Martin Čičvák
Profile
Martin Čičvák graduated in 1999 in theatre direction from Janáček Academy of Performing Arts in Brno, in Alojs Hajda’s studio. While still a student, he worked for the Marta Studio where he showed his talent as the director of outstanding productions, such as Baal; The Marriage of Figaro; Frankie is OK, Peggy is Fine and the House Is Cool; or Agent Sonia. During his studies, he participated in the Erasmus exchange programme in the United Kingdom where he directed Jean Genet’s The Maids, August Strindberg’s Miss Julie at Dartington College of Arts, and later his own play Frankie is OK, Peggy is Fine and the House Is Cool at the Grace Theatre in London. When he completed his studies, he started his intense and systematic cooperation with a number of Slovak and Czech theatres (National Theatre Brno, Polárka Theatre in Brno, Drama Club in Prague, Drama Department of the Slovak National Theatre, Aréna Theatre). He also collaborated with a few stages in England and Slovenia. Productions directed by Čičvák regularly appear at Slovak and international festivals. He is the laureate of several important awards given out by renowned Slovak, Czech and European critics (Dosky Award, Alfréd Radok Prize, Critic’s Choice of the Time out magazine, among others). In addition to directing drama, he also directs for the opera (J. K. Tyl Theatre in Pilsen) and works as a translator. He is the author of numerous dramatic texts and adaptations for theatre. Čičvák celebrated success with his book Kukura (His Life As Lived by Čičvák) a monograph about Juraj Kukura, the Slovak actor and current director of the Aréna Theatre.
Martin Čičvák is a member of the middle generation of contemporary Slovak directors. Even though he completed his art studies in the Czech Republic, he established himself quickly and strongly also in his home country. Contemporary theatre criticism perceives him as a distinct, specifically pronounced artist who likes to use postmodernist theatre elements in his directorial work. An important source of this artistic attitude can be traced back to his stay at Dartington College of Arts which, from the 1980s, profiled itself as an educational institution focusing on mostly postdramatic and performative tendencies in performing arts. It is very likely that it was at Dartington where Čičvák got acquainted with the artistic style and approach he has been using in his work with Slovak and Czech theatres until today.
Original imagination, resourcefulness, self-standing theatrical feel, impressive visuals in stage and costume design are the fundamental attributes of Čičvák’s art, elements he can use to work in the modest conditions of small-space theatres or studios, but also on big stages. In his line of productions, he does not systematically follow any particular playwright, genre or country, but is a director with a very broad range of interests. Martin Čičvák’s list of directed productions includes world classics by Shakespeare, Brecht and Chekhov, absurd drama (Beckett), Feydeau’s comedies, adaptations of world classical novels (Remarque, Dostoyevsky), as well as opera titles by European composers (Bellini, Mozart). The only exception seems to be classical Slovak and Czech playwrights who have not caught Čičvák’s eye as yet. But Čičvák does not avoid classical drama – when producing classical plays he always tries to find parallels with the present times accentuating protuberant domestic and international political issues and seeks solutions for important social and personal issues. Director Martin Čičvák expresses his art in elaborate acting detail and well-constructed actors’ thinking. For him, the most arresting thing in theatre is how exciting an actor’s thinking can be and the existential situation that arises when a person is placed in a paradoxical space. The basis of his productions is the quest for an essential metaphor and paradox that harbour primary suspense.
When working on his productions, Čičvák usually cooperates with his tried-and-true team of creative artists: dramaturg Martin Kubran, stage artist Tom Ciller, and costume designer Marija Havran. Sometimes, he also invites German stage designer Nina A. Stillmark to create stage art for his productions. Čičvák believes that the stage metaphor is created equally by all artists who make the body of every play together – it is a fundamental gesture from which everything else starts.
Martin Čičvák is a flexible director who is used to working in two countries at once. In the course of his relatively short professional theatre career he has created over eighty remarkable productions and written several interesting dramatizations, adaptations and theatre plays. He is the author of numerous excellent and provocative interpretations of classical dramatic texts whose message he communicates clearly and in the spirit of the original text, nonetheless with the added value of presenting a current topic. His most successful play Frankie is OK, Peggy is Fine and the House Is Cool was staged in theatres in Slovakia, the Czech Republic, Hungary, Poland, Serbia, Latvia, the Netherlands and the United Kingdom.
