Ján Husár, born in Banská Bystrica, graduated in stage and costume design from the Academy of Performing Arts in Bratislava in 2016, supervised by Jozef Ciller and Peter Čanecký.

 

He collaborated with the director Matúš Bachynec during his studies at the Academy of Performing Arts. Their first collaboration after graduation was the production Natálka (Slovak National Theatre, Bratislava, 2016), where he created stage and costume designs. As a set and costume designer in one person, he also participated in another production at the Slovak National Theatre - Cabaret Normalisation or Prayer for Martha (2017). As a set designer, he also collaborated with Matúš Bachynec on productions at the Ján Palárik Theatre in Trnava - Ťapákovci (2017) and The Power of Darkness (2018).

 

As a costume designer he collaborated on the productions of The Three Veterans (SKD in Martin, 2017), The Mousetrap in (DJGT in Zvolen, 2018), Infidelity (Studio 12 in Bratislava, 2018), The Name (DAB in Nitra, 2019), Mothers (DJP Trnava, 2019), Sin/Her Stepdaughter (SND Bratislava, 2020), Milada (SND in Bratislava, 2020), Owners (DAB in Nitra, 2020), Till the Stones Come... (SND, 2022), One Thousand Nine Hundred (The New Stage Theatre, 2022), Divorces (DAB, 2022) and Home (DAB, 2023). As a set designer, he worked with the director Roman Polák on the production Circus Scapin (P. O. Hviezdoslav Municipal Theatre, 2018). He was involved with Tom Ciller in the artistic installation for the production of Frankenschwein in the Pisztory Palace for the LUDUS Theatre (2018).