Eduard Kudláč
Profile
Eduard Kudláč graduated from the Academy of Performing Arts in Bratislava where he majored in theatre direction. He took a professional internship at the Summer Academy for Performing Arts in Sofia, Bulgaria. In 2000, he founded a theatre group called phenomenontheatre – an independent platform for contemporary theatre with primary focus on movement and non-verbal theatre forms. In the same period, he was a guest dramaturg at the Puppet Theatre in Žilina. Since 2009, he has been the artistic director for the City Theatre in Žilina where he works as a director with mostly young actors. As a leading personality of the theatre in Žilina, he has supported a bold repertory with a preference for contemporary Slovak and international drama and initiated the creation of original plays for the house in Žilina. As a director and dramaturg, he has shown a preference for contemporary German drama and focused on unconventional interpretations of classical non-dramatic texts.
Some productions directed by Eduard Kudláč were successfully presented abroad at international festivals of alternative theatre, e.g. his production of Description of a Picture (City Theatre Žilina, 1999). The production titled the correction of a correction (2000) was performed in theatres in Prague, Ostrava, Novosibirsk, Athens, Dortmund and Regensburg. Kudláč is a laureate of the Dosky Award in the Discovery of the Season category for his production of I Am Absolute Will (Academy of Performing Arts, 1997). His productions also received several important awards at the Nová Dráma/New Drama festival. In addition to full-time work at his home theatre, he regularly works as a guest artist for numerous Slovak theatres (State Theatre Košice, Drama Department of the Slovak National Theatre, L+S Studio Bratislava).
Eduard Kudláč belongs to the middle generation of contemporary directors and is a representative of the poetics of directorial minimalism. Early in his artistic career, he started to search for new possibilities in theatre focusing on non-verbal means of expression and ways to fragment the story. Sophisticated concepts and structures of peculiar subject matters, striking movement expressivity and non-verbal action of the protagonists were inspired by non-dramatic texts, internet blogs or online chats. These fully unfolded in Kudláč’s own theatre group phenomenontheatre. He used lighting effects from various sources to extend his exhibitionist stage direction which in this type of platform has often relied on an empty or almost empty stage. In his work with actors, he strove for simplicity and authenticity of performance, for example in Feed the Snake on Your Chest I and II, often using the vulgarity of life in the street. A common feature of his productions is the revealing and naming of the symptoms of various human ills, paranoias, diseases or social transformations. He likes to avoid abstraction and heightened interpretations and rather tends to analyze specific problems and topical issues.
Kudláč has maintained the prominent features of his autonomous directorial method (stage minimalism, vividness, moderation, nearly geometrical precision and simple stage design) – which he has cultivated in his own theatre – also when staging plays in bricks-and-mortar theatres, even though in these productions he focuses mostly on the story. Besides strong inclination to modern contemporary theatre and productions of plays written by international playwrights (Ivan Vyrypaev and Roland Schimmelpfennig), Kudláč uses his unconventional directorial style to produce world classics of both drama and prose. Although he frequently becomes an active dramaturg of some of his productions, dramatizations of works of prose – ranking among the most successful in his work – were prepared in collaboration with dramaturg Daniel Majling (Crime and Punishment) and Czech dramaturg and playwright Iva Klestilová (Madame Bovary). Eduard Kudláč works in tandem with his wife, stage designer and costume artist Eva Kudláčová-Rácová.
- 1997 / Academy of Performing Arts, Bratislava / Ladislav Klíma: I Am Absolute Will
- 1997 / Puppet Theatre, Žilina / Tomáš Hudcovič, Marek Šimko, Eduard Kudláč: The Snow Queen
- 1998 / City Theatre, Žilina / William Shakespeare: Macbeth
- 1999 / City Theatre, Žilina / Heiner Müller: Description of a Picture
- 2000 / phenomenontheatre and J.A.V. Theatre, Žilina / Monika Mitášová, Eduard Kudláč: the correction of a correction
- 2002 / phenomenontheatre, Žilina / Eduard Kudláč: exercise 1
- 2003 / phenomenontheatre, Žilina / Roman Ondák, Eduard Kudláč: angle
