Vsebina Table of Contents

06 Aleš Novak, Biti skupaj Aleš Novak, Being Together

10 Danilo Rošker, Na pragu nove paradigme gledališke produkcije? Danilo Rošker, On the Threshold of a New Theatre Production Paradigm?

14 Beseda selektorja tekmovalnega programa 55. Festivala Borštnikovo srečanje A Word From the Selector of the 55th Maribor Theatre Festival

20 Selektor Selector

21 Strokovna žirija tekmovalnega programa Expert Jury of the Competition Programme

24 Strokovna žirija za Borštnikov prstan Expert Jury for the Borštnik Ring Award

28 Tekmovalni program Competition Programme

50 Režiserji tekmovalnih predstav Directors of the Competition Programme

54 Spremljevalni program Accompanying Programme

88 Mlado gledališče Young Theatre

106 Študentsko gledališče Student Theatre

122 Dodatni program Other Events

142 54. Festival Borštnikovo srečanje 54th Maribor Theatre Festival

154 Nagrade Awards

166 Donatorja in pokrovitelji Donators and Sponsors

192 Festivalska ekipa Festival Team

193 Festivalska prizorišča Festival Venues 55. Borštnikovo 06 — 07 Biti skupaj Being Together

Aleš Novak umetniški direktor Festivala Borštnikovo srečanje lanning theatre action, Artistic Director of the Maribor Theatre Festival Pincluding the Maribor Damjan Švarc Theatre Festival, has suddenly morphed into an unpredict- able string of precarious and merely potential scenarios whose common denominator is a significantly reduced number of spectators. The theatre we knew has suddenly started to fade into blurred prospects of a changed future with changed social mores and a looming danger of reduced importance and role of theatre, art and culture. ¶ The virus and the activities surrounding it have revealed a completely new aspect of the vulnerability and the direct exposure of theatre, ačrtovanje gledališkega dogajanja, tudi the type of art based on a densely woven NFestivala Borštnikovo srečanje, se je ne- network of interpersonal relationships and nadoma spremenilo v negotovo nizanje ne- physical closeness. Streaming productions predvidljivih in zgolj potencialnih scenari- online could not replace the direct theatre jev, katerih skupni imenovalec je bistveno experience. Stage art is a collective and zmanjšano število gledalcev. Gledališče, kot communal act, based on physical proximity, smo ga poznali, se je nenadoma pričelo od- co-creating, co-existing, on “being togeth- mikati v nejasne obete predrugačene priho- er”. Our control over the circumstances dnosti s spremenjenimi družbenimi zakoni- in which we work was reduced, our belief tostmi in pretečo nevarnostjo zmanjšanega that we can make plans for the future and pomena in vloge gledališke ustvarjalnosti, realise them, shaken. Yesterday’s self-evi- umetnosti in kulture. ¶ Virus in dogajanje, dence turned into guesses about the future. ki ga spremlja, je v povsem novi luči razkril The unexpected global crisis that shook the ranljivost in neposredno izpostavljenost gle- frames of human activity offered a chance – dališke ustvarjalnosti kot zvrsti umetnosti, a demand, even – that we as a society recon- ki temelji na gosto tkani mreži medsebojnih sider, reshape and re-establish ourselves. We odnosov in fizični bližini. Prenos gledaliških need inspiring answers to challenging ques- predstav na svetovni splet ni mogel nadome- tions that appear in this transitional period, stiti neposredne gledališke izkušnje. Odrska including the question about the future role umetnost je kolektivna in skupnostna dejav- and position of theatre. There have already nost, temelječa na telesni bližini, so-ustvar- been some shifts. We started talking about janju, so-bivanju, na biti skupaj. Nadzor nad solidarity among artists with more aware- okoliščinami lastnega delovanja se je razrah- ness and sensitivity. As a society, we have ljal, omajano je bilo naše prepričanje, da lahko more resolutely articulated the expectation načrtujemo prihodnost in te načrte tudi ures- that art and culture remain the building ničimo. Včerajšnje samoumevnosti so prešle blocks of our common horizons. The common 55. Borštnikovo 08 — 09

v ugibanja o prihodnosti. Nepričakovana glo- and the community have moved to the fore- predstavlja izbor desetih predstav v tekmo- of the Slovenian theatre creativity. This balna kriza, ki je pretresla okvire človeko- front of our interest and circumstances valnem programu po izboru selektorja Roka year’s international programme presents vega delovanja, je ponudila možnost, nemara that favour development shifts seem to be Bozovicarja, ki ga dopolnjuje izbor slovenskih some of the most important productions of celo zahtevo, da se kot skupnost premislimo, emerging. ¶ Mere months ago thinking about in tujih uprizoritev v spremljevalnem pro- the European theatre. The expert events in preoblikujemo in vzpostavimo na novo. Pot- the realisation of this year’s festival seemed gramu. Oba temeljita na nacelu kakovosti in the additional programme, which once again rebujemo navdihujoče odgovore na zahtevna utopian, but we continued to prepare. We pomembnosti uprizoritve za slovenski gleda- we are preparing together with the Associ- vprašanja, ki se porajajo v tem prehodnem ob- were grounded and ambitious, adaptable and liski prostor, izbor predstav slovenskih pro- ation of Theatre Critics and Researchers of dobju, tudi o prihodnji vlogi in položaju gle- focused on the realisation of the festival in ducentov v programu letosnjega festivala tako Slovenia, Slovenian Association of Dramatic dališča. Nekaj premikov se je že zgodilo. Z več the altered, more demanding circumstances. ponuja celovit vpogled v trenutno stanje slo- Artists, Slovenian Theatre institute, UL zavedanja in občutljivosti smo se pričeli po- The programme changed and adjusted, par- venske gledaliske ustvarjalnosti. Med tujimi AGRFT, UL FF, Maska Institute, Senzorium govarjati o solidarnosti med ustvarjalci. Kot ticularly when it came to international pro- predstavami je letos tudi nekaj najvidnejsih Institute, Maribor City Library and others, družba smo bolj odločno artikulirali pričako- ductions and guests; we managed to preserve uprizoritev evropskega gledališa. V stro- will bring international symposia and round vanje, da umetnost in kultura ostaneta gra- the international programme orientation in kovnem delu programa, ki ga ponovno prip- tables. ¶ Maribor Theatre Festival is based dnika naših skupnih horizontov. Skupno in most festival sections. In the coming days, ravljamo z Drustvom gledaliskih kritikov in on the diversity of theatre approaches and skupnost sta vse bolj v ospredju našega zani- we will attend a festival whose programme teatrologov Slovenije, Zdruzenjem dramskih aesthetics and on the connectedness of the manja in zdi se, da se vzpostavljajo razvojnim is slightly different from the one that was umetnikov Slovenije, SLOGI-jem, UL AGRFT, Slovenian theatre space, and this is reflected premikom naklonjene okoliščine. ¶ Še pred conceived before the epidemic started; this UL FF, Masko Ljubljana, Zavodom Senzorium, in this year’s programme. This edition of the nekaj meseci se je zdelo, da so razmišljanja o year, we’ve adjusted it to the conditions, Mariborsko knjiznico in drugimi soorgani- festival conveys the message of the creative izvedbi letošnjega festivala utopična, vendar limitations in crossing state borders and zatorji, se vrstijo mednarodni simpoziji in power of the Slovenian theatre and of the smo s pripravami nadaljevali. Bili smo prize- the existing measures, but we nevertheless okrogle mize. ¶ Festival Borstnikovo srecanje fundamental individual and collective need mljeni in ambiciozni, prilagodljivi in osredo- consistently pursue the festival’s funda- je utemeljen na raznolikosti gledaliskih pris- for connection between the creators and the točeni na izvedbo festivala v spremenjenih, mental mission: to select and offer the best topov in estetik ter na povezanosti slovenske- audience, of establishing and developing re- zahtevnejših okoliščinah. Program se je spre- and most exciting theatre productions, to ga gledaliskega prostora, in to se odraža tudi lationships, a message of being together. Be a minjal in prilagajal, zlasti pri gostujočih tu- award the best artistic achievements, to put v letošnjem programu. Letošnja izvedba fe- part of this celebration of theatre creativity, jih gostih in predstavah, uspeli smo ohraniti theatre in the epicentre of social activity, stivala posreduje sporočilo o ustvarjalni moči it means a lot to have you with us. ¶ mednarodno programsko usmeritev v veči- and to support the recognition of Slovenian slovenskega gledališča ter o osnovni indivi- Welcome to the Maribor Theatre Festival! ni festivalskih sklopov. V prihodnjih dnevih theatre creativity at home and abroad. With dualni in kolektivni potrebi po povezovanju bomo spremljali nekoliko drugačen festival- a wide selection of the festival activities ustvarjalcev in občinstva, vzpostavljanju in ski program, kot je bil zasnovan pred poja- we wish to expand the fields of creative razvijanju odnosov, o biti skupaj. Bodite del vom epidemije, prilagodili smo ga danostim, freedom, artistic exchange and the opening tega praznovanja gledališke ustvarjalnosti, omejitvam pri prehajanju državnih mej in of new perspectives. We retain the festival veliko nam pomeni, da ste z nami. ¶ veljavnim ukrepom, vendar tudi v letošnjem concept conceived in the last two years, Dobrodošli na Festivalu Borštnikovo srečanje! letu dosledno uresničujemo temeljno festival- which allows us to carry out activities for sko poslanstvo – izbrati in občinstvu ponudi- young audiences and an extensive student ti najboljše in najvznemirljivejše gledališke programme. The core of the festival are the predstave, nagraditi vrhunske umetniške do- ten productions in the competition pro- sežke, postaviti gledališče v epicenter druž- gramme, the choice of the festival selector benega dogajanja in spodbujati uveljavitev Rok Bozovičar, complemented by the selec- slovenske gledališke ustvarjalnosti doma in tion of Slovenian and international pro- v tujini. S širokim naborom festivalskih ak- ductions in the accompanying programme. tivnosti želimo širiti polja ustvarjalne svobo- Both are based on the principle of quality de, umetniške izmenjave in odpiranja novih and importance of the production for the perspektiv. Ohranjamo v zadnjih dveh letih Slovenian theatre space and the selection of uveljavljeno festivalsko zasnovo, ki nam omo- the productions by the Slovenian producers goca izvedbo dejavnosti za mlade ter obse- in this year’s festival programme provides a žen študentski program. Programski temelj comprehensive insight into the current state 55. Borštnikovo 10 — 11 Na pragu nove paradigme gledališke produkcije? On the Threshold of a New Theatre Production Paradigm?

Danilo Rošker direktor SNG Maribor ear Artists, Friends of The- Managing Director of the SNT Maribor Datre Art, dear Supporters Damjan Švarc and Donors, dear Founders, the Ministry of Culture of the Re- public of Slovenia and the City of Maribor! ¶ The pulse and the programme core of the central event of the Slovenian thea- tre, the Maribor Theatre Festi- val, still remain (more or less) intact, even after the pandem- ic outbreak of the coronavi- rus that has not only radically changed our view of socialising and life of a society in gener- al, but also of performing arts, yet the extreme circumstanc- es of the pandemic have nev- ertheless resulted in a slight decrease of the festival’s addi- ragi ustvarjalci, ljubitelji gledališke tional programme. The consequences of the Dumetnosti, spoštovani podporniki in do- global human health crisis have unexpectedly natorji ter cenjena ustanovitelja, Ministr- revealed the vulnerability of the entire the- stvo za kulturo RS in Mestna občina Maribor! atre landscape in Slovenia (and elsewhere in ¶ Življenjski utrip in programsko jedro osre- the world) – a landscape that was shattered dnjega dogodka slovenskega gledališča, Festi- by massive cancellations of cultural and arts vala Borštnikovo srečanje, sta zaenkrat ostala events. The future of the established collab- (bolj ali manj) neokrnjena tudi po pandemič- oration structures – co-productions and cre- nem izbruhu koronavirusa, ki ni radikal- ative exchanges among freelance artists and no spremenil le našega pogleda na druženje institutions – is also quite uncertain. ¶ The in življenje družbe nasploh, temveč tudi na next few months and our exposure to the still uprizoritveno umetnost, a so ekstremne oko- uncontained coronavirus pandemic will most liščine pandemije vseeno terjale svoj davek likely present us with new challenges and v rahlem zmanjšanju obsega dodatnega festi- unexpected events, with which we have no valskega programa. Pri tem so posledice kri- experience yet – nobody has tried and true ze, povezane z globalnim zdravjem človeštva, preventive methods that would work one nepričakovano razkrile tudi ranljivost celot- hundred percent – so at some point we will ne gledališke krajine na Slovenskem (in dru- most certainly have to reconsider the exist- god po svetu), saj jo pretresa velik izpad kul- ing paradigm of theatre production and ap- turno-umetniških dogodkov, zelo negotova propriately adjust the “form” of theatre ex- pa je tudi prihodnost dosedanjega načina or- pression, of which we can already think, in ganiziranega sodelovanja v obliki koproduk- the style of the contemporary internet dis- cij ter ustvarjalnih izmenjav med svobod- course, as of “post-corona” theatre 2.0. Among nimi kulturno-umetniškimi ustvarjalci in the key factors that will help theatre, one of institucijami. ¶ V prihodnjih mesecih nas v the most complex art phenomena and an im- povezavi s še vedno neukrotljivo pandemijo portant defender of civilisation and art in 55. Borštnikovo 12 — 13

koronavirusa najverjetneje čakajo novi izzi- general, survive this historic challenge, is zvest svojemu osnovnemu poslanstvu – javne- you many new experiences and unforgettable vi in nepričakovani dogodki, s katerimi se without a doubt the correct response from the mu predstavljanju najboljšega, kar trenutno moments in genuine contact with theatre art, zaenkrat še ne znamo učinkovito spopada- system (the state and its institutions), sup- obstaja v slovenskem, evropskem in svetov- to all the theatre artists plenty of creative ti – nihče namreč nima popolnoma preizku- port of the public and the sponsors who rec- nem gledališču, ter nagrajevanju presežkov élan, persistence, interesting ideas, hope and šenih in stoodstotno delujočih preventivnih ognise in theatre the permanent symbolic slovenske gledališke produkcije. Prepričan finally hard-earned applause from enthusias- metod –, zato bo treba v nekem trenutku prav capital and its cultural value, and the correct sem, da bo tudi letošnji Borštnik ne glede na tic spectators. ¶ gotovo na novo premisliti dosedanjo paradi- implementation of legislation and decisions pandemijo (ali nemara prav zato) pokazal še You are cordially invited to the 55th Maribor gmo gledališke produkcije in ustrezno pri- of the political actors. Only a comprehensive več lastnega duha, zanimivih in aktualnih Theatre Festival! ¶ lagoditi formo gledališkega izraza, ki jo lah- and coherent response on all the levels of the- vsebin, ki neposredno nagovarjajo tako rekoč ko v slogu sodobnega diskurza medmrežja že atre reality can contribute to preservation of celoten generacijski spekter ljubiteljev gleda- mislimo kot pokoronsko gledališče 2.0. Med the highly developed performing arts in Slo- lišča, in še več afirmacije vsega, kar mora os- ključne dejavnike, ki bodo gledališču kot ene- venia in the time of pandemic and after it. ¶ tati stalnica gledališke ekspresije, in to kljub mu najkompleksnejših umetniških fenome- Despite the difficult circumstances in which vsem potencialno grozečim katastrofam. Prav nov ter pomembnemu braniku civilizaci- this year’s 55th edition of the festival is form- zato bomo letošnjo jesen še bolj veseli vašega je in umetnosti nasploh pomagali preživeti ing, the Maribor Theatre Festival retains the obiska, ob tem pa naj vam zaželim obilo novih ta zgodovinski izziv, prav gotovo sodijo tudi creative and discursive potency of the central doživetij in nepozabnih trenutkov v pristnem pravilen odziv sistema (države in njenih in- Slovenian theatre festival with a genre and stiku z gledališko umetnostjo, vsem gledali- stitucij), podpora javnosti in sponzorjev, ki v aesthetically very diverse selection of Slove- škim ustvarjalcem veliko ustvarjalnega za- gledališču prepoznavajo trajni simbolni kapi- nian and international theatre productions; gona, vztrajnosti, zanimivih idej, upanja in tal in njegovo kulturno vrednost, ter ustrezna with the same intensity (and some activism, ne nazadnje tudi težko prisluženega aplavza implementacija zakonskih aktov in ukrepov directed into finding ways to overcome the navdušenih gledalk in gledalcev. ¶ političnih odločevalcev. Le celovit in kohe- existing situation) it offers an interesting Prisrčno vabljeni na 55. Borštnikovo! ¶ renten odziv na vseh ravneh gledališke real- spectrum of activities intended for students nosti lahko prispeva k ohranitvi visoke stop- and developing new audiences. Additionally, nje razvitosti uprizoritvenih umetnosti v academic debates are a welcome element that Republiki Sloveniji tudi med obdobjem pan- brings the expert programme to the front of demije in po njem. ¶ Kljub težavnih okoliš- this year’s festival and they help create a the- činam, v katerih nastaja letošnja, tokrat že matically broad accompanying programme petinpetdeseta festivalska edicija, Festival and other events. ¶ All these things may make Borštnikovo srečanje ohranja ustvarjalno in it seem that the 55th Maribor Theatre Festi- diskurzivno potenco osrednjega slovenskega val faces many challenges before it even be- gledališkega festivala z žanrsko in estetsko gins, and yet it remains faithful to its basic zelo raznolikim izborom slovenskih in tujih mission – public presentation of the best that gledaliških produkcij, pri tem pa z enako in- currently exists in Slovenian, European and tenziteto (in nekoliko aktivističnega momen- world theatre and awarding the outstanding ta, ki je usmerjen v iskanje načinov, kako pre- parts of the Slovenian theatre production. I seči obstoječe stanje) ponuja zanimiv spekter am certain that this year’s Festival will, the aktivnosti, namenjenih študentom in razvoju pandemic notwithstanding (or perhaps be- novih občinstev. Še več, s svojo tehtnostjo se cause of it) show even more of its own spir- v ospredje letošnjega festivala postavlja tudi it, interesting and current content that di- strokovni program z dobrodošlim pendantom rectly address the theatre aficionados across v obliki tematsko širokega spremljevalnega generations, even more of the affirmation of programa in drugih dogodkov. ¶ Prav zara- everything that must remain a constant of di vsega naštetega se zdi, da ima 55. Festival theatre expression, despite all the looming Borštnikovo srečanje še pred svojim začetkom disasters. This is why we are looking forward nemalo izzivov, in vendar kljub temu ostaja even more to your visit this autumn. I wish 55. Borštnikovo 14 — 15 Beseda selektorja tekmovalnega programa 55. Festivala Borštnikovo srečanje A Word From the Selector of the 55th Maribor Theatre Festival

Rok Bozovičar selektor tekmovalnega programa his theatre season cannot Selector of the Competition Programme Tbe defined with a single Boštjan Lah striking sentence, a flat es- timate or average measure- ments of the quality levels of productions. It would hardly be possible to meaningfully link it to previous years, and the shapes of future promises are blurred. The way in which closing down public life has cut into the field of performing arts has sharply interrupted the pulse of theatre organ- isms – and it dictates bleakly how future repertoires, pro- grammes and plans for pro- duction and realisation will be formed. ¶ Today’s view of the season up to mid-March might etošnje gledališke sezone ni mogoče defi- perhaps evoke a perception of the “normal- Lnirati z udarno povedjo, s pavšalno oceno cy” of its course, just like most reflections ali povprečnimi meritvami ravni kvalitete of the pre-corona past seem ordinary from uprizoritev. Le stežka jo je smiselno navezati today’s position. Numbers also testify to the na pretekla leta in le zamegljeno se vidijo ordinary development of the season: before it obrisi prihajajočih obetov. Način, na katerega was suspended, I had seen almost a hundred je zaprtje delovanja javnega življenja zare- productions, and over one hundred and ten zalo na področje uprizoritvenih umetnosti, in total. Following the festival regulations, I je ostro prekinil živo pulziranje gledaliških ended up considering around a hundred pro- organizmov, hkrati pa neoptimistično na- ductions as potential entries to the competi- rekuje snovanje prihodnjih repertoarnih, tion programme. The season up to the pause programskih ter produkcijsko-izvedbenih was thus quantitatively extremely pro- načrtov. ¶ Današnji pogled na sezono do sre- ductive, the institutional mechanism that dine marca bi sicer nemara lahko vzbudil created about two thirds of the theatre pro- predstavo o »normalnosti« njenega poteka, duction displayed a sturdy repertoire frame tako kot se večina refleksij predkoronske which ensured a stable level of theatre pro- preteklosti z današnje pozicije zdi običajna. O duction, but ventured significantly less into običajnosti poteka sezone lahko pričajo tudi daring programme-artistic directions and številke: do prekinitve sem si ogledal skoraj experiments of the theatrically effective, 100 predstav, v celoti pa preko 110 uprizori- established and expected. The production of tev. V skladu s pravilnikom sem v razmislek independent institutes and co-productions potencialnih gradnikov tekmovalnega pro- with public institutions covered one third of grama na koncu vzel približno 100 uprizo- all the production, which is not a significant ritev. Kvantitativno je bila torej sezona do deviation from previous years, but the con- cezure izredno produktivna, institucionalni ditions and circumstances of their work in mehanizem, ki je proizvedel približno dve these circumstances are tightening – which 55. Borštnikovo 16 — 17

tretjini gledališke produkcije, izkazuje trden is also reflected in the stagings – and it is principov v različnih odtenkih, mestoma the movement, dance and musical theatre. ¶ repertoarni okvir, ki zagotavlja stabilno not at all encouraging that we expect that zresnjenih, drugje zopet humornih ideolo- Many voices of the world literature and dra- raven gledališke proizvodnje, bistveno manj the consequences of the anti-corona meas- ških slikah. Formalna raznolikost uprizori- ma addressed me from the stage, canonised pa posega po drznih programsko-umetni- ures, postponing of tenders, and potential tvenih modelov sestoji tako iz prevladujočih texts by Slovenian authors, and also young, ških usmeritvah ter preizkusih gledališko budget cuts will undoubtedly impact all the dramskih uprizoritev, avtorskih pristopov up-and-coming playwriting. The regular učinkovitega, ustaljenega in pričakovanega. partners, particularly the self-employed and snovalnega, dokumentarnega gledališča in and increasingly ambitious engagements of Produkcija nevladnih zavodov in koprodukcij independent producers. It would therefore gledališča objektov, iz razrahljanih perfor- young collectives are encouraging, as they z javnimi zavodi je obsegala tretjino vseh be a tasteless joke if I said that this season mativnih pristopov in hibridnih oblik gi- prove that they are a reliable element of the uprizoritev, kar ne odstopa bistveno od pre- passed like any other and that Slovenian balnega, plesnega ter glasbenega gledališča. institutional repertoires, with their own teklih let, se pa pogoji in razmere njihovega theatre shows a high level of vitality and ¶ Z odrov so me nagovorili številni glasovi vision of the creative process, procedures delovanja v vseh okoliščinah zaostrujejo, top form and promises the continuity of the svetovne književnosti in dramatike, kano- and artistic stance. The school productions kar odražajo tudi uprizoritveni dogodki, artistic level. ¶ How to then think theatre nizirana besedila slovenskih avtorjev, pa of the UL AGRFT, as well, promise exciting in nič kaj spodbudno ni pričakovanje, da se worlds of some past normalcy that was fully tudi mlajša, uveljavljajoča se dramska pisava. theatre artists. ¶ Through the selection pro- bodo posledice ukrepov, razpisnih odlaganj depleted by the systemic frame in need of Vzpodbudni so redni in vedno bolj ambiciozni cess I tried to find an appropriate foundation ter morebitnih rezov v proračun zagotovo a change, in some other normalcy? How do angažmaji mladih kolektivov, ki so dokaza- for all the different perspectives of world odrazile pri vseh deležnikih, še posebej sa- the staging contexts of the past theatre sea- li, da so zanesljiv gradnik institucionalnih interpretation, social relations, individu- mozaposlenih in nevladnih producentih. son resonate in the shocks and shifts of the repertoarjev, z lastno vizijo ustvarjalnega als and their stories, all sorts of ephemeral Neokusna šala bi torej bila, če bi rekel, da present, how to make sense of the openness procesa, postopkov ter umetniške drže. Tudi theatre co-presence, their functions and je letošnja sezona minila kot običajne in da of a theatre event and the change of its per- študijske produkcije UL AGRFT obetajo vzne- social placement, conceived transformations slovensko gledališče izkazuje visoko kon- ception and social involvement, these are mirljive gledališke ustvarjalce. ¶ V selektor- and otherness, which would all provide a dicijo in formo ter obeta kontinuiteto ume- some of the questions that permeate the final skem procesu sem različnim perspektivam true evaluation and substantiated selection tniške ravni. ¶ Kako torej gledališke svetove days of the season 2019/2020. We entered it interpretacij sveta, družbenih relacij, posa- of the competition productions. I based my pretekle normalnosti, ki jo je dodobra izčrpal with no insight into its end and we are exit- meznikov ter njihovih zgodb, vsem oblikam choices on the following levels of criteria: sprememb potreben sistemski okvir, misliti v ing it without a clear map that would direct začasne gledališke so-prisotnosti, njihovim performance and realisation level which neki drugi normalnosti? Kako uprizoritveni the future theatre searching. And yet this funkcijam in družbenim umeščenostim ter expresses the power of presence and the live konteksti pretekle gledališke sezone resoni- reflection on the past theatre season doesn’t zamišljenim preobrazbam in drugačnostim transfer between the performers and the rajo v pretresih in premenah sedanjosti, kako in any way want to be pessimistic, because poskušal najti ustrezno podlago, ki bi omo- audience; structural and conceptual foun- osmisliti odprtost gledališkega dogodka in before and after the break it offered enough gočala verodostojno presojo in argumentiran dation refers to the substantiating formal spremembe njegovega zaznavanja ter družbe- reasons to solidify the belief about the cre- izbor tekmovalnih predstav. Oprl sem se na procedures of a theatre event and its idea ne vpetosti, so nekatera od vprašanj, ki pre- ative and community-unifying potential naslednje ravni kriterijev: uprizoritveno development; content and theme cogency vevajo sklepne dni sezone 2019/2020. Vanjo of Slovenian theatre and I believe that the -izvedbena raven, ki izraža moč prisotnosti follows the ratio between content and the smo vstopili brez vpogleda v njen zaključek in selection of competition productions appro- in živega transferja med izvajalci in občin- creative attitude taken towards it; contex- od nje se poslavljamo brez jasnega zemljevida, priately expresses it. ¶ The broadness in con- stvom; strukturno-konceptualna zasnova se tual reflectionplaces the production into ki bi usmerjal nadaljnje gledališko iskanje. tent and themes of the entire pick include nanaša na argumentacijo formalnih postop- a social context. ¶ Using these criteria, I Pa vendar ta razmislek o pretekli gledališki researching social and cultural phenomena kov gledališkega dogodka in njegovo idejno selected ten productions into the competi- sezoni nikakor ne želi biti pesimističen, saj je and the political structure of the world, all razvitje; vsebinsko-tematska prepričljivost tion programme, productions which com- ta pred in po zarezi ponudila dovolj razlogov approached through the personal perspective zasleduje razmerje vsebine in ustvarjalnega prehensively summarise all the levels of za utrditev prepričanja o ustvarjalnem ter of the everyday micro-view or a dialogue odnosa do nje; kontekstualni premislek pa the outstanding achievements of the theatre skupnostno-povezovalnem potencialu slo- clash of the principles in different nuances, uprizoritev vpenja v družbeni kontekst. ¶ season and represent it credibly. The pro- venskega gledališča in verjamem, da ga izbor at times serious and at times humorous ide- Na tej podlagi sem v tekmovalni program gramme is diverse in contents, as it provides tekmovalnih predstav tudi primerno izraža. ological images. The formal diversity of the uvrstil deset predstav, ki zaokroženo povze- an insight into the ideological construct of ¶ Celota vsebinsko-tematske širine uprizori- production models thus consists of the prev- majo vse ravni presežkov gledališke sezone everyday life (Seven Days), stigmatisation of tev obsega preiskovanje družbenih in kultur- alent drama stagings, authorial approaches in jo verodostojno predstavljajo. Program je disease and its consequences (The Son, Alice nih fenomenov ter političnega ustroja sveta, to devised and documentary theatre and vsebinsko raznolik, saj nudi vpogled v ide- in Bed), all while blending horizons of thea- ki jih obravnavajo skozi osebno perspektivo theatre of objects, from the loosened per- ološki konstrukt vsakdanjosti (Sedem dni), tre and human transience and farewell (Bio- vsakdanjega mikro pogleda ali dialoški trk formative approaches and hybrid forms of stigmatizacijo bolezni in njenih posledic cosmism::Utterance), deconstructing of the 55. Borštnikovo 18 — 19

(Sin, Alice v postelji), hkrati pa tudi stapljanje imperative of happiness and the search for it horizontov gledališke in človeške minljivosti (Seven Questions About Happiness), offering ter slovesa (Biokozmizem::Izreka), dekon- a brutal generational confrontation with the strukcijo imperativa sreče in njenega iskanja past (Purge) and interrupting its cyclical- (Sedem vprašanj o sreči), generacijsko surovo ity (Rocky Peak, Ghosts), and revealing the obračuna s preteklostjo (Očiščenje) in prekine illegal systemic anomalies of the present njeno cikličnost (Grmače, Strahovi), razkrije (The Game). An emphasis worth considering protipravne sistemske anomalije sedanjosti is social marginalisation of other, or the (Gejm), kot tehtnejši poudarek se izkazuje female position (Female Outcasts, Ghosts, družbena marginalizacija drugega oz. ženska Alice in Bed, Purge). But it also includes the pozicija (Izobčenke, Strahovi, Alice v postelji, aesthetically diverse productions of public Očiščenje). Obsega pa tudi estetsko raznovr- and non-government institutions, and their stne produkcije javnih, nevladnih zavodov collaborations in different conventional and in medsebojnih sodelovanj v različnih kon- adapted performing spaces that make use of vencionalnih in prirejenih uprizoritvenih different performing procedures within the prostorih, ki se poslužujejo različnih upri- broad practice of performing arts. ¶ The se- zoritvenih postopkov v okviru širine praks lection is thus made of productions that fill scenskih umetnosti. ¶ Izbor tako sestavljajo the established theatre worlds with their uprizoritve, ki z ustvarjalno vizijo napolnju- creative vision, productions that expand and jejo vzpostavljene odrske svetove, predstave, sharpen the field of sensibility and experi- ki s svojo magnetno silo širijo in ostrijo ob- ence with their magnetic force, productions močje senzibilnosti in izkušnje, predstave, that command their space in here and now ki se s prepričljivim izrazom umeščajo v and paint a critical picture of the world and prostorsko tukajšnjost in časovno zdajšnjost relationships with their persuasive expres- ter kritično slikajo portret sveta in odnosov. siveness. With their branched out poetics, Z razvejanimi poetikami, pristopi in konte- approaches and contextual accents they kstualnimi poudarki mislijo gledališče kot think theatre as a socially meaningful and družbeno osmišljeno in tvorno prakso, ki active practice, which even in the limited – tudi v omeje(val)nih pogojih utripa v poten- limiting – conditions pulsates in the poten- cialu svoje moči in pomena. ¶ tial of its power and relevance. ¶ 55. Borštnikovo 20 — 21 Selektor Selector

Rok Bozovičar je na ljubljanski Filozofski fakulteti Rok Bozovičar graduated from the UL Faculty of Arts Barbara Orel je teatrologinja, redna profesorica za uprizoritvijo Wedekindove otroške tragedije Pomla- diplomiral iz filozofije in primerjalne književnosti, in philosophy and comparative literature and contin- področje dramaturgije in scenskih umetnosti ter vodja dno prebujenje. V času padca Sarajeva pod pritiski doktorski študij književnosti pa je nadaljeval na Fi- ued his doctoral studies at the Faculty of Philology, raziskovalne skupine na UL AGRFT. Osrednja pod- okupatorskih sil se je Pašović vrnil v svoje rojstno lološki fakulteti v Beogradu. Od leta 2012 je dejaven University of Belgrade. Since 2012, he has worked as ročja njenih raziskav so eksperimentalne gledališke mestno, kjer je vodil mednarodni gledališki festival kot gledališki kritik, sprva na Radiu Študent, nato a theatre critic, first for Radio Študent and then as a prakse, avantgardna gibanja in sodobne scenske MESS in ustanovil prvi filmski festival v Saraje- kot novinar in kritik sodeluje z Radiem Slovenija in s critic and a journalist for Radio Slovenia and Dnevnik umetnosti. Napisala je knjigo Igra v igri (2003) in vu. V tem obdobju je bil tudi producent odmevne časopisom Dnevnik. Deluje tudi kot urednik, pisec, newspaper. He is an editor, writer, moderator and dra- uredila več znanstvenih monografij, nazadnjeUpri - uprizoritve Čakajoč Godota, ki jo je režirala Susan moderator in dramaturg. Kolikor mu prekarni status maturg. As much as his precarious status of a self-em- zoritvene umetnosti, migracije, politika: slovensko Sontag. Gledališke uprizoritve, ki jih je režiral, so samozaposlenega v kulturi omogoča, se udeležuje ployed worker in culture allows him, he participates in gledališče kot sooblikovalec medkulturnih izmenjav bile predstavljene na različnih mednarodnih festi- mednarodnih strokovnih seminarjev, konferenc in international professional seminars, conferences and (2017) ter Začetki in dosežki slovenskega gledališča valih v Edinburgu, Avignonu, Neaplju ter na festi- festivalov. Sodeluje tudi v strokovnih žirijah gle- festivals. He is also a member of expert juries of the- moderne dobe: Ob 150-letnici ustanovitve Dramatič- valu Théâtre des Bouffes du Nord, v Mestu kulture daliških festivalov (Teden slovenske drame, Dnevi atre festivals (Week of Slovenian Drama, Days of Com- nega društva v Ljubljani (skupaj s Štefanom Vevarjem, Združenega kraljestva, na Singapurskem festivalu komedije) in je član strokovne komisije pri Mestni edy), a member of the expert commission of the City 2017). Je soustanoviteljica revije za teorijo scenskih umetnosti, Državnem umetniškem festivalu Južne občini Maribor ter predsednik strokovne komisije za of Maribor and the president of the expert commission umetnosti Amfiteater, ki jo je urejala med letoma Afrike, njegova postavitev Hamleta pa je denimo uprizoritvene umetnosti pri Ministrstvu za kulturo for performing arts at the Ministry of Culture. He is the 2008 in 2010. Sodelovala je v številnih mednarodnih gostovala tudi na mednarodnem festivalu Baltska RS. Je član izvršnega odbora Društva gledaliških member of the executive board of the Association of raziskovalnih projektih, med drugimi v delovni skupini hiša v Sankt Peterburgu. S svojo vizualno ume- kritikov in teatrologov Slovenije. V letu 2021 bo Theatre Critics and Researchers of Slovenia. In 2021 Theatrical Event (v okviru Mednarodne federacije za tniško instalacijo Rdeča črta Sarajeva (Sarajevska sklenil selekcijo 11. bienala lutkovnih ustvarjalcev he will complete the selection for the 11th Biennial of teatrologijo). Bila je tudi selektorica nacionalnih gleda- crvena linija) je obeležil spomin na padle žrtve Slovenije. ¶ Puppetry Artists of Slovenia. ¶ liških festivalov Teden slovenske drame (2006–2007) obleganja bošnjaške prestolnice. Pašović se poleg in Festival Borštnikovo srečanje (2008–2009). ¶ umetniškega vodenja East West Centra Sarajevo in Barbara Orel is a theatre researcher, a professor for institucije Sarajevo Fest Arts and Politics posveča dramaturgy and performing arts studies and a re- tudi vzgoji mladih ustvarjalcev na sarajevski Akade- search group leader at the UL AGRFT, University of miji dramskih umetnosti ter na Umetniški akademiji Ljubljana. In her research, she focuses on experimen- v Novem Sadu in na IEDC – Poslovni šoli Bled. Med tal theatre practices, avant-garde movements and letoma 2017 in 2020 je bil direktor festivala uprizo- contemporary performing arts. She is the author of ritvenih umetnosti Mittelfest v Čedadu, kot častni the book A Play Within the Play (2003) and the editor govornik pa je nastopil v newyorškem Lincolnovem of several monographs, among them, Performing središču globalne izmenjave, na Kulturnem forumu Arts, Migration, Politics: Slovenian Theatre as an Agent v Sankt Peterburgu ter Forumu Svilene poti v okviru of Intercultural Exchange (2017) and Beginnings and mednarodnega festivala umetnosti v Šanghaju. ¶ Achievements of the Slovenian Theatre of the Modern Haris Pašović, an internationally acclaimed theatre Era: celebrating the 150th Anniversary of the founda- director, made his name in the late 1980s with his tion of the Drama Society (together with Štefan Vevar, landmark production in Belgrade of Wedekind’s 2017). She is a co-founder of Amfiteater – Journal of Spring’s Awakening. When Sarajevo fell under the Performing Arts Theory (she was the journal’s editor siege, Pašović returned to his home city. During this from 2008 to 2010). She participated in a number dramatic period, he directed the International The- of international research projects, including in the atre Festival MESS and created the first Sarajevo Theatrical Event working group of the International Film Festival. In addition, Pašović produced the leg- Federation for Theatre Research. She has also been endary Waiting for Godot directed by Susan Sontag the selector for the national theatre festivals Week of in that period. Pašović’s theatre stagings were fea- Slovenian Drama (2006 – 2007) and Maribor Theatre tured at the Edinburgh International Festival, Festi- Festival (2008 – 2009). ¶ val d’Avignon, Théâtre des Bouffes du Nord, UK City of Culture, Singapore Arts Festival, National Arts Haris Pašović, mednarodno priznan gledališki Festival of South Africa, Napoli Teatro Festival Italia režiser, je pritegnil pozornost širše javnosti v poznih and many others. His staging of Shakespeare’s 80. letih 20. stoletja s svojo prelomno beograjsko Hamlet toured at the St. Petersburg’s Baltic House. 55. Borštnikovo 22 — 23

His Sarajevo Red Line was a concert and one- s čimer bi se zagotovili pogoji eksperimentalnega in gledališča, deluje tudi kot recenzentka projektov 2019 je v okviru knjižne zbirke MGL izšla njegova kilometre-long visual art installation consisted of raziskovanja v polju gledališča. ¶ Norbert Rakowski, (s področja filma in gledališča) in avtorica kritiških teatrološka študija Tragedija iniciacije ali Nestano- 11,541 red chairs, one for each victim of the Siege a Polish theatre director and manager graduated zapisov o literaturi in gledališču. Med letoma 2016 vitni princ. ¶ Ivan Medenica is a professor at the Fac- of Sarajevo, placed along the main Sarajevo street. from the Faculty of Drama Directing at the National in 2019 je bila predsednica slovenskega Društva ulty of Dramatic Art in Belgrade, where he teaches Pašović directs plays and is also the artistic director Academy of Dramatic Art in Warsaw. Since 1997, gledaliških kritikov in teatrologov. ¶ Vilma Štritof History of World Drama and Theatre and heads the of the East West Centre Sarajevo and the Sarajevo he has worked as an assistant director of Krystian graduated in dramaturgy from the UL AGRFT. Even be- Department of Theory and History. He is the author Fest Arts and Politics and the professor at the Pre- Lupa and as a director of documentary films in fore her graduation she started to work as dramaturg at of a number of academic articles in renowned in- forming Arts Academy Sarajevo, Academy of Arts Polish Television Theatre. As a theatre director, he Mladinsko Theatre, where she collaborated mostly with ternational theatre journals and is a long-time critic Novi Sad and IEDC Bled School of Management. debuted with his original production Suddenly (Stu- renowned Slovene directors such as Dušan Jovanović, for the Politika newspaper, the weeklies Vreme and Pašović directed the performing arts festival Mit- dio Theatre in Warsaw) and in 2001 he staged his Janez Pipan and Vito Taufer. Later on, she collaborated Nin and the Teatron journal. He has won six Sterija telfest in Italy from 2017 to 2020. He was also a diploma production of Robert Anderson’s Solitaire with SNT Drama Ljubljana, specifically with directors Awards for the best critic. Between 2003 and 2007 speaker at the New York City’s Lincoln Centre Glob- (Contemporary Theatre in Warsaw). Since then, Janez Pipan and Zvone Šedlbauer. Upon her gradu- he was a selector and the artistic director of the al Exchange; St Petersburg Cultural Forum; and Silk he directed more than thirty plays and collaborat- ation in 1991, she was employed as a dramaturg, and most important national theatre festival Sterijevo Road Forum at the China Shanghai International ed with many theatres in Poland and abroad. He as an editor-in-chief of the Radio Programme Ars. In a pozorje in Novi Sad, and he has been managing Arts Festival and many other events. ¶ was awarded few times with the Golden Mask for period between 2001 and 2009, she also worked as a the international theatre festival BITEF in Belgrade Direction. He mainly directs plays concerned with an expert advisor for the Ministry of Culture. Between since 2015. Since 2012 he has also been the pres- Norbert Rakowski, poljski gledališki režiser in contemporary topics or stages classical works in 2015 and 2017, she participated as a dramaturg in a ident of the Association of Theatre Critics and menedžer, je diplomiral na Fakulteti za gledališko contemporary aesthetics. Furthermore, his great workshop for the Norwegian platform “Ibsen Inter- Researchers of Serbia, and since 2014 a director of režijo Narodne akademije za dramsko umetnost interest lies in working with dancers and research national” in China. Her last theatre dramaturgies were the conferences of the International Association of v Varšavi. Leta 1997 je začel delovati kot asistent in combining dramatic language with contemporary done abroad: namely, in Beijing (in 2016) and Tromso Theatre Critics IATC. After the successful presenta- režiserja Krystiana Lupe in režiser dokumentarnih dance theatre. Since 2015, he has been the General (in 2017). She has been participating in various national tion of his first independent selection at the BITEF filmov Poljskega televizijskega gledališča. Njegov and Artistic Director of JK Opole Theatre and Direc- and international juries (radio, theatre); she is also active in 2017, Vreme chose him as the person of the year. gledališki debi se je zgodil leta 1999 z režijo av- tor of the Festival of Polish Classic Drama in Opole. as a project reviewer (for film and theatre) and critic (of In 2019, his book The Tragedy of Initiation or the torskega projekta Nenadoma (v izvirniku Nagle) v In 2016, he created new space of unusual character literature and theatre). Between 2016 and 2019, she Inconstant Prince was published in the MGL Library varšavskem Teatru Studio, leta 2001 pa je režiral called Modelatornia. His idea was to create and was a president of the Association of Theatre Critics Book Collection. ¶ svojo diplomsko produkcijo Samotar (v izvirniku consistently develop a place, that would serve the and Researchers of Slovenia. ¶ Samotnik) v varšavskem Sodobnem gledališču. Od implementation of postulates of Jerzy Grotowski – takrat se je podpisal pod več kot trideset režij in providing the basis for experimental explorations in Ivan Medenica je profesor na Fakulteti dramskih koprodukcij s številnimi gledališči na Poljskem in v the field of theatre. ¶ umetnosti v Beogradu, kjer predava predmet tujini. Za svoje režije je prejel nekaj prestižnih na- Zgodovina svetovne drame in gledališča ter vodi grad (zlatih mask). Kot gledališkega ustvarjalca ga Vilma Štritof je že pred diplomo iz dramaturgije Oddelek za teorijo in zgodovino. Je avtor števil- zanimajo predvsem sodobnejša dramska besedila začela sodelovati z različnimi slovenskimi reži- nih strokovnih člankov v uglednih mednarodnih z različnimi aktualnimi družbenimi temami, pogosto serji (Dušan Jovanović, Janez Pipan, Vito Taufer) v gledaliških revijah ter dolgoletni kritik časnika Poli- pa poseže tudi po kanoničnih dramskih tekstih, ki Slovenskem mladinskem gledališču, nato v SNG tika, tednikov Vreme in Nin ter revije Teatron. Kar jih odeva v sodobno gledališko estetiko. Posebno Drama Ljubljana (z Janezom Pipanom in Zvonetom šestkrat je prejel Sterijevo nagrado za najboljšega mesto v njegovi gledališki karieri zavzema obdobje Šedlbauerjem). Po diplomi je bila od leta 1991 kot gledališkega kritika. Med letoma 2003 in 2007 je laboratorijskih delavnic, v katerih je sodeloval z dramaturginja zaposlena na Radiu Slovenija in eno deloval kot selektor in umetniški direktor osred- več plesalci in raziskoval najrazličnejše možnos- leto kot odgovorna urednica tretjega programa njega nacionalnega gledališkega festivala Steri- ti kombiniranja dramske ekspresije s sodobnim ARS, nato je v obdobju med 2001 in 2007 delovala jevo pozorje v Novem Sadu, od leta 2015 pa vodi plesnim gledališčem. Od leta 2015 je menedžer in kot sekretarka na Ministrstvu za kulturo RS. Med le- mednarodni gledališki festival BITEF v Beogradu. umetniški direktor Gledališča JK Opole ter direktor toma 2015 in 2017 je kot dramaturginja sodelovala Od leta 2012 je tudi predsednik Združenja gledal- Festivala poljske klasične drame v mestu Opole. na mednarodni delavnici norveške platforme Ibsen iških kritikov in teatrologov Srbije, od leta 2014 pa Leta 2016 je zasnoval nov prostor sodobnega gle- International na Kitajskem. Njeni zadnji dramaturgiji direktor konferenc Mednarodne zveze gledaliških dališča, ki ga je poimenoval Modelatornia, in sicer sta bili v tujini, in sicer v Pekingu leta 2016 ter leto kritikov IATC. Po uspešni predstavitvi njegove prve z idejo neposrednega implementiranja postulatov pozneje v norveškem Tromsoju. Bila je članica več samostojne selekcije na BITEF-u so ga leta 2017 Jerzyja Grotowskega v sodobno gledališko prakso, slovenskih in mednarodnih žirij za področje radia v tedniku Vreme razglasili za osebnost leta. Leta 55. Borštnikovo 24 — 25 Strokovna žirija za Borštnikov prstan Expert Jury for the Borštnik Ring Award

