Šárka Ondrišová
Profile
Šárka Ondrišová (1971, České Budějovice) graduated from the Department of Dance Art of the Music and Dance Faculty, Academy of Performing Arts in Bratislava, where she majored in choreography and direction. In 2012, she completed her doctoral studies at the same department, where she now works as the principal pedagogue for the study of choreography and direction. During her career, Ondrišová created over seventy choreographies for theatres as well as her own, individual projects. She has collaborated and worked for all theatre scenes in Bratislava, having created dozens of choreographies for musicals, operas, and big TV shows.
In the past, she worked as a dancer in the Auriga modern dance company, the Army Artistic Ensemble in Bratislava, the New Stage Theatre, the LST Bautzen company in Germany, among others. Between 1997 and 1999, she was the artistic director and choreographer of the professional dance group Cabaret.
In 2007, she founded the elledanse theatre and dance school, which she led with much success until 2018 as its artistic director and choreographer. In addition to the Dance Studio Theatre in Banská Bystrica, elledanse became a unique permanent contemporary dance scene in Slovakia presenting the work of many dance and theatre ensembles. In June 2015, the elledanse theatre could not keep its building for financial reasons and ceased all activities in 2018. However, the elledanse dance school has continued its activities until today. As part of the elledanse theatre, Ondrišová established the elledanse Company, which she also artistically and pedagogically directed and managed. The company aimed to present contemporary Slovak dance and original devised work in Slovakia and internationally – it has presented more than twenty guest performances in theatres and at festivals all over Europe. In 2014, for example, Slovak contemporary dance and theatre participated, for the very first time, in the largest European festival and fair in Düsseldorf, where elledanse productions were performed. Similarly, in 2015 it took part in the Asian platform in Yokohama, Japan. For several seasons, Šárka Ondrišová closely collaborated with Miroslava Kovářová to prepare and organize the festival known as Bratislava in Movement.
In 2009–2013, Ondrišová initiated and led the project Returning to Dance – an educational scheme for professional dancers and students of dance. Ondrišová won several awards, including the 2003 Literary Fund Award for the Hair musical (2003), the DOSKY Award for best direction of the season for Canto Hondo, another DOSKY Award for best production of the season also for Canto Hondo (2008), Literary Fund Award for Canto Hondo (2008), the Minister of Culture award (2009). She was also nominated for the DOSKY Award in the discovery of the season category for A Tribute to Cows (2010) and Slovak Woman of the Year (2016), among others.
She is very actively involved in yoga – she has attended and participated in numerous yoga seminars in Slovakia and abroad (India, Sri Lanka, Thailand, Bali).
Ondrišová is also an outstanding pedagogue – she has mainly taught jazz and modern dance and choreography, both in Slovakia and abroad. Besides the systematic advancement of the performative qualities of the members of the elledanse Company, and the improvement of the artistic and technical competencies of the students of the elledanse dancing school, Ondrišová educated and trained a great number of successful dancers in Slovak ensembles – the White Theatre, Alfa, Auriga, State Conservatory on Tolstoy street in Bratislava, or the Alkana Private Musical High School. In 2015, she taught at the LCDC dance school in Okayama, Japan. Since 2016, she has been working at the Department of Dance Art of the Faculty of Music and Dance, Academy of Performing Arts, as a teacher of choreography and direction. She also works at the Department of Acting at the Theatre Faculty of the Academy of Performing Arts in Bratislava.
The two authors of Canto Hondo (a deep song about her...) – Šárka Ondrišová and Kamil Žiška – conceived, wrote, and directed a production which presents a quest for forgotten family events, searching for traces in the corners of an old family house. The production premiered on 17 December 2007 at the elledanse theatre in Bratislava.
