{"id":152,"date":"2025-01-20T14:41:23","date_gmt":"2025-01-20T13:41:23","guid":{"rendered":"https:\/\/www.milansladekmimefest.eu\/sk\/?p=152"},"modified":"2025-04-19T22:30:03","modified_gmt":"2025-04-19T20:30:03","slug":"vystavy","status":"publish","type":"post","link":"https:\/\/www.milansladekmimefest.eu\/sk\/2025\/01\/20\/vystavy\/","title":{"rendered":"V\u00fdstavy"},"content":{"rendered":"\n

P\u00daCHOV \u2013 <\/strong>Milan Sl\u00e1dek do roku 1968<\/p>\n\n\n\n

ZRODENIE L\u00c1SKY K PANTOM\u00cdME
Raz v kni\u017enici \u010ditate\u013esk\u00fd maniak Sl\u00e1dek objavil Ko\u017e\u00edkov rom\u00e1n Nejv\u011bt\u0161\u00ed z pierotu<\/em> (1939), ktor\u00fd opisoval \u017eivot a umenie ve\u013ek\u00e9ho herca pantom\u00edmy z prvej polovice 19. storo\u010dia Jeana \u2013 Gasparda Deburaua. Kniha bola pre chlapca skuto\u010dn\u00fdm objavom. Ke\u010f \u0161tudent knihu do\u010d\u00edtal, zostal ako v tranze. \u201eBol som ako bez seba\u201c, spom\u00edna v jednom z rozhovorov. A zat\u00fa\u017eil sta\u0165 sa m\u00edmom. A tak mu vraj star\u0161ie sestry u\u0161ili pierotovsk\u00fd kost\u00fdm, o ktor\u00fd st\u00e1le \u017eobronil. Obetovali na to jednu cel\u00fa poste\u013en\u00fa plachtu.<\/p>\n\n\n\n

IN\u0160PIR\u00c1CIA
…tane\u010dn\u00e1 kompoz\u00edcia Zelen\u00fd st\u00f4l<\/em>…indick\u00fd tane\u010dn\u00fd \u0161t\u00fdl baratha natyam…vzru\u0161uj\u00faca sc\u00e9na Boj v tme z Pekinskej opery (herci sa pohybuj\u00fa ako v tme, pri\u010dom sc\u00e9na je osvetlen\u00e1)…japonsk\u00e9 tradi\u010dn\u00e9 divadlo…filmov\u00e9 grotesky, ktor\u00e9 podporili mlad\u00e9ho umelca v neskor\u0161ej osobnej implant\u00e1ci\u00ed istej japonskej m\u00fadrosti: pochopi\u0165 telom. On zatia\u013e \u0161tudoval \u010dinohern\u00e9 divadlo.\u00a0
Bolo to na nie\u010do dobr\u00e9: vytvoril si do bud\u00facnosti vlastn\u00fd \u0161t\u00fdl hereckej sebareflexie, vytvaroval si charakteristick\u00fd postup budovania javiskovej postavy, ktor\u00fdm sa nesk\u00f4r dokonale odl\u00ed\u0161il od ostatn\u00fdch kolegov.<\/p>\n\n\n\n

\u0160T\u00daDIUM
\u0160t\u00fadium na V\u0160MU Milana neuspokojovalo, chcel \u010dosi in\u00e9. V\u0161etci chlapci museli hra\u0165 o revolu\u010dnom Rusku. V\u0161etci chlapci museli hra\u0165 odv\u00e1\u017enych rusk\u00fdch Ivanov, diev\u010dat\u00e1 zase neboj\u00e1cne Nata\u0161e, \u010di ako sa volali. Pri Milanovej v\u00fd\u0161ke a \u0161es\u0165desiatich kil\u00e1ch v\u00e1hy! Kto by si ho bol vedel predstavi\u0165 ako rusk\u00e9ho geroja? Mal smolu, nezodpovedal vysn\u00edvan\u00fdm typom kladn\u00fdch hrdinov socialistickej ml\u00e1de\u017ee.\u00a0
Sl\u00e1dek rozhodne nemusel od\u00eds\u0165 z V\u0160MU pre nedostatok talentu. S\u00e1m o tom hovor\u00ed: \u201eMo\u017eno v\u00e1m to bude znie\u0165 neskromne, ale som presved\u010den\u00fd o tom, \u017ee najprv som ja s\u00e1m musel vyc\u00edti\u0165, \u010di talent m\u00e1m alebo nie. V mnohom som bol s\u00edce zneisten\u00fd, ale v h\u013abke du\u0161e som bol o sebe presved\u010den\u00fd. Keby som dal na re\u010di a na mnoh\u00e9 rady kadekoho, divadlo by som u\u017e d\u00e1vno zanechal. Na po\u010diatku, ke\u010f som nad\u0161ene rozpr\u00e1val o svojich pl\u00e1noch venova\u0165 sa pantom\u00edme, nebolo mnoho t\u00fdch, \u010do mi verili.\u201c
V \u0161kolskom roku 1958\/1959 mohol pokra\u010dova\u0165 v \u0161t\u00fadiu v Prahe.<\/p>\n\n\n\n

PRVENSTVO PANTOM\u00cdMY
V apr\u00edly roku 1958 predstavil obecenstvu pantom\u00edmu ako prv\u00fd v \u010ceskoslovensku. Bolo to viac ako rok pred Fialkovou pantom\u00edmou v Divadle na z\u00e1bradl\u00ed v Prahe.
Prv\u00e9 verejn\u00e9 pantomimick\u00e9 predstavenie sa konalo v podnikovom klube bratislavskej Dimitrovky. Naz\u00fdvalo sa Ve\u010der pantom\u00edmy<\/em> a jeho n\u00e1met bol ovplyvnen\u00fd deburauovskou pantom\u00edmou, ale aj nemou filmovou groteskou.<\/p>\n\n\n\n

Prv\u00e1 pantomimick\u00e1 inscen\u00e1cia Boule <\/em>v divadle E.F. Buriana. Premi\u00e9ra sa konala 11.marca 1960 a bola pre bud\u00faceho m\u00edma ve\u013ek\u00fdm \u00faspechom.
Recenzent denn\u00edka Mlad\u00e1 fronta nap\u00edsal pod zna\u010dkou -zd-: \u201eNie je mo\u017en\u00e9 sa pri tejto pr\u00edle\u017eitosti nezmieni\u0165 o predstavite\u013eovi hlavnej postavy pikol\u00edka Kefku, Milanovi Sl\u00e1dkovi, od ktor\u00e9ho pohybovej kult\u00fary , mimick\u00fdch schopnost\u00ed a skuto\u010dn\u00e9ho vn\u00fatorn\u00e9ho zaujatia m\u00f4\u017eeme o\u010dak\u00e1va\u0165 ve\u013ea.\u201c Pavel Grym vo Filme a divadle zase nap\u00edsal: \u201e…Milanom Sl\u00e1dkom vst\u00fapil na na\u0161e javisko \u010fal\u0161\u00ed m\u00edm nesporn\u00e9ho talentu, osobitn\u00e9ho v\u00fdrazu, schopn\u00fd v\u00fdsti\u017enej charakteristiky a ve\u013ekej vn\u00edmavosti.\u201cDnes pr\u00e1vom m\u00f4\u017eeme zaradi\u0165 Sl\u00e1dkovu inscen\u00e1ciu hry Boule<\/em> medzi legend\u00e1rne predstavenia.<\/p>\n\n\n\n

