Dear readers, Few words about Slovak theatre In this issue of kød magazine we are bringing you the best of Slovak theatre in the season 2 About the Slovak contemporary 2008 / 2009. Kød as a single monthly, covering the performing arts field in Slovakia theatre scene. Vladislava Fekete has been published for three years now. It has been offering an overview of activities in Is Slovak independent theatre Slovak performing arts environment – interviews, reviews, information on local, as well 6 forever doomed to be a squatter? as on international festivals, theoretical articles (not only theatre-related) by Slovak and foreign theorists, samples of plays, and in its specialised supplement dekødér contains also Maja Hriešik information on workshops and other events. This selection of articles from ten issues of Interviews kød presents current trends, directions and general situation of professional as well as 10 Give me a Space and I´ll Move independent theatre and its environment in Slovakia. the World Season 2008 / 2009 started off with big dramaturgical and creative ambitions and With Iveta Jurčová, direcor, plywright and challenges. However, in spite of all the effort only a few of them have been accomplished director of independent Pôtoň Theatre contents successfully and had met expectations. Slovak national theatre has prepared at least four 15 There Is a Bigger Cult of Culture attractive drama pieces in its repertoire – Odchádzanie (Leaving) by Václav Havel, Brecht´s in Poland Matka Guráž a jej deti (Mother Courage and Her Children), Schaffer´s Amadeus and last With Boris Kudlička, stage designer but not least Anna Karenina. But except for the latter, none of these plays has exactly The Implicity of Paradox With Eduard attracted a positive response. Theatre Astorka Korzo ´90 at the moment represents only 18 the role of once-was-good, historically important theatre from the 70´s and 80´ (back then Kudláč, director and art director of Žilina known as Divadlo na Korze.) Not only has Astorka abandoned its typical lyrically-poetic Town Theatre style of dramatic works and performances with which it returned again in the 90´s as 23 The Development of Reception and an original element in the context of contemporary Slovak drama; but it has become an Creativity average theatre which in some cases is a betrayal of its symbolic name. With Martin Krištof, dramaturg – theatre/ Very pleasing, though, have been projects by Bratislava based SkRAT theatre and new film projects of open cultural space activities of director Blaho Uhlár and his S.T.O.K.A theatre which at the break of the 90´s Station – Žilina Záriečie represented one of the most progressive and prolific creative teams in Slovakia. After Analyses and Reviews splitting up, an avant-garde independent movement in Slovak drama started to disappear Stage Pictures of State Theatre and till the day it actually hasn´t been resurrected. Only small theatre groups from other 28 Košice Ján Jaborník Slovak cities are keeping continuity in this. The most visible and most interesting activities in this field are brought by Stanica Žilina-Záriečie culture centre. Among their various 33 Happy end of the Whirlpool cultural projects there are interesting drama and dance performances presented. At the Peripeties Michaela Mojžišová end of the season they even managed to realise a so-called box theatre S2. DAB Theatre 42 The staging L & L is about nothing based in Nitra has been maintaining a very strong creative background and strong actors´ Vladimír Štefko base. Žilina Town Theatre has also recently presented their new and ambitious vision and 45 Portrait of an Artist as a Young Man Košice State Theatre can pride itself mainly on their ballet productions. Studio 12 based Rudo Leška in the premises of Theatre Institute in Bratislava continues in supporting young artists. 48 Stasi in Slovak or an Agent in Love The independent groups Pôtoň Theatre and P.A.T have been producing new plays and Soňa Šimková a Non.Garde is new theatre on the scene. However, the environment of performing arts The Perfect Portrait of Dreariness has been dominated mostly by dance performances this year. While in the international 52 Martina Ulmanová context contemporary dance is a very common and expected element of performing arts programmes, in Slovakia it´s been a bit more difficult for this genre to get through and Festivals become interesting for the audience. It seems that this season is a breaking point. Among 60 To Touch the Stars Dária Fehérová other projects worth mentioning certainly are ElleDanse and Debris Company, individual Festival of Human Values Dominika dancers like Jaro Viňarský, Petra Fornayová, Jozef Fruček – many of them working in Zaťková internationally respected ensembles. 64 (Not)waiting at the Train Station At the beginning of May an international meeting IETM took place in Bratislava, where the and Happy about it for the First best of Slovak theatres and performing arts groups was presented to foreign guests. Time Milan Zvada We hope that this issue of kød will at least outline the current tendencies and activities in Inquiry the field of Slovak performing arts. 68 Change of Slovak Theatre after 1989 Play We wish you interesting and pleasant reading. Dáša Čiripová 75 Vladislava Fekete: Brief Connections 86 Sarcophaguses and cash dispensers >>>> – extracts 1 transition – on a general level does not entering EU) is the small, almost Slovak theatre been so much oriented >>>> 2008 –2009 support new tendencies incited by more inconsiderable, participation of Slovak towards commercial projects as it is About the Slovak active theatre groups. They lack both cultural institutions in European system now. It seems to be quite taunting a complex system of support (regional of grants. Through the open door into how pompously new commercial or central) as well as the interest of Europe one sees a number of very theatres promote, and do not even try contemporary the public, so they can hardly expect tempting and interesting projects that to hide, their servitude to their financial to be successful either in their own are eligible for financing through the partners (Heineken Tower Stage, Teatro theatre scene surroundings or in demanding world of international European grant systems. Wüstenrot…). European theatre. The crucial problem is, however, acquiring the needed 50% of the budget Existing laws and a theatre What seems to be the problem? And on to apply for them. For this reason the network When explaining reasons why people cry Caligula in Camus´ states it is mainly be- what level does this problem need to be majority of theatres (state, city, regional Theatre in Slovakia is institutionalized cause one does not find things in the state they should be. Although this notion is solved? The main task is to confront the or independent) ask for help from the by the Law 384/1997 that became taken out of context we could nevertheless take it from the point of its general mea- prejudices that are presiding in / around Slovak Ministry of Culture hoping to effective on 1st January 1998 and also by ning and ask ourselves: are we capable of admitting to ourselves and others that the Slovak theatre. One, that Slovak theatre obtain the needed finances through the Law 416/2001 effective from 1st January (cultural) situation on the new map of Europe is still worth crying over? has nothing to offer to the international Slovak culture grant system. But alas, 2001 regulating regional theatres. Law scene because it’s lost its own identity, the Ministry of Culture is not naturally defines theatre as “independent artistic roots, tradition – in other words all able to support all the projects. Regions form, different from other art forms Theatre gives a certain idea of what the ambitions, how does contemporary in the theatre scene of ex-socialist that is a precondition or a pillar of and municipalities are duly silent by the presence of a theatre artist or world is about. Here, generalizations theatre reflect the relation between countries. In this respect, Slovak modern theatre in times when some although they could and should be representing objects on stage during tend to be tricky, the nature and the past and the present time, and – culture as well as its theatre is more re-evaluations or changing of references a part of this very important chain. performance and a partaking audience sense of theatre is to show as many last but not the least – does it reflect or less of a regional character, without are needed. What is to be done in a situation like allowing their possible interaction, with of life’s facets as possible, often quite anything previously stated? That is a lot serious affinity to modernize. Existing Second and a much more serious illness this? The answer is a very easy one: the main goal to provide the audience contradictory ones. Even if different of questions and we will try to answer exceptions only prove the rule and of Slovak culture and theatre, as such, is regretting the wasted opportunities. with an aesthetic experience.” creators have been shaped by similar those by analyzing particularities of go unnoticed in the big picture. Not the copying and applying of European But what is also to be regretted is This law, which hungers for a more up- experiences each one has quite an theatre consciousness in Slovakia. even the best Slovak performances are cultural models without the needed the absence of a clear and objective to-date definition (for instance, to clarify original and different view on particular capable of successful representation grounds for such novelties. A related criterion in the evaluation of grant

few words about Slovak theatre about Slovak words few what kind of subjects are eligible to be theatre about Slovak words few subject. The same goes for the question What is the problem of at significant European festivals; problem is to simultaneously promote applications. Often the destiny of founders of a theatre company or to of the meaning and status of theatre contemporary Slovak theatre? there is a big lack of international co- productions of classic Slovak pieces and a theatre company relies on a small define the procedure of the founding), – one might say theatre has already The story of the contemporary Slovak productions or exchanges of artists postmodern plays. This disproportion number of poorly informed members divides theatres into several groups: lost any purpose, others find it is still theatre is much more complicated as well. A Gordian knot of problems logically leads to chaos in dramaturgies of the grant approving board (on the 1. state professional theatres under the a knot through which history passes than one would expect. At first glance on the local cultural scene seems to of given theatres that wish to at the municipal and regional level) and auspices of Ministry of Culture; and even gets re-forged with great it is part of a perfect environment be more firm than one would expect. same time follow European trends very often their being ignored comes 2. professional theatres under publicity. Nothing is as dangerous as characterized by sustainable standards Communication between the theatre without being prepared to get rid of the from protruding progressiveness of municipalities and regional these extreme standpoints. But where of living and the participation on the and its audience does not seem to go traditions of the past. The exchange of projects so adjacent to the aesthetics government; does the truth lie? Well we can be sure bigger European stage with good in both directions. Expectations of “the ideas in the cultural field after entering of the mainstream. The question at 3. remaining professional theatres it is not lying somewhere in between awareness of Europe´s main economic spoiled TV audience” seem bigger and the European Union has become stake, so to speak, is: then what sort founded by juridical or physical as that famous saying implies, quite the and social issues. However, this seems more ambitious than Slovak theatre can much more flexible but Slovakia still of culture should be supported by person that are often marked as contrary. not to be enough to break the ice that overcome at the moment. Metaphysical lacks clear cultural policies and clearly the government? The answer to this independent theatre; has been created in the course of craving in search of the essence of defined standpoints that would enhance question should be incorporated in 4. non professional theatres as a specific Being drawn into the “game” of many decades (1968 – 1989), and it is theatre seems to be flying somewhere the transparent promotion of the given national cultural policies, the one that – form of the expression of amateur describing the nature of contemporary not sufficient to meet requirements of between the first fly bar and a rostrum. ideas in the local environment. as we have already mentioned – at this artists theatre (in particular the Slovak one), the exquisite taste of the westerner Cultural stagnation – a terminus The third problem that has been moment is not at all clearly defined. the core questions that stand out are: theatre goer, who is obviously not technicus that is becoming a new >>>> influencing the state of culture for The long term effects of the current This division regulates also the question >>>> what should be its present role and particularly open to a change of opinion form of artistic style in countries in 2 several years (from the moment of situation are devastating – never has of the financing of artistic groups. 3 The Slovak theatre network consists relevantly celebrated the diversity of the from the cultural system of values and >>>> 2008 –2009 of twenty five theatres (four state, contemporary theatre (e.g. International evaluation. The Slovak scene is not Although the European model counts model. The exceptions to this rule productions are therefore in direct nineteen regional and two city ones) Festival Divadelná Nitra – oriented a mere copy of In-Yer-Face theatre or the with the effective making use of many are more or less random and are the connection to good will, ability and and twenty six independent theatre towards contemporary theatre and one of New Brutalism… It is a specific different sources of financing – relying result of an attempt by some groups pliancy of the state powers. These groups. Minority theatres also come dance, Festival Nová drama / New state of things that tells a lot about who only partly on the state budget (in the to relate and cooperate with a third might be at the moment the most fragile under the category of theatres financed Drama – oriented on productions based we are, and especially about the state way NGO sector has functioned for sector by means of taking part in features of the contemporary scene, and by the state budget (Hungarian theatres on contemporary playwriting, Stretnutie in which Slovak culture and theatre years), almost all types of theatres in international projects. The functioning are at the same time the main subject in Komarno and Košice, Ukraine- / Meeting and Festival Bábkarská is in. Inspiration could be drawn from Slovakia tend to hold on the classical of theatre, nature and quality of artistic of public cultural discussion for several Ruthenian theatre in Prešov and Roma Bystrica / Puppetry Bystrica – oriented Russian theatre to which Slovak culture years. theatre in Košice). Except for four state towards European contemporary is related deeply. It was also facing theatres: Slovenské národné divadlo puppet theatre, Bratislava v pohybe / a big vacuum and a lack of interest (Slovak National Theatre) in Bratislava, Bratislava in Movement – international from the “developed” European market Theatre Nová scéna in Bratislava, Štátna festival of contemporary dance, Project until the beginning of 21st century. opera (State opera) in Banská Bystrica Istropolitana – an international meeting The spectacular comeback of Russian and Štátne divadlo Košice (State of theatre schools, Zámocké hry drama and theatre to the first league theatre Košice), all the rest are under zvolenské / Zvolen Castle Festivities – of European theatre first happened the administration of the municipal a summer festival of drama and opera, in 1997 by means of the “Russian counties (Slovak regions) and cities (for the Festival of independent theatre in programme” at the Avignon festival, example Žilina and Rožňava theatres). Košice, and many more. and later with the founding of the This network was formed after year Chekhov festival which attracted many 1945 and in spite of smaller or bigger How much respect do we have theatre creators and theorists; and last, attempts at its re-organisation, it is still for our own theatre culture? but not the least, an important taking valid today. An intense development Finally we reach the question: what part, at the Royal Court theatre, in the

few words about Slovak theatre about Slovak words few of the independent theatre scene place does the Slovak “theatre variant” Golden Mask festival in 1999, when the theatre about Slovak words few started at the end of 1980´s. The most have on the map of Europe? Does it English discovered Russian drama and successful of which are Radošinské have anything special to offer? Is Slovak theatre and then to Europe launching naivné divadlo (Radošina Naive drama strong enough to promote itself the Russian boom of new writing. From Theatre), STOKA Theatre (from last in an international context? that moment on, Russian theatre has year S.T.O.K.A.), Stúdio L&S, GUnaGU I dare to say – yes it does. One should become an important part of each big Theatre, a.ha Theatre, Teatro Tatro, not forget the most important thing European meeting and presentation. SkRAT, MED, Phenomenontheatre... – elementary trust in one’s own The success was partly due to the With the progress of time the network is national theatre and tradition. That realization that new theatre comes out further developing, contemporary dance is the only way it can liberate itself of getting in touch with tangible life. companies keep emerging so that the from the chain of the local limits. New Maybe that is the key that reveals the most promising export projects at the European theatre or the new “theatre” essence: until we start to cherish all moment come predominately from the of Europe will find its next “Bastille”? that is creative in our own cultural milieu of the independent scene. The hope remains that no matter the surroundings nothing will significantly expectations and prejudices of theatre change, even if we had a theatre The whole socio-economic setting is artists, new Slovak theatre will slowly tradition with an impeccable and long not favourable to culture and art but but quite indisputably draw attention lasting tradition. like in fairy tales miracles do happen. to itself because it is already finding This holds true especially in the case its own unique way. That requires Vladislava Fekete of theatre festivals. In the last couple of course a certain support not only Dramaturg and General director

>>>> of years a number of Slovak festivals from the wider audience but also of the Theatre Institute >>>> 4 Reduction (azas). S.T.O.K.A photo: C. Bachratý 5 Is Slovak >>>> 2008 –2009 independent theatre forever doomed to be a squatter?

Europe appeared as a big wreck with a scarred landscape at the end of WWII. Some nations and their govern- ments naturally wished to efface all the marks of the previous destruction (and political mistakes) as fast as possible – so they started the instant rebuilding of cities and destroyed communication networks. The goal was to provide citizens with the feeling of a better tomorrow – with which a new (renewed) architectural identity went hand in hand. Some countries however did not rush into the re-building process for many diffe- rent reasons – one of those being naturally a financial one – but also because of the realization of the power that ruins have as mementos. Therefore they rather conserved the shabbiness instead of pretending nothing had happened. It was part of 1960´s philosophy to overcome financial obstacles by intentionally admitting defects – so that buildings and even parts of towns were transformed from a regular piece of architecture into a memento of destruction (Frauenkirche in Dresden, Gedaechtniskirche in Berlin...). Changing the me- aning of the architecture of afflicted areas as such, and making use of the fact that something was crippled was also a part of the reconsideration of the guilt (mistakes) of past that characterized 1960´s and 1970´s especially. The conserved and destroyed architecture became a bridge of remembrance joining future ambi- few words about Slovak theatre about Slovak words few theatre about Slovak words few tions with past (bad) experiences. S2 - box theatre - Stanica Žilina - Záriečie photo: D. Dobiáš

This tendency of intentionally making use historical excursions into urban theatre scene of 1960´s and 1970´s. of something that is originally inadequate philosophies, and a history of avant- – they colonize non- comfortable, or with a different purpose was, in the garde theatre is related to my belief abandoned, dilapidated and sometimes addresses”, but in most cases – with the In the history of contemporary Slovak existing system of theatre buildings / course of second part of 20th century, that the Slovak theatre scene has even inadequate spaces in the centre exception of Stanica Žilina – Zariečie – theatre there are two significant spaces nor did they go deeper into repeated many times in the countries of never been so directly subordinate and of big cities, often former industrial collectives lack consistent dramaturgic breaking points. The first came after the redefinition of the relationship Western Europe. Artists used to colonize dependent on local urban politics than buildings. What characterizes these goals and sustainable models of 1989 and was connected with the between spectator and creator (which abandoned warehouses or factories in at the present moment; we have rarely dwellings is that the artists literally financing for every day operations. political and ideological loosening, was an important element in other which they searched for new ways of experienced such an absence of any squat, attuning their work to the Therefore the founding and termination which meant new redefinitions of the fields of art at that time, especially the communicating with the audience, ways mature consideration for continuity in possibilities and characteristics of the of the existence of new spaces / artistic staging methods and new discoveries visual arts). We could say that in this to protest against the commercialization relation to urbanism and its influence given space, not being able to format collectives has to be appraised as one of old contents and artists (mostly period both theatre creators and the of everyday life and redefinition of their on the cultural contents and quality of either the dramaturgical plan for the of the contextual signs of contemporary those who were silenced during audience believed both in drama and own methods of work. everyday life of its citizens. whole season nor level of attendance at theatre tendency, and also as a defect regime). After decades of being on the classically defined performance The reason why I introduce this Momentarily, the tendency of Slovak particular programmes. Creation of new of the today’s Slovak urban and city periphery of interest they were given space (stage). Independent scenes reflection of the Slovak independent independent creators is, in a certain groups and the aesthetics of their work >>>> culture. the possibility to create, therefore they and the official one did not differ >>>> 6 contemporary theatre scene with way, similar to that of avant-garde are linked to the nature of “squatting did not have big reason to question the significantly in the way of staging. The 7 main difference was the amount of a new, better official Slovak tomorrow. DVD Showcase KioSK – New Slovak the other hand try to cooperate and contemporary European and Slovak >>>> 2008 –2009 budget available and naturally also the Local and regional MPs quite openly Independent Performing Arts, issued by provoke local audience. staging tendencies. The expectations number of creators involved, as well as started preferring the interests of the the prevailing trend of passivity which Theatre Institute Bratislava 2007). The towards this segment of the theatre spectacularity of the set. investors and not the residents of the city was drowning the younger generation Slovak independent scene is moreover In the last two years many new scene is to strengthen itself by the The most distinctive independent / city areas. of theatre audiences and their general itself something like a temporary collectives have invaded new industrial freshly founded network Antena (in May and also avant-garde company of the This blitzkrieg with the original mistrust towards the theatre. architecture – a stand in which the spaces as a deliberate and planned 2009) that intends to link all significant time, Stoka theatre, was working architectural identity that characterized methods of creators are characterized by: urban scream for protection and for independent centres and collectives for almost a decade in a situation of the beginning of the 21st century (not In an attempt to define the main – brief and concise expression, brief saving of the architectural memory and solve some of main problems or permanent temporariness, but mainly only in Slovakia but also almost in all ex characteristics of the theatre scene that project preparation of the cities. Many of them have obstacles connected to financing in concerning their financing. In the Soviet countries) often had the form of we mentioned in the beginning, German – mobility (migrating groups from proved to be very important elements connection with the Ministry of Culture late 1990´s they launched a model a merciless war for any, even a slightly theatrologist H. T. Lehmann used as an one space to another, or migrating of cultural life in the region (Stanica and local municipalities. Although for gaining financial help from many interesting estate. Coming out of this inspiration a term from the field of visual artists from one collective to another) Žilina – Záriečie, Kasárne Kulturpark being far from ideal these new spaces sources and were one of first who situation and reflecting the general arts site specific – introducing a term and adaptability (of technical Košice, Elle danse, Cvernovka, A4 – were and still are in many ways the succeeded to independently provide dehumanization of the cities and urban theatre on locations. Originally it meant requirements or working methods) zero space in Bratislava …) but what ones responsible for introducing new whole years repertory programme with plans for the future, architecture and the reaction of artists to actual political – non too ambitious financial is still lacking is the vision of more topics and methods even in the official only the help of domestic and foreign space became one of milestone topics situations and was a method of how requirements sustainable and long-term financial theatre scene (documentary theatre grants, as well as being one of first to for the work of many new independent to attract the local audience, ordinary – the short durability of the collectives backing. Of course the existence of so and verbatim, everyday language, adapt for theatre a building originally projects and cultural initiatives. It was working people within the region, to be – homelessness called kulturfabrik in Slovakia is nothing the art of detail, micro stories, new or designed for the Municipal Transport reflected both in the choice of the interested in theatre although they might This last aspect – a problematic unique from a European context, but collective authors, reflecting changes Company of Bratislava. There they had subjects – questioning lack of space not have been so in the past. The other situation with theatre spaces (lack of a certain difference nevertheless does in communication by introducing new more or less a steady programme and or its adequacy for living / working, goal was to bring theatre (and people) them) which is particularly yearning exist. In countries like The Netherlands, technologies, etc.). Although the main repertory until 2007. During this period tracing its degradation, destruction or to unusual spots. The tendency of for some attention (or cure) is the Denmark, Germany or Switzerland these goal of the Antena network is not to they also introduced new methods of monitoring its final destruction, as well mixing theatre contents with authentic fact that the core of independent spots on the cultural map are an equal directly help new artistic discoveries surroundings (settings) had originally few words about Slovak theatre about Slovak words few work such as the deconstruction of the as in the methods chosen to reflect them contemporary artists and collectives part of the big picture of official culture, or provide creators with feelings of theatre about Slovak words few principles of narration and a collective – choosing authentic spaces (spaces in 1970´s had two main intentions: to create under very unstable conditions, in some countries even the pillar and continuation, it indirectly reacts to model of creation for the text through with a peculiar urban history that are draw attention to architecture from often rather abroad than in Slovakia. pride of it as a result of community the need for a more regular way of a method of fixed improvisations. But abandoned or endangered) for the short a historical point of view (architecture Although methods of their work range initiative and effort. In comparison functioning for centres, and to overcome from the point of how they dealt with or long term residence, the creation as an artefact that is being forgotten, from contemporary dance, movement to some more fortunate examples of exigencies preventing projects being performance space or theatre building – of a cultural centre or organization of or is about to disappear). The second theatre, devised work or even puppetry, European cultural practices, Slovak more or less a one time try out – often they did not go very far from the classic a festival to point out the forgotten part ambition was to enrich the productions from the point of existent conditions cultural programmers and managers connected to a particular festival (e.g. concepts. of the town. with the polemical meaning coming from they are conspicuously similar – lack are still in the position of homeless projects in Cementáreň, Cvernovka), In 2007 however another significant The change in interpretation of what the contrast of the imaginary set and real of personal space. But a positive side people who each year keep their fingers and attempts to try to widen its regular tendency culminated which is where a theatre space could be was naturally environment, creating a frame within effect of this problem is the existence crossed to “endure another winter” audience. Independent Slovak theatre I find a second breaking point in the connected to significant changes in a frame. In this type of space creators of interesting multicultural “houses”, in (theatre season) in a given space. This therefore, in the season 2008 / 2009, latest history of Slovak theatre. The the social and cultural sphere which and spectators are both merely guests a way “detention cells” for all homeless temporariness influences, naturally, was still like a vagrant during winter, merciless urban modernisation of lead creators to search for new ways who are sharing the mutual spatial collectives thanks to which they reside – their dramaturgical ambitions, often dealing with the problems of survival Slovak cities started crushing fragile of approaching the audience and situation. The attendance of performance create (as artists in residence) or present the programme is improvised, and they and with merely existential problems, non commercial objects (buildings) and finding new ways to awaken the urban becomes more than just being witness their work (festivals). These centres are darning the “holes” from month to but perhaps it is finally reaching the subjects (artistic collectives) in the name awareness of citizens. Some creators to a show, it becomes a shared time with go along the lines of the previously month because of the lacking of a long question of quality of life as well. of the pre EU accession, glamorizing the started “theatre squatting” also for others within the particular performance mentioned urban protest (they grow term financial guarantee. towns. The most expressive signal of more or less personal reasons (Blaho qualities of the space /city. out of already existing architecture: In spite of everything, it is still a miracle Maja Hriešik this new philosophy was the demolition Uhlár, Šárka Ondrišová) trying to We can trace signs of theatres on buildings of a railway station, cinema, that any of these initiatives exist Director and Department the of the Stoka theatre building. This get new inspiration after a period of locations in all above mentioned factory, radio studio…) without ever and prevail – being momentarily the of Projecting and Marketing

>>>> act signified clearly that non commercial creative and operational exhaustion. aspects of the Slovak contemporary trying to pretend to be perfectly suitable only meeting point of new creators of Theatre Institute >>>> 8 art and culture will not be made part of Squatting theatre was also a reaction to scene over the last couple of years. (See for art creation on presentation, but on and local audience, as well as of 9 You´ve actually changed the >>>> 2008 –2009 entire theatre group. Give me a Space Yes, there are only four actors from the original group, our manager and director Michal Somoš, Michal Ditte, And I´ll Move dramaturge Pavel Graus and me.

the World And today you are struggling with lack of your own and permanent premises... If the stage is a space and the world is a theatre, then the world can be moved, in- We constantly have to cope with the deed. Theatre moves our inner, private worlds, the worlds inside us. All the eleva- fluctuation of people. One thing is the

interviews ted ideas about theatre are however brought to earth by one prosaic need – to have managing and organizing of a theatre. interviews a space for performing theatre. Director Iveta Jurčová has been struggling with an The four of us can cope with this. urgent need to have her own theatre. This interview is about searching: for a space But another thing is the acting team. to do creative work in and for feedback. Theatre without actors is ridiculous. I don´t really know whether it´s possible to have a permanent team of Was it your desire to found there. A heated room, a set of keys we When was it that you decided actors in an independent theatre. I´ve a theatre? could use anytime and four spotlights! to professionalise your become quite sceptical regarding this It was probably a necessity or Even better: a good bus connection. activities? in the last years. Since 2003 there is the desire of several people. Ten At that time actors and authors from It was a necessity also. It wasn´t enough not a single actor left from the four we years ago there were plenty of good all over Slovakia travelled to Pôtoň for us to meet just from time to time. We started everything with. There were amateur theatre groups working in (Liptovský Mikuláš, Rimavská Sobota, wanted to work more systematically. various reasons for them to leave us Levice district. People I worked with, Trebišov, Banská Bystrica, Bratislava, This urge was even more emphasised (commercial interests, studies, death, I could choose myself. They were great Levice, etc.) but we had been ever when, together with the dramaturge and motherhood.) We can´t provide our amateur actors. They had ambitions as more demanding. After some time it Michal Ditte, we enrolled in the Academy actors with permanent engagement well as creativity. At the beginning we simply wasn´t enough to have just of Music and Performing Arts (VŠMU) and a job, but on the other hand, if we rehearsed in cold, stone culture centres four spotlights and a heating system in Bratislava. Another reason was that did, how we would differ from stone around Levice, since theatre season in anymore. So we moved to Levice. Some we had become a threat to the rest of theatres? An actor in permanent work an amateur theatre and preparations of us had changed our addresses, performing groups around amateur must act in productions he/she can‘t for stagings start in winter. We were literally, for this reason. We had theatre festivals. The decision was made entirely identify with but is paid for all wrapped up in fur coats, scarf’s and conditions, not many amateur theatre after some internal, as well as external doing so. It´s a vicious circle. And it´s gloves, and drinking hot tea and our groups could dream of. However, as is impulses. When we were awarded the quite difficult to find people who´d have costume fittings were very brief. The common in Slovakia, with the arrival Creative Work of the Year Award for the same attitude. That´s the core of it, truth is that we were rehearsing a lot of a new manager, the once ideal Antigona in 2003, we said to ourselves – in my opinion. To find actors „devoted” more than it was usual for an amateur conditions turned unbearable. The need we´ve reached one goal, now we have to to the ensemble. It´s diffciult in our theatre. It was already back then when to find another space was there again. look for a new one. Even if I were afraid case also because Pôtoň already has its the urge to find good (heated) premises We rented commercial premises in the as to what will happen with a group of tradition and so all the new actors enter for rehearsing came intensely forth. town´s centre and in 2005 we launched 14-15 members who felt otherwise, but it as a group of strangers, to a strange Dve slová (Two words) theatre. cleared itself up. We parted on friendly theatre, a strange environment. Our Where was Pôtoň Theatre terms and I know even now I can always current focus is to co-operate with some originally founded? It sounds as if to look for count on those people. It was their actors on several projects at least, more

>>>> We started in Zlaté Moravce. It was premises was your destiny. decision, they didn´t want to go further or less regularly; to get to know each >>>> 10 actually the premises that brought us Definitely. on with us. other better and to give them a chance Iveta Jurčová photo: M. Ditte 11 to decide whether they really want to we are forgetting that a spectator year free contract to use it with who I know and who I have an intense the acknowledgment of the theatre´s >>>> 2008 –2009 work in this kind of theatre and that´s must be educated constantly. We keep the municipality. We don´t expect relationship with; so that there is existence and acceptance of its art work a long lasting process. We´ve managed complaining that theatre goers seek Pôtoň Theatre has had hundreds of spectators travelling to a „humanness” working, not just a work is even greater. Actually the smaller the to create this kind of relationship for B class musicals and like them but a long amateur past but see us but those who found their way relationship. To know each other, help commercial advertising campaign, the instance with Henrietta Rabová who that´s our responsibility. If we don´t it´s been quite a while now to Levice, will find us in Bátovce as each other, inspire each other, provoke mass box office numbers or starring now works with us on regular basis. show them there is a different kind of since it´s been established well. The important thing is that we´ve each other... names in the programme, the bigger the theatre, we can´t make them perceive as a professional theatre. finally found the right place for our need for appreciation gets. Do you feel that the category it as something interesting and then Haven´t you considered that educational projects and creative work. of „an independent theatre“ is we can stage plays only for ourselves. the title Pôtoň constantly So theatre is something like And do you feel the feedback? binding for you in some way? Performing artists will perform pushes you back into Is it worth investing so much a family to you. I really do miss the open and sincere How different it is compared exclusively for other performing artists; a category which you´ve mental and physical energy In certain sense of the word, yes, it is. discussion I´ve experienced in amateur already abondoned? interviews to stone theatres? It´s basically what is happening now. into a building in a small festivals. It took me quite a while to interviews We all have accumulated functions in Theatre has become an intellectual It is so in a certain sense. Many people village? Do you think Pôtoň Theatre learn to accept a critique, but eventually Pôtoň. An actor is not only an actor, item and its main function thusly can´t tell whether we are an amateur I don´t know. I keep asking whether this in Bátovce can acquire such I have learned it. Even if I never said a manager is not only a manager; disappears. I, personally, think theatre theatre or professionals. Mainly now, is the right way, whether it wouldn´t a strong name that will anything, and I was told many times director is not only a director. should be for the masses and the when we moved to Bátovce, the be better to host in various theatres. eventually sound familiar not that it always had upset juries, I always Sometimes it gets quite hard but it´s masses should get familiar with it to productions will probably be even more Or do something entirely different only in the region, but also remembered everything and I think that also inspiring. I quite like if I can get understand it. difficult for our sales people to sell. all together?! I don´t know how to for instance in Bratislava, and was obvious also in my further works. off the director´s seat and check on Starting off a new period in new premises, answer this question. But the machine people will travel to see your Everything is somehow blurred among the drawing sheets (costume designs), And you think you could though, we have been contemplating is running already and I have a certain performance? professionals, as if we were afraid to or sit by the sewing machine, or grab achieve it by educational a change of the theatre´s name. responsibility towards people who are It´s always good when people know tell each other „this didn´t work, really”, a scoop and prepare an opening party projects? in it with me and I have to be stubborn about you. One reason for this is the but it´s normal, isn´t it? One day some reception, or just walk out around Of course, I am not wearing rose tinted You´ve moved to Bátovce. enough to accomplish the idea I´ve set actors who I´d like to approach to enter things works out, the other it doesn´t. the theatre carrying this and that. glasses. That would be naive! But I think Why there? forth. There are years of thinking and the group. It´s important that they We need to be able to talk about it! But comparing it to stone theatres, that´s the way forward for theatre. If The theatre club we were working re-thinking behind it. know what this project is about, what the most important difference for me theatres focused on their educational in just wasn´t big enough for us, to expect. This is one of the reasons Is it diplomacy, or lack of is that I can freely decide whether aspect and concentrated their activity anymore. The rent was too high and And what´s the vision? for being recognized but it´s not so interest? I am going to work on a project or on that instead of producing so many we couldn´t rehearse there, really. It To create an ensemble which would necessary for us that the wider public It´s diplomacy and lack of space for not. The rest is just the same – we plays, time would show. At least twenty was just a place for performances and function for at least ten years? To pull know us. In our educational projects publishing articles. One professional have a repertoire, we need to do some theatre goers would change their those had to be very small. We´ve together a group of people who´d know we focus on certain groups of people magazine is too little and several lines commercial activities, but we all have opinion. grown weary of having to roam around why they are there and for what. To and we approach them selectively and about a staging in some daily just can´t to agree on these commercial activities. Levice, constantly between the office make them have their own individual address them directly. We don´t need be taken for a review or an analysis for We all – the whole team – must know Maybe the educational aspect and the storerooms, back to the office and clear goals, to understand why they to – and never will – be famous like e.g. naming things correctly. The performing what and why we are doing something. of theatre is important for and to the club and to rented culture are in this theatre and why with these Radošinské naivné divadlo (Radošina arts movement in Slovakia hasn´t been Money is not necessarily the main you because you don´t live centres. We also used a lot of gas, by particular people. Naive Theatre). That´s not our goal, nor mapped so far. The focus of criticism motivation for the group. Sometimes in Bratislava. Have you the way... So we started to look for our desire. All together a different thing, is on stone theatres and primarily on we want to approach a certain group of ever wanted to work in the a new place. One which would have Do you mean, creating though, is to make ourselves familiar those based in Bratislava. Since 2003 people and then we choose a different capital? everything in it – storerooms, offices, a community? with theatre professionals – professional we´ve produced seven stagings and kind of project regarding both theme No, I haven´t. It absolutely fascinated theatre hall, studio, rooms for guests. It depends on what you have on mind public. We can be as independent as thirteen educational projects for theatre and difficulty. me when I was a village kid. Galleries, We couldn´t find anything close to by „a community“. The word has we want but we are still dependent on professionals. There was one article museums... My mum used to take me that in Levice, but we´ve managed to become quite profane these days and at least a moral evaluation of our work. published about one of our projects, For instance? to theatres... That´s when I wanted to discover a culture centre in Bátovce everyone is a bit afraid of it. I don´t Everyone expects some feedback when in a professional magazine but no I think that in stone theatres there is live there, but it doesn’t fascinate me (10 kms away from Levice) which after want to create a group of people who´d he does something, not only from the review whatsoever. There were three