The set (Miroslav Daubrava, Jaroslav Daubrava) was made of just a few pieces of furniture: an antique double bed with tall sideboards, an old wardrobe, a table, and some chairs. Everything was covered in white sheets, which suggested a lack of life in the house. The dominant section was the back wall, which not only delineated the stage space but also symbolized the mental restrictions and boundaries. Together with the lighting, the stage design’s poetics was reminiscent of the construction of the performance space used in the Slovak movie The Garden directed by one of the most outstanding Slovak directors Martin Šulík. The woman (Stanislava Vlčeková), whose story begins to unfold at the beginning of the production, pulls back the sheets and reveals the other characters who seem to be slumbering just beneath the surface. The house comes to life... Each of the characters in the performance has a clearly defined character, delineated by characteristic movement and a certain trajectory. The movements of the mother (Anna Sedlačková/Monika Čertezni), who is stifling unknown grief and constantly tries to preserve the seemingly normal and calm life of the family, give shape to her character through the urgency of her gestures and the frustration of the rapidly changing dynamics. The mother would at times fall dejectedly to the floor and then get up abruptly, moving quickly and decisively around the house, trying to regain control of what was going on there. The father (Csongor Kassai), who does not even try to discover the cause of his wife’s grief, resolves the tension in the house by playing crackling records on an old gramophone. Kassai’s movement language was spare but punchy and with crisp dynamics. He complemented the movement with an explosive expressiveness of facial expression. The character of the Woman, their daughter (Stanislava Vlčeková), was in a constant, gushing stream of movement, energy, and unbridled passion, which turned to anger after the man’s betrayal. In the production, the stigma of maternal ambition is seemingly subtly but all the more inevitably passed on to the next generation of women. The character of the Daughter (Miroslava Klementová) entered the action dancing on her tiptoes, as if coming from another world. The academic, highly stylized movement of the ballerina contrasted the contemporary movement elements or the overall civilian and natural movement of the production. The exhausting drill and unfulfilled ambitions of the mother were killing the sensitive young woman, vainly trying to defy her mother’s demands. The resurfacing of the Woman’s childhood memories complicated the daughter’s already intricate relationship with her mother.
This time, the choreographer’s fresh style, known mostly from musicals, did not apply a unified approach. When creating solos, duets, and variations, she and the director were inspired by the dancers, who were given a lot of creative space. They took advantage of it and used it to present their dancing qualities on a fairly spacious area. The element that united it all was their expression – uncommonly civil and natural, without exaggeration and pathos. The performers expressed the power of emotions primarily by gesture and movement. The choreographer, drawing on her experience in bricks-and-mortar theatres, captured the rhythm of the alternation of the individual images very well, timed them perfectly, and added tension as well as a small dose of humour into the individual episodes. The dramaturgical work by Lucia Blašková also contributed to the compact structure of the production. The stage music composed by Kamil Žiška, Ján Kružliak, and Jozef Vlk symbiotically complemented the atmosphere on the stage – the sound uniqueness of each of the composers completed the context of the production’s content. The music also explained the shifts in the timelines of individual scenes.
The original dance production Water on Water (2011) originated as a sequence of dreamy images in which choreographer Šárka Ondrišová “dilutes” her memories in water. In her perception, water is the symbol of purity, a fluent flow of events, a mysterious space between dream and reality.
Water as a symbol that runs throughout the production appears in almost every image: it is in the bathtub out of which the characters climb, in the wash basin, in the teapot, we hear it dripping. But it is also the water in which the memories are drowned that the main characters want to forget. The performers (Martin Meľo, Nikoleta Rafaelisová, Stanislava Vlčeková, Soňa Ferienčíková, Vladislav Benito Šoltýs, Radoslav Piovarči) have created a colourful collection of characters drowning in the meanders of their fates. They emerged in dramatic moments when the situation forced them to take a stand, to lay their cards on the table and express themselves. Here the choreographer used a purposeful gradation of movement dynamics, from hypnotic, almost static images, creating a surreal atmosphere, through synchronised joint movement images, with the pace moving the plot along and accelerating the storyline, all the way to expressive solo or duet performances with the charge of an intimate confession or the sudden revelation of previously carefully hidden secrets. Peter Groll’s music created an aural atmosphere that helped clarify the nature of the relationships and set the prism through which the individual images were perceived. Veronika Pavelková’s texts, interpreted by Martin Meľo, complemented the dance performances with a commentary spiced with intellectual self-irony and became the poetic record of an intimate confession.
