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Almanah The Almanac 51. Festival Borštnikovo srečanje 51st 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 Lektorica Language consultant Maja Cerar Prevajalki Translators Katarina Pejović, Jana Renée Wilcoxen 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 2016

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

792.079(497.4)“2016“

FESTIVAL Borštnikovo srečanje (51 ; 2016 ; Maribor) [Almanah = The Almanac] / 51. festival Borštnikovo srečanje = Maribor Theatre Festival, [14.-23. 10. 2016] ; [urednica Ksenija Repina ; prevajalka Katarina Pejović ; viri fotografij Gledališki arhivi in Arhiv CTF UL AGRFT]. - Maribor : Festival Borštnikovo srečanje, SNG, 2016

ISBN 978-961-94050-1-7 1. Repina, Ksenija 286091776

5 Alja Predan: Spomin na jutri A Memory of Tomorrow 7 Petra Vidali: Selektorski pogled The Selector‘s Perspective 10 Program Programme 12 Selektorica Selector 12 Strokovna žirija Jury of Experts 14 Žirija za podelitev Borštnikovega prstana Jury for the Borštnik Ring Award 16 Tekmovalni program Competition Programme 40 Režiserji tekmovalnih uprizoritev Directors of the Competition Programme 42 Spremljevalni program Accompanying Programme 56 Mostovi Bridges 68 AGRFT Academy of Theatre, Radio, Film and Television 73 Švedski fokus Swedish Focus 77 Strokovna srečanja, razstave in še … Discussions, Exhibitions and More … 84 50. Festival Borštnikovo srečanje 50th Maribor Theatre Festival 101 Pokrovitelji festivala Sponsors of the Festival 119 Nakup vstopnic Ticket Sales 122 Festivalska prizorišča Festival Venues

Damjan Švarc

Spomin na jutri

A Memory of Tomorrow

Siv julijski dan. V nekih davnih dneh smo v tem času praznovali dan borca. Lepa iztočnica za nekaj misli.

A grey July day. Back in the old days it was a national holiday - the Combatants’ Day1. An appropriate occasion for a few thoughts.

V istih davnih dneh, ko smo slavili borce, so zasnovali, izoblikovali in implementirali kulturni model, katerega slastne in gnile sadove uživamo še danes.

It was back in those same old days, when we were celebrating combatants, that a certain cultural model was conceived, shaped and implemented. A cultural model whose sweet and rotten fruits we are still consuming to this day.

Slastni: zahvaljujoč dejstvu, da v slovenski kulturi – razen natikanja novih političnih glav na kurje vratove presušenega sistema – ni bilo tako rekoč nobenih usodnih sprememb, imamo danes na uprizoritvenem področju rekordno število institucij, javnih in nevladnih, uspešno produkcijo ali celo hiperprodukcijo izdelkov, veliko število (lastnikov in lastnic) delovnih mest in relativno solidno finančno podprtost. Vsaj v primerjavi z drugimi področji. Tako je stanje in pika. (In po možnosti nobenih sprememb. Princip »ne drezaj« pomeni predvidljivo, varno in stabilno okolje za večino.) Za nameček pa je še famozni ZUJF skoraj nepredušno zaprl vrata za vstop mladih v trdnjavo udobno »pospravljenih«. Gnili: vse večja vojska mladih prekarcev se bo, ko bo izčrpala vse preživetvene možnosti v sporočilno in umetniško razsvetljenih nadaljevankah, voditeljskih tv modrovanjih, reklamnih kokodakanjih in kar je še podobnega, najbrž organizirala, najprej

Sweet: thanks to the fact that there were no fateful changes in Slovenian culture – save for sticking new political heads onto the chicken necks of the dried-out system – the performing arts field today boasts a record number of institutions, both public and non-governmental, a successful production or even hyper-production of performances, a large number of (holders of) employment positions and a relatively solid financial support. At least compared to other areas. This is the state of things. Full stop. (And if at all possible, no changes. The principle named “Don’t poke” means for the majority a predictable, safe and stable environment.) On top of this, the famous ZUJF2 practically sealed 1 Dan borcev, the Combatants’ Day, was commemorated as a national holiday each 4 July in the Socialist Federal Republic of Yugoslavia from 1956 until the country’s demise. It was the day when the Central Committee of the Communist Party of Yugoslavia decided in 1941 to launch a people’s uprising against the Nazi German Army that had occupied the country in April. 2 ZUJF, Zakon za uravnoteženje javnih financ, the Bill for Balancing Public Finances.

zradirala ZUJF, potem pa začela marš na ustanove. Ki, kot si lahko predstavljamo, ne bo milosten. Če seveda prej ne bo prišlo do nujnih in prepotrebnih kulturno-političnih obratov. A zaenkrat nič ne kaže. In tako bodo nekoč v prihodnosti nemara slavili dan prekarca v znak spomina na boj mladih za svoj prostor pod slovenskim kulturnim soncem. In kaj ima vse to z Borštnikovim srečanjem? Vse in nič. Borštnikovo srečanje je ostalo in obstalo tudi zaradi inercije nesprememb skozi desetletja. Hvala bogu. Nekaj malega smo v zadnjih letih le uspeli spremeniti, ga vsaj zasidrati, statusno in finančno. Lani smo podpisali dogovor, ki zagotovlja paritetno finančno stabilnost (?) s strani mestne in državne skupnosti. Festival je samostojna organizacijska enota SNG Maribor s posebnim statusom. A njegova ranljivost je prav v prekarnosti njenih udov, ki lahko kaj hitro odpadejo. In pa v občutku, da smo glede na vse povedano v tej konstelaciji dosegli vse, kar se je doseči dalo. Za kaj več, o čemer vsako leto sprašujejo novinarji, bi potrebovali več vsega. Predvsem več vsega dobrega. Pa seveda manj podtikanj, manj spletk, manj sovražnosti, manj privoščljivosti, manj domačnosti in kar je še te naše folklore. A ker smo že začeli z borcem, tako tudi končajmo: borili se bomo naprej, kakopak, pa četudi kot prekarci. Alja Predan, umetniška direktorica Festivala BS

off the entrance for young professionals into the fortress of the comfortably “positioned” ones. Rotten: When the growing army of young precarious cultural workers will exhaust all their existential possibilities in the artistically and intellectually enlightened TV series, TV show philosophising, advertisement jabbering and the likes, they will most probably get organised, erase ZUJF and launch a campaign against the institutions. Which, as we might envision, will not be very merciful. All this in case a more than necessary tour de force in cultural politics wouldn’t take place. Yet so far nothing indicates that it will. And so there is a chance that in the future there will be celebrations of the Precarious Workers’ Day in memory of the combat that the youth had to lead in order to obtain their space under the Slovenian cultural sun. And what does this have to do with the Maribor Theatre Festival? Everything and nothing. The Maribor Theatre Festival has remained and will survive partly because of the inertia of not changing anything throughout the decades. Thankfully. We have managed, though, to make some small changes in the past few years, at least in the sense of anchoring it financially and statuswise. Last year we signed the agreement providing proportional financial stability (?) by the city and by the state. The Festival is an autonomous organisation unit with a special status within the Slovene National Theatre Maribor. Yet its vulnerability lies precisely in the precarious nature of its limbs that might very quickly fall off. And it also lies in a sense that, concerning all that was mentioned here and within this constellation, we have achieved everything that could have been achieved. For something more – which is a constant question of journalists each year – we would need much more of everything. Mainly everything good. And of course fewer insinuations, fewer intrigues, less hostility, less arrogance, less familiarity and all the rest that is our folklore. And since we began with the Combatants’ Day: We shall doubtlessly continue fighting, even if we all are to become precarious workers. Alja Predan, Maribor Theatre Festival Artistic Director

damjan švarc

Selektorski pogled: Poročilo Petre Vidali Od 1. junija 2015 do 31. maja 2016 sem si ogledala 98 uprizoritev. Do 6. maja letos je 22 producentov nominiralo 68 uprizoritev. Nekateri prijavitelji niso upoštevali pravilnika in so vključili uprizoritve za otroke in mladino, lutkovne uprizoritve ali preprosto vso svojo produkcijo. Upoštevajoč pravilnik nisem gledala uprizoritev za otroke in mladino in tudi ne izključno sodobnoplesnih uprizoritev. Verjetno je, da zato nisem »dosegla« številke 114, toliko jih je namreč v lanski sezoni naštela selektorica Amelia Kraigher. Menim, da produkcija ni bistveno manjša. Vendar pa sem zaznala v primerjavi s preteklo sezono manjše število uprizoritev v produkciji nevladnega sektorja. Razmerje med slednjim in mrežo javnih zavodov na področju uprizoritvenih umetnosti po moji presoji ni bilo 40:60, kot je veljalo v preteklem obdobju, temveč bolj 30:70. Pri večini uprizoritev je evidentno, da nastaja v slabih produkcijskih pogojih, marsikdaj drži tudi, da so slabe razmere slab izgovor za premalo domišljene izdelke, vseeno pa ne zmanjka presežkov. Če so se znašli večinoma v spremljevalnem programu, so se bolj kot zaradi formata zaradi zvrstne razlike, neprimerljivosti s prevladujočimi uprizoritvenimi praksami. Kvantitativni manko produkcij nevladnega sektorja je zapolnil nov produkcijski fenomen,

The Selector’s Perspective: Notes from Petra Vidali In the period between 1 June 2015 and 31 May 2016, I saw 98 productions. Twenty-two producers had nominated 68 productions by the deadline of 6 May 2016. Some applicants did not comply with the rules and nominated productions for children and youth, puppet productions or simply all of their productions. In order to comply with the rules, I thus omitted productions for children and youth as well as those productions that were exclusively contemporary dance. This is most probably the reason why I haven’t “reached” the figure of 114, which was the number of productions seen during the last season by the previous selector Amelia Kraigher. I believe that this year’s production is not significantly smaller. Yet, in comparison with the previous season, one could notice that the number of productions in the non-governmental sector is indeed smaller. The ratio of the latter to the public performing arts institutions is, according to my estimation, approximately 30:70, as opposed to the 40:60 ratio in the most recent period. Most of the productions in the non-governmental sector show the evident lack of decent production conditions. While it is also true that those poor conditions often present a weak excuse for poorly conceived productions, topquality productions were not lacking. The fact that most of them are to be found in the Accompanying

ki se je sicer v manjši meri nakazoval že v lanski sezoni – koprodukcije z Akademijo za gledališče, radio, film in televizijo (UL AGRFT). 11 sem jih naštela, večinoma z gledališkimi javnimi zavodi, nekaj pa tudi s producenti iz nevladnega sektorja. Nominirani sta bili dve uprizoritvi. Akademija po tradiciji sodeluje na FBS s produkcijami, ki jih sama izbere, in tako bo tudi letos, koprodukcijska forma postavlja selektorju pa tudi festivalu vprašanja, na katera bo treba odgovoriti. Letošnji odgovor je ena od teh uprizoritev v spremljevalnem programu.

*** Naslov neke druge akademijske produkcije je Tik pred revolucijo. Da smo ali bi vsaj morali biti tik pred revolucijo, je bilo v tem gledališkem letu očitno. Že naslovi uprizoritev na začetku sezone so nas zelo trdno postavili v naš družbeni tukaj in zdaj: Glad, Kapital, Evropa, Demokracija, Kdo se boji črnega moža … Tudi nadaljevanje sezone je ponudilo raznovrsten program ugledališčenja socialno in politično aktualnega. Ne preseneča, da je prav v tem tematskem polju največ ad hoc avtorskih projektov, ki jih podpisujejo (anonimni) kolektivi. Kolektiv je staro dramsko predlogo celostno dopolnjeval, potujeval in sprevračal tako, da je sporočil, kdo in kako kraljuje danes. Kolektiv nam je pripravil gledališko-dokumentarno prezentacijo tega, kaj jubilantka, Republika Slovenija, pravzaprav praznuje in koga slavi. Vseeno pa naša republika ni največja junakinja oziroma antijunakinja te sezone. To mesto je zasedla ženska. Grenke solze so tekle v dramah princes v mnogih zimah. Bile so kuharice in sofije in prodajalke v nakupovalnih središčih. Bile so stare in nove učene ženske. Ne pomnim, da bi kdaj v toliko uprizoritvah gledali na odru (skoraj) samo igralke. Ne spomnim se, da bi bil položaj ženske kdaj tako v fokusu in da bi bilo fokusiranje uprizoritveno in pomensko tako raznoliko. Lahko bi naredila izbor samo iz uprizoritev s to tematiko, vendar to pač ni tematski festival slovenskega gledališča. Protagonistke sezone niso samo dramatis perosonae, temveč tudi dramatičarke in režiserke. Mlade ali vsaj še mlade (ne samo) slovenske dramatičarke in mlade (ne samo) slovenske režiserke. Po zelo dolgem času je bila sodobna slovenska dramatika, ki jo večinoma podpisujejo avtorice, na skoraj vseh velikih in malih odrih, in verjetno so letos prvič več kot četrtino uprizoritev režirale režiserke. Skoraj izključno nova generacija režiserk.

Programme has to do less with their format than with their genre difference and the incomparability with the prevalent performing practices. The quantity deficit of non-governmental productions was substituted with a new production phenomenon that could already be discerned last year, although to a smaller extent: co-productions with the Academy of Theatre, Radio, Film and Television (UL AGRFT). I counted eleven of them, mostly co-produced by public theatres but some of them also by non-governmental producers. The Academy has traditionally participated at the Maribor Theatre Festival with productions that have been internally selected. The same goes for this year. Yet the co-production form poses for the selector questions that need to be tackled. This year’s answer is that one of those productions is part of the Accompanying Programme.

*** The title of another UL AGRFT production is In the Eve of the Revolution. This theatre year made it obvious that we were or at least we ought to be in the eve of the revolution. The very titles of productions at the onset of the season grounded us harshly in our social “now and here”: Hunger, Capital, Europe, Democracy, Who is Afraid of the Black Man … The rest of the season also offered a versatile programme of staging socially and politically acute themes. It is therefore no surprise that this thematic field features the majority of ad hoc projects signed by (anonymous) collectives. The collective thoroughly replenished, estranged and perverted the old dramatic source material, thus conveying the message on who was nowadays the ruler and what kind of rule it established. The collective also prepared for us a docu-drama presentation revealing what the jubilee celebrator, the Republic of Slovenia, is actually celebrating and just whom it is glorifying. Still, our republic is not the greatest hero, or rather anti-hero, of this season. That position was taken by women. Bitter tears were flowing in the dramas of princesses in many winters. There were cooks and Sophias and vendors in shopping malls. There were old and new learned ladies. I don’t remember ever seeing so many productions in which the stage would be taken (almost) solely by women. To my memory, there was no season in which the position of women was in such a sharp focus that would be so versatile performing- and content-wise. I could have easily made the selection only out of productions with this thematic, however, this is not a thematic festival of Slovenian theatre. The protagonists of the season are not only the female dramatis personae but also the female playwrights and directors. Young or still young

Razlog, da izbor ne zrcali vseh teh dejstev, je ne vedno optimalna kombinacija tekstovnih in uprizoritvenih izbir, razlog je hipoteza, da mora tekmovalni program pokazati, kje – v najvišjih legah – smo, četudi selektor/ica sluti, kam gremo. In upa, da bomo kmalu tam.

*** Povsem konsenzualne definicije »najvišjih leg« seveda ni. Kdor prisega na klasično »vrhunskost vseh elementov uprizoritve«, bi bil v tej sezoni najbrž dokaj razočaran. Celovitih, kompleksnih uprizoritev (seveda z vrhunskimi elementi), ki spodmikajo naša že osvojena vedenja in videnja, ki na vznemirljive gledališke načine preverjajo naša stališča, pa je bilo dovolj. Program pokaže, da mislim, da se je v tej sezoni to dogajalo razkropljeno po gledališki mreži in da si primata nad presežnim ne more lastiti nacionalna gledališka infrastruktura. Selekcija ni vedno pravična do celostne repertoarne podobe gledališč. Nekatere hiše evidentno funkcionirajo po varni shemi »za vsak okus nekaj« in so ob prevladi večinoma nekakovostnih uprizoritev stavile na prav tako varne, najbolj nagrajevane režijske poetike. Druga gledališča, brez strmih kakovostnih padcev in z bolj stabilnimi izbirami, so imela manj presežkov. Tretjim se je sveža, namerno tvegana repertoarna politika tokrat obrestovala. Vendar selektor/ica v nobenem primeru ne izbira repertoarjev, temveč iz posameznih uprizoritev naredi svojega. Petra Vidali, selektorica tekmovalnega in spremljevalnega programa 51. FBS

(not only Slovenian) playwrights and young (not just) Slovenian directors. After a very long time, Slovenian contemporary plays, mostly written by female authors, were present on almost all big and small stages, and this year was probably the first time that more than a quarter of productions were directed by female directors, practically exclusively belonging to a new generation of female directors. The reason that the selection does not mirror all those facts is because there is not always an optimal combination of textual and performative choices. The reason is also hypothetically the fact that the Competition Programme should demonstrate where we are at “our best”, even though the selector may be anticipating where we are going. And hoping that we will soon be there.

*** To be sure, there is no absolute consensual definition of “our best”. This season was most probably a disappointment for all those who abide by the “top-quality of all the elements of a production”. Yet there were a sufficient number of full-blooded and complex productions (naturally with top-quality elements) that were shifting our already established ideas and perspectives and were questioning our stances in theatrically exciting ways. The programme reflects my opinion that the most remarkable events of this season were scattered across the theatre network and that the national theatre infrastructure cannot claim the primacy in the top-quality field. The selection can never do justice to the entire repertoire profile of theatres. Some theatres evidently function according to the safe scheme “something for each taste” and put their bets on the acclaimed and most awarded directorial poetics, with mostly poor-quality productions prevailing in the rest of the repertoire. Other theatres opted for more stable choices and no radical quality falls but in turn had less transcending achievements. A fresh and purposefully risky repertoire policy of the third kind of theatres this time proved to be fruitful. Still, a selector in no way chooses the repertoires but rather creates one’s own repertoire out of the individual productions. Petra Vidali, the selector of the Competition and Accompanying Programmes of the 51st Maribor Theatre Festival

Program Programme TEKMOVALNI PROGRAM COMPETITION PROGRAMME Knut Hamsun

Henrik Ibsen

Slavko Grum

Režiser Director Janez Pipan Mini teater Ljubljana & Mestno gledališče Ptuj

Režiser Director Eduard Miler Mestno gledališče ljubljansko & Slovensko stalno gledališče Trst

Režiser Director Igor Pison Slovensko stalno gledališče Trst & Glasbena matica

Glad Hunger

Avtorski projekt Ensemble project

Učene ženske po motivih Molièrovih Učenih žensk The Learned Ladies after the motifs of the Learned Ladies by Molière

Režiser Director Jernej Lorenci Slovensko ljudsko gledališče Celje & Mestno gledališče Ptuj Thomas Bernhard

Pred upokojitvijo Eve of Retirement

Režiserka Director Mateja Koležnik Prešernovo gledališče Kranj

Peer Gynt Peer Gynt

Elfriede Jelinek

Drame princes Princess Dramas

Režiser Director Michał Borczuch Slovensko mladinsko gledališče Živadinov::Zupančič::Turšič Projektator Projektator

Režiser Director Dragan Živadinov Zavod Delak Po motivih Kralja Ubuja Alfreda Jarryja Based on Ubu the King by Alfred Jarry Kralj Ubu Ubu the King

Dogodek v mestu Gogi An Event in the Town of Goga

Republika Slovenija The Republic of Slovenia

Slovensko mladinsko gledališče & Zavod Maska Gerhart Hauptmann Rose Bernd Rose Bernd

Režiserka Director Mateja Koležnik Slovensko ljudsko gledališče Celje Jean Giraudoux Ondina Ondine

Režiser Director Janusz Kica SNG Nova Gorica

Režiser Director Jernej Lorenci SNG Drama Ljubljana

SPREMLJEVALNI PROGRAM ACCOMPANYING PROGRAMME Anton Pavlovič Čehov Anton Pavlovich Chekhov Tri sestre Three Sisters

Režiserka Director Maruša Kink Zavod Margareta Schwarzwald & UL AGRFT Matija Ferlin

Staging a Play: Steklena menažerija Staging a Play: The Glass Menagerie

Kitch

Henrik Ibsen, Edward Clug

Kitch & Zavod Bunker

Koreograf Choreographer Edward Clug Dirigent Conductor Simon Robinson Opera in balet SNG Maribor

Prisega The Oath

Bara Kolenc & Atej Tutta

Metamorfoze 3º: Retorika Metamorphoses 3º: Retorika

Kud Samosvoj, Kino Šiška, Kud Pozitiv, Plesna Izba Maribor, M.I.K.K. Murska Sobota, Zavod DrMr

Zavod Emanat & Matija Ferlin

Peer Gynt Peer Gynt

Shakesoneti Shakesonnets

Avtorja Authors Primož Vitez & Mitja Vrhovnik Smrekar Cankarjev dom Ljubljana

MOSTOVI – mednarodni program BRIDGES – international programme Edward Albee

Gunilla Heilborn

Yasmina Reza

Režiser Director Martin Kušej Residenztheater München (DE)

Gunilla Heilborn (SE)

Režiser Director Boris Liješević HNK Zagreb (HR)

Kdo se boji Virginie Woolf? Who’s Afraid of Virginia Woolf?

Franz Xaver Kroetz

Glasba po željah Request Concert

This is Not a Love Story This is Not a Love Story

Emily Brontë

Bella Figura Bella Figura

Viharni vrh Wuthering Heights

moment:teater (SE)

Režiserka Director Yana Ross Teatr Łaźnia Nowa Krakov & TR Warszawa, (PL)

Akademija za gledališče, radio, film in televizijo Academy of theatre, radio, film and television GRU GRU (Who Let the Pigeons Out?)

Produkcija II. semestra A production of the 2nd semester students Federico García Lorca

Hiša Bernarde Alba The House of Bernarda Alba

Produkcija VIII. semestra A production of the 8th semester students

Odlomki iz Othella in Hamleta W. Shakespeara Based on Othello and Hamlet by W. Shakespeare

Ljubezen in Smrt Love and Death

Produkcija VI. semestra A production of the 6th semester students Po motivih iz Molièra Based on motifs by Molière Molièremobil

Produkcija IV. semestra A production of the 4th semester students

Srečanje v Π Encounter in Π

Produkcija podiplomskega programa Dramska igra Production of the Master‘s programme Stage Acting

Selektorica Selector PETRA VIDALI Kritičarka, publicistka in urednica. Med študijem primerjalne književnosti in sociologije kulture na Filozofski fakulteti v Ljubljani je bila gledališka kritičarka in urednica kulture pri študentskem/akademskem časopisu Katedra. Po diplomi je sodelovala z različnimi strokovnimi revijami in bila članica uredniškega odbora revije Literatura. Ob zaposlitvi na dnevniku Večer (od leta 1999) je (p)ostalo njeno primarno delovno področje gledališče, od leta 2009 je urednica kulturne redakcije. Bila je članica žirij za literarne nagrade (večernica, Rožančeva nagrada, Veronikina nagrada, Prešernov sklad) in gledališke nagrade (Festival Borštnikovo srečanje, Festival komornega gledališča, Bienale lutkovnih ustvarjalcev) in članica Upravnega odbora Prešernovega sklada. Za svoje delo je prejela Stritarjevo nagrado za kritiško pero (1999) in Glazerjevo listino za gledališko in literarno kritiško delo (2004). V desetletju 2004–2014 je pri založbi Litera zasnovala in urejala zbirko sodobne prevodne proze Babilon, med letoma 2010 in 2014 pa tudi zbirko Nova znamenja.

Critic, essayist and editor. During her studies of comparative literature and sociology of culture at the University of Ljubljana, Faculty of Arts, she was theatre critic and editor of the culture section in the student/academic magazine Katedra. Following her graduation, she collaborated with various professional magazines and was a member of the editorial board of the magazine Literatura. When she got a post at the daily Večer (since 1999), theatre became her primary field of interest. Since 2009 she is editor of the culture section. She has participated as a member of juries for literary awards (Večernica, the Rožanc Award, the Veronika Award, Prešeren Foundation) and theatre awards (Maribor Theatre Festival, Chamber Theatre Festival, Biennale of Puppet Theatre) and as a member of the executive board of the Prešeren Foundation. She has received the Stritar Award for her criticism (1999) and the Glazer Award for her theatre and literary criticism (2004). In the decade 2004–2014 she was editor of the collection of contemporary foreign literature Babylon and between 2010 and 2014 the collection New Signs, both published by the publishing house Litera.

Strokovna žirija Jury of Experts ZALA DOBOVŠEK Dramaturginja in kritičarka. Leta 2009 je diplomirala iz dramaturgije na UL AGRFT, izobraževala se je tudi na gledališki akademiji DAMU v Pragi. Piše za Radio Študent in Dnevnik ter različne strokovne revije. Kot gledališka kritičarka in publicistka je pisala tudi za Delo (2009–2014) in Poglede (2015– 2016). Bila je članica strokovnih žirij (FBS, Teden slovenske drame, Gibanica, Festival MESS Sarajevo, Ministrstvo za kulturo) in selektorica festivalov (Festival MESS Sarajevo 2014, Zlata paličica 2013). Za diplomsko delo je prejela študentsko Prešernovo nagrado. Je asistentka za področje dramaturgije in študijev scenskih umetnosti na UL AGRFT.

Dramaturg and theatre critic. She received her BA in dramaturgy in 2009 at the UL AGRFT and continued her education at the theatre academy DAMU in Prague. She writes regularly for Radio Študent and the daily Dnevnik as well as for various professional magazines. She also wrote theatre reviews for the main Slovenian daily Delo (2009–1014) and Pogledi (2015–2016). She has been a member of expert juries (Maribor Theatre Festival, Slovenian Drama Week, Gibanica, Festival MESS Sarajevo, Ministry of Culture of the Republic Slovenia) and a festival selector (Festival MESS Sarajevo 2014, Golden Stick Festival 2013). She is an assistant professor in the field of dramaturgy and performing arts studies at UL AGRFT.

TOMAŽ GUBENŠEK Igralec. Diplomiral je leta 1992 na UL AGRFT v razredu red. prof. Kristijana Mucka in red. prof. Dušana Mlakarja. Po končanem študiju se je kot igralec zaposlil v Slovenskem ljudskem gledališču v Celju (1991–1998), nato pa se je vrnil na Akademijo, kjer je redni profesor za področje govora in trenutno tudi dekan. Ukvarja se z različnimi vidiki uprizoritvenih umetnosti: dramsko in radijsko igro, govornim svetovanjem, hkrati pa sodeluje tudi pri pripravi strokovnih konferenc o umetniškem govoru.

Dramatic actor. He graduated in 1992 from the University of Ljubljana, Academy of Theatre, Radio, Film and Television in the class of professors Kristijan Muck and Dušan Mlakar. Upon concluding his studies he was employed as an actor in the Celje People’s Theatre (1991-1998). Following this engagement he returned to the UL AGRFT where he is a professor of Stage Speech. At the moment he is also dean of UL AGRFT. He deals with various forms of performing arts: dramatic and radio plays, speech consulting. He is also taking part in the preparations for a conference on artistic speech.

MARTIN KUŠEJ Režiser. Sprva je študiral nemški jezik s književnostjo in športne vede na Univerzi v Gradcu, nato pa leta 1982 pričel s študijem režije na Visoki šoli za glasbo in upodabljajočo umetnost v Gradcu. Od leta 1986 deluje kot dramski režiser, svojo ustvarjalno pozornost namenja tudi operi. Doslej je režiral v eminentnih gledališčih malodane vseh evropskih mest (Gradec, München, Celovec, Stuttgart, Hamburg, Berlin, Dunaj, Verona, Zürich, Amsterdam, Pariz, Madrid, Ljubljana). Za svoje uprizoritve je prejel številne mednarodne nagrade, mdr. nagrado na Berliner Theatertreffen, nagrado Nestroy in nagrado Faust. Od leta 2011 kot intendant vodi Residenztheater v Münchnu. V obširnem razponu njegovih uprizorjenih del omenimo le najaktualnejša: nedavno je za Royal Opera House v londonskem Covent Gardnu pripravil svojo verzijo Mozartovega Idomenea in z Die Entführung aus dem Serail sodeloval na Festivalu Aix en Provence.

Director. He first studied German language and literature as well as sports science at the University of Graz. In 1982 he enrolled in the Faculty of Music and Performing Arts to study directing. He has been active as dramatic director since 1986, his creative attention shifted later towards opera. He has directed so far in almost all European cities and renowned theatres: Graz, Munich, Klagenfurt, Stuttgart, Hamburg, Berlin, Vienna, Verona, Zürich, Amsterdam, Paris, Madrid, Ljubljana. His productions have received international awards including the Berliner Theatertreffen, the Nestroy Award and the Faust Award. Martin Kušej has been the intendant of Residence Theatre in Munich since 2011. Concerning his extensive range of works, we will mention here merely the most recent ones: he prepared his own version of Mozart’s Idomeneus for the Royal Opera House in the London Covent Garden and The Abduction From the Seraglio for the Festival Aix-en-Provence.

IVOR MARTINIĆ Dramatik in dramaturg. Kot dramaturg je sodeloval pri uprizoritvah v Kazalištu Mala scena, Teatru ITD, na Eurokazu, na Riječkim ljetnim noćima in v ZKM-u. Njegova prva drama Ovdje piše naslov drame o Anti je bila prvič uprizorjena v Gradskem kazalištu mladih v Splitu, kasneje tudi v Londonu in Bruslju. Drama Moj sin samo malo sporije hoda je doživela prvo izvedbo v ZKM-u v režiji Janusza Kice. Zanjo je prejel več nagrad, mdr. zlati lovorov venec, nagrado hrvatskog glumišta, nagrado marul … Drama je bila uprizorjena tudi v Beogradu, Argentini in Urugvaju. Njegova dramska dela so prevedena v petnajst svetovnih jezikov.

Playwright and dramaturg. He has collaborated as a dramaturg on productions at Mala Scena Theatre, Theatre ITD, Eurokaz Festival, Rijeka Summer Nights Festival and Zagreb Youth Theatre. His first play The Title of the Drama About Ante is Written Here premièred in the City Youth Theatre in Split. The same play had its stagings in London and Brussels. His play My Son Just Walks a Bit Slower premièred in Zagreb Youth Theatre and was directed by Janusz Kica. This production won numerous awards including the Golden Laurel Wreath at the Festival MESS Sarajevo, the Croatian Playhouse Awards, the Marul Award… The play was staged also in Serbia, Argentina and Uruguay. His dramatic works have been translated into fifteen foreign languages.

