the theme of “a new lost generation” in the … · lost generation of the men-of-letters and...

TheSlovakTheatre–2017–Volume65–Number3 DOI:10.1515/sd-2017-0013

THE THEME OF “A NEW LOST GENERATION” IN THE PRODUCTION OF PREŠOV NATIONAL THEATRE

ELENA KNOPOVÁInstituteofTheatreandFilmResearch,SlovakAcademyofSciences,Bratislava

Abstract: The authoress elucidates the concepts of generations and generational affiliation,whilefocusingonvariousnamesandcharacteristicsreferringtoagroupofyoungpeoplebornduring the1980sandearly1990s.She introducesGenerationY, also calledMillennials, andgives a short characteristic of a generation referred to as theLostGeneration, the Set-asideGeneration, theScarredGeneration. She captures the externalmanifestationsof thegenera-tion together with inner mechanisms and motives resulting in these manifestations. Using the exampleofPrešovNationalTheatre(PND)anditsproduction,sheintroducesanewconceptreferredtoas“ANewLostGeneration”.TheauthoressendeavourstodefineitinSlovakcontextthrough the partial analyses of the plays included in Prešovská trilógia (Single radicals (2013),Kindervajco (2015),Good place to die(2015),[Prešov Trilogy(SingleRadicals(2013),TheKinderEgg(2015),AGoodPlacetoDie(2015)].Key words:LostGeneration,ANewLostGeneration,GenerationY,Millennials,PrešovNa-tionalTheatre,Prešovská trilógia,Single radicals,Kindervajco,Good place to die [Prešov Trilogy,SingleRadicals,TheKinderEgg,AGoodPlacetoDie]

Currently,thetopicofnewgenerationsandthemanifestationsofgenerationalaffiliation, the common characteristics of aparticular generation, are among fre-quently debated subjects and they are becoming increasingly present in variousareasofourlives.Thetopicispresentinthesciences,thearts,themedia,andinsocialpractice.Itaffectssociology,psychology,culturalstudies,theeconomics,po-liticalsciences,aswellaslifestylemagazinesandadvertising.Lifestylemagazinesandtheadvertisementsinmassmediaarenottobeoverlooked,astheyshapethepublicdiscourseandhaveaprofoundimpactuponself-identificationorontheaf-filiationofespeciallyyoungindividualstoapeergroup.Wearefamiliarwithnewgenerationcars,newgenerationtechnology,newgenerationfood,newgenerationfashionandhairstyles,newgenerationlifestyle(ofhipsters,freelancers,Net-genoriGeneration,etc.).Inalltheareasabove,expertsendeavourtoidentifyindividualgenerationsand

tonamedistinguishingattributesortraitsthatmakethemdistinctfromoneanother.Generationidentificationisimportant,sinceagenerationasacomparativelybroadand diverse spectrum of individuals also manifests certain common traits and incli-nations.Basedonthem,wecanobservethetransformationofsocietyandindividualswho, though living in different corners of theworld,will respond to the circum-stancesinwhichtheylive,inasimilarmanner,andthisalsoappliestotheemotionalrealm.Theidentificationwithagenerationalgroupisimportantfortheindividualsperse.Itfreesthemfromisolationandenablesthem,benotionally,tobeanintegralpartofawhole,toacquireidentity.Today,identitydeterminationtranscendsbeyond

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theboundariesofgender,nationorprofessionalconfines.Thecompositeauthorsof Veľký sociologický slovník [TheBigDictionaryofSociology],whichwasanoutcomeofaresearchcarriedoutbythesociologistsoftheAcademyofSciencesintheCzechRepublic,approachagenerationfromtheperspectiveofadolescenceandpost-ado-lescence,indirectconnectionwithaconcretetimeperiodandconcreteexperiencesofindividualsbornduringroughlythesameperiodinhistoricaltime.Hence,agenera-tionis“abigandinternallydifferentiatedgroupofindividualsbondedbyaperiod-determinedwayofthinkingandacting,whichexperiencedasignificantperiodofitssocialisation in identical historical and cultural contexts”1. Psychologist and semiologist Lucia Trézová, who focuses on communication,

expands on the statement by adding that generational consciousness is based onattitudesandopinionswhicharea reaction toa real-lifeexperiencewithashared social environment. “Irrespective of our individual lives and of the things we have experienceddifferentlyanduniquelyfromothers,therearecertainmoments,certainimportanteventsindeliblyimprintedineachandeveryoneofus,whichcreatethethings we share and that unite us with our generational followers. (...) This common experienceisareasonbondingusupwiththemembersofthesamegenerationandatthesametimeitsetsasapartandcreatesbarrierstoourcommunicationwiththemembersofanothergeneration.”2

Societaltrendsaffecttheeverydaylifeofindividuals.Itappearsthatthedetermin-ingfactorofthecategorisationofcontemporarygenerationsarenotbirthyears,butmuchratherlifefeelingandthewaytheymaketheirchoicesastowhatkindoflifetheywishtolive.Itis,infact,asetofsymptomaticreactionstosurroundingimpulsesthatarenotjustdirectedoutwardbutalsohaveaprofoundeffectonthepsychicalandemotionalqualityoflife.True,individualnamesoftheso-callednewgenerationsrelatetotheyearsofbirthoftheirmembers(thebabyboomergeneration,generationsX,Y,Z),however,aparticulargroupisinternallydiverse(forinstance,thegolfgen-eration,thechemicalgeneration,thesinglesgeneration,theNetgeneration,andthelike).TheNewLostGenerationconceptmayservetopartlyunitethisdiversity.Inthestudy,weshalluseittorefertoindividualsbornduringthe1980sandearly1990s(i.e.especiallytoindividualswhoarecurrentlyaboutthirtyyearsofage).Thegenerationis also referred to as Generation Y or Millennials. Print and internet sources diverge onthenamesandonthetimeframeofthebirthofMillennials.TheGenerationYconceptwaspublishedfortheveryfirsttimeinAdvertising Age

magazine,anditwasusedtorefertoyoungpeoplewithapositiveattitudetonewcommunicationmediaanddigitaltechnologies.Theirupbringingwasaccompaniedbyliberalattitudestopoliticsandtheeconomy.PsychologistJeanTwengeintroducedthetermGenerationMe.Asopposedtothetraitsattributedtothegenerationbytheauthorsof,forinstance,Millennials Rising: The Next Great Generation3(isolation,bold-

1RefertoLINHART,Jiří–PETRUSEK,Miloslav–VODÁKOVÁ,Alena–MAříKOVÁ,Hana.Velký sociologický slovník. [TheBigDictionaryofSociology]Vol.I,A–O.Praha:Karolinum,1996.ISBN80-7184-310-5.

2TRÉZOVÁ,Lucia.Generácia X vs Y. Alebo akí sú tí dnešní mladí dospelí v porovnaní s nami – generáciou X? Part 1. Available at: https://www.linkedin.com/pulse/gener%C3%A1cia-x-vs-y-alebo-kto-s%C3%BA-t%C3%AD-dne%C5%A1n%C3%AD-mlad%C3%AD-dospel%C3%AD-lucia-trezova[cit.25May2017].

3HOWE,Neil–STRAUSS,William.Millennials Rising: The Next Great Generation.NewYork:VintageBooks,2000.ISBN0-375-70719-0.

