53. Festival Borštnikovo srečanje

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Aleš Novak: Srečevanja, soočanja in izmenjave Convergences, encounters and exchanges

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Danilo Rošker: Festival slovenskega gledališča, usmerjenega v prihodnost A festival of Slovenian theatre, oriented towards the future

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Zala Dobovšek: Poročilo selektorice tekmovalnega programa 53. Festivala Borštnikovo srečanje Report from the Selector of the Competition Programme of the 53rd Maribor Theatre Festival

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Strokovna žirija tekmovalnega programa Expert Jury of the Competition Programme

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Strokovna žirija za Borštnikov prstan Expert Jury for the Borštnik Ring

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Tekmovalni program Competition Programme

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Režiserji tekmovalnih predstav Directors of the Competition Programme

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Spremljevalni program Accompanying Programme

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Mlado gledališče Young Theatre Študentsko gledališče Student Theatre

104 Dodatni program Other Events 124 52. Festival Borštnikovo srečanje 52 nd Maribor Theatre Festival 146 Donatorja in pokrovitelji Donators & Sponsors 168 Produkcijska ekipa Production team 169 Festivalska prizorišča Festival venues

Aleš Novak, umetniški direktor Festivala Borštnikovo srečanje

Artistic Director of the Maribor Theatre Festival foto/photo: Damjan Švarc

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estival Borštnikovo srečanje je v svoji več kot pet desetletij trajajoči zgodovini uresničil in presegel vizijo svojih ustanoviteljev in postal ena najpomembnejših slovenskih gledaliških manifestacij, slavnostno praznovanje slovenske gledališke ustvarjalnosti, vse bolj se uveljavlja tudi kot prostor mednarodnega povezovanja in promotor slovenskega gledališča v tujini. ¶ Usmeritve in program festivala od nekdaj sooblikujejo razvoj slovenskega gledališkega izraza v vsej raznolikosti njegovih vsebin, estetik in pristopov, in to ne glede na različne koncepte in festivalske usmeritve v preteklosti. V zadnjem obdobju se je festival dokončno uveljavil kot zaokrožena programska struktura, ki temelji na predstavitvi aktualne slovenske in delčka tuje gledališke produkcije, vključuje pa tudi refleksijo relevantnih gledaliških problemov ter analize in verifikacije aktualnih gledaliških pojavov. ¶ Ob nastopu dela umetniškega direktorja Borštnikovega srečanja januarja letos sem razmišljanja o trenutnem položaju, razvojnih potencialih in poslanstvu festivala strnil v nekaj temeljnih usmeritev. Dogajanje želim razvijati v smeri mednarodne uveljavitve in

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n the more than five decades of its history, the Maribor Theatre Festival has realised and surpassed the vision of its founders and has become one of the most important Slovenian manifestations, a festive celebration of Slovenian theatre creativity. In the recent years, it has also established itself more prominently as a place of international connections and a promoter of Slovenian theatre abroad. ¶ The Festival’s orientation and programme have always fostered the development of the Slovenian theatre expression in all the diversity of its contents, aesthetics and approaches, regardless of its past concepts and formats. Recently, the Festival has finally established itself as a comprehensive programme structure, based on the presentation of the current Slovenian and some foreign theatre production, and it also includes the reflection of the relevant theatre problems and analysis and verification of current theatre phenomena. ¶ In January of this year, when I began my mandate as the artistic director of the Maribor Theatre Festival, I condensed my thoughts about the current situation, development potential and the mission of the Festival into some fundamental objectives. I want to continue developing the course of the Festival towards international recognition and even widen the Festival platform, which will include theatre performances of Slovenian and foreign producers, a programme for discussions and reflection, activities for the development of new audiences and the promotion and popularisation of theatre, professional training, encouraging connections in the international space and additional contents from other artistic fields. With the Festival’s programme core consisting of a selection of superb

široke festivalske platforme, ki bo vključevala gledališke predstave slovenskih in tujih producentov, strokovni program in refleksijo, dejavnosti za razvoj novih občinstev ter promocijo in popularizacijo gledališča, strokovna usposabljanja, spodbujanje povezovanja v mednarodnem prostoru ter dopolnilne vsebine z drugih umetniških področij. Programsko jedro festivala bodo izbrane vrhunske gledališke predstave ter podeljevanje festivalskih nagrad za najvidnejše dosežke slovenskih gledaliških ustvarjalcev, temeljno poslanstvo pa spodbujanje kakovosti in visoke ravni slovenske gledališke umetnosti ter raznolikosti in hkrati povezanosti gledališkega prostora in izraza. V prihodnjih letih želim okrepiti vezi med festivalom in slovenskim gledališkim prostorom ter utrditi mednarodni položaj in ugled festivala, s tem pa spodbujati mednarodno uveljavitev slovenskega gledališča. ¶ Programsko jedro predstavlja izbor gledaliških predstav v treh vsebinskih sklopih: tekmovalnem, spremljevalnem in mednarodnem. Tekmovalni program sestavljajo predstave po izboru vsakokratnega selektorja. Selektorji in strokovne komisije se bodo menjavali pogosteje kot doslej, saj so izbori tudi na področju uprizoritvenih umetnosti vse bolj kuratorski, avtorski. V spremljevalni program uvrščamo predstave, ki v pomembni meri zaznamujejo gledališko sezono in s svojo inovativnostjo, kakovostjo in dovršenostjo gledališkega izraza predstavljajo pomemben umetniški dosežek ali razvojno spodbudo. Ta sklop razumem kot avtonomno programsko enoto, ki dopolnjuje in smiselno zaokrožuje izbor v tekmovalnem programu. V mednarodnem programu, kjer se finančne omejitve seveda najbolj poznajo, so zaradi kakovosti za širšo regijo in mednarodni prostor pomembne gledališke predstave, v posameznih primerih povezane s slovenskih gledališkim prostorom in ustvarjalci. Tudi s tem želimo občinstvu, gledališkim ustvarjalcem in stroki omogočiti vpogled v relevantno gledališko ustvarjalnost izven slovenskih

theatre performances and the bestowing of the Borštnik Awards for the most prominent achievements of the Slovenian theatre artists, its steadfast mission shall be to encourage not only the quality and high level of Slovenian theatre creativity and diversity, but also the connectedness of the theatre space and expression. In the upcoming years, I aim to further strengthen the ties between the Festival and the Slovenian theatre space and to continue to reinforce the international position and reputation of the Festival, thus enhancing the international recognition of Slovenian theatre. ¶ The programme core consists of selected theatre performances in three content sections: the Competition, Accompanying and International. The Competition Programme consists of the performances chosen by each year’s selector, and as such selections are – also in the field of performing arts – increasingly curatorial or authorial, the selectors will now change annually instead of biennially. In the Accompanying Programme, I’ve selected performances that have significantly marked the theatre season and, with their inn­ovativeness, quality and perfection of theatre expression, represent an important artistic achievement or a development incentive. My understanding of this section is an autonomous programme unit that complements and sensibly completes the selection of performances in the Competition Programme. The International Programme, in which our financial constraints are of course most acutely felt, will include theatre performances that are of great importance for the wider region and the international space because of their quality; in individual cases, they are connected to the Slovenian theatre space and artists. With this as well, we wish to provide the audience as well as the theatre creators and professionals insight into the relevant theatre creativity outside the Slovenian borders and also reinforce our position in the region and internationally. This year, the Festival is longer by four days, as

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meja, hkrati pa utrditi svoj položaj v regiji in mednarodnem prostoru. Festival se že letos podaljšuje za dodatne štiri dni, kamor umeščamo nova programska sklopa, posvečena usposabljanju pedagoških delavcev in gledaliških ustvarjalcev (Mlado gledališče) ter predstavitvi gledaliških šol (Študentsko gledališče). Zasnovana sta mednarodno, vključujeta povabljene slovenske in tuje produkcije in sta povezana z dejavnostmi za razvoj obstoječih in novih občinstev. Z letošnjim letom uvajamo tudi nekaj organizacijskih sprememb: pogovori o tekmovalnih predstavah tečejo takoj po ogledu, predstavitve knjižnih novitet s področja uprizoritvenih umetnosti so strnjene v enodnevno intenzivno dogajanje, uvajamo novo knjižno edicijo Borštnikov prstan, letošnja je posvečena lanski prejemnici tega najvišjega priznanja za igralsko umetnost Saši Pavček, tesneje se povezujemo z Mednarodnim gledališkim inštitutom in Evropsko gledališko konvencijo, izvajamo prvi evropski projekt in krepimo vključenost festivala v mednarodne mreže. ¶ Festival Borštnikovo srečanje razumem tudi kot prostor srečevanja, soočanja in izmenjave: srečevanja gledaliških ustvarjalcev z občinstvom in med seboj, soočanja umetniških vsebin in konceptov, izmenjave različnih pogledov, mnenj in stališč. Prizadeval si bom, da festival postane sooblikovalec identitete, spomina in zgodovine nacionalne in lokalne skupnosti. ¶

we’re introducing two new programme sections: Young Theatre, dedicated to the training of educators and theatre creators; and Student Theatre, a presentation of theatre schools. Conceived internationally, these sections also include invited Slovenian and foreign performances and are connected to activities for the development of the existing and new audiences. With this year, we’re also introducing some minor format changes: discussions about the Competition Programme performances will take place immediately after the performance; the presentations of new books from the field of performing arts are combined into one day of intensive events; we’re introducing a new book series entitled Borštnik Ring, this year’s is dedicated to Saša Pavček, last year’s winner of this highest accolade for the art of acting; we’re forging a closer relationship with the International Theatre Institute and the European Theatre Convention; and we’re already realising our first European-funded project and reinforcing the placement of the Festival within international networks. ¶ I envision the Maribor Theatre Festival as a place for convergences, encounters and exchanges. Convergences of theatre artists with the audience and each other, encounters with artistic contents and concepts, exchanges of different vies, opinions, positions. I strive for the Festival to become a co-creator of the local and national identity, memory and history. ¶

Vključenost, povezanost, skupnost! Vabljeni na 53. Festival Borštnikovo srečanje.

Inclusion, connectedness, community! You are invited to attend the 53rd Maribor Theatre Festival!

Danilo RoĹĄker, direktor SNG Maribor

Managing Director of the SNT Maribor

foto/photo: Damjan Ĺ varc

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ragi ustvarjalci in ljubitelji gledališča, spoštovani podporniki in donatorji ter cenjena ustanovitelja Festivala Borštnikovo srečanje – Ministrstvo za kulturo Republike Slovenije in Mestna občina Maribor! ¶ Najbrž se prav sleherni izmed nas, ki še ni(smo) povsem izgubil(i) stika z realnostjo in aktualnimi družbenimi razmerami, zaveda, da živimo v državi zelo različnih pogledov, v Evropi različnih »hitrosti« in ne nazadnje v svetu, prepolnem kontrastov in kontradikcij, ki še vedno ni povsem razčistil s svojo preteklostjo. Iz tega razloga je težko napovedati, kam gremo, če se je že težko zediniti, kje pravzaprav smo. V podobnih okvirjih hočeš-nočeš tičita tudi slovenska kultura in umetnost, o katerih se je v zadnjem letu vsaj v medijih ob letošnji podelitvi Prešernovih nagrad in nagrad Prešernovega sklada večkrat zastavilo (retorično?) vprašanje, komu sta pravzaprav namenjeni. Večkrat se namreč v javnosti ob manj običajnih, a zato nič manj relevantnih estetikah in poetikah po nepotrebnem »dvigujejo obrvi« naključnih in samooklicanih dežurnih kritikov ter zastavljajo odvečna vprašanja, ki bi jih pravzaprav morali preglasiti

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ear Theatre Creators and Friends, dear Supporters and Donors, dear Founders of the Maribor Theatre Festival: the Ministry of Culture of the Republic of Slovenia and the City of Maribor! ¶ Every single one of us, of those who’ve not yet completely lost touch with reality and the current social circumstances, is probably aware that we live in a country of very different points of view, in a Europe of different “speeds”, and in a world filled with contrasts and contradictions, which has still not yet completely resolved its relationship with its past. It is therefore difficult to predict where we’re going, as we have issues agreeing upon where we actually are. And this is a similar frame to the one in which – whether we want it or not – Slovenian culture and art are stuck; culture and art that were, at least in the media in the last year, particularly upon this year’s celebration of the Prešeren Awards, often subjected to the (rhetorical?) question of for whom they are intended. Quite often, when it comes to less usual, yet no less relevant aesthetics and poetics, incidental and self-proclaimed resident critics publicly – and needlessly – “raise eyebrows” and ask irrelevant questions that should really be overpowered by curiosity, tolerance, intercultural dialogue and, finally, the rich knowledge that our young country has. ¶ I’m happy that one of the answers to this question, and at the same time one of the bright examples that goes beyond the curious paralysis of public discourse on art and culture due to the unresolved past, is the central Slovenian theatre festival – the 53rd Maribor Theatre Festival. This year’s Festival theatre autumn will thus hear more voices from younger generations of theatre artists, as the Competition and other Festival

vedoželjnost, toleranca, medkulturni dialog in navsezadnje tudi bogato znanje, ki ga premore naša mlada država. ¶ Veseli me, da je eden izmed odgovorov na to vprašanje in obenem svetlih zgledov, ki presega svojevrstno paralizo javnega diskurza o umetnosti in kulturi zaradi nerazčiščene preteklosti, tudi osrednji slovenski gledališki festival – letos že 53. Festival Borštnikovo srečanje. Letošnjo festivalsko gledališko jesen bodo tako pogosteje slišani tudi glasovi mlajših generacij gledaliških ustvarjalcev, saj je program festivala oblikovan ravno na podlagi odnosa, ki ga nove (in tudi neodvisne) gledališke produkcije vzpostavljajo do skupnosti in skupnega ter sedanjosti, pri čemer razkrivajo svoj kritični pogled do aktualnega stanja sveta. Zanesljiv obet po vračanju gledališke umetnosti k publiki – torej tja, kamor spada že od svojega nastanka – predstavljata tudi nova programska sklopa, Mlado gledališče in Študentsko gledališče, ki še posebej prepričljivo nagovarjata mlade generacije gledaliških obiskovalcev. Trdno sem prepričan, da bodo njuno vrednost prepoznali tudi vsi ostali zainteresirani ljubitelji odrske umetnosti, ki si želijo sveže perspektive, konstruktivnih idej ter inovativnih vizij za čas, ki šele pride. Med pomembnimi novostmi, ki jih prinaša letošnji Festival Borštnikovo srečanje, je tudi dan slovenskih gledaliških ustvarjalcev, ki je bil nekoč imenovan dan igralca, in prav ta novost se zdi ključna (in ne zgolj navidezna prazna) gesta, da ponovno spregovorimo o najzaslužnejših posameznikih, ki so svoje življenje posvetili gledališču ter umetniški interpretaciji sveta, ki nas nagovarja skozi naše enkratne izkušnje. ¶ Kot kažejo tudi letošnji obeti, so častitljiva leta Festivala Borštnikovo srečanje obratno sorazmerna pregovorni konservativnosti, ki praviloma pritiče starosti, saj je njegova podoba generacijsko bistveno pomlajena in zazrta v prihodnost, s čimer lahko še toliko bolj ohranja, nadgrajuje in bistveno približa svoje temeljno poslanstvo tudi mladim generacijam, prepogosto »izgubljenim« v virtualni realnosti – spodbujanje kakovosti in doseganja najvišje

programmes have been conceived on the basis of the relationship that the new (and also independent) theatre productions are establishing towards the community or the communal and the present, with which they reveal their critical view toward the current situation of the world. A reliable promise of the return of the theatre art to the audience – where it has belonged since its inception – also lies in two new programme sections, Young Theatre and Student Theatre, which speak engagingly to younger generations of theatre audiences. I firmly believe that other interested enthusiasts of stage art who wish for fresh perspectives, constructive ideas and innovative visions in the forthcoming time, will recognise their worth. Among the important novelties that this year’s Festival brings is the Day of Slovenian Theatre Artists, which was once known as the Day of the Actor, and it is this novelty that is key (and not just a surface or an empty) gesture, so that we can once again speak of the most worthy individuals who have dedicated their lives to theatre and artistic interpretation of the world that speaks to us through our unique experiences. ¶ As this year promises, the venerable old age of the Maribor Theatre Festival is in direct opposition with the proverbial conservatism that usually goes with age, as its image has been rejuvenated generationally and oriented towards the future, which means it can more energetically retain, build upon and bring its fundamental mission significantly closer to younger generations, too often “lost” in the virtual reality – encouraging quality and achieving the highest level of Slovenian theatre creativity and performance. As we’ve written in the past, true art doesn’t discriminate and is intended for everybody, and this thought is worth repeating even more firmly after recent events in culture, and adding a new motto, with which I would like to remind you that our promises for a better future have never depended more on our joint endeavours to educate the young

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ravni slovenske gledališke ustvarjalnosti in poustvarjalnosti. Kot smo v preteklosti že kdaj zapisali, da resnična umetnost ne diskriminira in je namenjena prav vsem, velja misel po letošnjih kulturniških peripetijah še toliko odločneje ponoviti in pristaviti nov motto, s katerim naj spomnim na to, da so naši obeti po lepši prihodnosti še nikoli tako kot prej odvisni od naših skupnih prizadevanj k vzgoji mladih v odgovorne, čuteče in kritično misleče posameznike. ¶ Dragi ustvarjalci gledališke umetnosti, ljubitelji in vsi (bolj ali manj) naključni obiskovalci, ob tej priložnosti mi dovolite, da vas tudi letos toplo povabim na festivalsko prizorišče v Slovensko narodno gledališče Maribor in v naše mesto, k vznemirljivim doživetjem, ki jih bosta na odru in tudi na spremljevalnih dogodkih izven njega prepoznavno začrtala bogat nabor gledaliških dogodkov ter druženje z najzanimivejšimi slovenskimi dramskimi umetniki, gledališkimi poustvarjalci, kritiki in poznavalci. Festivalu in njegovim soustvarjalcem pod umetniškim vodstvom Aleša Novaka pa pred uradnim odprtjem zaželim obilo umetniških vrhuncev, iskrivih debat in bučnih aplavzov navdušenih obiskovalcev! ¶

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into responsible, empathetic and critically thinking individuals. ¶ Dear theatre creators, friends and all (more or less) accidental visitors, please allow me to invite you warmly also this year to the Festival premises at the SNT Maribor and to our city, where you’ll be able to lose yourselves in exciting adventures that will be recognisably formed by a rich selection of theatre events and encounters with the most interesting Slovenian dramatic artists, theatre artists, critics and academics. And even before its official opening, I would like to wish the 53rd Festival and its collaborators, under the artistic direction of Aleš Novak, plenty of artistic highlights, scintillating debates and loud applauses from enthusiastic visitors! ¶

Zala DobovĹĄek, selektorica tekmovalnega programa 53. FBS

Selector of the Competition Programme of the 53rd Maribor Theatre Festival

foto/photo: Damjan Ĺ varc

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d 1. junija 2017 do 31. maja 2018 sem si ogledala 84 uprizoritev, ki so prišle v poštev za festivalsko selekcijo. Prijavilo se jih je 61. V primerjavi s prejšnjimi leti je letošnja sezona ponudila manj predstav, nekaj na račun koprodukcij, temeljni razlog pa je v oklesteni produkciji nevladnega sektorja, ki vsako leto bolj – kakor nakazujejo tudi pretekla poročila selekcij – postaja alarmantno ogrožen. Razmerje med institucionalno in neinstitucionalno produkcijo se v odstotkih giba v razmerju 74 : 26. Sistemsko odvzemanje javnega prostora (in s tem glasu!) nevladni sceni ni nič drugega kot načrtno ukinjanje angažirane kritike in raziskovalnih scenskih pristopov, ki v kontekstu celostne uprizoritvene scene pogosto predstavljajo tudi njen najbolj vitalen in eksperimentalen del. Bistvene komponente tokratne selekcije predstav so v vzpostavljanju močnega odnosa do štirih pomembnih gledaliških elementov: skupnosti/skupnega, časa, metodoloških raziskav in kritičnosti do aktualnega stanja sveta. Njihovo naslavljanje občinstva je čisto in drzno, nekatere iščejo prioritetni učinek v dogodku samem (v organski skupnosti med odrom in avditorijem),

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etween 1 June 2017 and 31 May 2018, I saw 84 performances that could be considered for the Festival selection, of which 61 had been entered into the competition. Compared to previous years, this season offered fewer premières, partly because of co-productions, but mostly due to the pared-down production in the non-government sector which – as previous selectors’ reports also suggest – is becoming alarmingly endangered with each passing year. The ratio between the institutional and non-institutional production is 74 : 26. A systemic reduction of public space (and thus the voice!) available to the non-government scene is nothing but a premeditated abolition of engaged criticism and research approaches to the stage; approaches that in the context of the entire Slovenian performance landscape often represent its most vital and experimental segment. The essential components of this year’s selection of performances are in the establishing of a strong attitude towards four important theatre elements: the community/the common, time, methodological research, and a critical stance regarding the current state of the world. Their addressing the audience is clean and daring; some find their priority effect in the event itself (an organic community between the stage and auditorium); others, in reality, when the theatrical event ends and the reflection of what we’ve seen only really begins – in real life. Thus, duration and opinions: the experience of the hours-long community in the contemporary world is disappearing and the explicit opposition to the contemporary fascism, Nazism and hostile intolerance towards different minorities is essential. We also need to speak about these things, particularly in theatre. ¶

druge v stvarnosti, ko se gledališče konča in se refleksija videnega šele zares začne – v realnem. Torej trajanje in stališča: izkustvo večurne skupnosti v sodobnem svetu izginja in nazorna nasprotovanja aktualnemu fašizmu, nacizmu in sovražni nestrpnosti do raznolikih manjšin so nujna. Tudi in predvsem v gledališču je treba o tem govoriti. ¶ Sezona 2017/2018 vsebinsko in estetsko ni radikalno odstopala od prejšnjih, posamezne repertoarne politike v javnih zavodih so se izpeljale po utečenih tirnicah; od starogrških dram do »preverjenih« klasikov, muzikalov, adaptacij pa do najnovejše slovenske dramatike. Prisotnost dokumentarnih form je, denimo, nizka, se pa kaže izjemen porast žanra pripovedovanja znotraj gledaliških praks, prav tako letošnji repertoarji niso imeli pretiranega posluha za novejše dramske pisave mlajše generacije. Udeležila sem se tudi skoraj vseh bralnih uprizoritev mladih dramatičark in dramatikov, ki so nastale v različnih kontekstih, potenciala je ogromno, vendar ga je potrebno čim prej sistematizirati, mu dati pravo institucionalno zaledje in ga ne obravnavati kot priložnostne, marginalne eksperimente. ¶ Kot kaže selekcija, domačo gledališko sceno z velikim osebnim in profesionalnim pečatom sooblikujejo nekatera imena mlajše generacije (Rajić Kranjac, Divjak), izjemno lucidne režijske poetike, ki so se sočasno in z enako silovitostjo ter inovativnostjo sposobne opredeliti tako do izbrane teme kot do njene samosvoje in natančne odrske reprezentacije. Omenjena mlajša generacija celostno udejanja to, kar v gledališču pravzaprav najbolj pogrešam(o): eksperimentiranje s formo in hkrati trdno ohranjanje osebnega odnosa do vsebine/snovi. Tovrstne kombinacije pri že uveljavljenih imenih vse prevečkrat izostanejo, tam se nemalokrat čuti samozadostnost, izčrpanost, mestoma žal tudi neutemeljena sodelovanja. Eno od ključnih opažanj v pregledu celostne produkcije je, da je »aktualnost«, kakor jo največkrat (razen nekaterih izjem) razumejo gledališke ustvarjalke in ustvarjalci, pravzaprav še vedno preveč

The 2017/18 season did not radically deviate from previous ones, neither aesthetically nor in content, individual repertory policies in public institutions were carried out following the proven track: from ancient Greek drama to the “fail-safe” classics, musicals, adaptations, to the newest Slovenian drama. The presence of the documentary form is low, but an exceptional increase of the narrative genre within theatre practices can be observed. Likewise, this year’s repertoires did not have too much understanding for the new writings of the younger generation. I attended almost all reading performances of plays by young playwrights, all created in different contexts. There is enormous potential but it needs to be systematised as soon as possible, given a proper institutional backing and not be treated as occasional, marginal experiments. ¶ As the selection shows, the national theatre landscape is being co-created, with an immense personal and professional mark, by some names of the younger generation (Rajić Kranjac, Divjak), with their exceptionally lucid directorial poetics, able to, simultaneously and with great power and innovativeness, take a stand on the selected theme as well as its unique and precise stage representation. This younger generation actively enacts what I am/we are missing most in the theatre: experimentation with the form and at the same time a firm retaining of the personal attitude towards the contents/material. Such combinations are too often absent when it comes to the established names, in which cases self-sufficiency is often felt, as well as exhaustion and, unfortunately, unfounded co-operations. One of the key observations in the overview of the complete production is that the “relevance”, as it is most often (with a few exceptions) understood by theatre artists, is in fact still too anachronistic. The so-called topicality is often offered in the content/text (this intention of the artistic directors is absolutely clear), but the follow-up performing procedures

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anahrona. T. i. aktualnost se pogostokrat ponuja v vsebini/besedilih (ta intenca umetniških vodenj je povsem jasna), vendar nadaljnji uprizoritveni postopki pogosto ostajajo konvencionalni in načeloma ne ponujajo sodobnega gledališkega raziskovanja (preigravanja), ki bi lahko z različnimi režijskimi prijemi (kritično) redefiniralo pomene in učinke starosti, spola in drugih performativnih znakov, tovrstne fluidnosti je malo in gledališče večinoma ostaja precej »biološko dosledno«. Kar gre vsekakor na škodo eksperimentu in predvsem svobodi – tako na strani igralcev in igralk kot občinstva. ¶ Čeprav sem velikokrat prepoznala (dobronamerno) željo po aktivizmu, angažiranosti in vpeljavi sodobnih trendov na oder, je bil ta prenos vse prevečkrat ponesrečen oziroma premalo premišljen. Četudi je bilo kar nekaj pogledov, ki so želeli razpreti uvid v širše družbeno (tudi zatirano) okolje, jih – prepričana sem, da pogosto nevede in nehote – vse prevečkrat zaznamujejo škodljivi stereotipi. Naj bo to obravnavanje drugih ras, naslavljanje LGBT+ skupnosti ali »emancipirana« vloga ženske v družbi/ umetnosti. Večinoma so uprizoritve še vedno ostale na točki, ko o zgoraj omenjenih temah le diskutirajo, jih katedrsko problematizirajo, namesto da bi jih že prakticirale, materializirale, celovito afirmirale v umetniške ustroje. In zdi se, da še vedno ni jasno: angažiranje igralk v glavne vloge ne more in ne sme nadomestiti angažiranja žensk kot dramatičark in režiserk, ki bi enakovredno sokreirale in zastopale gledališko sceno. Sprašujem se, ali ta nekritični odnos do tradicionalnega razumevanja spolnih vlog (na vseh ravneh) in patriarhalnih korelacij, ki v osnovi zatirajo progresivnost kot tako, izhaja iz bojazni pred občinstvom (njegovega diktata okusa in pričakovanj) ali gre preprosto za strah in nesenzibilnost gledaliških ustvarjalcev in ustvarjalk. ¶

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remain conventional and generally do not offer a contemporary theatre research (thoroughly playing with the possibilities) which could, using different directorial approaches, (critically) redefine the meanings and effects of the age, gender and other performative signs, there is little such fluidity, and theatre for the most part remains “biologically consistent”. Which is definitely a deterrent to experimentation and particularly to freedom – on the part of the actors as well as the audience. ¶ Although I often noticed the (benevolent) desire for activism, engagement and the introduction of contemporary trends onto the stage, far too often this transfer was a failed one, or not well considered. Although there were several views that wanted to open the insight into the wider social (even socially oppressed) environment, those were – I’m certain that in most cases unintentionally and unknowingly – all too marked by harmful stereotypes. Whether it be the treatment of other races, the addressing of the LGBT+ community or the “emancipated” role of women in society/art. For the most part, the performances remained on the point of only discussing the above mentioned topics, problematising them ex cathedra instead of practising them, materialising them, affirming them completely in the artistic structures. And it seems this is still not fully understood: casting actresses in the main roles cannot and must not replace engaging women as playwrights and directors, who would equally co-create and represent the theatre scene. I question if this non-critical attitude to the traditional understanding of gender roles (on all levels) and patriarchal correlations which suffocate progressiveness in the bud, comes from the fear of the audience (the dictate of its taste and expectations) or is it simply the fear and insensibility of theatre artists. ¶

TEKMOVALNI PROGRAM COMPETITION PROGRAMME Leja Jurišić & Marko Mandić Skupaj Together Pekinpah, Via Negativa & CUK Kino Šiška Avtorski projekt po igri Sen kresne noči W. Shakespeara / Based on W. Shakespeare’s comedy A Midsummer Night’s Dream Sen kresne noči A Midsummer Night’s Dream Režiser Director Jernej Lorenci Mestno gledališče ljubljansko Dušan Jovanović Zid, jezero The Wall, the Lake Režiser Director Miloš Lolić SNG Drama Ljubljana Po motivih Epa o Gilgamešu / Based on the motives of the Epic of Gilgamesh Gilgalovanje Gilgrieving Režiserka Director Tjaša Črnigoj Gledališče Glej Ferdinand von Schirach Teror Terror Režiser Director Eduard Miler Prešernovo gledališče Kranj Tadeusz Słobodzianek Naš razred Our Class Režiserka Director Nina Rajić Kranjac Prešernovo gledališče Kranj, Mestno gledališče Ptuj & Mini teater Ljubljana 6 Režiser Director Žiga Divjak Slovensko mladinsko gledališče & Maska Ljubljana

Peter Mlakar, Dragan Živadinov Odilo. Zatemnitev. Oratorij. Odilo. Obscuration. Oratorio. Režiser Director Dragan Živadinov Slovensko mladinsko gledališče & CUK Kino Šiška

Pavol Liška & Kelly Copper Zasledovalci sreče Pursuit of Happiness Režiserja Directors Pavol Liška & Kelly Copper Zavod EN KNAP, Théâtre de la Ville (FR) & steirischerherbst (AT)

Uroš Kaurin & Vito Weis Heroj 2.0 — Predstava vseh predstav Hero 2.0 — The Show of All Shows KUD Moment & Zavod EN-KNAP

Janez Vrečko KONS:O:VEL Režiser Director Matjaž Berger Anton Podbevšek Teater Novo mesto, Studia humanitatis & Cankarjev dom Ljubljana

Po romanu I. Tavčarja Based on the novel by I. Tavčar Visoška kronika The Visoko Chronicle Režiser Director Jernej Lorenci SNG Drama Ljubljana SPREMLJEVALNI PROGRAM ACCOMPANYING PROGRAMME Ivan Cankar Pohujšanje v dolini šentflorjanski Scandal in St. Florian Walley Režiser Director Eduard Miler SNG Drama Ljubljana, Mestno gledališče ljubljansko & Cankarjev dom Ljubljana Via Negativa 365padcev 365falls Režiser Director Bojan Jablanovec Via Negativa, Forum Freies Theater Düsseldorf (DE) & Zavod Bunker Svetlana Makarovič Prekleti kadilci Bloody Smokers Režiser Director Tin Grabnar SNG Drama Ljubljana

Kitch PopParty Režiser Director Kitch Kitch & Zavod Bunker Ana Pandur Predin Firebird Režiserka Director Ana Pandur Predin Ana Pandur, PKD Flamenko & Cankarjev dom Ljubljana Compagnia Pippo Delbono Vangelo / Evangelij Gospel Režiser Director Pippo Delbono Emilia Romagna Teatro Fondazione (IT), HNK Zagreb (HR), Théâtre Vidy Lausanne (CH), Maison de la Culture d‘Amiens — Centre de Création et de Production (FR), Théâtre de Liège (BE) Compagnia Pippo Delbono La Gioia / Radost Joy Režiser Director Pippo Delbono Emilia Romagna Teatro Fondazione (IT), Théâtre de Liège (BE), Le Manège Maubeuge — Scène Nationale (FR)

53. Borštnikovo

Kristian Novak, Tomislav Zajec Črna mati zemla Black Mother Earth Režiserka Director Dora Ruždjak Podolski Zagrebačko kazalište mladih (HR)

Po motivih kratkih zgodb B. Schulza / Inspired by B. Schulz Avgust August Universitatea de Arte, Târgu-Mureş (RO), Maladype Színház (HU)

Po kratki zgodbi N. V. Gogolja / Based on the work by N. V. Gogol Zapiski blazneža Diary of a Madman Režiser Director Marjan Nećak Moving Music Theatre Bitola (MK)

Milan Jesih Srebrno rebro Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani

MLADO GLEDALIŠČE YOUNG THEATRE Aleksander Ekman Left Right Left Right Balet SNG Maribor New International Encounter Prihajamo od zelo, zelo daleč We Come from Far, Far Away New International Encounter (NO, GB) Lewis Carroll & Ivor Martinić Alica v Čudežni deželi Alice’s Adventures in Wonderland Zagrebačko kazalište mladih ZKM (HR) ŠTUDENTSKO GLEDALIŠČE STUDENT THEATRE Avtorski projekt / A devised play Oj Kijev, Kijev Oy Kyiv, Kyiv Divadelní fakulta AMU v Praze DAMU (CZ)

Po motivih del M. Jesiha / Inspired by M. Jesih Dvoje sva in hkrati eno We are Two and Also One Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani Po motivih iger H. Barkerja / Inspired by H. Barker Se mi vsaj ni treba poljubljati At Least I Do Not Have to Kiss Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani Mihail Afanasjevič Bulgakov / Mikhail Afanasyevich Bulgakov Zojkino stanovanje Zoyka‘s Apartment Fakulteta za estrado Ruskega inštituta gledaliških umetnosti GITIS / Russian Institute of Theatre Arts - GITIS (RU) Prosto po pravljici H. C. Andersena / Inspired by H. C. Andersen’s fairy tale Zrno graha The Pea Accademia Teatro Dimitri SUPSI & Pars Foundation (CH)

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Zala Dobovšek Dramaturginja, gledališka kritičarka in publicistka. Leta 2009 je diplomirala iz dramaturgije na UL AGRFT in se v študijskem letu 2008/2009 izobraževala na gledališki akademiji DAMU v Pragi. Vpisana je na doktorski študij na UL AGRFT, smer Študiji scenskih umetnosti, njeno področje raziskovanja je Gledališče in vojna: temeljna razmerja med uprizoritveno umetnostjo in vojnami na območju nekdanje Jugoslavije v 90. letih prejšnjega stoletja. Od leta 2015 je asistentka za področje dramaturgije in študijev scenskih umetnosti na UL AGRFT. Kot gledališka kritičarka in publicistka deluje na Radiu Študent in pri časopisu Dnevnik, v letih 2009—2014 je bila sodelavka kulturne redakcije časopisa Delo, pisala je tudi za štirinajstdnevnik Pogledi in portal MMC RTV SLO. Redno objavlja v strokovnih/znanstvenih revijah (Maska, Dialogi, Amfiteater, Sodobnost idr.). Bila je članica raznih strokovnih žirij (Festival Borštnikovo srečanje, Teden slovenske drame, Gibanica, Festival MESS Sarajevo), komisij (Ministrstvo RS za kulturo, Sklad Prešernovih nagrad) in selektorica festivalov (Festival MESS Sarajevo 2014 — nacionalna sekcija, Festival uprizoritvenih umetnosti za otroke in mlade Zlata paličica 2013). Od leta 2016 je mentorica seminarja Mala šola kritike, vodi tudi gledališke klube na različnih osnovnih šolah in kritiške delavnice na lutkovnih festivalih. Je članica Društva gledaliških kritikov in teatrologov Slovenije ter deluje kot praktična dramaturginja, teoretičarka, recenzentka, mentorica kritiškega pisanja in pedagoginja. Za diplomsko delo je prejela akademijsko Prešernovo nagrado. ¶

Dramaturg, theatre critic and author. In 2009, she graduated with a degree in dramaturgy from the UL AGRFT and in the academic year 2008/09 studied at the Theatre Faculty DAMU in Prague. Since 2015, she has been an assistant for dramaturgy and performing arts studies at the UL AGRFT, and is currently a doctoral student there, researching Theatre and War: Fundamental relationships between performing arts and wars in the territory of the former Yugoslavia in the 1990s. As a theatre critic and author, she works for Radio Študent, Dnevnik newspaper; between 2009 and 2014, she worked for the culture desk at Delo newspaper and has also written for the fortnightly Pogledi and web portal MMC RTV-SLO. She regularly publishes in academic and professional journals (Maska, Dialogi, Amfiteater, Sodobnost …). She has been a member of expert juries (Maribor Theatre Festival, Week of Slovenian Drama, Gibanica, Festival Mess Sarajevo) and commissions (Ministry of Culture, Prešeren Fund Awards) as well as a festival selector (Festival MESS Sarajevo 2014 – national section, the 2013 Golden Stick Festival of Performing Arts for Children and Young People). Since 2016, she has been a mentor at the seminar for young critics Mala šola kritike; she also leads several theatre clubs in different primary schools and criticism workshops at puppet festivals. She is a member of the Association of Theatre Critics and Researchers of Slovenia, and works as a practical dramaturg, theorist, peer reviewer, mentor for young theatre critics and educator. She received the student Prešeren Award from UL AGRFT for her bachelor’s thesis.¶

53. Borštnikovo

Nika Arhar Gledališka kritičarka, teatrologinja in publicistka. Objavlja v dnevnih medijih (MMC RTV SLO) in različnih strokovnih publikacijah. Je predsednica strokovne komisije za spletno platformo Zlata paličica, bila je predsednica selektorske komisije festivala Zlata paličica 2017 in članica programskega odbora Kulturnega bazarja (2015, 2016) za področje gledališča. Sodeluje v strokovnih žirijah in komisijah (Teden slovenske drame, strokovna komisija MOL, festival Risto Šiškov, NETA festival, Kulturni evro CUK Kina Šiška). Deluje kot moderatorka na strokovnih srečanjih in pogovorih o predstavah. Je članica Društva gledaliških kritikov in teatrologov Slovenije, med letoma 2012 in 2016 tudi članica izvršnega odbora in koordinatorka društva. ¶ Theatre critic, researcher and journalist. Her articles appear in the daily media (MMC RTV SLO) and in professional journals. She is the president of the expert commission for the Golden Stick online platform, she was the president for the Golden Stick Festival selection jury in 2017 and a member of the programme committee of the Culture Bazaar (2015, 2016) for theatre. She participates in expert juries and commissions (Week of Slovenian Drama, City of Ljubljana expert commission, Risto Šiškov Festival, NETA Festival, Cultural Euro CUK Kino Šiška). She moderates expert meetings and discussions on performances. She is a member of the Association of Theatre Critics and Researchers of Slovenia and between 2012 and 2016, was its coordinator and a member of its executive committee. ¶ Uršula Cetinski Urednica, umetniška vodja. Po izobrazbi profesorica primerjalne književnosti in nemškega jezika, diplomirala je na Univerzi v Ljubljani, podiplomski študij iz kulturnega menedžmenta pa je končala na Univerzi Johannesa Keplerja v Linzu, kjer je pridobila naziv master in advanced studies. Že v študentskih letih je bila kulturna urednica Radia Študent, potem direktorica neodvisne skupine Koreodrama, soustanoviteljica in umetniška vodja festivala Mesto žensk, dolgoletna vodja gledališkega in plesnega programa Cankarjevega doma ter direktorica in umetniška vodja Slovenskega mladinskega gledališča. Je predsednica Nacionalnega sveta za kulturo RS in članica Upravnega odbora

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sekcije menedžerk v okviru Združenja menedžer ter generalna direktorica Cankarjevega doma. ¶ Editor, cultural and theatre manager. She graduated from the University of Ljubljana with a degree in comparative literature and German, and completed her post-graduate studies in cultural management at the Johannes Kepler University in Linz where she earned a master’s in advanced studies. As a student she was the editor of culture for Radio Študent. Later, she was the director of the independent theatre group Koreodrama, the artistic director of the City of Women Festival, a long-time director of the theatre and dance programme at Cankarjev dom, and then the managing and artistic director of the Mladinsko Theatre. She is the president of the National Council for Culture of the Republic of Slovenia and a member of the Executive Board of the Section of Female Managers at the Managers’ Association of Slovenia and the director general of Cankarjev dom Ljubljana. ¶ Simona Hamer Dramaturginja in dramatičarka. Slovenski gledališki prostor uspešno soustvarja zadnjih deset let. Kot dramaturginja je sodelovala pri več kot tridesetih predstavah, med katerimi so številne bile nagrajene na gledaliških festivalih v Sloveniji in tujini. Je avtorica petih celovečernih dram, dramatizacij, adaptacij ter krajših tekstov. Za dramo Razglednice ali strah je od znotraj votel, od zunaj pa ga nič ni je prejela Grumovo nagrado (2017). Organizira in vodi strokovne pogovore in okrogle mize s fokusom na sodobnih dramskih pisavah ter mentorira delavnice dramskega pisanja. ¶ Dramaturg and playwright. She has been successfully co-creating the Slovenian theatre space for the last decade. As a dramaturg, she has worked on more than thirty performances, many of which have won awards at theatre festivals in Slovenia and abroad. She is the author of five full-length plays, dramatisations, adaptations and short texts. Her play Postcards or Fear is Hollow Inside and Empty Outside won her a Slavko Grum Award (2017). She organises and moderates expert discussions and round tables focused on contemporary drama writing and mentors playwriting workshops. ¶