The original dance production BESS – A Tribute to Rudolf Laban premiered on 27 May 2016 in the historical building of the Slovak National Theatre in Bratislava. The piece was inspired by the life and work of Rudolf Laban, the founder of modern European dance and one of the greatest dance reformers in the world. Born in Bratislava, dancer, choreographer, pedagogue, and dance theorist Rudolf von Laban (1879–1958) is an eminent personality of the twentieth century. He developed his own analysis of movement (Laban Movement Analysis), which offered a study of physical movement that was broadly applicable in various disciplines – artistic as well as technical – that work with movement. In her choreography, Ondrišová composed movement sequences as architectural structures. Individual lines condensed the stage space, created a network in which Laban’s epic life story was taking place. The audience could see his fascination with functionalism, the ergonomics of movement, the efficiency of civilian movement. Space as one of the most important components of Laban’s philosophy forms a higher principle in choreography, to which all other components are subordinated. The choreographer has thoughtfully divided the vertical and horizontal divisions for the individual actions. These included biographical passages, exploratory movement images, full of choral compositions and structures, or ruptures, accompanied by dynamic incursions of the Queen of the Night (a symbol of Nazi propaganda). Huge, mirrored surfaces hanging from the ceiling offered a new perspective on the view of the choral scenes, structuring them not only from the audience’s point of view but also from above. Dance images changed before the spectators’ eyes like Laban’s famous crystal.
BESS is an abbreviation for the basic categories of the Laban movement analysis (Body, Effort, Shape, Space). In Ondrišová’s choreography these categories formed the main and determining elements with which the choreographer worked: the body (Body) and its metamorphosing form in movement, influenced by the interrelations of tension and relaxation; effort (Effort), determining the qualities of movement, its dynamics, its character; shape (Shape), the form of the body, which changes on the basis of the initiating impulse, and last but not least, space (Space), in which the body moves, and in which it establishes and harmonises distance and proportion relations. Movement is conceived in the choreography in its broadest contexts, from kinetics to ergonomics to philosophy.
Ondrišová sensitively worked with the attractiveness of evil in the dance libretto, embodying the establishment of a “new” order. She directly alluded to Laban’s enchantment with the possibilities of artistic self-assertion after the onset of Nazism in Germany, his idealistic infatuation, and also the subsequent realization of his mistakes, and later his emigration to England. Ondrišová’s production outlined Laban’s life journey, the influences that affected him in his youth (Matej Lehotský, David Dubjel) and adulthood (Jonatan Lujan), his search for an artistic expression of his philosophical and artistic views, as well as his composure in old age (Róbert Kováč). Laban’s muse Mary Wigman (Ana Sanziana Beschia) imbued his gymnastic movement studies with dance-like fluidity, acrobatic balancing of positions and emotional charge. She gradually emancipated herself and developed her own artistic vision. Ondrišová has succeeded in creating an artistic tribute to the dance genius, avoiding pathetic deification, and has sensitively opened up the controversial themes associated with him to dialogue, whether philosophical or artistic.
The themes of Šárka Ondrišová’s productions are accessible to the audience thanks to an extraordinary sense of proportion in dramaturgy as well as the extent of timing and dynamics of the action. This is despite the gravity or personal involvement of the themes, which communicate the author’s artistic vision with ease. In the case of musical or cabaret works, Ondrišová has raised the bar of quality of both genres – her choreographies allowed her to reconcile the specifics of the musical and cabaret environment and implement elements of contemporary dance and movement theatre in an original way.
