Almanah 2009

FESTIVAL BOR[TNIKOVO SRE^ANJE BOR[TNIK THEATRE FESTIVAL

16.–25. OKTOBER / OCTOBER 2009

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

Slovensko narodno gledaliπËe Maribor Slovene National Theatre Maribor Slovenska ulica 27, SI-2000 Maribor, Slovenija www.borstnikovo.si +386 (0)2 250 62 27, 250 61 00 +386 (0)2 250 62 28 borstnikovo@sng-mb.si Direktor SNG Maribor Managing Director SNG Maribor Danilo Roπker Vodja Festivala Borπtnikovo sreËanje Festival Director Alja Predan Umetniπki vodja Drame SNG Maribor Artistic Director of Drama SNG Maribor Vili Ravnjak Vodja tehnike SNG Maribor Head of Technical Department SNG Maribor Drago Prosnik Predsednik Sveta Festivala Borπtnikovo sreËanje President of the Borπtnik Theatre Festival Council Tone PartljiË +386 (0)2 250 61 48 borstnikovo@sng-mb.si Izvrπna producentka Festivala Borπtnikovo sreËanje Executive Producer of the Borπtnik Theatre Festival Lidija Koren +386 (0)2 250 62 27 borstnikovo@sng-mb.si, lidija.koren@sng-mb.si Odnosi z javnostmi Public Relations Alan KavËiË +386 (0)2 250 61 35 alan.kavcic@sng-mb.si Urednica publikacij Festivala Borπtnikovo sreËanje Editor of Borπtnik Theatre Festival publications Ksenija Repina +386 (0)40 571 214 ksenija.repina@gmail.com TehniËni vodja Technical Manager Darko ©tandekar +386 (0)2 250 61 00 +386 (0)2 250 62 12 tehnika@sng-mb.si Fotograf Festivala Borπtnikovo sreËanje Borπtnik Theatre Festival Photographer Ivan Vinovrπki Arhivar Festivala Borπtnikovo sreËanje Borπtnik Theatre Festival Archivist Franci Rajh

Selektorica programa 44. Festivala Borπtnikovo sreËanje Selector of the 44th Borπtnik Theatre Festival dr. Barbara Orel, PhD Sodelavec za pripravo strokovnih sreËanj Expert Meeting Adviser Jernej Novak +386 (0)1 475 32 19 Voditelja pogovorov po predstavah Panel discussion moderators Jaroslav Skruπný in Jernej Novak

Strokovna æirija 44. Festivala Borπtnikovo sreËanje Expert Jury of the 44th Borπtnik Theatre Festival dr. Blaæ Lukan, PhD, Mario Brandolin, Gregor Butala, mag. Mojca Jan Zoran, MA, dr. Maja Haderlap, PhD Æirija za Borπtnikov prstan Borπtnik Ring Jury Tone PartljiË, Rapa ©uklje, Peter Ternovπek

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 vse dni uro pred predstavo. Mondays to Fridays 10 a.m. to 1 p.m. and 5 p.m. to 7.30 p.m., Saturdays 10 a.m. to 1 p.m. and one hour prior to performance beginning. +386 (0)2 250 62 26, 250 61 15 rezervacija.vstopnic@sng-mb.si VeË informacij na For more information www.borstnikovo.si

Tone PartljiË (predsednik, BS), Melita ForstneriË Hajnπek (podpredsednica, Mestna obËina Maribor), dr. Barbara Orel, PhD (BS), Ivo Ban (SNG Drama Ljubljana), Tomaæ Ban (SSG Trst), Matjaæ Berger (Anton Podbevπek Teater Novo mesto), Urπula Cetinski (Slovensko mladinsko gledaliπËe), mag. Joæko »uk, MA (SNG Nova Gorica), Damir DomitroviÊ Kos (Druπtvo ASOCIACIJA Ljubljana), Barbara Hieng Samobor (Mestno gledaliπËe ljubljansko), mag. Tina Kosi, MA (SLG Celje), Barbara Koæelj (Ministrstvo za kulturo RS), Katja Pegan (GledaliπËe Koper), mag. Alenka Nika Pirjevec, MA (ZDUS Ljubljana), Danilo Roπker (SNG Maribor), Jaroslav Skruπný (RTV Slovenija), Peter SrpËiË (Mestno gledaliπËe Ptuj), dr. Barbara Suπec Michieli, PhD (AGRFT Ljubljana), Ivo Svetina (SGM Ljubljana), Borut Veselko (Preπernovo gledaliπËe Kranj)

Program festivala sofinancirata Ministrstvo za kulturo (iz proraËuna R Slovenije) in Mestna obËina Maribor. The programe of the Borštnik Theatre Festival is co-financed by the Ministry of Culture (from the boudget of the Republic of Slovenia) and the Municipality of Maribor.

vsebina contents Urnik festivala Festival Schedule ...............................................................................................................................2 Barbara Orel: PoroËilo selektorice Festivala Borπtnikovo sreËanje .......................................................................................8 Report from the 44th Borπtnik Theatre Festival Selector..................................................................................10 Alja Predan: Odstrte naoknice..................................................................................................................................12 Open Shutters......................................................................................................................................14 Tone PartljiË: Festival Borπtnikovo sreËanje je tudi samo teater ........................................................................................16 Even the Borπtnik Theatre Festival Is Only a Show.........................................................................................17 Danilo Roπker: Festival Borπtnikovo sreËanje na pragu sprememb .......................................................................................18 The Borπtnik Theatre Festival on the Brink of Change ....................................................................................19 Selektorica, æiriji ..................................................................................................................................................20 Selector, Members of the Jury ..................................................................................................................................21 Izbrane uprizoritve Krizantema na klavirju A Chrysanthemum on the Grand Piano....................................................................................22 HËi zraka Daughter of Air ..................................................................................................................................24 Out ..............................................................................................................................................................26 BarËica za punËke Boat for Dolls.........................................................................................................................28 Življenje (v nastajanju) Life (in progress) .............................................................................................................30 Oresteja Oresteia ............................................................................................................................................32 Niπtrc Offcuts .................................................................................................................................................34 NeskonËni πteti dnevi The Infinite Numbered Days ..................................................................................................36 Grdoba The Ugly One ........................................................................................................................................38 Triko Tricot ....................................................................................................................................................40 Portret neke gospe The Portrait of a Lady..............................................................................................................42 Peer Gynt.......................................................................................................................................................44 Projekt Hamlet Project Hamlet ...........................................................................................................................46 Veter v vejah borov Wind in the Pines ..................................................................................................................48 Macbeth po Shakespearu Macbeth after Shakespeare ..............................................................................................50 Simpoziji Symposiums............................................................................................................................................52 Knjige na festivalu Books at the Festival ...................................................................................................................56 Dodatni program Supplementary Programme ..............................................................................................................64 Dan AGRFT Day of the AGRFT....................................................................................................................................66 43. Festival Borπtnikovo sreËanje 2008 43rd Borπtnik Theatre Festival Borπtnikov prstan ............................................................................................................................................69 Borπtnik Ring..................................................................................................................................................72 Izjava strokovne æirije.......................................................................................................................................74 Statement by the Expert Jury..............................................................................................................................75 Utemeljitve nagrad ..........................................................................................................................................76 Awards..........................................................................................................................................................76 PoroËilo 43. Festivala BS ...................................................................................................................................81 43rd Borπtnik Festival Report ..............................................................................................................................82 Slovenski dramatiki Slovene playwrights ....................................................................................................................83 Reæiserji Directors.................................................................................................................................................85 In memoriam .......................................................................................................................................................90 GledaliπËa na festivalu Theatres of the Festival ..........................................................................................................91 Pokrovitelji festivala Sponsors of the Festival ............................................................................................................99

PETEK

44. festival borπtnikovo sreËanje urnik

S O B O TA

16

17

19.00

Slavnostna otvoritev 44. Festivala Borπtnikovo sreËanje Opening Ceremony of the 44th Borπtnik Theatre Festival

Velika dvorana

...

Svetlana MakaroviË

Velika dvorana

Krizantema na klavirju A Chrysanthemum on the Grand Piano Avtorica glasbeno-gledaliπkega projekta Musical theatre project by Janja Majzelj Slovensko mladinsko gledaliπËe

...

Prijateljsko sreËanje After party

11.00

Strokovni pogovor o uprizoritvi Krizantema na klavirju Panel discussion on A Chrysanthemum on the Grand Piano

19.00

Hans Magnus Enzensberger

Mali oder

Stara dvorana

HËi zraka

Daughter of Air Reæiser Directed by Janusz Kica Slovensko stalno gledaliπËe Trst Koproducenti Co-producers Festival Mittelfest »edad, Festival Teatri a teatro Trst in Primorski poletni festival Koper

22.00

Out Reæiser Directed by Bojan Jablanovec Via Negativa & Teatar &TD Zagreb Koproducent Co-producer GledaliπËe Glej

2

Kazinska dvorana

Tribuna na Velikem odru

NEDEJLA

44th borπtnik theatre festival schedule

11.00

Strokovni pogovor o uprizoritvi HËi zraka Panel discussion on Daughter of Air

19.00

Milena MarkoviÊ

BarËica za punËke

18

Mali oder

Tribuna na Velikem odru

Boat for Dolls Reæiser Directed by Aleksandar Popovski SNG Drama Ljubljana

21.00

Æivljenje (v nastajanju)

Kazinska dvorana

Life (in progress)

PONEDELJEK

Avtor koncepta Author of the concept Janez Janπa Maska Ljubljana Koproducenti Co-producers Tanz im August (Berlin), Stara mestna elektrarna-Elektro Ljubljana, Tanzquartier Dunaj

19

11.00

Strokovni pogovor o uprizoritvi BarËica za punËke Panel discussion on Boat fot Dolls

19.00

Ajshil / Aeschylus

Mali oder

Stara dvorana

Oresteja Oresteia

Reæiser Directed by Jernej Lorenci SNG Drama Ljubljana

3

TOREK

44. festival borπtnikovo sreËanje urnik

20

11.00

Strokovni pogovor o uprizoritvi Oresteja Panel discussion on Oresteia

19.00

Johann Wolfgang von Goethe, Arturo Annecchino

Mali oder

Stara dvorana

Melolog za glas in klavir Melologue for voice and piano Izvajata Performed by Peter Stein (recitator/voice) & Arturo Annecchino (pianist)

21.00

Niπtrc

Mali oder

Offcuts Avtorja zamisli Authors of idea Tomaæ Grom in ©pela Troπt Zavod Sploh Koproducent Co-producer Yanvii (Italija)

22.00

Johann Wolfgang von Goethe, Arturo Annecchino

Stara dvorana

S R E DA

Melolog za glas in klavir Melologue for voice and piano Izvajata Performed by Peter Stein (recitator/voice) & Arturo Annecchino (pianist)

21

11.00

Simpozij Symposium

19.00

Andrej E. Skubic

Mali oder

Od Antigone do Krsta pri Savici in predstavitev monografije ob 90. obletnici Drame SNG Maribor From Antigona to Krst pri Savici and presentation of the monograph Ninety Years of SNG Maribor Stara dvorana

NeskonËni πteti dnevi The Infinite Numbered Days Reæiser Directed by Matjaæ Latin SNG Nova Gorica

21.00

Marius von Mayenburg

Grdoba

The Ugly One 4

Reæiser Directed by Boris Kobal Mestno gledaliπËe ljubljansko

Tribuna na Velikem odru

»ETRTEK

44th borπtnik theatre festival schedule

22

11.00

Strokovna pogovora o uprizoritvah

19.00

Milan Jesih

Mali oder

NeskonËni πteti dnevi in Grdoba Panel discussions on The Infinite Numbered Days and The Ugly One

Mali oder

Triko Tricot

Reæiser Directed by Luka Martin ©kof Slovensko ljudsko gledališËe Celje

21.00

Henry James

Portret neke gospe

Tribuna na Velikem odru

The Portrait of a Lady

PETEK

Reæiser Directed by Matjaæ Berger Anton Podbevπek Teater & Teatri di Vita Bologna

23

10.00

Mednarodni simpozij International Symposium

11.00

Strokovni pogovor o uprizoritvi Triko in Portret neke gospe

19.00

Henrik Ibsen

Kazinska dvorana

Povezovanje festivalov Zahodnega Balkana Organizirata Mednarodni gledaliπki inπtitut (ITI) in Festival Borπtnikovo sreËanje Intertwining of the Festivals of the Western Balkans Organised by the International Theatre Institute and the Borπtnik Theatre Festival

Mali oder

Panel discussion on Tricot and The Portrait of a Lady

Stara dvorana

Peer Gynt Reæiser Directed by Janusz Kica Drama SNG Maribor

23.00

Projekt Hamlet

Komorni oder

Project Hamlet Reæiserka Directed by Eva Nina LampiË Akademija za gledaliπËe, radio, film in televizijo Ljubljana

5

S O B O TA

44. festival borπtnikovo sreËanje urnik

24

10.00

Mednarodni simpozij International Symposium

11.00

Strokovni pogovor o uprizoritvi Peer Gynt

19.00

Veter v vejah borov

Kazinska dvorana

Umetnost, kultura, mesto Organizirata Druπtvo gledaliπkih kritikov in teatrologov Slovenije in Festival Borπtnikovo sreËanje Art, Culture, City Organised by the Asssociation of Theatre Critics and Researchers of Slovenia and the Borπtnik Theatre Festival Mali oder

Panel discussion on Peer Gynt Mali oder

Wind in the Pines Reæiser Directed by Jernej Lorenci Drama SNG Maribor

20.00

Dan AGRFT Day of AGRFT

Stara dvorana

21.00

Heiner Müller

Tribuna na Velikem odru

Jean Racine Fedra Phaedra Reæiserka Directed by Yulia Roschina

Macbeth po Shakespearu Macbeth after Shakespeare Reæiser Directed by Ivica Buljan Mini teater Koproducenti / Co-producers Novo kazaliπte Zagreb, Cankarjev dom & ZagrebaËko kazaliπte mladih

22.00

Dan AGRFT Day of AGRFT Anton PavloviË »ehov Anton Pavlovich Chekhov

Komorni oder

Tri enodejanke: Medved, SnubaË, Jubilej Three one-act plays: The Boor, A Marriage Proposal, The Festivities Reæiser Directed by Matjaæ FariË

Utopija Utopia Reæiser Directed by Sebastijan Horvat E.P.I. center Ljubljana

6

Po odloËitvi producenta predstava na festivalu ne bo igrana Due to the producer’s decision play will not be performed at the festival

NEDEJLA

44th borπtnik theatre festival schedule

25

11.00

Strokovna pogovora o uprizoritvah

20.00

Sklepna slovesnost 44.Festivala Borπtnikovo sreËanje in podelitev nagrad

Mali oder

Veter v vejah borov in Macbeth po Shakespearu Panel discussions on Wind in the Pines and Macbeth after Shakespeare

Velika dvorana

Closing Ceremony of the 44th Borπtnik Theatre Festival and Award Presentation

...

Prijateljsko sreËanje After party

Kazinska dvorana

7

44. festival borπtnikovo sreËanje poroËilo selektorice

DAMJAN ©VARC

dr. Barbara Orel PoroËilo selektorice Festivala Borπtnikovo sreËanje

8

Produkcija slovenskega gledaliπËa iz leta v leto naraπËa in z njo tudi bera ogledov za nacionalni festival, ki vsako leto ponuja pregled najboljπih uprizoritev sezone in ga v spremljevalnem programu osvetljuje z izbranim tematskim sklopom. V Ëasu od 1. junija 2008 do 31. maja 2009 sem si ogledala Ëez devetdeset uprizoritev, to je kar deset veË kot lani. »eprav se sezona ni zaËela niË kaj obetavno, do svoje polovice je izkazovala zgolj solidno podobo, pa se je ta v drugi polovici iz meseca v mesec opazno boljπala. Tako lahko skupaj s poroËilom o koliËinskem izobilju podam tudi ugotovitev o kakovostni, predvsem pa visoki profesionalni ravni slovenskega gledaliπËa. Tudi letoπnja sezona se ponaπa s πiroko paleto raznovrstnih uprizoritvenih praks in estetik, æanrsko in zvrstno barvitostjo. V primerjavi z lansko je bila opazno manj politiËno angaæirana, zato pa je potekala v znamenju zavzete obravnave aktualnih druæbenih vpraπanj v povezavi z intimnimi æivljenjskimi zgodbami, kot jih narekujejo kontroverznosti naπega Ëasa. ©e posebej razveseljiva je njihova kompleksna in poglobljena obravnava v uprizoritvah, ki so izπle iz slovenske dramatike. Ta je bila letos zelo dobro zastopana tako v repertoarnih gledaliπËih kakor tudi na odrih drugih gledaliπË in skupin (primerljiva je s πtevilom uprizoritev klasiËnih dram do 20. stoletja). Posebej velja pozdraviti prizadevanja za razvoj gledaliπË v matiËnih okoljih, ki teænje po pridobivanju obËinstva zdruæujejo s skrbjo za razvoj ansamblov in oblikovanjem njihovih identitet; v tem pogledu so uspeπni predvsem mlajπi in manjπi produkcijski centri. Zaæeleno pa bi bilo, da bi tovrstna odgovorna dræa presegla lokalne interese, se odprla tudi moænostim nepredvidljivih povezav (ki jih zaenkrat vodi predvsem logika kapitala, uresniËena v koprodukcijskih navezah) in naπla voljo do integracije sicer precej razdrobljenega slovenskega gledaliπkega prostora. Tekmovalni program Festivala Borπtnikovo sreËanje sem pripravila v skladu z znanim merilom festivala, to je merilo kakovosti uprizoritev. Ob zavesti, da presojo vseskozi spremlja tudi subjektivni pogled, sem ga ob vsakem ogledu znova podvrgla relevantnim kritiËnim merilom za oceno uprizoritev. Pri odloËanju me ni vodila æelja, da bi tekmovalni program vpela v doloËen koncept, mu podelila skupno rdeËo nit. Prisluhniti sem æelela nagovorom samih predstav, ob tem pa poskuπala biti odprta do raznovrstnih uprizoritvenih

pristopov, avtorskih pogledov in vrednostnih staliπË. Poudariti æelim, da se pri odloËanju nisem ozirala na to, kdo jih je ustvaril in v katerih produkcijskih centrih so nastale. Ostala sem naklonjena stvaritvam, ki se ponaπajo s sugestivno izpovedno moËjo, sveæino v interpretativnih poudarkih in naËinih predstavljanja. Naj se znaËilnosti letoπnje produkcije pokaæejo v odnosu do enajstih izbrank, ki letos nastopajo v igri za Borπtnikove nagrade. HËi zraka je epska kronika na meji fantastiËnega in odrski esej o umetnosti vladanja, ki preverja delovanje oblasti in kaæe, kako naslada moËi prevraËa druæinska, ljubezenska in politiËna razmerja. Macbeth po Shakespearu prikazuje slo po oblasti v vsej svoji mesenosti in spregovori o brutalnosti nasilja, njegovi (ne)motiviranosti v postideoloπkem Ëasu ter generaciji, ki zna ceniti norost. Triko razgrne ludistiËno plast jezika in duhovito pokaæe, kako jezikovne igre doloËajo naπe æelje in ritem æivljenja. Peer Gynt razpira vpraπanje o oblikovanju identitete v razmerju do Drugega, o spremenljivem (gyntovskem) jazu, ki se v vsaki situaciji na novo ustvari in njegovi paradoksalni zvestobi samemu sebi, do kraja egocentriËni in samozadostni. NeskonËni πteti dnevi skozi zgodbo o spopadu posameznika s svetom razgrne frustracije, ki jih producira neoliberalna kapitalistiËna druæba in pokaæe, zakaj je upor proti sistemu, ki vse bolj domiπljeno nadzoruje miπljenje, moæen le kot iracionalen izbruh. Krizantema na klavirju razgalja sprenevedavost, v katero je zapreden svet laænih dobronamernosti, brezkompromisno predira predsodke in stereotipne vzorce ter govori v imenu tistih, ki si upajo videti in znajo razumeti. Grdoba uprizarja zgodbo o lepoti, uspehu in bogastvu kot treh obsesivnih æeljah naπega Ëasa, humorno razpre dilemo med bistvi in videzi ter brez nostalgije ali moralistiËnih klicajev poziva k osnovanju vrednostnih sistemov na novih temeljih. BarËica za punËke osmiπlja eksistencialno izpraznjenost in banalnost urbanega æivljenja s pobegi v svet arhetipov ter prikazuje zgodbo o iskanju identitete v odnosu do pravljiËnih in mitoloπkih likov, vpisanih v kolektivno nezavedno zahodnega sveta. Oresteja iπËe moænosti za novo civilizacijsko izkuπnjo v sooËenju z antiËnimi miti in jih diskretno premeπËa v medijsko posredovani trenutek naπega Ëasa. Veter v vejah borov v japonskih no-igrah prepoznava prvovrstno gradivo postdramskega gledaliπËa in v dotiku z znamenito vzhodnoazijsko gledaliπko tradicijo subtilno razpre vpraπanje o minljivosti. Portret neke gospe pa na osnovi de- oziroma rekonstruirane romaneskne pripovedi zastavlja vpraπanje o posameznikovi svobodi in preiskuje moË gledaliπËa v odnosu do besede.

44. festival borπtnikovo sreËanje poroËilo selektorice

Program festivala Letoπnji spremljevalni program z naslovom Skuπnjave pogleda, perspektive sodelovanja v srediπËe zanimanja postavlja vlogo obËinstva in prinaπa premislek o gledanju kot ustvarjalnem dejanju. V letoπnji sezoni se je bilo v gledaliπËih in na drugih prizoriπËih scenskih umetnosti mogoËe udeleæiti πtevilnih predstav in dogodkov, ki poskuπajo na novo osmisliti vlogo obËinstva in gledalcev ne sprejemajo kot opazovalcev, temveË kot partnerje v izgradnji fikcijskih svetov. OdloËila sem se za izbor dogodkov, ki na svojevrstne naËine draæijo gledalËev pogled, iπËejo poti do novih naËinov ustvarjanja skupnosti v gledaliπËu, ob tem pa ne presegajo le tradicionalnega razumevanja vloge gledalcev, temveË tudi drugih ustvarjalcev predstave (igralcev, reæiserjev, koreografov, dramaturgov, avtorjev glasbe). Druæi jih eros raziskave, ki se ukvarja z veseljem do gledanja in voljo do sodelovanja, ob tem pa razkriva tudi metodologije dela in produkcijske pogoje v sodobnih scenskih umetnostih. Opazovati ali sodelovati? To je vpraπanje, s katerim obiskovalce nagovarja razstava Æivljenje (v nastajanju) in jih z iznajdljivimi strategijami vabi, da jo v procesu sodelovanja spremenijo v predstavo, v kateri odigrajo glavno vlogo, se samorazstavijo oziroma samouprizorijo in si - vse moænosti so odprte! - priredijo zabavo. Performans Out draæi gledalËev pogled, preizkuπa njegovo potrpeæljivost in ga brezsramno izziva s Ëezmernimi odmerki napuha. Projekt Hamlet preiskuje resnico vida v odnosu do telesa in prostora ter uprizarja mesto realnega kot tisto (ne)vidno, ki se razraπËa v razmerju med igralci in gledalci. ZvoËni performans Niπtrc odstira vpogled v naËine sodelovanja, s katerimi se sreËuje avtor glasbe, in jih kaæe kot postopke dela, vpete v træne mehanizme: gledalcem priredi draæbo zavræenih in zavrnjenih skladateljevih del za scenske umetnosti, ki iz tega ali onega razloga (o pikantnih podrobnostih izveste na samem dogodku) πe niso bila predstavljena javnosti. Utopija iπËe alternativne naËine predstavljanja, se spraπuje o moænosti alternative sploh, ob tem pa uresniËuje idealno utopijo v skupnosti udeleæencev tega dogodka - v gledaliπËu. Spremljevalni program letoπnjega Festivala Borπnikovo sreËanje utripa v ritmu svobodnega, raziskovalnega duha, kroji moæna okolja Ëutenj in izkuπenj, mestu Maribor in slovenskemu, ne le gledaliπkemu prostoru pa ponuja obilje logik in priloænosti za vzpostavljanje novih povezav, kolektivnih interesov in prostorov druæbenosti.

Tekmovalni program: 1. Ajshil: Oresteja. Reæija: Jernej Lorenci. SNG Drama Ljubljana 2. Hans Magnus Enzensberger: HËi zraka. Reæija: Janusz Kica. Slovensko stalno gledaliπËe Trst v koprodukciji s festivali Mittelfest, Teatri a teatro in Primorski poletni festival 3. Henrik Ibsen: Peer Gynt. Reæija: Janusz Kica. Drama SNG Maribor 4. Henry James: Portret neke gospe. Reæija: Matjaæ Berger. Anton Podbevπek Teater in Teatri di vita (Bologna) 5. Milan Jesih: Triko. Reæija: Luka Martin ©kof. Slovensko ljudsko gledaliπËe Celje 6. Svetlana MakaroviË: Krizantema na klavirju. Glasbeno-gledaliπki projekt Janje Majzelj. Slovensko mladinsko gledaliπËe 7. Milena MarkoviÊ: BarËica za punËke. Reæija: Aleksandar Popovski. SNG Drama Ljubljana 8. Marius von Mayenburg: Grdoba. Reæija: Boris Kobal. Mestno gledaliπËe ljubljansko 9. Heiner Müller: Macbeth po Shakespearu. Reæija: Ivica Buljan. Mini teater v koprodukciji z Novim kazaliπtem Zagreb, Cankarjevim domom in ZagrebaËkim kazaliπtem mladih 10. No-igre: Veter v vejah borov. Reæija: Jernej Lorenci. Drama SNG Maribor 11. Andrej E. Skubic: NeskonËni πteti dnevi. Reæija: Matjaæ Latin. SNG Nova Gorica

Spremljevalni program Skušnjave pogleda, perspektive sodelovanja 1. Niπtrc. Zamisel: Tomaæ Grom, ©pela Troπt. Zavod Sploh v koprodukciji z Yanvii (Italija) 2. Out. Reæija: Bojan Jablanovec. Via negativa in Teatar &TD Zagreb v koprodukciji z GledaliπËem Glej Ljubljana 3. Projekt Hamlet. Po motivih Williama Shakespeara in Heinerja Müllerja. Reæija: Nina Eva LampiË. Akademija za gledaliπËe, radio, film in televizijo Ljubljana 4. Utopija. Reæija: Sebastijan Horvat. E.P.I. Center 5. Æivljenje (v nastajanju). Avtor koncepta: Janez Janπa. Maska Ljubljana in koproducenti Tanz im August (Berlin), Stara mestna elektrarna - Elektro Ljubljana, Tanzquartier (Dunaj) 9

44th borπtnik theatre festival selector report

Barbara Orel, PhD Report from the 44th Borπtnik Theatre Festival Selector Slovene theatre production is increasing from year to year and thus too, the number of shows to be seen for the national festival to present the best of the season and select the thematic approach for the off-competition programme to highlight it. From 1 June 2008 to 31 May 2009 I attended over ninety shows, ten more than the previous year. And though the beginning was not too promising, halfway through the season the overall impression was no more than reasonable, it picked up in the second half and each month it was better and better. Therefore I can report not only an abundance of but also the quality of the Slovene theatre and a high professional level of production. Like the previous one this season too, presents a colorful palette of production techniques and aesthetics, a variety of genre and type. In comparison it was distincly less politically engaged, but it showed a through treatment of the current problems in the society coupled with intimate life stories brought about by the controversies of our times. Most encouraging was such complex and deeply understanding handling of productions based on Slovene dramatic works. This season Slovene drama was very well represented by the programmes of repertory theatres as well as other theatres and theatre groups (this is comparable to the number of productions of classical drama up to the 20th century). Especially welcome are endeavours to develop theatre in local environments combining care for growth of performing ensembles and building their identity with winning the general public; in this respect newer and smaller production centres are more successful. It is to be desired that such attitude transcends lokal interest, opens up to various opportunities and even unexpected connections (which are so far dictated by the logic of capital and realised within co-production contacts) thereby finding the will to integrate the fragmented space available to Slovene thatre. I formed the competition programme for the Borπtnik Theatre Festival in accordance with the accepted criteria of the festival, which is quality of prodcution. Being aware that judgement is at all times subject to a subjective outlook, I again applied the relevant critical criteria to each individual evaluation. My decision was not influenced by any wish to limit the competition programme to a specific concept, to a common thread. My aim was to attend to that which the shows addressed, while trying to accept the various approaches to production, the views of the authors and the values of their standpoints. What I was left with was a favour towards creations exhibiting a suggestive power of declaration, a freshness in the interpretative emphasis and in styles of presentation. The characteristics of this years’ production are to be seen in relation to the chosen eleven, being shown this year to compete for the Borπtnik Awards. Daughter of Air is an epic chronicle bordering on fantastic and a stage essay on the art of governing, which examines the functioning of authorities and shows, how the desire for power per10

verts love and family and political relations. Macbeth after Shakespeare exposes the lust for power in all its carnality speaking about the brutality of violence, its (non)motivation in a post-ideological period, and about a generation which prizes insanity. Tricot unfolds the ludistic side of language and wittingly depicts how puns define our wishes and lifestyles. Peer Gynt presents the question about forming an identity in relation to the Other, about the unstable (b-like) ego, which forms anew in each situation, and about its unremittingly egocentric and selfsufficient, contrary fidelity to itself. Through the story of an individual confronting the world The Infinite Numbered Days lays bare the frustrations produced by the neoliberal capitalist society and explains why a revolt against a system, applying more and more sophisticated means of mind control, is possible only as an irrational outburst. A Chrysanthemum on the Grand Piano reveals the pretentiousness enmeshing the world of false benevolence, it breaks uncompromisingly through all prejudice and stereotypes, and speaks in the name of all who dare and can understand. The Ugly One presents the three obsessional needs of our times, the story of beauty, success and wealth as a humourously set dilemma between appearances and essentials; without any moralistic appeals or any nostalgia it calls for creation of new systems of values on a different basis. Boat for Dolls makes sense of the existential void and of the banality of life in a city by flights into the world of archetypes, depicting the story of a search for identity in relation to fariytale and mythological characters, which are engraved on the collective unconsciousness of the western world. Oresteia seeks opportunities for a new experience of civilisation in confrontation with ancient myths, which are discreetly transposed into the present by the media. Wind in the Pines recognises prime material for post-drama theatre in the Japanese Noh plays; in touch with the famous East Asian theatrical tradition the question of transience is subtly handled. The Portrait of a Lady uses a de- or, rather re-constructed story of the novel to research the freedom of the individual and the power of word in relation to theatre. Temptation of View, Co-operation in View is the title of this year’s Off-competition Programme. The core interest here is the role of the audience based on the premise that viewing is a creative activity. Throughout the season there was an abundance of shows and events in theatres and on other stages for scenic arts, aiming to put a new meaning to the role of the audience: viewers are not considered to be mere observers but as partners in the construction of fictional worlds. I decided on a selection of events that demonstrate original ways to tease the viewer’s eye, and also seek new approaches to build collectivity in theatre not only transcending the traditional concept of the role of the audince but also that of creators of shows (actors, directors, choreographers, dra-

44th borπtnik theatre festival selector report

Programme of the festival maturgs, composers). They are united in a common desire for research, dealing with enjoyment of viewing and the will to co-operate, but also revealing the working methods and conditions for production in contemporary scenic arts. To look on or to pitch in? Is the question addressed to the audience by Life (in Progress); using ingenious strategies it invites viewers to join in the process of reinventing the show, acting the main part, to exhibit their selves or enact themselves and - all possibilities are open! have a party. Out is a performance to prick the viewer’s eye, trying his patience, shamelessly provoking by meting out immoredate bursts of arrogance. Project Hamlet researches the truth of view in relation to the body and space, portraying the area of the real as an (un)visible growth in the relationship between the actors and the viewers. The musical performance Offcuts offers an insight into ways of co-operation available to the composer, presenting these as working practices governed by the instruments of the market: the audience is shown an auction of the composer’s refused and rejected pieces for scenic arts, theretofore for various reasons (the piquant details are exposed at the event) not yet published. Utopia seeks alternative ways of presentation, examines, whether an alternative is at all possible, and yet accomplishes the ideal unity of participants in the event - in the theatre. This year’s Off-competition Programme of the Borπtnik Theatre Festival throbs in the rythm of a free, inquiring spirit, it extends the available environments for sense and experience, and offers Maribor and the entire country, not only the theatrical community, an abundance of logics and opportunities to create new ties, communal interests and social niches.

Competition programme: 1. Aeschylus: Oresteia. Directed by: Jernej Lorenci. Slovene National Theatre Drama Ljubljana 2. Hans Magnus Enzensberger: Daughter of Air. Directed by: Janusz Kica. Slovene Repertory Theatre Trieste in co-production with the festivals Mittelfest Cividale, Teatri a teatro Trieste and the Littoral Summer Festival Koper 3. Henrik Ibsen: Peer Gynt. Directed by: Janusz Kica. Drama of the Slovene National Theatre Maribor 4. Henry James: The Portrait of a Lady. Directed by: Matjaæ Berger. Anton Podbevπek Theatre and Teatri di Vita (Bologna) 5. Milan Jesih: Tricot. Directed by: Luka Martin ©kof. Municipal Theatre Celje 6. Svetlana MakaroviË: A Chrysanthemum on the Grand Piano. Musical theatre project by Janja Majzelj. Mladinsko Theatre 7. Milena MarkoviÊ: Boat for Dolls. Directed by: Aleksandar Popovski. Slovene National Theatre Drama Ljubljana 8. Marius von Mayenburg: The Ugly One. Directed by: Boris Kobal. Ljubljana City Theatre 9. Heiner Müller: Macbeth after Shakespeare. Directed by: Ivica Buljan. Mini teater in co-production with Novo kazaliπte Zagreb, Cankarjev dom and ZeKaeM (The Zagreb Youth Theatre) 10. Noh plays: Wind in the Pines. Directed by: Jernej Lorenci. Drama of the Slovene National Theatre Maribor 11. Andrej E. Skubic: The Infinite Numbered Days. Directed by: Matjaæ Latin. Slovene National Theatre Nova Gorica Off-competition programme Temptation of View, Co-operation in View 1. Offcuts. Idea by: Tomaæ Grom, ©pela Troπt. Sploh Institute in co-production with Yanvii (Italy) 2. Out. Directed by: Bojan Jablanovec. Via negativa and Teatar&TD in co-production with Glej Theatre Ljubljana 3. Project Hamlet. After the motifs by William Shakespeare and Heiner Müller. Directed by: Nina Eva LampiË. Academy of Theatre, Radio, Film and Television Ljubljana 4. Utopia. Directed by: Sebastijan Horvat. E.P.I. Centre 5. Life (in progress). Concept by: Janez Janπa. Maska Ljubljana in co-production with Tanz im August (Berlin), Stara mestna elektrarna - Elektro Ljubljana, Tanzquartier (Wien) 11

44. festival borπtnikovo sreËanje uvod

Alja Predan

LEV PREDAN KOWARSKI

Odstrte naoknice

12

Ustanoviti festival je naporno, tvegano, zahtevno pionirsko podjetje, ohranjati ga pri æivljenju πtiriinπtirideset let in ga v polni kondiciji negovati, razvijati in plemenititi pa je dejanje, ki ga ne premore vsaka evropska dræava. Kaj hitro se namreË zgodi, da se v nekem trenutku najde kdo z idejo - Ëeπ, pospravimo staro damo, kaj nam bo, zapraπena in preæiveta, Ëasi so drugaËni, vse se spreminja ... (tudi v zvezi z Festival0m BS se spominjam takih idej!) -, ki lahko sproæi nezadræen plaz somiπljeniπkih kamenËkov in pokoplje dragoceno pridobitev, na njenem mestu pa ne vzklije niË novega; nekaj Ëasa zija Ërna praznota, Ëez Ëas tudi ta zbledi, ostane spomin, na koncu pa le πe besede, natisnjene v starih almanahih in knjigah. (Spomnimo se Naπih razgledov oziroma Razgledov, toliko let je æe, kar so jih ukinili, namesto njih pa zgolj rumena poplava πunda.) Hvala vsem preteklim duπam, navduπencem in garaËem Festivala Borπtnikovo sreËanje, da so festival obdræali pri æivljenju in v dobri formi. Zasluga gre zanesljivo njim. SreËanje se je s Ëasom spreminjalo, kar je razumljivo in nujno, in se konËno usidralo kot festival najboljπih uprizoritev pretekle sezone in ne veË revija vseh gledaliπË in produkcijskih centrov, kakor se je bilo spoËelo. Slovenska uprizoritvena produkcija je bogata, premier je iz leta v leto veË, zadnji dve sezoni æe preko dvesto na leto, in povsem nemogoËe bi se bilo πe spogledovati z zaËetnimi idejami. Selektorjev izbor najboljπih uprizoritev je avtonomno in legitimno avtorsko delo, prav tako kot je formiranje gledaliπke sezone avtonomno in legitimno avtorsko delo. Od tu naprej nameravam graditi svojo vizijo prihodnje podobe festivala. Gotovo se bo v procesu dela in æivljenja s festivalom pokazala tudi kakπna potreba po praktiËni reorganizaciji, vendar mislim, da se je najprej treba lotiti stvari vsebinsko.

Svojo vlogo vidim predvsem v tem, da naπ uprizoritveni cvetober odprem mednarodnemu prostoru. NaËinov je veliko, za vse pa sta potrebna Ëas in sistematiËno tkanje vezi z gledaliπkimi ljudmi in ustanovami po svetu, ki bodo pozneje zanesljivo obrodile sadove. Æe letos smo na festival povabili nekaj tujih direktorjev festivalov, selektorjev, programerjev in novinarjev. »e pa se bo s Ëasom v okviru Festivala Borπtnikovo sreËanje izoblikoval tako imenovani show case, potem bo festival postal eden od vodilnih promotorjev slovenske gledaliπke produkcije. Prav tako bomo æe letos soorganizirali dva mednarodnega simpozija z vabljenimi referenti. Z Druπtvom gledaliπkih kritikov in teatrologov Slovenije pripravljamo simpozij na temo Umetnost, kultura, mesto. Z njim æelimo razπiriti prostor razprav, sooËiti poglede strokovnjakov razliËnih profilov in provenienc in s tem prispevati svoj deleæ k najveËjemu kulturnemu projektu v samostojni Sloveniji: Evropski prestolnici kulture 2012. S slovensko sekcijo ITI pa pripravljamo simpozij na temo Povezovanje festivalov Zahodnega Balkana. Zahodni Balkan kot nekdanji skupni prostor je prepiπen in odprt za nove moænosti sodelovanja na polju uprizoritvenih umetnosti. Slovenci ga dobro poznamo in smo prav zato lahko dovolj suvereni, da se izkaæemo kot koordinatorji, pobudniki ali ponovni povezovalci razliËnih kultur. Gostili bomo tudi dve tuji predstavi: Faust Fantasio v reæiji in izvedbi slovitega nemπkega reæiserja Petra Steina ter zmagovalko letoπnjega Sterijevega pozorja, BarËico za punËke v reæiji obetavne mlade srbske reæiserke Ane TomoviÊ. Naoknice so odstrte, veter ima prosto pot. Prihodnje leto pa æe prepih. Upam. Zavedam se, v kako Ëastitljivo ustanovo vstopam. Moji naËrti so drzni, zahtevni in mnogoteri. Ampak ker sem realna, zahtevam nemogoËe.

