Eva Kleinová
Profile
In 1980–1984, she studied at the Secondary School of Applied Arts in Bratislava, majoring in arts and crafts, with a focus on hand weaving, lace-making, and embroidery. She completed her university education at the Theatre Faculty of the Academy of Performing Arts in Bratislava (1985–1990), majoring in theatre and radio art – stage design, with a specialization in costume design. In 1989, she completed a three-month study internship at the Moscow Academic Art Theatre, which considerably broadened her professional horizons in stage design. In 2009, she completed her doctoral study at the Department of Stage Design, at the Theatre Faculty of the Academy of Performing Arts. It was at the Academy where she also completed her teaching degree, which qualifies her to teach art classes at secondary schools.
While still a student at university, she demonstrated a unique sense of artistic stylization and the expressive symbolism in costume design. For her costume and set design for the student production of Pavel Kyrmezer’s A New Comedy About a Widow (directed by Pavol Mikulík, 1988), she won an award at the 15th annual Arezzo Theatre Festival in Italy, marking her first major success abroad.
Eva Kleinová also presented her work as a costume designer at other international events, namely, at the International Biennale Design Festival in Saint-Étienne, France, with her own fashion show (2000), as well as at a group exhibition – the Salon of Czech and Slovak Stage Design at the National Theatre in Brno – Reduta, organized by the Czech National Centre of the International Organization of Stage Designers, Theatre Architects, and Technicians (ČOSDAT) and the Slovak Theatre Institute (2018).
During her theatre career, she has collaborated with several Slovak and international theatres. These included, above all, the Slovak National Theatre in Bratislava, Andrej Bagar Theatre in Nitra, Jozef Gregor Tajovský Theatre in Zvolen, Teatro Tatro, City Theatre Žilina, Aréna Theatre Bratislava, State Opera Banská Bystrica, State Theatre Košice, Karol Spišák’s Old Theatre, Jonáš Záborský Theatre, Slovak Chamber Theatre Martin, among others.
Her costume and set designs have been used in productions staged at such festivals as Visegrad Days (State Theatre Košice, 2016), Festival Dream Factory Ostrava (2016), Theatre of European Regions, Hradec Králové (2016), Touches and Connections (2016–2018), and Eurokontext.sk at the Slovak National Theatre (2017).
In terms of international cooperation, it is worth noting her participation in the International Puppet Theatre Festival in Banja Luka (Bosnia and Herzegovina, 2007), where she designed the costumes and set for the production Long, Broad, and Sharpeyes (directed by Branislav Matuščin, Ján Gregor Tajovský Theatre Zvolen).
In addition to her artistic work, Eva Kleinová has long been involved in teaching and professional activities. For thirteen years, she served as both a full-time and part-time teaching assistant in the Department of Visual Arts and Education at the Department of Music of Constantine the Philosopher University in Nitra, where she focused on integrating visual arts and theatre education. She was the principal investigator of a project funded by the European Union’s Structural Funds – Education Through Theatre – and cooperated on the production of the musical The Dance of the Vampires (2011, Karol Spišák’s Old Theatre in Nitra and University of Constantine the Philosopher, Nitra) as part of the student licence VBW International GmbH (Vienna), for which she designed the set and costumes.
At present, she heads the Department of Advertising Art at the Private School of Applied Arts in Nitra, where she fosters creative approaches to graphic design, set design, and costume design. In addition to her teaching activities, she engages in freelance work in the field of costume design for theatre, film, and advertising, and conducts workshops for children and youth in collaboration with the Andrej Bagar Theatre in Nitra and the Centre for Leisure Activities in Nové Zámky.
Eva Kleinová’s costume design is distinguished by its consistent simplicity, subdued colour palette, and strong dramaturgical discipline. Reviews covering her diverse body of work (drama, ballet, opera, and physical theatre) have noted that she does not rely on ornamentation or decoration, but rather on precisely chosen elements that define the social, psychological, and situational context of the characters. Her costumes give a restrained impression, yet they are also exceptionally functional and precise in their meaning. In her work, Kleinová views costumes as a natural and essential part of the directorial and staging concept. She does not view them as mere accessories, but as elements that help shape the meaning and atmosphere of a production. This why her costumes appear consistent and blend seamlessly into the overall visual concept – whether the productions are realistic, symbolic, or movement-oriented. She regularly collaborates with numerous directors, including Michal Spišák, Branislav Matuščin, Ján Luterán, and Valéria Schulczová.
