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Franc Kangler: Praznik gledališke ustvarjalnosti Celebration of Theatre Arts Majda Širca: Uspešne zgodbe Success Stories Alja Predan: Pomen spomina in konfrontacija s prihodnostjo The Importance of Memory and a Confrontation with the Future Danilo Rošker: 45 let Festivala Borštnikovo srečanje 45 Years of the Maribor Theatre Festival Gregor Butala: Poročilo selektorja Report by the Programme Director Selektor Programme Director Strokovna žirija Jury of Experts Žirija za podelitev Borštnikovega prstana Jury for the Borštnik Ring Award Program Programme Tekmovalni program Competition Programme Režiserji tekmovalnih uprizoritev Directors of Competition Programme Spremljevalni program Accompanying Programme Showcase Mostovi Bridges Generacije Generations AGRFT Academy of Theatre, Radio, Film and Television Še … More …

Seznam slovenskih producentov Slovenian Theatres at the Festival 44. Festival Borštnikovo srečanje 44th Borštnik Theatre Festival Borštnikov prstan 2009 Borštnik Ring 2009 Izjava strokovne žirije Statement of the Jury of Experts Nagrade Awards Druge nagrade Other Awards 44. Festival Borštnikovo srečanje v številkah 44th Borštnik Theatre Festival in Numbers Pokrovitelji festivala Sponsors of the Festival Festivalska prizorišča Festival Venues

MOM

praznik gledališke ustvarjalnosti celebration of theatre arts

Spoštovani ljubitelji gledališča, umetnosti in kulture!

Letos v Mariboru gostimo jubilejni 45. Festival Borštnikovo srečanje. To je visoka obletnica osrednjega slovenskega gledališkega festivala, ki smo ga vedno doživljali kot praznik gledališke ustvarjalnosti in poklon najvidnejšim dosežkom slovenskega gledališča v preteklem letu. Ob tej visoki obletnici nas upravičeno navdaja pričakovanje, da bo Festival Borštnikovo srečanje z novim vodstvom in prenovljenim konceptom letos in v prihodnjih letih postal eden temeljnih generatorjev razvoja kulturnega dogajanja in ponudbe v našem mestu, ki se iz meseca v mesec vse intenzivneje oblači v barve evropske kulturne prestolnice.

Letošnja vsebinska prenova festivala prinaša vsaj dvoje – Borštnikovo srečanje in s tem tudi naše mesto intenzivneje povezuje z mednarodnim prostorom, kar je eden od naših strateških ciljev na področju kulture, hkrati pa se bo festivalsko dogajanje kapilarno razširilo po mnogih mestnih prizoriščih, kar me kot župana še posebej veseli, saj bo gledališko ustvarjanje dostopno tudi tistim, ki redkeje zahajajo v našo osrednjo gledališko hišo. Selektor in vodstvo Borštnikovega srečanja sta letos zasnovala zelo bogat in obširen program, tako lahko vsi upravičeno pričakujemo, da bodo naše mesto ob slovenskih ljubiteljih gledališča obiskali tudi mnogi tuji selektorji, ker je eden od temeljnih ciljev, ki smo si jih zastavili ob kandidaturi za naziv Evropske prestolnice kulture.

Z letošnjim programom so pripravljavci Festivala Borštnikovo srečanje smelo napovedali, da gojijo upravičene ambicije biti eden osrednjih programov v letu 2012 in prepričan sem, da jim bomo obiskovalci številnih festivalskih prireditev po koncu letošnjega dogajanja v tem tudi pritrdili.

Franc Kangler, župan Mestne občine Maribor

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Dear theatre and culture lovers, This year Maribor hosts the 45th Maribor Theatre Festival.

This marks an important anniversary of the leading Slovenian festival of theatre. While we have always viewed it as a celebration of theatre arts and an acknowledgement of the most outstanding achievements of Slovenian theatre, this anniversary also fills us with the expectation that the revamped Maribor Theatre Festival under new management will become one of the main generators of cultural life in our town, which has recently been putting on the colours of the European Capital of Culture.

The new concept of Maribor Theatre Festival introduces two innovations. First, it establishes closer contacts with the international art scene, helping us to realize one of our strategic cultural goals. Second, the festival events will take place at several venues across the city, which is a change I welcome with great pleasure, since it will make theatre accessible to less regular theatre goers as well. Finally, thanks to this year’s exceptionally rich program, we can justifiably expect many foreign visitors from the theatre world. Maribor Theatre Festival is thus helping Maribor to secure its place on the map of European culture, which is one of the goals that we had in mind when we submitted our candidacy for the European Capital of Culture in 2012.

I understand the renewed concept of the festival as a bold announcement by Maribor Theatre Festival team of their ambition to be the leading event in 2012 and I am convinced that the visitors to this year’s festival will provide a further boost to their intentions.

Franc Kangler Mayor of Maribor

JAKA ADAMIČ

uspešne zgodbe success stories

Ko sem lansko leto prišla na naš osrednji gledališki festival,sem si skupaj z novim vodstvom zaželela razprodanih dvoran in zato posedanja občinstva na stopnicah tega, za Slovenijo, velikega gledališča. Velikega ne samo po kvadraturi in številu gledalcev, ki jih lahko sprejme, velikega tudi po viziji, ki jo premore. In res, srečanje je bilo eksplozivno in intenzivno. Dišalo je po novi volji in renesančnem zagonu.

In tukaj si ne morem kaj, da ne bi obnovila zgodbe, tako tipične tudi za današnji čas, pa čeprav je stara več kot devetdeset let. Takrat je gledališče upravljal karizmatični Hinko Nučič. 23. septembra 1919 je med vajami za Tugomerja umrl Borštnik. Rasberger je zapisal, da je Nučič jokal in ni mogel začeti vaje. Ko so ga vprašali, kaj se dogaja, je ansamblu povedal za Borštnikovo smrt. Borštnik je bil pokopan dva dni pred premiero, ne da bi kdaj nastopil v Mariboru.

Manj znano je, da sta si takrat Ljubljana in Zagreb nekaj mesecev podajala račune za plačilo pogreba (Zagreb se je ponudil, da ga plača, Ljubljana je ponudbo zavrnila, po pogrebu pa kljub temu poslala račun za celoten znesek v Zagreb (HNK).) Ta ga je seveda zavrnil. Kako domače.

In kolikokrat že smo živeli zgodbe, za katere smo verjeli, preden so se zgodile, da jih je mogoče videti le v teatru – tistem prostoru torej, ki zna in zmore potencirati, poglobiti, povečati, osvetliti in reflektirati naš vsakdan. Če bi spremljali prizor podajanja računa za pogrebne stroške na gledališkem odru, bi bili prepričani, da gledamo komedijo (Comédie Slovène!). Komedijo, ki pa bi jo ob seciranju nravi male in zaprte družbe zagotovo kmalu prepoznali kot tragedijo.

Ko ob letu osorej razmišljam o minulem letu, ugotavljam, da dogajanje v mestu Maribor, seveda predvsem na področju kulture, lahko primerjam z odrskim dogajanjem. Na odru se vrstijo nove in nove predstave, abonmaji so razprodani in gledalci ponosni.

Dejstvo, da bo Maribor s partnerskimi mesti čez dve leti evropska prestolnica kulture, je dalo mestu in ljudem dodatno vzpodbudo in zagon.

One year ago, I wished for the performances at the main Slovenian festival of theatre to play to full houses, with people packing the auditorium of this large theatre hall. When I say large, I mean large in the local context, and not only in terms of numbers but of vision as well. And indeed, the gathering was explosive and intense. There was a sense of determination and a Renaissance-like impetus in the air.

And this brings to mind a story that is now more than ninety years old but nevertheless so typical of the contemporary era, as well.

The story relates to the death of Ignacij Borštnik, the renowned Slovenian actor and director after whom the main festival award is named. He died on September 23, 1919.

It was noted that the charismatic Hinko Nučič, head of Maribor theatre at the time, was unable to hold back his tears or continue with the rehearsal when he learnt about Borštnik’s death. By contrast, the subsequent events related to Borštnik’s funeral are less well known. As a matter of fact, the bill for Borštnik’s funeral travelled from Ljubljana to Zagreb and back for several months before it was finally settled. What a familiar experience! Were the shuffling about of a funeral bill to be staged, we would be convinced that we were watching a comedy (Comédie Slovène!), or rather a tragedy if viewed in the context of a small, closed society.

Theatre is an environment that has the ability to explicate, elaborate, enlarge and elucidate our everyday experiences and provide reflection on our daily lives. Indeed, how many times have we already lived out the stories that we believed could happen only on stage?

When I now think back, I must conclude that the developments in the city of Maribor, and here I primarily have in mind cultural developments, can be compared to those in Maribor theatres: performances follow each other, seasonal tickets are sold out and theatre goers beam with pride.

The fact that in two years time Maribor will be the European Capital of Culture with partner cities has provided incentive and given momentum to the town and its people.

There is no worse experience for a theatre than empty au-

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Kajti – ni ga hujšega za gledališče, ki ga nihče ne gleda, ali pa ga le peščica. Takrat pa, ko imajo tudi gledalci občutek, da so del predstave, je namen dosežen in ustvarjalci zadovoljni. Ob preštevanju »novosti«, ki se pripravljajo za EPK 2012, nove umetnostne galerije, lutkovnega gledališča, novega prostora na dravskem bregu, obnove pekarniških prostorov …, je novo tudi vodstvo Borštnika, ki se je »prenove« lotilo z vehemenco in željo po uspehu. Kajti vzorov je v Mariboru veliko. Pa tudi ljudi, ki vanj prinašajo duh in strast sveta.

Zato verjamem, da bo 45. Borštnik zgodba o uspehu, tako kot bo to tudi Evropska prestolnica kulture čez dve leti.

Majda Širca, ministrica za kulturo

ditoriums or only a handful of viewers. But when viewers too have a feeling that they are part of the performance, the purpose is fulfilled and the performers satisfied. In counting recent acquisitions in anticipation of the European Capital of Culture in 2012 – a new art gallery, a puppet theatre, new space on the bank of the Drava river, renovation of the Pekarna – we should not forget to mention the new Maribor Theatre Festival management team, which has approached the redesign of the festival with fervour and a vision of success. There are many role models in Maribor, and also many people who bring to the city a cosmopolitan spirit and passion. Therefore, I believe that the 45th Maribor Theatre Festival will be a success story, as will be Maribor’s hosting of the European Capital of Culture in two years time.

Majda Širca Minister of Culture

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DAMJAN ŠVARC

pomen spomina in konfrontacija s prihodnostjo the importance of memory and a confrontation with the future

»Umetnost in z njo gledališče je konfrontacija. Ni nikakršna preslikava ali posnemanje, nastaja iz izkušnje in to izkušnjo tudi odraža.«

“Art and, along with it, theatre, is a confrontation. It is not a replication or imitation; it stems from experience, and it reflects experience.”

Misel je na lanskem Borštniku izrekel Peter Stein, ni bog ve kako prekucniška, je pa pomenljiva in priročna iztočnica.

Letošnji festival se bo konfrontiral z vrsto novosti, ki bodo v marsičem spremenile njegovo podobo. Namen spremenjene zasnove je predvsem vnesti nekaj prepišnosti, torej pokazati bero najboljšega v slovenskem gledališču strokovnjakom iz tujine, domačo gledališko in teatrološko stroko pa vpeti v mednarodni kontekst. Slovenija je nesporno gledališka dežela. O tem ne pričajo le številna mednarodna gostovanja in nagrade, marveč tudi vztrajno povečevanje vsakoletne produkcije. Letos se je zgodilo okrog 110 novih dogodkov. Zato je smotrno, da del svoje letine promoviramo tudi navzven.

V ta namen bo letos prvič na ogled tako imenovani slovenski showcase. Izbor predstav za to revijo je razen domači publiki namenjen tudi strokovnjakom iz tujine, umetniškim direktorjem, selektorjem, programerjem in kritikom. Povabili smo jih veliko, upajmo, da pridejo.

Seveda so kriteriji za selekcijo z mislijo na mednarodno promocijo drugačni od drugih kriterijev. Poleg kakovosti je treba do določene mere upoštevati tudi mobilnost, aktualnost, izvirnost in dostopnost. In pod črto seveda tudi denar. Ampak ta je tako ali tako zmerom pod črto vsega.

Zato sem se pri izboru desetih predstav osredotočila predvsem na tiste, ki ustrezajo zgoraj navedenim merilom in ki povrhu tega vodijo s publiko nestereotipen dialog ter se z njo konfrontirajo s svojo provokativnostjo in nekonvencionalnostjo.

Dva nova programska bloka se mi zdita pomembna zlasti za prihodnost. Prvi, imenovan generacije in ga bo letos nemara razbrati le v blagih konturah, je namenjen predvsem mladim – ne po letih, pač pa po duši. Drugi, mostovi, je mednarodni in letos vsebuje pet predstav iz tujine. Gre večinoma za gledališke oblike in poetike, ki so odmaknjene od vizure italijanske škatle in jih na FBS ne srečujemo v

The above is a thought by Peter Stein at last year’s Maribor Theatre Festival. Although not a revolutionary one, it provides a meaningful and convenient point of departure. This year’s Festival will confront innovations that will change its image in many respects. Our ambition behind the new concept is to bring in some fresh air, present the cream of the crop in Slovenian theatre to foreign experts and promote Slovenian theatre internationally. Slovenia is undoubtedly a land of theatre, as is evident not only from the number of tours abroad and international awards but also from the steady annual increase in the number of productions. This year, we have seen around 110 new productions. It therefore seems appropriate that we should give international publicity to this year’s harvest.

It is to this purpose that the Slovenian showcase, first presented this year, is dedicated. The performances selected are meant for the domestic audience as well as foreign experts, artistic directors, program directors, program shapers and critics. Many have been invited, and we hope that they will accept our invitation.

Of course, in selecting performances with a view to promoting Slovenian theatre to the international audience, the selection criteria are different. In addition to quality, it is also necessary to take into account the mobility, topicality and accessibility of a performance and, undoubtedly the financial aspect as well, which is an important part of whatever we do. Therefore, when selecting ten performances for the showcase, I focused on those that met the criteria mentioned above, while also establishing a non-stereotypical dialogue with the audience and challenging it through provocative non-conventionality.

The two new programme sections, generations and bridges, are included with a view to the future. The generations section, indeed just a glimpse of its future self, is intended for children and young people. The bridges section is an

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izdatni meri. Tudi v konfrontaciji lastnega s tujim vidim priložnost za vse. Želeti je, da bi se oba programska sklopa udomačila, se s časom profilirala in razvila.

Ob mednarodni strokovni konferenci in simpoziju bodo tu še bralne uprizoritve, pogovori o predstavah in knjigah, aktivno vključevanje študentov z ljubljanske gledališke akademije in mariborske filozofske fakultete, razstava ob petinštiridesetem rojstnem dnevu FBS, festival pa bo potekal na različnih mariborskih prizoriščih. Seveda pa nedotakljivo jedro festivala ostajata selektorjev izbor tekmovalnih in spremljevalnih predstav. Strokovne nagrade bo na sklepni slovesnosti podelila mednarodna žirija, Borštnikov prstan si bo letos nadel eden od igralcev.

Spomin je tisto, zaradi česar obstajamo, izkušnja dne je določena s preteklostjo in pogojuje prihodnost. Če se ozremo na preživeto in preživelo, na spomin in njegov pomen, potem smo lahko ponosni na dolgoletno festivalsko tradicijo, hvaležni vsem, ki so jo ustvarjali, in zavezani sebi za dan potem. V tem duhu si prizadevam ohranjati spomin, misliti in delati danes ter se konfrontirati s prihodnostjo (in kritiko).

Alja Predan, umetniška direktorica

international program and comprises five foreign productions. It mainly involves theatre forms and poetics that veer away from the idea of the box stage and are not often seen at Maribor Theatre Festival. In my view, a confrontation of the local and the international creates an opportunity for all, so we have good reason to hope that the two programmes will soon become well-established and will develop a highly distinctive character.

Apart from performances, this year’s festival also includes an international conference and a symposium, staged readings, conversations about performances and books, and an exhibition commemorating the 45th anniversary of the Maribor Theatre Festival. The students of the Academy of Theatre, Radio, Film and Television and the Faculty of Arts in Maribor also participate in the festival. These events will take place at various venues across the city of Maribor.

Of course, the sacrosanct core of the festival continues to be the competition and the accompanying program. The awards jury is composed of domestic and foreign experts, and this year the Borštnik Ring Award will go to an actor.

Memory is what keeps us going; our present experience is determined by our past and it shapes our future. A look into the past, memory and its meaning makes us proud of the long festival tradition and grateful to all who have maintained it over the years. This instils in us a commitment to the future. This is the spirit in which I strive to preserve memory while thinking and acting today and confronting the future (and criticism).

Alja Predan Artistic Director

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DAMJAN ŠVARC

45 let festivala borštnikovo srečanje 45 years of the maribor theatre festival

Kaj pomeni 45 let v dimenziji časa, kot ga dojemamo človeška bitja? Je 45 let dolgo ali kratko obdobje v zgodovini naroda, ki si je šele pred devetnajstimi leti izboril svojo državo? Začetki slovenske kulture segajo daleč v preteklost – pred več kot tisoč leti so nastali prvi zapisi v slovenskem jeziku, pred 460-imi leti je bila natisnjena prva slovenska knjiga … Lani je slovensko gledališče v Mariboru dopolnilo 90 let, leta 1966 je Fran Žižek ustanovil Teden slovenske drame, ki je bil štiri leta kasneje preimenovan v Borštnikovo srečanje. Po Žižku so neizbrisen pečat pri vodenju in organiziranju Srečanja med drugimi pustili Branko Gombač, Matjaž Kmecl, Rudi Šeligo, Olga Jančar … in Tone Partljič, ki se po letih izjemno uspešnega vodenja poslavlja od funkcije predsednika sveta. Tonetove energije, pripadnosti, zanesenoti in vsakoletnega dokazovanja, da je nemogoče mogoče, se ne da opisati z nekaj besedami – zato, dragi Tone, neizmerna hvala za vse, kar si storil za to, da je srečanje vsako leto bilo!

Od zadnjega srečanja se je marsikaj spremenilo: Festival Borštnikovo srečanje je po letih prizadevanj pravnoformalno postal sestavni del Slovenskega narodnega gledališča Maribor kot ena izmed njegovih samostojnih enot – poleg Drame, Opere in Baleta. Gospa Alja Predan je umetniška direktorica Festivala, ki ne dobiva samo nove podobe, ampak predvsem razširjene vsebinske dimenzije in mednarodni značaj. Poleg tekmovalnega in spremljevalnega programa bo letos prvič na sporedu slovenski showcase – predstave, namenjene promociji slovenskega gledališča v tujini; pričakujemo, da si bo izbor najboljših predstav pretekle sezone ogledalo veliko mednarodno uveljavljenih gledaliških imen. Poseben program bo namenjen otrokom in mladini. V mednarodnem programu se bodo predstavila gledališča iz srednjeevropskega prostora. Poleg gledaliških uprizoritev se bodo zvrstili številni dogodki: mednarodni dramaturški simpozij, konferenca o gledališki kritiki, razstava 45 let Borštnikovega srečanja, predstavitve knjig in še marsikaj.

V našem gledališču se dejavno vključujemo v projekt Maribor – Evropska prestolnica kulture 2012. Objavili smo

How much is 45 years if viewed from a human temporal perspective? Is it a long or a short time span in the history of a nation that became an independent state only 19 years ago? The beginnings of Slovenian culture date from a long time ago: the first written records of Slovenian culture are more than one thousand years old, and the first book in Slovene 460 years old. Last year, the Slovenian National Theatre in Maribor celebrated its 90th birthday. In 1966, Fran Žižek established the event called the Week of Slovenian Drama, renamed the Borštnik Theatre Festival four years later (since this year Maribor Theatre Festival).

Among the many successors to Žižek who have contributed to the management and organization of the Festival and left their indelible stamp on it, let me mention Branko Branko Gombač, Matjaž Kmecl, Rudi Šeligo, Olga Jančar and Tone Partljič, who is currently withdrawing as Chairman of the Festival Council after many years of successful work. Tone’s energy, commitment, enthusiasm and incessant proving that the impossible is possible cannot be described in a few words. Therefore, dear Tone, thank you so much for all you have done to make this festival happen every year!

Many things have changed since last year’s Festival. It became legally and formally an independent department of the Slovenian National Theatre Maribor, in addition to Drama and Opera and Ballet. The new artistic director of the festival is Alja Predan, who has given the festival a new image and, even more importantly, has broadened its content and turned it into an international event. In addition to the competition and accompanying programmes, this year the festival includes a Slovenian showcase for the first time: performances intended for the promotion of Slovenian theatre abroad. We expect that the selection of the best performances of the previous theatre season will be seen by many renowned theatre personalities. A special program will be dedicated to children and young people. The international program will present theatres from Central Europe. In addition to performances, the festival includes a number of other events, among these an international

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repertoar naših umetniških enot za leto 2012. Ne dvomimo, da bo tudi Festival Borštnikovo srečanje izkoristil izjemno priložnost pri promociji slovenske kulture v Evropi in svetu.

Spoštovani ljubitelji gledališke umetnosti, pred začetkom jubilejnega že 45. Festivala Borštnikovo srečanje vas prijazno vabim k ogledu predstav in sodelovanju pri množici dogodkov, ki bodo obogatili ne samo mariborske jeseni, ampak celoten slovenski kulturni prostor. Selektor je svoje delo opravil. Vsi, ki si v Slovenskem narodnem gledališču Maribor prizadevamo po svojih znanjih in močeh, da bi letošnji ambiciozno zastavljeni osrednji slovenski gledališki dogodek uspel, vas pričakujemo in vam želimo čim boljše počutje in veliko novih doživetij.

Danilo Rošker, direktor SNG Maribor

symposium on dramaturgy, a conference on theatre criticism, an exhibition commemorating the 45th anniversary of the festival, book presentations and many more.

Our theatre has been actively participating in the project entitled Maribor – The European Capital of Culture 2012.

We have already published our programme for 2012, and we are convinced that the Maribor Theatre Festival will also seize this exceptional opportunity to promote Slovenian theatre to Europe and to the world.

Therefore, dear respected lovers of theatre arts, I issue a warm invitation to you to visit the 45th Maribor Theatre Festival, enjoy the performances and participate in a multitude of events which will enliven the autumn in Maribor and enrich Slovenian culture. The program director has completed his task. We in the Slovenian National Theatre Maribor have been doing our best to contribute to the success of this year’s ambitiously conceptualized main theatre event in Slovenia. We are looking forward to seeing you in Maribor and wish you an enjoyable theatre experience.

Danilo Rošker Managing Director of SNG Maribor

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LUKA CJUHA

gregor butala poročilo selektorja report by the programme director

Če bi hoteli z eno samo besedo opredeliti naravo celote slovenske gledališke produkcije, bi nemara lahko porekli, da je ta – solidna. Kar bi v vrednostnem smislu pomenilo, da je kakovostna raven slovenskega gledališča na dokaj visoki ravni, v bolj opisnem smislu pa, da je slovenska gledališka ustvarjalnost postavljena na trdne »obrtne« (in institucionalne) temelje, ki razmeroma kakovostno (in količinsko tudi izrazito obsežno) produkcijo sploh omogočajo.

In če k tej ugotovitvi dodamo še zvrstno, vsebinsko, estetsko in ne nazadnje produkcijsko pestrost slovenske gledališke pokrajine, o katerih niti ni dvoma, se zdi, da je razlogov za optimizem pravzaprav dovolj. Vendar je treba na tem mestu opozoriti tudi na temno plat teh obetavnih ugotovitev, zaradi katere o dobri kondiciji slovenskega teatra ni mogoče govoriti brez pridržkov: omenjena »solidnost«, zaradi katere na naših odrih resda nastane le malo resnično slabih predstav, v nekaterih primerih tudi ščiti hrbet ustvarjalni rutini in uprizoritveni lagodnosti, če že ne tudi pomanjkljivim repertoarnim premislekom; velika količina predstav, ki že morda meji na hiperprodukcijo, v sebi nosi tudi nevarnost površnosti in zaostrovanja že zdaj prisotnih težav s postprodukcijo; v razmerah množične proizvodnje se vse prepogosto izgubljajo iskateljstvo, drznost in (tudi idejna) zavzetost, ki odstopajo prostor znanemu, varnemu, preizkušenemu.

Kot selektor sem se spopadel predvsem z dvema težavama: prva je bila izjemno obsežna produkcija (več kot 110 predstav oziroma »uprizoritvenih dogodkov«, ki sem jih v enem letu prepoznal kot možne vsebine programa nacionalnega gledališkega festivala), druga – sicer precej manjša – pa delno pomanjkanje jasnih »objektivnih« meril za njihovo izbiro; pravilnik FBS tako na primer določa, da na festivalu sodelujejo »vse oblike gledališke ustvarjalnosti – z izjemo čistega lutkovnega, plesnega in glasbenega gledališča«, vendar je v praksi, predvsem pri sodobnejših hibridnih zvrsteh, interpretacija tega določila nemalokrat dokaj nehvaležna reč; še precej bolj težavno pa je opredeliti, kaj naredi neko predstavo za »slovensko«: je to producent oziroma koproducentski delež, je to jezik, ki ga (če ga)

If I had to describe in one word Slovenian theatre production, perhaps the most appropriate description would be “solid.” This means that it can be said to be of fairly high quality but also described as resting on firm professional (and institutional) foundations, which indeed allow this level of quality (and the numerous performances). Add to this the indisputable diversity of genre, content, aesthetics and, last but not least, production across the Slovenian theatre landscape, and it seems that there are plenty of reasons for optimism. And yet, there is also a dark side to this encouraging conclusion and it calls for certain reservations when establishing that Slovenian theatre is in quite a good shape: while firm foundations leave little room for low quality performances on Slovenian stages, in some cases they nurture routine creativity and complacent staging, if not a lack of reflection on the repertoire. Moreover, large volume production, perhaps bordering on hyper-production, carries with it the danger of superficiality and potentially aggravates the already existing difficulties with post-production. In circumstances of mass production, audacity, the exploration instinct, and (even) commitment (to an idea) become dulled and give way to the familiar, safe and tested.

When selecting the performances for this year’s festival, I had to overcome two difficulties. One was the exceptionally large number of performances (more than 110 performances or “performing events” which over the period of one year I identified as potential candidates for the national theatre festival), and the other, indeed a less serious one, was the partial lack of clear, objective selection criteria. The rule book of the Maribor Theatre Festival, for example, states that “all forms of theatre production” can participate in the festival, “with the exception of purely puppet, dancing and musical productions.” However, in practice, and particularly when dealing with modern, hybrid genres, interpretation of this rule can often be an unrewarding task. Even more difficult to determine is what makes a performance a truly “Slovenian performance.” Is it the producer or the share of coproducers in the project? Is it the language of the performance (if any language is used at all), or the director, or other

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uporabljajo v predstavi, je to režiser, drugi sodelavci, relativni delež slovenskih nastopajočih v projektu itd.? Načeloma sem se v »mejnih« primerih sodobne globalizirane gledališke produkcije odločal za odprto držo, ki je v premislek uvrščala kar največje število uprizoritev.

Z evidentiranjem predstav za letošnjo selekcijo sem začel nekje sredi lanskega maja, torej približno takrat, ko poteče rok za prijavo uprizoritev na Borštnikovo srečanje. Moja želja je bila, da v nabor zajamem tudi tiste uprizoritve lanske sezone, ki zaradi poznega datuma premiere niso prišle v poštev za selekcijo prejšnjega festivala. Do prvega tedna junija sem tako – kot že omenjeno – v svoj osnovni nabor uvrstil nekaj več kot 110 produkcij; nekaj sem jih naknadno izločil iz podrobnega premisleka. Gledališki producenti so v selekcijo prijavili natanko sto uprizoritev, med njimi tudi več takih, ki jih moj prvotni seznam ni obsegal (na primer uprizoritve iz prejšnjih sezon, plesne predstave ipd.), tako da sem ob koncu izbiral med približno 110 predstavami.

collaborators, or the share of Slovenian participants in the project? In principle, when deciding on borderline cases characteristic of modern, globalized theatre production, I adopted an open approach that enabled me to include the largest possible number of performances for consideration.

I began to compile a list of candidate performances for this year’s festival sometime around mid-May last year, meaning around the time of the deadline for submitting performances for the Maribor Theatre Festival. I also wished to include those performances from last season that could not be taken into account last year because of their late premiere date.

By the first week of June, my list comprised slightly more than 110 productions; I subsequently excluded some of these from closer consideration. Theatre producers submitted precisely 100 performances, several of which were not included in my initial list (for example, performances from previous seasons, dance performances and the like). In the end I had to choose from a list of approximately 110 performances.

••• ••• V tekmovalni program sem uvrstil največje dovoljeno število uprizoritev, torej dvanajst; za to potezo sem se odločil delno zaradi tega, ker je bila produkcija zares obsežna, a tudi zato, ker si po mojem trdnem prepričanju vse izbrane predstave (Cenci, Amado mio, Malomeščanska svatba, Zasebno življenje, Manifest K., Od blizu, Preklet naj bo izdajalec svoje domovine!, Ko sem bil mrtev, Žabe, Pogovori, samogovori, Platonov in Persona) to uvrstitev v vseh pogledih tudi zaslužijo. Poleg samoumevnega kriterija, torej uprizoritvene kakovosti, sem bil pri izbiranju naklonjen predvsem tistim produkcijam, ki so izkazovale dejavno razmerje do svoje vsebine, tvoren odnos do narave gledališkega medija oziroma izrazit premislek o prostoru in času, v katerem so nastale.

Pri oblikovanju spremljevalnega programa sem v preteklem letu razmišljal o različnih možnih zasnovah, vendar pa je bilo vsem skupno prepričanje, da ta del selekcije ne bi smel biti – kot se to včasih primeri – nekakšna »druga liga« oziroma tolažilna nagrada za tiste producente, katerih projekti se niso uspeli prebiti v tekmovalni izbor. Na koncu sem se odločil, da sledim podobnim usmeritvam, kot sem jih imel pri snovanju tekmovalnega programa: izbral sem štiri produkcije, ki so po moji presoji kakovostne in vznemirljive, a bi bila njihova morebitna umestitev v ožjo selekcijo iz različnih razlogov vprašljiva: Love Dolls, Škrip orkestra, sklop performansov Via Nova in monodramo Noč čisto na robu gozdov. Prepričan sem, da bo vsaka od njih dodala pomemben delček v mozaik tistega, kar je v preteklem letu nastalo najboljšega v slovenskem gledališkem prostoru.

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My selection for the competition section includes the greatest permissible number of performances, i.e. twelve. I decided on the maximum number because of the truly extensive production, but also because I firmly believe that all the selected works deserve inclusion in all respects (The Cenci, Amado mio, A Respectable Wedding, Private Life, Manifest K., Closer, Damned Be the Traitor to His Homeland!, When I Was Dead, The Frogs, Colloquies, Soliloquies, Platonov and Persona). In addition to the self-evident criterion – the quality of the performance – when making a selection I was in favour primarily of those performances that demonstrated an active relationship to their content, a creative attitude towards the theatre medium and an obvious reflection on the time and space in which they were born.

In shaping the accompanying program, I considered several possible concepts, but their common denominator was my conviction that this part of the festival should not be – as does sometimes happen – a kind of “minor league” or a consolation prize for those producers whose projects failed to qualify for the competition section. In the end I decided on guidelines similar to those that I followed when selecting the competing performances: I chose four performances that in my judgment are exciting and of good quality, but whose inclusion in the competition section could have been disputable for various reasons. These are: Love Dolls, Screech Orchestra, the Via Nova set of performances and the monodrama, The Night Just Before the Forests. I am convinced that each of these is a valuable contribution to the mosaic of the previous year’s cream of the crop in Slovenian theatre production.

selektor programme director

Gregor Butala Novinar, publicist in gledališki kritik. Študiral filozofijo in sociologijo kulture na ljubljanski Filozofski fakulteti; od leta 2000 piše za kulturno redakcijo časopisa Dnevnik, od maja 2009 pa je tudi njen urednik. Njegovo razmerje s svetom gledališča je večplastno: ob novinarsko-kritiškem delu je objavljal v različnih domačih in tujih strokovnih publikacijah, pisal besedila za gledališke liste in festivalske kataloge, nekaj jih je tudi uredil; sodeloval je z več domačimi festivali in neinstitucionalnimi skupinami, občasno pa se je z gledališko produkcijo ukvarjal tudi kot praktik, predvsem kot dramaturški svetovalec. Bil je udeleženec številnih seminarjev in delavnic, član raznih strokovnih žirij na področjih gledališča in literature ter gost vrste tujih festivalov.

Gregor Butala Gregor Butala is a journalist, essayist and theatre critic. He graduated in philosophy and the sociology of culture from the Faculty of Arts in Ljubljana. Since May 2009, he has been the editor of the culture desk of the Dnevnik daily, whose contributing writer he became in 2000. His relation to the world of theatre is manifold: in addition to critical writing for the media, he also writes for various local and foreign professional journals; he is the author of texts and editor of theatre brochures and festival catalogues; he has collaborated with several domestic festivals and non-institutional groups, and has occasionally been involved in theatre productions as a practical adviser, primarily on dramaturgy. He has participated in many seminars and workshops, as well as having served on drama and literary juries and as an invited guest at many international festivals.

strokovna žirija jury of experts

Melita Forstnerič Hajnšek Publicistka in urednica. Raziskovala je slovenske emigracije v seriji portretov o slovenski diaspori. Je soavtorica monografije ob 80-letnici SNG Maribor V vrtincu nasprotij, nastajajočega Leksikona kulture in družbe v Mariboru in projekta Po poteh slovenskih književnikov. Njeni članki so citirani v enciklopedijah izseljenskega slovstva. Zadnja leta vodi javne okrogle mize o kulturi. Bila je in je še članica številnih žirij – mdr. za nagrado večernica, za knjižni prvenec na Slovenskem knjižnem sejmu, za Veronikino nagrado.

