Rastislav Ballek
Profile
Rastislav Ballek studied philosophy and sociology at the Faculty of Arts of Comenius University in Bratislava. Later, he graduated in theatre direction and dramaturgy from the Academy of Performing Arts in Bratislava. Already the productions, dramatization of Slovak classics, that he directed as a student (Departure From Bratislava, Weirdos) enjoyed great response both in Slovakia and abroad. In 1999–2001, he worked as full-time director at the Slovak National Uprising Theatre in Martin, in 2001–2005 as a director for the Alexander Duchnovič Theatre in Prešov, in 2002–2009 as full-time director for City Theatre Žilina where he was also artistic director between 2003 and 2008. In 2006 Ballek started his fruitful cooperation with the Aréna Theatre in Bratislava, where he created the iconic devised production Tiso (2005) and directed the productions Kukura (2011), Holocaust (2012), and Rosmersholm (2013). For the Opera of the Slovak National Theatre, he directed the world premiere of Martin Burlas’s chamber opera Coma (2007). He has also collaborated with many Slovak and Czech theatres (Slovak Chamber Theatre in Martin, Alexander Duchnovič Theatre in Prešov, Drama Department of the Slovak National Theatre, Rokoko Theatre in Prague, National Theatre in Brno). Rastislav Ballek’s productions and theatre projects regularly participate in domestic and international festivals (Theatre in Pilsen, Sterijino pozorje in Serbia, Nová dráma/New Drama, Divadelná Nitra, Eurokaz Festival in Zagreb, Expo 2000 in Hannover). He is the laureate of several of the prestigious Dosky Awards in different categories.
While a student at the Academy of Performing Arts, Ballek worked as a director and author of dramatizations with dramaturge Martin Kubran. Their collaboration yielded a series of productions which captivated audiences and theatre critics alike and which were distinct for their original view of marginalized works of Slovak literature, for example Svetozár Hurban Vajanský’s The Flying Shadows (J. G. Tajovský Theatre in Zvolen, 1994) and Weirdos (Academy of Performing Arts, 1995), or Departure from Bratislava by Mikuláš Dohnány (Academy of Performing Arts, 1995). Ballek developed his interest in this kind of literary “medical history” at the Slovak National Uprising Theatre in Martin where he revived many Slovak literary texts that were almost forgotten. He produced Vajanský’s Wasteflower (1997), God’s Atoms by Gejza Vámoš (1998), and the cycle was closed by the production Without God in the World based on a short story by Kristína Royová (1999). His interest in national themes and the Slovak society, as well as in controversial personalities of Slovak history was confirmed also in other productions (Krcheň the Immortal, Tiso, HOLLYROTH, Mojmír II or the Twilight of an Empire) in which he addressed the issues of national and social values, cultural heritage, capital, morality vs. immorality of a nation.
In addition to a strong tendency of producing plays addressing national themes, Ballek is also known for his focus on the classics of world drama (Don Juan, Oresteia, Hamlet, Othello, Macbeth, Endgame, Nora) with an unconventional approach, yet using his typical and tried method of authorial deconstruction. Ballek’s distinctive artistic style is always original, with dominant and detailed multiple meanings that offer a broad range of timeless and broad contextual overlaps. The characteristic features of the majority of Ballek’s productions are a modern theatre language, suggestive images and an unforced, but still urgent moral appeal to the audience – to ask fundamental questions about the production’s theme that is socially relevant for people. As a director, Ballek achieves this by using typical, simultaneously appearing stage settings which, at first sight, make the impression of being a very intricate puzzle, but which, however, gradually unfold into a clear artistic message. This conceptually elaborate, craftul and precise work with parallel plot lines, as well as decentralized scenes help the director develop several thematic lines and present the characters from various points of view. Owing to this approach, Ballek can work with diverse associations, which often results in chilling punchlines. Rastislav Ballek makes suggestive and visually artful theatre, often based on aesthetics of the unpleasant and ugly, on rough even tasteless scenes that – as part of a whole – offer an image about the present that is aesthetically impressive and presents an ideologically clean picture of today.