A prominent feature of her style is a marked reduction in the colour palette. She most often works with white, black, and grey, as well as natural tones, which always reinforce the thematic core of the production – coldness, loneliness, the reality of war, or psychosocial tension. In Longing for the Enemy (Slovak National Theatre, 2017), the understated elegance of her costumes is contrasted with the modern sterility of the set, thereby seeking to highlight alienation as the production’s central theme. In The Notebook (Andrej Bagar Theatre, 2015) The monochromatic costume design underscores the harshness of the war years and the prevailing state of scarcity. Even in fairy-tale-inspired, movement-based productions such as The Blue Bird (Ján Palárik Theatre Trnava, 2017), she consistently sticks to subtle colours; she uses more vivid colours only selectively, primarily to distinguish symbolic or surreal characters. Although her style is predominantly understated and restrained, she is also capable of creating stylized or symbolic figures when the dramaturgy of a work requires it. The most striking example is the character of the Angel in Longing for the Enemy (Slovak National Theatre, 2017), where white wings and simplistic stylization create a contrast to what are otherwise very civil costumes. Similarly, in The Blue Bird (Ján Palárik Theatre Trnava, 2017) she incorporates subtle magical elements, which, however, never seem excessively ornate. That is why her costumes appear cohesive and significantly enhance the atmosphere of the production – ranging from austere documentary realism to spaces stylized through symbolism or movement. Critics have repeatedly highlighted her eye for subtle detail: a worn-out sweater, a faded shirt, shapeless pants, or coarse fabric. The precise layering of materials and subtle signs of wear give the costumes meaning and, together with the director’s vision for the work, help set the atmosphere of the space – whether it is a cold hospital setting, the misery of war, bureaucratic austerity, or claustrophobic intimacy.
(author: Adam Križan)
- 2001 / Old Theatre Nitra / assistant of the visual design / Maurice Maeterlinck: The Blue Bird, directed by Ondrej Spišák
- 2001 / Drama Production / costume design / Viliam Klimáček: Carpathian Bitter, directed by Viliam Klimáček
- 2001 / Teatro Tatro / costume design / Ondrej Spišák: Little Red Riding Hood, or Clowns of the World, Unite! directed by Ondrej Spišák
- 2002 / City Theatre Bratislava / stage and costume design / Dario Fo: The Open Couple, directed by Michal Spišák
- 2003 / Teatro Tatro / stage and costume design / Ondrej Spišák: Clowns of the World, unite! or Amore, directed by Ondrej Spišák
- 2003 / City Theatre Žilina / costume design / William Shakespeare: A Midsummer Night’s Dream, directed by Branislav Matuščin
- 2004 / Teatro Tatro / costume and stage design / Ondrej Spišák: Clowns of the World, Unite! Or Clowns, directed by Ondrej Spišák
- 2005 / City Theatre Žilina / costume design / Jozef Lenhart: Frau Mozart, directed by Branislav Matuščin
- 2005 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Didier Kaminka: Don’t Panic! directed by Michal Spišák
- 2006 / City Theatre Žilina / costume design / Jozef Lenhárt, Ferko Urbánek: Mrs. Mayor, directed by Branislav Matuščin
- 2006 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Alfred Uhry: Driving Miss Daisy, directed by Michal Spišák
- 2006 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Ľubomír Feldek: Long, Broad, and Sharpeyes, directed by Branislav Matuščin
- 2007 / Aréna Theatre / costume design / Gejza Dusík: Under a Foreign Flag, directed by Rastislav Ballek
- 2007 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Santiago Moncada: I Will Never Fall for You Again, directed by Michal Spišák
- 2007 / State Opera Banská Bystrica / costume design / Carl Orff: The Story of the King and the Wise Woman, directed by Juraj Svoboda
- 2007 / State Opera Banská Bystrica / costume design / Igor Stravinsky: The Soldier’s Tale, directed by Juraj Svoboda
- 2007 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Zdenka Becker: Boogie & Blues, directed by Michal Spišák
- 2007 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Ľudmila Podjavorinská: Chin-Chin, directed by Branislav Matuščin
- 2008 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Georges Feydeau: Fitting for Ladies, directed by Michal Spišák
- 2008 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Nina Stoicheva: Puss in Boots, directed by Branislav Matuščin
- 2009 / Apollo Theatre / costume design / Arthur Schnitzler: Hands Around – Ten Dialogues about “Love” for Potential Cynics, directed by Jozef Dolinský, Jr.
