Sebastijan Horvat, Andreja Kopač, Eva Nina Lampič
A Passage to Jajce
Original title: Pot v Jajce
Based on the work of Edvard Kocbek and »The passion Play of Kocbek« by Ivo Svetina
Coproduction with Slovenian National Theatre Nova Gorica
Opening in SNT Nova Gorica 28 May 2009
Pre-opening in SNT Drama Ljubljana 12 June 2009
Opening in SNG Drama Ljubljana 19 September 2009
19 September 2009
155 minutes inc. interval
An excerpt from Friedrich Nietzsche’s Thus Spoke Zaratustra is included in the play.
The famous passage to Jajce to the second AVNOJ (Anti-Fascist Council for the People’s Liberation of Yugoslavia) meeting in the year 1943, during which the government of the new Yugoslavia was formed, remains one of the most exciting events of Slovene national history. The play about times long passed but still shaping our lives today is based on Edvard Kocbek’s diary entries from Tovarišija (Comrades) and Listina (Document), which discuss fundamental human values absent from today’s public discourse and everyday life. It takes a critical look at “indifference”, the feeling that change is no longer possible.
Seabastijan Horvat belongs to a younger generation of Slovene theatre directors. He has worked in numerous Slovene theatres and has been awarded several important Slovene awards for his work, among them the Prešeren Foundation Award; in 2005 he received the best young director award in the Salzburger Festspiele. In 1997 Horvat, alongside Petra Veber, a scenographer and regular co-worker, and the actress Nataša Matjašec, founded the independent theatre institute, the E.P.I.centre. Sebastijan Horvat has been working at the AGRFT (Academy of Theatre, Radio, Film and Television) since 2005. He creates politically engaged plays that have been known to create controversy.
Horvat conceptualises his play with the statement: “Fear is nowadays such a powerful emotion that it has succeeded in paralysing a whole generation, in the sense that there is a widespread belief that courage doesn’t pay. Those who are courageous are stupid. The pragmatism of “safety” has become all-encompassing, but to me the sphere of art is primarily a sphere of danger.”