44. festival borπtnikovo sreËanje uvod

Alja Predan Dramaturginja, prevajalka, urednica in teatrologinja. Po konËanem πtudiju se je deset let kalila kot samostojna dramaturginja in prevajalka, bila je umetniπki vodja Primorskega dramskega gledaliπËa v Novi Gorici, kustosinja v Mestni galeriji Ljubljana, dramaturginja Mestnega gledaliπËa ljubljanskega in urednica Knjiænice MGL, zadnje tri sezone pa je vodila gledaliπko-plesni program Cankarjevega doma v Ljubljani. Kot dramaturginja je sodelovala pri nekaj veË kot πtiridesetih uprizoritvah v Sloveniji, Italiji in Veliki Britaniji. Bila je dolgoletna urednica Knjiænice MGL in je izdala trideset temeljnih del s podroËja teorije ter zgodovine drame in gledaliπËa. Uredila je tudi angleπko izdajo knjige o sodobni slovenski dramatiki Contemporary Slovenian Drama (DSP, 1997). Prevedla je okrog petdeset dram, veËinoma iz sodobne britanske in ameriπke literature ter Teorije gledaliπËa Marvina Carlsona in Zgodovino lutkarstva 20. stoletja Henrika Jurkowskega. Prevaja tudi iz poljπËine, srbπËine in hrvaπËine. Je soavtorica historiËno-ljubavnega igrokaza 1821, uprizorjenega leta 2000 v MGL. Objavlja Ëlanke o gledaliπËu in dramatiki, zadnja leta se posveËa predvsem slovenski dramatiki. Od leta 1984 neprekinjeno sodeluje z ugledno avstrijsko-nemπko edicijo Gregor/Dietrich Der Schauspielführer kot avtorica prispevkov o aktualni slovenski dramatiki. Doslej je izπla æe 20. knjiga te zbirke. Leta 2008 je bila umetniπka svetovalka za slovenski fokus na 7. festivalu sodobne drame v Budimpeπti. Je podpredsednica Druπtva kritikov in teatrologov Slovenije, ki ga je preteklo leto soobudila k æivljenju, Ëlanica Druπtva slovenskih knjiæevnih prevajalcev, ZDUS in ITI. Od leta 2002 do 2005 je bila predsednica oziroma Ëlanica æirije za Grumovo nagrado, leta 2008 in 2009 pa selektorica Tedna slovenske drame v Kranju. Za svoje delo je prejela 3. nagrado na 17. trienalu gledaliπkih knjig in publikacij na Sterijevem pozorju v Novem Sadu za uredniπtvo gledaliπkih listov MGL leta 1994 in Grün-FilipiËevo priznanje za dramaturgijo leta 2005.

13

44th borπtnik theatre festival preface

Alja Predan Open Shutters

Founding a festival is a wearying, hazardous, demanding, pioneering venture itself, but keeping it alive for forty-four years, nurturing it to full health, developing and refining its condition is an accomplishment that not every European country can boast of. It so often happens that at a certain moment somebody hits upon an idea - for instance, “let’s do away with the old lady, she’s useless, dusty and spent, times have changed, everything’s changed” ... (I can recall such ideas being applied to the Borštnik Theatre Festival!) and it triggers off an avalanche of like-minded pebbles to bury a precious achievement, never to foster any new growth; for a while it leaves a black hole gaping, but in time even this fades, perhaps some recollection remains, leaving in the end merely words printed in old almanacs and books. (Remember Naši razgledi or Razgledi? The paper was discontinued years ago only to be replaced by a flood of yellow pulp.) For the Borštnik Theatre Festival having been kept alive and in good shape the credit is due to all souls passed, all enthusiasts and the Festival’s beavers. They surely deserve every praise. The Festival has gradually evolved, that was plainly inevitable, to become with time the festival of the best productions of the previous season instead of, as it was, a revue of all theatres and production centres. The Slovene scenic production is rich, the number of premieres is increasing yearly exceeding two hundred in the last two years; nowadays it would be impossible to even consider the initial ideas. The selector’s choice of the best productions is an independent, legitimate and creative effort in the same way as it is clearly an independent, legitimate authorial achievement to shape a theatre season. I intend to use this as a starting point in forming my vision of the future image of the festival. The life and work with the festival will certainly bring up some need for practical reorganisation, nevertheless I think that content should be the first concern. I consider my role above all in presenting our theatrical vintage to an international audience. There are many ways to achieve this, but in order to ensure any relevant

14

fruition they are all time consuming and demand some systematic networking with the theatre professionals and institutions abroad. This year we have invited a number of foreign festival directors, selectors, programme makers and journalists. Should we with time succeed in establishing a so-called show case within the framework of the Borštnik Theatre Festival, then the festival will evolve as one of the leading promoters of the Slovene theatre production. With this in mind we are organising two international symposia this year with invited speakers. Together with the Association of Theatre Critics and Theatrologists of Slovenia we are preparing a symposium on Art, Culture, City, with the aim to enlarge the range of discussion, to bring together expert views of various profiles and origins, thus contributing our part to the biggest cultural project in independent Slovenia: the European Capital in 2012. The second symposium, entitled Intertwining of the Festivals of the Western Balkans, is organized in collaboration with the Slovene section of the ITI. The Western Balkans, a former common ground, is now in the draught, open to new possibilities of co-operation in the field of scenic arts. Slovenes are familiar with it, therefore we have sufficient resolution to excel as co-ordinators and initiators, restoring the bridges between diverse cultures. On a different tack we shall host two foreign productions: Faust Fantasia directed by the renowned German director Peter Stein, and this year’s winner of the Sterijevo pozorje, Boat for Dolls, directed by a promising young Serbian director Ana TomoviÊ. The shutters are opened, the breeze can breath freely. Next year the winds will blow. I hope so. I am aware that I am stepping into a venerable institution. My numerous plans are bold and demanding. And being realistic, I want the impossible.

44th borπtnik theatre festival preface

Alja Predan Dramaturg, translator, editor and theatrologist. Having finished her studies she steeled herself as freelance dramaturg and translator for a decade, she was artistic head at the Littoral Drama Theatre Nova Gorica, custodian at the Ljubljana City Gallery, dramaturg at the Ljubljana City Theatre, editor of Knjiænica MGL, and for the past three years she headed the dance and theatre programme at the Cankarjev dom in Ljubljana. As dramaturg she was involved with over forty productions in Slovenia, Italy and Great Britain. For years she was editor of Knjiænica MGL having published thirty fundamental works on the theory and the history of drama and theatre. She also edited the English edition of a work on contemporary Slovene drama (Contemporary Slovene Drama, DSP, 1997). Alja Predan translated some fifty dramas, predominantly contemporary British and American ones, the Theory of Theatre by Marvin Carlson and The History of Puppetry of the 20th Century by Henry Jurkowski. She also translates from Polish, Serbian and Croatian. She co-authored a historical love story for stage, entitled 1821, performed at the Ljubljana City Theatre in 2000. She writes articles on theatre and drama, over the last few years mainly on Slovene drama. Since 1984 she has been a permanent contributor to the Austrian-German publication Gregor/Dietrich Der Schauspelführer writing articles on current Slovene dramatics. There are 20 books published in this collection to-date. In 2008 Alja Predan was artistic consultant for the Focus on Slovenia at the 7th Festival of Contemporary Drama in Budapest. Last year she assisted at the ressucitation of the Association of critics and theatrologists of Slovenia and is now Vice President thereof, she is member of the Association of Slovene literary translators, ZDUS and ITI. From 2002 to 2005 she sat on the jury for the Grum Award, and in 2008 and 2009 she was Selector for the Week of Slovene Drama in Kranj. In 1994 she was awarded 3rd Prize at the 17th triennial of books and publications on theatre at the Streijevo pozorje in Novi Sad for her editorship of brochures on performances, and in 2005 she received the Grün-FilipiË award for dramaturgy.

15

44. festival borπtnikovo sreËanje uvod

PETER UHAN

Tone PartljiË Festival Borπtnikovo sreËanje je tudi samo teater

16

Festival Borπtnikovo sreËanje je “mlado” πtiriinπtirideset let. “Skoz in skoz” je tudi vznemirljivo. Stresno. Sam sem poklicno delal v gledaliπËu (samo) dvajset let. Potem sem delal πe v drugih poklicih. Zdi se mi, da sem bil vedno zaradi odgovornosti v gledaliπËu najbolj vznemirjen in ves Ëas v stresu. »etudi πe sedaj doæivljam premiere svojih iger, doæivljam uspehe in stiske hËerke igralke, hodim na zetove premiere, tako vznemirjen vseeno nisem veË … Pri Festivalu Borπtnikovo sreËanje sem “zraven” od zaËetka, kot “deklica za vse”. Najprej kot Ëlan organizacijskega ali izvrπilnega ali glavnega odbora. Potem sem bil Ëlan Sveta Festivala BS, kakih deset let podpredsednik Sveta, zdaj pa æe drugi mandat predsednik Sveta Festivala BS. In Ëlan æirije za Borπtnikov prstan. Znano vznemirjenje se pojavi junija, ko izvemo za denar financerjev (Ministrstvo za kulturo RS in Mestna obËina Maribor) in zlasti sponzorjev, ki s pribliæno dodatnimi 120.000 evri omogoËijo izvedbo naËrtovanih programov. Bo dovolj, ne bo dovolj? Junija smo tudi vznemirjeni, kako se bo odloËila selektorica. Bodo direktorji gledaliπË, ki niso izbrana, spet “v luft skakali”? Se bo kdo uprl? Bojkotiral? Zaradi morebitne uæaljenosti umaknil predstavo? Javno protestiral? Vse to smo æe imeli, v socializmu pa tudi s strani vodstva SreËanja zavraËanje eksperimentalnih in “nevarnih” gledaliπË.

Vznemirjenje povzroËa seveda tudi zakonski poseg ministrstva za kulturo, ki Festival Borπtnikovo sreËanje “pripenja” v sklop tridomnega Slovenskega narodnega gledaliπËa Maribor, ki je bilo seveda æe doslej “izvorno” in domicilno gledaliπËe in “domovina” Festivala Borπtnikovo sreËanje. Bomo ohranili vso avtonomijo, so vznemirjeni nekateri. Ohranili vseslovenski znaËaj festivala, se spraπujejo drugi. In tako to vznemirjenje raste in se teater okoli teatra stopnjuje. Naπi zvesti sopotniki novinarji bodo kmalu zaËeli spraπevati, kdo bo dobil prstan, Ëeπ da morajo vnaprej pripraviti prispevke o lavreatu, zgodbe o kuhinji v zvezi z nagradami se bodo zaËele kuhati. Kako bomo “prodrli” z nacionalnim festivalom v Evropo? Kakπen mejnik pomeni nova vodja Festivala Borπtnikovo sreËanje Alja Predan? Kaj je z legendarno Olgo JanËar? Se politika kaj vmeπava? Je res, da æupan Kangler, “oËe” ideje o Mariboru - evropskem mestu kulture, finanËno reπuje izpad sponzorjev? Kaj bo povedala v sveËanem govoru ministrica za kulturo? Bo obËinstva res manj zaradi finanËne krize? Znanega vznemirjanja je æe dovolj in preveË. Teatra tudi. Naj se sreËanje zaËne! Saj ni veË junij, oktober je tu! Vznemirjenje bo eksplodiralo. Potem pa bo nastopilo pofestivalsko navidezno zatiπje, tja do naslednjega junija. Ampak saj se πe letoπnje ni izpelo, teater okoli teatrskega festivala πe ne pojenjuje. Dobrodoπli! Welcome! Inspicient, hudirja, ugasnite luËi v dvorani, odprite æe zaveso!

44th borπtnik theatre festival preface

Tone PartljiË Even the Borπtnik Theatre Festival Is Only a Show

The Borπtnik Theatre Festival is fortyfour years “young”. It is also “through and through” exciting. Stressful. I myself only worked in the theatre for (mere) twenty years. Then I took to other jobs. I seem to have been most anxious and all the time under stress because of the constant pressure of responsibility, while in the theatre. Nowadays I am relieved of such anxiety even though I still go through first nights of my own plays, I live through the ups and downs of my actress daughter, I attend the premieres of my son-in-law’s appearances ... I have been with the Borπtnik Theatre Festival from the very beginning, as Man Friday. Initially as part of the organising or executive committe, or the main board. Then I was member of the Council of the Festival, whereon I spent some ten years as Deputy Persident, and by now I have been through the second term as President of the Borπtnik Theatre Festival Council. I am also on the jury for the Borπtnik Ring. The familiar anxiety sets in in June, when the information on finances comes through (from the Ministry of Culture of the RS and the Maribor Municipal authorities) and most importantly, from the sponsors, who top up 120.00 Euro to enable the realization of the intended programmes. Will it suffice or won’t it? In June there is also the excitement connected with the Selector’s choice. Will the directors of the theatres left out start jumping out of their skins again? Will anybody complain? Boycott? Thinking they were offended cancel the show? Protest publicly? We’ve had it all; under socialism even the management of the Festival refused to accept any experimental or “risky” theatres. One reason for anxiety is perhaps the legal stance of the Ministry of Culture, which places the Borπtnik Theatre Festival within the three-chamber Slovenian National

Theatre Maribor, which was certainly at all times the “source” and domicile theatre, the “home” of the Festival. One stream is worried about whether the autonomy can be retained, another is apprehensive about the national character of the festival. The anxiety is increasing and so are the histrionics about the show. Our faithful followers, the journalists, will soon wonder who the Ring will go to, on the grounds that they should prepare pieces on the laureate in advance, and stories about trafficking with awards will start cooking up. How can we make a breakthrough in Europe with a national festival? What sort of a milestone is the new Borπtnik Theatre Festival Director Alja Predan? What became of the legendary Olga JanËar? Are the daily politics interfering? Is it true that the Mayor Kangler, who “fathered” the idea of Maribor - the European Cultural Capital, is financially making up for the sponsors’ dropout? What will the Minister of Culture say in her opening address? Will the audience really stay away because of financial crisis? The usual jitters are getting over the line. So are the theatricals. Let the Festival begin! June is over, here we are in October! The nervousness will explode. And then, the postfestival false quiet, all the way until the next June. Whatever, this one isn’t over yet, the show around the show is still on. It’s a date! Dobrodoπli! Stage manager, for god’s sake, dim the lights and get those curtains up!

17

44. festival borπtnikovo sreËanje uvod

DAMJAN ŠVARC

Festival Borπtnikovo sreËanje na pragu sprememb

18

V deseti gledaliπki sezoni novega tisoËletja se na odrih Slovenskega narodnega gledaliπËa Maribor dviga zavesa 44. Festivala Borπtnikovo sreËanje. Osrednjemu slovenskemu gledaliπkemu festivalu je Slovensko narodno gledaliπËe Maribor veË kot πtiri desetletja zagotavljalo samo trden in zanesljiv domicil, z novim ustanovitvenim aktom Ministrstva za kulturo RS in Mestne obËine Maribor pa bo Festival Borπtnikovo sreËanje (do)konËno uredil svoj statusni poloæaj - pravno in formalno bo postal sestavni del Slovenskega narodnega gledaliπËa Maribor kot ena izmed njegovih samostojnih enot z avtonomnim strokovnim svetom Festivala. Æe v preteklih desetletjih je Festival Borπtnikovo sreËanje po izboru selektorjev zdruæeval velike in majhne gledaliπke hiπe, alternativne in neodvisne skupine, sooËal nas je z drznimi gledaliπkimi poetikami in drugaËnimi estetikami. Koliko sooËenj, spoznanj, idej, vizij in hrepenenj se je æe zgodilo in nas zaznamovalo. Koliko vrhunskih ustvarjalcev in umetnikov iz vse Slovenije in zamejstva nas je s svojimi stvaritvami nagovorilo, obogatilo in oplemenitilo. Vsakoletna sreËanja gledaliπËnikov so edinstven kulturni in intimni dogodek, so izjemna priloænost za strnjen vpogled in pregled najboljπega, inovativnega in drugaËnega gledaliπËa. Zato bomo tudi v bodoËe vztrajali in si prizadevali, da Festival Borπtnikovo sreËanje ostane æiv, kritiËen in aktualen dogodek, prepoznavno vpet v kulturno identiteto mesta Maribor in kot tak sinonim za kvaliteto slovenskega gledaliπËa. Ob tej priloænosti bi se rad spomnil vseh tistih, ki so æe leta 1966 prepoznali pomen Festivala Borπtnikovo sreËanje v mestu ob Dravi. Vseh, ki so verjeli in vztrajali na visokih umetniπkih kriterijih Festivala Borπtnikovo sreËanje ter na visoki kulturni zavesti in kulturni odprtosti mesta Maribor. Rad bi se iskreno zahvalil dolgoletni prvi dami in eni od kljuËnih osebnosti Festivala Borπtnikovo sreËanje, gospe Olgi JanËar, ki je s svojo voljo in karizmo leta in leta skrbela za uspeπno izvedbo osrednjega gledaliπkega festivala

v Sloveniji. Zahvaljujem se predsedniku Sveta Festivala Borπtnikovo sreËanje, gospodu Tonetu PartljiËu, ki z obËudovanja vredno pripadnostjo in entuziazmom vsako leto znova dokazuje, da je nemogoËe mogoËe. Za naklonjenost in pomoË se zahvaljujem Ministrstvu za kulturo RS, Mestni obËini Maribor in æupanu Francu Kanglerju in seveda vsem sponzorjem, brez pomoËi katerih bi bila realizacija tako prestiænega dogodka na nacionalni ravni zelo okrnjena. Prav tako bi se rad zahvalil tehniËnim sluæbam in drugim zaposlenim Slovenskega narodnega gledaliπËa Maribor za izkazano pripadnost Festivalu. Æivimo v medijsko in vizualno agresivnem Ëasu, v moËvirju vsakovrstne umetnostne ponudbe. V tem odtujenem in mediatiziranem okolju gledaliπËe znova pridobiva na aktualnosti zaradi svoje neposrednosti: predstava v æivo je kulturni prestiæ. Æiva soprisotnost igralcev in gledalcev, ta neposredni trk dveh realnosti nam ponuja in omogoËa avtentiËna in enkratna (unikatna) doæivetja. PrepriËan sem, da bo eno od takih doæivetij letoπnjega Festivala tudi gostovanje svetovno znanega gledaliπkega reæiserja Petra Steina. S tem dogodkom pa se zaËenjajo uresniËevati tudi æelje po mednarodnem znaËaju Festivala Borπtnikovo sreËanje. V priËakovanju novih vsebin in novega znaËaja Festivala pozdravljam gospo Aljo Predan, novo vodjo Festivala Borπtnikovo sreËanje. Verjamem, da bo s strokovnostjo, vizijo in pogumom pomembno sooblikovala podobo in razvoj Festivala, ki je na pragu sprememb. V upanju, da se bosta Slovensko narodno gledaliπËe Maribor in mesto Maribor ponovno izkazala kot dobra gostitelja Festivala, izrekam prisrËno dobrodoπlico in æelim prijetno druæenje vsem umetnikom, strokovni javnosti, gostom in seveda naπemu zvestemu obËinstvu, ki Festivalu s svojim obiskom podeli kljuËni smisel: Dragi prijatelji, dobrodoπli na 44. Festivalu Borπtnikovo sreËanje. Vaπ Danilo Roπker direktor SNG Maribor

44th borπtnik theatre festival preface

The Borπtnik Theatre Festival on the Brink of Change In the 10th theatre season of the new millenium the courtain of the Slovene National Theatre Maribor today rises for the 44th Borπtnik Theatre Festival. Up to now the Slovene National Theatre Maribor merely gave a safe and reliable home to the flagship of the theatre festivals in Slovenia. But, according to the new constitutive regulation passed by the Ministry of Culture of the Republic of Slovenia and by the Maribor Municipal Authorities, the Borπtnik Theatre Festival now gains a definitive status - legally and formally it becomes an autonomous unit of the Slovene National Theatre Maribor with its own Expert Council. Over the past decades, the Borπtnik Theatre Festival united big and small theatres, alternative and independent groups according to the selectors’ choice, while bringing daring theatre poetics and refreshing aesthetics. How many were the confrontations, discoveries, ideas, visions and yearnings that happened here, leaving their imprint! And all those brilliant artists from all over Slovenia and elsewhere, who spoke to us making us finer and richer. The yearly meeting of theatremakers are a unique cultural, but also intimate, event, an exceptional opportunity for a compressed overview of the best, the innovative and different theatre. We shall therefore persevere in future, aiming to keep the Borπtnik Theatre Festival a vibrant, critical and topical event, recognisably part of the Maribor cultural identity and as such, a synonym for the quality of the Slovene theatre. I would like to take this opportunity to pay due recognition to all those who as far back as 1966 saw the importance of the Borπtnik Theatre Festival in this town on the banks of the Drava river. To all those who believed in and endeavoured for the high artistic criteria of the Borπtnik Theatre Festival and thus contributed to the consciousness of the cultural values and the prevailing openness in Maribor. I must give my sincere thanks to the longterm first lady and one of the key personalities of the Borπtnik Theatre Festival, Mrs Olga JanËar, whose charisma and purpose during all those years guaranteed the successful running of this most important theatre festival in Slovenia. Thanks are also due to the President of the Borπtnik Theatre Festival Council, Mr Tone PartljiË, whose admirable enthusiasm and sense of belonging have ensured, that year after year the impossible actually happened.

I also thank the Ministry of Culture of the Republic of Slovenia, the Maribor Municipality and the Mayor Franc Kangler for their goodwill and assistance; and above all, there are our sponsors whithout whose help the realisation of such a prestigious event on a national scale would have been severly curtailed. And last but not least, my gratitude goes to the technical and other staff of the Slovene National Theatre Maribor for all their effort and their dedication to the Festival. The times we live in are media and visually aggressive, we are surrounded by a mire of artistic supply. In this alienated and mediatised environment the actuality of theatre is enhanced by its immediacy: a live show is a cultural prestige. A lively engagement between actors and spectators, this direct encounter of two realities, provides authentic and unique experiences. I am convinced that one such experience offered by the current Festival programme will be the visiting performance of the renowned theatre director Peter Stein. The event also portends the implementation of the international character of the Borπtnik Theatre Festival. In the expectation of new content and new characteristics of the Festival I hail the new Director of the Borπtnik Theatre Festival, Mrs Alja Predan. With her expertise, with vision and courage she is certain to greatly contribute to the image and development of the Festival on the brink of change. The Slovene National Theatre and the city of Maribor will, I am sure, again host the Festival admirably and I hope and wish that all artists, experts, guests and, of course, our faithful audience, who give substance to the festival, will have a good time: Dear friends, welcome to the 44th Borπtnik Theatre Festival. Your Danilo Roπker Managing Director of Slovene National Theatre Maribor

19

44. festival borπtnikovo sreËanje selektorica, æiriji Selektorica Barbara Orel Barbara Orel je gledaliπka teoretiËarka in kritiËarka. Zaposlena je kot docentka za podroËje dramaturgije na Akademiji za gledaliπËe, radio, film in televizijo Univerze v Ljubljani, kjer je tudi magistrirala (2001) in doktorirala (2006). Za diplomsko delo je leta 1999 prejela univerzitetno Preπernovo nagrado. V zadnjem Ëasu se posveËa predvsem preuËevanju vpliva tehnologij na preoblikovanje percepcijskih paradigem ter preiskovanju povezav med umetnostjo, vsakdanjim æivljenjem in kulturo igranja. ©tudijo o fenomenu gledaliπËa v gledaliπËu je objavila v knjigi Igra v igri (Knjiænica MGL, 2003). Razprave s podroËja teorije drame, gledaliπËa in scenskih umetnosti 20. stoletja redno objavlja v strokovnih in znanstvenih publikacijah. Kritike gledaliπkih uprizoritev od leta 1996 piπe za Ëasopis Dnevnik. Kot dramaturginja je tesneje sodelovala z gledaliπËem Konj in ob deseti obletnici ustanovitve tega gledaliπËa uredila strokovno monografijo z naslovom Silvan Omerzu in gledaliπËe Konj (2005). V letih 2006 in 2007 je bila selektorica festivala Teden slovenske drame v Kranju. Kot Ëlanica uredniπkega odbora je sooblikovala reviji Lutka (1994-1996) in Maska (1999-2006). Lani je prevzela delo glavne in odgovorne urednice revije za teorijo scenskih umetnosti Amfiteater, sicer prve znanstvene revije s podroËja gledaliπËa in scenskih umetnosti pri nas. Za Amfiteater je uredila prvo πtevilko z naslovom Scenske umetnosti in politike predstavljanja (2008).

»lani strokovne æirije Ma r i o B r a n d o l i n Gledaliπki kritik in teoretik. V letih od 1976 do 1999 je sodeloval s Teatro Stabile - Friuli-Venezia Giulia kot predavatelj in organizator razliËnih gledaliπkih dogodkov, festivalov, seminarjev, delavnic. V sodelovanju z univerzo v Trstu je pripravil veË konvencij in seminarjev; konstantno pa pripravlja razstave, sreËanja in delavnice na razliËne gledaliπke teme - tako v Italiji kot tudi drugje, med drugim tudi v sodelovanju s slovenskimi umetniki. Od leta 1985 je stalni gledaliπki kritik in novinar za Ëasopis Mesagero Veneto. V letih 2000-2004 je deloval kot umetniπki direktor karnevala v Udinah, od leta 2002 in vse do sedaj deluje kot umetniπki direktor AquileiAEstate, kjer skrbi za ustvarjanje novih kulturnih in gledaliπkih dogodkov. Med letoma 2003 in 2008 je deloval kot umetniπki sodirektor Mittelfesta, od leta 2009 pa kot umetniπki direktor UdinEstate.

Blaæ Lukan Dramaturg, gledaliπki publicist in kritik. Diplomiral na AGRFT v Ljubljani, kjer je tudi doktoriral (2006) s temo Dramaturgija in gledaliπËe. V svoji karieri je bil med drugim umetniπki vodja Eksperimentalnega gledaliπËa Glej v Ljubljani (1985-1988) in Slovenskega ljudskega gledaliπËa v Celju (1989-1993), soselektor mednarodnega festivala Lutka in selektor nacionalnega gledaliπkega Festivala Borπtnikovo sreËanje (2002, 2003). Deloval je tudi kot Ëlan razliËnih strokovnih komisij in æirij. Objavil je veË knjig na temo gledaliπËa, med drugim npr. Dramaturπke replike (1991), Dramaturπke figure (1998), Slovenska dramaturgija: dramaturgija kot gledaliπka praksa (2001), Tihoæitja in grimase (2007) itd. Objavlja gledaliπke kritike v dnevniku Delo in Ëlanke v strokovnih revijah Maska in Dialogi ter zbornikih. Kot praktiËni dramaturg sodeluje pri gledaliπkih in plesnih predstavah kakor tudi pri filmu; med drugim je avtor dramatizacij ter dramskih besedil. Trenutno deluje kot docent za dramaturgijo na AGRFT, kjer je tudi predstojnik Oddelka za dramaturgijo.

Gregor Butala Novinar, publicist in gledaliπki kritik. ©tudiral filozofijo in sociologijo kulture na ljubljanski Filozofski fakulteti; od leta 2000 piπe za kulturno redakcijo Ëasopisa Dnevnik, od maja letos pa je tudi njen urednik. Njegovo razmerje s svetom gledaliπËa je veËplastno: ob novinarsko-kritiπkem delu je objavljal tudi v razliËnih domaËih in tujih strokovnih publikacijah, pisal besedila za gledaliπke liste in festivalske kataloge, nekaj pa jih je tudi uredil; sodeloval je z veË domaËimi gledaliπkimi festivali in neinstitucionalnimi skupinami, obËasno pa se je z gledaliπko produkcijo ukvarjal tudi kot praktik, predvsem kot dramaturπki svetovalec. Bil je udeleæenec πtevilnih seminarjev in delavnic, Ëlan raznih strokovnih æirij na podroËjih gledaliπËa in literature ter gost vrste tujih festivalov. Je tudi selektor Festivala Borπtnikovo sreËanje za obdobje 2009-2011.

Mo j ca Ja n Zo ra n Gledaliπka kritiËarka. Deluje na veË podroËjih. Je ustvarjalka, strokovnjakinja na podroËju uprizoritvenih umetnosti, deluje v oglaπevanju in stikih z javnostmi. Jedro njenega delovnega in

20

osebnega interesa je gledaliπËe - uprizarjanje v najπirπem pomenu. Avtorica radijskih dram in esejev, ki so objavljeni doma in v tujini (v Rusiji, Italiji, Litvi, Franciji, Angliji in na Slovaπkem), posnete radijske igre pa so sodelovale na mednarodnih festivalih v Monte Carlu in v Rusiji. Kot gledaliπka kritiËarka je sodelovala z revijo Fokus in dnevnikom Republika, od leta 1997 do leta 2008 je bila stalna gledaliπka kritiËarka Ëasopisa Dnevnik, veËkrat pa je tekste s podroËja uprizoritvene umetnosti objavljala tudi v zborniku Gledaliπkega muzeja, reviji Lutka, zbornikih ob festivalu Lutka ter na Radiu Slovenija. Bila je selektorica veË domaËih in mednarodnih lutkovnih festivalov ter Ëlanica domaËih in mednarodnih strokovnih æirij. Trenutno je zaposlena na Ministrstvu za kulturo RS kot strokovna sodelavka za podroËje uprizoritvenih umetnosti.

Ma j a Ha d e r l a p Dramaturginja in prevajalka. Rojena leta 1961 v Æelezni Kapli (Bad Eisenkappel) v Avstriji. Na univerzi na Dunaju je πtudirala gledaliπke vede in germanistiko. Leta 1987 je sodelovala kot asistentka dramaturgije v Slovenskem stalnem gledaliπËu Trst, v sezoni 1988/89 pa kot asistentka na oddelku za gledaliπËe in film v Cankarjevem domu v Ljubljani. Od leta 1989 naprej je delovala kot redna predavateljica o gledaliπËu na Univerzi Alpe Adria v Celovcu (Inπtitut za primerjalno knjiæevnost oz. Inπtitut za kulturne vede). Od leta 1989 do leta 1992 je bila glavna urednica in izdajateljica koroπko-slovenske literarne revije Mladje. V letih od 1992 do 2007 je vodja dramaturgije v Celovπkem mestnem gledaliπËu (Stadttheater Klagenfurt). Izdala je tudi nekaj pesniπkih zbirk (za eno izmed njih, Bajalice, je leta 1989 prejela nagrado Preπernovega sklada). V letu 2002 je izdala tudi slovensko verzijo disertacije Med kulturo in politiko, v kateri se osredotoËa na slovensko gledaliπko dejavnost na Koroπkem v letih od 1946 do 1976. Leta 2007 je izdala knjigo Das Stadttheater Klagenfurt 1992-2007. Die Ära Dietmar Pflegerl. Prevaja poezijo iz slovenπËine v nemπËino; æivi kot avtorica in svobodna dramaturginja v Celovcu.

»lani æirije za podelitev Borπtnikovega prstana Rapa ©uklje Prevajalka in esejistka. Diplomirala je iz prava in absolvirala iz primerjalne knjiæevnosti na Filozofski fakulteti v Ljubljani. Od leta 1948 je delovala kot kulturna novinarka pri ljubljanskem radiu, kjer se je uveljavila kot filmska kritiËarka; od leta 1964 se posveËa tudi gledaliπki kritiki. Napisala je veË πtudij o slovenskih igralkah in igralcih, o mladinskem gledaliπËu ter vrsto literarnozgodovinskih πtudij k zbirki Sto romanov. Prevaja predvsem angleπko, ameriπko in nemπko prozo æenskih avtoric. Je veËkratna Ëlanica strokovne æirije Festivala Borπtnikovo sreËanje, æirije za podelitev Borπtnikovega prstana (1970, 1986) kakor tudi njegova selektorica oziroma usklajevalka tekmovalnega programa (1980, 1984).

To n e Pa r t l j i Ë Pisatelj in dramaturg. Profesionalno kariero je zaËel kot uËitelj, a jo kmalu nadaljeval v gledaliπËu: kot dramaturg (Drama SNG Maribor), umetniπki vodja (Mestno gledaliπËe ljubljansko, SNG Drama Ljubljana), predvsem pa kot dramatik. Velja za najuspeπnejπega slovenskega komediografa; piπe tudi prozo in literaturo za otroke. Vzporeden s pisanjem je njegov druæbeni angaæma: v burnih letih med 1983 in 1987 je bil predsednik Druπtva slovenskih pisateljev, enega najbolj izpostavljenih forumov takratne civilne druæbe. V novi dræavi je skoraj desetletje deloval kot poslanec dræavnega zbora. S Festivalom Borπtnikovo sreËanje je v raznih funkcijah povezan skoraj od zaËetka, od leta 2004 pa je predsednik festivalskega sveta.

Pe t e r Te r n o v π e k Dramski igralec. Sprva zapisan uËiteljskemu poklicu, vendar se zmeraj znova z mislimi in dejanji obraËa h gledaliπËu, dokler ga leta 1970 Branko GombaË ne povabi v Dramo SNG Maribor. Komaj leto dni po prvem angaæmaju v profesionalnih vodah prejme Borπtnikovo diplomo za vlogo TonËka v Linhartovem MatiËku. Tej nagradi so sledile mnoge druge: nagrada obËinstva Festivala Borπtnikovo sreËanje za vlogo Petra (O, ne, πËuke pa ne, Drama SNG Maribor, 1976), Borπtnikova nagrada za vlogo Alana Stranga (Equus, Drama SNG Maribor, 1978), Linhartova plaketa za ustvarjalno delo na podroËju ljubiteljske gledaliπke in lutkovne dejavnosti (1977). Leta 1983 prejme nagrado Preπernovega sklada za leto 1982, nekaj let za tem nagrado Zdruæenja dramskih umetnikov Slovenije (1997) in mnoge druge. V gledaliπËu je odigral veË kot 140 vlog, predvsem na odrih Drame SNG Maribor. Leta 2006 je prejel Borπtnikov prstan.

44th borπtnik theatre festival selector, members of the jury The Selector

Moj ca Jan Zo ran

Bar ba ra Orel

Theatre critic. She works in several fields. She is a creative expert for performance arts and works in promotion and public relations. The central point of her professional and personal interest is theatre - performance in the widest sense of the word. She wrote radio plays and essays, published at home and abroad (in Russia, Italy, Lithuania, France, England and Slovakia, while her recorded radio plays were presented at international festivals in Monte Carlo and in Russia). As theatre critic she contributed to the periodical Fokus and the daily Republika, from 1997 to 2008 she was permanent theatre critic for the newspaper Dnevnik, her articles on performance arts appeared several times in the anthology published by the Theatre Museum, in the magazine Lutka, collections published to accompany the Lutka festival, many were also broadcast by Radio Slovenia. She was selector for various international puppet festivals at home and abroad and was member of national and international expert juries. At the moment she is employed by the Ministry of Culture RS as expert adviser on performance arts.

Barbara Orel is a theatre theoretician and critic. Employed as Assistant in the field of dramaturgy at the Academy for theatre, radio, film and television of the University of Ljubljana, where she obtained her Master’s Degree (2001) and her PhD (2006). In 1999 she was awarded the Preπeren University award for her diploma thesis. Lately she is devoting most of her efforts to the study of the influence technologies exert upon reshaping of the paradigms of perception, and to the research of relations between art, everday life and the culture of acting. Her study of the phenomenon of theatre in the theatre was published in the book Igra v Igri (Acting in Play, Knjiænica MGL, 2003). She regularly publishes dissertations on the theory of drama, theatre and the scenic arts of the 20th century in various specialist and scientific publications. From 1996 on she contributes critical articles to the newspaper Dnevnik. As a dramaturg she worked closely with the theatre Konj and edited a monograph entitled Silvan Omerzu in gledaliπËe Konj (Silvan Omerzu and the Theatre Konj) for its tenth anniversary (2005). For two consecutive years, 2006 and 2007, she was Selector for the festival Teden slovenske drame (Week of Slovene Drama) in Kranj. As member of the Editorial Board she co-shaped the periodicals Lutka (19941996) and Maska (1999-2006). Last year she undertook the task of Chief Editor of the magazine for the theory of the scenic arts Amfiteater, the first scientific publication in the field of the theatre and the scenic arts in Slovenia. For Amfiteater she edited the first issue with the title Scenske umetnosti in politike predstavljanja (Scenic Arts and the Politics of Production).

Members of the Expert Jury Ma rio Bran do lin Theatre critic and theorist. From 1976 to 1999 he worked with Teatro Stabile - Friuli Venezia Giulia as lecturer and organiser of various theatrical events, festivals, seminars and workshops. In co-operation with the University in Trieste he prepared several conventions and seminars; through all these years he is involved in exhibitions, meetings and workshops on various theatrical themes - in Italy as well as eslewhere, working also with Slovene artists. From 1985 he permanently contributes articles on theatre for the newspaper Mesagero Veneto. From 2000 to 2004 he worked as Artistic Director for the Udine Carnival and from 2002 until now he is Artistic Director for AquileiAEstate, in charge of creating new cultural and theatrical events. Between 2003 and 2008 he worked for Mittelfest as artistic Co-Director and as of this year he is Artistic Director of UdinEstate.

Blaæ Lu kan Dramaturg, critic and writer on theatre. He graduated at AGRFT in Ljubljana where he also received his PhD (2006) on Dramaturgija in gledalilπËe (Dramaturgy and Theatre). His professional functions include Artistic Director at the Experimental Theatre Glej in Ljubljana (1985-1988) and at Muncipal Theatre Celje (19891993), he was co-selector for the international Lutka festival and selector for the national Borπtnik Meeting festival (2002, 2003). He worked as member of various expert commissions and juries. He published several books on theatre, among others Dramaturπke replike (1991; Dramaturgical Rejoinders), Dramaturπke figure (1998; Dramaturgical Figures), Slovenska dramaturgija: dramaturgija kot gledaliπka praksa (2001; Slovene Dramaturgy: Dramaturgy as Stage Practice), Tihoæitja in grimase (2007; Still Lifes and Faces), and so on. His critical articles are published by the daily Delo, he contributes to the expert periodical Maska and Dialogi and to various anthologies. As practicing dramaturg he works for theatre and dance shows and the film industry, too; he also writes texts for the stage and does dramatisations. He is now Assistant Professor at the AGRFT holding the Chair at the Department of Dramaturgy.

Gre gor Bu ta la Journalist, writer and theatre critic. He studied philosophy and sociology of culture at the Faculty of Philosophy in Ljubljana. From 2000 on he writes for the newspaper Dnevnik’s section for culture and is Edditor there since last May. His relations with the world of theatre is manifold: alongside his critical articles, which are published by other national and foreign expert periodicals, he also contributes texts for theatre programmes and festival catalogues, of which he edited several; he contributes to a number of national theatre festivals and non-institutional groups; periodically he engages in practical production, especially as adviser on dramaturgy. He participated at numerous seminars and workshops, as member of expert juries for theatre and literature and as guest of many foreign festivals. He is also the Borπtnik Theatre Festival Selector for the period 2009 to 2011.

Ma ja Ha der lap Dramaturg and translator, born in 1961 in Æelezna Kapla (Bad Eisenkappel) in Austria. She read theatrology and German studies at the Vienna University. In 1987 she worked as assistant dramaturg at the Slovensko stalno gledaliπËe Trst - Teatro Stabile Sloveno di Trieste, and in 1988/89 as assistant at the Department for theatre and film at Cankarjev dom in Ljubljana. From 1989 she works as permanent lecturer for theatre at the Alpe Adria University in Celovec - Klagenfurt (Institute for comparative literature or Institute for cultural studies). From 1989 to 1992 she was Chief Editor and publisher for the Carinthian Slovene literary magazine Mladje. The period from 1992 to 2007 finds her as Chief Dramaturg at the Celovec City Theatre (Stadttheater Klagenfurt). She also published a number of poetry collections (for one of them, Bajalice, she received the Preπeren Foundation Award in 1989). In 2002 she published the Slovene version of her disseration Med kulturo in politiko (Between Culture and Politics) concentrating mainly on theatrical activities in Carinthia from 1946 to 1976. In 2007 she published Das Stadttheater Klagenfurt 1992 - 2007. Die Ära Dietmar Pflegerl. She translates poetry from Slovene into German; she lives in Celovec - Klagenfurt as freelance dramaturg and writer.