NINA ŠORAK Dramaturginja in režiserka. Diplomirala je iz enopredmetne filozofije na ljubljanski Filozofski fakulteti in dramaturgije na UL AGRFT. Med drugim piše članke za gledališke liste in moderira pogovore. Kot dramaturginja je sodelovala z različnimi slovenskimi gledališči, kot na primer z Mestnim gledališčem ljubljanskim, s Prešernovim gledališčem Kranj, SNG Drama Ljubljana ter z Mestnim gledališčem Ptuj. Kot gledališka režiserka pa je večinoma sodelovala z gledališčem Glej. Režirala je tudi v sodelovanju s Slovenskim mladinskim gledališčem v koprodukciji z AGRFT in s KUD Transformator ter PTL-jem.

Dramaturg and director. She graduated in singlesubject philosophy from the Faculty of Arts and in dramaturgy from the Academy of Theatre, Radio, Film and Television, both of the University of Ljubljana. Her activities include writing essays for catalogues of theatre productions and moderating debates. She has collaborated as a dramaturg with various Slovenian theatres including Ljubljana City Theatre, Prešeren Theatre Kranj, Slovenian National Theatre Drama Ljubljana and Ptuj City Theatre. Her directorial works have mostly been presented in Glej Theatre. She also directed a production in collaboration with the Mladinsko Theatre, co-produced by UL AGRFT with KUD Transformator and Dance Theatre Ljubljana.

Žirija za podelitev Borštnikovega prstana Jury for the Borštnik Ring Award LJERKA BELAK Igralka. Po diplomi na Akademiji za gledališče, radio in televizijo je od sezone 1970/71 ustvarjala v Slovenskem ljudskem gledališču Celje, od sezone 1993/94 do upokojitve pa v Mestnem gledališču ljubljanskem. Delovala je tudi zunaj matičnih gledališč (Mladinsko gledališče, SNG Nova Gorica itd.). Skozi vsa leta je sodelovala in igrala na radiu, kjer je ustvarila vloge v več kot dvesto radijskih igrah, hkrati pa je bila tudi nepogrešljiv igralski obraz tako na televiziji kot na filmskem platnu − med drugim je igrala v dvajsetih televizijskih dramah, mnoge od njih so bile nagrajene. Za svoje ustvarjanje je prejela številne nagrade, mdr. študentsko Prešernovo nagrado, nagrado Prešernovega sklada, Severjevo nagrado, Borštnikovo nagrado, nagrado žlahtna komedijantka na Dnevih komedije v Celju (2002) in ne nazadnje Borštnikov prstan (2015).

Actress. Upon concluding her studies at the Academy of Theatre, Radio, Film and Television in Ljubljana, she worked in Celje People’s Theatre from the 1970/71 season and then in Ljubljana City Theatre from the 1993/94 season until her retirement. She also worked outside her home theatres (Mladinsko Theatre, Slovene National Theatre Nova Gorica, etc.). Throughout her acting years she collaborated and acted on radio where she created roles in over 200 radio plays. She was also a highly popular actress both on TV and the film screen, including roles in some twenty teleplays out of which many were awarded. She has received numerous awards for her work, including the Student Prešeren Award, the Prešeren Foundation Award, the Sever Award, the Borštnik Award, the Gracious Comedian Award at the Comedy Days in Celje and the Borštnik Ring (2015).

BLAŽ LUKAN Docent za dramaturgijo in prodekan na UL AGRFT. Dela kot praktični dramaturg v gledališču in pri filmu, piše gledališke kritike, spremne besede v knjižne objave dram in strokovnih besedil slovenskih in tujih avtorjev ter znanstvene razprave s področja dramatike in teorije scenskih umetnosti. Bil je umetniški vodja Eksperimentalnega gledališča Glej (1985–88) in SLG Celje (1989–93), soselektor mednarodnega lutkovnega festivala Lutke in selektor Festivala Borštnikovo srečanje. Med letoma 2008 in 2012 je bil predsednik Društva gledaliških kritikov in teatrologov Slovenije. Napisal je več knjig, med njimi Gledališki pojmovnik za mlade (1996), Iščemo gledališče (2000), Slovenska dramaturgija: dramaturgija kot gledališka praksa (2001), Tihožitja in grimase: gledališke ekspresije (2007), Performativne pisave: razprave o performansu in gledališču (2013), Po vsem sodeč: gledališke kritike 1993−2013 (2015), in (so)uredil knjigi Dinamika sprememb v slovenskem gledališču 20. stoletja (2010) in Svobodne roke: antologija teoretske misli o slovenskem gledališču 1899–1979 (2012).

Assistant professor in the Department of Dramaturgy and vice-dean at the UL AGRFT. He works as a practical dramaturg in theatre and in film, writes theatre reviews and introductory texts for publications of plays and texts of Slovenian and foreign authors, as well as scientific papers in the field of dramatic arts and performance art theory. He was artistic leader of the Experimental Theatre Glej (1985–88) and Celje People’s Theatre (1989–93), coselector of the International Puppet Festival Puppets and selector of the Maribor Theatre Festival. Between 2008 and 2012 he was president of the Association of Theatre Critics and Researchers of Slovenia. He has written several books including Theatre Dictionary for Young People (1996), We Search for Theatre (2000), Slovenian Dramaturgy: Dramaturgy as Theatre Practice (2001), Still Lives and Grimaces: Theatre Expressions (2007), Performative Writings: Deliberations on Performance and Theatre (2013), Considering Everything: Theatre Reviews 1993–2013 (2015) and co-edited the books The Dynamic of Changes in the 20th-century Slovenian Theatre (2010) and Free Hands: An Anthology of Theoretical Thoughts on Slovenian Theatre 1899–1979 (2012).

VLADO NOVAK Igralec. Leta 1974 je diplomiral na prvi stopnji Visoke ekonomsko-komercialne šole v Mariboru. Še isto leto se je vpisal na AGRFT v Ljubljani. Prvo vlogo v poklicnem gledališču (Cosmo de Medici v Brechtovem Galileju) je leta 1972 odigral v Drami SNG Maribor. V sezoni 1976/1977 je bil član Primorskega dramskega gledališča v Novi Gorici, v sezoni 1977/1978 pa je postal član Drame SNG Maribor. Diplomiral je leta 1995 in isto leto postal član SLG Celje, naslednje leto se je vrnil v Dramo SNG Maribor

Actor. In 1974 he graduated in the first degree at the Economic-Commercial High School in Maribor. That same year, he enrolled at the Academy of Theatre, Radio, Film and Television in Ljubljana. He performed his first role in professional theatre – Cosimo de Medici in Brecht’s Gallileo – in 1972 in the Drama of the Slovene National Theatre Maribor (SNT Maribor). In the 1976/77 season he was member of the Primorsko Drama Theatre in Nova Gorica and in the 1977/78 season he became a member of the Drama of the SNT Maribor. He graduated in 1995

kot v. d. umetniškega vodje za pol leta in nato nadaljeval svoje delo kot igralec. V Drami SNG Maribor je odigral okrog 70, večinoma nosilnih, dramskih vlog. V svojem dolgoletnem gledališkem, filmskem in televizijskem delu je prejel številne nagrade, med njimi Borštnikove nagrade za igro, nagrado Prešernovega sklada, nagrado strokovne žirije na festivalu hrvaške drame Maruličevi dnevi v Splitu, Glazerjevo listino in Glazerjevo nagrado za življenjsko delo ter seveda Borštnikov prstan (2014).

and that same year became a member of Celje People’s Theatre. The following year, he returned to the Drama of the SNT Maribor as acting artistic leader for half a year upon which he went on with his actor’s work in the same theatre. During his time in the Drama of the SNT Maribor he created over 70 roles, mostly as dramatic protagonist. Throughout his long and rich theatre, film and TV career he received numerous awards, including Borštnik Awards for acting, the Prešeren Foundation Award, the Jury Award at the Croatian Drama Festival Marulić’s Days in Split, the Glazer Diploma, the Glazer Award for Lifetime Achievement and the Borštnik Ring (2014).

MATJAŽ ZUPANČIČ Dramatik, režiser in pedagog. Po diplomi na AGRFT nadaljeval študij režije v Londonu. Po vrnitvi v Slovenijo je v osemdesetih vodil Eksperimentalno gledališče Glej. Od leta 1981 deluje kot gledališki ustvarjalec doma in v tujini. Osnova Zupančičevega umetniškega opusa so gledališke režije, ki jih ves čas povezuje s pisanjem izvirne dramatike. Je eden izmed najbolj pogosto uprizarjanih slovenskih avtorjev v tujini. Z režijami lastnih in tujih besedil mu je uspel prodor na prestižne evropske gledališke festivale in odre (Jugoslavija s svetom, Bonnski bienale, Avignon, Institute of Contemporary Arts, Ex Ponto, Sterijevo pozorje itd.). Za svoje delo je prejel številne nagrade in priznanja, tako v mednarodni kot domači konkurenci; med drugim je petkratni dobitnik Grumove nagrade za najboljše dramsko besedilo. Je redni profesor gledališke režije na Akademiji za gledališče, radio film in televizijo.

Playwright, director and pedagogue. Following his studies of directing at the UL AGRFT he continued his studies in London. Upon his return, he was the head of the Experimental Theatre Glej in the 1980s. He has been active as a director at home and abroad since 1981. The basis of Zupančič’s artistic opus are his theatre directions, which he constantly intertwines with playwriting. He is one of the most frequently staged Slovenian authors abroad. His directions of his own and other playwrights’ texts provided him the presence at prestigious European festivals and stages (Yugoslavia With the World, Bonner Biennale, Avignon, Institute of Contemporary Arts, Ex Ponto, Sterija Theatre Festival, etc.). He has received numerous awards and acknowledgements for his works both in the international and domestic context. Among other awards, he is a five-time recipient of the Grum Award for the best play. He is professor of theatre directing at the UL AGRFT.

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. Prior to becoming the artistic director of the Maribor Theatre Festival in 2009, she worked in various roles, including as the artistic director of the Primorsko Drama Theatre in Nova Gorica, as dramaturg in Ljubljana City Theatre and as director of the Theatre and Dance Programme in Cankarjev dom Congress and Cultural Centre. 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.

Tekmovalni program Competition Programme

Republika Slovenija

The Republic of Slovenia Ob 25. obletnici osamosvojitve On the 25 th Anniversary of Slovenian Independence

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Knut Hamsun Glad Hunger Slavko Grum Dogodek v mestu Gogi An Event in the Town of Goga Živadinov::Zupančič::Turšič Projektator Avtorski projekt Ensemble project Učene ženske po motivih Molièrovih Učenih žensk The Learned Ladies after the motifs of The Learned Ladies by Molière Jean Giraudoux Ondina Ondine Po motivih Kralja Ubuja Alfreda Jarryja Based on the motifs of the play Ubu the King by Alfred Jarry Kralj Ubu Ubu the King Henrik Ibsen Peer Gynt Thomas Bernhard Pred upokojitvijo Eve of Retirement Elfriede Jelinek Drame princes Princess Dramas Gerhart Hauptmann Rose Bernd

REPUBLIKA SLOVENIJA THE REPUBLIC OF SLOVENIA Ob 25. obletnici osamosvojitve On the 25th Anniversary of Slovenian Independence

15 . 10. 2016 16.45 Letalski center Maribor Tekmovalni program Competition Programme + Showcase

Tri situacije iz časa po osamosvojitvi, ko smo živeli kolektivno zgodbo o uspehu, medtem ko so se nekje v ozadju dogajale povsem druge stvari. Tri zgodbe o skritem koščku polpretekle zgodovine, na katerega je težko biti ponosen: pričevanje izvrševalca ukazov, magnetogram pogovora tistih, ki so ukazovali, in pet različic dogodka, ki je bil v svojem času afera, pozneje pa je prerasel v mit in povsem običajno ime povsem običajne vasi spremenil v sinonim za nekaj, o čemer vsi vedo vse in hkrati nič, nekaj, o čemer se pišejo knjige in se šušlja po vogalih. Resnici baje ne ustreza nič, kar pa v resnici ustreza marsikomu. Inter faeces et urinam nascimur. Rojevanje je čudovit in umazan posel in nastanek države je pogreznjen v meglo; nekam med junaštvo in pokvarjenost, med palačo OZN in mafijsko podzemlje ter v čas, ko sta bili modrost in klenost voditeljev izpostavljeni preizkusu. Ko človek dobi v svoje roke moč, se pokaže njegova prava narava; takrat se izkaže, tako ali drugače. Nekateri so se izkazali tako. Drugi drugače. Naša državljanska dolžnost je ozreti se na poosamosvojitveno obdobje; na čas, ko sanje niso bile več dovolj(ene).

Three situations back from the time following the independence, when we were living the collective success story while entirely different things were going on somewhere in the background. Three stories on a hidden bit of recent history that we can hardly be proud of: the testimony of an executor of orders, the transcript of a debate among those who were issuing orders and five versions of an event that at the time was a scandal and later on turned into a myth. An event that changed the perfectly ordinary name of a perfectly ordinary village into a synonym for something that everybody knew both everything and nothing about, something that became material for books and the subject of gossip on street corners. Apparently none of it conforms to reality, which in reality is pretty comfortable for quite a few. Inter faeces et urinam nascimur. Coming to life is a wonderful and dirty business and the creation of a state is immersed in fog; somewhere between heroism and corruption, between the UN palace and the Mafia underground, immersed in a time when the leaders’ wisdom and vigour were put to the test. It is when one gets hold of power that one’s true nature becomes manifest; that is when one proves oneself either way. Some proved themselves in one way. Others in another. It is our citizens’ duty to take a look at the post-independence period; at a time when dreams were no longer sufficient or allowed.

Slovensko mladinsko gledališče & Maska Ljubljana Premiera Première 20. 4. 2016, Slovensko mladinsko gledališče in Steklena dvorana Gospodarskega razstavišča Upper Hall of the Mladinsko Theatre and the Glass Hall of the Ljubljana Exhibition and Convention Centre Predstava traja približno 1 uro 40 minut in ima en odmor.

Running time approximately 1 hour 40 minutes. One intermission. Vsi avtorji uprizoritve bodo ostali anonimni. Posameznik v tem kontekstu preprosto ni pomemben. Pomembna je drža(va). All the authors of the production remain anonymous. In this context, the individual simply is not important. What is important is the stat(ur)e.

Iztok Dimc

Knut Hamsun

GLAD HUNGER

15 . 10. 2016 20.30 Stara dvorana Tekmovalni program Competition Programme + Showcase

Roman Glad suvereno opušča vse, brez česar pripovedna proza ob koncu 19. stoletja ni mogla shajati, vsaj tako se je zdelo. Junak nima predzgodbe, o njegovem družinskem ozadju ne izvemo ničesar in tudi njegov psihološki ustroj ostaja zagoneten. Na začetku se zdi, da mu je duha zmedla lakota, a v kratkih obdobjih sitosti junak ni veliko pametnejši, njegove misli niso jasnejše in dejanja so komaj kaj bolj zavezujoča. Je torej skaljenost njegovega duha rezultat revščine ali pa revščina izvira iz tega, da se junak ne more zbrati, jasno misliti in razumno ravnati? To vprašanje ni nikoli razjasnjeno in zato Glad ni socialna drama: nobene obtožbe mrzlih razmer, nobene zahteve po spremembi. Vse gledamo skozi oči zmedenega junaka, pa vseeno o njem pravzaprav ničesar ne dojamemo. In to je tisto temeljno odkritje romanopisca Knuta Hamsuna: motivom se je mogoče odreči. Ni nujno, da razumemo, zakaj se osebe vedejo tako, kot se; in to je produktivna moč blaznosti.

The novel Hunger abandons with flair everything that the end-of-19th-century prose couldn’t get by – or at least it appeared so. The protagonist has no pre-history, we don’t learn anything about his family background and his psychological frame remains a mystery. At the onset it appears as if his spirit is muddled because of hunger; yet even in brief periods of satiation he seems no smarter, his thoughts being no clearer and actions only slightly more committing. Is his troubled spirit therefore the result of poverty or is the poverty coming out of the fact that the protagonist cannot compose himself, think straight or act sensibly? This question is never answered and therefore Hunger is not a social play: there are no accusations whatsoever of the cruel conditions, no demands for change. We see things through the perspective of the confused protagonist and yet we learn nothing about him. And this is the fundamental revelation of the writer Knut Hamsun: it is possible to give up on motives. It is not necessary for us to understand why persons behave the way they do; and that is the productive power of madness.

Mini teater Ljubljana & Mestno gledališče Ptuj Naslov izvirnika Original title Sult Premiera Première 14. 6. 2015, Mini teater Ljubljana; 4. 9. 2015, Mestno gledališče Ptuj Predstava traja 3 ure in ima en odmor. Running time 3 hours. One intermission. Prevajalka Translator Marija Zlatnar Moe • Avtor odrske priredbe romana, dramaturg in režiser Author of stage adaptation, dramaturg and director Janez Pipan • Avtor glasbe Composer Mitja Vrhovnik Smrekar • Scenografka Set designer Sanja Jurca Avci • Kostumografka Costume designer Ana Savić Gecan • Oblikovalec svetlobe Lighting designer Andrej Hajdinjak • Lektorica Language consultant Barbara Rogelj • Asistent inspicient Assistant stage manager Matej Primec Igrajo Cast Vloga brez imena Man without a name Marko Mandić • Ylajali Nina Rakovec • Kapitan na ruski ladji/ Slepi starec/Trgovec Christie/Urednik/Dežurni policist Captain on a Russian ship/Blind Old Man/

Merchant Christie/Editor/Police Officer on Duty Brane Grubar • Zastavljalničar/Stražnik/»Devičnik«/ Moški s časopisom Pawnbroker/Constable/“Virgin”/Man with Newspapers Tadej Pišek • Prodajalka klobas/Prodajalka rož/Prodajalka kruha/Natakarica/Gospodinja Sausage Vendor/Flower Girl/ Bread Vendor/Waitress /Housekeeper Nina Valič • Ylajalijina družabnica/Uslužbenka v trgovini/ Ulična prodajalka časopisov/Dekle v parku/Prostitutka/Služkinja pri gospodinji Ylajali’s Partner/ Store Clerk/Newspaper Street Vendor/Girl in Park/Prostitute/Housekeeper’s Servant Maruša Majer

Miha FRAS

Slavko Grum

DOGODEK V MESTU GOGI AN EVENT IN THE TOWN OF GOGA

16. 10. 2016 20.00 Stara dvorana Tekmovalni program Competition Programme + Showcase

Slovenska klasika, združena z izvirno ustvarjalnostjo tržaškega režiserja Igorja Pisona, je v uprizoritvi Slovenskega stalnega gledališča dobila novo, gledališkoglasbeno podobo. Pozornost je usmerjena v osrednjo Hanino zgodbo, ob tem pa izpostavljena medvrstična hudomušnost. Tekst v odnosih šepave družbe izpostavlja pomanjkanje človečnosti, kar v nekaterih primerih privede do nadomestitve ljudi z lutkami. Gogo namreč prevevajo (tudi Ibsenovi) Strahovi, ki se izražajo skozi skrite travme in frustracije njenih prebivalcev – ti svoje fobije oplajajo v dušljivi monotonosti vsakdana, medtem ko zgolj čakajo na »odrešilni« dogodek. Te čudaške osebe s čudaško praznimi življenji in neuslišanimi hrepenenji, za katere je avtor dobil navdih tudi med svojim delom v umobolnici, nikakor ne morejo doživeti epiloga in tako ostajajo ujete v čudaški brezizhodnosti. Praznino mesta, kjer se nobena zgodba ne premakne z mrtve točke, je mogoče osmisliti samo z ustvarjanjem vzporednega sveta – prav glasba namreč spremlja, podpira, ojačuje in včasih celo preglasi hrup notranjega nemira, za katerega nihče v tem mestu nima posluha.

A Slovenian classic, merged with the singular creativity of the Trieste director Igor Pison, has acquired a new musical theatre appearance in the production of the Slovene Permanent Theatre. The focus is on Hana’s story as well as on a pronounced playfulness that is otherwise present between the lines. Dealing with relations in a dysfunctional society, the text underlines the lack of humanity, which in certain cases results in the replacement of humans by puppets. The town of Goga is infused with (also Ibsen’s) Ghosts manifested through hidden traumas and frustrations of its inhabitants: they breed their phobias amid the stifling monotony of everyday life, while merely waiting for a “redemptive” event. These weird characters with their eerily empty lives and ungratified longings – the author found part of the inspiration for them while he was working in a psychiatric asylum – are unable to experience an epilogue thus remaining captured in their uncanny hopelessness. The only way to surpass the emptiness of the town, where no story moves away from the deadlock, is by establishing a parallel world – it is the music that accompanies, supports, strengthens and at times even drowns out the noise of the inner disquiet for which no one in the town has sympathy.

Slovensko stalno gledališče Trst & Glasbena matica Premiera Première 12. 2. 2016, Slovensko stalno gledališče Trst Predstava traja 1 uro 35 minut in ima en odmor. Running time 1 hour and 35 minutes. One intermission. Režiser Director Igor Pison • Dramaturginji Dramaturgs Katarina Košir, Ana Obreza • Scenografka Set designer Petra Veber • Dirigent Conductor Igor Zobin • Svetovalka za jezik Language consultant Laura Brataševec Igrajo Cast

Afra/Hana/Gospa Prestopil Afra/Hana/Lady Prestopil Patrizia Jurinčič • Tarbula/Gospa Tereza/Komi Omar Prelih/Pisar Klikot/Grbavec Teobald Tarbula/Lady Tereza/Clerk Omar Prelih/Scribe Klikot/Hunch-back Teobald Daniel Dan Malalan Inštrumentalni sestav Glasbene matice Slovenian Musical Centre ensemble Ana Obreza (violina violin) • Valentina Bembi (viola viola) • Irene Ferro Casagrande (violončelo cello)

Peter Uhan

Gledališče // Živadinov::Zupančič::Turšič

PROJEKTATOR Po motivih dramskega teksta Kosmata opica Eugena O’Neilla Based on the motifs of the play The Hairy Ape by Eugene O’Neill

1 7. 1 0 . 2 0 1 6 18.00 Fitnes Slavija Tekmovalni program Competition Programme + Showcase

Zavod Delak Predstava traja 1 uro 15 minut in ima en odmor. Running time 1 hour and 15 minutes. One intermission. Avtorji besedila Author of text Dragan Živadinov, Mojca Kumerdej, Lotos Vincenc Šparovec • Režiser Director Dragan Živadinov • Dramaturginja Dramaturg Mojca Kumerdej • Scenografka in kostumografka Set and costume designer Dunja Zupančič • Digitalni konstruktor Digital

constructor Miha Turšič • Avtor glasbe in oblikovalec zvoka Author of music and sound designer Dario Seraval • Oblikovalec svetlobe Lighting designer Janez Kocjan • Izvršna producentka Executive producer Barbara Rosenberg • Oblikovalec Designer Boris Balant, Human1st Igrajo Cast Maruša Majer • Primož Pirnat • Romana Šalehar • Lotos Vincenc Šparovec • Tina Vrbnjak

Dunja Zupančič

Avtorski projekt Ensemble project

UČENE ŽENSKE PO MOTIVIH MOLIÈROVIH UČENIH ŽENSK THE LEARNED LADIES AFTER THE MOTIFS OF THE LEARNED LADIES BY MOLIÈRE 1 7. 1 0 . 2 0 1 6 20.30 Stara dvorana Tekmovalni program Competition Programme + Showcase

Projekt izhaja iz Molièrove komedijo Učene ženske, s pomočjo katere se ustvarjalci uprizoritve presprašujejo o spolnosti danes. Gre za razkorak med duhovnostjo (učenostjo) in ljubeznijo/spolnostjo. Med »višjo sfero« in zemeljskim, vulgarnim, zastarelim. Med žensko z umom, ki živi polno življenje, in žensko – sužnjo ljubezni, otroku, soprogu. Uprizoritev temo razširja in se sprašuje, zakaj ima spolnost danes še vedno negativni predznak. Sprašuje se o njenem mestu v vsakdanjem življenju, v medijih in v spalnici. Zakaj je med temi polji takšen razkorak? Zakaj ima javnost potrebo skrivati to, kar nas vse življenje žene, to, kar ne uničuje, temveč je kreacija v najčistejši obliki, živi umetniški akt, ki ne potrebuje publike? Danes, ko nas mediji bombardirajo s podobami nasilja, z lažmi, s »sprijenostjo« človeške narave, v času, ko je črna kronika jutranji užitek ob kavi, je akt ljubezni še vedno tabu.

The project is based on Molière’s comedy The Learned Ladies, which is the starting point for the production’s authors to explore the issue of sexuality now and here. They are dealing with the schism between spirituality (wisdom) and love/sexuality; between the “higher ground” and the earthly, the vulgar, the obsolete. Between a woman with brains who lives a full-fledged life and a woman-slave to love, children, husband. The production expands the subject in order to question why sexuality has a negative connotation still to this day. It questions its position in everyday life, in the media and in the bedroom. Why is there such a rift between those fields? Why does the public sphere need to hide from us that which is life-giving, which is not destructive, but in turn is a creation in its purest sense, a live artistic act that doesn’t need an audience? At present, as the media keeps bombarding us with images of violence, with lies, with “the evilness” of human nature, at a time when the black chronicle is the morning pleasure with coffee, the act of love is still taboo.

Slovensko ljudsko gledališče Celje & Mestno gledališče Ptuj Premiera Première 18. 9. 2015, Slovensko ljudsko gledališče Celje; 12. 10. 2015, Mestno gledališče Ptuj Predstava traja 1 uro 50 minut in nima odmora. Running time 1 hour 50 minutes. No intermission. Avtorji besedila ustvarjalci uprizoritve Authors of the text Creators of the performance Režiser Director Jernej Lorenci • Dramaturg Dramaturg Matic Starina • Scenograf Set designer Branko Hojnik • Kostumografka Costume designer Belinda Radulović • Avtor glasbe in korepetitor Composer and répétiteur Branko Rožman • Koreograf in asistent režiserja Choreographer and assistant director Gregor Luštek • Lektor Language consultant Jože Volk Igrajo Cast

Filaminta Philaminte Pia Zemljič • Armanda Armande Minca Lorenci • Beliza Belize Barbara Medvešček • Henrieta Henriette Liza Marija Grašič • Klitander Clitandre Primož Vrhovec k. g. as guest • Krizald Chrysale Vojko Belšak • Trissotin Trissotin Gregor Zorc k. g. as guest • Vadius Vadius Andrej Murenc Besedilo je nastalo po motivih Molièrovih Učenih žensk v prevodu Josipa Vidmarja. Based on the translation of The Learned Ladies by Josip Vidmar.

Jaka Babnik

Jean Giraudoux

ONDINA ONDINE

18 . 10. 2016 20.30 Stara dvorana Tekmovalni program Competition Programme + Showcase

Giraudouxova pravljična in radostna, a tudi otožna igra, ki temelji na srednjeveški nemški pravljici, odraža avtorjev pogled na pritlehnost in absurdnost človeškega bivanja. Raziskuje možnosti idealne ljubezni ter tematizira razdvojenost človeka med svobodnim duhom, ki ga pooseblja Ondina, in uklenjenostjo v družbene konvencije, v kakršnih se vila znajde. Ta čarobna igra je bila nekaj desetletij pozabljena tako v Franciji kot drugod. Morda zato, ker je preveč sanjava, ker so njene metafore preveč eterične za konfrontacijo z nasiljem, ki nas danes obdaja, ali pa preprosto zato, ker je njena izvorna zasedba preobsežna. Uprizoritev plete zgodbo siromašnih zakoncev Avgusta in Evgenije, ki živita v ribiški koči ob jezeru in sta po izgubi hčerke našla na bregu jezera nenavadno deklico, Ondino. Impulzivno, iskreno, čarobno bitje vode s svojo nepredvidljivostjo povzroča krušnim staršem velike skrbi. Ko se v koči pojavi vitez v bleščečem oklepu, se Ondina zaljubi vanj in se kljub opozorilom svojih vodnih prijateljev odloči, da se bo poročila. Tako se začne strastna ljubezenska zgodba, v kateri eterično vodno bitje trči ob laži in dvojno moralo človeške družbe.

Giraudoux’s fairytale and joyous yet melancholic play based on a German medieval fairytale reflects the author’s view on the banality and absurdity of human existence. It explores the possibility of ideal love inquiring into the individual’s rift between the free spirit, epitomised by Ondine, and being caught up in social conventions as the protagonist fairy happens to be. For several decades this enchanting play was forgotten both in France and elsewhere. The reason for this lies perhaps in the fact that it is overly oneiric or because its metaphors are too ethereal for a relevant confrontation with violence that pervades our present time; or simply because its original cast is too numerous. The production tells the story of a poor couple, Auguste and Eugenie, who live in a fishermen’s cabin by a lake. Following the loss of their daughter, they find on the lakeshore a peculiar little girl, Ondine. With her unpredictability, the impulsive, sincere, magical water creature causes her foster parents a great deal of apprehensions. When a knight in shining armour appears in the cabin, Ondine falls in love and decides to marry him regardless of the warnings by her water friends. Hence a passionate love story unfolds in which the ethereal water creature is confronted with lies and the double morality of human society.

