Slovenia opens up

Svetlana Makarovič – Jure Novak
A theatrical concert for children (5 +)
Directed by Jure Novak
Co-produced by: Mladinsko Theatre and Kino Šiška Centre for Urban Culture

No Alarms and No Surprises

No Alarms and
No Surprises

Such a pretty house
And such a pretty garden

No alarms and no surprises
No alarms and no surprises
No alarms and no surprises, please


Slovenia – a piece of heaven on Earth on the sunny side of the Alps.


Main programme

Slovenia sings
A theatrical concert based on lyrics by Gregor Strniša
Directed by Matjaž Pograjc
In collaboration with Education, Work and Care Center Dolfke Boštjančič Draga

Slovenia is a community

Simona Hamer

Directed by Vito Taufer
Inspired by the motives from William Golding’s novel The Lord of the Flies

Slovenia has a celebrity

Based on the textual mass by Peter Mlakar

A national-revolutionary oratorio
Directed by Janez Pipan and Dragan Živadinov
Visualisation: Zupančič :: Turšič :: Živadinov
Coproduction: Mladinsko Theatre and Kino Šiška Centre for Urban Culture

Slovenia reconciles
An interdisciplinary discursive project: a reinterpretation of history, revisionism and past narratives



Slovenia opens up

Svetlana Makarovič – Jure Novak
A theatrical concert for children (5 +)
Directed by Jure Novak
Co-produced by: Mladinsko Theatre and Kino Šiška Centre for Urban Culture

Slovenia reacts
Interdisciplinary residency project by Žiga Divjak, Sebastijan Horvat and Janez Janša
Co-produced by Mladinsko Theatre and Maska Ljubljana
The artists will build up a new space and react to different social and political happenings during the whole season.

Slovenia is humane

Bara Kolenc and Atej Tutta:
Co-produced by: Schauspiel Dortmund, Berliner Festspiele (Berlin), Mladinsko Theatre (Ljubljana), Kino Šiška Centre for Urban Culture (Ljubljana), Slovenian Culture and Information Centre (Vienna), Slovenian Cultural Centre in Berlin

Slovenia is love
A project by Tomi Janežič
A work-in-progress production in this season; première in October 2018.


Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared performances with English surtitles. Scheduled monthly on the programme. More detailed information on dates and shows are available on our website and monthly programs.

62nd Season: No Alarms and No Surprises

In the Mladinsko Theatre, we announce the 62nd season – a season with no alarms and no surprises.

Main programme
Slovenian Songs
A theatrical concert based on lyrics by Gregor Strniša
Directed by: Matjaž Pograjc

Simona Hamer
The Master
Directed by: Vito Taufer

Based on the textual mass by Peter Mlakar
National Revolutionary Oratorio
Directed by: Janez Pipan and Dragan Živadinov

National Reconciliation

Svetlana Makarovič – Jure Novak
Dog and Pony Show
A theatrical concert for children (5 +)
Directed by: Jure Novak
Co-produced by: Mladinsko Theatre and Kino Šiška Centre for Urban Culture

The New Post Office
Interdisciplinary residency project by Žiga Divjak, Sebastijan Horvat and Janez Janša
Co-produced by: Mladinsko Theatre and Maska Ljubljana

Bara Kolenc and Atej Tutta:
Metamorphoses 4°: Blackholes
Co-produced by: Schauspiel Dortmund, Berliner Festspiele (Berlin), Mladinsko Theatre (Ljubljana), Kino Šiška Centre for Urban Culture (Ljubljana), Slovenian Culture and Information Centre (Vienna), Slovenian Cultural Centre in Berlin

Making Don Juan
A work-in-progress production of a project by Tomi Janežič

Župančič Awards 2017

Željko Hrs is one of the recipients of Župančič Awards 2017, the highest recognition of the City of Ljubljana for outstanding creation in the field of art and culture.

•Theatre, film and radio actor Željko Hrs, creating for many years in the Mladinsko Theatre where he has proven himself as a thinking and involved artist with broad outlooks and a firm ethical stance, who can serve as a role-model to his colleagues and an inspiration for the coming generations of actors, as was written in the justification of the nomination by the Mladinsko Theatre. In the past two years Željko Hrs has significantly contributed to the creation of the plays The Ridiculous Darkness, Rok’s Depth, Slamrock, We, European Corpses and The Human Factor.

Last premiere: Katzelmacher (Fassbinder)

Director: Alen Jelen

Rainer Werner Fassbinder didn’t live long, but managed to procure an extensive artistic opus in his thirty-seven years, be it as a director, screenwriter and actor in one person, which mostly narrates a single theme in many ways: about being foreign. If Fassbinder was something, he was an outsider. So it’s not unusual that in Katzelmacher, his film from 1969, he cast himself in the title role. Katzelmacher is a story for today’s needs.

Hero 1.0 in June

Idea, concept, text, almost direction, performance: Uroš Kaurin, Vito Weis
Co-produced by: Mladinsko Theatre and KUD Moment

Hero 1.0 constantly oscillates between parodying heroes from action movies and confirming the idea about the ability to break through despondency and passivity into actively creating a better world. [… It’s probably safe to] predict that the performance will be enthusiastically received by the youth audience.
Nika Arhar, Delo, 18 October 2014


The Republic of Slovenia, joint production by Mladinsko Theatre and Maska has won the award for the best performance of the Festival The Week of Slovenian Drama. After winning the special jury award at the national theatre festival in Maribor, this is the second award for the Republic of Slovenia, a performance made by the group of anonymous authors.

Next shows are scheduled at the Malta Festival in Poznan (June 17 and 18).
Please find bellow the jury explanation for the award.

The Week of Slovenian Drama presents the Šeligo Award for the best performance of the festival. The international jury consisting of Marina Milivojević-Madjarev, the selector of the Sterijino pozorje Festival, Nika Leskovšek, critic and dramaturg, and Ljudomil Dimitrov, professor of Bulgarian language and theatre researcher, decided that the award should go to The Republic of Slovenia, a performance coproduced by the Mladinsko Theatre and Maska Institute.