Members of the Borπtnik Ring Jury Ra pa ©uklje Translator and essayist. She graduated in law and studied comparative literature at the Faculty of Philosophy in Ljubljana. From 1948 she worked with the Ljubljana broadcasting house as journalist for culture and made her name as film critic; from 1964 she devoted part of her activities to theatre criticism. She wrote several studies on Slovene actresses and actors, on the Mladinsko Theatre and a series of literary studies for the Sto romanov collection. Her translations include mainly prose written by English, American and German women writers. Several times she was member of the Borπtnik Theatre Festival Jury for the Borπtnik Ring Award (1970, 1986) as well as selector for the Festival or, rather, co-ordinator of the Competition Programme.

To ne Par tljiË Writer and dramaturg. He started his professional career as teacher but soon shifted to theatre: as dramaturg (Drama SNG Maribor), artistic director (Ljubljana City Theatre, SNG Drama Ljubljana) and above all as dramatist. He is considered to be the most successful Slovene comedy writer; he also writes prose for children. Alongside his writing he is also engaged socially: during the turbulent years from 1983 to 1987 he was President of the Slovene Writers Association and then one of the most exposed positions in the civil society of the time. In the newly emerged Slovene state he was Member of Parliament for almost a decade. He is linked with the Borπtnik Theatre Festival in various functions, almost from its inception holding the position of President of the Festival Council from 2004.

Pe ter Ter novπek Drama actor. Initially he was devoted to teaching but he continuously thought about and worked for theatre until in 1970 Branko GombaË invited him to act for Drama SNG Maribor. Barely a year after his first professional appearance he received the Borπtnik diploma for the role of TonËek in Linhart’s MatiËek. This award was followed by numerous others: the award of the public at the Borπtnik Theeatre Festival for his role of Peter (O, ne, πËuke pa ne, Drama SNG Maribor; 1976), the Borπtnik award for the role of Alan Strange (Equus, Drama SNG Maribor; 1978), the Linhart plaque for creative efforts in the field of amateur theatre and puppet theatre work (1977). In 1983 he received the Preπeren Foundation Award for his work in 1982, a few years later the Drama Artists’ Association Award for 1997, along with many others. He enacted over 140 roles, primarily on the stages of Drama SNG Maribor. In 2006 he was awarded the Borπtnik Ring.

21

Tekmovalni program / Competition programme SLOVENSKO MLADINSKO GLEDALIŠ»E 16. 10. 2009 19.00 Velika dvorana Predstava traja 1 uro 15 minut in nima odmora. Running time 1 hour 15 minutes. No interval.

Svetlana MakaroviË

Krizantema na klavirju / A Chrysanthemum on the Grand Piano Glasbeno-gledaliπki projekt Janje Majzelj Musical theatre project by Janja Majzelj Premiera / Opening

17. 5. 2009 Slovensko mladinsko gledaliπËe

Poezija in glasba / Poetry and music Svetlana MakaroviË Vezna besedila / Verses Janja Majzelj Aranæmaji / Arrangement Blaæ Celarec, Nino de Gleria, Joæi ©alej, Jelena Ædrale Kostumografinji / Costume designers Nataπa Recer, Janja Majzelj Oblikovalec zvoka / Sound designer Silvo ZupanËiË Oblikovalec luËi / Lighting designer Matjaæ Briπar Lektorica / Language consultant Mateja Dermelj Oblikovalka maske / Make-up designer Barbara Pavlin

22

Nastopajo / Cast

Janja Majzelj - vokal / vocal Joæi ©alej - klavir, harmonika / piano, accordion Jelena Ædrale - violina, mandolina / violin, mandoline Blaæ Celarec - tolkala, klarinet / percussion instruments, clarinet Nino de Gleria - bas / bass

ŽIGA KORITNIK

Draæljiva uprizoritev poezije Svetlane MakaroviË, ki brezkompromisno razgalja svet sprenevedanj in laænih dobronamernosti. A teasing presentation of Svetlana MakaroviË’s poetry, uncompromisingly exposing the world of pretentions and fake benevolence.

23

Tekmovalni program / Competition programme SLOVENSKO STALNO GLEDALIŠ»E TRST Koproducenti / Co-producers Mittelfest, Teatri a teatro, Primorski poletni festival

17. 10. 2009 19.00 Stara dvorana

Hans Magnus Enzensberger

Predstava traja 2 uri brez odmora. Running time 2 hours. No interval.

HËi zraka / Daughter of Air Igra po πpanskem izvirniku Calderóna de la Barca Play based on the original story by Calderón de la Barca

Naslov izvirnika / Original title Die Tochter der Luft Premiere / Openings

18 .7. 2009 Festival Teatri a Teatro 20. 7. 2009 Mittelfest 22. 7. 2009 Primorski poletni festival

Prevajalka / Translator Mojca Kranjc Reæiser / Director Janusz Kica Scenograf / Set designer Marko Japelj Kostumograf / Costume designer Alan Hranitelj Lektor / Language consultant Joæe Faganel Asistentka za kostume / Assistant costume designer Mateja Benedetti Skladatelj / Composer Stanko JuzbaπiÊ

Osebe v predigri / Cast in The Prelude

Semiramida, hËi zraka / daughter of air Silva »uπin Tejrezias, star sveËenik / old priest Brane Grubar Haton, straæar / guard Primoæ Pirnat Menon, ninivski vojskovodja / Nineveh general Aleπ ValiË Ninos, ninivski kralj / Nineveh king Ivo BariπiË Ejrene, njegova sestra / his sister Lara Komar Osebe v igri / Cast in The Play

Semiramida, babilonska in ninivska kraljica Babilon and Nineveh queen Silva »uπin Lizias, njen minister / her minister Primoæ Forte Astraja, njena dekla, kraljevska hËi v ujetniπtvu maidservant, royal daughter in captivity Nikla Petruπka Panizon Livija, njena dekla, kraljevska hËi v ujetniπtvu maidservant, royal daughter in captivity Lara Komar Friks, vojskovodja /general Ivo BariπiË Likas, njegov brat, vojskovodja / his brother, general Aleπ ValiË Lidor, lidijski kralj / Lydian king Brane Grubar Haton, straæar / guard Primoæ Pirnat Ninias, Semiramidin in Ninosov sin son of Semiramida and Ninos Silva »uπin Lovec / hunter Romeo Grebenπek »astnik / officer Janko Petrovec/Danijel Malalan Straæarji, vojaki, suænji, suænje, spremstvo / guards, soldiers, slaves, suite Davide Cocetta, Aram Vodopivec, Alen Kermac, Jure Kopuπar

24

AGNESE DIVO

Odrski esej o umetnosti vladanja in epska kronika o nasladi moËi, ki prevraËa ljubezenska, druæinska in politiËna razmerja. An essay on stage on the art of governing and an epic chronicle of the intoxication with power perverting love, family and political relations.

25

Spremljevalni program / Off-competition VIA NEGATIVA, TEATAR &TD ZAGREB Koproducent / Co-producer GledaliπËe Glej Ljubljana

17. 10. 2009 22.00 Tribuna na Velikem odru Predstava traja 1 uro 30 minut in nima odmora. Running time 1 hour 30 minutes. No interval.

Out Premiera / Opening

10. 10. 2008 Teatar &TD Zagreb

Reæiser in avtor koncepta / Concept, director Bojan Jablanovec Avtorica koncepta in asistentka reæije / Concept, assistant director Katarina Stegnar Scena, luË, kostumi / Set, lighting, costume designer Via Negativa Dodatna kostumografija / Supplementary costume designer Oliver JulariÊ Producentka / Production manager ©pela Troπt

26

Nastopajo / Cast

Katarina Stegnar Gregor Zorc Darko Japelj Sanela MiloπeviÊ Kristian Al Droubi Petra Zanki Boris Kadin Uroπ Kaurin Rok Matek Nataπa ÆivkoviÊ

ANDREA MARC

Performans, ki brezsramno izziva gledalËev pogled s Ëezmernimi odmerki napuha. The performance shamelessly provokes the audience applying an overdose of arrogance.

27

Tekmovalni program / Competition programme SLOVENSKO NARODNO GLEDALIŠ»E DRAMA LJUBLJANA 18. 10. 2009 19.00 Tribuna na Velikem odru Predstava traja 1 uro 45 minut in nima odmora. Running time 1 hour 45 minutes. No interval.

Milena MarkoviÊ

BarËica za punËke / Boat for Dolls Naslov izvirnika / Original title Brod za lutke Prva slovenska uprizoritev / First Slovene production Premiera / Opening 24. 4. 2009 Mala drama, SNG Drama Ljubljana

Prevajalec/ Translator Zdravko Duπa Reæiser / Director Aleksandar Popovski Dramaturginja / Dramaturg Darja Dominkuπ Kostumografinja / Costume designer Jelena ProkoviÊ Scenografija / Set design Numen Oblikovalec luËi / Lighting designer Milan Podlogar Glasba / Music Foltin Lektorica / Language consultant Tatjana StaniË

28

Nastopajo / Cast

Mala sestra, Alica, SneguljËica, Zlatolaska, PalËica, Princeska, Æenska, »arovnica / Little Sister, Alice, Snow White, Goldilocks, Thumbelina, Princess, Woman, Witch Barbara Cerar Velika sestra / Big Sister Iva BabiÊ Mama, Mama medvedova / Mother, Mummy Bear Katja Levstik VseznalËek, Æabec / Doc, Frog Igor Samobor ZaspanËek, Janko / Sleepy, Hansel Matevæ Müller AGRFT GodrnjavËek, OrliË, Orel / Grumpy, Little Eagle, Eagle Klemen Slakonja AGR FT Medvedek, Metka / Baby Bear, Gretel Tina Vrbnjak AGRFT OËe medved, Lovec / Daddy Bear, Hunter Valter Dragan

PETER UHAN

Sodobna srbska drama o iskanju identitete v odnosu do mitoloπkih likov in osmiπljanju eksistencialne izpraznjenosti v svetu arhetipov. A contemporary Serbian drama about the search for identity in relation to mythological figures and about making sense of the existential emptiness in a world inhabited by archetypes.

29

Spremljevalni program / Off-competition MASKA Koproducenti / Co-producers Tanz im August Berlin, Stara mestna elektrarna - Elektro Ljubljana, Tanzquartier Dunaj

18. 10. 2009 21.00 Kazinska dvorana

Æivljenje (v nastajanju) / Life (in progress) Premiera / Opening

22. 8. 2009 Festival Tanz im August (Berlin)

Koncept in reæija / Concept, director Janez Janπa Soustvarjalci / Performers Caroline Decker, Draæen DragojeviÊ, Teja Reba, Janez Janπa Izbor glasbe / Music Draæen DragojeviÊ Fotografije / Photography Marcandrea TehniËni vodja / Head technician Igor Remeta Producentka / Executive producer Jedrt Jeæ Furlan

30

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

ANDREA MARC

Dogodek, ki veselje do gledanja preobraĂŚa v voljo do sodelovanja in nagovarja gledalce, da razstavo spremenijo v predstavo. The event trnasforms the pleasure of observing into the will to contribute, urging the audience to turn an exhibition into a performance.

31

Tekmovalni program / Competition programme SLOVENSKO NARODNO GLEDALIŠ»E DRAMA LJUBLJANA 19. 10. 2009 19.00 Stara dvorana Predstava traja 4 ure 25 minut in ima dva odmora. Running time 4 hours 25 minutes. Two intervals.

Ajshil / Aeschylus

Oresteja / Oresteia Naslov izvirnika / Original title ‘Ορέστεια Premiera / Opening

17. 1. 2009 Veliki oder, SNG Drama Ljubljana

Prevajalec / Translator Marko MarinËiË Reæiser / Director Jernej Lorenci Dramaturga / Dramaturgs Nebojπa Pop TasiÊ, Nejc Valenti Scenograf / Set designer Branko Hojnik Kostumografinja / Costume designer Belinda RaduloviÊ Skladatelj / Composer Branko Roæman Oblikovalec svetlobe in videa / Video and lighting designer David OreπiË Lektorica / Language consultant Tatjana StaniË Fotograf / Photographer Peter Uhan Asistent reæije / Assistant director Andrej Jus Asistentka dramaturgije / Assistant dramaturg Nuπa Komplet Asistentka scenografije / Assistant set designer Ivanka Apostolova

32

Nastopajo / Cast

Tantal, mrtvi prapraded Oresta Tantalus, Orestes’ dead greatgrandfather Igor Samobor Ifigenija, mrtva Agamemnonova hËi in Orestova sestra Iphigeneia Agamemnon’s dead daughter and Orestes’ sister Iva BabiÊ Klitajmestra, æena argoπkega kralja Agamemnona Clytaemnestra, wife to the Argive King Agamemnon Polona Juh Agamemnon / Agamemnon Miha Nemec k. g. / as guest Kasandra, hËi trojanskega kralja Priama, Agamemnonova ujetnica Cassandra, Trojan King Priam’s daughter, Agamemnon’s captive Barbara Cerar Ajgist, Agamemnonov bratranec, Klitajmestrin ljubimec Aegisthus, Agamemnon’s cousin, Clytaemnestra’s lover Rok Vihar Orest, sin argoπkega kralja Agamemnona Orestes, Argive King Agamemnon’s son Aljaæ JovanoviÊ Elektra, Agamemnonova hËi in Orestova sestra Electra, Agamemnon’s daughter and Orestes’ sister Saπa MihelËiË Apolon / Apollo Alojz Svete Pitija, Apolonova prerokinja v Delfih The Pythia, Apollo’s prophetess at Delphi Silva »uπin Atena / Athena Barbara VidoviË k. g. / as guest Zbor / Chorus Metoda ZorËiË, Meta VraniË, Maja Sever, Barbara Æefran,Vanja Plut, Jure Lajovic k. g. / as guest, Tomislav TomπiË k. g. / as guest, Matevæ Müller AGRFT, Blaæ Setnikar AGRFT, Andrej Zalesjak AGRFT

TONE STOJKO

Velika grπka tragedija, ki v sooËenju z antiËnimi miti iπËe moænosti za novo civilizacijsko izkuπnjo. A grand Greek tragedy seeking a new civilisational experience through confrontation with ancient myths.

33

Spremljevalni program / Off-competition ZAVOD SPLOH Koproducent / Co- producer Yanvii (Italija)

20. 10. 2009 21.00 Mali oder

Niπtrc / Offcuts Premiera / Opening

20. 12. 2008 Mestni muzej Ljubljana

Zamisel in koncept / Idea and concept by

Tomaæ Grom, ©pela Troπt Izvajalci / Performers

Tomaæ Grom Aria Bragalini Devi Bragalini Enej Grom Nuka Grom Marina Gumzi Niko Novak DJ Bakto

34

Predstava traja 1 uro 15 min in ima veË premorov. Running time 1 hour 15 minutes. More intervals.

ZAVOD SPLOH

ZvoËni performans o naËinih skladateljevega sodelovanja, s pikantnimi podrobnostmi o zavræenih glasbenih delih za scenske umetnosti. A musical performance depicting how composer creates, with piquant details about the cast off pieces intended for scenic arts.

35

Tekmovalni program / Competition programme SLOVENSKO NARODNO GLEDALIŠ»E NOVA GORICA 21. 10. 2009 19.00 Stara dvorana Predstava traja 1 uro 45 minut in nima odmora. Running time 1 hour 45 minutes. No interval.

Andrej E. Skubic

NeskonËni πteti dnevi / The Infinite Numbered Days Krstna uprizoritev / First Production Premiera / Opening

05. 2. 2009 SNG Nova Gorica

Reæiser / Director Matjaæ Latin Dramaturginja / Dramaturg Martina Mrhar Scenografinja / Set designer Mojca Kocbek Vimos Kostumografinja / Costume designer Tanja Zorn Græelj Izbor glasbe / Music selection Matjaæ Latin Obdelava zvokovnega materiala / Music selection treatment Sebastijan Duh Avtor videa / Video designer Nejc Saje Oblikovalec luËi / Lighting designer Samo Oblokar Lektor / Language consultant SreËko Fiπer

36

Igrajo / Cast

Neæa Marjuta SlamiË Matjaæ Primoæ Pirnat Ata Joæe Hrovat Mamka Mira Lampe VujiËiÊ Invalid Vojko Belπak ©tudent Blaæ ValiË Petra Maja Poljanec / Arna HadæialjeviÊ

ATELJE PAVŠI»-ZAVADLAV

Sodobna slovenska drama, ki pokaæe, zakaj je upor proti sistemu neoliberalnega kapitalizma moæen le kot iracionalen izbruh. A contemporary Slovene drama showing why revolt against the system of neoliberal capitalism can only occur as an irrational outburst.

37

Tekmovalni program / Competition programme MESTNO GLEDALIŠ»E LJUBLJANSKO 21. 10. 2009 21.00 Tribuna na Velikem odru Predstava traja 1 uro in nima odmora. Running time 1 hour. No interval.

Marius von Mayenburg

Grdoba / The Ugly One Naslov izvirnika / Original title Der Häßliche Premiera / Opening 10. 2. 2009 Studio MGL

Prevajalec / Translator Milan ©tefe Reæiser / Director Boris Kobal Dramaturginja / Dramaturg Alenka Klabus Vesel Scenograf / Set designer Joæe Logar Kostumografinja / Costume designer Bjanka AdæiÊ Ursulov Lektorica / Language consultant Maja Cerar Oblikovalec luËi / Lighting designer Andrej Koleænik Asistentka reæije / Assistant director Maja Boh

Igrajo / Cast

Lette, grdoba / The ugly one Uroπ Smolej Scheffler, Lettejev πef / Lette’s boss Scheffler, kirurg / Surgeon Marko SimËiË Fanny, Lettejeva æena / Lette’s wife Fanny, bogata stara dama / Rich old lady Fanny, kirurgova asistentka / Surgeon’s assistant Mojca Funkl Karlmann, Lettejev asistent / Lette’s assistant Karlmann, sin bogate stare dame / Rich old lady’s son Gaber K. Trseglav

38

TONE STOJKO

Provokativna in duhovita uprizoritev treh obsesivnih æelja naπega Ëasa: æelje po lepoti, bogastvu in uspehu. A provocative and humorous presentation of three obssessive cravings of our times: the need for beauty, wealth and success.

39

Tekmovalni program / Competition programme SLOVENSKO LJUDSKO GLEDALIŠ»E CELJE 22. 10. 2009 19.00 Mali oder Predstava traja 1 uro 20 minut in nima odmora. Running time 1 hour 20 minutes. No interval.

Milan Jesih

Triko / Tricot Ena dejanska burka One factual farse Premiera / Opening

5. 3. 2009 Oderpododrom, SLG Celje

Reæiser / Director Luka Martin ©kof Dramaturginja / Dramaturg Urπka Brodar Scenograf / Set designer Miha Knific Kostumografinja / Costume designer Nadja BedjaniË Avtor glasbe / Composer Matej KonËan Kleemar Lektor / Language consultant Joæe Volk

40

Igrajo / Cast

Erik Bojan Umek Franc David »eh ©pela Anica Kumer Anita Barbara MedveπËek

DAMJAN ŠVARC

Duhovita uprizoritev ludistiËnih plasti jezika, ki pokaæe, kako jezikovne igre doloËajo naπe æelje in ritem æivljenja. A witty presentation of the ludistic side of language depicting how puns define our wishes and lifestyles.

41

Tekmovalni program / Competition programme ANTON PODBEVŠEK TEATER & TEATRI DI VITA BOLOGNA 22. 10. 2009 21.00 Tribuna na Velikem odru Predstava traja 2 uri 20 minut in nima odmora. Running time 2 hours 20 minutes. No intervals.

Henry James

Portret neke gospe / The Portrait of a Lady Naslov izvirnika / Original title The Portrait of a Lady Premiera / Opening

12. 4. 2009 Dvorana novomeπke pomladi, Anton Podbevπek Teater

Prevajalec / Translator Rastko MoËnik Reæiser / Director Matjaæ Berger Dekonstruktorica besedila in dramaturginja Deconstruction of text and dramaturg Nana MilËinski Scenograf/ Set designer Matjaæ Berger Kostumograf / Costume designer Alan Hranitelj Avtor glasbe / Music Peter Penko Lektorica / Language consultant Maja Cerar Koreografija plesa / Dance choreographer Katarina Venturini Oblikovalec svetlobe / Lighting designer Simon Æiæek Oblikovalec zvoka / Sound designer Uroπ Bon Oblikovalec videa / Video designer Gaπper Brezovar

42

Nastopajo / Cast

Isabel Archer Jana ZupanËiË Gilbert Osmond Borut Veselko Ralph Touchett Branko Jordan Mrs. Lidia Touchett Jadranka TomaæiË Mr. Danile Touchett Janez Starina Madame Serene Merle Dragica PotoËnjak Caspar Goodwood Akira Hasegawa Lord Warburton Uroπ PotoËnik Henrietta Stackpole Ana Ruter Pansy Osmond Ana Urbanc Edward Rosier Peter Harl Amy Gemini Nana MilËinski Nuna Catherine / Nun Catherine Irena Yebuah Tiran Nuna Justine / Nun Justine Leticia Yebuah Slapnik Tenor Rok ZidariË Bas / Bass Robert Yebuah Æenski glas Henryja Jamesa / Female voice of Henry James Nada Voduπek Moπki glas Henryja Jamesa / Male voice of Henry James Jure Longyka

BOŠTJAN PUCELJ

Postdramska rekonstrukcija znamenite romaneskne pripovedi - o mejah posameznikove svobode in preiskovanju moËi gledaliπËa v odnosu do besede. A post-dramatic reconstruction of the renowned novel - about the limitations to an individual’s freedom inquiring into the power of theatre in relation to words.

43

Tekmovalni program / Competition programme DRAMA SLOVENSKEGA NARODNEGA GLEDALIŠ»A MARIBOR 23. 10. 2009 19.00 Stara dvorana Predstava traja 3 ure 30 minut in ima en odmor. Running time 3 hours 30 minutes. One interval.

Henrik Ibsen

Peer Gynt Premiera / Opening

15. 5. 2009 Stara dvorana, SNG Maribor

Prevajalec / Translator Milan Jesih Reæiser / Director Janusz Kica Dramaturginja / Dramaturg Diana Koloini Scenograf / Set designer Marko Japelj Kostumografinja / Costume designer Bjanka AdæiÊ Ursulov Skladatelj / Composer Arturo Annecchino Lektor / Language consultant Janez BostiË Oblikovalka odrskega giba / Stage choreographer Valentina Turcu Oblikovalec svetlobe / Lighting designer Franci Rampre Oblikovalka maske / Make-up designer Mirjana DjordjeviÊ

44

Igrajo / Cast

Peer Gynt Branko ©turbej k. g. / as guest Aase, njegova mati / Aase, his mother Milada KaleziÊ Solveig Eva Kraπ Ingrid, Zelena, Anitra / Ingrid, Woman in green, Anitra Ksenija MiπiË Stareπina, Glas (Veliki zvijaË), Eberkopf, Begriffenfeldt, Suhec Thin man, Senior Voice (Boyg), Eberkopf, Begriffenfeldt, Thin man Aleπ ValiË k. g. / as guest KovaË Aslak, Najstarejπi dvorni trol, DeËek, Trumpeterstraale, Kapitan, Norec Aslak, a smith, Troll courtier, Boy, Trumpeterstraale, Captain, Lunatic Kristijan Ostanek Mladenka, Gorjanka, PuπËavska deklica, Trolska veπËa, Sluæabnica, Norica Young girl, Herdgirl, Desert girl, Troll girl, Slave girl, Lunatic Mateja Pucko Mladenka, Gorjanka, PuπËavska deklica, Trolska veπËa, Sluæabnica, Norica Young girl, Herdgirl, Desert girl, Troll girl, Slave girl, Lunatic Mirjana ©ajinoviÊ Mladenka, Gorjanka, PuπËavska deklica, Trolska veπËa, Sluæabnica, Norica Young girl, Herdgirl, Desert girl, Troll girl, Slave girl, Lunatic Maπa Æidanik Bjelobrk Æenin (Mads Moen), Trol, Kuhar, Norec Bridegroom (Mads Moen), Troll, Cook, Lunatic Matija StipaniË MladeniË, Trol, Mr. Cotton, Felah, Nostromo, DomaËin Young boy, Troll, Mr. Cotton, Fellah, Nostromo, Native Nejc Ropret MladeniË, Trol, Ballon, Sodnik, Norec, Mornar, Opica Young boy, Troll, Ballon, Judge, Lunatic, Sailor, Monkey Matevæ Biber MladeniË, Potnik, Gumbar / Young boy, Passenger, Button maker Tadej Toπ Kmetica iz Haegstada, Hussein, DomaËinka, Trol Farmer, Hussein, Native, Troll Irena MiheliË Kmet iz Haegstada, Dovrejski starina / Farmer, Dovre-master Miloπ Battelino

MATEJ KRISTOVIÂť

Sodobna vizija spremenljivega jaza, ki se v vsaki situaciji na novo ustvari, a vendar ostaja zvest samemu sebi. A contemporary image of a changeable self, which forms anew in each situation, yet remains faithful to himself.

45

Spremljevalni program / Off-competition AKADEMIJA ZA GLEDALIŠ»E, RADIO, FILM IN TELEVIZIJO LJUBLJANA 23. 10. 2009 23.00 Komorni oder Predstava traja 1 uro 15 minut brez odmora. Running time 1 hour 15 minutes. No interval.

Projekt Hamlet / Project Hamlet Po motivih Williama Shakespeara in Heinerja Müllerja Based on the motifs from William Shakespeare and Heiner Müller Premiera / Opening 14. 1. 2009 AGRFT

Reæiserka / Director Nina Eva LampiË Dramaturginja / Dramaturg Staπa BraËiË Scenograf / Set designer Danijel Modrej Kostumografinja / Costume designer Tina Kolenik Oblikovanje luËi / Lighting designer Branko ©ulc Lektorica / Language consultant doc. dr. Katarina Podbevπek Assist. Prof.,PhD Mentorji / Mentors

Dramska igra in gledaliπka reæija / Drama acting and directing red. prof. Janez HoËevar Prof., doc. mag. Tomi JaneæiË Assis. Prof., MA Dramaturgija / Dramaturgy doc. dr. Blaæ Lukan Assist. Prof., PhD Scenografija / Set design red. prof. Meta HoËevar Prof., asist. mag. Jasna Vastl Assist., MA Kostumografija / Costume design izr. prof. Janja Korun Assoc. Prof.

46

Igrajo / Cast

Hamlet Tjaπa Hrovat Hamlet Blaæ Setnikar Hamlet Andrej Zalesjak

Ĺ˝ELJKO STEVANI∆

Predstava, ki preiskuje resnico vida in uprizarja mesto realnega v odnosu med igralci in gledalci. The show researches the truth of view, portraying the area of the real in the relationship between the actors and the viewers

47

Tekmovalni program / Competition programme DRAMA SLOVENSKEGA NARODNEGA GLEDALIŠ»A MARIBOR 24. 10. 2009 19.00 Mali oder Predstava traja 1 uro 40 minut in nima odmora. Running time 1 hour 40 minutes. No interval.

Veter v vejah borov / Wind in the Pines No-igre Noh plays Premiera / Opening

13. 3. 2009 Mali oder, SNG Maribor

Prevajalka / Translator Barbara Rovan Reæiser / Director Jernej Lorenci Dramaturg / Dramaturg Nebojπa Pop TasiÊ Scenograf / Set designer Branko Hojnik Kostumografinja / Costume designer Belinda RaduloviÊ Skladatelj / Composer Branko Roæman Oblikovalec svetlobe / Lighting designer David OreπiË Lektor / Language consultant Janez BostiË Oblikovalka maske / Make-up designer Mirjana DjordjeviÊ

48

Igrajo in pojejo / Cast

Nataπa Matjaπec Roπker Mateja Pucko Vladimir VlaπkaliÊ Matevæ Biber Matija StipaniË Zvezdana NovakoviÊ k. g. / as guest Anush Apoyan k. g. / as guest

MATEJ KRISTOVI»

Subtilna uprizoritev japonskih no-iger, ki v znameniti vzhodnoazijski gledaliπki tradiciji prepozna prvovrstno gradivo postdramskega gledaliπËa. A subtle production of the Japanese Noh plays recognises prime material for post-drama theatre in the famous East Asian theatrical tradition.

49

Tekmovalni program / Competition programme MINI TEATER Koproducent / Co- producers Novo kazaliπte Zagreb, Cankarjev dom & ZeKaeM

24. 10. 2009 21.00 Tribuna na Velikem odru

Heiner Müller

Macbeth po Shakespearu / Macbeth after Shakespeare Premiera / Opening

30. 1. 2009 ©tihova dvorana, Cankarjev dom

Prevajalec / Translator Milan ©tefe Reæiser / Director Ivica Buljan Dramaturginja / Dramaturg Diana Koloini Scenografija / Set designer son:DA Kostumografinja / Costume designer Ana SaviÊ Gecan Skladatelj / Composer Mitja Vrhovnik Smrekar Koreografinja / Choreographer Tanja Zgonc Lektorica / Language consultant Mateja Dermelj Producent / Producer Robert Waltl

50

Igrajo / Cast

Marko MandiÊ Milena ZupanËiË Polona Vetrih Jurij Drevenπek Jure Henigman Jose Stipe KostaniÊ Domen ValiË Anæe Zevnik

Predstava traja 2 uri in nima odmora. Running time 2 hours. No interval.

MIHA FRAS

Mesena reprezentacija nasilja, njegove (ne)motiviranosti v postideoloπkem Ëasu in generacije, ki zna ceniti norost. The performance is a carnal presentation of violence, its (non)motivation in a post-ideological period, and about a generation which prizes insanity.

51

44. festival borπtnikovo sreËanje simpozij

52

Sreda, 21. 10. 2009, ob 11.00 Mali oder

Wednesday, 21 October 2009, at 11.00 Small Stage

Od Antigone do Krsta pri Savici

From Antigona to Krst pri Savici

Izid II. in III. knjige Zbranih del Dominika Smoleta, ki ob natisu dveh najpomembnejπih Smoletovih dramskih del Antigona in Krst pri Savici prinaπa v uredniπtu dr. Gorana Schmidta tudi obseæno dokumentacijo, povezano tako s prvo knjiæno izdajo kot tudi z uprizoritvami omenjenih dveh dram, nam omogoËa, da ob 80-letnici dramatikovega rojstva na novo pregledamo drami, ki πe vedno odpirata kljuËna vpraπanja slovenske druæbe.

The newly published volumes II and III of the Collected Works of Dominik Smole, edited by Goran Schmidt, contain two of Smole’s most important dramatic works, accompanied by comprehensive documentation on the first publication as well as on the performances of the two dramas. This gives us the opportunity to mark the 80th anniversary of the author’s birth by casting a fresh look at the dramas as they no doubt still, even today, touch on some key aspects of the Slovene society.

Po simpoziju sledi predstavitev monografije ob 90-letnici Slovenskega narodnega gledaliπËa Maribor.

The symposium will be followed by a presentation of the monograph dedicated to the 90th anniversary of the Slovene National Theatre Maribor.

44th borπtnik theatre festival symposium Petek, 23. 10. 2009, ob 10.00 Kazinska dvorana

Friday, 23. October 2009, at 10.00 Kazina Hall

Povezovanje festivalov Zahodnega Balkana

Intertwining of the Festivals of the Western Balkans

Simpozij v organizaciji Slovenskega centra mednarodnega gledaliπkega inπtituta in Festivala Borπtnikovo sreËanje

Symposium organised by the Slovene Centre of the International Theatre Institute and the Borπtnik Theatre Festival

Zahodni Balkan kot obmoËje nekdanje skupne dræave Jugoslavije predstavlja nove ali vsaj πe neizkoriπËene moænosti sodelovanja na polju uprizoritvene umetnosti. Festival Borπtnikovo sreËanje in Slovenski center mednarodnega gledaliπkega inπtituta (ITI) pri Zdruæenju dramskih umetnikov Slovenije (SC ITI/ZDUS) kot pobudnika teh povezovanj, najprej festivalov, pozneje pa tudi posameznih gledaliπkih hiπ in ustvarjalcev, to specifiËno obmoËje razumeta kot odprt in prepiπen ustvarjalni prostor. ©e posebej na osi Evropske unije kot (bodoËega) skupnega prostora, v katerem pa so takπna povezovanja, zlasti v okvirih dobrega kulturoloπkega poznavanja raznolikih kultur, veË kot nujna. Prva izdaja simpozija bo preko posameznih panelistov oziroma predstavnikov festivalov poskuπala v enem dnevu kar se da izËrpno osvetliti trenutno situacijo na tem podroËju. Simpozij zato tvorita dva vsebinska sklopa: - prvi bo s samostojnimi prispevki predstavil izbrane festivale, njihovo kronologijo razvoja, programsko usmeritev, vizijo, kondicijo in financiranja; - drugi pa skozi debate in sklepe prvega sreËanja poiskal tiste skupne toËke, kjer bi se lahko v bodoËe ustvarjali sinergijski uËinki povezovanj. Povabljenih je petnajst predstavnikov enajstih festivalov iz petih dræav Zahodnega Balkana - BiH, »rna gora, Hrvaπka, Makedonija in Srbija - in seveda Slovenije. Temeljni razmislek, ki ga ponuja prva edicija simpozija - tega hkrati lahko razumemo tudi kot cilj -, pa je ustanovitev tako imenovanega konzorcija festivalov Zahodnega Balkana. Zato je ena od kljuËnih nalog tokratnega uvodnega simpozija tudi razmislek o tej pobudi in oblikovanje delovnih skupin, ki bodo opredelile tiste skupne teme, s katerimi naj bi se bodoËi konzorcij ali kakπna druga oblika povezav ukvarjala na prihodnjih sreËanjih. Organizatorja, Festival Borπtnikovo sreËanje in SC ITI/ZDUS, si namreË æelita, da bi takπna sreËanja postala vsakoletna, Festival Borπtnikovo sreËanje pa koordinator in ustvarjalni inkubator za nove ideje, povezovanja in druæenja.

The Western Balkans having been part of a common country, the former Yugoslavia, now Offers a host of new, or at least untapped possibilities in the field of scenic arts. With the common understanding that the region is, creatively, an open and indeed, draughty space, the Borπtnik Theatre Festoval and the Slovene Centre of the International Theatre Institute (ITI) at the Association of theatre artists of Slovenia (SC ITI/ZDUS) have initiated such twining, beginning with festivals and later between individual theatres and theatre artists. In order to ensure more than superficial knowledge of diverse cultures on the axis of the European Union, the (future) common grounds, such relaions are vital. The aim of the fifteen panellists, representatives of festivals, participating at the first one-day symposium shall be to throw as much light as is at all possible in one day upon the current situation in this area of activity. The symposium therefore consists of two parts: - the first part comprises individual contributions presenting a selection of festivals, the chronology of their development, programme orientation, financing, the state they are in and their vision; - the goal of the second part is to find, through debate and conclusions of the first meeting, common points as ground for nurturing future synergetic effects of intertwining. Representatives of festivals, invited to participate, come from five countries of the Western Balkans: Bosnia and Herzegovina, Montenegro, Macedonia, Serbia - and, of course, Slovenia. The basic premise proffered by the first edition of the symposium - which can be considered as one goal - is the foundation of a so-called consortium of the festivals of the Western Balkans. With this in mind, the key task of this introductory symposium is to deliberate on this initiative and to constitute working groups, which will define common themes for the future consortium, or some other form of association, to work on at future meetings. It is the wish of the organisers, the Borπtnik Theatre Festival and the SC ITI/ZDUS, that such meetings be annual events and that the Borπtnik Theatre Festival becomes a coordinator and a creative incubator for new ideas, connections and associations.