SNG Nova Gorica Naslov izvirnika Original title Ondine Premiera Première 12. 5. 2016, SNG Nova Gorica Predstava traja 2 uri 15 minut in ima en odmor. Running time 2 hours 15 minutes. One intermission. Prevajalca Translators Jaka Fišer, Srečko Fišer • Režiser Director Janusz Kica • Dramaturginji Dramaturgs Ana Kržišnik Blažica, Martina Mrhar • Lektor Language consultant Srečko Fišer • Scenograf Set designer Marko Japelj • Kostumografka Costume designer Bjanka Adžić Ursulov • Skladatelj Composer Arturo Annecchino • Oblikovalec svetlobe Lighting designer Samo Oblokar • Asistent režiserja Assistant to director Daniel Day Škufca • Asistentka lektorja Assistant to language consultant Laura Brataševec • Asistent scenografa Assistant to set designer Valentin Tribušon Igrajo Cast

Ondina Ondine Arna Hadžialjević • Vitez Hans Knight Hans Nejc Cijan Garlatti • Berta Bertha Urška Taufer • Pesnik Bertram Poet Bertram Matija Rupel • Kraljica Izolda Queen Yseult Helena Peršuh • Kralj Herkul King Hercule Jože Hrovat • Komornik Chamberlain Blaž Valič • Intendant, Prvi sodnik Intendant, First Judge Kristijan Guček • Igralec, Drugi sodnik Actor, Second Judge Žiga Udir • Evgenija Eugenie Ana Facchini • Avgust Auguste Ivo Barišič k. g. as guest • Ondinski kralj King of Ondinas Radoš Bolčina • Ondinska kraljica Queen of Ondinas Marjuta Slamič • Ondini Ondins Medea Novak, Andrijana Boškoska Batič k. g. as guest, Andrej Zalesjak

Blaž Erzetič

Po motivih Kralja Ubuja Alfreda Jarryja; zbrana dela kolektiva Ubu Based on the motifs of the play Ubu the King by Alfred Jarry; collected works of the Ubu collective

KRALJ UBU UBU THE KING

19. 10. 2016 21.00 Stara dvorana Tekmovalni program Competition Programme + Showcase

Vsaka era ima svojega Ubuja; Lorencijeva uprizoritev ustvarja svojevrsten pogled na brutalnost in primitivizem današnjega časa, ki nista prav nič manj živa kot v času nastanka igre Kralj Ubu Alfreda Jarryja (1896). Škandal, ki je ob premieri Kralja Ubuja razdelil občinstvo in je poleg premnogih oznak dobil tudi svoje mesto kot podoba napada na samozadostnost buržoazije, je nepričakovano napovedal dogajanje v 20. in očitno tudi v 21. stoletju, tako na področju umetnosti kot v družbenem življenju. V umetnosti je Kralj Ubu napovedal avantgardne tokove, ki so pometli s tradicionalnimi oblikami, tako nadrealizem, dadaizem kot celo dramo in gledališče absurda in poznejši ludizem. Družbi pa je napovedal pohod pohlepa in brezobzirno morijo. Vse to v obliki objestne in obešenjaške igre z obilico črnega humorja in brez vsakršnih zadržkov. Brezobzirni, pohlepni, pogoltni in v resnici strahopetni Ata Ubu, ki ga k divjaškemu prevzemu oblasti in k še bolj okrutnemu totalitarnemu vladanju spodbuja njegova žena, Mama Ubu, parodirana različica Lady Macbeth, vzbuja obilo aluzij ...

Each epoch has its own King Ubu. Lorenci’s production generates its own vision of today’s brutality and primitivism, no less lively than these were at the time of the inception of Jarry’s play Ubu the King (1896). Besides the many emblems that it acquired, among them a symbol of the attack on the bourgeois self-sufficiency, the scandal that divided the audience following the 1896 première performance of Ubu the King unexpectedly heralded the developments in the 20 th and apparently also in the 21st century both in the fields of art and social life. In the arts, Ubu the King foretold the avant-garde movements that did away with traditional forms: Surrealism, Dadaism as well as the Theatre and the Drama of the Absurd and the subsequent Ludism. Moreover, it anticipated to the society the campaign of greed and brutal slaughter. And all this in the shape of a wanton and rowdy play searing abundantly with unrestrained black humour. The reckless, greedy, gluttonous yet in truth cowardly Papa Ubu, incited by his wife, Mama Ubu – a parodied version of Lady Macbeth – to brutally seize power and govern in an even crueller and more totalitarian manner, evokes many allusions.

SNG Drama Ljubljana Premiera Première 30. 1. 2016, SNG Drama Ljubljana Predstava traja 2 uri 35 minut in ima en odmor. Running time 2 hours 35 minutes. One intermission. Režiser Director Jernej Lorenci • Dramaturg Dramaturg Matic Starina • Scenograf Set designer Branko Hojnik • Kostumografka Costume designer Belinda Radulović • Avtor glasbe in izbora citatov Author of music and the selection of quotations Branko Rožman • Oblikovalec svetlobe Lighting designer Pascal Mérat • Koreograf Choreographer Gregor Luštek • Lektorica Language consultant Tatjana Stanič • Asistentka dramaturga Assistant to dramaturg Katja Markič

30 Igrajo Cast Ata Ubu Papa Ubu Jernej Šugman • Mama Ubu Mama Ubu Nina Valič • Kapetan Bordure Capetain Bordure Bojan Emeršič • Veliki duhoven Big Priest Jurij Zrnec • Klemen Slakonja Klemen Slakonja • Ministrica Minister Sabina Kogovšek • Financar Financier Boris Mihalj • Sodnik/Veliki Judge/The Big One Gregor Zorc k. g. as guest • Črnec/Mali Negro/The Little One Žan Perko k. g. as guest

Peter Uhan

Henrik Ibsen

PEER GYNT

20. 10. 2016 21.00 Stara dvorana Tekmovalni program Competition Programme + Showcase

Dramska pesnitev Peer Gynt je mešanica resničnih dogodkov, prepletenih z avtobiografskimi elementi in pravljičnega sveta, polnega simbolov, ki nudijo možnosti za najrazličnejše interpretacije. Ibsenov Peer Gynt spada v galerijo najznamenitejših dramskih junakov vseh časov: s svojo zgodbo in intencami se postavlja ob bok Don Kihotu, Faustu, Hamletu, Don Juanu … Mladi Peer živi sam z materjo, njuni dnevi so formalno revni, a polni divje razbrzdane ježe skozi domišljijske pokrajine, skozi zgodbe, skozi bajke, pravljice, pesmi, privide … Peer odrašča v burnega, zahtevnega in zapeljivega sanjača. V njem se bijeta »dve duši«: ena je prek sveta pravljic usmerjena proti vsemu lepemu, etičnemu, drugi del njegove narave pa ga vleče v neznano, tvegano, skrivnostno, temno. Če je jedro in gonilo dramske pesnitve Peerovo iskanje samega sebe in zanašanje na samozadostnost, ki naj se pokaže v samouresničitvi želja, potem je konec trezen in sorazmerno bridek. Peer Gynt predstavlja eno najlepših zgodb o človeku, predrznem iskalcu, in o ljubezni, temeljnem vezivu vsega.

The dramatic poem Peer Gynt is an amalgam of real-life events interwoven with autobiographical elements and a fairytale world full of symbols, enabling all sorts of interpretations. It belongs to a gallery of the most significant dramatic heroes of all times. Its story and intentions place it hand in hand with Don Quixote, Faust, Hamlet, Don Juan … The young Peer lives with his mother. Their everyday life is seemingly poor yet full of wild untamed rides through imaginary landscapes, through stories, through fairytales, poems, mirages … Peer grows into a turbulent, demanding and seductive dreamer. “Two souls” fight their battle within him: one, deriving from the fairytale world, drives him towards all that is beautiful and ethical, while the other part of his nature lures him towards the unknown, risky, mysterious, dark. If the core and the driving force of the dramatic poem is Peer’s quest for himself and the reliance on self-sufficiency that manifests itself in the self-fulfilment of desires, then the ending is sobering and proportionally bitter. Peer Gynt is one of the most beautiful stories of a human, a bold explorer, and of love as a fundamental connective tissue of all that is.

Mestno gledališče ljubljansko & Slovensko stalno gledališče Trst Premiera Première 8. 10. 2015, Mestno gledališče ljubljansko; 6. 11. 2015, Slovensko stalno gledališče Trst Predstava traja 2 uri 30 minut in ima en odmor. Running time 2 hours 30 minutes. One intermission. Prevajalec Translator Milan Jesih • Režiser in glasbeni opremljevalec Director and sound designer Eduard Miler • Avtorica priredbe in dramaturginja Author of adaptation and dramaturg Žanina Mirčevska • Scenograf Set designer Branko Hojnik • Kostumografka Costume designer Jelena Proković • Lektorica Language consultant Maja Cerar • Oblikovalec svetlobe Lighting designer Andrej Hajdinjak • Asistentka kostumografke Assistant to costume designer Barbara Vrbančič Igrajo Cast Peer Gynt Matej Puc • Aase/Solveig/Trolska vešča/Orientalska plesalka/Husein/Ženska v črnini Aase/Solveig/Troll-witch/Oriental Dancer/Hussein/Woman in Black Iva Krajnc • Aslak/Dovrejski starina/ Vijug/Orientalska plesalka/Begriffenfeldt/Potnik/Gumbar Aslak/Dovre-Master/A Voice in the Darkness/ Oriental Dancer/Begriffenfeldt/Strange Passenger/Button-Moulder Primož Pirnat • Mati/Ingrid/Zelena/ Anitra/Huhu/Mornar 2 Mother/Ingrid/Woman in Green/Anitra/Huhu/Sailor 2 Nina Rakovec •

Ženin/Mladi trol/Pamž/Monsieur Ballon/Orientalska plesalka/Norec/Kuhar/Suhec Bridegroom/ Young Troll/Ugly Child/Monsieur Ballon/Oriental Dancer/Lunatic/Cook/Thin Man Domen Valič • Svat/ Trol dvorjan/Mr. Cotton/Orientalska plesalka/Norec mumija/Mornar 1 Wedding Guest/Trollcourtier/Mr. Cotton/Oriental Dancer/Lunatic Mummy/Sailor 1 Jure Kopušar k. g. as guest • Atej/ Najstarejši dvorni trol/Herr Trumpeterstraale/Orientalska plesalka/Felah/Kapitan Father/ Troll-oldest courtier/Herr Trumpeterstraale/Oriental Dancer/Fellah/Captain Vladimir Jurc

Sebastian Cavazza

Thomas Bernhard

PRED UPOKOJITVIJO EVE OF RETIREMENT

21 . 10. 2016 20.30 Stara dvorana Tekmovalni program Competition Programme + Showcase

Thomas Bernhard velja – ob Elfriede Jelinek in Petru Handkeju – za najpomembnejšega povojnega avstrijskega pisatelja in dramatika. Za svoje delo je prejel več prestižnih nagrad, med drugim tudi avstrijsko državno nagrado za literaturo (1968) in Büchnerjevo nagrado (1970), iz česar se je s svojo kot britev ostro kritičnostjo in cinizmom ponorčeval v knjigi Vse moje nagrade. Zaradi svoje neizprosne kritike ponarejene družbe in odnosov ter kontroverznosti si je v Avstriji prislužil naziv »skrunilec gnezda«. Romani in drame, v katerih ne skriva odkritega odpora do avstrijske družbe, so že za časa njegovega življenja sprožali burne odzive in škandale v avstrijski javnosti do te mere, da je Bernhard v avstrijskem gledališkem prostoru celo prepovedal uprizarjanje svojih dram. Največkrat je bil vzrok temu prav njegovo neumorno razkrivanje tabu teme nacizma in nerazrešenih travm v zvezi z nacistično preteklostjo kot tudi sedanjostjo v Avstriji. In natanko to je tudi tema dramskega besedila Pred upokojitvijo, ki ga je sam podnaslovil kot komedijo o nemški duši. V njem obravnava temo zatrtega in prikritega »negovanja« nacističnih korenin in idealov skozi zgodbo bivšega nacista in njegovih dveh sester, hkrati pa se skozi njihove odnose razpira pretresljiv prikaz sprevrženih odnosov v družini kot seveda tudi v družbi nasploh.

Besides Elfriede Jelinek and Peter Handke, Thomas Bernhard is considered the most prominent Austrian post-war writer and playwright. He received a number of prestigious awards for his work, among them the Austrian State Awards for Literature (1968) and the Büchner Award (1970), which he mocked with his razor-sharp criticism and cynicism in his book All My Awards. His merciless critique of a false society and its relations brought him the title “the nest desecrater”. In his novels and plays he doesn’t hide his straightforward opposition to Austrian society. Hence already during his lifetime his works have triggered turbulent response and scandals in the Austrian public up to the point where Bernhard even prohibited the entire Austrian theatre space to stage his plays. The most frequent reason for such reactions was his relentless disclosing of the taboo theme of Nazism and the unresolved traumas connected both to the Austrian Nazi past and the present. And that is exactly the subject of the play Eve of Retirement, which he himself defined as a comedy of the German soul. The play deals with the subject of the suppressed and concealed “cultivation” of Nazi origins and ideals through the story of a former Nazi and his two sisters, their relations at once revealing a distressing picture of perverted family relations and societal relations in general.

Prešernovo gledališče Kranj Naslov izvirnika Original title Vor dem Ruhestand Premiera Première 26. 9. 2015, Prešernovo gledališče Kranj Predstava traja 1 uro 45 minut in nima odmora. Running time 1 hour 45 minutes. No intermission. Prevajalka Translator Lučka Jenčič • Režiserka Director Mateja Koležnik • Dramaturginji Dramaturgs Amelia Kraigher, Nika Leskovšek • Scenografka Set designer Mojca Kocbek Vimos • Kostumograf

Costume designer Alan Hranitelj • Koreografka Choreographer Magdalena Reiter • Avtor videa Author of video Andrej Intihar • Lektorica Language consultant Barbara Rogelj • Oblikovalec maske Make-up designer Matej Pajntar • Oblikovalec svetlobe Lighting designer Bojan Hudernik Igrajo Cast Rudolf Höller Borut Veselko • Clara Darja Reichman • Vera Vesna Jevnikar

Boris B. Voglar

Elfriede Jelinek

DRAME PRINCES PRINCESS DRAMAS

22. 10. 2016 18.00 Velika dvorana – tribuna Tekmovalni program Competition Programme + Showcase

Drame princes kontroverzne pisateljice Elfriede Jelinek so manjkajoča polovica Shakespearovih kraljevskih tragedij. Utajena resničnost dekliške, ženske, bolj ali manj ženstvene izkušnje, izkušnje spola, ki bo za vse večne čase okarakteriziran kot šibkejši, manj zanimiv in ne nazadnje manj upravičen do teatraličnega uprizarjanja. Utajena resničnost princes, ki jih ne more odrešiti noben princ, pa naj bo njegovo poreklo še tako plemenito, naklepi še tako čisti in pričeska še tako skrbno urejena. Deklic, katerih večna spremljevalka, sogovornica in zaupnica zmore biti edinole smrt, v kateri koli pojavni obliki že ... Gre za cikel petih monoloških miniatur. Junakinje so napol mitologizirani ženski liki, ki poganjajo iz korenin pravljičnega in medijskega sveta. In če je avtorica z upravičenostjo, kakršna pritiče samo državljanom, ki svojo državljansko ljubezen izkazujejo v obliki kritične distance, nekoč rekla, da je »Avstrija majhen svet, v katerem vadi veliki svet« – kaj je potem šele Slovenija?

Princess Dramas by the controversial writer and Nobel Prize winner Elfriede Jelinek are the missing half of Shakespeare’s royal tragedies. The concealed reality of the maiden, female, more or less feminine experience, the experience of a gender eternally branded as weaker, less interesting and after all less justified to be theatrically depicted. The concealed reality of princesses who cannot be saved by any prince, no matter how noble his descent, how true his intentions or how meticulous his hairstyle might be. It is the reality of maidens whose eternal companion, interlocutor and confidante can only be Death, whatever appearance it might take on... This is a cycle of five monological miniatures. The heroines are half-mythologised female characters whose roots lie in fairytales and the world of media. And if the author once claimed, with a right pertinent only to those citizens who express their patriotism with critical distance: “Austria is a small world in which the big world exercises” – what is then Slovenia?

Slovensko mladinsko gledališče Naslov izvirnika Original title Prinzessinnendramen: Der Tod und das Mädchen I–V Premiera Première 1. 12. 2015, Slovensko mladinsko gledališče Predstava traja približno 2 uri 10 minut in nima odmora. Running time approximately 2 hours 10 minutes. No intermission. Prevajalke Translators Urška P. Černe, Anja Uršič, Sandra Baumgartner-Naylor, Lučka Jenčič, Amalija Maček • Režiser Director Michał Borczuch • Prirejevalec besedila in dramaturg Author of adaptation and dramaturg Tomasz Śpiewak • Kostumografka in scenografka Costume and set designer Dorota Nawrot • Koreografka Choreographer Dragana Alfirević • Avtor glasbe Composer Bartosz Dziadosz • Oblikovalka svetlobe Lighting designer Jacqueline Sobiszewski • Lektorica Language consultant Mateja Dermelj • Oblikovalka maske Make-up artist Nathalie Horvat • Avtorica videa Author of the video Maruša Oblak •

Tolmačka na vajah in šepetalka Interpreter at the rehearsals and prompter Špela Kopitar • Asistentka lektorice Assistant to language consultant Katarina Krapež • Prirejevalka prevoda Rozamunde Adaptation of Rosamunde translation Maruša Oblak • Inspicient Stage manager Janez Pavlovčič Igrajo Cast Anja Novak • Boris Kos • Daša Doberšek • Samir Alibegić • Maruša Oblak • Damjana Černe • Janja Majzelj

Peter Uhan

Gerhart Hauptmann

ROSE BERND

22. 10. 2016 20.30 Stara dvorana Tekmovalni program Competition Programme + Showcase

Drama Rose Bernd je bila premierno uprizorjena leta 1903 v Deutsches Theatru v Berlinu, avtorja pa je navdihnila resnična zgodba o petindvajsetletni detomorilki Hedwig Otte. Rose je mlado dekle, razpeta je med svojimi željami in pričakovanji drugih ljudi. Že več kot tri leta odlaga poroko z Augustom Keilom. Njen oče si silno želi, da bi se poročila z njim, saj bi se lahko preselila k njemu in njune materialne težave bi bile rešene. Poročeni župan Flamm ljubimka z Rose, izgovarja se na bolehno ženo. Rose se zaljubi vanj. Streckmann ji namigne, da ve, kaj se je dogajalo med njo in Flammom. Izkaže se, da je Rose noseča, zato se odloči poročiti z Augustom, čeprav otrok ni njegov. Niz nesrečnih dogodkov in hudobija zavistnežev pripeljeta Rose do detomora. Z godba mlade ž enske, ujete v tradicionalno in zaprto okolje, ki zaradi svojih nekonvencionalnih, za družbo nesprejemljivih dejanj pade v nemilost okolice, je pretresljiv prikaz propada mlade ženske, ki si od življenja želi več, kot ji nameni družba, v katero je vpeta.

The play Rose Bernd was performed for the first time in 1903 in Deutsches Theater in Berlin. The author was inspired by the true story of the fifteen-year-old child murderer Hedwig Otte. Rose is a young girl torn between her desires and the expectations of others. She has been postponing her marriage to August Keil for over three years. Her father is very eager to see through that marriage as she would move to him and their existential ordeals would be solved. The married mayor Flamm is having an affair with Rose on the pretext of having a sick wife. Rose falls in love with him. Streckmann hints to her that he knows what is happening between her and Flamm. It turns out that Rose is pregnant. She therefore decides to marry August although the child is not his. A chain of unfortunate events and the wickedness of envious people bring Rose to child murder. The story of a young woman caught in a traditional and secluded environment and punished for her unconventional and socially unacceptable acts is a poignant depiction of the doom of a young woman who wants more from life than the society to which she belongs is willing to allow her.

Slovensko ljudsko gledališče Celje Premiera Première 6. 5. 2016, Slovensko ljudsko gledališče Celje Predstava traja 1 uro 30 minut in nima odmora. Running time 1 hour 30 minutes. No intermission. Prevajalka Translator Mojca Kranjc • Režiserka Director Mateja Koležnik • Dramaturginja Dramaturg Nika Leskovšek • Scenograf Set designer Marko Japelj • Kostumograf Costume designer Alan Hranitelj • Glasbeni opremljevalec in korepetitor Music selection and vocal coaching Simon Dvoršak • Koreografka Choreographer Magdalena Reiter • Lektor Language consultant Jože Volk Igrajo Cast Bernd Bojan Umek • Rose Bernd Liza Marija Grašič • Christoph Flamm Andrej Murenc •

Gospa Flamm Mrs. Flamm Pia Zemljič • Arthur Streckmann Igor Žužek • August Keil Aljoša Koltak • Martin David Čeh • Delavci pri Flammu Labourers at Flamm’s Barbara Medvešček, Manca Ogorevc, Tanja Potočnik, Igor Sancin, Damjan M. Trbovc Rose Bernd je uprizorjena z dovoljenjem Felix Bloch Erben Agency, Berlin, Nemčija. Rose Bernd is presented under the license of Felix Bloch Erben Agency, Berlin, Germany.

Uroš Hočevar

Režiserji tekmovalnih predstav Directors of the Competition Programme MICHAŁ BORCZUCH He began his studies in graphic art in Krakow, then went on to study at the Academy of Dramatic Arts Ludwik Solski where he graduated in directing. During his studies he was assistant to Krystian Lupa, later he worked with Patrice Chéreau for one year within the frame of the Rolex Mentor and Protégé Arts Initiative. Among other groups, he created his work with underprivileged children, autistic patients and blind people; he also directed operas. Borczuch sticks to everyday life and intimacy, he explores subjects such as death, weakness and self-destruction; he maintains his ironic perspective, believing in the ugly rather than in the beautiful, yet staying away from any kind of dogmatism.

Sprva je študiral grafično umetnost v Krakovu, nato pa na Akademiji za dramske umetnosti Ludwika Solskega diplomiral iz režije. Že med študijem je asistiral Krystianu Lupi, pozneje pa je v okviru programa The Rolex Mentor and Protégé Arts Initiative delal s Patriceem Chéreaujem. Med drugim je ustvarjal s socialno ogroženimi otroki, avtisti in slepimi; preskusil se je tudi kot operni režiser. Borczuch se izogiba velikim pripovednim temam, drži se vsakdanjega življenja in zasebnosti. Raziskuje teme, kot so smrt, šibkost in samouničevalnost ter ohranja ironično perspektivo.

JANUSZ KICA He studied theatre studies in Krakow and upon receiving his BA continued with theatre studies and history of art in West Germany. Between 1986 and 1989 he was employed as permanent assistant director in Wuppertaler Bühnen Theatre. One of his first directions was of TheobaldtKipling’s The Jungle Book. The Zagreb Youth Theatre was delighted with that production and Kica was invited in 1990 to direct the same production in that theatre. Following this production, he collaborated with numerous German and consequently Austrian, Croatian and Slovenian theatres. Among his numerous awards, there are five Borštnik Awards, two Directing Awards at Days of Comedy and the 2016 Prešeren Foundation Award.

V Krakovu je študiral teatrologijo, po diplomi pa nadaljeval s študijem teatrologije in umetnostne zgodovine v Zahodni Nemčiji. Med letoma 1986 in 1989 je bil zaposlen kot stalni asistent režije in kasneje hišni režiser gledališča Wuppertaler Bühnen. Ena njegovih prvih režij je bila uprizoritev Theobaldt-Kiplingove Knjige o džungli. Nad njo se je navdušilo Zagrebačko kazalište mladih in leta 1990 so ga povabili, da to delo režira tudi pri njih. Zatem je začel kot režiser sodelovati s številnimi nemškimi gledališči, nato pa tudi z avstrijskimi, hrvaškimi in slovenskimi. Med njegovimi številnimi nagradami je tudi pet Borštnikovih nagrad, dvakrat je bil na Dnevih komedije razglašen za žlahtnega režiserja, leta 2016 pa je prejel še nagrado Prešernovega sklada.

MATEJA KOLEŽNIK Following the studies of philosophy and comparative literature at the University of Ljubljana, Faculty of Arts, Mateja Koležnik enrolled in the Department of Directing at the UL AGRFT. She has worked in most Slovenian professional theatres and in recent years increasingly abroad. Her opus encompasses over sixty directions. She is especially renowned for her stagings of contemporary European and American dramatic literature, in which she explores the possibilities of usage of theatrical space and mobile set designs. Since her directorial beginnings in the 1990s, Koležnik’s productions have taken part in various theatre festivals and won numerous awards, including the 2001 Prešeren Foundation Award, five Borštnik Awards, two Golden Lion Awards in Umag and the Dr Branko Gavella Award.

Mateja Koležnik je po študiju filozofije in primerjalne književnosti na Filozofski fakulteti v Ljubljani vpisala študij gledališke in radijske režije na UL AGRFT. Gledališka pot je ni vodila zgolj po večini slovenskih poklicnih gledališč, pogosto režira tudi v tujini. Do zdaj je za njo prek šestdeset režij. Zelo odmevne so njene postavitve del iz sodobne evropske in ameriške dramatike, v katerih raziskuje možnosti uporabe odrskega prostora. Njene uprizoritve se uvrščajo na najrazličnejše gledališke festivale in zanje je prejela številne nagrade, mdr. leta 2001 nagrado Prešernovega sklada, veliko Borštnikovo nagrado in pet Borštnikovih nagrad, dve nagradi festivala Zlati lev v Umagu in nagrado dr. Branko Gavella.

JERNEJ LORENCI He studied theatre and radio directing at the UL AGRFT, where he is now an assistant professor of practical directing and stage acting. He regularly directs in all Slovenian professional theatres and occasionally abroad. He has received numerous awards for his work, including four Borštnik Grand Prix, three Borštnik Awards for Directing, Šeligo Awards for the best production at the Week of Slovenian Drama, two awards at the Golden Lion Festival in Umag, Croatia and the Grand Prix at Ex Ponto Festival in Ljubljana. He received the 2014 Prešeren Foundation Award.

Študiral je gledališko in radijsko režijo na UL AGRFT, kjer kot docent predava predmet dramska igra in praktična režija. Redno režira v vseh slovenskih poklicnih gledališčih, občasno tudi v tujini. Za svoje delo je prejel številne nagrade, mdr. velike Borštnikove nagrade in Borštnikove nagrade za režijo, Šeligovo nagrado za najboljšo uprizoritev na Tednu slovenske drame, dve nagradi na festivalu Zlati lev v Umagu na Hrvaškem in veliko nagrado na festivalu Ex Ponto. V letu 2014 je prejel nagrado Prešernovega sklada.

EDUARD MILER He began his career in German and Austrian theatres and founded his own theatre Forum 3 in Stuttgart in 1966 and in 1978 the Schaulust in Bielefeld. In the years following, he was artistic director of Mladinsko Theatre, artistic consultant of the Royal Theatre of Cetinje, Montenegro, as well as artistic director of the Montenegro National Theatre and the Slovenian National Theatre Drama Ljubljana. Since the 2014/15 season, he has been the artistic director of Slovenian Permanent Theatre in Trieste. Throughout his long theatre career he has directed over one hundred productions with the most prominent ensembles, for which he has won various awards, including the Prešeren Foundation Award, Borštnik Awards for direction and three Laurel Wreaths at the Festival MESS Sarajevo.

Svojo kariero je začel v nemških in avstrijskih gledališčih. Leta 1966 je v Stuttgartu zasnoval svoje gledališče Forum 3, leta 1978 pa v Bielefeldu gledališče Schaulust. Po tem je bil umetniški vodja Slovenskega mladinskega gledališča, umetniški konzultant Kraljevskega pozorišta na Cetinju ter umetniški vodja Črnogorskega narodnega pozorišta v Podgorici in SNG Drama Ljubljana. Od sezone 2014/2015 je umetniški vodja Slovenskega stalnega gledališča Trst. V sodelovanju s slovenskimi in mednarodnimi igralskimi ansambli je oblikoval več kot sto uprizoritev, za kar je bil tudi večkrat nagrajen. Med drugimi je prejel nagrado Prešernovega sklada, dve Borštnikovi nagradi za režijo in tri lovorove vence na sarajevskem gledališkem festivalu MESS.

JANEZ PIPAN He studied directing at the UL AGRFT. His graduate production of Mrozek’s Tango won him a Borštnik Award. He became house director of Mladinsko Theatre in 1980, which contributed to the flourishing of that theatre. He created several remarkably distinguished productions for adults and children, for most of which he also authored the adaptation; in parallel, he directed in other theatres in Slovenia and other Yugoslav republics as well as abroad. In 1994 he became director of the SNT Drama Ljubljana. In the following 14 years his propulsive programming and the introduction of high creative and professional standards justified and affirmed Drama’s reputation as the central Slovenian theatre, the quality of which was confirmed in many tours abroad. Since 2009 he has been employed in at Celje People’s Theatre as house director and since 2010 he is associate professor in the Department of Theatre and Radio Directing at UL AGRFT.

Študiral je režijo na UL AGRFT. Za diplomsko uprizoritev Mrożkovega Tanga je dobil Borštnikovo nagrado. Leta 1980 se je zaposlil v Slovenskem mladinskem gledališču in pripomogel k njegovemu razcvetu. Ustvaril je nekaj izjemno odmevnih uprizoritev za otroke in odrasle, pri katerih je bil večkrat tudi avtor priredbe; obenem je režiral tudi v drugih gledališčih, tako v Sloveniji kot v drugih jugoslovanskih republikah in v tujini. Leta 1994 je prevzel vodenje ljubljanske Drame in v naslednjih štirinajstih letih utrdil njen sloves osrednjega gledališča, ki je svojo kakovost lahko izmerilo tudi na pogostih gostovanjih v tujini. Od leta 2009 je zaposlen v SLG Celje kot režiser, od leta 2010 pa kot izredni profesor predava na Oddelku za gledališko in radijsko režijo na UL AGRFT.

IGOR PISON Graduated as a Germanist from the University of Trieste and a theatre and opera director from the August Everding Academy in Munich. Upon concluding his studies he became Eduard Miler’s right hand in SPT Trieste. In 2014, his two productions, Angel of Oblivion and Trieste, a City in War, swiftly brought him exceptional reputation. Besides his directorial work, Pison has published a collection of short stories in Italian Squarci (2011) and his first book of short stories in Slovenian Emergency Exits (2013).

Še v času študija je za SSG v Trstu režiral svojo dramatizacijo Magrisove pripovedi Saj razumete (2012) in avtorski projekt (refleksijo na temo vsebin, rojenih iz skupnega ustvarjanja Bertolda Brechta in glasbenika Kurta Weila) Hozana tekočemu računu (2013). Po zaključku študija se je uveljavil z režijama dveh uprizoritev: Angel pozabe in Trst, mesto v vojni. Leta 2011 je objavil zbirko kratke proze v italijanščini Squarci, leta 2013 pa prvenec kratke proze v slovenščini Zasilni izhodi.

DRAGAN ŽIVADINOV He studied at the UL AGRFT and in the 1980s (co)founded the most radical experimental projects in Slovenia (Theatre of Sisters of Scipion Nasica, Red Pilot, Cosmokinetic Cabinet Noordung). He was also a co-founder of the artistic movement Neue Slowenische Kunst. He is involved with Internet theatre and collaborates with the Centre for Performing Arts Research Delak through his historical-aesthetic contributions. He devised the Retrogarde theatre method, advocating the principles of the 20th century historical artistic avant-gardes as well as the constructive and prophetic power of theatre art.