The Jury Explanation:
“The performance The Republic of Slovenia wins the Šeligo Award for its concise concept, which questions the relationship of the individual to the political, for opening public dialogue, and for the social effect of its message, which doesn’t allow the spectator assume an indifferent position. The performance retains the function of theatre as a public forum, the role that theatre has had since the antiquity to today.
The performance about political implications of an arms trade scandal, thematically anchored into the time of the birth of the new Slovenian state and into the crossroads between the dissolution of the old political system, the fall of the Berlin Wall and the new pro-European orientation, addresses a wider international audience with its general frame, as it allows universal identification with the issue of political scandals which the governing nomenclature weathers unscratched; the performance opens a wide field of possible interpretations without sliding into demagogy.
It remains topical even after the transcript of the 1993 meeting in the office of the Slovenian president has been declassified. The performance puts the secret documents into the eyes of the public and allows the spectator to (re-)experience her or his role as a witness in the Depala vas affair and through a wider historic perspective comprehends the political situation and her or his social role in it. It provides the spectator a solution to the question of personal and political responsibility in a way that has a cathartic potential.
The performance The Republic of Slovenia wins the Šeligo Award for the artistic approach to dealing with the material or verbatim theatre and for the specific acting approach in creating roles based on real political actors, which ironize the whole situation. The performance as a whole testifies throughout about the artistic consensus of all collaborators, as well as the collective belonging of the creative team to the project, which contributes to its value and importance.”


Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared performances with English supertitles.

Friday, 5 May, at 19:30
Saturday, 6 May, at 19:30

Directed by Oliver Frljić

Jerko Marčić, Nika Mišković, Blaž Šef, Daša Doberšek; photo Wiener Festwochen © Alexi Pelekanos

Inspired by Peter Weiss' novel The Aesthetics of Resistance
Cast: Barbara Babačić, Daša Doberšek, Uroš Kaurin, Dean Krivačić, Jerko Marčić, Nika Mišković, Draga Potočnjak, Matej Recer, Blaž Šef
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.

Mladinsko Theatre main box office
Trg francoske revolucije 5, Ljubljana
T: 01 425 33 12 
Weekdays: 12.00–17.30
Saturday: 10.00–13.00

New premiere: THE IDIOTS

Directed by: Nina Rajić Kranjac

If we wanted to summarise what Lars von Trier’s film The Idiots (1998) is about, it would sound like a description of a theatre experiment, which in a way it is. It’s a game of impersonation, but in the form of a group psychological experiment. A group of adults decides to take the roles of those developmentally challenged individuals that psychology once classified as idiots (persons with an IQ lower than 30). In order to find their “inner idiot”, the experiment led by the project leader Stoffer tasks the members of the collective with a series of external and internal human confrontations, through which they would become cognizant of the limits of different societal norms and remove their inner psychological inhibitions. The cast of The Idiots is exposed to a sort of voluntary psychological dismantling that might even entertain the spectator – until the very final cadres when Trier pulls his usual master “jokers” and when they usually no longer feel like laughing.

New premeiere: HITCHCOCK

Directed by: Weronika Szczawińska

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.

Public support for Powszechny Theatre

The Mladinsko Theatre (Slovenia) wishes to express its solidarity and support for our colleagues and partners, the Powszechny Theatre from Warsaw, in time of the attacks that accompany their latest premiere The Curse (Klątwa), directed by Oliver Frljić, which was inspired by Stanisław Wyspiański’s play of the same name.

Like the majority of Frljić’s performances, The Curse is conceived as a “bomb” filled with meaning, which at the moment of its “explosion” may create a wider social performance piece. The responses to it and the entire series of protests build a narrative about the Polish society today, reveal the symptoms that aren’t always in accordance with the official – or acknowledged – truth of this society, around which a further dialog and reflection can be constructed.

The performance is – in this moment of emerging political tensions, return to conservative values, cursory populism which hides different nationalisms, xenophobia and hate – a truly excellent example of disobedient, critical theatre.

It includes a cast of excellent actors, brave and conscious people who, with their performances and in the best tradition of Polish theatre, provide the audiences with extreme and intense experiences.

Considering the excellent reviews, distinctly positive responses from theatre professionals and standing ovations during every reprise, the performance is an immense and precious success of the Powszechny Theatre and the Polish theatre in general.

But it is also accompanied by numerous protests of the groups of the extreme right, the Catholic media and the Polish National Television which is encouraging and inciting a lynching of the actors and the management of the Powszechny Theatre.

We are appealing to the authorities of the Republic of Poland to protect the artists, as the freedom of speech and the freedom of artistic expression are two of the foundations of democracy. We are asking the authorities of the city of Warsaw to protect the currently extremely important space of a dialogue, the Poswszechny Theatre. We are also calling on both to prevent the implementation of new mechanisms of conservative censorship which seriously endangers the freedom of arts.

We admire Polish theatre because of the importance and power it has, and we are appealing to all to protect its integrity and freedom.

Tibor Mihelič Syed
Mladinsko Theatre Managing Director

Goran Injac
Mladinsko Theatre Artistic Director and Dramaturg of The Curse (Klątwa)

Open letter to Jean-Claude Juncker

Dear Mr Juncker,

I am writing to inform you about a media campaign launched by Polish national television, which has caused mass hysteria and endangered the safety of the actors and the producers of the production Klątwa (“The Curse”) at Teatr Powszechny in Warsaw, which I directed.

On 21 February, Polish national television published a post on its website illustrated with illegally taken video footage of excerpts from the performance. The clips are taken out of context and accompanied by a misleading article, written with the clear intention of publicly stigmatizing the actors, producers and authors of performance.

Since then, the theatre and the actors have been exposed to an enormous quantity of media violence and hate-speech. This has been encouraged by some members of Poland’s ruling Law and Justice party and the Catholic Church. Teatr Powszechny is trying to protect the actors of this performance, but they cannot do so in a situation where the government-controlled media keep on promoting mass-hysteria.

It would be impossible to enumerate all the attacks and defamations that have happened in this context over the last few days in this one letter, but they represent a clear violation of human rights and an attack on freedom of speech. As Poland is a member state of the European Union, this case is surely a matter for those EU institutions that are designed to protect human rights. If institutions and political representatives within Poland are not able to protect basic human rights and freedom of speech, it is imperative that we hear the voice of representatives from the EU. The absence of this voice is being interpreted as approval of the situation, and as support for those who launched and orchestrated this disgraceful campaign against the actors, authors and producers of the performance.

I will keep on writing to inform you about the case as it continues. I hope that EU and its representatives will not tolerate this kind of violation of freedom of speech and human rights in one of its member-countries.

Yours sincerely,

Oliver Frljic, director

SUPERTITLED: we, the european corpses

Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared performances with English supertitles.

Četrtek, 23. februar, ob 19.00
Thursday, 23 February, at 19:00

Simona Semenič
we, the european corpses
Directed by Sebastijan Horvat
Dramaturgy and adaptation: Milan Marković Matthis

Cast: Damjana Černe, Brane Grubar, Željko Hrs, Alja Kapun, Boris Kos, Janja Majzelj, Anja Novak, Ivan Peternelj, Stane Tomazin, Matija Vastl in Jožica Klančišar, Andreja Škof, Dare Škof, Nevenka Pečlin

We’re following two dramas in one, caught in two opposing tonalities and rhythms. In one, noise and violence of history slams into us, as well as actual political and cultural reality, while in the other there is the silenced little big story of the endlessly overlooked everyday.
— Melita Forstnerič Hajnšek, Večer, 13 June 2016

Because you wanted

Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared performances with English supertitles.
Because you wanted
GLENGARRY GLENN ROSS, 10 February at 19:30



four performances — one special presentation — two works in progress

from 23 to 26 March 2017

Come to Mladinsko – we've got a lot to show you!

