{"id":494,"date":"1986-11-30T10:29:23","date_gmt":"1986-11-30T09:29:23","guid":{"rendered":"https:\/\/www.slogi.si\/publikacija\/emil-filipcic-file-baron-munhausen\/"},"modified":"2025-07-11T14:02:50","modified_gmt":"2025-07-11T12:02:50","slug":"emil-filipcic-file-baron-munhausen","status":"publish","type":"publikacija","link":"https:\/\/www.slogi.si\/en\/publikacije\/emil-filipcic-file-baron-munhausen\/","title":{"rendered":"File \u2013 Baron M\u00fcnhausen (1986)"},"content":{"rendered":"<p>PODNASLOV:<em> Tragedija po gr\u0161kem vzoru?<\/em><\/p>\n<p>DRAMSKE OSEBE: 4 (1\u017e, 3m)<\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"vir\"><\/a><strong>SOURCE<\/strong><\/p>\n<p>Besedilo je iz\u0161lo v reviji Mentor (1986, \u0161t. 2, str. 16-52).<\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"uprizoritev\"><\/a><strong><strong>FIRST PERFORMANCE<\/strong><\/strong><\/p>\n<p>16. februarja 1986 v Pre\u0161ernovem gledali\u0161\u010du v Kranju pod naslovom <em>A divine tragedy<\/em>. Uprizoritev je re\u017eiral Vito Taufer, poleg naslova pa je bila spremenjena tudi zasedba: besedilo je bilo deloma modificirano, deloma pa razdeljeno med ve\u010d oseb: dodani so bili Eva, Adam in Protoplazma. Filip\u010di\u010dev alter ego, ki ga je odigral kar sam, je bil iz Amarilda preimenovan v Adolfa.<\/p>\n<div id='gallery-1' class='gallery galleryid-494 gallery-columns-2 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/file-barom-gl.list1_-scaled.jpg'><img decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/file-barom-gl.list1_-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Bo\u017eanska tragedija, gledali\u0161ki list\" aria-describedby=\"gallery-1-2154\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-2154'>\n\t\t\t\tBo\u017eanska tragedija, gledali\u0161ki list\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/file-barom-gl.list2_-scaled.jpg'><img decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/file-barom-gl.list2_-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Bo\u017eanska tragedija, gledali\u0161ki list\" aria-describedby=\"gallery-1-2153\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-2153'>\n\t\t\t\tBo\u017eanska tragedija, gledali\u0161ki list\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>V Slovenskem gledali\u0161kem in\u0161titutu imamo tudi tipkopis, ki so ga uporabljali pri nastajanju kranjske uprizoritve (sig. K t 2799).<\/p>\n<div id='gallery-2' class='gallery galleryid-494 gallery-columns-1 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Bozanska-tragedija.jpg'><img decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Bozanska-tragedija-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Bo\u017eanska tragedija\" aria-describedby=\"gallery-2-2428\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-2-2428'>\n\t\t\t\tEmil Filip\u010di\u010d: Bo\u017eanska tragedija\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>&nbsp;<\/p>\n<p><a id=\"avtorju\"><\/a><strong>ABOUT THE AUTHOR<\/strong><\/p>\n<p>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 <em>Butnskala <\/em>on Radio \u0160tudent (together with Mark Derganc). Also his first prose work <em>Kerubini <\/em>was written in tandem (with Branko Gradi\u0161nik).<\/p>\n<p>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 <em>Grein Vaun<\/em> (1979) established himself as one of the leading protagonists of the so-called new Slovenian prose, with his debut play <em>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 <em>Monty Python's Flying Circus<\/em> to <em>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<p>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 <em>Kegler<\/em> (SNG Maribor, 1981) took the theatre stage in <em>Prisoners of freedom<\/em> (SMG Ljubljana, 1982), <em>Altamira<\/em> (SNG Ljubljana, 1982) and <em>Sick Bride<\/em> (SMG Ljubljana, 1984). The following text <em>Atlantis<\/em> (SMG Ljubljana, 1988) and <em>File - baron M<\/em><em>\u00fcnhausen<\/em>, which was staged as <em>A divine tragedy<\/em> (PG Kranj, 1989), drama <em>20<\/em><em>th Century Fox<\/em> (radio play entitled <em>Stampedo<\/em>, 1990), <em>Psyche<\/em> (SMG Ljubljana, 1992) and <em>Merry home<\/em> (SMG Ljubljana, 1996). In the following decade, a puppet play was staged <em>King Alcohol<\/em> (LG Ljubljana, 2002). Some of the texts are still waiting to be realised on stage: <em>Bakhantke<\/em> (1992), <em>Indestructible <\/em>(1995), <em>Slave to the campaign<\/em> (or <em>King Peter the Sixth<\/em>, 1997) and <em>Pastor<\/em> (2002). More recently, a theatre version of the <em>Butnskale<\/em> (co-production SMG Ljubljana and PG Kranj, 2016) and comedy <em>Figaro is getting married<\/em> (1994, reading performance, SNG Ljubljana, 2016).<\/p>\n<p>Roman <em>Ervin Kralj<\/em> (1986) is a true literary-genre mix, as the author also included a play <em>Altamira<\/em> and <em>Sick Bride<\/em>, novel <em>Autumn is<\/em> (1995) also contains a comedy <em>Psyche<\/em>. In the meantime, a novel <em>X-100<\/em> (1988). They follow: <em>Keops pyramid<\/em> (2005), <em>Problems <\/em>(2009, Pre\u0161eren Fund Prize), <em>Mojstrovka<\/em> (20123), <em>The secret of pleasure<\/em> (2013) and <em>Seraph of \u0160arhova 2<\/em> (2015). The author has also published several short story collections and written screenplays for <em>Three contributions to the Slovenian frenzy (Chronicle of Madness<\/em>, 1983), youth film <em>May and the little spider<\/em> (1988) and <em>Butnskalo <\/em>(1995). He has also acted in the last two (in <em>Butnskali <\/em>the main character Ervin Kralj). He also starred in films by Franti\u0161ek Slaka (<em>Eva, Crisis period<\/em>) and in productions of his own plays: he appeared as Dingo in <em>Altamiri<\/em>, Adolf in <em>Divine tragedies<\/em>, Emil Filip\u010di\u010d in drama <em>Merry home<\/em> and in a puppet play <em>King Alcohol<\/em>. He has also acted in plays by other authors. <em>La discreta enamorada<\/em> Lope de Vega (MGL, 1988), in Feydeau's <em>Fleas in the ear<\/em> (SNG Ljubljana, 1996), in Gogol's <em>To the Auditor<\/em> (1997) and in Jovanovi\u0107's <em>Kozarcky Clinics<\/em> (SSG Trieste, 1999).