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Almanah The Almanac 48. Festival Borštnikovo srečanje 48th Maribor Theatre Festival Izdajatelj Publisher Festival Borštnikovo srečanje Maribor Theatre Festival, SNG Maribor Za izdajatelja Represented by Danilo Rošker © Vse pravice pridržane. All rights reserved. Urednica Editor Ksenija Repina Kramberger Lektorica Language consultant Maja Cerar Prevajalka Translator Katarina Pejović Lektorica za angleški jezik English language editor Jana Renée Wilcoxen Viri fotografij Gledališki arhivi in Arhiv CTF UL AGRFT Photo acknowledgements Archives of the theatres and Archive of CTF UL AGRFT Oblikovalec Designer Nenad Cizl Tisk Printed by R-tisk Ljubljana September 2013


CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana

792.079(497.4)“2013“

FESTIVAL Borštnikovo srečanje (48 ; 2013 ; Maribor)       [Almanah = The Almanac] / 48. Festival Borštnikovo srečanje = 48th Maribor Theatre Festival, [18.-27. 10. 2013] ; [urednica Ksenija Repina Kramberger ; prevajalka Katarina Pejović]. - Maribor : Festival Borštnikovo srečanje, SNG = Maribor Theatre Festival, SNG, 2013

ISBN 978-961-92715-9-9 1. Repina Kramberger, Ksenija 268472320


dr. Uroš Grilc:

THEATRUM MUNDI THEATRUM MUNDI

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Dr. Andrej Fištravec:

ČAROBNI SVET GLEDALIŠKIH SREČANJ the mAGIC WORLD of theatre encounters

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ALJA PREDAN:

Pičimo! Let’s Sting and ROll!

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Danilo Rošker: Se splača! It’S worth it!

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mag. Primož Jesenko:

Obrazložitev izbora A Commentary on the Selection Selektor, žiriji Selector, Members of the Jury

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Tekmovalni program Competition Programme

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Režiserji tekmovalnih predstav Directors of Competition Programme

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Program Programme

Spremljevalni program Accompanying Programme

Nizozemski fokus Dutch Focus

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Strokovna srečanja, razstave in še ... Discussions, exhibitions and more ...

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Mostovi Bridges AGRFT Academy of Theatre, Radio, Film and Television

Seznam slovenskih producentov Slovenian Theatres at the Festival

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47. Festival Borštnikovo srečanje 47th Maribor Theatre Festival

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Borštnikov prstan 2012 Borštnik Ring 2012

Druge nagrade Other Awards

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47. Festival Borštnikovo srečanje v številkah 47th Maribor Theatre Festival in Numbers

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Poročilo žirije Report by the Jury Nagrade Awards

Pokrovitelji festivala Sponsors of the Festival Festivalska prizorišča Festival Venues

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Tamino Petelinšek/STA

THEATRUM MUNDI

THEATRUM MUNDI

Stoletja preden smo postmodernisti začeli frivolno razglašati, da je resničnost kot taka fiktivne narave, je gledališče razumelo, da je življenje sen in privid, svet oder, ljudje pa komaj kaj več kot oponašalci in pantomimiki svojih lastnih gest. Da je človek šibka igrača v rokah usode in da je edini način, da samemu sebi pričara iluzijo nadzora nad nikdar ulovljivim svetom ta, da utaji resničnost in se za vekomaj preseli v svet lastnih konvencij. Da s samim seboj in svojimi soljudmi sprejme zamolčan dogovor, da bo poslej igralec in da zanj v tem svečanem trenutku odločitve ves svet postaja oder.

Centuries before we postmodernists began proclaiming that the nature of reality as such was fictitious, theatre realised that life was a dream and a mirage, the world a stage, people in turn barely a trifle more than imitators and mimes of their own gestures. Theatre realised that man was a feeble toy in the hands of fate and that the only way to invoke the illusion of control over the ever-eluding world was to conceal reality and move for good into the world of one’s own conventions. Theatre realised that man would make a tacit agreement with himself and with his fellow men to be from now on an actor and that for him in this solemn moment of decision the entire world would become a stage.

A če drži, da je vsa resničnost gledališče, ne drži nujno, da je tudi gledališče resničnost. Za razliko od sveta zavez in pogodb, ki hlasta za nedosegljivim ravnovesjem in mu skoraj po definiciji ni omogočeno, da bi svoj zapleten blodnjak iluzornega razkril brez uničujočih posledic, je gledališče, ravno zato, ker mu ni treba ustvarjati videza resničnosti, prostor največje možne svobode. Je varovan rezervat, ki živi in diha pod povsem sebi lastnimi pogoji, nudi nam možnost, da si izgotovimo omejen in zato obvladan prostor, varovano okolje, v katerem nam je dovoljeno sprejemati komaj zamisljive odločitve, ugibati njihove rezultate in jo odnesti brez posledic, poleg

And if the assertion holds that the entire reality is theatre it is not necessarily so that theatre is also reality. Contrary to the world of pledges and contracts, gasping for the unattainable balance and almost by definition unable to untangle its labyrinth of illusion without devastating consequences, theatre is the space of the greatest possible freedom precisely because it doesn’t need to create the appearance of reality. It is a safe reservation that lives and breathes under its own particular conditions, offering us the possibility to create a limited and therefore manageable environment in which we are allowed to make hardly imaginable decisions, to presume their

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tega pa je eden tistih edinstvenih prostorov, ki ravno zaradi tega, ker nikogar ne kličejo na odgovornost, dopuščajo jeziku, gibu in podobi, da neomejeno opletajo z resnico, naravnost nam v obraz. Je hram, v katerem lahko človek samemu sebi odkrito prizna tisto, kar v svojem vsakdanu sam pred sabo mrzlično skriva – svojo nemoč, svojo ranljivost, pomanjkanje razsodnosti, slabištvo in pohlep pa tudi komaj nadzorovano strast do drugega, do sveta in do življenja.

results and to come out of it without consequences. Besides that, it is one of those unique spaces, which precisely because they don’t call anybody to responsibility, allows language, movement, and image to manipulate freely with truth, straight into our faces. It is a temple in which one can openly admit to oneself that which he feverishly hides from oneself in the everyday life – one’s powerlessness, one’s vulnerability, the lack of sound judgement, weakness and greed as well as the barely controlled lust for the other, for the world, and for life.

Festival Borštnikovo srečanje je praznik vsega naštetega. Je edinstven festival, ki premišljeno in dobrohotno odmerja slavo ljudem, ki so v svet slovenskega gledališča prinesli največ svetlobe, volje in vsebine, in je prostor, ki mu vsako leto znova uspe oči in ušesa Slovenije napolniti s fikcijo, ki prežema in soustvarja našo siceršnjo dejanskost.

The Maribor Theatre Festival is the celebration of all of that. It is a unique festival, which deliberately and generously dispenses recognition to the people who have brought the greatest light, spirit, and substance to the world of Slovenian theatre. It is a space that manages year after year to fill the eyes and ears of Slovenia with fiction, which permeates and co-creates our actual reality.

Če je torej res, da še živimo v Debordovih časih, v katerih je iluzija resničnejša od resničnosti same, je morda prav oder iluzoričnega prostor, znotraj katerega gre iskati stike z izgubljenim in oddaljenim resničnim.

If it is therefore true that we live in Debordian times in which illusion is more real than reality itself, perhaps the stage of the illusory is the space within which one should seek bonds with the lost and the remote real.

Dr. Uroš Grilc, minister za kulturo

Uroš Grilc, Ph.D., Minister of Culture


ARHIV mom

ČAROBNI SVET gledaliških srečanj

the MAGIC WORLD of theatre encounters

Dragi in spoštovani,

Dear esteemed and respected guests,

jesenski hlad je pravšnji za to, da se v krogotoku leta znova začenjamo intenzivno posvečati lepotam svojega notranjega sveta. Kar v resnici pomeni, da se lahko s posebno intenzivnostjo in občutljivostjo posvečamo drug drugemu. In če so ti »drugi« ljudje, ki ne morejo živeti brez »desk, ki pomenijo življenje«, potem vstopimo v čarobni svet gledaliških srečanj, ki jih pooseblja Festival Borštnikovo srečanje.

In the yearly cycle, the autumn cold is the right time to dedicate ourselves passionately again to the beauties of our inner world. Which actually means to dedicate ourselves with particular intensity and sensitivity to others. And if those “others” are people who cannot live without those “boards that mean life”, then we enter the magic world of theatre encounters, which are embodied in the Maribor Theatre Festival. Some people – and there are quite a few of them – claim that we live in the middle of an economic and financial crisis. Yet they are wrong. The so-called crisis of time, in which we are currently living, is in the first place a deep cultural, moral, and spiritual crisis. A deep plight of lacking words to name the world and understanding its vague shapes. The shapes hidden behind the seven veils of mystery and the blindness of our minds, hearts, and action.

Nekateri – kar veliko jih je – menijo, da živimo sredi ekonomske in finančne krize. Vendar se motijo. Tako imenovana kriza časa, sredi katere smo, je v prvi vrsti globoka kulturna, moralna in duhovna kriza. Globoka stiska poimenovanja sveta in razumevanja njenih nejasnih oblik. Za sedmimi tančicami skrivnosti in slepilom lastnega uma, srca in delovanja.

The power of change is hence primarily hidden not in external interventions by the big shots of this world but in the quiet changes of the inner experience of one who is creating the possibility for the big shot to do something that is required by the Zeitgeist. Until I am not capable of discovering the beauties of my soul world I cannot achieve all that

Moč spremembe se tako prvenstveno ne skriva v zunanjih posegih mogočnežev sveta, ampak v tihih spremembah notranjega doživljanja le-tega, ki šele odpira možnost mogočnežu, da stori kaj, kar potrebuje »duh časa«. Dokler nisem sposoben odkriti lepote

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svojega duševnega sveta, tudi ne morem storiti vsega, kar je potrebno, da svojo notranjo potrebo po lepoti povežem z zunanjim svetom, ki potem to lepoto tudi hoče. Festival Borštnikovo srečanje ima zame kot otroka iz neposredne bližine teatra še poseben, nostalgični pomen, saj me polni s čudovitimi spomini skrivnostnih zvokov in nejasnih pomenov lepo oblečenih odraslih, ki so vstopali v slavnostno razsvetljeno veliko hišo, da bi se potem čez nekaj časa drugačni vračali po isti poti, nekoliko zamišljeni, malce sključeni na poti v svoj domači svet. Iskreno si želim, da bi ta čarobni svet Borštnika še dolgo živel med nami. Posebej še letos, ko se vsi še kako borimo za trenutke majhnih sreč in lepot sredi ponorelega sveta odnosov in ljudi. Dr. Andrej Fištravec, župan Mestne občine Maribor

is needed to connect my inner need for beauty with the outer world, which in turn wants that beauty. For me, personally, as a kid from the immediate theatre surrounding, the Maribor Theatre Festival has a special nostalgic significance as it brings back marvellous memories of mysterious sounds and opaque meanings of dressed- up adults who were entering the solemnly lit big house, to return a while later by the same path, but this time somewhat reflexive and crouched on their way to the domestic world. I sincerely wish that the magic world of the Maribor Theatre Festival would live a long life among us. Especially this year when we all struggle very hard for moments of small joys and beauties amid the maddening world of relations and people. Andrej Fištravec, Ph.D., Mayor of the Municipality of Maribor


Damjan Švarc

Pičimo!

Let’s Sting and Roll!

Kaj pomeni vaša podoba? Metaforo za državo in človeka, za družbo in kulturo? Ponazarja nekaj velikega, represivnega, ki poskuša zadušiti nekaj majhnega, a pokončnega? Je provokativna? To in podobno nas sprašujejo ob letošnji vizualiji. Hja, mene recimo spominja na tajno društvo PGC. Te imenitne slike so ironične in humorne; z okornim otroškim rokopisom sporočajo nekaj svojega; z izborom barvne skale in posebnim slikarskim zamahom nekaj drugega, z detajli in motivi spet nekaj tretjega. In iz motiva človečka – risalnega žebljička se je rodil slogan Pičimo! Sprašujejo nas tudi po času in kraju tega pikanja.

What does your graphic design mean? A metaphor for state and individual, for society and culture? Does it depict something big and repressive trying to stifle something small and upright? Is it meant to be provocative? These and similar questions are being asked concerning this year’s visual identity of the festival. If you ask me, for instance, it reminds me of The Secret Society PGC 1. Those extraordinary images are ironic and humorous: they have their own message delivered in clumsy child handwriting; yet another message comes out of the choice of colour palette and the special painting stroke; a third one appears out the details and motives. And the motive of the little pushpin-man gave birth to our slogan Let’s Sting and Roll! People also ask us about the time and place of the stinging. Still, this year we are more interested in the slang meaning of the slogan than in the pain and the itching of the sting2. Given the situation in our society, I am happy that the festival is happening this year and that it is almost of the same proportions as it has been in recent years. We were not forced to reduce the programme in spite of the fact that

Bolj kot bolečina ali srbež pika nas letos zanima slengovski pomen slogana. Glede na to, kako stvari stojijo v družbi, sem vesela, da letos festival bo in da bo malone tak kot doslej. Ni nam bilo treba klestiti programov. Čeprav je mestna malha manjša in se je sponzorska spremenila v mošnjo. Predstave letošnjega sporeda so različne tako po estetski, angažirani kakor tudi uprizoritveni plati. Nekatere so družbenokritične, druge celo nekoliko agitpropovske, tretje radoživo dadaistične in žlahtno absurdne, spet naslednje rafinirano hladne in precizne v seciranju naših odnosov. Vsem pa sta skupni

1 Translator’s note: a famous children’s novel by Slovenian writer Anton Ingolič. 2 Translator’s note: pičiti in Slovenian has a double meaning: “to sting” and “to move swiftly forward”.

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vrhunska režija in izvedba. In – skoraj v vseh dominirajo ženske. Prav ženska, ki v teh časih zlagoma, a vztrajno doživlja preporod poniževanj, manjvrednosti, žalitev in neenakopravnosti (kot da se vračamo v 19. stoletje!), je ta, ki z odra ali izza njega sporoča svojo ustvarjalno slo in talent. Malo manj bomo pikale družbo, malo več pihale na dušo. V fokusu predstavljamo Nizozemsko – štiri sodobne drame in dve predstavi, v mednarodnem sklopu Mostovi pa bomo videli tudi predstave gledališč iz Hrvaške, Litve in Madžarske. Dve od tujih gostujočih predstav sta režirala režiserja izjemnega mednarodnega slovesa: Ivo van Hove in Oskaras Koršunovas. Številne diskusije, okrogle mize, strokovni pogovori in simpoziji nam bodo povsem onemogočali popoldanske počitke. Pestro bo, poučno, zanimivo, vzpodbudno. Spet bo veliko mladih na festivalu, tako na odrih kot po mestu, študentje AGRFT in FF UM bodo garali in žurali vseh deset dni. Čeprav se ljudje radi držimo vodila limit je nebo (nekateri tudi pri bančnih računih), pa žal živimo v hiši, ki ima strop. Festival je letos z Glazerjevo listino dobil javno potrditev in verjamem, da bodo imeli odločevalci in sodelavci še naprej posluh zanj. Želeti si je, da bi se že enkrat končali ti famozni začasnost in prehodnost. Ne gresta vštric z modno sintagmo o trajnostnem razvoju. Naj Godot že enkrat pride pa da skupaj pičimo na dolgi rok! Alja Predan, umetniška direktorica Festivala

the City of Maribor’s bag became smaller and the sponsors’ bag has turned into a pouch. The productions of this year’s repertoire differ in their aesthetic and performative aspects as well as in the level of their engagement. Some are socially critical, some even Agitprop, some joyously Dadaistic with sophisticated absurdity and some refined in their cold and precise dissection of our relations. All have two things in common: top directing and top acting. And – almost all are dominated by women. While in these times slowly but surely going through the renewed cycle of humiliation, degradation, insults, and inequality (as if we were going back to the 19th century!), whether behind-the-scenes or onstage it is precisely the woman who is delivering her creative passion and talent. We are going to sting the society somewhat less and play the strings of its soul somewhat more. This year’s Focus section features the Netherlands: four contemporary plays and two productions. The international section Bridges will present theatres from Croatia, Lithuania, and Hungary. Two of the foreign productions are signed by directors of outstanding international reputation: Ivo van Hove and Oskaras Koršunovas. Numerous discussions, round tables, professional talks, and symposia will completely prevent us from having afternoon breaks. It is going to be versatile, interesting, and instructive. Again there will be a lot of young people at the festival, both onstage and in the city. Students of the Academy of Theatre, Radio, Film and Television in Ljubljana and the Faculty of Arts in Maribor are going to work and party throughout the ten days. Although we humans like to stick to the principle the sky is the limit (some of us even when it comes to bank accounts), the unfortunate fact is that we live in a house that has a ceiling. Being awarded this year’s Glazer Credential, the festival has received public acknowledgment and I believe that the decision-makers and their collaborators will continue to have an ear for it. What we certainly desire is that the notorious period of temporariness and transition will finally be over. May Godot finally come so that we might sting and roll in the long run! Alja Predan, Festival Artistic Director


Damjan Švarc

SE SPLAČA!

IT's worth it!

Dragi ustvarjalci, festivalska publika, ustanovitelja festivala Ministrstvo za kulturo RS in Mestna občina Maribor ter sponzorji in donatorji Festivala Borštnikovo srečanje!

Dear Artists, Festival audience, Festival founders - the Ministry of Culture of RS and Municipality of Maribor, Sponsors and Donors of the Maribor Theatre Festival! Following the inaugural speech on the occasion of the acceptance of the Slovene National Theatre Maribor into the association ETC (European Theatre Convention), a dramaturg of a renowned theatre house in Germany asked me, “Is it worth it to have theatre at all, given the size of the country, the number of inhabitants, and the economic situation?” As Managing Director, my first thought was directed towards economic indicators, graphs, statistics, and of course the crisis ...

Ko me je pred dobrim letom ob sprejetju Drame SNG Maribor v asociacijo ETC (European Theatre Convention) po predstavitvenem nagovoru dramaturg iz eminentne gledališke hiše v Nemčiji vprašal, ali se nam glede na velikost države, število prebivalcev in gospodarsko situacijo gledališče sploh splača, sem kot »managing director« najprej pomislil na ekonomske kazalce, grafe, statistike in seveda na krizo ...

Crisis. Whose and what kind? As we ask ourselves today what is the world we live in, a more or less common conclusion is that it is a world that increasingly disgusts and revolts us as it is downright dominated by profit, which is the measure for everything and everybody. Profit qualifies or disqualifies any activity, individual, region, state. In the time of extreme individualism, as corroborated by economic indicators, media and networks, man is lonely and alienated, finding refuge in the anonymity of the World Wide Web where he is becoming a commodity or target group doomed to Internet clicks. Regardless of how sharply we criticise this world, we have

Kriza. Kakšna in čigava? Ko si danes postavljamo vprašanje, v kakšnem svetu živimo, je bolj ali manj skupna ugotovitev, da v svetu, ki se nam vsak dan bolj gnusi in upira tudi zato, ker je do konca podrejen dobičku, ki postaja merilo vsega in vsakogar. Ki kvalificira ali diskvalificira dejavnost, posameznika, regijo, državo. Človek kot nam ga argumentirajo ekonomski kazalci, mediji in omrežja, je v dobi izrazitega individualizma samoten in razdvojen, zateka se v anonimnost spletnega omrežja, kjer postane tržna niša ali ciljna skupina, obsojena na internetne klike.

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Ne glede na to, kako ostro kritiziramo ta svet, pa moramo priznati, da nam je usojeno živeti v njem, da je ta svet dediščina vsega človeštva, ki si jo moramo deliti, in v katerem le rezultati umetniškega ustvarjanja zares opravičujejo človeško prisotnost; ker so možnost potovanja do neznanih ciljev in doseganje zlitja med zunanjim svetom in svetom, ki nas naskrivaj poseljuje. Treba je zahtevati nazaj pravico do sanj, do prihodnosti, do upanja, si upati upati. Le človek, ki je sposoben gojiti iluzije in vizije, je svoboden človek. Zato je vloga gledališča in odrske umetnosti v današnjem času tako pomembna. Gledališče z ustvarjanjem novih idej in iskanjem vizij naš pogled dviguje iznad sivine vsakdana, razigrava duha, ostri naš mentalni svet in vznemirja srce. Predvsem pa gledališče združuje in plemeniti ljudi.

to admit that we are bound to live in it; that this world is the heritage of the entire humanity and we are bound to share it. It is the world in which only the results of artistic creation truly justify the human presence as they represent the possibility of travelling to unknown destinations and achieving the fusion between the outer world and the world that secretly dwells within us. We need to demand back the right to dream, the right to the future, to hope, to dare to hope. For only a man capable of cherishing illusions and visions is a free man. That is why the role of theatre and performing arts is so important at present. By producing new ideas and searching for visions, theatre elevates our perspective beyond the greyness of our daily life; it enlivens the spirit, sharpens our mental world and excites the heart. But above all, theatre unites and enriches people.

Festival Borštnikovo srečanje vsako jesen vznemiri mesto z naborom najboljših predstav slovenskih gledaliških hiš, bogatim spremljevalnim program domačih in tujih produkcij in s predstavitvijo dramskih produkcij študentov Akademije za gledališče radio film in televizijo. Navzočnost selektorjev in gledaliških kritikov iz tujine nam dokazuje, da se splača, ker je Festival presegel okvirje lokalnega dogodka in postaja vznemirljivo evropsko prizorišče.

Each autumn Maribor Theatre Festival thrills the city with the selection of the best productions of Slovene theatres, a rich accompanying programme featuring domestic and foreign productions, and the presentation of theatre productions by students of the Academy of Theatre, Radio, Film and Television in Ljubljana. The presence of selectors and theatre critics from abroad proves that it's worth it, as the Festival has surpassed the frame of a local event and is becoming an exciting European venue.

Se splača, ker umetnost kljubuje apatiji, cinizmu in neumnosti z domišljijo, ustvarjalnostjo in nam že od nekdaj dokazuje, da na svet lahko pogledamo in gledamo tudi drugače. Se splača, ker umetniška dela izražajo najboljše, kar je sposobno ustvariti človeštvo. Se splača, ker vsakršen politični dogodek zbledi ali se razblini spričo sijaja predstave, kot se spričo dramskih besedil razkrije vsa kratkovidnost jezika dejanske politike in ekonomije.

It's worth it because art defies apathy, cynicism, and stupidity with imagination and creativity proving to us from times immemorial that we may see the world with different eyes too. It's worth it because artistic works express the best of what humanity is capable of creating. It's worth it because any political event fades away or vanishes when faced with the lustre of the performance, which reveals through dramatic texts all the short-sightedness of the language of real politics and economics.

Dragi obiskovalci, zgodbe na odru imajo svojo resnico, pogosto drugačno od tiste, ki jo doživljamo vsak dan. Vendar na svet lahko pogledamo tudi drugače, kajti življenje ima tudi drugo plat. Vabim vas, da si ogledate in doživete tisto drugo plat. Se splača.

Dear guests, the stories onstage have their own truth, often different from the one we experience every day. Still we can see the world with different eyes as life also has its other side. I invite you to watch and experience that other side. It's worth it.

Danilo Rošker, direktor SNG Maribor

Danilo Rošker, Managing Director of SNG Maribor


Nada Žgank

Obrazložitev izbora tekmovalnega in spremljevalnega sporeda 48. Festivala Borštnikovo srečanje

A Commentary on the Selection of the Competition and Accompanying Programmes of the 48th Maribor Theatre Festival

V nasprotju z dobrim vtisom ob lanski gledališki sezoni v Sloveniji je stanje letos manj navdušujoče. Pričujoči izbor predstavlja manj številne uprizoritvene presežke. Ob končani sezoni ni mogoče spregledati, da je del ustvarjalcev umanjkal. Odrska produkcija, ki nastaja zunaj gledaliških hiš, je (tudi, a ne le zaradi finančne podhranjenosti) zdesetkana. Razen tega je opaziti paradoks, da si predstave izrazitih avtorjev (nekaj jih je uvrščenih v spremljevalni program) lahko privoščijo zelo omejeno postprodukcijo.

In contrast to the good impression made by last year’s theatre season in Slovenia, this year’s situation is less enthusiastic. The present selection offers less outstanding theatrical achievements. With the season concluded, one is compelled to notice the absence of a number of authors. The stage production outside of theatre institutions is decimated (for reasons of financial malnutrition but not entirely because of it). Besides this, there is an apparent paradox, which is that the performances by pronounced authors (some of them in the Accompanying Programme) can afford only a very limited post-production.

To odpira več vprašanj, nenazadnje tudi o možnosti oblikovanja mladih režiserjev kot razvijajočih se avtorjev. Kot bi bila pot do uspeha vezana na spremenljivke, ki nas presegajo. Osrednja veljavna pot se zdi bližnjica, cilj pa takojšnje ustvarjenje imena. Avtorjev, ki bi se oblikovali dlje in temeljito, tako rekoč ni opaziti ali so v strogi manjšini. Dejstvo, ki nemara združuje vse našteto, pa je, da živimo v vse bolj storilnostni družbi, ki zaradi kontinuiranega hlepenja

All this raises several questions, among them the question of the possibilities for artistic growth of young directors as developing authors. As if the road to success is tied to variables that surpass us. The valid, middle road seems to be the shortcut, the aim being the instant establishing of reputation. The authors who would work on their

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po presežkih in po produkciji pozablja na lastno vsebino. Vprašanje, koga bo to na dolgi rok najbolj prizadelo, ostaja odprto. V tekmovalni spored 48. Festivala Borštnikovo srečanje je uvrščenih deset predstav petih gledaliških institucij in enega neodvisnega producenta. Izbor odbira predstave, ki tudi s svojimi posameznimi nepopolnostmi govorijo zavezujoče zgodbe. Po vsebini ti projekti stremijo k odkritju boljšega sveta. To artikulirajo z resnično ostrino, a pri tem ne ostajajo le na površju refleksije človeške in družbene eksistence. Med njimi je tudi predstava o korespondiranju današnjega časa s preteklim, a časi seveda ne sovpadajo v ničemer več, ostaline preteklosti ostajajo zaprte v vitrinah, medtem ko jih spektakelsko zvezdništvo, ki je v trendu, ni zmožno misliti. Tudi v tem bi lahko našli razlago za zagatno situacijo, v kateri se je znašlo slovensko gledališko prizorišče. V takšnih razmerah je po premišljenosti izstopala umetniška smer, ki jo je v ljubljanski Drami SNG začrtal Eduard Miler. Poantiran in zaokrožen repertoar, ki je bil vezan le na omejeno obdobje »vršenja dolžnosti«, je po svoji celovitosti spomnil na visoko učinkovite sezone Janeza Pipana v devetdesetih letih. Zadnjih sedem let je Dramo SNG Maribor domišljeno usmerjal Vili Ravnjak. Ključnost instituta umetniškega vodje je jasno razpoznavna. Lanska gledališka produkcija ne pritrjuje tezi, da imamo Slovenci problem z ubesedovanjem samega sebe. Svoj obraz v zrcalu vidimo, odzivanja na aktualno družbeno situacijo in na položaj umetnika v njej ne manjka. Kaj je gledališče, zakaj je pomembno, s kakšnim namenom uprizarjati? S katerimi avtorji in deli se je mogoče osmisliti? Kakšna je družbena vloga gledališke umetnosti v današnji Sloveniji? Kakšen je sploh vpliv idej o umetnosti v družbi na razvoj našega gledališča? To so najbolj izrazita vprašanja, s katerimi se je v pretekli sezoni ukvarjalo slovensko gledališče, to so teme, ki jih je odpiralo. Mag. Primož Jesenko, selektor 48. Festivala Borštnikovo srečanje

development for a longer period of time and more thoroughly are almost nowhere to be seen or are in a strict minority. The fact that perhaps unites all of the abovementioned is that we are living in an increasingly productivity-driven society, which tends to forget about its own substance due to continuous yearning for surpluses and for production. It remains to be seen in the long run who is going to be most affected by its consequences. The Competition Programme of the 48th Maribor Theatre Festival includes ten performances of five theatre institutions and one independent producer. The selection focuses on the performances that tell compelling stories even through their individual imperfections. When it comes to the content, those projects aim for the discovery of a better world. They articulate it with true sharpness while at the same time not dwelling on the surface of reflecting human and social existence. Among them is also a performance about the correspondence of the present time with the past whereas times certainly don’t coincide in anything anymore: the relics of the past remain closed in vitrines while the trendy spectacleoriented stardom is not capable of reflecting this. This might also be the explanation for the quagmire in which Slovenian theatre finds itself right now. In the present circumstances, the artistic direction outlined in the Slovene National Theatre Drama Ljubljana by Eduard Miler stood out with its conceptual thoroughness. An incisive and wellrounded repertoire, which was the product of a limited period of “executive artistic direction” evoked with its comprehensiveness the highly efficient seasons of Janez Pipan in the 1990s. In the past seven years, Vili Ravnjak artistically led the Slovene National Theatre Drama Maribor with creativity and imagination. The crucial role of artistic director is hence clearly recognisable. Last year’s production doesn’t corroborate the thesis that Slovenes have a problem with articulating themselves. We see our face in the mirror and there is no lack of reacting to the present social situation and the position of artist within it. What is theatre, why is it important, what is the aim of staging? Who are the authors and what are the texts that provide sense? What is the role of theatre art in today’s Slovenia? What is effectively the influence of ideas on art and society on the development of our theatre? Those are the most outstanding questions which have preoccupied Slovenian theatre in the past season and the subjects which were scrutinised. Primož Jesenko, M. A., Selector of the 48th Maribor Theatre Festival


Selektor selector Primož Jesenko Dramaturg in gledališki kritik. Magistriral je na AGRFT na Univerzi v Ljubljani. Deluje kot gledališki kritik kulturne redakcije Dnevnika in od leta 2004 kot urednik za področje gledališča pri mesečniku Dialogi. Kot raziskovalec je sodeloval v več raziskovalnih projektih (TACE – Occuppying Spaces: Eksperimentalno gledališče v Srednji Evropi, SGM; Uprizarjanje vizualnega, uprizarjanje življenja, Maska Ljubljana, itn.) in pri mnogih mednarodnih kolokvijih, festivalih in razstavah (Exodos Ljubljana, 2006−2008; Performing Revolution, New York, 2009, itn.). Od leta 2012 je zaposlen kot kustos videoarhiva v Slovenskem gledališkem muzeju.

Dramaturg and theatre critic. He received his M. A. in Theatre Studies at the Academy of Theatre, Film, Radio and Television at the University of Ljubljana. He is a theatre critic for the Slovenian daily newspaper Dnevnik and since 2004 is editor of the performing arts section of the journal Dialogi. As a researcher he has participated in various research projects (i.e., TACE – Occupying Spaces: Experimental Theatre in Central Europe, National Theatre Museum of Slovenia; Performing Visuality, Performing Life, Maska Ljubljana) and numerous international festivals, exhibitions and colloquia (i.e., Exodos Festival, Ljubljana, 2006−2008; Performing Revolution 2009, New York). Since 2012 he is employed at the National Theatre Museum of Slovenia.

Strokovna žirija Jury of Experts Jasen Boko Writer, dramaturg, and theatre scholar. In his twenty years of dramatic writing, he has written over twenty plays that have been staged in professional theatres in Croatia, Slovenia, and Serbia. He teaches at the Faculty of Philosophy at the University of Split. As a dramaturg, he has collaborated on over twenty productions in Croatia and Slovenia. He is also a translator from English. He has published nine books on performing arts and literature. He was selector and jury member at various festivals. He is the recipient of several awards for his work. As president of the International Playwrights’ Forum (ITI UNESCO) he has participated in various international conferences and also organised the first international symposium on site-specific theatre in the frame of the Dubrovnik Summer Festival.

Publicist, dramaturg in teatrolog. V dvajsetih letih dramskega ustvarjanja je napisal več kot dvajset dram, ki so bile uprizorjene na hrvaških, slovenskih in srbskih profesionalnih odrih, za svoje delo pa je prejel številne nagrade. Predava na Filozofski fakulteti v Splitu; kot dramaturg je sodeloval pri več kot dvajsetih uprizoritvah na Hrvaškem in v Sloveniji; je tudi prevajalec iz angleškega jezika. Objavil je devet knjig ter bil selektor in član strokovnih žirij različnih festivalov. Kot predsednik International Playwrights‘ Forum-a (ITI UNESCO) se udeležuje različnih mednarodnih simpozijev, organiziral pa je tudi prvi mednarodni simpozij o ambientalnem gledališču v okviru Dubrovniških poletnih iger.

Tomasz Kubikowski Dramaturg, translator, and theatre scholar. He works as assistant artistic director and dramaturg at the Warsaw National Theatre. He is professor at the Theatre Academy in Warsaw as well as guest professor at the Warsaw Music Academy, the Stefan Wyszynski University, and the University of Richmond, Virginia, USA. He is the director of the National Theatres’ Meeting biennial festival. He has been selector and jury member at various Polish and international festivals. He is author of the books on performance theory Siedem bytów teatralnych (1994) and Regula Nibelunga (2004). He writes essays, reviews, and reports, which are published mostly in professional publications such as Odra, Dialog, Teatr, Didaskalia.

Dramaturg, prevajalec in teatrolog. V Nacionalnem gledališču v Varšavi dela kot pomočnik umetniškega direktorja in dramaturg. Je profesor na Gledališki akademiji v Varšavi in gostujoči profesor na varšavski Glasbeni akademiji, na Univerzi Stefana Wyszynskega in Univerzi v Richmondu, Virginia, ZDA; je direktor bienalnega festivala Srečanje narodnih gledališč. Bil je selektor in član žirije na različnih poljskih in mednarodnih festivalih. Je avtor knjig o performativni teoriji Siedem bytów teatralnych (1994) in Reguła Nibelunga (2004), piše eseje, kritike, reportaže, ki jih objavlja večinoma v strokovnih revijah (npr. Odra, Dialog, Teatr, Didaskalia).

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Barbara Orel Gledališka teoretičarka in kritičarka. Docentka za področje dramaturgije na Akademiji za gledališče, radio, film in televizijo Univerze v Ljubljani, kjer predava študije scenskih umetnosti. Od leta 2011 je vodja raziskovalne skupine UL AGRFT. Napisala je knjigo Igra v igri (2003), uredila Scenske umetnosti in politike predstavljanja (2008) in souredila monografijo Hibridni prostori umetnosti (2012). Kot raziskovalka sodeluje z delovno skupino Theatrical Event (pri International Federation for Theatre Research). Bila je tudi selektorica nacionalnih gledaliških festivalov Teden slovenske drame (2006–07) in Festivala Borštnikovo srečanje (2008–09).

Theatre critic and theoretician. Assistant Professor in the field of Dramaturgy at the Academy of Theatre, Radio, Film and Television (AGRFT) at the University of Ljubljana where she teaches Performing Arts Studies. Since 2011, she is head of the UL AGRFT research group. She has published the book Play Within Play (2003), edited Performing Arts and the Politics of Representation (2008) and co-edited the monographic study Hybrid Spaces of Art (2012). Within the frame of the International Federation for Theatre Research, she collaborates as a researcher in the working group Theatrical Event. She was also selector of the national theatre festivals Week of Slovenian Drama (2006, 2007) and the Maribor Theatre Festival (2008, 2009).

Tea Rogelj Dramaturginja in kustosinja. Od leta 1995 do 2010 je bila članica SNG Nova Gorica – kot dramaturginja in asistentka režiserja je sodelovala pri več kot tridesetih uprizoritvah, urejala gledališke liste in dvojezične kataloge Mozaik/Mosaico, sodelovala z Evropsko gledališko konvencijo (ETC) itn. Od leta 2010 dela kot kustosinja v Slovenskem gledališkem muzeju. V letih 2010 in 2011 je sodelovala pri mednarodnem projektu TACE, leta 2012 pa bila kustosinja razstave Alenka Bartl, kostumografka (zanjo je prejela bršljanov venec). Je članica IO Združenja dramskih umetnikov Slovenije, IO ITI in Slovenskega muzejskega društva ter podpredsednica Društva gledaliških kritikov in teatrologov Slovenije.

Dramaturg and curator. While at the Slovene National Theatre Nova Gorica (1995–2010), as dramaturg and assistant director, she took part in over 30 productions, edited theatre programmes and the catalogue Mozaik/Mosaico, and collaborated with the European Theatre Convention (ETC). Since 2010 she works as a curator in the National Theatre Museum of Slovenia. In 2010 and 2011 she collaborated in the international project TACE. In 2012 she curated the exhibition Alenka Bartl, Costume Designer, for which she was awarded the Ivy Wreath. She is a member of the executive boards of the Association of Dramatic Artists of Slovenia, the Slovene Centre of the International Theatre Institute (ITI) and the National Theatre Museum of Slovenia as well as vice-president of the Association of Theatre Critics and Researchers of Slovenia.