>>>> a lack of educational performances and anymore. It´s rather tiresome. reconstruction will be just what we spend 24 hours a day together. It´s audiences but from our colleagues, too. reviews in a daily, though, but could >>>> 12 those are very important to me. I think need. We´ve managed to get a thirty important for me to work with people In an independent theatre the need for that be really called a review? I see 13 the critic as a partner who helps me someone would teach me how to direct; >>>> 2008 –2009 to move forward. Like some sort of it´s not possible, anyway. I also got to a dramaturge from the outside. I need know actors there, whom I can approach There Is a Bigger to be surrounded by critics who will now to co-operate with me in my new inspirational and thought provoking be capable of looking at the theatre projects. The contacts I´ve gained there for everyone, without this kind of I do and define in what direction it´s are priceless. But I missed the feedback, approach. cult of Culture heading. an open forum, a discussion there, as well. And in school, in the process Don´t you ever perceive the In Poland Don´t you think you have of learning and creating, it is maybe work of a director as based such a strong profile as even more important than in practical, on a masculine principle? No. In families it is also women who a director that you´ll go in professional life. Thanks to him we take pride in having won a gold medal from Quadriennale (Pra-

interviews your own direction regardless more or less direct everything, but people interviews gue) in Slovakia. However most of his scenographic works have been created abro- of what a critic has to tell As a woman, did you have don´t talk about it so much. I – a woman ad. After two ballet productions in the Slovak National Theatre (SND) he finally got you? to fight for your place in the and a director – understand a woman- I don´t think I´ve got a set profile, yet. world of theatre? actress probably better. But, on the an opportunity to present himself in a genre tailor-made for him – in opera – Orpheus There is certainly a unifying element I never think like that. In theatre, other hand I suppose a man – director and Eurydice. Stage designer Boris Kudlička. to all my stagings, but I keep looking everyone has to gain his place and understands a man – actor better. It´s for something new every time. I always position. It´s complicated in Slovakia. natural. The prejudice towards women have a different goal ahead of me. And We all know each other and so that´s – directors probably comes from the Your artistic family very interesting for me: but anyway, Krakow, and Kreutz Majewski offered there is always something new to try. why it´s natural that even co-operation fact that they use a different approach background was one of the there is no recipe as to how to do a good me a position as his assistant in Teatr at work often goes through friendships. in their work. There is definitely factors which predestined scenography. Wielki – in the National Opera of Michal Ditte has been an I can´t really imagine, I´d come to a woman – mother element in it or in my you for a career as Warsaw. exclusive dramaturge of the a theatre, present my vision and my work certainly, at least. There are two a scenographer. Who else, After graduating at the theatre, aren´t you afraid of project and they would accept me. functions or ways of being a woman except for your father of Academy of Music and In Poland, you´ve gained stereotype? But this is what should change if we that project themselves into my work. course, left a distinct imprint Performing Arts in Bratislava a reputation as an excellent Yes, indeed, we could easily get stuck. want an equal chance for everyone, Motherhood is something you can´t on you? (VŠMU) you worked shortly in opera stage designer, based But we do like co-operation with other especially for young authors who´ve really neglect. And as we´ve already My path to theatre was divided into the Puppet Theatre of Žilina predominantly on your artists too, so if we manage to build just graduated. Theatre might be said, theatre is a kind of family to me. two periods. The first, the natural, as a costume designer and stagings at the Warsaw Opera a theatre that can afford to invite new losing many talented people, as well was my family. But already during my a stage designer. But shortly in co-operation with Mariusz artists, we will do it. It will also ensure as stagings which might be quite Dária Fehérová studies I met an important authority after that you left for Poland. Trelińsky. What has been the that we don´t get tired and are able to of Polish scenography Andrzej Kreutz Why has Poland become your source of your shared poetics? continue with our own activities. Majewski. I saw his work at Prague´s artistic home? Our vision of opera as a genre, the Iveta Jurčová Quadriennale in 1995. His work was I was looking for an authority – direction in which we´d like to see You came to the Academy Director, artistic director of Theatre Pôtoň and author of educational programs. She everything; but what I´d seen before someone who´d showed me the true (VŠMU) as a woman with studied directing at the Academy of Music and Performing Arts. As a lecturer, she and what I´d expected. It was very backstage of theatre. We had good was leading dramatical workshops for the international festival Divadelná Nitra, clear opinions and directing much like painting, rich in structures, professors at school but back then, cultural association National Culture Centre (NCC), Theatre Pôtoň and the cultural experiences. Could the school center Stanica Žilina – Záriečie. Since 2002 she has been working as a methodo- as well as in layers. His works were however, I needed someone who could still offer you new things to logy specialist for theatre at NCC and since 2008 she has been teaching dramatic very inspiring in its dramaturgy and show me into the ‘theatre´s kitchen’ learn? production at The Private Conservatory in Nitra. Besides Theatre Pôtoň she direc- in the way space was considered and a lot deeper. And I found this person in At the time I applied to the Academy, I´d ted at The City Theatre Zlín, The City Theatre Bratislava, The Puppet Theatre Žili- approached there. My second very the above mentioned Andrzej Kreutz na and The Puppet Theatre Na rázscestí (at the Crossroads) in Banská Bystrica. had six years experience of directing in influential person, even if only virtually, Majewski who taught at the Academy The characteristic sign of her directing is a balance between the realism and ex- a theatre group. But I felt I needed to get pressionism. She sees the world as a grotesque reality. She brings surprise to the was Josef Svoboda. So I was influenced of Design (Akademii Sztuk Pięknych) the appropriate theoretical education situation that might seem ordinary at first sight and also hyperbole, which changes by these two artists whose work was in Krakow. So after our coincidental

>>>> and that´s what the school was able to the perception to a different level. Her performances do not search for the general quite different from one another, but it meeting at Quadriennale in Prague >>>> 14 provide me with. I didn´t expect that truth, they show herself, her experience and opinions. was exactly this connection that was I contemplated postgraduate studies in Boris Kudlička photo: B. K. 15 and can „breathe“ with the actors. It 2008. A year ago the political situation the moment of working on an art piece, >>>> 2008 –2009 can really improve the dramaturgy of in Poland changed again and there personal animosities and conflicts are Your work clearly shows that adaptation. is a liberal government now. Mariusz pushed aside; people brace themselves you are not a follower of the together with the former Minister of for the sake of a mutual project. museum kind of theatre. In Some time ago both you Culture Waldemar Dabrowski were Slovakia the question „prima and Mariusz Treliński left asked to return to continue in the You´ve deserved your la musica e poi le parole – or the Polish National Opera direction they had outlined previously. reputation which is mainly vice versa?“ emerges from in Warsaw but now it seems for your opera stagings. Has time to time and it has been that the co-operation has Orpheus and Eurydice is a co- it been always opera that was revived in the latest stagings been renewed. production staging. Would it dearest of the genres for you? of Rusalka, Eugene Onegin In Poland, as well as in other post- be so even if you hadn´t been I have to confess that during my studies

interviews or Troubadour. Is it a correct socialist countries, the interconnection working in Polish National opera was the last to interest me. The interviews question at all? between theatre and politics is quite Opera in Warsaw? problem might have been that it´s a bit I assume we all know the answer – the wide spread and intense. During the When Silvia Hroncová took the post of an avoided subject at school. I got ideal is a proportional balance in an art first management period of Mariusz of manager of the Slovak National a chance to experience it really only piece on stage. Sometimes, a strong Treliński at the Polish National Opera, Theatre (SND) she contacted me and after I had started working with Kreutz visual shape can oppress the musical where I co-operated with him closely in Treliński asking whether we would be Majewski. He showed me the beautiful part. Our goal is to find a balance and terms of organizing and artistic work, interested in work on a project for the world of opera – the great screens that a good scenic concept in accordance the government had changed. Brothers opera house in Bratislava. We agreed on could be intimate and at the same time with music. Music is a set element in Kazcyńskis got on top and Treliński Orpheus and Eurydice. This happened very deep with regards to psychological opera. And our task is to process the was back down. It wasn´t so much for almost at the very end of Treliński´s analysis. Today´s opera is actually artwork and create an interesting story. his influence of a manager in an opera first era at the Warsaw Opera and so a competition to drama also in the W. A. Mozart: Don Giovanni. Los Angeles, 2003 photo: TI However, we have to be very careful to house as an honourable position but it the following year and a half was quite segment of acting. not over use certain attractive means. was for his potential influence on public demanding due to the change in its it develop further is similar in our a break. I have an advantage, though: But if modern technologies make the opinion. The image the new Minister management as for the formalities. It probably opens larger imagination. Mariusz is very similar I work with other directors too so I have story better and more interesting, I see of Culture had regarding the function The new management at the Warsaw spaces for metastories? to me in his sensibility as a director, the opportunity to meet with various nothing wrong with it. of culture and art in society was Opera wasn´t inclined to this sort of co- Yes, indeed. It´s a fact that text doesn´t for his scenographic perception of styles and ways of expressing. I have diametrically different to that of ours operation. It created a bad atmosphere force us to use certain mathematics and staging. Symbols, colour, and scenic to admit that I´ve come to a point Where does the conductor and to our vision as to where the place in dealing with formal issues and for the music can elevate us over reality. detail – nothing is accidental on stage. when I choose who I work with. As stand in your team? of the national Polish opera is. After the creating co-production contracts. If it Reciprocally: I guess my conceptual and persons we can be different, but at The optimum is when a spectator leaves change, the Opera Narodowa staged weren´t for the unyielding effort of Silvia Have you become dramaturgical perception of art as such work we have to be tuned on the same the theatre feeling that music and visual Polish titles exclusively. But the artistic Hroncová and my pressure on the opera a “meloman”? I mean, do you is close to his. frequency. concept together with movement had value of these pieces wasn´t simply house in Warsaw, this project would listen to music in your car? created a compact whole on stage. not good enough to swallow the whole probably never have been realised. Exactly. I have to say that my first opera Does this sort of professional Could you name some of your All the authors have to take part in repertoire. Nevertheless, the qualities – Aida – I listened to in my car. And it relationship ever come to professional partners? creating this effect. Meeting of director, of Polish opera were tried and showed What´s the difference hasn´t changed till the day. Classical a dead end? Don´t you feel At the moment I am working on stage designer and conductor is thus by time, eventually. In the international between theatre cultures music – symphonic, chamber, opera – at times there has so much a project with English director Keith a very important moment as it brings context only Szymanowski´s King in Poland compared to has become an absolute inseparable been achieved that after Warner and a baritone singer Dale a mutual understanding of the concept Roger attracted wider attention and Slovakia? part of my life. a certain time there is only Deusing. Warner has invited me to they are about to work on. A conductor in Poland it was Halka by Stanisław As I´ve said, the interconnection of stereotype? co-operate on his director´s debut should know what will be taking place Moniuszek. So we kept working abroad politics and arts is the same. But in Poland Are there any works that Of course, it crosses my mind from in Frankfurt. Rossini´s Journey to on stage. It has been a wise habit in for two years and in Poland it was the there is a stronger „cult of culture“– art you prefer – CDs that you´ve time to time. But I haven´t felt yet Remesh was so successful that we good opera houses that the conductor above mentioned King Roger which we stands on top in the social evaluation „worn out“?

>>>> we´ve drawn out the source of our got immediate offers of work in other is present at stage rehearsals. He then prepared for Wroclaw in co-operation charts. This is obvious also in the internal I´ve worn out many records of baroque >>>> 16 co-operation. If it happens, we´ll need European opera halls. gets to know the staging, the acting with Edinburgh International Festival structure and functioning of theatres: at and romantic instrumental music. I relax 17 Another living legend – Robert Wilson indentify with the final version of years ahead – it´s running like a well >>>> 2008 –2009 expresses his ideas in minimalistic a certain staging and its scenic shape: managed factory. So at the moment Minkowski. It was his music adaptation stylised shapes. Erich Wonder, on the it had felt completely alien to me. I am busy with the Frankfurt Opera in which the old work was revived in other hand, tells a story in paintings. Maybe it was caused by too much where I am about to work on four a completely new way. And that was These trends could be abstracted trust I gave to the director. That´s why stagings in the next few years. I also the impulse for us to realise that it is, but there are no general rules for the in the relationship: director / stage work for Staatsoper in Berlin, Duch indeed, a fantastic musical artwork. It creation of an opera scene, really. There designer, precise communication and Nationale Reisopera, for the opera house was the very first evening when we can be quotations of something once mutual inspiration are very important. in Bern and for Mariinski Teatr. In the came along with several versions as to seen in everyone´s work. It´s natural But generally speaking, yes, I´ve been latter we are working on Chaikovski´s how to do the staging. But of course, till that we inter-influence each other and very lucky with the directors I´ve Iolanta and Rachmaninov´s Alek with we got to the realisation itself, the final at the same time we all are trying to worked with. They often contributed to musical adaptations by Valery Gergiev.

interviews concept had changed quite a bit to our achieve a unique way of telling a story. my design and I did to their directing. This exclusive double-title will be interviews original ideas. We’ve been trying to find a proportional premiered in April in St. Petersburgh Where is it that your work is construction. and in July in Baden-Baden starring In the interview for the daily heading in your opinion? Anna Netrebko and Roland Villazón. SME Treliński mentioned I, myself, see how my work has What are your future plans? Problems start if there are more offers three other versions. Where changed. I generally need less now than At school I dreamt of working abroad, coming than can fit into my calendar was it that your ideas led you, before to be able to express on scene of big scenes and beautiful titles. Now and it´s very difficult for me to choose when accomplishing this what I want. There is no need for great I feel as if the dream is coming true; what to refuse. It´s quite a new project? gestures and great images at all costs. but there is also a shadow side to all situation for me and I´ve only started to The first thing that was clear to us Sometimes it´s a rather small detail that this. I have less time for myself; my learn how to cope with it. H. Leško: Rasputin. Slovak National Theatre Bratislava, 2003 photo: TI was that in today’s theatre we can´t matters but it has to be very precisely private space has been narrowed quite really stage heaven and hell using constructed. It´s not an accident if radically. The deadlines are set three Michaela Mojžišová obvious means. So we started to search we use black-and-white wallpaper in for a situation convincing enough to a staging, or that the floor is wooden or listening to it. But I can´t relax listening the job back in Slovakia again; but it push the main character into such the door white... to an opera. I have to be prepared, to didn´t cross my mind to return to SND a desperate state that he literally lives think about it because I perceive it as opera. I wasn´t convinced either by through hell and evaluates the collapse Do you know contemporary a scenographer. the quality of productions, nor by its Boris Kudlička (1972) is one of the most significant Slovak contemporary of his relationship... We started with Slovak stage design? repertoire. stage designers. The key focus of his work is on opera theatre. In 1990-1996 a car accident: Eurydice dies and I have to admit not very well. But I do studied at Department of Stage and Costume Design at Theatre Faculty While abroad you´ve been Orpheus is left alone with his biting track the names of my classmates at Academy of Music and Performing Arts. After graduation he continued staging mostly operas, in In December you were his studies at Academy of Visual Arts in Groningen. In 1995 he became an conscience. We tried to construct who appear more or less frequently. the SND you seem to avoid finally presented to Slovak assistant of Professor Andrzej Kreutz Majewsky in Teatr Wielki in Warsaw. a story of personal hell – the state one The success of a stage designer is them and you´ve worked on audiences in your home He has lived and worked in Warsaw since 1996 as a freelance stage desig- finds oneself in, after losing a beloved however very often determined by ner. In 2005 – 2006 he had a function of the main stage designer in Teatr two ballets– Rasputin and field – you´ve prepared person. that of a director. A stage designer Wielki. He cooperates with reputable directors (Mariusz Trełinski, Keith Spartak. Was the offer to staging of Gluck´s Orpheus can never stand alone – his task is to Warner, Dale Duising), he staged in theatres in Poland, Germany, Israel, stage a ballet more attractive and Eurydice together with Russia, USA. He received Gold Medal for Best Use of Technology (Prague Could you please characterise find a corresponding co-operation with than to do an opera? Mariusz Treliński. Did you Quadrienalle 2007). the current world trends in a director. I was not offered an opera back then. have a special reason for Some of his most significant opera works are: G. Rossini Il viaggio a Reims stage design? (Frankfurt on Main, 2004), W. A. Mozart Don Giovanni (Los Angeles, 2003), My classmate Ján Ďurovčík asked me coming up with the idea to There are several trends, represented Looking back at our P. I. Čajkovskij Pikovaja dama (Berlin Staatsoper, 2003, Warsaw, 2004), to co-operate with him on Rasputin and stage this particular opera? by generally respected authorities or conversation, you´ve been G. Puccini La Bohéme (Warsaw, 2005), Madama Butterfly (Warsaw, 2001, Spartak. We actually debuted together Five years ago, when we prepared Saint Petersburg, 2005, Washington, 2006, Tel Aviv, 2008), etc. stage design legends, if you like. Anna lucky with the directors, with a ballet Z rozprávky do rozprávky a staging of Andrea Chénier in In Slovakia he cooperated with Ballet of Slovak National Theatre – O. Ne- Viebrock for instance uses scenic haven´t you? (From Fairytale to Fairytale). I was Washington, someone brought a record dbal: Z rozprávky do rozprávky (1996) a H. Leško: Rasputin (2003). Recently >>>> realism and tells a story set in real But of course I’ve found myself in >>>> available at the moment so I accepted of Gluck´s opera adaptation by Mark he worked on opera performance Orpheus and Eurydice (direction Mariusz 18 situations, using a very logical narration. a situation when I couldn´t practically Trelińsky). 19 THE IMPLACABILITY >>>> 2008 –2009 of PARADOXES

Director Edo Kudláč (1973) has attracted wider aknowledgement already during his studies at the Academy of Music and Performing Arts (VŠMU) in Bratislava by his non-

interviews conventional self-defined style. He´s managed to establish his own, characteristic interviews directing in which he combines minimal means of expression, strong feeling for speech and image, with exact and economic depiction. In his works he promptly deals with various phenomena of contemporary life, and with events which surround us, even if we hardly ever realise it.

Not long ago you staged to influence the way things happen, the of working there you´ve a premiere of your play way they are. In this case, my ambition changed it to a freelancer. Mobile in Mestské divadlo in is high, because I´ve met with a very Your work and directing Žilina (Žilina Town Theatre) generous attitude, understanding and possesses quite extraordinary and afterwards you´ve a will to change things in the local poetics. Isn´t this sort of become the main dramaturge theatre. theatre too binding for you of this theatre. After some now? time spent freelancing you´ve You´ve had some experience Everything has its own rules – Stamina Report. Stanica Žilina - Záriečie, 2007 photo: D. Dobiáš accepted a full-time job offer. with „stone“ theatres, I haven´t made any differentiation Is it a challenge? but after a short period between the association I worked Most of it always depends on the team you are surrounded with. The rehearsing of Mobile in Žilina Town for and a stone theatre. My work is had changed in the core of the whole have been two parts produced: Stamina Theatre was very smooth – theatre the same. Working in an association thing in this sense, all I do is I guard Report and Reality Report. The third manager Martina Jesenská and art means various sophisticated concepts the story now and so the stone theatre and the last one – Minority Report director Rasťo Ballek had offered us and structures of topics prepared offers me a new way of communication is still ahead and it will eventually a free space to work and what is even for a unique kind of spectator. On with the audience. conclude the series of stories of pain more important – their trust. We even the other hand stagings in regular and seemingly inappropriate excesses managed to avoid technical, human and theatre are usually stories, whereas my Do you still work in your of people on the edge of communication stage problems – so we should say that previous works could be hardly called phenomenontheatre? Are with the world, with their partner, the co-operation was successful from all that. It was the genre itself more than your working on anything knowledge and with themselves. At points of view, in all its sections. That´s anything that asked for its form, but with phenomenon right now, the moment I am rehearsing Woman why it came out very well thanks to the the form had never been very precisely or after the project Feed the from the Past in Žilina Town Theatre whole team; and at that moment the defined and it often overlapped the Snake on Your Chest you are by Roland Schimmelpfennig. It´s my offer to become the dramaturge came borders of drama – it could be called taking a break? priority and I´ve got an exclusive

>>>> along. It is always a challenge to be able partially an installation, performance or Feed the Snake on Your Chest is an „tuzex“ (a foreign goods shop where, >>>> 20 Eduard Kudláč photo: E. K. a scenic concept. There is nothing that open three-part project. By now there during communism, people could 21 become uncomfortable, uninteresting. >>>> 2008 –2009 The story of Blaho Uhlár and his Stoka theatre is an excellent example of damage done to the Slovak theatrical environment. Critically speaking, I know of no one else who pushed buy imported goods for special drama in Slovakia more forward in its exchange tickets that were accepted historical meaning than him. only in that shop „bony“ – note of the translator). I co-operate on the concept Why do you think is it with designer Eva Rácová, music is that Slovak drama hasn´t composed by Martin Burlas, so the

interviews succeed yet in international interviews expectations are quite great. Especially competitions and it crosses mine, I should say... the frontiers of local environment only randomly? You worked in a theatre Stagings produced by Slovak stone in Martin, now you are in theatres are usually reflecting ambitions Žilina, you taught in Banská of several more or less talented and Bystrica – it seems as if you successful directors. We are enclosed were avoiding Bratislava. in a small area and we lack the effort Or is it Bratislava that is and detachment to be able to cross avoiding you? the limits. Not only the limits of this I don´t particularly seek the drama S. Belbel: Mobil. Žilina Town Theatre, 2008 photo: B. Konečný environment but those of drama as R. Schimmelpfennig: Before / After. Slovak Chamber Theatre Martin, 2007 photo: B. Konečný environment in Bratislava, regardless such, too. Phenomenontheatre was of whether there is an offer, or demand invited to many festivals abroad but or not. But I think creative work is not even there we met only an enclosed restricted to a region and I don´t really group of Slovak independent theatres. have any ambitions in the career sense It´s as if we were chasing our own of the word. tail, as if we couldn´t take a deep, new play I´ve Bought a Shovel in general models and structures to more breath, really. IKEA to Dig My Own Grave detailed ones. The approach is as if As a director, what´s your (originally written as a part reversed towards the inside – from the opinion on the Slovak drama Your plays were not accepted of staged readings and abstract towards the intimate, from the environment? by the audience, or by presented at the international abstracted towards the personal. But I really try not to be a part of it, not professionals very eagerly at drama festival Divadelná the structures remain the same. even mentally, although I imagine it´s first – often for their inability Nitra) and this play definitely impossible to a certain extent. There to communicate (Correction had broken the mould of The unifying topic of is a lot more egocentrism, ambition of a Correction, I am the “reticence “. Did you change your plays is pain, (non) and shallowness in Slovak theatrical Absolute Will, Description of your approach or did the communication, inability discourse more so than the searching, a Picture) but paradoxically spectator? to lead a dialogue, isolation artistic uncertainty and opinion. enough you´ve won three The topics and problems analysed in and the paranoia’s of I often encounter overestimation awards with them – The my latest plays are less sophisticated individuals that live in their which has a lot to do with many Special Mention of the Jury, and more communicative for the critics own enclosed worlds which various aspects reaching from those Main Jury Award and The as well as for the audience, I think. for them represent the of friendship to those of politics. >>>> Surprise of the Year Award at Probably my approach has changed liberation and imprisonment >>>> In a certain moment anybody can 22 Correction of a Correction. J. A. V. Theatre, 2000 photo: F. Vančo the New Drama Festival. The slightly too: I moved from complicated of a vicious circle. From 23 Klíma to Belbel. You reach Your stagings have been >>>> 2008 –2009 out for these kinds of texts characterised by economic, deliberately or intuitively? simple, geometrically exact The Development Pain is a symptom of deeper problem solving of space, minimalistic What should be the mission or of damage. It´s intensity and stage design. What is it that of theatre, in your opinion? exposure doesn´t often have a direct suits you in this kind of Uncovering the truths of being of Reception and link to the cause. It´s not my ambition artistic solution? through a work of art. Expressing the to describe a personal story of pain, I work with model situations and inner character of the world – and creativity but we are trying to name and model analysis and I try to abstract if the nature of the world stands on uncover the symptoms. Existence, them to a point „zero“. Conceptual the implacability of its paradoxes as helplessness, paranoia, and the space doesn´t serve false and tangible presumed by Lyotard – then it should Stanica Žilina – Záriečie has become a popular art centre focused on presentation of alternative projects of various art genres. There have been numerous foreign interviews illness of living is always tangible. personal hyper messages . It´s just express precisely this implacability of interviews Inappropriate social, religious or rational. It attacks ratio not emotion. paradoxes. guests – drama groups, dance bodies, music ensembles, visual artists presented. cultural excesses don´t have to be Space is a part of thinking, it comprises Dáša Čiripová Martin Krištof is a person in charge of theatre and film projects and running eco- always symptoms of paranoia but the basic structure and composition, logic transportation in this art centre. rather a consequence of a deep crisis becomes a statue. Maximal effect and destabilization. Every deeper reached by use of minimal means. According to what criteria do its heart: it leads up to society, social the fact that a complex and coherent analysis of personal being ends in you choose theatrical makers problems. I have got my horizon of dramaturgy is difficult in many respects, nothing but catastrophe. and productions being played theatrical art extended by para, avant, if at all possible. at the Station? after theatre, theatricality. I have Since your very beginnings I will begin idealistically, even though considered the area of situations The theatre at the Stanica as a director you have Eduard Kudláč graduated from drama directing at the Academy an idealistic dramaturgy cannot be and images to be presented out of (Station) is not perceived discovered new texts for the of Music and Performing Arts in Bratislava (VŠMU) and at Summer realized. Our choice comes from necessity and have started to ignore independently but in a wider Slovak stage. Are you trying Academy of Performing Arts in Sofia. In 1997 he wonDOSKY Award sympathies for a particular man who we the term “theatre” as a clearly defined context. What is this concept to avoid some uniformity? as The Discovery of the Year for his staging of L. Klíma´s I am the invite; for example: for his personality contact between the playgoer and the like? I don´t work like that intentionally. Absolute Will (VŠMU). The staging of H. Müller´s Description of and his work. Theatres are not invited presenting person – dramaturgy has Every team member would give I am not a theatre person in the a Picture / Bildeschreibung, 1999, Mestské divadlo (Žilina Town just to play, but to spend some time with turned from the presentation of theatre a different answer. We are a team of general meaning of the word. I can´t Theatre) was presented at many international festivals of alternative us and the audience. That is the reason to creating contacts with the playgoer soloists connected by an undefined explain, make something sound drama. Correction of a Correction (2000, J.A.V. Theatre & Palace it should be someone with strong and the presenting person with all the understanding. I would call this concept actual, interesting, I can´t interpret. Akropolis, Praha) was another one of his plays that was invited to be qualities. We do it regardless of the surrounding facility. Both the theme and as the development of perception and I work with a theme and a problem. performed abroad (in Prague, Ostrava, Novosibirsk, Athens, Dortmund, money it can burn now and then. On the the discourse are important – people are creativity. It may seem we would like to Contemporary text has an open Regensburg). His goal to search for new possibilities of drama through contrary, sometimes these ‘burnings’ invited without any limitations on their save the world. Yes, maybe that explains structure so it more or less allows me to movement, fragmentation, nonverbal expression and action he fully are useful because new questions are focus. It is important that the person, the work freely, even if at the cost of radical unreeled in his association – phenomenontheatre founded in 2000 revealed. The theatre is perceived as image or the situation has something interference with the original intention as an independent platform for contemporary drama. A play by R. a tool. Its aim is not to make art, but to to add to the point of the theme. For of the author. García I´ve Bought a Shovel in IKEA to Dig My Own Grave (2005, open playgoer’s perceptions through example, personally, I do not mind phenomenontheatre) directed by Kudláč was awarded by The Special art. This applies for most productions or inviting bad Slovak theatre (for example Mention of the Jury at New Drama festival for the interpretation and presentations of the Station. Astorka Korzo ’90 with an inscenation DIV Award 2006 in Trnava. The staging of R. Schimmelpfennig´s Before I started to do dramaturgy when Summer Guests) if there is a theme of / After in Kudláč´s direction (2007, Slovak Chamber Theatre, Martin) studying art science in the Czech a bad state of Slovak theatre. was awarded the Main Award at New Drama Festival 2008 – for the Republic – I thought theatrical art is an This answer is idealistic. Many best staging of a contemporary play. The first part of his trilogyFeed individual dimension. One professor, situations and actions are determined the Snake on your Chest (sentimental concept/a sketch). Part I.: Stamina and a clash with a reality, showed that by a project, higher interests,

>>>> Report (2007, phenomenontheatre & Stanica Žilina – Záriečie) was the theatrical art could not and did parameters of the theatre, technical >>>> 24 awarded The Surprise of the Year Award at New Drama Festival 2008. not want to work by itself; but from conditions. I only want to point out Martin Krištof photo: D. Dobiáš 25 may have been a bit low, but everything Did you have to educate your >>>> 2008 –2009 around – audience, atmosphere, and audience or does the process activities I have already mentioned reactions – was pure. still last? can be presented thanks to our new From foreign productions, I was This process still lasts even though it dramaturgist – Martina Filinová who impressed by conceptualists has its periods of loss, renaissances, has undertaken theatrical dramaturgy Gods Entertainment from Austria, energy and depression as well. On one from an „ordinary“ point of view. But a Berlin project from the USA with hand, we try to educate the audience the line of this „classical“dramaturgy „a performance“ bonanza, or lastly by systematic discussions with authors, stays with the interests of the whole a concert Dresden Dolls that was experts and theoreticians, and workshops Station, that is looking for new awesome. Some time ago I was for amateurs. On the other hand, Žilina

ways, experimenting – a will for walking down the street in a bigger has a bigger problem, and that is the t | h k

interviews experimenting and playing, creativity: city where two guys were fighting: non- existence of an alternative theatre, The open theatre. they seemed to be like roosters, they people who have actually made it. Good did not touch each other at all, and makers either moved in or left, but still, What has impressed you from they were just word fighting – it was there is a shortage of people who would Slovak or foreign theatrical an amazing „dance“. I am interested make what we are interested in to be productions? in situations in the streets more than presented. We work outside a centre, so I like when the theatre tries to move a theatre. connections and presenting members of on by itself, to look for connections Baga Basta. Stanica Žilina - Záriečie, 2009 photo: D. Dobiáš the community is an important task. But if with a real happening and to express What is a playgoer at the there are no communities like that, there it adequately. It may be called an Station like? is no audience either. That is the reason Sisyphean ambition, why create culture them, that means to provide them experimental theatre. A few months Mostly it is a community that likes us why educating the audience is so close on the periphery of interest (not only a contact with „the truth“, awareness of ago I attended a conference about and believes in us. The age differs, but to educating new makers, what is related of a regional character but also as a situation, showing them a possibility normalization. A question was given – mostly they are young people. A wide to the whole concept of the Station’s a national level)? for a change... who tried to revolt against the system scale of events we make (a gallery, functioning as a place for development of The term „theatre“ lost its boundaries of the theatre in Slovakia in those children’s ateliers, a waiting room, a bar perception and creativity. for me, it fell apart. Its place has been times? It was very difficult to look for is a project too, or some events in public What kind of theatrical taken by theatricality or the whole life any names and each one was cried out places) causes a difficulty to claim what As you work on an productions speak to you the – every life action. The theme, which with a kind of victory. Unfortunately, no group the audience mostly is. We also independent cultural subject, most? the programme is supposed to connect one said anything (or almost anything) feel the audience’s crisis. On the other what is your experience Personally, I do not believe a word – to, is more important; if it is a national radical had happened – to me, that hand, a new theatre is being built and with the Slovak cultural theatre based on a word is considered design, it is a hip-hop band made of is the reality of both, Slovak past and every day about six volunteers come to environment? to be a lie. It determines the choice. primary school pupils or pipe players in present. There are many theatres, but help – it is great. It does not work that Fortunately, I know places with worse In early years there was a desire to national costumes. If the theme is home, a desire to experiment, to play, to move way with other constructions. conditions. Jaro Viňarský. Stanica Žilina - Záriečie, 2009 introduce a representative option then there are local amateur actors. the boundaries has not naturalized here I think that in our audience there is Our cultural environment has its positive photo: D. Dobiáš from current world theatre – themes If the theme is history, then there is – that’s why there are only few I am a different chemistry than just a belief in and negative sides. It is horrible that it were classified according to types – a performance, a concert, a projection attracted to. art working. Evidently, there is a strong is so satisfied with itself – everybody reflection and valuable criticism, as well theatre and new media, anthropology, about Cyril and Methodosius Augurs of But however, there is something: context of art we present; however, is persuaded that what it is done is as a will to listen to a critic, taking it in art for a social change. Little by little Scriptures from Mama & Papa. Kata Mojžišová – An Auction. Maroš some things like a good feeling right. As if there was an absence of a constructive way and working with it the themes started giving up on the At this point I come to my own Rovňák – A Mother of Fallen Women, from space: freedom and dissoluteness ambitions. The others are those bad are the main problems. As if everybody differentiation between a theatre and definitions not representing the Station Tuneful Jordans. Farther, Yuri Korec, are important. The audience’s crisis can ones. They do not criticize in their own was satisfied with the way their state other types – a result it has started itself. Of course, the cultural centre Jaro Viňarský, I enjoy the happening be solved by the economic crisis: people lines. Making excuses by saying there is – this cultural environment is not that to play in its prime. We wanted to should provide theatrical performances. Schoolmates that has been made at the may start to perceive other values than is a crisis, politicizing, no support, is deep in the past, simply, it is outside

>>>> awaken an active attitude towards The playgoers simply wait for theatrical Station. Last time I was in Blatnica, to economic ones. a kind of a valid law act here. I have a reality. It solves itself all the time as if >>>> 26 surrounding reality in people, to save art – theatrical and non theatrical see local amateurs – the inscenation a feeling that the absence of self- the main reason of its existence was an 27 >>>> 2008 –2009

Berlin Project. Stanica Žilina - Záriečie, 2009 photo: D. Dobiáš interviews establishment of culture and themselves a fight against pop culture, the financier, What do you imagine under beliefs are formed by these decided How did the thought of not mean just theatre, but concerts, interviews too. According me, culture is only etc. Concrete work with communities, a term in the current theatre, items. It is not only about valid forms; building a theatre you work conferences, discussions. It is a complex a tool, not a reason for an existence. that exists in a cultural environment for example in connection to I think that the audience is formed by at currently come about? project, a cultural centre, not only We have a feeling we are the best, we perfectly, is something what I would themes and expressions? the edgy reactions (of the audience) A new theatre, the multifunctional a Theatre. There was a need in us to take ourselves too seriously, but maybe like to do at work. They have strong I think I have already expressed my such as anger or boredom – either way space that is being built, will be open have some space, something ours, a different direction should be taken. connections, so they really exist – visions. In current art social items start boundaries are moved, the audience is near to the Station in May. It is a part where we can meet, communicate, The above mentioned situation in the a common topic and an enemy provide to play their prime to the prejudice given knowledge to argue over or topics of a more complex effort: the whole and as we grow physically we spread discussion says it too – no one said there a reason for meeting and helping the of the aesthetic ones. I think current to think about. space around the Station is trying to our wings more. An international was a lack of desire for moving ahead, others. It is an independent living theatre should eliminate direct awaking, Of course, even drama has its essential be used and revitalized. The Station is event being organized in May is as well as a reproduction what was read society with its black sheep, leaders, real and pretended emotions, as well task in the life of a society; even in not only what happens in the building, another strong desire as well as an in the newspaper was common for us. workers, intellectuals – everybody as making up illusions. It should a word there are adequate expressions but everything happening surrounding urgent one from the point of time. The On the other hand, this state insures knows everybody in his community, so participate as life in inhabited places for capturing and reflecting a reality. it as well. The Station, even though representatives of Trans Europe Halles, a pleasant communication, friendship – unfortunately, in the end it is alright. and to try to help in the creation of However, the falling apart of a word, it can often be taken that way, is not members of almost fifty independent a common topic joins alternativeness in the environment, the whole culture God and body are not our case. Even only a building – it is a platform in the European cultural centres are going to as a summary of everything made by though our theatre is very talkative, it meaning of searching, supporting and meet at the Station. But all this can be humankind. Its a long term work with does not play with a word, it does not using potential. That’s why another described as very hard; one must be a theme: people, joining the theatre experiment with it. building continues as a revitalization of a part of fit. You are invited! in solving problems; not only on Mostly, I stop thinking on the the city. Space crisis is the impulse for a theoretical level, but also in a practical intentions of theatre and non theatre working on a new and bigger building Anna Grusková one. Didactic, community like as a term. Everything, and art is not as well – not everything we would like Dáša Čiripová theatre, Para Theatre, site-specific, an the only in my mind, is a tool. Culture to can be put on at our Station – I do intervention in public places are means and art are the ones we are interested that should be used more in Slovakia. in at the Station. We see a possibility I also like items being on the edge, to move something on in them and Martin Krištof (1979) forms and expressions – I do not claim that is the reason we decided to use Studied at the Department of Theory and History of Dramatic Arts at the they are the only valid ones, but a revolt these tools. To me, the real theatre Palacky´s University in Olomouc. In 1999 he joined an NGO Truc Sphérique in of any kind, even not a professional one, seems to be somewhere else as I was Žilina. They have been focusing on drama, performing arts, film and visual arts has its sense – often bigger ones than taught. I would make the term theatre presentation and on cultural management. just keeping and making values. The disappear, because it leads to clear In 2000 Krištof found a civic association Pastiche filmz in Olomouc. Since 2003 demonstrations of Nazis joins with their limits what to do and what not to do. It he´s worked in Stanica Žilina-Záriečie. In 2007 he found Mulica association (Moja enemies (and the other way around) – is idealism clearly, but why not?

