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The New Stage Theater was established in 1945 in the intentions of the new conception of cultural policy in the post-war situation with emphasis on the development of the theater network in Slovakia.

New Stage Theater

The New Stage Theater was established in 1945 in the intentions of the new conception of cultural policy in the post-war situation with emphasis on the development of the theater network in Slovakia.

The establishment of the second theater in Bratislava was preceded by an extensive exchange of views in the press, which assumed that in addition to the SND as a representative national institution, there is a need for theater for broad groups, which would expand genre and style diversity and develop various forms of theatrical expression. In addition, the SND did not provide enough space for optimal use of the acting ensemble, and after 1945 the operetta was abolished. These facts prompted a group of members of the play and the former SND operetta to move to the newly created theater as the basic acting core.

One of the most active initiators of the new theater was the important actor of the SND play, Martin Gregor. From the collective, expanded by actors from other theaters and from amateur groups, two ensembles were formed: a 30 - member drama ensemble, led by artistic director Drahoš Želenský, and a 17 - member musical comedy ensemble, led by František Krištof Veselý.

Although both ensembles were artistically autonomous, the New Stage belonged to the SND until 1951. She had a unified administrative management, a unified economic administration and a works council with him. From the establishment of the theater until 1951, the new theater operated under the name New Stage of the National Theater (NS ND).

The premises for the new theater were created by adapting the former Alfa cinema in the Živnodom building on Kollárov Square. The new stage began its activities on November 30, 1946 with the premiere of Shakespeare's comedy Taming of the Shrew by director Drahoš Želenský.

The establishment and operation of the National Theater National Park had a positive effect on the development of Slovak theater. The repertoire composition of the play and the enrichment of the genre palette with a musical comedy contributed to the differentiation of Bratislava theater, and NS ND gained an ever-widening audience. The drama ensemble of the New Stage of the National Theater profiled itself in a dialogue between the experienced but traditionally oriented director Drahoš Želenský and the modernly oriented director, the well-known painter František Kudláč. The younger directors Ľubomír Smrčok and the ambitious beginning director Dr. Magda Husáková-Lokvencová. However, the profile of the ensemble was significantly shaped by the dramaturgy of Dr. Petr Karvaš, based on demanding texts of classical and modern European, but also domestic contemporary drama, while boldly providing space for several beginning Slovak playwrights.

In the new post-February political situation, administrative measures in 1951 disrupted the further development of the New Stage. They canceled the drama ensemble and a substantial part of the acting team returned to the SND drama. The musical comedy was transformed into an operetta ensemble of the New Stage. Drama, even under political and ideological influence and according to Soviet models, was reoriented towards works for children and young people. A new file began to be created and formed. With its mission and repertoire focus on educational fairy tales and youth plays, the names of the ensemble also changed: Youth Ensemble of the National Theater (1951 - 1953), New Stage of the Young Spectator (1953 - 1954) and New Stage, Drama for Youth (1954 - 1960). However, the combination of a play for young people with an operetta ensemble was permanently assessed as unsatisfactory. In such a focus, considerable repertoire, creative and spectator problems gradually became apparent, and the orientation of the theater began to change at the end of the 1950s. It was also thanks to the playwright Dr. Stanislav Mičinec and director Dr. Magda Lokvecová, who returned to the theater in 1956 after a forced break and together with director Ján Klim formed his artistic profile. Searches and discussions culminated in 1960, when the youth direction was abandoned and the management of the theater and ensemble sought to return to the original concept of the second Bratislava drama intended for the widest audience.

The second Neo-Scenic ensemble also underwent a complex development, leaving the original concept of musical comedy and from the beginning of the 1950s began to focus on works of classical and contemporary operetta. Gradually, however, the limitations of this genre became apparent and newer and more modern forms of entertainment and entertainment theater, including musicals, began to penetrate the Neo-Scenic repertoire from the second half of the 1950s.

From 1954, the New Stage became definitively independent and began to operate in the form of a two-ensemble theater under its own direction.