Je predsednica odbora za knjigo pri Uradu za kulturo Mestne občine Maribor.

Melita Forstnerič Hajnšek Author, editor and journalist. She has written a series of portraits of the Slovenian diaspora and has done extensive research on Slovenian emigration. She was a contributor to the monograph V vrtincu nasprotij published to commemorate the 80th anniversary of SNG Maribor theatre. Her articles have been cited in various encyclopaedias of emigrant literature. She has recently hosted round table discussions about culture. She has been a member of various juries, including the Večernica Award jury, the Veronika Award jury and the jury that gave the award for a debut book at the Slovenian Book Fair. She is the Chairperson of the Book Committee with the Office for Culture of the City of Maribor.

Thomas Irmer Dramaturg, gledališki kritik in urednik. Poučeval je na Univerzi v Lepizigu (1992-1996), od 2003 poučuje na Svobodni univerzi v Berlinu na Inštitutu Johna F. Kennedyja. Med 1998 in 2003 je bil glavni urednik mesečne publikacije Theater der Zeit, med 2004 in 2008 pa dramaturški svetovalec za mednarodno gledališko sezono v Berliner Festspiele. Njegova knjižna dela obsegajo Frank Castorfs Volksbühne (2003), Die Bühnenrepublik – Theater in der DDR (2003) ter Luk Perceval – Theater und Ritual (2005). Je avtor

Thomas Irmer Dramaturge, theatre critic and editor. From 1992 to 1996 he taught at the University of Leipzig, and since 2003 he has been teaching at the John F. Kennedy Institute of the Free University in Berlin. From 1998 to 2003 he was the editor in chief of the monthly Theater der Zeit, and from 2004 to 2008 a dramaturgical advisor for the international theatre season at the Berliner Festspiele. His books include Frank Castorfs Volksbühne (2003), Die Bühnenrepublik Theater in der DDR (2003) and Luk Perceval – Theater

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in sorežiser štirih dokumentiranih filmov na temo gledališča: Die Bühnenrepublik – Theater in der GDR (2003), Europe in Pieces (2004), Born 1968 (2008) ter Heiner Müller (2009). Redno piše za strokovne revije Theater heute (Nemčija), Didaskalia (Poljska), Shakespeare (Norveška) in Maska (Slovenija).

und Ritual (2005). He is the author and co-director of four documentaries on theatre: Die Bühnenrepublik Theater in der GDR (2003), Europe in Pieces (2004), Born 1968 (2008) and Heiner Müller (2009). He is a regular contributor to Theater heute (Germany), Didaskalia (Poland), Shakespeare (Norway) and Maska (Slovenia).

Amelia Kraigher Umetnostna kritičarka, publicistka, dramaturginja, urednica, prevajalka. Piše o scenskih umetnostih za dnevno časopisje (Dnevnik, Večer), radio (Radio Študent) in strokovno periodiko (ČKZ).

Bila je urednica redakcije za kulturo in humanistične vede na Radiu Študent (2000–2002), soustanoviteljica in članica uredništva revije za scenske umetnosti Maska (1997–2006) in udeleženka raznih strokovnih gledaliških srečanj; mdr. je sourednica ter avtorica gesel Velikega slovenskega biografskega leksikona za področji gledališča in plesa (MK, 2008), urednica publikacij ter organizatorka strokovnih srečanj na festivalu Teden slovenske drame (2000–2004), vodja mednarodnega simpozija Umetnost, kultura, mesto na Festivalu BS (2009), članica strokovnih žirij za Grumovo (2006, 2007) in Šeligovo nagrado (2010), selektorica 4. bienalnega festivala Gibanica (2009), 5. bienala lutkovnih ustvarjalcev Slovenije (2009) in mednarodnega festivala Lutke (2010). Je tudi članica več strokovnih komisij za uprizoritvene umetnosti.

Amelia Kraigher Art critic and journalist, dramaturge, editor, translator. She has been writing primarily for daily newspapers (Dnevnik, Večer), radio (Radio Študent) and professional periodicals (ČKZ). She was the editor on the culture and the humanities desk at Radio Študent (2000-02) and a co-founder and member of the editorial board of Maska (1997-2006). She has participated in several professional theatre gatherings. She is co-editor or author of several entries related to theatre and dance in the Veliki slovenski biografski leksikon (2008). From 2000 to 2004 she edited the publications for and organized professional meetings at the Week of the Slovene Drama and was the leader of the international symposium, Umetnost, kultura, mesto, at the Maribor Theatre Festival (2009). She was a member of the Grum Award jury (2006, 2007) and the Šeligo Award jury (2010), and as the program director for the fourth Gibanica Festival (2009), the fifth Slovene Biennial of Puppet Artists (2009) and the Puppets international festival (2010).

She is a member of several expert committees for theatre arts.

Katarina Pejović Dramaturginja in intermedijska umetnica. Dela kot avtorica video in dokumentarnih filmov ter zvočnih del, kot pisateljica, pedagoginja in prevajalka. Njena samostojna dela in dela, pri katerih je sodelovala, so nastala v produkciji Kunstkanaala, Nizozemskega gledališkega inštituta, Felix Meritis, De Balie, Galerije Kapelica, Plesnega teatra Ljubljana, Inštituta Egon March, DUM – Društva umetnikov, Muzeuma Ljubljana, Teatra Cinema Lux in Fabbrice Europa ter Bacači Sjenki; gostovala so na številnih mednarodnih festivalih. Z Borisom Bakalom je soustanovila in soustvarila projekte pod skupnim imenom Bacači Sjenki/Shadow Casters.

Katarina Pejović Dramaturge and an intermedia artist. She is also the author of several videos, documentaries and audio works, a writer, a pedagogical expert and a translator. Her works and works of which she is the co-author have been shown or produced by Kunstkanaal, the Netherlands Theatre Institute, Felix Meritis, De Balie, Galerija Kapelica, Plesni teater Ljubljana, Inštitut Egon March, DUM – Društvo umetnikov, Muzeum Ljubljana, Teater Cinema Lux and Fabbrica Europa and Bacači Sjenki; these works have been shown at various festivals. In collaboration with Boris Bakal, she cofounded and co-created a series of projects entitled Bacači Sjenki/Shadow Casters.

Marko Peljhan Režiser in intermedijski umetnik. Leta 1995 je ustanovil tehnološko vejo Projekta Atol PACT SYSTEMS in soustanovil Ljudmilo.

Je koordinator mednarodne iniciative INSULAR TECHNOLOGIES in projekta MAKROLAB, kot tudi koordinator poletov za umetniške projekte v breztežnosti skupaj z moskovskim Centrom za urjenje kozmonavtov Jurij Gagarin in konzorcijem MIR. Izumil in usklajeval je proizvodnjo mobilnega medijskega laboratorijskega projekta, Transhub-01, ki je bil prvič realiziran kot MOBILATORIJ in zdaj uspešno deluje. Od leta 2002 je profesor na University of California v Santa Barbari.

Marko Peljhan Director and intermedia artist. In 1995 he founded the technological branch of the Atol PACT SYSTEMS project and co-founded Ljudmila. He is a coordinator of the INSULAR TECHNOLOGIES international initiative and the MAKROLAB project, and of zerogravity flights conducted as part of artistic projects in collaboration with the Jurij Gagarin Cosmonaut Training Centre and the MIR network. He conceived and coordinated the mobile media laboratory project, Transhub-01, first implemented as MOBILATORIJ and still in operation. Since 2002 he has been a professor at the University of California in Santa Barbara.

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žirija za podelitev borštnikovega prstana jury for the borštnik ring award

Aleš Jan Gledališki in radijski režiser ter profesor na AGRFT in AG. Njegov režijski opus obsega več kot 600 radijskih iger vseh zvrsti, 60 režij na nosilcih zvoka in več kot 50 gledaliških in opernih režij. Predaval je na strokovnih srečanjih doma in v tujini, objavljal članke v domačih in tujih strokovnih revijah, bil koordinator EBU za radijsko igro ter član mednarodnih žirij in teles. Na mednarodnih radijskih in gledaliških festivalih je za svoje režije prejel več kot 30 nagrad, med njimi PRIX RAI v Italiji, PRIX OIRT v Varšavi, nagrado Zveze umetnikov Poljske, nagrado za gledališko režijo v BiH, Borštnikovo diplomo, IRIB v Iranu, Mediamixx v Bolgariji. Je nosilec Borštnikove zlate značke. Za režijsko delo na radijskem področju je prejel tudi najvišji slovenski kulturni priznanji – nagrado Prešernovega sklada in Župančičevo nagrado.

Aleš Jan Theatre and radio director and a professor at the Academy of Theatre, Radio, Film and Television and the Academy of Music. He has directed more than 600 radio plays of all genres, 60 plays for various audio media, and more than 50 theatre plays and operas.

He has lectured at professional gatherings in Slovenia and abroad, published articles in local and foreign professional journals and has been an EBU coordinator for radio plays and a member of international juries and various other bodies. He has received more than 30 awards for directing at various international radio and theatre festivals, among these the PRIX RAI (Italy), PRIX OIRT (Warsaw), the award delivered by the Association of Polish Artists, an award for theatre directing in Bosnia-Herzegovina, the Borštnik Diploma, the IRIB Award (Iran) and the Mediamixx Award (Bulgaria). He has also been awarded the Borštnik Gold Badge. For his radio directing, he received the most prestigious Slovenian awards in the field of culture – the Prešeren Fund Award and the Župančič Award.

Mateja Koležnik Režiserka. Profesionalno gledališko pot je začela v ljubljanski Drami ter jo nadaljevala v slovenskih poklicnih gledališčih, režira tudi v tujini. Za svoje delo je prejela več nagrad, med drugim nagrado Prešernovega sklada (2001), veliko nagrado Festivala Borštnikovo srečanje za najboljšo uprizoritev v celoti (2001), skupaj s scenografom Jožetom Logarjem je prejela nagrado Festivala Borštnikovo srečanje za scenografijo (2004), prav tako je bila nagrajena na festivalu SKUP na Ptuju (2008). Prejela je dve Grand prix nagradi na festivalu Zlati lev v Umagu (1999, 2000). Na festivalu ASSITEJ v Čakovcu je prejela nagrado za najboljšo režijo (2005), nato pa nagrado za najboljšo predstavo 22. Gavellovih večerov (2007).

Mateja Koležnik Theatre director. She began her career in the Ljubljana Drama theatre. She later directed for professional theatres in Slovenia and abroad. She has received several awards, among them the Prešeren Fund Award (2001) and the grand prize at the Maribor Theatre Festival for the best performance (2001). Along with the stage designer Jože Logar, she received the award at the Maribor Theatre Festival for stage design (2004), and the award at the SKUP festival in Ptuj (2008). She received two Grand Prix awards at the Zlati levi festival in Umag, in 1999 and 2000, the award for the best directing at the ASSITEJ festival in Čakovec (2005) and the award for the best performance at the 22nd Gavellini večeri (2007).

Tone Partljič Pisatelj in dramaturg. Profesionalno kariero je začel kot učitelj, nadaljeval v gledališču kot dramaturg (Drama SNG Maribor), umetniški vodja (Mestno gledališče ljubljansko, SNG Drama Ljubljana), predvsem pa kot dramatik. Velja za najuspešnejšega slovenskega komediografa; piše tudi prozo in literaturo za otroke. Slovenska in druga gledališča so uprizorila 22 njegovih del. Vzporeden s pisanjem je njegov družbeni angažma: v burnih letih med 1983 in 1987 je bil predsednik Društva slovenskih pisateljev. V novi državi je skoraj desetletje deloval kot poslanec Državnega zbora. S Festivalom Borštnikovo srečanje je v raznih funkcijah povezan že štirideset let: leta 1970 je bil prvič v žiriji publike, leto kasneje urednik

Tone Partljič Writer and dramaturge. He began his career as a teacher, soon moved to theatre. He worked as a dramaturge for the Drama SNG Maribor theatre, the artistic director for the Ljubljana City Theatre and SNG Drama Ljubljana theatre, but throughout this period his main preoccupation was play writing. He has been recognized as the best Slovenian comedy writer, but he also writes prose and children’s literature. Twenty-two of his works have been staged by various theatres in Slovenia and abroad. Parallel to his work in theatre is his social engagement: during the tumultuous period between 1983 and 1987 he was the Chairman of the Slovene Writers’ Association. After Slovenia became a sovereign country, he

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gledališkega lista in član organizacijskega odbora, nato je deloval kot član raznih organov BS od leta 2004 do 2010 pa kot predsednik festivalskega sveta. Za svoje delo je prejel nagrado Prešernovega sklada, Grumovo nagrado, Sterijevo nagrado ter Glazerjevo in Ježkovo nagrado za življenjsko delo.

served as an MP for more than ten years. He has been connected to the Maribor Theatre Festival for more than 40 years now, serving in different roles. He has received the Prešeren Fund Award, the Grum Award, the Sterija Award, as well as the Glajzer and Ježek awards for his life work.

Alja Predan Dramaturginja, prevajalka, urednica in teatrologinja. Med drugim je bila umetniški vodja PDG v Novi Gorici, dramaturginja v MGL, vodja gledališko-plesnega programa v Cankarjevem domu, od leta 2009 pa vodi Festival Borštnikovo srečanje. Kot urednica Knjižnice MGL je izdala trideset temeljnih knjig s področja teorije in zgodovine drame in gledališča. Prevedla je več kot petdeset dram iz sodobne britanske, ameriške in poljske dramatike ter Carlsonovo knjigo Teorije gledališča. Od leta 1984 sodeluje z avstrijsko-nemško edicijo Gregor/Dietrich Der Schauspielführer s prispevki o sodobni slovenski dramatiki. Med leti 2002 do 2005 je bila predsednica oziroma članica žirije za Grumovo nagrado, 2008 in 2009 pa selektorica festivala Teden slovenske drame v Kranju.

Leta 2008 je bila kuratorka slovenskega fokusa na 7. festivalu sodobne drame v Budimpešti. Za svoje delo je prejela nagrado na 17. trienalu gledaliških knjig in publikacij na Sterijevem pozorju v Novem Sadu in Grün-Filipičevo priznanje za dramaturgijo.

Alja Predan Dramaturge, translator, editor and theatre researcher. In the past she was the artistic director of PDG Theatre in Nova Gorica, a dramaturge for the Ljubljana City Theatre, and the director of the theatre and dance program for the Cankarjev dom. She became the artistic director of the Maribor Theatre Festival in 2009. Working as an editor for the Library of the Ljubljana City Theatre, she oversaw the publishing of thirty fundamental works on the theory and history of drama and theatre. She has translated more than 50 plays by modern British, American and Polish playwrights as well as Marvin Carlson’s Theories of the Theatre. Since 1984, she has been a contributor to the Austrian-German publication, Gregor/ Dietrich Der Schauspielführer. Between 2002 and 2005 she was the chairperson and a member of the Grum Award jury and in 2008 and 2009 the program director for the Week of the Slovene Drama. In 2008 she was the curator of the Slovenian focus at the 7th Contemporary Drama Festival in Budapest. She is a member of the Slovenian Association of Literary Translators, the Slovenian Association of Theatre Critics and Researchers, ITI Slovenia and the Slovenian Association of Dramatic Artists.

Milena Zupančič Gledališka in filmska igralka. V spominu Slovencev je nepozabno zapisana z vlogama v dveh filmih Matjaža Klopčiča: kot Presečnikova Meta v Cvetju v jeseni in kot Žašlerca v Vdovstu Karoline Žašler. V skoraj štirih desetletjih nastopov na odrskih deskah, filmskem platnu in televizijskem zaslonu je odigrala izjemno veliko število glavnih vlog, za katere je prejela najprestižnejše gledališke in filmske nagrade, med drugim Borštnikov prstan (1999), tri Borštnikove nagrade za igro (1992 za vloge Aase, Zelene, Anitre, Neznane potnice in Gumbarke v uprizoritvi Peer Gynt, SNG Drama Ljubljana; 1989 za vlogo Lidije v uprizoritvi Zid, jezero SNG Drama Ljubljana; 1970 za vlogo Caetane v uprizoritvi Osvajalec, MGL) in Prešernovo nagrado za trajen prispevek k razvoju slovenske kulture (1993).

Milena Zupančič Theatre and film actress. Her two roles in the films directed by Matjaž Klopčič are indelibly impressed in the memory of Slovenes: one was that of Presečnikova Meta in Cvetje v jesni (Flowers in the Autumn), and the other was that of Žašlerca in Vdovstvo Karoline Žašler (The Widowhood of Karolina Žašler). During almost forty years of her theatre, film and television career, she played many roles and received the most prestigious theatre and film awards.

Among these are the Borštnik Ring (1999) and three Borštnik Awards for the best actor: in 1992 for the roles of Ase, A GreenClad Woman, Anitra, A Strange Passenger and A Button Moulder in Peer Gynt (SNG Drama Ljubljana); in 1989 for the role of Lidija in the performance Zid, jezero (The Wall, The Lake; SNG Drama Ljubljana), and in 1970 for the role of Caetana in the performance Osvajalec (The Conqueror; Mladinsko Theatre). In 1993 she received the Prešeren Award for her enduring contribution to the development of Slovenian culture.

15

program programme

Bertolt Brecht Malomeščanska

svatba

A Respectable Wedding Režiserka Director Mateja Koležnik Drama SNG Maribor

Ernst Lubitsch Ko sem bil mrtev When I Was Dead Režiser Director Diego de Brea SNG Drama Ljubljana

tekmovalni program competition programme Anton Pavlovič Čehov Platonov

spremljevalni program accompanying programme Jelena Rusjan et al. Škrip

Režiser Director Vito Taufer SNG Drama Ljubljana

orkestra

Screech Orchestra

Ulrike Syha Zasebno

življenje Private Life

Režiserka Director Jelena Rusjan Gledališče Glej, Mesto žensk

Režiserka Director Ivana Djilas SNG Drama Ljubljana

Duda Paiva Love

Pier Paolo Pasolini Amado

Režiser Director Duda Paiva Lutkovno gledališče Ljubljana, Dudapaiva Company

mio

Režiser Director Ivan Peternelj Slovensko mladinsko gledališče, ŠKUC gledališče

Gregor Strniša Žabe

The Frogs

Bernard-Marie Koltès Noč

čisto na robu gozdov The Night Just Before the Forests

Režiser Director Ivica Buljan Mini teater Ljubljana, ARL Dubrovnik, Novo kazalište Zagreb

Režiser Director Jernej Lorenci Mestno gledališče Ptuj

Ciril Kosmač, Srečko Fišer Pogovori,

samogovori

Colloquies, Soliloquies

Marko Mandić, Bojana Kunst, Katarina Stegnar, Uroš Kaurin Via Nova – Biti Ignacij Borštnik

Being Ignacij Borštnik

Režiser Director Jaša Jamnik SNG Nova Gorica

Percy Bysshe Shelley Cenci

Dolls

Režiser Director Bojan Jablanovec Via Negativa

The Cenci

Režiser Director Diego de Brea Mestno gledališče ljubljansko

Oliver Frljić et al. Preklet

naj bo izdajalec svoje domovine! Damned Be the Traitor to His Homeland!

Režiser Director Oliver Frljić Slovensko mladinsko gledališče

Sebastijan Horvat et al. Manifest

Režiser Director Janez Pipan Mini teater Ljubljana

Režiser Director Sebastijan Horvat E. P. I. center, Dramsko društvo MUKI

Patrick Marber Od

blizu Closer

Režiser Director Dino Mustafić Drama SNG Maribor

K.

Režiser Director Sebastijan Horvat E. P. I. center, Dramsko društvo MUKI

Ingmar Bergman Persona

Sebastijan Horvat et al. Manifest

showcase

Ivica Buljan, Jerome David Salinger, Bernard-Marie Koltès Ma & Al

K.

Režiser Director Ivica Buljan Mini teater Ljubljana

Ernst Lubitsch Ko sem bil mrtev When I Was Dead Režiser Director Diego de Brea SNG Drama Ljubljana

16

Patrick Marber Od

blizu Closer

generacije generations

Režiser Director Dino Mustafić Drama SNG Maribor

Matija Solce Štirje muzikanti The Town Musicians of Bremen

Oliver Frljić et al. Preklet naj bo izdajalec svoje domovine! Damned Be the Traitor to His Homeland!

Režiser Director Matija Solce Lutkovno gledališče Ljubljana

Gregor Fon Pes,

pizda in peder Pooch, Pussy and Poof

Režiser Director Oliver Frljić Slovensko mladinsko gledališče

Ingmar Bergman Persona

Režiser Director Primož Ekart Mestno gledališče ljubljansko, Zavod Imaginarni

Režiser Director Janez Pipan Mini teater Ljubljana

Andrés Valdés V

Duda Paiva Love

Režiser Director Andrés Valdés

šalo zavite resnice Truths Wrapped in Humour

Dolls

Režiser Director Duda Paiva Lutkovno gledališče Ljubljana, Dudapaiva Company

Venedikt Jerofejev Moskva-Petuški Moscow-Petushki

Marko Mandić, Bojana Kunst, Katarina Stegnar, Uroš Kaurin Via Nova – Biti Ignacij Borštnik

Režiser Director Primož Ekart Zavod Imaginarni, Društvo Familija

Being Ignacij Borštnik

Fran Levstik, Ira Ratej Martin in Gregor ali od junaka do bedaka Martin and Gregor or From a Hero to a Fool

Režiser Director Bojan Jablanovec Via Negativa

Bertolt Brecht Malomeščanska

svatba

A Respectable Wedding

Režiser Director Matjaž Latin Cankarjev dom Ljubljana

Režiser Director Mateja Koležnik Drama SNG Maribor

France Prešeren Krst

Jernej Lorenci Meso ali Razodetje Flesh or Revelation

Režiser Director Andreja Kovač Lutkovno gledališče Maribor

Režiser Director Jernej Lorenci Lutkovno gledališče Maribor

Carlo Collodi, Jernej Lorenci Ostržek

pri Savici The Baptism at the Savica

Pinocchio

Režiser Director Jernej Lorenci Lutkovno gledališče Maribor

agrft mostovi bridges

Improvizacije Improvisations

Boris Bakal, Katarina Pejović Bacači sjenki Zagreb

Večer kratkih zgodb Edgarja Alana Poeja A Night of Edgar Alan Poe’s Short Stories

Menažerija The Menagerie

Jean-Baptiste Poquelin Molière George

Počitek od zgodovine Vacation from History

HKD Teater Reka

Aleksandar Popovski, Jelena Mijović

Metamorfoze Metamorphoses Jugoslovensko dramsko pozorište Beograd

Dandin

Lutz Hübner Marjetka,

str. 89 Gretchen 89ff

Friedrich Schiller Marija

Stuart Mary Stewart

Janez Janša Boga

ni. Vse je dovoljeno There is no God. Anything Goes.

Miza The Table Karbido Vroclav

Teorija ima talent Theory has Talent

Georg Büchner

Samuel Beckett

Leonce in Lena Leonce and Lena Maladype Budimpešta

17

Konec igre Endgame

> 20

Anton Pavlovič Čehov Platonov

> 22

Ulrike Syha Zasebno

> 24

Pier Paolo Pasolini Amado

> 26

Gregor Strniša Žabe

> 28

tekmovalni program competition programme

življenje Private Life mio

The Frogs

Ciril Kosmač, Srečko Fišer Pogovori,

samogovori

Colloquies, Soliloquies

> 30

Percy Bysshe Shelley Cenci

The Cenci

> 32

Oliver Frljić et al. Preklet naj bo izdajalec svoje domovine! Damned Be the Traitor

to His Homeland!

> 34

Ingmar Bergman Persona

> 36

Sebastijan Horvat et al. Manifest

> 38

Patrick Marber Od

> 40

K.

blizu Closer

Bertolt Brecht Malomeščanska

svatba

A Respectable Wedding

> 42

Ernst Lubitsch Ko

sem bil mrtev

When I Was Dead

19

tekmovalni program / competition programme SNG Drama Ljubljana 15. 10. 2010, 17.00 stara dvorana Predstava traja 3 ure in 30 minut in ima en odmor.

Running time 3 hours and 30 minutes. One interval.

Anton Pavlovič Čehov

… In prav na tem, na tej nebrzdanosti, neposrednosti, frenetičnosti likov, sta gradila režiser Vito Taufer in z njim celotna zasedba igralcev, ki so like Čehova, kostumsko in scensko postavljene nekako v šestdeseta leta 20. stoletja, oživili zlasti v prepletu, prignanem do skrajnosti, smešnega in žalostnega, banalnega in vzvišenega, upanja in obupavanja.

Pri tem sta se ponovno pokazali fantastična uigranost ansambla ljubljanske Drame in natančna, dosledna izdelanost prav vseh likov; najopaznejše so, poleg naslovnega junaka, seveda njegove ženske: Nataša Barbara Gračner, Maša Derganc in Polona Juh. /Vesna Jurca Tadel, Delo – Pogledi, 21. 4. 2010

Platonov Naslov izvirnika Original title: ьес без н зв ния Prva uprizoritev priredbe First Slovenian production Premiera Opening 17. 4. 2010 Velika dvorana, SNG Drama Ljubljana Avtor priredbe Adapted and directed by Vito Taufer Prevajalec Translator Borut Kraševec Režiser Director Vito Taufer Dramaturginja Dramaturge Darja Dominkuš Scenograf Set designer Žiga Kariž Kostumografinja Costume designer Nina Jagodic Avtor glasbe Music by Andrej Goričar Lektorica Language consultant Tatjana Stanič Oblikovalec luči Lighting designer Pascal Mérat Asistentka scenografa Assistant set designer Barbara Kapelj Osredkar Asistentka kostumografinje Assistant costume designer Erna Ostanek

It was this intractability and candour together with the frenetic nature of the characters on which Vito Taufer and the entire cast built. With the play set in the 1960s, Chekhov’s characters are brought to life through an interplay of the funny and the sad, the banal and the sublime, hope and despair-all taken to extremes. The fantastically harmonious performance of the Ljubljanska Drama ensemble and fully fleshed out characters are unmistakably there; apart from the main hero, the most noticeable are his women: Nataša Barbara Gračner, Maša Derganc and Polona Juh. /Vesna Jurca Tadel, Delo – Pogledi, 21 April 2010

Igrajo Cast Ana Petrovna Vojniceva, mlada vdova, generalica Anna Petrovna, young widow of General Voynitzev Nataša Barbara Gračner Sergej Pavlovič Vojnicev, sin generala Vojniceva iz prvega zakona Sergei Voynitzev, son by General Voynitzev's first wife Saša Tabaković Sofja Jegorovna, njegova žena Sofya Yegorovna, wife to Sergei Barbara Cerar Porfirij Semjonovič Glagoljev 1 Porfiri Glagolyev neighbour, landowner Aleš Valič k. g. as guest Kiril Porfirjevič Glagoljev 2, njegov sin Kiril Glagoljev, his son Uroš Fürst Gerasim Kuzmič Petrin Gerasim Petrin, wealthy merchant Valter Dragan Marja Jefimovna Grekova, dvajsetletno dekle Maria Grekova, chemistry student, twenty Saša Mihelčič Ivan Ivanovič Trilecki, polkovnik v odstavki Colonel Ivan Triletsky Andrej Nahtigal Nikolaj Ivanovič Trilecki, njegov sin, mlad zdravnik Nikolai Triletsky, doctor, son of Colonel Triletsky Bojan Emeršič Abram Abramovič Vengerovič 1, bogat Jud Abraham Vengerovich 1, Jewish businessman Ivo Ban Isak Abramovič Vengerovič 2, njegov sin, študent Isak Vengerovich, Abraham's son, a student Tom Ban k. g. as guest Timofej Gordejevič Bugrov, trgovec Timofei Bugrov, merchant Jurij Zrnec Mihail Vasiljevič Platonov, vaški učitelj Mikhail Vasilievich Platonov, schoolteacher Marko Mandić Aleksandra Ivanovna (Saša), njegova žena, hči I. I. Trileckega Sasha Ivanovna, wife of Platonov, daughter of Ivan Triletsky Maša Derganc Osip, tridesetleten moški, konjski tat Osip, horse-thief Matevž Müller AGRFT Katja, služabnica Vojnicevih Katya, maid to the Voynitzcevs Tina Vrbnjak Jakov Yakov, servant Andrej Zalesjak AGRFT Marko Marko, servant Vito Weis AGRFT Čehov naj bi dramo, ki je bila odkrita šele v njegovi zapuščini in leta 1923 natisnjena pod naslovom Drama brez naslova, napisal še kot študent medicine. Vsekakor gre za prvo njegovo ohranjeno dramsko delo, ki je zaradi svoje dolžine (v originalu obsega kar 160 tiskanih strani oziroma osem ur odrskega dogajanja) uprizarjano le v obliki različnih avtorskih priredb, največkrat poimenovanih po glavnem liku Platonovu.

Drama brez naslova je morda najbolj zanimiva zato, ker gre za nekakšnega »Čehova pred Čehovom«. Če sicer za Čehova velja, da ukinja glavnega junaka, oziroma za glavnega junaka svojih dram postavlja »življenje samo«, posamezni liki pa so le njegovi ujetniki – kar se kaže v odsotnosti dogajanja, vse je le v podrobno niansiranem razpoloženju –, ima to delo kar nekaj melodramatičnih potez: glavni lik, učitelj Platonov, po svojih besedah srečno poročen, se nekega poletja zaplete v kar nekaj sočasnih ljubezenskih razmerij: z mlado vdovo po generalu Vojnicevu, z lastnico propadajočega posestva ter z ženo njenega sina; iz nekakšne obupane objestnosti pa izziva in osvaja tudi druga dekleta, kar se konča s streljanjem. Vendar gre bolj kot za donhuanovski, za hamletovski motiv nezmožnosti odločitve in dejanja odrešitve iz sveta, ki mu vladajo pritlehni pridobitniški interesi in na videz lahkoživa brezskrbnost,v resnici pa izgubljenost ter odsotnost vsakršnega smisla in namena.

Anton Pavlovich Chekhov wrote Platonov while he was still a student of medicine. The play did not have a title and was only discovered after his death; it was published as A Play Without a Title in 1923. Because of its length (the original text is around 160 pages and would run about eight hours), the play is usually performed in adapted form, often titled after the main character, Platonov. A Play Without a Title is probably most interesting as a kind of “Chekhov before Chekhov”. Whereas the more familiar Chekhov usually “abolishes” the character of the hero, or else casts “life itself” as the protagonist, with individual characters as its prisoners, Platonov has quite a few melodramatic features. One summer, Platonov, an allegedly happily married provincial schoolmaster, becomes involved (almost against his will) in several love affairs at once. His lovers include General Voynitzev’s young widow (a landowner) and her stepson’s wife. Out of a desperate sense of mischief he also flirts with other girls. All this eventually leads to a shooting. Yet the play doesn’t cast Platonov as a Don Juan. Rather, he is more of a Hamlet, unable to take a decision and thereby to liberate himself from a world ruled by common interests and seemingly frivolous carelessness, a world without meaning and purpose.

20

21

TONE STOJKO

tekmovalni program / competition programme SNG Drama Ljubljana 16. 10. 2010, 19.00 velika dvorana – tribuna Predstava traja 1 uro in 45 minut in nima odmora.

Running time 1 hour and 45 minutes. No interval.

Ulrike Syha

Zasebno življenje Private Life Naslov izvirnika Original title: Privatleben Prva slovenska uprizoritev First Slovenian production Premiera Opening 29. 1. 2010 Mala Drama, SNG Drama Ljubljana

Prevajalka Translator Mojca Kranjc Režiserka Director Ivana Djilas Dramaturginja Dramaturge Darja Dominkuš Kostumografinja Costume designer Jelena Proković Scenograf Set designer Branko Hojnik Avtor glasbe Music by Boštjan Gombač Oblikovalec luči Lighting designer Milan Podlogar Lektorica Language consultant Tatjana Stanič Asistentka dramaturginje Assistant dramaturge Eva Kraševec Igrajo Cast On He (Lutz) Uroš Fürst Ona She (Karla) Barbara Cerar Rainer in druge vloge Rainer and other roles Branko Šturbej Pablo in druge vloge Pablo and other roles Saša Tabaković Karlin oče in druge vloge Karla's father and other roles Andrej Nahtigal Larissa in druge vloge Larissa and other roles Nina Valič

Ona in On, protagonista igre z naslovom Zasebno življenje, se prvič srečata na vlaku, transportnem sredstvu, ki se ga bolj kakor drugih drži pridih nostalgije. A kakor v sodobnem vlaku z njegovimi neosebno dizajniranimi kupeji in s pokrajino, ki je le še ogolelo postindustrijsko smetišče, ni skoraj ničesar več romantičnega, tako v nastajajočem ljubezenskem odnosu ni več klasičnih spremljajočih pojavov – strele z jasnega, preskakovanja iskric, občutka usojenosti, nagnjenosti do iracionalnih dejanj ... Njuno srečanje je kajpak naključno, a tudi ko čez nekaj ur spet naletita drug na drugega, je to pač novo naključje in njun (ne)odnos ostaja zaznamovan s to naključnostjo in bežnostjo še celo po tem, ko skupaj preživita noč v hotelski sobi. Skratka, nič ne kaže, da naj bi se med njima kaj »razvilo«.

