380:) and the projects of Dragan Živadinov resulted in the aesthetically most diverse period in the history of the theatre that the critical machinery in Slovenia – due to the limited tools with which it was operating, and ideological altercations of the political left, connected to the so-called independent or "dependent" production – didn't know to contextualize or couldn't analyse.
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from abroad, Mladinsko as an example of contemporary theatre wouldn't have survived. The positive response in Europe and the
Americas was critical for the continuation of the research. Thus, the duality occurred: Mladinsko was relatively marginalized in Slovenia, while abroad it represented Slovenian art, culture and even the country.
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The placement of these phenomena into the international and festival theatre space was extremely important. Today, when audience members are ensconced in the post post-socialist era of the so-called transition period in
Slovenia, the historic distance enables them to claim that without this support
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space, framing, scenic montage, aesthetics of speed, aesthetics vs. the real body, intermediality – to use the terminology used by Hans-Thies
Lehmann for the analysis of the postdramatic – all this has taken the Mladinsko Theatre into the heterogeneous spheres of contemporary performing arts at the
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Under the artistic leadership of Eduard Miler, Tomaž Toporišič, Matjaž Berger, and, in the last few seasons of the current director of the theatre Uršula
Cetinski, Mladinsko became a setting for the wealth of diversity, while remaining the Slovenian centre of theatre research. The strong accents of
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became managing director of the theatre and ensured that the
Mladinsko presented artistically demanding youth performances. The Mladinsko was on the theatre margin, which allowed many different creative energies to congregate there. The political powers deemed the theatre unimportant, which enabled
283:, which began the series of projects that marked the Mladinsko as the nexus of the political and at experimental theatre. Around the mid-1980s, poetics that were not bound to "actual political" began to appear, first with the projects by Vito Taufer, then the performances by Janez Pipan and
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Together with several representatives of the so-called independent scene, the
Mladinsko Theatre of the last two-and-a-half decades has been a place of creation which has brought strong impulses into the more institutional Slovenian theatre. The impulses moved in the direction of
368:), Barbara Novakovič, Vlado Repnik, Ivan Peternelj, Jan Decorte, Sebastijan Horvat, Damjan Kozole, Silvan Omerzu, and many others, have, together with Taufer's research of an extremely wide territory of theatre function (such as the performances
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In 1969, the city of
Ljubljana gave the theatre the Župančič Award for special achievements as an “exceptional example of communal creative will for quality conveying theatre art to wider circles”. In 2008, the
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The
Mladinsko Theatre's development progressed with contemporary theatre practices of the reformers of the Slovenian theatre during the second half of the 20th century, including directors
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295:'s projects. This line has continued from the 1990s through the present in the form of diversity and auto-poetics in performances such as those by Eduard Miler,
203:. Throughout its history, the theatre has collaborated with the theatre reformers that shaped the Slovenian theatre during the second half of the 20th century.
263:), where circumstances prevented the development of the kind of contemporary theatre which Mladinsko started developing with the arrival of Dušan Jovanović.
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awarded the theatre the honorary title of
European Cultural Ambassador, on the grounds of its international activity and the quality of its performances.
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507:, in Occupying spaces: experimental theatre in Central Europe: 1950–2010, I. Svetina, T. Toporišič, T. Rogelj (ed.), SGM: Ljubljana, 2011: 418–468.
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of the spectator and their perception and, on the other hand, the double coding of theatre springing from the tactics of the historical neo-
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During the next decade – when Petar Jović became the managing director and Dušan
Jovanović the artistic director (with the help of the
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organizational and programmatic changes to be made. The 1970s also marked a time of crisis at the Drama Ljubljana (the
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meeting points of various artistic mediums that have constantly enriched and added to the theatrical field.
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Mladinsko Theatre was founded in 1955 by Balbina Baranovič, the directress who also founded the first
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Spatial machines and Slovene (no longer-) experimental theatre in the second half of the 20th century
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The tactics of epicization, formalist and energy theatre, the stage of the landscape, of
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Artaud's Theatre of Cruelty and Subversive Strategies of Today's Art
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in 1955 as the first professional theater for children and youth in
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List of Mladinsko Theatre touring abroad and in-country since 1996
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Has the Future Already Arrived? 50 Years of Mladinsko Theatre
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The spatial machines and Slovene (no longer-) theatre
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523:Mladinsko Theatre building and architecture
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254:In the early 1970s, Slovenian playwright
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346:Galileo Galilei, Interpretacija sanj
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538:Mladinsko Theatre history overview
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350:The Damned, Crime and Punishment
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528:Mladinsko Theatre on Culture.si
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275:Marko Slodnjak), followed by
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518:Mladinsko Theatre homepage
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34:46.0610611°N 14.5095222°E
378:Midsummer Night's Dream
370:Silence Silence Silence
330:Roberto Zucco, Fragile!
136:Slovenian Youth Theatre
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39:46.0610611; 14.5095222
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494:, Maska, Spring 2008.
318:Scandal after Cankar
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436:European Commission
391:Richard Kostelanetz
356:), Jernej Lorenci (
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191:Introduction
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199:company in
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74:Designation
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178:energy, a
122:.mladinsko
418:metonymic
410:parataxis
358:Gilgamesh
273:dramaturg
152:Ljubljana
103:Architect
64:Ljubljana
442:See also
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201:Slovenia
176:ensemble
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156:Slovenia
68:Slovenia
366:Blasted
186:History
172:poetics
166:in the
144:Slovene
113:Website
95:Rebuilt
58:Address
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374:Pippi
311:1990s
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