Klemen MarkovËiË, vodja simpozija in generalni sekretar SC ITI/ZDUS Tatjana Aæman, predsednica SC ITI/ZDUS in Ëlanica izvrπnega sveta svetovne mreæe ITI

Klemen MarkovËiË, Head of the Symposium and Secretary General of the SC ITI/ZDUS Tatjana Aæman, President of the SC ITI/ZDUS and member of the Executive Council of the ITI global network

53

44. festival borπtnikovo sreËanje simpozij Sobota, 24. 10. 2009, ob 10.oo Kazinska dvorana

Umetnost, kultura, mesto Mednarodni simpozij v organizaciji Druπtva gledaliπkih kritikov in teatrologov Slovenije in Festivala Borπtnikovo sreËanje

Leta 2012 bo Maribor s partnerskimi mesti v vzhodni kohezijski regiji nosilec projekta Evropske prestolnice kulture. Ker ima Evropska prestolnica kulture izjemen kulturni, razvojni in ekonomski potencial, æeli Druπtvo gledaliπkih kritikov in teatrologov Slovenije z vabljenimi gosti kritiËno premisliti nekaj vidikov heterotopiËne urbanizacije in njenih kulturnih uËinkov. S simpozijem æelimo razπiriti prostor razprav in s sooËenjem pogledov strokovnjakov razliËnih profilov in provenienc prispevati svoj deleæ k najbolj ambiciozno zastavljenemu kulturnemu projektu v samostojni Sloveniji. Uvodni referat bo prispeval eden vodilnih evropskih strokovnjakov s podroËja uprizoritvenih umetnosti in kulturne politike dr. Dragan KlaiÊ, profesor na univerzah v Leidnu, Budimpeπti in Bologni. Razprava bo potekala znotraj πtirih vsebinskih izhodiπË: 1. Zdi se, da se projekt Evropska prestolnica kulture v zadnjem desetletju izogiba dræavnim prestolnicam oziroma da okupira mesta izven osrednjih regij posameznih dræav. Tako se lahko nekatere Evropske prestolnice kulture sooËajo s problemi πibke urbanosti, pogosto pa tudi s primanjkljajem posebnih produkcijskih in organizacijskih znanj, ki jih terjajo izjemno zahtevni projekti. Zdi se, da mesta, zdruæena v projektu Evropska prestolnica kulture 2012, nimajo razvojnih vizij niti interesov na podroËju umetnosti in njihovih kultur razen teæenj po gospodarskih in turistiËnih uËinkih projekta, zato produkcijska znanja, vsebine in vizije uvaæajo prav iz centrov. Ali gre v tem primeru za redistribucijo umetnostnih praks in njihovih kultur, za kolonializacijo periferije z urbanimi kulturami centra ali za didaktiËen kulturno-umetniπki projekt za obËinstva v mestih z malo urbane kulture? Kako je potekal dialog med urbanim centrom in periferijo v okviru dosedanjih Evropskih prestolnic kulture? 2. Z manifestacijami, ki predstavljajo Evropsko prestolnico kulture 2012, se izkazuje, da mesta, vkljuËena v projekt, ne znajo razbrati svojih kulturnih, umetniπkih in s tem socialnih potencialov. Urbanizacijo se v takπnih primerih razume predvsem kot zagotavljanje prostorske infrastrukture

54

neki skupnosti in ne kot integracijo razliËnih mestnih kultur in stimulacijo kohezivnosti umetniπkih, kulturnih in socialnih potencialov v mestih. Kako so dosedanji projekti Evropskih prestolnic kulture spodbujali razvoj urbanih identitet, ne da bi te podlegale omejenosti lokalpatriotizmov? Kakπni so bili projekti integracije razliËnih mestnih in primestnih kultur v produktivno mestno æivljenje? Kako so dosedanji projekti Evropskih prestolnic kulture vplivali na mestno prebivalstvo? 3. Mesta s svojimi zasnovami v veliki meri implementirajo potroπniπki habitus v javni prostor. V kolikπni meri so v dosedanjih Evropskih prestolnicah kulture nastajali projekti, ki so uhajali træni logiki ponudbe in povpraπevanja, uvoza in promocije ter spreminjali podobe mest izven trænih okvirov? Kako so ti projekti spreminjali javni prostor ali si ga ponovno prisvajali? 4. V slovenskih mestih imajo razliËne subkulture svojo obiËajno lokacijo v mestnih Ëetrtih, po katerih so pogosto tudi poimenovane, hkrati pa njihova prostorska orientacija (obrobje : center) proizvaja tudi moralne pozicije in s tem politiko, ki pristaja v okvirih tradicionalnih delitev na visoko in nizko kulturo, institucionalno in alternativno kulturo ipd. in ki je najveËkrat izkljuËevalna. Kako so dosedanje Evropske prestolnice kulture integrirale svoje razliËne kulturne skupine v skupne projekte in kakπni so bili njihovi uËinki? Kako so potence razliËnih kulturnih skupin v mestih stimulirale k veËji kreativnosti, produktivnosti? Programski odbor Amelia Kraigher Rok Vevar Alja Predan Primoæ Jesenko Barbara Orel Blaæ Lukan Ana Perne

44th borπtnik theatre festival symposium Saturday, 24 October 2009, at 10.00 Kazina Hall

Art, Culture, City An international symposium organised by the Association of Theatre Critics and Researchers of Slovenia and the Borπtnik Theatre Festival

In 2012, Maribor, along with partner municipalities within the cohesive region of Eastern Slovenia, will host the European Capital of Culture project. Because the European Capital of Culture bears an exceptional cultural, developmental and economic potential, the Association of Theatre Critics and Researchers of Slovenia and the invited participants wish to critically reflect on several aspects of heterotopic urbanisation and its cultural impacts. By bringing together the views of experts from various profiles and proveniences, the symposium aims to expand the discussion space and contribute to the most ambitious cultural project in independent Slovenia. Dr. Dragan KlaiÊ, one of the leading experts on performing arts and European cultural policies, professor at the Universities of Leiden, Budapest and Bologna, will contribute the introductory speech. The discussion will concentrate on the following topics: 1. Over the last decade, it seems that the European Capital of Culture project has either avoided state capitals or included cities situated outside the larger metropolitan regions of the EU countries. Therefore, many of these various European Capital of Culture projects have faced the problem of weak urbanity and often the lack of production know-how and content through which the projects could have been strategically and developmentally positioned. It appears that the Slovenian municipalities participating in the European Capital of Culture project have neither any vision nor any interest in the growth of the arts and their cultures, except for the projects’ economic and tourism effects. This lack of a progressive artistic vision is why the production know-how, content and visions are imported from the centres. In this case, does it then become about the redistribution of artistic practices and their cultures, about the culturalisation of the periphery by the urban cultures of the centre, or about a didactic cultural-artistic project for the audiences in cities with little urban culture? How have these problems been solved by other European Capitals of Culture so far? 2. The various manifestations that represent the 2012 European Capital of Culture project in Slovenia show that the authorities of the cities included in the project cannot see their cultural, artistic and social potentials. In such cases, urbanisation is understood as providing the spatial infrastructure for a certain community rather

than as the integration of various city cultures and a stimulating cohesion of the artistic, cultural and social potentials of the cities. How have the previous European Capitals of Culture projects stimulated the development of urban identities without succumbing to the limitations of local patriotism? What were the projects that tried to integrate different city and suburban cultures into a productive urban existence? What impact did the previous European Capital of Culture projects leave on the population of the cities? 3. In regards to the proposals for European Capital of Culture, most of the concepts of the cities and towns have largely implement the consumer habitus into the public space. To what extent have the European Capitals of Culture generated projects that have evaded the commercial logic of supply and demand, of import and promotion, and have changed the images of the cities beyond the market scope? How have these projects changed the public space and reclaimed it? 4. In Slovenian cities and towns, various subcultures can be found not only at the physical borders of the city but within the city centre as well. At the same time, their spatial orientation (margin vs. centre) gives rise to moral positions and thus politics that retain traditional divisions into ‘high’ and ‘low’ culture, institutional and alternative culture, etc.; divisions which are mostly exclusive. How have European Capital of Culture projects integrated various cultural groups into joint projects and to what effect? How have the potencies of various cultural groups in cities been stimulated toward greater creativity and productivity? The programme committee Amelia Kraigher Rok Vevar Alja Predan Primoæ Jesenko Barbara Orel Blaæ Lukan Ana Perne

55

44. festival borπtnikovo sreËanje knjige Peter BoæiË: ©umi. Ljubljana: ©tudentska zaloæba, 2009. Letos preminuli Peter BoæiË je predstavljal enega zadnjih ustvarjajoËih predstavnikov morda najpomembnejπe literarne generacije na Slovenskem po drugi vojni, rojene okrog leta 1930. Ta generacija je skozi revije Beseda, Revija 57 in Perspektive, predvsem pa z lastnimi teksti z naglim rezom pribliæala domaËo ustvarjalnost soËasni evropski praksi, preæeti z modernizmom in eksistencializmom. BoæiËev deleæ v tej zgodbi je izjemen, pa Ëeprav mu nikoli niso podelili Preπernove nagrade za æivljenjsko delo. Njegove drame so odpirale teatrske horizonte, njegova proza je zarezala v slovensko psihopatologijo kot skalpel. OËeta Vincenca smrt je eno najbolj pretresljivih priËevanj o drugi svetovni vojni nasploh. Po veË kot dvajsetletnem postu se je BoæiË vrnil z dramo, ki je osredotoËena na odnos med oËetom in sinom, na sinovo obsedenost z oËetovo zgodbo - izgubo gotovosti, ki se zaleze v naslednika, pa Ëeprav v vsem drugaËnega, preprosto πumijevca. Ostane zgolj napis, da je bil nekdo tukaj. Avtorji spremnih besed so Urπula Cetinski, Gaπper Troha in Tomaæ ToporiπiË.

Peter BoæiË: ©umi. Ljubljana: ©tudentska zaloæba, 2009. Peter BoæiË was one of the last creative representatives of the - arguably - most important literary generation in Slovenia after World War II, born around 1930. Periodicals Beseda, Revija 57 and Perspektive, together with their own writings served this generation to bring domestic creativity in line with the contemporary European practice, imbued with modernism and existentialism, in an instant. BoæiË had a lion’s share in these achievements, though he never received the Preπern’s Award for his life’s work. His dramas broadened the horizons for the theatre, his prose cut scalpel-like into the Slovene psychopatology. OËeta Vincenca smrt is a most poignant evidence of the second world war. After more than twenty years of absence, BoæiË has come back with a new drama. Very sparing, focusing on the relationship between father and son, the son being obsessed by the father’s story - the loss of assurance, creeping over the progeny, even though he is of entirely different character, merely part of the ©umi crowd. The only thing left is a note that someone was here. Urπula Cetinski, Gaπper Troha and Tomaæ ToporiπËiË contributed the accompanying texts.

Vinko Möderndorfer: Lep dan za umret (Na dnu, Lep dan za umret, Solze in kri). Maribor: ©tudentska zaloæba Litera, 2009. Knjiga zdruæuje tri najnovejπa dramska besedila uveljavljenega dramatika, reæiserja, pesnika, pisatelja in publicista: Na dnu, Lep dan za umret in Solze in kri. Prva, Na dnu, je parafraza znamenite naturalistiËne drame z istim naslovom Maksima Gorkega (iz leta 1902), druga, Lep dan za umret, je drama odnosa med materjo in hËerko, moËno zaznamovanega z mamino punkovsko subkulturno izkuπnjo, tretja, Solze in kri, pa je igra razËiπËevanja zapletenih odnosov med petimi æenskami (ki se jim na koncu pridruæi πe πesta) in njihove povezanosti s pravkar umrlim moπkim. Vsem trem igram je skupen svojevrstni naturalizem, ki ni programski in ne ideoloπki, ampak sledi dramski ideologiji, ki za psiholoπke motive in vzgibe najde univerzalno definicijo. Vinko Möderndorfer: Lep dan za umret (Na dnu, Lep dan za umret, Solze in kri). Maribor: ©tudentska zaloæba Litera, 2009. The book is a collection of three most recent texts by a leading playwright, director, poet, writer and journalist: Na dnu, Lep dan za umret and Solze in kri. The first one, Na dnu, is a paraphrase of the well-known naturalist drama by Maxim Gorky (written in 1902), the second one, Lep dan za umret is a drama of the relationship between mother and daughter, strongly marked by the mother’s punk subculture experience, and the theme of the third play, Solze in kri is clarifying the entangled relations between five women (joined by the sixth one at the end) and their links with a recently deceased man. What all three plays have in common is a peculiar naturalism, not programmed or ideological, but following a dramatic idea, discovering a universal definition for psychological motives and drives.

56

Ponedeljek, 19. 10. 2009, ob 17.00 Literina knjigarna MikloπiËeva ulica

Monday, 19 October 2009, at 17.00 Litera’s Bookshop MikloπiËeva Street

44th borπtnik theatre festival books Peter Rezman: Beseda te gleda. Maribor: ©tudentska zaloæba Litera, 2009. Beseda te gleda Petra Rezmana je zelo posebna knjiga dramskih besedil. Minutni dramski teksti, minidrame, dramoleti, “ready-made” drame - vse, samo drame ne? Dramska besedila menda dobijo svoj pravi namen in tudi pomen πele, ko besede gledamo na odru. Za veËino, Ëe ne vsa dramska besedila v knjigi Beseda te gleda pa menda velja, da so “neuprizorljiva”. Tako pravijo. Toda “neuprizorljivost” je navidezna. Je posledica popolne realnosti, ki dobi svoj smisel in uprizorljivost ravno v zapisu. V trenutku, ko so bile zapisane, so postale resniËne in je “uprizorljivost” samo πe vpraπanje volje, kar dokazuje zadnja drama v knjigi, ki je æe bila uprizorjena. Celo prej, kot je bila zapisana.

Peter Rezman: Beseda te gleda. Maribor: ©tudentska zaloæba Litera, 2009. Beseda te gleda is a highly individual collection of dramatic texts. Minute dramas, minidramas, dramolets, “ready-made” dramas - everything, but drama? Apparently the texts only acquire their true purpose and meaning when being watched on stage. Most, if not all of the scripts in Beseda te gleda are considered “unperformable”. That’s what they say. But they only appear to be such. It is a consequence of total reality, deriving significance and performability precisely by being recorded. The moment they were put down, the words became reality and “performability” remains only a matter of volition; the last drama in the collection proves this by having been performed already, even before it was recorded.

Jaroslav Skruπný: Varuhi spomina. Maribor: ©tudentska zaloæba Litera, 2009. Knjiga dvanajstih literarnih esejev, ki prisluπkujejo kritiku groze nebogljenega Ëloveπkega smrtnika, nad Ëigar izmuËenim telesom in ubito duπo je minulo stoletje odplesalo svoj nihilistiËni danse macabre, je poskus, da bi v krhkem svetiπËu naπega posvetnega spomina vsaj prgiπËe ubesedenih podob Ëlovekove izvorne pripadnosti ljubezni, svobodi, boleËini in smrti oteli pred pozabo. Eseji si tako jemljejo v premislek dela naslednjih domaËih in tujih avtorjev: Havel, JanËar, Bataille, ©eligo, Camus, Milosz, Snoj, Sartre, Dekleva, Bruckner.

Jaroslav Skruπný: Varuhi spomina. Maribor: ©tudentska zaloæba Litera, 2009. A collection of twelve literary essays hearkening to the critic of the dread, which overwhelms the frail mortal, over whose tormented body and smothered soul the last century danced its nihilistic danse macabre. In the fragile sanctuary of our temporal memory the work is an attempt to rescue from oblivion at least a handful of recorded images of man’s primary committment to love, freedom, pain and death. Thus the essays treat works of the following national and foreign authors: Havel, JanËar, Bataille, Camus, Milosz, Snoj, Sartre, Dekleva, Bruckner.

57

44. festival borπtnikovo sreËanje knjige Ivana Sajko: K norosti (in revoluciji): branje. Ljubljana: Mestno gledaliπËe ljubljansko, 2008. Zbirka Knjiænica MGL, zvezek 150. Prevedla –ura Strsoglavec. Knjiga K norosti (in revoluciji) je nastala kot nadgradnja magistrskega dela hrvaπke dramatiËarke in teoretiËarke Ivane Sajko z naslovom Vloga in tematizacija norosti v drami 20. stoletja. Avtorica v njej razπiri podroËje svoje predhodne akademske raziskave ter vanjo poleg drame in gledaliπËa pritegne πe πtevilna druga podroËja Ëlovekovega umetniπkega in sicerπnjega ustvarjanja. “Vsebinsko se knjiga ukvarja s problematiko ‘ustvarjanja’ - predvsem umetniπkega, pa tudi filozofskega in znanstvenega - in soËasno demonstrira delo delujoËega stroja ustvarjanja na podroËju besedila ali ‘pisave’ med umetnostjo, filozofijo in znanostjo,” v spremni besedi zapiπe Ana VujanoviÊ. “Ta veËkratnost je hkrati tudi osnovna specifiËnost knjige, tisto, kar jo potiska od umetniπkega ustvarjanja k njegovi problemski in kritiËni refleksiji, in hkrati tisto, kar spodmika tla pod nogami teoretskemu metadiskurzu in mu podtika ekscesno, posamezno, dogajalno, ustvarjalno - norost in revolucijo.” Ivana Sajko v knjigi med drugim bere Antonina Artauda, Andréja Bretona, Thomasa Bernharda, Jacquesa Derridaja, Michela Foucaulta, Sarah Kane, Heinerja Müllerja, Friedricha Nietzscheja, Erazma Rotterdamskega, Gertrude Stein, Paula Verlaina in Petra Weissa, zanimajo pa jo tudi primeri iz slovenske literature, med njimi zlasti Veliki briljantni valËek Draga JanËarja.

Ivana Sajko: K norosti (in revoluciji): branje. Ljubljana: Ljubljana City Theatre, 2008. Collection Knjiænica MGL, Vol. 150. Translated by Ðura Strsoglavec. K norosti (in revoluciji) is a work structured over the postgraduade MA thesis by the Croatian dramatist and theoretician Ivana Sajko, entitled The Role and Thematisation of Madness in the Drama of the 20th Century. The author here expands on the previous academic research to involve numerous other areas of atristic endeavour alongside drama and theatre. “In terms of content, the book deals with the problem of ‘creation’ - primarily artistic creation, but also that in philosophy and science - while it simultaneously demonstrates the functioning of the working apparatus of creation of text or ‘writing’ between art, philosophy and science,” maintains Ana VujanoviÊ in her Foreword. “This multiplicity is at the same time the fundamental specificity of the work, that which drives it away from artistic creation towards an assertoric and critical reflection and also that, which jerks the rug from under the feet of theoretical metadiscourse to replace it with the excess, the individual, the incidental, the creative - madness and revolution.” Among other writers in her work Ivana Sajko reads Antonin Artaud, André Breton, Thomas Bernhard, Jacques Derrida, Michel Foucault, Sarah Kane, Heiner Müller, Friedrich Nietzsche, Erasmus of Rotterdam, Gertrude Stein, Paul Verlain and Peter Weiss, but also devotes attention to examples of Slovene drama, taking Drago JanËar’s The Great Brilliant Waltz under special scrutiny.

Josette Féral: Reæija in igra. Ljubljana: Mestno gledaliπËe ljubljansko, 2008. Zbirka Knjiænica MGL, zvezek 149. Prevedla Sonja Dular. Kaj je gledaliπka igra? Kako naj govorimo o njej? Kako doæivlja igralca reæiser? Katere lastnosti mora imeti igralec? Kakπno naj bo razmerje med teorijo in prakso? S temi vpraπanji se v trilogiji Reæija in igra (Mise en scËne et jeu de l’acteur), ki v obliki intervjujev predstavlja eminentne igralce in reæiserje naπega Ëasa, ukvarja kanadska raziskovalka Josette Féral. Med njenimi intervjuvanci je vrsta imen, ki so pomembno zaznamovala sodobno gledaliπËe, opero, ples in druge scenske umetnosti: Reza Abdoh, Eugenio Barba, Dario Fo, Elizabeth Lecompte, Robert Lepage, Richard Schechner, Robert Wilson, JoAnne Akalaitis, Anne Bogart, Katie Mitchell, Marianne Weems, Emma Dante idr. Slovenska izdaja vsebuje izbor dvajsetih intervjujev iz vseh delov trilogije ter na njihovi osnovi tvori novo in zgoπËeno celoto. Dodana so jim izËrpna biografska poglavja o predstavljenih avtorjih. Knjiga je nastajala v sodelovanju z avtorico Josette Féral, ki je zanjo posodobila vsa spremna besedila ter prispevala kratek predgovor za slovenske bralce.

Josette Féral: Directing and Acting.

58

Ljubljana: Ljubljana City Theatre, 2008. Collection Knjiænica MGL, Vol. 149. Translated by Sonja Dular. What is theatre acting? How do we discuss it? How does an actor feel about the director? Which qualities must an actor possess? What should be the relationship between theory and practice? These are the questions the Canadian researcher Josette Féral deals with in the trilogy Directing and Acting (Mise en scËne et jeu de l’acteur). Through interviews she presents eminent contemporary actors and directors; among the names of ther interviewees is a series of those, who have strongly influenced the contemporary theatre, opera, dance and other scenic arts: Reza Abdoh, Eugenio Barba, Dario Fo, Elizabeth Lecompte, Robert Lepage, Richard Schechner, Robert Wilson, JoAnne Akalaitis, Anne Bogart, Katie Mitchell, Marianne Weems, Emma Dante, and others. The Slovene edition contains twenty interviews selected from all three parts of the book, thus formulating a new, condensed whole. They are supplemented by exhaustive biographical chapters on individual authors. Josette Féral contributed to the book all updated accompanying texts and a short foreword for the Slovene readers.

Torek, 20. 10. 2009, ob 17.00 Literina knjigarna MikloπiËeva ulica

Tuesday, 20 October 2009, at 17.00 Litera’s Bookshop MikloπiËeva Street

44th borπtnik theatre festival books Drama, tekst, pisava. Uredila Petra Pogorevc in Tomaæ ToporiπiË. Ljubljana: Mestno gledaliπËe ljubljansko, 2008. Zbirka Knjiænica MGL, zvezek 148. Zbornik razprav Drama, tekst, pisava zastavlja serijo teoretskih preizpraπevanj o mutacijah dramske in (ne veË) dramske pisave ter gledaliπËa in scenskih umetnosti, kot jih je beleæila druga polovica 20. stoletja, izkristaliziral pa prehod v novo tisoËletje. »e se je v zadnjih dveh desetletjih zdelo, da je tekst v gledaliπËu ponovno zaËel pridobivati na svoji moËi, je postalo enako oËitno dejstvo, da tudi drama ni bila veË besedilna forma, v katero bi se avtomatiËno prelevili za gledaliπËe napisani teksti. Znotraj teoretskega polja so levitve drame in teksta proizvedle nove definicije tekstovnega, dramskega oziroma “ne veË dramskega”, postdramskega, rapsodiËnega v sodobnem gledaliπËu. Knjiga zdruæuje izvirne πtudije slovenskih avtorjev (Bojana Kunst, Blaæ Lukan, Barbara Orel, Maja ©orli, Tomaæ ToporiπiË) ter prevedena besedila tujih teoretikov in praktikov gledaliπËa (Elinor Fuchs, Heiner Goebbels, HansThies Lehmann, Patrice Pavis, Gerda Poschmann, Jean-Pierre Sarrazac, Małgorzata Sugiera).

Drama, tekst, pisava. Edited by Petra Pogorevc and Tomaæ ToporiπiË. Ljubljana: Ljubljana City Theatre, 2008. Collection Knjiænica MGL, vol. 148. Drama, tekst, pisava is a collection of papers questioning a series of theoretical points about mutations of dramatic and (beyond) dramatic writing and about theatre and the scenic arts floated during the second half of the 20th century, which have set at the turn of the Millenium. While it seems that over the past two decades the value of the textual element in theatre was gradually regaining its worth, it became equally evident that drama was no longer the textual form for scripts being written for stage to be automatically converted into. Within the scope of theory, the interchange between drama and script produced new definitions of textual, dramatic or “beyond dramatic”, post-dramatic, rhapsodic in contemporary theory. The book complements original studies of Slovene writers (Bojana Kunst, Blaæ Lukan, Barbara Orel, Maja ©orli, Tomaæ ToporiπiË) with translated papers by foreigh theatrical theoreticians and practitioners (Elinor Fuchs, Heiner Goebbels, Hans - Thies Lehmann, Patrice Pavis, Gerda Poschmann, Jean-Pierre Sarrazac, Małgorzata Sugiera).

Amfiteater. Revija za teorijo scenskih umetnosti. Mehanizmi nadzora in moËi. Uredila Barbara Suπec Michieli. Ljubljana: Akademija za gledaliπËe, rado, film in televizijo, 2009. V drugi πtevilki Amfiteatra so objavljene izbrane razprave, ki odkrivajo zanimive zgodovinske povezave gledaliπËa s politiËno, ekonomsko in πirπo kulturno sfero, druæbeno pogojenimi hierarhijami, ideologijo in znanostjo. ©tevilka je nastala v sodelovanju Delovne skupine za zgodovinopisje, ki deluje v okviru Mednarodne zveze za gledaliπke raziskave (International Federation for Theatre Research). Razprave prinaπajo temeljna razmiπljanja o strategijah nadzorovanja in razumevanja moËi, o katerih je skupina diskutirala marca in julija 2008 na sreËanjih v Ljubljani in Seulu. Problemski spekter sega od analiziranja obredov in politik poimenovanj do πtudije o pirotehniËnih dogodkih kot uËinkovitih instrumentih moËi. V drugi letnik pa revija Amfiteater (v uredniπtvu Barbare Orel) vstopa s prvo redno πtevilko. Izbor razprav zajema podroËje scenskih umetnosti z dveh robov, teorije drame in novomedijskih umetnosti, ter prinaπa izvirne poglede in metodoloπke pristope k njihovemu preuËevanju.

Amfiteater, Journal of Performing Arts Theory Mechanisms of Control and Power. Edited by Barbara Suπec Michieli. Ljubljana: Akademija za gledaliπËe, rado, film in televizijo, 2009. The second issue of Amfiteater brings a selection of papers revealing interesting historical connections between the theatre and the political, economic and wider cultural sphere, the socially conditioned hierarchies, ideology and science. The collection is the result of the effort of member of the Working Group for historiography at the International Federation for Theatre Research. The papers contain fundamental deliberations on strategies of control and on comprehension of power, which were discussed at the meetings in Ljubljana and Seoul in March and July 2008. The spectrum of the problem reaches from analysis of rituals and the politics of labelling to a study of pyrotechnical events as instruments of power. In its second year (under the editorship of Barbara Orel) Amfiteater becomes a regular periodical. The present selection of papers looks at the field of scenic arts from two angles, the theory of drama and the new media arts, contributing original views and methodological approaches to the research of the matter.

59

44. festival borπtnikovo sreËanje knjige Denis Poniæ: Uvod v teorijo dramskih zvrsti. Ljubljana: Zaloæba Sophia, 2008. Denis Poniæ se v raziskavi ukvarja predvsem s terminoloπkimi nejasnostmi ter teoretiËnimi in zgodovinskimi problemi zvrstnosti, ki nikoli ni bila v srediπËu zanimanja ne literarne znanosti ne teatrologije. Vedno je bila obravnavana kot obrobni problem, ki ni posebej zanimal niti samih ustvarjalcev niti tistih, ki so se z dramskimi besedili ukvarjali znanstveno. Zato se knjiga izËrpno loti modernih problemov v teoriji dramskih zvrsti in problemov dramskih zvrsti v sploπni teoriji drame. Zvrstno doloËanje podobnosti in razliËnosti dramskih besedil je mogoËe razumeti kot zgodovinsko pregleden in notranje logiËno povezan sistem. A ta sistem je eden od podsistemov sploπne teorije zvrsti, ki zajema vse oblike literature.

Denis Poniæ: Uvod v teorijo dramskih zvrsti. Ljubljana: Zaloæba Sophia, 2008. In this treatise Denis Poniæ discourses on defficiencies in precision of terminology and on theoretical and historical problems of the typology, which was never the main interest of the literary sciences or of theatrology. The theme was always marginalised by authors themselves as well as by researchers of dramatic texts. Poniæ therefore thoroughly examines contemporary problems in the theory of dramatic types as well as the problem of type within the general theory of drama. Typological definition of similarities and differences of dramatic scripts can thus be considered both, as a historical survey and a logically articulated system. The system itself is incorporated as a subsystem within the general theory of type encompassing all forms of literature.

Primoæ Jesenko: Dramaturπki koncepti v slovenskem gledaliπËu 1950-1970. Ljubljana: Slovenski gledaliπki muzej, 2009. Zbirka Dokumenti, 85. πtevilka. V sodelovanju z AGRFT izdana obπirna razprava Primoæa Jesenka Dramaturπki koncepti v slovenskem gledaliπËu 1950-1970, v kateri avtor obravnava tri slovenske gledaliπke osebnosti, in sicer Herberta Grüna, Lojzeta FilipiËa in Bojana ©tiha. Dramaturg in teatrolog Primoæ Jesenko v svoji razpravi kar najbolj natanËno popisuje in dokumentira dvajset let slovenskega gledaliπËa, pa ne le gledaliπËa, ampak skozenj tudi duhovno klimo slovenske druæbe na poti iz realnega v samoupravni socializem - vse do pojava “anarholiberalizma” s konca πestdesetih let prejπnjega stoletja. Jesenko dokazuje, da dramaturgija ni le nauk o drami in dramski umetnosti, ampak da je πe zlasti v obravnavanem obdobju igrala nadvse pomembno vlogo “pri oblikovanju slovenske omike”, kar je zasluga prav Herberta Grüna, Lojzeta FilipiËa in Bojana ©tiha. Dramaturg kot “Ëlovek v senci” v Jesenkovi strokovno neoporeËno napisani πtudiji stopi na plano in postane osebnost, “okoli katere se zbirajo vse silnice (gledaliπkega) Ëasa”, kot je zapisal avtor spremne besede dr. Denis Poniæ.

Primoæ Jesenko: Dramaturπki koncepti v slovenskem gledaliπËu 1950-1970. Ljubljana: Slovenski gledaliπki muzej, 2009. Collection Dokumenti, Vol. 85. In his exhaustive study Dramatuπki koncepti v slovenskem gledaliπËu 1950-1970, published in co-operation with the Academy of Theatre, Radio, Film and Television, Primoæ Jesenko treats three Slovene theatre personalities, Herbert Grün, Lojze FilipiË and Bojan ©tih. The author, dramaturg and theatrologist, minutely describes and documents twenty years not only of the Slovene theatre, but uses this prism to expand on the spiritual climate in the Slovene society on its transition from the real socialism to the selfmanagement order - including the phenomenon of “anarcholiberalism” at the close of the sixties of the previous century. Jesenko attempts to prove that dramaturgy is not only a theory of drama and dramatic art, but in the period under consideration, played an extremely important part in “shaping the Slovene culture”, largely owing precisely to Herbert Grün, Lojze FilipiË and Bojan ©tih. In the words of Denis Poniæ PhD, who contributed the introduction, Jesenko’s in his faultlessly written expert study shows the dramaturg, the “man in the shadow”, coming into the light as a personality “drawing to him all forces of the (theatrical) time”.

60

»etrtek, 22. 10. 2009, ob 17.00 Literina knjigarna MikloπiËeva ulica

Thursday, 22 October 2009, at 17.00 Litera Bookshop MikloπiËeva Street

44th borπtnik theatre festival books Marjan Pertot: Slovensko gledaliπËe v Argentini. Ob 60-letnici zdomskega gledaliπkega delovanja 1948-2007. Skupna izdaja Slovenskega gledaliπkega muzeja, Ljubljana, in Zaloæbe Mladika, Trst, 2009. Slovensko besedo so argentinski Slovenci ohranili z globoko narodno zavestjo in v trdni medsebojni povezanosti vse do danaπnjih dni. Ljubezen do matiËne domovine, jezika in kulture so prenaπali na mlajπe rodove. Slovenski izseljenci so postavili lastne kulturne domove, kjer so se lahko druæili, ustvarjali ter negovali slovenski jezik in kulturo. Træaπki knjiæniËar, javni in kulturni delavec ter publicist Marjan Pertot je v obπirni monografiji popisal zelo pomemben del kulturno-prosvetnega æivljenja slovenske povojne emigracije v Argentini do danaπnjih dni. Raziskovalec se je posebej osredotoËil na gledaliπko ustvarjalnost, pri Ëemer je evidentiral vse dosegljive vire in kronoloπko rekonstruiral organizacijske oblike in repertoar, predstavil glavne protagoniste dogajanja in odmeve v tisku. Knjiga, prva taka na naπem knjiænem trgu, priËa tudi o tako imenovanem “slovenski Ëudeæ v Argentini”, kakor je poimenoval Taras Kermauner izseljensko, πe zlasti dramsko in gledaliπko ustvarjalnost Slovencev v Argentini.

Marjan Pertot: Slovensko gledaliπËe v Argentini. Ob 60-letnici zdomskega gledaliπkega delovanja 1948-2007. Published by Slovenski gledaliπki muzej, Ljubljana, and Zaloæba Mladika, Trst, 2009. Strong national feelings of the Slovenes in Argentina and their fast loyalty ensured they nurtured the Slovene language up to these days. They passed their love of their parental land, language and culture on to the younger generations. The Slovene community built their own culture halls to mingle, create, and cultivate their language and culture. Marjan Pertot, librarian, activist and cultural worker in Trieste, describes an important segment of the cultural and educational existence of the post-war Slovene emigration in Argentina up to the present. His research is focused on theatrical activites, listing all accessible sources, reconstructing the chronology of organisational forms and of the repertory, presenting the main protagonists of the events and any responses in the papers. The study is the first of its kind to appear here. It bears witness to the “miracle of Slovenes in Argentina” as Taras Kermaurner tagged the expatriate creativity, drama and theatre especially, of the Slovenes in Argentina.

OËe Romuald: ©kofjeloπki pasijon. Skupna izdaja Mohorjeve druæbe, Celje, in SAZU, Ljubljana, 2009. ©kofjeloπki pasijon ni le najstarejπe ohranjeno slovensko dramsko besedilo, marveË je tudi eden od najveËjih doseækov slovenskega slovstva v dobi baroka. ©kofjeloπki pasijon je na podlagi tradicije starejπih besedil slovenskih spokornih procesij napisal kapucinski pater Romuald (Lovrenc MaruπiË, 1676-1748), ko je v letih med 1715 in 1727 deloval v kapucinskem samostanu v ©kofji Loki kot pridigar in magister processionis - voditelj procesije. Tu je pater Romuald v 863 rimanih verzih napisal eno najlepπih dramskih pesnitev v slovenski literaturi. Knjiga prinaπa faksimile, diplomatiËni in kritiËni prepis s prevodom slovenskih besedil Pasijona in πtevilnih prviË objavljenih listin, povezanih s Pasijonom, obseæne πtudije z bibliografijo.

Father Romuald: ©kofjeloπki pasijon. Celje: Mohorjeva druæba; Ljubljana: SAZU, 2009. Not only is ©kofjeloπki pasijon the oldest dramatic text in Slovene, it is also one of the highest achievements of the Slovene baroque litarature. The Passion play, based on the tradition of the older scripts to be recited at penitational processions, was written by the Capuchin friar, Father Romuald (Lovrenc MaruπiË, 1676-1748). Between 1715 and 1727 he was preacher and magister processionis at the Capuchin monastery in ©kofja Loka, and there he wrote the 863 rhymed verses of one of the most beautiful poems in Slovene literature. The book is composed of a facsimile of a certified and critical copy, with translation of Slovene texts of the Passion play, together with numerous documents, unpublished to-date, relation to the Passion, and exhaustive studies with a bibliography.

61

44. festival borπtnikovo sreËanje knjige Aleπ Erjavec: Estetika in politika modernizma. Ljubljana: ©tudentska zaloæba, 2009. Estetika in politika modernizma je plod avtorjevega dolgoletnega ukvarjanja s fenomenom modernizma kot “enega zgodovinskih vrhuncev slavljenja umetnosti”. Na dlani je, da umetnost uspe tak eminenten poloæaj uæivati le znotraj doloËenih druæbenih in ideoloπkih konstelacij. Erjavec zato detektira in konceptualizira eksemplariËne primere preseËiπË polj estetskega in politiËnega v modernizmu ter ponovno osvetljuje πirok spekter vpraπanj, polemik in idejnih bojev, ki so jih svojËas odpirala.

Aleπ Erjavec: Estetika in politika modernizma. Ljubljana: ©tudentska zaloæba, 2009. Estetika in politika modernizma is a work representing the culmination of the many years of the author’s dedication of the phenomenon of modernism as „one of the historical pinnacles of the celebration of art“. It is evident that art can only enjoy such status within certain social and ideological constellations. Erjavec thus detects and conceptualises exemplary cases of intersection where the aesthtic and the politic meet in modernism, illuminating a wide range of questions, polemics and ideological strife that used to bring them out.

Erika Fischer-Lichte: Estetika performativnega. Ljubljana: ©tudentska zaloæba, 2008. Najpozneje od πestdesetih let minulega stoletja sodobnih umetnin ni veË mogoËe zaobjeti s pojmi tradicionalnih estetik: namesto da bi umetniki ustvarjali “dela”, vse bolj proizvajajo dogodke, ki stara estetska razmerja med subjektom in objektom ter med materialnim in znakovnim statusom razveljavljajo. Da bi lahko temu razvoju sledili, je Erika Fischer-Lichte izoblikovala tako imenovano estetiko performativnega. Ta temelji na pojmu uprizoritve in med drugim vkljuËuje telesno soprisotnost akterjev in gledalcev, performativno proizvajanje materialnosti ter opredelitev uprizoritve kot dogodka. Estetika performativnega pomaga razumeti izrazne forme, ki si æelijo odpraviti meje med umetnostjo in æivljenjem.

Erika Fischer-Lichte: The Transformative Power of Performance: A New Aesthetics. Ljubljana: ©tudentska zaloæba, 2008. At least from the sixties of the previous century on contemporary works of art can not any longer be treated within the concept of traditional aesthtics: artists do not create “works”, they produce events instead, thus invalidating the old relations between subject and object, between the material and the symbolic status. To facilitate tracking this development Erika Fischer-Lichte formulated the so-called aesthetics of the performative. The concept of production which, among other elements, involves the physical presence of the agents of the event and the audience, performative production of the material, and production being defined as event, form the basis of this system. The Transformative Power of Performance: A New Aesthetics contributes to comprehension of forms of expression aimed at eliminating the boundaries between art and life.

62

Petek, 23. 10. 2009, ob 17.00 Literina knjigarna MikloπiËeva ulica

Friday, 23 October, at 17.00 Litera Bookshop MikloπiËeva Street

44th borπtnik theatre festival books Aldo MilohniÊ: Teorije sodobnega gledaliπËa in performansa. Ljubljana: Maska, 2009. Knjiga Teorije sodobnega gledaliπËa in performansa je vznemirljivo branje in pomemben prispevek k teorijam sodobnih scenskih umetnosti, saj vrsto problemov ugleda v novi luËi, prinaπa zanimive, izvirne in provokativne poglede, z mnogimi lucidnimi terminoloπkimi reπitvami, vkljuËno z izvirnim avtorjevim konceptom performativnega gledaliπËa. V prvem delu se avtor posveti trem pomembnim teoretskim paradigmam, ki so bistveno vplivale na razvoj gledaliπËa in sorodnih scenskih praks v drugi polovici dvajsetega stoletja: antropoloπko, performativno in gestiËno gledaliπËe. V drugem delu knjige avtor odpre vpraπanje (a)politiËnega v gledaliπËu, v tretjem delu pa analizira izbrane primere aktivistiËnih in umetnostnih praks, za katere uporablja skovanko “artivizem”. Tematiko, ki je izrazito politiËna, razπiri na analizo specifiËnega razmerja med umetnostjo in pravno sfero. Analizira ga v luËi umetnostnih praks, ki prihajajo navzkriæ z nekaterimi zakonskimi doloËbami in tako raziskujejo, do kod sega “siva cona” t. i. svobode umetniπkega izraæanja v druæbah, ki so utemeljene na vladavini prava in doktrini Ëlovekovih pravic.

Aldo MilohniÊ: Teorija sodobnega gledaliπËa in performansa. Ljubljana: Maska, 2009. The book on the Teorija sodobnega gledaliπËa in performansa brings not only exciting reading but throwing new light on a series of problems, it is also an important contribution to the theories of contemporary scenic arts. It presents interesting, imaginative and provocative views, and offers lucid terminological sloutions, including the author’s original concept of performative theatre. In the first part the author deals with three important theoretical paradigms, which substantially influenced the development of the theatre and similar scenic practices in the second half of the twentieth cetury: anthropological, performative and gestural theatre. With the second part of his book the author broaches the question of the (a)political in the theatre; and in the third part he analyses a selection of cases of activist and artistic practices, coining the neologism “artivism” to denote the fenomenon. He enlarges his decidedly political theme to involve an analysis of the specific relationship between art and the legal sphere. For his analysis he uses artistic practices, which are at odds with some legal provisions thereby investiganting the boundaries of the “grey area” of the so-called freedom of artistic expression in societies, based on the rule of law and the human rights doctrine.

Devetdeset let Slovenskega narodnega gledaliπËa v Mariboru DEVETDESET LET S L OV E N S K E G A N A RO D N E G A G L E DA L I Š Č A V MARIBORU

Maribor: Slovensko narodno gledaliπËe Maribor, 2009. 27. septembra 1919 se je v danaπnji Stari dvorani SNG Maribor zgodila prva predstava Slovenskega mestnega gledaliπËa v Mariboru in s tem dogodkom se je rodilo slovensko poklicno gledaliπËe v prestolnici ©tajerske. Devetdeset let je odtlej in v tem Ëasu je na odre SNG Maribor stopila mnoæica umetnikov, zgodilo se je neπteto dogodkov, predstav … PriËujoËa monografija je poklon preteklosti in mejnik prihodnosti. Avtorji Ëlankov - dr. Bruno Hartman, dr. Manica ©pendal, dr. Henrik Neubauer in Tone PartljiË - odkrivajo raznovrstne plasti SNG Maribor in izËrpno oriπejo zgodovino Drame, Opere, Baleta in Festivala Borπtnikovo sreËanje. Razmiπljanja in poglede na visoki jubilej so prispevali ministrica za kulturo Republike Slovenije Majda ©irca, æupan Mestne obËine Maribor Franc Kangler, ambasador in predsednik Sveta SNG Maribor Rudolf Moge ter predsednik uprave generalnega sponzorja - Nove KBM Matjaæ KovaËiË.

Ninety years of the Slovene National Theatre Maribor Maribor: Slovensko narodno gledaliπËe Maribor, 2009. On September 27, 1919 the Slovene National Theatre Maribor presented their first theatre show in town on the stage of the - what is now Old - Hall, giving birth to professional theatre in the capital of Styria. Ninety years have now passed and the Maribor stage saw a host of artists, innumerable events, performances ... The present monograph is a bow to the past and a milestone for the future. The authors of contributions - Dr Bruno Hartman, Dr Manica ©pendal, Dr Henrik Neubauer and Tone PartljiË - reveal the diverse layers of the Slovene National Theatre Maribor giving an exhustive overview of the history of the Drama, Opera, Ballet and the Borπtnik Theatre Festival. The publication also brings views and considerations upon the high jubilee by the Minister of Culture of the Republic of Slovenia Majda ©irca, the Maribor Mayor Franc Kangler, Ambassador and Chairman of the SNG Council Rudolf Moge, and the Chairman of the Management Board of the general sponsor - Nova KBM, Matjaæ KovaËiË.

