49th Maribor Theatre Festival

Martin Sperr

Hunting Scenes from Lower Bavaria

Hunting Scenes from Lower Bavaria  <em>Photo: Miha Fras</em>

Photo: Miha Fras

Producer Prešernovo gledališče Kranj
Opening 17. 9. 2011
Running time 2 hours. No interval.

First Slovenian production

Original title Jagdszenen aus Niederbayern

Translator Lučka Jenčič
Director Ivica Buljan
Adaptation into Upper Carniolan dialect Barbara Rogelj
Dramaturge Marinka Poštrak
Composer Mitja Vrhovnik Smrekar
Costume designer Ana Savič Gecan
Set designer Siniša Ilić
Language consultant Barbara Rogelj
Assistant director Robert Waltl

Cast   
Barbara, day labourer Milena Zupančič as guest
Abram, her son Klemen Mauhler as guest
Tonka, maid Vesna Vončina as guest
Maria, peasant, owner of the house where Abram lives Darja Reichman
Rovo, her son, considered the village clown Anže Zevnik as guest
Volker, Maria farmhand, with wooden leg Marko Mandić as guest
Mayor, landowner Pavel Rakovec
Georg, his farmhand Igor Štamulak
Zenta, mayor's day labourer Vesna Jevnikar
Butcher Vesna Slapar
Knocherl, gravedigger and public servant Peter Musevski
Paula, office worker in Landshut Vesna Pernarčič
Max, small farm owner Aljaž Tepina as guest
Priest Primož Pirnat
Inspector Robert Walt as guest/Matjaž Višnar

Musicians
Aljaž Praprotnik (horn), Irenej Vid Bošnjak (tuba), Tomaž Kosirnik (trumpet), Luka Verlič (clarinet), Jaša Veselinovič (trombone), Janez Sagadin (drums), Matic Dolenc (guitar), Manca Petek (first violin), Tamara Pepelnik (second violin), Nika Vremšak (cello)
 

Martin Sperr was 20 in 1965 when he wrote Hunting Scenes from Lower Bavaria, whose staging the following year caused a sensation in Germany. In 1968, this story about a gay outcast and rural violence was made into a movie by Peter Fleischman, with Martin Sperr playing the role of the main character, Abram. In this staging, the portrayal of the villagers' thickheadedness and malice relates the story of all those who are outcast for being different in any way. Those who are seen as different are excluded even in urban environments, but in small provincial environments there is no place for them at all. However, the subject of this play is not solely difference; it is also a realistic and explicitly plastic portrayal of a village community, its obstinacy and relationships tainted by intolerance and malice.


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