Invisible

Première 17. januar 2021, Tunel Lutkovnega gledališča Ljubljana
Running time 55 minutes. No intermission.
The play was originally performed in the tunnels of the Ljubljana Puppet Theatre and has been specially adapted for staging at the Maribor Theatre Festival.

Authors creators of the performance
Director Primož Ekart
Set designer Meta Grgurevič
Costume designer Tina Kolenik
Composer Tine Grgurevič
Lighting designer Andrej Hajdinjak
Video Domen Martinčič, Vid Hajnšek
Choreographer Rosana Hribar
Translation of the song Tina Mahkota
Puppet technology specialists Zoran Srdić, David Klemenčič
Musicians Oskar Longyka (violin), Blaž Celarec (drums)
Language consultant Maja Cerar

Stage manager and sound designer Mitja Vasić
Producer Alja Cerar Mihajlović
Lighting technician Niko Štabuc
Stage technician Sašo Kitić
Puppets, scene and costumes made by Zoran Srdić, Iztok Bobić, David Klemenčič, Sandra Birjukov, Marjeta Valjavec, Olga Milić, Uroš Mehle, Kristjan Vidner

Performers
Maja Kunšič
Lovro Finžgar

In his devised docudrama Invisible, director Primož Ekart deals with the delicate moments when human life is running out, which teem with intense memories and reckoning over oneself and the world. It is a story of a woman who is invisible, always somewhere on the edge of life sliding by. Her departure will not be noticed by anyone either. The creative team of the performance is interested in the intimate stories of human life, particularly departing and saying goodbye, which are usually accompanied by feelings of loneliness. The common thread of the creative work also comprises an awareness of man’s integration into social developments, i.e., into the world as it is right now. The fact is that the social circumstances we are currently facing are not sympathetic toward age and the elderly. One of the "isms" of which we are perhaps least aware, since we may have already internalised it, is ageism, discrimination against the elderly, which is revealed in multiple forms. One of the currently most acute forms is happening right now, when the elderly and helpless are treated by society as dispensable people, who could potentially take up and jeopardise hospital capacities during the pandemic, preventing the treatment of younger people, those more useful to society and especially to capital. Formally classified within the theatre of objects or intermedial performance practices, the performance is a personal, emotional imprint of an intimate event that occurs in (self-)isolation, etched against broader social developments.