Študiral je na UL AGRFT in sredi 80. let (so)ustanovil eksperimentalne projekte (Gledališče sester Scipion Nasice, Rdeči pilot, Kozmokinetični kabinet Noordung). Bil je soustanovitelj umetniškega gibanja Neue Slowenische Kunst. Ukvarja se z gledališčem na medmrežju in z zgodovinsko-estetskimi prispevki sodeluje v Centru za raziskave scenskih umetnosti Delak. Je utemeljitelj retrogardističnega postopka v gledališču, zagovarja načela umetnostnih avantgard 20. stoletja (futurizem, konstruktivizem, konceptualizem). Prestal je selekcijo za kozmonavta.

Spremljevalni program Accompanying Programme

44 46 48 50 52

Henrik Ibsen, Edward Clug Peer Gynt Primož Vitez, Mitja Vrhovnik Smrekar

Shakesoneti Shakesonnets Kitch

Prisega The Oath Matija Ferlin

Staging a Play: Steklena menažerija Staging a Play: The Glass Menagerie Anton Pavlovič Čehov Anton Pavlovich Chekhov

Tri sestre Three Sisters

Bara Kolenc & Atej Tutta

Metamorfoze 3º: Retorika Metamorphoses 3º: Retorika

Henrik Ibsen, Edward Clug

PEER GYNT Sodobni balet v dveh dejanjih A contemporary ballet in two acts

14 . 1 0. 201 6 20.00 Velika dvorana Spremljevalni program Accompanying Programme + Showcase

Peer Gynt je kot kompleksen dramski lik iz istoimenske dramske pesnitve postavil Ibsena na mesto vodilnih dramatikov ob koncu 19. stoletja, medtem ko se je Grieg s svojim tenkočutnim nordijskim glasbenim idiomom uveljavil kot eden najznačilnejših predstavnikov romantike. Oba umetnika sta sodelovala pri krstni uprizoritvi Peera Gynta v Kristianii (današnjem Oslu) leta 1876. Tako je Edward Clug razpolagal s kompleksnim Ibsenovim besedilom, ki v svoji hermetični fantaziji deluje brezčasno in univerzalno, po drugi strani pa Griegova glasba konkretizira romantične pokrajine, ki spontano nastajajo v vzporednem svetu in neodvisno od Ibsenovega dramskega univerzuma. Ibsen in Grieg sta vsak v svojem avtorskem bistvu iznašla svojega Peera Gynta, Clugova uprizoritev pa je premostila ovire obeh in ustvarila novega. Clug je ustvaril plesno predstavo, novo celoto, samosvojo gledališko doživetje.

As a complex character from the dramaticepic poem of the same title, Peer Gynt ranked Ibsen among the leading playwrights of the end of the 19th century, while at the same time Grieg, with his delicate Nordic music idiom, established himself as one of the most significant representatives of Romanticism. Both artists took part at the first staging of Peer Gynt in Kristiania (today’s Oslo) in 1876. Hence Edward Clug had at his disposal both Ibsen’s text and Grieg’s music: while Ibsen’s complex text in its hermetic phantasy appears timeless and universal, Grieg’s music materialises the romantic imagery that arises spontaneously in a parallel world and independently of Ibsen’s dramatic universe. Ibsen and Grieg, each in his own creative essence, found their own Peer Gynt. Clug’s staging, however, abridged the limits of both artworks and created a new one. Clug has created a dance performance, a new entirety, an autonomous theatrical experience.

Opera in balet SNG Maribor Premiera Première 6. 11. 2015, SNG Maribor Predstava traja 2 uri 5 minut in ima en odmor. Running time 2 hours 5 minutes. One intermission. Libreto Libretto Edward Clug • Glasba Music Edvard Grieg • Dirigent Conductor Simon Robinson • Koreograf Choreographer Edward Clug • Solistka na klavirju Piano solo Maja Gombač • Kostumograf Costume designer Leo Kulaš • Scenograf Set designer Marko Japelj • Kiparska dela Authors of sculptures Ivo Nemec, Milena Greifoner • Asistenta koreografa Assistant to choreographer Matjaž Marin, Miloš Isailović • Koncertna mojstrica Concert-mistress Oksana Pečeny Dolenc • Zborovodkinja choir-mistress Zsuzsa Budavari Novak • Inspicienta stage managers Peter Krajnc, Iztok Smeh Zasedba cast Peer Gynt Miloš Isailović k. g. as guest • Solveig Evgenija Koškina • Smrt Death Gaj Žmavc • Åse, Peerova mati Peer‘s mother Tanja Baronik • Jelen A deer Sytze Jan Luske • Ingrid, nevesta Bride Tijuana Križman Hudernik • Kovač Aslak Aslak, the blacksmith Sergiu Moga • Zelen Woman in green Tetiana Svetlična • Mads Moen, ženin Mads Moen, the groom Matjaž Marin • Anitra, hči beduinskega poglavarja Daughter of a Bedouin’s chief Asami Nakashima • Mala Helga Little Helga Alena Medič • Begriffenfeldt, zdravnik a doctor Sergiu Moga •

Štirje norci Four lunatics Tetiana Svetlična, Mirjana Šrot, Matjaž Marin, Tiberiu Marta • Tri Gorjanke Three dairymaids Klavdija Stanišič, Blaga Stojčeva, Hristina Stojčeva • Poglavar trolov A troll chief Vadim Kurgajev Baletni ansambel SNG Maribor Ballet Ensemble of Slovene National Theatre Maribor • Simfonični orkester SNG Maribor Symphony Orchestra of Slovene National Theatre Maribor • Zbor Opere SNG Maribor Opera Choir of Slovene National Theatre Maribor

Tiberiu Marta

Primož Vitez, Mitja Vrhovnik Smrekar

SHAKESONETI SHAKESONNETS

16. 10. 2016 22.00 Mali oder Spremljevalni program Accompanying Programme + Showcase

William Shakespeare je napisal 37 gledaliških del. Pisal tragedije: Hamlet, Rihard II., Rihard III. Pisal komedije: Sen kresne noči, Kakor vam drago, Dober konec vse povrne ... Kar hočete. Pisal poezijo in napisal Sonete. 154 sonetov. V slovenščino jih je prvi prevedel pesnik Janez Menart. Skoraj petdeset let za njim jih je – spet drugače – prevedel Srečko Fišer. Tu jih je enajst, kakor jih je v glasbo prevedel skladatelj Mitja Vrhovnik Smrekar. Eden med njimi, nosi številko 130, je ponarodel in gre Ne, ona nima žametnih oči, bo izveden šestkrat. Enkrat v angleškem izvirniku, enkrat v portugalščini, enkrat v italijanščini, trikrat v slovenščini. Šest komadov ene pesmi. Soneti Williama Shakespeara so variacije na temo ljubezni. Ljubezni vseh vrst, takšne in drugačne, kajti poroka zvestih duš, glej, ne pozna zadržkov. Ljubezen ni prevarantska. Ljubezen je zaveza, ne ozira se na čas, čeprav jo smrt iz dneva v dan dohaja – ne spreminja z dnevi se in tedni, temveč do konca traja.

William Shakespeare wrote 37 theatre plays. He wrote tragedies: Hamlet, Richard II, Richard III. He wrote comedies: A Midsummer Night’s Dream, As You Like It, All’s Well That Ends Well … Twelfth Night, or What You Will. He wrote poetry and he wrote sonnets. 154 of them. They were translated for the first time into Slovenian by the poet Janez Menart. Almost 50 years later, they were translated – in a different manner – by Srečko Fišer. Here we feature 11 of them, translated into music by Mitja Vrhovnik Smrekar. One of them, by the number of 130, became a folk tune and goes No, her eyes are nothing like velvet, will be performed six times. Once in the original English, once in Portuguese, once in Italian and three times in Slovenian. Six pieces of one poem. William Shakespeare’s sonnets are variations on the subject of love. Love of all kinds, this or that, for let me not to the marriage of true minds admit impediments. Love is not love, which alters when it alteration finds. Love’s not Time’s fool, though rosy lips and cheeks within his bending sickle’s compass come; Love alters not with his brief hours and weeks, but bears it out even to the edge of doom.

Cankarjev dom Premiera Première 30. 3. 2016, Cankarjev dom Dogodek traja 50 minut in nima odmora. Running time 50 minutes. No intermission.

46 Scenarist in dramaturg Dramaturg and author of script Primož Vitez • Avtor glasbe in aranžmajev Composer and arranger Mitja Vrhovnik Smrekar Nastopajo Cast Bossa de Novo • Boris Cavazza • Urška Taufer

Peter Uhan

Kitch

PRISEGA THE OATH »Nocoj so dovoljene sanje. Jutri je nov dan.«

1 7. 1 0 . 2 0 1 6 22.30 Velika dvorana – tribuna Spremljevalni program Accompanying Programme + Showcase

Kaj se zgodi, ko balkanska prišleka vzameta to epsko modrost smrtno resno? Prisega vam bo dala vse, ne bo pa od vas zahtevala ničesar. Dobrodošli v naši kafani, naj se zabava začne! Čeprav boste hrepeneli po konceptualnem scenskem izdelku, se boste znašli v vzdušju, kjer se lahko sprostite in iščete poanto od namiznega prta naprej. Uživali boste ob ultimativnih zvokih Balkana, ob tem pa morda občasno preverjali, ali vas kdo opazuje. Iz varnega udobja boste priča tragikomičnemu svečanemu dejanju, ki vam ga najverjetneje ne bo treba nikoli prestati. Prisege se je treba udeležiti, ker bo – ne glede na to, koliko bomo spili – jutri nov dan.

Tonight, dreams are allowed. Tomorrow is a new day. What happens when two newcomers from the Balkans take this epic wisdom dead serious? The Oath will give you all while demanding nothing in return. Welcome to our kafana, and let the party start! Although you will be longing for a conceptual theatrical piece, you will find yourself in an atmosphere where you will be able to relax and search for the sense, from the tablecloth on. You will enjoy the ultimate sounds of the Balkans, perhaps occasionally checking whether anyone is watching you. From the safety and convenience of your seat, you will be witnessing a tragicomic solemn act that you will most likely never have to experience yourselves. You need to attend The Oath, since tomorrow is a new day – no matter how many drinks we will have.

Kitch & Zavod Bunker Premiera Première 28. 1. 2016, Stara mestna elektrarna – Elektro Ljubljana Predstava traja 1 uro 15 minut in nima odmora. Running time 1 hour and 15 minutes. No intermission. Avtor koncepta Authors of concept Kitch • Svetovalci Consultants Bojan Jablanovec, Andreja Kopač, Katarina Stegnar • Koreografinje Choreographers Teja Drobnjak, Evin Hadžialjević, Sara Janašković, Eva Lah, Tanja Sabol • Oblikovalca in posredovalca zvoka Sound designers and conducting Jure Vlahovič/Rok Kovač • Glasba fragmenti in obdelave pesmi različnih izvajalk in izvajalcev Music fragments and remakes of songs by various artists • Korepetitorka Singing instructor Nataša Nahtigal • Kostumografka Costume designer Mateja Fajt • Oblikovalka maske Make-up artist Tina Prpar • Oblikovalec idejne zasnove prostora in svetlobe, grafični oblikovalec Space and lighting concept, graphic design Kitch • Lučni vodja in tehnični koordinator Lighting design and

technician, technical coordinator Andrej Petrovčič • Fotodokumentaristka Photo documentation Nada Žgank • Videodokumentaristki Video documentation Urša Bonelli Potokar, Valerie Wolf Gang Performerji Performers Gostitelja Hosts Nenad Jelesijević, Lana Zdravković • Plesalke Dancers Teja Drobnjak, Evin Hadžialjević, Sara Janašković, Eva Lah, Olivera Milašinović, Tanja Sabol • Natakarja Waiters Žan Mrhar, Gal Oblak

Nada Ĺ˝gank

Matija Ferlin

STAGING A PLAY: STEKLENA MENAŽERIJA STAGING A PLAY: THE GLASS MENAGERIE

18 . 10. 2016 18.00 Velika dvorana – tribuna Spremljevalni program Accompanying Programme + Showcase

Matija Ferlin v predstavi Staging a Play: Steklena menažerija, ki je nastala po motivih drame Steklena menažerija Tennesseeja Williamsa, razpira vmesno področje med abstrahiranim plešočim telesom in konvencijami gledališkega jezika. Ferlin in skupina štirih plesalcev se spopadeta s skoraj nemogočo nalogo, s katero poskušajo na novo iznajti gledališkost skozi potencial, ki izhaja iz sopostavitve telesa in besedila. Odrski prostor vzpostavi možnost razpiranja napetosti, ki nastanejo med preizpraševanjem gledaliških konvencij in odpiranjem novih imaginacij. In kot pravi Matija Ferlin: »Besedilo beremo in ga govorimo. Moramo pri delu z dramskim besedilom zapisano besedo na oder vedno postaviti kot izgovorjeno besedo? Ali lahko telo najde nek drugačen, notranji aparat, s katerim artikulira govorjeno besedo? Ali lahko orodje, ki je v klasičnem gledališču sekundarno, postane primarno?«

In Staging a Play: The Glass Menagerie, inspired by Tennessee Williams’ play The Glass Menagerie, Matija Ferlin explores the area between the abstract dancing body and the conventions of theatre language. Together with four dancers, Ferlin confronts an almost impossible task: to try to re-discover theatricality through the potential stemming out of the juxtaposition of body and text. The stage establishes the possibility of disclosing tensions between the questioning of theatre conventions and the releasing of new imaginations. And as Matija Ferlin says: “We read the text and we speak it out. When we tackle a dramatic work, do we always need to stage the written word as a spoken word? Or does the body have the freedom to find a different inner apparatus with which it articulates the spoken word? Is it possible that the tool that is considered secondary in classical theatre becomes primary?”

Zavod Emanat & Matija Ferlin Partnerji Partners Bunker, Ljubljana / Stara mestna elektrarna – Elektro Ljubljana, Mediteranski plesni center – Svetvinčenat, Hrvaška, Srednja vzgojiteljska šola in gimnazija Ljubljana Premiera Première 10. 12. 2015, Stara mestna elektrarna – Elektro Ljubljana Predstava traja 1 uro 30 minut in nima odmora. Running time 1 hour and 30 minutes. No intermission. Avtor koncepta in režiser Author of concept and director Matija Ferlin • Izvajalci in avtorji koreografije

Performers and choreographers Loup Abramovici, Anja Bornšek, Maja Delak, Matija Ferlin, Žigan Krajnčan • Dramaturg Dramaturg Goran Ferčec • Scenograf Set designer Mauricio Ferlin • Avtor glasbe Author of music Luka Prinčič • Kostumograf Costume designer Matija Ferlin • Oblikovalka maske in frizur Creator of make-up and hair styling Tinka Pobalinka • Tehnični in lučni vodja Lighting design and technical director Saša Fistrić • Oblikovalka Designer Tina Ivezić • Fotografka Photographer Nada Žgank • Izvršna producentka Executive producer Sabina Potočki • Organizatorka Organiser Nina Janež

Nada Ĺ˝gank

Anton Pavlovič Čehov Anton Pavlovich Chekhov

TRI SESTRE THREE SISTERS

21 . 10. 2016 16.00 Salon uporabnih umetnosti Spremljevalni program Accompanying Programme + Showcase

Ko ni pravega življenja, človek živi od fatamorgane.

When there is no real life, one lives out of a mirage.

Čehov je povsod. Letos še prav posebej. Na odrih. Doma in na tujem. Od vedno pa ostaja prisoten v neizrekljivo malih vsakodnevnih rečeh. V ždenju in v hrepenenju. Predstava izhaja iz tega, kako današnji čas zanima igra, katere temelj je čas. Kako ta igra naseljuje čas in kako čas naseljuje njo. Navkljub temu, da danes hitimo v času, ga – ironija pa taka – za nas ostaja vse manj. Niti toliko si ga ne vzamemo, da bi obsedeli na železniški postaji, pa čeprav samo zato, da bi gledali, kako življenje pelje mimo nas. Preprosto vztrajamo v tem času in prostoru, čeprav si vedno želimo drugam. Dokler nas včasih preprosto ne spodijo stran. Čeprav: »Sreče ni, ne tu ne tam.« Igra za današnji čas, ki od začetka do konca traja le prav kratek čas. S prav malo liki in še manj igralci. Igra, ki bo vztrajala. Dokler nas ne zmanjka.

Chekhov is everywhere. This year in particular. On stages. At home and abroad. Moreover, he has always been present in ineffably small everyday things. In the lingering on and in the yearning. The production sets out to explore the question of what is the interest of our present time in a play that is based on time. In what way does a play inhabit time and in what way does time inhabit a play. The irony lies in the fact that, in spite of our temporal acceleration, there is increasingly less time left to us. We don’t even take that much time to sit at the railway station, if for no other reason than to watch life passing by us. We simply linger on in this time and space although we constantly yearn to go someplace else. Until we are sometimes simply chased away. Although: “There is no happiness, neither here nor there.” A play for our present time, whose timespan from the beginning to the end is truly small. With a few characters and even fewer actors. A play that will endure. Until we are gone.

Zavod Margareta Schwarzwald & UL AGRFT Produkcija magistrskega programa Gledališka in radijska režija A production of the UL AGRFT M.A. Programme of Theatre and Radio Directing Premiera Première 30. 9. 2015, Cona 3, Ljubljana Predstava traja 1 uro 30 minut in nima odmora. Running time 1 hour 30 minutes. No intermission. Avtorji prevoda in adaptacije Authors of translation and adaptation Maruša Kink in ekipa and creative team • Režiserka Director Maruša Kink • Dramaturginja Dramaturg Nika Leskovšek • Oblikovalci prostora Set designers Tina Bonča, Maruša Kink in ekipa and creative team • Kostumografka Costume designer Tina Bonča

Igrajo Cast Matija Vastl • Daša Doberšek • Lucija Tratnik • Danijel Bogataj • Aja Kobe • Jure Kopušar Mentorji Mentors Gledališka režija Theatre direction izr. prof. mag. Associate Professor Tomislav Janežič, MA Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MA

Željko Stevanić

Bara Kolenc & Atej Tutta

METAMORFOZE 3º: RETORIKA METAMORPHOSES 3º: RETORIKA

21 . 10. 2016 18.30 Velika dvorana – tribuna Spremljevalni program Accompanying Programme + Showcase

Ko je človek odprl usta, je obmolknil. Ko je spregovoril, se je zlagal. Ko je prisegel, je beseda postala dejanje. Ko je ponovil, je verjel. Ko je podvomil, je izgubil glas. Predstava Metamorfoze 3º: Retorika je tretja v seriji Metamorfoze 1º-5º, večletnega modularnega projekta, ki s pomočjo Ovidijevih Metamorfoz reflektira nekatera temeljna vprašanja sodobnega človeka. Izhajajoč iz Ovidijevega pasusa o Hiši govorice (XXII. knjiga Metamorfoz) se projekt Metamorfoze 3°: Retorika ukvarja s poljem jezika in komunikacije. V to polje vstopa skozi raziskavo in umetniško artikulacijo specifične veščine, ki jo je že Aristotel poimenoval umetnost prepričevanja. Preko konstrukcije ikone dr. Love Prenner, ki se referira na resnično življenjsko zgodbo dr. Ljube Prenner, visoko moralne in politično sporne transseksualne odvetnice, ki je delovala v času povojne Jugoslavije, predstava razgrinja mehanizme politične, pravne in medijske retorike v sodobnem svetu. Ikona Love Prenner je danes nosilka vprašanja o (ne)možnosti Evrope.

When man opened his mouth, he fell silent. When he spoke out, he lied. When he swore, the word became an act. When he repeated, he believed. When he doubted, he lost his voice. This is the third performance in the Metamorphoses 1º-5º series, a multiyear modular project including not only performances but also other artistic and theoretical formats. Each of the five parts enters a broader context of Ovid’s Metamorphoses on the basis of particular current political or social events, connecting them to the universal topics of humanity and deep contradictions of contemporary human beings. Inspired by Ovid’s passage on The House of Rumour (Metamorphoses, XXII. book), Metamorphoses 3º: Retorika examines the field of language and communication and enters this field through an artistic articulation of rhetoric, a specific skill that already Aristotle named the art of persuasion. The performance discloses the mechanisms of political, judicial and media rhetoric through the construction of the icon Dr Love Prenner referencing the reallife story of the highly moral and politically controversial Dr Ljuba Prenner, a transsexual attorney in post-war Yugoslavia. As an icon, Love Prenner today stands for the questions about the (im)possibility of Europe.

Kud Samosvoj Koproducenti Coproducers Kino Šiška center urbane kulture, Kud Pozitiv, Plesna Izba Maribor Partnerji Partners M.I.K.K. Murska Sobota, Zavod DrMr, KC Mostovna Premiera Première 10. 9. 2015, Katedrala, Kino Šiška center urbane kulture, Ljubljana Mednarodna premiera International première 18. 5. 2016, 53. Theatertreffen, Berliner Festspiele, Berlin Predstava traja 1 uro 30 minut in nima odmora. Running time 1 hour 30 minutes. No intermission. Avtorja koncepta in realizacije Author of concept and realisation Bara Kolenc & Atej Tutta •

Izvajalci Performers Sanja Nešković Peršin, Bara Kolenc, Rebeka Radovan, Jošt Pengov-Taraniš, Matej Markovič • Dramaturginja Dramaturg Pia Brezavšček • Oblikovalca svetlobe Lighting designer Peter Pivar, Gregor Smrdelj • Oblikovalca zvoka Sound designer Jernej Černalogar, Jure Vlahovič • Avtor skladbe Govorice Author of the Rumours song Matevž Kolenc • Oblikovalka maske Make-up designer Anja Cojhter • Tehnična podpora Technical support Radovan Jaušovec • Izvršni producentki Executive producers Bara Kolenc, Julia Danila • Odnosi z javnostmi PR Mojca Zupanič, Rok Avbar

Atej Tutta

Mostovi Bridges

58 60 62 64 66

F ranz Xaver Kroetz Glasba po željah Request Concert Yasmina Reza Bella Figura Emily Bro ntë Viharni vrh Wuthering Heights Gunilla Heilborn

This is Not a Love Story Edward Albee

Kdo se boji Virginie Woolf? Who's Afraid of Virginia Woolf?

Franz Xavier Kroetz

GLASBA PO ŽELJAH REQUEST CONCERT

15 . 10. 2016 18.30 Lutkovno gledališče Maribor Mostovi Bridges

Uprizoritev Yane Ross temelji na besedilu nemškega avtorja Franza Xavierja Kroetza, ki pa ni klasično dramsko besedilo. Protagonistka, 50-letna stenografka, živi v moderno opremljenem stanovanju, obkrožena z oglasi, reklamami, paketki – pedantno, organizirano in sistematično – vendar osamljeno. Družba, v katero je vpeta in v kateri živi, ji ni v nikakršno pomoč in jo potiska v izolacijo. Kroetz ustvarja svet, v katerem se posameznik počuti zelo samega, izgubljenega v maničnem tempu velikega mesta, prav tako pa izrisuje vedenjske oblike in moralo meščanstva, soočenega s kulturnimi in socialnimi transformacijami, ki ga prisiljujejo v ponovno vzpostavitev lastne identite. V Latviji rojena Yana Ross živi razpeta med Evropo, Rusijo in ZDA. Sodelovala je z Nobelovo nagrajenko Elfriedo Jelinek in je prejemnica Fulbrightove štipendije in prestižnih nagrad. Od leta 2006 je direktorica Litovskega državnega gledališča.

Yana Ross’s show is based on a text by German playwright Franz Xavier Kroetz. Unlike classically constructed dramas, this play is composed only of a side text that serves as a score and a commentary on the stage action. The protagonist here is a 50-year-old woman who works as a stenographer. She lives in an apartment with modern middle class décor. Surrounded by colourful advertisements and packages, overly-organised and pedantic, she cannot overcome her loneliness. The society that she lives in also doesn’t help, condemning her to exclusion and isolation. Kroetz creates a world where the individual feels very much alone, lost in the manic tempo of the big city. The playwright closely observes the behaviour patterns and morality of the bourgeoisie, as it faces cultural and social transformations that force it to re-establish its identity. The lead (and only) role in Yana Ross’s piece is played by Danuta Stenka. Yana Ross grew up in Latvia and spent her childhood between Europe, Russia and the USA. After graduation, Ross collaborated with the Nobel laureate Elfriede Jelinek. A recipient of the prestigious Fulbright Fellowship, she served as a managing editor at the Yale journal Theater on the special volume Russian Theater of the 21st Century, for which she received the John Gassner Memorial prize. Since 2006, she has been a resident director at the Lithuanian National Drama Theatre.

Teatr Łaźnia Nowa Krakow & TR Warszawa (PL) Naslov izvirnika Original title Wunschkonzert Predstava traja 1 uro 20 minut in nima odmora. Running time 1 hour and 20 minutes. No intermission. Prevajalka v poljščino TRANSLATOR INTO POLISH Danuta Żmij-Zielińska • Režiserka Director Yana Ross • Dramaturginja Dramaturg Aśka Grochulska • Avtorja glasbe Authors of music Aśka Grochulska,

Tomasz Wyszomirski • Oblikovalka podobe Production designer Simona Biekšaitė • Oblikovalec svetlobe Lighting designer Mats Öhlin • Skrbnik projekta Curator of the project Marcin Zawada • Oblikovalec in posredovalec zvoka Radio broadcaster Wojciech Mann Igra Cast Danuta Stenka

Klaudyna Schubert

Yasmina Reza

BELLA FIGURA

16. 10. 2016 18.00 Velika dvorana – tribuna Mostovi Bridges

Bella Figura se odvija nekega večera, ki se začne z usodno napako. Boris je uspešen poslovnež, ki želi uživati v romantičnem večeru s svojo ljubico Andreo, ki je mati samohranilka in pomočnica v lekarni. B oris slučajno omeni, da je restavracijo, v kateri nameravata večerjati, priporočila njegova žena, in ta nepremišljena netaktnost sproži resne, skorajda katastrofalne posledice. Andrea noče izstopiti iz avta. Med parkiranjem pred restavracijo Boris trči ob starejšo gospo. Kmalu se Borisu in Andrei pridruži še par, Eric in Françoise, najboljša prijateljica Borisove žene … Ko Andrea predlaga skupno večerjo, Boris v šoku zaradi dogodkov ni sposoben zavrniti tega nevarnega predloga in polomija se nadaljuje. Napetost med njim in Andreo raste in kmalu je vsem za mizo jasna prava narava njunega odnosa. Poleg tega se izkaže, da je Borisovo podjetje na robu bankrota. Skrbno varovana meščanska fasada uspešnega poslovneža in dobrega moža se je podrla, maske so padle in svet se prične počasi rušiti ... Boris Liješević je eden najbolj nadarjenih srbskih režiserjev srednje generacije, njegovo delo pa označuje umetniško raziskovanje tako klasičnih kot najsodob nejših dramskih avtorjev.

Bella Figura takes place one evening that begins with a fatal mistake. Boris is a successful entrepreneur who intends to enjoy a romantic evening with his mistress Andrea, a single mother and a pharmacy assistant. Boris mentions on the fly that the restaurant was recommended by his wife and that small indiscretion causes serious, even catastrophic consequences. Andrea is furious and doesn’t want to leave the car. When parking the car in front of the restaurant, Boris hits an older lady. After a while, another couple, Eric and Françoise, accompanied by Françoise’s mother Yvonne, join Boris and Andrea. Soon it becomes clear that the two couples are connected by the accident. To make things even more complicated, Françoise is the best friend of Boris’s wife. When Andrea suggests that they all have dinner together, Boris, who is still in shock after the accident, is unable to reject that dangerous proposal. The tension between Boris and Andrea increases and soon everyone at the table is aware of the nature of their relationship. It also becomes evident that due to bad investments Boris’s company is on the verge of bankruptcy. The carefully preserved bourgeois façade of the successful businessman and a good husband begins to crumble down towards an inevitable implosion. Boris Liješević is one of the most talented Serbian directors of the middle generation. What distinguishes his work is his artistic curiosity. His extraordinarily rich and awarded opus includes both highly diverse classical pieces or materials, and plays and adaptations of the most contemporary authors.

HNK Zagreb (HR) Premiera Première 6. 11. 2015, HNK Zagreb (HR) Predstava traja 1 uro 20 minut in nima odmora. Running time 1 hour 20 minutes. No intermission. Režiser Director Boris Liješević • Prevajalec v hrvaščino Translator INTO Croatian Zlatko Wurzberg • Scenografi Set designers Numen/For Use & Ivana Jonke • Kostumograf Costume designer

Leo Kulaš • Glasbeni opremljevalec Music selection Boris Liješević • Oblikovalec svetlobe Lighting designer Aleksandar Čavlek • Asistentka režiserja Assistant to director Arija Rizvić Igrajo Cast Andrea Lana Barić • Boris Amette Milan Pleština • FRANÇOISE Hirt Olga Pakalović • Eric Blum Dušan Bućan • Yvonne Blum Ksenija Marinković • Glas iz offa offstage voice Arija Rizvić

Mara BratoĹĄ

Emily Brontë

VIHARNI VRH WUTHERING HEIGHTS

1 7. – 1 9 . 1 0 . 2 0 1 6 12.00, 12.30, 13.00, 13.30, 15.00, 15.30, 16.00, 16.30 GT22 Mostovi + Švedski fokus Bridges + Swedish focus

Ta Viharni vrh se je rodil kot šala, kot miselni eksperiment, ki je hrepenel po izvedbi. Ideja se je rodila v majhni shrambi gledališča moment:teater iz želje po raziskovanju omejitev – tako prostorskih kot tudi časovnih. Izbira izjemne, neverjetne in močne drame avtorice Emily Brontë je bila v skladu s tem nenavadnim izzivom. Uprizoritev krči vse dimenzije – vzpostavlja majhen oder majhne ženske drame, kar lahko razumemo tudi ironično – kot simbol žensk, ki (še zmeraj, še danes) delujejo v omejenem prostoru. Nenavaden, subtilen in hkrati močan miniaturni gledališki dogodek zunaj gledaliških okvirjev.