JUPITER<\/em>
\u201eKe\u010f som pred mnoh\u00fdmi rokmi cez ve\u013ek\u00fa sklenen\u00fa stenu v R\u00edmsko-germ\u00e1nskom m\u00fazeu v Kol\u00edne prv\u00fdkr\u00e1t h\u013eadel na n\u00e1dhern\u00fa Dion\u00fdzov\u00fa mozaiku, fant\u00e1zia mi zrazu pred o\u010dami vy\u010darila osobu. Odet\u00e1 do r\u00edmskeho odevu graci\u00f3znymi pohybmi stv\u00e1r\u0148ovala mot\u00edvy z r\u00edmskej mytol\u00f3gie. Fascinovalo ma to \u2013 r\u00edmska pantom\u00edma.\u201c M. Sl\u00e1dek<\/p>\n\n\n\n

JE NIE\u010cO, \u010cO SA NED\u00c1 ZAHRA\u0164 PANTOMIMICKY?
\u201eV podstate sa daj\u00fa n\u00e1js\u0165 v\u00fdrazov\u00e9 prostriedky na vyjadrenie ka\u017ed\u00e9ho konania os\u00f4b, zvierat, ba aj vec\u00ed. Keby som v\u0161ak chcel vyjadri\u0165 napr\u00edklad to, \u017ee som v\u010dera chcel \u00eds\u0165 do divadla, alebo \u017ee neviem, \u010di p\u00f4jdem zajtra do kina, musel by som si d\u00e1va\u0165 pozor, aby som neupadol do polohy takzvanej posun\u010diny. Vlastne m\u00f4\u017eete zahra\u0165 v\u0161etko, \u010do sa deje v pr\u00edtomnom \u010dase, pr\u00e1ve tak, ako aj najrozli\u010dnej\u0161ie osoby, atmosf\u00e9ry, city, predmety, elementy… Ale vlastne ka\u017ed\u00fd druh umenia \u0165a\u017e\u00ed z ak\u00e9hosi obmedzenia. Maliar sa vzd\u00e1va trojdimenzionality, aby ju na obraze dosiahol, soch\u00e1r vynech\u00e1va okolie predstavovanej osoby… spisovate\u013e \u010di b\u00e1snik sa koncentruje zase iba na p\u00edsan\u00e9 slovo. Z\u00e1le\u017e\u00ed na schopnosti a talente tvorcu, ako je schopn\u00fd prekro\u010di\u0165 hranicu toho ohrani\u010denia a n\u00e1js\u0165 dokonca sp\u00f4sob, ako ho vyu\u017ei\u0165 ako \u0161t\u00fdlotvorn\u00fd prvok. Ob\u010das som prekvapen\u00fd, ke\u010f objav\u00edm, ako popisuje alebo opisuje spisovate\u013e vo svojom liter\u00e1rnom diele ur\u010dit\u00fa situ\u00e1ciu alebo vn\u00fatorn\u00e9 pocity \u010dloveka. Niekedy to vyzer\u00e1 ako scen\u00e1r pre m\u00edma. Tam sme my m\u00edmovia prec\u00edznej\u0161\u00ed. Pohyb, gesto \u010di mimika s\u00fa nenahradite\u013en\u00e9, tak ako je v \u017eivote nenahradite\u013en\u00e1 re\u010d tela.\u201c M. Sl\u00e1dek<\/p>\n\n\n\n

KEFKA, KEFKA, KEFKA\u2026
Jeho pr\u00edzna\u010dnou postavi\u010dkou je Kefka, o ktorom mo\u017eno pod\u013ea sam\u00e9ho tvorcu poveda\u0165, \u017ee je to ak\u00fdsi slovensk\u00fd Charlie Chaplin \u010di obdoba Marceauovho Bipa. Zrodil sa e\u0161te po\u010das Sl\u00e1dkovho p\u00f4sobenia v Prahe a odniesol si ho aj do Nemecka, kde pod\u013ea neho nazval svoje divadlo Theater Kefka. A pre\u010do Kefka?
V intern\u00e1te v Prahe, kde po\u010das \u0161t\u00fadia b\u00fdval, ho tak volali jeho spolub\u00fdvaj\u00faci, lebo ka\u017ed\u00e9 r\u00e1no h\u013eadal kefku na zuby a oni nevedeli, \u010do h\u013ead\u00e1. Aj jeho blon\u010fav\u00e9 vlasy, v\u017edy vystrihan\u00e9 na je\u017eka, pripom\u00ednali kefku. A tak touto prez\u00fdvkou nazval postavu pikol\u00edka v hre Hr\u010da<\/em>. Tak sa zrodil Kefka\u2026 M\u00edm bol toti\u017e presved\u010den\u00fd, \u017ee ka\u017ed\u00fd m\u00edm mus\u00ed ma\u0165 svoju typick\u00fa postavu, svoje alter ego.<\/p>\n\n\n\n

FIRST SOLO PANTOMIMES (1955)
Milan Sl\u00e1dek was still a student at the School of Applied Arts in Bratislava.<\/p>\n\n\n\n

PANTOMIME EVENING (1958)
At the Dimitrovka club, Milan Sl\u00e1dek performed his first pantomime performance in Czechoslovakia, with Milan Lasica, Eva Maria Chalupov\u00e1, and Darina Poldaufov\u00e1.<\/p>\n\n\n\n

BOULE (1960) – At the E. F. Burian Theatre, D34 in Prague.
The foundation of this script was written by Milan Sl\u00e1dek while he was still in Bratislava, and the final libretto for this full-length pantomime was written with Eduard \u017dl\u00e1bek. It was the first time I appeared as the character Kefka, a young waiter in a garden restaurant.<\/p>\n\n\n\n

HADR\u00c1\u0158, (1961)
At the D34 Theatre in Prague, inspired by Franti\u0161ek Ko\u017e\u00edka’s book, The Greatest of Pierrots<\/em>. Milan Sl\u00e1dek, as a young mime, considered it important to come to terms with the non-dramatic „The Dress Salesman,“ a work probably written by the great Pierrot Jean Gaspard Deburau.<\/p>\n\n\n\n

CZECH COMEDY OF THE RICH MAN AND LAZAR (1963) \u2013 play by Pavol Kyrmezer.
This is the oldest play in Slovak theatre culture. The first performance of this play since its creation was directed by Milan Sl\u00e1dek, with acting students from the Academy of Dramatic Arts: Mari\u00e1n Labuda, O\u013ega \u0160alagov\u00e1, Stano Dan\u010diak, Ida Rapai\u010dov\u00e1, Jana Catarino, Pavol Mikul\u00edk, Karol \u010c\u00e1lik, and others. It was later staged at the Small Stage (1964) and in German translation in Cologne (1981).<\/p>\n\n\n\n

HR\u010cA (1963)
It was restaged in a new form in Bratislava at the Mal\u00e1 sc\u00e9na theatre. This production crossed the borders of the then Czechoslovakia for the first time. Hungary, GDR, FRG, India.<\/p>\n\n\n\n

STARINAAAR, (1967)
This was a new adaptation of Deburau\u2019s pantomime, and according to Milan Sl\u00e1dek, it was the first production with qualities comparable to European pantomime. It was first staged at the Small Stage in Bratislava and later in Cologne (1975, 1983).<\/p>\n\n\n\n

POVA\u017dSK\u00c1 BYSTRICA <\/strong>\u2013 Divadlo Kefka<\/p>\n\n\n\n

Do Kol\u00edna sa natrvalo pres\u0165ahoval 1. apr\u00edla 1970<\/p>\n\n\n\n

DAR<\/em>
Pre autora bol tento vz\u0165ah Ve\u013ek\u00e9ho brata a mravca, \u010do ho ob\u0165a\u017euje, d\u00f4le\u017eit\u00fdm ideov\u00fdm v\u00fdchodiskom. Bola tam aj viera v zmenu a v pozit\u00edvne ukon\u010denie tragick\u00e9ho spoluna\u017e\u00edvania. Kol\u00ednski div\u00e1ci neve\u013emi vn\u00edmali, \u017ee ide o \u010deskoslovensk\u00ed pr\u00edbeh a m\u00edmovu osobn\u00fa traumu.<\/p>\n\n\n\n

