The reconstruction of the performance, which is impregnated with the spirit of experiment and resistance, is itself an experiment, since reconstructions of performances are not common in Slovenia. The emphasis is thus on theatrical speech as well as on its contextualization and recontextualization. The performance is furnished with conversations and interventions by the original cast and also with reproductions of the responses to it. It stresses the procedures used in the original performance, with the focus on openness and non-formality. The reconstructors put special interest in how to re-enact the following elements:
- commonness and unskilfulness
- non-spectacularity and extremity of execution
- open improvisation and folklore and military discipline
- collective mind and mindlessness
- open, non-aestheticized and non-linear language and political engagement.
Pupilija's politicality was primarily in its resistance to all forms of authority and not in the direct expression of political protest. Pupilija distances itself, mocks and subverts authorities, from external (state, nation, party, church, market) to internal (theatre and aesthetic). With incredibly suggestive, yet almost innocent speech, it easily attracts today's viewer. The reconstruction also accentuates certain issues, adopting a polemic stance toward the thus far attempted interpretations of the performance. Namely, the majority of interpretations emphasize the rituality of the performance, although from today's distance it is clear that the actors' performance displays a certain distance to expressivity, characteristic of the ’60s. Herein also lies the essential difference between Pupilija and let us say Living Theatre.
The next dimension that the performance attempts to lay open is the introduction of contemporary dance. Namely, it is typical of all the countries of socialism and communism to hinder the development of artistic dance. Dance therefore struggled through experimental performing formats. The reconstruction reactualizes also the question of collectives, circles and "the scene" in the societies of neoliberal capitalism.
Reconstructed and directed by: Janez Janša
Created and performed by: Aleksandra Balmazović, Gregor Cvetko, Dražen Dragojevič, Lado Jakša, Alja Kapun, Boštjan Narat, Matjaž Pikalo, Dejan Srhoj, Ajda Toman, Irena Tomažin, Grega Zorc
Music: Gregor Cvetko, Lado Jakša, Boštjan Narat
Lead technician: Igor Remeta
Assistant director: Samo Gosarič
Projections: Samo Gosarič, Emil Hrvatin, Igor Štromajer
Camera operators: Gregor Lipičar, Iztok Sajdl
Montage: Gorazd Kernel
Makeup artist: Barbara Pavlin
Photography: Marcandrea Bragalini
Executive producer: Barbara Hribar
Production: Maska
Co-production: Festival EX PONTO, Bunker Productions
Co-producer of video: Videoprodukcija Kregar
Sponsor: Elle magazine
Thanks to: Center and Gallery P-74, Festival Ljubljana, RTV Slovenia.
Special thanks to all the members of the original cast of the performance Pupilija, papa Pupilo pa Pupilčki, especially to Dušan Jovanović, Ivo Svetina, Barbara Levstik and Goranka Kreačič.
The project is co-funded by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana.
Pupilija, papa Pupilo and the Pupilceks - reconstruction
17.11.2006 |
A parade example of a theatre reconstruction, according to the reviewers of the magazine Corpus. A contribution by Katherine Zakravsky in the Documenta magazine. Special Prize ex aequo of 41st Bitef in Belgrade for “re-actualizing a constant wish to question the nature and boundaries of the theatre”. Janez Janša’s theatre reconstruction of the cult and - for the Slovenian theatre - groundbreaking neoavantgarde performance by Dušan Jovanović brings about the spirit of the 60s, while at the same time exposes the distance toward that time and the procedures of the reconstruction. The reviews of the Vienna performance identified it as a parade example of a theatrical reconstruction.
“What do we see when we look at the reconstruction of Pupilija by Emil Hrvatin in 2006? As a matter of fact, we see three performances, if not more, and in this – though not merely in this – lies hidden its theatrical significance, which surpasses a plain formal experiment. The first is that original performance, which has ceased to exist forever, the second, the one with today’s actors, who are more than mere substitutes for those original ones, while the third is the reconstruction as a whole.”
Blaz Lukan, Delo, 28.9. 2006
“I wanted to kill a hen, but they did not give me enough time. So, the thing ended with the hen going back into the cage. But don’t you worry, in a couple of days it will surely be killed and become someone’s lunch.”
Petar Nikolic, Director, Hen Slaughterer Volunteer, from Bitef, Belgrade, September 19 2007.
PUPILIJA, PAPA PUPILO, PA PUPILČKI - reconstruction: Janez Janša
28 October at 8PM, Cankarjev dom, Linhartova hall -
ŠOKING GALA ŠOV
conversation after the performanse (moderator: Darko Štrajn)
28 October at 8PM, Cankarjev dom, Linhartova hall -
ŠOKING GALA ŠOV
conversation after the performanse (moderator: Darko Štrajn)
A parade example of a theatre reconstruction, according to the reviewers of the magazine Corpus. A contribution by Katherine Zakravsky in the Documenta magazine. Special Prize ex aequo of 41st Bitef in Belgrade for “re-actualizing a constant wish to question the nature and boundaries of the theatre”. Janez Janša’s theatre reconstruction of the cult and - for the Slovenian theatre - groundbreaking neoavantgarde performance by Dušan Jovanović brings about the spirit of the 60s, while at the same time exposes the distance toward that time and the procedures of the reconstruction. The reviews of the Vienna performance identified it as a parade example of a theatrical reconstruction.
“What do we see when we look at the reconstruction of Pupilija by Emil Hrvatin in 2006? As a matter of fact, we see three performances, if not more, and in this – though not merely in this – lies hidden its theatrical significance, which surpasses a plain formal experiment. The first is that original performance, which has ceased to exist forever, the second, the one with today’s actors, who are more than mere substitutes for those original ones, while the third is the reconstruction as a whole.”
Blaz Lukan, Delo, 28.9. 2006
“I wanted to kill a hen, but they did not give me enough time. So, the thing ended with the hen going back into the cage. But don’t you worry, in a couple of days it will surely be killed and become someone’s lunch.”
Petar Nikolic, Director, Hen Slaughterer Volunteer, from Bitef, Belgrade, September 19 2007.
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