Petra Vidali Publicistka in gledališka kritičarka. Po diplomi iz primerjalne književnosti in sociologije kulture je pričela pisati gledališke kritike ter sodelovati kot članica različnih strokovnih žirij. Gledališke kritike je pisala predvsem za dnevnik Večer, literarne pa tudi za specializirane literarne revije. Za svoje delo je prejela Glazerjevo listino (2004) in Stritarjevo nagrado za kritiško pero (1999). Je urednica kulturne redakcije pri dnevniku Večer in knjižna urednica pri založbi Litera, kjer skrbi za zbirko sodobne prevodne proze Babilon in »estetsko prebojno« zbirko Nova znamenja.

Writer and theatre critic. Following her B. A. in Comparative Literature and the Sociology of Culture she began writing theatre reviews and collaborating as a member of various juries. Most of her reviews have appeared in the Slovenian daily newspaper Večer, she has also written for more specialised literary magazines. For her work she received the Glazer Credential (2004) and the Stritar Award for Critical Pen (1999). She is editor of the cultural section at Večer and is also a book editor in Litera publishing house where she is in charge of the Babylon collection of contemporary translated prose as well as the “aesthetically innovative” collection New Signs.


ŽIRIJA ZA PODELITEV BORŠTNIKOVEGA PRSTANA Jury for the Borštnik ring award Silva Čušin Dramatic actress. Upon graduating from the Academy of Theatre, Radio, Film and Television (AGRFT) of the University of Ljubljana, she became a member of the Slovene National Theatre Drama Ljubljana in 1985. She is one of the most remarkable actresses of the mid-generation; her talent and refined sensitivity have been proven both through a comprehensive opus of theatrical, film, and television roles and with numerous awards, among them the highest award for an actor in Slovenia – the Borštnik Ring (2007). Her acting power is especially evident in the versatility of her roles: the vast scope of her repertoire, ranging from inspiring interpretations of leading characters in plays by Slovenian authors, with an innovative approach to classical plays and modern dramatic texts, to impressive singing roles as well as comic characters, shaped with discreet humour.

Dramska igralka. Po končanem študiju na Akademiji za gledališče, radio, film in televizijo Univerze v Ljubljani je od leta 1985 članica SNG Drama Ljubljana. Je ena najizrazitejših igralk srednje generacije; njen talent in prefinjena senzibilnost sta se potrdila tako v zajetnem opusu gledaliških, filmskih in televizijskih vlog kot v številnih nagradah, med njimi najvišji – Borštnikovem prstanu (2007). Njena igralska moč se še posebej kaže v raznolikosti: v širokem razponu njenega repertoarja, ki sega od navdihujočih interpretacij nosilnih oseb dram slovenskih avtorjev, inovativnega pristopa v klasičnih igrah in modernih dramskih pisavah do impresivnih pevskih vlog pa tudi komičnih likov, oblikovanih z diskretno duhovitostjo.

Jernej Lorenci Theatre director and pedagogue. He directed his first productions already in high school, as part of Maribor Dead Theatre. He studied theatre directing at the Academy of Theatre, Radio, Film and Television (AGRFT) in Ljubljana. In 1999 he graduated with the production of Sophocles’s Antigone, which he directed in 1996. In 1997 he co-founded the Theatre School of the First Grammar School in Maribor. Upon graduating from AGRFT, he acquired his directorial experience in theatres in Slovenia and abroad. He was artistic director of Ptuj City Theatre. In 2006 he began teaching at AGRFT in the Department of Theatre and Radio Directing, first as assistant, and the following year as assistant professor. He has won numerous prizes at home and abroad for his directorial work.

Gledališki režiser in pedagog. Že v srednješolskih letih je pod okriljem Mrtvega gledališča Maribor režiral prve uprizoritve. Po končani gimnaziji je študiral gledališko režijo na AGRFT v Ljubljani pod mentorskim vodstvom Mileta Koruna in Matjaža Zupančiča. Leta 1996 je režiral diplomsko predstavo, Sofoklejevo Antigono, s katero je tri leta kasneje tudi diplomiral. Leta 1997 je bil med soustanovitelji Gledališke šole Prve gimnazije Maribor. Po študiju si je režijske izkušnje nabiral v slovenskih in tujih gledališčih. Bil je umetniški vodja Mestnega gledališča Ptuj. Leta 2006 je postal asistent, leto kasneje pa docent za področje gledališke in radijske režije na AGRFT Ljubljana. Za svoje režijsko delo je prejel številne domače in mednarodne nagrade.

Dušan Mlakar Theatre director and pedagogue. Upon graduating from the Academy of Theatre, Radio, Film and Television (AGRFT) in Ljubljana he was manager and artistic director at the Mladinsko Theatre in Ljubljana and subsequently artistic director at Primorsko Drama Theatre in Nova Gorica (PDG). In 1984 he began teaching Theatre Directing and Acting at AGRFT. He has directed in all of the Slovenian theatres as well as abroad. His extensive opus ranges from the first stagings of Slovenian plays to productions of world classic dramatic literature and contemporary playwriting. He has also directed for radio and

Gledališki režiser in pedagog. Po študiju na AGRFT v Ljubljani je bil sprva direktor in umetniški vodja Mladinskega gledališča v Ljubljani, nato v. d. umetniškega vodje Primorskega dramskega gledališča Nova Gorica. Leta 1984 je pričel poučevati gledališko režijo in igro na AGRFT. Režiral je v vseh slovenskih gledališčih pa tudi v tujini. Njegov obsežni opus sega od krstnih izvedb del iz slovenske dramatike do uprizoritev iz svetovne klasike in sodobne dramatike. Režiral je tudi za radio in televizijo ter realiziral več televizijskih prenosov lastnih

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gledaliških predstav in kratki film, za katerega je napisal tudi scenarij. Za svoje režijsko delo je prejel nagrado Prešernovega sklada za gledališko režijo, več Borštnikovih nagrad in diplom, mednarodno nagrado Alpe-Jadran in druga priznanja.

television, carried out several live TV broadcasts of his own productions, and directed and written a short film. His directorial work has been acknowledged through the Prešeren Foundation Award for theatre directing, several Borštnik Awards, the International award Alpe-Adria as well as other recognitions.

ALJA PREDAN Dramaturginja, prevajalka in teatrologinja. Med drugim je bila umetniški vodja PDG v Novi Gorici, dramaturginja v MGL, vodja gledališkoplesnega programa v Cankarjevem domu, od leta 2009 vodi Festival Borštnikovo srečanje. Kot urednica Knjižnice MGL je izdala trideset knjig s področja teorije in zgodovine drame in gledališča. Sodelovala je v žirijah domačih in mednarodnih gledaliških festivalov. Bila je kuratorka slovenskega fokusa na 7. festivalu sodobne drame v Budimpešti in kuratorka slovenskega fokusa na 6. festivalu sodobne drame v Bratislavi. Je članica Društva prevajalcev Slovenije, podpredsednica Društva gledaliških kritikov in teatrologov Slovenije ter članica ITI Slovenija in ZDUS. Leta 2012 je prejela Glazerjevo listino za delo na področju kulture v mestu Maribor.

Dramaturg, translator, and theatre expert. AShe has been artistic director at Primorsko Drama Theatre in Nova Gorica (PDG), dramaturg in Ljubljana City Theatre and director of the Theatre and Dance Programme in Cankarjev dom Congress and Cultural Centre. She has been the artistic director of the Maribor Theatre Festival since 2009. As editor of the MGL Library, she published thirty books from the field of drama and theatre theory and history. She has taken part in various juries at local and international festivals. She was curator of the Slovenian Focus at the 6th and 7th Contemporary Drama Festival in Bratislava and Budapest, respectively. She is a member of the Slovenian Association of Translators, the vice-president of the national section of AICT/ IATC, as well as a member of ITI Slovenia and the Slovenian Association of Dramatic Artists. She received the 2012 Glazer Credential for creative work in the domain of culture in the city of Maribor.

Ivo Svetina Pesnik, dramatik, esejist, prevajalec. Diplomiral na Filozofski fakulteti v Ljubljani iz primerjalne književnosti in literarne teorije. Bil zaposlen na TV Slovenija kot dramaturg in urednik dramskega programa, v Slovenskem mladinskem gledališču kot dramaturg in umetniški vodja, kot podsekretar na Ministrstvu za kulturo, od leta 1998 je direktor Slovenskega gledališkega muzeja. Izdal je 28 pesniških zbirk, napisal več gledaliških iger, pravljic, esejev o poeziji in gledališču oz. dramatiki. Za svoje delo je prejel več priznanj in nagrad, mdr. nagrado zlata ptica, nagrado Prešernovega sklada in več Grumovih nagrad.

Poet, playwright, essayist, and translator. He received his B. A. in Comparative Literature and Literary Theory from the Faculty of Arts of the University of Ljubljana. He has worked at TV Slovenia as dramaturg and editor in the Drama Programme, in the Mladinsko Theatre as dramaturg and artistic director, and as undersecretary at the Ministry of Culture. Since 1998 he has been the director of the National Theatre Museum of Slovenia. He has published 28 collections of poetry, written numerous theatre plays, fairy tales as well as essays on poetry, theatre, and dramatic texts. He has received numerous awards and prizes for his work, among them the Golden Bird, the Prešeren Foundation Award, and several annual Grum Awards for the best new Slovenian play.


program programme

Režiser Director Jernej Lorenci SNG Drama Ljubljana

MATI THE MOTHER

Režiser Director Sebastijan Horvat SNG Drama Ljubljana

Showcase

Bertolt Brecht

PONORELA LOKOMOTIVA THE CRAZY LOCOMOTIVE

Showcase

Showcase

Stanisław Ignacy Witkiewicz

Showcase

tekmovalni program competition programme

VAJE ZA TESNOBO EXERCISES FOR ANXIETY

Režiser Director Jaka Andrej Vojevec Slovensko stalno gledališče Trst

Showcase

25.671 25.671

Showcase

Henrik Ibsen

BOŽIČ PRI IVANOVIH CHRISTMAS AT THE IVANOVS’

Avtorski projekt Original project Režiser Director Oliver Frljić Prešernovo gledališče Kranj

JOHN GABRIEL BORKMAN john gabriel borkman

Režiserka Director Mateja Koležnik Drama SNG Maribor

Spremljevalni program Accompanying programme Repnik : Ruhsam : Myhre

Nataša Matjašec Rošker

ALSO SPRACH CAGE ALSO SPRACH CAGE

DO TU SEGA GOZD THE FOREST ENDS HERE

Režiser Director Vlado G. Repnik GVR babaLAN, Festival Ex Ponto (KD B-51), Center urbane kulture Kino Šiška Saša Rakef

Avtorski projekt Original project Nataše Matjašec Rošker, Branka Jordana in Davorja Herge Drama SNG Maribor

DOLG RAKEF SAŠKE / DOLG RS THE DEBT OF RAKEF SAŠKA / THE DEBT OF RS

OKUS TIŠINE VEDNO ODMEVA THE TASTE OF SILENCE ALWAYS RESONATES

Režiserka Director Barbara Kapelj Osredkar Zavod Maska

Showcase

Showcase

TRI ELIZABETINSKE TRAGEDIJE. DRŽAVA::R.III. – EPILOG THREE ELIZABETHAN TRAGEDIES. STATE::R.III. – EPILOGUE

Režiser Director Ivica Buljan Mestno gledališče ljubljansko

HAMLET hamlet

Režiser Director Oliver Frljić SNG Drama Ljubljana

Zupančič::Turšič::Živadinov

ČRNA ŽIVAL ŽALOST BLACK BEAST SORROW

William Shakespeare:

Aleksander Ivanovič Vvedenski

Režiser Director Janusz Kica Drama SNG Maribor

Režiser Director Dragan Živadinov Zavod Delak, Muzej sodobne umetnosti Metelkova Anja Hilling

Vinko Möderndorfer

Režiser Director Eduard Miler SNG Drama Ljubljana

Mihail Afanasjevič Bulgakov MOJSTER IN MARGARETA THE MASTER AND MARGARITA

Avtorski projekt Original project Irene Tomažin Zavod Emanat, Cankarjev dom, Zavod Maska

TO JE ŠELE ZAČETEK JUST THE BEGINNING

KORAK V DVOJE PO PII IN PINU A two-step according to pia and pino

Avtorski projekt Original project Režiser Director Bojan Jablanovec Via Negativa Ljubljana

Avtorja in koreografa Authors and choreographers Rosana Hribar, Gregor Luštek Anton Podbevšek Teater, Flota Ljubljana

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Showcase

Eugène Ionesco INŠTRUKCIJA THE LESSON

Režiser Director Matjaž Zupančič Lutkovno gledališče Ljubljana

Jaka Andrej Vojevec, Simona Hamer, Klemen Janežič ROBINSON robinson

Režiser Director Jaka Andrej Vojevec BiTeater, Lutkovno gledališče Ljubljana

Mednarodni program MOSTOVI bridges – international programme Jean Cocteau

Ödön von Horváth

ČLOVEŠKI GLAS THE HUMAN VOICE

KAZIMIR IN KAROLINA CASIMIR AND CAROLINE

Režiser Director Ivo van Hove Toneelgroep Amsterdam (NL)

Režiser Director László Bagossy Örkény István Színház (HU)

Rik van den Bos, Naomi Vellisariou

Miroslav Krleža

MR JONES MR JONES

LEDA LEDA

Avtorski projekt Original project Naomi Vellisariou Frascati Producties (NL)

Režiserka Director Anica Tomić Zagrebačko kazalište mladih (HR), Kraljevsko pozorište Zetski dom, Cetinje, Festival Kotor Art, Kotor (MNE)

MIRANDA MIRANDA

Režiser Director Oskaras Koršunovas OKT/Vilniaus miesto teatro (LT)

AGRFT Academy of Theatre, Radio, Film and Television La machine de Molière (Molière stroj) La machine de Molière (Molière Machine)

Predstava ob jezeru Performance by the Lake Via kolektiv Via Collective

Eugène Ionesco Stoli Chairs Skozi kostum spregovorim I Speak Through the Costume

Sarah Kane Skomine Crave

Edward Bond Rešeni Saved Iz zakladnice neuspeha Out of the Treasury of Failure Brez naslova Untitled

Po motivih simfonije št. 6 v h-molu, op. 54, Dmitrija Šostakoviča Based on the Symphony No. 6 in B minor, Op. 54, by Dmitri Shostakovich

Tik pred revolucijo Right Before the Revolution

Albert Camus Kaligula et al. Caligula et al. Skušnja The Rehearsal


Tekmovalni program Competition programme


Anja Hilling 22 ČRNA ŽIVAL ŽALOST BLACK BEAST sorrow

Vinko Möderndorfer 24 VAJE ZA TESNOBO EXERCISES FOR ANXIETY

William Shakespeare 26 HAMLET HAMLET

Mihail Afanasjevič Bulgakov 28 MOJSTER IN MARGARETA THE MASTER AND MARGARITA

Stanisław Ignacy Witkiewicz 30 PONORELA LOKOMOTIVA THE CRAZY LOCOMOTIVE

Bertolt Brecht 32 MATI THE MOTHER

25.671 34 25.671

Aleksander Ivanovič Vvedenski 36 BOŽIČ PRI IVANOVIH CHRISTMAS AT THE IVANOVS’

TRI ELIZABETINSKE TRAGEDIJE. 38 DRŽAVA::R.III. – EPILOG THREE ELIZABETHAN TRAGEDIES. STATE::R.III. - EPILOGUE

Henrik Ibsen 40

JOHN GABRIEL BORKMAN JOHN GABRIEL BORKMAN


Tekmovalni program Competition programme

19. 10. 2013 20.00 Stara dvorana

Anja Hilling

Mestno gledališče ljubljansko

Črna žival žalost Black Beast sorrow

Predstava traja 2 uri in 35 minut in ima en odmor. Running time 2 hours and 35 minutes. One interval. The performance has English supertitles. Premiera Première 17. 2. 2013 Veliki oder, Mestno gledališče ljubljansko

Naslov izvirnika Original Title Schwarzes Tier Traurigkeit Prevajalec Translator Jaša Drnovšek Režiser Director Ivica Buljan Dramaturginja Dramaturg Petra Pogorevc Scenografija Stage designers Numen & Ivana Radenović Kostumografka Costume designer Ana Savić Gecan Avtor glasbe in korepetitor Composer and répétiteur Mitja Vrhovnik Smrekar Lektor Language consultant Martin Vrtačnik Oblikovalec svetlobe Lighting designer Andrej Koležnik Asistentka dramaturginje Assistant dramaturg Anja Krušnik Cirnski Asistentka kostumografke Assistant costume designer Sara Smrajc Žnidarčič Kondicijski trener Physical coach Ivan Bizjak Prevajalka odlomka iz homerske Himne Dionizu Translator of the excerpt from Homer’s Hymn to Dionysus Jera Ivanc

Igrajo Cast Paul Sebastian Cavazza Miranda Tina Potočnik Jennifer Jana Zupančič Oskar Jure Henigman Martin Lotos Vincenc Šparovec Flynn Domen Valič Pripovedovalka, Ona Narrator, She Jette Ostan Vejrup On He Milan Štefe

Vroč poletni večer v gozdu. Bukve, hrasti, borovci, lipe, tu in tam kakšna vrba … Kombi. Pločevinke piva, kola, voda, vino, steklenica konjaka, kečap, majoneza, sir, plastične vreče z zelenjavo, kruh, klobase, kotleti, kozarci, krožniki, pribor, vreča oglja, prenosni žar. Začimbe. Kitara. In še. In še. Narava vsenaokrog je zelo lepa. Nato pride Dogodek. V trodelni drami mlade nemške dramatičarke Anje Hilling ima osrednje mesto prav Dogodek; avtorica svoje razmeroma dobro situirane dramske osebe sodobnega miljeja porine v nesrečo – požar, ki ga zaneti njihova lastna nespretnost. Hillingova v besedilu testira katastrofo v razmerju do majhnosti človekovega življenja. V njeni pisavi prepoznavamo dramatiko novega brutalizma, ki stopa korak onkraj.

A hot summer night in the woods. Beeches, oaks, pine trees, lindens, a willow here and there … A minivan. Beer cans, cola, water, wine, a glass of Cognac, ketchup, mayonnaise, cheese, plastic bags with veggies, bread, sausages, cutlets, plates, cutlery, a bag of coal, portable barbecue. Spices. A guitar. And more. And more. The nature all around is very beautiful. A splendid summer night in a marvellous forest. Something occurs that will change everything. An Event. It is the Event that holds the central place in the three-act play by the young German playwright Anja Hilling. The author thrusts her fairly welloff characters from a contemporary environment into a calamity – a fire ignited by their own awkwardness. In her text Hilling wanted to test the catastrophe in relation to the minuteness of human life. Her writing bears traits of the new brutalism in contemporary dramatic literature, a tendency that goes one step beyond.

⇢⇢»Gre za predstavo, ki gledalce surovo, nepopustljivo in smrtno resno sooča s temeljnimi vprašanji življenja, ljubezni, smrti, strahu, odgovornosti in smisla. Na ustrezno mrakobni in presenetljivo nazorni sceni v premišljeno oblikovanih kostumih in ob zlovešče zgovorni glasbi so igralci /.../svoje vloge odigrali brez rezerve, popolnoma scela in zares, dobesedno v solzah, krikih in znoju.«

⇢⇢“This is a production that confronts its spectators brutally, relentlessly, and deadly seriously with fundamental questions of life, love, death, fear, responsibility, and meaning. Accompanied by ominously evocative music, the actors, wearing wellconceived costumes, have performed their roles on a suitably sombre and surprisingly graphic stage without reserve, to the last breath and for real, literally drowning in tears, screams, and sweat.”

Staša Grahek, Radio Slovenija, 18. februar 2013

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Staša Grahek, Radio Slovenija, 18 February 2013


Barbara ÄŒeferin


Tekmovalni program Competition programme

20. 10. 2013 21.00 Velika dvorana – tribuna

Vinko Möderndorfer

Slovensko stalno gledališče Trst

Vaje za tesnobo Exercises for Anxiety

Predstava traja 1 uro in 35 minut in nima odmora. Running time 1 hour and 35 minutes. No interval. The performance has English supertitles.

Režiser Director Jaka Andrej Vojevec Dramaturginja Dramaturg Nika Leskovšek Scenograf in glasbeni opremljevalec Stage designer and music selector Jaka Andrej Vojevec Kostumografka Costume designer Branka Pavlič Korepetitorka in svetovalka za glas Répétiteur and voice coach Irena Tomažin Lektor Language consultant Jože Faganel Oblikovalec svetlobe Lighting designer Peter Korošic Tonski mojster Sound designer Diego Sedmak

Igrajo Cast Policist, Varnostnik, Mlajši delavec Policeman, Security Guard, Younger Worker Romeo Grebenšek Dekle Girl Tina Gunzek Šefika Lara Komar Kadrovik, Emir Human Resources Officer, Emir Franko Korošec Starejši delavec, Mož v obleki Older Worker, Man in Suit Vladimir Jurc Hčerka tudi Ženska Daughter and also Woman Maja Blagovič Fant v obleki, Glas Boy in Suit, Voice Primož Forte Punca v trenirki Girl in Jogging Suit Tjaša Hrovat Tehnika Technicians Alen Kermac, Marko Škabar

Uprizoritev v kratkih, zgoščeno zgovornih prizorih uprizarja novodobni neoliberalni vsakdanjik, v katerem ljudje lovimo svoja življenja in prihodnost med krutostjo in banalnostjo ter željo po odrešitvi. V vratolomnem tempu montaže dramskih situacij se razpira široka panorama današnje stvarnosti, svet brez tančic in olepšav, svet, v katerem je vse kupljivo. In v tem svetu se subtilno pletejo življenjske zgodbe posameznikov, ki so nihče drug kot prav mi. Vaje za tesnobo rastejo iz navdiha koncepta »vaje«, nedokončanega trenutka, vse se dogaja tukaj in zdaj. Dramatična lahkotnost današnjega časa, ko je vse kupljivo in so ljudje postali pasivne in zaslepljene žrtve lutkarjev na vodilnih mestih, je le splošno znana zgodba, v kateri se počutimo tako domače ...

Consisting of short verbally dense scenes, this production depicts the new-age neoliberal everyday life in which we strive to catch our lives and the future between brutality, banality, and the desire for salvation. The breakneck speed of montage of dramatic situations opens a panorama of today’s reality, an unveiled and unbeautified world in which everything has its price. And this is the world in which life stories of individuals – who are no other than us – are being intertwined. Exercises for Anxiety stems from the concept of “exercise”, an unfinished moment, everything is happening here and now. The dramatic lightness of today’s time, in which everything can be bought and in which people have become passive and blinded victims of string-pullers in leading positions, is a well-known story in which we feel so much at home …

⇢⇢»Vojevec v sodelovanju z dramaturginjo Niko Leskovšek tako poskrbi za razkrito prehajanje med prizori, s čimer pridobi zgoščenost celote, tudi za svojevrstne preplete dramskih z gledališkimi situacijami, ter s predano igralsko zasedbo prisluhne besedilu, ki zmore v svoji dialoški jedrnatosti in stopnjevanju gradnje občuteno izrisati stanje sveta, ki ga živimo.«

⇢⇢“In collaboration with the dramaturg Nika Leskovšek, Vojevec makes sure that the transition between scenes is open, which provides a density for the whole, even for certain intertwining of dramatic and theatrical situations. On the other hand, together with the dedicated cast of actors, he brings to life a dramatic text, which he manages with its dialogue conciseness and gradual build-up drawing with great sensitivity an image of the state of the world in which we live.”

Premiera Première 16. 11. 2012 Veliki oder, Slovensko stalno gledališče Trst

Ana Perne, Dnevnik, 19. november 2012

Ana Perne, Dnevnik, 19 November 2012

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Žiga Koritnik


Tekmovalni program Competition programme

21. 10. 2013 20.30 Stara dvorana

William Shakespeare

SNG Drama Ljubljana

Hamlet hamlet

Predstava traja 2 uri in 35 minut in ima dva odmora. Running time 2 hours and 35 minutes. Two intervals. The performance has English supertitles.

Naslov izvirnika Original Title Hamlet

Premiera Première 12. 1. 2013 Veliki oder, SNG Drama Ljubljana

Prevajalec Translator Srečko Fišer Režiser Director Eduard Miler Avtorica priredbe in dramaturginja Author of adaptation and dramaturg Žanina Mirčevska Scenograf Stage designer Branko Hojnik Kostumografka Costume designer Jelena Proković Lektor Language consultant Arko Glasbeni opremljevalec Music selector Eduard Miler Oblikovalec svetlobe Lighting designer Pascal Mérat Svetovalec za sabljanje Fencing consultant Martin Slodnjak Asistentka scenografa Assistant stage designer Urša Vidic Asistentka kostumografke Asssistant costume designer Katja Magister

Igrajo Cast Hamlet Hamlet Marko Mandić * Igor Samobor Klavdij Claudius Jernej Šugman Gertruda Gertrude Nataša Barbara Gračner Polonij Polonius Alojz Svete Ofelija Ophelia Polona Juh Laert Laertes Aljaž Jovanović Rozenkranc Rosencrantz Uroš Fürst Gildenstern Guildenstern Klemen Slakonja Grobar Gravedigger Janez Škof Prvi igralec First Actor Zvone Hribar Drugi igralec Second Actor Vojko Zidar Tretji igralec Third Actor Marko Okorn

Hamletova naloga je njegova osebna nuja in državna dolžnost. Osebno mora maščevati umorjenega očeta, kot danski kraljevič mora skrbeti za etični red in blaginjo države. Kot intelektualec ima še eno odgovornost: tudi če umorjeni kralj ne bi bil njegov oče in tudi če Hamlet ne bi bil prestolonaslednik, se mora, usmerjen k humanosti družbe, upreti vsaki krivici, za katero ve. Hamlet doživlja globoke emotivne pretrese in se zaveda, da v »gnili« družbi ni prostora za ljubezen in osebno srečo. Njegova rahločutnost ga emotivno in duhovno zlomi. Že na začetku mu je popolnoma jasno, kaj je njegova dolžnost, vendar so vsa njegova dejanja »tihi« krik in ne preudarno delovanje. Zaradi dejanj, ki niso odločna, pogumna, preudarna, pravočasna …, zgubi življenje in obenem povleče v smrt številne nedolžne ljudi okrog sebe.

Hamlet’s task is his personal urgency and at once the state duty. On the personal level he must revenge his murdered father. As the Prince of Denmark he must cherish the moral order and the well-being of the state. He has yet another responsibility as an intellectual: even if the murdered king would not have been his father and even if Hamlet would not have been the heir to throne, his duty as one oriented towards cultivating the humane aspect of society is to resist any kind of injustice of which he is aware. Hamlet goes through deep emotional turmoil and is aware that in a “rotten” society there is no space for love and personal happiness. His sensitivity brings him down both emotionally and spiritually. He is perfectly aware from the very beginning of what his duty is but all his deeds are a “quiet” scream and not wise actions. It is those deeds that are lacking decisiveness, courage, wisdom, timing … that eventually cost him his life and drive into death numerous innocent people around him.

⇢⇢»Milerjev Hamlet je kljub svojemu odlašanju dinamičen, kljub odmikanju od stereotipov dovolj klasičen, da se ne bo zameril pravovernim shakespearjancem, in dovolj sodoben, da ne bo dolgočasil tistih, ki ga poznajo do obisti.«

⇢⇢“In spite of his procrastination, Miler’s Hamlet is dynamic; in spite of resisting stereotypes the production is still sufficiently classical not to cause uproar among the orthodox Shakespeareans, and sufficiently modern not to bore those who know the play thoroughly.”

Deja Crnović, Siol.net, 13. januar 2013 Deja Crnović, Siol.net, 13 January 2013

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Peter Uhan


Tekmovalni program Competition programme + Showcase

23. 10. 2013 20.30 Stara dvorana

Mihail Afanasjevič Bulgakov Mikhail Afanasyevich Bulgakov

Drama SNG Maribor

Mojster in Margareta The Master and Margarita

Premiera Première 25. 1. 2013 Stara dvorana, SNG Maribor

Predstava traja 3 ure in 15 minut in ima en odmor. Running time 3 hours and 15 minutes. One interval. The performance has English supertitles.

Naslov izvirnika Original Title Mactep и Mapгapиta Režiser Director Janusz Kica Dramatizator romana in dramaturg Author of dramatisation and dramaturg Goran Ferčec Prevajalka dramatizacije Translator of dramatisation Metka Damjan Scenografija Stage designers Numen & Ivana Radenović Kostumograf Costume designer Alan Hranitelj Skladatelj Composer Arturo Annecchino Oblikovalka odrskega giba Choreographer Valentina Turcu Lektor Language consultant Janez Bostič Oblikovalec svetlobe Lighting designer Tomaž Bezjak Oblikovalka maske Make-up designer Mirjana Djordjević Sodelavec pri snemanju glasbe Music recording collaborator Bojan Hinteregger

Igrajo Cast Mojster, Bulgakov, Ješua The Master, Bulgakov, Yeshua Branko Jordan Margareta Margarita Nataša Matjašec Rošker Woland, Afranij Woland, Afrany Aleš Valič k. g. as guest Behemot, Kajfa Behemoth, Khaifa Nejc Ropret Korovjev, Dr. Stravinski, Stalin Korovyev, Dr. Stravinsky, Stalin Vladimir Vlaškalić Poncij Pilat, Berlioz Pontius Pilate, Berlioz Peter Boštjančič Bezdomni, Levi Matej Bezdomny, Levi Mathew Matija Stipanič Azazello, Juda Azazello, Judah Matevž Biber Hella, Praskovja Hella, Praskovya Mateja Pucko Stanovanje št. 50 v Vrtni ulici, Poprihin, Bosoj Apartment No.50 in Garden Street, Poprikhin, Bosoy Davor Herga Krmar Žorž, Dekle, Soproga gospoda Jacquesa Steersman Georges, Girl, M. Jacques’ Wife Eva Kraš Gluharev, Rimski, Gospod Jacques Glukharev, Rimsky, Monsieur Jacques Kristijan Ostanek Beskudnikov, Lihodejev Beskhudnikov, Likhodeyev Miloš Battelino Dvubratska, Ana Ričardovna Dvubratska, Ana Richardovna Maša Žilavec Ababkova, Varenuha, Frida, Dekle Ababkova, Varenukha, Frida, Girl Mirjana Šajinović Portir, Poštarica Doorman, Postwoman Irena Mihelič Arčibald Arčibaldovič, Bengalski, Grof Robert Archibald Archibaldovich, Bengalsky, Count Robert Zvone Funda Zagrivov, Markiza Zagrivov, Marquise Viktor Meglič

Bezdomni se poda po sledeh Wolanda, a pristane v norišnici, kamor se je zatekel Mojster, ker je napisal roman o Pilatovem srečanju s Kristusom. V resničnem svetu je zapustil svojo ljubo Margareto, ki v predani želji, da se z Mojstrom spet sreča, sprejme Satanovo povabilo, da bo gostiteljica na njegovem plesu čarovnic. Ker se Margareta

Bezdomny is put into an asylum where the Master has found refuge in front of persecutions because of the novel he has written about when Pontius Pilate meet Christ. In the real world he has abandoned his beloved Margarita. Eager to meet the Master again, Margarita accepts Satan’s invitation to be the hostess of his witches’ ball. As Margarita proves to be an outstanding witches’ hostess, Woland makes her wish

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Tiberiu Marta

imenitno izkaže v vlogi čarovniške gostiteljice, ji bo Woland izpolnil željo, in ker »rokopisi ne gorijo«, Mojstru vrne njegov izgubljeni roman in ljubimcema omogoči, da zaživita novo življenje.

come true, and as “manuscripts don’t burn”, he returns to the Master his lost novel and enables the lovers to live a new life. The Master and Margarita is a performance that reminds us that the only possible way out of political repression is the endlessness of artistic fantasy.

⇢⇢»Kica je dosegel, da z odra jasno in na trenutke z ostrino zazvenijo tiste replike, ki v gledalcu vzbujajo vprašanja o stanju celotne družbe (ob plehkosti in pohlepnosti množic), o odnosu med umetnikom in oblastjo (ob zgodbi Bulgakova in Mojstra), o prevzemu odgovornosti za svoja dejanja (Pilat), vprašanje dobrega in zlega (ob Wolandovih izvajanjih).«

⇢⇢“Kica has succeeded in that those lines which raise in the spectator questions about the condition of the entire society (with all the platitude and greed of the masses), about the relation between the artist and the authorities (referring to the story of Bulgakov and the Master), about the responsibility for one’s own actions (Pilate), and about the issues of good and evil (Woland’s performances) emanate from the stage in all their clarity and at times quite sharply.”

Vesna Jurca Tadel, Pogledi, 13. februar 2013

Vesna Jurca Tadel, Pogledi, 13 February 2013


Tekmovalni program Competition programme + Showcase

24. 10. 2013 19.30 Velika dvorana – tribuna

Stanisław Ignacy Witkiewicz

SNG Drama Ljubljana

Ponorela lokomotiva The Crazy Locomotive

Predstava traja 1 uro in 30 minut in nima odmora. Running time 1 hour and 30 minutes. No interval. The performance has English supertitles. Premiera Première 15. 9. 2012 Mala drama, SNG Drama Ljubljana

Naslov izvirnika Original Title Szalona lokomotywa Prevajalka Translator Darja Dominkuš Režiser Director Jernej Lorenci Skladatelj Composer Branko Rožman Dramaturginja Dramaturg Eva Kraševec Scenograf Stage designer Branko Hojnik Kostumografka Costume designer Belinda Radulović Koreograf in asistent režiserja Choregrapher and assistant director Gregor Luštek Lektorica Language consultant Tatjana Stanič Oblikovalec svetlobe Lighting designer Pascal Mérat Asistentka režiserja Assistant director Eva Kokalj

Igrajo Cast Zygfryd Tengier Janez Škof Mikołay Wojtaszek Aljaž Jovanović Zofia Tengier Maja Sever Julia Tomasik Tina Vrbnjak Turbulencjusz Dmidrygier Matija Rozman Minna, grofica de Barnhelm Minna, Countess de Barnhelm Nina Ivanišin Mira Kapuścińska, Minnina družabnica Mira Kapuścińska, Minna’s chaperone Petra Govc Vlakovodja Train Engineer Zvone Hribar Walery Kapuściński, Mirin brat Walery Kapuściński, Mira’s brother Gorazd Logar Jan Gęgoń, progovni čuvaj Jan Gęgoń, railway guard Andrej Nahtigal Janina Gęgoń, njegova lepa žena Janina Gęgoń, his beautiful wife Katja Levstik Potnik četrtega razreda Fourth class passenger Giovannino Raffanelli k. g. as guest

Strojevodja in kurjač, ki ju žene nenavadna in skrivnostna strast, skleneta, da bosta svojo parno lokomotivo z nezaslišano hitrostjo pognala do roba njene zmogljivosti, čez vse razumne omejitve, postaje in signale. Ne glede na tveganje želita doživeti vznemirljivi vrhunec hitrosti in zanosa in videti, kako je na drugi strani. Zanesenjaka pa nista navadna železničarja, temveč razvpita zločinca, ki sta se izmaknila roki pravice in si nadela novo identiteto. Njun nevarni eksperiment pokvarijo potniki, ki bi radi ustavili drveči vlak. Tako se nori poskus izkusiti katastrofo metafizičnih dimenzij sprevrže v »povsem običajno« železniško nesrečo. Ritem se divje stopnjuje skupaj s hitrostjo lokomotive, v norem plesu je dovolj prostora za duhovite like in za humoren in ironičen pogled na iskanje potešitve v spoju med človekovimi sanjami in fascinacijo s tehničnimi dosežki.

A train engineer and a stoker, driven by an unusual and mysterious passion, make a deal to run their steam locomotive to an unimaginable speed, to the end of its powers, beyond all reasonable limits, stations and signals. Regardless of the risk, they want to experience a thrilling climax of speed and ecstasy and see how it is on the other side. The two enthusiasts are no ordinary railwaymen but infamous criminals who have escaped from the hands of justice and created new identities. Their dangerous experiment is spoiled by passengers who would rather stop the speeding train. Thus a crazy trial to experience a catastrophe of metaphysical dimensions turns into a “perfectly ordinary” train accident. The rhythm is wildly accelerated together with the locomotive speed. The crazy dance allows for enough space for witty characters and a humorous and ironic perspective on searching for gratification in coupling man’s dreams and the fascination with technical achievements.

