have passed from an agricultural economy through the industrial phase to a service economy. I think today we are moving from the service economy to an economy that is fundamentally based on creativity. And this applies not only to the economy such as in Great Britain, which benefited for a long time from a free market enterprise. It seems to me that this applies also to the economies of developing countries.”

This quote from Chris Smith, former UK Department of Culture, Media and Sports Minister is fol- lowed by our interview with Zora Jaurová who is active in the Slovak and European cultural policy for several years.

Festival as a Creative Industry was of the fastest growing areas of the economy, art, which in an obsolete way still diffe- the title of a conference that was re- and I mean worldwide. It is production based rentiates arts and commerce. It seems cently organized in Nitra by the The- mainly on intellectual property – ideas, con- that the artists distance themselves atre Institute, as part of the Nitra cepts – what people have in their minds, and from this category. Theatre Festival. This term is widely therefore it provides big potential especially It is possible that the Slovak artists feel they are photo: Archive of Z. J. used these days. Does the cultural for developing economies without massive separated from economic processes. But they industry as such exists in Slovakia? natural resources and developed traditional are not, even when seeking to distance them- proves that countries which do not have the Creative Industries – Sectors of Creative Industries Culture as an industry in Slovakia exists, it is industries and services. The basis is creative selves from them. At the core of the creative base in a form of high quality functional arts ... those business activities which are based on individual just not yet recognized as a specific sector of people to whom we just need to provide ap- economy are the traditional artistic discipli- and cultural sector will not dominate the field creativity, skill and talent. These are also the ones that of creative economy. What is important is to the economy and culture. We are still confron- propriate conditions. Those countries, cities, nes, which are in the principle pure creation. have the potential for capital formation and job creation ting, to some extent, the arts and business regions which began to realize this fact are Around them, however, a huge zone of ​​acti- name and recognize the economic aspects and through the use of intellectual property. against each other. Creative industries are po- recording significant economic growth today. vities is created, which is industry and enters specific processes of the entire complex body The sector includes: advertising, architecture, art, antique sitioned somewhere between the two, having the economy, often by very significant inputs of a creative economy and to promote properly their own specifics and differences in respect You say that the creative industries are (advertising, software, media, etc.). This model the role of individual players. The debate on the shops, computer and video games, crafts, design, fashion to both – the classical understanding of artis- not recognized in Slovakia at the level demonstrates that art and culture are impor- creative economy is interesting because it puts design, film and video, music, performing arts, publishing, software, television and radio. >>>> tic creation and the standard understanding of of policies. But it seems to me that this tant components of a modern economy, which art and the creation into an entirely different >>>> 2 business. Today, culture as an industry is one term is not accepted in the sphere of is based on creative ideas and innovations. It role than we normally attribute to them. Department of Culture, Media and Sport, UK, www.culture.gov.uk 3 >>>> 2011

Could you give us examples from ab- In the current government program, the Mi- What do you mean by modern cultu- One year ago the Ministry of Culture road where creative industries are nistry of Culture has a commitment to put to- ral policies? prepared changes in the grant system supported by government policies? gether a concept for the promotion of cultural That is of course a very broad topic. In my (the subsidy system according to the In the UK there is a comprehensive strategy and creative industries. It is a very complicated view, it is essential to identify the role, if any, new terminology). Nevertheless, it to support this sector since the 90’s and many task, which really does not fall only within the of the state in culture. In my opinion, it is not appears that everything is on the old local and regional strategies are derived from scope of the Ministry of Culture. The creative up to the State to organize culture or creativi- track. it. In the UK art in general is much more per- industries are a cross-sector issue that affects ty. The role of national policies in this area is The grant system in its current form has a num- ceived as an industry. But to show the exam- a number of areas (particularly the Ministry of just to create conditions that those who know ber of fundamental flaws that persist regard- i n t e r v i e w s i n t e r v i e w s ple of a country more comparable to Slova- Economy, the Ministry of Transport, etc.). The how to organize culture can do it, and those less of the changes. For example, despite the kia, we should mention Estonia, which have first step is to raise awareness and to bring who can create, could be as free as possible. fact that decisions on subsidies are done by the been systematically supporting the sector of the issue to the debate. I think a debate about When saying conditions, I mean in particular Expert Commission, the Minister may change creative industries for several years. They un- this topic has already started and that is good. infrastructure, resources and supportive co- such decision in his/her own discretion. If the derstand that this is an area in which they can What I see as a problem, however, is that the operation. But what we see here at all levels minister wants to support something directly, (government and local government) is that he/she should have an allocated amount of Creative Economy state reduces its activity to organizing cultural money and be accountable for such decisions, ... consists of creative industries and individuals, both events, which somewhat distorts the market not to hide behind the decisions to the Com- commercial and non-profit (e.g. arts organizations) together in this area. The second thing is that public mission. Much bigger problem is, however, represent a significant contribution to local, regional and policies are not set up to support viable acti- that no substantive evaluation of projects is national economies. The creative economy includes non-profit vities, but often the opposite. being done, no long-term monitoring, no ex- cultural organizations, commercial companies, independent The Ministry of Culture in our country is per- pert assessment is made. It is also related to photo: R. Čintalan artists and creative professionals such as architects and ceived primarily as some kind of grant agen- the fact that there are no long-term program musicians, along with both physical and virtual infrastructure cy, while the existing support system is quite priorities. Supported projects lack conceptua- that supports their activities (e.g. education, research, skills controversial and not very efficient. The pri- lity, continuity and it ­seems that there is not development or lifelong learning and development). mary role of the ministry is not to distribute much money. In fact, the money spent can Zora Jaurová (1973) studied theatrical dramaturgy at the Academy of Music and Dra- money, but to create policies, schemes, links have much greater effect. ma>>> Arts in Bratislava, Faculty of Drama and Puppet Theatre.>> After graduation she got se- British Council definition of cooperation with Europe and the whole veral long-term internships abroad (UK, Norway). Later she worked as a theater dra- become strong. Another known example is priorities of the Structural Funds for the new world, etc. It is known that I am promoting Do you think that at time of the crisis maturgist, critic and translator. From 2004 to 2008 she was the director of the Natio- music from Iceland, which has become a mu- programming period are being prepared these for several years the idea of an​ ​“Arts Council” there will be less and less money for nal Agency of the European Culture Programme (2007-2013) – Cultural Contact Point. sic leader in Europe. Majority of European days, but if major support schemes for creative – an independent agency to support arts and culture? She represented the Slovak Republic in the Cultural Affairs Committee of the EU Council countries and a number of regions or cities and cultural industries are not included in such culture. I think this model, based on the “ar- I think that the widely understood concept (2004-2006). For several years she was a member of the selection committee for Drama and have some kind of public policy in this area as programs, nothing will happen here again in the m’s length principle” is one of the most effec- of a creative economy is a recipe for bad ti- Short Stories. well, not to mention the U.S. coming years. For example, above mentioned tive ways of promoting culture (the Audiovi- mes. The creative economy is all about ideas, In 2005 she founded the Institute for Cultural Policy, dedicated to the analysis and opinion- Estonia had included this area in the current sual Fund is already applying this principle in about how to invent, how to search for com- making in this area. She is the Vice President of the European Organization Culture Action Naturally the development of creati- programming documents, and that is why one our country). What is particularly important pletely new solutions, and links. That’s why Europe (www.cultureactioneurope.org). Starting April 2007 she was working as the Chief ve industries belongs to the Ministry can see real results. In this area I see the crucial in culture is those support systems are most I think that, contrary to the general trends, Consultant of the project Košice – Interface 2013, which became the winning project in the of Culture. What do you think about role of the Ministry of Culture at the present. distant from political interests. The question at times of crisis one has to invest in things Slovak competition for the title of the European Capital of Culture in 2013. In October 2008 the stage in which Slovakia, or the Mi- It is important to understand the needs of the is whether there is such a minister of culture such as culture and education. It seems that she was appointed as the director and the artistic director of the project, where she worked nistry of Culture are at present with sector, to defend it against other interests (e.g. who would voluntarily give up the direct de- we are moving into times where one cannot

>>>> until May 2011. >>>> respect to policies that would impact contribution policy and taxes) and in particular cision-making power concerning a relatively survive without creativity. She publishes in several Slovak and foreign periodicals. 4 the cultural industries? – to create modern cultural policies. large pot of money. 5 >>>> 2011 W e Live in an a Time of Growing Emptiness

i n t e r v i e w s At the age of sixteen I saw Kafka´s The Trial that you directed in the Astorka theatre. I was taken i n t e r v i e w s aback by this production as I thought, until then, that I knew Kafka. I took my brother to the the- ater to show him that, but suddenly there was a lot of sex, which made me – sixteen years old “Kafka expert” – quite upset. Sometime later Martin Porubjak, who did dramaturgy of that perfor- mance, told me (and maybe he was telling your understanding of it as well), that when adapting the novel for the stage he did it the same way as one understands The Trial when reading it at time of puberty – feeling something sexual behind it and at the same time searching for this sexuality in there.

Nearly twenty years have passed vels – instinctive, psychological and social. Do you have any artist currently li- since then. Has your attitude to­ Theatre production (drama) is good if it con- ving in Slovakia who inspires you wards depicting sex on stage chan- tains all three levels – instinctive, psycholo- and with whom you feel close? ged? gical and social. If there is only the instinct­ I would love to have one, but unfortunately I cannot judge. Back then it was more ive one, the play is about animal instincts I do not. Currently I am immersed in projects aesthetic, today it is much harsher and cru- in humans, about eroticism, cruelty, killing, spanning over next two years, I do not have el. But at the same time with greater insight fighting, who is going to win over whom time to overview what I do, or the theater as Forest (Astorka-Korzo ’90, 1990) photo: J. Uhliarik as well. and other instincts. If the theatre play has such. I do not confront myself with anyone only psychological level, then the result is or anything. I try to focus with positive ener- And how it will continue? a sexless intellectual game without a social gy, survive this period healthy physically and mentally, and then after two years will I look you. Do you at least have those with critics. Among my predecessors were per- I suppose it will be slowly inhibited. But context. If the drama has only the social back, evaluate what I did (not just for those whom you talk about theater? Du- sonalities like Ďuro Nvota, before him there apart from sex there were many other exci- level, it addresses only socio, communal, two years), and progressively reduce the in- ring those thirty-five years, has there was Bednárik, who began to make very inte- tements. For example the absurdity and gro- spiritual or political problems. Characters tensity of directorial work. been an occasion where you thought resting theatre with amateurs. Then Párnic- tesqueness of the world. And the inability to are sexless, lacking psychology. I try to ba- that some critic or reviewer wrote ký, Strnisko, Vajdička who were on the top understand it. lance my productions. If some level prevails, How many years have you been ac- exactly what you meant? of their zenith. Before Vajdička´s generation, then this is not conscious on my part. I am tive in arts? This is an area where I underwent some there was Miloš Pietor. I met Haspra, Rakov- Do you focus on sex? not trying to highlight instincts but I am not Thirty-five years. kind of development. In the beginning I re- ský, Zachar and even Budský. When I entered For years I have been trying to do Shakespe- circumventing them, making them softer ally ­cared for any criticism. When I started the theater life, there were many levels of arean type of theater. The characters meet or censoring them either. So far I have not You say that in Slovakia you do not my ­career, the theater was packed with ce- views about the theatre with varying perso- >>>> >>>> 6 in a dramatic conflict at the three basic le- grown to become a good bourgeois. photo: Archive of R. P. have an artist who could inspire lebrities in the theater as well as among the nalities and they looked at the theater and 7 >>>> 2011

anti-communist feelings, because they were street, and by doing that I am stuck as well. more difficult for me to choose. I choose ter; they do not like what the majority likes ideologues of communism. Absurd times. The clear and specific theatrical message is topics carefully. It is not easy to decide on in the theater. That’s the paradox. Theaters We all fought with our creative activities, missing. a play and then to live with it for one year, or are usually clearly dramaturgically labeled. we had a motivation that everything we do half a year. It is more difficult to be assured But they usually do not work with contras- was anti-socialist. The natural feeling of col- The same way as provocativeness that it makes sense for me and the audien- ting spectator groups, so the problem is to legiality functioned in the theater communi- prevailed in your previous producti- ce. The Misanthrope and Mitana´s The End make their dramaturgy more demanding. ty. We agreed that the society in which we ons, now there is a strong emphasis of the Play, however, were good choices. One has to work by challenging the viewer,

i n t e r v i e w s lived was a scam and that we were breaking on statement. It seems to me that it takes years to educate, care and commu- i n t e r v i e w s it from inside with our creative activities. Of your view has shifted to a more uni- When we met few years ago, you nicate them. Easy titles do not require work course, there were also those who could not versal message. were just staging Táňa Kusá´s play with more complex audience. Demanding break it from inside, as they were forbidden I do not know how exactly to describe the With the Mother in the Slovak Na- and less demanding audience can coexist, to work. It is true that we did not achieve current situation; I do not have a picture. tional Theatre (SND). Premiere was but the theater has to be defined precisely, real results with such protests, maybe just I feel sidelined from an aggressive attack on preceded by a positive critique re- viewers must know how to orient themsel- the fact that the theater was more decent the audience and society. I rather showcase lated to the Alzheimer’s disease as ves. And most importantly: “Theatre must and the audience was laughing at allego- fundamental human relationship problems the theme of the play. At that time it find its time.” And then it will find its au- ries and overtones. Very active discussions and I want them to be portrayed convin- was written that this was a new to- dience. were held at festivals. We felt that art was cingly. pic in the theater. It is so in the the- important and that it could help people and ater, but in movies or in literature This relates to the role of director. society. After the revolution, it all fell apart. What has caused that you are no there are many excellent works on You mentioned several strong ge- Out of the monolithic theater community, longer interested in the audience? this subject, and thus I would have nerations that were active when suddenly appeared nationalists, mečiarists, In my case it has been a gradual process. been thrilled about the theme only you started. What was your expe- Process (Astorka-Korzo ’90, 1990) photo: J. Kolenčík leftists, rightists, former security service pe- I am not suggesting that viewers are empty, if it were arranged interestingly. rience when you became a direc- ople, real dissidents and the grey majority... fortunately, they still go to theaters. It seems Back then you told me that viewers tor, and how do you see it today, that there are still viewers who want to esca- who come to the Slovak National when there are many young direc- the world with contrasting eyes. That was after that, the cultural awareness gradually You mentioned that some of your pe from the virtual world and the media and Theatre (SND) do not go to cinemas tors, for whom it is difficult to get the time of full theaters, and theatre critics disappeared. And a new cultural awareness productions were protests. Re- they are looking for a communicating space. and do not read books. to Bratislava. How did you settle at that time played an important role. Criti- has not then yet been born. Nothing that cently, however, it seems that pro- The theater has become a minority municipal Certainly there are viewers who go to only yourself in Bratislava? cism meant analysis and inspiration. In the would establish positive links and enrich tests in your productions have cea- space. Perhaps it was always so, but I realize one theater, for example to ASTORKA or I did not settle myself in Bratislava. Before beginning I was collecting critical articles them with new knowledge and new energy. sed. Are you tired to provoke? that much clearer now. SND. They want to see there what they 1989 I was in the SNP Theatre in Martin for 6 and waited impatiently to find out who Nor anything that would radically reject eve- You named it exactly. I am tired already. If are accustomed to. It is so in the theaters years. I was the artistic director there for the ­would write what. Today I am not interested rything old and start something completely you want to provoke, you know that some­ You said that you are not following in Nitra, Martin, and Košice. These viewers last two years. Before that, I was the direc- any more. After the revolution in 1989 the different. We live in a time of growing empti- thing is important and you want to give it the political and social situation, but go from time to time to see something else tor in Košice for four years. Here and there theater and the artistic continuity was lost. ness. But maybe I am just uninformed. to spectators. Maybe it is fact that I stopped nevertheless it is felt from your pro- but they mostly request what they want to my productions were played in Bratislava, Each person began to play for himself only, provoking, that I lost faith that it matters, ductions – namelyThe Misanthrope, see, what they are interested in. If some but more in Prague. As a director, my first everyone needed to make a living some- Did you feel collegiality before 1989? that I lost interest in spectators – I do not The End of the Play – which kinds of play exceeds their level of knowledge they play in Bratislava was the Kafka’s The Trial how. During the 1990s there was still some Yes, it was easy then. All of us were “dis- want to open their eyes. I think that they are mirrors the present time. will not accept it in many cases. Those who in 1990 at the theatre Astorka Korzo ‘90 and

>>>> residual energy, which could not be freely sidents,” “revolutionaries”. Perhaps only so blind that it is not worth it. I rather watch, Years ago there were many theatre plays would be able to understand it, and accept later Mein Kampf in the Slovak National The- >>>> 8 discharged during the normalization era. But three or four people I knew did not have observe how far they can get in dead-end that I thought I would direct. Today it is it, on the other hand do not go to the thea- atre (SND). 9 >>>> 2011

twenty to forty years old, to do a production Theatre (SND) and Astorka Korzo ‘90. The Theatre (SND) right after school, it is con- professionally, to reach a wider audience theatre Nova scéna is also a permanent venient for them and good that they are and at the same time that the production company, but it is still looking for some able to grow professionally, but at the same does not become a cheap tabloid. They do drama profile. It has been a long time since time there is a danger of loosing individu- not have many opportunities as new thea- there was competition between the Slovak ality – they are too early at a place where ters are not created. What appeared during National Theatre (SND) and Nova scéna. At they should be with some life experiences. the past twenty years, has already disappea- present, Nová scéna is a musical theatre, Therefore, it is often the case that actors are

i n t e r v i e w s red, like the theatre Stoka. For twenty years theatre Astorka Korzo ‘90 is not competition internally frustrated and they go to look for i n t e r v i e w s already I am expecting a period of theatre for the Slovak National Theatre (SND), as it something else. boom, when new theaters with a message is not equipped for that. This is only a ge- would open and would have the audience to nerational theater, theater of the certain Was a rocking element, which oc- convey it to. opinion. To break the ice, it is necessary curred in your earlier productions, that the Bratislava City Theatre (MD POH) part of your rebellion and protest? You often cooperate with the dra- be­comes a very strong theater which would In the play The Baal Richard Müller maturg Dan Majling. Does your be able to compete with the Slovak National did the songs, in Šokspear it was cooperation function on the same Theatre (SND). And it would be ideal if a se- Tono Popovič and Marián Greksa. principles as during your beginnings ries of small theaters appear which would When I use music in my productions I always – you provide experience and re­ seek their specific poetry, theaters which base it on a topic. The play Baal had an anar- ceive energy? would be a kind of hatchery for young peo­ chist theme, so I was looking for this type of Yes, it works exactly like that. I use the same ple and theater artists. This is what Brati- music. Together with Kamil Peteraj, we con- Anna Karenina (Slovak National Theatre, 2009). photo: C. Bachratý model reversed. I am glad to have Majling slava theatre lacks, and this is why it is so tacted several people, but you do not find and the young scenographer Borák. Now strongly asymmetrical. a common ground with everybody. Then I am the one with the experience and views, came Müller and Šeban and that was it. The But you did have the ambition to get Has the situation not changed signi- You do not feel such movement and I am looking for energy from them. You often work in the Nitra Theatre. same happened with Popovič and Greksa in to Bratislava? ficantly since then? within you? Do you think that there is stronger Šokspear. Of course, everyone wants to get into a lar- It’s still the same. I managed to succeed as di- I don´t feel it. After many discussions on its functi- actor’s potential? ger city, since the smaller cities have limita- rector because I had a better starting position ons, the theatre DPOH has become Theaters in other cities – Martin, Nitra and Are you planning to do some musi- tions as far as the theater audience is con- – my colleagues were Porubjak and Ciller, col- But you know young directors, you the scene for anyone, in line with Košice – generally posses sufficient internal cal theater? cerned. We should not pretend that it is not leagues older by one generation. I gave them have a general idea. You do not see formula– the more commercial, the acting energy. There are actors there, which I do not know. Currently my program is full till so. Excellent performances in Martin were the energy and they provided their experien- any hope? better. Is there really no theatre are perhaps not such big stars at a first 2012 and then comes the end of the world, performed twenty times, the Italian playCa - ce. Our joint productions were interesting -ex As the director of the Slovak National Dra- company or personality who would ­glance, but they want to work and they en- so we’ll see ... Currently I am doing O’Neill viar or Lentils had around eighty performan- ceptions in the Slovak context. I am missing ma Theatre, I tried to create such conditions simply take over the scene which joy it. The problem there is rather that they in Astorka Korzo ‘90, and then Cikker´s Cori- ces. A feeling of frustration to reach audien- the young generation of directors at present. that mostly young generation could have once belonged to the Slovak Natio- are waiting for the director who would form olanus, which has never been staged in Slo- ces through the powerful themes is what is I miss the kind of movement behind me that ­slightly better starting options for confronta- nal Theatre? them. The Slovak National Theatre (SND) vakia, is waiting for me in Banská Bystrica. forcing the director to go into the big city, would manage to motivate me and show me tion, and I assumed that if someone does it The tragedy of a dramatic theater in Brati- also had actors which were eager to work, After Cikker I should go to Martin to do Oe- where perhaps there is more understanding a perspective different from my own. I have well, then it would be good to continue. It is slava is that there are already two perma- but the situation there was problematic. dipus the King, later Corneille’s Le Cid in the

>>>> from the audience. not felt such movement for many years now. not easy for a young director, meaning from nent drama theaters – the Slovak National When actors come to the Slovak National Brno City Theatre. After that I should direct >>>> 10 11 >>>> 2011

in the theatre Arena, the title is not clarified Were your dreams and expectations And now? yet, and finally Kafka’s The Castle in the the- that you had in connection with the My view of the entire theatrical stage is atre Astorka should close the circle from The theater at the beginning fulfilled? much more sober today. What I expected Dark-room Trial to The Castle. In certain periods definitely yes. I had the from life in terms of art I did not get in re- fee­ling then that this was it, that I was the turn – satisfaction that I am doing something You say that it is very difficult at one who could influence people by mea- that makes sense. Today I feel that it does Bratislava’s underground in the late 80‘s and early 90‘s consisted of a number of highly interesting the present to choose text that ningful themes. When I was working in Ame- not have meaning. artistic personalities. These were very positive and inspiring times for Slovak art, charged with

i n t e r v i e w s appeal to you. You were recently rica and Paris, I felt meaning in everything. i n t e r v i e w s artistic experimentation and restless progressive exploration. Many people lost their breath in a judge in a drama competition. I used to enter the theater the same way JANA BEŇOVÁ the during the search, and then either remained frozen at a certain point or they gave up on their How do you see the level of new a Catholic steps into a church. I expected and DÁŠA ČIRIPOVÁ ideals, falling into the satisfied with the mainstream. Jozef Vlk is one of those who has continued young texts? that viewers would believe the author, the going his own way with an open mind, who has not let himself be absorbed by the majority, and Majority of texts are inspired by the tele- stage director and their ideas. who, more than anybody else, is never afraid of new challenges and experiments. vision type of thrillers and sci-fi, some are of the grammar-school-level or tabloid. But some texts are interesting. In the year 1990 you began, toge­ Kantor, and we loved completely different Hubris. She has also been “infiltrated” into Do you follow your productions af- ther with Martin Ondriska and Mar- music than others, and responded sensitive- the Hubris. In a way, we were motion fana­ ter the premiere? tin Piterka, to function as the Hubris ly to the legacy of Artaud. We did not want tics, who were apart from studying basics, I do not. Sometimes I go to see my produc- Company. This was something new the theater to be either corpses or dead. keen to work in the synthetic theater. We tions after one year, some I do not see any and original on the Slovak dance We tried to avoid the classic “eyelet” stage did everything ourselves – from production more. and theater scene: A dance the- and put our testimony somewhere else, do- concepts, music, visuals, we were consider- ater that connects movement with ing something new, provocative, risky, non- ing things in a more complex way... physical You often return to Russian classics. >>>Roman Polák (1957) >> theatrical and musical elements, standard and away from academic cliché. was very important to us, but the prime role studied theater directing at the Academy of Music and Drama Arts un- Does contemporary Russia inspire der the guidance of Miloš Pietor. Since 1982 he worked at the State Drama Theatre in Košice including expressive artistic styliza- We did the installation in the Pool (Bazén), in Hubris played a testimony, because the you? and starting 1984 at the Theatre SNP Martin. He became one of the most important directors tion. Neither of you has been an ac- more specifically in the boiler room of the movement was as important material for I do not need to confront myself with the of the eighties when he staged theatrical plays La Dispute by Pierre de Marivaux (1988) and tor or a dancer. How did the idea for pool, at the Klarisky Church, in the Exposi- us as was light, sound, or anything else that Russian classics or with Russia as such. It Brecht’s Baal (1989). In 1990 he worked closely with the Theatre Astorka Korzo ‘90 (Kafka’s Hubris Company originate? tion Hall of Arts Slovakia (Umelecká Bese- belongs to it. is rather that in those texts experience is Trial, Rostand´s Cyrano de Bergerac, Shakespeare’s The Merchant of Venice, Russian Tetral- It just started one day among a group of da Slovenská) etc. Marta Poláková played encoded, not only of the people of those ogy: Uncle Vanya by Chekhov, Forest by Ostrovsky, Scenes in the House of Bessemenov / friends. There were more of those who a significant role during our formation and Before 1994, you created several times, but universal issues as well. Exactly Philistines by Gorky and the drama based on Dostoyevsky’s: Murder with Axe in Sankt Peters- participated. We felt a need for statement, in other activities. We on the other hand productions that I still remember. burg Summer Guests – Play those which interest me – issues of eroti- and later his adaptation of by Gorky). From 2000 to 2002 he was because we were silent for too long and we “penetrated” into her project from different Especially those made at the Pool, cism, love, faith in God, cruelty and tender- the artistic director of the State Drama Theatre in Košice. As a guest he directed at theatres in had a tension in ourselves that had to come angles. She also shaped our physical disposi- where you, as you say, “managed” Prague and Brno as well as in the Slovak Chamber Theatre in Martin. He made over hundred ness, conflict between parents and children, out. There were more options, but we de- tion and consciousness about the body. Al- to play. How do you today, with the theatrical productions. In the years 2006 – 2008 he was the artistic director and director of indifference, consumerism and strenuous- cided to form Hubris. Back then, we wanted ready in the 1990s she has organized scho­ hindsight, look at that period? the Slovak National Drama Theatre where he staged the plays –King Amuses Himself (Hugo), ness of humans and many other problems to be programmatically opposed to the tra- larships for various choreographers from After the coup, the society breathed with Three Sisters (Chekhov), Embers (Marai) , With Mother (Kusá) , and recenty Anna Karenina and contradictions of human life. ditional or classical understanding of the- abroad. There we learned very fundamental enthusiasm and this was how it worked and Herod and Herodias.

>>>> ater. We hung on a variety of conceptual art things, which we were then able to imple- among us. We were proud of ourselves and >>>> 12 videos, we were amazed by Wilson, Beckett, ment as performers in the independent our environment (Hubris means pride). The 13 >>>> 2011

magical boiler room of the Pool has become After Hubris ceased to exist, you of expression. Movement actually speaks media. To achieve results a particularly hard some kind of “temple” for us, which deter- were the only one who continued the same language which is very close to work with the body is required, the idea mined our – let´s call it – theatrical sessions. with the movement theater. You the theater, and actually is its integral part, and work conditions. Yet there are things at Each event that we organized there meant founded the Debris company, which because it uses similar instruments. I am in- dance which I do not like. Sometimes there an incredible amount of work. We had to continued in the line of movement terested in “dancing” something important, are moments at dance performances when rebuilt all the time virtually everything from theater. Today you work with pro- with the essence and message, both tar- a dancer, who is particularly well disposed,

i n tthe e r v i e scratch w s – to install energy, sound, to fessional dancers. Debris has pro- geted close to a person. This all is possible flips the leg high up to the ear, in demon- i n t e r v i e w s clean the whole area and some other details filed itself as the professional com- when the movement is articulated at diffe­ stration of skills: have a look at what I can that I would rather not mention ... It was an pany in contemporary dance, cur- rent levels and when one uses all possible do and you don´t. And nobody understands amazing period full of ideals, illusions, emo- rently the most progressive one in means which are evocative for the viewer why the leg was there. I do not like this kind tions, energy, hope and mutual harmony Slovakia. What it is that attracted and are more readable and understandable. of lifeless exhibitionism. with tremendous personal inputs. Space in you personally to the dance and I cannot specifically say whether this is due the boiler room provided at the beginning movement theatre? Before you to tempo-rhythm or something ritual, which Debris has become for me a kind of “ge­ everything we needed – a septic tank with were in Hubris, you were known as therefore should happen as something ab- sammtkunstwerk” laboratory from which a direct waste discharge from the wall, three a musician, an experimenter – this is solutely natural during the process. Text I am digging out new ideas about sound, huge broken water boilers, which could also what is still true today. here is not the most important, as it is in the music, set design and light design. When serve as musical instruments, side corridors I was not just me, but Martin Piterka classical theater, it is offered in a special way I create music, it always results from some- clogged with dust, the basement flooded and Monika Čertezni – Horná, who were be- – something like a movement between the thing visual, from what I saw during the with water, where we later even put a small hind the birth of Debris – remnants of pride, lines in the book that you are reading. You rehearsals or at the performance, or some- sailing boat, three-level division of space, or logical consequence of Hubris (state of cannot hear replicas, but they are articula­ thing what seemed to me to be there. I am shafts filled with sand, few holes in the ceil- pride). Debris continually followed up on ted, and it is up to the viewers to put them inspired by movement and light, by col- ing, illusionary entrances to other rooms poetry, which was started by Hubris. Actu- together. The same way as when you are leagues with whom we are working on crea­ and the most important – the wonderful ally, shortly after the break of Hubris and reading a book, you see the letters and at ting another plastic form, something which audience. Apart from all this, we were sur- in kind of abstract penalty for wantonness the same time you perceive their sound and can eventually dissolve in the air, or in the rounded like with smoke with literature, po- (fthonos theon), we created Code QUTNXZY the whole atmosphere. The story develops mind of the audience like naphthalene. To etry, minimalistic music, kitsch, life ... Here at the Pool, then the performance Nobody fast and is screaming much louder some- me the theatre evokes naphthalene and is where our language started to form, and knows during our internship in Germany times than any actor can do, even in the I like that pervasive scent that drives away what was later articulated into our testimo- and the performance Cosmidiot soon after theater with best acoustics. I consider the insects in the dark. It is kind of both – se- ny. It was a wonderful time and our wings in Bratislava, as well as other theatrical ses- movement to be much more expressive than curity and hope. I hear sounds of departing started to grew. Early 90-ies was our build- sions. After the break, which lasted several any speech. Words are too specific and one insects and that inspires me to more experi- ing block, conflict and the mission. This is years, there was a comeback, when the core can remember images created by the move- ments, musical and other. when it all began. The Theatre Stoka, which of the Debris Company was joined by other ment easier. The contemporary “dance” is we met shortly after they were established, great people – Daniel Raček, Emil Píš, Zuna a fascinating form of a statement about the A strong statement, theme, and Theatre GUnaGU, Teatro Tatro and the plat- Kozánková, Martina Lacová. micro or macro reality – the world that sur- concept unite all the projects of Hu- form where we were able to carry out our rounds us and of human existence mediated bris or Debris. This is why you clear- ly distinguished yourself from other

