7BL Ang Katalog Web

8/12/2019 7BL Ang Katalog Web

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rama.

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MARIBOR

12 th-15 th

SEPTEMBER

2O13

B ENNIAL

OF PU PPETRY

ARTISTS

OF SLOVENIA


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www.lg-mb.si/bienale/

www.ulu.si


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MARIBOR

12 th-15 th

SEPTEMBER

2O13www.lg-mb.si/bienale/www.ulu.si

B ENNIALOF PUPP ETRY

ARTISTS

OF SLOVENIA


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Seventh Index

Smooth Word Make Smooth Way 4Dr Uro Grilc: We Are Never Too Old for Puppets 6Dr Andrej Fitravec: A Pleasant Late-Summer Segue 7Silvan Omerzu: Puppetry Associations 8

Mag. Uro Trefalt: Puppets in Times of Cholera 10

Feival Puppetracker 12

Who I Who from A to Z 18Seventh Jury 20Seventh Story 22

Food for Thought On Dislay 50Vesna Teran: Pioneers (Aja Pengov, Mara Kralj, Slavko Hoevar) 52Vesna Teran: Erudite (Zlatko Bourek) 62Is There a Text in Puppetry? 67

A Retroseive 68Awards of the 6th Biennial of the Puppetry Artis Initution of Slovenia 70

47 entered plays of the 7th Biennial 72

Deert 74The Biennial Why 76Puppetry Artis Initution 77Members of the Puppetry Artis Initution 78Klemeni Award 80

Our Bedrock 82Colophon 83Tickets 83


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Mojca and the Animal, LGL, 1952, puppet designer: Aja Pengov

PhotoBOTJAN

LAH


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Smooth Word Make Smooth Way


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PhotoBOTJAN

LAH



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Aer two years, the seventh Biennial of Puppetry Artis of Slovenia

invites us once again to end a few days in September in the com-

pany of very ecial theatre.

It could be said, without fear of overgeneralization, that the form of

puppetry itself, regardless of the particular techniques, contains a

certain myery. It is not ju pure fascination, watching the puppet

ruggle for its convincingness and seeing how the puppeteer mu

keep his aention at its highe so that the illusion of the fantasyworld does not collapse in on itself, sending the audience through

the doors with uer disappointment; puppetry also opens the gates

to an intereing duality. There is something eecially magical

about marveling how the puppets are led, what they are made of,

and what message they bring all of this creates one of those rare

moments where we are well aware that what we are watching can-

not be real, and yet we are ready to believe, thanks to the extreme

expressive power and comfort it creates. Due to this synchrony of

fantasy and reality, puppetry may be one of the mo prolific art

forms when it comes to irring mental aivity and leading the au-

dience to sele the charaers and aions with their own interpre-

tation.

We are never too old to engage with the myeriousness of the

world, and so we are never too old for puppets. This autumn, they

await us in Maribor, ready to showcase the be that Slovene pup-

petry had to offer in the pa two years. To the organizers, I wish thatthe feival is a raging success; and I invite you, dear readers, to at-

tend the performances.

Dr Uro Grilc,

Minier of Culture

We Are Never Too Old for Puppet


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A Pleaant Late-Summer Segue

Dear creators and admirers of puppetry!

I will never forget my fir puppet theatre visit at the old location on

Partizanska Street. No less than three ages were aring at me,

and I kept liing my feet because I had a fixed idea that the puppets

would walk along the floor between us children.

That has been a long time ago; now I can enjoy the art of puppetry

on a new, third age in a theatre that had been taking shape inMaribor since my childhood.

Puppets represent much more to me than the eye can see at fir

glance. And the modern trends in worldwide puppetry, no maer

how tied in with tradition they may be, appeal to everyone. What we

now consider art for children was once an art form, a skill, and a

reminder for everyone.

This years seventh biennial feival is a pleasant late-summer seg-

ue to an evenul autumn of art in our city. In this way, puppetry also

improves our citys cultural and artiic recognition in Slovenia, in

Europe, and even worldwide.

To all of us who will aend one of the performances, may they pro-

vide a lot of artiic iniration; and to the diligent organizers, I wish

the be of luck and success in developing their feival in the fu-

ture.

Dr Andrej Fitravec,

Mayor of the Municipality of Maribor


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Puppetry Aociation

When I think of puppets, I am immediately reminded of some excep-

tional people I met and whom I conne with puppets. And to whom

I am very grateful. Mara, Slavko, Anja, Miroslav, Karel, Toma, Metka,

and Zlatko, I am proud of you.

The next thing I remember is Prague. Twice in my life, fir in the

early 80s and then in the early 90s, I lived in the old part of town, ju

some hundred meters from the famous clock. I usually kept to my

own neighborhood, shopped at the same ores and frequented thesame pubs, so I wasnt too familiar with the city at large, though I

could always wander around the dark alleys in the old heart of the

town.

When I visited my beautiful and memory-filled Prague once again

and went for a walk around the old diri I held so dear, I noticed

that the old Narcis wine shop was missing a vinotheque that was

once open all night and where tipsy jazzis would play the beautiful

Life I Jus a Coincidencein the wee hours of the night. Or end up

wai-deep in improvisation until the boss told them off. Where an

aged beauty queen of ages gone pa sat every night, her expres-

sionless face powdered white like a mask, with eerily long eyelash-

es. She oke German, and always vanished through the employee

entrance into the unknown when morning neared. I miss the tobac-

co shop on the corner and the toy repair shop a bit further down the

road. However, theres ill the Two Cats reaurant, where I once

witnessed an intereing conversation between two neighboringdiners. The fir one explained how aer washing his hair he has ju

enough shampoo le for his armpits, and the other one retorted

that he is le with enough shampoo for both his armpits as well as

for down there. The coffeehouse, where dance evenings for the

elderly were held on the fir floor, is gone. With the fir sounds

coming from the orchera, the old men would hobble off mischie-

vously to grab their ladies. Once, an overeager elderly dancer was

carried out on a retcher, yet he ill kept looking touchingly at his

dancing partner as if saying that she should wait ju a bit, as he willbe back right away. But he never, ever returned. And I miss the pup-

peteers with whom we had been preparing a performance for al-

mo half a year, with no remuneration at all, only to have the cen-

sors ban the performance aer their fir mandatory viewing. The

performance was a collage of old Prague ories, one of which par-

ticularly uck in my memory:

An old Prague monasery once held a competition for a satue of

The Crucified. Many culptor and whiler applied. One poor whit-

tler wa eecially fervid to receive the commiion, and he

earched day and night for a model with an afflied enough look onhi face to mimic Chris uffering. Aer month of earching, he

finally dicovered the deired uffering expreion on the face of a

ickly and sarving beggar. He took him into hi home and provided

him with water and food. To hi horror, the whiler witneed the

beggar uffering expreion turn into one of gratitude. He became

infuriated and tied the beggar to a cro, ready for poing. He tor-

tured and sarved him, but to no avail. A week went by, and the beg-

gar expreion sill want uffering enough. The whiler turned

ever more violent and mad. And when he finally noticed one day that

the beggar face wa dilaying it old uffering expreion again,

the beggar merely lied hi tired head, looked at the whiler,

miled, and expired with a mile on hi face.

Silvan Omerzu,

Chairman of the Board

of the Puppetry Artis Initution of Slovenia


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PhotoBOTJAN

LAH

Imaginary Invalid, LGL, 1998, puppet designer: Zlatko Bourek


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Puppet in Time of CholeraA report from the seleor of the 7thBiennial of Puppetry Artis of Slovenia

I mu admit that due my decade-long absence in this theatre gen-re, being this years seleor represented both an immense chal-lenge and an amazing experience, since my thoughts while break-ing down the performances and assessing the Slovene puppetryproduion of the pa two years were open, unburdened and fresh.Integrity andcomparionare my two main mooes in the report onthis years Biennial.

I aended 45 of the entered plays, mo of them live eecially

those that rely on the atmohere of a realiic ace and on theambientality of the performance. Ambientality is gaining ever morepresence in Slovene puppetry, and it is good to see that the classicalbaroque boundary between audience and performance is erodingaway. It isnt ju about formal innovation, but rather about empha-sizing the peculiar charaeriics of puppets their direness,emblematicness, even their dedication.

If I were to compare Slovene puppetry 15 years ago and today, themain things I should point out is how well it matured and how inte-

gral and accepted it became as part of Slovene art. This is evidencedby countless young creative minds that either udied abroad or at-tended the Ljubljana Academy of Theatre and who fully realized thealternative possibilities offered by puppet theatre, its animation andits interpretative possibilities. Aer all, it did take quite a while forSlovene puppetry to demonrate its alternative, ecial and uniqueinterpretative possibilities. Fieen years ago, explaining the es-sence of puppetry and finding coworkers to produce quality per-formances in the irit of its essence was a lot harder, whereas to-

day we can witness a myriad of different theatrical techniques beingapplied. We owe this mainly to the renaissance of shadow theatre(as a means of aging epic ories, reminiscences or abra im-ages) and of video projeions (as part of modern multimedia trends)as well as the reintroduion of Java puppets and the growing en-thusiasm for simple obje-oriented plays. The use of all sorts ofpuppet techniques demonrates a real comprehension of puppetryand of underanding its inexhauible interpretative possibilities.All of this follows direly from the fresh breeze that is finally waing

through the puppetry in our back of the woods and from the rong,uncompromising personalities with a truly professional puppetrycodex that have appeared on our scene.

