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<\/a>ABOUT THE AUTHOR<\/strong><\/p>\n Writer and playwright Emil Filip\u010di\u010d (1951) is a versatile artist with an extremely extensive literary oeuvre. Even before his first literary publications, he burst onto the scene with his provocative series Butnskala <\/em>on Radio \u0160tudent (together with Mark Derganc). Also his first prose work Kerubini <\/em>was written in tandem (with Branko Gradi\u0161nik).<\/p>\n Filip\u010di\u010d's style is characteristically relaxed, playful and humorous, full of mythological, political, literary, philosophical and even sporting references. Intertextual and metafictional references create a sense of anarchy, which comes to life in the chaos of genre and the constant breaking down of stereotypes. With her first stand-alone novel Grein Vaun<\/em> (1979) established himself as one of the leading protagonists of the so-called new Slovenian prose, with his debut play Kegler <\/em>(1981), however, with unusual and radical satirical gestures, he indicated the main characteristics of his theatre writing. In the background of the author's literary world, one can suspect the hippie movement, communes, experimentation with drugs, beatnik literature and the sexual revolution. But it all starts with a parodic attitude towards the literary canon and ideologies, even though the literary tradition is ever present in the author's plays and we cannot imagine them without Pirandello, Jarry, Beckett and, above all, Ionesco. In Filip\u010di\u010d's texts we can recognise the influence of the films of Luis Bu\u00f1uel and, above all, Federico Fellini, and in his writing we can also see traces of popular culture, from\u00a0 Monty Python's Flying Circus<\/em> to Alan Ford.<\/em> Filip\u010di\u010d's playwriting adopted Slovenian attempts at absurdist drama and theatrical experimentation of his time (Glej Theatre, Pekarna and its predecessors). His writing is cynically destructive and at the same time parodically burlesque. The original use and combination of grotesque elements creates humour with a touch of absurdity, anguish and sadness. In a surrealist manner, it tirelessly combines the fantastic and the real and achieves humour through travesty, parody and persiflage. It also shares with the drama of the absurd a subversive verbal comedy: language games, trivial declarations, a Babel-like confusion of languages and linguistic registers, loose speech, illogic, semantic emptiness, patheticism and a Beckettian disintegration of meaning. His literature contains many of the characteristics of postmodernism: the fusion of the seemingly incompatible, the rapid alternation of the sublimely euphoric and the banal, the mixing of high and low literature, pop culture and the classics, the introduction of metafiction, and an all-round stylistic looseness.<\/p>\n The playwright's plays had a great resonance in the Slovenian cultural scene, as eight of his works were staged soon after their creation. According to Kegler<\/em> (SNG Maribor, 1981) took the theatre stage in Prisoners of freedom<\/em> (SMG Ljubljana, 1982), Altamira<\/em> (SNG Ljubljana, 1982) and Sick Bride<\/em> (SMG Ljubljana, 1984). The following text Atlantis<\/em> (SMG Ljubljana, 1988) and File - baron M<\/em>\u00fcnhausen<\/em>, which was staged as A divine tragedy<\/em> (PG Kranj, 1989), drama 20<\/em>th Century Fox<\/em> (radio play entitled Stampedo<\/em>, 1990), Psyche<\/em> (SMG Ljubljana, 1992) and Merry home<\/em> (SMG Ljubljana, 1996). In the following decade, a puppet play was staged King Alcohol<\/em> (LG Ljubljana, 2002). Some of the texts are still waiting to be realised on stage: Bakhantke<\/em> (1992), Indestructible <\/em>(1995), Slave to the campaign<\/em> (or King Peter the Sixth<\/em>, 1997) and Pastor<\/em> (2002). More recently, a theatre version of the Butnskale<\/em> (co-production SMG Ljubljana and PG Kranj, 2016) and comedy Figaro is getting married<\/em> (1994, reading performance, SNG Ljubljana, 2016).<\/p>\n Roman Ervin Kralj<\/em> (1986) is a true literary-genre mix, as the author also included a play Altamira<\/em> and Sick Bride<\/em>, novel Autumn is<\/em> (1995) also contains a comedy Psyche<\/em>. In the meantime, a novel X-100<\/em> (1988). They follow: Keops pyramid<\/em> (2005), Problems <\/em>(2009, Pre\u0161eren Fund Prize), Mojstrovka<\/em> (20123), The secret of pleasure<\/em> (2013) and Seraph of \u0160arhova 2<\/em> (2015). The author has also published several short story collections and written screenplays for Three contributions to the Slovenian frenzy (Chronicle of Madness<\/em>, 1983), youth film May and the little spider<\/em> (1988) and Butnskalo <\/em>(1995). He has also acted in the last two (in Butnskali <\/em>the main character Ervin Kralj). He also starred in films by Franti\u0161ek Slaka (Eva, Crisis period<\/em>) and in productions of his own plays: he appeared as Dingo in Altamiri<\/em>, Adolf in Divine tragedies<\/em>, Emil Filip\u010di\u010d in drama Merry home<\/em> and in a puppet play King Alcohol<\/em>. He has also acted in plays by other authors. La discreta enamorada<\/em> Lope de Vega (MGL, 1988), in Feydeau's Fleas in the ear<\/em> (SNG Ljubljana, 1996), in Gogol's To the Auditor<\/em> (1997) and in Jovanovi\u0107's Kozarcky Clinics<\/em> (SSG Trieste, 1999).<\/p>\n <\/p>\n <\/a>PUBLICISTS, CRITICS AND LITERARY HISTORIANS ON THE PLAYS OF EMIL FILIP\u010cI\u010c<\/strong><\/p>\n In presenting the writings on Filip\u010di\u010d's drama, we have focused, due to the vastness of the material we have in the Slovenian Theatre Institute, mainly on texts that deal with the author's dramatic oeuvre as a whole or that attempt to place it in a broader literary-historical context. Some of the articles presented in the SLOGI library are also available online. Here we also provide some links to articles that are only available in electronic form.<\/p>\n The first comprehensive account of Emil Filip\u010di\u010d's dramatic texts was published by Taras Kermauner in 1984 in Problems<\/em>\u00a0 (The last stage of Luddism<\/em>, 22. 1984, No. 9-11, pp. 112-122).<\/p>\n The text is under a revised title (The limits of Luddism or the renewed quest for national power<\/em>) also printed in the book History of Lipizzania, Today's Slovenian Drama 4<\/em> (Slovenian Theatre Museum, 2001).<\/p>\n
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