The Slovenian National Theatre Drama Ljubljana has had a truly profound impact on my life. I am convinced that I would not be living in Slovenia today had Janez Pipan and Dušan Jovanović not opened the doors of Drama to me 25 years ago. I have worked with every managing and artistic director of this century and am grateful to each of them for the opportunities and artistic dialogue they offered. It is a great honour to step into the role of the person responsible for such a significant Slovenian institution, and it is especially meaningful that this person is a woman and an immigrant — not only for me, but for everyone who feels that Slovenia is their home and invests their energy, creativity, and work here. I am grateful to the Ministry of Culture and to Minister Dr. Asta Vrečko for their trust.
Our biggest tasks ahead will be to bring Drama back to its home building and complete the long-term renovation, while respecting all the efforts made so far. The temporary premises demand additional commitment from both staff and audiences, but we are all prepared to give our best to return home as soon as possible. The pride of Drama lies in its exceptional actors, who need ample space for creative work, opportunities to collaborate with Slovenian and international directors, and the inclusion of new artists of various profiles. We must strengthen our visibility internationally and our accessibility throughout Slovenia.
Theatre remains a place for vibrant encounters and reflection on society, which is why it must address socially relevant themes and transcend traditional genre boundaries. Contemporary theatre has greatly expanded its storytelling range. I am convinced that rigid divisions into drama, music, puppetry, movement-based theatre, comedy, serious work, youth theatre, experimental forms, and so on, are no longer sustainable. We must bring diverse artists into our projects and encourage them to use the full range of expressive possibilities. It is equally important to support writing in the Slovenian language and to bring theatre closer to new generations of audiences.
The social security of creators is essential for the development of theatre, especially within the interplay between public-sector employees and self-employed artists. We must ensure opportunities for young creators — actors, directors, set designers, video and lighting designers, composers, choreographers, dramaturgs, critics — as well as for all those working behind the scenes, whose contributions are often not visible enough.
The challenges currently facing Drama are solvable, as all of us — from the Ministry to the ensemble and collaborators — are committed to bringing the institution back to its fully refurbished home with the best possible programme for both longtime audiences and those yet to come.