<\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"drama\"><\/a><strong>PUBLICISTS, CRITICS AND LITERARY HISTORIANS ON THE PLAYS OF EMIL FILIP\u010cI\u010c<\/strong><\/p>\n<p>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<p>The first comprehensive account of Emil Filip\u010di\u010d's dramatic texts was published by Taras Kermauner in 1984 in <em>Problems<\/em>\u00a0 (<em>The last stage of Luddism<\/em>, 22. 1984, No. 9-11, pp. 112-122).<\/p>\n<p>The text is under a revised title (<em>The limits of Luddism or the renewed quest for national power<\/em>) also printed in the book <em>History of Lipizzania, Today's Slovenian Drama 4<\/em> (Slovenian Theatre Museum, 2001).<\/p>\n<div id='gallery-3' class='gallery galleryid-494 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kermauner-Problemi-1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kermauner-Problemi-1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Prvi obse\u017een zapis o dramskih besedilih Emila Filip\u010di\u010da je objavil Taras Kermauner leta 1984 v Problemih.\" aria-describedby=\"gallery-3-2005\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-3-2005'>\n\t\t\t\tPrvi obse\u017een zapis o dramskih besedilih Emila Filip\u010di\u010da je objavil Taras Kermauner leta 1984 v Problemih.\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kermauner-Problemi-2-5.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kermauner-Problemi-2-5-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Zadnja stopnja ludizma (Taras Kermauner: Problemi, 22. 1984, \u0161t. 9-11, str. 112-122).\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Rekonstrukcija.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Rekonstrukcija-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Taras Kermauner: Zgodovina Lipicanije, Dana\u0161nja slovenska dramatika 4 (Slovenski gledali\u0161ki muzej, 2001).\" aria-describedby=\"gallery-3-2411\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-3-2411'>\n\t\t\t\tTaras Kermauner: Zgodovina Lipicanije, Dana\u0161nja slovenska dramatika 4 (Slovenski gledali\u0161ki muzej, 2001).\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>Kermauner also dealt with Filip\u010di\u010d's texts in his last work on drama, which he published (<em>Between drama and memory<\/em>, subtitle <em>Between dreams and wakefulness<\/em>, 2008).<\/p>\n<p><a href=\"http:\/\/www.kermauner.org\/knjige\/2008%201%20Med%20dramatiko%20in%20spominom%20_MSB2_.pdf\" target=\"_blank\" rel=\"noopener\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>Preberi\u00a0Med dramatiko in spominom<\/small><\/button><\/a><\/p>\n<p>Posthumous publication of the work is available at the Digital Library of Slovenia <em>Medved's Dramatics (Priests, townspeople, workers 4<\/em>Among other playwrights, Kermauner also discussed Filip\u010di\u010d:<\/p>\n<p><a href=\"https:\/\/www.dlib.si\/details\/URN:NBN:SI:DOC-GSQSDYOD\/?euapi=1&amp;query=%27keywords%3dkermauner%2c+taras%27&amp;pageSize=25&amp;ftype=knjige\" target=\"_blank\" rel=\"noopener\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>Preberi delo\u00a0Medvedova dramatika<\/small><\/button><\/a><\/p>\n<p>Kermauner's article is also linked to a thought by Toma\u017e Topori\u0161i\u010d:<\/p>\n<p><em>\"Filip\u010di\u010d's subsequent comedies of the 1980s, or the outlandish black comedies such as Atlantis, were, in the opinion of Taras Kermauner, whom we join, a complement to Filip\u010di\u010d's drama with a concrete analysis of the 1970s in Slovenia. And just as Atlantis, in a particular, Filip\u010di\u010d-esque paratactic way, subverted the political 1970s (we continue to use Kermauner's argument), namely that of the partisan generation and its adolescent opponents, who found themselves on the verge of crime, drugs, appearance, play, nothingness, Psycho, ten years later, reckons with a different and different historical period, or the present: with the <\/em>for self-development<em> Slovenia.\" <\/em>(Zvon, 10. 2007, No. 3, p. 54)<\/p>\n<p>Toma\u017e Topori\u0161i\u010d, ten years younger, in his analysis of the relationship between dramatic texts and different media, also discusses all four \"incarnations\" of other Slovenian playwrights or their works. <em>Butnskale,\u00a0<\/em>radio play, film, comic strip and theatre production (<em>Slavic magazine<\/em>, 65. 2017, No. 1, pp. 53-64).<\/p>\n<p><a href=\"https:\/\/srl.si\/sql_pdf\/SRL_2017_1_06.pdf\" target=\"_blank\" rel=\"noopener\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>Preberi\u00a0\u010dlanek<\/small><\/button><\/a><\/p>\n<div id='gallery-4' class='gallery galleryid-494 gallery-columns-4 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Zvon.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Zvon-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Revija Zvon, 2007, \u0161t. 3\" aria-describedby=\"gallery-4-2412\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-2412'>\n\t\t\t\tRevija Zvon, 2007, \u0161t. 3\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Zvon-2-5.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Zvon-2-5-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Zvon, 10. 2007, \u0161t. 3, str. 54.\" aria-describedby=\"gallery-4-2391\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-2391'>\n\t\t\t\tZvon, 10. 2007, \u0161t. 3, str. 54.\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Slavisticna-revija.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Slavisticna-revija-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Slavisti\u010dna revija, 65. 2017, \u0161t. 1\" aria-describedby=\"gallery-4-2413\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-2413'>\n\t\t\t\tSlavisti\u010dna revija, 65. 2017, \u0161t. 1\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Toporisic-SR-2-6.