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ness,pressurisingothers,assertiveness,teamspirit),Twengelistsothercharacteris-ticsofthegeneration,suchastolerance,open-mindedness,responsibilityandambi-tiousness, andalsoproclivity topossessiveness,narcissism,distrust andanxieties,or the feeling of senselessness.4Thenarcissismoftodayisnotperceivedjustasthenarcissismofextrovertsbutalsoasthenarcissismofintrovertswhich,alongsideat-tention,self-satisfaction invariousareas,calls forurgentprotection.Therefore,weareconfrontedwithaviewthatMillennialsneedtoliveinagroupoffriendsbut,atthesametime,thegroupmustnotrestrainorbindthemtoacontinuousresponsibi-lity or to having to accept other people’s rules.5 BeforewegettothetopicofANewLostGeneration,ascapturedintheproduc-

tionofPrešovNationalTheatre (abbr.PND), letusbrieflydescribe the contextofthe contemplations over generational determination and the concepts used. This will enableustobetterunderstandwhytheNewLostGenerationconceptwasusedtorefertothelifefeelingofpresent-dayyoungpeopleagedbetween25and40whoaretheprotagonistsoftheproductionsofPND,notablyoftheso-calledPrešovská trilógia (Single radicals(2013),Kindervajco (2015),Good place to die(2015))[Prešov Trilogy (Sin-gleRadicals(2013),TheKinderEgg(2015),AGoodPlacetoDie(2015)].Alongsideexternalgenerationalmanifestationsandtraitsoutlinedabove,weshallmapoutin-ner motivations and mechanisms that lead to these manifestations.

The name of the New Lost Generation originates from the economics (on the verge ofthe20thand21stcenturies)and,atthesametime,itcallstomindthewell-knownLostGenerationofthemen-of-lettersandartistsaroundGertrudeSteinafterWorldWarI(forinstance,ErnestHemingway,ErichMariaRemarque,RomainRolland,andalsoFrancisScottFitzgerald,ThomasStearnsEliot,EdwardEstlinCummings,JamesJoyce,WilliamFaulknerandothers).ItisagenerallyknownfactthattheLostGen-eration is tied to the feelings of one generation that lived through the world war. Anumberofwriters,beingitsactiveparticipants,respondedtothedeepemotion-alexperienceandreflecteditintheirliteraryworks.However,theirworksdidnotmanifestthefeaturesofadocumentarywork.Instead,theirauthorsfocusedoncom-municatingthefeelingsofmenaffectedbywarwhileprimarilyexpressingtheirownstateofmindandthedifficultiesincopingwiththeconsequencesofwar.Theywereconsumedwithdisappointment,sufferedfrominternalwoundsanddepressionfromexperiencing traumatic events. They personally experienced a time when values such ashumanlife,Godorlovewereoutplacedandtheywerenotaprotectedvalue.6 The disillusionmentoftheLostGenerationwriters(basically,theyallwereyoungpeople)continuedevenafterthewarwasover.Theywerefacedwiththechaosoftheworld,ashatteredandunstablebeliefsystemandinsurmountablestigmas,alienatedfrom

4 TWENGE, Jean M.Generation Me – Revised and Updated: Why Today‘s Young Americans Are More Confident, Assertive, Entitled – and More Miserable Than Ever Before.NewYork:Atriapaperback,2014.ISBN978-0-7432-8885-9(ebook).

5 For instance, SYZYGY research. Available at https://syzygyny.app.box.com/s/ipepbbhy-di1pev18qcow5k50tt3bq0k5)čiPewResearchCenter(theso-calledU.S.FactTank,focusedonthegatheringandanalysisofcontentsrelatedtopublicopinionanddemographicdata).

6 Similarly, the representatives of the Theatre of the Absurd declared their disbelief in Man afterWorldWarII,inhiscapacitytocommunicateandtounderstandeachother.Theirantiheroesdidnotdefyanything,theydidnotcounteract,becauseitwasfutile.TheworldandManwillnotchangeandtheykeep“reanimating“ only in their destructive essence.

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theirownlivesandunabletoattunethemselvestoanormalrunningofsociety,theywere lost.7

Although a modern young generation where the theatre professionals of PND canalsobe included (the founders–director JúliaRázusováandplaywrightanddramaturg Michaela Zakuťanská – and also collaborating actors, musicians andstagedesigners),hasnotexperiencedworldwars,itcontinuestoliveinaworldofconstantfighting.Itlivesinanatmosphereoftensionandinsecurity,ofterroristandextremistattacks,andithasexperiencedtheaftereffectsofthestockmarketcrash(e.g.,2007globalfinancialcrisis).Anillusiveprosperityandwellbeingareaccompa-niedbyunemploymentandpoverty,byanappallingrateoflifestylediseasesandthe disintegration of traditional forms of relations. The generation lived with the generationoftheirparents(BabyBoomGeneration)andelderlysiblings(Genera-tionXortheso-calledHusákchildren),whohadtoadapttotherapidlydevelopingsocietyofthe1990s.Theywereexpectedtobestrong,promptandcompetitive.Soci-ety valued individualism (inventiveness) and assertiveness (to assert oneself against competitors).On the other hand,many succumbed toworkoholism, suffered theburnoutsyndromeandtheywerereplacedwithyoungerandmorecompetentin-dividualsontherun.Thefamilyasthebasicunitwasreplacedwithotherformsofcoexistence.Thespiritualwasreplacedwiththematerial,personalfriendshipswerereplacedwithsocialnetworks.Increasingly,mobileandinternetnetworksfacilitat-ed communication and the country’s employment policies changed. Housing and paymentpoliciesweretransformed,too(loans,mortgageloans,creditcards).ThismilieushapedtheMillennialsgenerationduringadolescenceandtheiracquiringba-sicsocialskills.Duringpost-adolescenceandadulthoodtheyweretomakeachoicebetweentheuniversalworldofuncertaintiesandtheirownwaywhichwouldleadthem away from failed endeavours and disenchantments of older generational fol-lowers. It will come as no surprise to learn that Millennials are a generation of indi-vidualistsandegocentrics,who,ontopofthat,arewell-educatedandhaveaccesstoavarietyofresourcesincludingthearts.Whatpossiblycanfilltheemotionalworldof individuals in such societal and interpersonal contexts and what are their own visions of the future? JournalistsMilanČupkaandAndrejBarátwriteabouttheappropriatenessorin-

appropriatenessofthetermLostGeneration.TheyanalysethetermsoftheSet-asideGenerationorScarredGenerationwithintheglobalcontext.Theeffectofscarringisamongthelong-termconsequencesofourfailuretosolvethefateoftoday’syounggenerationwithuntappedpotential.Regrettably,neitherpoliticalstructures,northeschoolingandeducationsystemshavebeenpayingenoughattentiontothefactthatthisgenerationiscompletelydifferentfromthatoftheirparents.“Thetheoryontheappropriatenessoftheattribute lost (generation)isupheldbyJapaneseexperience.Afteradynamicgrowthoftheislandstateinthe1980s,therefollowedaperiodofstagnation.ThatalsoexplainswhyinJapanthe1990sarereferredtoasthelostde-cade.(...)...the1990screatedabubbleinwhichonewholegenerationwastrapped.Alostgenerationofalostdecade.Suchasituationnotonlyleavesscarsonfinancial

7 Let usmention severalworkswhere the ultimate feeling of going astray is evidenced: ForWhom the Bell Tolls, A Farewell to Arms, All Quiet on the Western Front and especially The Sun Also Rises,novelbyE.Hemingway,inwhichtheauthorstates“Youareallalostgeneration.“


well-beingbutalsoonanindividual’sfeelingofhappinessandonhisorherhealth.Onefeelstobetrulylost.”8

ThetermANewLostGeneration,or,thegenerationofyoungpeoplebornduringthe1980sand1990s(Millennials)primarilyreferstoindividualswho,despitetheirproficiencyandqualifications,areunabletofindadequateemployment,or tofindajobatall.Itgoeswithoutsayingthatitaffectsotherareasoftheireverydaylife.Theimpossibility tofinda jobmakes themlook foralternativeways tomakea living.Long-termplansorstabilitygivewaytotemporaryquicksolutionsorsolutionsaresidetrackedandtheimmediatestepiswaitingtoseewhathappensnext.Thisappliestoallareasoflife(lookingforapermanentjoborapartner,startingafamily,seekingaflatorahouse,etc.).Thereismoreatstakethanjustbuildingaprofessionalcareerorfinancialmeanstosupportoneself:Itisaboutthesettingofprioritiestheyfollowintheirprivateandemotionallives.Theyareconstanthappinessseekers,inquestofindependence,love,harmonyandoftheirtrueselves.Theyaretravellersshunningcommitments,or,justthecontrary,individualsassiduouslywaitingfortheirdreamstocometrue.Theyfrequentlyexperiencethefeelingsofunfulfilmentandvulnerabi-lityanditlargelyfollowsfromtheirrecognitionofthedichotomybetweenidealop-portunitiesandtherealstateofaffairstheycanachieve.Amongothercharacteristicsaremobility,migration,rathershallowroots,perceptiveness,andagility.ItissymptomaticthatthispopulationgroupisthefocusofattentionofMichaela

