Dramaturgicko-inscenačný profil súčasného slovenského operného divadla
The dramaturgical and production profile of contemporary Slovak opera theatre

Summary/Abstract: This paper deals with the dramaturgical and production profile of three Slovak opera theatres – The Opera of the Slovak National Theatre, the State Opera in Banská Bystrica and the Opera of the State Theatre in Košice – in the period of 1990 – 2013. It was already in the early stages of the building of a new social system that Slovak opera theatres discovered the need for profitability of their production. Especially the theatre in Košice, but also the one in Bratislava, therefore gave preference to the repertory that had the potential to become popular with their audiences and to neutral production poetics creating the illusion of reality. On the other hand, Banská Bystrica chose a different way, that of dramaturgical exclusivity and innovativeness, which secured it the reputation of the most ambitious Slovak opera theatre. For the past twenty-five years the State Opera in Banská Bystrica has been artistically the most stable opera theatre. The first decade of the new millennium in Bratislava was marked by the effort to achieve dramaturgical and production diversity and the ambition to get integrated into the Central European context (note the era of Marián Chudovský in particular). However, beginning with Sylvia Hroncová holding the post of the general director, the theatre went through an internal crisis caused by the frequent turnover of opera directors. After years of searching (during the first era of Karol Kevický) and subsequent stabilization in the spirit of conservative aesthetical and dramaturgical preferences embodied in the personality of Peter Dvorský, Košice appears to have been experiencing a turn to more ambitious dramaturgy in the last two seasons under the direction of Karol Kevický as the art director and Linda Keprtová as the chief dramaturge.

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