Jozef Ciller
Profile
Jozef Ciller graduated from the Academy of Performing Arts in Bratislava, where he graduated in theatre stage design. After the completion of his studies, he collaborated with several theatres in what was then Czechoslovakia and took part also in international projects. Between 1967 and 2020, he was working at the Slovak National Uprising Theatre and/or Slovak Chamber theatre in Martin.
He pioneered a special type of action stage design, which sought new possibilities of staging, often in non-theatrical spaces that provide greater contact with the audience. The creative network of directors he has collaborated with include Ľubomír Vajdička, Ewald Schorm, Miloš Horanský, Ivan Rajmont, Peter Scherhaufer, Miloš Hynšt, Jiří Menzl, Ivan Petrovický, Vladimír Strnisko, Roman Polák, Martin Huba, and Marián Chudovský, among others. The variety of Ciller’s collaborators highlights his ability to creatively work with diverse types of directors. He also worked for film and television as an architect and stage designer.
In the early 1990s, he started working for the Department of Stage Design, Theatre Faculty of the Academy of Performing Arts, which he headed from 1990 until 2008. During his work for the Academy, he received the title of associate professor and full professor. He held individual exhibitions in Slovakia and abroad, participated in numerous international stage design exhibitions, and has been awarded many prestigious prizes for his work, including two gold and one silver medal at the Prague Quadrennial. He is a laureate of the Crystal Wing Award for lifetime achievement.
Jozef Ciller rejects the term “theatre decoration”. His poetics is characterized by a conceptual vision of dramatic reality and the discovery of new scenographic possibilities. He considers the actor to be the basic and most dynamic artistic element on stage, capable of articulating the space, changing it as needed, and thus adding new meanings to it. He envisages the actor as an important artistic component. Already in his professional beginnings, Ciller made efforts to establish the basis of his collaboration with the director as the quest for a directorial-dramaturgical concept, because, as he says himself, “stage design is meant to inspire the actor, provoke the director and surprise the spectator.” Jozef Ciller is considered a pioneer of a specific action stage design based on the relationship between the actor and the stage element, which in the course of the production functions as a dynamic sign in the pace and rhythm of changes determined by the actor’s action. An illustrative example is the production The Red Laugh (1975) staged at the Goose on the String Theatre and directed by Peter Scherhaufer. The production demonstrated an effective interaction between actors and stage elements, which at some point ended with the destruction of a stage element – the breaking of a wooden wardrobe with an axe right before the spectators’ eyes. Ciller defined stage space as action space in its entirety, which often led him, as a stage designer, to actively participate in the direction. In collaboration with Ľubomír Vajdička, the “action” aspect gradually weakened. Ciller began to adapt more extensively to Vajdička’s directorial poetics, to reproduce the text from scratch, which led to an active interpretation of meanings in the context of their development. With inventive stage design solutions, he also participated in Vajdička’s new interpretations of Slovak classics.
For Jozef Ciller, truthfulness is the fundamental element of theatre. Therefore, his artistic poetics is based on real objects from everyday life, which reinforce authenticity. The chair is a typical meaning-making element – in addition to basic furniture such as wardrobes or tables. It fascinates the artist in particular for its unobtrusiveness, functionality and timelessness. Through it, he is able to articulate the scenic space, create its tension and atmosphere, determine the social environment and also the nature of the characters in their historical context. In the production of The Smug Citizen (Slovak Chamber Theatre, 2016), Ciller used a large number of chairs from past times. The chairs helped him change the time frame of the plot in each act of the play. Chairs used in Eve of Retirement (Astorka, 2006) were reminiscent of the tombstones of people who died in concentration camps.