Devet prizorov, prepletenih s kratkimi epizodami, flashbacki, neposrednimi nagovori publike in duhovitimi komentarji, je devet ključnih postaj v oblikovanju njunega odnosa. Opisujeta pa to ovinkasto pot kar onadva sama; in kar imata v mislih z distancirano literarno oznako »zasebno življenje«, je pravzaprav ljubezen, to staromodno in zapleteno čustvo, ki ga je treba skriti še bolj kakor ime.

[…] dejstvo je, da so na tej »barki« v Mali drami glavni igralci. Njihova igrivost, lahkotnost, s katero menjajo prizore ali vloge, ritem, ki se ob nenehnem spreminjanju tempa skoraj ves čas ohranja visoko, jasno izrisani krokiji manjših in tipi večjih epizod, pa seveda razdihani in s finesami dodelani portreti glavnih dveh protagonistov.

Kar ni ravno pravilo, enoten »šlif« igralske kreativnosti je potegnjen skozi ves komad in je nedvomno zasluga samih igralcev. Če se zdi režija ob dobri predlogi in prav takšni ekipi navidez lahka, gotovo ni tako. /Andrej Jaklič, Delo – Polet, 11. 2. 2010 […] the most important here are the actors. Their playfulness and the ease with which they stroll from one scene into another, exchange roles and maintain a steady rhythm throughout the play that incessantly changes the tempo; finely sketched minor episodes and well delineated types in major ones, plus spirited and delicately polished portrayals of the two main protagonists; refined performance creativity, definitely attributable to the actors’ brilliance, consistent throughout the performance. And although directing may seem an easy task given the quality of the text and the cast, this is certainly not so. /Andrej Jaklič, Delo – Polet, 11 February 2010

She and He, two reserved individualists, first meet in the train. They are both relatively well-off, average people in their early middle age who live a modern urban way of life. They bump into each other again a few hours later and it’s just another coincidence, even though it is followed by spending the night together. They like each other in a way, but they just cannot deal with their private life. However, they are slowly drawn together through a string of coincidences.

The nine scenes are interspersed with short episodes, including flashbacks and direct address to the audience. The two protagonists describe their winding road, and it turns out that “private life”, which they tend to deny, is actually love. Ulrike Syha represents the youngest generation of German playwrights. She was awarded the prestigious Kleist Advancement Award for young playwrights for her second play On the Road in Germany (2002).

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PETER UHAN

tekmovalni program / competition programme koprodukcija coproduction Slovensko mladinsko gledališče, Gledališče Škuc 16. 10. 2010, 21.00 stara dvorana – tribuna Predstava traja 1 uro 20 minut in nima odmora.

Running time 1 hour 20 minutes. No interval.

Pier Paolo Pasolini

Amado mio Naslov izvirnika Original title: Amado Mio - Atti Impuri

Subtilna predstava za dva igralca je monološka in dialoška pripoved, govorjena v slovenščini in italijanščini, inspirirana pa s posameznimi fragmenti iz Pasolinijevega avtobiografskega romana Amado mio. Rezultat je tenkočutno igralsko poigravanje Ivana Peternelja in Blaža Šefa, ganljiva upodobitev neizpolnjene strasti in neuslišane ljubezni med učiteljem in učencem. Intimna in iskrena predstava, otožna in presunljiva, ki s pomočjo minimalnih sredstev prepričljivo spregovori o moči Erosa. /Marjana Ravnjak, TV Slovenija, 28. 9. 2009

Premiera Opening 26. 9. 2009 Stara pošta, Ljubljana

Režiser Director Ivan Peternelj Prevajalec in asistent Translator and assistant Milan Štefe Kostumografinja Costume designer Barbara Stupica Scenografinja Set designer Ema Kugler Avtor glasbe Music by Mitja Vrhovnik Smrekar Oblikovalec luči Lighting designer Matjaž Brišar Lektorica Language consultant Mateja Dermelj

Igrata Cast Blaž Šef Ivan Peternelj

Amado mio je zgodba o ljubezni. Gre za morda eno izmed najbolj intimnih Pasolinijevih proznih del, ki se v popolnem sozvočju z idiliko furlanskega podeželja, ob spominih na Idrijo (kjer je Pasolini živel pri devetih letih) in med divjanjem druge svetovne vojne razcveta v dveh kratkih, posthumno objavljenih romanih, Nečistovanja in Amado mio, združenih pod enim naslovom. Obdobje, ki ga je preživel v Casarsi, je pustilo neizbrisen pečat, predvsem njegov beg leta 1948, ko je neki mladenič pri spovedi izpovedal, da je z njim spolno občeval. Spotakljivo dejstvo, zaradi katerega je njegovo življenje v takem provincialnem okolju postalo nemogoče in neznosno.

Osrednja nit predstave je razmerje med Pasolinijem in njegovim občudovancem – eksplozija zatrte čutnosti, grešnosti, pa tudi »abstraktni, večni trenutek čiste želje«, ki vzcveti v absurdnem času druge svetovne vojne, ko se strah pred smrtjo meša z banalnim in obscenim, ko je ozračje izprijeno in težko. Oba akterja v svoji pripovedi občinstvo nagovarjata zelo neposredno, sama skrbita za svetlobo in zvok, kot bi šlo za zaseben uprizoritveni dogodek, antiperformativnost, in ne za klasično uprizoritev.

A narrative of soliloquies and dialogues, spoken in Slovenian and Italian, this subtle performance for two actors has been inspired by particular fragments from Pasolini’s autobiographical novel Amado mio. The resulting sensitive acting playfulness of Ivan Peternelj and Blaž Šef renders a touching image of unfulfilled passion and unrequited love between a teacher and a student. An intimate and honest performance, melancholic and heartrending which, using minimal props, convincingly speaks about the power of Eros. /Marjana Ravnjak, TV Slovenija, 28 September 2009

Possibly one of Pasolini’s most intimate prose works in perfect harmony with the idyllic Friulian countryside and filled with memories of the town of Idria, where the author lived when he was nine, Amado mio is a story about love during the turbolence of World War Two, which bloomed into two short, posthumously published novels entitled Atti impuri and Amado mio, published in a single volume. The time he spent in Casarsa left an indelible mark on his life, above all his flight in 1948, after a young man confessed to a priest and admitted having a sexual relationship with Pasolini. This scandalous fact made his life in a provincial environment impossible and unbearable. The common thread of the play is the relationship between Pasolini and his beloved one – an explosion of suppressed sensuality and sin, but also “an abstract, eternal moment of pure desire” that blossoms during the absurd time of the Second World War, when the fear of death is mixed with the banal and the obscene, when the atmosphere is perverted and suffocating. Through their stories, both protagonists address the audience directly, providing light and sound themselves, as if it were a privately staged event, an anti-performance rather than a classical production.

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MATEJ PETERNELJ

tekmovalni program / competition programme Mestno gledališče Ptuj 17. 10. 2010, 19.00 stara dvorana – tribuna Predstava traja 1 uro in 50 minut in nima odmor.

Running time 1 hour and 50 minutes. No interval.

Gregor Strniša

Žabe The Frogs

ali Prilika o ubogem in bogatem Lazarju or A Parable About Poor and Rich Lazar Premiera Opening 21. 3. 2010 Mestno gledališče Ptuj

Žabe, ki jih uprizarjajo v ptujskem mestnem gledališču, so zunajserijska gledališka predstava. Žabje zatohlosti ni več, tesnoba se je spremenila v prijazno zagato, tema v svetlobo, jok v glasbo, človekova zaprtost v osebno satisfakcijo, medsebojna razmerja v prevratniški aktivizem in megla v potujoč snežni oblak. [...] Čeprav je simbolika moralitete o ubogem in bogatem Lazarju blizu biblični tematiki, se ptujska predstava od nje odmika in daje prednost realnosti in konkretnosti, travmam sedanje globalizacijske stvarnosti. /Zdenko Kodrič, Večer, 24. 3. 2010

Režiser Director Jernej Lorenci Dramaturg Dramaturge Krištof Dovjak Kostumografinja Costume designer Belinda Radulović Scenograf Set designer Branko Hojnik Skladatelj Music by Branko Rožman Lektor Language consultant Simon Šerbinek Asistentka režije Assistant director Yulia Roschina Oblikovalec luči Lighting designer Simon Puhar

The Frogs, currently on at Ptuj Theatre, is an out-of-theordinary performance. The stuffy atmosphere has disappeared, anxiety has transformed into a pleasant predicament, darkness into light, crying into music, reticence into personal satisfaction, interpersonal relations into revolutionary activism and the fog into a moving snow cloud [...] Although symbolically close to the morality of the biblical text, it also shifts away from it by giving priority to the real and the concrete, and the traumas of contemporary, globalized reality. /Zdenko Kodrič, Večer, 24 March 2010

Igrajo Cast Točaj Waiter Igor Samobor Lazar, Lazarus Lazar, Lazarus Radko Polič Babica, Evica Grandmother, Evica Pia Zemljič

V Strniševih Žabah se človek – Lazar, podobno kot pred mnogimi stoletji Faust, s Hudičem pogaja in prodaja svojo dušo. V krčmo Žabe, ki stoji na robu Ljubljanskega barja, pride Lazar kot siromak. Pismonoša, ki lazi naokrog in nima nič, saj živi na upanje. In prav to upanje v boljšo, bogatejšo prihodnost mu ponudi hudič, pa ne zato, ker bi hotel v zameno njegovo dušo. Teh ima že itak preveč, same se mu predajajo in kot žabice skačejo v peklensko ponev, iz katere Točaj – Hudič, ponudi Lazarju žabje krake. Hudič se v tem hudičevem času prav pošteno dolgočasi in hrepeni po času, ko je bil z Evico, svojo žensko polovico, združen v eno. To pa je bilo, preden ga je nadangel Mihael presekal na dvoje. In od Lazarja ne zahteva ničesar v zameno, samo da se odreče svoji preteklosti in postal bo Lazarus, nesramno bogat gizdalin. Lazar svoje preteklosti noče pozabiti in bi najbrž odšel, če se ne bi v igro vmešala Evica. »Kjer hudič ne zmore, pač baba pripomore«, zato gre Lazar za hudičevko v smrt, vstane kot Lazarus in spet ugotovi, da ni srečen. Tokrat je on tisti, ki ošabno ubije Evico in da bi zbežal pred vestjo, umre ter spet postane Lazar. A večni krog življenja se znova zavrti vsem trem protagonistom, Lazarju, Hudiču in Evici, ki jim ni dano najti odrešitve.

In Strniša’s Frogs a man named Lazar, similar to Faust centuries ago, bargains with the Devil to sell his own soul. Lazar, a poverty-stricken postman who wanders about and lives in hope of a better future, enters an inn called The Frogs located at the edge of the Ljubljana Moor. Hope is offered to him in the form of the Devil, who refuses to take his soul in return. He already has plenty of souls surrendering to him, jumping like small frogs into the pot of hell, from which the Waiter (the Devil) offers Lazar frog legs. Extremely bored, the Devil yearns for the time when he was one with Evica, his female half. This was before the Archangel Michael split him into two. He demands nothing in exchange from Lazar, except to give up his past and turn into a filthy rich gallant: Lazarus. Lazar, however, refuses to surrender his past and is ready to leave when Evica suddenly interferes. Where the Devil fails, the woman succeeds and draws Lazar to his death; he is then resurrected as Lazarus and realizes that he is miserable. This time he arrogantly kills Evica and dies in order to avoid his own guilt and once more become Lazar. The eternal cycle of life goes on for Lazar, the Devil and Evica, who are not destined to find redemption.

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ČRTOMIR GOZNIK

tekmovalni program / competition programme SNG Nova Gorica 18. 10. 2010, 20.00 velika dvorana – tribuna Predstava traja 1 uro in 25 minut in nima odmora.

Runing time 1 hour and 25 minutes. No interval

Ciril Kosmač, Srečko Fišer

Pogovori, samogovori Colloquies, Soliloquies Premiera Opening 8. 4. 2010 Velika dvorana, SNG Nova Gorica

Režiser Director Jaša Jamnik Besedila izbral in za oder priredil Stage adaptation Srečko Fišer Dramaturginja Dramaturge Martina Mrhar Kostumografinja Costume designer Maja Ballund Scenograf Set designer Jože Logar Avtor glasbe Music by Gregor Strniša Oblikovalec luči Lighting designer Samo Oblokar Svetovalka za jezik Language consultant Alida Bevk Igrajo Cast Prvi intepret, First interpretor, Peter Iztok Mlakar Drugi interpret, Second interpretor, Izidor Kristijan Guček Tretji interpret, Third interpretor, Moj Jezus Branko Ličen Muza, Muse, Zinka Helena Peršuh

Srečko Fišer je ob stoti obletnici rojstva Cirila Kosmača po motivih in odlomkih iz njegovih besedil (Življenje in delo Venca Poviškaja, Pomladni dan, Balada o trobenti in oblaku, Tantadruj, Realizem in fantastika) oblikoval odrsko priredbo Pogovori, samogovori, s katero vstopa Kosmačeva literatura na oder v obliki dveh samostojnih, a notranje povezanih gledaliških besedil, ki ju uprizarjajo isti štirje interpreti. Prvo odslikava pisateljevo notranjo pokrajino, njegova premišljevanja, dvome in zafrkljive komentarje. V njem je figura ustvarjalca razcepljena ter skozi (samo)spraševanja treh interpretov in Muze v abstraktnem skupnem prostoru dramatično analizirana. Drugo se vrti okrog smešno nesrečne življenjske zgodbe Venca Poviškaja, enega izmed značilnih pisateljevih vaških posebnežev.

V podeželski krčmi se po pogrebu snidejo štirje, ki so bili čudaku in izobčencu še najbližji; ob podoživljajnju njegovega življenja in tragične odločitve vsak prepoznava delček svoje krivde.

Ta sproščena, ne žugajoča ali moralizatorska ura o Kosmaču priteguje. [...] Vse v priliki o Vencu, ki prestopa tradicijo socialnega realizma s tesnobo ob nemožnosti svobodne življenjske izbire, je pred nami tu in zdaj, hkrati pa se ne pusti prijeti in je stvar tega, kar dopiše lastna zaznava. Objektivna biografska resnica ni na odru nič manj izmuzljiva, tudi režijski postopek pristaja na mnoštvo odsevov in na njihovo izmuzljivost, celo opozarja nanje in se bliža Kosmaču po manj konvencionalni poti.

Presenetljiv presežek. /Primož Jesenko, Dnevnik, 12. 4. 2010 This relaxed, and by no means preaching or moralizing story about Kosmač is compelling [...] Everything in the parable about Venc, which transcends the tradition of social realism through the anxiety produced by the impossibility of free choice, is before us here and now, but at the same time it is elusive and a matter of individual perception. No less elusive is the objective biographical truth put on stage, with the directorial approach itself conceding to a multitude of reflections and their elusiveness, even drawing attention to these and approaching Kosmač along a less convential path.

A surprising added value. /Primož Jesenko, Dnevnik, 12 April 2010

With Colloquies, Soliloquies Kosmač’s literature enters the stage in two independent, but internally linked theatre texts, performed by four interpreters. The first text mirrors the author’s internal, intimate landscape, his contemplations, doubts, and witty comments. In it, the figure of the creatorauthor is split and analysed as a dramatic script through (self-)analysis by three performers and a Muse in an abstract common space. The second centres on the tragi-comic life-story of Venc Poviškaj, one of the typical village ‘characters’ that Kosmač so loved. In a country inn, the four people who were closest to the misfit and outcast gather after the funeral; in reliving his life and the tragic decision, each recognises his share of guilt.

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ATELJE PAVŠIČ-ZAVADLAV

tekmovalni program / competition programme Mestno gledališče ljubljansko 19. 10. 2010, 20.00 stara dvorana Predstava traja 1 uro 15 minut in nima odmora.

Running time 1 hour 15 minutes. No interval.

Percy Bysshe Shelley

Cenci The Cenci Naslov izvirnika Original title: The Cenci Prva slovenska uprizoritev First Slovenian production

Znajdemo se tako rekoč v družinski grobnici, kamor prodira svetloba le, ko se odprejo masivna vrata, ki se bodo zmeraj znova gromko zaloputnila, in kjer naposled ne preživi nihče. V čutnem smislu generira predstava melodijo, ritmiziranost, ki jo vzpostavljata prostor in igralec, to pa poenostavi razpletanje fabule in podčrta njeno dramatičnost. De Breeva postavitev Cenci nagovori sodobno občutenje, kot intenziven in zgledno čist repertoarni zalogaj pa odzvanja kot redek dosežek. /Primož Jesenko, Dnevnik, 15. 9. 2009

Premiera Opening 10. 9. 2009 Veliki oder, Mestno gledališče ljubljansko

Prevajalec Translator Srečko Fišer Režiser, scenograf in glasbeni opremljevalec Director, set designer and music designer Diego de Brea Dramaturginja Dramaturge Petra Pogorevc Kostumograf Costume designer Leo Kulaš Lektor Language consultant Arko Oblikovalec svetlobe Lighting designer Branko Šulc

Igrajo Cast Grof Cenci Count Cenci Uroš Smolej Beatrice Jana Zupančič Lucrezia Bernarda Oman Kardinal Camillo Cardinal Lotos Vincenc Šparovec Orsino Jure Henigman Andrea Milan Štefe

Delo Cenci razumemo kot romantično tragično pripoved o spopadu zlega z dobrim, o neverjetnih prepadih, ki ločujejo polovici človekovega bistva.

Na eni strani stoji demonični grof Francesco Cenci, človek, rojen za zlobna dela neverjetnih razsežnosti in hlepeč po bolečini vsakogar, ki pride v njegovo bližino, tiranski mučitelj svoje družine, posebej druge žene Lucrezie in sinov. In nihče se mu ne upa upreti, ko grof brezbožno nazdravlja smrti svojih sinov. Edina, ki se mu postavi po robu, je Beatrice, a zanjo si Cenci izmisli strašno kazen, s katero jo želi do kraja ponižati. Vrhunec njegove sprevrženosti je posilstvo lastne hčere. Dekletova reakcija je lahko samo upor. Beatrice je namreč romantična žrtev, ne samo okrutnega in poživinjenega očeta, marveč tudi pokvarjene in sprevržene papeške kurije, ki zločine kaznuje s kupčevanjem z zemljo. Slednji služi tudi neznačajni in omahljivi, v Beatrice zaljubljeni duhovnik, ki je poln praznih besed in obljub. Na koncu se zdi, da je smrt edini izhod iz tega diaboličnega, povampirjenega sveta.

We find ourselves in what could be described as a family tomb penetrated by light solely when the massive door is opened, only to be shut again with a thunderous clap.

Nobody can survive here. The performance generates a rhythmic melody created by the space and the actors, a rhythm which simplifies the unfolding of the story and underscores its dramatic nature. De Brea’s staging of The Cenci addresses modern feelings. Its intensity and exemplary purity make it an uncommon achievement. /Primož Jesenko, Dnevnik, 15 September 2009

Count Francesco Cenci, a Roman nobleman, donates huge amounts of money to Pope Clement VIII. His generosity keeps him from being punished for his crimes. One day Count Cenci invites his second wife Lucrezia and his sixteen-year-old daughter Beatrice to a feast. The women find out that the death of Cenci’s two sons, Beatrice’s brothers, is the occasion for the celebration. The girl’s indignant cries for help are ignored by the bribed dignitaries willing to shut their eyes to these scandalous crimes. Later Count Cenci abuses his own daughter. This makes Lucrezia, Beatrice and young Giacomo decide to take justice into their own hands and end the life of their tyrant father. After the murder, they are sentenced to death by hanging. All the efforts and pleading are in vain – the tragedy ends with a scene in jail.

The fate of the unfortunate conspirators is sealed, there is no way out. Thus ends the Cenci family.

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BARBARA ČEFERIN

tekmovalni program / competition programme showcase Slovensko mladinsko gledališče 20. 10. 2010, 19.00 velika dvorana – tribuna Predstava traja 1 uro 15 minut in nima odmora.

Running time 1 hour 15 minutes. No interval.

Oliver Frljić in igralci Oliver Frljić and actors

Preklet naj bo izdajalec svoje domovine!

Damned Be the Traitor to His Homeland!

Besedilo je nastalo po igralskih improvizacijah.

The text is based on the improvisations of the actors.

Premiera Opening 3. 3. 2010 Spodnja dvorana, Slovensko mladinsko gledališče

Režiser Director Oliver Frljić Dramaturga Dramaturges Borut Šeparovič, Tomaž Toporišič Scenograf, kostumograf in glasbeni opremljevalec Set designer and costume designer, music selector Oliver Frljić Asistent režije (študijsko) in svetovalec za gib Assistant director and stage choreographer Matjaž Farič Oblikovalec zvoka Sound designer Silvo Zupančič Oblikovalec luči Lighting designers Oliver Frljić, Tomaž Štrucl Igrajo Cast Primož Bezjak Olga Grad Uroš Kaurin Boris Kos Uroš Maček Draga Potočnjak Matej Recer Romana Šalehar Dario Varga Matija Vastl Oliver Frljić se v avtorskem projektu z delovnim naslovom Preklet naj bo izdajalec domovine! radikalno loteva ljubezni in sovraštva do gledališča, spleta norosti in bolečine, ki se mu skupaj prepustijo tisti na odru in tisti v dvorani. Okvir za to preizpraševanje meja umetniške in civilne svobode so fragmenti zgodbe o razpadu druge Jugoslavije, simbolni prostor, v katerega se naseljujejo igralke in igralci z dilemami, s katerimi se srečujemo vsi, a si pred njimi pogosto zatiskamo ušesa in zastiramo oči. Po besedah režiserja skuša predstava »skozi inflacijo smrti, skozi nenehno ponavljanje neponovljivega poudariti gledališki mehanizem, ki vedno ostaja reprezentacija določene zunanje resničnosti. S kompulzivnimi poskusi inscenacije kolektivne smrti izziva gledališko reprezentacijo smrti, pa tudi samo idejo gledališke reprezentacije. Ponavljanja smrti, ki se na odru pojavljajo v skoraj pravilnih intervalih in po katerih izvajalci 'oživijo', razkrije zastoj gledaliških reprezentacijskih mehanizmov. Prav ti mehanizmi za proizvodnjo fikcije, ki najpogosteje ostajajo skriti, izrinejo vsakršen vsebinsko-tematski okvir in tako ostanejo edini vidni.«

Videli smo pravo, angažirano, pomembno, nesramno, politično, postdramsko, postmoderno gledališče, ki se ukvarja z nami in s časom, v katerem živimo. To je živo gledališče, ki nas zadeva, in to je živa materija modernega umetniškega dejanja […]. [V]prašanje, ki ga predstava zastavlja, je vprašanje vseh vprašanj – vprašanje odgovornosti. Kar je tudi rdeča nit, ki povezuje vse dosedanje predstave Oliverja Frljića – poskus vzpostaviti odgovornost pred sabo in svojim časom in svojo prihodnostjo. /Goran Cvetković, Radio Beograd, 12. 5. 2010 We have seen a true, committed, important, rude, political, post-dramatic, post-modern theatre, dealing with us and the time we are living in. This is live theatre that concerns us, it is a living matter of the modern artistic act. The question posed by the play is the question of all questions – the question of responsibility. It is also the common thread, linking all of Oliver Frljić's plays so far – the attempt to assign responsibility to an individual, his present and his future. /Goran Cvetković, Radio Beograd, 12 May 2010

In his original project with the working title Damned be the traitor to his homeland!, Oliver Frljić radically approaches love and hatred towards theatre, surrendering both the actors as well as the viewers to the intertwinement of madness and pain. The framework for this questioning of boundaries of artistic and civil freedom are the fragments of the story about the collapse of the second Yugoslavia, a symbolic space inhabited by actresses and actors who encounter dilemmas, as do all of us, yet we often look the other way. According to the director, »the inflation of death, the incessant repetition of the unrepeatable serve to emphasize a theatrical mechanism that always remains the representation of a certain external reality. It challenges the theatrical representation of death as well as the idea of theatrical representation itself through compulsive attempts to stage collective death.

The repetitions of death, occurring on stage in almost regular intervals and after which the performers ‘come back to life’, reveal a standstill of theatrical representational mechanisms. It is these mechanisms, producing fiction and most often remaining hidden, that oust any framework in terms of content and theme, thus remaining the only ones visible.«

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ŽIGA KORITNIK

tekmovalni program / competition programme showcase Mini teater Ljubljana 21. 10. 2010, 20.00 stara dvorana – tribuna Predstava traja 1 uro 50 minut in nima odmora.

Running time 1 hour 50 minutes. No interval.

Ingmar Bergman

Persona Naslov izvirnika Original title: Persona Premiera Opening 5. & 6. 6. 2010 Mini teater Ljubljana

Avtor priredbe in režiser Adapted and directed by Janez Pipan Kostumografinja Costume designer Rosana Knavs Scenografinja Set designer Ana Rahela Klopčič Avtor glasbe Music by Aldo Kumar Oblikovalec luči Lighting designer Andrej Hajdinjak Lektor Language consultant Jože Volk Svetovalec za gib Stage choreographer Branko Završan Igrajo Cast Sestra Alma Sister Alma Janja Majzelj Gospa Vogler Miss Vogler Polona Juh/Pia Zemljič Zdravnica Doctor Jožica Avbelj On Him Branko Završan Moški z motorno žago The jigsaw man Anže Kreč

Bergmanova Persona je drama spopada. V seriji prizorov se dva glasova, eden zgovoren, drugi skoraj povsem odsoten in prenesen skozi prvega, na svoj način borita z življenjem. Elizabet Vogler spregovori le dvakrat, dva kratka stavka, od teh le enega povsem samovoljno. Noče se odzvati svetu, ki jo sili v privzemanje vlog. Ironično, Elizabet je vendar igralka, nekdo, ki vloge ustvarja, prevzema, pooseblja. Se pretvarja. Kot dramatis persona.

Njeno nasprotje, Alma (duša), medicinska sestra, postopoma izdaja vse, kar ji leži na duši, dokler ne začuti, da jo molk, s katerim je obdana, zmeraj bolj duši. Njuna dilema je dilema umetnika: vztrajati v besedičenju, kopičenju (pris)podob, iskanju vedno novih izrazov, vedoč, da ni mogoče izraziti (do)končnosti, ali prenehati ustvarjati in s tem prenehati biti to, kar si, prav zaradi zavedanja, da realnosti ni mogoče poustvariti? Niti Elizabet niti Alma nista zadovoljni s tem, kar sta, takšni, kakršni sta. Elizabet tiho proučuje zgovorno skrbnico, Alma večkrat izrazi željo, da bi bila Elizabet. V preigravanju vlog se postavlja pod vprašaj ne le njuna realna identiteta, temveč tudi realnost kot taka.

Pipan ne le z drobnimi referencami (Strindberg, Rilke itd.), temveč s celotno zasnovo predstave računa na izobraženega gledalca, ki dovolj dobro pozna tako film kot vsaj nekaj pomembnejših referenc iz Bergmanovega življenja in dela. Predstava je gotovo odprta tudi filmskemu analfabetu, toda zanj ima najbrž moč predvsem v najmočnejših igralskih pasusih, sicer pa deluje v takem primeru precej bolj neenotno, kar je po moje predvsem posledica mnoštva tematskih sklopov, ki jih odpre, vendar se vseh ne loti enako poglobljeno, vseh tudi podrobneje ne razdela ali osmisli - vprašanje, koliko je to sploh mogoče. /Anja Golob, Večer, 10. 6. 2010 However, Pipan’s directing of Bergman’s Persona is far from naive; as soon as one enters the theatre hall, it is clear from the stage setup that the performance will address a controversial issue. Moreover, it is more than just the subtle allusions (to Strindberg, Rilke etc.), but the entire conception of the performance that indicates Pipan’s expectation of an educated viewer who is familiar not only with the film but also with significant references relating to Bergman’s life and work. The performance is undoubtedly accessible to the film neophyte as well, but for such viewers its appeal probably lies in the most powerful acting episodes, while as a whole it appears much more inconsistent. This, in my opinion, is a result of the multitude of thematic areas brought up but not addressed in equal depth and detail, nor are all of these given meaning – and it is a question to what extent it would be possible at all. /Anja Golob, Večer, 10 June 2010

Bergman’s Persona is a drama of conflict. Two voices, one talkative and the other virtually non-existent and communicated through the first voice, struggle with life, each in its own way. Elisabet Vogler talks only twice, uttering two short sentences, of these only one of her own will. She refuses to respond to the world that forces her to assume roles. This is ironic, since Elisabet is an actress, one who creates and assumes roles and personifies characters. She is one who pretends: A dramatis persona. Alma (soul), a nurse, is her opposite. Little by little, she verbalizes everything that weighs on her soul until she feels that the silence surrounding her is increasingly suffocating her. Their dilemma is an artist’s dilemma: whether to persist with verbalization, piling up images (allegories) and ever searching for new words while knowing that it is impossible to express finitude, or to stop creating and thus stop being what you are, precisely because you are aware that reality cannot be recreated. Neither Elisabet nor Alma, such as they are, is satisfied with what she is. Elisabet silently studies her talkative nurse, while Alma more than once expresses her wish to be Elisabet. This interplay of roles raises questions not only about their real identities, but also about reality as such.

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MIHA FRAS

tekmovalni program / competition programme showcase koprodukcija coproduction E. P. I. center, Dramsko društvo MUKI 22. 10. 2010, 19.00 kazinska dvorana Predstava traja 2 uri in nima odmora.

Running time 2 hours. No interval.

Sebastijan Horvat in ustvarjalci Sebastijan Horvat and creators

Manifest K. Po motivih Komunističnega manifesta K. Marxa in F. Engelsa Based on The Communist Manifesto by K. Marx and F. Engels

Manifest K. je torej gledališka situacija, ki poskuša v svojih lastnih (umetniških) okvirih proizvesti tisto, kar bi v Marxovem manifestu lahko opredelili kot prelomno ali revolucionarno gesto. Sprevrnitev se pri Horvatu odvija na ravni delovanja gledališke institucije (gledalci/delavciob pomanjkanju trdne strukture gledališke situacije slednjo doživljajo tako kot del gledališča kot samo realnost), na ravni razumevanja razrednega boja danes in na ravni posameznikove zavesti o svoji vlogi v tem boju. /Jela Krečič, Delo, 1. 2. 2010

Premiera Opening 30. 1. 2010 Stara mestna elektrarna – Elektro Ljubljana

Ustvarjalci Creators Sebastijan Horvat Anja Bornšek Brane Grubar Andreja Kopač Manca Krnel Bine Skrt Aljoša Ternovšek Renata Vidić

Manifest K. is a theatre situation attempting to produce, within its own (artistic) framework, what would be defined as a revolutionary gesture in Marx’s Manifesto. In Horvat’s performance the turn occurs at the operational level of a theatre institution (in the absence of the firm structure of the theatre situation, viewers/workers experience it as both theatre and reality), at the cognitive level of our contemporary understanding of the class struggle and at the level of individual awareness about one’s role in this struggle. /Jela Krečič, Delo, 1 February 2010

Sodelujejo Collaborators Igor Remeta Tamara Bračič Vidmar Maks Soršak Danijela Grgić

Kapitalistični odnosi so se z vso težo zarili v vse odnose človekovega družbenega sožitja. Tudi vsaka gledališka predstava nastaja v temeljnem risu buržoaznega ekonomskega razmerja. Vprašanje je torej, ali je sploh mogoče in kako se izviti iz temeljne ekonomije gledališke predstave, ki postavlja gledalca v pozicijo hladnokrvnega presojevalca, ločenega od predstave, kjer dolgčas prežira naš lastni dolgčas in nas vsaj za nekaj trenutkov potolaži z užitkom zunanjosti in občutkom smisla. Ne glede, ali je predstava alternativno neodvisnega značaja ali klasično dramska, ekonomija predstave ostaja ista. Kaj naj sploh govorimo o obstoječem svetu (gledalci smo prenajedeni družbene kritike in etičnih ukazov) ali, oziroma na kakšen način naj izrekamo resnice o spremembi sveta in prihodnosti, ki si jo želimo? Ali nismo zdolgočaseni in zapolnjeni v tem večno istem uporu in postavljanju istih vprašanj na isti način? Ali lahko gledalci podpišejo pogodbo s predstavo, postanejo lastnina predstave in umetnosti ter iz pozicije mezdnih delavcev gledajo svojo lastno nevidno sproščeno pozicijo? Naj se spremeni razmerje med roparskim svetom, ki ga obvladuje kapitalistična spremenljivka in ljudstvom, v katerega moramo verjeti in ki je v svojem bistvu sposobno spremembe, enakosti, pravičnosti in poguma.

Capitalist relations permeate the web of social co-existence. Accordingly, every theatre performance comes to life within the boundaries of the magic circle of bourgeois economic practices. The question therefore is whether and how it is possible to escape the basic economy of a theatre performance, which places a viewer in the position of an disinterested judge, detached from the performance, where boredom eats into our own boredom relaxing us at least for a while into the pleasure of externality and meaningfulness. Regardless of whether the performance is an alternative type or a classical drama, its economy is always the same. What, if anything, could be said about this world (where viewers are overwhelmed by social criticism and ethical orders)? Or, what is the right way to tell the truth about the changes affecting this world and the future we hope for? Are we not bored by and suffused with this repetitive resistance, forever asking the same questions in the same way? Can viewers sign a contract with a performance, become the property of a performance and art, and view their own invisibly relaxed position from the position of wage workers? It’s time for change in the relations between the robber world governed by capitalist variables and the people in whom we must have trust and who in their essence are capable of change, equality, justice and courage.

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MARCANDREA

tekmovalni program / competition programme showcase Drama SNG Maribor 22. 10. 2010, 21.30 mali oder Predstava traja 1 uro 45 minut in nima odmora.

Running time 1 hour 45 minutes. No interval.