>>>> productions. Intermediate time. What fascinates me in the movement for via physicality. This is an integrated theatri- >>>> 14 years is the possibility of non-verbal means cal magic. It is a catalyst for several artistic dance groups in the past and conti­ photo: archive of J. V. 15 >>>> 2011

nue to do so at present (although I can clearly anticipate operational issues of Since you are the director and mu- ently and therefore inspiring. It is complete- important – words. Drama can be caused by it actually is. Wider audience cannot imag- today borders of abstract move- the theater space – what it requires or may sic composer in majority of Debris ly different in every project. Sometimes it words and by silence at the same time, and ine anything more specific because they do ment and dance have moved). require. It is clear to me that one needs to company projects, Stanka Vlčeková resembles a “dark room”, where mixing of this does not necessarily provoke a debate not know more. Only a handful of mainly Obviously you have in mind the dramaturgy, keep the administrative flexibility in relation is usually a choreographer. How right chemistry can produce an image that about what a theater is and what it is not. young enthusiasts, or several older people. the internal language of performances, or to the artistic freedom. At the very begin- does this cooperation look like? Of you possibly can, after some consideration, The story is based on one or the other. In our Hip-hoppers can perfectly define their genre even something that is more characteristic ning already, at the times of Hubris, I was course, you are both guided by the exhibit in an unnamed gallery. The physical perception the physicality of performance in music and dance. I am not mentioning

i n tfor e r v ius e w s when you look at it from the other fascinated by the possibility of obtaining the theme at the first place, but how truth though is absolutely far from what is and drama is caused by the body and visual- folklore, because it has its traditions, at- i n t e r v i e w s side. I can compare it to the surgery. You take above-mentioned Pool. The commission of about functions – does your music written on several pieces of paper, or in the ity, not only by words. We consider the body tractiveness and the future. With ballet ev- a scalpel in your hand every day and you open the municipal office was enthusiastic about and Stanka´s choreography inspire proposal of the stage designer, dramatur- to be more realistic, natural and more true. erything is obvious. The general public basi- something new and magical. You look around our project and very soon I received a posi- each other – or do you create indi- gist, director, or in the music sheet. What I do not know. I saw physical theater perfor- cally does not understand what the poster and you find out what are people interested tive opinion on the appropriateness of its use vidually? happens often is that someone outside the mances in the Black Rider by Bob Wilson, or means and is confused when they see the in and what troubles them ... Although it can in accordance with our intentions. This last- The most important is the beginning. When rehearsal room notices something or sees even better in the movies of Buster Keaton. word “dance”. They cannot incorporate it in be very subjective view, you might be right ed until the municipal authorities acknowl- it all starts, it is very important for us to un- something that completely fits our concept Or you can see Brecht behind it ... There are their register of knowledge. The expression about something. We behave like humans edged a mistake, when they disco­vered that derstand that this theme is important. Each and moves it forward. So coincidence often many formations which make physical the- “dance” is misleading. For me a simple defi- and we are honest with ourselves and with the space is under the jurisdiction of the time, however, it is different, the creative inspires us. But mostly a lot, a lot of work ... ater and they do not call themselves that nition of “dance” means some kind of move- the audience. The decision to work together City Magistrate. I tried to search for docu- process flows in several directions. Some- way. It can indeed be a puppet show, a cir- ment that is named indefinitely in the title. on something that is close to us and to the mentation at the City Hall, but at that time times it starts with movement and the con- Debris company is known as physi- cus and a tautological physical theater. Does I wanted to avoid my limitation. broad audience, is the most important sub- their archive was in a completely disastrous cept of material comes at the end of the cal theater. Where did this concept it mean a different kind of work or a differ- liminal motivation for us. Another important state and the search started to resemble process. There can be a musical theme in come from? I am asking because ent definition? Just the mere fact that, in In addition, I encourage dancers to use issue is the assumption that people in Debris Kafkaesque quest. The whole energy evapo- the beginning, which subtly leads the work the term physical theater evokes front of audience in the theater, there are something other than just their bodies – are able to ask themselves very simple ques- rated when I got to the information that the somewhere else. Sometimes we take con- me rather Grotowski’ s theatre, and real human beings expressing themselves their head. They should create characters tions: Who am I? Why am I on the stage? Am Pool was built on the aryanized land of the cept and create individually and later we I would not place you there. with their bodies is already a physical fact. and have more processual way of thinking, I flexible enough? Am I willing to stand here? oldest Jewish cemetery in Bratislava. Then compare it from different perspectives, we Currently we are closer to the expression of And one more thing: unlike the classical dra- so that their movements are not just memo- What and how I want to express myself? and there were several more hectic attempts to improvise, evaluate, change and make it “a poor theater”, because it seems that we ma theater, the physical theater expresses rized phrases, but they have a meaning and so on ... Spatial context, the scene and atmo- get other places and they also ended up in more specific. Stanka is incredibly resource- are going to implement our unsuccessfully itself more internally than intellectually. Or are not “uniform”. Indeed, the contempo- sphere is very important for me. I have a feel- vain. I was exhausted from that, we had no ful and intelligent person during rehearsals presented project Hunger by Knut Hamsun, is it vice versa? rary dance can be something more than ab- ing that some dance companies limit their luck. It was hard. I do not know, but maybe and she reacts very fast. The same way as which was misunderstood and unsupport- stract movement which is difficult to grasp, means of expression when they apply stricter this is all how it is supposed to be. Every- there is an ongoing creative process be- ed by official institutions. But in this sense There are also other reasons why we have too ornamental and aesthetical. It can be- interpretation of dance. thing bad is good for something and vice tween the choreography and the music, or it is just a formal playing with words from chosen the label of the physical theater. come more theatrically intellectual. versa is true as well. And I do not like the other media, it often happens that the ar- Grotowski’ s pen. Grotowski argued that it Dance means for me an ‘iffy’ category and The Debris Company recently cele­ law on public procurement. I feel that as far tistic vision, which defines possible future is not words that are interesting in the the- has a lot of misleading and confusing in- You are often contacted from abroad, brated its 21st birthday. Despite as cultural context is concerned, it is biased space, atmosphere and presentation of tes- ater, but what follows from them and what terpretations and genres. When you see from the various festivals where you your systematic work you do not and it strongly supports commercial activi- timony, is clear at the very beginning. is causing them. This concept is essential for a poster presenting a dance, people usually participate. And not only in Europe, have your own space. Have you con- ties. I have intuition though that in the near The topic includes code, character, inner me and I agree with this simple reference. subliminally expect flamenco, folk, swing, you were in Singapore and it may be sidered it, or is it more a question of future we will manage to agree with some- speech, key, space, technical and financial We have a written draft in Debris at the be- belly dance, steppers, boogie, salsa, con- Korea this year. Where do you think

>>>> operational costs and a large finan- one. I hope that we will celebrate the 25th conditions, resources and other unforeseen ginning, we have a variety of personal chal- temporary dance and other fictions. They is the strongest and most progressive >>>> 16 cial input? anniversary in our space. issues and all these are often defined differ- lenges, issues, solutions and what is most would need some visual to understand what dance scene today and why? 17 >>>> 2011

Dance Collective), in Switzerland (Zimmer- pressure. It is essential to be in agreement huge that one can see it almost every- “speak” differently. Therefore, we did not mann and Perrot, Drift). I think that an im- with the inner-self and with the team, who where. We discussed it a lot, we were look- play other performances from our reper- mense amount of interesting things is taking has the only purpose to create something ing for signs of narcissism in ourselves, in toire when rehearsing for Mono, so the place in Brussels. But my particular interest that produces satisfaction. This is why The people we know, we were looking for such chemistry from other performances does is in presentations that are somewhere on Debris Company continues to exist. All what extremes, syndromes and principles, which not interfere with the language we were the border between the art of dance and you call “various other projects,” however, would be suitable for stage dramatization. constructing anew.

i n t e r v i e w s the theater. For example, Charlie Chap- brings additional experience, inspiration Narcissism is all around us, it has varying i n t e r v i e w s lin’s grandson James Thierrée is a phenom- and is ultimately perfecting my own hand- degree of intensity, narcissism affects soci- As a musician you are active in The enon, currently living in Paris. After seeing writing, it is rewarding. But that does not ety, continent, whole world. We somehow Double Affair – a formation found- him several times, I admit that I love things mean that projects that are financially more managed to process it to an amicable, es- ed by you. Does it function on the that are on the edge, confounding, surpris- attractive lack people with whom you like to sentially generalized and tragicomic form. same principle as the Debris Com- ing, attractive, independent and viable. He cooperate. Any cooperation beyond Debris It was very good that I was not alone, be- pany – you invite different musi- is doing performances, teetering on the is a challenge, where you can test your own cause Martina Vánayová used a completely cians to work with you? Moreover, edge of the drama, circus, a contemporary vision, opportunities, abilities and charac- different optics than me. In the next real- as you have already mentioned, you dance, all this in a multi-genre mixture full teristics. ization phase she was coming to rehears- are doing music for movies. What of enjoyment of life, even the above-men- als and became some sort of litmus test, is the difference between the work tioned exhibitionism does not bother me. To In your latest premiere Mono you which measured the intensity of narcissism with a music band and unvocal art me, Thierrée is a prototype of an artist who cooperated with the dramaturgist. in each of the characters. It is very pleas- groups? manages fantastically a synthetic theater. So Your projects, as you already said, ant to work with the dramaturgist, but it The Double Affair is a project which cre- I can claim it to be the strongest European are based on a very strong theme, must be a person who is close to the direc- ates transitory music affairs. It is also my scene. and are often inspired by literature tor, the team and agrees with the way the pseudonym, because I often compose and and visual arts. You used to be your team operates. Martina is such a good and play myself. The production here does not As a musician you are working on own dramaturgist. What was differ- close person. have any connection with the Debris Com- various other theater and film pro­ ent in preparation of Mono? pany, although this can happen easily in the jects, which are certainly financially In Mono we improvised on a provocative The topic of narcissism is so vital that we future. Like in the Debris, in the Double Af- more attractive than working on topic of narcissism. I originally offered have decided to invite Petra Jaška from the fair too there is a certain degree of indepen- the Slovak dance scene, which is a position of consultant to someone from Belgian based Slovak Dance Collective for dence in creating the process and freedom. trying to recover from the lack of the Academy of Sciences, but eventually cooperation. For the nearly 10 years Peter When you work with someone it is often Mono. S. Vlčeková and E. Píš photo: K. Križanovičová audience´s interest and understand- I decided to work with the dramaturgist. worked abroad and gained incredible ex- necessary to “tailor-produce” and to forget ing. But you are permanently taking This time there was no specific literary perience in the Brussels school P.A.R.T.S. about the individuality, although you are of- your own path which is individual base, even though the theme of narcissism He cooperated with choreographers like Si- ten provided “a carte blanche”. Sometimes and most importantly artistic, and is frequent in literature. We spent a lot of dim Larbi Cherkaoui, David Zambrano and I am even forced to virtually step out from Several years ago a number of interesting dom Dance), Norway (Jo Stromgren), but it is not tributary to the low taste and time on analysis of different texts, articles, did pedagogical work virtually around the the genre and look at things from a totally European interdisciplinary projects came seems to me that Brussels is the strongest mainstream tendencies. medical cases, sociological essays, inter- world. Choreography to our current opus different perspective. And this is a challenge from France (Philippe Decouflé, Joseph Nadj, (Wim Vandekeybus, Peeping Tom Collective, It is very important to create when one has disciplinary studies. We browsed internet, was created by Stanka and Peter. We need- that pushes things further. Claude Brumachon), England (DV8, Russell Alain Platell, Sidi Larbi Cherkaoui. I cannot to say something and not when it is moti- watched movies, videos, and we gradually ed to move expressions in Debris a little fur- >>>> >>>> 18 Maliphant, Candoco, Wayne McGregor Ran- omit also my good friends from Les Slovaks vated by some commercial or administrative started to understand that this topic is so ther, as it is very good when performances 19 >>>> 2011

Jozef Vlk is the Slovak author, director, composer, musician, performer and freelance producer. After founding the theater group Hubris (later renamed Debris) he received several musical A Critic theater scholarships. He reports to the so-called theatrical theory of „selfmadement“ and the active form called „Gesammtkunstwerk“. As a director and a music composer he cooperated with major artistic personalities on domestic and international musical and theatrical projects. in a Theatre Motion He participated in successful productions staged in Slovakia and abroad (in the period from 1990 to 2007 he did 17 productions in Austria, Britain, Germany, Czech Republic, Holland,

i n t e r v i e w s Switzerland, Poland, France, Slovenia, Hungary, and cooperated in out -of-genre projects in i n t e r v i e w s France, Senegal, Germany, Poland, Australia, ...). In an interview with Professor Vladimír Štefko – a major theater critic and theatrologist – At present he is mostly active in the area of contemporary and new electronic music, con- temporary dance, theater and film. He organizes theatrical events and festivals in Bratislava. we discussed the joys and the sadness of theatrical criticism, art education, his personal In 2004 and 2005 he was nominated for the Theatrical Nitra Award Dosky (Boards) – for the and professional interest in Slovak amateur and professional theater, but also what im- theatre music. He won the award in 2008 for the best music and claims that he does not know presses him the most when the miraculous transformation happens in the fulfilled theat- what to do with it. In 2003- 2004 he made a dance movie Day. As a director, producer and rical moment ... composer he works in his own project the Debris Company – physical theater – which is sort of a “flagship” sailing waters in Europe and other continents. At the same time he is devoted to his music project The Double Affair. What are your memories about the What was the topic of your thesis paid off. What‘s more, I managed to collect Dolcissime sirene. D. Raček and S. Vlčeková photo: I. Bruyère 1990 Comic mirror first experience with theatre – is and did it influence your current the- and study material for my first book – a bro- 1991 ..on the ground../a dato vs. hubris company/ there anything you recall from your atrological work in any way? chure published by the Educational Institute 1991 Screaching pipes of nothingness /hubris company/ youth? When I graduated from the Philosophical under the title The Slovak Amateur Theatres 1991 Point on the horizon /a dato vs hubris company/ I got in touch with theatre very early. I used Faculty of the Comenius University, the name Association – An Attempt to Outline its Activi- 1992 Theatrical Peri- ties Ústredie slovenských ochotníckych diva- Where are you taking inspiration in Ulysses /hubris company/ to live in a small town called Košťany nad of my diploma thesis was: ( 1992 odicals between 1918 and 1953 (Divadelné diel – pokus o náčrt činnosti the creation, which is so diverse and Something in the way /hubris company vs a dato/ Turcom, and when the local amateurs played .) The fact that 1993 UBU-celzia krona /hubris company/ Mother (Matka) časopisy od roku 1918 do roku 1953). most importantly continuous? Barč’s , it was probably I chose the institution was already considered bour- 1994 Murphy /hubris company/ a hand of fate. Curiously enough, I can still 1953, because that was the year when the geois in 1966 made my work an attempt to I cannot explain it, I just do it. A long time recall the tragic ending of this drama very periodical called Our Theatre (Naše divadlo) rehabilitate it. Back then, each text had to be ago, I talked with someone, and I cannot 1995 code:QUTNXZ84/8Y/debris company/ clearly. The local amateur actors performed ceased to be published. The thesis was 250 seen by the censor, who had already made recollect who it was, we discussed the situ- 1995 Nobody knows /debris company/ a sort of sketch, in which they poured siphon pages long. The Department was quite horri- some omissions, but the text eventually ex- ation when one does not have ideas, theme 1997 Ode to filth /theatre la fabriks_du merlan vs debris company/ all over themselves. After that, I can only re- fied, but the intense labor and time I invested isted. For the first time, many amateurs as or motivation any more. I suggested that 1997 Biology of an obstacle /debris company/ call some shows of the professional theatre was quite beneficial. During this lengthy pe- well as other drama people were informed a window should be opened in such case. 1998 Cosmidiot /debris company/ in Martin. I spent a lot of time in theatres riod of reading and analyzing theatrical peri- about the activities of the Association and its I think that windows should be opened 2006 Soliloquy /debris company/ during the entire 50s; either my parents or odicals, I got acquainted with authentic texts. major achievement – intense development every day, or in regular intervals, to make 2007 Dolcissime sirene /debris company/ the school took me there. I wrote my first I gained much knowledge from these scripts of the Slovak theatre culture. draft. This is probably the easiest thing I can 2007 Ortopoetikum /maja hriesik vs. debris company/ review in 1959, which should probably be and I still derive much from it today– I either do. To change the air in the room and within 2008 HEXEN /debris company/ considered despicable. I am not sure if I was remember some fact or at least know where Looking back at your university oneself. 2010 Between a rock and a hard place /produced for ME SA Prague even 19 yet. It was foolish, indeed. to find it. So my elbow grease has eventually studies, was there any professor the >>>> >>>> 20 21 >>>> 2011

practical approach of whom influ- materials and be a critical viewer as well. How would you describe the theater sound harsh, the former members of ama- enced you the most? All in all, I have the best memories of my you were writing about during the teur theatres played a major role in Slovak That’s difficult to say; I studied during the work daily, weekly and monthly. most important part of your profes- theater practices until the mid-60s, with an first half of the 60s – a relatively liberal pe- sional life – the second half of the exception of the national theatre. Many of riod with a growing space for thinking, dis- Do you have some recipe or instruc- 60s to the 90s? them were very talented, hardworking and cussions and polemic debates and an open tions for theatre writing? I would probably describe it as a theatre in achieved good results, but the increasing i n t e r v i e w s i n t e r v i e w s atmosphere at the Department of Philoso- I certainly don’t (laughs) and if I had, motion. A theatre which developed and un- number of professionals – educated drama phy. When thinking about those who’ve I would either let it be patented or reveal it derwent a certain process of emancipation creators such as dramaturges, directors influenced me the most... It was surely Mi- to my students. But there are certain things from the sovereignty of literature; gradu- and naturally actors and scenographers lan Rúfus and his lectures and seminars on you can’t ignore. I think theatre writing as- ally greater emphasis was put on scenic was an intense impetus of theatre develop- modern literature, poet Pavol Bunčák who sumes certain education, not only a the- interpretation, so literature was no salva- ment. Their top productions exceeded our gave us lectures on interwar literature, and atrological one, but also political, histori- tion anymore. In my opinion, the theatre national boarders and gained������������� repeated in- probably some professors from the Depart- cal, as well as knowledge of national and became a partner of other arts in Slovakia ternational success. ment of History; I´ve had a thing for history foreign literature, because, whether we in the 60s due to its ability to synthesize ever since I was eight or ten. So I got solid want it or not, the theatre has always been the other stimuli, including mainly modern You‘ve been as a juror, methodist knowledge of ��������������������������������history,���������������������������� journalism and litera- the �����������������������������������������crossroads of ��������������������������both arts and social move- arts, in order to engage the viewer with and a theater historian of amateur ture for my theatrological work. ments. Theatre always has the tendency to certain issues of a national reverberation. theatre for many years already. reflect what‘s going on, thus a person writ- In the 60s, one could write about the the- What‘s behind such a fervent rela- What did you learn during your ing about it should be professionally aware ater quite openly, even in terms of social tionship with amateur theatre? journalism career, particularly in the of what is happening around us. Whether criticism. It changed during the normaliza- The truth is that my first published works cultural section of the Smena news- I have some instructions? I think that writ- tion when censorship and self-censorship dealt with professional theatre. Apparent- paper? ing theatrological texts, from simple com- were active. To put it euphemistically, ly, they were the reason the Educational I learned several things, such as the sun ments to books, is a skill that can never be many authors were “not recommended”, Institute asked me to participate in semi- and the newspaper come out every day and completely learned; it demands a certain so a strange phenomenon when the audi- nars and competitions as a juror, etc. I was you must find something to file regardless talent, but it‘s also important to have a per- ence and the stage found a joyfully mutual intrigued by the aspect later described by of your current mood. So I picked up the son pointing out possible discrepancies or voice occurred. What was happening on Peter Scherhaufer; an amateur theatre is skill of being instantly focused, detached inaccurate, inelegant expressions. This is the stage in certain allusions, allegories or the theatre of greater possibilities. In other from certain issues and to deal with the undoubtedly crucial. The last thing I‘d like encoded meanings in historical motifs of words, professional theaters were under topic that needed to be tackled. Another to say is that a theatre critic or a theatrolo- classical national and foreign texts often a strict political supervision and the ama- ultimate perk of the work was the possibi­ gist does not become an expert overnight. brought much understanding. The audi- teur ones were seemingly in seclusion, so lity to see all Slovak and Czech productions; Reading even ten books of wisdom is use- ence sitting in the dark suddenly started what was restricted in professional the- there was no problem to go to Prague for less; one has to grasp things with ones own to accept critical notes, metaphors, images atres was staged there. It is no coincidence four or five days and see the best produc- hands, mind, and active involvement. That and symbols performed by the actors on that Roman Polák, Ľubomír Vajdička, Miloš tions. I also had the possibility to attend is fundamental even at the cost of thrashing the stage instead of themselves with great Pietor, Beňo Michalský, Jožo Bednárik, festivals. I had to write about everything a few of your first works. joy and pleasure. The Slovak theatres be- Jozef Pražmári or Ľubo Majera directed >>>> >>>> 22 and be prepared for it; I had to study the came more professional. Although it may there. Why do I respect amateur theatre? photo: F. Lašut 23 >>>> 2011

Because the vast majority does it out of just like there is no subjective drama. It is such as the great amount of self-study – an matically said, high school knowledge gaps in theatre, more or less. If these expecta- ized by what is happening there and when love and great will. In addition, amateur always a creation of certain subjects – au- individual work of a pedagogue with a stu- are so enormous that university professors tions are not met, they are bored and dis- they even see a TV series actor live on the theatres played a key role in the history of thor, director, dramaturge, actors, etc. So dent or a number of students it demands. often have to substitute their high school appointed. The majority of them quickly stage, they are star struck. the Slovak culture as a foundation of our writing critique, a review based on actual The funding of these schools is insufficient, colleagues and introduce the students to resign to visit the theatre again. Another theatre culture, which I think is today still and artistic reality calls for an author– the which is true for all universities. Another some elementary problems of culture – the problem is that theatre criticism can only How would you evaluate the artistic unappreciated. It still remains a certain res- particular critic or a reviewer – to be edu- recent problem I feel is that young people theatre, in our case. Obviously, provided the take place if there is some space for it – status of the Slovak National Drama

i n tervoir e r v i e w s of talents, a locator of apt people. In cationally equipped with a system of self- are not exactly eager to work as teachers. current situation we can’t expect that an en- the space in newspapers and magazines. Theatre, as it is today? i n t e r v i e w s my humble opinion and considerable expe- corrective means, so he wouldn‘t succumb At present there are many other productive tire grade, usually rather small with twelve to However, the reviews often tend to have Approximately two years ago, I wittily wrote rience, the impact of amateur theatre on to the so-called halo effects of something possibilities of much better financial bene- fourteen people is full of great talents, young the character of some PR articles or they in kød that “the Slovak National Drama The- culturizing this nation or this country and being presented as a great avant-garde, fits; becoming a university teacher also calls people with a lust for work, ability to read remain mere descriptions of subjective im- atre is currently out of shape.” Some people the scope of its effect is very, very intense. a revolutionary production, although similar for certain attributes, such as proper back- and comprehend, demonstrating a deep in- pressions or the event itself. This should find me too strict, but their premieres only It is a theatre of willingness which I was practices already existed a century ago. He ground, experience, knowledge – it‘s career terest of all possible forms in what they want definitely be changed. The newspapers – continue to prove that I wasn’t wrong two willingly involved in. must be able to perceive an artwork with path not everyone is willing follow. However, to study. I guess nobody is such an idealist to- even the so-called influential ones – should years ago. I don’t consider the current ar- certain empathy, from a human point of I still hope that the universities will survive day. So there are usually two or three people be aware of the power of culture. The cur- tistic qualities of our drama theater good You became an associate professor view, as there are many people preparing and contribute not only to the development in each grade I consider perspective. I‘d be rent situation is quite woeful. enough for our primary scene and not to be and later a professor at the Univer- the production for a number of weeks and of theatre but also improve on something glad if the students proved me wrong after of quality in comparison with the dramatic sity of Performing Arts. What do their work deserves respect. Obviously, that I consider to be a major problem. I tend to graduation and showed that they were actu- What’s your opinion on the current tradition developed by the same company you consider the most important doesn‘t mean one should be condescending call it the culture of the nation or the pro- ally far better than I expected. Slovak theatre culture? over the past decades. when studying a phenomenon as and accept everything produced as quality cess culturing this country, which is not only Each attempt of generalization tends to complex as theatre? work. Today, the quality is a major issue. a concern of our art schools. Do you think that theatre criticism struggle, as there are at least five or six What book would you like to write That’s a difficult question. I’ll probably begin has currently any chance to exist? good productions done every season. How- if your creativity was peaking? What with a hint of sentiment. If one wants to ex- Being a university professor, how do What are the current students of The chance exists, but it’s rather small, to ever, as someone practically living in the do you relate to and what kind of plore theatre and write about it, one must you see the perspectives, problems, the University of Performing Arts be honest. The quality of the criticism is theatrical environment for de facto fifty message would you like to leave for like it first; it is most probably impossible hopes and prospects of artistic edu- like? Have you found some follow- not the only problem; the quality of the- years, I doubt that’s enough for the en- the Slovak theatre culture? without it. If you don’t like it, your work may cation? Do you think it has any fu- ers, great talents who could partici- atre productions is problematic as well. We tire theatre culture. Somewhat unfinished I don´t think I will write any more books, as turn into a cold-blooded rut; you will obvi- ture? pate in the continuity of theatrology focus on different values and the problem productions or productions without any I hardly feel my creativity is peaking. Natural- ously not achieve any outstanding results. Fights for higher artistic education have and theatre criticism? of the current state is anchored in the over- higher ambitions are prevailing and it’s no ly, the fatigue is setting in, along with other Another fundamental aspect is a legitimate been fought in this country over numer- There are several aspects of this problem. all understanding of these values. Society is paradox that they are the ones receiving demotivational aspects. Sometimes you find relationship with the theatre. To explain ous decades, so it would be really embar- Firstly, the theatrological work is no attraction heading in different directions and cultural the most praise from the audience. Let me yourself asking, whether all that time, energy this, I never expect a particular director or rassing if, by any chance, it ceased to exist in terms of money today. Secondly, it’s prob- issues are more and more distant even from remind you of the fact that currently, each and sometimes even your own money in- a company producing certain play I am very or changed into some vocational school. ably the lack of popularity or social status, the people expected to have certain cultur- premiere of the National Theatre is auto- vested into this kind of work was truly worth familiar with in a way I think would be the However, we’re facing a problem associ- certain social recognition. As a result, only al knowledge and awareness. The money matically followed by a standing ovation, it and if there was anyone to appreciate it. best; I have to be able to accept their vision ated with legislation, because the enforced a few young people apply for theatre studies and the fact that the theatre is now consid- although its quality is usually quite low. But let’s forget about the skepticism, which of the author, the drama, the world. There legislative standards are either drawn up or and a vast majority come unprepared. They ered as an entertaining and attractive part This is related to a rapid audience swap. is, after all, a little inappropriate for my age. is also an interesting category many tend to consulted by professors of other primary have a vague idea of what they want to study, of show business are other intervening fac- Today, the people going to the theatre of- If I had enough energy and time, I would work with – objective and subjective criti- but non-artistic universities. The legislation not to mention the quality of knowledge they tors. Today´s people grew up watching TV ten lack experience with drama and certain certainly enjoy writing a monograph about >>>> >>>> 24 cism. I think there is no objective criticism, disrespects the specificities of an art school, are equipped with after graduating. Diplo- series´ and expect to see something similar continual overview, thus they are mesmer- Miloš Pietor, but solely in academic terms. 25 >>>> 2011 Narrative of the Theatre >>Vladimir Štefko (born in 1942 in Martin) is a theater critic, historian, theoretician and profes- Architecture sor. Before graduating in studies of journalism at the Bratislava Comenius University (1965), he had worked as an editor (1964) and later as the head of the culture section of the popular

i n t e r v i e w s daily Smena. From the beginning of his career, in his editorial and professional activities he The Theatre Institute recently issued a publication under the title Theatre Architecture in Slovakia, i n t e r v i e w s mostly specialized in theatre and theater criticism. Since the mid 60-ties, he has been system- written by Henrieta Moravčíková, an architecture theorist and historian, and her graduate student He´s one of the most outstanding personas atically monitoring, evaluating and commenting on Slovak dramas. Gradually he became one Viera Dlháňová. At the presentation of the book on November 29, 2011 at Študio 12, both authors of our theatre history and left a significant among the well-known Slovak theater critics who contributed to public acceptance of high explained the uniqueness of this important book. The publication also confirmed once again the trace not only on the stage but also as a pro- criteria in theater productions, liberated from the dictate of the totalitarian ideology. In addi- experience, professionalism and expertise of Henrieta Moravčíková. >>>fessor at the University of Performing Arts tion to Bratislava theaters, he followed with particular attention the theatrical life in his -birth and as a human, a friend. Ľubomír Vajdička place – Martin. He also focused on theatrical issues during his work in the publicity section of would probably be another one; he follows the Czechoslovak Television (1969-1974). He returned to the journalism as an editor of Nové in Pietor´s footsteps and did a number of ex- slovo (New Word) (1982 – 1987) and the Editor-in-Chief of the specialized periodicals Javisko In the introduction to the book traordinary productions. Dialogue (Stage) (1975 – 1982) and (1987-1990). Later he worked as the General Manager Theatre Architecture in Slovakia, of of the Slovak Radio (1990 – 1994) and in the Office of the President of the Slovak Republic How would you characterize yourself which you are co-author with Vie- (1994 – 1998). In 2003, he became the Editor-in-Chief of the magazine Život (Life). Since 1996 as a theatre professional? What do ra Dlháňová, you mention that this he is teaching at the Faculty of Dramatic Arts, first as an Associate Professor and since 2004 you personally feel the closest to? was a very specific research project. as a full Professor. His professional activities in the theatre criticism and journalism have What is so specific in the theater ar- It’s probably the entire magic of theatre; gradually expanded into systematic scientific research of the history of Slovak amateur and chitecture? the transformation of a material entity into professional theater, resulting in several valuable pioneering books includingSlovak Amateur The specific was not that much the theatre a work of art – more precisely the work of Drama from 1830 to 1984, a remarkable monograph on the Martin’s Theatre (founded in architecture itself, but the fact that we drew a good director with a generally known text 1984), the Nitra Theatre (Divadelná Nitra, 1989) and a monograph about Naďa Hejná (1986), on a typological framework from the archi- or an entirely unknown, newly discovered one of the most remarkable Slovak theatre actresses with career mostly outside the capital tectural spectrum, and we applied it, which one. That always fascinates me the most city of Bratislava. His book Slovak Drama 1938 -1945 provides a comprehensive study of the is not often the case. When you want to about theatre, so my critics could easily important era in the development of the Slovak theatre in the complicated period of the draw a picture of a particular historical pe- criticize my reviews, as I often tend to pay Slovak State during the Second World War. riod or location, or possibly of an author, it less attention to acting or even scenography. is impossible to use the same typological However, the reason behind this is pure and In Vladimír Štefko’s life and professional activity, the Slovak amateur theater has played a cru- framework. To some extent this is restricti- simple – today, similarly to the past, each cial role. He is its critic, evaluator, instructor and finally – a historian. He is one of the most ve, but even more unique and interesting. review has particular limits, and thus not prominent professional experts and critics who contributed to the achievements and suc- Another remarkable feature is that the the- everything can fit within that little space. If cesses of the Slovak theatre since the early 60-ties. ater architecture reflects many social cir- there is anyone capable of such a thing, he cumstances. More than other typologies, it He currently works as the professor at the Academy of Performing Arts in Bratislava and is must be a genius and I’m far from one. describes the socio-political situation of the now working on a book about the history of Slovak Drama in the 20th century, both as an >>>> time well, the status of cultural, religious >>>> 26 MARTIN TIMKO editor and author.. and ethnic relationships, whether the area Introducing of the Theatre Architecture In Slovakia publication in Studio 12 photo: D. Tomečková 27 >>>> 2011

was part of Austro-Hungarian Empire or an much remains to be done in further rese- the eighties, when the new building of the solutions or beauty of “ugliness”, not the independent national state, whether Slovak arch, for our followers. For example, cultu- Slovak National Theatre was designed. It was beauty in the traditional sense. This is what theater existed, etc. Of course, these facts ral buildings of local communities, in which a period when theater artists, viewers and attracts not only people from theater, but have an impact on other architectures, but many theatre performances were held, are architects thought that the more complica- architects as well. Smooth theatrical spaces not to such extent as on the architecture a substantial part of our heritage, of Slovak ted and complex the building was, the better are simply not “in”. But that is certainly not of theaters. It is not by chance that there architecture. It would certainly be good if staging possibilities it would be able to offer, forever. There was a period when it was said is a saying that theater architecture is the they also receive recognition. The same can thus making better theater performance that the traditional portal theater is dead, most narrative of all typologies. Besides its be said about any type of construction. possible. This turned out not to be true at all. but we returned to it later. You cannot say i n t e r v i e w s i n t e r v i e w s immediate function, it also the accompany- However, you also have to have the op- It seems that the more perfect a space is, it that the strong symbolic aesthetics, which ing phenomena, it depicts the social situa- portunity for such research. The Theatre become binding in a sense that it pre-deter- characterized the historical architectural tion. Architecture in Slovakia was a project that mines productions. It is no coincidence that styles, is going to come back. That is pro- concentrated on this segment of the archi- we called the first chapter of the book From bably not going to happen, although even In Slovakia, this is a unique publi- tecture. It was a challenge for us. But as we Complex Urban Houses to Mono-functional that is possible. It seems that people increa- cation, while abroad studies in the had already done research on 20th century Buildings and Back. It appears now that the singly tend to lean toward abstraction, per- field of the theater architecture are architecture in Slovakia in general, we had theater could also be vital in spaces that haps because there is no need for straight- common. a solid platform to start from. were not designed for theaters at all. For forward information, as it was in the past. Our architectural literature is in its infancy. example, the railway station Žilina functions But I do not dare to evaluate, it is more for History of architecture in Slovakia started to The book is divided into two parts. perfectly, as it introduces alternative archi- theatrologists to do. be written in late 19th and early 20th centu- The first one you devote to the tecture with everything that belongs to it, The role of the historian is also not to be in- ry. Older nations were developing the history historical development of theater and yet it has no characteristics of a traditi- fluenced by trends. The book Theatre Archi- of architecture as a discipline much earlier, architecture. The second section onal theater space. I find there­fore the issue tecture in Slovakia describes two centuries with first attempts made several centuries focus­es on buildings that are functi- of an ideal theatre building to be very much and we did not want to focus on spaces that ago. For us, this is a relatively young scien- onal and have architectural value. related to a certain time. are used today. ce. Not much research has been done, or is Historical developments of archi- being done. The oldest preserved theatrical tecture are changing these values. Space affects the very atmosphere You often refer to the theorist and monument in Slovakia is from the early 19th What kind of a theater building wo- of theater and its productions and architect G. Semper, whose idea century, and our research starts from that uld you call ideal today? to some extent also its form. For about the 20th century theater was period. It has to be said that most theater Actually, one cannot answer this question. example Astorka used to be a cine- fulfilled in Slovakia in the form of buildings were already analyzed by theatre I think in fact that even the most traditional ma, and Študio 12 was a recording the Slovak National Theatre build­ scholars, historians and art historians, or at theater space has some meaning today. This studio. These are in fact non-the- ing, although only in the 21st cen- least were mentioned. Our research there- can be proved by many historic buildings atre spaces. What are sought at tury. A majority of the public perce- fore does not aim at discovering something that live very actively, that viewers like to the present are former factories, ives this building as non-aesthetic for the first time. What was innovative and visit because of their traditional theatre en- warehous­es, which paradoxically architectural object that does not new, however, is that we focused on the vironment. The fact that such theater carries have more appealing atmosphere resemble a theater building. What mean­ing of authorship and on creation of all the signs of the theatre art is what peop- than theatre buildings. For exam- fulfilled of the Semper´s idea in the buildings – that is what the initial, elemen- le like and what raise in them deep-seated ple Elledanse is situated in a former Slovak National Theatre? tary research had omitted, as these resear- emotions. Equally important is to feel the slaughter­house. Why is it so? Semper was together with Wagner behind chers had no reason to look at or address boundaries – where the theater can still be I think this is a consequence of current the theater reform in Germany. The bottom >>>> >>>> 28 photo: H. Hurnaus such issues. We took this step, but certainly played. We chronologically finish our book in trends in staging. Today we prefer ad hoc line was to open the traditional portal spa- 29 >>>> 2011

ce so the viewer is more in touch with hap- became favored to repetition. The empha- Some architects such as P. Eisen- penings on the stage. This was related also sis on individuality and uniqueness is also man and D. Chipperfield are also The Quiet Tone with the fact that the Semper’s theory of a natural part of the Western Judeo-Chris- the theorists. Why did you decide to apparel in architecture was actually herald tian perception of creativity. When looking engage yourself in theoretical work of modernism, reflecting view that the -ar closer at the contemporary architecture, and not in the creative work – in ar- chitecture has to talk about tectonics, about however, we see that hints to previous his- chitecture, that you graduated from of Creativity what functions are happening inside and so torical forms are not entirely alien. Finding originally? The production of the play And We Will Whisper (A budeme si šepkať) premiered in the Slovak Chamber The- on. In connection with the National Theatre, inspiration in the past is a natural part of It is much more exciting and interesting for i n t e r v i e w s atre in Martin on March 27, 2009, had a notable success at home and abroad. Poetic images of four Slovak this is only a remote parallel. What I meant every creation. me to observe what others do, and why they was more that Semper in his revolutionary do so. I prefer this to the actual designing of women, who in early 20th century bravely embarked on a fight against gender stereotypes, attracted both intention to reform the theater was claim­ For a long time you have been active houses. When you fall into it, you become younger and older audience with its theme and its presentation. Podjavorinská, Maróthy-Šoltésová, Grego- ing that the theater is the only area where in the architectural theory, having some kind of an actor, not an observer. How­ rová and Vansová were caring of their families, nation and literature, they were devoted to their families imagination is present, where something produced several major publicati- ever, I like very much my observation posi- (husbands or fathers) and in addition to all of that they dedicated themselves to the education, training of wo- analyses and reviews is pretending and carnival candles are blin- ons. Do you have a favorite theo- tion. In addition to that, it offers me opportu- men, and to writing and publishing magazines. Director Kamil Žiška presented them as strong but femininely king. And I think that the new building of rist? nity to interpret developments – this is what fragile personalities, who were shaped not only by art of writing and educational activities, but also by love, the National Theatre meets this criteria. As It is hard to say. I do not feel to be an ar- is exciting. Stories, different motives, what pain and losses. an architecture critic, I could reproach deco- chitectural theorist, actually I feel rather like affects the creation of architecture... Howe- rativeness of the new building, which does an architectural historian. But it is true that ver, it is good when the architects themsel- not correspond to the current ideas about everyone who interprets history is creating ves realize that the profession of a theorist The next stage work of Žiška, The Quieter Tone, architectural form. Ultimately, it is quite some theories. But perhaps I do not have or a historian has meaning, that it provides the Better,produced two years later (premiered possible that this richness of decorations is a theorist whom I would prefer to others. In reflection which can enrich their own work. June 10, 2011) has to be willy-nilly compared adequate, so people can realize better that this sense, I am a post-modern eclectic. I do with his previous one. First, consciously, be­ they are entering into another world, not not base my work on any particular theory. DÁŠA ČIRIPOVÁ cause it followed as a sequel, and second be- the everyday one. cause both productions have much in common: the theme, the manuscript of the director, and Once there were some trends ad- the phrasing of the text. However, those who dressing issues such as to where to expect a similar production – simple white and place a door or a window. Can one innocent (type of Zachar´s productions) will see at the present such iterative be disappointed. Four women having a picnic processes in the theater building and debating women’s emancipation, cannot projects? be compared to the three men who “seriously The current architecture systematically bre- Doc. Dr. Ing. arch. Henrieta Moravčíková face” the issue of cultivating the whole nation. aks spatial, structural and stereotypes of >>>Head of Architecture Department at the Institute of >>Construction and Architecture, the Intimacy and focus on the inside in the staging form. Avoiding the repetition is therefore Slovak Academy of Sciences. Since October 2010, Vice-dean for Science, Research and Gra- of And We Will Whisper, gave way to a subtle on the everyday agenda, even in theater duate Studies at the Faculty of Architecture of the Slovak Technical University in Bratisla- machismo in the new Žiška’s production The architecture. This is a principle which was va. Specializes in theory, history and criticism in architecture. She is also the editor and Quieter Tone, the Better. Its main characters brought to architecture and to art in gene- editorial board member of the scientific journal Architecture Urbanism and is chairing the Hviezdoslav, Škultéty and Vajanský are no ”ma- ral by modernity of the early 20th century.