- 2005 / Pôtoň Theatre, Bátovce / Katarína Mišíková: I Forgot
- 2005 / phenomenontheatre, Žilina / Rodrigo García: I Bought a Spade at IKEA to Dig My Own Grave
- 2006 / phenomenontheatre, Žilina / Walk/Walking
- 2007 / phenomenontheatre, Žilina and Station Žilina-Záriečie, Žilina / Eduard Kudláč: Feed the Snake on Your Chest Part I: Stamina Report
- 2007 / Station Žilina-Záriečie, Žilina / Nicoleta Esinencu, Eduard Kudláč: Fuck You, EU. RO. PA./Zuckerfrei
- 2007 / Slovak Chamber Theatre, Martin / Roland Schimmelpfenning: Before/After
- 2008 / phenomenontheatre, Žilina / Eduard Kudláč: Feed the Snake on Your Chest Part II: Reality Report
- 2008 / City Theatre Žilina / Sergi Belbel: Cell Phone
- 2009 / City Theatre Žilina / Roland Schimmelpfenning: The Woman from the Past
- 2009 / City Theatre Žilina / Roland Schimmelpfenning: Push Up 1-3
- 2010 / City Theatre Žilina / Peter Handke: Underground Blues
- 2011 / Slovak National Theatre, Bratislava / Sarah Ruhl: Dead Man’s Cell Phone
- 2011 / City Theatre Žilina / Fyodor Mikhailovich Dostoyevsky, Michaela Zakuťanská: The Idiot
- 2011 / City Theatre Žilina / Roland Schimmelpfenning: CET (Central European Time)
- 2012 / City Theatre Žilina / Viliam Klimáček: Beat (Everyone Has Their Own Rhythm)
- 2012 / L+S Studio, Bratislava / Peter Turrini: Finally, the End…
- 2012 / City Theatre Žilina / Iva Klestilová: Leaves Rustling in the Sistra
- 2012 / State Theatre Košice / Jonáš Záborský: Foundling
- 2012 / Alexander Duchnovič Theatre, Prešov / Fiodor Sologub: Poor Devil
- 2012 / State Theatre Košice / Fyodor Mikhailovich Dostoyevsky, Daniel Majling: Crime and Punishment
- 2013 / City Theatre Žilina / Dea Loher: Bluebeard (Hope of Women)
- 2013 / Slovak National Theatre, Bratislava / Gustave Flaubert, Iva Klestilová: Madame Bovary
- 2013 / City Theatre Žilina / Fyodor Mikhailovich Dostoyevsky, Daniel Majling: Crime and Punishment
- 2014 / Slovak National Theatre, Bratislava / Ivan Vyrypaev: Illusions
- 2014 / Academy of Performing Arts, Bratislava / Eduard Kudláč: Sum Spiro Spero
- 2014 / City Theatre Žilina / Dea Loher: Thieves
- 2014 / L+S Studio, Bratislava / Yevgeny Grishkovetz: All Quiet in the East
- 2014 / City Theatre Žilina / Ivan Vyrypaev: The Drunks
- 2015 / National Theatre Prague, Czech Republic / Chanoch Levin: The Labour of Life
- 2015 / L+S, Studio Bratislava / Michaela Doležalová, Janka Ryšánek Schmiedtová: Three Graces from Formica
- 2015 / City Theatre Žilina / Ivan Vyrypaev: Illusions
- 2016 / Slovak National Theatre, Bratislava / Dea Loher: Innocence
- 2016 / City Theatre Žilina / Roland Schimmelpfennig: Idomeneus
- 2016 / City Theatre Žilina / Daniel Doubt: Resurrection
- 2016 / Petr Bezruč Theatre, Ostrava, Czech Republic / Mohamed Rouabhi: Arnaques, Cocaïne et Bricolage
- 2017 / agency production / Florian Zeller: The Lie
- 2017 / City Theatre Žilina / Ivan Vyrypaev: Unbearably Long Embraces
- 2018 / Slovak National Theatre, Bratislava / Fyodor Mikhailovich Dostoyevsky: A Gentle Creature
- 2018 / City Theatre, Žilina / Mohamed Rouabhi: Arnaque, cocaïne & bricolage
- 2018 / Pod Palmovkou Theatre, Prague, Czech Republic / Caryl Churchill: Cloud 9
- 2018 / Prague City Theatres, Prague, Czech Republic / Joël Pommerat: The Reunification of the Two Koreas
- 2019 / City Theatre, Žilina / Charlotte Roos, Juli Zeh: Yellow Line
- 2019 / GUnaGU Theatre, Bratislava / Viliam Klimáček: The Lady of Čachtice Castle
- 2019 / City Theatre, Žilina / Miklós Forgács: The Grimless Reaper
- 2021 / City Theatre, Žilina / Jon Fosse: Someone Will Come
- 2021 / Slovak National Theatre, Bratislava / Caryl Churchill: Escaped Alone
- 2021 / City Theatre, Žilina / Thomas Melle: Pictures of Us
- 1997 / Dosky – award in the Discovery of the Season category for the production of Ladislav Klíma’s play I Am Absolute Will
- 2006 / Special Prize of the Jury at the 2006 Nová dráma/New Drama festival for the production I Bought a Spade at IKEA to Dig My Own Grave
- 2008 / Award for Best Staging of a contemporary international play at the 2008 Nová dráma/New Drama festival for the production Before/After
- 2008 / Surprise Award at the 2008 Nová dráma/New Drama festival for the production of Feed the Snake on Your Chest. Part I: Stamina Report
- 2008 / the Literary Fund Prize in the Theatre category for directing the production The Woman from the Past
- 2009 / Award for best staging of a contemporary international play at the 2009 Nová dráma/New Drama festival for the production Cell Phone
- 2011 / Special Prize of the Jury at the 2011 Nová dráma/New Drama festival for the production of Underground Blues