Gledališka fotografija
Theatre Photography

1.1 & 1.2


Tone Stojko

Gledališka fotografija    Theatre Photography								1.1

Dušanu Jovanovicu      Dedicated to Dušan Jovanovic

Ko je Friedrich Nietzsche snoval svojo znamenito knjigo Rojstvo tragedije iz duha glasbe, je njegov pogled dolgo, ure in ure, drsel nad plitkimi reliefi, ki so prikazovali prizore iz gledališkega življenja starih Grkov. Iz plitkih podob, belo izklesanih v belem kamnu z otoka Delosa, je razbral podobe lepih mladenicev, ki so igrali na glasbila: na lire, pišcali, avlose, ustvarjajoc glasbo, iz katere so se porajali ritem, koraki in govor in s tem gledališce. Gledališce pod visokim obokom opoldanskega nébesa,
pod slavolokom zvezdnatim in ob svecavi iz oljkovega lesa narejenih bakel. Svetloba sonca, zvezd in ognja je oživljala prizore rojstva gledališca: jokajoco sestro nad truplom ubitega brata, kralja, ki si je sam iztaknil oci, ker spal je z lastno materjo in bil svojim otrokom oce in brat, mater, pogrezajoco se v blaznost nad krvavimi ostanki sina, ki ga je rodila in ki ga je v božanski pijanosti raztrgala kot pobesnela zver … Luc, ki se je rojevala v globinah neba, je bila, ki je osvetljevala tragicno usodo cloveškega bitja, zapušcenega od bogov, dobrih in hudobnih. In tudi kadar so smeh, radost in veselje napolnili kamniti avditorij gledališca, je svetloba kot dež usipajoce se od zgoraj zalila oci in srca gledalcev, da so v razposajenih komedijantih in razuzdanih satirih ugledali sami sebe takrat, ko so ujetniki svoje jeze in igrace svojega srda. To je bilo tedaj, ko je gledališcu vladal mythos in so dramske zgodbe živele v spominu obcestva. ¶ A mythos je nekoc moral umreti in z njim kolektivni spomin obcestva – prebivalcev grškega polisa. Gledališce je postalo vešcina, umetelna zgradba dejanj in besed, in tedaj se je rodila želja shranjevati minljivost zapisane podobe izmišljenega, ustvarjalnega življenja, vedno znova porajajocega se v mehki temi odra: v gnezdu sanjskih prizorov, napolnjenih z nevidnim fluidom željá, hrepenenja, ljubezni, vere, upanja, sovraštva, kovarstva, ljubosumja, dvoma … Iz teme, ki je maternica vseh cudežev, se je izvil kot sulica tenak žarek svetlobe in se zagnal proti zacudenemu ocesu gledalca, ki je v gledališce prišel iskat izgubljenega brata svojega življenja. In svetloba je kot zlato zrno vzklila v ocesu njega, ki je za silo potešen odhajal iz gledališca ono davno zvezdnato zimsko noc. Ker v njegovi duši se je naselila pomanjšana podoba odra, preko katerega se je v preteklih dveh in še malo cez urah odvilo neko tuje, a tako njegovemu podobno in vabljivo življenje. ¶ Da bi lahko kdorkoli med nami napisal zgodovino rojstva naroda iz duha gledališca, bo moral dolge ure, ure dneva in ure noci, preživeti sklonjen nad fotografijami Toneta Stojka: nad temi crno-belimi reliefi duha, ki je v drugi polovici 20. stoletja snoval slovensko gledališce in gradil palaco, v kateri se je vsak vecer znova v cudežu utvarnega, izmišljenega življenja dopolnilo marsikatero hrepenenje, izpolnila premnoga pricakovanja in bila potešena želja odpotovati nekam dalec, dalec stran iz tega pustega, praznega življenja … Bile mnoge sanje odsanjane. Saj gledališce ne terja budnosti. ¶ Le od kod je prihajala svetloba, ki je oživljala sredi arhitekture teme premnoge tragicne in komicne like, ki so poseljevali slovenske odre v casu med rojstvom utopije o dolgem pohodu skozi institucije in svitom tretjega tisocletja. Iz Polifemovega ocesa Toneta Stojka: iz njegove neuslišane ljubezni do najlepše med Muzami – do Talije. Oko neuslišanega zaljubljenca in ljubosumneža kiklopa Polifema, ki ga je zvijacni Odisej oslepil, da je v kamniti temi na veke hranil spomin na najlepšo med petdesetimi vodnimi nimfami, na Galatejo, in si boleco samoto težil z igranjem na avlos. ¶ Cisto na zacetku stopa, ker je to cas rojstva, golo dekle iz teme in cas se za hip cudenja zaustavi, zamrzne, kot da je to hip, ko se je boginja dvignila iz morske pene. In za to razboženo boginjo, brezimno lepoto mladosti, stopa sprevod velikih junakov, hlapcev, herojev in ljudi – graditeljev slovenskega gledališca. Veliki obrazi, naliceni s strastmi, ki jih clovekovo srce komajda zmore prenesti: s strastmi, ki so se dolga stoletja pojile pri izviru snujocega, pesnikovega duha. In tam nekje na robu teme stoji nekdo, ki je kot Polifemov brat: z glavo, mocno nagnjeno vnic, z roko, v obupu položeno cez oci, z drugo pa tesno stiskajoc svoj ud: podoba tragicnega junaka tik pred usodnim spoznanjem, da je bilo vse njegovo življenje zaman; da je ves cas zidal nad brezdanjim breznom. In tu je tudi njegov brat, nežni princ z lobanjo ubogega dvornega norcka v lepo negovani, princevski roki. A lobanja, v kateri je nekoc prebival iskrivi duh, je sedaj klepsidra, skozi katero se usipajo pešcena zrna casa, da vsi vemo, da se naše življenje, tisto tam na odru in to tu v avditoriju, neusmiljeno, nezaustavljivo izteka. Da ga ne zaustavi nobena še tako sijajna predstava, odrska utvara! Še tako zapeljiva lepota ne! ¶ Saj ni je lepote na vsem svetu, ki bi lahko odgnala strašno zver, v katero se je našemila stara, a vecno mlada smrt, da stopa cez umišljen vrt modrih vrtnic in dekliškega koprnenja. In še se oglašajo mrtvi: mrtvi, ki še vedno žive, ne na odru ne v našem kot kitajska vaza krhkem spominu, ampak v teh s cudežno svetlobo presvetljenih prizorih življenja po življenju: ob vsakem mrtvem obrazu je sestra senca, ki v nas oživlja lik junaškega borilca, naskakujocega samo nebo. ¶ Tisoc in eno noc je Tone Stojko – kot Šeherezadin brat – prebil v gledališcu in strmel v nepretrgan tok podob, oživljenih z znojem, krvjo in solzami igralcev, in s svojim polifemovskim ocesom lovil svetlobe in sence, umetnost in življenje, gledališce in igro; da to preobilje, bogastvo brezmejno shrani v globino svojega pogleda, kjer bo na fotografski papir, umit z razredceno kislino, vtisnil – kot stari kipar v beli deloški kamen – podobe edino resnicnega življenja: življenja clovekovih sanj, ki so oživele v gledališcu, ki so oživile gledališce.