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Peter Uhan

⇢⇢»Radikalno, absurdno, naključno, smešno, srhljivo – vse to se združi v vznemirljivo in gledališko izjemno močno metaforo, ki naj jo vsak gledalec, ki se je pripravljen brez zavor, pričakovanj in predsodkov spustiti v to neobičajno avanturo, razvozla po svoje, ne glede na to, ali je po naravi bliže kurjaču ali kateremu od potnikov. In se pri tem morda sooči z »metafizičnim drgetom«, ki ga je želel Witkacy doseči s svojim iskanjem.«

⇢⇢“Radical, absurd, random, funny, creepy – all this amalgamates into a theatrically powerful metaphor, which offers a custom designed solution to each spectator willing to enter this unusual adventure without hindrance, expectations, and prejudices, regardless of the affinity either for the stoker or for one of the passengers. Thus he just might indeed come nearer to the ‘metaphysical shudder’ that Witkacy was striving to achieve through his quest.”

Vesna Jurca Tadel, Pogledi, 26. september 2012

Vesna Jurca Tadel, Pogledi, 26 September 2012


Tekmovalni program Competition programme + Showcase

24. 10. 2013 21.30 Stara dvorana

Bertolt Brecht

SNG Drama Ljubljana

Mati The Mother

Predstava traja 1 uro in 45 minut in nima odmora. Running time 1 hour and 45 minutes. No interval. The performance has English supertitles. Premiera Première 6. 10. 2012 Veliki oder, SNG Drama Ljubljana

Življenje revolucionarke Pelageje Vlasove iz Tvera (Po romanu Maksima Gorkega) The Life of the Revolutionary Pelagea Vlassova from Tver (Based on Maxim Gorky’s novel) Naslov izvirnika Original title Die Mutter. Leben der Revolutionärin Pelagea Wlassowa aus Twer (Nach dem Roman Maxim Gorkis) Glasba Music Hanns Eisler

Igrajo Cast Mati Mother Nataša Barbara Gračner Lado Bizovičar k. g. as guest Radko Polič k. g. as guest Uroš Fürst Aleš Valič k. g. as guest Klemen Slakonja

Prevajalka Translator Urška Brodar Režiser Director Sebastijan Horvat Skladatelj Composer Drago Ivanuša Dramaturg Dramaturg Andraž Golc Scenograf Stage designer Marko Japelj Kostumografka Costume designer Belinda Radulović Lektorica Language consultant Tatjana Stanič Oblikovalec svetlobe Lighting designer Pascal Mérat

Mati – mala šola komunistične revolucije, nekakšen abecednik marksizma za ljudske množice. Skozi lik Pelageje Vlasove, ki jo skrb za sina preobrazi iz skromne gospodinje v prvoborko proletarske emancipacije, se v štirinajstih dokumentarnih prizorih izriše jasno sporočilo, da je revolucija za vsakogar, še posebno za malega človeka, ki čuti, da nima s tem nič opraviti. Ena ženska, igralka, mati, deluje kot medij. Ne govori, vidi, se spominja. Svojo transformacijo pasivnih misli in dejanj pa doživi v interakciji s petimi soigralci, ki jo menjanje različne vloge vsak na svoj način poskušajo motivirati k spremembi, aktivnosti: z opogumljanjem, žaljenjem, s poučevanjem, pridiganjem, petjem … Uprizoritev lahko razumemo tudi kot budnico, poziv k ponovnemu premisleku o tem, kdo smo, zavedanju o resnosti, a ne tudi brezizhodnosti položaja, v katerem smo se znašli.

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The Mother – a crash course on the Communist revolution, a sort of alphabet of Marxism for the masses. Through the character of Pelagea Vlassova whose concern for her son transforms her from a modest housewife into a frontline fighter for proletarian emancipation, the fourteen documentary scenes outline a clear message: revolution is for everybody, especially for the little man who feels he has no business with it. One woman, an actress, a mother, acts like a medium. She doesn’t speak, she sees, she remembers. Her transformation of passive thoughts and behaviour occurs through the interaction with five co-actors who try to stimulate her to change and become active by shifting roles: by encouraging her, insulting her, instructing her, lecturing her, singing to her … We may understand this production as a wakeup call for a renewed reflection upon who we are, upon the awareness of the seriousness but not the hopelessness of the position we find ourselves in.


Peter Uhan

⇢⇢»Je čas za Brechta? Je, kot vedno. Kadar je kriza in samodržci odsvetujejo obisk gledališča, in kadar ni krize in isti pritajeno čakajo na priložnost. To gotovo velja tudi za komad Mati. Sebastijan Horvat /…/ Mater, Natašo Barbaro Gračner, uvodoma spremeni v totem, v solni kip. Tam sedi, z nami vred čakajoč na začetek, na sina /…/ V nadaljevanju se nato podoba matere lušči svoje biološke in družbeno determinirane vloge, zvedene na skrb za sina, na omejenost na dom in na intelektualno inferiornost.« Tanja Lesničar - Pučko, Dnevnik, 10. oktober 2012

⇢⇢“Is it a good time for Brecht? It is indeed, as always. When the crisis is on and autocrats advise against going to theatre, and when there is no crisis and those same autocrats hide in expectation of their opportunity. This most certainly goes for the play The Mother. To begin with, Sebastijan Horvat transforms the Mother, Nataša Barbara Gračner, into a totem, a salt statue. She sits there, together with us, waiting for the beginning, for her son. As the play unfolds, the image of the mother is peeled off of its biologically and socially determined role, which reduces her to taking care of her son, being limited to her household, and to intellectual inferiority.” Tanja Lesničar-Pučko, Dnevnik, 10 October 2012


Tekmovalni program Competition programme + Showcase

25. 10. 2013 20.00 Stara dvorana

Prešernovo gledališče Kranj

25.671 25.671

Predstava traja 1 uro in 30 minut in nima odmora. Running time 1 hour and 30 minutes. No interval. The performance has English supertitles.

Avtorski projekt Original project

Premiera Première 21. 3. 2013 Prešernovo gledališče Kranj

Režiser in scenograf Director and stage designer Oliver Frljić Avtorji scenskega elementa Authors of stage elements Biro Filter arhitektura Sarajevo Dramaturginja Dramatug Marinka Poštrak Kostumografka Costume designer Sandra Dekanić Avtorica glasbe Composer Irena Popović Lektorica Language consultant Irena Androjna Mencinger Svetovalka za jezik Speech consultant Barbara Rogelj Oblikovalec svetlobe Lighting designer Bojan Hudernik Oblikovalec maske Make-up designer Matej Pajntar

Igrajo Cast Vesna Jevnikar Darja Reichman Miha Rodman Vesna Slapar Aljoša Ternovšek Borut Veselko Matjaž Višnar Maja Frančeškin Maja Rekar Bojan Stojanov

Predstava 25.671 opozarja na nedorečen in srhljivo negotov položaj tistih, ki so bili 26. februarja 1992 izbrisani iz registra občanov s stalnim prebivališčem v Republiki Sloveniji. Posledice tega dejanja so bile izjemne, saj je izguba stalnega prebivališča pomenila tudi izgubo mnogih pravic, kar je številne privedlo na rob preživetja. Uprizoritev se ne dotika samo poteka izbrisa, ampak skuša soočati tudi s stanjem duha, našim odnosom do tujega in nepoznanega, strahom in prezirom. Čas je, da pričnemo razmišljati o izbrisanih. Da se dvigne glas zunaj gledališke dvorane, se ustvarjalci sprehodijo po tanki ločnici med odrom in občinstvom, med političnim agiranjem in gledališko iluzijo. Uprizoritev, ki je pravzaprav soočenje vsakega gledalca, posameznika z aktualnim političnim problemom. In to je tudi soočenje s samim seboj in osebnim stališčem.

The production 25.671 sheds light on the unresolved and horrendously volatile position of those who were erased from the records of citizens with permanent residence in Slovenia on 26 February 1992. The consequences of this act were tremendous as the loss of right to permanent residence also meant the loss of various benefits, which brought many people to the existential edge. The production doesn’t merely focus on the chronology of the erasure but also strives to confront spectators with a certain state of mind and our relation towards the foreign and the unknown, towards fear and contempt. It is time for us to begin reflecting upon the erased. In order to raise the voice outside the theatre hall, the authors walk the thin line between stage and auditorium, between political agitation and theatre illusion. A production that is in fact the confrontation of each spectator, each individual, with oneself and with one’s personal attitude.

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Glas v offu Offstage voice Mirjana Učakar


Mare Mutić

⇢⇢»Izjemni igralci na koncu ne dobijo zasluženega aplavza. Tema predstave, ki brez zadržkov napada naša čustva, grobo trka na našo vest in v nas vzbudi (ali pa ne) sram, ker nismo naredili nič za vrnitev človeškega dostojanstva izbrisanim, je močnejša. Temu, kar se izbrisanim dogaja že enaindvajset let, kakopak ne gre ploskati.« Igor Kavčič, Gorenjski glas, 26. marec 2013

⇢⇢“In the end, the outstanding actors are not rewarded with well-deserved applause. The subject of the production, which attacks our senses without hindrance, is more powerful than that, brutally knocking on the doors of our conscience and evoking (or not?) shame in us for not doing anything to restore the human dignity of the erased. And that, which has been happening to the erased already for twentyone years, is certainly not something to applaud.” Igor Kavčič, Gorenjski glas, 26 March 2013


Tekmovalni program Competition programme + Showcase

25. 10. 2013 21.30 Velika dvorana – tribuna

Aleksander Ivanovič Vvedenski Alexander Ivanovich Vvedensky

SNG Drama Ljubljana

Božič pri Ivanovih Christmas at the Ivanovs'

Predstava traja 1 uro in 25 minut in nima odmora. Running time 1 hour and 25 minutes. No interval. The performance has English supertitles. Premiera Première 18. 1. 2013 Mala drama, SNG Drama Ljubljana

Naslov izvirnika Original Title Ёлка у Ивановых Prevajalec Translator Drago Bajt Režiser, scenograf in avtor izbora glasbe Director, stage designer, and music selector Oliver Frljić Dramaturginja Dramaturg Eva Kraševec Lektorica Language consultant Tatjana Stanič Kostumografka Costume designer Sandra Dekanić Oblikovalec svetlobe Lighting designer Milan Podlogar Asistentka dramaturginje Assistant dramaturg Nataša Berce Asistentka scenografa Assistant stage designer Adriana Furlan

Igrajo Cast Iva Babić Barbara Cerar Silva Čušin Maša Derganc Petra Govc Nina Ivanišin Sabina Kogovšek Zrnec Maja Sever Nina Valič Tina Vrbnjak Barbara Žefran

Groteskno-tragična farsa in parodija na videz racionalnega meščanskega sveta, v katerem se logika obrne v alogiko in racionalnost v nesmisel. Tradicionalno pričakovanje božične jelke in vsega lepega, mirnega, družinskega in nasploh idiličnega je Vvedenski obrnil v svoje nasprotje, kar prinese sprva neslutene, a tako v igro kot v zgodovinski čas vpisane prvine tesnobnosti in »nedomačnosti«. Prizori ne sledijo vzročno-posledični logiki, normalnost zabrisujejo dialogi, odnosi med dramskimi osebami in neskladja med besedilnim in vizualnim: živali govorijo, oče in mati se ljubita ob odprti krsti, nekateri dramski liki ne govorijo, ampak le pojejo, odsekana glava se pogovarja s telesom … Uprizoritev Božič pri Ivanovih zastavlja vprašanje, kakšen je naš upor in kako naj gledališče artikulira svoj krik po svobodi v današnjem času. Današnji čas je seveda drugačen, vendar na čuden način srhljivo podoben tridesetim letom preteklega stoletja, trenutni zeitgeist nam narekuje budnost in konkretne akcije.

A grotesque-tragic farce and parody of the seemingly rational bourgeois world in which logic turns into illogic and rationality into absurdity. In Vvedensky’s perspective, the traditional anticipation of the Christmas tree, along with all the nice, quiet, family, and idyllic atmosphere that accompanies it, is turned into its opposite which brings at first unexpected elements of anxiety and “unfamiliarity” that gradually become inscribed both in the play and in the historical time. The scenes don’t follow the causal logic; normalcy is erased through dialogues, relations between characters, and the discrepancy between the verbal and the visual: Animals talk, father and mother make love by an open coffin. Some characters sing instead of speaking, a head talks to the body from which it has been cut off … The staging of Christmas at the Ivanovs’ raises the question of the nature of our resistance and in which way theatre today can articulate its shout for freedom. For our present is certainly different and yet creepily similar to the 1930s. Our actual Zeitgeist dictates wakefulness and concrete actions.

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Peter Uhan

⇢⇢»Uprizoritev je kot parodija več kot zabavna, za kar poskrbi natančna in domiselna, domala muzikalna orkestracija desetčlanskega zbora igralk, ki ji dvoumni kontrapunkt (po eni strani vodja, po drugi ključni antagonist) predstavlja enajsta, Silva Čušin kot (pretežno) varuška. Frljić potemtakem uprizori Vvedenskega, ki je sam po sebi v resnici »neuprizorljiv« /…/ [z] idealno usklajeno ekipo igralk, ki so tako rekoč popolne najprej kot ženski liki kar tako, pa seveda kot plesalke, pevke, igralke ali animatorke novoletnih rekvizitov, končno pa kot zastopnice tistega (usklajenega) mnoštva različnosti, ki pa pod svojo površino skriva neizrekljivo, a grozečo enost … skratka tisto, zaradi česar ima teater sploh smisel.«

⇢⇢“The production is hilarious as a parody, which is the merit of the precise and inventive, almost musical, orchestration of the ten-member choir of actresses whose ambiguous counterpoint (leader on the one hand, antagonist on the other) is the eleventh member, Silva Čušin as (mostly) the Nanny. Frljić thus stages Vvedensky who is as a matter of fact ‘unstageable’/…/ He is supported by an ideally synchronised team of actresses who are practically perfect, in the first place as female characters as such, then certainly as singers, dancers, actresses, or animators of Christmas props, last but not least as the representatives of that (harmonised) multitude of differences, which hides under its surface the unutterable and horrendous uniformity … Briefly, that which constitutes sense in theatre.”

Blaž Lukan, Delo, 28. januar 2013 Blaž Lukan, Delo, 28 January 2013


Tekmovalni program Competition programme + Showcase

25. & 26. 10. 2013 19.30 & 21.30 umetnostna galerija maribor

Zupančič::Turšič::Živadinov

Tri elizabetinske tragedije. država::r.III. epilog Three Elizabethan Tragedies. State::R.III. Epilogue

Zavod Delak Koproducent Co-producer Muzej sodobne umetnosti Metelkova (MG+MSUM) Predstava traja 1 uro in 30 minut in nima odmora. Running time 1 hour and 30 minutes. No interval. The performance has English supertitles. Premiera Première 3. 2. 2013 Muzej sodobne umetnosti Metelkova

Režiser Director Dragan Živadinov Scenografa Set designers Dunja Zupančič, Miha Turšič Kostumografka Costume designer Dunja Zupančič Avtor digitalnih konstrukcij Author of digital constructions Miha Turšič Dramaturginja Dramaturg Mojca Kumerdej Lektorica Language consultant Tatjana Stanič Avtor glasbe Composer Dario Seraval Oblikovalec svetlobe Lighting designer Sašo Arizanovič Koreograf Choreographer Vladimir Bassara

Igrajo Cast Kraljica Margot Queen Margot Jožica Avbelj Prevajalka Translator Gorka Berden Lady Anne Barbara Cerar Lady H. Arna Hadžialjević Lady Izabela Lady Isabell Maruša Majer D. Ž. Mateja Rebolj Kralj Richard III. King Richard III. Lotos Vincenc Šparovec Kraljica Elizabeth Queen Elizabeth Tjaša Železnik

Država::R.III. je epilog Treh elizabetinskih tragedij postmodernističnega dramatika Vladimirja Stojsavljevića, ki je v osemdesetih letih prejšnjega stoletja v svojih treh tragedijah tematiziral rano, visoko ter pozno gledališko renesanso in v njej pozicijo ženske, ko ji je bilo še prepovedano igrati na gledališkem odru. Prolog Elizabetinskih tragedij je bil uprizorjen iz izhodišč knjige Mileta Koruna Biti z igro, v Epilogu pa smo priča dekonstrukciji ženskega vprašanja o veličastni modernistični iskušnji XX. stoletja in moških fantazijah Richarda III. Tekst v Epilogu uporablja postmodernistično citatno metodo in obravnava postmodernizem kot preteklo stilno formacijo. Avtorji citiranih besedil so V. Stojsavljević, W. Shakespeare, N. Chaurette, K. Theweleit, F. Pessoa, M. Kirby, R. Foreman, D. Ugrešič, M. Kumerdej, D. Živadinov, V. Hlebnikov, K. Maljevič, A. Artaud.

State::R.III. is the epilogue of Three Elizabethan Tragedies of the postmodern dramatist Vladimir Stojsavljević. In his three tragedies written in the 1980s he dealt with the early, high and late theatre of the Renaissance and the position of woman in its frame, while it was still forbidden for women to perform onstage. The Prologue of Elizabethan Tragedies was based on the book by Mile Korun, To Be With the Play, while in the Epilogue we are witnessing the deconstruction of female question in the frame of the magnificent Modernist experience of the 20th century and male fantasies of Richard III. The text of the Epilogue uses the Postmodernist quotation method and deals with Postmodernism as a past stylistic formation. The authors of quoted texts are V. Stojsavljević, W. Shakespeare, N. Chaurette, K. Theweleit, F. Pessoa, M. Kirby, R. Foreman, D. Ugrešić, M. Kumerdej, D. Živadinov, V. Hlebnikov, K. Maljevič, A. Artaud.

⇢⇢»Da gre pri Živadinovu vselej za takšno držo, ki gledališče izvzema iz logike videza in skrbno konstruira lastno enigmatično, morda mestoma celo neznosno fikcijo, priča tudi to, da si priskrbi lasten kontekst; ta spet ni namenjen osmišljevanju gledališkega dogodka, ampak prej izražanju zvestobe umetnosti kot duhovni sili.«

⇢⇢“Živadinov’s stance is always excluding theatre from the logic of appearance, meticulously constructing its own enigmatic, occasionally even unbearable, fiction. A proof of this is that he is always creating his own context, which is not intended to conceive the theatrical event but rather to express allegiance to art as a spiritual force.”

Jela Krečič, Delo, 5. februar 2013

Jela Krečič, Delo, 5 February 2013

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Dejan Habicht


Tekmovalni program Competition programme + Showcase

26. 10. 2013 20.00 Stara dvorana

Henrik Ibsen

Drama SNG Maribor

John Gabriel Borkman john gabriel borkman

Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval. The performance has English supertitles. Premiera Première 10. 5. 2013 Stara dvorana, SNG Maribor

Naslov izvirnika Original Title John Gabriel Borkman

Prevajalka Translator Mojca Kranjc Režiserka Director Mateja Koležnik Dramaturg Dramaturg Rok Andres Scenograf Stage designer Henrik Ahr Kostumograf Costume designer Alan Hranitelj Skladatelj Composer Mitja Vrhovnik Smrekar Oblikovalec svetlobe Lighting designer Pascal Mérat Lektor Language consultant Janez Bostič Oblikovalka maske Make-up designer Mirjana Djordjević

Igrajo Cast John Gabriel Borkman, bivši direktor banke John Gabriel Borkman, a former Managing Director of a bank Igor Samobor k. g. as guest Gunhild Borkman, njegova žena Gunhild Borkman, his wife Ksenija Mišič Erhart, njun sin, študent Erhart, their son, a student Viktor Meglič Gospodična Ella Rentheim, sestra dvojčica gospe Borkman Miss Ella Rentheim, Mrs. Borkman’s twin sister Nataša Matjašec Rošker Gospa Fanny Wilton Mrs. Fanny Wilton Maša Žilavec Vilhelm Foldal, pomožni pisar v nekem uradu Vilhelm Foldal, subordinate clerk in a government office Vlado Novak Frida, njegova hči Frida, his daughter Eva Kraš Sobarica gospe Borkman Mrs. Borkman’s Maid Mateja Pucko

John Gabriel Borkman je bivši bančni direktor, ki je z ilegalnimi finančnimi špekulacijami zapravil celotno ženino premoženje in prihranke svojih strank, zaradi česar je pristal v zaporu. Družino je iz eksistencialne stiske rešila Borkmanova svakinja in njegova prva ljubezen Ella. Borkman in Gunhild, ki moža sovraži, živita drug mimo drugega, edina skupna točka njunega odtujenega življenja je sin Erhart. Do soočenja in neizbežnega obračuna s preteklostjo, sedanjostjo in konfliktom interesov glede prihodnosti pride v trenutku, ko na smrt bolna Ella obišče sestro Gunhild in Johna z željo, da bi njun sin Erhart do smrti živel ob njej. Gunhild ima zanj svoje načrte in tudi John Gabriel Borkman želi sinu ponuditi »priložnost« ... Toda Erhart ne želi biti nikogaršnja marioneta.

John Gabriel Borkman is a former Managing Director of a bank who through financial speculations has misspent his wife’s entire estate as well as his clients’ savings and served time in prison for this misdeed. The Borkman family was saved from existential adversity by Borkman’s sister-in-law and his first love Ella. Borkman and Gunhild, who hates her husband, live separate lives and the only common point of their alienated lives is their son Erhart. The confrontation and the inevitable showdown with the past, the present, and the conflict of interests regarding the future occur when the fatally ill Ella pays a visit to her sister Gunhild and John with the wish that their son Erhart would live with her until her death. Gunhild has her plans for him and so does John Gabriel Borkman, who wants to offer his son “an opportunity” ... Yet Erhart refuses to be anyone’s puppet.

⇢⇢»Režija silovitost spopada še katalizira: vsaki zadržanosti psihološko zavdaja staccato surovih dejstev. /…/ Mletje usodnosti tu in tam preblisnejo udarni vizualni tableauji: Borkman z vrha sveta pade tja, kjer je začel, na dno stopnic.«

⇢⇢“The violence of the clash is even more catalysed by directorial decisions: each moment of restraint is psychologically intoxicated with a staccato of cruel facts. /…/ The fatal grinding is occasionally flashed with striking visual tableaux: Borkman falls from the top of the world there where he began – at the bottom of the stairs.”

Nika Leskovšek, Dnevnik, 14. maj 2013

Nika Leskovšek, Dnevnik, 14 May 2013 40 41


Damjan Ĺ varc


Režiserji tekmovalnih predstav Directors of the Competition Programme Ivica Buljan V letih 1998 do 2002 je bil ravnatelj Drame Hrvaškega narodnega gledališča v Splitu. Je soustanovitelj Mini teatra Ljubljana in gostujoči predavatelj v gledaliških šolah v Rennesu in Saint-Etiènnu v Franciji. Od leta 2003 skupaj z Dubravko Vrgoč vodi Festival svjetskog kazališta v Zagrebu. Za svoje delo je prejel vrsto nagrad, mdr. tri Borštnikove (2004, 2006, 2007) in nagrado Prešernovega sklada (2012).

From 1998 to 2002 he was the director of the Croatian National Theatre in Split. He is co-founder of Mini teater in Ljubljana and guest lecturer in theatre schools in Rennes and Saint-Etiènne in France. Since 2003, together with Dubravka Vrgoč, he programmes the Festival of World Theatre in Zagreb. He has received numerous awards for his work, including the Borštnik Award (2004, 2006, and 2007) and the Prešeren Foundation Award (2012).

Oliver Frljić Njegove predstave so reden gost vseh večjih festivalov v jugovzhodni in vzhodni Evropi, na katerih je prejel več nagrad: zlatega leva (2008), Borštnikovo (2010), Sterijevo (2011), nagrado MESS (2011), nagrado na festivalu Wiener Festwochen (2011) in nagrado orlando na festivalu Dubrovačke ljetne igre (2012).

His productions are regular guests of all bigger festivals in South-Eastern and Eastern Europe where he has received several important awards: Golden Lion (2008), Borštnik Award (2010), MESS (2010), MESS (2011), Sterija Award (2011), Wiener Festwochen (2011), Orlando Award at Dubrovnik Summer Festival (2012).

Sebastijan Horvat Kot izredni profesor za področje gledališke in radijske režije predava na AGRFT. Je soustanovitelj neodvisnega gledališka zavoda E.P.I. center. Za svoje delo je prejel številne nagrade, mdr. nagrado Tedna slovenske drame (1999), dve Borštnikovi nagradi (1999, 2008), nagrado za mladega režiserja na festivalu Salzburger Festspiele (2005) in nagrado Prešernovega sklada (2008).

He works as associate professor of Theatre and Radio Directing at the Academy of Theatre, Radio, Film and Television in Ljubljana. He is co-founder of the independent theatre association E.P.I. center. He has received numerous awards for his work, among others, the Grand Prix at the Week of Slovenian Drama (1999), Borštnik Award (1999, 2008), the Young Director Award at Salzburger Festspiele (2005), as well as the Prešeren Foundation Award (2008).

Janusz Kica Med letoma 1986 in 1989 je bil pomočnik direktorja, kasneje pa direktor gledališča Wuppertaller Bühnen. Dvakrat je bil nagrajen kot žlahtni režiser na Dnevih komedije v Celju in petkrat na Festivalu Borštnikovo srečanje (1996, 1997, 1998, 2003, 2005). V letu 1996 je bila njegova predstava Trije mušketirji proglašena za najboljšo predstavo na Hrvaškem, prejel je tudi nagrado Sterijevega pozorja (2006) idr.

Between 1986 and 1989 he worked as assistant director and later on as the director of the German theatre Wuppertaller Bühnen. He was twice awarded at Days of Comedy in Celje as Gracious Director and five times at Maribor Theatre Festival (1996, 1997, 1998, 2003, 2005). He has also received the Sterija Award (2006), etc. His production of The Three Musketeers was selected as the best production in Croatia in 1996.

Mateja Koležnik Njeno ustvarjanje obsega več kot štirideset režij, pogosto je avtorica scenografij, priredb besedil in prevodov. Intenzivno ustvarja onkraj slovenskih meja. Njene uprizoritve se redno uvrščajo na festivale in so pogosto nagrajene. Leta 2001 je prejela nagrado Prešernovega sklada, je dobitnica dveh Borštnikovih nagrad (2001, 2004), dveh nagrad festivala Zlati lev v Umagu (1999, 2000) in nagrade dr. Branko Gavella (2006).

Her opus encompasses over 40 directions and she is also often the author of stage designs, dramatisations, and translations. She works extensively abroad. Her productions are regularly on the programme of festivals and are often awarded. In 2001 she was a recipient of the Prešeren Foundation Award. She has also received two Borštnik Awards (2001, 2004), two Golden Lions at the Umag Theatre Festival (1999, 2000), and the Gavella Award (2006).


Jernej Lorenci Kot docent na AGRFT predava predmet Dramska igra in praktična režija. Redno režira v vseh poklicnih slovenskih gledališčih, občasno tudi v tujini. Za svoje delo je prejel številne nagrade, mdr. dve veliki Borštnikovi nagradi (2001, 2012), tri Borštnikove nagrade za režijo (2005, 2009, 2012), Šeligovo nagrado za najboljšo predstavo Tedna slovenske drame, nagrade na festivalu Zlati lev v Umagu na Hrvaškem in veliko nagrado na festivalu Ex Ponto (2003).

He is assistant professor at the Academy of Theatre, Radio, Film and Television in Ljubljana where he teaches Dramatic Acting and Practical Directing. He regularly directs in all professional Slovenian theatres and occasionally abroad. For his work he has received numerous awards, among others two Borštnik Grand Prix (2001, 2012), three Borštnik Awards for Directing (2005, 2009, 2012), the Šeligo Award for Best Performance at the Week of Slovenian Theatre, the Golden Lion Award in Umag, and the Grand Prix of Ex Ponto Festival (2003).

Eduard Miler Zasnoval je gledališče Forum 3 (Stuttgart, 1966), kasneje še Schaulust (Bielefeld, 1978). V letih 1990–1994 je bil umetniški vodja Slovenskega mladinskega gledališča v Ljubljani, v letih 2011–2013 pa umetniški vodja SNG Drama Ljubljana. Je dobitnik številnih nagrad, mdr. nagrade Prešernovega sklada (1987), dveh Borštnikovih nagrad (1998, 2011) in treh lovorovih vencev na sarajevskem gledališkem festivalu MESS.

He founded Forum 3 Theatre (Stuttgart, 1966) as well as Schaulust (Bielefeld, 1978). Between 1990–1994 he was artistic director at the Mladinsko Theatre in Ljubljana and between 2011–2013 at the Slovene National Theatre Drama Ljubljana. Among the awards he has received are the Prešeren Foundation Award (1987), two Borštnik Awards (1998, 2011) and three awards of the Sarajevo Theatre Festival MESS.

Jaka Andrej Vojevec Dela predvsem kot režiser in prevajalec, občasno pa tudi kot igralec/performer. Po študiju je režiral v različnih slovenskih gledališčih, tako institucionalnih (SNG Drama Ljubljana, Drama SNG Maribor, SNG Nova Gorica, SLG Celje, MGL) kot neinstitucionalnih (Gledališče Glej, Plesni teater Ljubljana). Na celjskih Dnevih komedije 2009 je prejel nagrado za žlahtno komedijo.

He works mainly as director and translator, occasionally also as actor/performer. Following his studies he directed in various Slovenian theatres, both institutional and non-institutional. He received the Gracious Comedy Award at the Days of Comedy in Celje (2009).

DRAGAN ŽIVADINOV Ustanovitelj in voditelj radikalnih eksperimentalnih projektov v Sloveniji (Gledališče sester Scipion Nasice, Rdeči pilot, Kozmokinetični kabinet Noordung), poleg tega je soustanovitelj umetniškega gibanja Neue Slowenische Kunst (1985); leta 2012 z Mihom Turšičem in Dunjo Zupančič soustanovi KSEVT. Ukvarja se z gledališčem na medmrežju in z zgodovinskoestetskimi prispevki sodeluje v Centru za raziskave scenskih umetnosti Delak. Je utemeljitelj retrogardističnega postopka v gledališču, zagovarja načela umetnostnih avantgard 20. stoletja. S svojimi projekti gostuje širom sveta.

Founder and leader of radical experimental projects in Slovenia in the 1980s (Theatre of the Sisters of Scipio Nasica, Cosmokinetic Theatre Red Pilot, Cosmokinetic Cabinet Noordung). He was co-founder of the artistic movement Neue Slowenische Kunst in 1985 and co-founder of KSEVT. He is involved with theatre on the Internet and collaborates with the Performing Arts Research Centre Delak with his historical-aesthetic contributions. He is founder of the retrogardistic procedure in theatre and an advocate of the principles of the artistic avant-gardes of the 20th century.


Spremljevalni program Accompanying programme

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Rosana Hribar, Gregor Luštek 46

KORAK V DVOJE PO PII IN PINU A TWO-STEP ACCORDING TO PIA AND PINO

Repnik : Ruhsam : Myhre 48 ALSO SPRACH CAGE ALSO SPRACH CAGE

TO JE ŠELE ZAČETEK 50 JUST THE BEGINNING

Nataša Matjašec Rošker 52

DO TU SEGA GOZD THE FOREST ENDS HERE

Saša Rakef 54

DOLG RAKEF SAŠKE / DOLG RS THE DEBT OF RAKEF SAŠKA / THE DEBT OF RS

Jaka Andrej Vojevec, 56 Simona Hamer, Klemen Janežič ROBINSON robinson

OKUS TIŠINE VEDNO ODMEVA 58 THE TASTE OF SILENCE ALWAYS RESONATES

Eugène Ionesco 60 INŠTRUKCIJA THE LESSON


Spremljevalni program Accompanying programme

18. 10. 2013 20.00 Velika dvorana

Gregor Luštek, ROsana hribar

Anton Podbevšek Teater Koproducent Co-producer Flota Ljubljana V sodelovanju z Društvom baletnih umetnikov Slovenije In collaboration with the Association of Ballet Artists of Slovenia

Korak v dvoje po Pii in Pinu A Two-Step According to Pia and Pino

Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval. Premiera Première 13. 12. 2012 Anton Podbevšek Teater

Avtorja in koreografa Authors and choreographers Gregor Luštek, Rosana Hribar Ustvarjalci in izvajalci Creators and performers Jette Ostan Vejrup, Boris Ostan, Petra Zupančič/Urša Vidmar, Jan Ravnik/ Lucas Jerkander, Rosana Hribar, Gregor Luštek, Kaja Lorenci, Kaja Janjić, Jana Menger, Ana Pandur Asistent in svetovalec za balet Assistant and ballet consultant Vojko Vidmar Skladatelj in oblikovalec zvočne podobe Composer and sound designer Branko Rožman Dramaturginja Dramaturg Andreja Kopač

Oblikovalec svetlobe Lighting designer Davor Balent Asistent zvoka Sound assistant Leon Curk

Edina svoboda za Pio in Pina je bila plesati; njun prostor je bil ves čas svet; plesanje pa nenehno popotovanje, v loku razpeto med utesnjenostjo plesnih dvoran in neskončne črte horizonta, kjer se morje stika z nebom. Predstava Korak v dvoje po Pii in Pinu se plesnega in življenjskega izročila enega največjih slovenskih plesnih parov vseh časov dotika ravno preko te njune največje ljubezni. Plesalci na odru oblikujejo nov mozaik vsebin, ki se skozi glasbo rojevajo iz teles ter črpajo iz življenja Pie in Pina, polnega srečavanj in umetniških stvaritev, razpetega med domovino in tujino, gibanjem in mirovanjem, erosom in etosom, navdahnjenim s »sveto trojico«: lepoto, dobroto in resnico.

The only freedom for Pia and Pino was to dance; their space has always been the world; dancing and ceaselessly travelling across the arch spread between the compressed fretfulness of dance halls and the endless horizon where the sea meets the sky. The performance of A Two-Step According to Pia and Pino tackles the dance and life lore of one of the greatest Slovenian dance couples of all times precisely through their great love. Onstage the dancers build a new mosaic of contents that are borne out of bodies and through music, seeking inspiration in the life of Pia and Pino, full of encounters and artistic creations, torn between living at home and abroad, moving and being still, Eros and Ethos, and inspired by the “Holy Trinity”: beauty, goodness, and truth.

⇢⇢»Predstava Korak v dvoje po Pii in Pinu je predstava o parih. Intimnih, umetniških in o parih znotraj umetnosti in plesnih stilov. Poklon paru, parom, umetnosti in še posebej plesu.«

⇢⇢“The production of A Two-Step According to Pia and Pino is about couples. Intimate, artistic couples as well as those within the arts and dance styles. A gift to the couple, to couples, to art and above all to dance.”

Avtorski tekst Jette Ostan Vejrup je del govora ob odprtju razstave, posvečene Marii Veri v Slovenskem gledališkem muzeju leta 2005. The text authored by Jette Ostan Vejrup is part of the speech at the opening of the exhibition dedicated to Maria Vera in the National Theatre Museum of Slovenia in 2005.

Jedrt Jež Furlan, Parada plesa, 6. januar 2013 Jedrt Jež Furlan, ParadA PLESA, 6 January 2013

46 47


Borut Peterlin


Spremljevalni program Accompanying programme

19. 10. 2013 18.30 Velika dvorana - tribuna

Repnik : Ruhsam : Myhre

Also sprach Cage Also sprach cage

GVR babaLAN Koproducenta Coproducers Festival Ex Ponto (KD B-51), Center urbane kulture Kino Šiška Predstava traja 57 minut in nima odmora. Predstava je v angleškem jeziku. Running time 57 minutes. No interval. The performance is in English. Premiera Première 18. 9. 2012 Center urbane kulture Kino Šiška

Režiser in scenarist Director and author of script Vlado Repnik Gotvan Oblikovalec svetlobe Lighting designer David Cvelbar Oblikovalec zvoka Sound designer Brane Zorman Fotografinja Photographer Nada Žgank Snemalec in montažer Camera operator and video editor Vlado Repnik Gotvan Tehnika Technicians Tomaž Gorkič, Jure Vlahovič

Also sprach Cage je razširjen akt, ki nenehno vijuga skozi različne medije in s tem spreminja svoja performativna sredstva. Začne se kot film, se preoblikuje v ples, postane pesem, da bi se spremenil v govor: Nimam kaj povedati in to tudi povem. Besede najprej pridejo od tu in potem od tam. Stanje ni linearno. Naša poezija je sedaj spoznanje, da ničesar ne posedujemo. Katere odeje bodo zagotovile mehek pristanek, če naenkrat pademo v nič stvari? Katero medmrežje bo preprečilo poškodbe? Vidimo kopno, toda ne obstaja način, da bi spali hitreje, ne obstaja način, ki bi ukinil čas žalovanja, ne obstaja način, ki bi pospešil nosečnost, ne obstaja način hoje s klikanjem miške. Ideje so ena stvar, kar se zgodi, pa je nekaj drugega. Čustva – ljubezen, radost, junaštvo, čudež, spokojnost, strah, jeza, obžalovanje, gnus – so v občinstvu. V temi so vse mačke črne. Vsak ima najboljši sedež. Vsak nekaj je odmev niča. Nič ni doseženo z videnjem kosa zemlje. Vidim zemljo, ki nam ne pripada in nam nikoli ne bo. Vidim zemljo, polno tveganj, da bi se izgubili v naši individualnosti. Vidim čudovito zemljo, ki je ne najdeš na nobenem zemljevidu. Naše oči so sedaj v odličnem stanju.

