Little Golden Shoes
DIRECTOR ANJA SUŠA
DRAMATURG PETRA POGOREVC
STAGE DESIGNER ZORANA PETROV
COSTUME DESIGNER BARBARA STUPICA
COMPOSER LAREN POLIČ ZDRAVIČ
MOVEMENT CONSULTANT DAMJAN KECOJEVIĆ
LANGUAGE CONSULTANT MAJA CERAR
LIGHTING DESIGNER BOŠTJAN KOS
DR PRESIDENT OF THE SENATE BORIS OSTAN
DR ASSISTANT JUDGE OF THE SENATE MILAN ŠTEFE
DR REPORTER PRIMOŽ PIRNAT/ GREGOR ČUŠIN
THE ACCUSED JERNEJ GAŠPERIN
LADY BARRISTER ANJA DRNOVŠEK
PROSECUTOR JAKA LAH
ADMINISTRATOR KARIN KOMLJANEC
BAILIFF GREGOR PRAH (AS GUEST)
About the performance
PREMIÈRE 11 SEPTEMBER 2014
THE PERFORMANCE IS 1 HOUR AND 45 MINUTES LONG AND HAS NO INTERVAL.
"If we want to think rationally about a man, it is customary to take into account first his life and only after that his death, isn\'t it?"
An (ex-)actor who has committed suicide finds himself before the court that is to judge whether he is allowed to die for real or whether he should return to life as someone who has not succeeded in death. The court, which keeps no minutes although everything is being written down, whose chamber members interrupt the discourse of the hearing with excurses into their associative memories and experiences, is deciding about the life and death of somebody whohas de facto reached the verdict
himself. Nobody asks what drove this man to death because other things are de iure more important. Nobody deals with the act itself; a much more important question is where the suicide found the hanging string. Was it really stolen, as the injured party claims? These basically insignificant details dangerously turn thecourse of the process against somebody who does not want to return among the living. The outcome is uncertain and the court
does not show any generosity toward the accused. Little Golden Shoes won the 1983 Grum Award at the Week of Slovenian Drama.
"Three decades after Smole wrote his short play, the context of the formalised and empty, inhumanly bureaucratic and absurdly meaningless life is still familiar, but we probably experience it differently, which the Belgrade-born and trained director Anja Suša tries to take into account with interpretative accents, as she stages this consideration about life and death, leaning towards nihilism, primarily as the misery of the urban society."
(Nika Arhar, Delo)