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Toporisic-SR-2-6-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Slavisti\u010dna revija, 65. 2017, \u0161t. 1, str. 53-64: Medmedijsko nomadstvo besedilnih in uprizoritvenih praks\" aria-describedby=\"gallery-4-2392\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-2392'>\n\t\t\t\tSlavisti\u010dna revija, 65. 2017, \u0161t. 1, str. 53-64: Medmedijsko nomadstvo besedilnih in uprizoritvenih praks\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>&nbsp;<\/p>\n<p>The 12th issue of the theatre magazine is also largely dedicated to Filip\u010di\u010d&#039;s drama. <em>Masks<\/em> (III. 1988-89). In addition to the print <em>Atlantis<\/em> and images from performances of the author&#039;s texts (17 photographs and posters), an analysis of some of Filip\u010di\u010d&#039;s plays entitled <em>The Pathology of Modern Drama<\/em>, written by Simon Kardum (pp. 29-39).<\/p>\n<p>In the Proceedings <em>Postmodern and contemporary Slovenian drama<\/em> Tina Kosi analyzes the author&#039;s plays in relation to postmodernism (Dramatika Emil Filip\u010di\u010d, AGRFT, 2005).<\/p>\n<div id='gallery-5' class='gallery galleryid-494 gallery-columns-4 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kardum-1-1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kardum-1-1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"12. \u0161tevilka gledali\u0161ke revije Maska (III. 1988-89)\" aria-describedby=\"gallery-5-2481\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-5-2481'>\n\t\t\t\t12. \u0161tevilka gledali\u0161ke revije Maska (III. 1988-89)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kardum2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kardum2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Maska - Simona Kardum: Patologija sodobne slovenske dramatike (III. 1988-89)\" aria-describedby=\"gallery-5-2394\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-5-2394'>\n\t\t\t\tMaska &#8211; Simona Kardum: Patologija sodobne slovenske dramatike (III. 1988-89)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kosi-2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kosi-2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Zbornik Postmoderna in sodobna slovenska dramatika (AGRFT, 2005).\" aria-describedby=\"gallery-5-2361\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-5-2361'>\n\t\t\t\tZbornik Postmoderna in sodobna slovenska dramatika (AGRFT, 2005).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kosi2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Kosi2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Zbornik Postmoderna in sodobna slovenska dramatika - Tina Kosi: Dramatika Emila Filip\u010di\u010da, (AGRFT, 2005).\" aria-describedby=\"gallery-5-2393\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-5-2393'>\n\t\t\t\tZbornik Postmoderna in sodobna slovenska dramatika &#8211; Tina Kosi: Dramatika Emila Filip\u010di\u010da, (AGRFT, 2005).\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p><strong>\u00a0<\/strong>In the book <em>Slovenian drama in the second half of the 20th century<\/em> author Silvija Borovnik dedicated a separate chapter to Filip\u010di\u010d&#039;s drama (Slovenska matica, 2005).<\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Borovnik.pdf\" target=\"_blank\" rel=\"noopener\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>Preberi poglavje<\/small><\/button><\/a><\/p>\n<p><strong>\u00a0<\/strong>In his writings, Matev\u017e Rudolf considered Emil Filip\u010di\u010d as a representative of the drama of the absurd:<\/p>\n<p>\u00bb<em>Filip\u010di\u010d builds his plays primarily on grotesqueness, which is one of the basic characteristics of the drama of the absurd. With grotesque, Filip\u010di\u010d discovers the truth in things, which is either hidden or most often taboo. His comic milieu is, as we have already mentioned, an associative comedy of the intellect, based on unusual word connections and the merging of their meanings with the unexpected, even bizarre.<\/em>&quot;<\/p>\n<p>This is the thought of Matev\u017e Rudolf in an extensive article in the magazine <em>Language and literature<\/em> (<em>Emil Filip\u010di\u010d between Luddism and the drama of the absurd,<\/em> JiS 53. 2008, no. 5, p. 61). Matev\u017e Rudolf already discussed the author&#039;s plays in his diploma thesis (<em>Emil Filip\u010di\u010d and the drama of the absurd<\/em>(Faculty of Arts, 2005).<\/p>\n<p><a href=\"https:\/\/www.dlib.si\/details\/URN:NBN:SI:DOC-IWGDQXEP\/?euapi=1&amp;query=%27keywords%3dfilip%C4%8Di%C4%8D%2c+emil%27&amp;pageSize=25\" target=\"_blank\" rel=\"noopener\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>Preberi \u010dlanek<\/small><\/button><\/a><\/p>\n<p>Rudolf also published an analysis of Filip\u010di\u010d&#039;s drama in the theatre magazine that was published at the time of the performance.\u00a0 <em>Butnskale <\/em>(<em>Absurd? Absurd!<\/em>,\u00a0 <em>Theatre list of the Pre\u0161eren Theatre Kranj and the Slovenian Youth Theatre<\/em> 2015\/16, p. 18)<\/p>\n<p><a href=\"https:\/\/issuu.com\/slovenskomladinskogledalice\/docs\/mladinsko_butnskala_list_03\" target=\"_blank\" rel=\"noopener\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>Preberi gledali\u0161ki list<\/small><\/button><\/a><\/p>\n<div id='gallery-6' class='gallery galleryid-494 gallery-columns-4 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Jezik-in-slovstvo.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Jezik-in-slovstvo-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Misel Matev\u017ea Rudolfa v obse\u017enem \u010dlanku v reviji Jezik in slovstvo (Emil Filip\u010di\u010d med ludizmom in dramo absurda, JiS 53. 2008, \u0161t. 5, str. 61).\" aria-describedby=\"gallery-6-2416\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-6-2416'>\n\t\t\t\tMisel Matev\u017ea Rudolfa v obse\u017enem \u010dlanku v reviji Jezik in slovstvo (Emil Filip\u010di\u010d med ludizmom in dramo absurda, JiS 53. 