48 49

izvajalci Performers Ingrid Berger Myhre Martina Ruhsam Vdor Realnega Nastopajoči v filmu Performers in the video Burkhard Stangl, Jan Ritsema, Simone Forti, Peter Weibel, Isao Nakamura, Christine De Smedt, Gerard Buquet, Rose Beermann, Meg Stuart, Graciela Carnevale, Reinhild Hoffmann, Joana von Mayer Trindade, Sigrid Gareis, Adriana Gabriela Gheorghe, Anja Katharina Arend, Bertrand Flanet, Marina Abramović, Luzie Hanna Karolina Meyer, Georg Schöllhammer, Ruti Sela, Boris Charmatz, Anna Donderer, Marcus Steinweg Also sprach Cage is an extended act that constantly meanders through different media – thereby continuously changing its performative means. It begins as a film, transforms into a dance, becomes a song in order to turn into a speech: I have nothing to say and I’m saying it. Words come first from here and then from there. The situation is not linear. Our poetry now is the realisation that we possess nothing. Which blankets will provide a soft landing if we suddenly fall into the nothing of the thing? Which net will prevent injuries? There is no way of sleeping faster, there is no way of abolishing the time of mourning, there is no way of speeding up a pregnancy, there is no way of walking by making a mouse click. Ideas are one thing and what happens is another. The emotions – love, mirth, the heroic, wonder, tranquillity, fear, anger, sorrow, disgust – are in the audience. In the dark, all cats are black. Everyone is in the best seat. Every something is an echo of nothing. Nothing is accomplished by seeing a piece of land. When the system fell apart its totality was visible for the first time. I see a land that doesn’t belong to us and will never belong to us. I see a land that doesn’t keep us warm and that doesn’t protect us. I see a land full of risks of losing along with our individuality, our own wholeness. I see a beautiful land which you find on no map. Our eyes are now in excellent condition.


Nada Zgank

⇢⇢»Repnik se v Also sprach Cage v spletu videoprojekcij in živega performansa ter v razsekanem scenarističnem postopku odmika od tematske konkretnosti, a z izdelanimi gibalnimi točkami (Ingrid Berger Myhre) in neposrednim, precej ironičnim naslavljanjem občinstva (Martina Ruhsam), zlasti pa s čutom za dramaturško sosledje doseže učinek, ki je onkraj racionalnega in stvarnega, zato pa kompaktno usmerjen v gledalčev plodni potencial prostih asociacij.«

⇢⇢“Through interweaving video projections with live performance and the cut-up script approach, Repnik distances himself from thematic concreteness. In turn, through the refined dance segments (Ingrid Berger Myhre), the straightforward and fairly ironic addressing of the audience (Martina Ruhsam), and most of all, the sense for dramaturgic sequencing, he attains an effect which is beyond the rational and the real, yet compactly directed towards the spectator’s fruitful potential for free associations.”

Zala Dobovšek, Delo, 24. september 2012

Zala Dobovšek, Delo, 24 september 2012


Spremljevalni program Accompanying programme

20. 10. 2013 18.00 Lutkovno gledališče Maribor

To je šele začetek Just the Beginning

Via Negativa

Avtorski projekt Original project

Premiera Première 11. 11. 2012 Stara mestna elektrarna – Elektro Ljubljana

Avtor koncepta in režiser Author of concept and director Bojan Jablanovec Avtor glasbe Author of music Kraftwerk Svetovalec za glasbo Music consultant Tomaž Grom Stilistka Stylist Mateja Benedetti Oblikovalec svetlobe Lighting designer Igor Remeta

Izvajalci Cast Katarina Stegnar Grega Zorc Vito Weis Anita Wach Boris Kadin Loup Abramovici Lada Petrovski Ternovšek

Nastanek performansa sovpada z volitvami in nagovarja bodočega predsednika države, s tem pa problematizira vlogo, ki jo v demokratičnem sistemu igramo vsi državljani, vlogo volilnega telesa. Volimo tiste, ki nam jih sistem ponudi na izbiro. Tudi če ne izbereš nikogar, si izbral. Predstavniška demokracija je inteligenten stroj, ki zmelje vse. Tiste, ki so za, in tiste, ki so proti. Volilno telo ni tukaj zato, da bi izražalo voljo, temveč da vzdržuje sistem. Naši demokratično izvoljeni predstavniki počenjajo samo to, kar je volilno telo pripravljeno sprejeti in podpreti. Zadnjica volilnega telesa je od pretiranega trepljanja že čisto razbeljena. Lastno volilno telo trošimo za prazne fraze in do skrajne meje fizične vzdržljivosti. »Dragi Gospod Predsednik, mi ne sprašujemo, kdo si, mi smo srečni, da si, kar si. Predsednik! Ti si naš in mi smo tvoji. Brez rezerve. Brez dvoma. Na živo in mrtvo. Dragi Predsednik, smo in ostajamo tvoj srečni kolektiv, tvoja skupina, tvoje volilno telo, tvoja Via Negativa.«

This performance came about during the election period and addresses the future President of the State, thus questioning the role of electoral body, which in a democratic system is performed by all of us citizens. We are electing among those who are offered to us by the system. You make a choice even if you don’t vote for anybody. The representational democracy is an intelligent machine that grinds everything: Those who are for and those who are against. The electoral body is not here to express its will but to maintain the system. Our democratically elected representatives do only that which the electoral body is ready to accept and support. The electoral body’s bottom is already ablaze from excessive patting. We waste our own electoral body on empty phrases to the limits of its physical endurance. “Dear Mr President, we don’t ask who you are, we are lucky that you are what you are. President! You are one of us and we are yours. Without hindrance. Without doubt. Alive or dead. Dear President, we are and we remain your happy collective, your group, your electoral body, your Via Negativa.”

⇢⇢»Videli smo abstraktno volilno telo, pripravljeno na skok iz preteklosti v prihodnost, ki se je v resnici počasi talilo iz svoje pravne abstrakcije v kruto realnost. Volilno telo v obliki nastopajočih performerk in performerjev je izvrševalo nemogoče naloge, v resnici pa je bilo zdolgočaseno v lastni neumnosti, odvečnosti in paraliziranosti. /.../ Skratka, kdor ne skače ni – zadolženi – Slovenc.«

⇢⇢“We have seen the abstract electoral body ready to make a leap from the past into the future. In fact, it was gradually transforming from its legal abstraction into cruel reality. The electoral body in the form of performers has performed impossible tasks whereas in reality it was bored with its own stupidity, expendability, and paralysis. /…/ In brief, whoever doesn’t jump is not – an in debt – Slovenian.”

Nenad Jelesijević, Radio Študent, 19. november 2012

Nenad Jelesijević, Radio Študent, 19 November 2012

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Performans traja 1 uro in 10 minut in nima odmora. Running time 1 hour and 10 minutes. No interval.


MADSTER


Spremljevalni program Accompanying programme

20. 10. 2013 19.30 Stara dvorana – tribuna

Nataša Matjašec Rošker

Drama SNG Maribor

Do tu sega gozd The Forest Ends Here

Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval. Premiera Première 16. 11. 2012 Stara dvorana, SNG Maribor

Avtorski projekt Original project Ustvarjalci in avtorji koncepta prostora Creators and authors of the spatial concept Nataša Matjašec Rošker, Branko Jordan, Davor Herga Avtor videa Author of video Andrej Intihar Koreograf Choreographer Edward Clug Lektor Language consultant Janez Bostič Kostumografi Costume designers Katja Milosavljević, s.Oliver, NBD group Oblikovalec svetlobe Lighting designer Tomaž Bezjak Oblikovalec zvoka Sound designer Srečko Matjašič

Igrajo Cast Nataša Matjašec Rošker Branko Jordan Davor Herga

Igralka mariborske Drame Nataša Matjašec Rošker skupaj s svojima igralskima kolegoma Brankom Jordanom in Davorjem Hergo gradi večplastno, fragmentirano besedilno ogrodje, znotraj katerega se skozi poetično subtilnost izmotavajo zgodbe, ki rastejo iz življenja, spominov in domišljije. Uprizoritev treh igralcev, ki v interpretaciji uporablja gibalno-fizične in dramsko-govorne eksperimente, s svojo specifično neposrednostjo postavlja pred gledalce intimno percepcijo gledališkega in življenjskega prostora, ujetega med vizualno, performativno, glasbeno, likovno, literarno in jezikovno-govorno partituro ter na sebi lasten način problematizira temeljne kategorije sodobnega gledališča.

Together with her colleagues actors Branko Jordan and Davor Herga, the actress of Maribor Drama Nataša Matjašec Rošker builds a multi-layered fragmentary textual frame where stories unfold through poetic subtlety; stories that grow out of life, memories, and imagination. With its specific candour, the performance of three actors, who use in their interpretation movement-physical and dramatic-verbal experiments, confronts the spectators with an intimate perception of theatrical and living space, caught between the visual, performative, musical, literary and linguistic-verbal score, tackling issues that deal with fundamental categories of contemporary theatre in its own specific way.

⇢⇢»Brezimni gledališki liki, ki bi lahko bili kdor koli izmed nas, ugotavljajo, da smo nekoč želeli spremeniti svet, danes pa se želimo v njem samo še znajti. Videti je, da je igralska trojica čutila potrebo na subtilen način, vendar neposredno, izreči, kar si misli o svetu, da včasih ni dovolj obleči majice z napisom dost´ mam ali pa denarju je bolje brez nas.«

⇢⇢“Nameless theatre characters who could be anyone among us, realise that once we wanted to change the world whereas today we just want to find our own place in it. Obviously the acting threesome had a need to express in a subtle yet straightforward way what they think about the world. Sometimes it is simply not enough to wear T-shirts with the slogan I’ve had it or Money is better off without us.”

Irena Kodrič Cizerl, Radio Slovenija, 17. november 2012

Irena Kodrič Cizerl, Radio Slovenija, 17 November 2012

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tiberiu marta


Spremljevalni program Accompanying programme

21. 10. 2013 18.00 Mali oder

Saša rakef

Zavod Maska

Dolg Rakef Saške / Dolg RS The Debt of Rakef Saška / The Debt of RS

Performans traja 40 minut in nima odmora. Running time 40 minutes. No interval.

Režiserka Director Barbara Kapelj Osredkar Koncept Concept Saša Rakef Avtorici teksta Authors of text Saša Rakef, Klavdija Zupan Scenografka in kostumografka Stage and costume designer Barbara Kapelj Osredkar Avtor in oblikovalec zvoka Composer and sound designer Brane Zorman Dramaturginja Dramaturg Klavdija Zupan Oblikovalec svetlobe Lighting designer Grega Mohorčič

Izvajalka Performer Saša Rakef

Raziskovalni performans Dolg Rakef Saške / Dolg RS za svoje izhodišče izkoristi rastoči finančni dolg oziroma blokado na osebnem računu Saške Rakef in vpliv dolga na dinamiko njenega vsakdanjega življenja (psihofizično počutje, življenjski standard in organizacija dejavnosti, dinamika medsebojnih odnosov, perspektiva/ vizija oziroma pomanjkanje te, strategije reševanja: bankrot, delo na črno, računi offshore). V sodelovanju s strokovnjaki s področja umetnosti, ekonomije, prava in psihoterapije projekt išče vzporednice med procesi, ki potekajo znotraj specifične osebne zgodbe, in tistimi, ki jih prepoznavamo znotraj širše družbene stvarnosti in so povezani s povečevanjem državnega dolga (posledice gospodarskega/finančnega/ političnega/socialnega položaja v državi). Saška, ki nosi breme dolga že vrsto let, je tako postala prava strokovnjakinja za tovrstno tematiko in je vzgojila prepričanje, da se z dolgom da živeti in da ga pravzaprav ni treba odplačati.

The research performance The Debt of Rakef Saška / The Debt of RS is based on Saška Rakef’s growing financial debt and blocked personal account and the influence that the debt has on the dynamics of her everyday life (her psycho-physical condition, her standard of living and organisation of activities, the dynamics of her interpersonal relationships, her perspective/vision, or rather, the lack of it, and her strategies of salvation: bankruptcy, moonlighting, off-shore accounts). In collaboration with experts in the field of arts, economy, law, and psychotherapy, the project seeks the parallels between the processes that unfold within the specific personal story and those that we recognise within a wider social reality which are connected to the increase in national debt (the consequence of economic/ financial/political/social status in the state). Thus Saška, who has been carrying the burden of debt for a number of years, has become a true expert for this particular subject, cherishing the conviction that one might live with debt and that, in fact, there is no need to pay it.

⇢⇢»Dolg RS je glas tistih »brez pravice glasovanja«, ki ne prenehajo govoriti pod utopičnim obnebjem kulturnega dialoga. Dolg RS je (umetniška) predstava zunaj institucionalne scene z omejenimi sredstvi delovanja, ki postajajo vedno bolj univerzalno reprezentativna. Ironično pa prav s tem raste njena dodana vrednost.«

⇢⇢“The Debt of RS is the voice of those ‘without voting rights’ who don’t cease to talk under the utopian sky of cultural dialogue. The Debt of RS is a(n) (artistic) performance outside the institutional scene with limited tools of impact that has become increasingly universally representative. The irony lies in that this is precisely what increases its added value.”

Premiera Première 29. 10. 2012 Gledališče Glej

Nika Leskovšek, Dnevnik, 7. november 2012 Nika Leskovšek, Dnevnik, 7 November 2012

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Nada Žgank


Spremljevalni program Accompanying programme

22. 10. 2013 21.00 Mali oder

Jaka Andrej Vojevec, Simona Hamer, Klemen Janežič

BiTeater, Lutkovno gledališče Ljubljana Trajanje predstave je spremenljivo. Running time variable.

Robinson Robinson Po motivih Defoejevega romana Robinson Crusoe Based on Defoe’s novel Robinson Crusoe

Premiera Première 26. 4. 2013 Kulturnica, Lutkovno gledališče Ljubljana

Režiser Director Jaka Andrej Vojevec Dramaturginja Dramaturg Simona Hamer Avtorja videa Authors of video Blaž Završnik, Katja Hrastar

Igrajo Cast Klemen Janežič in aktivni gledalci and active spectators

Hiperinteraktivna predstava Robinson uporabi Defoejevega junaka kot metaforo: samotni otok je oder, Robinson pa igralec, ki se trudi preseči oceane, ki ga ločijo od gledalca. Svoj most s publiko gradi s pomočjo seznama petdesetih – vsebinsko in žanrsko raznovrstnih – prizorov, iz katerega gledalci sami izbirajo tiste, ki bi jih želeli videti. Tako so prav gledalci tisti, ki s svojimi odločitvami nizajo vsakokratno unikatno dramaturgijo predstave in jo s svojo aktivno udeležbo soustvarjajo. Mi vsi smo Robinson.

The hyperinteractive performance Robinson uses Defoe’s hero as a metaphor: the stage is the desert island, Robinson is the actor who tries to cross the oceans that separate him from the spectator. He builds his bridge along with the audience by using a list of fifty scenes different in content and genre, from which the spectators choose those they would like to see. Thus the spectators are the ones who by their decisions structure a unique dramaturgy of the performance and co-create it with their active participation. We are all Robinsons.

⇢⇢»Veselo pričakovanje in detektivska radovednost, kakšno slaščico skriva ta ali oni zagonetni naslov na platnu, »občinstvo« brezglavo potegneta v vrvež preizkušanja formatov šovbiznisa, improlige, bralne uprizoritve, intervjuja, ogleda turističnih znamenitosti … Unikatna dramaturgija pod videzom nezavezujoče slučajnosti radodarno poklanja občinstvu iluzijo (samo)upravljanja in poseganja v podobo realnosti.«

⇢⇢“Joyful expectations and detective curiosity of which the dessert is hidden under this or that mysterious title on the screen – this is what furiously draws 'the audience' into a whirlpool of examining formats of show business, improvisation league, staged reading, interview, touristic sightseeing … A unique dramaturgy under the appearance of non-committing chance generously awards the audience with the illusion of (self-)governance and intervening in the image of reality.”

Nika Leskovšek, Dnevnik, 6. maj 2013 Nika Leskovšek, Dnevnik, 6 May 2013

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UrĹ ka Boljkovac


Spremljevalni program Accompanying programme + Showcase

23. 10. 2013 17.30 Mali oder

Okus tišine vedno odmeva The Taste of Silence Always Resonates

Zavod Emanat Koproducenta Co-producers Cankarjev dom, Zavod Maska Predstava traja 55 minut in nima odmora. Running time 55 minutes. No interval. The performance has English supertitles. Premiera Première 7. 12. 2012 Dvorana Duše Počkaj, Cankarjev dom

Avtorski projekt Original project Koncept in izvedba Author of concept and performer Irena Tomažin Dramaturginja Dramaturg Barbara Korun Oblikovalec zvoka Sound designer Aldo Ivančič Oblikovalec svetlobe Lighting designer Igor Remeta V predstavi se avtorica skozi medij glasu in telesa loteva tradicije in statusa glasu kot medija ustnega izročila iz generacije v generacijo. Glasovi, s katerimi govorimo, so melodije preteklih govorcev in njihovih govoric; na neki način bolj pripadamo preteklosti in na prvi pogled že obledelemu izročilu kot pa sedanjosti, ki naj bi bila le od »tukaj in zdaj«. Mogoče obledelost izročila samo izkazuje njegovo tiho, nevpadljivo in kontinuirano prisotnost, sedanjost nam pa po drugi strani s svojimi vseprisotnimi zvoki na novo vpisuje v telo drugačne glasove. Z njimi zarisujemo govorice, ki bodo naše ustno izročilo prihodnosti. Paradoksalna zanka časa je ujeta v trajanju glasu znotraj enega samega izdiha.

Through the medium of voice, the author of this performance tackles the tradition and status of voice as a medium of oral history from generation to generation. The voices that we use for speaking are the melodies of past speakers and their stories; in a way, we belong more to the past and to its seemingly faded legacy than to the present, which is supposed to be “here and now”. Perhaps the faded nature of legacy merely expresses its quiet, inconspicuous, and constant presence. The present, on the other hand, inscribes into our bodies different voices that come out of its omnipresent sounds. With them we draw our stories that will be our oral history for the future. The paradoxical time loop is captured in the duration of the voice within a single exhale.

⇢⇢»Glas kot pritajen alter ego, kot tujek v lastnem telesu ali čista neodvisna fizična substanca /.../. Pravzaprav je neverjetno, kako zmore ustvarjalka s svojo popolno predanostjo in navzočnostjo hkrati mestoma svojo fizično podobo samoizbrisati in manifestirati svoj glas v vsej njegovi absolutnosti.«

⇢⇢“The voice as a hidden alter ego, as a foreign element in one’s own body or a purely autonomous substance /…/ That the performer, with her absolute dedication and presence, manages to self-efface her physical image and at once manifest her voice in its entire absoluteness, is actually an incredible fact.”

Zala Dobovšek, Delo, 10. december 2012

Zala Dobovšek, Delo, 10 December 2012

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Nada Žgank


Spremljevalni program Accompanying programme + Showcase

24. 10. 2013 18.00 Mali oder

Eugène Ionesco

Lutkovno gledališče Ljubljana

Inštrukcija The Lesson

Predstava traja 1 uro 20 minut in nima odmora. Running time 1 hour and 20 minutes. No interval. The performance has English supertitles.

Prevajalec Translator Aleš Berger Režiser in dramaturg Director and dramaturg Matjaž Zupančič Scenograf Stage designer Alen Ožbolt Kostumografka Costume designer Bjanka Adžić Ursulov Izbor glasbe in tonsko oblikovanje Selector of music and sound designer Vanja Novak Lektorica Language consultant Tatjana Stanič Oblikovalec svetlobe Lighting designer Srečo Brezovar Asistentka režiserja Assistant director Kaja Tokuhisa

Igrajo Cast Profesor Professor Boris Ostan k. g. as guest Učenka Student Asja Kahrimanović Služkinja Servant Nina Skrbinšek

Kaj ima (v) današnjem času in družbi Inštrukcija povedati sodobnemu človeku? Na neki paradoksalen način pravzaprav vse. Če je bistvo absurda človekova neskladnost z naravo, potem se večno ponavljajoči ritual, ki neizogibno pelje v uboj Učenke, dogaja na zgodovinski in nezavedni ravni. Sodobna (hiper)informacijska družba pušča temne lise. Množica informacij, frenetična v svoji neselektivnosti in agresivna v svoji dostopnosti, vodi v smrtni strah pred »ne-vedeti«, pred biti »ne-informiran«. Hkrati pa »vedeti« in »učiti« postane falično orožje v rokah Profesorja, postane substitut njegove nemoči. Ko v ta svet vstopi mlada Učenka s svojo naravo, erosom, čutnostjo in nevednostjo, je bližnji konec neizbežen … Inštrukcija je še vedno tudi igra o nasilju, ostaja groteskna, strašna učna ura, tragični perpetuum mobile civilizacije in barbarstva.

What does The Lesson have to say to the contemporary individual at the present time and in today’s society? In a paradoxical way: everything. If the essence of absurdity is human disharmony with nature, then the ever repeating ritual which inevitably leads to the murder of the Student happens both on a historical and an unconscious level. The modern (hyper)information society leaves dark traces. The multitude of information, frantic in its lack of selection and aggressive with its accessibility, leads towards a deadly fear of “not-knowing”, “beinguninformed”. At the same time, “knowing” and “learning” become a phallic weapon in the hands of the Professor, a substitute for his impotence. As the young Student enters that world with her nature, Eros, sensuality and ignorance, the looming end is inevitable … The Lesson is still a play on violence, remaining a grotesque, horrendous lesson, a tragic Perpetuum mobile of civilisation and barbarism.

⇢⇢»Nasilje v procesu discipliniranja, socializacije ali učenja lahko razumemo v strogih okvirih medosebnega. Gledalce je v vlogi sprva sramežljivega, potem pa vedno bolj pohotnega in obsesivnega profesorja navdušil Boris Ostan, ki vrhunec ekstatičnega užitka doživi prav v trenutku akta uboja, torej takrat, ko iztisne življenje iz komaj še drhtečega in zlorabljenega dekliškega bitja, v katero se je pred tem vživljala Asja Kahrimanović, medtem ko absurdnost dogajanja s posameznimi brezupnimi posegi motri Nina Skrbinšek. Skratka, močna in minimalistična igralsko-uprizoritvena popolnost.«

⇢⇢“In the process of acquiring discipline, socialisation, or learning, we may understand violence within the strict frame of the interpersonal. The spectators were delighted with Boris Ostan in the role of the Professor, at first shy and then increasingly lustful and obsessive, who experiences the climax of ecstatic pleasure in the very act of murder, that is, when he squeezes life out of a barely quivering and abused young girl interpreted by Asja Kahrimanović, while Nina Skrbinšek as the Servant is watching the absurdity of events along with individual hopeless interventions. In brief: a powerful and minimalist performing perfection.”

Magda Tušar, Radio Slovenija, 8. marec 2013

Magda Tušar, Radio Slovenija, 8 March 2013

Premiera Première 7. 3. 2013 Mali oder, Lutkovno gledališče Ljubljana

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Urška Boljkovac


Mostovi Bridges

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Rik van den Bos, Naomi Velissariou 64 MR JONES mr jones

Miroslav Krleža 66 LEDA leda

Jean Cocteau 68

ČLOVEŠKI GLAS THE HUMAN VOICE

Oskaras Koršunovas 70 MIRANDA miranda

Ödön von Horváth 72

KAZIMIR IN KAROLINA CASIMIR AND CAROLINE


Mostovi Bridges

21. 10. 2013 19.00 Lutkovno gledališče Maribor

Rik van den Bos, Naomi Velissariou

Frascati Producties (NL)

Mr Jones mr jones

Predstava traja 50 minut in nima odmora. Predstava ima slovenske nadnapise. Running time 50 minutes. No interval. Performance is in Dutch with Slovenian supertitles.

Po motivih Le Bel Indifferent Jeana Cocteauja Inspired by Le Bel Indifferent by Jean Cocteau

Premiera Première 20. 11. 2011 Frascati Producties (NL)

Režiserka in izvajalka Director and performer Naomi Velissariou Kontrabasist Double bass player Hannes d’Hoine Avtor besedila Author of text Rik van den Bos Svetovalec za igro Acting advisor Aram Adriaanse Svetovalka za režijo Directing advisor Abke Haring Oblikovalka svetlobe Lighting designer Steffie de Haan Oblikovalec lasulje Hairdressing advisor Pilo Pilkes

Mr Jones, solo o ženski, ki vedno (nekaj) čaka, predvsem pa (svojega) moškega, temelji na novi dramski predlogi pisca Rika van den Bosa v sodelovanju z Naomi Velissariou. Nekega večera, ko je Naomi kot (odrska) Medeja na poslednji uprizoritvi istoimenske predstave že dvanajstič odigrala svoj samomor, je izvedela, da je umrla Amy Winehouse. Takrat se je odločila, da bo svojo fascinacijo s pokojno pevko združila s svetom Edith Piaf, in rodil se je neki drug, popolnoma nov svet, v katerem na izjemno sublimen način spregovorijo tudi besedila pesmi Amy Winehouse.

Predstavo so omogočili Made possible by

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Mr Jones, a performance about a woman who lives for love until she has bled her heart dry. A solo with live music, a double bass, and a wig. A wig that’s at least 50 metres long. A strong piece about a woman who is waiting – for everything, but above all for a man. Whereas in the traditional stage canon the “suffering woman” is often not aware of how and why she is suffering, but in the play, the realisation of suffering invariably leads to desperation, enlightenment, alienation, self-deprecation, lucidity, and finally, more suffering. A tribute to Amy Winehouse.


Anna van Kooij


Mostovi Bridges

22. 10. 2013 19.00 velika dvorana – tribuna

Miroslav Krleža

Zagrebačko kazalište mladih (HR), Kraljevsko pozorište Zetski dom Cetinje (MNE), Festival Kotor Art (MNE)

Leda leda

Predstava traja 1 uro in 20 minut in nima odmora. Predstava ima slovenske nadnapise. Running time 1 hour and 20 minutes. No interval. Performance is in Croatian with Slovenian supertitles. Premiera Première 20. 7. 2012 Festival Kotor Art (MNE)

Režiserka Director Anica Tomić Dramaturginja Dramaturg Jelena Kovačić Kostumografka Costume designer Doris Kristić Avtor glasbe Composer Frano Đurović Scenografki in glasbeni opremljevalki Stage designers and selectors of music Anica Tomić, Jelena Kovačić Oblikovalec svetlobe Lighting designer Milan Kovačević Svetovalka za jezik Language consultant Đurđa Škavić

Igrajo Cast Klara Ksenija Marinković Melita Nataša Dorčić Vitez Oliver Urban Knight Oliver Urban Srđan Grahovac Aurel Dejan Ivanić Klanfar Mirko Vlahović

Dogajanje edine Krleževe komedije je postavljeno v karnevalsko noč, ko se Evropa poskuša znajti po najboljših močeh, razpeta med 1. in 2. svetovno vojno, ki sta za vse večne čase spremenili pojmovanje tragičnosti spomina. Danes je ista Evropa prav tako razpeta, sicer med druge, a podobne poraze, utrujena od ekonomskih in moralnih kriz. Zlomljena, raztrgana in nemočna v večnem poskušanju osmislitve resničnih vrednot, kot so ponos, hrabrost, srčnost, čas in dostojanstvo. Leda je komedija o razpetosti, raztrganosti, nasprotjih. V tem divjem svetu najdemo akademskega slikarja, veleindustrialca, nekdanje pomembne svetovalce in njihove soproge zaigrane v neko večno trajajočo, nikoli zaključeno igro.

The action of Krleža’s only comedy unfolds during a carnival night, while Europe is striving to find balance, torn between World War I and II, the events that have changed for good the notion of the tragic nature of memory. Today, that same Europe is torn between different yet similar failures, exhausted by economic and moral crises; crushed, tattered, and powerless in its eternal effort to bring sense to real values such as pride, courage, valour, honour, and dignity. Leda is a comedy on being torn apart, tattered, and faced with antagonisms. This wild world is inhabited by an academic painter and an industrial magnate, by former important counsellors and their spouses, all captured and immersed into a never-ending and never-concluding story.

⇢⇢»Pravzaprav ni pomembno, kdo so v resnici liki v Ledi, saj so njihovi problemi univerzalni, način soočenja z njimi pa splošni tako s časovnega kot prostorskega vidika. /.../ Dominacija in manipulacija – ne glede na to, ali gre za vaginalno, falično, finančno, umetniško ali intelektualno – ustvarjata perverzni mehanizem, ki je v Ledi prikazan boljše kot v trilogiji in zato predstavlja največji izziv za režiserje, ki v glavnem dopuščajo, da retorika zasenči zmožnost razgaljanja.«

⇢⇢“As a matter of fact, it is not important who in reality are the characters in Leda as their problems are universal and their way of dealing with them is generic both time- and space-wise /…/ Domination and manipulation – regardless of whether they have to do with vaginal, phallic, financial, artistic, or intellectual – bring forth a perverse mechanism, /…/ and that is why Leda represents the biggest challenge for directors who in general allow the rhetoric to overshadow the possibility of disclosure.”

Igor Ružić, tportal.hr, 24. november 2012

Igor Ružić, tportal.hr, 24 November 2012

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Mara Bratoš


Mostovi Bridges

23. 10. 2013 19.00 Lutkovno gledališče Maribor

Jean Cocteau

Toneelgroep Amsterdam (NL)

Človeški glas The Human Voice

Predstava traja 1 uro in 10 minut in nima odmora. Predstava ima slovenske nadnapise. Running time 1 hour 10 minutes. No interval. Performance is in Dutch with Slovenian supertitles.

Naslov izvirnika Original title La voix humaine

Premiera Première 12. 2. 2009 Monty, Antwerpen (BE)

Prevajalca Translators Halina Reijn, Peter van Kraaij Režiser Director Ivo van Hove Dramaturg Dramaturg Peter van Kraaij Scenograf in oblikovalec svetlobe Stage and lighting designer Jan Versweyveld

Igra Performer Halina Reijn

V Cocteaujevi igri Človeški glas, napisani v tridesetih letih 20. stoletja, spremljamo žensko v divjem in intimnem čustvenem viharju, medtem ko se po telefonu pogovarja z ljubimcem, s katerim se je razšla. Telefonska zveza se neprenehoma prekinja, ženska se v pogovoru sooča ne le z nekdanjim ljubimcem, temveč tudi (in predvsem) sama s seboj. Nenavadna, skorajda neprijetno voajerska gledališka izkušnja – dogajanje v majhni, škatlasti sobi namreč opazujemo skozi stekleno okno, in občutek, da je ženska v lastnem stanovanju kot v zaporu, da je omejena kot žival v kletki, je boleče iskren.

In Jean Cocteau’s play The Human Voice a lone actress talks on the phone to a lover she has just broken up with. She keeps getting interrupted by a bad connection – the piece was written in 1930, but anybody who has ever experienced a lost signal will empathise. For about an hour, the unnamed woman goes through an emotional storm as she addresses the man who left her, and herself. It is uncommonly, uncomfortably voyeuristic, even for theatre. Ivo van Hove drives the point home by placing his performer, Halina Reijn, in a small boxlike room and behind a big glass window, through which the audience scrutinises her. It feels as if she is imprisoned in her own apartment, and at times she paces her limited space like a caged animal.

⇢⇢»Tako se je režiser lotil zgodbe o ženski. O ženski, ki je izgubila nadzor, ali pa ga morda sploh nikoli ni imela; predstava, ki ponuja življenje v razmislek in odzavanja še dolgo po tem.«

⇢⇢“And so a famously controlling director has tackled the story of a woman losing control –or realising that she never had it to begin with. Plenty to chew on during that long walk back, and for a good while afterward.”

Eric Grode, the Village Voice, 11. September 2009 Eric Grode, the Village Voice, 11 September 2009

Z dovoljenjem M. Pierra Bergéja, predsednika komiteja Jean Cocteau Courtesy of M. Pierre Bergé, president of the Jean Cocteau Commitee

Predstavo so omogočili Made possible by

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Jan Versweyveld


Mostovi Bridges

25. 10. 2013 17.30 Lutkovno gledališče Maribor

Oskaras Koršunovas

OKT / Vilniaus miesto teatras (LT) 

Miranda miranda

Predstava traja 1 uro in 40 minut in nima odmora. Predstava ima slovenske nadnapise. Running time 1 hour and 40 minutes. No interval. Performance is in Lithuanian with Slovenian supertitles.

Po motivih Shakespearovega Viharja in drugih del Based on W. Shakespeare’s The Tempest Premiera Première and other works 17. 7. 2011 Gyula (HU) Režiser Director Oskaras Koršunovas Scenograf Set designer Dainius Liskevicius Kostumograf Costume designer Aleksandras Pogrebnojus Skladatelj Composer Antanas Jasenka Ustvarjalec lutke Sculptor of the ballerina figure Donatas Jankauskas Oblikovalec svetlobe Lighting designer Eugenijus Sabaliauskas Oblikovalec zvoka Sound engineer Alius Bareckas

Igrajo cast Povilas Budrys/Darius Meskauskas Airida Gintautaite

Prospero pripoveduje hčeri Mirandi o izgnanstvu in izgnancih, pripoveduje ji o od sveta ločenem otoku ... Pogovarja se z Mirando, svojo hčerko, svojo dušo in iluzijo, edinim življenjem, ki soobstaja. Ljubi jo, strah ga je zanjo ... in strah ga je nje. Na otoku, kjer živita Prospero in Miranda, je živo le upanje: morda pa ju lahko vendarle kdo reši. Ko si neumoren duh prizadeva za svobodo, je sposoben narediti tudi nemogoče: zmore oživeti iz svoje nemoči, nezmožnosti, zmore vzleteti in odleteti. Premore celo moč, da preoblikuje realnost.

Locked in a cage of loneliness, Prospero opens a volume of the world’s classics and talks with Miranda about exile and the exiled who are nothing else than spirits; he talks about an island separated from the world. He talks with Miranda – his daughter or his soul, his illusion, and the only life existing at his side. He loves her, he’s afraid for her, and finally, he’s afraid of her ... Cherished, protected, and in a fit of fever despised – freedom. On the island of Prospero and Miranda, only hope is real: the hope that perhaps they can be saved. As the spirit striving for freedom has the power to do incredible things: to bring back to life from helplessness, from incapability; it can take off and fly. It even has the power to transform reality.

⇢⇢»Miranda po Shakespearovem Viharju je zapletena in nenavadna igra. Predstava je uro in pol trajajoča brca v rit, z neverjetno močjo od začetka do konca, ki izzveni v briljantni, nadrealistični „coup de theatre“, še preden možgani uspejo procesirati, kaj se je dejansko zgodilo.«

⇢⇢“Miranda, after W. Shakespeare’s The Tempest, directed by Oskaras Koršunovas, is intricate in a very different way. The production is a one-and-a-half-hour fist in the gut, and its impact from start to finish, culminating in a brilliant, surrealistic 'coup de theatre', has to be experienced as a pre-emptive body strike before the brain can process what has happened.”

