Almanah The Almanac 52. Festival Bor?tnikovo sre?anje 52nd Maribor Theatre Festival Izdajatelj Publisher Festival Bor?tnikovo sre?anje Maribor Theatre Festival, SNG Maribor Za izdajatelja Represented by Danilo Ro?ker ? Vse pravice pridr?ane. All rights reserved. Urednica Editor Ksenija Repina Lektor Language consultant Jan Grabnar Prevajalki Translators Katarina Pejovi?, Jana Ren?e Wilcoxen Lektorica za angle?ki jezik English language editor Jana Ren?e Wilcoxen Viri fotografij Gledali?ki arhivi in Arhiv CTF UL AGRFT Photo acknowledgements Archives of the theatres and Archive of CTF UL AGRFT Oblikovalec Designer Nenad Cizl Tisk Printed by R-tisk Ljubljana September 2017 1 CIP - Katalo?ni zapis o publikaciji Narodna in univerzitetna knji?nica, Ljubljana 792.079(497.4)?2017? FESTIVAL Bor?tnikovo sre?anje (52 ; 2017 ; Maribor) [Almanah 52. Festivala Bor?tnikovo sre?anje] / [52.] Festival Bor?tnikovo sre?anje = Maribor Theatre Festival, [20.-29. oktober 2017] ; [urednica Ksenija Repina ; prevod Katarina Pejovi?, Jana Ren?e Wilcoxen ; fotografije Festivala Bor?tnikovo sre?anje in Gledali?kih arhivov]. - Maribor : Festival Bor?tnikovo sre?anje, SNG, 2017 ISBN 978-961-94050-3-1 1. Repina, Ksenija 291455744 5 Ksenija Repina: Predani. Dedicated. 7 Danilo Ro?ker: Umetnost ne diskriminira ni?esar in nikogar Art Discriminates Against Nothing and No One 9 Petra Vidali: Poro?ilo selektorice tekmovalnega in spremljevalnega programa 52. Festivala Bor?tnikovo sre?anje Report from the Selector of the Competition and Accompanying Programmes of the 52nd Maribor Theatre Festival 12 Program Programme 14 Selektorica Selector 14 Strokovna ?irija Jury of Experts 16 ?irija za podelitev Bor?tnikovega prstana Jury for the Bor?tnik Ring Award 18 Tekmovalni program Competition Programme 44 Re?iserji tekmovalnih predstav Directors of the Competition Programme 46 Spremljevalni program Accompanying Programme 60 Mostovi Bridges 68 AGRFT Academy of Theatre, Radio, Film and Television 75 Finski fokus Finnish Focus 79 Razstave, strokovna sre?anja in ?e Exhibitions, Discussions and More 88 Alja Predan: Rezime 2009?2017 Summary 2009?2017 99 51. Festival Bor?tnikovo sre?anje 51th Maribor Theatre Festival 121 Pokrovitelji festivala Sponsors of the Festival 139 Nakup vstopnic Ticket Sales 142 Festivalska prizori??a Festival Venues 5Dedicated. As I write this text, it is still summer, on the edge of a new season. It is necessary to look back, although we have to move on. How to sum up the events of the past months, how to recapitulate the changes that have taken place in the past years, what to write as tentative guidelines for the Festival? Truth be told, the Festival is permeated with turbulences and draughts. Nevertheless, in spite of , or precisely because of, the fact that the Maribor Theatre Festival is (already) 52 years old ? thus, we might already consider it ?old? or ?stiff? ? still, under her artistic leadership, Alja Predan managed to appease the turbulent situation. Programme- wise, the Festival was refreshed and began breathing more freely and in the spirit of and in step with the times. As if it had been re-vitalised and re-established, it discovered new possibilities and dimensions: new forms of collaboration, flux and pulsation. This is no exaggeration: it became the oldest contemporary Slovenian theatre festival. It proved to be a fluid, responsive and active institution that poses questions and offers answers communicating with the time and the space in which it is unfolding. It does that in various forms, be it productions, theoretical discourses or fringe (yet no less valuable) events through which new forms of performing arts aesthetics are being explored. And this time of global uncertainties and tense political-national-cultural situations truly needs that. The Festival speaks of life. It is not merely the overview of the past season but also an overview of life as such, as it outlines stories for us ? this year, those are Predani. Ob pisanju tega besedila je ?e poletje, na previsu ?asa. Nujno potreben je pogled nazaj, ?etudi moramo naprej. Kako strniti dogodke preteklih mesecev, kako povzeti spremembe preteklih let, kaj zapisati za negotovo popotnico festivalu? Res je, festival je tesno stkan s turbulencami in prepihi. Vendar kljub temu in prav zato, ker festival ?teje (?e) dvainpetdeset let ? torej bi ga lahko imeli za starega ali togega ?, je Alji Predan uspelo, da se je pod njenim vodstvom turbulentnost umirila, festival pa se je programsko osve?il, za?el je dihati sodobneje in svobodneje. Kot da bi se vzpostavil na novo, je odprl nove mo?nosti in razse?nosti ? nove oblike sodelovanja, pretoka, utripa(nja). Brez pretiravanja: postal je najstarej?i slovenski sodobni gledali?ki festival. Izkazal se je kot fluidna, odzivna in aktivna institucija, ki v komunikaciji s ?asom in prostorom, v katerem se poraja, zastavlja vpra?anja in ponuja odgovore v razli?nih oblikah, najsibodo to uprizoritve in teoreti?ni diskurzi ali obrobni (nikakor pa ne manjvredni) dogodki, v katerih raziskuje nove estetike scenskih umetnosti. Prav v tem ?asu globalnih negotovosti in napetih politi?no- narodnostno-kulturnih razmerah je to nujno potrebno. Festival govori ?ivljenje. Ni le prerez pretekle sezone, temve? je prerez ?ivljenja kot takega, saj nam izrisuje zgodbe ? letos med drugim zgodbe o nemo?i, izgubi, nesoglasjih, pritlehnosti. Je komentar, odziv in epilog ?ivljenja. foto photo: damjan ?varc 6the stories of feebleness, loss, discord, baseness. It is a comment, a feedback and an epilogue to life. And now it seems as if it is facing a new beginning. This year?s edition captures twelve productions in the Competition Programme and six productions in the Accompanying Programme, all selected by Petra Vidali. Unfortunately, due to the sudden and tragic death of Ga?per Ti?, the protagonist of the production The Counsellor, we won?t be able to see it. As an homage to Ga?per, we will prepare within the Festival programme an event named The Counsellor. About the production that lost its lead actor., in collaboration with the director Nina Raji? Kranjac and City Theatre Ljubljana. In memory of yet another recently and prematurely deceased artist, the director Toma? Pandur, we are preparing in collaboration with Pandur.Theaters and the Municipality of Maribor a large exhibition of photographs by Aljo?a Rebolj in the Maribor City Park. This event will open the Festival. If the Festival stems out of its tradition and the original initiative of a meeting, it is still faithful to it. Meanwhile, the inclusion has expanded from the national to the international space ? through poetics and contextualising, we will meet three foreign productions selected by Alja Predan along with getting to know Finland through the Finnish Focus. The production advantage of Maribor lies in its small size (the smallness referring mostly to the geographical perspective) as we will be able to meet in various partner locations throughout the city. This year, the list of long-time partners has expanded with several new names: the Jewish Cultural Heritage Centre Synagogue Maribor, KGB, Wetrinsky. We have also initiated a common story with Maribor - Pohorje Tourist Board and the Maribor Public Library. And much more! Our current visual identity tells a lot and allows for entirely free associations as the whole cycle of life is captured in it? Thank you to all who have been, are and will be with us. Ksenija Repina, Acting artistic director of Maribor Theatre Festival In zdaj se zdi, da je spet na nekem novem za?etku. V leto?njo edicijo se je ujelo dvanajst tekmovalnih uprizoritev in ?est uprizoritev v spremljevalni program po izboru selektorice Petre Vidali. ?al Svetovalca zaradi nenadne in tragi?ne smrti Ga?perja Ti?a, nosilca osrednje vloge, ne bomo videli. V spomin Ga?perju bomo v festivalskem programu v sodelovanju z Mestnim gledali??em ljubljanskim in re?iserko Nino Raji? Kranjac pripravili dogodek z naslovom Svetovalec. O predstavi, ki je ostala brez igralca. V spomin na prav tako nedavno in prerano preminulega re?iserja Toma?a Pandurja pa v sodelovanju s Pandur. Theaters in Mestno ob?ino Maribor pripravljamo veliko razstavo fotografij Aljo?e Rebolja v mariborskem Mestnem parku, s katero odpiramo leto?nji festival. ?e Festival izhaja iz svoje tradicije in pobude v smislu sre?anja in sre?evanja, to ohranja. Vklju?evanje pa se je iz nacionalnega razprlo v mednarodni prostor; skozi poetiko in kontekstualizacijo se bomo soo?ili s tremi tujimi predstavami po izboru Alje Predan in spoznali Finsko v fokusu. Produktivna prednost Maribora je njegova majhnost (ta majhnost naj bo predvsem z geografske perspektive), tako se bomo sre?ali in sre?evali na razli?nih partnerskih lokacijah po mestu. Ve?letnim partnerjem se letos pridru?ujejo ?e Center judovske kulturne dedi??ine Sinagoga Maribor, KGB, Wetrinsky, skupno zgodbo smo spletli tudi z Zavodom za turizem Maribor - Pohorje in Mariborsko knji?nico. In je ?e mnogo ve?! Na?a leto?nja vizualna podoba pove marsikaj in dopu??a popolnoma svobodne interpretacije, saj je vanjo ujet ves cikel ?ivljenja ... Hvala vsem, ki ste bili, ste in boste z nami. Ksenija Repina, vr?ilka dol?nosti umetni?kega direktorja Festivala Bor?tnikovo sre?anje 7Art Discriminates Against Nothing and No One Dear theatre creators and lovers, distinguished sponsors and patrons, and the founders of the Maribor Theatre Festival: the Ministry of Culture of the Republic of Slovenia and the Municipality of Maribor! Similar to life after 50, the Maribor Theatre Festival pulse is often permeated with self-questioning, nostalgia, criticism and even pride regarding the achieved feats and curiosity of not only the yet undiscovered but all that is to come. Two years ago, when the Festival celebrated its 50th anniversary, we undoubtedly reached a new milestone, which made us ask ourselves, if not out loud, then in our minds, what kind of future for Slovenian theatre we were actually envisaging. In the past years, the Festival?s distinguishable programme, the core of which is still the Competition Programme of Slovenian theatres, along with the versatile selection of accompanying events (Showcase, the international programme Bridges, the Focus on particular national European playwriting and dramatic literatures, the collaboration and presentation of UL AGRFT productions), has reached new, previously, unimagined edges of the European map, and that is an inspiring fact. The convincing proof for that are further journeys abroad of Slovenian productions, launched through the festival, the international response in the printed and electronic media as well as the increasing number of foreign participants. All of this was also the merit and the result of the selfless endeavour of the previous artistic director Alja Predan and I use this opportunity to thank her for her excellent work and collaboration. Umetnost ne diskriminira ni?esar in nikogar Dragi ustvarjalci in ljubitelji gledali?ke umetnosti, spo?tovani sponzorji in donatorji ter cenjena ustanovitelja Festivala Bor?tnikovo sre?anje, Ministrstvo za kulturo RS in Mestna ob?ina Maribor! Festivalski utrip je, podobno kot ?ivljenje, ko nastopi ?as po petdesetem, pogosto pre?et s samoizpra?evanjem, nostalgijo, kriti?nostjo, pa tudi s ponosom ?e dose?enega ter z radovednostjo ?e neodkritega in nasploh vsega, kar ?ele pride. Ko je Festival Bor?tnikovo sre?anje pred dvema letoma praznoval petdeset let, smo nedvomno dosegli nov mejnik, ko smo se vsaj potihoma, ?e ?e ne na glas, spra?evali, kako naprej, in predvsem, kak?no prihodnost slovenskega gledali??a si pravzaprav ?elimo. Razveseljivo je dejstvo, da je festival s svojim prepoznavnim programom, katerega jedro ?e vedno predstavlja tekmovalni program slovenskih gledali??, in z bogato bero spremljevalnih dogodkov (Showcase, mednarodni program Mostovi, fokusi na posamezne nacionalne evropske dramatike, sodelovanje in predstavitev produkcij UL AGRFT) v zadnjih letih dosegel nove, ?e neslutene robove evropskega zemljevida. O tem zgovorno pri?ajo nadaljnje poti uspe?nih uprizarjanj slovenskih predstav, ki jim je festival na ?iroko odprl vrata v svet, mednarodni odzivi v ?tevilnih tiskanih ali spletnih medijih in ne nazadnje vse ve?je ?tevilo udele?encev iz tujine, za kar si je po?rtvovalno prizadevala tudi zadnja umetni?ka direktorica festivala Alja Predan, ki naj se ji ob tej prilo?nosti zahvalim za odli?no delo in sodelovanje. foto photo: damjan ?varc 8We may say without hesitation that ?Bor?tnik? has reached its new peak since it has become the space-time of encounters and an intersection of the new cultural roads of multicultural Europe and the world; this in turn has provided Slovenian theatre a new opportunity for self-reflection, a much needed renaissance, and the modernisation of a repertoire that is becoming increasingly attuned with the needs of the local space and the modern man. Theatre with its sensitive barometer of social changes and fluctuations has become an increasingly present agent and co-shaper of our social reality with all of its unused potentials and weaknesses, politics and, last but not least, the everyday routine which takes place behind closed doors in a small family and intimate circle. It seems somehow that theatre as an artistic medium of certain universal truths is capable of surviving even the biggest catastrophes, rifts and perturbations that give birth to new poetics, a more authentic social engagement and above all new realisations on current relations of the power of ?good and evil?. We don?t have the answer to the question on what will be the situation in Slovenian culture, especially in the entire institution of theatre, in the coming ten or twenty years. Even the most optimistic futuristic scenarios may go wrong. That is why it is wiser to be cautious with our forecasts and focus on the basic mission of the Festival, which is to promote Slovenian theatre in its most precious form and to award the best creators of Slovenian theatre, especially the best actors. Let the time after 50 ? this fall the Festival is 52 ? be a time in which we can look back with pride to our roots and fortify the bonds with the local audiences of all generations. I am convinced that the programme of the Maribor Theatre Festival is meant for everybody, regardless of their social status, education, spiritual beliefs or any other personal circumstances, as true art discriminates against nothing and no one. I use this opportunity to invite you, dear co-creators of the Slovenian theatre landscape, admirers and curious visitors who have happened upon us by chance, to this year?s Festival arena where each of you ? just as always ? will find something for yourself. Let yourself go with the bustle of exciting theatre events, a rich palette of emotional nuances and new insights of the currently most interesting Slovenian and internationally recognised artists, theatre creators and thinkers. I wish to the Festival and to its co-creators a lot of success and excellent productions! Danilo Ro?ker, Managing Director of the Slovene National Theatre Maribor Brez zadr?kov lahko re?emo, da je ?Bor?tnik? na neki na?in dosegel svoj novi vrhunec, ko je postal prostor in ?as sre?evanja in prese?i??e novih kulturnih poti ve?kulturne Evrope in sveta, kar je profesionalnemu slovenskemu gledali??u dalo novo prilo?nost za samopremislek, prepotrebno renesanso in posodobitev igranega repertoarja, ki je tako postal vedno bolj ugla?en s potrebami tukaj?njega prostora in sodobnega ?loveka. Prav s tem je gledali??e s svojim ob?utljivim barometrom dru?benih sprememb in fluktuacij postalo vedno bolj glasen akter in sooblikovalec na?e dru?bene realnosti z vsemi neizkori??enimi potenciali in slabostmi, politike in ne nazadnje vsakodnevne rutine, ki se dogaja za zaprtimi vrati v o?jem dru?inskem in intimnem krogu. Nekako se celo zdi, da je gledali??e kot umetni?ki medij nekaterih univerzalnih resnic sposobno pre?iveti tudi najve?je katastrofe, razkole in perturbacije, iz katerih vzniknejo nove poetike, ?e pristnej?i dru?beni anga?maji in predvsem nova spoznanja o aktualnih razmerjih mo?i ?dobrega in zlega?. Na vpra?anje, kak?na bo podoba slovenske kulture in predvsem institucije gledali??a kot celote v naslednjih desetih, dvajsetih ali celo petdesetih letih, nimamo odgovora, saj se celo v najbolj optimisti?nih futuristi?nih ?scenarijih? rado kaj zalomi, zato je nemara bolj?e, da ostanemo previdni pri svojih napovedih in se osredinimo na temeljno poslanstvo festivala, to sta promocija slovenskega gledali??a v njegovi naj?lahtnej?i obliki in nagrajevanje najzaslu?nej?ih ustvarjalcev gledali?ke umetnosti, ?e zlasti umetnikov dramske igre. ?as po petdesetem ? leto?njo jesen bo festival dopolnil 52 let ? naj bo tudi ?as, ko se lahko ponosno ozremo k svojim koreninam in ?e bolj okrepimo vezi z doma?im ob?instvom vseh generacij, saj sem prepri?an, da je program Festivala Bor?tnikovo sre?anje namenjen ?isto vsem, ne glede na dru?beni status, izobrazbo, duhovno prepri?anje ali katerokoli drugo osebno okoli??ino, kajti resni?na umetnost ne diskriminira ni?esar in nikogar. Ob tej prilo?nosti mi dovolite, da vas, dragi soustvarjalci slovenske gledali?ke krajine, ljubitelji in radovedni naklju?ni obiskovalci, povabim na leto?nje festivalsko prizori??e, kjer bo vsak ? kot vselej doslej ? na?el kaj zase. Prepustite se vrve?u vznemirljivih gledali?kih dogodkov, bogati paleti ?ustvenih odtenkov in novim spoznanjem v dru?bi trenutno najzanimivej?ih slovenskih in mednarodno priznanih umetnikov, gledali?kih poustvarjalcev in mislecev, festivalu in njegovim soustvarjalcem pa ?elim veliko uspeha in odli?nih predstav! Danilo Ro?ker, direktor SNG Maribor 9Report from the Selector of the Competition and Accompanying Programmes of the 52nd Maribor Theatre Festival Slovenian theatre producers submitted 66 productions for the Maribor Theatre Festival competition. I saw 104 productions (8 on video). The statistics are thus similar to those of last year?s Festival. Following the briefing on last year?s selection with the Festival?s Artistic Board, this year I refrained from including the productions of the Academy of Theatre, Radio, Film and Television, University of Ljubljana (UL AGRFT) in the Competition or Accompanying Programmes, or rather, those UL AGRFT productions that were performed at other venues outside the Academy because they had other organisations as co-producers have only been included in the Festival?s UL AGRFT Programme. I am, however, happy that last year?s inclusion in the Accompanying Programme of one such UL AGRFT production, (Three Sisters directed by Maru?a Kink, co-produced by Margareta Schwarzwald Institute) made it possible for that production to tour worldwide. I use this opportunity to make note of a UL AGRFT production that is, in my opinion, outstanding in this production segment ? Crime and Punishment directed by Mirjana Medojevi?. I recently read in an interview with the director of the Slovenian National Theatre Drama Ljubljana that in Poro?ilo selektorice tekmovalnega in spremljevalnega programa 52. Festivala Bor?tnikovo sre?anje Gledali?ki producenti so prijavili 66 uprizoritev, ogledala sem si 104 uprizoritve (8 na posnetkih). Statistika je torej podobna lanski. Po posvetu s strokovnim svetom festivala ob lanski selekciji v tej sezoni v program nisem uvr??ala uprizoritev, ki so produkcija UL AGRFT oziroma imajo zaradi gostovanj v drugih uprizoritvenih prostorih koproducente. Vesela sem, da je lanska uvrstitev ene od teh produkcij v spremljevalni program (Tri sestre v re?iji Maru?e Kink) uprizoritvi odprla vrata v svet. Izkori??am pa prilo?nost, da lahko opozorim na po mojem mnenju leto?njo izstopajo?o uprizoritev v tem produkcijskem segmentu ? Zlo?in in kazen v re?iji Mirjane Medojevi?. Pred kratkim sem v intervjuju z ravnateljem ljubljanske Drame prebrala, da selektorji zadnja leta ?ex cathedra? sporo?amo, da je ?na? teater v krizi?. Ko vidi? ve? kot sto uprizoritev, nekatere tudi ve?krat, se ti zdi malo neumno prebrati, da je tvoje mnenje dogmatsko in teoretsko. Ne mislim, da je slovensko gledali??e v krizi, mislim pa, da so v krizi nekatera umetni?ka vodenja in da so nekateri tipi gledali?ke kreacije na to?ki preloma. In mislim, da je bila gledali?ka sezona 2016/2017 precej slab?a od prej?nje. Videli smo preve? ponesre?enih foto photo: damjan ?varc 10 the past few years, we selectors have been reporting ?ex cathedra? that ?our theatre is in crisis?. When you happen to see over a hundred productions in a season, some of them several times, it seems a bit silly to read that your opinion is dogmatic and theoretical. I do not think that Slovenian theatre is in crisis, but I do think that certain artistic leaderships and certain types of theatre creation are on the breaking point. And I do think that the 2016/17 season was significantly weaker than the previous one. We have seen too many unfortunate encounters of different production segments (excellent directions of bad texts, catastrophic directions of good texts, excellent actors? creations in bad productions and really bad ones in interesting directorial concepts) as well as too many overall inconsistent and weak productions. Yet we have also seen deliberation, boldness and even grand gestures, from thematic programming concepts that were not merely an artificial quest for a common denominator, to attempts at staging canonical non-dramatic texts or great dramatic texts that hardly anyone had thus far dared to tackle. One of the season?s paradigms was the connection with other dramatic artistic forms (particularly film and TV) and one cannot say that it was unproductive. At times it seemed as the stream of the planned course went astray and ended in a dead channel, and at times we could see the lowest as well as the highest levels of such performing procedures (several times even both levels within a single production). We could see on the same stages and in the same theatre houses different types of post-dramatic relations between the text and the staging as well as the transcending of the classical internal battle among theatre houses for primacy. The battle that theatre fights on the outside, with the society, has not subsided: it was explicitly present in original projects. The choice of Classical Greek tragedies as political material par excellence was also quite emphatic. Classical as well as the most contemporary Slovenian dramatic literature was present, both in quantity and by production formats. Besides to young playwrights, the doors of the theatres were open also to the young generation of directors. I am pleased that two productions by young directors are in the Competition Programme. The reply to the standard question on the criteria of the selection is a standard one: I have chosen the productions that were the most coherent from their initial idea to the final result, that were consistent and precise both in their entirety and in details. And yes, those that were exciting. Those that have aroused my standard theatrical and social convictions. The Accompanying Programme, which this time I selected by myself, is not a consolation category. Those are not the productions for which there was not enough space in the Competition Programme. This segment is framed by two lessons in manifestative political theatre, and within that frame there are productions of various performing genres: from a concert for musical instruments and an sre?anj med razli?nimi segmenti uprizoritev (odli?ne re?ije slabih tekstov, katastrofalne re?ije dobrih tekstov, odli?ne igralske kreacije v slabih uprizoritvah in preslabe v zanimivih re?ijskih zasnovah) in tudi preve? celostno nekonsistentnih in medlih uprizoritev. Vendar smo videli tudi domi?ljenost, smelost in celo velikopoteznost, od celostnih tematskih zastavitev programov, ki niso bile zgolj nasilno iskanje skupnega imenovalca, do poskusov uprizoritve kanonskih nedramskih tekstov ali velikih dramskih tekstov, ki se jih je doslej komaj kdo upal dotakniti. Ena od paradigem sezone je bila navezava na druge scenske umetni?ke forme (zlasti filmske in televizijske) in ni bila neproduktivna. Nekajkrat se je zdelo, da je tok snovalnega gledali??a pristal v mrtvem rokavu, nekajkrat smo lahko videli najni?je, vendar pa tudi najvi?je lege tovrstnih uprizoritvenih postopkov. (Ve?krat ene in druge celo znotraj ene uprizoritve.) Na istih odrih, v istih gledali?kih hi?ah smo lahko videli razli?ne tipe postdramskih razmerij med tekstom in inscenacijo ter preseganje klasi?nega internega gledali?kega boja za primat. Boj, ki ga gledali??e bije navzven, z dru?bo, ni pojenjal, eksplicitno se je bil pri avtorskih projektih, poudarjena se je zdela tudi izbira klasi?ne gr?ke dramatike kot politi?ne gledali?ke predloge par excellence. Ne po koli?ini ne po formatu produkcij ni bila zapostavljena slovenska dramatika, klasi?na in povsem sodobna. Tako kot za novo generacijo dramatikov niso bila vrata zaprta niti za novo, mlado generacijo re?iserjev. Vesela sem, da sta uprizoritvi dveh v tekmovalnem programu. Odgovor na standardno vpra?anje, po kak?nem kriteriju sem izbrala uprizoritve, je standarden: izbrala sem uprizoritve, ki so od zasnove do izvedbe najbolj koherentne, v celoti in detajlih dosledne in natan?ne. In ja, vznemirljive. Ki so najbolj vznemirile moja ustaljena gledali?ka in dru?bena prepri?anja. Spremljevalni program, ki sem ga tokrat pripravila sama, ni tola?ilna kategorija, to niso uprizoritve, za katere bi mi v tekmovalnem naboru zmanjkalo prostora. Program uokvirjata dve u?ni uri manifestativno politi?nega gledali??a, v sredi??u pa so druga?ni uprizoritveni ?anri, od koncerta za in?trumente in telo igralke preko dokumentarnega koncertnega performansa, uprizoritve z alpinisti?no poetiko in plezalno tehniko do obreda kulturne verske skupnosti. Tako kot gledali??e ne more abstrahirati okoli??in, v katerih nastaja, se tudi jaz ne morem in no?em pretvarjati, da nisem opazila, kaj se dogaja s Festivalom Bor?tnikovo sre?anje. ?e zlasti ne morem ignorirati dejstva, da je bil lanski tekmovalni program povod za ru?enje festivala. Ne pomaga dejstvo, da je program potrdil strokovni svet festivala, da je ?irija ocenila, 11 actress?s body to a documentary concert performance, from a production with Alpinist poetics and climbing techniques to a ritual of a cultural religious group. As much as theatre cannot oversee the circumstances in which it is being created, I also cannot and do not want to pretend that I have not noticed what was going on with the Maribor Theatre Festival. I particularly cannot ignore the fact that last year?s programme was the reason for bringing down the Festival. The fact that the programme was confirmed by the Festival?s Artistic Board, that the Jury of Experts reported to have seen productions of high quality and great versatility; the fact that the attendance was excellent and that the foreign selectors discovered quite a few productions and invited them abroad ? none of that helped. When the powers of offended actors on the positions of power come together, it?s no use. Similar to school, theatre is dictated by those parents who complain about their children?s bad marks. And those school principals who yield to the parents remain in power. I cannot pretend that I do not know that Alja Predan, the artistic director, stepped down as a result of issues that arose related to last year?s selection. An artistic director who was a top professional, who never commented on the choice of the selectors as well as that of the juries, and who did not bow down in front of the parents. I thank Alja Predan for her confidence and the experience she provided. This amount of theatre sometimes makes one tired, but also sharpens one?s senses. The insight that I was enabled to gain is priceless. I wish to the future new selector a lot of good theatre, to the new acting artistic director I wish luck and strength for the execution of the 52nd Festival, and to the new Festival leadership I wish a keen vision and firm stance. Finally, I wish to the Slovenian National Theatre Maribor that it treat the Festival as its own so that it would support its autonomy. Petra Vidali, the selector of the Competition and Accompanying Programmes of the 52nd Maribor Theatre Festival da je videla kakovostne in raznovrstne uprizoritve, da so bile dvorane polne ter da so tuji selektorji odkrili kar nekaj uprizoritev in jim odprli pot v svet. Kadar se zdru?ijo mo?i u?aljenih akterjev na pozicijah mo?i, ni pomo?i. Tako kot v ?oli tudi v gledali??u vlada diktat star?ev, ki se prito?ujejo zaradi otrokovih slabih ocen. In vladajo ravnatelji, ki se uklonijo star?em. Ne morem se delati, da ne vem, da je zaradi spina, ki je bil posledica lanske selekcije, odstopila umetni?ka direktorica festivala Alja Predan. Direktorica, ki je bila vrhunska profesionalka, ki ni nikoli komentirala izbire selektorjev in ?irij in ni pokleknila pred star?i. Alji Predan se zahvaljujem za zaupanje in izku?njo. Toliko gledali??a te na trenutke utrudi, a tudi senzibilizira. Uvid, ki mi je bil omogo?en, je neprecenljiv. Novi selektorici ?elim veliko dobrega gledali??a, novi vr?ilki dol?nosti pomo?nice direktorja sre?o in mo? pri izvedbi 52. festivala, novemu prihodnjemu vodstvu festivala pa prodorno vizijo in pokon?no dr?o. SNG Maribor ?elim, da bi imel festival za svojega tako, da bi podpiral njegovo avtonomijo. Petra Vidali, selektorica tekmovalnega in spremljevalnega programa 52. FBS 12 Program Programme Tekmovalni program Competition Programme Georg B?chner Leonce in Lena Leonce and Lena Re?iserka Director Mateja Kole?nik Mestno gledali??e ljubljansko Po romanu Colma T?ib?na Marijin testament Based on Colm T?ib?n?s novel The Testament of Mary Brezmade?na/Immaculata The Immaculate/Immaculata Drama SNG Maribor Mile Korun Svetovalec1 The Counsellor Re?iserka Director Nina Raji? Kranjac Mestno gledali??e ljubljansko Po motivih Heinricha B?lla in Janisa Varufakisa Based on the works of Heinrich B?ll and Janis Varufakis Nemo? Powerlessness Re?iser Director Primo? Ekart Imaginarni & Mini Teater Ljubljana The Tiger Lillies, Julian Crouch, Phelim McDermot Peter Ku?ter Shockheaded Peter Re?iserka Director Ivana Djilas SNG Nova Gorica Avtorski projekt Original project ?lovek, ki je gledal svet The Man Who Watched the World Re?iser Director ?iga Divjak Slovensko mladinsko gledali??e Sofokles Sophocles Antigona Antigone Re?iser Director Eduard Miler SNG Drama Ljubljana Avtorski projekt Original project Stenica Bedbug Re?iser Director Jernej Lorenci Pre?ernovo gledali??e Kranj & Mestno gledali??e Ptuj Simon Stephens Tisti ob?utek padanja Birdland Re?iser Director Janusz Kica Drama SNG Maribor Avtorski projekt Original project Biblija, prvi poskus Bible, the First Attempt Re?iser Director Jernej Lorenci SNG Drama Ljubljana Avtorski projekt Original project Hitchcock Hitchcock Re?iserka Director Weronika Szczawi?ska Slovensko mladinsko gledali??e Gregor Strni?a Ljudo?erci Cannibals Re?iser Director Ivica Buljan Drama SNG Maribor 1 Predstave Svetovalec zaradi smrti igralca Ga?perja Ti?a ni na sporedu Festivala Bor?tnikovo sre?anje. The production The Counsellor will not be performed at the Maribor Theatre Festival because of the untimely death of the production?s lead actor, Ga?per Ti?. 13 Spremljevalni program Accompanying Programme Po navdihu romana Estetika odpora Petra Weissa Inspired by Peter Weiss?s novel The Aesthetics of Resistance Na?e nasilje in va?e nasilje Our Violence and Your Violence Re?iser Director Oliver Frlji? HAU Hebbel am Ufer (DE), Wiener Festwochen (AT), Slovensko mladinsko gledali??e (SI), Kunstfest Weimar (DE), Z?rcher Theater Spektakel (CH), Hrvatsko narodno kazali?te Ivana pl. Zajca Rijeka (HR) Drago Ivanu?a Dviganje glasu The Raising of the Voice Muskafiber Mark Po?lep Bolj ?udno od raja Stranger Than Paradise Gledali??e Glej Marko Sosi? Grozljiva lepota Gruesome Beauty Re?iser Director Matja? Fari? Stalno slovensko gledali??e Trst & Teatro Stabile del Friuli Venezia Giulia Andrej Rozman Roza Zani?ni?ko odma?evanje suverenosti The Zeroite Mass Rozinteater Avtorski projekt Original project Slovenija gori! Slovenia is on Fire! Re?iser Director Sebastijan Horvat Anton Podbev?ek Teater Mednarodni program MOSTOVI International Programme BRIDGES Anica Tomi?, Jelena Kova?i? Magic Evening Re?iserka Director Anica Tomi? Teatar &TD Zagreb (HR) Jana Svobodov?, Wen Hui Ordinary People Re?iserki Directors Jana Svobodov?, Wen Hui Archa Theatre, Praga (CZ), Living Dance Studio (CN), Hellerau European Centre for the Arts, Dresden (DE) & European Project Theatron Kristian Smeds Sad Songs from the Heart of Europe Re?iser Director Jari Juutinen sadsongskomplex:fi (FI) Akademija za gledali??e, radio, film in televizijo Academy of Theatre, Radio, Film in Television Ljubezni?enja Lovings Produkcija magistrskega programa Dramska igra, smer Gledali?ko petje Production of the MA Programme Stage Acting, Field of Study: Theatre Singing Fjodor Mihajlovi? Dostojevski Fyodor Mihailovich Dostoyevsky Zlo?in in kazen Crime and Punishment Produkcija magistrskega programa Gledali?ka re?ija Production of the MA Programme of Theatre Directing Mateja Perpar Vas lahko zapeljem? Allow Me to Seduce You Produkcija ?tudentov II. semestra Production of the 2nd semester students Odets Odets Produkcija ?tudentov III. semestra Production of the 3rd semester students Hamlet, Tragedija Odsotnosti Hamlet, A Tragedy of Absence Produkcija ?tudentov VI. semestra Production of the 6th semester students Macbeth Macbeth Produkcija ?tudentov VI. semestra Production of the 6th semester students Seksualna perverzija Sexual Perversion Produkcija ?tudentovVII. semestra Production of the 7th semester students 14 Selektorica Selector Petra Vidali Kriti?arka, publicistka in urednica. Med ?tudijem primerjalne knji?evnosti in sociologije kulture na Filozofski fakulteti v Ljubljani je bila gledali?ka kriti?arka in urednica kulture pri ?tudentskem in akademskem ?asopisu Katedra. Po diplomi je sodelovala z razli?nimi strokovnimi revijami in bila ?lanica uredni?kega odbora revije Literatura. Ob zaposlitvi pri dnevniku Ve?er (od leta 1999) je (p)ostalo njeno primarno delovno podro?je gledali??e, od leta 2009 je urednica kulturne redakcije. Bila je ?lanica ?irij za literarne nagrade (ve?ernica, Ro?an?eva nagrada, Veronikina nagrada, Pre?ernov sklad), gledali?ke nagrade (Festival Bor?tnikovo sre?anje, Festival komornega gledali??a, Bienale lutkovnih ustvarjalcev) in ?lanica upravnega odbora Pre?ernovega sklada. Za svoje delo je prejela Stritarjevo nagrado za kriti?ko pero (1999) in Glazerjevo listino za gledali?ko in literarno kriti?ko delo (2004). V desetletju 2004?2014 je pri zalo?bi Litera zasnovala in urejala zbirko sodobne prevodne proze Babilon, med letoma 2010 in 2014 pa tudi zbirko Nova znamenja. Critic, essayist and editor. During her studies of comparative literature and sociology of culture at the University of Ljubljana, Faculty of Arts, she was theatre critic and editor of the culture section in the student/academic magazine Katedra. Following her graduation, she collaborated with various professional magazines and was a member of the editorial board of the magazine Literatura. When she got a post at the daily Ve?er (since 1999), theatre became her primary field of interest. Since 2009 she is editor of the culture section. She has participated as a member of juries for literary awards (Ve?ernica, the Ro?anc Award, the Veronika Award, Pre?eren Foundation) and theatre awards (Maribor Theatre Festival, Chamber Theatre Festival, Biennale of Puppet Theatre) and as a member of the executive board of the Pre?eren Foundation. She has received the Stritar Award for her criticism (1999) and the Glazer?s Credential for her theatre and literary criticism (2004). In the decade 2004?2014 she was editor of the collection of contemporary foreign literature Babylon and between 2010 and 2014 the collection New Signs, both published by the publishing house Litera. Strokovna ?irija Jury of Experts Miko Jaakkola Re?iral je ve? kot 50 uprizoritev za razli?na finska gledali??a, med drugim za Mestno gledali??e v Oulu, Finsko nacionalno gledali??e, Mikkeli Theatre in Mestno gledali??e Kotka. Med letoma 2009 in 2015 je bil direktor Mestnega gledali??a Kajaani, pred tem, med letoma 2004 in 2008, pa direktor gledali??a Takomo. Je eden izmed ustanoviteljev gledali??a Kallio in njegovega naslednika, Gledali?kega raziskovalnega centra. Leta 2002 je prejel dr?avno nagrado za gledali?ko ustvarjanje in za ustvarjanje v gledali?kem raziskovalnem centru. V letu 2011 je prejel nagrado finske zveze gledali?kih re?iserjev za najbolj?ega re?iserja leta. Od leta 2015 je eden izmed treh umetni?kih direktorjev gledali?kega festivala Tampere. He has directed over 50 productions for various Finnish theatres ? among others, Oulu City Theatre, Finnish National Theatre, Mikkeli Theatre and Kotka City Theatre. From 2009 to 2015, he was director of Kaajani City Theatre and prior to that, from 2004 to 2008, he was director of Takomo Theatre. He was one of the founders of Kallio Theatre and of its successor, the Theatre Research Centre. He was the recipient of the 2002 State Award for creation in the field of theatre as well as for work within the theatre research centre. In 2011 he received the Finnish Association of Theatre Directors Award for the best director of the year. Since 2015, he has been collaborating with the Tampere Theatre Festival as one of its three artistic directors. Milan Ma?arev Dramaturg, teatrolog in re?iser, leta 1998 je magistriral na Fakulteti dramskih umetnosti v Beogradu, nekaj let pozneje pa na Akademiji dramskih umetnosti v Beogradu doktoriral. V sezoni 1995/1996 je bil umetni?ki direktor Gledali??a Zorana Radmilovi?a v Zaje?arju. Pisal je o gledali??u za Radio Beograd 2, RTS TV Beograd, Danas, Glas javnosti, Ludus, Orchestra, Pozori?te i Scena, Maska, Ve?er itd. Je eden od avtorjev Kronike Bitefa v redakciji kulture RTS in umetni?kih ve?erov, posve?enih N. Koljadi in J. Nadju. Je avtor ?tevilnih dramatizacij in adaptacij tekstov, ki so bili izvedeni v redakciji dramskega programa Radia Beograd. A dramaturg, theatre researcher and director, Ma?arev received his MA from the Faculty of Dramatic Arts in Belgrade in 1998 and, several years later, his PhD from the Academy of Dramatic Arts in Belgrade. He was artistic director of the Theatre Zoran Radmilovi? in Zaje?ar in the season 1995/96. He has written about theatre for the Second Programme of Radio Belgrade, RTS TV Belgrade, Danas, Glas javnosti, Ludus, Orchestra, Pozori?te and Scena, Maska, Ve?er, etc. He is one of the authors of the Chronicles of BITEF in the Cultural Programme of RTS and of the artistic evenings dedicated to N. Kolyada and J.Nadj. He is the author of a number of dramatisations and adaptations that have been produced by the Radio Belgrade Drama Programme. 