Goran Ferčec Pisec, dramaturg in soustvarjalec raznovrstnih gledaliških projektov. Diplomiral je iz dramaturgije na Akademiji dramske umetnosti v Zagrebu. Njegova besedila so bila uprizorjena v Zagrebškem gledališču mladih (ZKM), leta 2011 Pismo Heineru Mülleru v režiji Bojana Đorđeva; tekst Radnice u gladovanju (Delavke na gladovni stavki, 2014) v sklopu projekta Vor den Hunden v koprodukciji fringe ensemble iz Bonna in Schaubühne Lindenfels iz Leipziga, leta 2017 pa v ZKM v režiji Olje Lozice. Je avtor romana Ovdje neće biti čuda (Tukaj ne bo čudeža, 2011), ki je bil deležen nominacij za vse relevantne hrvaške književne nagrade. Leta 2015 je izdal zbirko esejev Priručnik za jučer (Priročnik za včeraj). ¶ Writer, dramaturg and co-creator of different theatre projects. He has a degree in dramaturgy from the Academy of Dramatic Arts, University of Zagreb. His texts have been performed at the Zagreb Youth Theatre (ZKM) — in 2011 Letter to Heiner Müller, directed by Bojan Đrođev. His text Radnice u gladovanju (Female Workers on Hunger Strike, 2014) was performed as a part of the project Vor den Hunden in the coproduction of the fringe ensemble from Bonn and Schaubuhne Lindenfels from Leipzig, and in 2017 at the ZKM directed by Olja Lozica. He wrote the novel Ovdje neće biti čuda (There Will Be No Miracles Here, 2011) which was nominated for all relevant Croatian literary awards. In 2015, he published the collection of essays Priručnik za jučer (A Manual for Yesterday). ¶ Marko Sosič Pisatelj in režiser. Diplomiral je iz režije na Akademiji dramske umetnosti v Zagrebu. Režira v različnih slovenskih in italijanskih gledališčih ter na televiziji. Bil je umetniški vodja Primorskega dramskega gledališča (1991—94; danes SNG Nova Gorica) ter umetniški vodja in ravnatelj Slovenskega stalnega gledališča v Trstu (1999—2003). Bil je selektor Festivala Borštnikovo srečanje (2003—05) in Tedna slovenske drame. Zadnjih deset let živi in dela kot svobodni ustvarjalec. V tem času je posnel tudi svoj prvi celovečerni film Komedija solz. Je avtor izjemnih romanov, s katerimi se je vsakič uvrstil med velike finaliste Kresnikove nagrade ter nominirance za nagrado Prešernovega sklada. Je prejemnik več nagrad, med drugim nagrade Umberto Saba (Trst) in Premio Citta‘ di Salo, njegova dela pa so prevedena v številne jezike. ¶

Writer and director. He has a degree in directing from the Academy of Dramatic Art in Zagreb and directs in different Slovenian and Italian theatres and on television. He was the artistic director of the Primorsko dramsko gledališče (1991—94; today SNG Nova Gorica) and the artistic director and manager of the Slovene Permanent Theatre in Trieste (1999—2003). He has been a selector for the Maribor Theatre Festival (2003—05) and the Week of Slovenian Drama. For the last ten years, he has been a freelance artist. In this time, he also directed his first film feature A Comedy of Tears. He is the author of several exceptional novels, which regularly place him on the Kresnik Award shortlist and among the Prešeren Fund Award nominees. His works have also been translated into several languages and he has won several awards, among them, the Umberto Saba Award (in Trieste) and Premio Citta’ di Salo. ¶

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Mojca Jan Zoran Gledališka kritičarka, teoretičarka in esejistka, kustosinja, avtorica radijskih dram. Diplomirana filozofinja in literarna komparativistka z magisterijem znanosti iz filozofije ter specialistka menedžmenta. Delovala je kot samozaposlena na področju kulture, bila zaposlena na Ministrstvu RS za kulturo kot strokovna svetovalka za uprizoritvene umetnosti ter za sistemske zadeve na področju kulture. Od avgusta 2014 je direktorica Slovenskega gledališkega inštituta. Napisala je več deset radijskih dram, objavila več kot sto recenzij gledaliških predstav, več deset strokovnih razprav in esejev o gledališču, je avtorica in soavtorica muzejskih razstav. Sodelovala je v žirijah domačih in mednarodnih gledaliških festivalov in bila selektorica več lutkovnih festivalov. ¶ Theatre critic, theorist and essayist, curator, radio drama author. She holds a bachelor’s in philosophy and comparative literature and a master’s in philosophy, she also has a specialist degree in management. After working as a freelance cultural worker for several years, she worked at the Ministry of Culture as an expert advisor in the Section for Performing Arts and the Section for Status Affairs. Since August 2014, she has been the director of the Slovenian Theatre Institute. She has written more than a dozen radio dramas and published more than a hundred theatre reviews, dozens of studies and essays on theatre. She is also an author and co-author of museum exhibitions. She has been a jury member at Slovenian and international theatre festivals and a selector of several puppet festivals.¶ Blaž Lukan Dramaturg, gledališki kritik, docent za dramaturgijo in prodekan na UL AGRFT. Dela kot praktični dramaturg v gledališču in pri filmu, piše gledališke kritike, spremne besede v knjižnih objavah dram in strokovnih besedil slovenskih in tujih avtorjev ter znanstvene razprave o dramatiki in teoriji scenskih umetnosti. Bil je umetniški vodja Eksperimentalnega gledališča Glej (1985–88) in SLG Celje (1989–93), eden od selektorjev mednarodnega lutkovnega festivala Lutke in selektor Festivala Borštnikovo srečanje. Med letoma 2008 in 2012 je bil predsednik Društva gledaliških kritikov in teatrologov Slovenije. ¶ Dramaturg, theatre critic and scholar, university teacher. He is an assistant professor for dramaturgy and the vice dean at the UL AGRFT. He works in theatre and film as a practi-

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cal dramaturg; writes theatre reviews, introductions to publications of plays and academic texts of Slovenian and foreign authors, as well as his own academic texts on drama and performing arts theory. He was the artistic director of Glej Experimental Theatre (1985–88) and Celje People’s Theatre (1989–93). He has also been a co-selector of the international puppet festival Lutke and a selector for the Maribor Theatre Festival. Between 2008 and 2012, he was the president of the Association of Theatre Critics and Researchers of Slovenia. ¶ Aleš Novak Gledališki in radijski režiser. Študiral je na UL AGRFT in leta 1996 diplomiral iz gledališke režije. V času študija je pričel režirati v slovenskih gledališčih. Med letoma 1997 in 2002 je imel status samostojnega ustvarjalca na področju gledališča, deloval je na področju gledališča in kulture, režiral oddaje in igrane dramske igre na Radiu Slovenija ter sodeloval v strokovnih komisijah na področju gledališča in dramatike. Po letu 2003 je kot samostojni avtor delal za RTV Slovenija, predvsem kot režiser in urednik kulturne redakcije, leta 2007 pa je prevzel mesto direktorja javnega zavoda Mladinski kulturni center Maribor. V času začetnih priprav na projekt EPK — Maribor 2012 je prevzel vodenje Urada za kulturo Mestne občine Maribor in sooblikoval današnjo statusno ureditev Festivala Borštnikovo srečanje. Leta 2010 je opravljal tudi naloge vršilca dolžnosti programskega direktorja javnega zavoda Maribor 2012 — Evropska prestolnica kulture. V obdobju med letoma 2011 in 2017 je bil predsednik strokovne skupine Festivala Borštnikovo srečanje, leta 2013 pa je postal direktor Javne agencije za knjigo Republike Slovenija. Od leta 2018 je umetniški direktor FBS. ¶ Theatre and radio play director, cultural worker. He studied at the UL AGRFT and graduated in theatre directing. As a student he started to direct in Slovenian theatres. Between 1997 and 2002, he was a freelance theatre director and worked in theatre and the cultural field in general, he directed programmes and radio plays for Radio Slovenia and was a member of several expert commissions for theatre and drama. After 2003, he worked mostly for RTV Slovenia as an independent author, particularly as a director and a culture desk editor. In 2007, he took over as the director of the public institute MKC Maribor Youth Culture Centre Maribor. During the initial preparation for the ECC – Maribor

2012, he took over the Office for Culture and Youth of the Municipality of Maribor and co-created the current statutory structure of the Maribor Theatre Festival. In 2010, he was also the acting programme director of the public institute Maribor 2012 – European Capital of Culture. Between 2011 and 2017, he was the president of the artistic board of the Maribor Theatre Festival. In 2013, he became the director of the Slovenian Book Agency. Since 2018, he is the artistic director of the Maribor Theatre Festival. ¶ Barbara Orel Gledališka kritičarka in teatrologinja. Je izredna profesorica za področje dramaturgije in študijev scenskih umetnosti na UL AGRFT, kjer vodi tudi raziskovalno skupino. Osrednja področja njenih raziskav so eksperimentalne gledališke prakse, avantgardna gibanja in sodobne scenske umetnosti. Je avtorica knjige Igra v igri (2003) in urednica več monografij, med njimi Uprizoritvene umetnosti, migracije, politika: slovensko gledališče kot sooblikovalec medkulturnih izmenjav (2017). Kot raziskovalka sodeluje z delovno skupino Theatrical Event (v okviru International Federation for Theatre Research). Je soustanoviteljica znanstvene revije za teorijo gledališča in scenskih umetnosti Amfiteater (urejala jo je v letih 2008–2010). Bila je tudi selektorica nacionalnih gledaliških festivalov Teden slovenske drame (2006–2007) in Borštnikovo srečanje (2008– 2009). ¶Theatre scholar and university teacher. She is an associate professor for dramaturgy and performing arts studies at the UL AGRFT, where she leads the research group. In her research, she focuses on experimental theatre practices, avantgarde movements and contemporary performing arts. She is the author of the book Play Within a Play (2003) and the editor of several monographs, among them, Performing Arts, Migration, Politics: Slovenian Theatre as an Agent of Intercultural Exchange (2017). As a researcher she participates in the Theatrical Event working group of the International Federation for Theatre Research. She is a co-founder of Amfiteater – Journal of Performing Arts Theory (which she edited between 2008 and 2010). She has also been the selector for the national theatre festivals Week of Slovenian Drama (2006–07) and Maribor Theatre Festival (2008–09). ¶

Saša Pavček Dramska in filmska igralka, pesnica, esejistka in dramatičarka, redna profesorica na UL AGRFT, kjer je sicer sama tudi diplomirala. V letih 1986/87 se je izpopolnjevala v Parizu, kjer je nastopila z dvojezičnimi recitali slovenske poezije (E. Kocbek, M. Kravos, F. Prešeren). Od l. 1985 je stalna članica ansambla SNG Drama Ljubljana, kjer ima od l. 2000 status prvakinje. Odigrala je več kot 120 različnih vlog v gledališču, filmih in na televiziji, je nosilka klasičnega in modernega repertoarja. Za igralsko in literarno delo je prejela več nagrad in nominacij, med njimi: nagrado Prešernovega sklada (2000), dvakrat Severjevo nagrado (1982, 1992), Zlato ptico (1982, za plesno umetnost), Borštnikovo (2007) in Kocjančičevo nagrado (2010, za igralsko in literarno delo), nagrado Veljko Maričič (1986), filmsko nagrado Vesna (2011). Je avtorica dramskih del in poezije, prevedenih v tuje jezike, piše tudi eseje o gledališču, kulturi, umetniški besedi, disleksiji, portrete umetnikov in radijske igre. Decembra leta 2017 je bila izvoljena za predsednico Združenja dramskih umetnikov Slovenije. Je prejemnica Borštnikovega prstana v letu 2017. ¶ Theatre and film actress, poet, essayist, playwright, professor at the UL AGRFT, of which she is a graduate. In 1986/87 she trained in Paris where she gave bilingual performances of Slovenian poetry (E. Kocbek, M. Kravos, F. Prešeren). Since 1985, she has been a permanent member of the SNT Drama Ljubljana ensemble, where she achieved the status of leading actress in 2000. She has played more than 120 roles in theatre, film and television, including major roles in the classical and modern repertoire. She has received numerous awards and nominations for her acting and writing, among them: Prešeren Fund Award (2000), Sever Award (1982, 1992), the Golden Bird Award (1982, for dance), Borštnik Award (2007) and Kocijančič Award (2010, for acting and writing), Veljko Maričič Award (1986), Vesna Film Award (2011). She is the author of plays and poetry translated into foreign languages, she also writes essays on theatre, culture, the artistic word, dyslexia, portraits of artists, and radio dramas. In December 2017, she was elected as the president of the Slovenian Association of Dramatic Artists (SADA). She is the Borštnik Ring recipient for the year 2017. ¶

53. Borštnikovo

24 — 25

53. Borštnikovo

Leja Jurišić & Marko Mandić Skupaj Together Pekinpah, Via Negativa & CUK Kino Šiška Ferdinand von Schirach Teror Terror Režiser Director Eduard Miler Prešernovo gledališče Kranj 6 Režiser Director Žiga Divjak Slovensko mladinsko gledališče & Maska Ljubljana Tadeusz Słobodzianek Naš razred Our Class Režiserka Director Nina Rajić Kranjac Prešernovo gledališče Kranj, Mestno gledališče Ptuj & Mini teater Ljubljana Po motivih Epa o Gilgamešu Based on the motives of the Epic of Gilgamesh Gilgalovanje Gilgrieving Režiserka Director Tjaša Črnigoj Gledališče Glej Avtorski projekt po igri Sen kresne noči W. Shakespeara Based on W. Shakespeare’s comedy A Midsummer Night’s Dream Sen kresne noči A Midsummer Night’s Dream Režiser Director Jernej Lorenci Mestno gledališče ljubljansko

Uroš Kaurin & Vito Weis Heroj 2.0 — Predstava vseh predstav Hero 2.0 — The Show of All Shows KUD Moment & Zavod EN-KNAP Peter Mlakar, Dragan Živadinov Odilo. Zatemnitev. Oratorij. Odilo. Obscuration. Oratorio. Režiser Director Dragan Živadinov Slovensko mladinsko gledališče & CUK Kino Šiška Po romanu I. Tavčarja Based on the novel by I. Tavčar Visoška kronika The Visoko Chronicle Režiser Director Jernej Lorenci SNG Drama Ljubljana Dušan Jovanović Zid, jezero The Wall, the Lake Režiser Director Miloš Lolić SNG Drama Ljubljana

26 — 27

20. 10. 2018 > 18.00 < Tribuna na Velikem odru

Pekinpah, Via Negativa, Center urbane kulture Kino Šiška Leja Jurišić & Marko Mandić

Skupaj Together Premiera Première: 27. 1. 2018, Kino Šiška Predstava traja 6 ur in nima odmora. Running time 6 hours. No interval. Avtorji Authors Leja Jurišić Marko Mandić Bojan Jablanovec Semira Osmanagić Glasba Music vsakokratni izbor glasbe iz arzenala svetovne in domače pop glasbe, predvajane v naključnem vrstnem redu računalniškega algoritma for each performance, the musical selection is from the arsenal of world and domestic pop music, played in a random order based on a computer algorithm Tehnični vodja Technical director Igor Remeta Tehnična postavitev Technical creators Andrej Petrovčič (svetloba lighting) Jure Vlahovič (zvok sound) Matej Marinček (video video) Producenta Producers Žiga Predan, Špela Trošt Zasedba Cast Leja Jurišić & Marko Mandić

Predstavi sledi pogovor z ustvarjalci v medetaži SNG Maribor. Post-performance discussion with the artists in the Mezzanine.

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anes smo priča neznosni inflaciji performativnosti. Utapljamo se v vseprisotnosti in mediatizaciji vsega. Hitro najdemo razloge, kaj nam je skupno, toda (skoraj) z ničimer več (za dolgo) ne zdržimo skupaj. »Skupaj« zahteva investicijo, ki smo jo vedno teže pripravljeni plačati. »Skupaj« je površina, na kateri stalno drsi – bolj ko skupnost želimo formalizirati, večja praznina začne zevati v skupnem. Za politiko nerazrešljiva težava, za performans večni ideal. ¶ Performerski dvojec Jurišić-Mandić, v sodelovanju z režiserjem Bojanom Jablanovcem in pisko Semiro Osmanagić, se ukvarja z idealom performansa in nerazrešljivo težavo politike: Kaj pomeni biti skupaj in kako biti skupaj? ¶ Marko in Leja to vprašanje obračata vase: zakaj hočem biti skupaj, kako vzdržati skupaj, kaj narediti (s sabo), da bo »skupaj« realizacija presežka (mene), kako se izmakniti hierarhiji moči … In kako ta »skupaj« vzpostaviti v performativnem času in prostoru gledalca. »Skupaj« je neko mitično mesto zlitja, ki posameznika »zaceli« z drugim. Za to potrebujeta čas. Pogled tretjega, ki išče svoj prostor v skupnem, vstopa v performans skozi misli Semire Osmanagić, ki z besedo interpretira in pritiska na nevidne kljuke nevidnih vrat v »skupaj«. ¶

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28 — 29

oday we are witnessing an unbearable inflation of performativity. We are drowning in the constant presence and mediatisation of everything. We are quick to identify what binds us together, yet we are unable to bind ourselves to anything for any significant amount of time. “Together” requires an investment that is increasingly difficult to pay. “Together” is a surface, on which you will always slip – and the more we try to formalise it, the larger the emptiness gaping in what supposedly binds us together. For politics, an irresolvable issue, for performing arts, an eternal ideal. ¶ The performing duo Jurišić – Mandić, in collaboration with director Bojan Jablanovec and writer Semira Osmanagić, addresses the all-time ideal of performing arts and the forever irresolvable issue of politics: what does it mean to be together and how should we be together? ¶ Leja and Marko turn the question upon themselves: Why do I want to be together, how to endure being together, what to do (with oneself) so that “together” becomes a realisation of a surplus (in me), how to avoid the hierarchy of power? And how to establish this “together” in the performative time and space of the spectator? “Together” is a sort of a mythical site of fusion that “heals” an individual with another individual. For this, they require time. The word enters the event through the thoughts of Semira Osmanagić, which are being created and projected during the actual event. This is the gaze of the third seeking its own place in togetherness, which is always already an interpretation pushing on the invisible handles of the invisible doors into “togetherness”. ¶ foto/photo: Matija Lukič

21. 10. 2018 > 21.00 < Stara dvorana

Prešernovo gledališče Kranj Ferdinand von Schirach

Teror Terror Premiera Première: 3. 12. 2017, Prešernovo gledališče Kranj Predstava traja 1 uro 40 minut in ima en odmor. Running time 1 hour 40 minutes. One interval. Predstavi sledi pogovor z ustvarjalci v medetaži SNG Maribor. Post-performance discussion with the artists in the Mezzanine.

Režiser Director Eduard Miler Prevajalec Translator Jaša Drnovšek Dramaturginja Dramaturg Žanina Mirčevska Scenograf Set designer Branko Hojnik Kostumografinja Costume designer Jelena Proković Avtor videa Video designer Atej Tutta Izbor glasbe Music selection Eduard Miler Lektorica Language consultant Maja Cerar Oblikovalec maske Make-up designer Matej Pajntar Oblikovalec svetlobe Lighting designer Bojan Hudernik Asistentka kostumografinje Assistant costume designer Nina Prelovšek Zasedba Cast Predsednik Presiding Judge Borut Veselko Obtoženi Defendant Miha Rodman Branilec Defence Counsel Aljoša Ternovšek Državna tožilka State Prosecutor Darja Reichman Lauterbach Christian Lauterbach, witness Peter Musevski Gospa Meiser Franziska Meiser, witness Vesna Slapar Stražnik Guard Ciril Roblek k. g. as guest Zapisnikarica Stenographer Judita Polak k. g. as guest

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ako se odločati o stvareh, ki niso črno-bele in glede katerih ni enostavno zavzeti stališča? ¶ Teror je drama o vojaškem pilotu Larsu Kochu, ki je sestrelil ugrabljeno potniško letalo in ubil 164 nedolžnih potnikov, ker je hotel rešiti 70.000 ljudi na stadionu Allianz Arena v Münchnu, kamor je ugrabitelj nameraval strmoglaviti . Drama se dogaja v sodni dvorani, v kateri so poleg vojaškega pilota Larsa Kocha (obtoženega za smrt 164 potnikov na letalu) tudi predsednik sodišča, branilec, državna tožilka in dve priči ter seveda tudi gledalci, ki morajo tokrat prevzeti vlogo porotnikov: prav oni so tisti, ki z glasovanjem odločajo o pilotovi krivdi oziroma nedolžnosti. Med sodnim procesom proti pilotu Larsu Kochu se namreč izkaže, da se je po lastni presoji odločil za manjše število žrtev na račun večjega števila na nogometnem stadionu, kar pa seveda sproža etična vprašanja – koliko pravzaprav šteje življenje posameznika? Ali je bolje sestreliti letalo s 164 potniki, da se izognemo smrti 70.000 ljudi na nogometnem stadionu? Ali bi pilot sestrelil letalo tudi, če bi bila na krovu njegova družina? Dilema, ki jo sprožajo drama in njene uprizoritve, je etična dilema »nemogoče odločitve«, kako se odločati v skrajnih primerih terorističnih akcij. Obtoženi pilot Lars Koch se je namreč moral v hipu odločiti, kako rešiti situacijo in koga žrtvovati. ¶

53. Borštnikovo

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ow do we decide about things that are not just black or white? ¶ Terror deals with an exceptionally difficult moral and ethical dilemma, that is, how to make decisions in extreme situations and how much individual human lives are worth. The play takes place in a courtroom where, along with military pilot Lars Koch (accused of the death of 164 plane passengers), the presiding judge, the defence counsel, the public prosecutor and two witnesses are present as well as, of course, the audience, who have to take on the role of jurors this time. They are the ones who will decide the pilot’s guilt or innocence by casting a vote. During the trial against Lars Koch, it actually turns out that he made a judgement call for fewer victims in exchange for a greater number in a football stadium, which of course brings up ethical questions: How much is a person’s life actually worth? Is it better to shoot down a plane with 164 passengers to avoid the death of 70,000 people in a football stadium? Would the pilot have shot down the plane even if his family had been on board? The dilemma posed by the play and its performances is an ethical one of making an “impossible decision” over how to decide in extreme cases of acts of terrorism. The prosecuted pilot Lars Koch had to decide instantly how to save the situation and whom to sacrifice. ¶ foto/photo: Nada Žgank

30 — 31

22. 10. 2018 > 19.00 < Tribuna na Velikem odru

Slovensko mladinsko gledališče, Maska Ljubljana Ferdinand von Schirach

6

Premiera Première: 31. 3. 2018, Nova pošta Ljubljana Predstava traja 1 uro 20 minut. Running time 1 hour 20 minutes. Predstavi sledi pogovor z ustvarjalci v medetaži SNG Maribor. Post-performance discussion with the artists in the Mezzanine. Režiser Director Žiga Divjak Asistentka raziskave Research assistant Maja Ava Žiberna Oblikovalec videa Video designer Domen Martinčič Na videu Appearing in the video Sajjad Ahmadi Ojalan Alothman Sayed Mahdi Hashemi Erfan Gulzari Omid Moradi Majid Tahiri Oblikovalec zvoka Sound designer Iztok Drabik Jug Oblikovalec svetlobe Lighting designer David Orešič Izbor glasbe Music selection Eduard Miler Svetovalka za kostumografijo Costume design consultant Slavica Janošević Svetovalka za jezik Language consultant Mateja Dermelj Vodja predstave Stage manager Mato Marinček Producentka Production manager Tina Dobnik Zasedba Cast Iztok Drabik Jug, Alja Kapun, Katarina Stegnar, Vito Weis, Gregor Zorc

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n 19 February 2016, the principal of the student Dormitory DŠD Kranj received an unexpected visit from the Deputy Mayor and the Chief of the Civil Protection and Disaster Relief of the Municipality of Kranj. How will we prevent that? How will we prevent that? Prevent ne 19. 2. 2016 ravnateljico what? Prevent the arrival Dijaškega doma Kranj nena- of underage asylum seekers povedano obiščeta podžupan in to the dormitory or prevent vodja Službe za zaščito Mestne the resistance from the stuobčine Kranj. Kako bomo to pre- dents’ parents? ¶ prečili? Kako bomo to preprečili? Preprečili kaj? To, da bi v dijaški dom prišli mladoletni prosilci za azil, ali to, da bi bili starši dijakov proti? ¶ foto/photo: Matej Povše

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53. Borštnikovo

32 — 33

22. 10. 2018 > 21.00 < Stara dvorana

Prešernovo gledališče Kranj, Mestno gledališče Ptuj, Mini teater Ljubljana Tadeusz Słobodzianek

Naš razred Our Class Premiera Première: 24. 3. 2018, Prešernovo gledališče Kranj Predstava traja 2 uri 50 minut in ima en odmor. Running time 2 hours 50 minutes. One interval. Naslov izvirnika Original title Nasza klasa

Predstavi sledi pogovor z ustvarjalci v medetaži SNG Maribor. Post-performance discussion with the artists in the Mezzanine.

Režiserka Director Nina Rajić Kranjac Prevajalka Translator Darja Dominkuš Dramaturginja Dramaturg Marinka Poštrak Scenografinja Set designer Urša Vidic Kostumograf Costume designer Andrej Vrhovnik Skladatelj in korepetitor Composer and répétiteur Branko Rožman Koreografinja Choreographer Tanja Zgonc Lektorici Language consultants Barbara Rogelj Irena Androjna Mencinger Oblikovalec svetlobe Lighting designer Borut Bučinel Oblikovalec maske Make-up designer Matej Pajntar Zasedba Cast Dora (1920–1941) Darja Reichman Zocha (1919–1985) Vesna Pernarčič Rachelka, pozneje Marianna Rachelka, later Marianna (1920–2002) Vesna Jevnikar Jakub Kac (1919–1942) Miha Rodman Rysiek (1919–1942) Blaž Setnikar Menachem (1919–1975) Nejc Cijan Garlatti k. g. as guest Zygmunt (1918–1977) Benjamin Krnetić k. g. as guest Heniek (1919–2001) Peter Musevski Władek (1919–2001) Aljoša Ternovšek Abram (1920–2003) Borut Veselko Judita Polak (čelo cello) k. g. as guest Ciril Roblek (kitara guitar) k. g. as guest

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aš razred je šokantna pripoved o zapletenih poljsko-judovskih odnosih v dvajsetem stoletju, o kolektivni krivdi, o resnici, ki je očitno nihče ne potrebuje, in o zgodovini, ki ji ne moremo soditi, je spremeniti ali celo pojasniti. Zgodba temelji na resničnem dogodku, ki se je zgodil na Poljskem med drugo svetovno vojno, ko so v majhnem poljskem mestu Jedwabne na krut način ubili po nekaterih navedbah 300, po drugih 1.600 Judov. Dolgo prikrivana resnica o tem dogodku – da so pomor dejansko izvršili njihovi poljski someščani, in ne nacisti – je prišla na dan šele pred nekaj leti, saj so po vojni ta grozljivi pomor seveda zamolčali, preživeli pa so – tako rablji kot žrtve – morali sobivati še naprej, z vsemi osebnimi ranami, krivdo in maščevanji. ¶ Avtor te virtuozno napisane drame skorajda dokumentarno sledi usodam desetih učencev nekega povsem običajnega šolskega razreda, da skozi zapleten preplet usod prikaže grozovite posledice tako stalinistične kot nacistične ideološke indoktrinacije. Ti sta med ljudmi povzročili popoln razkol in sovraštvo in jih obremenili s kolektivno krivdo ter njenimi posledicami, ki jih določajo in zaznamujejo še danes. Ali kot pravi Władek, eden izmed preživelih te neizmerno žalostne in hkrati poučne zgodbe: »Zmeraj sem verjel, da bo resnica na koncu zmagala.« ¶ foto/photo: Nada Žgank

53. Borštnikovo

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ased on a real event which occurred in Poland during the Second World War when, in the small Polish town of Jedwabne, according to some references 300 and according to others 1,600 Jews were cruelly killed. The longconcealed truth about the event – that the slaughter was actually perpetrated by their fellow Polish townspeople and not by the Nazis – came out only a few years ago. After the war, in fact, this horrifying slaughter was of course kept secret, and the survivors – the perpetrators and the victims alike – had to continue to coexist, with all their personal wounds, guilt and revenge.¶

The author of this virtuosically written play follows almost documentarily the fate of ten pupils of a perfectly ordinary school class. Through an elaborate intertwinement of destinies, he wants to show the horrendous consequences of both the Stalinist and Nazi ideological indoctrination that caused a complete schism and hatred among people, burdening them with collective guilt and its consequences which determine and mark them still today. Or as Władek, one of the survivors of this immensely sad and at the same time instructive story, puts it: “I have always believed that the truth would triumph in the end.” ¶

34 — 35

Gledališče Glej

23. 10. 2018 > 18.00 < Mali oder

Po motivih Epa o Gilgamešu Based on the Epic of Gilgamesh

Gilgalovanje Gilgrieving Premiera Première: 30. 3. 2018, Gledališče Glej Predstava traja 2 uri. Running time 2 hours. Predstavi sledi pogovor z ustvarjalci v medetaži SNG Maribor. Post-performance discussion with the artists in the Mezzanine. Režiserka Director Tjaša Črnigoj Prevajalca Translators Mirko Avsenak Andrew George Kostumografinja Costume designer Tijana Todorović Oblikovalec zvoka in glasbe Music and sound designer Aleš Zorec Oblikovalka svetlobe Lighting designer Tjaša Črnigoj Lektorica Language consultant Kristina Anželj Tehnični vodja Technical director Grega Mohorčič Izvršna producentka Executive producer Anja Pirnat Zasedba Cast Rok Kravanja & Andraž Jug

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p o Gilgamešu je nasta( ja)l v drugem tisočletju pred našim štetjem v Mezopotamiji. Prva znana različica epa naj bi nastala kot slavospev Gilgamešu, junaškemu vladarju, ki se z vojaškim bojnim pohodom ter iskanjem telesne nesmrtnosti postavlja po robu bogovom in smrti; usodi, ki so jo bogovi namenili ljudem. Toda Ep o Gilgamešu se je skozi čas spreminjal in razvijal, čemur naj bi botrovali preobrati v družbi in spremenjen odnos ljudi do bogov. Tako je bila v kasnejši različici Gilgameševa zgodba postavljena v popolnoma nov kontekst z drugačnimi poudarki, umeščena v pripovedni okvir avtobiografije v tretji osebi, ki ji je bila med drugim dodana tudi Gilgameševa smrt. Zdi se, da ta danes standardna različica govori o Gilgameševem umiranju in da se poglablja v vprašanja o strahu pred smrtjo ter tudi o tem, kaj v življenju resnično šteje, takrat ko zremo smrti v obraz. Vprašanja, s katerimi se lahko poistoveti vsak človek. ¶ Gilgalovanje je dogodek; nekakšen objokovalski ritual; obredno naricanje in žalovanje za gilgameševskimi junaškimi maskami. Dva performerja, dva igralca, dva posameznika eden za drugega, eden v podporo drugemu in tudi eden na račun drugega uprizarjata svoje lastne gilgameševske maske; da bi se v svoji upornosti utrudile in bi jih lahko pokopala ter za njimi odžalovala. V imenu zrenja smrti v obraz. Skozi epsko pesem pa do svoje lastne kože; skozi smeh pa do krikov ranjenih živali; skozi lastno telo pa do stika s telesnostjo drugega. Gilgalovanje je ples s smrtjo! ¶

53. Borštnikovo

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he Epic of Gilgamesh was created in Mesopotamia, sometime during the second millennia BC. The first known version of the epic supposedly emerged as an ode to Gilgamesh, the heroic leader who stood up to the gods and confronted death (the fate gods intended for people) with his military campaign and the search for bodily immortality. However, the Epic of Gilgamesh changed and evolved through time. This was governed by the changes in society and the changing attitude of people towards the gods. Thus, in the later version, today considered to be the standard one, the story of Gilgamesh was set in a completely new context, with a different emphasis. It was placed into the narrative frame of an autobiography in the third person, and it included Gilgamesh’s death. It goes deeper into the fear and questions surrounding death as well as discusses the truly important things in life. These are issues with which every man can identify. – At the same time the Epic of Gilgamesh still preserves some of the spirit of the ode to a heroic ruler, which is most likely a result of the winding path of its origin! ¶ Gilgrieving is an event; it is a mourning ritual; a ritual lamentation and grieving for Gilgamesh’s heroic masks. Two performers, two actors, two individuals one for the other, one supporting the other as well as one at the expense of the other; they show their versions of Gilgamesh’s masks; in their persistence they tire, bury the masks and grieve for them. All of this in the name of staring death in the eyes. Through the epic poem to their own skin; through laughter to the screams of wounded animals; through one’s own body to the contact with the physicality of the other. Gilgrieving is a dance with death! ¶ foto/photo: Ivian Kan Mujezinović

23. 10. 2018 > 20.30 < Stara dvorana

Mestno gledališče ljubljansko

Avtorski projekt po igri Sen kresne noči Williama Shakespeara Project after Shakespeare’s comedy A Midsummer Night’s Dream

Sen kresne noči A Midsummer Night's Dream Premiera Première: 27. 10. 2017, Veliki oder MGL Predstava traja 2 uri 40 minut in ima en odmor. Running time 2 hours 40 minutes. One interval. Predstavi sledi pogovor z ustvarjalci v medetaži SNG Maribor. Post-performance discussion with the artists in the Mezzanine. Režiser Director Jernej Lorenci Dramaturg Dramaturg Matic Starina Scenograf Set designer Branko Hojnik Kostumografinja Costume designer Belinda Radulović Avtor glasbe Composer Branko Rožman Svetovalec za gib in asistent režiserja Choreographer and assistant director Gregor Luštek Oblikovalec svetlobe Lighting designer Andrej Hajdinjak Lektorica Language consultant Maja Cerar Asistent režiserja (študijsko) Student assistant director Daniel Day Škufca Asistentka dramaturga (študijsko) Student assistant dramaturg Nina Kuclar Stiković Zasedba Cast Jette Ostan Vejrup Jana Zupančič Ajda Smrekar Matej Puc Primož Pirnat Robert Korošec k. g. as guest

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ravljična komedija Sen kresne noči spada v zgodnje obdobje Shakespearovega ustvarjanja, v fazo »eksperimentalnih« in »romantičnih« komedij, kot sta tudi Dva gospoda iz Verone in Ljubezni trud zaman. Samo na videz preprosta, komično zasnovana ljubezenska drama omogoča najrazličnejše interpretacije, zato vsaka nova postavitev vzbuja velika pričakovanja. Na tehtnici so sanje in resničnost, burna čustva in hladni razum, nežna ljubezen in prvinski nagoni …¶ Igra se dogaja v atenskem gozdu v času praznovanj pred poroko kneza Tezeja in Hipolite. V nasprotju s strogimi in urejenimi Atenami je gozd, po katerem tavajo štirje atenski zaljubljenci, v rokah pravljičnih bitij, ki uravnavajo dogajanje, kakor se jim zahoče. Sami živijo zelo razbrzdano, njihovi prepiri in medsebojna obračunavanja so siloviti in brezkompromisni. V tem divjem okolju in ob pomoči čarovnij se dogaja vse mogoče. ¶ Ljubimcem iz Sna kresne noči se v spanju zgodi nekaj, na kar si pri belem dnevu ne bi upali niti pomisliti. Njihova erotika udari z vso silo na plan, junaki so nenadoma obsedeni od poželenja in strasti. Vendar ostajamo pri komediji – pomlad je tista, ki razvnema človekova čustva in jih žene v razposajenost. Sanje so bile resda moreče, a zmagata optimizem in vera v življenje. ¶

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he play is set in the Athenian woods during celebrations preceding the wedding of Theseus, the duke of Athens, and Hippolyta. In contrast to the strict and orderly Athens, the woods where four Athenian lovers are wandering are ruled by magical creatures that can control the events as they please. They live dissipated lives, and their quarrels and bickering are harsh and uncompromising. With the help of magic, many odd things can happen in this wild environment.¶ While asleep, the lovers of A Midsummer Night’s Dream are struck with something they would not dare to consider in broad daylight. Their eroticism strikes full blast, making them obsessed with desire and passion. However, since the play is a comedy, it is the Spring that has aroused their emotions and made them romp. Admittedly, their dreams were disconcerting, but the play is nonetheless a triumph of optimism and faith in life. Human beings are able to overcome unyielding rationalism which is initially advocated by Helena’s father Egeus and the duke Theseus, and they can take control of passions and instincts, set free on the lovers and Titania by Oberon and Puck.¶ A Midsummer Night’s Dream corroborates that the world of imagination is an important component of human personality.¶ foto/photo: Peter Uhan

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24. & 25. 10. 2018 > 18.00 < GT22

Kud Moment, Zavod EN-KNAP Uroš Kaurin & Vito Weis

Heroj 2.0 — Predstava vseh predstav Hero 2.0 — The Show of All Shows Premiera Première: 16. 10. 2017, Španski borci Ljubljana Predstava traja 1 uro 20 minut in nima odmora. Running time 1 hour 10 minutes. No interval. Uprizoritvi (25. 10. 2018) sledi pogovor z ustvarjalci v GT22. Post-performance discussion with the artists at GT22 on 25 October 2018. Avtorja in izvajalca Authors and performers Uroš Kaurin, Vito Weis Dramaturginja Dramaturg Katarina Stegnar Avtor videa Video design Boris Bezić Fotografinja Photographer Nada Žgank

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f you don’t think you are the best actor, stop acting. If you don’t think you are making the best show, don’t make it. If you don’t think you can be selected for the programme, don’t apply. Hero 2.0 talks exactly about this: it’s not a question of faith but complete and blind conviction, that Hero 2.0 IS the Show of All Shows.¶ All they have left on the way to triumph, are Opozorilo: v predstavi je themselves, shoulder to shoulder. The void, light and two actors. Heroes. uporabljen stroboskop. Both are leading heroes. Both fight for their place in front of the audience, Warning: a stroboscope is used in the performance. by all means. Uncompromisingly, over any obstacle to a superb creation, a masterpiece.¶ Hero 2.0’s main theme is ambition. We talk about it through problematising theatre. How we make it, how we perceive it, how we pere ne misliš, da si najboljši igralec, nehaj form it. Its meta-theatricality is honest and inclusive. The igrati. Če ne misliš, da delaš najboljšo two performers do everything by themselves. Their genuine predstavo, je ne delaj. Če misliš, da razpisa and humorous modus operandi becomes their theatrical mone boš dobil, ga ne piši. Heroj 2.0 govori toč- dus vivendi. ¶ Two naked actors, stripped of everything but no o tem. Ne gre za vprašanje vere, ampak za their desire to achieve the Show of All Shows. ¶ foto/photo: Nada Žgank popolno in slepo prepričanje, da Heroj 2.0 JE predstava vseh predstav. ¶ Vse, kar imata, vse, kar jima preostane na poti do triumfa, sta onadva, z ramo ob rami. Praznina, luč in dva igralca. Heroja. Oba sta glavna junaka. Oba se borita za svoje mesto pred publiko, izbira sredstev ni vprašanje. Brezkompromisno, preko vseh ovir do vrhunske stvaritve, mojstrovine, remek dela. ¶ Glavna tema predstave Heroj 2.0 je ambicija. O njej govori skozi problematiziranje gledališča: kako ga delamo, kako ga gledamo, kako ga izvajamo. Metagledališkost je iskrena in vključujoča. Dva izvajalca, ki delata vse sama. Njun pristen in duhovit modus operandi postane njun gledališki modus vivendi. ¶

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24. 10. 2018 > 20.30 < Tribuna na Velikem odru

Slovensko mladinsko gledališče, Center urbane kulture Kino Šiška Peter Mlakar, Dragan Živadinov

Odilo. Zatemnitev. Oratorij. Odilo. Obscuration. Oratorio. Premiera Première: 20. 4. 2018, Katedrala Kino Šiška Predstava traja 1 uro 10 minut. Running time 1 hour 10 minutes. Predstavi sledi pogovor z ustvarjalci v medetaži SNG Maribor. Post-performance discussion with the artists in the Mezzanine. Režiser Director Dragan Živadinov Scenografinja in kostumografinja Set and costume designer Dunja Zupančič Introvizija Introvision Janez Pipan Dramaturginja Dramaturg Tery Žeželj Avtor glasbe Author of music Dario Seraval Koreografa Choreographers Marko Mlačnik, Ivan Peternelj Oblikovalec digitalnih konstrukcij Digital constructions designer Boris Balant Animator digitalnih konstrukcij Digital constructions animator Gregor Balog Lektorica Language consultant Mateja Dermelj Oblikovalec svetlobe Lighting designer David Cvelbar Oblikovalec zvoka Sound designer Jure Vlahovič Oblikovalka maske Make-up designer Nathalie Horvat Asistent režiserja Assistant director Anže Rogelja Asistentka produkcije Production assistant Jera Topolovec Vodja predstave Stage manager Liam Hlede Zasedba Cast Gledališki zbor, Franz Theatrical chorus, Franz Primož Bezjak Gledališki zbor Theatrical chorus Damjana Černe Gledališki zbor Theatrical chorus Sara Dirnbek Gledališki zbor, Göring Theatrical chorus, Göring Ivan Godnič Odilo Globočnik Odilo Globočnik Jure Henigman

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ledališka predstava Odilo. Zatemnitev. Oratorij. je premiero doživela v negotovosti pred morebitnim izbruhom novega svetovnega spopada. Geostrateški in geopolitični interesi, vzponi nacionalizmov in rasizmov. Novice so srhljivo podobne tistim, ki so jim bili priča naši predniki pred drugo svetovno vojno in med njo. ¶ Odilo Globočnik je senčna podoba slovenske zgodovine. Je tisti Slovenec, ki je v hierarhiji nemškega nacističnega sistema zasedel najvišje položaje. Tisti Slovenec, ki je nagovarjal množico na enem od razvpitih nürnberških nacističnih shodov. Tisti Slovenec, ki je uresničeval operacijo Reinhard in bil odgovoren za smrt milijonov. Tisti Slovenec, ki je izumil uničevalno koncentracijsko taborišče. Tisti Slovenec, ki je upravljal koncentracijsko taborišče Rižarna. ¶ Za projekt so tako ključni jasno protinacistično stališče in ubijanje Globočnikovega imena ter preprečitev vstajenja njegovih dejanj. Uprizoritev se metodološko odreka razumevanju njegovih dejanj in nacionalsocializma kot nečesa normalnega. Še več, z obredom ubijanja imena hoče enkrat za vselej opraviti tako z Odilom Globočnikom kakor tudi z nacizmom in fašizmom ter onemogočiti njuno vrnitev in vnovični vzpon. Predstava znotraj okvira obreda ubijanja imena uprizarja zavest o poosebljenem zlu in se odpoveduje vstopu v gledališki identifikacijski model. Nacionalsocializem je največji realizem v zgodovini človeštva! ¶

Gledališki zbor, Himmler Theatrical chorus, Himmler Željko Hrs Gledališki zbor, Domobranec Theatrical chorus, Member of the Slovenian Home Guard Uroš Maček Gledališki zbor Theatrical chorus Maruša Oblak Vodja gledališkega zbora Theatrical chorus leader Ivan Peternelj Gledališki zbor Theatrical chorus Robert Prebil Gledališki zbor Theatrical chorus Ivan Rupnik Gledališki zbor Theatrical chorus Romana Šalehar Domobranca Members of the Slovenian Home Guard Žiga Mlakar, Pino Zupančič

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dilo Globočnik (or Globocnik), known as Globus, was born on 21 April 1904 in Trieste, to a Slovenian family originally from Tržič in the Gorenjska region. He débuted in politics as a visible member of the Austrian Nazi movement in 1922. Globočnik became one of the leading Austrian national socialists and he played a crucial role in the fall of the Austrian government and the Anschluss. Himmler, who was aware that Globočnik’s mercilessness and devotedness to the cause could be valuable, named him SS and police chief for the entire region. He was responsible for the destruction of the ghettos in Warsaw and Białystok, for the forced resettling of the Polish people and for Operation Reinhard – the setting up and control of the entire network of concentration, labour and extermination camps of Bełżec, Sobibór and Treblinka in the Lublin region, in which more than two million Jews and 50,000 Roma were killed. In his final report of the operation, he states that he confiscated from the Jews, in money, precious metals and clothes alone, more than 180 million Reichmarks worth of property. From some reports it is possible to conclude that it was probably Globočnik who proposed the gas chambers to Himmler as a tool for implementing the “Final Solution”.¶ foto/photo: Nada Žgank

Bobnar Drummer Jan Kmet Zastavonoše Standard-bearers Luka Bokšan, Darjan Anej Fras, Benjamin Jeram, Aljaž Mamič Lebar, Blaž Novak Formacija Formation Gašper Šenica Oktet Filozofske fakultete The Faculty of Arts Octet Žan Augustinčič, David Farčnik, Blaž Fideršek, Matej Kurinčič, Miha Mihaljčič, Juš Šoltes Umetniška vodja Okteta Filozofske fakultete The Faculty of Arts Octet artistic director dr. Tjaša Ribizel

SNG Drama Ljubljana

25. 10. 2018 > 20.00 < Stara dvorana

Po romanu Ivana Tavčarja Based on the novel by Ivan Tavčar

Visoška kronika The Visoko Chronicle

Predstavi sledi pogovor z ustvarjalci v medetaži SNG Maribor. Post-performance discussion with the artists in the Mezzanine. Režiser Director Jernej Lorenci Dramaturg Dramaturg Matic Starina Scenograf Set designer Branko Hojnik Kostumografinja Costume designer Belinda Radulović Skladatelj Composer Branko Rožman Oblikovalec svetlobe Lighting designer Pascal Mérat Koreograf Choreographer Gregor Luštek Lektorica Language consultant Tanja Stanić Asistenta režiserja Assistant directors Mirjana Medojević August Braatz Zasedba Cast Tamara Avguštin Nina Ivanišin Klemen Janežič Aljaž Jovanović Janez Škof

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he Visoko Chronicle is a historical novel, first published in 1919 in instalments in the literary magazine Ljubljanski zvon, and subsequently in book form in 1921. Considered unfinished due to the author’s death prior to its completion, The Visoko Chronicle ranks as one of the best Slovenian novels of all times. Although it is set in the 17th century, its historical themes — the Thirty Years War, witch hunts and the persecution of Protestants — made it easily accessible for readers after the Great War. Since then, every new generation has detected their own issues in the novel. The old-fashioned style of the godovinski roman, objavljen chronicles is characterised leta 1919 kot podlistek v Lju- by flowery and vibrant lanbljanskem zvonu in leta 1921 v prvi guage allowing the author’s knjižni izdaji, velja kljub nedokon- imagination and emotions to čanosti (Tavčarja je prehitela smrt) blend with convincing irony za eno najboljših del v slovenski and realistic observations of književnosti. Čeprav je dogajanje life. In terms of subject matpostavljeno v 17. stoletje, so bile ter, Tavčar combined the idea zgodovinske teme – tridesetletna of a fight against bigotry and vojna, preganjanje čarovnic, prega- social backwardness, with njanje protestantov – po véliki vojni patriotism and a love of one’s bralstvu blizu in vsako novo obdobje native soil. His choice of a ruodkriva v pripovedi svoje probleme. ral topic is matched by his deStarinski slog kronike prinaša so- scriptive skills in presenting čen, razgiban jezik, v katerem se the beauty of one’s native land pisateljeva domišljija in čustvo dru- and by the manifest anti-Geržita z močno ironijo in realističnim man attitude. How relevant is opazovanjem življenja, vsebinsko pa a chronicle of long-gone times namenja Tavčar poleg boja proti kle- when it addresses us one hunrikalizmu in družbeni zaostalosti dred years later – from a theveliko pozornosti domoljubju in atre stage? ¶ foto/photo: Peter Uhan ljubezni do zemlje: z izbiro kmečke snovi, opisovanjem lepote domačih krajev in jasnimi protinemškimi stališči. Kako aktualno nas nagovarja kronika davnih časov še stoletje pozneje – z gledališkega odra? ¶

Premiera Première: 20. 1. 2018, Veliki oder SNG Drama Ljubljana Predstava traja 3 ure 40 minut in ima en odmor. Running time 3 hours 40 minutes. One interval.