>>>> ulica – My street), which concentrates on developing an active citizen attitude >>>> and an opinion, an attitude, participant’s 28 Schoolmates. Stanica Žilina - Záriečie, 2009 photo: D. Dobiáš towards the town´s environment, towards ecology, activism and cycling. 29 Stage pictures >>>> 2008 –2009

of State swan’s costumes showed a sense for playful humorous perception and theatre Košice mastery at parodying ballet gracefully under the choreographical leadership of Petr Zuska. Respectable amount of internal parades being organized at the end of the season for A monumental ballet-theatre composition Ulysses reminded of Ondrej Šoth’s last few years by the State theatre in Košice has grown into a remarkable tradition. choreographical beginnings – in a very Righteous complaints about theatrological society’s little interest for work of eastern well known Prague’s Laterna magic in Slovak theatres and groups end up in the hands of competent people from the Košice which he cooperated with remarkable theatre and their constructive effort to avoid an unhealthy isolation. Every year a high people such as a director Evald number of critics and theatrologist not only from the field of drama, but also experts Schorm, an art director Jozef Svodoba from musical and dance theatre, come to Košice, because in every year’s ten rated insce- as well as a musician Michael Kocáb. analyses and reviews analyses and reviews nations there is a balanced representation of results for an opera and a ballet group. It Prague’s inscenation from 1987 was is not clear if parades and discussions and evaluations bring a concrete and practical carrying an atmosphere of those times effect. On the other hand, it cannot be doubted that information about Košice theatre undergrounded inspirations as well as has increased thanks, remarkably, to them. A higher number of nominations and prizes antitotalism and antiauthoritarianism from national competition Dosky are its witnesses. thinking. A choreographer with a librettist Zuzana Mistríková finished and extended an old Homer’s story E. Ionesco: Improvisation on Alma. State Theatre Košice, 2008 photo: J. Marčinský in Košice’s comeback Michael Kocáb Regarding creative results, cogency and effort for own self-reflection, a feeling from Prague, Jiří Bubeníček and Natália enriched it with more passages from the impact of artistic energy, this year’s of stronger collectiveness, work Horečná with their experience from his latest music work. An antic story a postmodern way were more suitable drama of the hero and as well as his parade confirmed the distinction of lines and creative concentrations being German and Dutch experience). It was about life fight, a never-ending search for the Antic “big theatre of world“ than emotional state in particular situations. that have emerged in Košice theatre for accompanied by collective and not only about a kind of mechanical for life strength and more permanent Mozart’s production by Šoth – Wedding The male part of the group took the a longer time. It is Košice’s ballet that gets personal interests. It is remarkable meeting of various styles and genres life securities were developed into according Figaro, otherwise it is very most difficult part in dancing and the attention. Opera defends its position that in a current situation of Slovak from classic ballet, more modern epical images where theatric and film difficult to ask for possible cleaning interpretation and it showed both an very well, but with some reservations for theatre a group from eastern Slovakia dance morphology to a figuratively approaches, visual and audio means of film material that was composed in excellent technical level and physical this time. Drama reminded it pulled the has come to have such a position and motion-visual utterance. In the project were joined together into a suggestive a very difficult way when we know it condition. A choreographer’s view, his shorter end. On the contrary, this parade in such an exclusive kind as ballet is. there were human topics approached effect. The inscenation reconfirmed was created by itself in hard conditions ingenuity, practical and compositional has shown the position of drama does The idea of a workshop was reminded in a more intensive way. Mostly that among Slovak theatre it was and from the initiative of theater experience were reflected in the fact not have to stay granted. by the inscenational project named there was an excellent nuanced Ondrej Šoth who had the biggest sense members as well as in a hard condition that populated and massive image from the Atelier. Košice’s ballet and its art dance realization with a sensitive for a theatre in the era of media. It is from the financial point of view. After all dynamic sequence, mostly war scenes, Ballet director and a choreographer Ondrej perception for choreographical and the truth that almost a permanent the inscenation kept a required balance, were created only by fifteen dancers of Among all Slovak theatre groups it is Šoth gave some space to the other five, style demands of individual parts. and dynamic visual attack of the because the dancing performance, the male group. Košice’s ballet coming closest to the both Slovak and Czech, beginning and An intensive audience’s reflection inscenation would be need movements mostly of the main character – Sergii idea that used to be called workshops more experienced choreographers too enjoyed a humorous and slightly ironic and conciliation and a higher contrast Iegorova, got all the attention. He Opera in the past of Czechoslovak theatre (besides Ondrej Šoth, there were Masky image taken of Mary’s dream that was between dramatic tension and managed this difficult task with mastery The performance of Verdi‘s Fancy-ball emotional intimacy. It seems film scenes >>>> and besides basic talent and creative Sklyar from Košice, Mário Radačovský inspired by Italian ballet classicist not only from the technical point of provided a satisfying and professional >>>> 30 conditions it used to represent an from Bratislava, Peter Zuska Mária Taglioni. Košice’s dancers in from world war II being composed in view, but he also expressed the inner level, particularly a musical realization 31 Drama Csiszár knew how to manage basic character McMurphy, was narrative >>>> 2008 –2009 Among six drama productions of the requirements less known and played and epic-like too. The character of the parade there were less successful Shakespeare’s comedy Love’s Labours Chief Bromden was very important from productions even some failures. There Lost. The production got satisfied with the point of drama; it got to the edge were a lot of critics about all parts being its comedian level, the feedback of the in this conception and not balanced a connection between the director populated, art, colorful, with overly audience mostly dealt with a thingism inscenation from the point of actors. and choreographer; it seems there deep colors, as well as in dramatic art of of erotic motivations in a high number Two young theatrists, who got most of is none between the director and the fairy tale production Adventures of of love affairs. Difficulty, artfulness the attention and interest, accrued to a costume designer. The inscenational a Courageous Bunny made according to of style and expressive means of the the young director Michal Vajdička in disharmony was put aside by the Jozef Cíger Hronský and his courageous artwork being signated by mannerism last two productions. New graduates of production of protagonists with their bunny and courageous bunny in were missing. The symmetrical, walls the Academy of Music and Performing excellent choir and acting output. Africa. There was a lot of critics when limited, “box“ like scene being proposed Arts Bratislava, Ľubomír Bukový, Juraj Clearly, Košice’s theatrists promised evaluating the well known Lorco‘s by the director himself fulfilled the Igonda and Tatiana Poláková, brought a lot from the inscenation Kalman’s tragedy The Dom of Bernardy Alby. requirements very practically and in new fresh tones of personal authenticity operetta Czardas’s princess that always A production´s team led by a hosting a routine way, however, the production to Košice´s theatre that was stagnating had a big success. Maybe the effect of director Michal Náhlik situated the was given a seal of being static, being for a longer time, with the director Ján the audience was not disappointing country story to a fashion salon where less inner variable and less poetic major Šimko and dramaturgist Martin Gazdík and will not disappoint either, but

Bernard in a strange wig bosses strictly rigidity. entered the polemic with an utterance analyses and reviews at this parade, where a Hungarian and his daughters work at sewing In the past the director Michal Vajdička of “cool“ like and remarkably written analyses and reviews director Imre Halasi was invited, machines as in socialist-capitalist cooperated with Košice‘s drama very play Kebab where a young Romania there was more of disappointment. clothing industry. The director brought successfully. This time the conditions dramaturgist Gianina Carbunariu says Invited soloists (Helena Saboová, a lot of approaches and means being to more suggestive and crashing result that emigration to the west (to Ireland) Peter Svetlík), experienced members hard to explain being curious, they with Waserman’s known and effective is tricky, hard, cruel, but this emigration of previous Prešov’s drama (Helena task was to enrich the dramatic text play One flew over the cookoo’s is better than coming back to the O. Šoth and Z. Mistríková: Odysseus. State Theatre Košice, 2007 photo: B. Konečný Horváthová, Slavomír Benko), Košice’s and to modernize it too. Unfortunately nest got complicated with more posttotalirian homeland. The change of drama actors (Róbert Šudík) as well as this unexpected modernization had controversial interpretational shifts of names (from Bogdan Voica and Mada to a new showbiz celebrity (Filip Tůma) a reducted effect. (The news about dramatically important characters as Bohuš, Vajco and Magdaléna) pointed showed a good standard. Less of a country girl having given birth to well as main characters. The intention at domestification that applied to the by Dušan Štefánka, but on the other a reliable work with a traditional cut, convection, more of creative invention, a baby came to the Košice’s saloon by for having a look at conflict of a tough deepest significant layer of the artwork. hand some parts pointed at the but he did not sort out dilemmas wit would be needed in a scenic phone and the servant Poncia talks manipulator Big sister Ratchedova and Contra a hard and barbarous utterance fact that an experienced Košice‘s between original „Swedish“ and solutions and an inner temperament to her being dressed up in a strange a disaffect “patient“ of a psychiatric of the original to a comeback home conductor conducted this kind of an adapted version of libretto. The and glariness would be needed in clothes looking like a clone’s one.) clinic McMurphy from a new point of Košice´s production saw strengthening performance for the first time. Reliable prologue showed main musical and the inscenational unit of the most The outputs of experienced actresses, view for disaffection and tidiness was of life security in the image of a white hosting singers, Gabriela Georgieva drama themes, however, most of classical operetta. Operettas‘masters, such as Dana Košická (Bernarda Alba) not managed very well, moreover, stork’s nest that is being left and (Amélia), Kisun Kim (Gustáv) his images showed that they were masters of point wit knew how to get or Beata Drotárová (Mária Jozefa), it weakened all drama accents. returned, this was reflected in the and Michele Kalmandi (Ankarstrom functionally dynamic, but too much a feedback even in a simple or banal managed to remind the deepness of A neutral narrative and epic approach stage design by Jerguš Opršal. There – Renato), Eliška Weissová (Ulrica) of scenographical solution, evocatory text. If such skills are missing, then non reduced tragedy. The actress of one overcame Košice´s production. It was was a significant shift of characters, dealt with the requirements of Verdi’s arms of gallows and dominant king’s even a prose and text of Czardas’s Bernardo’s daughter (Martirio) stayed hidden in extensive scenographical this was supposed to emphasize the interpretation style very well, but crown left the stage too empty and princess can be seen as a long one, doubted. The reward should be given to solutions by Pavol Andraška that used intimate point of view for an emotionally home soloists Michaela Várady it would suit any Shakespeare’s royal even boring. Magic life and indelible a theatrical taste. the whole Košice’s stage, there was complicated triangle of young people‘s (Oskar), Jozef Benzi and Matúš Tomko tragedy with the generality. In the Kalma’s music (including songs) under Generally, other two productions were the department of psychiatric clinic experience Too much emphasizing of (conspirators Ribbing – Sam a Horn last image of the tragic unravelment, a well experienced conductor Zdeňek managed very well, but on the other on it and everything and everyone civil and softening privatissima dragged – Tom) were on the same level. A which could be taken as an excellent Macháček functioned too individually hand they stopped their better result belonging to it so patients were in the some places of the production to long-time experienced opera director display of Verdi’s musical and >>>> in his newest inscenation of Košice’s with some approaches and means. audience’s sight all the time. The output a monotonicity and flatness. >>>> 32 Václav Věžník from Brno presented drama composition, there is not operetta. Experienced Hungarian director Imre of Michal Soltész, who was the main A very ambitious project of Slovak 33 there were a lot of resemblances for >>>> 2008 –2009 film shots where the biggest tyrant and demagogue of the mankind – Adolf Happy end Hitler could be seen. The final dynamic and blood image over a piece of meat reveals that not being interested and of the Whirlpool a neutrality of the Servant, played by chunky Peter Cibuľa, is pretended, peripeties fictive, its real and hidden entity is completely different and dangerous. This remarkable interpretation offered Arts Bratislava was joyful, but there The premiere of Krútňava (The Whirlpool) by Eugen Suchoň on December 10, 1949 was possibilities for various interpretational was very little of something shining a big event for Slovak culture. Slovaks had been awaiting their original national opera thinking, for example about neutral from drama offer. But undoubtedly for a long time and since the founding of the Slovak National Theatre (SND) in 1920 there middle class, or any other manipulated there was a shining, genre drama was no equivalent to Smetana´s Predaná nevesta (The Bartered Bride) or Janáček´s Jej social groups. Improvisation on Alma output of Ľubomír Bukový. Not only in pastorkyňa (Jenufa). Neither Kováč Wieland (Smith Wieland) by Bella, or three operas was marked by an excellent expert of thankful occasions (Kebab, One Flew by Holoubek, nor Detvan by Figuš-Bystrý had accomplished the desire to create a jewel Ionesco’s works, a Czech theatrologist Over the Cookoo’s Nest), but also as of Slovak opera. The Whirlpool, based and composed upon a story by Milan Urban titled

analyses and reviews Eva Uhlířová, to be a boring play. The the audience’s feedback confirmed – analyses and reviews Za vyšným mlynonm (Behind the Upper Mill) was the first work to seem to accomplish production´s team seemed to feel there was a winning fight with strange it too, and they tried for lonesco’s costumes and unthankful occasions this desire. The rich tradition of its staging’s at home and abroad has been a clear in- G. Garbunariu: Kebab. State Theatre Košice, dialogical tractate in which they dication that this accomplishment was of a rather permanent character. Since its pre- 2008 photo: J. Marčinský (a varlet Motaj from Shakespeare’s went about critics and theoreticians comedy). However, a long experience miere there have been 24 stagings. However, it´s necessary to note here that the last to make them alive. Three professors shows not to exult. Most of disposed staging out of Slovakia took place twenty eight years ago in 1981 in Czech Olomouc. were played by actresses (the director young drama theatrologists, especially reminded about a situation in Slovak from the Academy of Music and premiere of one action story Lesson theatrology) and disputes were Performing Arts Bratislava, do not and Improvisation in Alma by an refreshed by arranging the boards with see and do not feel a possibility to important representative of absurd notes as commands for the author – develop their own creative program in drama of Eugèna Ionesca confirmed Ionesco were promoted by theoretical Košice’s theatre in a more systematic that Trnava’s director Viktor Kolár enemies. An intelligent, ambitious and and ambitious way. Košice’s ballet When Suchoň titled his opera The Whirl- and the dramaturgist Michal Gazdík innovative inscenation signaled a need and opera offers enough proof that it pool, he had probably no idea that this were able to manage such a difficult for a better work with words that plays can be made with enough of talent, title will become a nomen-omen and type of drama. In the interpretation an important role in Ionesco’s works, competence, good will and courage. will thus determine the future fate of his of Lesson there were reflected words for example it points at irrationality and Košice’s theatre and audience would work. The Whirlpool got itself entangled of an old known expert of absurd charlatanism. These semantic nuances deserve it. very shortly after its birth in various spi- drama Marina Esslina who sees one stayed unused. rals and flows of the period and in ethic- of the interpretation possibilities in It seems that general conclusions Ján Jaborník related whirls. politic allegory and a language that cannot be made from an isolated views Theatre scientist, After the premiere in 1949 (December as “a tool of power is a cardinal sign critic and historian at six Košice´s drama productions, 10) alongside the original general of totalitarian dictature“. The output especially when there are many exaltation about the fact the first of Stanislav Pitoňák, the character of unfavorable aspects of past. The national opera had been finally born, a professor, was well done from the presence of young graduates of the International Parade – State the voices deformed by the given point of a gesture, mimic and kinetic, Academy of Music and Performing Theatre Košice historical period started to stir. These

>>>> June 9 – 12, 2008 >>>> 34 www.sdke.sk voices refused to accept the moral E. Suchoň: The Whirlpool. State Opera Banská Bystrica, 2008 photo: J. Lomnický 35 >>>> 2008 –2009

and Double were simply crossed there was just too much evidence. „The „Suchoň had never reached satisfaction caused him so much pain, hand in out. Also words coming from the ethics of the period demanded weeds since his message about good winning hand with creative joy.“ 4 Christian belief of the composer were from grains separated, the just and the over evil and the purifying power of The original score of Suchoň´ s excluded. In its second – non official poor separated from the rich and the art – his most important premise – Whirlpool was reconstructed finally in version – The Whirlpool had survived immoral.” 2 was forced silent, and at its best was 2003 with the financial aid of a German several reprises, then it was taken off In 1963, at the time of a political thaw served on the the periphery of this partner from Wuppertal, by the repertoires. in 1963, the situation had become ripe work, somehow, as if mysteriously. The composer Vladimír Bokes. It appeared Six months after this event a conductor enough and prepared for accepting this topic of The Whirlpool was very often under the stage spotlights again on Zdeněk Chalabala came to see Eugen work of art with its original conclusion present in our discussions – it kept October 18, 2008 at the occasion of Suchoň and asked him to do the and its essential moral message. It returning like an ostinato. It meant that the year dedicated to Eugen Suchoň. demanded changes in his opera for took place in Theatre of Jozef Gregor Suchoň never considered this cause The mission of its complete public the sake of the future possibility of Tajovský Opera in Banská Bystrica in closed, he had constantly suffered an rehabilitation was taken on again by its staging. When Suchoň refused, „a rehabilitation“ staging directed by unjust interference with his artistic the State Opera in Banská Bystrica. analyses and reviews Chalabala asked him if he could do Branislav Kriška and conducted by freedom, by the misunderstanding of And so after half a century the work of analyses and reviews the changes himself. Eventually they Ján Valach. But for the return of verses others, but by his self reproaches, too, this extraordinary composer saw the agreed on a compromise – on re- referring back to the Christian roots of that he let it happen and accepted the lights of theatre again in the form in E. Suchoň: The Whirlpool. State Opera Banská Bystrica, 2008 photo: J. Lomnický writing the opera together. Premiere of the opera, we had to wait till the fall compromise.“3 which it was originally written – not this (the third) version was staged on of the regime – for new stagings after „Who had not known and understood only with the original conclusion and December 4, 1952 in the SND (Slovak November 1989. However, the path to the period of that day „the demon its Christian ethos but also with the national theatre). Music rehearsed was an even more precisely reconstructed of agreement“ in all its personal, framing characters of Poet and Double. message of this work and accused it of – not her murdered lover Jano Štelina.) done by Zdeněk Chalabala and that´s shape of this work to an extent as it existential and artistic forms, couldn´t „Christian pseudo-humanism“. The author was also asked to give why till today this version is known as was actually originally staged in 1949 find the answer to why Suchoň hadn´t 1 In this sense, not only the theatre up the „mystical fumes“ – frame „Chalabala´s“. – with both characters of the Poet and resisted (and by this single act kept Danica Štilichová: The life of music. The composer Eugen Suchoň in memories. critics have expressed their opinion characters of a Poet and a Double. the Double – was yet to be ever more the path for his works further closed Bratislava, Mladé letá 2005 – which was of course most The compositor had defended himself The fatherhood of an infant went from complicated. for stages and for children at schools). 2 Ladislav Čavojský: Methamorphosis of the influential – but also the members before the commission: „You are rich Ondrej Zimoň to the dead Jan. In Professor Ferdinand Klinda, a close He had been under constant pressure Whirlpool. Kultúrny život, 20. 7. 1963 3 of Cultural Commission of Delegates reproaching me for my individualism the conclusion of the opera Ondrej was friend to Eugen Suchoň and from all sides: not only a by totalitarian Ferdinand Klinda: Don´t take our poet away! Hudobný život, 9/1997 for Education, Science and Arts and for the framing of my play by the „justly punished“and the old Štelina a performer of his works written for apparatus, but by the actors and 4 Ferdinand Klinda: About the Whirlpool´s in Bratislava. At their meeting on character of a Poet. But that is the gained a little grandson instead of organ was, together with a composer authors as well. All of them wanted wasted rehabilitation. Kultúra, 2/2000 February 4, 1950, presided over by conscience of people, indeed. Don´t his son. What did it matter that this Vladimír Bokes, the most intense and to „do“ The Whirlpool and stage it. Ladislav Novomeský, they asked take this frame away – you are robbing way Katrena became a single mother, most convinced activist of the idea of Suchoň, as a very good and non- the author to re-write his libretto. my opera of its most important part! Of and that the moral credit of the most „Urversion“ of Suchoň ´s work with confrontational person, didn´t have the The conclusion in the opera, it was its essential idea! “ 1 elaborated character of the opera, that the Poet and Double. In his extremely heart to throw his various objections demanded, had to be remade so that Suchoň´s plea wasn´t listened to, old Štelina was narrowed down to a flat stimulating and deeply personal study into the shining faces of all those who old Štelina was compensated for the though. The first interference with character, and the internally torn apart, he gave evidence of Suchoň´s life-long struggled so hard to perform this loss of his son by a grandson (in the his libretto was done right after the not just black-and-white character of inner struggle and his inability to reach difficult peace. So instead he suffered original version the father of Katrena´s premiere with no further consultation Ondrej had become a dull and stupid satisfaction and a perfect identification himself. The Whirlpool was his adored murderer, confessing only because with The Whirlpool staged later on: child, probably also because it had >>>> child is her husband – murderer Ondrej with the author. Parts with the Poet >>>> 36 37 Regardless of relatively small stage, >>>> 2008 –2009 the director managed to create the Peripeties of Krútňava (The Whirlpool) composed by E. Suchoň are probably the feeling of scenic division in such way, most exciting in the short history of Slovak opera. Even if the ideological repre- that the aria sounds very intimately hensions have not been actual for almost twenty years, it was only the 100th as if there were no curious ears of the anniversary of Eugen Suchoň, which finally gave impulse to the inscenation of neighbours nearby (especially thanks to the authentic sensitive presentation the original partitura of the work, which had been reconstructed by Vladimír of Mária Porubčinová). Then comes the Bokes five years ago (with the earlier approval of the composer). The production old Štelina. The Poet gives him a chair itself is an act worth attention and appreciation.­ Furthermore, theatre oriented in a very emphatic way that makes The inscenation by Roman Polák has refuted presumptions of those, who doubted Double on the bench grin ironically. that the version containing dramatic framework could be theatrically effecti- There are Oleň, Hríň and Krúpa (Ivan ve. Organic implementation of the characters of The Poet and The Double also Zvarík, Martin Popovič, Peter Schneider) made Polák´s Krútňava (The Whirlpool) spectacular dramatic work. coming from the police station. They play the scene of police interrogation in a civil way, almost whispering, with The opera starts with the conflict necessary distance. He didn´t let the reconstructed original version differs no disturbing opera intonations of the analyses and reviews analyses and reviews between The Poet and The Double. story slip into the “detective genre“, principally from the dialgoue in the singers, which interfere the spoken One of them enjoys the world of music, anti-illusive moments enhance the well-known version. The reconstruction scenes in other works quite often. the other takes life for a battlefield timelessness of the work. emphasizes not only the Christian spirit Old women want Katrena to marry with the reign of the strongers where Folkloric simplification is overcome also of the work, but focuses also on the Ondrej. They justify marriage with no “people ask for their right to sin“. The thanks to the stage made by Jaroslav animal essence of the human nature. love for long ago they had to do the E. Suchoň: The Whirlpool. State Opera Banská Bystrica, 2008 photo: J. Lomnický conflict leads to a bet between the two Valek: slightly sloping stage with the The antagonism of these two sides of same. Their dialogue about “normality“ of them – The Double suggests a story onyx black wall at the back and with a human being reveals the strength of marriage doesn´t sound as plot to The Poet, who, subsequently, no natural, rustic elements doesn´ t and timelessness of Suchoň´s work. a harangue in the national theatricals, is supposed to complete it with the distract the viewers from the inner Roman Polák defined this conflict but as a bitter melodrama of wasted black and white costumes are enriched cradle. There is a large bed behind poetry and music. The result of his essence of the drama. very precisely as the principal idea of human happiness. by few elements of national costume. the glass wall, a place of many marital effort should reveal, whether they The stage changes minimally his conception: “The opera is full of Roman Polák cut the drama in sharper From ethnographic point of view, this misunderstandings. Depressed Ondrej are ideals to have the leading role in throughout the play. Simple biological, pagan passion on one side: angles than his colleague Juraj scene is an illustration of a Slovak lays on the bed. Katrena sits by the human life, or instincts. reconstructions with the curtain up are it reveals animal instincts hidden in Jakubisko did in well-known Bratislava traditional wedding – taking the bridal cradle. As soon as she lulls the baby to A young man appears on the stage with done by members of the opera choir. subconscious of our minds; and it is inscenation of The Whirlpool (premiered wreath off, dancing, money collecting sleep, her friends, Zuzka and Marka, a bloodstain on his chest. He lies down Consequently, they build up the signal about Christianity, on the other side, in 1999). There´s no idyllic loveliness, and one can notice a Gipsy woman burst into the house and wakes him up. on the ground and people put stones from the first scene about theatre in that we – sensible creatures – accepted nor folkloric resemblance in its naive with a stepson for a moment. But the They ask Katrena if it´s true that around him spreading into a path. theatre, evoking the commentating and that gives us great opportunity to form. Polak´s dramatic conception folkloric moments aren´t dominant Ondrej hit her. “No way ...“ Old Štelina, “Murder happened ...“ position of the antic choir. The stage is become humans through forgiveness.“ focuses on the second and fourth in this scene either. Polák manages who enacted terrible scene full of Roman Polák managed to overcome modified only by simple props and a few (bulletin) (“conversational“) scenes in a very to create mizanscenes: “Do you love accusations at the wedding, comes the contrast between realistic plot scenic set pieces. The second scene is situated in front authentic way, with painful inner me, Katuška?“ asks Ondrej his bride. with the proposal for reconciliation. and Suchoň´s music on one side In the first scene young girls find the of the gendarmery station. There are dramatism and archetypal contours of “Oh my Lord,“ sighs Katrena deeply. His arrival makes Ondrej get up from and symbolic provenience of the dead body of Ján Štelina. Their scream witnesses summoned on the bench in the characters. There´s no doubt – the marriage, the bed. The girls ponder over the characters on the other side, in a great, make the villagers including Ján´s front of the back black wall including The third scene is the wedding. The enforced with the murder of his rival, features of the baby. The old Štelina purely theatrical manner: the whole father gather around, Katrena is the The Doubler with the newspapers chorus singers bring the wedding table cannot be happy. is full of hope, Ondrej becomes The fourth scene. Katrena and Ondrej´s suspicious. >>>> inscenation is interlaced with anti- last to come. The dialogue between in his hands. Katrena sings the Žiale to the stage and there appears a timber >>>> 38 illusive elements and thus keeps the the old Štelina and his son´s lover in bôľne (Aching sorrow) aria at the front. above it as in village houses. Universal home. A table, chairs and a baby 39 >>>> 2008 –2009

