We would like to inform all visitors that the 4th concert of the Tartini String Quartet, scheduled for Tuesday, 31 January, has been postponed to 21 February due to illness. The location and the time of beginning of the concert remain unchanged.
Exchange of tickets is required, more information can be found here.

We would also like to inform all ticket holders for the canceled September performances of the play Penelopiad that new dates for performances in February are known. You can find more information here.

SOLD OUT

M. Atwood: PENELOPIAD

13. September 2022
8.00 pm
Hell's Courtyard
19 €
SOLD OUT

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Director: Livija Pandur
Translator and author of the adaptation: Tibor Hrs Pandur
Dramaturg: Tibor Hrs Pandur
Music: Silence (Boris Benko & Primož Hladnik)
Set designer: Sven Jonke
Costume designer: Leo Kulaš
Music director: Živa Ploj Peršuh
Movement coach: Sanja Nešković Peršin
Lighting designer: Vesna Kolarec
Language consultant: Tatjana Stanič
Assistant dramaturg (student): Brina Jeneček
Assistant costume designer: Matic Veler

Cast:
Penelope: Polona Juh
Eurycleia: Sabina Kogovšek
Tanis; Helen: Saša Pavlin Stošič
Melanto: Gaja Filač, a. g.
Clytie: Ivana Percan Kodarin, a. g.

Maids:
Selene: Zala Hodnik, a. g.
Zoe: Urška Kastelic, a. g.
Alecto: Ana Plahutnik, a. g.
Chloris: Maria Shilkina, a. g.

In adapting her novel into dramatic form, Margaret Atwood (1939) noted that The Penelopiad (2007) is much more than a straightforward adaptation of The Odyssey. The narrative foregrounds the story of Penelope and her twelve maids, who were hanged on Odysseus’s order on his return from his voyage (for their alleged betrayal and relationships with suitors). Homer’s Penelope, who has been held up for centuries as a model and instructive example of the subjugation of women, is given an ingenious twist by Atwood. Penelope’s posthumous confession is countered by the hanged maids, posing two key questions: why did Odysseus have them murdered so cruelly, and what role did Penelope play in this? And more importantly, they constantly refute Penelope’s testimony, which in turn reveals the hitherto hidden mechanisms of the “official version” of The Odyssey. In a society where we still witness extremely high levels of violence against women, in terms of rape, femicide and exploitation, every brave testimony is judged. Is Penelope lying or is she telling the truth? Her confession is the only way to liberation, the only way to free herself from the prison of her story, one that was imposed upon her, the archetype of a patient and dutiful wife, “an edifying legend”, a stick used to beat other women. And like many before her, she has nothing to lose but her chains.

Livija Pandur

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