Thursday, 23 March, at 19:00
Directed by Žiga Divjak

Friday, 24 March, at 20:00
Special presentation
Dedicated to the 25th anniversary of the independence of the Republic of Slovenia

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.

The project is a co-production between Mladinsko Theatre under the leadership of the Director Tibor Mihelič Syed and the Artistic Director Goran Injac and Maska Ljubljana headed by Janez Janša.
Co-production: Mladinsko Theatre and Maska

The performance was awarded by the Maribor Theatre Festival jury for its outstanding political engagement.

Saturday, 25 March, at 11:00
Showing of selected scenes
Work in progress
(Lars von Trier)
Directed by Nina Rajić Kranjac

Saturday, 25 March, at 18:30
Inspired by Peter Weiss' novel The Aesthetics of Resistance
Directed by Oliver Frljić

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 Brave New World award bestowed by the Dani magazine at the MESS Sarajevo Festival

Saturday, 25 March, at 20:00
we, the european corpses
Simona Semenič
Directed by Sebastijan Horvat

Sunday, 26 March, at 12:00
Showing of selected scenes
Work in progress

Directed by Weronika Szczawińska

Saturday, 25 February, at 20:00
Directed by Oliver Frljić
Co-production: Mladinsko Theatre (Ljubljana), CNT Ivan pl. Zajc (Rijeka), BITEF (Belgrade), MOT (Skopje)

Awards at the Festival of Bosnian and Herzegovinian Drama, Zenica, for best performance, best direction, and best set, costume and lighting design

Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared English supertitles for you.

Looking forward to greeting you in our theatre!


Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared performances with English supertitles.

Friday, 10 February, at 19:30

Directed By Vito Taufer


TICKETS AVAILABLE at Mladinsko Sales Gallery



The performance Our Violence and Your Violence observes Europe naively stunned by the refugee crisis, Europe which willingly forgets its colonial past and as willingly closes its borders to thousands who run from the consequences of the American and European politics. The twentieth century seems like it has persistently worked on encouraging national narcissisms which taught one mass that it is better than the others. Twenty-first century continues with the same lessons, using the infallible weapon: fear. The image of strong, bright Europe is eroded by a growing paranoia and the message comes at us from every corner: you are no longer safe, anywhere. The fear is, indeed, the safest prerequisite for hatred. Are we aware that our prosperity depends of thousands of dead in the Middle East? In the moment of one of the world’s greatest crises after the World War II, should we proudly call ourselves Europeans or should we be ashamed of Europe? Are we ready to bear the consequences of the hundred-year long European domination? Do we mourn the same for victims of terrorist attacks in Paris and Brussels, as for those in Baghdad? At what moment did we start believing that we are the masters of truth and that our God is more powerful than other Gods? And where in all this are we, the audience, while we cry in a dimly-lit hall, watching scenes of fiction, yet we remain indifferent before real people in refugee camps?


9th Ljubljana Festival of Culture and Arts Education BEAVERS

21 January–8 February 2017

Tickets for the Events are free of charge and can be obtained on Saturday, 14 January 2017, from 11 a.m. to 4 p.m. at the Festival Hall on Vilharjeva cesta 11, Ljubljana &


Slamrock is the stuff of which legends are made. The material ones and those merely conceptual. Legends about how, in some now half-lost time, a sense of humour muscled in through a narrow crack in the Slovenian national character and stubbornly infiltrated into our inhospitable soil. Legends about how the “listening evenings” at ŠKUC were once full of people. And about how some boys pulled stones out of the Sava River and schlepped them to Ljubljana in a Renault 4, painted them with fluorescent paint and exhibited them around town and thus enabled Ljubljana inhabitants to take home souvenirs of particular kind.
Slamrock is the glorious heritage of the sublime Slovenian madness from the second half of the deceased twentieth century, to which we must return to remember that we’re not all diligence and servility. In its sanctity we must in times of distress cyclically resurrect it and allow it to make itself available to the newly born generations of Slovenians who have erred from the path and wandered into the tunnel of doubt where the brightest light goes dim.


Three situations from the time after the independence, when we were living a collective story of success, while somewhere in the background completely different things were taking place. Three stories about a hidden piece of recent history we can hardly be proud of: a testimony of an executor of orders, an exact transcript of a debate among those who issued orders, and five versions of the event which in its time was an affair and then grew into a myth and changed a perfectly ordinary name of a perfectly ordinary village into a synonym for something that everybody knows everything about, and at the same time knows nothing, into something about what books are written and words are murmured on street corners. Apparently nothing in it can be deemed apt as truth and reality, which in reality a number of people deem pretty apt.

Inter faeces et urinam nascimur. Birthing is a wonderful and dirty business and the creation of a state is sunk in fog; somewhere between heroism and corruption, between the UN palace and mafia underground, in time when the wisdom and vigour of leaders were put to test. When a man gets power into his hands his true nature shows; this is when he is revealed, one way or another. Some were revealed in one way. Some in another.

To celebrate its sixtieth anniversary, the Mladinsko Theatre, one of the most recognisable ambassadors of Slovenian art internationally, has committed itself to look with pride into events which have constituted the state, which have left a crucial imprint of the national fibre and have awakened us as national subjects, as citizens. The theatre is joined by the Maska Institute, founded at the exact same time as the events which made the Republic of Slovenia became the way she is.

Our citizen duty is to look at the post-independence period; at the time when dreams were no longer sufficient or allowed.


Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared performances with English supertitles.

The Mladinsko Theatre will provide accommodation, theatre tickets and organise your stay so you can just enjoy the programme.

Let us know if you are coming at

Looking forward to welcoming you in Ljubljana.


A weekful of Oliver Frljić
3 November – 8 November 2016

Mladinsko Theatre is proud to present our three biggest international hits.
All three on our stages in the same week.
All three directed by the same artist.
All three function as conceptual bombs that wrought different explosions in different contexts.
All three were the reason we were accused of cheap provocation and amateurism.
And last but not least: All three topicalize theatre as a medium.


