about the production
In contemporary Slovak theatre the production of The Shape of Things belongs to the line of dealing with the new currents of theatre as far as the theme and form are concerned. Slovak dramatists, those young too, do not satisfy the needs and expectations of those who do not visit theatres just for fun. Therefore, this is why we need to reach for contemporary drama of other provenance.
American dramatist Neil LaBute plays with the spectator, he leads him throughout the story of two young people, but he shows many false footmarks and, what is very attractive – offers young actors to present their own attitudes.
“The fresh, modern design of the poster… shows … the orientation of the production made by a young creative team, to a contemporary staging genre aimed mostly for young spectator. On the poster we see a lightly digitalized figure of a naked woman showing us her back behind which she holds a red apple-like lollypop. We can see the hint at the original sin here – the shift and actualization of this meaning is evident also in the names of the main characters: Adam and Evelyn…The parallel can be found perhaps in Evelyn’s “sin”, when she takes self-underestimating Adam from the “tree” of dullness and bad taste, and shapes him into a self-confident sexy guy whom she eventually exhibits as her thesis concept.”
“In the Studio of the Andrej Bagar Theatre two representatives of young generation, fresh graduates from the VŠMU, presented their own and original views on the possibilities of theatre. It is rather a nice and meaningful purpose of the theatre to present the ideas and creative zeal of young, talented and already experienced professionals. Colours, shapes, ambitions and perhaps philosophy of the performance which we saw in Nitra, can be characterised as a counterpoint to the accepted theatrical convention…”
“… The transformation is the result of love of a young woman who decided to turn the life of a man upside down. This woman is… determined and relentless Evelyn. Kristína Turjanová gave her cuddliness and cat-like devotion. The inexperienced man is Adam who cannot resist her womanliness… Peter Oszlík in the role of Adam, stammers a bit at the beginning, does not finish sentences and smiles nervously. The transformed Adam is, on the other side played with the confidence in gestures and movements.”
“The actors were helped by the costumes by Eva Rácová – from glued glasses to the Warhol-like skirt of the young artist in which she presented her thesis. The costume designer’s ideas were unconventionally functioning. … Rácová´s strong weapon is simplicity… She built up a stage which does not move during the time of the performance, nevertheless it is convertible enough. In spite of it being static, it plays with the actors. And the actors as well as the whole production, play with the audience. And that means enough! And there is something more, Olekšák and Hriešik are a perspective couple.”
directed by Roman Olekšák, Maja Hriešik
translation: Maja Hriešik
dramaturgy: Dano Majling
set and costume design: Eva Ráczová
characters and cast: Evelyn: Kristína Turjanová, Adam: Peter Oszlík, Philip: Juraj Hrčka, Jenny: Ľudmila Trenklerová
Roman Olekšák (1978)
In 2004 he graduated from the Theatre Faculty of the Academy of Music and Dramatic Arts in Bratislava where he studied theatre directing. He is an author of theatre and radio plays, pieces of prose and stories for children. He concentrated also on translating (Marius von Mayenburg, Samuel Beckett, Peter Turrini, Thomas Bernhard, Alexis Bug and Andreas Laubert, Werner Buhss, Urs Widmer, Johann Nestroy). Two times he obtained the Alfréd Radok Foundation’s Prize for his dramatic texts (2002 – Tenderness, 2005 – Smileys), other texts obtained many awards nominations in the Dráma contest of Slovak texts announced by the Theatre Institute in Bratislava (2000 – More of This, Less of That, 2001 – Negativists).
Maja Hriešik (1978)
Born in Novi Sad, Serbia, from 1997 has lived in Bratislava where she studied aesthetics at the Faculty of Philosophy of Commenius University, and theatre directing at the Academy of Music and Dramatic Arts in Bratislava. During her studies she co-operated as a guest dramaturg with the HaDivadlo in Brno, Czech Republic, and spent one semester at a study leave at Rose Bruford College in London. She also translates (Neil LaBute, Rimini Protokol, Nebojša Romčević, Dušan Kovačević) and publishes.
Roman Olekšák and Maja Hriešik have presented themselves as a duo since 2001 when they co-operated for the first time on the production entitled The Parasites by Marius von Mayenburg, produced by the Academy of Music and Dramatic Arts in Bratislava and the Anima Association. This production was nominated for the DOSKY 2002 Award as the Newcomer of the Season. The pair is oriented on contemporary European drama but staged also their own adaptations and dramatizations of classical literature pieces.
Script of the production: SK
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