c o n t e n t s editorial Dear Readers! 1 Romana Maliti interviews For the first time the Theatre Institute publishes 2 The Absence of Freedom is our Responsibility a year catalogue about the current situation in With Darina Kárová, director of International Theat- Slovakia. Interviews, reviews and analytical articles re Festival Divadelná Nitra are the selection of the most interesting articles 6 Ballet – Almost a Perfect Medium from 10 issues of KÓD – KONKRÉTNE O DIVADLE With Mário Radačovský, choreographer and director magazine. The magazine started to be published of the Ballet of the Slovak National Theatre in 2OO7 and filled the gap of a long absence of 9 A Mirror Held Up to the Absurdity of Living a theatre magazine for professional and broad With Miloš Karásek, director, stage designer and public. The catalogue in English language brings also a survey of theatre playwright critics offering you a complete view on dramatic works of theatre in 13 The Moment of Insight Slovakia and the structure of the network of professional theatres. With Ján Šimko, dramaturge of Studio 12 Bratislava and director I believe that THE CODE TO THE SLOVAK THEATRE will „un-code“ our 18 Man at the Centre of Interest theatre culture to everyone of its readers. It will give you a basic view With Viera Dubačová, director of Arteterapia Festival of what is happening in the Slovak theatre world and it will bring you the and Zuzana Ferenczová, dramaturge of Arteterapia critical ideas concerning theatre in Slovakia in the articles by theatre Festival directors, playwrights, dramaturges, theatre scientists and critics who 20 We Have a Responsibility to the Audience are presented in the catalogue. With Ondrej Šoth, choreographer and director of the Ballet of the State Theatre Košice For everybody of the staff I wish you a pleasant reading! 23 We are Here to Bring Up our Children in the Best Way With Alena Lelková, director Romana Maliti a n a l y s e s a n d r e v i e w s 27 Klimáček´s Dr. Gustáv Husák in Light of Historical Facts Ivan Kamenec 29 Two Views on a Contemporary Slovak Operatic Work by Vladimír Godár Under Cherries in Full The Code to the Slovak Theatre archive of ŠD Košice, archive of A. Lelková, An Annual 2007/2008 of the Theatre Mon- O. Vojtíšek, J. Lišaníková, K. Weissová Bloom Vladimír Godár, Dáša Čiripová thly ‘kód – konkrétne o divadle‘ in English Publisher: 32 A Picture of Poverty and Medially Promoted Senior Editor Divadelný ústav Bratislava Emptiness Miroslav Tížik Romana Maliti The Theatre Institute Bratislava Associate Editors Jakubovo námestie 12 festivals Dáša Čiripová 813 57 Bratislava 36 Slovak Identity in Central Europe or Slovak Martina Vannayová Tel.: +421 2 59304780 Fax: +421 2 52965986 Theatre Representation Petr Christov Compiled by e-mail: [email protected] Dáša Čiripová, Romana Maliti, 39 From the Authentic to the Universal www.casopiskod.sk Martina Vannayová www.theatre.sk Miroslav Ballay English Translation Graphic design and print 43 The Legacy of Dostoyevsky or Martina Herbst NM Code „We All are Karamazovs“ Tereza Krčálová Edited by Logo: Vera Schulmann i n q u i r y © Róbert Paršo Photographs: 46 Reviews of Slovak Theatre and Drama by Slovak Cover: K. Križanovičová, archive of SND Bratislava, © Nora Nosterská Theatre Critics archive of J. Šimko, archive of Z. Ferenczová, p l a y ISSN 1337-1800 60 Zuza Ferenczová – Anton Medowits: Solitaire.sk Translated by Ivan Lacko Contents 2007/2008 2 i n t e r v i e w s i n t e r v i e w s is our own past. I am quite unhappy that we have not dealt with the period of communism, The Absence of freedom even after 18 years. It is not reflected either in film or literature or, with some exceptions is our responsibiliTy (the Aréna Theatre), drama. It is quite trendy to condemn communism or to reject it. But Darina Kárová on herself... also about perceiving theatre as an artistic period as a time of endless stress that also then, during communism, great works thing in general. More importantly, it is about prevented me from acting and living. The of art were created, interesting stories of I think that even the broader public knows the kind of people in theatre – about the creators of The Dance Hall (a production people formed and characters shaped. I can you as a devoted theatre woman. How did you degree of thoroughness, humbleness as created in 2001 at the Slovak National be sorry only for the fact that some very good become involved in theatre? Did you want to do well as pride, about dedication to the theme Theatre, based on the production of Le Ball productions made it only to Prague. Looking anything else, as well? and the creative