Amid protests and an attempted cancellation of a performance of Our Violence and Your Violence in Poland, and Bosnia and Herzegovina, Mladinsko Theatre would like to take this opportunity to issue a statement before the premiere in Ljubljana and the play’s scheduled tour.
Mladinsko Theatre management and the ensemble collectively voice a deep concern regarding the attempts of Polish and Croatian Catholic Churches and right-wing organisations to ruthlessly prevent, slander and even criminalize a work of art, which was directed by Oliver Frljić – an artist whose work has long been affiliated with our institution. We are concerned by the fact that the headlines in the Polish Catholic media and extremist right wing and clerical online forums swayed the archbishopric of the Catholic Church in Bosnia, leading to their attempt to prevent our performance in Sarajevo, a city that symbolises fight and resistance for the entire region.
None of the Polish, Bosnian, or Croatian organisations that staged the protests did actually see the performance. No one mentioned the reviews of the most prominent Polish and international newspapers and magazines that cover art. Allow us to remind you then what the Gazeta Wyborcza newspaper wrote: ‘The right-wing factory of cultural war has awoken,’ or what the Dwutygodnik online paper reported: ‘Frljić’s best performance so far,’ or what the Theater Heute magazine described as the topicalization of the bourgeois theatrical needs of audiences in Central Europe. And so on.
The attempt of economic censorship used by the ecclesiastical establishment in Poland and Bosnia, where further financial inquiries for the upcoming festivals were announced, is seen as a serious attack on the freedom of speech and artistic expression, as ignorance and a flaw that threatens the very foundations of democracy.
We would like to take this opportunity to thank the directors of the Festival of New Dramaturgies in Bydgoszcz, who invited us and made it possible for us to show the performance in this precarious time for Polish art. Furthermore, we would like to thank the Polish audience, who greeted the performance with standing ovations and thunderous applause, and all the critics and the progressive side of the Polish theatre establishment, who strongly protested the campaign that mounted against our performance. However absurd it may sound, we would also like to thank the Polish Catholic Church, who organized prayers for our sins in local chapels and churches. We are deeply obliged to the citizens of Sarajevo, our audience who won the right to see the show on stage, who fought for the right to be able to decide for themselves what kind of art they want to take part in.
Mladinsko Theatre is a place of freedom and democracy. It is a theatre that was bestowed the title of the European Cultural Ambassador. It is a theatre, known and respected around the world for its performances on current political issues, a place of progressive experiment and a clear political stance.

Tibor Mihelič Syed, Mladinsko Theatre Managing Director
Goran Injac, Mladinsko Theatre Artistic Director

How Theater Replaced Parliament

How Theater Replaced Parliament

Review of “Republika Slovenia,” The Youth Theatre of Ljubljana, 2016

/ by Svetlana Slapšak

The most prominent issue regarding the responsibility of the Slovenian state in the Yugoslav War remains the unsolved status of the “erased,” some 26,000 of them, whose identities and citizenships were deleted during the conflict: they do not receive just compensation, their appeals are not processed in time, some cases are currently before the Strasbourg Court, the rulings of the Court are not applied by the Slovenian government, certainly not within the time-frame set. The administration seems to just wait for biology to eventually solve the problem, and the erased disappear by the law of nature. The consequences of such an attitude could be observed at the celebrations remembering the independence: to be euphemistic, there was total confusion regarding the “values” that engendered the state independence, and the ensuing positive outcomes.

Clearly, art reflects best such problems of great social impact. In the case of Slovenia, a brilliant example are theater performances maintaining the relation with social and political reality, making it even more explosive, following the path opened by Oliver Frljić some two years ago, when he staged a \ play on the erased of Slovenia. Among other things, the audience was invited to hand over their IDs, which were then cut in half on stage: the replacement costs 10 EURO at the local administrative center, and it was the price many from the audience wanted to pay...

An even more radical interchange, if not the complete replacement job the Parliament should have done, is realized in an anonymous performance entitled “Republika Slovenija.” A mere look at the printed playbill of the “Republika Slovenija” performance at the Youth Theater of Ljubljana (it premiered in Spring 2016) reveals a simple and predictable project, though never before realized – mainly because of the barriers among the bureaucats: what you get in your hands is a revolutionary newspaper, a few pages only, mostly in red and on cheap paper, meant to spread fresh relevant documents. It looks as if just coming out of a “gestetner,” the almost-forgotten mechanical copying machine in use in the 60s and 70s. And then follows the performance, in three parts: first, a personal story by an actual witness, then the reenactment of an important meeting, word for word, based on a recently-released secret document, and finally, multiple reconstructions of an event of crucial importance for Slovenian political developments, rendered in opposing versions, according to different witnesses. The performance is made by anonymous authors (except for the stage crew, their names are listed in the program); any curiosity regarding the authorship is out of place, because the citizens (the audience) are expected to make their own choices, they have to weigh the level of persuasiveness of individual stories, and judge the events by themselves. And so they do: with a number of elements still remaining to be fully recognized, and relying on theatrical illusion (even if only by the fact that the play is performed repeatedly), the minimalism of the performance enables the citizen-viewer to develop his own vision of history. Outside theater, the history is written for all citizens in function of conflicting ideas and ideologies, or just of some self-interested and greedy projects, all contaminated by lies and individual ambitions, either sadly realized, or still threatening for the future.

The first act sounds like a professionally written comedy, not the story of a witness who agreed to appear on the stage, instead of at some session of a parliamentary committee. For instance, the hilarious story of how the money (from some shady arms deal) was counted and then sent to an unknown address: the clerks were just doing their job, honestly, unaware of the discrete message communicated only to the privileged, that stealing season was open... The man explains how he did it, in full detail – counting millions of Deutschmarks, putting them into a suitcase, to be dispatched. The proof is there, arms were sold to the rest of the country in war, much longer and bloodier than the war in Slovenia. Why then did somebody in Slovenia, who had the necessary access, means and authority, take part in such arms deals, expressly forbidden by both international bodies and Slovenian government? There is no other explanation there than personal profit, be it in terms of political power or just material gain. The story told by the state security clerk candidly exposes his personal experience sorting bills by monetary value, counting and packing them, perfectly relaxed, without a shadow of a doubt, but also without any clear perspective. His coming out is a citizen's gesture of the highest level: when approached and asked to tell the truth – curiously enough not by a state institution, but a theater group – he responded, because he saw some common good in this, maybe for many, maybe even for all the citizens of Slovenia. And just like in a real comedy, which uses “low” topics and situations to reveal things concerning the “high” and untouchable, the social spheres of power, the circles of empowered and immoral individuals, the simple description of the technicalities in this play opens for the citizen immense spaces for free, liberated reason, the most effective weapon against alienated power.

