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47th Week of Slovenian Drama

Simona Semenič

we, the european corpses

Mladinsko Theatre


Director: Sebastijan Horvat
Dramaturg and author of the adaptation: Milan Marković Matthis
Stage and video designer: Igor Vasiljev
Costume designer: Belinda Radulović
Music: Drago Ivanuša*
Choreographer: Anja Bornšek
Lighting designer: Matjaž Brišar
Sound designer: Marijan Sajovic
Language consultant: Mateja Dermelj
Make-up artist: Nathalie Horvat
Video mapping and programming: Dušan Ojdanič

*We have also used music selected by the actors in the performance.


Damjana Černe, Brane Grubar (as guest), Željko Hrs, Alja Kapun (as guest), Boris Kos, Janja Majzelj, Anja Novak, Ivan Peternelj, Stane Tomazin, Matija Vastl, and Jožica Klančišar (as guest), Andreja Škof (as guest), Dare Škof (as guest), Nevenka Pečlin (as guest)

About the performance

The starting point for the performance we, the european corpses is the text by Simona Semenič, who was inspired by the performance Victims of the Bang Bang Fashion by Dušan Jovanović and Srečko Kosovel’s poetry, and has herself included Kosovel as a reference into her text. If we compare these two works with Kosovel’s opus, the link they share is the clear social criticism and formal courage, while among the many differences, the creators were most interested in the attitude towards the (public) speech (of declarative politics) or, in more  general terms: the attitude towards the possibility for some potential better future. The performance deals with the expediency of what is known as engaged theatre, and with the question of the expediency of such engagement in a system that not only does not forbid criticism, but presents it as an essential part of the artistic market. In the moments of crisis, when this niche is growing bigger and becoming more important, it is clearer that instead of opening the possibilities for change, it merely enables the extension of the status quo. Simona  Semenič’s text, as read by the creators of the performance, thus wants to confront us with this impotence of the political will, as well as with the language, in which from what was once perhaps the politics of will has remained only the duty: to continue speaking, to continue running in circles, to continue "jerking about". Facing the nihilism in her text means looking into the depths of the (social/performance) field and recognising where life is and where powerlessness dances.

Première: 5 June 2016
Baptismal staging

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we, the european corpses