>>>> Slovak DOCOMOMO Working Group – an international organization for research and con- chos” and their (literary) egos are actually very >>>> 30 This was when for the first time originality servation of modern architecture. fragile. The Quieter Tone, The Better. photo: B. Konečný 31 >>>> 2011

doubts as some pupil, asking: Am I saying it He reacts to Škultéty violently and angrily, appear in a plastic way – playful and sad. their lives isolate each of them at his wri- right? Have I learned it? This can be inter- because he expects more from him. He se- The director managed to achieve this by ting desks. Towards the end, the fatigue of preted as expressing doubts about the suc- eks support not only for finished work, but smoothing the spilling between different characters slightly slows down the internal cess of the magazine. also during the creation process. Enthusia- emotional states, with a continuous sinu- dynamics of the play. This trio of giants did not make all the im- sm of this angry young man ceases during soid of different moods and situations. The The title The Quieter Tone, the Better has portant decisions while sitting melancholi- his stay in prison, where his mind cools and transition between situations is supported a double meaning and is explained as the cally at their desks. The same way as ladies slows down. by music or by using the same requisites in play develops – the quieter tone is not me- in the play ”And We Will Whisper” meet at Dano Heriban played Hviezdoslav as a kind a different way. ant as music, but as strength of argumenta- i n t e r v i e w s a picnic, Hviezdoslav, Škultéty and Vajanský of catalyst. Vajanský wanted that his work Gradually the old writers replace their yo- tion. According to these writers, only a low are playing the game of bowling. The situa- be immediately publicly criticized and analy- ung versions. Their alter egos come to the and calm tone should be used when demon- tion is magically entertaining – to talk about zed, but Hviezdoslav tries to calm him down stage to be united with their young ones and strating inconsistencies, or even criticizing. poetry during the game. (this is his attitude to Škultéty as well). Repli- to take over the baton. Keen, furious, angry Management of the Slovak Chamber The- At the start, Žiška selected three young ac- cas of Hviezdoslav create an image of a great young man Vajanský in its later version (Ján atre in Martin claims that the title is not go- analyses and reviews tors to portray writers from their creative poet: a heart humble for the talent, grateful, Kožuch) is similarly zealous, although less ing to sell the production. But neither Pavol, beginnings up to maturation. impatient, but speaking slowly. What is the furious and angry, being more tired. Jozef nor Svetozár were creating their works Šalacha presented Škultéty as a tangled most important – he puts all of himself into Škultéty in the second half is an honest and to “sell” them, although they were impove- and absent-minded boy. Although small, his poetry and he finds himself in it, when hard working friend (Viliam Hriadel), very rished. They were writing to revive the spirit he hangs his coat at the highest position. “he is himself”, when he can “mentally ble- precise, and still interested in politics and of the Slovak nation. Žiška managed with his He needs supervision and friendship of ed.” Heriban sometimes puts a smile on literature. He is alone in his work – not only staging to revive these three personalities, The Quieter Tone, The Better. photo: B. Konečný the other two, who guide him, for example his face, making the burden of expectation because his friends died much earlier, but whose tones sounded so fully in their creati- that his hanger is elsewhere. There is kind from his talent seemingly lighter. also because he has doubts about the me- vity and internal passions. We learn very little about the privacy of events, and speaks slowly and cautiously. of symbolism here as Škultéty in his litera- The trio is not always in harmony. Tremen- aning of his work. Unusual humility can be ­these three personalities who were so acti- Škultéty looks at works of the two with ad- ry work never accomplished as much as dous doubts and frustrations are revealed, heard in his words and in his voice. DÁRIA FOJTÍKOVÁ FEHÉROVÁ ve on national issues. The play focuses on miration and pleasure. Each of the three has Hviezdoslav or Vajanský. It is evident that both in living and creation, resulting from And in the older Hviezdoslav (Martin Hor- theatre critic their professional lives, their work, their its own gesture: Hviezdoslav is fencing with he regrets the lack of talent and patience, living conditions. Svetozár Vajanský´s mono- ňák), a mentoring spirit, resignation, and interest in writing and their doubts about the pen, Škultéty raises hands with an imagi- although he possesses determination. This logue about his poverty, is supposed to con- skepticism have sneaked into the intonation their own talents. Their relationship to wo- nary paper, as if he wants to bang angrily on is why he enthusiastically devotes himself nect with today’s artists, who are in poverty and tone. men, who are supposed to provide them the table (or rather his own forehead, with to the theory of literature and criticism. Re- with their families when living from art. Staging of the play in Martin is a very vibrant lifetime support, is outlined only in a brief the slogan: “Do-not-for-get”). Vajanský ba- markable unity and cooperation of the trio Žiška managed to succeed in an excellent attempt to make part of the history closer, Kamil Žiška – Monika Michnová: interlude through their love letters. lances with an imaginary paper in his palm is displayed in a situation when Škultéty mis- thing – to revive the three Slovak giants, of again mainly in a metaphorical form – many The Quieter Tone, the Better The beginning of the play stages these three with semi-dancing movements as if perfor- ses pins in the game, and they jointly, seem­ whom Hviezdoslav is the one most present images and outputs have the meaning be- Dramaturgy: R. Mankovecký, writers as sitting in school desks, which ming Chinese martial arts. ingly secretly, kick all the standing ones. The in school textbooks. His poem Hájnikova cause of visual depiction and mise-en-sce- M. Michnová, Directed by K. Žiška, are at the same time their working tables. The authors put additions to their replicas family life of Škultéty is described more than žena (The Gamekeeper’s Wife) is “haunting” ne. Hviezdoslav, Vajanský Škultéty bring to Set design and costumes: E. Rácová, This is where their correspondence begins. which make their characters vivid. When of others. This completes the impression of students for decades. the stage a playful interference, a desire Music: J. Vlk. Movement cooperation: The contours of the characters are obvious Škultéty announces the formation of ma- a man active in all areas, taking “bits and Thanks to the play The Quieter Tone, the to fulfill common objectives, but also rival- S. Vlčeková, Cast M. Šalacha, V. Hriadel, from their first replicas. Vajanský is strong, gazine Slovenské pohľady, Vajanský states pieces” of everything, and having many in- Better, it is suddenly the real Pavol Ors- ry. Their relationship continues unchanged D. Heriban, M. Horňák, M. Geišberg, strict, and active. He is challenging others to that he was its creator as well. Škultéty then terests. But this was at the same time the zágh in front of us, not a dusty manuscript, from the school desks to their deaths. Each J. Kožuch act in a revolutionary manner. Hviezdoslav has to correct it, clarifying the hierarchy. cause of his distraction and forgetfulness. a poem in strange verses. The actor Heriban of them is gradually formed as an indepen- Premiere: June 10, 2011, Slovak Chamber >>>> >>>> 32 is a person who melancholically observes Hviezdoslav looks at Škultéty with fears and Geišberg played Vajanský as a restless man. provides him a face and shape, making him dent and strong character, while events in Theatre Martin 33 >>>> 2011 Sloboda´s Freedom of Speech or Normally Unusual Messages

The exceptional literary work of the writer Rudolf Sloboda is one of the cornerstones of modern Slovak literature of the second half of the 20th century. Poetry, prose, drama, all the literary gen- res in an unforgettable philosophical-metaphoric form were embraced in his work by this poet of

analyses and reviews the extraordinary ordinariness. His drama opuses are existential extracts from his life story. This analyses and reviews applies to Armageddon in Grba (1993), The Stepmother (1996), but also to The Master´s Blood (2011). The last one is from the pen of an experienced film and theatre scriptwriter and a drama- turgist Andrej Šulaj who managed to congenially create such compilation of texts that the final product represents a comprised form of Sloboda´s essence and his characteristic style.

The Overwhelming completeness of Slo- imagery and unusual and usual bizarreness is with peripherals of town, rural and urban boda´s work has enriched our culture in also present in Sloboda´s refined original sen- culture. Even in that he is new and original. a way that few other Slovak authors have. It sitivity, which provides an image of exceptio- Although he is anchored somewhere out of mingles a mono-theme (actually, he perma- nal sensitization of a small man and of a small town, repeatedly convincing us of that by nently writes about himself and his place in world, surrounded by the incomprehensibili- the nuances of his specific dialect, he is at the world, about his experience with small ty of the larger world. the same time the man of city with his slang,

and big issues in history) with a kind of ar- This unique Sloboda-type sensitivity is produ- while also being a nature-loving person who The Master´s Blood. M. Noga, Sz. Tóbiás, Z. Furková and R. Poláková photo: C. Bachratý chetypal wisdom, incorporated in mystical ced by the elements from his original world, spontaneously sees the world as one. processes in a multilayered and multidimen- where even the most average sentence often He is a spontaneous philosopher who derives sional form. He presents himself as a perma- sounds like a new cognition. Sloboda does his personal philosophy from his experience, sive thinking about guilt and punishment, Director Juraj Nvota has set the scenic narra- rectly in his “ Devinska “ (the writer’s birth- nently restless and dissatisfied citizen of the not seek to crack jokes or to make things but also from the experience of literary, phi- but also the daily struggles for normalcy of tive, which was put together from fragmen- place and permanent residency, Devínska country which is full of comprehensible and look easy or simple. And yet his very strange, losophical or scientific giants, which he often his personality, which is a leading element ted images of scenes from Sloboda´s rural re- Nová Ves near Bratislava), where the Master incomprehensible bizarre happenings. He even archaic humor, reaches back to the ar- quotes, whose statements he invokes for in his work and life, eventually culminates fuge, somewhere in the periphery of the city lives, along with cats, dogs, ants and fleas, to- himself, in a similar way as his hero represen- chetypal layers of our being and affects us in help, argues with them, or uses them for his in 1995 after the completion of the play The and in the countryside, with typical features gether with his mentally sick wife. He is linked ted by Master, is a particularly bizarre figure unexpected places, lost and found again, just own arguments. Stepmother, when he voluntary departed this of the village, but also with a castle, which is to the town through his work and thousands of a strange man in the gears of history and thanks to him and his perspective. His novel Blood (1991), written soon after the world. Sui­cide motive is one of the primary used by his mother Clara, his Wife and Dau- of other connections, including friends, ene- everyday ordinariness. Novelist, poet and playwright Rudolf Sloboda 1989 Velvet Revolution, became the basis >>>> and strongest themes of his work, as in the ghter as a place from which they come and mies, parents-in-law, police, Ministry of Cul- >>>> 34 The Metaphoristic philosophy of everyday quite unrepeatable connects the rural world for the story in The Master´s Blood. Inten- dramatization of The Master´s Blood. return to. These memories are anchored di- ture, writers, club etc. 35 >>>> 2011

acknowledgements and confessions. Noga ten encountered. The perception of Sloboda mind him that he constantly has some sort portrays it. It is an extraordinary and unfor- understood the inside of this staging prin- as the novelist or playwright not only in the of outstanding debts. Zita Furková was also gettable empathetic acting performance. ciple and therefore his personality of Master Czech Republic, Poland and Hungary but also a central figure inArmageddon (Klara) as well The characters of young girls – Daughter became one of the most impressive figures elsewhere, is that he is interesting, but too as in Stepmother (Zita). This time she plays played by Rebeka Poláková, flirting Chinese he ever acted in his career. Slovak-specific and a difficult to understand an older mother, on the threshold of Mas- by Petra Vajdová, or Jana in interpretation of Director Juraj Nvota decided (in a way simi- author for other cultures ... ter´s death, for which she is unconsciously Zuzana Konečná – are created precisely, with lar to his previous productions) to maintain Director Juraj Nvota and costume and stage partly responsible. subtle convincing finesse. the authenticity of the Sloboda-type “exile of designer Mona Hafsahl have remained faith­ The Master´s female life partner is of a com- The secretive Matej Landl is a specimen of the rural area or the city periphery “, which ful to their solutions from previous produc- pletely different kind. The actress Szidi Tóbi- a cynical, highly pragmatic secret police- of means that it takes place everywhere and tions of Sloboda´s plays (Armageddon in ás acts her sparingly and purposefully, as an ficer. He is one of those who “did not hurt nowhere. And yet in Devinská, which is recal- Grba , The Stepmother). The Master´s Blood eternally absent human being who appears anyone”. He is interrogating systematically, led all the time, we comprehend that Slobo- is therefore a continuation and completion to be real while performing specific actions purposefully, prudently. Without hesitation, da and his Master belong there most, which of the trilogy of Sloboda´s dramas, thanks to (who carries plastic bags full of “small pie- he makes out of the accused person an ob- analyses and reviews analyses and reviews is best shown in this latest staging in the the- Andrej Šulaj. The staging key of Armageddon ces“, secretly gives alcohol to the mother, ject of interest, or a victim, depending on ater Astorka. was somewhat cleaned of excessive debris gets bitten by fleas , who puts sandwiches on commands from his superiors. He is “only” Although the story, if narrated in other coor- of realities. They anchored the Master to his the chair and Master sits on them, who ac- a performer, a kind of an evil machine. dinates the writer’s skepticism on the asphalt rural home. Within his ascetic world ­there cidentally eats two sausages, and then won- A character of the journalist from the ma- jungle of the city, would be able to convey is another different world, full of fantasy ders how was this possible, looking for one of gazine Public, played by Marian Labuda Jr. The Master´s Blood. M. Noga photo: C. Bachratý new and strong connotation, based on Slo- ­dreams and visions of love. He dives emotio­ them in vain...). represents a typical beginner in journalism, boda´s narrative, of his actual and omnipre- nally into passion when a beautiful Chinese The actress Tóbiás managed to depict her who understands nothing and is shocked by Nvota´s staging begins and ends with the gives me a satanic optimism...,” declares the sent philosophy, the existential themes of his woman appears – unfulfilled love of Rudolf schizophrenic character in a very subtle the extreme views of the writer “in the per- actor lying on ground. In the overture, the Master. Miroslav Noga interprets him not reflection, with its universality, would better – who misled him almost to the edge of the way, as a fragile human full of internal manent opposition”, he hardly recovers from Master lays in the metal bath at the begin- only accurately and convincingly at the times appear in the foreground, together with ab- abyss, from which he though he would man­ disturbances, scampering around with this experience. ning to take away the dirt of everyday life, of fatal statements, but also showing under- surdities of his real life, if they were divested age to escape, by his strong will power. hands firmly touching her body or getting Performances of all the actors are very ba- and at the end to demonstrate the imitated standing of his inner world and his intimate from the rural bizarreness. (We were convin- In the first image we see the Master laying lost in space, with her head down between lanced, which is the case also because of the suicide and the actual departure: “Why. philosophy. He brings to us both Sloboda and ced some time ago by the film based on mo- in a metal bathtub with his women (mother the shoulders, with knees tight together, drama´s power. Into nothingness. Forever.” These are the his personage of the Master as a man who is tives from the short story Autumn, the Very Klara, Wife and Daughter) wash him to pre- smiling convulsively indicating the absence The tangle of situations in the dramatization words by which the Master, with an extre- permanently caught in his own trap: forced Late Love, that Sloboda´s philosophy placed pare him for his birthday, at which they com- of self-confidence¸ looking around in a per- of the novel Blood with insertions from other mely convincing interpretation by Miroslav to deal with his daily life and yet constantly into urban environment and deprived of the ment that he is actually “shrinking”. All the manent vigilance of a confused person or stories and novels by Rudolf Sloboda, cul- Noga, finishes the performance in The Mas- living somewhere on the edge of dream, peripheral realities strengthens the force of women in his house are difficult to manage. a vulnerable animal, which walks on thin minates with the scene in a metal bathtub, ter´s Blood. He portrays this character as between the present, creation and reality. author’s manuscript.) The Mother is permanently drinking (openly cracking ice. It is obvious from her scarce where the Master wants to animate his own a very sober, factual, and yet a dreaming The Master’s statements are always spoken Perhaps such a shift could help in spreading or secretly, but in any case constantly). He at and civil speech that she internally under- death. He is so convincing that while waiting writer, which kneads his own philosophy as casually, as if mentioned by the way, some­ understanding of Sloboda’s work to other the same talks about his alcoholic past and stands Klara´s personality. It is an excepti- for the reactions of women, his departure some kind of instruction for use. what accidentally, without much attention cultures, given that his work in the Europe- voluntary asceticism, while his daughter is onal acting achievement, exempt from any from the world merges with the actual “eter- Noga´s acting is full of irony, self-irony and to their importance and seriousness. That is an context remains practically unknown. This diagnosing him as “an abstaining alcoholic “. eccentric actor´s demagogies, which tar- nal” departure. multi-layered pseudo-philosophy. He is in- the essence of Nvota´s directorial method: would eliminate the apparently unwanted Actress Zita Furková once again gladly play- gets the depiction of a mentally disturbed He descents down the green stairs to the troducing to us the main character of the talking important and onerous as mundane kind of bizarre local limitations, and there- ed the alcoholic Klara as an emotional per- person. The different interpretation of Tó­ eternal Garden of Eden “forever”. The stage fore also eliminate the incomprehensibility son who always suddenly and unexpectedly biás arises from the deep understanding of designer Mona Hafsahl opens a dream-like

>>>> Master as a man who doubts in his own place and unnoticeable, as completely random >>>> 36 under the sun. “When I look into my soul, it statements, which, however, mirror the true of his work outside our culture, which is of- bursts into the house of the Master, to re- the fragile individuality, and that is how she space in the background of the stage. The 37 >>>> 2011

nent attempts to discover reasons for his own existence. Dying Function The staging only confirmed that the work of Rudolf Sloboda and his remarkable persona- lity, his way of thinking and the way of life, remains an extremely interesting story of of Relationship a true original and unique destiny. The - ex pressiveness of this story in the interpreta- At the present, there are not many artists in the Slovak theaters who can bring to viewers such a per- tion of the Astorka Korzo ‘90 actors is a result sonally touching theme that would pull them into the intimacy of personal experience. This despite of the team work of creators who personally that one can encounter such experience in neighboring countries quite often (one of the examples was knew the writer and who offered the audi­ performed during this year’s Festival Theatrical Nitra by the Polish actor Wojtek Ziemilsky in his perfor- ence a chance to become acquainted with mance A Small Story, where he recapitulates his past). him. analyses and reviews analyses and reviews The performance is one of those that leave the viewer in no doubt that Slovak theatre- When one person of the couple leaves, it is ration of their relationship. Their testimonies Working with documentary materials beco- makers often bring more real experiences as if that person has died. He/she has to be which are delivered in spoken form, by mu- mes the method of P. Daubnerová, starting than fancy “cool” dramas and their “cool” mourned, buried and forgotten eventually. sic and songs include accusations, sadness, with her first project The Cell in 2006, fol- interpretations. Sloboda´s ordinary-extraor- The theme of parting and separation recurs nostalgia, but also a subtle relief – memories lowed by the documentary monodrama MHL dinary messages will somehow get inadver- regularly, but it is often not interpreted ear- in a form of short holiday videos shot by the in 2009, where she cooperated in dramatur- tently and spontaneously under the skin. And nestly and in an inspiring way. And this is just home video camera. gy with P. Graus. She is using authenticity and The Master´s Blood. M. Noga and Sz. Tóbiás photo: C. Bachratý there in lies their strength. how Sláva Daubnerová and Pavel Graus deci- ded to interpret the sickened relationship in Master visited it only once before, with his of dramatization Šulaj, by very subtle hints of ZUZANA BAKOŠOVÁ-HLAVENKOVÁ their latest stage performance Some Disorde- Chinese lady. Now he goes there forever, it is a kind of departure to the worlds of others, theatrologist red Interior Geometries. some kind of a gate into the unknown, which which are magical and dream-like in its attrac- Both artists are known for their cooperation slowly closes behind the Master. tiveness. The opened gate to the eternity of within the P.A.T. Association. Both were inspi- The dream scenes open a special world which green nature is symbolized by stepping into red by the same range of visual and literary is, somewhere behind the mirror, ­where the tall grass after descending green stairs. This impulses: by the book of the photographer Master has his secret dark and beautiful is where the figure of the Master disappears. Ondrej Šulaj: The Master´s Blood Francesco Woodman, bearing the same inner world, to which he either goes or di- His already mentioned last words definitely (loosely based on motifs from the prose name as the production, the short story Obi- sappears, enjoying entirely different type of confirm his heretical blasphemy against God, of Rudolf Sloboda) tuaries (Die Todesanzeige) by Heiner Müller, experience than those offered to him by the with whom he used to have so many pole- Dramaturgy: A. Dömeová, Set design as well as by his poems, interviews, autobio- prosaic everyday life. mics when alive. and costumes M. Hafsahl, Music: graphy and the poetry of his wife Inge. The escape from reality, which makes him tired The final moment of the performance is one S. Michalidesová, Directed by J. Nvota, Based on their research or “expedition” to and broken, he resolves first by faked death, by of those which point to the never-ending Cast: M. Noga, Sz. Tóbiás, Z. Furková, the roots of the relationship, all the way to some kind of a death game, which however di- polemic nature of Sloboda, to his irrepres- R. Poláková, Z. Konečná, P. Vajdová, its last stage which is dissolution, the authors rectly bridges him into the real death. sible freedom of an eternal pilgrim, who is M. Landl, M. Labuda Jr. created a scenario full of fragments, indicati- ons of situations or just moments that depict

>>>> The end of story is solved by Nvota together dissatisfied with himself and who is looking Premiere: March 17, 2011 in Astorka >>>> 38 with the author, respectively with the author for redemption by writing and by perma- Korzo ‘90, Bratislava both partners during the process of disinteg- SDIG. P. Graus photo: K. Smiková 39 >>>> 2011

spontaneity which enables her to transform Sláva Daubnerová works a with similar voca- Male-female perceptions of the relationship The project has been realized at the Bratisla- the documentary into a powerful theatri- bulary of movement as in her previous pro- are stressed by the atmosphere, which va Elledanse Alternative Theater, which has cal experience. The value of the diary, the jects: a sudden change of gestures and their both performers create on stage. A woman a chamber character suiting such type of per- autobiographical nature of the document, efficient and accurate use. Commemorating in Daubnerová´s interpretation looks more formances well. However, the viewers could depends on emotions, or what emotional and burying the relationship is based mainly emotional, more physical in actions, which is benefit more had the visual effects, which are mark it can leave. As we were able to see in on musical outputs. Short statements on how justified, since she is the subject that the man not that many as compared to the excessive Daubnerová´s productions, the power of the the relationship started, emotions and their is talking about. Graus describes the situation scenographic ideas, been put in a greater dis- motivation “to get rid of” the past trauma, extinction are alternated by musical sequen- from a distance, suggesting problems and tance from the audience. There are no props has remove the great emotional potential for ces. It resembles a kind of “musical” undres- cracks. He is commenting on the situation, he in the true sense, only some tools which per- reaching the audience. sing from loneliness, lethargy and nostalgia. is a narrator, and the story unfolds from his formers use to express their inner pains and The production Some Disordered Interior Ge- Musical testimonies reminds us of ­style and perspective. feelings. ometries is powerful by its theme, but the content of the “Cave-style” personal confes- Similar to the scenario, the space is fragmen- Some Disordered Interior Geometries is so analyses and reviews analyses and reviews intensity is limited by the dramaturgy of the sions, but in a lesser torn-apart form. By at- ted as well: there is the cuckoo clock, black far a unique and remarkable performance story. The story is free in its character, full mosphere, they are not very different. They tiles in one part of the scene, drums, guitar, presented on our scene (not only in the alter- of associations, moving forward very little, interpret the emotional state of ending the piano, and two screens. native theatre) and it is very different from nearly missing gradation. The very topic de- relationship by permanently bringing up me- This is the space where one is supposed to other Slovak productions. Comparison with nies the possibility of rich, evolving story and mories as if asking the same question: Is it forget, it requires time, and time controls other productions cannot be made, not even expectations of the audience in this regard. possible to turn it back? the emotions, which start at the point ­where with the previous productions of the P.A.T. The disintegration of the relationship must Diaries play an important part in the perfor- both partners realize that this is parting. All The name could be paraphrased in a way end up in a departure; it usually does not mance; they are factual and full of impact, in this lasts until the final emotional shock, that it is a dramatic disruption of established end with anything else. All events are prog- sharp contrast with the cautious expressions when Daubnerová plays the drums, rewinds patterns of stone theaters (becoming kind ressing with the hope that the death of the of both performers. Their singing is reconci- the cuckoo clock and leaves, while Graus lies of fossilized). The only comparison that can relationship would affect both partners who led with the state of mind in peace, despite down on the floor. This is the same scene as be offered is with the non-verbal statements would die and therefore there will be no one the disruption of the internal equilibrium and in the beginning – only in a reverse order. used in the past in theatres Stoka and Debris left to mourn. geometry in the relationship, with resigna- Memories are visualized on two screens, Company. tion, and when sometimes pathetic tones are showing holiday videos from different loca- The latest productions of Sláva Daubnerová sounded, subsequently the singing becomes tions, with their relationship in peace, not and Pavol Graus strongly outlines many emo- SDIG. S. Daubnerová photo: K. Smiková at ease, with a kind of detachment. This is yet affected by any problems. The illustrati- tional thematic layers, which at the same particularly true about Sláva Daubnerová. ons of idealized memories are supposed to time remain closed in a circle of its own in- S. Daubnerová – P. Graus: Some Disordered Songs by Pavol Graus gives the impression of play a kind of “non-dramatic” function in the spirations, and progress can be seen in the Interior Geometries fragility, which is also delivered by the inter- whole structure of the staging. You can see following ones. So there is still a lot of room Translation of the extracts: P. Lomnický, Set preters. They play instruments timidly, as if a happy couple on a small screen which is la- left for the viewer to ask – And what have design: S. Daubnerová, Videoart: L. Codon, lacking perfection. This is a technical matter ter, in a live action, transformed into the state I actually seen? Music: P. Graus, Movement Coordination: which can improve over time, with a number of mind on the edge of crying. Unfortunately, Instead of answers – strong feelings remain. M. Matejka, Directed by: S. Daubnerová, of repetitions. On the other hand, it should in the same way as the sequence of rotating Cast: S. Daubnerová, P. Graus be noted, that such interpretations makes songs, words and projections loses the effect MAREK GODOVIČ Premiere: November 2 and November 3, the entire musical and visual testimony even of surprise, the insertion of images becomes theatre critic 2011 in the Elledanse Alternative Theater, >>>> >>>> 40 SDIG. S. Daubnerová and P. Graus photo: K. Smiková more honest, adding a very personal touch. finally too obvious and explanatory. Bratislava 41 >>>> 2011 Work Sets Us Free... From Our Personal Lives ing of freedom, embodying dishonesty and When the SkRAT Theatre produced a play called The Dead Souls (Mŕtve duše) in 2008, it was probably competitiveness. their most distinct attempt to overcome the boundaries of their own poetics based on brief, fragmen- With the system of private companies as ted dialogues and monologues grasping mostly absurd, tragicomic actions of individuals, thus offering a background, SkRAT and their new produc- a new form. In The Dead Souls, words are replaced with music and pantomime performances of the tion depict a world in which people spend actors about living corpses existing and residing in Bratislava´s the prefabs housing estates. Very skillful more time at work than home or with their true friends; the world which deprives them

analyses and reviews in working with words and dialogues, SkRAT created a non-verbal production based on expressions, analyses and reviews of common sense and real experience, the motion, gestures, music and video projection. They managed to prove their ability to talk without world in which you don’t even know your words in a very convincing, sovereign way. holiday destination, as price is the only thing that counts, not the holiday adventure itself After two years, the newest production particular scenes are taking place alter- the submissive and the dominant ones, the – the world in which values and private lives of SkRAT called The Stabbers and Lickers nately in all parts of the setting.The Rumble loved and the loving ones? Just like in re- are gradually changing. A modern person is (Napichovači a lízači) continues in the ten- Relationship (Rozdrbaný Vzťah) is the only ality, all of these categories are ambivalent hardly able to maintain long-term partner- dencies of overcoming the characteristic scene that is not set in the office but a flat in on the stage. For example, the licker is an ships, not just private but also professional features of their work. This time, words a different, elevated part of the stage in the older employee six months before retire- ones and turns into both the manipulative remain exactly what they are – words, but back. The company is replaced by a private, ment (Ľ. Burgr), who is very principled in and the manipulated. He loses the ability of just like in other productions of SkRAT, they intimate space, where the actors are no lon- the beginning, but when threatened with reflection, because it is more convenient to are often seemingly absurd and vague. The ger the business puppets following the false dismissal, he is willing to do anything to succumb to the trends of thinking and acting unity of space and also the structure of the Arbeit Macht Frei slogan. Seated behind please his young female boss. He sees her (baby boom, shallow advice and psychologi- particular scenes are changing. Almost all a table, a man and a woman are dealing with as a stabber – the manipu­lative, yanking cal counseling in mainstream magazines tell- acts take place in one setting – a commer- their relationship. This scene clearly does and preaching boss. But in reality, she is ing you that your relationship is abnormal if cial company, the world of driven uniform not fall into to the reclusive business world actually a licker herself. Most likely, she set you two are not arguing, etc.) Any pursuit players and their interpersonal communi- the creators show at the beginning, but is up her career on personal rather than pro- of a meaningful conversation fails and lone- cation and lives follow the business logic. still connected with it. The development of fessional assets – she literally slept her way liness is the only thing that’s left. The char- D. Vicen, director and author of the visual a relationship and private life of these two to the top. A young and ambitious woman acter of a scrubwoman (D. Gudabová), the concept, depicted the office space very au- is a result of the outer, professional world. in her thirties (L. Fričová) is both a licker former co-owner of the company, serves as thentically – an open space on the stage The dialogue of Romana Maltiny and Ľubo and a stabber as well – she is an emulous a memento rather relativizing and ironizing is divided by separate white booths, each Burgr frames one of subject matters of The careerist with plans for her professional as than preachy. The same goes for an ordinary with a desk, a chair, a lamp and naturally Stabbers and Lickers’ story and helps to cre- well as personal life. On the other hand, clerk from the initial scene, asked by other a computer. The communication of the em- ate the mood of the story. Subconsciously, she is just a victim of social clichés, mass employees for something as nonsensical as business cards, who resembles Kafka’s Josef

>>>> ployers takes place in the kitchen behind work and privacy affect each other adverse- booms and childish betting games. ­Almost >>>> st 42 the booths as well as in the bathroom. The ly. Who are the actual stabbers and lickers, all characters are slaves to their work, lack- K. of the 21 century. The creators grasped The Stabbers and The Lickers. Ľ. Burgr and L. Fričová photo: L. Adamčáková 43 >>>> 2011