Divadlo Kefka otvorili 28. m\u00e1ja 1974<\/p>\n\n\n\n

V sez\u00f3ne 1974\/1975 mali za 10 mesiacov doma i v zahrani\u010d\u00ed a\u017e 310 predstaven\u00ed. Princip\u00e1l potreboval \u010do najsk\u00f4r splati\u0165 dlhy. Podarilo sa. Sl\u00e1dek osobne bol v tom \u010dase aj riadite\u013eom divadla, upratova\u010dkou, javiskov\u00fdm technikom, hlavn\u00fdm predstavite\u013eom; rozn\u00e1\u0161al spolu s kolegami let\u00e1ky, bol organiz\u00e1torom v\u0161etk\u00fdch podujat\u00ed, vyr\u00e1bal masky, robil kurzy, p\u00edsal nov\u00e9 scen\u00e1re a spolu s ostatn\u00fdmi cestoval po Nemecku, Belgicku a Franc\u00fazsku. Hral niekedy aj tri predstavenia denne. Nieko\u013eko mesiacov si nemohol vypl\u00e1ca\u0165 plat, musel uhr\u00e1dza\u0165 n\u00e1jomn\u00e9 a pam\u00e4ta\u0165 na to, \u017ee aj jeho mlad\u00ed kolegovia musia z nie\u010doho \u017ei\u0165. Pracovali \u010falej a pri\u0161li aj \u00faspechy.Po siedmych rokoch existencie Divadla Kefka, ktor\u00e9 malo 86 miest, sa s\u00fabor pres\u0165ahoval do divadla s 311 miestami.<\/p>\n\n\n\n

Opera za tri gro\u0161e<\/em>
Jednou z prv\u00fdch inscen\u00e1ci\u00ed v novozalo\u017eenom divadle Kefka bola \u017dobr\u00e1cka opera od Johna Gaya, s hudbou Pepusha, ktor\u00e1 vznikla niekedy na konci 18. storo\u010dia. Bertolt Brecht spolu so skladate\u013eom Kurtom Weillom ju prepracovali a nazvali Trojgro\u0161ov\u00e1 opera.<\/p>\n\n\n\n

Kom\u00e9dia o boh\u00e1\u010dovi a Lazarovi<\/em>
Kom\u00e9diu inscenoval Sl\u00e1dek celkom p\u00e4\u0165 r\u00e1z. Prv\u00e9 na\u0161tudovanie sa uskuto\u010dnilo roku 1964 v spolupr\u00e1ci s Eduardom \u017dl\u00e1bkom ako ro\u010dn\u00edkov\u00e1 pr\u00e1ca s posluch\u00e1\u010dmi herectva na bratislavskej V\u0160MU. Hra mala najm\u00e4 v zahrani\u010d\u00ed ve\u013ek\u00fd \u00faspech. Umiestnili sa s \u0148ou na druhom mieste na festivale v z\u00e1padonemeckom Erlangene, na prvom mieste <\/em>v Istambule a priniesli si aj cenu Grand Prix z medzin\u00e1rodn\u00e9ho festivalu 1965 v Nancy. S touto cenou bolo spojen\u00e9 vyst\u00fapenie v par\u00ed\u017eskom Divadle n\u00e1rodov, kde sl\u00e1dkovci zo\u017eali ve\u013ek\u00e9 ov\u00e1cie. Druh\u00e9 na\u0161tudovanie vzniklo v roku 1967 na javisku Malej sc\u00e9ny SND a Sl\u00e1dek v \u0148om vytv\u00e1ral postavu Lazara. Posledn\u00e9 na\u0161tudovanie bolo predstavenie v Kostole sv. Michala v Kol\u00edne z roku 2006.<\/p>\n\n\n\n

Salome<\/em>
Po vyst\u00fapen\u00ed s hrou Salome pri\u0161la k Sl\u00e1dkovi mlad\u00e1 \u017eena, ktor\u00e1 sa roz\u010du\u013eovala, ako si vraj m\u00f4\u017ee dovoli\u0165 zosmie\u0161\u0148ova\u0165 \u017eeny. Mal \u010do robi\u0165, aby jej vysvetlil, \u017ee t\u00e1to pantom\u00edma je reakcia na politick\u00fa situ\u00e1ciu v jeho b\u00fdvalej vlasti. Pre\u0148ho bola t\u00e1to biblick\u00e1 postava reprezentantom moci, ktor\u00e1 sa pohr\u00e1va s \u013eudsk\u00fdmi hlavami a s \u013eudsk\u00fdm osudom, a to, ak\u00e9ho pohlavia je, nebolo podstatn\u00e9.<\/p>\n\n\n\n

Carmen<\/em>
In\u00e1\u010d, Carmen bola prvou operou v\u00f4bec, ktor\u00fa mlad\u00fd \u0161tudent videl e\u0161te na sc\u00e9ne SND ako p\u00e4tn\u00e1s\u0165ro\u010dn\u00fd. R\u00e1d si spom\u00edna na toto predstavenie. Nezabudnute\u013en\u00fd bol predstavite\u013e Toreadora, ktor\u00fd po\u010das sl\u00e1vnej \u00e1rie nemohol pre enormne ve\u013ek\u00e9 brucho zliez\u0165 z ko\u0148a. Kon\u00edk zase, aby si skr\u00e1til \u010das, a taktie\u017e asi pod tlakom emot\u00edvneho z\u00e1\u017eitku, \u017ee sa nach\u00e1dza na dosk\u00e1ch, ktor\u00e9 znamenaj\u00fa svet, si pred nad\u0161en\u00fdm obecenstvom vykonal potrebu. Obaja mali ve\u013ek\u00fd \u00faspech. Ale v pam\u00e4ti mu zostane aj tane\u010dn\u00edk, ktor\u00fd sa po\u010das cel\u00e9ho svojho tane\u010dn\u00e9ho \u010d\u00edsla m\u00e1rne sna\u017eil zmocni\u0165 sa tambur\u00edny, ktor\u00fa mu hodili. V pantom\u00edme sa to odborne vol\u00e1 z\u00e1kernos\u0165 objektu. Podarilo sa mu to a\u017e pri poslednom t\u00f3ne hudby jeho tanca.<\/p>\n\n\n\n

JE VZRU\u0160UJ\u00daCE U\u010cI\u0164 SA VIDIE\u0164 TO, \u010cO JE, A NIE TO, \u010cO CHCEME VIDIE\u0164.<\/p>\n\n\n\n

Figarova svadba<\/em>
Premi\u00e9ra sa konala 19. septembra v N\u00e1rodnom divadle v Soule, ktor\u00e9 m\u00e1 kapacitu 3000 sedadiel.
S\u00e1m m\u00edm na to spom\u00edna takto: \u201eNesk\u00f4r som po predstaveniach od div\u00e1kov \u010dasto po\u010dul, \u017ee mali pocit, akoby b\u00e1bky pohybovali hercami, a nie naopak. Dodnes je Figaro v mojom reperto\u00e1ri. Zaka\u017ed\u00fdm s\u00fa predstavenia ve\u013ek\u00fdm div\u00e1ckym \u00faspechom. Div\u00e1kov prekvapuje muzik\u00e1lnos\u0165 mojich kolegov, prec\u00edzne psychologick\u00e9 charakterizovanie jednotliv\u00fdch post\u00e1v, ale hlavne b\u00fdvaj\u00fa nad\u0161en\u00ed ich \u00fa\u017easnou kooper\u00e1ciou pri o\u017eiven\u00ed b\u00e1bok. Moji priatelia Katka Aulitisov\u00e1, Jana Sko\u0159epov\u00e1, \u013dubo Piktor, Be\u00e1ta Hilekov\u00e1, Peter Taba\u010dek, nesk\u00f4r Mirka Pavelkov\u00e1, Juraj Ben\u010d\u00edk a Rado Mili\u010d dodnes tvoria s\u00fabor Figarovej svadby (2010).\u201cPo svetovej premi\u00e9re v Soule uviedli t\u00fato operu s rovnak\u00fdm \u00fasechom v Opere SND ako eur\u00f3psku premi\u00e9ru na jese\u0148 toho ist\u00e9ho roku.<\/p>\n\n\n\n