15 Simona Semeni? Diplomirala je iz dramaturgije (UL AGRFT). Je dobitnica treh Grumovih nagrad, in sicer za besedila 5fantkov. si (2008), 24ur (2006) in sedem kuharic, ?tirje soldati in tri sofije (2014). Njena besedila so prevedena v dvanajst jezikov in uprizorjena v ve? evropskih dr?avah, v ZDA in tudi na Bli?njem vzhodu, v nekaterih dr?avah tudi objavljena. Uprizoritve njenih besedil so prejele ve? nagrad v Sloveniji in tujini. Pi?e, re?ira in nastopa v avtobiografskih performansih, kot so 9 lahkih komadov (z umetni?ko skupino Preglej), Jaz, ?rtev., ?e me dej, 43 sre?nih koncev (z umetni?ko skupino Preglej), Kapelj in Semeni? v sestavljanju, Semeni? in Bulc naprodaj in Drugi?. S svojimi performansi je gostovala na ?tevilnih festivalih doma in v tujini. Med letoma 2005 in 2013 je vodila iniciativo Preglej, med letoma 2007 in 2010 je vodila dru?tvo Gledali??e Glej, od 2006. vodi tudi Kulturno dru?tvo Integrali. A graduate of dramaturgy from the Academy of Theatre, Radio, Film and Television, University of Ljubljana (UL AGRFT), Semeni? is the recipient of three Grum Awards for the plays 24hours (2006), 5boys.si (2008) and seven cooks, four soldiers and three sophias (2014). Her plays have been translated into twelve languages and staged in many European countries, in the USA and in the Middle East as well as published in some of those countries. The productions of her plays have received numerous awards both at home and abroad. She writes, directs and performs in autobiographical performances, such as 9 Easy Pieces (with the artistic group PreGlej), I, Victim, Gimme Some More, 43 Happy Endings (with the artistic group PreGlej), Kapelj and Semeni? in the Making, Semeni? and Bulc On Sale and The Second Time. She has led various initiatives and organisations, including PregGlej (from 2005 to 2013), Glej Theatre (from 2007 to 2010) and the Integrali Cultural Association (since 2006). Maja ?orli Na Filozofski fakulteti v Ljubljani je diplomirala iz psihologije in ?tudirala ?e dramaturgijo; ?tudij na Akademiji za gledali??e, radio, film in televizijo je zaklju?ila z doktorsko disertacijo leta 2011. Med letoma 2007 in 2011 je bila zaposlena kot mlada raziskovalka na UL AGRFT. Dela kot raziskovalka ter avtorica strokovnih in umetni?kih gledali?kih besedil, dramaturginja, scenaristka, pedagoginja in ustvarjalka v intermedijskih umetnostih. Souredila je dva zbornika, Hibridni prostori umetnosti (UL ARGFT in MASKA, 2012) in Dinamika sprememb v slovenskem gledali??u 20. stoletja (UL ARGFT in MASKA, 2010). Leta 2014 je v zbirki Knji?nica MGL iz?lo njeno delo Slovenska postdramska pomlad, od leta 2014 je odgovorna urednica revije Amfiteater. V letu 2014 je delala pri projektu raziskovanja ob?instva v Angliji (Royal Central School of Speech & Drama, University of London). Je ?lanica mednarodne gledali?koraziskovalne skupine STEP. Graduated in psychology from the Faculty of Arts, University of Ljubljana; next followed the studies of dramaturgy at the Academy of Theatre, Radio, Film and Television, University of Ljubljana (UL AGRFT), where she concluded her studies in 2011 with her PhD thesis. From 2007 to 2011, she was employed as junior researcher at UL AGRFT and was co-editor of two collections of essays Hybrid Spaces of Art (UL AGRFT and Maska, 2012) and The Dynamics of Changes in the 20th-Century Slovenian Theatre (UL AGRFT and Maska, 2010). In 2014, her book Slovenian Postdramatic Spring was published by the MGL Library series and in the same year she became the editor-in-chief of the journal of performing arts theory Amfiteater. In 2014, she conducted audience research in Great Britain, within the frame of a project led by the Royal Central School of Speech & Drama at the University of London. She is a member of the international theatre research group STEP. Uro? Trefalt ?tudiral je re?ijo in dramaturgijo na Akademiji lepih umetnosti v Pragi (DAMU) in leta 1990 pridobil naslov magister. 1993. je kot Fulbrightov ?tipendist opravljal doktorski ?tudij na univerzah NYU in CUNY v New Yorku. Re?iral je ve? kot 20 gledali?kih predstav v Pragi, Kranju, Ljubljani, New Yorku, Charleville-M?zi?resu in Nitri. Leta 1993 je napisal knjigo Osnove lutkovne re?ije, kot glavni urednik je ?tiri leta vodil postopek izdaje strokovne lutkovne revije Lutka. Izdal in uredil je slovenski prevod knjige Zgodovina evropskega lutkarstva. V devetdesetih letih je predaval o sinkreti?nem gledali??u na Univerzi Columbia v New Yorku. Od leta 1997 ustvarja kot re?iser, scenarist, urednik in umetni?ki direktor televizijskega dizajna. Pou?uje na filmski ?oli FAMU v Pragi. Je ?lan pripravnega odbora pri Promax/BDA Europe in sodelavec pri Anifestu. V zadnjih letih je prejemnik razli?nih mednarodnih priznanj na festivalih po svetu. Studied directing and dramaturgy at the Theatre Faculty of the Academy of Performing Arts in Prague (DAMU), and also earned his Master?s degree there. In 1993, he received a Fulbright Scholarship for his PhD studies at New York University (NYU) and the City University of New York (CUNY). Active as a director of puppet and drama productions, operas and short films, in 1993, he wrote the book Osnove lutkovne re?ije [The Basics of Direction in Puppet Theatre], which was later translated into Spanish. He has also served as the editor-in-chief of the journal Lutka. In the 1990s he lectured at Columbia University in New York and was one of the founders of the Theatre and Puppetry School (GIL?) in Ljubljana. Since 1997 he has been lecturing at the Film and Television School of the Academy of Performing Arts in Prague (FAMU) and is active as a director and creative director in the field of motion design, for which he has also received the highest international recognition. 16 ?irija za podelitev Bor?tnikovega prstana Jury for the Bor?tnik Ring Award Ljerka Belak Igralka. Po diplomi na Akademiji za gledali??e, radio in televizijo je od sezone 1970/71 ustvarjala v Slovenskem ljudskem gledali??u Celje, od sezone 1993/94 do upokojitve pa v Mestnem gledali??u ljubljanskem. Delovala je tudi zunaj mati?nih gledali?? (Mladinsko gledali??e, SNG Nova Gorica itd.). Vsa leta je sodelovala z radiem, kjer je ustvarila vloge v ve? kot dvesto radijskih igrah, hkrati je bila nepogre?ljiv igralski obraz na televiziji in filmskem platnu ? med drugim je igrala v dvajsetih televizijskih dramah, mnoge od njih so bile nagrajene. Za svoje ustvarjanje je prejela ?tevilne nagrade, mdr. ?tudentsko Pre?ernovo nagrado, nagrado Pre?ernovega sklada, Severjevo nagrado, Bor?tnikovo nagrado, nagrado ?lahtna komedijantka na Dnevih komedije v Celju (2002) in ne nazadnje Bor?tnikov prstan (2015). Actress. Upon concluding her studies at the Academy of Theatre, Radio, Film and Television in Ljubljana, she worked in Celje People?s Theatre from the 1970/71 season and then in Ljubljana City Theatre from the 1993/94 season until her retirement. She also worked outside her home theatres (Mladinsko Theatre, Slovene National Theatre Nova Gorica, etc.). Throughout her acting years she collaborated and acted on radio where she created roles in over 200 radio plays. She was also a highly popular actress both on TV and the film screen, including roles in some twenty teleplays out of which many were awarded. She has received numerous awards for her work, including the Student Pre?eren Award, the Pre?eren Foundation Award, the Sever Award, the Bor?tnik Award, the Gracious Comedian Award at the Comedy Days in Celje and the Bor?tnik Ring (2015). Bla? Lukan Docent za dramaturgijo in prodekan na UL AGRFT. Dela kot prakti?ni dramaturg v gledali??u in pri filmu, pi?e gledali?ke kritike, spremne besede v knji?ne objave dram in strokovnih besedil slovenskih in tujih avtorjev ter znanstvene razprave o dramatiki in teoriji scenskih umetnosti. Bil je umetni?ki vodja Eksperimentalnega gledali??a Glej (1985?88) in SLG Celje (1989?93), soselektor mednarodnega lutkovnega festivala Lutke in selektor Festivala Bor?tnikovo sre?anje. Med letoma 2008 in 2012 je bil predsednik Dru?tva gledali?kih kritikov in teatrologov Slovenije. Napisal je ve? knjig, med njimi Gledali?ki pojmovnik za mlade (1996), I??emo gledali??e (2000), Slovenska dramaturgija: dramaturgija kot gledali?ka praksa (2001), Tiho?itja in grimase: gledali?ke ekspresije (2007), Performativne pisave: razprave o performansu in gledali??u (2013), Po vsem sode?: gledali?ke kritike 1993?2013 (2015), ter (so)uredil knjigi Dinamika sprememb v slovenskem gledali??u 20. stoletja (2010) in Svobodne roke: antologija teoretske misli o slovenskem gledali??u 1899?1979 (2012). Assistant professor in the Department of Dramaturgy and vice- dean at the UL AGRFT. He works as a practical dramaturg in theatre and in film, writes theatre reviews and introductory texts for publications of plays and texts of Slovenian and foreign authors, as well as scientific papers in the field of dramatic arts and performance art theory. He was artistic leader of the Experimental Theatre Glej (1985?88) and Celje People?s Theatre (1989?93), co-selector of the International Puppet Festival Puppets and selector of the Maribor Theatre Festival. Between 2008 and 2012 he was president of the Association of Theatre Critics and Researchers of Slovenia. He has written several books including Theatre Dictionary for Young People (1996), Searching for Theatre (2000), Slovenian Dramaturgy: Dramaturgy as Theatre Practice (2001), Still-lifes and Grimaces: Theatre Expressions (2007), Performative Gestures: Essays on Performance Art and Theatre (2013), Considering Everything: Theatre Reviews 1993?2013 (2015) and co-edited the books The Dynamics of Change in the 20th-century Slovenian Theatre (2010) and Free Hands: An Anthology of Theoretical Thought on Slovenian Theatre 1899?1979 (2012). Vlado Novak Igralec. Leta 1974 je diplomiral na prvi stopnji Visoke ekonomsko-komercialne ?ole v Mariboru. ?e isto leto se je vpisal na UL AGRFT. Prvo vlogo v poklicnem gledali??u (Cosmo de Medici v Brechtovem Galileu) je leta 1972 odigral v Drami SNG Maribor. V sezoni 1976/1977 je bil ?lan Primorskega dramskega gledali??a v Novi Gorici, v sezoni 1977/1978 pa je postal ?lan Drame SNG Maribor. Diplomiral je leta 1995 in isto leto postal ?lan SLG Celje, naslednje leto se je vrnil v Dramo SNG Maribor kot v. d. umetni?kega vodje za pol leta in nato nadaljeval svoje delo kot igralec. V Actor. In 1974 he graduated in the first degree at the Economic- Commercial High School in Maribor. That same year, he enrolled at the Academy of Theatre, Radio, Film and Television in Ljubljana. He performed his first role in professional theatre ? Cosimo de Medici in Brecht?s Gallileo ? in 1972 in the Drama of the Slovene National Theatre Maribor (SNT Maribor). In the 1976/77 season he was member of the Primorsko Drama Theatre in Nova Gorica and in the 1977/78 season he became a member of the Drama of the SNT Maribor. He graduated in 1995 and that same year became a member of Celje People?s Theatre. The following year, 17 Drami SNG Maribor je odigral okrog 70, ve?inoma nosilnih dramskih vlog. V svojem dolgoletnem gledali?kem, filmskem in televizijskem delu je prejel ?tevilne nagrade, med njimi Bor?tnikove nagrade za igro, nagrado Pre?ernovega sklada, nagrado strokovne ?irije na festivalu hrva?ke drame Maruli?evi dnevi v Splitu, Glazerjevo listino in Glazerjevo nagrado za ?ivljenjsko delo ter Bor?tnikov prstan (2014). he returned to the Drama of the SNT Maribor as acting artistic leader for half a year upon which he went on with his actor?s work in the same theatre. During his time in the Drama of the SNT Maribor he created over 70 roles, mostly as dramatic protagonists. Throughout his long and rich theatre, film and TV career he received numerous awards, including Bor?tnik Awards for Acting, the Pre?eren Foundation Award, the Jury Award at the Croatian Drama Festival Maruli??s Days in Split, the Glazer Credential, the Glazer Award for Lifetime Achievement and the Bor?tnik Ring (2014). Matja? Zupan?i? Dramatik, re?iser in pedagog. Po diplomi na UL AGRFT je nadaljeval ?tudij re?ije v Londonu. Po vrnitvi v Slovenijo je v osemdesetih vodil Eksperimentalno gledali??e Glej. Od leta 1981 deluje kot gledali?ki ustvarjalec doma in v tujini. Osnova Zupan?i?evega umetni?kega opusa so gledali?ke re?ije, ki jih ves ?as povezuje s pisanjem izvirne dramatike. Je eden najpogosteje uprizarjanih slovenskih avtorjev v tujini. Z re?ijami lastnih in tujih besedil je prodrl na presti?ne evropske gledali?ke festivale in odre (Jugoslavija s svetom, Bonski bienale, Avignon, Institute of Contemporary Arts, Ex Ponto, Sterijevo pozorje itd.). Za svoje delo je prejel ?tevilne nagrade na mednarodni in doma?i gledali?ki sceni; med drugim je petkratni dobitnik Grumove nagrade za najbolj?e dramsko besedilo. Je redni profesor gledali?ke re?ije na Akademiji za gledali??e, radio, film in televizijo. Playwright, director and pedagogue. Following his studies of directing at the UL AGRFT he continued his studies in London. Upon his return, he was the head of the Experimental Theatre Glej in the 1980s. He has been active as a director at home and abroad since 1981. The basis of Zupan?i??s artistic opus are his theatre directions, which he constantly intertwines with playwriting. He is one of the most frequently staged Slovenian authors abroad. His directions of his own and other playwrights? texts provided him the presence at prestigious European festivals and stages (Yugoslavia With the World, Bonner Biennale, Avignon, Institute of Contemporary Arts, Ex Ponto, Sterija Theatre Festival, etc.). He has received numerous awards and acknowledgements for his works both in the international and domestic context. Among other awards, he is a five-time recipient of the Grum Award for the best play. He is professor of theatre directing at the UL AGRFT. Ksenija Repina ?tudirala je dramaturgijo na UL AGRFT. Med ?tudijem je prejela ?tudentski Pre?ernovi nagradi, in sicer skupinsko nagrado za zbornik Dramati?na in teatrali?na devetdeseta? (2006) ter za diplomsko delo (2008). Od leta 2004 sodeluje s Festivalom Bor?tnikovo sre?anje kot urednica publikacij, moderatorka pogovorov in knji?nih predstavitev ter zadnji dve leti kot avtorica festivalskih e-razstav. Med letoma 2012 in 2014 je bila regionalna selektorica Javnega sklada Republike Slovenije za kulturne dejavnosti; leta 2013 ?lanica ?irije nate?aja za izvirno lutkovno dramsko besedilo v Lutkovnem gledali??u Maribor. Med letoma 2010 in 2014 je sodelovala pri mednarodni primerjalni raziskavi evropskih gledali?kih sistemov STEP. Studied dramaturgy at the UL AGRFT. During her studies, she received two Student Pre?eren Awards, the first, a group award for the collection of texts The Dramatic and Theatrical Nineties? (2006) and the second, an award for her graduate thesis (2008). Since 2004, she has been collaborating with the Maribor Theatre Festival as editor of publications and moderator of discussions and book presentations, and since 2015, as the author of the Festival?s e-xhibitions. From 2012 to 2014, she was regional selector for cultural activities for the Public Fund for Cultural Activities of the Republic of Slovenia. She was a jury member of the 2013 competition for the original puppet theatre play in the Maribor Puppet Theatre. From 2010 to 2014, she took part in the international comparative research of European theatre systems with the STEP research group, the results of which were published in Amfiteater. Tekmovalni program Competition Programme 20 Simon Stephens Tisti ob?utek padanja Birdland 22 Po motivih Heinricha B?lla in Janisa Varufakisa Based on the works of Heinrich B?ll and Janis Varufakis Nemo? Powerlessness 24 Po romanu Colma T?ib?na Marijin testament Based on Colm T?ib?n?s novel The Testament of Mary Brezmade?na/Immaculata The Immaculate/Immaculata 26 Georg B?chner Leonce in Lena Leonce and Lena 28 The Tiger Lillies, Julian Crouch, Phelim McDermot Peter Ku?ter Shockheaded Peter 30 Avtorski projekt Original project Hitchcock Hitchcock 32 Gregor Strni?a Ljudo?erci Cannibals 34 Sofokles Sophocles Antigona Antigone 36 Avtorski projekt Original project Biblija, prvi poskus Bible, the First Attempt 38 Avtorski projekt Original project ?lovek, ki je gledal svet The Man Who Watched the World 40 Avtorski projekt Original project Stenica Bedbug 42 Mile Korun Svetovalec The Counsellor 20 21. 10. 2017 19.30 Stara dvorana Tekmovalni program Competition Programme + Showcase Simon Stephens, eden najbolj prepoznavnih avtorjev sodobnega britanskega gledali??a, je dramo Birdland naslovil po istoimenski pesmi legende ameri?kega punk rocka Patti Smith iz leta 1975. Z navdihom rock glasbe jo je oblikoval kot potovanje skozi sodobni svet, v katerem je edino merilo ?lovekovega ?ivljenja uspeh, ozna?en z zvezdni?tvom in denarjem. Osrednji junak drame je rock zvezdnik Paul, ki se na koncertni turneji seli od mesta do mesta, od hotela do hotela, od ?enske do ?enske. Paul je tako bolj kot zvezdnik rocka zvezdnik dekadence in hipnih u?itkov, ki v ?asu kulture narcizma in smrti med?love?kih vrednot dodeljujejo najve?jo vrednost. Toda Paul, ki ima na videz vso svobodo na svetu, da dela, kar ho?e, nima ni? ve? svobode kot navadni smrtniki, ki so ujeti v svoje delavnike. Tudi on ima nad seboj zalo?bo, s katero je prakti?no v su?njelastni?kem razmerju oziroma je pri njej tako zelo zadol?en, da si ga lasti. Zunanjemu svetu se zdi, da ima Paul vse, v resnici pa nima ni?esar, razen svojih kratkih odtenkov objestnosti. Simon Stephens, one of the most renowned authors of British contemporary theatre, named his play Birdland after the 1975 song by the American punk rock legend Patti Smith. Inspired by rock music, Stephens shaped his play as a journey through the modern world where the single standard of human life is success marked by stardom and money. The protagonist of the play is Paul, a rock star who spends his days on concert tours, going from one city to another, from one hotel to another, from one chick to another. Thus, rather than a rock star, Paul is a star of decadence and instant pleasures, two of the greatest values in the epoque reigned by the culture of narcissism and the death of interpersonal values. Yet Paul, seemingly having all the freedom in the world to do what he wants to do, has no more freedom than the ordinary mortals caught in their daily lives. He is practically enslaved to his record label, since he owes it so much money that it has a firm grip on him. To the outside world, Paul seems like one who has everything, while in reality, he has nothing but his short-lived moments of wantonness. Drama SNG Maribor Premiera Premi?re 10. 3. 2017, SNG Maribor Predstava traja 1 uro 50 minut in nima odmora. Running time 1 hour 50 minutes. No interval. Re?iser Director Janusz Kica Prevajalec Translator Zdravko Du?a ? Scenograf Set designer Marko Japelj ? Kostumografka Costume designer Doris Kristi? ? Skladatelj Composer Kyrre Kvam ? Koreografka Choreographer Valentina Turcu ? Lektor Language consultant Janez Bosti? ? Avtor videa Video artist ?iga Kranjc ? Asistentka re?iserja Asssistant director Mateja Kokol ? Asistentka lektorja (?tudijsko) Assistant language consultant Mojca Kolar Igrajo Cast Paul Branko Jordan ? Johnny Vladimir Vla?kali? ? Annalisa Eva Kra? ? Marnie Nika Rozman ? Lucy Mirjana ?ajinovi? ? Madeline Mojca Simoni? ? Jenny Ana Urbanc ? David Kristijan Ostanek ? Louis Matija Stipani? ? Luc Jurij Dreven?ek ? Sophie Irena Miheli? ? Marc Davor Herga ? Martin Matev? Biber ? Claudie Ma?a ?ilavec ? Nicola ?iva Selan k. g. as guest ? Alistair Milo? Battelino ? Richer Nejc Ropret ? Evans Mateja Pucko Simon Stephens Tisti ob?utek padanja Birdland Naslov izvirnika Original title Birdland foto photo: damjan ?varc 22 22. 10. 2017 23. 10. 2017 24. 10. 2017 18.00 & 22.00 22.00 22.00 Stanovanje* Tekmovalni program Competition Programme + Showcase Ko je bodo?i Nobelovec Heinrich B?ll leta 1963 objavil Klovnove poglede, je brezsramno iskrena to?ka obra?una Hansa Schnierja dvignila veliko prahu; umetni?ko zrcalo, ki je bilo podr?ano pred nem?ko gospodarsko, politi?no in versko elito, je odsevalo s krvjo druge svetovne vojne zapacane roke, ki kar ne nehajo in ne nehajo grabiti. Podoben mehanizem razlaga tudi Janis Varufakis, gr?ki ekonomist in intelektualec, v prodajni uspe?nici Globalni minotaver, objavljeni leta 2011. V svoji kriti?ni analizi svetovnega finan?nega dogajanja nedavnega ?asa ugotavlja, zakaj se je svet zna?el sredi kroni?ne negotovosti in trajne krize. Predstava Nemo? izhaja iz prese?i??a obeh del: nemo?i kot temeljnega ob?utka posameznika, ki sku?a obdr?ati glavo nad gladino vseh ekonomskih, politi?nih in osebnih kriz. ?e gre pri Klovnovih pogledih za intimno nemo? glavnega junaka, se pri Varufakisu ob?utje potencira in raz?iri v sfero dru?be, ki ne zna in ne zmore najti ustreznega odgovora na zlom ekonomskih paradigem, zato do?ivlja globalno nemo?. When Heinrich B?ll, then the Nobel Laureate to be, published The Clown in 1963 the shameless point of Hans Schnier?s confrontation stirred up much noise; the artistic mirror that was held in front of the German economic, political and religious elite, reflected the hands ? tainted with the blood of World War II ? that wouldn?t stop grabbing. The same mechanism is explained also by Janis Varufakis, Greek economist and intellectual, in the bestseller The Global Minotaur (America, Europe and the Future of the Global Economy) published in 2011. In his critical analysis of the recent financial events he establishes why the world has found itself in the middle of chronic insecurity and a permanent crisis. The performance Powerlessness stems from the intersection of both: powerlessness as a fundamental feeling of each individual that is trying to keep his head above all the economic, political and personal crises. If The Clown is about the intimate powerlessness of the main character, Varufakis bolsters this feeling and spreads it to the sphere of society that doesn?t know how to and can?t find an appropriate answer to the break of the economic paradigms and is thus experiencing global powerlessness. V zahvalo in spomin Anici in Marinu Ivasovi?u, ki sta stanovanje na Ru?ki cesti 6 v Mariboru namenila kulturno-umetni?kemu udejstvovanju. With gratitude to and in memory of Anica and Marin Ivasovi?, who bequeathed the apartment at Ru?ka cesta 6 in Maribor for the purpose of cultural-artistic activities. * Vstop na prizori??e na lastno odgovornost. Festival je poskrbel za osnovno varnost, ne prevzema pa odgovornosti za morebitne po?kodbe. * Audience members are advised that because of the condition of the apartment, the entrance to the performance is at their own risk. The Festival has taken some safety measures but is not responsible for any personal injury that may be incurred. Imaginarni & Mini Teater Ljubljana Premieri Premi?res 3. & 4. 12. 2016, Mini Teater Ljubljana Predstava traja 1 uro 10 minut in nima odmora. Running time 1 hour 10 minutes. No interval. Re?iser in avtor dramatizacije Director and author of dramatisation Primo? Ekart Dramaturginja Dramaturg Simona Hamer ? Lektorica Language consultant Maja Cerar ? Scenograf Set designer Damir Leventi? ? Kostumografka Costume designer Belinda Radulovi? ? Oblikovalec svetlobe Lighting designer Andrej Hajdinjak ? Glasbena opremljevalka Music selection Darja Hlavka Godina ? Asistentka re?iserja Assistant director Katarina Krape? ? Asistentka dramaturginje (?tudijsko) Assistant dramaturg Helena Fa?alek Igra Cast Nik ?krlec Po motivih Heinricha B?lla in Janisa Varufakisa Based on the works of Heinrich B?ll and Janis Varufakis Nemo? Powerlessness 23 fo to p h o to : p et er uh an 24 22. 10. 2017 20.00 Stara dvorana Tekmovalni program Competition Programme + Showcase Re?iser Toma? Pandur je s svojim umetni?kim opusom zaznamoval gledali??e; zvest je bil svojemu umetni?kemu credu, svojemu izvirnemu rokopisu. Vizije, sanje, samote, strahove, navdu?enja je nesebi?no delil s sodelavci in sopotniki; z mariborsko Dramo bi odprl sezono 2016/17 s predstavo Brezmade?na/Immaculata, s ?imer bi se vrnil tja, kje se je vse za?elo. Vendar se je njegova ?ivljenjska pot lani nesre?no sklenila. Predstava po romanu Colma T?ib?na je izoblikovana v ?tirinajst miselnih pokrajin Marijine poti, v oltar ljubezni, izgube, samote, iskanja smisla v ranah, ki jih ne more ni? zaceliti. Immaculata je ?enska, zlorabljena v podobo, v dogmo, v instrument vere. Je pri?evanje ?enske, ki je bila izbrisana iz zgodovine in potvorjena v podobo, da bi slu?ila vzpostavitvi oblastne religije, ki je prav tako potvorila izvorni nauk Kristusa v sredstvo za tiranizacijo mno?ic. Ves hrup zgodovine je sestavljen iz njihovih ti?in. V tej ti?ini, danes, se Marija v izgnanstvu sku?a spomniti nekaterih besed, obrazov in delov zgodbe. Marija, ki je drzno izzvala vse svete in velike ideje. Tako jih je obdr?ala. Ker ideje umrejo, ?e jim nih?e ne nasprotuje. Toma? Pandur, a director who undoubtedly left a significant mark on theatre with his opus, who was faithful to his creative credo, to his authentic style, to the very end, who selflessly shared his visions, dreams, solitudes, fears and delights with his collaborators and fellow passengers, was supposed to open the 2016/17 season of the Drama of the Slovenian National Theatre Maribor with the production of The Immaculate/Immaculata and thus return there to where everything began. Yet his life journey tragically ended last year. Based on Colm T?ib?n?s novel, the production is shaped into fourteen mental landscapes of Mary?s journey, into the altar of love, loss, loneliness, a quest for sense in the wounds that no one can heal. Immaculata is a woman who has been abusively moulded into an icon, a dogma, an instrument of faith. The production is a testimony of a woman who was erased from history and forged into an icon to serve the establishing of the ruling religion, an act, which in fact turned out to be the forging of Christ?s original teaching into a device for tyrannising the masses. The entire noise of history consists of their silences. Today, in this silence, the exiled Mary tries to remember certain words, faces and parts of the story. Mary, who boldly challenged all the holy and grand ideas. This is how she kept them. For ideas die when no one is there to challenge them. Hommage ? Toma? Pandur Drama SNG Maribor Premiera Premi?re 23. 9. 2016, SNG Maribor Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval. Avtorja dramatizacije in priredbe Authors of dramatisation and adaptation Livija Pandur, Toma? Pandur ? Avtorica prevoda in dramaturginja Translator and dramaturg Livija Pandur ? Scenograf Set designer Marko Japelj ? Kostumograf Costume designer Leo Kula? ? Lektor Language consultant Janez Bosti? ? Avtorja glasbe Composers Boris Benko, Primo? Hladnik (Silence) ? Sodelavci pri predstavi Collaborators Branko Jordan, Tibor Hrs Pandur, Edward Clug, Andreja Japelj, Marjeta Bor?tnar - Mini ? Oblikovalka svetlobe Lighting designer Vesna Kolarec Igra Cast Marija Mary Nata?a Matja?ec Ro?ker Po romanu Colma T?ib?na Marijin testament Based on Colm T?ib?n?s novel The Testament of Mary Brezmade?na/Immaculata The Immaculate/Immaculata foto photo: aljo?a rebolj 26 23. 10. 2017 20.00 Stara dvorana Tekmovalni program Competition Programme + Showcase Leonce in Lena je nenavadna igra. B?chner sam jo je v podnaslovu sicer ozna?il za veseloigro, ampak te zvrstne oznake verjetno ne smemo vzeti dobesedno. ?e najbolj natan?no bi Leoncea in Leno verjetno lahko opisali z besedami Barbare Mackay kot ?hibridno igro?, se pravi kot dramsko besedilo, ki hkrati pripada ve? literarnim zvrstem in dobam, a nobeni dokon?no. ?eprav se najverjetneje zdi, da gre za zgodbo o tem, kako ni mogo?e ube?ati svoji usodi, se v B?chnerjevi veseloigri skriva predvsem kritika dru?be. Mladi doktor medicinskih znanosti Georg B?chner je bil namre? gore? nasprotnik samozaverovanih elit, ki so izgubile stik s svetom, in bil zaradi tega tudi preganjan. Ne nazadnje je prvi dramatik, ki je ?e leta 1837 v svoji drami Voj?ek za glavnega junaka izbral revnega proletarca. In prav zato je njegova veseloigra Leonce in Lena tudi satira, nor?evanje iz ?anra veseloiger, nor?evanje iz tistih avtorjev, ki s smehom ob?instvo uspavajo, namesto da bi ga prebudili. Leonce and Lena is an unusual play. Although B?chner himself labelled it in the subtitle as comedy, yet we should not take literally this genre classification. Barbara Mackay?s classification of Leonce and Lena as a ?hybrid play? ? namely a dramatic play that at once belongs to several literary genres and epoques yet to none entirely ? is probably the most precise. Although seemingly a story about how one cannot escape his or her fate, B?chner?s comedy is imbued with social criticism. A young medical doctor, Georg B?chner was an ardent opponent of the self- centred elites who had lost touch with the world, for his opposition he was also persecuted. After all, he was the first playwright who chose a poor proletarian as the protagonist of his 1837 play Woyzeck. Therefore his comedy Leonce and Lena is also a satire mocking the very genre of comedy, mocking the authors who use laughter to tranquillise the audience instead of awakening it. Mestno gledali??e ljubljansko Premiera Premi?re 15. 9. 2016, Mestno gledali??e ljubljansko Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval. Re?iserka Director Mateja Kole?nik Prevajalec Translator Jo?e Udovi? ? Scenograf zasnove Set designer (concept) Raimund Orfeo Voight ? Scenograf izvedbe Set designer (realisation) Marko Japelj ? Kostumograf Costume designer Alan Hranitelj ? Koreograf Choreographer Matija Ferlin ? Skladatelj Composer Mitja Vrhovnik Smrekar ? Oblikovalec svetlobe Lighting designer Andrej Kole?nik ? Dramaturginja Dramaturg Ira Ratej ? Lektorica Language consultant Maja Cerar Igrajo Cast Kralj Peter King Peter Boris Ostan ? Princ Leonce Leonce, Prince of Bum Jure Henigman ? Valerio Valerio Matej Puc ? Princesa Lena Lena, Princess of Piddle Jana Zupan?i? ? Vzgojiteljica Lena?s Governess Mirjam Korbar ?lajpah ? Rozeta Rosette Tja?a ?eleznik ? Predsednik dr?avnega sveta, Dr?avni svetnik The Master of Ceremonies, The Privy Council Gregor ?u?in Georg B?chner Leonce in Lena Leonce and Lena Naslov izvirnika Original title Leonce und Lena 27 fo to p h o to : a ljo ?a re bo lj 28 24. 10. 2017 20.00 Stara dvorana Tekmovalni program Competition Programme + Showcase Glasbena igra kultne londonske skupine Tiger Lillies je priredba svetovno znane otro?ke slikanice Peter Ku?ter nem?kega psihiatra, pesnika in pisatelja Heinricha Hoffmanna. Junk opera, kot so jo imenovali avtorji sami, je bila prvi? predstavljena leta 1998 v Londonu, sledile so uprizoritve po vsem svetu, od Broadwaya do dunajskega Burgtheatra. Dobila je tudi vrsto nagrad, med njimi najpomembnej?o, Laurence Olivier Award for Best Entertainment (2002). Hofmannov Peter Ku?ter obsega razli?ne zgodbe, napisane v ?asu t. i. ?rne romantike. Bizarne zgodbe pripovedujejo o slabem vedenju otrok in njegovih mo?nih nevarnih posledicah. Otrok, ki no?e jesti, vse bolj huj?a, dokler ne umre; drugi, ki ne pazi, kod hodi, pade v vodo in skoraj utone; deklica, ki se igra s prepovedanimi v?igalicami, zgori ? V zgodbah se strah uporablja, da bi se otroci nau?ili lepega vedenja in ubogljivosti. Ne glede na dvomljivo izro?ilo tovrstne ?rne pedagogike spada delo med najuspe?nej?e otro?ke knjige; njeni motivi so bili uporabljeni v literaturi, filmu in na televiziji. Bizarna opereta, namenjena odraslim in mladini, navdu?uje z groteskno-morbidno intenzifikacijo zgodb in s ?rnim humorjem. The musical by the London cult band Tiger Lillies is an adaptation of the world-renowned children?s picture book Shockheaded Peter by the German psychiatrist, poet and writer Heinrich Hoffmann. This junk opera, as the authors themselves christened it, was first staged in 1998 in London, followed by stagings world-wide, from Broadway to the Viennese Burgtheater. It received a number of awards, including the 2002 Lawrence Olivier Award for Best Entertainment. Hoffmann?s Shockheaded Peter encompasses different stories written in the epoque of the so-called Black Romantics. The bizzare stories tell of children?s misbehaviour and the possibly dangerous consequences. A boy who doesn?t want to eat gets thinner and thinner until he eventually dies; another boy who doesn?t mind his step falls in the water and almost drowns; a girl who plays with forbidden matches burns herself ... In these stories, fear is the instrument of teaching children good manners and obedience. In spite of the controversial tradition of such black pedagogics, this book is among the most successful children?s books ever; its motives have been used in literature, film and television. A bizzare operetta, for both adults and youth, that enthrals with the grotesque-morbid enhancing of stories with black humour. SNG Nova Gorica Premiera Premi?re 7. 12. 2016, SNG Nova Gorica Predstava traja 1 uro 30 minut in nima odmora. Running time 1 hour 30 minutes. No interval. Re?iserka Director Ivana Djilas Prevajalec Translator Andrej Rozman Roza ? Dramaturginja Dramaturg Ana Kr?i?nik Bla?ica ? Lektor Language consultant Sre?ko Fi?er ? Avtorji aran?majev Authors of musical arrangements Bo?tjan Narat, Bla? Celarec, Jo?i ?alej ? Korepetitor R?p?titeur Jo?i ?alej ? Scenografka in oblikovalka lutk Set designer and puppet carver Barbara Stupica ? Kostumografka Costume designer Jelena Prokovi? ? Koreografka Choreographer Ma?a Kagao Knez ? Svetovalec za animacijo lutk Puppet animation consultant Brane Vi?intin ? Oblikovalec svetlobe Lighting designer Samo Oblokar ? Oblikovalka maske Make-up designer Tina Prpar ? Asistentka scenografke Assistant set designer Ana ?erjal ? Asistentka kostumografke Assistant costume designer Neli ?trukelj Igrajo Cast Ana Facchini ? Kristijan Gu?ek ? Peter Harl ? Gorazd Jakomini ? Patrizia Jurin?i? Fin?gar ? Jure Kopu?ar ? Matija Rupel ? Marjuta Slami? ? Andrej Zalesjak Glasbeniki Musicians Bla? Celarec ? Bo?tjan Narat ? Jo?i ?alej The Tiger Lillies, Julian Crouch, Phelim McDermot Peter Ku?ter Shockheaded Peter Naslov izvirnika Original title Struwwelpeter foto photo: peter uhan 30 25. 10. 2017 19.00 Velika dvorana ? tribuna Tekmovalni program Competition Programme + Showcase Ali na filmskem platnu vsak gledalec vidi isto? ?e si Hitchcockove filme ogledamo na novo, se izka?e, da se spomini z nekdanjih ogledov me?ajo s sedanjimi pri?akovanji, prizori, ki so si jih od mojstra suspenza izposodili drugi filmarji, spreminjajo dojemanje izvirnika, predstava o njegovi ustvarjalnosti pa vpliva na njeno trenutno branje. ?e Hitchcockove filme pogledamo ?e pobli?e, lahko opazimo, da so dosti bolj zabavni, ?uda?ki in netipi?ni, kot smo morda pri?akovali. V predstavi Hitchcock je v sredi??u zanimanja, kaj se v Hitchcockovih filmih in v pogovorih s Hitchcockom in o Hitchcocku izmika nadzoru. Ogledujemo si tipi?no hitchcockovsko plavolasko, ki se odmika od tipa hitchcockovske plavolaske, in mojstra kinematografije, ki ne izpolnjuje zahtev, povezanih s statusom mojstra. Hitchcockova kinematografija je tovarna pogosto neprepoznanih in protislovnih ?ustev, pa tudi prostor, v katerem se strogo dolo?ene identitete ? ?enske, mo?kega, zvezde, avtorja ? razpo?ijo in poka?ejo svoja neskladja. Is it so that each film viewer sees the same thing on the screen? If we revisit Hitchcock?s films it turns out that the memories of our previous viewings mingle with the present expectations. The scenes that other film makers have borrowed from the Master of Suspense alter our grasping of the original; the notion of his creativity influences the film?s current interpretation. If we take an even closer look at Hitchcock?s films we might notice that they are much more entertaining, weird and atypical than we were perhaps used to thinking. The focus of interest of the production Hitchcock is what escapes control in Hitchcock?s films and the interviews with Hitchcock. We inspect a typical Hitchcock blonde who shifts away from the Hitchcock blonde type, and the master of cinema who doesn?t fulfil the requirements assigned to the master status. Hitchcock?s cinema is a factory of often unrecognised and contradictory emotions as well as a space in which strictly determined identities ? female, male, star, author ? crack in two and manifest their disharmonies. Slovensko mladinsko gledali??e Premiera Premi?re 20. 4. 2017, Slovensko mladinsko gledali??e Predstava traja pribli?no 1 uro 20 minut in nima odmora. Running time approximately 1 hour 20 minutes. No interval. Ustvarjalci Creators Agnieszka Jakimiak besedilo in dramaturgija text and dramaturgy ? Katarzyna Leks scenografija in kostumografija set and costume design ? Agata Maszkiewicz koreografija choreography ? Weronika Szczawi?ska re?ija directing ? Piotr Wawer Jr. dramaturgija in glasbena oprema dramaturgy and music selection Prevajalka Translator Tatjana Jamnik ? Lektorica Language consultant Mateja Dermelj ? Oblikovalec zvoka Sound designer Silvo Zupan?i? ? Oblikovalec svetlobe Lighting designer David Cvelbar ? Tolma?ka na vajah in ?epetalka Interpreter in rehearsals and prompter ?pela Kopitar ? Strokovni sodelavec Consultant Matja? Marini? ? Oblikovalka maske Make-up artist Nathalie Horvat ? Vodji predstave Stage managers Janez Pavlov?i?, Ga?per Tesner Igrajo Cast Primo? Bezjak ? Damjana ?erne ? Da?a Dober?ek ? Draga Poto?njak ? Matej Recer ? Katarina Stegnar Predstavo je podprlo Veleposlani?tvo Republike Poljske v Ljubljani. The production is supported by the Embassy of the Republic of Poland in Ljubljana. Hitchcock Hitchcock fotophoto: nejc saje 32 25. 10. 