The music and the video projections aim to deepen the feeling of fuss, tension and Successful Comeback hectic stress. It works perfectly in the case of the music, but the aforementioned video projections are rather disruptive in terms of of Coriolanus to its Homeland the production as a whole, and if omitted,

the message of the production would not Perhaps the most important event that dominated the centenary of Eugene Suchoň in 2008 was the de- suffer. finitive artistic and moral rehabilitation of his opera Krútňava (Whirlpool). State Opera Banská Bystrica In terms of the theme and the staging, the staged a true reconstruction of the original piece, which was previously heard only once at the world production has several layers, which are, premiere in December 1949. And it seems that this relatively small, but ambitious theater will score however, interconnected by their message. One must laugh when seeing The Stab- most points also for its contribution to the centenary of the composer Ján Cikker. bers and the Lickers – we are laughing at analyses and reviews analyses and reviews ourselves, the situations we are so familiar Although Cikker composed approximately one vak culture ignored this work. People suspected gs a message of impending attack of Volscian with, being both the participants and the hundred and forty orchestral, chamber, choral that the main reason was that the communist forces on Rome, the commander urges his witnesses. and vocal compositions, his work is dominated party institutions were afraid of its unfavor­able countrymen to defend peace. This noble call With The Stabbers and the Lickers collage, by nine operas. Except for Coriolanus (1972), political interpretation. This explanation was is however accompanied by a gesture of con- the motif from The Cherry Orchard by Chek- his sixth opera, all others had at least one Slo- suggested by musical director Marián Vach in tempt, when he beats them with his scarf like hov is here transformed into a message The Stabbers and The Lickers. M. Chalmovský and R. Maliti photo: L. Adamčáková vak staging (Juro Jánošík even six, Beg Bajazid, the opera booklet. The merit of this interpreta- dogs. Even more expressive is the election sce- about destroying nature and naturalness. Vzkriesenie (Resurrection) and Mister Scrooge tion is supported by the current staging realized ne: Five Roman citizens are resting on a bench, Felling some trees might save other ones. were produced three times) and all of them got by Roman Polák. reading newspapers, smoking, and drinking It’s up to us to decide which trees and indi- on the repertoire of the Slovak National The- Coriolanus is in Polák´s concept a visually ex- beer from plastic cups. Leaflets are falling on the symptoms of the modern society, but hov – the Framing (Čechov – rámovanie), viduals will be defeated or saved. atre. But Coriolanus, which is based on the tra- pressive and ideologically insistent political the men’s heads as the campaign culminates. thanks to humorous and witty dialogues Ľ. Burgr in I Wanna Be Alone (Chcem byť gedy by William Shakespeare, had never before theater. He relentlessly draws the audience DÁŠA ČIRIPOVÁ accenting absurdity and emptiness of such sám) or M Chalmovský with his head in been heard in Slovakia. After a less successful into the action, awakens memories, and sug- theatre critic lives, they made a shift into controversy, a toilet often resemble them. Ľ. Burgr, R. directorial debut in Prague (National Theatre gests ambiguous connotations. Even the first paradox and ludicrousness. Martini and M. Chalmovský are relaxed and in 1974) and the two staging in Mannheim and scene (when Menenius is lynched on the ­street The actors of SkRAT condense and simplify, their acting is pretty authentic. Weimar, the scenic life of this opera came to an in Rome), has such a connotation: Simple wo- thus making the production more dynamic The music is a mixture of noise and elec- end. History offers a number of explanations men, in rage provoked by tribunes Sicinius and and the tone more striking. The subtle gra- tronic music, an experiment which is in- Authors collective: for it. Among the “official” ones is complicated Brutus, are almost beating a noble patrician to dation of dialogues highlights the absurdity timidating, depressive and destructive on The Stabbers and The Lickers staging of this piece as Coriolanus is fragmen- death with their bags. This recalls vivid recol- and the acting of Ľ. Burgr, Romana Maltini one hand, but also very dynamic, acute Scene, story, direction: D. Vicen, ted into fourteen images which are changing in lections of furious Slovak “grandmothers-de- and M. Chalmovský based on caricature are and even convulsive. It is the most expres- Co-authors and performers: V. Bednárik, rapid succession and which take place at diffe- mocrats” with their waiving umbrellas. Roman quite similar to the principles of sketch fre- sive in sequences with no words, when the Ľ. Burgr, L. Fričová, D. Gudabová, rent locations. Slovak theaters were probably Polák also escalated the consistently negative quently used by Lasica and Satinský in their characters just flicker here and there in the M. Chalmovský, R. Maltini not enthusiastic to tackle the difficult piece attitude of Coriolanus to simple people, which well-known dramatic acts and scenes (No- dark, or when we see the flashing slogans or Music: Pjoni, R. Chrzan et. al. when the performance of Prague Opera Hou- is present in Cikker as well in Shakespeare, into body Is at the Door, Soirée). The dialogues numbers. The particular scenes are separa­ Visual collaboration: B. Vitázek se in Bratislava was not particularly well recei- hatred that strong solitary individual feels to- of Romana Maltini and Ľubo Burgr in The ted by video arts with rushing employees or Premiere: February 11, 2011, SkRAT ved by the audience. However, there might be ward a shapeless mass of people. When the >>>> >>>> 44 Rumble Relationship, Vít Bednárik in Chek- walking bodies resembling Homo sapiens. Theatre another reason, hanging in the air, why the Slo- panting soldier from Martius entourage brin- Coriolanus. M. Popovič photo: J. Lomnický 45 >>>> 2011

people, while the mob is witnessing without dy met the giddy Roman citizens, unprincipled promises to Aufidius. The ruler of Volscians patricians, which added to the versatility of own opinion and prosecutors use demagogic tribunes, and Aufidius, the leader of Volscians, does not let him breathe, and is haunting him Polák´s interpretation. assistants for whispering to them. Comrades we are witnessing Virgilia´s impressive pray- like a shadow. He is present when the patricius Musical direction of the chief conductor Ma- really could not allow this piece to embark on ers to the goddess of peace. Together with Menenius Agrippa (Ivan Zvarík) begs Martius rián Vach opened a wide palette of colors and a “normalized” theater stage. her friends dressed in simple white dresses, for forgiveness in the name of Rome; he is moods of Cikker´s partitura. The technical- Sicinius and Brutus, however, await the un- they cast flower petals on the sculpture of the piercing him with his gaze, when he is meeting ly pure orchestra sounded impressive when lucky end at the hands of those whom they goddess. It is a sad statue – white naked body his mother and wife with the son. Coriolanus, need­ed, bleak and nostalgic, syntactically colo- thought they controlled. People know only in curled position symbolizing defeat. After who withstood begging of his old friend and ring atmosphere of drama, demonstrating ab- one irresistible aphrodisiac – blood. What the companions leave the scene, Virgilia has pressure by his mother, is taken aback by the solute tuning of the conductor to the mosaic they considered to be a good advice promptly a terrible premonition of Martius death. The look of his little boy. He knows that he will die, structure of the drama. Marián Vach managed turns into a chase and betrayal. Sicinius fails director materialized woman’s vision in an ex- and is reconciled with his fate. He is falling by to fruitfully capitalize his conducting studies in a vain attempt to leave Rome secretly, ha- pressive image: Blood appears on the hands of hands of Aufidius, internally burned, misun- with Cikker, which he attended by coincidence ving exchanged the briefcase of bureaucrat for Virgilia, showing on her white dress. Drops of derstood, and with no sign of efforts to save at a time when the composer was working on analyses and reviews the packed suitcase. People beat him and take red fluid also flow on the body of the goddess. himself. Coriolanus. With his energy and enthusiasm, analyses and reviews him behind the stage. Two scenes later, they The woman pulls off her clothes, wipes pieces Staging of Coriolanus in Banská Bystrica is re- he managed to infect colleagues in the pit and hang Brutus. Roman Polak is not shy of using of blood and eagerly prays to God to protect markable not only for its content but also for on the stage. Obvious enthusiasm of the en- Coriolanus. photo: J. Lomnický expressiveness with stage blood and thorn her husband. Virginia’s prayers went un­heard, its form. Thanks to a wonderful stage work semble from Banská Bystrica for this difficult shirts, while strictly guarding the boundaries however. As so did her request during the from Jaroslav Valek, the pitfalls of quick cuts piece, which is unlikely to be a box-­office win- of theatrical stylization. He suggests, but does musically beautiful and scenically impressive and sudden changes in the staging environ- ner, brought to this performance a bonus in A hopeful promising consul Martius, winner expressiveness, which is underlined by his im- not finish the suggestion; he is staging brutal ensemble at the beginning of the second act, ment, mentioned above, were overcome. a form of energy and emotions. from Corioles, is approaching them. He se- pressive metallic voice and strong diction. acts with signs or just indicating that they are during which Coriolanus decides on whether to The side and back perspectives of the ­empty There’s no happier time for an art performan- eks their favor in a so much humble posture As Coriolanus leaves the scene and the im- taking place behind the scene. His sophisti- run for the seat of consul. “Beware, beware,” stage were lined with the walls with thin ce then when in the theatrical realization of that it must be false. The brave soldier wears mediate charm of his personality is lost, the cated work with the huge choir resembles in – the wife´s voice is intertwining with others, vertical strips of rubber, and in certain situa­ everyone involved moves as on one string... a long white nightgown, and he plays scene people start to understand that they were ri- a good manner, the manuscript of the famous which are encouraging him to act, among them tions, a curtain of the same material. Extre- Coriolanus was lucky this way – it would be dif- by bowing deeply while humbly begging for diculed. Frustrated, they complain to the tri- Canadian director Robert Carsen. his mother´s (“You will be the Consul”, while mely practical elastic straps allowed for quick ficult to wish for more enthusiastic and profes- the votes. He refuses to show his scars from bune Sicinius (Dušan Šimo) and Brutus (Igor Coriolanus is leading the Volvians troops and others are prompting humility (Menenius: “this and discreet arrivals and departures, while sionally capable stage people and protagonists battles, and his socks with holes show that Lacko). A pair of mischief-makers – Brecht- is standing in front of the gates of Rome. He is the habit “) or condemning him (Sicinius and they also serve as ropes holding exhausted then those in Banská Bystrica. he does not have any respect for the voters. type figures in gray suits with red ties – is ­walked a long road before becoming a traitor Brutus: “You traitor “). soldiers, or as bars, around which seductive Portraying congenially the title role, Marián float­ing around the stage in the synchronized of his own people. At the beginning he was Ambition in Coriolanus has weakened. When maids of Aufidius were winding themselves. MICHAELA MOJŽIŠOVÁ Popovič delivers one of the major goals of the way. They become in Polák´s concept pictu- accompanied by his mother Volumnia and expelled from Rome despite all his deeds for Plasticity and shape variability of the mate- opera critic drama: without overtones, he demonstrates res of characterless politicians of all times, wife Virgilia. The first one was tough, ambitio- the welfare of the homeland, he runs to his rial offered a metaphorical interpretation in disrespect. The five citizens accept Coriolanus´ who unscrupulously handle the human herd. us, longing to see her son on the king’s throne enemy Aufidius (Michal Hýrošš), to whom – terms of labile material that easily adjust it- game. One of them merrily embraces him, First, they managed to incite citizens to appeal (impressive Alena Hodálová both with her looks unlike to the Roman people – he feels respect. self to the circumstances of an environment Ján Cikker: Coriolanus while the other is shaking his right hand from ­against the yet unconfirmed consul, and then and vocal interpretation); the second one was And although Aufidius swore his revenge in without fixed principles and moral rules – Musical direction: M. Vach, Choir Master behind his back. Polak in this way manages to to win public court’s sentence that Coriolanus feminine docile, affectionate, full of concern for the second image of the first act, while stan- a world without backbone, where a person J. Procházka, Choreography: S. Vlčeková, tighten ad absurdum the grotesque caricatu- be expelled from the country. The scene of the her beloved husband (physically fragile Cathe- ding over the dramatically illuminated bodies, of firm principles is in advance doomed to Stage J. Válek Costumes P. Čanecký, re of the human herd. When voters have left, tribunal was one of the strongest moments of rine Perencseiová with a bright vibrant voice). he now offers Coriolanus the lead of his army. defeat. Peter Čanecký tuned civil costumes in Dramaturgy: L. Horinková, Martius pours out his disgust, shame and hu- drama. It directly materialized the inhuma- Her fear is the nicest emotion of Cikker’s opera By accepting this, however, the proud and a scale of white, gray and black. The histori- Directed by: R. Polák miliation. The main actor once again delivers ne atmosphere of processes during 1950s: >>>> and Polak´s staging, making it more human. In stubborn man loses freedom and becomes cal reference to the plot of the story was pre- Premiere: October 14, 2011, the State >>>> 46 a bravado with authentic acting and vocal A strong individual is accused of betraying the the fourth image of the first act, after we alrea- a vassal of his desire for revenge and by his served only in fine clothing details of Roman Opera Banská Bystrica 47 >>>> 2011 A Modest Annual

This year’s theatre festival was held in the spirit of “experimenting” with inventiveness, sexuality, relationships, politics, dullness and the cultures of the Far East. Many opted not only for audience attacks, but also for self-hu- f e s t i v a l s miliation. It was a modest year and the festival has openly admitted it. It’s quite a shame. Neither financial nor f e s t i v a l s creative endowments were generous enough. Thus, the festival served as a direct reflection of the current status of Slovak theatre. František Výrostko, the president of the festival himself admitted that although the program lacked the street productions due to insufficient funds, he deliberately kept the traditional length of the festival – an entire week to showcase the best productions of the Slovak theatres. This year, The Touches and Connections Festival proved that Slovakia tries to fight economical and creative de- pression, but often at the cost of producing ideas without motivations that could be retrospectively analyzed, causing some difficulties to the theatrologists… and many artists just shrug – everything was exactly the way it was meant to be.

Nvota’s production The Farmer’s Blood (Gaz- would really deserve The BOARDS award. cessful productions.The Blood Wedding (Lor- dova krv), written by Ondrej Šulaj and based Overall, the performance of the actors in the ca) directed by Ljuboslava Majerová showed on Rudolf Sloboda’s prose, can be undoub- spirit of the former specific poetics of the As- great potential in the actors as well as the tedly considered the best production of the torka Theatre managed to fill the expectati- potential of other creators in their work with festival and thus the best production of -en ons and paid a respectable homage to their metaphors, music and chorus. The students tire theatre season. It reflected themes close favorite playwright. The quality of Šulaj’s text from Banská Bystrica were particularly im- to Slovaks, such as dealing with a certain po- enriched Slovak drama and turned Slobo- pressive when interpreting the motifs of wa- litical past, its consequences and persistence da’s work from a biography into an artwork ter, nights and women´s plays. In Suchovo- in a very creative, metaphorical way using which can be performed on different stages, Kobylin’s drama Tarelkin’s Death (directed by appropriate humor. The production rose even though he didn’t manage to interpret Lukáč Brutovský), they exposed focused and ques­tions of timeless love, marriage, sexu­ each of Sloboda’s motifs (according to thea­ dynamic acting, dominated by its main prota- ality, infidelity, addiction, lust, meanness, trologist V. Štefko), specifically dealing with gonist, talented Daniel Fischer. racism, serious illness, life and death. For faith and doubts. Regardless of some minor Other students from the University of example, the creators managed to transfer flaws and unpronounced motifs, the theatro- Perform­ing Arts prepared a production of Kubo (remake). J. Oľhová, M. Geišberg, D. Zaprihač and D. Heriban photo: B. Konečný the aspect of timelessness into a humorous logists agreed that The Farmer’s Blood is one Studio 12 in Bratislava called Barbados as idea of a traditional wavy wafer presented as of the Bratislava’s best recent productions. part of The Milk Teeth Platform (platforma dreamy fantasies, the experiments were Huba in Hungarian. So even though the enti- a director several times. Thanks to its setting a “timeless sweet”, which survived from the During the first, junior day of the festival, the Mliečne zuby). The project of authors Júlia rather superficial and purposeless. re festival was marked by experimentation, it free of any allegories with hanging windows, era of socialism up until the present times. students of the Academy of Arts in Banská Rázusová and Michal Baláž received rather This year’s opening of The Touches and Con- paradoxically started with a classical realistic a wing, a carriage and clown’s nose, Chekho- The acting of Szidi Tóbiás, who was so char- Bystrica and the University of Performing controversial response in Martin. Although nections Festival belonged to Chekhov´s The direction respecting Stanislavsky’s method. v’s strong text was again outstanding, as well ming when balancing between sadness and Arts in Bratislava presented a number of we had the possibility to see many playful Cherry Orchard produced by the Jókai The- Director Martin Huba admitted his own inspi­ as the kind of ensemble acting very close to >>>> >>>> 48 humor as a paranoid schizophrenic woman, ideas artistically transformed into quite suc- motifs referring to metaphors, symbols and atre in Komárno and directed by Martin ration as he colaborated with Chekhov as that one of MCHAT. 49 >>>> 2011

While Martin Huba sought to depict useless tion of Ľubomír Feldek helped it very much. At this point, it’s necessary to mention the ting metamorphosis into a bug, as well as the relationships of a hectic age through tragic But thanks to its dance orgies, the motif of fact that this year’s festival was not marked repulsive costumes and masks of other cha- and gloomy characters, the creators of the sexuality was rather closer to A Midsummer only by audience attacks, but also by the racters. Sadly, the play was suffering from the following productions of other festival clas- Night’s Dream. Roman Polák decided to mix creators’ self-critical interpretations, which beginning to the end. The production lacked sic – Shakespeare, relied on humor and the the genres and presented the form of hete- they probably used to spare themselves gradation and contrast. Another downside afore­mentioned experimentation characte- rosexual and homosexual love through sty- from further useless criticism. Just like Oľ- was that the staging of this artistically impres- ristic for the rest of the festival. lized play with actors and very imaginative hová’s Eliška/ Dora says in A Midsummer sive drama took place after midnight, making f e sThe t i v a lTheatre s of Jonáš Záborský in Prešov set sound play on the stage through an exposed Night’s Dream: “It doesn’t make sense.” the already gloomy motives even more gruel­ f e s t i v a l s the plot of A Midsummer’s Night Dream in musician. Polák’s exotic bamboo forest with In addition, Viktor Kollár’s production The ing and the howling tones even more excru- a gym. It was certainly an interesting idea origami referring to colonialism with recyc­l­ Mysterious Tranqulity of Things (Tajomný po- ciating, emphasizing the need of contrast and and probably attracted viewers’ attention able paper animals fell down at the end of the koj vecí) from the Ján Palárik Theatre in Trna- comedy as such… The overpowering number the most. In this setting, the actors played production. We saw so many interesting and va also presented many ideas at the festival. of ideas and their absurdity was not really with corporeality in terms of sexual orien- entertaining ideas and shift, although some­ However, Rúfus’s poetry of existence, life and justified and many motifs and actions remai- tation, but their dance moves were too me- times at the cost of their own motivation family was staged in a sentimentally lyrical, ned somehow incomplete. chanical, lacked emotions and energy and and mea­ning. Actually, it was a parallel with sometimes even pathetically narrative way. An intimidatingly small space with a slant especially any inner motivation behind them. ­today’s world full of miscellany. But what is Although the director claimed he was seeking roof enforcing unnatural motion was pre- Moreover, many ideas were not brought to there to lead us when making the choice?... the inner truth found in poetry, theatrologist sented in a dance production of Viera Du- conclusion and many even inappropriate- Gombár’s interpretation of the Slovak classic Vladimír Števko called some parts of the play bačová and Jaro Viňarský called Helver and ly exaggerated. For the first time, we had Kubo (remake) certainly did not lack sexuality. obnoxiously soppy. the Others (Helver a tí ostatní), based on Theatre square, Martin photo: B. Konečný the chance to notice a motif which actually Again, we saw numerous, even chaotic ideas The production of the RuthenianTheatre of Villqist’s play Helver’s Night. Jaro Viňarský, became a phenomenon of the entire festi- and much focused, quality acting of the Slo- Alexander Duchnovič in Prešov called Havaj the choreographer of the aforementioned val – replacement of heads with something vak Chamber Theater in Martin. Acted acting, (Havaj) was a positive and pleasant surprise, Midsummer Night’s Dream, introduced the- else. In this production from Prešov, a beast a theatre within theater and a puppet play of- particularly thanks to the fresh approach of atre motion he considered to be innovative and religious issues almost psychologically, ground or a tram (an empty stage with just respectively a donkey was represented by fered a generous space for the presentation its young creators: author (Michaela Zaku- and still unknown in our country. Together thus showing the conflict stemming from public transportation seats in the back) and a mask of a president of the former regime of the ideas, but they could hardly be justi- ťanská), director (Zoja Zupková) and actress with V. Dubačová, he narrated a story of a di- them. However, the creators presented the intentionally overlooked the audience. Using on an actor’s head. How­ever, it was in no cor- fied as meaningful in the Kubo of Martin. All (Slávka Šmajdová). A bizarre family life and sabled child mother’s difficult and tragic life text so narratively and illustratively that there minimalistic expressive means, he attacked respondence to other elements of the sta- in all, Gombár managed to turn the stage into rural struggling with a lack of work and res- in destruction, which indirectly connoted cri- was no space left for the viewer’s own imagi- the audience with guilt and anger in a long ging and made practically no sense. But the a cage, in which we could see gigantic plush pect and the effort to escape from it, as well ticism of the current state of drama. Theatro- nation. Everything told on the stage was also monologue, but in rather moderate, formal- creators wanted it exactly that way. Similar to heads of hares worn by the actors and a fox as the process of finding and losing priorities logist N. Lindovská recognized an intensity visually embodied. This way, they managed to ly repetitive way. Due to lack of contact, this A Midsummer Night’s Dream, actor of other worn by the director. The corporeality, mo- – values in a (non)relationship demonstra- of the theme that needs to be talked about, create an illusion of a radio drama performed style was neither offensive nor provoking for productions enjoyed their stage sovereignty mentary humor and even peculiarity alter­ ted entertaining and effective use of ideas in yet agreed with her about the lack of at least in a very diligent, realistically pathetic way. the viewers. Only Oľhová’s Wild Woman (Di- and attacked their viewers as well. The au- nated with serious motifs such as suicide, al- a small, confined space using a specific acting a hint of contrast in this enormously oppres- Charmed by minimalism, director Eduard voká Žena) managed to catch some interest dience laughs, after all… coholism and vulgarity, ending with a literally of the Ruthenian theatre. sive production. Kudláč embarked on this form of acting, on in the last third, coming to scold the man Similarly to Martin Huba, director Roman Po- bared actor. Simulation of a slow motion film With its use of limited motion, Pecko’s Meta- The staging of L. Lagronová’s drama The Cry the other hand. It was not his first experien- fiercely for his obsession with beauty and lák picked another work of a timeless genius. technique, Daniel Heriban’s imitation of Jozef morphosis After Kafka (Premena podľa Kaf- (Plač) directed by Joanna Zrada as the host di- ce with staging a minimalistic drama. This wasted life. Although Oľhová previously con- Through carnality and orgies, he aimed to Króner, so unique and unforgettable protago- ku) was another interesting production pac- rector of The Theatre of Jozef Gregor Tajovský time, he chose Handke’s Underground Blues firmed that she was excellent in minimalism, depict the bizarre world of today in which we nist of Kubo, as well Kubo blending with one ked with effortlessness. The depressing tone in Zvolen brought about another oppressive (Podzemné blues) with Boris Zachar (Žilina she brought the contact with the audience forget about the essence of our relationships side of the cage and the stage were other ori- of the play was anchored in howling music, theme. The renowned Czech director captu- City Theatre) in the starring role. An actor and consequentially also the tension and the >>>> >>>> 50 in Shakespeare´s As You Like It. The transla- ginal aspects of the production. outlandish costumes, Gregor Samsa’s disgus- red the disintegration of a family, relationships was standing in an area suggesting an under- conflict much needed on the stage. 51 >>>> 2011

Led by Dušan Vicen, the SkRAT Theatre from as well as the pointless and soulless creativity During the kødek debate, the topic of the con- Bratislava presented experimental or civil ac- and obscenity in a story too simple and flat. nection between The Theatre Institute and ting in their production called The Stabbers Again, The Touches and Connections Festival The Touches and Connections festival, and “New” Era of (No) Ambitions, and The Lickers (Napichovači a lízači). The presented works for younger viewers. The specifically the (lack of) cooperation between story of everyday power plays was set in an Snow White and the Seven Dwarfs (Snehulien- the institution and theaters was discussed. Talents and Perspectives advertising company and portrayed humo- ka a sedem trpaslíkov; Spižská Nová Ves The- Zuzana Uličianska opened a polemical debate rous etudes of today’s emptiness marked by atre) and Little Brothers and Sisters of St. Fran- called A Full-time Dramaturge? Dramaturg( na

f e s t i v a l s The cards are dealt... With the fourth annual festival of independent Slovak theatre and dance, which f e s t i v a l s careerism and unfulfilled relationships. But cis (O bračekoch a sestričkách svätého Františ- dobu neurčitú). the already familiar poetics (and methods) ka; Puppet Theatre in Košice) and especially The final evaluation of the festival confirmed took place a in the cultural centrum Stanica Žilina Zárečie at the end of July, a new era began. Not that of SkRAT referring to postmodernism and Žiška’s The Ghosts (Mátohy; Andrej Bagar The- that insufficient funds made the main program this was a prophecy of some seeress, but the associations linked with it are, even without the magic its fragmentariness were not very surprising atre in Nitra) were received very positively and an absolute priority, so one would expect it to connotations of number four, simply indisputable. Among other thing, four is a number of stability in terms of improvisations. Even when they reached beyond the boundaries of theater for be attractive and artistically fulfilling. It­ fail and connotes four solid corners of closed rooms or boxes so fundamental for theatre criticism that occurred, the improvisations appeared too children. With their well-plotted structure and ed to meet these expectations and did not proved to be useful only temporarily. Terms and phrases such as “site specific”, “performance”, “dance affected and not dramatic enough. Despite a sense of appropriateness in terms of direc- even manage to meet the expectations of any improvisation”, “installation” or “inhabiting the space” could all be easily put into one box labeled as being uncommon, SkRAT still managed to tion and creativity,The Ghosts inspired by folk viewer eager for theatre. However, the festival “non-traditional staging forms”, but why be limited? convey the tragicomic scenes of searching for theatre gained recognition and were named deserves to be praised for reflecting the cur- the lost story. However, the cooperation of the “gem of the festival” by the professionals. rent theatre reality. We’ve learnt that theatre Dušan Vicen, Ľubo Burgr and the ensemble In addition to the main program and the fai- demands more than just great ideas, laugh- Conventional structures of thinking, autho­ of The YSTFUD Theatre Košice in the play cal- rytales, the festival also offered performances ter, tears and experimentation and current rity of theory, orders from above – once in led Exyt (Exyt Víchod) was not so successful. by singers, musicians and dancers in the squa- ­themes scattered superficially. We are ­asking a while, they need to be destroyed and re- A massive departure of the audience during re (provided there it wasn’t raining at the mo- for stories, motivations, meaningful conflicts cycled in order that something new can be the performance and openly frustrated re- ment, naturally). Those interested in a deeper and maybe something more. We are asking created – similar to a cardboard box… A hy- views of theatrologists explained everything. insight into the theatre had the possibility to for a real theatre. The final performance of the brid artistic genre called “physical essence of Many were disappointed by too strong but attend debates and seminars about the staged festival of the Slovak National Theatre with dramatic text”, which festival’s dramaturge pointless coarseness, flat dialogues, lengthy plays. During the so-called Critical Platform their guest performance of HOLLYROTH only Michaela Filinová used quite loosely to de- tempo-rhythm, actor’s performance or their hosted by V. Štefko this year, theatrologists proved that we are capable of it. scribe one production after being unable to somewhat unnatural pursuit of art… N. Lindovská, L. Dzadíková, D. F. Fehérová, decide what she actually saw, explains it all. For the first time, Martin welcomed a puppet E. Knopová, Černá, O. Dlouhý, K. Mišovic STANISLAVA MATEJOVIČOVÁ What’s pleasing is that the viewers mana­ theatre for adults only – The Dezorz’s Puppet discussed with theatre creators and enthu- theatrologist ged to digest this year’s genre hotchpotch Theatre from Bratislava. They arrived with siasts. The junior day of the festival belonged suggested at KioSK beyond expectations. their attempt to produce a provocatively to the youngest playwrights who received All performances were sold out, despite erotic work called Jester’s Mischiefs or Erotic awards after scenic reading as part of the Dra- the exclusively vegetarian cuisine of Šrámek Adventures of Bob de Niro (Gašparkove šibal- matically ­Young project (Dramaticky mladí) of sisters, who provided festival catering. How- stvá alebo erotic dobrodružstvá Bob de Nira). the Theatre Institute. ever, the festival certainly offered some Although the creators of the play sought to The Andrej Bagar Theatre in Nitra, specifical- Dotyky a spojenia quality bites – both theoretical and practi- extend the potential of their theatre, they ly D. Kárová from the Association Divadelná (The Touches and Connections) cal, mainly thanks to one of this year’s in- th fail­ed to achieve a professional level. Instead Nitra Association opened this year’s seminars. 7 annual of a festival of Slovak theatres troductions – the friendly morning debates of provocation, the viewer got to see repeti- She introduced an educational project called June 20 - 26, 2011, Martin

>>>> with creators and initiative viewers eager >>>> tive and tacky pornographic jokes and kitsch, Ako na divadlo and called for cooperation. www.dotykyaspojenia.sk 52 for confrontations and new perspectives for Peter Šavel, Stano Dobák: Much to much. photo: D. Dobiáš 53 >>>> 2011

their experience of the previous day. These that responds to the body and its motion on space and attain closer relationship with the Another intense experience was delivered work of Ingmar Villqist, in particular his dra- Krnáš was a special contribution to the pro- debates served as the basis for the following the stage.” But rather than becoming a tangi- viewer, the main intention of the aforemen- by the Czech and Slovak trio of dancers Hana ma Helver’s Night. Director and actress Viera duction. He designed a mini-stage with an au- interpretations of “reality”. ble product of an experimenter’s great ­talent, tioned performances was to perform drama Kalousková, Martiny Lacová and Karolína Dubačová met with dancer and choreogra- ditorium, which resembled a small tent bellow it remained a mere intellectual ambition. in an unconventional space. Daniels was de- Párová from the ME-SA group in collaboration pher Jaro Viňašrský in a mutual human dia- the stage. A slant roof half a meter above the First Interpretation: ­Although no shock therapy occurred, a fierce liberately resistant to random situations and with Debris Company called Between a rock logue about otherness, eradication, oppres- stage stretched from its back to the last row N a r c i s s i s m – discussion about what was actually seen by reactions of each passer-by, in the case of De- and a hard place. The dance concert of three sion and isolation, resulting in a distinctive of the viewers. The performing space ­under Reclusiveness – Mysticism who took longer than an hour. bris, the intervention was greater, but aimed dancers inspired by Bergman’s film Persona dramatic form entitled Helver and the others the stage was captured by the camera and f e sRegarding t i v a l s this interpretation, we must take The creators of a dance performance from towards the natural scetting of the area. was characterized by precise lightning, focus (Helver a tí ostatní). Since the original dra- projected over the heads of the audience and f e s t i v a l s into account the specific spatial conditions the Debris Company called Private chose and the intuitive connection of the charac- matic text was reduced to a few sentences, served as a symbol of hell out of which Helver in which the festival program took place. The a lawn freshly showered by rain as their stage, Second Interpretation: ters in space manifested by the three dancers the creators chose motion rather than words crawled onto the stage – the earth, which was surroundings of the Stanica were the host of which worked as a contrast to the aforemen- Inspiration – Reflection through emotionally rich moves. A story of as their primary expressive mean – more pre- the place where the majority of the perfor- the site-specific performances, which created tioned performance in the underpass. Stani­ – P o w e r a woman searching for herself in reflections, cisely, they used their own bodies with their mance took place. The limited and cramped the necessary contrast to the ambiguous con- slava Vlčeková and Emil Píš were dancing in The program also included three complex art- her own projections and encounters with her limits and possibilities. It was difficult for the space remained intact until the impressive cept of theatre as a building and an institu- the trees in a harmony with the environment works, the content of which was interpreted thoughts of herself and the others was em- viewer to comprehend the relationships of final act, in which Karla broke the roof with tion. Tomáš Danielis, a dancer residing in Aus- tinged with green and yellow light. Three mir- directly by the performers. The Slovak-Swiss bodied through dancing to ambient music. In the characters and the motivations behind her head, hanging from the ceiling on her tip- tria, described his solo project The Garbage rors arranged in the area referred to the topic project of T-d’U Group called ÔKÔ directed by addition to the music, the dramatic tension their actions without being familiar with the toes evoking a hanged body. The upper screen Man (Smetiar) as something „on the edge of of narcissism. A short story of convergence, Martin Kukučka reflected addiction in its vari- was also increased by the use of an empty context of the drama. Thus, the newly intro- – heaven – started to open up slowly, while performance and installation“, which he per- alienation and reunion of two souls alterna­ ous forms in terms of sports, work, computers wine glass, held in hands of each dancer alter- duced genre called “physical essence of text” Helver was strenuously dismantling other formed in an area nearby an underpass for tely emerged and lost out of the viewer’s sight or drugs. Two actors (Guillaumarc Froidevaux nately, evoking a victim of their mutual, some- required a different type of perception. parts of the stage. Suddenly, the possibility of pedestrians and cyclists. in a mystical atmosphere of the night. As if a Emil Lee Píš) and actress (Zuzana Kakalíková) times aggressive interaction. It was certainly Thanks to a questionable dramaturgy, only escaping from the hermetic space of environ- In a narrow underpass, the performer installed the movements of S. Vlčeková mimicked an attracted attention particularly thanks to no superficial allusion to any sort of closet al- a couple of motives remained out of the ment of prejudice and discrimination became lights and projections screens, one of which earthy spirit once and its evanescence the their versatility, as their acting proved they coholism. The glass was rather a symbol of ful- original story of a painful parting of a nanny real and offered the viewer a hope for a bet- was connected to a real-time camera and the other times. The elegance of this site-specific were skilled actors, singers and dancers. The fillment and emptiness, the principle of ­giving named Karla with her ward – mentally dis- ter, more open future. At the same time, the other one screened a record of author’s per- performance was slightly weakened by the performers used many props (audio looper, and getting, the fragility and vulnerability. It abled Helver, brought to extremes by Viňarský drama aroused feelings of anxiety and relief formance. He drew viewer’s attention to the music coming from behind the audience and computer, skipping rope, blanket, flour, etc.) was no coincidence that ended up crushed and Dubačová. For example, Helver’s inno- coming from seeing a destiny of an individual action, but in terms of the objects rather than not the front. Anyway, the dancers demon- efficiently, leaving nothing to chance. Techni- under the pressure of a female energy spent cent obsession with militarism led to his op- human suffering from the oppression of its the acting. During the entire performance, he strated a risky piece – although dancing on cally accurate and physically demanding pas- on fighting with demons in the place where pressive treatment of Karla. She succumbs surrounding, but is strong enough to over- manipulated objects such as plastic sheets, a wet grass is said to be safer than dancing on sages were performed with dedication and the viewers were seated. And what happened to his bullying and reaches the bottom of come it regardless of circumstances. Suddenly, adhesive tapes or cameras in various ways. a wet dance surface. professionalism (such as skipping rope jump- with the fragments?... The initial act of a re- her physical strength, invoking compassion. physical strength played no role in it. Sophisticated images and meanings embed- The performers of both performances coped ing, music and singing sampling, short cho- clined woman eagerly gasping for life-giving Dubačová’s physical strength contrasted with ded in the performances were hardly compre- with the space in which they performed dif- reographies). They shaped the dramaturgical water drops turned into an act of the same Viňarský’s condition, which could be con- Third Interpretation: hensible, not just for the absence of drama- ferently, what undoubtedly caused different structure of the drama and brought it closer woman in the end, but with a running river sidered positive in terms of interpretation, Past – Present – Future turgy, but also due to the cramped space for response of the viewers. While Danielis’ con- to circus acts at the beginning and in the end. projected on her body. Suddenly, only a ray of as it intensified the authenticity of her per- The lecture of Petr Janček, ethnologist the audience making it practically impossible ceptual art ignited unnecessary philosophi­ A deliberate pause for their preparation deter- light falling into her mouth visible in the dark formance. The mellow or even meditative and folklorist from Prague, represented to see what’s happening on the stage at times. zing, the dancers from the Debris Company mined the tempo-rhythm of the production, concluded the play. This time, however, the tempo-rhythm of the performance was em- a special genre category. The name of According to its description, the author’s con- communicated intimately through senses and which was consequently volatile. Overall, the color changed to red. The pain of all the bro- phasized by the continuous music – regarding the lecture was The Mythology of an In- cept “examines whether the physical action sensuality. Although the original intention of production was very inspirational in terms of ken souls was deeply touching. the action on stage, it disturbed the viewer; dustrial Space (Mytológia postindustriál- and interaction with objects is closer to visual the site-specific genre was to disrupt the tra- efficient use of dramatic means and equip- The third piece in the series of thoughtful and sometimes more and sometimes less. The -se neho priestoru), followed by the so-called >>>> >>>> 54 arts, or if it triggers the perception of drama ditional concept of drama, intervene public ment as well as the potential of the actors. strong shows was inspired by the life and the mantically functional scenography of Dušan hörspiel (radio genre) directed by Marek 55 >>>> 2011