A theatre beneath the lofty vault of the noonday heavens, beneath the triumphal arch of starlight and the flares of olive-wood torch brands. The light of the sun, stars and fire enlivened the scenes of the birth of theatre: the sister weeping over the corpse of her slain brother, the King, who had put out his own eyes for having slept with his mother and for being to his children both father and brother; the mother, descending into insanity over the bloody remains of the son to whom she had given birth and whom – in a fit of divine intoxication – she had torn apart like an enraged beast. Light, it was this light, born in the depths of the heavens, that illuminated the tragic fate of human beings and was abandoned by the gods, by the good and the evil. And also, when laughter, joy and delight filled the stony auditorium of the theatre, the light, like rain pouring down from above, watered the eyes and hearts of the spectators so that in the unbridled comedians and the licentious satyrs, they caught sight of their own selves at that moment when they were captives of their own anger and playthings of their own wrath. That was at the time when mythos held sway in the theatre, and the dramatic stories lived in the memory of the community. ¶ Mythos, however, at one time had to die, and with it, the collective memory of the community of the inhabitants of the Greek polis. Theatre became a skill, a crafted construct of acts and words. Then there was born the desire to conserve the transitoriness of the recorded image of the imaginary, illusory life, ever anew being reborn in the soft dimness of the stage: in the nest of dreamlike scenes, filled with the invisible fluid of desire, yearning, love, faith, hope, enmity, intrigue, jealousy, doubt …. From the dimness, which is the womb of all miracles, thrusting out like a spear came a thin beam of light leaping out towards the astonished eyes of the spectator who had come to the theatre to seek the lost brother of his life. And the light, like a golden grain, sprouted in the eyes of the one who, for the meanwhile consoled, was leaving the theatre that long-past, starry winter night. For in his spirit, there was settling a reduced image of the stage upon which, during the past two and somewhat more hours, there had unfolded a life, foreign, yet so similar to his own and enticing. ¶ If any of us were to be able to record the history of the birth of the nation from the soul of the theatre, he or she should have to live through long hours – hours of the day and hours of the night – pouring over the photographs by Tone Stojko: the black-and-white reliefs of the soul which the Slovenian theatre projected in the second half of the 20th century, creating a palace in which every evening anew, in the miracle of the illusory, imaginary life many yearnings were complemented, so many expectations fulfilled, and the desire was appeased to travel far, far away from this desolate, empty life .... Many were the dreams dreamt. For the theatre does not demand wakefulness! ¶ Only from where came the light which, in the midst of the architecture of the dimness, revived the so many tragic and comic characters who peopled the Slovenian stages at the time between the birth of the utopia of the long march through the institutions and the dawn of the third millennium? From the Polyphemus eye of Tone Stojko: from his unrequited love for the most beautiful among the Muses – for Thalia. The eye of the unrequited lover and jealous cyclops Polyphemus, who was blinded by the guileful Odysseus so that in the stony darkness on his eyelids, he preserved the memory of the most beautiful among the fifty water-nymphs of Galatea and consoled his painful solitude by playing on the aulos. ¶ Right at the beginning, for this is the time of birth, a naked girl steps forward from the darkness, and time for a moment of wonder stands still, freezes, as if this were the moment when the goddess rose up from the sea spray. And behind that undeified goddess, the nameless beauty of youth, there enters a procession of great heroes, farmhands, champions and people of the architects of Slovenian theatre. Big faces, painted with the passions which the human heart is scarcely able to bear, with the passions which over long centuries have been quenched at the source of the plotting, poeticising soul. And over there, somewhere on the verge of the darkness, stands someone who is like the brother of Polyphemus: with his head thrown forcefully backwards, one hand clasped despairingly over his eyes, the other tightly gripping his member: the image of the tragic hero just before the fatal realisation that all his life has been in vain; that all the time he has been building above a bottomless abyss. And here is also his brother, the gentle prince with the skull of the wretched court fool in his manicured princely hand. But the skull, in which there once dwelt a sparkling wit, is now a clepsydra (hourglass) through which slip the sandy grains of time so that we should all know that our life – both the one on the stage and the one here in the auditorium – is remorselessly, unstoppably, running out. That it cannot be stopped by any, however brilliant, performance or stage illusion! Nor by any, however seductive, beauty! ¶ For there is no beauty in all the world which could drive away the fearsome beast, into which the old, yet ever-young death has disguised itself, from stepping across the imaginary garden of dark blue roses and girlish longings. And already the dead are calling in: the dead, who are still living, not on the stage, nor in the Chinese vase-like fragility of our memory, but rather in those magically illuminated scenes of life after life: beside each dead face there is the sister of the shadow which enlivens in us the image of the heroic warrior, the sole on-storming sky. ¶ A thousand-and-one nights: that is what Tone Stojko – like Scheherazade’s brother – has spent in the theatre, gazing into the uninterrupted flow of images, enlivened by the sweat, blood and tears of the performers, searching out with his Polyphemus eye, light and shadow, art and life, theatre and play; in order to preserve this over-abundance, these limitless riches within the depths of his view, which then on photographic paper, washed over with acid solvent, he will imprint – like an antique sculptor on the white stone of Delos – images of the only true life: the life of human dreams, which have been brought to life in the theatre and have enlivened the theatre.