Wooden boards can also be described as a distinctive element, which – by means of Ciller’s artistic concepts – introduced a “dialectic of fantasy and reality” to the stage, The material refers to both a conventional as well as an avant-garde approach. A striking example is the now cult production of František Švantner’s novella The Bride of the Ridge, directed by Roman Polák, which featured a spatially large stage object made of wooden planks at its centre. By using natural wooden material with elements of patina, the stage designer symbolically placed the plot of the story within the environment of nature, thus supporting the expressionistic character of the subject with the assistance of the lighting dramaturgy. The collaboration with director Roman Polák introduced a new scenographic principle into the Ciller’s poetics, named “dynamic statism”. Its starting points are based on the direct relationship of dynamics and movement with stage and lighting design. It was a kind of opposition to action stage design. In his long-lasting career, Jozef Ciller repeatedly worked with the works of the Russian playwright Anton Pavlovich Chekhov. Several of the visual artworks for a production of The Cherry Orchard were eventually used as the topic of his inauguration thesis entitled Stage Design As a Cherry Orchard (1995). The concepts created for the various productions determine the directorial and artistic gesture, and among a certain number of interpretative possibilities and variations, they are still among the most original in Slovak theatre today. In Ivanov (Slovak National Uprising Theatre in Martin, 1976), directed by Ľubomír Vajdička, and The Cherry Orchard (Slovak National Uprising Theatre in Martin, 1979), directed by Miloš Hynšt, Ciller used dried foliage as one of the principal stage elements, alongside the furniture. The presence of leaves in both productions alluded to the cycle of human existence, which is inevitably bound to nature. the 1979 stage production of The Cherry Orchard, he designed a dark space referring to the symbol of the emptiness in the lives of most of the people in the play, who handle suitcases and bags all the time. The luggage in the production represented an allusion to the ephemerality of time and the worthlessness of the things people leave behind. In the third production of The Cherry Orchard (National Theatre Prague, 1984), Ciller chose five doors representing the five tribulations of humankind and at the same time the five doors of a kind of dangerous Pandora’s box as the basic starting point of the stage design. Doors are also a popular, though less exploited, segment in Ciller’s visual poetics. In directorial interpretations, as in The Cherry Orchard mentioned above, they take on various connotations of meaning.
Jozef Ciller is among the distinctive creators of Slovak theatre stage design. His set design concepts are characterized by solutions that inventively combine practicality and usability of the set system for both the artists and the audience. In addition to stage design, his creative activity includes costume design, art design, and exhibitions.
(Author: Nora Nagyová, published online on 30th December 2024)
- 1967 / Slovak National Uprising Theatre in Martin / stage and costume design / Miroslav Krleža: Masquerade – Salome, directed by Pavol Haspra
- 1967 / Janáček Academy of Performing Arts in Brno / stage design / Sophocles: Antigone, directed by Zdeněk Pospíšil
- 1967 / Slovácke Theatre Uherské Hradište / stage design / Alexander Sergeyevich Pushkin – Jaroslav Janovský: Eugene Onegin, directed by Artur Morten
- 1967 / Satirical Theatre Evening Brno / stage and costume design / Jiří Robert Pick: Romeo and Juliet, directed by Peter Scherhaufer
- 1968 / Slovak National Uprising Theatre in Martin / stage and costume design / Pavol Országh Hviezdoslav: Herodes and Herodias, directed by Ivan Petrovický