Maria Shevtsova, New Theatre Quarterly, november 2011

Maria Shevtsova, New Theatre Quarterly, November 2011

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Dmitrij Matvejev


Mostovi Bridges

26. 10. 2013 18.00 Lutkovno gledališče Maribor

Ödön von Horváth

Örkény István Színház (HU)

Kazimir in Karolina Casimir and Caroline

Predstava traja 1 uro in 40 minut in nima odmora. Predstava ima slovenske nadnapise. Running time 1 hour and 40 minutes. No interval. Performance is in Hungarian with Slovenian supertitles. Premiera Première 19. 12. 2009 Örkény István Színház (HU)

Naslov izvirnika Original Title Kasimir und Karoline Prevajalec Translator Lajos Parti Nagy Režiser Director László Bagossy Dramaturg Dramaturg Ildikó Gáspár  Kostumografka Costume designer Kristina Ignjatović  Scenograf Stage designer Levente Bagossy 

Igrajo cast Kazimir Casimir Csaba Polgár Karolina Caroline Anna Szandtner Rauch Imre Csuja Speer Pál Mácsai Franz, Pritlikavec Franz, The Midget Csaba Debreczeny Erna, Juanita Gabriella Hámori Schurzinger Zsolt Máthé Maria Emőke Kiss-Végh  Elli Jusztina Balassa Pianist Ferenc Darvas Ostali Others Anna Héricz, Zoltán Csire, Bálint Kocsán, Csaba Tóth

Zvoki jesenskega festivala: vrtiljak, zabavljači, množica. V zraku je nekaj, kar se bo prav kmalu zgodilo. In tukaj sta, ona in on, ženska in moški, Kazimir, šofer, ki je nedavno izgubil delo, in Karolina, njegova zaročenka. On je zagrenjen, ona polna življenja. Njuna ljubezen se kmalu prične utapljati v dvomih, iz Kazimirjeve zagrenjenosti pričnejo rasti temne misli, porodijo se nasprotja, prerastejo v tenzije. Kmalu se izgubita v množici; on, brez radosti in veselja, ona, ki se odloči, da bo šla v novo smer, v toku vedrega festivalskega razpoloženja.

The sounds of Octoberfest: the rollercoaster, the performers, and the crowd. Casimir, a chauffeur who has recently lost his job, is also among the crowd, but he is unable to enjoy the beerfest. His fiancée Caroline decides to spend her time at the festival on her own, getting to know the rich Rauch, the head of a business. Casimir, meanwhile, runs into one of his ex-colleagues, who has been specialising lately in the creation of certain acts ...

⇢⇢»Izjemno razčlenjeno videnje zveze med moškim in žensko, v kristalno čisti podobi in maniri. Pogled je izostren – fokusiran, ne le na karakterje ali situacije, temveč konkretno na dele teles nastopajočih ... in prav ti bližnji posnetki v razmerju z nevidnim razkrivajo groteskno razočaranje realnosti.«

⇢⇢“The well-analysed relationships are presented in crystal clear fashion in pictures. It is a special notion that the 'camera' is sometimes being focused. Once in a while it shows not the characters or their situations, but only some body parts of the participants in the scene. Among these 'close-ups', the grotesque disappointments in the play become even more magnified.”

László Sz. Deme, Szinhaz.net László Sz. Deme, Szinhaz.net

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Eszter Gordon


AGRFT

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La machine de Molière 76 (Molière stroj) La machine de Molière (Molière Machine)

Predstava ob jezeru: 84 Tik pred revolucijo Performance by the Lake: Right Before the Revolution

Eugène Ionesco 77

ALBERT CAMUS 85

Skozi kostum spregovorim 78 I Speak Through the Costume

Skušnja 86 The Rehearsal

Sarah Kane 79

Razstava kostumografskih 87 del podiplomskih študentov Exhibition of costume design master's students

Stoli Chairs

Skomine Crave

Edward Bond 79 Rešeni Saved

Iz zakladnice neuspeha 81 Out of the Treasury of Failure Brez naslova 81 Untitled Predstava ob jezeru: 82 Via kolektiv Performance by the Lake: Via Collective Predstava ob jezeru: Po motivih 83 simfonije št. 6 v h-molu, op. 54, Dmitrija Šostakoviča Performance by the Lake: Based on the Symphony No. 6 in B minor, Op. 54, by Dmitri Shostakovich 

Kaligula et al. Caligula et al.

Bralne uprizoritve dramskih 88 besedil študentov Staged readings of short plays by students Bralne uprizoritve enodejank 88 študentov dramaturgije iz Beograda, Ljubljane, Skopja in Zagreba Staged readings of one-act plays by students of Dramaturgy from Belgrade, Ljubljana, Skopje, and Zagreb Instant drama/predstava 89 Instant Play/Performance


La machine de Molière

AGRFT

19. 10. 2013 20.00 ŠTUK

La machine de Molière (Molière stroj) La machine de Molière (Molière Machine)

Produkcija študentov V. semestra v sodelovanju s Cankarjevim domom Production of the 5th semester students in collaboration with Cankarjev dom

Predstava traja 2 uri in 40 minut in ima en odmor. Running time 2 hours and 40 minutes. One interval.

Lepljenka prizorov iz Molièrovih komedij A collage of scenes from comedies by Molière Režiserka Director Nina Rajić Kranjac Dramaturg Dramaturg Vid Hajnšek Oblikovalec videa Video designer Vid Hajnšek Oblikovalec svetlobe Lighting designer David Orešič Kostumografki Costume designers Klavdija Jeršinovec, Anja Kert Scenografki Stage designers Tina Mohorko, Nina Rajić Kranjac

Igrajo Cast Nejc Cijan Garlatti, Lovro Finžgar, Lena Hribar, Patrizia Jurinčič, Nataša Keser, Anja Novak, Nik Škrlec, Urška Taufer

Postali smo stroj za uprizarjanje človeških hib, na katere je že davno tega opozarjal Molière. Z matematično natančnostjo, s pomočjo sestavljanja po zakonitostih mehanike JeanBaptiste Poquelin Molière zagrabi človeške slabosti in jih skozi karikaturo oblikuje v predmet krohota. In prav naše nezavedno je njegovo gorivo, ki ta stroj poganja. Napolnimo motor, da nas odpelje v deželo komedije, kjer bomo vzklikali: Molière stroj!

We have become the machine for performing human flaws of which Molière warned long ago. Jean-Baptiste Poquelin Molière tackles human weaknesses with mathematical precision and by assembling based on the laws of mechanics, shaping them through caricature into laughing matters. Our unconscious is the fuel that sets the machine into motion. We fill in the motor to drive us to the land of comedy, where we will exclaim: Molière Machine!

Mentorji Mentors Dramska igra in gledališka režija Dramatic acting and theatre directing red. prof. Janez Hočevar - Rifle Prof. doc. mag. Tomi Janežič Assistant Prof., M.A. Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assistant Prof., Ph.D. Scenografija Stage design doc. mag. Jasna Vastl Assistant Prof., M.A. Kostumografija Costume design izr. prof. Janja Korun Associate Prof. asist. mag. Tina Kolenik Assistant, M.A. Jezik in govor Language and speech doc. dr. Katarina Podbevšek Assistant Prof., Ph.D.  asist. mag. Nina Žavbi Milojević Assistant, M.A.

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Eugène Ionesco

Stoli Chairs

Produkcija študentov VIII. semestra Production of the 8th semester students Predstava traja 1 uro in nima odmora Running time 1 hour. No interval.

Prevajalka Translator Alja Tkačeva Režiserka Director Mateja Kokol Dramaturginja Dramaturg Nika Švab Scenografka Stage designer Karin Rožman Avtor gibalne in zvočne podobe Author of movement and soundtrack Ivan Mijačević Kostumografka Costume designer Mateja Fajt Sodelavka režije in vizualne podobe Assistant director and visual identity Gaja Kutnjak

Igrajo Cast Starec Old Man Stane Tomazin Starka Old Woman Ana Urbanc Govornik Speaker Daniel Day Škufca   

Izpraznim svet – ostane lupina. Izpraznim prostor – ostane kad brez vode in embalaže praznih škatel. 23 let. 2300 škatel za svet in zame neuporabnih reči. Ostane on – ostane ona. Skupaj izpraznjena, skupaj polna. Jing – Jang – ljubezen brez poljubov, nežnosti. Ostanejo besede, ostanejo škatle, obstaneta skupaj, brez sladkih besed. Ostane tisto, kar ostane od ljubezni. Kaj je to?

I empty the world – the shell remains. I empty the space – an empty bathtub and empty receptacles remain. 23 years. 2300 boxes of useless words for the world and for myself. He remains – she remains. Emptied together, full together. Yin-Yang – love without kisses, without tenderness. Words remain, boxes remain. They both remain, without sweet words. What remains is what is left out of love. What is it?

Mentorji Mentors  Dramska igra Dramatic acting red. prof. Jožica Avbelj Prof. Gledališka režija Theatre directing doc. Jernej Lorenci Assistant Prof. Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assistant Prof., Ph.D. Scenografija Stage design doc. mag. Jasna Vastl Assistant Prof., M.A. Kostumografija Costume design izr. prof. Janja Korun Associate Prof., asist. mag. Tina Kolenik Assistant, M.A. Jezik in govor Language and speech doc. dr. Katarina Podbevšek Assistant Prof., Ph.D. izr. prof. Tomaž Gubenšek Associate Prof doc. mag. Alida Bevk Assistant Prof, M.A. Zunanja strokovna sodelavka External collaborator Petra Veber

AGRFT

Željko Stevanić

20. 10. 2013 21.00 Mali oder


AGRFT

Blaž Gracar

21. 10. 2013 20.00 ŠTUK

Skozi kostum spregovorim I Speak Through the Costume

Projekt študentov III. letnika dramske igre Project of the 3rd year Dramatic Acting students Predstava traja 35 minut in nima odmora. Running time 35 minutes. No interval.

Avtorji prizorov in kostumov so študenti dramske igre Lovro Finžgar, Nejc Cijan Garlatti, Lena Hribar, Patrizia Jurinčič, Nataša Keser, Anja Novak, Urška Taufer. Pri izdelavi kostumov je pomagal Andrej Vrhovnik, podiplomski študent kostumografije. Make-up in frizure so delo Anje Ukovič, podiplomske študentke kostumografije. Oblikovalci svetlobe so podiplomski študenti kostumografije in scenografije Mateja Fajt, Adriana Furlan, Tina Mohorovič, Andrej Vrhovnik. Svetovalec za svetlobno oblikovanje je bil David Orešič.

Authors of scenes and costumes are students of Dramatic Acting Lovro Finžgar, Nejc Cijan Garlatti, Lena Hribar, Patrizia Jurinčič, Nataša Keser, Anja Novak, Urška Taufer. Andrej Vrhovnik, Master’s student of Costume Design, assisted in the realisation of the costumes. Anje Ukovič, Master’s student of Costume Design, was Make-up designer and hair stylist. Lighting designers were the Master’s students of Costume and Stage Design Mateja Fajt, Adriana Furlan, Tina Mohorovič, Andrej Vrhovnik. David Orešič was lighting design consultant.

Skozi kostum spregovorim je projekt v izvedbi študentov tretjega letnika dramske igre v okviru izbirnega predmeta Kostumografija pod mentorstvom izr. prof. Janje Korun in asist. mag. Tine Kolenik. Namen projekta je bil spodbuditi igralce k razmisleku o vlogi in kreativnih potencialih gledališkega kostuma. Vsak študent je samostojno zasnoval kostum, s katerim bo odigral svoj avtorski prizor.

I Speak Through the Costume is a project realised by students of the third year of Dramatic Acting within the frame of the elective course of Costume Design under the mentorship of Associate Prof. Janja Korun and Assistant Tina Kolenik, M.A. The purpose of the project was to stimulate the actors to reflect on the role and creative potentials of the theatre costume. Each student has individually conceived a costume in which s/he will perform his/her scene.

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Skomine Crave Sarah Kane

Skomine Crave

Režiserka Director Eva Kokalj Dramaturga Dramaturgs Anže Virant, Bojan Stefanović Scenografa Stage designers Lenka Đorojević, Staš Vrenko Kostumograf Costume designer Matic Hrovat Oblikovalec zvoka Sound designer Luka Bernetič Oblikovalec videa Video designer Maja Prelog Koreografka Choreographer Gea Erjavec

Produkcija študentov VII. semestra Production of the 7th semester students

Predstava traja 30 minut in nima odmora. Running time 30 minutes. No interval.

Glasovi Voices Liza Marija Grašič, Barbara Ribnikar, Jure Kopušar, Vid Klemenc, Anja Novak, Matija Rupel, Rok Kravanja, Ana Urbanc, Patrizia Jurinčič Igrajo Cast Miranda Trnjanin, Matic Lukšič, Eva Jesenovec, Lucija Tratnik, Urška Taufer, Lara Vouk, Blaž Dolenc, Mia Skrbinac, Nuša Ofentavšek, Matic Cimperman, Jon Berginc, Edina Dyachenko, Karlo Mrkša Plesalci Dancers Luke Thomas Dunne, Ana Štefanec, Gea Erjavec, Eni Vesović, Kasija Vrbanac Mentorji Mentors Dramska igra Dramatic acting red. prof. Jožica Avbelj Prof. Gledališka režija Theatre directing doc. Jernej Lorenci Assistant Prof. Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assistant Prof., Ph.D. Zvok Sound izr. prof. Aldo Kumar Associate Prof. red. prof. Aleš Jan Prof. Scenografija Stage design doc. mag. Jasna Vastl Assistant Prof., M.A. Kostumografija Costume design izr. prof. Janja Korun Associate Prof. asist. mag. Tina Kolenik Assistant, M.A. Jezik in govor Language and speech doc. dr. Katarina Podbevšek Assistant Prof., Ph.D. asist. mag. Nina Žavbi Milojević Assistant, M.A.

AGRFT

21. 10. 2013 21.00 ŠTUK


AGRFT

23. 10. 2013 20.00 ŠTUK

Edward Bond

Produkcija študentov II. semestra Production of the 2nd semester students

Rešeni Saved

Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval.

Prevajalec Translator Vladimir Kralj Režiserka Director Sara Lucu Dramaturgi Dramaturgs Pia Vatovec, Varja Hrvatin, Jerneja Balog, Žan Žveplan, Tamara Babič

Igrajo Cast Len Blaž Dolenc, Voranc Boh, Petja Labović Pam Zala Ana Štiglic, Sara Dirnbek, Maša Grošelj Mentorji Mentors Dramska igra in gledališka režija Dramatic acting and theatre directing red. prof. Matjaž Zupančič Prof. izr. prof. Branko Šturbej Associate Prof. Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assistant Prof., Ph.D. Scenografija Stage Design doc. mag. Jasna Vastl Assistant Prof., M.A. Kostumografija Costume Design izr. prof. Janja Korun Associate Prof. asist. mag. Tina Kolenik Assistant, M.A. Jezik in govor Language and Speech doc. dr. Katarina Podbevšek Assistant Prof., Ph.D. asist. mag. Nina Žavbi Milojević Assistant, M.A.

Rešeni, morda najbolj kontroverzna drama Edwarda Bonda. Kontroverzna tudi zaradi srhljivega prizora, v katerem nekaj fantov do smrti kamenja dojenčka. Uprizoritve Rešenih običajno vzbudijo gnus in odpor občinstva, ampak drama, postavljena v London v šestdeseta leta prejšnjega stoletja, raziskuje dehumanizirano indrustrijsko okolje in moralno praznino delovnega razreda ter nasilje in brutalnost, ki iz tega izhajata. Na neposreden način prikazuje grozljive globine frustracij mlade generacije, ki je ujeta v okolje, iz katerega ne zna in ne more uiti.

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Saved, perhaps the most controversial play by Edward Bond. Controversial also because of the atrocious scene in which several boys stone a baby to death. The stagings of Saved usually produce disgust and repulsion among audiences. Yet the play, unfolding in 1960s London, scrutinises the dehumanised industrial environment and the moral void of the working class along with the violence and brutality that emerge out of it. It straightforwardly reveals the horrendous depths of the frustrations of the young generation captured in an environment from which it cannot escape.


Iz zakladnice neuspeha Out of the Treasury of Failure Režiserka Director Sara Lucu Dramaturgi Dramaturgs Pia Vatovec, Varja Hrvatin, Jerneja Balog, Žan Žveplan

Produkcija študentov II. semestra Production of the 2nd semester students Predstava traja 30 minut in nima odmora. Running time 30 minutes. No interval.

Soavtorji in igralci Co-authors and performers Blaž Dolenc, Voranc Boh, Mia Skrbinac, Sara Dirnbek, Nina Ramšak, Zala Ana Štiglic, Lara Vovk Mentorja Mentors Dramska igra in gledališka režija Dramatic acting and theatre directing red. prof. Matjaž Zupančič Prof. izr. prof. Branko Šturbej Associate Prof.

»Nikoli ne uspem. Vsaj ne popolnoma. Vsaj ne v očeh vseh. Vsaj ne na vseh področjih. Verjetno je to razlog in vir raziskave neuspeha (posameznika in posledično družbe), to neuničljivo in nesmrtno tvorbo, ki nas kot naš neumorni sopotnik opominja na to, da je samo iluzija, samo produkt našega notranjega kritika.«

Brez naslova Untitled

“I never succeed. At least not entirely. At least not in everybody’s eyes. At least not in all domains. This is probably the reason and the source of the research on failure (individual and that of society), that indestructible and immortal occurrence, which reminds us as our tireless companion that it is merely an illusion, just a product of our inner critic.”

Produkcija študentov II. semestra Production of the 2nd semester students Predstava traja 30 minut in nima odmora. Running time 30 minutes. No interval.

Režiserka Director Nina Ramšak Dramaturg Dramaturg Žan Žveplan

Igrajo Cast Petja Petja Labović Maša Maša Grošelj Natakar Waiter Lara Vouk, Žan Koprivnik, Sara Dirnbek

2: Vaša kokakola. Na žalost nimamo sojinega mleka. Lahko prinesem kaj drugega? A gospa ne govori?  B: S  ej je rekla, da bo brez.  2: Brez. Brez.  2: Vaša kava s sojinim mlekom. Na žalost nimamo kokakole zero. Lahko prinesem kaj drugega? A gospod ne govori?  A: Sej je reku, da bo navadno.  2: Navadno. Navadno.

2: Y  our Coke. Unfortunately, we have no soymilk. May I bring something else? Is Madam not speaking? B: B  ut she said she’d have it without. 2: W  ithout. Without. 2: Y  our coffee with soymilk. Unfortunately, we have no Coke Zero. May I bring something else? Is the gentleman not speaking? A: B  ut he said he’d have regular. 2: R  egular. Regular.

AGRFT

23. 10. 2013 21.00 ŠTUK


AGRFT

Željko Stevanić

24. 10. 2013 17.00 AGRFT Ljubljana

Predstava ob jezeru: Via kolektiv Performance by the Lake: Via Collective

Produkcija študentov IV. semestra Production of the 4th semester students Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval. Premiera Première 12. 6. 2013 AGRFT Ljubljana

Režiser Director Tin Grabnar Dramaturginji Dramaturgs Eva Jagodic, Irina Lešnik Scenografa Stage designers Matic Gselman, Kaja Todorovič Kostumografa Costume designers Andrej Vrhovnik, Nina Šulin

Igrajo Cast Sara Gorše, Klara Kastelec, Matic Lukšič, Žan Perko

Sredi množice anonimnežev posameznik. Ga bo skupnost sprejela, mu sledila ali ga bo izvrgla? Se posamezni člen množice še odloča samostojno ali se zgolj odziva na širše valovanje? Kontradiktornost hkratne vere v individualizem in skupnost je fenomen sodobnega časa. Vanj se čudovito vklapljajo manipulatorji, karizmatični vodje, revolucionarji in idealisti. Nihče pa ne zna dokončno odgovoriti na vprašanje, ali posameznik uniči skupnost ali ta uniči posameznika …

An individual among the anonymous crowd. Will the community take him in, will it follow him, or will it expel him? Does the individual member of a community have the ability to decide independently or is he only responding to a more ample frequency? The contradiction of faith in both individualism and community is a modern-time phenomenon. It fits manipulators, charismatic leaders, revolutionaries, and idealists wondrously well. No one is able to give a final answer to the question whether the individual destroys the community or vice versa …

Mentorji Mentors: Dramska igra in gledališka režija Dramatic acting and theatre directing red. prof. Kristijan Muck Prof. izr. prof. mag. Sebastijan Horvat Associate Prof., M.A. Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assistant Prof., Ph.D. Scenografija Stage Design doc. mag. Jasna Vastl Assistant Prof., M.A. Kostumografija Costume Design izr. prof. Janja Korun Associate Prof. asist. mag. Tina Kolenik Assistant, M.A. Jezik in govor Language and Speech doc. dr. Katarina Podbevšek Assistant Professor, Ph.D. asist. mag. Nina Žavbi Milojević Assistant, M.A.

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Predstava ob jezeru: Po motivih simfonije št. 6 v h-molu, op. 54, Dmitrija Šostakoviča Performance by the Lake: Based on the Symphony No. 6 in B minor, Op. 54, by Dmitri Shostakovich Režiser Director Juš A. Zidar Dramaturginji Dramaturgs Anja Krušnik Cirnski, Alenka Mrakovčić Scenografa Stage designers Valentin Tribušon Ovsenik, Nika van Berkel Kostumografka Costume designer Mateja Fajt Avtorica glasbe Composer Alenka Mrakovčić Oblikovalec svetlobe Lighting designer David Orešič Trenerka mačke Cat coach Mia Zahariaš  Lastnica mačke Cat owner Mirka Nečak

Svet globalnih korporacij, svet potrošništva, svet industrijskega uniformiranja. Razvrednoten posameznik ohranja svoj eksistencialni smoter – davčno številko – svojo edino identiteto. La Grande Danse Macabre ali grozeč svet groteske ali Tisnikarjev svet mrtvecev, v katerem je mogoče celo živeti?

Produkcija študentov IV. semestra Production of the 4th semester students Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval.

Igrajo Cast Prvi First Gregor Prah Drugi Second Filip Samobor Tretja Third Anita Gregorec Violina Violin Matija Udovič Violina Violin Mojca Jerman Viola Viola Simona Skvarča Violončelo Violoncello Domen Hrastnik Mentorji Mentors: Dramska igra in gledališka režija Dramatic acting and theatre directing red. prof. Kristijan Muck Prof. izr. prof. mag. Sebastijan Horvat Associate Prof., M.A. Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assistant Prof., Ph.D. Zvok Sound izr. prof. Aldo Kumar Associate Prof. Scenografija Stage design doc. mag. Jasna Vastl Assistant Prof., M.A. Kostumografija Costume design izr. prof. Janja Korun Associate Prof. asist. mag. Tina Kolenik Assistant, M.A.

The world of global corporations, the world of consumerism, the world of industrial uniformity. A devalued individual preserves his existential purpose – the tax number – his only identity. La Grande Danse Macabre or the threatening world of the grotesque or Tisnikar’s world of corpses, where one may even live?

AGRFT

Željko Stevanić

24. 10. 2013 19.00 AGRFT Ljubljana


AGRFT

Željko Stevanić

24. 10. 2013 21.00 AGRFT Ljubljana

Predstava ob jezeru: Tik pred revolucijo Performance by the Lake: Right Before the Revolution

Produkcija študentov IV. semestra Production of the 4th semester students Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval.

Režiser Director Žiga Divjak Dramaturga Dramaturgs Matic Drakulić, Evelin Bizjak Scenografka Stage designer Tina Mohorović Kostumografka Costume designer Mateja Fajt Oblikovalec svetlobe Lighting designer David Orešič  Obdelovalec zvoka Sound processing Iztok Drabik Jug Avtor glasbe Author of music John Cage

Igrajo Cast Eva Jesenovec, Iztok Drabik Jug, Miranda Trnjanin, Tines Špik

Zaton mita prihodnosti. Vse, kar delamo, delamo za jutri, jutri pa nikoli ne pride. In ko vendarle pride, mu sledi novi jutri.

The decline of the myth of the future. Everything that we do we do for tomorrow; tomorrow, however, never arrives. And when it eventually arrives, a new tomorrow is already on its way.

Mentorji Mentors: Dramska igra in gledališka režija Dramatic acting and theatre directing red. prof. Kristijan Muck Prof. izr. prof. mag. Sebastijan Horvat Associate Prof., M.A. Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assistant Professor, Ph.D. Scenografija Stage design doc. mag. Jasna Vastl Assistant Professor, M.A. Kostumografija Costume design izr. prof. Janja Korun Associate Prof. asist. mag. Tina Kolenik Assistant, M.A.

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Albert Camus

Kaligula et al. Caligula et al. Prevajalec Translator Jaroslav Skrušný Režiserka Director Tjaša Črnigoj Dramaturginja in avtorica adaptacije Dramaturg and author of adaptation Ana Obreza Scenografka Stage designer Tanja Lozej Kostumograf Costume designer Andrej Vrhovnik Lektorica Language consultant doc. dr. Katarina Podbevšek Assistant Prof., Ph.D. Sodelavka za jezik uprizoritvenega besedila Language consultant for stage speech Maša Jazbec Skladatelja Composers Ram Cunta, Rok Velikonja Oblikovalec svetlobe Lighting designer Luka Curk

Kaligula et al. je zgodba o rimskem cesarju, ki sanja, da bi nemogoče postalo mogoče, ki sanja, da bi ujel Luno med dlani in da v ogledalu ne bi več videl sebe. Zdi se, da za vladarja celega sveta nobene sanje niso prevelike, saj Luna kmalu pristane v njegovih rokah, v ogledalu pa uzre odsev nekoga drugega ...

Produkcija študentov VIII. semestra Production of the 8th semester students Predstava traja 1 uro in 55 minut in nima odmora. Running time 1 hour and 55 minutes. No interval. Premiera Première 16. 6. 2013 Mini teater Ljubljana Igrajo Cast Kaligula Caligula Matija Rupel Kesonija Caesonia Lucija Tratnik Helikon Helicon Benjamin Krnetić Scipio Robert Korošec Kereja Cherea Rok Kravanja Metelij Metellus Lovro Finžgar Senekt Senectus Nejc Cijan Garlatti Lepid Lepidus Nik Škrlec Mentorji Mentors Dramska igra Dramatic acting red. prof. Jožica Avbelj Prof. Gledališka režija Theatre directing doc. Jernej Lorenci Assistant Prof. Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assistant Prof., Ph.D. Dramsko pisanje Playwriting doc. mag. Žanina Mirčevska Assistant Prof., M.A. Teorija gledališke režije Theory of theatre directing izr. prof. Janez Pipan Associate Prof. Scenografija Stage design doc. mag. Jasna Vastl Assistant Prof., M.A. Kostumografija Costume design izr. prof. Janja Korun Associate Prof. asist. mag. Tina Kolenik Assistant, M.A. Jezik in govor Language and speech doc. dr. Katarina Podbevšek Assistant Prof. Ph.D. doc. mag. Alida Bevk Assistant Prof., M.A. Gib in ples Movement and dance doc. mag. Uršula Teržan Assistant Prof., M.A.

Caligula et al. is a story of a Roman emperor who dreams of the impossible becoming possible; who dreams of catching the Moon between his palms and of ceasing to see himself in the mirror. It seems that no dream is too big for the ruler of the whole world as the Moon soon lands into his hands and the mirror shows the reflection of someone else ...

AGRFT

Željko Stevanić

25. 10. 2013 20.00 Mali oder


AGRFT

26. 10. 2013 21.30 Mali oder

Skušnja The Rehearsal

Magistrski program Oblike govora Master's Programme Forms of Speech Predstava traja 1 uro in 10 minut in nima odmora. Running time 1 hour and 10 minutes. No interval.

Nastopa Performer Darja Švajger Spremljava Accompanied by The Session band Mentorja Mentors Govor Speech izr. prof. Tomaž Gubenšek Associate Prof. Gledališko petje Theatre singing red. prof. Žarko Prinčič Prof.

The Rehearsal is conceptually conceived as a rehearsal before a concert, re-enacting a rehearsal of a singer with a band. It interweaves the concrete events prior to the concert as well as sung songs with spoken literary texts.

Skušnja (gledališka, glasbena vaja) je konceptualno zastavljena kot vaja pred koncertom. Uprizoritev ponazarja vajo, ki jo ima pevka z bendom. V njej se prepletata konkretno dogajanje pred koncertom in pete pesmi z govorjenimi literarnimi besedili.

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Razstava kostumografskih skic, fotografij in kostumov podiplomskih študentov oddelka za kostumografijo Exhibition of costume sketches, photos, and costumes of the Master's students of Costume Design Razstava kostumografskih skic, fotografij in kostumov za gledališke predstave, kratke filme in avtorske projekte, ki so nastali na AGRFT pod mentorstvom izr. prof. Janje Korun in asist. mag. Tine Kolenik, daje vpogled v izbrani segment študija, raziskovanja in ustvarjanja podiplomskih študentov na oddelku za kostumografijo.

Željko Stevanić

Razstavljajo Mateja Fajt, Klavdija Jeršinovec, Anja Kert, Tina Kolenik, Iris Kovačič, Rosana Knavs, Branka Pavlič, Tina Pavlović, Nina Šulin, Anja Ukovič, Andrej Vrhovnik

The exhibition of costume sketches, photos and costumes for theatre productions, short films, and original projects realised by Master's students of Costume Design at the Academy of Theatre, Radio, Film and Television under the mentorship of Associate Prof. Janja Korun and Assistant Tina Kolenik, M.A. offers an insight into the selected segment of their study, research, and creation. Exhibitors Mateja Fajt, Klavdija Jeršinovec, Anja Kert, Tina Kolenik, Iris Kovačič, Rosana Knavs, Branka Pavlič, Tina Pavlović, Nina Šulin, Anja Ukovič, Andrej Vrhovnik

AGRFT

18.–27. 10. 2013 Galerija K18


AGRFT

25. 10. 2013 15.00 Prvi oder – Prva gimnazija

Bralne uprizoritve dramskih besedil študentov Akademije za gledališče radio film in televizijo Staged readings of plays by students of the Academy of Theatre, Radio, Film and Television in Ljubljana V minulem semestru so študenti 1. in 2. letnika Akademije za gledališče, radio, film in televizijo na smereh Dramaturgija in scenske umetnosti ter Gledališka režija pod mentorstvom doc. mag. Žanine Mirčevske ustvarili nekaj desetminutnih izvirnih dramskih besedil (pri predmetu Osnove dramskega pisanja in scenaristike) in dramatizacij kratkih zgodb (pri predmetu Dramsko pisanje 1). Vsako besedilo obravnava različno temo in je napisano v samosvojem stilu in jeziku. Pet izbranih bodo na letošnjem Festivalu Borštnikovo srečanje predstavili kot bralne uprizoritve: • Padec, Sara Lucu (Gledališka režija, 1. letnik) • Fiona, Varja Hrvatin (Dramaturgija in scenske umetnosti, 1. letnik) • Zabava za rojstni dan, Pia Vatovc (Dramaturgija in scenske umetnosti, 1. letnik) • Prstan (po motivih zgodbe Prstan M. Vellerja), Iza Srehar (Dramaturgija in scenske umetnosti, 2. letnik) • Človek obsojen na srečo! (po motivih zgodbe Jubilejni deček Sergeja Dovlatova), Tin Grabnar (Gledališka režija, 2. letnik)

In the past semester, students of the first and second year from the departments of dramaturgy and performing arts, and theatre directing at AGRFT Ljubljana, have realised several 10-minute plays (as part of the course the Basic Elements of Playwriting and Screenwriting) and dramatisations of short stories (as part of the course Playwriting 1) under the mentorship of Assistant Prof Žanina Mirčevska. Each text deals with a different subject and is written in autonomous style and language. The five selected plays will be presented at this year’s Maribor Theatre Festival as staged readings: • T he Fall, Sara Lucu (Theatre Directing, 1st year) • Fiona, Varja Hrvatin (Dramaturgy and Performing Arts, 1st year) • Birthday Party, Pia Vatovc (Dramaturgy and Performing Arts, 1st year) • T he Ring (based on the story The Ring by M. Veller), Iza Srehar (Dramaturgy and Performing Arts, 2nd year) • A Man Doomed to Happiness! (based on the story Jubilee Boy by Sergey Dovlatov), Tin Grabnar (Theatre Directing, 2nd year)

25. 10. 2013 16.15 Prvi oder – Prva gimnazija

Bralne uprizoritve enodejank študentov dramaturgije iz Beograda, Ljubljane, Skopja in Zagreba Staged readings of one-act plays by students of Dramaturgy from Belgrade, Ljubljana, Skopje, and Zagreb Na pobudo profesorice dramskega pisanja na Akademiji za gledališče, radio, film in televizijo v Ljubljani doc. mag. Žanine Mirčevske so pozvali akademije dramskih umetnosti v Zagrebu, Beogradu in Skopju, da njihovi študentje dramaturgije napišejo kratka dramska besedila, ki bi jih nato v izvedbi študentov AGRFT Ljubljana bralno uprizorili na letošnjem Festivalu Borštnikovo srečanje. Na razpisani natečaj je prispelo 12 v minulem semestru napisanih dramskih besedil. S strinjanjem ostalih mentorjev je Žanina Mirčevska za bralne uprizoritve izbrala naslednja štiri: 1. Oproštaj, Borna Vujčić (ADU Zagreb; mentorja: izr. prof. Lada Kaštelan in doc. Tomislav Zajec) 2. Rashlebljenje, Strahinja Madžarević (FDU Beograd; mentor: red. prof. Stevan Koprivica) 3. Jane Sorensen, Angel Veljanovski (ESRA Skopje; mentorica: doc. mag. Zagorka Pop-Antoska Andovska) 4. Ne moreš spati, mali medo?, Urška Sajko (AGRFT Ljubljana; mentorica: doc. mag. Žanina Mirčevska) 88 89

Following the initiative of Assistant Professor of Playwriting at the Ljubljana AGRFT, Žanina Mirčevska; the Academies of Dramatic Arts in Zagreb, Beograd and Skopje were invited to have their students of dramaturgy write short plays, which would be directed and performed by the students of AGRFT Ljubljana during this year’s Maribor Theatre Festival. Twelve plays written in the past semester have applied for the competition. In accordance with other mentors, Žanina Mirčevska has selected the following four plays: 1. Farewell, Borna Vujčić (ADU Zagreb; mentor: Associate Prof. Lada Kaštelan and Assistant Prof. Tomislav Zajec) 2. Unbreading, Strahinja Madžarević (FDU Beograd; mentor: Prof. Stevan Koprivica) 3. Jane Sorensen, Angel Veljanovski (ESRA Skopje; mentor: Assistant Prof. Zagorka Pop-Antoska Andovska, M.A.) 4. Can’t You Sleep, Little Bear? Urška Sajko (AGRFT Ljubljana; mentor: Assistant Prof. Žanina Mirčevska, M.A)


26. 10. 2013 10.00–18.00 Prvi oder – Prva gimnazija

AGRFT

Instant drama/predstava Instant Play/Performance Delavnica dramskega pisanja v organizaciji Festivala Borštnikovo srečanje v sodelovanju s Prvo gimnazijo Maribor in AGRFT Ljubljana

Playwriting Workshop organised by Maribor Theatre Festival in collaboration with the First Grammar School Maribor and AGRFT Ljubljana

Pod okriljem FBS bo v sodelovanju Prve gimnazije Maribor in AGRFT Ljubljana organizirana prav posebna enodnevna delavnica dramskega pisanja. Na njej bodo dijaki Prve gimnazije Maribor pod mentorstvom doc. mag. Žanine Mirčevske napisali kratek dramski tekst, ki ga bodo takoj zatem študentje AGRFT igralsko uprizorili pred publiko. Tema, dramska struktura, dialog in zvrst dramskega besedila ne bodo določeni vnaprej, pač pa se bodo razvijali med delovnim procesom. Dogodek je poimenovan »instant drama/predstava«, kajti vse bo nasta(ja) lo v enem dnevu, med 10. in 18. uro. Ta eksperimentalna delavnica bo pravzaprav kratek seminar dramskega pisanja z namenom spodbujati kreativnost mladih ustvarjalcev in obenem predstaviti moč te kreativnosti.

A very special one-day workshop of playwriting will be organised under the auspices of the Maribor Theatre Festival and AGRFT Ljubljana. It will host students of the First Grammar School Maribor who will write a short text under the mentorship of Assistant Prof. Žanina Mirčevska. The text will be immediately staged in front of an audience by students of AGRFT. The subject, dramatic structure, dialogue, and the type of play will not be determined beforehand but will be developed during the working process. The event is named “Instant Play/Performance” as it will be created all in one day, in eight hours, from 10 a.m. to 6 p.m.. This experimental workshop will actually be a short seminar in playwriting with the aim to instigate creativity of young talented people and at the same time to present the power of that creativity.


Nizozemski fokus Dutch Focus


21.–23. 10. 2013 15.00 Prvi oder — Prva gimnazija

Sodobna nizozemska drama

Fokus 48. Festivala Borštnikovo srečanje se letos posveča sodobni nizozemski dramatiki in gledališču. Ob tej priložnosti smo izdali knjigo Sodobna nizozemska drama, v kateri so objavljene štiri drame po izboru Lucie van Heteren, profesorice gledaliških študij na oddelku za umetnost, kulturo in medije univerze v Groningenu, in Nieka vom Brucha, vodja gledališkega oddelka fondacije Fonds Podiumkunsten iz Amsterdama v sodelovanju z Aljo Predan, umetniško direktorico Festivala Borštnikovo srečanje.