2008, \u0161t. 5, str. 61).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Rudolf2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Rudolf2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Misel Matev\u017ea Rudolfa v obse\u017enem \u010dlanku v reviji Jezik in slovstvo (Emil Filip\u010di\u010d med ludizmom in dramo absurda, JiS 53. 2008, \u0161t. 5, str. 61).\" aria-describedby=\"gallery-6-2395\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-6-2395'>\n\t\t\t\tMisel Matev\u017ea Rudolfa v obse\u017enem \u010dlanku v reviji Jezik in slovstvo (Emil Filip\u010di\u010d med ludizmom in dramo absurda, JiS 53. 2008, \u0161t. 5, str. 61).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Rudolf-Butnskala-1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Rudolf-Butnskala-1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Theater list of Butnskal (Theatre list of Pre\u0161eren Kranj Theater and Slovenian Youth Theater 2015\/16)\" aria-describedby=\"gallery-6-2018\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-6-2018'>\n\t\t\t\tTheater list of Butnskal (Theatre list of Pre\u0161eren Kranj Theater and Slovenian Youth Theater 2015\/16)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Rudolf-Butnskala2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Rudolf-Butnskala2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Gledali\u0161ki list Butnskala - Matev\u017e Rudolf: Absurd? Absurd! (Gledali\u0161ki list Pre\u0161ernovega gledali\u0161\u010da Kranj in Slovenskega mladinskega gledali\u0161\u010da 2015\/16, str. 18)\" aria-describedby=\"gallery-6-2396\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-6-2396'>\n\t\t\t\tGledali\u0161ki list Butnskala &#8211; Matev\u017e Rudolf: Absurd? Absurd! (Gledali\u0161ki list Pre\u0161ernovega gledali\u0161\u010da Kranj in Slovenskega mladinskega gledali\u0161\u010da 2015\/16, str. 18)\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>&nbsp;<\/p>\n<p>Bla\u017e Lukan is with the record <em>Drama as (self)creation<\/em> accompanied the publication of nine of Filip\u010di\u010d&#039;s dramatic texts (<em>Dramas,<\/em> Cankar Publishing House, 2014, pp. 701-715).<\/p>\n<div id='gallery-7' class='gallery galleryid-494 gallery-columns-2 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Lukan-1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Lukan-1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Bla\u017e Lukan: Drama kot (samo)kreacija pospremil izid devetih Filip\u010di\u010devih dramskih besedil (Drame, Cankarjeva zalo\u017eba, 2014).\" aria-describedby=\"gallery-7-2020\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-7-2020'>\n\t\t\t\tBla\u017e Lukan: Drama kot (samo)kreacija pospremil izid devetih Filip\u010di\u010devih dramskih besedil (Drame, Cankarjeva zalo\u017eba, 2014).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Lukan-2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Lukan-2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Bla\u017e Lukan: Drama kot (samo)kreacija pospremil izid devetih Filip\u010di\u010devih dramskih besedil (Drame, Cankarjeva zalo\u017eba, 2014, str. 701-715).\" aria-describedby=\"gallery-7-2021\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-7-2021'>\n\t\t\t\tBla\u017e Lukan: Drama kot (samo)kreacija pospremil izid devetih Filip\u010di\u010devih dramskih besedil (Drame, Cankarjeva zalo\u017eba, 2014, str. 701-715).\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>The aforementioned edition was also reviewed by critics Anja Radaljac, Matej Bogataj and Alja\u017e Krivec, among others:<\/p>\n<ul>\n<li>\u2013 Anja Radaljac is about <em>Drama<\/em> pens in the online edition <a href=\"http:\/\/www.ludliteratura.si\/kritika-komentar\/dalec-je-resnica-in-drugje\/\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Literature<\/em><\/a> (19. 3. 2015).<\/li>\n<li>\u2013 Matej Bogataj is the result of the Filip\u010di\u010d family <em>Drama <\/em>presented in <a href=\"http:\/\/www.mladina.si\/170624\/emil-filipcic-drame\/\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Youth<\/em><\/a> (6. 11. 2015, No. 45, p. 70) and in the broadcast <a href=\"https:\/\/www.rtvslo.si\/kultura\/beremo\/emil-filipcic-drame\/367614\" target=\"_blank\" rel=\"noopener noreferrer\"><em>From the book market <\/em>on Radio ARS<\/a>.<\/li>\n<li>\u2013 Alja\u017e Krivec published his account of Filip\u010di\u010d&#039;s drama in <a href=\"https:\/\/www.dlib.si\/details\/URN:NBN:SI:DOC-5Y0II0DJ\/?euapi=1&amp;query=%27keywords%3dkrivec%2c+alja%c5%be%27&amp;pageSize=25\" target=\"_blank\" rel=\"noopener noreferrer\">magazine <em>Modernity<\/em><\/a> (79. 2015, No. 10, pp. 1395-1397)<\/li>\n<\/ul>\n<p>In his research on the Slovenian reception of Pierre Corneille, Tone Smolej also wrote about Filip\u010di\u010d&#039;s adaptation. <em>Psyche,<\/em> which he treats as an example of a travesty of a classical text.<\/p>\n<p><a href=\"https:\/\/www.jezikinslovstvo.com\/pdf.php?part=2016%7C3-4%7C141%E2%80%93150\" target=\"_blank\" rel=\"noopener\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>Preberi raziskavo<\/small><\/button><\/a><\/p>\n<p>At the premiere <em>Butnskale<\/em> were organized in Kranj on March 29, 2016 <a href=\"https:\/\/www.pgk.si\/novice\/emil_filipcic_-_mini_simpozij\/100\" target=\"_blank\" rel=\"noopener noreferrer\">symposium on Filip\u010di\u010d&#039;s drama<\/a>Some of the participating authors published parts of their contributions in the theatre magazine that came out during the performance, and Aldo Milohni\u0107 adapted his into an article. <em>Filip\u010di\u010d&#039;s Atlantis<\/em>, which was published in the journal <em>Literature <\/em>(29. 2017, no. 307-308, pp. 215-225).<\/p>\n<div id='gallery-8' class='gallery galleryid-494 gallery-columns-4 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Smolej.