Provider: - Institution: - Data provided by Europeana Collections- Production of Aeschylus's The Oresteia directed by Jernej Lorenci. Polona Juh as Clytaemnestra. Costumography by Belinda Radulović. ...Scenography by Branko Hojnik. Polona Juh received the Borštnik Award 2009 for Best Actress for her role as Clytaemnestra.- 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- Production of Aeschylus's The Oresteia directed by Jernej Lorenci. Polona Juh as Clytaemnestra. Costumography by Belinda Radulović. ...Scenography by Branko Hojnik. Polona Juh received the Borštnik Award 2009 for Best Actress for her role as Clytaemnestra.- 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- Produktion von Aischylos ' Die Orestie. Polona Juh als Klytämnestra. Costumography von Belinda Radulović. Szenografie von Branko ...Hojnik. Polona Juh erhielt den Borštnik Award 2009 als beste Schauspielerin für ihre Rolle als Klytämnestra.- Produção de Ésquilo é A Oresteia. Polona Juh como Clitemnestra. Costumography por Belinda Radulovic. Cenografia por Branko Hojnik. Polona Juh recebeu o Prêmio Borštnik 2009 de Melhor Atriz por seu papel como Clitemnestra.- Παραγωγή του Αισχύλου Ορέστεια είναι το. Polona Juh ως Κλυταιμνήστρα. Costumography από Μπελίντα Radulović. Σκηνογραφία από Μπράνκο Hojnik. Polona Juh έλαβε το βραβείο Borštnik 2009 για την καλύτερη ηθοποιό για το ρόλο της ως Κλυταιμνήστρα.- Scene from the performance The Oresteia. Production of Aeschylus's The Oresteia directed by Jernej Lorenci and performed at SNG Drama Ljubljana. Costumography by Belinda Radulović. Scenography by Branko Hojnik. In the picture are Rok Vihar as Aegisthus and Polona Juh as Clytaemnestra. For her performance, Juh received the Borštnik Award 2009 for Best Actress.- Produzione di L'Orestea di Eschilo. Polona Juh come Clitennestra. Costumography da Belinda Radulović. Scenografia da Branko Hojnik. Polona Juh Borštnik ricevuto il premio 2009 per la migliore attrice per il ruolo di Clitennestra.- La production d'Eschyle est l'Orestie. Polona Juh que Clytemnestre. Costumography par Belinda Radulović. Scénographie par Branko Hojnik. Polona Juh a reçu le Prix 2009 pour Borštnik la meilleure actrice pour son rôle de Clytemnestre.- Gyártása Aiszkhülosz Oreszteia The. Polona Juh mint Clytaemnestra. Costumography a Belinda Radulović. Scenography a Branko Hojnik. Polona Juh kapott Borštnik Award 2009 Legjobb női mellékszereplő, ő játszotta a Clytaemnestra.- La producción de Esquilo La Orestiada. Polona Juh como Clitemnestra. Costumography por Belinda Radulovic. Escenografía por Branko Hojnik. Polona Juh recibió el Premio Borštnik 2009 a la Mejor Actriz por su papel de Clitemnestra.- Proizvodnja Ajshil jeOresteia. Polona Juh kot Clytaemnestra. Kostumografija z Belinda Radulović. Scenografija Branko Hojnik. Polona Juh je prejela Borštnikovo nagrado 2009 za najboljšo igralko za njeno vlogo Clytaemnestra.- Produkcja Ajschylosa jestOrestei. Polona Juh jak Clytaemnestra. Costumography przez Belinda Radulovic. Scenografia przez Branko Hojnik. Polona Juh otrzymał nagrodę Borštnik 2009 dla najlepszej aktorki za rolę Clytaemnestra.- Produktion af Aischylos The Orestien. Polona Juh som Klytaimnestra. Costumography af Belinda Radulović. Scenografi af Branko Hojnik. Polona Juh modtaget Borštnik Award 2009 for bedste kvindelige hovedrolle for sin rolle som Klytaimnestra.- Productie van Aeschylus The Oresteia. Polona Juh als Klytaemnestra. Costumography door Belinda Radulović. Scenografie door Branko Hojnik. Polona Juh ontving de Borštnik Award 2009 voor Beste Actrice voor haar rol als Klytaemnestra.- La producció d'Èsquil L'Orestíada. Polona JUH com Clitemnestra. Costumography per Belinda Radulovic. Escenografia per Branko Hojnik. Polona JUH va rebre el Premi Borštnik 2009 a la Millor Actriu pel seu paper de Clitemnestra.- 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- Production of Aeschylus's The Oresteia directed by Jernej Lorenci. Polona Juh as Clytaemnestra. Costumography by Belinda Radulović. ...Scenography by Branko Hojnik. Polona Juh received the Borštnik Award 2009 for Best Actress for her role as Clytaemnestra.