Ira Ratej je diplomirala iz dramaturgije na ljubljanski the Slovenian ITI (International Theater Institute) for a Theatre Institute (SLOGI). She has written more than a After graduation she became a full time member of the AGRFT. Med študijem je prejela akademijsko Prešerno- year. In 1997, she took over the artistic direction of the dozen radio dramas and published more than a hun- Mladinsko Theatre to which she remained loyal until vo nagrado za dramaturgijo predstave Noč bogov. Svojo Prešeren Theatre Kranj for one season. For more than dred theatre reviews and numerous studies and essays her retirement in 2014. At the Mladinsko, she acted in profesionalno pot v gledališču je začela pred tremi de- 20 years, she has been a close collaborator of the Na- on theatre. She is also a curator and co-author of muse- children’s productions, for example A Vegetable Night’s setletji in kot svobodna umetnica v zgolj štirih letih sode- tional Education Institute of the Republic of Slovenia, um exhibitions. She has been a jury member of Slovenia Dream, Martin Krpan, Alphabetland, Winnie-the-Pooh lovala z malodane vsemi slovenskimi gledališči. Od leta organizing seminars for theatre mentors and teachers and international theatre festivals and a selector of sev- and others, and also in the socially topical and politi- 1995 je zaposlena kot dramaturginja v Mestnem gleda- and focusing on the development of theatre pedagogy eral puppet festival. ¶ cally engaged productions such as Victims of the Bang lišču ljubljanskem, kjer deluje še danes. Od leta 1999 je in Slovenia. For three years now, she has been working Bang Fashion, Missa in a-minor (which also appeared režirala štiri uprizoritve v MGL ter eno v Šentjakobskem with EuroFIA (European Federation of Actors' Unions) Marinka Štern se je rodila leta 1947 na Jezerskem, at the LIFT festival), and productions The Prisoners of gledališču, med letoma 2012 in 2016 pa je pripravila več on a project to equalize career opportunities for all. As kjer je preživela otroštvo. Po končani srednji šoli v Freedom, Fear and Courage, Ana, Reality and others. kot dvajset bralnih uprizoritev v MGL. Ustvarila in dra- part of the Week of Slovenian Drama, organized by the Kranju se je vpisala na UL AGRFT in leta 1975 diplomi- She was Pia in Crime on Goat Island, Susn 4 in Susn, matizirala je sedem odrskih del, ki so bila tudi uprizorje- Prešeren Theatre in Kranj, she participated in two expert rala iz gledališke igre v predstavi Kmetija (kopr. Mestno Arkadina in A. P. Chekhov’s The Seagull, directed by Tomi na. Ob koncu 90. let 20. stoletja je leto dni predsedovala juries (for the Young Playwright Award and the Slavko gledališče ljubljansko). Po diplomi se je kot igralka Janežič, Insa Breydenbach in The One and the Other, slovenskemu Mednarodnega gledališkega inštituta Grum Award). In 2006, she dramatized the play Is This zaposlila v Slovenskem mladinskem gledališču (SMG), and Veronika in Portraits. She played the role of Morg- ITI (International Theatre Institute). Leta 1997 je za eno a Man? based on the eponymous novel by Primo Levi, ki mu je ostala zvesta vse do upokojitve leta 2014. V jana in Pandur’s Scheherazade, which opened doors sezono prevzela umetniško vodenje Prešernovega and received the Dnevnik Award for her dramatisation. SMG je igrala v otroških predstavah, kot denimo Sen for the Mladinsko Theatre throughout Europe and the gledališča Kranj. Že več kot dvajset let intenzivno sode- Between 2009 and 2012 she was the artistic director zelenjavne noči, Martin Krpan, Abecedarija, Medved Pu Americas. She has intensely explored various dimen- luje z Zavodom za šolstvo RS ter organizira seminarje of SNG Nova Gorica, and from 2016 to 2020 she was a itd., pa tudi v družbeno aktualnih in politično angažira- sions of acting and its full expressivity and was in turn a za gledališke mentorje in učitelje, pri tem pa se posveča member and for one year also the president of the board nih predstavah kot Žrtve mode bum-bum in Missa in a studious participant at workshops of Mikhail Chekhov’s razvoju gledališke pedagogike na Slovenskem. Inten- of directors of the Prešeren Fund. As a dramaturg, she minor, ki je gostovala tudi na LIFT-u, Ujetniki svobode, acting technique in Grožnjan, Amherst, Windsor and zivno sodeluje z evropsko federacijo sindikatov igralcev has participated in about 70 productions and edited at Resničnost, Strah in pogum, Ana idr. Režiser Paolo Zürich. During her long career, she also collaborated EuroFIA pri projektu izenačitve poklicnih možnosti za least as many theatre programmes to date. ¶ Magelli ji je zaupal vlogo Pie v Zločinu na Kozjem oto- with various alternative groups and other theatres with oba spola. V okviru festivala Teden slovenske drame, ki ku, pod režijsko taktirko Eduarda Milerja je upodobila distinctive poetics and aesthetics, such as Pekarna, Ko- ga prireja Prešernovo gledališče Kranj, je sodelovala v Gledališka kritičarka, teoretičarka, esejistka, kustosinja Susn 4 v predstavi Susn, pri Tomiju Janežiču Arkadino reodrama, Glej, Prešeren Theatre, Café teater, Muzeum, dveh strokovnih žirijah (za mlade dramatike in najboljše in avtorica radijskih dram Mojca Jan Zoran je diplomi- v Utvi Čehova, pri Ivici Buljanu Inso Breydenbach v Osum, Ptuj City Theatre, KUD Transformator. She has slovensko dramsko delo). Leta 2006 je za dramatizacijo rana filozofinja in literarna komparativistka ter magistra predstavi Ena in druga, pri Vitu Tauferju med drugimi received several important Slovenian and international predstave Je to človek? po motivih romana Prima Levija filozofije in specialistka menedžmenta. Delovala je kot Veroniko v predstavi Portreti. V vlogi Morgjane je na- awards, including the Borštnik Ring Award in 2019 for prejela Dnevnikovo nagrado. Med letoma 2009 in 2012 samozaposlena na področju kulture in bila nato zapo- stopila tudi v Pandurjevi Šeherezadi, ki je Mladinskemu her lifetime achievement in theatre acting. ¶ je bila umetniška vodja SNG Nova Gorica, od leta 2016 slena na Ministrstvu za kulturo RS kot strokovna sveto- gledališču odprla pot po Evropi in Ameriki. Intenzivno do 2020 pa članica in eno leto tudi predsednica uprav- valka za uprizoritvene umetnosti ter sistemske zadeve se je posvečala raziskovanju različnih dimenzij igralske Tomaž Toporišič je dramaturg in gledališki teoretik, pro- nega odbora Prešernovega sklada. Kot dramaturginja na področju kulture. Od avgusta 2014 je direktorica Slo- persone in njene celovite ekspresivnosti, zato se je še fesor za področje dramaturgije in scenskih umetnosti je vse do danes sodelovala pri približno sedemdesetih venskega gledališkega inštituta. Ustvarila je več deset posebej zavzeto udeleževala delavnic igralske tehnike ter prodekan na UL AGRFT, kot gostujoči predavatelj pa uprizoritvah in uredila vsaj toliko gledaliških listov. ¶ Ira radijskih dram, objavila več kot sto recenzij gledaliških Mihaila Čehova v Grožnjanu, Amherstu, Windsorju in izvaja tudi predmet Sociologija gledališča na Filozofski Ratej graduated in dramaturgy from the UL AGRFT. She predstav, več strokovnih razprav in esejev o gledališču Zürichu. V svoji dolgoletni igralski karieri je sodelovala fakulteti UL. Med letoma 1997 in 2003 je bil umetniški received the Academy Prešeren Award for Students for ter deluje kot kustosinja in soavtorica muzejskih raz- tudi z različnimi alternativnimi skupinami in drugimi direktor, med 2003 in 2016 pa dramaturg Slovenskega her dramaturgy for the production of The Night of Gods. stav. Sodelovala je v žirijah slovenskih in mednarodnih gledališči prepoznavnih poetik in estetik, kot so Pe- mladinskega gledališča. Njegova primarna področja She began her professional career in theatre three dec- gledaliških festivalov in bila selektorica več lutkovnih karna, Koreodrama, Glej, Prešernovo gledališče Kranj, raziskovanja so teorija in zgodovina uprizoritvenih praks ades ago, when in her four years as a freelance artist festivalov. ¶ Mojca Jan Zoran is a theatre critic, theorist, Café teater, Muzeum, Osum, Mestno gledališče Ptuj, in literature, predvsem interakcije med obema področje- she collaborated with almost all Slovenian theatres. essayist, curator and author of radio dramas. She holds KUD Transformator. Ob več pomembnih slovenskih in ma, ter semiotika kulture in kulturne študije. Je avtor več Since 1995, she has been employed as a dramaturg at a BA degree in philosophy and comparative literature mednarodnih nagradah je leta 2019 za življenjsko delo znanstvenih monografij o gledališču in uprizoritvenih the Ljubljana City Theatre. Since 1999, she has directed and a MA degree in philosophy and a specialist degree s področja gledališke igre prejela Borštnikov prstan. ¶ praksah: Med zapeljevanjem in sumničavostjo: Razmerje four productions at the MGL and one at the Šentjakob in management. After working as a freelance cultural Marinka Štern was born in 1947 in Jezersko, where med tekstom in uprizoritvijo v slovenskem gledališču dru- Theatre, and between 2012 and 2016 she prepared worker for several years, she worked at the Ministry she spent her childhood. After high school in Kranj she ge polovice 20. stoletja (2004), Ranljivo telo teksta in odra more than 20 reading productions at the MGL. She has of Culture RS as an expert advisor for the performing studied at the UL AGRFT in Ljubljana and graduated (2007), Levitve drame in gledališča (2008), Medmedijsko created and dramatized seven stage works, all of them arts section and the section for statutory affairs. Since in acting in 1975 with the production of David Storey’s in medkulturno nomadstvo (2018). Bil je tudi sourednik were also staged. At the end of the 1990s, she chaired August 2014, she has been the director of the Slovenian The Farm (coproduced by the Ljubljana City Theatre). monografijDrama, tekst, pisava (2008) ter Occupying 55. Borštnikovo 26 — 27 Spaces: Experimental Theatre in Central Europe (2010). Gledališki in radijski režiser Aleš Novak je diplomiral Med njegovimi razpravami velja omeniti The New Slo- na UL AGRFT leta 1996. V času študija je začel režirati vene Theatre and Italian Futurism (2014), (Re)staging v slovenskih gledališčih. Med letoma 1997 in 2002 the rhetorics of space (Neohelicon, 2014), Deconstru- je imel status samostojnega ustvarjalca na področju ctive Readings of the Avant-Garde Tradition in Post- gledališča, deloval na področjih gledališča in kulture, Socialist Retro-Avant-Garde Theatre (The Aesthetics režiral oddaje in igrane dramske igre na Radiu Slove- of Matter, 2013) ter W. G. Sebald in Oliver Frljić ali kako nija ter sodeloval v strokovnih komisijah (gledališče, lahko umetnost v času globalnih negotovosti poseže dramatika). Po letu 2003 je kot samostojni avtor, v diskurzivni pretok (dez)informacij? (Primerjalna knji- predvsem kot režiser in urednik kulturne redakcije, ževnost, 2019). Je član več mednarodnih raziskovalnih delal za RTV Slovenija, leta 2007 pa je prevzel mesto skupin, uredniških odborov in strokovnih združenj. Za direktorja Mladinskega kulturnega centra Maribor. dosežke s področja dramaturgije mu je ministrstvo za V času priprav na projekt Maribor 2012 – Evropska kulturo Republike Francije leta 2014 podelilo častni prestolnica kulture je prevzel vodenje Urada za kul- naziv vitez reda umetnosti in literature. ¶ Tomaž Top- turo MOM in sooblikoval današnjo statusno ureditev orišič is a dramaturg and theatre theorist, a professor Festivala Borštnikovo srečanje. Leta 2010 je opravljal for dramaturgy and performing arts, a vice-dean at tudi naloge vršilca dolžnosti programskega direktorja the UL AGRFT and a guest lecturer in the sociology of javnega zavoda Maribor 2012 – Evropska prestolnica theatre at the Faculty of Arts, both of the University of kulture. Med letoma 2011 in 2017 je bil predsednik Ljubljana. Between 1997 and 2003, he was the artistic strokovne skupine Festivala Borštnikovo srečanje, director and between 2003 and 2016 a dramaturg at leta 2013 pa je postal direktor Javne agencije za knji- the Mladinsko Theatre. His primary fields of research go RS. Od leta 2018 je umetniški direktor FBS. ¶ Aleš are theory and history of performing arts practices Novak, a theatre and radio drama director, cultural and literature, particularly interaction between the two manager, studied at the UL AGRFT and graduated in fields, as well as semiotic of culture and cultural stud- theatre directing. As a student, he started to direct in ies. He is the author of several scientific monographs various Slovenian theatres. From 1997 to 2002, he on theatre and performative practices: Med zapelje- was a freelance theatre director and worked also in vanjem in sumničavostjo: Razmerje med tekstom in other cultural fields, namely, he directed programmes uprizoritvijo v slovenskem gledališču druge polovice 20. and radio plays for Radio Slovenia and was a member stoletja (Between Seduction and Suspiciousness: The of several expert commissions (theatre, drama). After Relationship between Text and Performance in Slove- 2003, he worked mostly for the Radio and Televi- nian Theatre of the Second Half of the 20th Century, sion Slovenia as an independent author, particularly 2004); Ranljivo telo teksta in odra (The Vulnerable Body as a director and a culture desk editor. In 2007, he of Text and Stage, 2007); Levitve drame in gledališča became director of the MKC Maribor (Youth Culture (Ecdyses of Drama and Theatre, 2008); Medmedijsko Centre Maribor). During the preparation for the project in medkulturno nomadstvo (Intercultural and Interme- “Maribor 2012 – European Capital of Culture” (ECC), dia Nomadity, 2018); as well as a co-editor of the mon- he headed the Office of Culture and Youth of the Mu- ographs Drama, tekst, pisava (Drama, Text, Scripture, nicipality of Maribor and was the acting programme 2008) and Occupying Spaces: Experimental Theatre in director of the public institution Maribor 2012 – ECC. Central Europe (2010). His essays include: “The new He was one of key figures in further implementation Slovene theatre and Italian futurism” (International of the legal status and statutory structure of the Mar- yearbook of futurism studies, 2014); “(Re)staging the ibor Theatre Festival and was also the president of its rhetorics of space” (Neohelicon, 2014); “Deconstruc- artistic board from 2011 to 2017. He was appointed tive readings of the avant-garde tradition in post-so- director of the Slovenian Book Agency (2013 – 2017). cialist retro-avant-garde theatre” (The Aesthetics of Since 2018, he is the artistic director of the Maribor Matter, 2013); and “G. W. G. Sebald and Oliver Frljić or Theatre Festival. ¶ How can art intervene in the discursive flow of (dis) information in the time of global insecurities (Primerjal- na književnost, 2019). He is a member of several inter- national research groups, editorial boards and various professional associations. In 2014, the French Minister of Culture conferred him the title “Chevalier dans l’Or- dre des Arts et Lettres” for exceptional achievements in the field of dramaturgy. ¶ 55. Borštnikovo 28 — 29

Gledališko potovanje po motivih Susan Sontag Modre ptice Mauricea Maeterlincka Alice v postelji A theatre journey based on motifs by Alice in Bed Maurice Maeterlinck's Blue Bird Režiser Director Dorian Šilec Petek Sedem vprašanj o sreči SNG Drama Ljubljana Seven Questions About Happiness Po motivih Marka Breclja 12—25 October 2020 Maribor, 12.—25. oktober 2020 55. Borštnikovo Režiser Director Tomi Janežič Lutkovno gledališče Ljubljana & in Marka Mlačinika Slovensko mladinsko gledališče Based on motifs by Marko Brecelj and Marko Mlačnik Dane Zajc Biokozmizem::Izreka Grmače Rocky Peak Biocosmism::Utterance Tekmovalni program Režiserka Director Nina Rajić Kranjac Režiser Director Dragan Živadinov Competition Programme Drama SNG Maribor Zavod Delak v koprodukciji s Konservatorijem za glasbo in balet Maribor Florian Zeller Sin The Son Avtorski projekt Režiser Director Eduard Miler A devised theatre project Mini teater Gejm The Game Režiser Director Žiga Divjak Katarina Morano, Žiga Divjak Slovensko mladinsko gledališče & Sedem dni Seven Days Maska Ljubljana v okviru programa Režiser Director Žiga Divjak Nova pošta Mestno gledališče ljubljansko Sofi Oksanen Avtorski projekt po delih Očiščenje Purge Rudija Šeliga A devised theatre Režiser Director Jari Juutinen project based on writings Slovensko ljudsko gledališče Celje & by Rudi Šeligo sadsongskomplex:fi Izobčenke Female Outcasts* Režiserka Director Mirjana Medojević Henrik Ibsen SNG Drama Ljubljana Strahovi Ghosts Režiser Director Igor Vuk Torbica * Predstava na festivalu ne bo izvedena. Prešernovo gledališče Kranj The production will not appear at the festival. 54. Borštnikovo 30 — 31 17. & 18. 10. 2020 > 16.00 < Lutkovno gledališče Maribor Lutkovno gledališče Ljubljana & Slovensko mladinsko gledališče Sedem vprašanj o sreči Seven Questions About Happiness

Gledališko potovanje po motivih Koordinatorja luči Modre ptice Mauricea Maeterlincka Lights coordinators A theatre journey based on the motifs of Niko Štabuc, Danilo Korelec Maurice Maeterlinck’s Blue Bird Scenski tehniki Stage technicians Darko Nedeljkovič, Alojz Milošič, Iztok Vrhovnik, Luka Premiera Première 10. januar 2020, Moškrič, Slobodan Ilić, Jure Popovič, Sašo Kitić, Stanko različna prizorišča Lutkovnega gledališča Božanić, Kemal Vrabac Kordiš, Klemen Sašek Ljubljana Rekviziter Props Sašo Kitić Garderoberki in maskerki Predstava traja 7 ur. Sestavni del predstave Wardrobe and make-up so odmori, v katerih sta obiskovalcem Daša Jordanovski, Nina Jordanovski na voljo hrana in pijača. Izdelava scene, lutk, rekvizitov in kostumov Set, puppets, props and costumes production Running time 7 hours. Intermissions are Zoran Srdić, Iztok Bobić, Polona Černe, Zala Kalan, a part of the performance, during which food and Sandra Birjukov, Marjetka Valjavec, David Klemenčič, drinks are available for the guests. Milenko Pavlović, Uroš Mehle, Mateja Šušteršič, Aleksandra Kovačević, Snežana Janjić Horvat, Danica Ćeran, Vesna Sačić, Branko Hojnik, Liza Privšek, Režiser in dramaturg Director and Dramaturg Nina Rojc, Zlatko Djogi, Anja Borsan, Jan Raman, Olga Milić Tomi Janežič Scenograf in avtor likovne podobe lutk Zasedba Cast Set and Puppet designer Lovro Finžgar, Tomi Janežič k. g. a. g., Branko Hojnik Nataša Keser k. g. a. g., Sonja Kononenko, Kostumografka Costume designer Boris Kos, Maja Kunšič, Jure Lajovic, Marina Sremac Iztok Lužar, Gašper Malnar, Anja Novak, Avtorji besedil Authors of texts Matej Recer, Nina Skrbinšek, ustvarjalci predstave k. g. a. g., creators of the performance Daniel Day Škufca Matija Vastl Asistenti režije in dramaturgije Assistant directors and Dramaturgs Tjaša Črnigoj, Mirjana Medojević, stvarjalci so kot izhodiš­ dogodku. Glede na sodobno he creative process for the performance drew from Maeterlinck’s Blue Daniel Day Škufca Asistenti scenografije Uče ustvarjalnega pro­ce­sa obsedenost s srečo ni odveč T Bird – a story of the archetypal journey of one’s pursuit of happiness. The Assistant set designers izbrali Maeterlinckovo Modro omeniti, da otroka modre creators of the performance have used the story to describe the search for the Nina Rojc, Aleksander Vujović, Liza Privšek ptico, zgodbo o arhetipskem ptice – vsaj takšne, ki bi blue bird and to write their own stories about family, memory, dreams, death, Izbor glasbe Music selection ustvarjalci predstave potovanju v iskanju sreče. preživela na dnevni svet- joy, love, future, parting and purpose. Seven Questions About Happiness is a creators of the performance Skozi zgodbo o iskanju modre lobi – v zgodbi nikoli ne long theatre journey, a performance about a performance, a story about a sto- Svetovalka za jezik Language consultant ptice ustvarjalci predstave najdeta. A to ne pomeni, da ry, and in some way a sequel to the creative process that started – at least Mateja Dermelj Oblikovalci svetlobe Lighting designers pišejo lastno, osebno in druž- ne doživita in preživita og- for some members of the team – with the performance no title yet. In fact, in Tomi Janežič, Branko Hojnik, Maša Avsec beno zgodbo o družini, nasi- romno (morda kar vse živ- recent years, Janežič has staged a number of unusually long performances in Oblikovalci zvoka Sound designers lju, spominu, sanjah, smrti, ljenje?), niti da se na poti various countries, which aim to deconstruct theatre, highlight its miracu- Tomi Janežič, Sven Horvat, Luka Bernetič radostih, ljubezni, priho- zaradi vsega, kar srečata, ne lous nature, and put forward the community, which is part of the event. Due Oblikovalki maske Make-up designers Marina Sremac, Nina Jordanovski dnosti, slovesu, smislu. Se- spremenita – in prav s tem to the obsession with happiness that is typical of our time, it is worth men- Vodje predstave Stage managers dem vprašanj o sreči je dolgo se spremeni tudi njun pog- tioning that the two children in the story never catch the blue bird – at least Sven Horvat, Luka Bernetič, Peter Samotorčan gledališko potovanje, pred­ led na svet, v katerega se po none, which could survive daylight. However, this does not mean that the two Producentka Producer Alja Cerar Mihajlović sta­va o predstavi, zgodba o zgodbi; po svoje je nadaljeva- sanjskem življenju vrneta. Z children do not see and experience a great deal (perhaps all their lives?) and nje ustvarjalnega procesa, ki se je z delom ekipe začel pri drugimi besedami: ni reče- that they remain unaffected by all the things that they encounter on their Lučni vodje Lighting technicians uprizoritvi še ni naslova. Janežič je sicer v zadnjih letih v no, da sreče ne najdeta. Toda path. On this journey, their view of the world, in which they return after Maša Avsec, Srečo Brezovar, Gregor Kuhar Vodja tona in multimedije različnih državah ustvaril več nenavadno dolgih predstav, ne smemo pozabiti, da se their dream-like life, changes. In other words: this does not mean that they Sound and multimedia technician ki skušajo z dekonstrukcijo gledališča poudariti njegovo modre ptice nista odpravila failed to find happiness. And yet we should not forget that they haven’t set Luka Bernetič čudežnost ter v ospredje postavljajo skupnost, udeleženo v iskat zaradi sebe … ¶ out on the journey to find the blue bird for their own sakes … ¶ Jaka Varmuž 55. Borštnikovo 32 — 33 19. 10. 2020 > 20.00 < Stara dvorana Drama Slovenskega narodnega gledališča Maribor, v koprodukciji s Konservatorijem za glasbo in balet Maribor Dane Zajc Grmače Rocky Peak Tragedija A tragedy

Premiera Première 27. september 2019, Stara dvorana SNG Maribor rmače, napisane v začetku devetdesetih let pre- Predstava traja 2 uri 40 minut Gteklega stoletja in prvič uprizorjene leta 1994, in ima en odmor. sklepajo tragiški dramski svet Daneta Zajca, ki s po- Running time 2 hours 40 minutes. močjo radikalne avtokritike tematizira uničenje ali One intermission. razpad družine (rodu) in s tem določene skupnosti v Režiserka celoti. Nekateri so Grmače skušali predstaviti kot slo- Director venskega Hamleta ali kot medgeneracijsko tragedijo Nina Rajić Kranjac konca arhaične skupnosti, ki dreza v nevralgične toč- Odrska priredba Stage adaptation ke slovenske zgodovine in topografira njeno psihoge- Tibor Hrs, Nina Rajić Kranjac ografijo samozavrtosti, užitka v samospodbijanju, ne- Dramaturg Dramaturg nehnega prelaganja krivde, samopomilovanja, demo- Tibor Hrs Pandur Scenografka nizacije drugih, sramote glede nezmožnosti vzposta- Set designer vitve pristnega stika, vključno z jalovostjo izdajstev Urša Vidic in maščevanj, samoizgubljanja v Kostumografka Costume designer onkrajnosti, predvsem pa nebog- Marina Sremac ljenost tistih, ki se imajo za od- Skladatelj Composer reševalce, kot je ugotovil že Taras Branko Rožman Lektorica Kermauner. Dramaturg Tibor Hrs Language consultant Pandur zapiše, da so Grmače v re- Mojca Marič žiji Nine Rajić Kranjac mikrosko- Oblikovalec svetlobe piranje in poskus preleta omenje- he play Rocky Peak, written in early 1990s and premiered in 1994, Lighting designer Borut Bučinel ne gore slovenskega pannihiliz- Tencapsulates the tragic theatre world of Dane Zajc, who epitomizes Vodja predstave ma, ki kraljuje nad Grmačani kot a destruction or rather a split-up of a family (or one’s lineage) and there- Stage manager kamnito božanstvo. So poskus nje- fore the destruction of the whole community through radical self-criti- Jernej Jerovšek Šepetalka Prompter ne subverzije, iskanja svetlobe v cism. Some scholars and interpreters have drawn distinct parallels be- Polonca Rajšp temi te negativne teologije s po- tween the play Rocky Peak and Shakespeare’s Hamlet, considering Zajc’s močjo kontrapunktov brutalne sa- drama as a cross-generational tragedy of the decline of a certain prehis- Zasedba Cast Andraž Andrazh Vladimir Vlaškalić morefleksije, svobode distance in toric community, with the potency to re-enact neuralgic points of the Jur, njegov sin Yur, his son Benjamin Krnetić k. g. a. g. specifike gledališča, kjer je polje Slovenian history, thus mapping its psycho-geography of the plethora Matija Matiya Nejc Cijan Garlatti smrti na videz odsotno, kjer smrti of dysfunctions, such as auto-frustration, the pleasure of self-negation, Kolomč Kolomch Žan Koprivnik pravzaprav ni: je zgolj potencial continuous postponement and transferring of one’s guilt, self-pity, de- Sevšek Sevshek Matevž Biber Potovka Errand-woman Nataša Matjašec Rošker katarze preko spoznanja predsta- monization of others, futility of treason and revenge, loosing oneself in Polona Minca Lorenci vljenih zablod protagonistov. ¶ transcendence, etc., as was pointed out by Taras Kermauner. As the dram- Gospa Smrt Lady Death Liza Marijina aturg Tibor Hrs Pandur suggests, the play Rocky Peak, directed by Nina Lah The Italian Gorazd Žilavec Rajić Kranjac, is an act of micro-scoping and an attempt to fly over the Člani Orkestra Konservatorija za glasbo in balet Maribor mountain of Slovene all-encompassing pan-nihilism that reigns over Members of the Maribor Conservatory of Music and people of Rocky Peak as a stone deity. Furthermore, it is an experiment Ballet Orchestra of subversion, an undertaking to find light in the darkness of its ‘negative theology’ through counterpoint Urban Erker, klarinet clarinet Domen Baša, harmonika accordion between brutal self-reflection and freedom of distance that outlines the features of the theatre, where Matic Kavcl, trobenta trumpet the sphere of death is seemingly suspended, where there really is no death at all: there is only a possibil- Nik Zendzianowski, evfonij euphonium ity of catharsis through recognition of pertinently presented delusions of protagonists. ¶ Damjan Švarc 55. Borštnikovo 34 — 35 20. 10. 2020 > 18.00 < Tribuna na Velikem odru Slovensko mladinsko gledališče & Maska Ljubljana v okviru programa Nova pošta Gejm The Game Avtorski projekt A devised theatre project

Premiera Première 10. junij 2020, Spodnja dvorana Slovenskega mladinskega gledališča

Predstava traja 1 uro 40 minut in nima odmora. Running time 1 hour 40 minutes. No intermission.

Besedilo predstave je nastalo na podlagi pričevanj, zbranih v bazi podatkov mreže Border Violence Monitoring. The text of the performance is based on testimonies from the Border Violence Monitoring Network database.

Režiser Director Žiga Divjak Pomoč pri raziskavi Research assistant Maja Ava Žiberna Asistentki režije Assistant directors Ana Lorger, Nika Prusnik Kardum Dramaturška sodelavka Dramaturgical collaborator Katarina Morano Scenograf Set designer Igor Vasiljev Kostumografka Costume designer Tina Pavlović Skladatelj Composer Blaž Gracar Svetovalka za jezik Language consultant judje, ki so prepešačili pol sveta, da bi pobegnili pred vojna- eople who have walked across half of the world to escape wars, per- Mateja Dermelj mi, preganjanjem, nasiljem in uničujočo revščino, zadnjih secution, violence and crushing poverty, call the last stretch of Oblikovalec luči Lighting designer L P Igor Remeta dobrih sto kilometrov poti – ki jih v Bosni in Hercegovini še loči- their route – the stretch that takes them from Bosnia and Herzegovina Oblikovalec zvoka in videa jo od njihovega cilja v Evropski uniji – imenujejo gejm (iz angleške to a safe destination in the European Union – the game. The game has Sound and video designer besede game za igro). Gejm nima pravil, zakoni tukaj ne veljajo, no rules, the law does not apply, the power of the police is limitless, Blaž Gracar Prevajalka po tonskem posnetku policijska pooblastila so neomejena, nasilje postaja vse bolj bru- the violence increasingly brutal, the dangers increasingly perilous Audio recording translator talno, nevarnosti vse večje, možnosti za vstop v svobodno Evropo and the possibilities of entering the free Europe are getting small- Barbara Skubic pa vse manjše, pri čemer se vzpostavlja nehumano sizifovstvo no- er by the minute. A new paradox of inhumane Sisyphism is at work Producentka in vodja predstave vega paradoksa: bliže ko so migranti meji, vedno bolj oddaljena se in this particular situation: the closer the migrants get to the border, the far- Producer and Stage manager Tina Dobnik zdi Evropa ... Številni poskušajo večkrat, ther seem their respective destinations Tehnični vodja predstave in rekviziter tudi po dvajset- in tridesetkrat, saj so in Europe … Many have tried several Technical manager and property master prepričani, da jim bo enkrat pač že us- times, even twenty or thirty times to Igor Remeta pelo priti skozi šivankino uho. Za mar- cross the border; it is a numbers game. Zasedba Cast sikoga se gejm konča usodno. Po dosto- For many, the game is fatal. Available Primož Bezjak pnih podatkih je na naših mejah do tega records show that around twenty peo- Sara Dirnbek k. g. a. g. Maruša Oblak trenutka življenje izgubilo okoli dvajset ple have thus far lost their lives on our Matej Puc k. g. a. g. ljudi. Avtorski projekt Gejm preizprašu- borders. The Game, an original stag- Vito Weis je vlogo in odgovornost Slovenije in nje- ing project, studies the role and re- ne mejne politike za življenje ter usodo sponsibility of Slovenia and its border Na posnetku ljudi, ki so na begu natanko pred vsem policy for lives and fates of the people, In the recording Hamza Aziz, Zaher Amini, Khalid Ali, tem, kar doživljajo tudi tako rekoč na who are running from the very things Behnaz Aliesfahanipour pragu naših domov. ¶ Matej Povše they experience on our doorsteps. ¶ 55. Borštnikovo 36 — 37 20. 10. 2020 > 20.00 < Stara dvorana Slovensko ljudsko gledališče Celje & sadsongskomplex:fi Sofi Oksanen Očiščenje Purge Tragedija A tragedy

Naslov izvirnika Original title Puhdistus

Premiera Première 21. februar 2020, SLG Celje

Predstava traja 2 uri 15 minut in ima en odmor. insko-estonska pisatelji- Running time 2 hours 15 minutes. One intermission. F ca in dramatičarka Sofi Režiser Director Oksanen, sicer angažirana bor- Jari Juutinen ka za enakopravnost spolov in Prevajalka Translator Julija Potrč Šavli aktivistka LGBT, je širše med- Dramaturginja Dramaturg narodno priznanje doživela z Alja Predan dramo Očiščenje (Puhdistus), ki Scenograf Set designer je bila krstno uprizorjena leta Teemu Nurmelin Kostumografka 2007 v Finskem narodnem gle- Costume designer dališču v Helsinkih. Leto kas- Tinja Salmi neje je avtorica po drami napi- Avtor glasbe in zvoka Composer and Sound designer sala istoimenski roman, ki je Ville Hyvönen bil preveden v več kot petde- Oblikovalec svetlobe set jezikov, med drugim tudi v Lighting designer Teemu Nurmelin slovenščino, in s katerim se je Lektor Language consultant utrdila kot eno najostrejših pe- Jože Volk res svoje generacije. Leta 2012 Oblikovalca videa Video designers so po romanu uprizorili opero Teemu Nurmelin, Ville Hyvönen v Finski narodni operi ter po- ofi Oksanen, a Finnish-Es- didate for a foreign language Oscar. The main pro- Svetovalec za gib sneli film, ki je prejel nomi- tonian writer and play- tagonists are two women of different generations: Stage movement consultant S Boris Ostan nacijo za tujejezičnega oskar- wright, a committed gender Allide Truu, a simple old woman, lives a complete- Asistentka režiserja ja. Nosilki dogajanja sta ženski različnih generacij – equality activist and LGBT ac- ly isolated life in the Estonian countryside, while Assistant director Aliide Truu, preprosta starka, ki živi popolnoma izo- tivist, gained wider interna- Zara is a victim of human trafficking on the run Eva Kokalj Vodja predstave lirano življenje na estonskem podeželju, in Zara, ki tional acclaim with her play from violent pimps. Under different jurisdictions, Stage manager je žrtev trgovine z ljudmi in na begu pred krutimi Purge (Puhdistus), which pre- both women have experienced extreme violence Anže Čater zvodniki. Ženski sta pod različnimi oblastmi doži- miered in 2007 at the Finnish and have been struggling ever since to survive in Zasedba Cast veli ekstremno nasilje in se borita za preživetje v re- National Theatre in Helsinki. A the repressive world of extremely limited opportu- Stara Aliide Truu Old Aliide Truu Živa Selan presivnem svetu izredno omejenih možnosti. Aliide year later, the author reworked nities. Aliide finds a badly beaten and unconscious Mlada Aliide Truu Young Aliide Truu Živa Selan pred svojo hišo najde nezavestno in močno pretepeno the narrative of the play and Zara in front of her house. As it turns out, Zara is the Zara Maša Grošelj Hans Pekk, Ingelin mož Zaro, za katero se izkaže, da je vnukinja Aliidejine wrote a novel of the same name, granddaughter of Aliide’s sister Ingel. Upon their Ingel‘s husband Luka Bokšan sestre Ingel. Ob srečanju z mlado Zaro se je Aliide pri- which was translated into more meeting, Aliide is forced to face her painful and Martin Truu, Aliidejin mož, partijski siljena soočiti z bolečo in kruto preteklostjo, z zlo- than fifty languages, including cruel past and the crimes she committed due to her organizator oz. stranka Aliide‘s husband, čini v imenu lastnega izdajstva. Očiščenje je ostra, Slovene, and with which she treachery. Purge is a gripping and cruel play about a Communist party organizer, A client Aljoša Koltak Pavel oz. Paša, mlad ruski mafijecPavel or Pasha, bridka in kruta drama o ceni preživetja v razčlove- established herself as one of the the cost of survival in a dehumanized and utterly a young Russian mafiosoRastko Krošl čenem in okrutnem represivnem sistemu, je drama pivotal authors of her genera- repressive system. It is also a play about love, be- Lavrentij oz. Lavruša, nekdanji častnik o ljubezni, izdaji in žrtvovanju, ki zastavlja vpraša- tion. In 2012, the Finnish Na- trayal and sacrifice. It raises many questions about v KGB v srednjih letih, zdaj mafijec Lavrenti or Lavrusha, a middle-aged ex-KGB officer, nja o intimnih odločitvah posameznika in politični tional Opera presented an opera based on the novel, one’s intimate decisions and political responsibili- currently a mafioso Damjan M. Trbovc odgovornosti predstavnikov represivnih režimov. ¶ which was then adapted into a movie, a Finnish can- ty in totalitarian regimes. ¶ Uroš Hočevar 55. Borštnikovo 38 — 39 21. 10. 2020 > 20.00 < Stara dvorana Prešernovo gledališče Kranj Henrik Ibsen Strahovi Ghosts Drama A drama

Naslov izvirnika Original title Gengangere

Premiera Première 10. oktober 2019, Prešernovo gledališče Kranj

Predstava traja 1 uro 50 minut in nima odmora. ot je zapisala Marinka Poštrak, se zdijo Ibse- Running time 1 hour 50 minutes. No intermission. K novi Strahovi z vzponom novega konservati- Režiser Director vizma in z vnovičnim postavljanjem vprašanja Igor Vuk Torbica ženske emancipacije dejansko še kako strahovi Prevajalec Translator današnjega časa, saj nas ti iz preteklosti stra- Janko Moder Urejevalka prevoda šijo s ponovnim vznikom preizpraševanja vlo- Translation editor ge ženske v svetu in družini, pa tudi v družbi Tatjana Stanič nasploh. In ne zgolj to ... Pri Ibsenovih Priredba besedila Text adaptation Strahovih se plast za plastjo razpira- Igor Vuk Torbica, Katarina Pejović jo na novo tisti strahovi, ki nas strašijo Dramaturginja s poglobljenim vpogledom v zapletena Dramaturg Katarina Pejović brezna človeških odnosov na horizontu Scenograf prevlade hipokrizije, moralne sprevr- Set designer ženosti in zategnjenih ter okostenelih Branko Hojnik Kostumografka družbenih nazorov, ki jim vlada kapi- Costume designer tal – prav tako kot davnega leta 1881, Sara Smrajc Žnidarčič ko je delo nastalo. Kajti v svetu, ki smo Skladatelj Composer Vladimir Pejković mu priče, ni nič drugače kot v Ibseno- Lektorica vem času, čeprav so se vmes zgodile dve ith the rise of the new conservativism and re-opening the ques- Language consultant svetovni vojni in seksualna revolucija. tion of women’s emancipation, as remarked by Marinka Poštrak, Maja Cerar W Oblikovalec svetlobe Še vedno smo priče prevladi hipokri- Ibsen’s Ghosts seem very much the ghosts and fears of our time, as they Lighting designer zije, ki dirigira družbeno sprejemljive come from the past to frighten us with the resurgence of questioning the Igor Berginc norme, prikrivanju resnic, nabijanju role of women in the world and family, and in society in general. More- Oblikovalec maske Make-up designer krivde, triumfu zlagane morale nad eti- over, in Ibsen’s Ghosts, a layer after layer of those fears re-open that Matej Pajntar ko, prevladi t. i. razuma ali – bolje reče- frighten us with an in-depth look into complex pits of human relation- Tehnični vodja no – utesnjujočih družbenih norm nad ships on the horizons of the governance of hypocrisy, moral perversion Technical manager Igor Berginc pristnimi čustvi, logiki skrajno spre- and the restrained and ossified social beliefs ruled by capital – just like Vodja predstave in rekviziter vrženega kapitalističnega pragmatizma in 1881 when the work was created. Because in the world we’re living, Stage manager and props … in navsezadnje pometanju pod preprogo vsega, there is nothing different than in Ibsen’s time, despite the occurrence of Jošt Cvikl Šepetalka Prompter kar bi lahko ogrozilo in zamajalo družbeni red na two world wars and a sexual revolution. We’re still witnessing the rule of Judita Polak temeljih, ki sta jih ustoličili Cerkev in Država. ¶ hypocrisy that instigates the socially acceptable norms, covering truths, hammering guilt, a triumph of fake morals over eth- Zasedba Cast ics, the rule of the so-called reason, or – more pre- Helene Alving, vdova a widow Vesna Jevnikar Osvald Alving, njen sin, slikar her son, cisely – phony social norms over genuine feelings, the a painter Blaž Setnikar logic of completely perverted capitalist pragmatism Pastor Manders Borut Veselko … and finally, we are witnessing the act of sweeping Engstrand, mizar a carpenter Peter Musevski under the carpet of everything that could endanger (izvirna zasedba original cast), Matjaž Tribušon k. g. a. g. Regine Engstrand, služkinja pri Alvingovi and undermine the social order on the foundations Mrs. Alving’s maid Vesna Pernarčič set by the Church and the State. ¶ Nada Žgank 55. Borštnikovo 40 — 41 22. 10. 2020 > 20.00 < Stara dvorana Slovensko narodno gledališče Drama Ljubljana Susan Sontag Alice v postelji Alice in Bed Drama A drama

Premiera Première 8. november 2019, lice v postelji je prva in edina v celoti objavlje- Mala drama A na igra znamenite ameriške filozofinje, literarne Predstava traja 1 uro 20 minut ikone šestdesetih let in vsestranske ustvarjalke Susan in nima odmora. Sontag, v kateri avtorica poglobljeno razmišlja o žen- Running time 1 hour 20 minutes. skah, o njihovih bolečinah in samozavedanju. Igra, ki No intermission. jo je Sontagova razdelila na osem prizorov in označila Režiser in scenograf za fikcijo, temelji na resnični osebi, Alice James, edini Director and Set designer hčerki in najmlajši od petih otrok izjemno ugledne ame- Dorian Šilec Petek riške družine v devetnajstem stoletju. Oče, dedič velike- Prevajalka Translator ga poslovnega premoženja, je zaslovel kot pisec o verskih Darja Dominkuš in moralnih temah. Čudaški človek močne volje, ki je Dramaturginja pri trinajstih v nesreči izgubil Dramaturg Staša Prah nogo, je bil glavni učitelj svojih Kostumografka otrok in jih je že v zgodnji mla- Costume designer dosti večkrat peljal v Evropo. Tina Bonča Skladatelj Ko je imela Alice trideset let, Composer naj bi očeta soočila s svojo odlo- Mitja Vrhovnik Smrekar čitvijo, da želi narediti samo- Lektorica mor. Oče jo je sprva resno oštel, Language consultant Tatjana Stanič nato pa dal svoje privoljenje. Oblikovalec svetlobe Leta 1884 se je Alice preselila Lighting designer v London, kjer se je ustalil njen brat Henry (Harry), in lice in Bed is the first and the only fully published play by the famous American philosopher and Andrej Hajdinjak tam priklenjena na posteljo preživela naslednjih sedem A literary icon of the 1960s, Susan Sontag. In her play, Sontag reflects deeply on women, their pain and let in pol, vse do smrti zaradi raka na dojki. Zanimivo self-awareness. The play, which Sontag divided into eight scenes and described as fiction, is based on a real Zasedba Cast Alice James Maša Derganc je dejstvo, da je bila Alice James deležna enake izobraz- person, Alice James, the only daughter and youngest of five children of an extremely prominent American Sestra Myrtha Nurse Myrtha Sabina Kogovšek be kot njeni bratje, čeprav kaj takega v 19. stoletju ni family of the nineteenth century. Alice’s father, the heir to a large business estate, became famous as a Oče Father Vojko Zidar bilo ravno običajno. Kljub navidezno enakim možnos- writer on religious and moral topics. The eeccentric and strong-willed man, who lost his leg in an acci- Henry (Harry), Alicin brat Alice‘s brother tim in priložnostim za razvoj lastnih potencialov je os- dent at the age of thirteen, was the main teacher of his children and took them to Europe several times at Saša Tabaković tala omrtvičena in okamnela v svoji sobi. Preprosto ni an early age. When Alice James was thirty, she was said to confront her father with her desire to commit Margaret Fuller Iva Babić Emily Dickinson Eva Jesenovec vedela, kaj naj naredi z vsem tem znanjem, s svojim ši- suicide. He severely scolded her at first, but then he gave his consent. In 1884, she moved to London, where Kundry Veronika Drolc rokim umom in neverjetnim smislom za humor – poko- her brother Henry (Harry) had settled down. There she spent the next seven and a half years, chained Mladenič A Young man Timon Šturbej pala jo je lastna genialnost. ¶ Peter Uhan / SNG Drama Ljubljana to bed, until her untimely death from breast cancer. Interestingly, Alice James received the same edu- cation as her brothers, although this was still uncommon in the 19th century. Despite seeming- ly equal opportunities to develop her own potential, she remained numb and petrified in her room. She simply did not know what to do with all this knowledge, with her brilliant mind and incredi- ble sense of humour – ultimately, her genius was her own undoing. ¶ 55. Borštnikovo 42 — 43 23. 10. 2020 > 18.00 & 21.00 < Mali oder Zavod Delak Biokozmizem::Izreka Biocosmism::Utterance

Po motivih Marka Breclja in Marka Mlačnika ragan Živadinov je nedvomno eden izmed Based on motifs by Marko Brecelj and Marko Mlačnik Dnajbolj smelih in avtorsko samosvojih gleda- Premiera Première 26. november 2019, liških ustvarjalcev, katerega opus zaznamujejo Osmo/za, Ljubljana skupni začetki v okviru gibanja Neue Sloweni- sche Kunst (NSK) v 80. letih 20. stoletja, nato pa Predstava traja 70 minut in nima odmora. vedno bolj ambiciozni poskusi v smeri gledali- Running time 70 minutes. No intermission. škega retrogardizma, kozmokinetizma in tele- Režiser Director kozmizma. Kot je zapisala Zala Dobovšek o eks- Dragan Živadinov perimentalnem gledališkem projektu Dragana Avtor zlogomelodij Syllablelodies Živadinova in Marka Breclja, se med natančno Marko Brecelj odmerjene ploskve, izostrene vektorje Scenografka in kostumografka in gibalno disciplino vrine neobičajna Set and Costume designer Dunja Zupančič niša, vanjo pa neprilagojen tujek, ki se s Oblikovalec svetlobe svojo odsotnostjo markantno naseli v za- Lighting designer reze biomehanične govorice. Natančne Janez Kocjan Oblikovalec zvoka numerične in kozmokinetične koordina- Sound designer te ujamejo in upodobijo tistega, ki je iz- Dario Seraval muzljiv, razpršen in hkrati zemeljski v Oblikovalec videa Video designer vsej širini te besede. BIOKOZMIZEM::IZ- Gregor Mesec REKA, odrsko srečanje Dragana Živa- Asistent režije dinova in Marka Breclja, je dogodek (navidezne) Assistant director Anže Rogelja protislovnosti, ki kljub siceršnjima globoko raz- FotografinjaPhotographer nolikima estetskima izrazoma obeh ustvarjal- ragan Živadinov is undoubtedly one of the most audacious and in- Dunja Zupančič cev najde in uprizori njuno temeljno zavezništvo. D dependent theatre artists, whose body of work is marked by his be- Zasedba Cast Zavezništvo v ekscentričnosti vztrajanja, robnih ginnings as a part of the Neue Slowenische Kunst (NSK) movement in Damjana Černe praks, unikatnosti in družbene neupogljivosti. ¶ the 1980s; later his ambitions shifted increasingly towards theatre ret- Marko Brecelj rogardism, cosmokinetism and telecosmism. As Zala Marko Mlačnik Ivan Peternelj Dobovšek wrote about the experimental theatre pro- Dragan Živadinov ject by Dragan Živadinov and Marko Brecelj, an unu- sual niche appears between the carefully measured planes, sharp vectors and disciplined movement, and with it comes an unadjusted foreign body that strik- ingly inhabits the notches of biomechanical speech with its absence. The precise numeric and cosmokinet- ic coordinates catch and portray the one who is elusive, dispersed and yet earthy in every sense of the word. Biocosmism::Utterance, a stage encounter of Dra- gan Živadinov and Marko Brecelj is an event of a (seem- ing) contradiction, which despite the otherwise deep- ly different aesthetic expression of both artists finds and stages their fundamental alliance. An alliance in the eccentricity of persistence, marginal practices, uniqueness and social indomitability. ¶ Dunja Zupančič 55. Borštnikovo 44 — 45 23. 10. 2020 > 20.00 < Stara dvorana Mini teater Florian Zeller Sin The Son Psihološki triler A psychological thriller

Naslov izvirnika Original title Le Fils

Premiera Première 18. januar 2020, Mini teater

Predstava traja 1 uro 25 minut in nima odmora. Running time 1 hour 25 minutes. No intermission.