Patrick Marber

Od blizu Closer Igra o sodobnih partnerskih odnosih Play about contemporary relationships

Delo Od blizu (Closer) Patricka Marberja ponuja izjemno priložnost za primerjavo med filmskim in gledališkim medijem. In – vsaj kar se tiče tokratne uprizoritve mariborske drame – se izkaže gledališče kot popoln zmagovalec, saj je tako rekoč v vseh segmentih prepričljivejše. [...]

Kinematografi so prazni? Nič čudnega, če se pa v gledališču godijo veliko bolj zanimive reči. /Peter Rak, Delo, 13. 2. 2010

Naslov izvirnika Original title: Closer Premiera Opening 5. 2. 2010 Mali oder, SNG Maribor

Režiser Director Dino Mustafić Prevajalka Translator Tina Mahkota Dramaturginja Dramaturge Željka Udovičić Scenograf Set designer Dragutin Broz Kostumograf Costume designer Leo Kulaš Izbor glasbe Music selection Dino Mustafić Koreograf Choreographer Mark Boldin Oblikovalec svetlobe Lighting designer Franci Rampre Lektor Language consultant Janez Bostič

Patrick Marber’s Closer offers exceptional opportunity for a comparison of film and theatre. And, at least in the case of this performance staged by the Maribor Drama, theatre emerges as the outright winner, because it is more convincing in every segment.

Cinemas are empty? No wonder, given that much more interesting things can be seen in theatres. /Peter Rak, Delo, 13 February 2010

Igrajo Cast Alice Eva Kraš Dan Matevž Biber Larry Branko Jordan Anna Nataša Matjašec Rošker

Patrick Marber (1964) spada v sam vrh sodobne angleške dramatike. Zaslovel je z igrama Delivčeva izbira (Dealer’s Choice) leta 1995 in Od blizu (Closer) leta 1997, ki sta bili v njegovi režiji krstno uprizorjeni v londonskem gledališču National Theatre. Za dramo Od blizu je prejel več prestižnih nagrad doma in v tujini, njegova igra pa je še danes ena najuspešnejših na temo razmerij, saj v njej na duhovito-inteligenten način prepleta tragikomične zgodbe štirih izjemno kompleksnih karakterjev. Zajedljivo zabavna drama, ki se brez zadržkov sooča s sodobnimi odnosi, pod navidezno lahkotno površino skriva boleče in žalostne plati bližnjih odnosov. V tragikomični igri spremljamo odnose med štirimi protagonisti: striptizeto Alice, pisateljem Danom, zdravnikom Larryjem in fotografinjo Anno. V ospredje je postavljena tema ljubezni, a zgodba govori »tudi o drugih stvareh – spolnem ljubosumju, moški zaverovanosti vase, lažeh, ki jih govorimo sebi in tistim, s katerimi smo najintimnejši, o načinih, kako izkoriščamo druge. A konec koncev je samo preprosta, lepa ljubezenska zgodba. In kot pri večini ljubezenskih zgodb gre tudi pri tej marsikaj narobe ...«.

Patrick Marber (1964) is one of the major contemporary British playwrights.

His plays Dealer’s Choice (1995) and Closer (1997), which he directed himself and which premiered at the National Theatre in London, made him a household name. Closer remains one of the most successful plays on the topic of relationships, telling tragicomic stories of four highly complex characters in a witty manner. The play has brought Marber several prestigious awards at home and abroad. This sarcastic comedy, which deals with modern relationships without hesitation, hides painful and sad truths about close relationships under the surface. The tragicomedy reveals relationships between four protagonists: Alice – the stripper, Dan – the writer, Larry – the doctor and Anna – the photographer. Love is the central theme, but the story also talks about “other things – sexual jealousy, male selfishness, lies which we tell to ourselves and to the people we are most intimate with, and about the ways in which we take advantage of other people. But in the end, the play is just a simple, beautiful love story. And as with most love stories, things go wrong here as well …”.

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DAMJAN ŠVARC

tekmovalni program / competition programme showcase Drama SNG Maribor 23. 10. 2010, 19.30 stara dvorana Predstava traja 1 uro 10 minut in nima odmora.

Running time 1 hour and 10 minutes. No interval.

Bertolt Brecht

Malomeščanska svatba A Respectable Wedding Naslov izvirnika Original title: Die Kleinbürgerhochzeit Premiera Opening 5. 12. 2009 Stara dvorana, SNG Maribor

Režiserka Director Mateja Koležnik Prevajalca Translators Eduard Miler, Irena Novak Popov Prirejevalka prevoda Translation adapted by Mateja Koležnik Prevajalec Balade o deviškosti Translator of the song Andrej Rozman Roza Dramaturginja Dramaturge Tanja Lužar Scenograf Set designer Henrik Ahr Kostumograf Costume designer Alan Hranitelj Skladatelj Music by Mitja Vrhovnik Smrekar Koreografinja Choreographer Magdalena Reiter Oblikovalec svetlobe Lighting designer Franci Rampre Lektorica Language consultant Metka Damjan

Predstava je izjemno detajlirana, premišljena in zabavna karikatura malomeščanskega sveta z lucidnim prostorskim izhodiščem. […]

Igralci in igralke so razvili učinkovite gestuse […], ki funkcionirajo podobno kot scenografija: zaradi tesnosti simptomi avtorepresij prej ali slej (ob alkoholu seveda hitreje) načnejo lepilo, ki jih drži skupaj, in butnejo na dan. /Rok Vevar, Večer, 22. 12. 2009 The performance is an exceptionally detailed, well thought-out and entertaining caricature of the world of the petite bourgeoisie, with a lucid spatial point of departure. […] The actors have developed an effective Gestus […] that operates in the manner similar to that of set design: because of restraint, the symptoms of selfrepression sooner or later eat into the glue that keeps them together (alcohol undoubtedly accelerates this process) and come to light. /Rok Vevar, Večer, 22 December 2009

Igrajo Cast Nevestin oče The Bride’s Father Peter Boštjančič Ženinova mati The Bridegroom’s Mother Irena Varga Nevesta The Bride Mateja Pucko Njena sestra Her sister Maša Židanik Ženin Bridegroom Nejc Ropret Njegov prijatelj His Friend Vladimir Vlaškalić Žena The Wife Ksenija Mišič Njen mož The Husband Davor Herga Mladi moški The Young Man Matija Stipanič

Bertolt Brecht se je v Malomeščanski svatbi (1919) neusmiljeno lotil smešenja navidezne popolnosti, lažne morale, sentimentalnosti in pritlehnosti pripadnikov malomeščanskega razreda. Svet iluzorne sreče malomeščanov, katerega višek predstavlja poroka, pred očmi gledalcev razpada tako hitro kot ženinovo ročno izdelano pohištvo, ki ne zdrži niti do konca poročnega kosila. Najsrečnejši dan mladoporočencev se spremeni v pravi pekel: »Jutri bodo vsi vedeli, kako je bilo pri naju, in vsi se bodo smejali. V cerkvi bodo gledali za nama in mislili na pohištvo in na svetilko, ki ni gorela, in najhujše, da je nevesta noseča. In jaz sem nameravala reči, da je porod prezgoden.« Malomeščansko svatbo odlikujejo duhoviti in sproščeni dialogi, besedne igre, alogični preobrati in absurdistični humor.

In A Respectable Wedding (1919) Brecht ruthlessly ridiculed the apparent perfection, false morality, sentimentality and commonness of the petite bourgeoisie. The world of illusiory happiness of the petite bourgeoisie, which reaches its peak with a wedding, collapses in front of the audience along with the groom’s handmade furniture, which breaks even before the wedding reception is over.

The young couple’s happiest day turns hellish: “Tomorrow everyone will know what it was like and everybody will laugh. In church they will be looking at us while thinking of the furniture and the lamp that wasn’t lit and what’s even worse, of the bride being pregnant. And I was going to say that it was a premature birth.” A Respectable Wedding features witty and relaxed dialogue, word play, allegorical turns and absurd humour.

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DAMJAN ŠVARC

tekmovalni program / competition programme showcase SNG Drama Ljubljana 23. 10. 2010, 21.30 velika dvorana – tribuna Predstava traja 1 uro 15 minut in nima odmora.

Running time 1 hour 15 minutes. No interval.

Ernst Lubitsch

Ko sem bil mrtev When I Was Dead Prva slovenska uprizoritev First Slovenian production Naslov izvirnika Original title: Als ich tot war

[…] Ni torej toliko pomembno, kaj se zgodi, ampak kako se zgodi. Črno-beli svet ne potrebuje malenkosti in odtenkov, subtilnosti in namigov. Vse je očitno in ekspresivno na robu in čez rob poudarjeno, podčrtano, zato pa komično zaradi elementarne situacijske komike, ki vedno deluje v okviru veličastne iluzije, ki je prav na odru še posebej poudarjena. In jasno je, da sloni levji delež efektnosti na ekspresivni igri, ki so jo sinoči odlično obvladovali vsi nastopajoči, smešni že zaradi moških vlog žensk, pa tudi v stampedu vseh mogočih prekucij. /Tadeja Krečič, Radio Slovenija 1, 12. 3. 2010

Premiera Opening 11. 3. 2010 Mala drama, SNG Drama Ljubljana

Režiser Director Diego de Brea Scenograf Set designer Diego de Brea Kostumografinja Costume designer Bjanka Adžić Ursulov Avtor glasbe Music by Jože Šalej Oblikovalec luči Lighting designer Milan Podlogar

[…] It is therefore not as important what happens but how it happens. The black-and-white world does not need bits and pieces or nuances, subtleties and hints. Everything is obvious and overt, on the edge and over the top, stressed, underscored, and comic because of the elementary comedy of the situation invariably remaining within the boundaries of a grand illusion that is particularly emphasized on the stage. It is obvious that the lion’s share of its effectiveness rests on expressive acting mastered to perfection by the entire cast in last night’s performance, funny in themselves with men playing women’s roles and stampeding through all sorts of turns. /Tadeja Krečič, Radio Slovenija, 12 March 2010

Igrajo Cast Soprog Husband Alojz Svete Soproga, Služkinja Wife, Maid Janez Škof Tašča Mother-in-law Jernej Šugman Snubec, Šahist Suitor, Chess player Boris Mihalj Pianist Jože Šalej / Davor Herzeg

Ko sem bil mrtev je zasnovan na motivu moža, ki napove svojo smrt, potem pa izgine in se ponovno pojavi z lažno identiteto. Lubitschev junak je lahkoživ bonvivan, ki se ob večerih rad izmuzne od doma in predaja veselju s šahiranjem v radoživi moški družbi. Bolj kot ženo to moti njegovo taščo, ki mu lepega dne (pravzaprav sredi noči) zaklene vrata, nesrečni mož pa mora prespati na neudobnem stopnišču. Naslednjega dne napove samomor in izgine. Namesto v smrt se odpravi v svobodo samskega življenja. Domnevna vdova žaluje, mož pa se tudi kmalu naveliča postopanja. V svoj nekdanji dom in k ženi, ki jo vendar ljubi, se vrne v vlogi služabnika. A tašča že išče novega ženina za užaloščeno hčer. In ji ga tudi privede na dom. Kaj vse bo napletel lažni služabnik, da bo osmešil snubca, ponovno osvojil ženo in se končno tudi znebil tečne tašče!

When I Was Dead is based on the story of a husband who announces his suicide and then disappears but only to reappear in disguise. Lubitsch’s hero is a frivolous bon vivant, who likes to sneak out in the evening to play chess with his jovial mates. This annoys his wife but bothers his mother-inlaw even more. One day (actually in the middle of the night), she locks him out, and the unfortunate husband has to spend the night in the hallway on the uncomfortable staircase. The next day he announces his intention to commit suicide and disappears. But instead of dying, he goes out to taste again the freedom of the bachelor life. However, while “the widow” is in mourning, the husband becomes tired of idling about. He returns to the wife he still loves disguised as a butler. But his mother-in-law is already looking for a new husband for her daughter and even brings one home. The false butler does everything to spoil the efforts of the suitor, to mock him, to seduce his wife again, and, finally, to get rid of the annoying mother-in-law.

Unusual situations, expressive acting, accentuated facial expressions, gags, and title cards are standard elements of silent burlesque movies. On stage, however, they take on a completely new appearance. But they are just as amusing as they were in the era of silent films.

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TONE STOJKO

režiserji tekmovalnih uprizoritev directors of competition programme Diego de Brea Študiral je primerjalno književnost in umetnostno zgodovino ter gledališko režijo. Že njegova diplomska predstava je bila leta 1999 nagrajena na mednarodnem gledališkem festivalu v Brnu. Je avtor odmevnih predstav v institucionalnih in eksperimentalnih gledališčih ter dobitnik več nagrad.

Loteva se različnih žanrov: mladinskih in lutkovnih iger, glasbenih predstav, različnih avtorskih projektov, predvsem pa intrigantnih klasičnih in sodobnih dramskih besedil. Pogosto je tudi avtor scenske in kostumske podobe svojih uprizoritev.

Diego de Brea Studied Comparative Literature, Art History and Theatre Directing. His graduate work received an award at the international festival of theatre students’ productions in Brno. He has directed many acclaimed performances in both institutional and experimental theatres and has received several awards for his work. De Brea has worked in the majority of Slovene theatres as well as in Italy, covering various genres but is best known for his staging of complex classical and contemporary dramatic texts.

Ivana Djilas Študirala je gledališko in radijsko režijo na Fakulteti za dramske umetnosti v Beogradu, podiplomsko pa se je izpopolnjevala na ljubljanski AGRFT. Kot režiserka deluje večinoma v Sloveniji, in sicer tako v klasičnih dramskih kot v lutkovnih gledališčih. Večkrat se je uspešno dokazala tudi kot producentka in avtorica koncepta za glasbeno-gledališke projekte, ki jih ustvarjata skupaj z glasbenikom Boštjanom Gombačem.

Ivana Djilas She studied Theatre and Radio Directing at the Faculty of Dramatic Arts in Belgrade and then did postgraduate studies at the Academy of Theatre, Film, Radio and Television in Ljubljana. As a director she works mainly in Slovenia, both in classical and puppet theatre. In addition, she produces and co-authors successful music-theatre projects with the musician Boštjan Gombač.

Oliver Frljić Najprej se je odločil za študij filozofije in teologije, pozneje pa je diplomiral na Akademiji dramskih umetnosti v Zagrebu. Kot teoretik sodeluje s 3. programom hrvaškega radia, ustvarja kot plesni dramaturg ali soavtor plesnih predstav, tesno sodeluje s skupino BADco. ter z Borutom Šeparovićem in skupino Montažstroj. S svojimi provokativnimi predstavami razburja javnost, med drugim je spodbudil tudi burno javno razpravo o cenzuri v gledališču na Hrvaškem.

Oliver Frljić He first decided to study philosophy and theology, but he later graduated at the Academy of Dramatic Art in Zagreb. As a theorist, he is cooperating with the third program of the Croatian Radio; he is creating as a dance dramaturge and the co-author of dance performances, closely collaborating with the BADco. Group, Borut Šeparović and the Montažstroj group.

He is stirring up public with his provocative performances, among others stimulating a vigorous public debate on censorship in the Croatian theatre.

Sebastijan Horvat Kot docent na AGRFT predava osnove gledališke režije. Kot režiser ustvarja v različnih slovenskih gledališčih. Za svoje režije je prejel številne nagrade: grand prix festivala Teden slovenske drame, Borštnikovo nagrado za režijo, nagrado Montblanc Young Directors Project Award na Salzburških poletnih igrah, nagrado Prešernovega sklada, Šeligovo nagrado 38. tedna slovenske drame itd. Občasno režira v tujini. Leta 1997 je skupaj s Petro Veber in Natašo Matjašec ustanovil neodvisni gledališki zavod E. P. I. center.

Sebastijan Horvat Since 2005 he has been a senior lecturer at Academy of Theatre, Radio, Film and Television, teaching the basics of theatre directing. As a director he has worked for several Slovenian theatres. He received several awards for his work: Grand Prix at the Week of Slovenian Drama, Borštnik Award for directing, Montblanc Young Directors Project Award, Salzburg Festspiele, the Prešeren Fund Award, the Šeligo Award at the 38th Week of Slovenian Drama etc. He occasionally works abroad. In 1997, he founded an independent theatre institution, E. P. I. center, together with Petra Veber and Nataša Matjašec.

Jaša Jamnik Doslej je režiral v domala vseh slovenskih gledališčih, pa tudi v tujini – skupaj že okrog štirideset uprizoritev v profesionalnih gledališčih in dvajset z amaterskimi skupinami. Od leta 1989 se kot mentor ukvarja tudi z ljubiteljskimi gledališčniki. Redno sodeluje na TVS kot režiser sinhronizacije risank. Nastopa tudi kot igralec v gledališču, na televiziji in filmu.

Jaša Jamnik He has directed for almost all the theatres in Slovenia, and has also directed abroad - in total, around forty performances in professional theatres and twenty with amateur groups. Since 1989 he has been mentoring amateur theatre groups and has led around thirty workshops for adults, youth and children for different organisations and in different forms. He regularly works with the Slovenian national television channel as a director of voiceovers for cartoons. He has also acted on stage, on television, and in film.

Mateja Koležnik Režira v vseh slovenskih poklicnih gledališčih in pogosto tudi v tujini. Prejela je številne nagrade, med drugim nagrado Prešernovega sklada, Borštnikovo nagrado za najboljšo uprizoritev v celoti, s scenografom Jože-

Mateja Koležnik She has been directing for professional theatres in Slovenia as well as abroad. She received numerous awards for her work: the Prešeren Fund Award, the Borštnik Award for the best overall production, the Borštnik

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tom Logarjem Borštnikovo nagrado za scenografijo, nagrado za režijo na festivalu SKUP na Ptuju in dve nagradi za režijo na festivalu Zlati lev v Umagu na Hrvaškem.

Award for the set design (together with set designer Jože Logar), award for direction at the Ptuj SKUP Festival, two awards for direction at the International Theatre Festival Zlatni lav in Umag, Croatia.

Jernej Lorenci Docent na AGRFT v Ljubljani. Za svoje režije je prejel več nagrad, med njimi veliko Borštnikovo nagrado za najboljšo predstavo v celoti, dve Borštnikovi nagradi za režijo, Šeligovo nagrado za najboljšo predstavo Tedna slovenske drame, veliko nagrado za najboljšo predstavo na mednarodnem festivalu Zlati lev v Umagu na Hrvaškem, veliko nagrado za najboljšo predstavo na festivalu Ex Ponto, nagrado kritikov in teatrologov BiH za najboljšo predstavo leta, nagrado mednarodnega inštituta ITI »Music theatre now«, nagrado za režijo na mednarodnem festivalu Zlati lev v Umagu na Hrvaškem, nagrado Društva gledaliških kritikov in teatrologov Slovenije za najboljšo predstavo sezone.

Jernej Lorenci He works as a senior lecturer at Academy of Theatre, Radio, Film and Television. For his directions he received numerous awards: the Borštnik Award for the best performance of the year, two Borštnik Awards for best directing, the Šeligo Award for the best performance at the Week of Slovenian Drama, the best Performance Audience Award at the 10th Ex Ponto Festival, the best performance of the year award by theatre critics and researchers in BiH, International Theatre Institute ITI “Music theatre now“ award, the award for best directing at the International Theatre Festival Zlatni lav in Umag, Croatia, and the award for the best performance of the season given by the Slovene section of AICT/IATC.

Dino Mustafić Rojen v Sarajevu. Diplomiral je iz gledališke režije na Akademiji za gledališke umetnosti ter iz književnosti in bibliotekarstva na Filozofski fakulteti v Sarajevu. Vojno je preživel v Sarajevu, režiral Sartrov Zid, ki so ga, kljub vojnim razmeram, igrali vsak dan. Njegova režija Villqistove Helverjeve noči je bila največkrat nagrajena uprizoritev v zgodovini bosansko-hercegovskega gledališča. Režiral je tudi dokumentarce, glasbene projekte in igrane filme. Je dolgoletni direktor mednarodnega gledališkega festivala MESS v Sarajevu.

Dino Mustafić Born in Sarajevo. He graduated in directing from the Theatre Academy and in world literature and library science from the Faculty of Philosophy in Sarajevo. During the war years in Sarajevo he directed Sartre’s The Wall that was playd daily despite the wartime circumstances. His direction of Villqist's play Helver’s Night was the most awarded performance in the history of theatre in Bosnia and Herzegovina. He has also directed documentaries, musical shows and films. For many years Mustafić has been the managing director of the International Theatre Festival MESS in Sarajevo.

Ivan Peternelj Leta 1996 je na AGRFT diplomiral iz dramske igre. Do leta 2003 je ustvarjal kot samostojni kulturni delavec (v skupini Betontanc in gledališču Muzeum ter pri številnih neodvisnih produkcijah, v video filmih Eme Kugler, ustvarja tudi samostojne gledališke projekte za otroke in odrasle …), potem pa se je redno zaposlil v SMG. Je dobitnik več nagrad, tako za igralsko (Borštnikova nagrada za mladega igralca, Severjeva nagrada, nagrada festivala SKUP) kot za snovalsko-režijsko delo (prva nagrada na festivalu PUF v Pulju).

Ivan Peternelj In 1996, he graduated in acting from the Academy of Theatre, Radio, Film and Television. Until 2003, he was a freelance artist (working with the Betontanc group and the Muzeum theatre, as well as with many other independent producers and the video artist Ema Kugler; he also created theatrical projects for children and adults). Presently, he is an actor at the Mladinsko Theatre. He received numerous awards: the Borštnik Award for a young actor, the Sever Award, the Award of the Slovene Festival of Chamber Theatre, the first prize at the International Theatre Festival PUF in Pula, Croatia, for the concept and direction.

Janez Pipan Njegova diplomska uprizoritev Mrožkovega Tanga je kot prva akademijska predstava v zgodovini prejela veliko nagrado Borštnikovega srečanja leta 1979. Od 1980. do leta 1991 je v Slovenskem mladinskem gledališču zrežiral vrsto uspešnih predstav. Režiral je tudi v drugih slovenskih in jugoslovanskih gledališčih. Doslej se je podpisal pod 46 uprizoritev. Za svoje delo je prejel številne nagrade: nagrado zlata ptica, nagrado sedem sekretarjev SKOJ-a, Župančičevo nagrado, tri Borštnikove nagrade za režijo, nagrado Prešernovega sklada. V letih 1994 do 2008 je bil ravnatelj SNG Drame Ljubljana, od leta 2009 pa je zaposlen kot hišni režiser v SLG Celje.

Janez Pipan His graduate work, the direction of Sławomir Mrožek’s Tango, was the first ever performance directed by a student to receive the Grand Prix at the Maribor Theatre Festival (in 1979). From 1980 to 1991 he directed numerous successful productions for the Mladinsko Theatre. He has also directed for other Slovenian and Yugoslav theatres, 46 performances in total. Pipan received several awards for his work: the Zlata ptica Award, the Sedem sekretarjev SKOJa Award, the Župančič Award, three Borštnik Awards for directing, and the Prešeren Fund Award. He was managing and artistic director of the SNG Drama Ljubljana theatre from 1994 to 2008. Since 2009 he has been a resident director at the SLG Celje theatre.

Vito Taufer Doslej je zrežiral preko 80 dramskih predstav in več oper, med drugim se je ukvarjal z evropsko avantgardo oz. z dramatiko absurda, intenzivno sodeloval s sodobnimi slovenskimi dramatiki, lotil pa se je tudi uprizoritev evropske in slovenske klasike. V svoje predstave uvaja pop ikonografijo, tehniko paralelne dramaturgije, s čimer je zaznamoval slovensko gledališko produkcijo osemdesetih in devetdesetih let. Pogosto sodeluje tudi kot avtor scenske, kostumske in glasbene podobe svojih uprizoritev, s katerimi redno gostuje po slovenskih in mednarodnih festivalih. Za svoje delo je prejel številne nagrade.

Vito Taufer Is a resident director at the Mladinsko Theatre Ljubljana. He also works regularly with nearly all the Slovene theatres. His productions frequently travel to international festivals, both in Europe and overseas. So far, he has directed more than 80 plays and several operas. He collaborates extensively with contemporary Slovene playwrights, and his productions of classical plays have been widely acclaimed. He delves into theatrical language to bring forward new views and approaches in theatre. His performances are embellished with humour, witty puns and situations, radical irony and sarcasm, and a mixture of genres and allusions. On top of all that, Taufer employs a remarkably rich, highly aestheticised, magical form of fantasy.

He has received the highest awards for his work.

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46

> 48

Jelena Rusjan et al. Škrip

orkestra

spremljevalni program accompanying programme

Screech Orchestra

> 50

Duda Paiva Love

Dolls

> 52

Bernard-Marie Koltès

Noč čisto na robu gozdov The Night Just Before the Forests

> 54

Marko Mandić, Bojana Kunst, Katarina Stegnar, Uroš Kaurin

Biti Ignacij Borštnik Being Ignacij Borštnik

47

spremljevalni program / accompanying program koprodukcija coproduction Gledališče Glej, Mesto žensk 16. 10. 2010, 23.00 amfiteater II. gimnazije Predstava traja 1 uro in nima odmora.

Running time 1 hour. No interval.

Jelena Rusjan in izvajalke Jelena Rusjan and company

Škrip orkestra Screech Orchestra Premiera Opening 16. 9. 2009 Gledališče Glej (v okviru festivala Ex Ponto/a performance at the Ex Ponto festival)

Režiserka Director Jelena Rusjan Soavtorja besedila Co-authors Jure Novak, Andreja Kopač Nastopajo Cast Jelena Rusjan Boris Vlajič Ana Franjić Gostje Guests Andreja Kopač Leja Jurišič Urška Vohar Neja Tomšič

Škrip orkestra je avtorski prvenec igralke in plesalke Jelene Rusjan. Gre za raziskavo glasbeno-gledališke forme, kjer se mračne teme nasilja, osebne odgovornosti in izgubljenih otroštev soočajo z razgibano estetiko kiča noir.

Predstava svoje navdihe poišče v širokem polju, od temačnega McDonaghovega Pillowmana in Andersenovih zgodb do igrivega Tima Burtona, ljudske glasbe in brezkompromisnega panka. V okviru gledališkega projekta je nastala glasbena zasedba, ki pa se ne more ogniti svojim igralskim koreninam. Izvajalke bodo na odru prek zgodb o mučenih in zlorabljenih otrocih predstavljale predvsem sebe. Ključna lastnost predstave Škrip orkestra je zaostren odnos med lahkotnejšimi pop vzorci in resnobno, skoraj težaško vsebino, prek katerega se izpostavlja vprašanje odgovornosti (vsakršnega) avtorja do svojega družbenega in kulturnega okolja ter smotrnosti iskanja najučinkovitejših izraznih form.

Screech Orchestra, the first auteur project by the actress and dancer Jelena Rusjan, is an exploration of a form of theatre where the obscure forces of violence, personal responsibility and lost childhoods face the variegated aesthetics of kitsch-noir. The performance draws its inspiration from a great variety of sources, from the darkness of McDonagh’s Pillowman and Andersen’s tales, to the playful Tim Burton, from folk song and uncompromising punk. The project resulted in a musical cast unable to avoid its theatrical roots. Through stories of tormented and abused children, the performers present mainly themselves on stage. The key feature of the Screech Orchestra is a critical relation between lighter pop patterns and serious, almost weighty, content used to establish the issue of artists’ responsibility towards their social and cultural environment, as well as to seek the most effective forms of expression.

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DANKO MAJKIČ

spremljevalni program / accompanying program showcase koprodukcija coproduction Lutkovno gledališče Ljubljana, Dudapaiva Company 17. 10. 2010, 21.00 velika dvorana – tribuna Predstava traja 1 uro in nima odmora. Samo za odrasle.

Running time 1 hour. No interval. Adults only.

Duda Paiva

Love Dolls Plesna ekstravaganca, parada popularne glasbe, lepega vedenja in alternativnega ljubljenja.

A ballroom extravaganza, a parade of popular music and erotic alternatives.

Premiera Opening 15. 9. 2009 Veliki oder, Lutkovno gledališče Ljubljana

Scenarij in režija Script and direction Duda Paiva Dramaturg Dramaturge Jaka Ivanc Glasba Music by Allan Segall Svetovalec za glasbo Music consultant Augusto Valença Oblikovanje svetlobe Lighting design Hans C. Boer, Mark Verhoef Umetniško svetovanje Artistic consultant Paul Selwyn Norton Likovna zasnova lutk Puppet design Duda Paiva Izdelava lutk in scene Puppet and stage construction Jože Lašič, Duda Paiva, Iztok Bobić, Sandra Birjukov, Marjeta Valjavec, Smrekca, d. o. o., Jože Zalar ml., s. p.

Oblikovanje scene Stage design Andre Mello Oblikovanje kostumov Costume design Javier Murugarren, Sandra Birjukov, Marjeta Valjavec Plesni učitelj Dance instructor Tomaž Ambrož Izvajalci glasbe Music performed by Urša Pavlovčič (violončelo cello), Rok Felicjan (klarinet clarinet), Marko Jurečič (tolkala percussion) Zasedba Cast Miha Arh Polonca Kores Maja Kunšič Iztok Lužar Asja Kahrimanović Martina Maurič Lazar Augusto Valença

Pretresljiva, radikalna in angažirana lutkovna predstava govori o alienaciji kot problemu sodobnega človeka. Odsotnost komunikacije se odraža tudi v njegovi intimi. Junaki v predstavi se zaradi nezmožnosti za partnerstvo in bližino toplega, a zahtevnega človeškega bitja raje odločajo za ljubezen z lutkami, v katere lahko projicirajo svoje sanje, želje in pričakovanja. Zgodba, trpka podoba naše družbe, se odvija v kleti neke stavbe, skriti pogledom ljudi in zakona ... Love Dolls je mojstrski plesni vrtinec lutk, ljudi in čustev ob izvrstni glasbi v živo.

A shocking, radical, engaged puppet show speaks about alienation as a problem for the modern individual. The absence of communication is reflected in intimate lives. The heroes in show are incapable of sustaining a relationship, being near a warm but demanding human being, so they decide to love dolls. They can project their dreams, wishes and expectations onto the dolls. The story, a bitter echo of our society, takes place in the basement of a building, hidden from the eyes of people and the law. Love Dolls is a masterfully created whirlwind of puppets, people and emotions, accompanied by excellent live music.

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ŽIGA KORITNIK

spremljevalni program / accompanying program koprodukcija coproduction Mini teater Ljubljana, ARL Dubrovnik, Novo Kazališče Zagreb 19. 10. 2010, 19.00 mali oder Predstava traja 1 uro in nima odmora.

Running time 1 hour. No interval.

Bernard-Marie Koltès

Noč čisto na robu gozdov The Night Just Before the Forests Naslov izvirnika Original title: La nuit juste avant les forêts Premiera Opening 1. 12. 2009 Mini teater Ljubljana

Prevajalka Translator Suzana Koncut Režiser Director Ivica Buljan Scenograf Set design Slaven Tolj Avtor glasbe Music by Mitja Vrhovnik Smrekar Fotograf Photographer Miha Fras Igra Cast Robert Waltl

Osamljen moški na ulici v dežju govori drugemu moškemu, čigar obstoj se nam ne zdi vprašljiv. Od njega noče ničesar, če pa že kaj hoče, je prošnja hkrati tako silovita in zmedena, da je skoraj svoje lastno zanikanje. Ni akcije, ni odgovora, strukturo besedila določajo pojemanja in izpadi govorčevih misli. Besedilo steče v eni sapi, brez ostrih ločil, kot bi hitrost govora onemogočala vsak nezavedni ali miselni premor.

Motivi so poročila, v prvih dveh in v zadnjem govorec nastopa kot žrtev, v drugih pa zgolj kot gledalec, vendar kot zaprepaden in občutljiv gledalec.

Kot bi odsekal prekinjeno hrepenenje po lepem dekletu z očmi, ki se bleščijo, »kot bi si lahko samo zamislil«, in ki ga vabi, naj gre z njo »lovit podgane«. Nato še zgodba o ženski, kurbi, ki se je na pokopališču nažrla zemlje, ker je hotela umreti. In še o eni kurbi, ki je skozi okno zmetala obleko svoje stranke. Vsi motivi žensk govorijo o ljubezni, sovraštvu, smrti, potlačenosti.

Smrt je že tu, nori vojaki, general iz Nikaragve, ki pobija ptice, da bi jim preprečil leteti, in njihova žrtev je ubogi govorec.

A lonely man in the street stands in the rain and speaks to another man whose presence does not seem to be questionable. He does not want anything from him, or, if he wants something, the request is so forceful and confused at the same time that it almost denies itself. There is no action, no response; the text alternately fades away and erupts along with the speaker‘s thoughts. It is spoken in one breath, without sharp punctuation, as if the speed with which it is spoken forestalls any unconscious mental pause.

The motifs are wrapped in the speaker‘s reports. In the opening two and the concluding one the speaker is a victim, while in others he is rather a viewer, although a bewildered and sensitive one. As if he cut off the longing for a beautiful girl with sparkling eyes who invites him to join her in the “hunt for rats.” Then a story about a woman in the graveyard, a whore, gulping down earth because she wanted to die. And about another whore who threw her customer‘s clothes through the window. All motifs involving women speak about love, hatred, death and submission. Death is already there, crazy soldiers, a general from Nicaragua who kills birds to stop them from flying, and their victim is the poor speaker.

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URŠKA BOLJKOVAC

spremljevalni program / accompanying program showcase koprodukcija coproduction Via Negativa, Gledališče Glej 23. 10. 2010, 17.00 mali oder Predstava traja 2 uri in ima dva odmora.

Running time 2 hours. Two intervals.