Ballek is part of a minor category of Slovak directors whose productions manifest evident inspiration by modern European theatre, mostly as far as their form is concerned. Via his productions, he successfully starts meaningful artistic dialogue with different theatre cultures and receives adequate response from both the general public and theatre critics. This multi-layered flexibility is authenticated by Ballek’s collaboration with theatres in the Czech Republic and theatres performing in other languages in Slovakia (Alexander Duchnovič Theatre in Prešov – Ruthenian language, Jókai Theatre in Komárno – Hungarian language). When creating his productions, Ballek frequently cooperates with a proven team of collaborators – dramaturg Martin Kubran, musician Andrej Kalinka, stage designer and costume artist Katarína Holková. One of Ballek’s main objectives is to use theatre language to name and capture problematic issues from national history and present, and to use them to point out the fact that while history might change, humans remain the same.
- 1994 / Jozef Gregor Tajovský Theatre, Zvolen / Svetozár Hurban Vajanský, Rastislav Ballek: The Flying Shadows
- 1995 / Academy of Performing Arts, Bratislava / Mikuláš Dohnány: Departure from Bratislava
- 1995 / Academy of Performing Arts, Bratislava / Svetozár Hurban Vajanský, Martin Kubran, Rastislav Ballek: Weirdos
- 1997 / Academy of Performing Arts, Bratislava / Svetozár Hurban Vajanský, Martin Kubran, Rastislav Ballek: Wasteflower
- 1998 / Slovak National Uprising Theatre, Martin / Gejza Vámoš, Martin Kubran, Rastislav Ballek: God’s Atoms
- 1999 / Slovak National Uprising Theatre, Martin / Kristína Royová, Martin Kubran, Rastislav Ballek: Without God in the World
- 2000 / Slovak National Uprising Theatre, Martin / Róbert Mankovecký, Tomáš Ciller, Rastislav Ballek: Three Little Pigs
- 2001 / Slovak National Uprising Theatre, Martin / Pavol Dobšinský, Róbert Mankovecký, Rastislav Ballek: Popolvar, the Greatest in the World
- 2001 / Alexander Duchnovič Theatre, Prešov / Friedrich Schiller: The Parasite
- 2001 / City Theatre Žilina / Róbert Mankovecký, Rastislav Ballek: Dr. Jekyll & Mr. Hyde
- 2001 / Alexander Duchnovič Theatre, Prešov / Karol Horák: La Musica
- 2002 / Alexander Duchnovič Theatre, Prešov / John Steinbeck, Vasil Turok: Tortilla Flat
- 2002 / Alexander Duchnovič Theatre, Prešov / Karol Horák: Arbitration
- 2002 / Slovak National Uprising Theatre, Martin / Eva Maliti-Fraňová: Krcheň the Immortal
- 2002 / City Theatre Žilina / Tomáš Rosický, Rastislav Ballek: Long, Broad and Quickeye
- 2003 / Polárka Theatre Brno, Czech Republic / Jonathan Swift, Martin Kubran: Gulliver’s Travels
- 2003 / Alexander Duchnovič Theatre, Prešov / Jana Bodnárová: Saturday Night
- 2003 / City Theatre Žilina / Viktor Dyk: Don Quijote Growing Wise
- 2004 / Alexander Duchnovič Theatre, Prešov / William Shakespeare: Hamlet
- 2005 / Aréna Theatre, Bratislava / Rastislav Ballek: Tiso
- 2005 / City Theatre Žilina / Carlo Goldoni: The Servant of Two Masters
- 2005 / Rokoko Theatre Prague, Czech Republic / Iva Volánková: 3sisters2005.cz
- 2006 / Alexander Duchnovič Theatre, Prešov / Jan Drda: Playing With the Devil
- 2006 / National Theatre Brno, Czech Republic / Rainer Werner Fassbinder: The Bitter Tears of Petra von Kant
- 2007 / Aréna Theatre, Bratislava / Gejza Dusík, Celo Radványi, Oto Kaušitz: Under a Foreign Flag
- 2007 / Slovak National Theatre, Bratislava / Martin Burlas: Coma
- 2008 / Slovak Chamber Theatre Martin / Sƚawomir Mrożek: Tango
