Bitef

- Odakle može za sebe crpsti novu energiju? Samo spolja. Samo iz tog prljavog, gadnog i površnog sveta. - Čime će pozorište u budućnosti bltl privlačno, interesantno i atraktivno za gledaoca? Danas se retko odlučujemo da govorimo o značajnijim temama. To je veoma odgovoran korak: da pozorište formuliše pitanja i naše društvene probleme, Jer, ako to u pozorištu funkcioniše, onda to kod gledalaca može izazvati proces naslednog razmišljanja o stvarima. I kad ne dobiju resenje. Ipak je iluzorno nagadati da pozorište može dati ljudima neke odgovore. Postavljena pitanja, medutim, mogu se odnositi na veću grupu ljudi. Oni se postepeno sreću, uzajamno o tim pitanjima razgovaraju - komuniciraju. A kad već komuniciraju, mogu naći i određena rešenja. Prosečan gledalac je naviknut na jasne i razgovetne informacije, emocije, činjenice. Prima ih, pre svega, putem televizije. Kad kažemo da nas takav gledalac ne interesuje, ni on se neće zainteresovati za nas. Izgubićemo ga. Nećemo se sresti s njim. Ne može nas dakle ni shvatiti, Ali kad iskoristimo izražajna sredstva i jezik na koji je naviknut i njemu razumljiv, upravo tako možemo u delo drsko "prošvercovati" dublja razmišljanja, realne probleme sveta i čoveka. Gledalac nije glup. Niti bezvredan. Pozorište će namamiti gledaoca samo onda ako se ne pretvori u arlstokratsku umetnost. 11l kad ne shvata sebe kao nešto što je lepše od okolnog sveta. - Šta je to što pozorište čini pozorištem? To se ne može jasno formulisati. To je nešto mistično, što se suprotstavlja rečima. O tome mističnom ne znam mnogo. A kada bih znao odavno bih bio pisac. Pitanja postavljao S. Sprusansky, 14. maj 2001, Nitra NEKOLIKO INFORMACIJA 0 ISTORIJI POZORIŠTA I NJEGOVIM PREDSTAVAMA Godine 1883, kada je broj stanovnika u Nitri iznosio oko devet hiljada, ovde je bilo sagrađeno prvo pozorište. Imalo je 360 mesta, a petrolejske lampe su osvetljavale devet metara široku pozomicu. Pozorišna zgrada se nalazila na istom mestu na kome i danas i bila je na raspolaganju stanovništvu Nitre sve dok nije uništena bombama u Drugom svetskom ratu. Rušenje pozorišne zgrade nije označilo kraj profesionalnih pozorišnih aktivnosti u Nitri. Jedna zgrada sa dvostrukom namenom, Narodni dom i Sokolana, namenjena je za potrebe pozorišnih aktivnosti. Ponovna izgradnja Narodnog doma završena je 1949. Otada, u naredne četrdeset tri godine, zgrada se koristi za izvođenje pozorišnih predstava. Godine 1992. Pozorište Andreja Bagara preselilo se sa svog starog mesta u jednu od najvećih i najmodernijih pozorišnih zgrada u Slovačkoj. Dve scene u novoj zgradi - 600 mesta, velika dvorana i 150 sedišta promenljivog rasporeda u studiju - jesu preduslovi za neometan rad ovog višenamenskog pozorišnog objekta. Obezbeduje idealne uslove za stvaranje i prikazivanje modernih dela.

that young people are experiencing around the world. These are certain global problems and feelings. Everywhere around the world, you can buy the same merchandise in stores, eat the same food in restaurants. And now! We are sitting in an Italian pizzeria. I don't believe in boundaries. I worked with the same style and in the same way in Slovakia as in Hungary. But I felt as if I directed for the very first time. It was a great experience for me. The great feeling when actors surprisingly realize your understanding and comprehension of theatre: the way you lead rehearsals, communicate with the actors, behave "capriciously". But I am also surprised. When I regain my firm trust in the actors' values. It is a joyful and happy moment. Rehearsals in a new environment and a new collective are by no means easy. But here, in Nitra, work went great. (And another minor remark: Slovak actors have considerably greater "concentration" - focus - than Hungarian actors do) - Theatre at the beginning of the new millennium must face many elements of today's civilization and technique. In your opinion, how can Individual thought and rationale be preserved? How can it keep the auditorium's attention? Merely by having theater receive and react to the nearby world. And not by having it close before it. Theatrical specificity is the way it functions. The way it reorganizes things, appearances that occur in the world. When it closes before the world and claims that the world is cursory and that it wants to be nothing more than a guard of art, then it becomes a mortuary. It certainly does not live, the fundamental part of our existence. - Where can it draw new energy from? Only from the outside. Only from the filthy, repugnant, and cursory world. - How will theatre be attractive, interesting, and appealing to viewers in the future? Today, we rarely choose to speak of significant topics. This is a very responsible step: to have theater formulate questions and our social problems, because if this should work in theatre, it can cause a process of thinking about things in viewers. Even when they don't find a solution. Actually, it is illusionary to suppose that theater can give people some answers. Questions being asked, however, can relate to a greater group of people. They gradually meet and discuss these questions mutually - communicate. And once they are communicating, they can arrive at certain solutions. The average viewer is used to clear and disclosed information, emotions, and facts. He accepts them, above all, through television. When we say that this kind of viewer does not interest us, he will not be interested in us either. We will lose him. We will not meet him. He cannot, therefore, understand us. But when we take advantage of expressive means and language that he is used to and that he understands, then we