- 1968 / Mahen’s Non-Theatre Goose on a String, Brno / stage and costume design / Anton Pavlovich Chekhov – Peter Scherhaufer: Three Sisters / The Art of Paying Off One’s Debts, directed by Peter Scherhaufer
- 1968 / Satirical Theatre Evening Brno / stage and costume design / Vladimír Škutina: Trials, directed by Peter Scherhaufer
- 1969 / Slovak National Uprising Theatre in Martin / stage design / Słavomir Mrożek: Tango, directed by Stanislav Párnický
- 1969 / Mahen’s Non-Theatre Goose on a String in Brno / stage and costume design / Souchop Josef: This is My Order, directed by Otto Horn Valencia [Peter Scherhaufer]
- 1969 / E. F. Burian Theatre Prague / stage and costume design / Georg Büchner: Leonce and Lena, directed by Peter Scherhaufer
- 1969 / Goose on a String Theatre Brno / stage and costume design / Miloš Pospíšil: Adalbert’s Mission, or Out of the Depths of European Culture, directed by Otto Horn Valencia [Peter Scherhaufer]
- 1970 / Slovak National Uprising Theatre in Martin / stage design / Gerhart Hauptmann: Before Sunset, directed by Ivan Petrovický
- 1970 / Janáček Academy of Performing Arts Brno / stage and costume design / Arthur L. Kopit: Oh Dad, Poor Dad, Mamma’s Hung You in The Closet and I’m Feelin’ So Sad, directed by Peter Scherhaufer
- 1970 / Goose on the String Theatre Brno / stage and costume design / Jozef Palkovič: Two Blows and Three Bumps, directed by Otto Horn Valencia [Peter Scherhaufer]
- 1971 / Slovak National Uprising Theatre in Martin / stage design / Ján Palárik: Incognito, directed by Ľubomír Vajdička
- 1971 / Janáček Academy of Performing Arts Brno / stage and costume design / Ladislav Smoček: The Peculiar Afternoon of Dr. Zvonko Burke, directed by Peter Scherhaufer
- 1971 / Goose on the String Theatre Brno / stage and costume design / Valentin Katayev: Squaring the Circle, Otto Horn Valencia [Peter Scherhaufer]
- 1972 / Slovak National Uprising Theatre in Martin / stage design / Edmond Rostand: Cyrano de Bergerac, directed by Ivan Petrovický
- 1972 / Theatre on the String Brno / stage design / István Örkény: The Tóts, directed by Peter Scherhaufer
- 1972 / Theatre on the String Brno / stage and costume design / Peter Scherhaufer: 11 Days of the Battleship Prince Potemkin Taurichevsky, directed by Peter Scherhaufer
- 1972 / West Bohemian Theatre Cheb / stage and costume design / Johann N. Nestroy: Talisman, directed by Peter Scherhaufer
- 1973 / Slovak National Uprising Theatre in Martin / stage design / Jonáš Záborský: The Foundling, directed by Ľubomír Vajdička
- 1973 / Theatre on the String Brno / stage and costume design / Alexander Vampilov: 20 minutes with an Angel, directed by Peter Scherhaufer
- 1973 / Puppet Theatre Joy Brno / stage and costume design / Karel Čapek – Peter Scherhaufer: Mrs. Růženka’s Magic House, directed by Peter Scherhaufer
- 1974 / Slovak National Uprising Theatre in Martin / stage design / Ivan Stodola: Just Another Cup of Tea, directed by Ľubomír Vajdička
- 1974 / Theatre on the String Brno / stage and costume design / Zdeněk Pospíšil – Vladimír Páral: Professional Woman, directed by Peter Scherhaufer
- 1974 / Theatre on the String Brno / stage design / Mikhail Bulgakov – Peter Scherhaufer: Theatrical Novel, directed by Peter Scherhaufer
- 1975 / Slovak National Uprising Theatre in Martin / stage design / Božena Slančíková-Timrava: The Ťapák Clan, directed by Ľubomír Vajdička
- 1975 / Theatre on the String Brno / stage design / Miloš Štědroň – Milan Uhde: A Ballad for the Bandit, directed by Zdeněk Pospíšil
- 1975 / Theatre on the String Brno / stage and costume design / Leonid Andreyev – Petr Oslzlý – Peter Scherhaufer: The Red Laugh, directed by Peter Scherhaufer
- 1976 / Slovak National Uprising Theatre in Martin / stage design / Nikolai Vasilievich Gogol: The Marriage, directed by Emil Horváth Jr.