Marko Mandić, Bojana Kunst, Katarina Stegnar, Uroš Kaurin

Biti Ignacij Borštnik Being Ignacij Borštnik Trije performansi iz serije Via Nova Three performances from the Via Nova cycle

Koncept in režija Concept and direction Bojan Jablanovec Producentka Producer Špela Trošt

Viva Mandić Premiera Opening 4. 10. 2009 Stara mestna elektrarna Ljubljana

Zamisel Concept by Marko Mandić, Bojan Jablanovec Izvajalec Performer Marko Mandić Besedilo – utemeljitev komisije za podelitev nagrade Prešernovega sklada za leto 2009 Text – A Defense of the “Prešernov sklad” Award for 2009 Video “Marko” Marko Mandić Video “Mandić” Bojan Jablanovec

Tega nihče ne bi smel videti No One Should Have Seen This Premiera Opening 26. 6. 2009 ZKM Zagreb

Besedilo Text Bojana Kunst, Katarina Stegnar Izvajalki Performers Alja Predan, Katarina Stegnar

Tonight I Celebrate Premiera Opening 7. 10. 2009 Stara mestna elektrarna Ljubljana

Zamisel Concept by Uroš Kaurin, Bojan Jablanovec Besedilo Text Bojan Jablanovec Izvajalca Performers Uroš Kaurin, Tomaž Grom Glasbene priredbe Music adaptation Tomaž Grom

VIA NOVA je serija (trenutno trinajstih) performansov, v katerih poglabljamo vprašanja o razmerjih med starim in novim, kreacijo in destrukcijo, teorijo in prakso, sodobnostjo in tradicijo, prisotnostjo in odsotnostjo … To so performansi manjšega formata, ki jih povezujemo v nove vsebinske celote, in to z namenom, čim bolj neposredno nagovoriti kontekst, v katerem jih predstavljamo.

Biti Ignacij Borštnik je skupni naslov treh performansov iz serije Via Nova, ki se s svojimi vsebinami navezujejo na kontekst BS in so pod tem naslovom povezani prvič. Vsak podaja enega od možnih odgovorov na vprašanje, kaj pomeni biti Ignacij Borštnik: 1. uporabljati talent do zadnje kapljice znoja, 2. vztrajati pri ambiciji ne glede na ceno, 3. ljubiti gledališče in svojo publiko do onemoglosti.

VIA NOVA is a cycle of performances (thirteen at present) in which we engage with questions about relations between old and new, creation and destruction, theory and praxis, contemporaneity and tradition, presence and absence. We link these mostly small-scale performances into new entities to directly address the context in which they are presented.

Being Ignacij Borštnik is the overall title for three Via Nova performances that are closely related to the context of Maribor Theatre Festival and have been linked for the first time under this title. Each performance offers one possible answer to the question of what it means to be Ignacij Borštnik: 1. To use one’s talent to the utmost. 2. To pursue one’s ambitions no matter the price. 3. To love the theatre and its audience unconditionally.

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MARCANDREA

56

> 58

Jernej Lorenci Meso

> 60

Ivica Buljan, Jerome David Salinger, Bernard-Marie Koltès Ma &

< 32

Oliver Frljić et al. Preklet

< 34

Ingmar Bergman Persona

< 36

Sebastijan Horvat et al. Manifest

< 38

Patrick Marber Od

< 40

Bertolt Brecht Malomeščanska

K.

blizu Closer svatba

A Respectable Wedding Ernst Lubitsch Ko

sem bil mrtev

When I Was Dead

< 50 < 54

Duda Paiva Love

Al

naj bo izdajalec svoje domovine!

Damned Be the Traitor to His Homeland!

< 42

showcase

ali Razodetje Flesh or Revelation

Dolls

Marko Mandić, Bojana Kunst, Katarina Stegnar, Uroš Kaurin

Biti Ignacij Borštnik Being Ignacij Borštnik

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showcase Lutkovno gledališče Maribor 20. 10. 2010, 21.00 & 23.00 minoriti – lutkovno gledališče maribor Predstava traja 1 uro 15 minut in nima odmora.

Running time 1 hour 15 minutes. No interval.

Premiera Opening

Jernej Lorenci

Meso ali Razodetje Flesh or Revelation Režiser Director Jernej Lorenci Oblikovalec lutk Puppets designer Gregor Lorenci Scenograf Set designer Branko Hojnik Kostumografinja Costume designer Belinda Radulović Avtor glasbe in korepetitor Composer and conductor Branko Rožman Igralci/animatorji Cast Aja Kobe Zvezdana Novaković k. g. as guest Elena Volpi Andrej Vršič Anže Zevnik

Meso je.

Tudi razodetje?

Se ima v resnici zgoditi apokalipsa?

Klic v nebo. Klic onkraj. Krik.

Kako zvenijo velike besede človeka, ko prenehajo biti človeške?

Je to Knjiga vseh knjig? Confessiones? Rekviem?

Ko slišim sebe skozi nejaz, ko spregovori materija (= mrtvo) – ko stopi na moje obupano mesto – kako zvenim?

Ko nimam obraza in ostane le glas. In telo. Ki je meso.

Kako zveni meso?

Moj obraz je maska, ki je ni mogoče sneti.

Moje telo boli.

Moj glas išče zven pred končnim piskom.

Moje meso nima imena.

There is flesh.

Is there a revelation as well?

Is there an apocalypse to come?

Call to the sky. Call above. Scream.

What is the sound of great human words after they stop being human?

Is that The Holly Book? Confessiones? Requiem?

When I hear myself through not-me, when dead substance starts talking – when it takes my desperate place – how do I sound?

Only my faceless voice remains. And my body. My flesh.

What is the sound of my body?

My face is a fixed mask.

My body hurts.

My voice searches for its sound before the final wheeze.

My flesh is nameless.

Umetnost gledališča naj bi po eni izmed teorij nastala iz kulta oživljanja mrtvih, vračanja v prazačetek, v točko singularnosti.

Umetnost lutke je umetnost oživljanja mrtvega, prastari arhetip totema in klana: božansko/transcendentno je navzoče v (navidezno) mrtvem, do kraja zgoščenem, možnem, zato tudi nepredvidljivo nevarnem.

Ustvariti želimo nekakšen radikalno morbiden, mrtev, muzejski, pozabljeni svet (s preparati, okostji in živalskimi replikami), da bo ta po poti humorja in posledično absurda to »dvakrat mrtvo« dvignil v polje neznanske živosti.

V prispodobi tako skušamo poustvariti univerzalni odrski jezik, temelječ na arhetipski simboliki, ki bi bil sposoben nagovoriti vsakogar.

According to some theories, theatre as an art form originates from the cult of resurrection of the dead, returning to the ancient source, into the state of singularity.

Puppetry is the art of resurrection of the dead, the metaphor for the archetypical relation between a totem and a clan: divine/transcendent is present in apparently dead, concentrated, and possible, therefore unpredictably dangerous.

The play is forming a radically morbid, dead, ancient, and forgotten system (with taxidermic reproductions, skeletons, and unrealistic hybrids), to make this “twice dead” world intensely alive by the means of humour. The main purpose is to form a universal performing style, based on archetypical symbols, possible to address everyman.

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GREGOR LORENCI

showcase koprodukcija coproduction Mini teater Ljubljana, Kazalište Hotel Bulić Zagreb 21. 10. 2010, 18.00 mali oder Predstava traja 1 uro 15 minut in nima odmora.

Running time 1 hour 15 minutes. No interval.

Ivica Buljan, Jerome David Salinger, Bernard-Marie Koltès

Ma & Al Premiera Opening 12. 1. 2010 Mini teater Ljubljana

Režiser in avtor besedila Written and directed by Ivica Buljan Avtor glasbe Music by Mitja Vrhovnik Smrekar Kostumografinja Costume designer Ana Savić-Gecan Glasbenika Musicians Andraž Mazi/Miha Meglič Igrata Cast Senka Bulić Marko Mandić

Trije monologi performansa simbolično predstavljajo novi izdvojen fiktivni svet, ki se predstavlja kot realen in kot nadaljevanje gledališkega in književnega prostora. Teme, ki jih odpira predstava, so raznovrstne in vsakodnevne: smrt otroka, razpad družine, ameriška demokracija, vojna v Vietnamu, odnos med klasičnim in sodobnim gledališčem, umetnost vojskovanja, nezmožnost komunikacije med otroki in starši, moč in osamitev; vse skupaj istočasno organizirajo logiko scenske montaže.

Three performance monologues symbolically represent a new fictive world that separates and presents itself as real and as a continuation of theatrical and literary space. The themes broached by this performance are versatile and everyday: the death of a child, dispersal of a family, American democracy, war in Vietnam, the relationship between classic and modern theatre, the art of warfare, the failure of communication between children and parents, power and isolation; in combination, these make up simultaneously the logic of stage composition.

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KSENIJA PUČAK

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mostovi

mednarodni program

bridges

> 64

international programme

Boris Bakal, Katarina Pejović

Počitek od zgodovine Vacation from History

> 65 Menažerija The Menagerie > 66

Aleksandar Popovski, Jelena Mijović

Metamorfoze Metamorphoses > 67 Miza The Table > 68

Georg Büchner

Leonce in Lena Leonce and Lena

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mostovi / bridges Bacači sjenki Shadow Casters, Zagreb, Hrvaška/Croatia 17. 10. 2010, 17.00 & 22.00 kazinska dvorana Predstava traja 2 uri in nima odmora.

Running time 2 hours. No interval.

Boris Bakal, Katarina Pejović

Počitek od zgodovine Vacation from History Naslov izvirnika Original title: Odmor od povijesti Premiera Opening 1. 4. 2008 Knjižnica Bogdan Ogrizović Library

BACAČI SJENKI

Koncept Concept by Boris Bakal Avtorja scenarija in režiserja Scenario and directing Boris Bakal, Katarina Pejović Dramaturga Dramaturges Katarina Pejović, Boris Bakal Avtorji in izvajalci Authors and performers Damir Klemenić, Jelena Lopatić, Bojan Navojec, Marija Škaričić, Stanko Juzbašić, Katarina Pejović, Boris Bakal Soustvarjalci (scena, kostum, oblikovanje, tehnika) Collaborators (scenery, costumes, design, technology) Željko Zorica, Barbara Blasin, Stjepan Filipec, Martina Franić, Ognjen Bogojević, Milan Žerjav, Iva Aras

Počitek od zgodovine je magična pravljica na meji med sanjami in realnostjo, v kateri občinstvo – oropano klasičnega gledališkega rituala in distance – sodeluje z vso svojo bitjo.

A Vacation From History is a magical journey unfolding on the border between dream and reality in which the audience – deprived of the usual theatrical ritual and spectator’s distance – takes part with their entire being.

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mostovi / bridges HKD Teatar, Reka, Hrvaška/Rijeka, Croatia 17. 10. 2010, 18.00 mali oder Predstava traja 1 uro in nima odmora.

Running time 1 hour. No interval.

Menažerija The Menagerie Po motivih Tennesseeja Williamsa Based on Tennessee Williams Premiera Opening 11. 3. 2009 HKD Teater Rijeka

Režiserka Director Anica Tomić Dramaturginja Dramaturge Jelena Kovačić Oblikovalec svetlobe Lighting designer Dalibor Fugošić Oblikovalec zvoka Sound designer Aleksandar Jovanović Izbor in obdelava glasbe Music selected and adapted by Frano Đurović

HKD TEATAR

Igrajo Cast Edita Karađole Andreja Blagojević Damir Orlić Dražen Mikulić

Menažerija je navdihnjena z zadnjimi prizori drame Tennesseeja Williamsa Steklena menažerija. V predstavi smo navzoči pri družinski večerji, ki se oplaja in razkraja na osnovi prihoda dolgo pričakovanega gosta. Skozi banalni, vsakodnevni pogovor se nam razkriva globoka emocionalnost, s katero se liki predstave ne želijo ali niso sposobni soočiti. Skozi neštetokrat slišane in ponavljajoče se besede se postavlja vprašanje, ali smo se sposobni v razpadajočih medsebojnih odnosih podati na potovanje v emocionalni svet. Tako v gledališču kot v življenju.

65

The Menagerie was inspired by the closing scenes from Tennessee Williams’ The Glass Menagerie. The viewers are witness to a family dinner that is both crippled and sustained by the imminent arrival of a long-expected guest. The banal, everyday conversations reveal profound emotions which the characters either do not want to confront or are not capable of confronting. The question that transpires through these often-heard conversations is whether we are still capable of venturing into the world of emotions amidst the breakdown of interpersonal relations – in theatre much as in real life.

mostovi / bridges Jugoslovensko dramsko pozorište, Beograd, Srbija/Belgrade, Serbia 18. 10. 2010, 22.00 stara dvorana Predstava traja 2 uri in nima odmora.

Running time 2 hours. No interval.

Aleksandar Popovski, Jelena Mijović

Metamorfoze Metamorphoses Po Ovidiju Based on Ovid Premiera Opening 9. 6. 2010 Velika scena “Ljuba Tadić”

Režiser Director Aleksandar Popovski Dramaturginja Dramaturge Jelena Mijović Scenografija Set design NUMEN Kostumografinji Costume designers Jelena Proković, Svetlana Proković Glasba Music by Silence Koreografinja Choreographer Dalija Aćin Lektorica Language consultant Ljiljana Mrkić-Popović Obrazi Faces Nebojša Glogovac, Tamara Vučković, Nikola Đuričko, Jelena Đokič, Goran Šušljik, Nada Šargin, Radova Vujović, Marija Vicković

JUGOSLOVENSKO DRAMSKO POZORIŠTE

Igrajo Cast Dalija Aćin Luka Lukić Ana Dubljević Darko Bursać

Predstava je sestavljena iz petnajstih prizorov, temelječih na enem ali več antičnih mitih, katerih skupni imenovalec so ljubezenske zgodbe, ki govorijo o plačljivi ljubezni, o preobrazbi zaljubljencev v živali, rastline ali kamen ... V svojevrstni scenski instalaciji, ki se glede na igralske posege v scenografijo spreminja in s tem omogoča odprtost prostora in igre, izvrstni igralci ustvarjajo posebno vzdušje.

Metamorphosis is the normal state of things. Metamorphosis is a transformation of one form into another, and yet another. We endeavor to give a definite form to everything, to have everything stable, unchangeable, given for ever, because this makes us feel more secure. Marriage, work, success, failure. Just tell me if it is a success or a failure; don’t beat around the bush!

But Ovid tells a different story: everything is in metamorphosis. Nothing is given for ever. Tomorrow, you may find yourself transformed into a river, and a tree may change into a stone. It is within us. Metamorphosis is our natural state, and when we become aware of it, our lives will be much easier.

(Aleksander Popovski)

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mostovi / bridges Karbido, Vroclav, Poljska/Wrocław, Poland 20. 10. 2010, 21.00 & 23.00 stara dvorana – tribuna Predstava traja 1 uro in nima odmora.

Running time 1 hour. No interval.

Miza The Table Naslov izvirnika Original title: Stolik Premiera Opening marec March 2006

Zasedba Crew Michał Litwiniec Igor Gawlikowski Paweł Czepułkowski Marek Otwinowski

KRISCWIK

Oblikovalec zvoka Sound engineer Jacek Fedorowicz Oblikovalec svetlobe Lighting designer Tomasz Sikora

Projekt Miza je nastal na osnovi dveh idej – na eni mizi združiti vzhod, zahod, sever in jug ter komunicirati z zvoki instrumentov, ki to niso, ki so le vsem znani navadni predmeti. Inovativni pristop h glasbi, gledališču – poslušaš, gledaš, slediš detajlom … Predstava je v sklopu alternativnega programa PPA-ja (festivala odrskega petja) na Poljskem prejela prvo nagrado, sledilo je povabilo na Edinburški festival, kjer je prejela pet zvezdic.

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The Table project stemmed from two ideas: to bring together at one table the east, the west, the north and the south, and to communicate through the sounds of instruments that are not instruments but ordinary objects we all know. This is an innovative approach to music and theatre – the spectator listens, views and observes the details. The performance received the major award at the PPP festival of alternative theatre in Poland and was invited to appear at the Edinburgh Festival, where it was graded with 5 stars.

mostovi / bridges Maladype, Budimpešta, Madžarska/Budapest, Hungary 21. 10. 2010, 22.00 velika dvorana – tribuna Predstava traja 3 ure in ima enega ali dva odmora.

Running time approx 3 hours. One or two intervals.

Georg Büchner

Leonce in Lena Leonce and Lena Naslov izvirnika Original title: Leonce und Lena Premiera Opening 9. 5. 2008 Bárka Theatre

Prevajalca v madžarščino Hungarian translation Gábor Thurzó, György Rónay Režiser Director Zoltán Balázs Scenografinja Set designer Judit Gombár Dramaturginja Dramaturge Judit Góczán Asistentka režiserja Assistant director Mirella Mátrai Producent Production manager Balázs Erős

HEKTOR

Igrajo Cast Kralj Peter, Princ Leonce, Valerio King Peter, Prince Leonce, Valerio Zénó Faragó, Ákos Orosz, Zoltán lendváczky, Zsolt Páll, Ádám Tompa Princesa Lena, Guvernanta, Rozeta, Predsednik državnega sveta Princess Lena, The governess, Rosetta, The Court Kamilla Fátyol, Judit Ligeti-Kovács, Erika Tankó Tolkala Percussions Kornél Mogyoró

Predstava Leonce in Lena, nastala po znani Büchnerjevi dramski predlogi, je specifična po svoji dramaturgiji, saj se vsak večer na vsakem novem prizorišču rodi znova. Odvisno od trenutka, vzdušja in reakcij občinstva igrajo igralci v različnih prizorih različne vloge in jih kombinirajo po trenutnem navdihu.

Due to unique dramaturgy that playfully combines the precise elaboration of the work with the single and unrepeatable experience of “happening here and now”, the performance of Leonce and Lena is different every night, but always valid and current for the day it has been born.

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generacije

program za mlade

generations

> 70

Matija Solce Štirje

youth programme

muzikanti

The Town Musicians of Bremen

> 71

Gregor Fon Pes,

pizda in peder

Pooch, Pussy and Poof

> 72

Andrés Valdés V

šalo zavite resnice

Truths Wrapped in Humour

> 73

Venedikt Jerofejev Moskva-Petuški

Moscow-Petushki

> 74

Fran Levstik, Ira Ratej

Martin in Gregor ali od junaka do bedaka Martin and Gregor or From a Hero to a Fool

> 75

France Prešeren Krst

pri Savici

The Baptism at the Savica

> 76

Carlo Collodi, Jernej Lorenci Ostržek

Pinocchio

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generacije / generations Lutkovno gledališče Ljubljana 16. 10. 2010, 10.00 stara dvorana – tribuna Predstava traja 55 minut in nima odmora.

Running time 55 minutes. No interval.

4+

Matija Solce

Štirje muzikanti The Town Musicians of Bremen Premiera Opening 22. 4. 2010 Veliki oder, Lutkovno gledališče Ljubljana

Režiser Director Matija Solce Dramaturginja Dramaturge Jelena Sitar Cvetko Avtor glasbe Music by Matija Solce Oblikovalka lutk, kostumov in scene Puppet, costume and stage designer Marianna Stránská Oblikovalec svetlobe Lighting designer Božidar Miler Lektorica Language consultant Tatjana Stanič

ŽIGA KORITNIK

Zasedba Cast Martina Maurič Lazar Gašper Malnar Miha Arh Polonca Kores Zvonimir Urbič

Znana ljudska pravljica o bremenskih godcih je bila uveljavljenemu lutkovnemu ustvarjalcu Matiji Solcetu izhodišče za živahno in prijazno glasbenolutkovno predstavo. Štiri živali se, tako kot v znani pravljici, odpravijo na pot in v mestu presenetijo ljudi s svojo glasbo. Otroci sodelujejo tako pri potovanju, ker lesene lutke zapustijo oder in stopijo med gledalce, kot pri koncertu, ko z lutkami zapojejo. Občinstvo sedi kar na odru, zato lahko otroci opazujejo gledališče tudi s te, manj običajne, a prav tako zanimive strani.

This well known folk tale of the musicians of Bremen gave Matija Solce, an established puppet artist, the foundation for a lively and charming performance, which combines puppets and music. As they do in the fairy-tale, the four animals make a journey, and they surprise the town folk with their music. The children get to participate in the journey when the puppets walk off the stage and mingle with the audience, as well as in the concert, when they sing with the puppets. The audience sit right on the stage, so the children have the opportunity to see the theatre from this, less common, but just as interesting point of view.

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generacije / generations koprodukcija coproduction Mestno gledališče ljubljansko, Zavod Imaginarni 18. 10. 2010, 18.00 mali oder Predstava traja 1 uro 30 minut in nima odmora.

Running time 1 hour and 30 minutes. No interval.

15+

Gregor Fon

Pes, pizda in peder Pooch, Pussy and Poof Krstna uprizoritev First production Premiera Opening 21. 4. 2010 Mala scena, Mestno gledališče ljubljansko

Režiser Director Primož Ekart Dramaturginja Dramaturge Eva Mahkovic Scenograf Set designer Tomaž Štrucl Kostumografinja Costume designer Elena Fajt Oblikovalec svetlobe Lighting designer Boštjan Kos Avtor glasbe Music by Silence Lektorica Language consultant Maja Cerar Asistentka kostumografinje Assistant costume designer Mateja Velikonja

PETER UHAN

Igrajo Cast Sebastijan Cavazza k. g. as guest Gašper Tič Gregor Gruden Petra Veber Rojnik

V lokalu, ki je tako zelo izoliran od zunanjega sveta, da mobilni telefoni ne lovijo signala, se odvije spopad treh ljudi, treh različnih pogledov na življenje, ki jim je skupno zgolj to, da nimajo nič skupnega. Vsi pa nam zrcalijo izpraznjenost medčloveških odnosov in površinskost sveta, v katerem živimo.

Pod površino njihovega dialoškega stampeda, ki je nabit s cinizmom, ironijo in zabavnimi anekdotami in ki je zaradi vedno večjih količin alkohola vedno bolj brutalen in neusmiljen, se da zaslutiti, da je njihovo prijateljstvo že davno mrtvo, če je sploh kdaj obstajalo. Vonj tega razpadajočega trupla sikne to noč na plano in zastrupi zrak, ki ga dihajo, ter izniči zadnje ostanke prijateljstva in človeškega dostojanstva, ki so ga morda še premogli. In tudi jutro ne bo prineslo odrešitve.

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In a bar so isolated not even mobile phones have any signal, a confrontation takes place among three people. They see life from different perspectives, and the only thing they have in common is that they have nothing in common. And so each portrays the emptiness of human relations and the superficial nature of the world we live in.

The verbal stampede of cynicism, irony and funny anecdotes becomes ever more brutal, as the amount of consumed alcohol increases, and one can sense that their friendship has long since vanished - if it ever even existed.

The pungent smell of this decaying corpse seeps out, poisoning the air they breathe, wiping away any last trace of friendship and human dignity they might have had. And the morning will bring no salvation.

generacije / generations Andrés Valdés 19. 10. 2010, 18.00 komorni oder Predstava traja 1 uro in nima odmora.

Running time 1 hour. No interval.

13+

Andrés Valdés

V šalo zavite resnice Truths Wrapped in Humour Premiera Opening 1. 4. 2010 Klub Cankarjev dom

Ideja, scenarij in režija Concept, script and direction Andrés Valdés Izvajalci Performers Andrés Valdés Jana Kovač Valdés

SAŠO ŠTIH

Povezovalka Moderator Veronika Valdés

Po uspešnem ustvarjanju za mlade se Andrés Valdés s predstavo V šalo zavite resnice na gledališke deske vrača k ustvarjanju za odrasle. Z mehko izraznostjo in neverjetno gibljivostjo telesa nas popelje v svet »čiste« pantomime, s katero ilustrira znane domače in mednarodne pregovore. Sproščujoči pantomimski prizori razkrivajo in prikazujejo resničnost našega bivanja. V kratkih zgodbah se zrcalijo optimizem in življenjske resnice. Življenje je preplet nepredvidljivih, tudi krutih dogodkov, v katerih vselej odsevata lepota in skladnost.

Andrés Valdés returns to the stage with the performance, Truths Wrapped in Humour, after a period of successful productions for young people. The soft expressiveness and staggering mobility of the body transpose us to the world of “pure” pantomime, illustrating well-known domestic and foreign sayings. Relaxing scenes reveal the reality of our existence. Short stories reflect optimism and life truths. Life is a concatenation of unpredictable events, some cruel, but invariably combining beauty and harmony.

72

generacije / generations koprodukcija coproduction Zavod Imaginarni, Društvo Familija 19. 10. 2010, 22.00 jazz klub satchmo Predstava traja 1 uro 15 minut in nima odmora.

Runnig time 1 hour 15 minutes. No interval.

15+

Venedikt Jerofejev, Primož Ekart

Moskva–Petuški Moscow–Petushki Krstna uprizoritev First production Premiera Opening 20. 11. 2009 Variete Kavarna Union

Prevajalec Translator Drago Bajt Režiser Director Primož Ekart Avtor dramatizacije in songov Dramatization and songs Primož Ekart Glasba Music by Marko Brdnik, Luka Ropret Kostumografinja Costume designer Meta Sever Oblikovalka svetlobe in zvoka Lighting and sound designer Blaž Celarec Oblikovanje Design Neja Engelsberger Fotograf Photographer Peter Uhan

PETER UHAN

Igrajo Cast Primož Ekart Žiga Saksida Luka Ropret Marko Brdnik

Venja potuje z vlakom iz Moskve, s Kurskega kolodvora, do Petuškov, 130 kilometrov oddaljene postaje, kjer ga pričakuje (trenutna) ljubezen njegovega življenja. Med potjo nam skozi vse močnejše filozofsko-pijanske blodnje izkazuje svoj odpor do sveta, v katerem živimo. Lumpenproletarec Venja je pesnik, kurbir in pianist, metafizik, iskalec boga in najditelj raja na zemlji, imenovanega Petuški; med mnogimi drugimi stvarmi tudi izumitelj opojnih napitkov z imeni: Komsomolska zvezda, Kanaanski balzam in Pasja čreva; polagalec telefonskih kablov na moskovskem letališču Šeremetjevo, pa tudi avtor domoljubne izjave, izrečene v globokem duhovnem deliriju: Spremenili ste mojo deželo v posran pekel, kjer je smeh dovoljen, solze pa prepovedane!

73

Venya travels on a train from Moscow to Petushki, 130 km away, to meet the (current) love of his life. As the journey unfolds, his aversion for the world emerges in the form of increasingly fervent philosophical-drunken drivel.

The lumpenproleterian Venya is a poet, womanizer and a drink-artist, a meta-physicist, a seeker of God and the finder of a paradise on earth called Petushki; among other things, he is the inventor of intoxicating potions called Komsomol Star, The Balsam of Caanan and Dog Guts; he is also a cable-fitter at the Moscow Sheremetyevo airport and the author of a patriotic statement uttered in profound spiritual delirium: You turned my country into a shitty hell where laughter is allowed and tears are forbidden.

generacije / generations Cankarjev dom Ljubljana 20. 10. 2010, 12.00 amfiteater II. gimnazije Predstava traja 55 minut in nima odmora.

Running time 55 minutes. No interval.

11+

Martin in Gregor ali od junaka do bedaka Martin and Gregor or From a Hero to a Fool Po motivih Frana Levstika Based on the story by Fran Levstik Premiera Opening 14. 1. 2010 Štihova dvorana, Cankarjev dom

Režiser Director Matjaž Latin Priredba besedila Adaptation Ira Ratej Kostumografinja Costume designer Barbara Stupica Scenografinja Set designer Barbara Stupica Avtor glasbe Music by Boštjan Gombač Lektorica Language consultant Maja Cerar Oblikovalec zvoka Sound designer Samo Brnović Oblikovalec svetlobe Lighting designer France Albreht

NADA ŽGANK / MEMENTO

Igrata Cast Martin Krpan Pavle Ravnohrib Gregor Boštjan Gombač

Premeteni tihotapec soli, ki dunajski dvor reši pred nadležnim Brdavsom, je utelešenje moči, zdrave pameti in ponosa. Na njem ni nič hlapčevskega, nič ne dvomi in ničesar ga ni strah. Danes, ko nam je vsem sojeno po petnajst minut slave in je vsak izmed nas nekakšen glavni junak v območju lastne mini žajfnice, včasih pozabljamo, iz kakšne snovi so resnični junaki. Zato smo se odločili, da Martin Krpan znova stopi med nas. Oživljen na sodoben način z obilo refleksije na današnji čas; z »dvobojem« med Gregorjem, tipičnim predstavnikom oblastniške “noveau riche”, ter silakom Martinom Krpanom, ki je zavezan vrednotam in resnici.

A cunning salt-smuggler, engaged in saving the Vienna court from the troublesome Brdavs, Krpan epitomises strength, common sense and pride. He displays not a trace of servility; he has neither doubts nor fears. In the present, when we all get our fifteen minutes of fame, and each of us is a kind of protagonist in their own mini soap opera, we tend to forget what stuff real heroes are made of. We have therefore decided to allow Martin Krpan once again into our midst. Brought to life in a contemporary way, with profuse reflection on the present, the drama features a »duel« between Gregory, a typical representative of the authoritative “nouveaux riches”, and the herculean Martin Krpan, dedicated to human and moral values as well as truth.

74

generacije / generations Lutkovno gledališče Maribor 20. 10. 2010, 18.00 minoriti – lutkovno gledališče maribor Predstava traja 45 minut in nima odmora.

Running time 45 minutes. No interval.

Premiera Opening

9+

Krst pri Savici The Baptism at the Savica Po Francetu Prešernu Based on France Prešeren

Režiserka Director Andreja Kovač Lektorica Language consultant Metka Damjan

TADEJ VINDIŠ

Igrajo Cast Maksimiljan Dajčman Metka Jurc Davorin Kramberger Danilo Trstenjak Barbara Jamšek k. g. as guest Maruša Majer k. g. as guest Vito Weis k. g. as guest

France Prešeren je eden izmed najpomembnejših slovenskih pesnikov, Krst pri Savici pa njegovo najkompleksnejše delo. Snov lirsko-epske pesnitve, pokristjanjevanje Slovanov v poznem 8. stoletju našega štetja, predstavlja inspirativno podlago za lutkovno vizualizacijo kolektivnih in individualnih čustvenih stanj.

Ko se sanje spremenijo v prah in je zadnja bitka izgubljena, se mladi vojskovodja Črtomir vrne domov, da bi še poslednjič objel svojo ljubljeno Bogomilo. A med njegovo odsotnostjo je Bogomilo premamila lepota večne ljubezni, ki jo obljublja nova vera. V upanju, da bosta v posmrtnem življenju za večno skupaj, se pod slapom Savica poganski veri svojih prednikov odreče še zadnji slovenski junak Črtomir.

75

France Prešeren is generally regarded as the national poet. “The Baptism at the Savica” is Prešeren’s most comprehensive poem. Set during the religious wars between pagan Slovene ancestors and the overpowering forces of Christianity in the late 8th century, it offers a rich puppet theatre inspiration for embodying collective and individual emotional states.

When dreams collapse into dust and the last battle is lost, a young general, Črtomir, returns home to meet his beloved Bogomila for the last time. But while he was away fighting, she was drawn to the idea of the afterlife, where she and Črtomir would love each other for all eternity. Bogomila has turned to Christianity, and under the Savica waterfall Črtomir, the last Slovene hero, also renounces the religion of his ancestors.

generacije / generations Lutkovno gledališče Maribor 22. 10. 2010, 17.00 amfiteater II. gimnazije Predstava traja 1 uro in nima odmora.

Running time 1 hour. No interval.

9+

Carlo Collodi, Jernej Lorenci

Ostržek Pinocchio Premiera Opening 6. 10. 2007 Lutkovno gledališče Maribor

Režiser in dramaturg Director and dramaturge Jernej Lorenci Oblikovalec lutk Puppet designer Gregor Lorenci Scenograf Set designer Branko Hojnik Kostumografinja Costume designer Belinda Škarica Radulović Avtor glasbe Music by Branko Rožman Oblikovalec svetlobe Lighting designer David Orešič

Igrajo Cast Petra Caserman Maksimiljan Dajčman Karla Godič Metka Jurc Davorin Kramberger Andrej Murenc k. g. as guest

Ostržek se je rodil kot lesena, nerodna in nevedna lutka. Ni imel mame. Imel je očeta. In oče ga je imel zelo rad. Toda Ostržek ni vedel, kaj je ljubezen, in ni vedel, kaj pomeni imeti rad. Zato je bil včasih tudi zloben. Mislil je, da lahko počne, kar koli ga je volja, da je ves svet samo zaradi njega, da je vse samo zato, da je njemu lepo. In da je lepo samo to, kar je lepo njemu. Da lepo nima zveze z drugimi.

Le počasi se je učil, da je življenje zmeraj z drugimi, da nisi nikoli sam. Da pravzaprav nihče noče biti sam.

Potem je Ostržek hotel postati pravi otrok, pravi fant. Nič več ni hotel biti le lutka. Dovolj mu je bilo lesa. Les nima srca. On pa je hotel srce – da bi čutil, da bi bil živ.

Zato je moral spoznati strah. Ni človeka brez strahu, so mu povedali. Zato se ni več bal strahu, čeprav ga je bilo strah. Šele takrat je postal pravi fant.

A še zmeraj ga je bilo strah.

A zdaj je sam vedel, da ni človeka brez strahu.

DAVID OREŠIČ

Glasbeniki Musicians Aleksandar Kuzmanovski (čelo cello) Branko Rožman (harmonika accordion) Lovro Turin (klarinet clarinet)

Pinocchio was born a wooden puppet, clumsy and ignorant. He didn’t have a mother, just a father. His father loved him very much. But Pinocchio didn’t know what love was. He didn’t know how to love.