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Smolej-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Jezik in slovstvo - Tone Smolej: Slovenska recepciji Pierra Corneilla\" aria-describedby=\"gallery-8-2419\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-8-2419'>\n\t\t\t\tJezik in slovstvo &#8211; Tone Smolej: Slovenska recepciji Pierra Corneilla\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Smolej2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Smolej2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Jezik in slovstvo - Tone Smolej: Slovenska recepciji Pierra Corneilla\" aria-describedby=\"gallery-8-2398\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-8-2398'>\n\t\t\t\tJezik in slovstvo &#8211; Tone Smolej: Slovenska recepciji Pierra Corneilla\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Milohnic-1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Milohnic-1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Revija Literatura (29. 2017, \u0161t. 307-308)\" aria-describedby=\"gallery-8-2134\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-8-2134'>\n\t\t\t\tRevija Literatura (29. 2017, \u0161t. 307-308)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Milohnic2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Neunicljivi-Milohnic2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Aldo Milohni\u0107: Filip\u010di\u010deva Atlantida (Revija Literatura, 29. 2017, \u0161t. 307-308, str. 215-225).\" aria-describedby=\"gallery-8-2399\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-8-2399'>\n\t\t\t\tAldo Milohni\u0107: Filip\u010di\u010deva Atlantida (Revija Literatura, 29. 2017, \u0161t. 307-308, str. 215-225).\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>Two parts of the radio show are also dedicated to the symposium on Filip\u010di\u010d&#039;s drama. <em>The stage<\/em>: in the first, with the title <em>On the (no longer) drama of Emil Filip\u010di\u010d<\/em>, the contributions of Aldo Milohni\u0107 and Muanis Sinanovi\u0107 are presented. <a href=\"http:\/\/4d.rtvslo.si\/arhiv\/oder\/174401248\" target=\"_blank\" rel=\"noopener noreferrer\">It was broadcast on April 19, 2016 on Radio ARS.<\/a>.<\/p>\n<p>Text by Matev\u017e Rudolf entitled <em><a href=\"https:\/\/4d.rtvslo.si\/arhiv\/oder\/174403199\" target=\"_blank\" rel=\"noopener noreferrer\">Emil Filip\u010di\u010d, the crazy creator of the world<\/a>, <\/em>was broadcast a week later (Radio ARS, <em>The stage<\/em>, 26. 4. 2016).<\/p>\n<p>The Slovenian Theatre Institute also has theatre lists and reviews of performances of Filip\u010di\u010d&#039;s plays, interviews with the author, and presentations of his works published in daily newspapers.<\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"izdaje\"><\/a><strong>EDITIONS, TYPESCOPES AND MANUSCRIPTS <\/strong><\/p>\n<ul>\n<li><strong>Magazines, theater lists, monographic publications<\/strong><\/li>\n<\/ul>\n<p>The book edition of nine of Filip\u010di\u010d&#039;s plays in 2014 filled a major gap: for more than two decades, some of his drama texts were only available in magazine editions and theater lists, while most of them remained in typewritten form. The author included three plays in his novels <em>Ervin Kralj<\/em> and <em>It&#039;s autumn.<\/em><\/p>\n<p>The first Filip\u010di\u010d dramatic text to be printed was a play entitled <em>File - baron M<\/em><em>\u00fcnhausen <\/em>(Mentor, 1986, No. 2).<\/p>\n<div id='gallery-9' class='gallery galleryid-494 gallery-columns-1 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Mentor.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Mentor-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Prvo Filip\u010di\u010devo dramsko besedilo, ki je bilo natisnjeno: File \u2013 baron M\u00fcnhausen (Mentor, 1986, \u0161t. 2). Prvo Filip\u010di\u010devo dramsko besedilo, ki je bilo natisnjeno: File \u2013 baron M\u00fcnhausen (Mentor, 1986, \u0161t. 2).\" aria-describedby=\"gallery-9-2025\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-9-2025'>\n\t\t\t\tPrvo Filip\u010di\u010devo dramsko besedilo, ki je bilo natisnjeno: File \u2013 baron M\u00fcnhausen (Mentor, 1986, \u0161t. 2).\nPrvo Filip\u010di\u010devo dramsko besedilo, ki je bilo natisnjeno: File \u2013 baron M\u00fcnhausen (Mentor, 1986, \u0161t. 2).\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>In the same year, in the novel <em>Ervin Kralj<\/em> (1986) games released <em>Altamira<\/em> and <em>Sick Bride<\/em>.<\/p>\n<div id='gallery-10' class='gallery galleryid-494 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Ervin-Kralj.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Ervin-Kralj-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Ervin Kralj, igri Altamira in Bolna nevesta (1986).\" aria-describedby=\"gallery-10-2421\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-10-2421'>\n\t\t\t\tEmil Filip\u010di\u010d: Ervin Kralj, igri Altamira in Bolna nevesta (1986).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Ervin-Kralj2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Ervin-Kralj2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Ervin Kralj, igra Altamira (1986).\" aria-describedby=\"gallery-10-2401\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-10-2401'>\n\t\t\t\tEmil Filip\u010di\u010d: Ervin Kralj, igra Altamira (1986).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Ervin-Kralj3.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Ervin-Kralj3-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Ervin Kralj, igra Bolna nevesta (1986).\" aria-describedby=\"gallery-10-2402\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-10-2402'>\n\t\t\t\tEmil Filip\u010di\u010d: Ervin Kralj, igra Bolna nevesta (1986).\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>In three years it will be in the magazine <em>Masks<\/em> The drama Atlantis was published (March 1989, issue 12, pp. 103 \u2013 116)<\/p>\n<div id='gallery-11' class='gallery galleryid-494 gallery-columns-2 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Maske.