- 1976 / Theatre on the String Brno / stage design / Vilém Mrštík – Milan Uhde – Miloš Štědroň: To the Fairy Tale of May, directed by Zdeněk Pospíšil
- 1976 / Theatre on the String Brno / stage and costume design / Miloš Pospíšil – Jan Welzl – Eskimo: The Great Ramble, or The Curious Deeds of a Moravian Locksmith in the Golden North, directed by Peter Scherhaufer
- 1977 / Slovak National Uprising Theatre in Martin / stage design / Peter Kováčik: The Green Tree Inn, directed by Ľubomír Vajdička
- 1977 / Workers’ Theatre Gottwaldov / stage design / Eugene O’Neill: Mourning Becomes Electra, directed by Svatopluk Skopal
- 1977 / Slovácke Theatre Uherské Hradište / stage design / William Shakespeare – Vojtěch Vacke: A Comedy of the Deceived, or Twelfth Night, or Whenever You Like It, directed by Miloš Hynšt
- 1977 / Theatre on the String Brno / stage design / Yuli Dunsky – Valery Frid – Alexandr Mitta – Peter Scherhaufer: Shine, Shine, My Star, directed by Peter Scherhaufer
- 1978 / Regional Theatre Nitra / Pierre Carlet de Chamblain Marivaux: The Game of Love and Chance, directed by Peter Scherhaufer
- 1978 / Workers’ Theatre Gottwaldov / stage design / Mikhail Bulgakov: Molière, directed by Svatopluk Skopal
- 1979 / Regional Puppet Theatre in Banská Bystrica / stage and puppet design / Carlo Gozzi: The King Stag, directed by Ľubomír Vajdička
- 1979 / Theatre for Children and Youth Trnava / stage design / Mirka Čibenková: Charlie, directed by Juraj Nvota
- 1979 / Slovak National Uprising Theatre in Martin / stage design / Anton Pavlovich Chekhov: The Cherry Orchard, directed by Ľubomír Vajdička
- 1980 / Slovak National Theatre Bratislava / stage design / Ivan Sergeyevich Turgenev: A Month in the Country, directed by Ľubomír Vajdička
- 1981 / New Stage Theatre Bratislava / stage design / Johann Christoph Friedrich von Schiller: Love and Intrigue, directed by Vladimír Strnisko
- 1981 / Slovácke Theatre Uherské Hradište / stage design / Bertolt Brecht: The Resistible Rise of Arturo Ui, directed by Miloš Hynšt
- 1982 / Slovak National Uprising Theatre in Martin / stage design / Christopher Marlowe: Doctor Faustus, directed by Jozef Bednárik
- 1982 / National Theatre Prague / stage design / Friedrich Schiller: Love and Intrigue, directed by Ľubomír Vajdička
- 1982 / National Theatre Prague and Laterna Magica / stage design / Ladislav Helge – Ivan Balaďa – Eva Marie Bergerová – Jan Kratochvíl – Radúz Činčera: One Day in Prague, directed by Ladislav Helge, Ivan Balaďa, Eva Marie Bergerová, Jan Kratochvíl, Radúz Činčera
- 1983 / New Stage Theatre Bratislava / stage design / Ivan Kašlík – Josef Čapek – Karel Čapek: The Life of the Insects, directed by Jozef Bednárik
- 1983 / Slovak National Theatre Bratislava / stage design / Alois and Vilém Mrštík: Marisha, directed by Vladimír Strnisko
- 1983 / National Theatre Prague / stage design / Ivan Stodola: The Shepherd’s Wife, directed by Ľubomír Vajdička
- 1983 / Workers’ Theatre Gottwaldov / stage design / Nikolai V. Gogol: The Inspector General, directed by Miloš Hynšt
- 1984 / Slovak National Theatre Bratislava / stage design / Anton Pavlovich Chekhov: Three Sisters, directed by Ľubomír Vajdička
- 1984 / National Theatre Prague / stage design / Anton Pavlovich Chekhov: The Cherry Orchard, directed by Ľubomír Vajdička
- 1985 / Slovak National Uprising Theatre in Martin / stage design / Dale Wasserman: One Flew Over the Cuckoo’s Nest, directed by Ivan Petrovický
- 1985 / Vinohrady Theatre Prague / stage design / Anton Pavlovich Chekhov – Bertolt Brecht: Weddings, directed by Vladimír Strnisko
- 1986 / Slovak National Uprising Theatre in Martin / stage design / František Švantner ̶ Roman Polák: The Bride of the Ridge, directed by Roman Polák