- 1991 – Girls and Boys, Iuventa, choreographed and directed by: Šárka Ondrišová. Premiere: Iuventa, Bratislava
- 1992 – Siesta, Iuventa, choreographed and directed by: Šárka Ondrišová. Premiere: Iuventa, Bratislava
- 1993 – The Apple Game, Iuventa, choreographed and directed by: Šárka Ondrišová. Premiere: Iuventa, Bratislava
- 1993 – To Die For Beauty, VS ROH, choreography: Šárka Ondrišová, directed by: Marta Gogáľová. Premiere: Iuventa, Bratislava
- 1994 – Musical!, Iuventa, choreographed and directed by: Šárka Ondrišová. Premiere: Iuventa, Bratislava
- 1994 – Musical Show, Ružinov House of Culture, choreography: Š. Ondrišová, directed by: Igor Šimeg. Premiere: Ružinov House of Culture, Bratislava
- 1994 – Mirandolina, Teatro Wüstenrot, choreography: Šárka Ondrišová, directed by: Marta Gogáľová. Premiere: Teatro Wüstenrot, Bratislava
- 1994 – Little Jazzmine…, Pavol Országh Hviezdoslav Theatre, choreography: Šárka Ondrišová, directed by: Anton Šulík. Premiere: Pavol Országh Hviezdoslav Theatre, Bratislava
- 1994 – The Gift, New Stage Theatre, choreography: Šárka Ondrišová, directed by: Karol Spišák. Premiere: New Stage Theatre, Bratislava
- 1995 – Alone, Academy Of Fine Arts DA Lier, choreographed and directed by: Šárka Ondrišová. Premiere: Academy Of Fine Arts DA Lier, Oslo
- 1995 – Šárka, PKO, choreographed and directed by: Šárka Ondrišová. Premiere: Park of Culture and Relaxation, Bratislava
- 1995 – Baby, baby!, Teatro Wüstenrot, choreography: Šárka Ondrišová, directed by: Igor Šimek. Premiere: Teatro Wüstenrot, Bratislava
- 1995 – Cabaret, Aupark Lions Club, choreography: Šárka Ondrišová. Premiere: Aupark Lions Club, Bratislava
- 1996 – The Merchant of Venice, Astorka Korzo ’90 Theatre, choreography: Šárka Ondrišová, directed by: Roman Polák, Music: Peter Mankovecký. Premiere: Astorka Korzo ’90 Theatre, Bratislava
- 1997 – Funky Circus Made to Mate, Circus Tent, choreographed and directed by: Šárka Ondrišová. Premiere: Divadelná Nitra festival
- 1998 – King David, New Stage Theatre, choreography: Šárka Ondrišová, directed by: Dodo Gombár, music: Ľubo Horňák. Premiere: New Stage Theatre, Bratislava
- 2000 – Faust, Ballet Bratislava / Bratislava Dance Theatre, choreography: Šárka Ondrišová, directed by: Dodo Gombár. Premiere: New Stage Theatre, Bratislava
- 2000 – The Predator List, Radošina Naive Theatre, choreography: Šárka Ondrišová, directed by: Juraj Nvota. Premiere: Radošina Naive Theatre, Bratislava
- 2001 – Instructions Manual, Radošina Naive Theatre, choreography: Šárka Ondrišová, directed by: Juraj Nvota, Sr. Premiere: Radošina Naive Theatre, Bratislava
- 2002 – A Single Touch, Radošina Naive Theatre, choreography: Šárka Ondrišová, directed by: Kamil Žiška. Premiere: Radošina Naive Theatre, Bratislava
- 2002 – The Pied Piper, New Stage Theatre, choreography: Šárka Ondrišová, directed by: Dodo Gombár. Premiere: New Stage Theatre, Bratislava
- 2002 – Cleopatra, New Stage Theatre, choreography: Šárka Ondrišová, directed by: Filip Renč. Premiere: New Stage Theatre, Bratislava
- 2002 – Bartenders, Studio L+S Theatre, choreography: Šárka Ondrišová, directed by: Juraj Nvota. Premiere: Studio L+S Theatre, Bratislava
- 2002 – Bambi, Astorka Korzo ’90 Theatre, choreography: Šárka Ondrišová, directed by: Dodo Gombár. Premiere: Astorka Korzo ’90 Theatre, Bratislava
- 2003 – Hair, New Stage Theatre, choreography: Šárka Ondrišová, directed by: Dodo Gombár. Premiere: New Stage Theatre, Bratislava
- 2003 – Maria Callas Master Class, Opera of the Slovak National Theatre, choreography: Šárka Ondrišová, directed by: Jozef Bednárik. Premiere: Slovak National Theatre, Bratislava