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Maske-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"12. \u0161tevilka gledali\u0161ke revije Maska (III. 1988-89)\" aria-describedby=\"gallery-11-2414\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-11-2414'>\n\t\t\t\t12. \u0161tevilka gledali\u0161ke revije Maska (III. 1988-89)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Atlantida2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Atlantida2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Maska (III. 1988-89) - Emil Filip\u010di\u010d: Atlantida\" aria-describedby=\"gallery-11-2403\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-11-2403'>\n\t\t\t\tMaska (III. 1988-89) &#8211; Emil Filip\u010di\u010d: Atlantida\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>As an original contribution to the mixing of literary genres, we should also mention the text <em>How should I respond to France Pibernik?<\/em> Instead of answering the literary historian&#039;s questions, Filip\u010di\u010d sent France Pibernik an excerpt from <em>Atlantis<\/em>, which is also partially published in the book <em>Relationships in contemporary Slovenian drama<\/em> (1992, MGL Library, no. 114).<\/p>\n<div id='gallery-12' class='gallery galleryid-494 gallery-columns-4 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Pibernik-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Pibernik-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Razmerja v sodobni slovenski dramatiki, 992, Knji\u017enica MGL, \u0161t. 114\" aria-describedby=\"gallery-12-2422\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-12-2422'>\n\t\t\t\tRazmerja v sodobni slovenski dramatiki, 992, Knji\u017enica MGL, \u0161t. 114\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Pibernik2-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Pibernik2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Razmerja v sodobni slovenski dramatiki, 992, Knji\u017enica MGL, \u0161t. 114\" aria-describedby=\"gallery-12-2404\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-12-2404'>\n\t\t\t\tRazmerja v sodobni slovenski dramatiki, 992, Knji\u017enica MGL, \u0161t. 114\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Pibernik3-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Pibernik3-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Razmerja v sodobni slovenski dramatiki, 992, Knji\u017enica MGL, \u0161t. 114: Kazalo\" aria-describedby=\"gallery-12-2405\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-12-2405'>\n\t\t\t\tRazmerja v sodobni slovenski dramatiki, 992, Knji\u017enica MGL, \u0161t. 114: Kazalo\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Pibernik4-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Pibernik4-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Francetu Piberniku? (Razmerja v sodobni slovenski dramatiki, 992, Knji\u017enica MGL, \u0161t. 114)\" aria-describedby=\"gallery-12-2406\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-12-2406'>\n\t\t\t\tEmil Filip\u010di\u010d: Francetu Piberniku? (Razmerja v sodobni slovenski dramatiki, 992, Knji\u017enica MGL, \u0161t. 114)\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>Theater play <em>Psyche<\/em> was first published at the premiere in the theatre magazine (Gl. list SMG, 1993\/94). Psyche was published for the second time as part of Filip\u010di\u010d&#039;s novel <em>Autumn is<\/em> (1995).<\/p>\n<div id='gallery-13' class='gallery galleryid-494 gallery-columns-4 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Psiha.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Psiha-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Gledali\u0161ka igra Psiha je bila prvi\u010d objavljena ob praizvedbi v gledali\u0161kem listu (Gl. list SMG, 1993\/94).\" aria-describedby=\"gallery-13-2029\" srcset=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Psiha-150x150.jpg 150w, https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Psiha-298x300.jpg 298w, https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Psiha.jpg 626w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-13-2029'>\n\t\t\t\tGledali\u0161ka igra Psiha je bila prvi\u010d objavljena ob praizvedbi v gledali\u0161kem listu (Gl. list SMG, 1993\/94).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Psiha2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Psiha2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Gledali\u0161ka igra Psiha je bila prvi\u010d objavljena ob praizvedbi v gledali\u0161kem listu (Gl. list SMG, 1993\/94).\" aria-describedby=\"gallery-13-2407\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-13-2407'>\n\t\t\t\tGledali\u0161ka igra Psiha je bila prvi\u010d objavljena ob praizvedbi v gledali\u0161kem listu (Gl. list SMG, 1993\/94).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Jesen-je.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Jesen-je-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Drugi\u010d je Psiha iz\u0161la kot del Filip\u010di\u010devega romana Jesen je (1995).\" aria-describedby=\"gallery-13-2030\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-13-2030'>\n\t\t\t\tDrugi\u010d je Psiha iz\u0161la kot del Filip\u010di\u010devega romana Jesen je (1995).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Jesen-je2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Jesen-je2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Drugi\u010d je Psiha iz\u0161la kot del Filip\u010di\u010devega romana Jesen je (1995).\" aria-describedby=\"gallery-13-2408\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-13-2408'>\n\t\t\t\tDrugi\u010d je Psiha iz\u0161la kot del Filip\u010di\u010devega romana Jesen je (1995).\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>In the fortnightly <em>Views<\/em> The fifteenth scene from Filip\u010di\u010d&#039;s novel was published in 1996. <em>Bacchante<\/em> (6. 3. 