The women look after the baby, men listens to him with suffering devotion. scene starts in Zimoň´s house. The thanks to which the choreography from the folkloric or thrilling detective 1 Štelina: “Was Jano on the meadow yesterday?“ Katrena: “Yes, he was.“ Štelina: are in the kitchen. They drink. It is When he falls into her lap, she tousles Poet sits down at the table, full of doesn´t seem illustrative, just the story towards deep and timeless “Did he visit you?“ Katrena: “Yes, he did.“ a scene, that reflects the regenerating his hair with motherly affection. disillusion and grief over “life with no opposite, it enriches the central plot. declaration of the struggle between Original version´s dialogue: “Did Jano visit move of the theatre director again. Analysis of their relationship in one meaning, world with no grace“. The Marka, longing to have a boyfriend, good and evil in human soul. you last night?“ – “Ye, he did.“ – “Did he spend night at your place?“ – “Yes, he did.“ There is a fight over the position going gesture. Double comes, fully satisfied with the starts to date with Krúpa; Dorka, The production in Banská Bystrica also 2 “Nobody asked us, my dear. Our father just on between the two men of completely Ondrej´s loving desire turns into situation: “I won´t let you sleep. We betrayed by a friend, is laughed at. The has its weak links, of course. Dramatic told us to and we obeyed.“ different age and physiognomy. The suspicious anger. Who does the baby have to finish the story“. And again, shot is fired, followed by unravelling. characters are not perfectly interpreted old Štelina´s act of reconciliation is resemble?! His paranoya culminates great step of Roman Polák follows The herd-boy Jano (the local fool in the – Ľubo Gregor (The Double) should motivated by his rational faith in God. in veristic paroxysm – he attacks the towards the smooth interconnection Polák´s production) shot from the gun show more of the inner mephistotelian Eugen Suchoň: The Whirlpool But Katrena´s husband creates a feeling old Štelina with a knife and calls the between real and symbolic: The Poet that had been hidden in a cowshed by demonism, Juraj Smutný (The Poet) is Music Rehearsed and conducted by: of aversion and mistrust in him. Ondrej dead Jano a dog. Štelina, however, lies down to the ground into the the laird Ondrej Zimoň. The old Štelina more poetic than necessary. The glass M. Vach, directed by: tries to ask old Štelina questions about is not a feeble old man, he is strong position of the dead Jano, people identifies the gun as the murder tool. wall, coming up four times during the R. Polák, dramaturgy: A. Lukáčová, his son´s murder. The moment, when and determined and he slaps Ondrej. put the same stones around him as Ondrej enters, passive and resigned. solo numbers of Ondrej, Katrena and choreography: M. Urban, stage analyses and reviews analyses and reviews their eyes meet and Ondrej, pouring However, Ondrej, led by his rage, in the initial scene – and the story The villagers want to lynch him. Ondrej Štelina, breaks the dynamic of the design: J. Valek, Costumes: the spirit, makes a thin stream between knocks his rival down. He hits Katrena, continues. Drunk Ondrej trotters asks for the permission to confess production. The traditional dependence P. Čanecký, choir lead: I. Popovičová, their glasses, is not often seen in Slovak destroys the furniture and goes to to the stage. His ravings oscillate publically. He falls to his knees in front of smaller characters and choir J. Procházka, singers: opera. a pub in affect. The scene has dramatic between boasting satisfaction about of the old Štelina. members on the conductor, is disturbing J. Smutný / D. Zaprihač, Ľ. Gregor, The men start to argue, fortunately, gradation and regardless emotinal being a good shooter and stronger Michal Hýrošš is again authentic in this in several moments too. Furthermore, J. Benci / J. Galla / I. Lacko, Zimoňka and Katrena come. The old tension, actors´ performance is very and stronger pangs of conscience. He tensed scene – convincing and moving. premiere was handicapped technically M. Hýrošš / S. Matis, M. Porubčinová woman takes Štelina to the next room, precise. notices someone lying on the ground. Štelina points the gun at his son´s by the sound system, which was / K. Dernerová / K. Michaelli, Katrena sits down by the cradle. Ondrej He gets scared. He suppresses the murderer. Katrena comes between probably necessary to install due to the I. Kúchen etc. stands by and sings a beautiful aria Censorship, that crossed out the fear by self-assuring words: “There´s them. She isn´t a wretched girl, but hall in Dom umenia (House of Arts) in Premiere: October 18, 2008, Vrav dievča, kde si krásu vzalo (Tell characters of The Poet and The Double, nothing there.“ Then The Poet stands a determined woman, who is ready Piešťany, so it was impossible to enjoy State Opera Banská Bystrica me, girl,how come you´re so beautiful). had the greatest impact on the fifth up and leaves the stage. Ondrej, to fight like a tigress for her family. the nuances of otherwise very well Ondrej, played by young tenorist Michal scene. Ondrej comes to a glade where however, recovers: “I know, what I´m Old Štelina´s forgiveness comes just prepared and technically disciplined Quotations are taken ftom the libretto of Hýrošš, is competely different from his he shot Jano Štelina. He has a pang of going to do! I´m going to the police!“ afterwards. The transformation of music production of Marián Vach. reconstructed opera ancestors in this role – manly Štefan conscience that leads into the decision The Double reacts: “What are you a father longing for revenge into a man, Regardless of these reprehensions, the Hoza, dramatically expressive Gustáv to report his crime to the police. In saying, you fool! Do you want to go to who, aware of higher principles, is able last of which would be removed by the Papp and Jozef Konder, or, Italian original Suchoň´s version the form the police? What for?“ The argument to find the strength to forgive, is not return to the reconstructed building of cantabile Peter Dvorský. Hýrošš´s and content of this scene resulted in between Ondrej and The Double turns idyllic and smooth. Štelina (outstanding the theatre, Krútňava (The Whirlpool) Ondrej is a young boy, almost a child, impressive melodrama – a dialogue into fight, but Ondrej´s decision – Ján Galla) is not a positive character is probably the best production of anxious and dissatisfied. He obviously between opera character of Ondrej and “I want to pay for my sin!“ – categorically. The final catharsis is State Opera in Banská Bystrice in the couldn´t watch his more successful rival dramatic character of The Double; in is irreversible. The Double leaves the not the result of emotions, but of ratio last decade and the most consistent taking the object of his boyhood dreams censored version it was a musically stage, it is the triumph of The Poet – his heavily paid for. direction of Roman Polák in the last away. His envy made him commit an impressive, but contentually confusing ideals win. Dark, almost existentional atmosphere period. act that haunts him all the time. Not to monologue of the opera character that The last sixth scene. Local feast. Men of the painful drama is the main mention he didn´t get Katrina´s love led to the reduction of motivation and drink in the pub, girls come from the contribution of Roman Polák into the Michaela Mojžišová and respect after marrying her. He sings direction of Ondrej´s inner struggle. church. The director implements micro interpretational tradition of Krútňava Music critic >>>> >>>> 40 with a faraway look in his eyes. Katrena In Polák´s production the fifth stories also into the dance numbers (The Whirlpool), i. e. he shifts it away 41 the audience scatters out before the >>>> 2008 –2009 second break during the shows). The THE STAGING L & L IS condensing of the text might be a cure for this. The path towards the climax of the production that comes only in the ABOUT NOTHING second part is simply too long. If I say that the interpretation of the play doesn´t significantly differ from the original text, the most interesting touch At the first sight the play by George BüchnerLeonce and Lena might look like a fairyta- the director gave to his scenic opus le, as if it didn´t have anything in common with this revolutionary and rioter of German is through its pure drama, the artistry Romanticism. But at the second sight we must admit that the first one is wrong. In this and fresh humour at many places seemingly fairytale-like world the cruel sardonic portrait of the world of humans, espe- which became a key to unlocking this cially of those who rule it, is hidden. Nevertheless even if various romantic attributes extraordinary comedy. The impressive are missing in the play, it is indeed a romantic piece. It doesn´t comprise titanic heroes, visuality in stage design and costumes arises from it. Newly created portal doesn´t sound like a hymn on freedom, but all this is present in a somewhat reversed, and stage with a display sign Leonce inverted, almost pitoresque way. In the time when the play originated, Romanticism

analyses and reviews and Lena, strict furniture, live orchestra analyses and reviews had already started to sing its swan song and due to the political events its struggle communicating with the actors in appeared Don Quixhotian, in vain, so to say according to Büchner – fanfaronade-like scenes, command cords (instead of and empty. Beautifully sounding slogans and ideas in the contemporary Germany of principal´s canes), drapery and other Büchner´s age hadn´t found the fertile soil in reality. similar things are explicitly and openly showing us that we are in theatre. Through them we are told that we are G. Büchner: Leonce and Lena. Slovak National Theatre, Bratislava, 2008 photo: O. Vojtíšek Leonce and Lena is the author´s introduction and elements of farce. He stupidity, falseness. It´s as if Büchner watching a play about human boredom, gesture of disgust, implacability and transformed the characters into some with Čičvák and Kubran screamed in dullness, a series of banalities from the scepticism. And all that through the manikins and especially in the second unison about the ridiculousness of life historical but the present world as well. So the extra-acting objects are supposed eventually fall into each other´s arms in invisible threads of spiritual emptiness. already mentioned first appearance part of the play (which is originally and generational gesture of resistance an emphatic caricature scene – the joker Mórová doesn´t over do this stylised that might delude anyone at first. It´s different to part one) he made them which way too easily just evaporates to make its sound ironic, to caricature and ridicule it. fate had organized it so. Ľuboš Kostelný position though; she certainly has more a parody of a fairytale, especially act funny but in quite a monstrous like steam over a cooking pot. The and Róbert Roth amazingly utter word a sense for rhythm and measure. The of a fairytale happy ending. The world way. There is a scent of nomad theatre reason is that this gesture doesn’t The acting is deliberately stylised to an almost grotesque extent. There is less games or maybe they pretend to utter character of preceptress by Zuzana Büchner opens up in front of our eyes groups clinging above the whole play, have a goal, neither a wise experience, them amazingly. They are flexible and Fialová in alternation with Helena is empty, robbed of desire, dreaming, of marionette theatre, cabaret and nor education. It´s just a reflection of grotesqueness in the characters of Leonce (Ľ. Kostelný) and Valerio lithe at speech as well as in movements. Krajčiová is quite a good partner to perspective, ethos and Eros, friendship, pseudo-philosophical disputes. Even a certain state. They are a contrast to the court and Mórová´s acting, because her behaviour love, it even lacks hate as one of the the lyricism of certain scenes is more Büchners play, however, has at least (R. Roth). And that is for a certain reason – they are both criticising the eventually they uncover what kind of is a reduced mirror reflection of her passions. Kingdoms of Popo and Pipi, persiflage, for instance that of natural one handicap – a narrow, not very contrast it is actually and what it is lady´s. From the very well „rehearsed“ where the characters come from, are lyrics. Light and witty calembours, word developed story. The exposition is king´s court, but at the same time they are a product of it. In the final scene motivated by – the golden youth who ensemble´s harmony the sovereign clown-like but not very funny. games, alliterations are formally present way too long for what it wants to actually longs only for the positions of exhibition of Emil Horváth (King Peter) Director of the staging in Bratislava but they contain somewhat vague demonstrate, it lacks action situations. these ironisers smoothly cross to the side of those whom they had disdained. their parents. Diana Mórová made her remains well up above the rest of the Martin Čičvák has interfered with the meanings. I am sorry to say that the Slovak Lena look quite picturesque – a spoiled, acting collective. With his gestures, play, not so much text-wise as in his Čičvák´s staging is about nothing. staging hasn´t battled with it either. The circle which at first might seem to evolve into a spiral, encloses at the very confused little doll, untouched by intonation, movements Horváth fills in staging output and appearance. He But, of course, not in the sense that Since the dialogue of Leonce and experience or anything else (perhaps the space and gives it a rich comical layered historical impulses on top of it doesn´t utter anything; but it´s its Roseta the director hazardously tries same spot. Leonce and Lena who at

>>>> just by a huge pretentious costume). character. He represents a king who >>>> the present day ones using spoken topic – nothingness, emptiness, defeat, the spectator´s patience (no wonder the beginning unanimously refused to 42 marry someone chosen by their parents It´s a marionette-like princess lead by doesn´t rule over anything, doesn´t 43 >>>> 2008 –2009 PORTRAIT of AN ARTIST AS A YOUNG MAN

Literally „high“ live Orpheus and Eurydice in a modern, luxuriously furnished apartment on a high floor of a sky scrapper with a view over a cheerless city panorama. Enters a young woman in a tight dress. (All costumes were designed according to the nature of all characters by Magdalena Musiałová.) She calmly seats herself down to a table set for dinner, but suddenly with the first tones of prelude, she breaks a glass for champagne and with her forearm she hits

analyses and reviews the broken glass to cut her veins. Stage design by Boris Kudlička (with a rare analyses and reviews setting of lights designed by Marc Heinz, one of the most defining elements of the staging) this is how Polish director Mariusz Treliński starts off his drama – the latest adaptation at Slovak National Theate (SND) co-produced together with Warszavian Opera Hall.

He served Slovak spectators a unique degustation of contemporary opera. Everything started with G. Büchner: Leonce and Lena. Slovak National Theatre, Bratislava 2008 photo: O. Vojtíšek a well-measured dramaturgy (Piotr Gruszczyński, Martin Bendik) – for the understand anything and doesn´t expressed what he thinks of our age costumes M. Havran, music premiere the original Viennese version want anything. All he knows as far and his contemporaries by this play. P. Kofroň, music rehearsed by with Italian libretto by Calzabigi (1762) as he is concerned is that he is a king. It´s neat and in many passages joyful A. Popovič, Hummel quartet, cast: was a preferred selection before the Others were not given so much space staging but the overall effect is, to say it E. Horváth, Ľ. Kostelný, D. Mórová, Parisian remake according to French in their texts but smaller characters by mildly, pure scepticism. R. Roth, Z. Fialová, H. Krajčiová, taste. I think it was a logical step as the Oldo Hlaváček, Ján Gallovič, Vladimír J. Gallovič, O. Hlaváček, L. Haverl, French version is a bit softer, smoothing Obšil, Alexander Bárta and Branislav Vladimír Štefko V. Obšil, G. Dzúriková, A. Bárta, up the dramatic conflicts to which Bystriansky are also quite well worked Theatre scientist, B. Bystriansky, E. Čisar, A. Križan, the Wilsonian tableaux (Théâtre du out. critic and historian V. Kollár, P. Löffler, P. Ondriš, Châtelet, 2000) suits a bit better than G. Büchner wrote Leonce and Lena V. Pánik, K. Plank, J. Tkáčik, a cruelly realistic theatre. Even though in 1836 when he was 22 year old. He L. Veľký Gluck´s opera is an epochal farewell to expressed what he thought about G. Büchner: Leonce and Lena Premiere: June 14, 2008, Drama baroque, he´d still remained faithfull to the age he lived in and about his Translation: J. Rozner, dramaturgy Theatre of the Slovak National the tradition – firstly it is in the original >>>> >>>> 44 contemporaries. Martin Čičvák also has M. Kubran, stage design T. Ciller, Theatre castrato part for Orpheus, secondly in Ch. W. Gluck: Orpheus and Eurydice. Slovak National Theatre, Bratislava, 2008 photo: J. Barinka 45 she feels she has to sacrifice herself so could do without (they probably who was however slightly rigid in her >>>> 2008 –2009 that Orpheus can create? Whether yes wanted to make sure that the spectator acting. Lenka Máčiková and Miriam or no, the play deals with these kind of understands that the „real“ Eurydice is Garajová both gave their Amor the rich questions intensely – Orpheus „singing“ not laying on the bed but it´s only her creativeness of a merry maiden with of his sorrow, seats himself behind image in Orpheus´ head). a sparkling soprano, a tiny bit more a computer and „writes his trauma confident in Máčiková´s case. It´s quite pleasant to observe that while out“. Creative work, its meaning and its There might be some negative keeping his own concept of the play causes, the drama of the artists’ soul, commentary directed towards the the director doesn´t ignore the musical that is the central topic of Treliński´s orchestra conducted by Karoslav element at all, on the contrary, he works opus and that of the myth about Kyzlink who had some trouble with at it with wit (he lets it lead him by its Orpheus as well. harmony and hadn´t avoided flaws tempo and intensity, he derives the in their playing either – nevertheless After her death Eurydice is cremated acting of the characters from it.) This it was obvious that the preparation of (in this scene there is a pointless literal precise and detailed way of directing this piece was done with a lot of effort, and naturalistic depiction of flames (with only a few empty spots) has however the musical body hadn´t got licking her coffin) and a courier (actually its stumbling blocks, which came to passed its shadow. There is a lot to be Gluck´s Amor) delivers an urn with the surface already after the second done to make this piece perfect – maybe Eurydice’s ashes to Orpheus. After premiere – a very fragile movement

analyses and reviews the new leading conductor will be able analyses and reviews Amor´s departure, Erinyes (Furies) arrangement was broken by Helena to improve this situation. follow Orpheus everywhere. Depicted Szabóová already in the prelude when as a „dance“ of characters looking she had lost the rhythm and didn´t Slovak National Theatre has like Eurydice (excited, hectic running manage to regain it, which was a kind offered a unique opportunity to see and falling represents a repetition of situation the actors found themselves contemporary theatre aesthetics, which of Eurydice’s act of suicide from the in several times later on. Significantly is a fact, with regard to the enforced prelude – but the realisation has been more precise (even in musical parts) taste(-lesness) of the latest of the long obviously inspired by Warlikowski´s was the first premiere with Wojtek line of SND managers, quite a miracle. version.) Orpheus awakens from the Gierlach (Orpheus) and Malgorzata We can be grateful for it anyway. nights delirium only when the cleaning Olejniczakova (Eurydice). Gierlach is Rudo Leška lady comes (Amor again) who brings disposed with a velvet voice (rather Theatre scientist Ch. W. Gluck: Orpheus and Eurydice. Slovak National Theatre, Bratislava, 2008 photo: J. Barinka Eurydice’s clothes from the dry cleaners bass than a baritone) with a wide range and sets the table with breakfast for two so it means he can almost magically his lieto fine – happy unravelment. One, seems the act at the end of the opera, next to a table lamp), but their home (as if she hasn´t found out yet Eurydice serve the depths and at the same time Ch. W. Gluck: Orpheus and as well as the other, have been sent when Orpheus loses (even if only in might be a golden cage were Eurydice is dead.) Orpheus understands here that the heights of sorrow – i.e. that’s what Eurydike away by the authors of the staging for his mind) Eurydice definitely – but not feels endowed (as we see in many he has to write and that it is the only the performance of Pavol Remenár Music rehearsed by: J. Kyzlink, the sake of dramatic faithfulness and because he had turned around and contemporary relationships!). Luxury way he will meet with Eurydice again in in alternation was missing. He had conductors: J. Kyzlink, M. Lejava, psychological realism – Orpheus is sung looked at her, on the contrary. She is can be equally frustrating as living in his visions. But after a day and a night trouble in the edge positions and was directing: M. Treliński, stage by a baritone and the finale of the opera the one standing behind the door and insufficiency. spent writing he loses her again at weaker in passing from high to low desing: B. Kudlička, costumes: has been crossed out completely, so opens it deliberately so that Orpheus down. He contemplates his own suicide positions. He also lacked Gierlach´s M. Musiał, choir lead: P. Procházka, Eurydice’s gesture, however, probably there is no deux ex machina to appear can see her, as if she wanted to confirm but eventually he comprehends that sovereignty; nevertheless his acting did choreographer: T. Wygoda, singers: has a deeper, more tragic dimension – and serve a happy end. her decision to part with her earthly Eurydice is going to return to him every eventually fulfil the director´s intention. P. Remenár / W. Gierlach, isn´t it so that she knows that a great life. Her suicide as if didn´t have time he will create, so he starts writing Olejniczakova´s Eurydice was less H. Szabóová / M. Olejniczak, The death of Eurydice is not caused artist (whether Orpheus is a mythical any apparent reason, as if it wasn´t again while she lays herself on their appealing though. Her voice was less L. Máčiková / M. Garajová by a serpent bite as we might assume minstrel with a lyre or a modern motivated by anything – for they both double bed. The flames that surround cultivated and way too expressive – Premiere: December 5 and 6, 2008, knowing the original myth by Ovid. writer) can be created only by a tragic live in plenitude: Orpheus is apparently the bed in the final scene are, again, in singing she was almost caught up Slovak National Theatre Opera >>>> It´s a conscious suicide which arouses experience? That the great jewels often >>>> a successful writer (we can assume a pointless illustration the author´s by a hopeful singer Helena Szabóová Hall, Bratislava many questions. Equally conscious arise from the deepest pain? Isn´t it that 46 this by a pile of books and a computer 47 Stasi in Slovak >>>> 2008 –2009 or an Agent in Love

Fear as a principle of ruling in totalitarian regimes has been defined by various repu- table politologists. István Bibó for instance was one of them – considered one of the

most significant European political thinkers of the 20th century, a dissident between rozhovor 1963 till his death in 1979, reprieved and released from prison prematurely in 1963 (he had been imprisoned for his participation in the government of Imre Nagy during the revolutionary year of 1956 in Hungary). István Bibó wrote about democracy: “To be a de- mocrat means to free oneself from fear.“ He thought Eastern European political systems had been swallowed up by fear and that´s why they´d elected authoritarian regimes... He thus suggests reading European history rather as “a struggle between logics of rea- analyses and reviews son and logics of fear which gives birth to violence and results in hate.“ (See Le Théâtre des Idées. 50 penseurs pour comprendre le XXIe siecle. Flammarion 2008, p. 251).

In his latest play Viliam Klimáček of intertext – this staging is the case of a tragic hero. It´s his villainity and deals with an organization which had of creolization of the sort where exotic collaboration with decadent power that monopolised fear in the past political (exogene) ideas are placed within local enables him to become one, even if he regime. He titled the play Communism context. loves his daughter with pure fatherly and talks about the methods the State The most prolific and skilful contempo- love and is willing to do anything just Security Service (ŠTB) used for breaking rary Slovak play write Viliam Klimáček to save her. Hugo knew that this kind and manipulating people. The story was framed his most recent play as of drama can only be identified as brought to him by an actor Juraj Kukura a „tragedy“. But it was already the a grotesque tragedy. Tragedy because who came across it in the German romantic Victor Hugo who felt that one of the characters dies in the end. press. Somebody who´s lived through certain kinds of representatives of his Let´s see what the status of Klimáček´s Slovak totalitarianism might consider contemporary age could give birth to characters are? The head of the family, V. Klimáček: Communism. Aréna Theatre, Bratislava, 2008 photo: O. Vojtíšek the story somewhat „imported“ and a rather grotesque tragedy at most. The HE by his providers called also the note that in our specific local context it King Takes His Amusement could serve enamoured agent is like Triboulet in lacks forcibility, as for instance in 1956 as a good example here. The principle a way. He collaborates with power and What about the traditional end of moment where the story, regarding His explain or defend their existence and the State Security Service wasn´t as character – the joker Triboulet – is loves his family (undoubtedly) sincerely. a tragedy – death? In the last version fate remains open. The quasi full stop position. It´s a typical sign of characters pushy and didn´t force family members being torn between love and duty and But do we feel empathy? Do we fear of the text, which was staged, the for the story is brought by His Son who in a drama, or maybe even in a tragedy. to spy on their relatives. It was a modus in this sense he is an heir of corneillian him? Do we admire him? Do we respect death of the main character fortunately enters the Communist party in the end. Viliam Klimáček has simply written operandi of German Stasi rather than of tragedy. However he doesn´t induce him for saving the high notion of human doesn´t arrive. HE eventually doesn´t Ironically enough, this might mean a family drama and quite a successful Czechoslovak ŠTB. In Slovakia it were admiration, nor empathy, neither fear. individuality? And are we supposed to jump off the roof even though he is a happy end for the family. one, from various points of view. jobs where people knew each other It´s because as a joker and king´s feel all the above mentioned emotions, being forced to do it by his operating On the other hand, the play write has The play´s concept is very concentrated,

>>>> that had become sources for ŠTB´s assistant, in his low, dishonest, wicked indeed? That is the key question. We are agent. He chooses to live, even though endowed his characters with an unusual its dramatic curve is skilfully >>>> 48 informators. With regards to the theory acts he doesn´t comply with the status not. Then why to use the tragedy genre? in constant resistance. And this is the pathos and passion which they use to constructed, and it takes place in 49 where kitchen table creates a dominant However, the music part was something his pronunciation where his speech >>>> 2008 –2009 point (a minimalization of a sitcom else in relation to the play. The selection sounded a tiny bit slurred at moments. monologue is used quite often. Even environment). For the second part he of scenic music underlined the weaker, He pushed his energetic expression such a commercially successful play opened the entire space of the stage melodramatic moments of the story. The sometimes over the edge. write as Yasmina Reza couldn´t do and gave it an expressive conspiratorial emotionality of the staging was one- without a combination of dialogues and atmosphere (expressionistic game of sidedly pushed towards the undesirable Soňa Šimková monologues. spotlights crossing each other´s beams larmoyant direction. First we heard Theatre scientist, However, pure dialogisation is on the background of unidentified Puccini´s Turandot in the scene of the critic and historian a maintsream technique, even if objects). And in the third part he interrogation, then during the course brilliant as ever. This is the case of brought a great compact object to of action we have the March of Dead

rozhovor Viliam Klimáček, but being aware of his the centre of the stage – some kind Revolutionaries and in the third part Communism previous dramatic writing I do think he of profile of an enormous head on top we hear emotional composition by Eric Based on the story by Juraj Kukura, can write other than just a well made of which the actors pronounce their Satie. We expected something a bit written by Viliam Klimáček play. Is it so then, that in this case he´s dialogues. The head might actually more contrapuntal – some musical piece director: M. Čičvák, chosen a retro-form for his retro-play? evoke the dead Stalin´s head in the that would possibly rather ironise the dramaturg: M. Kubran, It´s obvious that the dramatists who cellars of Bratislava castle. events of the play. stage desig: H. Hoffer, staged this play in the Arena Theatre The third part took away the mimetic Martin Čičvák has put together costumes: N. A. Stillmark, led a dialogue with the text. This is cast: Z. Studenková, J. Kukura, character of the play which gradually a balanced team of actors. Even not analyses and reviews obvious also from several changes in it transformed it into an allegory. Acting very frequented, almost forgotten V. Bartoň, Ľ. Bukový / J. Loj, which were made during rehearsals. In on top and in between steep surfaces Milan Antol created a faithful and M. Antol the ending for instance: HE doesn´t die, made the actors somewhat insecure appropriately intense character of the Premiere: November 28, 2008 doesn´t throw himself off the roof but and brought out an inner tension and interrogator. He shaped his character Aréna Theatre, Bratislava remains alive. In Čičvák´s and Kukura´s V. Klimáček: Communism. Aréna Theatre, Bratislava, 2008 photo: O. Vojtíšek gave their expression an unknown commonly, he didn´t accent anything version he stays on top of the roof in quality. The design of the scene led demon-like and emphasizing it´s human a grotesque curled cramp with carnival to their metaphorical actions: HE for dimension underlined the expression of decoration – deer antlers – on top of instance kept brushing the profile of modern, ordinary everyday evil. Vlado a short time spam, in just a few interior fully vehement and confident. It´s his head. The character of father thus the giant head he was kneeling upon. Bartoň as the Neighbour and Juraj settings (even the roof is set as a quasi flexible, dynamic, interactive, economic gains even more grotesque features This activity could be interpreted in Loj as the Son were also equally civil interior). Regarding the story line it and matter-of-fact-like, full of irony and and eventually „freezes“ in a grotesque the allegorical code as an enthusiastic and convincing and didn´t disrupt the oscillates around a single problem of sarcasm, colloquial, sometimes even portrait. Hearing the news about his cleaning of the regime´s face. expression of their characters with any surveillance, whereas in its construction slangish, in other moments creative and son´s decision to join the Communist Thanks to the stage design the father false tones or swings in expression. it works very well with a surprising expressive (e.g. a description of a sexual party he plays with his antlers and appears as some kind of a reptile, On the other hand Kukura and theatre swing back – coup de théâtre – act between two males). When reading grins ridiculously. The Spectator will crawling on the floor, while his Son, Studenková had an opportunity to use where in the second part it appears that it, it flows like water... thus remember this character rather right after declaring his intention to all their dramatic passion in acting for the surveyed citizen is an agent himself, We could mark the play as one from as a tragic and at the same time comic join the Party he climbs a ladder off their characters of husband and wife. indeed. There is also a very strong part a well made play category which clown. And the polemic relationship of the stage and thus resembles a spider In this kind of drama the speech of of anagnorisis – revealing the truth in is often used especially in modern the authors of the staging to the genre – the father and the son. Stage design course is the most activated expression front of His wife – which is a catharsis commercial drama, for its classical or classification of the play became even concept by Hans Hoffer managed to and that´s why the one who is most for the principal character, too, in a way. traditional from. That´s also the reason more striking. enter the semantic construction of the skilful at it wins. Zdena Studenková The entire dramatic „machine“ works why it´s popular with the audience. The set architect has also created play as its integral functional part and confirmed again that she is a gifted on the principle of word exchange and Regarding the character of a modern a strong and fruitful tension in the even gave some pace to the poetics of speaker, she literally leaned against dialogue. play from the category of new drama play. Instead of TV realism Klimáček the staging. This creative Austrian stage her text and rode its waves fluently: the We even feel as if the dramatic dialogue its typical feature is the use of less uses stylised stage design concept. He designer presents himself after the India replicas flew naturally and acoustically

>>>> has become the main character and that traditional means of communication enclosed the first act into a small front Song as a creative co-author of the play, out of her mouth. In Kukura´s case, V. Klimáček: Communism. Aréna Theatre, Brati- >>>> 50 after a 100 years of changes it returns where monologue and quasi- stage cut-out, lined with the curtain too. the passion was often an obstacle in slava, 2008 photo: O. Vojtíšek 51 THE PERFECT >>>> 2008 –2009 out, indifferent and helpless creatures portrAIT wandering around in their own loneliness and empty ambitions. The of DREARINESS basic tone of the staging corresponds very well with the typical semi-darkness on scene and it´s all dipped in it: there´s not a single moment when we rozhovor If I haven´t been completely healed (thanks to my twenty year career in theatrology), see the stage in full light – the overall from illusions, I might really believe that theatre reviews have the power to influence impression consists of fragments, just drama in practice and I could even be tempted to think that the Dead Souls staged in as the finder of a flashing spotlight, sometimes evoking a shivering beam SkRAT theatre could be considered a direct answer to the series of articles written by of torchlight as if examining corners Juraj Šebesta. He´s copied the development of the remnants of Stoka theatre in 2006 for of the stage, where the mosaic of Svět a divadlo magazine1 (CZ). He wrote about SkRAT theatre, where the core of a well- disrupted stories takes place. But the analyses and reviews known Stoka found its new creative platform: He writes: „It´s as if the poetics of once- final impression is great – the strongest were Stoka actors was penetrated by ever stronger realism which however calls for I´ve ever experienced at a performance some additional attributes: bizarre, associative, mosaic, dream-like realism. Some sce- by SkRAT. nes should be described as rather surrealistic. (...) The play was designed by creative The scene is stuffed with cheap team of Stoka, however, it sets its foot onto a new path: more eligible, directed towards furniture as if cut out of the Cabinet of a wider audience.”2 Doctor Caligari – everything, even the coffee pot sits on a sloping surface and nevertheless it works and serves not These quotations are primarily focused only as a set but as a real household: on the staging of Paranoia and some the wry lamp actually gives light, other plays SkRAT created since its a TV set sitting on top of a table that founding in 2006, but I shouldn´t looks like it´s going to fall over any hesitate to say that even after three second is actually on, the fridge opens years of activity this is still true about its deformed lit mouth, two people SkRAT. But now there is the Dead Souls sleep peacefully on a sloping bed. The (Mŕtve duše) – performance, which by shifted world on stage is probably excluding text almost entirely on stage, supposed to underline a metaphor takes off the path Šebesta talks about for the inner worlds of the characters in his article. It´s as if the actors and but I was tempted to interpret it a bit authors had recalled some other, long more simply – as an association with forgotten part of their Stoka past. the concrete deformity of socialist In spite of the fact that Gogol´s novel apartment block walls where many of of the same name is notoriously well their inhabitants have had a number known, this piece has nothing in of tragicomic situations thanks to the common with it. Dead souls is a lot more bad construction. No doubt we are of a literal title in this case – it´s an „in“ a concrete apartment building >>>> >>>> 52 Dead Souls. SkRAT Theatre, 2008 photo: C. Bachratý expression: giving name to burned on stage. If one is still not sure after Dead Souls. SkRAT Theatre, 2008 photo: C. Bachratý 53 >>>> 2008 –2009

hearing a drill, or the typical mixture to mention the music as it is present lairs and are rising in front of our eyes of apartment block noises: creaking of during the whole course of the one just like small hints or stylised pictures elevators, footsteps, various kinds of hour long play. The compositions but they are rather brutal, rough, banging, slamming, talking, radio or that are listed in programme poster ridiculous, even ugly portraits of our TV sounds, then one is surely not going as „music mix by Ladislav Mirvald daily rituals – waking up, sneaking to misunderstand it for something else and Simon Pan“ have impressed me around the fridge, washing up, cleaning, when he sees the repeated projection of as a self-defined artistic piece even even having sex. The authors use housing estate concrete walls slide on in spite of the fact that they comprise many of these moments repeatedly a wardrobe in the very left corner of the a number of music quotations and and vary them to underline the „cycle“ stage. at first seemingly disparate motives of characters´ lives – their dead souls These shimmering documentary (I remember most the „Hawaiian – tired browsing through a book, the shots of grey walls are still suggestive one“ that repeatedly appears when silent touching of a guitars strings, the but a bit a cliché expression of the Gudabová and Bednárik perform remnants of a wannabe ballet dancer´s

analyses and reviews anonymous sadness of the average their typical ironic fooling around) ambitions shrunk to a single endlessly analyses and reviews human life. We are not living in or the everyday life samples. It repeated posture. The perfect portrait of Chytilova´s Panelstory anymore. Not often functioned as a commentary dreariness. only concrete apartment block estates that emphasised the pathos of the However, what was a bit have changed but also the general moment or ironised it. It would be no uncomfortable for me about this problem of modern living have as exaggeration to say that one of the portrait was the fact that the dreariness well. The personification of emptiness, main creators of the play´s „face“ is that is being expressed in it doesn´t uniformness and helplessness of living this tailor-made music soundtrack. possess the sharpness of a deep can be represented by (even if a bit Juraj Šebesta mentions realism. In spite utterance which could lead our senses unjustly) and recognised in Bratislava´s of the fact that the eye of the spotlight further than just to a shallow feeling Petržalka but also in the satellite in the Dead Souls swiftly shifts from of complete helplessness. The secret suburban towns built on green fields one place and situation to another so life of the characters we observe and grasslands on the cities´ outskirts, that the spectator can actually watch apart from leaving, coming, drinking, in the middle of nowhere, with no them, we note several different stories smoking, washing up and alcohol public centres and infrastructure, during the course of the play and consuming is spiced and narrowed where lonely and unsatisfied people these, in spite of the „interruptions“ only to a scale of „scandalous“ sexual Dead Souls. SkRAT Theatre, 2008 photo: C. Bachratý roam behind the tall walls and on their derive quite orderly: the tragic story of secrets and unusual acts associated miniature grass lawns, in addition to a woman in love, disappointed by her with them. These scenes (seducing telephone voices – it is indeed a series DEAD SOULS 1 ŠEBESTA, JURAJ. Stoky Stoky I-IV. SAD 1-4 / everything even having a life-long debt unfaithful partner, an insight into the a husband on top of an ironing board, of „small deaths“ in his loneliness – the Concept and directed by: D. Vicen 2006. 2 in some bank. life of a devoted wife and a housewife sex in a tub, SM practices) might true moment of desolation. Private lives Co-authors and actors: Ľ. Burgr, Stoky Stoky III., SAD 3 / 2006, s. 99, 103. I wouldn´t deal with all these details of who earns her living by acting as attract someone’s need for piquant of so called „common people“ however I. Hrubaničová, V. Zboroň, the visual aspect of the misanscene so „dominatrix“, the story of a man with events, however the real, deep apparently host a lot more dangerous M. Chalmovský, D. Gudabová, thoroughly if it weren´t for the staging unfulfilled ambitions... The outer problems of these characters remain demons than just erotic pass-times and V. Bednárik, L. Fričová that emphasizes the aesthetic impact expressiveness and aesthetics wraps uncovered and rather anecdotal... sex shop requisites required for it. Lights and music mix: L. Mirvald, of the stage design on the audience. up the story line which is realistic, Except one scene, where Burgr is Š. Pán Except the special attention paid to sometimes even naturalistic – scenes masturbating madly, especially in Martina Ulmanová Premiere: December 5 and 6 2008, >>>> >>>> 54 lights and stage design I would like appear from the dim light of concrete contrast with the previous turmoil of Theatre scientist SkRAT Theatre 55 The festival really tried to cover almost >>>> 2008 –2009 everything: productions for children To Touch were not missing. Every morning was dedicated to a fairy tale, as well as a street dedicated to various workshops the Stars and street shows for children. Touches and Connections is an indicator of what may be happening in the field The fifth year of Martin’s festival of theatre in Slovakia, Touches and Connections, be- of productions for children in Slovakia came a year of changes. Festival organizers have taken this year seriously and have for those who do not attend thematic

festivals not left any stone unturned. Reasons for the changes can be found everywhere, but the festivals focused on the child audience. festivals reopened National house must have been the catalyst for the changes. Marble and com- It can sound trivial but it is important fortable chairs were a pleasant alternative to Spartan seats in Studio to playgoers not to say that the production for children is not being neglected. However, on only from the point of comfort. Theatres that had not appeared in the festival Touches the other side it can be dispraised. and Connections for their stage setting could finally be invited – simply, technical para- Productions belonged to various age meters of the Studio were not appropriate for them. groups, from the smallest children to adults. The most problematic ones were those for the smallest. About A Miracle Touches and Connections is one of „Martin festival of theatre in Slovakia“. children, street shows and concerts as Watering-can, directed by Miroslava few places where the Academy of The fanciful programme was a bonus. Kasprzyk, tells a story about a fairy Arts Banská Bystrica can confront the challenging, both physically and Kvetka and elves fighting bad thistles. Workshop´s presentation. photo: B. Konečný Academy of Music and Performing psychically. The “most active“ The opening of the festival belonged to The story is told by movements. The Arts Bratislava. Both schools were playgoers started with a morning Theatre Astorka and its last premiere fairy has the watering-can which can represented as the support for the story, during lunch a critical platform of the season 2007 / 2008, the staging cure everything and the thistles try festival a week before its official of incantations from previous day of the novel The Moon in a Village to steal it and to destroy all flowers. opening. The Academy of Arts Banská were reflected upon, between six and by I. S. Turgenev, directed by Roman A witty and interesting production at Bystrica with Stolen Luck (directed by eight o’clock top incantations of the Polák. After Three Sisters by The Slovak the beginning turned into a long one full Matúš Oľha) and the Academy of Music season were introduced. At ten in the National Theatre, played at Martin’s of non original and confusing situations. and Performing Arts Bratislava with the evening, as long as there was no rain, festival in 2008, Polák`s interpretation The movements were dealt sparingly. production ...only drops on hot stones... dancing shows in the square were aroused some sensation and discussion Extraordinary images could not be directed by Anton Korenči. Besides presented to the audience (this year among the expert community and the seen either, except the clever arrival of students expatriate Slovaks introduced weather gathered its taxes again and director himself. Roman Polák came out thistles and a final swordplay. themselves in Martin this year as the Whirlpool by State Opera Banská with a concept of the world as a mess Hasprčko and Mrcúlik were fighting well. The Toronto Slovak Theatre from Bystrica was lowered by Martin’s and summer sultriness again. Characters in a similar way in a production by Canada introduced a play Hot Summer whirlpool – the production was stopped live in a greenhouse, being isolated Theatre Ludus, directed by Peter Kuba. `68 by Viliam Klimáček. Theatre in after the first tracts). Around midnight and closed in their own world, being They could not decide what age group Dlouhé from Prague finished the whole in a tent there were productions for connected and disconnected. They they actually played for. Simple actions festival with a play Solitaire.sk by more demanding audiences as well as hide their “I“ under a mask, a wig that took turns with rap songs; it could have Z. Ferenczová and A. Medowits. All four for those suffering from insomnia. The is being taken off even though the truth worked if a tempo would not have been incantations, even though they were not productions were either the beginning is not often found there either. Polák`s missing in the production. Even the idea set as the main program, had a high visit of a long night’s discussion or an clear interpretation aroused a polemic about doing sports instead of sitting rate and Martin play goers have been intellectual lullaby. From the beginning if director`s intentions revealed in front of a TV or a PC disappeared.

