On the contrary, theatre culture is exceptionally well developed, embraces all genres and forms, and boasts the same standard – be it in terms of repertory, acting, directing or set-design – as any other European country. When we consider the beginnings from which Slovak theatre has grown in the twentieth century, we can be in no doubt as to the enormous efforts invested by three or four generations of theatre practitioners.
In Slovakia, as everywhere in Central and Eastern Europe following the demise of the old totalitarian regime and the arrival of parliamentary democracy, the last decade is one of political and artistic freedom. It was only natural, however, that the collapse of totalitarian regimes should preface the dissolution of artificially constituted states in the region, including Czechoslovakia. 1993 saw the creation of the Slovak Republic, its birth and first years dominated politically by Vladimír Mečiar. Liberalisation in culture led to a still greater differentiation and decentralisation within the theatre, and several new companies were formed, including Astorka – Korzo `90. Dance and ballet seized the initiative, with a number of independent groups of dancers being formed. Returning from emigration, Milan Sládek revived his mime theatre in Bratislava (Aréna, 1992). The dynamism of events has also been evident in the political diversification of theatres and in the occasional vehement involvement of the theatre community in the political life of the country. At the same time, however, economic conditions have changed radically. Theatres no longer receive the same level of financing as before, and numerous instances of reorganisation and paring of the theatre network have taken place, resulting in tension. Despite this, many companies have experienced positive audience reaction and promising progress. The Slovak National Theatre in Bratislava – and particularly its opera company – is somewhat better off financially than the rest. The theatres in Prešov, Nitra and Martin have acquired new, modern buildings, and those in Košice, Zvolen, Spišská Nová Ves and Bratislava (Nová scéna) have completed reconstruction of their existing venues. Theatres catering for national minorities – Hungarian (at Komárno and Košice), Ruthenian (at Prešov) and Romani (at Košice) – also enjoy a propitious climate.
Paradoxically – or characteristically – for the end of the twentieth century, theatre productions reject excessive optimism and incline rather to pessimism, revealing the inadequacies and austerities of the contemporary world. There is more of the grotesque than there is of frivolous comedy.