- 2008 / Alexander Duchnovič Theatre, Prešov / Eugène Ionesco: Rhinoceros
- 2008 / Slovak Chamber Theatre Martin / Ladislav Nádaši Jégé, Peter Pavlac, Rastislav Ballek: A Way Through Life
- 2009 / Slovak National Theatre, Bratislava / Rastislav Ballek: HOLLYROTH, or Robert Roth Sings Jan Hollý’s Uglies and Observations
- 2011 / Slovak National Theatre, Bratislava / Samuel Beckett: Endgame
- 2011 / Aréna Theatre, Bratislava / Martin Čičvák: Kukura
- 2011 / Jókai Theatre Komárno / Ondrej Šulaj, Rastislav Ballek: The Helper
- 2012 / Slovak National Theatre, Bratislava / Aeschylus: Oresteia
- 2012 / Aréna Theatre, Bratislava / Viliam Klimáček: Holocaust
- 2013 / National Theatre Brno, Czech Republic / Henrik Ibsen: Nora
- 2013 / Slovak Chamber Theatre Martin / David Drábek: Aquabelles
- 2013 / Aréna Theatre, Bratislava / Henrik Ibsen: Rosmersholm
- 2014 / National Theatre Brno, Czech Republic / William Shakespeare: Othello
- 2014 / Moravian-Silesian National Theatre, Ostrava, Czech Republic / William Shakespeare: Macbeth
- 2015 / Slovak National Theatre, Bratislava / Viliam Klimáček: Mojmír II or The Fall of the Empire
- 2015 / Theatre on the Balustrade, Prague, Czech Republic / Viktor Bodó, Júlia Róbert: Anamnesis
- 2016 / Aréna Theatre, Bratislava / Joe Orton: What the Butler Saw
- 2016 / National Theatre Brno, Czech Republic / Molière: Don Juan
- 2016 / Studio 12, Bratislava / George Orwell: The Principles of Newspeak
- 2017 / Aréna Theatre, Bratislava / Rastislav Ballek: Tiso (renewed premiere)
- 2017 / Stúdio L+S, Bratislava / Tomáš Sedláček, Rastislav Ballek: Economics of Good and Evil
- 2017 / Andrej Bagar Theatre, Nitra / Mária Rázusová - Martáková: Jánošík
- 2018 / Horácké Theatre, Jihlava, Czech Republic / Lenka Lagronová: Saint Wenceslas
- 2019 / Aréna Theatre, Bratislava / Rastislav Ballek: The Bible
- 2019 / Aréna Theatre, Bratislava / Eugene Ionesco: The Lesson
- 2019 / Slovak National Theatre, Bratislava / Euripides: The Bacchae
- 2019 / Ján Palárik Theatre, Trnava / August Strindberg: The Dance of Death
- 2020 / Slovak Chamber Theatre, Martin / George Orwell, Robert Icke, Duncan Macmillan: 1984
- 2021 / Centre for Experimental Theatre, Brno, Czech Republic / Herman Melville, Rastislav Ballek, Matěj Nytra, Jan Kačena: Moby Dick
- 2005 / Dosky Award for Tiso, in four categories: Best Production of the Season, Best Stage Music of the Season, Best Male Performance of the Season, and Discovery of the Season (for the team of artists who created the production)
- 2010 / Dosky Award in the Best Production of the Season category for HOLLYROTH, or Robert Roth Sings Jan Hollý’s Uglies and Observations and in the Best Male Performance category for actor Robert Roth
- 2010 / Student Jury Prize at the 2010 Nová dráma/New Drama festival for HOLLYROTH, or Robert Roth Sings Jan Hollý’s Uglies and Observations
- 2012 / Tatrabanka Foundation Prize for Art in the Theatre category for the direction of Kukura
- 2015 / Dosky Award for the production Mojmír II. or The Fall of the Empire, in five categories: Best Production of the Season, Best Direction of the Season, Best Female Performance of the Season, Best Stage Design of the Season, and Best Stage Music of the Season
- 2017 / Počin (Poučn) Award at the 2017 KioSK Festival for lighting design in the production The Principles of Newspeak
- 2017 / Stano Radič Award for discovery of the year category at the Kremnica Gags festival for the production Economics of Good and Evil