Tying up a performance into a well-rounded whole demands no lessthan a colleive train of thought by all coworkers. Integrity is veryrarely a refleion of merely the udy approach of the performanceinto which the creators enter; more oen than not, it is the produand refleion of a lengthy and well-condued flow of ideas and theexchange of opinions, both of which are found either in schools or inexceptionally talented creative groups. This is how yles, schools,trends and exceptional eras are born.

The fruits of the Slovenias professional puppetry artis in the patwo years serve as a confirmation for all puppetry professions,which are more than able to create a coherent and complex per-formance.

This goes hand in hand with the high level of animation. Mo of theperformances Ive seen orted good animation and an original linkbetween aor and animator that isnt purely about the aors oranimators technical routines, but rather about working together. Iam convinced that such outanding achievements are not merely

the result of ecialized and trained artis, but also of seminars,leures and cooperation with experienced direors from Sloveniaand abroad.

Another hallmark of contemporary Slovene puppetry is its diversity.Diversity not only in terms of genres but also in the ages of the tar-get audience, seeing how many performances are aimed at differ-ent age groups. This is a phenomenal quality in such a small cul-tural ace. More and more performances are aimed at babies andtoddlers and not as some form of entertainment programme for

kindergartens, but rather as well-conceived and well-performedplays with a clear dramatic ruure, aehetic representativenessand a healthy dose of psychological analysis eecially in the prep-aration age of the performance itself. Even more surprising is thefa that these performances truly impress the toddlers and suc-ceed at conveying an aehetic-educational message.

The mainay and lions share of the performances consi of playsthat include ories, fables, fairy tales, legends, and narrativeswhich meet the needs of the wide swathes of our young audiencesthrough a multitude of approaches. Mo of these play haveachieved a proper and high-quality level of performance, meaning


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Mag. Uro Trefalt,seleor of the 7th Biennial

that the plays with which children mo oen come into conta intheatre, schools, kindergartens and at various events consientlyheed the ecifics of puppet theatre and eagerly explore its expres-sive possibilities.

Another feature of the performances Ive witnessed is the large pro-portion of plays that are aimed at young people and adults. It is in-

tereing that they oen cover psychological, philosophical, hiori-cal, or even political themes, as well as topics that are quite novel toSlovenia. Not all of these adult performances are truly successful,though. The reasons are the same as fieen years ago: a lack ofconsideration for, and a misunderanding of puppetry. For manycreative heads, puppetry is merely a design approach and a formalscheme, and they never delve deeper into the alternative possibili-ties of adult puppet theatre. I moly encountered two extremes either a perfeed puppetry performance, or a puppetry perform-

ance as envisioned through the eyes of a drama creator. The laerperformances oen carry the burden of dramatic rigidity and an un-conscious perception of the charaers through tinted aing-dra-matic lenses. This problem has been tormenting Slovene puppetrysince its very beginnings.

There is an ae to Slovene puppetry, however, which hasnt beenas modernized and perfeed as it might seem at fir glance. Oneecial charaeriic of Slovene puppetry artis ill remainsrong: radio play on the puppet age. Aer all, the mo success-

ful classical Slovene puppetry texts ill originate from radio plays.The pronounced literary charaeriics of Slovene puppetry may beaributed to the lack of familiarity and refleion on the ecificsthat are offered by puppetry; to the burden of eablished notionsabout what puppetry truly is; to the predominant emphasis on theliterary components (contents are subordinate to form); and to thelack of originality. The ronge advantages of puppet theatre areits theatrical syncretism and the complexity and equality of all itselements.

While I initially emphasized the advantages and the swi develop-ment of puppetry in terms of aing, animation, design and dire-ing, the same cannot be said about its literary and dramaturgicalprogress. Original ideas by numerous creative minds usually remainin the drawer and never reach their full potential. While outandingSlovene and foreign literature is frequently converted into puppetryform, the fa that such a tranosition requires a careful and de-manding transfer of verbal signs into their theatrical counterparts isoen overlooked. Given that visual design is an important part of

puppetry, the lacking contents are easily painted over by the form.Even so, the aentive theatregoer isnt easily fooled.

My seleion of performances for the seventh Biennial res uponthe integrity of these plays. I picked those performances that dis-play an integral harmony in all individual segments of their aging.This was exaly what I admired and valued mo as a viewer, sinceit truly marks these performances as puppetry. Even more, this in-tegrity ensures a diin identity of the artiic genre in a given en-

vironment. For now, this has been achieved only by a sele few in-dividuals in their outanding performances. But the key to a morecomprehensive development of puppetry in all its segments willsurely be academic education and training. Failing that, my opinionin another fieen years might remain the same.

Propoed Performance for the Competition Programmeof the Biennial

1. When Shlemiel Went to Waraw, the mo well-rounded andimaginative performance2. The Boy Who Became a Hedgehog, a well-rounded example ofoutanding aing3. The Trial or the Woeful Story of Joeph K., well-rounded andwell considered4.You Catch!, well-rounded, intelligent and aehetic5.You and I, well-rounded performance with maximum

consideration for the audience6. Beiaire, well-rounded and appealing (my proposal for theopening performance)7. Laila, well-rounded and visually sensible8. Lile Salamander Goe Acro The Road, well-rounded and areal experience9. Salto Mortale, well-rounded, ronge in terms of content10. Videk Shirt, well-rounded with the cute visuals11. I, Legend, well-rounded, mo unique and minimaliic

Propoed Performance for the Accompanying Programmeof the Biennial

12. The Man Who Planted Tree, the mo personally expressiveand intimate performance13. Hole, the mo absurdly noisy performance (my proposal for theclosing evening)14. Toy Block, mo appealing to children


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Feival Puppetracker


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Lyisrata, LGL, 1987, puppet designer: Zlatko Bourek

PhotoBOTJAN

LAH


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Feival Puppetracker

Thurday12th September 2013

17:00,Kibla exhibition centre

Opening of the exhibition Erudite by Zlatko BourekThe exhibition will be on view until the end of September 2013.*

18:00,LGM Caf

Opening of the Pioneerexhibition fromthe fund of Ljubljana Puppet Theatre(Aja Pengov, Mara Kralj, Slavko Hoevar)

The exhibition will be on view until the end of September 2013.*

19:00,Great Hall, LGM

Opening of the FetivalLjubljana Puppet Theatre,DudaPaiva Company & Laswerk,Kilden Teater & RikeatretBeiaire

20:30,Small Hall, LGM

Puppet Theatre MariborSalto Mortale

22:00,LGM Club

Puppet Theatre MariborThe Trial or the Woeful Storyof Joeph K.

Friday13th September 2013

9:00,Great Hall, LGM

Puppet Theatre Fru-FruVidek Shirt

9:00,Small Hall, LGM

Ljubljana Puppet Theatreand Art Association KonjYou Catch!

10:30, Great Hall, LGM

Puppet Theatre Fru-Fru

Videk Shirt

10:30, Small Hall, LGM

Ljubljana Puppet Theatreand Art Association KonjYou Catch!

12:00, Studio LGMZlatko Bourek:Figurentheater Theatre of FreakLeure

15+

16+

15+

2+

2+

2+

2+


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AEIOU, Theatre for Babies,Toddlers, and ParentsYou and I

15:00, Foyer, LGM

Ljubljana Puppet Theatre

Laila Aer LailaSpace inallation

17:00,Great Hall, LGMAEIOU, Theatre for Babies,Toddlers, and ParentsYou and I

17:00,Foyer, LGM

Ljubljana Puppet TheatreLaila Aer LailaSpace inallation

18:00,Studio LGM

Dicuion on performanceModerator: Amelia Kraigher


Moment MariborI, Legend

21:00,Small Hall, LGMMoment MariborI, Legend

22:00,LGM Club

Puppet Theatre MariborThe Trial or the Woeful Story

of Joeph K.

14(up to 6a well)

14(up to 6a well)

15+

7+

7+

12+

12+


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Saturday14th September 2013


Ljubljana Puppet TheatreLile Salamander Goe Acro

The Road


Puppet Theatre MariborWhen Shlemiel Went to Waraw



Lile Salamander GoeAcro The Road


Puppet Theatre MariborWhen Shlemiel Went to Waraw

14:00, Studio LGMDicuion on performanceModerator: Amelia Kraigher


Puppet Theatre MariborThe Boy Who Became a Hedgehog

17:00, Foyer, LGM


Laila Aer LailaSpace inallation


Puppet Theatre Maribor

The Boy Who Became a Hedgehog (MB)

18:30, Foyer, LGM

Ljubljana Puppet TheatreLaila Aer LailaSpace inallation

20:00, LGM Caf and LGM ClubPupparty

2+

5+

2+

5+

3+

3+

12+

12+

Feival Puppetracker


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Sunday15th September 2013


Puppet Theatre MariborToy Block*


Puppet Theatre MariborToy Block*


Puppet Theatre MariborThe Man Who Planted Tree*

13:00, Studio LGM

Daily DicuionModerator: Amelia Kraigher

15:00, Studio LGM

I There a Text in Puppetry?

