about the production
The play openly challenges the grotesque of human destiny face to face to nihility, as it was defined (...) by the theorist of absurd theatre Martin Esslin. The absurd dialogues of two men in black sitting at a railway platform, with the resignation of self grave-diggers, waiting for their own departure, journey, or death. Miloš Karásek built the effect of the production on the contradiction of pseudo-intellectual reflections about the sense of life and the spontaneous acting of the unique protagonists of this theatre... At least for the Slovak speaking audience the refreshing effect of the soft Ruthenian language is added. (...) It is especially the Ruthenian theatre that brings so much for the original Slovak theatre production. (...) The latest project by Karásek follows up the renowned productions he had made together with Blaho Uhlár in the late eighties.
Zuzana Uličianska, SME
The Platform is a fully developed drama, according to classical principles it is written with a slightly absurd element. (...) The Platform by Karásek is an invoice that every one of us has to make out when crossing the imaginary borderline between the unrestricted youth and the full responsibility of the following life periods. (...) Seemingly economical way of acting without a single cheap gag, without a single unconscious detail – this is a modern theatre symphony.
Oleg Dlouhý, Pravda
setting and directed by: Miloš Karásek
music: Michal Kořán
dramaturgy and translation to Ruthenian lan- guage: Vasiľ Turok
direction assistant: Evgen Libezňuk
graphic design: Nora Nosterská
osoby a obsadenie / characters and cast:
Vincent: Jozef Tkáč, Kornel: Vasiľ Rusiňák, Angel: Evgen Libezňuk, Suicide: Ľuboš Mindoš, Director: Marián Marko, Domina: Svetlana Škovranová, Prophetess: Ľudmila Lukačíková, Cleaner: Sergej Hudák, Radio Voice: Michal Hudák, Good Samaritan, free actor + a few theatre bonuses for the honourable audience
Miloš Karásek (1960)
He did theatre, prepared happenings, wrote manifestos, designed masques, costumes, sets, he was a playwright and a director, invented the so-called mail-theatre. (...) Karásek graphic designer, Karásek sculptor… (...) He categorically refuses rigidity and brings movement and affection everywhere. He is not afraid of strong emotionalism of which Slovak artists are scared and ostensibly avoid it. On the contrary, the work of Miloš Karásek intensively radiates plenitude of emotions.
(Nadežda Lindovská, bulletin for the production).
Since his beginnings he has been the author of unconventional theatre, he experimented with forms and genres, he used to good advantage his fine feeling for visual arts. He was among the pioneers of “decomposition“, by which he responded to the rigidity of our theatre in the late eighties (Oleg Dlouhý, Pravda).