about the production
The play of A. Ostrovsky, a comedy with a tragic accent, is clearly remarked with notional and expressional ambiguity which is more emphasized by the director. The actions balancing on the tragic-comic axis lead very often to sudden dramatic turns where free improvisational and excessive stylization take place.
The arrangement of the text results in making the characters more remarkable and in emphasizing the motif of the malformation of human relations. All of the directing methods provide a considerable freedom of expression to the actors and the stage set and costumes also helped to create a specific timespace for the story free of the Russian reality in order to create a space for its general validity which had been of the intentions of the director.
director and adaptation: Roman Polák
translation: Ján Ferenčík
cript editing: Barbara Gindlová
music: Peter Mankovecký
costume design: Peter Čanecký
stage design: Aleš Votava
characters and cast:
Raisa Gurmyžská: Zita Furková, Aksiuša Danilovna: Szidi Tóbiás, Alexej Bulanov: Miroslav Noga, Ivan Vosmibratov: František Kovár, Ľudovít Moravčík, Peter Vosmibratov: Vladimír Hajdu, Matej Landl, Nešťastlivec: Marián Zednikovič, Šťastlivec: Boris Farkaš, Ulita: Zuzana Kronerová, Kapor Saveľjič: Peter Šimun, Uar Bodajev: Martin Kolesár, Jevgenij Milonov: Ernest Šmálik, Július Vašek
Roman Polák (born in 1957) is the full-time director at the Astorka-Korzo '90 Theatre in Bratislava. Significant directions made by him: Process (F. Kafka), Cyrano (E. Rostand), the Merchant of Venice, Midsummer Night´s Dream, the Tempest, Romeo and Juliet, King Lear, Macbeth, Coriolanus (W. Shakespeare), Uncle Vanya (A. P. - Chekhov) , Baal (B. Brecht) , Mein Kampf (G. Tábori), Le Soulier de Satin (P. Claudel), Lulu (F. Wedekind). He worked as a director at the National Theatre in Prague, the Mahen Theatre in Brno, the Slovak National Theatre in Bratislava, the Slovak National Uprising Theatre in Martin. His production of Macbeth scored a great success in Chicago .The performance of Brecht´s Baal was awarded by the Guardian Critics Award at the Edinburgh Festival in 1992.