Klimáček studied general medicine at the Faculty of Medicine of Comenius University in Bratislava. After graduating, he worked for nine years as a surgeon and anaesthetist in the Clinic of Cardio-Vascular Surgery in Bratislava. He has written books of poems – Až po uši (Up to the Ears) (1988); Karamelky (Toffies) (1992), short stories – Ďalekohladenie (Lookinglassstroking) (1991), stories and poetry for children – Noha k nohe (Leg to Leg) (1996 – the book was listed in the “Collection of fifty best children’s books in the world” in Poland), prosaic trilogy – Panic v podzemí (A Virgin Man in the Underground) (1997); Váňa Krutov (Vanya Krutov) (1999); Naďa má čas (Nadia has Time) (2002), radio plays – Vytetovaná žena (A Tattoed Woman) (1995); Denník nežnej (The Gentle Woman’s Diary) (1996); Ak ma nebudete mať radi (If You Won´t Love Me) (1999); opera librettos – Cirostratus (2002); Osamelá (Lonely) (2003); Hippocampus (2004) and TV scripts – Niekedy by som ťa zabila (Sometimes I could Kill You) (1997); Zborovňa (The Staff Room) (1999–2000). In 1985 he co-founded The GUnaGU Theatre in Bratislava, which ranks among the most prominent alternative theatres in Slovakia. He acts as artistic head of the theatre, director, writer and actor. On the occasion of the 20th anniversary of establishing the theatre, a book named GUnaGU. Príbeh jedného divadla, (GUnaGU. The Story of One Theatre) (2005) was published. In the form of amusing anecdotes it brings experiences, facts and photographs from the history of the theatre. It includes a DVD with short records from the productions. A number of Klimáček´s plays have won prizes at home and abroad – he is a sixtime holder of the Prize of The Alfréd Radok Foundation, two times he has won the DRÁMA competition for the best Slovak drama. Since 1993, he has been acting as a freelance writer and manager of The GUnaGU Theatre. His extensive dramatic work makes him one of the most prolific playwrights in Slovakia and many of his plays have been staged on the Slovak as well as world stage. Klimáček´s dramatic work represents some kind of a bridge connecting the socialist period with the post-socialist era. He has dealt with various genres, forms and themes, and the essential attribute of his work is a strong evocation of the reader’s experience. He offers the reader the unusual atmosphere of connecting the unreal world with the real one, and he presents visual and linguistic double meanings through often chaotic and capricious figures who are characterised in possessing a huge portion of typical human attributes (he accents their imperfection in a humorous way and with gentle irony). Klimáček possesses the ability to create strong scenic metaphors and pictures full of magical and fantastical atmosphere. His first plays – written exclusively for The GUnaGU – bear out all the elements of a cabaret and mock political system and its machinery. Later plays are the dramatist’s generational view of situations and his own explanation of them; formally he leaves the drama of Aristotelian type here. Many of the plays are typical of the dominance of the writer, and by non-transferability- under dramatist notes   and replies we can see Klimáček´s theatrical view and The GUnaGU actors. It is enough only to read those notes and a story will emerge in front of us in its whole plasticity. Even though his latest plays are closer to new drama by their theme and expressive means, Klimáček maintains the position of a strong satirist within society, keeping his sense of poetic language, exaggeration, humour and stylization. Klimáček´s plays strongly resonate with the readers thanks to his depictions of a Slovak reality, penetrative language and drawing on original human types.