Provider: - Institution: - Data provided by Europeana Collections- Today, in the beginning of the 21st century, when a century has long passed since this farce was created, Cankar's Scandal in the ...Valley of St. Florian remains exciting particularly because of its Dionysian flare and open form, but at the same time its exceptionally precise dissection of the psychopathology of Slovenian everyday life – at the same time the everyday life of Cankar's space and time and of ours – joined together in the powerlessness of the perverted (neo)liberalism and provincialism. Cankar is our contemporary, because he resounds in our heads with his ethics and aesthetics, because the questions he asks are so fundamental, and the artistic answers he embodies so vivid. Vito Taufer, the grand master of authorial and living theatre readings of classics, stages Cankar's "greatest mischief" about the upstanding patriots of St. Florian Valley, shocked because of the "scandal" that "crept into the valley", in the persons of the artist-turned-bandit Peter and his muse, Jacinta, on one hand as pungently realistic and follows the script almost to the letter, and on the other he provides a decisive deviation and gives all roles, bar one, to men, which becomes the "indispensable driving force of the performance" (Zala Dobovšek, Delo), thanks to which "nothing is what it appears to be and is therefore even more like it is" (Sonja Zlobko, Radio Študent).- Vito Taufer ima za seboj že dolgo, razburljivo in pomembno režisersko pot, in kar nenavadno se zdi, da se doslej še nikoli ni soočil s Cankarjem. Janko Kos ugotavlja, da ima Cankarjevo Pohujšanje mnoge prvine ljudske igre, prek tega pa tudi tradicionalne vaške zgodbe, toda tradicionalni motivi imajo v tej drami novoromantični pridih; taka sta tudi razbojniški umetnik Peter in Jacinta kot prispodoba avtonomne umetniške ustvarjalnosti. Vito Taufer Pohujšanje vidi predvsem kot univerzalno, brezčasno pravljico, kot nesramen in neotesan buffo.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Today, in the beginning of the 21st century, when a century has long passed since this farce was created, Cankar's Scandal in the ...Valley of St. Florian remains exciting particularly because of its Dionysian flare and open form, but at the same time its exceptionally precise dissection of the psychopathology of Slovenian everyday life – at the same time the everyday life of Cankar's space and time and of ours – joined together in the powerlessness of the perverted (neo)liberalism and provincialism. Cankar is our contemporary, because he resounds in our heads with his ethics and aesthetics, because the questions he asks are so fundamental, and the artistic answers he embodies so vivid. Vito Taufer, the grand master of authorial and living theatre readings of classics, stages Cankar's "greatest mischief" about the upstanding patriots of St. Florian Valley, shocked because of the "scandal" that "crept into the valley", in the persons of the artist-turned-bandit Peter and his muse, Jacinta, on one hand as pungently realistic and follows the script almost to the letter, and on the other he provides a decisive deviation and gives all roles, bar one, to men, which becomes the "indispensable driving force of the performance" (Zala Dobovšek, Delo), thanks to which "nothing is what it appears to be and is therefore even more like it is" (Sonja Zlobko, Radio Študent).- Vito Taufer ima za seboj že dolgo, razburljivo in pomembno režisersko pot, in kar nenavadno se zdi, da se doslej še nikoli ni soočil s Cankarjem. Janko Kos ugotavlja, da ima Cankarjevo Pohujšanje mnoge prvine ljudske igre, prek tega pa tudi tradicionalne vaške zgodbe, toda tradicionalni motivi imajo v tej drami novoromantični pridih; taka sta tudi razbojniški umetnik Peter in Jacinta kot prispodoba avtonomne umetniške ustvarjalnosti. Vito Taufer Pohujšanje vidi predvsem kot univerzalno, brezčasno pravljico, kot nesramen in neotesan buffo.