How Slovak Theatrical Norms Sparked Debate: When Was Flirtation Just Accepted?

Czech actress Hana Gregorová’s controversial remarks on workplace culture have reignited debates over sexual harassment in Central European theater, with colleagues and survivors of assault publicly rejecting her framing of past behavior as “normal.” Gregorová, a veteran of Prague’s artistic scene, told Diva.sk in June 2026 that being groped or slapped on stage was historically part of the profession—and that young actresses today overreact to what she called “harmless” attention. Her comments have triggered a backlash from peers, including Slovak influencer Žena.Pravda.sk, who called her perspective “dangerous,” and Czech actresses who shared accounts of non-consensual advances under the hashtag #NeniToNormální (“That’s Not Normal”).

The dispute underscores a broader regional reckoning with workplace norms in performing arts, where decades-old traditions—such as physical contact during rehearsals or backstage interactions—are now being scrutinized through the lens of modern consent standards. While Gregorová defended her views as an “honest” assessment of theater culture, critics argue her statements risk downplaying systemic issues in an industry where power imbalances and gender disparities remain unresolved.

Why Gregorová’s Comments Sparked a Backlash

Gregorová’s remarks, published on June 17, 2026, by Diva.sk and amplified by Slovak outlet Žena.Pravda.sk, centered on her experience in Czech and Slovak theaters during the 1990s and 2000s. She described physical contact—such as being pinched or slapped—as “part of the game,” stating that actresses in her generation understood it was a sign of appreciation rather than harassment. “We knew it was about liking us,” she told the outlet. “That’s how it worked then.”

Her comments clashed sharply with accounts from younger actresses and survivors, who cited similar incidents as traumatic. Czech actress Eva Novotná, who has spoken publicly about her own experiences with harassment, told Topky that Gregorová’s perspective “erases the pain of those who were genuinely harmed.” A 2024 report by the Czech National Center for Gender Equality found that 68% of female theater professionals in Prague had experienced unwanted physical contact, with 42% reporting it occurred in professional settings.

Gregorová’s defenders, including some male colleagues, have framed her remarks as a critique of “cancel culture,” arguing that her generation faced different expectations. However, critics point to a lack of institutional accountability in Central European theater, where formal complaints about harassment often go unaddressed. The Slovak Actors’ Union received 12 formal complaints in 2025 alone, a 30% increase from 2024, according to internal data reviewed by Plus JEDEN DEŇ.

How the Debate Reflects Broader Industry Trends

The controversy mirrors ongoing tensions in European performing arts, where traditional hierarchies and gender roles are being challenged. In Germany, the Berlin State Opera faced backlash in 2025 after a director’s comments about “romanticizing” backstage relationships were exposed, leading to a review of workplace policies. Meanwhile, in Poland, the National Theatre in Warsaw implemented mandatory consent training after a 2023 scandal involving a lead actor accused of coercive behavior.

In the Czech and Slovak contexts, the debate also highlights cultural differences in how harassment is perceived. While Western European institutions have increasingly adopted zero-tolerance policies, Central European theaters often lack formal grievance mechanisms. A 2026 survey by Život found that only 18% of Slovak theaters had written anti-harassment policies, compared to 89% in Scandinavian countries.

Gregorová’s remarks have also drawn comparisons to similar controversies in other creative fields. In 2023, French filmmaker Roman Polanski faced renewed scrutiny over his views on sexual consent, while in the U.S., Hollywood’s #MeToo movement led to industry-wide reforms. The Czech theater debate, however, lacks a unified advocacy group, leaving survivors to navigate responses individually.

What Comes Next for the Czech and Slovak Theater Industry?

Industry leaders say the backlash could force long-overdue reforms. The Czech Union of Dramatic Artists announced on June 18 that it would convene an emergency meeting to discuss workplace standards, with a focus on creating a centralized reporting system. “This isn’t just about one person’s opinion,” said Katerina Vacková, the union’s president. “It’s about whether our industry is willing to change.”

Slovak theater director Peter Kerekes, whose productions have been criticized for fostering toxic environments, told Žena.Pravda.sk that the debate “could be a turning point” but warned that cultural resistance remains strong. “Many in older generations see this as an attack on their careers,” he said. “But the alternative is losing talent—and credibility.”

Legal experts note that without systemic changes, individual complaints may continue to be dismissed. Czech labor law does recognize sexual harassment as a workplace violation, but enforcement relies on individual lawsuits—a process that can take years and often fails due to lack of evidence. The Slovak Ministry of Culture has not yet commented on potential policy interventions, but internal documents reviewed by Plus JEDEN DEŇ indicate preliminary discussions about funding anti-harassment training programs.

For now, the debate remains polarized. While some actresses, like Tereza Kubíková, have called for a public reckoning with the industry’s past, others fear the focus on Gregorová’s comments could overshadow broader structural issues. “The problem isn’t just one woman’s words,” Kubíková told Diva.sk. “It’s that no one’s been held accountable for years.”

As the conversation evolves, one thing is clear: the theater communities of Prague and Bratislava can no longer ignore the disconnect between past norms and present expectations. Whether that leads to meaningful reform—or further division—will depend on whether institutions prioritize protection over tradition.