Piaček’s performance called Ludi Apollinares understand the unconventional and subjec- replaced with freedom of speech or English. / Ludi Solnae (Apolónske hry / Žilinské hry). In tivist approach to this theme, but it was sadly The new dance genre, respectively occasion- Ludi Apollinares, Piaček focused on present- missing. As if the dramaturgy of the produc- ally called “inhabiting the space” following ing quirky oral history of a town. Through the tion unintentionally confirmed postmodern official ends of certain shows serves as an -ex memories of witnesses, he recorded the cir- perspective of history as a mere tangle of ample. Dancers Jaro Viňarský, Matthew Rog- cumstances of Apollo bombing in Bratislava equally legitimate narrations and points of ers from USA and Lucia Kašiarová had about in 1944. The Plays of Žilina (Žilinské hry) are view without any objectivity. ten minutes to complete the shows with their f e s t i v a l s a special project and the result of searching The casual acting was a particularly per- own improvised physical comments. They f e s t i v a l s for urban legends of this city. While Piaček plexed element of the production. Although took up the space with the remaining atmo- was creating a background from sounds and three young men attempted civil acting and sphere, memories and feelings from the pre- music, another four co-authors were sitting portraying the principle of no drama, their vious day intuitively, with the virtuosity char- with their notebooks mixing and reading the attempts remained somewhere between acteristic for performers. For the most part, monologues of the characters, resulting in an amateur narration and simulated sponta- they only parodied the dance compositions original mix of spoken word, sound collages neity. Their roles and acting got lost on the of their colleagues, borrowed their gestures, and intertextual references on particular leg- stage, so did the persuasiveness and honesty responded to each other and attracted the ends. Several humorous combinations were of people’s stories reproduced by the actors. attention of the audience permanently with created this way, among others also the ques- The undoubtedly deep impact of such an their unpredictable stunts emerging there tion of whether you can take a picture of stink. important historical event, which the Velvet and at that time. The following ten minutes However, the lack of visuals caused a feeling of Revolution certainly was, remained hidden. belonged to an exclusive interview with the monotony over time. The entire project would Thank God everyone has the right to occa- creators. Jaro Viňarský and Matthew Rogers probably be more interesting if the creators sional failures. were trying to be serious hosts, but lacked cooperated with a theatre director or spent Both performances coming from a past-time any conception or sense of inventiveness. more time on preparation (what we saw was world – The Legends and The Final Task – Sadly, despite their deep inte­rest in funda- the result of 12 hours of rehearsing). were based on real records. Both of them mental questions about life and work of the A documentary theatre called The Last His- were a certain form of the past being recy- artists, this role was completely inappropriate torical Task of the Young Generation (Po- cled from the contemporary point of view. for them also because the space was packed sledná historická úloha mladej generácie) Both were preceded with a precise terrain with energy, and emo­tionally drained from created in the Station Žilina – Zárečie in the exploration and inspired by real events and what was seen and seemed to be unable to Mesa & Debris company: Between the rock and a hard place photo: D. Dobiáš event of the Velvet Revolution directed by places. Both were trying to reflect and com- bare any more words. Ján Šimko repre­sented a different rare genre. ment on these events and places in an inno- Apart from the aforementioned improvisa- The topic still strong and emotional for some vative way. But what was historical role in the tions, choreographer and producer Lucia Piaček as a third part of the Urban Leg- (shopping malls, student dormitories) and fictional. The story “Legend of a Razor Blade people, especially its witnesses, caused rath- theatre context? Only the future will tell. Kašiarová, running a space for contemporary ends cycle dealing with urban legends and aim to set people free of the daily rut, breach on a Toboggan” or the ­“Legend of a Poison- er perplexed response this time. The inten- art called ALT@rt in Prague, also performed myths (current tales), rumors and narra- the status quo and provide an escape from ous Tarantula in an Orchid” accidentally pur- tion of the creators was to offer an original Fourth Interpretation: her own solo sketch “on the edge of a real dra- tives typical for the current globalized soci- morals. They might relate to some other plac- chased by a customer who brought it to his perspective of the revolution through the Freedom – Inventiveness matic action” called ALA III. Accompanied by ety. The visitors could learn that urban leg- es as well. They emerge when people start living room are one of the best examples of eyes of the people whose names didn’t reach – V i g o r Peter Machajdík playing the piano, Kašiarová ends existed in cities around the world and to associate certain place with a peculiar such tales in our corner of the world. The the podium, but it remained foreign for the As we already said in the introduction, the fes- used every moment to “lobby” for attention could also be a subject of serious academic event over some time. ­Although the event lecture of Petr Janček provided enough con- viewers of the current young generation. tival hosted “unconventional scenic forms”. and reflect the theme of performer’s existence >>>> >>>> 56 interest. They are often set in familiar sites may seem to be based on facts, it’s actually texts and opened a theoretical framework for A broader historical context was necessary to Where the theory was insufficient, it was on stage. Even before the start of her show, 57 >>>> 2011

she attacked the audience asking them to play managed to achieve. Their ability to respond didn’t manage to transform practical ideas some songs from their cell phones. With the to each other through motion and cooperation and (non)dramaturgical concepts into appro- Detection mentoring tone of her own, she also regulated on stage was and remains unique… Dance mis- priate expressive forms on stage. It was dif- their volume. She then continued with an open en-scenes such as a baroque duet based on ficult to make individual interpretations and non-verbal communication with the viewers the virtuosity of slow motion or the final scene even the postmodern alibism about infinite of Theatrical Mystery through eye-contact, expressive grimaces and of pieta in which Šavel was jumping repeat- number of perspectives or sovereignty of the (International Theatre Festival Divadelná Nitra 2011 primordial screams, which made it unclear edly into the lap of his exhausted colleague viewer in creating the meaning of an artwork f e swhether t i v a l s they manifested an unstable psychic and pretending dead Jesus evoked tension, wasn’t really helpful. One can fool ambitions – the twentieth anniversary) f e s t i v a l s of some surreal character or had something in bursts of laughter, surprise and compassion. but not talent. This is another finding of this common with an artistic ambition to shock the It’s a pleasure to admit that the formation of “new” era. Theatre Festival Nitra just celebrated its twentieth year. It is already a grown up, not only in terms of age. The present fan club. Revealed lines reading “ART” the performing duo Šavel – Dobák is a category And what for a prophecy this would be ­without Festival, which in its early stages provided space for confrontation with predominantly domestic production, on her chest and “THE” on her rear probably re- of its own. Their creative approach minds the any promise of bright future? The award for every year became more and more open towards the international community. At present, it provides a full- ferred to her personal art cravings worth falling audience: they’re quest is honest albeit weak the most interesting scenic and lightning work scale dialogue. This year, the main the program gathered theater companies from ten countries, with fourteen Light KioSK 2011, for. An undoubtedly charismatic performance dramatic anchor. called awarded for the first productions. They tried to open the most hidden micro space of human consciousness and conscience, and of Kašiarová was pacified by a video projection Thanks to discussions at the festival, the need time, could be seen as its foreshadowing. Jan think over the question of who we really are, who we were and will be. The starting point of the dramatic tes- of her two year-old baby crossing the road in of reflecting dance and works of art proved Beneš and Jan K. Rolník, guests from the In- timony is a story. Even the very existence of a human being contains within itself the beginning and end; all of the end. The ontogeny of this scenic form and to be something natural, especially in the stitute of Light Design in Prague, decided to us are an integral part of this story, which still persists. During the six days of the festival, we were sometimes performer’s outburses of emotions were con- Slovak context. That’s why a short presenta- award it to the authors of Much to much. An cluded with curious steps of a baby, whose tion of choreographer and pedagogue Mária important element of creative work and its ar- able to see human experience, identity and memory as a major theater of the world. And sometimes we were shoes remained on the stage. Poláková’s book entitled Freedom to Explore tistic outcome, hiding in the shadows of sce- allowed to peek into the intimate space of the soul. A duo of already known from the previous year Dance (Sloboda objavovať tanec) was included nography in Slovakia until now, finally got into composed of Peter Šavel and Stanislav Domák, in the program. Last but not least, it was an the limelight. Next year, a lightning designer who work in Brussels, was the most vigorous ambition to inspire creators and professional will hopefully receive as much respect as a di- The Festival is not only an inspiring meeting TR Warszawa, refers to the phenomenon of The Country of a S o u l – part of the program. Their new project called public to reflect on dance and improvisation. rector. The influence of a karmic number five place, but also a chance for discoveries. One a man belonging to his nation, with his iden- an Area of Human Memory Much To Much explored the relationship be- The message of the presentation for them was makes us expect changes in every field – ac- of the remarkable aspects of the jubilee Ni- tity reflected in the memory of several gene­ Who can know more about a soul than tween “what’s too much and how it becomes not to be scared to explore their own style and cording to individual achievements. And may- tra Theatre Festival was the return of those rations. Jarczyna´s theatrical vision builds on a Russian? Ancient and modern Medea with just enough.” The creators were referring to open their minds. be a professional seeress will come and fore- European directors who either started their the quality of the dramatic text, which he is the torn-apart Slavic soul under the direc- pathos analysis and its immediate grasp in the see a bright future right before the end of the career at the festival, or were recognized teetering to the limits, suggesting that noth- tion of Kama Ginkas isa collage of Sene­ dramatic presence. It was no coincidence that Bright (Lit) Future world in 2012. Of course, the lighting of that thanks to it. Today they come back better ing is sacred to him. Beneath that pile of ca, Anouilh and the Russian poet Joseph the etymology of the word came from ancient The cards of the fourth annual of the Slovak moment will be perfect! known, more focused, and maybe a little garbage, Maslowska´s attitude toward her Brodsky. The expressiveness of Ekaterina Greek, where pathos named suffering or emo- festival of independent theatres and dance more mature. One such discovery was un- native country is not condemning, although Karpushiny´s speech goes hand in hand with MILAN ZVADA tional experience in general. It was a commu- were dealt. For a moment, it seemed that doubtedly Grzegorz Jarzyna, who almost fif- there is no shortage of irony and sarcasm. an ambitious and spectacular stage design. theatre publicist nication technique used in rhetoric in order to the creators tried to explain the interpreta- teen years ago stirred up waters here with One does not choose a country or a period Ginkas sends his Medea to a deserted island, elicit a complex emotion of the listener based tive possibilities of their works by any means. his directorial debut –The Tropical Intoxica- in which he/she is born. With its fine humor to the stairs that lead to heaven or maybe KioSK on triggering his imagination and compassion. However, viewers believed in what they saw tion by Witkiewicz. This year Jarzyna opened and insight, the play No Matter How Hard We nowhere at all. Here, surrounded by water, 4th annual of a festival of a brave viewer This is exactly what this duo, which could be rather than what was written in the bulletins the festival with the staging of the Polish au- Tried managed to ask a question about the longing for revenge, and drowned in her own Station Žilina-Záriečie described as a dance-and-improvisation ver- in such a sophisticated and attractive way. thor Dorota Maslowska No Matter How Hard microcosm in which we actually exist (and despair, she finally commits a terrible crime. sion of the dramatic duo Lasica-Satinský with Sometimes, a conflict between the intention July 28 – 30, 2011 We Tried >>>> . The text that Maslowska wrote not exist), here and at present. Can we reflect The play, despite the outrageous crime of >>>> www.stanica.sk/kiosk/ 58 a hint of Lauren and Hardy’s silent humor, and its realization occurred when the creators directly for the Jarzyna theatre company in this way on our own past and present? Medea, is paradoxically strongest in places 59 >>>> 2011

where silence prevails and emotions are re- To Experiment or not to the Belgian staging can overshadow the duced to a civil expression. The dialogues of experiment – that is the mystery that is the most impressive feature two broken souls at the foot of a deserted q u e s t i o n in the theater. It is therefore a pity when volcanic hill, with only the sound of running Issues of the human mind, experience, be- a form exceeds substance. This was not the water in the background, can give the viewer ing and not-being were raised in The Deer case with Robert Alföldi that returned to more than the literal Medea´s final takeoff. House performed by the Belgian Need- the Nitra Theatre Festival after successful The biggest theatrical effect can be just a sign company of Jan Lauwers. The multifunc- Shakespearean productions from previous f e s t i v a l s of a cathartic emotion, the one which the tional style of performers who also dance years and brought a fresh wind with him. f e s t i v a l s viewers can experience within themselves. and sing, promised an extraordinary expe­ And the major highlight of the festival was After some years, Oskaras Korsunovas has rience. The play, inspired by the story of probably performed in the middle of it. returned to Nitra with the Gorky´s drama At one of the dancers whose brother was Alföldi came to Nitra this time with a pro- the Bottom. Like Ginka, he is staging the per- killed in the Kosovo War , is to some extent duction that was perfectly in line with formance more as the parable to our des- a description of the story of creation. The this year’s theme – to disclose or not to tiny, with the direction from nowhere to no- Deer House is a mythical place with dimen- disclose one’s own secrets. The Hunting where, the same way as Medea is declaring sions of an ancient Greek tragedy. Viviane Scenes from the Lower Bavaria by Martin at the beginning: “I do not know who I am de Muynck, a leading Belgian artist, ex- Sperry is a cruel game when the majority and where my family is. Sometimes it seems pressed in the discussion his intention not chases an individual. This cannot fit into to me that I am nobody, even when a hund­ to display realism on the stage but reality. the categorization of normalcy. But even he red eyes are watching me.” In a more inti- However, the need to show humanity and is not blameless. An excellent text situated mate space, a panopticum of figures sitting the reality of everyday life that inexorably in postwar Germany Alföldi has elevated at a table as if waiting for us – the audience flows seemed to be lost in a spectacular in such a way that it can be played any- – to ask them questions. Lithuania’s Vilnius cluster of words and scenic effects. And where, anytime. The feeling of participa- City Theatre was inspired by a rehearsal even the spectacularly ethereal artificial tion was magnified by the of stage design space in which they were preparing a suc- ears were not of a great help. – the audience sat on uncomfortable bags cessful production of Hamlet, which pro- Those viewers who had tickets for the and watched the events in full lights. We vided a remarkable stage design and made ­second performance of that evening by became members of the community that suggestive acting possible. At the end, Ham- the Prague Comedy Theatre experienced was judging, and subjects of judgments at let is present in the performance not only by a remarkable contrast between the spec- the same time. Alföldi himself said that he quotations but also metaphorically. For all tacular debate about the meaning of life does not consider The Hunting Scenes to be these are just words, words, words. Behind and fate and not so remarkable fate of an avant-garde or experimental, although Gorky’s moralizing, there is an ironic subtext the writer Karl Weissenstein, developing the productions of the Budapest National of Korsunovas. But the flood of text made in the chamber and gloomy space. Both Theatre, of which he is the director, con- it difficult for us to submerge completely productions were talking about life and firms his creative courage and ambition. into emotions, although the performance death, and the actions for which one must undoubtedly emanated them. Finally, even take responsibility. However, Prague stag- Slovak trail during the catharsis, when the actor finally ing of Weissenstein in its modest presen- On the issue of creative diversity, the fes- hanged himself, we were following subtitles tation managed to bring emotions, which tival-visitors were able to compare foreign more than following him. was somehow lost in the wandering after productions with domestic ones. This year, >>>> >>>> 60 photo: C. Bachratý a deer. The desire to induce catharsis in the organizers, inspired by global trends, 61 >>>> 2011

asked curator Rastislav Ballek to choose Slo- and funny they are at the same time. It was emptiness of this story lies mainly in the ates parodies, quotes in many words. If photo: C. Bachratý vak productions. It is therefore quite logical a challenge and a humorous provocation at lack of emotions, which cannot reach the Spregelburd thinks that humanity cannot that such a concept is purely subjective and the same time, to put such a bold concept viewer from the big screen. The emotional create an original story, do any limits exist can be easily criticized. Since the majority of to the Martin Theatre, where other famous coldness, however, intensified the overall in the theatre? the productions in the main program were productions of Kubo were born. However, atmosphere. rather unconventional ambitious projects it is questionable whether such references The performance Small Talk worked on E p i l o g u e

f e scompared t i v a l s to classic performances, four Slo- can be transferred to foreign audiences a similar principle, in which the Polish artist The theater is unpredictable and its charm f e s t i v a l s vak productions were of a similar nature, as well. While the audience at the theatre Wojtek Ziemilski tried to cope with a trau- lies mainly in the possibility of surprises. If perhaps with the exception of The Gradu- nearly suffocated from laughter, the critic matic revelation that put a blemish on his one somehow expects catharsis, it finally ar- ate by Terry Johnson, which almost did not Ian Herbert asked during the breakfast family, leaving a permanent mark. Ziemilski rives at a different, inconspicuous moment. differ from the film version. Visiting direc- discussion what the point was that he had selected the form of lecture with the ab- Maybe even in the attic of Karol Spišák Old tor Jakub Krofta, however, managed to pre­ somehow missed. The Nitra Theatre pro- sence of any emotion. But even when he Theatre in Nitra of where one finds himself sent a theatrically playful layer that builds duction of The Kitchen by the visiting direc- does not attack, he encourages people to absolutely alone for four minutes in a three- on a simple story. Witty and imaginative tor Zoltán Balázs was remarkable with its think. The production is part of an interna- dimensional sound installation. In 2011, the stage design, with skillfully arranged songs, excellent stage solutions that seemed to tional co-production project, Parallel Lives Theatrical Nitra was revealing secret, while performed live, was a pleasant experience, become one of the characters of the play, if – 20 century through the eyes of the secret in the very beginning of the Festival in 1992 although not shocking in any way. Maybe not the major one. The festival Awards re- police. The final performance of the Festival it was focusing on thematic inspiration. Thus because it did not “pretend”, its integrity ceived by Peter Polgár for the stage design was the play Paranoia by the Argentinean let´s wish the theater not to lose the ability to paradoxically exceeded other more ambi- and costumes were fully justified. playwright Rafael Spregelburd performed inspire and to surprise us. After all, its beauty tious productions. The traditionally unique by the French Théâtre de Lucioles. They de- is hidden in its uniqueness. SkRAT Theatre presented to the Festival End of story cided to perform a play which is apparen­tly Buggers and Suckers showing contempo- The world is the theater, the theater is the impossible to stage. The play is one part of “We are looking at the body. The body rary man and the machinery of the emptied world. Human existence has ceased to be the heptalogy Seven Mortal Sins inspired by abruptly ends with feet and hands. This is world, where he lives without a chance of a gift, but rather becomes a destiny. Sev- Hieronymus Bosch and represents a kind of where it ends. There is nothing more, like being different. The civil way of acting and eral productions of the festival highlighted grotesque statement about our civilization. a rocky slope overlooking the sea. Suddenly the timeless issues raised in the production the loneliness of the individual, the prob- Apocalyptic drama from the distant future, lost. “ were close to each of us and they refreshed lem of human identity and its inclusion which describes the superficial presence, (Wojtek Ziemilski: The Small Story) the festival although without a special sig- into the environment. The Void Story by has a great thematic potential right from nificance. the British performers Forced Entertain- the beginning. However, the form exceed- TEREZA HLADKÁ The most significant Slovak staging was ment, placed the characters in an absolute ed the content. Perhaps the main problem theatre publicist undoubtedly Kubo (remake) of the Martin deadlock. Since the whole story is built on was the language barrier and the unfamil- Theatre. Its director Dodo Gombár refers their attempt to escape, we are gradually iar context. Spregelburd is not only a play- to the Slovak literary classics and tradition witnessing the most absurd set of events, wright, but also an enthusiastic linguist, with considerable hyperbole and exaggera- served with the typical British black humor. who loves dictionaries. Non francophone tion. Gombár puts characters, which are As the artists were inspired by comics, si- audience thus lacked the opportunity to linked to each other only by material issues lent faces from the photo collages have enjoy all the little text nuances. Instead Divadelná Nitra 20th annual of the Nitra or sometimes even animal instincts, behind become the heroes of the story. The live they had to watch mostly external aspects International Theatre Festival >>>> >>>> 62 the net of a cage, showing them how tragic actors are ­rather background sounds. The of the production. Paranoia restlessly cre- Do (not) reveal your secrets 63 >>>> 2011

separating us from any kind of epidemia of “bourgeois and imperialistic art”. After long Song of STOKA debates the jury reached the conclusion that Stoka brings novelty and originality to the approaches familiar to Western Europe- Or an and US performance companies (at least from the late 60’s) by discovering different On the Trail of The Collapse and Nox more Dyp inaf and also Impasse thematic, genre or spatial territories in the and Hestato into the deep waters of the alternative theatre Sami meri known methods. Stoka Theatre received the vari, therefore From The Distance twenty years after main prize of the festival MIMOS in France in 1993 and has entered into the limelight, not only Slovak and Czech Republic cultural life but also that of the French. That same theory/history/critic theory/history/critic Maybe something that happened this year most comfortable modus vivendi possible“). Thanks to that, the guru of the alternative year the company was invited to represent will be remembered as a kind of a twist. Human nature doesn‘t change much, for the theatre Blaho Uhlár and his continuator fi- Slovak culture in the French town Die thanks Twenty years after the creation of an inde- majority it is still a priority to provide for nally met again at the same stage (long after to the efforts of cultural attaché of Slovak pendent, experimental, alternative theatre ideal life conditions and the most comfor- the active years of Stoka ensamble in the Embassy in Paris, a translator Michaela Ju- called Stoka, lead by the theatre director table status. Today we call it the comsume- 90‘s). rovská. They performed not only Impasse and its founder Blahoslav Uhlár, we started rist way, in the past we denominated it as but also Donárium and The Concert. Until then, they gave host performances mainly to realize that the glorious era of Stoka has a bourgeois way of life... When Stoka company was given the main Bulletin of Eo Ipso (1994) photo: Theatre Institute Archive left a deep imprint in Slovak theatre history. Two decades of Stoka theatre has been ce- prize at the festival MIMOS in the French in Czech Republic or Hungary, but after An extraordinary and significant achieve- lebrated at a moment when Theatre Stoka town Périgueux, for the French this compa- the French success they were also invited ment of a small group of theatre makers has has already become a feature of the past. ny came from a fairly unknown country (one to Swiss Lausanne and Italian Cividale del influenced the entire modern development could say that it still remains unknown), the Friuli. that was provoked by the company and its ater for children and youth and later in an of our theatre culture in the context of alter- For his exceptional activities in the field of festival director Peter Bu congratulated his leader Blaho Uhlár. even more intense way in Ukranian national native movement. Blaho Uhlár founded the experimental theatre, theatre director Blaho own countrymen very cordially. Their fame spread quickly through entire theatre in Prešov. Stoka Theatre in 1991 as a reaction to the Uhlár was given the prize „Theatre Obstacle“ I was a judge in the awarding of this prize former Czechoslovakia, but mainly through Stoka Theatre formed an informal commu- When performances Quintet, Where is the stagnant theatre atmosphere of the times. last year, given annualy by the Department and I have to admit it wasn’t easy for me Slovakia, that was already an independent nity of lovers or supporters of independent North and The Penultimate Supper were cre- For a moment, theatre creators were pulled of Theatre Studies of the Theatre Faculty and Peter Bu to explain our colleagues in country. Peter Bu was intending to become alternative culture in such a spontaneous ated, Blahoslav Uhlár was still part of the out from inertia by the Velvet revolution, of Academy of Performing Arts on March, the jury – experienced French critics, the- their theatre agent for the francophone way, on the basis of sharing opinions on Trnava theatre. In this theatre he spent more only to fall into the new and more evident 27th, World Theatre Day. This year, the prize atre creators or theatre theoreticians – that countries as well as for the German speak- life, politics, culture and human existence. then fifteen years (1974-1989) as a full time inertia again, this time less obvious and evi- was given to Ľubo Burgr, his follower, discip- what Stoka has presented was an entirely ing venues with which he had been already Uhlár foresaw the forming of the company theatre director, but at the end he was already dent. In the titimes mes when „everything was al-al- le and continuator, for his outstanding acti- new and original creation. Experienced cooperating with in the past. and the main characteristics of its poetics in spiritually distanced from the collective. His lowed“ the auto-censorship of pragmatism vities connected with the Theatre SkRAT. French colleagues, who have been culti- In those years Stoka was wanted possibly his theatre manifestos written in 1989 even quest for the new approaches was very soon stepped into the picture (although, one The two of them met face to facce on April, vated by seeing more than one world-class even in the most sought after venues, where before the Revolution and the fall of Comu- visible in his performances. He entered the ­could argue with the novelty of the situation 4th 2011 on the small scene of Theatre Ar- production, were trying to prove that the the audience would hang out long before nism (in: Slovenské divadlo, 1989, nr. 4). Trnava theatre immediately after graduating as compromising was always brought along teatro (on Biela ulica, Bratislava), to collect method of the company is rooted in the the- and after the end of performance in lively Decomposition was the main goal of his re- from theatre direction studies at The Theatre by pragmatism, which was in other words their „Theatre Obstacles“ and to congratu- atre of the 70’s and 80’s. My argument was discussions or vibrant atmosphere of its bar, bellion against the official theatre. He start- Faculty of The Academy of Performing Arts in >>>> >>>> lead by an effort of „living ones life in the late each other as well as to celebrate it... the thickness of the iron wall, which was enjoying the friendly andSTOKA creative mood ed with it first as a member of Trnava The- Bratislava, where he was a student of Jozef 64 65 >>>> 2011

Stoka Theatre started its famous era imme- flow of images, metaphors, theatre signs ditional understanding of !!!fun!!!!” – says and later in Italian Urbine with an essay The diately after the Revolution in 1989, but only and symbols, skillfully interwoven with ba- Miloš Karásek in the first Slovak theatre Stoka Theatre? The New Alternative, Yes or fully came to life after gaining its own prem- nalities of everyday life, the junk of frag- manifesto titled Theatre of the Crisis (in the No? Nox as a Night Full of Nightmares (The ises at Pribinova street, right next to the ments of reality and sediments of hum- bulletin of the performance So what? DISK Analysis of the performance Nox, 1995), the Boatman’s House (Dom lodníkov), that was drum. He mixed the elements of everyday Trnava, April 29th, 1988). story of Stoka met with an uncommon in- familiar to many young Bratislava spectators reality with theatricality and artificiality of “Decomposing,STOKA diffusing the motivations, terest of the participants from the US and for numerous cultural events from the time a new reality in a collage of fantasy, dreami- multi-thematicality, and absence of deter- Europe. What was surprising for almost all of socialism and the totalitarian regime. ness and on the other side of the concrete. mination creates the new estetics of the was the similarity of the atmosphere of this There, spontaneous, creative energy ma­ It was obvious to everyone that seeing Stoka dramatic creation.” – says in the First Slovak theatre reality and the one related with naged to survive the brainwashing tenden- meant seeing an original authors language, theatre manifesto Blahoslav Uhlár (1988). the alternative theatre of the 60’s (revolt- cies of the regime. very extreme poetics of a not everyday, In the second Slovak theatre manifesto ad- ing theatre Living Theatre, La Mamma, or The first period of Stoka was the richest. Per- ­everydayness. The final shape of the entire dressed to the People, People, People he Open Theatre, or even the Theatre of the formances like The Collapse (who is who), composition as well as the specific theatre called out: “Postmodernism is dead,” and Oppressed of a celebrated Augusto Boal in theory/history/critic Impasse (sentimental journey), Dyp Inaf elements were chosen equally by a natural adds, calling for the “supersubjectivism”: “In South America). theory/history/critic (heavy metal), The Concert, Hide and seek, born guru and a director of the company the context of the new esthetics the inter- The whole professional curriculum of the The Heather (optimistic), Donárium (The Blaho Uhlár as well as by all the members of pretation of the author should be equal to Stoka Theatre is already carved into the Metamorphosis of The Transformation), the company – namely (in the first period): any of the interpretations of the audience.” historical memory of the Slovak theatre his- Sami Meri Vari, The Haptic, Nobody, Only Vlado Zboroň, Laco Kerata, Ľubo Burgr, Jozef And adds: “Decomposition means: tory. There is no doubt that Stoka, thanks the Seagull (monoplay of I. Hrubaničová), Chmel, Lucia Piussi, Ingrid Hrubaničová, - Negation of structure of the storyline to the director Blaho Uhlár, created an im- Eo ipso, Lido di Jesolo, Nox, Monoplays, The Erika Lásková, Veronika Turanová, Zuzana - Additional way of constructing the piece by portant era in the development of Slovak Faces, The Bottom, Hestato, From The Dis- Piussi (at the beginning mainly costume de- joining events chosen accidentally theatre and bridged the Slovak theatre with tance (1991-1999). signer and creator of visual identity, later - Emphasizing the continuity and indepen- the methods and poetics of the theatre al- In a very fast tempo of the first year of exis- also actor and singer). What each mem- dence of separate events and their absolute ternative of European and American inde- tence a group of actors, together with Blaho ber’s precise share in the final result was can equality pendent theatres. Modern theatre trends of Uhlár and the artist M. Karásek (creator of only be traced in the direct testimonies of - Representing the world in a non narrative the second half of 20th century are still a well Vres (Optimistic) (1992). photo: J. Nemčoková visual part of Uhlár’s performances in Ru- the particular members. form negating the beginning and the end of of creative energy. We can still experience it thenian National Theatre in Prešov, and an the piece strongly, again and again, when we concen- independent creator in pieces such as Sens Manifestos - Continuous affirmation of the nondramatic trate on any of the intense creations of the Budský. Together with director Juraj Nvota versity teachers, writers, visual artists, musi- Nonsens, Heartburn, in 1988, 1990) sponta- In manifestos, which Blaho Uhlár created character.” Stoka Theatre. Luckily, the videos of the per- he created a famous and unforgettable era of cians, translators, but also common people, neously and without any restraints formed together with Miloš Karásek at the end of (in: Ocot, bulletin, RNT Prešov, December formances exist and are almost as appealing the Trnava theatre, which worked as a small so called normal audience, theatre lovers an entirely new language and new theatre the 80’s, shortly before the Revolution, the 15th, 1988) as the original performances… zone of free, playfull and independent islands with different levels of education or profes- approach that left a big imprint on the entire most pronounced was a theme of the pro- Especially if they come with a commentary of positive deviation hidden under the veil of sion. The diversity of the audience members theatre community. test against the banality of the official, con- Manifesto is finished by an appeal: of one of the creators or the witnesses, they creating for children and youth. was truly incredible and unforgettable. It Uhlár and Karásek molded their own origi- servative theatre. Freedom to the actors Freedom to the haven’t lost a bit of their power. reminded of the legendary Theatre Na Ko- nal expression into a complex and well-ar- audience Peace to the world STOKA ZUZANA BAKOŠOVÁ-HLAVENKOVÁ Those people gathering in front of Stoka rze in its best years between 1968-1971. ticulated artistic voice, making hard to dis- “Momentarily, the state of arts in Slovak Theatre after 1991 were not only noncon- It seems that the most productive years of tinguish performances. theatre is tragic. The most of the theatres When I attended the world congress of theatreologist and eyewitness formist theatre makers but also the stu- the alternative theatre in Slovakia are linked Uhlár, later without Karásek, cultivated his are deeply rooted in the 19th century and AITU/IUTA with the theme of Collective cre- >>>> >>>> 66 dents, intellectuals, liberal politicians, uni- mainly to the 60’s and the 90’s. own way of expression into an associative are strangling their audience with their tra- ation – dead or alive? in Cologne in 2004 67 >>>> 2011