KLASICKOS\u0164 NA JEDNEJ A NOV\u00c1TORSTVO NA DRUHEJ STRANE
Na jednej strane sa o Sl\u00e1dkovi hovor\u00ed ako o klasikovi pantom\u00edmy, no niektor\u00ed z\u00e1stancovia klasickej pantom\u00edmy mu vy\u010d\u00edtaj\u00fa, \u017ee poru\u0161uje star\u00fa trad\u00edciu pantom\u00edmy. Nie je to paradox?
V jeho reperto\u00e1ri n\u00e1jdete s\u00f3lov\u00fa pantom\u00edmu, hru s maskou, s b\u00e1bkami, v\u00fdtvarn\u00fd happening, ale hlavne skupinov\u00fa pantom\u00edmu. Pantom\u00edmu sp\u00e1jal aj s \u010dinohern\u00fdmi textami \u010di s operou\u2026
Jeho ve\u013ekou div\u00edziou je, \u017ee je v\u00fdtvarn\u00edk. Vidie\u0165 to nie len na jeho pantomimickom aran\u017em\u00e1ne ka\u017edej inscen\u00e1cie, ale aj na kost\u00fdmoch a sc\u00e9nach.
Popularita umelca \u010dasto nie je iba ot\u00e1zkou jeho kvality, nazd\u00e1va sa Maestro. To m\u00f4\u017eeme neraz vidie\u0165 pri z\u00e1padoeur\u00f3pskych v\u00fdtvarn\u00fdch umelcoch. U podaktor\u00fdch sa popularita dosahuje \u0161ikovnos\u0165ou mana\u017e\u00e9rov, ktor\u00ed medi\u00e1lnymi akciami vedia vyvola\u0165 okolo svojho chr\u00e1nenca ve\u013ek\u00fd rozruch. Odr\u00e1\u017ea sa to aj na umelcovom finan\u010dnom ohodnoten\u00ed. Pritom a\u017e s odstupom \u010dasu sme schopn\u00ed zaradi\u0165 ich v rebr\u00ed\u010dku kvality. Ur\u010dovanie kvality na z\u00e1klade sledovanosti v telev\u00edzi\u00ed neodzrkad\u013euje skuto\u010dn\u00fa kvalitu vysielan\u00e9ho programu. Rovnako pln\u00e9 h\u013eadisk\u00e1 divadiel, dosiahnut\u00e9 zv\u00e1\u017ean\u00edm div\u00e1kov v autobusoch, nehovoria ni\u010d o kvalite ich predstaven\u00ed.Odvahou, a nie experimentom bolo Sl\u00e1dkovo zalo\u017eenie divadla pantom\u00edmy. Vtedy dok\u00e1zal, \u017ee aj tak\u00e9to netradi\u010dn\u00e9 divadlo m\u00e1 pr\u00e1vo na plnohodnotn\u00fa existenciu.<\/p>\n\n\n\n

FESTIVAL GAUKLER
Svojou festivalovou aktivitou o\u017eivil nieko\u013eko rokov driemaj\u00facu pantom\u00edmu predov\u0161etk\u00fdm v Eur\u00f3pe. Festival Gaukler patril k prv\u00fdm eur\u00f3pskym festivalom na za\u010diatku takzvanej vlny pantomimick\u00e9ho divadla, ktor\u00e1 sa nesk\u00f4r, predov\u0161etk\u00fdm v\u010faka iniciat\u00edve Milana Sl\u00e1dka, udom\u00e1cnila v z\u00e1padnej Eur\u00f3pe. Malo to by\u0165 nie\u010do podobn\u00e9, ako bol amsterdamsk\u00fd festival Fools.
Never\u00edte?
Milan Sl\u00e1dek si objednal v\u00fdstri\u017ekov\u00fa slu\u017ebu z nemeck\u00fdch nov\u00edn s heslom \u201epantom\u00edma\u201c, aby zistil, na ktor\u00e9 oblasti vpl\u00fdvala. Nielen\u017ee sa hralo ve\u013ea predstaven\u00ed, ale m\u00edmovia boli v reklame, pantom\u00edma bola s\u00fa\u010das\u0165ou terapeutick\u00fdch prakt\u00edk, v\u00fdchovn\u00fdch predmetov na \u0161kol\u00e1ch, opern\u00e9 s\u00fabory si anga\u017eovali m\u00edmov, aby si spev\u00e1ci obohacovali vlastn\u00e9 v\u00fdrazov\u00e9 mo\u017enosti, usporad\u00favali sa vork\u0161opy, m\u00edmovia za\u010dali u\u010di\u0165 firemn\u00fdch mana\u017e\u00e9rov re\u010di tela a podobne. Hlavne sa v\u0161ak mnoho psychol\u00f3gov za\u010dalo zaobera\u0165 fenom\u00e9nom fyzickej v\u00fdre\u010dnosti. Za p\u00e4tn\u00e1s\u0165 rokov, po\u010das ktor\u00fdch spolupracoval Milan Sl\u00e1dek s Goetheho in\u0161tit\u00fatom, nav\u0161t\u00edvil viac ako p\u00e4\u0165desiat kraj\u00edn sveta a mal mo\u017enos\u0165 na vlastnej ko\u017ei zisti\u0165, ak\u00e9mu obrovsk\u00e9mu z\u00e1ujmu sa pantom\u00edma na celom svete te\u0161\u00ed.Pantom\u00edmu ch\u00e1pe m\u00edm Milan Sl\u00e1dek ako l\u00fa\u010davku kr\u00e1\u013eovsk\u00fa, ktor\u00e1 sa v\u017edy vynorila v \u010dase, ke\u010f bolo klasick\u00e9 divadlo v kr\u00edze \u2013 bu\u010f bolo prive\u013emi liter\u00e1rne, alebo m\u00e1lo divadeln\u00e9\u2026 Festivalom chcel Sl\u00e1dek uk\u00e1za\u0165, ak\u00fd podiel m\u00e1 pantom\u00edma na v\u00fdvine modern\u00e9ho tane\u010dn\u00e9ho umenia a tane\u010dn\u00e9ho divadla v\u00f4bec.<\/p>\n\n\n\n

Don Juan<\/em>
M\u00edm si urobil z tejto t\u00e9my recesiu, predstavil Dona Juana ako \u010dloveka v pokro\u010dilom veku, ktor\u00fd zo zvyku e\u0161te st\u00e1le kurizuje mlad\u00fdm d\u00e1mam, ale u\u017e vlastne zabudol, pre\u010do.<\/p>\n\n\n\n

DAR, (1971)\u00a0\u00a0
Prv\u00e1 inscen\u00e1cia Milana Sl\u00e1dka v Kol\u00edne nad R\u00fdnom po emigr\u00e1cii. Pantom\u00edma v kombin\u00e1cii s technikou \u010dierneho divadla. Inscen\u00e1ciu Milan Sl\u00e1dek predstavil asi v 50-tich krajin\u00e1ch sveta.<\/p>\n\n\n\n