2017 20.30 Stara dvorana Tekmovalni program Competition Programme + Showcase Ljudo?erska dru?ina slovenskih beguncev, bivajo?a v notranjosti nem?ke kri?evni?ke cerkve, se ob koncu druge svetovne vojne ohranja pri ?ivljenju z jedenjem in prodajo ?love?kega mesa, da ne bi podlegla lakoti. Vojno pre?ivi edino dru?inski o?e Pajot, ki je s klanjem obogatel, in svobodo do?aka kot uspe?en podjetnik, ki bo z med vojno pridobljenim kapitalom zlahka vstopil v novi ?as. Strni?evi ljudo?erci niso bestialni oziroma animalni. So samo ljudje z dolo?eno komoditeto, ki ne zahteva u?ivanja ?love?kega mesa samo takrat, ko ni druge hrane, ampak o?itno tudi sicer. ?e i??emo skupno definicijo, so to potro?niki z enakimi potrebami. Strni?a je potrdil domnevo, da parabola o slovenski dru?ini, ki se med vojno po lastnih mo?eh bori za pre?ivetje, ne govori o nekem posebnem ?asu, ampak o nastrojenosti, ki ji izredne razmere slu?ijo kve?jemu za izgovor. Igra ugotavlja, da je ljudo?erstvo logika na?ega sveta. At the end of World War II, a cannibal family of Slovenian refugees, dwelling in the interior of a German Church of the Teutonic Order, keeps itself alive by eating and selling human flesh, in order to escape death by famine. The only one who survives the war is the family father Pajot, who has made a fortune by slaughtering. The end of the war finds him as a successful entrepreneur who will enter the new age with ease, riding on the back of the capital accumulated during the war. Strni?a?s cannibals are neither bestial nor animalistic. They are merely people with a certain inclination towards comfort that doesn?t require enjoying human flesh only when there is no other food, but evidently at other times as well. If we look for a common denominator, then it is consumers with the same needs. Strni?a confirmed the presumption that the parable about a Slovenian family that fights for survival during World War II with its own might doesn?t speak of a particular epoch. Rather, it speaks of a disposition that mostly uses extraordinary circumstances as an excuse. A play that concludes that cannibalism is the logic of our world. Drama SNG Maribor Premiera Premi?re 12. 5. 2017, SNG Maribor Predstava traja 2 uri 40 minut in ima en odmor. Running time 2 hours 40 minutes. One interval. Re?iser Director Ivica Buljan Dramaturginja Dramaturg Diana Koloini ? Scenograf Set designer Aleksandar Deni? ? Kostumografka Costume designer Ana Savi? Gecan ? Skladatelj Composer Mitja Vrhovnik Smrekar ? Koreografka Choreographer Tanja Zgonc ? Lektorica Language consultant Metka Damjan ? Oblikovalec videa Video designer Toni Soprano ? Oblikovanje svetlobe Lighting designer sonda4 ? Asistent re?iserja Assistant director Robert Waltl ? Asistent scenografa Assistant set designer Danilo Mla?enovi? Smrt, Tenente Death, Tenente Jurij Dreven?ek ? Prior Peter Bo?tjan?i? ? Komtur Milo? Battelino ? Peter Pajot Vladimir Vla?kali? ? Florijan Falac Alojz Svete ? Matilda Ksenija Mi?i? ? Marta Mateja Pucko ? Marija Nika Rozman ? Majdalenka Ana Urbanc ? Sr?ev fant Jack of Hearts Viktor Megli? ? Kri?eva dama Queen of Clubs Irena Varga ? Pik as Ace of Spades Kristijan Ostanek ? Go??arka Thicket Woman Mirjana ?ajinovi? ? Neznanka Unknown Eva Kra? ? Major Matev? Biber Gregor Strni?a Ljudo?erci Cannibals fotophoto: damjan ?varc 34 26. 10. 2017 20.00 Stara dvorana Tekmovalni program Competition Programme + Showcase Antigona je poleg Kralja Ojdipa najpomembnej?a med sedmimi ohranjenimi Sofoklesovimi tragedijami, zmeraj znova in v vsakem zgodovinskem trenutku druga?e vredna uprizarjanja. Tako reko? ve?no jo delajo njeni dramski liki z naslovnim na ?elu, klasi?na zgradba, vpra?anja, ki jih postavlja, in odgovori, ki jih daje sama, ?e bolj pa tisti, ki jih poi??e vsakokratna dramatur?ko-re?ijska postavitev: razmerje med napisanimi in nenapisanimi zakoni, obseg ?lovekovih (tudi mrli?evih) temeljnih pravic, mo? argumenta in argument mo?i ? Antigona kot upornica demonstrira svojo osebno voljo nad dr?avnim ukazom. Popolnoma se zaveda, kaj pomeni njeno dejanje in kaj tvega z njim. Je spodbuda za njeno dejanje res pravica mrtvega brata do pokopa? ?e gre Antigoni samo za to, da opravi obred za umrlim bratom, da bo lahko ?la njegova du?a onkraj, zakaj pripravi pokop dvakrat? Dejstvo, da opravi obred dvakrat, odpira druge mo?ne interpretacije. Antigone ranks as the second most important of the seven preserved tragedies by Sophocles, just after Oedipus the King. Antigone unquestionably deserves to be staged again and again in various moments of time. The play owes its lasting appeal to its remarkable characters, especially the title character of Antigone, as well as to its classic structure, and the questions it raises and the answers it gives. What is even more striking are the answers sought after in Antigone?s stagings by the respective dramaturgs and directors: the relationship between the written and unwritten laws, the scope of basic human rights (including the rights of the corpses), the power of argument and the argument of force ... As a rebel, Antigone demonstrates her personal attitude in defiance of a state edict. She is fully aware of the consequences of her action and the risks it entails. Is her dead brother?s right to a burial really the motivation for her action? If Antigone is only after carrying out funeral rites to enable his soul to go yonder, why does she insist on burying his body twice? The very fact that the rites are performed twice opens up other interpretations. SNG Drama Ljubljana Premiera Premi?re 28. 1. 2017, SNG Drama Ljubljana Predstava traja 1 uro 10 minut in nima odmora. Running time 1 hour 10 minutes. No interval. Re?iser Director Eduard Miler Prevajalec Translator Kajetan Gantar ? Avtorica priredbe in dramaturginja Author of adaptation and dramaturg ?anina Mir?evska ? Scenograf Set designer Branko Hojnik ? Kostumografka Costume designer Jelena Prokovi? ? Skladatelj Composer Damir Avdi? ? Glasbeni opremljevalec Music selector Eduard Miler ? Oblikovalec svetlobe Lighting designer Andrej Hajdinjak ? Oblikovalec videa Video designer Atej Tutta ? Lektor Language consultant Jo?e Faganel ? Asistentka kostumografke Assistant costume designer Neli ?trukelj Igrajo Cast Antigona Antigone Nina Ivani?in ? Kreon Creon Jurij Zrnec ? Ismena Ismene Iva Babi? ? Hajmon Haemon Nik ?krlec ? Tejrezias Tiresias Sa?a Pav?ek ? Stra?ar Guard Vanja Plut ? Zbor Chorus Damir Avdi? Sofokles Sophocles Antigona Antigone Naslov izvirnika Original title ???????? 35 fo to p h o to : p et er uh an 36 27. 10. 2017 20.00 Stara dvorana Tekmovalni program Competition Programme + Showcase Velika in najve?ja knjiga. In ta velika in najve?ja knjiga je postajala vse ve?ja in ?e ve?ja. In ?e ve?ja je postala. Postala je tako velika, da je bila ?e prevelika. In ko je postala prevelika, se je za?ela prazniti. In ko je postala ?e bolj prevelika, je postala tudi ?e bolj prazna. Napihovala in napihovala se je, ne da bi opazila, da se je skoraj povsem izpraznila. Knjiga vseh knjig. Biblija je prehodila dolgo pot skozi ?love?ko zgodovino in v sebi zdru?uje vse, kar je ?love?kega: najbolj krhko osamljenost, izgubljenost in du?evno stisko, ?love?ki eros, hrepenenje in potrebo po ljubezni, potrebo po dopolnitvi v drugem, bolj popolnem, in po drugi strani najbolj okrutno nasilje, sovra?tvo in zatiranje drugega ali samega sebe. Kako pa je z uprizarjanjem Biblije? Sveto pismo je ocean materiala, ki lahko navdihuje ustvarjalce. Kako pristopiti k taki besedilni predlogi? Poni?no, z zavedanjem velikanskega zgodovinskega bremena, ali drzno, z neobremenjeno otro?ko ustvarjalnostjo in radovednostjo? This is a big book, the biggest book of all. And this big book, the biggest book of all was gradually becoming bigger and bigger. And even bigger. It became so big that it was too big. And when it became too big, it began to get emptied. And when it became even bigger, it become even emptier. Without even noticing, it was being blown out of all proportion until it became almost completely empty. The book of all books. The Bible has made a long journey through the history of humankind, uniting in itself everything that is human: the most fragile loneliness, the feeling of being lost and under mental distress, human eros, both the yearning for and the need for love, the need to complete oneself with the other, with one more perfect; and on the other hand, the most cruel violence, hatred and suppression of the other or oneself. And what about staging the Bible? The Holy Scripture is an ocean of material to inspire artists. How does one tackle such a textual proposal? Humbly, while being aware of the immense historical burden, or impertinently, with unburdened child-like creativity and curiosity? SNG Drama Ljubljana Premiera Premi?re 19. 4. 2017, SNG Drama Ljubljana Predstava traja 3 ure in ima en odmor. Running time 3 hours. One interval. Re?iser Director Jernej Lorenci Dramaturg Dramaturg Matic Starina ? Scenograf Set designer Branko Hojnik ? Kostumografka Costume designer Belinda Radulovi? ? Skladatelj Composer Branko Ro?man ? Oblikovalec svetlobe Lighting designer Pascal M?rat ? Koreografka Choreographer Kaja Lorenci ? Lektorica Language consultant Tatjana Stani? ? Asistenta re?iserja (?tudijsko) Assistant directors Dorian ?ilec Petek, Jan Krmelj Igralci Actors Janez ?kof ? Marko Mandi? ? Nina Ivani?in ? Nata?a Barbara Gra?ner ? Gregor Zorc ? Jernej ?ugman ? Pia Zemlji? ? Alja? Jovanovi? ? Tina Vrbnjak/Maru?a Majer Izvajalci glasbe Musicians Branko Ro?man ? ?tefica Stipan?evi? sopran soprano ? Eva Jurgec oboa, kljunaste flavte oboe, flutes ? Kaja Novosel flavta flute Biblija, prvi poskus Bible, the First Attempt Avtorji priredbe so ustvarjalci uprizoritve Adaptation by the creators of the performance foto photo: peter uhan 38 28. 10. 2017 18.00 Velika dvorana ? tribuna Tekmovalni program Competition Programme + Showcase ?Ko ?lovek po?asi umira in je pred tem dolgo bolan, je najbolj grozno to, da je vsak dan ?isto malo slab?e, tako malo, da tega niti ne opazi?. Morda celo pomisli?, da mu gre na bolje. Nato se spomni?: pred tednom je lahko sam vstal, zdaj pa se lahko samo ?e obrne. Potem na to pozabi? in ?ez ?as z grozo presene?en opazi?, da se niti obrniti ne more ve?, da s te?avo dvigne glavo. Takrat prvi? sprevidi? neizbe?no. Enako je s koncem sveta.? Jakov Druskin ?lovek, ki je gledal svet je avtorski projekt, ki izhaja iz ob?utka, da konec sveta ni samo apokalipsa, ki tam nekje ?aka, da se zgodi, ampak je vseprisotna v mikrokozmosih ljudi, dru?in, posameznikov brez glasu in mesta v svetu, ki se premika tako hitro, da prakti?no ?e miruje. Iz ob?utka, da se pelje? po dolgi dolgi cesti z avtomobilom, ki mu zmanjkuje goriva, avto vozi, goriva ni, cilja ni, postajali??a ni. Avto pa kar pelje in pelje. ?e malo potrpimo, pa bo bolje. ?e malo, ?e malo, pa bo bolje. Pa je apokalipsa resni?no stvar prihodnosti? ?While one is slowly dying from a long illness, the most terrifying thing is that the deterioration happens on a daily basis but on such a tiny scale that it is practically unnoticeable. You might even think that the dying is actually improving. But then you recall: a week ago he was able to get up by himself and now he can only turn around. Then you forget about it and in a while you notice with dread and surprise that he cannot even turn around and that he is raising his head with difficulty. This is the first time that you overlook the inevitable. The same thing happens with the end of the world.? Jakov Druskin Created by the artistic team, The Man Who Watched the World stems out of a feeling that the end of the world is not merely the apocalypse awaiting somewhere over there to unfold, but it is rather omni-present in the microcosms of the people, families, individuals deprived of their voices and position in the world; an apocalypse that moves so fast that it is already at rest. It stems out of a feeling that you are riding on a long long road in a car that is running out of gas; that the car is riding, the gas is gone, the goal is gone, there are no rescue stations. The car goes on and on. We just have to be a little more patient and it will get better. A bit more, a bit more, and it will get better. Is the apocalypse really a matter of the future? Slovensko mladinsko gledali??e Premiera Premi?re 22. 1. 2017, Slovensko mladinsko gledali??e Predstava traja pribli?no 2 uri 5 minut in nima odmora. Running time approximately 2 hours and 5 minutes. No interval. Re?iser Director ?iga Divjak Dramaturginja Dramaturg Katarina Morano ? Scenografka Set designer Tina Mohorovi? ? Kostumografka Costume designer Tina Pavlovi? ? Avtor glasbe Composer Beno Gec ? Lektorica Language consultant Mateja Dermelj ? Oblikovalec svetlobe Lighting designer David Ore?i? ? Oblikovalca zvoka Sound designers Beno Gec, Marijan Sajovic ? Avtor videa in oblikovalec diaprojekcij Video and slide projection designer Domen Martin?i? ? Vodja predstave Stage manager Janez Pavlov?i? Igrajo Cast Sara Dirnbek k. g. as guest ? Ivan Godni? ? Anja Novak ? Gregor Prah k. g. as guest ? Katarina Stegnar ? Matija Vastl ?lovek, ki je gledal svet The Man Who Watched the World Avtorji besedil so ustvarjalci predstave Text written by the artistic ensemble of the production 39 fo to p h o to : n ejc sa je 40 28. 10. 2017 20.30 Stara dvorana Tekmovalni program Competition Programme + Showcase Dru?beni red in ?ivljenje se globalizirata, na pohodu je monokultura. Kapitalisti?no-tr?ni sistemi in ameri?ka popkultura se ?irijo v vse koti?ke sveta. Kaj se je zgodilo z dru?bo, s ?lovekom? Kako se je posameznik, mali ?lovek, zna?el in pre?ivel v sistemih preteklosti in kako nas je vrtinec zgodovine peljal naprej, dokler nas ni izpljunil na obalah na?e sodobnosti? In predvsem: kako gledalcu pribli?ati idejno mo? ironi?no- satiri?nega odnosa do ?loveka in dru?be? Najti moramo nove ?asovne in prostorske okvire utele?anja sedanjosti. Sedanjost moramo na novo aktualizirati. Tako Stenica Majakovskega postane na?a. Kaj je v?asih povezovalo kolektiv in kaj nas danes? Skupne ideje in solidarnost ali vsiljiva ideologija, ubogljivost in strah pred avtoritetami. Povezujejo nas potro?ni?ke navade, popkultura ter ob vzponu ksenofobije in desnih politikov tudi strah pred sovra?nikom, pred tujim in druga?nim. Ponor?ujmo se iz ?love?ke slabosti in dru?bene distopi?nosti. Hkrati pa preizpra?ujmo vrednote, i??imo utopijo in povezovanje. Social order and life as such are in the process of globalisation: monoculture is the order of the day. The capitalist market systems and American pop culture are reaching the farthest corners of the world. Whatever happened with society, with humans? How did the individual, the ordinary man, manage to get by and survive in the past systems and how has the vortex of history driven us further on, until spitting us on the shores of our present-day life? And above all: how to bring the spectator closer to the powerful idea of an ironic- satirical relation towards both humans and society? We are bound to find new time-space frames for embodying reality. We have to re-actualise the present. Thus we have appropriated Mayakovsky?s Bedbug. What was once the connective tissue for a collective and what is it today? Collective ideas and solidarity, or the imposing ideology, obedience and fear in front of authorities? We are connected through our consumer habits, pop culture and ? with the rise of xenophobia and the right-wing politicians ? also through the fear of the enemy, be it foreign or the other. Let?s mock human weaknesses and the social dystopia. At the same time, let?s re-examine values, let?s search for utopia and ways of bonding. Pre?ernovo gledali??e Kranj & Mestno gledali??e Ptuj Premiera Premi?re 18. 2. 2017, Pre?ernovo gledali??e Kranj Predstava traja 2 uri 10 minut in nima odmora. Running time 2 hours 10 minutes. No interval. Re?iser Director Jernej Lorenci Prevajalka Stenice Majakovskega Translator of Mayakovsky?s Bedbug Tatjana Stani? ? Koreograf in asistent re?iserja Choreographer and assistant director Gregor Lu?tek ? Dramaturg Dramaturg Matic Starina ? Scenograf Set designer Branko Hojnik ? Kostumografka Costume designer Belinda Radulovi? ? Skladatelj Composer Branko Ro?man ? Lektorica Language consultant Tatjana Stani? ? Oblikovalca svetlobe Lighting designers Jernej Lorenci, Branko Hojnik ? Oblikovalec maske Make-up artist Matej Pajtar ? Asistentka dramaturga Assistant dramaturg Tja?a Mislej Igrajo Cast Iztok Drabik Jug k. g. as guest ? Vesna Jevnikar ? Nata?a Keser k. g. as guest? Maru?a Majer k. g. as guest ? Darja Reichman ? Bla? Setnikar ? Vesna Slapar ? Aljo?a Ternov?ek ? Borut Veselko ? Gregor Zorc k. g. as guest Avtorski projekt Original project Stenica Bedbug 41 fo to p h o to : n ad a ? ga nk 42 // Tekmovalni program Competition Programme + Showcase Uprizoritev Svetovalec na Festivalu Bor?tnikovo sre?anje zaradi smrti Ga?perja Ti?a ne bo predstavljena. Mestno gledali??e ljubljansko in re?iserka Nina Raji? Kranjac v sodelovanju s Festivalom Bor?tnikovo sre?anje vabita na komemorativni dogodek Svetovalec. O predstavi, ki je ostala brez igralca. 23. oktobra 2017 ob 22.00 na Komornem odru SNG Maribor. The production The Counsellor will not be performed at the Maribor Theatre Festival because of the untimely death of the production?s lead actor, Ga?per Ti?. In collaboration with the Festival, the Ljubljana City Theatre and director Nina Raji? Kranjac invite you to the commemorative event The Counsellor. About the production that lost its lead actor. on 23 October at 22.00 at the Chamber Stage of SNT Maribor. Mile Korun Svetovalec The Counsellor Katalog burlesknih dialogov Catalogue of burlesque dialogues Mestno gledali??e ljubljansko Premiera Premi?re 13. 10. 2016, Mestno gledali??e ljubljansko Re?iserka Director Nina Raji? Kranjac Dramaturginja Dramaturg Petra Pogorevc ? Scenografka Set designer Ur?a Vidic ? Kostumograf Costume designer Andrej Vrhovnik ? Lektor Language consultant Martin Vrta?nik ? Oblikovalec svetlobe Lighting designer Andrej Kole?nik Igrajo Cast Ga?per Ti? (?) ? Viktorija Bencik Emer?i? ? Tanja Dimitrievska ? Bla? Dolenc k. g. as guest ? Mojca Funkl ? Jernej Ga?perin ? Gregor Gruden ? Karin Komljanec ? Nina Rakovec/Ana Dolinar Horvat ? Uro? Smolej ? Milan ?tefe ? Domen Vali? foto photo: aljo?a rebolj 44 Re?iserji tekmovalnih predstav Directors of the Competition Programme IVICA BULJAN ?tudiral je politi?ne vede, franco??ino in svetovno knji?evnost v Zagrebu. Med letoma 1998 in 2002 je bil ravnatelj Drame Hrva?kega narodnega gledali??a v Splitu, trenutno je ravnatelj Drame Hrva?kega narodnega gledali??a v Zagrebu. Je soustanovitelj Mini teatra Ljubljana in gostujo?i predavatelj v gledali?kih ?olah v Rennesu in Saint-Etiennu v Franciji. Od leta 2003 skupaj z Dubravko Vrgo? vodi Festival svejtskog kazali?ta v Zagrebu. Za svoje delo je prejel vrsto nagrad, med drugim tri Bor?tnikove (2004, 2006, 2007) in nagrado Pre?ernovega sklada (2012). Leta 2014 je prejel visoko francosko odlikovanje vitez reda umetnosti in leposlovja. He studied political sciences, French and world literature in Zagreb. He was the Director of the Drama of the Croatian National Theatre in Split from 1998 to 2002 and is currently the Director of the Drama of the Croatian National Theatre in Zagreb. He is co-founder of Mini teater Ljubljana and guest lecturer in theatre schools in Rennes and Saint-?tienne in France. Together with Dubravka Vrgo?, he has been running the Festival of World Theatre since 2003. He has received several awards for his work, among them, three Bor?tnik Awards (2004, 2006, 2007) and the Pre?eren Foundation Award (2012). In 2014, he received the high French medal Knight of the Order of Arts and Letters. ?IGA DIVJAK Absolvent gledali?ke re?ije na UL AGRFT je v kulturno javnost vstopil z nizom dogodkov in predstav s skupnim naslovom Tik pred revolucijo (2013?2015), s katerimi je gostoval na Festivalu Bor?tnikovo sre?anje, festivalu Non Stop Theater v Chemnitzu v Nem?iji in dvakrat v Zagrebu. Za omenjeno delo je leta 2015 prejel akademijsko Pre?ernovo nagrado. A student of the final year of directing at the UL AGRFT, ?iga Divjak entered the cultural scene with a series of events under the common title In the Eve of the Revolution (2013?2015). The project toured to the Maribor International Theatre Festival, to the Non Stop Festival at Theater Chemnitz in Germany, and twice to Zagreb. For this production he received the Student Pre?eren Award in 2015. IVANA DJILAS Po ?tudiju gledali?ke in radijske re?ije na Fakulteti za dramske umetnosti v Beogradu je podiplomsko ?tudirala gledali?ko re?ijo na UL AGRFT. V Sloveniji je re?irala okrog ?tirideset predstav. Njene uprizoritve so nastajale v zelo raznolikih produkcijskih pogojih in po raznovrstnih predlogah, od sodobnih in klasi?nih dramskih del do ugledali??enja romanov, kratkih zgodb, pesmi, slikanic, stripov, kolumn iz ?asopisov, celo znanstvenih tekstov. Je prejemnica nagrade za najbolj?o re?ijo na Maruli?evih dnevih v Splitu in Bor?tnikove nagrade za re?ijo (2010). Following the studies of theatre and radio directing at the Faculty of Dramatic Arts in Belgrade, Ivana Djilas made her postgraduate studies of theatre directing at the UL AGRFT. She has directed over 40 productions in Slovenia. Her productions have been created and staged in very different production conditions and based on various source material: from contemporary and classical dramatic pieces to adaptations of novels, short stories, poems, children?s books, comics, magazine columns, even scientific texts. She is a recipient of the Directing Award at Maruli??s Days in Split and the Bor?tnik Award for Directing (2010). PRIMO? EKART Diplomiral je iz dramske igre na UL AGRFT, v letu 2015 je magistriral iz filmske re?ije. Izobra?eval se je tudi na Lee Strasberg Theatre Institutu v New Yorku. Leta 2006 je ustanovil svojo produkcijsko hi?o, zavod Imaginarni. Za svoje delo je prejel nagrade, mdr. nagrado Zdru?enja gledali?kih kritikov in teatrologov za najbolj?o predstavo v sezoni ter nagrado Marul za umetni?ki dose?ek na mednarodnem Festivalu Maruli?evi dnevi 2015 v Splitu. In 2015, he received his MA in Film Directing from UL AGRFT. He attended the Lee Strasberg Theatre Institute in New York. In 2006 he established Imaginarni Institute, which he leads both artistically and production-wise. His production of the feast received the Rudi ?eligo Award and the Audience Award at the Week of Slovenian Drama (2012), the annual award of the Association of Theatre Critics and Researchers of Slovenia for best production of 2011/12; his production of Europe received the Marul Award for artistic achievement at Maruli??s Days 2015 in Split. JANUSZ KICA V Krakovu je ?tudiral teatrologijo, po diplomi je nadaljeval ?tudij teatrologije in umetnostne zgodovine v Zahodni Nem?iji. Med letoma 1986 in 1989 je bil zaposlen kot stalni asistent re?ije in pozneje hi?ni re?iser gledali??a Wuppertaler Buhnen. Ena njegovih prvih re?ij je bila uprizoritev Theobaldt- He studied theatre studies in Krakow and upon receiving his BA continued with theatre studies and history of art in West Germany. Between 1986 and 1989 he was employed as permanent assistant director in Wuppertaler B?hnen Theatre. One of his first directions was of Theobaldt-Kipling?s The Jungle Book. 45 Kiplingove Knjige o d?ungli. Nad njo se je navdu?ilo Zagreba?ko kazali?te mladih in leta 1990 so ga povabili, da to delo re?ira tudi pri njih. Zatem je za?el kot re?iser sodelovati s ?tevilnimi mednarodnimi gledali??i. Med njegovimi ?tevilnimi nagradami je tudi pet Bor?tnikovih nagrad, dvakrat je bil na Dnevnih komedije razgla?en za ?lahtnega re?iserja, leta 2016 pa je prejel nagrado Pre?ernovega sklada. The Zagreb Youth Theatre was delighted with that production and invited him in 1990 to direct the same production in that theatre. Following this production, he collaborated with numerous German and consequently Austrian, Croatian and Slovenian theatres. Among his numerous awards, there are five Bor?tnik Awards, two Directing Awards at Days of Comedy and the 2016 Pre?eren Foundation Award. MATEJA KOLE?NIK ?tudirala je filozofijo in primerjalno knji?evnost na Filozofski fakulteti v Ljubljani, zatem gledali?ko in radijsko re?ijo na UL AGRFT. Pogosto re?ira tudi v tujini. Do zdaj je za njo ve? kot ?estdeset re?ij. Zelo odmevne so njene postavitve del iz sodobne evropske in ameri?ke dramatike, v katerih raziskuje mo?nosti uporabe odrskega prostora. Njene uprizoritve se uvr??ajo na najrazli?nej?e gledali?ke festivale in zanje je prejela ?tevilne nagrade, mdr. leta 2001 nagrado Pre?ernovega sklada, veliko Bor?tnikovo nagrado in pet Bor?tnikovih nagrad, dve nagradi festivala Zlati lev v Umagu in nagrado dr. Branka Gavelle. She has worked in most Slovenian professional theatres and in recent years increasingly abroad. Her opus encompasses over sixty directions. She is especially renowned for her stagings of contemporary European and American dramatic literature, in which she explores the possibilities of usage of theatrical space and mobile set designs. Since her directorial beginnings in the 1990s, Kole?nik?s productions have taken part in various theatre festivals and won numerous awards, including the 2001 Pre?eren Foundation Award, five Bor?tnik Awards, two Golden Lion Awards in Umag and the Dr Branko Gavella Award. JERNEJ LORENCI ?tudiral je gledali?ko in radijsko re?ijo na UL AGRFT. Kot docent na AGRFT predava predmet Dramska igra in prakti?na re?ija. Redno re?ira v vseh slovenskih poklicnih gledali??ih, ob?asno tudi v tujini. Za svoje delo je prejel ?tevilne nagrade, mdr. velike Bor?tnikove nagrade (2002, 2012, 2013, 2014, 2016), tri Bor?tnikove nagrade za re?ijo (2006, 2009, 2012), ?eligovo nagrado za najbolj?o uprizoritev na Tednu slovenske drame (2006), dve nagradi na festivalu Zlati lev v Umagu na Hrva?kem (2001, 2009) in veliko nagrado na festivalu Ex Ponto (2003). V letu 2014 je prejel nagrado Pre?ernovega sklada. He studied theatre and radio directing at the UL AGRFT, where he is now an assistant professor of practical directing and stage acting. He regularly directs in all Slovenian professional theatres and occasionally abroad. He has received numerous awards for his work, including five Bor?tnik Grand Prix, three Bor?tnik Awards for Directing, ?eligo Awards for the best production at the Week of Slovenian Drama, two awards at the Golden Lion Festival in Umag, Croatia and the Grand Prix at Ex Ponto Festival in Ljubljana. He received the 2014 Pre?eren Foundation Award. EDUARD MILER Kariero je za?el v nem?kih in avstrijskih gledali??ih. Leta 1966 je v Stuttgartu zasnoval svoje gledali??e Forum 3, 1978. pa v Bielefeldu gledali??e Schaulust. Bil je umetni?ki vodja SMG, umetni?ki konzultant Kraljevskega pozori?ta na Cetinju ter umetni?ki vodja ?rnogorskega narodnega gledali??a v Podgorici in SNG Drama Ljubljana. Od sezone 2014/2015 je umetni?ki vodja Slovenskega stalnega gledali??a v Trstu. V dolgoletni gledali?ki karieri je oblikoval ve? kot sto uprizoritev, za kar je bil tudi ve?krat nagrajen. Med njegovimi ?tevilnimi nagradami je tudi pet Bor?tnikovih nagrad, leta 2016 je prejel nagrado Pre?ernovega sklada. He began his career in German and Austrian theatres and founded his own theatre Forum 3 in Stuttgart in 1966 and in 1978 the Schaulust in Bielefeld. In the years following, he was artistic director of Mladinsko Theatre, artistic consultant of the Royal Theatre of Cetinje, Montenegro, as well as artistic director of the Montenegro National Theatre and the Slovenian National Theatre Drama Ljubljana. Since the 2014/15 season, he has been the artistic director of the Slovene Permanent Theatre in Trieste. Throughout his long theatre career he has directed over one hundred productions, for which he has won various awards, including the Pre?eren Foundation Award, Bor?tnik Awards for direction and three Laurel Wreaths at the Festival MESS Sarajevo. WERONIKA SZCZAWI?SKA Diplomirala je iz interdisciplinarnih humanisti?nih ?tudij na Univerzi v Var?avi in doktorirala na umetnostnem in?titutu Poljske akademije znanosti. Re?ijo je ?tudirala na var?avski Akademiji za gledali??e. Leta 2014 je bila nominirana za nagrado Paszport Polityki v kategoriji gledali??e za ?dosledno grajenje lastnega gledali?kega jezika?. Sodelovala je z gledali??i po vsej Poljski. Je avtorica gledali?kih predstav in performansov, ki jih pogosto ustvarja v sodelovanju z umetnostnimi galerijami. She graduated in interdisciplinary humanistic studies from the University of Warsaw and received her PhD from the Institute of Arts at the Polish Academy of Sciences. She studied directing at the Warsaw Theatre Academy. In 2014 she was nominated for the Paszport Polityki Award in the category of theatre for ?a consequent building of her own theatre language?. She has collaborated with theatres all over Poland. She is the author of theatre productions and performances which she often creates in collaboration with art galleries. 46 Spremljevalni program Accompanying Programme 47 48 Na?e nasilje in va?e nasilje Our Violence and Your Violence Po navdihu romana Estetika odpora Petra Weissa Inspired by Peter Weiss?s novel The Aesthetics of Resistance 50 Mark Po?lep Bolj ?udno od raja Stranger than Paradise 52 Drago Ivanu?a Dviganje glasu The Raising of the Voice 54 Marko Sosi? Grozljiva lepota/Paurosa Bellezza Gruesome Beauty 56 Andrej Rozman Roza Zani?ni?ko odma?evanje suverenosti The Zeroite Mass 58 Avtorski projekt Original project Slovenija gori! Slovenia is on Fire! 48 20. 10. 2017 20.00 Velika dvorana Spremljevalni program Accompanying Programme + Showcase Predstava Na?e nasilje in va?e nasilje opazuje Evropo, ki jo je ? kako naivno ? presenetila begunska kriza, Evropo, ki brez pomislekov pozablja na svojo kolonialno preteklost, medtem ko zapira meje tiso?im, ki be?ijo prav pred posledicami evropske in ameri?ke politike. Kakor da bi dvajseto stoletje trmasto po?elo samo eno ? podpihovalo nacionalne narcizme, ki so eno mno?ico u?ili, da je bolj?a od drugih, ob tem pa namerno pozabljalo, da je ?e izklju?enost sama oblika nasilja. Enaindvajseto stoletje pa nas ?e naprej u?i iste lekcije, le da ob tem uporablja nepogre?ljivo oro?je: strah. In strah je vendarle najzanesljivej?i prvi pogoj za sovra?tvo. Zato Na?e nasilje in va?e nasilje zastavlja nekaj zelo neprijetnih vpra?anj: Ali se zavedamo, da je na?e blagostanje odvisno od tiso?ev mrtvih na Bli?njem vzhodu? Ali ?rtve teroristi?nih napadov v Parizu in Bruslju objokujemo enako kot ?rtve v Bagdadu in Kabulu? V katerem trenutku smo za?eli verjeti, da smo gospodarji resnice in da je na? Bog mogo?nej?i od drugih? The production of Our Violence and Your Violence observes Europe as it is taken by surprise with the refugee crisis ? how na?ve of it; a Europe that is instantly oblivious about its colonial past while it closes its borders to the thousands running away from the consequences of European and American politics. As if the twentieth century stubbornly did only one thing ? incited national narcissisms that taught one mass that it was better than the other mass, while purposefully forgetting that exclusion is a form of violence per se. The twenty-first century keeps on teaching us the same lessons, only this time using an unmistakeable weapon: fear. Fear is certainly the most reliable prerequisite for hatred. That is why Our Violence and Your Violence poses some highly unpleasant questions: Are we aware that our well-being is dependent on the thousands of dead in the Middle East? Do we mourn the victims of terrorist attacks in Paris and Brussels in the same way as we mourn the victims of the attacks in Baghdad and Kabul? When was the exact moment in which we started believing that we were the masters of truth and that our God was mightier than those of others? Po naro?ilu A commission by HAU Hebbel am Ufer, Berlin (DE) Koproducenti Coproducers Slovensko mladinsko gledali??e (SI), Wiener Festwochen (AT), Z?rcher Theater Spektakel (CH), Kunstfest Weimar (DE), Hrvatsko narodno kazali?te Ivana pl. Zajca Rijeka (HR) Regionalni koproducent Regional Coproducer MESS Sarajevo (BiH) Ob podpori Zveznega kulturnega sklada Nem?ije Funded by the German Federal Cultural Foundation Slovenska premiera Slovenian premi?re 13. 10. 2016, Slovensko mladinsko gledali??e Predstava traja pribli?no 1 uro 15 minut in nima odmora. Running time 1 hour 15 minutes. No interval. Re?iser Director Oliver Frlji? Dramaturg Dramaturg Marin Bla?evi? ? Scenograf Set designer Igor Pau?ka ? Kostumografka in oblikovalka maske Costume designer and make- up designer Sandra Dekani? ? Oblikovalec svetlobe Lighting designer Dalibor Fugo?i? ? Adaptacija svetlobe Lighting adaptation David Cvelbar ? Oblikovalec zvoka Sound designer Silvo Zupan?i? ? Izbor glasbe Music selection Oliver Frlji? ? Strokovna sodelavka Artistic advisor Aenne Qui?ones ? Asistentka re?iserja Assistant director Barbara Baba?i? ? Producent Production manager Hannes Frey Igrajo Cast Barbara Baba?i? Barbara Baba?i? k. g. as guest ? Rasha Omran Da?a Dober?ek ? Mathijs Uro? Kaurin ? Abi Aziz Dean Kriva?i? ? Mihailo Tamar Jerko Mar?i? k. g. as guest ? Noor Nazari Nika Mi?kovi? k. g. as guest ? Amal Petrovi? Draga Poto?njak ? Hadi Al-Zaidi Matej Recer ? Rauf Asgarov Bla? ?ef Na?e nasilje in va?e nasilje Our Violence and Your Violence Po navdihu romana Estetika odpora Petra Weissa Inspired by Peter Weiss?s novel The Aesthetics of Resistance 49 fo to p h o to : w ien er fe st wo ch en ? al ex i p el ek an os 50 21. 10. 2017 18.00 Lutkovno gledali??e Maribor Spremljevalni program Accompanying Programme + Showcase Pred dvema letoma se je prvenstveno vizualni umetnik Mark Po?lep odpravil na prvi pogled ?uda?ko turnejo: s pianistom Igorjem Feketijo sta obiskala vrsto domov za ostarele po dr?avah nekdanje Jugoslavije, kjer sta upokojencem odpela ven?ek jugoslovanskih glasbenih uspe?nic iz petdesetih in ?estdesetih let. Bolj ?udno od raja je dokumentarni performans, nekaj med koncertom, potopisom in dru?enjem. Govori o staranju, o skupnih in lo?enih usodah, o ponovnem vzpostavljanju razru?enih odnosov in podrtih skupnosti. Govori o generaciji, ki je v skupni dr?avi pre?ivela skoraj vse ?ivljenje, in tisti, ki jo je okusila zgolj v zgodnji mladosti. O ?loveku in njegovi ve?ni ?elji po spremembah, o neverjetni zmo?nosti grajenja in uni?enja. Govori o Marku in o vseh nas. Two years ago, Mark Po?lep, primarily a visual artist, set out on a seemingly eccentric tour: together with the pianist Igor Feketija, they visited a number of elderly homes in the ex-Yugoslav states where they sang to the retired people a medley of Yugoslav musical hits from the 1950s and the 1960s. Stranger Than Paradise in Glej Theatre is a documentary performance, something between a concert, a travelogue and hanging out together. It talks about growing old, about common and separate fates, the restoration of demolished relations and dismantled communities. It talks about a generation that lived almost all their lives in a common state and a generation that experienced that common state merely in their early youth. It talks about man and his eternal desire to change, and his amazing capacity to build and destroy. It talks about Mark and about all of us. Gledali??e Glej Premiera Premi?re 27. 9. 2016, Gledali??e Glej Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval. Avtor koncepta Author of concept Mark Po?lep Dramaturg in videograf Dramaturg and author of videography Jure Novak ? Scenografka Set designer Meta Grgurevi? ? Kostumografka Costume designer Dajana Ljubi?i? ? Oblikovalec svetlobe in tehni?ni vodja Lighting designer and technical manager Grega Mohor?i? ? Izvr?na producentka in fotografinja Executive producer and photographer Barbara Po?ek Nastopata Cast Mark Po?lep ? Igor Feketija Mark Po?lep Bolj ?udno od raja Stranger Than Paradise fo to p h o to : b ar ba ra po ?e k 52 21. 10. 2017 22.00 Velika dvorana ? tribuna Spremljevalni program Accompanying Programme + Showcase + Showcase Dviganje glasu je koncertni projekt slovenskega skladatelja in pianista Draga Ivanu?e, ki je v izhodi??e postavil glas. Slovenski filozof Mladen Dolar v svoji knjigi O glasu pravi: ?Tudi v izolaciji, v popolni samoti, dale? od ponorele mno?ice, nismo prosti glasov; nemara se takrat pojavi druge sorte glas, bolj zavezujo? kot vsi drugi glasovi: notranji glas, ki ga ni mogo?e uti?ati. Kot da bi bil glas zgostitev dru?benosti, ki jo nosimo s seboj in pred katero ni mogo?e ube?ati, tudi ?e se lahko skrijemo pred besedo in tudi ?e glasu ni sli?ati. Dru?bena bitja smo po glasu in skozi glas, videti je, da glas stoji v prese?i??u vseh na?ih dru?benih vezi in da so glasovi s?mo prese?i??e dru?be.? ?e sli?imo notranji glas? Je hrup dana?njega sveta dokon?no premagal ti?ino? Kaj govori notranji glas? So na?e odlo?itve, na?i nazori, na?e razumevanje sveta in na?a ?istost odvisni od tega, ali resni?no sli?imo sebe, in smo zato boj pristni in dobri? V glasbi Draga Ivanu?e se pribli?ujemo skrivnostnemu trenutku ? ko zasli?imo svoj notranji glas. The Raising of the Voice is a concert project by the Slovenian composer and pianist Drago Ivanu?a, who took his own voice as the starting point. The Slovenian philosopher Mladen Dolar in his book A Voice and Nothing More says: ?In isolation, in solitude, in complete loneliness, away from the madding crowd, we are not simply free of the voice ? it can be that this is when another kind of voice appears, more intrusive and compelling than the usual mumbo- jumbo: the internal voice, a voice which cannot be silenced. As if the voice were the very epitome of a society that we carry with us and cannot get away from. We are social beings by the voice and through the voice, it seems that the voice stands at the axis of our social bonds, and that voices are the very texture of the social, as well as the intimate kernel of subjectivity.? Do we still hear the inner voice? Has the noise in today?s world finally defeated silence? What does our inner voice say? Are our decisions, our views, our understanding of the world and our purity dependent on whether we truly hear ourselves and are we as a result more authentic and good? In Drago Ivanu?a?s music, alongside the excellent musicians witnessed by the audience, we approach this mysterious moment ? when we hear our inner voice. Muskafiber Premiera Premi?re 4. 12. 2017, Drama SNG Ljubljana, cikel Akustika concert cycle Dogodek traja 1 uro 10 minut in nima odmora. Running time 1 hour and 10 minutes. No interval. Avtor Author Drago Ivanu?a Avtorica besedil Author of text Anja Novak ? Oblikovalec svetlobe Lighting designer Andrej Hajdinjak ? Oblikovalec zvoka Sound designer Jurij Ali? Nastopajo Performers Drago Ivanu?a klavir piano ? Anja Novak glas voice ? Lola Mla?nik marimba, tolkala marimba, percussion ? Toma? Grom kontrabas double bass Drago Ivanu?a Dviganje glasu The Raising of the Voice Koncertni projekt Concert foto photo: matja? vre?ko 54 22. 10. 