- 1986 / State Theatre Brno / stage design / William Shakespeare: Troilus and Cressida, directed by Zdeněk Kaloč
- 1986 / National Theatre Prague / stage design / Molière: The Misanthrope, directed by Ľubomír Vajdička
- 1986 / Vinohrady Theatre Prague / stage design / Michael Frayn: Noises Off, directed by Jiří Menzl
- 1987 / Slovak National Uprising Theatre in Martin / stage design / György Schwajda: The Holy Family, directed by Juraj Nvota
- 1987 / S. K. Neumann Theatre Prague / stage design / Mikhail Bulgakov: The Escape, directed by Miloš Hronský
- 1988 / Slovak National Uprising Theatre in Martin / stage design / Pierre de Marivaux: Touches and Connections (The Dispute), directed by Roman Polák
- 1988 / Studio L+S Bratislava / stage design / Patrick Süskind: The Double Bass, directed by Martin Huba, Martin Porubjak
- 1988 / E. F. Burian Theatre Prague / stage design / Friedrich Dürrenmatt: The Visit, directed by Roman Polák
- 1989 / Slovak National Uprising Theatre in Martin / stage design / Bertolt Brecht: Baal, directed by Roman Polák
- 1990 / ASTORKA Korzo ’90 Theatre, Bratislava / stage design / Franz Kafka: The Trial, directed by Roman Polák
- 1992 / Slovak National Theatre Bratislava / stage design / Ivan Stodola: Just Another Cup of Tea, directed by Ľubomír Vajdička
- 1994 / National Theatre Prague / stage design / Ondrej Šulaj – Karel Steigerwald: About the Dog and the Cat, directed by Martin Porubjak
- 1994 / National Theatre Prague / stage design / Pierre de Marivaux: The Double Inconstancy, directed by Roman Polák
- 1994 / CED Brno – Goose on a String Theatre / stage design / Miloš Pospíšil – Jan Welzl Eskimo: The Big Ramble, directed by Peter Scherhaufer
- 1995 / Slovak National Uprising Theatre in Martin / stage design / Božena Slančíková-Timrava – Matúš Oľha: The Death of Paľo Ročka, directed by Matúš Oľha
- 1995 / National Theatre Prague / stage design / William Shakespeare: Cymbeline, directed by Ivan Rajmont
- 1996 / Jozef Gregor Tajovský Theatre in Zvolen / stage design / John Steinbeck: Of Mice and Men, directed by Ján Sládeček
- 1996 / National Theatre Prague / stage design / Anton Pavlovich Chekhov: The Cherry Orchard, directed by Ivan Rajmont
- 1997 / Slovak National Uprising Theatre in Martin / stage design / William Shakespeare: Coriolanus, directed by Roman Polák
- 1997 / National Theatre Prague / stage design / Fyodor M. Dostoyevsky – Johana Kudláčková – Josef Kovalčuk: Demons, directed by Ivan Rajmont
- 1997 / CED Brno – Goose on a String Theatre / stage design / Roman Sikora: Wolves, directed by Eva Tálská
- 1998 / Slovak National Theatre Bratislava / stage design / William Shakespeare: The Merry Wives of Windsor, directed by Emil Horváth \Jr.
- 1998 / National Theatre Prague / stage design / William Shakespeare: Othello, directed by Ivan Rajmont
- 1998 / National Theatre Prague / stage design / Eugene O’Neill: Long Day’s Journey Into Night, directed by Ivan Rajmont
- 1998 / National Theatre Prague / stage design / Henrik Ibsen: John Gabriel Borkman, directed by Ľubomír Vajdička
- 1999 / Slovak National Theatre Bratislava / stage design / Eugène Ionesco: The Chairs, directed by Ľubomír Vajdička
- 1999 / Moravian Theatre Olomouc / stage design / Alexander S. Pushkin – Emil F. Burian: Eugene Onegin, directed by Peter Gábor
- 1999 / National Theatre Prague / stage design / William Shakespeare: Anthony and Cleopatra, directed by Ivan Rajmont
- 2000 / Slovak National Theatre Bratislava / stage design / Ladislav Ballek: The Helper, directed by Ľubomír Vajdička
- 2000 / Moravian Theatre Olomouc / stage design / Johan W. Goethe: Faust I, directed by Peter Gábor
- 2000 / National Theatre Prague / stage design / Friedrich Schiller: Mary Stuart, directed by Ľubomír Vajdička
