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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

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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 “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 82 EduMEMA – Artful Education Editor in chief of kød 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.).
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