ZakuťanskáandJúliaRázusová. It is theirowngenerationaboutwhichtheywanttotalkthroughtheatre.Theyarefamiliarwithitslifestyleandthinking,problems,feelingsanddesires.Theambitionistocommunicateanauthenticimageoflifewithwhichtheyhaveanintimateexperienceandarefamiliarbothwiththeirouter(theen-vironment and relations) and inner sides (personal experiencing and psychical condi-tion).Thedevelopmentofstories,charactersanddramaticsituationsisbasedontheirownexperienceortheexperienceoftheircontemporaries,whilesuchanexperienceisoftentimessubject toananalysis.Theyfocusoncapturing“themiddleclass”ofintellectually gifted youngpeoplewho embody the intellectual stratumof Slovaksociety.Extremecharactersandcharacterswithaborderlinepersonalityareoutsidetheirfocus.Theygetoutoftheroleofmereobserversandworkwithtechnicallitera-ture(sociology,psychology,aesthetics)andwithstatisticaldatawhichareonceagainsubjecttoscrutinyintheirimmediateambience.TheirlocationistheeasternregionofSlovakia,thetownofPrešovanditsinhabitantsastheircharacters.Thetownbe-comes an important protagonist in some of their plays and productions determining thestoriesoftheirhumanprotagonists(theiractionandfeelings).Ironically,usingthisauthor’smethod,theyexaminehowonegenerationandintergenerationalchan-gesareaffectedbyglobalissues.Theyshareacommonperspectiveofthephenomenaaroundthem,whilehumourandironyarenotbeingsidetracked.Humourandirony,inplacesescalatingingrotesquegrins,isamannerofexpressingthemselves.Alltheplays of Prešov Trilogy,aswellasthemostrecentplayDeň, keď zomrel Gott (2017)[TheDayWhenGottDied]9,aretragicomedies.Thefeelingoftimeisalsopresentinthem.Despitebeingsomewhatatalossastowhattodowithitself,theNewLostGenera-

8ČUPKA,Milan–BARÁT,Andrej.Stratená, zjazvená či len odložená generácia?Availableathttp://profesia.pravda.sk/ludske-zdroje/clanok/283908-stratena-zjazvena-ci-len-odlozena-generacia/[cit.25May2017].

9Apun–thenameofapopularCzecho-Slovaksinger,initsphoneticform,suggestsGod.

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tionremainstobeoptimistic10.Itbelievesthatthingswillgetbetteranditdoesnotlosefaith.Infact,thisisimperative.Ifthegenerationweretotakeitselftooseriously,itwouldhaveatragicending.Itisnotaboutsocialcriticismwhichisusuallyachievedbythemixingofgenres.ItismoreofateasingalongthelinesofChekhov’sdramaticworks,however,not in the senseof“hey, look,whata comical lifeyou live”,butrather“look,thelifeweliveissosadthatitiscomical”.

Pragmatic idealism, or, the founding of Prešov National Theatre

The Prešov National Theatre was founded by Júlia Rázusová and MichaelaZakuťanskáin2013.Itwasinceptedbyaproductionandcreativecommunitywhosecollaborationwas started at theAcademy of PerformingArts in Bratislava.Upongraduation, both the creative professionals returned to eastern Slovakia, to theirroots.Thereasonsbehindthatwerepersonal,financial,andartisticbynature.Theybelievedthatinordertoachieveself-fulfilment,ayoungtheatreprofessionaldidnothavetoliveinthecapital,onthecontrary.The“backwoods”maybemorepeacefulandofferagreaterfreedomofcreation,thoughitmeanslivingundermoredifficultmaterialandfinancialconditions.Itwasanopportunitytogrowandmatureartisti-cally,toembarkonexperimenting,tocreatetheiruniqueprofilesthematicallyandpoetically,allofwhichwerethreatenedexistentiallyandcommerciallyinBratislava.

10BURSTEIN,DavidD.Fast Future: How the Millennial Generation is Shaping Our World. Boston : Beacon Press,2013,p.3.ISBN0807044695.

Michaela Zakuťanská: Deň, keď zomrel Gott [The Day When Gott Died]. Peter Brajerčík (Roman), Gabrie-la Marcinková (Karla), Anna Rakovská (Izabela), Tomáš Mischura (Dávid). Prešov National Theatre, premiered on 28 January 2017. Direction Júlia Rázusová. Photo of the theatre archives.


They turned Prešov into their stable base and shelter. In the town, there hadbeen three professional theatrical institutions operating long-term and there wasalsoauniversity.TherelationshipbetweenBratislava(thecountry’scentreandcapi-tal located inwesternSlovakia)versuseasternSlovakia, i.e. the“remainderof theworld”,or“theendoftheworld”,isoftentimesaddressedinZakuťanská’splaysasathematicelement.OthertheatreprofessionalswithwhomPNDcollaborateshavea similar perception of this relationship. It is correct to say then that the founding of PNDwasaprogrammatic initiative, that is, tostartanalternativetheatrevis-à-visexistingtheatres,tocreateafreespacefortheirownthemesandatheatricallanguageandtooffsetthemismatchbetweenthecreativepotentialofthecountry’seasternandwesternregions.ThiswashowPNDwasfounded,wherebytheabbreviationhintsatthewell-knowncatchphrasePunkisNotDead.TheseeminglypranksterapproachtothetheatrenamewhichalsoalludestoSlo-

vakNationalTheatre,hasamoreseriousbasis. Itwasabout theexpressionof thepersonalopinionsandattitudesofthetwotheatreprofessionals.Theirconvictionthatitwasdoableandnecessarytoalsoengageincreationatthefarendofthecountry,in a region of high unemployment and a poor cultural policy followed the pragmatic idealism of David Burstein.11Notwithstandingdifficulties,theNewLostGenerationisconfidentinitsfutureandcapableofaswiftmobilisationandpreparedforbring-ingitsforcestoactionand,ifneedbe,toshapetheworldtoitsvision.Itwantstodothingsdifferentlyandbetter,tomaketheworldabetterplace.Itisamongtheirde-siresanditispreparedtosacrificealottoreachthisidealisticgoal.Itiscleartothemthatnewinstitutionsandgroupingsmustbestartedfirstandtheavenueofstepwise(anddifficult)attemptsusingtheoldorexistinginstitutionsmustbeabandoned.Thisis pragmatism. Ontheotherhand,choosingPNDasanamewasasmartmarketingmove.Aname

ofthiskindisanattention-catcherandeasytoremember.Theydesignedatheatrelogowhichtheycalledthepope.Itisagraphicallymodifiedcoat-of-armsofthetownofPrešov,resemblingamalefacewithamoustache,withtheSlovakdoublecrossontopofhishead.Itcamealongwithstickersaspartofthepromotionalcampaignofthenewtheatre.Thestickersread:“ItworkedouttobePrešov”and“Prešov,ifthereweresuchachance”.Initially,thetheatrewasmeanttoserveasaculturalplatform.Beforeitwasstarted,therehadbeenstagereadingsessionsofTheTheatrewithoutaTheatre.Theambitionofitsfounderswastodevelopthefirstordinarytheatrepro-ductionaboutandfortheinhabitantsofPrešov,totestoutwhethersuchaprojectwasfeasibleinthegivenlocation.Anotherambitionwastogiveguestperformancesinothertheatresandtoattendfestivals.However,theywereoverambitiousandtheideawasdropped.Atpresent, it servesasa laboratoryandspace forgenerationalpersonal themes.For sure, this was also affected by the problems of running an independent

theatre. In 2015, they approached themunicipality and tried to lease the vacantpremisesof theSenátorhotel in thecitycentre.Theplanwas tosetupa theatresceneontheirowncost.Despitethepromiseandseveraltendersinvited,theplanwasnevermaterialisedduetooddcircumstancesandabizarre turnofevents in

11Ibid.

