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Slovak National Theatre
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Victor Hugo: The King Takes His Amusement

Kráľ sa zabáva
A debauched king or an enamored youth? A docile hunchback or a doting father? An innocent mistress or a poor victim? We play, sing and dance about all of them in our extraordinary adaptation of this famous romantic story.


No performance.

Premiere: 10 and 11 November 2007 New Bulding, Drama Stage
This performance in no longer in our repertoire. The last performance was 17 March 2009 New Bulding, Drama Stage

Translation: Peter Štilicha, Štefan Povchanič
Adapted and Directed by: Roman Polák
Musik: Peter Zagar a. h., Michal Novinski, Peter Mankovecký
Liedtexte: Jana Beňová
Supervision of lyrics, co-author of lyrics of sung scenes in Act Four: Roman Polák
Dramatrugy: Peter Pavlac
Set Desinger: Juraj Fábry
Costume Designer: Simona Vachálková
Choreography: Igor Holováč
Répétiteur: Milada Synková, Kamil Mikulčík, ako hosť
Vocal pedagogue: Marianna Paulíková, Lenka Paulíková
Dušan Jamrich
Ján Koleník
Monika Hilmerová, Kristína Turjanová, ako hosť
Leopold Haverl
Ján Gallovič
Helena Krajčiová, ako hosť
Štefan Bučko
František Kovár
Peter Trník
Alexander Bárta
Oldo Hlaváček, ako hosť
Oldo Hlaváček, ako hosť
Dušan Tarageľ
Robert Roth
Ivana Kuxová
Soňa Valentová-Hasprová
Gabriela Dzuríková

Victor Hugo, prosaist, poet and dramatist, considered as one of the most important personalities of romanticism, presented the play The king takes his amusement in 1832. However the roast of decadent life of contemporary aristocracy, meanless amusement and characterless plays of aristocratic elite irritated its “prototypes”, that the setting didn’t see out the second repetition. The story of this play is romantically modest. The king Francis I. secretly falls in love with his court-jester’s daughter. The group of elite debauchees kidnaps her for fun as they don’t know about king’s feelings. When Blanche finds out, that the man of her dreams is the king, she is not able to continue in playing this game and she can´t kill the real feeling towards him. She becomes a tragic heroine par excellance as well as her father, court-jester Triboulet, who decides to revenge his daughter’s outrage so he wants to kill the king himself. Guiseppe Verdi used this controversial piece as a model for his opera Rigoletto twenty years later. Roman Polak as a director has decided to support hidden musical-dramatic dimension. In his modification there is a great space given to musical part in sole songs specially written for concrete interprets and widespread dancing compositions. His setting connects drama with singing and dancing and so creates stylistic musical piece enriched with pompous aesthetics.


Tickets

Program

Performance todayFollowing performance

Friday, 23. 6. 2017, 19:30
Ľubomír Feldek