Scenes from an Execution

Photo: Peter Uhan

Producer SNG Drama Ljubljana 
Opening 7. 5. 2011 Veliki oder, SNG Drama Ljubljana
Running time 2 hours 50 minutes. One interval.

First Slovene production

Translator Zdravko Duša
Director Lindy Davies
Dramaturge Darja Dominkuš
Set & costume designer Sanja Jurca Avci
Composer Cathy Milliken
Sound and music adaptation by Igor Leonardi
Language consultant Tatjana Stanič
Lighting designer Andrej Hajdinjak
Rehearsals translator Lija Pogačnik
Assistant to director Milan Golob
Assistant to dramaturge Rok Andres
Assistant to set designer Benjamin Hafner
Sound engineer Nino de Gleria

Musicians
Gregor Marinko, violoncello
Melinda Teodorovska, oboe

Cast
Galactia, a Painter Saša Pavček
Carpeta, a Painter Uroš Fürst
Urgentino, the Doge of Venice Marko Mandić
Suffici, an Admiral Matija Rozman
Rivera, a Critic Maša Derganc
Ostensibile, a Cardinal Valter Dragan
Prodo, a Veteran Rok Vihar
Supporta, Daughter of Galactia Barbara Cerar
Dementia, Daughter of Galactia Iva Babić
Sordo, a Painter Gorazd Logar
Lasagna, a Painter Aljaž Jovanović
Pastaccio, a Prosecutor Zvone Hribar 
Official Rok Vihar
Man in the next cell Gorazd Logar
Gaoler Zvone Hribar
First sailor Rok Vihar
Second sailor Aljaž Jovanović
Third sailor Gorazd Logar
Workman Zvone Hribar
Man at the exhibition Zvone Hribar
Albanian Aljaž Jovanović
Mourners Rok Vihar, Zvone Hribar
The sketchbook Gorazd Logar, Iva Babić 

Scenes from an Execution, written for radio in 1984, is a classic study of the inevitable conflict between the artist and society. The uncompromising painter heroine Galactia has been commissioned by the Doge of Venice to paint an epic canvas celebrating the Republic's triumph over the Muslims at the Battle of Lepanto. Dedicated to artistic truth, she unflinchingly depicts the horrors of war. As a result, she is taken off the picture, slung into gaol and replaced by a tame artist. However, persuaded by a honey-tongued critic that a work of art has no fixed meaning, the Doge reclaims Galactia's painting and puts it on public view as a symbol of the state's repressive tolerance.