Therefore, ha was often mean. He thought that he could do whatever he liked. He thought that the whole world was meant for him, that the purpose of everything was to satisfy him. He thought that he was the only measure of satisfaction. He thought that life had nothing to do with others.

Slowly, he started to learn that life was always with others, that one was never alone. In fact, nobody wanted to be alone at all.

It was only then that Pinocchio became a real child, a true boy. He didn’t want to be a puppet anymore. He was fed up with wood. Wood didn’t have a heart, but he wanted one – to feel, and to feel alive.

For that reason, he needed to learn about fear. There is no man without fear, so he was told. And he was not scared of fear anymore, although he was afraid.

Only then, and still afraid, he became a boy.

But he knew that there was no man without fear.

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agrft academy of theatre, radio, film and television

> 78 Improvizacije Improvisations > 79 Večer kratkih zgodb Edgarja Alana Poeja A Night of Edgar Alan Poe’s Short Stories

> 80

Jean-Baptiste Poquelin Molière George

Dandin

> 81

Lutz Hübner Marjetka,

str. 89 Gretchen 89ff

> 82

Friedrich Schiller Marija

Stuart Mary Stewart

> 83

Janez Janša

Boga ni. Vse je dovoljeno.

There is no God. Anything Goes.

> 83 Teorija ima talent Theory has Talent > 84

Samuel Beckett

Konec igre Endgame

77

AGRFT ŠTUK 16. 10. 2010, 20.00

Improvizacije Improvisations Produkcija II. semestra dramske igre, gledališke režije in dramaturgije študijskega leta 2009/2010 Performed by 2nd semester acting, theatre directing and dramatrugy students of the 2009/2010 academic year

Režiserji Directors Tjaša Črnigoj, Mateja Kokol, Daniel Day Škufca Dramaturginje Dramaturges Lena Gregorčič, Katarina Košir, Kristina Mihelj, Ana Obreza, Anja Rošker Igrajo Cast Mateja Kokol, Rok Kravanja, Ana Urbanc, Ajda Smrekar, Liza Marija Grašič, Stane Tomazin, Matija Rupel, Vesna Kuzmič, Kaja Tokuhisa, Kristina Mihelj, Robert Korošec, Tjaša Črnigoj, Anja Rošker, Benjamin Krnetić, Lena Gregorčič, Daniel Day Škufca, Ana Obreza, Katarina Košir, Lucija Tratnik Mentorji Mentors Dramska igra in gledališka režija Acting and theatre directing red. prof. Jožica Avbelj Prof., doc. Jernej Lorenci Assist. Prof.

ARHIV AGRFT

Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assist. Prof.

78

AGRFT ŠTUK 16. 10. 2010, 20.45

Večer kratkih zgodb Edgarja Alana Poeja A Night of Edgar Alan Poe’s Short Stories B-produkcije II. semestra dramske igre, gledališke režije in dramaturgije študijskega leta 2009/2010 B-productions by 2nd semester acting, theatre directing and dramatrugy students of the 2009/2010 academic year Premiera Opening 7. 5. 2010 Gledališka predavalnica, AGRFT Ljubljana

Ukradeno pismo The Purloined Letter

Prevod Translated by Jože Udovič Mentorji Mentors Dramska igra in gledališka režija Acting and theatre directing red. prof. Jožica Avbelj Prof. doc. Jernej Lorenci Assist. Prof.

Predstava traja 20 minut in nima odmora.

Running time 20 minutes. No interval.

Režiserka Director Mateja Kokol Dramaturginji Dramaturges Anja Rošker, Katarina Košir

Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assist. Prof.

Igrajo Cast Minister D, Načelnik Prefect G Benjamin Krnetić Kraljica, Anastazija The Queen, Anastacia Ana Urbanc Viktorija Victoria Liza Marija Grašič

Jezik in govor Language and speech izr. prof. Tomaž Gubenšek Assoc. Prof. asist. mag. Alida Bevk Assist.

Konec Usherjeve hiše The Fall of the House Usher

Maškarada Masquerade Po motivih Maske rdeče smrti Based on The Masque of the Red Death

Predstava traja 50 minut in nima odmora.

Running time 50 minutes. No interval.

Predstava traja 40 minut in nima odmora.

Running time 40 minutes. No interval.

Režiser Director Daniel Day Škufca Dramaturginja Dramaturge Kristina Mihelj

Režiserka Director Tjaša Črnigoj Dramaturginja Dramaturge Ana Obreza Zgodba Story Tjaša Črnigoj Dialogi Dialoges Ana Obreza Glasba Music Ram Cunta Koreografinja Choreographer mag. Uršula Teržan MA Kostumografinja Costume designer Lucija Tratnik

Igrajo Cast Roderick Rok Kravanja Thomas Stane Tomazin Madeline Ajda Smrekar

Igrajo Cast E. A. Poe Matija Rupel Moira Vesna Kuzmić Princ Prince Robert Korošec Eleonora Lucija Tratnik

79

AGRFT ŠTUK 17. 10. 2010, 20.00 Predstava traja 1 uro 25 minut in nima odmora.

Running time 1 hour 25 minutes. No interval.

Jean-Baptiste Poquelin Molière George

Dandin

Produkcija VI. semestra dramske igre, gledališke režije in dramaturgije študijskega leta 2009/2010 Performed by 6th semester acting, theatre directing and dramatrugy students of the 2009/2010 academic year Naslov izvirnika Original title: George Dandin ou le Mari confondu Premiera Opening 6. 6. 2010 Gledališka predavalnica, AGRFT Ljubljana

Prevod Translated by Josip Vidmar Režiserka Director Eva Nina Lampič Dramaturginji Dramaturges Urša Adamič, Nuša Komplet Scenograf Set designer Danijel Modrej Kostumografinja Costume designer Tina Kolenik

Mentorji Mentors Dramska igra in gledališka režija Acting and theatre directing red. prof. Kristijan Muck Prof. doc. Branko Šturbej, Assist. Prof. doc. mag. Tomi Janežič Assist. Prof.

Igrajo Cast George Dandin Jernej Čampelj Angelika Angelique Anja Drnovšek Gospa de Sotenville Madame de Sotenville Tina Gunzek Gospod de Sotenville Monsieur de Sotenville Žiga Udir Klitander Clitandre Tadej Pišek Klavdina Claudine Tina Potočnik Lubin Oskar Kranjc

Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assist. Prof.

Scenografija Set design red. prof. Meta Hočevar Prof. doc. mag. Jasna Vastl Assist. Prof.

Kostumografija Costume design izr. prof. Janja Korun Assoc. Prof.

ŽELJKO STEVANIĆ

Jezik in govor Language and speech Tatjana Stanič

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AGRFT ŠTUK 18. 10. 2010, 20.00 Predstava traja 1 uro 10 minut in nima odmora.

Running time 1 hour 10 minutes. No interval.

Lutz Hübner Marjetka,

str. 89 Gretchen 89ff

Produkcija IV. semestra dramske igre, gledališke režije in dramaturgije študijskega leta 2009/2010 Performed by 4th semester acting, theatre directing and dramatrugy students of the 2009/2010 academic year Premiera Opening 11. 6. 2010 Gledališka predavalnica, AGRFT Ljubljana

Črtavec, Freudovec, Začetnica A Hater, A Freudian, A Beginner

Prevajalec Translated by Darko Čuden Mentorji Mentors Dramska igra in gledališka režija Drama acting and theatre directing red. prof. Matjaž Zupančič Prof. doc. Boris Ostan Assist. Prof.

Režiser Director Milan Golob Dramaturga Dramaturges Eva Hribernik, Rok Andres Kostumografinja Costume design Anja Ukovič

Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assist. Prof.

Igrajo Cast Črtavec Hater Klemen Janežič, Barbara Ribnikar, Vid Klemenc Freudovec Freudian Jernej Gašperin, Maruša Majer, Jure Kopušar Začetnica Beginner Saša Pavlin Stošić, Vid Klemenc, Klemen Janežič

Scenografija Set design red. prof. Meta Hočevar Prof. doc. mag. Jasna Vastl Assist. Prof.

Kostumografija Costume design izr. prof. Janja Korun Associate Prof.

Jezik in govor Language and speech doc. dr. Katarina Podbevšek Assist. Prof.

Diva, Dramaturginja, Hospitant A Diva, A Dramaturge, An Attendant

Stara sablja, Frajer, Mučenik An Old Crony, A Charmer, A Martyr

Režiserka Director Eva Kokalj Dramaturga Dramaturges Eva Hribernik, Rok Andres Kostumografinja Costume designer Hina Šulin

Režiserka Director Zala Sajko Dramaturga Dramaturges Eva Hribernik, Rok Andres Kostumografinja Costume designer Branka Pavlič

Igrajo Cast Diva Diva Barbara Ribnikar, Jure Kopušar Dramaturginja Dramaturge Maruša Majer, Klemen Janežič Hospitant Attendant Jernej Gašperin, Saša Pavlin Stošić

Igrajo Cast Stara sablja Old Crony Vid Klemenc, Maruša Majer Frajer Charmer Jure Kopušar, Saša Pavlin Stošić Mučenik Martyr Jernej Gašperin, Barbara Ribnikar, Jure Kopušar

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AGRFT mali oder 20. 10. 2010, 20.30 Predstava traja 1 uro in nima odmora.

Running time 1 hour. No interval.

Friedrich Schiller

Marija Stuart Mary Stewart Dramska igra 2. stopnja Drama acting, level 2 Naslov izvirnika Original title: Maria Stuart Premiera Opening 15. 6. 2010 AGRFT Ljubljana

Prevajalec Translated by Borut Trekman Igrajo Cast Marija Stuart Mary Stewart Eva Kraš Elizabeta I. Elizabeth I. Mirel Knez Scenograf Set designer doc. Branko Šturbej Kostumografinja Costume designer Olivera Eraković

ŽELJKO STEVANIĆ

Mentorji Mentors Dramska igra Acting doc. Branko Šturbej Assist. Prof.

Jezik in govor Language and speech izr. prof. Tomaž Gubenšek Assoc. Prof.

Umetniška beseda Art speech red. prof. Aleš Valič Prof.

Kostumografija Costume design izr. prof. Janja Korun Assoc. Prof.

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AGRFT KIBLA 21. 10 2010, 16.00 Predstava traja 1 uro in nima odmora.

Running time 1 hour. No interval.

Janez Janša

Boga ni. Vse je dovoljeno.

There is no God. Anything Goes.

B produkcija VIII. semestra dramske igre, gledališke režije in dramaturgije študijskega leta 2009/2010 B-production performed by 8th semester acting, theatre directing and dramaturgy students of the 2009/2010 academic year Premiera Opening 12. 6. 2010 Španski Borci, Ljubljana

Tri predstave študentov AGRFT, ki so nastale na isto temo pod mentorstvom doc. Sebastijana Horvata. Režiserji Renata Vidič, Eva Nina Lampič in Jaša Koceli so za sprožilni moment dogodkov izbrali odmevno izjavo za javnost Janeza Janše, objavljeno na spletni strani njegove politične stranke pod naslovom Boga ni. Vse je dovoljeno., datirano z 19. februarjem 2010.

Razvidnost dramatičnosti izjave je več kot očitna, njena slikovita, s primeri obarvana vsebina, kot pravijo ustvarjalci, pa kar kriči po uprizarjanju. Zato je Janez Janša – nevede – postal avtor dramske osnove za tri študentske uprizoritve.

Three performances by the acting, theatre directing and dramaturgy students under the mentorship of Assistant Professor Sebastijan Horvat. For the directors, Renata Vidič, Eva Nina Lampič and Jaša Koceli, the incentive was provided by the notorious statement of the former Slovenian PM, Janez Janša, published on February 19, 2010 on the web site of his political party under the title There is no God. Anything Goes. The dramatic nature of this statement is more than obvious, while its picturesque content enlivened by examples literally cries out to be staged, as the authors have stated. Janez Janša thus unwittingly became the author of a dramatic text for three student performances.

AGRFT KIBLA 21. 10. 2010, 18.00 Predstava traja 45 minut in nima odmora.

Running time 45 minutes. No interval.

Teorija ima talent Theory has Talent Javna predavanja študentov gledališke režije in dramaturgije 2. letnika Public lectures by the 2nd year students of theatre directing and dramaturgy

Javna predavanja študentov gledališke režije in dramaturgije 2. letnika, ki se spogledujejo s performativnostjo. Kako ugledališčiti drzne misli skozi formo predavanj? Študenti spoznavajo in preigravajo Artauda, Ionesca, Michela Foucaulta, Edo Čufer, Susan Sontag, Jean-Paula Sartra, Johna Bergerja, Alaina Badiouja, Walterja Benjamina in Karla Teiga.

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The 2nd year students of theatre directing and dramaturgy deliver public lectures while flirting with performativity. How should one stage bold ideas wrapped in lectures? Students explore and enact Artaud, Ionesco, Michel Foucault, Eda Čufer, Susan Sontag, Jean-Paul Sartre, John Berger, Alain Badiou, Walter Benjamin and Karl Teige.

AGRFT ŠTUK 23. 10. 2010, 20.00 Predstava traja 1 uro 20 minut in nima odmora.

Running time 1 hour 20 minutes. No interval.

Samuel Beckett Konec

igre Endgame

Produkcija VII. semestra dramske igre, gledališke režije in dramaturgije študijskega leta 2009/2010 Performed by 7th semester acting, theatre directing and dramatrugy students of the 2009/2010 academic year Naslov izvirnika Original title: Fin de partie Premiera Opening 30. 1. 2010 Gledališče Glej, Ljubljana

Režiserka Director Eva Nina Lampič Dramaturginja Dramaturge Ana Prislan Scenografinji in kostumografinji Set and costume designers Manca Bajec, Tina Dobrajc Oblikovalec svetlobe Lighting designer Borut Bučinel Igrajo Cast Nagg Andrej Zalesjak Nell Alja Kapun k. g. as guest Hamm Vito Weis Clov Blaž Setnikar Mentorji Mentors Dramska igra in gledališka režija Acting and theatre directing red. prof. Janez Hočevar Prof. doc. mag. Tomi Janežič Assist. Prof.

Dramaturgija Dramaturgy doc. dr. Blaž Lukan Assist. Prof.

Scenografija Set design red. prof. Meta Hočevar Prof. doc. mag. Jasna Vastl Assist. Prof.

Kostumografija Costume design izr. prof. Janja Korun Assoc. Prof.

ŽELJKO STEVANIĆ

Jezik in govor Language and speech Tatjana Stanič Asistentka Assistant consultant Lena Vastl

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še … more … prstanci na festivalu borštnik ring award winners at the festival > 86 Večer z Milo Kačič An Evening with Mila Kačič > 87 Ivan Cankar, Jurij Souček Kurent

> 88 Mednarodna konferenca International Conference

> 89 Mednarodni simpozij International Symposium

> 90 Bralne uprizoritve Staged Readings

> 91 Knjige na FBS Books at the Festival

> 95 Literatura na cesti Literature in the Streets > 96 45 let Borštnikovega srečanja (1966–2010) 45 Years of the Borštnik Meeting (1966–2010)

> 98 Rudi Šeligo – digitalne zbirke Rudi Šeligo – Digital Collections

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še … / more … koprodukcija coproduction Senzorium, SNG Drama Ljubljana, Festival Ljubljana 16. 10. 2010, 18.00 mali oder Predstava traja 45 minut in nima odmora.

Running time 45 minutes. No interval.

Večer z Milo Kačič An Evening with Mila Kačič Prva premiera First opening 12. 3. 2009 Ljubljanski grad, Festival Ljubljana Druga premiera Second opening 24. 4. 2010 SNG Drama Ljubljana pod okriljem: Ljubljana, svetovna prestolnica knjige Under the patronage of: Ljubljana – World Book Capital

Režiserka Director Barbara Pia Jenič Kostumi in scena Costumes and set Incognito design Avtorji glasbe Music by Jelena Ždrale, Nino de Gleria,Tjaša Fabjančič Oblikovanje luči Lighting design Senzorium Fotografinja Photography Alenka Pirnat Oblikovanje videa Video design Tomaž Gasparič, Mojca Brecelj Prevodi Translations Polona Prodnik Interpretacija Interpretation Ivanka Mežan Štefka Drolc Iva Zupančič

Plesalca Dancers Vida Breže, Samuel Fragiacomo

Večer z Milo Kačič je predstavitev njenih izbranih pesmi iz zbirke Skozi pomladni dež bom šla in je spomenik duhovni sorodnosti, moči ljubezni in prijateljske zvestobe. Rahločuten posluh in intuicija režiserke Barbare Pie Jenič sta sledili Mili Kačič skozi oči in srce Ivanke Mežan: Ivankini spomini, čustvovanja, doživljanja, konflikti, bolečine, odnehanja, obupi ...

Vsaka pesem je zgodba, ki se odraža v interpretativnem pristopu velikih igralk slovenskega dramskega gledališča. Ko ste tam, lahko zaznate Milin duh, kako pleše po dvorani in se vrti na vrhovih amplitud nikogaršnjega časa in prostora – med življenjem in smrtjo, v brezčasni realnosti, ki nam jo ponuja moč besede.

ALENKA PIRNAT

Glasbeniki Musicians Katja Šulc vokal vocals Robert Jukič bas contrabas Vasilij Centrih violina violin Marko Brdnik harmonika accordion

An Evening with Mila Kačič is a presentation of selected poems from her collection, Skoz pomladni dež bom šla (Through the Spring Rain I’ll Walk) and a monument to spiritual affinity, the power of love and loyalty among friends. The sensitive susceptibility and intuition of Barbara Pia Jenič, the director, followed Mila Kačič through the eyes and heart of Ivanka Mežan: Ivanka’s memories, feelings, experiences, conflicts, pain, defeats and despair. Each poem is a story reflected in the interpretative approach of the great actresses of Slovenian theatre. During the performance Mila’s spirit can be felt, dancing around the auditorium and whirling in the vastness of universal time and space – between life and death, in the timeless reality granted by the power of words.

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še … / more …

Mini teater Ljubljana 22. 10. 2010, 18.00 komorni oder Predstava traja 45 minut in je brez odmora.

Running time 45 minutes. No interval.

Ivan Cankar, Jurij Souček Kurent Premiera Opening 21. 1. 2010 Mini teater Ljubljana

MIHA FRAS

Zamisel in izvedba Concept and interpretation Jurij Souček Režiser Director Robert Waltl Scenografija Set design SON:da Kostumografinja Costume design Ana Savić Gecan

Kurentova pot je zanimiva, samosvoja in tudi groteskna. V njem se oglaša nekakšna nevera v lastne sposobnosti (»Ne bo ti uspelo, pa ne glede na ves trud.«), toda Kurent hodi naprej in išče svojo pot in smisel bivanja, kot da se za to ne zmeni. Želi si postati cesar, papež, godec. Namesto tega pa mu svet ponuja mesto duhovnika in pastirja, zato ni čudno, kako zlahka proda svojo dušo, da bi godel vesele pesmi. Za svoj prostor pod soncem mora prodati dušo, čeprav to stori nevede. Njegova sreča pa ne more trajati, saj na poti naleti na vse preveč žalosti, gorja in solza.

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Kurent’s life is interesting, original and grotesque. Plagued by inner doubts (“You won’t make it, no matter how hard you try”), he takes it in stride and seeks his own path and meaning of life, as if ignoring apprehensions. He wants to become an emperor, a pope, a musician, but it is the job of a priest and pastor that is in store for him. No wonder then that he sells his soul to be able to indulge in merry tunes. He sells his soul unaware to secure his place under the sun. And yet his happiness is not destined to last long in the face of the sorrow, misfortune and tears that he encounters on his way.

mednarodna konferenca

international conference

četrtek, 21. 10. 2010, ob 10.00 petek, 22. 10. 2010, ob 10.00

Thursday, 21 October 2010, at 10am Friday, 22 October 2010, at 10am

Dvorana Antona Trstenjaka, rektorat Univerze v Mariboru

Anton Trstenjak Hall, University of Maribor

Interkritika

Intercriticism

Mednarodna konferenca v organizaciji Festivala Borštnikovo srečanje, AICT/IATC in Društva gledaliških kritikov in teatrologov Slovenije

International conference organized by the Maribor Theatre Festival, AICT/IATC and the Association of Slovenian Theatre Critics and Researchers

Mednarodna konferenca z naslovom Interkritika, ki jo organizirata Festival Borštnikovo srečanje in Društvo gledaliških kritikov in teatrologov Slovenije (nacionalna sekcija AICT/IATC), želi predstaviti situacijo, v kateri se zdi dejavnost kritiškega pisanja za gledališče in scenske umetnosti rekontekstualizirana in reorganizirana.

Kritik, postavljen v situacijo interkritika, postane ob svojem primarnem delovanju interaktivno vpet v vzporedna polja delovanja in področja – ta so mu na neki način matična, a le posredno, predvsem pa zasedajo njegovo vizuro kritičnega opazovalca in presojevalca. Običajno je kritiški »svobodnjak«, v svojem delovnem času pa tudi član različnih žirij in komisij, praktični dramaturg, producent, univerzitetni predavatelj, svetovalec pri zasnovi umetniških programov, selektor ali (so) snovalec festivalskih programov, moderator okroglih miz in diskusij, urednik periodičnih in drugih publikacij, lektor, občasno celo performer itn. Pisanje kritike je naenkrat le ena v vrsti vlog, ki jih igra kritik gledališča in scenskih umetnosti.

Estetska, kulturna, produkcijska, družbena in politična stvarnost so v zadnjih desetletjih postavile tudi gledališkega kritika v vmesno polje interesnih razmerij, kar je prisotnost in vlogo kritiške pozicije ošibilo. Kritik se znajde v situaciji, ko »gledališka kritika« ali »gledališko novinarstvo« po eni strani okupira tako rekoč vse segmente družbenega življenja, ki jih na svojih straneh ali v minutažah obravnavajo mediji. Toda koliko prostora in kako privilegiran prostor v tem spletu interesov preostane za kritikovo izvorno vokacijo? Kaj se zgodi z analizo, deskripcijo, vrednotenjem, socialno pozicijo opazovalca in z njegovim razmerjem do objekta opazovanja? Kaj sledi, ko kritik predstave ne spremlja več s privilegiranega distanciranega mesta, ampak zaradi različnih okoliščin postane del podobe same?

Razprava bo z različnih zornih kotov pogledala na vprašanje, kakšna pozicija preostane kritiški pisavi in njeni strokovni poziciji znotraj opisanega konteksta.

The international conference entitled Intercriticism, organized by the Maribor Theatre Festival and the Association of Slovenian Theatre Critics and Researchers (a national section of the AICT/IATC), aims to present an apparent re-contextualization and reorganization of critical writing about theatre and the performing arts.

In addition to their primary task, i.e. critical writing, contemporary critics have become interactively involved in parallel activities that pertain only indirectly to their area of work while, more importantly, engaging their field of vision as critical observers and judges. Usually, a free-lance critic is also a member of various juries and panels, a dramaturge, a producer, a university teacher, a program adviser co-shaping a program, a selector of performances or a (co)creator of festival programs, a moderator of panel discussions, an editor of professional publications, a copy-editor, and sometimes even a performer.

Critical writing has therefore become just one of the roles fulfilled by theatre and performing arts critics.

Over the past decades, the aesthetic, cultural, social, political and productional realities have placed the theatre critic into an area of intermediate interest, a location which has undermined the presence and the role of a critical position. “Theatre criticism” or “theatre journalism” has suffused virtually all segments of social life dealt with in the print and broadcast media.

This raises the question of how much room is left for the critic’s basic task within this network of interests, and how privileged this position is. How does this affect the analysis, description, evaluation and social position of the observer and his/her relation to the subject of observation? What happens when a critic no longer observes a performance from a privileged, detached position but becomes part of the performance itself as a result of these circumstances?

The inter-criticism debate will examine the current situation of critical writing from various viewpoints as well as its professional position within the context described above.

Primož Jesenko

Primož Jesenko

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mednarodni simpozij

international symposium

sobota, 16. 10. 2010, ob 10.00

Saturday, 16 October 2010, at 10am

Pokrajinski muzej Maribor

Regional Museum Maribor

Dramaturgija med realnostjo in vizijo:

Dramaturgy Between Reality and Vision:

Vloga dramaturgije – ključ do ustvarjalnega procesa v gledališču

The Role of Dramaturgy – The Key to the Theatre-Making Process

Mednarodni znanstveni simpozij v organizaciji Slovenskega centra ITI in Festivala Borštnikovo srečanje

International Symposium, organised by the Slovene centre ITI and Maribor Theatre Festival

Na Simpoziju se bodo predstavili uveljavljeni dramaturgi, ki delujejo na različnih področjih, in v svojih referatih orisali kreativne pristope ter nas seznanili tudi z raznolikostjo svojih ustvarjalnih karier. Poleg tega bomo čas namenili odprti debati med udeleženci simpozija in obiskovalci.

Izhodišče tokratnega strokovnega srečanja je torej dramaturgija, veda, za katero je značilna ena najkompleksnejših poklicnih definicij med strokami s področja uprizoritvenih umetnosti.

Ne samo zaradi raznolikih izkušenj, ki jih imajo dramaturgi po svetu, temveč tudi zaradi neprestanega odkrivanja novih področij tega poklica. Udeleženci bodo spregovorili o tem, kako bi dramaturgovo delo sploh lahko natančno definirali; kako dramaturg vpliva na teorijo in prakso uprizoritvenih umetnosti; kaj sploh je tisto, kar dela to simbiozo tako neberljivo; ali je res, da je poklic dramaturga obstajal celo, preden je bil v sodobnem gledališču zares vzpostavljen poklic režiserja; kaj natančno se je potem zgodilo, da je ravno ta gledališki profil tolikokrat preverjan, tako s stališča svojega pomena kot tudi uporabnosti; ali so tovrstno disperzijo svoje ustvarjalne širine ustvarili dramaturgi sami, medtem ko so iskali nove kreativne postopke, ali pa je vse skupaj le del najnavadnejšega evolucijskega procesa.

Poskušali bomo odgovoriti na vprašanje, ali je dovolj, če trdimo, da je naloga dramaturgije praktično in teoretično ustvarjalno delovanje pri predstavah, performansih, koncertih, festivalih, posebnih dogodkih, teoretično in praktično črpanje zgodovinskih, statističnih, biografskih in uprizoritvenih podatkov ter raziskovanje uprizoritvenih umetnosti, prevajanje, dramska pisava in ustvarjanje novih del, ali celo kaj drugega in kaj več …

In na tem mestu se srečamo še z enim od najpomembnejših dejstev sodobnega gledališča. Dramaturgi so namreč močni oblikovalci javnega mnenja, saj so nenazadnje podvrženi nenehnemu iskanju smisla v vsem, s čimer se srečujejo. Pa naj se to iskanje zgodi v procesu načrtovanja gledališke sezone ali pri dajanju odgovorov na repertoarne odločitve, vse od sklepanja majhnih strateških potez pa do upravičevanja številnih umetniških, včasih celo političnih odločitev. Toda … ali dramaturgi v svojem poklicu sploh lahko hkrati uživajo in so vizionarji novih priložnosti? Ali je poklic dramaturga zares tako posvečeno poslanstvo, da se nam ni potrebno pritoževati nad njegovim statusom in prepoznavnostjo ...

Several renowned dramaturges will present their work and their creative approaches, providing an insight into the diversity of their profession. Ample time will also be devoted to open debate among symposium participants and guests.

The definition of a dramaturge’s profession is one of the most complex within the field of performing arts, not only because of the diversity of practical tasks dramaturges perform, but also because of the evolution of the profession itself, a process which continually opens new areas of work. Participants will address a number of questions related to dramaturgy.

What would be a precise definition of this profession? How does it influence performing arts theory and practice, and what makes this symbiosis unreadable? If it is true that the profession of dramaturge predated that of the modern theatre director, what happened at some point in time to trigger so many arguments about the utility and meaning of this role?

Was it dramaturges themselves, ever searching for new creative approaches, who brought about the dispersion of dramaturgical activities, or was it simply an imperative of evolution?

If we say that the task of a dramaturge is to provide creative practical and theoretical assistance with performances, concerts, festivals and special events, to conduct theoretical and practical research on historical, statistical, biographical and performance data and on performing arts in general, to translate, assist with play writing and even undertake play writing, have we covered all of a dramaturge’s tasks or left out some of them, or even left out some important aspect of dramaturgy?

This brings us to the point where we encounter one of the most important facts of modern theatre. Dramaturges are involved in many important processes within modern theatre, ranging from the planning of a theatre season and making repertory decisions to making strategic, artistic and even political moves. This makes them influential opinion-makers, since they invariably seek to elucidate every issue addressed through these processes. However, are they able to turn all the varied aspects of their work into visionary new opportunities?

Or, is the mission of dramaturgy so sacred that there is no place for apprehensions about its status and recognition?

Pripravljalni odbor Tatjana Ažman, Staša Mihelčič, Alja Predan, Tomaž Toporišič, Synne K. Behrndt

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Organizing committee Tatjana Ažman, Staša Mihelčič, Alja Predan, Tomaž Toporišič, Synne K. Behrndt

bralne uprizoritve

staged readings

nedelja, 17. 10. 2010, ob 16.00:

Sunday 17 October 2010, at 4pm:

Ajshil, Peržani, prevod Kajetan Gantar

Aeschylus, The Persians, translated by Kajetan Gantar

ponedeljek, 18. 10. 2010, ob 16.00:

Monday 18 October 2010, at 4pm:

Pseudo-Seneka, Oktavija, prevod Jera Ivanc

Octavia, attributed to Seneca, translated by Jera Ivanc

torek, 19. 10. 2010, ob 16.00:

Tuesday 19 October 2010, at 4pm:

Aristofan, Žabe, prevod Andreja Inkret Prvi oder Prve gimnazije

Aristophanes, The Frogs, translated by Andreja Inkret Tuesday 19 October 2010, at 5.15pm: Panel discussion Stage One Prva gimnazija

torek, 19. 10. 2010, ob 17.15: Okrogla miza

Iz antike: bralne uprizoritve in okrogla miza v organizaciji FBS,

From ancient times: staged readings and panel discussion

AGRFT, DAHŠ

organised by Maribor Theatre Festival, AGRFT, DAHŠ

Peržani (472 pr. Kr.) so najstarejše in Oktavija (ok. 90 po Kr.) najmlajše ohranjeno dramsko besedilo iz antike, hkrati pa sta drami edina ohranjena predstavnika svoje vrste. Iz grške antike so znane štiri drame z zgodovinsko tematiko, iz rimske antike jih je približno petnajst. Najstarejše grške tri črpajo snov iz perzijskih vojn: Frinihovo Zavzetje Mileta (492), ki govori o perzijski zmagi nad jonskim mestom, prav tako njegove Feničanke (476), ki opevajo grško zmago nad perzijskim ladjevjem pri Salamini, ter Peržani, ki jih je Ajshil napisal po zgledu Feničank in veljajo danes za začetek političnega gledališča. Je pri tem dejstvo, da je bil horeg oz. finansje pri uprizoritvi prvih dveh Temistokles, politik in zmagovalni vojskovodja pri Salamini, horeg pri uprizoritvi Ajshilovih Peržanov pa Perikles, mladi politik v vzponu, zanemarljivo? Kje je meja med kritičnim, političnim gledališčem in panegirično, politikantsko dramatiko?

Pri Rimljanih je bil vpliv politikov na gledališče več kot očiten, predvsem v primeru zgodovinske drame (fabula praetexta), 'igre v senatorski togi', tipično rimske zvrsti. A od nje je ostalo, žal, le malo: iz obdobja zgodnje republike nekaj konteksta – skoraj vsak ovekovečeni vojskovodja je bil tak ali drugačen pesnikov finansje – in izredno malo teksta, samo fragmenti posameznih dram, iz obdobja cesarstva pa resda celoten tekst ene, Oktavije, a tako rekoč brez konteksta; precej verjetno je nastala enkrat v obdobju Flavijcev (71–96), njen avtor pa je bil dober poznavalec Senekove dramatike. Dogajanje je postavljeno na cesarski dvor leta 62, ko se je Neron poročil z nosečo ljubico Popejo Sabino, prvo ženo Oktavijo pa obsodil na smrt v izgnanstvu, čeprav je imela – vsaj v drami – na svoji strani Seneko in zbor Rimljanov. Se v kritiki Nerona skriva hvalnica novi cesarski dinastiji ali kritika aktualnega cesarja? Je njen avtor Senekov apologet? Je Oktavija politična ali politikantska?

Iz Aristofanove komedije Žabe (405 pr. Kr.), ki velja za prvo 'teoretsko besedilo' o dramatiki, je jasno razvidno, kako pomembna je bila v Atenah pri presoji tragiškega pesništva politika: da bi rešil krizo, v kateri sta se znašli atenska dramatika in država, izčrpana od peloponeških vojn, se Dioniz po Sofoklovi in Evripidovi smrti odpravi v podzemlje iskat najboljšega pesnika, pri njegovi presoji pa odigra odločilno vlogo predlog strategije reševanja iz krize – zmaga Ajshil. A pri vsem tem se ne moremo otresti občutka, da je bil edini resnični avtor političnega gledališča Aristofan.

Tekste Peržanov, Oktavije in Žab bodo pod vodstvom Jere Ivanc bralno uprizorili študentje AGRFT, o kontekstu pa bodo na simpoziju in okrogli mizi spregovorili prevajalci ter ostali strokovnjaki s področij klasične filologije, umetnostne zgodovine, antropologije in zgodovine.