Symposium led by mag. Uro Trefalt



Hole*


Cloing event with Klemeniand Feival Award ceremony

*Performances from the accompanying programme

1.5-4

1.5-4

15+

18+


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Who i who from A to Z


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Pinocchio,LGL, 1959, puppet designer: Mara Kralj

PhotoBOTJAN

LAH


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International Jury of the 7th Biennial of Puppetry Artis

of Slovenia (in alphabetical order):

Zlatko Bourek, CRO

Barbara Bulatovi, SLO

Matja Pograjc, SLO

Seventh Jury

Zlatko Bourekwas born on 4th September 1929 in Slavonska Poe-

ga, Croatia. He graduated in 1955 under prof. Koa Angeli Radovani

at the Croatian Academy of Fine Arts in Zagreb aer graduating from

the Academy of Applied Arts. In 1957, he designed an obje at the

indurial design udio that was later on dilay at the Triennale di

Milano.

Boureks creative diapason is extensive: he is a painter, sculptor,

graphic designer, theatrical direor, set designer, coume design-

er, author of animated films, cartooni and, la but not lea, anabsolute author of puppetry performances. His graphic artworks

went on dilay for the fir time in 1959, and in 1963 he introduced

the public to his paintings which had already foreshadowed his for-

ays into grotesque, caricature, humor and surrealism. He is one of

the co-founders of the Zagreb School of Animated Films (1960), hav-

ing created twelve animated films and three short live aion films;

one of the retroeives of his animated films was on dilay at the

famous MoMa in New York.

Bourek turned a new page in the hiory of Croatian and Slovenetheatre mainly through figure theatre (as he calls it himself). He de-

buted as set and coume designer at the Gavella theatre in Zagreb.

He collaborated with the LGL and Zapik in Ljubljana and designed

both sets and puppets for eight performances, three of which he

also direed. He also worked as set and coume designer in Wup-

pertal, Dortmund, New York, Munich, Turin, and various theatre

hotots across the former Yugoslavia. He has been a permanent

member of the Hans Wur Nachfahren theatre in Berlin since 1988.

He became an associate at the Croatian Academy of Sciences and

Arts (HAZU) in 2002, and was honored with full membership in 2010.

He received numerous prizes and awards, mo notably the Diploma

for his animated film Captain Arbanas Marko in 1968 at the Ober-

hausen Feival and the Vladimir Nazor Award for Life Achievement,

awarded by the Republic of Croatia in 2005. He also held countless

independent exhibitions across Europe and the US (New York) and

collaborated at joint exhibitions in Alexandria, Athens, Thessaloniki,

Venice, Budape, Wiesbaden, Rome, Tokyo, Caracas, Cuba andelsewhere.


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Barbara Bulatovigraduated in 1990 from the French ESNAM diin-

guished national school for puppetry in Charleville-Mzires. She

initially focused on art and set design, dramaturgy, and semiology.

She continued her pograduate udy at the DAMU in Prague and

took up direing at the Minor Theatre in Prague. She has been work-

ing as an independent puppetry arti since 1994.

As animator, designer, direress, and screenwriter, she collaborat-

ed with the Ljubljana Puppet Theatre (Barley And The Boat, authors

projeSmall Animal) and the LGM in Maribor (On the Nine Month),as well as worked on numerous non-initutional and interdiscipli-

nary produions (Ana Monr Theatre, Rozinteater, Mini Theatre, Za-

vod Bufeto, Sensorial Theatre, Physical Theatre, Association of Pup-

peteers, Joe Pengov Puppet Theatre, etc.) along with three puppet

films.

Her puppetry approach covers topics that deal with the thin line be-

tween the real and the imaginary world, between the concrete and

the abra, the mind and the mind-behind. This is evident in her

authors performances The Child and the World, Chalk, King Alcohol,Who the Crazy One Here?, Focu Pocu, Simpliciimu, Bewitched

Place andOptical Illuion.

She also as as a workshop mentor, organized by the ugla school

of reet theatre (e.g. obje theatre) and the JSKD Slovenian Public

Fund for Cultural Aivities (hand puppets, Czech marionees), as

well as holds workshops on the topics of recycling, age voice, and

primitive manipulation.

Her sketches and puppets went on dilay at the Beigrad Gallery

(From Sketch to Puppet, 2009) and the Daktari Club (Protagonis,

Lutke International Puppet Feival 2012).

Matja Pograjc,born in Ljubljana in 1967, threw his Pippi Longock-

ing in the trash at 12 and gave his marbles to his neighbor. He en-

tered the computer science gymnasium and later enrolled at the

Faculty of Computer Science: running away from words led him to

numbers; he gave up on belles-leres and drowned in technical lit-

erature. He created his fir performance with his schoolmates at

the Poljane upper secondary school and later enrolled at the Ljublja-

na Academy of Theatre, Radio, Film and Television, focusing on

theatre direing. And so his Betontanc (Concrete Dance) came topass, the proje that led him on numerous visits to European thea-

tre feivals and through which he realized that the Berlin Wall may

have fallen, but the walls inside peoples heads are much harder to

tear down. That was why he built his own wall in his performance

Every Word a Gold Coin Worth. For his breakthrough performance,

he received the Grand Prix in Paris, and later two Slovene national

awards, the upani Award and the Preeren Foundation Award. He

created no less than 12 projes with Betontanc.

In 1994, he was hired by the Slovene Youth Theatre where he has di-reed more than 20 performances, enhancing two of them with his

own coume design and one with his set design. His fir polarizing

achievement was direing Roberto Zucco, the serial killer besell-

er by Kolts. Critics in Slovenia tore him apart, while South American

critics adored him and Germans yled him a wunderkind. He col-

laborated with the Bunker Initute, Glej Experimental Theatre,

Ljubljana Puppet Theatre, Preeren Theatre Kranj, and numerous

foreign theatre partners (France, Japan, Columbia, Lithuania, Nether-

lands, Serbia). He wrote the screenplay for Expre, Expre(dire-

ed by Igor terk).

To sum it up: performances aged in 300 cities in 40 countries on 4

continents, awards from almo all over the place, and mo impor-

tantly: one wife, two kids, one dog, one home, one car and one rub-

ber boat.


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AEIOU, Theatre for Babie, Toddler, and Parent

AEIOU, Theatre for Babie, Toddler, and ParentW [email protected] +386 41 991 030 (Mateja Ocepek) and

+386 31 301 516 (Katja Pove)

You and Iis an interaive performance which utilizes opposites

and similarities to create a humorous world of absurd situations. A

chain of wiy transformations, aided by a washing machine, gives

rise to a new, playful, and humorous world of twin siers. The

washing machine unprediably changes things: clothes turn into

beings, and everyday objes acquire new meanings; the twin

siers always manage to use them to create exciting, funny and

pleasant events while preparing for a birthday party.

AEIOUis an independent group of artis working in visual,

physical, and obje theatre to create performances for babies and

toddlers aged from three months to four years. The performances

are a playground of music, sounds, words, visual expressions, and

physical and emotional imuli motley comedies that ir up the

lile ones imagination and entertain the grownups.

The AEIOU Theatre was founded in 2010 by puppet direress Katja

Khknen, sculptor and art teacher Mateja Ocepek, and puppet

animator and aor Katja Pove, in cooperation with other creativeminds and a psychologi.

AEIOU holds two performances in its repertoire: Head Down Leg

Up!and You and I. The contents, sounds, and visual aes of the

performances are entirely tailored to the psychological and

physiological ages of development of the younge audiences,

while their contents easily relate to the childrens daily life. Both

performances are interaive and urge the toddlers towards

exploration and independent manners of expressing themselves

while encouraging them to develop their imagination. The

emphasis lies on the things that are here and now, and in which

cause and effe can easily be seen.

The performances have been repeated more than 180 times and

aended by a total audience of more than 10,000. With ju these

two performances, AEIOU have been gues in numerous culture

centres and Slovene kindergartens, as well as many feivals,

including the BRAVO! International Theatre Feival for Children and

Youth in 2012 in Helsinki, Finland, the Biennial of Puppetry Artis ofSlovenia in 2011 in Maribor, the Bobri feival in 2011 in Ljubljana,

and many more.

You and IDireressKatja KhknenScreenwritersKatja Khknen, Katja Pove,Mateja Ocepek

Set and coume designersKatja Khknen,Mateja Ocepek, Katja PoveComposerPatryk WilinkiVideo authoriga StanovnikTechnical assiantIgor VukTechnicianAne VirantPhotographerMatej Pove

AorsMateja Ocepek, Katja Pove

Duration of performance40 minute

Co-produion Hart Art Initute,

Aociation of Puppeteer

Premiere November 2012

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competition programme


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Puppet Theatre Fru Fru


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Puppet Theatre Fru-Fru

FRU-FRU lutke, Poavkega 22, 1000 LjubljanaW www.frufru.iC Irena Rajh KunaverM +386 41 663 904T/F +386 1 53 46 808E [email protected]

Child, mommy, brothers and siers, a bed, a small oon and abowl of pap a safe home where we eat, sleep, and play. The worlda child recognizes from his everyday life. Outside the house:meadows, a ream, shrubbery, and some animals that the child iswatching. Look, a ider on his web, a bird in the air, a white sheepon the meadow! The Sun in the sky, and a cloud! The child isalready familiar with all of these, either from their backyard or frompiure books, since that is usually where they see lambs andcrabs for the fir time.