The second act is a simple reenactment, based on a document – the transcript of a meeting dated to January 6th 1993, of the then-President of the Republic, Milan Kučan, and the five other highest political representatives of the state. The document has been available for some two years now, following the lifting of the label “secret.” Well, drama authors, eat your hearts out: what a perfect study of characters, streams of ideas, transparent politics, unexpected sincerity, almost philosophical plunges into the questions of truth, public interest, humanity! In their innermost circle, politicians can speak free of the wooden language they use on a daily base. Their sincerity is sometimes quite endearing, and much more visible among those who wish to lie less than among those who would lie always. In this case, we do regret that the citizens never could witness, or even participate in, a conversation like that, where all the masks had been removed and, for once, exceptionally, a topic was debated that should always be at the forefront of politics – namely, the common good. The core of the debate revolves around the question of whether it would be in the common interest to go to the bottom of things and reveal the truth, or just to do something that would be immediately useful to the public. As it usually goes, the politics stopped early along the road. The link between the first and the second act becomes frighteningly clear, a strong warning to the citizens that they have to demand ever more truth, in order to get at least a few crumbs of it. In this way, the theater makes good use here of part of our long-forgotten cultural practice of reading out loud all texts, before Christianity changed the rhetoric, and consequently the human body, by introducing silent prayer...

The third act is a performative presentation of several versions, based on the testimonies of the parties involved, of the same event, which was a consequence of the practices described in the first act, and the response of the politics described in the second. The minister in charge, who did not allow even an internal investigation to reveal the truth and responsibility about the incident, was clearly driving the country towards a situation where the truth and responsibility would not matter anymore – and that is tyranny. Luckily, the incident which could have triggered such developments did not evolve further, but in the unbelievable judiciary and administrative farce that ensued, the case was dismissed. Still, the minister was forced to step down, and since then, he has been torturing the public for almost a quarter of a century with his frustration. Worse than this personal farcical political destiny, there is a frightening readiness of corrupt individuals to pursue, boldly and unpunished, beyond all limits of decency and reason the ideas of the leader, and they are even eventually rewarded for this. How is it possible for a citizen, no matter how high in the power structure, to despise so openly his fellow citizens, the state and the laws, which he is supposed to protect and serve? This is where even carefully-handled documents and objectivity from all possible angles fail to explain things: this is where we need a play, a performance, a lived-through mimesis, the theater in its full glory, a professional, empathic, perfectly-staged representation of something other, in order to snatch a glimpse of reality. Only then, at the peak of its performative credibility, the theater can “serve the people,” something that for decades, or maybe much more, we have not required from the theater. The distance that we have created and got used to, the high-brow blank spot and cultural alienation, are coming back to us as a slap in the face: yes, the theater that speaks up about things important, deliberately hidden, scandalous, necessary to be known by all, has a sense and a meaning. Yes, a direct message, like in Aeschylus' Persians, has a sense and a meaning. Yes, there is a sense and a meaning in looking into the eyes of the person sitting next to you in the theater, and have the same feeling of sense and meaning, at least for that evening.

Article was published at:

Svetlana Slapšak trained in Classical Studies/Linguistics at the University in Beograd. Retired professor of Anthropology of Ancient Worlds and Anthropology of Gender at ISH, Ljubljana Graduate School of Humanities since 1996. Dean of ISH 2004-2014. Published cca 70 books. Writes academic books/articles, essays, novels, travelogue, drama and translates from Ancient Greek, Modern Greek, Latin, French, English, Slovenian and SCB languages.



Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared performances with English supertitles.

MONDAY, 24. October at 19.00.

Rok’s Depth

Venue: Mladinsko Theatre Upper Hall
Rok Petrovič was – and continues to be – the only serial winner in the history of Slovenian male alpine skiing. In the 1985/86 season, he won five slalom races and thus obtained the season’s highest ranking, leaving behind both the legendary Stenmark and the doyen of Slovenian skiing Križaj.
He moved as gently as his thoughts were sharp. While others were speaking, Rok kept silent. While others were running, he swam.
Swam away.
First, while still extremely young, into science. Later, into the depths of the sea. Into another dimension.
And stayed down there.
At home.

See you soon at the Mladinsko Theatre


Directed by Oliver Frljić

Ljubljana Premiere: 13 October 2016 in Mladinsko Theatre.

Commissioned and produced by HAU Hebbel am Ufer, Berlin
Co-production Wiener Festwochen, Slovensko mladinsko gledališče, Ljubljana, Kunstfest Weimar, Zürcher Theaterspektakel, Hrvatsko narodno kazalište Ivana pl. Zajca, Rijeka, regional partner: MESS
Funded by the German Federal Cultural Foundation

"Does not art currently tend to define itself predominantly as a contribution to general consensus? Should it not be a form of anti-consensus? Should it not be an anarchic counter-project opposing present political and economic systems and vested interests?"


Directed by Oliver Frljić

Berlin Première: 28 September 2016 in  HAU Hebbel am Ufer
Ljubljana Premiere: 13 October 2016 in Mladinsko Theatre.

Commissioned and produced by HAU Hebbel am Ufer, Berlin

Commissioned and produced by HAU Hebbel am Ufer, Berlin
Co-production Wiener Festwochen, Slovensko mladinsko gledališče, Ljubljana, Kunstfest Weimar, Zürcher Theaterspektakel, Hrvatsko narodno kazalište Ivana pl. Zajca, Rijeka
Funded by the German Federal Cultural Foundation

"Does not art currently tend to define itself predominantly as a contribution to general consensus? Should it not be a form of anti-consensus? Should it not be an anarchic counter-project opposing present political and economic systems and vested interests?"



Photo: Mare Mutić



A performance commemorating the 25th anniversary of Slovenian independence

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, and in the end soldiers of character deal with a spy of character. 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.

To celebrate its sixtieth anniversary, the Mladinsko Theatre, one of the most recognisable ambassadors of Slovenian art internationally, has committed itself to look with pride into events which have constituted the state, which have left a crucial imprint of the national fibre and have awakened us as national subjects, as citizens. The theatre is joined by the Maska Institute, founded at the exact same time as the events which made the Republic of Slovenia became the way she is.

Our citizen duty is to look at the post-independence period; at the time when dreams were no longer sufficient or allowed.

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.

Let's shed light on the foundations of our young Republic and rekindle our patriotic feelings.

Venue: Mladinsko Theatre Upper hall and the Glass hall at Gospodarsko razstavišče



6.–8. maj 2016 / 6 to 8 May 2016
3 dnevi, 5 predstav / 3 days, 5 performances

Ker Mladinsko ni samo slovensko, umetnost pa se nerada zadržuje zgolj na eni strani jezikovnih meja, smo za vas pripravili predstave z angleškimi nadnapisi.

Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared performances with English supertitles.