>>>> prepared for the run on Slovak theatres. to the end we can summarize forty immediately at the beginning and not Tomcats did not lose their weight; K. Žiška and Z. Palenčíková: We will whisper to ourselves. Slovak Chamber Theatre, Martin, 2009 >>>> 56 Touches and Connections is The productions, various programmes for brought out later on were appropriate. they went on sleeping and eating, only photo: B. Konečný 57 The season of productions about strong was waiting for me. In spite of this the in the tent, but considering the previous >>>> 2008 –2009 women in State theatre in Košice has performance surprised me and brought night performances it was not enough. got the appreciation of this dramaturgy. me to awkwardness. Knowing about This year one of the positive sides of Euripides’s Medeia, directed by Michael it beforehand means that I could not the festival was the preparation for Vajdička, surely belongs to the top of accept, at the first viewing, the new “a wet variant” that was realized in the the season, without any dispute. And layers that started to be revealed. case of West Side Story by the theatre without any dispute, it raises many That is the director’s conception and New Stage Bratislava. Performances disputes. We will let ourselves enter interpretation and that enters into all from a night stage were supposed to this more personally. I saw Medeia in areas including scenography. And move to the cinema Strojár and the my home environment in Košice too. again, the dramatic art of Dana Košická performances for children to the hall of

festivals As well as other colleagues who saw being disciplined and exactly consistent National House or Studio. Despite this festivals the performance for the first time in with director’s interpretation of Medeia, fact the above mentioned Whirlpool was Martin I was indignant. I accepted the as an interrogation at a court by judges, not played. Nevertheless, the organisers division of male characters into three must be mentioned. having been ready for weather changes actors, but I did not accept their work Communism by Aréna Theatre, directed can be considered a little victory. with puppets which only distracted me. by Martin Čičvák, a production that was The fifth year – it is questionable if this Instead of perceiving the characters and interesting in its topic but disputable is the time for a change as after five the puppets my attention was drawn to in its production, Gospel by Pilat (a. ha years we cannot talk about a tradition actors and how clumsy they manipulate Theatre, directed by Štefan Korenči) from the anthropological point of view. their puppets. I did not accept the with the concentrated effort of Ján Besides some other changes (planned final French song which with its lovely Kožuch, or Polylogue by P.A.T. Theatre discussions not only for a critical melody eliminating all seriousness of and Slávka Daubnerová where an platform but also for ordinary playgoers the theme, moreover – how is French inner world of a schizophrenic painter after the performance; the change of connected to the production besides the was reflected, belonged to nights top dramaturgy in the tent) the visual of the fact that choir is explained? At last – not productions too. festival changed essentially, too. Five only as a critic, but as well as a man The tent dramaturgy differed in stars of Great Bear (with a perspective Concert of M. Kráľ. photo: B. Konečný I could not identify with the dramatic comparison to last year. The space of of adding a star with each year) has art of Dana Košická, the representative the tent was taken as an alternative become a visual representation of the children came onto the stage to play are not perfect (love motif of lovers We Will Whisper to Ourselves, directed of Medeia. The director led her to acting one by organisers, that`s why groups festival Touches and Connections with a ball. has been pushed aside in Romaldíno by Žiška, comes from the hosting on the edge. The whole register was such as Non.Garde from Bratislava instead of the previous logo – eyes A triple representation of Kamil a Kamila even it is been often theatre. A lyrical contemplation about shown at the beginning and then she with its production of The Second joined as cherries. A flaming star and Žiška in the festival says that this emphasized that they are only step destinies of four ambitious Slovaks could do nothing but go down and back Round, Dialogues by Stoka, directed visual power are missing in the new young director is becoming one of siblings; Scrooge’s change from an (Elena Maróthy-Šoltésová, Terézia to the top very hard. The cramp she by Blaho Uhlár, or The Secret of the logo. Despite that the new logo indicates Slovakia’s top directors. His specific old cheapskate is too fast and with no Vansová, Ľudmila Podjavorinská a Hana found herself in seemed to be physically House by Puppet Theatre at the a possibility to touch the stars of Slovak theatre vision is adaptable to fairy motivation). Besides the educational Gregorová) mostly focuses on their hard for the actress herself. That’s why Crossroads Banská Bystrica, directed theatrical sky. A pathetic metaphor? And tales (likely stories about a life for aspect, they influence and cultivate relationship with men and children, all credit is given to the discipline and by Iveta Jurčová, were introduced why not? both, children and adults), as well as the soul of a playgoer theatrically. everyday worries and pain, as well self-control of the actress Dana Košická there. At midnight, the time when these Dária Fehérová to big productions. Two morning fairy It may sound trivial but “Touches and as their reflection to their production. who confirmed she belongs amongst productions were staged, they were too Theatre critic tales Romaldíno and Kamila (Puppet Connections with Kamil Žiška“ was Fictive situations based on a real basis the top Slovak actors, even though intellectually difficult and exhausting Theatre Žilina) a Lakomstory (Old succseful for the third time as well. If that was gathered by studying materials she is not spoken about as often as despite their high quality. It would be Theatre Karola Spišák Nitra), which he to someone this article seems to prefer are brought by authors. Sensitive and she would be if she played in any of appropriate to consider the system Dotyky a spojenia 2009 / Touches participated in partially, entertained Žiška, this someone must question poetic images are the results of it; every Bratislava’s theatres. of introduction of such productions and Connections 2009 audiences of all ages. Stories about the dramaturgy of the festival. The actress is helped only with one property To me, Medeia in Touches and regarding the alertness of the festival National Theatre Showcase

>>>> tolerance and human goodness with production by the authors Kamila reflecting important or characteristic Connections was not such a (cultural) audience. Ginsberg in Bratislava by June 17 – 29, 2009, Martin >>>> 58 witty songs and well made puppets Žiška and Zuzana Palenčíková And moment of character’s life. shock as I was ready and knew what GUnaGU Theatre was a kind of load off www.dotykyaspojenia.sk 59 has been a part of the festival´s title >>>> 2008 –2009 since 1994, the first projects from all FESTIVAL OF HUMAN four countries were actually about to be presented this year for the first time. However, the only representative VALUES remained Theatre Ludem with their monodrama A Fairytale, Bedtime Story, Fable, Mese about a girl who is The 16th year of the puppet theatre festival Bábkarska Bystrica which takes place every maturing and about searching for one´s path. It was accepted by the audience two years in Banská Bystrica was organized at the beginning of October 2008. It has

festivals somewhat awkwardly and discussed festivals been taking place since the mid 70´s. With the arrival of its new director Iveta Škripko- passionately at the festival forum. vá, in the middle of the 90´s, the festival became known as „an international festival of In the non-competition part of the Slovak puppet theatres confronted with puppet theatres from around Central Europe programme the host – Puppet Theatre and selected groups from abroad.“ Sounds complicated but the goal is very simple: this at the Crossroads (Divadlo na Rázcestí) event is a hotspot where various mutually interconnected puppet cultures influence – presented a gentle „kindergarten and inspire each other. project“ Story of a Fairy Smaller than a Poppy Seed written and directed by Martin Geišberg and Mocad(r) amas about „a life in woman´s skin“ by Iveta Škripková who represented During five festival days spectators had competition part of the programme and New in the festival programme, the contemporary tendency in a chance to see fifteen performances in non-competition. alongside with the traditional sections, theatre – gender-sensitive drama. competition, nine performances out of The central idea for this year was the were The Young Zone and V4 Projects. Non-competition was represented competition, the screening of one film; relation of history and presence. This The well-written festival daily FEST.IN by two international groups. Teatro they could listen to radio plays, join two topic launched a discussion the very available on the internet had returned all´improvviso from Mantova came discussion forums, see one concert and first night when Ida Hlediková-Polivková to the event after some time as well as with their interactive fairytale with the visit the ceremonial finale. There were and Peter Beňovský presented their the festival forum where people could use of drawn images Pallina´s Seasons three exhibitions in Stredoslovenská full-length documentary The Last discuss each performance and all of the Year. Director and artist Dario galéria installed as part of the festival Caravan (Posledná maringotka). The festival visitors took part in it. However, Moretti was painting directly on stage programme: Toys and Puppets – History film is about the last nomad puppet unfortunately, there were not many and the pictures were immediately and Presence (collection from the makers and comedians in Europe. The festival guests who participated. projected onto a big screen. An actress museum of Puppet Traditions and Toys interconnection of history and presence The Young Zone was dedicated this then „illustrated“ them in space by in Modrý Kameň), Anton Anderle´s has been interpreted in various levels year to the Department of Puppet movements and words. Through World of Puppets (selected collection) in this documentary – the artistic, Theatre at the VSMU (Academy of painting, music, word and movement and a photo exhibition Contemporary familiar, social and personal. The Music and Performing Arts) in Bratislava arises an illusion – a story. It was Czech Puppet Theatre provided by premiere of the film was at the same (presented panoptical Family Stories by a very inspirational, a quite unusual DRUMS - 4 dance(s). Teatr Lalki i Aktora im. A. Smolki, Poland photo: B. B. the Theatre Institute in Prague. An time the official opening of the festival B. Srbljanovic) and to the independent performance and a technique not exhibition dedicated to a stage designer and it was symbolic also because Slovak groups from one generation Supervielle. The Biblical story was The strongest attention was of course commonly used in Slovakia and it was Jana Pogorielová-Dušová celebrating The Last Caravan was the first film (Le Mon from Nitra with their street staged with humour and lightness, attracted by the competition programme dedicated to a rather neglected age her anniversary was also available for ever presented at this festival. Thus performance Prometheus, Dezorz´s with no pathos, and in an interesting where the organisers, together with group of spectators – 2-3 year olds. festival visitors at The State Scientific the puppet tradition was presented Puppet Theatre with their marionette scenography which evoked an the international sponsors, introduced Theatre group La Boîte Noire from Library. The festival programme was in a new way, in accordance with the horror Desperandula and Pôtoň Theatre underdeck or a shed full of odds and fifteen productions: one V4 project (the Reims presented their play Noem´s overflowing with events. It was very intermingling of different genres and from Levice and their latest adaptation ends and the ark itself resembled Fairytale, Bed-time Story, Fable... by >>>> Ark – an adaptation of the famous >>>> compact and balanced and there were artworks so typical for today´s creative Terra Granus). a giant toy – with cubes for each animal. THeatr Ludem), two Hungarian plays, French play by poet and play write Jules 60 only slight differences between the trends. Even though the abbreviation „V4“ 61 them there were the above mentioned puppet theatres (5 former state puppet to DRUMS – 4 dance(s) (main award >>>> 2008 –2009 play Biting (Kompania Doomsady), theatres) were given a place in the Henryk Jurkowsky Award), The King From The Jungle Book (Minor Theatre, festival programme. The host Bábkové Grisly-Beard (Audience Award) and Prague, libretto and directing by Jiří divadlo na Rázcestí (Puppet Theatre The Catcher in the Rye (Hašterica 2008 department graduates from Drama Adámek) and The Catcher in the Rye at the Crossroads) introduced their Award). Academy in Bialystok – were inspired (The Old Theatre Nitra). This gesture play Restart: Frankenstein, which was The festival of Puppet Theatres was by magical realism in their play Biting was a confirmation of the high quality rehearsed for the premises of a circus very inspiring and brought many directed by Marcin Bikowski. A story and balanced festival competition tent which has become an alternative inspirational ideas. The inspiration of a destructive love of an exorcist programme. The enactment From the scene for the theatre (the small attic drawn from history and, on the other and a possessed girl was a suggestive Jungle Book, for instance, based on one premises in Villa Dominika are really hand, interpretation of history by means concert for three interepreters – three festivals of R. Kipling´s stories (production by not sufficiently spacious). It´s an of contemporary (expressive) means festivals women depicting various characters – Kristína Täubelová) was very innovative appealing utterance based on Mary – which the organisers had in mind nuns, village hags and demons of the and resourceful and the way it used Shelley´s story which puts questions of when constructing the programme, haunted girl. space was very interesting: children when one is prepared to create his own confirms the closeness of our (V4) Teatr Lalek Banialuka from Bielsko- were seated in groups around boxes life and take responsibility for one´s drama cultures. No matter what Biała presented their adaptation of constructed of several 3D panels, where actions and their consequences. Žilina provenience the artists come from they Andersen´s tale The Snow Queen parts of a story about a mongoose who Puppet Theatre presented an amusing all emphasised the need for an auteur written by Iveta Škripková and directed killed a snake were depicted. The actors street version of Sheakspears´s Othello drama inspired by renowned literary by Marián Pecka. This creative duo have were moving the story for each group directed by Jakub Nvota. Another and dramatic works, of varied genres been typically known for their often separately and moved it forward giving Sheakspear´s adapatation The Tempest and art works of all sorts. The artists shocking interpretation of well-known it special rhythm by singing, sounds was performed by Bratislava Puppet have chosen humour and light reflection literary works. This time they attracted and noises, using a minimum of text. Theatre (d. Kamil Žižka). I wonder why as a means of attracting spectators´ the public attention by their choice to Thanks to this extraordinary approach this play, even when quite well done, is attention to the great human values have a male character representing the children were really encouraged to not scheduled in theatres more often? such as love, honesty, justice, courage, The Snow queen who was dressed as follow the story and perceive it intensely Košice Puppet Theatre, inclined towards bravery, fellowship. The festival was The Catecher in the Rye. Old Theatre Nitra, 2008 photo: J. Schramko a transvestite. Teatr Lalki i Aktora im. and intimately at the same time. a more classical, conservative kind a celebration of humanity re-discovered Alojzego Smolki z Opole came with Krepsko Theatre brought a staging of of fairytale puppet theatre, presented in modern language. their play DRUMS – 4 dance(s) and it a woman’s story who is in love with their Captain Tulip which was a good was a synthesis of dance, music and a man obsessed with searching for the representation of this tendency (d. Pavel Dominika Zaťková three from Poland and four plays from by director of the play Géza Kovács) The pictures (directed by Krystian Kobyłka). ever smaller women. The play brought Uher). Theatre critic the Czech Republic. There were five Whispering Willows is about the endless Five actors were accompanied by the atmosphere of circus vaudeville Exceptionality and the humanistic plays from Slovakia in the competition, sacrifice of a Roma mother trying to a professional percussion trio and where humour intermingled with message of The Catcher in the Rye as well. save her children. The wandering of this they brought a stirring portrait of the morbidity and touching moments. The (based on J. D. Salinger´s novel) and Puppet Bystrica 2008 Bobita Bábszinház Pécs Theatre free nomadic nation and its suffering dehumanization and industrialization Czech adaptation of The Hunchback of directed by Jakub Krofta and performed 16th International Puppet Theatre introdued their adaptation of a fairytale (including holocaust) is depicted people are born into nowadays. Or Notre Dame by ANPU Theatre based by the Old Theatre Nitra attracted the Festival confronted with puppet by brothers Grimms The King Grisly- very emotionally and suggestively. rather gradually lost in... in Prague (directed by Bela Schenková) jury´s attention because it had placed theatres around Central Europe Beard (directed by Agnes Kuthy). The Independent but essential to the It was this piece that caught the special mixed humour and dramatic tension, it among the hot candidates for the and selected groups from abroad playful interpretation used various play is the very neat and cultivated attention of the international jury (V4 sarcasm and poetry. The presentation winner. Eventually it was awarded October 3 – 7, 2008, Banská Bystrica drama means – clowning, shadow scenography by Szilard Boráros and his members) and eventually they awarded of Czech independent theatres was a Hašterica Award for a creative act www.bdnr.sk theatre, puppets, various stage impressive artistic designs. it the only professional festival award completed by JEDEFRAU.org project in Slovak puppet drama and thus this requisites, lights, music, word games. The Polish drama was represented by in the competition – the Henryk and their movement composition The Nitra based theatre went home with The second Hungarian play was also three plays and all of them brought Jurkowsky Award. It was however the Allien – for an actress and her alter ego Hašterica 2008 (in 2006 it was awarded dedicated to children. The Roma legend expressive stylised acting typical of the first time in the history of the festival – a puppet and a model (Jiří Adámek, to Ondrej Spišák for his Raven made of

>>>> written by a contemporary writer Lászlo Polish acting school. The small group when the jury expressed their wish to Kristína Maděričová, Robert Smolík). Stone). Five days full of art were topped >>>> 62 Pála Galuska (based on a story brought Kompania Doomsday – puppet drama announce the nominees as well. Among After a long period of time all Slovak by the award ceremony. Awards went 63 people present brainstormed a bit about >>>> 2008 –2009 what the individual culture centres (NOT)WAITING could do for the development of this extra-regional co-operation (providing of premises during presentations of AT THE TRAIN STATION projects, providing accommodation, etc.) and how to intensify future mutual AND HAPPY ABOUT IT communication. During the discussion it appeared that the biggest problem of the fledgling

festivals for THE FIRST TIME. cultural and organizational aspects of festivals the co-operation would paradoxically enough be the lack of people. It´s still not clear who would act as a representative and coordinator, but NO – WAITING whole year with regular international certain continuity in the exchange of I do believe that the circle of potential There are only a few things which test volunteer visitors and residential art experience among member culture candidates will be narrowed to several human patience. Late arrivals, endless programmes. The number of spectators centres could be kept. Among the hopefuls and there will be a chance waiting, delayed trains... But there is at the KIOSK festival has confirmed that ones that had joined the list already to contribute to the development of one exception, quite an extreme one. this alternative art scene has a base are e.g. A4 Zero Space from Bratislava, contemporary Slovak art and present it There is a train Station Žilina-Záriečie of fans and it´s worth developing and Studio 12, civic association 11:15 not only at home but promote it abroad where one wouldn´t mind waiting for supporting. With its spectators and from Kremnica, Pôtoň Theatre from as well. several days. One would calmly observe visitors it creates a fully established part Levice, Tanečné divadlo Alternatív departing trains and people who run of Slovak culture. (Dance Theatre of Alternatives) from EUROCITY TRAIN KIOSK Festival. Stanica Žilina - Záriečie, 2008 photo: D. Dobiáš after them and pass the time that flows Žilina and community theatre Divadlo There was a European train that took pleasantly. The person – spectator NOT THE FIRST, NEITHER z pasáže (Theatre from a Passage) from its stop at this small station, too. After doesn´t have to be there for work or be THE LAST STOP Banská Bystrica. Thanks to the mutual a brief afternoon presentation of Slovak so-called residencies, they organize is run and managed by students of waiting for anything. Nothing is too late KIOSK festival is exceptional and not interconnection the independent culture centres, foreign „passengers“ eight festivals per year, run a theatre theatrology from Poznan (Poznańskie for him and he´s happy he doesn´t have simply because it´s the only similar artists from Slovakia and from abroad had informed about their national Alfréd ve dvoře (Alfred in a Courtyard) Stowarzyszenie Inicjatyw Teatralnych) to travel anywhere. It´s because he is event in Slovak context. Firstly it could get a chance to learn more cultural „stations“. For instance the civic and take part in various independent and Małgorzata Mikolajczak came in the right place and in the right time. presents contemporary Slovak drama, about the activities, creative and association Nová síť (New Net) from and experimental artistic projects. to talk about their activities. Already And this „there“ and „then“ was the first dance and music; secondly, the most educational opportunities in individual Czech Republic might be quite inspiring Thanks to a written document – the during their studies most of the year of the Slovak independent drama important mission of the organizers has organizations. It appears that if there is for Slovak artistic organizations. Its Declaration of Partnership which they students take part at conferences, run and dance festival KIOSK 2008. been to create a space for discussion. an independent legal entity functioning member Dagmar Kantorková said that add to each grant request – the cultural- educational seminars and provide the Already it´s title “...never in a month of as a head organization, there would in spite of the fact that the organization political aspect of this organization public with various kinds of artistic STANICA / THE STATION Sundays?” pointed out the fact that if be more advantages implied by it was started by a single person surfing seems quite effective, since the process materials. In co-operation with other A culture centre with this name was someone really wants something, one for everyone. This way there would the internet, today, there are several of granting is then partially easier and institutions they organize about 120 inhabited and looked after by members can really achieve it. be a chance to find a good support members providing a wide span of more successful. cultural events per year – meetings with of a civic association Truc Sphérique After discussions in the IC Culture Train for independent artistic activities. If activities (from the circulation of Other interesting guests came from directors, play writes, actors and they led by Marek Adamov five years in January it was the second meeting cultural life is decentralised and newly artistic productions to a web-map of Poland and their presentations perform what they call theatre tourism. ago. In the course of time Stanica- of independent art scene enthusiasts created organizations know whom to performance premises, etc.). Together convinced the auditorium that Made in Poznań is a registered brand of Záriečie has become an independent and it´s goal from a long-term point address directly, then financial means with a production agency Motus which the intersection and network of local drama festival which takes place multicultural environment that has of view is to formalize a mutual inter- for individual or international projects was introduced by it´s project manager hosted art activities and artists of cultural communication and create probably could be more accessible. For independent cultural activities is well in the autumn. >>>> Malvína Řezáčová they co-operate with >>>> developed in that country. Most of it Drama group A PART was presented 64 different genres and origins through the a network of co-operation. That´s how a start it was quite sufficient that the thirteen regional partners, who create 65 kind of new idea and do something for Birthday Party directed by Christopher Orthopoeticum. Authors have literally Door was publicly burned by a lighter, >>>> 2008 –2009 the arts is welcome at the casting after McKey and performed by SkRAT showed off „to their bones“ when all this witnessed by a security person. which he / she can stay at the premises Theatre from Bratislava represented in an hour-long performance varied An opinion in which the author and realise his / her project. a genre counterpole to the above between pointing out (non)elasticity, presented the evanescence of artistic Mónika Csengel from the City Cultural mentioned performance as it was shape, fragility and importance of possession and of the identity of art Centre in Komárno, Slovakia came to built on the strong improvisational the human skeleton (implanted parts work (dance and / or drama) can be inform about minority’s art activities. authors, using typical poetics, bordering potential of the collective actors. By or orthopaedic aids including.) The expressed even this ironically and Jókai´s Days Festival has been taking with absurdity and comedy had offered their authentic and relaxed acting mysteries of joints and spines was tangibly. It´s the unrepeatable and place for the last 45 years and it almost no story at all, nor a fragment of they immediately pulled the audience presented by impressive acting and immaterial character of art that makes had presented twenty theatres and it, actually. The piece consisted of small into the story and so they eventually RTG slides provided an interesting the hands of critics tight because it´s etudes (36), the titles of which listed

festivals supported co-operation with various felt as guests to a birthday party... In technical counterpart to it. There was impossible to speak objectively about festivals amateur drama groups. in bulletin could serve as some sort of a cosy living room, two husband-and- a rational cool air rising above the scene something that actually doesn´t exist The end of this prolific meeting was guidance for the spectators to know wife-and-cross-lovers hosted them and accented by a reproduced monotonous anymore. However it was a pity that very friendly through-out the whole of it what they were actually watching. an undefined „clown-waiter“ – served speech of a doctor reading out loud the artist hadn´t used more humour and thus the door to new co-operation However seeking for an „orientation as a „paid for“ lightning rod which short results of medical examinations. and joviality in her quite serious text. has been open even wider. point“ when interpreting what we´d swallowed their reproaches, ridicule However Ortopoeticum hadn´t touched The effort to seek permanent value seen would be in vain (particularly, one and „scenes“. The story resembling the audience´s emotions, in my opinion, in something that exists only „here“ WAITING FULL OF FUN of the characters resembling female Albees Who´s Afraid of Virginia Woolf? because of its scientific and abstract and „now“ was presented as quite What kind of festival could there breasts could be considered more gradually uncovered the vices and sins approach. problematic. In the worst it would be if everything went according to literally as the G-spot.) of these „friends“ with which they need mean the redemption and execution of scheduled? I wouldn´t be on time Saturday night was marked by a mix to cope with. Through psychological WAITING FOR THE VERDICT the academics but on a higher note one anywhere at all... It was the spontaneity à la „from one extreme to another“. projections, games and insults this Fortunately, in the last performance could look at it from the Zen-Buddhist and family atmosphere that prevented Artist Stanislava Vlčeková performed party ends up by disclosing a woman´s there were no limitations placed before point of view. The Zen-Buddhists as anyone complaining about delays. The a movement expression produced by orgasm which however didn´t come the inventiveness. Another auteur well as other art lovers will surely programming was very varied regarding Debris Company from Bratislava called in the right moment which caused one utterance called Auction by Katarína eagerly await the following year of this J. Vlk: Soliloquy. Debris Company, 2006 genres and such different performances Soliloquy. According to the programme of the male´s ego to be hurt. So if one Mojžišová was a refreshing element festival, while the first mentioned don´t photo: D. Dobiáš as a concert of Živé kvety band, two bulletin it was a dance-and-drama manages to rise above the complete for all the frowning intellectuals. In see any difference between life and short film screenings and on Saturday micro-adaptation of the last chapter sincerity and doesn´t have a problem her staged declaration of her attitude death. by a director Marcin Henrich from there was a party Pressburger Retro DJ in the Ulysses by by James Joyce and with telling people what one really towards the art theorist she offered Milan Zvada Katovice who uses predominantly non- Club. All events found their place within a dancing monologue of a concert thinks of them, he / she is probably not four exclusive pieces – articles for sale Theatre Journalist verbal, visual and movement based the festival and went very well together. singer and wife of Leopold Bloom – going to be surprised by anything. But – samples of her great dance opuses. performance of experimental drama. The main part of the programme Moly Bloom. Vlčeková managed to real friends tell each other everything, As expected, the audience´s interest This year already the 14th international was composed of the contemporary express a deep dive into a woman´s don´t they? to see these artistic works was quite KIOSK Festival 2008 festival of independent A PART theatre independent drama productions mainly soul but sometimes even to a sinful high. The author was asked to perform Stanica Žilina – Záriečie took place. from Western Slovakia. Drama group imagination of a saint. The frilly dress AT THE DOCTOR´S her Dance of No Movement twice for July 25 – 27, 2008 Presentation of individual groups DISK from Trnava has been established of the actress used as a screen for WAITING ROOM instance (it was a two-minute long www.stanica.sk was made interesting by Magdalena as a group that hardly ever disappoints projection was an interesting idea of On Sunday afternoon the station static gesture.) Even more appreciated Podzielewska who came from the expectations of their audience form. The good composition of lights, waiting room transformed into was an internationally recognized a mysterious part of the Polish city of and they confirmed this by their new classical music and movements evoked a waiting room of an orthopaedic movement opus Sun Coming Down Krakow – Nova huta from theatre Łaźnia play Creeping (Plazenie). After almost an impressive revelation of the inner clinic. Maja Hriešik – director from which to a great disappointment of one Nowa. This theatre group inhabits fifteen years the directors’ seat was world of a woman. However the tight ID Art Group together with Debris of the „clients“ couldn´t be performed the industrial premises of an old steel taken by Blaho Uhlár and together confines of the theatre made this Company and Aktivnagruppa focused in black-and-white version for the factory and tries to involve local people with S.T.O.K.A. theatre they presented experience somewhat limited because it in their theatrical-research project on inscrutable weather. The last jewel on into their cultural activities. Everyone didn´t allow each viewer see it in all its >>>> a Dadaistic excursion into the results health anamnesis of some of their offer for a bit over two million, titled For >>>> 66 who is willing to get enthusiastic for any of a rehearsing process. A collective of richness and wideness. member´s and dramatised it into an the One, Who Always Departs by the 67 Prof. PhDr. Dagmar Inštitorisová, function to be the mirror of society. Michaela Mojžišová >>>> 2008 –2009 PhD. (1961) has worked as a teacher Paradoxically, the freedom of expression After the initial Change of Slovak and specialist on history and theory reduced artists´ ambition to express euphory and delight of theatre at Institute of Literary and creative heat in dramatic works. The of freedom, the Slovak Artistic Communication at Faculty message of contemporary drama opera – the same as theatre after 1989 of Arts Constantine the Philosopher has shifted towards general readable other arts – had to University in Nitra since 1994. Her comprehensibility. face the hard reality. The year 1989 brought political, societal and cultural revolution in post-communist research is focused on semiotic and The positive change has definitely Art lost the state´s countries. Freedom, expliciteness, liberty promised also in culture new tendencies semantic analysis of structure of expressed itself in new topics, scenic support it had got (until then only buoying under the surface) and more innovative creative approaches theatrical work and on problems of techniques, trends: alternative used to in the previous Inquiry Inquiry and poetics. What changed and moved forward in Slovak theatre during those twenty interpretation of theatrical work. theatrical concepts, gender study regime and private years? kød asked several Slovak theatre critics and artists to sum up this period from theatre, intermedialization of theatre sponsors in Slovakia have become their perspective. Miroslav Ballay etc. In these terms Slovak theatrical more or less utopia even after two Slovak theatre has artists have often got on exeprimental decades. Slovak opera too started to undergone many level. They have, however, remained search interpretation key of well-known Dagmar Inštitorisová inner disorientation which, for example, almost each theatre has started to intense changes traditional when it comes to scenic works with the focus on experience One of the most led to abolishment of a journal for provide propagation materials and after 1989; has principles. and cognition of contemporary difficult period for professional theatre and consequently record its works on DVDs etc. Some gone through wide Contemporary Slovak theatre reflects audience (works by Marián Chudovský, theatre after the stopped important public discussion on of them have even started to publish transformation general social changes after 1989 in Jozef Bednárik, Martin Bendik). Tender Revolution in theatre, contemporary issues, values monthly journals and there are plenty and several many aspects. We observe that Slovak Opera, however, remained more or 1989 was probably the etc. for quite a long time, it reveals that of publications that describe their reconstructions. In theatrical culture has become more less closed in its own territory. The period after separation chaos not always results in positive activities and works. It is also very the last 20 years it open, flexible to accept new impulses, financial motivation has become an of Czechoslovakia things. positive that there are much more has become a new trends and scenic techniques even from important determinant in making opera into two independent Nevertheless, the fact I find permanent theatre festivals and shows nowadays. shape. The role of theatre has changed abroad. The question is though whether production plans in our opera houses. republics in 1993 and and very positive is that none of the The fact that they are very popular principally in Slovak society as well it is able to compete with European The opera of the Slovak National consequent artificial professional theatres were closed proves that theatres as well as the as its position and function. The social theatre. For Slovak theatre is not Theatre and State Theatre Košice division of society into federals, i.e. anti- after the revolution, on contrary, audience are eager to get new impulses change itself led to formation of many always ready to react on new impulses chose the safe way of popular romantic Slovaks, and those, who considered there were even more of them and of and need to confront their views. pluralist forms of theatre with various promptly, or transform them into new repertoire throughout the 90s. It was themselves true representatives of various kinds including private and It seems that in last years theatres functions. Slovak theatre transformed extraordinary forms. only Marián Chudovský in Slovak Slovak nation. Professional theatres public. The society has also started have as if rediscovered topics to into several various forms. The most National Theatre (2002 – 2006) who often suffered very hard – due to to act intensively to reduce the lack express and thus their works can be important is the change of theatrical Miroslav Ballay, PhD. (1978) integrated inspiring excursions to the changes in cultural policy they kept of education of professional theatrical perceived as pieces of art. We also artists´ approach to the audience. University teacher, aesthetician, theatre sphere of old music or 20th century losing the most important thing – rights artists and audience. Furthermore, have to acknowledge the benefit of The initial crisis of theatre after 1989 journalist. He finished his university classical music. The most immune they had obtained immediately after theatres themselves have taken up theatres that have started to produce was caused especially by insufficient studies of aesthetics at Institute of towards exeternal pressure appeared the revolution – free circulation of the responsibility to educate public as works about more or less controversial ability of theatres to react properly on Literary and Artistic Communication to be the State Opera in Banská their press releases, good organization natural part of their existence. personalities of our culture, society and expectations of people (which resulted at Faculty of Arts Constantine the Bystrica. Their audience has always and technical background as well as I have to mention publishing activities politics and thus opened Pandora´s box in massive outflow of audience from Philosopher University in Nitra in 2001. been problematic, therefore they possibility to function honestly and too. After 1989 we got acces not only of our society and initiated public “cure“ theatres). Directors of professional The central interest of his research is the decided to follow the tactics of covering decently. to exquisite translations of theoretical, of hidden problems. theatres instead of positive progress problem of interpretation of dramatic white spots on the Slovak opera map. Each major change in society, however, historical and dramatic literature, but Each change has its own symbol – for stepped back from original theatrical work. He pays much attention to theatre Controversial works acknowledged is difficult in its natural context: this to worthwile original works too. I also me the the symbol of Phoenix as of intentions towards certain resignation critique. He runs student theatre by specialists are counterbalanced by required not only the inevitable change deeply appreciate the way theatrical constantly restoring energy of theatre, of dramatical message (that often led VYDI at Constantine the Philosopher opera, operetta and musical repertoire of thinking of society as such, but of artists has started to try to save their belongs to the theatre Theatre Astorka even to its devaluation in terms of University in Nitra that concentrates attractive for the audience. Furthermore,