Leviks Videk performed by the Theatre Fru-Fru is a performanceaimed at the younge, not ju through its contents, but alsothrough its visuals; filled with so forms, warm materials and livelycolors that intertwine in a ecial, slow rhythm with the voices ofrhythmhized and sung words and tiny inruments.This time, Leviks Videk without a shirt is not a social tale ofpoverty, nor is it focused on the didaic narrative of how clothesare made. It is lile Videks dreamlike journey around his homebackyard. The dreams bring intereing encounters with familiaranimals and a new shirt. Even mommy seems surprised by it. She

is surprised at many odd things, including the presents from FatherFro and the Tooth fairy. Although it seems she holds some sort ofecial arrangement with them. Could this also be true this time?

Originally (in 1984), Puppet Theatre Fru-Fruwas a typical out ofthe suitcase theatre, but 1993 saw it turn into a professional familytheatre that seeks to transform famous childrens ories intocorreonding puppetry performances. Accompanied by livemusic, the performance of both aors unveils a secret world of anensouled truth of the obje; it oen enchants entirely ordinaryobjes into puppets who become the childishly simple obje ofthe truth of the world.Puppet Theatre Fru-Fru has been a welcome gue at severalrenowned international feivals both home and abroad, and hasreceived numerous recognitions and awards. Fru-Frusperformances make a regular appearance at the Biennial ofPuppetry Artis of Slovenia, and they oen co-produceperformances with other theatres (Theatre Zapik, Theatre Glej, KudFrance Preeren, the House of Children and Art Society, etc.). They

cooperate with renowned puppet direors, artis, writers,musicians, and aors. Theatre Fru-Fru is turning more and moreinto a hub of different concepts and poetics, and is gaining theunmiakable charaer of a repertoire theatre that performs over250 plays each season.

Videk ShirtAuthorFran LevikDireressIrena Rajh KunaverDramaturgeJelena Sitar Cvetko

Artiic and puppet designerMonika PekovaComposerIgor CvetkoMusicianMarjan Kunaver / rpd Balz PiriCoume designer Iztok HrgaWeaverIrena SitarSet makerMarjan KunaverPhotographerUrka Boljkovac

AorIrena Rajh Kunaver

Duration of performance 35 minute

Premiere Oober 2012

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Ljubljana Puppet Theatre,DudaPaiva Company & Lawerk,Kilden Teater & Rikeatret

Ljubljana Puppet Theatre see page 28.

A thrillingly magical harmony of dance and puppets. Duda Paiva,

known for his magical fusion of contemporary dance and obje

theatre, has already le his mark in Slovenia with his provocative,

philosophically-tinted and humorous physical performance Love

Doll. Now hes back with his newe creation Besiaire, a

multidisciplinary visual theatre proje.

Besiaire, or gods on tour, is a show by the popular Greek gods. In

the form of humans, animals, or beas morphing into surprising

shapes, these gods experience failures and repeatedly celebrate infront of the audience who are mere mortals their own

immortality. The mythological beings unveil a ory about coming

face to face with a thrilling avantgarde sensitivity which poses a

unique challenge to our notions of these modern times, of beauty

and ugliness, of fantasy and reality.

Duda Paivais a multi-talented Brazilian age arti who moved to

the Netherlands in 1996 as a dancer. His aempts to fuse dance,

puppetry and other aging arts took root in 1998 with Loot, aperformance he designed in cooperation with the Gertrude Theatre

puppet company. Since 2005, hes been orting his own brand

DudaPaiva Company, blazing a trail for the fusion of

contemporary dance, puppetry, music and multidisciplinarity.

In recent years, Duda Paiva became a true feival phenomenon

each of his new produions (Angel, 2004; Morningsar, 2006;

Basard, 2011) has been showered with awards at numerous

puppetry and dance feivals around the world. In 2006, he was a

featured gue at the Lutke international puppet theatre feival inLjubljana, where his performanceAngelreceived the Lile Prince

Awardfor the be overall performance. In Slovenia, he is known

moly as the author and direor of the radical puppet

performance Love Doll, which had its premiere in 2009 at the

Ljubljana Puppet Theatre.

BeiaireAuthor and direor Duda PaivaDramaturgeJaka IvancComposerErikk McKenzie

Light designersKai Roger Havn, Mark VerhoefVideo authorsMark Verhoef, Wilco AlkemaPuppet maersJoe Lai, Jim Barnard,Kari Noreger, Duda PaivaCoume design advisorCatrine Gudmead

PerformersIztok Luar (SI), Eer Natzijl (NL), Ilija Surla (SR)


Co-produion DudaPaiva Company & Lawerk (NL),

Kilden Teater & Rikeatret (NO)

Premiere Danen Hu Olo, 20th September 2012;

LGL, 20th April 2013

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Lutkovno gledalie Ljubljana, Krekov trg 2, 1000 LjubljanaWwww.lgl.i

T+386 1 300 09 70F+386 1 300 09 [email protected]

The performance uses excerpts fromA Short Tale of Albert Kyk,

the Flying Dreamby Ivan Vyskoil, translated by Martina Mauri

Lazar.

The tragicomical Laila, surrounded by thought bubbles, is a

charaer created by Michaela Pavltov, the Oscar-nominated

and multiple award-winning Czech direress of live aion and

animated films. The episodes, now short as a breath, now long as a

Monday, follow the life of a cute girl who sometimes gets lucky, but

ju as oen has her fortune turned; a girl who sometimes wants tobe a beauty, but at the same time realizes that the essence lies

elsewhere; a girl who loves drawing, creating films, poetry, and

potato chips. These episodes were pulled out of the two-

dimensional reality of short animated film and brought to life in the

three-dimensional reality of a theatre age with a flurry of music

by Milko Lazar and with some ingenious age inventions by two

multi-talented creative maerminds of puppetry and theatre,

Martina Mauri Lazar and Gregor Lorenci.

At the Ljubljana Puppet Theatre, founded in 1948, the pa decade

brought some profound changes in leadership and artiic

approaches. Since 2009, when the Theatre for Children and Youth

joined LGL, their artiic ensemble grew to 24 members and creates

about ten premiere performances each year while keeping some 40

performances from pa seasons in the repertoire. They perform

about 800 times each year on their six home ages (Grand age,

Small age, Drama age, Stage under the ars, the Tunnel, and

the Kulturnica age) as well as on various gue appearances inSlovenia and abroad, for a total audience of about 100,000.

Their repertoire includes classical and contemporary works by

Slovene and foreign authors with an emphasis on the younge

audience aged 1 to 12 (LGL dedicates about 75 % of their programme

to this age group), though they have been focusing on adolescents

and adults as well.

The Ljubljana Puppet Theatre collaborates with other Slovene

theatres and foreign producers, and organizes two international

biennial feivals: Lutke andGolden Stick.

They are an aive member of several international associations

including UNIMA, ASSITEJ and Small Size.

LailaAuthors Martina Mauri Lazar and Gregor Lorenci,based on motifs from animated films by Michaela Pavltova

DireressMartina Mauri Lazar

ComposerMilko LazarAssiant to GregorLorenciNeva VrbaMusicians Milko Lazar, Polonca Kore,Bojan GoriekSpeech advisor Tatjana StaniStage manager and sound maerIzidor KozeljSet technician Slobodan IliSeamresses Sandra Birjukov, Marjeta Valjavec

Set makers Mile Pavlovi, Iztok Bobi, Zoran Srdi

Performers Martina Mauri Lazar, Polonca Kore


Premiere September 2011

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Ljubljana Puppet Theatre18+


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Take a trip down the rabbit hole and follow the Late Rabbit into aterrifying fairy tale world. A world of teacups, clockwork

mechanisms, jam jars, memories, scents, and the sound of old

aic doors. Enter the world of dreams, turn off your mind and

surrender to Alices prism of the world. Forget who you are. You are

Alice.

This surreal sonata, a fusion of obje theatre, puppets, and aing

theatre with a pinch of cabaret and a good dollop of grotesque, will

certainly take you by surprise, as it emphasizes the theatre of thesubje. Sound, light, words, and motion are equal impulses here,

giving meaning to the whole through principles of musical logic. A

multi-layered composition in which every member of the audience

will find his or her own meaning.

Intended primarily for adults.

HoleAuthorMatija Solce based on motifs fromAlice in Wonderlandby Lewis Carroll

Direor and composer Matija Solce

Dramaturge of the adaptation Tea KoveArt concept Marianna StrnkSet designer Laria KaziStage manager and sound maer Zvonimir UrbiLight direor Danilo KorelecSet technician Andrej SlinkarPuppet, set, and coume maers Sandra Birjukov,Iztok Bobi, Zoran Srdi, Marjeta Valjavec

Aors Miha Arh, Polonca Kore,Gaper Malnar, Martina Mauri Lazar


Premiere of the adaptation September 2012

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accompanying programmeKO

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The aim of the dramatized poetry by Sreko Kosovel is to

encourage the viewers to indulge in wonder as well as to soen,

cheer up and rock themselves into the simple rhythms of his

verses. This poetic and puppet collage takes its viewers to the

world of sensory, musical and imaginative theatre. Use all your

senses and enter the theatre, which in fa is the World itself and

allow yourselves to be amazed! For it really offers so many

intereing things ...