2017 21.30 Velika dvorana ? tribuna Spremljevalni program Accompanying Programme + Showcase Dve stalni gledali??i, ki skupaj spregovorita o spoprijemanju ?loveka z izzivom velike strasti; neobi?ajna oblika predstave z dvojno zasedbo in dvojno jezikovno razli?ico, s katero ob?instvo do?ivlja emocije istega besedila z dveh razli?nih zornih kotov: to je Grozljiva lepota/Paurosa bellezza. Dramske podobe so nastale na osnovi svobodne interpretacije podvigov, zapisov in ?ivljenj tr?a?kih alpinistov Emilia Comicija, Enza Cozzolina in Tiziane Weiss, a ho?ejo biti bolj zveste njihovim idealom kot biografskim podatkom. Most med poeti?no dimenzijo teh idealov in realnostjo usodne strasti je postavil re?iser in koreograf Matja? Fari?, ki ponuja emocijsko nabito branje tudi s fizi?nim izra?anjem igralcev. Resni?nost in fikcija se prepletata na osnovi misli, zgodb in besed Emilia, Enza, Tiziane in Rite, ob katerih je tudi lik avtorja na eni strani ter impozantne, fascinantne in nevarne Gore na drugi. Gora je namre? prava protagonistka ?grozljive lepote?, je tista skrivnostna sila, ki vabi do skrajne meje svojih fizi?nih zmogljivosti. Two permanent theatres speak together of man being challenged by the temptation of a great passion; an unusual form of production with a double cast and a double language version through which the audience experiences the emotions of the same text from two different perspectives: all this is Gruesome Beauty. The concept of dramatic images was based on a free interpretation of the adventures, notes and lives of the Triestine Alpinists Emilio Comici, Enzo Cozzolini and Tiziana Weiss. It strove to be more faithful to their ideals rather than the biographical data. The bridge between the poetic dimension of those ideals and the reality of the fatal passion was created by the director and choreographer Matja? Fari? who offers an emotionally charged reading also through the actors? physical expression. Truth and fiction intertwine through the thoughts, stories and words of Emilio, Enzo, Tiziana and Rita, together with the author?s character, whereas on the other side is the impressive, fascinating and dangerous Mountain. The Mountain is in fact the true protagonist of ?gruesome beauty?; it is that mysterious power that lures to the utmost edge of its physical abilities. Slovensko stalno gledali??e Trst & Teatro Stabile del Friuli Venezia Giulia Premiera Premi?re 20. 4. 2017, Slovensko stalno gledali??e Trst Vsaka jezikovna razli?ica traja 50 minut. Running time for each language version 50 minutes. Re?iser Director Matja? Fari? Avtorica priredbe Author of adaptation ?anina Mir?evska ? Prevajalka v italijan??ino Translator into Italian Laura Sgubin ? Dramaturginja Dramaturg Sta?a Bra?i? ? Scenografka Set designer Ana Rahela Klop?i? ? Kostumografka Costume designer Sanja Grci? ? Izbor glasbe Selection of music Matja? Fari? (Alva Noto & Ryuichi Sakamoto, Woodkid, Lina Termini, Delirium) ? Avtor projekcij Video designer Matja? Fari? ? Asistentka kostumografke Assistant costume designer Lucija Ku?ar ? Asistent dramaturginje Assistant dramaturg Sandi Jesenik ? Prevajalka v re?ijskem procesu Translator during the working process Elena Husu Igrajo Cast Slovenska zasedba Slovenian cast Ona Her, Tiziana, Rita Maru?a Majer ? On Him Primo? Forte ? Emilio, Enzo Tadej Pi?ek Italijanska zasedba Italian cast Lei Her, Tiziana, Rita Lara Komar ? Lui Him Riccardo Maranzana ? Emilio, Enzo Filippo Borghi Marko Sosi? Grozljiva lepota/Paurosa Bellezza Gruesome Beauty Dramske podobe na osnovi svobodne interpretacije podvigov, zapisov in ?ivljenj tr?a?kih alpinistov Emilija Comicija, Enza Cozzolina in Tiziane Weiss Dramatic images based on a free interpretation of the adventures, notes and lives of Triestine Alpinists Emilio Comici, Enzo Cozzolino and Tiziana Weiss foto photo: peter uhan 56 23. 10. 2017 21.30 Velika dvorana ? tribuna Spremljevalni program Accompanying Programme + Showcase Rozinteater Premiera Premi?re 17. 3. 2017, KUD France Pre?eren Ljubljana Predstava traja 1 uro 45 minut in nima odmora. Running time 1 hour 45 minutes. No interval. Ustvarjalci Creators Andrej Rozman Roza ? Ana Du?a ? Bla? Celarec ? Vi?nja Fi?or ? Andrej Fon ? Ga?per Jarni ? Igor Leonardi ? Janja Majzelj ? Ju? Mil?inski ? Rok ?krlj ? Ana Vipotnik ? Goran Zavr?nik Junija 2009 je Andrej Rozman Roza ustanovil versko skupnost tistih, ki ?verjamejo, da je v Sloveniji mo?na ni?ta stopnja DDV na vse proizvode, ki ?irijo temelj slovenske dr?ave, slovenski jezik?. Zani?ni?ko odma?evanje je z glasbeno in pevsko spremljavo s svojo rado?ivo dru?beno anga?iranostjo po vsebini ?e najbli?je kabaretu in ima obliko verskega obreda, ki slavi jezik. Obred vodi Kenguru, ki k sodelovanju povabi tudi ob?instvo, da ponavlja za njim jezikna? in sodeluje pri petju. Ob Kenguruju nastopajo pevci in glasbeniki. Obred vsebuje pridigo, vrsto kratkih to?k v zvezi z zani?ni?ko vero in pesmi v razli?nih ?anrih, od gospela do rokenrola. In June 2009, Andrej Rozman Roza founded the religious movement Zeroitism (Za ni?) for all who ?believe that it is possible in Slovenia to have a zero percent VAT on products that propagate the basis of the Slovene state, the Slovene language?. Thus, The Zeroite Mass was created as ritual celebrating language that contains a sermon, a series of short sketches in relation to the Zeroite religion and songs of various genres, from Gospel to Rock?n Roll. The ritual is led by Kangaroo, who invites the audience to take part in repeating after him the prayer Our Language in a musical sing-along. With its accompanying music and song, as well as its joyous social engagement, content-wise, the ritual is closest to a cabaret. * The Slovenian title is practically untranslatable, since it is, on the one hand, a play on words, and on the other hand, the consequence of an action that Roza initiated years ago. This action is called ?Zero Tax on Books? (Zani? davek na knjige), out of which stemmed a newly coined article ?Zani?ni?ko?, roughly meaning ?zeroism?. Odma?evanje literally means ?unclogging?, but since the word ma?a in Slovenia means ?mass?, we arrive at a word play in which ?od-ma?evanje? in the title of the production can also mean ?un-massing?. . Andrej Rozman Roza Zani?ni?ko odma?evanje suverenosti The Zeroite Mass* foto photo: nada ?gank 58 26. 10. 2017 21.30 Velika dvorana ? tribuna Spremljevalni program Accompanying Programme + Showcase Predstavo te?ko etiketiramo za dokumentaristi?no, saj dejstva in druge informacije podaja poeti?no. Vsebina je ?rna, tesnobna, a resni?na. Napetost in nelagodje izvirata iz mahinacij ter kr?enj ?lovekovih pravic. Sledita ji naglu?nost pristojnih in podajanje odgovornosti, kar posameznika pahne v kafkovsko kolesje birokratske nemilosti, katere posledici sta izguba volje, motivacije in razvoj psihi?nih te?av. V ?asu, ko so mno?i?ni mediji in dru?bena omre?ja prezaposleni s trivialnim, not-a-news poro?anjem, se sistem poganja sam in vzdr?uje obstoje?e stanje, zanimanje pa spodbudi samo zgodba, ki je popoln odklon od prevladujo?e narative. ?ok, ?kandal, ?okantno, afera in drugo medijsko kri?anje iz vseh kanalov sporo?anja so ?e davno pre?li kriti?no to?ko in funkcijo ?etrte veje oblasti. Tudi razkrinkane manipulacije gredo mimo popolnoma brez posledic, ?e huje, vsak tovrstni primer ?e bolj utrjuje in normalizira po?etje dr?ave in medijev, na rob odriva in kriminalizira ?vi?ga?e in druge, ki povzdignejo glas. Poduk in sporo?ilo prestra?eni populaciji sta popolnoma jasna. Ne govori, ne povzdiguj glasu, obna?aj se vlogi primerno, ne postavljaj neprimernih vpra?anj. * V predstavi so uporabljeni motivi iz romana Sence ne gorijo (Zalo?ba Sanje) Erika Valen?i?a. The production can hardly be labelled as documentary as it presents facts and other information in a poetic manner. Their content is black and anxious, yet true. Tension and discomfort arise from machinations and the violations of human rights. What follows is the deafness of those in charge and the passing of responsibility which altogether push the individual into a Kafkaesque mechanism of bureaucratic mercilessness, the consequence of which is the loss of will and motivation, and the development of mental problems. At a time in which mass media and social networks are all too busy with trivial, non-news reporting, the system is self-run as it maintains the present state; only a story that is an absolute departure from the dominant narrative can arouse genuine interest. Shock, scandal, affair and the remaining media outcry from all communication channels has long surpassed the critical point and the function of the fourth branch of power. Even the disclosed manipulations pass without any consequences; worse even, each case of the sort increasingly stabilises and normalises the actions of the state and the media, marginalising and criminalising whistle blowers and others who dare to raise their voices. The morality and the message to the frightened population are clear as daylight. Don?t speak up, don?t raise your voice, act according to your role, don?t ask inappropriate questions ... * Based on the motives from the novel Sence ne gorijo [Shadows Don?t Burn] (published by Sanje Publishing House) written by Erik Valen?i?. Anton Podbev?ek Teater Premiera Premi?re 22. 5. 2017, Anton Podbev?ek Teater Predstava traja 2 uri 15 minut in nima odmora. Running time 2 hours 15 minutes. No interval. Avtor in re?iser Author and director Sebastijan Horvat Dramaturg Dramaturg Andrej Zupanec ? Scenografka Set designer Barbara Kapelj ? Avtor glasbe Composer Drago Ivanu?a ? Kostumografka Costume designer Belinda Radulovi? ? Oblikovalec zvoka Sound designer Uro? Bon ? Oblikovalec svetlobe Lighting designer Simon ?i?ek ? Oblikovalec vizualij Video and graphic designer Ga?per Brezovar ? Asistent oblikovanja svetlobe Lighting design assistant Sre?ko Malovi? Nastopajo?i in soavtorji besedila Performers and co-authors Nejc Cijan Garlatti ? Iztok Drabik Jug ? Alja Kapun ? Noemi Veberi? Levovnik ? Aljo?a Ternov?ek Avtorski projekt Original project Slovenija gori! Slovenia is on Fire! 59 fo to p h o to : b ar ba ra ?e fe ri n 60 Mostovi Bridges 61 62 Kristian Smeds Sad Songs from the Heart of Europe 64 Anica Tomi?, Jelena Kova?i? Magic Evening 66 Jana Svobodov?, Wen Hui Ordinary People 62 24. & 25. 10. 2017 18.00 Mali oder Mostovi + Finski fokus Bridges + Finnish Focus Sad Songs from the Heart of Europe je surova in mo?na ljubezenska zgodba, ki temelji na klasi?nem romanu Zlo?in in kazen Dostojevskega. Za izhodi??e si postavi Razkolnikovo ljubljeno Sonjo, ki se je prisiljena podati v prostitucijo. Sad Songs from the Heart of Europe je presunljivo videnje Evrope ? celine, kjer sta sre?a in bogastvo mo?no razklana, Evrope, kjer so mladi prisiljeni v ekstremna dejanja obupa, Evrope, kjer ?revnim ukradejo ?e sranje iz hla??. Sad Songs from the Heart of Europe usmeri dostojevskovski usmiljeni pogled globoko v ubogo ?love?ko du?o in nam poka?e njegovo lepoto, obenem pa doka?e, da svetloba in ?ude?i utripajo iz nje tudi v najtemnej?ih ?asih. In da ljubezen ?e zmeraj utre pot na plano. Sad Songs from the Heart of Europe is a raw and powerful love story based on Dostoyevsky?s classic novel Crime and Punishment. The point of view of the poetic play is Raskolnikov?s beloved Sonya, who finds herself driven to prostitution. Sad Songs from the Heart of Europe is a touching vision of Europe ? a continent where luck and fortune are greatly divided, and where young men undertake extreme and desperate actions where ?the poor are robbed of even the shit from their pants?. Sad Songs from the Heart of Europe looks deep into the human soul with a Dostoyevskian merciful gaze. It shows us that beauty, light and miracles flicker even at the darkest of times ? that love can still trickle through. sadsongskomplex:fi (FI) Predstava traja 1 uro 30 minut in nima odmora. Running time 1 hour 30 minutes. No interval. Re?iser Director Jari Juutinen Scenografi Set designers Riitta Ukkonen, Jari Juutinen, Liisa Sofia P?ntinen ? Oblikovalec lu?i Lighting designer Teemu Nurmelin ? Oblikovalci zvoka Sound designers Opa Pyysing, Jari Juutinen, Liisa Sofia P?ntinen Igra Cast Liisa Sofia P?ntinen Kristian Smeds Sad Songs from the Heart of Europe 63 fo to p h o to : a ki lo po ne n 64 26. 10. 2017 18.00 Lutkovno gledali??e Maribor Mostovi Bridges Povsem obi?ajen ve?er, dru?ba dveh parov v nekem stanovanju, ve?erja, nekaj steklenic vina. Pogovori so polni ? o vsem in hkrati o ni?emer; o politiki, umetnosti, krizah, kri?ih, izgubljenih ljubeznih in Vivaldiju. V ?asu, ko je vse dovoljeno, v ?asu, ki je brez meril, a vendar je vse ve? tistih, ki merila najraj?i dolo?ajo. In potem povsem obi?ajen in naklju?en dogodek prelomi magi?ni ve?er. Banalni dogodek, ki se ne zadovolji le z banalnim vpra?anjem ?esa se bojimo?, temve? vztraja in spro?a plaz novih podvpra?anj. Kam vodijo strahovi, kdaj se prelevijo v paranojo, kdaj strah prepre?uje razlikovanje med dejanskostjo in iluzijo? Ali smo na varnem? Ali morda prav nikjer? Niti v nekem majhnem preprostem stanovanju nekega obi?ajnega ve?era. An absolutely ordinary evening. Two couples in an apartment. A good dinner and several bottles of wine. A lot of chatting about everything and nothing. About politics, art, crisis, crosses, failed loves and Vivaldi. About the time in which everything is allowed, in which criteria cease to exist, yet there are those who persistently keep on establishing them. And then suddenly an utterly banal, perhaps even just a haphazard event that stops them, that brings that magic evening to a halt for just a moment. A banal event that will pose a probably totally banal question: What are you afraid of? A banal event that, however, will not conclude just with that question but will insist and ceaselessly keep on posing new ones. Where can your fears lead you? When is the moment in which fear turns into paranoia? When is the moment in which one can no longer distinguish between truth and illusion? Or is it all true after all and we are no longer safe anywhere? Not even in an apartment, on one evening with a good dinner and several bottles of wine? Anica Tomi?, Jelena Kova?i? Magic Evening foto photo: damir ?i?i? Teatar &TD, Zagreb (HR) Premiera Premi?re 2. 2. 2017 Predstava traja 1 uro 5 minut in nima odmora. Running time 1 hour 5 minutes. No interval. Re?iserka Director Anica Tomi? Dramaturginja Dramaturg Jelena Kova?i? ? Avtor glasbe Author of music Nenad Kova?i? ? Scenografka in kostumografka Set and costume designer Anica Tomi? ? Oblikovalec svetlobe Lighting designer Miljenko Bengez ? Avtor podobe Visual artist Marko Petri? ? Fotograf Photographer Damir ?i?i? Igrajo Cast Ivana Krizmani? ? Nata?a Kope? ? Marko Makovi?i? ? Marko Petri? 66 27. 10. 2017 18.00 Velika dvorana ? tribuna Mostovi Bridges Ordinary People za svoje izhodi??e prvinsko jemlje iz razli?nosti mati?nih dr?av sodelujo?ih umetnikov. Kitajska in ?e?ka imata nekaj skupnih lastnosti ? navsezadnje sta obe (pre)?iveli totalitarni sistem ? pa tudi precej razlik. Predstava izrisuje kontrast med avtobiografskim pri?evanjem posameznika na eni strani in globalnimi vpra?anji na?ega sveta na drugi. V tem prostoru se razpirajo ?ivljenjske zgodbe o tragi?nih izku?njah, umrlih upih in zmotnih pri?akovanjih; predstava preizpra?uje, kdo so ti navadni, obi?ajni ljudje, kdo so ordinary people, ki naj bi jih reprezentirala politika/dr?ava? Vse to skozi ples in dokumentarno gledali??e. At a time when the leaders of many countries show disdain for basic human rights in the interests of political business, we ask: Who are these ordinary people whom they claim to represent? Vladim?r, 73, lives in a small town near Prague. He has worked his whole life in a factory as a turner and toolmaker. When he was young he was one of the best rock and roll dancers in Prague. Every Saturday night he was the king of the dance floor, dancing an extravagant ?capitalist? dance, until the police would come and escort him out. Saturday after Saturday the same story would be repeated. They could not repress his passion to dance freely. The Living Dance Studio was founded in 1994 by filmmaker Wu Wenguang and choreographer and dancer Wen Hui as the first independent contemporary company in China. Their productions, in which dance, text and film are often combined into total works of art, document social and historical events from China?s past and present. It gets by without any state subsidies whatsoever. As a rule, the productions cannot be shown publicly. Thus, Wen Hui?s work exists in a semi-public grey area of state toleration. Jana Svobodov?, Wen Hui Ordinary People foto photo: jakub hrab Archa Theatre (CZ) & Living Dance Studio (CN) Koproducenti Coproducers Hellerau European Centre for the Arts Dresden (DE) & European Project Theatron Premieri Premi?res 22. 1. 2017 (CZ) & 27. 1. 2017 (DE) Predstava traja 1 uro 30 minut in nima odmora Running time 1 hour 30 minutes. No interval. Re?iserki in ustvarjalki Directors and creators Wen Hui, Jana Svobodov? Oblikovalec zvoka in glasbe Music and sound designer Jan Burian ? Oblikovalec videa Video artist Jaroslav Hrdli?ka ? Oblikovalec svetlobe Lighting designer Pavel Kotl?k ? Asistentka re?ije Assistant director Valida Babayeva ? Dramaturg Dramaturg Ond?ej Hrab ? Asistentki dramaturgije Assistant dramaturgs Lonneke van Heugten, Carmen Mehnert ? Prevajalci Translators Ian Yang, Anna Vrbov?, Andre Swoboda ? Producent Production manager Jind?ich Krippner Igrajo Cast Wen Hui ? Vladim?r T?ma ? Jiang Fan ? Philipp Schenker ? Wen Luyuan ? Jan Burian ? Li Xinmin ? Jaroslav Hrdli?ka ? Pavel Kotl?k 68 AGRFT 69 70 Mateja Perpar Vas lahko zapeljem? May I Seduce You? Seksualna perverzija Sexual Perversity 71 F. M. Dostojevski F. M. Dostoyevsky Zlo?in in kazen Crime and Punishment Ljubezni?enja Lovings 72 Po motivih Williama Shakespeara Based on William Shakespeare Hamlet, Tragedija Odsotnosti Hamlet, A Tragedy of Absence William Shakespeare Macbeth Macbeth 73 Odets Odets 74 Projekcije kratkih igranih filmov ?tudentov UL AGRFT Projections of short films by students of UL AGRFT Instant drama/predstava Instant play/performance 70 21. 10. 2017 18.00 Mali oder 22. 10. 2017 18.30 Mali oder Mateja Perpar Vas lahko zapeljem? May I Seduce You? Haikuji o osamljenosti in iskanju Haikus on loneliness and searching Produkcija ?tudentov II. semestra Production of the 2nd semester students Premiera Premi?re 27. 5. 2017, AGRFT Predstava traja 1 uro. Running time 1 hour. Re?iserja Directors Manca Kok, Luka Marcen Igrajo Cast Luka Bok?an ? ?an Brelih Hatuni? ? Lana Bu?evec ? Lara Fortuna ? Andra? Harauer ? Julija Klav?ar ? Martin Mlakar ? Gal Oblak ? Nika Vidic ? Lara Wolf Zavr?nik Mentorji Mentors Dramska igra in gledali?ka re?ija v Stage Acting and Theatre Directing doc. Matja? Tribu?on Assist. Prof. red. prof. Matja? Zupan?i? Prof. Jezik in govor Language and Speech doc. dr. Katarina Podbev?ek Assist. Prof., PhD Seksualna perverzija Sexual Perversity Po motivih Seksualne perverzije v Chicagu Davida Mameta Based on Sexual Perversity in Chicago by David Mamet Produkcija ?tudentov VII. semestra Production of the 7th semester students Premiera Premi?re 13. 1. 2017, Studio MGL Predstava traja 1 uro 30 minut. Running time 1 hour 30 minutes. Prevajalec Translator Zdravko Du?a Re?iser Director Tin Grabnar Dramaturginja Dramaturg Brina Klampfer Scenografka Set designer Nina Rojc Kostumografka Costume designer Sara Smrajc ?nidar?i?Vodja lu?i Lighting operator Alja? Zaletel Igrajo Cast Tamara Avgu?tin ? Doroteja Nadrah ? Rok Pra?nikar ? Timon ?turbej Mentorji Mentors Dramska igra in gledali?ka re?ija Stage Acting and Theatre directing doc. Jernej ?ugman Assist. Prof. doc. Jernej Lorenci Assist. Prof. Dramaturgija Dramaturgy doc. dr. Bla? Lukan Assist. Prof., PhD Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MA Kostumografija Costume design red. prof. Janja Korun Prof. asist. mag. Tina Kolenik Assistant, MA Jezik in govor Language and Speech asist. dr. Nina ?avbi Milojevi? Assistant, PhD foto photo: ?eljko Stevani?/Arhiv CTF UL AGRFT foto photo: ?eljko Stevani?/Arhiv CTF UL AGRFT 71 23. 10. 2017 18.00 Tunel - Lutkovno gledali??e Ljubljana* 24. 10. 2017 22.00 KGB F. M. Dostojevski F. M. Dostoyevsky Zlo?in in kazen Crime and Punishment Produkcija magistrskega programa Gledali?ka re?ija Production of the Master?s Programme Theatre Directing Premiera Premi?re 27. 2. 2017, Lutkovno gledali??e ljubljansko Predstava traja 4 ure 45 minut in nima odmora. Running time 4 hours 45 minutes. No interval. Re?iserka Director Mirjana Medojevi? Prevod in dramatizacija romana Ustvarjalna ekipa Translators and authors of dramatisation Creative team Kostumografka Costume designer Tijana Todorovi? Oblikovalka svetlobe Lighting designer Mirjana Medojevi? Avtor glasbe Author of music Samo Kutin Igrajo Cast Tamara Avgu?tin ? Nejc Cijan Garlatti k. g. as guest ? Janez ?kof k. g. as guest ? Samo Kutin Mentorja Mentors Gledali?ka re?ija Theatre directing izr. prof. mag. Tomislav Jane?i? Assoc. Prof., MA Jezik in govor Language and Speech izr. prof. mag. Alida Bevk Assoc. Prof., MA *Organiziran brezpla?ni avtobusni prevoz. Ve? informacij ob nakupu vstopnice. * Roundtrip transportation is included in the price of the ticket. Ljubezni?enja Lovings Produkcija magistrskega programa Dramska igra, smer Gledali?ko petje Production of the Master?s Programme Stage Acting, Field of Study: Theatrical Singing Premiera Premi?re 22. 5. 2017, SOHO Bar Predstava traja 1 uro. Running time 1 hour. Kabaretistki Cabaret singers Zala Ana ?tiglic ? Sara Dirnbek Glasbeniki Musicians Rok Lopati? klavir piano ? Primo? Fleischman saksofon saxophone ? Ale? Rendla bobni drums ? Ale? Avbelj kontrabas double bass Avtorici besedila Authors of text Zala Ana ?tiglic, Sara Dirnbek Avtor glasbenega aran?maja Musical arranger ?are Prin?i? Dramaturginja Dramaturg Pia Vatovec Kostumografka Costume designer Lilijana Ban Oblikovalec zvoka Sound designer Jakob Ostanek Avtor likovne podobe Visual artist An?e Korenjak Mentorji Mentors Gledali?ko petje Theatrical singing red. prof. ?are Prin?i? Prof. doc. Darja ?vajger Assist. Prof. Jezik in govor Language and Speech asist. dr. Nina ?avbi Milojevi? Assistant, PhD fo to p h o to : ? el jko St ev an i? /A rh iv CT F U L A GR FT 72 25. 10. 2017 20.00 Lutkovno gledali??e Maribor 25. 10. 2017 23.00 Lutkovno gledali??e Maribor Po motivih Williama Shakespeara Based on William Shakespeare Hamlet, Tragedija Odsotnosti Hamlet, A Tragedy of Absence Produkcija ?tudentov VI. semestra Production of 6th semester students Premiera Premi?re 20. 5. 2017, Dvorana Du?e Po?kaj, Cankarjev dom Predstava traja 1 uro 30 minut. Running time 1 hour 30 minutes. Prevajalec Translator Oton ?upan?i? Avtorja priredbe Authors of adaptation Jan Krmelj, Katja Marki? Re?iser Director Jan Krmelj Dramaturginji Dramaturgs Katja Marki?, Ana Laura Richter Scenografa Set designers Karin Rajh, Jan Krmelj Kostumografka Costume designer Katarina ?avs Oblikovalec mask Mask designer Toma? Zarifa Oblikovalec svetlobe Lighting designer Jan Krmelj Oblikovalec zvoka Sound designer Ga?per Torkar Svetovalec za gib Movement consultant ?iga Kranj?an Igrajo Cast Urban Kuntari? ? Mario Dragojevi? ? Ur?a Kav?i? ? Lea Cok ? ?iga Rojs Mentorji Mentors Dramska igra in gledali?ka re?ija Stage Acting and Theatre directing red. prof. Boris Ostan Prof. red. prof. Branko ?turbej Prof. doc. Jernej Lorenci Assist. Prof. Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MA Kostumografija Costume design red. prof. Janja Korun Prof. asist. mag. Tina Kolenik Assistant, MA Jezik in govor Language and Speech doc. dr. Katarina Podbev?ek Assist. Prof., PhD William Shakespeare Macbeth Macbeth Produkcija ?tudentov VI. semestra Production of 6th semester students Premiera Premi?re 11. 6. 2017, Dvorana Du?e Po?kaj, Cankarjev dom Predstava traja 40 minut. Running time 40 minutes. Prevajalec Translator Oton ?upan?i? Re?iser Director Dorian ?ilec Petek Scenografka Set designer Nina Rojc Kostumografka Costume designer Tina Bon?a Igrajo Cast Matej Zemlji? ? Eva Stra?ar ? ?iva Selan ? Dominik Vodopivec Mentorji Mentors Dramska igra in gledali?ka re?ija Stage Acting and Theatre directing red. prof. Boris Ostan Prof. red. prof. Branko ?turbej Prof. doc. Jernej Lorenci Assist. Prof. Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MA Kostumografija Costume design red. prof. Janja Korun Prof. asist. mag. Tina Kolenik Assistant, MA Jezik in govor Language and Speech doc. dr. Katarina Podbev?ek Assist. Prof., PhD fo to p h o to : ? el jko St ev an i? /A rh iv CT F U L A GR FT fo to p h o to : ? el jko St ev an i? /A rh iv CT F U L A GR FT 28. 10. 2017 21.00 Salon uporabnih umetnosti Odets Odets Dramske adaptacije po delih Clifforda Odetsa: Zbudite se in vriskajte!, Zlati de?ek in Izgubljeni raj Dramatical adaptation based on works by Clifford Odets: Awake and Sing!, Golden Boy and Paradise Lost Produkcija ?tudentov III. semestra Production of the 3rd semester students Premiera Premi?re 20. 1. 2017, Velika gledali?ka dvorana UL AGRFT Predstava traja 2 uri 10 minut. Running time 2 hours 10 minutes. Prevajalca Translators Jaka Andrej Vojevec, Mira Miheli? Avtorici adaptacije Authors of adaptation Ma?a Pelko, Jasna Pintari? Re?iserka Director Ma?a Pelko Dramaturgi Dramaturgs Ida Brancelj, Nina Kuclar Stikovi?, Jasna Pintari?, Jernej Poto?an, Maria Vlasova Scenografka Set designer Nastja Miheljak Kostumografka Costume designer Nina ?ehovin Oblikovalki svetlobe Lighting designers Nastja Miheljak, Ma?a Pelko Igrajo Cast Lina Akif ? Beti Strgar ? Lucija Harum ? Borut Dolj?ak ? Bla? Popovski ? Gregor Podri?nik ? Anu?a Kodelja ? Matic Vali? ? Lovro Zafred ? Ana Penca ? Timotej Novakovi? Mentorji Mentors Dramska igra in gledali?ka re?ija Stage acting and theatre directing doc. Nata?a Barbara Gra?ner Assist. Prof. izr. prof. mag. Sebastijan Horvat Assoc. Prof., MA Scenografija Set design izr. prof. mag. Jasna Vastl Assoc. Prof., MA Kostumografija Costume design red. prof. Janja Korun Prof. asist. mag. Tina Kolenik Assistant, MA Jezik in govor Language and Speech asist. dr. Nina ?avbi Milojevi? Assistant, PhD foto photo: ?eljko Stevani?/Arhiv CTF UL AGRFT 74 Vstop prost. Free entry. 26. 10. 2017 21.00 GT22 26. 10. 2017 16.00 Prvi oder Prve gimnazije Maribor 27. 10. 2017 21.00 GT22 ?um Re?ija Director Iza Skok Snemalec Cameraman Rok Kajzer Nagode Monta?a Editing Sara Gjergek Igrajo Cast Mia Skrbinac ? Maru?a Geymayer Oblak ? Alja? Jovanovi? Misli Re?ija Director Rok Hvala Snemalec Cameraman Vid Izlakar Monta?a Editing Klemen Golobi? Igrajo Cast Lea Cok ? Matej Zemlji? ? Ana Dolinar Slastni gnus Re?ija Director Miha Mo?ina Snemalec Cameraman Jan Perov?ek Monta?a Editing Olga Michalik Igrajo Cast Miranda Trnjanin ? Petra Govc ? Stane Tomazin Instant drama/predstava Instant play/performance Delavnica dramskega pisanja na Prvi gimnaziji Maribor v sodelovanju z UL AGRFT in Festivalom Bor?tnikovo sre?anje Pod okriljem Festivala bo v sodelovanju Prve gimnazije Maribor in UL AGRFT ponovno organizirana enodnevna delavnica dramskega pisanja ? izku?nje preteklih let prina?ajo neprecenljive rezultate. Na njej bodo dijaki Prve gimnazije Maribor pod mentorstvom doc. mag. ?anine Mir?evske napisali kratek dramski tekst, ki ga bodo nato ?tudenti AGRFT igralsko uprizorili pred publiko. Tema, dramska struktura, dialog in zvrst dramskega besedila niso dolo?eni vnaprej, pa? pa se razvijajo med enodnevnim delovnim procesom med 10. in 16. uro. Instant drama/predstava je pravzaprav eksperimentalna delavnica oziroma kratek seminar dramskega pisanja z jasnim namenom: spodbujati in predstaviti kreativnost mladih ustvarjalcev. Playwriting Workshop at the First Grammar School Maribor in collaboration with UL AGRFT and the Maribor Theatre Festival We will organise a playwriting workshop in collaboration with the First Grammar School Maribor and UL AGRFT. In this workshop, the students of the First Grammar School Maribor will write short plays in one day. Those plays will then be staged by the UL AGRFT students and performed in front of an audience. This time, the students will first search for a story or inspiration in the field, that is, in real life, and write short plays based on real-life stories. Perhaps the outcome will be documentary plays or plays with classical dramatic structure inspired by true events. The experimental playwriting workshop represents a short seminar in playwriting and is aimed at instigating creativity in young people and at once featuring the power of their creativity. Jogi in ?katla Re?ija Director Aron Horvath Snemalec Cameraman Jan Perov?ek Monta?a Editing Andrej Avanzo Igrajo Cast Andra? Jug ? Benjamin Krneti? Oropana du?a Re?ija Director August Adrian Braatz Snemalec Cameraman Klemen Kra?evec Monta?a Editing ?pela Bajc Igrajo Cast Petja Labovi? ? ?an Perko ? Mario Dragojevi? 1319. dan Re?ija Director Domen Martin?i? Snemalec Cameraman Rok Kajzer Nagode Monta?a Editing Matic Drakuli? Igrajo Cast Gregor Zorc ? Barbara Cerar ? Tines ?pik Projekcije kratkih igranih filmov ?tudentov UL AGRFT Projections of Short Films by Students of UL AGRFT Finski fokus Finnish Focus 76 Fokus Festivala Bor?tnikovo sre?anje ponovno bri?e meje in krepi vrzeli v mednarodnem prostoru. Leto?nji festival je posve?en sodobni finski dramatiki in gledali??u. Knji?na zbirka Sodobna evropska drama se vsako leto pove?a: tokrat smo izdali sedmo, Sodobno finsko dramo (ur. Alja Predan), v katero so ujeti prevodi treh sodobnih dram po izboru Jukke Hyde Hytti in Alje Predan. Predstavitev knjige z uvodnim predavanjem Alje Predan, urednice, Hanne Helavuori, direktorice finske organizacije TINFO, in Jukke Hyde Hytti bo v ponedeljek, 23. oktobra 2017. V torek, 24. oktobra, se fokus nadaljuje z dvema bralnima uprizoritvama: Drobi? (S. Peltola) in These Little Town Blues are Melting Away (P. Lonka), temu bo sledil pogovor z avtorico Pipso Lonka ter prevajalkama Jelko Ovasko in Julijo Potr?. V sredo, 25. oktobra, se fokus zaklju?uje z bralno uprizoritvijo Ledene slike (K. Smeds) ter pogovorom z avtorjem Kristianom Smedsom in prevajalko Julijo Potr?. Program finskega fokusa bo moderiral Rok Bozovi?ar, potekal bo v angle?kem jeziku in bo v celoti izveden na Prvem odru Prve gimnazije. Re?iser bralnih uprizoritev v izvedbi ?tudentov UL AGRFT je Dorian ?ilec Petek. V sklopu gostuje ena finska uprizoritev, Sad Songs from the Heart of Europe (24. in 25. oktober, Mali oder SNG Maribor) v produkciji sadsongskomplex:fi, in glasbeno-besedni projekt Zvezdane Novakovi? Zgodba o harfi (23.?25. oktober, GT22). The Focus Programme of the Maribor Theatre Festival is once again erasing the borders and filling the gap in the international space, this year dedicated to Finnish dramatic literature and theatre. Each year, the literary collection Contemporary European Drama is also richer for another edition. This time, we have published the seventh collection, Contemporary Finnish Drama (edited by Alja Predan), which features translations of three contemporary plays selected by Jukka Hyde Hytti and Alja Predan. The book will be presented on 23 October with introductory lectures by Alja Predan, editor; Hanna Helavouri, director of the Finnish organisation TINFO; and Jukka Hyde Hutti. On Tuesday, 24 October, the Focus Programme continues with two staged readings: A Little Money (S. Peltola) and These Little Town Blues are Melting Away (P. Lonka), followed by a conversation with the author Pipsa Lonka and the translators Jelka Ovaska and Julija Potr?. The Focus Programme concludes on Wednesday, 25 October, with the staged reading of Frozen Images (K. Smeds) and a conversation with the author Kristian Smeds and the translator Julija Potr?. The Finnish Focus programme will be moderated by Rok Bizovi?ar. It will be conducted in English and will take place in its entirety on the First Stage of the First Grammar School Maribor. The director of the staged readings performed by the students of UL AGRFT is Dorian ?ilec Petek. The Finnish production Sad Songs from the Heart of Europe by sadsongskomplex:fi is also part of the Festival?s International Programme (24 and 25 October, Small Stage of SNT Maribor), as well as the music-poetry project The Story of the Harp by Zvezdana Novakovi? (23?25 October, GT22). 77 Za Finsko bi lahko rekli, da je majhna velesila uprizoritvenih umetnosti. Ima gosto mre?o ob?inskih gledali?? s stalno zaposlenimi ansambli. Repertoar finskih gledali?? vsako sezono obsega kakih petsto uprizoritev, od tega pribli?no sto novih finskih gledali?kih del. Sodobna finska drama se krepko navezuje na sedanji trenutek in dru?benopoliti?no stvarnost. Njeni avtorji govorijo o sesipanju dru?be blaginje, krizi vsesplo?nega var?evanja, globalnem segrevanju. Govorijo v imenu dr?avljanov, ki so potisnjeni v podrejen polo?aj in/ali na obrobje. Vedno znova se pojavljajo teme dru?ine, notranjih pokrajin njenih ?lanov, njihovih medsebojnih napetosti, problemov v odnosih in nevroz posameznikov. Med poslanstvi razli?nih besedil je tudi mo?na eti?na dr?a. ?enske imajo v finskem gledali??u tradicionalno mo?an polo?aj kot avtorice besedil, re?iserke in vodje gledali??, kar je precej v nasprotju s sicer?njo evropsko tradicijo. Z odra lahko torej sli?imo tudi kompleksne, kontradiktorne, prodorne ?enske glasove. Prav zdaj imamo veliko uspe?nih dramati?ark, med katerimi so Laura Ruohonen, Lea Klemola, Saara Turunen, Pipsa Lonka, Sirkku Peltola, Milja Sarkola in Sofi Oksanen. Zato je v finskih igrah pomembno ?tevilo mo?nih in izvirnih ?enskih vlog: ve?plastnih in izrazitih, pa tudi agresivnih, popolnoma norih in upornih ?enskih likov. Na repertoarju na?ih gledali?? skoraj ni stereotipnih blondink ali prostitutk. Igra These Little Town Blues are Melting Away avtorice Pipse Lonka govori o podnebnih spremembah. Besedilo naslika pokrajino katastrofe, na tem ozadju pa z rahlimi potezami o?rta ekscentri?ne individualiste, ki si upajo slediti svojim strastem. Igra se dogaja na odro?nih obalah Baltskega morja neko? v prihodnosti, ko dvigajo?a se morska gladina grozi, da bo poplavila hi?e, in je treba tamkaj?nje va??ane evakuirati. Sirkku Peltola je vest finske dru?be. V svojih igrah pogosto opisuje bizarne dru?ine in neprilagojene posameznike z dru?benega roba, skupnosti, v katerih se kristalno jasno zrcalijo elementi dru?benih sprememb. Drobi? je sodobna ljudska igra z zapletom in klasi?nim dramskim obratom. Glavni lik je tip Foresta Gumpa, ki bi ga lahko imeli za ?intelektualno nerazvitega? in ki ?ivi s svojo skrbno materjo. Najbolj vznemirljivo do?ivetje je protagonistova vsakotedenska avtobusna vo?nja v bli?nje mestece. Kristian Smeds ni samo dramatik, ampak tudi evropsko uveljavljen re?iser in dramaturg, ki na odru udejanja svoje vizije. Igra Ledene slike prika?e deset slik dru?ine, ki ?ivi na severu Finske. Igra govori o sovra?tvu, hladu, odtujenosti, a v njenih humornih prizorih je tudi veliko upanja in topline. Sestoji ve?inoma iz monologov, vendar dopu??a tudi improvizacijo in ponuja zanimive uprizoritvene mo?nosti. Hanna Helavuori, iz spremne besede Sodobna finska drama One might say that Finland is a small superpower of performing arts. It has a dense network of municipal theatres with permanently employed ensembles. Each season, the repertoire of Finnish theatres comprises around five hundred productions, which includes approximately a hundred new Finnish theatre pieces Contemporary Finnish drama is strongly connected to the present moment and the social-political reality. Its authors speak of the dissipation of the welfare society, of the crisis of overall savings, of global warming. They speak in the name of the citizens pushed to the submissive position and/or to the margin. The ever-recurring themes are those of family, the inner landscapes of its members, their mutual tensions, problems in relationships and the neurosis of individuals. One of the missions of the various plays is also taking a strong ethical stance. Women in Finnish theatre have a traditionally strong position as playwrights, directors and directors of theatres, which is quite the opposite of the usual European tradition. Hence from the stage we can hear complex, contradictory, propulsive female voices. Right at the moment we have a number of successful playwrights, among whom are Laura Ruohonen, Lea Klemola, Saara Turunen, Pipsa Lonka, Sirkku Peltola, Milja Sarkola and Sofi Oksanen. This is the reason for a significant number of powerful and original female roles: multi-layered and expressive, even aggressive, utterly mad and rebellious female characters. The repertoire of our theatres features practically no stereotyped blonds or prostitutes. The play These Little Town Blues are Melting Away by the author Pipsa Lonka speaks of climate changes. It paints a landscape of catastrophe, which is the background for sketching with gentle strokes the eccentric individualists who dare to follow their passions. The play takes place sometime in the future on the remote shores of the Baltic Sea, as the rising sea level threatens to flood the houses and the local village people need to be evacuated. Sirkku Peltola is the conscience of Finnish society. In her plays she often describes bizarre families and misfits from the social margin, groups that mirror with crystal clearness the elements of social changes. A Little Money is a contemporary ?folk play? with a plot twist and a classical tour de force. The main character is a Forest Gump type, easily labelled as ?intellectually underdeveloped?, who lives with his caring mother. The most exciting event in the life of the protagonist is the weekly bus ride to the nearby town. Kristian Smeds is not only a playwright but also a director and dramaturg of high reputation in Europe, who materialises his visions on stage. His play Frozen Images features ten scenes of a family living in the north of Finland. The play speaks of hatred, coldness and alienation, yet its humorous scenes are permeated with hope and warmth. It consists mostly of monologues, nevertheless, allowing for improvisation and offering interesting staging possibilities. Hanna Helavuori, from the Introduction to Contemporary Finnish Drama Na kratko o finski dramatiki in izbranih dramah A Brief Overview of Finnish Dramatic Literature and the Selected Plays 78 23. 10. 2017 24. 10. 2017 25. 10. 