Michal Lošonský
Profile
Michal Lošonský graduated in art and architecture from the Academy of Visual Arts in Bratislava and the Slovak Technical University in Bratislava. He studied stage design at the Academy of Performing Arts in Bratislava, where he also completed his doctoral study. As a university student, he worked on student productions and created projects that involved spatial solutions for various events, festivals, and conferences. He worked as the architect and curator of several exhibitions. He created a presentation for the 2015 Prague Quadrennial – an exhibition of stage design and theatre space. The Slovak student section entitled The Aura of Stage Design, which Lošonský curated, was nominated for the PQ Gold Medal award. In his work, Lošonský has been an active film set designer, creating sets for such movies as Kidnapping, The Monument, or By a Sharp Knife. He has studied the space not only as a stage and set designer, but also as an architect. Lošonský’s portfolio is diverse and made up of a broad variety of works. This breadth of experience and perspectives can be traced throughout his work, especially through his work with the overall space of the stage, which he does not confine, but works with it in a comprehensive way. He uses its architecture to the benefit of the scenic design of the staged work. He won the DOSKY award for best stage design of the 2019 season for the production of Catch-22 (Andrej Bagar Theatre in Nitra), and in 2023 for Kocúrkovo (Slovak National Theatre).
In Lošonský’s stage designs, the artistic and architectural grasp of space is intertwined. Neither of the components of the stage design outweighs the other; they are equal to each other. The layout of the individual technical components is complemented by their visual and, above all, semiotic potential, which draws directly from the concept of the given stage work.
The central element that Lošonský works with in his works are multifunctional stage objects of pure lines, designed to capture the meaning of the staged work. They are not just objects in space, or mere illustrations of the plot or an idea. Lošonský’s sets work with and support the dramaturgical and directorial interpretation, on the basis of which he creates a central visual element that will materialise its intention.
Subsequently, he works with the placement of stage elements in the space in such a way that they can fulfil their meaningful and functional potential within the work. His stage designs support and often complement the overall concept of the production. The set itself thus becomes a fully meaning-forming element. However, the multifunctionality of the design does not apply only to the objects or designs themselves, but to the entire space of the stage, whose unique specificity Lošonský does not bypass, but composes into the comprehensive set design of the production in question. Lošonský’s sets are not only a significant part of the overall visual aspect of the production, which supports the director’s intent, but they also act in support of the acting performance. The designs aid the actors to work with the space efficiently and creatively. The stage and the scenic elements, including their design, invite their use in different ways. They are not static, shapeless or unchanging. This is made possible especially by the variety of the technical design and spatial arrangement.
Good examples of his theatre stage design works include such productions as Europeana (Slovak Chamber Theatre, 2014), Solaris (State Theatre Košice, 2015), The Notebook (Andrej Bagar Theatre, 2015), Catch-22 (Andrej Bagar Theatre, 2019), or Kocúrkovo (Slovak National Theatre, 2023). In all cases, he respected the uniqueness of the stage space itself, into which he formed the scenic component of the production. The composition, as well as the nature or materiality of the individual scenic objects, proportionally corresponded to the atmosphere and nature of the production itself. In The Notebook, Lošonský used a wooden pier made of old-looking planks on which he placed a stark, cold and colourless jungle gym for children. The pier itself was used as the stage with several stage spaces – both indoor and outdoor ones. In Kocúrkovo, the set required a flexible and imaginative design that would not overwhelm the production, but, on the contrary, help create a kind of visual legend to the action on stage.
