A documentary film based on a true story. Nepal, 1979. The 6,828-metre "Ama Dablam", regarded as a holy mountain in Nepal, was the scene of a momentous and spectacular rescue mission. A New Zealand expedition, under the leadership of Peter Hillary, finds themselves in an almost hopeless situation. Reinhold Messner discovers the New Zealanders in distress. In a unique display of camaraderie, Reinhold's group put their own lives on the line to rescue their fellow climbers. The documentary recounts the events in a new light, combining archive footage, re-enactment and interviews with Reinhold Messner and those who accompanied him at the time.

The lecture will be presented in English with simultaneous translation into Slovenian.
 

A documentary about an unprecedented mountaineering achievement. In 1978, Messner and Austrian Peter Habeler were the first to climb Mount Everest (8,850 metres), without the use of contained oxygen for breathing.


The lecture will be presented in English with simultaneous translation into Slovenian.
 

The film presents one of the most dramatic rescue missions in the history of mountaineering. With Hans-Jörg Auer in the lead role! 


The lecture will be presented in English with simultaneous translation into Slovenian.
 

In Agony, part two in a triptych of plays about the Glembay family that includes The Glembays (1913), In Agony (1922), and Leda (1925), was written in 1928 by one of the greatest 20th-century Croatian writers, Miroslav Krleža (1893–1981). In Agony describes ill-fated events in the lives of members of a once privileged elite of a fallen empire unfolding over a single day and night in early autumn. Baron Lenbach, crushingly burdened with gambling debts, takes his life first, followed by his wife, Baroness Laura. Baroness, the central character of Krleža’s play, is involved in a sophisticated love triangle with two male protagonists: Baron Lenbach and Dr. Križovec, a lawyer she genuinely loves.

The award-winning staging of Krleža’s masterpiece is another in a string of theatrical productions (Gypsy, but the Most Beautiful; Three Winters...) with which director Ivica Buljan asserts himself as not only a first-class theatre innovator, a connoisseur and creator of trends in contemporary theatre, but also a sophisticated interpreter of the so-called classical drama. Staging a modern classic is a particularly challenging task because its solid and predictable structure calls for a total, all-encompassing theatrical presentation. And that is why it is the hardest. With In Agony, Buljan succeeds in accomplishing this feat also thanks to the excellent cast, especially the principal actress of the Croatian National Theatre, the brilliant Nina Violić, in the role of Laura Lenbach, while her counterparts are wonderfully portrayed by Livio Badurina as Dr. Križovec and Krešimir Mikić as Baron Lenbach. With intricate precision, the director and his great trio of actors unfold Krleža's masterpiece in a condensed and rhythmically highly charged performance. Everything he wrote so clearly almost a hundred years ago is there, in front of us, on stage. And it is still relevant and still intense today: passion, blood, tears, sweat, all buried in the text’s multiple layers and ready to burst out in a bourgeois salon, a room devoted exclusively to leisure and the scene of most family quarrels. 

In Agony is a true theatrical simul about the eruption of everything that’s been bottled up, everything that should have been said a long time ago but hasn’t, so it inevitably leads to the most tragic of all endings. A story for all time.
 

Wim Vandekeybus (1963) is a choreographer, dancer, filmmaker and photographer. He founded his dance company, Ultima Vez, in the mid-eighties. He made a remarkable artistic debut with his first performance What the body does not remember (1987). The performance won a Bessie, an award granted for groundbreaking work. His second performance, Les porteuses de mauvaises nouvelles (1989), was also honoured with this award. In his unique style, Vandekeybus has created milestones in the development of modern dance with his performances over the last few decades, at home and abroad. 

Vandekeybus has developed a signature language of movement wherein he juxtaposes intuition, impulse and instinct with energy, risk and danger, which exemplifies a dramatic Weltanschauung, full of dynamics and conflict, through the medium of dance. A central focus in his work is the irreconcilable conflict between body and mind, feeling and intellect, man and woman, nature and culture, man and animal, group and individual, illusion and reality. Vandekeybus’ work is characterised by almost obsessive reiterations of one single concern: how man responds to extreme situations. In this context, he attaches special importance to what he refers to as ‘the moment of catastrophe’ – which, ironically, does not preclude his inclusion of humour, playfulness and even a certain jocular light-heartedness in his work. 

With Hands do not touch your precious Me, Wim Vandekeybus creates a mythical tale of confrontation and transformation, light and darkness, death and rebirth. For this he collaborates with the composer Charo Calvo, eight dancers and – for the first time – with performer and visual artist Olivier de Sagazan. Together they create a world in which bodies balance like living, fleshly sculptures between the utopian and the gruesome, the powerful and the fragile. The poetic, mysterious title is a verse taken from a hymn by the Sumerian High Priestess Enheduanna to the goddess Inanna. 

