Zuzana Kronerová alebo Tragika s tvárou a dušou klauna?
Zuzana Kronerová or Tragic with a Face and Soul of a Clown?

Summary/Abstract: The study is dedicated to a significant personality of the Slovak dramatic art, Zuzana Kronerová, who started in the Theatre for Children and Youth in Trnava /1974/. Here she cooperated mainly with a director Juraj Nvota and a dramaturgist Mirka Čibenková. In 1970 she changed for the drama theatre Nová scéna (New cene) in Bratislava. In this phase under command of a director V. Strnisko all her expressive characters originate:Constancia in Amadeus (1982), Mashenka in Ostrovsky Aj múdry schybí (Wise Can Be Mistaken, Too) (1983), Varja in The Cherry Orchad (1984) Maturina in Don Juan(1986). After she had shortly left for The Slovak National Theatre – drama, where the offers placed were not satisfying her needs, she decided to radically solve the situation by accepting an engagement with the newly established theatre Astorka – Korzo ´90. In a small chamber theatre she quickly adapted. To the most striking characters she pictured in the theatre Astorka up to these days belong her figurations of mother. At first it was a tough and unyielding despot Bernarda Alba from the famous Lorca´s drama The House of Bernarda Alba (1993), later it was a manipulative mother, full of inscrutability and ambivalence in a grotesque play named the same Mother (1997) by Pitínsky, and finally Shirley in a monodrama Shirley Valentine (2004). Kronerová was playing with verve also capricious lascivious playfully cynical ladies who open the space into such levels of scenical magic which omen always comic-melancholic dramas, like Ulita in Ostrovsky Forest, Frida from Tales from Vienna Wood, Erna from Kazimir and Karolína, Louise from the Cemetry of Elephants or Klára from Klara´s Relationships.

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