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ZUZANA KRONEROVÁ OR TRAGIC WITH A FACE AND SOUL OF A CLOWN?

100%
Bakosova-Hlavenkova Z.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 1
21-37
EN
The study is dedicated to a significant personality of the Slovak dramatic art, Zuzana Kronerova, who started in the Theatre for Children and Youth in Trnava /1974/. Here she cooperated mainly with a director Juraj Nvota and a dramaturgist Mirka Cibenkova. In 1970 she changed for the drama theatre Nová scéna (New scene) in Bratislava. In this phase under command of a director V. Strnisko all her expressive characters originate: Constancia in 'Amadeus' (1982), Mashenka in Ostrovsky 'Aj múdry schybi' (Wise Can Be Mistaken, Too) (1983), Varja in 'The Cherry Orchard' (1984) Maturina in 'Don Juan' (1986). After she had shortly left for The Slovak National Theatre - drama, where the offers placed were not satisfying her needs, she decided to radically solve the situation by accepting an engagement with the newly established theatre Astorka - Korzo '90. In a small chamber theatre she quickly adapted. To the most striking characters she pictured in the theatre Astorka up to these days belong her figurations of mother. At first it was a tough and unyielding despot Bernarda Alba from the famous Lorca's drama 'The House of Bernarda Alba' (1993), later it was a manipulative mother, full of inscrutability and ambivalence in a grotesque play named the same 'Mother' (1997) by Pitinsky, and finally Shirley in a monodrama 'Shirley Valentine' (2004). Kronerova was playing with verve also capricious lascivious playfully cynical ladies who open the space into such levels of scenical magic which omen always comic-melancholic dramas, like Ulita in Ostrovsky 'Forest', Frida from 'Tales from Vienna Wood', Erna from 'Kazimir and Karolina', Louise from the 'Cemetery of Elephants' or Klara from 'Klara's Relationships'.
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