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SNG Drama Ljubljana

26. 10. 2018 > 20.00 < Stara dvorana

Dušan Jovanović

Zid, jezero The Wall, the Lake Premiera Première: 7. 10. 2017, Veliki oder SNG Drama Ljubljana Predstava traja 1 uro 15 minut in nima odmora. Running time 1 hour 15 minutes. No interval. Predstavi sledi pogovor z ustvarjalci v medetaži SNG Maribor. Post-performance discussion with the artists in the Mezzanine. Režiser Director Miloš Lolić Dramaturginja Dramaturg Darja Dominkuš Scenografinja Set designer Jasmina Holbus Kostumografinja Costume designer Sara Smrajc Žnidarčič Lektorica Language consultant Tatjana Stanić Oblikovalec svetlobe Lighting designer Aleš Vrhovec Zasedba Cast Lidija Lidija Polona Juh Sošolka Schoolmate Saša Mihelič Rudi Rudi Branko Šturbej Zdravnik Doctor Saša Tabaković

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ovanovićeva »celovečerna enodejanka«, prvič uprizorjena v Drami leta 1989, je nenavadno, silovito besedilo na meji več žairst staged at the SNT nrov, ki gledalca dobesedno posrka Drama Ljubljana in v svet svojih skrivnosti. Dogajanje 1989, this “full-length oneje postavljeno v dnevno sobo, ki sta act play” is an extraordinary jo zakonca Rudi in Lidija že davno and powerful text, bordering pregradila z zidom, zdaj pa vsak on various genres and drawsvojemu obiskovalcu pripovedujeta ing the viewers irresistibly o dramatičnih dogodkih izpred šti- into its world of secrets. The rinajstih let, ki so usodno zarezali v play is set in a living room, njuno življenje in ga za vselej spre- partitioned by a wall that menili. Pred štirinajstimi leti je Rudi and Lidija, a married namreč zgorela sosednja vila, v ka- couple, erected a long time teri je s svojo družino živel boemski ago. When people come to visslikar s precej nekonvencionalnim it them separately, they both pojmovanjem svobodne ljubezni in tell their own story of the odprtega zakona. Požar je povezan dramatic and fateful events z zločinom, umorom otrok, dogodki that occurred fourteen years niso bili nikoli povsem pojasnjeni. ago and irrevocably changed Zakonca, ki sta bila samo pasivni their lives forever. It was priči dramatičnega dogajanja v so- fourteen years ago when the seščini, pa sta se zapletla v vrtinec next-door villa, inhabited strasti, ljubosumja, zamer in novih by a bohemian painter and spoznanj, ki je oba pripeljal v svo- his family, sporting a rathjevrstno norost. Rudi in Lidija po er unconventional idea of svoje interpretirata pretekle dogod- free love and open marriage, ke, »različnost« njunih pogledov po- burnt down. The events of gosto učinkuje naravnost komično. the inauspicious night have Gledalci namreč spremljamo para- never been fully explained, lelno pripoved skozi dvojno optiko. ¶ so the fire has been associated with crime, even infanticide, ever since. The couple, who were just passive witnesses to the dramatic events in the neighbourhood, ended up in a maelstrom of passion, jealousy, resentment and new discoveries that brought upon them a peculiar sort of madness. Rudi and Lidija interpret the events of the past “differently”, which gives rise to the absurdity of their dissimilar views while the viewers follow their conflicting, and yet parallel, narratives from a dual point-of-view. ¶ foto/photo: Peter Uhan

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Žiga Divjak Študiral je gledališko režijo na UL AGRFT. V kulturno javnost je vstopil z nizom dogodkov in predstav s skupnim naslovom Tik pred revolucijo (2013–2015), s katerimi je gostoval na Festivalu Borštnikovo srečanje, na festivalu Non Stop Theater v Chemnitzu v Nemčiji in dvakrat v Zagrebu. Za omenjeno delo je leta 2015 prejel akademijsko Prešernovo nagrado. V letu 2017 je prejel Borštnikovo nagrado za najboljšo režijo (Človek, ki je gledal svet, Slovensko mladinsko gledališče). ¶ Studied theatre directing at the UL AGRFT; entered the cultural public with the series of events and performances Right Before the Revolution (2013–15), which he presented at the Maribor Theatre Festival, the Non-Stop Theatre Festival in Chemnitz (Germany) and twice in Zagreb (Croatia). This series won him the Student Prešeren Award from UL AGRFT (2015). In 2017, he won the Borštnik Award for Direction (The Man Who Watched the World, Mladinsko Theatre). ¶ Eduard Miler Gledališko kariero je začel v nemških in avstrijskih gledališčih. Med letoma 1973 in 1981 je igral v različnih nemških in avstrijskih gledališčih in nato v 80. letih začel režirati. Bil je umetniški vodja SMG, umetniški konzultant Kraljevega pozorišta Cetinje ter umetniški vodja Črnogorskega narodnega gledališča v Podgorici in SNG Drama Ljubljana. V svoji dolgoletni gledališki karieri je oblikoval več kot sto izrazito samosvojih uprizoritev tako v Sloveniji kot v tujini, za kar je bil večkrat nagrajen. Med njegovimi številnimi nagradami so tudi tri Borštnikove. V letu 2018 je prejel nagrado za žlahtnega režiserja na 27. festivalu Dnevi komedije. ¶ Started his career in German and Austrian theatres. Between 1973 and 1981, he acted in different German and Austrian theatres and started directing in the 1980s. Throughout his career, he has held positions as the artistic director of the Mladinsko Theatre, the SNT Drama Ljubljana and the Montenegrin National Theatre in Podgorica, and as the artistic consultant of the Royal Theatre in Cetinje. He has shaped a series of over one hundred distinctly unconventional stagings both in Slovenia and abroad, which have brought him numerous awards, among them, three Borštnik Awards. In 2018, he won the Noble Director Award at the 27th Days of Comedy. ¶

Nina Rajić Kranjac Že med študijem na UL AGRFT je za svoje režijsko delo prejela nagrade: študentsko nagrado za najboljšo produkcijo v celoti, za predstavo tisočdevetstoenainosemdeset (S. Semenič) nagrado za najboljšo produkcijo na Mednarodnem festivalu dramskih umetnosti v Zagrebu in Šeligovo nagrado za najboljšo slovensko uprizoritev na Tednu slovenske drame. Leta 2014 je prejela akademijsko Prešernovo nagrado za režijo. Leta 2015 je sprejela rezidentsko mesto v Gledališču Glej, kjer je režirala Zborovanje ptic (J. C. Carrièra in P. Brooka), s katero je na 56. mednarodnem gledališkem festivalu MESS v Sarajevu osvojila dve nagradi. Leta 2016 je za režijo iste predstave prejela Prešernovo nagrado Univerze v Ljubljani. ¶ She received several awards during her studies at the UL AGRFT: among them, for Three Sisters (2012), the student award for the best production. For the performance 1981 (S. Semenič), the first prize for the best production at the International Dramatic Arts Festival in Zagreb, the Šeligo Award for the Best Performance at the Week of Slovenian Drama; and in 2014, the Student Prešeren Award from UL AGRFT for her direction of this and another performance. In 2015, she accepted the resident position at Glej Theatre where she directed The Conference of the Birds (by J. C. Carrière and P. Brook) for which she won two awards at the 56th International Theatre Festival MESS in Sarajevo. In 2016, she received the Prešeren Award for Students from the University of Ljubljana for her direction of the same play. ¶ Tjaša Črnigoj Študirala je filozofijo in primerjalno književnost na Filozofski fakulteti v Ljubljani, vzporedno pa je na UL AGRFT pod mentorstvom Jerneja Lorencija študirala gledališko režijo ter diplomirala z uprizoritvijo Camusovega Kaligule. Trenutno na UL AGRFT zaključuje magistrski študij gledališke in radijske režije pod mentorstvom Tomislava Janežiča. Ustvarila je že nekaj uprizoritev, med drugimi tudi Hamletovanje (2014, Lutkovno gledališče Ljubljana – BiTeater), uvrščeno v spremljevalni program 50. Festivala Borštnikovo srečanje. ¶ She studied philosophy and comparative literature at the Faculty of Arts, University of Ljubljana, as well as theatre directing at the UL AGRFT under the mentorship of Jernej Lorenci and graduated with a staging of Camus’s Caligula. She is currently finishing her

53. Borštnikovo

master’s degree in theatre and radio directing at UL AGRFT under the mentorship of Tomislav Janežič. She has already created several performances, among others, Hamleting (2014, Ljubljana Puppet Theatre – BiTeater), which was selected for the Accompanying Programme of the 50th Maribor Theatre Festival. ¶ Jernej Lorenci Že v srednješolskih letih je pod okriljem Mrtvega gledališča Maribor režiral prve predstave. Po študiju gledališke in radijske režije na UL AGRFT režira v slovenskih in tujih gledališčih. Kratek čas je bil umetniški vodja Gledališča Ptuj. Leta 2007 je postal docent za področje gledališke in radijske režije na UL AGRFT. Za svoje delo je prejel številne nagrade, med njimi velike Borštnikove nagrade (2002, 2012, 2013, 2014, 2016), tri Borštnikove nagrade za režijo (2006, 2009, 2012), Šeligovo nagrado za najboljšo uprizoritev na Tednu slovenske drame (2006), dve nagradi na festivalu Zlati lev v Umagu na Hrvaškem (2001, 2009) in veliko nagrado na festivalu Ex Ponto (2003). V letu 2014 je prejel nagrado Prešernovega sklada ter nagrado Evropske komisije za gledališče Premio Europa v letu 2017. ¶ Under the wings of the Dead Theatre Maribor, he directed his first performances as a grammar school student. Since graduating in theatre and radio directing from the UL AGRFT, he has been directing in theatres in Slovenia and abroad, and among other things, was the artistic director of the Ptuj City Theatre. In 2007, he was appointed associate professor of theatre and radio directing at the UL AGRFT. His national and international awards include: the Borštnik Grand Prix for the Best Production (2002, 2012, 2013, 2014, 2016) and three for Best Directing (2006, 2009, 2012), the Šeligo Award for the Best Performance at the Week of Slovenian Drama (2006), two Grand Prix Awards at the Golden Lion Festival in Umag (Croatia, 2001, 2009), the Best Production Award at the Ex Ponto Festival (2014). In 2014, he received the Prešeren Fund Award and in 2017, the European Commission Award for Theatre Premio Europa. ¶ Miloš Lolić V Beogradu je na FDU študiral gledališko in radijsko režijo. Po študiju je režiral na Dunaju, v Berlinu, Münchnu, Baslu, Düsseldorfu in Beogradu besedila Shakespeara, Schillerja, Evripida, Musila, Koltèsa, Jelinkove, Pinterja, Lorce, Schwaba, Crnjanskega, Tollerja, Kroetza … V Ljubljani je režiral uprizoritve Bartleby, pisar

48 — 49

po Melvillu v Mini teatru, Jacques ali podrejenost Eugèna Ionesca in Adam in Eva Miroslava Krleže v MGL. Za svoje predstave je prejel nagrade v Avstriji (Nestroy Prize 2012, Dorothea Neff 2014), Nemčiji (Bayerische Theatertage 2012), Sloveniji (Festival Borštnikovo srečanje 2011) in Srbiji (Bitef grand prix 2009, Bitef Politikina nagrada 2012, nagrada mesta Beograda 2013). ¶ Studied theatre and radio directing at the Faculty of Dramatic Arts in Belgrade. Since graduating, he has directed texts by Shakespeare, Schiller, Euripides, Musil, Koltès, Jelinek, Pinter, Lorca, Schwab, Crnjanski, Toller, Kroetz ... in Vienna, Berlin, Munich, Basel Düsseldorf and Belgrade. In Ljubljana, he directed Bartleby, the Scrivener (after Melville) at Mini teater Ljubljana; Jack, or The Submission by Eugène Ionesco and Adam and Eve by Miroslav Krleža, both at the Ljubljana City Theatre. His performances have won him awards in Austria – Nestroy Prize 2012, Dorothea Neff 2014; Germany – Bayerische Theatertage 2012; Slovenia – the Borštnik Award at the Maribor Theatre Festival 2011; and Serbia – Bitef Grand Prix 2009, Bitef Politika Prize 2012, Belgrade City Award 2013. ¶ Dragan Živadinov Študiral je na UL AGRFT in sredi 80. let soustanovil 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. ¶ He studied at the UL AGRFT and in the 1980s (co)-founded the most radical experimental projects in Slovenia (Scipion Nasice Sisters Theatre, 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. ¶

53. Borštnikovo 50—51

Kristian Novak, Tomislav Zajec Črna mati zemla Black Mother Earth Režiserka Director Dora Ruždjak Podolski Zagrebačko kazalište mladih (HR) Ivan Cankar Pohujšanje v dolini šentflorjanski Scandal in St. Florian Valley Režiser Director Eduard Miler SNG Drama Ljubljana, Mestno gledališče ljubljansko & Cankarjev dom Ljubljana Pavol Liška & Kelly Copper Zasledovalci sreče Pursuit of Happiness Režiserja Directors Pavol Liška & Kelly Copper Zavod EN-KNAP, Théâtre de la Ville (FR) & steirischerherbst (AT) Svetlana Makarovič Prekleti kadilci Bloody Smokers Režiser Director Tin Grabar SNG Drama Ljubljana Po kratki zgodbi Nikolaja Vasiljeviča Gogolja Based on the work by Nikolai Vasilievich Gogol Zapiski blazneža Diary of a Madman Režiser Director Marjan Nećak Moving Music Theatre Bitola (MK) Janez Vrečko KONS:O:VEL Režiser Director Matjaž Berger Anton Podbevšek Teater Novo mesto Studia humanitatis & Cankarjev dom Ljubljana

Ana Pandur Predin Firebird Režiserka Director Ana Pandur Predin Ana Pandur, PKD Flamenko & Cankarjev dom Ljubljana Kitch PopParty Režiser Director Kitch Kitch & Zavod Bunker Via Negativa 365padcev 365falls Režiser Director Bojan Jablanovec Via Negativa, Forum Freies Theater Düsseldorf (DE) & Zavod Bunker Pippo Delbono Vangelo / Evangelij Vangelo / Gospel Režiser Director Pippo Delbono Compagnia Pippo Delbono (IT), Emilia Romagna Teatro Fondazione (IT), HNK Zagreb (HR), Théâtre Vidy Lausanne (CH), Maison de la Culture d‘Amiens — Centre de Création et de Production (FR), Théâtre de Liège (BE) Pippo Delbono La Gioia / Radost La Gioia / Joy Režiser Director Pippo Delbono Compagnia Pippo Delbono (IT), Emilia Romagna Teatro Fondazione (IT), Théâtre de Liège (BE), Le Manège Maubeuge — Scène Nationale (FR)

17. 10. 2018 > 20.00 < Tribuna na Velikem odru Zagrebačko kazalište mladih ZKM (HR) Kristian Novak, Tomislav Zajec

Črna mati zemla Black Mother Earth Premiera Première: 1. 4. 2017, ZKM Predstava traja 2 uri 40 minut. Running time 2 hours 40 minutes. Režiserka Director Dora Ruždjak Podolski Avtor dramatizacije in dramaturg Author of dramatisation and dramaturg Tomislav Zajec Scenograf Set designer Stefano Katunar Kostumografinja Costume designer Doris Kristić Sodelavka za odrski gib Stage movement Petra Hrašćanec Skladatelj Composer Stanko Kovačić Oblikovalec svetlobe Lighting designer Aleksandar Čavlek Asistentka režije Assistant director Lea Anastazija Fleger Asistentka kostumografije Assistant costume designer Marta Žegura Lektorica Language consultant Ines Carović Korepetitor Répétiteur Milorad Stranić Oblikovalec maske Make-up designer Slavko Vidović Avtor risb Drawings Tit Medvešek Inspicientka Stage manager Milica Kostanić Dramski pedagoginji Drama teachers Tina Orlandini, Arijana Prekazi Zasedba Cast Matija Adrian Pezdirc Franjo Dado Ćosić Mama Mother Doris Šarić Kukuljica Babica Grandmother Urša Raukar Dr. Miholjek Lazanin, Hešto Pjer Meničanin Dr. Perković, Pujto Milica Manojlović Iva Nataša Dorčić Dina Mia Biondić Teta, Lidija, Terezija Kunčec Aunt, Lidija, Terezija Kunčec Dora Polić Vitez Učiteljica, Dejanova mama Teacher, Dejan’s mother Suzana Nikolić Milica, Suzana Barbara Prpić Silvija, Franjeva mama Silvija, Franjo’s mother Nadežda Perišić Radović Duhovnik, Zvonko Demokracija Priest, Zvonko Demokracija Damir Šaban Mladen Horvat Danijel Ljuboja Franjev oče, Dejanov oče, Svak (Šogor), Stankec, Imbro Perčić Franjo’s father, Dejan’s father, Brother-in-law (Šogor), Stankec, Imbro Perčić Zoran Čubrilo Dejan, Zdravko Tenodi Jasmin Telalović Krunek, Mario Brezovec Mateo Videk Glasbenik Musician Stanko Kovačić Mali Matija Little Matija Nikola Ljutić / Leon Bujanović

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redstava Črna mati zemla je dramatizacija istoimenske »medžimurske sage« pisatelja Kristiana Novaka. Govori o krivdi in odpuščanju, o smrtih in legendah, o nezavednem in strahovih, o potlačenih travmatičnih dogodkih in poskusih življenja z njimi v krajih, kjer ljudje veliko preklinjajo in pošiljajo tegobe »v črno mater zemlo«. Medžimurje s kajkavščino zaživi na odru, mitologija se prepleta z resničnostjo, preteklost s sedanjostjo, v ospredje pa stopajo osebe s krepko gravitacijo: Samoprevara in eskapizem zmanjšujeta bolečino, a peljeta v izolacijo. ¶ Izolacija je rodovitna podlaga za demone v podobi prijateljev. ¶ Občutek (četudi neupravičene) krivde za smrt drugih postaja viden in privlači sovraštvo kolektiva. ¶ Kolektiv grobo ravna s tistim, ki krivdo občuti, ne s tistim, ki jo zanika.¶ Narativ kolektiva si na vse kriplje prizadeva ostati samoafirmativen, golta vse uporabno in izpljune ostalo. ¶ Sidro uprizoritve po besedah avtorja dramatizacije in dramaturga leži v Matijevih besedah iz romana: »Preveč čuda sega je okoli mene i bojim se ka bum se zgubijo v našoj hiži ali v našemo vrto jer su stvari i namještaj i drejva i životinje več nej takše kakše su predi bile. Ve mi saka 1 Kristian Novak, stvar oče neka reči. Stalno Črna mati zemla, Algoritam, Zagreb, samo povejdajo, vmes. Negda Mostar, 2014, nemrem tau več poslušati, str. 81. ponorjo bom.«1 ¶ Predstava o dečku, izgubi, strašni skrivnosti in skupnosti, ki se ji zamajejo temelji, o prijateljstvu, ljubezni in izdaji, kako je vsak od nas kdaj na tisti strani, ki obrne hrbet. Je izpoved in opravičilo tistim, ki niso bili slišani. Vabi in mami: »Hodi bliže. Bomo ti pokazali kak je črna.« ¶

53. Borštnikovo

o M e d n a r ti a I nt e r n

a ce v a

T

d on n a p r e d s t n a al p e r f or m

Gostovanje sta podprla Ministrstvo za kulturo Republike Hrvaške in Mesto Zagreb. The guest performance is supported by the Ministry of Culture of the Republic of Croatia and the City of Zagreb.

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he performance Black Mother Earth is a dramatisation of the “Međimurje saga” of the same title by the writer Kristian Novak. It talks about guilt and forgiveness, about deaths and legends, about the unconscious and fears, about suppressed traumatic events and attempts to live with them in the places where people curse a lot and send their grief packing “to black mother earth”. Međimurje with its typical dialect comes to life onstage, mythology intertwines with reality, the past with the present, and characters of pronounced gravitas come to the forefront: Self-deception and escapism reduce pain, but lead to isolation. ¶ Isolation is a fertile ground for demons in the shape of friends. ¶ The feeling of guilt (albeit unjustified) for the death of another becomes visible and attracts the hate of the collective. ¶ The collective gives a rough treatment to the one who feels the guilt, not to the one who denies it. ¶ The narrative of the collective tries desperately to remain self-informative, it gobbles what’s useful and spits out the rest. ¶ The anchor of the performance, in the words of the author of the dramatisation and dramaturg, lies in Matej’s words from the novel: “There’s too much of everything strange around me and I fear I will get lost in our house or our garden, because the things and furniture and trees and animals are no more like they were before. Like every little thing wants to say me something. They just keep saying all the time. I can’t hear no more, I’ll go crazy.”1 ¶ A performance about a boy, a loss, 1 Kristian Novak, a terrible secret and a community whose Črna mati zemla, Algoritam, Zagreb, Mostar, 2014, p. 81. foundations are shaken; about friendship, [translator's translation] love and betrayal; and about how each one of us at times sides with the side that turns its face away. It is an apology to those who haven’t been heard. It invites and entices: “Come hither. We will show you how black it is.” ¶ foto/photo: Marko Ercegović

19. 10. 2018 > 19.30 < Velika dvorana SNG Drama Ljubljana, Mestno gledališče ljubljansko, Cankarjev dom Ljubljana Ivan Cankar

Pohujšanje v dolini šentflorjanski Scandal in St. Florian Valley Premiera Première: 26. 1. 2018, Gallusova dvorana, Cankarjev dom Predstava traja 1 uro 30 minut in nima odmora. Running time 1 hour 30 minutes. No interval. Režiser Director Eduard Miler Avtorica priredbe in dramaturginja Author of adaptation and dramaturg Žanina Mirčevska Scenograf Set designer Branko Hojnik Avtor videa Video Atej Tutta Avtor glasbe Composer Janez Dovč Koreografinja Choreographer Rosana Hribar Kostumografinja Costume designer Jelena Proković Oblikovalec svetlobe Lighting designer Andrej Hajdinjak Lektorica Language consultant Maja Cerar Oblikovalka maske in frizure Make-up and hair designer Tina Prpar Asistentki oblikovalke maske in frizure Assistant make-up and hair designers Neli Štrukelj & Nina Prelovšek Zasedba Cast Peter Uroš Smolej Jacinta Maša Kagao Knez Župan The Mayor Primož Pirnat Županja The Mayor’s Wife Iva Krajnc Bagola Dacar The Tax Collector Lotos Vincenc Šparovec Dacarka The Tax Collector’s Wife Maša Derganc Ekspeditorica The Postmistress Jana Zupančič Učitelj Šviligoj Schoolmaster Šviligoj Igor Samobor Notarka The Notary Nina Valič Štacunar The Shopkeeper Gašper Jarni Štacunarka The Shopkeeper’s Wife Rosana Hribar Cerkovnik The Sexton Gregor Čušin Popotnik The Vagabond Nik Škrlec Glasbeniki Musicians Janez Dovč, Kristijan Krajnčan, Goran Krmac

Č

e bi danes izbirali najčednejši kraj na Slovenskem, bi dolina šentflorjanska zagotovo zasedla eno izmed prvih mest. Bogaboječi Šentflorjanci vedo, da dober sloves seže v deveto vas, slab pa v deveto deželo. Ko se v njihovo dolino spuste tujci, domačini strnejo vrste in se postavijo v bran spodobnosti. Eden izmed prišlekov je namreč nebodigatreba – umetnik, ki pride v spremstvu poželjive Jacinte in ekscentričnega Konkordata. ¶ Čeprav so duri v dolini šentflorjanski trdno zapahnjene, ima tudi tu noč svojo moč. Umetnik najde pot v sleherno izbo. Iz popotne malhe izvleče na plan skrivnost, ki bi lahko očrnila neomadeževani sloves doline. Pred petindvajsetimi leti so Šentflorjanci pod vrbo našli dete; sirota je bila sad grešnega prešuštva. Dete so poimenovali Peter, ga položili v košaro in splavili po reki. Nihče ne ve, kdo sta bila grešnika, ampak ko uzrejo umetnika Petra, vsak posebej sprevidi, da kri ni voda. Za molk ga darežljivo poplačajo z zlatom. Konkordat, ki je hudič v človeški podobi, pa si obeta drugačen dobiček. Umetnik (ta se za Petra le izdaja, v resnici pa ni sirota, ampak razbojnik Krištof Kobar) mu je bil obljubil brezmadežne duše Šentflorjancev. A med njimi, ki zdaj vsi po vrsti hlastno jedo Petru z roke in Jacinti s slastjo poljubljajo noge, ni niti ene čiste duše. Zlodej posumi, da iz te moke ne bo kruha. Takrat pa se od nekod pritepe še prava sirota – Peter. Krištof z Jacinto za las ubeži jezi Šentflorjancev, ki se potem znesejo nad Petrom in ga naženejo v svet. Hudič pa v sili muhe žre. ¶

53. Borštnikovo

I

f one was to select the nattiest place in Slovenia of today, St. Florian Valley would definitely occupy one of the winning positions. The god-fearing people of St. Florian Valley know all too well that away from home people look at your clothes, while at home they look at what is under them. When foreigners descend to their valley, the locals tend to close ranks and stand up for decency. One such newcomer is an undesired good-for-nothing, an artist, accompanied by the desirable Jacinta and the eccentric Concordat. ¶ Although the gates in St. Florian Valley are firmly bolted, anything can happen during the night. The artist sneaks into every chamber. He produces a secret plan from his knapsack that could easily smear the valley’s unblemished reputation. Twenty-five years ago the good people of the valley found a baby underneath a willow tree; an orphaned fruit of sinful adultery. They named the baby Peter, put him in a basket and sent him floating

down the river. Nobody knows who the sinners were, but the moment the people of the valley set eyes on Peter, the artist, each of them grasps that blood is thicker than water. To silence him they generously pay him in gold. But Concordat, who is actually the Devil in human form, imagines a different return altogether. The artist (pretending to be Peter) is actually no orphan at all, but Krištof Kobar, a robber, who has promised the Devil the untarnished souls of the locals. It turns out, however, that there is not a single pure soul among those who eat voraciously out of Peter’s hand and kiss Jacinta’s feet with relish. The Devil suspects that Peter’s efforts will bear no fruit. At that point, the true orphan Peter appears out of the blue. Krištof and Jacinta narrowly escape the rage of the people of St. Florian Valley. They eventually take it out on the real Peter and banish him into the wide world. Meanwhile, in his hour of need, the Devil eats flies. ¶ foto/photo: Peter Uhan

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20. 10. 2018 > 18.00 < Lutkovno gledališče Maribor Zavod EN-KNAP, Théâtre de la Ville (FR) & steirischerherbst (AT) Pavol Liška & Kelly Copper

Zasledovalci sreče Pursuit of Happiness Premiera Première: 1. 12. 2016, Center kulture Španski borci, Ljubljana Predstava traja 1 uro 55 minut in nima odmora. Running time 1 hour 55 minutes. No interval. Režiserja Directors Pavol Liška & Kelly Copper Avtorja idejne zasnove in besedila Authors of concept and text Pavol Liška, Kelly Copper (Nature Theater of Oklahoma) Oblikovalec svetlobe Lighting designer Luka Curk Kostumografinja Costume designer Katarina Škaper Vodja vaj EnKnapGroup Rehearsal director for EnKnapGroup Nohemi Barriuso Prevajalec besedila Translator Stojan Pelko Vodja tehnike Technical crew leader Jaka Šimenc Tehnična izvedba Technicians Tehnična ekipa EN-KNAP EN-KNAP Technical team (Leon Curk, Gal Škrjanec Skaberne, Omar Ismail, Hotimir Knific, Aleksander Plut, Špela Škulj) Izvršna producentka Executive producer Karmen Keržar Vodja produkcije Programme manager Marjeta Lavrič Umetniški vodja Zavoda EN-KNAP EN-KNAP Artistic Director Iztok Kovač Zasedba Cast EnKnapGroup Luke Thomas Dunne, Ida Hellsten, Bence Mezei, Ana Štefanec Knez, Jeffrey Schoenaers, Lada Petrovski Ternovšek

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Zasledovalcih sreče se Pavol Liška in Kelly Copper, ustanovitelja newyorške skupine Nature Theater of Oklahoma, nagrajene z nagrado OBIE, spopadeta z mitom in zapuščino ameriških sanj ter njihovimi posledicami. V ustanovnem dokumentu Združenih držav Amerike, Deklaraciji neodvisnosti, je zapisano, da je Stvarnik vsem ljudem dodelil pravico do zasledovanja sreče kot eno izmed neodtujljivih pravic, ki mora biti javno zaščitena. Ampak kaj pravzaprav je sreča? Kako daleč v temačne kotičke smo jo pripravljeni kot posamezniki in kot družba zasledovati? Do kakšnih meja nas bo vodil ta lov na srečo? In do kakšnega nepredvidljivega hollywoodskega konca nas zasledovanje sreče lahko pripelje? ¶ V delu s plesalci EnKnapGroup sta Pavol Liška in Kelly Copper ustvarila osebnoizpovedno delo, ki se giblje na meji med gledališčem, plesom in performansom. Gre za ljudsko zgodbo, ki se neprestano spreminja; za zgodbo o skrajno nasilnem širjenju zahodne kulture. V predstavi, ki nas med drugim popelje tudi na potovanje v Bagdad, srečamo mehiškega barmana, avstrijskega prodajalca, novodobni magični napoj in nekaj vznemirljivih kavbojskih plesov. Predstava plesalcem vsestranske skupine EnKnapGroup ponuja idealno platformo, na kateri lahko pokažejo vse svoje talente. ¶

53. Borštnikovo

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I

n Pursuit of Happiness, the Nature Theater of Oklahoma’s creators Pavol Liška and Kelly Copper take on the myth and legacy of the American Dream and its aspirational aftermath. The founding document of the United

States, the Declaration of Independence, places “the pursuit of happiness” among the “unalienable rights” which it asserts have been given to all human beings by their Creator, and which governments have been tasked to protect. But what is Happiness? Into what dark corner do we each individually and collectively chase it? To what wild and further frontiers will we pursue it? And to what surprising and unseemly Hollywood blockbuster end? ¶

Working with the six dancers of EnKnapGroup, they have created a unique and personal project, an endlessly morphing folk tale of ultra-violent Western expansion. Featuring a Mexican bar man, an Austrian sales rep, a trip to Baghdad, a modern-day magic potion, and some unsettlingly uplifting cowboy dances, this new creation provides EnKnapGroup’s versatile dancers with an ideal platform to show off their talents. ¶ foto/photo: Andrej Lamut

20. 10. 2018 > 20.30 < Stara dvorana SNG Drama Ljubljana Svetlana Makarovič

Prekleti kadilci Bloody Smokers

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vetlana, ta iskrena in brezkompromisna lučenoska, s svojim delom vedno znova zadene v osrčje problemov sodobne družbe. Neizprosno razgalja dvoličnost, Režiser Director zahrbtnost, povzpetništvo in samoTin Grabnar ljubje. V kratki satirični knjižici Prekleti kadilci skozi genezo kadilAvtorja songov Authors of song lyrics skega rodu obračuna z nasprotniki Jani Kovačič, Svetlana Makarovič kajenja. Z bridkim humorjem se Avtor glasbe Composer Boštjan Gombač Dramaturginji Dramaturgs sprehodi skozi svetovno tobačno Brina Klampfer, Darja Dominkuš zgodovino in tako naslika hudomuScenograf Set designer Dorian Šilec Petek šen mozaik kadilske problematike. Kostumografinja Costume designer Sara Smrajc Žnidarčič Začne prav ob stvarjenju sveta, se akarovič is a most Lektorica Language consultant Tatjana Stanič sprehodi mimo ambicioznega Krisincere and uncomKoreografinja Choreographer Anja Mejač štofa Kolumba, ki je prinesel to- promising Slovenian torch Korepetitorica Répétiteur Ana Erčulj Oblikovalca luči Lighting designers bačno zlo v Evropo, nadaljuje z ni- bearer, who has always Dorian Šilec Petek, Vlado Glavan kotinsko evforijo dvajsetega stoletja struck a chord with the probAvtor notne transkripcije Music notation in se ustavi šele pri temnih, za- lems of contemporary socieBlaž Pucihar stekljenih kadilnicah našega časa. ¶ ty. She has bitterly exposed Zasedba Cast Nestrpnost do kadilcev pa lahko every form of deception, Kadilka, Protikadilka, vokal, flavta v nekem trenutku postane me- perfidiousness, parvenu Smoker, Anti-smoker, vocal, flute Nina Valič tafora za vsakršno nestrpnost, behaviour and self-seeking Kadilka, Protikadilka, vokal, pianino ki se pojavlja v naši družbi. To je vanity. In her short satiriSmoker, Anti-smoker, vocal, piano nestrpnost, ki zlahka dobi krila cal pamphlet Bloody SmokPia Zemljič Kadilec, Protikadilec, vokal, harmonika in preraste v sovraštvo. Pri tem ers, Makarovič presents Smoker, Anti-smoker, vocal, accordion ostaja odprto vprašanje, ali naj the genesis of the smoking Janez Škof ta občutja v družbi zatiramo ali bunch in order to tackle the Kadilec, Protikadilec, vokal, kitara, pianino Smoker, Anti-smoker, vocal, guitar, piano priznavamo. Negativna čustva so opponents of smoking. UsAljaž Jovanovič ravno tako del našega celostnega ing her acerbic sense of hupsihološkega sveta. Mogoče bi jih mour, she presents a world bilo veliko bolje prepoznati in history of tobacco to illusizraziti kot pa zatirati? Svetlana trate her clever views on Makarovič je v svojem prepriča- the issues related to smokAvtorja idejne zasnove Concept by Tin Grabnar & Brina Klampfer nju neizprosno jasna: »Kdor ne ing, starting at the moment zna sovražiti, tudi ljubiti ne zna!« of the creation of the world, Avtorji priredbe so ustvarjalci Kako naj se do tega kompleksne- moving on to the ambitious uprizoritve. Adaptation by the creators of the performance. ga vprašanja opredelimo sami? ¶ Christopher Columbus who brought the tobacco curse to Europe, all the way to exposing the nicotine-infested euphoria of the 20th century, and pausing at the dark, glazed smoking rooms of our time. ¶ Premiera Première: 6. 4. 2016, Mala drama SNG Drama Ljubljana Predstava traja 2 uri in ima en odmor. Running time 2 hours. One interval.