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municipal politics.12ThePNDcontinuestooperateinarented-outhallofAlexan-derDuchnovičTheatreinPrešov,withoutamuch-neededwarehouseandastableactors’ensemble.Itinvitesmusicians,stagedesigners,actorstoworkontheirproj-ectsanddecisionsonthecastaremadebasedonthetypeofacharacterneededinaparticularproject.Thechoicefollowsapatternsimilartothemethodoftheatreanddirectionworkandtothechoiceofthemes,namely,authenticstyleofacting,playfulnessandcommitment.Theensembleworksadhoc,while themajorityofmemberscomefromeasternSlovakia.Itisasmartadvertisingmoveontheirparttoinvitepopularyoungactorstojoinin.Theirroleistoattractthepublicatlarge.ThecourtplaywrightofthetheatreisMichaelaZakuťanskáandJúliaRázusováisthetheatredirector,exceptforthesecondproductionwhichwasdirectedbytheirclass-mateZojaZupková.Upuntilnow,PNDhashadfourproductionsinitsrepertory:Single radicals(2013),Kindervajco (2015) Good place to die(2015),Deň, keď zomrel Gott (2017)[SingleRadicals(2013),TheKinderEgg(2015),AGoodPlacetoDie(2015),TheDayWhenGottDied(2017)].Weshallfocusonthefirstthreeproductionsofwhich the trilogy is composed.

The Singles

ThePNDcontinuousproductionwasstartedbystagereadingandtheproductionof Single Radicals.Itwastheonlyplaythathadbeenwrittenbeforethetheatremakersor,rather,itscoremembers,setupatheatregroup(actorsTomášMischura,GabrielaMarcinková,ZuzanaDancáková)13. Single RadicalswasaplaythatintroducedSlovaktheatrespacetoalong-missinggenerationalviewalongwithacurrentthemewhichneverbeforehadbeenpresentedonSlovaktheatrestageswithsuchanoverarchingcomprehensiveness.Itwasafemaleviewofthesinglesissue,thelifeofyoungpeopleunderthirty,theemotionalandpsychicalcrisisofyoungwomenandmeninday-to-day,real-lifesituations.Anincreaseinthenumberofsinglesisconsideredthebiggestsociologicalphe-

nomenon of our time. It is even referred to as an alternative lifestyle due to the sweep-ingchangesinmentalityandmotivations.Accordingtothefatheroftheterm,DirkvandeKaa, fromademographicpoint of view, thephenomenon is basedon theseconddemographictransition.Itreferstoasetofchangesinbehaviourandtothepopulation’sbeliefsystemwhen individualismandpersonal freedomareoverval-ued,theinstitutionsofmarriageandfamilyareweakenedandbirthrateisreducedtoalevelthatdoesnotguaranteetheself-reproductionofthepopulation.14InSlovakia,thesetrendsbegantoshowmoremarkedlyafter1989.Theywereaconsequenceofthesweepingsocio-politicalandculturalchanges.InSlovakia,too,thenecessitytoprimarily develop life strategies other than marriage or the starting of a family (the

12FormorerefertothearticlebyMichaelaZakuťanskáPrešovský národ sobje.Availableathttp://www.pnd.sk/prescaronovskyacute-naacuterod-sobje.html.

13 Two actresses got married and their surnames changed. It was Gabriela Marcinková (GabrielaMihalčínová)andZuzanaDancáková(ZuzanaGibarti-Dancáková).Inthemeantime,thefoundingdirector-playwrightcouplehavebecomemothers.

14RefertoPASTOR,Karol.Demografickédôsledkyzmiendemografickéhosprávania.InMATULNíK,J. et al. Analýza sociálnych a zdravotných dôsledkov zmien demografického správania na Slovensku. Trnava:Filozo-fickáfakultaTrnavskejuniverzity,2006,pp.22–30.ISBN80-8082-051-1.


prioritiesbeingeducation,careerpromotionandfinancialstability)hasledtoanin-creaseinthenumberofsingle-living,individualisedandindependentbeings.

The catalogue of the Touches and Connections Festival features the following comment regarding the Single Radicals production:“FoursinglecitizensofPrešov,onenightatamusicclub,fivebeatsofalcoholicintoxicationanddivulgingdesires(...) ...It is a narrative of a generation of individuals who only recently graduated from theuniversityandarecontemplatingthenextmoveinalifethathasjustbegun.Theydefinetheirspaceinwhichtheywanttolive.Theyseekagoaltoholdontoandtheyyearnfortheperfectpartner.Egotrip,disparitybetweenthewesternandtheeasternregionsofSlovakia,themissinggenerationoftwenty-andthirty-yearoldsinglesinthetownmakestheheroesrethinktheirinterpersonalrelationsandvalues.Whiletry-ingtofindanewdefinitionoflove,theycometorealisetheyhaveturnedintoSingleradicalsandstrippedofideals,finditimpossibletobuildnewrelations.”15

Single RadicalsisaplayabouttheyoungpeopleofPrešov(agedbetween24and29),whoarefearfuloflove.Theyareeducatedyoungmenandwomenyearningforsomeoneclose,forstartingtheirownfamilies,foragoodjobandlifeintheirhome-townbuttheydonotknowhowtoachieveit.Itisquestionablewhetherthetowncanofferthemsuchopportunities.Theyareaset-asidegenerationwhosetrainhasleftanditwaitsforanotheronetoarrive.Whilewaiting,theykillthetimebyalcoholicget-togethers in localbars,overcomingsadnessbyshotsofvodka,glassesofbeer,orvodkaandbeer.16Theykeep friendly relationswith eachother tomakeup fortheabsenceofpartnerandfamilyties.Ashelteriscreatedandasingleisasheltertohimself/herself.17The instancea singlegets thechance toestablishcontactwith

15MichaelaZakuťanská: Single radicals [theatre festival catalogue].Dotyky a spojenia. [Touches andConnections].10theditionofMartinTheatreFestival.Martin:Slovenskékomornédivadlo,2014,p.29.

16Sociologicalsurveysprovethatinteractionwithfriendsisvitaltosingles.Tomeetothers,theyusedirectlinks,suchasjointactivity,outings,entertainmentvenuesorindirectlinks,suchassocialnetworks.

17 “A single may have a partner. A single may have several partners. A single does not share an apartmentwithapartner.Asingleisanegotist,asinglecanenjoyhis/herowncompany.Asinglecreatesthe town’s culture, the economy and the atmosphere...A single is inwardly-focused.He/she is a prime

Michaela Zakuťanská: Single radicals [Single

Radicals]. Ladislav Ladomirjak (Bohuš),

Gabriela Marcinková (Denisa). Prešov National

Theatre, premiered on 11 October 2013. Direction

Júlia Rázusová. Photo of the theatre archives.

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someoneatthebar,he/sheactsforhimself/herself.Anyfurtherattemptisdoomedtofailure,whichbringshim/herbacktodrinking,contemplationsoverlifeandun-fulfilledgoals.However,itisnotastateofself-pity.Thecharacterstreatthemselveswithacertaindegreeofcruelty.Thereisnospaceintheirlivesforcrying,onlyfornewadventuresandchallengesbywhich theydrawattention to themselves (theyorganisethePrizeforLifecompetition,goforatripintheforest,orsmokemarihuanaintheladies’bathroom).In the play, the singles are typologically diverse. Using Arthur Shostak’s

classification,18DenisaembodiesaResolvedSingle.AccordingtoPeterStein’s19typo-logy,sheisanInvoluntaryStableSinglediscontentwiththedevelopmentofherlifesituation(relations)butherhithertofailureshaveledhertobelievethatthisisaper-manent condition. She is a teacher of mathematics. She returned to Prešov to prove toeveryonethatitispossibletopreventbraindrainwestwards.Herprofessionisherpurposeoflifeandsheisfirmonherdecisiontostaynomatterhowbadthesituationineducationis.Shewentthroughadisappointingloverelationship(thequestionis,

numberthatcanbeexactlydividedonlybyitselfandbyone...Asinglewouldspendthenightsinbars,becausetheonlythingthatawaitshim/herbackhomeishis/herTVsetwhichhe/shemightnotevenhave...Asingleisaradical“.Zakuťanská:Single radicals[programmebooklettotheproduction].Prešov:Prešovskénárodnédivadlo,2013.

