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dramske igre je zaključil na Akademiji za igralsko umetnost v Ljubljani, in sicer v razredu prof. Vide Juvan. Prejel je študentsko Prešernovo nagrado za vlogi Državnega pravdnika v Bratih Karamazovih Dostojevskega (1962) in Sganarella v Molièrovem Zdravniku po sili (1963). Prof. Vida Juvan je v utemeljitvi zapisala, da sta »ti dve vlogi diametralno nasprotni« in da je bil v njun »realizaciji nadpovprečen«. V času študija je prispeval manjše vloge v uprizoritvah Slovenskega mladinskega gledališča in Odra 57: Plešasti pevki Eugèna Ionesca, Aleksandru praznih rok Vitomila Zupana, Zasilnem izhodu in Kaznjencih Petra Božiča, Igricah in Nekaj malega o čakalnicah in življenju Dominika Smoleta in v prepovedani igri Topla greda Marjana Rožanca. Po zaključku služenja vojaškega roka se je leta 1966 zaposlil v Drami SNG Ljubljana. Prva večja vloga v Drami je bila vloga študenta Tončka v Linhartovi veseloigri Ta veseli dan ali Matiček se ženi (1966), kjer je sodeloval z režiserjem Viktorjem Molko. Dve leti pozneje se je srečal z Jurijem Součkom, ki je temeljno posegel v razvoj mladega igralca, saj je v njem prepoznal, kot se je sam izrazil, tisto »potrebno žlahtno komedijantstvo« in potrebo po ekspresivnosti, »potrebo po govorjenju resnice«. Z vlogo Arhitekta v Arrabalovi kontroverzni igri Arhitekt in asirski cesar (SNG Drama Ljubljana, 1968) je zaobjel travmatični svet arrabalovskega gledališča, v katerega je vržen človek, obremenjen z obupom in grozljivim humorjem. Hočevar je ponazoril ta svet s sredstvi »infantilne igre« in je bil neposreden v »svoji naivnosti«. Njegov igralski postopek je takrat sodil med redke poskuse v interpretaciji, in sicer kot premik od prezentacije k oblikovanju živega in polnokrvnega lika, ki na odru v resnici živi svoje življenje. Z vlogo Filatelista v Jovanovićevi igri Znamke, nakar še Emilija … v režiji Žarka Petana je pokazal svoj naslednji veliki igralski dosežek. Upodobitev je bila izpiljena do najmanjše podrobnosti; »majhna, kramarska in pikolovska duša, zakompleksirana, nesproščena«, kot je zapisal Lojze Smasek. Za obe vlogi je na sarajevskem Festivalu malih in eksperimentalnih odrov (1969) prejel nagrado zlati venec. Pri štiriintridesetih letih se je odločil za svobodni poklic. V tem času mu je bil velik izziv preživetje. Sodeloval je pri komercialnih projektih, na televiziji, pri radijskih igrah, serijah za odrasle in otroke, v otroških

This Happy Day or Matiček Gets Married (Ta veseli dan ali Matiček se ženi, 1966), directed by Viktor Molka. Two years later he met Jurij Souček, who radically affected the development of the young actor in whom he spotted, as Souček himself said, that »noble comedian« and the need for expressiveness, »the need to speak truth.« At the age of 34 he became a free-lance actor. He engaged in commercial projects and appeared in television productions, radio plays, serials for adults and children and children’s programs; during the period of ski euphoria, he participated in Podarim-dobim lottery draws, sporting his trademark striped scarf. Janez Hočevar is also a master of radio plays and the artistic word. He is in control of all genres, from children’s radio plays to the most demanding experimental projects. The Radio Slovenia archives treasure 351 radio programs with Hočevar in various roles. He also received an award at the international radio festival in Ohrid for one of his radio play roles. The late 1970s and early 1980s were a particularly intense period in his acting career. He accomplished a series of extraordinary creations: he played Miller in Schiller’s Intrigue and Love (for Ljubljana City Theatre - MGL), for which he received the Borštnik Award; he played Jerman in Cankar’s The Servants (for Ljubljana City Theatre - MGL), and Faust in Grabbe’s Don Juan and Faust (for Drama SNG Maribor). These three roles earned him, in 1981, the Prešeren Fund Award. With the role of the Old Man in Lužan’s Silver Threads produced by the Glej Experimental Theatre (1978), he further developed his skill for portraying human fate in mutually exclusive border situations. This role also earned him the Borštnik Award. His accomplishments in musical theatre and on film further prove that Janez Hočevar is an acting homo universalis. His indisputable talent for singing came to light in the operas Die Fledermaus and The Merry Widow, and in the musicals Fiddler on the Roof and Neron. For the role of father Petan in the movie Cafe Astoria (Kavarna Astoria), he received the prestigious Golden Arena award at the Film Festival in Pula. In 1992, he dedicated himself to teaching at the Academy for Theatre, Radio, Film and

46. Festival Borštnikovo srečanje - almanah  

Almanah 46. Festivala Borštnikovo srečanje http://www.borstnikovo.si

46. Festival Borštnikovo srečanje - almanah  

Almanah 46. Festivala Borštnikovo srečanje http://www.borstnikovo.si