2017 18.30 & 19.30 17.30 17.30 GT22 ?arobno mehki zvoki harfe nas zazibljejo v starodavne zgodbe, polne dogodiv??in, sku?njav in zapletov. Popeljejo nas v ?as, ko so si ljudje ob zvokih harfe pripovedovali zgodbe. Kdaj je bilo to? Tako dale? nazaj, da smo ?e pozabili, kako prijetno je sedeti ob ognju in poslu?ati pravljice. In kdo je bil tisti, ki je ustvaril to zvene?e glasbilo? Finski ep Kalevala ima odgovor: v njem junak (tudi na?e) zgodbe na potovanju po ?irnem morju ujame velikansko ??uko. Po obilni pojedini mu ostane okostje te ogromne ribe, in iznajdljiv, kot je, med ?ekane, ki se bohotijo v ??ukini ?eljusti, napne strune in izdela ?ude?no glasbilo ? kantele. Nih?e drug, razen na?ega junaka, ne more iz glasbila izvabiti ne?ne melodije, ?ele med njegovimi prsti strune zazvenijo. ?e dobro, da je bil tako iznajdljiv, saj bodo zaradi njega kantele ?e stoletja lahko burile na?o domi?ljijo in spremljale pripovedovalce ob pripovedovanju zgodb. Glasbena mo? harfe, ki je sorodnica glasbila kantele, se v projektu Zgodba o harfi spoji z lutkovnim gledali??em, pripovedjo in pesmijo: razli?ne gledali?ke zvrsti se prepletajo v zgodbo o iznajdljivem junaku, ki se ne prepusti zavisti, pohlepu in po?re?nosti. Zanj in za nas je glasba tista, ki ji je vredno posvetiti svoj ?as. The magically soft sound of the harp lulls us into ancient tales full of adventures, temptations and entanglements. These tales transport us to a time in which people used to tell each other stories accompanied by the sound of the harp. When was that? So far back in time that we have forgotten how enjoyable it is to sit by the fire and listen to fairytales. And who was it that built that resounding instrument? The Finnish epic Kalevala offers the answer: travelling across the great wide sea, the hero of its (and our) tale catches a gigantic pike. After a sumptuous meal, he is left with the skeleton of that enormous fish. Resourceful as he is, he tightens the strings between the fangs that proudly stood in the pike?s jaws and thus creates a magical instrument ? the kantele. No one else but our hero could have lured gentle melodies out of the instrument; it was only between his fingers that the strings would resonate. It was fortunate that he was so resourceful: thanks to him, the kantele would stir our imagination for centuries ahead and accompany storytellers while telling tales. The project The Story of the Harp unites the musical power of the harp, a close relative to the kantele, with puppet theatre, storytelling and singing: various theatre forms are interwoven into a story of a resourceful hero who resists envy, greed and voracity. For him as well as for us, music is something to which it is worth dedicating our time. Predstava traja 30 minut. Running time 30 minutes. Avtorica glasbe in izvedbe Author of music and performer Zvezdana Novakovi? ? Re?iser Director Tin Grabnar ? Oblikovalka lutk Puppet designer Darka Erdelji ? Oblikovalec svetlobe Lighting designer Kristjan Vidner ? Fotograf Photographer Dorian ?ilec Petek ? Avtor videa Video designer Gregor Gobec Glasbeno-besedni projekt Music-poetry project Zgodba o harfi The Story of the Harp Po motivih 1., 40. in 41. speva Kalevale. Based on the motives of the 1st, 40th and 41st songs of the poem Kalevala foto photo: Dorian ?ilec petek Hanna Helavuori iz spremne besede Sodobna finska drama xxxxx Na kratko o finski dramatiki in izbranih dramah Swedish theatre and drama Razstave, strokovna sre?anja in ?e Exhibitions, Discussions and More 80 20. 10. 2017 17.00 Mariborski mestni park Razstava fotografij Aljo?e Rebolja v organizaciji Pandur.Theaters v sodelovanju z Mestno ob?ino Maribor in 52. Festivalom Bor?tnikovo sre?anje Toma? Pandur (1963?2016), v Mariboru rojeni gledali?ki re?iser, je s svojim opusom zaznamoval ne le slovensko, temve? tudi svetovno gledali?ko umetnost. Njegova prepoznavna estetika, poetika in svojski gledali?ki jezik so kot skulpturirani ?as odtisnjeni na fotografijah Aljo?e Rebolja, ki je z izjemnim ob?utkom za gledali?ki trenutek spremljal Pandurja kot ekskluzivni fotograf v zadnjem obdobju ustvarjanja. Fotografije predstav, ki so nastale v Sloveniji, ?paniji, Nem?iji, Gr?iji in na Hrva?kem (balet Simfonija oto?nih pesmi, ljubljanski in madridski Faust, Kralj Lear, Rihard III.+II., Michelangelo, madridska in zagreb?ka Medeja, Vojna in mir, Somrak bogov, Hamlet, Kaligula, Barok, Tesla Electric Company in Infierno), v zadnjih dvanajstih letih pri?ajo o re?iserjevem umetni?kem credu, o miselnih in ?ustvenih pokrajinah njegovih magi?nih gledali?kih podob. Exhibition of photographs by Aljo?a Rebolj organised by Pandur.Theaters in collaboration with the Municipality of Maribor and the 52nd Maribor Theatre Festival With his opus, Maribor-born theatre director Toma? Pandur (1963? 2016) made a definite mark not only on Slovenian theatre, but also on theatre worldwide. His recognisable aesthetics and poetics and his unique theatrical language are sculptures in time imprinted through Aljo?a Rebolj?s photography. With an immense talent for capturing the most revealing theatrical moments, Rebolj followed Pandur during his final creative period as his official photographer. Photographs of the performances created in Slovenia, Spain, Germany and Croatia (the ballet Symphony of Sorrowful Songs; Faust made in Ljubljana and Madrid; King Lear, Richard III+II, Michelangelo, Medea made in Madrid and Zagreb; War and Peace, The Twilight of the Gods, Hamlet, Caligula, Barroco, Tesla Electric Company and Infierno) during these last twelve years attest to Pandur?s artistic credo, as well as to the intellectual and emotional landscapes of his magical theatrical images. Hommage ? Toma? Pandur Hommage ? Toma? Pandur 81 21. 10. 2017 10.00 Hotel Maribor, Konferen?na soba Andreas Tappeiner Okrogla miza z nem?kimi in slovenskimi dramaturgi v organizaciji Ur?ke Brodar ter v sodelovanju z Javno agencijo za knjigo Republike Slovenije in Festivalom Bor?tnikovo sre?anje Pobudnica ideje za okroglo mizo z dramaturgi iz Nem?ije in Slovenije je Ur?ka Brodar, ki je zadnjih pet let pre?ivela med Berlinom in Ljubljano, kjer je poglobljeno spremljala dogajanje v nem?kih kot tudi slovenskih teatrih in na obeh neodvisnih scenah. Kako se programiranja repertoarjev lotevajo v Sloveniji, kako v Nem?iji, kako je z razvijanjem novih formatov, pisav, kak?ne so smernice, kako se odzivamo na aktualno dru?benopoliti?no dogajanje ... To so vpra?anja, ki se jih bomo lotili med debato na okrogli mizi in na neformalnih sre?anjih. Stremimo namre? k trajnostno usmerjenemu mednarodnemu povezovanju, saj se sodelovanje med dr?avami sicer dogaja na podlagi izmenjav predstav in gostovanj na mednarodnih festivalih, te pa so zgolj kratki skoki iz lastnega okolja. Pogre?amo ve? poglobljenih soo?enj razli?nih scen. Ali sploh imamo skupno referen?no polje, ko govorimo o teatru, kako nas dolo?a kulturnozgodovinski kontekst, se med seboj sploh razumemo, kaj ho?emo gledati? Skupaj si bomo ogledali predstave na Festivalu Bor?tnikovo sre?anje ter na neformalni delavnici poglabljali in ?irili debato. Sre?anja se bodo udele?ili nem?ki dramaturgi Stefan Bl?ske, Uwe G?ssel in Johanna H?mann ter slovenske dramaturginje Ur?ka Brodar, Alja Predan in Simona Semeni?. A round-table discussion with German and Slovenian dramaturgs organised by Ur?ka Brodar in collaboration with the Slovenian Book Agency (JAK RS) and the Maribor Theatre Festival Ur?ka Brodar, who spent the past five years between Berlin and Ljubljana keenly following the events both in German and Slovenian theatres as well as their independent scenes, is the initiator of a round-table discussion between dramaturgs from Germany and Slovenia. What are the specific features of repertoire politics in Slovenia and in Germany, what is going on with developing new formats, playwriting styles, what are the directions, how do we respond to the current social-political events ? Those are the questions that we shall tackle during the round-table discussion as well as during subsequent informal meetings. We strive towards a permanent international connection as collaborations between countries take place on the basis of exchange of productions and participation at international festivals, but all these are merely brief hop-ins from one?s own environment. What we miss are more in-depth confrontations of various scenes. Do we have in the first place a common referential field when we talk about theatre? In which way are we determined by the cultural-historical context? Do we understand each other at all? What is it that we want to see in theatre? Together we shall watch the productions featured at the Maribor Theatre Festival and expand the debate in a more informal closed workshop. The participants of the encounter will be German dramaturgs Stefan Bl?ske, Uwe G?ssel and Johanna H?mann as well as Slovenian dramaturgs Ur?ka Brodar, Alja Predan and Simona Semeni?. Dramaturgi iz o?i v o?i Eye-to-Eye with Dramaturgs 82 21. 10. 2017 17.00 GT22 Razstava v sodelovanju Ustanove Fundacija Sonda, GT22, SNG Drama Ljubljana in Festivala Bor?tnikovo sre?anje Avtor podobe urnikov ?pela Zorn Kuratorji in prostorska postavitev Andrej Firm, sonda21 Razstava je na ogled v ?asu festivala od ponedeljka do petka od 10.00 do 18.00 Urniki SNG Drama Ljubljana je razstava v sklopu kuratorskih raziskovanj z naslovom Gledali?ki dokumenti (2016: Pregled odrske fotografije 1991?2016 in Pregled odrske fotografije 1941?1991), ki jih z in v GT22 izvaja Ustanova Fundacija Sonda. Razstava je dokumentarni projekt, kolektivni premislek povezovanj in konceptov arhivov gledali?kega in likovnega medija. Je prostorska postavitev dokumentov, programskih urnikov, ki postanejo objekt likovne umetnosti. Vklju?ujo?a interaktivna likovna postavitev vizualnih dokumentov predstavlja vstopanje v nov likovni prostor, ki nam pripoveduje morda premalo znane ali neznane zgodbe na?e okolice. Urniki SNG Drama Ljubljana nastajajo vsako leto od sezone 1988/1989 v dimenzijah 150 cm x 100 cm. An exhibition in collaboration with the Sonda Foundation, GT22, the Slovenian National Theatre Drama Ljubljana and Maribor Theatre Festival Designer of timetables ?pela Zorn Curators and spatial installation Andrej Firm, sonda21 The exhibition is open Monday through Friday from 10.00 to 18.00 The Timetables of the Slovenian National Theatre Drama Ljubljana is an exhibition within the frame of curatorial research with the title Theatre Documents (2016: Overview of theatre photography 1991?2016 and Overview of theatre photography 1941?1991), carried out with and in GT22 by Sonda Foundation. The exhibition is a documentary project, a collective reflection on the connections and concepts of the archive of theatre and visual media. It is a spatial installation of documents ? programme timetables ? that turns them into an object of visual art. The interactive setup of visual documents presents an entry into a new visual space that perhaps tells us of the little known or unknown stories of our surroundings. The timetables of the SNT Drama Ljubljana have been created each year from the season 1988/89 in the dimensions 150 cm x 100 cm. Urniki SNG Drama Ljubljana The Timetables of the SNT Drama Ljubljana 83 25. 10. 2017 12.00 Kazinska dvorana Predstavitev mednarodnega projekta v organizaciji Slovenskega gledali?kega in?tituta ob dnevu evropskih zgodovinskih gledali?? v sodelovanju s Festivalom Bor?tnikovo sre?anje Slovenski gledali?ki in?titut (SLOGI) od leta 2012 sodeluje z Zdru?enjem zgodovinskih gledali?? Evrope (Perspectiv). Ta neprofitna organizacija povezuje ljudi po vsej Evropi, ki vodijo zgodovinska gledali??a ali skrbijo zanje, prav tako tiste, ki jih gledali?ke stavbe zanimajo poklicno ali zasebno. Zdru?enje je nedavno oblikovalo pobudo, da odslej 25. oktobra ozna?ujemo dan evropskih zgodovinskih gledali??. Perspectiv je tudi koordinator Evropske poti zgodovinskih gledali??, projekta, ki se je za?el leta 2012 in se bo zaklju?il leta 2017, podpira pa ga Evropska unija ? Kultura. Gledali?ke stavbe so pomemben del svetovne kulturne dedi??ine. Iz njihove zasnove lahko razberemo razvoj in zna?ilnosti posamezne dru?be, naroda, odnos do kulture, tehnolo?ki napredek in spreminjanje estetike. Zato si je zdru?enje Perspectiv za svoj cilj zastavilo ozave??anje ?ir?e javnosti o pomenu zgodovinskih gledali?? in zasnovalo novo obliko kulturnega turizma ? Evropsko pot zgodovinskih gledali??. Ta povezuje gledali?ke stavbe po Evropi, od ?e ohranjenih renesan?nih gledali??, baroka, rokokoja, klasicizma, historicizma, art nouveauja do art decoja: potovanje od 16. do 20. stoletja po 120 gledali??ih. Celotna Evropska pot zgodovinskih gledali?? je razdeljena po posameznih poteh, vsaka od njih vklju?uje do 12 izbranih gledali??, ki jih je mogo?e obiskati v enem tednu. Ena od poti se imenuje Jadranska pot, povezuje pa zgodovinska gledali??a Slovenije, Hrva?ke, Bosne in Hercegovine, Srbije in ?rne gore ? na njej sta tudi Slovensko narodno gledali??e Drama Ljubljana in Slovensko narodno gledali??e Maribor. Del projekta je tudi mednarodna potujo?a razstava Zgodovina Evrope ? kot jo pripovedujejo gledali??a, ki je od oktobra 2016 do januarja 2017 domovala v Ljubljani, do septembra 2017 v muzeju V&A v Londonu, kmalu pa bo gostovala v ?vici. Mag. Tea Rogelj, vi?ja kustosinja SLOGI, bo predstavila zdru?enje Perspectiv in Evropsko pot zgodovinskih gledali?? ter obiskovalce pobli?e seznanila z Jadransko potjo. Presentation of the international project organised by the Slovenian Theatre Institute in collaboration with the Maribor Theatre Festival on the occasion of the European Historic Theatres Day The Slovenian Theatre Institute has been collaborating from 2012 with the PERSPECTIV ? Association of Historic Theatres in Europe. This non-profit organisation connects people throughout Europe who lead historic theatres or are in charge of them as well as those who are interested in theatre buildings through their profession or privately. The association has recently conceived an initiative to mark 25 October from now on as the European Historic Theatres Day. PERSPECTIV is also co-ordinator of the project The European Route of Historic Theatres, launched in 2012 and concluding in 2017, which is supported by the Culture (2007?2013) Programme of the European Union. Theatre buildings are an important part of world cultural heritage. Their concept tells us of the development and specifics of a particular society and nation, their relation towards culture, technological progress and the changing of aesthetics. That is why PERSPECTIV?s goal is to raise awareness among a wider public on the significance of historic theatres through establishing a new form of cultural tourism ? The European Route of Historic Theatres. It connects theatre buildings throughout Europe, from the still preserved Renaissance theatres, Baroque, Rococo, Classicism, Historicism, Art Nouveau to Art Deco: a route from the 16th to the 20th century through 120 theatres. The entire European Route of Historic Theatres is divided into individual routes, each comprising 12 selected theatres that can be visited in one week. One of the routes is named The Adriatic Route, which connects historic theatres in Slovenia, Croatia, Bosnia-Herzegovina, Serbia and Montenegro ? it also includes the Slovenian National Theatre Drama Ljubljana and the Slovenian National Theatre Maribor. A part of the project is also an international travelling exhibition The History of Europe ? Told by its Theatres, which was on show in Ljubljana from October 2016 to January 2017, then until September 2017 in the V&A Museum in London and will soon be featured in Switzerland. Tea Rogelj, M.A., senior curator of the Slovenian Theatre Institute, will present the association PERSPECTIV and The European Route of Historic Theatres and also offer the participants closer insight into The Adriatic Route. Evropske poti zgodovinskih gledali?? The European Route of Historic Theatres 84 26. 10. 2017 10.00?12.00 14.00?16.00 Alma Mater Europaea ? ECM Simpozij in okrogla miza v organizaciji Dru?tva gledali?kih kritikov in teatrologov Slovenije v sodelovanju z Radiem Slovenija (programom Ars) in Festivalom Bor?nikovo sre?anje Vpra?anje institucije v sodobnih scenskih umetnostih ni enozna?no, kot se morda zdi na prvi pogled. O?itna razlika med narodnim ali mestnim gledali??em v organizacijski obliki javnega zavoda na eni strani in tako imenovanimi neodvisnimi producenti, dru?tvi in zavodi na drugi je le en vidik problema, saj je institucionalna paradigma tudi ponotranjena v ustvarjalcih in producentih samih. Med objektivno in subjektivno platjo institucionalizacije se odpira vpra?anje (ne)preto?nosti ne le v estetskem in kadrovskem smislu, temve? tudi v ideolo?kem, saj vsak institucionalni okvir nedvomno vpliva na mo?nost, kakovost in kontekst umetni?kega in kriti?nega udejstvovanja. Ne gre torej za institucijo na eni strani in neinstitucijo na drugi, temve? predvsem za problem hierarhi?nega ustroja in materialnih pogojev produkcije, ki izjemno u?inkujejo na dogajanje na odru in onkraj njega. Kako te razmere vidimo, do?ivljamo in razumemo ter kako se z njimi spoprijemamo, bomo spregovorili v prepletu simpozija in okrogle mize. Kriti?ne premisleke in zgodovinske poglede bomo posku?ali povezati z razmi?ljanji praktikov, ki imajo izku?nje z delovanjem v osrednjih institucijah in na neodvisni sceni. Z referati bodo v dopoldanskem delu simpozija sodelovali Nenad Jelesijevi?, Aldo Milohni?, Toma? Topori?i? in Rok Vevar. Okroglo mizo bo v popoldanskem delu z neposrednim prenosom na Radiu Slovenija (program Ars) vodila Alja Lobnik. A symposium and a round-table discussion organised by the Association of Theatre Critics and Researchers of Slovenia (DGKTS) in collaboration with Radio Slovenia (Ars programme) and the Maribor Theatre Festival The question of the institution in contemporary performing arts is not as single-faceted as it might seem at first glance. The obvious difference between national or city theatres in terms of the organisational form of the public institution, on the one hand, and the so-called independent producers, associations and organisations, on the other hand, is just one aspect of the problem, as the producers and creators themselves have internalised the institutional paradigm. The question of (disrupted) flow arises between the objective and subjective side of institutionalisation not only in the sense of aesthetics and human resources, but also in the ideological sense: each institutional frame undoubtedly influences the capacity, quality and context of artistic and critical participation. The focus of the question is thus not on the institution on one side and the non-institution on the other, but on the problem of the hierarchical structure and the material conditions of production, which eminently have an effect onstage as well as offstage. We will talk about how we see, experience and understand this situation and how we tackle it in an interwoven form of symposium and round-table discussion. We will attempt to connect the critical reflections and historical insights with the thoughts of the practitioners who have the experience of working both in the main institutions and in the independent scene. The morning portion of the symposium will feature papers by Nenad Jelesijevi?, Aldo Milohni?, Toma? Topori?i? and Rok Vevar. The afternoon round-table discussion, moderated by Alja Lobnik, will be broadcast live on Radio Slovenia (Ars programme). (Ne)preto?nost: vpra?anje institucije v sodobnih scenskih umetnostih (Disrupted) Flow: The Question of Institutions in Contemporary Performing Arts 85 27. 10. 2017 17.00 Mali oder Festival Bor?tnikovo sre?anje v sodelovanju z Novim ZATO. in slovenskimi gledali??i ter kulturno-izobra?evalnimi institucijami ?e peto leto zapored pripravljamo e-razstavo Festival Bor?tnikovo sre?anje. Vztrajamo pri skrbi za digitalizacijo, dostopnost in popularizacijo slovenske gledali?ke dedi??ine. Tudi letos smo zasnovali razstavo v treh sklopih: v prvem so na ogled fotografije s sklepne prireditve enainpetdesetega Festivala; drugi sklop je posve?en uprizoritvi U?ene ?enske po motivih Moli?rovih U?enih ?ensk v re?iji Jerneja Lorencija ter izvedbi Slovenskega ljudskega gledali??a Celje in Mestnega gledali??a Ptuj, najbolj?i predstavi lanskega leta. Ta del vklju?uje fotografije Jake Babnika, scenske skice Braneta Hojnika, plakate in gledali?ki list, nekaj ?lankov in izbor kritik o uprizoritvi. Tretji sklop je posve?en Daretu Vali?u, prejemniku Bor?tnikovega prstana 2016, s fotografskim pregledom gledali?kega opusa. E-razstava FBS 2016 bo na voljo v slovenskem in angle?kem jeziku na spletni strani borstnikovo.si, spletnem portalu sigledal.org in spletnih straneh sodelujo?ih institucij. Pobudnica projekta: Alja Predan (FBS) ? Koordinator projekta: Samo M. Strelec (Novi Zato.) ? Avtorica razstave in vnos podatkov: Ksenija Repina (FBS) ? Ra?unalni?ka zasnova: Gregor Matevc (Novi Zato.) ? Urejanje avtorskih pravic: Tamara Matevc (Novi Zato.) ? Pri razstavi so sodelovali: Mojca Kranjc (SNG Drama Ljubljana), Tatjana Doma (SLG Celje), Simona Je?elnik (UL AGRFT) idr. ? Prevajalki v angle?ki jezik: Katarina Pejovi? in Jana Ren?e Wilcoxen The Maribor Theatre Festival, in collaboration with Novi ZATO. and various Slovenian theatres and cultural-educational institutions Already for the fifth consecutive year, we have organised e-xhibition Maribor Theatre Festival. We persist in our endeavour to digitalise, make accessible and popularise Slovenian theatre heritage. As in previous years, this year we have also conceived a three- part exhibition: the first part features photographs from the closing ceremony of the 51st Festival. The second part is dedicated to the production The Learned Ladies after the motifs of the Learned Ladies by Moli?re directed by Jernej Lorenci and performed by the Celje People?s Theatre and Ptuj City Theatre, the best performance of last year. This part includes photographs by Jaka Babnik, stage design sketches by Branko Hojnik, posters and the theatre programme, several articles and a selection of reviews on the production. The third part is dedicated to Dare Vali?, the recipient of the 2016 Bor?tnik Ring, through a photographic overview of his theatrical opus. The 2016 e-xhibition will be available in Slovenian and English on the web page borstnikovo.si, the web portal sigledal. org and on the websites of the collaborating institutions. Project initiator: Alja Predan (FBS) ? Project co-ordinator: Samo M. Strelec (Novi ZATO.) ? Author of exhibition and data input: Ksenija Repina (FBS) ? Digital design: Gregor Matevc (Novi ZATO.) ? Regulation of copyrights: Tamara Matevc (Novi ZATO.) ? Exhibition collaborators: Mojca Kranjc (SNG Drama Ljubljana), Tatjana Doma (SLG Celje), Simona Je?elnik (UL AGRFT) etc. ? Translation into English: Katarina Pejovi? and Jana Ren?e Wilcoxen E-razstava: Festival Bor?tnikovo sre?anje 2016 E-xhibition: Maribor Theatre Festival 2016 86 28. 10. 2017 18.30 Mali oder Letna produkcija 1. letnika Akademije za ples, Alma Mater Europaea, v koprodukciji s Plesnim teatrom Ljubljana Akademija za ples, ki ponovno deluje v Ljubljani, tokrat v okviru Alme Mater Europea predstavlja letno produkcijo ?tudentk prvega letnika smeri Sodobni ples. Predstavljajo fuzijo razli?nih tehnik in postopkov, s katerimi so se ?tudentke celo ?tudijsko leto sre?evale in jih nadgrajevale v samostojne dele kot tudi v skupinsko zaokro?ene celote in plesne sekvence. V ?ivahen preplet ?anrov, tehnik in postopkov so ?tudentke vnesle lastni plesni izraz, ki se nenehno brusi in izdeluje na podlagi izbranih tehnik sodobnega plesa, kompozicijskih metod in drugih orodij, ki jih sodobni plesalec potrebuje pri svojem delu. The annual production of the 1st year students of the Academy of Dance, Alma Mater Europaea, in co-production with Dance Theatre Ljubljana The Academy of Dance, once again active in Ljubljana, presents this time within the frame of Alma Mater Europea the annual production of students of the first year of Contemporary Dance. It features a fusion of different techniques and procedures, which the students have encountered and researched throughout the school year, while building both individual segments and collective pieces as well as dance sequences. The students brought their own dance expression into the vivacious intertwining of genres, techniques and procedures; an expression that is incessantly improved and built on the basis of selected techniques of contemporary dance, compositional methods and other tools that the contemporary dancer requires in one?s work. Alma Mater Europaea, Akademija za ples v Ljubljani v koprodukciji s Plesnim teatrom Ljubljana Alma Mater Europaea, Academy of Dance Ljubljana in co-production with Dance Theatre Ljubljana Premiera Premi?re 19. 6. 2017, Plesni teater Ljubljana ? PTL Predstava traja 30 minut. Running time 30 minutes. Avtorice idejne zasnove Authors of concept Ne?a Bla?i? ? Ivana Greguri? ? Tina Habun ? Laura Ivan?i? ? Katja Kolari? ? Ondina Kerec ? Manca Vukeli? Nastopajo Performers Ne?a Bla?i? ? Ivana Greguri? ? Tina Habun ? Laura Ivan?i? ? Katja Kolari? ? Ondina Kerec ? Manca Vukeli? Avtorica besedila v predstavi Author of text in the production Manca Vukeli? Mentorji pri predmetu Kompozicija in ustvarjalno-raziskovalni proces Mentors of the subject Composition and creative-research process Jana Menger ? Gregor Lu?tek ? Rosana Hribar Plesati sanje, sanjati ples Dancing Dreams, Dreaming Dance Knjige na FBS Books at the Maribor Theatre Festival 22. 10. 2017 | 12.00 | Vetrinjski dvor ?iva Kraigher: Ko se zgodi ples. Zapisi, dokumenti, spomini. Ljubljana, Maska, zavod za zalo?ni?ko, kulturno in producentsko dejavnost, Javni sklad RS za kulturne dejavnosti (JSKD), 2016. Olivier Razac: Politi?na zgodovina bode?e ?ice. Prevedla: Sonja Dular. Zbirka Mediakcije, knjiga ?t. 15. Urednica zbirke: Amelia Kraigher. Ljubljana, Maska, zavod za zalo?ni?ko, kulturno in producentsko dejavnost, 2016. Franco Berardi - Bifo: Kognitarci in semiokapital. Prevedla: Polona Petek. Zbirka Mediakcije, knjiga ?t. 16. Urednica zbirke: Amelia Kraigher. Ljubljana, Maska, zavod za zalo?ni?ko, kulturno in producentsko dejavnost, 2016. MASKA, ?asopis za scenske umetnosti: Gledali??e animiranih form (letnik XXXI/179?180) in Kratka zgodovina Tanztheatra (letnik XXXI/181?182). Ljubljana, Maska, zavod za zalo?ni?ko, kulturno in producentsko dejavnost, 2016?2017. ?iva Kraigher: When Dance Happens. Notes, Documents, Memories. Ljubljana, Maska, Institute for Publishing, Production and Education and the Public Fund for Cultural Activities of the Republic of Slovenia (JSKD), 2016. Olivier Razac: The Political History of Barbed Wire. Translated by: Sonja Dular. Mediakcije collection, book No. 15. Edited by: Amelia Kraigher. Ljubljana, Maska, Institute for Publishing, Production and Education, 2016. Franco Berardi ? Bifo: Cognitarians and Semiocapital. Translated by: Polona Petek. Mediakcije collection, book No. 16. Edited by: Amelia Kraigher. Ljubljana, Maska, Institute for Publishing, Production and Education, 2016. MASKA, Journal of Performing Arts: Theatre of Animated Forms (Vol. XXXI/179?180) and A Brief History of Tanztheater (Vol. XXXI/181?182). Ljubljana, Maska, Institute for Publishing, Production and Education, 2016?2017. 24. 10. 2017 | 12.00 | Vetrinjski dvor Ivo Svetina: Gledali??e Pekarna (1971?1978). Rojstvo gledali??a iz duha svobode. Ljubljana, knji?nica MGL, 2017. Edi Majaron: Vera v lutko. Razmi?ljanja o lutkovni umetnosti. Ljubljana, knji?nica MGL, 2017. Mateja Pezdirc Bartol: Navzkri?ja svetov. ?tudije o slovenski dramatiki. Ljubljana, Znanstvena zalo?ba Filozofske fakultete UL, 2016. Ivo Svetina: Pekarna Theatre (1971?1978). The Birth of a Theatre Out of the Spirit of Freedom. Ljubljana, MGL Library, 2017. Edi Majaron: Faith in the Puppet. Reflections on the Art of Puppetry. Ljubljana, MGL Library, 2017. Mateja Pezdirc Bartol: Clash of Worlds. Studies of Slovenian Dramatic Literature. Ljubljana University Press, Faculty of Arts, 2016. 27. 10. 2017 | 12.00 | Vetrinjski dvor Amfiteater. Revija za teorijo sodobnih scenskih umetnosti, letnik 4, ?tevilki 1 in 2. Uredila Maja ?orli. Ljubljana, SLOGI, 2016 in 2017. Slovenski gledali?ki letopis 2015/2016. Uredil ?tefan Vevar. Ljubljana, SLOGI, 2017. Post scriptum. Lojze Smasek, izbrane gledali?ke kritike in kritike radijskih iger. Uredila Ana Perne. Ljubljana, SLOGI, 2017. Za?etki in dose?ki slovenskega gledali??a moderne dobe. Ob 150. obletnici ustanovitve Dramati?nega dru?tva v Ljubljani. Uredila ?tefan Vevar in Barbara Orel. Ljubljana, SLOGI, 2017. Amphitheatre. Journal of Contemporary Performing Arts Theory, Vol. 4, No. 1 and No. 2. Edited by: Maja ?orli. Ljubljana, SLOGI, 2016 and 2017. Slovenian Theatre Yearbook 2015/2016. Edited by: ?tefan Vevar. Ljubljana, SLOGI, 2017. Post scriptum. Lojze Smasek, Selected Reviews of Theatre and Radio Plays. Edited by: Ana Perne. Ljubljana, SLOGI, 2017. The Beginnings and Achievements of Slovenian Theatre in Modern Times. On the occasion of the 150th Anniversary of the Founding of the Dramatic Association in Ljubljana. Edited by ?tefan Vevar and Barbara Orel. Ljubljana, SLOGI, 2017. 88 Rezime 2009?2017 Summary 2009?2017 Alja Predan 89 90 Sestavek je suh in stvaren. Njegov namen je preprost: osvetliti spremembe, ki so se zgodile na na?em najpomembnej?em gledali?kem festivalu v osmih letih, ko sem ga umetni?ko vodila (in tudi poslovno bdela nad njim). Status in praktikalije Bor?tnikovo sre?anje, ki smo mu dodali besedo festival, je leta 2010 formalno postalo ena od organizacijskih enot SNG Maribor. Njena struktura je postala enaka drugim organizacijskim enotam z eno bistveno razliko: imenovanje umetni?ke/-ga direktorice/-ja s petletnim mandatom (po statusu pomo?nice/-ka direktorice/-ja SNG Maribor) je pripadlo ministrici/-u za kulturo. (Umetni?ke direktorje drugih OE sicer imenuje direktor SNG MB.) To je ?e posebno pomembno poudariti, saj smo s tem prepre?ili kakr?nokoli nasprotje interesov, ki bi se zgodilo, ?e bi obdr?ali popolno analogijo z drugimi OE. Ob tej spremembi se je tudi razpustil stari svet FBS, ki je ?tel skoraj dvajset stalnih ?lanov, med njimi so bili tudi direktorji vseh gledali??, in nadomestila ga je mandatna pet?lanska strokovna skupina, ki so jo sestavljali predstavniki financerjev (MOM in MK) ter strokovnih zdru?enj in ustanov (ZDUS, AGRFT in DGKTS). Napisali smo akte: Pravilnik o delovanju, Pravilnik o pogojih sodelovanja in Dolo?ilo o vi?ini pav?alnega odkupa. Vsa leta smo si prizadevali za stabilno in paritetno dr?avno in ob?insko financiranje. Leta 2015 sta se financerja, MK in MOM, kon?no pisno zavezala, da bosta vsako leto prispevala enakovreden dele? programskih sredstev. Infrastrukturo, tehni?no opremo ter tehni?ne in nekatere druge kadrovske vire, ki so nujno potrebni za izvedbo festivala, pa sicer financira MK v okviru sredstev SNG Maribor. Tako je bil skupni dele? MK, namenjen FBS, ocenjen na ca. 70 %, dele? MOM pa na ca. 30 %. Vrsto let sem si tudi intenzivno prizadevala, da bi kadrovsko okrepili FBS. Mesto producentke/-a je bilo sistemizirano, do mojega odhoda pa ni bilo zasedeno. Tako se je tudi dobr?en del stro?kov dela, ki so nastajali na festivalu, pokrival iz programskih sredstev. ? Posodobili in uredili smo spletno stran, kjer so objavljene vse teko?e informacije, informacije javnega zna?aja in arhiv. ? Uvedli smo terminsko ?asovnico prijav predstav, knjig in nominacij za prstan. ? Sestavili smo zelo podrobne prijavnice, ki jih gledali??a izpolnijo ob nominaciji predstav, ter uvedli prijavnice za predloge za Bor?tnikov prstan in za predstavitve knji?nih novosti na festivalu. ? Vpeljali smo spletno prijavljanje predstav, knjig in predlogov za prstan. ? Postali smo intenzivno prisotni na Facebooku in Instagramu. The following essay is dry and real. Its aim is simple: to shed light on the changes that have happened to our most important theatre festival during the eight years that it was under my artistic leadership (and also under my managerial care). Status and practicalities In 2010, the Maribor Theatre Festival became one of the organisational units of the Slovene National Theatre Maribor. Its structure became identical to the other organisational units with one essential difference: the appointment of an artistic director with a five-year mandate (and the status of assistant director of the Slovene National Theatre Maribor) went into the hands of the Minister of Culture. (Artistic directors of other organisational units are appointed by the director of the Slovene National Theatre Maribor.) This is especially important to emphasise as with this move, we prevented any kind of conflict of interest, which would certainly occur had we kept a total analogy with other organisational units. Parallel to this change, the former Maribor Theatre Festival Board (counting almost twenty permanent members, among them directors of all theatres in Slovenia) was disassembled and replaced by a mandatory five-member Artistic Board consisting of representatives of the funding bodies (the Municipality of Maribor and the Ministry of Culture) as well as professional associations and institutions (the Association of Dramatic Artists of Slovenia, the Academy of Theatre, Radio, Film and Television of the University of Ljubljana and the Association of Theatre Critics and Researchers of Slovenia). We put in place official rules and provisions about our operations, our conditions for collaboration and about the fees we pay for performances. Throughout this time we strove to obtain stable and proportional financing from the state and the municipality. In 2010, the two main funding bodies ? the Ministry of Culture of the Republic of Slovenia and the Municipality of Maribor ? committed themselves in writing to provide an equal part of each year?s programme budget. The infrastructure and technical equipment as well as technical and other personnel resources necessary for the realisation of the Festival are funded by the Ministry of Culture through the budget of the Slovene National Theatre Maribor. Thus the total portion of the budget for the Maribor Theatre Festival allocated by the Ministry of Culture was estimated to approximately 70% while the portion of the budget allocated by the Slovene National Theatre Maribor was approximately 30%. I also strove for a number of years to build stronger working conditions for the Festival team. Although the position of an employed Festival producer was officially allocated in the overall budget, it was a position that remained unoccupied, even until my departure. Hence a good portion of the expenses connected to the core Festival team was covered from the programme budget. ? We modernised and updated the website with all the information about the current Festival, ongoing relevant information for the public and a Festival archive. Rezime 2009?2017 Summary 2009?2017 91 ? Mo?no smo intenzivirali stike z javnostjo, promocijo in tr?enje. Samo v prvih dveh letih smo prihodek od prodanih vstopnic pove?ali za ve? kot 100 %, vsako naslednje leto pa ?e za nekaj odstotkov. Odprli smo spletno trgovino, kjer je mogo?e kupiti festivalske publikacije in promocijske izdelke. ? Vpeljali smo festivalski abonma. ? Uvedli smo letna poro?ila, kjer so natanko popisani vsi dogodki in ocene vsakokratne pretekle izdaje. ? Uvedli smo festivalski avtobus na relaciji Ljubljana?Maribor. ? Dosledno smo vpeljali obvezno mednarodno strokovno ?irijo (dva tuja, trije doma?i ?lani) in prav tako pet?lansko ?irijo za Bor?tnikov prstan (dotlej tri?lanska). ? Pogovore po predstavah in o knji?nih izdajah sem zaupala mladim strokovnjakom. ? FBS se je vsako leto predstavil na Kulturnem bazarju. Internacionalizacija Odpiranje Festivala Bor?tnikovo sre?anje smo si zastavili dvotirno. Po eni strani smo ?eleli slovensko produkcijo pribli?ati mednarodni stroki in ji s tem pomagati odpreti vrata na tuje odre; po drugi pa smo del mednarodne produkcije ?eleli privabiti k nam, saj je Slovenija ena redkih evropskih dr?av brez velikega mednarodnega gledali?kega festivala. Slovenski showcase Iz tekmovalnega in spremljevalnega slovenskega programa smo na?rtno sestavljali izbor uprizoritev, namenjen mednarodni strokovni javnosti, selektorjem, umetni?kim direktorjem, programerjem, kritikom, poro?evalcem itd. Tak program, ki sem ga ve?ino let kurirala sama, ima predstavitveni in promocijski zna?aj ter pomeni odsko?no desko za gostovanja v tujini in pojavljanja v mednarodnih medijih. Njegovi u?inki so na ravni povabil v tujino sledljivi le v prvem gostovalnem nizu ? to je pojav tako imenovane sne?ene kepe ? saj gledali??a na vsakem festivalu dobijo nadaljnja povabila. V letih, ko smo na FBS na?rtno vabili mednarodne strokovnjake, so slovenske predstave gostovale tako reko? po vsem svetu in do?ivele ?tevilne objave v uglednih mednarodnih medijih. Vsako leto nas je obiskalo med trideset in ?tirideset tujih strokovnjakov. Kratek pregled najbolj odmevnih zgledov mednarodnih gostovanj: ? Macbeth After Shakespeare v izvedbi Mini teatra ? Gledali?ka olimpijada, Seul, Koreja, 2010; ? Preklet naj bo izdajalec svoje domovine! v izvedbi Slovenskega mladinskega gledali??a ? Festival Nova Drama/New drama, Bratislava, Slova?ka, 2011; ? 56. festival Sterijevo pozorje, Novi Sad, Srbija; ? Festival Stage, Helsinki, Finska; ? Bitef Beograd, Srbija; ? Festival Dialog Vroclav, Poljska; (Preklet naj bo izdajalec svoje domovine! je bil sicer rekorder Slovenskega mladinskega gledali??a in najverjetneje tudi slovenskega gledali??a sploh, saj je bil ve? kot ?estdesetkrat uprizorjen v tujini, in to v ve? kot dvajsetih dr?avah.) ? Ko sem bil mrtev v izvedbi SNG Drama Ljubljana ? Mednarodni gledali?ki festival Sibiu, Romunija, 2011; ? Gostija v izvedbi Zavoda Imaginarni ? Bitef Beograd, Srbija, 2012; ? Bartleby, pisar v izvedbi Mini teatra Ljubljana ? 57. festival Sterijevo pozorje, Novi Sad, Srbija, 2012; ? We introduced a deadline for applying with productions, books and the Bor?tnik Ring nominees. ? We created highly-detailed application forms to be filled in by the theatres when applying with their productions and also introduced application forms for nominating potential Bor?tnik Ring recipients and for applying to present the latest book publications in the frame of the Festival. Eventually, we put these applications online for all three groups. ? We became intensely present on Facebook and Instagram. ? We greatly intensified the PR, promotion and marketing. In the first two years alone, we managed to increase the box office return for over 100% and ever since then, it has increased steadily by several percent each year. We opened the Festival Shop with Festival publications and promotional products. ? We introduced the Festival subscription package. ? We introduced annual reports in which all the events and evaluations of the each previous Festival edition were listed in detail. ? We introduced the Festival bus for the route Ljubljana?Maribor?Ljubljana. ? We regularly configured the compulsory international jury of experts (two foreign, three local members) as well as the five-member jury for the Bor?tnik Ring Award (which had previously had three members). ? I entrusted the post-performance discussions and the book presentations to young experts. ? The Maribor Theatre Festival was presented each year at the Cultural Bazaar. Internationalisation We set out to open up the Maribor Theatre Festival on two fronts. On the one hand, we wanted to present the Slovenian production to the international expert arena, hence, assisting in bringing it to foreign stages; on the other hand, we strove to bring a part of the international production to our stages, as Slovenia is one of the few European countries without a major international theatre festival. Slovenian Showcase We planned the selection of productions from the Competition and Accompanying Slovenian Programmes aimed at the international expert public, selectors, artistic directors, festival programmers, critics, reporters, etc. This type of programme, which I curated mostly by myself, has a representative and promotional significance and has been a launchpad for touring abroad and for the presence in international media. Its effects in terms of invitations can be discerned only in the first leg of touring ? as it is otherwise a snowball effect ? since the theatres receive new invitations at each festival they attend. In the years in which we strategically invited international experts to Maribor Theatre Festival, the Slovenian productions toured all over the world and had numerous appearances in international media. Each year we hosted between thirty and forty foreign experts. A brief overview of the most outstanding examples of international tours: ? Macbeth After Shakespeare by Mini teater Ljubljana ? Seoul Theatre Olympics, South Korea, 2010; ? Damned Be the Traitor of His Homeland! by Mladinsko Theatre Ljubljana ? Nova Drama/New drama Festival, Bratislava, Slovakia, 2011; ? 