1996, No. 5, p. 28) with accompanying text by Boris Pintar (<em>Bacchantes in the bird grove<\/em>). When the play Veselja dom was performed at the Slovenian Youth Theatre, the text was printed in the theatre&#039;s newsletter (1996\/97, no. 1). In the magazine <em>Dialogues <\/em>the first three acts of the drama were published in 1998 <em>Slave to the campaign<\/em> (36. 1998, no. 11-12, pp. 79-110). A selection of the author&#039;s plays was published in 2014.<\/p>\n<div id='gallery-14' class='gallery galleryid-494 gallery-columns-5 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Bakhantke.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Bakhantke-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\u0160tirinajstdnevnik Razgledi - Emil Filip\u010di\u010d: Bakhantke (6. 3. 1996, \u0161t. 5, str. 28)\" aria-describedby=\"gallery-14-2031\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-14-2031'>\n\t\t\t\t\u0160tirinajstdnevnik Razgledi &#8211; Emil Filip\u010di\u010d: Bakhantke (6. 3. 1996, \u0161t. 5, str. 28)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Veselja-dom.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Veselja-dom-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Gledali\u0161ki list: Veselja dom (Slovensko mladinsko gledali\u0161\u010de, 1996\/97, \u0161t. 1)\" aria-describedby=\"gallery-14-2424\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-14-2424'>\n\t\t\t\tGledali\u0161ki list: Veselja dom (Slovensko mladinsko gledali\u0161\u010de, 1996\/97, \u0161t. 1)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Suzenj-akcije-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Suzenj-akcije-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Revija Dialogi: prva tri dejanja drame Su\u017eenj akcije (36. 1998, \u0161t. 11-12, str. 79-110).\" aria-describedby=\"gallery-14-2426\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-14-2426'>\n\t\t\t\tRevija Dialogi: prva tri dejanja drame Su\u017eenj akcije (36. 1998, \u0161t. 11-12, str. 79-110).\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Drame-2014.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Drame-2014-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Drame (2014)\" aria-describedby=\"gallery-14-2427\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-14-2427'>\n\t\t\t\tEmil Filip\u010di\u010d: Drame (2014)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Drame2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Drame2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Drame, kazalo (2014)\" aria-describedby=\"gallery-14-2409\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-14-2409'>\n\t\t\t\tEmil Filip\u010di\u010d: Drame, kazalo (2014)\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>&nbsp;<\/p>\n<ul>\n<li><strong>Typescripts and manuscripts<\/strong><\/li>\n<\/ul>\n<p>Filip\u010di\u010d&#039;s plays were frequently performed, and the Slovenian Theatre Institute has amassed a considerable number of typescripts of his plays. Here we present only typescripts of unpublished works and typescript versions of published plays that are titled differently from their final printed versions.<\/p>\n<p>On February 16, 1989, the premiere took place at the Pre\u0161eren Theater in Kranj. <em>Divine Tragedies<\/em>, which is a remake of the game <a href=\"\/en\/?p=7552\" target=\"_blank\" rel=\"noopener noreferrer\"><em>File \u2013 Baron M\u00fcnchhausen<\/em><\/a> and is also published on our websites.<\/p>\n<p>Among the author&#039;s unpublished and unperformed texts are: <a href=\"\/en\/?p=7200\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Bakhantke<\/em><\/a> (sig. K t 3111) and <a href=\"\/en\/?p=8908\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Indestructible<\/em><\/a> (sig. K t 3386). Both are published on our website.<\/p>\n<p>In the SLOGI library we have a copy of the manuscript of the last, fifth act of the play <em>Slave to the campaign<\/em> (1997, sig. K t 2789):<\/p>\n<div id='gallery-15' class='gallery galleryid-494 gallery-columns-4 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Bozanska-tragedija.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Bozanska-tragedija-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Bo\u017eanska tragedija\" aria-describedby=\"gallery-15-2428\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-15-2428'>\n\t\t\t\tEmil Filip\u010di\u010d: Bo\u017eanska tragedija\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Bakhantke-2-1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Bakhantke-2-1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Neobjavljeno in neuprizorjeno avtorjevo besedilo BAKHANTKE\" aria-describedby=\"gallery-15-2429\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-15-2429'>\n\t\t\t\tNeobjavljeno in neuprizorjeno avtorjevo besedilo BAKHANTKE\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Neunicljivi-4.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Neunicljivi-4-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Neobjavljeno in neuprizorjeno avtorjevo besedilo NEUNI\u010cLJIVI\" aria-describedby=\"gallery-15-2814\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-15-2814'>\n\t\t\t\tNeobjavljeno in neuprizorjeno avtorjevo besedilo NEUNI\u010cLJIVI\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Rokopis.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Rokopis-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Kopija rokopisa zadnjega, petega dejanja igre Su\u017eenj akcije (1997)\" aria-describedby=\"gallery-15-2431\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-15-2431'>\n\t\t\t\tKopija rokopisa zadnjega, petega dejanja igre Su\u017eenj akcije (1997)\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>Unstaged drama <em>Pastor<\/em> We have two versions in the library, and the newer one has also been published online.