Of all the myths surrounding the goddess Inanna, her spectacular descent into the underworld is the most intriguing. Inanna is the divine embodiment of the paradoxes of human existence, and her deeds are a reflection of the tensions and contradictions that every person is forced to navigate in life. Inscribed on clay tablets in cuneiform over 4,000 years ago, these are some of humankind’s most ancient stories. Regardless of their different styles, the performances by both Wim Vandekeybus and Olivier de Sagazan balance on the line of what it means to be ‘body’ and ‘man’.

At the core of de Sagazan’s work is the transfiguration of the body and the face with clay and paint into a lump of anonymous flesh. Vandekeybus’ and de Sagazan’s exploration of human limits finds a musical echo in the material and physical texture of Charo Calvo’s electroacoustic music.
 

All the Good tells a story about loss and hope. A love story at a time in which Europe is sacrificing its values and a large group of people are succumbing to hate and incomprehension. The story of a family of artists with their everyday cares and the omnipresent death, which mercilessly imposes itself both upon the seclusion of their home and on the outside world.

In 2014 Jan Lauwers met the Israeli elite soldier and war veteran Elik Niv who, following a serious accident and a long rehabilitation process, became a professional dancer. They had long discussions about his military operations and his development as a dancer in the safely subsidised world of the living arts in Germany. It was during these conversations that the bombs exploded at Zaventem airport and Maalbeek metro station.

All the Good is a fictional self-portrait interwoven with autobiographical elements. Elik’s life on the one hand and Lauwers’ with Grace Ellen Barkey and their children in the family house, an old bakery and workplace in the infamous district of Molenbeek, on the other.

Needcompany was founded by the artists Jan Lauwers and Grace Ellen Barkey in 1986. Maarten Seghers has been a member of Needcompany since 2001. Lauwers, Barkey and Seghers form the core of the company, which embraces all their artistic work: theatre, dance, performance, visual art, writing, etc. Their creations are shown at the most prominent venues at home and abroad. Since the very beginning, Needcompany has presented itself as an international, multilingual, innovative and multidisciplinary company. Needcompany is grounded in the artistic project, in authenticity, necessity and meaning. The medium itself is continually questioned, and there is constant examination of the quality of the content to be conveyed in relation to the form it takes. Needcompany believes in quality, cooperation and innovation. Needcompany is a leading voice in the social debate on the urgency and beauty of art at both the national and international level.

 

Marshall Gilkes združuje neskončno število različnih vplivov v en sam prepoznaven zvok. Gilkes kombinira džezovsko spontanost z elegantno arhitekturo klasične kompozicije, klasični džezovski sving z raznolikostmi modernizma; virtuozno tehniko s strastnimi čustvi. Njegova glasba, ki temelji na tradiciji glasbe big banda, ima edinstven sodoben zven, ki mu je prinesla svetovno prepoznavnost, med drugim tudi dve nominaciji za gremija. Revija Downbeat jo je opisala kot »lebdečo radost, ki brez omahovanja kljubuje negotovemu času, v katerem smo«. Njegova glasba bo vsekakor pobožala vašo dušo in vas hkrati držala nadvse pozorne. 

Andreja Absec, Elizabeta  Tome, Helena Vindiš, Klarya Tome 

I dance - I help is a charity event. All the collected funds will be used for the integration of the Ukrainian children who left their country because of the war in Ukraine and found a new home in Slovenia. 

Various performers of folk tradition, many instrumental and dance groups will take part in the event. The purpose and the  main theme of the evening is pointing out the importance of connecting people from different cultural and geographical backgrounds by dancing, singing and instrumental music. A special place at the concert will be given to the children who were the reason for this idea and for organizing this event. 

Trajanje: 90 min, brez odmora 

Music: Georg Friedrich Händel
Libretto: Vincenzo Grimani

Music Director and conductor: Prof. Egon Mihajlović
Directed by: Assist Prof. Rocc

The fascinating opera looks at the web of intrigue surrounding the succession to the Roman throne as Agrippina plots the installation of her son, Nero, as emperor. The clever twists in the plot provide the singers with a series of starting points for vibrant interpretations.

Icarus's story makes us wonder whether Icarus is a hero or merely a reckless man? Opinions on this issue have always been divided. An internal battle is fought between the mind and the heart. Some primarily see Icarus’ fall, others his flight – depending on the view. 

From a young age, we are taught to adhere to certain rules that are vital to our survival and the existence of the social system. We are not supposed to stand out or perform below par. Icarus, however, is the embodiment of human aspirations towards transcending the limits of possibility, towards realizing new possibilities, stepping into the unknown, discovering new dimensions. And maybe learning something from the fall. Creative souls can easily identify with the inspiring character of Icarus. 
Artists invariably strive towards exploring the unknown, the impossible. A dancer desires to take flight, to rise to the sun. In this day and age, we primarily seek freedom, unrestricted living, looking beyond the strict limits of our socio-political system, our own limitations and those imposed on us by others. The myth that has inspired many an artist has also provided an inspiration for this dance performance.