When Friedrich Nietzsche was projecting his book Die Geburt der Tragödie aus dem Geiste der Musik (The Birth of Tragedy out of the Spirit of Music), his gaze glided for hours on end over the shallow reliefs depicting scenes from the theatrical life of the ancient Greeks. From these shallow-cut images, whitely incised into the white stone from the island of Delos, he discerned the features of the handsome young men playing on instruments: lyres, flutes and aulic harps, creating the music which generated the rhythm, steps and speech, and hence the theatre itself.

Polifemovo oko Toneta Stojka

The Polyphemus Eye of  Tone Stojko

Ivo Svetina
(2002)

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Prvo dejstvo je, da gledališka fotografija v glavah vecine ljudi ni kaj dosti vec kot uporabno orodje. Najbolj razširjena je njena objava v gledališkem listu. Manj pogosto se prenaša v revijalni tisk, na lepake, ovitke knjig, videokaset in nosilcev zvoka. Za gledališki arhiv in gledališki muzej je to historicni dokument o predstavi. Za prodajni oddelek gledališca je sredstvo za promocijo in trženje. Za igralce je v albumu shranjen spomin na odigrane vloge. Za dnevno casopisje je dobrodošla  poživitevi z strani z igralsko zvezdo. Za akademike je dokazno gradivo v razpravi. Za gledališke kritike je ilustracija zapisane sodbe. Za rumeni tisk so zanimive le obline in razgaljeni deli telesa. Za raziskovalce, študente in profesorje je ucni pripomocek. Za sorodnike in partnerje nastopajocih so slike dokaz uspešnosti njihovih dragih in sploh – dika in ponos. Na hodnikih teatrov visijo kot dokaz stare slave, v bistrojih jih obešajo, da bi polepšali ambient. ¶ Drugo dejstvo je, da je gledališka fotografija lahko tudi umetnost. Doživlja razstave in knjižne objave. Ena je pred nami. Kaj lahko o njej povemo? Tako kot ima naša zavest menda dve podzavesti (najglobljo in manj globoko), ima gledališce dva tipa vizualne refleksije v gledališki fotografiji. Ena naj bi se utemeljevala kot poljubna množica, nakljucna zmes znakov, druga naj bi se (kot neke vrste avtorska reciklaža) prekrivala z izbranimi shemami te mnogoterosti. Obe sta potrebni. D. H. Lawrence v Kaosu v poeziji pravi: »Vselej bomo potrebovali druge umetnike, da naredijo nove špranje, izpeljejo nujna raztrganja. Umetnost se dejansko bori s kaosom, toda to pocne zato, da iz njega vznikne videnje, ki ga za hip osvetli. Obcutje.« Pred nami so torej videnja stanj in obcutij par excellence: sanj v Godotu, nasilja v Razrednem sovražniku, norosti v Idiotu, spolnosti v Hard Coru, melanholije v Hamletu, anarhije v Živite kot svinje, obupa v Antigoni, osvoboditve v Silence Silence Silence. Objektiv kamere potuje od enega realnega bitja k drugemu in prisluškuje njihovemu notranjemu šumu zato, da bi ga spremenil v podobe. ¶ Sizif bo na fotografiji držal svojo skalo visoko nad glavo toliko casa, dokler bo ta fotografija obstajala. Vse na tej fotografiji bo za zmeraj ostalo tako, kot se je osvetlilo v enem samem bežnem trenutku odrske utvare. V hipu, ki je bežal, a ni ubežal budnemu ocesu kamere. Celo najbolj neobstojna stvar na svetu – gledališka megla, ki se razkadi brez sledi, še preden dobro treneš z ocesom – je na tej isti fotografiji fiksirana enako zanesljivo kot katranasto crn hrib iz poliuretana, ki je najbrž že zdavnaj pokopan na mestni deponiji. Ujeta je neponovljiva kretnja igralca, njegova drža, korak v spremenljivih in zato nikoli povsem istovetnih okolišcinah. Nekaj, kar je bilo v vrsti podrobnosti absolutno enkratno (zdaj to vidiš in nikoli vec), je odslej na voljo veckratnemu pogledu. Fotografija je iztrgala iz minljivosti trenutek, ki se lahko reproducira, ponavlja in poljubno dolgo traja. Za kratek cas izgubljen in ponovno najden, vrnjen pogledu. Tako se lahko posnetek primerja z arheološko najdbo. Arheologi iz globin zemlje rešujejo kamnite, proti zobu casa odporne, tako rekoc neunicljive umetniške predmete, da spet zagledajo luc sveta, fotografi pa izbirajo in lovijo tiste trenutke, ki jih ne sme pogoltniti vecna tema. V obeh primerih gre za darove, ki kot po cudežu prihajajo iz preteklosti. »Umetnost ohranja – in to je edina stvar na svetu, ki se ohranja,« pišeta Gilles Deleuze in Félix Guattari v delu Kaj je filozofija?  V primeru gledališke fotografije bi lahko rekli, da se umetnost ohranja in hrani z umetnostjo, ali – drzneje: resnicni navdih umetnosti je umetnost sama. ¶ V gledališki predstavi Kdo to poje Sizifa je neznosna teža skale Sizifa kar naprej zmagovala, kar naprej je sklonjen klecal pod neznanskim bremenom, kar naprej mu je kamen polzel iz rok in ga upogibal k tlom. V neskoncni in mukotrpni bitki Sizifa s kamnom je trenutek, ki ga izbere Tone Stojko, nekaj posebnega: edini je, ko je Sizif vzravnan in je kamen visoko nad njegovo glavo. V prizoru, ki traja petnajst minut, je to vsekakor nov dogodek, a vendar le eden od mnogih, ki clenijo Sizifovo razmerje s kamnom. Dogodek, ki ga slika Tone Stojko, je torej le clen v verigi dogodkov in ni nekaj, kar bi oko gledalca predstave kakorkoli utegnilo izdvojiti iz celote. Gledalec v parterju gleda slike in kompozicije v funkciji zgodbe. Ujet je v fabulo, v njeno kontinuiteto, v tok reke dogodkov, ki tece brez predaha in postanka. Tega toka ne more, a tudi ne želi prekiniti. Še tako izjemen in presenetljiv trenutek je zanj le slicica na filmskem traku, ki ga spreda v lastni glavi, zgolj delcek zgodbe, ki ji brez ostanka pripada. Njegovo oko ne more ustaviti giba, ne more zadržati detajla, da bi zaznalo njegovo srhljivo lepoto. Objektiv Stojkove kamere je to naredil. In nenadoma je fragment neke celote postal fascinanten sam po sebi. Ustavljen cas naredi cudež: slabo opazen, tako rekoc neviden delcek neke scenske zgodbe se razraste v likovni spomenik nekemu cloveškemu trenutku. Za sliko ni pomembno, kaj se je zgodilo prej in kaj se bo zgodilo v naslednji sekundi, njen edinstveni trenutek nas polni s silnim obcutjem, ki mu ne vemo imena. Ali ni prav to najpresunljivejše na fotografiji: ovekoveceno je tisto, cesar gledalec predstave ni mogel doživeti. Na Stojkovi fotografiji je povelican tisti Sizifov trenutek nadcloveškega napora uporne volje, ko se zdi, da je tik pod vrhom hriba zmagoslavje nad bogovi na dosegu roke. Ta bežni hip je upraviceno ovencal s slavo. Vse drugo bo utonilo v pozabo in morje ravnodušnosti. ¶ Ta fotografija se je iztrgala predstavi, iztrgala se je minljivosti, osamosvojila se je, postala je neodvisna od svojega neobstojnega konteksta, od njegovih bivših afektov in pozabljenih zaznav. Odcepila se je od svojega modela in ne potrebuje nikakršnih dodatnih pojasnil. Ne veže jo spomin na nic drugega kot na polnost nekega trenutka. Obstaja na sebi. Ta polnost dogodka ustvarja svoj avtonomni svet, ki nezadržno raste naprej. Raste za sedanjost in prihodnost. Da bi zagledali dogodek, moramo prezreti dogajanje, moramo odpisati vse njegove povezave z mitskim, prostorskim, casovnim, objektivnim virom, ki