Režiser Director ramsko besedilo Sin Floriana Zellerja Eduard Miler Dbi lahko opredelili kot psihološki tri- Prevajalec ler, v katerem se avtor pod napetim lokom Translator Miha Medved briljantnega kresanja dialogov loteva ob- Dramaturginja čutljive tematike – depresije kot trajnega Dramaturg bolezenskega stanja. Zeller s svojo zadnjo Žanina Mirčevska Scenograf in kostumograf precizno psihološko študijo, ki jo vpne v Stage and Costume designer pripoved o razpadu družine in krutih posledicah ločitve Nicolaso- Jean Guy Lecat vih staršev, predvsem pa z na videz enostavnimi jezikovnimi kon- Asistentka scenografije in kostumografije strukti dosega karseda prepričljive odrske situacije, ki potrjujejo Assistant Stage and njegov mednarodni ugled enega najbolj izvajanih francoskih dra- Costume designer matikov sodobnega časa. S svojo avtentično in neobsojajočo pisavo Slavica Janošević Lektor Zeller naturalistično oriše psihološko erozijo in zevajočo duševno lorian Zeller’s play The Son (Le Fils) could be defined as a psychological Language consultant praznino, ki jo najstnik Nicolas doživlja po ločitvi staršev in se na- F thriller, in which the author tackles a sensitive topic – depression as a per- Jože Faganel daljuje v popolno izgubo življenjskega smisla. Ta se v skrbi, da bi manent medical condition – through bittersweet interplay of witty dialogue Zasedba Cast Nicolasa spravili na pravo pot, poloti tudi drugih članov družine and emotional numbness. With his latest precise psychological study, Zeller Pierre Branko Šturbej (matere, očeta in njegove nove partnerke). Bi (spodleteli) poskus sa- achieves the most convincing stage situations as possible, confirming his in- Anne Polona Juh momora morda lahko bil priložnost za novo Nicolasovo rojstvo – ali ternational reputation as one of the most performed French playwrights of our Nicolas Gašper Lovrec Sofia Saša Pavlin Stošić pa zgolj dokončno spoznanje, da nismo kos izzivu, ki mu vse preveč time. With his authentic and non-judgmental writing, Zeller naturalistical- Doktor Doctor Robert Waltl zlahka rečemo smisel življenja? ¶ ly outlines the psychological erosion and yawning emptiness of a teenage soul that Nicolas experiences after his par- ents’ divorce. In consequence, Nicolas finds himself utterly powerless and his life eventually serves no purpose. Dur- ing their effort to help Nicolas getting on the “right path” again, the depres- sion and loss of meaning take their toll on other family members (mother, fa- ther and his new female partner). Could a (failed) suicide attempt perhaps be an opportunity for Nicolas to be born again – or just the final realization that we are not up to the challenge we all too easily call the meaning of life? ¶ Miha Fras 55. Borštnikovo 46 — 47 24. 10. 2020 > 19.30 < Stara dvorana Mestno gledališče ljubljansko Katarina Morano, Žiga Divjak Sedem dni Seven Days Drama A drama

Premiera Première 19. september 2019, Veliki oder MGL

Predstava traja 2 uri 30 minut in ima en odmor. Running time 2 hours 30 minutes. One intermission. judje in živali smo si v marsičem podobni. Naša skupna la- L stnost je denimo osnovni strah – strah pred smrtjo. Med evo- Režiser Director lucijo je bil obojim prirojen nagon preživetja, ki nas poskuša ohra- Žiga Divjak Dramaturginja Dramaturg njati pri življenju. Vendar pa je človek v primerjavi z živalmi edino Katarina Morano bitje, ki se zaveda neizbežnosti smrti, edino bitje, ki se zaveda, da Scenografka bo moralo umreti. Od smrti pa nas loči samo čas, in to določen čas. Set designer Barbara Kapelj Toda meje tega trajanja večina ne more predvideti, kar daje danemu Kostumografka času neskončno vrednost. Izhodišče avtorskega projekta Sedem dni Costume designer je občutek, da nam zaradi nenehne naglice, sredi katere si prizade- Tina Pavlović Avtor videa Video vamo zagotoviti boljši oziroma mirnejši jutri, kakšni dnevi pre- Domen Martinčič pogosto spolzijo iz rok. To je predstava o življenju malih ljudi, ki se Skladatelj Composer po najboljših zmožnostih trudijo preživeti iz tedna v teden, ob tem Blaž Gracar Oblikovalec svetlobe pa upajo, da ne bo tako tudi iz leta v leto. To je predstava o malem Lighting designer človeku, ki se mora kljub dejstvu, da svet, ki mu pripada, gotovo Boštjan Kos drvi v katastrofo, ukvarjati s svojim vrtičkom, ki že dolgo ne uspe- Lektor Language consultant Martin Vrtačnik va tako, kot je nekoč (če sploh kdaj je), ali Asistent režije (študijsko) pa uspeva zgolj toliko, da mali človek eople and animals are in many ways alike. Our common Assistant director (as student) ob njem vztraja z upanjem – ali pa celo characteristic is, for instance, the basic fear – fear of death. Žiga Hren P Vodja predstave Stage manager brez njega. Tako zelo se trudi preživeti, During the evolution, both were endowed with inherent sur- Borut Jenko da skoraj pozabi, da morda niti ne živi. vival instincts striving to keep us alive. However, humans, in Šepetalka Prompter Sedem dni je omnibus usod, s katerimi contrast to animals, are the only beings aware of death’s in- Neva Mauser Lenarčič si delimo ulice, stanovanjske bloke, pi- evitability, the only beings aware that they will have to die. sarniške mize, vrste na blagajnah naku- Only time separates us from death – limited time, to be pre- Zasedba Cast Jette Ostan Vejrup povalnih središč, garderobe na bazenih, cise. However, for most of us, it is impossible to predict how Matej Puc stranišča v najljubšem baru, je omnibus much time is in question, which bestows priceless value on the Mojca Funkl usod, s katerimi se zvrstimo za mizami time that is given to us. The basic premise of the theatre pro- Ajda Smrekar Lotos Vincenc Šparovec v priljubljenih gostilnah, usod, s kate- ject Seven Days is the feeling that our constant hurry to ensure Iztok Drabik Jug k. g. a. g. rimi si delimo usodo. ¶ Peter Giodani ourselves a better or calmer future can often makes us lose our grip and another day goes by. This is a performance tackling the life of ordinary people, who are do- ing their best to survive week by week, hoping it won’t extend to a year by year. It is a performance about the ordinary people, who are burdened with the idea of cultivating their “gardens” (even though it has not been thriving for a long time, or never), despite the fact that their world is heading for a disaster. Those peo- ple strive to survive so badly that they sometimes almost forget that they are still alive. Seven Days is an omnibus of fates we are sharing streets with, as well as blocks of flats, office desks, cashier lines in shopping malls, changing rooms at swimming pools, toilets in our favourite bar; it is an omnibus of fates, with which we line up at tables in popular restaurants, fates we share our fate with. ¶ 55. Borštnikovo 48 — 49

Slovensko narodno gledališče Drama Ljubljana Izobčenke Female Outcasts

Avtorski projekt po delih Rudija Šeliga redstava Izobčenke temelji na izbranih besedilih iz opu- A devised theatre project based sa Rudija Šeliga, a jih uporablja kot vozlišča mreže, ki se on writings by Rudi Šeligo P plete preko kolektivnega spomina ustvarjalcev. Izbrana Šeli- Premiera Première 27. september 2019, gova besedila so v Izobčenkah postala gradivo, ki ga mlinsko Mala drama kolo gledališkega procesiranja staplja z individualno izku- šnjo. Ključne pri tem procesu so igralke, njihov osebni stik z Predstava traja 2 uri 45 minut in ima en odmor. gradivom, ter glasbenika, ki s svojim medijem enakovredno Running time 2 hours 45 minutes. dopolnjujeta performativ. Izobčenke pričajo o nas, pravzaprav One intermission. o tistih delih v nas, ki jih lahko poimenujemo dušni prostori. Kar pa je prostor duše, je tudi prostor rituala, predvsem gle- Odrska priredba Stage adaptation ustvarjalci predstave dališkega. Šeliga fascinira magija v gledališču. In ta uprizo- creators of the staging ritev se dotika tistega vidika magije, ki nagovarja najbolj ran- ljive plati človeka, dotika se tiste poškodovane in nedolžne Režiserka Director Mirjana Medojević snovi, ki se navezuje na instinktivno odzivanje na svet. Če Dramaturga Dramaturgs pomislimo, da v vsakem od nas, ne glede na to, ali je moški ali Eva Kraševec ženska, obstaja homo ludens, potem bi ta predstava hotela tega Ilija Đurović človeka priklicati na površje in iz njega nekako izvabiti ne- Scenograf Set designer Branko Hojnik dolžnost, ker se najbrž prav tam skriva duša. Šeligo je pisal Lektorica o izobčeni animi in skoznjo navsezadnje o sebi – ne o tistem Language consultant svojem delu, ki je znan, priznan in prepoznan, temveč o delu, Tatjana Stanič Avtorja glasbe ki ga odkriva in odpira sko- he performance Female Ou- Composers zi to, kar ustvarja, istočasno T casts is based on selected ritual, especially a theatre ritual. One of Šeligo’s keen interests Ina Puntar pa s tem nam ponuja pros- texts from Rudi Šeligo’s opus, was the magic of theatre. The performance explores the aspect Samo Kutin Oblikovalci luči tor, da predstava, ustvar- using them as nodes of a net, of magic that tackles the most vulnerable human features, i.e. Lighting designers jena po njegovih izbranih woven over a collective memo- the vulnerable and innocent substance that is related to one’s Nina Ivanišin delih, hodi po isti poti. To ry of its creators. Selected Šeli- instinctive response to the world. If we consider that there is Vlado Glavan homo ludens Branko Hojnik je pot zrcal, usode, prerok- go’s texts have become a source , whether male or female, in each and every one of be, trpljenja, hkrati pa pot material for Female Outcasts us, the aim of the production would be to conjure that being to Zasedba Cast ezoterike in igre. Navsezad- performance, intertwined and the surface, and to induce the innocence, in which one can most Tina Vrbnjak nje živi izobčenka v vsakem merged with individual expe- certainly find the soul. Šeligo wrote about the outcast anima Nina Ivanišin človeku kot njegova senca. ¶ rience in the mill of theatri- ... and by doing so also about himself – although not about that Tamara Avguštin Ina Puntar cal processing and production. part of himself that is familiar, well- Samo Kutin The actresses, their personal known and recognized, but the part contact with the material, are that he keeps discovering and opening Uprizoritev na festivalu ne bo izvedena, saj se je poslovila z repertoarja že pred crucial for this process, as well through his act of creation. Thus, Šeli- uvrstitvijo v program. as the musicians, who equally go offers us a space, so that the play The production will not be shown at the complement the performative could go along the same path with his festival due to an urgent repertoire change with their medium. Therefore, writings. This is the path of mirrors, of the participating theatre. Female Outcasts is a testimony fate, prophecy, suffering, and at the of ourselves, in fact, of those same time, the path of esotericism parts within us that can be and play. After all, a female outcast called spaces of the soul. A space resides in every human being as one’s of the soul is also a place of a shadow. ¶ Peter Uhan / SNG Drama Ljubljana 54. Borštnikovo 50 — 51

Tomi Janežič, režiser in pedagog, ki deluje tudi aesthetically prominent directors of the youngest tre. His susceptible and attentive way of approaching Finnish Cultural Fund artistic grant in 2005 and ap- kot psihodramski terapevt, je redni profesor na UL generation, won several awards when she was still a social questions brought him a Borštnik Award for preciated five-year Finnish State artist grant in 2016. AGRFT. Po mnenju mednarodnih kritikov je eden student at the UL AGRFT (the best production at the direction for The Man Who Watched the World (Mla- (director of Purge) ¶ najzanimivejših evropskih gledaliških režiserjev svoje International Festival of Dramatic Arts in Zagreb and dinsko Theatre) in 2017, while the original staging generacije in mednarodno priznan strokovnjak na the Šeligo Award for the best production at the Week project 6 (in coproduction with Maska and Mladinsko Igor Vuk Torbica je leta 2013 diplomiral iz režije na področju kreativnih igralskih tehnik. Prejel je več kot of Slovenian Drama for 1981; UL AGRFT Student Theatre in the scope of The New Post Office pro- Fakulteti dramskih umetnosti v Beogradu in prejel fa- trideset mednarodnih nagrad in priznanj, prav tako je Prešeren Award for the directing of 1981 and her solo gramme), which he directed, won the Borštnik grand kultetno nagrado Hugo Klein za najboljšega študenta bil nominiran za zlato masko, najuglednejšo nagrado project NOW I’m Flying!; Student Prešeren Award prix for best production. (director of The Game and gledališke režije. Veliko pozornosti kritikov in gle- s področja uprizoritvenih umetnosti Ruske federacije, of the University of Ljubljana and the award for Best Seven Days) ¶ dalcev je požel z režijo Nušićeve komedije Pokojnik, in za nagrado Hedda – enako pomembno priznanje Young Director at the 56th MESS Festival in Sarajevo za katero je ob zaključku tretjega letnika prejel tudi za gledališko ustvarjalnost na Norveškem, kjer je pre- for The Conference of Birds). In 2017, she received her Jari Juutinen je študiral književnost na univerzi v glavno nagrado festivala Studio fest, na Nušićevih jel tudi nagrado UT za najboljšo predstavo leta 2016. master’s degree in directing; her mentor was Tomi Ouluju in režijo na Finski gledališki akademiji dnevih v Smederevu pa je bila predstava razglašena (režiser predstave Sedem vprašanj o sreči) ¶ Janežič, whose assistant director she was for many v Helsinkih. Delal je kot dramaturg v gledališčih v Ou- za najboljšo uprizoritev festivala. Po izjemno odmevni Tomi Janežič, stage director and educator, who also productions. In 2018, she won the Borštnik Award luju in Lahtiju, nato pa kot umetniški direktor in usta- režiji Kleistove komedije Razbiti vrč v Jugoslovan- works as a psychodrama therapist, is employed as for the Best Directing for directing Tadeusz Słbodzi- novitelj gledališča Vanha Juko v Lahtiju ter Mestnega skem dramskem gledališču v Beogradu (predstava a full professor at the UL AGRFT. Many international anek’s Our Class. (director of the Rocky Peak) ¶ gledališča Lappeenranta. Je ustanovitelj in umetniški se je udeležila rekordnega števila festivalov) so se mu critics regard him as one of the most interesting Eu- vodja skupine sadsongskomplex:fi, ki deluje od leta odprla vrata številnih gledališč v Srbiji, na Hrvaškem ropean theatre directors of his generation. He is also Žiga Divjak je v slovensko kulturno javnost že med 2015. Prav tako je soustanovitelj finskega gledališke- in v Sloveniji. V zadnjih nekaj letih je režiral vrsto iz- internationally recognised as an expert in creative študijem na UL AGRFT vstopil s trilogijo Tik pred ga festivala Lain§uojattomat (Izobčenci). Je večkratni jemnih in večkrat nagrajenih predstav, med drugimi acting techniques. He has received more than thirty revolucijo (2013–2015), ki je gostovala v Nemčiji in na prejemnik umetniških štipendij, ki jih izjemnim (po)- Tollerjevega Hinkemanna in Shakespearovega Tita international awards and recognitions. In addition, he Hrvaškem in s katero si je prislužil akademijsko Pre- ustvarjalcem podeljuje Finska. Ob obsežnem režij- Andronika v Zagrebškem gledališču mladih, Molièro- was nominated for the Gold mask award, the highest šernovo nagrado. Družbeno angažirani drži je ostal skem opusu na Finskem se zadnja leta vedno bolj vega Ljudomrznika v HNK Reka, Horváthove Zgodbe Russian prize in the field of performing arts, and for zvest tudi v svojem ustvarjanju po študiju, kar se kaže uveljavlja v tujini. Uprizoritev Sad Songs from the iz Dunajskega gozda v zagrebškem gledališču Ga- the Hedda award – an equally important recognition v režiranju več uprizoritev v Slovenskem mladinskem Heart of Europe (Žalostne pesmi iz srca Evrope) av- vella, Molièrovega Tartuf­a v koprodukciji Narodnega in Norway, where he won the UT award for the best gledališču, Maski Ljubljana, Prešernovem gledališču torja Kristiana Smedsa je v njegovi režiji in produkciji gledališča Sombor in Srbskega narodnega gledališča staging in 2016. (director of Seven Questions About Kranj, Cankarjevem domu in UL AGRFT, SNG Drama sadsongskomplex:fi gostovala na uglednih festivalih Novi Sad, Tolstojevo Moč teme v Narodnem gledali- Happiness) ¶ Ljubljana in Mestnem gledališču ljubljanskem. S tan- v Rusiji, Estoniji, Litvi, Belgiji, Franciji (Avignonski šču v Beogradu, Lorcovo Krvavo svatbo v koprodukciji kočutno obravnavo družbenih vprašanj je leta 2017 festival), v Belorusiji in tudi na Festivalu Borštnikovo Srbskega narodnega gledališča Novi Sad in festivala Nina Rajić Kranjac , ena najprodornejših in estetsko prepričal tekmovalno žirijo FBS, ki mu je dodelila srečanje (2017). V letu 2019 je dosegel velik uspeh Grad Teatar iz Budve ter v lanski sezoni tudi Lessin- profiliranih režiserk najmlajše generacije, je že med Borštnikovo nagrado za režijo predstave Človek, ki je z režijo drame Utva Čehova v tbilisijskem Gledališču govo tragedijo Emilia Galotti v SNG Drama Ljubljana. študijem na UL AGRFT prejela več nagrad: za uprizo- gledal svet (SMG), leto pozneje pa je njegov avtorski Gribojedova. (režiser predstave Očiščenje) ¶ Uprizoritev Moč teme je na letošnjem 6. Drama festi- ritev 1981 nagrado za najboljšo produkcijo na Med- projekt 6 (v koprodukciji Maske in Slovenskega mla- Jari Juutinen is said not to shy away from difficult valu v Ljubljani prejela nagrado Jerneja Šugmana, ki narodnem festivalu dramskih umetnosti v Zagrebu in dinskega gledališča v okviru programa Nova pošta) topics as the plays he works with often have a jo podeljuje občinstvo za najboljšo uprizoritev festiva- Šeligovo nagrado za najboljšo slovensko uprizoritev prejel veliko Borštnikovo nagrado za najboljšo uprizo- strong social point of view. Juutinen is the founder la. Nušićeva Žalujoča družina, komedija v koprodukciji na Tednu slovenske drame; za režijo 1981 in igralski ritev. (režiser predstav Gejm in Sedem dni) ¶ of the Finnish ensemble Theatre Vanha Juko and Prešernovega gledališča Kranj in SLG Celje, je bila avtorski projekt ZDAJ letim! akademijsko Prešernovo Žiga Divjak entered the Slovenian theatre scene a co-founder of a Finnish theatre festival Lain§uo- njegova prva režija v Sloveniji, zanjo je prejel nagra- nagrado; za režijo Zborovanje ptic Prešernovo nag- (still as a student) with the series of events and per- jattomat (Outlaw§). He has worked in three major do Žlahtni režiser 2017 na Dnevih komedije v Celju, rado Univerze v Ljubljani in na 56. festivalu MESS v formances titled Right Before the Revolution (2013 city theatres in Finland (Oulu City Theatre, Lahti City predstava pa je doživela zavidljivo število ponovitev in Sarajevu nagrado za najboljšo mlado režiserko. – 2015) that toured in Germany and Croatia and for Theatre, and as the artistic director in Lappeenranta se udeležila številnih mednarodnih festivalov (Steri- Leta 2017 je magistrirala iz gledališke režije pod which he won Student Prešeren Award from the City Theatre.) In 2015, he founded an internation- jevo pozorje, 40. Dnevi satire Fadila Hadžića, festival mentorskim vodstvom Tomija Janežiča, s katerim UL AGRFT (UL AGRFT) in Ljubljana. Even after his ally working theatre company sadsongskomplex:fi. Grad Teatar Budva in Gledališki maraton Sombor). je kot asistentka sodelovala pri številnih predstavah. studies, his socially engaged position remained the Besides Finland, Juutinen has directed in Russia, (režiser predstave Strahovi) ¶ Za uprizoritev Słobodziankove drame Naš razred central impetus of his creative work, which has so Luxembourg, Georgia and Slovenia. His works have Igor Vuk Torbica graduated in theatre directing from (PGK) je leta 2018 prejela Borštnikovo nagrado za far led him to direct at the Mladinsko Theatre, Maska toured internationally in Russia, Cuba, Georgia, the Faculty of Dramatic Arts in Belgrade in 2013 najboljšo režijo. (režiserka predstave Grmače) ¶ Institute, Prešeren Theatre Kranj, Cankarjev dom and Lithuania, Belgium, Estonia, Luxembourg, France and received the faculty award Hugo Klein for the Nina Rajić Kranjac, one of the most successful and UL AGRFT, Drama Ljubljana and Ljubljana City Thea- and USA. He has been honoured with a three-year best student of theatre directing. He attracted a lot 55. Borštnikovo 52 — 53

of attention from critics and audience when as a Celje in Watermill Centru (ZDA). V SNG Drama Ljublja- of the art movement Neue Slowenische Kunst (New national Theatre Festival in Sarajevo (in 1986, 1989 third-year student he directed Nušić’s The Deceased na je režiral Solzice (2018), Amelio E. (2019) in Alice v Slovene Art). He is particularly interested in internet and 1999) and several other international awards. He which won the Grand Prix at the Studio Fest Festival postelji (2019). ¶ (režiser predstave Alice v postelji) theatre and actively collaborates with the Centre for was appointed artistic director of Mladinsko Theatre when and was declared the best production of the Dorian Šilec Petek creates in the field of theatre Performing Arts Research Delak through his contri- in Ljubljana, the Montenegrin National Theatre in Nušić Days in Smederevo. After the widely acclaimed direction and scenography. His works have been butions on historical aesthetics. He pioneered the Podgorica, and SNG Drama Ljubljana; he was also an direction of Kleist’s The Broken Jug at the Yugoslav presented at Triennale di Milano, FLARE – Festival of “retrogardist” theatre method, advocating the princi- artistic consultant of the Royal Theatre Zetski dom Drama Theatre in Belgrade (the production partic- Radical Theatre (GB), Istropolitana Theatre Festival ples of the 20th-century historical avantgardes (futur- Cetinje and an artistic coordinator of the Slovene ipated at a record number of festivals) the doors (SK), Maribor Theatre Festival (SI), Operadagen Rot- ism, constructivism, conceptualism, etc.) and strong- Permanent Theatre in Trieste. He has directed plays opened for him to direct a series of outstanding and terdam (NL) and Watermill Centre, New York (USA). ly believes in constructive potential of art, as well as by many great authors of the classical and modern much awarded productions, among them Toller’s He directed several original theatre projects such as its prophetic capacity. Furthermore, he passed the theatre, such as Bertolt Brecht, Heiner Müller, Hen- Hinkemann and Shakespeare’s Titus Andronicus at Stabat Mater: Passion; The Others, the Blind; At Least selection of becoming an astronaut and is currently rik Ibsen, Oscar Wilde, William Shakespeare, Ber- the Zagreb Youth Theatre, Moliere’s The Misanthrope I Need not Kiss; You Need the Glass and You Need engaged in constructing postgravitational abstract nard-Marie Koltès, Ernst Toller, Georg Büchner and at the HNK Rijeka, Horvath’s Tales from the Vienna the Milk. He designed sets and visuals for several theatre objects. (director of Biocosmism::Utterance) ¶ many others. (director of The Son) ¶ Woods in the Gavella Theatre in Zagreb, Moliere’s performances in SNT Drama Ljubljana (SI), Ljubljana Tartufe in co-production of the National Theatre in City Theatre (SI), SLG Celje (SI), SNT Opera and Ballet V svoji dolgoletni gledališki karieri je režiser Eduard Sombor and Serbian National Theatre Novi Sad, Tol- Ljubljana (SI), Carmina Slovenica (SI) and Watermill Miler v sodelovanju z najpomembnejšimi sloven- stoy’s The Power of Darkness at the National Theatre Centre (USA). In SNT Drama Ljubljana (SI) he direct- skimi, hrvaškimi, jugoslovanskimi, avstrijskimi in in Belgrade, Lorca’s Blood Wedding, co-produced by ed Mary’s Tears (by P. Voranc, 2018), Amelia E. (based nemškimi igralskimi ansambli oblikoval več kot sto the Serbian National Theatre Novi Sad and festival on the play The One Who Survived by M.G. Štromar, izrazito samosvojih uprizoritev in za številne med Theatre City Budva, and in the last season, Less- 2019) and Alice in Bed (by S. Sontag, 2019). ¶ (direc- njimi prejel več nagrad. Med drugimi je prejel nagrado ing’s Emilia Galotti at the SNT Drama Ljubljana. The tor of Alice in Bed) ¶ Prešernovega sklada (1987), dve Borštnikovi nagradi production The Power of Darkness won the Jernej za režijo (za predstavi Baal in Beneški trgovec v letih Šugman Audience Award for the best production at Dragan Živadinov je študiral na UL AGRFT in sredi 1988 in 2011 v produkciji SNG Drama Ljubljana), tri the 6th Drama Festival in Ljubljana this year. Nušić’s 80. let ustanavljal in vodil tedaj najradikalnejše eks- lovorove vence mednarodnega gledališkega festivala Bereaved Family, a comedy co-produced by Prešer- perimentalne projekte v Sloveniji (Gledališče sester MESS v Sarajevu (v letih 1986, 1989 in 1999) ter več en Theatre Kranj and Celje City Theatre was his first Scipion Nasice, Rdeči pilot, Kozmokinetični kabinet drugih mednarodnih nagrad. Deloval je kot umetniški direction in Slovenia and he won the Noble Director Noordung). Leta 1985 se je v zgodovino slovenske vodja Slovenskega mladinskega gledališča v Ljubljani, Award at the Days of Comedy in Celje in 2017, while avantgardne umetnosti vpisal kot soustanovitelj Črnogorskega narodnega gledališča v Podgorici, SNG the production enjoyed an enviable run and partici- umetniškega gibanja Neue Slowenische Kunst. Drama Ljubljana, bil je tudi umetniški konzultant Kra- pated at a number of international festivals (Sterijevo Ukvarja se z gledališčem na medmrežju in z zgodo- ljevskega gledališča Zetski dom na Cetinju ter ume- pozorje Festival, 40th Fadil Hadžić Days of Satire, vinsko-estetskimi prispevki sodeluje v Centru za raz- tniški koordinator Slovenskega stalnega gledališča v Festival City Theatre Budva and Sombor Theatre iskave scenskih umetnosti Delak (1996). Je utemelji- Trstu. Režiral je drame velikih avtorjev klasičnega in Marathon). (director of Ghosts) ¶ telj retrogardističnega postopka v gledališču in eden sodobnega gledališča, kot so Bertolt Brecht, Heiner najvidnejših proponentov historičnih avantgard 20. Müller, Henrik Ibsen, Oscar Wilde, William Shake- Dorian Šilec Petek ustvarja na področju gledališke stoletja (futurizma, konstruktivizma, konceptualizma speare, Bernard-Marie Koltès, Ernst Toller, Georg režije in scenografije. Njegova dela so bila predsta- itd.), pri tem pa verjame tudi v graditeljsko in preroš- Büchner ter mnogi drugi. (režiser predstave Sin) ¶ vljena na Milanskem trienalu, Festivalu radikalnega ko moč gledališke umetnosti. Prestal je selekcijo za During his long theatrical career, director Eduard gledališča v Veliki Britaniji, na študentskem festivalu kozmonavta in se posveča gradnji postgravitacijskih Miler, collaborated with some of the most important Istropolitana v Bratislavi, Festivalu Borštnikovo sre- gledaliških abstraktov. (režiser predstave Biokozmi- Slovenian, Croatian, Yugoslav, Austrian and German čanje, Opernih dnevih (Operadagen) v Rotterdamu zem::Izreka) ¶ acting ensembles, and created more than a hundred in newyorškem Watermill Centru. Ustvaril je več Dragan Živadinov studied at the UL AGRFT. In the distinctly unique productions, for which he received avtorskih projektov, med njimi Stabat Mater: Passion, mid-1980s, he cofounded the then most radical and numerous awards. Namely, he received the Prešeren performans Drugi, slepi, Se mi vsaj ni treba poljubljati state-of-the-art experimental projects in Slovenia Foundation Award (1987), two Borštnik Awards for ter You Need the Glass and You Need the Milk. Kot (such as Scipion Nasice Sister Theatre, Red Pilot and directing (Baal of 1998 and The Merchant of Venice of scenograf je sodeloval pri predstavah v SNG Drama Cosmokinetic Cabinet Noordung). He went down in 2011; both productions of the SNG Drama Ljubljana) Ljubljana, Mestnem gledališču Ljubljanskem, SLG history of the Slovene art as one of the cofounders and three “Laurel Wreath” awards at the MESS Inter- 54. Borštnikovo 54 — 55

Oliver Sacks, Ivana Djilas Vsak zdaj je čas, prostor Muzikofilija: Every Now Is Time, Space Zgodbe o glasbi in možganih Zavod Federacija, koprodukcija Musicophilia: Nomad Dance Academy Slovenija Tales of Music and the Brain Anton Podbevšek Teater Borut Šeparović po motivih

12—25 October 2020 Maribor, 12.—25. oktober 2020 55. Borštnikovo Ödöna von Horvátha in Franca Bifa Klemen Janežič Berardija based on motifs by Ödön Postaja samobitno Station Selbstsein von Horváth and Franco Bifo Berardi Flota Ljubljana & Zavod Flota Murska Mladina brez boga Sobota, koprodukcija Bunker, Zavod 0.1 Youth Without God Spremljevalni program Bobo Jelčić po motivih Antona Zagrebačko kazalište mladih & Accompanying Programme Pavloviča Čehova based on motifs Montažstroj (HR) by Anton Pavlovich Chekhov Urška Vohar, Feminalz Tri sestre Three Sisters Matilda in njene žemljice Hrvatsko narodno kazalište Matilda and Her Buns u Zagrebu (HR) Zavod Emanat v sodelovanju Mateja Bučar s Klubom Gromka in Parquet Ball – Nad parketom Mestom žensk Above the Parquet Tanja Zgonc Društvo umetnikov & Poklon A Tribute Maska Ljubljana Plesni teater Ljubljana & Sharon Eyal Platforma sodobnega plesa Soul Chain Po motivih Williama Shakespeara tanzmainz, Staatstheater Mainz (DE) in Bernarda-Marie Koltèsa Barbara Pia Jenič, Based on motifs by William po motivih D. Alighierija Shakespeare and Based on motifs by D. Alighieri Bernard-Marie Koltès Božanska komedija H genotipu Hamlet The Divine Comedy Towards Genotype Hamlet Zavod Senzorium UL AGRFT & Zavod Delak Simona Semenič Beton Ltd. jerebika, štrudelj, ples pa še kaj Mahlzeit rowan, strudel, dance, and then some Bunker Slovensko mladinsko gledališče & Olja Grubić Maska Ljubljana v okviru programa Golo življenje Nova pošta Naked Life Simona Semenič Via Negativa to jabolko, zlato this apple, golden Po motivih Günterja Grassa Zavod Imaginarni, Cankarjev dom Based on motifs by Günter Grass Ljubljana, SNG Drama Ljubljana, Pločevinasti boben The Tin Drum Mestno gledališče ljubljansko Berliner Ensemble (DE) 55. Borštnikovo 56 — 57 13. 10. 2020 > 20.00 < Stara dvorana Anton Podbevšek Teater Oliver Sacks Muzikofilija: Zgodbe o glasbi in možganih Musicophilia: Tales of Music and the Brain

Premiera Première 28. februar 2020, ritanski klinični nevrolog, profesor in pisec Oliver Sacks Anton Podbevšek Teater B(1933–2015), ki se je skromno označil za »pr­eprostega po- Predstava traja 65 minut in nima odmora. deželskega zdravnika in pripovedovalca zgodb«, je avtor šte- Running time 65 minutes. No intermission. vilnih znanstvenih člankov in kar nekaj svetovnih knjižnih uspešnic, za katere je prejel več prestižnih nagrad najvidnejših Režiserka in avtorica odrske adaptacije ameriških literarnih, znanstvenih in akademskih ustanov. Director and adaptation Ivana Djilas Sacks je zaslovel predvsem s knjigo Prebujanja (Awakenings) Dramaturginja o kliničnih primerih pacientov, ki so preživeli pandemijo Dramaturg spalne bolezni z začetka dvajsetih let 20. stoletja, po motivih Jera Ivanc Skladatelj knjige pa so posneli tudi istoimenski film z igralskima zvez- Composer dnikoma Robinom Williamsom in Robertom de Nirom. Stro- Boštjan Gombač kovna javnost je bila ob njegovih znanstvenih uspešnicah Avtorica videa Video dolgo zadržana, pri čemer so mu zamerili popularnost, češ Vesna Krebs da je nezdružljiva z resno znanostjo, nekateri pa so mu oči- Scenografka tali, da služi na račun svojih pacientov, ki jih v slogu freak Set designer Sara Slivnik showa Phineasa Taylorja Barnuma prikazuje kot bizarne in Kostumografka eksotične primerke človeške vrste. Sam je bil prepričan, da Costume designer so prikazi kliničnih primerov v njegovih knjigah eksempla- Jelena Proković Asistentka kostumografije rični in da z njimi ne osvetljuje zgolj vpliva in doživljanja liver Sacks (1933 – 2015), a British clinical of Phineas Taylor Barnum’s freak show. However, Assistant costume designer nevroloških bolezni pri posameznih pacientih, temveč tudi O neurologist and university professor, or, as he Sacks was convinced that the case histories in his Katarina Šavs temeljne, morda celo nepričakovane vidike delovanja mo- described himself, a “simple rural physician and books were “exemplary”, and that they shed light Svetovalka za jezik Language consultant žganov. Odgovoru na vprašanje o smislu človekovega biva- storyteller”, was the author of numerous scientif- not only on the impact and experience of neuro- Barbara Rogelj nja, ki si ga že od nekdaj zastavljajo filozofija, umetnost in ic articles and several international bestsellers, logical diseases in individual patients, but also on Oblikovalka izvirne podobe znanost, se je Sacks najbolj približal v knjigi Muzikofilija: and the winner of prestigious awards from the the crucial and perhaps unexpected aspects of the Creative designer Eva Mlinar zgodbe o glasbi in možganih, ki jo most eminent American literary, scientific and functioning of the human brain. He came closest to Fotografinja je kot cikel različnih zgodb nesis- academic institutions. He rose to prominence with answering the question about the meaning of human Photographer tematično snoval vse od šestdese- his book Awakenings, which recounts clinical cases existence, which has been addressed by philosophy, Barbara Čeferin tih let 20. stoletja. Zgodbe o never- of patients suffering the effects of the encephali- art and science since the dawn of humankind, in his Koproducent jetni terapevtski moči glasbe ter tis lethargica pandemic (also known as “sleeping book Musicophilia: Tales of Music and the Brain, con- In coproduction with o vztrajnosti glasbenega spomina, sickness”) that broke out in the early 1920s. Less ceived as a cycle of stories, which he was collecting Cankarjev dom Ljubljana ki se upira številnim možganskim than twenty years after its release, the book was since the 1960s. These stories about the incredible Zasedba Cast poškodbam, sicer usodnim za av- reworked into a motion picture starring Robin therapeutic power of music and the endurance of Aleš Valič tobiografski, zgodovinski ali jezi- Williams and Robert de Niro. For a long time, the musical memory that can persist in many cases of Aljaž Jovanović Boštjan Gombač kovni spomin, namreč kažejo, da je expert public seemed rather disapproving of his various brain injuries – otherwise devastating to glasba močnejša in nevarnejša, kot science-based bestsellers; the scientific communi- autobiographical, historical or linguistic memory si sploh lahko predstavljamo, in da ty rather resented his popularity, claiming it was – show that music is more powerful and more per- igra ključno vlogo pri razumeva- incompatible with “serious” science, and criti- ilous than we can imagine, and that it plays a key nju človeka, njegovih možganov in cized him for exploiting his patients by portraying role in understanding ourselves, our brains, and our njegove zavesti. ¶ Barbara Čeferin them as bizarre and exotic specimens in the style consciousness. ¶ 55. Borštnikovo 58 — 59 14. 10. 2020 > 19.00 < Kazinska dvorana Flota Ljubljana & Zavod Flota Murska Sobota Koproducenta Bunker, Zavod 0.1 Klemen Janežič

Postaja samobitno he production ex- Tplores our integration Station Selbstsein into and autonomy within Plesni performans A dance performace today’s Western structure, and the impact of the sur- Premiera Première 12. marec 2020, redstava raziskuje našo vpetost in av- rounding environment on Stara mestna elektrarna Ljubljana Ptonomnost znotraj današnjega zahod- our primordial nature. nega ustroja in vpliv obdajajočega okolja The basis for the author’s Predstava traja 1 uro 50 minut in nima odmora. na našo prvobitnost. Avtor črpa osnovo za existentialist and rela- Running time 1 hour 50 minutes. svoja eksistenčna in relacijska preizpra- tional questions are the No intermission. ševanja iz različnih situacij in stanj, ki different situations and jih ključno zaznamuje negacijski oziro- states significantly deter- Avtor in izvajalec Author and performer ma negativni predikat ne-, kot so denimo mined by the negational, Klemen Janežič nemoč, nesprejemanje, neodgovornost, or negative, by the inflec- Dramaturginja neodločnost, negotovost, pa tudi iz želje tions that signify “no“ Dramaturg Sara Živkovič Kranjc po smiselnem in vse bolj potrebnem rav- – powerlessness, non-ac- Skladatelj notežju med naravno in človeško stvarno- ceptance, irresponsibility, Composer stjo ter ustvarjeno dejanskostjo v podobi indecisiveness, uncertain- Branko Rožman Glas sistema. Raziskovanje subjektove samobi- ty –, as well as his desire Voice tnosti se zaradi njegove vpetosti v obsto- for a meaningful and in- Nina Ivanišin ječi sistem in tudi zaradi skritosti tega, creasingly necessary bal- Letalni dron Tiny whoop kar raziskuje, znotraj telesnega, fizič- ance between natural hu- Mark Bizilj nega, kaže kot dvojni koreografski izziv, man reality and contrived Oblikovalec svetlobe saj samobitnost ni neznana le občinstvu, systemic objectivity. Since Lighting designer temveč tudi raziskujočemu subjektu. Ta zavzame prastaro šaman- he is embedded into the existing sys- Borut Bučinel Kostumograf sko podobo človeka, odetega v živalsko kožo, ki se v stiku z vsem tem, but also because he is research- Costume designer neznanim na svoji poti, v prostoru, ki ga zamejujeta prva ločnica ing into what is essentially hidden Timotej Rosc teme in svetlobe, transformira – pravzaprav ga vseskozi zaznamu- inside the physical, the exploration of Vizualni oblikovalec Visual design je izkušnja drugega, ki se refleksivno vpisuje v subjekt kot travma the subject’s individuality presents a Pikto rojevanja v novo. Janežičevo koreografsko kartografiranje človeške double choreography challenge, as the Fotografinja in ne nazadnje posameznikove evolucije se tako zgodi v dveh eta- independence is unknown not only to Photographer Urša Premik pah – prvo bi lahko označili kot porajanje iz kokona in privajanje the audience, but also to the subject. Asistenti na svetlobo, gre torej za proces individuacije, medtem ko se v drugi The subject thus takes an ancient sha- Expert assistance fazi subjekt zavozla z letalnikom (dronom), simbolom tehnološkega manic image of a human clad in animal skin, who transforms in contact with everything unknown on his path, Sandi Skok Fabio Liberti tujka, ki ga raziskujoči spoznava med dvema skrajnima roboma – in the space limited by the first demarcation line between dark and light – in fact, he is constantly defined by Jernej Bizjak fascinacijo in zavračanjem v obliki tesnobe. Z najdenjem ničelne the experience of other, reflexively inscribed into the subject as the trauma of a new birth. Janežič’s choreo- Dušan Janežič točke, v kateri postane gib alegorija za podobo misli oziroma čisto graphic mapping of human and also individual evolution can thus happen in two stages – the first one could Nina Ivanišin energijo, Janežič sklene svojo pot telesno-duhovne prebujenosti be described as a birth from the cocoon and adjustment to light, it is, thus, a process of individuation, while in Zahvala Special thanks to v odrskem kontekstu, ki spominja na Dalíjevo nadrealistično li- the second stage the subject gets entangled with the drone, a symbol of a technological alien object which the Andrej Omejec kovno kompozicijo Postaja Perpignan (La Gare du Perpignan). Prav researcher learns about between the two extremes – fascination and rejection manifested as anxiety. By find- Brigita Janežič to delo je slikar po domnevnem izkustvu kozmogonične ekstaze ing point zero, in which the movement becomes an allegory for the image of thought, or pure energy, Janežič leta 1963 razglasil za središče vesolja, ki je v Janežičevem prime- concludes his path of the physical-spiritual awakening in the stage context reminiscent of Dali’s surrealist ru subjekt sam v končni podobi navidezne statičnosti, v kateri pa composition La Gare du Perpignan. This is the work which the painter, after a supposed experience of cosmog- se v resnici vrtinčijo intenzivni, mikroskopski gibi z nakopičeno onic ecstasy in 1963, declared to be the “Centre of the Universe”, which in Janežič’s case is the subject himself energijo, ki naposled eksplodira v končnem prizoru razodetja kot in his final image of perceived quiescence, in which in fact intense, microscopic movements filled with energy nepovratni točki v samobitnost. ¶ Urška Premik spin, and the energy finally explodes in the final scene of revelation as a point of no return into independence.¶ 55. Borštnikovo 60 — 61 15. 10. 2020 > 20.00 < Stara dvorana Hrvatsko narodno kazalište u Zagrebu (HR) Avtorski projekt Boba Jelčića po motivih istoimenske drame Antona Pavloviča Čehova A theatre project by Bobo Jelčić after motifs of the eponymous play by Anton Pavlovich Chekhov Tri sestre Three Sisters svojim senzibilnim psihološkim pro- S filiranjem likov, ki izhaja iz globokega razumevanja človeške nravi, in mojstrskim razpletanjem pripovednega toka se je Anton Premiera Première 19. oktober 2019, Pavlovič Čehov v zgodovino zapisal kot veliki HNK Zagreb inovator gledališča in kratke zgodbe. Njegova Predstava traja 2 uri 20 minut in nima odmora. kanonska dramska dela, med katerimi je tudi Running time 2 hours 20 minutes. No intermission. predzadnja drama Tri sestre, ki jo je dokončal leta 1900, prav na prelomu 19. in 20. stoletja, Hrvaški jezik z nadnapisi v slovenščini. so še danes zvesti sopotniki gledaliških odrov In Croatian with Slovenian surtitles. in kompleksni kompendij človeških značajev. Režiser Zgodbo o treh sestrah – Olgi, Maši in Irini –, ki Director vse po vrsti idealizirajo svojega brata Andreja Bobo Jelčić Dramaturginja in se na ruskem podeželju nikakor ne morejo Dramaturg otresti misli na vrnitev v Moskvo, pretresajo Mirna Rustemović prihodi in odhodi različnih vojaških oficirjev, Scenograf in oblikovalec luči Stage and lighting designer ki zgolj podžigajo razplamtelo ozračje, zasičeno Aleksandar Denić s prizori zaljubljenosti, praznimi ljubezenski- Kostumografka mi obljubami, velikimi upi, trpljenjem, intriga- Costume designer mi in nenazadnje z resignacijo. Izvirno zgodbo Zdravka Ivandija Kirigin Vodja predstave in šepetalka Čehova uporabi avtor in režiser Bobo Jelčić kot Stage manager and prompter osnovo za nadaljnja raziskovanja človeških usod, Suzana Bogdan Pavlek pri tem pa ustvarja odprto gledališko formo, v ne of the finest Russian and world authors, writer and playwright Anton Chekhov, who was a true kateri se vrednost nekega življenja vzpostavlja Zasedba Cast O innovator of depicting human characters and one of the most prominent authors of short fiction, wrote Olga Nina Violić neodvisno od njegovega zaznamka v literaturi; his canonical play Three Sisters in 1900, at the turn of the 19th and 20th century. The three sisters of the Maša Masha Jadranka Đokić gre za formo, v kateri se vseskozi zabrisujejo Prozorov family – Olga, Masha, Irina – and their brother Andrey live in a provincial Russian town. The mil- Irina Iva Jerković meje med igralcem in gledalcem. Čehov je tako itary officers keep visiting them in their home and soon become regular guests of the Prozorov household, Andrej Andrey Marin Klišmanić Nataša Ivanovna Natasha Ivanovna Daria Lorenci Flatz posledično s svojim dramskim besedilom pos- any yet the sisters cannot get over leaving Moscow and all dream about returning to the big city. Here we Veršinin Vershinin Ugo Korani tavljen v vlogo zrcala, ki se v sedanjem trenutku witness scenes of love, misunderstanding, empty promises, great hopes, despair and resignation, suffering Kuligin Kulygin Siniša Popović večkratno preslika v slojevit pletež dejanj med and intrigue; in these scenes, Chekhov shapes memorable characters who have been delighting lovers and Tuzenbah Tuzenbach Krešimir Mikić Čebutikin Chebutykin Dušan Gojić igralci in gledalci, ta pa se nemalokrat razplete creators of theatre alike for more than a hundred years. In his original staging project, Bobo Jelčić uses Soljoni Solyony Ivan Colarić v povsem nepričakovano smer. ¶ Mara Bratoš Chekhov’s famous play as the point of departure from which the director and actors delve into exploration of the fates of Chekhov’s protagonists, as well as the fates all of us. The project seeks answers to the nu- merous questions posed in the original text, and

it will explore the boundaries of theatrical art,

M creating an open form, in which life is as precious I

e as literature; a form that erases boundaries be-

n

d t tween a dramatic actor/actress and the spectator. n e r a a Chekhov and his text thus become a mirror that n r a v o a is multiplied by the actions of actors and specta- t d e i n s t c on a p e d n tors, creating a complex form of interrelation- al r a perform ships, always reflecting the present moment. ¶ 55. Borštnikovo 62 — 63 16. & 17. 10. 2020 > 19.00 < Kazinska dvorana

Društvo umetnikov & Maska Ljubljana Mateja Bučar Parquet Ball — Nad parketom Parquet Ball — Above the Parquet

Premiera Première 9. september 2020, arquet Ball je najnovejše plesno delo Mateje Bučar. Bolj kot Zlata dvorana Narodne galerije Ljubljana P nakazovanje vsebine in bistva predstave, njene skrivne Predstava traja 2 uri in nima odmora. poante in implikacije, je naslov tukaj vse, kot zapoveduje zna- Prva izvedba predstave je v krajši menit latinski pregovor: nomen est omen. Parquet Ball v prvi obliki in traja 40 minut. vrsti asociira na detajlno stilizirane dvoranske plese, bale in Running time 2 hours. No intermission. vrhunce družabnega življenja, kot jih je anticipirala plesna First performance in abridged version umetnost v meščanski družbi: lahko si predstavljamo, kako po with a duration of 40 minutes. razkošnih dvoranah krožijo pari v večernih oblekah, kako se Gibalki, plesalki, soustvarjalki ob slokih silhuetah v frakih vrti muslin … Vendar tej živop- Movement, dance, co-creation isni aluziji stoji nasproti stroga dobesednost naslova, Parqu- Kristina Aleksova, Maja Kalafatić et ball Avtorica in koreografinja – krogla, narejena iz parketa, parketna žoga. V srcu Concept and choreography predstave ždi materializacija naslova, okrogel predmet iz Mateja Bučar parketa, ki se v svoji asociativni nemosti, avtoreferenčnosti, Avtor vizualne podobe tavtološkosti in ob izmenjujoči se prisotnosti plesnega telesa Visual designer Vadim Fiškin giblje po prostoru. Med plesalko in žogo se dogaja svojevrstna Oblikovalec zvoka vzporednost brez dramatičnega loka intencionalne interak- Sound designer cije dveh akterk. Namesto tega v prostoru najdemo dve telesi, arquet Ball is the title of Mateja Bučar’s latest dance piece. More than just a general indication of Borut Savski Izdelava parketne žoge dve zasebni entiteti, ki izvajata medosebno razmeroma neod- P the contents, or the essence of the production, its secret point and the implication, the title here is Parquet ball manufacture visno koreografijo ter ustvarjata dva momenta, ki ju oprede- everything, or as the famous Latin adage dictates, nomen est omen. Parquet Ball does first remind us of pre- Matija Jakin, MOJ HOBI ljuje izrazita materialnost gibanja in zvoka. Plesalka in krogla cisely stylised ballroom dances, balls and highlights of the social season as dance art in the bourgeois society Vodja produkcije Head of production delujeta kot dve dinamični enoti, ki znotraj očitne medsebojne anticipated them: perhaps we imagine couples in formal attire circulate luxurious halls, and muslin swirl Tina Dobnik materialne razlike uravnavata in merita svoje gibanje. Dvoj- around the elegant figures in tails … But this colourful allusion is confronted with the austere literality nost funkcionalnosti in fizičnosti of the title Parquet Ball – a ball made of parquet wood, in other Zahvala Special thanks to preveva celotno dogajanje predsta- words, an actual parquet ball. In the core of the production there Stephan Doepner ve: kljub pogostim reminiscencam is, thus, the literal materialisation of the title, a round object Aleša Valič na poteze klasičnega baleta, pre- made of parquet which in its associative restlessness, self-ref- Zavod ZET senetljivo opazne v točkah, ki jih erence, tautology and in alternating presence of a dancing body V sodelovanju izvaja žoga, se ples vendarle dogaja moves around the space. The duality of the functionality and the z Narodno galerijo Ljubljana kot študija lastne elementarnosti. physicality thus permeates the entire course of the show: despite in Kinom Šiška. In collaboration with Refleksijo radikalne materialnosti the frequent reminiscences of the movements from the classical National Gallery Ljubljana predstava izrecno zgosti v sekven- ballet, surprisingly obvious in the parts that the ball performs, and Kino Šiška cah, v katerih se v plesu znajdeta the dance nevertheless occurs as a study of its own elementari- dve parketni žogi – po tem trenutku ness. The reflection of the radical materiality becomes particu- ni več nobenega dvoma: vse nasto- larly dense in the sequences in which two parquet balls appear in pajoče so le material, ki točkovno the dance – after that moment, there is no longer any doubt: all zadeva drugi material in zarisuje the performers are just material that shares touching points with določeno arhe-shemo teles plesne- other materials and draws a designed arch-scheme of the bodies ga gibanja. // Vladimir Vidmar ¶ in dance movement.//Vladimir Vidmar ¶ Vadim Fiškin 55. Borštnikovo 64 — 65 16. 10. 2020 > 20.00 < Velika dvorana tanzmainz, Staatstheater Mainz (DE)

Soul Chain

Sodobni balet A contemporary ballet M

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t n e Premiera Première 28. oktober 2017, r a a Staatstheater Mainz n r a o v t a i d t e Predstava traja 1 uro in nima odmora. o na d s c na pre an Running time 1 hour. No intermission. l perform KoreografinjaChoreographer Sharon Eyal navdihom močnih čustev, ki se spletajo okrog fe- Umetniški svetovalec Z nomena ljubezni, je koreografinja projekta Soul Artistic consultant Chain (Veriga duš) Sharon Eyal združila dve na videz Gai Behar Skladatelj Composer precej različni načeli – balet in elektronsko glasbo – Ori Lichtik v dih jemajočo podobo sodobnega plesa. Celoten ple- Kostumografka Costume designer sni ansambel se posledično prelevi v gomazeč stroj Rebecca Hytting Scenograf in oblikovalec luči ener­gije, ki si je zaradi izredno zahtevne koreogra- Set and Lighting designer fije upravičeno prislužil nemško gledališko nagrado Alon Cohen Faust v letu 2018. Čeprav sta po besedah koreografinje glavni temi plesne predstave ljubezen in hrepenenje, Zasedba Cast Madeline Harms bi bilo zmotno pričakovati preveč romantike, saj so nspired by strong emo- Daria Hlinkina gibi vpreženi predvsem v estetiko animalističnega in I tions all around love, Bojana Mitrović čistega uniformiranega skupinskega gibanja, za ka- the Soul Chain choreogra- Nora Monsecour terega sta potrebni stroga disciplina in visoka raven pher Sharon Eyal connects Amber Pansters Maasa Sakano ritmične uglašenosti. Dlje ko traja ta usklajenost, več ballet and electro – the two Marija Slavec časa ima gledalec na voljo, da pozorno opazuje bistvene very unlike phenomena Milena Wiese razlike med plesalci in odkrije celovito namero njiho- – into a thrilling contem- Zachary Chant Finn Lakeberg ve odrske prezence. Kot trdi koreografinja, se prav iz porary dance. The ballet Cornelius Mickel strukture Enega opazi, kako zelo se ljudje razlikuje- ensemble thus becomes a Sándor Petrovics mo, in kontrasti, ki se vzpostavljajo med posamezni- swarming dance machine, Matti Tauru Louis Thuriot co, posameznikom in skupino, reflektirajo avtoriči- full of energy, that is re- John Wannehag no ljubezen do absolutne enkratnosti vsakogar. Prav flected in an extremely ta je paradoksno namreč challenging choreography that won the German theatre edina kategorija, ki nam prize “Der Faust” in 2018. Even though the choreogra- je vsem skupna – in tudi pher definesSoul Chain as a play about love and long- to je navsezadnje formalni ing, one should not expect too much romance. Rather, plesni okvir, v katerem se the movements are animalistic and pure, a swarming prej ali slej zgodi ljubezen. ¶ group that moves with the highest discipline in rhyth- mic unison. The longer this unison lasts, the more time we have to search for the differences and can find the dancers in full intention. As the choreographer says, one can see in the homogenous structure of the One, how different we are. So here, in the contrast between the group and the individual, the choreographer expresses her love for the absolute uniqueness of each individu- al. After all, paradoxically as it may seem, uniqueness is the only category that is universal to us – and this, too, is ultimately a formal dance frame, in which the “Love” can take place eventually. ¶ Andreas Etter 55. Borštnikovo 66 — 67 17. 10. 2020 > 12.00 & 16.00 < Preddverje SNG Maribor Zavod Senzorium Barbara Pia Jenič, po motivih Danteja Alighierija Based on motifs by Dante Alighieri Božanska komedija The Divine Comedy

Senzorialna predstava A sensorial performance

Premiera Première 2. december 2019, Muzej novejše zgodovine Slovenije

Predstava traja 60–70 minut in nima odmora. Prvih 45 minut imajo obiskovalci preveze čez oči. Running time 60–70 minutes. No intermission. For the first 45 minutes, visitors are blindfolded.