- 2003 – Cinderella, Opera of the Slovak National Theatre, choreography: Šárka Ondrišová, directed by: Jozef Bednárik. Premiere: Slovak National Theatre, Bratislava
- 2003 – Tarelkin’s Death, Wandering Theatre, choreography: Šárka Ondrišová, directed by: Jakub Nvota, Jr. Premiere: V-club, Bratislava
- 2004 – The Full Monty!, New Stage Theatre, choreography: Šárka Ondrišová, directed by: Jozef Bednárik. Premiere: New Stage Theatre, Bratislava
- 2005 – Rocky Horror Picture Show, Aréna Theatre, choreography: Šárka Ondrišová, directed by: Jozef Bednárik. Premiere: Aréna Theatre, Bratislava
- 2005 – Piano Revue, Studio L+S Theatre, choreography: Šárka Ondrišová, directed by: Juraj Nvota. Premiere: Studio L+S Theatre, Bratislava
- 2005 – If I Were Be Born Again, Astorka Korzo ’90 Theatre, choreography: Šárka Ondrišová, directed by: Juraj Nvota, Sr., music: Dorota Nvotová. Premiere: Astorka Korzo ’90 Theatre, Bratislava
- 2006 – Hello Dolly!, New Stage Theatre, choreography: Šárka Ondrišová, directed by: Milan Lasica, music: Jerry Herman. Premiere: New Stage Theatre, Bratislava
- 2006 – Turandot, Opera of the Slovak National Theatre, choreography: Šárka Ondrišová, directed by: Jozef Bednárik. Premiere: Slovak National Theatre, Bratislava
- 2006 – Lipa Sings Lasica, Studio L+S Theatre, conceived and choreographed by: Šárka Ondrišová, directed by: Juraj Nvota. Premiere: Studio L+S Theatre, Bratislava
- 2006 – Seven Cardinal Sins, Radošina Naive Theatre, choreography: Šárka Ondrišová, directed by: Juraj Nvota. Premiere: Radošina Naive Theatre, Bratislava
- 2006 – The Tempest 2006, Bratislava Puppet Theatre, choreography: Šárka Ondrišová, directed by: Kamil Žiška. Premiere: Bratislava Puppet Theatre, Bratislava
- 2007 – The Little Mermaid, Bratislava Puppet Theatre, choreography: Šárka Ondrišová, directed by: Dušan Štauder. Premiere: Bratislava Puppet Theatre, Bratislava
- 2007 – Canto Hondo (a deep song about her...), elledanse, libretto and choreography: Šárka Ondrišová, directed by: Šárka Ondrišová, Kamil Žiška. Premiere: elledanse Dance Theatre, Bratislava
- 2009 – Silent Snow, elledanse, choreography: Šárka Ondrišová, Boris Nahálka, directed by: Šárka Ondrišová. Premiere: elledanse Dance Theatre, Bratislava
- 2009 – Apple, elledanse, libretto, choreography, and directed by: Šárka Ondrišová. Premiere: elledanse, Bratislava
- 2010 – A Tribute to Cows, elledanse, libretto and choreography: Šárka Ondrišová, Boris Nahálka, directed by: Šárka Ondrišová. Premiere: elledanse Dance Theatre, Bratislava
- 2010 – Quadrans, elledanse, written and directed by: Šárka Ondrišová, The Rift, choreography: Vladislav Šoltýs, Atlantis, choreography: Boris Nahálka, A Few Lost Words, choreography: Lenka Vágnerová, Pavel Mašek. Premiere: elledanse Dance Theatre, Bratislava
- 2010 – Duo Foscari, Opera of the Slovak National Theatre, choreography: Šárka Ondrišová, directed by: Jozef Bednárik. Premiere: Opera of the Slovak National Theatre, Bratislava
- 2010 – Gone Blank, Radošina Naive Theatre, choreography: Šárka Ondrišová, directed by: Ondrej Spišák. Premiere: Radošina Naive Theatre, Bratislava
- 2010 – No Sugar For Me, Radošina Naive Theatre, choreography: Šárka Ondrišová, directed by: Juraj Nvota. Premiere: Radošina Naive Theatre, Bratislava
- 2011 – Water on Water, elledanse, libretto, choreographed and directed by: Šárka Ondrišová. Premiere: elledanse Dance Theatre, Bratislava
- 2012 – A Long Night, elledanse, choreography: Šárka Ondrišová, directed by: Viliam Klimáček. Premiere: elledanse, Bratislava
- 2012 – Humour in Dance, elledanse, written and directed by: Šárka Ondrišová, choreography: Šárka Ondrišová, Stanislava Vlčeková, Boris Nahálka, Lenka Vágnerová. Premiere: elledanse Dance Theatre, Bratislava