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53. Borštnikovo

Being intolerant to smokers can, at some point, turn into a metaphor for a general feeling of intolerance inherently present in contemporary society. This kind of intolerance may easily become fuelled and turned into hatred. It remains open, however, whether such emotions should be repressed or acknowledged. Negative emotions are part of our psychological universe too. Is it better perhaps to acknowledge and express them rather than suppress them? Svetlana Makarovič presents her views with an unrelenting conviction: “People who are unable to hate are unable to love too!” What kind of stance is one to take on this complex issue? ¶ foto/photo: Peter Uhan

58 — 59

21. 10. 2018 > 19.30 < Mali oder

Moving Music Theatre Bitola & Center za kulturo Bitola Centre of Culture Bitola (MK)

Zapiski blazneža Diary of a Madman

Režiser Director Marjan Nećak Skladatelj in scenograf Composer and set designer Marjan Nećak Oblikovalec videa Video Marin Lukanović Izvajalec Performer Ozren Grabarić Sodelavci Collaborators Psihiatrinja Psychiatrist Dr. sc. Izabela Filov Umetnostna zgodovinarka Art historian Olivera Makarievska Prevajalka Translator Elena Kitanovska Ristoska Lektorica za angleški jezik English language consultant Julijana Lukić Oblikovalka in avtorica risb Designer and drawings Martina Perkušić Izvajalec scenografije in rekvizitov Stage elements and props Ges, Ilija Jankulovski

M e In

Premiera Première: 10. 6. 2015, Bitola, Makedonija Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval. Predstava je v angleškem in španskem jeziku s slovenskimi nadnapisi. The performance is in English and Spanish with Slovenian surtitles.

r fo e d s rm t a v a a nc e

Monoopera po motivih istoimenske kratke zgodbe Nikolaja Vasiljeviča Gogolja Mono-opera based on the eponymous short story by Nikolai Vasilievich Gogol

d p te n a r o d n a p er rn at i o n a l

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ogoljeva pripoved Zapiski blazneža (1835) je eden najzgodnejših in najpodrobnejših prikazov shizofrenije, veliko preden je bolezen našla svoje ime in prostor v medicinski znanosti. Zgodba bolezni ne analizira s pomočjo medicine, temveč se posveča družbi, v kateri se posameznik trudi poiskati smisel obstoja, položaj in identiteto. Skozi medicinsko verjetne in pesniško opojne opise bolezni Aksentija Ivanoviča Popriščina Gogolj lucidno spregovori o bolezni družbe in nas opomni na pogost in običajen konflikt s stvarnostjo, kot ga poznamo vsi. Katera stvarnost je stvarna? Ona, o kateri beremo v medijih, tista, ki jo vidimo v neposredni okolici, ali ta v nas? V vse bolj odkritem spopadu med vzhodom in zahodom, levim in desnim, verskim in ateističnim razumevanjem sveta se vsakdo bori za svojo normalnost, in — kako paradoksalno — je videti bolj in bolj nor. Na koncu ni povsem jasno, kdo je zbolel: Popriščin ali ves svet. ¶ Ta komorni multimedijski spektakel v eni uri skozi skoraj psihedelično glasbo, refleksiven avtorski video in briljantno igro raziskuje

53. Borštnikovo

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izkrivljeno percepcijo sveta nižjega uradnika, ki ga družba marginalizira in označi za nezaželenega. Njegov klic po naklonjenosti in človeški bližini ostane neuslišan, saj družba ne premore sočutja, priznanja in zaupanja. V tem se izraža potreba po sprejetosti kot bistveno načelo mentalnega zdravja. V nasprotnem primeru je tudi sodobni človek zgolj zrcalo družbe … z bizarno popačenim odsevom. ¶

ogol’s story Diary of a Madman (1835) is one of the earliest and most detailed accounts of schizophrenia, far earlier than the disease’s establishment within the medical science. The story doesn’t analyse the disease with the help of medicine, but focuses on the society within which an individual tries to find the point of existence, one’s status and identity. Through the medically plausible and poetically intoxicating descriptions of Aksenty Ivanovich Poprishchin’s disease, Gogol gives a lucid account of the diseased society and reminds us of a frequent and common conflict with reality as we all know it. Which reality is real? The one we read about in the media, the one we see in our immediate surroundings, or the one inside us? In an increasingly overt confrontation between the East and the West, the left and the right, the religious and the atheist understanding of the world, everybody fights their normality, and – what a paradox – appears more and more insane. In the end it is not quite clear who is ill: Poprishchin or the entire world. ¶ This chamber multimedia spectacle, in one hour and through nearly psychedelic music, a reflective authorial video and brilliant acting, researches the twisted perception of the world of a low-level clerk that the society marginalises and marks him as undesired. His appeal for affection and human closeness goes unrequited, as the society has no compassion, recognition or trust. The need for acceptance as the essential principle of mental health is expressed through this. If that’s not the case, even the contemporary human is merely the mirror of the society … with a bizarrely distorted reflection. ¶ foto/photo: Mihail Gadzovski

60 — 61

24. 10. 2018 > 19.00 < Stara dvorana Anton Podbevšek Teater, Studia humanitatis, Cankarjev dom Ljubljana Janez Vrečko

KONS:O:VEL

Premiera Première: 10. 4. 2018, Dvorana novomeške pomladi, Anton Podbevšek Teater Predstava traja 1 uro 10 minut in nima odmora. Running time 1 hour 10 minutes. No interval. Režiser Director Matjaž Berger Dramaturginja Dramaturg Kristina Ravnikar Avtor glasbe Composer Peter Penko Scenograf Set designer Miran Mohar Kostumografa Costume designers Peter Movrin Metod Črešnar Koreografinja Choreographer Jana Menger Scenaristi Authors of script Nastja Vidmar Kristina Ravnikar Matjaž Berger Lektor Language consultant Jože Faganel Asistentka režiserja Assistant director Kristina Ravnikar Asistent scenografa Assistant set designer Luka Savić Oblikovalka maske Make-up designer Špela Ema Veble Garderoberka Dresser Nataša Recer Grafična oblikovalka Graphic designer Eva Mlinar Asistentka oblikovalke maske Assistant make-up designer Anita Ferčak Avtorji prevodov Kosovela v tuje jezike Translators of Kosovel David Limon, Marc Alyn, Irina Šukina, Anita Srebnik, Jolka Milič, Josip Osti … Interpreti Majhnega plašča "A Small Coat" interpreters Toon Tellegen, Želimir Žilnik, Aleksander Čeferin, Matjaž Smodiš, Martina Ožbot …

Zasedba Cast Pavle Ravnohrib Petra Govc Barbara Ribnikar Aleš Valič Janez Hočevar Jana Menger Lana Voljč Gal Žižek

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onsi pomenijo sintezo vsega mojega pesniškega prizadevanja. S pojmom kons sem želel označiti nov pojav in mu ob povsem svojski etimologiji dati tudi avtorski pomen. Z njim sem naznačil prehod od destrukcije h konstrukciji, kar je med vsemi avantgardističnimi gibanji dvajsetih let najbolj radikalno izpeljal prav ruski konstruktivizem. Moj prehod prek mostička nihilizma je treba razumeti samo na ta način, enako tudi mojo misel, da naj dobo destrukcije vsakdo preživi le v samem sebi. Pojem in oznako kons sem prevzel iz sovjetskega krajšanja besed, po katerem so se zgledovali tudi nekateri evropski avantgardisti. Med evropskimi konstruktivisti sem edini, ki je uporabil etimološko avtorsko originalno oznako za svoje pesniške konstrueme, ki na eni strani kaže na svojo antiestetsko pozicijo, na drugi pa aludira tudi na moj priimek, ki kot začetna črka 'K' večkrat postane likovno inženirski element v mojih konsih. Odkar so bili predstavljeni slovenski javnosti, se jih drži ocena, »da jih je večina vredna bolj kot časovni dokument, kot glosa k raznim aktualnim dogodkom, kakor pa kot polnokrvna, trajno živa umetnina«. Takšna ocena je seveda v popolnem nasprotju z mojim hotenjem. ¶ Konsi so bili od vsega začetka namenjeni tudi gledanju, in ne le branju. Res je sicer, da so vsi pisani teksti tudi vidni, pri konsih pa sta vidnost in prostorskost njihov nujni sestavni del, dominirata in se jima zato kratko in malo ni mogoče ogniti. Verjetno bi bilo za konse najbolje, če bi jih natisnil z vsemi pikturalnimi, matematičnimi, kemijskimi in drugimi znamenji. Vsega tega sem se zavedal, zato včasih nisem zaupal niti lastnemu rokopisu in ga na nekaterih ključnih mestih po enkrat, dvakrat ali celo večkrat podčrtal, uporabil natančne geometrijske skice, nekatere besede ali verze v primerjavi z ostalim gradivom tudi do trikrat povečal in uporabil celo barvni svinčnik ali črnilo, vseskozi pa bdel nad pomensko razvidnostjo pesmi. Vse zato ker sem želel, da bi bila poezija kot arhitektura, kjer z gibanjem pesem ni več enolična in oživi. ¶

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53. Borštnikovo

he conses represent the synthesis of all my poetic effort. With the concept of cons, I wanted to mark a new phenomenon and give it an artistic meaning using unique etymology. With this concept, I indicated the transition from destruction to construction, which among all the avant-garde movements

beginning, the conses were intended for viewing as well as reading. It is true that all written texts are necessarily visible, but with the conses the visibility and spatiality are their essential component that dominate and therefore simply cannot be ignored. It would probably be best if I printed the conses

in the 1920s was most radically implemented by Russian constructivism. My passage over the bridge of nihilism needs to be understood only in this way; the same goes for my idea that each individual should only survive the age of destruction within himself. The concept and the word cons was derived from the Soviet manner of abbreviating words, which was also adopted by some European avant-gardists. Among the European constructivists, I am the only one who used the etymologically original mark for his poetic constructions, which on the one hand shows its antiesthetic position, and on the other hand, also alludes to my surname, which, as the initial letter “K”, often becomes a fine arts/engineering element in my conses. Ever since they were presented to the Slovenian public, they have been stuck with the assessment that “most of them only have value as a ‘time document’, as commentary to various topical issues, rather than a full-blooded, permanently alive art”. That sort of assessment is of course completely at odds with my intentions. ¶ From the very

with all the pictorial, mathematical, chemical and other signs. I was well aware of all of this, so sometimes I did not even trust my own manuscript and underlined key parts of it once, twice, or even several times; I used precise geometric drawings and increased the font of certain words or verses up to three times in comparison to other text, and even used a coloured pencil or ink, while continually keeping a watchful eye over the semantic clarity of the poems. I wanted poetry to be like architecture, whereby through movement, a poem is no longer monotonous and comes alive. ¶ foto/photo: Barbara Čeferin

62 — 63

26. 10. 2018 > 19.00 < Mali oder Ana Pandur, PKD Flamenko, Cankarjev dom Ljubljana Ana Pandur Predin

Firebird Premiera Première: 13. 2. 2018, Dvorana Duše Počkaj, Cankarjev dom Predstava traja 40 minut in nima odmora. Running time 40 minutes. No interval.

Avtorja koncepta Authors of concept Ana Pandur Andrej Predin

Koreografinja in plesalka Choreographer and dancer Ana Pandur Avtor glasbe in kitarist Composer and guitar player Giani Poposki Kostumografinja Costume designer Zarja Predin Oblikovalec svetlobe Lighting designer Mitja Novak Avtorja videa Authors of video Hana Vodeb Katarina Morano Fotografa Photographers Drago Videmšek Zarja Predin

F

irebird je naslov prvenca ustvarjalnega tandema plesalke, koreografinje in performerke Ane Pandur in glasbenika Gianija Poposkega, ki ga najbolje poznamo kot pevca mednarodno uspešne skupine Noctiferia. Kot simptom predapokaliptičnega sveta, v katerem se pravila razblinjajo in se uveljavljajo nove strukture, v katerem se konvencije ne upoštevajo in se vzpostavlja nov red, prinaša Firebird svež pogled na dogajanje okrog nas. Iskanje identitete in legitimnosti, razblinjanje veljavnih pravil – ali je red sploh mogoč? Mar sploh potrebujemo red? Kaj je svoboda? ¶ Firebird je predstava nasprotij, glasne glasbe in lirične telesnosti, neukrotljivega topota ritma in hipnotičnih kitarskih rifov. Projekt je razpet med koncertom, plesno predstavo in performansom, išče ravnovesje med strukturami in močjo sodobnega flamenka in zakonitostmi metalne glasbe/vokala. ¶ foto/photo: Zarja Predin

F

irebird is the debut tandem project by dancer, choreographer and performer Ana Pandur and musician Giani Poposki, who is best known as the singer of the internationally renowned group Noctiferia. Acting as a symptom of a pre-apocalyptic world in which the rules are dissolved and new structures are in place, conventions are passed over, thus creating a new order, Firebird brings fresh perspective of the world around us. The quest for identity, legitimacy and the dilution of the predominant rules – is there order to be found? Are we actually in need of an order? What is freedom ... ¶ Firebird is a performance of opposites, loud music and lyrical physicality, indomitable thumping of rhythm and hypnotic guitar repetitions. The project is part concert, part dance and part theatre performance and searches for balance between structures and power of modern flamenco and the rules of metal music/vocals.¶

53. Borštnikovo

64 — 65

26. 10. 2018 > 22.00 < Tribuna na Velikem odru Kitch & Zavod Bunker

PopParty

Premiera Première: 21. 12. 2017, Stara mestna elektrarna — Elektro Ljubljana Predstava traja 2 uri 40 minut in nima odmora. Running time 2 hours 40 minutes. No interval.

Avtorja koncepta Authors of concept Kitch Avtor zasnove prostora in oblikovalec svetlobe Set and lighting design concept Nenad Jelesijević Kostumografinja Costume designer Mateja Fajt Oblikovalka maske Make-up designer Tina Prpar Oblikovalec svetlobe Lighting designer Luka Seliškar Oblikovalec zvoka Sound designer Rok Kovač Organizatorka izvedbe Organisation assistant Brina Klampfer Dokumentarna fotografinja Photo documentation Nada Žgank

Performerji Performers Lana Zdravković Nenad Jelesijević Eva Lah Olivera Milašinović Bela Pikalo Žan Mrhar Žan Debevec Bonny Hrovat Nataša Bjelančević Alan Polović Yerar Antonio Veronika Černe Dora Kaštrun

* Enkraten prostor-čas za ljudi. Klub, ki prežene vse skrbi. Dobrodošli, naj se zabava začne! Hešteg ob vašem selfiju: #kitchpopparty Dress code: #kitch #pop #party

P

opParty je predstava, v kateri se ne zgodi nič – razen nas samih. Je eksperiment na križišču hepeninga, performansa in uprizoritve, v katerem se igramo s fenomenom sodobne popularne glasbe. Je situacija, ki afirmira potencial užitka. ¶ Tandem Kitch interdisciplinarno eksperimentira s performansom, v kritičnem kontekstu in s teoretskim ter konceptualnim ozadjem. Performans razume kot situacijo, v kateri preverja in gradi nastavke za dezidentifikacijo vseh udeleženih, saj verjame v možnost politične emancipacije razrahljanih identitet. V poskusih preseganja odrskih zamejitev in žanrov se igra s performativnim potencialom kiča in treša. Kitch med prepuščanjem izzivom skupinske dinamike različnih generacij reducira gledališko govorico, da bi učinkoviteje segel čez odnos med gledalcem in izvajalcem. ¶ foto/photo: Nada Žgank

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* A unique time-space for the folks. The club that chases away all worries. Welcome and let’s get the party started! Your selfie’s hashtag: #kitchpopparty Dress code: #kitch #pop #party

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opParty is a performance in which nothing happens – except ourselves. It is an experiment on the intersection of happening, performing and staging, where we play with the phenomenon of contemporary pop music. A situation that affirms the potential of pleasure. ¶ The Tandem Kitch exper­iments with performative forms in an interdisciplinary manner, in a critical context, with a theoretical and conceptual background. Believing in the political emancipation of loose identities, Kitch understands performance as a situation that allows checking the possibilities of the disidentification of everyone involved in it. Attempting to reach beyond the boundaries of stage and genres, it plays with the performative potential of kitsch and trash. Challenged by collective dynamics of various generations, Kitch reduces the theatre language in order to overcome the relation “spectator vs. performer”. ¶

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27. 10. 2018 > 18.00 < Lutkovno gledališče Maribor Via Negativa, Forum Freies Theater Düsseldorf (DE) & Zavod Bunker Avtorski projekt A devised performance

365padcev 365falls

Premiera Première: 9. 3. 2017, Stara mestna elektrarna — Elektro Ljubljana Predstava traja 1 uro 50 minut in nima odmora. Running time 1 hour 50 minutes. No interval.

Režiser in avtor koncepta Director and author of concept Bojan Jablanovec Avtorja glasbe Composers Tomaž Grom, Eduardo Raon Uporabljeni odlomki iz glasbenih del Music contains also fragments from works by W. A. Mozart: Requiem P. I. Čajkovski: Labodje jezero Swan Lake Richard Wagner: Rensko zlato Predigra The Rheingold – Foreplay György Ligeti: Lux Aeterna Iánnis Xenákis: Metastasis Dodatna glasba Additional music Chubby Checker: Let’s Twist Again Sex Pistols: Anarchy in the UK The Clash: Should I Stay or Should I Go – arr. Alexei Shulgin The Rolling Stones: Satisfaction – arr. Alexei Shulgin Oblikovalec zvoka Sound designer Tomaž Grom Kostumografinja, rekviziterka, scenografinja Props, costume and set designer Olja Grubić Oblikovalec svetlobe Lighting designer sonda7 Tehnični vodja Technical director Igor Remeta Vodje sistema zaves Curtain system Jože Zajc, David Pilipović, Nika Sajn Producentka Producer Špela Trošt Odnosi z javnostjo PR Sara Horžen

Performerji Performers Grega Zorc Anita Wach Vito Weis Kristina Aleksova Loup Abramovici Nataša Živković

365padcev je neverbalno fizično gledališče. Padec obravnava kot fizično in metafizično izkušnjo, kot komedijo in tragedijo hkrati, kot neustavljivo spotikanje človeštva. V nizu teatraličnih situacij padajo telesa, predmeti, ideje, simboli, prepričanja, ideali, pričakovanja, strahovi in upanja. Vse pada. Gledališče tudi. Ampak to ni zgodba o poslednjem velikem padcu, to je zgodba o padanju onkraj človeškega ponosa, onkraj normativnega odštevanja, onkraj začetka in konca, onkraj religije, politike, ideologije …¶ sak korak je majhen padec. Rahlo naprej. Hoja je zgolj iluzija nadzorovanega padanja, napredovanja, vzdrževanja smeri. Civilizacija je utopični napor človeštva za premagovanje gravitacije. Vsak politični sistem je ideologija začasno sinhroniziranih padcev. Iluzija ravnovesja. Na prvi pogled je gravitacija nepovratni niz dogodkov: padec – propad – smrt. Toda tragika in komika padca se ne skrivata v njegovem metafizičnem izidu. Ne gre za to, da vemo, kam na koncu vse skupaj pelje, temveč za to, kaj počnemo s tem, da vemo, kar vemo. To so spolzka tla vednosti. Več znanja – manj stabilnosti. Toda gravitacija nas še vedno drži skupaj. ¶ Véliki zdrs se lahko zgodi kadarkoli in kjerkoli. Finančni, zdravstveni, gospodarski, kozmični, meteorološki, okoljski, jedrski … Dovolj je majhen spodrsljaj, napačen izračun, nedolžna pomota, računalniški virus, zgrešena časovnica … Smo v stalni pripravljenosti. Zaposleni z ohranjanjem ravnovesja med padanjem in propadanjem. Osebno, lokalno, nacionalno, globalno. ¶

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53. Borštnikovo

365falls is a nonverbal physical performance. The fall is treated as a physical and metaphysical experience, as a comedy and a tragedy happening at the same time, as a historical stumbling of mankind. In a series of situations and images, bodies, objects, ideas, symbols, beliefs, ideals, expectations, fears and hopes are fall­ ing. Everything falls. Theatre also. But this is not the story of the last great fall. 365falls is a story of falling beyond human pride, beyond the normative countdown, beyond the beginning and the end, beyond religion, politics, ideology… ¶ very step is a little fall. Slightly forward. Walking is merely an illusion of having control, making progress, holding direction. Civilisation is the utopian struggle of mankind to overcome gravity. Every political system is just an ideol-

E

ogy of temporary synchronised falls. An illusion of balance. At first glance, gravity is a one-way sequence: to fall – to fail – to die. But the tragedy and the comedy of the fall is not hidden in its metaphysical outcome. It is not about that we know the end, it is about how we deal with what we know. This is the slippery surface of knowledge. More knowledge – less stability. But gravity still holds us together. ¶ The big slip could happen anytime and in any form. Financial, health, economic, cosmic, meteorological, environmental, nuclear… One small distraction, one computing error, one innocent miscalculation, bad timing, bad weather conditions... We are on standby. Busy keeping everything in balance. Personally, locally, nationally, globally. ¶ foto/photo: Marcandrea

68 — 69

27. 10. 2018 > 20.00 < Velika dvorana Compagnia Pippo Delbono (IT), Emilia Romagna Teatro Fondazione (IT), HNK Zagreb (HR), Théâtre Vidy Lausanne (CH), Maison de la Culture d'Amiens — Centre de Création et de Production (FR), Théâtre de Liège (BE) Pippo Delbono

Vangelo / Evangelij Vangelo/ Gospel Premiera Première: 12. 1. 2016, Theatre Vidy Lausanne (CH) Predstava traja 1 uro 40 minut in nima odmora. Running time 1 hour 40 minutes. No interval. Predstava je v italijanskem jeziku s slovenskimi nadnapisi. The performance is in Italian with Slovenian surtitles.

Avtor in režiser Author and director Pippo Delbono Izvirni digitalni posnetek orkestra in polifoničnega zbora Original digital recording of the orchestra and the polyphonic choir Enzo Avitabile Scenograf Set designer Claude Santerre Kostumografinja Costume designer Antonella Cannarozzi Oblikovalec svetlobe Lighting designer Fabio Sajiz Tehnični direktor Technical director Fabio Sajiz Avtor videa Author of the video Orlando Bolognesi Oblikovalec zvoka Sound designer Pietro Tirella Vodja odrske tehnike Chief stage technician Gianluca Bolla Scenska tehnika Stage technicians Fabrizio Orlandi / Enrico Zucchelli Garderoberka Wardrobe Elena Giampaoli Menedžement Managers Silvia Cassanelli, Alessandra Vinanti Organizatorka gostovanj Tour organiser Raffaella Ciuffreda Odnosi z javnostjo PR Silvia Pacciarini Prevajalec Translator Stefano Guizzi Scenografske in kostumografske delavnice Stage and costume design workshops HNK Zagreb Fotograf Photographer Luca Del Pia Zasedba Cast Gianluca Ballarè, Bobò, Margherita Clemente, Pippo Delbono, Ilaria Distante, Simone Goggiano, Mario Intruglio, Nelson Lariccia, Gianni Parenti, Alma Prica, Pepe Robledo, Grazia Spinella, Nina Violić, Safi Zakria, Mirta Zečević Sodelujoč na filmskih posnetkih begunskega sprejemnega centra PIAM v Astiju Participator on the film footage from the PIAM refugee centre in Asti Pippo Delbono Avtor slik in posnetkov Author of photos and footage Pippo Delbono

»Kristus je edini

anarhist, ki je zares uspel.« André Malraux

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zgib za predstavo izhaja iz prošnje Delbonove matere tik pred smrtjo, naj vendar napravi predstavo o Evangeliju. Časi so namreč spet enako kruti, je ocenila, zato ljudje nujno potrebujejo sporočilo o ljubezni in milosti. Četudi ljubezen dandanes zveni preveč patetično, meni Delbono, je Evangelij zavezan sporočilu o odprtosti in svobodi. Tudi o tisti svobodi, ki je v nasprotju z religijo. ¶ Evangelij je zborovsko delo, sprva zasnovano kot sodobna opera z iztočnico v atmosferah glasbe Enza Avitabila. Razkošno poetična predstava razkriva tudi travmatične izkušnje hrvaških izvajalcev, ki so doživeli kruto vojno, preoblikovanje zgodovine, krajev in mej. Istih mej, ki so ponovno zatrepetale ob prihodu deset tisočev mož, žena in otrok na poti v Obljubljeno deželo. ¶ Pippo Delbono na odru že leta raziskuje vznemirljivo področje med javnim in zasebnim, avtobiografskim in zgodovinskim. Evangelij predstavlja logičen korak na tej poti. Posebnost predstave je njena glasbena narava, ki temelji na raziskavi glasu in besed skupaj z glasbeniki, kot so Enzo Avitabile, Alexander Balanescu, Petra Magoni, Antoine Bataille in Piero Corso. To načelo ohranja v vsej svoji produkciji zadnjih let. ¶

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anarchist who succeeded.” André Malraux

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with the musicians, such as Enzo Avitabile, Alexander Balanescu, Petra Magoni, Antoine Bataille and Piero Corso. He retains this principle in his entire opus of the recent years. ¶ foto/photo: Luca del Pia

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he impulse for the performance comes from the request by Delbono’s mother just before her death that he create a performance about the Gospel. The times, she assessed, were once more equally cruel, so people are in a dire need of a message about love and grace. Although love today sounds too piteous, says Delbono, Gospel is bound to the message of openness and free­ dom. Including the freedom that is at odds with religion. ¶ Gospel is a choral work, at first conceived as a contemporary opera with its starting point in the atmos­pheres of Enzo Avitabile’s music. The luxurious poetic performance also

discloses traumatic experiences of the Croatian performers, who have lived through a cruel war, a reshaping of history, places and borders, those very same borders that again trembled upon the arrival of tens of thousands of men, women and children on their journey to the Promised Land. ¶ For years, Pippo Delbono has been researching onstage the exciting space between the private and the public, the autobiographic and the historic. Gospel is a logical step on this journey. The performance is particular because of its musical nature, based on the research of the voice and the words together

r fo e d s rm t a v a a nc e

“Jesus Christ is the only

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d p te n a r o dna r rn at i o n a l p e

28. 10. 2018 > 17.30 < Stara dvorana

Compagnia Pippo Delbono (IT), Emilia Romagna Teatro Fondazione (IT), Theatre de Liege (BE), Le Manege Maubeuge – Scene Nationale (FR) Pippo Delbono

La Gioia / Radost La Gioia / Joy

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very theatre performance can become a journey, moving through different situations, moods, perceptions, it can always surprise us. Not only an iterative repertoire event – it Premiera Première: 1. 3. 2018, Arena del Sole Bologna (IT) can be a ritual, apparition, an act of Predstava traja 2 uri in nima odmora. connection. ¶ To stage a performance Running time 2 hours. No interval. about joy means searching for that one Predstava je v italijanskem jeziku s slovenskimi nadnapisi. The performance is in Italian with Slovenian surtitles. circumstance, the crossing of the river of extreme sentiment – fear, happiAvtor in režiser ness, pain, enthusiasm – just to catch Author and director (or at least glimpse) a momentary Pippo Delbono explosion of joy. Pippo Delbono and Avtor cvetne kompozicije saka gledališka predstava lahko postane his ensemble don’t freeze Floral composition designer potovanje, premikanje skozi različne si- inside the images, sounds Thierry Boutemy Avtorji glasbe Music tuacije, razpoloženja, zaznave, zmeraj nas lah- and movements, but rather Pippo Delbono ko preseneti. Ne samo ponavljajoč repertoarni attempt, in each perforAntoine Bataille dogodek, ritual je lahko, prikazovanje, dejanje mance and completely inNicola Toscano in drugi avtorji and others povezanosti. ¶ Uprizoriti predstavo o radosti je tuitively, to step forward Oblikovalec svetlobe iskanje tiste edine okoliščine, prečkanje reke towards the endless exaltaLighting designer skrajnega sentimenta – strahu, sreče, boleči- tion. And the clowns come, Orlando Bolognesi Oblikovalec zvoka ne, navdušenja –, da bi ujeli (ali vsaj ugleda- Opozorilo: Sound designer li) hipno eksplozijo radosti. Pippo Delbono s v predstavi Pietro Tirella je uporabljen svojo zasedbo ne zamrzne v slikah, zvokih in Kostumografinja stroboskop. Costume designer premikih, temveč skuša v vsaki uprizoritvi Warning: Elena Giampaoli povsem intuitivno stopiti korak naprej proti a stroboscope Scenograf is used in the brezmejnemu povzdignjenju. In pridejo klovni Set designer performance. Gianluca Bolla in cirkus in ples. In spomin na šamana, ki skoVodja produkcije zi blaznost osvobaja duše. Melanholični akordi Production manager tanga in pridušeni klici iz nadstropja. RazkošAlessandra Vinanti Organizatorka je podob se živahno vrsti, zaživijo in zbledijo v Organisation naslednjo sliko; na stotine papirnatih barčic in Silvia Cassanelli pisanih preprog, razmetanih kot razburkani Tehnični direktor Technical director valovi Našega morja v De Lucovi sveti molitFabio Sajiz vi, vse do vélikega finala – eksplozije cvetja. Igralci se pomešajo med občinstvom. Vsak po Zasedba Cast Dolly Albertin svoje izberejo gledalca za popotnega družabGianluca Ballarè nika in ga za roko popeljejo na oder, vključijo Bobò ga v to neskončno iskanje. Osebne zgodbe, maMargherita Clemente Pippo Delbono ske, klovnada, spomini … sami bežni človeški Ilaria Distante poskusi doseganja sreče. ¶ Vsak večer je nova Simone Goggiano točka na zemljevidu, vsak drobec uprizoritve Mario Intruglio Nelson Lariccia je korak na poti. Potovanje se nikoli ne konča, Gianni Parenti kalejdoskop podob in čustev se vrti dalje. Vsak Pepe Robledo večer pripravljen na novo presenečenje v taktu Zakria Safi skupine na poti neskončnega iskanja radosti. ¶ Grazia Spinella

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and the circus, and the dance. And the memory of a shaman who liberates souls through madness. Melancholic tango chords and muted calls from the upper floors. The splendour of images form a kaleido­scope, images come to life and fade into the next frame; hundreds of paper boats and colourful carpets, messed up like the rough waves of Mare nostro in Erri De Luca’s secular prayer, all the way to the grand finale – an explosion of flowers. The actors mix among the audience. Each one of them chooses a spectator as a travel companion and takes her or him to the stage by hand, to include him into this endless search. Personal stories, masks, clowning, memories … all fleet­ ing human attempts to reach happiness. ¶ Every night, a new dot on the map, each piece of the performance is a step along the way. The journey never ends, the kaleidoscope of images and emotions continues to turn. Every evening ready for a new surprise in the rhythm of the group on the path of the eternal search for joy. ¶ foto/photo: Luca del Pia

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MLADO GLEDALIŠČE YOUNG THEATRE Aleksander Ekman Left Right Left Right Balet SNG Maribor Lewis Carroll, Ivor Martinić Alica v Čudežni deželi Alice’s Adventures in Wonderland Zagrebačko kazalište mladih (HR) New International Encounter Prihajamo od zelo, zelo daleč We Come from Far, Far Away New International Encounter (NO, GB) ŠTUDENTSKO GLEDALIŠČE STUDENT THEATRE Mihail Afanasjevič Bulgakov Mikhail Afanasyevich Bulgakov Zojkino stanovanje Zoyka‘s Apartment Fakulteta za estrado Ruskega inštituta gledaliških umetnosti GITIS Faculty of Variety Theatre at the Russian Institute of Theatre Arts — GITIS (RU) Po motivih iger H. Barkerja Inspired by H. Barker Se mi vsaj ni treba poljubljati At Least I Do Not Have to Kiss Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani

Maryana Kozak Oj Kijev, Kijev Oy Kyiv, Kyiv Divadelní fakulta AMU v Praze DAMU (CZ) Prosto po pravljici H. C. Andersena Inspired by H. C. Andersen’s fairy tale Zrno graha The Pea Accademia Teatro Dimitri SUPSI & Pars Foundation (CH) Po motivih del M. Jesiha Inspired by M. Jesih Dvoje sva in hkrati eno We are Two and Also One Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani Po motivih B. Schulza Inspired by B. Schulz Avgust August Universitatea de Arte, Târgu-Mureş (RO), Maladype Színház (HU) Milan Jesih Srebrno rebro Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani

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Festival Borštnikovo srečanje, SNG Maribor, 15.—16. oktober 2018 Maribor Theatre Festival, SNT Maribor, 15—16 October 2018 Številni strokovnjaki, ki se ukvarjajo z vzgojo in izobraževanjem ter s psihološkimi procesi, trdijo, da je gledališka izkušnja posebej pomembna za mlade gledalce. Gledališka umetnost je najbolj kompleksna med umetniškimi vrstami in uporablja bogat simbolni jezik, ki hkrati nagovarja gledalčeve spoznavne in čustvene procese. Gledališče edino omogoča živo, neposredno in neponovljivo umetniško izkustvo tukaj in zdaj. S svojo kompleksno komunikativnostjo terja zbran analitični pristop, vzpostavlja možnost istovetenja in posledično sočutje, hkrati pa uri čut za lepoto. ¶ Gledališka umetnost upoštevanja vrednega mesta v šolskih kurikulih nima. Razen z urami skopega izbirnega gledališkega kluba v zadnjem obdobju osnovne šole je teoretično (kot znanje o) razpršena po predmetnikih, predvsem materinščine, ki se je dotikajo bolj ali manj kot vizualizacije dramskih besedil. Obiskovanje predstav je še vedno najpogostejša oblika vključitve uprizoritvene umetnosti, s spretno strokovno izbiro pa se lahko učinek ogleda poveča, razširi in razplasti. Izbor kakovostne predstave za mlade je ključnega pomena. Tudi izbiranja predstav za mlade se je treba naučiti. Nekaj veščin razvija ta programski sklop: ogledu treh kakovostnih predstav za mlade sledi refleksija z vodeno analizo in skupinskim delom kot prikaz načina pozornega sprejemanja, premišljevanja in razumevanja gledaliških vsebin za mlade. ¶

Many experts working in education and psychological processes claim that theatre experience is of particular importance for young people. Theatre art is the most complex of all art forms and it uses a rich symbolic language, which at the same time speaks to the spectator’s cognitive and emotional processes. Theatre is the only art that enables a live, direct, unrepeatable artistic experience here and now. With its complex communicativeness it requires a composed analytical approach, establishes a possibility of identification and, consequently, empathy, and at the same time trains a sense of beauty. ¶ Theatre art does not occupy a significant place in the school curricula. Outside the meagre hours of the elective theatre club in the last triad of primary education, its theory (or the knowledge about it) is scattered through the programmes of other subjects, primarily of the native language, that touch upon it more or less as a visualisation of dramatic texts. Seeing performances continues to be the most frequent form of including performing arts, but a clever expert selection can amplify the effect of the visit, as well as expand and layer it. A selection of a quality performances for young people is of key importance. And such a selection of performances for the young has to be learnt. This programme section aims to develop several skills: the viewing of three quality performances for young people will be followed by reflection with a guided analysis and group work as the exhibition of attentive watching, reflection and understanding of theatre contents for youth. ¶

Programski sklop Festivala Borštnikovo srečanje Mlado gledališče se izvaja v sodelovanju s projektoma kulturno-umetnostne vzgoje Prvi prizor: gledališče kot prostor učenja simbolnih jezikov in Gleda(l)išče. Z delavnico se projektoma, ki ju podpirata Evropska unija iz Evropskega socialnega sklada in Ministrstvo za kulturo Republike Slovenije, pridruži mednarodni projekt Young Theatre, ki ga sofinancira Evropska unija v okviru programa Ustvarjalna Evropa.

The Young Theatre programme section at the Maribor Theatre Festival is realised as a part of the culture-art education project The First Scene: Theatre as a Space for Learning Symbolic Languages in cooperation with the project Gleda(l)išče / See(k)ing Theatre. The proj­ ects, which have both been funded by the European Structural and Investment Funds of the EU and the Ministry of Culture of the Republic of Slovenia, will be joined in the workshop by the international project Young Theatre, which has been supported by the Creative Europe programme of the European Union.

15. 10. 2018 > 11.00 < Velika dvorana

Balet SNG MariborAvtorski projekt A devised play Alexander Ekman

Left Right Left Right (14+) Predstava traja 35 minut in nima odmora. Running time 35 minutes. No interval. Teme: gibanje – ples – prostor – ritem – humor Themes: movement – dance – space – rhythm – humour Predstavi sledi pogovor z ustvarjalci. The performance will be followed by a discussion with the artists. Koreograf, kostumograf, avtor videa Choreographer, costume designer, author of the video Alexander Ekman Avtor glasbene opreme Music Mikael Karlsson Oblikovalec svetlobe Lighting designer Tom Visser Asistent koreografa Assistant choreographer Fernando Troya Snemalec, fotograf Cameraman, photographer Tiberiu Marta Zasedba Cast Catarina de Meneses Olesja Hartmann Marin Asami Nakashima Tetiana Svetlična Jelena Lečić Vanja Vitman Branka Popovici Hristina Stojčeva Matjaž Marin Sytze Jan Luske Filip Jurič Yuya Omaki Alexandru Pilca Aleks Šišernik Ionut Dinita Jan Trninič Mircea Golescu Klavdija Stanišič

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oreografijo Left Right Left Right (Leva desna leva desna) je Ekman ustvaril za haaški Lucent Danstheater v začetku leta 2012, njen osnovni plesni lexander Ekman created the impulz pa se osredotoča na koncentracichoreography Left Right Left jo, tajming in ritem. Ekmanova koreo- Right for the Lucent Danstheater in grafija, ki je po praizvedbi v Haagu do- the Hague in the beginning of 2012, živela svojo prvo postavitev na Velikem and its basic dance impulse focuses odru SNG, je študija človeškega gibanja, on concentration, timing and rhythm. ki se zgodi na dokaj nekonvencionalen Ekman’s choreography, which saw its način: z uporabo tekalnih trakov, s first staging after the baptismal perpreprostimi, a zato nič manj prepričlji- formance in the Hague on the Grand vimi odrskimi učinki in z menjavanjem Stage of the SNT Maribor, is a study sodobnih zvočnih pejsažev. Ekmanov of human movement, which happens umetniški cilj, ki je vselej usmerjen v in a relatively unusual way: by using transformacijo avditorija in premika- treadmills, with simple, yet no less nje »normirane« percepcije publike, se efficient stage effects, and changtudi tokrat navezuje na temeljno vpra- ing contemporary soundscapes. Ekšanje, ki si ga je zastavil pred ustvar- man’s artistic goal, always oriented jalnim procesom: Zakaj pravzaprav towards the transformation of the potrebujemo to delo? ¶ foto/photo: Tiberiu Marta auditorium and the shifting of the “normative” perception of the audience, is once more linked to the basic question that he asked before the creative process: Why do we actually need this work? ¶

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D elavnica za strokovne delavce A works hop for teac h ers

15. 10. 2018 > 15.10 < Mali oder Pionirski dom — Center za kulturo mladih Dogodek traja 1 uro 30 minut in nima odmora. Running time 1 hour 30 minutes. No interval.

Na delavnici bodo v sproščenem vzdušju praktično preizkušene igre in vaje improvizacije vključno z njihovo široko aplikativnostjo. Vsebine so razdeljene na štiri področja: osnove gledališke improvizacije, neverbalna komunikacija in gib, pripovedovanje zgodb in čustva z gradnjo karakterja. Navdih, znanje in izkušnjo praktičnih vaj bodo z udeleženci delavnice delili strokovnjaki in pedagogi gledališke improvizacije iz Pionirskega doma, ki je leta 2017 svoj gledališki oddelek obogatil z evropskim projektom Mlado gledališče / Young Theatre: skupaj s sorodnimi institucijami iz Romunije, Srbije in Poljske nadgrajujejo svoje pedagoške programe s tehnikami improvizacijskega gledališča.¶

The relaxed workshop atmosphere will bring the practice of games and improvisation exercise, while the participants will together discover different possible ways to apply the improvisation knowledge, which, in addition to its performative value and an exceptional social-cohesive potential, has numerous other potential uses. The contents are divided into four main areas: the basics of theatre improvisation, non-verbal communication and movement, storytelling and emotions, through building a character. Workshop participants will gain inspiration, knowledge and the experience of practical exercises from experts and theatre improvisation educators: Mojca Dimec, Tomaž Lapajne Dekleva, Staša Bračič and Urša Strehar Benčina.¶

15. 10. 2018 > 18.00 < Stara dvorana Zagrebačko kazalište mladih ZKM (HR) Lewis Carroll, Ivor Martinić

Alica v Čudežni deželi Alice’s Adventures in Wonderland (10+) Predstava traja 1 uro 15 minut in nima odmora. Running time 1 hours 15 minutes. No interval. Predstava je v hrvaškem jeziku s slovenskimi nadnapisi. Performance is in Croatian with Slovenian surtitles. Teme: odraščanje – identiteta – strahovi – predsodki – domišljija – resnica Themes: growing up – identity – fears – prejudice – imagination – truth Režiserka Director Renata Carola Gatica Prevajalec Translator Anton Šoljan Dramaturginja in avtorica lutkovne animacije Dramaturgy and puppet animation Tamara Kučinović Dramaturginja in asistentka režije Dramaturg and assistant director Ivana Đula Scenografa Set designers Isidora Spasić, Igor Vasiljev Kostumograf Costume designer DECKER+KUTIĆ Skladatelja Composers Ivanka Mazurkijević, Damir Martinović Mrle Oblikovalec odrskega giba Stage movement designer Staša Zurovac Oblikovalec svetlobe Lighting designer Aleksandar Čavlek Oblikovalec zvoka Sound designer Miroslav Piškulić Avtorici mask in pričesk Make-up and hair designers Laura Buljan, Mirela Kunštek Avtor rekvizitov Instrument maker Davor Peršić Inspicientka Stage manager Milica Kostanić Zasedba Cast Anđela Ramljak, Hrvojka Begović, Barbara Prpić, Marica Vidušić, Rakan Rushaidat, Dado Ćosić, Edvin Liverić, Vedran Živolić, Sreten Mokrović, Petar Leventić, Tina Orlandini, Mateo Videk, Robert Budak Gostovanje sta podprla Ministrstvo za kulturo Republike Hrvaške in Mesto Zagreb. The guest performance is supported by the Ministry of Culture of the Republic of Croatia and the City of Zagreb.

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udistična pripoved angleškega matematika in pisca Charlesa Lutwidgea Dodgsona s psevdonimom Lewis Carroll je ob izidu (1865) na glavo obrnila angleško mladinsko književnost in resno ogrozila didaktično literaturo tedanjega časa. »Tukaj smo vsi po malem nori,« je ponavljajoča izjava fantastičnih likov na Aličini poti. Norost je sinonim za svobodo, drugačnost, posebnost, samosvojost v Čudežni deželi. Pot tja je pot odraščanja, pot k sebi. Alica v borbi proti odraslosti večkrat na dan spremeni velikost, a se ne more odločiti, kakšna bi zares rada bila. Ker ne ve, kaj bi rada, pozabi tudi, kdo je. Z imenom izgubi identiteto. Išče jo v srečanjih z drugimi, z bizarnimi poosebitvami lastnih strahov, predsodkov in čudaštev. Pripadati in ne pripadati hkrati, je Aličin temeljni bivanjski paradoks, s katerim se sooča neusmiljeno in neizbežno – v drugih (in v sebi) prepoznava najbolj nesprejemljive lastnosti, tudi najbolj mračne v podobi Kraljice. »Če ne veš, kdo si, ti bom jaz povedala,« ultimativno zaključi Kraljica in glave frčijo naokoli, kot bi se raztreščili strahovi. Alica otrpne, se predrami in se na novo vzpostavljena vrne domov: zelo odrasla, a samosvoja sanjavka. ¶ foto/photo: Marko Ercegović

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hen it was first published (1865), this Luddite tale by the English mathematician and writer Charles Lutwidge Dodgson, better known as Lewis Carroll, turned the English children’s literature upside down and seriously endangered the didactic literature of the time. “We’re all mad here,” is the statement repeated by the fantastic characters on Alice’s path. Madness is a synonym for freedom, otherness, particularity, individuality in Wonderland. The path there is the path of growing up, the path to the self. Alice, in her struggle against adulthood, changes her size several times in a day, but she can’t decide what she would really like to be. Because she doesn’t know what she wants, she also forgets who she is. Along with her name she also loses her identity. She searches for it in encounters with others, with bizarre personifications of her own fears, prejudice and eccentricity. To belong and at the same to

not belong is Alice’s fundamental existential paradox, which she must inevitably and without mercy face – in others (and in herself) she recognises the most unacceptable characteristics, even the darkest ones, as embodied by the Queen. “If you don’t know who you are, I’ll tell you,” the Queen closes her argument and heads start rolling, as if the fears splintered. Alice freezes, wakes up and returns home newly established: a very grown up, yet individualistic dreamer. ¶

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15. 10. 2018 > 17.00 < 16. 10. 2018 > 11.00 & 17.00 < Kazinska dvorana

New International Encounter (NO, GB)

Prihajamo od zelo, zelo daleč We Come from Far, Far Away (11+) Predstava traja 50 minut in nima odmora. Running time 50 minutes. No interval.