KEFKOV DON JUAN (1978)
Popri vlastn\u00fdch scen\u00e1roch si dal Milan Sl\u00e1dek do svojho umeleck\u00e9ho programu za cie\u013e, aspo\u0148 \u010diasto\u010dne\u00a0 oboznamova\u0165 svoje publikum s bohatou hist\u00f3riou umenia pantom\u00edmy. Ch. W. Gluck komponoval neuverite\u013en\u00e9\u00a0 mno\u017estvo baletn\u00fdch pantom\u00edm. Od tane\u010dn\u00edkov sa vy\u017eadovalo nielen perfektn\u00e9 ovl\u00e1danie baletnej techniky, ale aj pantomimicko-hereck\u00e9 zn\u00e1zor\u0148ovanie post\u00e1v a situ\u00e1cii pr\u00edbehu.<\/p>\n\n\n\n

MASKY IMPROVIZ\u00c1CIE (1982)\u00a0\u00a0
Skuto\u010dne prv\u00e1 sk\u00fasenos\u0165 Milana Sl\u00e1dka celove\u010dernej improviz\u00e1cie pred asi 1000 div\u00e1kmi po\u010das festivalu GAUKLER, v spolupr\u00e1ci s vynikaj\u00facim nemeck\u00fdm pozaunistom Albertom Mangelsdorfom.<\/p>\n\n\n\n

CARMEN (1983)\u00a0
Opera pancomimique, jedno z naj\u00faspe\u0161nej\u0161\u00edch predstaven\u00ed Divadla KEFKA v Kol\u00edne nad R\u00fdnom.<\/p>\n\n\n\n

UBU (1984)\u00a0
Pantomimick\u00fd prepis sl\u00e1vnej hry Alfreda Jarryho, takisto inscen\u00e1cia pova\u017eovan\u00e1 za jedno z najlep\u0161ej\u0161\u00edch Milana Sl\u00e1dka, ktor\u00e1 bola znovu inscenovan\u00e1 v Divadla AR\u00c9NA v Bratislave (1999)<\/p>\n\n\n\n

APOCALYPTICA (1989)\u00a0
Inscen\u00e1cia vznikla na z\u00e1klade rovnomennej multimedi\u00e1lnej opery chorv\u00e1tskeho skladate\u013ea Milka Kelemena.<\/p>\n\n\n\n

<\/p>\n\n\n\n

TREN\u010c\u00cdN \u2013 <\/strong>divadlo Ar\u00e9na a medzin\u00e1rodn\u00e9 spolupr\u00e1ce<\/p>\n\n\n\n

DIDAKTICKO \u2013 PEDAGOGICK\u00c9 PELE \u2013 MELE
\u201eNiekedy mi napadne, \u017ee umenie pantom\u00edmy sa d\u00e1 porovna\u0165 s postaven\u00edm \u017eeny a mu\u017ea na spolo\u010denskom rebr\u00ed\u010dku. Ke\u010f chce \u017eena dosiahnu\u0165 v zamestnan\u00ed d\u00f4le\u017eit\u00fa poz\u00edciu, mus\u00ed by\u0165 spravidla kvalitnej\u0161ia ako mu\u017e v rovnakom postaven\u00ed. A tak je to aj s postaven\u00edm m\u00edmov vo\u010di \u010dinohern\u00fdm hercom.\u201c (M. Sl\u00e1dek)V \u00e1zijsk\u00fdch krajin\u00e1ch na Sl\u00e1dka najviac zap\u00f4sobilo vedomie jednoty formy a obsahu. \u201eTo je to, \u010do si v\u017edy uvedomujem, ke\u010f sa mi naskytne mo\u017enos\u0165 z\u00fa\u010dastni\u0165 sa na predstaven\u00ed tradi\u010dn\u00e9ho \u00e1zijsk\u00e9ho divadla\u201c tvrdieva v\u017edy, ke\u010f sa zvrtne re\u010d na porovn\u00e1vanie \u0161t\u00fdlov. Nazd\u00e1va sa, \u017ee v jeho inscen\u00e1ci\u00ed Kr\u00e1\u013e Ubu<\/em> znalec japonsk\u00e9ho divadla kabuki ur\u010dite postrehne posadnutos\u0165 tvorcu v\u00fdtvarnos\u0165ou sc\u00e9ny, kost\u00fdmov a hereck\u00e9ho prejavu, ak\u00fd on za\u017eil v tokijskom divadle Kabuki-za. Tam, nad\u0161en\u00fd hrou vynikaj\u00faceho predstavite\u013ea \u017eensk\u00fdch post\u00e1v, herca Tamasabura Bandoa, nabral Sl\u00e1dek odvahu pusti\u0165 sa do Carmen<\/em>. Japonsk\u00e9 b\u00e1bkov\u00e9 divadlo bunraku st\u00e1lo pri zrode Figarovej svadby<\/em> a Trojgro\u0161ovej opery<\/em>. Indick\u00e9 tane\u010dn\u00e9 umenie in\u0161pirovalo m\u00edma k prec\u00edznej pohybovej formul\u00e1ci\u00ed svojich s\u00f3lov\u00fdch pantom\u00edm. Ale nikdy ne\u0161lo o kop\u00edrovanie, sk\u00f4r sa mu podarilo objavi\u0165 ak\u00fasi spolo\u010dn\u00fa b\u00e1zu prejavu.<\/p>\n\n\n\n

SPOLUPR\u00c1CA S HERCOM
Pod\u013ea \u010doho mo\u017eno us\u00fadi\u0165, \u017ee niekto m\u00e1 pre pantom\u00edmu predpoklady? D\u00e1 sa to odhadn\u00fa\u0165 u\u017e po prvom stretnut\u00ed?
Za najd\u00f4le\u017eitej\u0161iu hercovu vlastnos\u0165 pova\u017euje u\u010dite\u013e Sl\u00e1dek predstavivos\u0165. Aby bol niekto dobr\u00fdm m\u00edmom, mus\u00ed ma\u0165 aj schopnos\u0165 vc\u00edtenia sa do rozli\u010dn\u00fdch situ\u00e1ci\u00ed, do vn\u00fatraj\u0161ka najrozmanitej\u0161\u00edch os\u00f4b, ne\u017eiv\u00fdch predmetov, atmosf\u00e9r. Mus\u00ed ma\u0165 bohat\u00fa fant\u00e1ziu. Samozrejm\u00fd predpoklad pre m\u00edma je hereck\u00fd talent a d\u00f4le\u017eit\u00e1 je aj flexibilita tela. Ale niekedy sa pri v\u00fdbere herca do s\u00faboru alebo na nejak\u00fd projekt zm\u00fdlite. O niekom m\u00f4\u017eete by\u0165 zo za\u010diatku presved\u010den\u00fd, \u017ee je ve\u013ek\u00fd talent, a on neuspeje a, naopak, niekoho \u010dlovek odhov\u00e1ra od hereckej dr\u00e1hy\u2026 a ten sa nakoniec stane vynikaj\u00facim hercom.<\/p>\n\n\n\n

HUDBA
Ve\u013ea Sl\u00e1dkov\u00fdch predstaven\u00ed stoj\u00ed na hudbe. Pri v\u00fdbere hudby siaha bu\u010f po osved\u010denej klasike, alebo si vyber\u00e1 menej zn\u00e1me skladby. Hudbu \u010dasto mixuje a prid\u00e1va r\u00f4zne zvukov\u00e9 efekty. Neraz spolupracoval s hudobn\u00edkmi, ktor\u00ed komponovali hudbu priamo pre predstavenie. Jedn\u00fdm z nich bol aj Va\u0161o Patejdl, ktor\u00fd vytvoril hudbu ku Grand Pierotovi<\/em>.<\/p>\n\n\n\n