Avtorica, režiserka, oblikovalka vonjev Author Director and Scent designer a senzorialnem potovanju v 21. stoletju vstopa- Barbara Pia Jenič Avtor zvočne podobe Sound designer N mo v Descartesovo trditev »Cogito, ergo sum ... Peter Penko Mislim, torej sem«. Izhodišče za pot in kontekst Scenografki Raja Set designers of Paradise Božanske komedije je koncept placeba, kot ga je na Barbara Pia Jenič, Nataša Skušek novo premislila kvantna fizika. Gre za misel, ki jo Avtorja reklamnega besedila osmega kroga naši možgani proizvajajo, pri tem pa tvorijo pekel, th Advertisement copy in the 8 circle vice ali raj tukaj in zdaj. Da bi izkusili vsa tri stan- Barbara Pia Jenič, Peter Penko Avtorica motivacijskega besedila osmega kroga ja bivanja, nam ni treba umreti, saj že tukaj in zdaj Motivational speech in the 8th circle doživljamo najhujše. Tudi zato je La Divina Comme- Vesna Hauschild dia za današnji čas tako zelo potrebna in nujna – ne Strokovni sodelavec Professional consultant st dr. Igor Areh kot ideja o posmrtnem življenju, temveč kot ideja o na sensorial journey in the 21 century, we enter into the con- Izvajalke in soustvarjalke sedanjem, tuzemskem bivanju. ¶ Vsa tri stanja za- O cept: “I think, therefore I am.” The starting point for the journey Cocreators and sensorial guides vesti – Pekel, Vice in Raj – v sebi in v svetu zelo do- and context of The Divine Comedy is the placebo concept as reassessed Vesna Hauschild, Barbara Pia Jenič, Nataša Skušek, Luna J. Šribar, Liza Šimenc, bro poznamo. Dante govori o posmrtnem življenju, by the quantum physics. It’s about the thought that our brain produces, Janja Vranjek (2019) Vesna Hauschild, saj naj bi bila zavest edina nematerialna esenca, ki forming hell, purgatory or paradise right here and now. To experience Barbara Pia Jenič, Jerica Majerhold Ostrovršnik, odide z nami v posmrtno bivanje, če to seveda obstaja. all three states of being, we do not need to die, as we are already ex- Janja Vranjek (2020) Glas Danteja Alighierija (posnetek) V kakršnem stanju zavesti bomo na koncu življenja (ko- periencing the worst right here and now. This is also the main reason Voice of Dante Alighieri (audio recording) liko grehov ali dobrega bomo imeli na vesti), takšno bo why Divina Commedia is still relevant for this time – not the idea of ​​ Tomaž Gubenšek naše bivanje po smrti. ¶ Tudi v predstavi ne gre za reli- the afterlife itself, but the idea of ​​being here and now. ¶ We are all well Glas Beatrice (posnetek) Voice of Beatrice (audio recording) giozne predele onostranstva, temveč za stanja zavesti, v aware of all three states of mind, within ourselves and in the world. Barbara Pia Jenič katerih se nahaja duša, posledično naše Hell, Purgatory and Paradise are states of consciousness. That is why Dante talks Glas reklamnega govora v osmem misli in dejanja. Božanska komedi- about the afterlife because consciousness is supposedly the only intangible substance krogu (posnetek) Voice of the commercial ja in the 8th circle (audio recording) nas vodi do očiščenja, zato je njena that goes with us into the afterlife. And depending on what state of consciousness we Barbara Pia Jenič dramska struktura zasnovana kot po- will be at the end of life (how many sins or good deeds we will be held accountable Glas motivacijskega govora osmega tovanje, ki je zelo blizu uprizoritven- for), this will be our existence after death. ¶ But even here it is not a matter of hell, kroga (posnetek) Voice of the motivational speech im metodam senzoričnega gledališča. purgatory or paradise, it is a state of consciousness, in which the soul is located, and in the 8th circle (audio recording) Vesna Hauschild Še več, z bogato slikovitostjo krogov consequently our thoughts and actions. Divine Comedy thus leads us to purification Podoba Beatrice v Raju ponuja ogromno možnosti za celo vr- from all the bad and the good in man. At the same time, its dramatic structure is The image of Beatrice in Paradise sto osebnih senzoričnih doživetij. Kot conceived as a journey, which is very close to the performing methods of sensorial Janja Vranjek/Liza Šimenc je Vergil spremljal Danteja, tako sen- theatre. Moreover, in its rich picturesqueness of the various stages, circles, it offers zorialni izvajalci osebno spremljajo tremendous potential for a sensorial experience. Just as Virgil accompanied Dante, obiskovalce predstave. ¶ Nada Žgank the sensorial performers will personally accompany visitors through the show. ¶ 55. Borštnikovo 68 — 69 17. 10. 2020 > 19.00 < Vetrinjski dvor Slovensko mladinsko gledališče & Maska Ljubljana v okviru programa Nova pošta Simona Semenič jerebika, štrudelj, ples pa še kaj rowan, strudel, dance, and then some Komedija A comedy

Premiera Première 26. oktober 2018, Slovensko mladinsko gledališče

Predstava traja 2 uri 30 minut in ima en odmor. Running time 2 hours 30 minutes. esedilo Simone Semenič je iz- One intermission. Bjemna, bravurozna komedija, ki se po eni strani igra z lastnim Režiser Director žanrom, tako da preizprašuje meje Janez Janša komičnega, po drugi strani pa z Avtor animacije meščansko predpostavko gledali- Animation šča, ki je provokacijo pripravljeno Luka Umek Avtor glasbe in zvoka sprejeti, a le do določene mere. Že Music and sound v napotkih za uprizoritev avto- Eduardo Raon rica neizprosno zahteva reduk- Zasedba Cast cijo kakršnihkoli kompromisov, Stane Tomazin zato ne preseneča, da so nekate­ ri umetniški vodje slovenskih his text by Simona Semenič is a remarkable com- gledališč to besedilo zavrnili: T edy, a truly striking bravura that tackles its own »Če imajo igralke in igralci ka- comic genre by questioning the very limits of come- kršenkoli predsodek ali težave z dy, while on the other hand addresses the perception goloto in seksualnostjo na odru, of theatre by the bourgeois society, which is ready naj ne sodelujejo pri uprizarja- to accept provocation, yet only up to a certain point. nju tega besedila.« ¶ Na prvi pog- Author’s “staging instructions” demand a reduction led je jerebika, štrudelj, ples pa še of any compromises in a rather ruthless tone, so it kaj igra o nekem zgodovinskem was not really surprising that some Slovenian the- času (o 60. letih prejšnjega stole- atre arts managers rejected this text: “If actors and tja) in o manifestacijah temeljne actresses have any prejudice or feel uncomfortable slovenske ideološke razklanosti being naked and sexual on stage, they should not be (klerikalni in liberalni pol) v Vi- involved in the staging of this text.” ¶ At first glance, pavski dolini. A bolj ko se zadeva rowan, strudel, dance, and then some strikes us as a razpleta, bolj postaja igra portret play about a certain historical era (the 1960s) and the sodobne slovenske družbe, v ka- manifestations of the underlying Slovenian ideolog- teri ideološko prepričanje zlahka zamenja pragmatizem koristi. ical schism (as manifested in the clerical bloc vs. the liberal fraction) in the Vipava Valley. But as the story Besedilo v svoji intenziteti nenehno prehaja med časi in kraji in je unfolds, the more the play evolves into a portrait of a modern Slovenian society, in which pragmatic benefits v tem smislu celo bolj podobno filmskemu scenariju. Filmska in me- can quickly replace ideological convictions. In its intensity, the text continually moves between times and tagledališka govorica je podlaga za neke vrste ambientalno filmsko places, and is in this regard more like a film script. Specifically, its film- and meta-theatre speech form the postavitev. Besedilo je uprizorjeno kot (nemi) film s podnapisi. ¶ basis for a rather ambient film set-up, as the text is staged as a (silent) movie with subtitles. ¶ Andraž Kobe 55. Borštnikovo 70 — 71 17. 10. 2020 > 20.30 < Velika dvorana Zavod Imaginarni Koproducenti Cankarjev dom Ljubljana, SNG Drama Ljubljana, Mestno gledališče ljubljansko Simona Semenič to jabolko, zlato this apple, golden Sodobna drama A contemporary drama imona Semenič s svojo prepoznavno pisavo vsekakor pred- Premiera Première 5. december 2019, Štihova dvorana Cankarjevega doma S stavlja vrh slovenske sodobne dramatike. Večkratna Gru- mova nagrajenka in nagrajenka Prešernovega sklada v tekstu Predstava traja 1 uro 40 minut to jabolko, zlato osvetljuje žensko seksualnost, ki se je loteva in nima odmora. iskreno, igrivo, tudi žgečkljivo, predvsem pa osvobajajoče pri- Running time 1 hour 40 minutes. zemljeno. Njeni (ženski) liki slalomirajo med željo in obvezo, No intermission. zaupnostjo in odtujenostjo, intimnim hrepenenjem in družbe- Režiser Director nimi pričakovanji, med prav in narobe … vse do vrhuncev, kjer Primož Ekart Dramaturginja Dramaturg »se cajt ustavi in potem cajt stoji«. Gledališko potentno pano- Simona Hamer ramo prizorov in zgodb, ki se v edinstvenem prepletu duho- Lektorica Language consultant vitih dialogov, mojstrskih monologov in poetičnih didaskalij Maja Cerar Kostumografka Costume designer postavlja pred gledalca, je režiral Primož Ekart, ki se je v pre- Jelena Proković teklosti že dvakrat uspešno spopadel z dramatičnim opusom Skladatelja Composers Simone Semenič. ¶ Besedilo to jabolko, zlato, ki je bilo leta 2017 Duo Silence (Boris Benko, Primož Hladnik) Vokalistka Vocalist nominirano za Grumovo nagrado v okviru 47. Tedna slovenske Nina Šardi (JUNEsHELEN) drame, vzpostavlja povsem svoja pravila, ki se spletajo okrog KoreografinjaChoreographer avtorice (ženskega avtorja), spolnosti, kot jo poznajo ženske, Rosana Hribar odnosov, kot jih vidijo ženske, in ne nazadnje v realnosti, v ka- Oblikovalec svetlobe Lighting designer teri sodobne ženske (iz)živijo svoje fan- Andrej Hajdinjak tazije. Na prvi pogled bi se lahko zdelo, ith her recognisable style, Simona Semenič definitely represents the pinnacle of contemporary Asistentka dramaturgije (študijsko) da so moški z odgovorom radikalnega Slovenian drama. In her play this apple, golden, the winner of several Slavko Grum Awards and Assistant dramaturg (as student) W Helena Šukljan feminizma doživeli lastno objektivaci- a Prešeren Foundation Award laureate sheds light on female sexuality and deals with it in a way that is Asistentka kostumografije jo, a jim protagonistke vseeno puščajo playful, honest, titillating, but most of all liberating, yet grounded. Her (female) characters slalom between Assistant costume designer dovolj prostora, da v medsebojnih odno- desire and duty, intimacy and alienation, intimate longing and social expectations, between right and Katarina Šavs Mojster luči sih razberemo dileme obeh spolov glede wrong … all the way to the climaxes where “the time stops and then the time stands still”. This theatrically Master electrician partnerskega odnosa, ljubezni, varanja, potent panorama of scenes and stories, which stands in front of the spectators as a unique network of witty Luka Malovrh celo do spovedovanja. Gre za dinamično dialogues, masterful monologues and poetic stage directions, was directed by Primož Ekart, who has twice Tonski mojster Sound engineer prepleten diskurz vzporednih zgodb, ki before successfully tackled the plays by Simona Semenič. ¶ this apple, golden, which was nominated for Drago Potočnik v dialoški in didaskalijski obliki omogo- the Grum Award at the 47th Week of Slovenian Drama in 2017, establishes a set of rules that are entirely its ča fleksibilne in odprte režijske rešitve, own, and weave around the author (a woman author), sexuality as women know it, relationships as women Zasedba Cast oblikovanje dramskih vlog, ki so lahko see them and finally, reality, in which contemporary women live (out) their fantasies. At a first sight, it Barbara Cerar k. g. a. g. Mirjam Korbar drzne ali pritajene, simbolne ali ekspli- might appear that with the response of radical feminism men have experienced their own Nika Rozman k. g. a. g. citne, surove in spet romantične. Jabolko objectification, but the protagonists still leave them enough space, which then allows us, from Mia Skrbinac – simbol prepovedanega sadeža, spozna- their relationships, to discern the dilemmas of both genders when it comes to partnerships, Primož Vrhovec k. g. a. g. nja, svobode in božanskega – v predsta- love, cheating, even confession. The text is a dynamic discourse of intertwined stories that vi združuje ženske, žensko in moškega, allow open and flexible directorial solutions in both, stage directions and dialogue, and cre- žensko in svet v čisto erotično igro ter ating dramatic roles that can be daring or subtle, symbolic or explicit, crude, and yet again jo tako s plaščem spodobnega spretno romantic. In this production an apple – the symbol of a forbidden fruit, knowledge, freedom obvaruje pred tem, da bi se pogreznila v and the divine – joins women, a woman and a man, a woman and the world into a pure erotic pornografijo, in to povrh vsega v gleda- game and thus cleverly shields it with a coat of the respectable and saves it from sliding into lišču, v odprtem diskurzu z gledalcem. ¶ pornography – in theatre of all places, in an open discourse with the spectator. ¶ Marko Povše 55. Borštnikovo 72 — 73 18. 10. 2020 > 20.00 < Tribuna na Velikem odru

Zavod Federacija Snježana Premuš Vsak zdaj je čas, prostor Every Now Is Time, Space Sodobnoplesni avtorski projekt A contemporary dance project

izične manifestacije so del Premiera Première 30. september 2019, raziskovalnega sodobno- Stara mestna elektrarna Ljubljana F plesnega projekta, ki ga Snježa- Predstava traja 1 uro 20 minut in nima odmora. na Premuš razvija od leta 2012 z Running time 1 hour 20 minutes. No intermission. različnimi sodelavci. S kineste- tično-plesnim sistemom se osre- Koproducent In coproduction with Nomad Dance Academy Slovenija dotoča na študij koreografskih situacij, opazovanja, refleksije z Partnerji projekta Project partners različnimi občinstvi, umetniki Zavod Bunker, Workshop Foundation Budapest, in strokovnjaki ter generiranja Lokomotiva Center for New Initiatives in Arts and Culture, CUK Kino Šiška specifičnih partitur in predsta- vitvenih formatov, ki najbolj Avtorski projekt je del programskega sklopa ustrezajo posameznemu segmen- Creative Crossroads v okviru večletnega programa tu raziskave. V osebni, družbeni Long life burning (EU program Ustvarjalna Evropa). in javni prostor s sodelavci vnaša The project was created as a part of the programme incentive Creative Crossroads within the framework premislek o telesnosti. Nasproti of the multiannual programme Long life burning discipliniranemu telesu avto- (EU programme Creative Europe) rica postavlja dinamično telo, ki se izmika disci- pliniranosti, ker svoje gibalne in čutne procese Avtorica koncepta in principov, umetniška vodja zaznava, proizvaja in artikulira onstran pred- hysical manifestations represent a significant part of a dance research project that Snježana Premuš projekta Concept, principles and artistic direction Snježana Premuš postavljenih telesnih kodov in oblik. V predsta- P has been developing since 2012 with various collaborators. With its kinaesthetic dance system, the Soustvarjalci, plesalci vi Vsak zdaj je čas, prostor avtorica ohranja svoj study focuses on various choreographic situations, observations, reflections provided by different audi- Cocreation and dance performance osnovni fokus, pri tem pa misli somatsko prakso ences, artists and professionals, while generating specific scores and presentation formats that would suit Dragana Alfirević, Anja Bornšek, Snježana Premuš, Dejan Srhoj, Tina Valentan, kot gradivo in sistem za revitalizacijo družbenega best the particular segment of the research. The author introduces some plausible reflections on physicality Gregor Zorc, Ivan Mijačević telesa ter vstopa v nova razmerja skozi raziskavo within personal, social and public space by questioning the disciplined body as a contrast to the dynamic Avtor zvočnih pokrajin in glasbenik percepcije, kjer skupaj z občinstvom doživlja in body that is able to detect, produce and articulate movement and sensory processes beyond the presupposed Soundscaping and music performance Boštjan Perovšek opazuje, kaj nas poganja ter kako neozaveščene po- body codes and forms. In the performance Every now is time, space, the main focus of the research remains Oblikovalka svetlobe in izvajalka dobe percepcije vznikajo v t. i. skupnih simulta- our perception in the modern world of hyperproduction, as well as the Lighting designer and performance nih prostorih. Predstava, ki se ukvarja predvsem question, how we perceive our own bodies and bodies of others. Moreover, Špela Skulj Kostumografka Costume designer s percepcijo v današnjem hiperproduktivnem sve- by introducing the somatic practise as a system for revitalisation of the so- Barbara Kapelj tu ter z vprašanjem, kako zaznavamo lastno telo cial body and by tackling the question what initiates the actions, decisions Fotograf Photographer in telo drugega, je zato zrežiran multimodalni and how perceptual images that we are unaware of emerge in so-called Madster Avtorica videa Video prostorski sistem, v katerem se različne podobe collective simultaneous spaces, the performance is thus directed into a Maša Nonković integrirajo in razpadajo v edinstvene kompozici- multimodal spatial system where different images integrate and disinte- Prevajalka in lektorica je. Občinstvo se ne sooča z linearno dramaturško grate into unique compositions. As a result, the audience is not exposed to Translation and proofreading Jana Wilcoxen strukturo, ampak meandrira v vedno bolj razšir- a linear dramaturgical narrative but rather encouraged to wander about Koordinatorka in podporna producentka jeni pokrajini simultanih dogodkov, podob, mo- in an ever-expanding landscape of simultaneous events, images, possible Coordination and production asssistance žnih povezav in izkušenj, ki jih gledalec ne ureja connections and experiences. Consequently, each viewer not only “arrang- Jasmina Založnik zgolj v svojo zgodbo, temveč se kaže predvsem v es” these perceptions into his/her own “story”, but also incorporates them Zahvala Special thanks to njegovi odzivnosti in ustvarjalnem kopičenju mo- into his/her own set of plausible responses and creative accumulation of Suzana Koncut, Sonda4 žnih občutkov, pomenov in dejanj. ¶ possible forms of sensations, meanings and acts. ¶ Madster 55. Borštnikovo 74 — 75 19. 10. 2018 > 19.00 < Tribuna na Velikem odru Zagrebačko kazalište mladih & Montažstroj (HR) Borut Šeparović, po motivih istoimenskega romana Ödöna von Horvátha in socio-filozofske študije Franca Bifa Berardija Heroji: množični umori in samomor Based on motifs of the eponymous novel by Ödön von Horváth and inspired by Franco Bifo Berardi's socio-philosophical study: Heroes: Mass Murder and Suicide Mladina brez boga Youth Without God

Izvirni naslov predstave Original title of the play Mladež bez boga Izvirni naslov romana Original title of the novel Jugend ohne Gott

vtorski projekt Boruta Šeparovića Mladina brez boga Premiera Première 22. februar 2019, ZKM Zagreb Abi lahko definirali tudi kot intertekstualno gledališko intervencijo ali celo fuzijo dveh kanonskih besedil – istoi- Predstava traja 1 uro 45 minut menskega romana Ödöna von Horvátha (Jugend ohne Gott), in nima odmora. ki je nastal leta 1938, v ključnem zgodovinskem trenutku, Running time 1 hour 45 minutes. No intermission. ki ostaja zaznamovan z nepreklicnim vzponom nacional- socializma in tretjega rajha, ter socio-filozofske študije Hrvaški jezik z nadnapisi v slovenščini. Heroji, množični umori in samomor Franca Bifa Berardija In Croatian with Slovenian surtitles. iz leta 2015. Temeljno vprašanje, ki si ga zastavlja avtor in Avtor koncepta in režiser režiser Šeparović, je, kaj se poraja na senčni strani oziro- Concept and director ma v praznem medprostoru ideologije nekega političnega Borut Šeparović sistema v relaciji do nosilcev njegove paradigme. Sprožilni Scenarista in dramaturga Script and Dramaturgs dogodek Horváthovega romana – učiteljevo oštevanje učen- Borut Šeparović, Ivana Vuković ca zaradi politično nekorektnega komentarja in skupinski Sodelavec za odrski gib napad na nemočnega učenca javnosti na očeh – porodi celo Stage movement Damir Klemenić vrsto vprašanj, ki si jih v prvi vrsti zastavljajo nosilci sle- Scenografa Set designers herne paradigme že od Platonove Države naprej: »Kakšna Borut Šeparović, Konrad Mulvaj bo ta generacija? Bodo njeni orut Šeparović’s thea- the agents of its paradigm?” The triggering event Avtorja videa in multimedije Video and multimedia pripadniki dovolj trdni ali B tre project Youth With- of Horváth’s novel – a schoolteacher reprimanding Montažstroj & Mitropa pa bo v njih prevladala kru- out God could also be defined a student for his “politically incorrect” commen- Oblikovalci zvoka in glasbe ta narava?« Ödön von Hor- as an intertextual theatrical tary, and a group attack on a helpless student in the Sound and music Montažstroj, Michel Corrette, váth je kot možni izhod iz intervention or even a fusion public eye – thus raises a number of questions that Antonio Vivaldi te konfliktne praznine – še of two canonical texts – the have been posed by the agents of every paradigm Kostumografka Costume designer posebej ko ni več nobene av- eponymous novel by Ödön von since Plato’s Republic: “What will this generation

Marta Žegura M (Jugend ohne Gott)

Oblikovalec luči Lighting designer toritete, nobenega boga, ki Horváth , be like? Will they be strong or just cruel?” Ödön von I Aleksandar Čavlek bi bdel nad nami – videl v e written in 1938, at a crucial Horváth saw a hope, a possible exit form this con-

n

d Oblikovalec zvoka Sound designer mladih, ki berejo prepove- t historical moment. which flicting vortex of ‘void’ – especially when there is n Bruno Fretze e r a dane knjige in se ne udele- a remains marked by the irre- no authority left, no God above us – in the young Vodja predstave Stage manager n r a v žujejo množičnih vojaških o a versible rise of National So- people who read forbidden books and refused to join Petra Prša t d e i n s t c parad. Berardi trdi naspro- on a e d n cialism and the Third Reich, mass military parades. However, Franco Berardi Zasedba Cast a pr a tno in zavrača Horváthovo l pe orm and a 2015 socio-philosophical rejects Horvath’s blind hope and work and proposes Rakan Rushaidat rf Ugo Korani slepo upanje, pri tem pa do konca izpelje svoj pesimistični study Heroes: Mass Murders and Suicide by Franco an utterly pessimistic conclusion: democracy will Boris Barukčić credo: demokracija v resnici nikoli ne bo vzpostavljena in “Bifo” Berardi. The fundamental question posed by never be established, and capitalism will never be Lucija Dujmović kapitalizem nikoli ne bo premagan. Ko ni nobenega naspro- author and director Šeparović is: “What arises from defeated. When there is no more opposition, there Ivana Gulin Ivan Pašalić tovanja več, se lahko zgolj vprašamo: »Kaj nam je storiti, ko the shade, or rather, from the void of the interspace is only one question left to ponder on: “What to do Bernard Tomić so vse možnosti izčrpane?« ¶ of the ideology of a political system in relation to when nothing can be done?” ¶ Marko Ercegović 55. Borštnikovo 76 — 77 19. 10. 2020 > 21.30 < Narodni dom Maribor Zavod Emanat v sodelovanju s Klubom Gromka in Mestom žensk Urška Vohar, Feminalz Tatovi podob predstavljajo: Matilda in njene žemljice Image Snatchers Present: Matilda and Her Buns Burleskni performans A burlesque performance

Predstava traja 1 uro in nima odmora. atilda je ženska, vsaj po navadi je videti kot Running time 1 hour. No intermission. M ženska. Ni umetnica, vendar najde navdih v Premiera Première 14. september 2017, vsakdanjih stvareh, kot so banane in opice, bazeni in Klub Gromka, AKC Metelkova, Ljubljana mleko, elastan in trikoji, disko plesi, njene prsi, in v konceptih, kot so ženska, mati, družina, dvoumnost, Avtorica in izvajalka Author and performer neumnost in svoboda. Matilda rada poje, udarja po Urška Vohar (Matilda Buns) bobnih in piše pesmi. Dela s podoba- Odrske intervencije in svetovanje mi, ki izhajajo iz njenih sanjarjenj, Stage intervention and advisors Feminalz, Tatovi podob Image Snatchers vendar ne izključno. Oder je njen dom (Loup Abramovici, Maja Delak, Daniel in tam resnično zaživi. ¶ Redni, mo- Petković, Nataša Živković) dularni, presenetljivi, nikoli isti in Kostumografka Costume designer predvsem umetniško-družabni večer Urška Recer Tatovi podob so v različnih oblikah Oblikovalka maske sodelovanja vzpostavile sodelavke in Make-up designer Tina Prpar (Tinka Pobalinka) sodelavci skupine Feminalz. Ta bur- Skladatelj in avtor glasbene opreme leskni kolektiv pod okriljem zavoda atilda is a woman, at least usually she looks Composer and music selection Emanat deluje od leta 2013. Jedro like one. She is not an artist, but she finds Luka Prinčič M sestavlja stalna skupina performerk/ inspiration in ordinary things, like bananas and Oblikovalec luči Lighting designer performerjev, medse pa pogosto po- monkeys, swimming pools and milk, spandex and le- Janko Oven vabijo tudi druge odklonske gostje/ otards, disco dancing, her breasts and concepts like Fotografinja goste. V petih letih obstoja je nastalo woman, mother, family, ambiguity, foolishness and Photographer Nada Žgank več kot petdeset različnih točk, ob freedom. Matilda loves singing, slamming drums Izvršna producentka vsaki izvedbi pa z uspešnimi strate- and song writing. She works with images that are Executive producer gijami apropriacije in reciklaže po- based on her daydreaming, but not exclusively. Stage Sabina Potočki skrbijo za čisto novo izkušnjo. S serijo is her home and where she truly comes alive. ¶ Image Tatovi podob predstavljajo skupina Snatchers is a regularly held, modular, always surprising, and never the same art-social event, consti- Feminalz vzpostavlja način dela, kjer tuted collectively by members of the group Feminalz. This burlesque collective has been working under bodo članice in člani skupine podrob- patronage of Emanat Institute from 2013 onward. The core is composed of a permanent group of perform- neje pogledali­ v življenje enega izmed ers while they also frequently invite other outlandish guests to join them. In five years of existence they tehnoburlesknih likov. Septembra have created over 50 acts, in every show they use successful strategies of appropriation and recycling to 2017 se je v solo večeru kot prva deliver a brand-new experience. With series Image Snatchers Present the collective Feminalz embarked predstavila Urška Vohar, ki kot čla- on a new way of working, as the members of the group took a closer look into the life of one of the tech- nica skupine Feminalz nastopa pod no-burlesque characters. The first act of this framework was a debut by Urška Vohar, who appeared as a umetniškim imenom Matilda Buns. ¶ member of the group Feminalz under her stage name Mathilda Buns in September 2017. ¶ Nada Žgank 55. Borštnikovo 78 — 79 20. 10. 2020 > 17.30 < Lutkovno gledališče Maribor

Plesni teater Ljubljana & Platforma sodobnega plesa Tanja Zgonc Poklon A Tribute Buto performans A butoh performance

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

Premiera Première 7. junij 2019, Plesni teater Ljubljana

Predstava traja 1 uro in nima odmora. predstavo Poklon želi avtorica počastiti šestdeset let od Running time 1 hour. No intermission. S nastanka buta, izvirne japonske oblike plesnega gledali- šča, in hkrati svojo tridesetletno pot, predvsem pa se pokloniti Predstava je pospremljena svojim učiteljem – začetnikom buta, učencem in sodelavcem, z izborom video posnetkov avtoričinih/ ki so jo spremljali na ustvarjalni poti. Rdeča nit predstave so plesalkinih buto predstav. The performance is accompanied lik Khandre oziroma plesalke v zraku ali kraljice prostora ter by a selection of videos of butoh štiri aktivnosti buto telesa: umirjajoča, bogateča, navdušujoča performances by the author/dancer. in energična varujoča aktivnost, ki tako kot lunine mene od- merjajo ritem življenju in stopnjam razvojnega ciklusa v zapo- Avtorica koncepta, koreografinja in izvajalka redju rojstva, mladosti, zrelosti in starosti. Ta ciklus ustreza Author, choreographer tako razvoju posameznika kakor tudi družb in civilizacij ter and performer pomeni ciklično menjavanje in večno začenjanje. S predsta- Tanja Zgonc Kostumograf vo se avtorica približuje izvornemu butu, pri čemer izhaja iz Costume designer svoje avtorske estetike, ki jo je desetletja gradila s poglablja- Alan Hranitelj njem v ta plesni izraz in temelji na raziskavah pozornosti, Skladatelj Composer osredotočenosti na detajle, hrbtenico in obrazno govorico ter he author created the performance Tribute to celebrate sixty years of butoh dance, origi- Aldo Kumar na povezavi gibalnih arhetipov, predvsem pa na modrosti te- T nally a Japanese form of dance theatre, as well as her thirty-year journey, and above all, Oblikovalec luči lesa. Telo nosi spomin, ki je v obliki podob in občutij shranjen to pay tribute to her teachers – the pioneers of butoh, to her pupils, and to her colleagues who Lighting designer Andrej Hajdinjak v celicah, pri tem pa duševnost instinktivno dojema kot in- accompanied her on her creative path. The story revolves around Khandro, the so-called “sky Kreativna producentka formacijsko omrežje z neštetimi komunikacijskimi sistemi. ¶ dancer – traveller”, and the four activities of the butoh body: the calming, enriching, inspiring in asistentka and energetic protective activity, which – much like Creative producer and assistant the phases of the Moon – give rhythm to life, to the Katja Somrak stages of the development cycle: birth, youth, maturity, Fotografinja age. This cycle reflects the development of individu- Photographer als, societies and civilizations, and represents cyclical Barbara Čeferin Izvršna producentka change and eternal restarting. The performance draws Executive producer inspiration from the original butoh and incorporates Mojca Kasjak, author’s personal aesthetics, which she has developed Zavod MOJa KreacijA over the decades of delving into butoh and is based on the exploration of attentiveness, on concentration on details, the spine and facial language, and on connect- ing movement archetypes, and above all, on the “wis- dom of the body”. The body carries a memory, stored in cells in the form of images and senses, instinctively perceiving the psyche as an information network with endless communication systems. ¶ Barbara Čeferin 55. Borštnikovo 80 — 81 21. 10. 2020 > 18.00 & 21.00 < Mali oder UL AGRFT & Zavod Delak Po motivih Williama Shakespeara in Bernarda-Marie Koltèsa Based on motifs by William Shakespeare and Bernard-Marie Koltès H genotipu Hamlet Towards Genotype Hamlet

Študijska predstava 3. letnika UL AGRFT A 3rd-year student production of UL AGRFT

Premiera Première 1. februar 2020, Konzorcij OSMO/ZA

Predstava traja 70 minut in nima odmora. Running time 70 minutes. No intermission.

Režiser Director Dragan Živadinov Dramaturginja Dramaturg Katja Markič Scenografka Set designer Katarina Majcen Kostumografki Costume designers Nika Dolgan, Katja Vrenko Oblikovalec zvoka Sound designer Dario Seraval Oblikovalec svetlobe Lighting designer Janez Kocjan Fotograf ot je o predstavi zapisala dramatur- s the dramaturg Katja Markič wrote about the production, Photographer ginja Katja Markič, se Shakespearo- Shakespeare’s renaissance royal tragedy in the adaptation Željko Stevanić K A va renesančna kraljevska tragedija skozi by the French playwright Bernard-Marie Koltès happens over Zasedba Cast predelavo francoskega dramatika Bernar- one day and one night. Concentration, sharp features and inces- Hamlet Hamlet Klemen Kovačič da-Marie Koltèsa zgodi v času enega dne- sant activity of the protagonists show this drama of clear vec- Ofelija Ophelia Klara Kuk va in noči. Zgoščenost, stroge poteze in torial relationships to be mercilessly modern, one in which all Gertruda Gertrude Lea Mihevc Klavdij Claudius Jure Žavbi nenehna aktivnost protagonistov dramo four characters have to renounce everything that is human in jasnih vektorskih odnosov predstavijo kot neizprosno sodob- them. Such is the demand of the time. The madness and the walking on the edge of mental peace are no Mentorji Mentors no, v kateri se morajo vse štiri dramske osebe odreči vsemu, longer just pertinent to Hamlet, because all the characters move on the verge of madness. Claudius, as the Gledališka režija in dramska igra Theatre directing and acting kar je v njih človeškega. Takšna je zahteva časa. Norost in hoja representative of the powers, is faced with hesitation and doubts, usually described as Hamlet-like, and izr. prof. Jernej Lorenci, doc. Branko Jordan po robu duševnega miru nista več lastna le Hamletu, saj se vse this unpredictability in a position of power only makes him all the more dangerous, criminal, as evil is the Dramaturgija Dramaturgy osebe gibljejo na meji razuma. Klavdij se kot predstavnik ob- drive of the contemporary time. The production, doc. dr. Blaž Lukan, izr. prof. Tomaž Toporišič lasti sooča z omahovanjem in dvomi, ki so po navadi imenovani by examining genetic material of Hamlet, writ- ScenografijaSet design izr. prof. mag. Jasna Vastl hamletovski, s svojo nepredvidljivostjo na poziciji moči je zato ten into the art through the questions of essence KostumografijaCostume design še nevarnejši, pravzaprav zločinski, saj je zlo gonilo aktualnega and the ontological dissonance in general, tack- prof. Janja Korun, asist. mag. Tina Kolenik časa. Predstava se s pretresanjem hamletovskega genskega ma- les the painful reality of the contemporary ex- Jezik in govor Language and speech teriala, ki je v umetnost vpisan skozi vprašanja biti in ontološke tremes that provoke revolt even in those actors asist. dr. Nina Žavbi, doc. Alojz Svete disonance nasploh, loteva boleče resničnosti sodobnih skrajnos- who have to, with the weight of collective con- ti, ki izzovejo upor še posebej v tistih akterjih, ki morajo s težo sciousness about the past of the humankind, get kolektivne zavesti o preteklosti človeštva vedno znova stopati onstage again and again, not only Shakespeare’s, na oder ne le Shakespearovega, ampak predvsem našega sveta. ¶ but particularly our world. ¶ Željko Stevanić 55. Borštnikovo 82 — 83 22. 10. 2020 > 21.30 < Tribuna na Velikem odru Bunker Beton Ltd. Mahlzeit Glasbeni performans A musical performance

Premiera Première 19. december 2019, Stara mestna elektrarna Ljubljana ovo poglavje nemškega cikla, v katerega je kolektiv Predstava traja 50 minut in nima odmora. Ich kann nicht Running time 50 minutes. No intermission. N Beton Ltd. zagrizel s predstavama anders (2016) in Große Erwartungen (2018), se tokrat Avtorji koncepta in izvajalci začenja s performansom Mahlzeit, ki je – kot razkriva Concept and performance Beton Ltd. naslov, ki bi ga lahko prostodušno prevedli v Dober tek – posvečen času obedovanja, krmljenja, prigrizovanja Zasedba Cast in spontanega druženja. Tokrat v ospredje performan- Katarina Stegnar Branko Jordan sa stopa glasba, konkretno ta, ki sta jo Jure Vlahovič in Primož Bezjak Janez Weiss v tandemu Dead Tongues za kolektiv Beton Jure Vlahovič Ltd. ustvarjala v preteklem desetletju. Ob odrskem sce- Janez Weiss Marko Brdnik nosledu performansa pa je svoje mesto glasbene ekspre- Maksim Špelko sije našla tudi izdaja vinilne plošče, ki poleg ustvarjal- Toni Soprano Meneglejte 004 nih dosežkov tandema predstavlja tudi nove skladbe Maja Vižin ter aranžmaje v navidezno nerazpoznavni preobleki, h kateri sta pripomogla tudi Maksim Špelko in Marko Brdnik in v kateri se na- poveduje že nova odskočna deska potencialnega nada- he new chapter of the German cycle, which Beton Ltd. started with the productions Ich kann nicht ljevanja, zajetega v naslovu T anders (2016) and Grosse Erwartungen (2018) now begins with a performance Mahlzeit, which – as the Hoppla, wir leben. Perfor- title that could simply be translated as Bon appétit! reveals – is dedicated to the time of eating, grazing, mans, ki v isti sapi razpira snacking and spontaneous socializing. Music is in the front of this performance, more specifically, the konvencionalne, celo komo- music created in the past decade for Beton Ltd. by Jure Vlahovič and Janez Weis who work as a tandem dificirane glasbene forme v Dead Tongues. Together with the stage outline of the performance, a vinyl record came out; another place inovativen in ravno prav prikupno zmeden gledališki of music expression, which along with the creative achievements of the tandem also presents new pieces kontekst, se tako razteza med melanholičnostjo napredu- and arrangements in a seemingly unrecognizable versions, reworked also by joče sivine zgodnjih srednjih let, nedefiniranim hrepe- Maksim Špelko and Marko Brdnik, and which announces a new springboard nenjem in poetično nostalgičnostjo ter osamelimi vzkli- for potential continuation, expressed in the title Hoppla, wir leben. The per- ki izzvenevajočega političnega radikalizma. Kot zapiše formance, which simultaneously opens the conventional, even commodified glasbeni kritik Muanis Sinanović, je konkreten skupni musical forms into an innovative and simply adorably confused theatre con- zvočni imenovalec performansa »sladkobno afektirana text, thus stretches between the melancholy of the advancing greyness of kitara«, ki intonira »v nekakšno pisano volno zaobljene the early middle age, undefined longing and poetic nostalgia, and the lonely zvočne slike, medtem ko se domiselni in živahni bobni cries of dying political radicalism. As the music critic Muanis Sinanović skoznjo zaletavajo ob trdo in neupogljivo podlago«. Per- writes, the concrete common denominator of the performance is “a sugary, formans Mahlzeit se torej kljub avtoreferencialnosti na affected guitar” which intones into “some kind of colourful wool of a round- zgodovino svojih izvajalcev kaže kot fluiden zvok seda- ed sound image, while the clever and lively drums slam through it into a njega časa, spremenljivih identitet, usmeritev in v bar- hard and unbendable foundation.” Despite being self-referential when it vito paleto spletenih življenjskih zgodb, ki kakor hrana, comes to the history of its performers, Mahlzeit thus appears to be a fluid sound of modern time, changeable ki je pripravljena s pozornostjo in ljubeznijo, ne nasiti identities, orientations and life stories mixed into a colourful palette, which just like food, prepared with zgolj telesa, ampak lahko kdajpakdaj osreči tudi duha. ¶ attention and love, doesn’t satiate just body, but at times makes the spirit happy. ¶ Nada Žgank 55. Borštnikovo 84 — 85 23. 10. 2020 > 19.00 < Kazinska dvorana Via Negativa Olja Grubić Golo življenje Naked Life Performans A performance olo življenje je per- Premiera Première 11. oktober 2019, formans, ki drsi Avditorij Moderne galerije, Ljubljana G skozi preizpraševanje, Predstava traja 50 minut in nima odmora. kaj pomeni biti živo Running time 50 minutes. No intermission. bitje v živem svetu, imeti telo, pogoje bi- Avtorica koncepta Concept vanja, življenjski po- Olja Grubić tencial, individualne Skladatelj in avtor glasbene opreme in kolektivne pogoje Composer and music selection Eduardo Raon razvoja, moč za njiho- Uporabljeni odlomki iz glasbenih del vo spreminjanje, pri Music excerpts from tem pa skozi poetični Gustav Mahler: Pesem o Zemlji — Slovo jezik vizualizira in- (Das Lied von der Erde — Der Abschied) timnost žive prisotnosti človeške- Carl Philipp Emanuel Bach: ga (ženskega) telesa in dinamike Solfeggietto Vizualna oblikovalka med njegovo fizično, duševno in Visual design čustveno identiteto. Performans Olja Grubić »transhumanistične vizije hu- Umetniški vodja Artistic direction manizma«, kot ga je poimenovala Bojan Jablanovec kritičarka Anja Radaljac, v zgolj Producentka enem samem kontinuiranem in Producer stopnjevanem zamahu fizičnega aked Life invites us to rethink what it means to be a living species in a living world, to have a Špela Trošt Sodelavka za odnose z javnostjo napora, skoncentriranem v tri- N body, conditions of existence, and possibility of life, individual and collective conditions for Public relations hotomni (realni-simbolni-imagi- development, the power to change them, while visualising through poetic language the intimacy of Sara Horžen narni) gesti ribanja, postavi žens- a human (female) body’s living presence and the dynamics between its physical, Performerke Performers ki subjekt v fizični in simbolni psychological and emotional identity. The performance of a “transhumanistic vi- Olja Grubić kot seksualne objektivacije kot sion of humanism,” as the critic Anja Radaljac defined it, in a single continuous and Anita Wach posledice patriarhata in večti- graduated swipe of physical effort, concentrated in a trichotomous Kristina Aleksova Sara Horžen sočletne moške dominacije, ki jo ponazori izhodišč- (real-symbolic-imaginary) gesture of grating, places the female sub- Anja Novak na pozicija žensk za rožami. Performerke s svojo ject into a physical and symbolic corner of sexual objectification as a Ena Kurtalić goloto, s humorno-bolečim obsesivnim ribanjem consequence of patriarchy and millennia of male domination, which Lana Zdravković vsega faličnega, kar jim je na razpolago – korenčkov, is represented by the starting position of women behind the flowers. Projekt je nastal v laboratoriju bučk in kumar –, ter ob posnetkih fragmentiranih With their nudity, with the humorous-and-painful grating of every- Vie Negative za uprizarjanje – VN Lab. The project was conceived in the monologov večsmerno aludirajo na lastno margin- thing phallic that is on display – carrots, courgettes, cucumbers – and Via Negativa laboratory for contemporary aliziranost, prekarnost, na nemogoče pogoje dela in with the recordings of fragmented monologues – the performers dis- performing arts – VN Lab. ustvarjanja, na neslutene strahove, ki jih porajajo play multi-dimensional allusions to their own marginality, precar- nove eko-, bio- in transhumanistične ideologije, in ity, impossible conditions for work and creativity, the unimagined Performans vsebuje prizore golote. ne nazadnje tudi na vrednostno razmerje do samih fears born from the new eco- bio- and transhumanistic ideologies and The performance contains sebe in drugih (žensk), s katerimi si delijo pros- finally also to the value relationship to themselves and others (wom- scenes of nudity. tor. Zdi se, kot da se s performansom odpira zgolj en), with whom they share their space. It is as if this performance vprašanje, ki mora nujno voditi v kolektivistično opens only the question that must necessarily lead to a collectivist politično akcijo: »Kako trajno preseči obstoječe stan- political action: “How to permanently overcome the existing situa- je ženskega sizifovstva?« ¶ tion of female Sisyphism?” ¶ Marcandrea 55. Borštnikovo 86 — 87 24. 10. 2020 > 20.00 < Tribuna na Velikem odru Berliner Ensemble (DE) Po istoimenskem romanu Günterja Grassa Based on the eponymous novel by Günter Grass Pločevinasti boben The Tin Drum Monodrama A monodrama

Izvirni naslov predstave Original title of the play Die Blechtrommel

Premiera Première 11. januar 2015, Frankfurt

Predstava traja 1 uro 50 minut in nima odmora. Running time 1 hour 50 minutes.

No intermission. ovorojenček Oskar Matzerath M

svet prepozna kot univerzal- I Režiser e N

n Director d no katastrofo in ga zavrne. Le ko- t n Oliver Reese e r a vinski boben, ki mu ga je obljubi- a Scenograf n r a v la mati, zanj razpre sprejemljivo Set designer o a t d t e Daniel Wollenzin io n s c perspektivo preživetja: privzame n a pre d an Kostumografka al p m groteskno eksistenco bobnarja, Costume designer erfor Laura Krack sicer umetnika z ambivalentno Skladatelj izrazno potenco in dvomljivo motivacijo. Na svoj tretji rojstni Composer dan se Oskar nenadoma odloči, da ne bo več rastel, ampak bo Jörg Gollasch Oblikovalec luči raje opazoval boben in nanj igral. Oskar nato kot nezanesljivi Lighting designer pripovedovalec s perspektive črva opisuje vzpon fašistične arely born, Oskar Matzerath recognizes the world as a Steffen Heinke ideologije in njene akcije, poroča o prešuštvu in o noči pogro- universal disaster and rejects it. Only the metal drum Dramaturginja B Dramaturg ma, pri tem pa povezuje osebno zgodbo s tragično zgodovino 20. promised by his mother opens an acceptable perspective of Sibylle Baschung stoletja. Oskar postane opazovalec in hkrati udeleženec sveta, survival to him: the grotesque existence as a drummer, an v katerem je mogoč propad civilizacije, kakršen se je zgodil s artist with ambivalent motivations and effects. On his third Zasedba Cast Oskar Matzerath Nico Holonics holokavstom. Nobelovec Günter Grass se je čutil soodgovorne- birthday, Oskar decides to stop growing, but rather to watch ga za zločine, ki so bili med vojno storjeni v imenu nemškega and play the drum. He describes the development of fascist naroda, zato velja njegov Pločevinasti boben brati tudi kot av- thoughts and actions from a worm’s eye view, reporting from tobiografsko namero, da bi laže prepoznali mehanizme lastne adultery and the pogrom night, linking a personal story with history. Oskar zavedenosti oziroma zapeljanosti. Kljub vsem kontroverznos- becomes an observer and at the same time a participant in a world, where a tim, ki so se spletle okrog romana in avtorja, je besedilo svo- collapse of the civilization like the Holocaust is possible. For all time of his jevrstna prelomnica nemške povojne literature, saj se v njem life, Nobel Prize winner Günther Grass has felt not guilty but responsible for pod okriljem družbenokritične avtorske pisave prepletajo the crimes that have been committed in the name of the German people. The strogi realizem in elementi magičnega. Režiser Oliver Reese Tin Drum is also an attempt to make the mechanisms of the own seduction je izvirno konstelacijo pripovednega toka romana z namenom transparent. Despite all controversies around the novel and the author, this večje koherentnosti dram- text is a milestone in German post- ske naracije in diferenci- war literature. Director Oliver Reese acije igralskih registrov has adapted the original version adaptiral skozi perspektivo by telling the story of the eternal zgolj ene osebe – glavnega drummer from the perspective of the junaka Oskarja, ki ga upodo- main character played in a solo by the bi igralec Nico Holonics. ¶ actor Nico Holonics. ¶ Birgit Hupfeld 55. Borštnikovo 88 — 89

David Greig Muzikofilija: Rumena luna Zgodbe o glasbi in možganih Yellow Moon Musicophilia: Balada o Lejli in Leeju s pogovorom The Tales of Music and the Brain Ballad of Leila and Lee with post-perfor- Anton Podbevšek Teater mance discussion Gledališki laboratorij

12—25 October 2020 Maribor, 12.—25. oktober 2020 55. Borštnikovo Lutkovnega gledališča Ljubljana, Vzgoj- Vključevanje ni zavod Planina, Srednja vzgojiteljska Inclusion šola, gimnazija in umetniška gimnazija Javni premislek o umetnosti Ljubljana in družbeni odgovornosti A public reflection on art and Zala Ana Štiglic, Zoran Petrovič, social responsibility Mlado gledališče Marek Turošík, Monika Pocrnjić, Young Theatre Toni Soprano Gledališki laboratorij Viktorija 2.0 Theatre Lab Victoria 2.0 Izkušenjska delavnica Avtorski projekt s pogovorom za mentorje A devised theatre A workshop for mentors project with discussion Uporaba tehnologije iz KUD Moment & GT22 vsakdanjega življenja na odru Bratje in sestre Everyday Technology on Stage Brothers and Sisters Ustvarjalna delavnica za mlade Avtorski projekt s pogovorom A workshop for young creators A devised theatre project with discussion Predstava od spočetja do New International Encounter & odmeva Performance form Brageteatret (NO) Conception to Perception Saško Brama Seminar za učitelje in ustvarjalce Jesen na Plutonu A seminar for teachers and artists Fall on Pluto Občutenje mesta Dokumentarni gledališki projekt Sensing the City s pogovorom A documentary Senzorialni sprehod po Mariboru theatre project with discussion A sensorial walk through Maribor Sashko Brama Company (UA) 55. Borštnikovo 90 — 91 Mlado gledališče Young Theatre

Uvodni programski sklop Mlado gledališče obli- The introductory programme module Young The- kuje platformo za križanje stališč, potreb in vpra- atre provides a relevant platform for the confluence šanj na preseku kakovostne kulture in umetnosti of points of view, needs and questions that appear at ter sodobne vzgoje in izobraževanja. V gledališče the intersection of quality culture and art and contem- vključuje mlade gledalce in njihove vzgojitelje in jih porary education. It includes young viewers and their postavlja v središče ustvarjalnega dialoga. Letoš- educators into theatre and places them at the centre nji program se usmerja v obravnavo tem na robu of creative dialogue. This year’s programme focuses kadra in spodbuja k inkluzivnemu družbenemu on topics at the edge of the frame and promotes in- ravnanju. Vsebuje kakovostne predstave za mlade clusive social activity. It contains quality productions s pogovori po ogledu, seminar za učitelje, izku- for young audiences followed by discussions after the šenjsko delavnico zanje, ustvarjalno delavnico za performances, a seminar for teachers, an experiential mlade, čutni sprehod po mestu ter javni premislek workshop for them, a creative workshop for the young, o umetnosti in družbeni odgovornosti. ¶ a sensorial walk through the city and a public discus- sion about art and social responsibility. ¶ Usposabljanje Mlado gledališče sooblikujeta projekta kulturno-umetnostne vzgoje na podro- Young Theatre is realised by the culture-art education čju gledališča Prvi prizor: gledališče kot prostor projects The First Scene: theatre as a space for learn- učenja simbolnih jezikov (Drama SNG Maribor) in ing symbolic languages (Drama SNT Maribor) and Gleda(l)išče (Slovenski gledališki inštitut). Sofinan- Gleda(l)išče (See(k)ing Theatre) (Slovenian Theatre cerja projektov sta Evropska unija iz Evropskega Institute). The projects are co-financed by the Europe- socialnega sklada in Republika Slovenija. ¶ an Social Fund and the Republic of Slovenia. ¶ 55. Borštnikovo 92 — 93 12. 10. 2020 > 12.00 < Tribuna na Velikem odru Gledališki laboratorij Lutkovnega gledališča Ljubljana, Vzgojni zavod Planina & Srednja vzgojiteljska šola, gimnazija in umetniška gimnazija Ljubljana David Greig Rumena luna Yellow Moon Balada o Lejli in Leeju The Ballad of Leila and Lee umena luna, balada o Lejli in Leeju je ellow Moon, the Ballad of Leila and Lee is a R ljubezenska zgodba o dveh najstni- Y love story of two teenagers who find each kih, ki se najdeta v trenutku, ko se enemu other at the moment when one of them sees his 14+ Premiera Première september 2020, izmed njiju življenje usodno obrne na gla- life take a fateful turn. Lee is seventeen; he Plesni in gledališki center SVŠGUGL vo. Lee ima sedemnajst let, živi z mamo in lives with his mother and her boyfriend, and njenim fantom ter s spominom na očeta, ki with a memory of his father who left when Predstava traja približno 1 uro in nima odmora. Running time approximately 1 hour. No intermission. je odšel, ko je bil Lee star pet let. Za seboj je Lee was five. He left behind a hat with a patch pustil kapo z našitim jelenom in razgle- with a stag on it and a postcard of a castle in Predstavi sledi pogovor z ustvarjalci. dnico graščine v škotskem višavju. Tja se the Scottish Highlands. This is where Lee es- Post-performance discussion. Lee zateče v trenutku najhujše stiske. Na capes in his moments of greatest need. On the Režiser Director poti se mu nepričakovano pridruži Lej­ road, Leila unexpectedly joins him – the quiet Primož Ekart la – tiha Lejla, muslimanka, ki ne govori. Leila, a Muslim who doesn’t speak. A girl from Prevajalka Translator Tina Mahkota Dekle iz dobro situirane družine si želi, da a well-off family wants the world to notice Dramaturginja in mentorica ustvarjalnega procesa bi jo svet opazil. Da bi jo opazili ljudje in jo her. She wants people to notice her, listen to Dramaturg and mentor poslušali, da bi jih zanimalo, kdo je. Lejla her and be interested in her. Leila and Lee find Ana Duša Scenograf Set designer in Lee najdeta drug drugega, a nad njima each other, but dark clouds of the past that is Damir Leventič se zgrinjajo temni oblaki preteklosti, ki ji hard to escape gather above them. ¶ Despite Kostumografka Costume designer je težko ubežati. ¶ Kljub težkim temam, ki the difficult topics it tackles, the story is a Vasilija Fišer Avtorji glasbe Composers se jih dotika, je zgodba mešanica tragedije, mixture of a tragedy, social comedy and ro- Silence, Koala Voice socialne komedije in romantične najstniške mantic teenage melodrama – some sort of KoreografinjaChoreographer melodrame – nekakšna sodobna najstniška contemporary teenage story of Bonnie and Rosana Hribar Oblikovalec svetlobe Lighting designer zgodba o Bonnie in Clydu. Pripovedni tok Clyde. The narrative of the text shifts be- Andrej Hajdinjak besedila izmenično prehaja iz dramskega v tween the dramatic and the epic, from dia- Lektorica Language consultant epsko, iz dialogov v notranje monologe ter iz logues to internal monologues and from stage Maja Cerar Vodja predstave in oblikovalec zvoka didaskalij v prozne opise dogajanja. Takšno directions to prose descriptions of the events. Stage manager and Sound designer besedilo je izvrstno izhodišče za uprizori- Such a text is an excellent starting point for Aca Ilić tev, ki je odprta za uporabo raznovrstnih in a performance open to using different and Lučni vodja Lighting technician ¶ ¶ Srečo Brezovar nadvse netipičnih gledaliških sredstev. very atypical theatre devices. The cast of Scenski tehnik Stage technician V predstavi sodelujejo mladostniki in pro- the production includes young adults and Stanko Božanić fesionalni igralci. Namen Gledališkega la- professional actors. The purpose of the LGL Theatre Lab is also training young adults as Zasedba Cast boratorija LGL je prav tako vzgoja sodelujo- Rok Kunaver čih mladih v gledališčnike in ljudi, ki bodo thespians, as people who will know how and Jan Bučar znali in si upali artikulirati lastno misel dare to articulate their own thoughts about Alenka Tetičkovič o najrazličnejših gledaliških fenomenih. very different theatre phenomena. With its Neža Dvorščak k. g. a. g. Ronja Matijevec k. g. a. g. Lutkovno gledališče Ljubljana s svojim labo- laboratory, the Ljubljana Puppet Theatre ac- Tibor Anželj k. g. a. g. ratorijem mlade aktivno vključuje v gleda- tively involves young adults in theatre and Maks Mihajlović k. g. a. g. liški in širši kulturni in družbeni prostor, wider cultural and social space and offers Teme: družina, identiteta, odnosi, odraslim pa ponuja možnost poglobljenega adults a possibility of an in-depth insight odraščanje, cilji, nasilje, stiska, beg, uvida v razmišljanje mladih generacij, prav into the thinking of young generations, zaupanje, resnica s tem pa na presečišču odpira prostor za di- thus opening space for dialogue at this in- Topics: family, identity, relation(ship)s, coming of age, life goals, violence, alog. ¶ Predstava je nastala v okviru evrop- tersection. ¶ The production was created as distress, escapism, trust, truth skega projekta ConnectUp. ¶ Soni Rahul/Zedge a part of the European project ConnectUp. ¶ 55. Borštnikovo 94 — 95 12. 10. 2020 > 18.00 < 13. 10. 2020 > 10.00 < Intimni oder GT22 KUD Moment & GT22 Zala Ana Štiglic, Zoran Petrovič, Marek Turošík, Monika Pocrnjić, Toni Soprano Viktorija 2.0 Victoria 2.0 Avtorski projekt A devised theatre project

14+ Premiera Première december 2016, Intimni oder GT22

Predstava traja 35 minut in nima odmora. Running time 35 minutes. No intermission.