Teme: begunstvo – potovanje – predsodki – upanje – pripovedovanje zgodb Themes: exile – travel – prejudice – hope – storytelling Režiser Director Alex Byrne Dramaturg Dramaturg Kjell Moberg Scenografinja in kostumografinja Set and costume designer Kateřina Housková Skladatelj Composer David Hlaváč Oblikovalec svetlobe Lighting designer Šimon Kočí Zasedba Cast Jean Goubert Iva Moberg Robert Orr Marina Popović

Predstavo podpirata Arts Council Norveške in Arts Council Anglije. Gostovanje v Mariboru je podprlo norveško ministrstvo za zunanje zadeve. The performance is supported by the Arts Council Norway and Arts Council England. The performance in Maribor is supported by the Norwegian Ministry of Foreign Affairs.

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here is a small tent inside the big tent and there are two boys inside it. Omar and Rezan come from Aleppo in Syria and they want to tell us some things about life, boats, tents, trains, phones, fast food and death. They also know a secret – about promises given and broken. ¶ The performance We Come from Far, Far Away takes place in a yurt, uses elements of storytelling, shadow and object theatre, comedy, velikem šotoru je majhen clown play and concert. It originatšotor in v tem šotoru sta ed in documentary material that fanta. Omar in Rezan prihajata the creators collected in their talks iz Aleppa v Siriji in želita pove- and workshops in Hvalstad Transit dati nekaj reči o življenju, čol- Reception Centre near Oslo for chilnih, šotorih, vlakih, telefonih, dren aged 13–18 with asylum seeker hitri hrani in smrti. Poznata status. For the most part, they come tudi skrivnost – o danih in pre- from Afghanistan and Syria and lomljenih obljubah. ¶ Predstava they made the passage to Norway z izvirnim naslovom We Come unaccompanied by adult relatives. from Far, Far Away, umeščena v Their stories are complex and fascijurto, uporablja elemente pripo- nating, yet filled with joy and hope. vedovalstva, senčnega in pred- In the performance the concrete metnega gledališča, komedije, stories are built into a universal klovnade in koncerta. Izhaja iz message of hope, survival and will. ¶ dokumentarnega gradiva, ki so foto/photo: New International Encounter ga ustvarjalci skozi pogovore in delavnice zbrali v prehodnem centru Hvalstad blizu Osla za otroke v starosti 13–18 let s statusom prosilcev za azil. Večinoma prihajajo iz Afganistana in Sirije in pot do Norveške so opravili brez spremstva odraslih sorodnikov. Njihove zgodbe so zapletene in osupljive, a kljub temu polne radosti in upanja. Konkretne zgodbe so v predstavi nadgrajene v univerzalno sporočilo o upanju, preživetju in volji. ¶

Predstava je v maternih jezikih nastopajočih s povzetkom v slovenskem jeziku. Performance is in performers’ mother tongues with a summary in Slovenian.

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Strokovni posvet v sodelovanju z Goethe- I nstitutom L jubljana PA N EL D I SCUS S I ON in cooperation with G oeth e- Institut Lj ubl j ana

16. 10. 2018 > 14.00 < otroke, mladostnike in odrasle k vstopanju v odgoMedetaža vorne in spoštljive odnose z drugimi, k zvedavosti Dogodek traja 2 uri in nima odmora. Running time 2 hours. No interval.

Gerd Taube ... je nemški gledališki strokovnjak, dramaturg, dramatik in univerzitetni profesor. Doktoriral je na Humboldtovi univerzi v Berlinu s temo Lutkovno gledališče kot kulturnozgodovinski fenomen. Od leta 1997 je vodja nacionalnega gledališkega centra za mlade (Kinder- und Jugendtheaterzentrum) ter predsednik nacionalnega združenja za kulturno izobraževanje otrok in mladih (Bundesvereinigung Kulturelle Kinder- und Jugendbildung). Center pod njegovim umetniškim vodstvom v sodelovanju z ASSITEJ Nemčija, Goethe-Institutom in berlinskimi VIZ v Berlinu prireja bienalni festival Augenblick mal!, pomembno narodno in mednarodno platformo strokovnega razvoja gledališča za mlade. Objavlja in predava o lutkovnem gledališču in gledališču za mlade, o mladinski dramatiki in kulturno-umetnostni vzgoji, največ o dramaturgiji, igri in izrazu v gledališču za mlade. Leta 2014 je bil imenovan za častnega profesorja na Inštitutu za raziskovanje mladinske književnosti (Institut für Jugendbuchforschung) Goethejeve univerze v Frankfurtu. ¶ Nika Arhar ... je samozaposlena v kulturi; deluje kot kritičarka na področju uprizoritvenih umetnosti, kulturna novinarka, moderatorka na strokovnih srečanjih in pogovorih o predstavah ter članica strokovnih komisij in žirij. Prispevke objavlja v dnevnih medijih in strokovnih publikacijah. V letih 2015 in 2016 je bila članica programskega odbora Kulturnega bazarja za področje gledališča, med letoma 2012 in 2016 pa članica izvršnega odbora in koordinatorica Društva gledaliških kritikov in teatrologov Slovenije. ¶ V gledališče jo vedno znova priteguje magičnost zgoščenih vzporednih svetov. Osnovno vodilo gledališke vzgoje prepoznava v vzpostavljanju pogojev za srečanje mladega gledalca z živo gledališko umetnostjo, ki bi njeno hipnost preoblikovalo v intenzivno izkustvo radovednega, občutljivega, ustvarjalnega in razmišljujočega posameznika. ¶ PETIDA ... je zavod za raziskovanje in razvoj pedagoške in kulturno-umetniške prakse ter za svetovanje in spodbujanje kreativnosti. Ustanovljen je z namenom, da pomaga vzgojiteljem, učiteljem, umetnikom in staršem s kreativnimi pristopi spodbuditi

pri raziskovanju sebe in sveta, k uživanju v lepem in k ustvarjanju lepega. Vabi k izražanju sebe in pusti drugim, da so izraženi, in to na stotero možnih načinov. Petida so pedagogi dr. Petra Štirn Janota, dr. Robi Kroflič, dr. Katja Jeznik, Darja Štirn in Damjana Jurman ter umetniki Miha Artnak, Jure Markota in Tadej Bernik. ¶ Peterica ... Predstave spremlja skupina petih dijakov, ki z mentorico, režiserko Matejo Kokol, premišljujejo o doživetem. Pomembne misli zapišejo, ta zapis pa služi kot izhodišče posveta. ¶ Davorin, Janja, Julija, Sara in Tia so v sezoni 2017/2018 sodelovali v projektu Prvi prizor: gledališče kot prostor učenja simbolnih jezikov. Dijaki klasičnega programa Prve gimnazije Maribor so razvijali oblike in metode vrstniških pogovorov in model preverjali ob uprizoritvi Medeja (r. Oliver Frljić, Drama SNG Maribor 2017). ¶ Mateja Kokol ... sodi v najmlajšo generacijo gledaliških režiserk. Dodiplomski študij je zaključila leta 2014 z režijo Ionescovih Stolov, predstavo, ki je gostovala na mednarodnih festivalih v Rusiji, Mehiki in na Slovaškem. Na sanktpeterburškem gledališkem festivalu ArtOkraina je prejela nagrado Art Centra Most za najbolj perspektivno mlado režiserko, za režijo Stolov je prejela akademijsko Prešernovo nagrado. Sodeluje z domačimi in tujimi gledališči ter vodi gledališke delavnice. Režirala je več uprizoritev, med drugimi magistrski avtorski projekt po motivih Senekove in Evripidove Medeje z naslovom Medeja, Medeja, Medeja (koprodukcija MGL in UL AGRFT, 2015), 24 UR (LGM, 2015), avtorski projekt 3.600 sekund hrepenenj (Los Cosmicomicos, Zacatecas Mexica, 2015), Apokaliptična mesečina (koprodukcija gledališča Glej, LGM in Pekinpah, 2014). V SNG Maribor sta Razlogom za srečo (2016) sledili predstavi Fant, dekle in gospod (februar 2018) ter Skrivnostni primer ali kdo je umoril psa (2018), vmes pa je na oder LGM postavila priljubljeno slikanico Julie Donaldson Polž na potepu na kitovem repu (2018). Uspešno deluje kot gledališka pedagoginja in je stalna sodelavka projekta Prvi prizor: gledališče kot prostor učenja simbolnih jezikov. ¶

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Gerd Taube ... is a German theatre expert, dramaturg and university professor. He received his PhD from Humboldt University in Berlin on the topic of Puppet Theatre as a Culture-Historical Phenomenon. Since 1997 he has been the director of the national theatre centre for the young (Kinder- und Jugendtheaterzentrum) and the president of the national association for the cultural education of children and young adults (Bundesvereinigung Kulturelle Kinder- und Jugendbildung). Under his artistic direction, the centre in cooperation with ASSITEJ Germany, GoetheInstitut and WIZ in Berlin organises the biennial festival Augenblick mal! an important national and international platform of expert development of theatre for young people. He publishes and lectures about puppet theatre and theatre for youth, about youth drama and culture and art education, mostly about dramaturgy, acting and expression in youth theatre. In 2014, he was named an honorary professor at the Department for the Children’s and Young Adult Literature Research (Institut für Jugendbuchforschung) at Goethe University Frankfurt. ¶ Nika Arhar...is self-employed in culture; she works as a critic in the field of performing arts, a journalist covering culture, a moderator at expert meetings and debates about performances and as a member of expert juries. She publishes her articles in the daily media and in professional journals. In 2015 and 2016, she was a member of the programme committee of the Cultural Bazaar for theatre and between 2012 and 2016, a member of the executive committee and coordinator of the Association of Theatre Critics and Researchers of Slovenia. ¶ She is continuously attracted to the theatre by the magic of condensed parallel worlds. She recognises the fundamental principle of theatre education in creating the conditions for an encounter of a young spectator with live theatre art, an encounter that would transform its fleetingness into an intense experience of a curious, vulnerable, creative and thinking individual. ¶ PETIDA ...is an institute for research and development of educational and cultural-art practice and for consulting and encouragement of creativity. It was established to help educators, teachers, artists and parents use creative approaches to encourage children, adolescents and adults to enter responsible and respectful relationships with others, to curiously

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research self and the world, to enjoy in and create beauty. It invites us to express ourselves and allows others to be expressed, in hundreds of possible ways. Petida is made of the educators Dr Petra Štirn Janota, Dr Robi Kroflič, Dr Katja Jeznik, Darja Štirn and Damjana Jurman and the artists Miha Artnak, Jure Markota and Tadej Bernik. ¶ The Five...A group of five high-school students will watch the performances and then discuss their experience with their mentor, director Mateja Kokol. They will write down their thoughts and this record shall serve as a starting point for the debate. ¶ Davorin, Janja, Julija, Sara and Tia have participated in the project The First Scene: Theatre as a Place of Learning Symbolic Languages in the season 2017/18. The students on the classics track at the First Grammar School Maribor developed the forms and methods of peer talks and checked the model on the performance Medea (dir. Oliver Frljić, Drama SNT Maribor 2017). ¶ Mateja Kokol...belongs to the youngest generation of theatre directors. She received her bachelor’s degree from the UL AGRFT with the direction of Ionesco’s The Chairs, a performance which toured to international festivals in Russia, Mexico and Slovakia. At the St. Petersburg theatre festival ArtOkraina (ArtSkirts) she received the award for the most promising young director; the direction of The Chairs brought her the Student Prešeren Award. She directed several performances, among them the piece she created as her master’s degree requirement Medea, Medea, Medea, based on Seneca’s and Euripides’s Medea (co-produced by Ljubljana City Theatre and UL AGRFT, 2015), 24 hours (Maribor Puppet Theatre, 2015), the authorial project 3.600 Seconds of Longing (Los Cosmicomicos, Zacatecas Mexica, 2015), Apocalyptic Moonlight (co-produced by Glej, Maribor Puppet Theatre and Pekinpah, 2014). Reasons to be Happy (Drama SNT Maribor, 2016) was followed by A Boy, a Girl and a Gentleman and The Curious Incident of the Dog in the Night-time at the same theatre (2018), in the meantime, she staged Julia Donaldson’s popular book The Snail and the Whale (Maribor Puppet Theatre, 2018). She works frequently as a theatre educator and is a permanent collaborator of the project The First Scene: Theatre as a Place of Learning Symbolic Languages. ¶

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Festival Borštnikovo srečanje, SNG Maribor, 16.—19. oktober 2018 Maribor Theatre Festival, SNT Maribor, 16—19 October 2018 Mednarodna platforma študentom raznovrstnih gledaliških šol in tradicij omogoča srečanje, izmenjavo, učenje in primerjavo, hkrati pa zgoščeno nagovarja javnost in opozarja na kompleksnost učnega procesa na poti v profesionalizem. ¶ Gledališki študij narekuje inovativno učno okolje, oblike učenja so bolj prožne kot na drugih študijskih smereh, hkrati pa usmerjene v dovršna umetniška dejanja. Zato ta študij razvija množico veščin: sporazumevalne spretnosti, ustvarjalno reševanje (tudi vsakdanjih) nalog, zahtevnost do sebe in drugih, motiviranost, iniciativnost, predanost, zmožnost skupinskega in samostojnega dela, gospodarno in spoštljivo ravnanje s svojim in tujim časom, upoštevanje pravil, hitro in učinkovito učenje, spoštovanje drugih, sprejemanje hierarhije, prožnost in prilagodljivost, delo pod pritiskom, samozavest, soočanje z razočaranji, disciplino, ciljno usmerjanje, koncentracijo, sprejemanje osebne odgovornosti, vodstvene veščine, sposobnost uživanja … A na gledališki študij se posameznik ne vpiše zaradi pridobivanja dodatnih veščin, temveč z razlogom usposabljanja za profesionalno gledališko kariero. Študentje se učijo uporabe svojih glasov, teles, misli in src za odrsko ustvarjanje, hkrati pa se usposobijo za opravljanje marsikaterega poklica … ¶

Programski sklop Festivala Borštnikovo srečanje se izvaja s strokovno podporo projekta kulturno-umetnostne vzgoje Prvi prizor: gledališče kot prostor učenja simbolnih jezikov.

This international platform allows students from different theatre schools and traditions to meet, exchange experience, learn and compare, while at the same time pithily addressing the audience and drawing attention to the complexity of the learning process on the path to professionalism. ¶ Theatre studies dictate an innovative learning environment, the forms of learning are more flexible than in other study programmes, and simultaneously oriented towards honed artistic acts. It is therefore a study that develops a number of skills: communication skills, creative task solving (even everyday tasks), setting high standards for oneself and others, motivation, initiative, devotion, ability for group and individual work, economical and respectful managing of own and others’ time, respecting rules, quick and efficient learning, respecting others, accepting hierarchies, flexibility and adaptability, accepting personal responsibility, leadership skills, the ability to enjoy …. But an individual doesn’t enrol to study theatre to acquire additional skills, but to train for a professional theatre career. Students learn to use their voices, bodies, thoughts and hearts for stage creativity, while training to be skilled in a number of professions … ¶

This programme section of the Maribor Theatre Festival is realised with the professional support of the culture and art education project The First Scene: Theatre as a Space of Learning Symbolic Languages.

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16. 10. 2018 > 19.00 < Stara dvorana Fakulteta za estrado Ruskega inštituta gledaliških umetnosti GITIS (RU) Faculty of Variety Theatre at the Russian Institute of Theatre Arts — GITIS (RU) Mihail Afanasjevič Bulgakov/Mikhail Afanasyevich Bulgakov

Zojkino stanovanje Zoyka’s Apartment Predstava traja 1 uro 50 minut in nima odmora. Predstava je v ruskem jeziku s slovenskimi nadnapisi. Running time 1 hour 50 minutes. No interval. Performance is in Russian with Slovenian surtitles. Pogovor po predstavi: o predstavi, o procesu, o šoli Post-performance discussion: about the performance, the process, the school

Režiser Director doc. Aleksej V. Kurganov Assoc. Prof. Dramaturginja Dramaturg D. V. Losjakova Glasbeni vodja Conductor G. L. Auerbach Mentorja Mentors Elena Shanina, Aleksej V. Kurganov Zasedba Cast Marianna Kochurova Yegor Kuchkarov Alexander Shepelenko Marina Chirikova Andrei Batsuev Maxim Gigenin Mikhail Karakasiyan Diana Egorova Stepan Akmanov Ksenia Guseva Inessa Sukhanova Ekaterina Kozhemyakina Arina Sergeeva Kristina Fedorova Julija Makarova

Gostovanje podpira Ruski center znanosti in kulture v Ljubljani. The guest performance is supported by the Russian Scientific and Cultural Centre in Ljubljana.

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he story is set in the Soviet Moscow of the 1920s. In the time of the New Economic Policy (NEP), a 35-year-old “former” aristocrat Zoya Peltz wants to get rich quickly and flee the country. She is driven by her love for an “ex” count Oblyaninov, an addict and a dreamer, a charming and art-loving seducer, who through describing his “formerness” alludes to the unsuccessful Soviet scientific experiments to provide eternal godba je umeščena v sovjetsko life. ¶ After the revolution, Moskvo dvajsetih let prejšnje- all that Zoya has managed ga stoletja. V obdobju nove ekonom- to keep from all her propske politike (NEP) želi 35-letna »bi- erty is a large flat. She has vša« aristokratka Zoja Pelc na hitro a business idea: under the obogateti in pobegniti iz države. guise of a tailor’s shop, she Žene jo ljubezen do »bivšega« grofa sets up a brothel for commuObljaninova, zasvojenca in sanjača, nist bigwigs. The encounočarljivega in umetnosti naklonje- ters of rich and influential nega zapeljivca, ki z opisovanjem men and young “models” svoje »bivšosti« aludira na neuspe- are shown in the decadent le sovjetske znanstvene poskuse atmosphere of bizarre miszagotavljanja večnega življenja. ¶ understandings. The flat Po revoluciji je Zoji od nekdanjega is an allegory of human premoženja uspelo ohraniti le veli- dreams and expectations, ko stanovanje. Domisli se poslovne ideje: pod krinko krojaške delavnice ustanovi bordel za komunistične pomembneže. Srečanja med bogatimi in vplivnimi možmi ter mladimi

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caught in a whirlwind of insensitive history, and Zoya is a representative of an endless mass of the victims of a dictatorial regime that chang»modeli« so prikazana v dekadentni es its citizens into hopeless atmosferi bizarnih nesporazumov. caricatures of themselves. Stanovanje je prispodoba človeških In the end, a giraffe from sanj in pričakovanj, ujetih v vrtincu the eponymous poem by the neobčutljive zgodovine, Zoja pa pred- tragically-killed Russian stavnica nepregledne množice žrtev poet Nikolay Stepanovich diktatorskih režimov, ki spreminja- Gumilyev strolls elegantly jo državljane v lastne brezizhodne across the stage, as an alkarikature. Na koncu se čez oder legory of a distant and unelegantno sprehodi žirafa iz istoi- reachable beauty far away menske pesmi tragično ubitega ru- from the violent reality. ¶ skega pesnika Nikolaja Stepanoviča Gumiljeva kot prispodoba oddaljene in nedosegljive lepote daleč stran od nasilne realnosti. ¶ foto/photo: GITIS

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16. 10. 2018 > 21.00 < Komorni oder

Produkcija VII. semestra GLR in DI, UL AGRFT Production of the 7th semester students of acting and directing, UL AGRFT Po motivih iger Howarda Barkerja Ljubezni dobrega moža, Evropejci, Uršula in Nepredvidljive posledice Based on Howard Barker’s plays The Love of a Good Man, The Europeans, Ursula and The Unforeseen

Se mi vsaj ni treba poljubljati At Least I Do Not Have to Kiss Predstava traja 50 minut in nima odmora. Predstava je v slovenskem jeziku. Running time 50 minutes. No interval. Performance is in Slovenian with English surtitles. Pogovor po predstavi: o predstavi, o procesu, o šoli Post-performance discussion: about the performance, the process, the school

Režiser, scenograf in oblikovalec svetlobe Director, stage and lighting designer Dorian Šilec Petek Zasedba Cast Dramaturg Dramaturg Lea Cok Jaka Smerkolj Mario Dragojević Kostumografinja Urša Kavčič Costume designer Urban Kuntarič Tina Bonča Živa Selan Avtor glasbe Music Eva Stražar Laren Polič Zdravič Dominik Vodopivec Matej Zemljič Mentorji Mentors Dramska igra in gledališka režija Acting and theatre directing red. prof. Boris Ostan Prof. izr. prof. Jernej Lorenci Assoc. 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 izr. prof. dr. Katarina Podbevšek Assoc. Prof., PhD

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redstava govori o ljudeh, ki ne zmorejo doumeti dokončnosti smrti, prav tako pa ne sprejemajo tradicionalnega izročila o posmrtnem življenju. Vera v he performance talks about people who cannebesa in pekel ni predstavljena kot ideologija, temveč not fully grasp the finality of death yet do kot prazen eksperimentalni konstrukt, scenografija, not accept the traditional message about the afiluzija. Zato se predstava odmika od tradicionalnega terlife. Believing in heaven and hell is not prepripovedovanja zgodbe, orisa značajev, realističnega sented as ideology, but as an empty experimental odrskega prostora in jih zamenjuje s čustvi, z razpo- construct, scenography, illusion. The performance loženji in miselnimi fragmenti. Dogodek se krepi v thus moves away from the traditional storytellansambelski rasti in preizkuša tezo kolektivnega ing, character presentation, realistic stage space ustvarjalnega impulza.¶ Umetniški ansambel je v and replaces them with emotions, moods and snovalnem procesu izhajal iz odlomkov različnih fragments of thought. The event grows through avtorjev (npr. Ionescovih esejev), improvizacij (npr. the ensemble and tests the thesis about the colPunch & Judy), avtobiografskih zgodb idr. Rezultat je lective creative impulse.¶ The artistic ensemble popolnoma avtorsko in na zgolj ključno/bistveno zre- started their creative process in the fragments ducirano uprizoritveno besedilo, ki izvajalce (bolj kot from different authors (e.g., Ionesco’s essays), imv strukturi) podpira v simbolnem, čustvenem, vizu- provisations (e.g., Punch & Judy), autobiographical alnem in zvočnem izrazu. A predstava kljub temu ne tales, etc. The result is a completely authorial text, deluje kot metafora, bolj kot poetična slika – gledal- pared down to the core/essence, which supports cem ne ponuja »bralnega« materiala, temveč celovito the performers in the symbolic, emotional, visual gledališko izkušnjo. ¶ foto/photo: Željko Stevanić / CTF UL AGRFT and sound expression (more than in structure). But the performance nevertheless does not come across as a metaphor, more like a poetic image – rather than offering the spectators “reading” material, it offers a complete theatre experience. ¶

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17. 10. 2018 > 10.00 < Mali oder Katedra za avtorsko tvorbo in pedagogiko Gledališke akademije DAMU v Pragi (CZ) Department of Authorial Creativity and Pedagogy of DAMU, the Theatre Faculty of the Academy of Performing Arts, Prague (CZ) Maryana Kozak

Oj Kijev, Kijev Oy Kyiv, Kyiv

Magistrski avtorski projekt Master’s programme graduation project Predstava traja 40 minut in nima odmora. Predstava je v češkem, ruskem in ukrajinskem jeziku s povzetkom v slovenščini. Running time 40 minutes. No interval. Performance is in Czech, Russian, Ukrainian with a summary in Slovenian. Pogovor po predstavi: o predstavi, o procesu, o šoli Post-performance discussion: about the performance, the process, the school Režiserka in izvajalka Director and performer Maryana Kozak

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arjanka, kaj pa počneš tam v Kijevu? Kiev, Kýjiv, Kiev, Kiów, Kieý je glavno mesto Ukrajine, se začne zgodba. Nato se slikovito zvrstijo prizori iz vsakdanjega življenja študentke umetnosti. Tema je avtobiografska, odnos do nje (samo)ironičen in prav ta arjanka, what do you razdalja v gledalcu sproža ganjenost, do over there in Kiev? saj razkriva poglobljeno procesno sa- Kiev, Kýjiv, K e , Kiów, Kieý moizpraševanje, kjer se avtorica senti- is the capital of Ukraine, mentalnosti izmika s spretno uporabo so the story begins. Then raznorodnih uprizoritvenih metod. ¶ colourful scenes from the everyday life of an art student are lined up. The theme is autobiographical, the attitude to it (self-)ironical and it is this distance that moves the spectator to tears, as it reveals in-depth self-questioning, in which the author eschews sentimentality with a clever use of different performing methods. ¶ foto/photo: Eva Neuzilova

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17. 10. 2018 > 19.00 < Stara dvorana Accademia Teatro Dimitri SUPSI & Pars Foundation (CH) Po pravljici Hansa Christiana Andersena Inspired by Hans Christian Andersen’s fairy tale

Zrno graha The Pea

Predstava traja 1 uro in nima odmora. Predstava je v nemškem in angleškem jeziku s povzetkom v slovenščini. Running time 1 hour. No interval. Performance is in German and English, with a summary in Slovenian. Pogovor po predstavi: o predstavi, o procesu, o šoli Post-performance discussion: about the performance, the process, the school

Avtorica, režiserka in izvajalka Author, director and performer Stefanie Bolzli

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his dance-theatre production by Stefanie Bolzli is a touching and comical solo performance about sensitivity, identity and acceptance. A surprising adventure of searching for a pea is an attempt to establish strategies of humanity and an invitation to checking the daily social role of a woman in the obsessed yearning for happiness. The physical expression is complemented by a video of scenes from the lesno-gledališka produkcija Stefanie Bolzli je gan- unconscious layers, with images ljiva in komična solistična predstava o občutljivo- of hidden emotional states, unsposti, istovetnosti in sprejetosti. Presenetljiva pustolov- ken thoughts and internal monoščina iskanja graška je poskus vzpostavljanja strategij logues. The main expressive medičlovečnosti in povabilo k preverjanju vsakdanje druž- um is the movement material from bene vloge ženske v obsedenem hlepenju po sreči. Fizič- physical theatre, dance and acroni izraz dopolnjuje video s prizori iz nezavednih plasti, batics, which at times supports s slikami skritih čustvenih stanj, neizrečenih misli the fragile and intimate emotions in notranjih samogovorov. Nosilni izraz je gibalni ma- in a rather bizarre way and trigterial iz fizičnega gledališča, plesa in akrobatike, ki gers laughter. The princess, who krhka in intimna čustva kdaj pa kdaj podpira na precej is not one, ironically functions bizaren način in sproža smeh. Kraljična, ki to ni, iro- as a sad clown with her shoes full nično funkcionira kot žalostni klovn s polnimi čevlji of peas in all the wrong places. ¶ graška na vseh napačnih mestih. ¶ foto/photo: SUPSI

Avtor videa Video Santiago Bello Pérez Zunanje oči External eyes Mirjami Heikkinen Michael Schultz Thomas Scheidegger Oblikovalec svetlobe Lighting designer Christoph Siegenthaler

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17. 10. 2018 > 21.00 < 18. 10. 2018 > 10.00 < Komorni oder Produkcija IV. semestra DI, GLR, UL AGRFT Production of the 4th semester students of acting and directing, UL AGRFT Po motivih Ljubiti, Pod perutnico noči in Hišica v cvetju Milana Jesiha Inspired by Milan Jesih

Dvoje sva in hkrati eno We are Two and Also One Predstava traja 1 uro in nima odmora. Predstava je v slovenskem jeziku. Running time 1 hour. No interval. Performance is in Slovenian with English surtitles. Pogovor po predstavi: o predstavi, o procesu, o šoli Post-performance discussion: about the performance, the process, the school Režiserka Director Manca Kok Dramaturg Dramaturg Jaka Smerkolj Scenografa Set designers Jaka Smerkolj, Vesna Perovnik Kostumografinja Costume designer Ana Janc Sodelavec za glasbene aranžmaje Music arrangements collaborator Blaž Pavlakovič Zasedba Cast Žan Brelih Hatunić Lara Fortuna Martin Mlakar Lara Wolf

Mentorji Mentors Dramska igra in gledališka režija Theatre acting and directing doc. Matjaž Tribušon Assist. Prof. red. prof. Matjaž Zupančič Prof. Dramaturgija Dramaturgy izr. prof. dr. Tomaž Toporišič Assoc. Prof., PhD Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MA Oblikovanje svetlobe Lighting design doc. mag. David Orešič Assist. Prof., MA Kostumografija Costume design red. prof. Janja Korun Prof. asist. mag. Tina Kolenik Assistant, MA Jezik in govor Language and speech izr. prof. dr. Katarina Podbevšek Assoc. Prof., PhD

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oja sanjska, brezmejna, nadkrasna ljubezen Nepredvidljiva, skrivnostna, rjavolasa, trmasta, samosvoja, pozorna, nežna, diši po svežem, realna, nasmejana, iskrena, lena, trdna, brez denarja, štorasta, poštena, dobra, naravna, navadna, odgovorna, prostodušna, seksapilna, posebna, y Dreamy, Endless, Splendiferous Love čedna, skuštrana, sanjava, svobodna, Unpredictable, mysterious, brunette, stubborn, neodvisna, mehka, skromna, glupa, individual, attentive, tender, fresh-smelling, real, ljubosumna, ljubezniva, previdna, tre- laughing, sincere, lazy, firm, penniless, clumsy, honest, zna, zmedena, samozavestna, pame- kind, natural, ordinary, responsible, frank, sexy, special, tna, čista, glasna, pijana, romantična, cute, ruffled, dreamy, free, independent, soft, modest, prizadeta, umirjena, nora, mladostna, stupid, jealous, kind, careful, sober, confused, self-confiprivlačna, pogumna, vesoljska, šibka, dent, smart, pure, loud, drunk, romantic, hurt, calm, craprepirljiva, lepa, modrooka, poštena, zy, youthful, attractive, brave, extraterrestrial, weak, marljiva, spontana, točna, visoka, od- contentious, beautiful, blue-eyed, fair, diligent, spontakrita, s širokimi boki, sarkastična, neous, punctual, tall, candid, with wide hips, sarcastic, vedoželjna, okorna, robustna, mavrič- eager to learn, maladroit, robust, rainbow, withered, na, shirana, melodična, harmonična. ¶ melodious, harmonious. ¶ foto/photo: Željko Stevanić / CTF UL AGRFT

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Ona: Ejga, ti! On: Koga? Gmah mi dej. Ona: Anačuteš? Odnesva naju je ...

She: Heyya! He: Wha? Leave me alone. She: Dontchafeelit? It took us ...

18. 10. 2018 > 19.00 < Stara dvorana Universitatea de Arte, Târgu-Mureş (RO) & Maladype Színház (HU) Po motivih kratkih zgodb Bruna Schulza Inspired by Bruno Schulz

Avgust August Predstava traja 50 minut in nima odmora. Running time 50 minutes. No interval. Pogovor po predstavi: o predstavi, o procesu, o šoli Post-performance discussion: about the performance, the process, the school

Avtor in režiser Author and director Zoltán Balázs Asistentka režije Assistant director Ildikó Zoltán Asistentka dramaturgije Assistant dramaturg Bernardett Zárug Asistentka produkcije Assistant producer Zsuzsa Juraszek

Zasedba Cast Brigitta Dőry Brigitta Erőss Róbert Fekete Simon Jáger Ivett Andrea Lukács Gáspár Mesés Viktor J. Szabó Míra Szilágyi Lilla Zsenák

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Ukrajini rojen poljsko-judovski pisec magičnega realizma Bruno Schulz, sodobnik Musila in Kafke, konstruira literarni svet skozi perspektivo otroštva. Zbirka kratkih zgodb Prodajalne cimeta iz leta 1934 (kasneje preimenovana v Ulico krokodilov v ameriški izdaji), iz katerih črpa produkcija, je umeščena v majhno provincialno mesto v Galiciji in prikazuje zaton Ruskega carstva.¶ Diplomska predstava študentov igre temelji na neverbalnem odrskem jeziku in izvajalce spodbuja k izrazu lastnih želja, hotenj in izkušenj. Bodi prisoten in zgodi se lahko he Ukrainian-born Polish-Jewish writer of magic karkoli, vse, trdi režiser, ki usmerja v raziskovalrealism Bruno Schultz, a contemporary of Musil ni razvoj individualnih gibalnih tehnik, zaveda- and Kafka, constructs a literary world through the pernja telesa in govora. Večkrat nagrajeno predstavo spective of childhood. The short story collection Cinnaodlikujejo čvrsti skupinski prizori, ki gradijo mon Shops from 1934 (later renamed as The Street of sinhrono vzporednost in gladko drsijo v drobne Crocodiles for the American edition), which inspired subjektivne intimnosti. Je dosledno komunika- the production, is set in a small provincial town in tivna in ob nakazani družbeno-zgodovinski gren- Galicia and shows the decline of the Russian Empire. ¶ kobi inteligentno duhovita.¶ foto/photo: Daniel Christian Maris The diploma performance of the acting students is based on the non-verbal stage language and encourages the performers to express their own wishes, desires and experiences. Be present and anything can happen, claims the director who stirs them towards the research development of individual movement techniques, body awareness and speech. The multiple award-winning performance is characterised by firm group scenes that build a synchronous parallelism and slide smoothly into tiny subjective intimacies. It is meticulously communicative and by hinting at socio-historical bitterness, intelligently witty.¶

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18. 10. 2018 > 21.00 < 19. 10. 2018 > 10.00 < GT22

Produkcija IV. semestra DI, GLR, UL AGRFT Production of the 4th semester students of acting and directing, UL AGRFT Milan Jesih

Srebrno rebro

Predstava traja 1 uro 5 minut in nima odmora. Predstava je v slovenskem jeziku. Running time 1 hour 5 minutes. No interval. Performance is in Slovenian with a summary in English. Pogovor po predstavi: o predstavi, o procesu, o šoli Post-performance discussion: about the performance, the process, the school Režiser Director Luka Marcen Prirejevalca besedila Text adaptation Tery Žeželj Luka Marcen Dramaturginja Dramaturg Tery Žeželj Scenografinja Set designer Nika Curk Kostumografinja Costume designer Ana Janc

Zasedba Cast Luka Bokšan Nika Vidic Julija Klavžar Lana Bučevec Andraž Harauer Gal Oblak

Mentorji Mentors Dramska igra in gledališka režija Theatre acting and directing doc. Matjaž Tribušon Assist. Prof. red. prof. Matjaž Zupančič Prof. Dramaturgija Dramaturgy izr. prof. dr. Tomaž Toporišič Assoc. Prof., PhD Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MAw Oblikovanje svetlobe Lighting design doc. mag. David Orešič Assist. Prof., MA Kostumografija Costume design red. prof. Janja Korun Prof. asist. mag. Tina Kolenik Assistant, MA Jezik in govor Language and speech izr. prof. dr. Katarina Podbevšek Assoc.. Prof., PhD doc. Alojz Svete Assist. Prof. Gib Movement izr. prof. mag. Uršula Teržan Assoc. Prof., MA

Kje ste bili med nevihto, kje ste bili pod večer? // Nasmeh, da obstanem v klicu, v razpenjenem zlomu, / da obstanem v klicu in razpenjenem zlomu, se razbolim. // Jokal sem v materi in dvomil v svoj spomin: jok in dvom. / Na neskončnih plovbah sem se organiziral v bika in v orla, / glavo sem posojal dušeči megli in nameraval vase. // S svojim divjim mrakom sem kuril, da bi sovražil pepel, / visoko starožitje sem si nosil v kri, da bi ostal sam, / umaknil sem se v kompas in nikoli nisem klečal v sreči. / Prijavil sem se v legijo, prijavil sem se med ulomke. // Nekoč sem tudi skupaj z drugimi plesal v fotografijah, / potem sem jokal in spet ne, ker sem bil v fotografijah zrasel; / vse ljubó sem zakopal v spomin, užaljenost, je odšla: / plaval sem v temo, priplaval sem v svežo bodrost, / poslal sem šopek veselih, brezskrbnih pozdravov in rož. // Izstopil sem iz razvad, stopil v najbolj čudovite žene, / v pogledih sem se pogovarjal z njimi, v deminutivih. / Infiltriral sem doke v smrt prosivcev in hudičev, / bojeval sem se s pravičnostjo v desnici, školjkami v levici. // Jokal sem v materi in dvomil v svoj spomin: jok in dvom! / Vrvi so se napele v viharju, vame je padla ranjena zvezda, / čezme je vlekel strupeno mrzel piš: jok in dvom, jok in dvom. // Svet me je dočakal v svoji najbolj živčni uri. Uprl sem srce, / znanje me je obdarilo s puško, odšel sem v škrlatne morivce. / Tiho se pogovarjamo, po stokrat na dan se rokujemo. ¶ foto/photo: Željko Stevanić / CTF UL AGRFT

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“Our cordial authenticity, just so we’re clear, is not for sale. I am adamant when it comes to this. Our authenticity is not for sale!” // Where does the Srebrno rebro lie? // It is somewhere far, far away. It is lonely somewhere high among the mountain peaks. Forgotten between mountains, as the last bulwark of our tradition and authenticity, which is straight as ethnography demands. As a monument to the past. // And at the same time, it's quite close. Inside us. Inside every single one of us. It grows in our dark delusional dreams and in our fears, welcomes every newcomer with a double-barrel shotgun. As a warning of the future. // Everything in-between is just an idea. ¶

17. 10. 2018 > 14.00–18.00 < Alma Mater Europaea – ECM Brez meča / N o Swo r d Delavnica odrskega giba Stage movement workshop Izvajalec Presenter Aidar Zakirov, GITIS Aidar Zakirov Zagitovich ... je predstojnik Oddelka za odrski gib na Ruskem inštitutu gledaliških umetnosti GITIS. Zakirov je vodilni ruski režiser fizičnega gledališča, učitelj in koreograf scenskih bojev, kot kaskader deluje v kinematografski produkciji. Je direktor mednarodnega festivala gledališkega mečevanja. ¶ Izobraževanje na Oddelku za odrski gib temelji na sistemu K. S. Stanislavskega in teoriji V. E. Meyerholda. Najpomembnejše naloge oddelka pod vodstvom Zakirova so: razvoj osnovnih psiho-fizičnih sposobnosti igralcev in režiserjev, spodbujanje zmožnosti in potrebe po fizični izraznosti v gledališkem ustvarjanju, posredovanje znanja in spretnosti, gradnja giba v prostoru, odkrivanje individualne tehnike igralca in uporaba načel biomehanike. ¶ Praktična delavnica odrskega giba se usmerja v razumevanje in uporabo fizičnega odrskega izraza. Vključuje naslednje teme: osnove, individualizacija, trening, veščine, konflikt, tematizacija. ¶

Aidar Zakirov Zagitovich...is the chair of the Department of Stage Movement at the Russian Institute of Theatre Arts — GITIS. Zakirov is the leading Russian director of the physical theatre, teacher and choreographer of stage fighting, works as a stuntman in cinema production. He is the director of the international festival of theatre fencing. ¶ Training at the Department of Stage Movement is based on Stanislavsky’s system and Meyerhold’s theory. The most important tasks of the department under Zakirov’s leadership are: developing the basic psycho-physical abilities of actors and directors, encouraging the abilities and needs for physical expressiveness in theatre creation, conveying knowledge and skills, constructing movement in space, discovering individual techniques of actors and using the principles of biomechanics. ¶ This practical workshop of stage movement is oriented to the understanding and use of physical stage expression. It includes the following topics: fundamentals, individualisation, training, skills, conflict, thematisation. ¶

17. 10. 2018 > 15.00–18.00 < Alma Mater Europaea – ECM

Avtorska tvorba / AU THO R I AL C r eation Delavnica avtorske dramaturgije A workshop on authorial dramaturgy Izvajalec Presenter Maryana Kozak, DAMU Maryana Kozak ... po diplomi iz političnih ved z nalogo o češko-slovaškem novem valu je na Gledališki akademiji DAMU v Pragi vpisala celovit magistrski študij avtorske igre in pedagogike. Specializirala se je iz oblikovanja lika, avtorskega snovanja predstave in scenaristike na londonski šoli Regent's School of Drama, Film & Media; iz igre in režije na Kijevski nacionalni univerzi I. K. Karpenko — Kary za gledališče, film in televizijo; filmsko scenaristiko je izpopolnjevala v razredu Csabe Bollóka v Dregelypalanki na Madžarskem. Kot igralka je nastopila v avtorskih produkcijah gledališča DISK v Pragi, v produkcijah londonskih gledališč Marylebone in Train Theatre, sodeluje z mladimi režiserji z brnske gledališke akademije JAMU. Kot celovita avtorica in izvajalka podpisuje dva projekta — Cepóčka in Oj Kijev, Kijev. Sodelovala je pri zasnovi in izvedbi gledališko-antropološkega festivala Velká Lhota ter organizaciji in izvedbi študentskega festivala Nablízko v Pragi. ¶

Maryana Kozak ...after obtaining a degree in political science with a thesis on the Czechoslovakian new wave, she began the master’s programme in authorial creativity and pedagogy at the Theatre Academy DAMU in Prague. She has specialisations in creating characters, authorial creation of performance and screenwriting from the Regent’s School of Drama, Film & Media (London); in acting and directing from the Kyiv National I. K. Karpenko-Kary Theatre, Cinema and Television University; she was in Csaba Bollók film screenwriting master class at Dregelypalank in Hungary. She works in film production (Milk & Honey Films), mostly advertising spots and documentaries. As a complex author and performer she has created two projects – Cepóčka and Oy Kyiv, Kyiv. She has also worked in the concept and production of the theatre-anthropological festival Velká Lhota and the organisation and production of the student festival Nablízko in Prague. ¶

