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Ľubomír Vajdička
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Upon graduation from the college of electrical engineering in Bratislava, Mr Vajdička went on to pursue theatre studies at the Academy of Performing Arts in Bratislava (1963 – 1968). From early on he was drawn to stage directing, acquiring his first experience in amateur company OB Nivy. The ensemble that brought together university students was to receive a number of awards. Mr Vajdička continued working with amateurs after he arrived in the city of Martin, where he worked, to much acclaim, with the ensemble in the village of Dubové by the spa town Turčianske Teplice. Between 1968 and 1983 he was staff stage director at the Slovak National Uprising Theatre in Martin (today known as the Slovak Chamber Theatre). He staged there a range of inimitable productions particularly from among the Slovak and Russian classical works. Together with the set designers Jozef Ciller and Juraj Fábry the team presented a number of concepts in actin set design, a phenomenon of the 1970s and 1980s that was marked by new opportunities of production approach. It brought a deviation from the classical peep-hole theatre, excessive accent on visual art, illusion and complex set solution. Quite on the contrary, the set design worked with minimum number of props, many of which bore multiple meanings and purposes.

The period of 1981 – 1984 saw Mr Vajdička at the National Theatre in Prague and that of 1983 – 2010 at the Slovak National Theatre in Bratislava. He was regular guest in a number of theatres in the Czech Republic and Slovakia (such as the National Theatre Prague and Brno, National Moravian–Silesian Theatre Ostrava, Theatre Thália and State Theatre in Košice, The Pavol Országh Hviezdoslav City Theatre in Bratislava, The Andrej Bagar Theatre in Nitra). Mr Vajdička also worked, as screen director, for the television (the dedicated Monday series of such productions as Jozef Gregor Tajovský´s New Life, 1973; Božena Slančíková – Timrava´s and Ondrej Šulaj´s The Ťapáks, 1977; V. Shukshin: The Courting), 1973; Francis Scott Fitzgerald: Gretchen’s Forty Winks, 1988; Guy de Maupassant: The Prize, 1990). At the Slovak National Theatre, in collaboration with the playwright and dramaturge Peter Pavlac, he staged a number of productions of some of the foremost Slovak prose (B. Slančíková-Timrava: A Great Deal of Luck, 2003; Martin Kukučín: The House on the Hillside, 2006; Ivan Horváth: The Jurga Brothers, 2013). At the Slovak Chamber Theatre in Martin staged together with Pavlac the dramatisation of Ján Rozner´s memoir Seven Days to the Funeral (2012). Since 1990 Mr Vajdička is also lecturer at the Theatre Faculty of the Academy of Performing Arts. He is author of a number of translations of plays from Russian, French and German (such as Eugene Ionesco: The Bald Soprano, G. Feydeau: A Flea in Her Hair, E. Ionesco: The Chairs, I. Turgenev: A Month in the Country, Anton Chekhov: Three Sisters, Nikolai Gogol: The Gamblers). Mr Vajdička is laureate of two DOSKY Awards for Best Production in Season: The Chairs (1999, SND) and Seven Days to the Funeral (2012, SKD Martin).