The Persians (472 B.C.) is the oldest and Octavia (app. 90 A.D.) the most recent ancient play that has survived to modern times; the two plays are also the only examples of their genre. Four ancient Greek plays on historical subjects are known to us, compared to approximately fifteen dating from ancient Rome. The three oldest Greek plays draw on the Persian wars: Phrynichus’s The Capture of Miletus (492), describing the Persians’ capture of the Ionian town, and The Phoenician Women (476), which celebrates the Greeks’ victory over the Persian fleet near Salamis, and Aeschylus’s Persians, modelled on The Phoenician Women.

The three plays are today considered the earliest examples of political theatre.

In Ancient Rome, politicians’ influence on theatre was more than obvious, primarily on historical plays (fabula praetexta), “plays in senators’ togas”, a typically Roman genre. Unfortunately, very little of this has survived: some of its context dates from the period of the early Republic – virtually every immortalized army leader financed poets in one way or another – while the text of one play, Octavia, dates from the period of the Empire but lacks practically any context. It was probably written during the reign of the Flavians (71-96), and its author must have been well familiar with Seneca’s plays. The play is set in the emperor’s court in 62 AD, when Nero married his pregnant mistress Poppaea Sabina and condemned his first wife, Octavia, to death in exile, although she enjoyed the support – at least in the play – of Seneca and the assembly of the Romans. Does criticism of Nero conceal a eulogy for the new dynasty or criticism of the reigning emperor? Is its author an apologist for Seneca? Is Octavia a political play or just petty politicking?

Aristophanes’s comedy The Frogs (405 B.C), considered to be the first “theoretical text” about drama, clearly shows the importance that ancient Athens ascribed to politics when judging tragic poetry: to resolve the crisis that enveloped Athenian drama as well as the state itself, which was exhausted by the Peloponnesian wars, after the death of Sophocles and Euripides, Dionysius sets out on a journey to the underworld to seek the best poet, and the winner is Aeschylus. While his decision is crucially influenced by the proposed strategy for resolving the crisis, it is nevertheless difficult to get rid of the impression that the only author of genuine political theatre was Aristophanes.

The lines from the Persians, Octavia and The Frogs will be read by students of the Academy of Theatre, Radio, Film and Television under the mentorship of Jera Ivanc. The context of these plays will be the subject of the symposium and panel discussions, with speakers including translators and experts on classical philology, art history, anthropology and history.

Jera Ivanc

Jera Ivanc

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knjige na festivalu

books at the festival

19. 10. 2010, ob 17.00

19. 10. 2010, at 5pm

Knjigarna Litera

Litera Bookshop

André Lepecki: Izčrpavajoči ples: Uprizarjanje in politika giba.

Ljubljana: Mestno gledališče ljubljansko, 2009.

Zbirka Knjižnica MGL, volume 151.

Prevedla Aleksandra Rekar.

André Lepecki: Exhausting Dance: Performance and the Politics of Movement.

Ljubljana: Mestno gledališče ljubljansko, 2009.

Knjižnica MGL series, volume 151.

Translated by Aleksandra Rekar.

André Lepecki v knjigi Izčrpavajoči ples: uprizarjanje in politika giba preučuje delo ključnih sodobnih koreografov, ki od začetka devetdesetih let prejšnjega stoletja preobražajo evropsko in severnoameriško plesno prizorišče. Delo nove generacije koreografov zahteva, da ga pojmujemo kot uprizorjene podaljške radikalne politike umetnosti performansa, poststrukturalistične in kritične teorije, pokolonialnih teorij in kritičnih rasnih študijev.

Knjiga tako ponuja pomembno in radikalno revizijo našega razmišljanja o plesu ter kaže na nujnost prenove povezav med plesnimi študiji ter eksperimentalnimi umetniškimi in filozofskimi praksami.

Spremno študijo je prispevala dr. Bojana Kunst.

André Lepecki explores the work of the major contemporary choreographers who have been transforming European and North American dance since the early 1990s. The work of the new generation of choreographers should be seen as a staged extension of the radical politics of performance, post-structuralist and critical theory, post-colonial theories and critical racial studies.

The book offers an important and radical revision of our perception of dance and points out the urgency of re-designing the connections between dance studies and experimental artistic and philosophical practices. The author of the accompanying study is Bojana Kunst.

Jacques Rancière: Emancipirani gledalec.

Ljubljana: MASKA, 2010.

Zbirka TRANSformacije No. 27.

Prevedla Suzana Koncut.

Jacques Rancière: The Emancipated Spectator Ljubljana: MASKA, 2010.

TRANSformacije series, No. 27.

Translated by Suzana Koncut.

Emancipirani gledalec (prvič objavljeno leta 2008) je knjiga Rancièrovih zapisov o sodobni umetnosti. Rancièrova znamenita teza, da je politično v umetnosti tisto, kar v polje javnosti prinese glasove, ki niso slišni, in na ta način razpre družbo in ponudi potencialne nove družbene prakse, je ena najbolj provokativnih in inspirativnih tez v sodobnih razpravah o umetnosti in političnem. V svoji zadnji knjigi Rancière razpravlja o mestu gledalca v umetnosti in skozi to o mestu subjekta v sodobnih družbah. Zavzema se za aktivno vlogo gledalca, kajti kot pasivni gledalci se hitro lahko znajdemo v vlogi potrošnika. Takšna vloga rahlja družbene vezi in v političnem smislu depolitizira subjekt.

Following up on his acclaimed work The Future of the Image, Rancière explores the meaning of critical art and suggests how we may overcome the potential trap of being a spectator. As passive spectators, he argues, we risk consumerist oppression and an upheaval of social relations. Suggesting a more active part in the process of observation, Rancière reveals how we may affirm the status of spectatorship and build upon it. In our contemporary age of mass visual media, Rancière’s lucid perspective stands alone in a sea of trivializing critiques of spectacle.

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Nebojša Pop-Tasić: Dobesednosti.

Dramaturška poezija.

Ljubljana: Mestno gledališče ljubljansko, 2010.

Zbirka Knjižnica MGL, zvezek 152.

Nebojša Pop-Tasić: Verbatim.

Dramaturgical Poetry.

Ljubljana: Mestno gledališče ljubljansko, 2010.

Knjižnica MGL series, volume 152.

Knjiga Nebojše Pop-Tasića Dobesednosti je po eni strani dragocen gledališkozgodovinski dokument, ki zajema desetletno obdobje sodelovanja dramaturga Nebojše Pop-Tasića in režiserja Jerneja Lorencija (od Don Juana v SLG Celje leta 1999 do Nižine neba v SMG leta 2009), po drugi pa si na podlagi zbranega materiala in spremne besede Blaža Lukana prizadeva vzpostaviti tudi strokovni razmislek o naravi poklica praktičnega dramaturga.

V knjigi objavljamo lirska besedila, ki jih je avtor na osnovi zbranega študijskega materiala pisal namesto običajnih dramaturških razčlemb in z njimi v praksi inovativno prispeval k rojstvu odrskih umetnin.

Verbatim by Nebojša Pop-Tasić is a valuable theatrical and historical document. It covers the ten years of collaboration between the dramatuge Nebojša Pop-Tasić and the director Jernej Lorenci (from Don Juan at SLG Celje in 1999 to Nižina neba at SMG in 2009). The material presented and the foreword by Blaž Lukan provide a reflection on the nature of a dramaturge’s profession. The book comprises the author’s lyrical texts, performing the function of dramaturgical elaborations, as an innovative form leading to the birth of artistic work.

20. 10. 2010, ob 17.00

20. 10. 2010, at 5pm

Knjigarna Litera

Litera Bookshop

Ajshil: Pribežnice.

Celje: Celjska Mohorjeva družba, 2008.

Zbirka Neminljivi. Prevedel Brane Senegačnik.

Aeschylus: The Suppliants.

Celje: Celjska Mohorjeva družba, 2008.

Neminljivi series. Translated by Brane Senegačnik.

Pribežnice, domnevno drugi del tetralogije o Danajevih hčerah – o njihovi zavrnitvi poroke z bratranci, Ájgiptovimi sinovi, o njihovem begu v Argos ter o poboju ženinov na poročno noč – so edina ohranjena tragedija, v kateri nastopa več zborov.

Poleg zbora Danajevih hčera, ki ima v tej tragediji vlogo protagonista, sta po mnenju večine raziskovalcev nastopila še dva: zbor egiptovskih napadalcev, ki so kot oboroženo spremstvo Ájgiptovih sinov za pobeglimi nevestami pripluli v Argos, ter bodisi zbor služabnic Danajevih hčera bodisi zbor njihovih argoških spremljevalcev, ki jim jih je bil po demokratičnem posvetu z meščani dodelil kralj Pelazg. Pribežnice, drama o odraščanju in iskanju pravice, so v slovenščino prevedene prvič.

The Suppliants, presumably the second part of the tetralogy about Danaus’ daughters – their refusal to marry their cousins, Aegyptus’s sons, their flight to Argos and the killing of their husbands on the wedding night – is the only preserved tragedy including more than one chorus.

Most researchers are of the opinion that, in addition to the chorus of Danaids, the protagonists of the play, two other choruses were present – that of the Egyptian assailants, who followed the brides to Argos escorting Aegyptus’ sons, and either a chorus of the maid-servants of Danaus’ daughters or one of their protectors appointed by Pelasgus after his democratic consultation with his people. The Suppliants is a drama about growing up and the search for justice. This is its first Slovene translation.

92

Marin Držić: Nunc Maroje.

Celje: Celjska Mohorjeva družba, 2010.

Zbirka Neminljivi. Prevedel Andrej Arko.

Marin Držić: Nunc Maroje.

Celje: Celjska Mohorjeva družba, 2010.

Neminljivi series. Translated by Andrej Arko.

Nunc Maroje je komedija o človeški naravi, v kateri se z dogajanjem na odru prikazujejo različni tipi posameznikov, razpravlja pa se tudi o človeku, kakršen je in kakršen mora biti. Je najpomembnejša Držićeva komedija in hkrati prva znana hrvaška eruditivna komedija. Ima dva prologa, pisana je v prozi in je sestavljena iz petih dejanj; njen konec se ni ohranil. Dogajanje je postavljeno v Rim, kamor je z ladjo prispel nunc Maroje, da bi preveril, ali njegov sin Maro, ki je odšel iz Dubrovnika tri leta poprej, denar namesto za trgovanje troši za lagodno življenje..

Nunc Maroje is a comedy about human nature.

The comedy explores various types of individuals and discusses man – what man is and what he should be. It is Držić’s most important comedy, and the first known Croatian comedy of erudition.

It has two prologues, is written in prose and consists of five acts; the end has not been preserved.

The events are placed in Rome, to which city Nunc Maroje comes to check if his son Maro, who left Dubrovnik three years earlier, has been spending money on pleasure rather than trade.

21. 10. 2010, ob 17.00

21. 10. 2010, at 5pm

Knjigarna Litera

Litera Bookshop

Andrej Rozman Roza: Brvi čez morje, Izbrane drame.

Ljubljana: Cankarjeva založba, 2009.

Andrej Rozman Roza: Footbridges across the Sea, Selected Plays.

Ljubljana: Cankarjeva založba, 2009.

Andrej Rozman Roza (1955) je ustvarjalec, ki ga lahko imenujemo homme du theatre, torej gledališki človek v polnem pomenu te besede, kamor sodi tudi njegova (otroška) poezija, seveda pa še vse drugo, kar kot avtor počne. Pričujoči izbor prinaša trinajst dramskih besedil Andreja Rozmana Roze: Najemnina, Skopuh, Kaj se je zgodilo v sobi sto ali Nekaj kapljic baldrijana kar tako, Brucka, Janko in Metka, Obuti maček, Ana Migrena, Jamska Ivanka, Kekec kontra Rožletova banda, Gensko spremenjeni Prešeren, Pusti otok, Rupert Marovt in Tartif.

Andrej Rozman Roza (1955) is an author who could be described as un homme du theatre, a theatre man in every sense of the word. All his works, including (children’s) poetry, belong in the world of theatre. This selection comprises thirteen plays by Andrej Rozman Roza: The Rent, The Miser, What Happened in Room 100 or A Few Drops of Valerian Just Like That, The Girl Undergraduate, Hansel and Gretel, Puss in Boots, Ana Migraine, Jamska Ivanka, Kekec versus Rožle’s Gang, Genetically Modified Prešeren, Deserted Island, Rupert Marovt and Tartuffe.

93

Prišli so Pupilčki: 40 let Gledališča Pupilije Ferkeverk.

Uredila A. Milohnić in I. Svetina. Ljubljana: Maska in Slovenski gledališki muzej, 2009. Zbirka TRANSformacija, knjiga št. 26; Dokumenti Slovenskega gledališkega muzeja št. 86, letnik 45.

The Pupilceks Have Arrived: 40 Years of the Pupilija Ferkeverk Theatre.

Edited by A. Milohnić and I. Svetina. Ljubljana: Maska and Slovenski gledališki muzej, 2009.

Zbornik Prišli so Pupilčki: 40 let Gledališča Pupilije Ferkeverk vsestransko osvetljuje delovanje neoavantgardne gledališke skupine Pupilija Ferkeverk, zlasti pa njeno kultno predstavo Pupilija, papa Pupilo pa Pupilčki, ki je nastala leta 1969.

Knjiga je razdeljena v več tematskih sklopov: v prvem delu so objavljena pričevanja nekaterih akterjev Gledališča Pupilije Ferkeverk in njihovih sopotnikov, v drugem delu so objavljene teoretske razprave o Pupiliji Ferkeverk in nekaterih sočasnih gibanjih v Sloveniji, tretji del zbornika pa opozarja na sodobno recepcijo Pupilije Ferkeverk, in sicer skozi fenomen rekonstrukcije. Knjiga je opremljena s kronologijo ključnih dogodkov, obsežnim seznamom referenc in imenskim kazalom.

The journal, The Pupilceks Have Arrived: 40 Years of the Pupilija Ferkeverk Theatre sheds light on all aspects of the activities of the neo-avant-garde theatre group Pupilija Ferkeverk, especially its cult performance Pupilija, Papa Pupilo, and the Pupilceks, which was created in 1969. The book is divided into several thematic sections. The first part contains the testimonies of some of the protagonists of the Pupilija Ferkeverk Theatre and their associates; in the second part of the journal, there are theoretical papers on Pupilija Ferkeverk and some contemporaneous movements in Slovenia; the third part of the journal focuses on the contemporary reception of Pupilija Ferkeverk through the phenomenon of reconstruction.

94

še … / more … Študentski svet Filozofske fakultete in Slavistično društvo Maribor v sodelovanju s Festivalom Borštnikovo srečanje The Student Council of the Faculty of Arts in Maribor and the Maribor Slavic Association in cooperation with the Maribor Theatre Festival 15. – 24. 10. 2010, 17.00 Različne lokacije po mestu Maribor / Venues across Maribor

Literatura na cesti Literature in the Streets Kulturno-izobraževalni project

Cultural-educational project

Študentski svet Filozofske fakultete in Slavistično društvo Maribor pripravljata projekt, ki bo bogatil kulturno ponudbo v centru mesta Maribor v času Festivala Borštnikovo srečanje. Z željo po intenzivnejšem zanimanju za slovensko literaturo so v pripravi inovativne prestavitve, ki dokazujejo, da je lahko tudi literarno ustvarjanje in konzumiranje literature družabno in zabavno doživetje.

Cilj projekta je približati kulturne dejavnosti širši publiki tako, da jim s krajšimi literarno-ambientalnimi dogodki predstavimo slovenske kulturne umetnike. Ker pa marsikdo vidi literaturo kot nedružabno zadevo, se bo dogodek zgodil v samem središču mesta, ki je ljudem blizu zaradi živosti in živahnosti. Atraktivnost lokacije in zanimivo dogajanje, ki ga ne bo moč spregledati, bosta spodbudila številne (naključno) mimoidoče, da se bodo dogodkov udeležili ter tako izvedeli nekaj novega in drugačnega o slovenskih avtorjih, ki so v preteklosti ustvarjali v Mariboru, o sodobnikih, ki so v lanskem in letošnjem letu dobili vidna literarna priznanja, o mladih ustvarjalcih, ki delujejo na literarnem področju in o zgodovinskih zgodbah, ki so povezane z Mariborom. Pri predstavitvah je poudarek na uporabnih in atraktivnih dejstvih, glavnino projekta pa predstavljajo recitacije, upodobitve in bralni dogodki.

Program je vsebinsko razdeljen na tri sklope in se bo odvijal v času Festivala BS: prvi sklop Ko kipi oživijo (od 15. 10.

2010 do 18. 10. 2010) predstavlja izbrane slovenske literarne umetnike, ki so v preteklosti delovali v Mariboru; drugi sklop Sodobni romarji (od 19. 10. 2010 do 22. 10. 2010) predstavlja izbrane prejemnike pomembnejših nagrad na področju kulture v letu 2009 oz. 2010 in njihova dela; tretji sklop smo poimenovali Mariborske zgodbe (23. 10. 2010), saj bo skozi pripoved razgrinjal mariborsko (mitološko) zgodovino.

This project of the Student Council of the Faculty of Arts in Maribor and the Maribor Slavic Association aims to enrich cultural life in the heart of Maribor during the Maribor Theatre Festival. Our ingenious literary presentations have been conceptualized with a view to boosting the interest in Slovenian literature and demonstrating that the creation and consumption of literature could be a socializing and entertaining experience.

The goal of the project, consisting of short literary presentations, is to bring culture and literature closer to the general audience. To dispel the common belief that literary events are not a socializing experience, the presentations will take place in the bustling heart of the city. In choosing a familiar and attractive location and interesting content, we wanted to make the events impossible to overlook and entice passers-by to become involved and learn something new and different. We will present Slovenian authors who worked in Maribor in the past, our contemporaries who have received prestigious literary and cultural awards in recent years, young writers, and stories with a literary bent related to Maribor. The project comprises recitations, portrayals and readings, with the emphasis placed on practical and attractive features.

The program is divided into three sections: the first, When Monuments Come to Life (from 15. 10. 2010 to 18. 10.

2010) will present selected Slovenian literary writers who worked in Maribor in the past; the second, Contemporary Pilgrims (from 19. 10. 2010 to 22. 10. 2010) concentrates on the receivers of major literary and cultural awards in 2009 and 2010 and their works; the third, Maribor Stories (23.10.2010) will present Maribor’s (mythological) history through stories.

Marko Lük

Marko Lük

95

razstava / exhibition Slovenski gledališki muzej in Festival Borštnikovo srečanje Slovenian Theatre Museum and the Maribor Theatre Festival 15. 10. 2010, 18.00 avla SNG / SNG hall

45 let Borštnikovega srečanja (1966 – 2010) 45 Years of the Borštnik Festival (1966 – 2010) Gledališki utrinki

Glimpses of the Past

Če je gledališka umetnost resnično minljiva, ker je najbolj živa in neposredna, aktualna in umetniško najvrednejša izpoved, potem je izbrani nabor pričevanjskega razstavljenega gradiva lahko skorajda le spominski in mimobežen utrinek, pomensko navezan na ostaline gledaliških pripovedovanj kot prerez delovanja nekega pomembnega gledališkega praznika, poimenovanega srečanje. Festivala, ki je s popotnico 1966. leta »naj živi skromen zametek našega prvega Tedna slovenskih gledališč« nedvomno najbolj povezan z ljudmi: z vrhunskimi ustvarjalci slovenske gledališke umetnosti, omike in kulture. O njih bolj kot fotografije in zapisi spregovore oni sami – drzni in legendarni snovalci srečanja s programskimi usmeritvami, ustvarjalci vseh generacij v gledaliških uprizoritvah, igralci z Borštnikovimi odličji in zlatimi prstani, dramatiki, gledališki in literarni teoretiki, kritiki, raziskovalci ...

Petinštiridesetletna gledališka srečanja se nam izrisujejo s prelomnimi dogajanji, o katerih danes že pišemo gledališko zgodovino. Četudi gre le za priložnostno razstavo, pa ohranjene dokumente njenih festivalskih mejnikov lahko umestimo v reprezentančne gledališke utrinke, ki razkrivajo najtehtnejšo podobo posameznega gledališkega leta, analitično raven in pomembnost slovenskega gledališkega-scensko-uprizoritvenega trenutka in zaznamovanost njegovih desetletij v kontekstu temeljnega ter najkakovostnejšega letnega prereza slovenske gledališke produkcije, in ki so ohranjeni v zapisanih, slikovnih, zvočnih in televizijskih ali filmskih podobah. Izjemno dragocen in neizčrpen vir pa so še vedno vsakovrstna živa pričevanja.

Zatorej predstavljeni izbor ob množici ohranjenega slikovnega in pisnega gradiva predstavlja utrinke prvih štirih gledaliških srečanj poimenovanih še Teden slovenskih gledališč ali srečanje slovenskih dramskih gledališč (1966– 1969) in nato enainštirideset let Borštnikovega srečanja (1970–2010), kar omogoča le delen prikaz posameznih

If theatre, being the most vivid and immediate form of art and a paramount form of artistic expression, is indeed transient, then the selected exhibits cannot be but fleeting bits of memory, remnants of narratives scattered across the long years of this traditional event celebrating the art of theatre. The event originated in 1966 and started with a wish: “May the seed of the Week of Slovenian Theatre flower.” It is also an event that is all about people, those who shape the world of Slovenian theatre and culture: artists, playwrights, theatre and literary theorists, critics and scholars. Their deeds tell more about them than photos and written records: bold program conceptualizations, creative staging and performing, works of art honoured with Borštnik awards and Borštnik rings.

This bounty of graphic and written records offers a glimpse into the forty-five years of the event originally called the Week of Slovenian Theatre (1966-1969) and then renamed the Borštnik Theatre Festival (1970-2010); since this year Maribor Theatre Festival). The vignettes and images of people who created it year after year amount to a portrait, even if only a fragmentary one, of this traditional event.

The festival has always presented a fine opportunity for socializing as well. The Slovenian theatre artists and the audience celebrating the art of theatre! And it has invariably been avant-garde, committed to experiment, study, research, and to challenging confrontations, fully meriting the unique status and meaning it has acquired over time.

Mojca Kreft Dramaturge and museum consultant

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»slik« teh petinštiridesetih let in morda nekaj več obrazov, podob ljudi, ki so ga ustvarjali. A to je samo spomin. Generaciji, ki je komaj začela gledališko življenje, pa bodo taka spominjanja lahko prebujala nenehno nova vprašanja o tem, kdo je kdo, kdo je bil, kako je bilo …, in razmišljanja o času, ko so gledališki festival njegovi ustvarjalci preudarno pripravljali s spremljajočimi prireditvami – od gledališkoscenskih dogodkov do pogovorov o predstavah, spremljanih s simpozijskimi dogodki, strokovno-raziskovalnimi in esejističnimi deli in pomensko ovrednotenimi postulati: o prvih zamislih in zametkih festivala, njegovih začetkih v drugi polovici šestdesetih let preteklega stoletja, njegovem razvoju, o estetiki in temeljnih razmerjih do slovenske gledališke zgodovine, odnosu do gledaliških trendov in razsežnosti vsebinskih ter umetniških iskanj v posameznih slovenskih gledališčih, o eksperimentu, neformalnih gledaliških asociacijah kakor tudi o umestitvi Borštnikovega srečanja na zemljevid podobnih sodobnih evropskih festivalov in o tem, kako se predstave soočajo z vzporednimi evropskimi in svetovnimi smernicami; zapisovana so zahtevna strokovna, kritična in teoretična razmišljanja najeminentnejših slovenskih premišljevalcev o slovenski gledališki omiki. Vsa leta je bila misel posvečena najvišjim estetskim vrednotam, ki so jih določala desetletja dveh stoletij v različnih družbenih in političnih ureditvah.

Borštnikova srečanja so vselej bila tudi nepozabna druženja. Kot praznik slovenskih gledaliških ustvarjalcev in občinstva v soju luči in žarometov. So bila in ostajajo tradicionalna, eksperimentalna, avantdgardna, študijska in raziskovalna soočanja, hkrati pa izzivalna izpovedna srečevanja, ki jim je čas že vtisnil poseben status in pomen.

Mojca Kreft, dramaturginja in muzejska svetovalka

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še … / more …

Slovenski gledališki muzej, Novi Zato.

18. 10. 2010, 17.00 kazinska dvorana

Rudi Šeligo – digitalne zbirke Rudi Šeligo – Digital Collections Slovenski gledališki muzej in zavod Novi Zato. sta leta 2008 začela s pripravo spletne različice Letopisa slovenskega gledališča. Tako so danes tudi na spletnem portalu slovenske uprizoritvene dejavnosti dosegljivi podatki o uprizoritvah od leta 1867 do sezone 2007/2008 (www.repertoar.sigledal.org).

Podatke o uprizoritvah je moč iskati s pomočjo številnih filtrov: po sezonah, naslovih, ustvarjalcih, producentih, datumih premier, možne pa so tudi navzkrižne poizvedbe. Čeprav je prenos Letopisa na medmrežje še v teku, sta Slovenski gledališki muzej in Novi Zato. že pripravila nov, pilotski projekt, ki nadgrajuje spletni REP(ertoar): »Digitalne zbirke – Rudi Šeligo«.

Materialni ostanki uprizoritev Šeligovih dram na slovenskih odrih v obliki digitalnih zbirk predstavljajo nov korak k ohranjanju in promoviranju slovenske gledališke dediščine s pomočjo interneta.

V digitalnih zbirkah »Rudi Šeligo« si je moč ogledati fotografije, kritike, plakate, video- in avdioodlomke, ki jih hranijo v Slovenskem gledališkem muzeju in v arhivih slovenskih gledališč.

Vzpostavitev zadnjega, četrtega sklopa portala www.sigledal.org – digitalnih zbirk – predstavlja nov izziv in priložnost: gledališko dediščino lahko poslej s pomočjo novih tehnologij naredimo prisotnejšo, dostopnejšo in morda tudi atraktivnejšo!

Verjamemo, da hiter vpogled v digitalne zbirke bistveno zmanjšuje čas, potreben za zbiranje podatkov, in tako omogoča gledališkim zgodovinarjem, teatrologom, kritikom, študentom in še komu, da ga bodo lahko več vložili v interpretiranje, vrednotenje in širše umeščanje slovenske gledališke dediščine.

In 2008, the Slovenian National Theatre Museum and the Novi Zato. institute began preparations for an online edition of the Yearbook of Slovenian Theatre. Today, data about theatre performances dating from 1867 to the 2007/2008 season are accessible on line through the portal of Slovenian performing arts at www.repertoar.sigledal.org.

Users can search the database by seasons, titles, creators, producers, dates of opening nights, as well as combinations of these criteria.

Although the digitalization of the Yearbook is still underway, the Slovenian National Theatre Museum and Novi Zato. have already launched a new, pilot project as an upgrade to web REP(ertory): the Rudi Šeligo Digital Collection.

The digital collection of materials on Rudi Šeligo’s plays staged in Slovenian theatres represents an important step towards the preservation and promotion of Slovenian theatre heritage.

The Rudi Šeligo digital collection includes photos, reviews, posters, and video and audio clips stored in the Slovenian National Theatre Museum and in the archives of Slovenian theatres .

The establishment of the last, fourth section of the portal (www.sigledal.org –digital collections) is both a challenge and an opportunity: with the help of new technologies, theatre heritage has become more presentable, more accessible and perhaps more attractive!

We are convinced that quick access to digital collections greatly reduces the time needed to gather data, enabling theatre historians, researchers, critics, students and others to devote more time to interpretation, evaluation and placement of Slovenian theatre heritage into a wider context.

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Seznam slovenskih producentov

Slovenian Theatres at the Festival

Slovensko narodno gledališče Drama Ljubljana Erjavčeva 1, SI-1000 Ljubljana T +386 (0)1 252 14 62 F +386 (0)1 252 38 85 E info@drama.si I www.drama.si

Dramsko društvo MUKI Mariborska Umetniško Kulturna Iniciativa Cankarjeva ulica 26, SI-2000 Maribor GSM +386 (0)51 321 039 E info@muki.si I www.muki.si

Mestno gledališče ljubljansko Čopova 14, SI-1000 Ljubljana T +386 (0)1 425 82 22 F +386 (0)1 251 70 44 E info@mgl.si I www.mgl.si

E. P. I. center Ljubljana Prisojna 1, SI-1000 Ljubljana GSM +386 (0)41 885 380 E tamara_bracic@yahoo.com

Slovensko mladinsko gledališče Vilharjeva 11, SI-1000 Ljubljana T +386 (0)1 300 49 00 F +386 (0)1 300 49 01 E info@mladinsko-gl.si I www.mladinsko.com

Familija Ljubljana Društvo za organizacijo umetnosti Preradovičeva 6, SI-1000 Ljubljana T +386 (0)1 232 42 42 GSM +386 (0)41 443 889 E familija@email.si

Drama Slovensko narodno gledališče Maribor Slovenska ulica 27, SI-2000 Maribor T +386 (0)2 250 61 00 F +386 (0)2 250 61 08 E sng.maribor@sng-mb.si I www.sng-mb.si

Gledališče Glej Gregorčičeva 3, SI-1000 Ljubljana T +386 (0)1 251 66 79 E info@glej.si I www.glej.si

Slovensko narodno gledališče Nova Gorica Trg Edvarda Kardelja 5, SI-5000 Nova Gorica T +386 (0)5 335 22 00 F +386 (0)5 302 12 70 E info@sng-ng.si I www.sng-ng.si

Imaginarni Zavod za kulturno dejavnost Kongresni trg 6, SI-1000 Ljubljana GSM +386 (0)41 263 149 E ekart@email.ljudmila.org

Mestno gledališče Ptuj Slovenski trg 13, SI-2250 Ptuj T +386 (0)2 749 32 50 F +386 (0)2 749 32 51 E info@mgp.si I www.mgp.si

Mini teater Ljubljana Križevniška 1, 1000 Ljubljana T +386 (0)1 425 60 60 F +386 (0)1 425 60 61 E info@mini-teater.si I www.mini-teater.si

Cankarjev dom, kulturni in kongresni center Prešernova cesta 10, SI-1000 Ljubljana T +386 (0)1 24 17 100 F +386 (0)1 24 17 295 E info cd-cc.si I www.cd-cc-si

Zavod Senzorium Kavčičeva 4, SI-1000 Ljubljana GSM +386 (0)31 880 483 E info@senzorium.com I www.senzorium.com

Lutkovno gledališče Ljubljana Krekov trg 2, SI-1000 Ljubljana T +386 (0)1 300 09 70 F +386 (0)1 300 09 80 E info@lgl.si I www.lgl.si

Gledališče ŠKUC Stari trg 21, SI-1000 Ljubljana T +386 (0)1 430 02 41 E info@skuc.org I www.skuc.org

Lutkovno gledališče Maribor Vojašniški trg 2, SI-2000 Maribor T +386 (0)2 22 81 970 F +386 (0)2 22 81 978 E info@lg.mb.si I www.lg-mb.si

Via Negativa Gruberjevo nabrežje 14, SI-1000 Ljubljana GSM +386 (0)51 360 735 E info@vntheatre.com I www.vntheatre.com

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

Mesto žensk Društvo za promocijo žensk v kulturi Kersnikova 4, 1000 Ljubljana, Slovenija T +386 (0)1 438 15 80 GSM +386 (0) 40 816 448 E info@cityofwomen.org I http://www.cityofwomen.org

Festival Ljubljana Trg francoske revolucije 1, SI-1000 Ljubljana T +386 (0)1 241 60 00 F +386 (0)1 241 60 37 E info@ljubljanafestival.si I www.ljubljanafestival.si

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44. Festival Borštnikovo srečanje 44th Borštnik Theatre Festival

Predsednik Sveta FBS Chairman of the Festival Council Tone Partljič Selektorica Programme Director Barbara Orel Strokovna žirija Jury of Experts Blaž Lukan, Mario Brandolin, Gregor Butala, Maja Haderlap, Mojca Jan Zoran Žirija za podelitev Borštnikovega prstana Jury for the Borštnik Ring Award Tone Partljič, Rapa Šuklje, Peter Ternovšek

FESTIVAL BOR[TNIKOVO SRE^ANJE BOR[TNIK THEATRE FESTIVAL 16.–25. OKTOBER / OCTOBER 2009

ORESTEJA / ORESTEIA / H^I ZRAKA / DAUGHTER OF AIR / MACBETH PO SHAKESPEARU / MACBETH AFTER SHAKESPEARE / TRIKO / TRICOT / PEER GYNT / NESKON^NI [TETI DNEVI / THE INFINITE NUMBERED DAYS / PORTRET NEKE GOSPE / THE PORTRAIT OF A LADY / BAR^ICA ZA PUN^KE / BOAT FOR DOLLS / GRDOBA / THE UGLY ONE / KRIZANTEMA NA KLAVIRJU / A CHRYSANTHEMUM ON THE GRAND PIANO / VETER V VEJAH BOROV / WIND IN THE PINES /

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IVAN VINOVRŠKI

Minu Kjuder Borštnikov prstan 2009 Winner of the Borštnik Ring Award 2009

Iz utemeljitve podelitve Borštnikovega prstana Ker se o damah ne govori, koliko so stare, bomo povedali le, da je bila rojena leta 1942 v Trstu. Letnica in kraj rojstva jasno povesta, v kako hudem času in v kako izpostavljenem okolju je preživljala otroštvo naša lavreatka. Ni ji bilo še dve leti, ko so ji fašisti ustrelili očeta kot talca, tik pred koncem vojne pa sta z mamo po čudežnem naključju preživeli še bombardiranje predela Trsta, kjer so živeli in ostali čisto brez vsega. Takrat se je začelo njeno romanje od none na Krasu do tet na Kočevskem in v Beli krajini. Šele čez nekaj let sta z mamo mogli zaživeti skupaj, najprej v Sežani in pozneje v Kopru, kjer je obiskovala srednjo šolo. A življenje ji tudi takrat ni prizanašalo.