(Author: Alžbeta Vakulová, published online on 30th December 2024)
Theatre stage design
- 2009 / Academy of Performing Arts in Bratislava / stage design / Lev Nikolayevich Tolstoy: The Living Corpse, directed by: Júlia Rázusová
- 2010 / Academy of Performing Arts in Bratislava / stage design / Jean Anouilh: Medea, directed by: Zuzana Galková
- 2011 / Academy of Performing Arts in Bratislava / stage design / Roger Vitrac: Victor, or Power to the Children, directed by: Júlia Rázusová
- 2012/ Studio 12 Bratislava / stage design / Matej Moško: Improvising Pears, directed by: Matej Moško
- 2012 / Academy of Performing Arts in Bratislava / stage design / Vasily Sigarev: Little Wolf, directed by: Zuzana Galková
- 2012 / Andrej Bagar Theatre in Nitra / stage design / Lars von Trier: Who’s the Director Here?, directed by: Ján Luterán
- 2013 / Jonáš Záborský Theatre Prešov / stage design / Mariana Luteránová a Ján Luterán: Cinderella, directed by: Ján Luterán, Mariana Luteránová
- 2014 / Slovak Chamber Theatre Martin / stage design / Patrik Ouředník: Europeana, directed by: Ján Luterán
- 2015 / State Theatre Košice / stage design / William Shakespeare: A Midsummer Night’s Dream, directed by: Ján Mikuš
- 2015 / Andrej Bagar Theatre in Nitra / stage design / Ágota Kristóf: The Notebook, directed by: Ján Luterán
- 2016 / State Theatre Košice / stage design / Stanisław Lem: Solaris, directed by: Jan Willem van den Bosch
- 2017 / Alexander Duchnovič Theatre in Prešov / stage design / Zuzana Galková: Fearless, directed by: Zuzana Galková
- 2017 / Ján Palárik Theatre in Trnava / stage design / Francis Scott Fitzgerald: The Great Gatsby, directed by: Viktor Kollár
- 2017 / GUnaGU Theatre Bratislava / stage design / Viliam Klimáček: Love and Turpentine, directed by: Ján Luterán
- 2018 / State Theatre Košice / stage design / Line Knutzon: Craftsmen, directed by: Michal Spišák
- 2018 / GUnaGU Theatre Bratislava / stage design / Viliam Klimáček: Hot Summer of 68, directed by: Viliam Klimáček
- 2018 / Ján Palárik Theatre in Trnava / stage design / Roland Schimmelpfennig: On the Other Side, directed by: Viktor Kollár
- 2019 / State Theatre Košice / stage design / Molière: The School for Wives, directed by: Adriana Totiková
- 2019 / Andrej Bagar Theatre in Nitra / stage design / Joseph Heller: Catch-22, directed by: Ján Luterán
- 2020 / Jókai Theatre Komárno / stage design / William Shakespeare: Hamlet, directed by: Attila Matusek
- 2020 / ALBRECHT FORUM, o. z. / stage design / Antonio Caldara: Dafne, directed by: Mariana Luteránová
- 2021 / Thália Színház Theatre Košice / stage design and costume design / Carlo Goldoni: Bugrisok, directed by: Attila Matusek
- 2022 / Jókai Theatre Komárno / stage design / Jordi Galceran: Burundanga, directed by: Attila Matusek
- 2022 / Thália Színház Theatre Košice / stage design / William Shakespeare: Szentivánéji álom, directed by: Attila Matusek
- 2023 / Slovak National Theatre / stage design / Ján Chalupka: Kocúrkovo, directed by: Rastislav Ballek
- 2023 / National Theatre Košice / stage design / Marius von Mayenburg: Perplex, directed by: Juraj Bielik
- 2024 / Jozef Gregor Tajovský Theatre, Zvolen / Peter Pavlac: DEŽO HOFFMANN: "I photographed The Beatles", directed by Patrik Lančarič
- 2019 / DOSKY – Award for the Best Stage Design of the Season for the production Catch-22, Andrej Bagar Theatre in Nitra
- 2023 / DOSKY – Award for the Best Stage Design of the Season for the production Kocúrkovo, Drama Department of the Slovak National Theatre, Bratislava
- 2023 / Best Production Design (second place), Alexandre Trauner ART/Film festival 2023 for the title Moc (Hatalom / Power)
- 2024 / 21 NEISSE-NYSA-NISA film festival – best production design 2024 for the title Moc (Hatalom / Power)