In Lile Salamander Goe Acro The Road, there are no puppets.

But there is animation! The animation of everything: ace,

material, objes, light, sounds, words, people. We animate Sreko

Kosovel, we animate the performance, and we animate the

viewers. Why? The artis wish not only to enjoy the images and

events mediated by the poems, but also to scoop up their irit.

Poems are the scoops of life.

Lile SalamanderGoe AcroThe RoadDireorMatija SolceAuthorsSreko Koovel, Matija SolceSet designerPrimo MihevcArt concept Veronika SvobodovDramaturge Jelena Sitar CvetkoSpeech advisor Magda LojkLight designer Matija SolceStage manager, sound designer and light direor Ale ErjavecSet technician Andrej SlinkarSet makers Primo Mihevc, Veronika Svobodov,Marjeta Valjavec and Iztok Bobi, Zoran Srdi,Mitja Ritmani

AorsMiha Arh, Tjaa Koprivec, Polonca Kore andNika


Premiere March 2013

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Ljubljana Puppet Theatre and

Art Aociation Konj 2+


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Art Aociation Konj

Gledalie Konj, Vrhoveva 13, 1000 LjubljanaCSilvan [email protected]+386 31 640 828

A comedy with running and singing designed for the youngeaudience and direed by the versatile puppet arti Silvan Omerzu,

this performance features an artiically purified, musically

iniring, playful and dynamic work. Its wiy text was contributed

by Saa Eren, a writer of the younger generation whose piure

book The One about the Flearanked her among the five finalis

for la years Original Slovene Piure Book Award.

In one of the shorte and mo popular Slovenian folk tales, a dog

is chasing a rabbit for ealing his shoes, and yet he hasnt caught

him to this day. The tale inired a contemporary age version of

this ory where the dog and rabbit are neighbors. As is quite

common between neighbors, the two of them quarrel, compare

and compete with each other all the time. They really are like day

and night: the dog wears sneakers, the rabbit shoes; the rabbit

likes carrots, the dog loves sausages; one can hear beer, the

other can smell beer. But they have something in common too

they both like to run, chase and play. There is a tree growing

between their houses. They both claim it as their own. So theydecide to compete for it in a running race. The result is surprising

and friendship unexpeedly blossoms beneath that tree. And

with friends we share the things we love ...

Theatre Konj was eablished in 1993, performing their fir play

Make Me a Coffin for Himby Jan Zakonjek and Silvan Omerzu.

Their fir performance already hinted at their unique artiic

poetry, black humour and grotesque charaers that are placed

into a poetical metaphysical frame. This dionysic dilay ofimmorality, which combined nobility and vulgarity, tradition and

modernity, obscenity and irituality, was undoubtedly aimed at an

adult audience; in recent years, Theatre Konj also arted

producing childrens plays and successfully cooperated with

various theatre partners. The plays by Theatre Konj were performed

all over the world, won numerous awards and are usually direed

and produced by Silvan Omerzu, who received the Preeren

Foundation Award in 2006.

You Catch!Author Saa ErenDireor and artiic design Silvan OmerzuAssiant direor Ura Adami

Composer Mitja Vrhovnik SmrekarLight designer Danilo KorelecStage manager and sound designer Alojz SedovnikLight direor Danilo KorelecSet technician Iztok VrhovnikPuppet, set, and coume maers Iztok Hrga,iga Lebar, Silvan Omerzu

Aors Martina Mauri Lazar, Brane Viintin


Co-produion Art Aociation Konj


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Puppet Theatre Maribor3+


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Lutkovno gledalie Maribor, Vojaniki trg 2 A, 2000 MariborW www.lg-m.iC Andreja Lenik

T +386 2 228 19 70F +386 2 228 19 78E [email protected]

The ory of The Boy Who Became A Hedgehog would be nothingmore than an ordinary ory about an ordinary boy if one fine day

that boy had not changed into a hedgehog. And although many

people might not believe it, the life of a hedgehog is anything but

simple and lovely. It is difficult enough geing out of bed, not to

mention crossing a reet or hugging a friend. The hedgehogs

menu would not thrill any children either: only apples and pears,

and on Sundays perhaps the odd worm as dessert.

But this is a performance about a boy-hedgehog who one foggy

morning decides that he will never deair and that, inead of

apples, he will rather look for his lucky ar.

The Puppet Theatre Mariborwas founded on 8th December 1973

with the goal of regularly creating and performing puppet plays for

children at the home venue, all across Slovenia, and abroad. With a

rising quality of the plays, the theatre gained recognition abroad

and performed on numerous occasions and on all continents.

The year 2010 was a mileone, as the Puppet Theatre Maribormoved into the newly renovated building of the Minorite monaery

on Lent, which offered bigger rooms and ate-of-the-art theatre

equipment, allowing the theatre to wholly reinvent itself and

expand its programme.

One season now brings 56 premieres which appeal not only to

children but to young people and adults as well. The repertoire

focuses on discovering what more the puppet medium has to offer

and on the fusion between classical puppet technology and

modern approaches.The LGM encourages playwriting for puppet theatre and holds

yearly calls. Apart from regular produions (about 25 different

titles and 350 yearly performances), the theatre also offers a wide

variety of other cultural and pedagogical aivities, carries out

innovative research projes, and organizes the Summer Puppet

Pier, a popular international puppet feival.

The BoyWho Becamea HedgehogDireressMargrit GyinDramaturgeIrene BeeliCreative teamAlenka Borec, Branko Caerman,Katarina Klannik Kocutar, imon Ko, Bor Ko,Mojca Redjko, Jaon M. Smith, Maja vagelj,Zuzana Vtkov

Performer Elena Volpi


Co-produion Maribor 2012

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Toy blocks can be large and small, light and heavy, solid andhollow; we can draw on them, put uff into them, and they are

eecially pleasant when they hold a surprise. In this performance,

they are the building blocks of a ecial theatrical world inhabited

by Jelka and Danilo.

As a performance, Toy Blockis an aehetic experience for the

younge theatregoers. It does not tell a concrete ory, but we

play in it and in doing so take ourselves very seriously. Jelka and

Danilo play with blocks, assemble them and animate them. They

build a home, their own house made out of blocks, and in it a world

of tenants and happenings that are associated with real images of

the world: with the weather, with the physical charaeriics of

objes, with the limits of the human body, with relationships

between people, with ereotypes and peculiarities.

Toy BlockAuthor Nika Bezeljak based on motifs fromHoue of Blockby Ela Peroci

Direress Nika BezeljakArt concept Sabina inkoDramaturge Katarina Klannik KocutarComposer Klemen BrakoLight designer Enver IbrahimagiMaer carpenter Mitja PairkPuppet, set, and prop maers Mojca Bernjak, Bierka Bobnar,Branko Caerman, Darka Erdelji, Lucijan Jot, Neva VrbaSeamress Maja vagelj

AorsBarbara Jamek, Danilo TrenjakMusicianKlemen Brako


Premiere December 2012

Puppet Theatre Maribor see page 36.

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Shlemiel, whose wife sells vegetables at the market, ends hisdays at home keeping an eye on their children and dreaming of the

big outside world. One day, he decides to turn his dreams into

reality, and as a Polish Jew, decides to go to Warsaw. He wraps a

few slices of bread, an onion and a clove of garlic in a kerchief, tells

his older boys to watch the younger children, and leaves his native

Chelm. He enjoys his travels, and when he tires at night he takes

off his boots and lies down to re. He carefully makes sure that the

toes of his boots face towards Warsaw, so that that the next

morning he will know he is heading in the right direion. But (what

would theatre be without the but!) a blacksmith has been watching

his every move. As unsueing Shlemiel is snoozing and

dreaming of the beauty of the promised city, the blacksmith turns

the toes of his boots in the other direion ...

Shlemiel arrives in another, second Chelm that is almo the same

as the one he le, with ju one difference the wife of that

Shlemiel, who also le the second Chelm to travel the world, is

much friendlier than his wife was. Aer all these twis and turns,Shlemiel concludes that If you leave Chelm, you end up in Chelm,

and all the world i one big Chelm.

When ShlemielWent to WarawAuthor Iaac Bahevi Singer

Direress Jelena Sitar CvetkoTranslator Savina ZwierDramaturge Katarina Klannik KocutarSpeech advisor Metka DamjanArt concept Svjetlan JunakoviPuppet designer Darka ErdeljiComposer Igor CvetkoLight designer and technical manager Miljenko Knezoci

Painter of puppets and scenic elements Svjetlan JunakoviPuppet technicians and puppet makers Mirko ernic andSlavko Rakua SlavinecMaker of scenic elements Branko CaermanCoume designer Maja vagelj

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In this timeless composition of music and puppets, the audience

find themselves in the role of Josef K. The play mercilessly places

the audience in hopeless situations, acquaints them with the inner

workings of a societal machine and also with the intimate world of

some of the people neare and deare to Joseph K. The audience

is placed in the centre of happenings, where they mu reonsibly

submit themselves to the tender mercy of the Trial. Different

theatrical techniques are lined up both among the audience andaround them: the black humour of hand puppets, the poetry of

obje-related theatre, and cabaret improvisation. Two aors,

musicians and puppeteers run the machine syem. Gentle puppet

scenes alternate with rong rhythmic effes that occasionally

erupt into a concert.