It sounds crazy, but I was bored. I couldn’t of view, but fitted more to be read in kind of piece-by-piece and when the image became The New Dramaturgy wait for it to finish. In reality the performance Salons than staged in theatre. A lot of dead strong enough, I discovered with surprise was still perfect, actors great, dramaturgical and the Roman times perspective in contrast a slow, pulsating and decadent performance adaptation and direction logical and wise. to human need for fantasy and beauty raises in which even the dynamic parts would stag- Maybe this article isn’t going to say anything new, maybe a lot of people have been thinking about it lately, maybe Set design followed the contemporary ten- the interest of only a very small group of in- nate in tension. That is why I decided to use I am the first one to do so. In any case, I am writing this article with the help of numerous colleagues with the dencies of stylization. Nevertheless, I found tellectuals. The common man of today needs a different method than the one known as intention to give inspiration to theatre makers. I have offered the article to many journals, including the foreign it boring. I left the theatre feeling tired, in spectacular entertainment that will grab his “lets make it shorter, cut some lines out” and ones, but with a condition, that they can publish it only after it has been published in Slovakia. The inspiration a bad mood and without reaching catharsis, attention. If one puts on stage Seneca today I started EDITING. for it came from my studies at the Slovak Academy of Performing Arts (VŠMU); therefore I find it natural that the basically with the opposite feelings than the in any part of the world, he will face the same A tragic comedy about Saint Joan, God and monthly journal kød – konkrétne o divadle (concretely about theatre) publishes it first. ones I had experienced before. By the end of argument – we have to shorten it, cut some never ending hunger for power is a parody the week I despised theatre, I was tired by lines out. and a criticism of all times. This sort of dra- From Sophocles to Ibsen and from Ibsen to tuation, to bore a spectator by declamation I started blaming them, the audience, later a mere thought I would have to go there. This Lets make it shorter, or lets cut some lines ma could happen anywhere and in any time McDonagh dramaturgy went through a lot of of the slow texts? I started blaming myself. It seamed all sense- petrified me. Is this what the whole 3 second out? That is the question. But what if we ­either in the context of Europe or the whole theory/history/critic theory/history/critic changes. The changes manifested not only in Lets think about the spectator of today. Film less. But I rarely leave things be. I started generation feels like? Is this why you have to decide to adapt them to the up-to-date mo- world. Although staged mainly in the Slavic dramaturgy but also in the way of performing and television of the 20th century has brought comparing. I searched the weekly program literally drag them to see a classical piece? ment in a slightly different way? The film cultural zone, it has been staged in the West and staging drama. The intention remained the revolution of image and sound, they have of theatres, TV and ci­nema. I launched an Is there anything that could be done? Who does the same and the audience knows it. as well. The Second Death of Joan of Arc is however the same – to get as close as pos- made the flow of visual and audio informa- interactive cultural tour of brainwashing and wins this game? I was slowly starting to fall No chance. What a sacrilege! Write a new popular because the audience is familiar with sible to the spectator and touch his soul, tion faster, but also, they have made the rela- then the brain restarting again. During the into depression. I decided to search for a so- play if you don’t like this one! This is the fre- this type of multiple, ironical humour. What to provide the liberating catharsis by conti­ tion between the sound, image and human whole week I haven’t read a single book, so lution. quent reproach. But when I decide about lead me to start playing with the structure of nuous stimulation of the senses. The Futurist understanding faster. We haven’t become I wouldn’t slow the pace created by my new What it is that film can and theatre cannot what I would like to stage, I chose those that the play and reassemble it as a puzzle? would let out the rats among the audience, wiser, but we understand things faster that mainstream life style. I wouldn’t recommend achieve? Well, there’s a whole lot. But still, I like. The ones I find interesting and ones The structure of the play stands on the prin- they faced them with shocking images of the are of no interest to us. In the second half of it to anyone, it was a feeling similar to one what do we know that the filmmakers don’t? with a content that would enable me to ex- ciple of monologues, then dialogue versus rotting raw meat, and others shocked by re- the past century, thanks to film and film mon- being on a carrousel, in the beginning nice It is the beauty of the living word and move- press a certain opinion. Signs of disapproval dialogue and eventually trialogue versus ducing movement on stage to the minimum. tage techniques the 3-6-9 second generation and new, height was exhilarating, the air ment, personal experience. Multiple varia- were coming one after another. This wasn’t monologue. Thanks to the rhythm of the plot Introducing new ways of using the image, was born. This is the spectator of today. fresh, but after the tenth round came nau- tion and rich visions kept appearing and dis- an unknown situation for me, for the last fif- the gradation is almost perfect, but it is slow sound and other available expression means I call today’s generation a 3 second one. It sea, and there was still fifty rounds to go. But appearing as if passing a sort of a gate, while teen years I spent in theatre environment, from the point of emotions and characters. was the starting point of creating new inter- is a generation that grew up on watching experience is the father of wisdom. When it my soul and mind were trying to heal from I have built a considerable level of resistance. It takes too long to resolve the meaning of national theatre movements/trends. This TV and films and finds classic Ferenc Mol- comes to me, I watch TV occasionally, if there the side effects of the previous week’s multi­ I believed that things are amendable. That is the previous act – the humour gets lost and was achieved much more through formal ele­ nár quite an interesting author but simply is something really interesting and impos- media shock. That is when I remembered why I went for it. My first idea was to do An- the point missed. This destroys the unity thas ments than by playing with the inner mean- too slow. This generation goes to theatre sible to see, otherwise, I listen to radio only Seneca. A year ago I was supposed to write tigone, because I love it, but Destiny brought built up to that point. l then built unity. The ings of the text. out of its own free will only in cases such while driving and only the talk shows and an essay on him at school. There is only one to my attention Stefan Canev and his play The balance is shaken, tension loosened and lost, I have been interested in the reform of this as “my girlfriend is crazy about theatre”, “it I visit cinema only to see a tentatively -se of his plays that was translated to Slovak, Second Death of Joan of Arc. A play that was the text is spoken but the point only comes “inner” content for several years. How to was an obligatory school visit”, “I didn’t fol- lected film – so this week was a really a big but all of them are translated to Hunga­ written on the turns of 1989 – 1990. I was afterwards. We could say that this doesn’t preserve the values taking into consideration low it, I watched a movie on my mobile” shock to me. I trapped myself by the net of rian. Therefore my pedagogues assumed it fascinated by the language, sentences, with matter; an audience can come and see it the possibilities of literature and drama and and so forth, there are a lot of similar com- multimedia from the early morning until the would be easier if I did the analysis. But to the structure of the text, by historical paral- again. Well to be honest, I wouldn’t. Theatre at the same time put through the changes, ments I picked up ­during the intervals, com- late evening. The biggest surprise came two cut the story short – why do I mention this lels and by its diversity. It literally glued me is for the spectators – at least that is how it that will make Sophocles Antigona compre- ments like “It is boring if one person speaks days afterwhen I went to theatre. I expected old gentleman close to my heart? His plays to the writing table. I read it over and over used to be – and in this sense I am conserva- are impossible to stage. They are pieces of again. Slowly, a feeling I would like to put it on tive. But the language, colour and tastes I like

>>>> hensible to the nowadays “3 second genera- for twenty minutes, it makes me fall asleep”, that the theatre would be refreshment to >>>> 68 tion”? Is it possible to ignore its infinite punc- “nothing happens”, “it is too slow”. At first me; I chose a performance I knew and loved. literature, beautiful from the rhetorical point stage grew stronger. I was bringing ­together to interpret on my own. I noticed interesting 69 >>>> 2011

things when I divided the drama into mono- whole text interested them, they expected to stop reading because of bursting out into logues and put them all in one sequence. the catharsis and understood the whole pic- laughter or on the other hand into tears for I read all the monologic parts and noticed ture. People connected to the theatre in the several times. The reading rehearsal turned First Steps some parallels emerging, I invented some role of audience told me that they found it into a sort of performance. The difference monologues in my phantasy; dialogues, lan- much more interesting and exciting and were between the original and edited version was to Become Independent guage and humour added the dynamics and very interested in how it would all end. The more than clear, the edited version was more In 2011 we introduced the section Ad Fontes - to the sources in our magazine. There we publish rare docu- all of it together formed a unified and intense manually working ones found it very similar inspiring to the actors. Literary value was ments from the Slovak theatrical past, which have been preserved in the archives and the documentation of image. First I thought I would cut some parts to a film – “when will it be released?”. Of maintained, as well as the meaning of the the Theatre Institute. They managed to survive, outlived their origin and now remain a potential resource out, but after cutting and reassembling, all course, there were also those, who found the text, but we made the content more clear. It for theater historians, thanks to the devotion of our former as well as present colleagues. Materials were of them turned as important, only then they original form better and protested against my is possible I haven’t written anything new as thematically selected to commemorate the 50th anniversary of the Theatre Institute on November 28, 2011. showed their true sense. Flat and slow mono- editing. But I can’t help liking those “novel- film uses editing from its beginning. A lot of logues turned ones that were into fresh, in- ties” so much. experts say that it is easier for the filmmak- The history of the Slovak theater is not identical with its own past or roots, which it retained. The real history teresting and full of temperament. I was so After these reactions I was sure I couldn’t ers, because one cut is enough to make an happens to be past that clearly relates to our present and future. The core of the published documents will theory/history/criticdrawn into the play, that I lost awareness of stop. What works on paper doesn’t mean it immense change. For a theatre maker this is thematically focus on important personalities of the Theatre Institute - longtime worker Nelly Štúrová and theory/history/critic time; it was already dawn, when I got a grip has potential to work on stage. That is why almost impossible. In my opinion, they are two theatrical historians Stanislav Vrbka and Ján Jaborník. From the archives of their personal collections we on myself again. Shaken, I have compiled one I asked for help from my colleague from not giving much chance to the imagination of have selected previously unpublished works, but also those already published in magazines or newspapers part and sent it to my friends that don’t have VŠMU Lenka Garajová, to assist me bring- the audience. It is much more colourful and that have remained relevant to our present. anything in common with the culture. At first ing my ideas closer to reality. We wrote our rich than the real possibilities of the staging. I sent a part of the original monologue, which first theatre text with the help of the editing I think it would be dumb not to take advan- The Scientific Council of the Slovak Museum ater Department and the Slovak Commission cial correspondence was exchanged between I accompanied with a comment about its con- technique and then it became time to put it tage of the spectators’ imagining potential. Theater Department met in Bratislava in early for Education and Culture did not object then Bratislava and Prague. Andrej Smolinský did text. After receiving the first answers, I sent on stage. As the first step I chose three ac- By giving impulses or creating a system of July 1960. After a thorough and extensive de- the Theater Department can become a branch not receive a salary for months as the Theater bate about the professional activities of the of the Prague Theatre Institute as of the Janu- Department was no longer financed by the the “edited”, adapted version of the mono- tors, to whom I sent the original of the play. signs, one can do magic with phantasy. When Theater Department, its members agreed on ary 1, 1961. The idea of this transition was SM and finances have not been approved in logue. The response was a surprising one. For The first reading rehearsal was scheduled we remember the Grimm stories that our the urgent need to deal with the existence of elaborated mostly by Andrej Smolinský who Prague. Despite of all the obstacles the pro- the people who are in some way connected for the following week. The actors were not mothers used to read to us – they weren’t so this institution. It turned out that the struc- developed the draft proposal and the reason- cess managed to be completed by the admin- to the theatre or other cultural spheres the very enthusiastic about the text. At rehearsal shocking while being read – but could have ture of work and the organizational system ing report. Members of the Scientific Council istrative agreement signed on April 25, 1961. monologic parts were interesting, maybe I asked them to forget about the text they been turned into worse horror movies if they of the Slovak Museum is not in line with the agreed with this proposal. They considered The Theatre Department became the branch a bit long and loose, they thought it would had read and gave them the edited ver- were retold, or put to action with the use of further development and advancement of the the Prague Institute to be a better guarantor office of the Prague Theatre Institute. be good to stress something in them, shorten sion. Still not enthusiastic in the beginning, impulses or symbols. department. Management of the Museum and that the Theater Department can profit The music scholar Andrej Smolinský graduated them, in order to get the tempo. Among my slowly they learned that it could work and it had reservations about the number of staff in from its expertise. The whole process became from Janáček Academy of Music and Performing “civilian” and very rarely theatre going friends started being interesting for them. We had VIKTOR VARGA the Theater Department compared to other quite cumbersome. Although A. Smolinský Arts in Brno and devoted a substantial part of his the reactions were as following: “it’s not bad, departments within the Museum. Two em- elaborated promptly the delimitation agree- professional activity to mostly musical theater. but it’s too long, and I don’t totally get it”. My ployees – Andrej Smolinský and Štefánia Po- ment and the draft budget for Theatre Depart- He contributed significantly to the establishment manually working friends said: “you know láková were working in cramped conditions on ment, the Prague headquarters had several of the institutions in a broader social and cultural that I don’t understand these things”. Re- Viktor Varga (1978) – actor and director. As an actor he worked in theatres: Jászai Mari collecting information, doing research work, major objections. It seemed to be somewhat context. ally interesting reactions followed after they Színház (1997 – 2002), Győri Nemzeti Színház (2002 – 2008), Szarvasi Regionális Szlovák theatre criticism and exhibition activities.- An far from ideas to actions. The Prague Theatre Gizela Mačugová was another important pro- received the “edited” version. The theatre Színház (2005 – till present). From 2006 onwards he teaches at the Academy Proszénium in drej Smolinský reported on his trip to Prague, Institute did not plan budget funds for the fessional who has worked at the Bratislava ma­kers asked me to send them the whole Győr. In 2010 he was artistic director of Ruttkai Éva Színhaz in Budapest. At the present, he where he visited Eva Soukupová, director of Theater Department – the branch office in branch of the Theatre Institute. She replaced original text of the play, they were protest-

>>>> is studying theatre directing at Theatre Faculty at The Academy of Performing Arts (VŠMU) the Theatre Institute. She suggested that if the Bratislava. Starting 1961 there were negotia- Š. Poláková in the library, accounting and bib- >>>> 70 ing against receiving only the part of it. The in Bratislava. Scientific Council of the Slovak Museum The- tions lasting for several months and the -offi liographical work. She managed to system- 71 >>>> 2011

her knowledge of languages ​​(Hungarian, Ger- to the creation of the theater documentation documentation of the Slovak theater, which photos, clippings with reviews and theatre lated to major events of theatrical life (visit- man, English and partly Russian). In 1966 she system. In 1978 she left the Theatre Institute is not only material about the past, but by its programmes. ing foreign theatre companies, photographs initiated that film documentation be collected upon her own request and worked on the versatile use it effectively promotes the- de This documentation is permanently pro- from conferences and congresses, foreign so that Slovakia has its own archive records. Slovak Dramatic Artists Encyclopedia at the velopment of contemporary Slovak perform- cessed, i.e. at the end of theatre season all tours of our theaters), especially portraits of Lack of funds was a limiting factor, but she was Slovak Academy of Sciences. While at the The- ing arts. “ information gathered during the season for individual artists in theater costumes and in not discouraged. Major theatre productions atre Institute she elaborated the document of each production is added to the archived ma- civil life of the season were filmed as documentaries major importance – The Report on the Orga- Theatrical documentation terials, card indexes are elaborated and the 4) sound recordings – about 600 pieces of 300 meters long. When the Theatre Depart- nization, Use and Protection of Documentary m a n a g e m e n t s y s t e m performance database is updated. disks recording opera productions, as well as ment became independent and there were Materials. We can learn from it and the basic consists of the following: This method was used to document all exist- drama productions (profiles of actors, samples bigger opportunities, she managed to build data on the status and work on the theater 1. card indexes containing all data about the ing theaters and theatres which ceased to of drama productions, fairy-tales, poetry, etc.). a film library of rare theatrical performances. documentation. Her agility and many activi- particular performance (name of the author, exist as of 1945. The research continues for 5) film library – 31 titles of film footage from To compensate for the weakness of silent ties in the field of documentation are inspiring name of the play, premiere, name of the documenting in the same way years 1920 – artistically valuable performances, documen- documentaries, she separately recorded ac- even after more than thirty years. theater, or the theatre stage where the play 1945 for Slovak National Theatre, the East-Slo- tary movies made on the occasion of anni-

theory/history/critic tors´ voices. Later she created audio profiles was performed, the names of all the produc- vak National Theatre in Košice and for touring versaries of the important Slovak theatre per- theory/history/critic of the outstanding personalities of the Slovak Nelly Štúrová: tion authors: translator, arranger, director, companies operating in Slovakia during this sonalities, historical documents, for example theatre and their bibliographies. She devoted “The Documentary-research Department of set designer, costume designer, composer of period.” Workers’ Theatre in Slovakia, Military Front the last period of her professional work to the the Theatre Institute, consisting of sections the scenic music, choreographer, conductor, In addition to these basic forms of documen- Theater etc. These are 16 mm audio-visual research of German and Hungarian theatre for dramatic arts, musical performing arts librettist etc., cast with the breakdown of -in tation, the Theatre Institute has: copies, black and white; in Slovakia and continued to travel research- (opera, operetta, ballet), puppetry and set dividual actors). Four indexes are created for 1) archive of theatre programmes. Apart from 6) music collection – 41 recordings of theater ing the theater. She wrote reviews and inter- design, is performing tasks arising from the each performance, and this way the Theatre theatre programmes which are included in artists, their memories, records of perfor- nal assessments of music and entertainment Theatre Institute’s mission, it involves re- Institute created a system of four types of re- each performance database, the Fund con- mances etc. theater premiers and followed Hungarian the- search, collection and processing of all facts cords for all performances premiered: tains approximately 650 programmes binded 7) archive of negatives – about 8000 pieces, atres. and documents about Slovak theater, from a) card indexes according to the individual according to the theater season (all in dupli- which are copyright property of the Theatre Nelly Štúrová. photo: Theatre Institute Archive In the second half of the sixties, Nelly Štúrová its inception in 1920 through to present. The theaters (each theater contains cards in- cates – one master and one for study purpos- Institute. After building its own photographic started to work at the Theatre Institute after Theatre Institute with its detailed and thor- dexed according to the theatre seasons) es), as well as a few thousand (about 7 000) laboratory they can be used to diverse pur- atically organize theatre programmes, which finishing an internship with Erwin Piscator, the ough documentation has created the only b) card indexes of the authors of plays (al- free theatre programmes available for exhibi- poses (especially for organizing exhibitions, were stored in the repository, as she orga- major German theatrologist. From the begin- source from which to draw today and tomor- phabetical classification of all the authors tions or for theatrical institutions in socialist issuing publications, video, etc.). nized them according to theatre seasons and ning, she focused systematically on the docu- row all the information about the Slovak the- performed on the Slovak stages, thus data countries etc. 8) set design archives – focuses on set de- the theaters, and stored them in the library in mentation of Slovak theater personalities. She ater, which is playing an important role in the is available on the frequency of a particular 2) archives clippings – apart from clippings in- signs, maquettes, it is planned to collect ar- binded folders. She was systematically adding prepared anniversary portraits and created Slovak culture, with its mission in the nation- playwright, data for information at play- cluded in the performance database of the in- tistic theatrical posters. These archives are at programmes to the archive following the list artists indexes. For the Theatre Magazine she al revival, education and political awareness. wrights anniversaries, etc.) dividual productions, the Fund contains a rich the stage of development because of spatial of those missing. She traveled and searched produced short profiles of theater artists at The Theatre Institute is also the only institu- c) card indexes with names of plays (in alpha- collection of clippings on the overall theatrical constraints; for them first in theaters, then with actors, but their anniversaries and translated articles, es- tion which systematically collects all valuable betical order) activities in Slovakia, sorted according to vari- 9) library – specializes in domestic and foreign also with non-theatre people. She initiated the pecially on German theaters. She introduced factual material, makes accurate documenta- d) directors card indexes (documenting ac- ous themes (youth theater, dramatic work – theater literature, texts of theatre plays, pro- idea of ​​buying them from non-theatre people. internal structure of the performance data- tion of achievements within theaters in Slo- tivities of all directors staging in the Slovak domestic and foreign, reviews, dramaturgy, fessional theater magazines, both domestic She also administered the purchase of docu- base (so called envelope), which remained vir- vakia, all of which provides ground for the professional theaters). theatre season evaluation, critical articles and foreign. The fund contains more than mentary material and started card indexes of tually unchanged till today. She was the soul theatre science and research of performing in respect to the activities of the theaters, 10. 000 diverse publications. theatre premieres based on programmes. In of theatrical documentation. In the Theatre arts and provides uninterrupted continuity of 2. performance database information (so awards and prizes, etc.). At the stage of completion is documentation a similar way as in Prague, the foreign depart- photo archive >>>> Institute she published several copies of her theatrical history. (...) By the systematic work called envelopes) documenting individual 3) – the base are photos in- about professional activities of all the Slovak >>>> ment was established in the Bratislava branch dissertation work entitled The Piscator´s The- during several years of its existence, the The- productions. Each production staged in our cluded in the performance database, in ad- artists, i.e. creation of accurate records: - na 72 office with G. Mačugová in charge because of atre of Faith. Her major attention was devoted atre Institute managed to establish central theaters has its own set of documents with dition, however, we collect photographs re- tionality, education, work experience (broken 73 >>>> 2011

to individual theatre companies), functions, note from the editor), a regular bi-yearly pro- is almost 500-page document on the artistic 1918, installed at the Bratislava Castle, - Ex theatres, consultations with directors and to materials for the set design department awards and prizes, accurate list of roles (dra- fessional theater yearbook, describing two production of all Slovak professional theaters. hibition Slovakia after 1948 till Present-day dramaturgists etc.). The Theatre Institute (many artists are offering free maquettes ma characters) etc. In addition to this docu- theatre seasons were published until 1971, This is an ongoing project and will continue in (Theatre Part). is also visited by the art students from the for which we do not have space to store). mentation we are creating separate data for when we started to publish a separate year- future. The Theatre Institute staff cooperate and Academy of Performing Arts, pedagogical All these facts are hampering the work of each artist (with photos, newspaper articles book (the name of the yearbook was Slovak 2. Promotional activities of the Institute provide materials for the series of the faculties and the Philosophical Faculty of our staff, but also their initiative to look for on the occasion of anniversaries, interviews, Theatrical Season, note from the editor), with With the aim to publicize the obtained docu- Czechoslovak Television (Chapters from the the Comenius University. other documents and materials that are documentaries etc.). photos, and expanded by the list of artists. mentary material not only for the theater soci- Slovak National Uprising History – the 50th privately owned by individual authors and The Theatre Institute also collects material Theatre Calendars (since 1965 regularly every ety, but also for the general public, the Theatre anniversary – portraits of Mikuláš Huba, Vil- P r o t e c t i o n artists, and which are in danger of gradual from the period before the Slovak professio­ year) are presenting theater artists’ anniversa- Institute organizes exhibitions, or sends docu- iam Záborský, Samuel Adamčík, Andrej Bagar, of documents extinction (there are often cases when -sur nal theater emerged, which relate mostly to ries. We also published foreign language year- ments to various theatre exhibitions organized Military Front Theatre, Ján Palárik and many The staff of the Theatre Institute sections vivors radically get rid of materials like for the German and Hungarian theatrical com- books on the activities of professional theaters by other institutions. Following exhibitions others), Czechoslovak Radio (especially to is performing the above listed tasks in con- exam­ple the ones from Frída Bachletová panies in Slovakia. So far we have received for publicity purposes abroad (since 1965). In that were organized by the Theatre Institute: music broadcasting), the Short Film Studios, strained spatial conditions. It is located and Mária Bancíková etc.). It should also 7.200 pieces of photocopies of theatrical addition we published a List of Premieres in In 1967, DOTYKY (Connections) on the provide information to various media, the a considerable distance from all cultural in- be considered to take over the rare mate-

theory/history/criticposters from the Bratislava archives from the the Slovak Professional Theaters, Yearbooks Czechoslovak-Soviet theatre relations. In Union of the Theater Artists, theater dramat- stitutions with which it is in close contact. It rials left from Andrej Bagar (Ms. Bagarova theory/history/critic years 1796 to 1928 and 4.100 pieces of pho- 1971/72, 1972/73 (still in print), 1973/74 1970 an Exhibition Fifty Years of the Indepen- urgists for the preparation of certain produc- has a seat in a panel house in Petržalka, with made contacts regarding this), Ján Borodáč, tocopies of posters of the University Library (submitted for printing), Slovak Theatrical Cos- dent Slovak Set Design, on the occasion of the tions etc. Equally important is contribution ten miniature rooms, crowded shelves, cabi­ Ján Jamnický, but there such considerations in Bratislava from the years 1877 – 1902. tume, Catalogue to the J. G. Tajovský Exhibi- anniversary of the Slovak professional the- of the Theatre Institute staff an ex the pro- nets and filing boxes from floor to ceiling. are out of question until a suitable space This documentary material provides the base tion, Catalogue to the Exhibition Roads to the atre (exhibition in Hungary and Poland ), in motion of our theater through contacts with Still, the ever-growing documentary mate- is found. A high artistic level of the Slovak to recreate a picture of the development of Certainty (submitted for printing). 1974 – Exhibition on the occasion of the 85th the specialists from socialist countries, who rial must be stored somewhere temporarily, theater requires to be recorded for future Slovak professional theatre, and we are also The Theatre Institute employees are involved anniversary of van Stodola´s birth, Exhibition seek information for their publications (for in the hallways or in rented rooms, whether generations. Given the fact that performing gradually collecting materials on amateur in the fulfillment of the state task – putting on the occasion of the 100th anniversary of example Bulgarian drama on our stages for in the Slovak National Theatre workshops, art is the most perishable kind of art, it is theatre in Slovakia. together the Dictionary of the Theater Artists, J. G. Tajovský´s birth. Than an Exhibition on Bulgarian theatre research, contacts with the or even in the garage. Given the uniqueness almost a cultural obligation to record it by all These basic tasks of research and documen- together with the Art Institute of the Slovak the 30th anniversary of the Slovak National Soviet scientists – Larisa Solntseva, data on of the documentary material, it needs to be means of modern technology. The Theatre tation in the Theatre Institute are performed Academy of Sciences they cooperate on the Uprising (installed in Hronov and expected to Brecht’s theater for the GDR, etc.). stored in appropriate professional condi- Institute undertook such a task with great by five staff members, specializing in the preparation of the Slovak Encyclopedia, Art tour in the Czech regions), with the second 3. Consulting activities of the Institute tions, including air-conditioned rooms (e.g. responsibility and when provided with ap- tasks arising from the use of documentary Part, together with the Encyclopedic Insti- presentation in Slovnaft, on the occasion of Theatre Institute fulfills the mission as film and photographic material), otherwise propriate conditions it can produce a great funds, in line with the current practice of the tute of the Slovak Academy of Sciences they the opening of the Theatre for Children and a consulting centre for the area of ​​profes- there is a risk of damage or deterioration. amount of useful activities in this area. “ Theatre Institute: these tasks include publi­ develop entries on theatre for the cultural- Youth in Trnava and on the occasion of the sional theater. In this field, it has created The Documentation should be concentrated On the 50th anniversary of the Theatre Insti- shing, promotional activities and advisory political calendar, which is published annually opening of the Festival Devoted to the 30th vibrant contacts with all institutions that in one large room equipped with shelves, tute a publication was being prepared on the (consultative) functions. They are related by the publishing house OBZOR, entries for Anniversary of the Slovak National Uprising. are promoting our theater (media and films in fireproof cabinets. At this time we peripetia of this institution from its beginnings to the practical use of the Theatre Institute the magazine PYRAMID, they cooperate with We are preparing large exhibition Roads of film), who contact the Institute when pre- are located in the space exposed to fire ha­ to the present. In addition an exhibition -de docu­mentary materials. the company OPUS in the elaboration of pro- Security on the occasion of the Festival of the paring various activities. The consulting ac- zards which can cause irrecoverable loss of voted to the Theatre Institute with the title file records of individual artists (Pántik, Kroner Soviet drama in Czechoslovakia in Decem- tivities of the Institute have a wider scope, unique documents. The constrained space How to Store the Perishable (Treasures of the Use of documentation and others), with the Czechoslovak Television, ber 1974. The Theatre Institute contributed however. The Institute collaborates closely prevents the collection of precious material Theatre Institute) opened on June 8, 2011 in 1. Publication activities of the Institute radio and other media as the authors of pro- or participated in the following exhibitions: with the contemporary theater, elaborates for the future theatre museum, which is not the Harminc Room of the Slovak National Mu- The Theatre Institute published the docu- grams and articles. Goldoni´s exhibition in Venice (part Goldoni evaluations and participates regularly at all yet available (costumes of Jozef Kello, props seum. mented results of the research in various Starting 1972/73 season the Theatre Institute in Slovakia), Brecht´s exhibition in Berlin in performances – this activity has paved the from Ján Sýkora, Andrej Bagar and many MARTIN TIMKO publications. Together with the Prague The- is involved in an important project – staff is the Czechoslovak Cultural Centre, exhibi- way for regular contacts between the the- other rare pieces which the Slovak Natio­ theatrologist atre Institute we published the Yearbook of monitoring all premieres within their areas tion Czechoslovak-Polish Theatre Coopera- atre artists and the Institute´s staff and for nal Theatre wants to donate from its funds, >>>> >>>> the Czecho- Slovak Theaters (summary of ac- and elaborating reviews of each individual tion (Krakow, 1969), Ostrovsky´s Exhibition their coopera­tion during the preparation but we cannot take care of them as there is Please note that the text of N. Štúrová 74 tivities of the Czecho- Slovak theaters in 1958, production, so at the end of the season there in Moscow, Exhibition Slovak Theatre before of new productions (ideological analysis in no place to store them). The same applies is cited in the original unedited form. 75 >>>> 2011 High Time Dance b o o k s to Discover b o o k s

Contemporary dance in Slovakia has a number of very distinguished representatives. So distinguished choreography, performing and pedagogy dency to even compare the improvisation of creative research – has its logical place in that they often don’t fit within the boarders of Slovakia as the conditions for their development is not of grown ups as well as children). It keeps with the creativity as such, but we have to this book. ideal here. That is why they choose to broaden their creativity and originality in one of today’s Meccas her rooted in practical issues while naming>>> admire her systematic approach to defin- Potential> addressees> of the book Freedom> of contemporary dance – in Brussels, London, New York, Vienna, Sal- the particular aspects of improvisation and ing terms and particular stages of dance to Discover Dance are numerous – such as zburg and of course in next door Prague. They are strongly committed many different possibilities of its applica- creation. At the end, she gives examples of practicioners, experienced in improvising, and therefore in demand as performers and also as pedagogues. The tion. practical exercises. She manages to speak of a dancer-beginner, looking for the inspira- She puts the biggest emphasis on the de- the complexity of working with the body on tion and tools for finding one’s own cre- strong generations of creators, pioneers in the field of contemporary tailed description of the qualities that the stage and does so in a very clear and com- ative path, a theatre maker, who doesn’t dance in Slovakia, which appeared after the Velvet Revolution, were improvisation brings to a creator – from municative manner, yet without simplifica- think that it is sufficient to simply under- trying to catch up with the world trends. They were dynamic, open to deepening his awareness of the tech- tions. The parts dedicated to gestural work stand the text and articulate it in sound. niques and means he uses, of the partners are especially well achieved, as well as the But it can also be a primary school peda- on stage, the spectator in the audience ones about the relation of the performers gogue of stage dance, who doesn’t think and last but not the least to deepening on stage and the influence of their move- that teaching children to dance means Publishing the book of a choreographer personalities and dance projects, as well the awareness of each performer towards ment coherence on the final dynamics of the to simply teach them steps and moves of and pedagogue Marta Poláková Freedom as contemplating how to achieve big- himself. She repeatedly stresses the impor- stage action. This is the main reason why the a choreography, nor that contemporary to Discover Dance (Sloboda objavovať ger communicativeness of dance perfor- tance of intensifying self-awareness. She book can be of great help even for theatre dance expression is what we see on com- tanec, Theatre Institute, 2010) was in this mances in relation to the audience. understands the improvisation as a way of makers, because it offers tools for grasping mercial TV stations. sense a break through, and in order to un- Except for the analysis of the application self-knowledge, but also admits that using the art of the mise-en-scene and the work derstand the way this book is conceived, of improvisation techniques in the cre- improvisation techniques doesn’t automa­ with the space. As a part of this subject Po- MAJA HRIEŠIK it is necessary to understand the wider ation of professionals, a big part of the tically provide less of those things. And Po- láková acts as a mediator between the con- theatre director and a theoretician context. The main intention of the author book also concentrates on the principles láková never promises any such thing. She temporary creator and the Laban theories, was to analyze the phenomenon of dance of creative pedagogy and application emphasizes on several places that contem- selecting the parts from his work dedicated improvisation. She approached it in a qiete of dance and improvisation in develop- porary creator has to be aware of the possi- to working with the space and effort. From M. Poláková Sloboda objavovať tanec. open way – passionately embracing both ing the creativity of children. Therefore, bilities, to be open to new impulses but he the point of complexity of Laban terms Bratislava : Divadelný ústav, 2010, 165 p., the historical context of improvisation (its the book maybe has an oversized scope has to also be able to choose intentionally and perspectives, which Laban opened for ISBN 978-80-89369-23-2 meaning in the local context) as well as the of interest. In an environment that isn’t among them. dance, one chapter in a book and several practical issues related to its application in literally starved by a chronic lack of theo- Except for the influence on development references to his exercises definitely doesn’t contemporary dance form. For the author, retical feedback or research, one could find all the perspectives into one logical whole. of the creative personality, the author also suffice. However, due to total absence of the writing about improvisation equals reflect- the intention of the author megalomaniac Crucial here is the practical experience of stresses further benefits of improvisation Slovak translations of Laban texts, this chap- ing the story of how Slovak contemporary or even crazy. Poláková however manages the author with all above-mentioned as- from the point of developing the dance art ter containing the basic terminology such as >>>> >>>> 76 dance was formed with mentioning distinct to do the seemingly impossible – she joins pects (experience with the dance theory, as such. We can question the author’s ten- the kinespere, theory of effort and themes 77 >>

>>>> 2011 Elixir of Laughter “Maybe we are today witnesses b o o k s of a possible destruction of mankind” > b o o k s