- 1996 / Janáček Academy of Performing Arts, Brno, Czech Republic / Molière: Tartuffe
- 1996 / Janáček Academy of Performing Arts, Brno, Czech Republic / Bertolt Brecht: Baal
- 1996 / Dartington College of Arts, United Kingdom / Jean Genet: The Maids
- 1997 / Janáček Academy of Performing Arts, Brno, Czech Republic / Martin Čičvák: Agent Sonia
- 1997 / Janáček Academy of Performing Arts, Brno, Czech Republic / Pierre Beaumarchais, Martin Čičvák: The Marriage of Figaro
- 1997 / East Slovak State Theatre, Košice / Samuel Beckett: Waiting for Godot
- 1998 / Grace Theatre, London, United Kingdom / Martin Čičvák: Frankie Is OK, Peggy Is Fine and the House Is Cool
- 1998 / Seven and a Half Theatre in Brno, Czech Republic / Botho Strauss: Ten Rooms
- 1998 / Janáček Academy of Performing Arts, Brno, Czech Republic / Gertrude Stein: The Mother of Us All
- 1998 / East Slovak State Theatre, Košice / Thomas Bernhard: Histrionics
- 1999 / State Theatre Košice / William Shakespeare: Richard III
- 1999 / National Theatre Brno, Czech Republic / Thomas Bernhard: Immanuel Kant
- 1999 / Polárka Theatre Brno, Czech Republic / David Smečka: Beloved Beauty and Kashchey the Immortal
- 2000 / Drama Club Prague, Czech Republic / Georg Büchner: Woyzeck
- 2000 / Polárka Theatre Brno, Czech Republic / Hans Christian Andersen, David Smečka: The Snow Queen
- 2000 / National Theatre Brno, Czech Republic / William Shakespeare: A Midsummer Night’s Dream
- 2000 / Polárka Theatre Brno, Czech republic / Láry Kolář, Jozef Gombár, Tomáš Sagher: Hugo Karas
- 2000 / Slovak National Uprising Theatre, Martin / Bertolt Brecht: The Good Person of Szechwan
- 2001 / National Theatre Brno, Czech Republic / Martin Čičvák: Three Little Pigs
- 2001 / J. K. Tyl Theatre Pilsen, Czech Republic / Vincenzo Bellini: Juliet (Capulets and Montagues)
- 2001 / Drama Club Prague, Czech Republic / Aleksander Sukhovo-Kobylin: The Trial
- 2001 / National Theatre Brno, Czech Republic / Botho Strauss: Ithaca
- 2001 / Polárka Theatre Brno, Czech Republic / Hans Christian Andersen, David Smečka: The Steadfast Tin Soldier
- 2001 / Janáček Academy of Performing Arts, Brno, Czech Republic / Alexander Sergeyevich Pushkin, Jiří Starý, Martin Čičvák: Onegin – Pushkin’s Fragments
- 2002 / Polárka Theatre Brno, Czech Republic / Jana Bodnárová: Saturday Night
- 2002 / Polárka Theatre Brno, Czech Republic / Martin Čičvák: Frankie Is OK, Peggy Is Fine and the House Is Cool
- 2002 / National Theatre Brno, Czech Republic / Franz Kafka, Martin Čičvák, Martin Kubran: The Castle
- 2002 / Polárka Theatre Brno, Czech Republic / Karel Konrád: Epistles for Shy Lovers
- 2002 / Drama Club Prague, Czech Republic / Alexander Sergeyevich Pushkin, Jiří Starý, Martin Čičvák: Onegin – Pushkin’s Fragments
- 2002 / Drama Club Prague, Czech Republic / Molière: The Misanthrope
- 2002 / Polárka Theatre Brno, Czech Republic / Lewis Carroll, Miroslav Oščatka: Alice 01 (in Wonderland and Behind the Looking Glass)
- 2002 / Polárka Theatre Brno, Czech Republic / Lewis Carroll, Dora Viceníková, Tom Ciller, Miroslav Oščatka: Alice 001 (Appendices to Carroll in Alice’s Words)
- 2002 / Polárka Theatre Brno, Czech Republic / David Smečka, Martin Čičvák: Heroin
- 2003 / National Theatre Brno, Czech Republic / Carlo Goldoni, Martin Čičvák: Women’s Gossip
- 2003 / J. K. Tyl Theatre Pilsen, Czech Republic / Wolfgang Amadeus Mozart: The Abduction from the Seraglio
- 2003 / Drama Club Prague, Czech Republic / Jon Fosse: The Name. Night Sings Its Songs.