MASKOVANIE
Ke\u010f m\u00edm vystupuje aj pred dvojtis\u00edcov\u00fdm obecenstvom, biela \u0161minka zv\u00fdraz\u0148uje tv\u00e1r a o\u010di, \u00fasta \u010di obo\u010die umo\u017e\u0148uj\u00fa div\u00e1kovi lep\u0161ie \u010d\u00edta\u0165 mimiku tv\u00e1re. Z\u00e1rove\u0148 maska pom\u00e1ha m\u00edmovi odosobni\u0165 sa, skry\u0165 sa za \u0148u. Obecenstvo nevn\u00edma m\u00edma ako priv\u00e1tnu osobu, ale ako javiskov\u00fa, umel\u00fa postavu. To mu umo\u017e\u0148uje by\u0165 odv\u00e1\u017enej\u0161\u00ed v t\u00e9mach a v s\u00f3lovej pantom\u00edme vierohodne zn\u00e1zor\u0148ova\u0165 aj nieko\u013eko post\u00e1v rozli\u010dn\u00fdch charakterov naraz.\u201eNikdy nezabudnem na fascin\u00e1ciu, ktor\u00fa som za\u017eil, ke\u010f som si po prv\u00fd raz natieral tv\u00e1r na bielo. A napriek tomu, \u017ee s\u00fa to u\u017e kil\u00e1 bielej \u0161minky, ktor\u00e9 som si po\u010das viac ako \u0161tyridsa\u0165ro\u010dnej \u010dinnosti na tv\u00e1r ponatieral, dodnes sa mi st\u00e1va, \u017ee aj po to\u013ek\u00fdch rokoch za\u017eijem pri \u0161minkovan\u00ed rovnak\u00fd pocit \u0161\u0165astia ako po prv\u00fd raz.\u201c (M. Sl\u00e1dek)<\/p>\n\n\n\n

Andy Andy<\/em>
\u201eAndy Warhol…ma nezauj\u00edma len ako v\u00fdtvarn\u00edk, ale aj ako \u010dlovek, ktor\u00e9ho korene naviac siahaj\u00fa na Slovensko. Jeho rodi\u010dia poch\u00e1dzaj\u00fa z Mikovej ne\u010faleko Medzilaboriec. Preto si nahov\u00e1ram, \u017ee ho m\u00f4\u017eem z tejto perspekt\u00edvy pochopi\u0165 inak ako mnoh\u00ed in\u00ed. \u010c\u00edm hlb\u0161ie som sa biografiou\u00a0 a dielom Andyho Warhola zaoberal, t\u00fdm viac sa mi vybavovala ak\u00e1si d\u00f4stojn\u00e1 klauni\u00e1da, zachyt\u00e1vaj\u00faca jeho \u017eivot a dielo. Svoj v\u00fdskum som zhmotnil v librete k predstaveniu Andy Andy, ktor\u00e9 malo v apr\u00edly 2004 premi\u00e9ru v Bonne v Kunst \u2013 und Ausstellungshalle.\u201c (M. Sl\u00e1dek)<\/p>\n\n\n\n

AR\u00c9NA
Ke\u010f pri\u0161iel Milan Sl\u00e1dek roku 1989 op\u00e4tovne na Slovensko, \u0161anca na ve\u013ek\u00e9 javisko sa pon\u00fakla v petr\u017ealskej Ar\u00e9ne. U\u017e roku 1991 za\u010dal uva\u017eova\u0165 o vytvoren\u00ed Medzin\u00e1rodn\u00e9ho in\u0161tit\u00fatu pohybov\u00e9ho divadla.
Srdcovou z\u00e1le\u017eitos\u0165ou Sl\u00e1dka bolo pokra\u010dova\u0165 vo festivale pantom\u00edmy, ktor\u00fd organizoval dvan\u00e1s\u0165 rokov v Kol\u00edne nad R\u00fdnom. Podarilo sa. Festival Kaukliar sa po prv\u00fd raz predstavil bratislav\u010danom roku 1996 a konal sa ka\u017edoro\u010dne a\u017e do roku 2002.
\u010eal\u0161\u00edm jeho pl\u00e1nom bolo pravidelne poz\u00fdva\u0165 do Ar\u00e9ny m\u00edmov aj mimo festivalu Kaukliar. Napr\u00edklad od roku 1979 spolupracoval Milan Sl\u00e1dek s ofici\u00e1lnou nemecko \u2013 franc\u00fazskou organiz\u00e1ciou pre mlad\u00fdch \u013eud\u00ed. Vyzeralo to, \u017ee by pri nej u\u017e roku 2003mohol vznikn\u00fa\u0165 s\u00fabor pantom\u00edmy, financovan\u00fd Eur\u00f3pskou \u00faniou, ktor\u00fd mal ma\u0165 s\u00eddlo v Bratislave. Vzniklo nieko\u013eko inscen\u00e1ci\u00ed, na ktor\u00fdch sa podie\u013eali mlad\u00ed nemeck\u00ed a franc\u00fazski m\u00edmovia a herci. Len \u010do to zmenen\u00e1 situ\u00e1cia dovolila, zapojil Sl\u00e1dek do projektu aj mlad\u00fdch slovensk\u00fdch divadeln\u00fdch umelcov, posledn\u00fd raz roku 2004.
Zachr\u00e1ni\u0165 Ar\u00e9nu pre divadlo nebolo tak\u00e9 jednoduch\u00e9. Prejavili o \u0148u z\u00e1ujem viacer\u00ed, \u010do ju chceli \u201ezachr\u00e1ni\u0165\u201c. Mala tam by\u0165 ve\u013ek\u00e1 her\u0148a s desiatkami hrac\u00edch automatov\u2026 Re\u0161taur\u00e1ciu s tancuj\u00facimi diev\u010datami si tm zase predstavoval ak\u00fdsi parvenu zo zahrani\u010dia, vraj podnikate\u013e\u2026 Niektor\u00ed \u013eudia na bratislavskej radnici a na ministerstve kult\u00fary ct\u00ed, \u017ee sa rozhodli vr\u00e1ti\u0165 budovu jej p\u00f4vodn\u00e9mu \u00fa\u010delu.\u00a0
\u201eStraten\u00fd syn vlasti\u201c bol napokon r\u00e1d, \u017ee Ar\u00e9na po v\u0161etk\u00fdch peripeti\u00e1ch za\u010dala svoju \u010dinnos\u0165. Sk\u00f4r ne\u017e sa za\u010dal projekt realizova\u0165, zavolal do Kol\u00edna Sl\u00e1dkovi predseda SNR Franti\u0161ek Miklo\u0161ko a p\u00fdtal sa ho, \u010di by si vedel predstavi\u0165 zalo\u017eenie podobnej in\u0161tit\u00facie, ak\u00fa viedol v Nemecku, u n\u00e1s v Bratislave. Na rozhodnutie mal asi tri mesiace, ale z\u00e1porn\u00e1 odpove\u010f zo Sl\u00e1dkovej strany nemohla pr\u00eds\u0165 do \u00favahy. Mal pocit, \u017ee sa mu touto ponukou otv\u00e1ra mo\u017enos\u0165 z\u00fa\u010dastni\u0165 sa na ve\u013ekej porevolu\u010dnej premene na Slovensku.
\u201ePozoroval som svojich priate\u013eov a zdalo sa mi, ako dobre sa v komplikovanej po\u010diato\u010dnej situ\u00e1cii vo veciach vyznaj\u00fa. Ale nevyznali sa. Na Slovensku ako keby vtedy ani neexistovali z\u00e1kony, poru\u0161ovanie mor\u00e1lky bolo na dennom poriadku, rozhodovalo \u010dosi in\u00e9 ako slu\u0161nos\u0165, etika a seri\u00f3znos\u0165. \u0164a\u017eko sa mi orientovalo aj v samotnej politike, ktor\u00e1 sa menila pod\u013ea toho, kto bol vo veden\u00ed vl\u00e1dy. Najviac mi prek\u00e1\u017ealo, \u017ee neplatilo chlapsk\u00e9 slovo a dohovor na druh\u00fd de\u0148 neplatil. Prekr\u00facali sa paragrafy a \u013eudia s nimi. Vytv\u00e1rali sa r\u00f4zne politick\u00e9 a z\u00e1ujmov\u00e9 zoskupenia a viac sa myslelo na to, kto viac a r\u00fdchlej\u0161ie sprivatizuje. Kultivovane sa to naz\u00fdvalo v\u010dasn\u00fd kaptalizmus. Jedin\u00e9, \u010do ma ute\u0161ovalo, bolo zistenie, \u017ee som za\u017eil, ako to u n\u00e1s bolo za socializmu, \u017ee vid\u00edm, ako je to v skuto\u010dnosti, a \u017ee som u\u017e za\u017eil aj bud\u00facnos\u0165, a to mi dod\u00e1valo silu.\u201c\u201eKe\u010f sa pozriem na obdobie takmer desiatich rokov, ktor\u00e9 som tu na Slovensku p\u00f4sobil, vid\u00edm, \u017ee som za sebou zanechal kus pr\u00e1ce. Divadlo Ar\u00e9na, ktor\u00e9ho z\u00e1chranu si dnes s\u00edce pripisuj\u00fa in\u00ed, stoj\u00ed. Budova bola skolaudovan\u00e1 asi pol roka pred moj\u00edm odchodom, iba okolie nebolo upraven\u00e9, ale peniaze na to boli u\u017e zo \u0161t\u00e1tneho rozpo\u010dtu vy\u010dlenen\u00e9. Za t\u00fdch desa\u0165 rokov som v Ar\u00e9ne urobil nieko\u013eko inscen\u00e1ci\u00ed, ktor\u00e9 mali ve\u013emi dobr\u00fd ohlas a d\u00fafam, \u017ee bud\u00fa patri\u0165 do hist\u00f3rie slovensk\u00e9ho divadeln\u00edctva.\u201c A naozaj, v divadle Ar\u00e9na uskuto\u010dnil viacero ve\u013ek\u00fdch projektov: vie dol s\u00fabor mlad\u00fdch slovensk\u00fdch m\u00edmov, zorganizoval sedem ro\u010dn\u00edkov medzin\u00e1rodn\u00e9ho festivalu Kaukliar, pracoval s franc\u00fazsko \u2013 nemeckou ml\u00e1de\u017en\u00edckou organiz\u00ed\u00e1ciou. Okrem toho zinscenoval v SND dve opery a na Novej sc\u00e9ne uviedol pantomimick\u00fd muzik\u00e1l Grand Pierot<\/em>.<\/p>\n\n\n\n