Sreda, 21. 10. 2009 po Simpoziju Od Antigone do Krsta pri Savici Mali oder

»etrtek, 22. 10. 2009, ob 18.00 Visoka poslovna πola Doba

Wednesday, 21 October 2009 following the Symposium From Antigona to Krst pri Savici Mali oder

Thursday, 22 October, at 18.00 The Doba Management College

63

44. festival borπtnikovo sreËanje dodatni program

64

Tone PartljiË

Tone PartljiË

Od Petra Steina, Mirande Caharija do Gledaliπke πole, gostovanj in predstav “za pokuπino”

From Peter Stein, Miranda Caharija to the Theatre School, visiting performances and “tasting” shows

Kdor si ogleduje program Festivala Borπtnikovo sreËanje, opazi, da je tako imenovani uradni program sestavljen iz tekmovalnega in spremljevalnega programa, ki ga izbere selektorica. Le ta program nam tudi financirata ustanovitelja Ministrstvo za kulturo RS in Mestna obËina Maribor, ki je letos pokazala dodatno razumevanje. Letos pa nam je poleg tega uspelo pripeljati kot gostovalno predstavo tudi BarËico za punËke Milene MarkoviÊ v izvedbi Srbskega narodnega gledaliπËa iz Novega Sada. Gostovanje, za katerega se je med letoπnjim Sterijevim pozorjem dogovorila nova vodja Festivala Borπtnikov0 sreËanje Alja Predan, sodi v izmenjavo med obema festivaloma. Zanimivo bo, ne le zaradi Sterijeve nagrade, ampak tudi zaradi primerjave z uprizoritvijo istega teksta v SNG Drama Ljubljana v reæiji Aleksandra Popovskega, medtem ko je srbsko uprizoritev zreæirala Ana TomoviÊ. Slovenska predstava pa tudi tekmuje za Borπtnikova odliËja. Izmenjevalna gostovanja bi morala biti kajpada del vsakoletnega uradnega programa festivala, vendar jih naËrtujemo le, kadar imamo dovolj sredstev. Zato letoπnje organiziramo skupaj s Slovenskim narodnim gledaliπËem Maribor, zahvaljujoË prizadevanjem direktorja Danila Roπkerja. V uradni program sodijo tudi vsakoletni simpoziji, letos na primer mednarodni z naslovom Umetnost, kultura, mesto v organizaciji Druπtva gledaliπkih kritikov in teatrologov Slovenije in Od Antigone do Krsta pri Savici o dramatiki Dominika Smoleta v organizaciji BS. V tako imenovani Dodatni program πtejemo nekatera druga izjemna gostovanja, dan AGRFT, samostojne nastope gledaliπkih igralcev, strokovne dogodke, gostovanja na drugih lokacijah ali okolici Maribora itd. Zelo odmevno bo nedvomno letoπnje unikatno gostovanje nemπkega in svetovno znanega reæiserja in ravnatelja gledaliπË Petra Steina. Igralsko in pevsko se nam bo predstavil sam s predstavo Melolog za glas in klavir. To bodo monologi in recitali iz del Johanna Wolfanga von Goetheja in Artura Annecchina, ki bo igralca spremljal na klavirju. Predstavo bomo imeli na programu dvakrat in upamo, da bo pritegnila poznavalce gledaliπËa, πtudente gledaliπke akademije iz Ljubljane, s katerimi se bo reæiser tudi sreËal na pogovoru, priËakujemo tudi profesorje in πtudente Oddelka za germanistiko mariborske Filozofske fakultete. Naslednja predstava dodatnega programa bodo odlomki iz predstav, ki jih je igrala nositeljica Borπtnikovega prstana iz Trsta Miranda Caharija. Njen program je zreæiral Mario UrπiË. Nastopila bo na Malem odru in na odru v Pekrah. »eravno si prizadevam in bi kot predsednik Sveta Festivala BS ter “sestavljalec dodatnega programa” æelel organizirati nekak “gledaliπki forum” ali “odprti oder” za vse, zlasti poklicne igralce, ki bi ves Ëas Festivala lahko nastopali od popoldneva do noËi s svojimi monodramami, odlomki iz vlog ali gledaliπkimi songi … Vendar kljub dodatnima Malemu in Komornemu odru prihaja do zasedenosti teh odrov ali pomanjkanja tehniËnega osebja - Ëe o skromnem finanËnem stroπku ne govorimo -, za zdaj ta naËrt najbolj demokratiËne gledaliπke ponudbe πe ni v celoti mogoË. Kljub temu bomo v okviru moænosti imeli nekaj predstav “za publiko in sponzorje” (Mojca PartljiË »istilka in predsednik uprave, Zorica Fatur Osamljena æenska Daria Foja), za πolsko in πtudentsko mladino (gledaliπka πola Brede Pugelj, nastop “Borπtnikovih prstancev” v organizaciji ZDUS, mariborski πtudentje s kabaretom Fleur de Marie). V dodatni program pa πtejemo tudi Festival BS drugje in gostovanja na visoki πoli Doba, v Selnici ob Dravi ob Tovornikovih dnevih in v Pekrah, “prestolnici” mariborskega ljubiteljskega gledaliπËa, in πe kje. V Dodatni programa πtejemo tudi tehtne, a ne dovolj obiskane pogovore o novih knjigah, ki teËejo veË popoldnevov v Literini knjigarni. NekoË je bil Festival Borπtnikovo sreËanje zelo ekstenziven in morda kvantitativno celo pretiran (BS pod kozolcem, dan igralcev, gledaliπËe ljudske vstaje, malo BS, BS na ulici, BS koncerti in modne revije …), vendar je vse to ustvarjalo posebno “Borπtnikovo atmosfero”, govorili smo celo o mariborski gledaliπki jeseni. Nov Ëas in naËin æivljenja ne omogoËata veË, da bi si ljudje vzeli “toliko Ëasa” za festivalska sreËevanja in ostajali celo sreËanje v Mariboru. Vendar æelimo tudi sedaj (navkljub osredotoËenosti na visoko profesionalno raven in strokovnoteoretiËno spremljanje) narediti v mestu in okolici πe zmerom nekaj festivalske Borπtnikove atmosfere … In doslej nam je to dobro uspevalo tudi z dodatnim programom, ki ga financiramo predvsem s sredstvi sponzorjev.

Perusing the Borπtnik Theatre Festival programme one will note that the so-called official programme consists of a competition and an off-competition programme compiled by the Selector. This programme is financed by the founders, the Ministry of Culture of the Republic of Slovenia and the Maribor Municipality, the latter this year manifesting some unhoped for measure of understanding. This time we also succeded to bring a visiting production of the Boat for Dolls by Milena MarkoviÊ performed at the Sterijevo Pozorje Festival by the Serbian National Theatre from Novi Sad. It is part of the exchange between the two festivals achieved by the new Borπtnik Festival Director Alja Predan. It will be interesting, not only because it received the Sterijevo Pozorje award, but also to compare the mise-en-scène of the same text, directed by Aleksandar Popovski for the SNT Drama Ljubljana, with the Serbian one directed by Ana TomoviÊ. The Slovene performance is competing for the Borπtnik awards as well. Such exchange visiting performances ought to make part of every official festival programme, but we can only plan for them when we have sufficent funds. Thanks to special efforts contributed by Danilo Roπker, the Slovene National Theatre Maribor Managing Director, his theatre is co-organising this event. Each year the official programme also provides symposia, in this instance there is an international one, Art, Culture, City, organised by the Association of theatre critics and theatrologists of Slovenia, and one on the dramatics of Dominik Smole, From Antigona to Krst pri Savici, organised by the Boπtnik Theatre Festival. The so-called Supplementary programme consists of some other exceptional guest appearances, the day of the Academy of Theatre, Radio, Film and Television, individual performances by theatre actors, expert events, shows at various other venues in the vicinity of Maribor, and so on. The evening featuring Peter Stein, a renowned German director and theatre manager, will surely stir a lot of interest: in the Melologue for Voice and the Piano he himself appears singing and acting. The show is composed of monologues and recitals from the works by Johann Wolfgang von Goethe and by Artur Annecchin, who shall also accompany the performer on the piano. The performance will run twice and we certainly hope it will rouse to attendance theatre connoiseurs, the Ljubljana Academy students, whom the director will also meet for a talk, and we also expect teachers and students of the German Studies Department at the Maribor University Faculty of Arts. Another feature of the Supplementary programme are two performances by Miranda Caharija, a Borπtnik Ring bearer from Trieste, presenting fragments of her roles on the Small Stage and in Pekre. Her programme is directed by Mario UrπiË. Having been Chairman of the Borπtnik Theatre Festival Council it was ever my wish as “composer of the supplementary programme” to organise some sort of “theatre forum”, or perhaps an “open stage” serving all, especially professional actors, to produce events from noon to night with their monodramas, fragments of roles, theatre songs ... Despite all my endeavours this plan for a most democratic theatre park remains largely unrealised; though there ar two additional venues, the Small Stage and the Chamber Stage, they are still overloaded, or there’s a shortage of technical staff - not to mention the small matter of expense. Nevertheless we shall, within available resources, produce some shows “for the audience and the sponsors” (Mojca PartljiË in The Cleaning Lady and the Chairman of the Board, Zorica Fatur as the Lonesome Woman by Dario Fo), for shcoolchildren and students (Breda Pugelj’s theatre school, “Borπtnik’s Ring-Fingers’” performance organised by the Association of drama artists of Slovenia, Maribor students with a cabaret, Fleur de Marie). The Borπtnik Festival Off-site events also complement this programme: guest performances at the Doba managment college Dob and in Selnica ob Dravi, as part of the Arnold Tovornik Days, and in Pekre, the “capital” of the Maribor amateur theatricals, and elsewhere. As part of Supplementary Programme Litera’s bookshop hosts a number of afternoon presentations of new books, very cogent ones, but regrettably not too well attended. In the past the Borπtnik Festivals used to be quite extensive and perhaps even overblown, but it all served to create a special “Borπtnik atmosphere”, we talked of the Maribor theatrical autumn. The present time and a new way of life do not allow people to take “so much time” for meetings at festival events or to stay in Maribor for the duration of the festival. Even so, despite the emphasis on the high professional level and the theoretical expertise involved, we still strive to enliven the city and its environs with a little bit of Borπtnik Festival mood... The Supplementary Programme, financed primarily by sponsors, is instrumental for us to achieve this.

44th borπtnik theatre festival supplementary programme 19. 10. 2009 20.00 Tribuna na Velikem odru

Milena MarkoviÊ

BarËica za punËke Boat for Dolls Naslov izvirnika / Original Title Brod za lutke Premiera / Opening 24. 9. 2008 Scena Pera DobrinoviÊ, Srpsko narodno pozoriπte Novi Sad

Reæiserka / Director Ana TomoviÊ MIOMIR POLZOVI∆

Skladatelj / Composer Darko Rundek Dramaturga / Dramaturgs Vuk RπumoviÊ, Svestislav Jovanov Scenografinja / Set designer Ljerka Hribar Kostumografinja / Costume designer Momirka BailoviÊ Odrski gib / Choreographer Saπa Krga Organizator / Organizer Elizabeta Fabri Oblikovalec zvoka / Sound designer Duπan JovanoviÊ Igrajo / Cast Jasna –uriËiÊ Draginja Voganjac Milica GrujiËiÊ

20. 10. 2009 19.00 & 22.00 Stara dvorana

Radoje »upiÊ Radovan VujoviÊ

Johann Wolfgang von Goethe, Arturo Annecchino

Glasbeniki Musicians

Melolog za glas in klavir / Melologue for voice and piano

Nenad PeÊinar

Faust Fantasia

Dejana ÆivkoviÊ, Vlada JankoviÊ, Dragan MirkoviÊ, Vladimir StojkoviÊ,

Izvajata Peter Stein (glas) in Arturo Annecchino (pianist)

Siniπa Mazalica

Performed by Peter Stein (voice) and Arturo Annecchino (pianist) 65

44. festival borπtnikovo sreËanje dan AGRFT 24. 10. 2009 22.00 Komorni oder

Anton PavloviË »ehov Anton Pavlovich Chekhov

Medved, SnubaË, Jubilej The Boor, A Marriage Proposal, The Festivities

Mentorji / Mentors

Naslovi izvirnikov / Original titles Медвдь, Предложение, Юбилей

Dramska igra in gledaliπka reæija IV. semester

Produkcija IV. in VI. semestra dramske igre, gledaliπke reæije in dra-

Acting and Theatre Directing 4th semester

maturgije πtudijskega leta 2008/2009

red. prof. Kristijan Muck Prof.

th

th

Performed by the 4 and 6 semester acting, theatre directing and dramaturgy students of the 2008/2009 academic year

doc. Branko ©turbej Assist. Prof. Dramska igra in gledaliπka reæija VI. semester

Premiera / Opening

Acting and Theatre Directing 6th semester

28. 5. 2009 AGRFT Ljubljana

red. prof. Janez HoËevar Prof.

Prevajalca / Translated by

doc. mag. Tomislav JaneæiË Assist. Prof., MA

Mile KlopËiË (Medved / The Boor, SnubaË/ A Marriage Proposal),

Dramaturgija / Dramaturgy

Janko Moder (Jubilej/ The Festivities)

red. prof. dr. Denis Poniæ Prof., PhD

Reæiser / Director Matjaæ FariË

doc. dr. Blaæ Lukan Assist. Prof., PhD

Dramaturginje / Dramaturgs Urπa AdamiË, Tereza GregoriË, Kaja Pregrat, Tea Kovπe, Alena Medich Scenografinja / Set designer Manca Bajec

Jezik in govor / Language and Speech doc. dr. Katarina Podbevπek Assist. Prof., PhD

Kostumograf / Costume designer Andrej Vrhovnik

Scenografija / Set Design

Asistentka za lekturo / Asistant to Language consultant Ana BoæiË

red. prof. Meta HoËevar Prof. asist. mag. Jasna Vastl Assist., MA Kostumografija / Costume Design izr. prof. Janja Korun Assoc. Prof.

66

44th borπtnik theatre festival day of the AGRFT

Igrajo / Cast

Igrajo / Cast

Jubilej / The Festivities

SnubaË / A Marriage Proposal

Andrej AndrejeviË ©ipuËin / Andrey Andreyevich Schipuchin

Stepan StepanoviË »ubukov / Stepan Stepanovitch Tschubukov

Tadej Piπek

Oskar Kranjc

Tatjana Aleksejevna / Tatyana Alexeyevna Anja Drnovπek

Natalija Stepanovna / Natalia Stepanovna Tina PotoËnik

Kuzma NikolajeviË Hirin / Kuzma Nicholayevich Khirin Oskar Kranjc

Ivan VasiljiË / Ivan Vassiliyitch Æiga Udir

Nastasja Fjodorovna MerËutkina / Nastasya Fjydorovna Merchuthkina Tina PotoËnik BanËni Ëlan / Member of the Bank Jernej »ampelj BanËni Ëlan / Member of the Bank Æiga Udir Igrajo / Cast Medved / The Boor Jelena Ivanova Popova / Yelena Ivanova Popova Tina Gunzek Grigorij StepanoviË Smirnov / Grigory Stepanovich Smirnov Jernej »ampelj Luka / Luke Æiga Udir Vrtnar / Gardener Oskar Kranjc

ÆELJKO STEVANI∆

KoËijaæ / Coachman Tadej Piπek

67

44. festival borπtnikovo sreËanje dan AGRFT 24. 10. 2009 20.00 Stara dvorana

Jean Racine

Fedra / Phaedra Naslov izvirnika / Original title Phèdre et Hippolyte Produkcija VII. semestra dramske igre, gledaliπke reæije in dramaturgije πtudijskega leta 2008/2009 Performed by the 7th semester acting, theatre directing and dramaturgy students of the 2008/2009 academic year Premiera / Opening 11. 2. 2009 Mali studio, Viba film Prevajalka / Translator Marija Javorπek Reæiserka / Director Yulia Roschina Dramaturg / Dramaturg Vesna Blagotinπek Scenografinja in kostumografinja / Set and Costume Designer

Dramaturgija / Dramaturgy red. prof. dr. Denis Poniæ Prof., PhD doc. dr. Blaæ Lukan Assist. Prof., PhD Scenografija / Set Design red. prof. Meta HoËevar Prof. asist. mag. Jasna Vastl Assist., MA Kostumografija / Costume Design izr. prof. Janja Korun Associate Prof. Igralci / Cast Fedra / Phaedra Maruπa Kink Enona, Aricija / Oenone, Aricia Ana Hribar Tezej, Teramen, Ismena, Panopa / Theseus, Theramenes, Ismène, Panope Blaæ ©ef Hipolit / Hippolytus Peter Harl

Vesna Blagotinπek Glasba in zvok / Sound and Music Lukas StepanËiË Oblikovalec luËi / Lighting designer David OreπiË Asistent oblikovalca luËi / Assistant to Lightning designer Jernej Kobal Lektorica / Language consultant Tatjana StaniË Mentorji / Mentors Dramska igra in gledaliπka reæija / Acting and Theatre Directing doc. Jernej Lorenci Assist. Prof. 68

ÆELJKO STEVANI∆

red. prof. Joæica Avbelj Prof.

43. festival borπtnikovo sreËanje borπtnikov prstan

2008

Predsednik Sveta Festivala Borπtnikovo sreËanje Tone PartljiË Selektorica dr. Barbara Orel Strokovna æirija dr. Blaæ Lukan, Mario Brandolin, Gregor Butala, dr. Maja Haderlap, mag. Mojca Jan Zoran Æirija za podelitev Borπtnikovega prstana Tone PartljiË, Rapa ©uklje, Peter Ternovπek Voditelja pogovorov po predstavah Jaroslav Skruπný in Jernej Novak

Naslovnica Almanaha BS, oblikovanje Danijela GrgiÊ

IVAN VINOVR©KI

Borπtnikov prstan 2008 Aleksander ValiË

Zlato priznanje, ki ga nocoj prejema Aleksander ValiË in ki bo za vedno zapisano v slovenski gledaliπki zgodovini, je hkrati poËastitev igralca, ki je pomembno prispeval k umetniπki podobi naπega sodobnega odrskega ustvarjanja in topla zahvala slovenskega obËestva, ki je tolikokrat preπerno uæivalo ob njegovih svojevrstno interpretiranih æivih Ëloveπkih likih, slabosti in trdovratni energiji naπe pomanjkljive, minevanju izroËene Ëloveπke eksistence. Borπtnikov prstan krasita dve simboliËni maski, tragiËna in komiËna. In Ëetudi danaπnjemu prejemniku prstana ustrezata obe, je zagotovo komiËna tista, ki - vsaj v oËeh obËinstva - prav posebno pristaja nagrajencu. Strokovna ocena je pripisala Aleksandru ValiËu posebno moË v oblikovanju tragikomiËnih in karakternih vlog, gledalcem pa se je zapisal v srce predvsem kot ælahten komedijant, ljudski igralec, ki Ërpa neposredno iz globin Ëustvenega doæivljanja Ëloveka vsakdanjosti, v njegovih spopadih z malimi dnevnimi tegobami in v kriznih trenutkih velikega, ko pokaæe svojo uporno moË, nepriËakovano herojstvo. Æivljenjska zgodba Aleksandra ValiËa pojasnjuje kov njegovega igralstva. Rojen je bil komaj pol leta po koncu prve svetovne vojne v Gorici, na slovenskem ozemlju, ki je pripadlo Italiji. Spoznal je æe v otroπkih letih bridko usodo iz rodnih tal iztrganih Slovencev, ki potihem vedno

IVAN VINOVRŠKI

Utemeljitev podelitve Borπtnikovega prstana, najviπjega priznanja Festivala Borπtnikov0 sreËanje

Nagrajenec Aleksander ValiË

hepene po vrnitvi na izgubljeni dom. Po italijanski okupaciji “Ljubljanske pokrajine” v drugi svetovni vojni se je zgodaj prikljuËil narodnoosvobodilnemu boju in postal kot partizan Ëlan Frontnega gledaliπËa VII. korpusa, premiËne skupine, ki naj bi prinesla ljudem na okupiranem podeæelju trenutke sproπËenosti ob kulturnem uæitku in sporoËilo solidarnosti v skupnem boju,

skupnem odporu proti zavojevalcu. Uvrstitev v to skupino “kulturonoscev”, ki jo je dosegel po uspeπno opravljenem gledaliπkem πolanju v SemiËu, je vsaj deloma izpolnila njegovo srËno æeljo postati igralec; æe prej, v Ljubljani, je sodeloval pri amaterskem gledaliπkem ustvarjanju. Frontno gledaliπËe VII. korpusa je prirejalo uspeπne mitinge in æelo obilo priznanja tudi πe 69

pak, navduπeno sprejemalo, saj so mu prinesli slovensko besedo. ValiË je dobil tedaj prvo pomembnejπo vlogo v Borovih Raztrgancih igral je izdajalskega Ferleæa v predstavi, katere sporoËilu so gledalci z duπo in srcem pritrjevali. Toda razmere so bile grozotne. Dokler gledaliπËe ni dobilo skromnega avtobusa, so nekdanja peπaËenja Frontovcev zamenjali odprti tovornjaki in deleæ igralcev je bilo neprestano prezebanje. Teπilo jih je upanje in priËakovanje, da bo slednjiË zrasla v Trstu nova zgradba, ki bo dala stalno domovanje slovenskemu gledaliπËu. Toda æelja je bila videti tedaj komaj uresniËljiva. Po dveh letih neprestanih psihiËnih in fiziËnih naporov so zaËeli igralci to prvo povojno træaπko gledaliπËe zapuπËati. ValiË je bil med zadnjimi. Da bi se osnovalo gledaliπËe v rodni Gorici, kamor je predvsem æelel priti, ni bilo niti misliti. Vabila je Ljubljana, posebno πe ljubljanska igralska πola - zdajπnja Akademija za gledaliπËe, radio, film in televizijo -, kjer si je æelel nadobudni igralec izpopolniti svoje poklicno znanje. Vabilo v Dramo SNG in moænost dodatnega πolanja sta bila neustavljiva. “Sandi” se je s krvaveËim srcem odloËil za Ljubljano. Tod se je zaËel njegov strmi igralski vzpon, spoznali smo tistega ValiËa, ki ga iz povojnega pol stoletja ljubljanske Drame ne moremo odmisliti. Bil je nadaljevalec ne toliko Borπtnikove kot Verovπkove linije, umetniπkega opusa danes premalo znanega Borπtnikovega uËenca, ustvarjalca prvenstveno komiËnih vlog, ki se je izkazal tudi

kot karakterni igralec, pa je bil pogosto prisiljen nastopati v tedaj priljubljenih burkah. In po tej liniji je ValiË soroden πe Franu Lipahu, nepozabnemu Shakespearovemu Poloniju, ki je tudi pisal gledaliπke spomine in po katerem je prevzel vlogo Hvastje v Cankarjevih Hlapcih in Orgona v Molièrovem Tartuffu in ju upodobil enako nepozabno - in popolnoma drugaËe - od znamenitega prednika. Kako ne? Od malega, debeluπnega Lipaha loËi ValiËa æe njegova fiziËna pojavnost, visokorasla, trπata, ostro rezani obraz, raskavi, zamolkli glas, ki pa zna zadobiti nepriËakovan, mogoËen volumen. Presenetljivo: ValiË je bil tudi odliËen pevec. A njegov Hvastja je bil zasnovan kot Ëlovek, strt od neprestanih udarcev usode, po krivici poniæan in od okoliπËin prisiljen v æivotarjenje, ki pa je pri tem ohranil polno mero dostojanstva, soËutne ËloveËnosti. Epizodna figura, ki, tako interpretirana, zna zrasti do uËitelju Jermanu enakovredne veliËine. In ValiËevi Molièrovi liki! Orgon kot protiigralec svetohlincu Tartuffu, naivneæ, Ëigar naivnost izvira iz ælahtne narave, nesposobne doumeti pokvarjenost licemerca. In zato - proti vsej æivljenjskim resniËnostim bolj prilagojeni druæini - trdno stoji na Tartuffovi strani, do konËnega prepoznanja in zloma, ki je zanj resniËna tragedija. In Geront v Scapinovih zvijaËah ali skopuπki Sganarel! V Molièrovih komedijah, ki tako plastiËno razkrivajo Ëloveπke slabosti, da jih skorajda uteleπajo, je ValiË iz v kostum obleËenih slabosti oblikoval æiva Ëloveπka bitja, ki se jim

Popiva DræiÊ Boter Andraæ, SNG Drama Ljubljana 1958/59 (Aleksander ValiË, Mila KaËiË)

Geront Molière Scapinove zvijaËe, SNG Drama Ljubljana 1971/72 (Ali Raner, Aleksander ValiË)

Sganarel Molière Sganarel ali Namiπljeni rogonosec, SNG Drama Ljubljana 1978/79 (Aleksander ValiË, Duša PoËkaj)

JOŽE MALLY

70

po vojni, ko je gostovalo v tedanjih conah B in A, povsod zelo dobrodoπlo primorskim Slovencem. Tedanje izkuπnje je ValiË soËno, brez dlake na jeziku, pa tudi brez samohvale dokumentirano opisal v knjigi Frontniki. LogiËni naslednji korak je bilo pionirsko delo pri pravkar snujoËem se slovenskem gledaliπËu v Trstu. Tjakaj je bil povabljen in - kot vojak pravzaprav komandiran, pa se je odzval brez ugovora, πel je vendar sluæit, igrat, v deæelo svojega hrepenenja, tako rekoË domov. Træaπke izkuπnje je nato opisal v svoji drugi knjigi Sanje in resniËnost. Sanje so bile Ëudovite, saj je bil prepriËan, da bo rodna Gorica neogibno zdruæena z matiËnim slovenskim ozemljem in bo igral na njenem odru, resniËnost pa je bila trda in kruta. Mlada gledaliπka skupina je bila neprestano izpostavljena nerazumevajoËi nenaklonjenosti britansko/ameriπkih zasedbenih oblasti, ki nikakor niso bile pripravljene zagotoviti slovenskemu gledaliπËu stalnega odra - Ëetudi je bilo v Trstu πestero primernih - in niti sliπati niso hotele o medvojnem boju partizanov na strani zaveznikov. Pionirsko træaπko gledaliπËe je æelelo obuditi tradicijo nekdanjega Narodnega doma v Trstu, ki so ga leta 1920 poægali faπisti, in bilo pri tem neprestano izpostavljeno napadom italijanskih neofaπistov. V Trstu je igralo zdaj tu zdaj tam, vaje je imelo, kjer se je znaπlo, in edino zadoπËenje je dobilo na πtevilnih gostovanjih po slovenskem delu Istre in po naseljih cone A, kjer je prebivalstvo igralce, kaj-

JENDO ŠTOVI»EK

43. festival borπtnikovo sreËanje borπtnikov prstan

43. festival borπtnikovo sreËanje borπtnikov prstan mu sogovorniku, umirjenemu pisatelju Borisu Kralju dodeljena bolj ali manj vloga dajalca iztoËnic - je razodela v polni meri ValiËev posebni potencial. Kritik Vasja Predan je po premieri zapisal: “ValiË si je vlogo zamislil kot razumni preplet bohemstva, lucidnosti, cinizma in predvsem razposajenega duha, ki si ob koncu, ko se zave svoje samote, odkrije celo poteze malone melanholiËne ËloveËnosti. ValiËeva igra je bila […] umetniπko prepriËljiva sinteza tistih znaËajskih in miselno spoznavnih nasprotij, ki divjajo v njegovi kritiËno izpovedni ËloveËnosti …” Magistralna stvaritev in igralski doseæek, ki je dokonËno uveljavil ValiËa kot karakternega igralca in hkrati zaËrtal merilo, ob katerem se v naπem okolju merijo vsi poskusi monodrame. ValiË je igralec, ki ga poznajo vse generacije Slovencev. Morda ne vselej po imenu in verjetno tudi po pojavi ne - vsaj ne, Ëe bi ga po nakljuËju sreËali na cesti. Kar nekaj rodov otrok pa prepoznava njegov glas: oæivljal je pravljice, ki so jih posluπali s kaset Zaloæbe træaπkega tiska in neposredno po radiu. In s kolikπnim uæitkom so ga gledali otroci in odrasli v “æivo” pri lutkovni predstavi JurËiËeve Kozlovske sodbe v Viπnji Gori na slikovitem prizoriπËu pod milim nebom! Nepozabno doæivetje. Starejπa in srednje generacije se ga po vsej Sloveniji iz najstniπkih let spominjajo po filmih. V petnajst slovenskih je ValiË nastopil, v osmih med njimi v pomembnih vlogah, od letos 60- letnico praznujoËega prvega povojnega

slovenskega celoveËerca Na svoji zemlji in πe naprej v ©tigliËevih filmih, primorski komediji Tistega lepega dne in partizanski Ne joËi, Peter. Bil je splavar v KavËiËevem filmu Slovo Andreja Vituænika, prvem delu omnibusa Tri zgodbe, osvobojen zapornik v KavËiËevi Akciji in molËeËi, grËavi, ostareli kmet Radman v DuletiËevi Ljubezni na odoru, svoji doslej najmarkantnejπi filmski vlogi. Od neπtetih nastopov na radiu in - tedaj πe Ërno-beli - televiziji sodi v naπo klasiko NoË na verne duπe po ÆupanËiËevem besedilu, zgodnji dokaz, da je slovenska televizija zmoæna posredovati tudi vrhunsko umetnost. Slovenski kulturi in posebej Borπtnikovemu sreËanju je v Ëast in ponos, da prejema letos Borπtnikov prstan umetnik, ki je na naπem odru polnovredno uveljavil privræence velikokrat zapostavljenega smejavega obraza gledaliπke maske, partizan in Ëlan Frontnega gledaliπËa, ki je prinaπalo kulturo, sprostitev in ozaveπËanje podeæelju v najteæjem Ëasu druge svetovne vojne, in eden od pionirjev træaπkega gledaliπËa, stebra slovenske kulture na nacionalno izpostavljenem teritoriju, Aleksander ValiË. Iskrene Ëestitke.

Dr. Predsednik senata Smole Zlata ËeveljËka, SNG Drama Ljubljana 1982/83 (Aleπ ValiË, Maks Furijan, Aleksander ValiË, Marija Benko)

Mile Drobec Torkar Revizor 93, Preπernovo gledaliπËe Kranj 1993/94 (Pavel Rakovec, Aleksander ValiË)

Policijski narednik Cooney To imamo v druæini, Preπernovo gledaliπËe Kranj 1995/96 (Pavel Rakovec, Aleksander ValiË, Tine Oman)

M. FOCK

Rapa ©uklje Ëlanica æirije za Borπtnikov prstan

G. ŠINIK

JENDO ŠTOVI»EK

smejemo, ne da bi jih zaniËljivo odpisali, ker so vendarle nam podobni ljudje. ValiË je velik v razumevanju πibkosti in zadræanem opozarjanju na to, da poglejmo vase, preden prvi vræemo kamen. Odigral je vrsto vlog tudi v Shakespearovih igrah. Najbolj so se zapisale v spomin tiste v “komedijah”: Nosan v Snu kresne noËi, Komolec v Milo za drago, bil pa je kajpada tudi Pantalone v Goldonijevem Laæniku, Zmeπnjava v Linhartovem MatiËku, Popiva v DræiÊevem Botru Andraæu in je nosil vso teæo predstave kot Lipe v Primorskih zdrahah. Podobnih vlog v klasiËnem in sodobnem repertoarju je ustvaril πe lepo vrsto. In bistri dar opazovanja ob bogatih æivljenjskih izkuπnjah mu je omogoËil, da je dal vsaki zimed njih drugaËen obraz. VsakiË, ko se je pojavil na odru, je predstava zaæivela. Ne samo zaradi njegove izrazite odrske prezence, predvsem zato, ker so gledalci priËakovali vsakiË drugaËno osvetlitev neke pristne Ëloveπke lastnosti in se pripravili na smeh. To je bil niz - prava ogrlica - raznih aspektov tega, kakrπni smo: policaji, poπtarji, vojaki, birokrati, meænarji in tudi - denimo Cankarjevi æupniki. VËasih karikirani, tudi groteskni, a vedno razpoznavni in tudi sprejemljivi. Posebno mesto v ValiËevem ustvarjanju pomeni, seveda, njegov “véliki met”, Diderotov Rameaujev neËak. Skoraj monodrama - v Fresnayjevi in Duvalovi priredbi je bila njegove-

71

43th borπtnik theatre festival borπtnik ring

2008

President of the Borπtnik Theatre Festival Council Tone PartljiË Selector Barbara Orel, PhD Expert Jury Blaæ Lukan, PhD, Mario Brandolin, Gregor Butala, Maja Haderlap, PhD, Mojca Jan Zoran, MA Borπtnik Ring Jury Tone PartljiË, Rapa ©uklje, Peter Ternovπek Panel discussion moderators Jaroslav Skruπný and Jernej Novak

Winner of the Borπtnik Ring Aleksander ValiË The argument for bestowing the Borπtnik Ring, the highest award of the Borπtnik Theatre Festival, upon Aleksander ValiË The Golden Award received by Alexander ValiË, now permanently inscribed in the history of Slovene theatre, spells recognition of the work of an actor, who significantly contributed to the artistic image of our contemporary stage creativity. It is also an expression of warm gratitude by the Slovene public, having so many times heartily enjoyed his imaginative performances making the characters come so very much alive. The expert appraisal credited Aleksander ValiË with an inordinary power for creation of tragicomical and character roles, but the audiences took him to heart above all because he is such a delightful comedian, a man of the people tapping the depths of feeling of the everyday man. The story of Aleksander ValiË’s life explains the nature of his acting. He was born barely six months after the close of World War I in Gorizia, part of Slovene territory which fell to Italy. Still in his childhood he became aware of the bitter fate of so many Slovenes, cut adrift from their homes, ever yearning to return to their lost land. After the occupation of the Ljubljana region during the Second World War he soon joined the liberation movement, and being a partisan became part of the Front Theatre of the VII. Corps, a mobile group intended to bring to people in the occupied country moments of relief in the enjoyment of cultural events; it also spelled the message of solidarity in their common struggle, the uprising against the invader. Becoming attached to this group of “bearers of culture”, after 72

having successfully completed theatrical training in SemiË, at least partly fulfilled his heartfelt wish to become an actor. Even after the war ended, the Front Theatre of the VII. Corps staged successful meetings and was very much appreciated. ValiË’s description of his experience of the time in his documentary work Frontniki is lively, with no mincing of matters, but no selfpraise either. The next step was logical: pioneer work with the newly formed Slovene theatre in Trieste. He was invited there, or rather - being a soldier - he was ordered to go, and he did, without murmur certainly, he was going to serve, going to act in the places he longed for, going home, almost. In later years he described his Trieste experience in his second book Dreams and Reality. The dreams were wonderful, he was convinced that his native Gorica would certainly be united with the mother country and that he would be performing on the stage there, but reality was harsh and cruel. The newly formed Trieste theatre aimed to rekindle the tradition of the former Narodni dom v Trstu, which was burned down by the fascists in 1920 and was then continuously exposed to attacks by the Italian neofascists. The company performed at various venues, they rehearsed wherever they possibly could, and the only satisfaction they had were numerous guest performances throughout the Slovenian Istria and the Zone A, where the people enthusiastically took to actors. They would, certainly, seeing the Slovene language was brought back to them. ValiË had his first main role then, in Bor’s Tatterdemalions - he acted the part of the traitor Ferleæ in the production, the message of which received wholehearted support by the audience. But conditions were dreadful, and though the company consoled themselves that Trieste would finally see a

new building to house the Slovene theatre, the wish then seemed hardly feasible. After two years of continuous physical and mental strain the actors began to abandon the theatre; ValiË was among the last ones to do so. Ljubljana was beckoning, above all the school for acting - the Academy of Theatre, Radio, Film and Television as it is nowadays - where the gifted actor aspired to refine his professional skills. The invitation to join the ranks at the SNG Drama combined with this opportunity for training were irresistible. With a bleeding heart “Sandi” moved to Ljubljana. This was the start of the sharp upward curve of his acting career; we came to know the ValiË, the indispensable part of the five postwar decades of the Ljubljana Drama Theatre. He continued not so much Borπtnik’s as Verovπek’s line, the theatrical opus of one of Borπtnik’s students, today overlooked, as above all he created figures of comedy. In this respect ValiË is also akin to Fran Lipah... ValiË’s Hvastja was conceived as a man, broken by the blows of fate, unfairly humiliated and brought to a miserable existence by the circumstances, nevertheless he retained all his dignity and a full measure of compassionate humanity. A cameo role, but thus interpreted, it can grow to the might of the teacher Jerman. And ValiË’s Molière parts! Orgon as counterpart to the hypocrite Tartuffe, a mug whose naïvety stems from a noble character, unable to comprehend the depravation of the deceiver. Then Geront in The Impostures of Scapin or the miserly Sganarel! In Molière’s comedies, which so tellingly reveal human failings as to have an almost physical touch, ValiË created out of costumed weaknesses live human beings, whom we laugh at, and yet do not scorn them, they are ordinary people, the same as we all are. ValiË’s

43th borπtnik theatre festival borπtnik ring

strength is in comprehending weakness and his restraint in admonishing us not to throw stones, but look within ourselves, is exemplary. ValiË had a number of roles in Shakespeare’s plays, too. The most memorable were the comedy ones, like Snout in Midsummer Night’s Dream and Elbow in Measure for Measure; he was also Pantalone in Goldoni’s Liar, and Muddle in Linhart’s MatiËek, Popiva in DræiÊ’s Dundo Maroje, and as the fisherman in Goldoni’s Baruffe Chiozzotte he was the mainstay of the play. There is an array of such roles he created in both, the classical and the contemporary repertoire. Using his remarkable powers of observation he gave each one of them a different expression. Whenever ValiË appeared on a stage, the show sprang to life, not only because of his vivid stage presence but also because the audience always expected him to make them laugh with one of his varied illuminations of some genuine human feature. Looking at the scope of his creations, a particular place belongs to his “grand coup”, to Diderot’s Rameau’s Nephew. A monodrama, nearly - in Fremay and Duval’s adaptation the supporting role, a quiet writer, enacted by Boris Kralj, is more or less merely given cues - it fully revealed ValiË’s extraordinary potential. A masterly creation and a theatrical achievement that lastingly confirmed ValiË as an actor in character roles, defining the criteria for assessment of all essays in monodrama in our theatre.

nise his voice: he was a fixture they listened to in the stories broadcast by the radio or published by the Zaloæba træaπkega tiska. And all over the country the older generations know him by the parts he had on film. ValiË appeared in fifteen Slovene films, he had eight major roles, from the first post-war Slovene feature film Na svoji zemlji and later in ©tiglic’s films, Tistega lepega dne, a comedy set on the coast, and in the wartime one, Ne joËi Peter. He appeared in the first part of KavËiË’s omnibus Tri zgodbe, in Slovo Andreja Vituænika, then as the freed prisoner in Akcija under the same director, he was the taciturn, gnarled, aged farmer Radman in DuletiÊ’s Ljubezen na odoru, which represents his to-date most remarkable cinematic role. Of his countless appearances on the radio and television - then still black and white - his reading of ÆupanËiË’s NoË na verne duπe is a classic. The Slovene public and the Borπtnik Theatre Festival particularly, are honoured and proud to have the Borπtnik Ring received by an artist, who undisputably affirmed the worth, so often denied, to the laughing theatre mask on the Slovene stage, a partisan and member of the Front Theatre, bringing culture, enjoyment and awareness to the countryside in the darkest period of the Second World War, one of the pioneers of the Slovene theatre in Trieste, being a pillar of Slovene culture on the nationally endangered territory, our Aleksander ValiË.

