A cultural diplomat – this could be considered a brief description of the work of Ľubica Krénová, two-time director of the Slovak Institute in Prague. And although her work encompasses all forms of culture, she maintains the closest ties to theater.
How have the environment, relationships, and cooperation between the Czechs and Slovaks changed in the field of culture compared to the beginning of the century when you first served as the director of the Slovak Institute in Prague?
As Heraclitus once said, you never step into the same river twice, and the situation I returned to almost twenty years later was not the same either. I recall the initial period as the peak of exceptional, spontaneous, and friendly relations, unfolding warmly at both political and socio-cultural levels. When the Slovak Institute celebrated its tenth anniversary, the gala was attended by both countries???? ministers of culture, foreign ministers, and the president of the Czech Senate. This year, the Slovak Institute celebrated its thirtieth anniversary, but the presence of official representatives from the Czech Republic was more modest. The thirty years since the split are really showing and it is detrimental to both countries. I often liken relationships to flowers – when you water them, they grow and bloom, but if you neglect them, they start to wither. On an individual level, all old friendships continue to thrive, and new ones are forming. This is greatly aided by film, which connects filmmakers from both countries, and theater as well. For instance, the Czech-Slovak theater festival Setkání/Stretnutie (Translator‘s note: the words mean “meeting” in Czech and Slovak) in Zlín still exists. Unfortunately, the Slovak Theater Festival in Prague, organized by Divadlo bez zábradlí for a quarter-century, did not resume after COVID. Therefore, the Slovak Institute has taken up the role of presenting Slovak theater in Prague. In 2021, we introduced Theater Aréna with several of its productions, followed by the Slovak National Theater in 2022, then the Slovak Chamber Theater from Martin, and this year, the Nitra-based Andrej Bagár Theater.
Slovakia has a network of nine institutes around the world. Are activities in the Czech Republic specific due to the history we share and how close we are culturally?
Our shared history and the closeness of our cultures definitely make things here very specific. However, this specificity is like a double-edged sword. On one end is the factual reality, and on the other is the perception that because we are so close, we do not need to pay as much attention to one another as we do to other countries. This illusion of proximity is deceptive, as times are changing and we need to engage the youngest generations on both sides. Cultural diplomacy is meant to unite people, and through the activities of the Slovak Institute, I strive to continuously incorporate some Czech elements into every project. Incidentally, I am coordinating with the director of the Czech House in Bratislava to potentially organize certain events jointly.
What does the Slovak Institute and your work there mean to you personally?
If I had to summarize it in one word, it would be joy. Every successful event that brings joy to others also brings joy to us. However, the primary focus is cultural diplomacy, and its main goal is to create a positive image of Slovakia. The work is wonderful because there are indeed many high-quality Slovak artists. I try to collaborate with experts who handle the selection process, which also makes it more objective. These would be knowledgeable and experienced curators selecting the specific artists in contemporary art exhibitions, for instance. This year, we have already had three exhibitions of contemporary young artists. For the summer, we have prepared an exhibition for tourists called “Look, Prešporok!” which depicts old Bratislava, or the former Pressburg or Pozsony, through the works of Central European artists.
Culture, and theater especially, are very close to your heart. Where does your love for theater come from? Journalism is not quite the same thing...
It was actually the other way around; theater came before journalism. During my childhood, a small drama club was established in Bratislava, which my mother enrolled me and my sister in. It has since grown into Ludus Theater, which now has over fifty years of tradition. It gave rise to many Slovak actors, directors, dramaturges, screenwriters, and other professionals. I have always gravitated towards writing, and it has led to writing about theater. Even in journalism school, I focused solely on theater criticism.
Not long ago, the Slovak National Theater celebrated its centenary. What is the Slovak National Theater of the 21st century like?
The Slovak National Theater celebrated its 100th anniversary in 2020. I initiated and contributed as the author of the script to the creation of a ten-part TV series about the Theater‘s history. I thoroughly explored the first century of Slovakia‘s premier theater scene. The first decades of the Slovak National Theater involved dozens of significant Czech creators among actors, opera singers, conductors, dancers, choreographers, directors, and set designers. In the 1960s, the Slovak drama ensemble was considered among the best in Europe by British critic Kenneth Tynan! I can say that the Slovak National Theater is still keeping up with the times. It addresses current topics and works with contemporary European trends. The Slovak acting and singing schools are still objects of our pride, which also applies to directors who regularly make guest appearances in Czech theaters.
Is there cooperation between the Slovak and Czech national theaters or even other theaters?
The tradition of mutual guest appearances began in 1927 and was revived after World War II. During the 1960s, the theaters exchanged up to five productions annually. Every year, the Slovak National Theater performed five productions in Prague, and the Czech National Theater performed five in Bratislava. The tradition did not disappear after the dissolution of Czechoslovakia, although the number of productions is slightly lower. For both sides, performing in the other country is always a significant event. Recently, the Slovak National Theater performed in Prague with the play Children, inspired by Slovak author Timrava, to great success, especially due to the acting of Emília Vášáryová, Kamila Magálová, Diana Mórová, Rebeka Poláková, Emil Horváth, Gregor Hološka, Daniel Fischer, and others. Additionally, for twenty years, there has been cooperation between the Švanda Theater in Prague and the Astorka Korzo‘90 Theater in Bratislava, and their mutual guest appearances enrich and delight both parties.
With son Juraj at Martin Huba‘s 80th birthday party.
You have written monographs on Martin Huba, Ladislav Chudík, and Milan Kňažko. Why these three figures?
In Milan Kňažko‘s case, I was fascinated by two topics that were taboo until 1989 – he was a member of the legendary Na Korze Theater and studied acting in Nancy, France, where he encountered Grotowski????s famous acting method. With Ladislav Chudík, it was the opposite; after the success of my first book, he came to me. He spent seventy years at the Slovak National Theater, which I found fascinating. Martin Huba interested me as a complex personality of an actor, director, and educator. There are many unique Slovak actors and actresses, but I won????t be able to cover much more, as each book represents several years of painstaking work.
Does politics affect the field of culture in any way?
It shouldn‘t. Art is about freedom, culture is about cultivating society and mutual connection. If it isn????t so, we must ensure that these principles are consistently being defended, upheld, and promoted. This is one of the aspects of cultural diplomacy.
CV BOX
Ľubica Krénová (born in 1963 in Bratislava) is a Slovak theater historian, theorist, journalist, cultural diplomat, and director of the Slovak Institute in Prague.
In 1988, she graduated from the Faculty of Philosophy at Comenius University in Bratislava, majoring in journalism with a specialization in television. After her studies, she worked for five years in the Journalism and Documentary Head Office at Slovak Television Bratislava, running the show Cultural Revue.
In 2011, she completed her doctoral studies at the Faculty of Arts, Charles University, in the field of Slavic literature and theater science.
She previously servedbas the director of the Slovak Institute in Prague from 2001 to 2005. Since 2020, she has been working for the Ministry of Foreign and European Affairs of the Slovak Republic and has returned to her former position of director.
She is the author of many theater studies and individual expert publications, such as Contemporary American Drama and her latest work on actor, director, and educator Martin Huba.
She lives in Prague, is married to artist Matej Krén, and has two children.