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18. 10. 2018 > 14.00–18.00 < Alma Mater Europaea – ECM ČUSTVA / E MOT IO N S Delavnica praktične definicije A workshop on practical definition Izvajalec Presenter Stefanie Bolzli, Dimitri Stefanie Bolzli ... je sodobna plesalka, igralka, performerka in pedagoginja. Zrno graška je njena prva solistična predstava po dokončanju magistrskega študija iz fizičnega gledališča na Akademiji Teatro Dimitri. Diplomirala je na šoli Artedanse v Bielu, kjer so bili njeni plesni pedagogi Klaus Stauffer, Ivana Halamka in Michael Schulz. Med bivanjem v Nemčiji se je navdušila nad cirkusom in se nato izobraževala na področju akrobatike in klovnade. Njena učitelja sta bila tudi Eric de Bont in Philippe Gaulier. Kot plesalka je sodelovala v različnih produkcijah in kompanijah, tudi v kratkih filmskih in televizijskih projektih, nastopala je v Cirkusu Balloni in predstavah Dinner Krimi. Od leta 2013 je članica gledališča Madame Bissegger, ob tem pa poučuje sodobni ples. Razvila je svojo metodo Tanz doch!: njeno ustvarjalno delo je fizično motivirano, temelji pa na jasni strukturi, estetiki in ironiji; igralec naj s svojo iskreno igro gledalca gane na način, ki zaobide razum in se dotakne duše. ¶

Stefanie Bolzli...is a contemporary dancer, actor, performer and educator. The Pea is her first solo performance after completing her master’s degree in physical theatre at the Accademia Teatro Dimitri. She graduated from Artedance in Biel, where her dance teachers were Klaus Strauffer, Ivana Halamka and Michael Shultz. During her stay in Germany, she discovered her passion for circus and then trained in acrobatics and clown arts. Among her teachers were Eric de Bont and Philippe Gaulier. As a dancer she has worked with different productions and companies, as well as in short films and television projects, including with Balloni Circus and the performances of Dinner Krimi. Since 2013 she has been a member of the Madame Duissegger Theatre and also teaches contemporary dance. She has developed her own method Tanz doch!; her creativity is physically motivated, and based on a clear structure, aesthetics and irony; the actor should act to touch the spectator in a way that bypasses reason and touches the soul. ¶

19. 10. 2018 > 12.00 < Mali oder GLEDA L IŠ K E Š O LE / THE ATR E SC HO O LS Študentska tribuna A student tribune Mednarodna študentska razprava o študiju gledališke umetnosti: ustroj, metode, obseg, vrste, vsebine, procesi in druge značilnosti študijskih programov sodelujočih šol. Namen dogodka je predstavitev, umestitev in primerjava, na prvem mestu pa povezava in izmenjava. ¶

An international student debate about studying theatre arts: the structure, methods, scope, types, contents, processes and other characteristics of the study programmes of participating schools. The purpose of the event is to present, inform and compare, but foremost, to foster connections and exchange. ¶

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18. 10. 2018 > 10.00 < Vetrinjski dvor D ED I ŠČINE MESTA The He r itage of the C ity Posvet v sodelovanju Filozofske fakultete Univerze v Ljubljani z društvom Hiša!, Muzejem narodne osvoboditve Maribor in Rajzefibrom A discussion in cooperation with the Faculty of Arts, University of Ljubljana with Hiša! Association, the National Liberation Museum Maribor and Rajzefiber Tradicionalno se je kulturna dediščina v Sloveniji in Mariboru vezala na nacionalne mite in regionalne etnografske raznoličnosti. Izhodišče našega posveta je obseg in pestrost dediščin v Mariboru in okolici, ki presega beleženje registrov v muzejih in zavodih. To je vredno in potrebno upoštevati pri pravilnem vstavljanju v turistične proizvode. ¶ Polje kulturne dediščine v Mariboru določajo številne družbene okoliščine: topografsko-socialna (mesto-predmestje-podeželje), generacijska (štirje politično-ekonomski sistemi v 20. st.), etnična, razredna in institucionalna (državno-lokalno-civilno). Vsaka od teh ima in je v preteklosti imela svojo človeško organizacijo, ekonomijo, kulturne mreže, ideologije, identitete in sloge – lastne kulturne dediščine. ¶ Dediščine danes niso samo politični, ampak tudi gospodarski projekti družb. Spominske ustanove, klubi, delavnice, storitve in znanja mesta se po svetu integrirajo v turistične industrije. Organizatorji se sprašujemo, kako zastaviti razmerje med »domačijskim« ali integrativnim namenom in tržnimi cilji (»izvoz dediščine«). ¶ Na posvetu sodelujejo strokovnjaki s področja sociologije, antropologije, književnosti, muzejstva, novinarstva in drugi. ¶

Traditionally, the cultural heritage in Slovenia and in Maribor has been linked to national myths or to regional ethnographic differences. The starting point of our discussion is that the heritage of Maribor and its surroundings is greater and more varied than the registers in museums and institutes can record. It is therefore necessary to introduce it into the tourist offer correctly. ¶ The field of cultural heritage in Maribor is defined by a number of societal oppositions: topographical-social (city-suburb-countryside), generational (four political-economic systems in the 20th century), ethnic, class, and institutional (statelocal-civic). Each of these oppositions has or has had its own human organisation, economy, cultural networks, ideologies, identities and styles – its own cultural heritage. ¶ The recognition of such multifaceted heritage today is not only a political, but also an economic project of societies. Cities around the world are integrating their memorial institutions, clubs, workshops, services and know-how into tourist industries. The organisers of the discussion ask how to position the relationship between the domestic or integrative purpose, on the one hand, and the market purpose, the exporting of heritage, on the other? ¶ Experts from the fields of sociology, anthropology, literature, museums, journalism and others will participate at the colloquium. ¶

18. 10. 2018 > 17.00 < Narodni dom Maribor

53. Borštnikovo 106 — 107

Shifting Baselines Mednarodni projekt v koprodukciji Društva Nagib, Goethe-Instituta Ljubljana, ArgeKultur Salzburg (AT) in HochX München (DE) International project in coproduction with Nagib Association, Goethe-Institut Ljubljana, ArgeKultur Salzburg (AT) and HochX Munich (DE) Projekt Shifting Baselines opazuje in premišljuje transformativne procese, ki jih opisuje kot odnose med zaznavami, vrednotami in vzorci dejanj na eni strani in kot spreminjajoče se okolje na drugi. Socialni psiholog Harald Welzer pojasnjuje ta odnos kot odnos dveh drsečih referenčnih točk, na primer dveh vlakov, ki vozita po vzporednih tirih z enako hitrostjo in se zato zdi, da relativno drug na drugega stojita pri miru. Pogosto se zgodi, da procesov spremembe, ki preoblikujejo pogoje družbenih okvirov, ljudje in družbe, v katerih ti potekajo, ne prepoznamo, ker se nam istočasno – in prav tako nezavedno – spreminjajo tudi percepcije, vrednote in vzorci delovanja. Posledično celo pomembnih zgodovinskih dogodkov ali sprememb pogosto ne prepoznamo ali se z njimi ne spoprimemo v trenutku, ko se zgodijo. ¶ Termin »shifting baselines« izvira iz naravoslovja (iz morskih in ribiških raziskav). Posebej dobro ga je sprejel in raziskal sociološki diskurz, nato pa je bil prenesen v družbene vede in kulturo. Obravnava in uporablja se v različnih disciplinah, kot so zgodovinske raziskave (npr. v odnosu do hitre spremembe vrednot v času nacionalsocializma in pojavu holokavsta), ekologija (podnebne spremembe in izumrtje vrst kot ekološka in socialna kriza), polje političnih ved (sprememba v odnosu med svobodo in varnostjo po 11. 9. 2001) ali ekonomija (sprememba v monetarni politiki ob pojavu finančne krize leta 2008). ¶ Prvi raziskovalni dogodek projekta se ukvarja s splošnimi vpraševanji: Kaj so »shifting baselines«, ki smo jim izpostavljeni zdaj? Kateri učinki bodo vidni v prihodnosti? Kako lahko pojave prepoznamo, vizualiziramo in se ustrezno odzovemo danes? ¶ Skupina kuratorjev – Petra Hazabent, Mona Schwitzer, Sebastian Linz in Philipp Krüger – gosti prvega v seriji konceptualnih srečanj, in sicer preiskovalno-raziskovalni dogodek, katerega namen je odpreti prostor za premislek, preizpraševanje in izkušnjo fenomena »shifting baselines«, tokrat skozi (lokalne) zgodbe v interakciji z (mednarodnimi) gosti in občinstvom, kakor tudi skozi različne umetniške konstelacije (npr. zvočno instalacijo, vizualno in oblikovalsko participatorno razstavo, performativno predavanje). ¶

The Shifting Baselines project observes and reflects upon transformational processes, describing them as relationships between perceptions, values and patterns of action on the one hand and as a changing environment on the other. Social psychologist Harald Welzer explains this relationship as that of two sliding reference points, as, for example, two trains travelling on parallel tracks at the same speed, which therefore, relative to one another, seem to stand still. The processes of change transforming social framework conditions are often not recognised by the people or societies affected by them, because at the same time – and just as unknowingly – the perceptions, values and patterns of action of these people or societies are changing as well. Consequently, even historically relevant events or changes are often not recognised or dealt with at the moment of their occurrence. ¶ The term “shifting baselines” originally comes from natural science (marine and fisheries research). It was particularly well received and researched by the sociological discourse and then transferred to social science contexts and culture. It has been discussed and applied in various fields and disciplines, such as historical research (for example, in relation to the rapid change of values in the time of National Socialism), ecology (climate change and species extinction as ecological and social crises), the field of political science (the change in the relationship between freedom and security after 9/11) or economy (the change in the monetary policy in the wake of the 2008 financial crisis). ¶ This first research event of the Shifting Baselines project deals with the act of the common line of questioning: What are the “shifting baselines” to which we are being subjected at the present moment? What effects will become apparent in the future? How can we recognise, visualise and respond adequately today? ¶ A group of curators – Petra Hazabent, Mona Schwitzer, Sebastian Linz and Philipp Krüger – will host an investigative research event to open up the space for “shifting baselines” to emerge in different forms by discussing and sharing stories of (local) people, experiencing and researching the phenomena also through different artistic constellations (for example, sound installation, visual and design participatory exhibition, performative lecture …). ¶

19. 10. 2018 > 10.00 < Glazerjeva dvorana UKM Osebnosti slovenskega gledališča / The Key Figu res of Slovenian Theatr e Znanstveno srečanje v organizaciji ZRC SAZU (Raziskovalna postaja Maribor) in Univerzitetne knjižnice Maribor An academic symposium organised by the Scientific Research Centre of the Slovenian Academy of Sciences and Arts (Research Station Maribor) and University of Maribor Library Dogodek je vsebinsko tesno povezan z delom Novega Slovenskega biografskega leksikona, ki ga pripravlja ZRC SAZU. Rdeča nit tokratnega prvega srečanja – Izzivalci meja – so osebnosti, ki so v svojem času in prostoru prestopale ustaljene predstave o gledališču. Priznani avtorji s področja gledališča s svojimi prispevki v osnovnih obrisih sledijo strukturi biografskega gesla, ob tem pa avtonomno izbirajo poudarke in interpretirajo delo obravnavanih osebnosti. ¶ Besedila bodo objavljena v znanstveni monografiji; izšla bo v okviru Biografskih študij zbirke Življenja in dela, ki jo izdaja Inštitut za kulturno zgodovino ZRC SAZU. ¶

The topic of the event is closely linked to the work of the Novi slovenski biografski leksikon (New Slovenian Biographical Lexicon), published by the Scientific Research Centre of the Slovenian Academy of Sciences and Arts. The principal theme of this first meeting – The Challengers of the Borders – will be the key figures who in their time and space ventured beyond the borders of the accepted image of theatre. Renowned theatre authors and researchers will structure their presentations in a way congruent with the basic outline of the biographical entries, but will autonomously choose their emphasis and interpret the work of the individual. ¶

19. 10. 2018 > 10.00 < Center za kreativnost T urizem v mestu / Tour ism in the C ity Mednarodni posvet v sodelovanju društva Hiša! in Rajzefibra s Centrom za kreativnost MAO in Zavodom za turizem Maribor-Pohorje A debate with Slovenian and international experts in cooperation with Hiša Association! and Rajzefiber with the Centre for Creativity (MAO) and Maribor–Pohorje Tourist Board Turisti postopoma odkrivajo vzhodno Slovenijo in lokalne skupnosti vzhodne Slovenije zlagoma odkrivajo turizem. Kakšno podporno okolje potrebuje turizem? Kaj je kreativni turizem in kakšna je lahko njegova vloga v razvoju mesta prihodnosti? Kako lahko odločevalci prispevajo k boljšemu in hitrejšemu razvoju turizma? Kakšno sodelovanje je potrebno, da se razvije uspešna zgodba kreativnega turizma? Tematiko obravnavajo povabljeni mednarodni gostje, ki predstavljajo primere dobrih praks, sodelujejo predstavniki lokalnih skupnosti, izobraževanja s področja turizma, zasebnega sektorja in drugi deležniki s področja turizma v regiji. ¶

Tourists are slowly discovering eastern Slovenia and the local communities in eastern Slovenia are slowly discovering tourism. What kind of support environment does tourism need? What is creative tourism and what can its role be in the development of the city of future? What kind of cooperation is necessary to develop a successful story of creative tourism? We will try to answer all these and many more questions with the international guests who will present cases of good practice, the representatives from the local communities in Slovenia, the representatives of education in tourism, the representatives of the private sector and other partners in tourism in the region. ¶

19. 10. 2018 > 18.00 < Galerija Vetrinjski dvor

53. Borštnikovo 108 — 109

Jernej Š ugman ( 1 9 6 8 —2 0 17 ) Razstava SNG Drama Ljubljana SNT Drama Ljubljana Exhibition

Jernej Šugman, prvak ljubljanske Drame, je utelesil največje in najzahtevnejše dramske like, od Hamleta preko Baala do Ojdipa in Kralja Ubuja. Na Borštnikove odre je od leta 1992 stopil malodane tridesetkrat in za svoje delo prejel številne nagrade: tri Borštnikove, nazadnje za izjemno naslovno vlogo v predstavi Kralj Ubu, ki mu je prinesla tudi zlat lovorjev venec na gledališkem festivalu MESS v Sarajevu, več Severjevih nagrad in druge. ¶ Veličastno, duhovito, iskreno je izpolnil in utelesil dramske, televizijske, radijske like, obvladoval široko paleto žanrov, navduševal kritiko in veljal za enega najbolj priljubljenih, prepoznavnih igralcev pri nas. Imel je tisto posebno odrsko prezenco, ki je prepojila oder in dvorano. Toplino in veličino hkrati. In sedaj velika praznina. ¶ foto/photo: Peter Uhan

Jernej Šugman, an indispensable actor of SNT Drama Ljubljana, personified the greatest and most demanding characters, from Hamlet and Baal to Oedipus and King Ubu. Since 1992, he graced the stages of the Maribor Theatre Festival almost thirty times and received numerous awards for his work – three Borštnik Awards, the last one for the exceptional eponymous role in the performance King Ubu that also won him the Golden Wreath at the theatre festival MESS in Sarajevo, as well as several Sever Awards and other awards. ¶ Magnificently and wittily, and with great sincerity, he stepped into and embodied stage, television and radio characters, mastered a wide scope of genres, awed critics and came to be counted as one of the most popular and recognisable actors in Slovenia. He had that special stage presence – at once full of warmth and greatness – that permeated the stage and the auditorium. And now – there’s only a great void. ¶

19. 10. 2018 > 22.00 < Stara dvorana

Koncert Nane M ilčinski / C once rt with Nana Milčinski

Intimni večer glasbe in poezije v izjemni družbi z vrhunsko zasedbo glasbenikov: Nino de Gleria, Sergej Randjelovič in Joži Šalej. ¶ Nana Milčinski je dramaturginja, gledališka režiserka in režiserka sinhronizacij risank. Ustvarila in soustvarila je veliko nagrajenih gledaliških predstav, med najbolj odmevnimi pa je bila njena mladinska glasbena predstava Livingstonov poslednji poljub s skupino Siddharta. Svojo glasbeno pot je začela z izdajo singla Dragi, ki je napovedal njeno prvo ploščo Še ena pomlad (2013), leto zatem je izšla druga plošča z naslovom Od tod do vesolja. Prav kmalu, oktobra letos, izide njena tretja z naslovom Nanine pesmi. Glasbeno pot je posvetila svojemu legendarnemu dedku, Franetu Milčinskemu — Ježku, ki je tudi avtor besedil uglasbene poezije. ¶ Ljubezen do balad zaznamuje Nanino glasbeno pot. ¶ foto/photo: Tone Stojko

An intimate evening of music and poetry in the exquisite company of a superb band of musicians: Nino de Gleria, Sergej Randjelovič and Joži Šalej. ¶ Dramaturg, director and director of animation synchronisation, Nana Milčinski has created and co-created a number of award-winning theatre performances, among the most resonant was her musical performance for young people Livingstone’s Last Kiss with the Slovenian rock band Siddharta. She started her musical career with the single “Dragi” (Darling), which introduced her first album Še ena pomlad (Another Spring) in 2013. A year later, her second album Od tod do vesolja (From Here to the Universe) came out. Her third album, Nanine pesmi (Nana’s Songs) is set to be released in October this year. She has dedicated her musical path to her legendary grandfather, Frane Milčinski – Ježek, who is also the author of the poetry texts set to music. ¶ Nana’s musical path is marked by the love of ballads. ¶

20. 10. 2018 > 9.00 < Vetrinjski dvor

Kako do trajnostnega kulturnega in kreativnega turizma, kot ga vsi želimo / How to Achieve the Sustainable Cultural and Creative Tourism We All Want Mednarodni laboratorij kulturno-turističnih strokovnjakov v sodelovanju mreže Robert Bosch Alumni z iac Berlin (DE), projektom Creatour in platformo 4is (PT), društvom Hiša! in Rajzefibrom An international laboratory of experts in cultural tourism in cooperation with the Robert Bosch Foundation Alumni Network with iac Berlin (DE), the project Creatour and platform 4is (PT), Hiša! Association and Rajzefiber

Mednarodni strokovnjaki v sodelovanju z lokalnimi deležniki opredeljujejo korake za uspešno oživitev kulturnega turizma v Mariboru. ¶ Kako in kje vse potenciale mesta predstaviti turistom? / Katere so ciljne skupine? / Katere so privlačne ikone mesta? / Kako naj turizem v mestu ostane trajnosten? / In kako bo bolj prispeval h gospodarski rasti in kakovosti življenja v mestu? / Išče rešitve aktualnih izzivov, načrtuje korake in izbira nosilce. ¶

In cooperation with international experts, Maribor community leaders and members will define the steps needed to resuscitate the city’s (cultural) tourism. ¶ Where and how should we present tourists all the potential our city has? / What are our target groups? / What are the city's most attractive icons? / How can tourism in the city remain sustainable? / And how can it better contribute to the economic growth and quality of life in the city? / We will seek solutions to the current challenges, determine the next steps and select the ones who will lead the city and community in taking them. ¶

22. 10. 2018 > 18.00 < Mali oder

53. Borštnikovo 110 — 111

P oklon gospe Alenki Bartl / A Tr ibute to Alenka Bartl Spomin na veliko ustvarjalko skozi kostumske skice na razstavi Slovenskega gledališkega inštituta (SLOGI) Remembering the Grand Dame of Slovenian costume design through her sketches in an exhibition curated and produced by the Slovenian Theatre Institute (SLOGI)

Na dan žena, 8. marca letos, je v Luciji pri Portorožu umrla gospa Alenka Bartl. Ustvarila je — tako količinsko kot kakovostno — izjemen opus ter zanj prejela številna priznanja in nagrade. Njeno stvariteljstvo je bilo povezano tudi z Borštnikovim srečanjem v Mariboru, saj je prejela kar pet Borštnikovih nagrad za kostumografijo (Velikani z gore, Drama SNG v Ljubljani in Obtoženi volk, Slovensko mladinsko gledališče v Ljubljani, 1977; Ščurki, Drama SNG v Mariboru, 1980; Disident Arnož in njegovi, Drama SNG v Ljubljani, 1982; Hamlet, Mestno gledališče ljubljansko, 1984; Opera za tri groše, Slovensko ljudsko gledališče v Celju, 1989). ¶ Polde Bibič, prejemnik Borštnikovega prstana 1984, je o Alenki Bartl zapisal: »Uporabljanje pretiranih izrazov hvale, kot je recimo izraz legenda za živega človeka, mi je sicer zoprno, a pri Alenki Bartl ne morem drugače, kot da rečem, da je bil njen čut za barve genialen. Zaradi tega si jo v gledališču težko odmislim. Kako puščobno bi bilo brez prelivanja mavričnih barv, v katere s(m)o bili odeti plesalci, pevci, igralci. /…/ ¶ Za konec pa vendarle bistveno resnico: igralcu je najpomembneje, da se ne počuti slabo v kostumu, ki mu ga predpiše kostumograf. To se mi ni dogajalo, kadar smo nastopali odeti v mavrice Alenke Bartl.« ¶ Mag. Tea Rogelj, dramaturginja in višja kustosinja Slovenskega gledališkega inštituta, ki je pred leti soustvarila razstavo in e-razstavo Alenka Bartl – kostumografka, bo ob skicah predstavila opus te pomembne slovenske umetnice. ¶

On 8 March — International Women’s Day — this year, Alenka Bartl died in Lucija, next to Portorož. She created a — quantitatively and qualitatively — exceptional body of work and won numerous awards and accolades for it. Her creativity was also linked to the Maribor Theatre Festival, as she received five Borštnik Awards for costume design (The Mountain Giants, SNT Drama Ljubljana and The Accused Woolf, Mladinsko Theatre, 1977; Cockroaches, Drama SNT Maribor, 1980; Dissident Arnož and his Followers, SNT Drama Ljubljana, 1982; Hamlet, Ljubljana City Theatre, 1984; The Threepenny Opera, Slovene People’s Theatre Celje, 1989). ¶ Polde Bibič, the 1984 Borštnik Ring Winner, wrote about Alenka Bartl: “I find using exaggerated praise, calling a living person a legend, for example, loathsome, but when it comes to Alenka Bartl, I cannot but say that her feel for colours was genius. For this reason, I can’t think theatre without her. How dull would it be without grading rainbow colours in which dancers, singers, actors were enwrapped. /…/ And in the end, the essential truth: for the actor, the most important is that he doesn’t feel bad wearing a costume the designer has prescribed for him. This never happened to me when we performed clad in the rainbows that Alenka Bartl created.” ¶ Mag Tea Rogelj, a dramaturg and a senior curator at the Slovenian Theatre Institute, who a couple of years ago co-authored the exhibition and e-xhibition Alenka Bartl – Costume Designer, will present the opus of this important Slovenian artist using her costume sketches. ¶

23. 10. 2018 Medetaža

Knjižni dan / Day of B ooks

Gledališče ni zgolj predstava, je tudi razvejana stroka z večtisočletno tradicijo. Gledališka zgodovina, teorija, kritika in analiza, razmisleki, pričevanja, znanja, vedenja, veščine … so zapisani tudi v knjigah, revijah in podobnih publikacijah. Na Knjižnem dnevu letošnjega Festivala Borštnikovo srečanje se predstavljajo slovenski knjižni založniki s svojo dejavnostjo in aktualnimi izdajami. Predstavljajo bogat nabor literature in novitet, namenjenih strokovni in tudi širši javnosti — ustvarjalcem, raziskovalcem in gledalcem. ¶

Theatre is not just a performance, it’s also a wide profession with thousands of years of tradition. Theatre history, theory, criticism and analysis, reflections, testimonies, knowledge, skills … are written down in books, journals … At the Day of Books at this year’s Maribor Theatre Festival, Slovenian book publishers will pre­ sent their activities and current new releases. They will present a rich array of literature and new releases not only for theatre professionals but also for theatre and performing arts audiences. ¶

> 10.00–18.00 < Knjižni sejem / B ook Fai r Med 10. in 18. uro v Medetaži SNG Maribor poteka knjižni sejem, kjer je na ogled in na voljo za nakup po ugodnih sejemskih cenah izbor literature in periodike ter knjižnih novosti s področja uprizoritvenih umetnosti. ¶

Between 10.00 and 18.00 the Mezzanine of the SNT Maribor will host a book fair where you will be able to leaf through and buy a selection of literature and journals as well as new releases in the field of performing arts at special book fair prices. ¶

> 10.53–17.53 < 53 . minuta : minuta za knjižne novosti / The 5 3 rd minute — a minute fo r new books Med 10. in 18. uro sedem minut pred vsako polno uro vabimo obiskovalce na skodelico kave s predstavitvijo novitet posameznih založnikov. ¶

Between 10.00 and 18.00, at each 53rd minute of the hour, you'll be invited to grab a cup of coffee and attend a short presentation of new releases from different publishers. ¶

> 18.30–19.30 < Izbrati – izdati – brati – vedeti Okrogla miza / Selecting – P ublishing – Reading – K nowing Round table Nosilni slovenski založniki na področju gledališča — Slovenski gledališki inštitut, Mestno gledališče ljubljansko, Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani, Zavod Maska in Zavod Emanat —, ki se skupaj predstavljajo kot Slovenski gledališki založniki, na okrogli mizi spregovorijo o izzivih izdajanja strokovne in znanstvene literature o uprizoritvenih umetnostih. ¶ Okroglo mizo povezuje Manja Gatalo. ¶

At this round table, the most important Slovenian theatre publishers — the Slovenian Theatre Institute (SLOGI), the Ljubljana City Theatre (MGL Library), the Academy of Theatre, Radio, Film and Television of the University of Ljubljana (UL AGRFT), Maska Institute, Emanat Institute — will appear together to discuss the challenges of publishing expert and academic literature on theatre and performing arts. ¶ The round table will be moderated by Manja Gatalo.¶

23. 10. 2018 > 10.00–12.00 < > 14.00–16.00 < Vetrinjski dvor

53. Borštnikovo 112 — 113

Izzivi umetniške svobode / The C hallenges of Artistic Fr eedom Simpozij in okrogla miza z mednarodno udeležbo v soorganizaciji Slovenskega in Nemškega centra ITI, Akcijskega odbora za pravice umetnikov ITI ACAR (ITI Action Committee for Artists Rights) in Festivala Boršnikovo srečanje ob 70-letnici Mednarodnega gledališkega inštituta (ITI Worldwide) A symposium and round table with international participants, co-organised by the Slovene Centre ITI, the German Centre ITI, the ITI ACAR (ITI Action Committee for Artists Rights) and the Maribor Theatre Festival in the frame of the 70th Anniversary of ITI Worldwide

Ugledni strokovnjaki in gosti na enodnevnem mednarodnem dogodku razpirajo aktualne teme vrednotenja in obravnave umetniške (oz. umetnikove) svobode. Gre predvsem za različne oblike kratenja te pravice, (samo)cenzuro, omejevanje delovanja in ustvarjanja ter izražanja. To se v zadnjem času tudi v Evropi kaže predvsem v obliki finančnih pritiskov, različnih prepovedi, kaznovanja in drugih oblik nasilja, blizu pa so nam tudi zavoljo nekaterih odmevnih dogodkov v povezavi z našimi umetniki in gostovanji slovenskega gledališča v tujini. Spoznali bomo različne primere ter sisteme beleženja kratenja teh pravic, se seznanili s poročilom organizacije Freemuse, svoja razmišljanja pa za okroglo mizo usmerjali tudi v izzive prihodnosti ter možne rešitve in zavedanje o osnovnih normah družbene demokracije, ki so sicer jasno zapisane tako v Splošni deklaraciji o človekovih pravicah kot tudi v ustavah in pravnih aktih držav. ¶ Med sodelujočimi so: dr. Darko Lukić, gledališki strokovnjak, dramatik in pisatelj, redni profesor na Akademiji dramskih umetnosti v Zagrebu, ki mu je zaupana vloga uvodničarja; dr. Thomas Engel, direktor Nemškega centra ITI in eden od soustanoviteljev ITI ACAR; dr. Thomas Irmer, član Nemškega centra ITI, specialist, kritik in dramaturg, član ITI ACAR; dr. Srirak Plipat, izvršni direktor mednarodne organizacije Freemuse; Tomasz Kireńczuk, dramaturg, literarni kritik, programski vodja in kurator umetniških projektov, programski direktor gledališča Nowy Theatre (Krakov) in programski direktor mednarodnega gledališkega festivala Dialog (Vroclav). ¶ Dogodek v angleškem jeziku vodita in povezujeta Tatjana Ažman, dramaturginja in vodja Slovenskega centra ITI, članica izvršilnega odbora ITI Worldwide, ter dramaturg in teatrolog Rok Andres. ¶

On this one-day event, prominent specialists and guests will discuss current themes of evaluating and treating artistic (or the artist’s) freedom, mainly focusing on various forms of violation, (self-)censorship or the restriction of activity, creation and expression. Nowadays, even in Europe, these limitations primarily appear as financial pressure, various prohibitions, sentences and forms of violence; they also hit close to home because of certain notorious events involving Slovenian artists and Slovenian theatre tours abroad. By presenting different cases and systems of monitoring such violations, as well as the Freemuse report, we will also focus our round-table observations on the challenges of the future and possible solutions and awareness of the basic norms of democracy, so clearly stated in the Universal Declaration of Human Rights, as well as in the constitutions and other legal documents of countries worldwide. ¶ Among guest participants are Dr Darko Lukić, theatre scholar, playwright and novelist, tenured professor at the Academy of Drama Arts University of Zagreb, as Keynote Speaker; Dr Thomas Engel, managing director of the German Centre ITI and founding member of the ITI ACAR; Dr Thomas Irmer, member of the German Centre ITI, scholar, critic and dramaturg, member of the ITI ACAR; Dr Srirak Plipat, executive director of Freemuse; Tomasz Kireńczuk, dramaturg, theatre critic, programmer and art projects curator, programme director of the Nowy Theatre in Krakow and programme director for the International Theatre Festival Dialog – Wrocław; and others. ¶ The event will take place in English, chaired by Tatjana Ažman, dramaturg, head of the Slovene Centre ITI and member of the Executive Council ITI Worldwide and Rok Andres, dramaturg and theatre researcher. ¶

24. 10. 2018 > 11.00 < Mali oder

K je smo in kam gremo ? / W he r e a r e we and wher e ar e we going ? Posledice morebitnih sprememb kulturnega modela na področju uprizoritvenih umetnosti The consequences of the potential changes of the cultural model in the field of performing arts Okrogla miza v organizaciji Združenja dramskih umetnikov Slovenije v sodelovanju s Festivalom Borštnikovo srečanje A round table organised by the Slovenian Association of Dramatic Artists (SADA) in cooperation with the Maribor Theatre Festival Ideje o spremembi kulturnega modela že precej časa lebdijo v zraku, predvsem je v ospredju zamisel o razformiranju stalnih gledaliških ansamblov kot magični rešitvi za celotno uprizoritveno sceno. ¶ Trenutni slovenski institucionalni model ima nemško zasnovo, a ni tako fleksibilen kot pri Nemcih, saj ostaja ansambel v celoti zaposlen v gledališču in nov umetniški vodja/direktor ob nastopu dela ne more osvežiti ali zamenjati ekipe. Celotna neodvisna scena pa že leta funkcionira po načelu prostega/pretočnega trga in ima dejanske izkušnje iz »novega« kulturnega modela. ¶ Prenova kulturnega modela je simptomatično vprašanje, ki ne vključuje samo vprašanja, kakšen model želimo, pač pa predvsem: kakšno kulturo želimo soustvarjati, kakšne ustvarjalne pogoje omogočamo umetnikom in ostalim soustvarjalcem teatra ter v kakšni državi želimo živeti. ¶ In bistveno vprašanje se glasi: ali želimo umetnost prepustiti trgu? ¶ Moderatorka okrogle mize je Katarina Stegnar, članica SMG, članica ZDUS-a. ¶ Med sodelujočimi so: -> Iva Babić, igralka, članica ansambla SNG Drama Ljubljana; -> Marko Bratuš, umetniški vodja SNG Nova Gorica; -> mag. Neda Rusjan Bric, igralka, članica ansambla SMG, režiserka z izkušnjami z vodenjem gledališča, podpredsednica Društva slovenskih gledaliških režiserjev; -> Nejc Cijan Garlatti, igralec, samozaposlen; -> Leja Jurišić, plesalka, koreografija, avtorica, samozaposlena; -> Uroš Korenčan, predsednik kolegija gledaliških direktorjev, direktor Lutkovnega gledališča Ljubljana; -> Vinko Möderndorfer, režiser, pisatelj, pesnik, dramatik, član DSP, predsednik UO Prešernovega sklada, samozaposlen; -> Dearbhal Murphy, namestnica generalnega sekretarja Mednarodne zveze gledaliških umetnikov FIA; -> Jure Novak, režiser, avtor, performer, član Društva slovenskih gledaliških režiserjev, samozaposlen; -> Marko Simčič, dolgoletni predstavnik ZDUS v FIA, in drugi. ¶

The ideas about the change of the cultural model have been lingering in the air for a while, particularly the idea of dissolving permanent theatre ensembles, touted as the magic bullet for the entire performing arts field.¶ The current Slovenian institutional model is based on the German one, but is not as flexible, because the ensemble as a whole is employed permanently in the theatre and upon her or his arrival the new artistic director/ theatre manager cannot freshen or change the team, while the entire independent scene has been functioning on the model of the free/fluctuating market for years, and thus has the actual experience of this “new” cultural model. ¶ The redesign of the cultural model is a symptomatic question, which includes not only the question of which model we want, but above all, what kind of culture we want to create, what kind of creative conditions we provide for the artists and other collaborators in theatre, and finally, in what kind of a country and state we want to live. ¶ Within this question, a fundamental question is hidden: Do we want to leave art to the market? ¶ Round table moderator: Katarina Stegnar, Mladinsko Theatre member, SADA member. Among participants are -> Iva Babić, actress, SNT Drama Ljubljana member; -> Marko Bratuš, artistic director of the SNT Nova Gorica; -> Neda Rusjan Bric, MA, actress, Mladinsko Theatre member, director with experience in theatre management, vice-president of the Association of Slovenian Theatre Directors; -> Nejc Cijan Garlatti, actor, self-employed; -> Leja Jurišić, dancer, choreographer, author, self-employed; -> Uroš Korenčan, president of the Slovenian Theatre Managing Directors’ Collegium, director of the Ljubljana Puppet Theatre; -> Vinko Möderndorfer, director, writer, poet, playwright, member of the Slovene Writers’ Association, president of the Prešeren Fund Award executive committee, self-employed; Dearbhal Murphy, Deputy Secretary General of the International Federation of Actors (FIA); -> Jure Novak, director, author, performer, a member of the Association of Slovenian Theatre Directors, self-employed; -> Marko Simčič, a long-time SADA representative in the FIA; and others. ¶

24. 10. 2018 > 17.30 < Medetaža

53. Borštnikovo 114 — 115

Nova pošta je edinstven produkcijski model v slovenskem gledališkem prostoru. Združuje sile javnega zavoda — Mladinsko — in nevladne organizacije — Maska —, dveh producentov, ki v polju uprizoritvenih umetnosti zagovarjata angažirane ustvarjalne oblike. Je rezidenčni in laboratorijski projekt na degradiranem mestnem območju v prostorih Stare pošte, v baraki na parkirišču, pred katero stoji konstelacija kontejnerjev. Drugačen produkcijski model je nujni pogoj za nove načine ustvarjanja sodobnega gledališča. Gledališča, ki se hitreje odziva na akutne družbene problematike in s svojimi akcijami prodira v polje političnega, sebe dojema kot ključnega družbenega akterja in ne pristaja na diskurz, ki na umetnika gleda kot na družbenega parazita. ¶ Sodelujejo: -> Tibor Mihelič Syed, direktor Slovenskega mladinskega gledališča -> Janez Janša, direktor Zavoda Maska -> Goran Injac, umetniški vodja Slovenskega mladinskega gledališča -> Urška Brodar, dramaturginja Slovenskega mladinskega gledališča. ¶

The New Post Office (Nova pošta) is a unique production model in the Slovenian theatre space. It pools the forces of a public institution — the Mladinsko Theatre — and a non-government organisation — the Maska Institute; two producers who support engaged creative forms in the field of performing arts. It’s a residence and laboratory project in a degraded urban area on the premises of the Stara pošta (an old, defunct post office), in a shack on the parking lot, fronted with a constellation of shipping containers. A different production model is an essential condition for new methods of creating contemporary theatre. Theatre that responds faster to the acute societal problems and whose actions penetrate the realm of the political, theatre that understands itself as a key social player and doesn’t accept the discourse which sees an artist as a parasite of the society. ¶ Participants: -> Tibor Mihelič Syed, managing director of the Mladinsko Theatre -> Janez Janša, director of the Maska Institute -> Goran Injac, artistic director of the Mladinsko Theatre -> Urška Brodar, dramaturg of the Mladinsko Theatre. ¶

Nova pošta — alternativni produkcijski modeli / T he New P ost O ffice — alte r native p roduction models Predstavitev v organizaciji Slovenskega mladinskega gledališča A presentation by the Mladinsko Theatre

24. 10. 2018 > 18.00 < Lutkovno gledališče Maribor

Alma Mater Europaea, Akademija za ples v Ljubljani, Plesni teater Ljubljana Plešite, plešite, drugače smo izgubljeni! / Dance, Dance, Othe rwise W e Ar e Lost! Letna produkcija 1. in 2. letnika Akademije za ples, smer sodobni ples Production of the 1st and 2nd year students of the Dance Academy, contemporary dance programme Premiera Première: 20. 6. 2018, Plesni teater Ljubljana Avtorice koncepta in izvajalke Authors and performers Neža Blažič Ivana Gregurić Tina Habun Laura Ivančič Katja Kolarič Ondina Kerec Manca Vukelič Anamarija Bagarič Neja Jeršin Urška Centa Ema Grgić Špela Šafarič Avtorica videoprojekcije Author of video Manca Vukelič Glasba Music Po izboru pedagogov in študentk Akademije za ples Selected by the pedagogues and students of the Academy of dance Oblikovalec svetlobe Lighting design Janko Oven

Akademija za ples v Ljubljani pri Alma Mater Europea svoje kakovostno delo v obliki letne produkcije študentk prvega in drugega letnika sodobnega plesa zaokroži v predstavo z naslovnim citatom Pine Bausch: Plešite, plešite, drugače smo izgubljeni! ¶ Predstava je preplet različnih tehnik in postopkov, s katerimi so se študentke srečevale skozi študijsko leto in jih skupaj z mentoricami in mentorji nadgrajevale tako v samostojne dele kot v skupinsko zaokrožene plesne sekvence. V fuziji različnih žanrov je prepoznati nove plesne upe ter zanimive koreografske in metodološke pristope, ki jih ponuja program Akademije za ples. Skozi sodobna raziskovanja gibalnih, teoretičnih in estetskih prvin umetniškega ustvarjanja se razpira poetika prav vsake izmed študentk, ki s svojim osebnim, iskrenim pristopom in izrazom prispevajo k celoviti koreografski partituri in k ponovnemu premisleku o sodobnem plesu danes. ¶

The Alma Mater Dance Academy in Ljubljana continues with its high quality work, in the form of an annual production of students of the first and second year of contemporary dance, summarised with a performance entitled by Pina Bausch's quote: Dance, dance, otherwise we are lost! ¶ The performance combines the different techniques and procedures that the students met during the academic year and, together with mentors, upgrades them into independent parts, as well as group dance sequences. In an interesting fusion of different genres, the audience can recognise new dance talents and the interesting choreographic and methodological approaches that are offered by the Dance Academy study programme. Through a contemporary exploration of the movement, theoretical and aesthetic elements of artistic creation, each student – through her personal, sincere approach and expression – is able to present the poetics of body thus contributing to a complete choreographic score as well as to a rethinking about what is contemporary dance today. ¶

24. 10. 2018 > 22.00 < Mali oder

53. Borštnikovo 116 — 117

Koncert fada in tanga A fado and tango concert M ascara Q uarte T

Polona Udovič (glas, violina), Timi Krajnc (kitara), Vojko Vešligaj (kitara) in Mitja Režman (bas kitara) so prepoznavni ustvarjalci v domačem in širšem umetniškem prostoru, sodelujejo s številnimi posamezniki, komornimi skupinami, orkestri, ansambli, koncertnimi dvoranami in festivali doma in v tujini. ¶

Polona Udovič (voice, violin), Timi Krajnc (guitar), Vojko Vešligaj (guitar) and Mitja Režman (bass) are renowned artists at home and abroad; they collaborate with numerous individuals, chamber groups, orchestras, bands, concert halls and festivals in Slovenia and internationally. ¶

»Fada ni moč definirati. Fado je skrivnost. Edino,

“Fado can’t be defined. Fado is a secret. The only thing that matters in fado is that you feel it. You don’t sing fado, fado happens. And if you feel it, you don’t understand it and you don’t explain it.” Amalia Rodrigues

kar pri fadu šteje, je to, da ga čutiš. Fada ne poješ, fado se zgodi. In če ga čutiš, ga ne razumeš in ne pojasnjuješ.« Amalia Rodrigues

Polnokrven, neposreden in zgoščen pretok hrepenenja, ujetega med ulicami Montevidea, Buenos Airesa, Lizbone, med bordeli in milongami, med radostjo in bolečino, med trgovci, mornarji in priseljenci. Glasba, ki igra ponoči, ki prihaja z luno in vsakič znova umre s soncem. ¶ Glasbenike povezuje križišče zgodovine, na katerem se vsako noč srečujejo tisti, ki so, in oni, ki jih na videz več ni. V njihovi glasbi slišiš tiste, ki so ubežali sili težnosti salonskega parketa in zaščitili srca pred bliščem klišejev. ¶ foto/photo: Matjaž Wenzel

A full-blooded, direct and concise flow of saudade, caught in the streets of Montevideo, Buenos Aires, Lisbon, amongst brothels and milongas, joy and pain, amongst merchants, sailors and immigrants. Music that plays at night, that comes with the moon and dies with the sun, time and again. ¶ The musicians are linked by the crossroads of history, where every night the ones who are, meet the ones who are no longer visible. In their music, you hear those who have escaped the forces of gravity of the parquet and protected their hearts from the glare of clichés. ¶