- 2009 / Spiš Theatre / costume design / Alexander Nikolayevich Ostrovsky: The Bankrupt, directed by Ján Sládeček
- 2010 / State Opera Banská Bystrica / costume design / Maurice Jarre: Notre Dame de Paris, directed by Jozef Dolinský, Jr.
- 2010 / Spiš Theatre / costume design / Božena Slančíková-Timrava: The Ultimate Beauty, directed by Ján Sládeček
- 2010 / State Theatre Košice / costume design / Július Barč-Ivan: The Greasy Pot, directed by Michal Spišák
- 2010 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Dalibor C. Faltis: Snow White and the Seven Dwarves, directed by Branislav Matuščin
- 2010 / Arteatro / stage and costume design / Michal Spišák: Midnight Blues, directed by Michal Spišák
- 2011/ Jozef Gregor Tajovský Theatre in Zvolen / costume design / Luigi Lunari: Three Men on a Swing, directed by Michal Spišák
- 2012 / Karol Spišák’s Old Theatre in Nitra / costume design / Zuzana Ferenczová, Anton Medowits: Solitaire.sk, directed by Michal Spišák
- 2012 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Peter Stoličný, Ján Štrasser, Igor Bázlik: Polepetko, directed by Branislav Matuščin
- 2013 / State Theatre Košice / costume design / Petr Zelenka: Tales of Ordinary Madness, directed by Michal Spišák
- 2013 / Jonáš Záborský Theatre / costume design / Ján Luterán, Mariana Luteránová: Cinderella, directed by Ján Luterán
- 2013 / New Stage Theatre / stage and costume design / Slávka Civáňová: Prince Bajaja, directed by Peter Oravec
- 2014 / Slovak Chamber Theatre Martin / costume design / Patrik Ouředník: Europeana, directed by Ján Luterán
- 2014 / Pavol Országh Hviezdoslav City Theatre / costume design / Valéria Schulczová, Roman Olekšák: Doctor Macbeth, directed by Valéria Schulczová
- 2014 / Pavol Országh Hviezdoslav City Theatre / costume design / Alexander Nikolajevič Ostrovskij: Enough Stupidity in Every Wise Man, directed by Valéria Schulczová
- 2015 / Jozef Gregor Tajovský Theatre in Zvolen / costume design / Juraj Sarvaš: The Tatry Eagle, directed by Juraj Sarvaš
- 2015 / Andrej Bagar Theatre in Nitra / costume design / Agota Kristof: The Notebook, directed by Ján Luterán
- 2015 / Andrej Bagar Theatre in Nitra / costume design / Jordi Galceran: Four in the Ring (The Grönholm Method), directed by Michal Spišák
- 2016 / Andrej Bagar Theatre in Nitra / stage and costume design / Arnošt Goldflam: The Ladies’ Dressing Room, directed by Michal Spišák
- 2016 / Spiš Theatre / costume design / František Xaver Šalda: Child, directed by Ján Sládeček
- 2016 / State Theatre Košice / costume design / Florián Zeller: Father, directed by Ján Luterán
- 2017 / Andrej Bagar Theatre in Nitra / costume design / Ivan Bukovčan: Until the Rooster Crows, directed by Michal Spišák
- 2017 / Spiš Theatre / costume design / Thomas Brandon: Charley’s Aunt, directed by Emil Spišák
- 2017 / Slovak National Theatre / costume design / Bernhard Studlar: Longing for the Enemy, directed by Ján Luterán
- 2017 / Ján Palárik Theatre in Trnava / costume design / Maurice Maeterlinck: The Blue Bird, directed by Peter Palik
- 2018 / State Theatre Košice / costume design / Line Knutzon: Craftsmen, directed by Michal Spišák
- 2018 / ASTORKA Korzo ’90 Theatre / costume design / Ján Luterán, Miroslav Dacho: Our Guy, directed by Ján Luterán
- 2018 / Aréna Theatre / costume design / Yasmina Reza: Bella Figura, directed by Michal Spišák
- 2019 / Andrej Bagar Theatre in Nitra / Joseph Heller: Catch XXII, directed by Ján Luterán
- 2020 / Andrej Bagar Theatre in Nitra / Ján Luterán: Robin Hood, directed by Ján Luterán
- 2023 / Jozef Gregor Tajovský Theatre / Hadar Galdron: I Love Mama, directed by Hadar Galdron
- 2023 / Pavol Országh Hviezdoslav Theatre Bratislava / costume design / Valeria Schulczová: Pozsony Dance Club, directed by Valeria Schulczová
- 2024 / Andrej Bagar Theatre in Nitra / costume design / Dan Goggin: Nunsense, directed by Karel Škarka