Rapa ©uklje member of the Borπtnik Ring Jury

All generations of Slovenes are aware of ValiË the actor. Perhaps not all of them by name or appearance... A few generations of children certainly recog73

43. festival borπtnikovo sreËanje nagrade

Izjava strokovne æirije 43. Festivala Borπtnikovo sreËanje »lani strokovne æirije letoπnjega Festivala Borπtnikovo sreËanje ugotavljamo, da izbor enajstih tekmovalnih predstav, ki ga je pripravila selektorica dr. Barbara Orel, kljub svojevrstni æanrski dinamiki - ali pa ravno zaradi nje - povsem ustrezno odraæa stanje v sodobnem slovenskem gledaliπËu, pri Ëemer se nam zdi posebej pomembno dejstvo, da je v programu zastopana tudi produkcija, ki nastaja zunaj javnih zavodov oziroma z njimi zgolj sodeluje. Pri tem imamo v mislih uprizoritvi Slovensko narodno gledaliπËe in Raztrganci/UËenci in uËitelji, ki morda ravno zaradi svoje neinstitucionalne pozicije s toliko veËjo, nedvoumno in angaæirano moËjo nagovarjata obËinstvo tudi v polju druæbenega in politiËnega. Pomenljivo je, da to mnenje delita in celo posebej izpostavljata tudi Ëlana letoπnje æirije, ki prihajata iz neslovenskega okolja, Ëeprav slovensko gledaliπko produkcijo poznata, in izkuπnja, ki jo prinaπa pogled “od zunaj”, je za slovensko gledaliπËe nedvomno koristna. - Strokovna æirija je podelila vse nagrade, svoje odloËitve je sprejela soglasno.

74

Æirija 43. Festivala Borπtnikovo sreËanje Predsednik dr. Blaæ Lukan »lani Mario Brandolin Gregor Butala dr. Maja Haderlap mag. Mojca Jan Zoran

V Mariboru, 28. oktobra 2008

43th borπtnik theatre festival awards

Statement by the Expert Jury of the 43rd Borπtnik Theatre Festival The 43rd Borπtnik Theatre Festival Jury

Members of the Expert Jury of the 2008 Borπtnik Theatre Festival agree that the selection of eleven competitive performances, as presented by the Selector, Barbara Orel, PhD, despite its specific dynamics of genre - or perhaps precisely because of that quite properly reflects the situation in contemporary Slovene theatre. We consider it particularly important that non-instit in the programme. Such is the case of Slovene National Theatre and Tatterdemalions/Pupils and Teachers; it may be that te noninstitutional position itself gives the performances that much greater, unequivocal power to address the audience socially and politically. This is even more meaningful given that both members of the Jury coming from non-Slovene enivornment share this opinion; they both have an informed view on the Slovene theatre production and the Slovene theatre can surely profit from an “outside” opinion. The Expert Jury bestowed all awards by unanimous decisions.

President Blaæ Lukan, PhD Members Mario Brandolin Gregor Butala Maja Haderlap, PhD Mojca Jan Zoran, MA

Maribor, 28 October 2008

75

PETER UHAN

43. festival borπtnikovo sreËanje nagrade Velika nagrada Festivala Borπtnikovo sreËanje za najboljπo uprizoritev The Grand Prix for the Best Production of the Borπtnik Theatre Festival

Heinrich von Kleist: Katica iz Heilbronna ali Preizkus z ognjem, reæiser François-Michel Pesenti; Slovensko narodno gledaliπËa Drama Ljubljana PETER UHAN

Heinrich von Kleist: Katica iz Heilbronna ali Preizkus z ognjem v reæiji FrançoisMichela Pesentija in izvedbi Slovenskega narodnega gledaliπËa Drama Ljubljana Heinrich von Kleist: Ordeal by Fire directed by François-Michel Pesenti and produced by the Slovene National Theatre Drama Ljubljana Velika zgodovinska viteπka igra se v izvedbi ljubljanske Drame kaæe v dovrπeni, novi, navdahnjeni vizualni podobi in z ljubeznivo ironijo gledalcem danaπnjega Ëasa odstira hermetiËne svetove dramskega besedila ter na povsem presenetljiv in gledaliπko uËinkovit naËin pribliæa Kleistov miselni svet sodobnosti. Zgodba o kovaËevi hËeri iz Heilbronna in grofu Friederiku von Strahlskem, ki æe dve stoletji spodbuja razliËne interpretacije, se v Pesentijevi scenski izvedbi otrese tesnega oklepa ljubezenske tematike in zaupa Kleistovi in KatiËini misli, da so sanje resniËne, da so sestavni del naπega Ëustvenega sveta in da Ëlovekova podzavest globoko posega v æivljenje posameznika.

Nagrada za najboljπo reæijo The Best Direction Award

76

Heinrich von Kleist: Ordeal by Fire, directed by François-Michel Pesenti; Slovene National Theatre Drama Ljubljana PETER UHAN

François-Michel Pesenti za reæijo predstave Katica iz Heilbronna ali Preizkus z ognjem v izvedbi Slovenskega narodnega gledaliπËa Drama Ljubljana François-Michel Pesenti for directing the Ordeal by Fire produced by the Slovene National Theatre Drama Ljubljana François-Michel Pesenti s svojo veËplastno reæijsko pisavo popelje gledalce v fantastiËni sanjski in miselni svet Katice, ki je prepriËana, da ji sanje krojijo usodo in da se jim mora do dna svojega prepriËanja predati in pokoriti. Pesentijeva reæijska poetika odstira nove, sodobne poglede na arhetipske osebe, se poigrava z viteπkimi ali metafiziËnimi motivi ter z moænostmi uprizarjanja, vse do zakljuËka, ko z branjem didaskalij pravljiËni konec zgodbe odmakne in ga prepusti sanjam ali celo preteklosti. Reæiser postavi pravljiËno in kaotiËno dogajanje v temen, rahlo osvetljen prostor, v katerem se gibljejo igralci kot tavajoËi posamezniki ali kolektivno telo, ki podoæivlja divje viteπke spopade in strah pred nepoznanim. Odrski prostor Katice iz Heilbronna je prostor projekcije, prizori v njem se vrstijo v ritmu, ki si ga ustvarja igralski ansambel s pomoËjo rekvizitov in scenskih elementov sam. V njem lahko vsak igralec zadiha in izoblikuje svojo lastno igro. Odrska postavitev se prepuπËa anarhiËni sanjski logiki, s katero gradi Kleist svoje besedilo, in zgodbo vodi varno kot kerub Katico s premiπljeno odrsko govorico do osupljivega konca. Gledalci sledijo igralcem pri njihovi hoji skozi divjino, temo in luË, ogenj in viharje, preko prepadov, brezen in votlin do trenutka, ko vsem postane jasno, da KatiËina vera v usojenost in moË ideje pripelje simboliËni red druæbe in uteËenost æivljenjskih vzorcev do roba anarhije.

Marko MandiÊ kot Friderik Wetter, grof Strahlski s Saπo TabakoviÊem kot vitezom Flammbergom Marko MandiÊ as Friderik Wetter, Count Vom Strahl with Saπa TabakoviÊ as Franz Flammberg

PETER UHAN

43th borπtnik theatre festival awards Pet enakovrednih igralskih nagrad Five equivalent awards for acting Veronika Drolc za vlogo Katice v predstavi Katica iz Heilbronna ali Preizkus z ognjem v izvedbi Slovenskega narodnega gledaliπËa Drama Ljubljana Veronika Drolc for the part of Katica in Ordeal by Fire produced by the Slovene National Theatre Drama Ljubljana Veronika Drolc v vlogi Katice bistveno doloËa celotno uprizoritev. Z izËiπËenim in v detajle premiπljenim igralskim izrazom, nepopustljivim vztrajanjem v liku ter izredno igralsko koncentracijo vzpostavlja prostor, kjer se eteriËna pravljiËnost pretvarja v radoæivo sodobno gledaliπko stvarnost. Do popolnosti izdelan in racionaliziran igralski izraz Veronike Drolc ustvarja polje intenzivne, do skrajnosti iritirajoËe akcijske neintenzivnosti. Njeno vztrajanje v izrazu, ki niti za trenutek ne popusti in ne dovoli, da bi ga v moËi presegali drugi liki, je osnovni pogoj za nedvomen uspeh celotne uprizoritve.

Janko Petrovec za vlogo Semjona SemjonoviËa Podsekalnikova v predstavi Samomorilec v izvedbi Slovenskega stalnega gledaliπËa Trst Janko Petrovec for the part of Semjon Semjonovich Podsekalnikov in The Suicide produced by The Slovene Repertory Theatre Trieste Janko Petrovec je Semjona SemjonoviËa Podsekalnikova ustvaril kot slehernika, ki hlepi za priloænostmi, da bi se vzpostavil kot posameznik. PetrovËev slehernik je neæen, mehak, neodloËen, navzven celo gospodovalen, a v svojem bistvu negotov in kljub vsem naporom vedno obsojen na biti le del brezimne mnoæice. Petrovec ni kliπejski, æe videni slehernik, temveË znotraj uprizoritvenih moænosti iπËe sebi lasten igralski izraz in pot razvoja lika. Najde ga v polju intuitivnega, primarnega. Z mehkobo in z mestoma otroπkim, le samemu sebi namenjenim trmarjenjem ter kujavo naivnostjo najde nove moænosti za udejanjanje v dramski literaturi pogosto prisotnega brezimneæa.

PETER UHAN

Veronika Drolc kot Katica Veronika Drolc as Kathrina

Marko MandiÊ kot Friderik Wetter, grof Strahlski Marko MandiÊ as Friderik Wetter, Count Vom Strahl AGNESE DIVO

Marko MandiÊ za vlogo Friderika Wetterja, grofa Strahlskega, v predstavi Katica iz Heilbronna ali Preizkus z ognjem v izvedbi Slovenskega narodnega gledaliπËa Drama Ljubljana Marko MandiÊ for the part of Friderik Wetter, Count Vom Strahl, in Ordeal by Fire produced by the Slovene National Theatre Drama Ljubljana Friderik Wetter, grof Strahlski Marka MandiÊa je energetsko srediπËe predstave. Skozi uprizoritev virtuozno razpira in luπËi plasti pravljiËnega lika, jih sestavlja v novo harmoniËno kvaliteto in ustvarja lik moπko polnokrvnega, prav niË pravljiËnega, samozavestnega voditelja. Z vlogo grofa Strahlskega Marko MandiÊ razpira nove kvalitete svojega raznovrstnega igralskega izraza. Z zrelo igro, ki se ne zanaπa na æe preizkuπene igralske uËinke, temveË poglobljeno raziskuje in brezkompromisno iπËe πe neodkrite plasti Ëlovekove biti, je ustvaril vlogo, ki sodi med najvidnejπe igralske doseæke 43. Borπtnikovega sreËanja.

Janko Petrovec kot Semjon SemjonoviË Podsekalnikov Janko Petrovec as Semjon Semjonovich Podsekalnikov

77

PETER UHAN

43. festival borπtnikovo sreËanje nagrade Jernej ©ugman za vlogo Tita Andronika v predstavi Tit Andronik v izvedbi Slovenskega narodnega gledaliπËa Drama Ljubljana Jernej ©ugman for the part of Titus Andronicus in Titus Andronicus produced by the Slovene National Theatre Drama Ljubljana Bojevnik, vodja, oËe, blazneæ, razdivjanec … vse to in veliko veË je Jernej ©ugman kot Tit Andronik, ki nas skozi predstavo vodi z neverjetno paleto igralskih izrazov in tehnik do konËnega igralsko bravuroznega norega kuhanja. ©ugman s precizno in dovrπeno igro pooseblja koncept predstave. Jernej ©ugman se skozi celotno predstavo giblje v mejah skrajnosti. Predvsem je to izrazito v prizorih blaznosti in v zadnjem prizoru, ko nas preseneti z divjo energijo ludistiËnega norega kuharja. S popolnim obvladovanjem igralske tehnike in bogatim razponom igralskih izrazov raziskuje prostor, ki ga doloËa konflikt med javnim in osebnim, razpira meje, a nikoli ne zdrsne Ëeznje.

Jernej ©ugman kot Tit Andronik (s Klemnom Mauhlerjem kot mladim Rimljanom in Saπo PavËek kot Tamoro) Jernej ©ugman as Titus Andronicus (with Klemen Mauhler as young Roman and Saπa PavËek as Tamora) MAKSIMILJAN SELINŠEK

Tadej Toπ za vlogo Jeana v predstavi Nosorogi v izvedbi Drame Slovenskega narodnega gledaliπËa Maribor Tadej Toπ for the part of Jean in Rhinoceros produced by the Drama of the Slovene National Theatre Maribor Igro Tadeja Toπa v predstavi Nosorogi oznaËujejo natanËnost, izËiπËenost in disciplina, nadgrajene z intenzivno sugestivnostjo. Jean v Toπevi interpretaciji je shematiËni perfekcionist, ki se v izjemno odigranem in ekspresivnem prizoru prelevi v podivjan stvor, veËtonskega nosoroga. Tadej Toπ uspe v shematiËno postavljenem liku zahtevano disciplino, ki je nujna za izvedbeno popolnost celote, nadgraditi z lastnim igralskim izrazom. Jean v njegovi izvedbi je kljub svoji izrazni ekonomiËnosti popolna in celostna oseba. Toπeva preobrazba iz Jeana v nosoroga je izvedena brez uporabe pretiranih igralskih sredstev, a uËinkuje prepriËljivo in sugestivno ter doloËa karakter drugemu svetu - svetu novih vladarjev, svetu nosorogov.

Nagrada za mlado igralko The Young Actress Award

78

Tadej Toπ kot Jean (z Vladom Novakom kot Berengerjem) Tadej Toπ as Jean (with Vlado Novak as Berenger) MADSTER

Arna HadæialjeviÊ za vlogi Margerite v predstavi Osvajalec v izvedbi Slovenskega narodnega gledaliπËa Drama Ljubljana in Lenke v predstavi Raztrganci/UËenci in uËitelji v koprodukciji Mestnega gledaliπËa Ptuj, E.P.I. Centra in Cankarjevega doma Ljubljana Arna HadæialjeviÊ for the parts of Margerita in The Conqueror, produced by the Slovene National Theatre Drama Ljubljana and Lenka in Tatterdemalions/Pupils and Teachers in co-production by The City Theatre Ptuj, E.P.I. Centre and Cankarjev dom Ljubljana Arna HadæialjeviÊ v dveh likih, umeπËenih v idejno in estetsko povsem razliËni uprizoritvi, izkaæe obvladovanje πirokega nabora igralskih tehnik in postopkov, a tudi odrsko samozavest, ki πele zares omogoËi, da njene osebe celovito zaæivijo. V obeh vlogah s premiπljeno odmerjenimi igralskimi sredstvi nastopi prepriËljivo in se z odrsko prezenco vzpostavi kot enakovredna partnerica. Kot Margerita v Osvajalcu suvereno premeri pot od poniæane, zlomljene premaganke, ki v razbolelosti svojega telesa in duπe le s skrajnim naporom zdrobljenega ponosa izgovarja posamezne besede, prek sprijaznjene, s svojim rabljem celo oËarane ærtve, vse do odloËne, ljubeËe æenske, ki v propadajoËem svetu grotesknih izgubljencev soËutno zavzame mesto gospodarice, da bi pred erozijo ubranila vsaj zadnji kanËek Ëloveπkosti. Iz lika Lenke v Raztrgancih, ki mu je v celoti predstave na videz odmerjenega le malo prostora, pa oblikuje sklenjeno podobo dekleta, ki ji vdahne psiholoπko globino.

Arna HadæialjeviÊ kot Lenka (s Tjaπo Æeleznik kot Vido) Arna HadæialjeviÊ as Lenka (with Tjaπa Æeleznik as Vida)

MADSTER

43th borπtnik theatre festival awards Tri enakovredne nagrade za druge doseæke Three equivalent awards for other achievements

Leo Kulaπ za kostumografijo v predstavi Katica iz Heilbronna ali Preizkus z ognjem v izvedbi Slovenskega narodnega gledaliπËa Drama Ljubljana Leo Kulaπ for design of constumes for the production of the Ordeal by Fire, produced by the Slovene National Theatre Drama Kostumi Lea Kulaπa v predstavi Katica iz Heilbronna ali Preizkus z ognjem podpirajo koncept predstave in hkrati igrajo svojo lastno igro. Niso le obleke, so znakovni sistem, ki skupaj z drugimi elementi gradi in ustvarja izrazni prostor, ki omogoËa prehod in prevod breztelesne pravljiËnosti v polno odrsko prezenco. Dolg rokav, vrvica, plaπË, tanËica … postanejo predmeti igre. Igralcem so v oporo, ustvarjajo inspirativen okvir, v katerem imajo moænost dopolnjevanja svoje igralske izraznosti. Kostumi Lea Kulaπa doloËajo lik, a hkrati ponujajo odprt prostor, kjer lik skozi proces in razvoj uprizoritve doloËa funkcionalnost in pomen kostuma. Mitja Vrhovnik Smrekar za glasbo v predstavi Mlado meso v izvedbi Slovenskega mladinskega gledaliπËa Mitja Vrhovnik Smrekar for the music in the production of Young Flesh, produced by the Mladinsko Theatre Ljubljana Glasba Mitje Vrhovnika Smrekarja v Mladem mesu v reæiji Ivice Buljana odigra pomembno in vselej z uprizoritveno zamislijo skladno vlogo, in to tako kot scensko ozadje, ki na domala filmski naËin obarva dogajanje z rahlo nostalgiËno atmosfero, kot tudi v ospredju, ko v finalu uprizoritve v skorajda himniËnem zanosu prevzame njeno angaæirano sporoËilo. Skladatelj, ki bi se glede na odmaknjenost uprizorjenega Ëasa zlahka zatekel k izboru znanih glasbenih motivov, se odloËi za zahtevnejπo, a uËinkovitejπo pot. Ta se ne odreka spogledovanju s couleur locale francoskega podeæelja in, kadar je potrebno, tudi ilustrira dogajanje, a le zato, da bi v kljuËnih trenutkih z jasno razvidno notranjo dramaturgijo in izrabo glasbenih sredstev prestopil v samo jedro, ki ga najbolje izraæa kot refren ponavljajoËa se pretresljiva pesem otroπkega zbora kot kolektivnega junaka Mladega mesa.

PETER UHAN

Raztrganci/UËenci in uËitelji, reæiser Sebastijan Horvat; Mestno gledaliπËe Ptuj in E.P.I. Center v koprodukciji s Cankarjevim domom Ljubljana / Tatterdemalions/Pupils and Teachers, directed by Sebastijan Horvat; City Theatre Ptuj and E.P.I Centre in co-production with the Cankarjev Dom Ljubljana

Heinrich von Kleist: Katica iz Heilbronna ali Preizkus z ognjem, kostumograf Leo Kulaπ Heinrich von Kleist: Ordeal by Fire, costume designer Leo Kulaπ ŽIGA KORITNIK

Ustvarjalci predstave Raztrganci/UËenci in uËitelji v koprodukciji Mestnega gledaliπËa Ptuj, E.P.I. Centra in Cankarjevega doma Ljubljana za idejni in receptivni premik The authors of the production of Tatterdemalions/Pupils and Teachers, in co-production with the City Theatre Ptuj, E.P.I Centre and Cankarjev Dom Ljubljana for the shift in ideas and in reception Ustvarjalcem predstave Raztrganci/UËenci in uËitelji, kot jo je po drami Mateja Bora priredil in zreæiral Sebastijan Horvat, na svojevrsten in skrajno inteligenten naËin uspe, da iz v osnovi silno preprostih elementov, kot so “obzorniπki” dokumentarec, formalno posnemanje partizanske agitke in ljudskega odra ter zborovsko petje, oblikujejo veËplastno, angaæirano, sodobno in navsezadnje tudi katarziËno uprizoritev, ki znova vzpostavlja gledaliπËe kot prostor moËnega Ëustvenega odzivanja in prevpraπevanja vrednot. Raztrganci so politiËno gledaliπËe v polnem pomenu - ne le po tematiki, ampak tudi po jasno izraæenem staliπËu in hkratni pritegnitvi gledalca v polje opredeljevanja. Po drugi strani pa predstava (in v tem je nemara tudi njena “prava” vrednost) v namenoma naivnem branju ideoloπko zaznamovane predloge, s premiπljeno sentimentalistiËno sklepno gesto in celoto uprizoritvenih postopkov vzpostavi nadvse izrazito metagledaliπko razseænost, v kateri se razkriva presenetljiva lahkotnost uporabe mehanizmov manipulacije - tako obËinstva kot obËestva. Raztrganci so zato predvsem oster komentar sodobnega sveta videzov, ki ni veË vezan na doloËeno politiËno prepriËanje, temveË se gradi zgolj iz moËi gledaliπkosti same.

Hervé Guibert: Mlado meso, glasba Mitja Vrhovnik Smrekar Hervé Guibert: Young Flesh, music by Mitja Vrhovnik Smrekar

79

MARCANDREA

43. festival borπtnikovo sreËanje nagrade Nagrada za gledaliπke inovacije in estetski preboj Award for innovation and aesthetic breakthrough in theatre

Slovensko narodno gledaliπËe, avtor koncepta in reæiser Janez Janπa Slovene National Theatre, concept and directed by Janez Janπa MAKSIMILJAN SELINŠEK

Janez Janπa za koncept in reæijo Slovenskega narodnega gledaliπËa v izvedbi Maske Ljubljana Janez Janπa for the concept and direction of Slovene National Theatre produced by Maska Ljubljana V Slovenskem narodnem gledaliπËu, ki na scensko izviren naËin in z dosledno dokumentaristiËno disciplino rekonstruira travmatiËno epizodo iz slovenske sodobnosti, pogrom nad romsko druæino, gre veË kot samo za gledaliπko inovativnost in estetski preboj: gre tudi za razkrivanje potlaËenih vsebin in upor proti pozabi, s Ëimer Janez Janπa kot njegov avtor in soizvajalec s pogumom, ki ni ravno pogost, stopi v polje ideoloπkega in politiËnega. Sredstva, ki jih za to uporabi, so skrajno ekonomiËna in se vnaprej odrekajo kakrπni koli (ob)sodbi, nastopajoËi v predstavi pa se odpovejo tudi Ëustvenim komentarjem reproduciranih replik. UËinek je zato lahko toliko veËji in kljub vtisu zgolj sluπnega dogodka predstava na gledalca deluje kot celostna scenska kreacija, ki se moËno zadira v druæbeno in politiËno stvarnost ne zgolj slovenskega, temveË vsakega represivnega in diskriminatornega okolja.

Nagrada Dominika Smoleta za prevod in dramaturgijo The Dominik Smole Award for translation and dramaturgy Primoæ Vitez za prevod drame Eugène Ionesca Nosorogi in dramaturgijo njene uprizoritve v izvedbi Drame Slovenskega narodnega gledaliπËa Maribor Primoæ Vitez for the translation of Eugène Ionesco’s drama Rhinoceros and the dramaturgy for the production by the Drama of the Slovene National Theatre Maribor Primoæ Vitez je pri uprizoritvi Nosorogov v reæiji Vita Tauferja nastopil v dvojni vlogi, kot prevajalec besedila iz francoπËine in dramaturg. To mu je omogoËilo, da je svoje prevajalsko delo neposredno dramaturπko udejanjil in tudi preveril v uprizoritvenem procesu, oboje pa izvedel s pomenljivim uËinkom tako na predstavo v celoti kot na njenega gledalca. Izkuπnja deluje tudi v obrnjeni smeri: praksa Vitezu narekuje tip prevoda, ki ne misli zgolj nase, temveË tudi ali zlasti na svojo realizacijo. V tem se razkriva logika, ki je znaËilna za dramaturπko delo nasploh, za Ionescovo dramaturgijo pa πe toliko bolj. Ta logika poganja dramatikove absurdistiËne replike, izvirajoËe v specifiËnem obËutju Ëasa, in se v sodobnem prevajalskem in dramaturπkem branju, ki je avtorsko samostojno in hkrati dejavna podpora reæiji in igralcem, izkaæe kot izrazito tukajπnja in danaπnja - kar je doseæek, ki ga ne moremo spregledati.

80

Eugène Ionesco: Nosorogi, prevod in dramaturgija Primoæ Vitez Eugène Ionesco: Rhinoceros, translation and dramaturgy by Primoæ Vitez

43. festival borπtnikovo sreËanje poroËilo

43. Festival Borπtnikovo sreËanje v πtevilkah Maribor, od 17. do 29. oktobra 2008 V tekmovalni program 43. Festivala Borπtnikovega sreËanja je na novo izvoljena selektorica dr. Barbara Orel uvrstila 11 predstav, prav toliko pa je bilo tudi strokovnih pogovorov o tekmovalnih predstavah, ki sta jih na Malem odru pripravila in vodila Jernej Novak in Jaroslav Skruπný. V spremljevalnem programu se je po izboru selektorice zvrstilo 6 predstav.

igre, reæije in dramaturgije πtudijskega leta 2007/2008, in sicer s predstavo Pleπasta pevka Eugèna Ionesca in Razredni sovraænik Nigela Williamsa.

***

Dogodki 43. Festivala Borπtnikovo sreËanje v okviru rubrike BS drugje so se zvrstili na razliËnih prizoriπËih. 7 predstav je tudi letos gostil Prvi oder Prve gimnazije Maribor. Po ena predstava je bila odigrana v Kulturnem domu Miklavæ, Kulturnem domu Pekre, Narodnem domu, evangeliËanski cerkvi, nakupovalnem srediπËu Europark in Avtosalonu Jarc Maribor. V okviru Tovornikovih dnevov je bila ena predstava uprizorjena tudi v Selnici ob Dravi.

Strokovni del letoπnjega festivala je obsegal 2 simpozija. Prvi, z naslovom Ignacij Borπtnik, je bil na sporedu æe 15. oktobra v Cerkljah na Gorenjskem in je na svoj naËin obeleæil 150. obletnico rojstva prvega slovenskega dramskega umetnika. Udeleæilo se ga je 5 referentov ter 75 posluπalcev in razpravljavcev. Drugi simpozij, Igra na zaËetku stoletja, ki ga je organiziral Oddelek za gledaliπËe, Katedra za dramsko igro AGRFT Univerze v Ljubljani, je potekal zadnji dan festivala, 29. oktobra. Pripravljenih je bilo 11 referatov. *** Ob tem so bile v SNG Maribor postavljene tudi 3 razstave. Prva z naslovom “Dunaj bi bil lahko ponosen nanj …” Ignacij Borπtnik (1858-1919), prvi slovenski dramski umetnik je bila posveËena Ignaciju Borπtniku in jo je pripravil Slovenski gledaliπki muzej, druga je bila razstava umetniπkih objektov Ljuba Bizjaka, poimenovana Deske, ki pomenijo æivljenje, in tretja razstava slik Mete VraniË Igralska paleta. *** V Literini knjigarni je bilo v petih dnevih predstavljenih 12 knjig in 1 revija, in sicer Amfiteater, revija za teorijo scenskih umetnosti. ***

***

*** Ob 43. Festivala Borπtnikovo sreËanje sta tudi letos izπla almanaha v slovenskem in angleπkem jeziku. Prav tako so bili natisnjeni dvojeziËna programska zloæenka in 11 biltenov. Pri nastajanju biltenov je sodelovalo 9 πtudentov dramaturgije na AGRFT. *** Nagrade Strokovna æirija je ob zakljuËku 43. Festivala Borπtnikovo sreËanje podelila 13 nagrad, æirija za podelitev najviπjega priznanja za igralsko ustvarjalnost pa je Borπtnikov prstan podelila dramskemu igralcu Aleksandru ValiËu. *** Slovenski gledaliπki festival je spremljalo 39 akreditiranih novinarjev iz slovenskih in zamejskih medijev.

V dodatnem programu je bila predstavljena projekcija TV-filma Fran Æiæek - TVportret, reæiserja Janeza Drozga v produkciji RTV Slovenija. 28. oktobra je ob 40. obletnici uprizoritve Ajshilove Oresteje v ljubljanski Drami in ob 80-letnici naπega velikega gledaliπkega umetnika Mileta Koruna bila predstavljena monografija Oresteja ‘68, ki jo je ob tem pomembnem jubileju izdal Slovenski gledaliπki muzej. Po predstavitvi je bila predvajana tudi TV-priredba gledaliπke uprizoritve Oresteja v produkciji RTV Slovenija, Kulturnega in umetniπkega programa TV Slovenija in Slovenskega gledaliπkega muzeja.

***

***

V Mariboru, 29. oktobra 2008

V Ëasu 43. Festivala Borπtnikovo sreËanje se je zvrstilo 72 dogodkov, od tega 51 v prostorih SNG Maribor in 21 na drugih prizoriπËih. Vse dogodke si je skupno ogledalo 9.611 gledalcev. Lidija Koren izvrπna producentka BS

En dan festivala je bil tudi letos posveËen delu πtudentov AGRFT, v okviru katerega so se na dveh prizoriπËih predstavili z dvema produkcijama πtudenti 2. in 4. letnika

81

43th borπtnik theatre festival report

43rd Borπtnik Theatre Festival Statistics Maribor, 17 to 29 October 2008 The newly elected Selector Barbara Orel, PhD, chose 11 performances for the 43rd Borπtnik Theatre Festival Competition Programme and each of them was followed by a panel discussion on the Small Stage; moderators were Jernej Novak and Jaroslav Skruπný. For the Off-competition Programme Orel selected 6 performances.

ond year students of acting, directing and dramaturgy of the 2007/08 academic year, and the fourth year students brought out Nigel Williams’ Class Enemy.

***

The Borπtnik Theatre Festival elsewhere programme events ran at various venues. 7 performances were hosted by the “First Stage” belonging to the First Grammar School Maribor. One performance each had Cultural Hall Miklavæ, Cultural Hall Pekre, Narodni dom Maribor, the Evangelical church, the Europark shopping centre and at Avtosalon Jarc in Maribor. One of the events dedicated to Arnold Tovornik was staged in Selnica ob Dravi.

Two symposia formed the expert part of the festival. The first, entitled Ignacij Borπtnik, prceded the festival itself, having been organised on 15 October in Cerklje na Gorenjskem to mark the 150th anniversary of the birth of the first Slovene drama artist. It was attended by 75 participants and five speakers. The second symposium, Acting at the Beginning of the Century, organised by the Chair of Stage Acting at the Department of Theatre, Academy of Theatre, Radio, Film and Television, University of Ljubljana, ran on 29 October, the last day of the festival, presenting 11 papers.

*** Alongside these events, the Slovene National Theatre Maribor set up three exhibitions. One, “Vienna Could Be Proud of Him...” Ignacij Borπtnik (1858-1919), the first Slovene theatre artist, prepared by the Slovene Theatre Museum, was dedicated to Ignacij Borπtnik; the second one presented Ljubo Bizjak’s art objects under the title Boards Meaning Life, and the third, Acting Palette, was a show of paintings by Meta VraniË.

***

*** As in previous years, the 43rd Borπtnik Theatre Festival Almanach was published in Slovene and in English. Also published were 11 bilingual bulletins and a programme pamphlet. 9 Academy of Theatre, Radio, Film and Television students assisted with the work on the bulletins.

*** Awards To crown the 43rd Borπtnik Theatre Festival events the Expert Jury conferred 13 awards, and the Borπtnik Ring Jury bestowed the highest award for creativity in acting upon the drama actor Aleksander ValiË.

*** *** For five days Litera’s Bookshop was the venue for the presentation of 12 new books and one periodical, Amfiteater, a magazine for the theory of scenic arts.

The Slovene theatre festival was reported on by 39 acredited journalists from Slovene and foreign media.

*** *** Supplementary programme consisted of a screening of a TV film directed by Janez Drozg, Fran Æiæek - TV-portrait, produced by RTV Slovenia. 28 October saw the presentation of a monograph published by the Slovene Theatre Museum Oresteja ‘68, dedicated to the 40th anniversary of the premiere of Aeschylus’ Oresteia performed by the Ljubljana Drama theatre, and to the 80th birthday of our great theatre artist Mile Korun. Following the presentation was a screening of the TV adaptation of the same performance produced by RTV Slovenia, TV Slovenia Culture and Arts Programme and the Slovene Theatre Museum.

During the 43rd Borπtnik Theatre Festival 72 events were organised, 51 at the SNG Maribor and 21 at other venues. Overall 9.611 people attended the events. Lidija Koren Executive Producer of the Borπtnik Theatre Festival Maribor, 29 October 2008

*** Like each year, one day was given over to the Academy of Theatre, Radio, Film and Television students and they put up two performances: Eugène Ionesco’s Bald Singer was produced by the sec-

82

IGOR MODIC

BORUT PETRLIN / MLADINA

44. festival borπtnikovo sreËanje dramatiki Svetlana MakaroviË

Svetlana MakaroviË

1939. Pesnica in pisateljica. Po diplomi na AGRFT je nekaj Ëasa delala kot igralka - igrala je v Mestnem gledaliπËu ljubljanskem in SNG Drama Ljubljana -, potem pa se je posvetila knjiæevnemu ustvarjanju, najprej poeziji. Pesmi je od leta 1957 objavljala v revijah in Ëasopisih, njena prva pesniπka zbirka Somrak je izπla leta 1964. V njej prevladujejo obËutja pesimizma, strahu in tesnobe. Je tudi avtorica satiriËnih pesmi in πansonov, ki jih je sama odpela; zbrani so na albumih NoËni πanson, Dajdamski portreti, Pelin æena in Namesto roæ. V zadnjih letih se je preizkusila tudi kot esejistka in kolumnistka. Pomemben del njenega opusa, tako poezije kot proze, je posveËen otrokom. Izoblikovala je samosvoj slog, ki ga odlikujejo motivne in besedne domislice, izvrstni opisi literarnih junakov in humor. ©tevilna od del je priredila tudi za oder - vsekakor velja omeniti Sapramiπko, ki je v dvajsetih letih doæivela æe veË kot tisoË ponovitev, v Slovenskem mladinskem gledaliπËu pa so pred kratkim v sodelovanju z Mini teatrom na oder postavili njeno Pekarno Miπmaπ. Je ostra kritiËarka druæbenih razmer. Svoje nestrinjanje z njimi pogosto pokaæe tudi z dejanji: med drugim je v znak protesta izstopila iz Druπtva slovenskih pisateljev, iz RKC, leta 2000 pa je odklonila Preπernovo nagrado.

1939. Poet and writer. After graduating from the Academy of Theatre, Radio, Film and Television Svetlana MakaroviË spent some time working as an actress - she was part of the Ljubljana City Theatre and the SNG Drama Ljubljana ensembles - but later devoted her time to literary efforts, poetry foremost. As of 1957 her poems appeared in papers and periodicals, while her first collection was published in 1964, the predominant sensation here being of pessimism, fear and anxiety. She authored satyrical poems and songs too, having performed these last herself: they are collected in four albums, Nocturnal Songs, The Dajdam Portraits, The Wormwood Woman and Instead of Flowers. In recent years she branched out into writing essays and newspaper columns. An important part of her work, peotry and prose alike, is dedicated to children. Her highly individual style is marked by plays on words and motifs, by exquisitely drawn characters and by rich humour. She adapted a numberof her works for the stage most notably Sapramiπka, which having run for twenty years nov counts over a thousand performances; a while ago Mladinsko Theatre put on stage her Miπmaπ Bakery in co-operation with Mini Theatre. Svetlana MakaroviË is a censorious critic of social conditions often demonstrating her disapproval by deeds: in protest she withdrew from the Writers’ Association of Slovenia, for example, and left the Roman Catholic Church, while in 2000 she declined to accept the Preπeren Award.

Milan Jesih

Milan Jesih

1950. Dramatik, pesnik, prevajalec (prevaja Shakespeara, »ehova, Bulgakova, NuπiÊa idr.). ©tudiral je primerjalno knjiæevnost na Filozofski fakulteti v Ljubljani. V πestdesetih letih je bil Ëlan avantgardne literarno-gledaliπke eksperimentalne skupine 442 ter soavtor pri predstavah Ælahtna plesen Pupilije Ferkeverk in Pupilija, papa Pupilo pa PupilËki (z Duπanom JovanoviÊem). Domislil se je GledaliπËa Pupilije Ferkeverk. Izdal je veË pesniπkih zbirk: Uran v urinu, gospodar! (1972), Legende (1974), Kobalt (1976), Volfram (1980), Usta (1985), Soneti (1989), Soneti drugi (1993) in Jambi (2000). Je prejemnik mnogih nagrad - v njegove roke so preπle zlata ptica za mlade umetniπke ustvarjalce, nagrada Preπernovega sklada, ÆupanËiËeva nagrada, Jenkova nagrada, Sovretova nagrada za prevajanje, zlata znaËka Borπtnikovega sreËanja, Grumova nagrada, zlata paliËica festivala mladinskega in otroπkega gledaliπËa v Ljubljani, Veronikina in Jenkova nagrada ter ne nazadnje Preπernova nagrada.

1950. Jesih is a dramatist, poet, translator (he has translated Shakespeare, Chekhov, Bulgakov, NuπiÊ and others). He majored in Comparative Lliterature at the Faculty of Philosophy in Ljubljana. In the sixties he was member of the avantgarde literary-theatrical group 442, with Duπan JovanoviÊ he co-authored The Precious Mildew of Pupilija Ferkeverk and Pupilija, papa Pupilo and Litlle Pupils. He thought up the Pupilija Ferkeverk Theatre. Jesih has published several collections of poetry: Uranium in Urine, Master! (1972), Legends (1974), Cobalt (1976), Tungsten (1980), Mouth (1985), Sonnets (1989), Sonnets, Other (1993) and Iambi (2000). He received numerous awards, from the Golden Bird for young artists, the Preπeren Foundation Award, the ÆupanËiË Award, the Jenko Award, the Sovre Award for translation, the Golden Badge of the Borπtnik Meeting, the Grum Award, the Golden Wand of the children and youth theatre in Ljubljana, the Veronika and Jenko Award, all the way to the Preπeeren Award.

83

ANDREJ E. SKUBIC

44th borπtnik theatre festival slovene playwrights

84

Andrej E. Skubic

Andrej E. Skubic

1967. Na Filozofski fakulteti v Ljubljani je doπtudiral slovenski in angleπki jezik. Izpopolnjeval se je za delo prevajalca na ©kotskem, leta 1998 pa postal asistent na Oddelku za prevajalstvo FF, kjer je doktoriral iz sociolektov; disertacijo je objavil v knjiæni obliki z naslovom Obrazi jezika, 2005. Njegova najbolj znana prevoda v slovenπËino sta Finneganovo bdenje Jamesa Joycea in Trainspotting Irvina Welsha, prozni opus pa sestavljajo trije romani Grenki med, 1999 (nagrajen z nagrado kresnik in nagrado Zdruæenja zaloænikov in knjigotræcev Slovenije za najboljπi prvenec), Fuæinski bluz, 2001 (dramatizacija romana je bila uprizorjena v Drami SNG Ljubljana, 2005) in Popkorn, 2006 (nagrajen za najboljπi roman iz sodobnega æivljenja na nateËaju Cankarjeve zaloæbe, 2006) ter zbirka kratkih zgodb Noriπnica, 2004. SkubiËeva proza je bila v revijalnih prevodih objavljena v angleπËini, ËeπËini, boπnjaπËini, madæarπËini, nemπËini, ruπËini in poljπËini, objavljena pa je bila tudi v veË antologijah. NeskonËni πteti dnevi je njegov dramski prvenec (varianta drame je bila objavljena v reviji Sodobnost leta 2006, konËna verzija pa v gledaliπkem listu ob uprizoritvi v SNG Nova Gorica, 2009).

