Mauréry: Lekári mi pomáhajú nemyslieť na jedlo ⎹ Reflektor

Overview

Zuzana Mauréry is interviewed about her life and career as an actress and singer. The conversation covers culture’s moral role, struggles with body/health, aging in show business, and her views on TV, art politics, and the Slovak entertainment industry.

Culture as moral guidance (not law)

Mauréry argues that culture and art shape ethical and moral values because morality isn’t “built into” the criminal code. She points to theater and public performance—tracing them back to antiquity—as ways to make ethics accessible even to people with fewer resources.

Why art matters amid political/cultural breakdown

She claims people lack “counterbalance.” While journalists may explain problems, she says individuals don’t receive a full moral mirror. She also criticizes Slovak society for sometimes glorifying wrongdoing or treating “the bigger scoundrel as the bigger hero,” and she questions whether institutions and legal gaps leave people without direction.

Protests and disengagement from politics

Mauréry describes feeling burned out by politics and trapped in a “cowardly bubble.” Although she participated in protests against leadership in the Ministry of Culture, she felt the movement failed—especially when colleagues in media/TV didn’t support each other after firings. As a result, she distanced herself and became inactive.

Eating disorder and medication

She says she has struggled with an eating disorder for a long time and that it wasn’t simply about “lack of willpower.” She credits medical help—including newer medications that target brain chemistry—with reducing the constant mental fixation on food. This helped her feel calmer and re-focus on sport and life.

Industry pressures and body image

Mauréry reflects on how casting in acting and screen roles has historically treated appearance like a filter. She mentions wardrobe constraints (such as limited sizing) and pressure toward “pretty/thin” aesthetics. While she accepts this as part of the industry, she emphasizes learning to manage these pressures personally rather than letting them define her work.

Aging and capability

She doesn’t view herself as “aging” in the way others do, saying she’s surprised by her wrinkles. Even as physical limits emerge (what she can no longer “afford” anymore), she stays generally spontaneous and keeps adapting—especially through sports.

Sport and current activities

Mauréry highlights:

• Windsurfing, inspired by childhood trips
• Tennis

She describes sport as both psychological balance and practical maintenance of her body and capabilities.

Career turning points and roles

Key milestones she identifies include:

• The success and resonance of roles such as the film Teacher (2016)
• Praise from Ondrej Lasica, including an award connected to the Košice Film Festival
• Training experiences that shaped her singing and genre range

She also notes that humor and irony come naturally to her, even when playing serious roles.

Acting types and audience demographics

She is often cast in supporting or non-lead roles. Part of her reasoning is her belief that Slovak audiences—and the market’s maturity—favor stories centered on women 50+. She compares this with Nordic cinema, where ordinary women and everyday life are frequently centered.

Power of film/TV and censorship bans

Mauréry argues that art—and television in particular—has real influence on mass audiences. She criticizes the banning of a play at the National Theatre, saying that the authority doing the ban should not “act outside its competence.” She suggests the ban is driven by the work’s power to communicate.

TV work as economic necessity

She says actors in Slovakia often need TV series income to survive. She notes that daytime series pay best but don’t fulfill her artistically. She also describes the intensity of daily-series work and stresses how important team chemistry is.

Reality and competition shows

She previously rejected many competition formats but did participate in Let’s Dance. Her participation is framed as a personal test: whether she could keep up and react under pressure. Later, she became more critical of the “manipulative” entertainment side and of how professionalism can be overridden by viewership demands.

Tabloid/publicity boundaries

Mauréry says she refuses to cooperate with tabloids and avoids actions that might amplify controversy.

Musicals and working conditions

She believes musicals are underestimated in Slovakia and require specialized skills—singing, dancing, and acting. She also contrasts production conditions, suggesting the Czech Republic offers a better working setup, including examples such as actor “caravans” and more organized on-set processes.

Christmas big-band concert project

She discusses a major upcoming Christmas concert tour (the following year) with a big band from the Žilina conservatory. The project includes:

• A children’s choir
• Additional guest performers It also involves plans for an accompanying CD, with a mix of Slovak and English material plus classics. The inspiration comes from Vienna Christmas traditions and global collaborations reminiscent of Domingo-style projects.

Guiding philosophy

Her guiding approach is “following passion”—treating joy as a compass. She also emphasizes not expecting specific outcomes, choosing paths that energize her even if results aren’t guaranteed.

Presenters and contributors

• Šimona Tonková (moderator)
• Martin Hnád (cinematography and editing)
• Zuzana Mauréry (interviewee)

Mentioned figures (guests/references)

Ondrej Lasica, Henry Tót, Michal Vaňovček, Adnan Hamzič, Sveťo Malachovovský, Miro Dvořovský. Also referenced in passing: Domingo, Tony Bennett, Vanessa Williams, Kundera.