- 2000 / Moravian Theatre Olomouc / stage design / Lev Nikolayevich Tolstoy – Věra Mašková: Anna Karenina, directed by Peter Gábor
- 2001 / Slovak National Theatre Bratislava / stage design / Sophocles: Oedipus Rex, directed by Ľubomír Vajdička
- 2001 / National Theatre in Brno / stage design / Per Olov Enquist: The Image Makers, directed by Ľubomír Vajdička
- 2001 / Moravian Theatre Olomouc / stage design / Johan Wolfgang Goethe: Faust II, directed by Peter Gábor
- 2001 / National Theatre Brno / stage design / William Shakespeare: The Merry Wives of Windsor, directed by Peter Mikulík
- 2002 / Slovak National Uprising Theatre in Martin / stage design / Federico García Lorca: Blood Wedding, directed by Dodo Gombár
- 2002 / Theatre in Dlouhá Street, Prague / stage design / Ronald Harwood: The Dresser, directed by Martin Huba
- 2002 / Moravian Theatre Olomouc / stage design / William Shakespeare: Henry IV, directed by Peter Gábor
- 2003 / Slovak National Theatre Bratislava / stage design / Božena Slančíková-Timrava: A Great Deal of Luck, directed by Ľubomír Vajdička
- 2003 / National Moravian-Silesian Theatre Ostrava, Czech Republic / stage design / Isaac B. Singer – Michal Komar – Jan Szurmiej: The Magician of Lublin, directed by Peter Gábor
- 2003 / National Theatre Brno / stage design / Martin McDonagh: The Lonesome West, directed by Ľubomír Vajdička
- 2003 / Moravian Theatre Olomouc / stage design / Ulrich Plenzdorf: The Time of the Wolves, directed by Peter Gábor
- 2004 / Slovak National Theatre Bratislava / stage design / Leopold Lahola: Speaking to an Enemy, directed by Ľubomír Vajdička
- 2004 / Slovak National Theatre Bratislava / stage design / Martin McDonagh: The Pillowman, directed by Ľubomír Vajdička
- 2004 / CED Brno – HaDivadlo / stage design / Nicolas E. Baehr – Valéria Schulczová – Martina Hubová: Incident, directed by Martin Huba
- 2004 / Na Fidlovačce Theatre Prague / stage design / A Ballad for the Bandit, directed by Peter Gábor
- 2004 / Bez zábradlí Theatre Prague / costume design / Yevgeny Doga – Emil Lotianu – Jindřich Janda: Gypsies Are Found Near Heaven, directed by Radek Balaš
- 2005 / Aréna Theatre Bratislava / stage design / Rastislav Ballek: Tiso, directed by Rastislav Ballek
- 2005 / Bez zábradlí Theatre Prague / stage design / Martin Sherman: When She Danced, directed by Alice Nellis
- 2005 / National Moravian-Silesian Theatre Ostrava, Czech Republic / stage design / Petr Šabach – Petr Jarchovský – Jan Hřebejk – Miroslav Hanuš: Big Beat, directed by Peter Gábor
- 2005 / National Theatre Prague / stage design / Arthur Schnitzler: The Soul Is a Vast Domain, directed by Ivan Rajmont
- 2006 / Slovak Chamber Theatre Martin / stage design / Urs Widmer: Top Dogs, directed by Michal Vajdička
- 2006 / National Theatre Brno / stage design / Pierre Beaumarchais: The Marriage of Figaro, directed by Peter Gábor
- 2006 / National Theatre Brno / stage design / Martin McDonagh: The Lonesome West, directed by Ľubomír Vajdička
- 2006 / National Theatre Prague / stage design / Camille Saint-Saëns – Ferdinand Lemaire: Samson et Dalila, directed by Marián Chudovský
- 2007 / National Moravian-Silesian Theatre Ostrava, Czech Republic / stage design / Anton Pavlovich Chekhov: The Seagull, directed by Ľubomír Vajdička
- 2007 / National Theatre Prague / stage design / Tom Stoppard: Rock’n’roll, directed by Ivan Rajmont
- 2007 / National Moravian-Silesian Theatre Ostrava, Czech Republic / stage design / John Kander – Joe Masteroff: Cabaret, directed by Peter Gábor
- 2007 / National Theatre Prague / stage design / Bedřich Smetana: The Kiss, directed by Marián Chudovský