- 2003 / National Theatre Prague, Czech Republic / Bertolt Brecht: The Good Person of Szechwan
- 2003 / City Theatre Zlín, Czech Republic / Alexander Sergeyevich Pushkin, Jiří Starý, Martin Čičvák: Onegin – Pushkin’s Fragments
- 2004 / Drama Department of the Slovak National Theatre / Roland Schimmelpfennig: Arabian Night
- 2004 / National Theatre Brno, Czech Republic / Gotthold Ephraim Lessing: Emilia Galotti
- 2004 / Aréna Theatre, Bratislava and Drama Club Prague, Czech Republic / Edward Albee: The Goat, or Who Is Sylvia?
- 2004 / Aréna Theatre, Bratislava / Igor Bauersima, Réjane Desvignes: Tattoo
- 2005 / Drama Club Prague, Czech Republic / Georges Feydeau: A Fitting Confusion
- 2005 / National Theatre Prague, Czech Republic / Martin Čičvák: A Thousand and One Night (Stories from Sand)
- 2006 / Drama Club Prague, Czech Republic / Thomas Vinterberg, Bo Hansen: Festen
- 2006 / Drama Club Prague, Czech Republic / Molière: Amphitryon
- 2006 / Aréna Theatre, Bratislava / Thomas Vinterberg, Bo Hr. Hansen: Festen
- 2006 / Aréna Theatre, Bratislava / Viliam Klimáček: Dr. Gustáv Husák
- 2006 / Slovenian National Theatre Drama, Ljubljana, Slovenia / Roland Schimmelpfennig: The Woman Before
- 2007 / National Theatre Brno, Czech Republic / Sophocles: Antigone
- 2007 / Drama Club Prague, Czech Republic / Anton Pavlovich Chekhov: Ivanov
- 2007 / Drama Department of the Slovak National Theatre / Friedrich Schiller: Intrigue and Love
- 2008 / Aréna Theatre, Bratislava / Erich Maria Remarque, Martin Čičvák: Three Comrades
- 2008 / Drama Department of the Slovak National Theatre / Georg Büchner: Leonce and Lena
- 2008 / City Theatre Žilina / Jess Borgeson, Adam Long, Daniel Singer: Compleat Shakespeare in 120 Minutes
- 2008 / Aréna Theatre, Bratislava / Viliam Klimáček: Communism
- 2009 / City Theatre Žilina / Peter Lomnický, Martin Čičvák: Slovak Classics in 120 Minutes
- 2009 / Drama Club Prague, Czech Republic / Marina Carr: By the Bog of Cats
- 2009 / National Theatre Prague, Czech Republic / William Shakespeare: The Merchant of Venice
- 2009 / Slovak National Theatre, Bratislava / Bertolt Brecht: Mother Courage and Her Children
- 2010 / Slovak National Theatre, Bratislava / Johann Wolfgang Goethe: Faust I, II
- 2010 / National Theatre Prague, Czech Republic / Wolfgang Amadeus Mozart: Cosi Fan Tutte
- 2010 / Drama Club Prague, Czech Republic / Felix Mitterer: My Monster
- 2010 / Aréna Theatre, Bratislava / Joseph Kesselring: Arsenic and Old Lace
- 2011 / Aréna Theatre, Bratislava / Moisés Kaufman: 33 Variations
- 2011 / Aréna Theatre, Bratislava / David Mamet: November
- 2011 / National Theatre Prague, Czech Republic / William Shakespeare: The Taming of the Shrew
- 2011 / Drama Club Prague, Czech Republic / Martin Čičvák: Kukura
- 2012 / Drama Club Prague, Czech Republic / Nina Mitrovic: This Bed Is Too Short or Just Fragments
- 2012 / Slovak National Theatre, Bratislava / Aristophanes: The Clouds
- 2012 / Slovak National Theatre, Bratislava / George Tabori: Mother’s Courage
- 2013 / Theatre in Vinohrady, Prague, Czech Republic / Max Frisch: Andorra
- 2013 / Drama Club Prague, Czech Republic / Joe Orton: What the Butler Saw
