The Shape of Things

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.
Vladislava Fekete

“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.”
(Rastislav Salay)

“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…”
(Milan Polák)

“… 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.”
(Daniel Uherek)

“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.”
(Mária Jenčíková)