Rosana Hribar / Nick Upper

TOBELIJA / TOBELIA

plesna predstava po motivih drame Ljubomirja Đurkovića / a dance performance based on the motifs of a drama by Ljubomir Đurković

Koreografija in izbor glasbe / Choreography and Music Selection: Rosana Hribar

Izvajalke in soustvarjalke giba / Performers and Co-creators of Movement: Rosana Hribar, Maša Kagao Knez, Urša Rupnik

Režija in scenografija / Direction and Set Design: Nick Upper

Dramaturgija / Dramaturgy: Andreja Kopač

Oblikovanje luči / Lighting Design: Aljaž Zaletel

Glasba / Music: Bocet la Înmormântare Stupca (Ciprian Porumbescu) Suceava, Sabu Martinez: Sabu’s Jazz Espagnole Disc 1, TRAG: Jovano, Jovanke (instrumental) – (LIVE) Banjaluka 2013, Vasko Atanasovski, Vlatko Stefanovski, SPSCO: Jovano, Jovanke, Balkan Blues (Varius Artists), Disc 1: Vasile Pandelescu: Dela Hulbesti (Si Voce), Çiğdem Taştan: Jovano, Jovanke

Izdelava kustumov / Costume Make: Katarina Škaper

Producentka / Producer: Živa Brecelj

Produkcija / Produced by: Plesni Teater Ljubljana

Koprodukcija / Co-produced by: Studio 25

Zahvala / Thanks to: Poročna Obleka d.o.o., Vasko Atanasovski

INFO. / REZ.: 041-707-475, ptl@mail.ljudmila.org, info@ptl-lj.si, Moje karte

Vstopnice / Tickets: 12/8€ (dijaki, študenti, upokojenci / scholars, students, seniors), predhodna rezervacija ali uro pred predstavo v gledališču / prior reservation or an hour before the performance at the theatre

Program Plesnega Teatra Ljubljana sofinancirata Ministrstvo za kulturo RS in Mestna občina Ljubljana, Oddelek za kulturo / The programme of Plesni Teater Ljubljana is subsidized by the Ministry of Culture RS and Municipality of Ljubljana, Department for Culture

Foto / Photo: Nada Žgank

Osebe:

VIDA – mati

ANA – hči

BOJANA - snaha

VIDA: Poslušaj, Ana, srčece! To moraš slišati! Neverjetno.

ANA: Spet kakšen rop? Umor?

VIDA: Čudno, tu pri nas, pa nisem nič vedela o tem. In potem pride neki etnolog iz Nizozemske razkrivat naše običaje... Te tobelije, ženske-moški... »Tobelije so dekleta v družinah brez moških potomcev, ki svojim staršem obljubijo, da se ne bodo poročile. Prevzamejo mesto in vlogo neobstoječega sina in obljubijo, da bodo skrbele za starše.« Tudi ti nisi nič vedela o tem?

ANA: Ne.

VIDA: »Dekle, ki se tako zaobljubi, dobi spoštljiv položaj med moškimi. Oblači se kot moški, vede se kot moški, nosi orožje in sodeluje v bojih. Čisto tako kot moški, glava družine, pater familias.« Tako je bilo to včasih, Ana. Včasih so poznali red.

Izsek iz drame TOBELIJA Ljubomirja Đurkovića / Prevod: Lili Podpara

Characters:

VIDA – mother

ANA – daughter

BOJANA – daughter in law

VIDA: Listen, Ana, sweetie! You have to hear this! Incredible.

ANA: Robbery again? Murder?

VIDA: Strange, right here, and I knew nothing about it. And then some Dutch ethnologist comes and tells us all about our customs … These tobelias, women‑men … “Tobelias are girls in families without male descendants, who promise their parents not to marry. They take over the position and role of a non-existent son, and promise to take care of their parents.” You knew nothing about this either?

ANA: No.

VIDA: “A girl who wows to become tobelia gains a respectable position among men. She dresses like a man, behaves like a man, carries a weapon and participates in combats. Just the same as a man, the head of the family, pater familias.” This is how it once was, my dear. Back in the day, they knew what order was.

Excerpt from the drama TOBELIJA by Ljubomir Djurković / Translation: Lili Potpara

O ženskah, ki so preveč ljubile [istega] moškega, ki ga več ni …

Starodavni običaj tobelij, žensk, ki v visoko patriarhalni [balkanski] družbi prevzamejo moško funkcijo, ko iz različnih razlogov ni več moških, so si kot motiv predstave vzele koreografinja Rosana Hribar in soustvarjalke Urša Rupnik in Maša Kagao Knez, ki so črpale iz emocije »življenja brez moškega«, ki pripada tako nekdanjemu kot sedanjemu času.

Zgodba, prepletena z izgubo ljubljene osebe, se lahko danes dogaja kjerkoli; gre za urbano tragedijo o treh ženskah dveh generacij, usodno zaznamovanih s tragično izgubo ljubljenega; bodisi sina (Vida: Rosana Hribar), bodisi brata (Ana: Urša Rupnik) bodisi moža (Bojana: Maša Kagao Knez), ki so poslej obsojene na življenje druga z drugo in z odsotnim moškim, s katerim je [bila] vsaka intimno povezana.

Plesna predstava Tobelija gradi na večnih motivih, ki se pojavljajo na eni strani v želji in hrepenenju »pripadati« in po drugi strani v ujetosti v okolje, brezizhodni situaciji, strasti in jezi, žalovanju in hrepenenju, zaničevanju in usodni prepletenosti ter obsojenosti na večno vračanje v preteklost. Moški je umrl. Ostal je grob in občutek izgube, zapostavljenosti in grenkobe, ki ga hrani predvsem strah pred vsem, kar preizprašuje trdna prepričanja.

Tobelija je podoba sveta, v katerem se naglo spreminjajo vrednote in ideali, medtem ko vprašanje ženske emancipacije postaja vse bolj aktualno tako v luči izgubljanja (že) priborjenih pravic žensk kot spreminjajoče se identitete (odsotnih) moških. Tobelija je vzvratno ogledalo razbitih identitet človeštva in slika o uničujoči patriarhalnosti sveta.

About women who overly loved the [same] man who is gone …

Choreographer Rosana Hribar and the co‑creators, Urša Rupnik and Maša Kagao Knez, explored the motif of the ancient custom of tobelias, women in a highly patriarchal [Balkan] society who, once the men were gone for various reasons, assumed their role. They drew on the emotion of “life without a man”, which belongs to both the present and the past.

A story intertwined with a loss of a loved one could be happening anywhere today; it is an urban tragedy about three women across two generations, marked by the tragic loss of their loved one – either son (Vida: Rosana Hribar), brother (Ana: Urša Rupnik), or husband (Bojana: Maša Kagao Knez) – who are thereafter destined to live with one another and the absent man, with whom each of them had been intimately connected.

The dance performance Tobelia is based on timeless motifs that appear in the wish and desire “to belong” on the one hand, and in the entrapment in the environment, hopeless situation, passion and anger, mourning and yearning, contempt and fateful intertwining, and condemnation to eternal returning to the past on the other. The man had died. What remains is the grave and a sense of loss, neglect, and bitterness, fueled mainly by fear of everything that questions firm beliefs.

Tobelia is an image of the world in which values and ideals are changing rapidly, while the question of women’s emancipation is becoming increasingly important – both in light of the loss of the rights (already) acquired, and the changing identity of the (absent) men. Tobelia is a rearview mirror of the broken identities of humanity, an image of the devastating patriarchy of the world.