Teatro Tatro used to be a generation theatre with an ambition to become a theatre with its own repertory, modern in both styles and subject matters. Then it turned into a street theatre and it brought the action to the streets. It was able to speed up, slow down or even stop the regular rhythm of the street. Next it developed into the travelling troupe and it became the means of communication with people living in the remote regions, who had never been to the theatre before. It was trying to find the answers to the questions about the nature of theatre. And finally, it was, and it is the circus theatre, the total one. This theatre aims to be modern in both styles and subject matters and it wants to communicate with the audience even outside the traditional division of the theatre space into the stage and auditorium.It is the theatre, which is able to travel to its audience since it carries its „theatre halls“ everywhere it goes. And most of all, it is the theatre, which is trying to speak to its audience in the most understandable language ever.
The actors come to the theatre just before the performance begins. They play their parts. The applause not yet finished, they are already on their way somewhere else. All that is left is just a costume in the dressing room…It made us angry, we were young and discontent.
It made us angry, we were young and discontent. We wanted change and created Teatro Tatro. We planned to involve our families. We wanted to bring our children up in the beautiful environment of The High Tatra Mountains and draw joy from their creativity sparked by ours. That is what gave birth to Teatro Tatro – a partnership of actors, a director, an artist, their wives and children.We became famous on both sides of the High Tatra Mountains.
But then we got kicked out into the street, and found out we liked it. We enjoyed surprising the unsuspecting passers-by with our performance. We engaged politically and encouraged people to vote. We did “religiously incorrect” folk theatre. We became famous in the streets of Nitra.
But after some time, we began to miss the dust of theatre stage. We missed our own theatre hall. The black hole where one can hide from the outside world and meditate through art. Where one can relate intimate stories sitting on a barrel of gunpowder. The dust of the theatre is indeed in a certain concentration more explosive than the gunpowder.And that is how the Teatro Tatro Club was created.
We still heard the call of the street, but one street was not enough anymore. We wanted to perform on all the streets of the world. We wanted our own wheeled theatre.So we came up with the Caravan.
We played in Poland, Czech Republic, Belarus, Italy and France. We wanted to experience the golden age of theatre. The old world, where the theatre was the only attraction that would now and then arrive in the villages and break their mundane stereotypes.
We bought a horse.
We became famous in The Ukraine, Italy and Romania. Then we heard someone say that the Olympic Games in Canada are not all about sports but people do theatre there too.
We created the Magical Theatrical Vending Machine and we impressed Vancouver with our performances. During the 22 years of our existence, many people performed in Teatro Tatro. They all retain respected positions and continue a life long engagement within our theatre. They are members of the family.
/Ondrej Spišák: Teatro Tatro, Family album, 2011/
Ballayová Andrea , Bednárik Vít , Dušaničová Ľubica , Fischer Daniel , Geišberg Martin , Jakab Róbert , Kalinka Andrej , Konečná Zuzana , Korená Lucia , Kos Lukasz , Kratochvíl Rudo , Latinák Lukáš , Miezga Marián , Moravcová Zuzana , Nahálka Martin , Ondrík Milan , Oszlík Peter , Pačes Patrik , Spišáková Agáta , Spišák Ondrej , Spišák Šimon, Šalacha Martin , Šimun Peter, Špiner Daniel , Petrusová Vargová Katarína , Vojtela Milan
Nomination for the Divadelné DOSKY Award 2018 – best performance by an actor in Stalker: Milan Ondrík.
Ilja The Prophet
The Theatregoers‘ Choice Award at the 2nd New Drama Festival in Bratislava, 2006
Grand Prix „Broken Barrier“ at the 17th Without Borders International Festival in Český Tešín /CZ/ and in Cieszyn /PL/, 2006
The „Pearl for the Neighbours“ Award at the Sasiedzi Festival in Lublin /PL/, 2006
The „Golden Gander“ Award at the Kremnica Gags Festival in Kremnica, 2006
Grand Prix at the 13th White Tower International Theatre Festival in Brest /Belarus/, 2008
M. Bulgakov: Master and Margarita
The Bratislava Spectator Award at the New Drama Festival 2015
The Student Committee Award at the New Drama Festival 2015
GRAND PRIX at the Spotkania Toruń 2015 Festival (PL)
Tatrabanka Foundation Award 2015 (Direction by Ondrej Spišák)
Three nominations for the Divadelné DOSKY Award 2015 (Direction – Ondrej Spišák, Music – Andrej Kalinka, Best Production 2015)
Two nominations for the Tatrabanka Foundation Award 2015 (Scenery – František Lipták, Music – Andrej Kalinka)
Bianka Braselli, Dame with Two Heads
Grand Prix at the Theatre on the Borders Festival in Český Tešín (CZ), 1999
„Special Award“ at the „Kontakt“ International Theatre Festival in Torun (PL), 2000
The Theatregoers‘ Choice Award and the award for the best performance by an actor at the Kopřiva Theatre Show in Kopřivnica (CZ), 2001 Award for the best theatrical experiment at the „White Tower“ International Theatre Festival in Brest (Belarus), 2001
The Magical Theatrical Vending Machine
The Gold Medal at The Cultural Olympiad of the Vancouver 2010 Olympic and Paralympic Winter Games, CA
The Golden Gander Award at Kremnica Gags (SK), 2010
The Theatregoers‘ Choice Award at the Kopřiva Festival (CZ), 2013
3rd place at the Without Borders/Bez granic Festival in Český Těšín (CZ), 2015