Wuthering Heights started both as a joke and as a thought experiment that begged to be realised as a concrete project. The idea was born in a small storage room at moment:teater. The performance wanted to examine what happens to theatre when you severely limit both space and time. The choice of Emily Brontë’s amazing and powerful drama was in line with this challenge. Perpetuating the small stage to the female drama can also be seen as an ironic symbol of women having limited creative space in the theatre world. In retrospect, we believe we have created a small theatre event beyond the ordinary.

moment:teater (SE) Naslov izvirnika Original title Wuthering Heights Premiera Première 13. 11. 2015 Predstava traja 15 minut. Running time 15 minutes. Avtorica koncepta in scenografka Concept and set designer Åsa Berglund Cowburn • Kostumografka in oblikovalka maske Costume and Make-up designer Kim Halle • Avtorja glasbe Authors of music Kate Bush, Simon Steensland • Producent Producer Daniel Szpigler • Fotografka Photographer Anna Fyrsten Nastopata Cast

Lotta Östling Stenshäll & Sofia Rönnegård

Anna Fyrsten

Gunilla Heilborn

THIS IS NOT A LOVE STORY

19. 10. 2016 19.00 Lutkovno gledališče Maribor Mostovi + Švedski fokus Bridges + Swedish Focus

This is not a love story je zgodba dveh nasprotujočih si likov – Kowalskega in Vere. Ali sta morda v resnici njuni imeni Emma in Folke? S poenostavljenimi prehodi in preklopi prestopata meje med plesom in razpršenim izpraševanjem: Kdo je to naredil? Kdaj? Kje? In zakaj? Ali obstaja posebno obdobje v zgodovini, na katero bi se morala osredotočiti? Ali si kdaj delal v ribiški industriji? V rahločutnem raziskovanju konteksta in kontinuitete lika zaključita popotovanje: ni pomemben cilj, pomembna je refleksija na sami poti. Pravi plesni roadmovie v dolgem ustvarjalnem procesu. V letih 2010 in 2011 so avtorji in ekipa ustvarjali v umetniških rezidencah v Tromsøju, Lizboni, Newcastlu, Budimpešti, Saxnäsu, Potsdamu in Gradcu. Povsod so predstavili aktualno stopnjo projekta v nastajanju. In prav te predstavitve so pomembno vplivale na končni izdelek: rezultat dela je več kot enoletno življenje v uprizoritvi sami. Gunilla Heilborn je koreografinja in filmska ustvarjalka iz Stockholma, ki ustvarja in deluje tako v domovini kot v tujini. Po študiju na Tampala inštitutu v San Franciscu, ZDA, in programu koreografije na Univerzi za ples v Stockholmu je ustvarila zelo uspešne predstave in filme tako za odrasle kot tudi za otroke.

This is Not a Love Story is the story of two reluctant heroes – Kowalski and Vera. Or maybe their names are really Emma and Folke? With a disarming simplicity they switch between dance and scattered questioning: Who did what? When? Where? And why? Is there any specific period in history that we should focus on? Have you ever worked in the fishing industry? In a delicate search for context and continuity our heroes end up on a journey that is definitely not about the destination, but the reflection along the way. A true road movie dance with a long working process. During 2010 and 2011 the authors and cast visited and worked in residencies at Arts Academy in Tromsø, Alkantara in Lisbon, Dancecity in Newcastle, SIN Culture Centre in Budapest, Saxnäs in Sweden, Fabrik Potsdam in Potsdam and Steirischer Herbst in Graz. At each place they made a presentation of the work at that point; a short dance, some texts about ancient explorers, projected images of film heroes – anything really that was on their minds during that specific time. These showings and the re-evaluations of material that this made possible, had an extremely important impact on the final piece: it was as if they lived with the piece for more than a year. Gunilla Heilborn is a choreographer and film maker based in Stockholm, producing and touring nationally and internationally. She has created performances and movies with great success for both adult and children audiences.

Gunilla Heilborn (SE) Koproducenta Coproducers NorrlandsOperan & Göteborgs Dans- och Teaterfestival Premiera Première 11. 5. 2011, Dansens Hus, Stockholm (SE) Predstava traja 1 uro in nima odmora. Running time 1 hour. No intermission. Režiserka in avtorica koncepta Director and author of concept Gunilla Heilborn • Koreografi in avtorji besedila Choreographers and authors of text Gunilla Heilborn, Johan Thelander, Kristiina Viiala • Scenografka in kostumografka Set and costume designer Katarina Wiklund • Oblikovalka svetlobe Lighting designer Miriam Helleday • Avtorica glasbe Author of music Kim Hiorthoy • Oblikovalec zvoka Sound designer Johan Adling • Tehnični koordinator Technical coordinator Axel Norén • vodja Managing director Asa Edgren/Loco World Nastopata Cast

Johan Thelander & Kristiina Viiala

Edward Albee

KDO SE BOJI VIRGINIE WOOLF? WHO’S AFRAID OF VIRGINIA WOOLF?

20. 10. 2016 18.00 Velika dvorana – tribuna Mostovi Bridges

Na ogledalu v nekem lokalu v četrti Greenwich Village Edward Albee odkrije napis ‚Kdo se boji Virginie Woolf?‘. Pravzaprav naj bi bil naslov njegove nove drame Eksorcizem. In v Kdo se boji Virginie Woolf?, legendarnem afterpartyju Marthe, Georgea, Nicka in Honey, govori o »izganjanju«: po krstni uprizoritvi v New Yorku leta 1962 je delo obveljalo za klasiko, hkrati pa še vedno ostaja svojevrstna kritika (ameriške) družbe in institucije zakona oziroma njegovega pojmovanja v družbi. Po končanem uradnem slavju Martha brez vednosti soproga Georgea povabi v goste Nicka, novega profesorja biologije, in njegovo soprogo Honey. George, docent zgodovine na tamkajšnji fakulteti, še predobro pozna ženine družabne igre. Kot rektorjeva hči ima Martha moč in vpliv ter obožuje igranje s tujimi čustvi. Toda ta večer se vse odvija drugače, igra se intenzivira in ubira čudna pota. Martin Kušej se posveča temnim in temačnim igram odnosov finega meščanstva. Zanimajo ga predvsem pred pričami izvajani sodobni čustveni dvoboji, ki prizadenejo protagoniste globoko v dušo in srce.

Edward Albee discovered the words Who’s Afraid of Virginia Woolf? in a mirror of a bar in Greenwich Village. The title of his new play was actually meant to be Exorcism. And Who’s Afraid of Virginia Woolf?, the legendary afterparty of Martha, George, Nick and Honey, does speak of exorcism. Following its première in New York in 1962, the play is considered a classic, still remaining an authentic critique of (American) society and the institution of marriage, that is, its perception by the society. After the end of the official party, Martha invites home Nick, the new professor of biology, and his wife Honey, without notifying her husband George. George, assistant professor of history at the local university, knows his wife’s social games all too well. As the Rector’s daughter, Martha has power and influence and adores playing with other people’s feelings. Yet that particular evening everything unfolds differently, with the game intensifying and taking strange directions. Martin Kušej has already dedicated himself to dark and gloomy relation games among the sophisticated bourgeoisie in his previous productions The Bitter Tears of Petra von Kant and Hedda Gabler. He is first and foremost interested in modern-day emotional battles, exposed to everyone’s view, which hurt the protagonist deeply in his heart and soul.

Residenztheater München (DE) Naslov izvirnika Original title Who‘s Afraid of Virginia Woolf? Premiera Première 18. 9. 2014, Residenztheater München (DE) Predstava traja pribiližno 2 uri in nima odmora. Running time approximately 2 hours. No intermission. Režiser Director Martin Kušej • Scenografka in kostumografka Set and costume designer Jessica Rockstroh • Prevajalec v nemščino translator into german Pinkas Braun • Oblikovalec svetlobe Lighting designer Tobias Löffler • Dramaturginja Dramaturg Andrea Koschwitz Igrajo Cast

Martha Bibiana Beglau • George Norman Hacker • Nick Johannes Zirner • Honey Nora Buzalka

Pohlmann

AGRFT

70 70 71

Ljubezen in smrt

Love and Death Molièremobil Srečanje v π Encounter in π

71 GRU GRU (Who Let the Pigeons Out?) 72 Federico García Lorca Hiša Bernarde Alba The House of Bernarda Alba

Instant drama/predstava

Instant Play/Performance

15. 10. 2016

Odlomki iz Hamleta in Othella Williama Shakespeara Based on Hamlet and Othello by William Shakespeare

21.00 Mali oder

LJUBEZEN IN SMRT LOVE AND DEATH Produkcija VI. semestra GLR, DI in DSU A production of the 6th semester students Predstava traja 1 uro 40 minut in nima odmora. Running time 1 hour 40 minutes. No intermission. Prevajalec Hamleta Translator of Hamlet Srečko Fišer Prevajalec Othella Translator of Othello Milan Jesih Režiserka Director Mojca Madon Dramaturginji Dramaturgs Lea Kukovičič, Taja Lesjak Šilak Scenografka Set designer Mojca Madon Kostumografka Costume designer Tina Bonča Prirejevalca glasbe Music adaptators Joži Šalej, Iztok Drabik Jug Oblikovalka svetlobe Lighting designer Mojca Madon Svetovalka za verz Language consultant Tatjana Stanič

Mentorji Mentors Dramska igra in gledališka režija Stage Acting and Theatre Directing doc. Jernej Šugman Assist. Prof. doc. Jernej Lorenci Assist. Prof. Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assist. Prof., PhD Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MA Kostumografija Costume design red. prof. Janja Korun Prof. asist. mag. Tina Kolenik Assistant, MA Jezik in govor Language and speech asist. mag. Nina Žavbi Milojević Assistant, MA Glasba Music izr. prof. Aldo Kumar Assoc. Prof. Gib Movement red. prof. Tanja Zgonc Prof. Oblikovanje svetlobe Lighting design David Orešič

Željko stevanić/ arhiv ctf ul agrft

Igrajo Cast Rok Prašnikar, Tamara Avguštin, Timon Šturbej, Doroteja Nadrah

16. 10. 2016

Po motivih iz Molièra Based on motifs by Molière

MOLIÈREMOBIL 16.00 Lutkovno gledališče Maribor

Produkcija IV. semestra GLR, DI in DSU A production of the 4th semester students Predstava traja 1 uro 30 minut in nima odmora. Running time 1 hour 30 minutes. No intermission. Režiserja Directors Jan Krmelj, Dorian Šilec Petek Dramaturgi Dramaturgs Katja Markič, Kaja Novosel, Mojca Podlesek, Jakob Ribič Kostumografki Costume designers Katarina Šavs, Nina Čehovin

Mentorji Mentors Dramska igra in gledališka režija Stage Acting and Theatre Directing izr. prof. Boris Ostan Assoc. Prof. doc. Vito Taufer Assist. Prof. Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MA Kostumografija Costume design red. prof. Janja Korun Prof. asist. mag. Tina Kolenik Assistant, MA Jezik in govor Language and speech doc. dr. Katarina Podbevšek Assist. Prof., PhD

Željko stevanić/arhiv ctf ul agrft

Igrajo Cast Lea Cok, Mario Dragojević, Urša Kavčič, Urban Kuntarič, Živa Selan, Eva Stražar, Dominik Vodopivec, Matej Zemljič

18 . 10. 2016

SREČANJE V Π ENCOUNTER IN Π Produkcija podiplomskega programa Dramska igra Production of the Master‘s programme Stage Acting Predstava traja 1 uro 45 minut in ima en odmor. Running time 1 hour 45 minutes. No intermission.

20.00 Prvi oder Prva gimnazija

Glasbeni izvajalci Music performers Urška Cvetko, flavta flute Janez Krevel, kontrabas bass Marko Mozetič, bendžo banjo Igrata Cast Nataša Keser, Nik Škrlec

Avtorji idejne zasnove in besedila Authors of concept and text Nataša Keser, Nik Škrlec in ekipa Nik Škrlec & team Režiserki Directors Zala Sajko, Nataša Keser Dramaturginje Dramaturgs Nina Šorak, Katja Černe, Nika Švab Scenografa Set designers Andrej Kurent, Vid Žnidaršič Kostumograf Costume designer Andrej Vrhovnik Oblikovalca svetlobe Lighting designer Anže Virant, Borut Bučinel Avtor glasbenih aranžmajev pesmi Composer red. prof. Žarko Prinčič Prof. Avtorji videa in fotografij Photographers and video Vid Hajnšek, Nejc Puš, Vid Žnidaršič

Željko stevanić/ arhiv ctf ul agrft

Mentorji Mentors Dramska igra Stage Acting izr. prof. Branko Šturbej Assoc. Prof. Petje Singing red. prof. Žarko Prinčič Prof. Dramska igra Stage Acting izr. prof. Branko Šturbej Assoc. Prof. Igra z lutko Puppet Acting doc. Martina Maurič Lazar Assist. Prof., Brane Vižintin Jezik in govor Language and speech doc. dr. Katarina Podbevšek Assist. Prof., PhD

19. 10. 2016

GRU GRU (WHO LET THE PIGEONS OUT?) Produkcija II. semestra GLR, DI in DSU A production of the 2nd semester students

17.30 Velika dvorana tribuna

Predstava traja 1 uro 20 minut in nima odmora. Running time 1 hour 20 minutes. No intermission.

Željko stevanić/arhiv ctf ul agrft

Avtorji idejne zasnove Authors of the concept Robert Kuret, Maša Pelko, Jasna Pintarič, Nadina Štefančič Avtorji besedila Authors of the text študenti prvega letnika DI in GLR 1st year students, Nejc Potočan, Jasna Pintarič Režiserka Director Maša Pelko Dramaturginja Dramaturg Jasna Pintarič Avtorica glasbe Author of music Beti Strgar Avtor videa Author of video Rok Nagode Igrajo Cast Lucija Harum, Ana Penca, Anuša Kodelja, Blaž Popovski, Borut Doljšak, Beti Strgar, Gregor Podričnik, Lina Akif, Timotej Novaković, Matic Valič, Lovro Zafred Mentorji Mentors Dramska igra in gledališka režija Stage Acting and Theatre Directing doc. Nataša Barbara Gračner Assist. Prof. izr. prof. mag. Sebastijan Horvat Assoc. Prof., MA

Federico García Lorca

22. 10. 2016 19.00 Mali oder

HIŠA BERNARDE ALBA THE HOUSE OF BERNARDA ALBA Produkcija VIII. semestra GLR, DI in DSU A production of the 8th semester students Predstava traja 1 uro 15 minut in nima odmora. Running time 1 hour 15 minutes. No intermission. Režiserka Director Nina Ramšak Dramaturginja Dramaturg Varja Hrvatin Scenografka Set designer Nina Rojc Kostumografka Costume designer Tina Pavlović Oblikovalec svetlobe lighting designer Igor Remeta Oblikovalka maske Make-up designer Ana Lazovski

Mentorji Mentors Dramska igra in gledališka režija Stage Acting and Theatre Directing doc. Matjaž Tribušon Assist. Prof. red. prof. Matjaž Zupančič Prof. Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MA Kostumografija Costume design red. prof. Janja Korun Prof. asist. mag. Tina Kolenik Assistant, MA Jezik in govor Language and speech asist. mag. Nina Žavbi Milojević Assistant, MA doc. mag. Alida Bevk Assist. Prof., MA

Željko stevanić/arhiv ctf ul agrft

Igrajo Cast Sara Dirnbek, Petja Labović, Žan Koprivnik, Zala Ana Štiglic, Voranc Boh, Blaž Dolenc, Mia Skrbinac, Maša Grošelj, Lara Vouk

19. 10. 2016 16.00 Prvi oder Prva gimnazija

INSTANT DRAMA/PREDSTAVA INSTANT PLAY/PERFORMANCE Delavnica dramskega pisanja na Prvi gimnaziji Maribor v sodelovanju z UL AGRFT in Festivalom Borštnikovo srečanje Pod okriljem Festivala bo v sodelovanju Prve gimnazije Maribor in UL AGRFT ponovno organizirana enodnevna delavnica dramskega pisanja – izkušnje preteklih let prinašajo neprecenljive rezultate. Na njej bodo dijaki Prve gimnazije Maribor pod mentorstvom doc. mag. Žanine Mirčevske napisali kratek dramski tekst, ki ga bodo nato študentje AGRFT igralsko uprizorili pred publiko. Tema, dramska struktura, dialog in zvrst dramskega besedila niso določeni vnaprej, pač pa se razvijajo med samim enodnevnim delovnim procesom med 10. in 16. uro. Instant drama/predstava je pravzaprav eksperimentalna delavnica oziroma kratek seminar dramskega pisanja z jasnim namenom: spodbujati in predstaviti kreativnost mladih ustvarjalcev.

Playwriting Workshop at the First Grammar School Maribor in collaboration with UL AGRFT and Maribor Theatre Festival We will organise a playwriting workshop in collaboration with the First Grammar School Maribor and UL AGRFT. In this workshop, the students of First Grammar School Maribor will write short plays in one day. Those plays will then be staged by the UL AGRFT students and performed in front of an audience. This time, the students will first search for a story or inspiration in the field, that is, in real life, and write short plays based on real-life stories. Perhaps the outcome will be documentary plays or plays with classical dramatic structure inspired by true events. The experimental playwriting workshop represents a short seminar in playwriting and is aimed at instigating creativity in young people and at once featuring the power of their creativity.

Ĺ vedski fokus Swedish Focus

Fokus Festivala Borštnikovo srečanje vzpostavlja komunikacijo in krepi povezave z mednarodnim prostorom. Letošnji festival se posveča švedski dramatiki in gledališču.

The Maribor Theatre Festival’s Focus opens the communication and bridges the gap with the international space. This year’s edition is dedicated to Swedish playwriting and theatre.

Knjižna zbirka Sodobna evropska drama se vsako leto odebeli za eno edicijo: tokrat smo izdali šesto, Sodobno švedsko dramo (ur. Alja Predan), ki prinaša prevode štirih sodobnih dram po izboru Edwarda Buffala Bromberga v sodelovanju z Aljo Predan.

Each year, the literary collection Contemporary European Drama is thicker by yet another edition, this time we have published the sixth in the series: Contemporary Swedish Drama (edited by Alja Predan) featuring translations of four contemporary plays selected by Edward Bromberg in collaboration with Alja Predan.

Predstavitev knjige z uvodnim predavanjem Ulriche Johnson, direktorice švedskega ITI-ja, in Edwardom Buffalom Brombergom bo v ponedeljek, 17. oktobra 2016, prav tako tudi prva bralna uprizoritev drame Medejina otroka (S. Osten, P. Lysander) ter pogovor s prevajalko Vido Sebastian in režiserjem Michaelom Cockeom. V torek, 18. oktobra, se bo fokus nadaljeval z dvema bralnima uprizoritvama: Seciranje sneženja (S. Stridsberg) in Kličem svoje brate (J. H. Khemiri), sledil bo pogovor s prevajalko Mito Gustinčič Pahor in založnico Berit Gullberg, v sredo, 19. oktobra, pa zaključek z bralno uprizoritvijo Kje so vsi? (M. Unge) ter pogovorom s prevajalko Silvano Orel Kos in Ulricho Johnson.

The presentation of the book with an introductory lecture by Ulricha Johnson, the director of the Swedish ITI, as well as the first staged reading of the play Medea’s Children (S. Osten, P. Lysander) and a conversation with translator Vida Sebastian and director Michael Cock will be on Monday, 17 October 2016. The Focus continues on Tuesday, 18 October, with two staged readings: Dissection of a Snowfall (S. Stridsberg) and I Call Upon My Brothers (J. H. Khemiri) followed by a conversation with translator Mita Gustinčič Pahor and publisher Berit Gullberg. The Focus will be concluded on Wednesday, 19 October, with the staged reading of Where is Everybody? and the conversation with translator Silvana Orel Kos and Urlicha Johnson.

Program švedskega fokusa bo moderiral Rok Bozovičar, potekal bo v angleškem jeziku in bo v celoti izveden na Malem odru SNG Maribor. Režiserka bralnih uprizoritev v izvedbi študentov UL AGRFT je Nina Rajić Kranjac.

The programme of Swedish focus will be moderated by Rok Bozovičar, it will be conducted in English and will be performed on the Small Stage of the SNT Maribor. The director of staged readings performed by the students of the UL AGRFT will be Nina Rajić Kranjac.

V sklopu fokus gostujeta dve švedski uprizoritvi: This is not a Love Story v produkciji Gunille Heilborn in Viharni vrh Emily Brontë v produkciji moment:teater.

Two Swedish productions will be featured within the frame of the Swedish focus: This is Not a Love Story produced by Gunilla Heilbron and Emily Brontë’s Wuthering Heights produced by moment:theatre.

Edward Buffalo Bromberg

ŠVEDSKO GLEDALIŠČE IN DRAMATIKA SWEDISH THEATRE AND DRAMA Pravijo, da ima gledališče dvojni pomen; nudi nam oddih od sveta in nas spodbuja, da se v svetu udejstvujemo in se z njim soočamo. V tem pogledu se umetnost in gledališče na Švedskem ne razlikujeta od ostalih po svetu. Morda se prav zato, ker je švedsko gledališče večinoma financirano iz javnih sredstev, tehtnica nagiba k udejstvovanju. Zasebni gledališki sektor, zabava za zaslužek, je majhen in le redko vključuje kreativni talent švedskih piscev. Proizvaja produkcije izrabljenih in preverjenih britanskih komedij ali pa ameriških mjuziklov, z zasedbami, katerih talent prihaja s televizije ali z Evrovizije. Te produkcije si ogledajo trume turistov s švedskega podeželja, ki za vikend pridejo na ogled prestolnice. Kvaliteta produkcij lahko variira od zelo slabe do odlične, a vsebina ne predstavlja nikakršnih presežkov.

Theatre, it is said, has a twin purpose; to give us respite from the world and to encourage us to engage with it. In this, our art in Sweden is no different from theatre in the rest of the world. But perhaps, because most of the theatre that Sweden produces is publicly funded, the scales are weighted towards engagement. The private theatre sector, entertainment for profit, is small and rarely engages the creative talent of Swedish writers. It spins out productions of well-worn British comedies or American musicals, more often than not cast with persons whose fame has come from television or Eurovision. These productions are consumed by busloads of tourists from the Swedish countryside on weekend visits to the capital. The quality might range from poor to outstanding but the content is hardly remarkable. Public theatre on the other hand has a mission to instruct or to engage, to rage against injustice as well as to entertain. For a municipal or regional theatre to mount a farce or a musical with no redeeming interpretation or artistic twist is to open oneself to charges that the theatre in question is not doing its job. Theatre is a public institution and as such serves the people. What it serves primarily consists of engaging and reflective work of high quality, even when dipping into the classical repertoire, it endeavours to reflect the challenges of an open and democratic society existing in a universe plagued by violence and the effects of a rapacious lifestyle on a delicate planet. We wage a constant battle against reacting with protectionism and xenophobia.

Po drugi strani pa ima javno gledališče privilegij, da uči, da se bori in opozarja proti krivici in obenem zabava. Za občinsko ali regionalno gledališče predstavlja uprizarjanje farse ali mjuzikla brez katarzičnih interpretacij ali umetniškega zasuka soočenje z vprašanjem, če na tak način dejansko opravlja svojo nalogo. Gledališče je javna inštitucija in naj bi kot takšna služila ljudem. Tisto, čemur služi, je primarno sestavljeno iz udejstvovanja in visoko kvalitetnega reflektivnega dela: tudi kadar poseže v klasičen in preverjen repertoar, si mora prizadevati reflektirati izzive in spremembe v odprti in demokratični družbi, ki obstaja v univerzumu prežetem z nasiljem in posledicami požrešnega življenjskega sloga na tem našem občutljivem planetu. Smo v nenehni bitki z reakcijo na protekcionizem in ksenofobijo. V komedijah avtorji, kot sta Sofia Fredén in Gertrud Larsson, obe dobitnici zavidanja vredne nagrade Henning Mankell, izpostavljajo sebične težnje srednjega razreda in normativne predsodke hetero manjšine. Mattias Brunn, Isabel Cruz Liljegren, Sara Stridsberg, Mirja Unge so sodobni pisci, ki se soočajo z vsakim aspektom identitete, vzpostavljene zgolj z razumevanjem spola. Nazadnje omenjeni avtorici sta vključeni v letošnjo festivalsko antologijo Sodobna švedska drama.

In comedies, playwrights like Sofia Fredén or Gertrud Larsson, both winners of the coveted Henning Mankell Award, expose the selfish tendencies of the middle class or challenge the normative prejudices of a hetero majority. Mattias Brunn, Isabel Cruz Liljegren, Sara Stridsberg, Mirja Unge are other dramatists of note who write plays that confront every notion of identity based simply on gender. The last two named are included in the anthology of plays produced and published by the Maribor Theatre Festival. Theatre for young audiences is another arena that underscores the national penchant for promoting societal development in a positive direction. But in Sweden, didactic or “theatre in education” type performances are not the norm. Children learn from experience, through involving themselves in the situations faced by dramatic personae, through empathy, through evaluating choices made by characters and thinking things through for themselves. Suzanne Osten, a Swedish pioneer of the children’s theatre, studied the work of psychologists Alice Miller, Donald Winnicott and Oliver Sachs and introduced the concept of the child’s perspective, changing in Sweden the nature and status of theatre for young audiences for all time. Every Osten production is prefaced by a generous period of research resulting in an effusive barrage of theatricality underpinned by an

Gledališče za mlajše občinstvo je drugo področje, ki poudarja nacionalno naklonjenost za spodbujanje družbenega razvoja v pozitivni smeri. Ampak na Švedskem didaktični tipi predstav niso norma. Otroci se učijo na podlagi izkušenj, z vključevanjem v situacije, s katerimi se soočajo dramski liki, s pomočjo empatije, ocenjevanja izbir, za katere se odločijo liki, in s premislekom. Švedska pionirka otroškega gledališča, Suzanne Osten, je preučevala psihologe Alice Miller, Donalda Winnicotta in Oliverja Sachsa in predstavila koncept otroške perspektive ter s tem za vedno spremenila naravo in status gledališča za mlajše občinstvo na

intelligent and humanistic interpretation of the subject at hand. This is so evident in Medea’s Children, a play about divorce seen through the eyes of the children, also included in the Maribor Theatre Festival anthology.

Švedskem. Vsaki produkciji Ostenove je predhodno posvečeno zelo veliko raziskovanja, ki je podprto z inteligentno in humanistično interpretacijo subjekta v obravnavi. To je zelo vidno v Medejinih otrocih, igri o ločitvi, videni skozi otroške oči, ki je prav tako vključena v omenjeno antologijo.

The greatest challenges facing Sweden and Europe today are the effects of global economy, war and migration. Waves of new immigrants arrive on our shores and tax our resources and our charitable hearts. Part of our population wants to lock them out, others would see no boundaries on a single planet with six oceans and seven continents. Isolated in ghettos and removed from meaningful opportunity, these populations become a malignant element in a once homogeneous and benign society. Integrated, accepted and with a stake in all that society has to offer, including the dramatic arts, these immigrants become an enormous resource and promise a great future.

Eden izmed največjih izzivov, s katerim se tako kot vsa Evropa sooča današnja Švedska, so učinki globalne ekonomije, vojne in migracije. Valovi novih imigrantov prihajajo na naše obale in obremenjujejo naša sredstva in naša srca. Del naše populacije jim želi preprečiti dostop, drugi del pa ne vidi meja na našem skupnem planetu s šestimi oceani in sedmimi kontinenti. Izolirani v getih in umaknjeni življenju, priložnostim, postajajo maligni element v nekoč homogeni družbi. Integrirani in sprejeti v tok življenja in družbenega dogajanja, vključno z dramatiko, imigranti postajajo obljuba boljše prihodnosti.

It would be unfair to say that Jonas Hassen Khemiri has saved the Swedish theatre, but this Swedish/ Tunisian playwright has certainly made his mark, first in literature and then in drama. Khemiri has established himself as the most popular playwright in Sweden today and is perhaps, after Lars Norén, our best known theatrical export. Khemiri peoples his plays with the new Swedes, darker skinned, marginalised and suspect; exposing their fears and loves and innate humanity, examining the trials of living in-between the old world of parents and the cooler, less accepting climate of the North. His poetic humour and deep insight are evident in the play I Call My Brothers. Following fast in Khemiri’s footsteps comes a new generation of Swedish playwrights with foreign names; Alejandro Leiva Wenger, Lidija Praizovic, Marioan Hosseini, Dimen Abdulla and Nicolas Kolovos. These are careers to follow.

Krivično bi bilo reči, da je Jonas Hassen Khemiri rešil švedsko gledališče, a je ta švedsko-tunizijski pisec zagotovo pustil svojo sled, najprej v prozi, nato pa še v dramatiki. Khemiri se je uveljavil kot najpopularnejši pisatelj na Švedskem in je po Larsonu Norénu morda naš najbolj znan gledališki »izvoznik«. Jonas v svoje igre vključi novodobne Švede, temnopolte, marginalizirane, sumljive; razkriva njihove strahove, ljubezni in prirojeno človeškost, preučuje preizkušnje življenja med starim svetom staršev in hladnejšo, manj sprejemljivo klimo severa. Njegov poetični humor in globok uvid je viden v igri Kličem svoje brate. Po Khemirijevih stopinjah hitro stopajo nove generacije švedskih pisateljev s tujimi imeni: Alejandro Leiva Wenger, Lidija Praizovic, Marioan Hosseini, Dimen Abdulla in Nicolas Kolovos. Njihove kariere so vredne vse pozornosti.

The Maribor Theatre Festival has worked closely with Teater Unionen – Swedish ITI in programming the Swedish focus section of the 51st Maribor Theatre Festival and with myself in selecting plays for the anthology. I in turn consulted several Swedish colleagues. A sizeable number of plays were suggested, those chosen are deemed to have qualities that might also engage Slovenian audiences through Slovenian productions. We hope you will see them onstage soon.

Festival Borštnikovo srečanje je tesno sodeloval z gledališko zvezo (švedski ITI) pri snovanju sklopa Švedski fokus na Festivalu in z mano pri izbiri predstav za antologijo. Izmed številnih predlaganih predstav so bile na koncu izbrane te, katerih kvalitete bi v slovenski produkciji lahko pritegnile publiko. Upamo, da jih boste kmalu videli na odru.

Strokovna sreÄ?anja, razstave in ĹĄe ... Discussions, Exhibitions and More ...

