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52nd Maribor Theatre Festival

20th - 29th October 2017 | Maribor, Slovenia

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52nd Maribor Theatre Festival


Eye-to-Eye with Dramaturgs

A round table discussion with German and Slovenian dramaturgs organised by Urška Brodar in collaboration with JAK RS and the Maribor Theatre Festival

Schedule

21.10.2017, Saturday / 10:00 / Hotel Maribor

Urška Brodar, who spent the past five years between Berlin and Ljubljana keenly following the events both in German and Slovenian theatres as well as their independent scenes, is the initiator of a round table discussion between dramaturgs from Germany and Slovenia. What are the specific features of repertoire politics in Slovenia and in Germany, what is going on with developing new formats, playwriting styles, what are the directions, how do we respond to the current social-political events … Those are the questions that we shall tackle during the round table discussion as well as during the informal meetings. We strive towards a permanent international connection as collaborations between countries take place on the basis of exchange of productions and participation at international festivals, but all these are merely brief hop-ins from one’s own environment. What we miss are more in-depth confrontations of various scenes. Do we have in the first place a common referential field when we talk about theatre? In which way are we determined by the cultural-historical context? Do we understand each other at all? What is it that we want to see in theatre? Together we shall watch the productions featured at Maribor Theatre Festival and expand the debate in a more informal workshop. The participants of the encounter will be German dramaturgs Stefan Bläske, Uwe Gössel and Johanna Hömann as well as Slovenian dramaturgs Urška Brodar, Alja Predan and Simona Semenič.

Participants:

Stefan Bläske is a dramaturg who studied theatre and media studies, philosophy, political and management sciences. He worked as a scientific assistant at the University of Erlangen-Nürnberg and was an assistant at the Institute for Theatre, Film and Media at Vienna University. He has written critiques and reviews for the magazine nachtkritik.de and the magazine Theater der Zeit. He was a dramaturg at Residence Theatre in Munich from 2011 to 2013 as well as a mentor for directing and dramaturgy in the Munich school of Otto Falckenberg. Ever since the production of The Dark Ages by Milo Rau in 2015 in Residence Theatre, he has been working for the International Institute for Political Murder (IIPM).

Uwe Gössel is a theatre researcher, dramaturg and playwright. From 2006 to 2014, he  conducted the international forum of the Berlin festival Theatertreffen (Berliner Festspiele). He is currently vice-president of the German dramaturgs association Dramaturgische Gesellschaft. He was dramaturg in the People’s Theatre in Rostock from 1999 to 2002, and from 2002 to 2004 in Maxim Gorki Theatre in Berlin. He was a member of the jury of Theatertreffen for German-speaking theatre schools as well as for the festival NRW-Favoriten and the Kleist-Förderpreis award. He conducts theatre workshops in Japan, Ukraine, Togo and Tunisia, creating projects in Deutsches Theater/Junges DT in Berlin, Reykjavik City Theatre, etc. Among others, he writes for Die Deutsche Bühne.

Johanna Höhmann is a dramaturg who worked between 2011 and 2012 in the Berlin theatre Hebbel am Ufer (HAU) where she co-created the 24-hour production Infinite Jest based on David Foster Wallace’s novel. She collaborated with director Wojtek Klemm in theatre Volksühne am Rosa-Luxemburg Platz in Berlin and in theatre Współczesny in Stettin. In 2013 she was curator of the project X-Wohnungen (X-Apartments) by Mathias Lillienthal in the European Capital of Culture Košice in Slovakia and replaced the head of the accompanying programme at HAU theatre under the artistic leadership of Annemie Vanackere. She was the dramaturg in charge of the productions of the 2014 festival Freischwimmer as well as of productions by Damian Rebgetz and Corinne Maier. As of the season 2015/16 she is employed as dramaturg in the Munich theatre Kammerspiele.

Urška Brodar is a dramaturg and translator currently employed in Mladinsko Theatre Ljubljana. She is active within the frame of private NGO theatres (Glej Theatre, Bunker, Maska) as well as national theatres (Celje People’s Theatre, the Slovenian National Theatre Nova Gorica). She has collaborated with directors such as Jure Novak, Marko Bulc, Luka Martin Škof, Nikola Zavišić and Sebastijan Horvat. In recent years, she has been mostly dedicated to creative projects. Together with Jure Novak and Katarina Stegnar, she is co-creating the last part of the trilogy named Orgy, which will be carried out in 2017, the first part being That is Why I am Lucky and the second part the box-office hit Katarina on Demand. Together with Eva Nina Lampič, she created A Potential Production in 2016 in residency at Glej. She also collaborates with the collective Beton Ltd. Fluent in Slovenian, German and Enlglish, she mostly translates contemporary German dramatic literature. She was editor of Glej publications from 2011 to 2016. She writes about contemporary theatre in Maska journal and in the programme booklets of Slovenian theatres.

Alja Predan is a dramaturg, translator, editor and theatre researcher. She studied dramaturgy, art history and English, worked ten years as a freelancer, was artistic director of Primorska Dramatic Theatre in Nova Gorica, curator in Ljubljana City Gallery, and for fourteen years, the dramaturg of the Ljubljana City Theatre and editor of its series MGL Knjižnica. She was head of the theatre and dance programme of Cankarjev dom for three years. From 2009 to 2017 she was the artistic director of the Maribor Theatre Festival. She is currently a dramaturg at Celje People’s Theatre.

Simona Semenič is a playwright, dramaturg, director and performer. She is the recipient of three Grum Awards and has been nominated as many times. Her works have been translated into twelve languages and staged in several European countries and the USA as well as in the Middle East. The productions based on her texts have received numerous awards both in Slovenia and abroad. She herself stages some of her autobiographical texts and performs them at various festivals. She led the initiative Preglej from 2005 to 2013, Glej Theatre Association from 2007 to 2010, and since 2006, the Cultural Association Integrali. She also conducts workshops at home and abroad. She collaborates regularly as a co-author and dramaturg with directors and choreographers, such as, Ivan Talijančić and Janez Janša, and has also written theatre adaptations (LGL, MGL, SiTi Theatre).


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