18 BORGATA,EdgarF.–MONTGOMERY,RhondaJ.V.Encyclopedia of Sociology.NewYork:MacmillanReferenceUSA,2000,pp.17–18.ISBN0-02-864853-6.

19STEIN,PeterJ.(ed.).Single Life: Unmarried Adults in Social Context.NewYork:St.Martin´sPress,1981,pp.10–11.ISBN0312725965,9780312725969.

Michaela Zakuťanská: Single radicals [Single Radicals]. Tomáš Mischura (Saša), Gabriela Marcinková (Denisa), Ladislav Ladomirjak (Bohuš), Zuzana Dancáková (Aďa). Prešov National Theatre, premiered on 11 October 2013. Direction Júlia Rázusová. Photo of the theatre archives.


whethersheisabletofallheadoverheelsinlove),herbiologicalclockticksandshewantstohaveababy.Findingtherightromanticpartnerisdifficult,givenherstrictchecklistconditions:“DENISA:ThedomainofdefinitionofthePotential PartnerfunctionequalsPrešov;

maleagedbetween25and40,readsatleastabookamonth,hasgotajobhelikes,doesn’tlivetogetherwithhismomma,he’ssingleandIlikehim.AnXequalstwo.Potential Partnerfunctionequalstwo.BOHUŠ:Thatsoundsoptimistic.You’veacrushontwoguys.DENISA:Hey,wait. I’vedilutedsomeofmyconditionsandconstruedthedo-

mainofdefinitionoftheWill-we-be-together?function.ThatoneequalsPrešov,maleagedbetween25and40,readsatleastblogs,hasgotajob,willmoveawayfromhismommawhenwestartdating,he’ssingleandIlikehim.AnXequalsfive.ButwhenI add the Does-he-like-me?condition,theWill-we-be-together?functionequalszero.”20 Ideally,shewouldchoosehavingababywithouthavingaman:“Don’tyouwor-

ry.Matriarchywillbeback.Youmighthaveababy,evenImighthaveone.We’llhavethemwithoutmen.Thekindofloveourmothersonceknewwillbegone.Suchlovecan’tbetoday.Womenhavegottenridoftheverylastbitofgullibility.”21

20ZAKUŤANSKÁ,Michaela.Prešovská trilógia.Bratislava:ObčianskezdruženieVlnaaDrewoasrd,Bratislava2017,pp.20–21.ISBN978-80-89550-31-9.

21Ibid,p.36.

Michaela Zakuťanská: Single radicals [Single Radicals]. Ladislav Ladomirjak (Bohuš), Zuzana Dancáko-vá (Aďa), Gabriela Marcinková (Denisa), Tomáš Mischura (Saša). Prešov National Theatre, premiered on 11 October 2013. Direction Júlia Rázusová. Photo of the theatre archives.

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Aďafalls in thecategoryofAmbivalentsand InvoluntaryTemporarySingles.22 Currently,herprioritiesareotherareasoflife(study,friends)andsheprocrastinateslivinginastablecouple.Breaking-upwithherboyfriendsdoesnotcauseherahead-ache.She ispreparedto jumpintonewdatingadventures.She ismoreconcernedabouthavingtolivethelifeofanotherpersonandthatshewillhavetosubduetotheexpectationsofherparentswithwhomshemustliveforthetimebeing:“AndwhatifIdon’tcareabouthavingauniversitydegreeandhavingtoworkfromninetofivefortherestofmylife?I’dmuchratherselldonutsonabeach”.Andimmediatelysheaddsthatherhousewillbetiled,withhighceilingsandclimbingplants,inthecitycentre23. Her perception of the world is that of an open playground with plenty of op-portunitieswhichsheisdeterminedtoexplore.Whatcountsareexperiences,schoolisaburdenanditdoesnotteachyouwhatlifeisallabout.Sheisamodernyoungwomanandagirloffashion(hairdo,dress,socialnetworks,consumergoods).Shedreamsofalifeinabigcitywhichwouldtransformherlifeintoahappyone:“Andwhenyoustandinthestreet,peoplearesmilingatyou,withabeerintheirhands,sodifferentfromhere.Everybody’shappyinPrague.”24 Outofallcharacters,Bohušistheonetobeleastawareofhislifesituationand

ofitsquality.Beingateacherofvisualarts,hedoesnotearnmuchbutisreluctanttodoanyextrawork.Tosavemoney,helivestogetherwithhismother.Hissexualcontactswithwomenendunderthestaircaseofnightclubs.Heisapragmaticpersonofshort-termgoals.Hethinksgirlstodayarecarefreebeingsandbecauseofhisrepu-tation,onlytheyoungeronesareleftbuttheyaresuperiortohimandhefindsthemfinanciallyburdensome.“BOHUŠ:Imagine,I’dbeinarelationshipandwe’devenbedatingeachotheron

Facebook.It’sahugeresponsibility.Whatifshekeepscheckingonme?Agirlfriendcostsmemoney.I’dmuchratherbuymyselfanewbikebeforeIhaveagirlfriend.”25

UnlikeAďa,BohušfallsinthecategoryofWishfulandVoluntaryTemporarySin-gles.Hekeepswaitingandshovingallcommitmentsaside.Hislifelonggoalistobefreeandtohaveawifeandkidsatthesametime,enjoyhisFridaynighthangoversandastablejob.Alackofserious-mindednessandmachismoinhisactiondoomhimto failure. An accompanying phenomenon of such a lifestyle is a feeling of emotional aridity:“I’mnotlookingforanidealwoman;I’mlookingforawomantofillinthehole in my head.”26

The last of the group of four friends is Sasha. He got used to an independent lifestyle and is reluctant to give up his freedom and independence. He has no special tiestohisfriendsortoPrešov.HecomesheretorelaxandtobragtohisfriendswhenanappleorastrawberrypickingseasoninItalyorScotlandisover.Itisimportantforhimtobetreatedassomeonespecialandexperienced.Heisthemostimportantperson in his life. He indulges in Eastern philosophy which he advocates: “You don’t havetotravelortowalkoutofyourflatentrydoortogettoknowtheworld.Iwantto

22RefertoBORGATA,EdgarF.–MONTGOMERY,RhondaJ.V.Encyclopedia of Sociology,pp.17–18;alsoSTEIN,PeterJ.(ed.).Single Life: Unmarried Adults in Social Context.,pp.10–11.

23 ZAKUŤANSKÁ,Michaela.Prešovská trilógia,p.19.24Ibid,p.30.25Ibid,p.32.26Ibid,p.37.


letgoallmydesires,Iwanttobeself-sufficient;whatIgrowiswhatIget.Nomoneyandstores,nopeople.TheonlythingIcan’tgetridofissmokinganddoping.”27