mu dogodek dolguje svoje spocetje. Dogodek je dogodek takrat, ko je gol, kot od matere rojen. Clovek, zrašcen s hribom in skalo – to je vse. Za opazovalca slike sploh ni pomembno, da ve, kdo je clovek, ki ga opazuje. »V krajini nehamo biti zgodovinska bitja. Izmaknjeni smo iz objektivnega sveta, a tudi iz samih sebe. To pomeni, da cutimo,« je zapisal Cézanne. Prav to – cutenje – vibrira iz Stojkove fotografije in se prenaša na tistega, ki jo gleda. ¶ V predstavi se neprestano vse premika, na sliki sta gib in mimicni izraz zamrznjena. Na fotografiji Strindbergovega Oceta gledamo oci, ki so videle nekaj, kar ni nihce od nas, ki gledamo te oci, videl. Morda so zazrte navznoter, morda navzven, morda nazaj, morda naprej. Morda zrejo v kaj neznosnega, strašnega, nemara v poljub življenja s tistim, kar mu grozi. Te oci so za nas zdaj tuje, zdaj nikogaršnje, zdaj organ biološke narave, ki opazuje samo sebe. Poskušamo gledati z njimi, a ne moremo. Poskušamo jim pripisati neko videnje, a v tem ne uspemo. Te oci komponirajo za naš pogled neko obcutje tukaj in zdaj, ki ga ne moremo identificirati z nicemer prepoznavnim v svojem izkustvenem spominu. Zaman išcemo oporo in primerjavo. Te oci so nas zmedle, zbegale so naš izkušeni pogled, ki je navajen prepoznavanja, pojasnjevanja in interpretacije. Te oci izzivajo v nas še neznane obcutke, na katere se le pocasi navajamo in sprva še negotovo odzivamo. Sprošcajo se iz nas, ocitno so bili še nerojeni od vekomaj prav tam, ne da bi mi vedeli zanje. Te oci na fotografiji jih kot porodniške klešce trgajo iz neznane globine. Poimenovati jih še ne moremo, ceprav se hitro udomacujejo. Ko se enkrat razrastejo, smo bogatejši za živo polnost, ki je zdravilka praznine in slepote. In takrat šele lahko spregledamo z ocmi na fotografiji. Spodbudile so nas, naucile so nas, da odkrivamo zaklade, za katere nismo slutili, da jih lahko imamo. Fotografija si vzame cas, da pokaže in opozori na tisto, kar se izmika klasifikaciji, žanrom, poimenovanju, bližnjicam. Fotografija je povabilo na bližnje srecanje, na opazovanje enigme ustvarjenih svetov: recimo – obraza, na katerem se skrivnostno svetlikajo živalski, rastlinski, mineralni odbleski. Pri tem svetlikanju ne gre za navadno tujstvo ali dvoumnost, gre za stanja raznolikosti, za postajanja in nastanke. ¶ Videl sem pravo kri in pravo smrt, še preden sem videl kri in smrt v gledališcu. In zmeraj se mi je zdela smrt v življenju nekako logicna, razložljiva – in zato manjša od tiste v teatru. Življenje je trivialno mocvirje, gledališce utegne biti prispodoba pekla. Teater obvezno poveca smrt. Ce nic drugega – jo kopici. V enem samem veceru se v Hamletu cel kup odrskih prikazni spremeni v mrlice. Ampak smrt na gledališki fotografiji je še bolj navzoca, še bolj povecana od tiste v teatru. V primerjavi z ono pritlikavko, ki kosi zares, je pa sploh orjaška pošast. Gledam fotografijo Hamleta z Yorickovo lobanjo, iz katere v drobnem curku tece mivka. To je trikotnik: Hamlet, lobanja, pesek. Hamlet gleda pesek, lobanja gleda Hamleta, pesek se proti dnu slike že spreminja v prah. Ko smrt na fotografiji izloci vse, kar je odvecno in prazno, kar je obicajno in povprecno, se napihne cez vsako mero in doseže stanje tiste nasicenosti, ki postane kristalno transparentna in žari kot absurd. Smrt, ki živi bolj živo od življenja samega. To je srhljiva cona nerazlocljivosti med tistim, kar smo, in tistim, kar nas nekoc neizogibno caka. Slika je mocnejše magnetno polje od prizora. Njeno mirovanje je bolj hipnoticno in bolj usodno od »atletike custev« Antonina Artauda. Nemara je po vsebini enaka Hamletovemu modrovanju, vendar ne ogovarja razuma, ampak obcutje. V privlacnem polju Yorickove lobanje cutimo skrajno bližino dveh stanj, ki si nista niti malo podobni. Ta bližina sproža osmozo, v kateri nujno nekaj preide od enega k drugemu, od življenja k smrti in obratno. Pa ne samo na sliki – med Hamletom in Yorickovo lobanjo! Tudi nas je oplazila senca somraka, ki ne pušca vidnih sledov, je le nekakšen tempiran radioaktivni žarek z nepredvidljivim ucinkovanjem. ¶ Posnetki kipenja kvišku v predstavah Dragana Živadinova Krst pod Triglavom in Molitveni stroj Noordung ne komemorirajo nobenega preteklega, stvarnega dogodka, ne pripovedujejo naravne zgodbe, ne predstavljajo medcloveških razmerij. Kipenje kvišku je ravnina doživljanja, je volja po premagovanju težnosti, ki se posmehuje Newtonu. To je abstraktna scenska umetnost, ki skuša disciplinirati, mehanizirati gib, da bi rafinirala obcutje. Podobe, ki jih gradi, so arhitektonske kompozicije teles in scenskih inštalacij. Cloveški stroji se dvigajo, vzpenjajo, stremijo navzgor in s tem postajajo cista duhovna bitja, »z duhom prežarjena materija, ki misli in je mišljena«. Živadinov sam komponira materialne slike, ki trajajo v casu in s tem pretendirajo na nesmrtnost. Stojkovi posnetki so posnetki posnetkov ali drugace: spomeniki spomenikom. ¶ V tej knjigi gledamo univerzum, ki bi mu lahko rekli – pokopališce senc. Sence ustvarjalnih nabojev, idej, strasti in konceptov se tu verižijo, se izpodbijajo, se cepijo, se bratijo, se transformirajo ena v drugo in prepletajo v mnogoglasje, ki – na vso sreco – nemo strmi v nas. Umetnost je govorica obcutij, pa cetudi so ta vcasih zvedena na goli estetski užitek. Kaj so hoteli umetniki povedati? V katerem jeziku? So peli, deklamirali, kricali, stokali, šepetali ali jecljali? Ne vemo. Te sence so imele jezike, ki so bili dejavni. Imele so usta, ki so se odpirala in iz njih so se vrtincili roji besed in (ne)artikuliranih zvokov. Fotografija jim je odvzela besede in jim pustila govorico. Govorico, ki nima svojega mnenja, nima ne priporocila ne sporocila, a je kljub temu povedna, ker uteleša dogodek. O enem sem preprican: ce dober fotograf nima cesa pokazati, potem tudi predstava ni imela cesa pokazati. Nemara je samo blebetala. Teater bi se moral uciti od fotografije. Ona pokaže resnico in razgali zadevo do kosti. Stojkova fotografija ne zapeljuje in ne zamegljuje, ne skriva, ne mistificira, ampak neusmiljeno razkriva. Ravna se po nasvetu, ki ga Gertruda izrece Poloniju: »Bolj stvarno, manj okrasja!« Retorika ni nujno v sorodu z resnico, še manj je v sorodu z umetnostjo. In vendar je govor umetnosti drugacen od vsakdanjega. In vendar mora znati umetnik pripraviti navadni jezik do tega, da zapoje. Takole to pojasnjuje ruski pesnik Osip Emiljevic Mandelštam v Hrupu casa: »Kaj je hotela povedati moja družina? Ne vem. Jecljala je že od rojstva, pa je vendar hotela nekaj povedati. Mene in veliko mojih sodobnikov bremeni jecljanje od rojstva. Nismo se naucili govoriti, temvec blebetati, in šele ko smo prisluhnili narašcajocemu hrupu stoletja in ko nas je oprala pena njegovega najvišjega vala, smo prišli do jezika.« Gledališce mora prisluhniti narašcajocemu hrupu casa, mora znati pripraviti dogodke do tega, da zapojejo v svojem specificnem scenskem jeziku. Tega fotografija najbolje razume. 