Obema izvedbama sledi pogovor z ustvarjalci. Post-performance discussions after both runs.

Režiser Director Zoran Petrovič Dramaturg Dramaturg Marek Turošík Scenografki, soavtorici likovne podobe magovalci so samozavestni. Zmagovalci so strastni. Set and visual designers Zmagovalci se cenijo. Zmagovalci vedo, kaj hočejo in Monika Pocrnjić, Toni Soprano Z FotografinjaPhotographer kako to doseči. Zmagovalci nikoli ne odnehajo. Zmagovalci Toni Soprano so disciplinirani. Zmagovalci ne čakajo na popolne pogoje. Izdelovalci scene Set producers Zmagovalci vedo, da je največje tveganje ne tvegati. Zma- Mojmir Ferenc Matjaž Capi Capuder govalci se primerjajo izključno s seboj. Zmagovalci ne po- Drago Pšunder trebujejo nikogaršnje potrditve. Zmagovalci so zdravi in se zdravo prehranjujejo. Zmagovalci so lepo grajeni in imajo Zasedba Cast Zala Ana Štiglic čudovite, čvrste, polne zadnjice. Zmagovalci imajo part- nerje. S čudovitimi, čvrstimi, polnimi zadnjicami. Zma- Teme: samopodoba, osebni cilji, govalci imajo spolne odnose. Strastne spolne odnose. Mnogo popoln videz, sreča, vključenost, tekmovanje, zmagovanje teh. Prijateljev tudi. Zmagovalci so ljubljeni. Zmagovalci inners are self-confident. Winners are passion- Topics: self-image, personal goals, ljubijo življenje. In življenje ljubi W ate. Winners value themselves. Winners know perfect look, happiness, inclusion, njih. Zmagovalcev ni veliko. Zma- what they want and how to get it. Winners never quit. competition, winning govalcev je zelo malo. Zmagovalci Winners are disciplined. Winners don’t wait for per- Nagradi Grünschnabel, nagradna dotacija za zmagujejo. ¶ Viktorija pluje med fect conditions. Winners know that the greatest risk inovativen razvoj na področju lutkovnega in pogostimi temami, ki nas trajno is to not take risk. Winners only compare themselves predmetnega gledališča. Figura Theaterfestival: Baden, Švica, 2018. ¶ Nagrada za uporabo sod- zaposlujejo, in jih obravnava po- to themselves. Winners don’t need anyone’s approval. obne tehnologije v lutkovni animaciji. Mednarod- globljeno, presenetljivo in zabav- Winners are healthy and eat healthfully. Winners are ni festival lutkovnega gledališča in animiranega filmaPuppet is a Human Too: Varšava, Poljska, no. Uprizoritvena sredstva, ki se well-built and have fine, firm and round behinds. Win- 2018. ¶ Predstava je uvrščena v katalog kako- nahajajo v širokem razponu med ners have partners. Winners have sex. Passionate sex. vostnih predstav za mlade na spletni platformi Zlata palčica: https://www.zlatapalicica.si/pred- precej abstraktnim in neusmiljeno Lots of it. Lots of friends. Winners are loved. Winners stava/viktorija-2-0/ konkretnim, zajemajo iz različnih love life. And life loves them. Winners are not many.

Awards Grünschnabel, a sponsorship award for žanrov – od predavanja z demon- Winners are very few. Winners win. ¶ Victoria sails innovative development in the field of puppet stracijo preko duhovite lutkovne, between the common topics that occupy us all the time and object theatre. Figura Theaterfestival: Baden, Switzerland, 2018. ¶ An award for the use of predmetne in dramske igre, pod- and deals with them in a way that is thorough, surprising and entertaining. The means modern technology in puppet animation. Inter- prte z video projekcijo, do prip- of performance, ranging widely from rather abstract to the mercilessly concrete, bor- national Festival of Puppet Theatre and Animated Films for Adults Puppet is a Human Too: Warsaw, rave in zaužitja zdravega napitka. row from different genres – from a lecture-demonstration to a witty puppet, object Poland, 2018. ¶ The production is listed in the cat- ¶ Predstava, kolektivno dejanje and drama show supported with a video screening, to the preparation and consum- alogue of quality productions for young audiences on the Zlata palčica web platform: https://www. skupine, je del širšega dvoletnega mation of a heath drink. ¶ The performance, a collective act of a group, is a part of a zlatapalicica.si/predstava/viktorija-2-0/. projekta Izštekani/Unplugged. ¶ wider two-year project Izštekani/Unplugged. ¶ Toni Soprano 55. Borštnikovo 96 — 97 13. 10. 2020 > 11.00 < Lutkovno gledališče Maribor prenos v živo live streaming New International Encounter & Brageteatret (NO) Po resničnih zgodbah mladih Based on young people’s real-life experiences Bratje in sestre Brothers and Sisters Avtorski projekt A devised theatre project

14+ redstava izhaja iz resničnih zgodb mladih Premiera Première september 2018, Brageteatret Pki so se na lastni koži soočali s težavami, povezanih s težavami z duševnim zdravjem Predstava traja 60 minut in nima odmora. ali so bili vpleteni v tovrstne težave bližnjih. Running time 60 minutes. No intermission. ¶ »Ko sem zbolela, je bilo, kot bi nekdo izbrisal barve in ugasnil svetlobo. Vse je bilo sivo. Če si V angleščini s povzetkom v slovenskem jeziku. In English, with Slovenian abstract. zlomiš roko ali krvaviš iz nosu, to vsi vidijo. Jaz pa sem zbolela tukaj (v glavi),« pravi dekle Sledi pogovor z ustvarjalci. v predstavi. Tega pa nihče ne vidi … In nato Post-performance discussion after screening. lahko že malenkost poruši vse. ¶ Svetovna Režiser Director zdravstvena organizacija opredeljuje zdravje Kjell Moberg kot »stanje popolnega telesnega, psihološke- Scenografka in kostumografka ga in socialnega blagostanja«. Zdravje torej Set and costume designer Katja Ebbel Frederiksen ne pomeni samo odsotnosti bolezni, temveč Oblikovalec luč Lighting designer tudi določeno raven telesnega in duševnega Norunn Standal razvoja ter socialne blaginje. Tudi duševno Oblikovalec glasbe Music designer zdravje je stanje dobrega počutja, ko posame- Helder Deploige Producentki Producers znik prepoznava svoje zmožnosti, se spoprije- Iva Moberg, Uta Gildhuis ma z običajnimi življenjskimi izzivi, dela in prispeva k skupnosti ter ustvarja in vzdržuje zadovoljujoče he production is based on true stories of young people who either experienced mental health problems Zasedba Cast Helder Deploige, Ingeborg Larsen, medosebne odnose. Duševne težave se lahko pojavijo samo T personally or were involved in their loved one’s experiencing them. ¶ “When I got sick it was like some- Moa Johanne Meinich, Viggo Venn občasno, v povezavi s stresnimi dogodki, lahko pa so posle- body washed out the colours and turned off the light. Everything was grey. If you break your arm or have a dica posebnega osebnostnega vzorca doživljanja, čustvova- nosebleed, everybody can see that. But I got ill here (in the head),” says a girl in the show. And nobody sees Teme: resnične izkušnje, duševne motnje, nja in vedenja, ki povzroča kronične težave v funkcionira- that … And then a tiny thing can destroy it all. ¶ The World Health Organisation defines health as a state of prijateljstvo, zaupanje, nju – duševne motnje. To je oznaka za širok spekter težav, ki “complete physical, mental and social well-being”. Health thus does not mean merely the absence of disease, konceptualno gledališče jih opredeljuje atipična kombinacija misli, čustev, vedenja, but also a certain level of physical and mental development and social welfare. And mental health is a state Topics: real-life experience, mental disorders, friendship, odnosov z drugimi ter ovir pri opravljanju vsakdanjih ob- of well-being in which an individual recognises her or his own potential, deals with the usual challenges trust, conceptual theatre veznosti. Med znake duševnih motenj lahko prištevamo of life, works and contributes to the community and creates and maintains satisfactory interpersonal re- trajno slabo počutje, tesnobnost in depresivnost, resne lationships. Mental issues can surface only occasionally, in connection to stressful events, or they can be a težave s samopodobo, samouničevalno vedenje, šibko fru- consequence of a particular personal pattern of experiencing, emotions and behaviour, which causes chronic stracijsko toleranco, nizko odpornost na stres, moten stik problems in functioning – mental disorders. This is a label for a broad spectrum of issues that are defined by z resničnostjo, prekinjanje odnosov z drugimi, nezmožnost an atypical combination of thoughts, emotions, behaviour, relations with others and obstacles in everyday skrbeti zase. Gre za cel kup odbijajočih znakov, ki pa so zgolj chores. The signs of mental disorder can include permanent feeling of indisposition, anxiety and depression, pokazatelji bolezni, ki jo je treba zdraviti. Se znamo odzvati, serious problems with self-image, self-destructing behaviour, low tolerance for frustration, low tolerance

a ko zboli kdo v naši bližini? ¶ Rahločutna zgodba govori o for stress, distorted contact with reality, interruption of relationships with others, inability to take care v e štirih prijateljih, ki se po več letih srečajo, da bi ugotovili, of oneself. In short, a cluster of unpleasant signs, which are merely symptoms of the disease that needs to a M c t n s kaj je povzročilo njihov razhod, ko so bili stari petnajst let. be treated. Do we know how to react when someone close to us gets ill? ¶ The heartfelt story follows four e a I d d n n e m Predstava vzpostavi optimističen, četudi grenek pogled na friends who meet up after years of separation to figure out what made them go their separate ways when t a r r er ro a p fo povezanost, ki preživi tudi najtemnejše čase, in ponudi to- they were fifteen years old. The production builds an optimistic, albeit bitter, view of connectedness that na dn er tional p plo zavetje nevednosti, strahu in odporu. ¶ Nils Petter Mørland survives through even the darkest times, and offers a warm shelter to our ignorance, fear and resistance.¶ 55. Borštnikovo 98 — 99 14. 10. 2020 > 12.00 & 20.00 < Tribuna na Velikem odru Skupina Saška Brame Sashko Brama Company (UA) Saško Brama Jesen na Plutonu Fall on Pluto Dokumentarni gledališki projekt A documentary theatre project

14+ Premiera Première oktober 2016, Gledališče Lesja Ukraïnka, Lvov (UA)

Predstava traja 80 minut in nima odmora. Running time 80 minutes. No intermission. o leta 2006 je pritlikavi Pluton veljal za najbolj oddaljen Prvi izvedbi sledi pogovor z ustvarjalci. D planet našega osončja. Sedaj vemo, da je premajhen za Post-performance discussion after the first run. status planeta, zato nekje na osamelem robu izpada iz plane- tarne družine. V svoji senčni legi vsekakor ni napoti plane- V ukrajinščini s slovenskimi nadnapisi. tom osončja, zato bi jesen življenja bila tam zares dobro skrita In Ukranian, with Slovenian surtitles. očem, kot v kakšnem domu za starejše. ¶ Ustvarjalci predstave Avtor koncepta, dramaturg, režiser so se z varovanci takega (iz družbe odrinjenega) doma v ukra- Concept, dramaturgy, director jinskem Lvovu leto dni družili in pogovarjali. Svoje izkušnje Saško Brama Soavtorja in dramaturga so pomenljivo vnesli v umetniški projekt, ki se osredotoča na Coauthors of concept and dramaturgy temo neskončnega človekovega hrepenenja po boljšem svetu Maria Bakalo, Andre Erlen in z multimedijsko zasnovo v prepletu dokumentarnega, lut- Lutkovna sodelavca Puppetry Oksana Rossol, Oleksandr Sergiienko kovnega, performativnega in zvočno ambientalnega gledali- Oblikovalec zvoka Sound designer šča prenaša, kar so ustvarjalci tam videli, slišali in doživeli. Timur Gogitidze Projekt želi dati glas starejšim – tako simbolno kot dobesedno Snemalec in montažer zvoka Sound recording, remastering (v predstavi so uporabljeni izvirni zvočni posnetki) – in jih Faust prestaviti v jedro družbe, kamor po prepričanju mlade ekipe Oblikovalec luči Lighting designer sodijo. V Ukrajini je 16 odstotkov populacije starejše od 65 let, efore 2006, Pluto was the most distant planet of our solar system. We Volodimir Fanta Fotografinja in oblikovalka kar znaša sedem milijonov ljudi B now know it is too small to be considered a planet, so somewhere on the Photographer, visual designer – sedem milijonov glasov, ki jih lonesome frontier, it is falling out of the family of planets. Its position in the Marjana Kločko moramo slišati, sedem milijonov shade certainly doesn’t bother the other planets of the solar system, so the Organizator Programme organization Dmitro Makara zgodb. V predstavi jih zastopajo autumn of life there would indeed be hidden to the eyes, similar to a life in Tehnični vodja Technical director lutke Marina, Miroslav, Venčeslav a retirement home. ¶ The creators of the production spent a year socialising Sergij Červonji in Ženja z glasovi oskrbovancev and talking to the residents of such an (ostracised) home in Lviv, Ukraine. Svetovalka projekta Expert consultant Viktoria Brindza Svitlane Lysinske, Andrie Buchko, They found a meaningful way to integrate their experience into an art project Yura Syluka in Marka Banka, iz- that focuses on the topic of endless human longing for a better world and, in a Zasedba Cast branih izmed približno sto starej- multi-media concept intertwining documentary, puppet, performative and Danilo Hromov, Kseniia Arnaut, Isabel Merkulova, Nadja Kalinjuk, ših sogovornikov, ki so bili prip- sound and ambience theatre conveys what the artists said, heard and experi- Margarita Pidlužna, Viktor Dikij ravljeni svoje življenjske zgodbe enced there. The project wants to give a voice to elderly – symbolically and javno deliti. ¶ Predstava Jesen na literally (by using original sound recordings in the production) – and place Plutonu vabi gledalce k soočenju z them in the centre of the society, where, as the young team believes, they belong. In Ukraine, 16 percent of lastnimi strahovi, k neusmilje- the population is older than 65, that is seven million people – seven million voices that we have to hear, seven nemu srečanju z demenco, o kate- million stories. In the production, they are represented by puppets Marina, Miroslav, Vencheslav and Zhenya Teme: staranje, minljivost, hrepenenje, ri v družbi neradi razpravljamo. with the voices of the residents Svitlana Lysinska, Andria Buchko, Yur Syluk and Mark Banko, selected from odrinjenost, sočutje, dokumentarno Obravnava življenjske vrednote s around one hundred elderly interviewees who were prepared to share their life stories publicly. ¶ Fall on gledališče, lutke Pluto Topics: aging, mortality, longing, stališča osebe, ki je podlegla času, invites the spectators to face their own fears, to the merciless encounter with dementia, which as a detachment, compassion, ujeta v bolečino in spomine. Ni society, we don’t like to discuss. It deals with life values from the point of view of a person that succumbed documentary theatre, puppets še umrla, živi pa tudi ne več. ¶ to time and is caught in pain and memories. Not dead yet, but no longer living, either. ¶ Artem Galkin 55. Borštnikovo 100 — 101 13. 10. 2020 > 20.00 < 12. 10. 2020 > 10.30 < Stara dvorana Kazinska dvorana Anton Podbevšek Teater Vključevanje Inclusion Oliver Sacks Javni premislek o umetnosti in družbeni odgovornosti Muzikofilija: A public reflection on art and social responsibility Zgodbe o glasbi in možganih Gost Guest Áron Horváth Botka Musicophilia: Tales of Music and the Brain Dogodek traja 60 minut in nima odmora. Running time 60 minutes. No intermission. Glasbenogledališki performans A musical theatre performance

Javni premislek v uvodnem delu vključuje ogled krat- In its introductory part, this public reflection includes the kega igranega filma Delčki (2020) o dečkih, ki morata screening of Delčki/Bits (2020), a short film about two boys prehitro odrasti, o zaupanju, poslavljanju in odgovor- who have to grow up too quickly, about trust, bidding fare- nosti. Sledi premislek mladega režiserja in scenarista, well and responsibility. The film’s young director and screen- ki v precepu nacionalnih identitet, odraščanja v razde- writer will follow it with his reflection on his position of a ljeni družini, osamosvajanja samozaposlenega ustvar- person on the intersection of national identities, on growing jalca, občutljivega umetniškega poklica, postavljene- up in a family divided, on the independence of a self-em- ga pred športno kariero, utrjuje svojo angažirano pot ployed artist, his precarious profession of an artist, which s pomočjo brezpogojne vere v umetnost, prijateljstvo he chose over a career in sports – an artist who strengthens in skupnost. »Ko ustvarjam, se vedno vračam k izku- his engaged career with the help of unconditional faith in art, šnjam, ki so me oblikovale. Velikokrat se tega zavem friendship and community. “When I create, I always return šele, ko je film končan. Zame je najpomembneje os- to the experiences that have formed me. I often only real- 14+ tati iskren – črpati iz sebe in si upati deliti z drugimi. ise that once the film is finished. For me, the most impor- Premiera Première februar 2020, To je preklemano težko, ker notranji glas konstantno tant thing is to remain honest – originating from myself and Anton Podbevšek Teater nagovarja k ugajanju,« pove. ¶ Áron Horváth Botka daring to share with others. This is darned difficult, because Predstava traja 65 minut in nima odmora. Pogovor po predstavi. je režiser, scenarist in snemalec madžarskega rodu iz the inner voice constantly encourages me to be likeable,” Running time 65 minutes. No intermission. Post-performance discussion. Teme: Lendave. Je človek mnogih talentov: pet let je bil član says the author. ¶ Áron Horváth Botka is a Hungarian di- človekovi možgani, nevrološke državne mladinske plavalne reprezentance, tudi mla- rector, screenwriter and cinematographer from Lendava. He motnje, zdravje, spomin, glasba, dinski državni prvak; še zmeraj rad skejta; študiral je is a man of many talents: for five years, he was a member terapevtska moč glasbe likovno umetnost na PF UL. Po treh letih se je vpisal na for Slovenia’s junior swim team, and also the junior national Topics: Akademijo za gledališče, radio, film in televizijo Univer- champion; he still likes to skate; he studied fine arts at the UL human brain, neurological disorders, (mental) health, memory, ze v Ljubljani in tam diplomiral iz filmske in televizijske Faculty of Education. After three years he enrolled to the UL music, therapeutic power of music režije. Med njegovimi kratkimi igranimi in dokumen- Academy of Theatre, film, Radio and Television and graduat- tarnimi filmi, opaženimi na pomembnejših medna- ed in film and television directing. Among his short films are Za podrobnejše informacije o vsebini, ustvarjalcih rodnih festivalih, so Csillag, Zbudi se, Muha, Rebrasto Csillag, Wake Up, A Fly, A Ribbed Afternoon, State of Dreams, in nastopajočih glej opis predstave v sklopu popoldne, Sanjsko stanje, Jogi in škatla, Morala bi bila A Mattress And A Box, We Should Go Somewhere and Bits. Spremljevalni program (strani 56—57). Petra Čeferin For more detailed information about the content, creators and performers nekam iti in Delčki. Živi in dela v Ljubljani, a rad ustvarja He lives and works in Ljubljana, but he has a great passion of the staging, see the description of the show in the filme v domačih krajih in o njih, organizira filmske do- for making films in and about his native region, organising Accompanying Program section (pages 56—57). godke in uveljavlja filmsko umetnost. ¶ film events and promoting film art.¶ Arhiv Árona Horvátha Botke 55. Borštnikovo 102 — 103 12. 10. 2020 > 15.30 < 13. 10. 2020 > 11.00 < Komorni oder Knjižnica GT22 Gledališki laboratorij Theatre Lab Uporaba tehnologije iz vsakdanjega življenja na odru Izkustvena delavnica za mentorje A workshop for mentors Everyday Technology on Stage Ustvarjalna delavnica za mlade A workshop for young creators Vodja delavnice Workshop leader Primož Ekart Vodji delavnice Workshop leaders Zala Ana Štiglic, Monika Pocrnjić

Delavnica se navezuje ne ogled predstave Rumena In the workshop following the viewing of the produc- Delavnica traja 90 minut z odmori po dogovoru. luna in z udeleženci praktično preizkuša metode vode- tion Yellow Moon, participants can empirically test the Running time 90 minutes. Intermissions upon request. nja gledališkega laboratorija za mlade. Osredotoča se methods of running a theatre lab for youth. The workshop na vaje za skupinsko dinamiko, s katerimi lahko mentor focuses on exercises for group dynamics which allow poveže skupino in jo pripravi za ustvarjalni proces, na mentors to unite the group and prepare it for a creative Delavnica se navezuje na ogled predstave Viktorija 2.0, The workshop follows the viewing of the production izkušnjo biti/stati na odru ter na nekatere mehanizme process, for the experience of being/standing on stage ki združuje igro, lutke in video tehnologijo. V prvem delu Victoria 2.0 which integrates acting, puppets and video in orodja, ki omogočajo izražanje vsakokratnega do- and certain mechanisms and tools that allow to express delavnice bodo udeleženci skozi pogovor povzeli teme, technology. Through a discussion in the first part of the življanja, tako aktualnega kot tistega, ki je posledica the present experience, both actual and the one that is a identificirali in formirali dramske zaplete, konflikte in situ- workshop, the participants will summarise the themes, imaginarnih okoliščin. Praktičnemu delu sledi pogovor consequence of imaginary circumstances. The practical acije, ki jih bodo nato v drugem delu poustvarili. Pri tem identify and formulate dramatic plots, conflicts and sit- z refleksijo.¶ Primož Ekart je igralec, gledališki režiser part will be followed by a discussion with reflection. ¶ bo posebna pozornost namenjena likovni podobi prizora, uations which they will then recreate in the second part. in producent, diplomiral je iz dramske igre na UL AGRFT. Primož Ekart is an actor, theatre director and producer tehniki in izvedbi, ki jih bodo udeleženci zasnovali z upo- Particular attention will be given to the visual image of Igral je v več kot osemdesetih gledaliških predstavah, with a degree in acting from the UL AGRFT. He appeared rabo novih medijev, video tehnologije in predmetov iz the scene, as well and the technique and execution, all of nekaj celovečernih filmih, TV-nadaljevankah, radijskih in over eighty theatre productions, several films and TV vsakdanjega življenja. ¶ which the participants will create using new media, video igrah in v predstavah uličnega gledališča. V zadnjem series, radio dramas and street theatre productions. Re- technology and objects from everyday life. ¶ času se posveča predvsem gledališki režiji. Na SVŠ- cently, he has mostly been working as a theatre director. Zala Ana Štiglic je zaključila študij igre na drugi bolonjski GUGL (umetniška gimnazija – smer gledališče in film) He teaches acting and speech as a part of the theatre-film stopnji UL AGRFT, je soavtorica in izvajalka v predstavi Vikto- Zala Ana Štiglic completed the second cycle degree v okviru gledališko-filmske delavnice poučuje igro in workshop at the SVŠGUGL (Performing Arts Grammar rija 2.0. Kot samozaposlena dramska in lutkovna igralka, ple- programme at the UL AGRFT, she is the co-author and govor. V Lutkovnem gledališču Ljubljana je z ekipo School – programme for theatre and film). Together with a salka in performerka je sodelovala v številnih neodvisnih in performer of Victoria 2.0. As a self-employed actor and strokovnjakov zasnoval gledališki laboratorij, ki mlade group of experts at the Ljubljana Puppet Theatre he found- institucionalnih projektih, tudi v televizijski in filmski produkci- puppeteer, dancer and performer, she has collaborated aktivno vključuje v ustvarjalne procese in v katerem je ed a theatre lab that actively includes young people into ji, sedaj je zaposlena v Lutkovnem gledališču Ljubljana. ¶ on a number of independent and institutional projects, kot mentor oblikoval gledališko avanturo Vihar v glavi in creative processes, and in which he mentored the theatre as well as theatre and film productions, she is currently balado Rumena luna. ¶ adventure Brainstorm and the ballad Yellow Moon. ¶ Monika Pocrnjić je študirala likovno pedagogiko na employed at the Ljubljana Puppet Theatre. ¶ Pedagoški fakulteti UM. Zanimajo jo umetnost, estetika, biologija, tehnologija, antropologija in pedagogika, vsa Monika Pocrnjić studied Fine Arts Education at the UM ta področja pa zgledno povezuje na področju eksperi- Faculty of Education. She is interested in arts, aesthetics, mentalne umetniške elektronike po načelu »D.I.Y.« (naredi biology, technology, anthropology and pedagogy, and she sam). Raziskuje vrednosti estetske dimenzije, ki oprede- successfully merges all these fields in the field of experi- ljuje umetnost kot komunikacijsko izkušnjo. ¶ mental artistic electronics, which follows the D.I.Y. princi- ple. She researches the worth of the aesthetic dimension, which determines art as a communication experience. ¶ 55. Borštnikovo 104 — 105 13. 10. 2020 > 12.30 & 16.00 < 14. 10. 2020 > 10.00 < 14. 10. 2020 > 15.30 < Vetrinjski dvor Lutkovno gledališče Maribor občutenje mesta Sensing the CITY Senzorialni sprehod po Mariboru Predstava od spočetja do odmeva A sensorial walk through Maribor Performance from Conception to Perception Voditelj Guide Rajko Muršič Seminar za učitelje in ustvarjalce A seminar for teachers and artists Dogodek traja 90 minut. Running time 90 minutes. Seminar poteka v treh delih, vsak traja 90 minut. Odmori po dogovoru. Running time 90 minutes per part. Intermissions upon request. Vodja seminarja Seminar leader Iva Moberg

Seminar se navezuje na predstavo Bratje in sestre ter The seminar follows the viewing of the production Čutni sprehod po središču mesta, tudi v izbranih A sensorial walk through the city centre, including some detajlno in praktično pojasni metode in načela ustvarja- Brothers and Sisters and explains, in detail and with prac- notranjih prostorih, je vodeni dogodek, na katerem selected interiors, is a guided event during which the par- nja skupine NIE, ki je za svoje odlično dvajsetletno delo tical examples, the creative methods and principles of the sprehajalci in sprehajalke usmerijo svojo pozornost na ticipants direct their attention to the wholesome sensorial prejela več pomembnih mednarodnih nagrad. Usposa- NIE group, a recipient of several important international celotno čutno zaznavo v posameznih ambientih, pri perception in individual environments, while following the bljanje poteka v treh delih, ki obravnavajo posamezne awards for its outstanding two decades of work. The tem sledijo voditelju sprehoda in med seboj ne govorijo guide, without any communication between the partici- faze v vsebinskem življenju predstave za mlade: training will be in two parts, tackling the individual phases ter ne uporabljajo mobilnih telefonov. Sam sprehod pants or using mobile phones. The walk itself takes about ▶ spočetje – zasnova ideje, oblikovanje metode in in the life of a production for young audience: traja okoli pol ure, pri čemer sam uvod zajema kratko half an hour; it is introduced with a brief presentation of the postopka, preverjanje merodajnosti teme ▶ conception – a concept of the idea, designing predstavitev pravil in namena, sprehodu pa sledita rules and purpose and followed by a reflection and dis- ▶ razvoj – raziskava, zbiranje in urejanje gradiv, the method and the procedure, testing the merit of refleksija in diskusija.¶ Dogodek se navezuje na iz- cussion. ¶ The event relates back to the experience of the ustvarjalni proces, rojstvo predstave the theme kušnjo žanrsko raznolikih predstav v programskem diverse productions in the Young Theatre module, which ▶ odmev – igranje predstave, vključevanje občinstev v ▶ development – research, gathering and organising sklopu Mlado gledališče, ki nagovarjajo vse gledalčeve address all the spectator’s senses, while raising awareness spremljevalne delavnice in pogovore, razvoj predstave materials, creative process, birth of the show čute, pri tem pa ozavešča nesporno dejstvo komple- about the indisputable fact of a complex experiencing of ▶ perception – performing the show, including the ksnega doživljanja umetnosti in življenja. ¶ Dr. Rajko art and life. ¶ Rajko Muršič (PhD) is an ethnologist and cul- Vsebina postopoma prehaja od perspektive ustvar- audience into accompanying workshops and Muršič je etnolog in kulturni antropolog, redni profesor tural anthropologist, a professor at the Department of Eth- janja do vidika gledanja, pri čemer izpostavlja ključne debates, developing the show na Oddelku za etnologijo in kulturno antropologijo nology and Cultural Anthropology at the UL Faculty of Arts, značilnosti procesov, pomembne učinke rezultatov in Filozofske fakultete Univerze v Ljubljani in velik ljubitelj and a great music aficionado. He researches and writes in bistvene naloge odraslih v vseh fazah življenja katere- The content gradually shifts from the perspective of cre- glasbe. Raziskuje in piše na področjih epistemologije in the areas of epistemology and methodology, anthropology koli kakovostne predstave za mlade. ¶ ating to the aspect of watching, with the emphasis on the metodologije, antropologije popularne glasbe, urbane of popular music, urban anthropology, anthropology of key characteristics of the processes, important effects antropologije, antropologije prostora, identifikacijskih space, identification processes, racism, anthropology of Iva Moberg je magistrirala na gledališki akademiji of the results and essential tasks of the adults in all the procesov, rasizma, antropologije čutov idr. Angažiran senses etc. He is a part of more than a dozen international DAMU v Pragi, na katedri za alternativno in lutkovno phases of life of any quality production for the young. ¶ je v več kot ducat mednarodnih in domačih strokovnih and Slovenian professional associations, editorial boards gledališče. Skupaj z Alexom Byrnom in Kjellom Mober- društvih, uredništvih in drugih telesih, redno sodeluje and other bodies, and regularly collaborates in preparing of gom je leta 2011 ustanovila mednarodno skupino New Iva Moberg got her master’s degree at the theatre acad- pri pripravah znanstvenih in strokovnih srečanj. Je tudi scientific and academic meetings. He is also the member International Encounter, ki ustvarja vrhunske predstave, emy DAMU in Prague, at the Department of Alternative član organizacijskega odbora mednarodne konference of the organising committee of the international confer- organizira usposabljanja, delavnice in gostuje po vsem and Puppet Theatre. In 2011, she, Alex Byrn and Kjell Senzorialno v gledališču – na sledi vonjav v vsakdanjem ence Sensorian in Theatre - On the Scent Trail In And Beyod svetu. Znani so po posebni metodi procesnega ustvar- Moberg founded the international group New Internation- življenju in onkraj njega. ¶ V sodelovanju s Slovenskim Everyday Life. ¶ In collaboration with the Slovenian Theatre janja, ki rezultira v tematsko, sporočilno in estetsko al Encounter, where they create high quality productions, gledališkim inštitutom (SLOGI) ¶ Institute (SLOGI) ¶ merodajnih ter komunikativnih uprizoritvenih formah za organise trainings, workshops and tour all over the world. mlado občinstvo. ¶ The group is famous for a special method of process creation which results in performance formats for young Tretjemu delu ob 17.00 sledi kratka refleksija tridnevne audiences that are a benchmark in themes, message and izkušnje z naslovom Kaj pa zdaj?, ki je namenjena izme- aesthetic, and are also communicative. ¶ njavi vtisov, spoznanj in predlogov. ¶ At 17.00, after the part three, a brief reflection will follow on the three-day experience titled And Now What?, aimed at exchanging impressions, knowledge and suggestions. ¶ 55. Borštnikovo 106 — 107

Heiner Müller Kakšna plodna predstava: Kvartet muzej naših ljubezni Quartet What a Fruitful Performance: Produkcija VI. semestra Museum of Our Loves DI, GLR in DSU UL AGRFT Razstava v okviru projekta Kvartet An exhibition within Gregor Strniša 12—25 October 2020 Maribor, 12.—25. oktober 2020 55. Borštnikovo the Quartet project Ljudožerci UL AGRFT, FBS, GT22 Cannibals Produkcija VII. semestra Kako ravnati s tem strojem? DI in GLR UL AGRFT How to Handle this Machine? Delavnica v okviru projekta Kvartet Študentsko gledališče Ödön von Horváth A workshop within the Quartet project Kazimir in Karolina Student Theatre Kasimir and Karoline Saško Brama Produkcija III. semestra Izkustveno gledališče DI, GLR in DSU UL AGRFT Experiential Theatre Praktični seminar Minutna drama A practical seminar Minute Drama Mednarodni projekt Borštnikov blog An international project Borštnik Blog UL AGRFT UL AGRFT, FBS 55. Borštnikovo 108 — 109 Študentsko gledališče Student Theatre

Program Študentskega gledališča se zaradi rdečih Due to red lists, the Student Theatre programme has to seznamov brez mednarodne razsežnosti odziva na let go of its international dimension and react to the un- nelagodno stanje v aktualnem medprostoru, ki ga easy situation in the current interspace, on the one side na eni strani zaznamujeta kipeča nuja ustvarjati, na marked by an overwhelming urge to create and on the drugi pa hromeča socialna distanca. Program se other, by a crippling social distancing. The programme usmerja v premoščanje slednje, razpira se kot pova- is oriented towards overcoming the latter; it opens like bilo na potopitev v intimne (so)ustvarjalne procese an invitation to submerge into intimate (co-)creative in k skupnemu doživetju nove uprizoritvene realnosti processes and towards a common experience of the – brez distance. ¶ new performing reality – without distance. ¶ 55. Borštnikovo 110 — 111 15. 10. 2020 > 20.30 < 16. & 17. & 18. & 19. 10. 2020 > 18.00 < Intimno zaodrje GT22 Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani, Festival Borštnikovo srečanje & GT22 Heiner Müller Kvartet Quartet Produkcija VI. semestra DI, GLR in DSU UL AGRFT Production of the VI semester of SA, TD and DPA of the UL AGRFT

Premiera Première 15. oktober 2020, Intimno zaodrje GT22

Predstava traja 75 minut in nima odmora. Running time 75 minutes. No intermission.

Izvedbi 18. oktobra 2020 sledi asovni okvir: salon pred francosko revo- pogovor z ustvarjalci. Post-performance discussion Č lucijo/bunker po tretji svetovni vojni ¶ Zdi on 18 October 2020. se, da je Heiner Müller že s prvo in edino dida- skalijo v tekstu Kvartet povzel velik del svojih Režiserka pogledov na svet in zgodovino. Didaskalija med Director Živa Bizovičar časom pred francosko revolucijo in časom po Dramaturga tretji svetovni vojni postavlja poševnico. Eno Dramaturgs ali drugo, tik preden se zgodi ena najbolj slavnih Iva Štefanija Slosar Nik Žnidaršič revolucij ali po tretji svetovni vojni, ki danes Scenografka nosi prizvok konca sveta, saj gre za isto stvar. Set designer Takšno vzporejanje dveh radikalnih obdobij iz- Nika Curk Kostumografka ničuje njuni lastni radikalnosti, zavrača spre- Costume designer membo in briše njuno posebnost. ¶ Pri pisanju Nina Čehovin Kvarteta je Heiner Müller izhajal iz romana Oblikovalca zvoka Sound designers v pismih Nevarna razmerja, ki ga je leta 1782 Matej Kastelic, Melani Popit kot svoje edino literarno delo napisal Pierre Svetovalec za dramaturgijo Choderlos de Laclos. Izbor ime frame: a salon before the French Revolution/a bunker Dramaturgy adviser Aljoša Lovrić Krapež materiala je zanimiv in T after World War III ¶ With his first and only stage direc- na prvi pogled nima dosti tion in Quartet, Heiner Müller seems to have summarised a Zasedba Cast zveze s siceršnjimi Mül- large part of his view of the world and history. The stage di- Lea Mihevc Blaž Dolenc lerjevimi obravnavanimi rection places a slash between the time before the French Rev- problematikami. Med ča- olution and the time after World War III. One or the other, just Mentorji Mentors sovnim okvirjem in dram- before one of the most famous revolutions happens, or after Dramska igra in gledališka režija sko situacijo, igro markize World War III, which today has a ring of the end of the world Theatre acting and directing doc. Branko Jordan de Merteuil in vikonta de to it, as it appears to be one and the same thing. Such parallel- izr. prof. Jernej Lorenci Valmonta (osrednjih likov ism of two radical eras negates their own radicalism, rejects Dramaturgija Dramaturgy iz Nevarnih razmerij), pa se change and erases their uniqueness. ¶ When writing Quartet, doc. dr. Blaž Lukan prav z njuno navidezno kon- Heiner Müller started from the only literary work by Pierre izr. prof. dr. Tomaž Toporišič tradiktornostjo vzpostavlja Choderlos de Laclos: his 1782 epistolary novel Dangerous Liai- ScenografijaSet design izr. prof. mag. Jasna Vastl eno najprepoznavnejših razmerij Müllerjeve sons. The choice of material is interesting and at first sight does not have much in common with Müller’s KostumografijaCostume design dramatike, radikalizirana oblika odnosa other usual topics. Between the time frame and the drama situation, the game of the Marquise de Merteuil red. prof. Janja Korun homo homini lupus. // Iva Š. Slosar ¶ Projekt and the Vicomte de Valmont (the central characters from Dangerous Liaisons), it is through their apparent asist. mag. Tina Kolenik Kvartet zaokrožujeta razstava Kakšna plodna contradiction that one of the most recognisable relationships of Müller’s drama is established, a radicalised Jezik in govor Language and speech predstava: muzej naših ljubezni in delavnica form of the homo homini lupus relationship.// Iva Š. Slosar ¶ The Quartet project is accompanied by the exhi- asist. dr. Nina Žavbi Kako ravnati s tem strojem? ¶ Sara Rman bition What a Fruitful Performance: Museum of Our Loves and the workshop How to Handle this Machine? ¶ 55. Borštnikovo 112 — 113 17. 10. 2020 > 20.00 < Stara dvorana Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani Gregor Strniša Ljudožerci Cannibals Produkcija VII. semestra DI in GLR UL AGRFT Production of the VII semester of SA and TD of the UL AGRFT

Premiera Première januar 2020, Levi oder SNG Drama Ljubljana

Predstava traja 2 uri 45 minut in nima odmora. Running time 2 hours 45 minutes. No intermission.

Predstavi sledi pogovor z ustvarjalci. judožerci so poetična drama Post-performance discussion. Lenega najbolj samosvojih in iz- povedno najmočnejših slovenskih Režiser Director Luka Marcen pesnikov in dramatikov Gregorja Dramaturginja Dramaturg Strniše. Avtor je igro podnaslovil kot Tery Žeželj Mrtvaški ples in skoznjo zarisal svet, Scenografka Set designer Sara Slivnik ki ga poganjata brezmejna lakota in Kostumografka Costume designer vseprisoten strah. ¶ Druga svetovna Ana Janc vojna gre h koncu in revna družina Avtorja glasbe Composers Ema Kobal, Martin Vogrin na begu išče primeren prostor za Oblikovalka svetlobe Lighting designer skrivališče in bivališče. Naposled se Mojca Sarjaš zatečejo v zapuščeno kapelo, ki jo njen prior beguncem Oblikovalka odrskega giba Stage movement designer odstopi za miren dom, spokojno spanje. A oče Pajot, me- Aja Zupanec sar in klobasar, ritual bogoslužja blasfemično zamenja za ritual krpanja svoje lakote in celo divjega in donos- annibals are a poetic drama by one of the most unique and expressive Slovenian poets Zasedba Cast Peter Pajot Žan Brelih Hatunić nega poslovanja. Noben biznis namreč ni boljši, kot je Cand playwrights, Gregor Strniša. The author subtitled the play as A Dance macabre Florijan Falac Gal Oblak vojni biznis. V priročno skriti kripti si uredi delavnico and through it sketched a world perpetuated by endless hunger and omnipresent fear. Matilda Lara Fortuna in z izgovorom, da je pač treba preživeti, pobija, kol- ¶ The Second World War is drawing to a close and a family of poor refugees is in search Marta Julija Klavžar Marija, kasneje tudi Goščarka je, razkosava, melje, prodaja in kupčuje – s človeškim of a hiding place and shelter. They finally take refuge in an abandoned chapel, which its Maria, later also Resistance member Nika Vidic mesom. ¶ Dva groteskna klovna, skoraj gluhi Pajot in prior lets them use for a peaceful home, serene sleep. But Pajot, the father, also a butcher Majdalenka Lara Wolf njegov pajdaš, napol slepi kuhar Falac, se ujameta v and a sausage maker, sacrilegiously replaces the ritual of worship with the ritual of Srčev fant, kasneje tudi Tenente Jack of Hearts, later also Tenente Andraž Haruer peklenski mehanizem ubijanja, ki s porogljivo kanibal- patching his hunger and even the ritual of wild, profitable business. There’s no business Križeva dama Queen of Clubs Lana Bučevec sko logiko omogoča preživetje. Družino to nasiti in ji like war business, after all. In a handily hidden crypt he sets up his workshop and with Pikov as Ace of Spades Martin Mlakar zagotovi mir sredi bomb in strelskih rafalov, hkrati pa the excuse that one must survive, kills, slaughters, dismembers, grinds, sells and trades Prior, kasneje tudi Major Prior, later also Major Luka Bokšan jih njihovo početje zavrti na – human flesh.¶ Two grotesque clowns, the almost plesu ironizirane ljudožer- deaf Pajot and his accomplice, the half-blind cook Mentorji Mentors ske klovnade, kjer plesalce za Falac, are caught up in the hellish mechanism Dramska igra in gledališka režija roke (in za vratove) držijo po- of killing, which enables survival using the Acting and directing doc. Matjaž Tribušon, red. prof. Matjaž Zupančič trebe polnih trebuhov, izdaj, sarcastic cannibalistic logic. It feeds the fami- Scenografija Set design laži, mesenega poželenja in ly and provides it with peace amidst the bombs izr. prof. mag. Jasna Vastl grabežljivosti. ¶ Željko Stevanić and machine-gun fire, but at the same time their Kostumografija Costume design actions spin them in the dance of the ironized red. prof. Janja Korun, asist. mag. Tina Kolenik Jezik in govor Language and speech cannibalistic clown carnival, where dancers’ izr. prof. dr. Katarina Podbevšek hands (and necks) are held by the needs of full izr. prof. mag. Alida Bevk bellies, betrayals, lies, carnal desire and greed. ¶ 55. Borštnikovo 114 — 115 17. 10. 2020 > 21.00 < 18. 10. 2020 > 20.00 < Mali oder Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani Ödön von Horváth Kazimir in Karolina Kasimir and Karoline Produkcija III. semestra DI, GLR in DSU UL AGRFT Production of the III semester of SA, TD and DPA of the UL AGRFT

Premiera Première februar 2020, Velika gledališka dvorana UL AGRFT

Predstava traja 70 minut in nima odmora. eto 1932, Nemčija, Oktoberfest. ¶ Revščina in Running time 70 minutes. No intermission. L lakota, ki ju je pred tremi leti začela gospodar- ska kriza, ljudi čedalje bolj in bolj potiskata v obup. Izvedbi 18. oktobra 2020 sledi pogovor z ustvarjalci. Post-performance Kazimir je včeraj ostal brez službe in se boji, da bo discussion on 18 October 2020. tudi on postal del obubožane množice, medtem ko se želi Karolina ta večer sprostiti, pozabiti na pisarni- Prevajalec Translator ško delo in se prepustiti sanjarjenju o višjem druž- Borut Trekman Režiserja Directors benem položaju. Na kratko: Kazimir, ki se boji za tla Žiga Hren, Aljoša Živadinov Zupančič pod nogami, in Karolina, ki si želi leteti. ¶ Predstava Dramaturginji Dramaturgs se ukvarja z vprašanji o navzkrižnih hrepenenjih v Manca Lipoglavšek, Helena Šukljan Scenografka Set designer človeških odnosih. ¶ Je konec odnosa zapisan že na Maruša Mali njegovem začetku ali gre pri vsem tem zgolj za splet Kostumograf Costume designer naključij in napačnih odločitev? Kaj se zgodi z ljudmi, Claudi Sovré Mikelj Oblikovalca svetlobe in zvoka ko v želji, da bi utopili spomine in pozabili, poseže- Lighting and sound designers jo po alkoholu? ¶ Ali so Žiga Hren, Aljoša Živadinov Zupančič sanje zares zgolj praz- Zasedba Cast ne marnje? In če v času ermany, Oktoberfest, 1932. Kazimir Kasimir Nejc Jezernik krize obstaja upanje, G ¶ Poverty and hunger, trig- Karolina Karoline Julita Kropec kdaj ga človek izgubi? ¶ gered three years earlier by the Schürzinger Mak Tepšić Merklov Franc Franz Merkl Maks Dakskobler economic crisis, increasingly Erna Merklovega Franca Erna Merkl Diana Kolenc push people towards desperation. Rauch Jure Rajšp Kazimir lost his job yesterday and Speer Žiga Hren Bolničar Orderly Aljoša Živadinov Zupančič now fears that he, too, will become Elli Manca Lipoglavšek a part of the impoverished mass, Marija Maria Helena Šukljan while Karolina wants to let go this evening, forget about the of- Mentorji Mentors fice work and lose herself in day- Dramska igra Stage acting dreaming about a higher social prof. Branko Štrubej position. In short: Kazimir, afraid Gledališka režija Theatre directing to lose the ground beneath his feet, Janusz Kica and Karolina, who wants to fly. ¶ The production asks questions Dramaturgija Dramaturgy Izr. prof. dr. Tomaž Toporišič about star-crossed longing in human relationships. Is the end of a ScenografijaSet design relationship already inscribed into its beginning, or is it merely a prof. mag. Jasna Vastl set of coincidences and wrong decisions? What happens to people KostumografijaCostume design prof. Janja Korun, doc. mag. Tina Kolenik who, in the desire to drown their memories and forget, reach for Oblikovanje svetlobe Lighting design the bottle? Are dreams really just a pile of twaddle? And if there is doc. David Orešič hope in the time of crisis, when does one lose it? ¶ Željko Stevanić 55. Borštnikovo 116 — 117 19. 10. 2020 > 17.00 < Komorni oder Minutna drama ▲ Minute Drama Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani Academy of Theatre, Radio, Film and Television, University of Ljubljana Mednarodni projekt An international project Vodja projekta Project leader Žanina Mirčevska

Strokovna žirija v sestavi asist. Eva Mahkovic, The members of the jury (Eva Mahkovic, Zala Dobovšek, očetova razlaga resnična ali ne, s tem pa pušča prostor different interpretations. We especially emphasize the asist. dr. Zala D obovšek, izr. prof. dr. Tomaž Topori- Tomaž Toporišič, Blaž Lukan, Benjamin Zajc and Jakob za različne interpretacije. Pri tem posebej izpostavlja- well-chosen dramatic situation (birthday party), which šič, doc. dr. Blaž Lukan, Benjamin Zajc in Jakob Ribič Ribič) have read all 25 texts. In doing so, we can happily mo dobro izbrano dramsko situacijo (rojstnodnevna succeeds in thickening the atmosphere of the text and z veseljem ugotavlja, da se je število prispelih besedil note that the number of received texts has significantly zabava), ki zgošča atmosfero besedila in dinamizira dynamizing its course (death and the celebration of life precej povečalo. Prebrali so vseh petindvajset enomi- increased since last year. Below we share our observa- njegov potek (smrt in slavje življenja loči le nekaj se- are separated by only a few seconds). ¶ The third prize is nutnih dram, ki so v roku prišle na mednarodni natečaj. tions on this year’s competition and the justifications for kund). ¶ Tretjo nagrado podeljujemo besedilu Who‘s awarded to the text Who’s there?, in which protagonists Po razpravi so se soglasno odločili, da podelijo nagrade the prizes. ¶ The tradition of short plays (ranging from there?, v katerem protagonista v paniki pred nekom are feeling from a threat across a river. The author does naslednjim dramam: Tradicija kratkih uprizoritvenih the futuristic synthesis, Fluxus scores (instructions for bežita čez reko. Pri tem avtor ne določi, kdo točno sta not determine who exactly the protagonists are (they are besedil (od futurističnih sintez, Fluxus scores (navodil performers) to Beckett’s famous play Breath) aims for the prebežnika (označena sta samo kot On in Ona), zaradi referred to only as “He” and He and She) which makes it za performanse) do slovite kratkosapne Beckettove short format to encourage authors to utilize more daring česar je besedilo možno interpretirati na različne nači- possible to interpret the text in various ways, including igre Breath) napeljuje k temu, da kratek format avtorje and innovative approaches to the dramatic form. We ne, tudi takšne z implicitno politično konotacijo. Avtorja those with implicit political connotations. The author is spodbuja k drznejšim in inventivnejšim postopkom na believe that the short form allows authors more exper- odlikuje izčiščen slog, s poetizirano govorico pa ob distinguished by a refined style a with poeticized type ravni dramske forme. Menimo, da kratka forma avtor- imentation with dramatic writing and its laws. Contrary koncu ustvarja učinkovit kontrast s sicer intenziviranim of expression which creates an effective contrast with jem omogoča več eksperimentiranja z dramsko pisavo to expectations, however, most of the texts were written dramskim ozračjem. V didaskalijah se besedilo zvečine the otherwise intense dramatic atmosphere. The stage in njenimi zakonitostmi. V nasprotju s pričakovanji and structured in a classical, predominantly dialogical osredotoča na opisovanje zvokov, zaradi česar na kon- directions mostly focus on describing sounds, which pa je bila večina besedil napisanih in strukturiranih v form, and did not enter into a dialogue with the format cu izstopa predvsem izvrstna in izjemno bogata zvočna makes the masterful and rich sound design really stand klasični, pretežno dialoški obliki, in ni stopila v dialog itself. Despite this, some received texts did exceed the slika. Ta odločitev napotuje h kar najbolj različnim nači- out. This decision points to as many different ways of s svojim formatom. Kljub vsemu je nekaj prispelih be- traditional framework of playwriting, but there were also nom uprizarjanja besedila. ¶ staging the text as possible. ¶ sedil preseglo klasične okvire dramskega pisanja, bilo quite a few of those that stood out within the otherwise pa je tudi kar nekaj takšnih, ki so izstopala znotraj sicer traditional dramatic structure. We highlight and honour tradicionalne dramske strukture. Pri tem kot posebej three texts as particularly successful; ¶ The first prize is uspešna izpostavljamo in nagrajujemo tri besedila: ¶ awarded to the text The End, in which the author (with Prvo nagrado podeljujemo besedilu The End, v katerem painstaking decimal precision) unfolds the timeline of je avtor v do stotinke natančno izpisanem časovnem our planet’s history (from the big bang up to today) and poteku podal zgodovino našega planeta (od velikega in a dystopian fashion, terminates it at its destruction. poka do današnjega časa) in jo v distopičnem duhu The text, written in an inventive and multi-layered form 1. Avtorica Helena Šukljan Režiser minutnih uprizoritev Director Luka Marcen zaključil s koncem sveta. Besedilo, izpisano v invenci- of playwriting has a great staging and potential, since it Konec The End Dramaturginja Dramaturg Urša Majcen ozni večplastni dramski formi, ima velik uprizoritveni lends itself to different and more ambitious staging pro- Akademija za gledališče, radio, film in televizijo Scenografka Set designer Sara Slivnik potencial, saj napotuje k drugačnim in ambicioznejšim cedures. In addition, the text also boasts a courageous Univerze v Ljubljani Kostumografka Costume designer Ana Janc uprizoritvenim postopkom. Poleg tega v besedilu pre- and clearly expressed critical attitude; furthermore, the Mentorica red. prof. mag. Žanina Mirčevska Avtor glasbe Composer Martin Vogrin poznavamo tudi pogumno in jasno izraženo kritično author’s decision to inscribe the density of the entire 2. Avtor Filip Gažo Svetovalka za gib Movement consultant Aja Zupanec držo, ob tem pa avtorjevo odločitev, da v kratko, enomi- earth’s history into a short, one-minute dramatic form is Samomorilsko sporočilo A Suicide Note Igralci Actors nutno dramsko formo vpiše gostoto celotne zemeljske highlighted as extremely imaginative and productive. ¶ Janáčkova akademija uprizoritvenih umetnosti, Gaja Filač, Lara Fortuna, zgodovine, izpostavljamo kot izjemno domiselno in The second prize is awarded to the text A Suicide Note, in Gledališka fakulteta v Brnu (CZ) Filip Mramor, Gal Oblak produktivno. ¶ Drugo nagrado podeljujemo besedilu A which the author writes the story of a father who is read- 3. Avtor Tomá Ralis Suicide Note, v katerem avtor izpisuje zgodbo o očetu, ing a farewell letter on his birthday. At the last moment Kdo je tam? Who‘s there? Dogodek traja 60 minut in nima odmora. ki na svoj rojstni dan prebira poslovilno pismo. V zad- he is caught by his family; it turns out that this is just Akademija uprizoritvenih umetnosti v Pragi, Running time 60 minutes. No intermission. njem trenutku ga zaloti družina in izkaže se, da gre le an annual ritual for him: the text had been written in his Gledališka akademija DAMU (CZ) za njegov vsakoletni ritual: besedilo naj bi napisal že v youth, each birthday he reads it as a reminder for himself. Mentor prof. dr. Jan Vedral Uprizoritvam treh nagrajenih besedil sledi pogovor mladosti, za rojstni dan pa ga vsako leto prebere sebi v The text’s surprising unfolding is written in a skilful and z avtorji nagrajenih minutk in ustvarjalci uprizoritev. opomin. Avtor presenetljivi iztek besedila spiše v spret- subtle manner that makes the reader unsure whether the A discussion with awarded authors and creators ni maniri, zaradi česar bralcu ni povsem jasno, ali je father’s explanation is true or not; thus, leaving room for after performances of all three staged texts. 55. Borštnikovo 118 — 119 14. 10. 2020 > 18.00 < 16. 10. 2020 > 15.00 < GT22 GT22 Kakšna plodna predstava: muzej naših Kako ravnati s tem strojem? ▲ How to HANDLE this Machine? ljubezni ▲ What a Fruitful Performance: Museum of Our Loves Delavnica v okviru projekta Kvartet A workshop within the Quartet project Razstava v okviru projekta Kvartet An exhibition within the Quartet project Vodja delavnice Workshop leader doc. Branko Jordan, UL AGRFT Produkcija VI. semestra DI, GLR in DSU UL AGRFT Delavnica traja 2 uri 30 minut z odmori po dogovoru. A production of the VI semester of SA, TD,DPA of the UL AGRFT Running time 2 hours 30 minutes. Intermissions upon request.