<\/p>\n<p>On December 21, 2002, the premiere of the text took place at the Ljubljana Puppet Theatre. <em>King Alcohol<\/em> (with subtitle <em>delirium with puppets and live music in three acts<\/em>). The play, co-designed and directed by Barbara Bulatovi\u0107, was not published.<\/p>\n<p>The same applies to the adaptation of the work of Nikolai Vasilyevich Gogol. <em>Enchanted place, <\/em>which was written by Emil Filip\u010di\u010d together with Barbara Bulatovi\u0107, also the director of the production. The premiere took place at the \u0160entjakob Theatre on December 29, 2003.<\/p>\n<p>Also a theatrical version <em>Butnskale,<\/em> which was created in 2016, has not yet been printed, but is available on our website and in our library.<\/p>\n<div id='gallery-16' class='gallery galleryid-494 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Kralj-alkohol.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Kralj-alkohol-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Kralj Alkohol (2002)\" aria-describedby=\"gallery-16-2039\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-16-2039'>\n\t\t\t\tEmil Filip\u010di\u010d: Kralj Alkohol (2002)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Zacaran-kraj.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Zacaran-kraj-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d in Barbaro Bulatovi\u0107: Za\u010daran kraj (2003)\" aria-describedby=\"gallery-16-2040\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-16-2040'>\n\t\t\t\tEmil Filip\u010di\u010d in Barbaro Bulatovi\u0107: Za\u010daran kraj (2003)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Butnskala.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/To-so-zobje-Butnskala-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Emil Filip\u010di\u010d: Butnskala\" aria-describedby=\"gallery-16-2041\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-16-2041'>\n\t\t\t\tEmil Filip\u010di\u010d: Butnskala\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>&nbsp;<\/p>\n<p><a id=\"besedilo\"><\/a><strong>O <\/strong><strong>BESEDILU<\/strong><\/p>\n<p>\u010ceprav se je avtor v podnaslovu in alternativnemu naslovu besedila spogledoval z anti\u010dno tragedijo, tokrat ni v ospredju\u00a0 gr\u0161ka mitologija, temve\u010d bibli\u010dna simbolika. \u010cas dogajanja se razteza \u010dez prvih sedem dni sveta: od stvarjenja zemlje do napovedi o prihodu \u010dloveka. Seveda je to samo formalni okvir, ker dramske osebe razpravljajo o svoji preteklosti in o medsebojnih odnosih pred za\u010detkom dogajanja. Nastajanje novega sveta na odru je torej simboli\u010dno: tako kot direktor ustvarja iz ni\u010d na\u0161 planet, dramatik kreira svoj gledali\u0161ki svet s povsem samosvojimi zakonitostmi. \u0160e ve\u010d: v igri ne deluje le kot nevidni stvaritelj dramskega dogajanja, ampak vanjo postavi tudi Amarilda, ki je pravzaprav on sam, Emil Filip\u010di\u010d.<\/p>\n<p>Za vse osebe v igri je zna\u010dilna fluidnost, ki je tu verjetno najbolj izrazita v vsem Filip\u010di\u010devem dramskem opusu. Spremenljivost oziroma nestalnost dramskih likov spominja na Jesihove <em>Grenke sade\u017ee pravice<\/em>. Med drugimi podobnostmi imata obe drami tudi identi\u010dno zasedbo: \u017eensko in tri mo\u0161ke. Amarildo najprej trdi, da so vsi \u0161tirje nastopajo\u010di ena in ista oseba in kmalu za tem to trditev tudi zanika (str. 40). Kdaj mu lahko verjamemo? Verjetno nikoli, \u010deprav v drami ne manjka resni\u010dnih dejstev in dogodkov iz avtorjevega \u017eivljenja: Amarildo ni le Emil Filip\u010di\u010d, temve\u010d tudi baron M\u00fcnhausen, znan tudi pod vzdevkom La\u017enivi kljukec.<\/p>\n<p>Nabor tem, ki jih obravnavajo \u0161tiri osebe v razli\u010dnih vlogah, je izjemno \u0161irok: poleg teologije, filozofije, politike in ekonomije je pomembna tema tudi spolnost z svojim \u0161irokim razponom in v vsej svoji pestri pojavnosti. Igra problematizira homoseksualnost, incest, po\u017eelenje, ljubezen, narcisoidnost in postavlja\u0161tvo. Dramske osebe razpravljajo o imperializmu, rasizmu, \u0161ovinizmu, \u017eenskem vpra\u0161anju in (jugoslovanskemu) gospodarstvu. Obravnavana je potencialna svetovna dominacija Kitajcev, uporaba drog in psihedeli\u010dna stanja, komunizem, marksisti\u010dna ekonomija in teorija dela, slovanska vzajemnost in socialna razslojenost \u010dlove\u0161tva &#8211; tako razredno vpra\u0161anje kot kastni sistem.<\/p>\n<p>Glavni Amarildov oponent, direktor, je na za\u010detku \u0161e mogo\u010dni stvaritelj sveta, na koncu pa senilni in koleri\u010dni mu\u010ditelj, ki Amarildu s pomo\u010djo elektro\u0161okov tako scvre mo\u017egane, da privoli v \u00bb<em>revizijo stali\u0161\u010d<\/em>\u00ab. Kljub temu se mora konfuzni starec, ki naj bi imel spolne odnose s svojo \u0161e nepolnoletno h\u010derko, na koncu umakniti in dekle prepustiti glavnemu junaku. Preden v gromu in blisku zapusti prizori\u0161\u010de, prekolne zaljubljenca:<\/p>\n<blockquote><p><small>Direktor: <em>Izgini mi spred o\u010di, vla\u010duga! Pro\u010d, stran od mene, bogokletnica! Tebe bom pa zaznamoval s Kajnovim znamenjem! Toda tistega, ki ti bo hotel storiti hudo, bom sedemkratno kaznoval, zato da bo\u0161 lahko v miru \u010dim dalj trpel, ti pes! Le slu\u017ei ji, v potu svojega obraza!<\/em><\/small><\/p><\/blockquote>\n<p>&nbsp;<\/p>","protected":false},"excerpt":{"rendered":"<p>Emil Filipcic<\/p>","protected":false},"author":3,"featured_media":2113,"template":"","categories":[9],"tags":[],"avtor":[306],"izpostavljamo":[],"letnik":[223],"naslov":[64],"prevajalec":[],"zbirka":[],"class_list":["post-494","publikacija","type-publikacija","status-publish","has-post-thumbnail","hentry","category-digitalna-knjiznica","avtor-filipcic-emil","letnik-223","naslov-file-baron-munhausen-1986"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Emil Filip\u010di\u010d: File \u2013 baron M\u00fcnhausen (1986) - SLOGI<\/title>\n<meta name=\"description\" content=\"Besedilo File \u2013 baron M\u00fcnhausen je iz\u0161lo v reviji Mentor (1986). 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