they come as a welcome way of enlivening the page with a star of the stage. For the academics, they provide illustrative material for discussion. For the theatre critic, an illustration of a written judgment. For the tabloid press, all that are of interest are the contours and exposed parts of the body. For researchers, students and professors, they offer an instructional aid. For the relatives and partners of those portrayed, the pictures are proof of the success of their dear ones – and, altogether, a mark of pride and honour. In the theatre corridors, they hang as proof of the old fame, while in the bistros, they are displayed to enhance the atmosphere. ¶ The second fact is that theatre photography may also be an art presented in exhibitions and book collections. One is before us. What can I say about it? Just as our consciousness has, allegedly, two forms of the subconscious (the deeper and shallower), so, too, the theatre has two types of visual reflection in theatre photography. One might be designated as the arbitrary mass, the chance mixture of signs; while the other (as a form of authorial recycling) might – through selected schemes – cover this diversity. Both forms are necessary. In Chaos in Poetry, D H Lawrence says: “We will always need other artists to make new slits and to do the necessary tearing apart. Art truly battles with chaos, and does so in order that from it there might emerge the vision which, for a moment, it illuminates. Feeling.” Before us, then, are visions of conditions and feelings, par excellence: the dreaming in Godot, the violence in The Class Enemy, the madness in The Idiot, the sexuality in Hard Core, melancholy in Hamlet, anarchy in You Live Like Pigs, despair in Antigone, liberation in Silence Silence Silence ...The camera lens travels from one real creature to another and eavesdrops on its inner sound to transform it into an image. ¶ Sisyphus, in the photograph, will go on bearing the rock high above his head for as long as this picture lasts. Everything in this photograph will forever remain just as it was, illuminated in a single fleeting moment of stage illusion. In an instant that was fleeting but did not escape the wakeful eye of the camera. Even the most non-existent matter on earth – stage mist, which dissipates without a trace, even before you have blinked – is fixed with equal fidelity in this photograph, as is the pitch-black hill of polyurethane, which has probably long ago been buried under the municipal waste-dump. What is captured is the unrepeatable movement of the actor, his bearing, his stepping into the changeable, and therefore never quite identical circumstances. Something which, in the order of detail, had been a once-and-forever experience (now you see it, and never again) can from now on be reviewed many times over. Photography has drawn out from transience a moment that can be reproduced, repeated and made to extend at your wish. It is briefly lost and again found, returned to the gaze. And so the picture may be compared with an archaeological find. From the depths of the earth, archaeologists recover works in stone, resistant to the tooth of time – one might say, indestructible artistic objects – that they might again see the light of the world; by contrast, photographers select and seek those instants that should not be swallowed up by the eternal dark. In both cases, we are dealing with gifts which, as if miraculously, come back to us from the past. As Gilles Deleuze and Félix Guattari have said in their work What is Philosophy?: “Art preserves, and this is the only thing on earth which preserves itself.” In the case of theatre photography, one might say that art is conserved and preserves itself through art, or, more boldly – the true inspiration of art is art itself. ¶ In the theatre production Who Sings Sisyphus, the unbearable weight of Sisyphus’ stone continued to triumph again and again, and again and again he knelt down, bowed beneath the immense burden, and yet again the stone slipped from his hands and bent him to the ground. In this endless and tormenting battle between Sisyphus and the stone, the moment which Tone Stojko selected was something special: it is the only moment when Sisyphus is upright, holding the stone high above his head. In the scene, which lasts 15 minutes, this is certainly a new event, and yet it is just one of the many which link the situation of Sisyphus to the stone. The event, as captured by Tone Stojko, is, therefore, a link in the chain of events and is not something that might in any way distract the eyes of the audience from the action as a whole. The audience in the stalls sees the pictures and compositions within the function of the story. They are caught up in the fable, in its continuity, in the flow of the river of events which course onwards without pausing or stopping. This flow they cannot, nor do they wish to, stop. For the audience, this exceptional and surprising moment is only a frame on a film track, only a fragment of the story to which it belongs weaving through their heads. The viewer’s eye cannot stop the movements, cannot hold back the details, in order to perceive the fragile beauty of the picture. The lens of Stojko’s camera has arranged it so. And suddenly, the fragment of a unit has become fascinating in itself alone. The frozen time works wonders: a scarcely noticeable, practically invisible fragment of the stage action expands into a visual monument to a human moment. For the picture, it is neither important what happened before nor what will happen in the next second, for its unique moment fills us with a powerful feeling to which we can give no name. But is that not just the most astonishing in the photograph? What has been eternalised is what the viewer in the audience could not experience. In Stojko’s photograph, there is the glorification of that instant of superhuman effort, of the rebellious will of Sisyphus, when it seems that just below the peak of the hill, triumph over the gods is within reach. This fleeting instant is justly crowned with glory. All else will sink into oblivion and the sea of indifference. ¶ This photograph wrenched itself out of the production, wrenched itself from transience, made itself independent, and became independent of its own non-existent context, of its former affects and forgotten perceptions. It has broken away from its own model and needs no further clarifications. It is not bound to the recollection of anything other than the fullness of one moment. It exists on its own. This fullness of the moment creates its own autonomous world, which goes on growing unrestrainably. It grows for the present and for the future. In order to perceive the event, we must disregard the happening, must write off all its links with the mythical, spatial, temporal and objective sources to which the event owes its conception. The event is an event at the time when a man is bare as if born from his mother, a man grown into the hill and the rock – that is all. For the viewer of the picture, it is of no importance to know who this man is, whom he or she is observing. As Cézanne remarked: “In the landscape, we cease to be historical creatures. We are removed from the objective world, and also from ourselves. This means that we are feeling.” It is precisely this feeling that vibrates from Stojko’s photography and which is passed on to whoever views it. ¶ In the production, everything is constantly in motion, while in the picture, the movements and mimical expressions are frozen. In the photograph of Strindberg’s Father, we see eyes that have seen something that none of us who are looking at those eyes has ever seen. Maybe they are gazing inwards, maybe outwards, maybe behind, maybe ahead. Maybe they are staring at something unbearable, fearful, perhaps at the kiss of life with that which threatens him. For us, these eyes are now foreign, now nobody’s eyes, now an organ of biological nature, observing only itself. We try to see with these eyes, but we cannot. We try to ascribe to them some sight, yet we do not succeed. For our gaze, these eyes compose a certain feeling of here and now, which we cannot identify with anything recognisable in our memory of experience. In vain, we search for support and comparison. These eyes have confused us. They have confounded our experienced gaze, which is accustomed to recognition, clarification and interpretation. These eyes stir up in us still unknown feelings, to which we only gradually become accustomed and to which, at first, we still respond uncertainly. They free themselves from us; clearly, they were still unborn, right there, without our knowing of them. These eyes in the photograph are, as if with surgical forceps, drawn out of unknown depths. We still cannot give them a name, although they swiftly become familiar. When once they open out, we are the richer for the living fullness which is the nurse of emptiness and blindness. And only then can we overlook the eyes in the photograph. They have encouraged us, taught us, to discover the treasures which we had not been aware we might possess. Photography takes its time to show and to point out that which evades classification, genre, naming, shortcuts. Photography is an invitation to a closer encounter, to the observation of the enigma of the created worlds, for example, the faces on which are secretly illuminated the animal, plant and mineral side-reflections. This glimmering is not that of ordinary foreignness or ambiguity; it involves, rather, the states of diversity, of becoming and emergence. ¶ I had seen real blood and real death even before I saw blood and death in the theatre. And it has always seemed to me that death in life is somehow logical, explicable – and therefore less than death in the theatre. Life is a trivial quagmire, while theatre manages to be the allegory of hell. Theatre of necessity magnifies death if nothing else – it accumulates death. In one and the same night, in Hamlet, a whole heap of stage apparitions is reduced to corpses. Yet death in the theatre photograph is still even more present, more magnified than death in the theatre. In comparison with that dwarf who truly reaps, it is altogether a gigantic phantom. I look at the photograph of Hamlet with Yorick’s skull, from which the sand trickles in a fine stream. This is a triangle: Hamlet, the skull, the sand. Hamlet looks at the sand, the skull looks at Hamlet, and towards the bottom of the picture, the sand is already turning into dust. When death in the photograph excludes everything that is superfluous and empty, that is ordinary and average, it rages across all measures and achieves the state of that satiation, which becomes crystalline transparency and blazes like an absurdity. A death that lives more vitally than life itself. This is the tremulating zone between what we are and what one day inevitably awaits us. The picture is a more powerful magnetic field than the stage scene. Its repose is more hypnotic and more fateful than the “athletics of feeling” of Antoine Arthaud. Perhaps, in content, it is equal to Hamlet’s speculating, although it does not address reason but rather feelings. In the field of attraction of Yorick’s skull, we sense the extreme closeness of two states that are by no means similar. This closeness generates an osmosis in which, of necessity, something crosses over from one to the other, from life to death and the reverse. Yet, not only in the picture – between Hamlet and Yorick’s skull! We have also been brushed by the shadow of the twilight, which leaves no visible traces and is just a kind of delayed-action radioactive ray with an unpredictable effect. ¶ The shots of the upward surging in the stagings of Dragan Živadinov’s Krst pod Triglavom (Baptism Under Triglav) and Molitveni stroj Noordung (The Noordung Prayer-Machine) do not commemorate any past, real event, do not narrate natural stories, and do not represent inter-human relations. The upward surging is the plane of the experiencing, the will to overcome gravity, which derides Newton. This is abstract stage art, which endeavours to discipline, to mechanise the movements in order to refine the feelings. The images which it builds are architectonic compositions of bodies and stage installations: the human machines rise up, mount up, strive upwards, and thus become pure spiritual beings with “the spirit of irradiated matter, which thinks and is thought of”. Živadinov himself composes material pictures which persist in time and hence have pretensions towards immortality. Stojko’s shots are shots of shots, or, to put it differently, monuments to monuments. ¶ In this book, we are observing the universe, which, one might say, is the graveyard of shadows. Shadows of creative charge, ideas, passions and concepts, here become linked together, impugn one another, split apart, fraternise, transform themselves into each other, and interweave into the polyphony which, most fortunately, gazes wordlessly upon us. Art is the speech of feelings, even though these are at times reduced to a nakedly aesthetic enjoyment. What did the artists wish to relate? In what language? They sang, declaimed, clamoured, moaned, whispered or whimpered? We do not know. These shadows had tongues which were active. They had mouths that opened, and from them, there welled millstreams of words and (un)articulated sounds. Photography has taken the words from them and left them the speech. Speech which does not have its own opinion, which has neither counsel nor message and yet, despite this, is telling because it embodies the event. Of one thing I am sure: if a good photographer has nothing to show, then neither did the performance. Possibly, it was just babbling. Theatre should learn from photography. It portrays the truth and strips the action down to the bone. ¶ Stojko’s photography does not seduce and does not confuse, does not conceal or mystify, but instead remorselessly reveals. He follows the advice given by Gertrude to Polonius: “More matter with less art.” Rhetoric is not necessarily related to truth; still less is it related to art. And yet, the speech of art is different from everyday speech. And yet, the artist must know how to prepare ordinary language to the point when it begins to sing. This is how it is clarified by the Russian poet Osip Emilyevich Mandelstam in The Noise of Time: “What did my family want to tell? I don’t know. It was stammering already from birth, yet even so, it wished to tell something. I, and many of my contemporaries, have been burdened by stammering from birth. We did not learn to speak, but rather to blather, and it was only when we listened in to the ever-growing tumult of the century, and when had been washed clean by the foam of its highest wave, did we come to language.” Theatre must listen to the growing noise of the times, must know how to prepare events to the point where they sing out in their own specific stage language. It is this that photography best understands.