V edinstvenih okoliščinah, ki so neposredno in radi- In unique circumstances, which directly and radically kalno posegle v ustaljene študijske procese, so znotraj interfered with the set study processes, within the frame okvirja dramskega besedila Kvartet Heinerja Müllerja, Heiner Müller’s Quartet that begins with an enigmatic, ki se začne z enigmatično, skrajno precizno didaskalijo and extremely precise stage direction a salon before the salon pred francosko revolucijo/bunker po tretji svetovni French Revolution/a bunker after World War III, materials, vojni, nastajali materiali, raziskave in izdelki, na podlagi research and products were created and the students of katerih se študenti VI. semestra dramske igre, gledališke VI semester of stage acting, theatre directing and drama- režije in dramaturgije pod mentorskim vodstvom doc. turgy under the mentorship of Branko Jordan and Jernej Branka Jordana in izr. prof. Jerneja Lorencija na Festivalu Lorenci are now presenting them at the Maribor Theatre Borštnikovo srečanje in v sodelovanju z GT22 predsta- Festival (and in collaboration with GT22) in the format vljajo s knjigo, razstavo, delavnico in naposled tudi s of a book, an exhibition, a workshop and finally a perfor- predstavo/produkcijo. Seveda v duhu časa in prostora, mance/production. Of course in the spirit of time in which ki ga živimo. ¶ Projekt je destilacija nevarnih razmerij, ki we live. ¶ The project is a distillate of dangerous liaisons, so jih narekovali virus, fizična distanca, študij na daljavo, dictated by the virus, physical distance, distance learning, Vzemimo stavek iz Manifesta igralke: »Gledališče mora Docent Branko Jordan je doštudiral dramsko igro in novi mediji, politične in družbene spremembe, obču- new media, political and social changes, the feeling of biti igrivo in svobodno.« ¶ Poglejmo v globino njenih oči, umetniško besedo na UL AGRFT, po diplomi se je na tek nemoči in želja po ustvarjanju. ¶ »Kakšna plodna powerlessness and the desire to create. ¶ “What a Fruit- kjer se nabira solza. Na eni strani želja, potreba, nuja po ISTA dodatno izobraževal iz gledališke antropologije. Bil predstava: muzej naših ljubezni. Mrtve sanje, razvrščene ful Performance: Museum of our Loves. Dead dreams, ustvarjalnosti, na drugi strani kontekst, ki nas obdaja: je član različnih institucionalnih umetniških ansamblov, po abecedi ali po kronološkem redu, osvobojene naklju- alphabetically or chronologically, liberated from the coin- tesnoba, strah, izolacija. Med obema neskončno polje sodeloval v številnih, nekaterih mednarodnih kopro- čij mesa in grozljivosti spreminjanja.« ¶ cidences of the flesh and the horror of changing.” ¶ neznanega. Kako vstopiti vanj, kako ga napolniti, kako dukcijah, dejaven je v neodvisnem prostoru (Betontanc, se odzvati, v kaj se usmeriti, na kakšen način delovati. ¶ Beton Ltd.) – tudi kot avtor, soavtor, dramaturg ali snova- Razstava bo na ogled v GT22 med 15. in 22 oktobrom The exhibition is open for visitors in GT22 from 15 to 22 Ustvarjanje kot temeljni princip. Okoliščine, ki so za to lec uprizoritvenega koncepta. V gledališču ga ne zanima 2020 vsak dan od 10.00 do 20.00. ¶ October 2020, every day from 10.00 am to 8.00 pm. ¶ potrebne. Odločitve, ki so za to nujne. ¶ Metodologija, ki zgolj igra, niti vezanost na posamezen igralski ansambel, temelji na izkušnjah iz korona semestra, v obliki delavni- ampak gleda na gledališče kot na celoto, v kateri lahko Avtorji Authors ce omogoča vpogled v proces igralčevega dela. ¶ Delav- soustvarja v različnih segmentih. Je pedanten ustvarja- Živa Bizovičar, Gaja Filač, Živa Bizovičar, Gaja Filač, nica poteka ob razstavi Kakšna plodna predstava; muzej lec s ponotranjeno energijo, ki vloge oblikuje navidezno Klemen Kovačič, Klara Kuk, Klemen Kovačič, Klara Kuk, naših ljubezni. ¶ umirjeno, s ščepcem hudomušnosti, ter visokošolski Gašper Lovrec, Lea Mihevc, Gašper Lovrec, Lea Mihevc, učitelj za dramsko igro in umetniško besedo na Katedri Filip Mramor, Domen Novak, Filip Mramor, Domen Novak, Let’s take a sentence from the Manifesto of an Actress: za dramsko igro UL AGRFT. ¶ Ivana Percan Kodarin, Ivana Percan Kodarin, “Theatre must be playful and free.” ¶ Now, let’s look into Tina Resman, Iva Štefanija Slosar, Tina Resman, Iva Štefanija Slosar, the depth of her eyes, where a tear is forming. On the Assistant professor Branko Jordan studied stage act- Jure Žavbi, Veronika Železnik, Jure Žavbi, Veronika Železnik, one side, the desire, the urge for creativity, on the other, ing and artistic word at the UL AGRFT. After graduation Blaž Dolenc k. g. a. g. Blaž Dolenc k. g. a. g. the context that surrounds us: anxiety, fear, isolation. Be- he continued his education in theatre anthropology at tween the two, there is an endless field of the unknown. ISTA. He was a member of several institutional artistic How to enter it, how to fill it, how to respond, where to ensembles, and participated in many, often international, turn, how to act. ¶ Tackling creativity as the basic prin- co-production, he is active on the independent scene ciple. Circumstances that are required. Decisions that (Betontanc, Beton Ltd.) – as well as an author, co-author, are necessary. ¶ Methodology based on the experience dramaturg or creator of the concepts for performances. from the corona semester, in the form of a workshop, In theatre, he is not only interested in acting, nor in being allows the insight into the process of the actor’s work. committed to a single ensemble, but views theatre as a ¶ The workshop takes place along with the exhibition whole in which he can create in different segments. He What a Fruitful Performance: Museum of our Loves. ¶ is a studious artist whose energy is internalised, and his creative method ostensibly calm, with a pinch of hu- mour, and a university lecturer for stage acting and artis- tic word at the chair of stage acting of the UL AGRFT. ¶ 55. Borštnikovo 120 — 121 14.–20. 10. 2020 > 10.00 < 12.–25. 10. 2020 Komorni oder Borštnikov blog ▲ Borštnik Blog Akademija za gledališče, radio, film in televizijo Izkustveno gledališče ▲ Experiential Theatre Univerze v Ljubljani in Festival Borštnikovo srečanje Praktični seminar A practical seminar Academy of Theatre, Radio, Film and Television, Voditelj Leader University of Ljubljana, and Maribor Theatre Festival Saško Brama (UA) Urednice Editors Manca Lipoglavšek, Urša Majcen, Helena Šukljan Seminar se navezuje na predstavo Jesen na Pluto- The seminar is connected to the production Fall on Redaktor Editorial office nu – ogled uprizoritve 14. oktobra 2020 ob 20.00 in Pluto – the performance on 14 October 2020 at 20.00 Nik Žnidaršič pogovor z ustvarjalci po ogledu predstavljata izhodi- and the discussion with the creators afterwards are Blogarji in vlogarji Bloggers and vloggers šče za spoznavanje izkustvenih načel uprizoritvenih the starting point to learn about the experiential princi- študenti UL AGRFT in gostje UL AGRFT students and guests postopkov. ¶ Na petih štiriurnih srečanjih med 15. ples of performative procedures. During five four-hour Mentorja Mentors in 19. oktobrom 2020 ob 10.00 na Komornem odru meetings between 15 and 19 October and 2020 at izr. prof. dr. Tomaž Toporišič, izr. prof. dr. Aldo Milohnić SNG Maribor Saško Brama udeležencem predstavi 10.00 on the SNT Maribor Chamber Stage, Sashko teoretična izhodišča, potek in izzive dveh projektov, Brama will present the theoretical foundations, process Blog z vlogom je nadaljevanje in nadgradnja projekta, ki The blog with a vlog is a continuation and an upgrade of Jesen na Plutonu in Orfej UA, ob koncu pa vpelje še and challenges of two projects, Fall on Pluto and Or- so ga študenti UL AGRFT na pobudo festivala zasnovali the project that the UL AGRFT students conceived and razvojni karantenski projekt WE. Udeleženci spreje- pheus UA, and at the end also introduce his quarantine in uspešno izvedli že leta 2019. Urejajo ga študentke in realised successfully in 2019. It is edited by the students majo slikovite in emotivne vsebine preko vizualnih project in development, WE. The participants take in študenti Oddelka za dramaturgijo in scenske umetnosti from the Department of Dramaturgy and Performing gradiv in obravnavajo proces preoblikovanja teh picturesque and emotive content via visuals and study v sodelovanju s študenti Oddelka za film in televizijo, Arts in collaboration with the students from the Depart- zbranih izkušenj v družbenokritične umetniške pro- the process of transformation and collected experienc- nastaja pa v sodelovanju s študentkami in študenti vseh ment of Film and Television and created in collaboration jekte s poudarkom na konkretnih transformacijskih es into socio-critical art projects with an emphasis on smeri. Vključuje najrazličnejše besedilne zvrsti, film- with students from all the programmes. It includes izzivih. ¶ Seminar se zaključi s pogovorom 20. ok- concrete transformational challenges. ¶ The seminar ske formate in fotografije, ki jih nadgrajujejo tematski different text genres, film formats and photos that are tobra 2020 ob 10.00 na Komornem odru SNG Ma- concludes with a debate on 20 October 2020 at 10.00 pogovori po predstavah študentske selekcije festivala. complemented with topical discussions after the pro- ribor, ki je namenjen refleksiji in izmenjavi izkušenj, on the SNT Maribor Chamber Stage, which is aimed at Namen projekta je živa(hna) in artikulirana festivalska ductions from the student theatre module of the festival. predvsem pa usmerja pozornost na avtobiografska/ reflection and exchange of experience, and particularly refleksija, sveža v premisleku in suverena v stališču, ki The objective of the project is a live(ly) and articulate osebna ustvarjalna izhodišča in kompleksne doku- point the attention to personal starting points and com- zagotavlja neposredno vključevanje študentov v profe- festival reflection, fresh in its thinking and sovereign in mentarne pristope, ki vodijo v angažirano uprizorit- plex documentary approaches that lead into engaged sionalno okolje. ¶ Borštnikov blog letos poteka kot del its opinions, which allows the students to enter the pro- veno komunikacijo. ¶ performative communication. ¶ pilotnih projektov neobveznih praks Univerze v Ljubljani. ¶ fessional environment directly. ¶ This year, Borštnik Blog is a part of the pilot project for extracurricular practical Saško Brama je ukrajinski dramatik in režiser mlaj- Sashko Brama is a Ukrainian playwright and direc- work at the University of Ljubljana. ¶ še generacije. Deluje na področju eksperimental- tor of a younger generation. He works in the field of nega dokumentarnega gledališča. Diplomiral je iz experimental documentary theatre. He graduated in gledališke režije na Dramski fakulteti Nacionalne theatre directing from the Faculty of Arts and Culture univerze Ivana Franka v Lvovu. Njegov diplomski of the Ivan Franko National University in Lviv. His projekt je kritično obravnaval ukrajinski izobraževal- graduation project was a critical study of the Ukrainian ni sistem. Politično situacijo v Ukrajini je reflektiral v education system. He reflected the political situation performativnem koncertu R+J in dokumentarnem in Ukraine in his performative concert R+J and in a projektu Klicni znak Rama. Svoje stvaritve oprede- documentary project Call Sign Rama. He defines his ljuje kot gledališče izkustva – ustvarjanje temelji work as theatre experiences – creativity is based on na njegovi osebni življenjski izkušnji, v katero se his personal life experience into which he delves when poglobi ob soočanju z obravnavano tematiko: ko je faced with the topic he is dealing with: when he was denimo raziskoval tematiko staranja, demence in researching the topic of ageing, dementia and (un)ful- (ne)izpolnjenih hrepenenj, je z ekipo soustvarjalcev filled longings, he and a team of co-creators regularly leto dni redno obiskoval dom za starejše; zasnoval visited residential homes for the elderly; he conceived je multimedijski projekt, ki izhaja iz sedemmesečne a multimedia project that followed a seven-month ekspedicije po ukrajinski meji; v času epidemije je expedition along the Ukrainian border; during the epi- kot odziv na novo vzpostavljeno distanco zasnoval demic his response to the newly established distance globalni multimedijski projekt kratkih dokumentar- was a global multi-media project of short documenta- cev, sopostavljenih v mozaik individualnih karan- ries, set into a mosaic of individual quarantine stories. tenskih zgodb. Piše drame, med njimi Svinjska jetra He writes plays, among them Pork Liver (2011), COMA (2011), COMA (2012) in iDream (2013). ¶ (2012) and iDream (2013). ¶ 55.54. Borštnikovo 122 — 123

Boštjan Lah Dramatika Stanka Majcna Prehodi Transitions in njen uprizoritveni potencial Fotografska razstava Stanko Majcen's Drama Oeuvre A photography exhibition and Its Staging Potential Okrogla miza A round table discussion Anita Wach, Bojan Jablanovec V sodelovanju z Mariborsko knjižnico Physis 12—25 October 2020 Maribor, 12.—25. oktober 2020 55. Borštnikovo Video projekt A video project Pogoji za ustvarjalnost: Via Negativa Projekcija izgubljenega prostora Conditioning Creativity: An Outline Petra Tanko, Ana Perne Of the Lost Space Oder, oddaja o sočasnem gledališču: Okrogla miza A round table discussion Dodatni program 50 let Borštnikovega prstana Združenje dramskih umetnikov The Stage, a radio show about Slovenije Other Events contemporary theatre: 50 Years of the Borštnik Ring Award Marjan Platovšek, Tjaša Platovšek Radio Slovenija, Tretji program Poklon Velikanom slovenskega gledališča A Tribute to the Giants Petra Pogorevc of Slovenian Theatre RAC, biografija Radka Poliča Razstava portretov prejemnikov RAC, A Radko Polič Biography Borštnikovega prstana Predstavitev monografije A portrait exhibition of the A monograph presentation Borštnik Ring laureates V sodelovanju z založbo Beletrina Gledališče, ples in Senzorialno v gledališču performans po COVID-19 Sensorial in Theatre Theatre, Dance and Mednarodni znanstveno-umetniški Performance After COVID-19 simpozij An international scientific Mednarodni simpozij and artistic symposium An international symposium FBS, SLOGI, Senzorium, UL AGRFT & Društvo gledaliških UL FF kritikov in teatrologov Slovenije Rajko Muršič Meta Hočevar Občutenje mesta Prostori igre & Prostori mojega časa Sensing the City Play Spaces & Spaces Of My Time Senzorialni sprehod po Mariboru Predstavitev knjig na Festivalu A sensorial walk through Maribor Borštnikovo srečanje Gledališče Glej A book presentation at the Maribor Pol stoletja neinstitucionalnih Theatre Festival praks Half A Century of Non-Institutional Practices Maria Keck & Tomaž Pačnik Okrogla miza A round table discussion Ex Auro Glasbenoplesni performans Maska ... 100 let. 200 številk A dance and music performance Maska ... Performing Arts Journal ... 100 Years. 200 Issues Knjižna zbirka: Borštnikov prstan Razstava z vodenim ogledom The Borštnik Ring Book Series A guided tour exhibition FBS Maska Ljubljana E-razstava: Matjaž Zupančič Festival Borštnikovo srečanje 2019 Zadnje drame Latest Plays E-Exhibition: Maribor Theatre Predstavitev knjig na Festivalu Festival 2019 Borštnikovo srečanje FBS, Novi ZATO, slovenska A book presentation at the Maribor gledališča in kulturno-izobraževalne Theatre Festival institucije 55. Borštnikovo 124 — 125 24. 10. 2020 > 22.00 < 12.–25. 10. 2020 Mali oder SNG Maribor Ex Auro Prehodi ▶ Transitions Glasbenoplesni projekt A dance and music project Fotografska razstava A photography exhibition Maria Keck & Tomaž Pačnik Avtor Author Boštjan Lah

Performans traja 1 uro in nima odmora. Kje in kdaj se v gledališču zgodi prehod v vzporedni captures them in a pose, action, focus, response. He Running time 1 hour. No intermission. svet? Je to točka v času, prostor, dogajanje v njem? Na records situations. He invites us to a thought that begins odru, v parterju, v ložah, na balkonu? Z vstopom v dvora- with a situation he captured. At spectators, we feel that no, v foaje ali že na stopnišču v teater? Koliko se zgodi v the majority of his subjects did not notice they were garderobah, fundusu, tehničnih delavnicah? Se prehod photographed, be it a street, theatre or other genre of iz vsakdanjega v umetniško zgodi z nanosom ličil, s photography. Adding to the success is definitely an op- preobleko, s prižigom reflektorjev, z dvigom zavese?¶ tical device that can bring the look closer without nec- Fotograf Boštjan Lah, mogoče zato ker je tudi sociolog, essarily posing the photographer in physical proximity. najpogosteje fotografira ljudi. Ujame jih v drži, dogajanju, But there is more in the moments that Boštjan Lah has osredotočenosti, odzivu. Beleži situacije. Nagovarja k captured: somehow, he remains unexposed in the way misli, ki gre od ujete situacije naprej. Kot gledalcem se he observes and responds. We meet him often but he’s nam zdi, da ga fotografirani po večini niso opazili, pa naj never really obvious, because he knows how to blend gre za ulično, gledališko ali katero drugo zvrst. K uspehu in. And from this blending in he then observes, notices zagotovo pripomore optična naprava, ki lahko močno and presses the shutter release. He seems to take pho- približa pogled, ne da bi pri tem nujno v neposredno bliži- tos with a mixture of predetermined concept and mo- no fizično postavljala tudi fotografa. A pri ujetih trenutkih mentary, unplanned response. A series of photos from Boštjana Laha gre za več: ostaja nekako neizpostavljen v theatre backstage evokes a strong double impression. načinu opazovanja in odzivanja. Pogosto ga srečujemo, The first, indisputable and clear, builds the basic mes- nikoli pa ni zares vpadljiv, saj se zna zliti. Iz te zlitosti nato sage – theatre is never just the time of the performance, opazuje, zaznava in stiska na sprožilec. Zdi se, da sproža never only a finite interaction between actors and spec- Ex Auro je glasbenoplesni projekt, ki ga pomenlji- Ex Auro is a music and dance project that is significantly z mešanico vnaprejšnjega koncepta in trenutnega, ne- tators, it is also the before, after and in the background. vo določajo tri koordinate – world, jazz, fusion – in v defined by three coordinates – world, jazz and fusion – načrtovanega odziva. ¶ Serija fotografij iz gledališkega Many things that the spectator’s eye can’t see directly, katerem sta svoje zlate vizije združila Maria Keck in and in which Maria Keck and Tomaž Pačnik combined zaodrja vzbuja močan dvojni vtis. Prvi nedvomen in jasen but perhaps through effects. The other, even stronger Tomaž Pačnik. Je rezultat njunega skupnega razisko- their “golden visions”. It is the result of their joint research gradi osnovno sporočilo – teater nikakor ni samo čas effect is through expectations. It is almost palpable that vanja ter izjemno zvočno popotovanje, skozi katerega and an exceptional sonic journey, through which they trajanja predstave, ni zgolj končna interakcija med igralci any moment now, something will happen. Everything na kreativen način ter v sodobnih in živih priredbah present a mixture of flamenco and other related “exotic” in gledalci, je tudi prej, potem in v ozadju. Marsikaj, česar is getting ready for the beginning of the transition. The predstavljata mešanico flamenka ter ostalih, z njim musical genres in a creative way and in modern and live gledalčevo oko ne vidi neposredno, morda skozi učinek. focus is increasing and with it, the tension. In the midst povezanih eksotičnih glasbenih zvrsti. ¶ Maria Keck arrangements. ¶ Maria Keck is an artist from Hungary Drugi, še močnejši vtis pa je občutek pričakovanja. of this increase, a man moves with a camera is moving, je umetnica iz Madžarske, ki je dolga leta živela in who has lived and worked in Spain for many years. She Skoraj otipljivo se zdi, da se bo vsak čas nekaj zgodilo. focused diferently, and he seems calm, deliberate and delovala v Španiji. S plesom in glasbo je prepotovala has travelled a great deal around the globe performing Vse se pripravlja na začetek prehoda. Osredotočenost attentive. Focusing on the focus. Jerneja Ferlež (PhD) dobršen del sveta, skozi različne zasedbe in projekte dance and music, and she presents both traditional and narašča in z njo napetost. V tem naraščanju se giblje pa predstavlja tako tradicionalne kot moderne zvrsti modern genres of flamenco and world music through var- človek z aparatom, ki je drugače osredotočen, pri tem flamenka in etna. ¶ Pianist Tomaž Pačnik je kot aktivni ious ensembles and projects. ¶ The pianist Tomaž Pačnik pa se zdi miren, preudaren in pozoren. Osredotočen na član številnih glasbenih skupin že dolgo del slovenske has long been a part of the Slovenian and international osredotočenost. ¶ dr. Jerneja Ferlež Boštjan Lah in mednarodne glasbene scene ter je med drugim music scene and a founding member of the ethno jazz tudi ustanovni član etno jazz zasedbe Jazoo. V zadnjih ensemble Jazoo. In recent years, he has been obsessed When and where does a transition into a parallel letih ga je obsedel flamenko, s katerim se vedno bolj with flamenco, with which he is increasingly involved.¶ world happen in theatre? Is it a point in time, a space, or aktivno ukvarja. ¶ Ex Auro je tako spoj dveh umetnikov Ex Auro is a fusion of two artists from different creative events in it? On the stage, in the stalls, in the boxes, on iz različnih ustvarjalnih okolij, ki skozi glasbo in ples backgrounds who find themselves and each other through the balcony? With the entrance into the hall, the foyer, najdeta vsak sebe in drug drugega. Napetost, ki jo v music and dance. The tension they create in the space as or perhaps on the stairs leading to the theatre? How prostoru ustvarita že s prihodom na oder, poslušalcu soon as they arrive on stage gradually reveals the deepest much happens in the wardrobes, warehouses, technical postopoma odstira najgloblja čustva, ga vodi skozi emotions to the listener, guides him through his own sto- workshops? Does the transition from the everyday to lastne zgodbe in intimno nostalgijo, pri tem sproži ries and intimate nostalgia, triggers a battle between ego the artistic happen by putting on make-up, changing bitko med egom in razgaljenostjo, energija v prostoru and nakedness, and energy in the room opens the door to clothes, turning on the spotlights, raising the curtain? pa mu skozi čutne melodije in zvoke slej ko prej odpre him through sensual melodies and sounds. and takes it ¶ Photographer Boštjan Lah, perhaps because he’s vrata ter ga ponese v stanje rahle zamaknjenosti. ¶ into a state of slight ecstasy. ¶ also a sociologist, most often photographs people. He 55. Borštnikovo 126 — 127 12.–25. 10. 2020 12.–25. 10. 2020 Medetaža SNG Maribor SNG Maribor Poklon Velikanom slovenskega gledališča ▶ Physis A Tribute TO THE Giants of Slovenian Theatre Video projekt A video project Portreti prejemnic in prejemnikov Borštnikovega prstana Portraits of the recipients of the Borštnik Ring Award Via Negativa Avtorja projekta in postavitve, oblikovalca Project authors, design, set-up Anita Wach, Bojan Jablanovec Marjan Platovšek, Tjaša Platovšek Video traja 10 minut in 14 sekund. Uradno odprtje razstave portretov 21. 10. 2020 ob 17.00. Video je nastal v času karantene med epidemijo COVID-19 marca 2020. Official opening of the portrait exhibition on 21 October 2020 at 17.00. Running time 10 minutes and 14 seconds. Partnerji projekta Project partners The video was created during the COVID-19 lock-down in March 2020. Slovenski gledališki inštitut – Gledališki muzej Slovenian Theatre Institute – Theatre Museum Skladatelj Composer Festival Borštnikovo srečanje Maribor Theatre Festival Eduardo Raon Občina Velike Lašče Velike Lašče Municipality Dodatna glasba Additional music Grad Turjak Turjak Castle Mart, Turjak Dooley Wilson: As Time Goes By

Meceni portretov Patrons of portraits Video je nastal na povabilo Občina Velike Lašče Velike Lašče Municipality Zavezništva mednarodnih produkcijskih hiš Družina Petrović Family Petrović, Gradež pri Turjaku (Bündnis internationaler Produktionshäuser) iz Nemčije. JUB, d. o. o., Dol pri Ljubljani Commissioned by Bündnis internationaler Tjaša Platovšek, Ljubljana Produktionshäuser from Germany.

Slikar in upokojen grafični oblikovalec Marjan Platovšek A painter and a retired graphic designer Marjan Pla- Fizis (φύσις) je telo narave – harmonično, graciozno in Physis is the body of nature. Beautiful, graceful and sub- pri ustvarjanju portretov popularnih osebnosti izhaja iz tovšek uses photographs to create portraits of popular vzvišeno, a hkrati kruto, nasilno, gnusno in boleče pra- lime – yet also cruel, violent, disgusting and painfully prag- fotografij, zato so njegove slike, kot je zapisal likovni kritik personalities, so his paintings are, as the art critic Dejan gmatično. Aristotel je fizis definiral v razmerju med -na matic. Aristotle defined physis in the relationship between Dejan Mehmedovič, »videti kot fotografije, čeprav niso Mehmedovič wrote, “like photos, although they’re not ravnim in umetnim. Narava (φύσις) naj bi bila svoj lastni the natural and the artificial. Nature (physis) is its own fotografije. Natančneje rečeno, videti so kot nenavadne photos. To be more precise, they look like unusual photos izvor gibanja, medtem ko umetnost (téhne, τέχνη) vedno source of movement, while art (techne) always requires a fotografije, ki izpolnjujejo svojo dokumentacijsko vlogo that fulfil their documentary role in a special way, because zahteva vir gibanja zunaj sebe. V tem smislu je človeško source of motion outside of itself. In this sense, the human na poseben način, kajti ustvarjajo mimetičnost, presli- they create mimesis, a transformation of the real, in a telo teritorij napetosti med téhne in fizisom ter večno body is a territory of tension between techne and physis kavo realnega, v stilizirani obliki.« S portreti, izdelanimi stylised form.” With his portraits – acrylic on canvass (80 bojišče kulture, ideologije, religije in drugih sfer človeške and an eternal battleground of culture, ideology, religion. v tehniki akrila na platnu (velikosti 80 x 90 cm), se slikar x 90 cm) – the painter follows Andy Warhol as the typical eksistence in delovanja. Naša telesa še zmeraj kolonizi- Our bodies are still colonized by the law of nature, our zgleduje po Andyju Warholu kot značilnem predstavniku representative of pop art. But with Platovšek, as Meh- ra zakon narave, naš um je obseden z nadzorovanjem, minds are obsessed with control, mastery and liberation. pop arta. Toda pri Platovšku, kot opozarja Mehmedo- medovič says, “it is not about the process of mimesis, obvladovanjem in osvobajanjem. Naš intimni politik Our inner politician requires control of the body and intro- vič, »ne gre za mimetizacijo, temveč za vizualni efekt, but rather about a visual effect, which functions by using zahteva popoln nadzor telesa in uvaja protokole, ki bodo duces protocols that will liquidate the language of pain ki deluje na podlagi osnovnih optičnih likovnih prvin, fundamental optical elements of visual arts, and with this za zmeraj likvidirali jezik bolečine. Naš skriti anarhist forever. Our hidden anarchist protests that we should let s to abstraktnostjo pa upodablja objektivno realnost, abstraction portrays objective reality, concrete people, protestira, naj pustimo telesu do besede in sprejmemo the body to speak and accept the rules of a primary chaos. konkretne ljudi, njihove obraze.« ¶ V slikarjevem velikem their faces.” ¶ The existing close-ups, in which the whole kaos primarne narave. Video Physis je študija za razvoj Video Physis was created as a study of the new Via Nega- planu, kjer se celota izoblikuje s skrbnim nanosom nians, is formed through a careful layering of nuances, are the novega projekta Vie Negative, ki temelji na raziskavi tiva project based on the research of the body as a cultur- je upodobljena prva serija portretov znotraj projekta, ki first series of portraits of the project that the author will telesa kot kulturno, ideološko in religiozno pogojenega ally, ideologically and religiously conditioned medium to ga bo avtor v naslednjih letih nadaljeval z obrazi nosilcev continue in the next years with the faces of the laureates medija razlikovanja med bolnim in zdravim, dobrim in establish a distinction between sick and healthy, good and najvišjega igralskega odličja za življenjsko delo pri nas. who received the highest lifetime achievement acting slabim, koristnim in nekoristnim, lepim in grdim, vzvi- bad, useful and useless, beautiful and ugly, sublime and Slike, ki nastajajo po predlogi fotografij Marka Modica in award in Slovenia. After the festival, the paintings based šenim in nizkotnim ter med vsemi nadalje zamisljivimi degenerate, and all other possible conceived antinomies drugih fotografov, bodo po predstavitvi v okviru festivala on the photos by Marko Modic and other photographers antinomijami, ki jih je v diskurz filozofije, znanosti in that have been introduced by the human mind into philo- stalno razstavljene na Turjaškem gradu. ¶ will be permanently exhibited at the Turjak Castle. ¶ umetnosti vnesel človeški um. ¶ sophical, scientific and art discourse. ¶ 55. Borštnikovo 128 — 129 13. & 20. 10. 2020 > 14.05 < 13. 10. 2020 > 18.00 < SNG Maribor Mali oder Oder, oddaja o sočasnem gledališču: 50 let Predstavitev monografije RAC, biografija Radka Poliča ▶ Borštnikovega prstana ▶ The Stage, a radio broadcast about Presentation of the monograph RAC, A Biography of Radko Polič contemporary theatre: 50 Years of the Borštnik Ring Award Beletrinina okrogla miza Beletrina‘s Round Table Javno predvajanje oddaje, 3. program Radia Slovenija – ARS Gosta Guest speakers Radko Polič Rac, Petra Pogorevc, avtorica knjige author of the book Radio broadcast, 3rd Programme of Radio Slovenia – ARS Moderator Discussion moderator Matej Bogataj Avtorici oddaje Authors of the radio broadcast Okrogla miza traja približno 1 uro. Petra Tanko, Ana Perne (Slovenski gledališki inštitut Slovenian Theatre Institute) Approximate running time is 1 hour. na primer z Gombačevo finančno zadrego ob pripravah Ko je Radko Polič leta 2007 prejel Prešernovo nagrado explains his life-long closeness to his parents and his two na prvo podelitev ali s pojasnilom, zakaj med prejemniki za življenjsko delo, je režiser Sebastijan Horvat o njem brothers, and revives the memories of his three marriag- in prejemnicami Borštnikovega prstana ni nekaterih igral- zapisal, da je igralec, ki igra na vse ali nič, vrvohodec brez es that produced two – now adult – sons. It presents his skih imen, ki bi jih pričakovali, denimo Staneta Severja ali varovalne mreže ter igralec fanatik, ki sebi in drugim approach to creating roles, captures his understanding of Duše Počkaj, s pripovedjo o izgubljenem prstanu pa tudi postavlja najvišje zahteve. Radko Polič Rac bi lahko postal this beautiful and hard profession of an actor, and speaks, z marsikaterim drugim trenutkom, ki se je zgodil bodisi gozdar ali kirurg, toda nazadnje je izbral poklic igralca, se v first-hand, about the unforgettable characters he creat- pred gledališko zaveso ali izza nje. ¶ Arhiv FBS njem izmojstril do skrajnosti in dosegel praktično vse, kar ed in the six decades on stage and on screen. “Acting is igralec lahko doseže. Knjiga odstira in prepleta spomine stepping over the edge, you have to dare,” contemplates Fifty years have passed since the Maribor Theatre Fes- na njegovo življenjsko in ustvarjalno pot ter razkriva, da Radko Polič Rac. Just like in life. ¶ tival presented the first Borštnik Ring award, the highest je na odru enako strasten in zahteven kot za njim, vrača (guild) lifetime achievement award for actors. The first se v njegovo otroštvo, ki ga je v nemirnih povojnih letih Petra Pogorevc obtained her bachelor’s degree in com- laureate in 1970 was Elvira Kralj. The principle of alter- preživel razseljen med Črnomljem, Beogradom, Berlinom parative literature and literary theory and English at the nating a male and a female winner was established very in Ljubljano, pojasnjuje njegovo vseživljenjsko povezanost Faculty of Arts, University of Ljubljana. Between 1993 and Letos mineva petdeset let, odkar je bil na Borštnikovem early on and in 2020 we look forward to a male laureate. ¶ s starši in bratoma ter obudi spomine na tri zakone, iz 2007 she worked as a journalist, critic, theatre author and srečanju prvič podeljen Borštnikov prstan, najvišje (sta- The authors Petra Tanko and Ana Perne are preparing two katerih ima danes dva odrasla sinova. Predstavlja njegov translator, and in 2007 she moved to the Ljubljana City novsko) priznanje za igralski opus. Prva prejemnica leta broadcasts with which they would like to pay tribute to pristop k oživljanju vlog, zajame njegovo pojmovanje Theatre as a dramaturg and the editor of the MGL Library 1970 je bila Elvira Kralj. Načelo podeljevanja prstana iz- the artists who have elevated the Slovenian theatre to the lepega in težkega poklica igralca ter iz prve roke sprego- Book Collection. In 2017, she enrolled in the doctoral pro- menično igralki in igralcu se je uveljavilo zelo zgodaj, v letu highest level, and also introduce the listeners to intangible vori o nepozabnih likih, ki jih je v šestih desetletjih ustvaril gramme at the Department of Dramaturgy and Perform- 2020 tako pričakujemo prejemnika. ¶ Avtorici Petra Tanko cultural heritage, preserved as recordings at the Sloveni- na odru in platnu. »Igra je hoja čez rob, moraš si upati,« ing Arts (UL AGRFT). ¶ in Ana Perne pripravljata dve oddaji, s katerima želita an Theatre Institute. ¶ Honouring the chronology of the razmišlja Radko Polič Rac. Tako kot v življenju. ¶ spomniti na umetnice in umetnike, ki slovensko gledališče award presentation, the first broadcast is dedicated to ac- dvigajo na najvišjo umetniško raven, obenem pa skušata tresses, and the second to actors who won the “Borštnik Petra Pogorevc je diplomirala iz primerjalne književno- poslušalcem predstaviti nesnovno kulturno dediščino, ki Ring” award. To avoid mere listings, expert explanations sti in literarne teorije ter angleškega jezika na Filozofski jo v obliki zvočnih zapisov hrani Gledališki muzej Sloven- and summarising the often heard – and definitely justified fakulteti Univerze v Ljubljani. Med letoma 1993 in 2007 je skega gledališkega inštituta. ¶ Glede na kronologijo pode- – laudations, the authors focus on the excerpts from the delovala kot novinarka, kritičarka, publicistka in prevajalka, ljevanja nagrade je prva oddaja posvečena prejemnicam, recorded productions, archival recordings in which sever- leta 2007 pa se je zaposlila v Mestnem gledališču ljubljan- druga pa prejemnikom Borštnikovega prstana. Da bi se al Borštnik Ring laureates appeared. We can listen to the skem kot dramaturginja in urednica zbirke Knjižnica MGL. izognili suhoparnemu naštevanju, strokovnemu utemelje- greatness of the actors in dialogues shaped by the differ- Leta 2017 se je vpisala na doktorski študij na Oddelku za vanju in obnavljanju večkrat slišanih – vsekakor upraviče- ent constellations of casts and learn about their creations, dramaturgijo in scenske umetnosti na UL AGRFT. ¶ nih – pohval, se avtorici oddaj osredotočata na odlomke iz so eloquently presented through the excerpts of the pro- zvočno posnetih predstav, arhivskih posnetkov, v katerih ductions that seem distant in time from today’s perspec- When Radko Polič received the Prešeren Award for his nastopa več prejemnic in prejemnikov Borštnikovega tive, and are perhaps unknown to today’s theatre audi- work, the director Sebastijan Horvat described him as prstana. Veličini igralk in igralcev lahko prisluhnemo v ence: the recordings are from the 1960s and the 1970s an all-or-nothing type of actor, a tightrope walker without dialogih, kot jih oblikujejo različne konstelacije igralskih and the voices captured on them are of the Ring laureates a safety net and an actor-fanatic who sets the highest zasedb, prav tako pa se lahko seznanimo z njihovimi long deceased. ¶ The history of the Borštnik Ring award demands for himself and others. Radko Polič Rac could stvaritvami, o katerih zgovorno pričajo odlomki iz pred- will be introduced not only through the acting bravuras, have become a forester or a surgeon, but he finally chose stav, ki se s sedanje perspektive zdijo časovno oddaljene but also through anecdotes and realistic titbits, for exam- to become an actor, honed his craft to perfection and in današnjim obiskovalkam in obiskovalcem gledališč ple Gombač’s financial distress when he was preparing achieved practically everything an actor can achieve. morda neznane: posnetki so iz šestdesetih in sedemde- the first awards ceremony, or the explanation why some The book unveils and intertwines the memories of his setih let prejšnjega stoletja, v njih so ujeti glasovi danes of the greats we would expect, for example Stane Sever or life and creative path and reveals that he is equally pas- že preminulih prejemnic in prejemnikov Prstana. ¶ Zgo- Duša Počkaj, are not among the laureates, the tale of the sionate and demanding onstage and off it, it goes back to dovina Borštnikovega prstana bo poleg igralskih bravur lost ring and many other moments that happened either the turbulent post-war years of his childhood, which he predstavljena tudi z anekdotičnimi in s stvarnimi paberki, in front of the main curtain or behind it. ¶ spent between Črnomelj, Belgrade, Berlin and Ljubljana, 55. Borštnikovo 130 — 131 15. 10. > 14.00 <16. 10. 2020 > 11.00 & 15.00 < Vetrinjski dvor Senzorialno v gledališču: na sledi vonjav v vsakdanjem življenju in onkraj njega ▶ Sensorial in the Theatre: On the Scent Trail In And Beyond the Everyday Mednarodni znanstveno-umetniški simpozij International Scientific and Artistic Symposium Vodji simpozija Symposium leaders Tomaž Toporišič, Rajko Muršič

Organizacijski odbor Organizing committee David Howes, Barbara Pia Jenič, Mojca Jan Zoran, Rajko Muršič, Aleš Novak, Tomaž Toporišič Koordinatorka organizacijskega odbora Coordinator of the organizing committee Barbara Pia Jenič Organizatorji Organizers Festival Borštnikovo srečanje, Slovenski gledališki inštitut SLOGI, Senzorium, Oddelek za dramaturgijo in uprizoritvene študije ter raziskovalna skupina UL AGRFT, Oddelek za etnologijo in kulturno antropologijo UL FF Delovni jezik simpozija je angleščina. The working language of the symposium is English.

V okviru festivala poteka mednarodni znanstveno- An international scientific and artistic conference will premiero Oraculos Enriqueja Vargasa, svetovno znanega group of participating Slovenian artists. One of the most umetniški simpozij, ki se posveča estetsko-senzorični take place in October 2020 as a part of the Professional režiserja Theatro de los sentidos (Gledališča čutil), ki je prominent researchers in sensory, i.e. multisensory stud- revoluciji, pri čemer združuje raziskovalne moči Akade- Programme of the 55th Maribor Theatre Festival. The ta specifični sistem preko svojega ustvarjalnega dela ies, David Howes, points out that the time of the sensorial mije za gledališče, radio, film in televizijo ter Filozofske symposium will join forces of Academy of Theatre and predstavil skupini sodelujočih slovenskih umetnikov in revolution is coming, not just a turnaround or a turn (in fakultete Univerze v Ljubljani, Slovenskega gledališkega Faculty of Arts, both part of University of Ljubljana, Slove- kulturni sferi. V Sloveniji senzorialni jezik razvija zavod terms of performative, linguistic, spatial, ontological and inštituta in gledališča Senzorium, ki se osredotoča na nian Theatre Institute and Sensorium Theatre, specialised Senzorium, v svetu obstaja več kot trideset tovrstnih other turns). ¶ The conference will focus on the following umetniške raziskave senzorialnega jezika. Glavni cilj in sensorial language. The basic aim of the symposium raziskovalnih skupin. Eden najvidnejših protagonistov issues and topics: studies of specific performances and simpozija je preiskati pretežno neznano in neraziska- is to map this largely unexplored but important field of senzoričnih oziroma multisenzoričnih raziskav, antropo- performing models, as well as examples from the field of no, a pomembno področje uprizoritvenih in vizualnih performing and visual arts with the performance studies, log David Howes, izpostavljeni gost mariborskega sim- sensorial in theatre, performing practices and culture in umetnosti, ga na novo osvetliti z uprizoritvenimi študiji, anthropology, cultural studies and other fields studying pozija, poudarja, da čas pravcate senzorične revolucije general. Its aim will be to outline specificities of the senso- antropologijo, kulturologijo in drugimi področji umetno- art and culture. ¶ Sensorial theatre is today linked to a šele prihaja, pri čemer presega kontekst performativnih, rial languages within the immersive and devising contem- sti in kulture. ¶ Senzorialno in senzorično gledališče je highly popular branch of immersive theatres that has jezikovnih, kulturnih, afektivnih, prostorskih, ontoloških porary art; mapping, defining and foreseeing, which new danes povezano z zelo priljubljeno vejo čutno vključu- emerged since the turn of the millennium as a popular in drugih obratov sodobne humanistike in družboslov- tools bring sensory theatre to the stage, to galleries and jočih oziroma potopitvenih gledališč, ki so nastala ob form of performance. It interweaves playfulness into the ja. ¶ Na dogodku pričakujemo »zoom« intervencijo museums and to the spaces of the everyday. It will try to prelomu tisočletja kot privlačna uprizoritvena forma. V relationship between performer, audience, and perfor- vabljenega umetnika in uvodnega govorca Enriqueja define how does a sensorial method activate the process odnos med izvajalcem, občinstvom in performansom mance space. While the discussion of immersive theatres Vargasa iz Barcelone ter mednarodno antropološko in of self-examination by unlocking images, memories and vnaša posebno igrivost. Medtem ko so se razprave in has largely focused on a selection of urban theatre com- kulturološko udeležbo raziskovalcev: Davida Howesa iz associations and builds up a specific self-reflection and razpravljanja o imerzivnih gledaliških praksah v glavnem panies who have acquired reputations as the forerunners Montreala v Kanadi, Helmi Järviluoma-Mäkelä s Finske, self-awareness; how do performing and visual arts use osredotočila na produkcijo in fenomene urbanih gleda- in the field, it neglected the practitioners of the sensorial Rajka Muršiča (UL FF), Mojco Terčelj (FHŠ Koper); razi- specifically the scents; what sensorial revolution brings liških skupin, ki so si pridobile sloves začetnikov na tem or sensory theatre developing immersive methodologies skovalce in praktike uprizoritvenih praks: dramaturginjo to the future of art and culture scholarship, locally and področju, se zdi, kot da smo zanemarjali ali celo pozabili within theatre that are, as yet, largely undocumented. The Jano Pavlič, režiserko Barbaro Pio Jenič ter Barbaro globally? ¶ At the conference, we expect an​​ intervention na praktike senzorialnega ali senzoričnega gledališča, conference’s aim is to contribute to the field of sensory Orel in Tomaža Toporišiča (oba z UL AGRFT); teoretične (via zoom conference) by the guest artist and introductory ki že več desetletij razvijajo imerzivne metodologije, a within the theatre culture, and to extend its discussion by vpoglede filozofa Simona Hajdinija (UL FF) in psihologa speaker Enrique Vargas from Barcelona and attendance so te na žalost še vedno v veliki meri ostale nedoku- considering the work and the ‘poetics of the senses’ of Igorja Areha (FVV Maribor) ter teoretično-kreativne uvide of an international anthropological research group: Da- mentirane in neraziskane. ¶ Cilj simpozija je spodbuditi the Columbian theatre director Enrique Vargas as well as v umetnost vonjev nizozemske kustosinje Care Verbeek vid Howes from Montreal, Helma Järviluoma-Mäkelä raziskave in razprave o senzorialnem v gledališki kulturi his followers. In doing so it will try to expand the current in belgijskega kreativnega raziskovalca vonjev Petra de from Finland, Rajko Muršič (Faculty of Arts University of in razprostreti krila teorije in refleksije tudi napoetike conceptualisation of immersive sensorial theatres and Cupera. ¶ Prispevke o raziskavah specifičnih predstav Ljubljana), Mojca Terčelj (Faculty of Humanities Koper), čutov kolumbijskega gledališkega režiserja Enriqueja examine the possible transformative potential of its spe- in uprizoritvenih modelov ter primerov senzorialnega v researchers and performance practitioners from Slove- Vargasa in njegovih privržencev. S tem skuša razširiti cific performative practice.¶ The conference will also try gledališču, uprizoritvenih praks in senzorične kulture ter nia – Jana Pavlič, Barbara Pia Jenič, Barbara Orel, Tomaž dosedanja okvirjanja senzoričnih uprizoritvenih praks to link sensorial theatre to Victor Turner and his “crossing čutnega na splošno, o posebnostih senzorialnih jezikov Toporišič, Simon Hajdini, Igor Areh – and curators, re- in raziskati njihov transformacijski potencial. Cilj je tudi of a threshold which separates two distinct areas, one as- znotraj sodobne imerzivne kulture ter o senzoričnem kot searchers of art of scents, Caro Verbeek from the Nether- povezati sodobno senzorialno gledališče in kulturo z sociated with the subject’s pre-ritual or pre liminal status, možnem orodju za socialno posredovanje in združeva- lands and Peter de Cupere from Belgium. ¶ Contributions Victorjem Turnerjem in njegovim »prestopanjem praga, and the other with his post-ritual or post liminal status”. ¶ nje različnih družbenih skupin nadgrajujeta senzorialna on research of specific performances and performance ki ločuje dve ločeni področji, tisto, povezano s predritu- Sensorial theatre started in Slovenia in 1996, with a pre- predstava in čutni sprehod po Mariboru. ¶ models, performing practices and sensory culture, sen- alnim ali preliminarnim statusom subjekta, drugo pa z miere of Oracles by Enrique Vargas, the world-renowned sory as a possible tool for social mediation and associa- njegovim postritualnim ali postliminalnim statusom«. ¶ director of Teatro de los sentidos (Theatre of the senses), tion of different social groups, will be accompanied by a Senzorialno gledališče se je v Sloveniji začelo leta 1996 s whose creative work introduced this specific system to a sensorial performance and a trip around Maribor. ¶ 55. Borštnikovo 132 — 133 Gostje ▶ Guest speakers Sodelujoči ▶ Participants Marko Bulc, režiser in nekdanji umetniški vodja Gledališča Kuratorji Curators Janez Janša, Pia Brezavšček, Alja Lobnik Glej theatre director and the former artistic director of Glej Theatre Avtorica zasnove in oblikovalka prostora Spatial design and concept Toni Soprano Meneglejte Marko Bratuš, umetniški vodja SNG Nova Gorica in nekdanji umetniški vodja Gledališča Glej Grafična oblikovalkaGraphic design Nika Lapkovski artistic director of SNG Nova Gorica and the former artistic director of Glej Theatre Vodja produkcije Head of production Tina Dobnik Jure Novak, režiser, nekdanji umetniški vodja in član sedanjega umetniškega sveta Gledališča Glej Asistentka produkcije Assistant producer Nataša Božič director, the former artistic director and current member of Artistic Council of Glej Theatre Sodelavka za odnose z javnostmi Public relations Urška Comino Barbara Poček, producentka in članica sedanjega umetniškega sveta Gledališča Glej Tehnični vodja Technical manager Igor Remeta producer and the current member of Artistic Council of Glej Theatre 12.–30. 10. 2020 Vetrinjski dvor Maska ... 100 let. 200 številk ▶ Maska, Performing Arts Journal … 100 years. 200 issues Uradno odprtje razstave z vodenim ogledom 16. 10. 2020 ob 18.00. Official opening of the exhibition on 16 October 2020 at 6.00 pm. Ogled razstave vodi Tour of the exhibition lead by Janez Janša. Vodenje poteka v slovenščini. The tour is in Slovenian only.