Sasha’sideaofanoutinginthewoodsistohaveeachofthemgoonhis/herown.His convincing statements turn out to be a defensemechanism.Heworships thewoodsandsolitude,butmeetspeopleinbars.HepreachesEasternphilosophy,butendsuphavingbeerandvodka.Heprofessesself-sufficiencyandsolitude,buthasnoproblemhittingonDenisa,rightafterbreakingupwithAďa.Hishomeisthewholeworld,buteveryyearhewouldcometoPrešovtobeinthecentreofattention.Infact,heisaRegretfulandVoluntaryStableSingle.Heappeasedhimselfwithalifeinsolitudeandisnowayneartowantingtochangeit.Heisfearfulofhavingtoattunehimselftoanotherperson,hisnomadicexperiencemakeshimchangelocationsandgroupsofpeoplehemeets.Heisnotinastateofmindtoinitiateanychange,ashemayfinditlimiting.Whatconnectsthesecharacters?Theyallhavenarcissisticproclivities,theycling

tofreedombuttheycraveforasoulmate.Despiteenjoyingsocialstability,theyex-perienceemotionaldeficit.Theyarecruel.Theyperceivetheirlivesasabizarrelifeinabizarreworldwhichputspressureonthemtomakeeverythinglookpositive.ThispictureofsinglesisdramaticallydifferentfromwhatisofferedbypopularTVseries,such as Ally McBeal or Sex and the City. The generation in Single Radicals has gone astrayonitsquestforhappiness,butitcontinuestomarchon.Theyareawarethattheirlifeidealswillmostlikelynevercometrue.Theywant

toliveanewwayoflifebuttheydonothaveacluehowthiscanbeachievedbecausethey carry the remnants of traditional models and values in them. They are fearful of relationships,emotionsandoflove.Loveasaproductiveactivityofself-renewalandself-assertionremainshiddentothem.Theyhaveexperienceditonlyinthesenseofhavingratherthanbeing.Thetimesinwhichtheylivemakethemreactinasimilarway inotherareasof life.Theyare stigmatised individuals, theyareaproductofhastytimesfullofnonsensicalcontrasts.Theirlifefeelingmaybedemonstratedonan example of a line at the end of the play: “DENISA:Youknowwhat,letmetellyouthis,Sasha.Iwould’vekilledmyself

agesagoiftherewasn’tachanceformetobecomeamotheroneday.Iwouldshootorhangmyself,oreatpills.Butthatidioticcontrollightinmyheadwon’tletmedoit.Iknowsuicidescarestheshitoutofme.”28

Kindervajco [The Kinder Egg] – the town in the lead role

Inthesecondpartofthetrilogy,inThe Kinder Egg,Zakuťanskáfocusedonmale-femalerelationshipsagainstthebackdropofcitylifeanditsmunicipalandculturalpolicies.Thecontemplationsfocusonquestionsastowhetheritisfeasibletocreatea functioning life in a couple and a functioning environment for a normal life in our time.Prioritisedvalueswereputunderscrutiny.Localpoliciesblendwiththelivesofcharacters as an allusion to the impact the policies have on the existence of PND and onthereal-lifeactivityinthetownofPrešov.Thistime,theprotagonistsoftheplayare“Post-Singles”,agedbetween27and35,

27Ibid,p.22.28Ibid,p.47.

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and they live in couples. Among the lead characters is the town of Prešov in the form of aleitmotifofagigantickindereggmadeofBelgianchocolate.WhileinSingle Radicals thetownwaspresentedasaonestoplighttown,aplacewithoutopportunitieswhereonefirsthastoreturntobringbacklifeinthetown,inThe Kinder Eggthetownlivesbyitsownrules.Thewretcheddestiniesofthetown’sinhabitantsaremetinitsshadowandunderitsinfluence.Relationshipsandfriendshipsaredistorted,maritalandpart-nerinfidelitythrive,peopleareinquestofwhathasbeenleftoftraditionalvaluesandtheystrugglewithunmetambitions.Thetownisdepictednearlyasawarzone,wherehesitationequalssocialdeath.Everyoneiseachother’srival,everyonecheatstheother.It is a place where one comes to morally die.29Themagickindereggcastsashadowonordinarypeople,publicandprivatelivesblendtogether.“AgiganticKinderEggcastsagoldenreflectionoftherisingsunonthetown.ThetrolleybusNo.1islate.Theteethofthepeoplewaitingatthebusstopchatterwithcold.Trucksloadedwithchildseatsheadforthewest.(...)AnunknowncompanythatwasawardedalifetimecontractforthemaintenanceworkonthegiganticKinderEggmountschimes inthehen’sbeakhiddeninsidetheegg.WhileFrantišek, theblue-collarworker, is throwingupfromascaffolding,Milaniseatinghisrollandcod(...)ThecitylegendsaysthatwomenwhotouchthegiganticKinderEggwiththeirrightboobduringtheirfertiledayscanim-maculatelyconceiveasemi-divineoffspringoftheCityManager.”30

29Intheplay,PrešovishumorouslyinterconnectedwithParisandNewYork,bythe49thparallel.30ZAKUŤANSKÁ,Michaela.Prešovská trilógia,pp.52–57.

Michaela Zakuťanská: Kindervajco [The Kinder Egg]. Andrej Sisák (Dunčo), Peter Brajerčík (Gregor), Gabriela Marcinková (Slávka), Tomáš Mischura (Urban), Zuzana Dancáková (Lucia). Prešov National Theatre, premiered on 21 February 2015. Direction Zoja Zupková. Photo of the theatre archives.


TheKinderEggacquiresdivineandmagicalpowers.Onfestivedays,managerswould laywreaths and cooked eggs there andproject on the eggnames likeTheAthens onTorysaRiver, Slovak Seattle, etc. TV crews shoot cookingprogrammesin itsshadow.Moreover, theegghelpsconceiveprogenyandithealsbyvirtueofasmallkindereggbeingforcedoutofitsbodyonceamonth.InthedimnessoftheKinder Egg monument young people indulge in alcoholic and sexual pleasures. Itmayappeartobeanidealplaceforlife.Butwiththepassageoftimeitturns

outtobehypocrisyandfake.Amarketingmovetomakethequasi-culturaltownofunprecedentedopportunitiesvisible(theKinderEggmonumentisanallusiontoanactualambitionofcitycouncillorstoerectthestatueofChristinPrešovthatwouldsurpasstheoneinRiodeJaneiro)wasatotaldisasterandabusinessfraud.TheKin-derEggwasbuiltwithoutabuildingpermitonunconsolidatedland.Thepromisesof local politicians to save it ended up in its dismantling: “Fifty tons of Belgian choco-latepast itsshelf lifeofwhichthegiganticKinderEggwasmadewasdonatedbythemunicipalitytosociallymarginalisedcitizens.ThegoldenhenwasmelteddownandhandedovertoacollectionenforcementcompanyownedbytheCityManager.Anauditdisclosedthatthetownwasindefaultanditwouldtakeahundredyearstohaveitsdebtpaidoff.Fortunately,thehistoricalbuildingsinthedowntownareawhichwereprivatelyownedbytownmanagers,werekeptbythetown.”31

31Ibid,p.93.

Michaela Zakuťanská: Kindervajco [The Kinder Egg]. Gabriela Marcinková (Slávka), Zuzana Dancáková (Lucia). Prešov National Theatre, premiered on 21 February 2015. Direction Zoja Zupková. Photo of the theatre archives.

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InparallelwiththecrumblingofthemythofamiraculoustownanditsKinderEggtotempoleother,equallyrottenandimmoralthingshappeninsideagroupofsixfriends.Someofthemgotlucrativejobs,othersremainedday-dreamersandforeveryoungadolescents.Gregor,thecitycouncillor,doesnothesitatetosnatchatanyop-portunitytobepromotedortohavearomanticaffair.Hebenefitsfromhisbusinessdeals and uses the contacts of his mistresses. He would not allow his marriage with Luciatoenthralhim.Outwardlyheinsistsonanimpeccableimageofahappyfamily,butheisdespoticwithin.HehasbeencheatingonhiswifeLuciawithhergirlfriendSlávkawho isa journalist.He isup todoing just thesame thing toGréta,who isawriterandgirlfriendofhisbuddyUrban.Nothingissacredtohim,solongasitstays covert. “GRÉTA:Butyou’veawife.GREGOR:WoulditbeOKifIfindmyselfalover?GRÉTA:Idon’tknowwhat’sOK.Itmakesnodifferencetome.Youdemeanher

anyway,onewayortheother.GREGOR: I should finally start putting myself first, her presence kills me.

She’sbeensoterriblycold.Shewouldn’ttellmeshe’slovesme.GRÉTA:Doyoutellherthat?GREGOR:I’mnotsureIstillloveher.Wouldyougotobedwithmetonight?”32

32Ibid,p.82.