56th Sterijino pozorje festival, Novi Sad, Serbia; ? Festival Stage Helsinki, Finland; ? Bitef, Belgrade, Serbia; ? International Theatre Festival Dialog ? Wroc?aw, Poland; 92 ? Mandi?Stroj v izvedbi Vie Negative in SNG Drama Ljubljana ? 39. mednarodni festival alternativnega in novega gledali??a Infant, Novi Sad, Srbija, 2012; ? Bitef Beograd, Srbija, 2013; ? Nevihta v izvedbi Mestnega gledali??a ljubljanskega ? Bitef Beograd, Srbija, 2013; ? Sofija, Bolgarija; ? 21. mednarodni gledali?ki festival Poletje v Varni, Varna, Bolgarija; ? Ponorela lokomotiva v izvedbi SNG Drama Ljubljana ? Sofija, Bolgarija, 2014; ? 22. mednarodni gledali?ki festival Poletje v Varni, Varna, Bolgarija; ? 46. mednarodni gledali?ki festival Tampere, Finska; ? Bitef Beograd, Srbija; ? Mednarodni filmski in gledali?ki festival Teart, Minsk, Belorusija; ? Performing Arts Festival, Seul, Ju?na Koreja, 2015; ? Mednarodni gledali?ki festival, Reka, Hrva?ka, 2016; ? Mrtvec pride po ljubico v izvedbi Pre?ernovega gledali??a Kranj ? 2. mednarodni festival alternativnega in novega teatra INFANT, Novi Sad, Srbija, 2015; ? 50. mednarodni festival DIMITRIA, Solun, Gr?ija; ? Mednarodni festival TESZT, Temi?var, Romunija, 2016; ? Festival MOT, Skopje, Makedonija; ? Iliada v izvedbi SNG Drama Ljubljana, MGL in Cankarjevega doma ? Mednarodni gledali?ki festival Torun, Poljska, 2016 (grand prix in ?e dve nagradi); ? Sofija, Bolgarija; ? 24. mednarodni gledali?ki festival Poletje v Varni, Varna, Bolgarija; ? Mednarodni gledali?ki festival Sibiu, Romunija, 2017; ? Rose Bernd v izvedbi SLG Celje ? Mednarodni gledali?ki festival Forest, Solun, Gr?ija, 2107; ? Tri sestre v izvedbi Zavoda Margareta Schwarzwald in UL AGRFT ? Mednarodni gledali?ki festival Theaterformen, Hannover, Nem?ija, 2017; ? Mednarodni festival TESZT, Temi?var, Romunija. Ena od na?ih prioritet je bila, da bi Festival Bor?tnikovo sre?anje postal osrednji promotor slovenske uprizoritvene ustvarjalnosti v mednarodnem prostoru. Za to pa je poleg mednarodnih gostovanj pomembna tudi prisotnost v najrelevantnej?ih strokovnih medijih po svetu. O FBS so poleg ?tevilnih doma?ih med drugim pisali tudi: Theater Heute (Nem?ija), Hystrio (Italija), Teatr (Poljska), New Theatre Quarterly (Velika Britanija), KOD (Slova?ka), Scena (Bolgarija), Szinh?z (Mad?arska), strokovni reviji Teatteri in Kritiikin Uutiset (Finska), ATCA International (ZDA), Nachtkritik (nachtkritik.de), Politika (Srbija), Revizor (Mad?arska), American Theatre (ZDA), Korean Theatre Journal (Ju?na Koreja), Scena (Srbija), in dve leti zapored je nastala posebna spletna platforma Dispatches, 2016, 2017, ki je nadrobno poro?ala o ve?ini festivalskih predstav. Mostovi Zasnovala, vpeljala in kurirala sem vsakoletni mednarodni program Mostovi, v okviru katerega (Damned Be the Traitor of His Homeland! is a record- breaking production of Mladinsko Theatre and most probably of the entire Slovenian theatre as it was presented over sixty times abroad in over twenty countries.) ? As I Lay Dead by the Slovenian National Theatre Drama Ljubljana ? Sibiu International Theatre Festival, Romania, 2011; ? the feast or the story of a savoury corpse or how roman abramovich ... by Imaginarni Institute ? Bitef, Belgrade, Serbia, 2012; ? Bartleby, the Scrivener by Mini teater Ljubljana ? 57th Sterijino pozorje festival, Novi Sad, Serbia, 2012; ? Mandi?Stroj by Via Negativa and the Slovenian National Theatre Drama Ljubljana ? 39th International Festival of Alternative and New Theatre INFANT, Novi Sad, Serbia, 2012; ? Bitef, Belgrade, Serbia, 2013; ? The Storm by the Ljubljana City Theatre ? Bitef, Belgrade, Serbia, 2013; ? Sofia, Bulgaria; ? 21st International Theatre Festival Summer in Varna, Bulgaria; ? The Crazy Locomotive by the Slovenian National Theatre Drama Ljubljana ? Sofia, Bulgaria, 2014; ? 22nd International Theatre Festival Summer in Varna, Bulgaria; ? 46th International Theatre Festival Tampere, Finland; ? Bitef, Belgrade, Serbia; ? International Theatre Forum ?Teart?, Minsk, Belorussia; ? Performing Arts Festival Seoul, South Korea, 2015; ? International Small Scenes Theatre Festival, Rijeka, Croatia, 2016; ? The Dead Man Comes for His Sweetheart by Pre?eren Theatre Kranj ? 42nd International Festival of Alternative and New Theatre INFANT, Novi Sad, Serbia, 2015; ? 50th International Festival DIMITRIA, Thessaloniki, Greece; ? TESZT International Festival, Timisoara, Romania, 2016; ? MOT Festival, Skopje, Macedonia; ? Iliada by the Slovenian National Theatre Drama Ljubljana, Ljubljana City Theatre and Cankarjev dom ? International Theatre Festival Torun, Poland, 2016 (Grand Prix and two more awards); ? Sofia, Bulgaria; ? 24th International Theatre Festival Summer in Varna, Bulgaria; ? Sibiu international Theatre Festival, Romania, 2017; ? Rose Bernd by the Celje People?s Theatre ? International Theatre Festival Forest, Thessaloniki, Greece, 2107; ? Tri sestre by Margareta Schwarzwald Association and UL AGRFT ? International Theatre Festival Theaterformen, Hannover, Germany, 2017; ? International Theatre Festival TESZT, Timisoara, Romania; One of our priorities was for the Maribor Theatre Festival to become the central promoter of Slovenian performing arts in the international context. Besides promoting international touring, the other crucial factor in that respect is the Festival?s presence in the most relevant expert media throughout the world. Apart from local printed media, the following publications published articles on the Maribor Theatre Festival: Theater Heute (Germany), Hystrio (Italy), Teatr (Poland), New Theatre Quarterly (United Kingdom), KOD (Slovakia), Scena (Bulgaria), Szinh?z (Hungary), professional journals Teatteri and Kritiikin Uutiset (Finland), ATCA International (USA), Nachtkritik (nachtkritik. 93 so v osmih letih na FBS s svojimi predstavami sodelovala najve?ja imena evropskega gledali??a: Ivo van Hove, Zolt?n Bal?sz, Jan Klata, Heiner Goebbels, Jan Fabre, Oskaras Kor?unovas, B?la Pint?r, Herbert Fritsch, Israel Galv?n, Martin Ku?ej, Gunilla Heilborn, Rados?aw Rychcik, Csaba Horv?th, Igor Vuk Torbica, Anica Tomi?, Yana Ross, Gunilla Heilborn, Andra? Urban, Halina Reijn, Danuta Stenka in ?e mnogi drugi. Pri tem so nam organizacijsko in finan?no pomagali zlasti Goethe Institut Ljubljana, Fonds Podiumkunsten iz Amsterdama, litovsko ministrstvo za kulturo, Acci?n Cultural iz ?panije, veleposlani?tva Poljske, ?panije, ?e?ke, Nizozemske, Hrva?ke, Mad?arske, Srbije idr. Mednarodni fokus Uvedla sem mednarodni programski sklop fokus, znotraj katerega smo se z razli?nih gledali?kih aspektov osredoto?ili in predstavili naslednje dr?ave: Slova?ko, ?e?ko, Nizozemsko, ?panijo, Poljsko, ?vedsko in v letu 2017 Finsko. Zasnovala sem knji?no zbirko Sodobna evropska drama in kot urednica izdala sedem knjig s prevodi sodobne dramatike izbranih dr?av: Sodobna slova?ka drama, Sodobna ?e?ka drama, Sodobna nizozemska drama, Sodobna drama v ?paniji, Sodobna poljska drama, Sodobna ?vedska drama, Sodobna finska drama. Prevedene drame so v ?asu festivala do?ivele bralne izvedbe, ki so jih pod vodstvom profesionalnih re?iserjev izvajali ?tudenti igre na AGRFT. Vsak fokus je uvedel predavatelj (v?asih celo dva) iz izbrane dr?ave in predstavil bodisi njihov gledali?ki ustroj, bodisi katero od strokovnih ustanov, bodisi zgodovinski in sedanji pomen dramske pisave ipd. V vsaki dr?avi smo poiskali partnerske ustanove, s katerimi smo navezali stike (Slova?ki gledali?ki in?titut iz Bratislave, ?e?ki gledali?ki in?titut iz Prage, Acci?n Cultural iz Madrida, Institut Ram?n Llul iz Barcelone, Fonds Podiumkunsten iz Amsterdama, Poljski gledali?ki in?titut iz Var?ave, Scensverige ? ?vedski ITI iz Stockholma in Finski TINFO iz Helsinkov). S temi organizacijami smo sodelovali strokovno, logisti?no, prakti?no in poslovno. Avtorske pravice za natis dramskih besedil v knji?ni obliki so nam vsi dramatiki iz omenjenih dr?av podarili. Strokovne platforme Ker je za vsak festival vitalnega pomena tudi njegov teoretski strokovni del, ki dopolnjuje nabor predstavljenih uprizoritev, smo si prizadevali vsako leto spodbuditi, soorganizirati ali sozasnovati dva ali tri tovrstne dogodke. Tako se je v osmih letih zvrstilo triindvajset doma?ih in mednarodnih strokovnih pogovorov, simpozijev, znanstvenih konferenc in okroglih miz: 2009 1. mednarodni simpozij Umetnost, kultura, mesto v sodelovanju z Dru?tvom gledali?kih kritikov in teatrologov Slovenije 2. mednarodni simpozij Povezovanje festivalov zahodnega Balkana v sodelovanju s Slovenskim centrom ITI (SC ITI) 2010 3. mednarodna konferenca Interkritika v sodelovanju z DGKTS in Mednarodno zvezo gledali?kih kritikov (IATC/AICT) de), Politika (Serbia), Revizor (Hungary), American Theatre (USA), Korean Theatre Journal (South Korea), Scena (Serbia); for two consecutive years (2016/2017) the special web platform Dispatches reported in detail about the majority of the Festival productions. The Bridges Programme I conceived, launched and curated the yearly international programme Bridges. In the eight years of its existence, some of the greatest names of European theatre took part in it with their productions: Ivo van Hove, Zolt?n Bal?sz, Jan Klata, Heiner Goebbels, Jan Fabre, Oskaras Kor?unovas, B?la Pint?r, Herbert Fritsch, Israel Galv?n, Martin Ku?ej, Gunilla Heilborn, Rados?aw Rychcik, Csaba Horv?th, Igor Vuk Torbica, Anica Tomi?, Yana Ross, Gunilla Heilborn, Andra? Urban, Halina Reijn, Danuta Stenka and many others. The realisation of this programme was organisationally and financially supported with the assistance of the Goethe Institute Ljubljana, Fonds Podiumkunsten from Amsterdam, the Lithuanian Ministry of Culture, Acci?n Cultural from Spain, the embassies of Poland, Spain, Czech Republic, the Netherlands, Croatia, Hungary, Serbia and others. The Focus Programme I also introduced an international programme cluster named Focus. Each year, we focused on and presented from various aspects the following countries: Slovakia, Czech Republic, the Netherlands, Spain, Poland, Sweden and, in 2017, Finland. I established the literary collection Contemporary European Drama and as editor published seven books with translations of contemporary dramatic literature of the selected countries: Contemporary Slovakian Drama, Contemporary Czech Drama, Contemporary Dutch Drama, Contemporary Drama in Spain, Contemporary Polish Drama, Contemporary Swedish Drama and Contemporary Finnish Drama. During each Festival edition, the translated plays had their staged readings directed by professional directors and performed by the students of UL AGRFT. Each Focus Programmme was introduced by a special guest (at times two of them) from the country in focus who presented their theatre system, either through some of the professional institutions or through the historical and present-day significance of playwriting, etc. In each country we sought for partner institutions with whom we established connections (Slovakian Theatre Institute in Bratislava, Czech Theatre Institute in Prague, Acci?n Cultural from Madrid, Ramon Llul Institute from Barcelona, Fonds Podiumkunsten from Amsterdam, Polish Theatre Institute from Warsaw, Scensverige ? Swedish ITI from Stockholm and Finnish TINFO from Helsinki). We collaborated with these organisations professionally, logistically, practically and business-wise. All the authors from the abovementioned countries generously allowed us to publish their plays without a copyright fee. Expert platforms As the theoretical-expert segment complementing the selection of presented productions is of vital importance for any festival, we strove each year to instigate, co-organise or co-conceive two to three events of that kind. Hence, in eight years we carried out twenty-three local and international professional debates, symposia, scientific conferences and round-table discussions: 94 4. mednarodni simpozij Dramaturgija med realnostjo in vizijo: vloga dramaturgije ? klju? do ustvarjalnega procesa v gledali??u v sodelovanju s SC ITI 2011 5. mednarodni simpozij Koliko politike, koliko fa?izma? v sodelovanju z DGKTS 6. mednarodni simpozij Umetni?ki festivali in stalno delujo?e kulturne ustanove v sodelovanju z European Festivals Research Project (EFRP) 7. okrogla miza o prevajanju za gledali??e Dramsko besedilo na poti od avtorja do odra v sodelovanju z Dru?tvom knji?evnih prevajalcev 2012 8. okrogla miza z naslovom 4 + 4 + 4 ? Prispevki o vizijah gledali??a v sodelovanju z Dru?tvom gledali?kih re?iserjev 9. mednarodni Seminar za mlade kritike v sodelovanju z IATC/AICT 2013 10. konferenca Koncepti, terminologija, ideje v sodelovanju z DGKTS 11. mednarodna strokovna konferenca Od odra do arhiva v sodelovanju s Centrom za teatrologijo in filmologijo UL AGRFT 12. strokovni pogovor o prevajanju Shakespeara Svet se maje, jaz pa rojen, da mu ravnam te?aje v sodelovanju z DSKP 13. strokovna razprava o medijih in kulturi O:Miza v organizaciji in izvedbi FBS 2014 14. mednarodni simpozij Gledali??e upora v sodelovanju z Raziskovalnim programom in Centrom za teatrologijo in filmologijo UL AGRFT 15. znanstveni simpozij o dramskem in gledali?kem opusu Vitomila Zupana Razmaknite se, zidovi, ?love?kim sanjam v sodelovanju z DGKTS, AGRFT, FF v Ljubljani in SLOGI 16. strokovni pogovor Nemi lik(i) v dramatiki, na odru in v realnosti v sodelovanju s Simono Hamer 2015 17. mednarodna znanstvena konferenca Scenske umetnosti, migracije, politika: Slovensko gledali??e kot sooblikovalec medkulturnih izmenjav v sodelovanju z Raziskovalnim programom UL AGRFT 18. mednarodna znanstvena konferenca Gledali??e v mestu v sodelovanju z Raziskovalnim programom UL AGRFT in skupino STEP 19. strokovno sre?anje Alternativa danes? O umetnosti ustvarjanja gledali??a zunaj produkcijskih ultimatov v sodelovanju z DGKTS 20. Videno in nevidno: Predstavniki ob?instva ? pogovor s Tonetom Partlji?em 21. Videno in nevidno: Delavci iz zaodrja ? pogovor s Tonetom Partlji?em 2016 22. znanstvena konferenca Za?etki, dose?ki in nasledki slovenskega gledali??a moderne dobe: 150-letnica Dramati?nega dru?tva v Ljubljani v sodelovanju s SLOGI in Raziskovalnim programom UL AGRFT 2009 1. Art, Culture, City, an international symposium in collaboration with the Association of Theatre Critics and Researchers of Slovenia 2. Intertwining of the Festivals of the Western Balkans, an international symposium in collaboration with the Slovenian centre ITI (SC ITI) 2010 3. Intercriticism, an international conference in collaboration with the Association of Theatre Critics and Researchers of Slovenia and the International Association of Theatre Critics (IATC/AICT) 4. Dramaturgy Between the Reality and Vision: The Role of Dramaturgy ? the Key for the Theatre- making Process, an international symposium in collaboration with the Slovenian Centre ITI 2011 5. How Much Politics, How Much Fascism?, an international symposium in collaboration with the Association of Theatre Critics and Researchers of Slovenia 6. Artistic Festivals and Continuously Operating Cultural Organisations, an international workshop in collaboration with the European Festivals Research Project (EFRP) 7. The Journey of a Dramatic Text from Author to Stage, a round-table discussion on translating in theatre in collaboration with the Slovenian Association of Literary Translators 2012 8. 4 + 4 + 4 ? Contributions on the Visions of Theatre, a round-table discussion in collaboration with the Association of Theatre Critics and Researchers of Slovenia and the Association of Theatre Directors 9. Young Critics?, an international event in collaboration with IATC/AICT 2013 10. Concepts, Terminology, Ideas, a conference in collaboration with the Association of Theatre Critics and Researchers of Slovenia 11. From Stage to Archive, an international expert conference in collaboration with the Centre for Theatre and Film Studies, UL AGRFT 12. ?The time is out of joint: O cursed spite, that ever I was born to set it right!?, an expert debate on translating Shakespeare in collaboration with the Slovenian Association of Literary Translators 13. EX:pert Table, an expert debate on media and culture organised and carried out by the Maribor Theatre Festival 2014 14. Theatre of Resistance, an international academic symposium in collaboration with the Research Programme and Centre for Theatre and Film Studies, UL AGRFT 15. Walls, Move Apart and Make Way for Human Dreams!, a scientific symposium on the dramatic and literary opus of Vitomil Zupan in collaboration with the Association of Theatre Critics and Researchers of Slovenia, UL AGRFT, UL Faculty of Arts and the Slovenian Theatre Institute 16. Silent Character(s) in Dramatic Literature, on Stage and in Reality, a (practical) round-table discussion in collaboration with Simona Hamer 95 23. simpozij Vitalna zvrst na robu medijskega prostora v sodelovanju z DGKTS in RTV Slovenija (Radio Slovenija, 3. program) Leta 2010 smo v okviru festivala gostili sestanek Izvr?nega odbora mednarodne zveze gledali?kih kritikov IACT/AITC, ki se ge je udele?ilo 15 strokovnjakov z vsega sveta. Razstave Pred vsakoletnim odprtjem festivala smo pripravili tudi tematsko razstavo, ki se je vezala na Festival Bor?tnikovo sre?anje ali na razli?na druga gledali?ka obele?ja. Pri tem smo si prizadevali za povezovanje z razli?nimi slovenskimi galerijskimi, muzejskimi in drugimi kulturnimi ustanovami. ? 45 let Bor?tnikovega sre?anja (1966?2010) v sodelovanju s Slovenskim gledali?kim muzejem, 2010 ? 25 + 25 ? Gledali?ka scenografija Marka Japlja, 2011 ? Podobe karizme, fotografska razstava portretov in fotografij iz vlog Staneta Severja, v sodelovanju z Lo?kim muzejem ?kofja Loka, 2012 ? Meta Vrani?, portreti gledali?kih kolegov ? Vinjeta za Petra, razstava ob 80. obletnici rojstva Petra Bo?i?a, v sodelovanju z NUK in MOL, 2013 ? Podobe praznovanja, razstava plakatov preteklih 49 sre?anj FBS, 2014 ? Gremo na Bor?tnika!, razstava ob 50. obletnici FBS, v sodelovanju z Muzejem narodne osvoboditve in SLOGI, 2015 ? Narod si bo pisal sodbo sam, razstava ob 140. obletnici rojstva Ivana Cankarja, v sodelovanju s Pokrajinskim muzejem Ko?evje, ob?ino Ko?evje in ZRC SAZU, 2016 Digitalizacija Velik projekt, ki smo ga za?eli leta 2011, je bila digitalizacija. V sodelovanju z zavodom Novi Zato. in Slovenskim gledali?kim muzejem oziroma pozneje in?titutom smo se lotili digitaliziranja teko?ih prejemnic in prejemnikov Bor?tnikovega prstana in najbolj?ih nagrajenih uprizoritev. Rezultate smo v obliki spletnih razstav, tako imenovanih e-razstav, predstavljali in lansirali v ?asu festivala. Na?a ideja je bila digitalizirati tudi celotno zgodovino festivala, a se to zaradi preskromnih kadrovskih, finan?nih in strokovnih mo?nosti ni zmoglo udejanjiti. Mladi Ena od pomembnih novosti je bila celostno integriranje mladih v festivalsko dogajanje. ?tudenti AGRFT niso ve? samo gostovali s svojimi produkcijami, temve? so postali na?i gostje ves ?as trajanja festivala. Na razli?ne na?ine smo jih dejavno vklju?evali v dogajanje: pri zasnovi in realizaciji biltenov, bralnih uprizoritvah, na pogovorih po tekmovalnih in mednarodnih predstavah, v razli?nih delavnicah s tujimi re?iserji, z mo?nostjo brezpla?nega ogleda vseh festivalskih predstav in udele?bo na vseh drugih dogodkih itd. Drugi segment aktivno anga?iranih mladih je prihajal iz lokalnega okolja. Na festivalu smo leta 2010 prvi? javno objavili poziv za prostovoljce. In odtlej se je vseskozi prigla?alo veliko ?tevilo ?tudentov mariborske univerze, zadnja leta pa tudi starej?i ob?ani, ki so ?eleli navezati stik z gledali?kim svetom in utripom. Prostovoljci so delali razli?na opravila, ki so jih izbirali po svojih prioritetah. Nekateri so pomagali pri organizacijskih in prakti?nih re?eh, drugi so imeli strokovne dol?nosti, npr. 2015 17. Performing Arts, Migration, Politics: Slovenian Theatre as an Agent of Intercultural Exchange, an international conference in collaboration with the Research Programme of UL AGRFT 18. Theatre in the City, an international scientific conference in collaboration with the Research Programme of UL AGRFT and the group STEP (Project on European Theatre Systems) 19. The Alternative Today? The Art of Creating Theatre Outside the Production Ultimatums, a professional meeting in collaboration with the Association of Theatre Critics and Researchers of Slovenia 20. The Visible and The Invisible: The Audience, a talk with Tone Partlji? 21. The Visible and The Invisible: The Backstage Workers, a talk with Tone Partlji? 2016 22. The Beginnings, Achievements and Successors of Slovenian Theatre in the Modern Era: The 150th Anniversary of the Dramatic Society in Ljubljana, a scientific conference in collaboration with the Slovenian Theatre Institute and the Research Programme of UL AGRFT 23. The Vital Genre on the Edge of the Media, a symposium in collaboration with the Association of Theatre Critics and Researchers and RTV Slovenia (Radio Slovenia ? 3rd Programme) In 2010 we hosted the meeting of the Executive Board of the International Association of Theatre critics IACT/AITC within the frame of the festival. Fifteen experts from worldwide attended the meeting. Exhibitions Prior to the opening of each year?s Festival edition we opened a thematic exhibition that was either connected to the Maribor Theatre Festival or to various other theatre features. In doing this, we strove to collaborate with different Slovenian galleries, museums and other cultural institutions. ? 45 Years of the Maribor Theatre Festival (1966?2010), in collaboration with the Slovenian Theatre Museum, 2010 ? 25+25 ? The Stage Designs of Marko Japelj, 2011 ? Images of Charisma, a photographic exhibition of portraits and photographs from of Stane Sever in various roles, in collaboration with the ?kofja Loka Museum, 2012 ? Alenka Bartl, Costume Designer, a virtual exhibition in collaboration with the Slovene Theatre Museum and Novi ZATO. ? Meta Vrani?, portraits of theatre colleagues ? A Vignette For Peter, exhibition on the occasion of the 80th anniversary of the birth of Peter Bo?i?, in collaboration with the National and University Library and the Municipality of Ljubljana, 2013 ? Images of Celebration, exhibition of Maribor Theatre Festival posters from previous years, 2014 ? Bor?tnik Bound!, exhibition celebrating 50 years of the Maribor Theatre Festival, in collaboration with the National Liberation Museum Maribor and the Slovenian Theatre Institute, 2015 ? Lela B. Njatin: ?A Nation shall write the Verdict for Itself by Itself?, an exhibition on the occasion of the 140th anniversary of Ivan Cankar?s birth, organised by the Regional Museum Ko?evje and co-produced by the Municipality of Ko?evje and the Scientific Research Centre of the Slovenian Academy of Sciences and Arts, Ljubljana, 2016 96 lektoriranje, sovodenje pogovorov o knji?nih izdajah, delo z mednarodnimi skupinami, prevajanje in podobno. Tretji steber posve?anja mladim je bil osredinjen predvsem na Prvo gimnazijo. Z njimi smo vsa leta zgledno sodelovali pri soorganizaciji vsakoletnih fokusov, zadnja leta pa se je izvrstno utrdil tudi novi projekt Instant drama/predstava, ki je nastajal pod mentorskim vodstvom prof. ?anine Mir?evske. Dijaki so v enem dnevu napisali, na?tudirali in javno uprizorili nekaj svojih dramskih prizorov. Kar nekaj let smo s Slavisti?nim dru?tvom Maribor in ?tudentskim svetom FF UM spodbujali zamisel branja literature na javnih mestih in tako je v ?asu Bor?tnikovega sre?anja potekal projekt Literatura na cesti. Povezovanje Ena od zastavljenih nalog je bila tudi odpiranje festivala na drugih mestnih lokacijah in povezovanje med razli?nimi mariborskimi kulturnimi in izobra?evalnimi ustanovami. Na?a osrednja zaveznika sta bila Lutkovno gledali??e Maribor in Narodni dom Maribor, saj smo v njihovih prostorih lahko odigrali dobr?en del programa, v Vetrinjski dvor pa smo preselili pogovore po predstavah, ki so bili sicer tradicionalno ume??eni na Mali oder SNG. Odli?ne stike smo navezali s ?TUK-om, akademijsko produkcijo smo preselili v njihov kampus in tako pridobili lokalno ?tudentsko publiko. Tradicionalno je postalo sodelovanje z Muzejem narodne osvoboditve, Umetnostno galerijo, Pokrajinskim muzejem, Univerzo v Mariboru, Almo Mater, Prvo in II. gimnazijo, Kiblo, Salonom uporabnih umetnosti, GT 22 itd. Poudarka V letu, ko je bil Maribor evropska prestolnica kulture, je bil gotovo najpresti?nej?i dogodek otvoritvena predstava, velika mednarodna koprodukcija When the Mountain Changed its Clothing. V zgodovini Bor?tnikovega sre?anja se je zgodilo prvi?, da je festival sodeloval kot koproducent, ?e posebno pa kot enakopraven partner velike mednarodne koprodukcijske mre?e. Producent te uprizoritve je bil ugledni nem?ki festival Ruhrtriennale iz Bochuma, ustvarila pa sta jo re?iser Heiner Goebbels in vokalno gledali??e Karmine ?ilec Carmina Slovenica. Koproducenti tega velikega mednarodnega projekta so bili poleg FBS in Maribora 2012 ? EPK ugledne mednarodne ustanove Steirischer Herbst (Gradec, Avstrija), Festival D?Automne (Paris, Francija), Grand Th??tre Luxembourg (Luksemburg), Kunstfestspiele Herrenhausen (Hannover, Nem?ija), kunstenfestivaldesarts (Bruselj, Belgija), Holland Festival (Amsterdam, Nizozemska). Petdesetletnico festivala smo praznovali vse leto. Predsednik dr?ave Borut Pahor je povabil prstance in prstanke na sprejem v predsedni?ko pala?o. Udele?ili smo se slovesnega odprtja Bor?tnikove rojstne hi?e v Cerkljah na Gorenjskem, odprtje festivala pa je zaznamovala velika pregledna razstava o zgodovini festivala, ki smo jo pripravili skupaj z Muzejem narodne osvoboditve in Slovenskim gledali?kim in?titutom. Ob tej prilo?nosti je iz?el tudi obse?en katalog z vrsto temeljnih prispevkov, nepogre?ljivih za ohranjanje spomina in pomena festivala. Digitalisation Digitalisation was a huge project that we launched in 2011 in collaboration with Novi ZATO. and the Slovenian Theatre Museum, which later became the Slovenian Theatre Institute. We tackled the digitalisation of current recipients of Bor?tnik Ring as well as the awarded productions. We presented and exhibited the results in the form of the so-called e-xhibitions during the festival. Our aim was also to digitise the entire history of the Festival, yet due to limited resources ? human, financial and professional ? we were not able to carry out that idea. Youth One of the significant new developments in this period was the wholesome integration of the younger generations and emerging theatre professionals into the Festival events. Students of UL AGRFT not only presented their student productions but were also our guests during the entire Festival. We included them actively in various ways in the unfolding of the Festival: in the editing process of the Bulletin, in staged readings, in the debates following productions from the Competition and International Programmes, in various workshops with foreign directors, with the possibility to attend all Festival productions free of charge and take part in all other events, etc. Another segment of actively engaged young people arose from the local environment. It was in 2010 that we announced for the first time at the Festival an open call for volunteers. Ever since then a large number of students of the University of Maribor have applied for work. In the past few years we have also included elderly people and unemployed people who expressed an interest in making a connection with the theatre world and its pulse. Volunteers were in charge of different tasks chosen by their priorities. Some helped with the organisation and practical matters, some took over professional tasks, such as proofreading, co-moderating discussions at the book presentations, working with international groups, translating, etc. The third pillar of our dedication to the younger generations was focused mainly on the First Grammar School Maribor. Throughout these eight years we commendably collaborated with the school in organising our yearly Focus Programme. In the most recent years, the new project Instant Play/Performance, during which high school students write, rehearse and publicly stage some of their dramatic scenes under the mentorship of professor ?anina Mir?evska, has had outstanding response and results. We also collaborated for a number with years with the Maribor Slavic Association and the Student Council of the Faculty of Arts of the University of Maribor in instigating literary readings in public places. Thus the project Literature in the Streets took place during the Maribor Theatre Festival. Connecting/Networking One of the envisaged tasks was to expand the Festival to other city locations and to connect various Maribor cultural and educational institutions together. Our main allies in this endeavour were the Maribor Puppet Theatre and Narodni dom Maribor, as we presented a good portion of our programme in their spaces. We also moved the round-table discussions, which had traditionally taken place on the Small Stage of the Slovene National Theatre Maribor, to Vetrinj Mansion after this venue became established during the Maribor European Capital of Culture 2012 project. We also created excellent bonds with ?TUK as we moved the UL AGRFT productions to a location within the University of Maribor campus, thus better reaching the local student audience. Our 97 Nagrade In za konec ?e nagrade, ki smo jih v teh letih prejeli kot potrditev dobrega in uspe?nega dela: ? priznanje sveta SNG Maribor za izreden prispevek k ureditvi statusa FBS, 2010 ? priznanje sveta SNG Maribor za uspe?no delo v letu 2011 in nadpovpre?en prispevek k uveljavitvi SNG Maribor, 2012 ? Glazerjeva listina, 2013 ? Pro universitate labacensis, 2013 ? Outstanding, 2014 ? zlata maska, festival Zlata maska, Moskva, 2016 (za koprodukcijsko uprizoritev When the Mountain Changed its Clothing) Nagrad, ki jih je v ?asu na?ega sodelovanja prejel ?hi?ni? oblikovalec Nenad Cizl, je obilje in skupaj smo se veselili prav vsake. To je bil lep, ustvarjalen in ploden ?as. Hvala vsem, ki ste mi pomagali. Alja Predan, umetni?ka direktorica Festivala Bor?tnikovo sre?anje (2009?2017) collaboration with the National Liberation Museum Maribor also became traditional, as well as collaborations with the Maribor Art Gallery, the Regional Museum Maribor, the University of Maribor, Alma Mater Europea ? ECM, the First Grammar School Maribor, the Second Grammar School Maribor, the Salon of Applied Arts, GT22,?etc. Emphasises In?the?year?of?the?project?Maribor?European?Capital?of?Culture?2012,? one of the most prestigious events of the entire manifestation was the opening production of the Maribor Theatre Festival, a massive international co-production entitled When the Mountain Changed Its Clothing.?This?was?the?first?time?in?the?history?of?the?Maribor? Theatre Festival that the Festival was a co-producer, let alone as an equal?partner?within?a?big?international?co-production?network.?The? producer of this production was the renowned festival Ruhrtriennale from Bochum, the authors were the director Heiner Goebbels and Karmina??ilec?s?vocal?theatre?Carmina?Slovenica.?Besides?the?Maribor? Theatre?Festival?and?Maribor?ECoC?2012,?the?co-producers?of?this?big? international project included renowned international institutions Steirischer Herbst (Graz, Austria), Festival D?Automne (Paris, France), Grand Th??tre Luxembourg (Luxemburg), Kunstfestspiele Herrenhausen (Hannover, Germany), kunstenfestivaldesarts (Brussels,?Belgium),?Holland?Festival?(Amsterdam,?the?Netherlands). Two?years?later,?in?2014,?we?celebrated?the?50th anniversary of the Festival?throughout?the?entire?year.?The?President?of?Slovenia,?Borut? Pahor, made a reception for all of the living recipients of the Bor?tnik Ring?Award?in?the?Presidential?Palace.?We?also?took?part?in?the? celebratory opening of the birthplace of Ignacij Bor?tnik in Cerklje at Gorenjska.?The?opening?of?the?Festival?was?marked?by?a?big?exhibition? dedicated to the history of the Festival, which we prepared together with the National Liberation Museum Maribor and the Slovenian Theatre?Institute.?On?this?occasion,?a?catalogue?was?published? with a number of essentially important essays, indispensable for preserving?the?memory?and?the?significance?of?the?Festival. Awards And last but not least, the awards that we received during the eight?years,?as?a?confirmation?of?our?good?and?successful?work: ? The Acknowledgement of the Board of the Slovene National Theatre Maribor for the outstanding contribution in regulating?the?Maribor?Theatre?Festival?status,?2010? ? The Acknowledgement of the Board of the Slovene National Theatre Maribor for the successful work in 2011?and?the?outstanding?contribution?to?the?recognition? of?the?Slovene?National?Theatre?Maribor,?2012? ? Glazer?s?Credential?of?the?Municipality?of?Maribor,?2013 ? Pro?universitate?labacensis?of?the?University?of?Ljubljana,?2013 ? Outstanding,?2014? ? Golden?Mask,?Golden?Mask?Festival,?Moscow,?2016?(for?the? co-production When the Mountain Changed its Clothing) Nenad Cizl, the ?house? designer, received during the time of our collaboration a number of awards and we were rejoicing together each and?every?one?of?them.? It?was?a?beautiful,?creative?and?fruitful?time.? Thank?you?to?everyone?who?assisted?me?in?it.? Alja Predan Maribor?Theatre?Festival?Artistic?Director?(2009?2017) 98 99 51. Festival Bor?tnikovo sre?anje 51st Maribor Theatre Festival 14.?23. 10. 