15. 10. 2020 > 17.00 < Strokovna revija za scenske umetnosti Maska v letu In 2020, Maska, Performing Arts Journal, is celebrating Mali oder 2020 obeležuje dva velika jubileja – stoletnico izda- two major milestones – a centennial of its first issue, and je prve številke in dvestoto številko revije. To leto je its 200th issue. The year was planned to be celebratory, Pol stoletja neinstitucionalnih praks: pogled v prihodnost ▶ zastavljeno v prazničnem ritmu, saj bodo izšle kar tri as three double issues will be published: 200aa, 200bb Half a Century of Non-Institutional Practices: A Look Into the Future dvojne 200. številke: 200aa, 200bb in 200cc. Gesta and 200cc. The gesture aims to symbolically slow Diskusija ob petdesetletnici Gledališča Glej A round table discussion in honour of the 50th anniversary of Glej Theatre želi na simbolni ravni upočasniti čas, ki v modusu down time which seeps away too quickly in the mode projektivne časovnosti naših življenj prehitro odteka. of projected temporality of our lives. ¶ The exhibition Predvidena dolžina diskusije je 1 ura 30 minut. ¶ Razstava predstavlja razgibano dejavnost zavoda represents the dynamic activities of the Maska Institute, Approximate duration of discussion is 1 hour 30 minutes. Maska, ki se je od začetnega izdajanja revije postopo- which gradually expanded from the initial publishing of ma razširila na knjižne izdaje, umetniško produkcijo in a journal to publishing book editions, artistic produc- Najstarejše neinstitucionalno gledališče na območju Glej Theatre, the oldest independent theatre on the izobraževanje. Posebnost revije Maska je tudi v njeni tion and education. Maska is also special because of nekdanje Jugoslavije, Gledališče Glej, letos obeležuje territory of the former Yugoslavia, celebrates the fiftieth bogati oblikovalski zgodovini, ki je nanizala vrsto imen: its rich design history, with a string of names attached petdeset let svojega delovanja. Prva predstava, dra- anniversary of its operation. The first production, Peter France Kralj, Matjaž Vipotnik, Irena Woelle, Samo to it: France Kralj, Matjaž Vipotnik, Irena Woelle, Samo ma Kaspar v režiji Iztoka Toryja, je bila uprizorjena 25. Handke’s Caspar, directed by Iztok Tory, premiered on Lapajne, Martin Bricelj, Martin Mistrik, Miha Turšič, Lapajne, Martin Bricelj, Martin Mistrik, Miha Turšič, Ajdin junija leta 1970. V diskusiji želimo osvetliti predvsem 25 June, 1970. The discussion aims to focus in particu- Ajdin Bašić, vsi še vedno pomembno odzvanjajo v širši Bašić, who all still resonate in our cultural landscape. zadnje desetletje Gledališča Glej, ki so ga pomembno lar on the last decade of Glej, importantly influenced by oblikovalski krajini. Vizualna podoba Maske se v sode- The visual image of Maska is currently being redesigned zaznamovali novi premiki v polju neinstitucionalnega new shifts in the field of independent theatre: How are lovanju z mentorjem Boštjanom Botasom Kendo in s under the mentorship Boštjan Botas Kenda and masters’ teatra: Kako se ob vse slabših produkcijskih pogojih the deteriorating production conditions on the inde- študenti magistrskega študija grafičnega oblikovanja students of graphic design of the UL ALUO, the first of na neodvisni sceni spreminjata programsko kreiranje pendent scene changing the programme forming and na ljubljanski ALUO letos prenavlja, prvo izmed treh the three 200th issues was designed by Nika Lapkovski in poslanstvo neinstitucionalnih gledališč? Na kakšen the mission of independent theatres? How are the ex- dvestotih številk sta oblikovali Nika Lapkovski in Nina nad Nina Ninković. ¶ Throughout its long history, Mas- način se rojevajo eksperimentalni podporni in diskur- perimental supporting and discursive programs (which Ninković. ¶ Umetniška praksa Maske v svoji dolgi zgo- ka’s artistic practice testifies to the fact that the core of zivni programi, predvsem pri delu z mladimi, ki so se have in the last decade become practice in many pub- dovini priča o tem, da je v osišču njenega zanimanja its interest is always the questioning of production for- v zadnjem desetletju prelevili v prakse številnih javnih lic institutions), created, particularly those for young vselej preizpraševanje produkcijskih formatov in ne- mats and a permanent expansion of the thought about zavodov? Kakšen je pomen povezovanja producentov, adults? How important is a network of producers, for nehna ekspanzija misli o gledališču. Tudi praznovanje theatre. The celebration, as well, includes two artistic denimo v obliki neodvisnega abonmaja Transferzala in example an independent annual theatre subscription vključuje dva umetniška projekta v Maskini produkciji, projects produced by Maska, a performance Parquet Ball mednarodne platforme Trigger? In seveda, kako si tudi Transverzala and the international platform Trigger? in sicer performans Parquet Ball Mateje Bučar in upri- by Mateja Bučar and a production of Simona Semenič’s v luči situacije s koronavirusom predstavljamo med- And, of course, how do we, in the light of the coronavi- zoritev besedila Simone Semenič jerebika, štrudelj, text rowan, strudel, dance, then more. To celebrate the narodno sodelovanje, ki postaja vse pomembnejši del rus situation envision international collaboration, which ples pa še kaj. Ob 100. številki so si umetniki, o katerih 100th issue, the artists that were featured in Maska, were Glejeve produkcije in usmeritve? ¶ is becoming increasingly important part of Glej’s pro- je Maska pisala, na povabilo zavoda zamislili projekte invited to conceive projects to be produced to celebrate V diskusiji sodelujejo umetniški vodje v zadnjem dese- duction and direction? ¶ za izvedbo ob izidu 200. številke, sprva načrtovane v the 200th issue, originally planned for the year 2023. ¶ tletju. Gledališče Glej z njo zaključuje celoletno prazno- Participating in the discussion will be the artistic direc- letu 2023. ¶ Razstavo, ki vključuje različne ravni ma- The exhibition, which includes several levels of materi- vanje obletnice. ¶ tors from the last decade. The discussion concludes terialnosti – fizično, grafično, digitalno –, je oblikovala ality – physical, graphic, digital – was designed by Toni the year-long celebration of the anniversary. ¶ Toni Soprano Meneglejte. ¶ Soprano Meneglejte. 55. Borštnikovo 134 — 135 povezane z zgodbami dramskih in nedramskih tekstov umetnostih in je prevedena v srbščino in angleščino. 18. 10. 2020 > 18.00 < ter z živo prezenco igralca, ki šele vzpostavlja gledališki Bila je redna profesorica za scenografijo na UL AGRFT in Komorni oder prostor. Ta temeljna knjiga bo skupaj z novo knjigo Pro- gostujoča profesorica na magistrskem študiju na univer- Matjaž Zupančič: stori mojega časa, posvečeno fenomenologiji prostorov zah umetnosti v Beogradu, Skopju in Novem Sadu. Je ZADNJE DRAME ▶ LATEST PLAYS gledališča kot ustvarjalkinega in razmišljevalkinega časa, zaslužna profesorica Univerze v Ljubljani. ¶ Predstavitev knjig na Festivalu Borštnikovo srečanje A book presentation at the Maribor Theatre Festival tvorila celoto, s pomočjo katere bomo lahko vstopali v Vodja pogovora Discussion moderator Darja Dominkuš prostore in čase gledališča, hkrati pa nam bosta knjigi Immediately after its publication in 1989, Meta Gost pogovora Guest speaker Matjaž Zupančič omogočili, da bomo lahko te prostore skupaj z avtorico, Hočevar’s book Play Spaces changed the views and Pogovor o knjigi traja približno 1 uro in nima odmora. ki jih kreira in razlaga, tudi mislili. ¶ interpretations of the phenomena of the Slovenian, Running time 1 hour. No intermission. Yugoslav, and also European theatre. It showed and Knjiga Prostori mojega časa ob izbranih primerih dram- illustrated that scenography is no longer a separate skih besedil, ki razkrivajo in zahtevajo različne načine space element, to be added add to the production, a Režiser in dramatik, profesor režije na Akademiji za gle- Matjaž Zupančič (b.1959), a director, playwright and pristopa k oblikovanju prostora igre, raziskuje odnose part of scenery, a painted back wall, an interior – quite dališče, radio, film in televizijo, Matjaž Zupančič (r. 1959) je a professor of directing at the UL AGRFT is one of the in medsebojne vplive med tekstom, tj. izrečeno mislijo, the opposite! It is something that blends with other ele- eden najbolj plodovitih gledaliških ustvarjalcev pri nas. Od most prolific theatre artists in Slovenia. Of the sev- in prostorom, med igralcem in prostorom ter ostalimi ments and includes other components that make up a sedemnajstih iger, ki jih je napisal, jih je kar pet dobilo Gru- enteen plays he has written, five have won the Grum odnosi v uprizoritvi. Meta Hočevar se v njej ukvarja s performance. Theatre space – Meta Hočevar would call movo nagrado za najboljše izvirno dramsko besedilo. Dela Award for the best new original play. His works have prostorom in časom v različnih situacijah, predvsem v it “play space” – is a space in which everything merges so bila prevedena v številne tuje jezike, nekatera med njimi been translated into several languages, and some were gledališču in arhitekturi. Prostor obravnava v povezavi and in which we need all our senses. It is also a space pa so bila v tujini tudi večkrat uspešno uprizorjena. Štiri be- staged internationally with considerable success. The s časom, kot prostor-čas, krono-topos. V gledališki which we need to understand – just like Paul Klee must sedila, ki so izšla v knjigi z naslovom Zadnje drame pri Can- four plays, published in the book Latest Plays (Cankarje- predstavi je izhodišče zgodba, torej dramski tekst ali understand a painting – as something that is also a tem- karjevi založbi, so na prvi pogled žanrsko in tematsko zelo va založba, Ljubljana) are, at the first sight, very different kakršnakoli druga akcija, ki določa dolžino gledanja. poral marker. For Meta Hočevar, the play spaces are thus različna, vendar prav vsa prinašajo svojevrsten vpogled v in genre and theme, yet all of them provide a unique Uprizorjena zgodba definira čas v prostoru. Razlika med no longer scenography. The second printing of this book današnji čas in družbo. Skupna jim je avtorjeva ostra kritič- insight into today’s time and society. What they have ostalimi prostori in prostorom igre je v tem, da čas teče is for all the spectators who wish to understand and read nost, humor, ki v širokem razponu niha od sarkastičnega in common is the author’s sharp criticism, his humour drugače in da je nekako zgoščen. S kratkotrajnimi posegi theatre through its spatial and temporal components. do tragikomičnega, ter poglobljena občutljivost, značilna that oscillates from sarcastic to tragicomic, and a pro- v prostor, kot je uprizoritev dogodka, ali trajnostnimi, kot These are linked to the stories of dramatic and non-dra- za avtorjevo zrelo obdobje. Z Matjažem Zupančičem se bo found sensitivity, characteristic of the author’s mature je arhitektura, spreminjamo prostor: »Prostor. Vedno je matic texts and with the live presence of the actor who is pogovarjala poznavalka njegovega dela, dramaturginja, period. Matjaž Zupančič will discuss his book with Darja prisoten, v mislih, v realnem, v fantaziji. Brez njega ni nič. only just setting up theatre space. This seminal book will publicistka in prevajalka Darja Dominkuš. Z interpretacijo Dominkuš, a dramaturg, translator and author, and an Je dokaz, je alibi, je krivec, je rešitelj, in terorizira tudi. Ko – together with the new book Spaces of My Time, which odlomkov bodo sodelovali študentje Akademije za gledali- expert on Zupančič’s work. UL AGRFT students will vstopiš v gozd ali v hišo, ti pokaže, kje si, in te usmerja, is dedicated to the phenomenology of spaces of theatre šče, radio, film in televizijo Univerze v Ljubljani.¶ interpret excerpts of his plays. ¶ kam se lahko obrneš, kam lahko greš. ¶ Prostor omejuje as the creator’s time – form a whole which will help us in osvobaja. Vsaka uprizoritev ustvari sebi lasten sistem enter the spaces and times of theatre, and at the same odnosov v času dogajanja med zgodbo, prostorom in time allow us to think these spaces together with the 22. 10. 2020 > 18.00 < gledalcem, med slišnim in vidnim. Prostor ne govori, je pa author who creates and explains them. ¶ zelo zgovoren.« ¶ Komorni oder Spaces Of My Time uses selected examples of drama Meta Hočevar: Meta Hočevar je priznana slovenska arhitektka, scenog- texts which display and demand different methods of PROSTORI IGRE & PROSTORI MOJEGA ČASA ▶ rafinja in gledališka režiserka. Po študiju in delovanju na approaching the creation of play space, researches PLAY SPACES & SPACES OF MY TIME področju arhitekture se je začela ukvarjati z gledališko relationships and mutual influences between the text – Predstavitev knjig na Festivalu Borštnikovo srečanje režijo in scenografijo. Je avtorica vrste odmevnih gle- the spoken thought – and the space, between the actors A book presentation at the Maribor Theatre Festival Vodja pogovora Discussion moderator Petra Pogorevc daliških predstav v Sloveniji in tujini, med pomembnej- and the space and other relationships in the staging. In Sodelujoči Participants Meta Hočevar, Tomaž Toporišič ter igralke in igralci šimi so predstave, izvedene v okviru festivala Wiener the book, Meta Hočevar studies the space and the time Drame SNG Maribor actresses and actors of the Maribor Drama Festwochen (Dušan Jovanović: Antigona, adaptacija in different situations, particularly in theatre and archi- Predstavitev knjig traja približno 1 uro in nima odmora. Ibsenove Divje račke: Družinski album in Jukio Mishima: tecture. She tackles the space in connection with time, Running time 1 hour. No intermission. Obisk), režije in scenografije v SNG Drama Ljubljana, the space-time, chronotopos. ¶ In a theatre production med njimi največ dela Daneta Zajca, Gregorja Strniše, the starting point is a story, that is, a play or any other Knjižica Prostori igre Mete Hočevar je takoj po izidu leta Gledališki prostor – Meta Hočevar bi rekla »prostor Dominika Smoleta in Dušana Jovanovića. Kot scenog- action that determines the length of the look. The staged 1989 spremenila poglede in interpretacije fenomenov igre« – je prostor, v katerem se vse združuje in v katerem rafinja je sodelovala z gledališči v ZDA, Nemčiji, Avstriji, story defines time in space. The difference between oth- slovenskega, jugoslovanskega in tudi evropskega gle- potrebujemo vsa svoja čutila. Je tudi prostor, ki ga mo- Italiji, Rusiji, Grčiji idr. Za svoje gledališko delo je prejela er spaces and the play space is that the time flows dif- dališča. Pokazala in ponazorila je, da scenografija ni ramo razumeti – tako kot Paul Klee sliko – kot nekaj, kar celo vrsto nagrad, med najpomembnejšimi Prešernovo ferently and that it is somehow denser. With short-term več ločen prostorski element, ki ga dodamo predstavi, je tudi časovna oznaka. ¶ Prostori igre za Meto Hočevar nagrado za gledališko ustvarjanje, več Borštnikovih in interventions into space, such as staging of an event, or del scenerije, pobarvana zadnja stena, interier – prav zato niso več scenografija. Ponatis te knjige je namenjen Sterijevih nagrad, leta 2005 nagrado za najboljšo sce- permanent ones, such as architecture, we change the nasprotno! Je nekaj, kar se staplja z drugimi elementi in vsem gledalcem, ki želijo razumeti in brati gledališče nografijo v Grčiji. Leta 1998 je izdala knjigo Prostori igre, space: “Space. It is always present, in thoughts, in reality, vsebuje vse druge komponente, ki sestavljajo predstavo. skozi njegove prostorske in časovne komponente. Te so v kateri se loteva problema prostora v uprizoritvenih in fantasy. Without it, there’s nothing. It’s a proof, an alibi, a 55. Borštnikovo 136 — 137 perpetrator, a saviour, and it terrorises people. When you Drama Ljubljana, predominantly the works by Dane Why aren’t Majcen’s plays staged? Do they have no according to the following premises: the plays are es- enter a forest or a house, it shows you where you are and Zajc, Gregor Strniša, Dominik Smole and Dušan Jova- potential for our time? (The present tense is used for a sentially without conflict and action, they’re meant more directs you where you can turn, where you can go. ¶ The nović. As a scenographer she has worked in theatres period of good seven decades.) Which part of Stanko for reading than for staging, and are, as is characteristic space limits and liberates. Every production creates its in the United States, Germany, Austria, Italy, Russia, Majcen’s extensive drama opus is still relevant and of this genre, rather short. For today’s reception, the own system of relationships in the time of action between Greece and elsewhere. She received numerous awards topical today? These are some fundamental questions segment of Stanko Majcen’s drama modelled after Ivan the story, space and spectator, between the audible and for her work, the most important among them are which the round table of theatre researchers and literary Cankar and Henrik Ibsen’s dramaturgical principles is the visible. The space doesn’t speak, but it is very elo- the Prešeren Award for lifetime achievement, several historians tries to answer. ¶ This is an incomprehensibly probably more appropriate. Three Majcen’s dramas quent.” ¶ Borštnik Awards, several Sterija Awards and in 2005 a unfortunate chapter of our literary history, and particu- are like this – Kasija, Prekop and Revolucija; they were stage design award in Greece. In 1998 she published larly theatre repertoire policy. The latter mostly ignores published as a part of the Kondor collection (Mladinska Meta Hočevar is a renowned Slovenian architect, stage her book Play Spaces in which she studies the problem Majcen’s entire opus, (ideologically) rejects it and doesn’t knjiga, 1988), edited by Goran Schmidt. ¶ Perhaps some designer and theatre director. After qualifying and of space in performing arts, the book has been trans- even attempt to think about it as of an important seg- of the decision makers and theatre repertoire creators working as an architect, she started out as a theatre lated into Serbian and English. She was a professor for ment of Slovenian religious literature that broke away might be tempted by the author, who wrote in one of his director and scenographer. She is the author of a num- scenography at the UL AGRFT and a visiting professor from its prevalent and clichéd conservative styles. letters to France Koblar from his internal exile after the ber of acclaimed theatre productions in Slovenia and at the master degree programme at the University of While Majcen’s literary opus was based on the conclu- war: “I work, I write alone, as you can probably imagine, abroad; some of the most important ones are those Arts in Belgrade, in Skopje and Novi Sad. She is also sions of the 23rd International Eucharistic Congress in and in a particular kind of misery. (Never material!) I don’t produced as a part of the Wiener Festwochen festival professor emeritus at the University of Ljubljana. ¶ Vienna in 1912, which proclaimed that “God’s idea can have an audience, I don’t have a reader, because I buried (Dušan Jovanović: Antigone, the adaptation of Ibsen’s be expressed in all, even the most modern styles”, the myself into so much solitude that nobody can follow The Wild Duck: Family Album and Jukio Mishima: Visit), most influential literary model prevalent in the Slovenian me. Hence: There is no echo!” It is therefore high time as well as her directions and stage designs at the SNT territory at that time was Maurice Maeterlinck’s static for some echo, which the author undoubtedly deserves, theatre. As Lado Kralj wrote in Majcnov zbornik (Obzorja, if only for the “dignity of life and dignity of literature,” as 1990), the majority of of Majcen’s drama is conceived Alojz Rebula would say. ¶ Gostje ▶ Guest speakers Andrej Brvar, Mateja Pezdirc Bartol, Krištof Jacek Kozak, Denis Poniž Uvod Introductory presentation Zorko Simčič Moderatorka Discussion moderator Melita Forstnerič Hajnšek 21. 10. 2020 > 11.00 < 19. 10. 2020 > 18.00 < Vetrinjski dvor Mali oder Pogoji za ustvarjalnost: projekcija izgubljenega prostora ▶ Conditioning Creativity: An Outline of the Lost Space Dramatika Stanka Majcna in njen uprizoritveni Moderatorka pogovora Discussion moderator Katarina Stegnar potencial ▶ Stanko Majcen’s drama oeuvre and its staging potential Okrogla miza Združenja dramskih umetnikov Slovenije Omizje o Stanku Majcnu in njegovi dramatiki A round table discussion about Stanko Majcen and his plays A round table discussion of the Slovenian Association of Dramatic Artists V sodelovanju z Mariborsko knjižnico In cooperation with the Maribor Library Predvidena dolžina dogodka je 1 ura. Approximate time of discussion is 1 hour. Če smo v preteklih letih mislili, da so časi za gledališče If we found times recently were unkind and tough for neprijazni in težki, kaj naj danes sploh še rečemo o theatre, what can we possibly say about them now? Will Zakaj ne uprizarjamo Majcnove dramatike? Ali ta nima Lado Kralj, je večji del Majcnove dramatike zasnovan po tem? Ali bo gledališče brez gledalcev zaradi ukrepov theatre even survive without spectators, a result of the uprizoritvenega potenciala za današnji čas? (Sedanjik naslednjih premisah: drame so tako rekoč brez konflikta za omejevanje epidemije preživelo? Ali bodo preživeli measures to control the epidemic? Will its creators, insti- velja za obdobje, dolgo dobrih sedem desetletij.) Kateri in akcije, namenjene so bolj branju kot uprizarjanju, hkrati njegovi ustvarjalci, institucije, številni samozaposleni, tutions, numerous self-employed, actors and actresses, del obsežnega dramskega opusa Stanka Majcna je da- je značilnost tega žanra tudi kratkost. Današnji recepciji je igralke in igralci, strokovni sodelavci, kostumografi, theatre experts, costume and stage designers, directors, nes še relevanten in aktualen? To so temeljna vprašanja, bližji tisti del dramatike Stanka Majcna, v kateri se je avtor scenografi, režiserji, dramatiki in drugi? Preden playwrights and others survive? Before we start defend- na katera skuša odgovoriti omizje teatrologov in literarnih zgledoval po Cankarju in dramaturških načelih Henrika začnemo braniti svojo legitimno pravico do obstoja, ing our legitimate right to exist, and the existence of art zgodovinarjev. ¶ Gre za nedoumljivo nesrečno poglavje Ibsena. Takšne so tri Majcnove drame – Kasija, Prekop in obstoja umetnosti nasploh, preden privlečemo na dan in general, before we bring up the numbers and multi- tukajšnje literarne zgodovine, predvsem pa gledališke Revolucija, ki so izšle leta 1988 pri Mladinski knjigi v zbirki številke in multiplikativne učinke, preden se začnemo plication effects, before we start complaining about the repertoarne politike. Ta namreč celoten Majcnov opus Kondor v uredništvu Gorana Schmidta. ¶ Morda pa uteg- pritoževati nad slabimi razmerami, nad razdorom med unfavourable situation., about the schism between insti- povečini ignorira, ga (ideološko) zavrača in se ne potrudi ne koga izmed odločevalcev in oblikovalcev gledališkega institucijami in neodvisno sceno, nad vtikanjem politike tutions and the independent scene, about interference o njem razmišljati kot o pomembnem polju slovenske repertoarja vendarle zamikati avtor, ki je iz notranjega v našo ustvarjalnost, poskusimo misliti novo gledališče, of politics into our work, let’s try and think new theatre, religiozne literature, ki se je iztrgala iz prevladujočega eksila po vojni v enem izmed pisem Francetu Koblarju idealno gledališče, fantazijo. Da bi lahko sprevideli, ideal theatre, fantasy. To see where we want to go, let’s konservativnega večerništva. Majcnov literarni opus se zapisal: »Delam, pišem, kakor si nemara misliš, sam, ven- kam si želimo priti, jo mahnimo v nasprotno smer in si set off in the opposite direction and imagine the ideal je opiral na sklep 23. evharističnega kongresa na Dunaju dar v bedi neke posebne vrste. (Nikar materialni!) Nimam zamislimo idealne razmere: neomejeno količino denarja, circumstances: limitless resources, clean relationships, leta 1912, po katerem je »božjo idejo mogoče izražati v publike, nimam bralca, ker sem se zaril v tolikšno samoto, urejene odnose, politično zrelost, radikalne ideje … Šele political maturity, radical ideas … Only then can we start vseh stilih, tudi najmodernejših«, medtem ko je literarni da nihče za mano ne more. Torej: Odmeva ni!« Skrajni nato lahko začnemo govoriti o nujnih pogojih za delo in talking about the essential condition for work and a life zgled, ki je pri nas na tem področju prevladoval, predsta- čas je torej za odmev, ki si ga avtor nedvomno zasluži, že človeka vredno življenje, predvsem pa za rehabilitacijo worth living, and particularly about the rehabilitation of vljalo statično gledališče Mauricea Maeterlincka. Kot je zaradi »dostojanstva življenja in dostojanstva literature«, kulture v kontekstu javnega mnenja. Bodimo realisti, culture in the context of the public opinion. Let’s be real- v Majcnovem zborniku (Založba Obzorja, 1990) zapisal kot bi rekel Alojz Rebula. ¶ zahtevajmo nemogoče. ¶ istic and demand the impossible. ¶ 55. Borštnikovo 138 — 139 15. 10. 2020 > 18.00 < 16. 10. 2020 > 17.00 < 22. 10. 2020 > 8.00 & 13.30 < Vetrinjski dvor Vetrinjski dvor Občutenje mesta Mednarodni simpozij Društva gledaliških kritikov in teatrologov Slovenije Senzorialni sprehod po Mariboru ▶ Sensing the City International Symposium by the Association of Theatre Critics and Researchers of Slovenia A sensorial walk through Maribor Gledališče, ples in performans po COVID-19: Med trenutno pogubo in priložnostmi za prihodnost ▶ Theatre, Dance and Voditelj Guide Rajko Muršič Performance After COVID-19: At a Crossroads Between Current Damnation and Opportunities for the Future V sodelovanju s Slovenskim gledališkim inštitutom (SLOGI) Avtorja Authors dr. Tomaž Krpič in mag. Alja Lobnik In collaboration with the Slovenian Theatre Institute (SLOGI) Udeleženci Participants dr. Bojana Kunst (DE), dr. Bryce Lease (UK), Ophelia Huang (CN), dr. Laura Gemini, Giovanni Boccia, Stefano Brilli, Francesca Giuliana (IT), dr. Ivan Medenica (RS), Renida Baltrusaitytë (LT), dr. Maja Šorli, Pia Brezavšček, Rok Vevar, Jasmina Založnik

Čutni sprehod po središču mesta, tudi v izbranih notra- A sensorial walk through the city centre, including some Za gledališče, ples in performans kot enkratne umet- Theatre, dance and performance are unique artistic njih prostorih, je vodeni dogodek, na katerem sprehajalci selected interiors, is a guided event during which the niške forme je značilen poseben uprizoritveni element forms distinct in one particular performing element: phys- in sprehajalke usmerijo svojo pozornost na celotno čutno participants direct their attention to the wholesome sen- – fizična prisotnost človeškega telesa tako na odru kot ical proximity of human bodies, both on the stage and in zaznavo v posameznih ambientih, pri tem sledijo vodite- sorial perception in individual environments, while fol- v parterju. Te značilnosti ni odrinila na stran ali izbrisa- the auditorium. This characteristic was not pushed aside lju sprehoda in med seboj ne govorijo ter ne uporabljajo lowing the guide, without any communication between la niti vpeljava tehnologije v poznem 19. in celotnem or eradicated even with the introduction of modern tech- mobilnih telefonov. Sam sprehod traja okoli pol ure, pri the participants or using mobile phones. The walk itself 20. stoletju. Prav nasprotno, kajti šele na ozadju novih nology in the late 19th and during the 20th century. On the čemer sam uvod zajema kratko predstavitev pravil in na- takes about half an hour; it is introduced with a brief medijev lahko sedaj v celoti cenimo tesno razmerje med contrary, for only on the background of new media, one mena, sprehodu pa sledita refleksija in diskusija.¶ Dogo- presentation of the rules and purpose and followed by a gledališčem in njegovim občinstvom. Toda neobhodnost can now fully appreciate a close relationship of theatre and dek se navezuje na izkušnjo žanrsko raznolikih predstav reflection and discussion.¶ The event relates back to the sinhrone prisotnosti igralcev, plesalcev, performerjev in its audience. However, the inevitability of synchronic pres- v programskem sklopu Mlado gledališče, ki nagovarjajo experience of the diverse productions in the Young The- gledalcev v času in prostoru, temelječem na kvarnem ence of the actors, dancers, performers and spectators vse gledalčeve čute, pri tem pa ozavešča nesporno dej- atre module, which address all the spectator’s senses, človeškem telesu, je ob nedavnem izbruhu epidemije in time and space, dependent on the corruptive human stvo kompleksnega doživljanja umetnosti in življenja. while raising awareness about the indisputable fact of a razkrila občutljivost in krhkost gledališke umetnosti. body, unveil sensitiveness and brittleness of theatre art complex experiencing of art and life. Uprizoritveno telo je bilo kot potencialni prenašalec during the out brake of the latest epidemic. Being recog- Dr. Rajko Muršič je etnolog in kulturni antropolog, redni koronavirusa začasno suspendirano, a tokrat ne le lo- nized as a potential carrier of COVID-19, the performing profesor na Oddelku za etnologijo in kulturno antropolo- Rajko Muršič (PhD) is an ethnologist and cultural an- kalno, ampak tudi globalno. Gledališki svet se je tako body was temporarily suspended, this time not only lo- gijo Filozofske fakultete Univerze v Ljubljani in velik ljubi- thropologist, a professor at the Department of Ethnology dobesedno zaustavil. ¶ Ni (bilo) prvič, da so (bila) gle- cally, but globally. The theatrical world was thus literarily telj glasbe. Raziskuje in piše na področjih epistemologije and Cultural Anthropology at the UL Faculty of Arts, and dališča zaprta zaradi izbruha pandemije. Tej relaciji lahko arrested. ¶ It is not the first time theatre is (was) closed in metodologije, antropologije popularne glasbe, urbane a great music aficionado. He researches and writes in sledimo daleč v zgodovino. Od Williama Shakespeara due to the pandemic outbreak. This relationship goes antropologije, antropologije prostora, identifikacijskih the areas of epistemology and methodology, anthropol- do Antonina Artauda so številni gledališki učenjaki, kritiki way back in human history. From William Shakespeare procesov, rasizma, antropologije čutov idr. Angažiran ogy of popular music, urban anthropology, anthropology in ustvarjalci snovali drame, vizije, koncepte in teorije, s to Antonin Artaud, countless theatre scholars, critics and je v več kot ducat mednarodnih in domačih strokovnih of space, identification processes, racism, anthropology katerimi so naslavljali posledice nalezljivosti v gledališču practitioners produced plays, visions, concepts and the- društvih, uredništvih in drugih telesih, redno sodeluje of senses etc. He is a part of more than a dozen interna- in gledališča samega, ne da bi pri tem dali dokončni ories addressing the issue of contagiousness in and of pri pripravah znanstvenih in strokovnih srečanj. Je tudi tional and Slovenian professional associations, editorial odgovor. Simpozij tako združuje raziskovalce in kritike iz theatre, yet each time not given us the final answer. The član organizacijskega odbora mednarodne konference boards and other bodies, and regularly collaborates in gledališkega sveta z namenom osvetlitve novih načinov symposium thus brings together researchers and theatre Senzorialno v gledališču – na sledi vonjav v vsakdanjem preparing of scientific and academic meetings. He is razumevanja mnogoštevilnih posledic COVID-19 na gle- critics from around the theatrical world to elucidate new življenju in onkraj njega. ¶ also the member of the organising committee of the dališče, ples in performans. Zaradi novega zdravstven- ways of understanding the numerous consequences of international conference Sensorial in Theatre – On the ega režima, ki sprevrača temelje gledališke produkcije, the COVID-19 on theatre, dance and performance. Due to Scent Trail In And Beyond the Everyday. ¶ so umetniki sedaj prisiljeni v mukotrpno odkrivanje novih the new health regime, which fundamentally restricts the estetskih praks, s katerimi bi gledališču povrnili nedavno theatre production, artists are now forced to painstakingly izgubljeno uprizoritveno moč in s tem povzročili njegov invent new ways of aesthetic practices to regain recently zagon. Mnogi umetniki se prav tako soočajo s surovo lost performing strength and stamina of theatre. Many of socialno negotovostjo zaradi pomanjkanja profesional- them also face brutal social insecurity because of lack of nega dela. Ali bo vpliv družbe in pa predvsem (kulturne) professional engagement. Whether the influence of soci- politike na ta ključni proces revitalizacije gledališča ety and above all (cultural) politics on this vital process for odobravajoč ali pa bo na žalost brezbrižen, je še nejasno theatre will be appreciative or, unfortunately, negligent is in vredno nadaljnje presoje. A kot je ob neki priložnosti unclear and still has to be put on trial. Yet, as Bertolt Brecht dejal Bertolt Brecht, novi časi obudijo nove gledališke once said new times evoke new theatre forms, so we forme, na kar lahko entuziastično računamo, le da to should enthusiastically count on that, adding that this also zahteva tudi nove koncepte, teorije in novo kulturno demands new concepts, theories and new cultural politics politiko na področju gledališča. ¶ about theatre as well. ¶ 55. Borštnikovo 140 — 141

Knjižna zbirka: Borštnikov prstan ▶ E-razstava: Festival Borštnikovo srečanje 2019 ▶ The Borštnik Ring Book Series E-Exhibition: Maribor Theatre Festival 2019

Na Festivalu Borštnikovo srečanje smo z namenom Three years ago, the Maribor Theatre Festival launched Festival Borštnikovo srečanje v sodelovanju z Novim Maribor Theatre Festival in collaboration with Novi počastitve umetniških dosežkov prejemnikov in preje- the Borštnik Ring book series to celebrate and honour ZATO, s slovenskimi gledališči ter kulturno-izobraževal- ZATO, Slovenian theatres and cultural and educational mnic Borštnikovega prstana pred tremi leti uvedli novo individual laureates. In the zenith of their creativity the nimi institucijami. ¶ institutions. ¶ knjižno edicijo Borštnikov prstan. Prejemnice in preje- laureates leave a strong, indelible mark on the Slovenian mniki te nagrade v času zenita svoje ustvarjalnosti glo- theatre and often influence generations of artists – their Na Festivalu Borštnikovo srečanje že osmo leto zapored For the eighth consecutive year, Maribor Theatre Festival boko in neizbrisljivo zaznamujejo slovensko gledališče, contemporaries as well as those who follow them. pripravljamo e-razstavo Festival Borštnikovo srečanje. has prepared the Maribor Theatre Festival E-Exhibition. nemalokrat pa vplivajo tudi na generacije ustvarjalcev, The Borštnik Ring Award, traditionally presented at the Na ta način želimo najvišje dosežke slovenskega gle- Its purpose is to digitalise and archive the greatest sodobnikov in prihajajočih generacij. Borštnikov prstan, closing ceremony, turns the spotlight to the actor’s or dališča in igralstva digitalizirati, jih arhivirati, hkrati pa jih achievements in Slovenian theatre and acting, as well ki ga festival tradicionalno podeli na zaključni slovesno- actress’s incredible artistic career and places the laureate preko svetovnega spleta približati čim širšemu krogu as make them available online for the widest circle of sti, žaromete usmeri k izjemnemu ustvarjalnemu opusu among the giants of the Slovenian theatre. As a tribute to obiskovalcev. ¶ spectators. ¶ igralke ali igralca, ki se s prejemom te nagrade trajno the award, and of course to the giants of the Slovenian vpiše med velikane slovenskega gledališča. Kot poklon theatre, the Maribor Theatre Festival publishes a book Tudi letos smo razstavo zasnovali v treh sklopih: v prvem This year’s exhibition has three sections: the first one nagradi in predvsem prvakom slovenskega gledališča each year about the most recent laureate. ¶ so na ogled fotografije z lanskoletnega 54. Festivala exhibits the photos from last year’s 54th Maribor Theatre Festival Borštnikovo srečanje vsako leto izda publikacijo Borštnikovo srečanje; drugi sklop je posvečen uprizoritvi Festival; the second one is dedicated to last year’s Grand o prejemniku ali prejemnici nagrade. ¶ Since 2017, three books have been published še ni naslova v režiji Tomija Janežiča ter izvedbi Sloven- Prix winner: no title yet directed by Tomi Janežič and Saša Pavček skega mladinskega gledališča, najboljši predstavi lanske- produced by the Mladinsko Theatre. The third section V zbirki so doslej izšle tri knjige: (2017 Borštnik Ring laureate), ga leta. Tretji sklop je posvečen Marinki Štern, prejemnici honours Marinka Štern, the 2019 Borštnik Ring laureate. ¶ Saša Pavček Janez Škof Borštnikovega prstana 2019, s fotografskim opusom. ¶ (prejemnica Borštnikovega prstana v letu 2017), (2018 Borštnik Ring laureate), The exhibition will be accessible from the October 1st Janez Škof Marinka Štern Razstava je od 1. oktobra 2020 dostopna na spletnem 2020 onwards at www.sigledal.org, in Slovenian and in (prejemnik Borštnikovega prstana v letu 2018), (2019 Borštnik Ring laureate). portalu www.sigledal.org, in sicer v slovenskem in an- English, on the festival website borstnikovo.si and on Marinka Štern gleškem jeziku na spletni strani borstnikovo.si ter sple- the websites of the participating theatres. ¶ (prejemnica Borštnikovega prstana v letu 2019). The essays in the book illuminate the lives and work of tnih straneh sodelujočih institucij. ¶ these outstanding theatre artists, and the photographs Initiator of the Maribor Theatre Festival 2019 V vseh so reflektirana dela, ki osvetljujejo življenje in selected for the book show them in the productions that Pobudnik razstave Festival Borštnikovo srečanje 2019: E-Exhibition: Aleš Novak, Artistic Director of the Maribor umetniško snovanje teh vrhunskih ustvarjalcev, zbrana je have in some way marked their creative path. ¶ Aleš Novak, umetniški direktor Festivala Borštnikovo Theatre Festival bibliografija njihovih predstav ter dosežkov na širšem po- srečanje Project coordinator: Samo M. Strelec dročju ustvarjanja, raznorodna besedila pa dopolnjujejo You can order the books Koordinator projekta: Samo M. Strelec Exhibition curators and data entry: Daša Šprinčnik, in zaokrožujejo številne fotografije trenutkov iz gledaliških by mail at: Kustosinje razstave in vnos podatkov: Daša Šprinčnik, Mojca Kolar, Ana Gabrovec produkcij, ki so najmočneje zaznamovale Festival Borštnikovo srečanje, Mojca Kolar, Ana Gabrovec Computer programming: Gregor Matevc njihovo ustvarjalno pot. ¶ Slovenska ulica 27, Računalniška zasnova: Gregor Matevc IPR and copyright arrangements: Tamara Matevc 2000 Maribor; Urejanje avtorskih pravic: Tamara Matevc Partners: CTF UL AGRFT, Slovenski gledališki inštitut, Knjigo lahko kupite z naročilom by email at Partnerji razstave: CTF UL AGRFT, Slovenski Slovensko mladinsko gledališče, Mestno gledališče po pošti na naslov: [email protected]. gledališki inštitut, Slovensko mladinsko gledališče, Ptuj, Gledališče Glej Festival Borštnikovo srečanje, Mestno gledališče Ptuj, Gledališče Glej Translators into English: Barbara Skubic, Mojca Kolar Slovenska ulica 27, Prevajalki v angleški jezik: Barbara Skubic, Mojca Kolar 2000 Maribor; po e-pošti: [email protected].