14. 10. 2016 19.00 PREDDVERJE STARE DVORANE

Lela B. Njatin:

»NAROD SI BO PISAL SODBO SAM« Posvečeno 140. obletnici rojstva Ivana Cankarja

“A NATION SHALL WRITE THE VERDICT FOR ITSELF BY ITSELF” Dedicated to the 140th anniversary of the birth of Ivan Cankar

Exhibition presented by the Regional Museum Kočevje, Municipality of Kočevje and the Scientific Research Centre of the Slovenian Academy of Sciences and Arts in cooperation with the Maribor Theatre Festival

Razstava Pokrajinskega muzeja Kočevje v soorganizaciji z Občino Kočevje in Znanstvenoraziskovalnim centrom SAZU v sodelovanju s Festivalom Borštnikovo srečanje Vodilna nit razstave je reprezentacija citata iz gledališke igre Hlapci, ki jo je napisal Ivan Cankar (1876–1918): »Narod si bo pisal sodbo sam.« Citat je pomemben za slovensko državno zgodovino, ker je bil naslikan na steno dvorane v Sokolskem domu v Kočevju kot moto prvega zasedanja slovenskega parlamenta, ki se je zgodilo na odru pod njim. Lelo B. Njatin citat zanima, medtem ko sledi njegovi vlogi širjenja besede iz prostora umetnosti v vsakdanje življenje, in obravnava ga kot relativno trajen in nespremenljiv element urbane krajine. Po drugi svetovni vojni je bil naslikani citat spomeniško zaščiten in ohranjen kot nacionalni spomenik. Nadpisoval je mnogoštevilne dogodke, ki so se potem vrstili pod njim. Usmerjal je tudi urbanizacijo celotnega Kočevja, saj se je spreminjala ob obletnicah njegove naslikave tako, da je bilo preurejeno središče Kočevja, ki so ga tesno povezali s Sokolskim domom. V center so postavili spomenik, na katerem se citat ponovi. Citat je bil kasneje v urbanem prostoru Kočevja ponovljen še tretjič, kot šolsko obeležje. Lela B. Njatin jemlje citat/poslikavo kot vseprisotnega spremljevalca življenja v Kočevju in obtežilnik kolektivnega spomina. Razbremenjuje ga ideoloških oznak in ga emancipira kot umetnost. Preslikuje ga v svoja lastna dela tako, da posnema njegovi tipografijo in barvo ter z enakimi črkami izpisuje nove besede, ki so po njenem pomembne bodisi za kolektivno zgodovino Kočevja bodisi za njeno osebno zgodovino. Te besede so postale standardni likovni motivi njenih del. Lela B. Njatin zoperstavlja citat/poslikavo drugim znakom iz urbane krajine Kočevja, da bi jih vse skupaj družno integralizirala v čas in prostor. Svoja dela izpostavlja tudi zunaj galerijskega prostora in jih prezentira kot ouvert oeuvre in participatorno umetnost, da bi bila dovršljiva med aktivno udeležbo ljudi iz Kočevja.

In June 2014, at the Regional Museum Kočevje, Lela B. Njatin displayed art related to a quotation from the theatre play The Stablemen by Slovenian writer Ivan Cankar (1876–1918): “A Nation shall write the Verdict for Itself by Itself.” In 1943 the quotation was painted on the wall in the grand hall of Sokolski dom in Kočevje as the motto for the first Slovenian parliament assembly. Since then, various events have taken place on the stage beneath it. The quotation has borne its actuality ever since. It is especially relevant in this year because of the anniversary of independence of the Republic of Slovenia. The exhibition’s curator Vesna Jerbič Perko notes that this quotation painted as a sign in the building became a constitutive part of the cultural identity of Kočevje. She claims: “The Municipality of Kočevje is unique also because of this sign, as it bears witness to a nationally important event. The Kočevsko Region was marked by the migration of the majority population during WWII, many settlements were ruined, the economic infrastructure and roads were also demolished, new immigrants came from other parts of Slovenia and former Yugoslavia, and then there was an enormous closed area, guarded for being preserved as the potential headquarters of the resistance. All these are reasons for the local population to have identity problems.” B. Njatin is interested in the mentioned sign as it has a special role in expanding the words of literature into everyday activities and as it is a significant visual element of Kočevje’s urban landscape, which is relatively permanent and unchanging. She leans her artistic expression on the colour and shape of the letters in sign, as its typography is original and in 1943 it was a rather avant-garde one. By artistic tactics she call for people’s awareness, addressing those who are living with the quotation, to think of the past for the future, just to strengthen the present cohabitation. The exhibition will present three works by Lela B. Njatin: The Value of a Word, Kočevje 1363–2013 and A Shooting Ground. Reversing the Layers.

S fotografijami, zvoki in besedami razstava predstavlja: • Beseda velja. Sestavljena akcija: slikovna instalacija + serija 21 pogovorov. Središče Kočevja, 16. 3.–5. 4. 2014. • Kočevje 1363−2013. Sestavljena akcija: instalacija in performans. Šeškov dom, Kočevje, 21. 6 2014. • Strelišče. Plati plasti. Sestavljena akcija: instalacija + performans. Šeškov dom, Kočevje, 21. 6. 2014.

Curator: Vesna Jerbič Perko

Kustosinja: Vesna Jerbič Perko 78

20. 10. 2016 17.00 MALI ODER

E-RAZSTAVA: FESTIVAL BORŠTNIKOVO SREČANJE 2015 E-XHIBITION: MARIBOR THEATRE FESTIVAL 2015 This is already the fourth year in a row that the Maribor Theatre Festival, in collaboration with Novi ZATO. and Slovenian theatres as well as cultural and educational institutions, is organising the e-xhibition Maribor Theatre Festival. We persist in our concern for the digitalisation, accessibility and popularisation of Slovenian cultural heritage.

Festival Borštnikovo srečanje v sodelovanju z Novim ZATO. in slovenskimi gledališči ter kulturnoizobraževalnimi inštitucijami četrto leto zapored pripravlja e-razstavo Festival Borštnikovo srečanje. Vztrajamo pri skrbi za digitalizacijo, dostopnost in popularizacijo slovenske gledališke dediščine. Kakor vselej doslej smo tudi letos zasnovali razstavo v treh sklopih: v prvem so na ogled fotografije s sklepne prireditve jubilejnega, petdesetega Festivala; drugi sklop je posvečen Heddi Gabler Henrika Ibsena v režiji Mateje Koležnik in izvedbi Drame SNG Maribor, najboljši predstavi lanskega leta. Ta del vključuje fotografije Damjana Švarca, scenske skice Marka Japlja, plakat in gledališki list, nekaj člankov in izbor kritik o uprizoritvi. Tretji sklop je posvečen Ljerki Belak, dobitnici Borštnikovega prstana 2015 skozi fotografski pregled gledališkega opusa.

We have kept the format of previous editions and conceived the exhibition in three segments: the first will feature the photographs from the closing ceremony of the festive 50th edition of the festival: the second segment is dedicated to last year’s best production, Henrik Ibsen’s Hedda Gabler directed by Mateja Koležnik and performed by the Drama of the Slovenian National Theatre Maribor. This segment includes Damjan Švarc’s photographs, stage design sketches by Marko Japelj, the poster and the programme, several articles and a selection of reviews of the production. The third segment is dedicated to Ljerka Belak, the recipient of the 2015 Borštnik Ring through a photographic overview of her theatrical opus.

E-razstava FBS 2015 bo na voljo v slovenskem in angleškem jeziku na spletni strani borstnikovo.si, spletnem portalu sigledal.org in na spletnih straneh sodelujočih inštitucij.

The e-xhibition Maribor Theatre Festival 2015 will be available in Slovenian and English as on the Website borstnikovo.si, the web portal sigledal.org and on the websites of collaborating institutions.

Pobudnici projekta: Alja Predan (FBS) in Mojca Jan Zoran (SLOGI) • Koordinator projekta: Samo M. Strelec (Novi Zato.) • Avtorica razstave in vnos podatkov: Ksenija Repina (FBS) • Računalniška zasnova: Gregor Matevc (Novi Zato.) • Urejanje avtorskih pravic: Tamara Matevc (Novi Zato.) • Pri razstavi so sodelovali: Tatjana Doma (SLG Celje), dr. Bojan Himmelreich (ZA Celje), Alenka Klabus Vesel (MGL) • Prevajalki v angleški jezik: Katarina Pejović in Jana Renée Wilcoxen

Project initiator: Alja Predan (FBS) and Mojca Jan Zoran (SLOGI) • Project coordinator: Samo M. Strelec (Novi Zato.) • Author of exhibition: Ksenija Repina (FBS) • Computer design: Gregor Matevc (Novi Zato.) • Data entry: Ksenija Repina (FBS) • Arrangement of copyrights: Tamara Matevc (Novi Zato.) • Exhibition collaborators: Tatjana Doma (SLG Celje), Bojan Himmelreich, PhD (ZA Celje), Alenka Klabus Vesel (MGL) • Translators into English: Katarina Pejović and Jana Renée Wilcoxen

15. 10. 2016 10.30−12.30, 14.00−15.30 ALMA MATER EUROPAEA − ECM

VITALNA ZVRST NA ROBU MEDIJSKEGA PROSTORA THE VITAL GENRE ON THE EDGE OF THE MEDIA Simpozij o slovenski radijski igri v organizaciji Društva gledaliških kritikov in teatrologov Slovenije v sodelovanju s Festivalom Borštnikovo srečanje

A symposium about Slovenian radio plays organised by the Association of Theatre Critics and Researchers of Slovenia in cooperation with the Maribor Theatre Festival

Prva slovenska radijska igra je bila leta 1928 le z odra v radijski studio prenesena gledališka predstava. Šele v tridesetih letih prejšnjega stoletja je postala radijska igra avtohtona umetniška zvrst, saj so se šele takrat začele pojavljati prve izvirne radijske igre. Odtlej je preživljala bogato zgodovino in pomembno sooblikovala mednarodni kulturni prostor. Besedila slovenskih avtorjev so bila prevedena v številne jezike, posnetki Radia Slovenija so bili na mednarodnih festivalih po navadi ocenjeni vrhunsko, delo ustvarjalnih ekip pa mnogokrat okronano s prestižnimi nagradami na svetovnih festivalih. V radijskem arhivu se je v tem dokaj kratkem obdobju nabralo čez štiri tisoč radijskih iger različnih žanrov. Detekcija aktualnega trenutka slovenske radijske igre pa kaže drugačno sliko. V ustvarjalnem smislu še zmeraj vitalna in mednarodno konkurenčna se sooča z medijsko ignoranco, ostaja brez kritiške refleksije, nekaj desetletij zelo žive, pred dobrim desetletjem pa dokončno zamrle, čeprav bi se še kako rada zazrla z optimizmom v prihodnost. Dragocena zvrst zato ostaja na robu medijskega prostora. Simpozij bo ponudil razmislek o tem uprizoritvenem žanru in razprl aktualna vprašanja v zvezi z njim.

The first Slovenian radio play took place in 1928 and was merely a theatre production transferred to the radio studio. It was only in the 1930s that the radio play became an autochthonous artistic form, with the occurrence of the first original radio plays. Since then it experienced a rich history and was a significant factor in shaping the international cultural space. The plays by Slovenian authors were translated into numerous languages, the recordings of Radio Slovenia usually received the highest praises at international festivals, the works of creative teams were many times awarded with prestigious prizes at world festivals. In this relatively short period, the radio archive accumulated over four thousand radio plays of various genres. The detection of the present moment for the Slovenian radio play, however, gives a different picture. Creatively still vigorous and internationally competitive, at home it faces media ignorance deprived of critical reflection. Although it was very active for several decades, the critical reflection definitely died away over a decade ago, while the Slovenian radio play would gladly turn towards the future with optimism. This precious artistic form hence remains on the margin of the media space. The symposium will offer a reflection on this performing genre and disclose topical questions connected to it.

Okroglo mizo z gosti (antropologinja Vesna Vuk Godina, urednica Uredništva igranega programa na Radiu Slovenija Gabrijela Gruden, pisec in režiser Vinko Möderndorfer, režiserka Ana Krauthaker, glasbena oblikovalka Darja Hlavka Godina) bo vodila dramaturginja Vilma Štritof. V teoretskem delu bomo spregovorili o ontologiji radijske igre, o zvoku in zvočnosti (režiser Igor Likar), o igri in igralcu v radijskem mediju (igralec Blaž Šef), o pogledu v prihodnost (režiser Klemen Markovčič) in o neodvisni produkciji radijskih iger (CONA – Brane Zorman, Irena Pivka). Predstavili bomo projekt predstavitve preseka med gledališčem in radiem s študenti AGRFT (vodil ga bo Klemen Markovčič) ter predvajali radijsko igro Radia Maribor Elizabeth iz leta 1997, najprej uprizorjena v ptujskem gledališču po besedilih Arthurja Janova, Nancy Friday in Samuela Becketta. Vilma Štritof

The round table discussion with guests (anthropologist Vesna Vuk Godina, editor-in-chief of Radio Slovenia Drama Programme Gabrijela Gruden, writer and director Vinko Möderndorfer, director Ana Krauthaker, sound designer Darja Hlavka Godina) will be moderated by dramaturg Vilma Štritof. The morning will feature a theoretical segment with papers on the ontology of the radio play, on sound and sonority (director Igor Likar), on acting and the actor in radio medium (actor Blaž Šef), on the future perspective (director Klemen Markovičič) and the independent production of radio plays (CONA – Brane Zorman, Irena Pivka). The afternoon will be concluded with the project of presentation of the intersection between theatre and radio with the students of the University of Theatre, Academy of Theatre, Radio, Film and Television. It will be conducted by Klemen Markovičič. Meanwhile, the 1997 Maribor Radio play Elizabeth will be played. Based on the texts by Arthur Janov, Nancy Friday and Samuel Beckett. Vilma Štritof

20. & 21. 10. 2016 9.30–12.30, 15.00–18.00 MUZEJ NARODNE OSVOBODITVE MARIBOR

ZAČETKI, DOSEŽKI IN NASLEDKI SLOVENSKEGA GLEDALIŠČA MODERNE DOBE 150-letnica Dramatičnega društva v Ljubljani

THE BEGINNINGS, ACHIEVEMENTS AND SUCCESSORS OF SLOVENIAN THEATRE IN THE MODERN ERA The 150th Anniversary of the Dramatic Society in Ljubljana A symposium organised by the Research Programme of the University of Ljubljana, Academy of Theatre, Radio, Film and Television and the Slovenian Theatre Institute in cooperation with the Maribor Theatre Festival

Simpozij v organizaciji Raziskovalnega programa UL AGRFT in Slovenskega gledališkega inštituta v sodelovanju s Festivalom Borštnikovo srečanje Ustanovitev Dramatičnega društva v Ljubljani leta 1867 pomeni začetek organiziranega gledališkega delovanja na Slovenskem. 150-letnico tega prelomnega dogodka v zgodovini slovenskega gledališča bomo obeležili s simpozijem, ki bo celovito predstavil delovanje Dramatičnega društva, ga preučil z doslej še neraziskanih vidikov, ob tem pa kritično osvetlil uveljavljene zgodovinske razlage. Da bi dobili čim bolj večplastno podobo Društva, smo k sodelovanju pritegnili raziskovalce uprizoritvenih umetnosti, literature, umetniškega govora, likovnih umetnosti, glasbe, kulturne in umetnostne zgodovine. Raziskali bodo razvoj tistih elementov, ki Dramatično društvo oziroma slovensko gledališče konstituirajo: dramatiko, repertoar, gledališko ikonografijo, poklice, arhitekturo itn. Obravnavali bodo vpliv Dramatičnega društva na razvoj slovenske dramatike, začetke operne in baletne ustvarjalnosti, slovenskega gledališkega in igralskega (govornega) izobraževanja, postopno profesionalizacijo in specializacijo gledaliških poklicev. Opredelili bodo razvoj od Dramatičnega društva v Ljubljani do dramatičnih društev na Slovenskem, zadnja desetletja Dramatičnega društva in njegovo likvidacijo, mejnike v delovanju Društva, nacionalno ikonografijo v času med 1867 in 1918. Predstavili bodo tudi biografske prispevke, npr. o pionirju Društva Josipu Nolliju in opernem pevcu Emilu Scarii; in bolj specifične teme, kot so prisotnost francoske igre, meščanske drame, judovske tematike v repertoarju, razprli vprašanje »narodne« operete ter problem Tugomerja kot slovenskega plemenskega junaka. Študije bodo na novo osvetlile obdobje prve organizirane oblike slovenskega gledališča, njegove poznejše profesionalizacije in začetke evropeizacije ter natančneje opredelile pomen Dramatičnega društva v kulturni zgodovini slovenstva.

The founding of the Dramatic Society in Ljubljana in 1867 is considered the beginning of organised theatre activities in Slovenia. The 150th anniversary of that landmark event in the history of Slovenian theatre will be commemorated with a symposium that will thoroughly present the activity of the Dramatic Society, study it from thus far unexplored perspectives and at the same time offer a critical reflection on the established historical accounts. In order to attain a multi-faceted image of the Dramatic Society we have invited researchers from the fields of performing arts, literature, artistic speech, fine arts, music, cultural and art history to participate. They will explore the development of those elements that are constitutive both for the Dramatic Society and Slovenian theatre: dramatic literature, repertoire, theatre iconography, professions, architecture, etc. They will deal with the influence of the Dramatic Society on the development of Slovenian dramatic literature, the beginnings of opera and ballet creations, the Slovenian theatre and acting (speech) education, the gradual professionalisation and specialisation of theatre vocations. They will detect the development from the Dramatic Society in Ljubljana to dramatic societies in the rest of Slovenia, the last decades of the Dramatic Society and its liquidation, the turning points in the work of Society as well as the national iconography in the period between 1867 and 1918. They will present biographical contributions on, for instance, Josip Nolli and the opera singer Emil Scari, the pioneers of the Dramatic Society, along with more specific subjects such as the presence of the French drama, the bourgeois drama or the Jewish thematic on the repertoire. They will also disclose the issue of “national” operetta as well as the problem of Tugomer as a Slovenian tribal hero. Those studies will shed a new light on the period of the first organised form of Slovenian theatre, its consequent professionalisation and the beginnings of Europeanisation, offering a more accurate assessment of the significance of the Dramatic Society in the cultural history of Slovenians.

Vodji simpozija: dr. Štefan Vevar in dr. Barbara Orel

Symposium leaders: Štefan Vevar, PhD and Barbara Orel, PhD

17. 10. 2016 13.00 KAZINSKA DVORANA

IFIGENIJA

Predstavitev projekta/informacijskega orodja v pripravi Novega ZATO.

IPHIGENIA

Presentation of the project/information tool in preparation by Novi ZATO. Ifigenija je spletna aplikacija, ki nastaja kot javni kulturni program informacijske dejavnosti Ministrstva za kulturo Republike Slovenije. Izvajalec programa je zavod Novi Zato.. Ifigenija gledališču omogoča sodobno informacijsko podporo za vsebinsko-programsko pa tudi poslovno spremljanje uprizoritve od umetniške vizije prek poslovnih in produkcijskih procesov do arhiviranja ter dokumentiranja ostankov gledališke produkcije, torej dediščine.

Iphigenia is a web application that is has been developed as a public cultural programme of the information activities of the Ministry of Culture of the Republic of Slovenia. The architect of the programme is Novi ZATO. Iphigenia provides the theatre sector with a contemporary IT basis for a content-programmatic as well as business overview of a production from the artistic vision through the business and production processes all the way to the archiving and documenting of the finished theatre production, which means heritage.

Ifigenija ima tri temeljne vsebinske sklope, ki so med seboj vsebinsko in funkcionalno povezani: predprodukcija, produkcija in postprodukcija. Z moduli, ki jih bodo gledališča uporabljala posamezno ali kot celoto, Ifigenija ponuja sistemsko, celovito orodje, ki spremlja uprizoritev od njenega dolgoročnega načrtovanja prek uvrstitve na repertoar pa vse tja do zadnje ponovitve. Ifigenija sočasno arhivira oz. sledi vsem dogodkom v zvezi s programom gledališča. Terminološko in metodološko je usklajena z načinom dela področja uprizoritvene umetnosti na Ministrstvu za kulturo Republike Slovenije. Ifigenija omogoča tudi izvoz podatkov, pomembnih za pripravo Letopisa, ki ga pripravlja Slovenski gledališki inštitut, podatkov, ki jih zajema digitalna baza REP na portalu slovenskega gledališča sigledal.org, in mesečnih dogodkov, ki jih je neposredno iz mesečnega načrta mogoče izvoziti na spletno mesto gledališča in v koledar dogodkov portala sigledal.org.

Iphigenia contains three basic content clusters that are mutually connected through content and functionality: pre-production, production and post-production. Along with the modules that the theatres can use individually or in their entirety, Iphigenia offers a systemic and comprehensive tool that follows a production from its long-term planning through its inclusion in the repertoire to the very last re-run. Iphigenia simultaneously archives and follows all the events concerning the programme of a theatre. It is terminologically and methodologically synchronised with the Ministry of Culture’s mode of working in the field of performing arts. Iphigenia also enables exporting data that is required for the yearbook prepared by the Slovenian Theatre Institute, the data encompassed by the digital database REP on the Slovenian theatre portal sigledal.org as well as the monthly events that can be directly exported from the monthly plan either to the website of a theatre or to the calendar of events at the portal sigledal.org. As a web application, Iphigenia has been developed using open-source web technologies: PHP, Javascript, PostgreSQL. The chosen platform and technologies enable simple central managing, maintenance and application upgrading. As the application is running through the search engine, all current search engines in all major operation systems are supported. The application is shaped through responsive web design, which means that it works both on computers and mobile devices. So far the following Slovenian theatres are using it: the Drama of the Slovenian National Theatre Maribor, Ljubljana Puppet Theatre, Maribor Puppet Theatre, Ljubljana City Theatre, Ptuj City Theatre, Prešeren Theatre Kranj, Celje People’s Theatre, Mladinsko Theatre, the Slovenian National Theatre Drama Ljubljana and the Slovene National Theatre Nova Gorica.

Ifigenija je kot spletna aplikacija razvita z uporabo odprtokodnih spletnih tehnologij: PHP, Javascript, PostgreSQL. Izbrana platforma in tehnologije omogočajo enostavno centralno upravljanje, vzdrževanje in nadgradnjo aplikacije. Ker aplikacija teče v brskalniku, so podprti vsi sodobni brskalniki v glavnih operacijskih sistemih. Aplikacija je odzivno oblikovana (angl. »responsive web design«), kar pomeni, da deluje tako na računalnikih kot tudi na mobilnih napravah. Doslej jo uporabljajo slovenska gledališča: SNG Maribor, Lutkovno gledališče Ljubljana, Lutkovno gledališče Maribor, Mestno gledališče ljubljansko, Mestno gledališče Ptuj, Prešernovo gledališče Kranj, Slovensko ljudsko gledališče Celje, Slovensko mladinsko gledališče, SNG Drama Ljubljana in SNG Nova Gorica.

KNJIGE NA FBS BOOKS AT THE FESTIVAL 17. 10. 2016 | 12.00 | VETRINJSKI DVOR

Primož Jesenko: Rob v središču. Ljubljana, SLOGI, 2015. . Andrej Potrč: William Shakespeare: Hamlet. Biti ali ne biti v stripu Ljubljana: SLOGI, 2015.

Primož Jesenko: The Edge in the Centre. Ljubljana: Slovenian Theatre Institute, 2015.

Blaž Lukan: Po vsem sodeč. Gledališke kritike 1993−2013 Ljubljana: SLOGI, 2015.

Blaž Lukan: According to Everything. Theatre Reviews 1993–2013. Ljubljana: Slovenian Theatre Institute, 2015.

Slovenski gledališki letopis 2014/2015 Uredil Štefan Vevar. Ljubljana: SLOGI, 2015.

Slovenian Theatre Yearbook 2014/2015 Edited by Štefan Vevar. Ljubljana: Slovenian Theatre Institute, 2015.

Amfiteater. Revija za teorijo scenskih umetnosti Uredila Maja Šorli. Letnik 4, številka 1. Ljubljana: SLOGI, 2015.

Amphitheatre. Journal for Performing Arts Theory. Edited by Maja Šorli. Vol. 4, No. 1. Ljubljana: Slovenian Theatre Institute, 2015.

Andrej Potrč: William Shakespeare: Hamlet. To Be or Not to Be in Comics. Ljubljana: Slovenian Theatre Institute, 2015.

19. 10. 2016 | 12.00 | VETRINJSKI DVOR

Mile Korun: Končno poročilo Uredila Petra Pogorevc. 165. zvezek. Ljubljana: Knjižnica MGL, 2015.

Mile Korun: A Final Report on the Unfinished King Lear in Slovenian National Theatre Drama Ljubljana. Edited by Petra Pogorevc. Book no. 165. Ljubljana: MGL Library, 2015.

Darko Suvin: Brechtovo ustvarjanje in horizont komunizma Uredila Petra Pogorevc, prevedla Seta Knop. 166. zvezek. Ljubljana: Knjižnica MGL, 2016.

Darko Suvin: Brecht’s Work and the Horizon of Communism. Edited by Petra Pogorevc, translated by Seta Knop. Book no. 166. Ljubljana: MGL Library, 2016.

22. 10. 2016 | 12.00 | VETRINJSKI DVOR

Aldo Milohnić: Umetnost v času vladavine prava in kapitala Uredila Amelia Kraigher. Zbirka TRANSformacije, knjiga št. 37. Ljubljana: Zavod Maska, 2016.

Aldo Milohnić: Art in the Time of Rule of Law and Capital. Edited by Amelia Kraigher. TRANSformacije series, book No. 37. Ljubljana: Maska, Institute for Publishing, Production and Education, 2016.

Chantal Mouffe: Agnostika: Misliti svet politično Uredila Amelia Kraigher, prevedla Aleksandra Rekar. Zbirka Mediakcije, knjiga št. 14. Ljubljana: Zavod Maska, 2015.

Chantal Mouffe: Agonistics: Thinking the World Politically. Edited by Amelia Kraigher, translated by Aleksandra Rekar. Mediakcije series, book No. 14. Ljubljana: Maska, Institute for Publishing, Production and Education, 2015.

Sonja Vilič: Collective Improvisation: From Theatre to Film and Beyond Uredila Amelia Kraigher. Ljubljana: Kolektiv Narobov, Zavod Federacija, Zavod Maska, 2016.

Sonja Vilič: Collective Improvisation: From Theatre to Film and Beyond. Edited by Amelia Kraigher. Ljubljana: Kolektiv Narobov, Federacija Insitute; Maska, Institute for Publishing, Production and Education, 2016.

MASKA, časopis za scenske umetnosti Dokumentacija in uprizarjanje (letnik XXX/172−174), Gledališče Jerneja Lorencija (letnik XXX/175−176), Gledališče animiranih form (letnik XXX/177−178). Ljubljana: Zavod Maska 2015−2016.

MASKA Performing Arts Journal: Documents & Performance (Vol. XXX/172−174), Jernej Lorenci’s Theatre (Vol. XXX/175−176) Theatre of Animated Forms (Vol. XXX/177−178). Ljubljana: Maska, Institute for Publishing, Production and Education 2015−2016.

50. Festival Borštnikovo srečanje 50th Maribor Theatre Festival 15.–25. 10. 2015 Umetniška direktorica Artistic director Alja Predan Selektorica tekmovalnega in spremljevalnega programa Competition and Accompanying Programme Selector Amelia Kraigher Strokovna žirija Jury of Experts Zala Dobovšek, Krištof Jacek Kozak, Nina Mitrović, Katja Perat, Mikko Roiha Žirija za Borštnikov prstan Jury for the Borštnik Ring Award Janez Hočevar, Mojca Jan Zoran, Vinko Möderndorfer, Metod Pevec, Alja Predan

Marko modic / Arhiv SLOGI

Ljerka Belak, prejemnica Borštnikovega prstana 2015

Ljerka Belak, Recipient of the Borštnik Ring Award 2015 Energy, convincingness, dedication, articulation, wit, full-bloodedness, creativity, unobtrusiveness, subtlety, ability to deeply move … These qualities are most often used when talking about the acting art of Ljerka Belak. Even from the very beginning. From the first roles that she created as a young actress in Celje People’s Theatre all the way to the her mature, anthological acting creations in Ljubljana City Theatre.

Energija, sugestivnost, predanost, artikuliranost, duhovitost, polnokrvnost, kreativnost, nevsiljivost, niansiranost, pretresljivost … Vse to so besede, s katerimi so najpogosteje označevali igralsko umetnost Ljerke Belak. In to od vsega začetka. Od prvih vlog, ki jih je kot mlada igralka ustvarila v Slovenskem ljudskem gledališču Celje, pa vse do njenih zrelih, antologijskih igralskih stvaritev v Mestnem gledališču ljubljanskem.

For the play in the radio detective series Call Mrs Mila, which was conceived also as a phone-in show, one of the female listeners told her: “Mrs Ljerka, you are so real!” An actor can hardly receive a bigger compliment. To be real. Without folly, without superfluous gestures and expressions, without the false masks of stardom ...

Za igro v radijski kriminalistični nanizanki Pokličite gospo Milo, ki je bila koncipirana tudi kot kontaktna oddaja, ji je neka poslušalka rekla: »Gospa Ljerka, vi ste tako zares!« Večjega komplimenta igralec skoraj ne more dobiti. Biti zares. Brez sprenevedanja, brez odvečnih gest, mimike, brez lažnih mask zvezdništva ...