2016 Umetni?ka direktorica Artistic director Alja Predan Selektorica tekmovalnega in spremljevalnega programa Competition and Accompanying Programme Selector Petra Vidali Strokovna ?irija Jury of Experts Zala Dobov?ek, Toma? Guben?ek, Martin Ku?ej, Ivor Martini?, Nina ?orak ?irija za Bor?tnikov prstan Jury for the Bor?tnik Ring Award Ljerka Belak, Bla? Lukan, Vlado Novak, Alja Predan, Matja? Zupan?i? foto photo: peter uhan 101 Dare Vali?, Recipient of the Bor?tnik Ring Award 2016 The acting career of this year?s winner of the Bor?tnik Ring, Dare Vali?, is tied to his creative activities in the Slovenian National Theatre Drama Ljubljana. From the 119 results in the Repertory section on the Slovenian theatre portal Sigledal.org or rather from approximately 110 documented roles that he played in his life, the large majority of them were created at SNT Drama. But not all and not from the beginning. He gained regular employment at SNT Drama Ljubljana relatively later, in 1971, in his thirties, before that he had of course already acted at Drama; his first appearance, documented on the above named portal, is the role of the President in Miller?s drama After the Fall in 1965. Despite the fact that in his opus we find performances in nearly all of the Slovenian theatres, from Ljubljana City Theatre to SNT Opera and Ballet Ljubljana, from Pre?eren Theatre Kranj to Primorsko Theatre Nova Gorica, from Slovene Repertory Theatre in Trieste and Koper Theatre to the Drama of the SNT Maribor and even some performances in the so-called non-institutional production, such as Glej Theatre, Cankarjev dom or ?pas teater, but those roles ? largely ones with one-off guest appearances ? are noticeably less than those in his home theatre. Thus it?s no exaggeration if we say that SNT Drama Ljubljana is (was) Vali??s destiny. And indeed, at Drama, Dare Vali? developed into one of the most recognisable actors of his generation and of the Drama Ljubljana during its for some more and for others less fortunate historical period. First, were the 1960s when, the critic Josip Vidmar wrote in 1966 about the young actor who had just finished his studies at the acting academy (he had enrolled in the Academy of Drama Arts in 1961), that in the production A Man for All Seasons ?he didn?t have the opportunity to show his potential?; two years later, the same critic already recognised Vali? for one of his roles in The Oresteia, that of Pylades, saying that he played ?decisively and lively?, while playing the role of the guard ?tensely, suggestively with a great physical capacity?. Obviously already in the beginning, the tall and always vocally articulate Vali? (in 1980 among other awards he also received the award for the most assured stage language at the Maribor Theatre Festival), whom critic Jo?e Javor?ek recognised ten years later for his characteristic ? forcefulness?, had been impossible to overlook. The 1970s, the most fertile of Vali??s period, followed with a whole line of roles. Here, we can only list a few: Alexander in Alexander of the Empty Hands, Bertrand in Na?ves hirondelles, Tancredi in L?Anconitana, Cavaliere di Ripafratta in Mirandolina, Charmant in Operetta, Apollon Viktorovich Murzavetsky in Wolves and Sheep, Constantine in Vaniushin?s Children, Jonathan Jeremiah Dare Vali?, prejemnik Bor?tnikovega prstana 2016 Igralstvo leto?njega nagrajenca Dareta Vali?a je vezano na njegovo ustvarjalno delovanje v ljubljanski Drami. Od 119 zadetkov v Repertoarju na gledali?kem spletnem portalu Sigledal oziroma od okrog 110 dokumentiranih vlog, ki jih je v svojem ?ivljenju odigral, jih je velika ve?ina nastala ravno v Drami. A ne vse in ne kar od za?etka. V SNG Drama Ljubljana se je namre? redno zaposlil relativno pozno, leta 1971, pri tridesetih, pred tem pa v Drami seveda ?e igral, prvi nastop, ki ga zazna omenjeni portal, je vloga Predsednika v Millerjevi igri Po padcu leta 1965. ?eprav v njegovem opusu najdemo nastope v skoraj vseh slovenskih gledali??ih, od Mestnega gledali??a ljubljanskega ter Opere in baleta SNG Ljubljana, Pre?ernovega gledali??a Kranj, Primorskega dramskega gledali??a Nova Gorica, Slovenskega stalnega gledali??a Trst in Gledali??a Koper do Drame Slovenskega narodnega gledali??a Maribor, ob tem pa nekaj nastopov v tako imenovani neinstitucionalni produkciji, denimo v Gledali??u Glej, Cankarjevem domu ali ?pas teatru, pa je teh vlog ? gre ve?inoma za enkratna gostovanja ? ob?utno manj kot tistih v njegovem mati?nem gledali??u. Zato lahko brez pretiravanja re?emo, da je (bila) ljubljanska Drama Vali?eva usoda. In v resnici se je Dare Vali? ravno v Drami razvil v enega najprepoznavnej?ih igralcev svoje generacije, pa tudi ljubljanske Drame v nekem njenem za ene bolj in za druge manj sre?nem zgodovinskem obdobju. Najprej so tu ?estdeseta leta preteklega stoletja, ko za mladega igralca, ki je kon?al Akademijo za gledali??e, radio, film in televizijo (1961. se je vpisal na Akademijo za igralsko umetnost), leta 1966 kritik Josip Vidmar zapi?e, da v predstavi ?lovek za vse ?ase ?ni imel prilo?nosti pokazati svoje sposobnosti?, dve leti pozneje pa Vali?u ?e podeli priznanje za eno izmed njegovih vlog v Orestei, za vlogo Pilada, ki ga je po kritikovem mnenju igral ?odlo?no in ?ivo?, medtem ko je vlogo stra?arja odigral ?napeto, sugestivno, z veliko fizi?no zmogljivostjo?. O?itno Vali?a, visokega in govorno vselej artikuliranega igralca (leta 1980 je med drugim prejel nagrado za najbolj dognan odrski jezik na Festivalu Bor?tnikovo sre?anje), ki mu je kritik Jo?e Javor?ek deset let pozneje priznal zna?ilno ?silovitost?, ?e na za?etku samem ni bilo mogo?e spregledati ? Nato sedemdeseta leta, najbolj plodno Vali?evo obdobje, s celo vrsto vlog; na?tejemo jih lahko samo nekaj: Aleksander v Aleksandru praznih rok, Bertrand v Naivnih lastovkah, Tancredi v Vdovi iz Ancone, Vitez pl. Ripafratta v Kr?marici Mirandolini, grof ?arm v Opereti, Apolon Viktorovi? Murzavecki v Volkovih 102 Peachum in The Threepenny Opera, Julijan ??uka in For the Wealth of the Nation, Hollarcut in The Sea, Erazem ?ulaj in Professor Klepec, and we could go on and on. For the last two he received the award at Yugoslavia?s Sterijino pozorje festival in 1980, for the role of ?ulaj he received the Sever Award in 1979, for Ripafratta the Best Actor Award at the Maribor Theatre Festival in 1973. The critic Mirko Zupan?i? had written about the qualities of Vali??s acting even at the beginning of the 1970s when the actor played Alexander in Alexander of the Empty Hands: ?Dare Vali? showed a cheerful acting gift and enthusiasm as well as culture in the role of Alexander. Dressed and undressed, he mastered his role both with formal knowledge and with a wide and internal richness. Without pathos, but with a great deal of sensibility in speech, gestures and gaze he convincingly told of Alexander?s human dilemmas.? Critic France Vurnik formulated his qualities even more precisely, at the end of the 1970s when Vali? played the role of Detective ?ulaj in Professor Klepec. According to the critic, Vali? had played him with ?communicative precision. He delivered a dangerous type, who performs with style and a smooth appearance, but behind whom hides a dangerous, stubborn, and aggressive self- confidence.? ? We?ll return to this opinion once again. Before we take a look at Vali??s career in the 1980s on the stage of Drama Ljubljana, we must mention his work in film and television, which in the greatest amount took place in the 1970s. Already at the end of the 1960s he played in The Fifth Ambush; in 1976 in three films: White Grass, Between Fear and Duty and The Widowhood of Karolina ?a?ler. Then the remarkable Real Pests and My Dear Iza. On television we watched him in roles on two series, VOS and Conscience and Car Sheet. Vali? also performed later in films and on television, among others in the 1980s twice in A Summer in a Sea-shell, in the 1990s in To the Limit and Beyond and Five Days in May (for the role in this film he received the award for best episodic actor of the year), the most recent film was Good to Go in 2012. By the way: in an interview in 2013 he says that theatre is closer to him than film, despite the fact during the time of his most intensive acting career he also became a familiar face to film and television viewers. Jernej in Voranc, Oceanus in Prometheus Bound, Trigorin in The Seagull, Fernand in Na?ves hirondelles, Comrade from the District in My Dad, the Socialist Kulak, Barillon in Le Mariage de Barillon, Julio Gapit in The Event in the Town of Goga ? those are just a few of Vali??s roles in the 1980s. For two of them, Fernand and Barillon, he earned the Pre?eren Fund Award in 1985. In its justification, the expert jury emphasised his ?exceptional acting? that in the last two years had revealed itself above all in the comedy, especially noting ?the direct contact? that Vali? had succeeded to establish with the ?spectator?s sensitivity? and his ?heightened feeling for rhythm and tempo?. Years later, in the previously in ovcah, Konstantin v Vanju?inovih otrocih, Jonatan Jeremiah Peachum v Operi za tri gro?e, Julijan ??uka v Za narodov blagor, Hollarcut v Morju, Erazem ?ulaj v Profesorju Klepcu in ?e bi lahko na?tevali. Za zadnji dve je leta 1980 prejel nagrado na jugoslovanskem Sterijevem pozorju, za ?ulaja leto prej Severjevo nagrado, za Viteza pl. Ripafratto pa leta 1973 nagrado za igro na Festivalu Bor?tnikovo sre?anje. Vali?eve igralske kvalitete je prav na za?etku sedemdesetih, ob njegovem Aleksandru v Aleksandru praznih rok, lepo opisal kritik Mirko Zupan?i?: ?Razveseljiv igralski dar in ?ar, pa tudi kulturo je pokazal Dare Vali? v vlogi Aleksandra. Oble?en in sle?en je obvladoval svojo vlogo s formalnim znanjem, a tudi z obse?nim in ?istim notranjim bogastvom. Brez patosa, a z veliko mero senzibilnosti v govoru, kretnji in o?eh je prepri?ljivo izpovedal Aleksandrove ?love?ke dileme.? ?e natan?neje jih je nemara formuliral kritik France Vurnik ob koncu sedemdesetih, ob Vali?evem nastopu v vlogi detektiva ?ulaja v Profesorju Klepcu; Vali? ga je po kritikovem mnenju odigral ?s sporo?ilno natan?nostjo. Podal je nevarnega tipa, ki nastopa s stilom, z uglajenim videzom, za katerim se skriva nevarna, stremu?ka, napadalna samozavest.? K temu mnenju se bomo ?e vrnili. Preden si pogledamo Vali?eva osemdeseta na odru ljubljanske Drame, moramo nujno omeniti ?e njegovo delo pri filmu in na televiziji, ki v najve?ji meri spada ravno v sedemdeseta leta: ?e konec ?estdesetih Peta zaseda, v letu 1976 kar trije filmi: Bele trave, Med strahom in dol?nostjo in Vdovstvo Karoline ?a?ler, potem znameniti To so gadi in Moja draga Iza; na televiziji pa tudi vloge v dveh nadaljevankah, VOS in Vest in plo?evina. Vali? nastopa na filmu in televiziji tudi pozneje, med drugim v osemdesetih dvakrat v Poletju v ?koljki, v devetdesetih v Do konca in naprej in Petih majskih dneh (za vlogo v tem filmu prejme nagrado za epizodnega igralca leta), nazadnje v Sre?en za umret leta 2012. Samo mimogrede: v intervjuju leta 2013 pove, da mu je teater bli?ji kot film, kljub temu pa je v letih svojega najintenzivnej?ega igralskega ustvarjanja postal doma? obraz tudi filmskim in televizijskim gledalcem. Jernej v Vorancu, Okeanos v Uklenjenem Prometeju, Trigorin v Utvi, Fernand v Naivnih lastovkah, Tovari? z okraja v Moj ata, socialisti?ni kulak, Barillon v Barillonovi poroki, Julio Gapit v Dogodku v mestu Gogi, to je samo nekaj Vali?evih vlog iz osemdesetih let, in za dve od njih, za Fernanda in Barillona, je leta 1985 prejel nagrado Pre?ernovega sklada. Strokovna ?irija je v obrazlo?itvi poudarila njegovo ?izjemno igralstvo?, ki se je v zadnjih dveh letih izkazalo predvsem v komediji, posebno omenila ?neposredni stik?, ki ga je Vali? vzpostavil z ?ob?utljivostjo gledalca?, in pa njegov ?izostreni ob?utek za ritem in tempo?. Sam veliko pozneje, v ?e omenjenem intervjuju, nekoliko poto?i, Tejrezias SofokleS: Kralj Ojdipus SNG Drama ljubljaNa 2003/04 William ShakeSpeare, heiNer m?ller: strOj Hamlet Drama SNG maribor 2005/06 jabe Torrance TeNNeSSee WilliamS: Orfej se spu??a SNG Drama ljubljaNa 2007/08 jimmy johN oSborNe: V gneVu se Ozri ul aGrfT 1965/66 Leander jaciNTo beNaveNTe: rOKa rOKO umije, Obe Obraz SNG Drama ljubljaNa 1970/71 104 mentioned interview, he himself somewhat complains that in theatre he his cast in ?always rather comic roles? and how that?s ?unfortunate?, however, already in the answers to the questions about his creative dilemmas which he sent to Na?i razgledi after receiving the award, he realistically concluded that ?an actor has almost no influence on the programme?. This dilemma, which may not exist at all, is best summed up by Vali??s mature recognition, spoken almost thirty years later, in short, ?a man most easily plays that which he is not?. And as he says in the text in Na?i razgledi, his love has always been ?circus, tightrope walking and juggling? ? But ? on top of this we have to especially take note, since it undoubtedly holds true ? always with ?a practical feeling for the desires of the spectators?, since ?the spectator is also the author of the performance, it is the spectator who influences the final form?, even though the connection to him ?is often lost?. We also remember [theatre critic and UL AGRFT professor Andrej] Inkret?s lapidary marking of Vali??s role as the Marquis d?Orsigny in Moli?re in the 1980s, in which he played ?a frightening and simultaneously entertaining intertwining of dark intrigue and brawly sarcasm?, to which we will also return. In the 1990s, Vali? performed in roles such as Second Inspector in Redevelopment or Slum Clearance, Pelias in Medea, Alcibiades in Timon of Athens, Ulrik Brendel in Rosmersholm, Ded in Grma?e, Kuligin in Three Sisters and Vladimir in Vladimir. The latter role was for him paradigmatic; it earned him the 1999 ?upan?i? Award of the Municipality of Ljubljana, he later performed it in the television adaptation and again in the 2008 stage production. We now remember the previously mentioned reviews of Vurnik and Inkret and at the same time read what Petra Pogorevc wrote about Vladimir in her review: Vladimir, ?vehemently? played by Dare Vali?, is ?at first somewhat stiff, peculiar, yet a man who arouses sympathy and even compassion, who in his unrelenting inconvenience becomes increasingly repulsively dark; the unpredictable madness that intertwines in his mind is played out under a seemingly calm mask that could at any moment pounce into a dangerous outburst of wrath.? And yet another review: ?Dare Vali? as Vladimir is psychologically ?linear? and in this way always surprisingly mysterious, dangerous and even humorous. In the beginning, his presence in the space awakens mixed feelings; when he finally reveals itself, he?s truly horrifying. Vali??s Vladimir never goes ?to the end?, he always, even if painfully, masters the final mystery and even keeps it to himself.? Precisely with Vali??s Vladimir, we can say that the somewhat paradox of his play shows itself, one we can sum up with two concepts: doubt and mystery. Even though at first sight, it might seem to someone that with his directness Vali? as an actor is easy to catch, his acting thought is deeper. He himself expressed it best in the previously mentioned interview with the meaningful association of ?harmonised disharmony?. Frankness and reticence, linear surface and vertiginous depth, likeableness and aversion, da je v gledali??u dobival ?vedno nekoliko komi?ne vloge?, in to ?na ?alost?, vendar je ?e v odgovoru na vpra?anje o svojih ustvarjalnih dilemah, ki ga je po podelitvi nagrade poslal Na?im razgledom, realisti?no ugotovil, da ?igralec nima skoraj nikakr?nega vpliva na program?. Dilemo, ki to nemara sploh ni, pa gotovo najbolje povzame Vali?evo zrelo spoznanje, izre?eno skoraj trideset let pozneje, namre? da ??lovek najla?e igra tisto, kar v resnici ni?. In njegova ljubezen je vedno bila, kot pravi v zapisu v Na?ih razgledih, ?cirkus, hoja po vrvi, ?ongliranje? ? A ? na to moramo posebej opozoriti, saj nedvomno dr?i ? vselej s ?prakti?nim ob?utkom za ?elje gledalcev?, saj je ?tudi gledalec [?] avtor predstave, prav on vpliva na dokon?no obliko?, ?eprav se vez z njim ?ve?krat izgubi?. Omenimo ?e Inkretovo lapidarno oznako Vali?eve vloge d?Orsignyja v Moli?ru iz osemdesetih let, v kateri je odigral ?stra?ljiv in hkrati zabaven preplet mra?nega intrigantstva in pretepa?kega sarkazma?, k ?emur se bomo prav tako ?e vrnili. V devetdesetih Vali? med drugim nastopi kot Drugi in?pektor v Sanaciji, Pelias v Medeji, Alkibiad v Timonu Atenskem, Ulrik Brendel v Rosmersholmu, Ded v Grma?ah, Kuligin v Treh sestrah in Vladimir v Vladimirju. Prav zadnja vloga je zanj nemara paradigmati?na. Zanjo leta 1999 prejme ?upan?i?evo nagrado, z njo nastopi tudi v poznej?i televizijski priredbi in v obnovitvi predstave leta 2008. Zdaj se spomnimo ?e omenjenih Vurnikove in Inkretove kritike in hkrati preberimo, kaj je ob Vladimirju zapisala kriti?arka Petra Pogorevc: Vladimir, ki ga ?vehementno? igra Dare Vali?, je ?sprva rahlo okoren, ?uda?ki, vendar simpatije in celo so?utje zbujajo?i mo?ak, ki pa postaja v svoji nepopustljivi nadle?nosti vse bolj odbijajo?e mra?nja?ki; nepredvidljivo norost, ki se mu plete po mo?ganih, odigra pod masko prividne spokojnosti, ki utegne vsak ?as presko?iti v nevarne izbruhe togote?. In ?e drugi kritik: ?Dare Vali? je kot Vladimir psiholo?ko ?linearen? in na ta na?in vseskozi presenetljivo skrivnosten, nevaren, a tudi humoren. Njegova navzo?nost v prostoru vzbuja sprva me?ane ob?utke; ko se kon?no razkrije, pa resni?no grozo. Vali?ev Vladimir nikdar ne gre ?do konca?, vselej se, ?eprav mukoma, obvladuje in tudi kon?no skrivnost obdr?i zase.? Lahko re?emo, da se ravno ob Vali?evem Vladimirju najbolje poka?e nekak?en paradoks njegove igre, ki jo lahko zaobjamemo z dvema pojmoma: dvom in skrivnost. ?eprav se Vali? kot igralec s svojo neposrednostjo morda zdi komu na prvi pogled zlahka ulovljiv, je njegova igralska misel globlja. Sam jo je najbolje izrazil v ?e omenjenem intervjuju s pomenljivo zvezo ?skladno nesoglasje?. Odkritost in zastrtost, linearna povr?ina in vrtoglava globina, simpati?nost in odpor, naivnost in dvom, preprostost in norost, resnoba in humornost; to so slogovno-estetski pari, s katerimi bi lahko zaobjeli ? a ?e vedno ne do konca ? Vali?evo 105 naivety and doubt, simpleness and madness, seriousness and humour ? these are the stylistic-aesthetic pairs we could use to round up ? yet not even completely ? Vali??s acting. They are reflected already in his acting face: marked with some type of mystery, perhaps self-dissatisfaction, ironically soothing, constantly with a guilty conscience, yet at the same time with lucidity and sovereignty, with a solid conviction that does not adhere to religion in its order and truth, but on the contrary, in the recognition of transience, nonsense, even the absurd. Despite an orientation towards the comical, which Vali? through the years of course adopted, his humour is never single- layered, there is always something hiding ?behind?, not only something serious, perhaps even tragic, but something that is behind both: the comic and the tragic. Perhaps crucial to Vali??s acting effort ? and of course, pleasure ? is that it is oriented towards the desire for balance, for balancing the extremes, not for false ?reconciliation?, but for the harmonising of opposites, which never returns the state of the world ? and the play ? to the original, but instead always leave deep traces on them, on his play and on the world. Traces that, we must add, Vali? with his acting skilfully covers with style, with a seemingly awkward but always slightly humorous spoken and bodily elegance and irresistible personal charm and directness. In the early part of the first decade of the new millennium until his retirement in 2005, Vali? played in roles such as Alonso in The Tempest, Kova? in Kamenje bi zagorelo, Pikov as in Cannibals, Lord Beckford in Chatterton, Tiresias in Oedipus Rex, G?ronte in Les Fourberies de Scapin and Jo?ef Poljanec in Katarina, the Peacock and the Jesuit. His last recorded role at Drama was the Old Man in Roberto Zucco in 2009. In our theatre and cultural consciousness Dare Vali? has undoubtedly always been strongly present, despite ? as he himself says ? ?a creative laziness?, in which he now indulges. From among his former activities we cannot forget to mention that he taught fencing at UL AGRFT and that he was member of the Human Rights Council at the end of the 1980s. Today we celebrate the actor Dare Vali?, an unquestionably great acting personality who has not only enriched the world of Slovenian theatre with a fascinating string of recognisable character roles, but ? moreover ? with his character as such, with an unparalleled acting face that has already been indelibly inscribed in our memory. Bla? Lukan igralstvo. Odra?ajo se ?e na njegovem igralskem obrazu: ta je zaznamovan z nekak?no zagonetnostjo, morda samonezadovoljnostjo, ironi?no ?emernostjo, stalno slabo vestjo, vendar hkrati z lucidnostjo in suverenostjo, ?vrstim prepri?anjem, ki pa ne sledi veri v red in prav, temve? ravno nasprotno, zavedanju prehodnosti, pomanjkanju smisla, celo absurdu. Kljub usmerjenosti v komi?no, ki jo je Vali? z leti seveda posvojil, ni njegov humor nikdar enoplasten, vselej skriva nekaj ?zadaj?, a ne zgolj nekaj resnega, morda tragi?nega, temve? nekaj, kar je zadaj za obema, za komi?nim in tragi?nim. Morda je klju?en Vali?ev igralski napor ? in seveda u?itek ? usmerjen v ?eljo po ravnote?ju, uravnote?enju skrajnosti, ne po la?ni ?spravi?, temve? po uskladitvi nasprotij, ki pa stanja sveta ? in igre ? nikdar ne vrnejo v prvotno, temve? v njem, v njegovi igri in svetu vselej pustijo globoke sledi. Ki pa, to je treba dodati, jih Vali? igralsko spretno prikrije s stilom, z na videz okorno, a vselej rahlo humorno govorno in telesno eleganco ter neubranljivim osebnim ?armom in neposrednostjo. V pol desetletja novega tiso?letja, do upokojitve leta 2005, je Vali? v Drami med drugim odigral ?e vloge Alonsa v Viharju, Kova?a v Kamenje bi zagorelo, Pikovega asa v Ljudo?ercih, Lorda Beckforda v Chattertonu, Tejreziasa v Kralju Ojdipu, Geronta v Scapinovih zvija?ah in Jo?efa Poljanca v Katarini, pavu in jezuitu, njegova zadnja vloga pa je Star gospod v Robertu Zuccu iz leta 2009. Dare Vali? je v na?i gledali?ki in kulturni zavesti nedvomno ?e vedno zelo prisoten, navkljub ? kot sam pravi ? ?ustvarjalni lenobi?, ki se ji zdaj prepu??a. Od njegovih nekdanjih aktivnosti ne smemo pozabiti vsaj ?e na pou?evanje borilnih ve??in oz. sabljanja na Akademiji za gledali??e, radio, film in televizijo ter na njegovo ?lanstvo v Odboru za ?lovekove pravice konec osemdesetih let. Dana?nji slavljenec, igralec Dare Vali?, je nedvomno velika igralska osebnost, ki sveta slovenskega gledali??a ni obogatil samo s fascinantnim nizom prepoznavnih karakternih vlog, temve? s svojim zna?ajem kot takim, z edinstvenim igralskim obrazom, ki se je ?e neizbrisno zapisal v na? spomin. Bla? Lukan 106 Zaklju?no mnenje ?irije o 51. Festivalu Bor?tnikovo sre?anje Do?iveli smo deset zelo intenzivnih dni, polnih doma?ih in tujih predstav, diskusij, simpozijev, predavanj in bralnih uprizoritev. Leto?nji festival je zaznamovala beseda, ki je tudi del uradnega poimenovanja festivala, beseda sre?anje. Tako smo to vsaj ob?utili ?lani ?irije. In menimo, da bi v dana?njem gledali??u moral biti fokus prav na sre?anju, dru?enju. Nismo bili pri?a samo izmenjavi mnenj med gosti in umetniki iz veliko razli?nih dr?av, temve? seveda tudi sre?anju in konfrontaciji slovenskih gledali?? med seboj. Ti dve sili ohranjata gledali?ki svet ?iv, kriti?en in pro?en. Hkrati pa smo imeli mo?nost videti, kako raznoliko je slovensko gledali??e. V enajstih predstavah, ki so bile letos v tekmovalnem programu, smo videli zelo razli?ne oblike uprizoritev in samostojne estetske pristope do gledali??a. To je omogo?alo tudi burne razprave med ?lani ?irije. ?e posebej bi radi omenili tri predstave, saj se skoznje vidi aktualno stanje na?e dru?be. In tako nam ponudijo predstave odgovore na vpra?anja: Kdo smo? Od kod prihajamo? Kam gremo? Tako lahko pri avtorskem projektu Republika Slovenija Slovenskega mladinskega gledali??a in Zavoda Maska vidimo kriti?en prikaz razvoja takrat ?e mlade Slovenije, njene prve rane, ki jih je do?ivela zaradi korupcije in politi?ne manipulacije, s tem pa tudi mit o ?domovini? in njenih herojih. Zelo aktualna za dana?nji ?as je tudi uprizoritev Pred upokojitvijo Pre?ernovega gledali??a Kranj. Na koncu predstave nas spreleti srh ob prerokbi v povedi ?ti ?asi, ki se bodo vrnili?, ?e posebno ?e jo umestimo v sedanje dogajanje in ?as. Predstava U?ene ?enske Slovenskega ljudskega gledali??a Celje in Mestnega gledali??a Ptuj pa se spusti globoko v analizo novih me??anskih slojev in jim iztrga njihovo omejeno, navidezno vsevedno masko. Te tri predstave so posredno tudi simbol za ?iroko polje izrednih uprizoritev in enako izrednih igralcev, ki smo jih v teh dneh lahko videli. Za konec bi se radi zahvalili vsem umetnicam in umetnikom ter vsem drugim sodelavcem gledali??a in festivala, predvsem pa umetni?ki direktorici festivala Alji Predan za te izredno zanimive, inovativne in ?udovite dni. Hvala. Martin Ku?ej, predsednik Zala Dobov?ek Toma? Guben?ek Ivor Martini? Nina ?orak Maribor, 23. 10. 2016 Concluding Thoughts from the Jury of the 51st Maribor Theatre Festival We have experienced ten electrifying days, packed with Slovenian and foreign productions, discussions, symposia, lectures and staged readings. This year?s Festival was marked by a word that is also part of its official Slovenian name, and that is the word ?meeting? [ed. note: Bor?tnikovo sre?anje means Bor?tnik?s Meeting]. At least, this is how the members of the jury felt it. And we think that the focus of today?s theatre should exactly be that: meeting, spending time together. Besides witnessing the exchange of opinions among guests and artists from a great number of countries, we also witnessed the encounter and confrontation between Slovenian theatres. Those two forces maintain the liveliness, critical sharpness and flexibility of the theatre world. At the same time, we were able to get acquainted with the versatility of Slovenian theatre. The eleven productions that comprised this year?s Competition Programme featured very different production forms and individual aesthetic approaches to theatre. This fact also triggered vigorous debates among jury members. We would like to single out three productions as they demonstrate the current state of our society. These productions offer us answers to the questions: Who are we? Where do we come from? Where are we heading? Thus the production The Republic of Slovenia by Mladinsko Theatre in Ljubljana and Maska Institute offers us a critical perspective on the development of the-then young state of Slovenia and its first wounds afflicted by corruption and political manipulation, which consequently produces a critical perspective on the myth of the ? fatherland? and its heroes. A highly relevant production for the time we live in is also Eve of Retirement by Pre?eren Theatre Kranj. The final words in the production ?those times that will return? sound like a prophecy, especially when placed in the context of current events and time, and make us shiver. The production The Learned Ladies after the motifs of The Learned Ladies by Moli?re by the Celje People?s Theatre and Ptuj City Theatre ventures into a deep analysis of the new bourgeois class, depriving its appearance of the reduced, seemingly all-knowing mask. Those three productions are also an indirect symbol of a vast field of exceptional productions with equally exceptional actors and actresses that we had the pleasure to see in the past days. Finally, we would like to express our gratitude to all the artists as well as all other collaborators of the Slovene National Theatre Maribor and the Festival, and most of all to the artistic director, Alja Predan, for those outstandingly interesting, innovative and marvellous days. Thank you. Martin Ku?ej, President Zala Dobov?ek Toma? Guben?ek Ivor Martini? Nina ?orak Maribor, 23 October 2016 107 foto photo: Jaka Babnik Nagrade Velika nagrada Festivala Bor?tnikovo sre?anje za najbolj?o uprizoritev Avtorski projekt U?ene ?enske po motivih Moli?rovih U?enih ?ensk v re?iji Jerneja Lorencija ter izvedbi Slovenskega ljudskega gledali??a Celje in Mestnega gledali??a Ptuj Avtorski projekt U?ene ?enske po motivih Moli?rovih U?enih ?ensk temelji na slavnem Moli?rovem besedilu, ki ga ustvarjalna ekipa nadgradi in pred nami pogumno prika?e tragi?nost dana?njega politi?nega in umetni?kega trenutka. V nizu izjemnih prizorov nam predstavi popolnoma nov izdelek na visokem estetskem nivoju, poln globokih osebnih spoznanj o intimnosti, umetnosti in lastnih slabostih. Ob izjemno inspirativnem in izvirnem skupinskem izvajanju celotnega ansambla se pred nami razgrnejo teme spolnosti, seksualnosti, konservatizma in avantgardizma, razkrivanja manipulatorskih strategij in posameznikove nemo?i, da bi se temu uprl. Predstava, ki iskreno spregovori o dru?bi, v kateri vladajo la?ne veli?ine, dru?bi, v kateri sprenevedanje najde plodna tla; o dru?bi, ki vsem na o?eh dopu??a vsakodnevno ubijanje ljudi, umetnosti, idej, pravic ? Izjemno pomemben in relevanten estetski in eti?ni gledali?ki dogodek, ki pogumno opozarja na bole?e to?ke dana?njega trenutka. Awards The Bor?tnik Grand Prix for the Best Production of the 51st Maribor Theatre Festival The ensemble project The Learned Ladies after the motifs of The Learned Ladies by Moli?re directed by Jernej Lorenci and performed by the Celje People?s Theatre and Ptuj City Theatre The ensemble project The Learned Ladies after the motifs of The Learned Ladies by Moli?re is based on the famous play, yet enhanced by the production?s creative team?s brave enactment of the tragic nature of today?s political and artistic moment. A series of outstanding scenes discloses to us an entirely new production on a high aesthetic level, full of deep personal insights on intimacy, art and one?s own weaknesses. Through the exceptionally inspirational and authentic ensemble performance, the production reveals to us the subjects of sexuality, conservatism and avant-gardism, and discloses manipulation strategies and the individual?s lack of strength to fight against them. A production that sincerely speaks of a society ruled by false authorities, a society in which playing dumb finds its fruitful soil; a society in which the everyday killing of people, art, ideas, rights, is allowed to unfold in front of everyone?s eyes ? An extremely important and relevant aesthetic and ethical theatrical event that courageously warns of the painful issues of the present-day moment. 108 foto photo: Boris B. Voglar Nagrada za najbolj?o re?ijo Mateja Kole?nik za re?ijo uprizoritve Pred upokojitvijo v izvedbi Pre?ernovega gledali??a Kranj Mateja Kole?nik z uprizoritvijo besedila Thomasa Bernharda Pred upokojitvijo pogumno in globoko prodre v bistvo tega dramskega besedila in ustvari mo?an gledali?ki dogodek, ki vznemirja s svojim visokim estetskim nivojem in pla?i s spretno prenesenim svetom Bernhardovih likov, ki jih z lahkoto prepoznamo v dana?njem trenutku. Gre za izjemno natan?no re?ijo na utesnjeni, namerno klavstrofobi?ni sceni, ki kot da utele?a ves notranji svet Bernhardovih nesre?nih likov. Globoko premi?ljena vsaka sekunda predstave z matemati?no natan?nostjo razkriva pomembno temo in notranje mehanizme dramskih oseb. Odli?no vodeni igralci kot ?ivi mrtveci, polni perverzij in sadizma, s silovitostjo naseljujejo svet praznega scenskega prostora, ko si posku?ajo priboriti drobce tistega, kar je ostalo od ?love?nosti. Re?ijski koncept mojstrsko balansira ob?utek nemo?i in okrutnosti izjemnega sveta Bernhardovih likov. S to bole?e tragi?no uprizoritvijo Bernhardovega besedila Mateja Kole?nik v polnem sijaju poka?e svoj izjemni re?ijski talent. Bor?tnik Award for Best Directing Mateja Kole?nik for directing the production Eve of Retirement by Pre?eren Theatre Kranj In staging Thomas Bernhard?s play Eve of Retirement, Mateja Kole?nik penetrates bravely and deeply into the play?s very core, creating a powerful theatrical event that thrills with its high aesthetic achievement and at once frightens with the dexterity of enacting Bernhard?s characters, whom we can easily recognise in our present-day moment. It is a highly precise directing on a stifling stage, purposefully claustrophobic, as if it would materialise the inner world of Bernhard?s miserable characters. Each second of the production is deeply thought through, revealing with mathematical precision a significant theme and the inner mechanisms of dramatic characters. The actors, as the living dead, are brilliantly guided: full of perversion and sadism, they inhabit a world of empty theatre space as they strive to keep the tiny bits of what is left of their humanity. The directorial concept masterfully balances on the verge of helplessness and cruelty of the exceptional world of Bernhard?s characters. With this painfully tragic staging of Bernhard?s play, Mateja Kole?nik demonstrates her outstanding directorial talent in full range. 109 foto photo: Nejc Saje Nagrada po presoji ?irije Republika Slovenija za anga?irano gesto ob 25-letnici dr?ave Republike Slovenije Republika Slovenija je uprizoritveni komentar lastni dr?avi in njenim (?e vedno) osrednjim politi?nim akterjem, snov in navdih ?rpa iz realnosti same; z razli?nimi dokumentaristi?nimi prvinami rekonstruira ?rojstvo? in poosamosvojitveno obdobje Republike Slovenije, vnovi?no pogreje takratne afere z oro?jem, zloglasne politi?ne zdrahe in razkrije (do nedavnega) strogo zaupno dogajanje na vrhovnih strate?kih zasedanjih. Projekt izkazuje odgovorno in drzno umetni?ko gesto, ki je prav toliko tudi politi?na. Anga?irana poteza, ki nagovarja slehernega dr?avljana in ob?utljiva politi?na ozadja razkrinka brez zadr?kov. Bor?tnik Jury Award The Republic of Slovenia for the socially and politically committed gesture on the occasion of the 25th anniversary of the Republic of Slovenia The Republic of Slovenia is a performing comment on our own state and its (still) central political actors. It derives the material and the inspiration from reality itself: with the help of various documentary materials it reconstructs ?the birth? of the Republic of Slovenia and the period immediately following its independence. It brings back the heat of the-then arms trade affair and the notorious political dissent and makes public the unfolding of strategic meetings on the highest levels, until recently strictly classified. The project represents a responsible and bold artistic gesture that is equally political. A socially and politically committed move that addresses all citizens while mercilessly unveiling the delicate political backgrounds. 110 foto photo: Boris B. Voglarfoto photo: Jaka Babnik ?tiri Bor?tnikove nagrade za igro Pia Zemlji? za vlogi Filaminte v uprizoritvi U?ene ?enske po motivih Moli?rovih U?enih ?ensk v izvedbi Slovenskega ljudskega gledali??a Celje in Mestnega gledali??a Ptuj in Gospe Flamm v uprizoritvi Rose Bernd v izvedbi Slovenskega ljudskega gledali??a Celje Pia Zemlji? v vlogi Filaminte v U?enih ?enskah po motivih Moli?rovih U?enih ?ensk in v vlogi Gospe Flamm v predstavi Rose Bernd ne popu??a v svoji natan?nosti izraza. V vlogi Filaminte je preko intimnega razumevanja Moli?rovega sveta dokazala, da lahko z minimalnimi izraznimi sredstvi upodobi kompleksno intelektualno dr?o gostiteljice. Ni trenutka v predstavi, kjer bi pozabila na svoj perfekcionizem. Podobno nepopustljiva je v vlogi Gospe Flamm, kjer telesno hibo upodobi tako prepri?ljivo, da gledalec bole?ino za?uti skupaj z njo. Vesna Jevnikar za vlogo Vere v uprizoritvi Pred upokojitvijo v izvedbi Pre?ernovega gledali??a Kranj Vesna Jevnikar v vlogi Vere v uprizoritvi Pred upokojitvijo navdu?i s silovitostjo, s katero prevzame prostor igre; s silovitostjo, ki vzdr?i do zadnjega trenutka uprizoritve. S kirur?ko natan?nostjo izri?e podobo ?enske v zaprtem dru?inskem krogu, v tem pervertiranem mikrokozmosu ?love?tva, v katerem je ?ivljenje posvetila skrbi za invalidno sestro in brata z nacisti?no preteklostjo. Igra Vesne Jevnikar vodi ta svet skozi repetitivnost detajla, skozi usmeritev pogleda, skozi bole?o ?tudijo ?lovekove psihe in nedvomno predstavlja enega od vrhov leto?njega festivala. Four Bor?tnik Awards for Acting Pia Zemlji? for the role of Philaminte in the production The Learned Ladies after the motifs of the Learned Ladies by Moli?re by Celje People?s Theatre and Ptuj City Theatre and the role of Mrs. Flamm in the production Rose Bernd by Celje People?s Theatre In the roles of Philaminte in The Learned Ladies after the motifs of The Learned Ladies by Moli?re and of Mrs. Flamm in Rose Bernd, Pia Zemlji? never slackens in the precision of her expression. With her intimate understanding of Moli?re?s world, in the role of Philaminte she proves herself capable of evoking with minimal means the complex intellectual stance of the host. There is no moment in the production in which she forgets her perfectionism. She is similarly relentless in the role of Mrs. Flamm, enacting the physical handicap so convincingly that the spectator almost feels the pain together with her. Vesna Jevnikar for the role of Vera in the production Eve of Retirement by Pre?eren Theatre Kranj In the role of Vera in the production Eve of Retirement, Vesna Jevnikar thrills with the vehemence by which she takes over the space of the action; a vehemence that she manages to maintain until the very end of the production. She outlines with surgical precision the image of a woman in a closed family circle, in a perverted microcosm of humanity in which she has dedicated her life to the care of her invalid sister and her brother with a Nazi past. Vesna Jevnikar?s acting guides us through that world with repetitive details, focusing her gaze, with a painful study of the human psyche, and undoubtedly represents one of the peaks of this year?s Festival. 111 foto photo: Sebastian Cavazzafoto photo: Peter Uhan Jernej ?ugman za vlogo Ata Ubuja v uprizoritvi Kralj Ubu v izvedbi SNG Drama Ljubljana Jernej ?ugman v lik Ata Ubuja zleze skozi ?tevilne kontraste, ki jih Alfred Jarry predlaga, a jih ?ugman nato posvoji po svoje in trenutnemu ?asu ?(ne)primerno?. Je prvinski, vulgaren, okruten in oblastni?ki, a ?e v naslednjem hipu povsem strahopeten, nespameten, ranljiv in nemo?en. Ubujeve zna?ajske kontraste ?ugman utelesi fizi?no in mentalno, preigrava svoje potenciale za komi?no in burleskno, ki pa jih hipoma zmore premakniti v cono povampirjenosti. Je v nenehni, a odmerjeni komunikaciji s pogledom gledalca, a to ni edini razlog, da z njim vzpostavi stik: svoj lik kljub izjemni ve?plastnosti oblikuje dostopno ? in toliko, kolikor vzbuja smeh, vzbuja tudi srh. Primo? Pirnat za vloge Masovnega mo?kega v uprizoritvi Projektator v izvedbi Zavoda Delak in Aslaka, Dovrejskega starine, Vijuga, Orientalske plesalke, Begriffenfeldta, Potnika in Gumbarja v uprizoritvi Peer Gynt v izvedbi Mestnega gledali??a ljubljanskega in Slovenskega stalnega gledali??a Trst Primo? Pirnat v vlogi Masovnega mo?kega pred nami silovito upodobi stisko sodobnega ?loveka. S svojo interpretacijo poetiki Dragana ?ivadinova doda mo?an, unikaten emotivni svet in jo s tem poglobi ter pribli?a gledalcu. Prav tako temeljito se izka?e v podpornih vlogah predstave Peer Gynt, kjer s svojim izvirnim ludizmom naslika ve?plastni domi?ljijski svet Ibsenove pripovedi. Jernej ?ugman for the role of Father Ubu in the production King Ubu by the Slovenian National Theatre Drama Ljubljana Jernej ?ugman creeps into the character of Father Ubu through numerous contrasts suggested by Alfred Jarry, yet he adopts them in his own manner and according to what is ?(in)appropriate? for our time. He is base, vulgar, brutal and power-thirsty, only to instantly change into an utterly cowardly, dumb, vulnerable and helpless being. ?ugman brings to life Ubu?s contrasts in character both physically and mentally; he overplays his potentials for the comic and the burlesque that he can instantly awaken in the vampire zone. He is in constant, yet temperate, communication, gazing at the spectators, which is not the only reason to bond with him: in spite of an exceptional complexity, he builds his character in an accessible manner, both arousing laughter and fear. Primo? Pirnat for the role of Mass Male in the production Projektator by Delak Institute, and the roles of Aslak, Dovre-Master, A Voice in the Darkness, Oriental Dancer, Begriffenfeldt, Strange Passenger and Button-Moulder in the production Peer Gynt by Ljubljana City Theatre and the Slovene Permanent Theatre in Trieste In his role of Mass Male, Primo? Pirnat vigorously enacts in front of us the anxiety of the modern man. With his interpretation, he adds to Dragan ?ivadinov?s poetics a powerful and unique emotional world, thus deepening the poetics and bringing it closer to the spectator. He is equally thorough in the supporting roles in the production Peer Gynt where he paints with his ludic authenticity the complex imaginary world of Ibsen?s story. 112 foto photo: Uro? Ho?evarfoto photo: Peter Uhan Bor?tnikova nagrada za mlado igralko Patrizia Jurin?i? Fin?gar za vlogo Hane v uprizoritvi Dogodek v mestu Gogi v izvedbi Slovenskega stalnega gledali??a Trst in Glasbene matice Patrizia Jurin?i? Fin?gar v vlogi Hane v Dogodku v mestu Gogi prepri?a s krhkostjo, ranljivostjo in bogastvom notranjega sveta, ki zasije v dekonstrukciji uprizoritve. Med preigravanjem razli?nih vlog in situacij nas njena Hana najde nepripravljene in morda zato toliko bolj dovzetne za odmeve Grumovega sveta. Liza Marija Gra?i? za vlogi Rose Bernd v uprizoritvi Rose Bernd v izvedbi Slovenskega ljudskega gledali??a Celje in Henriete v uprizoritvi U?ene ?enske po motivih Moli?rovih U?enih ?ensk v izvedbi Slovenskega ljudskega gledali??a Celje in Mestnega gledali??a Ptuj Liza Marija Gra?i? najprej preseneti kot Henrieta v U?enih ?enskah po motivih Moli?rovih U?enih ?ensk, kjer z drznostjo neme prisotnosti izpove raison d??tre svojega lika, potem pa znova opozori nase kot Rose Bernd v istoimenski uprizoritvi, kjer z dosledno notranjo koncentracijo izri?e lik na?elnega dekleta v zaprti skupnosti. Bor?tnik Award for Young Actress Patrizia Jurin?i? Fin?gar for the role of Hana in the production An Event in the Town of Goga by the Slovene Permanent Theatre in Trieste and Glasbena matica Patrizia Jurin?i? Fin?gar in the role of Hana in An Event in the Town of Goga is convincing in her frailty, vulnerability and the richness of her inner world that steps out in the deconstruction of this staging. In-between playing different roles and situations, her Hana finds us unprepared and therefore perhaps more susceptible to the echoes of Grum?s world. Liza Marija Gra?i? for the role of Rose Bernd in the production Rose Bernd by the Celje People?s Theatre and for the role of Henriette in the production The Learned Ladies after the motifs of The Learned Ladies by Moli?re by the Celje People?s Theatre and Ptuj City Theatre Liza Marija Gra?i? first stuns us as Henriette in The Learned Ladies after the motifs of The Learned Ladies by Moli?re where she boldly states her character?s raison d??tre through a mute presence, to bring attention to herself again as Rose Bernd in the production of the same name, where she builds with consistent focus the character of a girl with principles living in a closed community. 