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Today, in the beginning of the 21st century, when a century has long passed since this farce was created, Cankar's Scandal in the ...Valley of St. Florian remains exciting particularly because of its Dionysian flare and open form, but at the same time its exceptionally precise dissection of the psychopathology of Slovenian everyday life – at the same time the everyday life of Cankar's space and time and of ours – joined together in the powerlessness of the perverted (neo)liberalism and provincialism. Cankar is our contemporary, because he resounds in our heads with his ethics and aesthetics, because the questions he asks are so fundamental, and the artistic answers he embodies so vivid. Vito Taufer, the grand master of authorial and living theatre readings of classics, stages Cankar's "greatest mischief" about the upstanding patriots of St. Florian Valley, shocked because of the "scandal" that "crept into the valley", in the persons of the artist-turned-bandit Peter and his muse, Jacinta, on one hand as pungently realistic and follows the script almost to the letter, and on the other he provides a decisive deviation and gives all roles, bar one, to men, which becomes the "indispensable driving force of the performance" (Zala Dobovšek, Delo), thanks to which "nothing is what it appears to be and is therefore even more like it is" (Sonja Zlobko, Radio Študent).- Vito Taufer ima za seboj že dolgo, razburljivo in pomembno režisersko pot, in kar nenavadno se zdi, da se doslej še nikoli ni soočil s Cankarjem. Janko Kos ugotavlja, da ima Cankarjevo Pohujšanje mnoge prvine ljudske igre, prek tega pa tudi tradicionalne vaške zgodbe, toda tradicionalni motivi imajo v tej drami novoromantični pridih; taka sta tudi razbojniški umetnik Peter in Jacinta kot prispodoba avtonomne umetniške ustvarjalnosti. Vito Taufer Pohujšanje vidi predvsem kot univerzalno, brezčasno pravljico, kot nesramen in neotesan buffo.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Costume sketch for the performance The Actor of the Avant-garde, conceived and directed by Barbara Hieng Samobor, produced by ...Cankarjev dom Cultural and Congress Centre (2005) as part of their annual series of cultural and theatre education for school children and high school students.
This production highlighted the playwrights Bertold Brecht, Samuel Beckett, and Eugene Ionesco.
This sketch features costumes for a character from a play by Samuel Beckett.- Umetniški dosje 20. stoletja in zabavno potovanje s postanki na pomembnih postajah tedanjega gledališča (Brecht, Ionesco, Beckett ...).- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Costume sketch for the performance The Actor of the Avant-garde, conceived and directed by Barbara Hieng Samobor, produced by ...Cankarjev dom Cultural and Congress Centre (2005) as part of their annual series of cultural education for school children and high school students.
The production highlighted the playwrights Bertold Brecht, Samuel Beckett, and Eugene Ionesco.
This sketch features costumes for the characters from a play by Eugene Ionesco.- Umetniški dosje 20. stoletja in zabavno potovanje s postanki na pomembnih postajah tedanjega gledališča (Brecht, Ionesco, Beckett ...).- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Costume sketch for the performance The Actor of the Avant-garde, conceived and directed by Barbara Hieng Samobor, produced by ...Cankarjev dom Culture and Congress Centre (2005) as part of their annual series of cultural education for school children and high school students.
This production highlighted the playwrights Bertold Brecht, Samuel Beckett, and Eugene Ionesco.
This sketch features costumes for the characters from Brecht's Drums in the Night.- Umetniški dosje 20. stoletja in zabavno potovanje s postanki na pomembnih postajah tedanjega gledališča (Brecht, Ionesco, Beckett ...).- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Costume sketch by Barbara Stupica, from the puppet performance of Hans Christian Andersen's The Swineherd, directed by Barbara Hieng ...Samobor, produced by Ljubljana Puppet Theatre (2004).
http://www.repertoar.sigledal.org/predstava/en/2116- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Costume sketch by Barbara Stupica, from the puppet performance of Hans Christian Andersen's The Swineherd, directed by Barbara Hieng ...Samobor, produced by Ljubljana Puppet Theatre (2004).
http://www.repertoar.sigledal.org/predstava/en/2116- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Costume sketch by Barbara Stupica, from the puppet performance of Hans Christian Andersen's The Swineherd, directed by Barbara Hieng ...Samobor, produced by Ljubljana Puppet Theatre (2004).
http://www.repertoar.sigledal.org/predstava/en/2116- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Costume sketch by Barbara Stupica, from the puppet performance of Hans Christian Andersen's The Swineherd, directed by Barbara Hieng ...Samobor, produced by Ljubljana Puppet Theatre (2004).
http://www.repertoar.sigledal.org/predstava/en/2116- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