55. Borštnikovo 142 — 143

54. Festival Borštnikovo srečanje 54th Maribor Theatre Festival Maribor 14.—27. 10. 2019

12—25 October 2020 Maribor, 12.—25. oktober 2020 55. Borštnikovo Umetniški direktor Artistic director Aleš Novak Selektor tekmovalnega programa Competition Programme Selector Matjaž Zupančič Direktor SNG Maribor Managing Director SNT Maribor Danilo Rošker Strokovna žirija tekmovalnega programa Expert Jury of the Competition Programme Uršula Cetinski Andreja Kopač Aldo Milohnić Dora Ruždjak Podolski Giorgio Ursini Uršič Strokovna žirija za Borštnikov prstan Expert Jury for the Borštnik Ring Award Tea Rogelj Barbara Orel Tomi Janežič Janez Škof Aleš Novak 55. Borštnikovo 144 — 145 Marinka Štern Prejemnica Borštnikovega prstana 2019 Recipient of the Borštnik Ring Award 2019

Marinka Štern, vrhunska igralka izjemnega spektra, Marinka Štern, an outstanding actress of an excep- je bila predana igralskim kreacijam od davnih za- tional range, has been committed to acting creations četkov vse do danes. Še kot študentka je tako rekoč since the early beginnings until today. As a student, inkognito začela svojo kariero v Gledališču Pekarna, she started her career more or less “incognito” at the izjemnem eksperimentalnem gledališču, ki je po- unique experimental Pekarna Theatre, which brought membno prevetrilo slovensko gledališko umetnost important new currents to the Slovenian theatre art in opozorilo nase tudi na Borštnikovem srečanju in and attracted attention at the Maribor Theatre Festi- mednarodnih festivalih po Evropi. ¶ V svoji ustvarjal- val and international festivals around Europe. ¶ In her no bogati karieri je blestela v velikih in malih vlogah creatively rich career, she shone in big and small v vrsti legendarnih predstav, ki so vzpostavile ime roles in a series of legendary productions that estab- in sloves slovenskega sodobnega gledališča, kot ga lished the name and reputation of the contemporary je od Dominika Smoleta do Dušana Jovanovića in Slovenian theatre as was embodied by the Mladinsko njegovih naslednikov utelešalo Mladinsko gledališče, Theatre (Slovensko mladinsko gledališče) since the kasneje Slovensko mladinsko gledališče. Sodelovala days from Dominik Smole to Dušan Jovanovič and je z režiserji, kot so Dušan Jovanović, Ljubiša Ristić, their successors. She has worked with directors Paolo Magelli, Janez Pipan, Tomaž Pandur, Vito Ta- such as Dušan Jovanović, Ljubiša Ristić, Paolo Ma- ufer, Emil Hrvatin, Dragan Živadinov, Eduard Miler, gelli, Janez Pipan, Tomaž Pandur, Vito Taufer, Emil Matjaž Berger, Matjaž Pograjc, Tomi Janežič, Diego Hrvatin, Dragan Živadinov, Eduard Miler, Matjaž de Brea, Jernej Lorenci, Matjaž Farič, Ivica Buljan in Berger, Matjaž Pograjc, Tomi Janežič, Diego de Brea, drugi. Z njihovo pomočjo in izjemno pronicljivostjo Jernej Lorenci, Matjaž Farič, Ivica Buljan and others. je oblikovala paleto vlog, za katere je bila večkrat With their help and her exceptional insight she creat- nagrajena – z Borštnikovima in Severjevo nagrado, ed a palette of roles that won her many awards – nagrado ZDUS, odličjem Marije Vere za življenjsko Borštnik Awards, the Sever Award, the ZDUS Award, delo in zlatim lovorovim vencem na sarajevskem the Marija Vera Lifetime Achievement Award and a MESS-u. Tudi na filmu je sodelovala z zelo različnimi Golden Wreath at the MESS festival in Sarajevo. On režiserji: Matjažem Klopčičem, Jožetom Galetom, film as well, she has worked with very different direc- Igorjem Pretnarjem, Sašem Podgorškom, Vinkom tors: Matjaž Klopčič, Jože Gale, Igor Pretnar, Sašo Möderndorferjem, Andrejem Mlakarjem in Meto- Podgoršek, Vinko Möderndorfer, Andrej Mlakar and dom Pevcem. V zadnjih letih se je vpisala v spomin Metod Pevec. Recently, she has won over [Sloveni- in srca tudi televizijskim gledalcem kot Neža Fažon an] television viewers – their minds and hearts – as v Usodnem vinu in Tereza Božič v Reki ljubezni. ¶ V Neža Fažon in Usodno vino (Fateful Wine) and Tereza svoji bogati igralski karieri je Marinka Štern razvila Božič in Reka ljubezni (The River of Love). ¶ Through- izjemno specifično in natančno fenomenologijo igre. out her rich acting career, Marinka Štern has develop V enem izmed pogovorov je takole strnila svoje misli an extremely specific and precise phenomenology of o igri: »Ker igralec po mojem mnenju ne igra nekoga acting. In one interview, she summarised her drugega, ne, v bistvu igra iz svojih izkušenj. Jaz ne thoughts on acting: “Because an actor, in my opinion, morem čutiti tako kot vi, sploh ne vem, kako vi čutite. doesn’t play someone else, no, she in fact acts from Lahko podobno, lahko pa drugače. Jaz ne morem vas her own experience. I cannot feel the way you feel, I igrati takih, kot ste v resnici; lik moram igrati tako, kot haven’t the slightest idea how you feel. Perhaps simi- ga čutim, če hočem, da bo to organizem, ki mu bodo larly to me, perhaps differently. I cannot play you the gledalci verjeli.« way you really are; I have to play the character the Marinka ni človek, ki bi z veseljem in veliko govoril o way I feel it, if I want it to be an organism the specta- sebi, ko pa spregovori, tako kot denimo v pogovorih z tors will believe.” ¶ Marinka is not a person who Boštjan Lah Jano Pavlič in Petro Tanko ob nagradah ali pomemb- would happily and frequently talk about herself, but nih jubilejih, ko je primerno izzvana, spregovori z when she does, for example, in the interviews with neposrednostjo, iskrivostjo in izjemnimi vpogledi v Jana Pavlič and Petra Tanko on the occasions of the 55. Borštnikovo 146 — 147

igralsko in človeško intimo. Igralec oziroma igralka awards or important anniversaries, when she is ade- češ da to ni nič. Mogoče res ni veliko, če se šteje po Betti’s Crime on Goat Island, Penelope in Odysseus je poklic. Zahteven in hkrati lep, če bi morali izbrati quately challenged, she speaks with directness, količini.« ¶ Marinka Štern se zaveda, da igralka, ko and Son by Veno Taufer, one of the four Susns in samo dva pridevnika. Torej je biti in postati igralec spark and remarkable insight into acting and human takole leto za letom stopa čez oder z različnimi na- Achternbusch’s eponymous play, and Arkadina in oziroma igralka zahtevno in hkrati lepo: »Kadar me intimacy. Being an actor (or actress) is a vocation. logami, v različnih vlogah zlahka zapade v nekakšno Chekhov’s The Seagull, which was overlooked at zvečer čaka predstava, je ves dan podrejen tej nalo- Hard, but beautiful, if we only had to choose two ponavljanje same sebe. Igralsko delo je sicer v veliki festivals and elsewhere, but it was, I feel and believe, gi,« pravi Marinka Štern. »Odgovornost do publike je adjectives. Therefore, becoming an actor (or an ac- meri odvisno od intuicije, ampak ta se lahko z leti my best role. That is, I have created some important bistvena.« Igralec se za svoj poklic uči vse življenje. tress) is hard, but beautiful: “If I have a performance izčrpa, utrudi, lahko ji zmanjka zraka. Zato je prepri- and more visible roles, even though perhaps some- Lahko bi rekli, da je prva igralčeva šola kar življenje in the evening, the entire day revolves around this čana, da je za igralski poklic potrebna tudi šola, ki te one might sneer, saying this is nothing. Perhaps it’s samo, neprecenljiv in neizmerljiv rezervoar emotivne- task,” says Marinka Štern. “The responsibility to the nauči tehnike in metod. Takole pravi: »Pomemben not a lot if you look at the quantity.” ¶ Marinka Štern is ga spomina. Potem so tu igralske akademije in šole, audience is key.” An actor studies for her profession mejnik se mi tozadevno zdi vloga Arkadine v Utvi, aware that an actress who, year after year, walks delavnice, študiji predstav z vajami, učenje metod in all her life. We could say that the actor’s first school is saj je sodelovanje z režiserjem Tomijem Janžičem v across the stage with different tasks, in different tehnik, delo z režiserji, s soigralci. Biti na odru in »tre- life itself, the invaluable and immeasurable reservoir meni vzbudilo zanimanje za bolj osebno igro ter me roles, easily falls into repeating herself. The labour of ba je delati, samo delati«, kot pravi Irina v Treh sestrah of the emotive memory. Then, there are theatre acting is largely dependent on intuition, but intuition Antona Pavloviča Čehova, ki je v igralsko kariero academies and schools, workshops, study process- gets depleted, exhausted, it runs out of air. This is Marinke Štern odtisnil neizbrisen pečat, saj je Ma- es for productions, with rehearsals, training in meth- why she is certain that acting requires education that rinka poleg vsega drugega tudi Arkadina, ob njej tudi ods and techniques, work with directors, fellow ac- teaches you techniques and methods. This is what Anfisa. ¶ »Moj FOKUS je bil TEATER,« pravi Marinka, tors. Being on stage and “having to work, only work,” she says: “An important milestone in this way seems »če je bilo doma vse narobe in je vse ležalo križkraž, to paraphrase Irina in Three Sisters by A. P. Chekhov, to be the role of Arkadina in The Seagull, because my je v nasprotju s tem TEATER MORAL ŠTIMAT'!« ¶ a playwright who left an indelible seal in the career of collaboration with the director Tomi Janežič triggered Marinka se je za teater odločila zavestno. Tik pred Marinka Štern, as Marinka was, in addition to in me the interest for more personal acting, while at diplomo je ekonomijo odložila na klin in se prepisala everything else, also Arkadina, she was also Anfisa. ¶ the same time encouraged me to think more inten- na UL AGRFT. Gledališču pripada do popolnosti. Kdor “My FOCUS was THEATRE,” says Marinka, “if at sively about what acting actually is.” And also: “At the jo pozna, ve, da ne bo zamudila nobene gledališke home everything was upside down and strewn all very moment when patterns ran me over, Tomi vaje, da svoje delo postavlja pred vse. Kadar ima pred around, the THEATRE, on the contrary, HAD TO BE Janežič appeared with Lee Strasberg’s method. I seboj vlogo, se je loti odločno in študiozno, poišče SHIPSHAPE!” ¶ Marinka’s decision for theatre was a became aware of my mistakes and got back on my vzporednice v resničnem življenju. Za enigmatičen conscious one. Just short of a degree in economics feet!” Describing the study process for the role of monolog z minimalnimi avtorjevimi napotki, kot ga je she dropped out and switched to the UL AGRFT. She Arkadina in Chekhov’s The Seagull, which Janežič mojstrsko ustvarila v Achternbuschevi Susn, študira belongs to the theatre in full. Whoever knows her, directed at the Mladinsko Theatre, Marinka says that paciente v psihiatrični kliniki ali zapornice v zaporu knows she won’t miss a single rehearsal, she puts she cried and turned herself upside down, but those in zmodelira svojo vlogo kot kiparka svojo skulptu- her work in front of everything. When she has a role who saw her in this production know that she has ro, do zadnjih podrobnosti. Sebe in svoje delo vidi in front of her, she tackles it with deliberation and won. She was exactly what the critic Ivan Medenica takole: ¶ »Sem skromen človek in zelo rada delam. studiousness, she finds parallels in real life. For the wrote: a grand European actress in the role of Arkadi- Vsakega dela sem se lotila z veseljem in tudi majhne enigmatic monologue with minimal stage directions na. ¶ Marinka likes to emphasise that Strasberg’s vloge sem skušala izoblikovati z enako zavzetostjo from the author, which she created masterfully in method can be very dangerous for the actor, be- kot zdanjo nagrajeno. Igrala sem Štorkljo v Filipči- Achternbusch’s Susn, she studied patients in a psy- cause it builds upon the stock of her affective memo- čevih Ujetnikih svobode, oslička Sivčka v Milnovem chiatric ward, or inmates in prison: she models her ry, which is unpredictable and can trigger an ava- Medvedu Puju, kjer sem naredila zelo občutljivo vlo- role like a sculptor creates her sculpture, to the very lanche of chain reactions that crush her. This go, četudi je bila oslovska, a me je spodbudila vleči last detail. ¶ This is how she sees herself and her happened to Mikhail Chekhov, who, under človeške vsebine iz sebe. Igrala sem Pio v Bettijevem work: “I am a modest person and I love working. I Stanislavski’s mentorship, suffered a nervous break- Zločinu na Kozjem otoku, Penelopo v Odiseju in sinu have approached every assignment with joy and down due to the unpredictable affective memory. He Vena Tauferja, eno of štirih Susn v Achternbuschevi have tried to create even small roles with the same dug himself out of the pit by creating his own acting istoimenski igri, in Arkadino v Utvi Čehova, ki je bila na enthusiasm as the last awarded one. I played the technique, to which Marinka swears today, because festivalih in še kje prav tako prezrta, pa je bila po mo- Stork in Filipčič’s The Prisoners of Freedom, Eeyore in it “encourages acting through the entire body”. His jih občutkih in prepričanju moja najboljša vloga. Se Milne’s Winnie-the-Pooh, where I created a sensitive invention is called “the psychological gesture”. “And pravi, da sem nekaj pomembnejših in vidnejših vlog role, even if it was a donkey, but it encouraged me to this is something,” said Marinka a few years ago, vseeno ustvarila, čeprav se bo morda kdo nasmehnil, draw human content from myself. I played Pia in Žiga Koritnik “that I still have to master.” ¶ In her 55. Borštnikovo 148 — 149

Marko Pigac 55. Borštnikovo 150 — 151

sočasno spodbudilo k intenzivnejšemu razmišljanju acting career, she says, she has “… often experienced na njihovo velikost – zapomnimo predstave. Je su- roles were small, medium or big,” she says, “I’ve ap- o tem, kaj je sploh igranje.« In še: »Ravno v času, that a director told me ‘This needs to be done this verena igralka, ki je vedno pripravljena iz neznanega proached them with the same enthusiasm, even ko so me povozili vzorci, se je pojavil Tomi Janežič way’ and I believed him, without realising that his narediti znano, povezati nepovezljivo, predvsem pa though my time onstage was sometimes a mere z metodo Leeja Strasberga. Zavedla sem se svojih vision was not necessarily the only correct possibility. z natančno igralsko prezenco začarati in včasih kar three minutes. If I wanted to make the best of those napak in se postavila na noge!« O študiju za vlogo Today, I am certain that good theatre must be open uročiti gledalke in gledalce. Večkrat poudari, da si je three minutes, I had to work with the same – or Arkadine v Utvi A. P. Čehova, ki jo je v Slovenskem for different approaches, and that it barely suffers že kot deklica želela postati igralka: »Moji teti sta štu- greater – intensity as for the big roles, which offered mladinskem gledališču režiral Tomi Janežič, Marinka – from creators, as well as critics and the audience dirali v Ljubljani. Mama me je peljala k njima na obisk, more material from the beginning. When a role has pravi, da je jokala in hodila po trepalnicah, ampak tisti, – pre-emptive expectations about what something onidve pa mene v gledališče.« Pravi, da je bila štiri less text, there is also less data behind these lines ki smo jo videli v tej predstavi, vemo, da je zmagala. should look like. This is also why I now wish more desetletja zvesta Slovenskemu mladinskemu gleda- and from which actors get the associations when Bila je točno to, kar je zapisal kritik Ivan Medenica: individual roles that would allow me to research new lišču, svojemu poklicu pa bo ostala zvesta do konca constructing our characters. In such cases, I found vélika evropska igralka v vlogi Arkadine. ¶ Marinka thinking and findings about theatre acting when I’m svojih dni. »Zelo sem bila predana temu gledališču, my own material and I’ve never spared the energy. I rada poudari, da je Strasbergova metoda lahko za onstage … I enjoy that special state when onstage svojemu delu pa bom vedno. Druge poti nisem videla don’t even know how I’d explain it. When I read the igralca zelo nevarna, saj gradi na njegovih zalogah you merge with the character that you’re playing to in je niti ne vidim. Nekateri igralci pravijo, da imajo text, I see where my character is coming from. And emotivnega spomina, ta pa je nepredvidljiv in lahko the point in which it becomes difficult to say that dosti, jaz pa ne! Ne verjamem, da bom kdaj nehala then I go and search for her, until I find her.”¶ sproži plaz verižnih reakcij, ki ga zdrobijo. To se je na you’re still only just acting, although you are onstage igrati. Še tri dni po smrti bom igrala,« pove nagajivo primer zgodilo tudi Mihailu Čehovu, ko je pod učnim and in front of the audience. I also enjoy in the fact in se glasno zasmeji. ¶ Vloge v gledališču, na filmu in Prepared by Tomaž Toporišič vodstvom Stanislavskega zaradi nepredvidljivega that I’ve learnt, in the frame of the role, of course, to na televiziji so Marinki Štern ponudile priložnosti, da The Borštnik Ring Award Expert Jury: emotivnega spomina doživel živčni zlom. Iz brezna se use my own personal moods onstage. If, for example, v kar največji meri preizkusi svojo igralsko moč: »Ne Tea Rogelj, Barbara Orel, je izkopal tako, da je izdelal lastno igralsko tehniko, na I arrive sad to the evening performance of The glede na to, ali so bile velike, srednje ali male,« pravi, Tomi Janežič, Janez Škof, katero danes prisega tudi Marinka, saj »spodbuja igro Seagull, I’m not trying to hide my mood. Arkadina »sem se vlog lotevala z enako zavzetostjo, čeprav je Aleš Novak skozi vse telo«. Njegov izum se imenuje psihološka might be slightly more ill-disposed on a night like moj nastop na odru včasih trajal gesta. »In te«, je pred nekaj leti povedala Marinka, »se this, but she will nevertheless always be herself. I samo tri minute. Če sem hotela tiste moram šele naučiti.« ¶ V svoji igralski karieri, pravi, want to say that I consciously use my acting organ- tri minute izkoristiti, je bilo treba je » /…/ dostikrat doživela, da mi je kak režiser rekel ism so that it produces as realistic emotions as pos- delati enako ali celo bolj intenzivno ‚Tole je treba pa takole‘ in sem mu verjela, ne da bi sible.” ¶ Marinka Štern is a unique actress of small, kot pri velikih vlogah, ki so mi že se zavedala, da njegov pogled sploh ni nujno edina medium and big roles which make us – regardless of v osnovi ponudile več materiala. pravilna možnost. Danes sem prepričana, da mora their “size” – remember the productions. She is a Kadar ima vloga manj besedila, je biti dobro gledališče odprto za različne pristope in sovereign actress always prepared to make the manj tudi podatkov, ki se skrivajo da tako s strani ustvarjalcev kot kritikov in občinstva known out of the unknown, to link the unlinkable, za njegovimi vrsticami in iz katerih težko prenaša vnaprejšnje predstave o tem, kako naj and, above all, to enchant the audience with her pre- igralci črpamo asociacije pri gradnji bi kaj izgledalo. Tudi zato si zdaj želim bolj individual- cise acting presence – and sometimes put them svoje osebe. V takih primerih sem si nih vlog, ki bi mi na odru omogočale raziskavo novih under a spell. She often stresses that she wanted to material iskala sama in pri tem nikoli razmišljanj in dognanj o gledališki igri ... Uživam v become an actress when she was a little girl: “My nisem varčevala z energijo. Saj niti tistem posebnem stanju, ko se na odru do te mere aunts studied in Ljubljana. My mother took me to visit ne vem, kako bi to natančno pove- zliješ z osebo, ki jo igraš, da je pravzaprav težko reči, them, and they took me to the theatre.” She says she dala. Ko preberem besedilo, vidim, da še vedno samo igraš, čeprav si na odru in pred was faithful to the Mladinsko Theatre for four dec- od kod je oseba, ki jo igram. Potem občinstvom. Uživam tudi v tem, da sem se naučila na ades and will remain faithful to her profession till the pa grem in jo iščem, dokler je ne odru, seveda v okviru vloge, uporabljati svoje oseb- end of her days. “I was very devoted to this theatre najdem.« ¶ Marko Pigac no razpoloženje. Kadar denimo pridem zvečer na and will always remain devoted to my work. I didn’t predstavo Utve žalostna, ne skušam skrivati razpolo- see any other path, and I still don’t. Some actors say Pripravil Tomaž Toporišič ženja. Arkadina bo na takšen večer morda za odtenek that they’ve had enough, but not me! I don’t believe Strokovna žirija za nagrado slabše razpoložena kot sicer, a bo vendarle vedno I’ll ever stop acting. I’ll act three days after my death,” Borštnikov prstan: Tea Rogelj, ona. Hočem reči, da zavestno izkoriščam svoj igralski she says mischievously and laughs loudly. ¶ The Barbara Orel, Tomi Janežič, organizem, tako da producira čimbolj resničnostne roles in theatre and on film and television have of- Janez Škof, Aleš Novak občutke.« ¶ Marinka Štern je izvenserijska igralka fered Marinka Štern chances to test her acting pow- malih, srednjih in velikih vlog, po katerih si – ne glede ers to the maximum: “Regardless of whether the 55. Borštnikovo 152 — 153 Zaključno mnenje žirije tekmovalnega programa 54. Festivala Borštnikovo srečanje Concluding Remarks of the Competition Programme Jury for the 54th Maribor Theatre Festival Maribor, 27. oktober 2019 Gledališče je umetnost, ki ima v Sloveniji dolgo in čas- Theatre is an art with a long and venerable tradition in titljivo tradicijo. Razpira pomembna bivanjska in druž- Slovenia. It opens important existential and societal bena vprašanja, kar je seveda obarvano s posebnostmi questions, which are of course tinged with the particu- prostora, v katerem je. Kljub temu na odrih po Sloveniji larities of the space within which it exists. Nevertheless, nastajajo predstave, ki navdihujejo in vznemirjajo tudi Slovenian stages produce performances that also in- gledalce in strokovno javnost po vsem svetu. ¶ Po čem spire and excite audiences and experts all over the world. si bomo zapomnili 54. Festival Borštnikovo srečanje? ¶ ¶ What will we remember from the 54th Maribor Theatre V predstavah, ki smo jih videli, ne moremo prezreti dej- Festival? ¶ In the productions that we’ve seen, we cannot stva, da slovensko gledališče ni ustvarjalno področje, ki ignore the fact that Slovenian theatre is a creative field ga slovenska družba navdušeno podpira. Kot gledalci that the state does not enthusiastically support. As spec- seveda vsakič, ko obiščemo gledališče, pričakujemo tators, of course, we expect an exciting experience that vznemirljivo doživetje, ki bogati življenje. Po drugi pla- enriches our lives every time we go the theatre. On the ti pa smo precej zadržani v trenutku, ko je gledališko other hand, we’re quite reserved when theatre creativity ustvarjanje potrebno tudi v resnici podpreti. ¶ Če pogle- actually needs supporting. ¶ If we look at the European damo evropski gledališki zemljevid, za našo državo ne theatre map, we cannot claim our country is a promised moremo trditi, da je obljubljena dežela. Tudi predpisani land. The prescribed models within which the theatre in- modeli, v katerih ustvarjajo gledališki zavodi in neodvi- stitutions and independent groups create, are more of a sne skupine, so ustvarjanju prej v breme kot v prid. Te burden than a benefit to creativity. These circumstances razmere lahko razberemo tudi v predstavah letošnjega can also be observed in the productions from this year’s tekmovalnega programa. Povedano malo bolj po doma- competition programme. To speak plainly: the grass is če: trata je čisto drugače pokošena, kadar imamo res cut completely differently when we have a really good dobro kosilnico. ¶ Zato je izjemno vzpodbudna ustvar- lawn mower. ¶ This is why the creative power of actors jalna moč igralk in igralcev vseh generacij, od najmlajših, and actresses of all generations, from the youngest ones ki so šele končali umetniško akademijo, do prekaljenih fresh out of the academy to the experienced old thes- gledaliških mačk in mačkov. Igralke in igralci, ki so na- pians, is extremely encouraging. The actors who per- stopili na letošnjem Festivalu Borštnikovo srečanje, formed at this year’s Maribor Theatre Festival showed so pokazali dobro obvladovanje različnih tehnik igre, mastery of different acting techniques, theatre genres gledaliških žanrov in pristopov, ki so jih obarvali s po- and approaches that they tinged with the particularities sebnostmi lastne osebnosti. V predstavah letošnjega of their own personalities. It is impossible to overlook a festivala ni mogoče prezreti cele vrste dobrih igralskih long series of well-created, even exceptional acting roles. vlog, med njimi tudi presežnih. ¶ Med predstavami le- ¶ Among the productions of this year’s Competition Pro- tošnjega tekmovalnega programa posebej izpostav- gramme we would like to draw particular attention to the ljamo predstavi še ni naslova in Ali: Strah ti pojé dušo, productions of no title yet and Ali: Fear Eats Your Soul that ki sodita v vrh slovenskega in evropskega gledališča. ¶ belong to the pinnacle of Slovenian and European the- V predstavi še ni naslova režiser Tomi Janežič pravi, da atre. ¶ In no title yet, the director Tomi Janežič says that se v življenju pojavijo trenutki, zaradi katerih se v hipu there are moments in life that make us change instantly, spremenimo, ker pa jih ne moremo racionalno razložiti, but because we cannot rationally explain them, we call jim pravimo čudež. Žirija 54. Festivala Borštnikovo sre- them miracles. The decision of the 54th Maribor Theatre čanje je z odločitvami za posamezne nagrade izposta- Festival jury for individual awards thus highlights such ar- vila umetniške čudeže – nepozabne, presunljive, krhke tistic miracles – unforgettable, touching, fragile and pow- in silovite. Zaradi njih nikoli nič več ne bo tako kot prej. ¶ erful. Because of them, nothing will ever be as before. ¶

Strokovna žirija tekmovalnega programa Expert Jury of the Competition Programme Uršula Cetinski, Andreja Kopač, Uršula Cetinski, Andreja Kopač, Aldo Milohnić, Dora Ruždjak Podolski, Aldo Milohnić, Dora Ruždjak Podolski, Giorgio Ursini Uršič­­ Giorgio Ursini Uršič 55. Borštnikovo 154 — 155 Velika nagrada Festivala Borštnikovo srečanje za najboljšo uprizoritev Borštnik Grand Prix for Best Production še ni naslova v režiji Tomija Janežiča v produkciji Slovenskega mladinskega gledališča no title yet directed by Tomi Janežič and produced by the Mladinsko Theatre

Predstava še ni naslova izkazuje izjemno moč no title yet demonstrates the exceptional power of gledališča danes. Gre za intenzivno, deset ur traja- today’s theatre. This is an intense ten-hour creation jočo stvaritev, ki zaradi izjemnosti vseh gledaliških which, because of the uniqueness of all its theatre elementov in visoke koncentracije vztrajno tke vezi elements and its profound focus, persistently weaves med igralci in gledalci in je zapeljiva ne le zato, ker the connection between the actors and the specta- se razgali, ampak tudi zato, ker nam pokaže, kako se tors and is seductive not only because it reveals itself, razgali. Predstava se izkaže za gledališki čudež, za but also because it shows us how it reveals itself. The doživetje v polnem pomenu besede, ki ni ustvarjeno performance thus turns out to be a theatre miracle, an na način prevare očesa, ampak nasprotno, z globo- experience in the full meaning of the word, which is kim uvidom v posameznika in družbo. ¶ Žiga Koritnik not created as a trompe l’oeil, but quite the opposite, as a deep insight into an individual and the society. ¶ 55. Borštnikovo 156 — 157 Borštnikova nagrada za najboljšo režijo Borštnikova nagrada za igro Borštnik Award for Best Directing Borštnik Award for Acting Tomi Janežič za režijo predstave še ni naslova Iztok Drabik Jug za vlogo Salema v predstavi Ali: Strah ti pojé dušo v produkciji v produkciji Slovenskega mladinskega gledališča Slovenskega narodnega gledališča Drama Ljubljana Tomi Janežič for directing no title yet Iztok Drabik Jug for the role of Salem in the production produced by the Mladinsko Theatre Ali: Fear Eats Your Soul by the SNT Drama Ljubljana. of Pekinpah, Via Negativa and Kino Šiška – Centre for Urban Culture

Režiser Tomi Janežič s predstavo še ni naslova With no title yet, the director Tomi Janežič creates Iztok Drabik Jug v predstavi Ali: Strah ti pojé dušo In Ali: Fear Eats Your Soul, Iztok Drabik Jug por- ustvari kompleksno režijsko in dramaturško struktu- a complex directorial and dramaturgical structure, uprizori lik tujca – kot človeka, ki je eden izmed nas. trays a foreigner – as a human who is one of us. He ro, ki je hkrati oboje, proces in stvaritev, ki temelji na which is at the same time the process and the result, Svoje vloge ne stilizira, temveč jo upodobi z minimal- doesn’t stylise his role, but rather portrays it with a različnih gledaliških tehnikah in metodah psihodra- and which is based on different theatre techniques nim znakovnim sistemom, kar ima subtilen učinek. minimal sign system, which creates a subtle effect. me. Vzporedno prepletanje besedila dramatičarke and the methods of psychodrama. The parallel S tem ponotranji niz družbenih in intimnih razklanos- With this, he internalises a series of societal and inti- Simone Semenič z individualnimi zgodbami ustvar- intertwining of the text by the playwright Simona ti. Te se izkazujejo kot notranji boj med ljubeznijo in mate schisms. These appear as an internal struggle jalcev pripelje do zlitja mnoštva glasov v polifonično Semenič with the individual stories of the artists zanikanjem. ¶ Peter Uhan / SNG Drama Ljubljana between love and denial. ¶ celoto, ki je nastajala več kot leto dni in izkazuje do- creates a coalescence of a multitude of voices into a sežke onkraj običajnih gledaliških praks. ¶ Žiga Koritnik polyphonic whole that took more than a year to per- fect and shows the achievements beyond the usual theatre practices. ¶ 55. Borštnikovo 158 — 159 Borštnikova nagrada za igro Borštnikova nagrada za igro Borštnik Award for Acting Borštnik Award for Acting Nataša Barbara Gračner za vlogo Emmi v predstavi Ali: Strah ti pojé dušo Matej Recer za vlogo v predstavi še ni naslova v produkciji Slovenskega narodnega gledališča Drama Ljubljana v produkciji Slovenskega mladinskega gledališča Nataša Barbara Gračner for the role of Emmi in Ali: Fear Eats Your Soul Matej Recer for his role in no title yet produced by the SNT Drama Ljubljana produced by the Mladinsko Theatre

Nataša Barbara Gračner v predstavi Ali: Strah ti In Ali: Fear Eats Your Soul, Nataša Barbara Gračner Matej Recer v predstavi še ni naslova prepričljivo in In no title yet, Matej Recer convincingly and directly pojé dušo iz melodramskega lika ustvari samosvojo turns a melodramatic character into a unique cre- neposredno vzpostavi kod deseturne uprizoritve. establishes the code of the ten-hour performance. kreacijo, ki gledalce angažira in se jih dotakne tako na ation that engages the spectators and touches them Njegove zgodbe postajajo naša skupna doživetja, His stories become our shared experiences, as čustveni kot na miselni ravni. Psihološka stanja lika so on the emotional and the rational level. Gračner saj z njimi ustvarja občutek gledalčeve premestitve through them, he creates the feeling of the spec- prepletena z odzivi okolja in s pogojenostjo družbene- intertwines the psychological states of the character v Matejev prostor in čas. Pri tem vzpostavlja edin- tator’s shift into Matej’s time and space. This helps ga konteksta, s čimer doseže prepričljiv igralski gestus. with the responses of the environment and the con- stveno razmerje med pričevalcem in hkrati interpre- Recer establish a unique relationship with the narra- Ta se kaže skozi filigransko izdelan lik – skozi telo, be- ditions of the social context, which helps her achieve tom in na preprost način doseže visoko raven ver- tor, who is at the same time the interpreter, and in a sede, obraz in nenazadnje oči igralke, kar predstavlja a convincing acting gestus. This is shown through jetnosti vsebin, o katerih pripoveduje in s katerimi simple way achieves a high likelihood of the content izjemen igralski dosežek. ¶ Peter Uhan / SNG Drama Ljubljana a filigree-like character – through the body, words, ustvarja pristno gledališko izkušnjo. ¶ Žiga Koritnik he talks about and with which he creates a genuine face and, lastly, the eyes of the actress – which is an theatre experience. ¶ exceptional acting achievement. ¶ 55. Borštnikovo 160 — 161 Borštnikova nagrada za igro Borštnikova nagrada za mlado igralko Borštnik Award for Acting Borštnik Award for Young Actress Stane Tomazin za vlogo v predstavi še ni naslova Anja Novak za vlogo v predstavi še ni naslova v produkciji Slovenskega mladinskega gledališča v produkciji Slovenskega mladinskega gledališča Stane Tomazin for his role in no title yet Anja Novak for her role in no title yet produced by the Mladinsko Theatre produced by the Mladinsko Theatre

Stane Tomazin v predstavi še ni naslova pokaže In no title yet, Stane Tomazin shows an exceptional Anja Novak v predstavi še ni naslova izkazuje način In no title yet, Anja Novak shows the kind of acting izjemen igralski razpon. Ubesedi lik antijunaka, acting range. He embodies an antihero, a stagehand igre, ki deluje prepričljivo prav s kombinacijo krhkosti that convinces by combining fragility and emotional odrskega delavca, ki stopi v ospredje po ovinkih, v who steps to the front of the stage via byways, in in čustvene neposrednosti ter s silovitostjo igral- directedness, and a powerful acting expression. premorih, ki jih razvije v medigre, v katerih nastopi the intermissions that he develops into interludes, in ske izraznosti. Ves čas predstave je hkrati v vlogi in Throughout the performance she is at the same kot homo ludens z igrivo, duhovito mešanico veselja which he appears as a homo ludens with a playful, onkraj nje, pri čemer vzpostavi edinstveno ravnotež- time inside her role and beyond it; she manages to in žalosti. Gledališki marginalec tako postane prota- witty mixture of happiness and sadness. The theatre je, v katerem ni ničesar premalo in ničesar preveč. Z establish a unique balance that lacks nothing and gonist uprizoritve, ki z razvojem lastnega lika hkrati marginal thus becomes the protagonist of the per- vztrajanjem pri ženski krhkosti izkazuje tenkočutnost has nothing is excess. By insisting on female fragility, vpelje kontrapunkt vsem drugim likom in omogoči formance, who by developing his own character also in suverenost, ki se nam vse do konca uprizoritve she shows sensitivity and sovereignty that we keep demontažo gledališkega ustroja. ¶ Žiga Koritnik develops the counterpoint to all other characters and odkriva – in na novo razkriva. ¶ Žiga Koritnik discovering throughout the entire performance – as enables the deconstruction of the theatre structure. ¶ it reveals itself anew. ¶ 55. Borštnikovo 162 — 163 Borštnikova nagrada za dramsko besedilo Borštnikova nagrada za oblikovanje svetlobe Borštnik Award for Best Original Text Borštnik Award for Lighting Design Nejc Gazvoda za izvirno dramsko besedilo predstave Tih vdih Borut Bučinel za oblikovanje svetlobe v predstavi Ljudomrznik v produkciji Mestnega gledališča ljubljanskega v produkciji Slovenskega ljudskega gledališča Celje Nejc Gazvoda for his original play A Silent Breath, Borut Bučinel for the lighting design in the production produced by the Ljubljana City Theatre of The Misanthrope produced by the Celje City Theatre

Nejcu Gazvodi v izvirnem dramskem besedilu In his original play A Silent Breath, Nejc Gazvoda Borut Bučinel v predstavi Ljudomrznik natančno In The Misanthrope, Borut Bučinel closely follows Tih vdih uspe ujeti glas generacije navadnih ljudi v manages to capture the voice of a generation of spremlja dramaturgijo predstave in oblikuje svetlo- the dramaturgy of the production and designs the posttranzicijskem obdobju slovenske družbe skozi ordinary people in the post-transitional period of the bo v razponu od klasične postavitve do večplastnih light ranging from a classical set up to multi-layered formo družinske drame. Avtor dosledno in natančno Slovenian society and shape it into a family drama. svetlobnih podob. Na ta način oblikovanje svetlobe light images. The lighting design – along with the izpelje tako dramski lok družinske zgodbe kakor tudi The author consistently and painstakingly draws the – vzporedno s spremembo scenografije in razvojem scenography changes and the development of the lok dramskih likov in njihovih medsebojnih odnosov, dramatic arch of the family, as well as the arches of režijsko-dramaturške postavitve – preraste v samos- directorial-dramaturgical structure – thus grows into ob čemer upošteva četrto steno, ki jo mestoma tudi individual characters and the relationships between tojen avtorski prispevek, ki spominja na distopičnost an independent artistic contribution that reminds us preči. Poleg tega, da je avtor ujel trenutek življenja v them; he respects the fourth wall, but occasionally sodobnega časa. ¶ Jaka Babnik of a dystopia of the modern time. ¶ Sloveniji danes, je dramsko besedilo univerzalno in breaks through it. While the author has caught the prenosljivo tudi v druga okolja. ¶ Peter Giodani moment of Slovenian life now, the play is universal and transposable into other environments. ¶ 55. Borštnikovo 164 — 165 Borštnikova nagrada za avtorsko glasbo Posebna nagrada žirije za umetniško gesto Borštnik Award for Best Original Music Special Jury Award for Artistic Gesture Arturo Annecchino za avtorsko glasbo v predstavi Macbeth Sebastijan Horvat za umetniško gesto v predstavi Ali: Strah ti pojé dušo v produkciji Slovenskega narodnega gledališča Nova Gorica v produkciji Slovenskega narodnega gledališča Drama Ljubljana. Arturo Annecchino for music in Macbeth, Sebastijan Horvat for artistic gesture in Ali: Fear Eats Your Soul, produced by the SNT Nova Gorica produced by the SNT Drama Ljubljana.

Arturo Annecchino v predstavi Macbeth premišljeno In Macbeth, Arturo Annecchino thoughtfully con- Gledalec je aktiven udeleženec, ki premišljuje situ- The spectator is an active participant who thinks gradi glasbeno podlago skozi prepletanje različ- structs the soundtrack through intertwining different acije in kontekste skupaj z ustvarjalci predstave, pri through the situations and contexts together with the nih glasbenih struktur, ki natančno spremljajo tok musical structures that follow the flow of the produc- čemer režiser pušča razpoke v strukturi, ki omogočajo creators of the production, with the director leaving uprizoritve. Ob tem ustvarja specifične akustične tion carefully. With that, he creates specific acoustic drugačen pogled. Predstava Ali: Strah ti pojé dušo je cracks in the structure that allow for alternative views. momente in poudarke, ki izrisujejo stanja likov in po- moments and emphases that chart the characters’ kompleksna uprizoritev, v kateri se okoli vprašanja The production Ali: Fear Eats Your Soul is a complex vezujejo zunanji prostor z notranjim občutjem. Avtor states and connect the exterior space with the interi- ljubezni med starejšo žensko in mlajšim tujcem vrtinči performance in which a storm of prejudice swirls glasbe s tem ustvarja samostojno zvočno krajino. ¶ or emotion. The author of the music thus creates an vihar predsodkov. Tu ne gre le za prepovedano raz- around the question of love between an older woman independent soundscape. ¶ Peter Uhan merje, ampak tudi za vprašanje ženske seksualnosti and a younger man. This isn’t just about a forbidden v starejšem obdobju, pri tem pa se kaže trdovratnost relationship, but also about the question of female ponotranjene ideologije. ¶ Peter Uhan / SNG Drama Ljubljana sexuality as women age. Thus, remdering the stub- born internalised ideology immanently obvious. ¶ 55. Borštnikovo 166 — 167 Posebna nagrada žirije za umetniško vizijo Nagrada Društva gledaliških kritikov Special Jury Award to for Artistic Vision in teatrologov Slovenije Dragan Živadinov za umetniško vizijo v predstavi REKA, REKA/Syntapiens::IZ The Association of Theatre Critics and v produkciji Zavoda Delak. Researchers of Slovenia Award Dragan Živadinov for artistic vision in the performance REKA, REKA/Syntapiens::IZ, produced by Delak Institute.

V zadnjem času se ukvarja z intimnejšim prostorom He has been working with more intimate spaces Nagrado Društva gledaliških kritikov in teatrologov The Association of the Theatre Critics and Researchers v gledališču, pri čemer je velike odre zamenjal z in theatre, and he has exchanged large stages for Slovenije za najboljšo predstavo pretekle gledališke of Slovenia Award for the best production of the previ- manjšimi, ki omogočajo svojevrstno gledališko izku- smaller ones that allow for unique theatre experienc- sezone (2018/2019) prejme uprizoritev besedila ous season (2018/19) goes to the production of Rainer šnjo. Ob tem dosledno udejanja svojo premišljeno es. With all that, he consistently realises his artistic Ali: Strah ti pojé dušo Rainerja Wernerja Fassbinder- Werner Fassbinder’s text Ali: Fear Eats Your Soul, umetniško vizijo, ki je kljub prepredenosti z različni- vision, which despite being intertwined with different ja v režiji Sebastijana Horvata in v produkciji Sloven- directed by Sebastijan Horvat and produced by SNT mi referencami zgodovine gledališča in gledaliških references from the history of theatre and theatre skega narodnega gledališča Drama Ljubljana. ¶ Drama Ljubljana. ¶ Set in a deserted industrial hall, Ali: avantgard povsem avtentična, kar se izkazuje tudi v avant-gardes, is completely authentic, as is also clear Predstava Ali: Strah ti pojé dušo v ambientu zapuš- Fear Eats Your Soul, based on Fassbinder’s text, cre- predstavi REKA, REKA/ Syntapiens::IZ. ¶ Jože Suhadolnik from his production REKA, REKA/ Syntapiens::IZ. ¶ čene industrijske hale na podlagi Fassbinderjevega ates a breakdown of concrete social, racial and class filma izpelje prerez konkretnih družbenih, rasnih in contradictions and develops the underlining relevance razrednih protislovij, pri čemer podloženo aktualnost with precise sensitivity. Sebastijan Horvat’s directing razvije s precizno občutljivostjo. Režija Sebastijana is thoughtful and through multiple layers organises Horvata premišljeno in razplasteno uravnava spe- a specific spatial situation; minimalist, yet exquisite cifično prostorsko situacijo, minimalistične, vendar acting gestures; framing the gazes and freeze-framing vrhunske igralske geste, kadriranje pogledov in za- with unobtrusive commentary, the meaning of which mrznitve z nevsiljivim komentarjem, ki jih v uprizoritvi he upgrades by changing the layout of the scene; by pomensko nadgradi s spremembo scenske razpore- placing a multitude of bodies nearby, he efficiently ditve, z umestitvijo bližine mnoštva teles pa učinkovito establishes a point of condensed tension. ¶ vzpostavi točko kondenzirane napetosti. ¶ Nagrado je The award was presented at the closing ceremony of na sklepni slovesnosti 54. FBS podelila predsednica the 54th Maribor Theatre Festival by the president of

društva Alja Lobnik. Peter Uhan / SNG Drama Ljubljana the Association, Alja Lobnik. 55. Borštnikovo 168 — 169 Poročilo o izvedbi 54. Festivala Borštnikovo srečanje Implementation Report of the 54th Maribor Theatre Festival 14.—27. oktober 2019, SNG Maribor in druge lokacije 14—27 October 2019, SNT Maribor and other venues

Festival Borštnikovo srečanje po desetletjih, v katerih After having endured some challenging decades, the pogovori po predstavah, usposabljanja itd.). Pripravili partnerships with professional organizations including je doživljalo tudi nemirna obdobja, ostaja osrednji slo- Maribor Theatre Festival remains the central Slovene smo mednarodno konferenco o razvoju novih občin- the newly established ones. The development of new venski gledališki festival tekmovalnega značaja ter vse theatre festival with a pronounced competitive feature stev (CEI), z Društvom gledaliških kritikov in teatrolo- audiences as well as the inclusion of international stu- bolj tudi mednarodna platforma, ki se razvija v smeri and has established itself as an international platform gov Slovenije izvedli mednarodni simpozij o gledališki dents were founded in 2018 as an ongoing programme uveljavljanja slovenskega gledališča v tujini, usposa- that aims to promote the Slovene theatre abroad. Fur- kritiki, z Mednarodnim gledališkim inštitutom pa osre- section titled as the Youth and Student Theatre. This bljanja, mreženja, razvoja novih občinstev in povezo- thermore, one of main goals of the festival is facilitating dnje regionalno srečanje s številnimi tujimi gosti. Dan section was significantly expanded upon collaboration vanja slovenskega gledališkega prostora. Skladno s training for theatre professionals, networking, audience gledaliških ustvarjalcev, ki smo ga ponovno pripravili with new partners from abroad. In turn, we also imple- svojim poslanstvom je festival v letošnji izvedbi pouda- development and enhancing the overall connectedness skupaj z Združenjem dramskih umetnikov Slovenije, je mented various strategies in collaboration with the UL ril kompleksnost in širino gledališke ustvarjalnosti, po- of the Slovene theatre field.¶ In scope of its main mis- bil posvečen tudi gledališkemu srečevanju in druženju, AGRFT in order to include students as active participants nudil širok razpon estetik in različnih pristopov, s tem sion, this year’s festival edition emphasized the com- ob tej priložnosti je bil izveden javni posvet o položaju of the festival (through the festival blog, discussions after pa želel spodbuditi raznolikost in povezanost našega plexity and comprehensiveness of theatrical creativity, gledaliških ustvarjalcev in ukrepih za izboljšanje pogo- performances, etc.). In addition, we prepared an interna- gledališkega prostora in izraza – ponudil je več kot šti- having offered a wide selection of aesthetics and vari- jev njihovega dela. S Platformo sodobnega plesa smo tional conference on the development of new audiences rideset gledaliških predstav, obsežen spremljevalni ter ous approaches in theatre production. As a result, the gostili plesno predstavo in dva performansa, program- (CEI) and hosted an international symposium on theatre strokovni program s številnimi slovenskimi in tujimi go- festival fostered the diversity and entanglement of the sko smo se povezali z Lutkovnim gledališčem Maribor criticism in collaboration with the Society of Theatre Crit- sti, poudarjeno mednarodno razsežnost in usmerje- Slovene theatrical space and expression. Only last year, in Mestom žensk. Z Umetnostno galerijo Maribor smo ics and Researchers of Slovenia; furthermore, we also nost v razvoj občinstev ter v promocijo in uveljavljanje the festival offered more than forty theatrical perfor- organizirali mariborsko postavitev pregledne razstave held a regional summit with the International Theatre In- slovenske gledališke ustvarjalnosti doma in v tujini. ¶ mances, an extensive accompanying and professional Slovenskega gledališkega inštituta Prostor v prosto- stitute that featured numerous foreign guests. Following Tekmovalni program je sestavljalo dvanajst predstav programme with many Slovene and foreign guests, with ru: Scenografija na Slovenskem do leta 1991. V novi the last year’s tradition, we hosted the Day of Slovene po izboru selektorja – dramatika, režiserja in gledali- an emphasis on the international dimension and focus festivalski zbirki Borštnikov prstan smo izdali knjigo, Theatre Artists in collaboration with the Association of škega pedagoga Matjaža Zupančiča – in obsežen izbor on developing new audiences, as well as promoting posvečeno prejemniku Borštnikovega prstana v letu Dramatic Artists of Slovenia that was also dedicated to predstav slovenskih in tujih producentov v spremlje- and establishing the Slovenian theatrical creativity and 2018 Janezu Škofu, založniško dejavnost pa dopolnili meetings and gatherings of theatre professionals and valnem programu po izboru umetniškega direktorja. abroad. ¶ The Competition Programme comprised of z dvojezično fotografsko monografijo umetniških por- the audience. On this occasion, a public conference was Spremljevalni program je sledil načelu, da je izbrana twelve performances selected by the selector – a play- tretov prejemnic in prejemnikov Borštnikovega prstana held concerning the situation of theatre artists and po- predstava pomemben dosežek, opaznejši premik v wright, director and theatre educator Matjaž Zupančič fotografa Primoža Korošca, ki jo je spremljala razstava tential measures to improve their working conditions, In letošnji gledališki sezoni, tekmovalni in spremljevalni – and an extensive selection of performances by Slo- fotografij v Razstavišču Vetrinjski. ¶ Za nami je najob- close collaboration with the Contemporary Dance Plat- program pa skupaj omogočata sorazmerno celovit vene and international producers in the Accompanying sežnejši festivalski program doslej, dva tedna pove- form, we hosted a dance production and two additional vpogled v aktualno stanje slovenske gledališke ustvar- Programme selected by the artistic director. The Accom- zanih gledaliških doživetij, vznemirljivo potovanje po performances, whereas we made further steps in artis- jalnosti. Predstavam v tekmovalnem sporedu in obeh panying Programme reflected the principle that any se- pokrajinah gledališke lepote in radostno praznovanje tic policy networking with the Maribor Puppet Theatre sklopih za mlade gledalce so sledili pogovori z ustvar- lected production is already an important achievement, if gledališke ustvarjalnosti. ¶ and the City of Women. With the Maribor Art Gallery, we jalci (večino jih je vodila Alja Lobnik). V zadnjem obdob- not a considerable shift in this year’s theatre season, and organized the Maribor setting of the exhibition titled as ju vse pomembnejši mednarodni značaj festivala smo that the Competition and Accompanying Programmes Aleš Novak umetniški direktor Festivala Borštnikovo The Space within the Space: Set Design in Slovenia be- izkoristili tudi kot platformo za promocijo in uveljavitev together provide a relatively in-depth insight into the srečanje Artistic Director of the Maribor Theatre Festival fore 1991 by the Slovenian Theatre Institute. In the new slovenskega gledališča pri tujih selektorjih, umetni- current state of the Slovene theatrical creativity and edition of the Borštnik Ring festival book series we have ških direktorjih, kritikih in novinarjih, večina predstav production. The performances within the Competition published a novel volume dedicated to Janez Škof, the je bila zato prevedena v angleški jezik in opremljena z Programme and both programme cycles for young last year’s recipient of the “Borštnik Ring” award. Finally, nadnapisi. ¶ Razvijali smo že oblikovana partnerstva audiences were followed by discussions with featured we have issued a bilingual photo monograph to present s strokovnimi organizacijami in vzpostavljali nova. artists (most of the talks were hosted by Alja Lobnik). the artistic portraits of the “Borštnik Ring” award recipi- Razvoj novih občinstev in mednarodno zasnovano The increasing international character of the festival ents photographed by Primož Korošec. The issue of the vključenost študentov smo že leta 2018 zasnovali kot has been recently used as a platform for show-case monograph was accompanied by a photo exhibition at trajna programska sklopa, Mlado in Študentsko gleda- events and promotion of the Slovene theatre to foreign the venue Razstavišče Vetrinjski. ¶ The most extensive lišče smo nadgradili in vključili nove partnerje iz tujine, selectors, artistic directors, critics and journalists; and festival programme to date is behind us, two weeks of v sodelovanju z Akademijo za gledališče, radio, film in with that in mind, the majority of the performances have overwhelming and compelling theatre experiences, an televizijo Univerze v Ljubljani pa razvili raznovrstne na- been translated into English and subtitled accordingly. exciting journey through the landscapes of theatrical čine aktivnega vključevanja študentov (festivalski blog, ¶ Furthermore, we have greatly improved the existing beauty and a joyful celebration of theatre creativity. ¶ 55. Borštnikovo 170 — 171

Borštnikov prstan daruje Borštnik Ring donated by Zlatar Filigran KAČINARI

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

Galerija Hest daruje umetniško grafiko dobitniku velike nagrade Festivala Borštnikovo srečanje za najboljšo uprizoritev

The Hest Gallery will present this artwork to the winner of the Maribor Theatre Festival Grand Prix Award for best performance

Židovska ulica 1 SI-2000 Maribor +386 (0)2 250 06 66 [email protected] www.galerijahest-sp.si Židovska ulica 8 SI-1000 Ljubljana 386 (0)1 422 00 00

Zvest Apollonio grafika, Hiša polna greha, 2001, dim 50x35 cm 55. Borštnikovo 172 — 173 55. Borštnikovo 174 — 175 55. Borštnikovo 176 — 177 54. Borštnikovo 178 — 179 54. Borštnikovo 180 — 181 55. Borštnikovo 182 — 183 55. Borštnikovo 184 — 185 53. Borštnikovo 186— 187 55. Borštnikovo 188 — 189 55. Borštnikovo 190 — 191 55. Borštnikovo 192 — 193 Festivalska ekipa Festivalska prizorišča Festival Team Festival Venues

55. Festival Borštnikovo srečanje 55th Maribor Theatre Festival Slovenska ulica 27, si-2000 Maribor, Slovenija t -> +386 (0)2 250 61 48, (0)2 250 61 00 f -> +386 (0)2 250 62 28 e -> [email protected] i -> www.borstnikovo.si ......

Umetniški direktor / Artistic director Aleš Novak Direktor SNG Maribor / Managing director SNT Maribor Danilo Rošker

Producentka in odnosi z javnostmi / Producer and public relations Daša Šprinčnik Producentka in asistentka umetniškega direktorja / Producer and assistant to artistic director Mojca Kolar Producentka in programska sodelavka / Producer and programme associate Mojca Redjko Producentka / Producer 4 Martina Magdič Projektni svetovalec / 5 Project consultant Miha Marinč Urednik publikacij festivala / Festival publications editor Benjamin Virc

Oblikovalec vizualne podobe festivala / Festival visual identity designer Radovan Jenko Koordinatorka dodatnega programa in skrbnica festivalskih lokacij / Other Events coordinator and location assistant Ana Gabrovec Koordinatorka prostovoljcev / Volunteer coordinator Marja Guček Fotograf / Photographer Boštjan Lah

Tehnična vodja / Technical managers Matic Gselman, Matic Kašnik Voditeljica pogovorov o tekmovalnih predstavah / Competition programme discussion moderator 1 Slovensko narodno 3 Lutkovno gledališče Maribor Alja Lobnik gledališče (SNG) Maribor / Slovene Maribor Puppet Theatre Selektor tekmovalnega programa / National Theatre (SNT) Maribor Vojašniški trg 2 A Selector of the competition programme Velika dvorana Grand Hall, Stara 2000 Maribor Rok Bozovičar dvorana Old Hall, Kazinska dvorana Kazina Hall, Mali oder Small Stage, 4 Narodni dom Maribor Strokovna žirija tekmovalnega programa / Komorni oder Chamber Stage House of Nation Maribor Expert jury of the competition programme Slovenska ulica 27 Ulica kneza Koclja 9 Barbara Orel, Ivan Medenica, Haris Pašović, 2000 Maribor 2000 Maribor Norbert Rakowski, Vilma Štritof Vetrinjski dvor 5 GT22 Strokovna žirija za nagrado Borštnikov prstan / 2 Vetrinje Mansion Glavni trg 22 Expert jury for the Borštnik Ring Award Vetrinjska ulica 30 2000 Maribor Ira Ratej, Mojca Jan Zoran, Tomaž Toporišič, 2000 Maribor Marinka Štern, Aleš Novak

Strokovna skupina / Board of experts Tina Kosi, Tone Partljič, Neda Rusjan Bric, Tomaž Toporišič, Nenad Jelesijević 55. Festival Borštnikovo srečanje 55th Maribor Theatre Festival Programski katalog / Programme Catalogue Maribor, 12.—25. oktober / 12—25 October 2020

Izdajatelj / Publisher Festival Borštnikovo srečanje, Slovensko narodno gledališče Maribor / Maribor Theatre Festival Slovene National Theatre Maribor

Za izdajatelja / Represented by Danilo Rošker

Umetniški direktor / Artistic director Aleš Novak

Urednik / Editor-in-chief Benjamin Virc

Prevajalki v angleščino / English translation Barbara Skubic, Mojca Kolar

Lektorica za slovenski jezik / Slovenian language consultant Mojca Redjko

Oblikovalec / Designed by

Radovan Jenko

Tisk / Printed by Tiskarna Radovljica Vezava knjige / Book binding Maruji knjigoveštvo

Črkovne družine / Typefaces

Beretta Sans, Recognition & Typewriter

Tiskano na / Printed on Munken Print Cream 150 & 300 g/m2

Naklada / Impression

250 izvodov / copies

Pridržujemo si pravico do spremembe programa. / We reserve the right to make changes to the programme.

Maribor, oktober / October, 2020 ISBN 978-961-95104-0-7 1. Virc, 1. Virc, Benjamin CIP - Kataložni zapis o publikaciji - Kataložni CIP knjižnica Maribor Univerzitetna 792.079(497.4)"2020" (55 ; 2020 Maribor) srečanje Borštnikovo FESTIVAL oktober 12. -25. Maribor, srečanje, Borštnikovo 55. Festival 2020 / October 12-25 Festival, Theatre = 55th Maribor : - Maribor Skubic, Mojca Kolar]. angleščino Barbara v ; prevajalki Virc Benjamin [urednik Festival, Theatre gledališče = Maribor narodno Slovensko srečanje, Borštnikovo Festival 2020 Theatre, National Slovenian 28369155 COBISS.SI-ID Cena / Price: 7,00 EUR