In most people’s minds, the first fact is that theatre photography is little more than a useful tool. It is most widespread in publication in theatre journals. Less frequently, this photography appears in press reviews, on posters, book covers, video cassettes and sound recordings. For the theatre archive and the theatre museum, these pictures are a historical document of the production. For the sales division of the theatre, they are a means for promotion and marketing. For the performers, they are an album-preserved souvenir of past roles. For the daily press,

Navdih umetnosti je umetnost sama

The Inspiration of Art Is Art Itself

Dušan Jovanovic
(2002)

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Tone Stojko je edinstven fotografski ustvarjalec v slovenskem prostoru ne le zaradi svoje konsistentne, le nekaj manj kot šest desetletij trajajoce in z neprekinjeno intenzivnostjo dela grajene kariere, temvec tudi zato, ker je enako mocno zaznamoval številne fotografske žanre. Ambicija poklicnega fotoreporterja, da snuje opus umetniških fotografij, istocasno pa sistematicno dokumentira celotno sodobno zgodovino gledališke umetnosti nekega naroda, je skorajda nepredstavljiva. S svojo

Tone Stojko is a unique photographic artist in Slovenia, not only because of his incredibly consistent career that has been going with unabated working intensity for just under six decades but also because of his no-less astounding mark on several different photographic genres. The ambition of a professional photojournalist to produce an oeuvre of artistic photographs and, at the same time, systematically document the entire history of the Slovenian national theatre art is almost inconceivable. The high profile and visibility of his amazing photojournalistic

V iskanju opusa magnuma Toneta Stojka

In Search of  Tone Stojko’s 
Magnum Opus

Marija Skocir
(2024)

