četrtek, 29. 11. 2018 // Thursday, 29th November 2018

7 pm, Mladinsko Theatre, Lower Hall

Premiere 29. 11. / sold out
Repeat showings:
Friday / 30. 11. / 19:00 /
Saturday / 1. 12. / 19:00 /
Tuesday / 4. 12. / 19:00 /
Wednesday / 5. 12. / 19:00 /

Tickets available at the Mladinsko Theatre box office and via mojekarte.si.



Režija/Directed by: Ana Vujanović, Marta Popivoda
Besedilo/Text: Ana Vujanović v sodelovanju z/in collaboration with Marto Popivoda
Pričevanja in intervjuji/Based on Accounts of and Interviews with Zora Konjajev, Sonja Vujanović in/and Zdenka Kidrič
Igrajo/Performers: Damjana Černe, Vida Rucli k. g., Katarina Stegnar
Dramaturgija/Dramaturgy: Ana Vujanović
Video: Marta Popivoda
Asistentka režije in dramaturgije/ Director’s and Dramaturgical Assistant: Tery Žeželj
Asistent dramaturgije (študijsko)/Dramaturgical Assistant (Study Practice): Jernej Potočan
Scenografija/Set Design: Matej Stupica
Koreografija/Choreography: Sheena McGrandles
Filmska fotografija/Film Photography: Lev Predan Kowarski
Svetovalec za montažo/Film Editing Advisor: René Frölke
Asistentka kamere/Camera Assistant: Gaja Naja Rojec
Lektorica/Proofreading: Mateja Dermelj
Prevod v slovenščino/Slovene Translation: Sonja Dolžan
Prevod v angleščino/English Translation: Vid Ropoša, Sandra Lukič
Ton/Sound: Silvo Zupančič
Luč/Light: David Cvelbar
Video/Video: Dušan Ojdanič
Vodja predstave/Tehnical Director: Liam Hlede


Ana Vujanović and Marta Popivoda are well known in Slovenia as the members of the recently self- abolished Belgrade art and theoretical collective Teorija koja hoda (Walking Theory), as co-workers in the film Yugoslavia: How ideology moved our collective body (2013) and the video research Cultural worker: 3 in 1 (2013), while Ana Vujanović is also known from her tandem with Sašo Asentić for the performance Examining Communitas (episode Ljubljana), which they created with the ensemble of the Mladinsko Theatre in 2015, as well as for the performance My Private Biopolitics, which they presented at the Mladi Levi festival in 2007. Ana Vujanović wrote a series of articles for the magazine Maska, as well as co-edited a few excellent issues, lectured at the Seminar of Performing Arts and years ago followed the Ljubljana festival production in the field of performing arts (Gibanica, Exodos). We could say that she belongs to our shared, formerly federative cultural space, which persists and develops without a systemic form or maybe exactly because of it. Ana Vujanović and Marta Popivoda currently live in Berlin and are invited throughout Europe to work with their transdisciplinary and politically and socially reconsolidated approach to performing arts.


In the choreographically-cinematic installation National Reconciliation: Freedom Landscapes, which will see its premier showing at the end of this year’s CoFestival, the authors address the construct of history and its subjective derivates or – maybe it would be more precise – what the historic constructs with large stories are always willing to set aside because it impedes their ‘universal’ order. Freedom Landscapes is an artistic and political journey through the landscapes of anti-fascist and communist memory, which is not afraid of being poetical, emotional, sensory and experimental, while at the same time conceptually and rationally focusing on the problem of erasing these memories from today’s European society. The landscape depiction, connected to the dramaturgical concept of the American writer Getrude Stein, who destabilises the compactness of theatre materials in their essence in order to activate the viewer’s focus and sensitivity, deals with the anti-fascist history in Slovenia and Yugoslavia. Based on documentary textual material, such as the diaries of partisan women from WWII and interviews with them, the performance opens broader questions linked to anti-fascist heroines, the female face of war and the relation between memory and history. The performance invites visitors to spend some time with the artwork and with one another and form shared views of what is currently happening in the contemporary globalised world: a memory is fighting to remain a part of history, and it needs us, living and active people to preserve it as such. The authors create a situation which, with its mass of materials, gives an impression of a cacophony and forces the viewers to actively confront it: they do not place viewers in the role of readers of previously formed historical interpretations, but in the role of historians.