- 2013 / Aréna Theatre, Bratislava / Jonathan Larson: Rent
- 2014 / National Theatre Brno, Czech Republic / Sophocles, Roman Sikora: Lysistrata / Aiás
- 2014 / Aréna Theatre, Bratislava / Peter Lomnický: Capital
- 2014 / Theatre in Vinohrady, Prague, Czech Republic / Peter Schaffer: Amadeus
- 2015 / Drama Club Prague, Czech Republic / Fyodor Mikhailovich Dostoyevsky, Evald Schorm: The Brothers Karamazov
- 2015 / National Theatre Prague, Czech Republic / Giuseppe Verdi: Macbeth
- 2015 / Theatre in Vinohrady, Prague, Czech Republic / Albert Camus: Caligula
- 2015 / National Theatre Brno, Czech Republic / Fyodor Mikhailovich Dostoyevsky, Roman Sikora, Martin Čičvák: Demons
- 2015 / Aréna Theatre, Bratislava / Marek Maďarič: The Lady Without Camellias
- 2016 / Aréna Theatre, Bratislava / Frank Wedekind: Lulu
- 2016 / Drama Club Prague, Czech Republic / Martin Čičvák: An Urn on an Empty Stage
- 2016 / J. K. Tyl Theatre Pilsen, Czech Republic / Moliere: Don Juan
- 2017 / Theatre in Vinohrady, Prague, Czech Republic / Henrik Ibsen: Peer Gynt
- 2017 / Aréna Theatre, Bratislava / Tennessee Williams: The Glass Menagerie
- 2017 / Aréna Theatre, Bratislava / William Shakespeare: Richard III.
- 2018 / Theatre in Vinohrady, Praha, Czech Republic / Euripides: Iphigenia in Aulis
- 2018 / The Drama Club, Prague, Czech Republic / Matěj Dadák: The Lhasa Pilgrims
- 2018 / National Theatre, Brno, Czech Republic / Friedrich Schiller: Mary Stuart
- 2018 / J. K. Tyl Theatre, Pilsen, Czech Republic / Molière: Tartuffe
- 2019 / National Theatre, Brno, Czech Republic / Martin Čičvák: ##T#€L#%#
- 2019 / Ján Palárik Theatre, Trnava / Jess Borgeson, Adam Long, Daniel Singer: Compleat Shakespeare in 120 Minutes
- 2019 / State Theatre, Košice / George Bernard Shaw: Pygmalion
- 2019 / State Theatre, Košice / Václav Havel: A Letter to Gustáv Husák
- 2020 / Theatre in Vinohrady, Prague, Czech Republic / Viktor Dyk: Don Quijote Gets Wiser
- 2020 / Prague City Theatres, Prague, Czech Republic / David Grossman, Martin Čičvák, Saša Sarvašová: A Horse Walks into a Bar
- 2020 / National Theatre, Brno, Czech Republic / Eugene Labiche, Marc-Michel: An Italian Straw Hat
- 2021 / State Theatre, Košice / Ferenc Molnár: Liliom
- 2021 / State Theatre, Košice / Martin Čičvák: Foreveramen
- 2021 / National Theatre, Brno, Czech Republic / Johann Nepomuk Nestroy: Railway Marriages
- 2021 / Prague City Theatres, Prague, Czech Republic / Charles Chaplin, Martin Čičvák: Dictator
- 2021 / Pod Palmovkou Theatre, Prague, Czech Republic / Anton Pavlovich Chekhov: The Cherry Orchard
- 2021 / The Drama Club, Prague, Czech Republic / Peter Shaffer: Equus
- 2021 / Ungelt Theatre, Prague, Czech Republic / Stephen Temperley: Souvenir
- 1996 / Critics’ Prize at the Theatre Festival in Edinburgh for The Maids
- 1998 / Critic’s Choice Award of the Time out magazine for Frankie Is OK, Peggy Is Fine and The House Is Cool
- 1999 / Alfréd Radok Prize in the Talent of the Year 1999 category for the production Immanuel Kant
- 2004 / Dosky Award in three categories: Best Production of the Season, Best Direction of the Season and Season’s Best Stage Design for Arabian Night