- 2007 / Bez zábradlí Theatre Prague / stage design / Hristo Boytchev: The Titanic Orchestra, directed by Jozef Ciller
- 2007 / Prague City Theatres / stage design / Thornton Wilder: Our Town, directed by Peter Gábor
- 2008 / National Theatre Prague / stage design / Giuseppe Verdi – Arrigo Boito: Falstaff, directed by Martin Huba
- 2009 / Slovak National Theatre Bratislava / stage and costume design / Rastislav Ballek: HollyRoth, directed by Rastislav Ballek
- 2010 / Slovak Chamber Theatre Martin / stage design / Yasmina Reza: Art, directed by Peter Mankovecký
- 2010 / Prague City Theatres / stage design / Pedro Almodóvar – Samuel Adamson: All About My Mother, directed by Peter Gábor
- 2010 / National Moravian-Silesian Theatre Ostrava, Czech Republic / stage design / Georges Bizet: Carmen, directed by Marián Chudovský
- 2010 / Slovácke Theatre Uherské Hradište, Czech Republic / stage design / Yevgeny Doga – Jindřich Janda: Gypsies Are Found Near Heaven, directed by Radek Balaš
- 2011 / Studio L + S Bratislava / stage design / Victor Haim: La Valse du Hazard, directed by Ľubomír Vajdička
- 2011 / National Moravian-Silesian Theatre Ostrava, Czech Republic / stage design / Umberto Giordano: Fedora, directed by Peter Gábor
- 2011 / Prague City Theatres / stage design / Gabriel G. Márquez – György Schwajda: One Hundred Years of Solitude, directed by Peter Gábor
- 2011 / National Moravian-Silesian Theatre Ostrava, Czech Republic / stage design / Charles Gounod: Romeo and Juliet, directed by Peter Gábor
- 2012 / Na Jezerce Theatre, Prague / stage design / Jiří Hubač: I, Francoise Villon, directed by Radek Balaš
- 2013 / National Theatre Brno / stage design / Giuseppe Verdi: I Vespri Siciliani, directed by Laco Adamik
- 2014 / Slovak Chamber Theatre Martin / stage design / Alexander Nikolayevich Ostrovsky: The Forest, directed by Lukáš Brutovský
- 2014 / National Theatre Brno / stage design / William Shakespeare: Othello, directed by Rastislav Ballek
- 2015 / Slovak Chamber Theatre Martin / stage design / Dodo Gombár – Róbert Mankovecký: www.narodnycintorin.sk – Part Five, directed by Dodo Gombár
- 2015 / Švanda Theatre in Smíchov, Prague / stage design / Molière: The Misanthrope, directed by Lukáš Brutovský
- 2017 / Vinohrady Theatre Prague / stage design / František Langer: Periphery, directed by Martin Huba
- 2018 / Slovak Chamber Theatre Martin / stage design / Stefan Zweig – Lukáš Brutovský: A Politician’s Biology – FOUCHÉ!, directed by Lukáš Brutovský
- 2018 / Slovak Chamber Theatre Martin / stage design / David Gieselmann: The Phobics, directed by Lukáš Brutovský
- 2019 / City Theatre Zlín / stage design / Arthur Miller: Death of a Salesman, directed by Ľubomír Vajdička
- 2020 / Bez zábradlí Theatre Prague / stage design / Yevgeny Doga – Jindřich Janda: Gypsies Are Found Near Heaven, directed by Radek Balaš
1975 / Prague Quadrennial – Gold Medal
1977 / Award of the Belgian Minister of Culture, De la Gente Festival, Belgium
1981 / 6th International Triennial of Theatre Stage and Costume Design in Novi sad – Gold Medal
1983 / Prague Quadrennial – Gold Medal
1887 / Prague Quadrennial – Silver Medal
1991 / The Guardian Critics Choice Edinburgh – award for the production of Touches and Connections (Slovak National Uprising Theatre Martin)
2007 / Award of the Speaker of the National Council of the Slovak Republic for lifetime achievement in culture and humanities education development
2008 / Literary Fund Bratislava – Lifetime Achievement Award
2017 / Award of the Minister of Culture of the Slovak Republic in 2016 for special contribution and innovative approach in theatre, film, and television stage design
2012 / Pavel Strauss Award – a prize for permanent contribution in the area of art and culture