Ladies and gentlemen, you and accused!

The Trial orthe Woeful Storyof Joeph K.Author Matija Solce,partially based on motifs fromThe Trialby Franz Kaa

Direor and composer Matija SolceDramaturge Jelena Sitar CvetkoArtiic designers Primo Mihevc andMatija SolceLight designers Miljenko Knezoci andMatija SolcePuppets and set maer Primo Mihevc

Coume maer Maja vageljDresser Svetlana Maloi

Aors Miha Arh, Miha Bezeljak


Co-produionMaribor 2012

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Death sails into a place where it is told that it holds no jurisdiion.

Welcome to the City of the Immortal, where without opping ins

the dance of six (un)deadly sins, an artificial paradise ruled by

happiness and trade, a disco in broad daylight, a age on which

God and time play no role. Bad infinity, bad immortality.

Wrien eecially for this performance, Tasis dramatic text unitesthe late medieval theme of the Dance of Death and the ecatic St

Vitus dance, not in order to ward off death, but to call it back.

Where each day is the same and sins are indiinguishable, where

something has to be going on all the time, it seems be to bet on

that seventh day and that seventh sin, idleness, melancholy

acedia. In the irit of Hlderlins where danger threatens,

salvation also grows, there is nothing more appropriate for this

task than Omerzus puppet beiary.

And we shout out again the goel of John Donne, And death

hall be again; death, thou halt live!

Salto MortaleAuthor Neboja Pop TaiDireor, puppet, set and coume designerSilvan OmerzuDramaturge Marko BauerComposerBojana alji PodevaSpeech advisorMetka DamjanLight designerimon KoLight technicianEnver IbrahimagiSound designerMarko JakopanecAnimation advisorBrane ViintinPuppet maersiga Lebar andSilvan OmerzuSet makersBranko Caerman andMatja BajeljCoume manufaurersIztok Hrga andMaja vagelj

Aors Makimiljan Dajman, Barbara Jamek,Botjan Sever, Elena Volpi andAne Zevnik


PremiereMay 2012



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Moment Maribor7+


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Kulturno-umetniko drutvo Moment, Kamnika ulica 34,2000 Maribor, Slovenija

[email protected]+386 40 696 586 (Zoran Petrovi)

At fir, there was nothing. And yet, right then and there almocountless aeons ago, something lay dormant. It prepared for a very

ecial occasion. Something big. Something exciting. The creation

of the world. Aually a recreation of the world, as the previous

version wasnt too successful. To be more precise, all the twelve

previous versions werent all that good.

But this time, it will be beer. This time, it will be entirely different.

Only the fine of ingredients will be used, in all the precise

quantities and at ideal ratios. This will be followed by the creation

of man, a perfe being who will get to enjoy nothing but the beand the mo beautiful. Unlike previous versions, he will get a head

and he will know how to use it properly. The head will not be a mere

ornament and will not be used as a device solely for suenance.

He cant. He munt! Or else

The beginnings of Moment, with the goal of developing

independent theatre, trace back to 2006. All projes originate

through exploration, teing, learning, and (self-)criticism, in a

ceaseless search of expressive possibilities and capabilities. Due

to the different backgrounds of the creators, the projes are

deliberately variegated, and these differences are clearly

expressed and mutually confronted. This results in theatre that

may be a lile unconventional, but at the same time rives for

quality, access to a broader audience, and aempts to widen the

theatrical horizons of all generations.

The realization of Moments visions largely res on training

projes and theatre workshops, aimed at different target groups,including professional creatives and udents at art academies,

but also catering to the the younger generations and children to

provide them with creative inirations and theatrical education.

Moment organizes the Presopi/Croinginternational feival of

independent theatre, which serves as a beacon for top-notch

produions by young theatre creatives with a rong influence on

the development of contemporary theatre, but who are ill

ruggling to eablish themselves on the European theatre scene.

I, LegendAuthors Zoran Petrovi andTeamDireor and script author Zoran PetroviArt concept Nina ulinComposerAndrej HrvatinLight designer Miljenko KnezociSound designer Zoran PetroviSet makersTeam

Performers Barbara Jamek, Nina ulin, Andrej Vri


In cooperation with the DAMUtheatre academy in Pragueand Puppet Theatre Maribor

PremiereApril 2013



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PETROVI


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Food for Thought On Dislay


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The Lile Witch, LGL, 1967, puppet designer:Slavko Hoevar

Vena Teran

Pioneer


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Three puppet deigner a culptre, a paintre, and a culptor three pioneer of the new repreentativene of Slovenia po-war puppetry

The puppets designed by these three pioneers of Slovenias po-

war puppetry are ored in an old shelter, wrapped in colorful linen

bags to prote them from du and hungry moths. They dangle oncoat hangers and wait for an aentive hand to take them down, give

them a health check and caress them with a tender roke or two.

But they also wait for the puppeteers to pull their play out of moth-

balls at la, and to bring these beautiful old puppets once again in

front of the curious, aentive, and happy eyes of children. Some of

them have already been refurbished and got to relive the applause

and approval of their young audience. This pleased them and im-

bued them with the energy they will need for one more round of

hanging around in their linen bags, waiting for a new opportunity. Atany rate, these puppets from the fiies and sixties already deserve

a museum cabinet or two, where lovers of puppetry both big and

small could visit them daily.

The real beginnings of modern puppet theatre date back to 1950,

when the Ljubljana Puppet Theatre (LGL) received its own venue with

a marionee age on Levik Square, and one year later also

opened a age for hand puppets on Resljeva Street in Ljubljana. All

three pioneers of Slovenias po-war puppetry the puppet design-

ers Aja Pengov, Mara Kralj andSlavko Hoevar have for the mopart also designed puppets for performances that were direed by

Joe Pengov1. The four of them discussed the artiic design of a

1 The successful development of Slovene puppetry owes its thanks largely to JoePengov (19161968). Pengov had been involved with puppets since his early childhood.Even before the Second World War, he joined the Pavlihova druina(Pavliha andFriends), a troupe founded by Dr Niko Kuret, who had been continuing the work of thefounder of modern Slovene puppetry, painter Milan Klemeni.Klemeni introduced marionee theatre following the Italian model of handpuppets. Pengov was the fir manager and leading direor at the Ljubljana PuppetTheatre (LGL) until 1955 when he passed his managerial duties on to Polde Deman.

particular performance, what pialls to avoid, what to emphasize,

what to disregard, in what period to put the puppets and why, what

the proper charaer given to the puppets should be; and finally,where the niches lay for their personal expressiveness, for the cre-

ativity that surpasses eablished norms and technical possibilities.

The decision whether the play should be performed with mario-

nees or hand puppets was fully in the direors hands. And of

course, a well-rounded art design of a performance is impossible

without a set designer and coume designer2; the cooperation had

to be very tight and the be way to achieve this was to have the di-

Henceforth, Pengov focused on direing and his role as head dramaturge at LGL. Healso passed on his knowledge through various initutions he was a member of theUNIMA executive commiee, a member of the council board of the ibenik ChildrensFeival, a council member of the Children Education Association (Drutvo za odgojdjece), a council member of the Children Theatre Association of Yugoslavia (Zvezaotrokih gledali Jugoslavije), a member of the puppetry council at the SlovenianAssociation of Cultural and Educational Organizations (Zveza kulturno-prosvetnihorganizacij Slovenije) and a member of the editorial board of the professionalpublication Lutka (Puppet).All key performances designed by the three pioneers were direed by Pengov, eventhough Mara Kralj also collaborated with direor Mirko Mahni and Janez Dobeic, and

Slavko Hoevar collaborated with Polde Deman, rt kodlar, Marjan Belina, MatjaLoboda, Matija Milinski and others; additionally, they both collaborated with thelegendary Nace Simoni.2 The visual appearance of the performances during that period was polished by thefollowing set designers: painter Lado Skruny, archite Erne Franz, archite MarjanSeun, painter Marjan Pliberek, painter Milan Butina, archite Viktor Molka, architeMarijan Amaliei, Vlado Rijavec, painter Albin Rogelj, set designer Sveta Jovanovi,paintress Cita Potokarjeva; very important were also the coume makers: AndraAvinova, Magda Bidovc-Zajeva, Majda Podvri ... and the puppet manufaurers(in addition to the three pioneers themselves), namely: Janko tefe, Miran Prini,Zdenko Majaron ... and the legendary puppet montageur Ciril Jagodic. Initially, theauthors would manufaure the puppets themselves, while later on (eecially forlarger projes) they were mainly manufaured by colleagues in the puppet workshopaccording to the authors sketches.

reor bring all the participants together, with a clear vision of the

entire performance firmly in his minds eye.