In theatre to be real means to be more than just good. It means that you stand behind your creation with blood, with the viewpoint of a complete person. To be real means to be more convincing and richer than life. And that is something that the actress Ljerka Belak has always been able to do. To the last drop of sweat and blood in her volcanic talent, as someone once wrote, dedicated to the

Biti zares pomeni v gledališču biti več kot samo dober. Pomeni, da za svojo kreacijo stojiš s krvjo, s stališčem, kot kompleten človek. Biti zares pomeni biti prepričljivejši in bogatejši od življenja. In to je 86

igralka Ljerka Belak vedno zmogla. Do zadnje kaplje znoja in krvi je njen vulkanski talent, kot je nekdo zapisal, posvečen gledališču in igralski umetnosti. V Ljerkinem življenju ne obstaja življenje in ne obstaja gledališče. Obstaja samo gledališče in igralkino življenje v njem. Gledališču je posvetila in žrtvovala vse. In v tem je tudi skrivnost njene odličnosti. Gledališka pot Ljerke Belak se je začela po končani Akademiji za gledališče, radio in televizijo, ko je v sezoni 1970/71 prišla v Slovensko ljudsko gledališče Celje. Od sezone 1993/94 do upokojitve pa je ustvarjala v Mestnem gledališču ljubljanskem. Vseskozi je delovala tudi zunaj matičnih gledališč. Vedno je z velikim veseljem igrala (in še igra) na radiu, kjer je ustvarila vloge v več kot dvesto radijskih igrah. Skozi vsa leta pa je bila tudi nepogrešljiv igralski obraz tako na televiziji kot na filmskem platnu. Gledalci se spominjajo njenih nepozabnih vlog v televizijskih igrah in nadaljevankah. Igrala je v dvajsetih televizijskih dramah (Željko Kozinc: Vida, Tone Partljič: Ko poje čuk, Sandi Sitar: Vehovčev Jurij, Polona Flere: Moja najljubša teta, Tone Partljič: En dan resnice ...), mnoge od njih so bile nagrajene. V slovenskem filmu pa je sodelovala ves čas svoje poklicne kariere.

theatre and to acting art. In Ljerka’s life there is no life and no theatre. There is only theatre and the actress’s life within it. She has dedicated and sacrificed everything to the theatre. And that is the secret of her excellence. After completing the Academy of Theatre, Radio and Television, Ljerka Belak began her theatre career when she arrived at the Celje People’s Theatre for the 1970/71 season. From the 1993/94 season until she retired, she created at Ljubljana City Theatre. Throughout she was also working outside of her home theatres. She acted (and still acts) with great pleasure on the radio, where she has created more than 200 radio roles. All the while she was also an indispensable acting face on television as well as on the cinema screen. Viewers remember her unforgettable roles in teleplays and TV series. She played in twenty some TV dramas (Željko Kozinc: Vida, Tone Partljič: When the Little Owl Sings, Sandi Sitar: Baron Jurij Vega, Polona Flere: My Favourite Aunt, Tone Partljič: One Day of Truth …), many of which were awarded. Throughout her career she also participated in Slovenian films. Her work in Celje People’s Theatre was undoubtedly important for her acting development, since it was there that through a number of roles of different dramatic genres she was able to shape herself into a seasoned actress. In Celje she played in over 100 premières, working most often with director Franci Križaj, but also with Mile Korun, Žarko Petan, Dušan Mlakar, Zvone Šedlbauer, Meta Hočevar, Vida Ognjenovič, Ljubiša Ristić and many others from all generations. She played in comedies, farces, dramas, tragedies, musical shows, in youth and children’s play, of which, she says, she has the fondest memories, as well as in the texts of contemporary Slovenian authors, of which she is especially proud. In Celje People’s Theatre, she created a truly enviable number of roles. She was Susanna in Horváth’s work Figaro Gets a Divorce, Katya in Turgenev’s A Month in the Country, Ismene in Sophocles’s Antigone, Arsinoé in Molière’s Le Misanthrope, Masha in Three Sisters and on and on … Directors always cast her in very diverse roles, which she always tried to make suitably differently, mainly with her professional dedication and total commitment.

Za njen igralski razvoj je brez dvoma zelo pomembno delo v Slovenskem ljudskem gledališču Celje, saj se je tam skozi številne vloge različnih dramskih žanrov lahko oblikovala v zrelo igralko. V gledališču je odigrala preko sto premier. V Celju je delala največ z režiserjem Francijem Križajem, pa tudi z Miletom Korunom, Žarkom Petanom, Dušanom Mlakarjem, Zvonetom Šedlbauerjem, Meto Hočevar, Vido Ognjenovič, Ljubišem Ristićem in z mnogimi drugimi vseh generacij. Igrala je v komedijah, farsah, dramah, tragedijah, glasbenih postavitvah, v mladinskih in otroških igrah, na katere, tako pravi, ima najlepše spomine, pa tudi v besedilih sodobnih slovenskih avtorjev, na kar je še posebej ponosna. V Slovenskem ljudskem gledališču Celje je ustvarila res zavidljivo število vlog. Bila je Suzana v Horvathovem delu Figaro se ločuje, Danjuša v Turgenjevem Mesec dni na kmetih, Ismena v Sofoklesovi Antigoni, Arsinoa v Molièrovem Ljudomrzniku, Maša v Čehovovih Treh sestrah in tako dalje … Režiserji so jo vedno zasedali v zelo različne vloge, ki jih je ona vedno poskušala narediti ustrezno različno, predvsem pa s profesionalno predanostjo in popolno zavzetostjo.

She continued her full-blooded acting at Ljubljana City Theatre, where she had been invited by director and the theatre’s artistic director Zvone Šedlbauer. Ljubljana audiences immediately accepted her with enthusiasm and completely took her in. In Ljubljana City Theatre she played in comedies as well as dramatic plays. To refresh the too-short theatre memory, let’s just list a few of her most important roles: Linda in Miller’s Death of a Salesman, Clara in Bernhard’s Eve of Retirement, Mama Ubu in Jarry’s Ubu the King, Mary in Bond’s Saved, Hanna Rinner in Lundán’s Someone Always Gets Lost ...

Svoje polnokrvno igralsko delo je nadaljevala v Mestnem gledališču ljubljanskem, kamor jo je povabil režiser in takratni umetniški vodja gledališča Zvone Šedlbauer. Ljubljansko občinstvo jo je takoj z navdušenjem sprejelo in jo popolnoma posvojilo. V Mestnem gledališču ljubljanskem je igrala tako v komedijah kot v dramah. Za osvežitev prekratkega gledališkega spomina naj naštejemo samo nekaj njenih najpomembnejših vlog: Linda v Millerjevi drami Smrt trgovskega potnika, Clara v Bernhardovi drami Pred upokojitvijo, Mati Ubu v Jarryjevi igri Kralj Ubu, Mary v Bondovi igri Rešeni, Hanna Rinner v Lundánovi igri Vedno se kdo izgubi ...

Ljerka Belak is an actres who creates her roles very studiously. She draws from the text and from her own life experience. In creating, the most important for her have always been sincerity, psychological impulse and all that hides behind the playwright’s words. All that, which is unspoken, which is the mystery of a human being and nature, and which is revealed to the spectator, so to speak, inadvertently. That’s why her characters are always so alive. We have the feeling that they are being born before us, that they are not a product of a

Ljerka Belak je igralka, ki svoje vloge ustvarja zelo studiozno. Črpa iz besedila in svojih življenjskih izkušenj. Pri ustvarjanju ji je vedno najbolj 87

pomembna iskrenost, psihološki vzgib in vse tisto, kar se skriva za dramatikovimi besedami. Vse tisto, kar ni izgovorjeno, kar je skrivnost človeka in značaja, kar se razkrije gledalcu tako rekoč nehote. Prav zato so njeni liki vedno živi. Občutek imamo, da se sproti rojevajo pred nami, da niso produkt dramatikovega načrta, pač pa življenja samega. Dramske osebe, ki jim je Ljerka Belak vdihnila življenje, niso nikoli naslikane črno-belo, igralka je vedno, v še tako dramski situaciji znala poiskati senco humorja, v še tako komičnem prizoru pa dih žalosti in v vsaki izrečeni misli trenutek njenega nasprotja in dvoma. V tem je čar njene umetnosti in tudi prepričljivosti.

dramatic plan, but of life itself. The dramatic characters into whom Ljerka Belak breathed life were never painted black and white, the actress always knew how to find a sense of humour in a dramatic situation, a sigh of sadness in a comedic scene and in every spoken thought a moment of its opposition and doubt. This is the charm of her art as well as her convincingness. It is impossible to count all the roles that Ljerka Belak has crated on Slovenian stages, on TV, in films and on the radio. She even received numerous awards for them: the Student Prešeren Award (1971), the Prešeren Fund Award (1981), the Prešeren Award of the City of Celje (1982), the Sever Award (1987), the Borštnik Award (1989), the Gracious Comedian Award at the Days of Comedy in Celje, the Dnevnik Award for her role in Someone Always Gets Lost (2003) … About her creativity the critic Veno Taufer wrote: In Death of a Salesman (dir. Ž. Petan) she consistently and convincingly integrally carried out the role of the wife Linda, played by Ljerka Belak. Ljerka Belak gave her all the grace and warmth of a woman, who maternally surrenders to her husband, yet sharply showed her claws, although to the son, when he threatened her fiction about her husband; anthologically her moment comes at the end, when, while mourning the dead man, she is unable to cry, but cries at the lost, ruined fiction about her home. About her creation Hanna in Reko Lundán’s Someone Always Gets Lost (dir. Z. Šedlbauer) they wrote: Belak chose an unobstrusive acting procedure … she was deeply moving … her role is the vivisection of the clinical state … an impetuous depiction that borders between comical and tragic … The critic Jernej Novak wrote about her Mrs. Peachum in Brecht’s Threepenny Opera: Ljerka Belak is certainly the best Mrs. Peachum that I can ever remember from the notinsignificant number of productions on stages at home and around the world. At the première of Cankar’s For the Wealth of the Nation the critic Jože Snoj wrote: ... one of the best leading roles was without a doubt played by Ljerka Belak, who as Gruden’s wife Helena could not be disturbed even for a moment in her precisely subtle, full of turns, amorous seduction combining lustful and political expediency.

Nemogoče je našteti vse vloge, ki jih je Ljerka Belak ustvarila na slovenskih odrih, na televiziji, v filmu in na radiu. Zanje je prejela tudi številne nagrade: študentsko Prešernovo nagrado (1971), nagrado Prešernovega sklada (1981), Prešernovo nagrado mesta Celje (1982), Severjevo nagrado (1987), Borštnikovo nagrado (1989), nagrado žlahtna komedijantka na Dnevih komedije v Celju (2002), Dnevnikovo nagrado za vlogo v igri Vedno se kdo izgubi (2003) … O njenem ustvarjanju je kritik Veno Taufer zapisal: V igri Smrt trgovskega potnika (režiser Žarko Petan) je dosledno in prepričljivo scela izpeljan lik žene Linde, ki jo igra Ljerka Belak. Ljerka Belak ji je dala sicer vse mile in tople poteze ženske, ki se materinsko predaja svojemu moškemu, a je ostro pokazala kremplje, četudi sinu, ko je ogrožal njeno fikcijo o možu; antologijski je bil njen hip na koncu, ko se je, tožeč mrtvecu, da ne more jokati, zjokala ob ovedbi izgubljene, podrte fikcije o domu. O njeni kreaciji Hanne v igri Reke Lundána Vedno se kdo izgubi (režiser Zvone Šedlbauer) so zapisali: Belakova je ubrala igralsko nevsiljiv prijem … bila je pretresljiva … njena vloga je vivisekcija kliničnega stanja … silovita upodobitev, ki se giblje na meji med smešnim in tragičnim … Kritik Jernej Novak pa je o vlogi gospe Peachum v Brechtovi Beraški operi zapisal: … Ljerka Belak je zagotovo najboljša gospa Peachum, kar se jih spominjam z ne tako skromnega števila uprizoritev na naših in svetovnih odrih. Kritiku Jožetu Snoju pa se je ob premieri Cankarjevega dela Za narodov blagor zapisalo: … eno svojih najlepših osrednjih vlog sploh pa je brez dvoma odigrala Ljerka Belak, ki se kot Grudnova žena Helena niti za hip ni dala zmotiti v svojem natanko niansiranem, obratov polnem, pohoto in politično preračunljivost združujočem ljubezenskem zapeljevanju.

Much has been written about her acting creations. Sometimes in these writings there remains nothing other than a few words that try more or less successfully to capture the elusive impression of the actor’s art. The art of acting is written into eternal oblivion. At the same time in eternal memory. It’s a strange paradox that creates the most lively art of the human civilisation. Oblivion and eternity. The roles that the actress Ljerka Belak with her dedication and talent wrote for decades in the stage space, fiercely live on in the memory of the spectators. And it is especially in their name that we bestow to Ljerka Belak the Borštnik Ring, the biggest and most beautiful recognition of acting art – and in doing so, we thank her for the life that she has dedicated to theatre.

Mnogo tega so zapisali o njenih igralskih stvaritvah. Včasih je v teh zapisih ostalo zgolj nekaj besed, ki poskušajo bolj ali manj uspešno ujeti izmuzljiv vtis igralčeve umetnosti. Igralska umetnost je namreč zapisana večni pozabi. Hkrati pa večnemu spominu. Čuden paradoks, ki ustvarja najbolj živo umetnost človeške civilizacije. Pozaba in večnost. Vloge, ki jih je igralka Ljerka Belak s svojo predanostjo in talentom desetletja zapisovala v odrski prostor, silovito živijo v spominu gledalcev. In predvsem v njihovem imenu bomo nadeli Ljerki Belak Borštnikov prstan, največje in najlepše priznanje za igralsko umetnost – ter se ji tako zahvalili za njeno življenje, ki ga je posvetila gledališču.

Vinko Möderndorfer

Kristina D. Kovačević: Maratonci tečejo častni krog, SLG Celje 1976/77

Gospa Peachum B. Brecht: Opera za tri groše, SLG Celje 1988/1989

Gospa Bergmann F. Wedekind: Pomladno prebujenje, MGL 1994/1995

Zvodnica F. de Rojas: Celestina, SNG Nova gorica 1997/98

Mama M. von Mayenburg: Ognjeni obraz, MGL 2000/2001

89 F. García Lorca: Dom Bernarde Alba,

Bernarda

MGL 2003/04

Poročilo strokovne žirije

Jury Report

Strokovna žirija 50. Festivala Borštnikovo srečanje si je v tekmovalnem programu ogledala deset uprizoritev. Samo ena od teh predstav je nastala v koprodukciji z nevladno organizacijo, vse ostale so bile predstavnice slovenskih institucionalnih gledališč, pri čemer je v očitnem odmerku prednjačila udeležba SNG Drama Ljubljana. Groba opredelitev kaže, da se vsebina uvrščenih predstav nagiba v dve smeri: v angažirano gledališče, ki reflektira, nagovarja in skozi različne režijske principe izpostavlja dano družbeno situacijo ali preizprašuje problematičnost spomina na vojno izkustvo; na drugi strani pa smo priča močni tendenci reinterpretiranja, ki se kaže v obliki dramatizacij oziroma adaptacij že uveljavljenih literarnih del. Uprizoritve Grad, Hedda Gabler in Gospa Bovary so črpale navdih iz klasičnih del, pri tem pa učinkovito in skozi samosvoje uprizoritvene metode izrisale univerzalnost izbranih vsebin, katerih aktualnost seže vse do današnjega dne. Potem imamo tu Evropo, monolog za mater Korajžo in njene otroke, Hlapce in Georgea Kaplana, ki so izpostavile refleksijo o sodobnem politično-kulturnem položaju ter prek raznolikih režijskih zasnov in brez zadržkov nagovarjale živo sedanjost, tukaj in zdaj. Trst, mesto v vojni, Iliada, Jugoslavija, moja dežela in Čarobna gora so se dotaknile fenomena vojn, zgodovinskih prelomnic ter intimne in nacionalne identitete, motive pa so zajemale neposredno in z dokumentaristično noto, spet druge skozi metaforo ali mit.

The expert jury of the 50th Maribor Theatre Festival judged the ten productions in the Competition Programme. Only one of those productions was created in co-production with a non-government organisation, all the others were representives of Slovenian institutional theatres, with the Slovenian National Theatre Drama Ljubljana participating with the most productions. A rough analysis shows that the content of the competing performances flows in two directions: on the one side, towards engaged theatre which reflects, addresses and, through various directorial principles, exposes the situation of today’s society or questions the problematic memory of the experience of war; on the other, we were witness to a powerful tendency of reinterpretation, appearing in the form of dramatisations or adapations of well-known literary works. The productions of The Castle; Hedda Gabler and Madame Bovary drew upon the enthusiasm of the classic works, in which they effectively and through distinct production methods mapped out the universality of the selected content, which remains relevant even today. Then we have Europe, a Monologue for Mother Courage and Her Children; The Serfs and George Kaplan, which revealed a reflection on the contemporary political-cultural position and through diverse directorial concepts and without restraint addressed the living present, here and now. Trieste, A City in War; The Iliad; Yugoslavia, My Country and Magic Mountain touched upon the phenomena of wars, historical milestones and intimate and national identity, covering some motifs directly and with a documentary note, and others through metaphor or myth.

Zastopanost žanrov je bila v širokem razponu, pri čemer je bilo najmanj prostora namenjeno komediji, predstave so se zlasti oprijemale vsebinsko resnih in mrakobnih pripovedi. Če odštejemo dramatizacije, je tekmovalni program ponudil le eno domačo izvirno dramsko pisavo (Gospa Bovary), kar gotovo lahko razumemo kot svojevrstni alarm. Kljub temu, da sta tokratni selektorski izbor kot tudi celotna sezona sama po sebi posvetila veliko pozornost angažiranim temam, je v postavitvah in režijsko-izvajalskih konceptih žirija pogrešala še več vsebinske drznosti in tveganja v preigravanju gledališke govorice. Estetski nivo predstav je velikokrat brez razloga presegel vsebinsko ostrino in jo zaradi tega tudi prikrajšal za pristno in organsko dramsko/performativno živost ter odvzel priložnost oblikovanja bolj izstopajočih likov oziroma vlog. Žirija v letošnjem izboru ni mogla mimo občutka, da tudi gledališko polje preveva nekakšen strah pred spremembo in jasnimi stališči, ena od teh posledic pa se kaže tudi v prevladi že preverjenih uprizoritvenih form, katerim – upamo – se bo v naslednji sezoni gledališka produkcija v čim večji meri izognila.

Genres were widely represented, with the smallest place allotted to comedy; the performances otherwise stuck especially to serious and sombre tales. If we exclude dramatisations, the Competition Programme offered only one Slovenian original dramatic writing (Madame Bovary), something we can certainly understand as rather alarming. Although the selector’s choice, as well as the entire season itself, focused considerably on engaged themes, the jury missed more boldness of content and risk-taking in the use of the theatre language in the stagings and directorial-performing concepts. The aesthetic level of the performances often without reason exceeded the sharpness of the content, thereby depriving it of an authentic and organic dramatic/performative vitality, stripping away the opportunity of forming more striking characters or roles. The jury of this year’s selection could not get past the feeling that also the theatre field is permeated with some type of fear of change and clear opinions, a consequence of which was evident in the prevalence of previously acknowledged production forms, which – we hope – will be avoided as much as possible in the upcoming theatre season.

Strokovna žirija v sestavi: Krištof Jacek Kozak Nina Mitrović Katja Perat Mikko Roiha Zala Dobovšek, predsednica

The jury of experts: Krištof Jacek Kozak Nina Mitrović Katja Perat Mikko Roiha Zala Dobovšek, president

Maribor, 25. 10. 2015

Maribor, 25 October 2015 90

Peter Uhan Damjan Švarc

Nagrade

Awards

VELIKA NAGRADA FESTIVALA BORŠTNIKOVO SREČANJE ZA NAJBOLJŠO UPRIZORITEV

THE GRAND PRIX FOR THE BEST PRODUCTION OF THE MARIBOR THEATRE FESTIVAL

Hedda Gabler v režiji Mateje Koležnik in izvedbi Drame SNG Maribor

Hedda Gabler directed by Mateja Koležnik performed by the Drama of the Slovene National Theatre Maribor

Uprizoritev Hedda Gabler izžareva vrhunskost na več ravneh: od do skrajnosti mogočega prečiščenega besedila, preko učinkovite omejevalne scenografije, prefinjene kostumografije do asketske, a prepričljive igralske prezence. Na ta način se nam uprizoritev razkrije kot laboratorij emocij, kjer je mogoče razločno slediti mikroskopskemu izpostavljanju detajlov. Izkaže se, da pod zaledenelo površino brbota razbeljena notranjost, čustva pa so izpostavljena tako močnim, skoraj tektonskim pritiskom, da se že približujejo limiti. Uprizoritev Hedda Gabler je aktualen, prečiščen, akvarijski prikaz malomeščanstva in njegovih problemov, tako značilnih tudi za današnji čas.

The production of Hedda Gabler exudes excellence on many levels: from the text, distilled to its essence, through the effective restrictive stage design and sophisticated costume design to the aesthetic yet persuasive acting presence. In this way the production reveals itself to us as a laboratory of emotions, where it is possible to distinctly follow the microscopic positioning of details. It proves that under the icy surface bubbles a molten interior, emotions are exposed to such potent, almost tectonic, pressures that they approach the breaking point. The production of Hedda Gabler is a relevant, refined, aquarium display of the petite bourgeoisie and its problems, so characteristic of our time. 91

Jaka Varmuž

NAGRADA ZA NAJBOLJŠO REŽIJO

BORŠTNIK AWARD FOR DIRECTION

YULIA ROSCHINA za režijo uprizoritve Gospa Bovary

v izvedbi SNG Nova Gorica

YULIA ROSCHINA for the direction of Madame Bovary performed by the Slovene National Theatre Nova Gorica

Uprizoritev Gospa Bovary Yulia Roschina izpelje skozi režijski pristop, ki je samosvoj tako v estetiki kot vsebini. K zgodbi pristopi strastno in z močnim stališčem, pri tem pa se pogumno in inovativno osredotoči na razgibanost in globino gledališkega jezika. V postavitev zavestno enakovredno investira tako svoj razum kot srce, predvsem pa klimo odrskega dogajanja odlikuje njen osebni, iskren in samozavesten odnos do vsebine. Režijski koncept izvrstno uravnoveša senzibilnost in brutalnost ter kritično zastavlja vprašanja o zgodovinskem in sodobnem položaju in (ne)moči tako ženske kot moškega. Pri tem gledališke mehanizme »razgali«, pred nami je odrski dogodek, ki navidezno ničesar ne skriva, a kljub temu ostaja privlačen in nepredvidljiv do zadnjega hipa.

In this staging of Madame Bovary, Yulia Roschina carries out a directorial approach that is unique both in aesthetics and content. She enters the story passionately and with a strong stance in which she bravely and innovatively focuses on the diversity and depth of the stage language. She consciously equally invests both her common sense and her heart in the staging, the climate of the stage action especially distinguishes her personal, sincere and confident relation to the content. The directorial concept exquisitely balances the sensibility and brutality and critically poses the questions about the historical and contemporary situations and the (dis) empowerment of women as well as men. In this the theatre mechanisms are “laid bare”, before us is a stage event that seemingly hides nothing, yet despite that remains attractive and unpredictable to the last moment.

Peter Uhan

POSEBNA NAGRADA ŽIRIJE

BORŠTNIK JURY AWARD

Izvedbeno-igralski ansambel za kolektivno igro v uprizoritvi Iliada v izvedbi Mestnega gledališča ljubljanskega, SNG Drama Ljubljana in Cankarjevega doma

The Performing Ensemble of The Iliad for its collective performance in the production performed by Ljubljana City Theatre and the Slovenian National Theatre Drama Ljubljana in co-production with Cankarjev dom

Igralskemu ansamblu Iliade pripade nagrada za njihovo enotnost, predanost in dih jemajočo zmožnost delovati kot eno telo, kot živ organizem, ki s svojo besnečo ubranostjo na odru fizično poustvarja mitološko preteklost, o kateri pripoveduje. Za to, da so tisto, kar od igralskega ansambla sicer pričakujemo, v praksi pa srečamo vse preredko, izpilili do skrajnosti in dokazali, da se da preseči danes vsepovsod prisotno prisilo hiperindividualizacije.

The performing ensemble of The Iliad deserves this award for its unity, commitment and breathtaking ability to work as one body, as a live organism who in its furious harmony physically co-creates onstage the mythical past about which it is telling. It deserves this award because its members have polished to the utmost that which we otherwise expect from an acting ensemble, yet rarely encounter in practice, thus proving that it is possible to go beyond today’s omnipresent force of hyper-individualisation.

Peter Uhan

ŠTIRI NAGRADE ZA IGRO

FOUR BORŠTNIK AWARDS FOR ACTING

JERNEJ ŠUGMAN za vlogo Emirja v uprizoritvi

Jugoslavija, moja dežela v izvedbi SNG Drama Ljubljana

JERNEJ ŠUGMAN for the role of Emir in the production Yugoslavia, My Country performed by the Slovenian National Theatre Drama Ljubljana

Jernej Šugman v vlogi Emirja občutljivo, a hkrati razločno, prepričljivo, a v pravšnji meri uspe združiti izrazita nasprotja: je brutalno možat, hladen in preračunljiv ter obenem čustven, predan, nesrečen in čustveno »mehek«. Šugman tako izdela čustveno razplasteno, dopolnjujočo se, popolno odrsko osebo, v kateri prepričljivo preigrava in združuje nasprotja s čustvene pahljače, s tem pa na spontan in nenadkriljiv način utelesi globoko človečnost. Šugmanov lik je resnični človek, slehernik, morda celo naš sosed, ne pa dramska oseba iz gledališke garderobe.

In the role of Emir, Jernej Šugman sensitively yet clearly, convincingly and in the correct measure succeeds to combine distinct contrasts: he is brutally macho, cold and calculating, and at the same time sensitive, devoted, unhappy and emotionally “soft”. In this way Šugman creates an emotionally layered, complementary, complete stage persona, in which he persuasively interplays with and merges the opposite sides of an emotional fan, and in doing so spontaneously and unsurpassably personifies profound humanity. Šugman’s character is a real person, an everyman, perhaps even our neighbour, not a drama character from the theatre dressing room.

POLONA JUH za vlogo Friede v uprizoritvi Grad v izvedbi SNG Drama Ljubljana

POLONA JUH for the role of Frieda in the

production of The Castle performed by the Slovenian National Theatre Drama Ljubljana

Polona Juh z vlogo Friede v Gradu znova dokazuje, koliko inteligence zahteva čustvenost in s kakšnimi rezultati nagrajuje, kadar je premišljeno strukturirana. Juhova Friedo, ki jo spoznamo kot zgolj čudovit objekt želje, zlahka predela v subjekt, ji omogoči poln osebnostni razvoj in z njenimi sredstvi gledalcu pokaže, da zmore biti nežna, ne da bi postala šibka. S svojo odrsko prezenco oživi vsak prizor, v katerega stopi, ne glede na to, v kako mračnem kotičku Kafkove duše je bil zasnovan.

With the role of Frieda in The Castle, Polona Juh once again shows how much intelligence emotion requires and the resulting rewards when it is carefully structured. Juh effortlessly reshapes Frieda, whom we know as a mere breathtaking object of desire, into a subject, to whom she enables complete personal development and with her assets shows the spectator that she is able to be gentle in order not to become weak. With her stage presence she enlivens every scene in which she enters, regardless of how dark the corner of Kafka’s soul in which it was conceived.

Peter Uhan

Damjan Švarc

NATAŠA MATJAŠEC ROŠKER za vlogo Hedde Gabler v uprizoritvi Hedda Gabler v izvedbi Drame SNG Maribor

NATAŠA MATJAŠEC ROŠKER for the role of Hedda Gabler in the production of Hedda Gabler performed by the Drama of the Slovene National Theatre Maribor

Nataša Matjašec Rošker je v vlogi Hedde Gabler dokazala, da zmore zgolj z menjavo obraznega izrazja in telesne drže odigrati celotno dramo duševnega pritiska, pod katerim se znajde ženska, ki hoče in mora za vsako ceno ostati popolna. Uspela je sestaviti žensko vlogo, ki je hladna in okrutna, a obenem vseskozi ostaja človeška. Njene zbranost, disciplina in natančnost v do potankosti izčiščenem sterilnem okolju predstave, v katerem ni elementov, za katerimi bi se lahko skrila, in časa, ki bi ji omogočal postanek, vzdržijo do bridkega konca.

Nataša Matjašec Rošker in the role of Hedda Gabler demonstrates that by merely changing facial expression and body posture she is able to play the entire drama of the mental pressure under which a woman finds herself when she wants to and must at every price remain perfect. She succeeds in putting together a female role that is cold and cruel and yet remains human throughout. Her composure, discipline and precision in the purified – to minute detail – sterile environment of the performance, in which there are no elements for her to hide behind and no time for her to stop, are maintained until the bitter end.

JETTE OSTAN VEJRUP za vlogo Here v uprizoritvi Iliada v izvedbi Mestnega gledališča ljubljanskega, SNG Drama Ljubljana in Cankarjevega doma

JETTE OSTAN VEJRUP for the role of Hera in the

production of The Iliad performed by Ljubljana City Theatre and the Slovenian National Theatre Drama Ljubljana in co-production with Cankarjev dom

Jette Ostan Vejrup je v vlogi Here v najboljši mogoči človeški meri uspela utelesiti antično osebnost, ki je lahko brez strahu ona sama in se na občutljiv in celovit način hkrati predstavlja navzven in obvladuje navznoter. Kot hkratno dvojnico njenega lastnega jaza pa je zelo razločno mogoče zaznati tudi njeno razkošno prezenco kot starogrške boginje, gotove vase in v svojo moč. Jette Ostan Vejrup na popoln način uspe preplesti božanskost in človeškost lika, njegova absolut in kontingenco. Vendar igralke ta moč ne zapelje, temveč, nasprotno, jo sama vrhunsko uspe obrzdati in s tem nastaviti danes prepotrebno zrcalo sodobnemu dekadentnemu svetu.

As Hera, Jette Ostan Vejrup in the best extent humanly possible succeeded to embody the ancient figure, who can be herself without fear and sensitively and totally present herself outwardly while at the same time controlling herself inwardly. As a simultaneous double of her own self, it is distinctly possible to also recognise her luxurious presence as an ancient Greek goddess, assured of herself and her power. Jette Ostan Vejrup perfectly succeeds in intertwining the godliness and the humanness of the character, her absoluteness and contingency. Yet that power does not seduce the actress, on the contrary, she exquisitely curbs herself and in doing so holds a necessary mirror to today’s decadent world. 95

jaka varmuž

NAGRADA ZA MLADEGA IGRALCA

BORŠTNIK YOUNG ACTOR AWARD

VITO WEIS za vlogi Léona in Rodolpha v uprizoritvi Gospa Bovary v izvedbi SNG Nova Gorica

VITO WEIS for the roles of Léon and Rodolphe in the production of Madame Bovary performed by by the Slovene National Theatre Nova Gorica

V uprizoritvi Gospa Bovary Vito Weis upodobi dva ljubimca Emme Bovary, Léona in Rodolpha, in v svojo interpretacijo vnese številne odtenke moškega značaja. Njegovi vlogi prinašata razplastenost, ki je polna učinkovito zajetih paradoksov; odmerjen in premišljen je v prelivanju nežnosti, krutosti in prvinskosti, njegov nastop je celosten, fizično in mentalno čvrsto prepojen, s čimer izzove svojevrstno erotično energijo, ki ne potrebuje golote in ekscesa, da bi pretresla in ganila, ampak prodre skozi jasno igralčevo misel in globoko zavedanje lastnega telesa.