Katja Perat, Katarina Rešek, Jelena Rusjan
Režija/Directed by Jelena Rusjan
Friday, 6 May, at 17.00

Emil Filipčič – Marko Derganc
Režija/Directed by Vito Taufer
Koprodukcija/Co-production: Prešeren Theatre Kranj and/in Mladinsko Theatre
Friday, 6 May, at 20.00 at Prešernovo Theatre Kranj

Režija/Directed by Oliver Frljić
Saturday, 7 May, at 18.00

Elfriede Jelinek
Režija/Directed by  Michał Borczuch
Saturday, 7 May, at 20.00

Dedicated to the 25th anniversary of the independence
Koprodukcija/Co-production: Mladinsko Theatre in/and Zavod Maska
Sunday, 8 May, at 20.00


Butnskala as a cult radio drama and a recording, rewound so often that it made cassette players burn out, and Butnskala as a graphic novel drawn by Marko Derganc in 2014, have become the starting point and the base for an original theatre performance directed by Vito Taufer, probably the biggest connoisseur of Emil Filipčič’s opus, as well as its top director. At  the Mladinsko Theatre and the Prešeren Theatre Kranj we’re convinced that this is the high, and the right, time for the first professional staging of Butnskala and that ever since it was first created until today, the only thing that has changed is that the situation regarding the butnglavci is direr and more acute. The events in this (no longer) radio play link easily, and almost eerily, not only to the past, but also to the present, although in completely different social and political circumstances. Which is unfortunate, of course, although the performance will certainly make us laugh until we cry.   

The performance opened the 46th Week of Slovenian Drama in Kranj.

at 19:00

at 19:00


Škrip fails better every time.
ÜberŠkrip is the youngest family member of the Škrip Trilogy.
ÜberŠkrip is a victim of fashion of our time in new Škrip garb.
ÜberŠkrip empties out homes to fill up theatres.
ÜberŠkrip is a new era of the world history in which YOU get to take part.
ÜberŠkrip is a want to create something and a need to destroy it.
ÜberŠkrip has the authority over your FOR and AGAINST.
ÜberŠkrip is a person's physiological need.
ÜberŠkrip is a prophetic bird which looks back while predicting the future.
ÜberŠkrip is authorial work.
ÜberŠkrip is a text for a performance.
ÜberŠkrip is a weapon – reach for it!
ÜberŠkrip is for people and for animals.
ÜberŠkrip is the Terminator.
More than the supremacy of the machines we must fear ÜberŠkrip.
Truth is, we have to fear both, the ÜberŠkrip and drones.
ÜberŠkrip is a cardiac ventricle of the world will.
On Tuesday ÜberŠkrip first became aware of itself.

You can catch ÜberŠkrip on 2, 3, 4. 11. and 23 March at 19:00.


Since the Mladinsko isn't just Slovenian and since art prefers to roam free of language borders, we have prepared performances with English supertitles. Scheduled monthly on the programme.

Ker Mladinsko ni samo slovensko, umetnost pa se nerada zadržuje zgolj na eni strani jezikovnih meja, smo za vas pripravili predstave z angleškimi nadnapisi. Na sporedu bodo vsak mesec.

From 19 to 21 February 2016 / Od 19. do 21. februarja 2016

Friday, 19 February, at 19:00 / Petek, 20. 2., ob 19.00
Saturday, 20 February, at 20:00 / Sobota, 20. 2., ob 20.00

Saturday, 20 February, at 18:00 / Sobota, 20. 2., ob 18.00

Sunday, 21 February, at 19:00 / Nedelja, 21. 2., ob 19.00


Directed by a young internationally reknowned Polish director Michal Borczuch Princess Dramas by Nobel Prize Winner Elfriede Jelinek are the missing half of Shakespeare’s histories. The suppressed reality of a girl’s or woman’s more or less feminine experience, the experience of the gender that will forever be tagged as the weaker sex, less interesting and ultimately less justified to be put on stage. The suppressed reality of princesses whom no prince can save, no matter how noble his breeding, how pure his intentions and how orderly his hair. Of girls whose eternal companion, interlocutor and confidante can only be death, regardless of the form in which it appears.

This is a cycle of five monologue miniatures. The heroines are half-mythologised female characters who stem from the fairy tale and media worlds, glazed with Schubert’s piece Death and the Maiden: Snow White, Sleeping Beauty, Ingeborg Bachmann, Jacqueline Onassis, Lady Di and Ms Jelinek herself, a feminist communist with a sophisticated sense of fashion who can hide her gaze with a pair of designer sunglasses, but we will always sense firstly a raised eyebrow behind them, which in sublime Bernhard-like manner tells us that the situation of the world of human things truly is as upside down as it seems at first glance.

The ladies’ theatre of Jelinek brings a little of Heidegger-like juggling with Truth and Beauty, some concealed Brechtian political sharpness, some referencing of Vogue, but above all the awareness that pathologies of small societies are simply crystallised symptoms of the great ones. If a wise lady, using the justification pertinent only to the citizens who show their patriotic love in the form of critical distance, once said that “Austria is a small world, a training ground for the big world” – then what is Slovenia?

Can the texts by Elfriede Jelinek speak about the pathology of all small worlds? Is the manner in which the author reveals the phenomena of sexism, fascism, anti-Semitism, relevant elsewhere as well? Can the stage of our theatre bear such dramatic language?



What: “My theatre text can never possibly be realised completely and is as such unfulfillable in real life as well. This theatre text thus remains a challenge to theatre artists as well as to society and life itself,” commented the young German author Wolfram Lotz in his text The Absurd Darkness. Lotz has inundated European stages in the past few years, meeting extreme success and causing a wave of excitement amongst thespians. His (albeit few) texts turn the concept of theatre upside down. They demand a completely new approach to staging and call for reconsidering the conventional theatre machinery.
The Absurd Darkness is a radio play that allows the possibility of a stage performance. It was inspired by the cult classic Apocalypse Now by Francis Ford Coppola. Two soldiers are ordered to venture into the depths of the fictive Afghan rainforest, to find and eliminate a crazy officer. During their own travels they meet bizarre people with even more bizarre stories. With the boat on which they travel, they penetrate the unusual world of exploitation, war horrors, abuse and the destructive desire for power. The horrifying alienation and increasingly bizarre events that prey on them in the rainforest are paradoxically close to us, as the dark core of the rainforest represents the world in which we live. In the text, we follow – through the feverish madness of two travellers – the elusive search for sense in a world in which man has forgotten about his fellow man. “We’re in the middle of a warzone, and we don’t even notice it,” is one of the sentences that cuts through the text. The Absurd Darkness is a desperate cry, an appeal to getting off a speeding train on which we find ourselves, an appeal to look around. To ask ourselves in what kind of world are we actually living?!

Despite its complexity The Absurd Darkness invites to a playful manner of performance. The text is written in a way that discloses the performative procedures, anticipates performing didascalia, shatters illusion and transfers the events to “the here and now”. With its procedures it never hides the facts that what we witness is only a fictive theatre text and we’re all together in the theatre. Even if the said theatre is, at the end, always teatrum mundi.