This year’s Focus section of the 48th Maribor Theatre Festival is dedicated to contemporary Dutch dramatic literature and theatre. On this occasion, we have published the book Contemporary Dutch Drama featuring four plays selected by Lucia van Heteren, professor of Theatre Studies at the Department of Arts, Culture and Media of the University of Groningen, and Niek vom Bruchter, head of the Theatre Department of the foundation Fonds Podiumkunsten from Amsterdam, in collaboration with Alja Predan, artistic director of the Maribor Theatre Festival.

Predstavitev knjige in uvodno predavanje Lucie van Heteren o sodobnem nizozemskem gledališču in drami bo v ponedeljek, 21. oktobra 2013 na Prvem odru Prve gimnazije Maribor, prav tako tudi prva bralna uprizoritev drame Freetown (avtor Rob de Graaf) v izvedbi študentov AGRFT pod mentorstvom režiserke Yulie Roschina. Bralni uprizoritvi sledi pogovor z avtorjem. V torek, 22. oktobra, se Nizozemski fokus nadaljuje z bralnima uprizoritvama besedil Dolgoročne posledice kratke izjave (Magne van den Berg) in Leto šlagerja (Rik van den Bos) ter pogovorom z dramatikoma. V sredo, 23. oktobra, sledi bralna uprizoritev drame Četrti rajh (Peer Wittenbols) in pogovor z avtorjem ter zaključno predavanje o nizozemskem gledališkem sistemu Nieka vom Brucha.

On Monday, 21 October 2013, on the First Stage of the First Grammar School in Maribor, we will present the book and the introductory lecture by Lucie van Heteren on contemporary Dutch theatre and drama as well as the first staged reading of the play Freetown (by Rob de Graaf) performed by students of the Academy of Theatre, Radio, Film and Television in Ljubljana under the mentorship of director Yulie Roschina. Staged readings continue on Tuesday, 22 October 2013, with another two dedicated to the plays : The Long-term Consequences of a Short Statement (Magne van den Berg) and The Year of Evergreens (Rik van den Bos) followed by conversations with the playwrights. n Wednesday, 23 October 2013, the final event in this series will take place, with a reading of the play The Fourth Reich (Peer Wittenbols), a conversation with the author, and the concluding lecture on the Dutch theatre system by Niek vom Bruch will take place.

V okviru Nizozemskega fokusa bosta gostovali uprizoritvi Človeški glas v režiji Iva van Hoveja in mlada performerka Naomi Velissariou z uprizoritvijo Mr Jones.

The Dutch Focus will also host the productions The Human Voice, directed by Ivo van Hove, and Mr Jones, by the young performer Naomi Velissariou.


Pičimo mi po svoje! We’re stingin’ and rollin’ our own way! Povod za to, da smo letos v žarišče vzeli Nizozemsko, je bil lanskoletni pogovor s teatrologom Arthurjem Sonnenom, ko je bil član mednarodne žirije na Festivalu Borštnikovo srečanje. Nizozemska je dolgo veljala za kulturni in strukturni zgled mnogim drugim evropskim državam. Z neodgovornimi, pavšalnimi in nepremišljenimi potezami je podlegla stampedu neoliberalnega masakra, katerega posledice so danes še nepredstavljive, bodo pa dolgoročne in uničujoče.

Last year’s conversation with Arthur Sonnen, a member of the international jury of the Maribor Theatre Festival, prompted this year’s Dutch Focus. For a long time, the Netherlands served as an example to many other European countries in terms of its culture and infrastructure. However, irresponsible, superficial, and reckless moves made it succumb to the stampede of the neoliberal massacre, the consequences of which are still inconceivable, but one thing is certain: they are causing long-term devastation.

Predstavitev trenutnega stanja nizozemske gledališke scene, ki je v zadnjem letu ukinila vrsto večjih gledaliških ansamblov in še daljšo vrsto neodvisnih produkcijskih hiš ter po skoraj sto letih etablirani Gledališki inštitut (ki ga je svoj čas več kot uspešno vodil legendarni in karizmatični kolega dr. Dragan Klaić), bo nemara skromen doprinos k temu, da se še lahko pravočasno izognemo pastem in čerem kapitalsko in tržno usmerjenega in vseprisotnega duha časa (če nas bo seveda kdo slišal!). Za zdaj smo pri nas še zmerom na varnem bregu reke, kar opažajo tudi mnogi tujci. Če se tudi na kulturnem področju pustimo potisniti pod slap tržne logike in ekonomističnega blefa, bomo za zmerom potopljeni.1*

The presentation of the current state of affairs on the Dutch theatre scene, marked by recent closures of a number of larger theatre ensembles and an even greater number of independent production houses as well as the termination of the almost hundredyear-old renowned Theatre Institute (which was at the time led successfully by the legendary and charismatic colleague Dragan Klaić), will perhaps be a modest contribution to timely avoiding the traps and obstacles of the capitalistic market-oriented and omnipresent spirit of the time (if of course someone listens to us!). At home we are, for the time being, still on the safe side of the river – a fact that many foreigners recognise. If the cultural field allows us to be suppressed under the waterfall of market logic and economy bluff, we will be drowned forever. Lucia van Heteren, co-selector of the Dutch Focus and co-editor of the book Contemporary Dutch Drama, will talk about contemporary Dutch theatre. The selection features works of four contemporary Dutch dramatists of three different generations: Rob de Graaf (b. 1952), Magne van den Berg (b. 1967), Peer Wittenbols (b. 1965), and Rik van den Bos (b. 1982). Aside from the phenomena of post-dramatic development, the selected authors represent that segment of creators who, in the year 2013, still understand the dramatic text as an important carrier of meaning in theatre.

O sodobnem nizozemskem gledališču bo spregovorila Lucia van Heteren, soavtorica izbora in sourednica knjige Sodobna nizozemska drama. Izbor predstavlja dela štirih sodobnih nizozemskih dramatikov treh različnih generacij: Roba de Graafa (1952), Magne van den Berg (1967), Peera Wittenbolsa (1965) in Rika van den Bosa (1982). Ob vseh različnih fenomenih postdramskega razvoja izbrani avtorji zastopajo tisti del ustvarjalcev, ki leta 2013 še vedno pojmujejo besedilo kot pomemben nosilec pomena v gledališču.

Rob de Graaf is a politically and socially engaged author and one of the most performed Dutch dramatists. He is insolent in his scrutinising of social themes and with that remains faithful to his generation of the 1960s for which social engagement was an absolute order. Peer Wittenbols is also an outstandingly prolific author, especially interesting style-wise, as he writes some of his pieces in a very sparing language and others in an opulent one. He most often deals with dysfunctional

Rob de Graaf je politično in družbeno angažiran avtor in eden najbolj uprizarjanih nizozemskih dramatikov. Drzno pretresa družbene teme in s tem ostaja zavezan svoji generaciji šestdesetih let, ko je bil družbeni angažma absolutna zapoved. Tudi Peer Wittenbols je izjemno ploden ustvarjalec in zlasti slogovno zanimiv, 1 * Zgodovino nenazadnje pišemo kulturniki in znanstveniki. Ekonomisti jo radirajo.

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saj se v določenih delih odloča za zelo skop, v drugih za razkošen jezik. Disfunkcionalni medčloveški odnosi so njegova pogosta snov in tudi osnovna tema objavljene drame. Tudi opus Magne van den Berg zaznamuje ​​ prepoznaven slog. Moč njenega dela je v omejevanju jezika: z minimalnimi jezikovnimi sredstvi skuša doseči maksimalne učinke. Govori o absurdnosti vsakdanjega življenja in jo skozi tragikomične situacije razvija v humornih prizorih, pri čemer tragično pogosto prevlada nad komičnim. Tudi večina del izjemno talentiranega mladega Rika van den Bosa so tragikomedije. Avtor uporablja klasično strukturo, v kateri zaplet, zgodba in dejanje junakov igrajo zelo pomembno vlogo, vendar se dostikrat bliža absurdu. S trenutnim sistemom na področju uprizoritvenih umetnosti in spremembah, ki so se zgodile v zadnjem letu, nas bo seznanil teatrolog Niek vom Bruch, odgovoren za področje uprizoritvenih umetnosti pri eni od osrednjih državnih kulturnih fondacij Fonds Podiumkunsten. Svojevrsten uvid v nizozemsko gledališko produkcijo bomo dobili z obema ženskima monodramama: Človeški glas v produkciji izvoznega mainstream gledališča Toneelgroep Amsterdam z igralsko zvezdo Halino Rejin in v režiji slavnega Iva van Hoveja ter vzhajajočo nadarjeno performerko Naomi Velissariou, ki je skupaj z Rikom van den Bosom napisala scenarij za svoj mononastop Mr Jones v produkciji izvrstnega neodvisnega amsterdamskega gledališča Frascati. Alja Predan

human relations are most often the fundament and the basic theme of the published play. The opus of Magne van den Berg is also marked with a recognisable style. The power of her work is in the limitation of language: she strives to attain maximal effect with minimal language means. She speaks of the absurdity of everyday life and develops humorous scenes through tragicomic situations, where the tragic often prevails over the comic. The majority of works of the young Rik van den Bos are also tragicomedies. The author uses the classical structure in which the plot, the narrative, and the action of the characters play a significant role yet frequently come close to the absurd. Theatre expert Niek vom Bruch will acquaint us with the actual system in the field of performing arts and the changes that have taken place over the past few years. Bruch is responsible for the field of performing arts within one of the central state cultural foundations Fonds Podiumkunsten. A special insight into the Dutch theatre production will be offered through two female monodramas: The Human Voice produced by the export mainstream theatre Toneelgroep Amsterdam with the acclaimed actress Halina Rejin and directed by the famous Ivo van Hove, and the rising star, performer Naomi Velissariou, who wrote a script together with Rik van den Bos for her mono-performance Mr Jones, produced by the outstanding independent Amsterdam theatre Frascati Producties. Alja Predan


Strokovna sreÄ?anja, razstave in ĹĄe ... Discussions, exhibitions and more ...


18. 10. 2013 19.00 Preddverje Stare dvorane FOyer of the old hall

na fotografiji on the photo Taras Kermauner, Peter Božič, Marjan Kovač | Arhiv SGM

Vinjeta za Petra A Vignette for Peter Razstava ob 80. obletnici rojstva pisatelja in dramatika Petra Božiča Danes Petra Božiča (30. december 1932–10. julij 2009), zagotovo eno najpomembnejših in najmarkantnejših oseb v slovenski kulturi in družbi v drugi polovici 20. stoletja, uziramo kot književnika, upornika, premišljevalca, kulturnika s srcem in dušo. Njegov svet je bil prepoln premišljevanj, uporništva, vizionarstva, družbenega aktivizma, zagotovo pa najbolj zaznamovan z njegovimi kulturnimi in gledališkimi manifesti, ki jih je nenehno zapisoval, izrekal, saj se je zavedal, da kultura mora imeti svojo avtonomijo. In najbrž jo je v preteklem stoletju imela bolj zares kot dandanes, morebiti celo bolj neodvisno zazrto v prihodnost in v intelektualno svobodo. Pomenila je alternativo in bila z vsebinsko in umetnostno miselno naravnanostjo ter neobremenjenostjo temelj izražanja z demokratičnejšimi prvinami prežete drže posameznika. Ne smemo pozabiti na Božičevo jasno izraženo misel, da je »umetnost edini prostor absolutne svobode«, saj ima »umetnost čisto pozicijo; avtopoetika umetnosti je tisto bistvo, ki opredeljuje vsakega avtorja, ki tudi jasno izrisuje njegovo razpoznavnost in vsebinsko fiziognomijo«, prav tako ne na objavo njegovega sredi sedemdesetih let napisanega pisma Ivanu Cankarju o svojem otroško-najstniškem doživljanju »uspešnega« drugega svetovnega klanja ter o izgubi vere v ideale in vrednote, v pravičnejši svet absolutne resnice, svobode, ljubezni, »ko svoje življenje žrtvuješ za te ideale in ko se z odpovedjo predaš zveličanemu trpljenju« … (Besedilo povzeto po Mojci Kreft)  Razstavo sta pripravili Narodna in univerzitetna knjižnica in Mestna občina Ljubljana. Avtorici razstave: dr. Ines Vodopivec in Maša Kodrič Postavitev gradiva: Center za ohranjanje knjižničnega gradiva NUK, Marjan Rus in Marko Dolničar Fotografije: Arhiv SGM

An exhibition on the occasion of the 80th anniversary of the birth of the writer and playwright Peter Božič Today we see Peter Božič (30 December 1932–10 July 2009) – certainly one of the most important and prominent figures (and occurrences) in Slovenian culture and society of the second half of the 20th century – as a writer, rebel, thinker, and cultural worker with his heart and soul. His world was full of reflections, revolt, visionary work, and social activism but it was unquestionably marked most by the cultural and theatre manifestos that he incessantly wrote down and proclaimed, as he realised that culture had to have its autonomy. And in all probability culture did have much more autonomy in the past century than nowadays, perhaps with an even more independent gaze into the future and into intellectual freedom. It meant an unburdened alternative that with its content and artistic reflexive disposition lay foundation for the expression of the individual stance permeated with more democratic elements. We should not forget Božič’s clearly expressed thought that “art is the sole space of absolute freedom” since “art has a clear position; the autopoetics of art is the essence that defines each author, at once lucidly outlining his recognisability and the content physiognomy” (conversation with Vladimir Gajški, 2002). We should also not forget the publishing of his letter to Ivan Cankar, written in the mid-1970s, on his childhood-teenage experience of the “successful” second world slaughter and the loss of faith in ideals and values, in the more righteous world of absolute truth, freedom, love, “when you sacrifice your life for those ideals and when by renouncing them you surrender yourself to the redeeming suffering” … (Summary of a text by Mojca Kreft)  The exhibition was prepared by the National and University Library and the Municipality of Ljubljana. Authors of exhibition: Ines Vodopivec, Ph.D., and Maša Kodrič Material setup: Centre for the Preservation of Library Material NUK, Marjan Rus and Marko Dolničar Photo: National Theatre Museum of Slovenia Archive


Barbara barbara čeferin čeferin

24. 10. 2013 17.00 Komorni oder

E-razstava Festival Borštnikovo srečanje 2012 Maribor Theatre Festival 2012 E-xhibition Virtualna razstava v izvedbi Festivala Borštnikovo srečanje, Mestnega gledališča ljubljanskega, Novega ZATO., Slovenskega gledališkega muzeja in SNG Drama Ljubljana

A virtual exhibition realised by the Maribor Theatre Festival, the Ljubljana City Theatre, Novi ZATO. Institute, the National Theatre Museum of Slovenia and the Slovene National Theatre Drama Ljubljana

»Samo med revolucijo se pojavi nekaj, kar je podobno tej bližnji povezanosti med ljudmi. Gledalci niso nikoli tako solidarni, tako tesno povezani med sabo kakor med kratko uro ali dvema, ko traja predstava,« je o fenomenu teatra zapisal Jovan Hristić. Verjetno je prav v skupnem doživljanju, enosti publike in v njeni interakciji z igralci največji čar gledališča. A prav ta zdajšnjost predstave je tudi vzrok, da je gledališče od vseh umetnosti najbolj zapisano pozabi. Če si lahko sliko, kip ali film čez čas znova ogledamo in glasbo znova poslušamo, nam po predstavi ostanejo le posredni zapisi, pričevanja – skice, zabeležke, fotografije, kritiški zapisi, gledališki listi, avdio in video posnetki ... Ti sicer ne morejo poustvariti vzdušja v avditoriju in neponovljivosti igralčeve interpretacije, lahko pa obudijo v nas spomin in razmislek.

“It is only amid the revolution that something similar occurs to that kind of bonding between people. Spectators are never so sympathetic, so closely connected to each other as they are during that fleeting hour or two during the performance”, Jovan Hristić wrote about the phenomenon of theatre. It is most probably the common experience, the oneness of the audience and its interaction, which represents the greatest magic of theatre. Yet this nowness of the performance is also the reason for which theatre out of all arts is the least prone to recorded memory. Whereas we may repeatedly view a painting, a sculpture, or a movie or hear the music over and again, what we are left with after a performance are just vicarious records, testimonies – sketches, notes, photos, critical reviews, theatre programmes, audio or video recordings … And none of those can reproduce the atmosphere in the auditorium and the uniqueness of actor’s interpretation. What it can do though is to evoke our memory and reflection.

In prav temu je namenjena naša razstava – z njo želimo dokumentirati najvišje dosežke slovenskega gledališča in igralstva, jih iztrgati pozabi ter jih preko svetovnega spleta približati čim širšemu krogu obiskovalcev.

This is the aim of our first exhibition – with it we want to document the greatest achievements of Slovene theatre and playhouse, save them from

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boštjan lah

Na e-razstavi Festival Borštnikovo srečanje 2012 predstavljamo Igorja Samoborja, lanskoletnega prejemnika Borštnikovega prstana, in predstavo Nevihta, ki je prejela veliko nagrado FBS za najboljšo uprizoritev. In čeprav virtualno razstavo s tem naslovom pripravljamo prvič, »pilotsko«, že sedaj načrtujemo njeno nadaljevanje; vsako leto bi jo radi dopolnjevali, tako da bi postala neločljivi del FBS oz. slovenskih gledaliških institucij in zavodov. Morda jo bomo sčasoma razširili še na druge festivalske nagrade ter – če nam bosta sreča in ministrstvo mila – postopoma dodali tudi nekdanje nagrajence in nagrajene uprizoritve. Razstava je od 24. oktobra 2013 dostopna na portalu www.sigledal.org in na spletnih straneh sodelujočih institucij. Vodja projekta Samo M. Strelec (Novi ZATO.) Kustosinja razstave Tea Rogelj (SGM) Računalniška zasnova Gregor Matevc (Novi ZATO.) Pri razstavi sodelujejo: Alenka Klabus Vesel (MGL), Mojca Kranjc (SNG Drama Ljubljana), Špela Lešnik (FBS), Tamara Matevc (Novi ZATO.), Tone Stojko (PRODOK TEATER TV in Društvo za ohranjanje gledališke dediščine Ljubljana), Daša Šprinčnik (FBS)

oblivion and bring them closer to a wider range of audiences through the World Wide Web. The Maribor Theatre Festival 2012 e-xhibition features Igor Samobor, last year’s laureate of the lifetime achievement award the Borštnik Ring, and The Storm, which was awarded the Maribor Theatre Festival Grand Prix for best production. Although we are preparing for the first time a virtual exhibition and this is a “pilot project”, we are already planning its sequel. We would like to add new features each year so that it would eventually become an inseparable part of the Maribor Theatre Festival, that is, of Slovenian theatre institutions and associations. Perhaps in time we can expand it to other festival awards and – if we are fancied by luck and the Ministry – gradually add also the past laureates and previously awarded productions. The exhibition is accessible from 24 October 2013 at www.sigledal.org and on the websites of the participating institutions. Project Leader Samo M. Strelec (Novi ZATO.) Curator of the Exhibition Tea Rogelj (National Theatre Museum of Slovenia) Computer Programming Gregor Matevc (Novi ZATO.) Project collaborators: Alenka Klabus Vesel (Ljubljana City Theatre), Mojca Kranjc (Slovene National Theatre Drama Ljubljana), Špela Lešnik (Maribor Theatre Festival), Tamara Matevc (Novi ZATO.), Tone Stojko (PRODOK TEATER TV and Ljubljana Society for the Preservation of Theatre Heritage), Daša Šprinčnik (Maribor Theatre Festival).


19. 10. 2013 10.00 Dvorana A. Trstenjaka, rektorat UM

Koncepti, terminologija, ideje Concepts, terminology, ideas Konferenca v organizaciji Društva gledaliških kritikov in teatrologov Slovenije (DGKTS) v sodelovanju s Festivalom Borštnikovo srečanje

Conference organised by the Association of Theatre Critics and Researchers of Slovenia (DGKTS) in collaboration with Maribor Theatre Festival

Tradicionalno gledališče in sodobne uprizoritvene umetnosti spadajo med bolj angažirane oblike umetniškega izraza, saj si vselej, ne glede na vrsto, prizadevajo čim bolj natančno komentirati živeto resničnost. Običajno si umetnost prva utre pot na še konceptualno neznana področja, kjer tradicionalni pojmi pri teoretičnem razmisleku ne morejo biti več v veliko pomoč. Zato je namen konference pregled konceptualnih zagat in terminoloških razhajanj, s katerimi se danes spopadata sodobni slovenski uprizoritveni teorija in praksa.

Traditional theatre and contemporary performing arts belong to the more engaged forms of artistic expression as they always strive to comment the lived reality as precisely as possible regardless of the genre. Art is usually the first to pave the way to the yet conceptually unknown domains where traditional notions cannot be anymore of great help to theoretical reflection. It is therefore the aim of the conference to make an overview of the conceptual quagmires and terminological divergences against which contemporary Slovenian performing arts theory and practice are fighting today.

Tudi uprizoritvene dejavnosti so namreč že dodobra vstopile v drugo desetletje 21. stoletja, vendar, kot je videti, brez ustrezne teoretske podlage in zavedanja sprememb, do katerih prihaja na današnjem tako praktičnem (odrskem) kot tudi teoretičnem nivoju. Spremembe uprizoritvenih praks, tudi tematskih področij, vzbujajo dvome v ustreznost izrazov, ki so jih še včeraj določali v svetu in pri nas: so torej ti še vedno aktualni? So morda v desetletju ali dveh pridobili drugačne pomene, so postali že popolnoma zastareli? Kako, če sploh, si z njimi lahko pri svojem delu pomagajo praktiki in kako kritiki, teoretiki?

Performance activities are also well on their way into the second decade of the 21st century yet apparently without a proper theoretical basis and without being aware of the changes happening both on today’s practical (stage) and theoretical levels. Changes in performing practices as well as in thematic scopes raise doubts about the suitability of terms until recently devised both at home and abroad: are they still relevant? Did they perhaps acquire new meanings in the past decade or two or even became completely obsolete? How – if at all – can practitioners, critics, and theoreticians use them in their work?

Prispevki na konferenci bodo skušali proučiti tako zgodovino kot aktualnost in (kon)tekste konceptov, terminov in idej v sodobnem gledališču in drugih uprizoritvenih praksah ter njihovo uporabnost v današnjih družbenih in umetnostnih razmerah. Gre za vprašanja kot na primer trenutno stanje postdramskega gledališča, uprizoritvenih študij, razmerja med pojmi, kot so teatraličnost, gledališkost, performativnost, smeri premikov sodobnih uprizoritvenih praks itd. Seveda ni pričakovati, da bi bilo na podlagi rezultatov konference mogoče poenotiti slovensko terminologijo sodobnih uprizoritvenih dejavnosti ali vzpostaviti smernice za njihovo nadaljnjo uporabo, vseeno pa je upati, da se bodo s predstavitvijo različnih naziranj in pogledov nakazali konceptualni in terminološki premiki ter ključne razvojne smernice sodobnega gledališča.

The contributions at the conference will try to examine both the historical and the current state of affairs as well as the (con)texts of concepts, terms, and ideas in contemporary theatre and other performing practices and their usability in today’s social and artistic conditions. They will raise questions such as the current state of postdramatic theatre and performative studies, the relation between terms like theatricality and performativity, the directions of shift of contemporary performative practices, etc. It is certainly not to be expected that the results of the conference will bring about the unification of the Slovenian terminology of contemporary performance activities or establish guidelines for their further usage. Still we do hope that the presentation of different viewpoints and opinions will indicate the conceptual and terminological shifts as well as crucial directions of development in contemporary theatre.

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24. 10. 2013 11.00 kibla

O: MIZA EX:pert Table Strokovna razprava o medijih in kulturi v organizaciji Festivala Borštnikovo srečanje

An expert debate on media and culture organised by the Maribor Theatre Festival

Vzgib za strokovno razpravo izvira iz minulega delovanja znotraj medijskega ustroja, kulturne politike, kulturnih institucij (neodvisnih in javnih zavodov) in dejstva, da so kulturne vsebine kot take čedalje manj (re)prezentirane znotraj slovenskih medijev. Položaj znotraj evropskega in svetovnega medijskega prostora ni nič drugačen. Vprašanje, ki se ob tem zastavlja, je, kdaj, kje in predvsem kako smo do te situacije prišli, oz. kje smo kot družba zgrešili zastavljeni cilj o kontinuiranem, poglobljenem, sprotnem in analitičnem poročanju o dogodkih na področju kulture, ali povedano še drugače, kdaj nas je (kulturna?) politika prisilila v dane razmere. Ali, če si zastavimo ključno vprašanje: kdaj smo kot družba na te okoliščine pristali? Pri čemer kot družbo v tem primeru razumemo umetnike, vsakovrstne ustvarjalce na kulturnem področju in novinarje v kulturnih redakcijah, ki pa jih je na žalost iz dneva v dan manj.

The incentive for this debate springs out of the recent activities within the media machine, cultural politics, cultural institutions (independent as well as public ones) and the fact that cultural content as such is increasingly less (re)presented in Slovenian media. The situation is no different when it comes to the European and world media space. The questions that inevitably occur are when, where and, most of all, how did we arrive at this situation; that is, where did we miss as a society the projected aim to report continually, analytically, in-depth and in parallel on events in the field of culture or, to put it differently, when did (cultural?) politics force us into the given circumstances? Or, to pose the crucial question: when did we as society comply with those circumstances? When we speak about society, we think both of artists, creative people of all kinds in the field of culture, and journalists who are increasingly less employed in cultural sections if those still exist at all.

Današnji čas je za centralne oblike medijev zelo kritičen, a po drugi strani odpira možnosti alternativnih, drugačnih pristopov medijskega ustvarjanja. Živimo v času medijske konvergence, ki je popolnoma uzurpirala tradicionalne, preverjene medijske pristope/metode in nam ponudila večdimenzionalni koncept, ki referira na polje možnosti povezovanja in interaktivnosti med medijsko tehnologijo, mediji, lokacijami (facebook, twitter itn.), uporabniki in nenazadnje tehničnimi proizvodi (pametni telefoni itn.). Zaslediti je tudi izjemno popularizacijo medijske kulture. Namen strokovne razprave je ugotoviti ali pa vsaj odstreti, skušati razumeti nezavidljiv položaj novinarjev in institucij, ki se vsakodnevno srečujejo in ukvarjajo s kulturo, in poiskati potencialne rešitve. Je tradicionalno, zgodovinsko preverjeno novinarstvo še mogoče? Kako doseči, da se komercializacija ne bo zgodila oz. nadaljevala prav skozi kulturno-medijski prostor? Področje umetnosti, kulture je bilo od nekdaj področje ustvarjalnosti, svežih idej/inovacij, in sicer tako znotraj kulturnega kot medijskega prostora. Toda vse to se je nekako izgubilo. Čas je, da se izgubljeno poišče in se skozi kulturnomedijski prostor ponovno vzpostavi in uresniči.

We live in a time in which central forms of media are in extreme crisis. On the other hand, possibilities for alternative approaches of media creation are constantly emerging. This is also a time of media convergence that has completely usurped the traditional and established media approaches/methods offering us a multidimensional concept, which refers to the field of possibilities of connectivity and interactivity between media technology, media, locations (Facebook, Twitter, etc.), users, and technical products (smartphones, etc.). We can also perceive the extraordinary popularity of media culture. The aim of the event is to find out or to at least try to understand the position of journalists and institutions that deal on an everyday basis with culture and to seek potential solutions. Is the traditional and historically-confirmed journalism still possible? Where does the border lie which will prevent commercialisation in its worst capitalist, neoliberal – and some other verbal connotative trappings – form, that is, prevent its continuation through the cultural and media space? From times immemorial the space of art and culture has been a space for creative and fresh ideas/innovations, whether it applies to creation within cultural or media space. All that was inscribed was lost somewhere on the way. It is time for the inscription to remain inscribed and to re-establish it and carry it through the cultural-media space.


25. 10. 2013 15.00 Kazinska dvorana

Od odra do arhiva From Stage to Archive Mednarodna strokovna konferenca o gledaliških arhivih v organizaciji Centra za teatrologijo in filmologijo UL AGRFT in Festivala Borštnikovo srečanje Strokovna konferenca Od odra do arhiva bo poskušala odgovoriti na nekaj ključnih vprašanj, povezanih z arhiviranjem in dokumentiranjem slovenske gledališke dediščine, in sicer: • Kateri so konkretni strokovni problemi pri delu s slovensko gledališko dediščino in se kažejo na njeni poti »od odra do arhiva« (npr. zavest o pomenu gledališke dokumentacije gledaliških uprav, pomanjkanje enotne baze, dostopnost podatkov, usklajena terminologija, usposabljanje strokovnih sodelavcev, profesionalizacija strokovnega arhivskega dela, prostorski pogoji hranjenja, tehnologija zaščite, ustrezno varovanje izvirnikov, kadar je gradivo v neposredni uporabi, različne oblike sodelovanja med gledališči, z lokalnim okoljem ipd.)? • Kako dvigniti delo gledaliških arhivov, ki v veliki večini delujejo v sklopu gledališč, Slovenskega gledališkega muzeja, CTF in praviloma niso del mreže slovenskih arhivov oz. muzejev, na višjo raven? • Bi bilo potrebno delovanje arhivov »centralizirati«, torej usmeriti oz. ga voditi iz centra, kakršen bi lahko bil (še neobstoječi) gledališki inštitut? • Kako delovanje arhivov digitalizirati in ugotoviti kakšni problemi se pojavljajo pri tem (skladnost s standardi EU, avtorske pravice, tehnološke možnosti, financiranje, kadrovski problemi, vpetost v skupno mrežo, povezano s sorodnimi mrežami v tujini)? • Kakšna vse je lahko vloga gledališkega arhiva, ki pogosto ne ostaja v procesu »muzealizacije«, pri kroženju arhivskega gradiva, ki je živ organizem in se lahko manifestira kot konstrukcija novega gledališkega dogodka? • Kako dejavno oz. še bolj prispevati k raziskovalni, pedagoški, umetniški, informativni, promocijski uporabi arhiva in njegovega gradiva? Na konferenci bodo sodelovali vabljeni tuji in domači strokovnjaki z različnih področij: Vladislava Fekete (Gledališki inštitut Bratislava), dr. Martina Petranović (HAZU, oddelek za zgodovino hrvaškega gledališča), dr. Ksenija Radulović (Muzej gledališke umetnosti Srbije), dr. Bojan Himmerleich (Zgodovinski arhiv Celje), Matjaž Loboda (Lutkovno gledališče Ljubljana), Simona Ješelnik (CTF UL AGRFT), Samo M. Strelec (SiGledal.org) in Štefan Vevar (Slovenski gledališki muzej).

An international conference on theatre archives organised by the Centre for Theatre Studies and Filmology (CTF) at the Academy of Theatre, Radio, Film and Television at the University of Ljubljana and the Maribor Theatre Festival The conference From Stage to Archive will strive to answer some of the crucial questions connected to the archiving and documenting of Slovenian theatre heritage: •W  hat are the concrete professional problems in working with Slovenian theatre heritage occurring on its way “ from stage to archive” (e.g., the awareness of theatre managements on the importance of theatre documentation, absence of a unified database, data accessibility, uniform terminology, professional training of collaborators, professionalisation of archival work, spatial storage conditions, technology of conservation, adequate protection of originals when the material is in direct usage, different forms of collaboration between theatres, with local environment, etc.)? •H  ow to raise to a higher level the work of theatre archives that are operating mostly in the frame of theatres, the National Theatre Museum of Slovenia and the CTF, and thus, by their nature are not part of the network? • I s there a necessity for archives to be “centralised” in the sense of being directed, that is, managed, from a central organisation, perhaps a (still non-existing) theatre institute? •H  ow to digitise the operating of archives and what problems might occur in that process (compliance with EU standards, copyrights, technological capacities, financing, personnel problems, joining into a collective network connected to similar networks abroad)? •W  hat might be the role of a theatre archive, which often doesn’t end with the process of “musealisation”, especially in the sense of circulating archive material, which is a live organism and might manifest itself as a construction of a new theatre event? •H  ow to efficiently contribute to the usage – be it research, pedagogical, artistic, informative, or promotional – of an archive and its material? The conference will feature foreign and local experts from various fields: Vladislava Fekete (Bratislava Theatre Institute); Martina Petranović, Ph.D. (HAZU, Department of History of Croatian Theatre); Ksenija Radulović, Ph.D. (Museum of Theatre Arts, Serbia); dr. Bojan Himmerleich (Historical Archives Celje); Matjaž Loboda (Ljubljana Puppet Theatre); Simona Ješelnik (CTF UL AGRFT); Samo M. Strelec (Si.gledal.org) and Štefan Vevar (National Theatre Museum of Slovenia).

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26. 10. 2013 15.00 Vetrinjski dvor

Svet se maje, jaz pa rojen, da mu ravnam tečaje The time is out of joint: O cursed spite, that ever I was born to set it right! Pogovor o prevajanju Shakespeara v organizaciji Društva slovenskih književnih prevajalcev in Festivala Borštnikovo srečanje Ves svet je oder, je trdil slavni angleški bard. Vsi, ki se tako ali drugače ukvarjajo z gledališčem, bi dodali, da je oder svet v malem. V pogovoru, ki ga organizirata Festival Borštnikovo srečanje in Društvo slovenskih književnih prevajalcev, se bodo sodelujoči prevajalci, režiserji, lektorji, dramaturgi in poznavalci Shakespeara posvetili novejšim postavitvam besedil tega slovitega avtorja na slovenske odre. Shakespeare ni le eden najslavnejših, temveč tudi največkrat prevajanih dramatikov v zgodovini. Vsak nov prevod seveda ne pomeni, da so prejšnji odveč, temveč obstajajo vzporedno in drug drugega bogatijo, zlasti pa dopolnjujejo bogastvo gledaliških besedil vsakega naroda. Sodelujoči v pogovoru bodo razkrivali, kako se lotevajo dela s tako zahtevnim avtorjem, kako ga doživljajo in poustvarjajo na slovenskih odrih. Problematiko bo dodatno osvetlila prevodoslovka in jo predstavila iz zornega kota teoretikov prevajanja. Pogovor bo vodil gledališki in literarni kritik Matej Bogataj, sodelovali bodo prevajalca Srečko Fišer in Milan Jesih, režiserja Diego de Brea in Janez Pipan, lektorica Tatjana Stanič, dramaturginja Mojca Kranjc in odlična poznavalka Shakespeara dr. Marija Zlatnar Moe.

A talk on translating Shakespeare organised by the Slovenian Association of Literary Translators and the Maribor Theatre Festival All the world’s a stage, claimed the famous English bard. Everyone who is involved with theatre one way or another would add that the stage is the world in small. The talk, organised by the Maribor Theatre Festival and the Slovenian Association of Literary Translators, will bring together translators, directors, lectors, dramaturgs, and connoisseurs of Shakespeare to discuss and analyse recent Slovenian stagings of the texts by this prominent author. Shakespeare is not only one of the most famous but also one of the most translated playwrights in the entire history. Still, each new translation does not necessarily mean that the former one is now superfluous: they exist in parallel and complement each other, enriching the legacy of dramatic texts of each nation. The participants in the talk will reveal their approaches to working with such a demanding author, how they experience his work and transpose it to Slovenian stages. Translation expert and scholar Marija Zlatnar Moe, Ph.D., will shed an additional light on the subject presenting it from the perspective of translation experts. The talk will be moderated by theatre and literary critic Matej Bogataj and will feature translators Srečko Fišer and Milan Jesih, directors Diego de Brea and Janez Pipan, language consultant Tatjana Stanič, dramaturg Mojca Kranjc, and Shakespeare expert Marija Zlatnar Moe, Ph.D.


Knjige na FBS Books at THE Festival 20. 10. 2013 | 12.00 | Vetrinjski dvor

Joseph R. Roach: Igralčeva strast. Študije iz znanosti igre. Uredila Petra Pogorevc. Prevedla Polona Petek. 158. zvezek. Ljubljana: Knjižnica MGL, 2012.

Joseph R. Roach: The Player’s Passion. Studies in the Science of Acting. Edited by Petra Pogorevc. Translated from English by Polona Petek. Volume 158. Ljubljana: MGL Library, 2012.

Patrice Pavis: Sodobna režija. Viri, težnje, perspektive. Uredila Petra Pogorevc. Prevedel Jan Jona Javoršek. 157. zvezek. Ljubljana: Knjižnica MGL, 2012.

Patrice Pavis: La mise en scène contemporaine. Origines, Tendances, Perspectives. (Contemporary Mise en Scène. Staging Theatre Today.) Edited by Petra Pogorevc. Translated from French by Jan Jona Javoršek. Volume 157. Ljubljana: MGL Library, 2012.