odmevnostjo in prepoznavnostjo so veliki fotoreporterski dosežki, ki so mu prinesli status nenadomestljivega kronista slovenskega družbenega dogajanja, vcasih zasencili njegove umetniške stvaritve. Kljub temu je svojo mocno željo po fotografskem ustvarjanju uresnicil v obeh zvrsteh, dokumentarni in izpovedni, na najvišji ravni. »Vmesna« podrocja, kot sta gledališka fotografija, zapis dogajanja na odru, ki je hkrati ponovno – bolj kot beleženje – poustvarjanje vizualnega izraza, in na drugi strani socialno-dokumentarna fotografija, pri kateri je bolj kot umetniški vtis pomembna psihološka slika prizora, so mu na tej poti vzporedno, a enako resno in z odlicnimi dosežki uspevala ves cas od njegovega prvega pritiska na sprožilec. Ob vsem tem pa ne gre spregledati njegovih izjemnih prispevkov v žanru fotografskega portreta, ki kot rdeca nit spaja vsa poglavja Stojkovega fotografskega opusa. ¶ Tone Stojko je svojstven fotograf tudi zato, ker je tok svojega navdiha v jezik fotografske podobe preusmeril po tem, ko se je v mladosti sprva preizkusil v literarni umetnosti. Zato verjetno ni nakljucje, da ga je atmosfera gledališkega odra, polja prefinjenega sožitja literarnega in vizualnega doživetja, od nekdaj privlacila. Pisana beseda je zanj najbolj izrazna takrat, ko jo nekdo z obcutenjem izgovori. Zgodaj je tudi ugotovil, da je svet, ki ga obdaja, kakor koli bolece preprost že je, dovolj bogat, da postane njegov motivni univerzum – kot bi že imel v sebi moto, ki si ga je kasneje zadal: »[K]aj je lepšega, kot ce lahko receš, da je cel svet tvoj studio in vsi ljudje na njem tvoji modeli.«11	Tone Stojko, Dogodki vcerajšnjega popoldneva / Yesterday‘s 		Afternoon Event, Ljubljana: Prodok, 2002, str. 9.
 ¶ Zanimanje za ljudi je prinesel tako rekoc z domacega dvorišca na podeželju v Prlekiji, kjer je preživel zgodnje otroštvo, in kasneje v Mariboru, kjer je hodil v šolo. Kot decka sta z bratom s portretiranjem drug drugega preizkušala prvi fotoaparat, ki mu ga je oce pri trinajstih poslal iz Nemcije. »Moj prvi fotografski projekt so bili pravzaprav skupinski portreti; v sedmem razredu osnovne šole sem pofotografiral vse razrede na šoli, da smo s sošolci zaslužili nekaj denarja za koncni izlet.«22	Pogovori s Tonetom Stojkom, 2017–2024.
 Mladi fotograf je deloval zgolj iz sebe v danih, omejenih okolišcinah, a že tedaj z mocnim zanimanjem za tisto, kar se za obrazom, ki ga clovek kaže svetu, v resnici skriva in kako je to mogoce ubesediti s fotografijo. Omejene možnosti so pomenile, da se je moral vpisati na Tehniško srednjo šolo v Mariboru, a tudi v ucnem programu elektronike ga je še najbolj zanimala slovenšcina. Z Andrejem Brvarjem sta že kot dijaka pisala mladostno socialno protestno poezijo in iskala navdih v delavskem okolju mariborskega Lenta, hkrati pa je mladi umetnik na mariborskem radiu že vodil mladinske in glasbene oddaje. Novele, ki jih je leta 1971 kot literarni prvenec izdal v zbirki Zadnja molitev, so lucidne in poglobljene psihološke študije ljudi, ki jih, tudi kadar jih opisuje, v resnici slika, da živi stopajo pred bralcevo oblicje. Z literarnimi orisi se kar najtesneje istovetijo tudi Stojkove manj znane, zgodnje socialno-dokumentarne fotografije, denimo cikel, ki ga je posnel v Halozah leta 1969 in izbor izdal v zborniku Siti in lacni Slovenci. To so presunljive pripovedi o ljudeh, ki poznajo le trdo delo in boj za preživetje, a v sebi nosijo veliko resnico o življenju samem, ki se razgalja na njihovih neolepšanih obrazih. Svinjak, poljska cesta, klop pred kmecko hišo, vaška gostilna so njihovi odri, na katerih iz dneva v dan ponavljajo uprizoritve dram lastnega življenja. Malce podobni so Tonetovi stari mami, ki jo je rad obiskoval na Humu pri Ormožu. Fotografiral jo je cisto od blizu in pod portret njenih gub s svincnikom zapisal liricno izpoved – fotografija in beseda skupaj ustvarjata celostno podobo bridkosti, modrosti in hkrati lepote življenja. ¶ Sobivanje besede in podobe se je leta 1964, ko je pridobil štipendijo RTV Ljubljana, prelilo v študij novinarstva, s tem tudi prve službe na televiziji v tehnicni ekipi. Po študiju in ob zacetku sodelovanja s Tribuno leta 1968 se je zacela Stojkova zgodnja fotografska pot usmerjati v reportažno fotografijo, ki jo je v naslednjih desetletjih kot urednik fotografije pri Mladini razvil v svojo življenjsko kariero. Na tem podrocju ni prispeval le na tisoce posnetkov, ujetih v odlocilnih trenutkih slovenske zgodovine, temvec mu je treba priznati tudi pionirsko delo na podrocju uveljavljanja fotografije kot samostojnega vizualnega medija in vzpostavitev temeljev, na katerih še danes gradijo nacini dela in vrednotenja fotografije casopisnih uredniških politik. ¶ Konec šestdesetih let se je namrec s Stojkovo vkljucitvijo v uredniški odbor Tribune, ki so ga sestavljali poznejši vodilni slovenski intelektualci, vloga objavljenih fotografij zacela spreminjati – fotografija kljub skromnim tehnicnim zmožnostim postane samostojno sporocilo v pisnih prispevkih, hkrati pa nosi podpis svojega avtorja, kar pred tem nikakor ni bilo samoumevno. Svoj pristop k fotografiji v ilustriranem casopisu je Stojko nadgradil kasneje, ko je bil povabljen k sodelovanju z revijo Mladina. Revija se je na zacetku sedemdesetih let kot prva zacela tiskati z mnogo naprednejšo tehnologijo; ta je omogocala obcutno izraznejši ucinek tudi barvnim fotografijam in znotraj uredništva je Stojko kot avtor in urednik dosegal najvišje mogoce standarde tistega casa, sledec tudi tujim vzorom in vselej z velikim trudom za najkakovostnejšo fotografsko produkcijo in objavo fotografij. Pri svojem reporterskem delu je na drugi strani z izjemnim obcutkom in sposobnostjo »biti ob pravem trenutku na pravem mestu« spremljal vsakršno aktualno politicno, družbeno in kulturno dogajanje. Vse od študentskih demonstracij ob zasedbi Filozofske fakultete prek predosamosvojitvenih manifestacij in demonstracij, vojne za Slovenijo pa do vstajniških gibanj in demonstracij vse do danes je vedno brez lastnega opredeljevanja in pristranskosti dokumentiral dogodke, ki se zapisujejo v slovensko politicno zgodovino na nacin, da o dogodkih pove vec: nemalokrat droben detajl postane velik fotografski motiv, navidezno nepomemben cloveški detajl pa vodilna misel celotne fotozgodbe. Kot je ob razstavi ob dvajsetletnici odbora za varstvo clovekovih pravic, Sporocilo za javnost … 1988–200833	 Mestni muzej Ljubljana, 6. 5.–1. 9. 2008.
, zapisal Blaž Vurnik: »Posnetek, na katerem iz množice iztegnjena roka odvrže cvet proti vojaškemu policistu JLA, je skorajda banalno lep, a obenem mocno pretresljiv. Osrednja figura posnetka s svojo držo vsakega centimetra telesa oznacuje neprijetne obcutke, ki jih doživlja po vseh nakljucjih, ki so ga na služenje vojaškega roka pripeljale kdo ve od kod prav pred stavbo vojaškega sodišca v Ljubljani.« V dogodkih, ki so sledili, je Stojku njegova izostrena pozornost na navidezno nakljucne dogodke omogocila posneti verjetno najbolj ikonicno slovensko reportažno fotografijo vseh casov, Aretacijo Janeza Janše, ki je tiste vrste fotografija, ki ima v sebi vec kot le vizualno informacijo – ima moc vplivati na razvoj dogodkov, moc razkrivati, širiti obzorja, opozarjati. Kot je v luci tedaj berljivih aktualnih dogajanj zapisala Marina Gržinic, Stojkova fotografija »ni proizvedla samo zavezujocih estetskih ucinkov, ki so odlocilno zaznamovali in opredelili celotno fotografsko produkcijo na Slovenskem, temvec je nasploh spodbudila in izoblikovala novo interpretacijo in reaktualizacijo dokumentarnega vizualnega gradiva«.44	Marina Gržinic, Fotografski precedens, v: Tone Stojko: 			Slovenska pomlad, Ljubljana: Prodok, 1992, str. 5.