Who: Tin Grabnar was born in 1992 in Maribor. As a member of KUD Moment, the First Stage theatre school, the theatre school of the Maribor Youth Centre and the leader of the movement theatre Dotik, he has created a number of performances acclaimed at home and abroad. Between 2011 and 2015 he studied at the Academy of Theatre, Radio, Film and Television (AGRFT) under the mentorship of Sebastijan Horvat and Kristijan Muck. In this period, he worked as an assistant director to Jernej Lorenci and Tomaž Pandur (SNG Drama Ljubljana) and Tomi Janežič (Serbian National Theatre Novi Sad). Since 2014 he has worked as a mentor at the theatre school of the First Grammar School Maribor, the First Stage. We know him as the author of the projects Via kolektiv, Andromaha, ROB, Uspeh and Jaz ali kdo drug. He won the best text award at the international festival of amateur theatre Laktaši, and twice the best performance award at the festival Vizije.

Wolfram Lotz:
The Absurd Darkness
(Die lächerliche Finsternis)
Translation: Urška Brodar
Director: Tin Grabnar

Co-production: Mladinsko Theatre and Academy of Theatre, Radio, Film and Television
When: September 2015
Where: Lower Hall

Ladies and gentlemen, dear colleagues!

As you know, the Mladinsko will soon celebrate sixty years of activity. Even more: it enters the anniversary season with a new management, in a constellation of old and new employees, it comes from the foundations of traditions and turns towards the perpetual search for new practices of work and for comprehending the new.
First, I would of course like to say thank you. To all of those who have built this theatre, those still persisting and those who have already left. I’d like to thank my predecessor, Uršula Cetinski, who managed to anchor the Mladinsko with its exquisite and dynamic programme as a trademark not only in both the city and the state, but especially internationally.
I’m aware that nothing can be taken for granted. That nothing is permanent. I’m aware that we’ll have to earn your favours time and again. And for this reason there’s no point in hiding behind past successes, because, as a good friend of mine says, the one who hides, finds nothing. Only the one who seeks sees everything. For this reason, I’d like the search for everything to become our common search.
Art is never simply entertainment and even less so some higher form of wasting time and money, as it is often claimed. It is also a form of renunciation. And above all a temptation that invites us to passionately give in to the unpredictable.
If we say that this anniversary season will be a good excuse for questioning the identity of the theatre, we’re not thinking about the nostalgic reviving of the past, but primarily about the striving for searching the future of our relationships. The symbolic order of our common identity. And this is established only through the sincere confrontation with the spectator, in the sincere longing that our common utopias may, despite it all, come true. Because the proverbial fiction of the theatre often contains more truth and honesty than the forcibly stunted reality presented through the media.
For this reason, Mladinsko will not be (only) a theatre of putting on masks. Masks surround us every step of the way regardless. The Mladinsko has to establish itself as a place of directedness, a training ground for the shifting of (un)correctness and the simmering of suppressed emotions, as a pool of solidarity and, above all, as a territory of freedom.
Every theatre needs its Mladinsko. It needs a space where individual acting bravados blend into the youthful storminess of collective acting and where the view of tradition consciously, yet always respectfully, also turns away.
We have prepared an exceptional programme for you. Different, risky, yet loyal to the history of that future that still hasn’t arrived. The future that they want to tear away from us, yet we must never stop demanding.
You will hear more about the season from my dear colleague Goran Injac, whom I have trusted with the artistic direction of the theatre.

Tibor Mihelič Syed,
Director of the Mladinsko Theatre

THE RISTIĆ COMPLEX - in Rijeka, Croatia

Being the creator of the concept of the integrated Yugoslav space (KPGT), but also the president of Yugoslav United Leftists (JUL) led by Mira Marković, Ljubiša Ristić became the only victim of informal lustration in Serbia. To which degree it is possible to separate Ristić’s theatre and political actions is one of the questions raised in the performance which aroused theatre spirits the moment it was announced.

The project The Ristić Complex was initiated by Slovensko Mladinsko Gledališče on the occasion of their anniver­sary – sixty years since the theatre was founded and exhisted in Slovenian and Yugoslav theatre space. 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 a rehearsal of the re-contextualization of Mass in a-mole, Leviathan, Resničnosti – the performances directed by Ljubiša Ristić in SMG, 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.

The project has gathered an international, regional team of artists, researchers and producers, who have worked on the collection, analysis and interpretation of the collected material, creating thus a specific network of meanings, a discursive-ideological platform whose final aim is a theatre performance.

Our aim was not to make a theatre performance about the persona of the Yugoslav director Ljubiša Ristić, but a performance about past and present time as seen from the perspective of another generation of artists who make theatre within the relicts of Yugoslav cultural space, who speak their own theatre language, use their own aesthetics and, from the perspective of contemporary knowledge, analyse what they consider to be their cultural and theatre identity.

Mladinsko Theatre (Ljubljana, Slovenia), Croatian National Theatre Ivan pl. Zajc (Rijeka, Croatia), BITEF (Belgrade, Serbia) and MOT (Skopje, Macedonia)

Direction: Oliver Frljić

Dramaturgy: Goran Injac, Tomaž Toporišić

Cast: Draga Potočnjak, Nika Mišković, Jerko Marčić, Blaž Šef, Matej Recer, Uroš Kaurin, Primož Bezjak

Dramaturgy and research: Olga Dimitrijević, Ana Vilenica, Nina Gojić, Rok Vevar, Tomaž Toporišić, Goran Injac

English Translation: Vuk Tošić

Photography: Iztok Dimc, Tone Stojko, Igor Antič

“The question is why the two creators of KPGT, Ljubiša Ristić and Nada Kokotović, are the only two people for whom there is no place today, while other creators of KPGT renounce their most relevant biographies…”

Ljubiša Ristić

— OLIVER FRLJIĆ was born in Travnik, 1976. Until today, he has directed more than seventy theatre projects, which have drawn great public attention. Frljić is preoccupied with ignored topics from political reality, so his name has become synonymous for different, courageous, engaged and provocative theater. His performances have been won the Bitef Grand Prix two years in a row. (Zoran Djindjic, 47 Bitef 13; Aleksandra Zec, 48 Bitef 14). Performance Complex Ristić has its premiere at this year’s Bitef.


This year, from 21 to 29 May, we are going to witness the 9th reincarnation of Overflight festival, the fourth time as a cooperation between Mladinsko Theatre and Glej Theatre.
We try to add new contents to the festival every year: last year we introduced in-depth debates a day after the performance, while this year we will introduce three co-productions between the people creating in Glej Theatre and the Mladinsko Theatre crew.