- 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- It's Only the End of the World regards a long-estranged young man who returns home for dinner one Sunday to inform his family of his ...illness and impending death. The play combines uniquely poetic and humorous language with a strangely disjointed dramatic structure. Funny, probing, touching, and more than anything deeply gentle toward the imperfections of the family he was about to leave behind, Lagarce rewrote The World several times in the last five years of his life (final version in 1990, enlarged into Distant Land in the very last days of his life).- Samo konec sveta je največkrat uprizorjena, verjetno pa tudi najbolj osebna igra Jeana-Luca Lagarca, čigar dramski opus se je v zadnjih letih silovito uveljavil v domači Franciji, pa tudi po svetu. Za časa kratkega življenja je bil Jean-Luc Lagarce znan le redkim poznavalcem in ljubiteljem. To ga menda ni bremenilo. S kolegi je ustanovil lastno gledališko skupino, s katero je uprizarjal izbrane avtorje (Beckett, Goldoni, Marivaux ...) in svoje igre. Kar petindvajset jih je, poleg tega pa je pisal tudi romane, časopisne feljtone, filmski scenarij, dnevnike … Ta obsežni opus je danes deležen izjemne pozornosti; še posebej pa njegove igre, ki so tako rekoč preplavile francoske in svetovne odre. Ta hip je Jean-Luc Lagarce najpogosteje uprizarjan francoski dramatik 20. stoletja sploh.- 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- Stepping down, we finally reach the ward where the queen is locked. The floor there is perfectly even, low and arched, and the ...ceiling resembles a glass dome, like the ones used for covering clocks. The Queen cannot possibly leave her cell. Otherwise the royal apartment is extensible and can spread optionally.
Thousands of adorers fond her and lick her endlessly, but in vain. The guards must try very hard to prevent the most passionate from stealing a piece of heavenly skin and satisfy their love, or hunger. That is why the old queens are covered in famous scars and look as if patched. As soon as the queen's attractiveness starts to cease, she is completely denied food, probably by the order of impresarios and flatterers. Thus she starves to death. It is a kind of passive, practically effective murder. The remains of the queen are eaten with great appetite, for she is mighty greasy, and one of the substitutes is put in her place. The queen is probably the most pitiable victim of the system, in which everyone is a sacrifice to an unknown idol.
M. Maeterlinck: The Life of the Ant- Stopimo navzdol, da pridemo naposled v oddelek, v katerem je zaprta kraljica. Tu je pod popolnoma raven, nizek in obokan, strop pa je podoben stekleni kupoli, s kakršno pokrivajo ure. Kraljica nikakor ne more zapustiti te svoje celice. Sicer pa je kraljevsko stanovanje raztezljivo in se poljubno širi.
Tisoči oboževalcev jo ljubkujejo in ližejo brez nehanja, a ne brez koristi. Varnostniki se morajo pošteno truditi, da ne bi najbolj goreči vzeli s sabo koščka božanske kože in tako nasitili svojo ljubezen ali lakoto. Zaradi tega so stare kraljice vse pokrite s slavnimi brazgotinami in se zdijo, kakor bi bile vse zakrpane. Brž ko jame kraljičina privlačnost popuščati, ji verjetno po odredbi impresarijev ali podrepnikov popolnoma odtegnejo hrano. Tako pogine od gladu. To je neke vrste pasivni, praktično učinkoviti umor. Kraljičine ostanke požro s slastjo, ker je zelo mastna, in postavijo na njeno mesto eno od nadomestnih. Kraljica je nemara največjega usmiljenja vredna žrtev sistema, v katerem so vsi samo žrtve neznanemu idolu.
M. Maeterlinck: Življenje termitov- 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- Stepping down, we finally reach the ward where the queen is locked. The floor there is perfectly even, low and arched, and the ...ceiling resembles a glass dome, like the ones used for covering clocks. The Queen cannot possibly leave her cell. Otherwise the royal apartment is extensible and can spread optionally.