>>>> theatrical artists themesleves and at all work. The quality of bulletins and web Korzo´90. commercialization). predominantly on coollective in the 90s the Opera in Banská Bystrica >>>> 68 levels. And when it includes one´s own pages of theatres got much better, Theatres also lost their essential authorship. provided asylum for talented generation 69 of Branislav Kriška´s students – Martin Martina Ulmanová impact on atmosphere in society and Zuzana Uličianska (1962) opened borders, possibilities to >>>> 2008 –2009 Bendik and Marián Chudovský, who Before 1989 I hardly theatre. Computer technologies that theatre critic, internal editor of daily communicate and meet, despite were forced to stop their work in the followed what was have absorbed our attention are more newspaper SME since 2004, head of boundless sources of inspiration from Opera of Slovak National Theatre out going on in the theatre the old times – I wouldn´t change powerful. Theatre still functions as Slovak center AICT – International abroad, the Slovak theatre has only of non-artistic reasons. Their daring in Slovakia more a thing. I only observe that to visit some kind of communication channel association of theatre critics since 2002. limited communication with the rest of theatrical pieces were shaping the than three seasons. theatre today – even for a “professional“ for connoisseurs, something like vinyl Initiator and organizer of theatre awards the world, it keeps its space and criteria profile of the theatre in Banská Bystrica If I should generalize – is a greater lottery; and experience of records. Therefore there is no obvious DOSKY. Author of radio plays. unchanged and rests in some kind of in terms of the most progressive opera this short experience, viewers is much more private matter. inflow of new personalities to theatre, suburban self centric world, where it theatre. I would say that the most of the present top directors or Darina Kárová reviles itself by partnerships with media Marián Chudovský as the head of the difference between Martina Ulmanová (1963) authors worked in the theatre even November 1989 and sponsors. Inquiry Inquiry Opera of the Slovak National Theatre good theatrical work and transient, Czech Republic. She studied journalism before 1989. Young talented people opened safes and Unfortunately, there are only few in addition to dramaturgic horizon banal product of its time was much and theatre dramaturgy. During her realize very soon that theatre is for archives; lists of exceptions to this rule. created space for plurality of directorial more remarkable under communists. career she has continuously worked as absolute pragmatics on one side, or for forbidden authors, I tis odd, for 20 years ago they were poetics. Apart from native personalities Before 1989, if some theatre managed an author and editor of theatre critique romantics on other side. Probably the illegal literature in theatrical artists who were in the (Jozef Bednárik, Martin Bendik, Zuzana to enrich the repertoire by interesting in various Czech and Slovak cultural most important aspect of anniversary libraries or taboo front lines of the social movement that Lacková-Gilhuus, Marián Chudovský) dramatic work and let renowned periodicals. At present she works evaluation is our ability to deal with topics disappeared brought the previous regime down. we finally got into confrontation with director stage it, it would always be also as a book editor in Department artistic freedom, which is undoubtedly all of a sudden. The work of foreign directors, i.e. the a significant happening that would of Editing of Theatre Institute in better than it was during socializm, repertoire of Slovak Darina Kárová (1951) necessary “western wind“ blew into the remain memorable in theatrical annals. Bratislava. yet it is not absolute. Even now it is theatres, however, did not reflect this a theatre dramaturge and manager, closed Slovak space. Everybody would go there to see it – injudicious to criticize politicians, freedom very much. Whereas during the artistic and executive director of the “Small revolution“ in the calm waters of not only theatre people, but the whole Zuzana Uličianska mafia or sponsors; received money totalitarian period one could still find Divadelná Nitra International Festival. Slovak opera and the most significant intellectual elite – and they would The most banal may even now result in loss of artistic few theatres which dared to reflect the She graduated in theatre science from benefit broughtEugene Onegin (2005) discuss it widely afterwards. They were answer to the independence. times and the true feeling of life, though the Academy of Music and Performing by renowned German director Peter only school and trade union trips and question “What has The willingness to compromise with evil mostly in form of hidden meanings of Arts in Bratislava. She worked as a Konwitschny; in the latest season it was several professional critiques to see changed in Slovak might be caused simply by selfishness, course, theatres today tend to turn into dramaturg for the Andrej Bagar Theatre work of Polish director Mariusz Treliński the average dramatic works of its time theatre since 1989“ laziness to collect information, to trash and commerce and there aren´t in Nitra and the Slovak National Theatre Orpheus and Eurydice that resonated. of doubtful artistic value. And people is “everything and discover the essence of things, analyse many theatre ensembles that would in Bratislava. In 1992 she founded the would talk nothing more than jokes nothing“. Theatre connections, or lack of solidarity and consistently keep the profile of artistic Divadelná Nitra International festival Michaela Mojžišová (1975) about them. production requires empathy. Thus freedom, including the platform with a determinate programme and is its director. Graduated at Department of Musicology Today you can choose to see talent, concentration one of theatre, is inside us or nowhere. and non-compromising character. at Faculty of Arts, Comenius University. the top dramatic work by world and courage. Talent is not dependent And this is essential kowledge resulting Is it due to lack of courage to face the Soňa Šimková She works at the Department of dramatist directed by renowned on regime in society, gifted person from the last twenty years. If anything predominating taste of the audience or Now, twenty years Theatrical Documentation and professional in one of the prominent nowadays, however, has much more else, it is this knowledge that makes the sponsors perhaps? Or is it simply after the major Informatics. She is a critic and theatres in Bratislava and still, you information and potential possibilities 1989 great milestone. talent, i. e. original idea and energy that social change, we a publicist in the sphere of opera theatre have no guarantee to avoid boring to develop it. Still, there aren´t many It showed us clearly that it is not simple is missing? may emphasize the and informatics, she´s been a curator evening due to conventional hastily real financial possibilities, there is not to preserve one´s inner integrity, We still haven´t put up with the past well-known fact that of several exhibitions dedicated to the made arrangement and indifferent enough time to concentrate which is whatever the regime is, without properly, with the previous regime and theatre is socially history of opera. She is a member of performance of actors. Or you can inevitable for work and that might be seeking of which, sometimes perhaps prominent artists, who got successful sensitive, it is the dramaturgic board of festival Theatrical simply spend average evening that the reason why there has not been unsuccessful, theatre can not exist. due to their positions in society and not inseparable part of the Nitra for selection of Slovak dramatic is not more exciting than one spent any unusual creative explosion in the And theatre production is not a very due to the quality of their production. social organism. works. in front of the TV set or DVD player. sphere of theatre in last two decades, profitable business in Slovakia most We still haven´t brought the real Why? Well, censorship is abolished, Furthermore, you have nobody to share on contrary, we often witness certain of the time. In these terms, apart from forgotten artists in Slovakia and other politicians cannot manipulate theatre the disappointment with for who has decline of professional criteria. Change everything that changed, nothing places in the world to light, we haven´t anymore, there is legal ground that

>>>> time today to get excited over culture? of regime was not, however, the only, changed in fact. shown them to our new generations. secures various legislative forms for >>>> 70 Of course, this doesn´t mean that I miss nor the most important factor that had And what is even stranger – regardless theatres to be established, theatres 71 may go in for enterprise activities, i.e. outflow of energy at the moment, i. e. as over and over again even for 20 times professional theatre only several however, the meaning of culture in >>>> 2008 –2009 the necessary framework is made for some negative fact rather than obvious in poor conditions when compared times, mostly on the school trips in society reduced rapidly and intensively. theatres to flourish. positive effect of their work abroad on most vital artistic groups, and if there to developed European countries. Bratislava. I was fully occupied by the Forbidden plays and authors were put What we witness, however, is rather homeland. are any, they are kind of farce, i.e. we Arrogance and ignorance. I mean, for student theatre, theatre of poetry and on stage, but the audience started to be embarrassing, when it comes to the It refers also to “the bridge“ to be built are stuck in vicious circle. Theatrical example, the permanent problems of small stage performances. There were interested in something totally different. direction and intensity of production in order to make us more visible to our artists from other countries might have top alternative SkRAT Theatre, Stoka interesting people at festivals all over Everybody wanted to have fun. and it proves that theatre is indeed new European fellow citizens. the same feeling, but I also have some Theatre, or Slovak dance companies Slovakia, the theatre was full of inspiring Television, which used to be not only a very sensitive instrument that evidence. which are too in desperate situation and free spirit, I had the chance to get to ideological but also cultural institution measures how healthy society is. Prof. PhDr. SOŇA ŠIMKOVÁ, Talented Slovak authors leave the have therefore poor ability to compete ... know the theatres Hanácke divadlo, before revolution, became completely a country in droves to find a better

Both Western and Eastern cultures CSc.(1944) graduated from theatre There isn´t much going on in Slovak Divadlo na provázku, Prešov University tool in the hands of politicians. inquiry Inquiry undergo crisis of values. The terrorists in dramaturgy in 1968 at the Academy of living abroad, not only to improve their theatre. And still, people here are theatre Horákovo divadlo, Trnava Artistic TV production disappeared. the East try to solve it by self-explosions, Music and Performing Arts, Bratislava. financial situation, but especially to talented and creative as in any other Univesity theatre Plastické divadlo. Slovak feature film disappeared too. people in the West alternately tighten From 1968 to 1970 she studied take the advantage of incomparable part of the world. It is just that they live I did not meet communists or I simply Koliba film studios were privatized their belts and consume eagerly. The postgradually in Basel (Switzerland). possibilities of artistic growth. in a country, where theatre is not always did not notice them. It was very free, by the prime minister V. Mečiar´s role of art in given chaos is great, for it is Since 1971 she has worked as Slovak theatres don´t get invited to about theatre. although self-censorship was probably family. The actors were surprised and an enormous effort to provide spiritual pedagogue at the Department of prestigious foreign festivals. Theatre everywhere. I didn´t meet anyone who confused. All of a sudden they were catharsis and perspective of some Theatre Science (since 1998 as Head doesn´t seem to make any progress. Mgr. Anna Grusková, Csc. (1962) would believe that the communism known by nobody. meaning through artistic production of Department). She specialises mainly One of the possible reasons is that studied theatre and film science at might collapse. It was in the 90´s. But apart from these We are somewhere in the middle, with in francophone drama and theatre it lacks in awareness of necessary Faculty of Arts, Charles University in depressing facts, they were the years our specific experience of failed social and published several monographs, interconnection among elements Prague. She is the author of several The second part were the years 1977 – of blossom in several theatres: Astorka utopia and last tones of collectivism. theatrological and teaching texts. that make the life of theatre complete theatre and radio plays, a theatrologue 1989. It was the period of my studies at Theatre, Stoka Theatre, Theatre L plus Good artistic reflection of what we Her translations of theatre plays have including elementary schools of arts, and occasional dramaturgist, publicist, the University of Music and Performing S; there were great productions on have been through including our been staged in Slovak theatres. She amateur, alternative or experimental script writer, editor, actress, director and in Bratislava and the period of me as the stage of Slovak National Theatre, new traumas on our way to united won many awards for theatrological theatre ensembles and top professional translator from German. She worked in a director in the communist society. theatre Rusínske divadlo, in Nitra, in Europe could result in a very strong activities and translations. theatres. Cultural policy tends to Slovak Academy of Science, Academy of I was getting to know the professional Martin ... But there was something experience even for foreign audience. support the already supported theatres Performing Arts and Slovak Television. theatre in Bratislava and in whole missing – the solidarity of theatrical Let me ask a question: how many such Anna Grusková and partly or completely leaves the Currently she is the Head of the Czechoslovakia. I started to feel the artists. The society got individualized communicative theatre productions I think that this ambitious authors and projects out; Department of Public Relations of the pressure of ideology. There were several and there were no principally universal have we shown at international events year Old Town financial donations are ambiguous and Theatre Institute, Bratislava. generations of theatre directors working and undoubtful artistic messages, so far? Bratislava Theatre opaque with no feedback to evaluate in theatres then. Budský, Rakovský, which would enchant the audience. Romanians get their applause in audition which the artistic level of projects and Zachar were the older ones, Pietor, The constant political fight all around Canada, Polish in Avignon, Latvians in turned into mockery institutions supported by state finances. Roman Polák Strnisko, Haspra were mature and us, the permanent primitivism, made Vienna, Hungarians in Paris – where over independent The scheme of making the progressive To be able to define inspiring directors, young Vajdička and us somehow numb. All of a sudden is it Slovakia has its fans? In Prague, specialists commision projects is always the same: a group the theatre after Bednárik were full of surprisingly new we found ourselves in a society, where yes, they still like us there. Thanks very and ingnoring its of people with great personal drive 1989, it is good to ideas even for the inspiring ones, and it was not appropriate not to be rich. much for that. decision, is just the and material investment makes an define it before this the last chain link was represented by And moral was a funny thing. On the other hand, there are many tip of the iceberg that covers the whole interesting theatrical piece which year.I could divide Nvota and me. We used to go to see Theatre lost its critics. There aren´t any Slovak theatrical artists, especially Slovak theatre. subsequently gets awarded and this period into two premieres, we believed that theatre of them. It lost its theatre scientists. young directors who have managed Contemporary Slovak theatre today is, invited to all kinds of festivals in parts (I mean my own could make a better world. We knew, They don´t write anymore. And it to get recognition abroad (again in my opinion, involved in affairs that, Slovakia and other countries, then experience, of course, what we mustn´t do, but we did our didn´t find any theatre managers especially in Czech Republic), which unfortunately, have little to do with art. the same group comes up with a new not what I studied). best to go beyond the boundaries of during these twenty years. You know, is a good sign that there is talented There are no new ensembles emerging, project and expects its material and The first part were forbidden. they are these magic people who help youth and good university education on contrary, those viable ones are not institutional conditions to change as the years 1973 – 1977. It was the period The Tender Revolution in 1989 took the ideas, visions and dreams of the

>>>> in our country. Their “emigration“ is, getting any support so they stop their a result of its acknowledged quality, of my secondary grammar school place in the theatres and at the theatrical artists come true. There >>>> 72 however, perceived rather as some existence; there are no auditions for the but nothing happens. They must start studies in my home town. I saw real universities. After this magic year, aren´t such people in Slovakia at the 73 moment. However, I believe, that the on the principle of civil associations. >>>> 2008 –2009 Vladislava Fekete following generation would be able Theatres – GUnaGU, Hubris, Teatro to set up the proper conditions for the Tatro, Adato dance company and other theatre production pragmatically and dance companies or puppet theatres, Brief with no sentiment. And I believe that and later even more of them, let´s production of such independent they would have their ideas, visions and name SkRAT, Debris, Actores or MED theatres – nothing is granted, all of Connections dreams and they would be able to make as an example, modified the character them must try hard. If any of the theatres doesn´t present them come true. I am looking forward of Slovak theatre that used to be The play Brief Connections received the first prize for the best Slovak and results adequate to opportunities, it play to this generation. Andthe way they determined by system of state-financed Czech play 2008 in the drama competition organized by Alfred Radok Foun- is substituted by other, perhaps new inquiry would perceive the world, that seems theatres. But the boom of alternative, dation and a reward for supporting young dramatist from Foundation Fund theatre company, which may try to so mysterious, unexplainable and full of or, independent theatre, which brought of Franceska and Dominika Kolowrat-Krakowsky Kolowrátek. surprises to me. also new quality of production and make it in the theatrical space. We representation of Slovak theatrical have inherited the old totalitarian Mgr. art. Roman Polák (1957) culture abroad, didn´t mean that the model, which survives in democrary graduated from stage directing at the old structures faded away. Freedom as well and deforms its character. Characters: HER, HIM, LIL’, Dara, Boro, HER. What’s that noise? HER. What you mean? It´s enrooted totalitarianism and the Milija, Mum, Gary, Azra, Estate Agent, LIL’. I was flushing. In the loo. LIL’. Are you happy? Academy of Music and Performing of theatrical production is not equal Srđan, Stranger HER. What are you doing there? Arts, Bratislava. He staged more than to freedom of the system. The net question is, who actually wants it to be The play is set in the present. The past is LIL’. Have a guess. SHE fights back the tears. Lil’ is calling her hundred productions in Slovak, Czech of former existing state theatres this way. Is it simply incompetency or marked in green. The past and the present HER. Honey, are you alone? in not exactly a good moment for answering and foreign theatres and created still functions, but these theatres are unconcern of state and municipalities intertwine. Not only in our memories. LIL’. No, I’m not, but I am alone in here. They those kinds of questions. SHE finishes her can’t hear me. wine. SHE likes good wine. Who doesn’t? or co-created many adaptations. In not financed by Ministry of Culture to change it somehow, or, is it a demonstration of our mentality? There will be a lot of stage directions HER. Honey, hold on, I’ll call you back! I too, like to spoil myself with a bottle of good 2006 he became managing director anymore. They are financed by higher throughout the script. Don’t let it shock you, wine now and then. Never mind that it costs of Slovak National Theatre. Currently, territorial units and municipalities if such a thing is still possible… II. me. he is working as a director in Astroka- instead. SHE is sitting and crying. But that’s just SHE thinks for a moment and then dials. fine, lots of women cry these days. And Korzo´90 Theatre. Even though independent theatres may Juraj Šebesta (1964) From the landline. SHE always calls home LIL’. Your love life. How are the men there? A graduate of the aesthetics and no one knows about it. I for one, try not from the landline. SHE doesn’t know why. No The same as here? ask for state grants, there is still a big to cry, or at least not in front of others. reason in particular. No one picks up. SHE HER. The same as everywhere. Juraj Šebesta gap between the amount of money theatre science at the Faculty of (There has already been a play that starts tries again. Nothing. SHE dials again. LIL’. Mum says the same. Although global given to donated and independent Philosophy of Comenius University in like this ... but then, so many things in life HER. Listen, muppet, why didn’t you pick HER. How about your dad, is he in touch? thinking usually theatres. Furthermore, there´s no Bratislava. He worked in the Theatre begin or end with tears. So let’s not worry up? LIL’. He got me a computer. about it too much.) SHE is sitting on the LIL’. I didn’t know who it was. Why did you HER. What was wrong with yours? head towards effective system of quality evaluation Institute and at the Academy of Music and Performing Arts in Bratislava. He floor with piles of clothes strewn around call from a landline? Are you at work? LIL’. Nothing. simplifications, that would have direct impact on her. A bottle of wine sits in one hand Saving money? HER. What will you do with two of them? the fact is, that the the sum of dotation or grant. Further translates theatre plays from English, and a glass in the other. Untouched. And HER. (Ignoring her questions.) I told you I’d LIL’. Nothing. I’ll keep one in my room and revolution brought systemic change of organization of writes articles about theatre. He also somewhere there is also an old phone, call you back. we’ll put the other in mum’s bedroom. that SHE probably got from a flea market. LIL’. I don’t have this number. Just your HER. But she’s got already got one. us freedom, though Slovak theatrical culture has not been writes his own literary works. Today he is the general manager of the City It’s beautiful, big and shiny. Like a black mobile. Mum said not to accept calls from LIL’. So we’ll have three of them. We can limited by possibilities introduced yet, i.e. the theatre has exclamation mark. SHE has just finished unknown numbers. connect one to the internet. You know, of young democracy. not been liberated. And if there are Library in Bratislava. talking on her mobile. HER. Not to what? viruses. And I can get on Skype. And we The strange thing, hundreds of millions (crowns) flowing LIL’. Not to pick it up, Jesus! can talk for free. however, is that even though massive in one direction, but viewers – citizens HER. Okay. Why did you call? HER. Do you miss him? HER. Does mum know that you’re calling LIL’. Just to see how you are. LIL’. Not really. He was a dick. changes happened in the whole society can´t influence the flow of their taxes, me? HER. You shouldn’t say that. including theatre, at the same time, as or, in other words, practically nothing LIL’. No. SHE hesitates for a moment. Doesn’t know LIL’. Mum said. And how about you, have if nothing really changed at all. can be done with these theatres, it HER. You know it costs to call abroad? what to say. Kids can ask difficult questions. you met a nice dick? The greatest change showed itself in means that the old structure survived. LIL’. I m calling from MY mobile. It’s new. SHE sips her wine. Just in case. SHE might HER. Did she say that? HER. And who’s paying for it? need some strength. LIL’. She says all men are dicks. the boom of alternative theatre – new In other countries there are special LIL’. Dad. HER. Why did you call? theatrical groups appeared based commisions to control and evaluate HER. Oh, so... it doesn’t matter. LIL’. Are you there? LIL’. I’ve told you, to see how you are.

>>>> LIL’. The landline would be cheaper than HER. Yes. >>>> 74 a mobile. LIL’. So, how are you? 75 SHE hesitates for a while. But hesitation HER. I don’t know... maybe. Her comment is met with a positive and HER. Do you think we ‘ll ever go back home? MILIJA. Five years ago. Nobody told me! >>>> doesn’t really work with kids. They can tell. LIL’. God, you’re useless! Check it on the web 2008 –2009 noisy response. HIM. Which home do you mean? There has and let me know. Promise? been quite a few. God knows why the line cut off right then. HER. Just for that? And how is school? HER. Promise. HER. Find a new one. I’m busy tomorrow. MILIJA. You’re fab, you know?! You always HER. Srbsko. Serbia. Republika Srbija... Maybe it’s the distance. SHE hesitates for LIL’. Stupid question, innit? You know I am LIL’. So, I’ll be waiting for you. HIM. You know you can’t lie. drag me out of my misery. a moment, not sure whether to dial his a clever clogs. HER. Can I talk to your mum? HER. And? HER. I know, but that’s not gonna help me. MILIJA is quiet. Perhaps he’s thinking. It’s number but SHE gives up. SHE waits a bit, HER. Yeah... LIL’. She went out with a new mate of hers. MILIJA. Honey, what am I going to do? not a sin. People do think sometimes. It to see if he calls back, and when the phone LIL’. You’re not getting any younger ... A BOYFRIEND! A LOVER! Suddenly the phone rings. The pretty, black, Who’s gonna cook for me? (Laughter happens to me too. doesn’t ring SHE realises that Milija won’t (After a brief silence. Pleading, like shiny one. Like an exclamation mark. Not her that has nothing to do with a sense of call either. SHE sits on the sofa, opens a book mobile, since SHE’s still talking to him on her play This is too much. Every question adds insult a child.) Can I come? To visit you? Please, humour.…) MILIJA. Do you remember the sociologist? and tries to read. play to injury. SHE’s flustered. And the wine isn’t please! mobile. HER. You can eat out, in pubs. It’s cheaper, He failed us both twice. helping. I’ve done my maths. And it’s much more HER. The sports sociologist. Sure. I won’t HER. I knew it, MIlija, I did. Forgive me... HIM. Someone’s calling you. Who is it? comfortable. No messy dishes and dirty forget him till the day I die. Or even longer (She is crying). LIL’. How about kids? Don’t you want any? III. HER. How should I know? nails and no fucking boring grocery … Haven’t you heard about the biological SHE’s sitting and thinking. The conversation HIM. You know that no one uses the landline shopping, no stress that you’ll burn the MILIJA. He died. I read it on the web. V. clock? Yours must be ticking faster than beforehand has left her properly shaken. anymore. Why don’t you cancel it? plastic chicken. BORO comes in, with a huge box in his the speed of light. I guess SHE didn’t expect that. At least not HER. Better I cancel you. MILIJA. Gary was the best. The news makes her a bit upset. SHE has hands. He’s a policeman but he’s off duty HER. Thanks, Miss. Having you is more than coming from Lil’. An hour, or two, pass by. HER. And so was John before him, Michael never been into sport, apart from going now. He’s still carrying his gun. He has it all enough. The time is not important. In the meantime SHE cuts him off, even though it’s a bit and Milorad. The last one is always the to her local gym, but still. Death is always the time. He doesn’t feel safe without it. It LIL’. It’s not the same. You see me three SHE tidies up her rented flat.. It’s quite large awkward. Especially for the other side. But best one. moving. Regardless of the circumstances. gives him security. We all need some sort of times a year. That’s not enough. You could and light with loads of books and plants. not every phone call is a pleasure. As we all HER. Remember what we said when we HER. I didn’t like him. security. But I would never go that far. come more often. SHE‘s giving it a proper clean, washing all know … were leaving… MILIJA. But he wanted you to join his BORO. Lil’, look what Daddy got you. the dishes from last week. SHE’s not singing MILIJA. This place is tough. No one gives department. You were the only one happy LIL’. Yah. SHE knows that LIL’ is just asking big or listening to music. It’s quiet. Suddenly the IV. a shit about immigrants. to plough through the third edition of his BORO. Guess what it is! questions that she must have picked up intercom buzzes. And again. SHE doesn’t The black shiny phone keeps ringing. SHE’s HER. And this one isn’t? masterpiece “General Sociology with LIL’. A computer. from the adults, but still SHE’s getting more react. SHE carries on cleaning. SHE turns wondering whether to pick it up. It’s one too MILIJA. At least you could speak the a Focus on Sports Sociology at Secondary BORO. How did you know? and more confused by the conversation, the radio on, then the washing machine, and many phone calls in a day … SHE picks it up language when you got there. Schools in Serbia”. You actually read the LIL’. The box. forgetting that SHE’s talking to a fifteen year the TV too… Altogether they make a proper the moment it seems it’s about to stop … HER. You’re wrong, my dear. They looked whole thing. If you didn’t lie, that is. BORO. Aren’t you happy? old girl. racket. But still, it won’t silence the beep of HER. Hi Milija. at me like I was a zoo animal. Only I was HER. I felt sorry for him. Can we change the LIL’. You got us one just like that two months an incoming text on her mobile. SHE texts MILIJA. How do you know it’s me? better at Ypsilons. topic? ago. Is this a storage room? HER. Drop it. You know I don’t have much back without hesitation and keeps cleaning. HER. Because I do. Only three people have MILIJA. At what? MILIJA. I went to Poland. BORO. This one is more powerful. You’ll see. time. The phone rings – it’s her mobile. got this number. The little one called HER. Y griega. Nothing. HER. And you couldn’t drive a few miles LIL’. And I do? Nobody does these days. I do already. The only one left is Mum, and she MILIJA. Greek what? down the road to boring fucking BORO is still holding the big box and it’s piano, gymnastics, French ... and then HIM. Why didn’t you open? never calls first. She texts me. To say how Bratislava?! Now you’ve pissed me off! getting uncomfortable. He looks awkward school as well. HER. I am not at home! she is. And where she feels pain and to They are obviously enjoying the conversation. MILIJA. Do you think I’m made of money?! It and funny. Like every parent he wants to HER. I go to the gym twice a week, have HIM. You know you can’t lie. report all the local gossip. Then she waits They are old mates, and they miss each other. was a scholarship. impress his child, especially after leaving her English and – surprise, surprise – I work, HER. And? for me to call her. Maybe she’s saving They are a thousand miles apart … HER. Fuck you. Would have been the first for his new life. He keeps checking for his too. HIM. What was that abrupt text all about? money. God knows … time we wouldn’t have had to share the gun as he struggles not to drop the box. It’s HER. I don’t have time. I’m working. MILIJA. Is this a good moment? HER. Dunja got married, she emailed me. same bed!!! I’m renting a bigger flat now. a tick – one that will never go away. SHE feels a bit better, but only for a moment. HIM. You know you can’t lie. HER. For you, always. MILIJA. Stupid cow. To that moron? MILIJA. Bigger flat, bigger problems. HER. And? MILIJA. Don’t tell me that you’re in a bad HER. No, to a different guy. Also a moron. HER. No flat, no problems. But I do miss you, LIL’. Okay, I am off to French. LIL’. You can’t speak English? Every moron HIM. Don’t you think we should talk? mood. Not you! MILIJA. Have you split up with another guy do you know that?! You’re the only man BORO. Aren’t you happy to see me? can speak English! HER. No, I don‘t! HER. Imagine, even I can be in a bad mood. yet again? I can say this to. LIL’. You’ve asked that already. HER. Well I am not a moron. HIM. So what are you thinking about? MILIJA. Honey, I’m fucked. Gary dumped HER. If you don’t succeed as a scientist you MILIJA. Cause I am gay, so you’re safe. You BORO. I asked about the computer. LIL’. Have you bought a flat yet? HER. That I want to be on my own. me. can consider a career in fortunetelling. know I won’t give you any heartbreak or LIL’. Mum will be happy to see you. (Little HIM. For how long? HER. He was a cunt, fucking cook. Milija – The Fortune Teller. Sounds great. any other shit. girls can be pretty cynical, particularly SHE feels awkward again. HER. For long enough. MILIJA. Not all men are cunts. Post some adverts and you’ll have the HER. I really miss you… when they’re in a bad mood). HIM. And what exactly will that do? HER. Yes they are. (SHE smiles, perhaps British on their knees. MILIJA. You’re strange. What’s wrong with LIL’ sits on the floor and, ties her laces while LIL’. You need to take these things seriously. HER. Nothing. It’s been at least six months remembering what the little one said just MILIJA. Are you still blonde? you? Is everything OK at work? she looks up at her dad. If you want to stay there, you need to since ANYTHING has been done. a moment ago…) HER. What do you think? How long is it since HER. Don’t you have anything more think about your future. HIM. Don’t forget that tomorrow is the do. MILIJA. But he was the cunt of my life. we last saw each other? interesting to say? LIL’. Since when do they sell computers in HER. What shall I bring you when I come? You promised you’ll join me. I can’t go on HER. I’ve told you that practically all cooks MILIJA. Five years. Long time. MILIJA. Dad was killed! old boxes? LIL’. (Right away, without thinking, though my own. They would talk. I can’t stand are gay. The only ones who beat them HER. Why don’t you come? >>>> apparently that’s not why she called.) Is them asking. You’re still my girlfriend. At statistically are dancers. I’m talking Pause. BORO feels embarrassed by her question. >>>> 76 the latest Harry Potter out yet? least in public. serious, long-term, empirical research! Silence. Should he come clean and tell his child that 77 he’s ‘bought’ her his old computer because DARA. Oh, sorry, I forgot to tell you. I’ve put She has changed. I think the pensioners serious, since you introduced him to us. MILIJA. Yep, international love equals >>>> he gets to keep the new laptop he’s just on at least 15 kilos for starters as I’ve 2008 –2009 here just get bored. I guess because they And he stayed for three days: breakfast, better genes. Is that what you really bought himself? completely given up on things. Especially you maybe let me know any interesting have no money. What is she gonna do, lunch, dinner …, breakfast, lunch, dinner meant to say? Well, yeah, at least we’re on life. Is that what you wanted to hear? details from your rich social life? what is it good for? Now she has no time, …, breakfast, lunch, dinner … my dear! not all sleeping with each other. Is she BORO. The box may not be brand new, but HER. Come on Mum, that’s a bit much, don’t apart from politics. We don’t hang out any HER. It wasn’t serious. I told you we were pretty? the computer is like new! LIL’ is singing a French song and pretending you think?! You’re exaggerating just a bit… more. What if anyone sees me with her. friends. And I did give you money for the AZRA. It’s a boy, Milija. I have a son! That’s LIL’. (in French). Up yours, moron! Fuck you that her parents’ argument doesn’t bother They will think I’ve joined the party too. food. the least you could remember. A boy to and your new laptop! her, but it does. Every child suffers when SHE doesn’t manage to answer… SHE listens And I haven’t told you yet which party MOTHER. Why don’t you try with that one carry on the family name. BORO. What? I don’t understand! Your their parents fight. Never mind that they are passively till the end of the conversation. Not she’s campaigning for. I don’t want to say … what was his name? He’s still single. MILIJA. You see, I knew I could rely on you