1967. He graduated from Slovene and English studies at the Faculty of Arts in Ljubljana. He qualified for translation work in Scotland and obtained a lectureship with the Department of Translation at the Faculty of Arts in 1998, where he did PhD studies in sociolects; his thesis was published in 2005 entitled Faces of Language. Skubic’s most outstanding translations into Slovene are Finnegan’s Wake by James Joyce and Trainspotting by Irwin Welsh; his prose work consists of three novels, Bitter Honey, 1999 (awarded with the Kresnik Award and with the award for best first work by the Association of publishers and booksellers of Slovenia), The Fuæine Blues, 2001 (dramatised for the 2005 production by SNG Drama Ljubljana) and Popcorn, 2006 (awarded as the best novel of contemporary life by Cankarjeva zaloæba in 2006); he also published Bedlam, a collection of short stories, in 2004. His prose, translated into English, the Czech, Bosnian, Hungarian, Russian and Polish languages was brought by foreign periodicals and published in various anthologies. With The Endless Numbered Days Andrej E. Skubic ventured for the first time into the world of drama (one version was published in Sodobnost in 2006, and the final one in the theatre programme for the SNG Nova Gorica production in 2009).

MATEJ KRISTOVI»

DAMJAN ŠVARC

ŽELJKO STEVANI∆

44. festival borπtnikovo sreËanje reæiserji Eva Nina LampiË

Eva Nina LampiË

1985. V πtudijskem letu 2009/2010 πtudentka 4. letnika gledaliπke in radijske reæije na Akademiji za gledaliπËe, radio, film in televizijo v Ljubljani pri mentorjih Tomiju JaneæiËu in Janezu HoËevarju. Asistentka reæiserja pri uprizoritvi Sebastijana Horvata, Andreje KopaË, Eve Nine LampiË Pot v Jajce (reæija Sebastijan Horvat), SNG Drama Ljubljana in SNG Nova Gorica, 2009.

1985. In the coming academic year she will attend the fourth year study programme for theatre and radio directing at the Academy of Academy of Theatre, Radio, Film and Television in Ljubljana under the mentorship of Tomislav JaneæiË and Janez HoËevar. She was Assistant Director for the Sebastijan Horvat, Andreja KopaË and Eva Nina LampiË production of A Passage to Jajce (directed by Sebastijan Horvat), produced by SNG Drama Ljubljana and SNG Nova Gorica, 2009.

Luka Martin ©kof

Luka Martin ©kof

1982. Rojen v ©empetru pri Novi Gorici. Gimnazijo in osnovno πolo konËal v Murski Soboti. Trenutno absolvent na Oddelku za gledaliπko in radijsko reæijo AGRFT v Ljubljani. Med πtudijem obËasno sodeloval z razliËnimi avtorji, brez resnega preboja. Doslej je reæiral: Young Jean Lee Pullman WA (GledaliπËe Glej, 2006), Gregor Strniπa Driada (diplomska produkcija, AGRFT in Slovensko mladinsko gledaliπËe, 2007), Zlatko KriliË Jajce (otroπka predstava, GledaliπËe Koper 2008), Prebrisana vdova po Carlu Goldoniju (©entjakobsko gledaliπËe Ljubljana, 2008). Po motivih animirane serije A je to je pripravil avtorski projekt (Zavod Kult, 2008).

1982. He attended primary school and grammar school in Murska Sobota and is now a graduate at the Department of theatre and radio directing at the Academy of Theatre, Radio, Film and Television in Ljubljana. As a student he periodically collaborated with various authors, though he never made any breakthrough. Todate he directed: Young Jean Lee Pullman WA (GledaliπËe Glej, 2006), Gregor Strniπa Dryad (graduation produkction, Academy of Theatre, Radio, Film and Television and Mladinsko Theatre, 2007), Zlatko KriliË The Egg (performance for children, Koper Theatre 2008), The Shrewd Widow after Carl Goldoni (©entjakobsko Theatre Ljubljana, 2008). Using motifs from the animated series Is This he authored a project for the Kult Institute (Zavod Kult, 2008).

Jernej Lorenci

Jernej Lorenci

1973. Æe v srednjeπolskih letih je pod okriljem Mrtvega gledaliπËa Maribor reæiral prve uprizoritve. V Dramskem studiu se je dokonËno navduπil za gledaliπËe. Po konËani gimnaziji je πtudiral gledaliπko reæijo na AGRFT v Ljubljani pod mentorskim vodstvom Mileta Koruna in Matjaæa ZupanËiËa. Leta 1996 je reæiral diplomsko predstavo, Sofoklejevo Antigono, s katero je tri leta kasneje tudi diplomiral. Leta 1997 je bil med soustanovitelji Gledaliπke πole Prve gimnazije Maribor. Po πtudiju si je reæijske izkuπnje nabiral v slovenskih, hrvaπkih in bosanskih gledaliπËih. Bil je umetniπki vodja GledaliπËa Ptuj. Za reæijsko delo je prejel mnogo domaËih in mednarodnih nagrad, med drugim Borπtnikovo nagrado za najboljπo uprizoritev v celoti - Razmadeæna (SNG Drama Ljubljana, 2002). Za reæijo uprizoritve Ep o Gilgameπu (SMG Ljubljana, 2005) je na 41. Festivalu Borπtnikovo sreËanje prejel nagrado za reæijo. Leta 2006 je postal asistent, leto kasneje pa docent za podroËje gledaliπke in radijske reæije na AGRFT Ljubljana.

1973. While at grammar school he directed his first performances produced by the Dead Theatre Maribor (Mrtvo gledaliπËe Maribor). At the Drama Studio he definitely enlisted in the theatrical ranks. Having graduated from grammar school he then studied direction at the Academy of Theatre, Radio, Film and Television under the mentorship of Mile Korun and Matjaæ ZupanËiË. He directed the 1996 Academy graduation performance, Sophocles’ Antigone, and three years later obtained his diploma with it. In 1997 Lorenci cofounded the Theatre School of the First Grammar School Maribor. In the years following the completion of his studies, he gathered experience in directing at theatres in Slovenia, Croatia and in Bosnia. He was artistic head of the Ptuj Theatre. For his work he received numerous domestic and foreign awards, among others the Borπtnik Award for the best overall production - Cleansed (SNG Drama Ljubljana, 2002). He was awarded the 41st Borπtnik Theatre Festival prize for best direction for the production of the Gilgamesh epic (Mladinsko Theatre, 2005). In 2006 he became Assistant and a year later Lecturer of theatre and radio direction at the Academy of Theatre, Radio, Film and Television in Ljubljana.

85

ALEKSANDER POPOVSKI

ATELJE PAVŠI» ZAVADLAV

44th borπtnik theatre festival directors

86

Matjaæ Latin

Matjaæ Latin

1970. Diplomiral iz gledaliπke reæije na Akademiji za dramsko umetnost v Zagrebu. Doslej je zreæiral preko πtirideset uprizoritev, podroËje njegovega delovanja pa ne zajema zgolj gledaliπËa, temveË tudi film in televizijo, ob reæiji tudi igro (leta 2002 je zreæiral svoj filmski prvenec KleπËar in nastopil v slovenskem celoveËernem filmu Damjana Kozoleta Porno film). Kot reæiser pogosto ustvarja na Hrvaπkem (izpostaviti velja predstavi G. Manfridi Bludi v HNK Ivana pl. Zajca na Reki in N. V. Gogolj Revizor v HNK Split), na Slovenskem pa je reæiral domala na vseh odrih. Naj omenimo le nekatere njegove reæije v Drami SNG Maribor: M. Ravenhill Shopping and Fucking, 2001; A. T. Linhart Ta veseli dan ali MatiËek se æeni, 2003; v SNG Drama Ljubljana: B. SrbljanoviÊ Druæinske zgodbe, 2000; H. Kureishi Primestje, S. Delaney Okus po medu, 2006; v SNG Nova Gorica: Z. HoËevar ‘m te ubu!, 2002; N. Koljada Kokoπ, 2004; H. BojËev Orkester Titanik, 2007; v Mestnem gledaliπËu ljubljanskem: N. Koljada Murlin Murlo, 1998; D. Fo Burkaπki misterij, 1999. Ustvarjal pa je tudi na odrih Mestnega gledaliπËa Ptuj (T. Dorst Ovinek, 1998; M. Jesih Triko, 1999; S. Berkoff Jamr, 2002; P. Vogel Mama ni ena sama, 2009) in Preπernovega gledaliπËa Kranj (R. Dahl, D. Muck Matilda, 1999; rokgre Blok, 2003) ter v Narodnem domu Maribor (M. Koleænik, G. Fon ©puk-pogum, 1998) in ne nazadnje v SLG Celje (L. Bärfuss Seksualne nevroze naπih starπev, 2004).

1970. Graduated from theatre directing at the Academy of dramatic arts in Zagreb. He has directed over fourty productions todate and his area of work is not only theatre but film and television too, while beside directing he also acts (in 2002 he debuted in film directing KleπËar (Stag Beetle) and acted in Damjan Kozole’s feature length Porno film). As director he often works in Croatia (to mention two prominent productions, G. Manfridi’s Bludi at the HNT Ivan pl. Zajc in Rijeka and N.V. Gogolj’s The Inspector-General at the HNT Split), while in Slovenia he has worked for practically every stage - to mention only a few: M. Ravenhill Shopping and Fucking, 2001; A. T. Linhart This Merry Day or MatiËek’s Wedding, 2003 at the Drama of the SNG Maribor; B. SrbljanoviÊ Family Stories, 2000; H. Kureishi Outskirts, S. Delaney Okus po medu, 2006 at SNG Drama Ljubljana; Z. HoËevar i’ll kill you, 2002; N. Koljada The Hen, 2004; H. BojËev Orchestra Titanic, 2007 for SNG Nova Gorica; N. Koljada Murlin Murlo, 1998; D. Fo Buffoonery Mystery Play, 1999 for the Ljubljana City Theatre. He directed performances for the stages of the City Theatre Ptuj (T. Dorst The Bend, 1998; M. Jesih Tricot, 1999; S. Berkoff Moaning, 2002; P. Vogel There Is Not Just One Mother, 2009), the Preπeren Theatre Kranj (R. Dahl, D. Muck Matilda, 1999; rokgre Block, 2003), Narodni dom Maribor (M. Koleænik, G. Fon Slag-courage, 1998) and not least for Municipal Theatre Celje (L. Bärfuss Sexual Neuroses of Our Parents, 2004).

Aleksandar Popovski

Aleksandar Popovski

1969. Rojen v Skopju v Makedoniji. ©tudiral je film in dramo na Univerzi sv. Cirila in Metoda (St. Kiril and Metodij), kjer je tudi diplomiral. Reæijski debut se je zgodil leta 1992 z dramo makedonskega avtorja Deana Dukovskega. Sledile so reæije po razliËnih mednarodnih odrih (Kazaliπte Gavella, SSG Trst, SNG Drama Ljubljana, Drama SNG Maribor, Nacionalno gledaliπËe Severne GrËije - Solun, poleg tega pa tudi v Srbiji, Avstriji in na ©vedskem, Danskem, Veliki Britaniji itd.), posvetil se je tako klasikom kot tudi sodobnim avtorjem (Biljana SrbljanoviÊ, McDonaugh, Ana Aleksik, Elena Pega, Slavko Grum).

1969. Born in Skopje, Macedonia. He obtained his degree in film and drama at the University of St. Cyrill and Methodius. His debut in directing came about in 1992 with a drama by the Macedonian author Dean Dukovski. There followed a succession of productions for various international stages (Kazaliπte Gavella, SSG Trieste, Slovene National Theatre Drama Ljubljana, Drama of the Slovene National Theatre Maribor, National Theatre of Northern Greece Salonica, and various theatres in Serbia, Austria, Sweden, Denmark, Great Britain and elsewhere).

JAKA BABNIK

ARHOV MINI TEATRA

44. festival borπtnikovo sreËanje reæiserji Iv i c a B u l j a n

Ivica Buljan

1965. Rojen v Sinju na Hrvaπkem. Na zagrebπki univerzi je πtudiral politiËne vede, nato pa πe francoski jezik in knjiæevnost ter primerjalno knjiæevnost. Kot novinar je delal pri revijah Polet in Start, kot gledaliπki kritik pa je pisal za dnevnik Slobodna Dalmacija. Je Ëlan uredniπkega sveta znane hrvaπke gledaliπke revije Prolog. Reæiral je besedila Pascala Quignarda, Marine Cvetajeve (Fedra; Teatar&TD Zagreb 1997), Nikole »elana, Seneke (Ojdipus; Splitsko ljeto 2001), Filipa ©ovagoviÊa, Georgesa Feydeauja, Elfriede Jelinek (Drame princes; PG Kranj 2005), Miroslava Krleæe, Ivane Sajko, Fausta Paravidina, Botha Straußa, Heinerja Müllerja, veËkrat Bernarda-Marie Koltèsa. Reæiral je zlasti v Sloveniji in na Hrvaπkem, pa tudi v Belgiji, Franciji, Rusiji, »rni gori, Litvi in Italiji. Njegove produkcije so uspeπno gostovale na πtevilnih mednarodnih festivalih na Portugalskem, v ©paniji, Italiji, Venezueli, Avstriji, GrËiji, Makedoniji, Belgiji, ©vici, Rusiji, Bolgariji, Bosni in Hercegovini, v Iranu, na Poljskem, v Albaniji in seveda v Sloveniji in na Hrvaπkem. Med letoma 1998 in 2002 je bil ravnatelj Drame Hrvaπkega narodnega gledaliπËa v Splitu, je pa tudi soustanovitelj Mini teatra Ljubljana, kjer pogosto sodeluje kot reæiser ali dramaturg. Za svoje delo je prejel vrsto pomembnih nagrad, med njimi nagrado Borπtnikovega sreËanja za estetski preboj (2006) za predstavo Ena in druga Slovenskega mladinskega gledaliπËa in Borπtnikovo nagrado za reæijo ter veliko nagrado Borπtnikovega sreËanja (2007) za produkcijo SNG Drama Ljubljana Ojdip v Korintu.

Born in 1965 in Sinj, Croatia. He studies political sciences at the Zagreb University, and later French language and literature alongside comparative literature. He worked as a journalist for the magazines Polet and Start, and wrote theatre reviews for the daily Slobodna Dalmacija. He is member of the editorial board of the well-known Croatian theatre periodical Prolog. He directed works by Pascal Quignard, Marina Tsvetaeva (Phaedra; Teatar &TD Zagreb 1997), Nikola »elan, Seneca (Oedipus; Split Summer Festival 2001) Filip ©ovagoviÊ, Georges Feydeau, Elfrieda Jelinek (The Princess Dramas; Preπeren Theatre Kranj 2005), Miroslav Krleæa, Ivana Sajko, Fausto Paravidino, Botho Strauß, Heiner Müller, several plays by Bernard-Marie Koltes. He most often works in Slovenia and Croatia, but has laso staged plays in Belgium, France, Russia, Montenegro, Lithuania and in Italy. His productions tour numerous international festivals with great success, they have appeared in Portugal, Spain, Italy, Venezuela, Austria, Greece, Macedonia, Belgium, Switzerland, Russia, Bulgaria, Bosnia and Herzegovina, Iran, Poland, Albania and, of course, Slovenia and Croatia. From 1998 to 2002 he was General Manager of the Drama of the Croatian National Theatre in Split, and is also co-founder of Mini Theatre Ljubljana, where he often works as director or dramaturg. Buljan received a series of important awards, among them the Broπtnik Meeting “Award for Aesthetic Breakthrough” (2006) for the Mladinsko Theatre production of The One and the Other as well as the Borπtnik Award for direction and the Grand Borπtnik Festival Award for the best performance (2007) for Oedipus in Corinth produced by SNG Drama Ljubljana.

Janez Janπa

Janez Janπa

1964. Rojen na Reki. Leta 1989 diplomiral na Fakulteti za druæbene vede v Ljubljani, smer analitiËno-raziskovalna sociologija. Po izobrazbi je diplomirani sociolog. ©olal se je tudi na Akademiji za gledaliπËe, radio, film in televizijo na Univerzi v Ljubljani. Podiplomsko se je izpopolnjeval na Univerzi v Antwerpnu na oddelku za gledaliπke πtudije. Janπa je ustvaril 15 samostojnih avtorskih scenskih del. Z interdisciplinarnimi projekti je sodeloval na razstavah v Benetkah, New Yorku, Atenah, Zagrebu, Gentu. Janπa je uredil temeljne zbornike s podroËja sodobne teorije scenskih umetnosti (Prisotnost, predstavljanje, teatralnost in Teorije sodobnega plesa) ter napisal monografijo o belgijskem umetniku Janu Fabru (Ponavljanje, norost, disciplina - celostna umetnina Fabra), ki je bila prevedena v francoπËino, nizozemπËino in italijanπËino. Razprave objavlja v najpomembnejπih evropskih in svetovnih revijah s podroËja scenskih umetnosti. Masko, Ëasopis za scenske umetnosti, je urejal med letoma 1998 in 2006. Janπa je soustanovitelj Centra za raziskave scenskih umetnosti DELAK ter izobraæevalnega programa Seminar sodobnih scenskih umetnosti. Redno izvaja delavnice in predava na evropskih in ameriπkih univerzah in v umetniπkih srediπËih.

1964. Born in Rijeka. In 1989 he graduated on analytical research in sociology at the Faculty of Social Sciences in Ljubljana, thus acquiring a BA in sociology. He also studied at the Academy of Theatre, Radio, Film and Television of the University of Ljubljana. He did postgraduate studies with the Department of Theatrical Studies at the University of Antwerp. Janπa authored 15 scenic works, among others Camillo Memo 1.0, Miss Mobile, We Are All Marlene Dietrich FOR and Pupilija, papa Pupilo and PupilËki Reconstruction, which were all presented on important European and American stages. With various interdisciplinary projects he participated at exhibitions in Venice, New York, Athens, Zagreb, Ghent. Janπa edited almanachs on the contemporary theory of scenic arts (Presence, Presentation, Theatricality and Theory of Contemporary Dance) and wrote a monograph on the Belgian artist Jan Fabre (Iteration, Insanity, Discipline - the Integral Art of Fabre), translated into French, Dutch and Italian. He publishes dissertations on scenic arts in important European and global periodicals. Between 1998 and 2006 he edited Maska, a periodical on scenic arts. Janπa is co-founder of the Centre for research of scenic arts DELAK and of the educational programme Seminary on contemporary scenic arts. He regularly leads workshops and also lectures at European and American universities and art centres.

87

MARC ANDREA

BOŠTJAN PUCELJ

44th borπtnik theatre festival directors

88

Matjaæ Berger

Matjaæ Berger

1964. ©tudiral dramaturgijo na Akademiji za gledaliπËe, radio, film in televizijo v Ljubljani, kjer je leta 1989 diplomiral z nalogo Epistemoloπki problemi Shakespearovega Hamleta. V okviru πtudija gledaliπke in radijske reæije na AGRFT je leta 1990 v GledaliπËu Glej postavil diplomsko predstavo Recht (Brecht: Ukrep). Od leta 1998 zaposlen v Slovenskem mladinskem gledaliπËu, kjer je v obdobju 2003-2006 prevzel funkcijo programskega direktorja. Je eden glavnih pobudnikov za ustanovitev in konceptualno zasnovo novomeπkega gledaliπËa Anton Podbevπek Teater Novo mesto. Ob ustanovitvi leta 2006 postane ravnatelj tega gledaliπËa. V svojem reæijskem delu se zmeraj znova obraËa k Brechtu (Me-ti / Knjiga obratov, 2008; Galileo Galilei, 2006 - obe APT; Galileo Galilei, SMG in NUK, 1996) ter drugim znanim delom (Alain Badiou XX. stoletje, APT, 2007; Friedrich Dürrenmatt Fiziki, 2003; Umberto Eco Ime roæe, 2002 - obe SMG). Pripravil je tudi πtevilne druge projekte, na primer Stopinje v puπËavi Nejca Zaplotnika na Fakulteti za πport v Ljubljani leta 2004, De te fabula narratur ob odprtju novomeπke knjiænice leta 2001 in istega leta Der Salzberg, mikrodramo v okviru projekta 1991-2001: Deset let v Evropi (Mittelfest, »edad, Italija), Sejalec ob 10-letnici osamosvojitve Republike Slovenije in mnoge druge.

1964. In 1989 he graduated in dramaturgy at the Academy for Theatre, Radio, Film and Television on Epistemological Problems of Shakespeare’s Hamlet. While studying theatre and radio directing at the Academy he put up a graduate production entitled Recht (Brecht: The Measure). From 1998 he was employed at the Mladinsko Theatre, in the period 2003-2006 as Programme Director. He was one of the prime movers for the foundation of the Anton Podbevπek Theatre Novo mesto and contributed to its conceptual framework. Upon the establishment of this theatre in 2006 he undertook the directorship. With his theatre productions he keeps turning to Brecht (Me-ti / Book of Rotations, 2008; Galileo Galilei, 2006 - both APT; Galileo Galilei, Mladinsko Theatre and National University Library, 1996) and other well known works (Alain Badiou XX. Century, APT, 2007; Friedrich Dürrenmatt The Physicists, 2003; Umberto Eco The Name of the Rose, 2002 - both Mladinsko Theatre). He put on stage numerous other projects, for example Steps in the Desert of Nejc Zaplotnik at the Faculty of Sports in Ljubljana, 2004, De te fabula narratur for the opening of the library in Novo mesto in 2001 and in the same year Der Salzberg, a microdrama for the 1991-2001 project: Ten years in Europe (Mittelfest, Cividale-»edad, Italija), The Sower for the 10th anniversary of the independence of the Republic of Slovenia and many others.

Bojan Jablanovec

Bojan Jablanovec

1961. Diplomiral leta 1989 na AGRFT. Æe z diplomsko predstavo Helios (avtorski projekt na osnovi Brechtove drame Galileo Galilei, Cankarjev dom, 1988) nakaæe svoj interes za odpiranje gledaliπkega polja in raziskavo percepcije gledalca. V letih od 1993 do 1999 reæira v veËini slovenskih gledaliπkih hiπ, podpisal se je pod reæijo naslednjih uprizoritev: P. Corneille: Odrska utvara (SLG Celje), F. G. Lorca: Dom Bernarde Alba (PDG Kranj), H. Barker: Ljubezen dobrega moæa (PDG Nova Gorica; nagrajena z Borπtnikovo nagrado za reæijo), A. Jarry: Kralj Ubu (MGL), W. Schwab: Predsednice (SNG Drama Ljubljana), F. Dürrenmatt: Romulus Veliki (MGL) H. Ibsen: Hedda Gabler (SSG Trst), B. Brecht: Gospod Puntila in njegov hlapec Matti (PDG Nova Gorica), E. Ionesco: Stoli (PPF Koper), A. Artaud: Curek krvi (Cankarjev dom Ljubljana). V obdobju 1997/1999 je pouËeval kot asistent staæist za gledaliπko reæijo in igro na AGRFT Ljubljana. Leta 2002 ustanovi mednarodni projekt sodobne scenske umetnosti Via Negativa.

1961. He graduated in 1989 at the Academy of Theatre, Radio, Film and Television. His interest in expansion of theatrical space and research in perception of the spectator was evident quite early, in his graduation performance Helios (an author’s project based of Brecht’s drama Galileo Galilei, Cankarjev dom, 1988). From 1993 to 1999 he undertook to direct productions at various Slovene theatres, namely P. Corneille: L’illusion comique (Muncipal Theatre Celje), F. G. Lorca: The House of Bernarda Alba (Preπeren Theatre Kranj), H. Barker: The Love of a Good Man (PDG Nova Gorica; Borπtnik award for direction), A. Jarry: King Ubu (Ljubljana City Theatre), W. Schwab: She Presidents (SNG Drama Ljubljana), F. Dürrenmatt: Romulus the Great (Ljubljana City Theatre) H. Ibsen: Hedda Gabler (Slovene Repertory Theatre Trieste), B. Brecht: Mr Puntila and His Man Matti (PDG Nova Gorica), E. Ionesco: The Cahirs (Littoral Summer Festival Koper), A. Artaud: Jet of Blood (Cankarjev dom Ljubljana). From 1997 to 1999 he taught at the Academy of Theatre, Radio, Film and Television as Assistant of Theatre Direction and Acting. In 2002 he set up Via Negativa, an international project of scenic arts.

AGNESE DIVO

Janusz Kica

Janusz Kica

1957. Rojen v Vrocłavu na Poljskem. Leta 1981 diplomiral iz teatrologije na Jagiellonski univerzi v Krakovu. Po diplomi se je odpravil v Köln, kjer je nadaljeval s πtudijem teatrologije in umetnostne zgodovine. PraktiËno delo v gledaliπËih je zaËel opravljati kot asistent reæije in scenograf. Med letoma 1986 in 1989 je bil zaposlen kot pomoËnik direktorja, kasneje pa kot direktor gledaliπËa Wuppertaller Bühnen. Po obdobju v gledaliπËu v Wuppertallu je zaËel kot reæiser sodelovati s πtevilnimi nemπkimi gledaliπËi v Karlsruheju, Bremerhavnu, Koblenzu in Mainzu, vabila pa so zaËela prihajati tudi iz Avstrije in Slovenije. Med πtevilnimi nagradami, ki jih je v svoji evropski reæijski karieri prejel Janusz Kica, so tudi tri Borπtnikove nagrade za najboljπo predstavo v celoti Medtem, SNG Nova Gorica (2005); Æivljenje je sen, SNG Drama Ljubljana (1998); UkroËena trmoglavka, SLG Celje (1997) in dve Borπtnikovi nagradi za reæijo predstav Sen kresne noËi, PDG Nova Gorica (2003) in Amerika, Drama SNG Maribor (1996). V Celju na Dnevih komedije je bil dvakrat razglaπen za ælahtnega reæiserja festivala. Uprizoritve, nastale v njegovi reæiji, so tudi na Hrvaπkem prejele πtevilne nagrade.

1957. Born in Wroclaw in Poland. He graduated from the Jagiellonian University in Krakow in 1981. Upon graduation he moved to Cologne, carrying on his studies in theatrology and history of art. His first practical contact with stage boards was in the roles of assistant director and set designer. Between 1986 and 1989 he was employed by the Wuppertaller Bühnen Theatre as Assistant Director and later as Director. After a period of work in Wuppertall invitations from numerous German theatres started pouring in, from Karlsruhe, Bremerhaven, Koblenz, Mainz, and also from Austria and Slovenia. Among numerous awards Janusz Kica recieved in his European career there are three Borπtnik awards for the best overall production, In the Meantime, SNG Nova Gorica (2005); Life Is a Dream, SNG Drama Ljubljana (1998); Taming of the Shrew, SLG Celje (1997) and two Borπtnik awards for direction: A Midsummer Night’s Dream, SNG Nova Gorica (2003) and America, Drama SNG Maribor (1996). In Celje he was twice proclaimed most precious director at the Days of Comedy in Celje. In Croatia too, he received numerous awards for productions he directed.

MIHA FRAS

44. festival borπtnikovo sreËanje reæiserji

Boris Kobal

Boris Kobal

1955. Rojen v Trstu. Akademsko pot je zaËel leta 1980 z diplomo na ljubljanski Akademiji za gledaliπËe, reæijo, film in televizijo, na oddelku za gledaliπko reæijo. Med letoma 1997 in 2007 je kot direktor in umetniπki vodja vodil Mestno gledaliπËe ljubljansko. Sodeloval je z razliËnimi slovenskimi gledaliπËi, med drugim s Slovenskim stalnim gledaliπËem Trst, Slovenskim narodnim gledaliπËem Nova Gorica, Slovenskim ljudskim gledaliπËem Celje, Dramo SNG Ljubljana … Reæiral je pribliæno 55 slovenskih in tujih dramskih besedil, med drugimi Lahko noË, mama Marshe Norman; Prvi zahod Sama Sheparda; Ob letu osorej Bernarda Slada, Hrup za odrom Michaela Frayna; »eπnjev vrt Antona P. »ehova; Pygmalion Georgea B. Shawa; Sluga dveh gospodarjev Carla Goldonija; Dom Bernarde Alba Federica G. Lorce; Grdoba Mariusa von Mayenburga ... Poleg razliËnih dramskih tekstov, ki se jih je lotil kot reæiser, se je preizkusil tudi kot avtor dramskih besedil, ki jih je uprizoril kot reæiser in igralec. Trenutno kot “svobodnjak” ustvarja in sodeluje tako pri lastnih projektih kot v razliËnih gledaliπkih hiπah.

1955. Born in Trieste. He started his academic career in 1980 obtaining his graduation diploma at the Department of Theatre Direction at the Academy for Theatre, Radio, Film and Television. From 1997 to 2007 he headed the Ljubljana City Theatre as Director and Artistic Manager. He co-operated with various Slovene theatres, among others with the Slovene Repertory Theatre in Trieste, with the Slovene National Theatre Nova Gorica, Municipal Theatre Celje, Slovene National Theatre Drama Ljubljana ... Over fifty Slovene and foreign dramatic texts were directed by Kobal, among others ‘night, Mother by Marsha Norman; True West by Sam Shepard; Same Time, Next Year by Bernard Slade; Noises Off by Michael Frayn; The Cherry Orchard by Anton P. Chekhov; Pygmalion by George B. Shaw; The Servant of Two Masters by Carlo Goldoni; The House of Bernarda Alba by Federico G. Lorca; The Ugly One by Marius von Mayenburg ... Beside various dramas he also authored dramatic texts which he directed and also appeared in. He now works freelance for various theatres as well as realising his own projects.

/

89

44. festival borπtnikovo sreËanje in memoriam

In Memoriam Zlatko ©ugman, dobitnik Borπtnikovega prstana Kako presunljivo je gledati stare filme ali televizijske nadaljevanke, pa gledaπ æive, polne ustvarjalne moËi - Vido Juvanovo, Arnolda Tovornika, Volodjo Peera, Joæeta Zupana, Angelco Jankovo, Borisa BrunËka, Maksa Furijana, Janeza ©kofa, Staneta Severja, Majdo Potokarjevo …, pa moraπ reËi “joj, koliko jih je, ki jih v resnici ni veË …”. Hvala bogu, pri gledanju filmov in televizijskih iger ali posluπanju radijskih iger so spet med nami … VËasih je “v sceni” cela skupina æe mrtvih igralcev, ki se jim smejemo, nam jemljejo sapo, jih spet doæivljamo … Med lanskim in letoπnjim Festivalom Borπtnikovo sreËanje je v decembru 2008 na svojem domu v stanovanjskem bloku v Ljubljani umrl dragi prijatelj vseh nas, dobitnik prstana leta 1986, po svoje tihi, a tako vseprisotni igralec Zlatko ©ugman, moæ igralke Maje, oËe hËerke Leje z igralskim talentom in oËe sina Jerneja, igralskega “stebra” ljubljanske Drame … Goriπnica, Ljubljana v Ëasu πtudija, Celje in Maribor in spet Ljubljana so bile njegove æivljenjske in igralske postaje in kajpada Nerezine ob morju … V Maribor sta priπla z Majo tako mlada in drugaËna in kljub prekratkemu obdobju zapustila globoko sled. Odπla sta v Mestno gledaliπËe ljubljansko leta 1966, to pa je bil “teater” po Zlatkovi meri. Po odhodu Vladimirja Skrbinπka je bil takoj “prvak” tega gledaliπËa in ljubljenec ljubljanske publike. Seveda besede prvak, ki sodi bolj v πport kot umetnost, ne gre jemati dobesedno, saj se ni niti znal obnaπati kot “prvaki”, raje je iz druge vrste stre-

90

sal πale, duhovitosti, resne in globoke sodbe … Cenili pa so ga vsi - reæiserji, kolegi igralci, publika, a tudi vsi tisti, ki jih obËinstvo ne vidi, da delajo za kulisami, torej πepetalke, rekviziterji, vratarji, delavci … Ni bil fiziËni orjak, ni imel “tako lepega” glasu, ni bil “umetnik” po videzu, bil pa je od usode obdarjen z neizmernim talentom, pozitivno energijo, karizmo, odgovornostjo, vedrino (Ëeprav je tako dobro skrival drugi pol veselja - skrb in æalost, si vedel, da je nekje v njem …). Zato ni Ëudno, da na primer Molièrovih junakov ni nihËe doslej bolje interpretiral, da je v vseh medijih najbolje zadel slovenskega preprostega Ëloveka ali kompliciranega frustriranega Slovenca. Doma je bil v Shakespearovem svetu, na ameriπkih bulvarjih, vedel je za grozo “ljudoæercev” in sanje malega Frakla … PreveË je bilo vlog, da bi jih naπtevali, preveË nam je dal, da bi evidentirali, preveË smo ga imeli radi in spoπtovali, da bi pridigali in jokali … Kajti nekega veËera bomo spet na ekranu gledali Frakla, spet bo nosil bele rokavice v Æaπlerci, spet bo vodil malega Petra, ki joËe, skozi vojno, spet bo kot laæni angel v Dekameronu lezel k lepotici … In spet bomo vzhiËeni in mladi in sreËni in se klicali: Zlatko je, teci gledat … A ko ga bomo videli med drugimi, ki jih tudi ni veË, se bomo zavedeli, da svet teËe, da smo umrljivi, da je æivljenje sen … Ne vem, ali je kaj veroval v onstranstvo, toda kot kak angel je z odra odletel tjakaj … Hvala, da si bil, dragi Zlatko! Tone PartljiË

Slovensko narodno gledaliπËe Drama Ljubljana Slovene National Theatre Drama Ljubljana

Mestno gledaliπËe ljubljansko Ljubljana City Theatre

ErjavËeva 1, SI-1000 Ljubljana T +386 (0)1 252 14 62, 252 14 92, 425 82 28, 426 45 03, 426 45 49 F +386 (0)1 252 38 85 I www.drama.si E sngdrama@drama.si ravnatelj / general manager & artistic director Ivo Ban T +386 (0)1 252 14 79 E ravnatelj@drama.si odnosi z javnostmi / PR Valerija Cokan T +386 (0)1 252 14 61 E info@drama.si tehniËni vodja / technical manager Iztok Vadnjal T +386 (0)1 425 01 60 E iztok.vadnjal@drama.si igralci / actors 46 prizoriπËi / venues Veliki oder / Main Stage 436 Mala Drama / Small Stage 90-110

»opova 14, SI-1000 Ljubljana T +386 (0)1 425 82 22, 425 50 00 F +386 (0)1 251 41 67 I www.mgl.si E info@mgl.si direktorica in umetniπki vodja / general manager & artistic director Barbara Hieng Samobor T +386 (0)1 425 71 48 E barbara.hieng-samobor@mgl.si odnosi z javnostmi / PR Simona Belle T +386 (0)1 251 41 67 E simona.belle@mgl.si tehniËni vodja / technical manager Joæe Logar T +386 (0)1 4258 222 E joze.logar@mgl.si igralci / actors 37 prizoriπËa / venues Veliki oder / Large Stage 327 Mala scena / Studio Theatre 87 Studio 50

SNG Drama Ljubljana je gledaliπka hiπa z najdaljπo tradicijo, ki se vleËe vse od Ëasov DramatiËnega druπtva iz 1867. leta; ima najπtevilnejπi stalni igralski ansambel, najveËji obisk publike, najveËje πtevilo premier na sezono, od tega precej na komornem odru Mala drama. Uprizarjajo vse od slovenske in svetovne dramske klasike do sodobnih gledaliπkih iskanj. V zadnjem Ëasu ima πtevilne in uspeπne izmenjave z gledaliπkimi hiπami iz πirπe regije. Slovene National Theatre Drama Ljubljana has the longest tradition of any theatre in the country from the times of the Slovene Dramatic Society in 1867 onwards; it has the largest permanently engaged artistic ensemble, the greatest number of spectators, the highest number of openings per season, a number of them on the chamber Small Stage. The productions range from Slovene and world classics to contemporary experimental research. In recent years it frequently collaborates with theatres in the wider region with great success.

Mestno gledaliπËe ljubljansko je leta 1949 ustanovilo Mesto Ljubljana kot drugo dramsko gledaliπËe Ljubljane. Delovati je zaËelo na skromnem, majhnem odru s skupino zagretih igralcev in πtudentov Akademije za gledaliπËe. SËasoma je preraslo v moderno gledaliπko druæino, ki danes πteje 37 stalnih in 105 gostujoËih igralcev (glasbenikov, pevcev, plesalcev in statistov). Mestno gledaliπËe ljubljansko ima za seboj 58 let profesionalne zgodovine in je s prek 100 zaposlenimi drugo najveËje slovensko gledaliπËe. Trenutna repertoarna usmerjenost MGL sledi tistim naËelom, ki zapovedujejo gledaliπËu æiv, polemiËen, sproten dialog s sodobnostjo. S svojimi lastnimi in mnoæico koprodukcijskih postavitev æeli MGL v svoji ponudbi odpirati moænosti razliËnim æanrom in uprizoritvenim principom, predvsem pa se Ëim pozorneje odzivati na svet okrog sebe. Ljubljana City Theatre was established in 1949 by the Municipal authorities as the second drama theatre in Ljubljana. A group of enthusiastic actors and Academy students on a meagre stage was its modest beginning. However, in time it grew to become a modern theatre family of 37 permanent and 105 guest actors (musicians, singers, dancers and extras). Ljubljana City theatre counts 58 years of professional history and is now, having over 100 employees, the second strongest Slovene theatre. The current repertoire orientation of the institution follows the principles aiming at a lively, polemical dialogue with the present times. Through their own shows and a number of co-produced events the Ljubljana City Theare wish to expand the options for various genres and production principles, concentrating on the response to the outside world.

91

Slovensko mladinsko gledaliπËe Mladinsko Theatre

Drama Slovensko narodno gledaliπËe Maribor Drama of the Slovene National Theatre Maribor

Vilharjeva 11, SI-1000 Ljubljana T +386 (0)1 300 49 00 F +386 (0)1 300 49 01 I www.mladinsko.com E info@mladinsko-gl.si direktorica / general manager Urπula Cetinski T +386 (0)1 300 49 05 E ursula.cetinski@mladinsko-gl.si odnosi z javnostmi / PR Tibor MiheliË T +386 (0)1 300 49 08 E tibor.mihelic@mladinsko-gl.si tehniËni vodja / technical manager Duπan Kohek T +386 (0)1 300 49 09 E dusan.kohek@mladinsko-gl.si igralci / actors 24 prizoriπËa / venues Zgornja dvorana / Upper Auditorium 268 Spodnja dvorana / Lower Auditorium 103 (spremenljivo πtevilo / variable number) Stara Poπta / Old Post Office 60-70 (spremenljivo πtevilo / variable number)

Slovenska 27, SI-2000 Maribor T +386 (0)2 250 61 00 F +386 (0)2 250 61 08 I www.sng-mb.si E sng.maribor@sng-mb.si direktor SNG Maribor / managing director SNG Maribor Danilo Roπker T +386 (0)2 250 61 85 E danilo.rosker@sng-mb.si umetniπki vodja Drame SNG Maribor / artistic director Drama SNG Maribor Vili Ravnjak T +386 (0)2 250 61 26 E drama.maribor@sng-mb.si odnosi z javnostmi / PR Alan KavËiË T +386 (0)2 250 61 76 E alan.kavcic@sng-mb.si tehniËni vodja / technical manager Drago Prosnik T +386 (0)2 250 61 30 E drago.prosnik@sng-mb.si igralci / actors 26 prizoriπËa / venues Veliki oder / Grand Hall 844 Stara dvorana / Old Hall 264 Kazinska dvorana / Kazina Hall 200 Mali oder / Small Stage 90 Komorni oder / Chamber Stage 70

Slovensko mladinsko gledaliπËe je nastalo v petdesetih, v osemdesetih pa postalo najbolj reprezentativen prostor politiËnega gledaliπËa v celotni bivπi Jugoslaviji. Takrat se je zaËela tudi njegova mednarodna, izvozna orientacija v Evropo, pa tudi na velike svetovne mednarodne festivale, na katerih πe vedno kontinuirano gostuje. Tudi danes je πiroko odprto mlajπim in drznejπim ustvarjalcem, eksperimentu in dialogu med dramskim in vizualnim v gledaliπËu. The Mladinsko Theatre was founded in the fifties and by the eighties it had become the most representative space of political theatre in the former Yugoslavia. At that time it also started to look abroad for opportunities to export to Europe and for appearances at renowned international festivals, where its presence contines to attract attention. It remains to be receptive to younger and bolder artists, always open to experiment and to the dialogue between the dramatic and the visual approaches in theatre.

