From Sokolov to Brno: Jan Glaser’s Journey
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Jan Glaser’s professional and life path traces a clear arc across the Czech Republic: Sokolov (birthplace), Prague (studies), České Budějovice (first job), Brno (Director of the National Theater), and back to Prague (future director of the National Theater). Despite a surname that translates to “Glazier” in Czech, Glaser affirms his Czech identity, noting the German pronunciation – “Glázr” – is a family quirk. He dismisses any notable German ancestry, tracing his family roots to the Šumava region around Nepomuk and Plánice. His parents moved to Sokolov in the early seventies seeking work and housing, but Glaser maintains a strong connection to Pošumaví, visiting his grandmothers there as a child and continuing to return to the area, contrasting it with Sokolov which he left for Prague at eighteen to pursue his studies.
Glaser’s academic background is surprisingly scientific – he originally studied chemistry. He attributes this initial path to a formative teacher and his own aptitude for natural sciences. Though, Prague opened his eyes to the world of culture and art, leading him to a different vocation. While acknowledging a need to channel his energy as a quiet, introverted child, he suggests his artistic turn was perhaps guided by fate, recognizing a broader range of talents within himself. He implies that the cultural landscape of Sokolov, while present, didn’t offer the same expansive opportunities as the capital city.
From Budějovice to Brno: Martin Glaser on His Path to the National Theater
We are moving from Prague to your first engagement, in České Budějovice…
Exactly, I was very happy there. I got an offer for a director’s job already at the end of the fourth year of DAMU.Although some professors raised their eyebrows a little because Budějovice was not a declared destination, I was happy to go there.I was very lucky that I worked with a stable cast, that no one really cared that they had to immediately succeed in series, in films. Being “just” in the theater was considered the norm.
It is certainly related to the fact that salaries in the theater are very low.Tell me again, you were obviously happy in Budějovice, why did you nod for the directorship in Brno?
After eight years I became the art director and the next seven years flew by. I needed a change. I felt I had done what I could and it was time to move on. When I started preparing to leave,completely voluntary on my part,I received an offer from Brno. even though – I won’t lie to you – I didn’t notably desire the position of director. In addition, at that moment, the third selection process was already underway, no one wanted to led the NdB twice. It was in a sort of half-life at the time.
What finally convinced you to audition?
In addition to the desire for change, probably the need for anchoring. But before I nodded,I messed up deciding whether or not to,and ended up in the hospital on drips. As of this, the premiere was postponed because of me for the first time, and for the last time, I was a guest at the theater in Liberec. I wasn’t really able to rehearse, I spent sleepless nights, during which tables, numbers, thinking about whether I should go to Brno at all flew through my head.
I knew very well that it was one thing to be the head of an ensemble in a region and another to manage a large three-ensemble theater. the people around me who wanted to go with me helped me make the decision.
A Smooth Transition: Martin Glaser on Leading the National Theatre
Martin Glaser,theater director at the Mahen Theater,recently achieved global recognition in Brno with his award-winning opera. Now, he looks forward to taking the helm at the National Theatre in Prague.
“In fact, at least in theory, it should be a little easier – Prague is the capital, it has a large airport, its no problem to get there from the rest of the world,” Glaser stated. “But we have a lot of work ahead of us, so I’m glad that we won’t be starting from scratch, like in Brno.”
glaser emphasizes the benefits of his appointment years in advance, calling it a “European standard.” he commends Minister of Culture Martin Baxa for having the courage to implement this revolutionary approach. “This is not good for me, but for the theater! Employees know what to expect. There is no danger that they wi….”
(Photo: Tomáš Škoda, Novinky) – Image shows Martin Glaser, theater director at the Mahen Theater.
On Artistic Leadership and Jan Burian
I have immense respect for Jan Burian. He was a pivotal leader during my time at DAMU,and I learned a great deal from him. He’s a fantastic colleague, and it’s a pleasure working with him on the current ND presentations. The question of Daniela Špinar is captivating – would she even want to return to ND? But if the artistic leadership proposes a compelling project, why shouldn’t she direct here again? She’s currently preparing something for us in Brno, and her Prague opera productions were truly significant events.
The Role of the Ministry of Culture
The Minister of Culture is, naturally, a key partner in discussions about the National Theatre’s growth. However,we’re also anticipating a major transformation – shifting ND from a contribution institution to a public cultural institution. This change will place greater duty on a board of directors, acting as a crucial link between the Minister of Culture and the Ministry itself.
A New Governance Model
It’s a model similar to that of Czech Television and Czech Radio in some ways. It’s standard corporate governance. The board of directors will oversee the finances, select the director, and ultimately, make decisions regarding their tenure.