Since the beginning of the 1960s, the artistic management of the theater has tried to solve the problems with the profile of both ensembles by merging both ensembles into one collective with a unified management. However, the unpromising nature of this step was confirmed, and since the mid-1960s there has been a strict separation of the two genres and a more pronounced profiling of the two ensembles. The drama of the New Stage, led by Dr. She profiled Magda Husáková-Lokvencová with a number of appealing, socially-critical productions, which gained great acclaim in the audience with their social urgency and topicality. After the untimely death of Magda Lokvencova-Husáková, the work of the drama ensemble was more actively shaped mainly by the directors Jozef Jozef and Juraj Svoboda.

Despite the greater genre diversity, the development of the singing ensemble (the name operetta disappeared from its name) led to the profile line of the most famous and best works of American musicals. The mutually supporting production team of director Bedřich Kramosil, choreographer Boris Slovák and conductor Zdeněk Macháček contributed to the great, even national and international response of these productions. The scenography of Ladislav Vychodil also brought a significant enrichment of teamwork. The singing ensemble also grew up with challenging tasks, which also mastered the requirements of synthetic musical acting. The influence of these modern techniques then bore fruit in productions of other musical-entertaining genres, including classical operetta, and later, from the beginning of the 1970s, he probably also had a stimulating effect on the work of domestic composers and librettists.

At the beginning of the "normalization" and "consolidation" period, the acting ensemble of the canceled drama of the Na korze Theater, led by director Vladimír Strnisk, was transferred to the New Stage drama ensemble as early as 1971. However, the actors from the Na korze Theater meet the director Miloš Pietor again on the New Stage, and this new situation creates a precondition for a new, markedly profiled stage of neo-scenic drama. In the difficult socio-political situation, the newly adapted space of the former Astorka was added to the New Stage in 1972. He came to life under the name Studio of the New Stage and was opened by Pietro's revolutionary production of Tajovské Statkov - confusion. The members of the former Na korze Theater brought new impulses to the dramatic work of the New Stage, and the connection between the two ensembles proved to be very fruitful. However, this also applies to the arrival of other important representatives of the Na korze Theater, Milan Lasica and Július Satinský, who, after a temporary stay in a Neo-Scenic singing ensemble, joined the drama ensemble.

Politically motivated reorganizations in 1976 included the new stage of the programmatic chamber Poetic Ensemble of the New Stage, which had been operating as a separate Poetic Stage in the former Divadlo na korze since 1972. Thus, the New Stage acted as a three-ensemble theater until 1990, when the Poetic Ensemble ceased to exist and was divided into Chamber Drama (1990 - 1991) and Comedy (1990). These ensembles also acted within the New Scene.

In 1990, the New Stage Studio ceased to exist, and the Astorka Theater - Korzo ´90 began its activities on its stage, to which the most important representatives of the drama ensemble left.

Since 1991, Nová scéna has again had only two ensembles - drama and singing. The reorganization in 1991 created only one ensemble, of a musical-dramatic nature, which specializes in presenting modern musical works. A series of musical productions by director Jozef Bednárik was the most significant contributor to its profiling.

The first director of the New Stage was Ján Kákoš in 1954 - 70, 1970 - 77 Dalibor Heger, 1977 - 82 Karol Vlach, 1982 - 85 Viliam Polónyi, 1985 - 1990 Ladislav Podmaka, 1990 - 1996 Ľubo Roman, 1996 - 1998 Dušan Jarjabek, 1998 - 2001 Marek Ťapák, 2001 - 2002 Andrej Hryc, 2002 - 2006 Wanda Hrycová, 2006 - 2007 Miloš Pietor, 2007 - 2011 František Javorský, 2011 - 2015 Juraj Ďurdiak, 2015 to the present Ingrid Fašiangová.


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Accepted payments: Cash, Credit card
Languages: Slovak

Suitable for: Childrens, Families with childrens, Elderly, Handicapped, Young, Adults
Season: Spring, Summer, Autumn, Winter
Updated on: 30.5.2018

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New Stage Theater
Živnostenská 1
812 14  Bratislava-Staré Mesto
Region: Bratislavský
District: Bratislava I
Area: Bratislava
 48.149623, 17.111212

Živnostenská 1
812 14  Bratislava-Staré Mesto

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