Thousands of adorers fond her and lick her endlessly, but in vain. The guards must try very hard to prevent the most passionate from stealing a piece of heavenly skin and satisfy their love, or hunger. That is why the old queens are covered in famous scars and look as if patched. As soon as the queen's attractiveness starts to cease, she is completely denied food, probably by the order of impresarios and flatterers. Thus she starves to death. It is a kind of passive, practically effective murder. The remains of the queen are eaten with great appetite, for she is mighty greasy, and one of the substitutes is put in her place. The queen is probably the most pitiable victim of the system, in which everyone is a sacrifice to an unknown idol.
M. Maeterlinck: The Life of the Ant- Stopimo navzdol, da pridemo naposled v oddelek, v katerem je zaprta kraljica. Tu je pod popolnoma raven, nizek in obokan, strop pa je podoben stekleni kupoli, s kakršno pokrivajo ure. Kraljica nikakor ne more zapustiti te svoje celice. Sicer pa je kraljevsko stanovanje raztezljivo in se poljubno širi.
Tisoči oboževalcev jo ljubkujejo in ližejo brez nehanja, a ne brez koristi. Varnostniki se morajo pošteno truditi, da ne bi najbolj goreči vzeli s sabo koščka božanske kože in tako nasitili svojo ljubezen ali lakoto. Zaradi tega so stare kraljice vse pokrite s slavnimi brazgotinami in se zdijo, kakor bi bile vse zakrpane. Brž ko jame kraljičina privlačnost popuščati, ji verjetno po odredbi impresarijev ali podrepnikov popolnoma odtegnejo hrano. Tako pogine od gladu. To je neke vrste pasivni, praktično učinkoviti umor. Kraljičine ostanke požro s slastjo, ker je zelo mastna, in postavijo na njeno mesto eno od nadomestnih. Kraljica je nemara največjega usmiljenja vredna žrtev sistema, v katerem so vsi samo žrtve neznanemu idolu.
M. Maeterlinck: Življenje termitov- 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- Stepping down, we finally reach the ward where the queen is locked. The floor there is perfectly even, low and arched, and the ...ceiling resembles a glass dome, like the ones used for covering clocks. The Queen cannot possibly leave her cell. Otherwise the royal apartment is extensible and can spread optionally.
Thousands of adorers fond her and lick her endlessly, but in vain. The guards must try very hard to prevent the most passionate from stealing a piece of heavenly skin and satisfy their love, or hunger. That is why the old queens are covered in famous scars and look as if patched. As soon as the queen's attractiveness starts to cease, she is completely denied food, probably by the order of impresarios and flatterers. Thus she starves to death. It is a kind of passive, practically effective murder. The remains of the queen are eaten with great appetite, for she is mighty greasy, and one of the substitutes is put in her place. The queen is probably the most pitiable victim of the system, in which everyone is a sacrifice to an unknown idol.
M. Maeterlinck: The Life of the Ant- Stopimo navzdol, da pridemo naposled v oddelek, v katerem je zaprta kraljica. Tu je pod popolnoma raven, nizek in obokan, strop pa je podoben stekleni kupoli, s kakršno pokrivajo ure. Kraljica nikakor ne more zapustiti te svoje celice. Sicer pa je kraljevsko stanovanje raztezljivo in se poljubno širi.
Tisoči oboževalcev jo ljubkujejo in ližejo brez nehanja, a ne brez koristi. Varnostniki se morajo pošteno truditi, da ne bi najbolj goreči vzeli s sabo koščka božanske kože in tako nasitili svojo ljubezen ali lakoto. Zaradi tega so stare kraljice vse pokrite s slavnimi brazgotinami in se zdijo, kakor bi bile vse zakrpane. Brž ko jame kraljičina privlačnost popuščati, ji verjetno po odredbi impresarijev ali podrepnikov popolnoma odtegnejo hrano. Tako pogine od gladu. To je neke vrste pasivni, praktično učinkoviti umor. Kraljičine ostanke požro s slastjo, ker je zelo mastna, in postavijo na njeno mesto eno od nadomestnih. Kraljica je nemara največjega usmiljenja vredna žrtev sistema, v katerem so vsi samo žrtve neznanemu idolu.
M. Maeterlinck: Življenje termitov- 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- Stepping down, we finally reach the ward where the queen is locked. The floor there is perfectly even, low and arched, and the ...ceiling resembles a glass dome, like the ones used for covering clocks. The Queen cannot possibly leave her cell. Otherwise the royal apartment is extensible and can spread optionally.