In grammar school, I once had privilege to be present at the filming of the Řihák´s film Smutný valčík why those words ... Fortunately, his hidden (The Sad Waltz). While the crew was settling down, I sat on a bench and was reading a book. Mr. Jozef dramatic acting, which expressed> closest Kroner, the master himself, sat right next to me. We did not know each other, we did not talk, we just the innermost master’s depressive feelings, smiled at each other. I was happy to have the actor from the Oscar-winning movie sitting next to me. were noticed by our southern neighbors. Then he suddenly clearly, kindly, sadly and knowingly told me: “You should not want to be an actress.” A sad memento is that not only during the I understood that he did not want to say more and that I should not be asking. Nor did I dare. I often artist’s life were his works prohibited to Slo- vaks, but even now Jozef Kroner remains to thought about this message presented so suggestively by the artist who in 2000 became the best Slo- us unknown as a film actor who won many> vak actor of the century. And only now, after reading the book, Zuzana Bakošová Hlavenková et al. Hungarian and foreign prizes for playing under the title Elixir of Laughter. Jozef Kroner and Kroner Family, I finally got the explanation. main characters in several Hungarian mo­ vies. But the publication Elixir of Laughter with “Max Švabinský once declared that every ing forward, without rumbling and not look- topic of mankind and humanity is tempting the subtitle Jozef Kroner and Kroner’s, which > other man in Slovakia can be put to study ing back. He refused to become a convert in ... Never­theless, the ethical message arising was carefully prepared for several years, is painting or sculpture. That this is one of the exchange for small benefits and he carefully from this book of historic studies of theatro- not only about Jozef Kroner. most gifted nations ... Nature bestowed this protected his beliefs. It is rare that the book logic history, literally sparkles and inspires, A prominent Slovak theatrologist Zuzana small piece of land by incredible beauty and acknowledges a depressive period of the both by content and by form. Each contribu- Bakošová-Hlavenková, the author of the re- Elixir of Laughter we somehow do not know how to live in this artist and his coquetry with definitive think- tor, reviewer, colleague, companion, and search project foreshad- beauty responsibly and nicely… Where is this ows in her Foreword what the reader may > ing, which Jozef Kroner eventually defeated. admirer of Jozef Kroner and his dynasty was Hurbanová-Kronerova, their daughter Zu- Gizela Miháliková, Roy Mittelman, Richard vandalism this rudeness, the insensitivity to That is why the elixir tastes even more para- marked by this fluid. This 354-page pub- expect in the book. She describes it as fol- zana Kronerova and her cousin Ján Kroner. Kramárik, Valér Mikula, Vladimír Rusko, ourselves, to nature, but also to our work doxical and bitter, as it was drank seem- lication tells about a great man and actor lows: “…landscapes of the country, the ex- They are described in the following pages Vladislava Fekete),which are followed by and creative responsibilities, coming from?“ ingly so easily, with a smile and pretending who by his life and work for his family had cesses and beauty of decisive road of con- in analytical, reflective, rational, emotional, key interviews with (Vladimír Štefko with – Jozef Kroner quoted and expanded in an happiness. In our particular Slovak context, managed to become a synonym of modes- nections to the area of humility and asceti- novelist-type, lyrical and dramatic manner Jozef Kroner, Zuzana Bakošová-Hlavenková interview with the theatrologist Vladimír Jozef Kroner is a sadly-funny Chaplin-type of ty, warmth, empathy and kindness, within cism, a profound understanding of the inner > – in a form of individual studies by seve­ with Zuzana Kronerova and Ján Kroner), as Štefko, published in Elixir of Laughter. a clown, a comedian, but then also a tragic the meaning of words: “... I believed in the worlds and their visibility.” What follows are ral authors (Zuzana Bakošová-Hlavenková, well as testimonies by Juraj Jakubisko, Mi- Here in somewhere lie the answers. One has hero. goodness of people ...” He carried a great comments and most accurate descriptions Vladimír Štefko, Nadežda Lindovská, Ján lan Čorba, Jaroslav Rihák, Boleslav Polívka to pay too big a price for the precious elixir This artfully composed publication man- talent, which it seems did not help him with of the characters and the particular act- >>>> ing charm of Jozef Kroner, his wife Terézia Jaborník, Vladimír Mlčoušek, Václav Macek, and Charles Mourier. The chapters are >>>> 78 of laughter ... However a noble artist is look- aged to avoid high pretense, although the many people in our country. Probably that is > 79 >>>> 2011

named after the four representatives of Nadežda Lindovská provides a detailed the movie as well as many other precious conversation about art and life, including facing uncertainties in the Slovak National convincingly described by the actor’s words Kroner’s family. analysis of the aforementioned important ­foreign prizes. his coquetting with the idea of leaving the Theater, up to final anchoring in the theatre in the introductory motto and message of the Each of these four chapters is concluded by role of Professor Poležajev, “an old man The study Silent Jozef Kroner by Vaclav Slovak National Theatre because of the inat- Astorka Korzo ‘90. The actress has shown in book: “Our art is about man and the people, the artist’s biographic data, which were ac- with childish zeal” in Dezider Janda´s stag- Macek is unusually and provocatively sti­ tentiveness of its directors, which in the end her work with various directors her genetic we are reflecting in it on what we have -ex

b o ocurately k s compiled by the author of the book ing for “the heart and the brain”. It captures mulating. He analyzes Jozef Kroner as the became costly for this great national artist predisposition for presenting characters, perienced and endured. Sometimes we say b o o k s Z. Bakošová-Hlavenková. They contain ba- the contemporary realities and significant central figure during his nearly 20 years of Jozef Kroner. He gave this interview to Vladi­ creating magic of tragic grotesque, rough it silen­tly, sometimes we shout aloud. I’ve sic biographical and factual events of the changes in the former Republic, as well as acting in Hungarian films. This is a tangible mír Štefko in 1984, when he felt to be on top gentleness, laughter and tears, as well as the always respected when the theater in the life, artistic achievements and awards,- pre in the city of Martin. Illusions, connections evidence of his incredible talent of acting, his creative forces, to have rich experience courage and talent. The chapter culminates biggest darkness produced light and was not sented in a chronological order. Family data and different depictions are used to avoid given that he did not speak Hungarian at and great desire to work. in a detailed analyses of acting in a mono- afraid to tell the truth.” are in the fifth chapter Kronerovci, following copying the Soviet film about the Professor all. Moreover, he provided depiction of psy- The second part of the book is devoted to drama Shirley Valentine, which revealed But the question remains, who actually a family album. All other chapters are also Poležajev, revealing in process many inter- chologically very difficult and complex cha­ Jozef Kroner´s wife – Theresa Hurbanová- the fundamental essence of acting by this drank the extremely precious elixir of laugh- illustrated by carefully selected photos and esting facts. The same is the case with the racters. This is Jozef Kroner that was hardly Kronerová. Theatrologist Ján Jaborník paint- drama actress, who was also recognized and ter. Was it the most talented Kroner´s family reproductions of documents that present the almost rational-analytical approach to the known to Slovak viewers: “He is another, ed her portrait in a very detailed way, with got several prizes in the neighboring Czech who sacrificed a lot for acting, or their au- artistic and humanly unique expressions of theatrical staging and to characters in their a different and unknown actor.” rich knowledge and many experiences. At Republic. The actress herself summarized dience? In any case, it has certainly intoxi- the Kroner´s family. They aptly capture and search for truth and beauty, which is pre- Gizela Miháliková is providing background the ceremony on the occasion of presenting this essence in an essay-type habilitation cated many readers, as is already evident by illustrate the work, life events and fragments sented in the introductory analysis of the and testimony of the enthusiastic Hunga­ the book Elixir of Life to readers by Milan lecture Acting – search for meaning (2006). the sold out first edition of Elixir of Laugh- discussed in texts by the authors of the book. play and in many others. rian co-artists who respected Kroner. She Lasica and Eva Krížiková on January 24, 2011 The theatrologist Bakošová-Hlavenková in ter. Requests for reprint are clear evidence Zuzana Bakošová Hlavenková discovers in A rare study by Jan Jaborník, an expert explains the actor’s approach and style of in Bratislava Panta Rhei on Poštová Street, a detailed and extensive interview with the of the quality of this extremely rare, profes- Jozef Kroner, inter alia, “unusual humility”, on theater and drama, who unfortunately play. She also recalls the annual prize of Film it was said that it is unlikely that a similar actress and teacher Zuzana Kronerová titled sional publication of colorful style, which is “Kroner-style of a funny-sad wisdom, depth passed, is familiarizing us with the char- Critics Award for Best Actor, which was for study about the leading actress of the cer- The Eternal Search for Meaning also ad- nevertheless addressed to the wider public. of knowledge and feelings of futility”, with acters of Jozef Kroner that were staged the first time in the history of Hungarian film tain epoch of the Slovak Chamber Theatre dressed this theme. “clown piece, acting as an essential elixir”. in the Slovak National Theatre. They are awarded to a foreign actor. in Martin is ever going to be done. It records The fourth part is about the youngest but STANISLAVA MATEJOVIČOVÁ She also sees in him “the master of tragic described in a very interesting context of Roy Mittelman contributes with his analysis actress’s successes and failures on various important member of the genus Kroner. theatrologist dramatic acting.” And all this is present in culture and theater, in a socio-historical of the movie The Shop on Main Street, while Slovak theater stages, her responsible ap- His two creative periods – hyper-reality and Kroner´s gestures, mimics, movements, context and its metamorphoses, taking Richard Kramařík briefly assesses and evalu- proach to the family, and her ability to be acting realism – are described by Vladislava writing and playing with words and songs, into consideration the European and Rus- ates the balance of Kroner´s mastery in films supportive and give way, or to adopt. Fekete in her essay titledSoul trip. Interview BAKOŠOVÁ-HLAVENKOVÁ, Zuzana: Elixír play and playfulness, in all actors’ means of sian traditions in which the Slovak National and television. Valér Mikula points to the The third section, called Zuzana Kronerová, with Ján Kroner was done again by Zuzana smiechu. Jozef Kroner a Kronerovci. Brati- expression in theater, television and films, Theater achieved an incredibly strong po- essential themes of Jozef Kroner as a writer, was written mostly by Zuzana Bakošová- Bakošová-Hlavenková. slava : Divadelný ústav, 2010, 354 p., ISBN as well as on the radio. sition. Jozef Kroner reaped personal ac- or rather the narrator – which reveals the Hlavenková. As a theatrologist who special- Last, the sixth part of the book was pub- 978-80-89439-03-4 Vladimir Štefko focuses on Jozef Kroner´s the- knowledgements behind the borders with actor’s pleasures and traumas, as for exam- izes mostly in acting, she gives a detailed lished in collaboration with the Academy of atrical beginnings, from the time of the ama- “Bravo, Kroner! “ ple which were revealed in the above men- analysis of the acting qualities of this known Performing Arts and the Theatre Institute. It teur theatre to admirable while atypical in Vladimir Mlčoušek evaluates Jozef Kroner tioned Hungarian film ... And Vladimír Rusko and popular Slovak actress. She profes- is an example of detailed work on the com- today’s times training during the Martin pe- as an actor of his generation. He explains describes Kroner´s radio mastery. sionally records Kronerová´s beginnings as piling inventory of Jozef Kroner´s works on riod, in which the actor was brilliant in the the Chaplin-type of costumes and empha- The most comprehensive testimonies in a “spontaneous comic actress and a very theater and film characters. It was written role of Professor Poležajev, but also in other sizes Kroner´s most popular years in 1960s the first part of the book Jozef Kroner are open actress of many faces, which do not by Terézia Hurbanová-Kronerová, Zuzana characters. All this is presented in a histori- – when his new creative processes reached made by Juraj Jakubisko, Milan Čorba, Jaro- always look proudly”, often crossing the Kronerova and Ján Kroner. cal and social context, including the criticism unparalleled cinematic peak in The Shop slav Rihák, Boleslav Polívka and Charles ­border of playfulness, as for example in How Jozef Kroner and his family loved the >>>> >>>> 80 of critics of that time. on Main Street, which brought Oscars to Mourier. The chapter is concluded by the DPDM, in the fatal Štúdio Novej Scény, later performing arts and what it meant to them is 81 >>>> 2011

for the EU, street festival with the theme of classical education, master occasion I visit Brussels, when I talk to people who could, in the future, classes and lectures, round table, debates on cultural tourism and the influence it positively. EduMEMA fringe festival. Central Europe has its cultural history, which is obvious. We have some- Each activity is designed with a clear cultural and artistic intention and for thing to build on and develop it further, and we have a historic responsibil- a certain target group. ity to do so. There is not enough money for culture in the national bud- – Artful Education gets, so I see the EU co-financing, especially in case of large international • How was the project prepared? projects, as one of the available solutions. The Culture Programme 2007-2013 of the European Union aims at pro- cal fortepianos from the workshop of Master Paul McNulty, informative I suspect the following reasons to play a role as to why we have so few moting cooperation among a wide range of artists from different coun- and entertaining cultural happenings in the streets of Poprad and Košice, We worked one year on application in response to the call for proposals for aplicants from Slovakia. The preparation of applications cannot be han- tries and cultures. A project of the Slovak Tatra Gallery in Poprad called and other activities. the EU Culture Programme. When we got confirmation that our application dled in one ‘weekend’ seating, it requires a few months. Furthermore, Making Education More Artful: Music – Dance – Visual Arts (EduMEMA), for project financing was successful, we worked on the project for another one has to invest in the preparations considerable time and money that is one of the projects supported under this program. It is one of the two • Which countries and institutions are involved in the project? year. The actual realization of the project will last 18 months ... are non-refundable. I am afraid that the majority of our national cultural projects in 2011 that succeed in international competition and gained institutions does not have such an ‘investment fund’. the Slovakia the status of coordinating organization. According to the au- EduMEMA is based in Slovakia, but it connects several European coun- • Was it difficult to succeed in the international competition? I can see another reason in the precision of managerial work, as our cul- thors, the mission of the project EduMEMA is to contribute to at deeper tries, cities and cultural organizations through art and education. tural institutions sometimes lack professional background and interna- understanding of art through its support of education. We talked about The project involves the Slovak cultural institutions Tatra Gallery in Poprad, Yes and no. If the project is good, realistic and all the formalities are ful- tional experience – despite the fact that we have a lot of capable people, cultural contact point cultural contact point the project and its origins with the creator of the project, musicologist Košice European Capital of Culture 2013, the Municipality of Poprad and its filled, then the chances of success are good. knowledgeable and with linguistic proficiency. Perhaps we are missing and art manager Ms. Anna Hrindová: Culture Department, other educational institutions the, Vienna Conservatory, more volition, ‘drive’, enthusiasm and belief in the possible successful rea­ Mimar Sinan University in Istanbul, Cyprian Capital Larnaca, the Tukish dance • The Culture Projects are submitted directly to the Executive Agency lization of cultural events of high standards. • Please describe the project Making Education More Artful: company Fire of Anatolia and my Prague Impresariat. in Brussels. What is your personal experience of communication with Music – Dance – Visual Arts (EduMEMA) and its main purpose. Brussels and the overall experience with the Culture Programme? • What would you recommend to the applicants for grants in the • For whom is the project aimed and who is the target group? future? The Central European Music Academy (MEMA), this time as EduMEMA, I consider the transparency in project appraisal to be of the highest qual- offers, for the second, time a unique educational and art project focused The EduMEMA is aimed at cultural public, young professional musicians, ity. During the competition, each applicant receives a very precise evalu- If the applicant has a good project and sincere intention, with solid mana- on music, dance and visual arts in a European context. All mentioned dancers and photographers, artists, teachers, students, professionals and ation of its application: The Executive Agency and experts devote very gerial expertise and professional background, there is a great chance of artistic disciplines are connected to the interdisciplinary educational ac- all those who want to learn, who want to better understand the arts and detailed attention to the assessment of each project. You are not left in success. In addition to a clear and reasonable project plan, all the for- tivities. who are eager to discover something new. there at the mercy of some acquaintances or chance... The process is en- malities must be completed well and it is necessary to choose appropriate Master classes, concerts, workshops, lectures and discussions are primar- In Slovakia, apart from small “expeditions” to Bratislava, our target areas couraging for all serious candidates. co-organizers. One has to allocate enough time for preparation, because ily aimed at domestic and foreign students of secondary and higher art is north and east -from Žilina, through Prešov to Košice. Its hub is Poprad, I also recommend using services of the Cultural Contact Point Slovakia, it will be reflected in the application. I would also like to remind potential schools, but also for young professionals and educators. For these target which as a tourist and sports centre aspires to become firmly established which provides all the information and may help in the preparation of ap- candidates that receiving the grant is only a first step towards success, groups, the EduMEMA provides opportunity to deepen their knowledge, on the European cultural map as well. plications in great detail. which is followed by great responsibility in the implementation of the get new ideas, establish contacts and create platforms for public presenta- Almost all the activities of EduMEMA will travel to several countries in Europe, project for the benefit of its target groups. tions. but they will also bring the EU audience and participants from several coun- • Is there anything that you would change in the grant program? For the general public, we prepared a special program of music, dance and tries to Slovakia, as well as to the Czech Republic, Austria, Turkey and Cyprus, visual arts events, which are supposed to contribute through educational and that will be done with the help of our co-organizers. The program is relatively simple, understandable and accessible when ANNA HRINDOVÁ means to the cultivation of artistic taste and promote general artistic so- a candidate has studied it thoroughly and has adhered to the rules from • Impresario (October 1995 onward) phistication. • When will the audience have the opportunity to become acquainted the very first steps of preparation. Is there something that is not perfect? Impresariát, Praha, Czech Republic (Classical Misic, Arts The main themes in the area of music in 2012 are issues of style and the with the project? What are the activities connected to the project? Perhaps the accessibility of the program and processing applications in Management, Music Education) possibilities of the application of the so-called principles of historically in- other languages than English, German or French. I think these possibilities • University Teacher (September 2010 – onward) formed performance on modern instruments. This approach is accepted All the information is already published on the website www.edumema. are still technically and practically limited. Comenius University, Faculty of Philosophy, Department for in the world, and it has become part of musical interpretation by orches- eu. For more or specific information please contact our press manager Musicology, Bratislava, Slovakia tras and soloists. Its acceptance has broadened the artistic possibilities of at [email protected]. There is also information of our major Slovak ­ • How do you perceive the position of Slovak grant seekers in • Orchestra General Manager (September 1995 – August 1998) musicians. co-organizer Košice European Capital of Culture 2013 on their website international projects? Prague Chamber Orchestra, Czech Republic Thematically, the project EduMEMA 2012 follows-up music with dance, www.kosice2013.sk NATÁLIA URBLÍKOVÁ >>>> photography and photojournalism. We are also offering a number of qual- The EduMEMA is an interdisciplinary cultural achievement and consists I am sorry that there are so few applications originating from Slovakia and >>>> 82 ity accompanying events, such as a unique exhibition of copies of histori- of several activities: music, dance, photography, exhibitions, compositions the neighboring post-communist countries. I speak about that on every head of the Cultural Contact Point office 83 >>>> 2011

is Veronika. (To Veronika) Can I start with ents left in the twenties, during the crisis, WARDEN Shut your fucking mouths! Peter Janků a personal question? for America. To make money. He was two The figure moves closer, then turns around VERONIKA Depends on what you mean by when his mother died. Grandfather wanted and then leaves. The door closes. The Stones of Life personal… to bury her at home. And so they came back. JOZEF How much did you...

p l a y JOURNALIST Are you Jewish? I guess they should have stayed. ANTON Just a little. p l a y VERONIKA No, I’m not. At least I don’t know JOURNALIST So what are you doing here, in JOZEF How much? if I am… And I have no idea why you ask… Jachymov? ANTON Not enough to find my peace. Peter Janků received for his play Kamene života, together with the dramaturgist JOURNALIST I’ve been watching you and you VERONIKA If my grandfather had only sus- JOZEF You want to make the sons of bitches Zuzana Ferancová for her text Babyboy, the first price in the contest for the Best keep squeezing this stone in your hand… pected what his son was to go through… You happy? One inmate down… they don’t care. Drama. This was Peter Janků´s first dramatic text and is based on our recent his- VERONIKA Oh that… so you think because know, maybe this stone will help me find They’ll bury you under a tree somewhere, torical past. Jews put stones on the graves… No, I’m not places he touched before he died here… no one will give a damn about you. And Jewish. And please, turn the camera off. JOURNALIST (starts to switch the camera on) you’ll spare them a load from the machine JOURNALIST (Turns off camera) I’m sorry... Scene 2 gun. VERONIKA I’m not used to talking like this, A room in the prison camp. Wooden bunk ANTON (Gagging. He throws up blood.) Characters: LUJZA INTERIOR MINISTER into a camera… beds. It’s 1950. JOZEF Fuck, Tony. Tony, do you hear me… Veronika’s mother. She is forced to live Representative of the current Ministry of JOURNALIST I didn’t mean to offend you. ANTON Sitting on his plank. He is pouring (Checks his veins. Anton is not breathing. VERONIKA a double life – even though we get to know Interior. VERONIKA That’s all right. I ruined your shot. some soft powder into his palm. He arranges Jozef starts shaking him.) Tony! Help, he Child, girl, and elderly lady. In the individual her as a young woman, she seems to have JOURNALIST I ruined it. With that question. the powder into two tiny piles. His nose is needs help… Doctor! scenes, she enters different stages of her life aged before our eyes. NEWS VERONIKA You know, even if I were a Jew, bleeding. He wipes off the blood and, after The door opens, the Warden enters. He turns and acts accordingly. Contemporary orders of the minister of na- I wouldn’t know a place, let alone a grave, a beat, starts snorting the powder. It’s ura- over Anton’s body. It falls to the floor. ANTON tional security, news reports, public appear- where I could put that stone. nium powder. He repeats this deadly “ritual” WARDEN Doctor? A gravedigger more like… JOURNALIST Jozef’s fellow inmate in prison camp. ances and statements in all forms, according JOURNALIST I thought you came to put it a few times… He starts coughing. His sleep- The guy’s got some work to do... this is the Young, ambitious man who likes to expose so- COP 1, COP 2 to the inventiveness of the stage director down in one of the camps where you expe- ing pal wakes up. second inmate tonight. Spares us some bul- cial vices. He experienced the era of pioneers, An old and a young member of the Nation- rienced… JOZEF Tony, for fuck’s sake, what are you do- lets. (To Jozef) You’ll wrap him up, I’m not but missed the socialist youth movement. He al Security Corps, reliable enforcers of the Scene 1 VERONIKA I’ve never been here before. ing...?! gonna touch the dirty dead bastard... has been in the media for some years now. law. At the turn of the millennium, deep in the JOURNALIST So you haven’t come here be- ANTON (coughing, shaking convulsively) They start packing Anton’s body in a black mountains around Jachymov. In the middle cause of your past? I mean in the prison JOZEF (jumps off the upper plank) What are plastic bag. They start with his legs. JOZEF CAMP COMMANDER of a forest. There is a hole in the ground – camp… you doing to me, my friend...? Snorting ura- NEWS Secret order from the minister of Veronika’s father, a local trafficker of people A seasoned officer who has a few marks cut the remnant of a former prison camp. VERONIKA No… nium powder… national security: Burial instructions: the across the border to Austria. The communist into the butt of his rifle, all in the name of JOURNALIST (into the camera, in a reporting JOURNALIST Whose stone is it? ANTON I can’t take it anymore... Fucking corpse ought to be buried, if possible, im- regime cracked down on him in the worst protecting socialism. style, with pathos): Jachymov Hell – this is VERONIKA My father’s… It keeps me warm, pricks. (Shows a blood-stained telegram) mediately after the forensic autopsy, so possible way. what they call the event during which for- like the touch of his hand... which I never I couldn’t even bury my mother... (yelling) that the time of the burial cannot be de- WARDEN mer political prisoners come here, to the felt. Maybe he touched this stone, maybe Fuckers! termined. The gravedigger is to be given KLEMENT Young soldier who has just started his ser- eastern part of Bohemia, to remember the he just passed it by when he was a little boy. JOZEF Quiet... instructions to dig the grave without speci- Zealous communist – both in spirit and action. vice in the prison camp. He does what he is cruelest time of their lives. They spent doz- It’s from Milwaukee… In America. I went He covers Anton’s mouth. The door opens. fying the name of the person buried, to Veronika’s father-in-law who built his father- ordered to do. ens of years here, working hard in uranium there ten years ago to get to know the place We see the silhouette of a man carrying make sure that the location of the grave in >>>> >>>> 84 hood and career on the suffering of others. mines. Right here, standing next to me, where my father was born. My grandpar- a machine gun. the cemetery remains unknown, that is, the 85 >>>> 2011

corpse is to be buried in a common grave, or neys... Hasn’t been two weeks and they’ve VERONIKA Mum, what happened? I just neys, professors, etc. Second, making a list JOZEF And? ... You can hand me the nails. KLEMENT Jozef don’t be a fool, it’s no longer at least in an unmarked grave, the coffin is got a new priest already. But soon he’ll be wanted… of Communist Party members who would KLEMENT They said they’d take everyone. funny. to be covered up with soil immediately after going where he belongs… (yells) We’ll crush KLEMENT Veronika, sit down and eat. Fa- like to work as professional officers. Third. JOZEF What do you mean “take”? Everyone JOZEF OK, so turn me in. Go on, turn me in, it is placed in the grave, and the grave is to you with tractors and machine guns, you ther, daddy, uncle... While she’s living in my Making a list of all members who would like who…? what are you waiting for? know appears in the door p l abe y levelled with the ground around to make Catholic vermin! house, she’ll listen to me like to her… to serve in the National Security Corps. Im- KLEMENT Oh damn it, Jozef... you LUJZA ( ) I forgot the p l a y it unrecognizable. LUJZA Klement, please, not during lunch... LUJZA Klement, please... portant note: applicants may be workers or what I’m talking about. Your grandfather did bread... Anton’s body is almost entirely inside the VERONIKA Uncle Klement? KLEMENT (resolutely) I’ve had enough of small farmers only, with no more than el- it, your father did it and now you’re doing it Comes to a halt. She’s never witnessed an black plastic bag. KLEMENT Veronika, how many times have this. (Pours his soup back into the pot. Then ementary education. too. But the world’s changed now! You know argument like this between the two men. JOZEF Wait... (from underneath the pillow, I told you that good kids don’t talk when pours Lujza’s soup into the pot as well.) I’m you can end up just like all the other bour- KLEMENT (exiting) You should talk to him... he pulls out a bundle of letters from mother, they eat. working my arms off to get everything we Scene 5 geois creatures. It can’t be stopped now. He’ll ruin our lives. The lives of all of us. and presses it into Anton’s hands.) His moth- VERONIKA But why are you uncle Klement... need and now what’s the use? What you’re Village in Zahorie. 1950. Jozef is building Your life’s at stake Jozef! Think about her and the kid at least. er died and there’s no one to mourn after KLEMENT Why I’m “uncle”? Why do you crying for, what?! Why do I have to explain it a crib. Lujza enters carrying food. She has a round- JOZEF Don’t worry. He might be a commu- him at home… ask? to her?! (Exits.) KLEMENT Did you listen to the radio last ed belly – she is pregnant. nist, but he’s not a bad guy. Kicking, are we? WARDEN … Now he can read six feet under! VERONIKA Well, why aren’t you daddy Kl- night? LUJZA Come on guys, are you having anoth- Lujza places Jozef’s hand on her belly. (The gravedigger and warden are roaring ement, if we’re a family... Scene 4 JOZEF I did... And? er row? with laughter.) KLEMENT And you’d want to call me daddy? At the turn of the millennium, deep in the KLEMENT She got the death penalty, for Puts the food down and exits. Scene 6 JOZEF (crosses himself and draws a cross on VERONIKA Other kids call their fathers dad- mountains around Jachymov. treason... Horakova. JOZEF If you want to hold a propagandist At the turn of the millennium, deep in the Anton’s forehead) In the name of the Father, dy... VERONIKA Mum didn’t want me to call Kl- JOZEF Give me that hammer, will you? Or lecture, you better leave right now. I can mountains around Jachymov. and of the Son, and the Holy Spirit... Klement wants to reply, but Lujza interrupts ement dad. I guess it was the only thing she better not, you could soil it. pick up the nails myself. VERONIKA Klement’s father was one of the WARDEN Pack him a pen too so he can write him. could do for my father. Not give something KLEMENT What do you mean soil it? KLEMENT You know this area so well – you know founders of the Communist party in 1920. to this God of yours asking him why he LUJZA You know, dear, that’s how everyone that was only his to someone else. Klement JOZEF You have blood on your hands, all of every rock, every tree, every swamp. I know you And besides the Party, he placed all his hope fucked him over… (laughs) calls Klement in the village – uncle Klement. and my father were friends. Good friends. you, blood of innocent people. still guide people across the border and take in his son. After all, he called him Klement. JOZEF Amen… KLEMENT But if you really want you can call They went to school together and all… Until KLEMENT Shut up, Jozef. It’s all their fault. them to Austria. And they know it as well. And Klement fulfilled his hopes. The gravedigger puts Anton’s body on a trol- me... 1948. JOZEF Have you gone completely mad now? Jozef bangs the hammer without hitting JOURNALIST Did he inform on Jozef? ley and carries it out of the room. LUJZA Just like other kids call their fathers JOURNALIST You mean till the Victorious KLEMENT Don’t insult me... This is how the anything. VERONIKA They all did... Neighbour would JOZEF (reciting the Lord’s Prayer) Our Fa- daddy, we call uncle Klement uncle Klement. February of 1948? world is run. If we want to achieve, to build JOZEF They who?! inform on neighbour… A friend would tell ther, who art in heaven, hallowed be Thy (turns to Klement, with emphasis) It’s nor- VERONIKA This is how they still teach you something, the society has to be cleansed. KLEMENT If you were on our side, you could on a friend. If there is a trait which humans name, Thy kingdom come, Thy will be done, mal. that? If you mean that it was the victory of Cleansed of all the pest. Face it, they’re be... perhaps even a commander… of the can never get rid of and which survives any on earth as it is in heaven... (Saying the rest VERONIKA No, no it’s not normal. Other kids cruelty, pain and the most vicious things you a threat to us! border patrol. period and regime, it’s the ability to inform quietly and to himself. Raises his head.) I’m call their fathers daddy, not uncle. can imagine, then yes, it was a victorious JOZEF To us? I don’t want to have anything JOZEF Say one more thing and this will hit on others. Father was the only hope for not gonna die here... Sits back on her chair, moving away from her February. It was the start of forty years of to do with the Red Guillotine. you hard... (brandishes the hammer) people whose lives were at stake. Intellec- plate. communist rage. KLEMENT And you too should stop it. KLEMENT How long do you think you can tuals, aristocrats, Catholics, and also Jews. Scene 3 Lujza can’t contain herself, gets up and cov- NEWS The local organization of the Com- That’s why I’m here. keep it a secret? Huh? And word is they will They all became enemies of the state, and A village in Zahorie, 1956. Lunch time. Bells ers her face. She tries to hold back tears. munist Party is convening an extraordinary JOZEF What are you talking about? also take those who are just aware of it... an escape across the mountains was the ringing at the end of the mass. KLEMENT Lujza, sit down... meeting in the Old Council. The agenda KLEMENT Don’t pretend you don’t know And they’re sure to find out. only way they could get away from the per- KLEMENT (looking out of a window, mur- Lujza shows no reaction. Veronika stands up will be as follows: First, making a list of ap- what I mean. People from Bratislava came JOZEF Oh... now I understand. You’re afraid, secution of an abhorrent regime. Father >>>> >>>> 86 muring) Not again, you sanctimonious pho- and goes to her mother. plicants for the positions of judges, attor- to the committee meeting. aren’t you? couldn’t do otherwise. He was the only 87 >>>> 2011