25. 10. 2018 > 10.00–12.30 < > 14.00–16.00 < Vetrinjski dvor

Politike umetniškega vodenja v slovenskih gledališčih / T he Politics of A rtistic D i r ection in Slovenian T heatr es Simpozij in okrogla miza v organizaciji Društva gledaliških kritikov in teatrologov Slovenije A symposium and round table organised by the Association of Theatre Critics and Researchers of Slovenia in cooperation with the Maribor Theatre Festival Gledališče je čarna umetnost, ki se opazovalcem kaže v svoji mnogoteri podobi. A njena bogata notranja zapletenost in njena neizbežna zunanja prepletenost s svetom nista prisotni le v pogledu gledalca, ampak se na poseben način manifestirata tudi znotraj gledališke strukture. Čeprav jasne razmejitve med zunanjim in notranjim svetom gledališča na prostoru četrte gledališke stene že davno ni več, si pogosto vseeno preveč preprosto, in s tem tudi napačno, predstavljamo, da je edinole gledalec popotnik iz realnosti v svet gledališke imaginacije. Pot je odprta in podprta tudi v nasprotni smeri. Gledališče namreč ni samo sebi namen. Čeprav je naloga umetniškega vodje v prvi vrsti skrb za vsebinsko načrtovanje programa gledališča, spretno izbiranje med različnimi oblikami gledališke produkcije in nenazadnje izoblikovanje koherentne umetniške vizije v gledališču, njegovo delovanje ne more biti omejeno zgolj na specifičen interni prostor gledališča. Umetniški vodja vedno deluje v določenem družbenem, ekonomskem, kulturnem in političnem prostoru in je zato od njega v mnogočem odvisen, hkrati pa je njegovo delovanje v gledališkem svetu tudi odraz tega, kar se dogaja zunaj njegovih meja. ¶ Simpozij z naslovom Politike umetniškega vodenja v slovenskih gledališčih prinaša vrsto razprav o načinih delovanja, strategijah in taktikah umetniškega vodenja v trenutnem za kulturo in umetnost turbolentnem in negotovem času. Institucija umetniškega vodja je na udaru; od tega, da je znotraj gledališča potisnjena domala v zaodrje, ko se mora vsakodnevno prilagajati ekonomski logiki kulturnega menedžmenta in potrošniški kulturi poznega kapitalizma, do tega, da je obsojena na delovanje v odsotnosti kakršnekoli skrbno premišljene kulturne strategije političnega esteblišmenta. Ali je mogoče, da vloga umetniškega vodenja počasi in nezadržno drsi proti izgubi lastne identitete in pogubi? Morda. Toda čeprav je trenuten zgodovinski prostor morda izpraznjen, ne more biti hkrati tudi prazen. Kakor tudi ne morejo biti prazne nove oblike delovanj, strategij in taktik umetniškega vodenja gledališč, če želi institucija umetniškega vodje preživeti v napetosti med estetskim, ekonomskim in političnim. ¶ Vodja simpozija: dr. Tomaž Krpič

Theatre is a magical art that appears to its viewers in many forms. But its rich inner complexity and its inevitable external intertwining with the world is present not only in the gaze of the spectator, but is as such also manifested inside the theatre structure itself. Although a clear line between the external and internal world of the theatre in the form of the fourth wall is long gone, we often too simplistically, and consequently wrongly, imagine that the spectator alone is the voyager from reality into the world of theatre imagination. The road is open and supported also in the other direction. Theatre is not an end unto itself. Although the task of the artistic director is primarily the planning of the theatre programme, skilfully selecting from the different forms of theatre production and, finally, forming a coherent artistic vision in theatre, her or his activity cannot be limited only to the specific interior space of the theatre. The artistic director always works in a certain social, economic, cultural and political context, and therefore depends on it in many ways, but at the same time the work of the artistic director inside the theatre world is also a reflection of what is happening beyond its boundaries. ¶ The symposium brings a series of debates and views about the activities, strategies and tactics of the artistic director in the current time – very turbulent and insecure for art and culture. The institution of the artistic director is under attack; from the fact that within the theatre it is practically pushed into the background, where it has to adapt daily to the economic logic of cultural management and the consumerist culture of late capitalism, to the fact that it is sentenced to operate in the absence of any kind of carefully devised cultural strategy by the political establishment. Is it possible that the role of the artistic director is slowly and irreversibly slipping towards the loss of its identity and demise? Perhaps. But, even though the current historic space might be emptied, it cannot at the same time be empty. Just like the new forms of functioning, the strategies and tactics of artistic direction of theatres cannot be empty if the institution of artistic director wishes to survive in this tension between the aesthetic, economic and political. ¶ Head of symposium: Tomaž Krpič, PhD

25. 10. 2018 > 20.00 < Karantena Maribor

53. Borštnikovo 118 — 119

Prebujanje spečega velikana – D ruga priložnost / Awakening the S leeping G iant – A Second Chance Ambientalni projekt Mojce Kasjak v koprodukciji s Festivalom Platforma (Plesna izba Maribor) v sodelovanju s projektoma URBACT III — 2 nd Chance in Creative Spirits Site-specific multimedia installation project by Mojca Kasjak in co-production with Plesna Izba Maribor/Platforma Festival, supported by URBACT III – 2nd Chance and Creative Spirits

Avtorica projekta Author Mojca Kasjak Oblikovalec zvoka Sound designer Marko Gutman Avtor videa Video Dejan Dolšak Oni Strokovni svetovalec Expert consultant David Orešič Strokovna svetovalka Expert assistance Jerneja Ferlež Glasovi na posnetku Interpretation of texts Gregor Kosi Kristijan Ostanek Dejan Dolšak Matjaž Dolamič Davor Herga Mojca Kasjak Izvajalka na gongih Gongs Vesna Kukič - Amai Tehnični izvajalec Technical realisation Soundbiro

Uporabljeni odlomki iz knjig Texts used Kosi, G., Celica št. 2 (2016), Maribor: Založba Litera. Zupan, V., Pesmi iz zapora, četrta knjiga (2006), Ljubljana: DesigNovak, d. o. o. Ferlinc, S., Moška kaznilnica v Mariboru; (1998) Hišni red za kaznilnice (1932), Uprava moške kaznilnice v Mariboru. Uporabljene fotografije Photos Branimir Ritonja, Kaznilnica. Pokrajinski arhiv Maribor, fond Moška kaznilnica. Uporabljeni rokopisi Manuscripts Zbirka rokopisov, Univerzitetna knjižnica Maribor ⬤ ⬤ ⬤ ⬤

Projekt krmari med preteklostjo in sedanjostjo in odpira polje pozabljene kulturne dediščine, nekdanje moške kaznilnice KPD. Skozi zgodovinska dejstva pripoveduje zgodbo preteklega časa; s subtilno poezijo Vitomila Zupana in z nežnim gibom senčnih podob izrisuje posameznika, ujetega v vsakdanjo rutino sedanjosti. Razkriva bolečino zaprtega in ujetega. Odpira in razpira pozabljeno zgodbo in kliče svobodo. Osvetljuje temačne prostore in napoveduje novo zgodbo. ¶

Zahvala Special thanks to Andreja Budar

The installation skilfully moves between the past and the present and opens the field of forgotten cultural heritage — the erstwhile men’s penitentiary, housed in the KPD complex1 . Through the historic facts, it tells a story of a past time; there, along with other things, the subtle poetry of Vitomil Zupan, the tender movement of shadow images and the feeling of an individual caught in the everyday routine of the present time are expressed. It reveals the pain of being locked up and trapped. It opens and discloses a forgotten story and a call for freedom. It’s a story of shedding light on dark spots and rising to a higher level in order to start a new story. ¶ 1 The KPD complex, or Kazilnica building, located on the right bank of the Drava River, between the streets Pobreška cesta, Titova cesta and the railway line, was constructed between 1884 and 1889. KPD used to be considered among the most modern penitentiaries in the territory of the Austro-Hungarian Monarchy. Because of air-raid damage, it was closed in 1945. In 1949, it was restored, enabling its further use until 1963, when the penitentiary was finally closed. The empty parts of the building were later used as storage and business premises. After 1991, the western wing and the extension at the northern wing were restructured for commercial and cultural purposes. In 2000, the large shopping centre Europark was constructed on the northern side. With the exception of the two renovated sections, the nearly 16,000 m² surface area of the KPD building is mostly empty and in a state of decline.

26. 10. 2018 > 11.00 < Vetrinjski dvor

Pozicije moči v sodobnem gledališču / T he Positions of P owe r in C ontempo r a ry T heatr e Okrogla miza v sodelovanju z Goethe-Institutom Ljubljana A round table in cooperation with Goethe-Institut Ljubljana

Kdo nam z odra pripoveduje katere in čigave zgodbe? Če želi biti gledališče prostor družbene odgovornosti, ki raznolikost živi na odru in izza njega, se mora spremeniti. Lotiti se je treba kulta gledališkega genija. ¶ Kdo so direktorji in umetniški vodje, kdo dobi priložnost režije in kdo so avtorji besedil? Kako je leta 2018 s spolno enakopravnostjo v gledališkem svetu? V slovenskih institucionalnih gledališčih dobi režijo največ ena tretjina režiserk, uprizarjani so večinoma avtorji, na vodilnih položajih je visok odstotek žensk. Kaj dejansko vpliva na spolno uravnotežen repertoar ali na odpravo strukturnega seksizma in plačnih anomalij? Ali je seksizem tako kot v družbo zakoreninjen tudi v gledališki aparat? Kako ga odpraviti, če je? ¶ V Nemčiji je leta 2016 nemški kulturni svet, ki se zavzema za spolno pravičnost v nemški kulturni panogi, izdal študijo Ženske v kulturi in medijih. Pregled aktualnih tendenc, razvoja in predlogov rešitev. Leta 2017 ji je po naročilu nemške državne sekretarke za kulturo Monike Grütters sledila študija Ženske v kulturi in medijih. Evropska primerjava. Podatki so znani. 78 % nemških gledališč vodijo intendanti, 70 % vseh predstav na velikih odrih režirajo moški režiserji in 75 % vseh besedil napišejo avtorji moškega spola, medtem ko ženske po navadi prevzemajo nevidno in slabo plačano delo. Da o »gender-pay-gapu« sploh ne govorimo. V Nemčiji je v zadnjih letih nastalo nekaj reprezentativnih gibanj, ki se za odpravo neenakosti borijo na kadrovski, strukturni vsebinski ravni: Pro Quote Bühne, ensemble in netzwerk, Theater.Frauen so samo najbolj vidne. Kaj pa pri nas, se problema sploh zavedamo? ¶ Okroglo mizo je zasnovala Urška Brodar. ¶

Who tells us stories from the stage, which stories, whose stories? If theatre wants to be a space of social responsibility, which embodies diversity onstage and behind the stage, it has to change. We have to tackle the cult of theatre genius. ¶ Who are the theatre managers and artistic directors, who gets the chance to direct and who are the authors of the texts? What is the situation of gender parity in the theatre world in 2018? In Slovenian institutional theatres, of those given a chance to direct, at most, one-third are female, the authors staged are predominantly male, yet we have a high percentage of women in leading positions. But does this in fact influence the gender-balanced repertoire or the abolition of structural sexism and pay anomalies? Or is sexism rooted in the theatre apparatus, as it is rooted in the society? How to abolish it? ¶ In Germany, the study “Women in culture and media: An overview of actual tendencies, development and suggestions for solutions” was published in 2016 by the German Council of Culture which supports gender parity in the German cultural sector. In 2017, following the order of the German Federal Government Commissioner of Culture Monika Grütters, the study “Women in culture and media: A European comparison” was conducted. The data is known: 78% of all German theatres are managed by male directors, 70% of all performances on main stages are directed by men and 75% of texts are written by male authors, while women usually take the invisible and poorly paid work. And that’s before we consider the gender pay gap. In Germany, several representative movements that fight to abolish inequality on the personnel, structural and content levels have recently been organised: Pro Quote Bühne, ensemble-netzwerk, Theater.Frauen, to name but a few of the most visible ones. What about in Slovenia, are we even aware of the problem? ¶ Head of round table: Urška Brodar ¶

R ajzefirbčne [K ul ]T ure / C oolTu rally C u re- ious Walking Tours Cikel sprehodov z Rajzefibrom A cycle of walks with Rajzefiber Zgodb polni so ulice, trgi, dvorišča in sobe mesta. Nekatere zgodbe so znane in druge manj, skrite so po kotičkih in za vogali našega mesta. Nekaj jih za sprehajalce in z njimi odkrivajo firbčni sprehodi. ¶ Začetna točka vseh sprehodov je pred glavnim vhodom SNG Maribor. Sprehodi s pokušino trajajo okvirno 1 uro in 30 minut, udobna oblačila in obutev so zato priporočljivi. Ker je število oseb omejeno, si zagotovite svoje mesto najkasneje dan prej na booking@rajzefiber.si. ¶

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The stage is full of stories, but stories also constantly take place in the city, its streets and squares, courtyards and sitting rooms. Some are well known, others less so, hidden in the nooks of every corner in our city. And some of these, you can discover with the help of our walks. ¶ The starting point of the walks is SNT Maribor. The walk with a tasting is around 1 hour and 30 minutes long, we recommend comfortable shoes. As the number of places is limited, please book no later than a day in advance at booking@rajzefiber.si. ¶

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R ajzefirbčnA [K ul ]T urA s kavo / A C OOLTU R A L LY C u r e- ious Walking Tour with coffee

Ali ste morda vedeli, da so večno luč, ki je ostanek pokopališča na Slomškovem trgu, odkrili ob gradnji kazinskega dela stare gledališke zgradbe? ¶ Tura je posvečena mestnemu življenju Maribora in njegovim pikantnim podrobnostim. Dopoldanski sprehod se zaključi v slogu sproščenega salonskega uživanja ob skodelici dišeče kave. ¶

Did you perhaps know that an eternal light, a remnant of the graveyard at the square Slomškov trg, was discovered when building the Kazina and Theatre building? ¶ This tour is dedicated to the city life in Maribor and its spicy details. The morning walk will end in relaxed bourgeois salon-style indulgence — with a cup of fragrant coffee. ¶

23. 10. 2018 > 16.00 <

R ajzefirbčnA [K ul ]T urA z vinom / A C OOLTU R A L LY C u r e- ious Walking Tour with wine Ste že slišali za Svengalija? ¶ Na stežaj odpiramo vrata v magične zgodbe mesta, ki skozi stoletja v svojih nedrjih rojeva posebneže z (nadnaravnimi) talenti. Sprehodite se po ozkih ulicah in odkrijte tisto drugačnost mesta, ki jo izkazuje tudi Stara trta. Na koncu sprehoda se misli iskrivo povežejo ob kapljici rujnega. ¶

26. 10. 2018 > 16.00 <

Have you ever heard of Svengali? ¶ We are flinging the doors wide open into those different, magical stories of the city which through centuries gave birth to and nurtured eccentrics with special (supernatural) talents. Walk through the narrow streets of the city and find that otherness that also comes to life through the Old Vine. In the end, a glass of good wine will help us organise our thoughts. ¶

R ajzefirbčnA [K ul ]T urA s P I VO M / A C OOLTU R A L LY C u r e- ious Walking Tour with BE E R Kje je bila prva pivovarna v Mariboru? ¶ Pojdite z nami na sprehod po poteh piva v štajerski prestolnici in spoznajte manj znane ovinke in ulice mesta, ob tem prisluhnite neznanim zgodbam znanih trgov. In brez skrbi, na koncu vas za nagrado čaka kozarec piva. ¶

Where was the first brewery in Maribor? ¶ Walk the paths of beer through the Styrian metropolis with us and learn about the lesser-known corners and streets of the city or hear the stories of lesser-known squares. Worry not, a glass of beer awaits you at the end. ¶

Mednarodni gledališki inštitut (International Theatre Institute – ITI Worldwide, World Organization for Performing Arts) je mednarodna nevladna organizacija, ki jo je leta 1948, v času hladne vojne in železne zavese, v Pragi ustanovil UNESCO ob sodelovanju mednarodne gledališke skupnosti. Cilj ustanoviteljev je bila organizacija, ki bo usmerjena v izvajanje ciljev UNESCO na področju kulture, izobraževanja in umetnosti. ¶ ITI je svetovna mreža, katere cilj je promocija mednarodnih izmenjav znanja in praks s področja uprizoritvenih umetnosti (dramsko gledališče, ples, glasbeno gledališče in druge oblike), namen pa skrb za povezovanje med umetniki vseh narodov in narodnosti, krepitev medsebojnega razumevanja in sodelovanja, opozarjanje na pomembnost spoštovanja človekovih pravic, kulturne raznolikosti, spodbujanje izobraževanja in ne nazadnje razvijanje kreativnega sodelovanja med vsemi ustvarjalci na tem področju. ¶ Nekoč s sedežem v Parizu, danes v Šanghaju ITI trenutno vključuje več kot 90 nacionalnih centrov na afriški celini, na območju obeh Amerik in Karibov, v arabskem svetu, v Aziji in na območju Pacifika ter v Evropi. Že desetletja je ITI po vsem svetu prisoten s prepoznavnimi dogodki, kot sta svetovni dan gledališča (27. marec) in mednarodni dan plesa (29. april), s knjižno izdajo Svet gledališča (World of Theatre) v angleškem, francoskem in arabskem jeziku, s festivalom Gledališče sveta (Theatre der Welt), z dejavnostmi, ki jih ne goji nobeno drugo tovrstno združenje (Gledališče na območju konflikta v Sudanu); ITI je tudi nosilec sodelovanja z UNESCO-m pod znamko Svetovna prestolnica uprizoritvenih umetnosti (World Performing Art Capital), skupaj z UNESCO-m pobudnik oživitve delovanja mreže gledaliških visokih šol ter nosilec znamke Gledališče narodov (Theatre of Nations); v okviru svojih dejavnosti pa se povezuje tudi z mnogimi drugimi uglednimi mednarodnimi združenji – ASSITEJ (Mednarodno združenje gledališč za otroke in mlade), IACT (Mednarodno združenje gledaliških kritikov), IATA (Mednarodno združenje amaterskih gledališč), FIA (Mednarodna zveza igralcev), IFTR (Mednarodna zveza za gledališke raziskave), UNIMA (Mednarodno združenje lutkarjev), SIBMAS (Mednarodno združenje knjižnic

The International Theatre Institute – ITI Worldwide, World Organization for the Performing Arts is an international non-governmental organisation, established by UNESCO in Prague in 1948, in the time of the Cold War and the Iron Curtain between the East and the West, with the participation of the international theatre community. The founders’ objective was to build an organisation oriented towards realising the goals of UNESCO in the field of culture, education and art. ¶ ITI is a world-wide network whose objectives are the promotion of international exchange of knowledge and practices in the field of performing arts (drama, dance, musical theatre and other forms), and its purpose is to connect artists of all nations, to strengthen mutual understanding and cooperation, to draw attention to the importance of respecting human rights, cultural diversity, encouraging education, and finally, to develop creative cooperation between all the creators in this field. ¶ Once based in Paris, and today in Shanghai, the ITI includes more than 90 national centres on the African continent, in the Americas and the Caribbean, in the Arab world, Asia and the Pacific, and Europe. For decades the ITI has been present all over the world with recognisable events such as International Theatre Day (27 March), International Dance Day (29 April), a book series World of Theatre in English, French and Arabic, ITI festival Theatre der Welt, with activities that no similar association carries out (Theatre in the conflict zone in Sudan). ITI is also the main UNESCO partner in the project World Performing Art Capital, and, together with UNESCO, an initiator of the revival of theatre academies network and the custodian of the Theatre of Nations trademark, and within its activities also connects with many other respected associations – ASSITEJ (International Association of Theatre for Children and Young People), IATC (International Association of Theatre Critics), IATA (International Amateur Theatre Association), FIA (International Federation of Actors), IFTR (International Federation for Theatre Research), UNIMA (International Puppetry Association), SIBMAS (International Association of Libraries, Museums, Archives and Documentation Centres of the Performing Arts), OISTAT (International

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in muzejev za področje uprizoritvenih umetnosti), OISTAT (Mednarodna organizacija scenografov, gledaliških arhitektov in tehnikov), ATI (Arabski gledališki inštitut) in drugimi. ¶ V jubilejnem letu ITI in v duhu prihodnjega sodelovanja med Festivalom Boršnikovo srečanje in Slovenskim centrom ITI so v festivalski program vključene tri vsebine s področja mednarodnega sodelovanja. ¶ Najprej bosta v okviru uvodnega dela festivala s študentsko produkcijo z delavnico in izmenjavo študentov in mladih umetnikov sodelovala Slovenski in Švicarski center ITI. Oba centra sta preko gledaliških akademij v svojih državah vključena v mrežo Network for Higher Education in the Performing Arts, skupno iniciativo UNESCO in ITI, ki trenutno vključuje več kot 20 visokošolskih in raziskovalnih inštitucij na področjih dramskega gledališča, plesa, glasbenega gledališča, dramske pisave ter vseh sorodnih uprizoritvenih umetnosti. Dolgoročni cilj tovrstnega sodelovanja med FBS, Slovenskim centrom ITI in mednarodne mreže ITI je promocija dobre prakse sodelovanja in izmenjav, s posebnim poudarkom na izobraževanju mladih umetnikov in njihovem vključevanju v profesionalno delo v gledališču. ¶ V obeh centrih ITI mladi dramski umetniki sodelujejo tudi v okviru »mreže mladih« ITI NEAP (Network of Emerging Arts Practitioners), ki v letošnjem letu organizira celoletni projekt izmenjave mladih umetnikov znotraj več kot 10 držav članic Evropskega regionalnega odbora ITI. V okviru te izmenjave festival gosti študenta iz Švice, študent iz Slovenije pa se bo udeležil enega od dogodkov v organizaciji Švicarskega centra ITI. ¶ 23. oktobra v soorganizaciji Slovenskega in Nemškega centra ITI, Akcijskega odbora za pravice umetnikov ITI ACAR (ITI Action Committee for Artists Rights) in Festivala Boršnikovo srečanje ob 70-letnici Mednarodnega gledališkega inštituta (ITI Worldwide) poteka enodnevni dogodek z mednarodno udeležbo, poimenovan Izzivi umetniške svobode. ¶

Organisation of Scenographers, Theatre Architects and Technicians), ATI (Arabic Theatre Institute), and others. ¶ In the jubilee year for the ITI and in the spirit of future cooperation with the Maribor Theatre Festival and the Slovenian Centre ITI, three activities of international cooperation are included in the Festival programme. ¶ First, as a part of the beginning activities of the Festival, the Slovene Centre ITI and the Swiss Centre ITI will participate with a student production, workshop and student/young artist exchange. Both centres are a part of the ITI/UNESCO Network for Higher Education in the Performing Arts via theatre academies in their respective countries, a joint initiative of UNESCO and the ITI, which currently includes more than 20 institutions of higher education or research in theatre, dance, musical theatre, playwriting and all related performative disciplines. A long-term goal of such cooperation between the Maribor Theatre Festival and the Slovene Centre ITI and consequently the entire international ITI network is the promotion of good practice in the field of cooperation and exchange, with a particular emphasis on education of young artists and their inclusion in the professional work in theatre. ¶ Second, in both ITI centres, young dramatic artists are also participating in the ITI NEAP (ITI Network of Emerging Arts Practitioners) or the “youth network”, which this year organises a year-long project of exchange of young artists among more than 10 member states of the ITI European Regional Council. Within this exchange we will host a Swiss student at the Maribor Theatre Festival, while a Slovenian student will take a part in one of the events of the Swiss Centre ITI. And, third, on 23 October, co-organised by the Slovene Centre ITI, the German Centre ITI, the ITI ACAR (ITI Action Committee for Artists Rights) and the Maribor Theatre Festival, a one-day international event entitled the Challenges of Artistic Freedom will take place. ¶

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52. Festival Borštnikovo srečanje 52nd Maribor Theatre Festival 20.—29. 10. 2017

Umetniška direktorica Festival artistic director Alja Predan (do until 30. 4. 2017) Vršilka dolžnosti umetniškega direktorja Acting artistic director Ksenija Repina Selektorica tekmovalnega in spremljevalnega programa Competition and accompanying programme selector Petra Vidali Direktor SNG Maribor Managing director SNT Maribor Danilo Rošker Strokovna žirija Jury of Experts Miko Jaakkola Milan Mađarev Simona Semenić Maja Šorli Uroš Trefalt Žirija za Borštnikov prstan Jury for the Borštnik Ring Award Ljerka Belak Blaž Lukan Vlado Novak Ksenija Repina Matjaž Zupančič

foto/photo: BoĹĄtjan Lah

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»Zakaj igralka igra?« se sprašuje Saša Pavček v eseju z naslovom Igralka, objavljenem v uvodu v njeno knjigo Na odru zvečer. In si med drugim odgovarja: »Da njeno bivanje vsaj nekam pelje.« To je skromen, na prvi pogled preskromen odgovor za igralko, ki nocoj prejema najvišje igralsko priznanje. A hkrati nenavadno iskren in dosleden. Saša Pavček namreč v svoje igralske like vstopa oprezno, radovedno, občutljivo, z upanjem in strahom hkrati, pa z neko neulovljivo melanholijo, svojo »dobro znanko«, kot pravi v omenjenem eseju. Morda lahko le tako svoje vloge sploh oblikuje in hkrati z njimi sestavlja tudi lastno igralsko, umetniško podobo, po kateri jo prepoznavamo in že skoraj štirideset let spremljamo na odrskih deskah in radijskih valovih, na televiziji in filmu ali v pisani besedi. ¶ Zgoraj omenjene značilnosti je kritik Jože Javoršek pri Pavčkovi prepoznal že zelo zgodaj, v njeni prvi pravi vlogi (čisto prvi je bil sicer vskok v Profesorju Klepcu v isti sezoni) v Slovenskem narodnem gledališču Drama v Ljubljani, Juliji v Shakespearovi komediji Milo za drago, v sezoni 1981/82, kjer je »zgolj s svojo prisotnostjo izžarjala posebne vrste shakespearsko melanholijo«. S to vlogo si je odprla vrata v to gledališče, v katerem se je leta 1985 tudi zaposlila in v njem igra še danes. Igra pa že pred tem, v času študija dramske igre na ljubljanski AGRFT, tudi v amaterskem gledališču pa v Eksperimentalnem gledališču Glej, Slovenskem mladinskem gledališču (med drugim v znameniti Missi v a-molu), v Mestnem gledališču ljubljanskem in Slovenskem stalnem gledališču Trst. Daleč največji del svojega gledališkega opusa pa ustvari ravno v Drami. ¶ Tam igra veliko, tudi po pet vlog v sezoni, in to v repertoarju, ki mu le stežka določimo skupni imenovalec. Spočetka nastopa v kopici brezimnih ženskih vlog – pač usoda mlade igralke –, ki pa jim počasi dodaja odtenke »zelo rafinirane občutljivosti«, »miselne doslednosti«, »emotivne razgibanosti« in »subtilne realistične pozornosti«, če si izposodimo nekoliko poznejše oznake za njeno igro. V osemdesetih letih preteklega stoletja je Lampito v Smoletovi Igri za igro, Eleonore v Dantonovem primeru Przybyszewske, Nevestina sestra v Brechtovi Malomeščanski svatbi, Marlena v Puncah in pol Churchillove, zlasti pa Marija Stuart v istoimenski Schillerjevi tragediji, Gretchen v

“Why does an actress act?” Saša Pavček asks herself in the essay entitled “Actress”, published in the introduction to her book Onstage Tonight. Among others, she answers: “So that at least her life leads somewhere.” That is a modest – at first glance, too modest – answer for an actress who this evening receives the highest acting recognition. And at the same time, it is an unusually sincere and consistent answer. Saša Pavček takes on her acting characters carefully, curiously, sensitively, with both hope and fear and with an elusive melancholy, her “familiar acquaintance”, as she says in her essay. Perhaps we can say that only in that way can she shape her roles and together with them construct her recognisable acting or artistic persona, which already for nearly forty years we have been following on stage boards and radio waves, on television and in film or in written words. ¶ Critic Jože Javoršek recognised the above characteristics in Pavček already very early, in her first real role (although the very first had been when she stepped in for another actress in the play Professor Klepec in the same season) at the Slovenian National Theatre Drama Ljubljana, as Juliet in Shakespeare’s comedy Measure for Measure in the 1979/80 season, where “merely with her presence she radiated a special type of Shakespearean melancholy”. With this role she opened the doors to that theatre in which she became employed in 1985 and in which she is still acting today. She had acted before then, during her acting studies at Ljubljana’s Academy of Theatre, Radio, Film and Television (UL AGRFT) and in amateur theatres as well as in the experimental theatre Glej, Mladinsko Theatre (among others in the renowned Missa in a minor), Ljubljana City Theatre and the Slovene Permanent Theatre in Trieste. By far, she has created the greatest part of her theatre opus at the SNT Drama Ljubljana. ¶ She acted a lot there, even five roles in a season, and those in a repertoire for which we can find a common denominator only with great effort. At first, she appeared in a string of unnamed female roles – the fate of a young actress –, to which she slowly added the shades of “a very refined sensitivity”, “thoughtful consistency”, “emotional diversity” and “subtle realistic attention”, if we

Taborijevi igri Mein Kampf in Marija v Horváthovi Veri ljubezni upanju. Za zadnje tri vloge, skupaj s tremi vlogami z začetka devetdesetih, Giacinte v Goldonijevi Počitniški trilogiji, Majorke v Lenzovem Domačem učitelju in Uršule v Strniševem Samorogu, prejme leta 1992 nagrado Sklada Staneta Severja. ¶ Že v tem času, še bolj pa pozneje, se enako izkaže v vlogah iz klasičnega kot tudi sodobnega repertoarja, v resnem in komičnem žanru, dobro pa sodeluje z režiserji starejše in mlajše, svoje generacije. Oboji kmalu prepoznajo nekaj njenih ključnih igralskih kvalitet: disciplino in natančnost, zahtevnost in delavnost, invencijo in zvestobo. Kot sama pove v nekem intervjuju, ima rada »težke vloge«, nekonstruirane, življenjske, večplastne in kontradiktorne. V igralskem smislu vselej enako učinkovito izkorišča svoje telesne danosti – njena strast je ples – in glas. Tega še posebno, in to v njegovi nujni povezavi s poezijo, z besedo: v svoji že omenjeni knjigi ji zapiše navdihujoč »poklon«, precej pozneje pa se umetniški besedi posveti tudi pedagoško kot predavateljica, danes redna profesorica umetniške besede na Akademiji za gledališče, radio, film in televizijo. ¶ V devetdesetih je Saša Pavček ob že omenjenih vlogah Antigona v Jovanovićevi istoimenski drami, Ofelija v Shakespearovem Hamletu, Estrella v Calderonovi igri Življenje je sen, Varja v Češnjevem vrtu Čehova in Vita v Atkinsovi Viti & Virginiji; v koprodukciji Drame z Dunajskimi slavnostnimi tedni je Džicuko Honda v Mišimovem in Hočevarjevem Obisku, v Primorskem dramskem gledališču v Novi Gorici pa v uprizoritvi Smoletovega Krsta pri Savici odigra Sestro Bogomilo. Kritik Aleš Berger ob njeni Uršuli zapiše, da je »Saša Pavček […] blazno Uršulo obdarila s silno dekliško milino, z razigrano blodnjavostjo, a tudi z begavo tesnobo in trmasto zahtevnostjo«, kritiku Andreju Inkretu pa se še posebno zapiše v spomin kot Antigona, in to »s svojo do dna obupano, vendar zvesto ljubeznijo, še posebej v nemara osrednjem, zagotovo pa enem najlepših (in najhujših) prizorov vse uprizoritve, v strastnem dialogu in brezupnem objemu s Polineikom«. V tem času se Pavčkova profilira tudi kot igralka komičnih vlog, omenimo predvsem njen nastop v Tomšičevi monokomediji Bužec on, bušca jaz, za katero skupaj z vlogama Estrelle in Varje prejme leta 2000 nagrado Prešernovega sklada. ¶ Čeprav sta navezanost na glas

borrow just a few of the later labels for her acting. In the 1980s, she played Lampito in Smole’s Play for Play, Eleonore in Danton’s Case by Przybyszewska, The Bride’s Sister in Brecht’s A Respectable Wedding, Marlena in Churchill’s Top Girls, and especially Maria Stuart in Schiller’s eponymous tragedy, Gretchen in Tabori’s Mein Kampf, Prinzessin Natalie von Oranien in Kleist’s Prinz Friedrich von Homburg / The Prince of Homburg, and Maria in Horváth’s Glaube, Liebe, Hoffnung (Faith, Hope, and Charity). For these latter four roles, together with three roles in the early 1990s, Giacinta in Goldoni’s La trilogia della villeggiatura, Majorka in Lenz’s Der Hofmeister (The Tutor) and Uršula in Strniša’s The Unicorn, she received the 1992 Sever Award bestowed by the Stane Sever Foundation. ¶ Already in that time, even more later, she proved herself equally in roles from the classic repertoire as well as the contemporary, in serious and comedic genres, she also worked well with directors from generations older and younger than her own. Both soon recognised something in her key acting qualities: discipline and precision, rigor and diligence, invention and loyalty. As she herself once said in an interview, she likes “difficult roles”, unstructured, lifelike, multilayered and contradictory. In the acting sense, she equally effectively utilises her physical talents – her passion is dance – as well as her voice. That is particularly true with its urgent connection to poetry, to the word: in her already mentioned book she takes note of this inspiring “gift”, considerably later, she has also dedicated time to the artistic word in the pedagogical process as a teacher, today she is a professor of the artistic word at UL AGRFT. ¶ In the 1990s, alongside the already mentioned roles Saša Pavček played Antigone in Jovanović’s drama, Ophelia in Shakespeare’s Hamlet, Estrella in Calderón’s La vida es sueño (Life is a Dream), Varya in Chekhov’s Vishnevyi sad (The Cherry Orchard) and Vita in Atkins’s Vita & Virginia; in a co-production between SNT Drama Ljubljana and Vienna’s famous Wiener Festwochen she played Jitsuko Honda in Hočevar’s direction of Visit (adapted from Mishima’s Hanjo), in Nova Gorica’s Primorsko Drama Theatre (Primorsko dramsko gledališče) she played Sister

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foto/photo: Boštjan Lah

in usmerjenost tako v dramsko kot poetično besedo že dolgo prepoznavni potezi igralskega obraza Saše Pavček, je treba poudariti tudi njeno miselno, idejno zahtevnost pri kreaciji vloge, ki nemara izhaja iz njene lastne jedrnate formulacije »Bistvo igranja je igranje bistva«, spet zapisane v eseju Igralka. Pri tem pa, paradoksno, kot igralka ve, da tega bistva v resnici nikdar ni mogoče v popolnosti odigrati in da v igri – kot v umetnosti nasploh – vselej ostane nekaj, kar je »neizrekljivo«, nedostopno, skrivnostno. Kljub temu

Bogomila in the staging of Smole’s The Baptism on the Savica. Critic Aleš Berger wrote about her Uršula that “Saša Pavček […] adorned the mad Uršula with a force of maidenly grace, not only through an ebullient delirium but also through an agitated anxiety and stubborn insistence”, she was especially engraved into the memory of the critic Andrej Inkret as Antigone, “with her rock-bottom despairing, yet devoted, love, especially in the passionate dialogue and desperate embrace with Polyneices, perhaps the central and certainly one of the most beautiful (and most intense) scenes in the entire production”. In that period, Pavček was also shaping herself as a comic actress, we should aboveall mention her appearance in Tomšič’s monocomedy Bužec on, bušca jaz, for which, together with her roles of Estrella and Varya, she received the 2000 Prešeren Fund Award. ¶ Even though her connection to voice and her focus on the dramatic as well as the poetic word are already known features of the acting face of Saša Pavček, it is necessary to also highlight her thoughtful, conceptual rigor in the creation of a role that perhaps comes from her own core formulation: “The essence of acting is acting the essence”, which we can also read in her essay “Actress”. Paradoxically, as an actress knows, that essence in reality is never possible to completely act out, and in a play – just as in art in general – there always remains something that is “inexpressible”, unaccessible, mysterious. Despite all that, her acting presence is never only ideational, it is always also physical, bodily; thus, a critic who likes metaphors, sees in her creation of Vita, the lover of the writer Virginia Woolf, “the evenly distributed sensuality of a large animal that in certain moments loses itself in playful lust or erotic scheming, however, remains noble to the end: a being to whom you can dedicate your life”. ¶ In the new millennium, among other roles, we watched Pavček as Leonora in Barker’s Ursula or Fear of the Estuary, Valerie in McPherson’s The Weir, Dorothy Jackson in Traven’s Exhibitionist, Vera in Czwarta Siostra (The Fourth Sister) by Głowacki, Anne-Marie in her own The Pure Well of Love, Aurelia in Reza’s Une pièce espagnole (A Spanish Play), Léonida in Labiche’s and

njena igralska pojavnost ni zgolj idejna, temveč vselej tudi fizična, telesna; tako kritika, ki ima rada metafore, v njeni kreaciji Vite, ljubimke pisateljice Virginie Woolf, vidi »enakomerno razporejeno čutnost velike živali, ki v posameznih trenutkih zaide tudi v razigrano pohoto in erotično spletkarjenje, vendar je do kraja plemenita: bitje, ki ji lahko posvetiš življenje«. ¶ V novem tisočletju je Pavčkova med drugim Leonora v Barkerjevi Uršuli, Valerie v McPhersonovem Jezu, Dorothy Jackson v Travnovem Ekshibicionistu, Vera v Četrti sestri Głowackega, Anamarija v lastnem Čistem vrelcu ljubezni, Aurelia v Rezinem Enem španskem komadu, Léonida v Labichevem in Straussovem Šparov-čku, Elmira v Molièrovem Tartuffu, Véronique Houillé v Rezinem Bogu masakra in Regan v Shakespearovem Kralju Learu; v Gledališču Koper pa odigra Mirando-lino v Goldonijevi Krčmarici Mirandolini. Od nagrad, ki jih prejme v tem desetletju, omenimo dvakratni naziv žlahtne komedijantke (za Vero in Mirandolino) in Borštnikovo nagrado za vlogi Elmire in Léonide. ¶ Kljub raznolikosti igralskega repertoarja Saše Pavček lahko pritrdimo mnenju Mojce Kranjc, da so ji morda vendarle bližje vloge v sodobni (tudi slovenski) dramatiki, vloge s poetičnimi razsežnostmi in pa vloge umetnic (kakršne so npr. Džicuko Honda, Vita ali Aurelia). V tem se kaže njena večplastna igralska narava: kakor se po eni strani v igralskem ustvarjanju usmerja k »ukinitvi« svojega osebnega jaza, kot sama pravi, se po drugi strani najde tudi v vlogah, ki so ji intimno blizu, in ravno zato morda taka naklonjenost vlogam umetnic. Pavčkova je igralka v najširšem smislu te besede, je gledališka ustvarjalka, ki meje odra širi. Je tudi avtorica dramskih besedil (Čisti vrelec ljubezni smo že omenili, tu sta med drugim še komedija Al' en al' dva in drama Pod snegom), radijskih iger, esejev in spominskih zapisov o svojih igralskih kolegih in sodelavcih, pesniške zbirke Obleci me v poljub, ki je bila podlaga za istoimenski recital poezije in glasbe, pa cele vrste nastopov v najrazličnejših okoljih, tako domačih kot tujih; s tem v zvezi omenimo njene igralske nastope v Parizu v francoščini, ko se je tam igralsko izpopolnjevala. ¶ V drugem, še nezaključenem desetletju novega tisočletja je Pavčkova

Strauss’s Das Sparschwein (The Piggy Bank), Elmira in Molière’s Le Tartuffe ou L’Imposteur (Tartuffe, or, the Impostor), Véronique Houillé in Reza’s Le Dieu du Carnage (God of Carnage), and Regan in Shakespeare’s King Lear; in Koper Theatre she portrayed Mirandolina in Goldoni’s La Locandiera (The Mistress of the Inn). Of the awards that she received in that decade, we must mention her double-title as the Gracious Comedy Actress conferred at the Celje Days of Comedy (for Vera and Mirandolina) and a Borštnik Award for the roles Elmira and Léonida. ¶ Despite the diversity of Saša Pavček’s acting repertoire, we can affirm the opinion of Mojca Kranjc that perhaps the roles closest to her are those from contemporary (also Slovenian) drama, those with poetic dimensions and those of artists (such as Jitsuko Honda, Vita or Aurelia). In this is reflected her multilayered acting nature: as an acting creativity that, on the one hand, she directs to “abolish” her own personal self, as she says herself, and on the other hand, she finds herself in roles that are intimately close to her, and therefore, perhaps because of that her affinity for the roles of artists. Pavček is an actress in the broadest sense of the word, she is a theatre maker whose borders expand beyond the stage. She is also the author of drama texts (we have already mentioned The Pure Well of Love, in addition, there is the monocomedy One or Two? and the drama Under the Snow), radio plays, essays and memorials about her acting colleagues, the poetry collection Dress Me in a Kiss which was the basis for the eponymous evening of poetry and music, and an entire range of performances in various environments, both domestic and foreign; in this connection, we mention her acting performances in Paris, in French, during the period when she went abroad to further her acting skills. ¶ In the second, still unfinished decade of the new millennium, Pavček remains an indispensable constant of the ensemble of the Slovenian National Theatre Drama Ljubljana. She has performed as Lady Woton in Wilde’s The Picture of Dorian Gray, Galactia in Barker’s Scenes from an Execution, Halina in Między Nami Dobrze Jest (No Matter How Hard We Try) by Masłowska,

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nepogrešljiva stalnica ansambla ljubljanske Drame. Nastopa kot Lady Woton v Wildovi Sliki Doriana Graya, Galactia v Barkerjevih Slikah z usmrtitve, Halina v Pri nas je vse v redu Masłowske, Babica in Mama v Angelu pozabe Haderlapove in Pisona, Helga v Valentiniadi Valentina in Mirčevske in Tejrezias v Sofoklejevi Antigoni. V vsaki od teh kreacij dokazuje, da v gledališču ni vloge, ki bi bila igralcu pisana na kožo (s tem v zvezi duhovito izjavi: »Nič ni na koži. Le znoj!«), njena (igralska) umetnost vselej prihaja »iz njene človeškosti in živega telesa«, kot je bilo zapisano ob njeni vlogi slikarke Galactie. Kljub tej stvarnosti njene igre – ali ravno zaradi nje – njene stvaritve nemalokrat učinkujejo »rahlo metafizično«. Najbrž je razlog za to v njeni že omenjeni zavesti o skrivnostni nedostopnosti tistega bistva, ki ga s svojim igralskim telesom in glasom uprizarja, o nemoči do popolnosti približati se drugemu in sebi, čeprav se, paradoksno, prav v tej razliki pokaže največja možnost bližine; a ta ni nikdar izsiljena, temveč z igralkine kože, z odra izstopi, zasije kot nekaj, kar se čutom že izmika. Če smo na začetku omenili melanholijo, ji moramo zdaj dodati še zadržanost, ki je nemara poglavitni vir za oblikovanje njenih vlog: kljub igralkini temeljni odprtosti, zaznamovani z ljubečimi, na široko odprtimi očmi, obrazom, na katerem se kljub umirjenosti skriva nekaj klovnovskega ali vsaj elementarno igralskega, in mehkim, rahlo zastrtim glasom je v izhodišču njene igre tipanje, iskanje odkritega v skritem, zavedanje ne samo gledališke minljivosti. ¶ Saša Pavček ob gledališkem in literarnem živi tudi filmsko in televizijsko ter radijsko življenje. Med drugim je igrala v Klopčičevih filmih Iskanja in Dediščina, v Babićevi televizijski nadaljevanki Geniji in genijalci, v Pavlovićevem filmu Nasvidenje v naslednji vojni, v Šprajčevih Odpadniku, Decembrskem dežju in Pripovedkah iz medenega cvetličnjaka, v Slakovem Dr. Francetu Prešernu, v zadnjem obdobju pa jo je za film odkrila mlada filmska generacija; za stransko vlogo v filmu Klemna Dvornika Kruha in iger je dobila kar dve nagradi, doma in na tujem, v tujini je bila nagrajena tudi njena radijska igra Arija. ¶ Blaž Lukan