Mama je bila več let hudo bolna in zato tudi denarja ni bilo. Že od malega je hotela postati igralka. Na kraški gmajni so na električni daljnovod privezane rjuhe služile za zavese in pred njimi je igrala za druge otroke, mamo, teto in sosedo. Kljub vsem oviram se ji je uresničila velika želja – sprejeta je bila na igralsko akademijo in za preživetje bila pripravljena zjutraj po Ljubljani razvažati mleko ali časopise. Ob koncu študija na AGRFT je bila Minu krhka, skromna, čedna, drobna, a obetajoča začetnica. Ker jo je ljubezen vlekla v Celje, je odklonila ponujeni angažma v ljubljanski Drami. V Slovenskem ljudskem gledališču v Celju je bila najprej v obveznih vlogah mladih igralk ranljiva in lepa v mladinskih igrah Jing Tai, Trnuljčica, Princesa Violeta, Pepelka in drugih, pa mladostna naivka Vida v Rendez-vousu, Malika v Varhu, Manica v Desetem bratu, Corry v Bosa v parku, a že v Celju nosilka težkih vlog sodobnih avtorjev kakor Jessica v Sartrovih Umazanih rokah ali Veronika Deseniška, najprej v Novačanovem Hermanu Celjskem in potem še osupljiva Župančičeva Veronika, ko se je prvič predstavila leta 1970 na Tednu slovenske drame, takrat prvič poimenovanem Borštnikovo srečanje. V Celju je v osmih sezonah odigrala 34 vlog.

Potem jo je na srečo Drame SNG Maribor Branko Gombač povabil v Maribor. Bila je Nežka v Matičku, Helenca v Ščukah, Micka v Kranjskih komedijantih; vloge v delih slovenskih avtorjev je kronala s Šeligovo Lepo Vido, za katero je že v času Štihovega vodenja Drame in v režiji »njenega« celjskega režiserja Francija Križaja dobila Borštnikovo nagrado in diplomo, nagrado Prešernovega sklada in nagrado publike na Sterijevem pozorju v Novem Sadu. »Otožno sloka postava polega na kanapeju, sivkasta skoraj žalna obleka, nemirna ženska duša. Hlastne, nemočne, natanko premišljene kretnje,« je takrat zapisal Andrej Inkret. V tem bolj zunanjem opisu vloge ni

Jury’s comment Since it is not polite to talk about the age of a lady, we will only mention that she was born in 1942 in Trieste. The year and the place of her birth unambiguously indicate how hard were the times and how exposed the environment where our laureate lived as a child. She was not yet two when the Fascists took her father hostage and shot him. Just before the end of the war, she and her mother miraculously survived the bombing of Trieste, and were left without anything. This was the beginning of her shifting from her grandma’s house in Kras to her aunts who lived in Kočevsko and Bela krajina. She rejoined her mother only a few years later, living first in Sežana and then in Koper, where she attended secondary school. But life was not kind to her during that period either. Her mother was seriously ill for several years and money was in short supply.

Since her early childhood, she longed to become an actress.

Despite all obstacles, her great wish was fulfilled: she enrolled at the academy of acting. Towards the end of her studies at the AGRFT, Minu was a fragile, modest, handsome, tiny and promising beginner. Love lured her to Celje, so she refused an offer from the Ljubljana Drama and became an actress with the Slovenian National Theatre in Celje, where over the following eight seasons she played 34 roles.

Then Branko Gombač invited her to join Drama SNG Maribor.

She crowned her acting career with the role of Lepa Vida, for which she received the Borštnik Award and diploma, the Prešeren Fund Award, and the Audience Award at Sterijino pozorje in Novi Sad. During the period of Pandur’s theatre spectacles, she worked in Trieste; together with her four colleagues, actors with the Slovenian Theatre in Trieste, she founded the “Travelling Comedians” group which entertained Slovenes in Italy and Austria. When the period of primarily visual theatre in Maribor was over, she returned and played the farewell role of Mary Tyrone in O’Neill’s Long Day’s Journey into Night.

Over the past few years, she has made a number of recordings for the Slovenian program of Radio Trieste A; she actively assists with the management of the amateur acting company in Kras, where she now lives most of the time, and teaches at the Studio Art theatre school with the Slovensko stalno gledališče in Trieste.

Tone Partljič Chairman of the Maribor Theatre Festival Council

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Sofija Pavlovna (A. S. Gribojedov Gorje pametnemu, Drama SNG Maribor 1980/81)

najti odgovora, od kod njena moč. Ta je v odrski prezenci, kot smo pravili nekoč, a jo moramo imenovati predvsem karizma.

Vasja Predan pravi, da je »ustvarila magistralno kreacijo«. »Dejal bi,« piše, »da je igralka obarvala Vido samosvoje: temperament in strast je presnovala v racionalno, zavestno ter intelektualno voljo … Racionalizirana volja in razumnost sta bili domala idealen most med ženskostjo in hrepenenjskimi strastmi in prav ta most je vgradil Vidi izjemno plastiko in moč …« Ne bomo iskali ocen v kritikah, omenimo pa vsaj še nekaj nepozabnih vlog: Sofoklejeva Elektra, Sofja Pavlovna v Gorje pametnemu, Nell v Koncu igre, Irena v Ibsenovi drami Ko se mrtvi prebudimo, Ines v Sartrovih Zaprtih vratih, Olga v Treh sestrah, Sonja v Stričku Vanji … Dobila je Glazerjevo nagrado za vloge Markize Marteuill v Nevarnih razmerjih, Vido v Vojakih zgodovine in Marijo v drami Help Vinka Möderndorferja.

Morda sta jo tudi igralsko nelagodje in občutek odvečnosti v spektaklih Tomaža Pandurja odpeljala na gostovanja v Trst, kjer je igrala Sue Bayliss v Millerjevi drami Vsi moji sinovi ali Dunjaško v Češnjevem vrtu. Takrat so tudi s štirimi kolegi igralci iz tržaškega gledališča ustanovili skupino z imenom »Popotni komedijanti« in pet let poleti razveseljevali zamejske Slovence v Italiji in Avstriji. Po končanem obdobju predvsem vizualnega gledališča v Mariboru se je vrnila in odigrala še jubilejno poslovilno vlogo Mary Tyrone v O`Neillovi drami Dolgega dne potovanje v noč …

V zadnjih letih je veliko snemala na Radiu Trst A za slovenski program, aktivno pomaga pri vodenju ljubiteljske igralske družine na Krasu, kjer zdaj večinoma živi, in poučuje v gledališki šoli Studio Art pri Slovenskem stalnem gledališču v Trstu.

Kabaretska pevka (B. Brecht Erotični kabaret, Drama SNG Maribor 1986/87)

Augusta (B. Brecht Bobni v noči, Drama SNG Maribor 1986/87)

Arhiv SNG MARIBOR

Tone Partljič, predsednik Sveta Festivala BS

Mary Cavan Tyron (E. G. O’Neill Dolgega dne potovanje v noč, Drama SNG Maribor 1999/2000)

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Izjava strokovne žirije 44. Festivala Borštnikovo srečanje

Statement of the Jury of Experts at the 44th Borštnik Theatre Festival

Strokovna žirija letošnjega Festivala Borštnikovo srečanje v sestavi Mario Brandolin, Gregor Butala, dr. Maja Haderlap, mag. Mojca Jan Zoran in dr. Blaž Lukan kot njen predsednik ugotavlja, da program, ki ga je izbrala selektorica dr. Barbara Orel, avtorsko suvereno reflektira, torej tako odseva kot premišlja slovensko gledališče danes, hkrati pa obžaluje, da izbor selektorice ni bil izveden v celoti, saj se festivala ni udeležila izbrana uprizoritev Slovenskega stalnega gledališča Trst. Člani žirije tudi letos ponavljamo lansko ugotovitev, da je sodelovanje dveh članov žirije, ki ne prihajata iz slovenskega gledališkega prostora, hkrati pa slovensko gledališče poznata, prispevalo k objektivnejšemu pogledu na izbrane uprizoritve, in priporočamo, da festival to prakso ohrani. Žirija letos ni podelila nagrade za gledališke inovacije in estetski preboj, saj je mnenja, da nobena uprizoritev v programu ni ustrezala specifičnim kriterijem zanjo, vse svoje odločitve pa je sprejela soglasno.

The jury of experts, composed of Mario Brandolin, Gregor Butala, Maja Haderlap, Mojca Jan Zoran and Blaž Lukan, head of the jury, has established that the performances selected for this year’s festival both accurately reflect the current situation in Slovenian theatre and encourage deliberation on it. The jury regrets that not all the selected performances could participate: i.e., the performance by Slovensko stalno gledališče in Trieste was missing. The jury has reaffirmed the previous year’s conclusion that having two jury members who are not active in the Slovenian theatre scene but are fully cognizant of it makes an important contribution to the panel’s objectivity, so we recommend that this practice be continued in the future.

This year the award for innovation and aesthetic breakthrough was not given, because in the jury’s opinion no performance has met the criteria for this award. All jury decisions were taken unanimously.

Maribor, 25 October 2009

V Mariboru, 25. oktobra 2009

Strokovna žirija 44. Festivala Borštnikovo srečanje Predsednik dr. Blaž Lukan Člani Mario Brandolin, Gregor Butala, dr. Maja Haderlap, mag. Mojca Jan Zoran

The Jury of Experts of the 44th Borštnik Theatre Festival Head of the Jury Blaž Lukan Members Mario Brandolin, Gregor Butala, Maja Haderlap, Mojca Jan Zoran

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The Grand Prix for the Best Production of the Maribor Theatre Festival Heiner Müller: Macbeth after Shakespeare directed by Ivica Buljan, produced by Mini Teater theatre and co-produced by Novo kazalište Zagreb, Cankarjev dom Ljubljana and ZeKaeM Zagreb

Nagrada za najboljšo režijo Jernej Lorenci za režijo uprizoritve Oresteja Ajshila v izvedbi Slovenskega narodnega gledališča Drama Ljubljana

MIHA FRAS

Uprizoritev Macbeth po Shakespearu raste v asketski, a celovit, na videz neobvladljiv in nevaren organizem, v uprizoritveno telo, ki pa vseskozi dramaturško in režijsko premišljeno vodi nastopajoče po robovih čiste moči ter v svoj tok neubranljivo povleče še gledalca.

Buljanov Macbeth za popoln učinek ne potrebuje ničesar razen igralcev, zanaša se na njihovo mladostno, moško energijo, ki ji dodaja izkušenost dveh igralk, ene prav tako v moški vlogi, in jih spusti v gladiatorsko areno, kjer poteka boj telo na telo, v katerem ni nikomur prizanešeno, hkrati pa se nenehno zaveda, da je arena tudi gledališki oder, na katerem se je mogoče poigravati, kolikor se da, in se igre tudi v vsakem trenutku zavedati. Macbethova surova igra se odvija v neposredni bližini gledalca, ki hočeš nočeš tudi sam postane del te peklenske, do dna razgaljene uprizoritve.

The Best Direction Award Jernej Lorenci for his directing of Aeschylus’ Oresteia, performed by Slovensko narodno gledališče Drama Ljubljana

Nagrada za mladega igralca Jure Henigman za vlogo v uprizoritvi Macbeth po Shakespearu v produkciji Mini teatra in koprodukciji Novega kazališta Zagreb, Cankarjevega doma Ljubljana in ZeKaeM Zagreb Igro Jureta Henigmana v različnih vlogah v uprizoritvi odlikujejo raznovrstni igralski izrazi, suverenost, natančnost in divja energija.

Kljub navzven prevladujoči divji energiji, ki je v igri Jureta Henigmana kot vodilo v polni meri prisotna od začetka do konca uprizoritve, so liki, ki jih igralec udejanja, natančno zasnovani, izrazno igralsko pestri in nadzorovani. Henigman igralsko ne podlega moči in energiji uprizoritve, temveč jo s svojimi, tudi tehnično izdelanimi vlogami, ustvarja, nadzoruje in stopnjuje do skoraj neznosne intenzitete.

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TONE STOJKO

Jernej Lorenci je Orestejo prebral kot temeljno besedilo evropske civilizacije in v uprizoritvi raziskal možnosti njenega sodobnega učinka, s posluhom za izvirno dramsko govorico je v njej našel asociativno bogate uprizoritvene možnosti in jih avtorsko zrelo izkoristil.

Lorenci je skupaj z igralci gledalca soočil s sodobno dramo, v kateri je pozornost s herojskega Oresta premaknil na »človeško« Klitajmestro in v katero mu možnost vstopa najprej olajša režijsko izvirna izvedba zbora z enim samim igralcem kot vodnikom in komentatorjem, nato pa na prvi pogled nenavadna in neizbirčna, na trenutke fragmentarna in poetična, a v resnici natančni in konsekventni uprizoritveni logiki sledeča izbira performativnih postopkov in sredstev.

The Young Actor Award Jure Henigman for his role in Macbeth after Shakespeare, produced by Mini Teater theatre and co-produced by Novo kazalište Zagreb, Cankarjev dom Ljubljana and ZeKaeM Zagreb

MIHA FRAS

Velika nagrada 44. FBS za najboljšo uprizoritev Heiner Müller: Macbeth po Shakespearu v režiji Ivice Buljana in produkciji Mini teatra in koprodukciji Novega kazališta Zagreb, Cankarjevega doma Ljubljana in ZeKaeM Zagreb

Nagrada Dominika Smoleta za prevod Marko Marinčič za prevod Ajshilove drame Oresteja v izvedbi Slovenskega narodnega gledališča Drama Ljubljana

The Dominik Smole Award for translation Marko Marinčič for the translation of Aeschylus’ Oresteia staged by Slovensko narodno gledališče Drama Ljubljana

Pet enakovrednih igralskih nagrad Polona Juh za vlogo Klitajmestre v uprizoritvi Oresteja v izvedbi Slovenskega narodnega gledališča Drama Ljubljana

TONE STOJKO

Marko Marinčič s svojim prevajalskim pristopom na novo odkriva estetske prvine izvirnika in prepričljivo prelije Ajshilovo besedilo v vsem njegovem poetičnem bogastvu v slovenski jezik.

Z ohranjanjem originalnega ritma in izvirne grške metafore prevajalec odstira večpomenskost izvirnika, omogoča nove vpoglede v globino, bolečino in poetično moč Ajshilove drame. Njen prevod gledalca in bralca nagovarja celovito in mu ponudi pot skozi čas, ki se kot lok pne med preteklostjo in sedanjostjo. Marko Marinčič tako davni izvirnik približa našemu sodobnemu dojemanju.

Five equivalent awards for acting Polona Juh for the role of Clytemnestra in Oresteia, performed by Slovensko narodno gledališče Drama Ljubljana

PETER UHAN

Polona Juh s ponotranjeno, obenem pa izrazito in intenzivno igro lušči podobo Klitajmestre iz mita in okostenelih stereotipov, daje ji čustveno razsežnost, preteklost in globino ženske, ki se bori za dostojanstvo in življenjske vrednote.

Klitajmestra Polone Juh je temni ogenj, koncentrirano jedro predstave, ki kljub resignaciji še vedno izžareva prevratno moč in da slutiti, da se v njej spaja slutnja starega sveta, ki se z globoko bolečino upira prevrednotenju in izničenju matriarhalnih načel. Skozi igro Polone Juh poblisne nekaj arhaične ženske obupanosti na prelomnici časa tudi v našo dobo.

Marko Mandić za vlogo v uprizoritvi Macbeth po Shakespearu v produkciji Mini teatra in koprodukciji Novega kazališta Zagreb, Cankarjevega doma Ljubljana in ZeKaeM Zagreb

Marko Mandić for his role in Macbeth after Shakespeare, performed by Mini teater and co-produced by Novo kazalište Zagreb, Cankarjev dom Ljubljana and ZeKaeM Zagreb

MIHA FRAS

Marko Mandić je odigral Macbetha z neustavljivo, a vseskozi nadzorovano močjo, na skrajni meji razumskega in že čez njo, a hkrati iz samega jedra njegove eksistencialne in bivanjske resnice.

Mandićev Macbeth je zdaj otrok, ki razdira svet za zabavo, zdaj sin, ki z materino pomočjo preverja moč in oblast, zdaj ljubimec, ki pada v globine erotike in igre, zdaj človek z gonom po udejanitvi volje do moči zaradi nje same in zaradi slasti, ki prihaja z njenega dna, zdaj slehernik, ki ne more razumeti, da njegovo prizadevanje navsezadnje trči ob nedoumljivo, iracionalno moč, ki svet vendarle vrne na stari tir. Marko Mandić je do kraja telesen igralec, do zadnje mišice razgibana statua, ki pa ji še bolj kakor v svet usmerjena akcija robove kleše v sebe samega obrnjena in nenehno sprašujoča trpnost.

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Nataša Matjašec Rošker for her role in the Wind in Pine Trees, performed by the Drama Slovenskega narodnega gledališča Maribor

Igor Samobor za vlogo Tantala v uprizoritvi Oresteja v izvedbi Slovenskega narodnega gledališča Drama Ljubljana

MATEJ KRISTOVIĆ

Nataša Matjašec Rošker sporočilo ostarele pesnice Komachi poda v časovno kratkem ter igralsko minimalističnem nastopu, ki v čistosti in silovitosti gole prisotnosti presvetli celotni oder in zareže globoko v dušo. Človeška krhkost in minljivost, vpeti v ravnodušni tok nenehno premenjajočega se sveta, se v predstavi Veter v vejah borov zgoščujeta v liku nekdanje lepotice, ki hira v osami in revščini.

Nataša Matjašec Rošker v vlogi, ki zahteva skrajno okleščeno in pritajeno rabo izraznih sredstev, z grenkobo v pogledu in strtim glasom, ki pronicata iz negibnega, od časa, pozabljenih sanj in neusmiljenega teka življenja utrujenega telesa, z drobnimi kretnjami, pomežiki, trzaji, predvsem pa s silnostjo notranje zbranosti preseva resnico bivanja, ki se vzpenja iz pretehtano izrisane razpoke med likom in igralko samo.

Igor Samobor for the role of Tantalus in Oresteia, performed

by Slovensko narodno gledališče Drama Ljubljana

Branko Šturbej za vlogo Peera Gynta v uprizoritvi Peer Gynt v izvedbi Drame Slovenskega narodnega gledališča Maribor Branko Šturbej Peera Gynta, tega sprenevedavega blodnjavca, vpne v maestralni lok od otročje razposajenosti do predsmrtne ekstaze, med zapeljivca in zapeljanca, skušnjavca in skušanega, v široki paleti igralskih izrazov, a vselej tesno zlit z vlogo. Šturbej kot Peer Gynt je več kot zgolj vetrnjaški dramsko-pravljični lik, ki v svoji izmuzljivi, begavi, včasih skorajda groteskno trmasti eksistenci deluje bolj kakor nekakšen idejni konstrukt ali značajski vzorec. Branko Šturbej vlogo, v katero vstopa scela, brez vsakršnega ostanka v telesnem ali duševnem naponu, s silovito igralsko intenzivnostjo razpne kot smisel iščočega slehernika v prepadih med različnimi ravnmi bivanja ter vprašanji lastne resnice in uresničenja, ki se obupano oklepa vsakokratnih dozdevkov krhkega identitetnega jedra, na katerih se vzpostavlja.

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PETER UHAN

Igor Samobor je z vrhunsko igro pretvoril antični zbor, neosebnega komentatorja dogajanja, v polnokrvno dramsko osebo, ki z ustvarjalno energijo in stalno igralsko prezenco vodi celotno uprizoritev.

Samoborjev Tantal je lik iz mesa in krvi, vpet v odrski čas, prostor in dogajanje. Hkrati pa v sebi nosi in izraža mitsko brezčasnost ter ohranja distancirano vsevednost in komentatorsko naravnanost antičnega zbora. Samoumevno preciznost, tehnično dovršenost in bogat razpon igralskih izrazov je Igor Samobor v vlogi Tantala združil z igralsko inteligenco ter strogo vodeno in nadzorovano, a skozi celo uprizoritev prisotno neusahljivo ustvarjalno energijo.

Branko Šturbej for the role of Peer Gynt in Peer Gynt, performed by the Drama Slovenskega narodnega gledališča Maribor

MATEJ KRISTOVIĆ

Nataša Matjašec Rošker za vlogo v uprizoritvi Veter v vejah borov v izvedbi Drame Slovenskega narodnega gledališča Maribor

Tri enakovredne nagrade za druge dosežke Marko Japelj za scenografijo v uprizoritvi Peer Gynt v izvedbi Drame Slovenskega narodnega gledališča Maribor

Three equivalent awards for other achievements Marko Japelj for the set design for Peer Gynt, performed by the Drama Slovensko narodno gledališče Maribor

Peter Penko za avtorstvo glasbe v uprizoritvi Portret neke gospe Henryja Jamesa v produkciji Anton Podbevšek Teatra in Teatri di vita Bologna

MATEJ KRISTOVIĆ

Marko Japelj z domišljenim prostorskim konceptom in s skladno manipulacijo odra daje večplasten prostor Peer Gyntovemu svetu in njegovi fantaziji.

Scenografija Marka Japlja omogoča pretok večplastnega dogajanja v vseh dimenzijah, zaznamuje igro in potek drame, ji daje čvrst okvir in ji obenem odpira nove izrazne možnosti.

Poigrava se z intimnostjo in s praznino prostora ter z omejevanjem in z odpiranjem odrskih razsežnosti. Japljeva scena ne interpretira drame, temveč v celoti služi imaginaciji glavne osebe, je čarobna škatla, v kateri Peer Gynt sanja in razpreda svoje življenje. Je visoko funkcionalna in nevsiljiva, obenem pa sproščeno razigrana.

Peter Penko for his music for The Portrait of a Lady by Henry James, produced by Anton Podbevšek Teater and Teatri di vita Bologna

BOŠTJAN PUCELJ

Glasba Petra Penka je zvok, prostor, čas in akter ter tako bistven in neločljiv del koncepta uprizoritve.

Peter Penko skozi celotno uprizoritev na racionalni in intuitivni ravni suvereno vodi zvočni dialog z gledalcem in uprizoritvijo samo. Njegova glasba ni le zvočna podpora koncepta uprizoritve. V svoji večplastni pojavnosti je glasba na sebi, hkrati pa prebija območje glasbenega izraza ter bistveno sooblikuje prostor, vzpostavlja ritem in ambient in je neposredna nosilka pomena in naracije.

Matjaž Berger za avtorski uprizoritveni diskurz Portreta neke gospe Henryja Jamesa v produkciji Anton Podbevšek Teatra in Teatri di vita Bologna

Matjaž Berger for the original discourse created for The Portrait of a Lady by Henry James, produced by Anton Podbevšek Teater and Teatri di vita Bologna

BOŠTJAN PUCELJ

Uprizoritev sestavljata dve plasti, ki šele skupaj tvorita njeno pravo »resnico«; ena je uprizarjanje dekonstruirane literarne predloge, druga intimni mentalno-teoretski zemljevid režiserja Matjaža Bergerja, ki je hkrati počelo in rezultat tega nenavadnega zlitja.

Avtorski diskurz Matjaža Bergerja vzpostavlja svojevrsten konceptualni kozmos, v katerem se mešajo literarne, teoretske in umetnostnozgodovinske reference, semantični labirint, kjer se pot vije proti ekstazi označevalca, ki se na vsakokrat nov in nepričakovan način materializira v konkretnih scenskih dogodkih. Tako je tudi uprizoritev Portreta neke gospe v temelju možna le skozi specifični ustvarjalni pogled, ki pa ni le »negibni gibalec« predstave, temveč se v njej tudi vsakič dejavno oplaja.

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Other Awards

Na festivalu je bila podeljena tudi nagrada Društva gledaliških kritikov in teatrologov za najboljšo predstavo v sezoni 2008/ 2009, ki jo je prejela uprizoritev Ajshilove Oresteje v režiji Jerneja Lorencija ter izvedbi Slovenskega narodnega gledališča Drama Ljubljana.

The award given by the Association of Slovenian Theatre Critics and Researchers for the best performance of the theatre season 2008/2009 went to Oresteia, directed by Jernej Lorenci and performed by Slovensko narodno gledališče Drama Ljubljana

Na predlog predsednika Sveta Festivala Borštnikovo srečanje Toneta Partljiča sta bili podeljeni dve posebni diplomi za dolgoletno tehnično-organizacijsko vodenje predstav na festivalu Darku Štandekarju (SNG Maribor) in Edu Kocmurju (SNG Drama Ljubljana).

On the initiative of the Chairman of the Maribor Theatre Festival Council, Tone Partljič, special diplomas for the technical and organizational management of festival performances over many years were awarded to Darko Štandekar (SNG Maribor) and Edo Kocmur (SNG Drama Ljubljana).

IVAN VINOVRŠKI

IVAN VINOVRŠKI

TONE STOJKO

Druge nagrade

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44. Festival Borštnikovo srečanje v številkah

44th Borštnik Theatre Festival in Numbers

Maribor, od 16. do 25. oktobra 2009

Maribor, October 16 to 25, 2009

V tekmovalni program 44. Festivala Borštnikovo srečanje je selektorica dr. Barbara Orel uvrstila 11 predstav, vendar se jih je festivala udeležilo le 10, prav toliko pa je bilo tudi strokovnih pogovorov o tekmovalnih predstavah, ki sta jih na Malem odru pripravila in vodila Jernej Novak in Jaroslav Skrušný. V spremljevalnem programu se je po izboru selektorice zvrstilo 5 predstav, uprizorjene so bile 4.

There were 11 performances selected by Barbara Orel for the competition programme of the 44th Borštnik Theatre Festival; of these, 10 were staged; expert discussions on ten competing performances were organized and moderated by Jernej Novak and Jaroslav Skrušný. There were 5 performance selected for the accompanying program, with only 4 of them staged.

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Strokovni del letošnjega festivala je obsegal tri simpozije (od katerih sta bila dva mednarodna). Simpozij z naslovom Od Antigone do Krsta pri Savici je bil na sporedu 21. oktobra in je obeležil izid II. in III. knjige Zbranih del Dominika Smoleta.

Udeležili so se ga štirje razpravljalci in 31 poslušalcev. Prvi mednarodni simpozij, Povezovanje festivalov Zahodnega Balkana, ki ga je organiziral Slovenski center mednarodnega gledališkega inštituta v sodelovanju s Festivalom BS, je potekal 23. oktobra. Simpozija se je udeležilo 7 predstavnikov slovenskih, hrvaških in srbskih festivalov ter 32 poslušalcev. Drugi mednarodni simpozij Umetnost, kultura, mesto, ki se je zgodil dan za tem, je predstavil 10 referatov. Simpozija se je udeležilo 50 poslušalcev.

V Literini knjigarni je bilo v štirih dnevih predstavljenih 14 knjig in 1 revija, in sicer Amfiteater, revija za teorijo scenskih umetnosti. V okviru Festivala BS je bila predstavljena tudi monografija Devetdeset let Slovenskega narodnega gledališča v Mariboru in sicer 21. (na Malem odru) in 22. oktobra (na Visoki poslovni šoli Doba).

En dan festivala je bil tudi letos posvečen delu študentov AGRFT, v okviru katerega so se na dveh prizoriščih predstavili z dvema produkcijama študenti 2. in 3. letnika igre, režije in dramaturgije študijskega leta 2007/2008, in sicer s tremi enodejankami A. P. Čehova Medved, Snubač, Jubilej, in študenti 4. letnika s predstavo Fedra Jean Racinea.

V dodatnem programu se je odvila predstava Barčica za punčke Milene Marković v izvedbi Srbskega narodnega pozorišta Novi Sad ter melolog Faust Fantasia v izvedbi Petra Steina (glas) in Artura Annecchina (klavir).

This year’s festival included three symposia, two of these international. From Antigone to Baptism at the Savica, on October 21, marked the publication of the II and III volume of the Complete Works of Dominik Smole; there were three speakers and 31 listeners. The international symposium, Linking the West Balkan Festivals, organized by the Slovenian Centre of the International Theatre Institute in cooperation with the Borštnik Theatre Festival, was held on 23 October; there were 7 representatives of Slovenian, Croatian and Serbian festivals and 32 listeners. The international symposium Art, Culture, City was held one day later and included 10 presentations; there were 50 listeners.

There were 14 books and 1 journal – Amfiteater, a journal of contemporary performing arts – presented in the Litera Bookshop during the four days of the festival. The monograph Ninety Years of the Slovenian National Theatre Maribor was also presented, first on 21 October (Small Stage) and then on 22 October (High Business School Doba).

One day of the festival was again dedicated to the students of the Academy of Theatre, Radio Film and Television. The 2nd and 3rd years acting, directing and dramaturgy students in the academic years acting 2007/2008 staged three one-act plays

by A. P. Chekhov (The Bear, The Proposal, The Anniversary), and the 4th year students staged Jean Racine’s Phèdre.

The accompanying programme included Milena Marković’s A Boat For Dolls performed by Srbsko narodno pozorište Novi Sad and Faust Fantasia by Peter Stein (voice) and Arturo Annecchino (piano).

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Dogodki 44. Festivala Borštnikovo srečanje v okviru rubrike Festival BS drugje so se zvrstili na različnih prizoriščih. 6 predstav je gostil Prvi oder Prve gimnazije Maribor. Po ena pred-

Borštnik Festival Off-site events took place at different venues. The Stage One of Prva Gimnazija Maribor hosted 6 performances. The Pekre Cultural Centre, the Pekarna Cultural

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stava je bila odigrana v Kulturnem domu Pekre, Kulturnem centru Pekarna, Visoki poslovni šoli Doba in Avtosalonu Jarc Maribor. Predstava Osamljena ženska se je dvakrat zgodila v Narodnem domu (prvič ob pričetku, drugič ob zaključku festivala); prav v Narodnem domu pa se je 15. oktobra odvil tudi Uvod v Festival. V okviru Tovornikovih dnevov je bila ena predstava uprizorjena tudi v Selnici ob Dravi.

Centre, the Doba High Business School and the Jarc Car Showroom hosted one performance each. The performance A Lonely Woman was staged twice in the Maribor National Hall (on the opening and closing day of the festival). And on October 15, the National Hall hosted the Introduction to the Festival. One performance was staged in Selnica ob Dravi, as part of Tovornik Days.

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Ob 44. Festivalu Borštnikovo srečanje je izšel dvojezični almanah (v slovenskem in angleškem jeziku). Prav tako so bili natisnjeni dvojezična programska zloženka in 10 biltenov - eden od njih je bil posebna izdaja ob simpoziju Umetnost, kultura, mesto. Pri nastajanju biltenov je sodelovalo 10 študentk dramaturgije na AGRFT.

The 44th Borštnik Theatre Festival was accompanied by the Slovene-English almanac. Other publications included a bilingual brochure and 10 newsletters; one was dedicated to the symposium Art, Culture, City. Ten dramaturgy students of the Academy of Theatre, Radio, Film and Television participated in the preparation of the newsletters.

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Nagrade Strokovna žirija je ob zaključku 44. Festivala Borštnikovo srečanje podelila 12 nagrad, žirija za podelitev najvišjega priznanja za igralsko ustvarjalnost pa je Borštnikov prstan podelila dramski igralki Minu Kjuder.

Awards The jury of experts gave 12 awards. The highest award for creative acting, the Borštnik Ring, went to drama actress Minu Kjuder.

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Slovenski gledališki festival je spremljalo 39 akreditiranih novinarjev iz slovenskih in zamejskih medijev.

The Slovenian theatre festival was attended by 39 accredited journalists from Slovenian and foreign media.

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V času 44. Festivala BS se je zvrstilo 59 dogodkov, od tega 41 v prostorih SNG Maribor in 18 na drugih prizoriščih. Vse dogodke si je skupno ogledalo 5.820 gledalcev.

There were 59 events altogether during the 44th Borštnik Theatre Festival; of these 41 took place in SNG Maribor and 18 at other venues. The events were seen by 5,820 spectators in total.

Lidija Koren, izvršna producentka BS

Lidija Koren Executive Producer

V Mariboru, 29. oktobra 2009 Maribor, 29 October 2009

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Borštnikov prstan daruje Borštnik Ring donated by:

Zlatar Filigran KaËinari Vetrinjska 17, 2000 Maribor, Slovenija tel./fax: +386 02/251 41 77

Petar Beus, Dama s klobukom, 2009, grafika graphics, 50 x 70 cm

Galerija Hest daruje umetniško sliko Petra Beusa dobitniku velike nagrade Festivala Borštnikovo srečanje 2010 za najboljšo uprizoritev The Hest Gallery presents the painting by Petar Beus to the winner of the 2010 Maribor Theatre Festival Grand Prix Award for best performance

GALERIJA HEST Židovska 1, 2000 Maribor T +386 (02) 25 00 666 E galerija.hest@siol.net Židovska 8, 1000 Ljubljana T +386 (01) 42 20 000 E galerijahest@siol.net I www.galerijahest-sp.si

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festivalska prizorišča

I festival venues

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SNG Maribor Slovenska ulica 27

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Amfiteater II. gimnazije Amphitheatre II gimnazija Trg Miloša Zidanška 1

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Dvorana Antona Trstenjaka, rektorat UM Anton Trstenjak Hall Slomškov trg 15

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Jazz Club Satchmo Strossmayerjeva 8

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KIBLA Ulica kneza Koclja 9

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Knjigarna Litera Litera Bookshop Miklošičeva ulica 4

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Naskov dvorec Nasko Palace Vetrinjska ulica

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Lutkovno gledališče Maribor Puppet Theatre Vojašniški trg 2

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Pokrajinski muzej Regional Museum Grajski trg 4

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Prvi oder Prve gimnazije Stage One Prva gimnazija Trg generala Maistra 1

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ŠTUK Gosposvetska cesta 83

zapiski notes

zapiski notes