- 2012 – The Little Prince, elledanse, supervised by: Šárka Ondrišová, directed by: Veronika Pavelková, choreography: Daniela Gaburjaková, Barbora Niklasová, Boris Nahálka, Zuzana Hianíková, Ivana Kučerová, Šárka Ondrišová, Branislav Bašista. Premiere: elledanse Dance Theatre, Bratislava
- 2012 – 4Men, Ballet of the Slovak National Theatre, written, choreographed, and directed by: Šárka Ondrišová. Premiere: Ballet of the Slovak National Theatre, Bratislava
- 2012 – 3Ballet/Frost, Ballet Bratislava, Ballet of the Slovak National Theatre, libretto, directed by: Šárka Ondrišová, choreography: Šárka Ondrišová, Boris Nahálka. Premiere: New Stage Theatre, Bratislava
- 2012 – Radošina Christmas, Radošina Naive Theatre, choreography: Šárka Ondrišová, directed by: Ondrej Spišák. Premiere: Radošina Naive Theatre, Bratislava
- 2012 – How I Became Aware of Myself, Radošina Naive Theatre, Hlavina Theatre, choreography: Šárka Ondrišová, directed by: Stanislav Štepka. Premiere: Radošina Naive Theatre, Bratislava
- 2012 – A Journey to the Tuwim Country, Old Theatre in Nitra, choreography: Šárka Ondrišová, directed by: Ondrej Spišák. Premiere: Old Theatre in Nitra
- 2012 – A Midsummer Night’s Dream, Astorka Korzo ’90 Theatre, choreography: Šárka Ondrišová, directed by: Ondrej Spišák. Premiere: Astorka Korzo ’90 Theatre, Bratislava
- 2013 – The Danube in Us, elledanse – site specific project, concept, libretto, and directed by: Šárka Ondrišová, choreography: Šárka Ondrišová, Boris Nahálka, Stanislava Vlčeková, Lenka Vágnerová. Premiere: elledanse Dance Theatre, Bratislava
- 2013 – Bubbles in Concrete, elledanse, GUnaGU Theatre, choreography: Šárka Ondrišová, Radoslav Piovarči, directed by: Viliam Klimáček. Premiere: elledanse and GUnaGU Theatre, Bratislava
- 2014 – Holiday in the Realm of Fairy Tales, elledanse, supervised by: Šárka Ondrišová, directed by: Veronika Pavelková, choreography: Šárka Ondrišová, Miroslava Iľanovská, Michaela Nezvalová, Kristína Fuzeková. Premiere: elledanse Dance Theatre, Bratislava
- 2015 – Danse macabres, elledanse, site specific project, conceived, choreographed, and directed by: Šárka Ondrišová. Premiere: elledanse Dance Theatre, Bratislava
- 2016 – BESS – A Tribute to Rudolf Laban, Ballet of the Slovak National Theatre, written, choreographed, and directed by: Šárka Ondrišová. Premiere: Ballet of the Slovak National Theatre, Bratislava
- 2016 – Socialism, Sweet Socialism, GUnaGU Theatre, directed by: Viliam Klimáček, choreography: Šárka Ondrišová. Premiere: GUnaGU Theatre, Bratislava
- 2016 – Actresses, GUnaGU Theatre, directed by: Viliam Klimáček, choreography: Šárka Ondrišová. Premiere: GUnaGU Theatre, Bratislava
- 2017 – Paradise is the Only Eden, GUnaGU Theatre, directed by: Soňa Ferancová, choreography: Šárka Ondrišová. Premiere: GUnaGU Theatre, Bratislava
- 2017 – Drawn Curtain, Aréna Theatre, choreography: Šárka Ondrišová, directed by: Soňa Ferancová. Premiere: Aréna Theatre, Bratislava
- 2017 – The Economics of Good and Evil, Studio L+S Theatre, choreography: Šárka Ondrišová, directed by: Rastislav Ballek. Premiere: Studio L+S Theatre, Bratislava
- 2019 – A Story from the Woods, elledanse, conceived, choreographed, and directed by: Šárka Ondrišová, libretto: Šárka Ondrišová, Zbynek Džadoň. Premiere: Radošina Naive Theatre, Bratislava
- – 2003 Literary Fund Award – Hair (musical)
- – 2008 DOSKY Award for best direction of the season – Canto Hondo
- – 2008 DOSKY Award for best production of the season – Canto Hondo
- – 2008 Literary Fund Award – Canto Hondo
- – 2009 Minister of Culture Award
- – 2010 DOSKY Award for discovery of the season – A Tribute to Cows
- – 2016 Slovak Woman of the Year