Michaela Zakuťanská: Kindervajco [The Kinder Egg]. Zuzana Psotková (Gréta Čierna), Peter Brajerčík (Gregor). Prešov National Theatre, premiered on 21 February 2015. Direction Zoja Zupková. Photo of the theatre archives.


IntheeyesofthemediaGregorcreatesanimageofacitizenofintegritywhocaresaboutthecultureanddevelopmentofhistown.Emotionally,though,heisacynicalperson.Hemeasuresmaritallovewithmoney,bitch ishisson’sfavouriteword,hefoistsrepliesonthecouplesheweds:“Sayyournotoeachother”.Gregorembodiesnouveauriche,amanofentrepreneurialspiritwhohasgoteverythingotherswouldenvy him. Despite having all this he is not happy and he cannot stand his perfect life.HiswifeLuciahasalivingspaceofherown,delineatedbythefinancialsubsidies

fromGregor. She is free todoanythingwithin the limitsofbuildingan imageofamodernwomanandwifeofalocalMP.Shetakespoledanceclasses,givesinter-viewsonhowtokeepanimpeccablehousehold,aperfectbody,ahappyfamilyandahealthystyleofliving.ShekeepsherfollowersupdatedonViemjažiť[MyPerfectLife]socialnetwork,whichcreatesherownreality.“SLÁVKA:Theperfectwife,acharismatichusband,abeautifulchild,a stylish

apartment.WoulditbeOKifIwriteablogaboutyou?”33

Luciaisagreenwidow,whichisanewphenomenonofthelatterhalfofthe20thcentury.34Herhome,however,isnotafamilyhouseinagreenresidentialsuburb,butrather a luxurious apartment in the city centre. She spends her days alone in a lavish-lyappointedapartment,surroundedbyabundance,withaminimumpersonaldriveandinternalmotivationandsufferingdepression.WhenGregor’sextramaritalaffairsgetknown,shecontinuestoplaythegameofahappyfamily,asifnothinghappened.Sheisunabletogiveuptheseeminglyfulfilledideaofanideallife.JournalistSlávkaandmusicianDunčocreateabizarrebutnotuncommoncouple.

Dunčoisabitofablockhead,amusicianwithabuoyantpast.Helivesdaybyday.Hehasnoclearideaofwhathisfutureshouldlooklike.Inaway,Slávkaishissalvation.Shemanipulateshimandchangeshiminherlikeness.Shemovedintohisplacerightafter shebrokeupwithUrban.Shedictates the rulesof their relationship.UnlikeDunčo,sheisenergeticanddynamic.SheisassistedbytheFreshAirmobileapplica-tionwithaself-controller,whichorganiseshertimeandpostponesprocrastination.Forher,Dunčoisonlyatemporaryrelationship.Shewantsalifechange,butnotuntilsheturnsthirty,andshehastheperfectplantodoit.ShedoesnotthinkmuchaboutpossiblyhurtingDunčo.Sheisamixofapragmatistandcarefreeromantic.WhenSlávkatellshimthatsheisgoingtohaveababywithGregor,Dunčotriestoconvinceherthatitmayjustaswellbehis.Theybothareawareoftheiractionofwaiting,butneitherispreparedtogoafterhis/herdreams.Bycontrast,Urban,auniversitylecturerandorganiserofculturaleventsandhis

newgirlfriendGréta,areamismatchedandboringcouple.Whattheyhaveincom-monis loveofliteratureandtheybenefitfromeachanother.Urbandoesnotneedawoman,butratheramuse.Gréta,hisformerstudent,ishappytouseUrban’smi-lieuasan inspirationforhernewnovel.Gréta issceptical,shedoesnotbelieve inunadulteratedrelationsandinlove.Ratherthanreality,shebelievesinopportuni-ties.Urbanisahopeforher–atruthfulintellectualdreamingofcultureelevation.

33Ibid,p.59.34 OUřEDNíČEK,Martin–TEMELOVÁ,Jana–MACEŠKOVÁ,Marie–NOVÁK,Jakub–PULDOVÁ,

Petra–ROMPORTL,Dušan–CHUMAN,Tomáš–ZELENDOVÁ,Světla–KUNCOVÁ,Iva.suburbanizace.cz. Praha:UniverzitaKarlovavPraze,Přírodovědeckáfakulta,katedrasociálnígeografiearegionálníhorozvoje,2008,p.93.ISBN978-80-86561-72-1.Availableathttp://www.suburbanizace.cz/suburbanizace_brozura/8.pdf.

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He is a representative of an old school in which mutual respect plays an important roleinpartnershipco-existence.Withhimbyherside,shecanlookatherselfinthemirror.Grétawritesanovel“AManofNoBeliefs”withallfriendsendingupasthecharacters of her novel and their lives create the story line. The novel is transcended byalossofbeliefdiagnosis.Eighthoursatworkofwhichonlytwohoursareusedmeaningfully.The rest of theirworking time is loitered awaybyposting likes onMyPerfectLifesocialnetwork.Intheevening,theycreateavirtuallibraryortheygetdrunk,toforgetadaywasted.Creativityandworkareemptiedconcepts,loveisabusinesstransaction,littlewarsarebeingwagedaroundthem,tocoverupwhatisreallygoingon.Howshefeelsaboutherowngenerationisbestexpressedinthefol-lowing words:“GRÉTA:Urban,I’minastateofdecay,fromtoptobottom.WhatI’mcraving

fornowissprayingtheinsideofmewithSavomouldkiller.Keepaway,sothatyoudon’tcatchthemould.(...)I’mfedupwithnotknowingwhatcovetingreallyis.Igetanything Iwant, and Iget it right away.Whenwas the last timeyou coveted forsomethingunattainable?(...)Urban,I’mawomanofnotraits.Ifindanopportunitymore interesting than reality.”35

Good place to die [A Good Place to Die]

Prešov TrilogyisconcludedbytheplayA Good Place to Die.Init,PNDtheatrepro-fessionalscapturedacurrentlyexperiencedthemeofthepossibilityorimpossibilityoftheself-fulfilmentofacreativeandartisticallyinclinedindividualinaprovincialsetting.Onaself-criticalnote,usinggrotesqueelement,theyscrutinisethecausesofdisenchantment,failuresandtheburningoutofyoungpeopleinfulfillingtheirartis-ticandpersonalambitions.Again,theelementofparadoxispresent,whichfollowsfromidealistgoalsandthewaysinwhichtheyareachieved.Asidefromexternalities,theNewLostGenerationclashesagainstthewallofincapacitytotakefirmdecisions.Itsperceptionoftheworldismulti-layeredandstructuredandoptingfor justonegoalmeansapossibilityofmissingtherightgoal.Putinthewordsofoneofthechar-acters:“Asinequalsmissingthegoal.”36 TheparaphrasesandquotationsintheplaywereinspiredbyChekhov’sPlatonov.

Inanewinterpretation,thecharacterwasembodiedbyKoňarPlatonov(i.e.PrešovcitizenHorsenPlatonov).The leadcharacter isart teacherMichal,whoseattemptsto subduemediocre routine endup in avicious circleof aprovincial town, at anelementaryartschoolwhichmayeasilybecomeagiftedperson’ssocietalgraveanda source of lifelong frustration.37“Michal,aformerseriesstarandartteacheratanelementary school of arts, takes a decision to fulfil his direction ambitions by re-hearsingChekhov’sPlatonovwithchildren.ThankstoanEUgrantawardedontheoccasionoftheYearoftheHorse,Koňar[Horsen]Platonovacquiresrealistictraits

35ZAKUŤANSKÁ,Michaela.Prešovská trilógia, pp. 77 – 78. 36Ibid,p.139.Thethemeofaproblematicgoal-settingwasexpressedbyDenisainSingleradicals,the

firstplayofthetrilogy:“I’venowishes.I’mtwenty-fiveandI’veachievedeverythingI’vewantedto.WhatshouldIwishfor?I’venogoal.Whatshouldbemygoal?Makingacareer?Findingmyselfaguy?Havingafamily?It’sodd,livingwithoutagoal.” (p. 25)

37GODOVIČ,Marek.Radšejniekoľkokrátutiecť,akorazzomrieť.Inkød,2016,Vol.10,No.3,p.12.