92

Drama SNG Maribor je gledaliπka ustanova, ki si z Opero in Baletom deli veliko in sodobno opremljeno gledaliπko hiπo z veË manjπimi dvoranami, srednjo, predvsem gledaliπko, in veliko, eno najbolj tehniËno dovrπenih v Sloveniji. Program zadovoljuje vse segmente publike. Ima razmeroma stalni igralski ansambel. SNG Maribor je gostitelj Festivala Borπtnikovo sreËanje. The large, modern, well appointed theatre house of the Slovene National Theatre Maribor is home to all three: to Drama, Opera and to the Ballet theatre. The Drama programme, performed by a relatively constant ensemble of actors, aims to suit all segments of the public. And SNG Maribor is host to the most important theatre event in the country, the Borπtnik Theatre Festival.

Slovensko ljudsko gledaliπËe Celje Municipal Theatre Celje

Slovensko narodno gledaliπËe Nova Gorica Slovene National Theatre Nova Gorica

Gledaliπki trg 5, SI-3000 Celje T +386 (0)3 426 42 00 F +386 (0)3 426 42 20 I www.slg-ce.si E tajnistvo@slg-ce.si upravnica in umetniπki vodja / manager and artistic director mag. Tina Kosi, MA T +386 (0)3 426 42 02 E tajnistvo@slg-ce.si odnosi z javnostmi / PR Barbara Herzmansky T +386 (0)3 426 42 05 GSM +386 (0)51 651 821 E barbara.herzmansky@slg-ce.si tehniËni vodja / technical manager Miran Pilko GSM +386 (0)41 364 157 E tehnicni.vodja@slg-ce.si igralci / actors 22 prizoriπËi / venues Veliki oder / Main Stage 350 Oderpododrom / Stageunderstage 50

Trg Edvarda Kardelja 5, SI-5000 Nova Gorica T +386 (0)5 335 22 00 F +386 (0)5 302 12 70 I www.sng-ng.si E info@sng-ng.si v.d. direktorja / acting general manager mag. Joæko »uk, MA T +386 (0)5 335 22 10 v.d. umetniπkega vodje / acting artistic director SreËko Fiπer T +386 (0)5 335 22 02 odnosi z javnostmi / PR Borut Baπin T +386 (0)5 335 22 15 E borut.basin@sng-ng.si tehniËni vodja / technical manager Andrej KovaËiË T +386 (0)5 335 22 17 E andrej.kovacic@sng-ng.si igralci / actors 21 prizoriπËe / venue Veliki oder / Main Stage 380

GledaliπËe je bilo ustanovljeno kot repertoarna ustanova leta 1950 in si je vseskozi prizadevalo gojiti dramatiko slovenskih in jugoslovanskih ter tujih dramskih avtorjev, tako klasiËnih kot sodobnih, in je tak princip ohranilo tudi po razpadu Jugoslavije. Trenutni repertoar kaæe povezavo klasike z modernimi gledaliπkimi trendi in jih uvrπËa med vodilna gledaliπËa v domovini. Repertoar je oblikovan pestro, saj so edino gledaliπËe v svoji regiji, zato pokrivajo vse gledaliπke æanre, domaËe in tuje dramske tekste, klasiËna dela in novitete. Bogastvo gledaliπËa se kaæe prav skozi njegovo raznolikost, zato je SLG Celje odprto za razliËne avtorske poetike posameznih reæiserjev. Njegovi najveËji odliki pa sta zagotovo izjemen in uigran igralski ansambel ter skupen trud vseh delavcev gledaliπËa za kvalitetno izvedbo vseh uprizoritev. The theatre, founded as a repertory institution in 1950, aimed at all times to nurture the drama of Slovene and Yugoslav dramatists as well as foreign ones, classical as well as contemporary, and retained this stance even after the dissolution of Yugoslavia. The present repertoire indicates a relation between the classical and modern trends in the theatre making Municipal Theatre Celje one of the foremost theatres in the country. The repertoire is varied, as being the only theatre in the region they cover all genres, Slovene and foreign dramatic texts, classical works and contemporary ones. This wealth becomes very much apparent through the variety of the repertoire, and Municipal Theatre Celje is also open to various poetics of individual directors. Its main distinctions though, are an extremely well tuned actors’ ensemble and a common aim of everybody in the theatre to attain excellence in all performances.

Novogoriπko gledaliπËe se je razvilo iz Goriπkega (mestnega) gledaliπËa, ki se je leta 1969 profesionaliziralo in preimenovalo v Primorsko dramsko gledaliπËe. Od leta 1994 deluje v novi gledaliπki stavbi, od leta 2004 pa ga kot institucijo nacionalnega pomena v celoti finanËno podpira dræava. Repertoar sestavljajo uprizoritve sodobnih in klasiËnih dramskih besedil, zaznamujeta pa ga hkrati lokalna, mediteranska obarvanost in odprtost za nova iskanja, za eksperiment. Kvaliteto umetniπke produkcije potrjujejo πtevilne nagrade, sodelovanja na festivalih ter uspeπna gostovanja v tujini. GledaliπËe je Ëlan mednarodnih gledaliπkih zvez Evropske gledaliπke konvencije (ETC) in Nove evropske teatrske akcije (NETA). Theatre creativity in Nova Gorica started in 1955 when the semi-professional Gorica (City) Theatre was established. The theatre became fully professional in 1969 and changed its name to Primorsko dramsko gledaliπËe. In 1994, a new theatre building with modern stage equipment was built and in 2004 the theatre was declared an institution of national importance and is now fully subsidised by the state. It also changed its name to Slovensko narodno gledaliπËe Nova Gorica (Slovene National Theatre Nova Gorica). The theatre’s importance and its programme and artistic orientation are vastly influenced by its geographical position - Nova Gorica lies on the junction of Slavic and Romance cultures. The repertoire consists of modern texts and classics, and is at the same time marked by the local, Mediterranean tone and the openness to research and experiment. The high artistic level of production is proved by a number of awards received by the actors and other artists, participation at Slovene and international festivals and tours abroad. In 2001 SNG Nova Gorica joined the European Theatre Convention (ETC). SNG Nova Gorica is also a founding member of the New European Theatre Action (NETA).

93

Slovensko stalno gledaliπËe Trst Slovene Repertory Theatre Trieste

Anton Podbevπek Teater Anton Podbevπek Theatre

Ulica Petronio 4, 34138 Trst/Trieste, Italija T + 39 040 632664, 632665 F + 39 040 368547 I www.teaterssg.it E organizacija@teaterssg.it direktor / general manager Tomaæ Ban T + 39 340 8630428 E direktor@teaterssg.it umetniπki vodja / artistic director Marko SosiË T + 39 347 6145807 E marko.sosic@libero.it odnosi z javnostmi / PR Valentina Repini T + 39 348 0032035 E organizacija@teaterssg.it tehniËni vodja / technical manager Peter Furlan T + 39 340 8633712 E tehnika@terssg.it igralci / actors 7 prizoriπËi / venues Velika dvorana / Main Auditorium 538 Mala dvorana / Small Auditorium 90

Preπernov trg 3, SI-7000 Novo mesto T +386 (0)7 39 17 810 F +386 (0)7 39 17 812 I www.antonpodbevsekteater.si E info@antonpodbevsekteater.si ravnatelj / general manager Matjaæ Berger T + 386 (0)7 39 17 810 E matjaz.berger@antonpodbevsekteater.si odnosi z javnostmi / PR Jasna Dokl Osolnik GSM + 386 (0)51 618 200 E jasna@antonpodbevsekteater.si tehniËni vodja / technical manager Simon Æiæek GSM + 386 (0)51 628 200 E simon.zizek@antonpodbevsekteater.si prizoriπËe / venue Dvorana novomeπke pomladi / The Spring Hall of Novo mesto 109-200

8. marca 1902 je bilo v Trstu ustanovljeno DramatiËno druπtvo. In le nekaj tednov zatem, natanËneje 27. aprila, je bila pripravljena prva uprizoritev slovenske stalne gledaliπke druæine v Trstu: πaloigra Rudolfa Hahna »evljar baron. Leta 1904 se je slovensko gledaliπko æivljenje naselilo v Narodnem domu, ki pa so ga faπisti 13. julija 1920 poægali. S tem barbarskim dejanjem je bilo slovensko gledaliπko snovanje iz Trsta pregnano za Ëetrt stoletja. Z zmago nad nacifaπizmom se je v osvobojenem Trstu 2. decembra 1945 z uprizoritvijo Jernejeve pravice slovensko gledaliπËe ponovno utemeljilo kot poklicno in stalno. ©ele 5.decembra 1964 so z otvoritvijo Kulturnega doma v Petronijevi ulici træaπki Slovenci znova dobili svoj prostor za kulturno delovanje. V zadnjem obdobju je naπe gledaliπËe s poveËano pozornostjo nagovorilo italijanski govoreËi prostor, kar se kaæe v abonmaju s podnapisi v italijanskem jeziku in s sodelovanjem z italijanskimi gledaliπËi. Prav tako Slovensko stalno gledaliπËe πiri in poglablja vsakdanjo, ustvarjalno vez z osrednjeslovenskim prostorom. V Ëasu, ko se meje razblinjajo, gledaliπËe utrjuje svojo vlogo posrednika med obema kulturama, med ustvarjalnostma med Alpami in Jadranom.

Anton Podbevπek Teater (APT, Novo mesto) je najmlajπe slovensko profesionalno gledaliπËe, ki z imenom in kurzom razvija gledaliπke oblike v sovisnosti s Ëasom in matricami antagonizmov, ki ta Ëas preËijo. Zvrstno in æanrsko APT razvija modele sodobnega preËenja skozi postdramsko, plesno, glasbeno in otroπko gledaliπËe. Osnovna podmena APT-ja je sooËati univerzum gledaliπkega z drugimi umetniπkimi praksami in skozi nastajanje razviti interdisciplinarni vizualni inπtitut, s konËnim ciljem - vzpostavo pogojev za urbani festival evropskega performansa.

On 8 March 1902 Trieste saw the foundation of the Dramatic Society. On 27 April the Slovene repertory company in Trieste put up its first performance: Rudolf Hahn’s comedy The Cobbler Baron. In 1904 the Slovene theatre population moved into Narodni dom, which was burned down by the fascists on 13 July 1920. This barbaric act banished Slovene theatre life from Trieste for a whole quarter of a century. Nazism and fascism having been vanquished, the professional Slovene repertory theatre became again domiciled in Trieste with the production of Jernej’s Rights on 2 December 1945. But the Slovenes in Trieste had to wait until 5 December 1964 for their Cultural Hall to open the door in Petroni Street to cultural activities. Over the last period the theatre is paying renewed attention to addressing the Italian language space, co-operating with Italian theatres and introducing subtitles in Italian. The Slovene Repertory Theatre also expands and nurtures regular creative ties with the Slovene national space. In this time of disappearing borders between countries, the theatre consolidates its role of mediator between the two cultures among the creativities between the Alps and the Adriatic.

94

Anton Podbevπek Theatre (APT Novo mesto) is the youngest of Slovene professional theatres. Its name shows the orientation towards development of theatrical forms in correlation with the times and with the matrix of antangonisms passing through. By type and genre APT shapes models transversing contemporary post-drama, dance, musical and children’s theatre. APT’s basic supposition is to confront the theatrical universe with other artistic practices in order to construct an interdisciplinary visual institute with the goal to establish conditions for an urban festival of European performance.

Cankarjev dom, kulturni in kongresni center Cankarjev dom, Congress and Cultural centre

MASKA Zavod za zaloæniπko, kulturno in producentsko dejavnost MASKA Institute for Publishing, Production and Education

Preπernova cesta 10, SI-1000 Ljubljana T +386 (0)1 241 71 00 F +386 (0)1 241 72 98 I www.cd-cc.si E info@cd-cc.si generalni direktor / director general Mitja Rotovnik T +386 (0)1 241 71 02 F +386 (0)1 241 72 95 E mitja.rotovnik@cd-cc.si

Metelkova 6, SI-1000 Ljubljana T +386 (0)1 431 53 48 F +386 (0)1 431 31 22, +386 (0)1 431 53 48 I www.maska.si E maska@mail.ljudmila.org direktor / general manager Janez Janπa GSM +386 (0)51 321 188 E janez.jansa@maska.si odnosi z javnostmi / PR Minea SonËan MihajloviÊ GSM +386 (0)41 655 402 E info@maska.si

vodja programa gledaliπËa in plesa - pomoËnica direktorja kulturno-umetniπkega programa / head of the theatre and dance programme - assistant to director of cultural and artistic programme Alja Predan T +386 (0)1 241 71 54 F +386 (0)1 241 72 98 E alja.predan@cd-cc.si odnosi z javnostmi / PR Saπa GlobaËnik T +386 (0)1 241 71 27 F +386 (0)1 241 72 98 E sasa.globacnik@cd-cc.si direktor tehniËnega sektorja - pomoËnik generalnega direktorja / director of technical sector - assistant to director general

Saπa Kranjc T +386 (0)1 241 71 76 F +386 (0)1 241 72 72, E saso.kranjc@cd-cc.si prizoriπËa / venues Gallusova dvorana / Gallus Hall 1545 Linhartova dvorana / Linhart Hall 616 Kosovelova dvorana / Kosovel Hall 170 ©tihova dvorana / ©tih Hall 253 Dvorana Duπe PoËkaj / Duπa PoËkaj Hall 60 Klub CD / Club CD 300 Hiπa gledaliπËa in vseh umetnosti. Cankarjev dom, osrednji slovenski kulturni in kongresni center Ljubljana, bogati kulturno æivljenje Slovencev æe od leta 1980, njegovo delovanje pa je moË Ëutiti tudi prek dræavnih meja. Izkazuje se kot pomemben in ugleden predstavnik, glasnik in posredovalec slovenske in tujih kulturno-umetniπkih izmenjav ter kot moËna ustvarjalna in povezovalna sila umetniπkega in kulturnega æivljenja v dræavi. V prostorih Cankarjevega doma se vsako leto zvrsti okrog 1200 kulturno-umetniπkih dogodkov ter pribliæno 600 kongresnih prireditev, ki se jih skupaj udeleæi veË kot 400.000 obiskovalcev. Kulturno-umetniπki program Cankarjevega doma zajema vse umetnostne zvrsti od glasbe, gledaliπËa, plesa in filma do upodabljajoËih umetnosti, literature in ustvarjanja za otroke ter humanizem in kulturno vzgojo. Gledaliπki in plesni program namenja veliko pozornosti ustvarjanju slovenskih umetnikov, ki v koprodukciji s Cankarjevim domom uresniËujejo svoje zamisli, obenem pa gosti svetovno znane gledaliπke umetnike in skupine. Home to theatre and all arts. Cankarjev dom, the main Slovene congress and cultural centre Ljubljana was set up in 1980 to enrich the cultural life of the Slovene people, but its influence is felt far beyond the borders of the country. While it has become a powerful creative and cohesive force in the artistic and cultural life within the country, it also emerges as an important and distinguished representative, harbinger and agent of Slovene and foreign cultural and artistic exchange. Each year the halls of Cankarjev dom host about twelve hundred artistic events and six hundred congress ones attended by over 400.000 visitors. The cultural and artistic programme encompasses all art forms, be it music, theatre, dance, film, art or literature or events for children and education in culture. The theatre and dance programme concentrates on stimulating the creativity of Slovene artists who can realise their concepts in co-production with Cankrajev dom, and hosts visiting productions by internationally renowned artists and groups.

Maska Ljubljana je neprofitni zavod za zaloæniπtvo, produkcijo (scenska, interdisciplinarna in vizualna dela), izobraæevanje in raziskovanje. Organizirana je v treh sekcijah: Maska Publikacije, Maska Produkcija in Maska Simpozij. TeoretiËne, kritiπke in umetniπke aktivnosti Maske Ljubljana se ukvarjajo s sodobno umetnostjo in teorijo, raziskovanjem, eksperimentalnimi uprizoritvenimi praksami, interdisciplinarno umetnostjo in kritiËno teorijo. Maska Produkcija producira predstave in druge umetniπke dogodke inovativnih umetnikov in raziskovalcev kot tudi prve projekte mlajπe generacije. Z naπimi novejπimi produkcijami smo gostovali v πtevilnih evropskih dræavah, v ZDA, Aziji in Afriki. Maska producira tudi novomedijska dela in dela vizualnih umetnosti; med zadnjimi Triglav na Triglavu, Cona in FWC, ki so bili predstavljeni v Evropi in ZDA. Maska is a non-profit organisation engaged in publishing, production (performaces, interdisciplinary and visual art works), education and research. It is organised in three sections: Maska Publication, Maska Productions and Maska Symposium. Maska’s theoretical, critical and artistic activities relate to contemporary art and theory, research, experimental performing practices, interdisciplinary art and critical theory. Maska productions produces performances and other events by innovative artists and researchers as well as first projects of the younger generation. Our latest productions have toured numerous European countries, the USA, Asia and Africa. Maska produces new media works and works of visual arts, among the latest are Triglav on Triglav, The Zone and FWC, which were presented in Europe and in the USA

95

Via Negativa Via Negativa

Zavod Sploh Sploh Institute

Gruberjevo nabreæje 14, SI-1000 Ljubljana T +386 (0)51 360 735 I www.vntheatre.com E info@vntheatre.com zakoniti zastopnik / legal representative ©pela Troπt GSM +386 (0)51 360 735 E spelca200@yahoo.com umetniπki vodja / artistic director Bojan Jablanovec GSM +386 (0)41 389 284 E bojan@vntheatre.com odnosi z javnostmi / PR ©pela Troπt GSM +386 (0)51 360 735 E spelca200@yahoo.com igralski ansambel / actors 25

Bezenπkova 18, SI-1000 Ljubljana T +386 (0)51 360 735 I www.sploh.si E spelca200@yahoo.com

Via Negativa je mednarodni projekt sodobne scenske umetnosti, ki od leta 2002 deluje v Ljubljani. PodroËje naπega dela sta gledaliπËe in performans ter predvsem povezave med njima. Gledaliπki performans razumemo kot razmerje med gledalcem in izvajalcem v realnem Ëasu in prostoru. To razmerje obravnavamo kot kompleksen pretok staliπË, priËakovanj, sodb, zakljuËkov, prepoznanj, stereotipov, zmot, predsodkov, strpnosti ali nestrpnosti, vednosti ali nevednosti, ki sproæajo razliËne Ëustvene, racionalne ali iracionalne odzive. Na odru smo zato, da to razmerje sproæimo in da izumljamo strategije, s katerimi spravimo njegovo dinamiko v tek. Delamo kot kolektiv, v katerem se vsak posameznik s svojimi razlogi, s svojim telesom in pogumom, s svojo domiπljijo in razumom, s svojimi veπËinami in energijo bori za svoj smisel in svoje mesto na odru. Zato je vsak izvajalec v performansih VN tudi avtor svojega nastopa. From 2002 onwards Via Negativa, an international contemporary scenic arts projects, operates in Ljubljana. The domain of this project involves theatre and performance with an emphsis on how they relate to each other. The concept of a theatre performance is the relationship between the spectator and the performer in real time and space. This relationship is conceived as a complex flow of views, expectations, judgements, conclusions, identifications, stereotypes, mistakes, prejudices, tolerance or intlernace, knowledge or ignorance, which all evince various emotional, rational or irrational reponses. Performers are on stage in order to trigger off this relationship and to invent strategies to operate its dynamics. It involves group work where individuals strive for their place and meaning on stage with particular judgement, with one’s own body and courage, imagination and intelligence, with skills and energy. Thus every performer of the VN performances is also the author of each appearance.

96

direktor in umetniπki vodja / general manager and artistic director Tomaæ Grom GSM +386 (0)41 912 849 E tomaz.grom@guest.arnes.si odnosi z javnostmi / PR ©pela Troπt GSM +386 (0)51 360 735 E spelca200@yahoo.com

Sploh, zavod za umetniπko produkcijo in zaloæniπtvo, je bil ustanovljen leta 1999. Ukvarja se s produkcijo glasbenih in uprizoritvenih umetnosti, z zaloæniπtvom in izobraæevanjem. Sodeluje z avtorji, kot so Tomaæ Grom, ©pela Troπt, Tao G. Vrhovec Sambolec, Primoæ »uËnik, Marjan StaniË, Matjaæ ManËek … Produciral je veË performansov, med drugimi Niπtrc, Ko bom velik, bom predstava, Bruto, Before the rain ... Hkrati je producent glasbenih zasedb in izdaja zgoπËenke ter organizira serijo dogodkov Con-fine Aperto / Odprta meja in v sklopu MAKSIMATIKA glasbene delavnice. Sploh, institute for production of arts and publication, was founded in 1999, for production of musical and scenic arts, publishing and education. Among authors working with the institute are Tomaæ Grom, ©pela Troπt, Tao G. Vrhovec Sambolec, Primoæ »uËnik, Marjan StaniË, Matjaæ ManËek and others. They staged a number of performances, for example Offcuts, When I Grow up I’ll Be a Show, Bruto, Before the Rain... Musical events too, are in their line: they publish CDs and organise a series of events Con-fine Aperto /Open Border and musical workshops series MAKSIMATIKA.

Mini teater Ljubljana Zavod za promocijo in izvedbo lutkovnih in gledaliπkih predstav Mini Theatre Ljubljana Institute for promotion and production of puppetry and theatre shows Kriæevniπka 1, SI-1000 Ljubljana T +386 (0)1 425 60 60 F +386 (0)1 425 60 61 I www.mini-teater.si E info@mini-teater.si & mini.teater@siol.net direktor in umetniπki vodja / general manager and artistic director Robert Waltl GSM +386 (0)31 330 600 E robert.waltl@mini-teater.si umetniπki vodja Postdramskega gledaliπËa / artistic director of the Post-drama theatre Ivica Buljan GSM +386 (0)51 364 806 E ivica.buljan@mini-teater.si odnosi z javnostmi/ PR Borut Odlazek GSM +386 (0)41 314 414 E marketing@mini-teater.si tehniËni vodja / technical manager Marko LeviËnik GSM + 386 41 742 450 E marko.levicnik@mini-teater.si prizoriπËa / venues Kriæevniπka 1 & Ljubljanski grad Mini teater sta leta 1999 osnovala Robert Waltl in Ivica Buljan z namenom okrepiti kreacijo v postdramskem teatru in gledaliπËu za mlado publiko. Mini teater letno izvede okoli petsto predstav v Ljubljani, Sloveniji, zamejstvu in na πtevilnih mednarodnih festivalih. Na prestiænih tujih festivalih Mini teater afirmira svoj interes po mednarodnem sodelovanju, s hrvaπkimi institucijami kot Novo Kazaliπte Zagreb, ARL Dubrovnik, ZeKaeM, Zadar Snova, Teatar &TD, HNK Ivana pl. Zajca Rijeka pa ustvarja privilegirano partnerstvo. Za svoje gledaliπko delo je prejel πtevilne nagrade in priznanja v tujini in Sloveniji. S paradoksalnim ciljem, da je elitistiËen in populistiËen, ekscentriËen in privlaËen πiroki publiki, Mini teater ruπi tradicionalne omejitve gledaliπËa in jih potrjuje na miselni naËin. V novih prostorih gledaliπËa v Kriæevniπki ulici v Ljubljani namerava Mini teater delati na “konceptu razπirjenega gledaliπËa” s serijo branja romanov v izvedbi najboljπih slovenskih igralcev, koncerti in umetniπkimi akcijami. Mini Theatre was founded in 1999 by Robert Waltl and Ivica Buljan in order to stimulate creativity in post-drama theatre and in the theatre for young audiences. Mini Theatre produces some five hundred shows per year in Ljubljana, all over Slovenia, abroad and at numerous international festivals. At prestigious foreign festivals Mini Theatre asserts its interest in international co-operation and is establishing privileged partnerships with Croatian theatres like Novo Kazaliπte Zagreb, ARL Dubrovnik, ZeKaeM, Zadar Snova, Teatar&TD, Croatian National Theatre Ivana pl. Zajca Rijeka. For its achievements Mini Theatre has received numerous awards abroad and in Slovenia. The paradoxical goal to be elitist and populist, eccentric and attractive to the wider public serves Mini Theatre to demolish traditional limitations of theatre and to confirm them in a rational approach. The new venue in Kriæevniπka Street in Ljubljana will see the development of the “concept of expanded theatre” with a series of prose reading by the best Slovene actors, concerts and artistic activities.

GledaliπËe Glej Ljubljana Glej Theatre Ljubljana GregorËiËeva 3, SI-1000 Ljubljana T +386 (0)1 421 92 40 GSM +386 (0)41 849 139 F +386 (0)1 4263162 I www.glej.si E info@glej.si predsednica / president Simona SemeniË T +386 (0)1 421 92 40 E simona@glej.si umetniπki vodja / artistic director Jure Novak T +386 (0)1 421 92 40 E jure@glej.si odnosi z javnostmi / PR Simona Hamer T +386 (0)1 421 92 40 E simonah@glej.si tehniËna vodja in odnosi z javnostmi / technical manager and PR Inga Remeta GSM +386 (0) 41 849 139 E inga@glej.si prizoriπËe / venue 75 Glej je ime, ki je æe 40 let sinonim za novo, sveæe, odprto in sodobno gledaliπËe. »ez naπe deske so se sprehodila tako rekoË vsa velika imena slovenskega gledaliπËa. Naπe predstave æanjejo uspehe doma in v tujini, prejemajo nagrade in priznanja ter zadovoljujejo in fascinirajo obËinstvo na domaËem in drugih odrih. Glej tudi danes vztraja pri svojih izhodiπËih in hkrati neprestano ustvarja nove trende in smernice. Naπe predstave so komunikativne in odprte in hkrati premiπljene ter razdelane. Zanimajo nas sodobni pristopi h gledalcu, æive zgodbe in angaæirani projekti. IπËemo in razgrinjamo paradokse, poimenovati skuπamo pojave brez imen, k temam in situacijam pristopamo neposredno in odkrito. Poleg stalnih programov predstav za odrasle in otroke Glej izdaja πe knjige, glasbo in redno publikacijo, Glejev List. Skozi vse leto izvajamo tudi raziskovalne in izobraæevalne programe: PreGlejev Laboratorij, ©olo ustvarjalne kritike in Miniaturke. Glej Theatre has been for fourty years a synonym with new, fresh, open, contemporary theatre. Practically all great names of Slovene theatre have walked its boards. The shows reap praises at home and abroad, receive awards and prizes, and fascinate and please audiences at home and on other stages. Glej remains constant in its initial posture and yet keeps creating new trends and lines. The performances are communicative and open, being well considered and detailed. The interest here is in the approach to the viewer, in topical projects, in stories brimming with life. At Glej paradoxes are sought for and unfolded, nameless phenomena are given names, themes and situations are approached directly and openly. Apart from the regular programme of performances for adults and for children, Glej also publishes books, music and a periodical, The Glej Gazette. Throughout the year research and education programmes are run: Pre-Glej Laboratory, The School of Creative Criticism and Miniatures.

97

Stara mestna elektrarna - Elektro Ljubljana Old City Powerhouse - Elektro Ljubljana

Primorski poletni festival Koper Littorial Summer Festival Koper

Slomπkova 18, SI-1000 Ljubljana T +386 (0)1 231 44 92 F +386 (0)1 231 44 92 I www.bunker.si E bunker@siol.net direktorica / general manager Nevenka Koprivπek T +386 (0)1 231 44 92 E bunker@siol.net umetniπki vodja / artistic director Mojca Jug T +386 (0)1 231 44 92 E bunker@siol.net odnosi z javnostmi / PR Tamara BraËiË T +386 (0)1 231 44 92 E bunker@siol.net tehniËni vodja / technical manager Igor Remeta T +386 (0)1 231 44 92 E bunker@siol.net

Carpacciov trg 2, SI-6000 Koper T +386 (0)5 627 17 88 F +386 (0)5 627 80 08 E pp.festival@siol.net I www.primorski-festival.si predsednica / president Neva Zajc GSM +386 (0)41 692 389 E neva.zajc@siol.net umetniπki vodja / artistic director Primoæ Bebler GSM +386 (0)31 390 717 E pp.festival@siol.net odnosi z javnostmi / PR Nuπa Miklavec GSM +386 (0)51 210 639 E pp.festival@siol.net

Stara mestna elektrarna - Elektro Ljubljana predstavlja edinstven zgled v tujini æe dolgo uveljavljene prakse spreminjanja atraktivnih industrijskih objektov v kulturne centre. Stavba je danes zaπËitena kot kulturni, tehniπki in zgodovinski spomenik v lasti Elektra Ljubljana z muzejsko urejenim preddverjem, kjer so πe vedno vidni del dimnika, turbine in nekatere merilne naprave elektrarne. Od leta 2004, po njeni drugi prenovi, dvorano polni bogat program sodobnih scenskih umetnosti, ki ga koordinira zavod Bunker. The Old City Powerhouse - Elektro Ljubljana is a singular example of a practice, long established abroad, of transforming attractive industrial stations into cultural centers. The building, displaying a museum exhibition of parts of chimney, turbines and some measuring tools in the lobby, is under protection as cultural, technical and historical heritage owned by Elektro Ljubljana. Since 2004, after the second renovation, a rich programme of contemporary scenic arts fills the auditorium, co-ordinated by the Bunker Productions.

98

Primorski poletni festival ima status druπtva v javnem interesu in temelji na projektnem delu. Poletni festival je projekt sezonskega znaËaja, ki gostuje na razliËnih lokacijah. Posebej pomembna so zunanja prizoriπËa v posebnih ambientih celotne slovenske Obale. The Littoral Summer Festival ranges as a society of public interest based on project work. The summer festival is a seasonal project producing events at various locations. Open air venues in the particular coastal ambience are particularly important.

ºPF L[Ù[h Z$ Z$" Il[jepWh[liaW '*" CWh_Xeh \eje0 Jece 8h[`Y

Sopotnik slovenske kulture

Časnik, ki te potegne vase. www.vecer.com

Nova KBM d.d., Ulica Vita Kraigherja 4, 2505 Maribor, avgust 2009

7,62¬ =*2'% (1$ %$1.$ 9VDND sHOMD MH QD ]D­HWNX NUKND LQ RE­XWOMLYD =DWR SRWUH EXMHWH YDUQR LQ ]DQHVOMLYR EDQNR NL ER YDqH sHOMH FLOMH LQ QD­UWH UD]XPHOD WHU MLP V SUDYLPL QDVYHWL GDOD sLYOMHQMH = QDPL ER YDqD SRW GR XUHVQL­LWYH ]DVHEQLK LQ SRVORYQLK ILQDQ­QLK FLOMHY ODsMD LQ NUDMqD = YHVHOMHP ERPR SULVOXKQLOL WXGL YDqL ]JRGEL 1RYD .%0 MH VUFH 6NXSLQH 1RYH .%0

2009 2

KOMPAS DESIGN

EG:B> A?:C6 >O7>G6 H:HI6K>C ?: EDA JHE:=6 8=DDH>C< I=: G><=I >C<G:9>:CIH >H =6A; I=: HJ88:HH OVid kZa^`d edodgcdhi edhkZÐVbd edhadkcZbj YZaj! cVbZhi^ik^! `ja^cVg^`^ ^c hegdhi^ik^! `Vg o ad\^hi^`d! YdWgd dg\Vc^oVX^_d ^c h edhaj]db oV eg^ÐV`dkVc_V \dhidk edkZ Zbd k `V`dkdhicd XZadid! `^ oV\diVka_V jheZ] oV edhadkcV hgZÐVc_V# ;dg i]^h gZVhdc! lZ eVn bdhi ViiZci^dc id Wjh^cZhh bVcV\ZbZci! VXXdbbdYVi^dc! \Vhigdcdbn VcY gZaVmVi^dc! l]^X] lZ XdbW^cZ l^i] ad\^hi^Xh! \ddY dg\Vc^hVi^dc VcY i]Z VW^a^in id bZZi i]Z ZmeZXiV" i^dch d[ djg \jZhih! i]jh bV`^c\ Vc dkZgVaa! \ddY"fjVa^in d[[Zg l]^X] \jVgVciZZh hjXXZhh [dg Wjh^cZhh ZkZcih#

]diZa^ =676@J@! 7:AA:KJ: ^c E>G6B>96 I]Z =676@J@! 7:AA:KJ: VcY E>G6B>96 ]diZah kZa^`V `dc\gZhcV YkdgVcV oV *%% jYZaZ ZcXZk o cV_hdYdWcZ_ d VkY^d k^ojVacd degZbd! kZÐ bVc_¦^] iZ]c^Ðcd hdYdWcd degZba_Zc^] YkdgVc! `ajWh`^ egdhidg^ lZaacZhh XZcig^! WVoZc^ h iZgbVacd kdYd! ### dg\Vc^oVX^_V edhZWc^] Yd\dY`dk! Ygj VWc^] hgZÐVc_ ^c Yd\dY^k Ð^c cV egdhiZb

I]Z aVg\Z Xdc\gZhh ]Vaa! l]^X] hZVih *%% eZdeaZ! ÆiiZY l^i] i]Z bdhi je"id"YViZ VjY^d VcY k^hjVa Zfj^ebZci! V cjbWZg d[ hbVaaZg ]Vaah ÆiiZY l^i] je"id"YViZ iZX]c^XVa Zfj^ebZci! eg^kViZ adjc\Zh ² LZaacZhh XZcigZh! hl^bb^c\ eddah l^i] i]ZgbVa lViZg ZiX# 8ddgY^cVi^dc d[ heZX^Va ZkZcih! hdX^Va \Vi]Zg^c\h! VcY djiYddg ZkZcih

IZgbZ BVg^Wdg# CVgVkcd d`da_Z oV edhadkcV hgZÐVc_V# IZgbZ BVg^Wdg# 6 cVijgVa Zck^gdcbZci [dg Wjh^cZhh ZkZcih#

lll#iZgbZbW#h^

=diZa =VWV`j` Ed]dgh`V ja^XV *. '%%% BVg^Wdg IZa#/ (-+ ' (% %- &%% ]VWV`j`5iZgbZbW#h^

=diZa 7ZaaZkjZ CV HaZbZcj (* ''%- Ed]dg_Z IZa#/ (-+ ' +% ,* &%% WZaaZkjZ5iZgbZbW#h^

=diZa E^gVb^YV Ja^XV ]Zgd_V aVcYgV &% '%%% BVg^Wdg IZa#/ (-+ ' '( )) )%% e^gVb^YV5iZgbZbW#h^

Korak za korakom ljudje gradimo svoje sanje. Uresnièujemo jih in verjamemo, da to poènemo za vse življenje.

080 19 20 l www.ZavarovalnicaMaribor.si

Brez zavarovanja je vse kot list v vetru

:A ENERGIยกNE MEJE NE OBSTAJAJO

%LEKTRIยกNA ENERGIJA POVEZUJE SVET : NJO TRGUJEMO DALEยก PREK MEJA 3LOVENIJE : URESNIยกEVANJEM NApE RAZVOJNE STRATEGIJE POSTAJAMO POMEMBEN ยกLEN ELEKTROENERGETSKE OSKRBE NA PODROยกJU 3REDNJE IN *UGOVZHODNE %VROPE 4AK POLOrAJ NAM OMOGOยกA DEJAVNEJpE SODELOVANJE PRI OBLIKOVANJU TUJIH TR GOV Z ELEKTRIยกNO ENERGIJO IN DOSEGANJE USTREZNEJpE STRUKTURE ENERGETSKIH VIROV 3 TEM ZMANJpUJEMO TVEGANJE ZA USPEH POSLOVANJA

Poslovni sistem Mercator d.d., Dunajska c. 107, 1000 Ljubljana

Zaslužite si najboljše Živite s Piko Lepo je vedeti, da nekdo ceni in spoštuje, kar ste dosegli v življenju. Z zlato kartico Mercator Pika vam zagotavljamo vrsto posebnih ugodnosti. Poleg rednih ugodnosti, ki jih uživajo imetniki kartice Mercator Pika, boste z zlato kartico deležni še neomejenega limita uporabe ter možnosti telefonskega prednaročanja v izbranih poslovalnicah Mercatorja. Z vedno bolj razvejano mrežo partnerjev v sistemu kartice Mercator Pika za imetnike zlate kartice pripravljamo posebna presenečenja. Pustite se razvajati, vstopite v elitni klub imetnikov zlate kartice Mercator Pika.

Pogoji za pridobitev zlate kartice Mercator Pika so objavljeni na spletnih straneh www.mercatorpika.si in v zgibankah. Zgibanke kartice Mercator Pika so na voljo na vseh prodajnih mestih Mercator, Mercatorjevih franšiznih prodajalnah in v vseh prodajalnah partnerjev v sistemu kartice Mercator Pika. Za dodatne informacije pokličite brezplačno telefonsko številko 080 2 080.

Zbirajte lepe trenutke

10 let

NLB d.d., Trg republike 2, 1000 Ljubljana

Izbrala sem si zanesljivega partnerja.

oblikovanje danijela grgi}

Raiffeisen Banka d.d., Slovenska ulica 17, 2000 Maribor

Biti ali ne biti? Izbrati pravega partnerja – zanesljivega sopotnika pri svojih najpomembnejših odločitvah, ni hamletovsko vprašanje.

RTS je televizija. Za vse.

www.rts.si

RTS je info. Za vse.

RTS je zabava. Za vse.

RTS je šport. Za vse.

RTS je televizija. Za vse.

Elektro Maribor, d.d., Vetrinjska ulica 2, 2000 Maribor, www.elektro-maribor.si

De - Certare d.o.o., Cesta ob gramoznici 32, 2204 Miklavž na Dravskem polju

T: 041 33 79 35

wvz{hup{l klsêwylz{p%ulnhêvnsh l}huqh

Po meri, varčna in okolju prijazna energija!

Ulica heroja Zidanπka 18, Maribor www.hoteltabor.podhostnik.si, tel. +386 (0)2 421 64 10

Gospodarska vozila

Avto Jarc SALON: Ptujska c. 139 in 209a 2000 Maribor, Tel.: 02/450-3-400, Fax.: 02/450-3-419 SERVIS: Ptujska c. 209a, 2000 Maribor, Tel.: 02/4612-088, E-mail: prodaja@avtojarc.si

Tyrπeva 1, 2000 Maribor, tel. 02/238 08 16

Boris Zaplatil, ©tudija/Study, 2008, olje na papirju/oil on paper, 50 x 70 cm

Galerija Hest daruje umetniško sliko Borisa Zaplatila dobitniku velike nagrade Festivala Borštnikovo srečanje 2009 za najboljšo uprizoritev The Hest Gallery presents the painting by Boris Zaplatil to the winner of the 2009 Borštnik Theatre Festival Grand Prix Award for best performance

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

Borštnikov prstan daruje Borštnik Ring donated by:

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

44. Festival Borπtnikovo sreËanje 44th Borπtnik Theatre Festival Izdajatelj Borπtnikovo sreËanje, SNG Maribor Publisher Borπtnik Theatre Festival, SNG Maribor Za izdajatelja Representative Danilo Roπker © Vse pravice pridræane All rights reserved Urednica Edited by Ksenija Repina Avtorica besedil o uprizoritvah Texts about performances dr. Barbara Orel, PhD Prevod Translated by ©pela Strojan Lektor Language Consultant Janez BostiË Viri fotografij Arhivi gledaliπË in Arhiv CTF UL AGRFT Photo acknowledgements Archives of theatres and Archive of CTF UL AGRFT Oblikovalka Designed by Danijela GrgiÊ Stavek Typesetting by MatFormat Ljubljana Tisk Printed by Dravska tiskarna Maribor Naklada Copies 1000 Oktober October 2009

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