play English is impressive. exes. She makes as if to leave. Just as she is that SHE wouldn’t have anything to say but it over the phone. What if we are bugged? Last time he was asking about you. I think for that. I’m not sure I’ll ever have a son. play by the door, she abruptly turns and lets out … I’ll tell you when you come home. So, he still has a thing for you. And he was Or a daughter. (He’s teasing her and he’s BORO is trying to be funny. Or maybe he’s a loud, sudden “Wham!”, scaring BORO. His when are you coming? (SHE tries to decent… what was his name? He started enjoying it.) not. Maybe he’s never heard French before. tick kicks in. He drops the box, it falls down MOTHER. Imagine, the neighbours’ dog was answer but doesn’t get a chance.) And the to teach at the school. The kids love him! AZRA. You’ve changed. You weren’t like this with a noise, he pulls out his gun and aims run over. You know, the Alsatian.(SHE electricity has gone up again. How will HER. Mum, I am not there! I live in a different before. LIL’. I’m off. at her. didn’t have a clue about the neighbours I pay the bills? Just now it was the water country. 600 kilometres away. MILIJA. Dear sister, I’ve been away from having a new dog. After fifteen years and gas and now, for a change, electricity. MAMA. But you make it sound as if it was at home for 15 years. It’s not my fault that DARA appears at the door. She’s a beautiful DARA. BORO! SHE hardly remembers the old one.) I felt This state is a thief. (SHE wanted to least 6000. That’s silly. All of you ran away I can’t go back. woman. Well, or at least she would have LIL’. BORO! sorry, though I was scared of it too. When say that it’s more or less the same shit to different places. There is no one here. AZRA. But people are coming back. been, if it wasn’t for certain unpleasant I come home late at night I always need everywhere, but SHE knows SHE won’t The other day I read in the papers that we MILIJA. And running away again. experiences that have taken their toll on her LIL’ hides in the loo. She locks herself in to steer clear of their gate. They would get a chance to get a word in.) We’ll go on suffer from the highest brain-drain in the AZRA. We’ve got a big house. And a garden. looks. and does what she always does in these always say it’s not dangerous but you strike. I mean, not me personally. It won’t region. Ah, I didn’t tell you, our neighbour is You always liked it there. Look at where DARA. (to Lil’) Are you still here? situations. She calls HER. know, Alsatians can go nuts. And we have sort anything. And never did. We didn’t in hospital. The one who lives across from you’re living now. BORO. (Thinks She’s talking to him. little kids playing in the street. What if work for a week and then the next two we the neighbours with the dog. The dead MILIJA. I like it like this. WE like it like this. Immediately goes onto the offensive.) VI. he jumps over the fence and mauls one had to work from dusk till dawn. There’s dog, I mean. (Thanks God, the relationship Gary and I like it like this. Don’t forget that this flat still belongs SHE is sitting at her computer and starts of them? Then what? Nobody seems to a new TV series. National production. discussion is over! Her mother keeps AZRA. That’s why you didn’t want us to to me too. So I can stay here as long as crying. It’s the second time today. SHE can’t be bothered about it. And this friend of It’s quite decent. The one that you like is reporting on what’s new and what isn’t. SHE come. I want. write. Then SHE gets a text. SHE looks at her mine, she had her book launch yesterday. in it too. You know, the one you always moves to her computer with the phone in her MILIJA. You couldn’t. DARA. As far as I’m concerned you can DIE watch. She wrote another book. About the past. fancied. I can’t remember his name now. hand and starts typing. Her mother keeps AZRA. But then, after they opened the here. Lil’, after the class, straight home, okay? I think she’s making things up. I’m sure Dark, tall, handsome. I’ve read he left talking and talking...) borders, you still never invited us. LIL’. (in French) But you’ll get rid of this one SHE. Mum! she’s not spending time in the archives his wife and kids and moved in with his MILIJA. Because I knew how you would by then, right? studying. I never see her there. She’s lover. Men in their fifties, that’s what you VII. react. DARA. (in French) No worries, I’ll sort it out. It’s her mother. She gets in touch every day going from one visit to another. I mean, get. They can leave the wife and kids and A small flat on the outskirts of Birmingham. It AZRA. Does anyone know? BORO. So now you made sure she speaks the at seven pm. Sometimes SHE ignores her gossiping. She never gets bored of that. just start over again … And you? Are with looks like student accommodation, though the MILIJA. Know what? language too, so that I can understand texts but that means risking a second text, This one will be full of vague information, someone? Finally? ‘student’ living in it has long graduated. He just AZRA. That you have a …, that you are … fuck all. That’s just great. And what’s and then a third … just like the ones before. Anyway, I am (Silence. Pause. Her mum waits for the hasn’t thought of moving out yet. Where to? MILIJA. That I am what? it good for anyway? Who exactly uses The text: How are you? I rearranged the sure no one’s reading it. Good that there answer. SHE knew that sooner or later And what for? And who can afford it anyway? AZRA. You know. foreign languages round these parts? living room & am on a new diet! Must shed 5 was a programme on her on TV. She’s this will come up, but it always catches And this is not a bad place, with lots of light, MILIJA. Yes, people know. WE don’t have to DARA. Certainly not you. Foreign weapons, kilos by summer.  big now, an acknowledged writer. She’d her unprepared. And SHE knows too well, full of books, plants and dirty dis. Milija is hide in a shelter, it’s not like back home. more like. SHE knows, this is ‘really important’ and better … The old Slovak teacher died. You that her mum won’t leave it till she gets an sitting on the sofa and facing him is AZRA, his AZRA. How about taking time out to think BORO. Sure, mock me all you like, Miss ‘needs to be discussed’ so SHE moves to the know, the one who taught me and then answer.) older sister. They don’t look very happy. about it, and in the end you might even Professor! If it wasn’t for me handing phone. The beautiful, black shiny one. SHE’s you. He must have been really old. I don’t meet a nice girl. One of us!? I’ve read that you money you’d hardly survive on your ready for the monologue. But before that SHE think he was ill. Do you remember? No HER. I don’t know. AZRA. How are you gonna tell mum? you’ve got plenty of local community crappy teacher’s salary. saves the text SHE was working on. SHE one ever listened to him. Poor man. The MOTHER. What you mean you don’t know. MILIJA. I’ll stand up and announce it: “Dear clubs here. Why don’t we go and have DARA. Every day I pray to God at least three might get back to it one day … funeral is tomorrow. Shame you can’t go. You don’t know if you’re seeing someone? mother, I’ve got something to tell you. a look? times to thank him for all the wars in the You should. (SHE wouldn’t go even if she HER. I don’t. I am gay. I mean, homosexual.” MILIJA. Azra, I don’t want to change. I love world – so that you’ve got something to HER. Hi, it’s me. were in the country. She hates funerals, MOTHER. You’re pretty, smart, intelligent, AZRA. Forget it. That would kill her. him. do and get well paid for. MOTHER. Who ME? How about saying your dogs and poetry. And politics.) Listen! you should finally find someone. MILIJA. If she survived you having a bastard AZRA. Does he love you back? Isn’t he just BORO. You didn’t mind before. name politely Missus, or is it still ‘Miss’? You won’t believe this! A friend of mine, Something serious. child who she now dotes on like the using you? Does he have a job? DARA. Before, everything was different. Now HER. Mum, drop it. It’s obvious it’s me. not the one with the book, another one, HER. I don’t know. happiest grandma of all time, she’ll MILIJA. Yes, he does. go. I am expecting someone. MOTHER. You don’t care about me, right? a close friend… she has gone completely MOTHER. Don’t know what? If you’re pretty survive this too. AZRA. I suppose you can’t tell me what it is HER. I do, but I was so busy at work. bonkers! She got involved in politics. or if you’re on your own? And what was AZRA. You’re being cynical. that he does. BORO sees this as a challenge to argue. I don’t get it. POLITICS! They actually wrong with that poor guy you brought MILIJA. I’m being cynical? You opened your MILIJA. He works at Uni, in the canteen. MOTHER. Always the same. The same old talked her into joining the party so now, home last time? legs for the first UNPROFOR guy you AZRA. At the canteen? You’re with a cook? >>>> >>>> BORO. Don’t tell me you still have some excuse. Always working. And do you do wherever she goes, she’s promoting them. HER. I don’t know. stumbled across and I’m being cynical? MILIJA. Would you prefer a thief or 78 interest? anything else apart from working? Could MOTHER. I thought you were getting AZRA. That child was born out of love! a murderer? I know. A soldier. 79 UNPROFOR, ideally. That’s more up your HER. When? HER. Marry me. you. He must have been really old. I don’t Then he picks up a book and pulls an old >>>> street. HIM. When I was talking to you. 2008 –2009 ESTATE AGENT. Any time. think he was ill. Do you remember? No photograph out of it. It must be a photo of his AZRA. Screw you. Come home with me. HER. Don’t know. I didn’t pick up. HIM. So what will happen with us now? HER. Are you free tomorrow? And the next one ever listened to him. Poor man. The dad. He’s doesn’t look at it, he just holds it in I bought you a ticket. Here. HIM. You can’t lie. day I move in. And my housing issue is funeral is tomorrow. Shame you can’t go. his hand. Finally Gary turns up. With flowers MILIJA. Azra, you came here, without asking HER. And? This is getting too much but SHE still looks sorted. You should. (She wouldn’t go even if she in his hand. and now you’re hassling me. In my own HIM. You’re not looking bad. calm. ESTATE AGENT. Can I call you tomorrow? were in the country. She hates funerals, place. In my home. HER. You meant to say I look good? You don’t seem to be in a good mood dogs and poetry. And politics.) Listen! GARY. These are for you. AZRA. This is not your home! Your home is HIM. I meant to say what I said. HER. We can get married and live together today. And I’ve called quite late actually, You won’t believe this! A friend of mine, MILIJA. (Looking very pleased. He puts away there! HER. In case it was a compliment, thank you. till death do us part! apologies. not the one with the book, another one, the flowerpot and arranges the flowers in

play MILIJA. Whatever. I live here and I like it HIM. Do you have something to eat? HER. I won’t be in the mood for getting a close friend… she has gone completely a vase.) What are we celebrating? play here. HE leaves, SHE sits at the other plate. Starts married tomorrow. bonkers! She got involved in politics. GARY. The split?! AZRA. This is worse than a bad dream! SHE shows him the table. HE notices the two eating the meal. It’s weird but SHE’s not ESTATE AGENT. Well, we can try some I don’t get it. POLITICS! They actually MILIJA. I wasn’t good to her. Azra doesn’t I never dreamt I’d find you like this and plates. crying. I think I would. other day then. Maybe you’ll feel like talked her into joining the party so now, deserve it. She’s a good sister. Pathetic, as with somebody like that. I came to tell you getting divorced and we can sort your wherever she goes, she’s promoting them. sisters are, but we used to be close. that mum needs you, because… HIM. Are you expecting someone? The one IX. housing situation again. She has changed. I think the pensioners GARY. (Wants to talk about something else, MILIJA. And dad? Don’t tell me he’s who called you while you talked to me? The phone rings? What’s the time? Oh, not here just get bored. I guess because they but there will be time.) Has she gone? transformed into a liberal, gay rights HER. It’s the low-carb diet. One plate with again, it’s … SHE is quiet for a while. And SHE bursts have no money. What is she gonna do, MILIJA. Yeah, two minutes ago. We didn’t activist fighting for the legalization of gay proteins, the other with veggies. out laughing. This was fun. Well, SHE might what is it good for? Now she has no time, exactly part on good terms. marriages?! ESTATE AGENT. Good afternoon. buy a property, with her earnings SHE could apart from politics. We don’t hang out any GARY. What did she want? AZRA. ... dad was killed. (Pause). Five years Now it comes in handy that SHE cooks for HER. Good evening. afford a bigger dog kennel and that’s not more. What if anyone sees me with her. MILIJA. Me to come back home. ago! (After a brief silence.) It’s over. Don’t two. For herself and another person who is ESTATE AGENT. Apologies for calling so really appropriate, you see. They will think I’ve joined the party too. GARY. So why don’t you go back? imagine it’s not. not there: it’s a good habit. After all, it wasn’t late but I didn’t get a chance before. I was And I haven’t told you yet which party MILIJA. Back? such a bad idea. HE’ll never believe her that X. she’s campaigning for. I don’t want to say GARY. Home. * * * snowed under, fortunately. SHE wasn’t expecting anyone. (He’s trying to be funny, but he’s the only She checks her emails. She has a new one it over the phone. What if we are bugged? MILIJA. My home doesn’t exist anymore. It Just as SHE finishes writing, her mother one laughing at his joke. He hangs on and from her MOTHER. I’ll tell you when you come home. So, disappeared from the map. finishes talking. HER. Did you come to eat? then continues.) when are you coming? (SHE tries to GARY. But not from your mind. HIM. I came to tell you I’m leaving you! I found your email. You’re looking for a flat. MOTHER. (Mail) answer but doesn’t get a chance.) And the MILIJA. I made dinner. It’s no culinary MOTHER. You’re not listening to me! Why do HER. It was me who left you this afternoon. Congratulations! Imagine, the neighbours’ dog was run over. electricity has gone up again. How will masterpiece but the box says it’s organic. I bother talking to you?! If my memory serves me right. And the HER. On what? You know, the Alsatian. (SHE didn’t have I pay the bills? Just now it was the water You know, organic farming, ecology same thing yesterday afternoon, and, now ESTATE AGENT. On your new place. That’s a clue about the neighbours having and gas and now, for a change, electricity. and all that. (He was trying to be funny. And she puts the phone down. Finally! I come to think of it, six months ago! the best investment. Property. (Another a new dog. After fifteen years SHE hardly This state is a thief. (SHE wanted to Everyone is trying to be funny these HIM. If it’s over the phone, it doesn’t count. joke, again without the desired response.) remembers the old one.) I felt sorry, say that it’s more or less the same shit days.) VIII. HER. So leave me. Alone. HER. I haven’t bought anything. though I was scared of it too. When everywhere, but SHE knows SHE won’t GARY. I ate at work. Now SHE really doesn’t know what to do. HIM. I have a child. ESTATE AGENT. But you’re planning to. I come home late at night I always need get a chance to get a word in.) We’ll go on MILIJA. Was it organic? (The last time he It’s late evening and it’s dark outside. SHE’s HER. Yeah. On a remote control? HER. I’m not. to steer clear of their gate. They would strike. I mean, not me personally. It won’t tries to make him laugh. He knows there thinking and after a while SHE takes some HIM. I am serious. I wanted you to hear it always say it’s not dangerous but you sort anything. And never did. We didn’t won’t be another chance..) stuff out of the fridge for dinner. Something from me. The ESTATE AGENT starts feeling a bit know, Alsatians can go nuts. And we have work for a week and then the next two GARY. I think you’ll never stop thinking light. SHE shouldn’t eat so late, it’s not right. HER. Congratulations! awkward, uncomfortable. But he puts it little kids playing in the street. What if we had to work from dusk till dawn. I’ve about your home. And you’ll never feel Definitely not for women over thirty. SHE HIM. It’s a girl. (Pause) She’s one. down to his tiredness. he jumps over the fence and mauls one got more news, but I’ll tell you all about it good here. wouldn’t want to end up like DARA. SHE HER. They say love rats always have of them? Then what? Nobody seems to when you call. A kiss and a hug, Mum. MILIJA. But I do, this feels like home. brings the fitness ball and stares at it. When daughters. So it’s true. And it means you ESTATE AGENT. But you did call me. be bothered about it. And this friend of GARY. You’ve just said it. LIKE home. the food is ready, (some microwavable ready were cheating on me. Is that what you’re HER. I sent you an email. mine, she had her book launch yesterday. XI. MILIJA. Gary, I know that Azra offended you, meal), SHE sets the table for two, sits on the actually trying to tell me? ESTATE AGENT. You left your contact She wrote another book. About the past. MILIJA is on his own in his flat in but that’s the way she is, you know, a bit ball and stares at the plates. Though SHE’s HIM. No. I didn’t. details and a phone number. I think she’s making things up. I’m sure Birmingham. He springs into action. He tactless. She doesn’t know anything else been on her own for a while SHE keeps HER. Ooh, so in that case she’s not your HER. I didn’t think you’d call back. You know she’s not spending time in the archives wants to surprise his boyfriend the cook by apart from her village. She never travelled setting the table for two. SHE doesn’t want daughter. Your lover number two has what men are like. studying. I never see her there. She’s making him dinner. A lovely idea! He opens anywhere. This was the first time. And the to eat on her own. SHE doesn’t enjoy it that presented you with somebody else’s love ESTATE AGENT. But I am not like them. (He going from one visit to another. I mean, the fridge and closes it. He weighs up his last one too. way. And, to be honest, it’s also a matter of child, what a bitch! That’s pathetic. Does laughs. It’s getting really awkward. The gossiping. She never gets bored of that. options. No, he won’t order a take away GARY. Azra is right. We ARE different. And habit. You know what I mean. Anyway. The your wife know? ESTATE AGENT feels really awkward This one will be full of vague information, pizza. A decadent thought briefly crosses we come from different time zones. food doesn’t look that great. It looks awful HIM. You’re pathetic. now.) So, young lady, what are we looking just like the ones before. Anyway, I am his mind. He takes a frozen ready meal out MILIJA. It’s not funny, you know. actually. The intercom sounds. It must be HER. Since I’m with you, you mean. for? sure no one’s reading it. Good that there and shoves it into the microwave. He starts GARY. I’m not trying to be funny. him. SHE holds back the tears. SHE opens HER. Well, I am not young anymore … was a programme on her on TV. She’s setting the table for two. He pays attention to MILIJA. Trouble at work? Come on, we can the door. HE looks gorgeous. As usual. SHE sits at the table and starts eating. SHE ESTATE AGENT. Well, miss, what can I do big now, an acknowledged writer. She’d details. The candles, the wine, the flowerpot. get through this like we always do. I don’t >>>> >>>> looks calm. for you? better … The old Slovak teacher died. You No time to buy flowers. He puts on some earn much, but it’s enough to take care of 80 HIM. Who called you? know, the one who taught me and then Yugo pop music and waits. And waits. the two of us. 81 GARY. Can you change the music? taking. It seems that he has no memories DARA is quiet. It’s a weird situation. talking to. And my vocabulary too. And HER. So you want to be famous? I thought >>>> MILIJA. Why, I want to listen to it … worth keeping either. MILIJA sits at the table 2008 –2009 A while ago her ex husband almost shot all my different appearances merge into you wanted to be a scientist.... GARY. All we ever play is this sentimental set for two. He takes the flowers out of the vase her daughter. LIL’ is locked up in the loo, one, into ME. I fall asleep with them and MILIJA. Yes, a super famous scientist! crap of yours. and puts them in the bin. He sits at the table Suddenly they have a moment. Just like it God knows how long for, and her new lover I wake up with them … Purified. And then, HER. Well, that ain‘t gonna happen here. and immediately stands up again. He lights used to be in the past. DARA knows that wants to go to the cinema. during the day I take them all up again. Here, you can become at best a super MILIJA goes to the stereo and turns it off. a candle and puts the photograph of his dad on BORO the monster is just a product of their At times I am happy with all of them, and anonymous policeman. Obviously it’s not him who has the upper the plate. He sits opposite, puts on some folk times – times that they have no control over. DARA. Is it a comedy? sometimes I hate one of them, but mostly MILIJA. Everything went to shit. How come hand. He looks at the CDs, but doesn’t know music and starts eating. After a while … Her old BORO is gone, for ever. BORO only I try to combine them. So that each of ME we didn’t see it coming? what to play. He doesn’t have any other She takes the gun from SRĐAN and drops finds its proper audience. HER. We didn’t want to see it as it was * * * realises now that he’s still holding the gun in play music apart from his ‘sentimental crap’. his hand. it in the bin. She knocks on the loo. No happening. That’s the difference. play GARY. Your sister has a point. MILIJA dials the long, familiar number. He response. LIL’ is still on the phone. Okay, so let’s start. PROS, and against MILIJA. Fuck, you really understand me. MILIJA. Azra was just exaggerating. She knows it by heart. Whenever he needs to be BORO. Throw it away! them all the Cons. Why aren’t you a man? can’t imagine being uprooted from one cheered up he knows who to call. But SHE DARA takes the gun. She holds it in her DARA. Lil’, Srđan and I are going to the HER. I’m that bull from your toreador story. country and then settling in another. It’s doesn’t pick up. The phone keeps ringing, hand. She doesn’t know what to do. They cinema. Call me when you finish.(In PROS MILIJA. You won’t have it easy in life, girl. something she can’t understand. twice, three times … Just as he is about to embrace each other. Beware, this is not French) CONS HER. You know I don’t care, boy? GARY. You’ve lived here for 15 years and you hang up … a melodramatic scene, though it might seem SRĐAN. What did you say? - I am single – he’s married (this I do know MILIJA. Olé??? don’t have anyone. like it at first. Melodrama with guns is called DARA. I told her to flush! I need to remind about) HER. Olé!!!! MILIJA. I’ve got you. HER. Ciao Milija. a war. The bell rings. Cutting short the her all the time. he’s got another lover (her I “don’t know” GARY. That’s not enough, don’t you see? MILIJA. How do you know it’s me? happy ending. about) They’re playing like children. Like best MILIJA. It’s enough for me. And I thought for HER. Cause I do. Only three people have this * * * - he sends lovely texts – I’m afraid to ask friends. Despite being completely pissed. you too. number … BORO. The bell. In the loo. questions about us GARY. The best thing for you would be to go DARA. I know. - when he’s drunk he wants to marry me – MILIJA. Are you worried about something? back home. It’s okay now. I read about it XII. BORO. Won’t you open? HER. Can I talk to your mum? when I’m drunk I want to go back home HER. He who kills a bull, is like … in the paper. BORO didn’t pull the trigger. But it was close. DARA. I will! LIL’. She’s gone out with her new friend. - we’ve been together for 3 years – we MILIJA. ...he who kills a man, Isaiah 66.3. DARA is still in shock. She can’t open her Boyfriend. LOVER. Can I come? To visit split up 6 months ago... GARY doesn’t understand that he’s being mouth, which is something of a miracle in SRĐAN appears at the door. He’s DARA’s you? Please, please! ... Since then I keep seeing nuns and XV. a merciless bastard. Milija starts to see it. her case … As it is in most women, for that new partner. Her lover. pregnant women in the street. As if there SHE is packing her stuff. It might seem a bit matter. LIL’ runs to the loo. SRĐAN. (He might feel a bit awkward. There LIL’ starts crying, heartbreakingly as only was one lurching round every corner …. erratic. SHE’s packing it all as if she doesn’t GARY. I’ll give you back the money I owe you. is a big box on the floor and next to it is kids can. She comes out of the loo. Next to And I started to be superstitious. care in the slightest. SHE’s piling up all You’ll have enough for the flight and you’ll LIL’. I’ll go to my godmother’s. I’ll go there. a dodgy looking guy, and his new lover the door is the box with the computer. The her clothes. SHE has a lot. A woman of her find somebody. I am bored of it being just I’ll never come back. Fuck you! (in French, DARA has a gun in her hand.) Did Lil’ go gun is in the bin. Luckily, LIL’ doesn’t know. After a while SHE realizes that the columns standing should have loads of dresses. Each the two of us. And your music, I can’t stand only the last bit though). to her French class? make no sense. There is too much in them and one of them unique. A different one for every it. And the news from YOUR homeland. BORO. (After a while.) What did she say? DARA. She’s in the loo. Let me introduce you. XIII. it doesn’t make sense. It can all be positive or occasion. Now all the brands are piled up In the last few years I have learnt more DARA. That she’s staying at home. (Pause) This is my husband. HER. (Everything that SHE says, SHE negative: it just depends on the point of view. on top of one another. Once SHE’s finished, about Bosnia than I have ever known about She’s not going to her French class. BORO. Ex husband. also does it at the same time. It’s very SHE knocks the pile over. Then SHE sits in Britain. Without ever setting foot there. BORO. Good idea! DARA. Thanks. The original one was not descriptive. So what.) I’ll find an empty XIV. the middle and pulls out a bottle of wine MILIJA. You should have told me you wanted grey haired, skinny and didn’t carry a gun notebook. I haven’t written anything for HER and MILIJA are sitting in the student and a glass. SHE pours herself a glass. And to go. DARA says nothing. The situation is around. ages. Fucking computers. I’ll pull a page club at a certain Serbian university in she feels good. As if perched high up on her GARY. There? Thanks, but no thanks. precarious. SRĐAN. Nice to meet you! (He means it.) out, best are the middle ones so that it a certain Serbian city and are drinking. To be throne. SHE snaps her fingers … and nothing. MILIJA. Is it a problem for you that I’m from BORO. (After a long pause.) Look after them! won’t all fall apart, and I’ll start writing. more precise, they’re getting plastered. They Nothing at all. SHE tries again. Nothing Bosnia? BORO. Say something! But first I’ll find a pen. This one isn’t keep at it, heading straight for a blinding again. Third time lucky. The phone rings. GARY. Not for me, it’s a problem for you. DARA. Get the fuck out of here! I don’t want DARA still has the gun in her hand. She working. Let me find another one. I’ll put it hangover the next morning. They are having SHE knew it! MILIJA. What should I do? to see you ever again! (In French) hands it to SRĐAN. For SRĐAN it’s the all down on paper. PROS and CONS. And a great time together, both happy and not GARY. I think it’s too late for that. Go back first time in his life that he has held a gun. then I’ll make up my mind. I’ll smoke as worried about a little headache… This is just XVI. home. I think you need it. How long is it BORO doesn’t need translation. He got the I swear. On my life. I am thinking, it helps. It’s not gonna be too one of those moments that are worth living. HER and DARA sit next to each other. since you last saw your dad? message. much. The writing. Let me start. To write. There won’t be any more. For a long time. Somewhere in the street. DARA has been BORO. I’m going... I’m not gonna drink, I want to have a clear She leaves the country the next day and so bleeding but is not crying. SHE is clean MILIJA knows that GARY doesn’t know BORO. Okay, I’m off. Where shall I put the DARA. Goodbye. (In French) mind. And to be sure that what I have does he. To different countries. Incompatible and crying. It’s not raining, or snowing, it’s anything but he still won’t forgive him. box? BORO. Tell LIL’, I’ll bring her the laptop. written down is me and not somebody ones. But they’re not dwelling on any of just getting dark. Luckily. (At least no one DARA. Up your arse. else. My name, what shall I put? The way that, or on the impending farewell. Although witnesses this scene.) An ordinary evening. MILIJA. Dad was killed. BORO. You won’t believe me, but I‘ve got no BORO leaves. Now what? SRĐAN holds the my mum calls me or what other people call this get together is about just that. A way of Most people are living their ordinary lives idea what came over me. I’m sorry. gun in his hand and with the other hand me? Everyone calls me a different name. saying goodbye. and can’t be bothered about somebody else’s GARY leaves, without saying a word. Without DARA. Your own child … takes some cinema tickets out of his jacket. And they see me differently too. And I feel story. Pretty insensitive, dare I say. >>>> >>>> packing his things. Well, not that he has lot of BORO. It’s not me, I can’t … really, really … SRĐAN. Do you want to go to the cinema? different too. Sometimes I think the colour MILIJA. Do you know that the toreador seeks 82 stuff to take. Actually he has nothing worth DARA. (After a while) I know … of my voice changes according to who I’m death to become immortal? 83 DARA. I don’t envy you. DARA. He doesn’t write to me. He can’t STRANGER. Or the other way round. I can STRANGER. You don’t get it, do you? I’m not heard me. If they did, maybe that evening >>>> HER. I don’t envy you either. (Or myself – forgive me that Boro was in Bosnia. 2008 –2009 punch YOU in the face! who you think I am! would have ended up differently, maybe thinks DARA to herself.) HER. But it wasn’t HIM. we’re going to, it’s gonna be just you and BORO. (His tongue is getting tied in knots, BORO. You’re taking the piss, mate. I don’t your dad would be still alive, to bother DARA. Maybe! me. but he keeps talking. Nothing can stop like it. If I had my gun with me, you’d you for being gay. My conscience is clear. SHE uses the handkerchief to wipe the blood HER. In war you don’t know your own friend. HER. I don’t have enough money to fly to the him. He needs to get it out.) That’s not believe that you’re God if I told you so. Do you understand? My only fault is that off DARA’s face. But you can’t wipe bruises DARA. It couldn’t have been him. I thought moon. I need to save. I’m buying a flat. a good idea. I have a good memory. You STRANGER. And what if I AM your God? I exist. That I wanted that shit to finish as off with a handkerchief. They’re not painted about it a thousand times. When Milija’s Sorry. (after a while) You know I love you. fucking ignoramus. I just need to explain (The STRANGER has changed strategy. God soon as possible and carry on living like on. They’re the work of a professional. dad was killed, Boro wasn’t there. He what really happened. Whatever you knows, maybe he’ll get somewhere.) before. Like normal people. Concealed under her clothes, but still very wasn’t even there! Do you believe me? This is the first time SHE’s said the word. heard, it’s not true. They’re just making it BORO. (BORO crosses himself.) Well, in that