at the elementary art school and Michal gets all his fellow teachers involved in the play’spreparation.However,hehimselfisbeingtransformedintoPlatonovandinadditiontoacreativitycrisis,numbnessandfrozenemotionsinatownwhereonecomestodie,heischallengedwithanaffectionateconspiracyofthree(...)verydiffer-entwomen.Whatisitliketoliveandseekself-fulfilmentinthebackwaters?Doesonehavetomovetothecapitaltogetonthe30Under30list?Isitthetowntobeblamedforfailure?WouldFridaKahlohavepaintedthesameifshehadlivedinatownlikeours? And how come that Kant lived in the same town his entire life? The tragicom-edyAGoodPlacetoDieoffersamagicalandgrungeviewofwhatPlatonovwouldbelike,ifhelivedtoday.”38

Modern-dayPlatonovwho lives inPrešovasa contemporaryof theLostGen-erationisayoungandboredperson.Heisparalysedinlove,anditisquestionablewhetherhecanfeelloveatall.Hehasnoopportunitytocreatefreely,anditisques-tionablewhetherhecancreateatall.He isentrapped in the town thathurtshim.Haditnotbeenhisbirthtown,hewouldhavelivedapeacefulandmeaningfulliveelsewhere.Ifitisnotthetownthathurtshim,thenitishimbringingharmtohimselfbyhisirresolutenessandinabilitytotakeoverresponsibilityforhislife.Aself-de-structiveforceofpersonalitymakeshimcomeupwithevernewexcusesforhisactionandlingerinoneplacebeforehepluckshiscouragetorecklesslyfleefromabigdeedhe,ironically,hadadesiretodo.

38Availableathttp://www.pnd.sk/good-place-to-die.html[cit.27May2017].

Michaela Zakuťanská: Good place to die [A Good Place to Die]. Tomáš Mischura (Michal Rusnak), Tomáš Paľo (Musician), Miroslav Bodoki (Tóno Baláž). Prešov National Theatre, premiered on 18 December 2015. Direction Júlia Rázusová. Photo of the theatre archives.

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Thedramaticstorylinebeginswiththedeathoftheprincipaloftheelementaryartschool.Hethwartedtheflightofhisyoungcolleaguesbyhisconservativeap-proachandbyfavouritisingartisticpreferencesofschoolsponsors.Insteadofpur-chasinganewequipment,heusedthestructuralfundsmoneyforthebuildingofawinecellarinthebasementunderthestaffroom.Heisnottheonlycorpseintheplay.Thecharactersintheplayexistratherthanlive.Despitebeingyoung,theyfeeltheirlifeisbeingwasted.Theyslipbackintotheoldwaysofdoingthings–sand-wichesatameetingareamust,andtheyareperfectlyhappywithfolkdanceclassesinsteadofanewcreativeproduction.Theyhavenotachievedorchangedanything,theyareabsorbedinprovinciality,lazinessandlibertinism.TheirlifefeelingisthatofChekhovianerraticstones,whichstandintheirownway.Theygotowork,theyshop,eat,shit,makelove,sleepandfearthefuturejustastheirneighbourswhomthey criticise. Michal, theleadcharacter,despiteseveralattemptsat innovation, is trappedin

hisownlibertinianobsessionsandcommercialpressure.Today, it is imperativetoputyourself forwardbeforeyou turn thirty,otherwiseyouhavenochance.Beingthirty,hethinkshimselfhandicappedbyswiftsocietalchangesagainstthebackdropofanomnipresentcultofyouth.HeisunabletoresolvehislongrelationshipwithhisgirlfriendSasha.Itwouldbeacommitmentforhimwhichwouldjeopardisehisfreedomandhewouldhavetofulfilotherperson’swishes.Hisfearstemsfromtheinertiaofamarriagestereotype.(“MICHAL:You’rewrongifyouthinkI’mbetteroffthanyouare;ourrelationshiphassuckedtheverybestoutofme.Iusedtobelike

Michaela Zakuťanská: Good place to die [A Good Place to Die]. Tomáš Mischura (Michal Rusnak), Mi-roslav Bodoki (Tóno Baláž). Prešov National Theatre, premiered on 18 December 2015. Direction Júlia Rázusová. Photo of the theatre archives.


adiamond.Andnow–mythinkingisstilllucid,butSashahassuckedambitionsoutofme.She’sthirtyaswell,shewon’tbeprettyforeverandshe’sneverbeensmart.She’sevengotusedtomyloveaffairs.It’samazinghowmuchshelovesme.”39). He findshimselfencaptivatedby theexpectationsheraised in threewomen: thenewheadmistressRomana,hisfellowteacherMaria,andSoňa,hiscolleague’swife.Romanawillbeturningfortysoon.Sheregardshernewworkingpositionasthe

apex of her professional career. But this is also her last chance to have a child. There-fore, shewants sperms fromMichal as a suitabledonorwithoutwanting to raisethekidtogether.TheyoungcolleagueMaria is infatuatedwithherpubescentandromanticideaofMichal,theone-timeTVstar.Soňaisasecond-classactressofsmallroles in the local professional theatre. For her,Michal epitomises a chance to runawayfromanunsuccessfulcareerandanunhappymarriagewhichsuffocatesher.Hebringsbacktolifetheoldboardingschoollovepassions.TheonlythingMichalcandoistofleetoBratislavaandgiveachancetoamarriagewithSasha.Herealizesthatthereisnorightchoiceforhim.Heisalostvictimofyouthfulambitions,limitingpersonalandsocietalfactorsandself-destructiverestlessness.

A New Lost Generation captured in the production of Prešov National Theatre has several things in common. Aside from representing young and intellectually en-dowedpeople,theyarealsoselfishindividuals.Theyareunitedbyasimilarfeeling

39ZAKUŤANSKÁ,Michaela.Prešovská trilógia,p.112.

Michaela Zakuťanská: Good place to die [A Good Place to Die]. Mário Zeumer (Jano Lukáč), Tomáš Mischura (Michal Rusnak). Prešov National Theatre, premiered on 18 December 2015. Direction Júlia Rázusová. Photo of the theatre archives.

ELENA KNOPOVÁ250

of the times they live. The feeling stems from the awareness of their stagnation in timeandspace.Itgushesoutfromtherecognitionofemotionalstandstillorinabi-lityofemotionalfulfilment.Theyareunabletoattainwork,psychicalandemotionalbalance, tocreateharmonicstate theycovet. It iseitherabouthavinga rewardingjoborwell-functioningrelationships.Moreoften,theyhaveneitherrewardingjobsnorwell-functioningrelationships.Iftheyarepreoccupiedwithworkandtheymeetfriends to saturate their relationships,makingadecision to start a family ishard,whichfrustratesthem.Iftheydecidenottoworksohard,theyareconfrontedwiththe money issue and that prevents them from living lives their way and according to thegenerallyacceptedmaterialiststandardsofthe21stcentury.Iftheystartafamily,theyarefacedwiththecontroversybetweenacommitmentandapersistingcultofvalues, i.e. freedom, independence, creativity that are instilled inusas somethingextremely important.Itisagenerationthatlivesfromdesiresandinself-deception.Itisageneration

open to constant challenges.However, it is performance-driven, perfectionist andegotisticandunderthepressureitpsychicallycollapses.Itismalcontent,alienated,thecontroversybetweentheinnerandouterworldsisunsurmountable.Itdoesitsutmostnot to lose its independence. It yearns for love inwhich it seeks salvationfrom solitude. It fears solitude in the funhouse of the world and people. It fears its permanenceandthatitkeepslosingsomethingallthetimeandisunabletogoafterhappiness.Thisgenerationismoreabout“having”than“being”.

The study was developed within the framework of the grant project VEGA 2/0170/16 Theatre as a Communication of the Crisis of Values.

Translated by Mária Švecová

ElenaKnopováÚstavdivadelnejafilmovejvedySAVDúbravskácesta984101Bratislava,[email protected]

the theme of “a new lost generation” in the … · lost generation of the men-of-letters and...

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