1979 and 1980
- Anuša Kodelja
- Carlo Zoratti
- Tomi Janežič
- Set design: Branko Hojnik
- Costume design: Marina Sremac
- Music: Samo Kutin
- Sculpture design: Nenad Gajić
- Lighting design: Tomi Janežič, Branko Hojnik
- Sound design and music selection: Tomi Janežič
- Assistant director: Iva Olujić
- Set designer and costume design assistant: Slavica Janošević
- Language consultant: Anja Pišot
- Sign language consultant: Tina Strel
- Producers: Marko Bratuš, Petra Hazabent
The “Velcro tape” was invented during World War II, in Switzerland. While elsewhere in Europe people were killing each other, a man would go hiking in the mountains with his dog, gathering flowers and mushrooms. When he returned home, he noticed that something had stuck to his clothes, and his dog’s fur was also full of it. It was burdock. Why did it cling to the fabric?
Imagine the luxury of sitting down in peace, at the time when Hitler was attacking Russia, and looking at a burdock flower under a microscope. On this flower were tiny hooks, and the man thought: “Perhaps I can make artificial hooks, like the ones on the burdock.” It took him more than ten years to create the “Velcro” we know today.
He patented it, and the patent expired in 1979. From 1980 onwards, “Velcro” began to appear everywhere. But someone already had it back in the 1950s, when it was still almost unknown. And apparently, it changed this person’s life.
Performed as a double bill with 1979, the production 1980 delves into themes like memory, growing up, and the people from a small village that becomes a crossroads of life destinies. The productions are part of the theatrical dodecalogy 1972–1983 (within the project Destin(y)ation / A Touch of Fate), a year-long theatrical omnibus composed of twelve projects, directed by Tomi Janežič. The dodecalogy outlines a network of life destinies that stretch through time and have been marked by travel and migration. Above all, it is an omnibus about theatre itself.
A performance for one room and three actors. This is the best way to describe Tomi Janežič’s 1979 and 1980, a double performance that is minimalist in form but rich in plot. [...] As in the previous productions, the actors – together with the director – guide us through the private stories of the characters, adding new information to the genealogical tree created for the Dodekalogija. And, just like before, they do it with warmth and emotion. The atmosphere of the performance is therefore similar to the others. The audience can listen to personal stories that build the broader context of the region and the decades in which they take place. The quality of the storytelling is no different, in fact, it draws the viewer back into the saga of the family they have already heard about, allowing them to once again immerse themselves in the world of the 70s. [...] Krušče lacks professional stage lights. Instead there are simple lamps which are turned on and off by the director. There is no technical booth. In fact, there is no technical crew at all – the director sits among the audience and manages the lighting, music, and subtitles himself. This experiment with space is extremely interesting from the perspective of the entire project. 1979 and 1980 provide a far more intimate encounter with the protagonists and a reflection of the atmosphere of small-town life and their sense of isolation from the events of Big History. [...] Having now seen several performances in the Dodekalogija series, it is clear that it is not just an ode to the cities of Gorizia and Nova Gorica. It is an ode to theatre and theatricality itself. To the theatre of stories, the theatre of scenography and costumes, the theatre of the actor, and theatre that creates the hard-to-define magic of theatre in its purest form.
Predstavi sta del uradnega programa GO! 2025.
V ceno vstopnice je vključen tudi avtobusni prevoz. Avtobus bo izpred Slovenskega mladinskega gledališča (Vilharjeva 11) odpeljal proti Kruščam v nedeljo, 12. in 19. 10., 9. 11. ter 7. in 14. 12., ob 15.30. Predvideni povratek v Ljubljano je okrog 23.00.