HLAS NEZAUJATEJ
Ke\u010f pri\u0161la re\u010d na Sl\u00e1dkovo rozhodnutie od\u00eds\u0165 po druh\u00fd raz do emigr\u00e1cie, povedala mi ist\u00e1 redaktorka, ktor\u00e1 dlh\u0161\u00ed \u010das \u017eila na Z\u00e1pade:\u201eV\u00f4bec sa mu ne\u010dudujem. Tam si ho v\u00e1\u017eia. Tam ho miluj\u00fa. V Nemecku som bola na jeho predstaven\u00ed, na z\u00e1ver mu usporiadali standing ovation. A tamoj\u0161ie publikum b\u00fdva zvy\u010dajne chladn\u00e9. Koniec koncov, ka\u017ed\u00fd m\u00e1 \u00eds\u0165 do tak\u00e9ho prostredia, ktor\u00e9 mu optim\u00e1lne umo\u017en\u00ed rozvin\u00fa\u0165 svoje schopnosti. Toto nie je nijak\u00e9 globaliza\u010dn\u00e9 horlenie, to je pravda, ktor\u00e1 plat\u00ed u\u017e od antiky. Tunaj\u0161ie prostredie nedor\u00e1stlo na jeho \u00farove\u0148. Tu sa musel podklada\u0165. Mocip\u00e1nom i publiku. Nech len ide tam, kde ho dok\u00e1\u017eu oceni\u0165, kde mu dok\u00e1\u017eu vytvori\u0165 optim\u00e1lne podmienky. Potom bude osoznej\u0161\u00ed aj pre n\u00e1s. Samozrejme, na druhej strane ma to hnev\u00e1. Ke\u010f z FAZ poslali report\u00e9ra, aby o Bratislave nap\u00edsal nie\u010do pozit\u00edvne, na\u0161iel tu iba tri \u010di \u0161tyri atrakcie hodn\u00e9 za zmienku. Jednou z nich bola pr\u00e1ve Sl\u00e1dkova Ar\u00e9na. Chudobn\u00ed schudobneli.\u201c<\/p>\n\n\n\n

\u010cO E\u0160TE ZOST\u00c1VA?
\u010co e\u0161te ost\u00e1va po \u010dloveku? No predsa n\u00e1dej! N\u00e1dej, \u017ee zo skyprenej p\u00f4dy vyrast\u00fa n\u00e1stupcovia. Zatia\u013e na nich e\u0161te nemo\u017eno uk\u00e1za\u0165 prstom, ale dobr\u00e9 dozrieva pomaly.Pred mnoh\u00fdmi rokmi stretol \u00fatly mlad\u00edk z tren\u010dianskych Stre\u017een\u00edc re\u017eis\u00e9ra E. F. Buriana. Zaiskrilo sa. Ch\u00fdrny avandgarista dal mlad\u00edkovi impulz, \u010do ho vyniesol na orbitu, po ktorej sa pohybuje dodnes. A mo\u017eno celkom ned\u00e1vno postretol in\u00fd, dosia\u013e nezn\u00e1my mlad\u00edk, ch\u00fdrneho svetobe\u017en\u00edka Milana Sl\u00e1dka. Zaiskrilo sa? Dal impulz, v\u010faka ktor\u00e9mu raz uvid\u00ed svet?<\/p>\n\n\n\n

FIGAROVA SVATBA (1991)\u00a0
Premi\u00e9ra v N\u00e1rodnom divadle v Soule v Ju\u017enej K\u00f3rei. Milan Sl\u00e1dek bol osloven\u00fd prevzia\u0165 r\u00e9\u017eiu. Po\u017eiadavkou bolo, aby spev\u00e1ci koncertne predstavovali t\u00fato sl\u00e1vnu Mozartovu operu, a Milan Sl\u00e1dek mal so svojim s\u00faborom predstavi\u0165 pr\u00edbeh. Navrhol, aby inscenoval hru s asi 1,40 m ve\u013ek\u00fdmi b\u00e1bkami, pri\u010dom jednou b\u00e1bkou h\u00fdbali traja herci. Hra bola 10 – kr\u00e1t vypredan\u00e1 v 3000 miestnej s\u00e1le Seoulskeho Nadn\u00e1rodn\u00e9ho divadla.\u00a0<\/p>\n\n\n\n

KORUNOVACIA POPEY (1993)
Milan Sl\u00e1dek dostal ponuku z SND na z\u00e1klade \u00faspe\u0161nej inscen\u00e1cie FIGARA. Spojenie spev\u00e1ckeho umenia s pantom\u00edmou bolo nesmierne \u00faspe\u0161n\u00e9 a ve\u013ek\u00fdm nad\u0161en\u00edm bola interpret\u00e1cia spev\u00e1kmi Opery SND. Sc\u00e9nografia Albin Brunovsky.<\/p>\n\n\n\n

GRAND PIERROT (1994)\u00a0
Pantomimick\u00fd muzik\u00e1l s textami \u013duba Feldeka, hudbou Va\u0161a Patejdla a pantomimick\u00fdmi sc\u00e9nami Milana Sl\u00e1dka. Nesk\u00f4r (1997), v krat\u0161ej forme, inscenovan\u00e1 v Divadle AR\u00c9NA. Inscen\u00e1cia bola oslavou ve\u013ek\u00e9ho Pierota Jeana Gasparda Deburaua a jeho d\u00f4le\u017eitosti pre v\u00fdvoj tohto umenia.<\/p>\n\n\n\n