Govor med znanostjo in umetnostjo. Uredili Katarina Podbevšek in Nina Žavbi Milojević. Maribor: Založba Aristej in Ljubljana: UL AGRFT, 2013.

Speech Between Science and Art. Edited by Katarina Podbevšek and Nina Žavbi Milojević. Maribor: Aristej Publishing House and Ljubljana: UL AGRFT, 2013.

21. 10. 2013 | 12.00 | Vetrinjski dvor

Gledališka alternativa sedemdesetih in osemdesetih. Razprave študentov dramaturgije in gledališke režije UL AGRFT. Uredila Nina Šorak. Ljubljana: UL AGRFT, 2012.

Alternative Theatre of the 1970s and 1980s. Papers by Students of Dramaturgy and Theatre Directing at UL AGRFT. Edited by Nina Šorak. Ljubljana: UL AGRFT, 2012.

Svobodne roke. Antologija teoretske misli o slovenskem gledališču (1899–1979). Uredila Blaž Lukan in Primož Jesenko. Zbrika TRANSformacije, knjiga št. 32. Ljubljana: UL AGRFT in Zavod Maska, 2012.

Free Hands. The Anthology of Theory Reflections on the Slovenian Theatre (1899–1979). TRANSformacije Series, edited by Blaž Lukan and Primož Jesenko. Volume 32. Ljubljana: UL AGRFT and Maska Institute, 2012.

Hibridni prostori umetnosti. Uredili Barbara Orel, Maja Šorli in Gašper Troha. Zbrika TRANSformacije, knjiga št. 33. Ljubljana: UL AGRFT in Zavod Maska, 2012.

Hybrid Spaces of Art. TRANSformacije Series, edited by Barbara Orel, Maja Šorli and Gašper Troha. Volume 33. Ljubljana: UL AGRFT and Maska Institute, 2012.

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23. 10. 2013 | 12.00 | Vetrinjski dvor

Praznovanje možnosti transformacije. Gledališče zatiranih skozi teorijo in prakso, lokalne in globalne perspektive. Uredili Dragana Alfirević in Nena Močnik. Ljubljana: Ekvilib Inštitut in Zavod Maska, 2012.

Celebration the Possibilities of Transformation. Theatre of the Oppressed through theory and practice, local and global perspectives. Edited by Dragana Alfirević and Nena Močnik. Ljubljana: Ekvilib Institute and Maska Institute, 2012.

Bojana Kunst: Umetnik na delu. Bližina umetnosti in kapitalizma. Urednika zbirke Janez Janša in Amelia Kraigher. Zbirka TRANSformacije, knjiga št. 34. Ljubljana: Zavod Maska, 2012.

Bojana Kunst: Artist at Work. The Proximity of Art and Capitalism. TRANSformacije Series, edited by Janez Janša and Amelia Kraigher. Volume. 34. Ljubljana: Maska Institute, 2012.

Claire Bishop: Umetni pekli. Participatorna umetnost in politika gledalstva. Zbirka TRANSformacije, knjiga št. 35. Prevedla Aleksandra Rekar. Urednika zbirke Janez Janša in Amelia Kraigher. Ljubljana: Zavod Maska, 2012.

Claire Bishop: Artificial Hells. Participatory Art and the Politics of Spectatorship. Translated from English by Aleksandra Rekar. TRANSformacije Series, edited by Janez Janša and Amelia Kraigher, Volume 35. Ljubljana: Maska Institute, 2012.

No one should have seen this. The theatre of Via Negativa, 2002–2011. Uredil Bojan Jablanovec. Ljubljana: Zavod Maska, 2012.

No one should have seen this. The Theatre of Via Negativa, 2002–2011. Edited by Bojan Jablanovec. Ljubljana: Maska Institute, 2012.

Maska, časopis za scenske umetnosti Ljubljana: Zavod Maska, 2012–2013.

Maska, Performing Arts Journal Ljubljana: Maska Institute, 2012–2013.


Seznam slovenskih producentov Slovenian Theatres at the Festival SNG Drama Ljubljana Erjavčeva ulica 1, SI-1000 Ljubljana T +386 (0)1 252 14 79 F +386 (0)1 252 38 85 E drama@drama.si I www.drama.si Drama SNG Maribor Slovenska ulica 27, SI-2000 Maribor T +386 (0)2 250 61 00 F +386 (0)2 250 61 09 E drama@sng-mb.si I www.sng-mb.si Slovensko stalno gledališče Trst Ulica Petronio 4, IT-34100 Trst T +39 (0)40 632 664 F +39 (0)40 368 547 E organizacija@teaterssg.it I www.teaterssg.com Mestno gledališče ljubljansko Čopova ulica 14, SI-1000 Ljubljana T +386 (0)1 425 82 22 F +386 (0)1 251 70 44 E info@mgl.si I www.mgl.si Prešernovo gledališče Kranj Glavni trg 6, SI-4000 Kranj T +386 (0)4 280 49 13 F +386 (0)4 280 49 10 E pgk@pgk.si I www.pgk.si Anton Podbevšek Teater Prešernov trg 3, SI-8000 Novo mesto T +386 (0)7 391 78 10 F +386 (0)7 391 78 12 E info@antonpodbevsekteater.si I www.antonpodbevsekteater.si Lutkovno gledališče Ljubljana, BiTeater Krekov trg 2, SI-1000 Ljubljana T +386 (0)1 300 09 70 F +386 (0)1 300 09 80 E info@lgl.si I www.lgl.si Cankarjev dom, kulturni in kongresni center Prešernova cesta 10, SI-1000 Ljubljana T +386 (0)1 241 71 00 F +386 (0)1 241 72 95 E info@cd-cc.si I www.cd-cc.si

Muzej sodobne umetnosti Metelkova (MG+MSUM) Tomšičeva 14, SI-1000 Ljubljana T +386 (0)1 241 68 00 F +386 (0)1 251 41 20 E info@mg-lj.si I www.mg-lj.si Zavod Maska Metelkova 6, SI-1000 Ljubljana T +386 (0)1 431 53 48 F +386 (0)1 431 31 22 E info@maska.si I www.maska.si Via Negativa Gruberjevo nabrežje 14, SI-1000 Ljubljana M +386 (0)51 360 735 E info@vntheatre.com I www.vntheatre.com Flota Ljubljana Puchova ulica 14, SI-1000 Ljubljana M +386 (0)41 691 177 E flota@flota.si I www.flota.si Zavod Emanat Trg prekomorskih brigad 1, SI-1000 Ljubljana T +386 (0)1 430 57 24 E info@emanat.si I www.emanat.si Zavod Delak Župančičeva 10, SI-1000 Ljubljana E info@delak.eu I www.delak.eu GVR babaLAN M +386 (0)31 589 877 E gvr@bablan.org I www.babalan.org Center urbane kulture Kino Šiška Trg prekomorskih brigad 3, SI-1000 Ljubljana T +386 (0)1 500 30 00 E info@kinosiska.si I www.kinosiska.si

Akademija za gledališče, radio, film in televizijo Ljubljana Nazorjeva ulica 3, SI-1000 Ljubljana T +386 (0)1 251 04 12 F +386 (0)1 251 04 50 E tajnik@agrft.uni-lj.si I www.agrft.uni-lj.si

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47. Festival Borštnikovo srečanje 47th Maribor Theatre Festival 16.–26. 10. 2012 Umetniška direktorica Artistic director Alja Predan Selektor tekmovalnega in spremljevalnega programa Competition and Accompanying Programme selector Primož Jesenko Strokovna žirija Jury of experts Mark Brown, Zala Dobovšek, Jaša Drnovšek, Meta Hočevar, Arthur Sonnen Žirija za Borštnikov prstan Jury for the Borštnik Ring Award Silva Čušin, Jernej Lorenci, Dušan Mlakar, Alja Predan, Ivo Svetina

16.–26. 10. 2012 Almanah The Almanac Platnica.indd 1

16.–26. 10. 2012

Platnica.indd 1

16.–26. 10. 2012

9/10/12 9:46 AM

9/10/12 9:46 AM

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PETER UHAN/SNG DRAMA LJUBLJANA

Igor Samobor – dobitnik Borštnikovega prstana 2012

Igor Samobor – Recipient of the 2012 Borštnik Ring

Gledališki kritik Blaž Lukan je ob uprizoritvi Ajshilove Oresteje v režiji Jerneja Lorencija igralca Igorja Samoborja poimenoval »samozbor«, ker je igralec prevzel vlogo Zbora in jo tudi nadvse kompleksno, izjemno razplasteno odigral. In to je zmogel, ker je Igor Samobor, ki je v svoji dosedanji polčetrto desetletje trajajoči in nenehno vzpenjajoči se igralski karieri dokazal, da je igralec, ki je odgovor na temeljna vprašanja gledališča: Kaj je igra? Kaj je umetnost igre? Kdo je tisti, ki zna in zmore »oživiti« dramske like, ki si jih je zamislil in jih ubesedil dramski pesnik? Kdo je, ki s telesom izraža duševno stanje organizma, kot je zapisal patriarh slovenskega gledališča Mile Korun. Kdo je tisti, rečeno s Hamletom, ki je »v sanjski bolesti tako podredil dušo domišljiji, da mu od nje zbledel je ves obraz«? Rêči, da je to lahko (edino) igralec, je verjetno premalo. Zakaj? Ker je igra starejša od človeka. Kar bi lahko pomenilo, da se je človek rodil v igro. Da je igra del njegovega bitja, morda celo eden od temeljnih eksistenčnih delov. Vendar je tudi to premalo; premalo, da bi lahko pojasnili

On the occasion of Aeschylus’s Oresteia directed by Jernej Lorenci, theatre critic Blaž Lukan named the actor Igor Samobor “samozbor” (“a oneman-chorus” – a wordplay in Slovenian – samo means “self”, zbor means “chorus”) as he took on the role of the ancient chorus performing it with deep and multi-layered complexity. And he was able to do it because he is Igor Samobor – an actor who has proved in his constantly ascending career of over 25 years that he embodies the answer to the fundamental questions of theatre: What is acting? What is the art of acting? Who is the one who knows how to and manages to “breathe life” into the dramatic characters imagined and verbalised by the playwright? Who is the one, as Mile Korun, the patriarch of Slovenian theatre, wrote once, “who expresses with his body the organism’s soul state”? Who is the one, to quote Hamlet, who “in a dream of passion, / Could force his soul so to his own conceit / That from her working all his visage wann‘d”? To say that this is (solely) the actor is probably insufficient. Why? Because acting is older than man. This in turn might mean that man was born

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dar, ki ga človek-igralec ima v sebi, da lahko z njegovo pomočjo in trdim, vztrajnim, skorajda nepredstavljivo garaškim delom končno izkleše dramski lik, ki živi na odru, vsem na očeh, večer za večerom. A iz česa ga izkleše, saj ni kipar, ki bi z dletom luščil iz klade marmorja prebujajoče se dekliško telo? Igralec kleše, obdeluje, lušči samega sebe, da lahko ustvari, zgradi, pričara Ojdipa ali Kalandra. Umetnost igre, katere visok svečenik je že dolgo Igor Samobor, je v tem, da se igralec, veščak svojega poklica in lastnik daru, lahko prelevi, transponira, prevede v dramski lik, ki je narejen izključno iz besed. Če je pri tem prisotna še bolj ali manj razvidna psihologija, mu je to le v (dodatno) pomoč, nikakor pa ni pogoj, brez katerega igralcu ne bi bilo moč oživiti lika. Igor Samobor je to dokazal velikokrat, morda še najbolj prepričljivo v uprizoritvi stare tibetanske igre Črimekundan v Mali drami, ko je – skupaj z drugimi svojimi kolegi – tako rekoč iz nič ustvaril vlogo, ki je tuja ne le evropski dramatiki, ampak kar zahodnemu mišljenju in pesništvu. Prepuščen samo svojemu lastnemu občutku, izbrušenemu posluhu za ritem besed in iz njih rastočo dramatičnost, je Igor Samobor ustvaril novo partituro, po kateri je odigral, odpel in odplesal vlogo tibetanskega kralja. S svojim darom in neustavljivo ustvarjalno silo je lovil in zbiral komaj zaznavne in slutene premike tako telesa kot duše in jih »opredmetil«, utelesil. Jih delil z gledalci. Saj igralstvo nosi v sebi prastari element darovanja, žrtvovanja. Četudi danes gledališča nočemo več prepoznavati kot obred, ritual, pa je prav igralec tisti, ki s svojo prezenco na odru izreka to pradavno naravo človeške skupnosti, ki vedno znova terja in išče vezivo za svojo trdnost. In igralec, še zlasti tak, kot je Igor Samobor, se v imenu skupnosti, ki je v gledališču prepoznala enega od svojih združujočih – da ne rečemo narodotvornih – temeljev, vsakokrat ko stopi na oder, izroča gledalcem. Daruje in žrtvuje. In gledalec v tem darovanju in žrtvovanju prepoznava svojo usodo in resnico. Besede odpovedo pokorščino, misel ne zmore v celoti zaobjeti pojava, ki se mu reče igra. Kar preglejmo zapise najveljavnejših kritiških ocenjevalcev slovenskega gledališča – tako starejših kot tudi mlajših – vedno znova se srečamo z bolj ali manj razvidno zadrego, kako opisati magijo igre, s kakšnimi besedami povedati, da se je prejšnji večer na odru dogodil čudež. Čudež, ker je igralec Igor Samobor ustvaril nekaj tako pretresljivo veličastnega,

into the play. That play is a part of his being, perhaps even one of the fundamental existential parts. Yet this is also insufficient; insufficient to explain the gift that a man-actor possesses within, a gift with whose help and – I claim – with persistent, almost unimaginable toil, he eventually carves the dramatic character that lives on stage, night after night, in front of everybody’s eyes. And what is it that the actor carves the character from, for he is not a sculptor who would chisel the awakening maiden’s body out of a marble log? The actor carves, tills, chisels himself in order to create, build, or enact Oedipus or Calandrus. Already for a long time Igor Samobor is the high priest of the art of acting, and its essence is that the actor – the master of his calling and the holder of the gift – is able to convert, transpose, and translate himself into a character made exclusively out of words. If a more or less apparent psychology is additionally present, it is merely a(n) (extra) help but certainly not a condition without which the actor would not be able to give life to a character. Igor Samobor has proved this over and again, perhaps most convincingly in the production of the ancient Tibetan play Chrimekundan on the Small Stage of the Slovene National Theatre Drama Ljubljana. Together with his colleagues he created his role practically out of nothing, a role that is alien not only to European dramatic tradition but to Western mind and poetry. Left to his own inner feeling, his refined ear for the rhythm of words and the growing drama within them, Igor Samobor created a new score by which he performed, sang, and danced the role of the Tibetan king. With his gift and the unrelenting creative force, he pursued and collected the barely perceptible and portended shifts of body and soul, “objectifying” and embodying them. Sharing them with spectators. For acting carries in itself the ancient element of offering gifts and sacrifice. And even though nowadays we refuse to recognise theatre as sacrament and ritual, it is the actor whose stage presence evokes that primordial nature of human community that constantly claims and seeks a bond to prove its steadfastness. And each time he steps onto the stage, the actor – particularly one like Igor Samobor – hands himself over to spectators in the name of the community that has recognised in theatre one of its unifying – not to say constituting – foundations. The actor offers the gift and sacrifices himself. And through this offering and sacrificing the spectator realises his fate and truth. When it comes to the phenomenon that we call acting, words refuse obedience and thought cannot embrace its entirety. If we take a look at


PETER UHAN/SNG DRAMA LJUBLJANA

TONE STOJKO/SNG DRAMA LJUBLJANA

Peer Gynt H. Ibsen: Peer Gynt, SNG Drama Lj 1991/92

Shylock W. Shakespeare: Beneški trgovec the merchant of venice, SNG Drama Lj 2010/11

kot je Neznanec v Strindbergovi trilogiji V Damask! Napisati, da je igralec »v tej izjemno zahtevni vlogi izpeljal neverjeten izrazni lok« ali da gre za »dih jemajočo stvaritev«; vsekakor je to pot, po kateri naj bi se tisti, ki (še) niso bili deležni te »stvaritve«, ki je resnično creatio ex nihilo, lahko približali, predvsem pa doumeli, v čem je izjemnost take umetnosti, ki je prej pesnjenje kot pa glumaštvo. Vendar žive vloge, ki nikakor ni poustvaritev (!), besede ne morejo opisati. Ker je živa, ker je človekova, ker je igralčeva, ker je umetnost. Ker jo je treba doživeti in odživeti. O tej verbalni nemoči priča tudi predstava Bartleby, pisar v izvedbi Mini teatra, sezona 2010/2011, v kateri Igor Samobor, skupaj s Sandijem Pavlinom in Janezom Starino, ustvari »gledališki dogodek visoke napetosti in globoke skrivnosti«, kot je bilo zapisano v obrazložitvi strokovne žirije 46. Festivala Borštnikovo srečanje, a prav tisto, kar naj bi pojasnjevali obe sintagmi (»visoka napetost« in »globoka skrivnost«), ostaja nepojasnjeno, neizrečeno, neopisljivo. Skrivnost vrhunske igralske umetnosti, ki z minimalističnimi izraznimi sredstvi ustvari kompleksnost človekovega univerzuma.

the reviews of the most renowned critical judges of Slovene theatre – from both the older and younger generations – we repeatedly encounter a more or less evident difficulty: how to describe the magic of play, what words to use to say that the evening before a miracle has happened. A miracle, for the actor Igor Samobor has created something so touchingly magnificent as the role of Stranger in Strindberg’s trilogy To Damascus! To write that the actor “in that extremely demanding role has built an incredible arch of expression” or that it was a “breath-taking creation” is certainly a way to bring closer those who have not (yet) witnessed the “creation” – which is truly a creatio ex nihilo – to grasping the extraordinary nature of that art, which is creating poetry rather than doing comedy. Yet words cannot describe the living role, which certainly has nothing to do with recreation(!). Because it is alive, because it belongs to the human, to the actor, because it is art. Because it has to be lived and experienced. A proof of this verbal impotence is also Mini teater’s production of Bartleby, the Scrivener in the season 2010/11 in which Igor Samobor, together with Sandi Pavlin and Janez Starina, creates “a highly charged and deeply mysterious theatrical event”, as it was stated in the report of the jury of the 46th Maribor Theatre Festival. And it is precisely those two attributes (“highly charged” and “deeply mysterious”) that remain unexplained, unspoken,

Od Mladeniča v Letoviščarjih v sezoni 1977/1978 pa do Borisa Spaskega v Bobbyju in Borisu, sezona 2011/2012, ni le razpon, ki

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PETER UHAN/SNG DRAMA LJUBLJANA

PETER UHAN/SNG DRAMA LJUBLJANA

Tartuffe j.-b. p. Molière: Tartuffe, SNG Drama Lj 2006/07

Palamède, baron de Charlus M. Proust, h. Pinter, d. Trevis: Iskanje izgubljenega časa remembrance of things past, SNG Drama Lj 2003/04

se ga meri z desetinami sezon in desetinami vlog, ampak je predvsem razpon, v katerem je zorel in dozorel Igor Samobor kot odrski umetnik, veščak svojega poklica in lastnik izjemnega daru, ki ga ni nikdar po nemarnem zapravil, ampak le bogatil. Razpon pa je tudi v tistem, kar naj bi pomenil neologizem gledališkega kritika »samozbor«, ki ga lahko in tudi moramo razumeti kot sposobnost »zbiranja« kar najbolj razpršenih, razdrobljenih, komaj zaznavnih trepetov človekovega srca in duš, iz katerih so ustvarjeni veliki liki – velikani – svetovne dramske literature. Število dramskih vlog, ki jih je Igor Samobor ustvaril v zadnjih desetletjih, zadostuje za mogočen zbor vrhunske igralske umetnosti. Ki četudi od nje ne ostane nič, ko se spusti zastor in ugasnejo odrske luči, vseeno daje smisel našemu vse bolj obubožanemu življenju.

indescribable. A mystery of the highest art of acting that gives birth to the complexity of the human universe with minimal means of expression.

Ivo Svetina

The journey from the Young Man in Holidaymakers in the season 1977/78 to Boris Spassky in Bobby and Boris in the season 2011/12 is not a span that is merely measured by dozens of seasons and dozens of roles, but also a span during which Igor Samobor has matured and ripened as a theatre artist, the master of his calling, and the holder of the extraordinary gift that he has never negligently misspent but has constantly been enriching. The sense of the span lies also in what would be the significance of the theatre critic’s neologism “samozbor” (“one-man-chorus”), which we may and even should understand as the ability to “orchestrate” the most dispersed, fragmentary, and barely discernible quivering of the human heart and souls that constitutes the great characters – giants – of world dramatic literature. The number of dramatic roles created by Igor Samobor in the past decades suffices for a mighty chorus of world-class art of acting. Even if nothing remains of it when the curtain comes down and the stage lights are shut, it still gives sense to our increasingly impoverished lives. Ivo Svetina


Poročilo strokovne žirije Jury report Selekcija tekmovalnega programa 47. Festivala Borštnikovo srečanje je ponudila uprizoritve dveh različnih, široko definiranih tokov v slovenskem gledališču: na eni strani predstave že uveljavljenih, klasičnih dramskih del, na drugi pa postavitve sodobnih besedil izpod peresa domačih avtorjev. Odločitve, ki jih je sprejela strokovna žirija, zelo jasno kažejo, kateri tok se ji je znotraj programa zdel močnejši.

The selection of the 47th Maribor Theatre Festival Competition Programme has offered productions from two different, broadly defined tendencies in Slovenian theatre: on the one hand, productions of already established classical dramatic works, on the other hand, the stagings of contemporary texts by domestic authors. The decisions of the official jury state more than clearly which tendency within the programme left a stronger impression.

Med drugim je žirija v eni od predstav prepoznala izjemen, redko viden dosežek, ki ga zaznamuje močna kolektivna drža. V gledališču ni nenavadno, da se ideja, na podlagi katere je nastala neka izjemna uprizoritev, širi skozi celotno predstavo in da je vrhunsko delo mogoče opaziti na več ravneh, od režije do igre, scenografije in kostumografije do glasbe in odrskega govora. Po soglasnem mnenju žirije se je to zgodilo v uprizoritvi Nevihta v izvedbi Mestnega gledališča ljubljanskega.

Among others, the jury recognised in one of the productions a rarely witnessed achievement marked by a powerful collective stance. In theatre, it is not unusual that the idea, which was in the foundation of an outstanding production spreads across the entire production and that the extraordinary work reflects on several levels, from directing to acting, stage and costume design, music and stage speech. In the unanimous opinion of the jury, this was the case with the production of The Storm by the Ljubljana City Theatre.

Poudarimo naj, da so tudi preostale nagrajene predstave nastale na podlagi klasičnih besedil (čeprav je eno od njih staro le tri leta; navsezadnje obstaja tudi sodobna klasika). Četudi v tekmovalnem programu močno pozdravljamo precejšnjo prisotnost novih (bodisi individualno ali skupinsko ustvarjenih) slovenskih dram, smo v marsikateri od teh uprizoritev zaznali težnje po pretirani ekspresivnosti (na primer skozi kričanje, fizično nasilje in goloto), za katere se je zdelo, da nimajo pravega namena. Izraziti moramo dvom, ali predstave, ki so bile izbrane v tekmovalni program, dejansko odražajo reprezentativno podobo najboljših gledaliških praks v Sloveniji.

Let us emphasise that the other awarded productions are also based on classical texts (although one of them is merely three years old – after all, there is such a thing as contemporary classics). Although we hail with enthusiasm the conspicuous presence of new (both individual or collectively created) Slovenian plays in the Competition Programme, we have detected in many of them an affinity towards excessive expression (for instance, through screaming, physical violence, and nudity), which didn’t give the impression of a grounded purpose. We have to therefore express the doubt whether the productions selected for the Competition Programme actually reflect the representative image of the best theatre practices in Slovenia.

Pozdravljamo pomembno vlogo, ki jo je Festival Borštnikovo srečanje tudi letos imel v slovenskem kulturnem življenju, še zlasti, ko je Maribor evropska prestolnica kulture. Upamo in verjamemo, da bosta politika in civilna družba tudi v prihodnje podpirali neprecenljivo vrednost praznovanja nacionalnega gledališča. Strokovna žirija v sestavi: Mark Brown Zala Dobovšek Jaša Drnovšek Meta Hočevar Arthur Sonnen V Mariboru, 26. oktobra 2012 .

We salute the important role that Maribor Theatre Festival has had in this year’s Slovenian cultural life, especially in view of the fact that Maribor is the European Capital of Culture. We hope and believe that politics and civil society will also support the immeasurable value of the festivity of national theatre in the future. Jury members: Mark Brown Zala Dobovšek Jaša Drnovšek Meta Hočevar Arthur Sonnen Maribor, 26 October 2012

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Awards

Velika nagrada Festivala Borštnikovo srečanje za najboljšo uprizoritev

The Grand Prix for the Best performance of the Maribor Theatre Festival

Aleksander Nikolajevič Ostrovski: Nevihta v režiji Jerneja Lorencija in izvedbi Mestnega gledališča ljubljanskega

Alexander Nikolayevich Ostrovsky: The Storm, directed by Jernej Lorenci and performed by the Ljubljana City Theatre

Sodobni duh, ki prežema uprizoritev Nevihta, je posledica več dejavnikov. Soočeni smo s svežino novega prevoda, pretočnostjo ansambelske sinergije, izpiljeno večplastno govorno podobo in režijsko mislijo, ki suvereno poseže v srž izvirnega časa – v Rusijo 19. stoletja, sočasno pa z njo plodno komunicira skozi novodobne pristope, tako na nivoju igralskih principov kot tudi tehnoloških aparatur. Ključni adut uprizoritve je v ujemu izvedbenega ravnovesja, ki se od izvirne zgodbe inteligentno distancira, a obenem izkazuje do nje izjemno spoštovanje in odločno refleksijo. Temelj dogajalne pretočnosti izhaja iz izjemne ansambelske povezanosti, ki vseskozi nadzorovano ostaja na tanki liniji med samoironijo, popolnim stapljanjem z vlogo in zmožnostjo vpogleda v dane situacije s (streznjenim) korakom vstran. Nevihta se kaže kot svojevrsten izvajalski produkt, ki ga poganja senzibilnost vzpostavljanja odnosov med glasbo in situacijami, suspenzi in prekinitvami, besedami in molkom, zgodovino in sedanjostjo. Osrednji obravnavani fenomen – ljubezen – pa se skozi nekonvencionalne prijeme uspe izluščiti v vsej svoji nežnosti, surovosti in večnosti.

The contemporary spirit that permeates the production of The Storm is the consequence of several factors. We are offered the freshness of the new translation, the fluidity of ensemble synergy, the refined multi-layered verbal dimension, and the director’s thought that sovereignly penetrates into the core of the original époque – the 19th-century Russia – at once productively communicating with it through contemporary approaches, both on the level of acting principles and technology. The key trump of the production lies in finding an extraordinary performative balance that distances itself with intelligence from the original story, at once demonstrating extreme respect for it and resolutely deliberating upon it. The foundation of the fluidity of action stems out of the exceptional and constantly controlled ensemble cohesion that dwells on the thin line between self-irony, absolute merging with the role, and the ability of insight into given situations by making a (sobering) step aside. The Storm proves to be a unique performative product propelled by the sensitivity of established relations between music and situations, suspense and interruptions, words and silence, history and the present. Through unconventional methods, the central phenomenon – love – reveals itself in all its tenderness, cruelty, and eternity.

Barbara Čeferin

Nagrade


Borštnik Award for Directing

Jernej Lorenci za režijo uprizoritve Nevihta

Aleksandra Nikolajeviča Ostrovskega v izvedbi Mestnega gledališča ljubljanskega

Jernej Lorenci for directing the performance The Storm by Alexander Nikolayevich Ostrovsky and performed by the Ljubljana City Theatre

Jernej Lorenci v interpretacijo Ostrovskega vstopa skozi metodo, ki je izjemno tvegana, zapletena ter podvržena popolni predanosti in zaupanju celotni umetniški zasedbi. Njegova režija preigrava igralčeve identitete, jih sprotno lušči in krpa, akterja postavlja v večopravilne pozicije, kjer na površje ne priplavajo le njegovi igralski potenciali, pač pa tudi drobci zasebnosti in spontanosti. Režiser ustvari dogodkovno pokrajino, kjer se v enotno konico sočasno izlivajo tankočutno razporejene pasaže dramskih situacij, glasbenih partitur in individualnost igralskih energij. Njihovo neprekinjeno medsebojno kontaktiranje in referiranje se razpreda v uprizoritveno mrežo, ki navzven lahko deluje lahkotno in sproščeno, a je v temelju še kako disciplinirana, premišljena in večkratno pregnetena. Vpogled v družbeno in intimno sistematizacijo Rusije 19. stoletja Lorenci ponudi skozi prizmo časovne in racionalne distance, vendar še vedno z globokim in čutečim vpogledom v esenco človekovega bivanja, ki ga (še vedno) kroji ultimativnost ljubezni.

Jernej Lorenci enters the interpretation of Ostrovsky through an exceptionally risky method that is complex and subject to utter dedication and confidence in the entire artistic team. His direction plays over actors’ identities, revealing and stitching them in parallel. He positions the actor in multitasking situations where his or her acting potentials surface in their full power along with slivers of their intimacies and spontaneities. The director creates the landscape of events where delicately distributed fragments of dramatic situations, musical scores, and individualities of actors’ energies simultaneously flow into one stream. Their constant mutual corresponding and referring weaves a performative net that on the outside gives an impression of easiness and casualness whereas in its basis it is strictly disciplined, thought out, and kneaded over and again. Lorenci offers the insight into the social and intimate systematisation of 19th-century Russia through the prism of temporal and rational distance yet always with a deep and emotional insight into the essence of human existence that is (still) tailored by the ultimate nature of love.

Štiri nagrade za igro

Four awards for acting

Gregor Baković za vlogo Marka Rothka v

Gregor Bakovič for the role of Mark Rothko

uprizoritvi Rdeča v izvedbi SNG Drama Ljubljana

in the production of Red performed by the Slovene National Theatre Drama Ljubljana

Pri uprizarjanju vlog slavnih posameznikov obstaja velika nevarnost, da igralčev odnos do besedila zasenči njegovo predhodno vedenje o osebnosti. Lahko se zgodi, da oblikovanje lika ne

When enacting roles of famous individuals there looms a great danger that the actor’s relation towards the text overshadows his previous knowledge on the personality. It may easily happen that

Peter Uhan

Borštnikova nagrada za režijo

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the shaping of the character doesn’t stem out of the dramatic text but out of the actor’s personal preferences. The outstanding merit of Gregor Bakovič lies in the fact that his enacting of Mark Rothko, the great representative of abstract painting, decisively avoids all the aforementioned traps. When Bakovič humanely depicts moments of Rothko’s malice, when he is hostile in the moments of his greatest vulnerability, he is grasping the paradoxes inscribed in John Logan’s play in their totality. Through refined acting, which is in dialogue with the skilfully built character of Rothko’s assistant Ken – played by Saša Tabaković – Bakovič has created one of those performances that have truly left a significant trace in this year’s festival.

Nataša Barbara Gračner za vlogo

Baronice Castelli-Glembay v uprizoritvi Gospoda Glembajevi v izvedbi SNG Drama Ljubljana

Nataša Barbara Gračner for the role of Baroness Castelli-Glembay in the production of The Glembays performed by the Slovene National Theatre Drama Ljubljana

Nataša Barbara Gračner lik Baronice CastelliGlembay v uprizoritvi Gospoda Glembajevi izriše v vsej polnosti in značajski kompleksnosti ter skozi osebnostno celoto, ki se v privlačni, a tudi nevarni nedefiniranosti razpenja vse od nemočne žrtve do strupene maščevalke. Njena interpretacija je kompaktna in obvladana, nenehno osredotočena na vse izrazne ravni: govorna artikulacija visokega meščanstva je jasna in izčiščena, posluh za odrsko situacijo in soigralce v nenehni pripravljenosti, govorica telesa pa premišljeno odmerjena dvoumno – zadržana in obenem zapeljiva, eksplozivna in obenem ranljiva. Nataša Barbara Gračner lik Baronice izpelje v natančnem psihološkem loku, ki vznikne v znamenju rahločutne, uvidevne in graciozne ženske, ki se sklepno prelevi v svoje popolno nasprotje, polno gneva, vulgarnosti in bolestne pohote. Tovrstno dvoličnost

Nataša Barbara Gračner outlines the character of Baroness Castelli-Glembay in the production of The Glembays in its fullness and character complexity as well as through the personal entirety that is torn in its attractive yet dangerous vagueness between the helpless victim and the poisonous avenger. Her interpretation is compact and self-composed, constantly focused on all levels of expression: the speech articulation of the high bourgeoisie is clear and refined, the ear for stage intonation and coactors in ceaseless readiness, the body language carefully weighed in its ambiguity – both restrained and seductive, explosive and vulnerable. Nataša Barbara Gračner carries out the character of Baroness in a precise psychological arch, beginning at the point of a sensitive, considerate, and gracious woman who gradually turns into the total opposite, full of rage, vulgarity, and sick lust. Nataša Barbara Gračner brilliantly masters this kind of ambiguity,

Peter Uhan

izhaja iz dramskega besedila, temveč iz osebnih igralčevih preferenc. Izjemna zasluga Gregorja Bakovića je, da se njegova upodobitev Marka Rothka, tega velikega predstavnika abstraktnega slikarstva, odločno izogiba omenjenim pastem. Ko Baković na človeški način prikaže trenutke Rothkove zlobe, ko je v trenutkih svoje največje ranljivosti sovražen, do popolnosti zajame paradokse, ki so vpisani v dramsko predlogo Johna Logana. S prefinjeno igro, ki je v dialogu s spretno oblikovanim likom Rothkovega pomočnika Kena, igra ga Saša Tabaković, je Baković ustvaril eno od predstav, ki so se na letošnjem festivalu zares vtisnile v spomin.


which provides the character an extraordinary credibility and accessibility for the common spectator, in spite of extreme character traits.

Primož Pirnat za vlogo Borisa Grigorjiča v uprizoritvi Nevihta v izvedbi Mestnega gledališča ljubljanskega

Primož Pirnat for the role of Boris Grigoriyevich in the production of The Storm performed by the Ljubljana City Theatre

Boris Grigorjič, kot ga v Nevihti igra Primož Pirnat, je »dobri človek iz Moskve«, ki je v surovem provincialnem okolju mesteca ob Volgi vnaprej obsojen na propad. Tu namreč ne štejeta niti olika niti izobrazba, temveč zgolj to, koliko ima nekdo pod palcem. Napeto, tako rekoč hlapčevsko odvisnost Grigorjiča od trgovca Dikoja Pirnat prikaže brez nepotrebnega taktiziranja in z vsem svojim telesom. Njegova močna, a hkrati skrajno ranljiva prezenca pri gledalcu vzbuja sočutje, ki je na meji tragičnega.

As performed by Primož Pirnat, Boris Grigoryevich is a “Good Man from Moscow” who is doomed from day one to perish in the cruel provincial surrounding of the small town by the River Volga. What counts there are neither manners nor education but how much one has under one’s thumb. Pirnat shows the tense and almost servant-like dependence of Grigoryevich on the merchant Dikoy without unnecessary tactics and with his entire body. His strong yet extremely vulnerable presence evokes sympathy in the spectator, a feeling that is on the edge of tragic.

Matej Puc za vlogo Tihona Ivaniča Kabanova v uprizoritvi Nevihta v izvedbi Mestnega gledališča ljubljanskega

Matej Puc for the role of Tychon Ivanich

Barbara Čeferin

Gračnerjeva izvrstno obvladuje, s čimer kljub ekstremnim značajskim potezam lik ustvari kot izjemno verjeten in gledalcu dostopen.

Barbara Čeferin

Kabanov in the production of The Storm performed by the Ljubljana City Theatre

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Matej Puc enacts the character of Tychon Ivanovich Kabanov with outstanding subtlety, rebel-like attitude towards his domineering mother and anxious, inexplicable feelings for Katerina. At the same time, the depth of interpretation powerfully influences the moving vibrancy that in turn radiates out of the prematurely grown Katerina. The actor’s energy is constantly present and sharp onstage, whether he be enraged, in love, or even absent. Captured in the environment of the narrow-minded community, torn between his mother’s obsessions and an infertile marriage, Puc builds a character beyond time, which doesn’t deny the spirit of the original époque of the 19th century, yet is efficiently contextualised within contemporary, vivid, and actual dimensions.