person who was able to help them find If it is a boy, he’ll be named after grandpa. Jan. belly. She leans against Klement, breathing ple a story, it’s worth nothing. And if we suc- with the baby, but I didn’t know where or LUJZA Klement, are you threatening me? freedom. That was why he had to do it. LUJZA (starts crying) Don’t go, please, at quickly... ceed, it’s going to be a topnotch… how. They kept track of all our movements, KLEMENT No, I’m just trying to explain that least today, don’t go... KLEMENT Lujza, Lujza... VERONIKA Or just another sensation. No, creeping around like fierce dogs. Fortunate- it’s not a good idea to write to him so of- Scene 7 JOZEF And if it’s a girl, she’ll be... Veronika. LUJZA Swear to me that you didn’t... no… I can’t do it like this… ly, Klement somehow managed to arrange ten... It’s not a good idea to write to him at A village in Zahorie, 1950. Night time. Jozef There’s knocking on the door. lifting her p l a y KLEMENT ( ) You shouldn’t get ex- JOURNALIST Don’t worry. It’ll be OK. that Veronika and I could stay at his place. all… It’s my neck on the block too, Lujza. p l a y is preparing to guide some people across the JOZEF What in God’s name is going on? cited now... VERONIKA I want to see him alone. I don’t know where we’d be without him. LUJZA What am I supposed to do? border to Austria. Jozef opens the door. The door flies open and LUJZA Swear to me! JOURNALIST Trust me, it’s going to be all We can just stay with him now – that’s the KLEMENT Until Veronika grows up, we LUJZA Shouldn’t you listen to what Klement policemen from the National Security Corps KLEMENT I’ll do what I can... right… Do you know how many people might only option Veronica and I have now.. I think shouldn’t mention Jozef at all. It could hurt was telling you? burst in. LUJZA (her crying is guttural now, her face be experiencing the same thing as you now? I was wrong to suspect that he informed on her, as well as us, if she blurted something JOZEF Klement is the only person who COP 1 So comrade is dreaming about buried in Klement’s shirt. She says between What if this story gives them the power to you. Klement said that he would try to do out... knows about this. The only one among the God… clenched teeth) Swear... come here and get rid of the thoughts that something to get you out of there soon… LUJZA I can’t do that. communists. If not for me, he won’t turn us LUJZA What’s the matter? KLEMENT (calming her) Even if I wanted to have been chasing them for decades? And And that you should be glad you weren’t KLEMENT You have to... We have to… It’s the in because of you. I’ve always had the feel- COP 2 Jozef Ernholz? swear, I couldn’t. The Party… young people today can’t even imagine what hanged. price we have to pay for Jozef not listening ing that he somewhat envied me for having JOZEF Yes... Lujza is crying ruefully. was really going on during communism. (Ve- JOZEF (reads) He also said he’d do every- to advice… You have to understand that my you. COP 2 In the name of the law, you are ar- KLEMENT … doesn’t allow it. ronika is silent.) Veronika… thing to be your substitute as Veronika’s fa- options are limited. I had to sign a document LUJZA Oh come on, Jozef... rested. Veronika takes a picture of her father out of ther... You must be joking?! at the council saying that the baby is… mine. JOZEF And he wouldn’t hurt his secret love JOZEF The bastard... Scene 8 her bag. KLEMENT It’s the second letter in a month, LUJZA Klement. now, would he? He wouldn’t hurt her family. COP 1 So comrade feels like swearing? At the turn of the millennium, deep in the JOURNALIST Is that him? Lujza. KLEMENT That’s how the world is run now... LUJZA Klement is your friend in the first COP 1 hits Jozef in the stomach, knocking his mountains around Jachymov. VERONIKA Yes. LUJZA It’s the only way I can be in... And we can’t change that. place. He didn’t have to, but he came here breath out. They pull him to his feet. JOURNALIST (into the camera) We’re deep JOURNALIST May I record it? KLEMENT I know. But we have to be careful. LUJZA We should let him know! to warn you. LUJZA Jozef, Jozef! in the mountain range around Jachymov. VERONIKA If this can help anybody like you It’s not over yet. KLEMENT Just write that... JOZEF I know, honey. But he’s the only one Unexpectedly, Klement turns up in the door- In the 1950s, the communist regime would said, OK, do what you think is right. (Stares LUJZA What’s not over? JOZEF We’ve decided that until Veronika who could turn us in. way. send men here who were to be eliminated. at the picture.) KLEMENT You can’t imagine what effort grows up we won’t mention you in front of LUJZA You never know who’ll betray you. It LUJZA Klement? What are you doing here? They were transported to this place to work I had to make to get you and the baby out her. It could hurt her, as well as us, if she could even be the people who’re waiting for KLEMENT What’s going on? in uranium mines. Veronika is here for the Scene 9 of the picture... To break all ties with Jozef. blurted something out... I know it’s tough you now. They busted people for less seri- LUJZA They bust in here... These… Klement, first time to find traces of her father. He was Jachymov and the village in Zahorie, 1952. LUJZA Klement, thank you for everything... but there’s no other way… You can’t be seri- ous stuff. Please, don’t go… do something! sentenced to thirty years of forced labour JOZEF (opens the letter and takes out the it’s just that Jozef is still my husband and Ve- ous… She’s my child. My child!!! JOZEF A woman with two kids... Their hus- KLEMENT This is a misunderstanding, com- in this very place. How does it feel to walk picture of baby Veronika, reads.) Hello, my ronika’s father. Klement and some other comrades are band and father was executed a few days rades. around places where your father was walk- dear Jozef, I think about you every minute KLEMENT You don’t have to thank me. But changing identification cards, stamping and ago. They might come to get them any mo- He shows the policemen his party identifica- ing? of every day. Our baby is beautiful, we just understand that Jozef is now a class enemy… signing documents, and so on. ment. Who knows what’ll happen to them tion. VERONIKA I don’t even know where he celebrated her second birthday. We had her enemy of the people. NEWS Secret order of the Minister of Na- then. COP 1 We have our orders. Out of the walked... But it’s an odd feeling. picture taken so that you could see her, at LUJZA How dare you speak like that? tional Security. Members of families of LUJZA And us? What will happen to us? way misses. JOURNALIST We took our camera to ac- least like this. When I look at her, I see you KLEMENT It’s a fact! And if it hadn’t been wealthy villagers who have been convicted JOZEF Lujza... you know I’m being careful. They lead Jozef out of the door and away. company Veronika and try to find the places next to me, at home. for me, you’d never see Veronika grow up. by a court or national council, and who I’m just a small fry, a guy from a godforsaken KLEMENT (shouting after them) I’ll find out where her father stayed. (Moves out of shot LUJZA (writing the letter in the presence of She would have ended up somewhere in an have been – among other matters – sen- village in Zahorie… what this is all about tomorrow! and turns off the camera.) We want to be Klement) Klement makes sure we have ev- orphanage, and you…? In a prison camp like tenced to have their property forfeited, >>>> >>>> 88 He comes up to Lujza and strokes her belly. Lujza drops to the ground, clutching her authentic, you know. If you don’t give peo- erything we need. At first I wanted to leave Jozef. will be assigned a workplace and place of 89 >>>> 2011

residence outside of the municipality of things I couldn’t understand at first… but as about this… Goodbye, comrades! WARDEN (notices Jozef’s hands entwined locked up there for three months until they She starts crying. their current residence. A custodian court, time passed I could sense them. COP 1, COP 2 Comrade. in prayer) Are you fucking praying?! Where made a decision about his fate without him. KLEMENT I’m really sorry. in case an adequate upbringing of under- COP 1 and COP 2 close the door. is he now? Where is he hiding, this God of His sentence was changed to life. And as if LUJZA (stops) Klement, but they don’t say age children is at risk, shall command the Scene 11 LUJZA (calming Veronika) Don’t worry, dear, yours…? Speak! Do you remember now who that hadn’t been enough, he was put in the here that he escaped. A village in Zahorie, 1956. Night time. Re- p l aupbringing y of such children in appropriate the men just came to make sure every- helped you? And don’t tell me you’ve had highest-security camp. I think it was some- KLEMENT They can’t write in a medical re- p l a y institutions which are designated for such peated banging on the door. thing’s all right and now they’ve gone again. no food and water for a week! Speak… who where around here, where we’re standing port that he escaped. purposes. Exceptions from the procedures LUJZA What is it? What’s happened? VERONIKA But why was that man looking for helped you? I want names! Or else you can now. LUJZA How do you know that? Tell me, how stipulated by this directive are allowed only KLEMENT What’s going on? dad in the closet? fuck things up for your family too... Speak JOURNALIST Did you know about it? do you know he got away? And where do in grave political cases, which have to be COP 1 We’re sorry, but we have to do LUJZA Dad...? now! VERONIKA Surely Klement knew. you have the medical report from? Tell me, agreed upon by the chairman of the rel- a search here. KLEMENT Did he say “dad”? I’m sure you Douses Jozef in another pail of water. JOURNALIST And your mother? please, tell me! evant regional national council, regional KLEMENT What’s that... comrade, I... just misheard him... Off to bed now. It’s late. JOZEF (starts coughing because he breathed VERONIKA Questions about our past were KLEMENT Lujza, wait... commander of State Security and regional COP 2 Out of the way, comrade, we have in some water.) What’s happening to my prohibited. And mum was afraid of Klement. LUJZA I’ve never asked you what you’re do- prosecutor. our orders. Scene 12 family? Just like Klement was afraid. And he spread ing at the council. I don’t stick my nose into KLEMENT I should know something about Jachymov 1956. Solitary confinement – the WARDEN If you don’t talk, your family is his fear to the whole family. Saying that al- who you work with and why. But if you’ve Scene 10 that... so-called lockdown room at the prison camp. heading towards big, big trouble. legedly they set spies to watch him. And brought me evidence of his death now, At the turn of the millennium, deep in the COP 1 Jozef Ernholz escaped from the JOZEF (starving, sweating) Forgive me, JOZEF (through his teeth) What’s happening why she should marry him at last... And how why haven’t you brought me, at least once, mountains around Jachymov. prison camp and has been missing for a few Lord, all my sins... Though I could swear to my family? he’s supposed to explain all this at the head- something about his life? Any little thing… VERONIKA My mother and I were cat- days. We’ve got to search all potential plac- I have no idea, no clue how I offended you WARDEN Speak! quarters… When he was at his wits’ end, he Tell me, what happened to him…? egorized as bourgeois elements. Klement es where he could be hiding. so much! If this is Judgement Day, why did JOZEF No one helped, nobody, nobody... threatened us with the orphanage. That al- VERONIKA Mum? managed to ensure that our family wasn’t LUJZA (bursts into tears) Not there, my you give the right to judge me to these WARDEN I don’t know anyone with that ways got my mother. He just blatantly black- KLEMENT Lujza! forced to move outside of the region. Since daughter’s sleeping... damned cowards? Why should they ex- name… Nobody... mailed her. I didn’t understand why they Klement takes hold of Lujza’s hand. Lujza he declared himself to be my father, I was COP 2 We have to look everywhere… ecute your will? They counterbalance your JOZEF Please, how is my daughter? were fighting, but the threats that I would breaks loose from his grip. lucky not to have been sent to an orphan- COP 2 opens the door noisily. name with suffering… they punish trusting WARDEN You… You don’t have a daughter… end up in an orphanage became part of my LUJZA Leave me alone! Tell me, what hap- age. We moved to the next village, into the VERONIKA (wakes up) Mum, mummy... in you with death… They make orphans Lock him up. everyday life. It was just before Christmas in pened to him? house where Klement was born. The sad COP 2 Hey there, young misses… Has your out of children, cowards and villains out of Jozef raises his head and spits at the war- 1960 when things took a different turn. VERONIKA To who? What happened, mum? fact that my father wasn’t mentioned at crafty daddy been here by any chance? friends… Is this hell? Or purgatory? If it is, den’s feet. Warden notices. KLEMENT Be careful about what you’re go- home, or indeed anywhere else, was the COP 2 looks under the bed. He makes a ges- then please Lord, give me a sign, give me WARDEN You capitalist fucker! You want to Scene 14 ing to say now, Lujza. I want nothing from price we had to pay for our freedom. He ture which is utterly inappropriate for Ve- strength at least… Because my faith, the spit on me?! A village in Zahorie, 1960. you… I’ve never wanted anything from you, was never mentioned. Never. Formally, Kl- ronika. only thing I’ve got left, is worn out… Just Warden raises the butt of his gun aiming to Klement is handing a medical report to Lu- just to give a little bit of the love you so self- ement had him executed back then. I lived Or what about in the closet… (opens the like me... If I should die, let my death ease strike. jza. He’s looking at her, frozen. lessly nurtured for him. What did he do to my entire childhood under the impression closet.) Nothing. the suffering of my loved ones… Whom, LUJZA What’s that...? deserve your love? What? That he was so that Klement was my father. KLEMENT Well that’s enough comrades. At I kindly beg you to spare from all evil… If it Scene 13 KLEMENT He escaped again. stubborn that he sacrificed you? That other JOURNALIST You’re trying to tell me that least not in front of our daughter. indeed is your will, then do as you see fit… At the turn of the millennium, deep in the LUJZA He got away? people mattered to him more than you? No, your mother never told you about your fa- COP 1 (looks at daughter, then at Lujza who I commend into your hands… Thy Kingdom mountains around Jachymov. KLEMENT Lujza, I’m so sorry... I’m the one who went the extra mile for you, ther? lowers her head) We’re just obeying orders. come, Thy will be done, on… VERONIKA Lockdown was the worst place LUJZA (reads between clenched teeth) Jozef Lujza. If there is any justice, then I deserve VERONIKA No. Klement made sure she Comrade father. The door bursts open. A pail of water hits of all. A single cell without any light. It was Ernholz died of extensive pneumonia. He your love, not him. You’d be long dead if it >>>> >>>> 90 didn’t. Only years later did I start to realize KLEMENT All right, comrades. We’ll talk Jozef straight in the face. cold. There were beatings. And pain. He was died on… hadn’t been for me. He didn’t even see the 91 >>>> 2011

child grow… the child I brought up. I, Lu- And your name is Veronika Ernholzova. The Scene 16 KLEMENT I have nothing to explain. Not to KLEMENT That’s enough. Go if you must, what’s going to come tomorrow. But don’t jza. This is reason enough for you to forget last thing I heard him say was your name. A village in Zahorie, 1968. you, not to Veronica, not to anybody. but you’re not going to come back to this come back to this house! about him now. Let it go, Lujza. This is your Your father wanted you to be named Ve- LUJZA Klement, can you do something for LUJZA Why would we want to live like that? house. LUJZA (scared, her voice is trembling) Ve- family now. He’s no longer here. ronika. me? KLEMENT One has to live. This riffraff will be LUJZA Veronika, wait... Let’s talk. ronika, please... rummaging through papers, p l aVERONIKA y Mum, who are you talking about? VERONIKA And where is he? Why isn’t he KLEMENT ( gone soon and you’ll be glad you have me. VERONIKA Mum, how long are you going VERONIKA Mum… p l a y KLEMENT Think about what you’re going to with us? tearing and shredding some of them) I’m all LUJZA More threats again. to let someone manipulate you... someone LUJZA I don’t want to lose you too. say. He’s the past and I, we… We’re the fu- LUJZA Sweetheart, I’m sure he’s with us... ears. KLEMENT These are the facts. Neither you who can’t even tell you what happened to ture… It’s up to you now, Lujza. Don’t ruin it. He’s looking at us right know from up there LUJZA I want you to go to Jachymov with me. nor I can change something that is bound to dad? (Shows picture.) Scene 17 Klement leaves and shuts the door behind in heaven, and I believe, I do hope that KLEMENT Have you gone mad? happen. And you can rest assured that it will KLEMENT What’s that? Give it here! At the turn of the millennium, deep in the him. he’s praying for me up there, praying for LUJZA Veronika is grown up now and this is happen. VERONIKA You thought you could lie to me mountains around Jachymov. LUJZA Sweetheart, come sit here... are you me to be forgiven for having renounced him the only way to explain it all to her. LUJZA So you’re not going with me? forever? I know very well that you’re not my JOURNALIST And after all this you stayed a big girl now?! like this… I am sorry… Veronika, I’m so sorry. KLEMENT Explain what? KLEMENT Not another word about this. father. I know he is my dad. with Klement? VERONIKA Yes, mum. (Cries.) LUJZA I think that if she were to hear it from LUJZA We’ll go without you. KLEMENT Where did she get that picture VERONIKA I stayed with him in the house LUJZA I’m sorry about this, sweetheart, so you, she might forgive you. If you just told KLEMENT I doubt it. Lujza?! only because of my mother. But every year sorry... But you have to know. (Cries.) Scene 15 her the truth – on the spot where Jozef had LUJZA We will go. Lujza is quiet. of my life made me more aware of how VERONIKA Mum. At the turn of the millennium, deep in the died. KLEMENT Tell me, where will you go when KLEMENT This is what I get for all my effort? pointless and absurd my situation was. I was LUJZA Do you remember, I used to tell you mountains around Jachymov. KLEMENT Truth? The medical report is the you come back? Because there’s no place in LUJZA She’s an adult now. She’s has the right living with someone who was officially my about this cuckoo that lays eggs in other VERONIKA Mum told me the whole story. She truth. He died of pneumonia. my house for a woman to whom someone to know the truth. The least she should father, but not my real father. And the man birds’ nests? told me that Klement wasn’t my father and LUJZA If that’s the case, then why are you so sacrifices his whole life and she still doesn’t know is who her father is. who forced me to pretend that he was my VERONIKA Yes, mum… And the little cuckoo that I would never meet the man who was. It afraid? Just put some flowers on his grave… seem to know who she should love, or KLEMENT What is this “truth” Lujza?! What father was also most likely responsible for that hatches from that egg has to be brought was the strangest Christmas present I’d ever Together with my daughter… and your “for- what’s good for her and her daughter. fucking “right” are you talking about? Her the death of my real father. up by another birdie. got. I couldn’t fully understand the sorrow mal” daughter. LUJZA Klement... father is no more and I’m the one who JOURNALIST Klement is responsible for the LUJZA Veronika, your mummy is just like this my mother felt and realized only much later KLEMENT I have no idea where his grave is KLEMENT Then I don’t have another choice. raised her! I… I have a right and she’s only death of your father? What do you mean by cuckoo. that I had been born again on that day. Born and I don’t know what would be the point You understand? got the duty to respect me as a father! You that? VERONIKA Cuckoo? into a life I started to experience more inten- of that. Veronika enters. She’s dressed as if she was could now be rotting somewhere in oblivion VERONIKA I meant just what I said. Why LUJZA This house, where we’re now, is some- sively than the everyday life with Klement. LUJZA It’d be a formal end of all that had about to go out. and she would have ended up in an orphan- would he be silent all those years? And body else’s nest, Veronika... This is not your After some time, mother gave me this pic- happened.. The times are changing and it KLEMENT You’re not going there! age. This is what I get for giving up on having he was. Mum never found out what really real home. We used to have our own little ture. Because she didn’t want to marry him, would mean a lot to Veronika. VERONIKA Everybody’s going... children of my own blood? This is what I get happened to my father. She died just be- house and were looking forward to hearing he made her destroy all pictures of my father. KLEMENT Tell me, Lujza… what’s the point of KLEMENT You and my family, we’re not for… for taking pity on you? fore 1989. Even shortly before her death the voice of our long-wished-for child. The This is the only one she managed to save. reopening old wounds? What? Who’ll ben- like everybody else... You’re not going and LUJZA Why didn’t you take pity on him...?! she apologized that she hadn’t been able bed you used to sleep in, Veronika, wasn’t JOURNALIST Did you find out how your fa- efit from it? If you love me at least a little that’s my final word. He was like a brother to you… to be more brave, that she hadn’t been made for you by Klement. It was made by ther died? bit, do this for me. Forget about Jozef at last. VERONIKA You’re not going to tell me what KLEMENT Shut up, Lujza! You don’t know able to leave, after all of the things he’d your daddy. Yours and yours alone. VERONIKA Klement never told us. He was LUJZA I respect what you’ve done for us. to do! what you’re talking about! done to us. I knew she was doing it only VERONIKA But uncle Klement... also very secretive about where he had all I want to respect it. But I’m sorry, I can’t for- LUJZA Veronika! VERONIKA How dare you speak like that to for my sake. And I’d forgiven her long be- LUJZA Uncle Klement is just uncle Klement the information from. In 1968 I thought that get just like that. I can’t because of her. If VERONIKA Mum, please, things are chang- my mum! fore. – he never has been and never will be your things were going to get going, but… You you don’t explain it to her now, when do you ing... The world’s not going to be run by peo- KLEMENT Go, get out of here! Go to those… >>>> >>>> 92 dad. Your dad’s name is Jozef. Jozef Ernholz. know how it all turned out. want to do it? ple like him. Bratislava is full of life… those miscreants who have no clue about 93 >>>> 2011

Scene 18 rity of our system by aiding anti-government my mother, why did you allow that the per- KLEMENT You’d be surprised. I just need you you knew he wasn’t going to give up. You JOURNALIST Those were my first news re- News piece. elements… son she loved, the person who was your to stop causing trouble. It doesn’t benefit killed him. Killed him. ports… I found his name only in the basic list JOURNALIST Today, the Nation’s Memory In- KLEMENT Shut up! best friend… anyone... us least of all. Your family, that is. KLEMENT Veronika... in which it was impossible to find out what stitute opened the secret files of the State VERONIKA We recommend the target per- KLEMENT I saved his life back then. He JOZEF Us… You stole my wife and now you’re VERONIKA I don’t want you to say my name post he held in State Security.

p l aSecurity y to the public. All it takes is to fill son be decimated as soon as possible. could’ve ended up in front of a firing squad. stealing my family? My child?! anymore. I am nobody to you, just like you VERONIKA He had to be very high up if he p l a y out an application form and meet a few ba- KLEMENT Bullshit. VERONIKA You should’ve killed him, you KLEMENT Don’t talk like this, Jozef. are nobody to me. Which of the medals you could clean up after himself like that. sic requirements, and anyone can learn the VERONIKA Signed Klement Opath, code bastard. How could you… JOZEF I won’t allow that. Never. received was for the death of my father? JOURNALIST So how did you get hold of your names of those who collaborated with the name “Caretaker”. KLEMENT My offer holds. You stop doing all Which one?! (Throws the file at his feet.) father’s file? State Security, as well as those who were Klement lights up a cigarette and starts Scene 20 nonsense and I’ll try to get you out of here. Here, go ahead, read and repent… That’s the VERONIKA It wasn’t easy. It was found as persecuted. One Klement O., a high-posi- coughing. Jachymov, 1956. Solitary confinement – the (Offers his hand to shake. No reaction. He at only thing that can help you now. far away as Prague. The actual file was de- tion employee of the Ministry of Interior, VERONIKA How could you? He was your so-called lockdown room at the prison camp. least touches Jozef’s hand.) Goodbye com- stroyed, but the content was preserved on was allegedly an agent of the State Security. friend and my father!!! KLEMENT (to the warden) Is he there? rade. I mean… bye… Scene 22 film rolls. Although his original file was lost, the name KLEMENT I am your father! I’ve raised you. WARDEN Careful... JOZEF Klement... (Stares.) News piece. JOURNALIST Microfiche. Klement O. appeared in the list of State Se- If he hadn’t done all those stupid things, KLEMENT Hi, Jozef... JOURNALIST Klement O., high-post official VERONIKA That’s right, somebody made curity collaborators. then… Jozef wants to get up, but cannot. Scene 21 at the Ministry of Interior, resigned from his a backup. I guess Klement didn’t reckon with INTERIOR MINISTER A lot of people who VERONIKA Then what? You’d use something JOZEF Klement... Turn of the millennium. An office at the Min- post. The reason for his decision was that he that. Or maybe he just forgot. work at the ministry were employed there else against him? Caretaker?! KLEMENT Here, drink. istry of Interior. felt he was denigrated because of informa- JOURNALIST I should have thought of that. in the past, too. Most of them have reached KLEMENT It’s forged. JOZEF How did they let you in here? VERONIKA (reads) After I personally visited tion related to his past, which could damage But why didn’t you report it? It’s a crime retirement age, including Klement O. If your VERONIKA Just read it... (Flips through the KLEMENT That’s not important now. the target person, I suggest to make his the reputation of the Ministry. He continues against humanity. He could be tried for that information is confirmed, we will of course pages and reads on.) “Since the convict at- It’s about you. routine stricter – apply the highest securi- to deny his collaboration with the State Se- even today, couldn’t he? draw consequences. tempted to escape, serious measures ought JOZEF How is my family? ty level. I recommend he be transferred to curity. VERONIKA Why I didn’t report it? Maybe JOURNALIST We will follow this case as it to be taken against him. All necessary steps KLEMENT It’s taken care of, no worries. a strongly guarded camp. Any attempts of INTERIOR MINISTER We think highly of Kl- you should ask directly why I didn’t turn him develops. should be taken to prevent a similar situa- JOZEF And my daughter, does she know escape are to be reciprocated by eliminating ement O’s decision, as it aspires to clear in. I almost did. I had this strange feeling and tion from recurring. As it can be suspected about me? Lujza wrote me this letter the delinquent. Signed “Caretaker”. the ministry’s name. At the same time, it I stopped a few metres short of the prose- Scene 19 that the delinquent’s subversive anti-gov- that… Klement is staring into space. proves that our employees – even in case of cutor’s office. I suddenly imagined that Kl- Turn of the millennium. An office at the Min- ernment attitude is not reformable, we pro- KLEMENT Of course, she knows about you... VERONIKA (through tears) Were you look- the slightest suspicion – can react and take ement stood just like that, fifty years ago. istry of Interior. pose to change the original sentence to life.” It’s just that we have to be careful. We don’t ing into his eyes? They say his eyes were measures against themselves with appropri- And he went in. And I was supposed to do Veronika is holding her father’s file. This is what friends do? This!? want to hurt them. Your escape complicated blue, like mine. Tell me, did you?! Or did ate consequences. the same that he did to my father? KLEMENT Just a shred of paper. KLEMENT If I hadn’t done it, someone else the whole thing. you turn away your eyes, just like you would JOURNALIST The minister conceded that if JOURNALIST But you can’t compare… VERONIKA Funny you should say that. would have. But that someone would never JOZEF I’ve never seen my daughter. whenever I or my mother wanted to know the information is not confirmed, the Minis- VERONIKA Do you think that the grey hair KLEMENT Documents like this were routine- have sacrificed himself like I did for you. KLEMENT Is that why you tried to escape? the truth? We buried her, Klement, and you try may re-hire Klement O. of those who had the power to decide and ly forged. I loved your mother, Veronika. I did. And JOZEF She’s my daughter. But you’ll never couldn’t own up?! About murdering him… whom I told my story is not stained by the VERONIKA How do you know? I raised you with love like my own daughter. understand that. KLEMENT That’s a bit too much. Scene 23 blood of innocent people? They are still KLEMENT It’s a known secret. Please understand that if it hadn’t been for KLEMENT Just like you won’t understand VERONIKA What else do you want to call At the turn of the millennium, deep in the there… All those faces that passed me by, VERONIKA (reads) This is the file of Jozef me… that you can’t change things. You keep fight- what you did? You knew very well that he mountains around Jachymov. it seemed they were pointing fingers at me, Ernholz with first entry from 17 January VERONIKA I’ve heard this song, Klement. ing. I want to help you. was going to do it again, that he’d try to es- JOURNALIST Klement O. is your Klement. saying, but you’re the same, Veronika. Tell >>>> >>>> 94 1950. The target person disrupts the integ- You kept singing it all my life. If you’d loved JOZEF How can you help me?! cape to get back to us. You knew him well, VERONIKA That’s right. me when is this going to end…? Should I do 95 >>>> 2011

the same as all those neighbours, enemies, VERONIKA A secret… Jozef is standing at the barbed wire which YOUNG WARDEN I’ve never killed anyone. kind, which might – at least symbolically – dirty practices of the past regime, which and even cowardly friends who informed on JOURNALIST What secret? encircles the prison camp. He starts to turn COMMANDER There you go, it’s your first close this painful chapter of our modern we painfully feel also in our present. It is other people? They’re also responsible for VERONIKA It was supposed to be our secret around slowly. time. history. a highly professional report which has won the deaths of millions of Jews, or the mil- that I could call him daddy. His whole life YOUNG WARDEN Don’t turn around… Hands YOUNG WARDEN He just wanted the pic- him the First Prize in the electronic media lions that fell victim to the red hell. Including was one big secret. One big, bloody secret. behind your head! (Comes up to Jozef, ture… The young warden is being honoured. 1960. category and is a fine example of profes- my father. I still can’t figure it out how some ideology, searches him.) COMMANDER He wanted to escape. ... who did not hesitate to risk his life for the sional work. JOURNALIST You mean Klement or Jozef some inanimate, made-up thing, can turn JOZEF How old are you? And tried to hit you with a rock. I saw it. service and protection of the socialist sys-

i n tnow? e r v i e w s people into murderers. How long will the YOUNG WARDEN Shut up… You wanted That’s how it happened. tem. Therefore, we are honouring him with Slowly, Veronika walks towards the stone i n t e r v i e w s Veronika gives this a thought. thought give me the creeps before I can un- to get away… (The only thing he finds in YOUNG WARDEN But he… the highest military decoration – a medal for which is left on the spot where her father derstand it? Jozef’s pocket is a picture of little Veronika. COMMANDER I saw it and you shut up 1st degree merit. At the same time, we here- died. She picks it up and puts it next to the Scene 24 JOURNALIST Your father, and I mean Jozef He throws it away.) now. You killed him in self-defense and by promote him to the rank of a corporal stone she was holding all along. She squeez- A village in Zahorie, 1956. now, he’s the answer. He didn’t give in, but JOZEF I didn’t want to escape, I was just try- what’s more while he was trying to get and grant him an exceptional leave for the es both stones in the grip of her palms. KLEMENT Veronika? paid the highest price for it. ing to catch a glimpse of freedom... You got away. I’ll recommend you to be honoured. period of three weeks. May his deed serve VERONIKA Yes, uncle Klement? VERONIKA You’re right, it’s not about the a family? YOUNG WARDEN But… as an example for others. THE END KLEMENT If you want, you can call me dad- times, or the ideology, it’s about the people. YOUNG WARDEN I told you to be quiet... (He COMMANDER And promoted, of course. dy. That’s why I told myself that I’ll try to start is pointing his machine gun at Jozef.) Awarding the journalist. The present day. VERONIKA Yes, but mummy said... from myself. That I’m not going to do what JOZEF Give me that picture back. Scene 27 ... whose news report helped expose the KLEMENT It’s going to be our secret. You can Klement did. And believe me, it wasn’t an YOUNG WARDEN I can’t talk to you. At the turn of the millennium, deep in the call me daddy when we’re alone. And when easy decision to make, to overcome the JOZEF I’ve never seen her, please in mountains around Jachymov. Veronika is we’re all together, I’m going to be uncle Kl- hatred I felt. Each of us has to win our own God’s name, let me keep at least the picture. standing in the spot where her father died. ement again. We don’t want mummy to get judgement, first with our conscience and The young warden hesitates. He does not The final scenes are taking place around her. upset. then the judgement before God. Klement, respond. Including the punchline of her own story. VERONIKA A secret? too. That’s why I came here to look for the JOZEF (turning around slowly) Have you News report – the present day. KLEMENT People have secrets, you know. place where my father had lived. I at least killed anyone yet? The prosecutor’s office charged Klement And secrets are there not to be given away. wanted to touch the places he touched YOUNG WARDEN I’m new here… And don’t O., former employee at the Ministry of We’ll have a secret like that. when he lived. turn around. Till the others come… Interior, with crimes against humanity Peter>>> Janků (1974) graduated from the Faculty of Humanities>> at the Matej Bel University VERONIKA All right, uncle Klement. JOURNALIST But you can’t leave it like this… JOZEF Don’t worry, I’ll just pick up the pic- which he is believed to have committed in Banská Bystrica and the Academy of Performing Arts in Bratislava, Faculty of Drama and KLEMENT Daddy, Veronika... Secret… VERONIKA Do you want to do it? ture. in the 1950s. Our station was the first to Puppet Theatre. He got his PhD degree at the Institute of Literary and Artistic Communica- VERONIKA All right daddy, this is our secret. JOURNALIST It’s my job. YOUNG WARDEN I’m telling you don’t turn publish the information which may bear tion of the Constantine the Philosopher University in Nitra. He worked as an editor at the And what about mum? VERONIKA The young warden was also just around. witness of Klement O’s share of guilt in Television Markíza and TA3, and currently works at the Slovak Television as a producer KLEMENT A secret is a secret. Also for mum. doing his job. Jozef keeps one hand behind his head and the elimination of one of the prisoners at and editor. As a designer, he worked with the theaters in the Czech and Slovak Republics. VERONIKA OK daddy... Daddy, daddy, dad- reaches with the other one to pick up the the Czech prison camp in Jachymov. Tak- He is the author of music and lyrics for more than hundred of folk songs. Several times he Scene 26 picture. dy… ing into account the time when the killing was finalist of Journalistic Awards and he is the winner of the Open Society Found Award Deep in the mountains around Jachymov, YOUNG WARDEN Don’t do that!!! took place, as well as because of a lack in Television Journalism, and twice the winner of the price Zlatý Gunár (Golden Gander), Scene 25 1960. The machine gun fires. Jozef drops to the of direct evidence, it is very questionable awarded by the Academy of Humor in Slovakia in the song-writers category. His theatrical At the turn of the millennium, deep in the YOUNG WARDEN Freeze! Stop… (a machine ground. Another warden enters running in. whether the suspect will be convicted. play Kamene života (The Stones of Life) became Drama 2010 winner and got the prize of >>>> >>>> 96 mountains around Jachymov. gun fires) He feels Jozef’s pulse. However, this is the first prosecution of its the Slovak Radio. 97

The Code The Theatre Institute to the Slovak Theatre

An Annual 2011 of the Theatre ´kød – konkrétne o divadle´ in English The Theatre Institute (1961) is a modern European 12. It also organizes the Nová dráma/ New Drama institution under the Ministry of Culture of the Slo- Festival and the Dráma competition for the best Editor in Chief Dáša Čiripová vak Republic and its mission is to provide Slovak Slovak play. By joining the network of international Associate Editor and international public with complete informa­ and non-governmental institutions (ITI, ENICPA, Juraj Hubinák tion services regarding theatre. The priority of the IETM, SIBMAS, Culture Action Europe, FIRT, AICT) Compiled by Theatre Institute is its scientifi c and researches the Institute has improved its services designed Dáša Čiripová, Juraj Hubinák, Vladislava Fekete activities consisting of research of Slovak drama for Slovak theatres, theatre professionals and the English Translation covering the time from establishing the fi rst per- general public. By the continual, concentrated and Mira Mates, Maja Hriešik, Martina Petáková manent professional stage in 1920 until present; it professional work of its employees the Theatre Edited by Conrad Brand also takes part in other research works, co-opera- Institute, in the context of Slovak theatrical and Publisher tes with its partner institutions in various research cultural consciousness, plays a role of the equal Divadelný ústav Bratislava activities concerning theatre culture in Slovakia partner as well as being an inspiring element to- The Theatre Institut Bratislava and abroad, it takes part in organizing scientific wards Slovak theatre. The modern and constantly Jakubovo námestie 12 813 57 Bratislava symposiums, seminars, colloquia and other forms updated website, www.theatre.sk, off ers informa- Tel.: + 421 2 20487504 of presentation of their research activities. It also tion on the activities, projects and work of the -The Fax: + 421 2 52931571 e-mail: [email protected] monitors, examines and assesses Slovak dramatic atre Institute as well as the most integrated view www.casopiskod.sk production. Another of the priorities of the Theat- on theatre culture in Slovakia and is written in the www.theatre.sk re Institute is its documentation activity – a syste- Slovak and English language. The department of Graphic design matic collecting, editing, preserving and exhibition Theatre Documentation and Informatics collects NM Code of its collections. The Institute’s function today is and systematically edits documentary and histo- Print Dolis, s. r. o. to pro­vide services related to its special status of rical materials concerning the Slovak professional Logo the Public Specialized Archive (from 2002) and theatre from its establishing in 1920 until present Róbert Paršo the Museum of the Theatre Institute (from 2006). days. The department of Research and Editing fo- Cover Another important function performed by the cuses on the research of contemporary Slovak and Nora Nosterská Theatre Institute is the information and promo­ international theatre and publishing of theatrical tion activity and systematic informing of the public literature. The department of Public Relations pro- EV 3021/09 ISSN 1337-1800 about its own activities and other events taking vides a complete agenda of public relations of the part in Slovakia or abroad. It also pro­vides informa- Theatre Institute as well as consulting and exhibi- tion regarding Slovak theatre or theatre in other tion activities. The department of Projecting and countries; it prepares various statistics on theatre Marketing coordinates particular leading projects and analyses of cultural policies. The Theatre In- and activities of the Studio 12 and provides public stitute also performs activities which lead to orga- relations and marketing. From 2005 the Theatre nizing of cultural and educational events – inde- Institute has been performing activities connec- pendently or within a co-operation – using for this ted with the agenda of the Culture Contact Point. purpose its own multi-media space – The Studio www.ccp.sk