Grandmother and Mother in Pison’s adaptation of Haderlap’s Angel of Oblivion, Helga in Valentiniada by Valentin and Mirčevska and Tiresias in Sophocles’s Antigone. In each of these creations she has proven that there is no role in the theatre that is written in the skin of an actor (in this respect she wittily declares: “There is nothing in the skin, only sweat!”). Her (acting) art always comes “out of her humanity and living flesh!”, as was written about her role as the painter Galactia. In spite of this reality of her acting – or precisely because of it – her creations often have the effect of being “slightly meta­physical”. Perhaps this is the reason for her previously mentioned perceptions about the mysterious inaccessibility of the essence, which she performs with her acting body and voice, about the powerlessness to completely approach the other and herself, although paradoxically, precisely in this difference, she reveals the greatest possibility proximity; something that has never been forced out, but from the actress’s skin, or rather, from the stage stands out, shining like something that disappears as soon as it is sensed. If we mentioned melancholy in the beginning, we must now add to it restraint, which may be the primary source for shaping her roles: despite the actress’s basic openness, marked by her loving, wide open eyes, by a face on which, despite its calmness, hides something clownish or at least the basics of acting, and a soft, slightly clenched voice, is the tip of her acting, the search for the hidden in the hidden, an awareness of something more than the transience of theatre. ¶ Alongside her theatre and literary life, Saša Pavček also lives a film, television and radio life. Among other roles, she has starred in Klopčič’s films Temptations and Heritage, in Babić’s TV series Geniji in genijalci, in Pavlović’s film Farewell until the Next War, in Šprajč’s The Maverick, December Rain and Tales from the Honey Flowerhouse, in Slak’s Dr. France Prešeren. More recently, the younger film generation has discovered her for its films; for the supporting role in Klemen Dvornik’s Bread and Circuses, she received two awards, at home and abroad. She was also awarded abroad for her radio show Aria. ¶ Blaž Lukan

Maribor, 29. 10. 2017 » V moji prejšnji igri je moralo zgodbe povedala Evica v “ In my previous play, Evica told the moral of the story verzih: Kdor je ves od tega sveta, s tistim se rad Hudič in the verses: Whoever is completely of this world, is igra. Nisem bil presenečen, ko nekateri namišljeni tol- with whom the Devil likes to play. I wasn’t surprised mači tiste moje moralitete te preproste prilike niso when some of the imaginary interpreters of my modojeli, čeprav bi jo prav gotovo razumel vsak brihten rality play did not understand this simple parable, kmet. Prav rad pa verjamem, da ljudska pamet obeh even though every clever peasant would certainly get verzov ni všeč tistim našim lastnikom majhnih novih it. In fact, I like to believe that the folk wisdom of both stanovanj in majhnih avtov, ki bi vsak od njih lastno verses is unfavourable to those, our owners of small mater prodal za par dinarjev, da bi si zanje kupil še apartments and small cars, who would sell one’s eno vrečo cementa za zidavo letoviške hišice.« ¶ own mother for a few coins, in order to buy a bag of cement to build a holiday house.” ¶ Tako bi lahko začeli, s citatom iz Strniševega predgovora k Ljudožercem. Že selektorica Petra Vidali And so we might begin, with a quote from Strniša’s je omenila, da je za nami slabša sezona, in po ogleforeword to Cannibals. The selector Petra Vidali has du izbora te sezone ne moremo drugače kot pritrdialready mentioned that behind us is a worse season, ti. Na mariborskih odrih smo v tekmovalnem prograand after viewing the season’s selection, we cannot mu videli veliko razkošnega dekorja in malo vsebine. do anything but confirm it. On the Maribor stages we Vprašanje, ki smo si ga soglasno zastavljali ob večisaw in the Competition Programme a great deal of ni predstav, je bilo – zakaj? Zakaj uvrstiti kaj takega luxurious decor and very little content. The question na repertoar, zakaj delati predstavo o stvareh, ki imathat we unanimously posed alongside the majority jo ohlapno vez s svetom, v katerem živimo? Povečini of performances was – why? Why put something like smo gledali predstave, ki se ukvarjajo same s sabo that on the repertoire, why make a performance about in se izogibajo zavzemanju jasnega stališča in sathings that have such a loose connection to the world morefleksije do lastne pozicije v slovenski družbi in in which we live? We mainly watched performances umetnosti. Posledično ne nagovarjajo gledalcev in that concerned only themselves and avoided wringprostorov, v katerih živimo, in ne vzpostavljajo odnoing out a clear stance and self-reflection on their own sa do sveta. V izbranih predstavah so našo pozornost position in Slovenian society and art. Consequently, pritegnili posamični elementi predstav, največkrat so they address neither the spectators nor the spaces in se zgodile igralske kreacije. Ampak igralčev znoj, če which we live and they do not establish a relationship si lahko izposodimo besedno zvezo iz ministrovega with the world. In selected productions, individual govora ob odprtju letošnjih festivalov Zlata paličica elements of the performance did attract our attention, in Borštnikovo srečanje, žal ni dovolj za dobro gledamost often the acting creations. But, unfortunately, lišče. Več odgovornega, komunikativnega in za svet the actor’s sweat, if we can borrow a phrase from občutljivega gledališča smo pravzaprav videli v sprethe minister’s speeches at the opening of this year’s mljevalnem programu. Kje se nam je zalomilo in kako Golden Stick Festival and the Maribor Theatre Festival, naprej? Ob opazovanju gledališkega podmladka, ki je is not enough to make good theatre. We actually saw ves čas festivala predano in z navdušenjem spremljal more responsible, communicative and sensitive-topredstave in druga festivalska dogajanja ter predstathe-world theatre in the Accompanying Programme. vlja prihodnost našega gledališča, se nam je porajalo Where did things go wrong and how to continue? vprašanje, ali je to res tisto gledališče, ki naj ga prihaWhile observing the upcoming theatre generation, jajoče generacije jemljejo za primer vrhunskosti. Se which throughout the entire time of the festival was pravi, gledališče, ki je namenjeno samemu sebi, ki se devoted and followed the performances and other ne odziva na družbo, ki je neškodljivo. Predvsem so festival events with enthusiasm, and which represents to vprašanja, o katerih mora razmisliti Ministrstvo za the future of our theatre, the question arose for us, is

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kulturo Republike Slovenije, ki že več let kaže tendenco nagrajevanja obrtnih spretnosti, ne pa umetniških kvalitet. To so temeljna vprašanja za umetniška vodstva gledališč, ki se zavoljo novih in novih vreč cementa bojijo tveganja in se izrazito zatekajo na navidezno polje varnosti, s čimer pehajo slovensko gledališko produkcijo v povprečje. In seveda, ne nazadnje, so to vprašanja tudi za ustvarjalce in ustvarjalke. ¶ Opazili smo, da dramsko besedilo trenutno ni aktualno, od enajstih predstav so samo štiri narejene po dramski predlogi, od katerih je pravzaprav samo ena boleče aktualna za naš čas in prostor.Prav tako opažamo, da ustvarjalci predstav dajejo jezik v drugi plan, veliko predstav je jezikovno slabo pripravljenih, v avtorskih predstavah pa opažamo, da sta tako jezik kot tudi gledališko besedilo izrazito neenakovredna elementa v primerjavi z drugimi elementi gledališča, kot so igra, vizualna podoba, zvočna podoba itd. ¶ Začeli smo s Strnišo in bomo z njim tudi zaključili. ¶ »Se bo kdaj iz tega jajca izleglo in prebilo lupino bitje – morda krilata kača, morda rogata riba, morda peteronoga ptica, morda trooki človek – a vendar bitje, ki bo imelo oči, da bodo videle modro morje okrog sebe, kdo ve? ¶ Zastor se vzdiguje.«¶ Uroš Trefalt, predsednik Miko Jaakkola Milan Mađarev Simona Semenič Maja Šorli

this truly the theatre that the future generations should take as examples of excellence. That’s to say, theatre that is intended only for itself, that does not respond to the society, that is innocuous. Those are mostly questions that should be considered by the Ministry of Culture of the Republic of Slovenia, which has already for several years shown a tendency for awarding craft skills rather than artistic quality. Those are fundamental questions for the artistic leaders of theatres, who, for the sake of new and new bags of cement, are afraid to take a risk and are markedly resorting to the apparent field of safety, thus plunging Slovenian theatre production into the average. And of course, those are questions also for theatre creators. ¶ We have observed that nowadays the dramatic text is irrelevant; from eleven productions, only four were created according to dramatic proposals, out of which only one is actually painfully relevant for our time and space. ¶ Likewise, we notice that the creators of the productions put language in the background, many performances are linguistically poor; in the productions not based on a dramatic text, we notice that both language and the theatrical text are decidedly unequal elements in comparison to other elements of the theatre, such as acting, visual image, soundscape, etc. ¶ We began with Strniša and we will also conclude with him. ¶ “Will a creature ever hatch from this egg and break through the shell – perhaps a flying serpent, a horned fish, a five-legged bird, even a three-eyed human – but a creature with eyes that will see the blue sea  around it, who knows? ¶ The curtain is rising.” ¶ Uroš Trefalt, President Miko Jaakkola Milan Mađarev Simona Semenič Maja Šorli

Borštnikova nagrada za najboljšo uprizoritev Borštnik Grand Prix for the Best Production Nemoč v režiji Primoža Ekarta in v izvedbi zavoda Imaginarni in Mini Teatra Ljubljana Powerlessness directed by Primož Ekart and performed by Imaginarni Institute and Mini Teater Ljubljana Snovalci predstave Nemoč so ustvarili redko sintezo vseh elementov uprizoritve in jih povezali v vznemirljivo gledališko dejanje z izčiščenim družbenim stališčem, ki pa se ne izogiba ranljivosti. Izbor besedil, dramaturgija predstave, scenski prostor, kostum, igra in funkcionalna uporaba glasbe se v predstavi Nemoč režiserja Primoža Ekarta sestavijo v dragoceno gledališko izkušnjo. ¶ foto/photo: Peter Uhan

The creators of the production Powerlessness have created a rare synthesis of all the staging elements and woven them into an exciting theatrical event with a clear social position that does not avoid vulnerability. In the performance Powerlessness, directed by Primož Ekart, the selection of texts, the dramaturgy, the stage space, costume, acting and the functional use of music are combined into a precious theatre experience. ¶

53. Borštnikovo 134 — 135

Borštnikova nagrada za najboljšo režijo Borštnik Award for Best Directing Žiga Divjak za režijo uprizoritve Človek, ki je gledal svet v izvedbi Slovenskega mladinskega gledališča Žiga Divjak for the directing of the The Man Who Watched the World performed by the Mladinsko Theatre Ko se zdi, da se snovalno gledališče pogosto zaplete v izpraznjenost svoje forme in odtuji od občinstva, ga Žiga Divjak v tekmovalnem programu festivala napolni z vsebino. Ta gledališki format je v tesnem sodelovanju s celotno umetniško ekipo osmislil ne samo vsakega posameznika in posameznico na odru, ampak tudi pri občinstvu ustvaril kompleksen pogled na ranljivost ljudi in narave v sodobnem svetu. ¶

While it seems that devised theatre often gets caught in the emptiness of its form and alienates the audience, Žiga Divjak fills it with content in the Festival's Competition Programme. In close collaboration with the entire artistic team he gave meaning to this theatre format not only for each individual on the stage, but in the audience also created a complex view on the vulnerability of people and nature in today's world. ¶ foto/photo: Nejc Saje

Borštnikova nagrada po presoji žirije Borštnik Jury Award

Umetniški kolektiv predstave Ljudožerci za uprizoritev dramskega besedila Gregorja Strniše Ljudožerci v izvedbi SNG Maribor The artistic team of the production Cannibals for the staging of the drama text by Gregor Strniša performed by the Drama of the Slovene National Theatre Maribor Strniševi Ljudožerci so bili od svojega nastanka v Sloveniji uprizorjeni samo štirikrat. Zato je uprizoritev besedila v današnjem času dokaz, da smo priča izjemnemu umetniškemu delu, ki z metaforo kaže na podiranja še zadnjih ostankov moralnih, socialnih, političnih in družbenih vrednot. Njegova angažiranost šteje za univerzalno veličino poetičnega besedila. Skupaj z vsemi ustvarjalkami in ustvarjalci uprizoritve predstavlja ponavljajoč mrtvaški ples z besedami, ki jih v sodobnem gledališču resnično razumemo: »Táko je ko surovo jajce, z rumenjakom življenja, beljakom smrti in trdo lupino končnosti, ki plava v neskončnem morju nenaravnega sveta.« ¶

Since it was written, Strniša's Cannibals has been staged in Slovenia only four times. For this reason the staging of the text in today's time is proof that we are witness to an exceptional artistic work that metaphorically points to the breaking down of the last remains of moral, social, political and societal values. Its engagement can be considered as the universal greatness of the poetic text. Together with all of the creators of the performance, the play presents a repetitive dance of death with words that we truly understand in the contemporary theatre: “It is like a raw egg, with the yolk of life, the white of death and the hard shell of finality, swimming in the endless sea of an artificial world”. ¶ foto/photo: Damjan Švarc

53. Borštnikovo 136 — 137

Borštnikova nagrada za igro Borštnik Award for Acting

Borštnikova nagrada za igro Borštnik Award for Acting

Jenny Ane Urbanc je v Tistem občutku padanja kot nekakšna različica sodobne Alice, ki se znajde v svetu rokenrola in njegove prepoznavne ikonografije. Zaradi prizemljenosti svoje prezence ne dopusti, da se v tem svetu utopi kot drugi liki. Če kot Jenny udejanja minimalistična igralska sredstva, kot Majdalenka v Ljudožercih pokaže zastrašujočo odprtost in ekstatično energijo brez meja, ki jo vodi v smrt. ¶ Ana Urbanc's Jenny in Birdland is a sort of contemporary variation of Alice, who finds herself in the world of rock'n'roll and its recognisable iconography. Because of the groundedness of her presence, she does not allow herself to drown in this world like the other characters. If as Jenny she uses minimalist acting material, as Majdalenka in Cannibals she shows a sinister openness and an unlimited ecstatic energy that leads her to death. ¶ foto/photo: Damjan Švarc

Maruša Majer je s svojo igro v ospredju pokazala redko videno eksplozijo ljubezenskega zanosa, ki se upira realnosti, medtem ko je z igro brez besed v drugem planu izrazila intenzivno odrsko prezenco s presežnim emotivnim nabojem. ¶ With her acting, Maruša Majer showed in the foreground a rarely visible explosion of romantic zeal that resists reality, while with her non-verbal acting in the background expressed an intensive stage presence with a precise emotional charge. ¶ foto/photo: Nada Žgank

Ana Urbanc za vlogi Jenny v Tistem občutku padanja in Majdalenke v Ljudožercih v izvedbi SNG Maribor Ana Urbanc for the roles of Jenny in the production Birdland and Majdalenka in Cannibals performed by the Drama of the Slovene National Theatre Maribor

Maruša Majer za igro v Stenici v izvedbi Prešernovega gledališča Kranj in Mestnega gledališča Ptuj Maruša Majer for the role of Zoja in Bedbug performed by Prešeren Theatre Kranj and Ptuj City Theatre

Borštnikova nagrada za igro Borštnik Award for Acting

Gregor Zorc za igro v Stenici v izvedbi Prešernovega gledališča Kranj in Mestnega gledališča Ptuj Gregor Zorc for the role of Zoja in Bedbug performed by Prešeren Theatre Kranj and Ptuj City Theatre Gregor Zorc obvlada pestro paleto igralskih odtenkov, od komičnih do dramatičnih, navzven brez napora prehaja od lika do performerja ali improvizira. S svojo hipnotično odrsko prezenco začara ne samo oder, temveč tudi občinstvo, ki hvaležno in razigrano sodeluje. ¶ Gregor Zorc masters a rich palette of acting shades, from the comic to the dramatic, on the outside without strain he transitions from a character to a performer or improvises. With his hypnotic stage presence he enchants not only the stage, but also the audience, who gratefully and playfully participate. ¶ foto/photo: Nada Žgank

Borštnikova nagrada za igro Borštnik Award for Acting

Igralski kolektiv v predstavi Človek, ki je gledal svet v izvedbi Slovenskega mladinskega gledališča The acting ensemble in the production The Man Who Watched the World performed by the Mladinsko Theatre Slovensko mladinsko gledališče je velikokrat dokazalo, da sta kolektivno delo in načelo snovalnega gledališča integralna dela njegovega ustvarjanja. V predstavi Človek, ki je gledal svet gre za odprto gledališko obliko, kjer se prepletajo globalna vprašanja z intimnim prispevkom v obliki osebnega albuma fotografij in zgodb igralcev. Prav sopostavljanje dramskih in performativnih prizorov stopnjuje dogajanje v odgovoren in komunikativen umetniški prikaz sveta, ki ga svež, angažiran kolektiv suvereno preigrava. ¶ Mladinsko Theatre has demonstrated many times that collective work and the principle of devised theatre are an integral part of its creation. The production The Man Who Watched the World is an open-form theatre in which global questions are intertwined with an intimate contribution in the form of a personal photo album and stories of the performers. Precisely the combined placement of dramatic and performative scenes intensifies the hap­ pening into a responsible and communicative artistic representation of the world, sovereignly played out by the fresh, engaged ensemble. ¶ foto/photo: Nejc Saje

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Borštnikova nagrada za mladega igralca Borštnik Award for Young Actor Nik Škrlec za igro v predstavi Nemoč v izvedbi zavoda Imaginarni in Mini Teatra Ljubljana Nik Škrlec for his performance in the production Powerlessness by Imaginarni Institute and Mini Teater Ljubljana Nik Škrlec je s prehajanjem med distancirano in ekspresivno igro utelesil nemoč posameznika v boju za preživetje v času brutalnega neoliberalnega kapitalizma, ki se zažira v najintimnejše plasti življenja. Škrlec z artikuliranim igralskim telesom lahkotno žonglira z različnimi emotivnimi stanji in odrskimi veščinami. ¶

By straddling alienation effect and expressive acting, Nik Škrlec embodied the powerlessness of the individual in the fight for survival in the time of brutal neoliberal capitalism, which is eating away at the most intimate layers of life. With his articulate actor body Škrlec lightly juggles with the different emotional states and stage skills. ¶ foto/photo: Peter Uhan

Borštnikova nagrada za prevod Borštnik Award for Translation

Andrej Rozman Roza za prevod dela The Tiger Lillies, Julian Crouch, Phelim Dermot: Peter Kušter v izvedbi SNG Nova Gorica Andrej Rozman Roza for the translation of the work by The Tiger Lillies, Julian Crouch, Phelim Dermot: Shockheaded Peter performed by the Slovene National Theatre Nova Gorica Andrej Rozman Roza se je v svojem prevodu Petra Kuštra ponovno izkazal za virtuoza jezika, njegov prenos besedila v slovenski jezik je izrazito gledališki, živ in plastičen. Z lahkoto prehaja med visokim literarnim in nižjim pogovornim jezikom, ob čemer vzpostavi novo celoto, igriv in bogat jezikovni univerzum. ¶ foto/photo: Peter Uhan

In his translation of Shockheaded Peter, Andrej Rozman Roza once again proves himself as a virtuoso of language, his transfer of the text into Slovenian language is distinctively theatrical, lively and vivid. With ease, he traverses between the high literary and the low vernacular speech, in which he establishes a new whole, a playful and rich linguistic universe. ¶

53. Borštnikovo 140 — 141

Borštnikova nagrada za scenografijo Borštnik Award for Set Design

Damir Leventić za scenografijo v predstavi Nemoč v izvedbi zavoda Imaginarni in Mini Teatra Ljubljana Damir Leventić for the Set Design in the production Powerlessness performed by Imaginarni Institute and Mini Teater Ljubljana Na prvi pogled preprosta scena Damirja Leventića obsega celovit likovni koncept. Gledalka namesto v udobno gledališko stavbo vstopi v intimni svet opuščenega stanovanja. Meščanski prostor v razkroju poudarja brezizhodno stanje politične, ekonomske in osebne krize lika. Minimalistična scenografija z domiselno uporabo vseh površin v prostoru postane zaslon ekonomskih paradigem in kriz prve dekade milenija. Scena v predstavi Nemoč nas vrača skupaj z aktualnim besedilom k umetniškemu kredu »manj je več«. ¶

At first glance, the simple set design of Damir Leventić encompasses a complete visual concept. Instead of the comfort of a theatre hall, the spectator enters the intimate world of an abandoned apartment. The degraded bourgeois space emphasises the hopeless state of the character's political, economic and personal crisis. The minimalist set design with its thoughtful use of all surfaces in the space becomes a projection of the economic paradigm shifts and crises of the first decade of the millennium. The set design in the performance Powerlessness returns us together with the relevant text to the artistic credence: “less is more”. ¶ foto/photo: Peter Uhan

Borštnikova nagrada za kostumografijo Borštnik Award for Costume Design Alan Hranitelj za kostumografijo v predstavi Leonce in Lena v izvedbi Mestnega gledališča ljubljanskega Alan Hranitelj for the costume design in the production Leonce and Lena by Ljubljana City Theatre

Redko se zgodi, da bi kostumografija tako celovito vstopila v prostor igre, režije in dramaturgije, kot se je to ustvarilo v predstavi Leonce in Lena. Kostumi delujejo kot govoreči kipi, ki se norčujejo iz malomeščanskega gledališča, nekritičnega do lastne produkcije. Alan Hranitelj je z njimi dosledno usmerjal način igre, gib igralcev in ustvaril osnove za situacijsko komiko. ¶

It rarely happens that the costume design so fully steps into the space of the play, the direction and the dramaturgy as it does in the production Leonce and Lena. The costumes act as speaking sculptures that make fun of bourgeois theatre, uncritical to its own production. Alan Hranitelj uses the costumes to consistently guide the manner of the play and the movement of the actors, thus creating the basis for a situational comedy. ¶ foto/photo: Aljoša Rebolj

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Borštnikova nagrada za avtorske pesmi Borštnik Award for Songs Damir Avdić za avtorske pesmi v predstavi Antigona v izvedbi SNG Drama Ljubljana Damir Avdić for original songs in the production Antigone performed by Slovenian National Theatre Drama Ljubljana

Damir Avdić je umetnik, ki ga svet izrazito boli. Njegove avtorske pesmi jasno vzpostavljajo odnos do krivic v svetu, brezkompromisen je do sveta kot tudi do sebe in svojih slabosti v njem. Ko Avdić obsoja svet, sebe nikoli ne izvzema, kar je danes resnično izjemna redkost. Do sebe zmore vzpostaviti distanco, ne razume se za popolno bitje v svetu krivic, ampak je del krivičnega sveta, ki ga takega s svojimi človeškimi slabostmi in ranljivostjo tudi soustvarja. ¶ foto/photo: Peter Uhan

Damir Avdić is an artist who is strongly pained by the world. His songs clearly expose the attitude toward the world's injustices, uncompromising toward the world as well as toward oneself and one's weaknesses in it. When Avdić condemns the world, he never removes himself from it, which today is truly an exceptional rarity. He is able to establish a distance to himself, he does not understand himself as a perfect being in a world of wrongdoing, but as a part of an unjust world, which he also co-creates with his own human faults and vulnerability. ¶

Maribor, 20.—29. 10. 2017

V tekmovalnem programu, ki ga je izbrala selektorica Petra Vidali, smo videli enajst uprizoritev, čeprav jih je selektorica izbrala dvanajst. Uprizoritev Svetovalec v produkciji Mestnega gledališča ljubljanskega, v kateri je imel naslovno vlogo tragično preminuli igralec Gašper Tič, je nadomestila projekcija posnetka premierne izvedbe. Spremljevalni program, ki ga je zaradi odhoda umetniške direktorice tokrat izjemoma izbrala selektorica tekmovalnega programa, je sestavljalo šest predstav. Mednarodni program Mostovi, ki ga je še pred svojim odhodom oblikovala umetniška direktorica Alja Predan, je obsegal tri predstave. ¶ Na festivalu se je predstavilo pet od načrtovanih sedmih produkcij študentov UL AGRFT, pripravili smo dva filmska večera — projekcije šestih kratkih igranih filmov. ¶ Festivalski uvod je predstavljala fotografska razstava Hommage à Tomaž Pandur na promenadi v mariborskem Mestnem parku, nastala v sodelovanju s Pandur.Theaters in Mestno občino Maribor. Na 40 velikih panojih smo razstavili fotografije Aljoše Rebolja, ki so zajemale zadnjih 12 let ustvarjanja mednarodno uveljavljenega režiserja Tomaža Pandurja. Razstava je bila na ogled ves čas festivala. ¶ V Fokusu se je festival posvečal finski drami in gledališču. Izšla je knjiga Sodobna finska drama, gostili smo Jukko Hydeja Hytiija in Hanno Helavuori, predstavnika finske gledališke organizacije TiNFO, dramatika Kristiana Smedsa, režiserja Jarija Juutinena ter igralko Liiso Sofio Pöntinen, pri pogovorih je sodelovala tudi Julija Potrč, prevajalka. Bralne uprizoritve so izvedli študenti UL AGRFT. Sestavni del finskega fokusa je bil glasbeno-besedni projekt Zvezdane Novaković Zgodba o harfi v štirih ponovitvah. ¶ Že osmo leto je festival tuji zainteresirani strokovni javnosti in medijem predstavljal izbor slovenskih predstav (showcase), nekaj gostov je festival obiskalo na posebno povabilo organizatorja. Tudi letos so bile v sklop showcase vključene vse tekmovalne in spremljevalne predstave. ¶ V strokovnem programu je festival ponudil dva simpozija: (Ne)pretočnost: vprašanje institucije v sodobnih scenskih umetnostih (simpozij in okrogla miza v organizaciji Društva gledaliških kritikov in teatrologov Slovenije v sodelovanju z Radiem Slovenija – programom Ars) ter Dramaturgi iz oči v oči (okrogla miza z nemškimi in slovenskimi dramaturgi v organizaciji Urške Brodar ter v sodelovanju z Javno agencijo za knjigo RS). Festival je gostil predstavitev mednarodnega projekta v organizaciji Slovenskega gledališkega inštituta ob dnevu evropskih zgodovinskih gledališč

In the Competition Programme chosen by the selector Petra Vidali, we saw eleven performances, although she chose twelve. The performance The Counsellor in the production of the Ljubljana City Theatre, in which the tragically deceased actor Gašper Tič had the leading role, was replaced with a projection of the recording of the premiere performance. Due to the departure of the artistic director of the Festival, the Accompanying Programme, chosen exceptionally by the selector of the Competition Programme, consisted of six performances. The International Programme Bridges, which was formed by artistic director Alja Predan before her departure, comprised of three performances. ¶ Five out of seven planned productions of the UL AGRFT students were presented at the Festival. We prepared two films evenings: projections of six short student films. ¶ The Festival opened with a photographic exhibition Hommage à Tomaž Pandur on the promenade in the Maribor City Park, created in cooperation with Pandur.Theaters and the Municipality of Maribor. On 40 large panels, we exhibited photographs by Aljoša Rebolj, which captured the last 12 creative years of the internationally acclaimed director Tomaž Pandur. The exhibition was on display throughout the entire Festival. ¶ The Festival dedicated the Focus section to Finnish drama and theatre. The book Contemporary Finnish Drama was published, we hosted Jukka Hyde Hyti and Hanna Helavuori, both representatives of the Finnish theatre organisation TiNFO, the dramatist Kristian Smeds, director Jari Juutinen and the actress Liisa Sofia Pöntinen. Julija Potrč, the translator, also participated in the discussions. The reading performances were staged by UL AGRFT students. An integral part of the Finnish Focus was the music-poetry project by Zvezdana Novaković, The Story of the Harp in four repetitions. ¶ For the eighth time, the Festival presented a selection of Slovenian performances (Showcase) to the interested foreign professional public and media. Some guests visited the Festival upon the special invitation of the organiser. This year's Showcase also included all performances from the Competition and Accompanying Programmes. ¶ In the Symposia Programme, the Festival offered two symposia: (Disrupted) Flow: The Question of Institutions in Contemporary Performing Arts (a symposium and a round table discussion organised by the Association of Theatre Critics and Researchers of Slovenia (DGKTS) in collaboration with Radio Slovenia — Ars programme) and Eye-to-Eye with Dramaturgs (a round table discussion with German and Slovenian dramaturgs

53. Borštnikovo 144 — 145

Evropske poti zgodovinskih gledališč. ¶ Strokovni pogovori po predstavah so potekali v Vetrinjskem dvoru, vodili sta jih teatrologinji Simona Hamer in Nina Zupančič. Na isti lokaciji so bili tudi pogovori o knjižnih novitetah, ki jih je vodila Manja Gatalo, urednica Biltena FBS. ¶ Kot je že uveljavljeno, smo predstavili e-razstavo Festival Borštnikovo srečanje 2016, ki jo je pripravila Ksenija Repina. Slovenski gledališki inštitut je pripravil posebno e-razstavo Dobitniki in dobitnice Borštnikovega prstana 1970–2016 z vsemi prejemniki in prejemnicami Borštnikovega prstana, ki so predstavljeni s po desetimi fotografijami. Na prizorišču GT22 so bili na ogled Urniki SNG Drame Ljubljana, razstava / dokumentarni projekt, ki je nastal v sodelovanju Ustanove Fundacija Sonda, GT22 in SNG Drama Ljubljana. ¶ V festival so bila vključena tudi druga prizorišča: Lutkovno gledališče Maribor, Vetrinjski dvor, Prvi oder Prve gimnazije, Salon uporabnih umetnosti, GT22, KGB, Hotel Maribor, Alma Mater Europea – ECM in stanovanje na nabrežju Drave, sicer v lasti Centra judovske kulturne dediščine Sinagoga Maribor. V klubu Wetrinsky smo pripravili družaben festivalski večer. ¶ Ponovno smo organizirali delavnico dramskega pisanja Instant drama/predstava pod vodstvom prof. Žanine Mirčevske. Projekt združuje dijake Prve gimnazije Maribor in študente UL AGRFT. Slednji so sodelovali tudi pri pripravi dnevnega Biltena FBS in na pogovorih o predstavah. ¶ Pri pripravi 52. Festivala Borštnikovo srečanje je prostovoljno sodelovalo 18 študentk in študentov različnih smeri. ¶ Almanah je izšel v slovenskem in angleškem jeziku, natisnjena je bila dvojezična programska zloženka. Izdanih je bilo devet rednih biltenov, eden ob zaključni slovesnosti in drugi ob simpoziju, torej skupaj 11, urednica je bila Manja Gatalo. ¶ Mednarodna strokovna žirija je ob zaključku podelila 12 nagrad. Žirija za podelitev najvišjega priznanja za igralsko ustvarjalnost je Borštnikov prstan podelila dramski igralki Saši Pavček. Podeljena je bila tudi nagrada DGKTS za najboljšo uprizoritev pretekle sezone, ki jo je prejela koprodukcija UL AGRFT in Lutkovnega gledališča Ljubljana Zločin in kazen v režiji Mirjane Medojević. ¶ Na festivalu se je zvrstilo 65 dogodkov (25 predstav in 32 drugih dogodkov; dve predstavi sta imeli ponovitve), ki jih je obiskalo 5890 obiskovalcev. Analiza medijskih objav v letu 2017 v primerjavi z letom poprej kaže, da publiciteta ostaja na primerljivi ravni kot pretekla leta, festival pa je spremljalo okoli 40 akreditiranih novinarjev. ¶ Daša Šprinčnik producentka FBS

organised by Urška Brodar in collaboration with the Slovenian Book Agency (JAK)). The Festival hosted the presentation of an international project organised by the Slovenian Theatre Institute (SLOGI) on the occasion of the European Historic Theatres Day. ¶ After the performances, panel discussions were held at the Vetrinj Mansion, led by dramaturgs Simona Hamer and Nina Zupančič. At the same location, there were discussions about book novelties, which were held by Manja Gatalo. ¶ As already established, we presented the e-xhibition Maribor Theatre Festival 2016, which was prepared by Ksenija Repina. The Slovenian Theatre Institute prepared a special e-xhibition Winners of the Borštnik's Ring 1970—2016 with each of the recipients of the Borštnik Ring presented through ten photographs. In the GT22 venue, we displayed the exhibition The Timetables of the Slovenian National Theatre Drama Ljubljana, an exhibition/documentary project created in cooperation with the Sonda Foundation, GT22 and the SNT Drama Ljubljana. ¶ Other venues of the Festival also included: the Maribor Puppet Theatre, Vetrinj Mansion, the First Grammar School Maribor, the Salon of Applied Arts, GT22, KGB, the Hotel Maribor, Alma Mater Europaea — ECM and an apartment on the Drava embankment, otherwise in the ownership of the Jewish Cultural Heritage Synagogue Maribor. We held a special Festival evening party at the Wetrinsky Club. ¶ We organised a playwriting workshop Instant play/performance under the mentorship of assoc. prof. Žanina Mirčevska, MA. The project combines students of the First Grammar School Maribor and UL AGRFT students. The latter also took part in the preparation of the Festival’s daily bulletin and discussions about performances. ¶ Eighteen students from different study courses participated as volunteers at the preparations for the 52nd edition of the Maribor Theatre Festival. ¶ The Almanac was published in Slovenian and English languages, and a bilingual programme leaflet was printed. Nine regular bulletins were issued, one at the closing ceremony and another at the symposium, for a total of eleven, the editor was Manja Gatalo. ¶ The international jury of experts awarded twelve awards at the closing ceremony. The actress Saša Pavček was awarded the Borštnik Ring, the highest award for acting creativity. The DGKTS Award for the best performance of the previous season was awarded to the co-production of the UL AGRFT and the Ljubljana Puppet Theatre for the performance Crime and Punishment, directed by Mirjana Medojević. ¶ In 2017, the Festival hosted 65 events (25 performances and 32 other events; two performances were repeated), visited by 5890 visitors. The analysis of media publications in 2017 compared to the year before shows that publicity remains at a comparable level as in previous years. Around 40 accredited journalists covered the Festival. ¶ Daša Šprinčnik Executive producer

Borštnikov prstan daruje Borštnik Ring donated by Zlatar Filigran K A Č I N A R I

Vetrinjska ulica 17 SI-2000 Maribor T: +386 (0)2 252 55 06

Galerija Hest daruje umetniško grafiko dobitniku velike nagrade Festivala Borštnikovo srečanje za najboljšo uprizoritev The Hest Gallery will present this artwork to the winner of the Maribor Theatre Festival Grand Prix Award for best performance

Židovska ulica 1 SI-2000 Maribor T: +386 (0)2 250 06 66 E: galerijahest@siol.net I: www.galerijahest-sp.si Židovska ulica 8 SI-1000 Ljubljana T: +386 (0)1 422 00 00 France Slana, Maček, grafika, 50 x 35,5 cm, 2014

53. Borštnikovo 146 — 147

53. Borštnikovo 148 — 149

53. Borštnikovo 150 — 151

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53. Borštnikovo 156 — 157

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53. Borštnikovo 166 — 167

53. Festival Borštnikovo srečanje 53rd Maribor Theatre Festival Slovenska ulica 27, si-2000 Maribor, Slovenija t -> +386 (0)2 250 62 27, (0)2 250 61 00 f -> +386 (0)2 250 62 28 e -> info@borstnikovo.si i -> www.borstnikovo.si ..................................................... Umetniški direktor / Artistic director Aleš Novak Direktor SNG Maribor / Managing director SNT Maribor Danilo Rošker Izvršna producentka in odnosi z javnostmi / Executive producer and public relations Daša Šprinčnik (odsotna do absent until 1. 7. 2019) Asistentka umetniškega direktorja / Assistant to artistic director Mojca Kolar Produkcija / Production Ksenija Kaučič, Mojca Redjko, Maša Stošič Programska sodelavka / Programme associate (Mlado gledališče, Študentsko gledališče / Young Theatre, Student Theatre) Mojca Redjko Projektni svetovalec / Project consultant Miha Marinč Stiki z javnostmi / Public relations Maša Stošič Oblikovalec vizualne podobe festivala / Designer of Festival visual identity Radovan Jenko Urednica publikacij in spletnih strani / Publications and web content editor Ksenija Repina Skrbnica festivalskih lokacij / Location assistant Ana Gabrovec Koordinatorka prostovoljcev / Volunteer coordinator Marja Guček Video produkcija / Video production Manja Gatalo, Avguštin Solce Fotografa / Photographers Saša Huzjak, Boštjan Lah Tehnični vodja / Technical manager Matic Gselman Voditelj pogovorov tekmovalnih predstav / Competition programme discussion moderator Rok Bozovičar Selektorica tekmovalnega programa 53. FBS / Competition programme selector Zala Dobovšek Strokovna žirija 53. FBS – Borštnikov prstan / Jury of Experts for the Borštnik Ring Award Mojca Jan Zoran, Blaž Lukan, Aleš Novak, Barbara Orel, Saša Pavček Strokovna žirija 53. FBS – tekmovalni program / Jury of Experts for the Competition programme Nika Arhar, Uršula Cetinski, Goran Ferčec (HR), Simona Hamer, Marko Sosič Strokovna skupina / Artistic Board Primož Jesenko, Tina Kosi, Tone Partljič, Neda Rusjan Bric, Tomaž Toporišič

53. Borštnikovo 168 — 169

Pri parku insk a uli

Kopitarjeva ulica

Titova cesta

Stolna cerkev Janeza Krstnika

Ob jarku

Kužno znamenje 9

3

Vojašniška ulica

DRAVA

Usnjarska ulica

Loška ulica

Ulica knez

a Koclja

DRAVA

esta Pobreška ce

sta

est

a

UKC Maribor

Ulic

aM oše

Pija

da

1

2

3

4

Ljubljansk a ulica

Ruš ka c

Titova cesta

Stari most

Ruška c

Go rke ga ulic a

Titova cesta

5

a

Ulica talcev

2

ulic

a

4

Pristan

Ulica heroja Šland ra

ska ulic 1

ca

ska uli

n Partiza

ška

Sloven

7

Spomenik NOB

arni

6

la Trg genera

Mlin ska ulica

Grad Maribor

Par Boris k - Trg a Kid riča

Mlinska ulica

Maistra

Krekova ulica

Gregorčičeva ulica

Cankarjeva ulica

Prešernova ulica

Stro ssm ayer jeva ulica

Maistrova ulica

Plin

ca

Pobrešk a

8

cesta

Pobreška cesta

Shoping center Europark Maribor

Nasipna ulica

Mlad

SNG Maribor Velika dvorana, Stara dvorana, Kazinska dvorana, Mali oder, Komorni oder, Medetaža Grand Hall, Old Hall, Kazina Hall, Small Stage, Chamber Stage, Mezzanine Slovenska ulica 27

5

Narodni dom Maribor Ulica kneza Koclja 9

6

Alma Mater Europaea – ECM Slovenska ulica 17

Vetrinjski dvor Vetrinj Mansion Vetrinjska ulica 30

8

Karantena Pobreška cesta 20

Lutkovno gledališče Maribor Maribor Puppet Theatre Vojašniški trg 2 a

9

GT22 Glavni trg 22

Glazerjeva dvorana, UKM Glazer Hall, UKM Gospejna ulica 10

7

Center za kreativnost MAO Centre for Creativity Partizanska cesta 11

53. Festival Borštnikovo srečanje 53rd Maribor Theatre Festival Programski katalog / Programme catalogue Maribor, 15.–28. oktober / 15–28 October 2018 Izdajatelj / Publisher Festival Borštnikovo srečanje Slovensko narodno gledališče Maribor / Maribor Theatre Festival Slovenian National Theatre Maribor Za izdajatelja / Represented by Danilo Rošker

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 792.079(497.4)"2018" FESTIVAL Borštnikovo srečanje (53 ; 2018 ; Maribor) Programski katalog = Programme catalogue / 53. Festival Borštnikovo srečanje, 15.-28. oktober = 53rd Maribor Theatre Festival, Maribor, 15-28 October 2018 ; [urednica Ksenija Repina ; prevajalki Barbara Skubic, Jana Renée Wilcoxen]. - Maribor : Festival Borštnikovo srečanje, Slovensko narodno gledališče = Maribor Theatre Festival, Slovenian National Theatre, 2018 ISBN 978-961-94050-5-5 1. Repina, Ksenija 296260096

Umetniški direktor / Artistic director Aleš Novak Urednica / Editor Ksenija Repina Prevajalki / Translators Barbara Skubic, Jana Renée Wilcoxen Lektorica za slovenski jezik / Slovenian language consultant Mojca Redjko Lektorica za angleški jezik / English language editor Jana Renée Wilcoxen Oblikovalec / Designed by Radovan Jenko Tisk / Printed by Tiskarna Radovljica Vezava knjige / Book binding Maruji knjigoveštvo Črkovni družini / Typefaces Recognition & Typewriter (A2-Type) Tiskano na / Printed on Munken Print Cream 150 & 300 g/m2 Naklada / Impression 300 izvodov / copies Pridržujemo si pravico do spremembe programa. / We reserve the right to make changes to the programme. Maribor, september 2018 cena / price: 7,00 EUR