Nagrada za mlado igralko

Young Actress Award

Nika Rozman za vlogo Katerine v

Nika Rozman for the role of Katerina in

uprizoritvi Nevihta v izvedbi Mestnega gledališča ljubljanskega

the production of The Storm performed by City Theatre Ljubljana

Doslednost, s katero Nika Rozman v Nevihti utelesi Katerino, je naravnost osupljiva. Od začetka pa do konca uprizoritve obvladuje vlogo, ne da bi se pri tem kakor koli »zaprla«. Nasprotno: prav izogibanje patosu in melodramatskim izlivom ji omogoči, da njen lik zaživi v vseh značajskih in čustvenih niansah. Katerina Rozmanove tako kljub historičnemu zgodbenemu okviru ne deluje anahronistično, temveč skrajno sveže in sodobno. Njena tragičnost ni nekaj, kar bi gledalcu dovoljevalo distanco, temveč ga presune tukaj in zdaj.

The consistency with which Nika Rozman embodies Katerina in The Storm is downright breathtaking. From the beginning to the end of the performance she navigates the role without even a hint of “closing up”. On the contrary: it is the avoidance of pathos and melodramatic outpours that enables Katerina to come to life in all her character and emotional nuances. Thus in spite of the historical frame, Rozman’s Katerina doesn’t seem anachronistic but exceptionally fresh and modern. Her tragic power is not something that would allow the spectator a distance but it moves one here and now.

Barbara Čeferin

Matej Puc lik Tihona Ivaniča Kabanova odigra izjemno subtilno, z uporniško nastrojenostjo do dominantne matere in tesnobnimi, nerazložljivimi čustvi do Katerine. Globina interpretacije sočasno močno vpliva na kipečo ganljivost, ki jo povratno izžareva Katerina skozi svojo prezgodnjo odraslost. Igralčeva energija je na odru nenehno prisotna in izostrena, naj bo to v razkačenih, odsotnih ali ljubezenskih prizorih. Ujet v okolje ozkogledne skupnosti, v primež materinih obsesij in jalovega zakona Puc izoblikuje nadčasovni lik, ki ne zanika duha izvirnega časa 19. stoletja, ampak ga celo učinkovito umešča v sodobne, žive in aktualne okvire.


Nagrada za oblikovanje govora

Borštnik Award for Stage Speech Design

Maja Cerar za oblikovanje govora

Maja Cerar for the stage speech design

v uprizoritvi Nevihta v izvedbi Mestnega gledališča ljubljanskega

in the production of The Storm performed by the Ljubljana City Theatre

Govor v Nevihti ni le kanal za izražanje misli in idej dramskih likov, temveč moment, ki tudi na dramaturški ravni spremlja celotno uprizoritev. Na podlagi novega, odličnega prevoda Tatjane Stanič Maja Cerar z igralci ustvari govorno krajino, ki izhaja iz karakterizacije likov in se spreminja skladno z dejanjem. Cerarjeva pri tem ne upošteva le večjih premikov v govornih situacijah, temveč zazna, oblikuje ter pogosto avtorsko nadgradi tudi čustvene premene, ki so v besedilu zgolj nakazane. Dosledno, diskretno in vselej premišljeno menjavanje registrov tako že na govorni ravni zrcali zapleteno dinamiko medsebojnih odnosov v igri.

The speech in The Storm is not merely a channel for expressing the characters’ thoughts and ideas but on the dramaturgical level is also a moment that exudes throughout the entire performance. Based on the new excellent translation by Tatjana Stanič, Maja Cerar creates together with the actors a verbal landscape that stems out of the characterisation and changes accordingly. Cerar doesn’t just take into consideration the larger shifts in verbal situations but also recognises, shapes, and often creatively enhances the emotional fluctuations that are merely indicated in the text. Thus on the speech level the consequent, discreet, and always thoughtout shifting of registers mirrors the complex dynamics of interrelations in the play.

Nagrada za kostumografijo

Borštnik Award for Costume Design

Belinda Radulović za kostumografijo

Belinda Radulović for costume

v uprizoritvi Nevihta v izvedbi Mestnega gledališča ljubljanskega

design in the production of The Storm performed by the Ljubljana City Theatre

Oblikovanje kostumov je izjemno povezano s konceptom celotne uprizoritve. Z velikim občutkom za igralčev ali igralkin karakter in vedenje znotraj zgodbe kostumografka oblikuje na eni strani zelo oseben, na lik vezan kostum, ki omogoča igralcu/igralki navidezno razgaljenost, ki igralca odpira in podpira, na drugi strani pa zavestno ostaja »podrejen« zgodbi in odrski akciji. Če v prvem delu kostumografija ostaja vezana na čas, v katerem se zgodba začne odvijati, se v poteku dogajanja kostum neopazno preobrazi in preide v sodobnost. Likovno izjemno natančno premišljena kostumografija, kjer ni nič odveč in nič ne manjka, pomaga ustvariti verjetnost lika, odrskega dogodka in zgodbe.

The costume design in The Storm is particularly connected with the concept of the entire production. With exceptional sensitivity for the actor’s character and performance within the story, the costume designer shapes on the one hand a very personal costume in line with the character that enables the performer an apparent disclosure, remaining on the other hand “subordinated” to the narrative and the stage action. If in the first part the costume design is tied to the époque in which the story begins, during the unfolding of events the costume inconspicuously transforms into contemporaneity. Visually speaking, the costume design is conceived with outstanding precision: nothing is excessive or lacking, all along assisting in the creation of the credibility of characters, stage action, and narrative.

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Nagrada za scenografijo

Borštnik Award for Stage Design

Branko Hojnik za scenografijo v

Branko Hojnik for stage design in

uprizoritvi Nevihta v izvedbi Mestnega gledališča ljubljanskega

the production of The Storm performed by the Ljubljana City Theatre

Prostor za zgodbo Katerine Kabanove je oblikovan z mislijo na potek celotnega dogajanja. Odprtost prostora v prvem delu neopazno ustvarja in omogoča nenavadno prepišnost in izgubljenost, ki jo režija izvrstno izrablja pri vodenju igralcev. Odnosi med protagonisti šele v tako oblikovanem prostoru definirajo zagatnost časa, ki se nikamor ne premakne. Ko se v drugem delu v taisti prostor povezne bela interierska kletka, se zgodi usodna ujetost, zaznamovanost Katerine Kabanove, ki vodi lahko le v smrt. Prostor je izvrstna metafora, ki s svojo zavestno oblikovano nedorečenostjo odpira svet razmišljanja in čustvovanja tako protagonistom kot gledalcu.

The space for the story of Katerina Kabanova is shaped with the overview of the entire narrative. The openness of the space in the first part imperceptibly creates and enables an unusual draughtiness and the feeling of being lost, which the director brilliantly uses in guiding the actors. It is only in such a space that the relations between protagonists define the time, which, like a quagmire, doesn’t move anywhere. When in the second part a white interior cage lands in that same space, it signifies the fatal entrapment of Katerina Kabanova that can only lead to death. With its consciously shaped inconsistency, the space is an excellent metaphor that opens the arena for reflection and emotions both for the protagonists and the spectators.

Nagrada za glasbo

Borštnik Award for Music

Branko Rožman za glasbo v uprizoritvi Nevihta v izvedbi Mestnega gledališča ljubljanskega

Branko Rožman for music in the production of

V uprizoritvah je glasba pogosto uporabljena kot ozadje, toda skladbe v Nevihti so resnične osebnosti s svojim lastnim glasom, ki daje dramskemu dejanju povsem novo razsežnost. Glasba, ki jo vrhunsko izvede ansambel Volga, deluje kot basso continuo govoric in čenč, ki ga dejavno podprejo različni liki; ti občasno celo zasedejo stole, na katerih sedijo glasbeniki. Izvirna glasba preigrava življenje v mestecu, kjer se vse vrti okrog tega, kaj si o nekom mislijo drugi. Na koncu Katerina konča kot del kaznovalnega kvarteta, ki tako kot preostala skupnost posamezniku ne pusti živeti po lastni, svobodni volji. Glasba Branka Rožmana v uprizoritvi Nevihta je med drugim tudi dokaz, da gre za avtorja, ki subtilno, intuitivno, a hkrati mojstrsko razume potrebe, ki jih zahtevajo igralci in gledališki prostor, da skupaj z glasbo zaživijo v izjemni odrski vzajemnosti.

The Storm performed by the Ljubljana City Theatre In theatre productions, music is often used as mere background. Yet the compositions in The Storm are true personalities with their own voices that provide the dramatic action with an entirely new dimension. Brilliantly interpreted by the Volga ensemble, the music functions as a basso continuo of rumours and gossips, being actively supported by various characters; those occasionally occupy the chairs reserved for the musicians. The original music plays over the life in a small town where everything revolves around what others think of someone. In the conclusion, Katerina ends as part of the punitive quartet that, similar to the rest of the community, doesn’t allow the individual to live according to his or her own free will. The music of Branko Rožman in the production of The Storm is among other things the proof that we have in front of us an author who understands with subtlety and intuition the deep need of the performers and the theatre space – the need to live together with music in an extraordinary stage reciprocity.


Award of the Association of Theatre Critics and Researchers of Slovenia

Nagrado Društva gledaliških kritikov in teatrologov Slovenije za najboljšo uprizoritev sezone 2011/12 je prejela uprizoritev Simone Semenič: zgodba o nekem slastnem truplu ali gostija ali kako so se roman abramovič, lik janša, štiriindvajsetletna julija kristeva, simona semenič in inicialki z. i. znašli v oblačku tobačnega dima v režiji Primoža Ekarta in produkciji Zavoda Imaginarni.

The Award of the Association of Theatre Critics and Researchers of Slovenia for best production in 2011/12 went to the production of the play by Simona Semenič: the feast or the story of a savoury corpse or how roman abramovich, the personage janša, julia kristeva, age 24, simona semenič and the initials z. i. found themselves in a puff of tobacco smoke, directed by Primož Ekart and produced by Imaginarni Institute.

Zgodba o nekem slastnem truplu ali gostija ali … je intimno povabilo k srečanju, ki v natančnem in pronicljivem dialogu z besedilom razpira vprašanje odgovornosti izvajalcev in gledalcev za obrok, ki je ponujen v obliki gledališkega dogodka. Vabilo na gostijo gledalca z nevsiljivim, duhovitim, a hkrati neizprosnim nagovorom razoroži njegove anonimne distance in okoli kuhinjske mize v jedilnici zasebnega meščanskega stanovanja se fiktivna kanibalistična seansa preobrazi v še kako resnično soočanje, ki posameznika postavlja na preizkušnjo ob vsakem pogledu, besedi ali čustvu. V družbi eminentnih gostov in brezimnih, ponižanih ter zavrženih trupel, ki jih magično oživlja Iva Babić, slavnostno obedovanje obare iz trupel žrtvovanih deklet in žena natančno odmerja duhovit in mestoma cinični gostitelj Branko Jordan. Zasebna izkušnja med prisotnimi gostitelji in povabljenci, med izvajalci in gledalci, se v spoju simbolnega in dokumentarnega, resničnega in fiktivnega, predvsem pa z intenziteto neposredne bližine zažre čez družbene konflikte, ekonomske neenakosti ter nasilje, vse do gosta, ki se zaveda, da je obrok potrebno tudi plačati.

The feast or the story of a savoury corpse … is an intimate invitation to an encounter, which through a precise and witty dialogue with the text raises the question of responsibility of performers and spectators for the meal offered in the form of a theatre event. The invitation to the feast that addresses in an unobtrusive, humorous, and yet, relentless manner disarms the spectator from his anonymous distance. Thus the fictitious cannibalistic session around the kitchen table in the dining room of a private bourgeois apartment turns into a deadpan serious confrontation that puts the individual to an out-and-out test with each gaze, word, or emotion. In the company of illustrious guests and nameless, humiliated, and discarded corpses magically revived by Iva Babić, the celebratory consummation of the stew made out of corpses of sacrificed girls and women is meticulously steered by the witty and occasionally cynical host Branko Jordan. Through the permeating of symbolical and documentary, real and fictitious, and mostly through the intensity of immediate vicinity, the personal experience between the present hosts and guests, performers and spectators, embeds itself beyond social conflicts, economic inequality, and violence, all the way to the guest who is aware of the fact that the meal also has to be paid for.

zavod imaginarni

Nagrada Društva gledaliških kritikov Slovenije (DGKTS)

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47. Festival Borštnikovo srečanje v številkah 47th Maribor Theatre Festival in Numbers Maribor, 16.–26. oktober 2012 Maribor, 16-26 October 2012 V tekmovalni program 47. Festivala Borštnikovo srečanje je selektor mag. Primož Jesenko uvrstil 12 predstav. Skupaj z umetniško direktorico Aljo Predan sta v festivalski program uvrstila še 11 spremljevalnih predstav. Uprizoritev Astrov vstopi v tovarno iz spremljevalnega programa (E. P. I. center in Cankarjev dom) je bila odpovedana zaradi bolezni v ansamblu.

The festival selector Primož Jesenko included 12 performances in the Competition Programme. Together with artistic director Alja Predan, they included in the festival programme another 11 accompanying performances. The performance of Astrov Enters the Factory from the Accompanying Programme (E.P.I. center and Cankarjev dom) was cancelled due to an illness in the ensemble.

Celoten festivalski program je bil razdeljen na več programskih sklopov, in sicer: • t ekmovalni program – 12 predstav • s premljevalni program – 11 predstav, realiziranih 10 • mednarodni program Mostovi – 7 predstav •p  rogram AGRFT – 11 predstav, realiziranih 10 • Češki fokus – 3 dogodki

The entire festival programme was divided into several programme segments: • Competition Programme – 12 performances • Accompanying Programme – 11 performances • International Programme Bridges – 7 performances • Programme of the Academy of Theatre, Radio, Film and Television in Ljubljana – 11 performances, 10 shown • Czech Focus – 3 events

Ponovno je bil organiziran showcase – tuja strokovna javnost si je lahko v petih dneh ogledala deset predstav, ki so bile izbrane iz obeh glavnih programov (šest iz tekmovalnega in štiri iz spremljevalnega). Gostili smo 38 mednarodnih strokovnjakov, kritikov in festivalskih programerjev.

Another showcase was organised: in the course of five days foreign theatre professionals had the opportunity to see ten performances selected out of two main programmes (six from the Competition Programme and four from the Accompanying Programme). We were hosts to 38 international experts, critics, and festival programmers.

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Festival Borštnikovo srečanje je bil v sodelovanju z Maribor 2012 – EPK prvič v svoji zgodovini koproducent izjemnega glasbeno-gledališkega dogodka When the Mountain Changed Its Clothing. Nastal je v režiji priznanega nemškega režiserja Heinerja Goebbelsa v sodelovanju s Karmino Šilec in vokalnim gledališčem Carmina Slovenica; odprtje festivala je bila hkrati slovenska premiera te predstave.

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Strokovni del 47. FBS je obsegal petdnevni mednarodni seminar za mlade kritike, ki je nastal v sodelovanju z mednarodno mrežo Združenja gledaliških kritikov AICT/IATC, gostili smo okroglo mizo v organizaciji Društva gledaliških režiserjev z naslovom 4+4+4 ter strokovne pogovore o tekmovalnih in mednarodnih predstavah. Vodili sta jih Nika Arhar in Katja Čičigoj.

For the first time in its history, Maribor Theatre Festival was a co-producer. With Maribor 2012EPK (European Cultural Capital) as partner, it co-produced an outstanding music-theatre event When the Mountain Changed Its Clothing. It was directed by the renowned German director Heiner Goebbels in collaboration with Karmina Šilec and the vocal theatre Carmina Slovenica. The opening of the festival was at once the Slovene première of that performance.

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The professional part of the 47th Maribor Theatre Festival included a five-day international seminar for young critics realised in collaboration with the international network of the Association of Theatre Critics AICT/IATC. We were hosts to a round table discussion organised by the Association of Theatre Directors entitled 4+4+4 as well as debates on productions in the Competition and International Programme. The debates were moderated by Nika Arhar and Katja Čičigoj.


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V Fokusu smo pod drobnogled vzeli Češko in predstavili sodobno češko dramatiko in gledališče. Na Prvem odru Prve gimnazije so študentje AGRFT pod mentorstvom režiserke Yulie Roschina izvedli bralne uprizoritve treh sodobnih čeških dram, in sicer Iz zvezdnega prahu Lenke Lagronove, Izpoved mazohista Romana Sikore in Jajce Petra Kolečka. Slovenske prevode smo izdali v knjigi Sodobna češka drama. Izbor dram so opravili kolegi na Inštitutu za umetnost in gledališče v Pragi. Pogovarjali smo se z dramatikoma Romanom Sikoro in Petrom Kolečkom, mag. Martina Černá je predstavila Inštitut za umetnost in gledališče v Pragi. Del Češkega fokusa je bila tudi predstava Europeana, ki je bila uvrščena v sklop Mostovi.

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V treh knjižnih terminih je bilo predstavljenih sedem knjig in publikacij s področja uprizoritvene umetnosti. Predstavitve smo v sodelovanju z Mariborsko knjižnico pripravili v Svečani dvorani Rotovž, vodila jih je Ksenija Repina Kramberger.

***

The Focus section was dedicated to the Czech Republic and presented the contemporary Czech dramatic literature and theatre. Students of the Academy of Theatre, Radio, Film and Television in Ljubljana performed staged readings of three contemporary Czech plays under the mentorship of Yulie Roschina: Out of Stardust by Lenka Lagronova, A Mazochist’s Confession by Roman Sikora, and Egg by Peter Kolečko. We published the Slovenian translations of the plays in the book Contemporary Czech Drama. The selection of plays was made by our colleagues from the Institute of Arts and Theatre in Prague. We held talks with playwrights Roman Sikora and Peter Kolečko, and Martina Černá presented the Institute for Arts and Theatre in Prague. The performance of Europeana, which was included in the international programme Bridges, was also part of the Czech Focus.

***

Within the frame of three literary events there were presentations of seven books and publications from the field of performing arts. We prepared the presentations in collaboration with Maribor Library in the Rotovž Hall. The presentations were moderated by Ksenija Repina Kramberger.

***

V avli SNG Maribor je bila na ogled fotografska razstava portretov in fotografij vlog Staneta Severja Podobe karizme Loškega muzeja Škofja Loka, v preddverju Malega odra SNG Maribor pa razstava Mete Vranič Portreti igralskih kolegov. Na komornem odru SNG Maribor je bila predstavljena tudi virtualna razstava Slovenskega gledališkega muzeja in inštituta Novi ZATO. Alenka Bartl, kostumografka.

***

Izvedli smo tri filmske projekcije: Placebo (Karmina Šilec), Designated Space (Češki fokus) in film režiserja Vlada Škafarja Deklica in drevo s Štefko Drolc in Ivanko Mežan.

Images of Charisma, a photographic exhibition of portraits and photos of Stane Sever’s roles organised by the Škofja Loka Museum was presented in the foyer of the old hall of the Slovene National Theatre Drama Maribor. The anteroom of the Small Stage of the Slovene National Theatre Drama Maribor hosted the exhibition Portraits of Colleagues Actors by Meta Vranič. The Chamber Stage of the Slovene National Theatre Maribor featured the virtual exhibition by the National Theatre Museum of Slovenia and Novi ZATO. Institute Alenka Bartl, Costume Designer.

***

***

***

Izdali smo almanah v slovenskem in angleškem jeziku, natisnjena je bila tudi dvojezična programska zloženka. Vsak dan festivala je izšel bilten (11 številk v slovenskem jeziku) ter dve posebni izdaji: ena v angleškem jeziku s prispevki, nastalimi v okviru seminarja za mlade kritike (uredila Mark Brown in Ksenija Repina Kramberger), ter izdaja ob novinarski konferenci in slavnostnem podpisu listin s pokrovitelji. Skupno torej 13 številk.

***

Sodelovanje z AGRFT UL je tudi letos potekalo ves čas festivala. V tem času je del študijskih obveznosti potekal v Mariboru. Študentje so v dvorani Štuk izvedli deset produkcij, predstava Zadet pravi čas je iz objektivnih razlogov odpadla.

We organised three screenings: Placebo (Karmina Šilec), Designated Space (Czech Focus) and the movie A Girl and A Tree by director Vlado Škafar with Štefka Drolc and Ivanka Mežan.

***

We published the almanac in Slovenian and English as well as a bi-lingual programme leaflet. Each day of the festival was accompanied by a new issue of the bulletin (11 issues in Slovenian) along with two special editions: one in English with contributions which came about during the seminar for young critics (edited by Mark Brown and Ksenija Repina Kramberger) as well as an edition accompanying the press conference and the celebratory signing of documents with sponsors. All in all, 13 issues were published.

120 121


***

Pri izvedbi 47. FBS so prostovoljno sodelovali študentje in študentke FF UM. Prav tako je bil v soorganizaciji Študentskega sveta FF in Slavističnega društva Maribor na različnih lokacijah po Mariboru izveden kulturno-izobraževalni projekt Literatura na cesti, katerega osrednja tematska nit je bila mladinska literatura.

***

Mednarodna strokovna žirija je ob zaključku 47. FBS podelila enajst nagrad. Žirija za podelitev najvišjega priznanja za igralsko ustvarjalnost je Borštnikov prstan podelila dramskemu igralcu Igorju Samoborju. Podeljena je bila tudi nagrada DGKTS za najboljšo uprizoritev pretekle sezone.

***

Na 47. FBS se je zvrstilo 78 dogodkov, ki jih je obiskalo 6.740 obiskovalcev. Odigranih je bilo 46 predstav, ki si jih je ogledalo 4.851 gledalcev. Drugih dogodkov je bilo 32, obiskalo jih je 1.889 obiskovalcev. Daša Šprinčnik

***

The collaboration with the Academy of Theatre, Radio, Film and Television in Ljubljana was also part of this year’s festival. For the entire duration of the festival, a part of the students’ obligations unfolded in Maribor. Students performed ten productions in the Štuk hall; the production of All in the Timing was cancelled for objective reasons.

***

Students of the Faculty of Arts at the University of Maribor took part as volunteers in the 47th Maribor Theatre Festival. The Student Council of the Faculty of Arts and the Maribor Slavic Association co-organised the culturaleducational project Literature in the Streets with youth literature as a red thread.

***

Upon the conclusion of the 47th Maribor Theatre Festival, the international jury awarded 11 prizes. The jury of the highest award for acting achievements bestowed the Borštnik Ring to the dramatic actor Igor Samobor. The Association of Theatre Critics and Researchers also awarded the best performance of the past season.

***

The 47th Maribor Theatre Festival hosted 78 events with 6,740 visitors. Forty-six performances were shown with 4,851 spectators. There were 32 other events with 1,889 visitors. Daša Šprinčnik


Pokrovitelji festivala Sponsors of the Festival


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INSTRUCTIE LOGOGEBRUIK INSTRUCTIE LOGOGEBRUIK INSTRUCTIE LOGOGEBRUIK INSTRUCTIE LOGOGEBRUIK INSTRUCTIE LOGOGEBRUIK HET LOGO VAN HET FONDS PODIUMKUNSTEN Het logo is beschikbaar in 2 versies: – zwart (regulier gebruik, voorkeur) – wit (gebruik op een donkere achtergrond) Voor het logo is PMS ‘Black’ gekozen. Bij Full Color uitgaven wordt het FC zwart. Het logo dient niet in een andere kleur afgebeeld te worden. Het logo is als digitaal vectorbestand aangeleverd (Illustrator CS). De bestandsnaam eindigt op ‘.eps’. Maatvoering Het logo is aangeleverd als basislogo. De hoogte van het basislogo is 14,3 mm. De maat van het logo is variabel. De minimale maat van het logo is 20 mm breed.


FOTO photo: boštjan lah

Borštnikov prstan daruje borštnik ring donated by

FOTO photo: Matej KRISTOVIČ

Vetrinjska 17 si-2000 Maribor t +386 (0)2 251 41 77

Galerija Hest daruje umetniško sliko dobitniku velike nagrade Festivala Borštnikovo srečanje za najboljšo uprizoritev The Hest Gallery presents the painting to the winner of the Maribor Theatre Festival Grand Prix Award for best performance

Židovska 1, SI-2000 Maribor T +386 (0)2 250 06 66 E galerijahest@siol.net I www.galerijahest-sp.si Židovska 8, SI-1000 Ljubljana T +386 (0)1 422 00 00 Dragica Cvek Jordan, Deklica s šopkom, 2009, grafika print, 70x50 cm 138 139


NAKUP VSTOPNIC TICKET SALES Predprodaja: od 2. septembra do 4. oktobra 2013. V predprodaji so vstopnice 2 € cenejše. Redna prodaja: od 5. do 27. oktobra 2013.

Presales from 2 September to 4 October 2013. The price of presale tickets is 2 € less than the regular price. Regular sales from 5 to 27 October 2013.

POPUSTI IN UGODNOSTI DISCOUNTS Abonentom SNG Maribor, upokojencem in članom slavističnega društva nudimo možnost nakupa vstopnic po predprodajni ceni do začetka predstave. Za dijake in študente: cena vstopnice ob predložitvi študentske ali dijaške izkaznice je 10 €. Predstave AGRFT so za dijake in študente brezplačne. Popust za nakup vstopnic lahko uveljavite samo pri blagajni SNG Maribor ob predložitvi izkaznice ali potrdila. Popust se obračuna na redno ceno vstopnic. Popusti se med seboj izključujejo in se ne seštevajo.

Subscribers of the Slovene National Theatre Drama Maribor, retirees and members of the Maribor Slavic Association may purchase tickets at the presale price until the performance starts. University and grammar school students may purchase tickets for 10 € upon showing student I.D. The productions of the Academy of Theatre, Radio, Film and Television are free for university and grammar school students. Discounts are availavle only at the SNG Maribor box office upon presenting the eligible document or I.D. The discount applies to the regular ticket price. Only one discount per ticket is available.

BORŠTNIKOV ABONMA BORŠTNIK SEASON TICKET Vpis v Borštnikova abonmaja poteka od 2. do 28. septembra 2013 oz. do zapolnitve mest pri blagajni SNG Maribor in agenciji Ines tours v Ljubljani. Pri agenciji Ines tours lahko vpišete Borštnikov abonma z možnostjo prevoza s festbusom. Ob nakupu abonmaja vam podarimo vstopnico za ogled sklepne prireditve (27. 10.) ter Almanah. Borštnikov abonma 1 - Korak v dvoje po Pii in Pinu - Črna žival žalost - Hamlet - Mati - Kazimir in Karolina Cena 75 €, cena s festbusom 105 € Borštnikov abonma 2 - Vaje za tesnobo - Mojster in Margareta - Leda - 25.671 Cena 60 €, cena s festbusom 85 € Abonmaje lahko plačate ob vpisu pri blagajni SNG v celoti ali v treh obrokih. Komitenti Nove KBM, Abanke, Nove Ljubljanske banke, Poštne banke in Raiffeisen Banke lahko plačate preko trajnika v treh obrokih. Možnost plačila s kreditnimi karticami Activa, American Express, Eurocard, Mastercard, Visa, Moneta in s plačilno kartico BA.

Subscriptions for the Borštnik Season Ticket may be purchased from 2 to 28 September 2013, or until available spaces have sold out at the SNG Maribor box office and/or at Ines Tours d.o.o. in Ljubljana. Season Ticket purchasers receive a free ticket for the closing awards ceremony (27 October), as well as the Almanac! Borštnik Season Ticket 1 - A Two-Step According to Pia and Pino - Black Beast Sorrow - Hamlet - The Mother - Casimir and Caroline Price 75 €, price including Festbus return rides 105 € Borštnik Season Ticket 2 - Exercises for Anxiety - The Master and Margarita - Leda - 25.671 Price 60 €, price including Festbus return rides 85 € When subscribing at the SNG Maribor box office, the Season Ticket may be paid for in total or in three instalments. Account holders of Nova KBM, Abanka, NLB, Poštna banka, and Raiffeisen Banka, may pay the three instalments via direct debit. You may also pay with the following credit cards: Activa, American Express, Eurocard, Mastercard, Visa, Moneta, and BA payment card.


S FESTBUSOM NA FBS WITH FESTBUS TO THE FESTIVAL V času festivala bo na relaciji Ljubljana– Maribor–Ljubljana dnevno vozil festbus. Iz Ljubljane v Maribor bo odpeljal ob 16.30 (izpred Hale Tivoli) in se ob 23.00 iz Maribora (s Slomškovega trga) vračal v Ljubljano. Povratna vozovnica stane 5 €. Prevoz je možen samo s predhodnim nakupom vstopnice za predstavo in rezervacijo sedeža v avtobusu.

During the festival there will be a daily Festbus on the route Ljubljana-Maribor-Ljubljana. The estimated time of departure from Ljubljana to Maribor is at 16:30 (from in front of Hala Tivoli), while the departure from Maribor to Ljubljana is at 23:00 (from Slomškov trg). The return ticket is 5 €. The Festbus ride is available only for those who have previously purchased a ticket to a theatre performance and reserved a bus seat.

DARILO ZA ABONENTE A GIFT FOR SUBSCRIBERS Med abonente Drame SNG Maribor bomo razdelili 200 brezplačnih vstopnic za zaključno prireditev. Vstopnice bodo na voljo od 24. oktobra 2013 pri blagajni SNG Maribor ob predložitvi abonmajske kartice.

Two hundred free tickets for the closing ceremony will be available for the subscribers of the Drama of the SNG Maribor. The tickets may be picked up from 24 October 2013 at the SNG Maribor box office upon showing the subscriber I.D.

***

***

Blagajna je odprta od ponedeljka do petka od 10.00 do 13.00 in od 17.00 do 19.30, v soboto od 10.00 do 13.00 in vsak dan uro pred predstavo.

The Box Office is open Monday thru Friday from 10:00 to 13:00 and from 17:00 to 19:30; Saturdays from 10:00 to 13:00 and one hour before each performance.

Ines tours d.o.o. Židovska ulica 1, SI-1000 Ljubljana T 01 421 39 40 M 040 222 548 E info@ines-tours.si

Ines Tours d.o.o. Židovska 1, SI-1000 Ljubljana T +386 (0)1 421 39 40 M +386 (0)40 222 548 E info@ines-tours.si

Gledališka blagajna SNG Maribor Slovenska ulica 27, SI-2000 Maribor T 02 250 61 15 E boxoffice@sng-mb.si I www.mojekarte.si

SNG Maribor Box Office Slovenska 27, SI-2000 Maribor T +386 (0)2 250 61 15 E boxoffice@sng-mb.si W www.mojekarte.si

140 141


DATUM DATE

URA TIME

REDNA PRODAJA REGULAR PRICE

PREDPRODAJA PRESALE

18. 10.

20.00

Korak v dvoje po Pii in Pinu A Two-Step According to Pia and Pino

22

20

19. 10.

18.30

Also sprach Cage

16

14

19. 10.

20.00

Črna žival žalost Black Beast Sorrow

22, 18, 14

20, 16, 12

20. 10.

18.00

To je šele začetek Just the Beginning

16

14

20. 10.

19.30

Do tu sega gozd The Forest Ends Here

16

14

20. 10.

21.00

Vaje za tesnobo Exercises for Anxiety

22

20

21. 10.

18.00

Dolg Rakef Saške / Dolg RS The Debt of Rakef Saška / The Debt of RS

13

10

21. 10.

19.00

Mr Jones

16

14

21. 10.

20.30

Hamlet

22, 18, 14

20, 16, 14

22. 10.

19.00

Leda

16

14

22. 10.

21.00

Robinson

13

11

23. 10.

17.30

Okus tišine vedno odmeva The Taste of Silence Always Resonates

13

11

23. 10.

19.00

Človeški glas The Human Voice

16

14

23. 10.

20.30

Mojster in Margareta The Master and Margarita

22, 18, 14

20, 16, 12

24. 10.

18.00

Inštrukcija The Lesson

13

11

24. 10.

19.30

Ponorela lokomotiva The Crazy Locomotive

22

20

24. 10.

21.30

Mati The Mother

22, 18, 14

20, 16, 12

25. 10.

17.30

Miranda

16

14

25. 10. in 26. 10.

19.30

22

20

21.30

Tri elizabetinske tragedije. Država::R.III. – Epilog Three Elizabethan Tragedies. State::R.III. – Epilogue

25. 10.

20.00

25.671

22, 18, 14

20, 16, 12

25. 10.

21.30

Božič pri Ivanovih Christmas at the Ivanovs’

22

20

26. 10.

18.00

Kazimir in Karolina Casimir and Caroline

16

14

26. 10.

20.00

John Gabriel Borkman

22, 18, 14

20, 16, 12

* Vstopnice za predstave AGRFT so naprodaj na ŠTUK-u, Gosposvetska c. 83, Maribor (razen za predstave Stoli, Kaligula, Skušnja ter Predstava ob jezeru), in na AGRFT, Nazorjeva 3, Ljubljana. Cena vstopnice je 5 €, za študente in dijake je vstop prost.

Tickets for AGRFT performances may be purchased at ŠTUK, Gosposvetska c. 83, Maribor, and at the Academy of Theatre, Radio, Film and Television, Nazorjeva 3, Ljubljana. Ticket price 5 €, free entry for university and grammar school students.


festivalska prizorišča festival venues 7

4

6 9

1

2

5 8 3

1

SNG MARIBOR Slovenska ulica 27 Velika dvorana, Stara dvorana, Kazinska dvorana, Mali oder, Komorni oder grand hall, old hall, kazina hall, small stage, chamber stage

2

Vetrinjski dvor vetrinj mansion

3

Lutkovno gledališče Maribor maribor puppet theatre

4

Prva gimnazija first grammar school

5

umetnostna galerija maribor Maribor art gallery

6

dvorana a. trstenjaka, um a. trstenjak hall, um

7

štuk

8

KIBLA

9

galerija k18 gallery k18

Vetrinjska ulica Vojašniški trg 2A Trg generala Maistra 1 Strossmayerjeva ulica 6 Slomškov trg 15 Gosposvetska cesta 83 Ulica Kneza Koclja 9 Koroška cesta 18


BELEŽKE NOTES


Festival Borštnikovo srečanje | SNG Maribor | Maribor Theatre Festival Slovenska ulica 27, SI-2000 Maribor, Slovenija T +386 (0)2 250 62 27, 250 61 00 F +386 (0)2 250 62 28 E borstnikovo@sng-mb.si I www.borstnikovo.si Umetniška direktorica Festival artistic director Alja Predan Selektor tekmovalnega in spremljevalnega programa Competition and accompanying programme selector Primož Jesenko Direktor SNG Maribor Managing director SNG Maribor Danilo Rošker Izvršna producentka in odnosi z javnostmi Executive producer and public relations Daša Šprinčnik Producentka mednarodnega programa International programme producer Branka Nikl Klampfer Urednica publikacij in spletnih strani Publications and web content editor Ksenija Repina Kramberger Koordinatorka simpozijev in tujih gostov Symposia and international guests coordinator Mojca Planšak Koordinatorka nizozemskega fokusa Dutch Focus coordinator Barbara Hribar Promocija in oglaševanje Promotion and advertising Nevenka Pašek Organizatorka prodaje Sales coordinator Špela Lešnik Tehnični vodja Technical manager Darko Štandekar Oblikovalec Designer Nenad Cizl Fotografa Photographers Matej Kristovič, Boštjan Lah Arhivar Archivist Franci Rajh Voditeljici pogovorov o predstavah Panel discussion moderators Nika Arhar, Katja Čičigoj Voditeljica pogovorov o knjižnih novitetah Moderator of Books at the Festival Ksenija Repina Kramberger Strokovna žirija Jury of experts Jasen Boko, Tomasz Kubikowski, Barbara Orel, Tea Rogelj, Petra Vidali Žirija za Borštnikov prstan Jury for the Borštnik Ring Award Silva Čušin, Jernej Lorenci, Dušan Mlakar, Alja Predan, Ivo Svetina Strokovna skupina Artistic board Aleš Novak – predsednik Chairman, Tatjana Ažman, Gregor Butala, Mojca Jan Zoran, Blaž Lukan

Sofinanciranje Funding


Gledališka blagajna je odprta od ponedeljka do petka od 10.00 do 13.00 in od 17.00 do 19.30, v soboto od 10.00 do 13.00 in uro pred predstavo. t (0)2 250 61 15 e boxoffice@ sng- mb. si i www.mojekarte.si Box office hours: Monday to Friday 10 a.m. to 1 p.m. and 5 p.m. to 7.30 p.m.; Saturday 10 a.m. to 1 p.m.; for tickets at the door, the box-office opens one hour prior to the performance. T +386 (0)2 250 61 15 E boxoffice@sng-mb.si I www.mojekarte.si


48FBS Almanah / The Almanac