To mark the 100th anniversary of the birth of Croatian singer and songwriter Ivo Robić, one of the most prominent Yugoslav musicians who attained world renown, Big Band RTV Slovenia is holding a concert dedicated to his greatest hits in a jazz makeover – with arrangements by Pavel Klimashevsky and under the baton of conductor Sigi Feigl. The evening’s soloist will be Croatian jazz singer Danijel Čačija.

The programme is dedicated to covers of Ivo Robić’s greatest hits, including Rodni moj kraju, Tiho plove moje čežnje, Srce laku noć, Stranci u noći, Mona Lisa, Septembar, Zamagljen prozor, Ta tvoja ruka mala, Sedamnaestgodišnjoj, Samo jednom se ljubi and, of course, the inevitable Morgen, which earned Ivo Robić the nickname "Mister Morgen" in German-speaking countries.
 

Nina Bauman, vocals; Andrej Pompe, keyboards, vocals; Vlado Pirc, bass, vocals; Samo Pirc, guitar; Damjan Mulej, drums; Vanja Vogrinčič, percussion
Guests: Tinkara Kovač, Urban Lutman (Batista Cadillac), Big Band Bled conducted by Primož Grašič

A renowned, unique, innovative Slovenian band Panda captured a moment in time, creating something that reflected people's passions and riding the wave of their success story since 1986 by defying ephemeral trends. Over the years the band has achieved legendary status for their original compositions and exceptional live sound, as well as a succession of six female lead singers. The concert is dedicated to their latest album Legenda. In an evening featuring new material and a selection of their greatest hits, Panda will be joined by some special guests. 
 

An attractive programme of dances and songs from different regions of Slovakia. The authors based their stage performance of original folklore material on attributes typical of folk art: improvisation, innovation, grotesqueness, comedy, exoticism and theatricality. 

A blend of the exceptional interpretive performance skills of the dance ensemble, folk music and masterful vocal group, this production offers to contemporary audiences a fresh theatrical version of the diversity of traditional Slovak folklore.

SĽUK – The Slovak State Traditional Dance Company is a state contributory organisation established by the Ministry of Culture of the Slovak Republic.

The play, a funny yet trenchant sociocritical farce, focuses on a single day in a chain supermarket when women, voicing their outrage at a yet another rise in prices, revolt and decide to pay only what they want for their bags full of groceries. This ends up being nothing, and the housewives embark on a looting spree, stuffing goods down their coats. 

Today, the comedy Can't Pay! Won't Pay! – both Fo's original tale of fed-up workers nicking groceries and its 21st-century reworking – still feel immediately relevant. The tensions explored in Fo’s comedy – rampant inflation, precarious jobs, unemployment, rising prices, poverty, the gap between rich and poor – feel very timely. The comedy’s most exciting aspect is Fo’s brilliant "black and white" statement: that it is always and incontrovertibly a handful of rich who do the stealing, and that the exploited eventually realize they simply don't have to put up with the rip-off anymore. With this uncompromising and straightforward logic, deliberately overlooking the complexity of the issue, the author potently undermines our prevailing social consensus on class inequality and its continued perpetuation. 

Ajda Valcl's take on Italian playwright Dario Fo’s Can't Pay? Won't Pay! was declared the best production by the jury at the 31st Days of Comedy, Vesna Pernarčič won the Best Comedy Actress Award and Ajda Valcl the Best Director Award. 
 

At the invitation of the Novak Djokovic Foundation, Dr. Gabor Mate is coming to Ljubljana!

On October 14, 2023, Dr. Mate, together with Jelena Djokovic, will hold an educational workshop on the topic of trauma at Cankarjev Dom.
The workshop will take place from 10 am to 5 pm (lunch, refreshments, and accompanying materials will be provided) and will be divided into three parts, each lasting 2 hours.

In the first part of the workshop, you will have an incredible opportunity to discuss topics such as: Traumas with small and big T in early development; Nurturing attachment and authenticity in the family; Examples from Dr. Mate's extensive work with trauma and addiction, and more.

The second part is called "Compassionate Inquiry." Using the same method, participants will explore their "authentic self" and discover ways to access repressed content that prevents them from reaching their full potential.

The third and final part is a Q&A session, where Dr. Gabor Mate will answer various questions from workshop participants.

This is an opportunity to gain invaluable experience through conversations and consultations with one of the leading experts in the field of psychotherapy.

Simultaneous translation into Slovenian will be provided.
 

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The one and only Neisha taking the limelight, accompanied by the majestic Big Band Orchestra of the Slovenian Armed Forces under the baton of Rudolf Strnad.

Combining Neisha's greatest hits, blues, funk, beautiful words and the harmonious, velvety husky voices well familiar to all of us, we can look forward to a one-of-a-kind event that will take the audience on a journey from sensual acoustic minimalism to the grande fortissimo of a big band.

On the piano and in front of the microphone, Neisha will be joined by special guests Hamo and Uroš Perić. 

With 'One Song', the Belgian visual artist Miet Warlop has created the 4th part in the series 'Histoire(s) du Théâtre', at the invitation of the Belgian city theatre NTGent and its artistic director, acclaimed theatre director Milo Rau.

One Song is a masterful ‘exercise in repetition’: A group of musicians/competitors perform a single song on a loop while doing an extreme workout. Throughout, as the performers thoroughly exhaust themselves, a male cheerleader and a group of fans take turns encouraging and booing them, while a referee mumbles incomprehensibly in the background.

One Song lingers in the mind as a wild, exhilarating study in absurdity. 