Thousands of adorers fond her and lick her endlessly, but in vain. The guards must try very hard to prevent the most passionate from stealing a piece of heavenly skin and satisfy their love, or hunger. That is why the old queens are covered in famous scars and look as if patched. As soon as the queen's attractiveness starts to cease, she is completely denied food, probably by the order of impresarios and flatterers. Thus she starves to death. It is a kind of passive, practically effective murder. The remains of the queen are eaten with great appetite, for she is mighty greasy, and one of the substitutes is put in her place. The queen is probably the most pitiable victim of the system, in which everyone is a sacrifice to an unknown idol.
M. Maeterlinck: The Life of the Ant- Stopimo navzdol, da pridemo naposled v oddelek, v katerem je zaprta kraljica. Tu je pod popolnoma raven, nizek in obokan, strop pa je podoben stekleni kupoli, s kakršno pokrivajo ure. Kraljica nikakor ne more zapustiti te svoje celice. Sicer pa je kraljevsko stanovanje raztezljivo in se poljubno širi.
Tisoči oboževalcev jo ljubkujejo in ližejo brez nehanja, a ne brez koristi. Varnostniki se morajo pošteno truditi, da ne bi najbolj goreči vzeli s sabo koščka božanske kože in tako nasitili svojo ljubezen ali lakoto. Zaradi tega so stare kraljice vse pokrite s slavnimi brazgotinami in se zdijo, kakor bi bile vse zakrpane. Brž ko jame kraljičina privlačnost popuščati, ji verjetno po odredbi impresarijev ali podrepnikov popolnoma odtegnejo hrano. Tako pogine od gladu. To je neke vrste pasivni, praktično učinkoviti umor. Kraljičine ostanke požro s slastjo, ker je zelo mastna, in postavijo na njeno mesto eno od nadomestnih. Kraljica je nemara največjega usmiljenja vredna žrtev sistema, v katerem so vsi samo žrtve neznanemu idolu.
M. Maeterlinck: Življenje termitov- 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- Stepping down, we finally reach the ward where the queen is locked. The floor there is perfectly even, low and arched, and the ...ceiling resembles a glass dome, like the ones used for covering clocks. The Queen cannot possibly leave her cell. Otherwise the royal apartment is extensible and can spread optionally.
Thousands of adorers fond her and lick her endlessly, but in vain. The guards must try very hard to prevent the most passionate from stealing a piece of heavenly skin and satisfy their love, or hunger. That is why the old queens are covered in famous scars and look as if patched. As soon as the queen's attractiveness starts to cease, she is completely denied food, probably by the order of impresarios and flatterers. Thus she starves to death. It is a kind of passive, practically effective murder. The remains of the queen are eaten with great appetite, for she is mighty greasy, and one of the substitutes is put in her place. The queen is probably the most pitiable victim of the system, in which everyone is a sacrifice to an unknown idol.
M. Maeterlinck: The Life of the Ant- Stopimo navzdol, da pridemo naposled v oddelek, v katerem je zaprta kraljica. Tu je pod popolnoma raven, nizek in obokan, strop pa je podoben stekleni kupoli, s kakršno pokrivajo ure. Kraljica nikakor ne more zapustiti te svoje celice. Sicer pa je kraljevsko stanovanje raztezljivo in se poljubno širi.
Tisoči oboževalcev jo ljubkujejo in ližejo brez nehanja, a ne brez koristi. Varnostniki se morajo pošteno truditi, da ne bi najbolj goreči vzeli s sabo koščka božanske kože in tako nasitili svojo ljubezen ali lakoto. Zaradi tega so stare kraljice vse pokrite s slavnimi brazgotinami in se zdijo, kakor bi bile vse zakrpane. Brž ko jame kraljičina privlačnost popuščati, ji verjetno po odredbi impresarijev ali podrepnikov popolnoma odtegnejo hrano. Tako pogine od gladu. To je neke vrste pasivni, praktično učinkoviti umor. Kraljičine ostanke požro s slastjo, ker je zelo mastna, in postavijo na njeno mesto eno od nadomestnih. Kraljica je nemara največjega usmiljenja vredna žrtev sistema, v katerem so vsi samo žrtve neznanemu idolu.
M. Maeterlinck: Življenje termitov- 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
