српски / english


Mladinsko Theatre, Slovenia
18.00 / SNT, “Jovan Đorđević” Stage / Tuesday / 3rd July 2012

Boris Kos - Iron, Battelino
Uroš Maček - Nipper, Zidar
Uroš Kaurin - Sky-light, Ropoša
Blaž Šef - Sweetheart, Rakovec
Marko Mlačnik - Racks, Mlačnik
Željko Hrs - Snatch, Hrs

Conceived and directed by Borut Šeparović
Costume and set design: Protunapad
Dramaturge: Tomaž Toporišič
Text: Nigel Williams, Vito Taufer, Borut Šeparović
Stage manager: Janez Pavlovčič
Stage hand: Samo Gerečnik, Boris Prevec
Assistants: Sanja Spahić, Tina Malič
Sound: Marijan Sajovic
Light: Albert Bolha
Video technician: Dušan Ojdanič
Props: Dare Kragelj
Wardrobe mistresses: Slavica Janošević
Make-up: Barbara Pavlin
Production Manager: Dušan Pernat

Recording of the 1982 performance: Tone Stojko
Duration: 100 minutes


The starting point of Šeparović’s creating of the performance “Class Enemy” has been the video recording of the anthological performance “Class Enemy” directed by Vito Taufer; first performed at the Mladinsko in 1982 based on the play by Nigel Williams.

The Croatian director Borut Šeparović, the founder and artistic director of the theatre group Montažstroj from Zagreb, directs in Slovenia for the first time and together with his colleagues – among whom is dramaturge Tomaž Toporišič, and also actors Marko Mlačnik and Željko Hrs, who were a part of the cast in Vito Taufer’s performance thirty years ago – he researches the intellectual and symbolic potential of Nigel Williams’s play, especially in the part dealing with the phenomenon of violence.

The performance poses the question in what circumstances and with what potential effects and long-term consequences violence can be a generator of structural change in a society, imbued with not only political apathy, but also a complete absence of initiative.


Established in 1955 as the first professional theatre for children and youth in Slovenia. In the eighties, Mladinsko was gradually re-structured into a theatre which interdisciplinarily combined borderline theatre research and the thematisation of political subversiveness. Today, it is known for a wide range of innovative poetics of various young directors and the phenomenon of “ensemble energy” – the Brook approach towards acting, which is not based on star hierarchy, but on an acting laboratory connecting individual bravura parts into a strong whole of the acting ensemble.

“Šeparović´s performance is an updated complex triptych. It takes parallel to the snap and its copy, underlining it with the memories of actors of the first layout, especially of guest performance in Beograd in 1983 when the blood was actually spilt on the stage, and then in a longer final part it fired sharp questions at the audience. About present circumstances, relations, reticence of social classes – with questioning conscience of everyone´s responsibility for misery, exploitation and impatience – about levers of social changes and about function of violence. Mlačnik and Hrs come from the first performance, while Kos, Maček, Kaurin and Šef pull with crazy, wild, endless energy that does not run over an acting precision. Boris Kos, present Buto, has at least reached the legendary Miloš Battelino. An explosive mix of indignation and revolt, which was captured by angry young man Taufer three decades ago in the first Enemy, did not lessen. Neither on the stage, nor in the society.”
Dušan Rogelj, Radio Slovenia, 9th December 2011