A group of performers enters the arena for a mesmerizing ritual about farewell, life and death, hope and resurrection. Together they go through extremes: through sung text, images and objects, oxygen and sweat, they evoke our human condition. Again and again, someone stands up to push their boundaries. They defy time and give expression to a deep human need: the moment when we can transcend our thinking body. Through the metaphor of a live competition/concert, including a commentator and a cheerleader, Miet Warlop invites us to form a community and lift each other up, as in a celebration. The temporary thus becomes the universal, and the personal becomes something of the collective. That is the subtext of this show: how one song can give meaning to a whole society. Unity in diversity, an exhausting dance in all its beauty.

The Belgian visual artist Miet Warlop (1978) was born in Torhout. She lives and works between Ghent and Brussels. Miet Warlop holds a master’s degree in visual arts from KASK, Ghent. Her reflection on theatre as an art form leads to a physical concept in which we recognize elements from previous productions. It typifies Warlop’s artistic signature that her themes and motifs sometimes resurface years later: in her oeuvre, everything is connected, implicitly or explicitly. It is circular, like life itself, in many ways. The ritual concert with a choreographic pattern was the basis for various previous productions, including Fruits of Labor (2016), and Ghost Writer and The Broken Hand Break (2018).

Marco da Silva Ferreira’s 10-member company electrifies the stage with wholly committed dancing. These thespians hold nothing back in their involvement in today’s realities. The dancers perform complicated footwork that brings together standardised folk dances with contemporary urban dance styles.

In Carcass (C A R C A Ç A ), the performers perpetuate a total theatre of images, supported by vocals, music, and set design, with a new original choreographic language steeped in folkloric realities. Sharp staccato percussive beats emitted from the drums of master musician, Joao Pais Filipe, set the stage for the entrance of the dancers.

The dancing is solid, with the elevated level of technical excellence demanded by Ferreira’s choreography: a combination of folk, gymnastic, and original moves, which coalesce into a very down to earth original language adapted to his vision of reality. His choreography is a movescape of constantly evolving semiotic images, which require little or no effort to decipher: hard-hitting anti-fascist statements, calling for the tearing down of all barriers and walls for a true equality: to be made available to all inhabitants of this fragile universe we all share.

A highly diverse cast of ten dancers and two musicians form an unconventional and joyful dance ensemble. The dancers perform complicated footwork that brings together standardised folk dances with contemporary urban dance styles that appear in cultures considered minorities (for example, LGBTQIA+ communities or communities of the ex-colonies).

Marco da Silva Ferreira is a self-taught choreographer/dancer who developed his signature style through dance genres that merged into an urban context with afro-descendant influences. A professional dancer since 2008, he has worked with names such as André Mesquita, Hofesh Shechter, Sylvia Rijmer, Tiago Guedes, Victor Hugo Pontes and Paulo Ribeiro.

In his choreography, Marco da Silva Ferreira uses dance as a tool to investigate communities, the construction of a collective identity, memory and cultural crystallisation.

And every day a new tea has to be served, tidied up, cooked, something repaired. Every day you have to jump when someone calls for you. And always the stench from the private laboratory of the head of the family who thinks he can develop new organic matter. They all don't know how to handle money either. The worst thing, however, is that you constantly have to listen to the do-nothings, who pass the time with their love affairs, their painting and their scientific dilettantism, trying to remedy the primitive state of the masses...

Maybe that's how they think, the employees in Protasov's house, without whom nothing would work here. The scientist Protasov cannot concern himself with profane things like everyday life. He wants to bring about progress, chemically and intellectually. Nothing less than the final liberation of humanity is the focus of all his work. Thus he has neither an eye for the widow Melaniya, who is burning in desperate love for him, nor - and this is worse - for his wife, who turns lonely to their mutual friend Wagin. The tender signs of love between his sister Lisa, who has long been severely traumatised by the sight of bloody street riots, and the morally deranged veterinarian Tschepurnoi also escape him - as does the catastrophe that is brewing between the two. But cholera is rampant on the streets, there are deaths, and suddenly the air in the ivory tower becomes dangerously thin.

The author Maxim Gorky - a pseudonym that translates as "the bitter one" - wrote the play during his imprisonment in the Peter and Paul Fortress, where Dostoevsky was also imprisoned. 

Written in the aftermath of the so-called St. Petersburg Bloody Sunday, which was to usher in the Russian Revolution of 1905, Children of the Sun – masterfully directed by Mateja Koležnik – is a tragi-comic inventory of a deeply divided society that must reinvent itself if its days are not to be numbered.

Only three days before it tours Cankarjev dom, the brilliant and widely heralded Schauspielhaus Bochum production Children of the Sun, directed by Slovenian director Mateja Koležnik, will open this year's Belgrade International Theatre Festival Bitef.

The scintillatingly witty A Little Night Music is Stephen Sondheim’s adaptation of the Ingmar Bergman film Smiles of a Summer Night (Sommarnattens leende), focusing on a tangled web of romantic entanglements spun in the space of a single weekend around actress Desirée Armfeldt (Damjana Golavšek) at the turn of the last century.

When Desiree stops in the town to perform with her acting company, she meets her ex-lover Fredrik Egerman (Marjan Bunič), igniting the old flame of their love affair. This arouses feelings of intense jealousy among everyone involved: Desirée, Fredrik, his young wife Anne (Sara Lešnik), Desirée’s current lover, Count Carl-Magnus (Lucas Somoza Osterc), and his wife, Charlotte (Željka Predojević Korošec). All characters, including both men – and their troubled wives –, gather at a weekend house party called by Desirée’s mother, Madame Armfeldt (Polona Vetrih) who lives in opulent retirement in the country. There, endless possibilities open up for surprising new romantic combinations and unexpected twists.

This vibrant and elegant musical, part social comedy part battle between the sexes, is played out against the backdrop of Sondheim’s lilting waltz-driven score, a continuous flow of comic, dramatic, and romantic songs, including the hit Send in the Clowns.