113 foto photo: Dunja Zupan?i? Bor?tnikova nagrada za dramatur?ko obdelavo tekstovne predloge Lotos Vincenc ?parovec, Dragan ?ivadinov, Mojca Kumerdej za dramatur?ko obdelavo tekstovne predloge uprizoritve Projektator v izvedbi Zavoda Delak Avtorji t. i. tekstualne mase po motivih ekspresionisti?nega dramskega besedila Kosmata opica (The Hairy Ape) Eugena O?Neilla literarno predlogo premi?ljeno skraj?ajo in razdrobijo, vanjo vnesejo dnevni?ke zapise (dokument neposrednega izkustva ?ivljenja na ?ezoceanki) ter s tem ustvarijo v ritmu dinami?en in vsebini kompleksen uprizoritveni material. Kriti?no, a zato ni? manj senzibilno naravnano besedilo odlikuje jasno stali??e o pomenu ter medsebojnih razmerjih intelektualizma, delavskega razreda, kapitalizma in antropolo?kega vpra?anja ?enske. Skozi metaforo in konstruktivisti?no poetiko se izri?e verjetno in realno ob?utje (oz. podoba) sveta. Bor?tnik Award for the Dramaturgical Adaptation of Textual Material Lotos Vincenc ?parovec, Dragan ?ivadinov, Mojca Kumerdej, for the dramaturgical adaptation of the textual material of the production of Projektator by Delak Institute The authors of the so-called textual mass after the motifs of the Expressionistic play The Hairy Ape by Eugene O?Neill have tackled the material with a clear idea. They have cut and disassembled it, adding diary notes (the documentation of a first- hand experience of life on a transatlantic ship), thus creating a rhythmically dynamic and content-wise complex performing material. The critical but no less sensitively tuned play features a clear stance on the significance and mutual relationship between intellectualism, working class, capitalism and the anthropological topic of women. Metaphors and Constructivist poetics bring about a plausible and genuine feeling (that is, image) of the world. 114 foto photo: Sebastian Cavazza Bor?tnikova nagrada za kostumografijo Jelena Prokovi? za kostumografijo v uprizoritvi Peer Gynt v izvedbi Mestnega gledali??a ljubljanskega in Slovenskega stalnega gledali??a Trst Kostumi Jelene Prokovi? prikazujejo enega klju?nih elementov vstopa v uprizoritev Peer Gynt; z iz?i??enostjo, barvno natan?nostjo, s kompozicijsko predrznostjo predstavljajo sugestivno atmosfero in mo? gyntovske domi?ljije. In tako kot potuje Peer Gynt, z njim potujejo tudi kostumi Jelene Prokovi?, izmi?ljujejo ter osmi?ljajo njegove besede in dejanja, z domiselnimi znaki karakterizirajo osebe, ki jih sre?uje na svoji poti. Bor?tnik Award for Costume Design Jelena Prokovi? for the costume design in the production Peer Gynt by Ljubljana City Theatre Ljubljana and Slovene Permanent Theatre in Trieste Jelena Prokovi??s costumes represent one of the key entrance elements to the production of Peer Gynt. With their pureness, colouristic precision and composition boldness, they evoke a compelling atmosphere and the power of Gyntian imagination. As Peer Gynt travels, so do Jelena Prokovi??s costumes travel with him, inventing and conceiving his words and deeds, bringing out with witty signs the traits of the characters he meets along the way. 115 foto photo: Peter Uhan Bor?tnikova nagrada za kolektivno avtorsko idejo Kolektivna avtorska ideja celostnega oblikovanja odmora pri predstavi Kralj Ubu v izvedbi SNG Drama Ljubljana V gledali??u smo redko pri?a odmoru, ki je konceptualno ume??en v uprizoritev. Kralj Ubu v re?iji Jerneja Lorencija s to inovativno potezo gledalca zapelje v lahkotno vzdu?je nostalgije in ga zadr?i v osr?ju dogajanja. S povabilom na oder, na pojedino in ples se zgodi ganljiv emotivni trenutek z ob?instvom, ki neposredno stopi v svet ubujevstva. Z odli?nim izborom glasbe, s subtilno osvetlitvijo in humorjem igralcev se odmor v predstavi nepri?akovano prevesi v pravo do?ivetje. Bor?tnik Award for the Collective Ensemble Idea The collective ensemble idea of the entire concept of the interval in the production King Ubu by the Slovenian National Theatre Drama Ljubljana We rarely witness in theatre an interval that is conceptually part of the production. With this innovative gesture, King Ubu directed by Jernej Lorenci seduces the spectators into a light atmosphere of nostalgia thus keeping them in the groove of the happening. Inviting the audience to eat and dance on the stage creates a moving emotional moment of directly immersing the audience into the Ubuesque world. Accompanied by an exquisite selection of music, subtle lighting and the actors? humour, the interval in the production unexpectedly turns into a true experience. 116 foto photo: Boris B. Voglar Bor?tnikova nagrada za celostno vizualno podobo Kolektiv ustvarjalcev vizualne podobe uprizoritve Pred upokojitvijo v izvedbi Pre?ernovega gledali??a Kranj Dogajanje je postavljeno na utesnjeno sceno s pobledelimi zidovi, brez kakr?nega koli realizma, toda z mo?nimi asociacijami na prostore, ki jih vsi dobro poznamo. Umetni?ka ekipa je spretno ustvarila scenski prostor nesre?nih Bernhardovih likov z uprizoritvijo njihovih notranjih strahov: klavstrofobije, tema?nosti du?e, sadizma, izpraznjenosti. V odli?nih kostumih in maskah so igralci videti kot ?ivi mrtveci z zgolj nakazano ?love?nostjo. Ostrini v prikazovanju njihovega sveta sledi tudi izjemno delo oblikovalca svetlobe, ki s spretnim sledenjem dramaturgiji predstave omogo?a velik estetski u?itek. *** Nagrada Dru?tva gledali?kih kritikov in teatrologov Slovenije za najbolj?o uprizoritev pretekle sezone (2015/2016) Nagrado DGKTS za najbolj?o uprizoritev pretekle sezone prejme predstava Rose Bernd Gerharda Hauptmanna v re?iji Mateje Kole?nik in izvedbi SLG Celje. Ustvarjalna ekipa celjskega gledali??a je stoletje staro zgodbo Rose Bernd, dekleta, ujetega v nemogo?o situacijo, prevedla v predstavo, ki se preizpra?uje o polo?aju ?enske v dru?bi, o razmerjih mo?i med razli?nimi oblikami oblastmi in o dru?bi, ki svojo nemo? laj?a s tem, da se zna?a nad tistimi, ki so znotraj nje najmanj zmo?ni nadzorovati svoje telo in ?ivljenje. Z iz?i??eno re?ijo, jasnimi dramatur?kimi posegi, minimalno scenografijo in mo?nimi igralskimi kreacijami Hauptmannovo naturalisti?no besedilo o detomoru na ?lezijskem pode?elju z odra zazveni izjemno sodobno in kriti?no. Bor?tnik Award for the Overall Visual Design The collective of authors of the visual design of the production Eve of Retirement by Pre?eren Theatre Kranj The action takes place on a claustrophobic stage with washed out walls, far from any realism but charged with powerful associations to places we all know well. The artistic team deftly created a stage space for Bernhard?s miserable characters visualising their inner fears: claustrophobia, the darkness of the soul, sadism, emptiness. The excellent costumes and masks make the actors look like the living dead with only monstrous human features. The sharpness of presentation of their world corresponds to the outstanding lighting design work: skilfully following the dramaturgy of the production, it enables a great aesthetic gratification. *** The Association of Theatre Critics and Researchers of Slovenia Award for Best Production in the past season (2015/16) The Association of Theatre Critics and Researchers of Slovenia Award for Best Production in the past season goes to Rose Bernd by Gerhard Hauptmann, directed by Mateja Kole?nik and performed by the Celje People?s Theatre. The artistic team of the Celje People?s Theatre transposed the century-old story of Rose Bernd, a girl caught in an impossible situation, into a production that questions the position of women in society and the power relations between different forms of authority and a society that alleviates its helplessness by taking it out on those who are the least capable of controlling their body and life. Through clean-cut directorial guidance, clear dramaturgical interventions, minimalist stage design and powerful acting creations, Hauptmann?s naturalistic play on infanticide in the Schlesien countryside resounds from the stage with contemporaneity and critical stance. 117 51. Festival Bor?tnikovo sre?anje v ?tevilkah Maribor, 14.?23. oktober 2016 Selektorica Petra Vidali je v tekmovalni program uvrstila enajst predstav, v spremljevalni program pa jih je bilo po izboru umetni?ke direktorice Alje Predan in Petre Vidali uvr??enih ?est. Pet predstav je obsegal mednarodni program Mostovi: dve iz ?vedske, po eno pa iz Nem?ije, Hrva?ke in Poljske. Predstavljenih je bilo pet produkcij AGRFT. *** Spoprijemali smo se z doslej najzahtevnej?imi tehni?nimi in organizacijskimi nalogami. Najve?ji izziv je bila tekmovalna predstava Republika Slovenija (Maska, Slovensko mladinsko gledali??e), ki smo jo odigrali v hangarju Letalskega centra Maribor v Skokah. Hangar smo v celoti opremili za gledali?ke namene (osvetljava, ozvo?enje, tribuna), poskrbeli za varnost obiskovalcev ter zagotovili posebne prevoze do mesta dogodka. Druga tekmovalna predstava Projektator (Zavod Delak) je bila izvorno zasnovana ?site specific?; v Mariboru se je za primerno mesto izkazala fitnes dvorana v stolpnici Slavija. Spremljevalno predstavo Tri sestre v produkciji Zavoda Margareta Schwarzwald in UL AGRFT smo umestili v prvo nadstropje Salona uporabnih umetnosti, ki spominja na atelje Eme Kugler, kjer so Tri sestre igrali v Ljubljani. A kljub temu ga je bilo treba bolj ali manj v celoti opremiti in ga spremeniti v primeren uprizoritveni prostor. In ?e zadnja tehni?na ovira: ?vedska uprizoritev predstave Viharni vrh, ki smo jo povabili v ?vedski fokus in programski sklop Mostovi, je zahtevala oder posebno majhnih dimenzij, ki smo ga zgradili v prostorih GT22, v treh dneh pa odigrali 24 ponovitev. *** V fokusu smo se posvetili ?vedski drami in gledali??u; izdali smo knjigo Sodobna ?vedska drama ter se pogovarjali z avtorjem predgovora Edwardom Buffalom Brombergom, re?iserjem Michaelom Cockom, zalo?nico Berit Gullberg, kulturologinjo Ylvo Lagercrantz Spindler, direktorico ?vedskega ITI-ja Ulricho Johnson in prevajalkami. *** ?e sedmo leto smo organizirali slovenski showcase, vanj so bile vklju?ene vse tekmovalne in spremljevalne predstave, tuji gosti ? gostili smo rekordnih 30 festivalskih direktorjev, selektorjev in novinarjev iz 17 dr?av ? pa so si sami naredili izbor za ogled. *** Strokovni del je obveznost vsake festivalske izdaje. Dvodnevna znanstvena konferenca v soorganizaciji Slovenskega gledali?kega in?tituta, raziskovalnega programa UL AGRFT v sodelovanju s FBS Za?etki, dose?ki in nasledki slovenskega gledali??a moderne dobe: simpozij ob 150-letnici Dramati?nega dru?tva v Ljubljani je bila uvod v praznovanje jubileja profesionalnega gledali??a na Slovenskem. Simpozij o slovenski radijski igri v organizaciji Dru?tva gledali?kih kritikov in teatrologov Slovenije v sodelovanju z RTV Slovenija (Radio Slovenija, 3. program) in na?im festivalom Vitalna zvrst na robu medijskega prostora je razprl debato o dramski zvrsti radijske igre. The 51st Maribor Theatre Festival in Numbers Maribor, 14?23 october 2016 Selector Petra Vidali included eleven productions in the Competition Programme. The Accompanying Programme consisted of six productions selected by the artistic director Alja Predan and Petra Vidali. The international programme Bridges featured five productions: two from Sweden and one each from Germany, Croatia and Poland. There were five productions of the Academy of Theatre, Radio, Film and Television of the University of Ljubljana (UL AGRFT). *** We were faced with the most demanding technical and organisational tasks thus far. The greatest challenge was the production in the Competition Programme, The Republic of Slovenia (Maska, Mladinsko Theatre Ljubljana), which we presented in the hangar of the Maribor Air Centre in Skoke. We completely transformed the hangar into a temporary theatre space (lighting, sound equipment, tribunes), made sure to have the proper safety conditions for the spectators and provided special transportation to the venue. Another production in the Competition Programme, Projektator (Delak Institute), was originally a site-specific production, thus we found an appropriate equivalent space in Maribor in Fitness Slavija, the fitness hall of the Slavija skyscraper. The production Three Sisters by Margareta Schwarzwald Institute and UL AGRFT from the Accompanying Programme was accommodated on the first floor of the Salon of Applied Arts, which was reminiscent of Ema Kugler?s studio where Three Sisters was originally performed in Ljubljana. Still, the space in Maribor required a thorough adaptation into an adequate performing space as well as the provision of the entire technical equipment. The last technical challenge/obstacle was the Swedish production Wuthering Heights, which was part of the Swedish Focus as well as the international programme Bridges. This production required a stage of particularly small dimensions, which we had to build in the space of GT22. The Swedes performed it 24 times in three days. *** We dedicated the Focus Programme to Swedish drama and theatre. We published the book Contemporary Swedish Drama and had discussions with the author of the book?s Preface Edward Buffalo Bromberg, director Michael Cock, publisher Berit Gullberg, cultural researcher Ylvo Lagerkrantz Spindler, the director of the Swedish ITI Ulricha Johnson, and the translators of the plays. *** For the seventh consecutive year we organised the Slovenian Showcase. All of the productions from the Competition and Accompanying Programme were included in the Showcase, and the guests ? a record number of 30 festival operators, selectors and journalists from 17 countries ? freely selected which productions to attend. *** The expert segment is an integral part of each Festival edition. The Beginnings, Achievements and Successors of the Slovenian Theatre in the Modern Era, a symposium on the occasion of the 150th Anniversary of Dramatic Society in Ljubljana, co-organised 118 Strokovni pogovori po predstavah so se razpletali v Vetrinjskem dvoru, vodili sta jih teatrologinji Simona Hamer in Nina Zupan?i?. Opravljenih je bilo 13 pogovorov po tekmovalnih in deloma po mednarodnih predstavah. Prav tam so potekali tudi pogovori o knji?nih novitetah, ki jih je vodila Ksenija Repina. V kavarni Luft je bila ekskluzivno predstavljena publikacija Bojana An?elkovi?a Umetni?ki ustroj Noordung. Filozofija in njen dvojnik. *** Nadaljevali smo tradicijo razstav: v avli SNG Maribor je bila na ogled razstava Pokrajinskega muzeja Ko?evje ob 140. obletnici rojstva Ivana Cankarja avtorice Lele B. Njatin: Narod si bo pisal sodbo sam. Nadaljujemo projekt digitalizacije: e-razstavo Festival Bor?tnikovo sre?anje 2015, Velika Bor?tnikova nagrada 2015: Hedda Gabler in Dobitnica Bor?tnikovega prstana 2015: Ljerka Belak je pripravila Ksenija Repina. Slovenski gledali?ki in?titut je dodal ?e posebno e-razstavo Dobitniki in dobitnice Bor?tnikovega prstana 1970?2015, ki predstavlja dobitnike in dobitnice prstana s po desetimi fotografijami. *** Festival vsako leto ?irimo na razli?na prizori??a po Mariboru: Lutkovno gledali??e Maribor, Vetrinjski dvor, Prvi oder Prve gimnazije, Muzej narodne osvoboditve, Salon uporabnih umetnosti, Alma mater Europea ? ECM, GT 22, Fitnes Slavija in Letalski center Maribor. V Salonu uporabnih umetnosti smo ?e drugi? pripravili dru?abni festivalski ve?er. *** ?e tradicionalno je sodelovanje z visoko?olskima ustanovama UL AGRFT in Filozofsko fakulteto v Mariboru ter z dijaki in profesorji Prve gimnazije. Predstavili smo produkcije AGRFT iz ?tudijskega leta 2015/2016, organizirali delavnico dramskega pisanja Instant drama/predstava pod vodstvom prof. ?anine Mir?evske. ?tudenti so sodelovali pri pripravi dnevnega Biltena FBS in pri pogovorih o predstavah. Pri izvedbi 51. FBS je prostovoljno sodelovalo okoli 30 ?tudentk in ?tudentov pa tudi nekaj brezposelnih. *** Festival je leta 2015 postal del mednarodne gledali?ke platforme Dispatches, znotraj katere je objavljeno tudi poro?ilo o 51. FBS. *** Almanah 51. FBS je iz?el v slovenskem in angle?kem jeziku, natisnjena je bila dvojezi?na programska zlo?enka. Izdanih je bilo devet rednih biltenov, eden ob zaklju?ni slovesnosti in eden ob simpoziju, skupaj enajst. Bilten je pod mentorskim vodstvom Ksenije Repina urejala Manja Gatalo. *** Mednarodna strokovna ?irija je ob zaklju?ku 51. FBS podelila dvanajst nagrad. ?irija za podelitev najvi?jega priznanja za igralsko ustvarjalnost je Bor?tnikov prstan podelila dramskemu igralcu Daretu Vali?u. Podeljena je bila tudi nagrada DGKTS za najbolj?o uprizoritev pretekle sezone. by the Slovenian Theatre Institute, the Research Programme of UL AGRFT and the Maribor Theatre Festival, offered an introduction to the celebration of the jubilee of professional theatre in Slovenia. A symposium on the Slovenian radio play The Vital Genre on the Edge of the Media, organised by the Association of Theatre Critics and Researchers of Slovenia in collaboration with RTV Slovenia (Radio Slovenia, 3rd Programme) and our Festival, introduced a debate on the dramatic form of the radio play. *** The discussions on the productions took place in Vetrinj Mansion and were moderated by theatre researchers Simona Hamer and Nina Zupan?i?. All in all, 13 talks took place following the Competition Programme productions and some of the international productions. Vetrinj Mansion was also the site of discussions on newly published books and publications moderated by Ksenija Repina. The publication of Bojan An?elkovi??s The Artistic System Noordung. Philosophy and Its Double was presented exclusively at Luft 360?, located in the Slavija skyscraper. *** We continued with the tradition of exhibitions: the exhibition ?A Nation Shall Write the Verdict for Itself by Itself?, by the artist Lela B. Njatin and organised by the Regional Museum Ko?evje and co-produced by the Municipality of Ko?evje and the Scientific Research Centre of the Slovenian Academy of Sciences and Arts, Ljubljana on the occasion of the 140th anniversary of the birth of Ivan Cankar, was presented in the hall of the Slovene National Theatre Maribor. We also continued with the digitalisation project: E-xhibition Maribor Theatre Festival 2015; featuring the 2015 Bor?tnik Grand Prix winner Hedda Gabler and the recipient of the 2105 Bor?tnik Ring Ljerka Belak, it was prepared by Ksenija Repina. The Slovenian Theatre Institute added a special e-xhibition Recipients of the Bor?tnik Ring 1970?2015, featuring ten photographs of each of the recipients throughout the history of this prestigious award for acting achievements. *** Each year we expand the Festival to different venues all over Maribor: the Maribor Puppet Theatre, Vetrinj Mansion, the First Stage of the First Grammar School Maribor, the National Liberation Museum Maribor, the Salon of Applied Arts, Alma Mater Europea ? ECM, GT22, Fitness Slavija and the Maribor Air Centre. For the second time, we also organised a Festival Cocktail Party. *** The collaboration with the academic institutions UL AGRFT and the Faculty of Arts of the University of Maribor as well as with the grammar school students and teachers of the First Grammar School Maribor is also already traditional. We presented the UL AGRFT productions from the academic year 2015/16 and organised the playwriting workshop Instant Drama/Performance mentored by professor ?anina Mir?evska. The students also took part in editing the Festival daily Bulletin and in the discussions on the productions. 119 Okrepili smo tudi aktivnosti za pridobivanje ob?instva, predvsem je hvalevreden podatek, da so bile letos ?tevilne predstave razprodane ?e nekaj ?asa pred za?etkom festivala. Prav tako ni znatno upadlo ?tevilo obiskovalcev iz Ljubljane, ki so uporabili festivalski javni prevoz. *** Za?eli smo dolgoro?no sodelovanje s Teto Frido, ki je v po?astitev festivala pripravila posebno ?Bor?tnikovo? ?okolado in z njo razvajala vse goste festivala. *** Na 51. FBS se je zvrstilo 81 dogodkov, ki jih je obiskalo ve? kot 6000 obiskovalcev. Odigranih je bilo 28 predstav (Viharni vrh na sporedu tri dni po osemkrat na dan) in organiziranih 30 drugih dogodkov. Da?a ?prin?nik, izvr?na producentka FBS Approximately thirty student volunteers as well as other community members were engaged during the Festival. *** In 2015 the Festival became part of the international theatre platform Dispatches, which published among others, a report on the 51st Maribor Theatre Festival. *** The 51st Maribor Theatre Festival Almanac was published in Slovenian and English along with a bilingual programme booklet. Nine regular Bulletins were published along with one on the occasion of the concluding ceremony and one on the occasion of the symposium ? for a total of eleven. The Bulletin was edited by Manja Gatalo under the mentorship of Ksenija Repina. *** At the conclusion of the 51st Maribor Theatre Festival, the international jury of experts awarded 12 awards. The Grand Prix was awarded to The Learned Ladies after the motifs of the Learned Ladies by Moli?re, directed by Jernej Lorenci and performed by the Celje People?s Theatre and Ptuj City Theatre. The Bor?tnik Ring jury awarded the highest recognition for the art of acting to the dramatic actor Dare Vali?. The Association of Theatre Critics and Researchers of Slovenia awarded the best production of the past season. *** We also reinforced the audience development strategies. A fact that is particularly encouraging is that some of the productions were sold out even before the onset of the Festival. There was, however, a slight decrease of visitors from Ljubljana who used the Festival?s FestBus public transportation. *** We launched a long-term collaboration with Teta Frida who prepared a special ?Bor?tnik? chocolate to celebrate the Festival and indulged the Festival visitors with it. *** The 51st Maribor Theatre Festival hosted 81 events that were attended by over 6000 visitors. There were 28 productions (Wuthering Heights was performed eight times a day for three days) and 30 other events. Da?a ?prin?nik, Maribor Theatre Festival Executive Producer Pokrovitelji festivala Sponsors of the Festival 121 ?asopis, ki mi je blizu. ?a sn ik V e? er , d .o .o ., U lic a sl ov en sk e os am os vo jit ve 2 , M ar ib or w w w .v ec er .c om BAN?NI PAKET FUTURIST VSE PREK SPLETA ? BREZPL A?NO VODENJE R A?UNA NOVE PL A?ILNE K ARTICE ? BANK@NET Paketni ra?un PREVERI NA NKBM.SI/FUTURIST-PAKET IN GA SKLENI KAR PREK SPLETA. T: 080 17 50 | SKYPE: NOVAKBM | NOVAKBM | INFO@NKBM.SI IZBERITE ENOSTAVNO IN SODOBNO BAN?NI?TVO 05 25 75 95 100 CM Y CM MY CY CMY K TF - Logo+Simbol 2017_with_dates.pdf 5 8. 06. 17 07:00 PONOSNA SLADKA POKROVITELJICA FBS Drama v treh dejanjih. Si ng le. In a re la tio ns hi p. It? s c om pl ic at ed . SREDNJA ?OLA ZA GOSTINSTVO IN TURIZEM MARIBOR ?ola z okusom. Odslej lahko prevzamem paket kadar koli, 24/7! PS Paketomat ? diskretno, hitro & priro?no! Vzpostavili smo mre?o samopostre?nih po?tnih avtomatov, kjer boste lahko brez vrst in gne?e preprosto prevzemali in oddajali svoje pakete. Diskretno, hitro in priro?no! Za ve? informacij poskenirajte QR kodo, pokli?ite na 080 14 00 ali obi??ite www.pspaketomat.si. PREVZEM PAKETA v samo 3 korakih! Opravi spletni nakup 1 Prejmi SMS z unikatno kodo SMS 2 Prevzemi svoj paket 24/7 24 3 121 prispevkov TV in Video 316 min pojavljanja 165.660 ? ocenjena ogla?evalska vrednost Radio 258.371 ? ocenjena ogla?evalska vrednost Spletni mediji 199.000 ? ocenjena ogla?evalska vrednost 427 objav 76 razli?nih portalov 198 min pojavljanja 44 prispevkov Tiskani mediji 1,224.299 ? ocenjena ogla?evalska vrednost 299 ?lankov 66 razli?nih medijev 2016 USTVARJEN ZA RDE?O PREPROGO. NOVI BMW SERIJE 5 PRI AVTOHI?I SELMAR. URADNI PREVOZNIK 52. BOR?TNIKOVEGA SRE?ANJA. Kombinirana poraba goriva za vozila BMW serije 5: od 4,1 do 6,9 l/100 km. Emisije CO2: od 108 do 159 g/km. Emisijska stopnja: Euro6. Emisije NOx: podatek ?e ni na voljo. Ogljikov dioksid (CO2) je najpomembnej?i toplogredni plin, ki povzro?a globalno segrevanje. Emisije onesna?eval zunanjega zraka iz prometa pomembno prispevajo k poslab?anju kakovosti zunanjega zraka. Prispevajo zlasti k ?ezmerno povi?anim koncentracijam prizemnega ozona, delcev PM10 in PM2,5 ter du?ikovih oksidov. ZA VAS GRADIMO NADSTANDARDNI NASELJI ?STUDENCI SUNSET ELITE in RADVANJE NATURE LUXURY? PRODAMO PAMETNE NIZKOENERGIJSKE HI?E ? Prestige Line www.shglobal.si PRODAJA Investitor in prodaja: SH Global d.o.o. BREZ PRIHRANKOV DO SVOJE HI?E Uredimo ugodno financiranje. Mo?nost menjave za stanovanje. NOVO: B REZ STRO?K OV ENERGIJ E www.krka.si Tudi kultura je del nas. K rk a, d . d ., N ov o m es to , ? m ar je ?k a ce st a 6 , 8 5 01 N ov o m es to , w w w .k rk a. si Poslanstvo na?ega farmacevtskega podjetja je narediti dragocene trenutke ?e lep?e in bogatej?e. Le zdravo ?ivljenje je lahko izto?nica kreativnosti. Verjamemo v navdih, ki se rodi iz kulture. 080 21 15 www.energijaplus.si VSE ENERGETSKE RE?ITVE NA ENEM MESTU RADENSKA CLASSIC V velikih globinah, dale? od virov onesna?enja in v posebnih geolo?kih pogojih skozi leta, desetletja in stoletja neprekinjeno nastaja ?isto poseben dar narave, naravna mineralna voda RADENSKA CLASSIC Kraljevi vrelec. KJER JE NAJBOLJ?A KAVA DOMA ... Velik izbor Od majhn ih pisarn Za strank e kavnih sp ecialitet in zaposl ene do velikih podjetij A AAA AA 138 fo to p h o to : b o? tj an la h Galerija Hest daruje umetni?ko sliko dobitniku velike nagrade Festivala Bor?tnikovo sre?anje za najbolj?o uprizoritev The Hest Gallery presents the painting to the winner of the Maribor Theatre Festival Grand Prix Award for best performance ?idovska 1, SI-2000 Maribor T +386 (0)2 250 06 66 e galerijahest@siol.net i www.galerijahest-sp.si ?idovska 8, SI-1000 Ljubljana T +386 (0)1 422 00 00 FRANCE SLANA, GRAFIKA, MESTO, 2014, 56,5 X 50 Cm bor?TNikov prSTaN Daruje bOr?tniK ring dOnated by veTriNjSka 17 Si-2000 maribor T +386 (0)31 521 398 139 NAKUP VSTOPNIC Predprodaja od 4. septembra do 1. oktobra 2017. Redna prodaja od 2. do 28. oktobra 2017. POPUSTI IN UGODNOSTI Abonentom SNG Maribor, upokojencem in ?lanom Slavisti?nega dru?tva ponujamo nakup vstopnic po predprodajni ceni do za?etka predstave. ?lani Mariborske knji?nice prejmejo ob predlo?itvi ?lanske izkaznice 10 % popust pri nakupu vstopnic za katerokoli predstavo, Festival pa vsem ?lanom ponuja tudi akcijske cene vstopnic za izbrane predstave. Za dijake in ?tudente je cena vstopnice ob predlo?itvi ?tudentske ali dija?ke izkaznice 10 ? oz. 12 ? za tekmovalne predstave. Predstave AGRFT so za dijake in ?tudente brezpla?ne. Vro?a vstopnica ? petnajst minut pred predstavo 50 % popusta (ne velja za tekmovalni program). Popust za nakup vstopnic lahko uveljavite samo pri blagajni SNG Maribor ob predlo?itvi izkaznice ali potrdila. DARILO ZA ABONENTE SNG MARIBOR Med abonente SNG Maribor bomo razdelili 200 brezpla?nih vstopnic za zaklju?no prireditev. Vstopnice bodo na voljo od 25. oktobra 2017 pri blagajni SNG Maribor ob predlo?itvi abonmajske kartice. BOR?TNIKOV IZBIRNI ABONMA Oblikujte abonma po svoji ?elji! - 25 % popusta pri nakupu vsaj 4 vstopnic za ?tiri razli?ne predstave, - 30 % popusta pri nakupu vsaj 8 vstopnic za osem razli?nih predstav, - 40 % popusta pri nakupu 12 vstopnic ali ve? za razli?ne predstave. Popust ne velja za nakup istih vstopnic za posamezno predstavo. ?e se lastniki izbirnega abonmaja pozneje odlo?ijo za nakup dodatnih vstopnic, jim bodo te na voljo po predprodajni ceni. Ob nakupu izbirnega abonmaja vam podarimo vstopnico za ogled zaklju?ne prireditve in Almanah. Vpis poteka od 4. septembra do 1. oktobra 2017 oz. do zapolnitve mest pri blagajni SNG Maribor in v Informacijskem sredi??u Cankarjevega doma. Abonma lahko pla?ate v celoti ali v treh obrokih. Komitenti Nove KBM, Abanke in Nove Ljubljanske banke lahko pla?ate preko trajnika v treh obrokih. Mo?nost pla?ila s kreditnimi karticami Activa, American Express, Eurocard, Mastercard, Visa, Moneta in s pla?ilno kartico BA. TICKET SALES Presales from 4 September to 1 October 2017. Regular sales from 2 to 28 October 2017. DISCOUNTS Subscribers of the SNT Maribor, retirees and members of the Maribor Slavic Association may purchase tickets at the presale price until the performance starts. Members of the Maribor Public Library can receive a 10% discount on the purchase of tickets for any performance with their library card. The Festival offers all members special-priced tickets for selected performances. Upon showing their student I.D., university and grammar school students may purchase tickets for Competition Programme performances for ?12, for all other performances, ?10. The performances of the UL AGRFT are free for university and grammar school students. Rush tickets are available for half-price 15 minutes before the performance begins (does not apply to Competition Programme performances). Discounts are available only at the SNT Maribor Box Office upon presenting the eligible document or I.D. The discount applies to the regular ticket price. Only one discount per ticket is available. A GIFT FOR SUBSCRIBERS OF THE SNT MARIBOR From 25 October 2017, season subscribers of SNT Maribor may claim one of 200 free tickets for closing ceremony at the Box Office with their subscriber I.D. FESTIVAL SUBSCRIPTION PACKAGES Select your subscription the way you like it! - 25% discount on at least 4 tickets for four different performances - 30% discount on at least 8 tickets for eight different performances - 40% discount on 12 or more tickets for different performances Subscribers of the custom subscription package who purchase additional tickets at a later date are eligible to purchase them at the presale price. Subscriptions for the Maribor Theatre Festival may be purchased from 4 September to 30 October 2017, or until available spaces have sold out. When subscribing at the SNT Maribor Box Office, the subscription package may be paid for in full or in three instalments. Account holders of Nova KBM, Abanka and NLB may pay the three instalments via direct debit. You may also pay with the following credit cards: Activa, American Express, Eurocard, Mastercard, Visa, Moneta, and BA payment card. 140 PRODAJNA MESTA Gledali?ka blagajna SNG Maribor, Slovenska ulica 27, Maribor T 02 250 61 15 E boxoffice@sng-mb.si I www.mojekarte.si Blagajna SNG Maribor je odprta od ponedeljka do petka od 10.00 do 13.00 in od 17.00 do 19.30, v soboto od 10.00 do 13.00 in vsak dan uro pred predstavo. Cankarjev dom, Informacijsko sredi??e, Pre?ernova cesta 10, Ljubljana T 01 241 72 99, 01 241 73 00 E vstopnice@cd-cc.si TETA FRIDA ? Uradna ?okolada Festivala Teta Frida je ponovno ponosna sladka pokroviteljica dvainpetdesete izdaje FBS, v njeno ?ast je naredila brandiran ?okoladni izdelek. SPLETNA TRGOVINA FBS Na spletnem naslovu www.borstnikovo.si je vzpostavljena spletna trgovina s publikacijami in promocijskimi materiali preteklih let. MESTO NA OGLED V sodelovanju z Zavodom za turizem Maribor - Pohorje smo za tuje goste pripravili ogled Maribora v dveh terminih ? prvi bo 23., drugi pa 28. oktobra, oba bosta v angle?kem jeziku. Zavod za turizem bo goste popeljal na ogled starega mestnega jedra, od Vinagove vinske kleti mimo Grajskega in Glavnega trga, ?idovskega stolpa do Stare trte. Turisti?ni vodniki bodo na vodenem ogledu tuje goste seznanili s klju?nimi znamenitostmi in zanimivostmi iz zgodovine, umetnosti, kulturnega in dru?benega ?ivljenja. SALES POINTS SNT Maribor Box Office, Slovenska ulica 27, Maribor T +386 (0)2 250 61 15 E boxoffice@sng-mb.si W www.mojekarte.si The Box Office is open Monday thru Friday from 10 a.m. to 1 p.m. and from 5 p.m. to 7.30 p.m.; Saturdays from 10 a.m. to 1 p.m. and one hour prior to the performance. Cankarjev dom, Pre?ernova cesta 10, Ljubljana T +386 (0)1 241 72 99, 01 241 73 00 E vstopnice@cd-cc.si TETA FRIDA ? official sweet sponsor Teta Frida is proud to be the official sweet sponsor of the 52nd festival edition. For this occasion they have developed the Bor?tnik chocolate. THE MARIBOR THEATRE FESTIVAL WEB STORE Our web store is located at www.borstnikovo.si. The offer includes promotional products of the Maribor Theatre Festival. Posters, almanacs and books from previous festival editions are also available for purchase. CITY TOUR In collaboration with the Maribor - Pohorje Tourist Board we have prepared a special city tour of Maribor for our foreign guests. Visitors will be able to sign up for one of two tours: the first on 23 October and the second on 28 October. Both tours will take place in English language. Guides from the Tourist Board will take our guests on a visit to the old city centre -- from the Vinag Wine Cellar to the squares Grajski trg and Glavni trg, passing the Jewish Tower and the world?s oldest grapevine. The tourist guides will inform our visitors from abroad of the key sights and attractions from the fields of history and arts as well as the cultural and social life of Maribor?s inhabitants. 141 Cenik Price-list DATUM DATE URA TIME PREDSTAVA PERFORMANCE REDNA PRODAJA REGULAR PRICE PREDPRODAJA PRESALE 20. 10. 20.00 Na?e nasilje in va?e nasilje Our Violence and Your Violence 22 20 21. 10. 18.00 Bolj ?udno od raja Stranger than Paradise 16 14 19.30 Tisti ob?utek padanja Birdland 22, 19, 16 20, 17, 15 22.00 Dviganje glasu The Raising of the Voice 18 16 22. 10. 18.00 22.00 Nemo? Powerlessness 22 20 20.00 Brezmade?na/Immaculata The Immaculate/Immaculata 22, 19, 16 20, 17, 15 21.30 Grozljiva lepota Gruesome Beauty 18 16 23. 10. 18.30 19.30 Zgodba o harfi The Story of the Harp 10 8 20.00 Leonce in Lena Leonce and Lena 22, 19, 16 20, 17, 15 21.30 Zani?ni?ko odma?evanje suverenosti The Zeroite Mass 18 16 22.00 Nemo? Powerlessness 22 20 24. 10. 17.30 Zgodba o harfi The Story of the Harp 10 8 18.00 Sad Songs from the Heart of Europe 13 11 20.00 Peter Ku?ter Shockheaded Peter 22, 19, 16 20, 17, 15 22.00 Nemo? Powerlessness 22 20 25. 10. 17.30 Zgodba o harfi The Story of the Harp 10 8 18.00 Sad Songs from the Heart of Europe 13 11 19.00 Hitchcock Hitchcock 22 20 20.30 Ljudo?erci Cannibals 22, 19, 16 20, 17, 15 26. 10. 18.00 Magic Evening 16 14 20.00 Antigona Antigone 22, 19, 16 20, 17, 15 21.30 Slovenija gori! Slovenia is on Fire! 18 16 27. 10. 18.00 Ordinary People 16 14 20.00 Biblija, prvi poskus Bible, the First Attempt 22, 19, 16 20, 17, 15 28. 10. 18.00 ?lovek, ki je gledal svet The Man Who Watched the World 22 20 18.30 Plesati sanje, sanjati ples Dancing Dreams, Dreaming Dance 5 5 20.30 Stenica Bedbug 22, 19, 16 20, 17, 15 * Vstopnice za predstave AGRFT so naprodaj na posameznem prizori??u pol ure pred predstavo in pri blagajni SNG Maribor. Cena vstopnice je 5 ?, za ?tudente in dijake ni vstopnine. Za produkcijo Zlo?in in kazen je organiziran brezpla?en prevoz v Ljubljano. Tickets for UL AGRFT productions can be purchased at the SNT Maribor Box Office and at the venue 30 minutes before the performance begins. Tickets are 5?, free entry for university and high school students with I.D. For the performance Crime and Punishment, roundtrip transportation is included in the price of the ticket. 142 Festivalska prizori??a Festival venues SNG MariborVelika dvorana, Stara dvorana, Kazinska dvorana, Mali oder, Komorni oder Grand Hall, Old Hall, Kazina Hall, Small Stage, Chamber Stage Slovenska ulica 27 Vetrinjski dvor Vetrinj Mansion Vetrinjska ulica 30 Lutkovno gledali??e Maribor Maribor Puppet Theatre Voja?ni?ki trg 2 a Prva gimnazija Maribor First Grammar School Maribor Trg generala Maistra 1 Stanovanje Apartment Ru?ka cesta 6 Alma Mater Europaea ? ECM Slovenska ulica 17 Hotel Maribor Hotel Maribor Glavni trg 8 Salon uporabnih umetnosti Salon of Applied Arts Glavni trg 1 GT22 Glavni trg 22 Wetrinsky Wetrinsky Vetrinjska ulica 30 Klub KGB KGB Club Voja?ni?ki trg 5 1 2 3 4 5 6 7 8 9 10 11 1 2 3 8 6 9 7 4 5 10 11 143 BELE?KE NOTES Festival Bor?tnikovo sre?anje | SNG Maribor | Maribor Theatre Festival Slovenska ulica 27, SI-2000 Maribor, Slovenija T +386 (0)2 250 62 27, 250 61 00 F +386 (0)2 250 62 28 E borstnikovo@sng-mb.si I www.borstnikovo.si Umetni?ka direktorica Festival artistic director Alja Predan (do until 30. 4. 2017) Vr?ilka dol?nosti umetni?kega direktorja Acting artistic director Ksenija Repina Selektorica tekmovalnega in spremljevalnega programa Competition and accompanying programme selector Petra Vidali Direktor SNG Maribor Managing director SNG Maribor Danilo Ro?ker Izvr?na producentka in odnosi z javnostmi Executive producer and public relations Da?a ?prin?nik Producentka mednarodnega programa International programme producer ?pela Le?nik Urednica publikacij in spletnih strani Publications and web content editor Ksenija Repina Organizatorki prodaje in ogla?evanja Promotion and advertising Da?a ?prin?nik, ?pela Le?nik Tehni?ni vodja Technical manager Matic Gselman Produkcija Production Ana Gabrovec, Manja Gatalo, Mojca Kolar, Branka Nikl Klampfer, Ma?a Sto?i? Oblikovalec Designer Nenad Cizl Fotografa Photographers Matej Kristovi?, Bo?tjan Lah Voditeljici pogovorov o predstavah Panel discussion moderators Simona Hamer, Nina Zupan?i? Voditeljica pogovorov o knji?nih novitetah Moderator of Books at the Festival Manja Gatalo Strokovna ?irija Jury of experts Miko Jaakkola, Milan Ma?arev, Simona Semeni?, Maja ?orli, Uro? Trefalt ?irija za Bor?tnikov prstan Jury for the Bor?tnik Ring Award Ljerka Belak, Bla? Lukan, Vlado Novak, Ksenija Repina, Matja? Zupan?i? Strokovna skupina Artistic board Ale? Novak ? predsednik President, Tatjana A?man, Gregor Butala, Mojca Jan Zoran, Bla? Lukan Sofinanciranje Funding Gledali?ka blagajna je odprta od ponedeljka do petka od 10.00 do 13.00 in od 17.00 do 19.30, v soboto od 10.00 do 13.00 in uro pred predstavo. t (0)2 250 61 15 e boxoffice@ sng- mb. si i www.mojekarte.si Box office hours: Monday to Friday 10 a.m. to 1 p.m. and 5 p.m. to 7.30 p.m.; Saturday 10 a.m. to 1 p.m.; for tickets at the door, the box-office opens one hour prior to the performance. t +386 (0)2 250 61 15 e boxoffice@sng-mb.si i www.mojekarte.si