In March the Mladinsko Theatre will organise a very special event for those theatre aficionados who are not familiar with the Slovenian language: A Weekend of Discoveries. In three days, between 20 and 22 March, we will present six of our most resonating performances from the recent seasons. They will all be equipped with English surtitles, and the performance Damned Be the Traitor of His Homeland! will have French surtitles as well.

The following performances will be shown:

  • Friday, 20 March, at 19:.00: Un Vent de Folie, an unusual and most entertaining show which blends the Slovenian folk and poetry tradition with traditional American stage genres such as vaudeville, cabaret and music hall. (Concept and directing: Mark Tompkins)
  • Friday, 20 March, at 22:00: Hero 1.0, an explosive physical performance by young artists dealing with the questions of heroism in our time. (A project by Uroš Kaurin and Vito Weis)
  • Saturday, 21 March, at 17:00: Pavla Above the Precipice, a performance inspired by the life of Slovenian mountain climber and cinema owner Pavla Jesih, based on the play by Andrej E. Skubic. (Director: Matjaž Pograjc)
  • Saturday, 21 March, at 20:00: Damned Be the Traitor of His Homeland!, an intertwining of fiction and reality, based on the story of the disintegration of Yugoslavia. A performance questioning the borders of artistic and civic freedom that has enthralled audiences in Europe and America. (Director: Oliver Frljić)
  • Sunday, 22 March, at 17:00: Glengarry Glen Ross, a savagely funny play by the icon of the American drama and film David Mamet about the ruthless world of real estate agencies. (Director: Vito Taufer)
  • Sunday, 22 March, at 20:00: The Heart in Hand, a touching story by Dragica Potočnjak, dealing with organ transplants and donations, donors and recipients. (Concept and directing: Mare Bulc)

Tickets may be purchased at the Mladinsko Sales Gallery at Trg francoske revolucije 5 in Ljubljana from Monday to Friday from 12:00 to 17:30, and on Saturdays from 10:00 and 13:00; telephone 01 425 33 12), and an hour before each performance at the Mladinsko Theatre box office at Vilharjeva 11 in Ljubljana.

Price of an individual ticket: 9 € / *6 €
Price of each ticket when purchasing three or more tickets: 7 € / *5 €
Price for a set of tickets to all six performances: 20 €

Media Patron: The Slovenia Times


HERO 1.0

HERO 1.0


A project conceived by Uroš Kaurin and Vito Weis

Co-production: Mladinsko Theatre and Kud Moment 

Premiere: 10 September 2014

Who are our heroes? Whose heroes are we? Why do we need heroes? What is a heroic act? These – and similar – questions are asked in the Hero 1.0 project, the first premiere of the new season, and at the same time the first co-production between KUD Moment and the Mladinsko Theatre. Authors Uroš Kaurin and Vito Weis find inspiration in the visual representations of the hero from antiquity till today, as well as in the literature, philosophy and their own experience. “The first and greatest hero’s victory is the one he wins over himself. Likewise, the hero in this performance can only be the one who shows no mercy to himself,” they say.


In a performance The Heart in Hand, premiered in June 2014, director Mare Bulc, together with Draga Potočnjak and his artistic collaborators delves into transplantations, organ donations, donors and recipients. Who are they? The former and the latter, the recipients and the donors – so (in)separately connected and so (in)definitely separated from one another. He wants to look into the dilemmas they faced before their decisions and the questions that transplantation medicine triggers in society. “In the system that we – as I idealistically hope – still have: a society of solidarity, a social, accessible public health system that tries to not differentiate. Solidarity! Hope! Respect! Humaneness! This is the world that inspires me!” says the director.

Cast: Alida Bevk, Neda R. Bric, Daša Doberšek, Ivan Godnič, Janja Majzelj, Sandi Pavlin, Ivan Peternelj, Draga Potočnjak, Matej Recer, Stane Tomazin, Matija Vastl
Irena Preda, Polona Janežič: Irena Preda, Polona Janežič
Language consultant: Mateja Dermelj • Music: Irena Preda, Polona Janežič • Set design: Davor Prah, Damir Leventić • Costume design: Elena Fajt • Costume design assistant: Mateja Velikonja • Light: Matjaž Brišar • Sound: Marijan Sajovic • Stage manager: Janez Pavlovčič


Following successful presentations in Germany, France. Russia, Portugal and Brasil and Florence Mladinsko opened a prominent Italian festival MITTELFEST in Cividale del Friuli. For more than twenty years Mittlefest has registered the changes and the tensions affecting Europe. In the 2014 programme the signs of a fragile and unquiet beauty appear clearer. The past intertwined with the future of music, a theatre of lost identities, the subtly cutting thought which inspires the creators of dance – these are some of the directions we have seen the arts take in recent times.

Like an international atlas, a collection of maps from a geography of art, Mittelfest 2014 recognises these signs and follows them in many countries. What we are presenting is a cartography of disquiet. This year's festival audience wants to monitor the Arts, which is not as vulnerable, inviting artists from Italy, Slovenia, Croatia, Serbia, Austria, Germany, Switzerland, the Czech Republic, the Netherlands and Kazakhstan. The response of the public and critics was very intense, stating that "the psychodrama of Mladinsko's actors has won the sympathies of the Italian public" (Il Messagero Veneto) with a specific energy and presence of the "incredible actors that sing, act and physically present the atrocities of the nationalisms today leaving the public breathless and perplexed." (La Republica).

The production of Damned be the traitor of his homeland! has been awarded a special prize of the jury at the 9th edition of the Young Theatres of Russia Festival, Omsk, Russia, on June, 6th 2013.

The decision of the jury reads as follows: To the production of Damned Be the Traitor of His Homeland! for the courage in development of the genre of political theatre

A success in New York

On March, 17th we presented to full audience at Ellen Stewart hall of La Ma Ma theatre in New York as a part of Perforations Festival New York our show Damned be the Traitor of his homeland! by a new star of Croatian theatre Oliver Frljić.

Using an aggressive style, the piece deconstructs Yugoslavian political, theatrical, and historical stereotypes while addressing the danger of committing a crime.

Critics wrote:

"A demonstration of anarchic theatre, combined with irony and moments of postmodern relaxation, the show Damned be the traitor of his homeland is by all means a work of its time."

"The Slovenian show directly attacks a series of dangerous taboos - some general ones and some which are specific to the Balkan cultural space - and it does it in a very upfront way, with the effect of a fist in the stomach. The audience is deeply troubled by this confrontation, especially that it is a permanent part of the show – as a witness, as a partner or as the enemy attacked with insults."

"Frljic is a notable provocateur, and this is the prime example of experimental theater Perforations has brought along, so it’s not to be missed."