process, about the ability by French Théâtre du Campagnol – editor’s at this from the present-day point of view I am not among those who knew from their to remember or to resist pressure, or the note) brought to the stage, as a pars pro – the freedom of artistic creation does not childhood what they wanted to be. My decision opposite, about tendencies to adapt to the toto of the occupation in 1968, a Soviet guarantee quality. It is questionable whether to study theatre dramaturgy was influenced demands of a period, to serve, to entertain, to soldier of high rank. He also later symbolised we all want quality. For example, how can we by the advice of a family friend, Professor forget. Sometimes I have the feeling that we, the subsequent oppression and became deal with the bourgeois character of theatre Jan Boor (a distinguished Slovak theatre theatre people, wanted to revive something a litmus test of degrees of collaboration in Slovakia? With all those mutual agreements professional – editor’s note), who considered through our activity in 1989. – some people went and danced with him, between creators and consumers this subject a synthesis of my abilities others refused him. I think that if there (spectators, managers, critics) about non- and interests at that time. All in all – my Your practical activity in theatre was carried was anyone responsible for this absence of aggressive, common parties and bashes, grandmother was a famous amateur actress out mainly during communism. What did you freedom, elimination of talented people and efforts by theatre people to place their names so there were some genetic inclinations that think of the limitations and hurdles that stood the whole terror of the previous regime, under the attention of owners, money and could be counted on. But I come from a purely in the way of free expression in those times? then it was ourselves, not the occupying opportunity, a diversion from real art and visual-art family and although I do not know When, in 1975, I started to work in the Nitra armies. Behind each restriction of anything a shift towards shallow show-business… whether I would be a successful visual artist, Theatre, so-called normalisation was at its or anyone we have to see a concrete As a dramaturge you later became the director Metaphors and allegories had evaporated I very often thought, as an active dramaturge, peak. Restrictions, limitations or direct bans person, usually a colleague or a neighbour. Is this so only in Slovakia or is it a general of the biggest theatre festival (The Divadelná and there was a need to look beyond borders that it would perhaps be better for me in that affected chiefly those who were relatively It is therefore very hard to live with that. To trend of consumer society? What is for Nitra International Festival – editor’s note). to find new themes and modern expressive sphere. This is because I often felt political active, namely active from the middle of the a certain extent, we all were performers of you characteristic of socially relevant non- What brought you to that? How did the means – the windows and doors to the world pressure in my profession and it was very 1960s, which had a balmy atmosphere of the regime, which is why it always surprises conformist art? Divadelná Nitra Festival come to exist? were wide open. Also, there were specific hard for me – dramaturges belonged part of freedom and creativity. I was touched by the me when someone emerges criticising One always sees better what is going on in It was not born gradually, it suddenly was – it values in Slovak theatre, and it was tempting the so-called nomenclature cadre and, what results of the new wave of totalitarianism communism, and I ask, where were you then, his/her country. Surely, we would find similar just appeared one September day in 1992. to show them abroad. The organisation of the is more, they accepted me despite the fact only through others – my father was sacked dear boy, when these courageous words of tendencies in other countries, as well. It is From the perspective of prior difficulties this festival is in fact a higher form of dramaturgy. that shortly before that my father had been from his job, his name disappeared from the yours would have been so important to us? mainly post-communist countries that try seems very simple. It was a good period, It connects conceptual and organisational excluded from the Czechoslovak Communist titles of films, his books from the library, and Sometimes I think that the communist period to free themselves from poverty and where wishful, full of energy and ideas. A new activities and is, like dramaturgy, about Party.