In the production of Madame Bovary, Vito Weis embodies the two lovers of Emma Bovary, Léon and Rodolphe, and in his interpretation brings numerous shades of the male temperament. His roles carry distinct layers that are full of the effectively captured paradoxes; he is measured and prudent in dispersing gentleness, cruelty, instinct. His performance is integrated, solidly saturated both physically and mentally, with which it elicits its own erotic energy that does not need nudity and excess in order to shock and move, but penetrates through the actor’s clear thought and a deep awareness of his own body.

NAGRADA ZA DRAMATURŠKI KONCEPT

BORŠTNIK AWARD FOR DRAMATURGICAL CONCEPT

GORAN FERČEC, MATEJA KOLEŽNIK, METKA DAMJAN za dramaturški koncept uprizoritve

GORAN FERČEC, MATEJA KOLEŽNIK, METKA DAMJAN for the dramaturgical concept of the

Hedda Gabler v izvedbi Drame SNG Maribor

production Hedda Gabler performed by the Drama of the Slovene National Theatre Maribor

Kljub temu, da je tokratna Hedda Gabler Henrika Ibsena deležna konkretne okrajšave, so ustvarjalci ohranili jedro avtorjevih dramskih in filozofskih poant. Dramaturški koncept je sodoben in komunikativen, nudi novo, sveže branje drame, v katerem so z vso silo izpostavljeni psihološki profili likov, ki kljub časovni distanci (od nastanka izvirnika) dosežejo enkraten učinek čustvene in moralne univerzalnosti. Zasnova dramaturškega loka je vsekakor eden od temeljev, da uprizoritev zareže s svojo izčiščenostjo in dinamiko ter ponudi sveže razumevanje in upodabljanje Ibsenove drame.

Although this version of Hedda Gabler by Henrik Ibsen has been substantially abridged, the creators have maintained the core of the author’s dramatic and philosophical points. The dramaturgical concept is contemporary and communicative, it offers a new, updated reading of the drama, exposing with full force the psychological profiles of the characters who, despite the time distance (from the creation of the original), achieve the unique effect of emotional and moral universality. The design of the dramaturgical arch is one of the cornerstones that cuts through the production with its purity and dynamics as well as offers a fresh understanding and depiction of Ibsen’s drama. 96

NAGRADA ZA OBLIKOVANJE SVETLOBE

BORŠTNIK AWARD FOR LIGHTING DESIGN

PASCAL MÉRAT za oblikovanje svetlobe v uprizoritvi

PASCAL MÉRAT for lighting design in the production

Iliada v izvedbi Mestnega gledališča ljubljanskega, SNG Drama Ljubljana in Cankarjevega doma

of The Iliad performed by Ljubljana City Theatre and the Slovenian National Theatre Drama Ljubljana in co-production with Cankarjev dom

Idejna zasnova oblikovanja luči Pascala Mérata v uprizoritev Iliada vstopa izjemno organsko in funkcionira ter učinkuje kot dramaturško orodje. Dramaturgija svetlobe dobi funkcijo samostojne vloge in nastopa kot nepogrešljiv, enakovreden moment znotraj odrske celote. Ne gre le za podpiranje scenografije in dogajanja kot takega, pač pa za preigravanje svoje vloge/funkcije, ki vendarle ostaja odmerjena, nenasilna, a še vedno sugestivna in nenehno aktivna. V skladu z obravnavano tematiko je kot orožje, ki zmore zarezati v zrak in se izživeti skozi polnost simbolike.

Peter Uhan

Pascal Mérat’s lighting design concept enters this staging of The Iliad exceptionally organically, functioning as and having the effect of a dramaturgical tool. The dramaturgy of the lighting gains its own independent role and appears as an indispensable, equivalent moment within the theatrical whole. It goes beyond supporting the stage design and the action as such, but for an interplay between its role and function, which nevertheless remains measured, unaggressive, yet still suggestive and constantly active. In line with the theme of the production, it is like a weapon that can slice through the air and challenge through its wealth of symbolism.

NAGRADA ZA SCENOGRAFIJO

BORŠTNIK AWARD FOR STAGE DESIGN

NUMEN in IVANA JONKE za scenografijo v uprizoritvi Grad v izvedbi SNG Drama Ljubljana

NUMEN and IVANA JONKE for stage design in the production of The Castle performed by the Slovenian National Theatre Drama Ljubljana

Poleg tega, da je scenografska zasnova Gradu z drobnimi detajli na izčiščeni podlagi na videz brez truda sposobna poustvariti atmosfero romana in priokus dobe, v kateri je bil ustvarjen, je njena največja inovacija v tem, da – nasprotno od pričakovanega – gledalca ne povabi na oder, marveč z enostavno prostorsko rešitvijo v obliki mreže oder raztegne čez publiko, s čimer daje na znanje, da, ne glede na naše morebitne ugovore, vsi naseljujemo kafkovsko vesolje večne eksistencialne prisile.

With its small details on a clean stage, the stage design concept of The Castle seemingly effortlessly recreates the atmosphere of the novel and the taste of the period in which it was written. Its greatest innovation, however, is that – contrary to expectations – it doesn’t invite the viewer onto the stage, but simply stretches the stage across the audience, in the form of a net, thus informing us that, regardless of our possible objections, we all populate the Kafkaesque universe of eternal existential constraint. 97

Peter Uhan

NAGRADA ZA KOSTUMOGRAFIJO

BORŠTNIK AWARD FOR COSTUME DESIGN

ANA SAVIĆ GECAN za kostumografijo

ANA SAVIĆ GECAN for costume design in the production Yugoslavia, My Country performed by the Slovenian National Theatre Drama Ljubljana

Kostumom Ane Savić Gecan, ki nas potapljajo v 90-a leta preteklega stoletja, uspe poleg zunanje podobe in duha na oder prepričljivo vnesti tudi vonj, okus in otip tistega časa. Tako nam popolni kostumi ne predstavijo dobe, temveč nas na presenetljiv način prestavijo v tisti čas. Širok spekter, identifikacija s časom, ki pravzaprav seže na nezavedni nivo, poleg nujnega verizma brez dvoma izraža tudi izjemen umetniški talent Ane Savić Gecan.

The costumes of Ana Savić Gecan immerse us in the 1990s, succeeding not only in creating the external image and spirit onstage, but also in convincingly bringing the smell, taste and touch of that time. Such perfect costumes do not present the era to us, rather, they transport us in a surprising way to that era. A broad spectrum, an identification with the period that extends into the subconscious, in addition to the necessary verism, without a doubt express the exceptional artistic talent of Ana Savić Gecan.

v uprizoritvi Jugoslavija, moja dežela v izvedbi SNG Drama Ljubljana

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NAGRADA DRUŠTVA GLEDALIŠKIH KRITIKOV IN TEATROLOGOV SLOVENIJE ZA NAJBOLJŠO UPRIZORITEV PRETEKLE SEZONE (2014/2015)

THE AWARD OF THE ASSOCIATION OF THEATRE CRITICS AND RESEARCHERS OF SLOVENIA (DGKTS) FOR THE BEST PERFORMANCE OF THE PREVIOUS SEASON (2014/2015)

Luftballett 2.2 v režiji Vlada Repnika Gotvana ter produkciji GVR babaLAN in Kina Šiška

Luftballett 2.2 directed by Vlado R. Gotvan and co-produced by GVR babaLAN and CUK Kino Šiška

Samodejna predstava Luftballett 2.2 z bogatim referenčnim ozadjem zareže v temeljno vprašanje, kaj je gledališče in kaj iščemo v njem. Z izgonom igralca z odra pod vprašaj postavi gledališko konvencijo in s plesom svetlobnih teles izrisuje svojevrstno genezo sveta med naravo, človekom in tehnologijo; strukturo, ki se izogiba dikciji pomenskih nanosov, gledalca oslepi in ga postavi v čisto potencialnost trenutka. Tudi s tem, da gledalcu vrne pogled ter vzpostavi prostor zavedanja, da ni človek tisti, ki gleda gledališče (ali, ne nazadnje, življenje oziroma svet), temveč naj bi v njem uzrl samega sebe, še bolj pa sam akt gledanja in pozicijo, s katere gleda. Knjige za nagrado DGKTS so podarili Slovenski gledališki inštitut (SLOGI), Festival Borštnikovo srečanje (FBS), Maska, zavod za založniško, kulturno in producentsko dejavnost, ter Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani (UL AGRFT).

With its rich referential background the automatic performance Luftballett 2.2 cuts into the fundamental question: what is theatre and what do we look for in it? With the banishing of actors from the stage the performance puts under question the convention of theatre; with the dance of lighting instruments traces a peculiar genesis of the world between nature, humans and technology; with the structure, which avoids the discourse of semantic layers, it blinds the spectator and positions him in the pure potentiality of the moment. Likewise, in returning the spectator’s gaze and establishing a space of realisation that humans are not the ones who are looking at the theatre (not to mention, life or the world), but that they should be looking at oneself in it, moreover, looking at the act of looking itself and the position from which one is looking.

50. Festival Borštnikovo srečanje v številkah The 50th Maribor Theatre Festival MARIBOR, 15.–25. OKTOBER 2015 MARIBOR, 15–25 OCTOBER 2015 Tekmovalni program po izboru selektorice Amelie Kraigher je obsegal deset predstav, šest naslovov pa je štel spremljevalni program, ki sta ga izbrali selektorica in umetniška direktorica Alja Predan. Iz objektivnih razlogov sta bili odpovedani dve produkciji UL AGRFT.

The Competition Programme selected by Amelia Kraigher featured ten productions, while the Accompanying Programme, selected by A.K. and the artistic director Alja Predan, counted six of them. Two productions by the UL AGRFT were cancelled due to objective reasons.

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Program mostovi je obsegal štiri predstave; dve iz Poljske, eno iz Madžarske in eno iz Srbije. Kot drugi v Evropi (takoj za EPK Plzen) smo si lahko ogledali vrhunsko instalacijo Transforming Acts.

The programme Bridges featured four productions: two from Poland, one from Hungary and one from Serbia. Along with other manifestations in Europe, for the majority of the Festival we were able to visit the extraordinary installation Transforming Acts.

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V Fokusu smo se posvetili poljski drami in gledališču. Izdali smo knjigo Sodobna poljska drama. Pogovarjali smo se z dvema od štirih avtorjev, uvrščenih v antologijo, si ogledali tri ekranizacije poljskih uprizoritev, nastalih na podlagi sodobnih dramskih besedil, gostili kritike, teatrologe in predstavnike Poljskega gledališkega inštituta.

The Focus was dedicated to Polish drama and theatre. We published the book Contemporary Polish Drama. We had conversations with two out of four authors included in the anthology, saw three TV adaptations of Polish productions based on contemporary plays, hosted critics, theatre researchers and representatives of Polish Theatre Institute.

Že šesto leto smo organizirali slovenski showcase. Vanj so bile vključene vse tekmovalne in spremljevalne predstave, tuji gostje pa so sami naredili svoj izbor za ogled. Gostili smo 22 mednarodnih strokovnjakov.

We organised for the sixth time the Slovenian Showcase. This year, all of the productions from the Competition and Accompanying Programme were included in it so that foreign guests were able to make their own schedule. We hosted 22 international experts, either critics or festival programmers, who viewed our selection.

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Festival je v svoji spremljevalni dejavnosti med drugim sozasnoval, soorganiziral in gostil Mednarodno znanstveno konferenco skupaj z Raziskovalnim programom Akademije za gledališče, radio, film in televizijo Univerze v Ljubljani Scenske umetnosti, migracije, politika: Slovensko gledališče kot sooblikovalec medkulturnih izmenjav; prav tako smo soorganizirali in gostili mednarodni simpozij Gledališče v mestu s predstavitvijo in aplikacijo projekta STEP City (evropski gledališki sistemi z vidika izbranega mesta držav: Nizozemske, Estonije, Švice, Madžarske, Danske, Irske, Velike Britanije in Slovenije). Tretje strokovno srečanje smo pripravili z Društvom gledaliških kritikov in teatrologov Slovenije. Razpravljali smo o Alternativi danes oziroma o umetnosti ustvarjanja gledališča zunaj produkcijskih ultimatov.

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Among its accompanying activities, the Festival co-conceived, co-organised and hosted an international conference together with the Research Programme of the UL AGRFT entitles Performing Arts, Migration, Politics: Slovenian Theatre as an Agent of Intercultural Exchange. We also co-organised and hosted the international symposium Theatre in the City lead by the Project on European Theatre Systems (STEP) with a presentation of the STEP City Project from the perspective of a chosen city in the following countries: the Netherlands, Estonia, Switzerland, Hungary, Denmark, Ireland, Great Britain and Slovenia (Maribor)). We prepared the third expert meeting with the Association of Theatre Critics and Researchers of Slovenia. We discussed The Alternative Today, that is, the art of creating theatre outside the production ultimatums.

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Jubilejni 50. Festival Borštnikovo srečanje je bil bogatejši za nekaj posebnih dogodkov. Veliki otvoritveni dogodek je bila razstava Gremo na Borštnika!, ki je predstavila pregled petih desetletij zgodovine Borštnikovega srečanja, slovenskega gledališča in mesta Maribor. Pripravili smo jo v sodelovanju z Muzejem narodne osvoboditve Maribor in Slovenskim gledališkim inštitutom. V MNOM je bila odprta do 8. februarja 2016.

The big opening event was the exhibition Borštnik Bound!, which featured an overview of the five decades of the history of Maribor Theatre Festival, Slovenian theatre and the city of Maribor. We prepared it in collaboration with the National Liberation Museum Maribor and the Slovenian Theatre Institute. The exhibition was open until 8 February 2016.

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We also conceived and carried out two special jubilee events moderated and connected by Tone Partljič. We called it The Visible and the Invisible and within its frame hosted the representatives of the Maribor audience and the collaborators from the Festival back stage.

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Zasnovali in izpeljali smo tudi dva posebna pogovora, ki ju je vodil in povezoval Tone Partljič. Naslovili smo ju Videno in nevidno, v njiju smo gostili predstavnike mariborskega občinstva in ljudi – sodelavce iz festivalskega zaodrja.

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The round table discussions on the productions took place in Vetrinjski Dvor and were moderated by theatre researchers Simona Hamer and Nejc Valenti. There were 12 discussions following the Competition Programme

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Strokovni pogovori po predstavah so potekali v Vetrinjskem dvoru, vodila sta jih teatrologa 99

Simona Hamer in Nejc Valenti. Opravljenih je bilo 12 pogovorov po tekmovalnih in deloma po mednarodnih predstavah. Na enaki lokaciji so potekali tudi pogovori o knjižnih novitetah, ki jih je vodila Ksenija Repina Kramberger.

productions and a part of the international productions. The same location hosted the debates on literary novelties moderated by Ksenija Repina Kramberger.

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We prepared the virtual exhibition Maribor Theatre Festival 2014 in collaboration with the Slovenian Theatre Institute, Novi ZATO. and numerous other professional institutions.

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V sodelovanju s Slovenskim gledališkim inštitutom, zavodom Novi ZATO. in drugimi strokovnimi ustanovami smo pripravili virtualno razstavo Festival Borštnikovo srečanje 2014.

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Slovenski gledališki inštitut je pripravil še posebno e-razstavo Dobitniki in dobitnice Borštnikovega prstana 1970–2014, na kateri so vsi dobitniki in dobitnice prstana predstavljeni s po desetimi fotografijami.

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Festival vsako leto širimo na različne mestne lokacije: Lutkovno gledališče Maribor, Vetrinjski dvor, ŠTUK, Prvi oder Prve gimnazije, Univerza v Mariboru, Kibla, Muzej narodne osvoboditve in nazadnje Salon uporabnih umetnosti, kjer smo prvič organizirali tudi družabni festivalski večer.

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Okrogli obletnici v čast smo skupaj z galerijo E2RD uresničili posebno festivalsko kolekcijo nakita 5o.

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Sodelovanje z UL AGRFT in Filozofsko fakulteto v Mariboru ter z dijaki in profesorji Prve gimnazije je tradicionalno. Predstavili smo produkcije AGRFT iz študijskega leta 2014/2015, organizirali delavnico dramskega pisanja Instant drama/ predstava. Študenti so sodelovali pri pripravi dnevnega Biltena FBS in na pogovorih o predstavah, sovodili pa so tudi pogovore o knjižnih novitetah. Pri izvedbi je sodelovalo 35 prostovoljcev.

***

Festival je postal del mednarodne gledališke platforme Dispatches, s sedežem v ZDA (Center za mednarodni gledališki razvoj – C.I.T.D.), katere namen je profesionalno mreženje ustvarjalcev svetovne gledališke produkcije.

***

Almanah 50. FBS je izšel v slovenskem in angleškem jeziku, natisnjena je bila dvojezična programska zloženka. Izdanih je bilo devet rednih biltenov, en ob zaključni slovesnosti in dva ob mednarodnih konferencah (vsak od slednjih v slovenskem in v angleškem jeziku), torej skupaj 12. Bilten je pod vodstvom Ksenije Repina Kramberger urejala Manja Gatalo.

***

Mednarodna strokovna žirija je podelila 12 nagrad. Žirija za podelitev najvišjega priznanja za igralsko ustvarjalnost je Borštnikov prstan podelila dramski igralki Ljerki Belak. Podeljena je bila tudi nagrada DGKTS za najboljšo uprizoritev pretekle sezone.

***

Okrepili smo tudi delo pri pridobivanju publike, številne predstave so bile razprodane že pred začetkom festivala. Prav tako ni znatno upadlo število obiskovalcev, ki so uporabili Festbus.

The Slovenian Theatre Institute additionally prepared a special e-xhibition Borštnik Ring Recipients 1970–2014, in which all of recipients of the Borštnik Ring were presented with ten photographs each.

***

Each year we spread the Festival on various city locations: the Maribor Puppet Theatre, Vetrinjski dvor, ŠTUK, the First Stage of the First Grammar School Maribor, the University of Maribor, Kibla, the National Liberation Museum. The latest inclusion was the Applied Arts Salon where for the first time this year we organised the Festival social evening.

***

We produced together produced together with the renowned jewellery designer Bojana Kovačič a special Festival collection of jewellery 5o, which marked our jubilee in style.

***

Yet another tradition arose out of the collaboration with two university institutions, the UL AGRFT and the University of Maribor, Faculty of Arts as well as with the students and professors of the First Grammar School Maribor. The students collaborated in the preparation of the daily Maribor Theatre Festival Bulletin and in the discussions on the productions, and also co-moderated the discussions on literary novelties. Approximately 35 students participated as volunteers at the 50th Maribor Theatre Festival.

***

This year, the Festival also became part of the international theatre platform Dispatches with its seat in the USA (Center for International Theatre Development – C.I.T.D.), the goal of which is the professional networking of creators of international theatre production.

***

The 50th Maribor Theatre Festival Almanac was published in Slovenian and English along with a bilingual programme brochure. There were total 12 Bulletin issues published, edited by Manja Gatalo under the mentorship of Ksenija Repina Kramberger.

***

At the conclusion of the 50th Maribor Theatre Festival, the international jury gave 12 awards. The jury for the lifetime achievement in acting decided to give the Borštnik Ring to the dramatic actress Ljerka Belak.

***

The 50th Maribor Theatre Festival featured 69 events visited by 7000 visitors. There were 26 productions (two were cancelled, one of which was scheduled eight times) and 34 other events. Daša Šprinčnik

***

Na 50. FBS se je zvrstilo 69 dogodkov, ki jih je obiskalo 7000 obiskovalcev. Odigranih je bilo 26 uprizoritev in 34 ostalih dogodkov. Daša Šprinčnik

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Pokrovitelji festivala Sponsors of the Festival

101

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Borštnikov prstan daruje borštnik ring donated by

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 00 118

FRANCE SLANA, SKEDENJ, GRAFIKA, 52 X 58 CM, 2014,

Nakup vstopnic Ticket sales Presales from 5 September to 1 October 2016. Regular sales from 2 to 22 October 2016.

Predprodaja od 5. septembra do 1. oktobra 2016. Redna prodaja od 2. do 22. oktobra 2016.

POPUSTI IN UGODNOSTI DISCOUNTS Abonentom SNG Maribor, upokojencem in članom Slavističnega društva nudimo nakup vstopnic po predprodajni ceni do začetka predstave.

Subscribers of the SNT Maribor, retirees and members of the Maribor Slavic Association may purchase tickets at the presale price until the performance starts.

Za dijake in študente je cena vstopnice ob predložitvi študentske ali dijaške izkaznice 10 € oz. 12 € za tekmovalne predstave. Predstave AGRFT so za dijake in študente brezplačne.

Upon showing their student I.D., university and grammar school students may purchase tickets for Competition Programme performances for €12, for all other performances, €10. The performances of the UL AGRFT are free for university and grammar school students.

Vroča vstopnica – petnajst minut pred predstavo 50 % popusta (ne velja za tekmovalni program). Popust za nakup vstopnic lahko uveljavite samo pri blagajni SNG Maribor ob predložitvi izkaznice ali potrdila.

Rush tickets are available for half-price 15 minutes before the performance begins (does not apply to Competition Programme performances). Discounts are available only at the SNT 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.

DARILO ZA ABONENTE SNG MARIBOR A GIFT FOR SUBSCRIBERS OF THE SNT MARIBOR Med abonente SNG Maribor bomo razdelili 200 brezplačnih vstopnic za zaključno prireditev. Vstopnice bodo na voljo od 20. oktobra pri blagajni SNG Maribor ob predložitvi abonmajske kartice.

From 20 October 2016, season subscribers of SNT Maribor may claim one of 200 free tickets at the Box Office with their subscriber I.D.

BORŠTNIKOV IZBIRNI ABONMA FESTIVAL SUBSCRIPTION PACKAGES Oblikujte abonma po svoji želji! • 25 % popusta pri nakupu vsaj 4 vstopnic za štiri različne predstave, • 30 % popusta pri nakupu vsaj 8 vstopnic za osem različnih predstav, • 40 % popusta pri nakupu 12 vstopnic ali več za različne predstave.

Select your subscription the way you like it! • 25% discount on at least 4 tickets for four different performances • 30% discount on at least 8 tickets for eight different performances • 40% discount on 12 or more tickets for different performances

Popust ne velja za nakup istih vstopnic za posamezno predstavo. V kolikor se lastniki izbirnega abonmaja naknadno odločijo za dodatne vstopnice, jim bodo te na voljo po predprodajni ceni. Ob nakupu izbirnega abonmaja vam podarimo vstopnico za ogled zaključne prireditve in Almanah.

Subscribers of the custom subscription package who purchase additional tickets at a later date are eligible to purchase them at the presale price. Subscriptions for the Maribor Theatre Festival may be purchased from 5 to 30 September 2016, or until available spaces have sold out. When subscribing at the SNT Maribor Box Office, the subscription package may be paid for in full 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.

Vpis poteka od 5. do 30. septembra 2016 oz. do zapolnitve mest pri blagajni SNG Maribor, v Informacijskem središču Cankarjevega doma in v agenciji Ines tours, kjer lahko rezervirate tudi avtobusni prevoz. Abonma lahko plačate 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. 119

S FESTBUSOM NA 51. FBS TRAVEL WITH FESTBUS TO THE 51 ST MARIBOR THEATRE FESTIVAL V času festivala bo na relaciji Ljubljana–Maribor– Ljubljana dnevno vozil festbus. Iz Ljubljane v Maribor bo odpeljal ob 16.00 (izpred Hale Tivoli) in se ob 23.00 iz Maribora (s Slomškovega trga) vračal v Ljubljano. Povratna vozovnica stane 5 €. Prevoz je mogoč samo s predhodnim nakupom vstopnice za predstavo in rezervacijo sedeža v avtobusu. Urnik prevozov se lahko prilagodi programu.

The Maribor Theatre Festival is accessible to both visitors from the region of Ljubljana and foreigners whose departure point is Ljubljana, because the Festbus will commute daily during the festival from Ljubljana to Maribor and back to Ljubljana for only €5 round trip. Festbus transportation is only availablefor those who have previously purchased both a ticket for the performance and ticket for a bus seat. Performance tickets and bus seat tickets may be purchased at Ines Tours d.o.o.

PRODAJNA MESTA SALES POINTS Gledališka blagajna SNG Maribor Slovenska ulica 27, Maribor T 02 250 61 15 e boxoffice@sng-mb.si I www.mojekarte.si Blagajna SNG Maribor 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.

SNT Maribor Box Office Slovenska 27, Maribor t +386 (0)2 250 61 15 e boxoffice@sng-mb.si w www.mojekarte.si The Box Office is open Monday thru Friday from 10 a.m. to 1 p.m. and from 5 p.m. to 7.30 p.m.; Saturdays from 10 a.m. to 1 p.m. and one hour prior to the performance.

Cankarjev dom, Informacijsko središče Prešernova cesta 10, Ljubljana T 01 241 72 99, 01 241 73 00 E vstopnice@cd-cc.si

Cankarjev dom Prešernova cesta 10, Ljubljana T +386 (0)1 241 72 99, 01 241 73 00 E vstopnice@cd-cc.si

Ines tours d.o.o. Prešernova ulica 6, Kranj T 01 421 39 44 m 040 222 548 e info@ines-tours.si

Ines Tours d.o.o. Prešernova ulica 6, Kranj t +386 (0)1 421 39 40 m +386 (0)40 222 548 e info@ines-tours.si

TETA FRIDA – URADNA ČOKOLADA FESTIVALA TETA FRIDA – OFFICIAL SWEET SPONSOR Teta Frida je ponosna sladka pokroviteljica enainpetdesete izdaje FBS, v njeno čast je naredila čokolado Borštnik. Čokolada je narejena ročno, iz najboljše 70 % temne čokolade ter posuta s hrustljavimi kakavovimi zrni in solnim cvetom iz Piranskih solin.

Teta Frida is a proud (and) sweet sponsor of the 51st festival edition. For this occasion we have developed the Borštnik chocolate. It is hand made out of the best 70% dark chocolate and sprinkled with crunchy cacao nibs and flowered with the salt from Piran salinas.

SPLETNA TRGOVINA FBS THE MARIBOR THEATRE FESTIVAL WEB STORE Na spletnem naslovu www.borstnikovo.si je vzpostavljena spletna trgovina z majicami s simpatično letošnjo podobo festivala.

Our web store is located at www.borstnikovo.si. The offer includes promotional products featuring this year’s total design of the Maribor Theatre Festival. Posters, almanacs and books from previous festival editions are also available for purchase.

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DATUM DATE

URA TIME

PREDSTAVA PERFORMANCE

REDNA PRODAJA REGULAR PRICE

PREDPRODAJA PRESALE

14. 10.

20.00

Peer Gynt

15. 10.

16.45

Republika Slovenija The Republic of Slovenia

15. 10.

18.30

Glasba po željah Request Concert

15. 10.

20.30

Glad Hunger

22, 19, 16

20, 17, 15

16. 10.

18.00

Bella Figura

16. 10.

20.00

Dogodek v mestu Gogi An Event in the Town of Goga

22, 19, 16

20, 17, 15

16. 10.

22.00

Shakesoneti Shakesonnets

Viharni vrh Wuthering Heights

22, 19, 16

20, 17, 15

17.–19. 10. 17. 10.

18.00

Projektator

17. 10.

20.30

Učene ženske po motivih ... The Learned Ladies after ...

17. 10.

22.30

Prisega The Oath

18. 10.

18.00

Staging a Play: Steklena Menažerija Staging a Play: The Glass Menagerie

18. 10.

20.30

Ondina Ondine

22, 19, 16

20, 17, 15

19. 10.

19.00

This is Not a Love Story

19. 10.

21.00

Kralj Ubu Ubu the King

22, 19, 16

20, 17, 15

20. 10

18.00

Kdo se boji Virginie Woolf Who‘s Afraid of Virginia Woolf?

20. 10.

21.00

Peer Gynt

22, 19, 16

20, 17, 15

21. 10.

16.00

Tri sestre Three Sisters

21. 10.

18.30

Metamorfoze 3º: Retorika Metamorphoses 3º: Retorika

21. 10.

20.30

Pred upokojitvijo Eve of Retirement

22, 19, 16

20, 17, 15

22. 10.

18.00

Drame princes Princess Dramas

22. 10.

20.30

Rose Bernd

22, 19, 16

20, 17, 15

* Vstopnice za predstave AGRFT so naprodaj na posameznem prizorišču pol ure pred predstavo in pri blagajni SNG Maribor. Cena vstopnice je 5 €, za študente in dijake je vstop prost.

Tickets for the AGRFT performances €5, free entry for university and grammar school students.

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Festivalska prizorišča Festival venues

6 1

SNG Maribor Velika dvorana, Stara dvorana, Kazinska dvorana, Mali oder, Komorni oder Grand Hall, Old Hall, Kazina Hall, Small Stage, Chamber Stage

Vetrinjski dvor Vetrinj Mansion

Lutkovno gledališče Maribor Maribor Puppet Theatre

Vojašniški trg 2a

Prva gimnazija Maribor First Grammar School Maribor

Trg generala Maistra 1

Muzej narodne osvoboditve Maribor National Liberation Museum Maribor

Ulica heroja Tomšića 5

Alma Mater Europaea – ECM

Fitnes Slavija Fitness Slavija

Salon uporabnih umetnosti Salon of Applied Arts

GT22

Letalski center Maribor Aviation Centre Maribor

Slovenska ulica 27

Vetrinjska ulica 30

Slovenska ulica 17 Ulica Vita Kraigherja 5 Glavni trg 1 Glavni trg 22 Letališka cesta 30

BELEÅ½KE NOTES

124

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 Selektorica tekmovalnega in spremljevalnega programa Competition and accompanying programme selector Petra Vidali 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 Špela Lešnik Urednica publikacij in spletnih strani Publications and web content editor Ksenija Repina Organizatorki prodaje in oglaševanja Promotion and advertising Daša Šprinčnik, Špela Lešnik Tehnični vodja Technical manager Matic Gselman Produkcija Production Ada Cajnko, Mojca Kolar, Kristina Koter, Branka Nikl Klampfer Oblikovalec Designer Nenad Cizl Fotografa Photographers Matej Kristovič, Boštjan Lah Voditeljici pogovorov o predstavah Panel discussion moderators Simona Hamer, Nina Zupančič Voditeljica pogovorov o knjižnih novitetah Moderator of Books at the Festival Ksenija Repina Strokovna žirija Jury of experts Zala Dobovšek, Tomaž Gubenšek, Martin Kušej, Ivor Martinić, Nina Šorak Žirija za Borštnikov prstan Jury for the Borštnik Ring Award Ljerka Belak, Blaž Lukan, Vlado Novak, Alja Predan, Matjaž Zupančič Strokovna skupina Artistic board Aleš Novak – predsednik President, 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