| Premières 2011/2012 |
| Reprises 2011/2012 |
| Amado mio |
| A Clockwork Orange |
| Šumi |
| Damned be the Traitor of his Homeland! |
| The Vampire |
| A Chrysanthemum on the Piano |
| Eda – the Rusjan Brothers Story |
| Crime and Punishment |
| Totally Over You |
| Mišmaš Bakery |
| Love to Death |
| Kekec |
| Pippi |
| Nijinsky's Last Dance |
| Oliver Twist |
| Scandal in the Valley of St Florian |
| Diva saint mother bitch |
| Mephisto |
| Overflight Festival |
| Archive |
Klaus Mann – Žanina Mirčevska
Mephisto
Director: Eduard Miler
Translator of the novel: Lado Kralj
Description
Klaus Mann’s Mephisto (1936) is an early literary testimony about the rise of Nazism. It’s the best example of the intertwining of autobiographical elements and fictitious imagination, framed within the horrible period of the rise and the first symptoms, and later realistic threats, of Nazism. This novel about a treacherous intellectual who prostitutes his talent in return for transient glory was adapted for stage by Žanina Mirčevska, and it brought one of the most consistent and intriguing directors in this territory, Eduard Miler, back to our theatre after almost a decade. In his new performance for the Mladinsko, Miler poses the questions and responds to them with theatre imagination and the stage presence of the actors: What does Mephisto allow us? To locate those Mephistian mechanisms that even today make the theatre machine turn, along with, and especially, the narcissist actor who’s willing – to exaggerate – to betray his nearest for glory? And to continue: What kind of gender crisis is embodied in Mephisto? And to continue still: Does a connection exist even today (and maybe even stronger) between theatre and political play? What is the policy of a theatre that allows such play? |
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