Fritz Wortelmann (19021976), the German writer, publisher, drama-

turge, and fir and foremo an expert who made great advances in

typical properties of individual puppet types into a very poetic and mo-

saic yliic unity.4 euk yled Pengov an abolute puppeteer, by

which he hinted atPengovs airations towards discovering and reviv-

ing the poetic dimension within the art of puppetry : // to materialize


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German puppet theatre, described certain key thoughts on team-

work, the merits of joint work on a performance, and Pengovs char-

aer traits in an article on Joe Pengov in the Figurentheatermaga-

zine: The et deigner and puppet deigner were jus a importantto him a the compoer, while hi work uually began already with the

tranlator and dramaturge, a he oen wanted to tailor the particular

form of drama ued in the play according to hi own idea. He alway

wanted to inire all hi colleague and alway hared hi idea to

help everyone find a common thread that would unite all thee crea-

tive mind toward a common goal. He no le enthuiasically dedi-

cated hi aention to the narrator and animator, trained with them

tirelely, convinced them over and over again about hi idea, en-

couraged them, correed them, urred their fantay, and praied

them. /.../ He paved hi very own way in hi choice of narrator; ome-

time he would end month trying to find the voice he had heard in

hi idea and for which he wa convinced it wa abolutely eential

for the right realization of the performance. /.../ and he wa happy to

have had the honor of working with o many gied creative mind

who had enabled him to reach uch a high artisic level without hav-

ing to reort to imitation of foreign influence.3

The contents of the performance served as Pengovs arting pointfor choosing the sort of puppets and, to a certain degree, he sug-

geed what shapes the puppet should take. For him, nothing

should be done without a good reason. He was well aware that the

puppet is the inrument of the puppeteer and he required all of his

puppeteers to be technically well versed with the handling of pup-

pets. He sensed that being an animator is an innate creative talent

fir and a technical skill only second, and the same holds true for

puppet makers. Perhaps due to his insience on perfeing any and

all details, his direorial opus is not quite as exhauive and com-prises only a total of twenty direed performances (eleven with

marionees, and nine with hand puppets).

Milan euk (19251978), the Croatian writer, puppeteer and theatre

critic, judged Pengovs marionee performances to be a role model of

integral marionee yle and full of pure poetry, while his hand puppet

performances were almo an archetype of the unification of different

3Fritz Wortelmann,Figurentheater magazine, 10th year of publication, 2nd volume,Oober 1969.

hi creative viion through the puppet, not jus in tune with the mate-

rial eence hidden inide thi mos poetic of all dead obje, but alo

in tune with all of hi capabilitie for embodying life on the miniature

sage. /.../ The mall claical hand puppet, the Javanee/Java puppet,

the head-puppet and the glove puppet, the marionee each of thee

puppet type not only could, but poitively had to become funional

on the et only if it material and artisic propertie (from which sem

it expreivene on sage) correonded to the content of the per-

formance, regardle whether the puppet wa the dominant element

of the play or jus one of the particle in it moaic. 5

Pengovs creative opus has not only revitalized Slovene puppetry; it

also transformed tradition into a complementary element of moder-

nity, and turned modernity into a funion that feeds from unbroken

tradition, as euk beautifully described Pengovs role. He sought out

the national, indigenous charaer only when its poetic component

could be balanced with the level of contemporary European drama-

turgy. And it was precisely within such high andards that Aja Pen-

gov, Mara Kralj and Slavko Hoevar demonrated their excellence.

Aja Pengov

Aja Pengov was born in Vienna in 1913 and went on to udy sculp-ture, graduating from the Vienna Academy of Fine Arts.6She was

4 Milan euk, Umjetno i dijete (On Art and the Child), 1 year of publication, 2ndvolume, 1969.5 Ibid.6 Melita Forneri Hanjeks interview with Ivica Bilek represents one of the veryfew available sources for a reconruion of Aja Pengovs life. Even so, it containsseveral pieces of information that diverge from the scant amount of sources in Slovenepublications. The interview mentions that she graduated from the Vienna Academy of

Applied Arts (nowadays the University of Applied Arts Vienna; until 1934, it was called theKungewerbeschule/Vienna School of Arts and Cras). The catalogue From Sketch toPuppet (Od skice do lutke) published by the Ljubljana Beigrad Gallery in 1999, however,mentions that she graduated from the Vienna Academy of Fine Arts (Akademie derbildenden Kne Wien) and that she worked at the Sarajevo Theatre from 1954 to 1964.The Beigrad catalogue cites that she died in 1980, while Bilek mentions in his interviewthat he collaborated with Aja Pengov until 1983. In short, our task is to harmonize thedata with our Sarajevo colleagues, or rather to acquire the required documentation.There is one piece of information in Forneri Hanjeks interview that is definitelywrong: her claim that the author of the original puppets for Lile Sleepy Starwas AjaPengov is incorre; the author of the Lile Sleepy Starwas Mara Kralj. Bilek worked as apuppet maer in the reconruion of the performance Lile Sleepy Starat LGL.Source: Melita Forneri Hanjek, Elektrika se je zaiskrila iz meev (ElericitySparked from the Swords), Veer, 15th February 2012, page 16.

PhotoBOTJAN

LAHborn into the wealthy Haberfellner family and her father was a diplo-

mat. While in Vienna, she met her future husband Boo Pengov, who

also udied sculpture at the Academy of Fine Arts under prof. Josef

Mllner (18791968). They ayed together for only a short time, as


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P they got divorced in the early 1950s. Aja soon received an invitation

from the Sarajevo Puppet Theatre, where she designed her fir

Sarajevo performance with large marionees, Dr. Doolile, in the

mid-1950s. The people of Sarajevo welcomed her with open armsand she remained there until her death in 1980.7

Aer the Second World War, in 1950, she designed her fir puppets

together with Boo Pengov for Martin Krpan(Fran Levik/Joe orn),

a performance at the Ljubljana Puppet Theatre. The puppets were

manufaured at the Ljubljana School for Arts and Cras under the

guidance of Boo and Aja Pengov, the sets were designed by Lado

Skruny, the coumes by Mija Jarc, and the puppets were rung by

Ciril Jagodic. Immediately next year, she designed marionees for

two performances for the legendary Speckle the Ball, and pup-

pets based on designs by painter Milan Klemeni for the Magic Vio-

lin. Even in these fir three performances, the marionees dis-

played her exquisite sense for detail through which she expressed

the charaer of the puppets and an affinity for the application of

different materials.8In a visual sense, puppets are always hovering

very close to caricatures, a fa emming from their hiorical role

on the long path of puppetry within the framework of world theatre

as a whole. Ajas notion of puppets was in a way ill based on thepuppetry tradition of the 19th century, when marionees were de-

signed to mimic the human form as closely as possible, both in re-

gards to their body as well as to their face and behavior.9In his direc-

tors notes, Joe Pengov eloquently captured the charaer and

yle of marionees, and described the difference in charaer and

funion between marionees and hand puppets: Marionee are

7 More details on the life of Aja Pengov were revealed by the Sarajevo puppeteerIvica Bilek in his interview with Melita Forneri Hanjek in the Veer newaper, 15thFebruary 2012, page 16.8 On one hand, the relentle puruit of technical perfeion in marionee playenabled a continuou refinement of sage technique and of the mie-en-cne; but

it alo led to exceive pedantry, to the fixation on minute detail that i of econdary

importance for the marionee syle,ince the marionee saging mus preervethe proportion between the ize of the puppet and the ize of the prop. The right to

exaggerate the ize of the prop and thereby achieve a groteque effe i reerved

for hand puppet,admonished Stanka Godni in her article on Joe Pengov at theLjubljana Puppet Theatre, Lutka, magazine for puppet culture, issue 32, 1979, page 28.9 For example, marionee heads were made from wax precisely because it hada similar sheen to human skin. Source: Henryk Jurkowski, A Hiory of EuropeanPuppetry, Volume I, Puppet Library, Klemeni Days, Ljubljana 1998, page 331.


a fantay, a fairy tale image, the tenderne without the puling

frikine, without the happy vivacioune a deeply dreamy,

beautiful, ilent inner experience. A ymbol of the paive and the

tender. Hand puppet are the rompih reality, a parody, groteque,

kii h j th h s l d th f f t

the animal world wa further boosed by the creatively deigned, ani-

mated and narrated animal puppet. 11Godni referred to the visual

yle of the puppet design as ylized poetic realism.

The performance Speckle the Ball, oen also called a puppetheque

f t f th l f d d d


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kiihne, joy, the hones lyne and even the ue of force to-

ward a jus outcome. A ymbol of aivity and power. 10And Ajas

puppets radiated precisely this fairy tale fantasy and tenderness;

they were beautiful, introverted, with a rong charaer. At thesame time, they were also in tune with the prevailing artiic yle of

fairy tale illurations. Their excellence lay in the details; her care-

fulness and her sense of subtle artiic expressiveness shine

through her animal puppets (wolf, fox, bear, etc.) she designed for

Mojca and the Animalin 1952. Mojcas charaer resembles a doll,

a veriic toy, while the animals turned into veritable lile works of

art in Ajas que for verism their wood-carved mimic, or the mo-

bility of their jaw, head, and body. This carefully designed wooden

puppet, dressed in a virtuoso animal pelt made from felt, deserves

a place dhonneur in some European puppet museum.

