STOKA, Bratislava, 1998
Author: Blaho Uhlár and co.
Directed by Blaho Uhlár

about the production

The words are not used. We can see uncertainty, hidden suffering, or pretended indifference, deformation like the expression of pain, or game, or maybe even a sincere feeling. The blue setting evokes cold, but sometimes even a kitch nostalgic atmosphere, which is of course constantly destructed and disrupted by irony and detachment.

It was created out of the collective improvisation, where nothing is set in advance, however, everything strictly results from the artists' contribution to a rehearsal, to the action being created on the stage. lmprovisation is not the filling of the a priori erected barriers, but the essence, topic, content and also the form of the work.





directed by Blaho Uhlár
stage design: Zuzana Piussi
music: Skladby V. Bokes, L Burgra, D. Lauka, F. Chopina, J. Pachelbela, M. Piačeka, P. Zagara a I. Zeljenku v podaní Malomestského komorného orchestra Požoň sentimentál vybral Ľubomír Burgr / Works by Bokes, Burgr, Lauko, Chopin, Pachelbel, Piaček, Zagar and Zeljenka performed by Middle-class Chamber Orchestra selected by Lubomír Burgr
Ľubomír Burgr, Ingrid Hrubaničová, Jozef Chmel, Marek Piaček, Lucia Piussi, Zuzana Piussi



Blaho Uhlár (1951) graduated from the Department of Directing Art at the Drama and Music Academy, worked in the Theatre for Children and Teenagers in Trnava, later in the Ukraine National Theatre in Prešov.

In 1991 he co-founded the theatre group STOKA Uhlár began as a director – moralist, claiming the rationalism of thinking. At the stage he modelled the situations where he explored the mechanism of relations functiong in life, connections between a man and history, freedom and violence, art and reality, individual and social conscience, revealed the reasons and consequences of manipulation. His judgements used to be strict, almost maximalist.

Uhlár rejects so called natural borders between the dramatic art and creation, he tries to cross them over and thanks to it he puts the Slovak theatre forward in its development. He has changed from an advocate of the rational thinking to a sceptic. Being a director – philosopher he has tried an "illogical", "coincidental", "irregular" creative method: he cultivates the improvisation. He may have sensed one of the assertions of postmodernist philosophy: "to validate the new ideas, new theories, reason must be out of a track for a moment".