02
 
Howard Barker

Scenes from an Execution

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Saturdays from 6 p.m. to 8 p.m.
to show beginning.

Phone: +386 1 252 15 11

Programme for February 2012
On stage

First Slovene production


Opening night:
07th May 2011

Translator Zdravko Duša
Director Lindy Davies
Dramaturg Darja Dominkuš
Set & costume designer Sanja Jurca Avci
Composer Cathy Milliken
Arrangments & soundscapes by Igor Leonardi
Language consultant Tatjana Stanič
Light Designers Andrej Hajdinjak
Translator on rehearsals Lija Pogačnik
Assistant to set desiner Benjamin Hafner


Cast:
Saša Pavček - Galactia, a Painter
Uroš Fürst - Carpeta, a Painter
Marko Mandić - Urgentino, the Dodge of Venice
Matija Rozman - Suffici, an Admiral
Maša Derganc - Rivera, a Critic
Valter Dragan - Ostensibile, a Cardinal
Rok Vihar - Prodo, a Veteran
Barbara Cerar - Supporta, Daughter of Galactia
Iva Babić - Dementia, Daughter of Galactia
Gorazd Logar - Sordo, a Painter
Aljaž Jovanović - Lasagna, a Painter
Zvone Hribar - Pastaccio, a Prosecutor
Rok Vihar - Official
Gorazd Logar - Man in the next cell
Zvone Hribar - Gaoler
Rok Vihar - First sailor
Aljaž Jovanović - Second sailor
Gorazd Logar - Third sailor
Zvone Hribar - Workman
Aljaž Jovanović - Albanian
Zvone Hribar - Man at the exhibition
Rok Vihar, Zvone Hribar - Mourners
Gorazd Logar, Iva Babić - The sketchbook



Musicians: Gregor Marinko, violoncello, Melinda Teodorovska, oboe
sound engeneer: Nino de Gleria

Scenes from an Execution, written for radio in 1984 is a classic study of inevitable conflict between the artist and society. The uncompromising painter heroine Galactia has been commissioned by the Dodge of Venice to paint an epic canvas celebrating the Republic's triumph over the Muslims at the Battle of Lepanto. Dedicated to artistic truth, she unflinchingly depicts the horrors of war. As a result, she is taken off the picture, slung into gaol and replaced by a tame artist. But, persuaded by a honey-tongued critic that a work of art has no fixed meaning, the Dodge reclaims Galactia's painting and puts it on public view as a symbol of the state's repressive tolerance.


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