It is precisely in the design of the wolf for various LGL performances

where we can see the development, or rather the tendency for yli-

zation and modernization of marionees. The wolf in Aja Pengovs

Mojca and the Animalfrom 1952 is a veriic work of art. The wolf in

Mara Kraljs Lile Red Riding Hoodfrom 1961 does have a similarly

executed pelt, but even the ylized figure alone without any ex-

pressive details already represents the familiar type of a malicious,grotesque wolf, even though its blueprints Maras drawings were

gentle caricatures. Slavko Hoevars wolf in The Wolf and the Seven

Lile Goat(which dates to 1961 as well) on the other hand repre-

sents the trends in hand puppet design of that time a grouchy,

extremely ylized and caricatured wolf whose pelt of rough sack-

cloth is somehow frighteningly modern, eecially with his acces-

sory a checkered scarf around his neck.

The performance Mojca and the Animalwas very well received. The

critic Stanka Godni noted that the choice of marionees was jui-fied: /.../ they endowed the performance with a great doe of on-

taneity and heartine on sage. It wa direed by Pengov, the pup-

pet were deigned by Aja Pengov, and the et deigner wa Ernes

Franz. In term of direing, the performance continued the principle

laid out with Speckle but took one sep cloer toward poetization

and lyricim. The harmoniou ymbioi of the children world and

10 Joe Pengov, Direors Notes 1958, Lutka, magazine for puppet culture, issue 32,Ljubljana 1979.

performance, was a part of the regular programme for decades and

has ju recently returned to the age. Shortly aer its inception it

was heralded as the archetype of modern puppetry, and it was

through this performance that Pengov reformed the underandingof puppet dramaturgy in 1951. Stanka Godni asserted that as far as

the textual part is concerned, Speckle the Ballwas no example of

great literature:/.../ rather, it i merely imple and creative sory-

telling that nonethele esablihed new puppet technique, new

aing and direing approache, and new direion in repertoire in

Slovenia puppetry. With Speckle, Pengov sarted olidifying hi

principle about the indigenoune of the puppet, about the need-

lene of having the puppet mimic a human and hi movement on

sage; in hort, the needlene of theatrical realim. He replaced

any mimicry that could lead to clumine with a sylization of both

the viual and audible ae of a puppetry performance.12Pen-

govs ideas and desires were properly realized through the execu-

tion and the visual appearance of the marionees by Aja Pengov.

For this performance, she embraced the ylization of the puppets

and gave them fewer facial features, renouncing many of the details

that adorned her earlier creations. With that, the puppet was no

longer aempting to imitate the proportions of the human body nortrying to approach its movement; rather, she emphasized those

parts of the puppet that lend it its expressiveness on age the

head and the hands, while the feet of a marionee of course retain

their basic funion. From a technical sandpoint, the principle of

not imitating a human reulted in a new breakdown of mie-en-

cne. The puppet movement i either divided into hort interval or

their movement i merely an illuion. Thi i made poible by a e-

cial conveyor belt technique, which give the illuion of unhindered

movement and create the impreion that the movement ireading and imultaneouthrough fluid change of cenery with

an open curtain. The et deigner boos thi impreion with a rea-

onable grouping of the cenic element which interchange back-

sage and bolser the feeling that the rather satic puppet i au-

ally moving on sage, where the belt run in the oppoite direion.

Thi imple yet extremely efficient sage technique ha become a

11 Stanka Godni, Joe Pengov at the Ljubljana Puppet Theatre, Lutka, magazine forpuppet culture, issue 32, 1979, page 27.12 Ibid., page 25.


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through the comparative method within the Yugoslavian and Euro-

pean framework. This was further aided by positive reviews from

foreign experts at international feivals and symposia. In the early

1950s, Aja Pengov ensured her ot among the top European pup-

peteers with her sophiicated marionee creations Deite having

le off. We can see this continuity in certain details such as the pre-

cisely carved and designed lion marionee or the facial expressive-

ness of the minier, and her detour towards less ylization and the

tendency towards less detailed and expressive puppets is discerni-

ble in her design of the marionee for the title charaer the Puss in


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peteers with her sophiicated marionee creations. Deite having

worked at Ljubljana Puppet Theatre as a sculptress and puppet de-

signer for less than three years (19501953) and having designed

puppets for only five plays, all of these five plays are wrien in gold-en leers in the anthology of Slovene puppetry.

Mara Kralj

In 1953, Mara Kralj joined the Ljubljana Puppet Theatre as a puppet

designer. Mara Kralj was a born Viennese as well, having been born

into the famous Jeraj family in 1909. Her father Karel was a musician

and concertmaer at the Vienna Court Opera, her mother Vida a

poetess of Slovene modernism. Their homes in Vienna and later in

Ljubljana were the meeting place of the cultural elite of that time.

The three siers lived in the very heart of cultural happening, so it

comes as lile surprise that all three of them devoted themselves

to art. Her older sier Vida was a violini, her younger sier Oli a

celli. Mara entered the ceramics department at the upper second-

ary technical school in Ljubljana, and aer graduating successfully

in 1928 married the painter Tone Kralj in that same year. She contin-

ued her education as paintress in Paris and Florence, and udied

puppet and film mask design in Prague at the Barrandov udios.15

She worked as a make-up arti at Triglav Films since 1947 and was

involved in the making of the fir Slovene full-length film, Na voji

zemlji (On Our Own Land). In 1953, she joined the LGL and ayed

there as puppet designer until 1964. She created the fir glove pup-

pets for the television series Butalci in 1968. The fir shows were

aired live. She designed a similar type of puppets in 1969 for the Joe

Pengov Puppet Theatre in Dravlje. She also worked on small sculp-

tures, illurations, and portraits. During the mid-1980s she returned

to the LGL for a short time to help bring The Tale of Tar Saltanto life,based on sketches by her husband Tone Kralj and according to the

inruions from direor Joe Pengov. The performance was di-

reed by Edi Majaron in 1985, and two years later it was also tele-

vised. Mara Kralj died in Ljubljana in 2010.

The fir performances where Mara Kralj designed the puppets was

the Pu in Bootin 1953 with dras for the scenery contributed by

Tone Kralj. In a way, Mara Kralj continued exaly where Aja Pengov

15 Edi Majaron, Mara Kralj 19092010, Delo newaper, 30th Oober 2010, page 16.

ble in her design of the marionee for the title charaer, the Puss in

Boots. Stanka Godni believed that Mara Kralj really underood her

fir puppets and their yliic charaeriics and possibilities, and

that she continued to develop her poetic romanticism, as Godnicalled Aja Pengovs diin yle. Godni acknowledged Pengovs

sense for the beautiful and the pleasant, and recognized her ability

to avoid uncanniness and to replace it with grotesque and wiiness:

She really ucceeded in her humorou portrayal of literary charac-

ter. She achieved the viual effe and artisic unity with carefully

eleed and highlighted detail.16

The bigge success that a performance at LGL ever achieved (apart

from Speckle the Ballof course) was with Lile Sleepy Star, aged

for the fir time in 1955. It achieved a phenomenal level of popular-

ity among the young audience and was performed for decades while

also meeting a very positive reonse with domeic and interna-

tional puppetry experts as well. Lile Sleepy Starwas a comprehen-

sive work of art with a lucky unity of contents (texts wrien by Fran

Milinski Jeek), visual design (Mara Kralj) and direing (Joe Pen-

gov). Godni lauded the exquisite scenic representativeness of the

situations, the happy caricaturing of the charaers, the araive

progression of short dynamic sequences, the unintrusive connec-tion between the visions and the real plot that was enabled by the

playful and araive visuals; at the same time though, she empha-

sized that Lile Sleepy Star, deite being the pinnacle of its kind of

approach, brought lile freshness in terms of contents and yle.17

Matja Loboda considered Lile Sleepy Starto be the culmination of

a certain era and considered its purity of yle to be the result of

Pengovs visions regarding the poetic possibilities of marionee

theatre.18Mo domeic critics praised the performance highly and

expressed their enthusiasm over Lile Sleepy Star; the performancewas even praised by the famous Russian puppetry expert Sergey

Obraztsov who visited a performance in Ljubljana in 1957 and re-

ceived a duplicate of the Lile Sleepy Starto include in his puppet

colleion. This lile double helped in the reconruion of all mar-

16 Stanka Godni, Joe Pengov at the Ljubljana Puppet Theatre, Lutka, magazine forpuppet culture, issue 32, 1979, page 29.17 Ibid.18 Matja Loboda, Notes on the puppeteer and his work, Lutka, magazine for puppetculture, issue 32, 1979.

ionees for Lile Sleepy Staraer the entire performance (puppets,

props, and scenic elements) was deroyed in a fire.19 The recon-

ruion of the Starin the new millenium proved the value of a hand

and demonrated how the mind and temperament of the creative

mind behind the puppet are expressed through the hand. In his ex-

grimaces, and the facial type of puppet (e.g. the boy) that Mara had

already hinted at in the hand puppet play We Are Hunting a Bear. Her

designs for the Cricket dilayed equal virtuosity as Aja Pengovs

animal designs for Mojca and the Animal. Milan euk praised

Pinocchio highly and indicated the key differences between mario-


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mind behind the puppet are expressed through the hand. In his ex

cellent booklet The Thinking Hand, Juhani Pallasmaa cites John

Bergers thoughts on how the arti identifies and fuses with his

produ: Each confirmation or negation bring yo

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