play painful. But it’s not the pain that hurts the HER. It wasn’t HIM! There’s nothing else to say. If you can come up, so that that can pretend to be clean. case, listen to me and forgive me, Milija! No one pays attention to him. BORO is play most. DARA. He didn’t even know him. They never up with something better, well then hats off But I am! My conscience is clean. I wasn’t And BORO starts talking and he talks and screaming and his whole body is twisted in met each other. (Pause.) But what if ... to you! even there, in the village. I got pissed the talks and talks … pain … his mouth is foaming. DARA. Leave it. It’s fine. HER. He would feel it. When you’re night before and felt sick and threw up HER. It’s not a trophy. We need to take it off. looking death in the face, you must feel XVIII. the whole night. BORO. It was dark everywhere, we couldn’t BORO. Amen. Lil’ mustn’t see anything. something. Boro would knew if it was BORO is sitting in a pub. There are loads of STRANGER. (He feels sorry for BORO. see anything. That was our strategy, not DARA. It’s my fault. Milija’s dad standing in front of him. pubs where he is, and people drink a lot. He doesn’t understand what it is that is to see the victims. But the cries, I can still XIV. HER. Don’t you ever say that again. DARA. It’s good that you left. Maybe they’re trying to forget. But not worrying him, but the look of him makes him hear the cries. I can hear it very clearly. SHE is still sitting among the piles of her HER. If you say so. everything can be forgotten. Not even the feel sorry for the guy.) They echoed up in the mountain, which clothes. SHE slowly starts putting them on. All strongest whisky is strong enough for that. Can we agree on one thing? swallowed up all the suffering. No one of them, one layer after another. SHE’s turning DARA. I kept nagging him that we don’t have DARA. I would be glad if Lil’ could stay with BORO’ has got a lot on his conscience. And BORO. You and me? Any time. I knew you’d knew who we were killing and why. And into a huge blob. It doesn’t look bad. Or good. this or that and that Lil’ needs to have you for a while. he drinks proportionately. To be precise, understand! I was throwing up, since the morning, SHE pulls her suitcase out from under the it all… stuff that we couldn’t do as kids. HER. I’ll take care of her. Whenever. he’s drinking himself to death. He’s already STRANGER. Let’s agree that I do believe you, when I heard the cry. I heard the women bed. SHE always keeps her suitcase under the Piano, gymnastics, French... DARA. She dreams of studying languages. pissed and sees, or at least he thinks he sees, every word you say. Whatever you think of scream and the children too and I knew bed. SHE sits in it, but she can’t close it.... HER. But that’s not anything unusual. French. a familiar face. saying, I believe you. You don’t even need I had to leave right away. But it was DARA. In this country it is. That’s why I am to say it. Okay? And now leave me alone. pitch dark and I couldn’t stand up and * * * paying for it now. My fault. Serves me Silence. BORO. Will you have a glass with me? So that BORO. (Considers the meaning of the I was just throwing up. And lying around right. I wanted it all, so I got it all. All we can finally sort it out, face to face. Man STRANGER’s words but it seems he’s not in my own vomit and blood and I was THE END inclusive, plus a bonus on top. DARA. It wasn’t him, right? to man. convinced.) Shouldn’t I belt you one? I really screaming with them... stop it, for God’s HER. You didn’t ask for a husband who’s HER. (Is quiet.) It couldn’t have been him. STRANGER. I think you’ve mistaken me for want this to be clear. Once and for all! sake, stop the killing, stop it …. But no one Translated by Zuzana Flašková a murderer. When Milija’s dad got killed, Boro wasn’t someone else, mate. ( DARA. Oh, I did. He murdered left right and there. In this country, they are all very matey and centre, he murdered everyone he could. DARA. If we only knew that it would come casual, it’s kind of cool. Only, it can be pretty Our family too. to this … inappropriate at times. Like now.) HER. He wasn’t a bad guy. Maybe he didn’t HER. ... we would never been born. We BORO. Don’t pretend to be too cool, for fuck’s have a choice. Maybe the damned war would have refused to be born! We would sake. Come here, I ‘m telling you. was an opportunity he couldn’t refuse. He have said “screw you” to a life like this! (BORO’s tick kicks in, he touches his belt, didn’t know that in war it’s not just the but the gun is not there. He left it at DARA’s people who lose their lives that are the XVII. place. That’s where it’s place is. In a bin. But victims, but the survivors too. HE calls again. The third attempt, this time now, he kind of needs it. Perhaps he regrets Vladislava Fekete studied dramaturgy at Department of Dramaturgy and DARA. He was great. Do you remember how the mobile. Only three people have the land that moment of weakness …) Directing at the Academy of Music and Performing Arts in Bratislava (1994 he used to play the guitar? line number. He’s not one of them (any STRANGER. You must have mistaken me for – 1999) at Prof. Ľ. Vajdička. She also defended her dissertation there in 2009. HER. Till late at night. We would all tell him more.) Number three, the lucky number. someone else. Besides theatre she works on multimedia projects that use elements from songs to play. He knew them all. BORO. (He staggers towards the theatre, visual arts and film. She is an author and coordinator of theatre DARA. We were all happy then. You, Milija, HIM. I was thinking about the idea you had. STRANGER.) It is you. Don’t pretend that workshops and symposiums. She translates contemporary Serbian drama Dunja, Boro, and me … Who would have HER. Which one? I used to have too many. you don’t know me. You and me, we have to Slovak and regularly publishes about theatre, participates in various inde- thought that this was waiting for us HIM. We’ll get married and live together been through a lot together. You, me, the pendent theatre projects and is a member of Board for selection from Slovak around the corner? That we would all end happily ever after till death do us part. chicks... We wouldn’t have it half bad if it theatre for international festival Divadelná Nitra. Since 2006 she is director up in different places? I miss you. All of HER. I didn’t mean it. It was a joke. And hadn’t all got screwed up. of Theatre Institute Bratislava and director of festival of contemporary Slo- you. a bad one, at that. STRANGER. That’s true ... HER. Milija is happy in Britain. Finally he HIM. What if we moved, away somewhere? vak and world drama Nová dráma / New Drama and founder of Theatre BORO. You see. So I need to draw you Research Centre at Theatre Institute. As dramaturg and director she coope- can work on his career as a scientist. HER. I’ve already moved away once. I’m a picture to refresh your memory. That was his dream. And he has finally settled here. Besides I don’t have enough rated on more than twenty theatre performances mostly of contemporary STRANGER. ... true that it all got screwed up, world drama. The play will be broadcasted by Czech Radio and on 6th May 2009 it was found a boyfriend, who understands him, suitcases. I mean! >>>> apparently. I haven’t seen him for a while. HIM. We don’t need suitcases. And we’ll premiered in South Bohemian Theatre in České Budějovice. The play is translated to Ger- >>>> BORO. So, still nothing? Do you want me to man and Polish. 84 But we talk from time to time … leave the memories behind. Wherever punch you in the face? Would that help? 85 Iveta Horváthová: Female Kabala Iveta plays with all kinds of EDUARD: It is an old wrecked house and you are there illegally! When cliché about women and men, feminism and sexism by means of three is that ... Juška or what´s her name coming. Sarcophaguses and cash seances: linguistic, creative and minimalistic. It isa message about KILLER: You know how it is, ´takes time till she changes the injections, our stuck political tradition which defines exact functioning / way of buys something, waits for the bus and they always fuck up in this dispensers – extracts talkink/way of thinking of a woman and a man in the social space. weather. (He passes him a glass of spirit.) EDUARD: (sighs and drinks it) Look, I understand you´re young, you (The key Slovak drama of the normalizaion generation) WOMAN: If the words mean nothing, why do they have such have ideals, small animals, free love, peace ... but there are other 18 great authors – 16 small plays – 4 dramaturgic keys meaning? things in life too, you violate my right of private possession. Do you YOUNG GIRL: If the bad words mean nothing, the good ones are know what it is? Contemporary short dramatic works by Slovak authors emerged within the framework of the generation project of the meaningless too. Is it clear, mummy?! (...) Vulgar language is in, KILLER: Come on, we don´t want to throw you out, you can stay here Bratislava Theatre Institute The Key Slovak drama. dickheads and bitches are in, mummy. Don´t get scared of anything. with us. Today we have contraceptive plasters, pessary is shit, why would you The authors of the plays were growing up in the years of “normalization“ (1969 – 1989) between the generation 68 and put it in there, it´s over, mummy. Like you. (... ) You´re out, mummy. Why Ľuba Lesná: Long live Spartakiad! – documentary drama. Innocent Husák´s children. not let boys talk shit, fuck them off. Soon people would communicate woman tortured to death as the result of the investigation of State The members of generation 68 could breathe freely at least during the political thaw and communist reforms. Husák´s by looks, smells, secretions of their energy, or they would use other Secret Security agents. Revealing the past of Gizela Meyelová also opens children born at the beginning of the 70s were growing up into the atmosphere of “Perestroika“ and later the Tender forms of communication. They´ll come up with something you didn´t a family trauma: the story of unpunished murder is told by brother to his Revolution. manage to find, do you understand, mummy! sister, who always felt that this death happened more or less because The generation in-between experienced the full impact of normalization. It was already shaped in 1989, oftenwith of him. families, small children, firmly defined system of values. People of this generation were growing up in the years of the The key to conscience of present days strongest normalization pressure, in the space of hypocrisy and fear. They had their own life strategies in the disbalance MEYELOVÁ: They kept repeating that they can do what they want. That between quality, personal drive and social acknowledgement and financial evaluation, they often tended to emigrate Ľubo Burger: Peter and Lucia – the world of estate agents and I´m only a prisoner and they work at the Ministry of Internal Affairs. internally, or, externally too. Weakend by being broken apart by lack of good education, aggressivity and perfidiousness their admirers. Criminal plot. Juicy dialogues about sex, ageing and I was in solitary confinement for three and a half months. In darkness. of society, they got used to dividing the world into „their“ and „our“. Handicapped in its natural desire to grow humanly spiritual dimension of socialism, about “dust, fear and fucking lies.“ It was terribly cold there. They made me clean the cell all the time. and professionally, to mature emotionally, to know its masculine, feminine, civil and other identity, they created their Five, ten times a day. They gave me a brush and a bucket full of cold own system of values that helped them survive. It is typical for this generation that it cannot put up with the power – LUCIA: What freedom are we talking about? What is it, in your opinion, water. And I had to clean the cell with the cold water. I was completely people either refuse it and continue in politics of non-cooperation, or, they follow the cynical way of socialist officials´ that makes us more free than you were in that bloody socialism you wet. I was shivering. And when I finished I had to start all over again. unscrupulous opportunism. hate so much, but can´t exist without even for a moment, so you keep They didn´t change the water. So I cleaned the whole cell with the dirty thinking back all the time not to forget by any chance that it once water and the brush again. The title of the project reflects subjects that the authors decided for and gives metaphorical information about continuity existed. But I´m not, can you hear me, I´m not happy to live here and of past and present worlds. Sarcophagus was the code name used in previous regime by the members State security for now. And I don´t want to travel at all... Pavol Weiss: Endargement – a pacient at a psychiatric clinic says operation of stealing certain people´s identity. Using given identity they commited various crimes abroad. In some transferred good bye to his therapist, who, obviously, has some other function too. meaning all of us were sarcophaguses to certain extent – the hostages of previous regime. Martin Ciel: Small land – problems of relationship to agents of The patient finds out that his former life is in ruins and he decides what And cash dispensers? Violence today has much more forms and more sophisticated tools than those we know from the State Secret Security, not all agents are the same; what friendsip can to do. sphere of normalization prison. Politics of global free market and capital influences our lives more than we would wish. bear and what sarcophagus is. We still go to the same pub with the Knowing the right codes enables people to move on. Who sets them, anyway? Our projects deals also with this topic. same head waiter. Even if all the things change around us, we don´t MAN: None of the pincodes work! ... they had to ... have no access to necessarily have to. my account ... and the company ... company has a new name! ... My The key to men and women address ... invalid ... my account ... invalid ... oh, the social insurance I: They called it „sarcophagus“. It is that they took somenone, I mean company ... so I exist ... Permanent address ... permanent address ... 7, Karol D. Horváth, Laco Kerata, Silvester Lavrík – Revolution is more powerful than death. his / her name, someone who clearly couldn´t travel afterwards or Old Chestnut Tree Street? Where is that? Historical play in six acts and three interludes. Suchá ratolesť (Dry branchlet) by Vajanský, La Fleur Du Mal (The Flower something, some secret agent took his passport, you know, went to THERAPIST: Could you show it to me? Oh, yes. We have to change it ... of Evil), A Clockwork Orange put up with communist past mercilessly violating all principles of political correctness and America, for example, he fucked somebody off there, or changed I´ll tell the girls at the registration to delete you. validating all gender stereotypes the next moment. safe or something, came back and became normal secret agent again MAN: Delete? and the one, who wasn´t anywhere miht have record that it was him, THERAPIST: You can have permanent address at the clinic only under GENERAL DIRECTOR: Hello, comrade general secretary. Koľbík speaking. František Koľbík ... the general director of Starch factory actually ... Stano told me about it, when he´s worked in those Internal some circumstances. And those are gone. Gelnica ... yes, it´s me. Yes, the one, you have always hit with your brave partisan boot to head. ... Yes, that´s exactly me. And Affairs now ... I also used to suck your dick, of course. Behind your back, of course. And then the fascists found us, of course. Because of the smoke. And you shot them as soon as they appeared at the door. And it appeared that the weren´t fascists, but our men, of The key to the drug of the past Uršuľa Kovalyk: Squatt – Fifty years old businessman with socialist course. We only forgot that they went to a pub. Not to a Jewish one, of course. We had got rid of Jews two years before, which ways, the owner of a willage house, meets the inhabitants of the squatt Anna Grusková: Czechoslovakia – 20th wedding anniversary is a top secret, of course. Yes, they were nice times ... do you remember how we laughed when we threw their bodies at the “Vlky“ (Wolves), which is his real estate possession. Collision of values celebration of a Slovak man and a Czech woman. Love between a railway station Trenčianske Ruskovce and put notices on their necks saying “Partisan bandits“ and everybody kept saying that

>>>> and generations tinker and a colonizer. Is there a Czechoslovak language? Can yoghurt >>>> 86 the fascists did it? ... And it was your idea, comrade ge ... Hello!! Hello!! ... He cancelled the call. packets be used as teeth holders? 87 HIM: It´s not only what you want to say but how you say it. You have both emigrated during normalization, came back and are dead. What M: From now on there´ll be no cataclysm to keep the clients of our to say it in a way that people understand. doest it mean? Schizophrenia or poetry? bank indifferent. The card CONFLICT series production supports the HER: Now you put it very well. I speak different language. Also to recovery of the countries in wars. Actual offer: (he shows the cards): you. Even though we had similar childhood, similar fairy tales, the HIM: I don´t have to go out just to meet Múza next to the house of Unknown mother from Congo and her hanged son. A teacher shot by same TV broadcasting, the same holidays in Bulgaria ... It didn´t Manderlák and Anča in front of the Opera! What for? I want to have the Liberation Tigers of Tamil Eelam in front of his classroom. One-leg help that I learned how to speak Slovak. They are only words. It is a bean soup in the Krištáľ bar, I want to talk to Duchoň in Tatra, I want Chechnya guy with the jump rope, the OMON units clap their hands as the old-fashioned Czechoslovak language that nobody understands to be a child and wave to Schöne Nazi under the Michael´s Tower, he jumps. Our cards let our clients be more human. Humanity´s name nowadays, that´s my real language, that´s me. (Pause, continues I want to put on the pioneer scarf, but my father would slap me and from now on is seven-seven-seven, seven-seven-seven! in Czech). When they separated Czechoslovakia in 1993, I got put it off, because his father lost factory and therefore, he hates all red separated too ... things... I want ... Why should I go out, my little daughter, that world of Zuzana Uličianska: Cathedral – memories on the Strasbourg yours is so strange to me! cathedral tower, post-war handicaps and discoveries of Slovak Jano Viki Janoušková: Sleep, Gilgamesh – a poetic play about HER: I am not your little daughter. She escaped from you, got lost from present perspective. whether to come out or not, whether to leave the security or not, somewhere in the west. ... about relationship to the past. – “Addiction to the drug of our past“ ... JANO: We are the nation of bricklayers, we built the whole Vienna. My It takes place in the space of the bath, wings and a wheelchair of the The key to the design of the future father used to build skyscrapers in Bratislava, the Presscentre. three in one character. CARMEN: Freemasons, dear Jano, the builders of cathedrals ... Vanda Feriancová: Suitcase – it is not always advantage to ROBERT: Cathedrals were also presscentres in some way. THE ELDER ONE: My dear girl, addiction to the drug of our past has marry a “used“ man, sometimes, it might be advantage for a wife left CARMEN: Are there any cathedrals in your country? taken longer than your smoking, but it´s got the same “it damages by her husband, who, with her heart bleeding, enjoys her rediscovered JANO: Of course. We are the most eastern country in Europe with health“ on the packet. freedom. Restitutions, late and meaningless emigration, housing gothic cathedrals. We are a normal European country! Equality of the wise and the stupid, safety of obedience, the order of problems, generation shifts in perception of values. nonsense ... – the ones outside suddenly miss all of it. As if they all Dušan Vicen: Little nest - brutal hyperrealistic vision of a family forgot, why they needed freedom so much. ... But here – in my exile – Nora: Listen to me, you dummy! Are you really going to live in the Slovak countryside. Mother repairs accessories, unem-ployed wearing the mask of an outsider, I feel free ... togehter till the end of the world? You keep arguing all the time! father constantly grumbles at politicians on TV, their son is a Nazi, his MIRA: (she appears in the library – with wings again, a little bit You have no privacy, she has no privacy. One company owned by girlfriend tries to help his victim timidly but with no success. And the crumpled). my friend is building a great house in the Priestranná Street! It´s younger brother, who is supposed to do his homework in this terrifying Nail your shadow to the floor and play chess with her. no problem to sell this stuff and get two new nice flats. Think! You freakshow. can still sell hundred quadratic meters in the centre of the town for Jana Juráňová: Drowning of the frogs – a woman that collects a good price! And the prices of the newly built houses are damn FATHER: But we get on well with Lucy ... I used to work with her father frogs of all kinds tries to put up with her past through these fairy-tale low due to the crisis! This is a unique opportunity to solve it quickly ... it was here ... where the Vietnamese storehouses are now ... we and endangered creatures. Where is the fairy-tale prince she should and smoothly. worked ... in a factory ... good old times ... I used to drive the lift truck take the spell off by a kiss? Or has he already come and gone again? ... all of a sudden he became a head of the factory committee ... you From outside the daughter´s voice in mobile comes to the non fairy- Marius Kopcsay: Home is home – bizzare world in the pub have no chance to know what it was now ... but it must have been tale character and the voice of the dog Dunčo that she looks after as U Kalinu (At Kalina´s) and other places. It is a world of disoriented a good starting point ... one must admit ... he got into high positions ... of husband. engineer Pavlík, rehabilitation nurse Kristína and a quirky character the factory doesn´t exist and he is ... a casino owner ... here we go ... called Esotherician. bloody hell ... tell him Lucy I will come to break the bank ... when my GABA: How are you, my old hero? How are you today? I was at the business goes well ... I´ll come ... with a big cigar. dentist recently and there is department of psychiatry jus opposite, ESOTHERICIAN: You are really naive, dear engineer. There are no tanks there was a woman sitting ... she looked pretty like your second wife, to occupy us nowadays but economic power. Look at the Russians, The project took place in Bratislava Theatre Institute from who looked like your first wife very much ... Is she on pills, or you? what players they are. They close the gas and finish! Kaputt! That´s October 2008 to June 2009. Both of you? it! And that means we should not fuck them up. You know the saying: Project conception and dramaturgy: Anna Grusková Have you pulled out, or they don´t want you anywhere anymore? (...) A dog shouldn´t bite the hands that feed it. Project cooperation: Vladislava Fekete, Daria Fehérová, I called you Hero. The Hero of the revolution. Prince under the spell. PAVLÍK: You mean we are the dog and Russia is the hand to feed us? Viki Janoušková, Jana Juráňová, Ivana Slámová, Jana My kisses never saved you anyway. Go off with you! I´m fed up with ESOTHERICIAN: It feeds us with mineral resources. Burianová, Romana Maliti, Maja Hriešik, Daria Fehérová, you! Why shoud I take the spell off you? I´ll drown you. Come here, sit PAVLÍK: We pay for it. It´s a business. Katka Beňušková, Katarína Weissová, Dominika Zaťková in the bath nicely ... veeeery well ... Project supported by: Bratislava Literary Fund and Czech Viliam Klimáček: The silent charm of cash dispensers – Centre in Bratislava Roman Polák: Thank you for killing me – She and He in marriage stylish, dynamic and witty protrait of three charatcers: an elegant lady stereotype with the moments of passion, tenderness and Oedipus – the user of cash dispenser card, a pickpocket and a bank clerk, who

>>>> complex. He is at home most of the time, but still, he meets DJ Múza ponders on political dimension of the design of credit cards. >>>> 88 from his home town and his sex teacher from the hop picking job. They Bratislava is a second volume of a successful Lectures on Theatre I. The editor professional manual available at the Slovak book market. This volume has PROJECTS OF THE THEATRE of the book and author of portraits of its contributors is Vladimír Štefko – the been published in co-operation with the VŠMU in Bratislava. most significant member of the Slovak theatrical community. Small Manual for the Taming of a Dramatic Text INSTITUTE BRATISLAVA Scenography 1989 / 2009: For Those Who Want to Write and Those Who Help Them To Make It Stage design Catalogue A long awaited professional instruction book for all those who´d like to write The Theatre Institute (TI) in Bratislava has a firm place among important publishing houses in Theatre Poster Catalogue a dramatic text. It´s at one and the same time a systematic manual for working Bratislava as it has published a number of works from the area of Slovak as well as international In co-operation with theDepartment of Theatre Documentation and Informatics with children at elementary and high schools and for teachers and leaders we are preparing a catalogue of stage design and of theatre posters in Slovakia. of interest groups focused on literary (dramatic) writing. The author Zuzana drama. In the field of publishing professional theatre-related literature itsPublishing and Research This unique project will serve as a picture of Slovak stage design art since 1989. It Ferenczová draws her inspiration from her own experience as a writer during Department is one of the best with regard to quality as well as to quantity. maps the continuity of works of great art designers since the times of totalitarian several years of working with various small authors and teachers of creative regime and it conceptually grasps also new trends in stage disgn and creative writing. production of theatre posters since the opening up of borders until today. The catalogues are being compiled at the occasion of the important historical Edition: World Theatre anniversary – twenty years of downfall of Socialist regime in Slovakia. Richard Schechner: Performance: Theory, Practice, Rituals Professor Richard Schechner´s book, who is one of the most significant pillars Edition: Slovak Drama of the world´s art literature, is being published in Slovak for the first time. Drama 2007 – 2008 Alongside with History of Drama Theories by Marvin Carlson, History of Drama This collection of plays from a competition of the same name consists of two by Erika Fischer-Lichte and Lehmans´ Postdramatic Theatre, it is one of the parts Drama 2007 and Drama 2008. Readers will find there the winning plays, most important foreign publications on the market published by the Theatre and alongside renowned playwrights, who often participate in this competition, Institute. it attracts the attention also of new talents in the field of dramatic literature in Slovakia. Edition: Personalities Ľubica Krenová: Ladislav Chudík. A Firm Point. A. BASIC PUBLICATIONS B. ORIGINAL AND TRANSLATED PUBLICATIONS Edition: Slovak Drama in Translation A portrait of one of the most significant actors who has depicted character as OF THE THEATRE INSTITUTE (TI) Visegrad Drama vol. 3 well as comic roles; a person who witnessed the origins of the Slovak National Slovak Theatres in the 2007 / 2008 season Visegrad Drama 3 is the third of four volumes compiled by a partnership of Theatre and some of its most famous periods. This book has been prepared by The basic factual volume – Yearbook – documents the activities of individual The publishing of theatrical works and drama is one of the priorities of the theatre institutions from V4 countries. Each institution in this project selects the Theatre Institute in co-operation with Slovart publishing house. theatre artists in the given period. It´s the most important manual forall publishing activities of the TI. These are often long-term projects continuing for and publishes in English four thematically and related dramas from the theatrologists and theatre critics who need an overview of the repertoire several years and are very demanding regarding writing, editing and printing. breaking of the 19th and 20th century through to the present day. The third C. OTHER PUBLICATIONS of theatres, work of directors, actors, stage designers, choreographers, There are several editionsSlovenské divadlo (Slovak Theatre), Slovenská dráma volume is published under the auspices of Theatre Institute in Prague. Visegrad A catalogue of New Drama festivals and publications edited on the occasion dramaturges, music composers, translators, etc. during that particular theatre (Slovak Drama), Slovenská dráma v preklade (Slovak Drama In Translation), Drama vol. 3 will present plays from the 60´s of the 20th century. The Slovak of exhibitions and other events organized by the Theatre Institute, offers basic season. Data about premieres, actual compositions of individual theatre groups, Osobnosti (Personalities), Teória v pohybe (Theory in Movement), Svetové contribution to this publication is a selection and translation of a Slovak play and some additional information on various activities of TI. There are some a register of authors, In Memoriam column, information on international tours divadlo (World Theatre, Svetová dráma – antológie (Internatinal Drama – by Leopold Lahola: Spots on the Sun, a theoretical study and some additional CD-ROMs and DVDs published with this edition, too. and hosted events, festivals, exhibitions, literature, magazines and awards – all Anthologies), Nová dráma (New Drama), Vreckovky (Handkerchieves). In materials (such as photographs and registers, etc.) this information is provided in Yearbook. Slovak Theatre, International Drama, Personalities, Theory in Movement a) 2009 Publications original Slovak and translated Works are published by significant Slovak and Edition: Theory in Movement New Drama Catalogue Theatre Calendar 2010 foreign theatrologists from the fields of theory, history, criticism and theatrical Milan Čorba: Costume Designes (Lectures) A thorough information catalogue published for and about the festival of Information catalogue published in form of a calendar comprises the research. Slovak and foreign plays are published in editions Slovak Drama, A collection of lectures by the important scenographer Milan Čorba are New Drama contains detailed information on festival programmes in its main significant anniversaries and jubilees of living artists as well as of those Slovak Drama in Translation, International Drama – Anthologies, New Drama supposed to serve all stage design students and other courses of the Drama part as well as accompanying events. It contains rich material about plays who are not among us anymore and of important theatre-related and Handkerchieves. Department at the VŠMU. But also students of other art schools with an artistic in competition and photos from productions (authors and / or individual anniversaries. focus on activity. Last but not least this book will also certainly be appreciated theatre groups.) Focus is an independent category within this catalogue and Edition: Slovak Theatre by the cultural public and theatre goers, who are interested in drama. Author it regularly brings an overview of a foreign participants – this year it was the Theatres in Slovakia – Season 1965 / 1966 Miklos Vojtek: Terpsichora Istropolitana Milan Čorba presents a systematic review of the history of art with a focus on most important contemporary Serbian play writes. The catalogue is part of A so-called Retro-Yearbook is an exceptionally important documentation of This book is a valuable piece containing new information on a little known theatre costumes; he offers his own system of necessary rules and principles PMO activities. material in which the Department of Theatre Documentation and Informatics period of Slovak theatre history and not only from the point of national but for creative stage design and practical advice as to the designing of costumes maps past theatre seasons of the 20th century. It´s a unique and single from a territorial perspective, too. It also contains rich illustrational material, for theatre. He directs reader´s attention to the process of co-creating a play, Slovak Drama in Translation – CD-ROM complete source of this sort of information about activities of Slovak theatres, registers and bibliographical notes. and adaptation; particularly to co-operation between the director andart A representative selection of plays by Slovak playwrights translated into artists, premieres and groups in the given season. director and a dramaturge. He doesn´t forget to explain the relation between English, together with profiles of play writes and photos. Lectures on Thetare II. the recipients of the stage designer´s work either – the actor – and, most b) Books Coming This collection of habilitation works and theses by teachers from the >>>> importantly, the spectator. The time-tested “advice and instructions” of one of Slovak Drama in Translation – hyperlink at www.theatre.sk >>>> 90 All basic publications are published periodically once a year. Department of Drama at the Academy of Music and Performing Arts (VŠMU) in the most significant Slovak costume designers makes this book an appreciated A representative selection of plays by Slovak playwrights. 91 IS. Theatre.sk Do you know which festivals in Slovakia are worth visiting? Do you know at which festivals you can present your work? A project for monitoring Slovak theatre IS.theatre.sk originated as a reply by critics to the very low-standard condition the Slovak theatre DFenvironmentL andBLÔKF its theoretical reflexion is developingW in EVmJKAsLCtoday. There is a single magazine dedicated to performing arts – kød . However,D.,s it’s impossible A perfect overview of updated information about performing arts festivals in Slovakia will be presented at KIOSK II – FESTIVALS this year! to provide a thorough review of the whole scale of Slovak theatres and performing arts productions in one magazine. There is no magazine dedicated to puppet-theatres forDF instance and theL spaceBLÔKFwE for reviews in regular daily‘s or weeklies is getting smaller every day. This is the reason why a number of After a successful project KIOSK Digital Showcase New Slovak Independent Performing Arts the Theatre Institute publishes a catalogue and a multimedia plays in minor genres and regional theatres haven’t been reflected in public reviews at all. cd KIOSK II – FESTIVALS in both Slovak and English versions. The goal of the project is to support and highlight the work of all those who organize VMIt’sJKA precisely because ofS thisLC situation the D.,DInternational Association of Performing Art Critics in close co-operation with Theatre Institute and performing arts festivals in Slovakia. The catalogue will contain complex information about selected national and international festivals, a directory Academy of Music and Performing Arts (VŠMU) in Bratislava came up with an initiative to review all (with some small exceptions) productions of the of drama, multi-genre as well as of amateur festivals. season, publish it on TheatreFL InstituteBLÔKF websites and make it availableW in itsEVmJKAsLC archive. This monitoring project has been supported by the Ministry of An additional multimedia cd will provide visual and photographic material. Culture; and the TI as well as the VŠMU expressed their willL to continue with this project for theM third time. ThatS means that since 2007 there have been The aim of this project is to place Slovak festivals in to the wider European context and network about 150 reviews per D.,syear written by between DF 30 to 40 criticsBLÔKFwEV and stored in this project. Some of themJKA the readersLC might D.,Dfind kødin magazine. The fact of significant performing arts-related events – festivals and presentations. that an evaluation of Slovak theatre history is in this way available for professionals and the general public is very important of itself. The information Target group of KIOSK – FESTIVALS: will be available for historians, theorists and artists at www.theatre.sk and at the documentation department of the TI. – International drama groups and theatres who´d like to present their work in Slovakia Zuzana Uličianska (at one-night performance and/or in form of a tour.) Head of the AICT Centre – Organizers of performing arts festivals in other countries who´d like to co-operate with Slovak festivals. in Slovakia – Space for presentation and promotion for organizers of festivals in Slovakia.

Studio 12 in the Season 2009/2010 Platform 11 + Artistic discoveries on European schoolyards The dramaturgy of Studio 12 will continue focusing primarily on supporting and presenting new and unique projects of contemporary performing arts and on the tradition of successful projects which has already established their audience. Theatre Institute as a Slovak partner of EU-supported 4-years-project The „fair“ of shows and performances will be opened by a staging of a well-known text by I. Vyrypajev July with Petra Fornyaová (d. Alena From April 2009 Theatre Institute has become a part of an international project supported by the EU-commission in the programme Culture 2007. Lelková). In November there will be a new adaptation – life of a director Magda Husák Lokvenc´s – titled Charmed by Life of Misses M.H.L., directed Chosen from a large number of applicationsPlatform 11 + will be financed with 2 mill euro over 4 years. Project unites 12 partners – theatre institutions by Anna Grusková prepared for stage. Studio 12 is also planning on entering some co-production projects with other associations and culture centres. from 11 countries, each representing a high level of excellence and a special interest in the target group. The leading organisation of that artistic One of them will be Donaudrama (d. A. Grusková): ten authors from ten countries were approached to write a short play and all of them will eventually network is Brageteatret in Drammen/Norway, which collaborates with the initiator of the project, Dirk Neldner. The project intends to involve local create a consistent whole. Nine plays were already written for this project and they are united not only by the motive of the Danube river but by their cultural institutions, universities and most of all schools as active participants. specific treatment of topics like motherland, belief, power, labour migration, socialist past, etc. The project will be premiered at the international theatre festival Divadelná Nitra and since December 2009 it should be presented on Studio 12‘s stage. What can we expect to discover on European schoolyards? The second part of the season will be opened by Ján Šimko and a collective of authors by launching of a project called The schoolyard is the centre of life experiences of a young person; it determines the identity and reflects conflicts of whole society. In many ways it ´89 on the occasion of the anniversary of the Velvet Revolution. The second co-production project will be a production of resembles multicultural and social microcosm of the given country. Stanica Žilina- Záriečie and Studio 12. Except for their tour through European cities, it will be possible to see the project staged Project is a reaction to the lack of quality cultural activities for young people of the critical age between 11 and 15 years. Although during this life phase at Studio 12, too. Favourite Stories from Petržalka will go on for the rest of the season and a second part of documentary an engagement with art can be consequential for the formation of values, personality and worldview, situation in European countries shows a big lack of trilogy Memories of Bratislava – Chatam Sófer will be introduced in March. A traditional place in this theatre season is taken contents. Platform11+ strives to fill this gap with a long lasting effect and create maximal synergies between the partners by promoting both the artistic by Divadlo bez domova (Theatre with No Home) who are preparing a new play called Haiku. work of young people themselves, as well as the one done for them by renowned artists (playwrights, visual artists, theatre directors). A year-long education-research projectDeti revolúcie (Children of the Revolution) will be introduced in a grand finale of a several-days´ marathon in November. The promising project titledMilk Teeth – young artists´ lab– has been growing quite successful and significant. Final aim of the project Studio 12 will go on in their support of new courageous projects and people who want to try what it is like to produce a staging. In October and After four years of work,Platform11+ wants to present a many-layered (self-) portrait of a young European generation, whose presence at the beginning November two projects of Milk Teeth are scheduled and they will be a real genre diversion as they are different compared to the rest of the previous of the 21st century will be reflected in more than 30 new plays, 50 interdisciplinary co-productions and theatre events, 40 pieces of art and new media productions. The Focus section – a presentation of drama in a selected country – staged readings of plays, a sociological lecture and music programme and in launching of a European database with theatre plays for the target group. will be presented during several nights. There is also a new project titled Platform 11+. The Theatre Institute takes part in it together with thirteen other theatres from eleven countries. Alongside with all the above mentioned projects will be traditional readings, lectures, local and foreign theatres www.platform11plus.eu presentations, books presentations and concerts will be prepared for all our visitors. For more information search www.studio12.sk. Pavel Graus >>>> >>>> 92 Studio 12 Programmer 93 Children of Revolution TACE-Theatre Architecture In September 2008 Theatre in Central Europe Institute announced a competition for the best topical study. The TACE is a three years long project (Feb 2008 – Jan 2011), co-financed by the European Union competition was open for all the With the support of the Culture 2000, under the Culture 2000 program. The main aim of the project is to present existing knowledge Programme of the European Union college and university students who and information about the development of theatre architecture in central Europe by means of agreed to write a larger work on the complex structure of various forms. Theatre buildings represent a distinct demonstration of the topic Theatre and Velvet Revolution. Enrolled students created an art of building in its style changes from late Renaissance to the present day; their construction and active team which participated in lectures and discussions organized spatial solutions reflected in the period interpretation practices as well as influenced by it. It also by Theatre Institute from November 2008 and during 2009. The bears witness to social relationships and their changes. The equipment of the theatre on the other lectures and discussions drew students nearer the historical period hand represents the history of technology. and atmosphere around 1989 and 90-ies. In November, February and May 2009 three information units were organized that allowed Partial development tendencies in individual regions will be put into context and wider a European the students to meet interesting personalities from history, politics, perspective thanks to the co-operation of important documentation and research institutions from sociology, theory and history of theatre, religion. five European countries. The historical context of 17th November was introduced to The project is led by The National Theatre Prague (Národní divadlo Praha). Co-organizers are the students in separate units by historian Marína Zavacká, political scientist Theatre Institute Bratislava, the Hungarian Theatre Institute and Museum, the Theatre Museum in Daniel Bútora, or specialist in oral history Miroslav Vaněk. Opinion Ljubljana and the Theatre Institute in Warsaw. Theatre architecture presents a specific phenomenon of theatrologists of this topic were brought by Czech theatrologist in European cultural heritage. Vladimír Just and Slovak theatrologist Vladimír Štefko. Interesting and benefitial were the lectures of popular priest Anton Srholec or Czech What are the aims of the project and how will they be achieved? sociologist Marcel Tomášek. Significant part of each unit was dedicated 1) Preservation, protection and promotion of European cultural heritage– work with information to discussions with interesting personalities, founders of VPN (Public is the core and essential prerequisite of the successful preservation of monuments. The Against Violence), activists who participated in the regime change at the registration, description and collection of information about theatre architecture in a database turn on 1989. As the guests at panel discussions moderated by Zuzana that is widely available this prerequisite aims to accomplish. Mistríková were introduced former minister of culture Ladislav Snopko, sociologist Martin Bútora, dramaturg Martin Porubjak, musician Anton 2) Presentation of European cultural heritagein an attractive and varied way – books, exhibitions, Popovič and director of creative studio Juraj Vaculík. Participants of the presentations. All these products will use modern technology (CD/DVD ROM, internet, and project attended the discussion with co-founders of VPN Mária Filková, databases). Ján Budaj and Kamil Procházka. Theatre performances about 89 and 3) Creation of a system for the registration and presentation of buildings (theatre architecture) will staged reading of plays from playwrights of the middle generation 6th year of staging contemporary Slovak be managed on highly professional (through co-operation with top European experts in the field were also a part of the programme. and international drama. of theatre architecture) and technical (selection of the contractors) level. in September 2009 special jury will choose three winning 4) Support of artists’ mobility will be made easy by making the database of technical parameters studies which will be given financial award. The project Children of New Drama 2010 (May 10 – 15, 2010) available. It will mean the easy finding of suitable spaces for artistic presentations. This part of Revolution will finish with international symposium that will take – Unique and alive platform for presentation the database will be, to a certain extent, independent, and will include large number of stages; place in November 2009 during the celebration of 20th anniversary of contemporary Slovak playwrites and their works. its use will be offered to a large number of theatres. of Velvet Revolution. At the symposium students will have the Selection of the best of contemporary Slovak opportunity to present their works for the first time. 5) Support of education – all planned activities can be used for general, specialised as well as art drama performed by various theatres schools, and their aim is to increase knowledge about European cultural heritage; a specialised The aim of the project is to support education and scientific from all over Slovakia. work of students from various universities of different specialization, as workshop should then train (future) European specialists in the field of theatre architecture so well as point out the role of theatre people in the events of 1989. This Focus of this year – Finland – presentation they will be well prepared for their work in this field and are aware of the various approaches project ends with international symposium held during the celebration of contemporary Finnish theatre and drama. and possible solutions found in other countries. of 20th anniversary of Velvet Revolution in November 2009. 6) Support of communication between specialistson a European level – the project will be realized More at www.novadrama.sk as international team work, within which the open network of specialists from the organising

>>>> More information at www.detirevolúcie.sk. countries will meet, and we suppose that the established contacts will encourage follow-up co- >>>> 94 operation as well. 95 Organisers / Organisateurs

Association Divadelná Nitra

Supported by / Avec le soutien de

Europe was never more central! You have never experienced a warmer welcome! L’Europe n’a jamais été plus centrale! This project has been funded with support from the Vous n’avez jamais reçu un accueil plus chaleureux! European Commission. This communication re ects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

www.ietm.org www.ietmba09.sk

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