OPERA ZA TRI GRO\u0160E (2001)\u00a0
Sl\u00e1vna hra Bertholda Brechta, inscenovan\u00e1 obdobne ako FIGAROVA SVADBA, s ve\u013ek\u00fdmi b\u00e1bkami. Nieko\u013eko kr\u00e1t sa hrala po nemecky v nemeck\u00fdch mest\u00e1ch. Bolo to v \u010dase, ke\u010f t\u00e1to hra oslavovala v\u00fdro\u010die jej vzniku a bola to jedin\u00e1 inscen\u00e1cia, ktor\u00e1 v tej dobe v Nemecku existovala.<\/p>\n\n\n\n

MAGICKA NOC (2003)\u00a0\u00a0
Kurt Weill tuto pantom\u00edmu nap\u00edsal ako 22 ro\u010dn\u00fd. Jej znovuobjavenie, bolo takisto magick\u00e9! Hudba sa s\u00edce zachovala, ale nie jej libretto. Tak nap\u00edsal Milan Sl\u00e1dek nov\u00e9. Pantom\u00edma bola op\u00e4\u0165 na festivale v\u00a0Dessau, kde z\u00edskala Ocenenie festivalu a pozvanie na festival do Talianska.<\/p>\n\n\n\n

ANDY ANDY (2004)\u00a0
Na po\u010des\u0165 ve\u013ek\u00e9ho Andy Warhola sa t\u00e1to inscen\u00e1cia hrala v M\u00fazeu Andyho Warhola v Medzilaborciach.<\/p>\n\n\n\n

THE THREEPENNY OPERA, Tokio, Japonsko (2005)
Po predstaveniach Milana Sl\u00e1dka v Divadle KAZE, ktor\u00e9 sa venuje eur\u00f3pskej dramatickej literat\u00fare, hlavne Brechtovi, dostal Sl\u00e1dek pozvanie re\u017e\u00edrova\u0165 t\u00fato hru. Bolo \u00fa\u017easn\u00fdm z\u00e1\u017eitkom spolupracova\u0165 s japonsk\u00fdmi divadeln\u00edkmi.\u00a0<\/p>\n\n\n\n

PANTALON und COLUMBINE, KV 446 (2006)\u00a0
Z\u00e1kladom je Mozartova hudba k tejto pantom\u00edme, z ktorej sa v\u0161ak zachoval asi 29 min\u00fatov\u00fd fragment. Libretto sa nezachovalo, iba sporadick\u00e9 pozn\u00e1mky pod not\u00e1ciou, ktor\u00e9 sl\u00fa\u017eili Milanovi Sl\u00e1dkovi ako vod\u00edtko pre nap\u00edsanie nov\u00e9ho libretta. Tento projekt bol realizovan\u00fd pre Mozartov festival vo Viedni. S ve\u013ek\u00fdm \u00faspechom bol predstaven\u00fd aj na rozli\u010dn\u00fdch festivaloch v Eur\u00f3pe.<\/p>\n\n\n\n

KR\u00cd\u017dOV\u00c1 CESTA (2007)
Vznikla na podnet d\u00fcsseldorfsk\u00e9ho organistu Wolfganka Abendrotha. Na z\u00e1klade hudby Marcela Dupr\u00e9 vybudoval Milan Sl\u00e1dek a realizoval jednotliv\u00e9 zastavenia tejto poslednej cesty Je\u017ei\u0161a Krista k ukri\u017eovaniu. Posledn\u00e9 predstavenia sa hrali v roku 2023, v koncertnej sale SRTv \u2013 (zo\u017eala 11 min\u00fatov\u00fd potlesk!) a v Bardejovskej \u0161portovej hale.<\/p>\n\n\n\n

JUPTER A T\u00cd\u00a0DRUH\u00cd\u00a0(2007)\u00a0
Predstavenia sa konali v R\u00edmsko-germ\u00e1nskom m\u00fazeu v Kol\u00edne nad R\u00fdnom. Toto m\u00fazeum bolo postaven\u00e9 okolo mozaikovej podlahy, tzv. Dionizovej mozaiky, ktor\u00e1 sa na\u0161la e\u0161te pred druhou svetovou vojnou. Skoro 300 rokov sa v R\u00edme nesmiernej popularite te\u0161ili mimick\u00ed tane\u010dnici, ktor\u00ed predstavovali hlavne mytologick\u00e9 pr\u00edbehy. To in\u0161pirovalo Milana Sl\u00e1dka k\u00a0t\u00fdm pantom\u00edmam, ktor\u00e9 som na tejto vz\u00e1cnej mozaike (poistenej na 5.000,-\u20ac) nieko\u013eko kr\u00e1t hr\u00e1val.<\/p>\n\n\n\n

ANTIGONA (2015)\u00a0
V \u201e Dial\u00f3gu o tanci\u201c, staror\u00edmskeho autora Lukiana zo Samosaty, sa Milan Sl\u00e1dek do\u010d\u00edtal, \u017ee podaktor\u00ed m\u00edmovia, za pomoci masiek, interpretovali t\u00fato antick\u00fa, gr\u00e9cku trag\u00e9diu. Takisto, za pomoci masiek a \u0161tyroch asistentov, p\u00e1n Sl\u00e1dek interpretoval t\u00fato hru, v ktorej predstavoval v\u0161etky postavy deja. Premi\u00e9ra sa odohrala v Kol\u00edne nad R\u00fdnom a s inscen\u00e1ciou boli pozvan\u00ed aj do Par\u00ed\u017ea do budovy UNESCO.<\/p>\n\n\n\n

DUB\u010cEKOV\u00c1 JAR (2018)\u00a0
Ak\u00e1si sc\u00e9nick\u00e1 b\u00e1se\u0148 na oslavu tohto ve\u013ek\u00e9ho \u010dloveka a Slov\u00e1ka, ktor\u00fd v mnohom ovplyvnil n\u00e1\u0161 \u017eivot a ktor\u00e9ho my\u0161lienky s\u00fa dodnes vo svete uzn\u00e1van\u00e9. Premi\u00e9ra v \u0160t\u00e1tnej opere, Bansk\u00e1 Bystrica.<\/p>\n\n\n\n

\u017dIVOT A SMR\u0164 KRALA LEARA (2021)
V\u00fdznamn\u00fd nemeck\u00fd re\u017eis\u00e9r Hansg\u00fcnther Heyme, pre Milana Sl\u00e1dka spracoval toto gigantick\u00e9 dramatick\u00e9 Shakespeareovo dielo. Vznikla ak\u00e1si sc\u00e9nick\u00e1 kol\u00e1\u017e, p\u00e1n Sl\u00e1dek bol don\u00faten\u00fd aj rozpr\u00e1va\u0165. Jeho verb\u00e1lnym partnerom bol Heyme osobne.\u00a0<\/p>\n\n\n\n

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P\u00daCHOV \u2013 Milan Sl\u00e1dek do roku 1968 ZRODENIE L\u00c1SKY K PANTOM\u00cdMERaz v kni\u017enici \u010ditate\u013esk\u00fd maniak Sl\u00e1dek objavil Ko\u017e\u00edkov rom\u00e1n Nejv\u011bt\u0161\u00ed z pierotu<\/p>\n","protected":false},"author":1,"featured_media":492,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"two_page_speed":[],"footnotes":""},"categories":[8],"tags":[],"class_list":["post-152","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kategorie"],"acf":[],"yoast_head":"\nV\u00fdstavy - milansladekmimefest.eu<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.milansladekmimefest.eu\/sk\/2025\/01\/20\/vystavy\/\" \/>\n<meta property=\"og:locale\" content=\"sk_SK\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"V\u00fdstavy - 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