ON MLADINSKO SHOWCASE NO ALARMS AND NO SURPRISES
Our Violence and Your Violence
Thursday, 5 April, at 19:00
Directed by Oliver Frljić
Inspired by Peter Weiss' novel The Aesthetics of Resistance
Commission and production: HAU Hebbel am Ufer, Berlin
Co-production: Mladinsko Theatre (Ljubljana), Wiener Festwochen (Vienna), Zürcher Theater Spektakel (Zürich), Kunstfest Weimar (Weimar), Croatian National Theatre Ivan pl. Zajc (Rijeka)
Regional co-producer: MESS Sarajevo
Supported by: German Federal Cultural Foundation
The performance Our Violence and Your Violence observes the Europe which was - how naively - surprised by the refugee crisis, the Europe that unscrupulously forgets its colonial past while closing borders to those escaping the consequences of the European and American politics. As if the 20th century stubbornly did a single thing - fuelling the national narcissisms that taught one mass that it's better than others, while forgetting on purpose that ostracism is a form of violence. The 21st century continues to teach the same lessons, but uses the indispensable weapon: fear. And fear is the most reliable condition for hatred
For this reason, the performance Our Violence and Your Violence will ask a couple of very unpleasant questions: Are we aware that our welfare depends on thousands of dead in the Middle East? Do we cry for the victims of terrorist attacks in Paris and Brussels the same way as we do those in Baghdad and Kabul? In which moment did we start to believe that we are masters of truth and that our God is mightier than others?
The Brave New World award bestowed by the Dani magazine at the MESS Sarajevo Festival
The Ristić Complex
Friday, 6 April, at 18:00
Directed by Oliver Frljić
The project was initiated on the occasion of Mladinsko anniver¬sary - sixty years. We think that this jubilee demands from us to look behind and start a debate about our most relevant performances and directors whose work turned SMG into the cult it is today. The Ristić Complex is based on the re-contextualization of the performances directed by Ljubiša Ristić in the Mladinsko Theatre, and the idea behind Ristić's KPGT, a unique federative Yugoslav theatre of a permanent revolution. We believe that this starting point will enable us to carry out a new theatre study of a former context, a common theatre heritage and its influence, its direct consequences on contemporary theatre scene of post-Yugoslav states.
Co-production: Mladinsko Theatre (Ljubljana), CNT Ivan pl. Zajc (Rijeka), BITEF (Belgrade), MOT (Skopje)
Radovan Marušić award for best overall design, award for best direction and Grand Prix for best production at the B&H Drama Festival in Zenica
The Republic of Slovenia
Friday, 6 April, at 20:30
All the authors of the performance will remain anonymous. In this context, the individual simply isn't important. What is important is the stat(ur)e.
This is a performance The Republic of Slovenia. In it, a retired intelligence officer tells a story about counting millions, then six important men ponder the fate of Slovenia which is turning into a mafia state, then six important men, presidents and ministers play with arms and human destinies around the round table, and finally a group of soldiers takes on a spy. This is a performance The Republic of Slovenia. It has been running for twenty-five years and it has been produced with your money. And all this time you have been - as an extra or as a big player - its part.
Special award for outstanding political engagement at the Maribor Theatre Festival and Šeligo award for best overall production at the Week of Slovenian Drama festival
Saturday, 7 April, at 19:00
Agnieszka Jakimiak (text and dramaturgy), Katarzyna Leks (set and costume design), Agata Maszkiewicz (choreography), Weronika Szczawińska (director), Piotr Wawer jr. (dramaturgy and music selection)
On 2 July 1962, the young French director François Truffaut sat down at his desk and wrote a letter to Hitchcock. He suggested a meeting, during which he'd conduct an in-depth interview with the adored master. On the basis of this 50-hour long interview, Truffaut published a book in 1967, which turned the master of genre into the ultimate film artist. In the years after the book was published, Hitchcock became the uncontested artistic hero of the new Hollywood. But the history of the key interpretations of his work doesn't end in the 1960s. The breakthrough of the Ljubljana Lacan School (Žižek, Dolar, Zupančič, Božovič, Salecl, etc.) to the American book market in the 1990s presents a very particular encounter with Hitchcock's film opus: it lays Lacan's concepts of psychoanalysis on the famous couch, and sits Hitchcock's film corpus on the analyst's chair. So Hitchcock becomes an analyst that can provide the interpretation for Lacan's complex psychoanalytical concepts, and does it in an extremely entertaining and clear way.
Metamorphoses 4°: Blackholes
Saturday, 7 April, at 21:00
Directed by Bara Kolenc.
Co-produced by: Mladinsko Theatre (Ljubljana), Schauspiel Dortmund, Kino Šiška Centre for Urban Culture (Ljubljana)
Metamorphoses 4°: Blackholes has been awarded the "Werkauftrag des Theatertreffen Stückemarkts 2016", funded by the Bundeszentrale für Politische Bildung (bpb).
A black hole is a point of pure singularity. It is the impossible condition of the possibility of both, matter and anti-matter, it is a point of total destruction and a place of creation.
Using a black hole as a metaphor, the project deals with the erosion of the Western tradition of humanism that has, throughout the history of imperialism, acquired aggressive characteristics, and whose collapse into itself we can currently observe in the re-structuring of the positions of power, the status of truth and of ethical values.
Are we today still able to be humane? Are we able to look into another person's eyes, into the black hole of his pupils? Are we able to understand the point zero, the metaphysical point of the phenomenon of a black hole in order to transcend the stereotyping and prejudice? What if humanity is not an emphatic gaze into a fellow human's pupil of the eye, but a radical confrontation with the possibility that the eye of the other is merely a screen reflecting our own dreams, desires and fears? What if a black hole is not somewhere on the other side but rather a rupture within ourselves?
The Man Who Watched the World
Sunday, 8 April, at 19:00
Directed by Žiga Divjak
Four decades have passed since the neoliberal ideology, with its mantras about the free markets that would adequately self-regulate practically all the institutional sub-systems of the state and social and political organisms, entered the economic and political map through the economy. In the new globalised world the capitalist spectre has relatively quickly occupied all the territories of social activities and political systems, including education, science and arts. In this depressing global moment, surrounded with the technology of CCTV and security systems, the young director Žiga Divjak and his team pose questions on how to act as an artist in the world for which it seems that the future has been abolished. What place can an artist and art have in it? Or, as a protagonist of the revolution asked in the time of the Red October: "What is to be done?"
Awards for best direction and for acting (acting ensemble) at the Maribor Theatre Festival
Looking forward to greeting you in our theatre!
All performances pass (6 + 2 gratis tickets) 36 €
One performance: 9 €/*6 €
* students, pensioners
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