 ¶ Leta osamosvajanja in kratkotrajne vojne za Slovenijo so Stojku priklicala v spomin zacetek kariere, ko si je kot neizkušen mlad fotograf želel v Vietnam, pa so mu razsodni kolegi iz uredništva Tribune to onemogocili. Zato se je kot fotoreporter v tem casu povsem predal dokumentiranju vojne na domacih tleh, tako politicnih dogodkov kot vojaških akcij, ter se tako v zgodovino slovenske fotografije zapisal kot »fotokronist slovenske pomladi« – kar je oznaka, ki je kmalu postala prihranjena izkljucno za Toneta Stojka. Po pricanju na kranjskem sodišcu v primeru uboja avstrijskih fotografov na Brniku je, namesto nadaljevanja svoje fotoreporterske kariere na drugih bojišcih po Jugoslaviji, po 25 letih zakljucil sodelovanje z Mladino. Videti je bilo, da bo z Župancicevo nagrado nagrajena Slovenska pomlad Stojkov opus magnum, a kaj, ko je imel in ima vzporedno na svojih filmih še toliko dolgorocnih projektov. Izbor enega od njih, ciklusa protestne fotografije v zadnjih 52 letih doma in deloma tudi v tujini, je leta 2021 izšel kot zajetna fotomonografija Naša jeza je brezmejna: Demonstracije 1968–2020 s prek 560 fotografijami – ce že ne Stojkov osebni, pa zagotovo slovenski fotografski opus magnum na temo množicnih manifestacij, protestov in družbenopoliticnih vrenj. ¶ Kljub Stojkovemu velikemu angažmaju pri fotoreporterskem delu je v zgodnjem obdobju od sredine sedemdesetih do konca osemdesetih let osebno cutil, da želi in mora fotografski medij raziskati bolje, kot mu je to dovoljevala vsakodnevna rutina. Sam se spominja, da je bila Mladina tedaj vendarle le bilten Mladinske organizacije: »Uredniki so se menjavali pod politicnim vplivom, odganjali iz uredništva neposlušne in zaposlovali nenadarjene kimavce … Moje opravilo je bilo fotografirati mladinske delovne brigade in mlade povzpetnike. Zelo dalec sem bil od vrhunske reportažne fotografije. Tako sem se zatekel k osebni, umetniški fotografiji.«55	 Pogovori s Tonetom Stojkom, 2017–2024.
 Že leta 1969 je prvic fotografiral gledališce, Žlahtno plesen Pupilije Ferkeverk Dušana Jovanovica. Oder kot prizorišce fotografskega kadra ga je ocaral, svoboda giba in igre pa je zaznamovala snovanje njegove lastne umetniške vizije. Gledališka in umetniška fotografija sta pri Stojku nelocljivo povezani predvsem zato, ker dokumentacija s custvi nabitega dogajanja na odru, v katerem so geste zgošcene in je vzdušje dogajanja mogoce cutiti v zraku, zanj predstavlja mnogo vec kot le gradivo za verodostojen zapis dogajanja – ponuja mu možnost poustvaritve umetnine, ki se skoraj neponovljivo odvija na odru, z lastnim orodjem – fotografsko ali filmsko kamero. Tako je leta 1973 zacel fotografirati umetnost plesnega giba; serija fotografij Telo v igri, nastalih s plesalkami Jasno Knez, Evo Scagnetti in Nejo Kos v Jakopicevem paviljonu, je fotografu prvic odkrila mogoce poti v temo akta in hkrati v fotografsko abstrakcijo. Odprla mu je neslutene možnosti onkraj okvirov upodabljanja resnicnosti: eksperimentiranje s fotografsko kamero, režiranje nastopa modela pred objektivom in obcudovanje svobode giba, ki jo tako lahko ujame, ne da bi objektu odvzel avtonomijo. Stojkovo raziskovanje teme je prispevalo nekaj najopaznejših ciklov fotografskega akta v slovenski fotografiji nasploh: Okus po prahu, Empty Rooms, Izgubljeno telo J. K., ki jih je vse kot serije tudi dosledno razstavljal in predstavljal v fotoknjigah. Tudi pri najbolj liricnem pristopu Stojko ostaja umetnik, ki raste, nadgrajuje in gradi svojo poetiko ne kot tekmo z estetskimi izkušnjami slikarske ali graficne umetnosti, temvec v iskanju najgloblje izpovedi in hkrati skrajnih izraznih meja medija. To je v desetletjih prineslo dovršitev v razširjenem in zaokroženem ciklu, ki je v vmesnem casu doživel tudi prehod v digitalno barvno tehniko in bil leta 2011 premierno predstavljen na obsežni razstavi Telo v igri v Galeriji Jakopic. Ce je Izgubljeno telo J. K. fotograf s svojim objektivom v osemdesetih letih iskal med tancicami njenega oblacila in morsko peno na nizozemski obali Zandvoort, v vodnjakih in na klopeh londonskih parkov, ležece med drvecimi avtomobili nekje na ulici z Eifflovim stolpom v ozadju, se je njegovo žarišce dve desetletji pozneje ustrezno zreleje preusmerilo v iskanje ne vec zgolj fizicne interakcije telesa z okoljem, temvec globljega sporocila po nacelu »manj je vec«. Ce je torej nekoc za želene kompozicije akta potreboval oder, tovarniške hale, hotelske sobe, tancice, morsko obalo, obrežja rek, Trafalgar Square, nevihtne oblake ... se nova Venera iz morske pene, ki jo tvori njen lastni žar, rojeva izcišcena izkljucno v podobi lastnega telesa, osvobojenega vsakega kostuma; v prostoru, osvobojenem vsakršnega prizorišca; z gibi, osvobojenimi vsakršne koreografije – ostajajo le spontani gib telesa, premik objektiva in svetloba, ki presega funkcijo osvetlitve ter postaja atmosfera. Andrej Medved je nadcasni razpon štirih desetletij tega snovanja v katalogu razstave leta 2011 povezal z besedami: »Telo v svojem razvoju in razpadanju, gledališce telesa v svoji snovnosti, cutnosti in prozornosti.« Telo v igri zagotovo je opus magnum Stojkove najgloblje povezanosti s fotografijo in osvobojenega navdiha v njej.  ¶ A kljub performativnim in plesnim elementom, abstraktnim konstelacijam, ki jih telesa tvorijo v specificnih interjerjih in eksterjerjih in prelivanju svetlobe, o fotografiranju plesalk, ki vedno ohranjajo svoj individualni izraz in osebnost, Stojko govori kot o »portretiranju« – portretiranju esence, duše, telesa bolj v etericni kot fizicni obliki. S tem se povezuje s še enim obsežnim podrocjem svojega dela, žanrom fotografskega portreta, ki se, kot že receno, pne skozi vsa glavna podrocja Stojkove fotografske ustvarjalnosti. S portreti spominu zapisuje celo epoho življenja zanimivih, izrednih, ustvarjalnih ljudi. Od slovenskih gledaliških igralcev, pevcev, pisateljev in pesnikov ter drugih umetnikov do politicnih osebnosti in domacih in tujih zvezdnikov, mednje pa se naseljujejo intimnejše družinske podobe, nemalokrat brezimni ljudje, tudi z roba družbe ali iz specificnih socialnih razmer. Vsem je skupno eno: skozi Stojkov objektiv se na fotografije selijo njihova najprimarnejša bistva in sporocajo njihov v besedah neizrekljivi življenjski, ustvarjalni ali duhovni kredo. ¶ Med Stojkovimi portreti najdemo številne tuje zvezdnike: fotografije Alfreda Hitchcocka, Johna Lennona in Yoko Ono poznamo kot ene njegovih najbolj ikonicnih. Kot Mladinin fotoreporter se je v sedemdesetih letih odpravljal v Cannes in na druge filmske in glasbene festivale ter spremljal aktualno umetniško sceno na tem podrocju: »Na filmskih festivalih snemaš predvsem portrete, tu gre za lov na znane obraze.«66	 Ibid.
 Izginotje negativov Hitchcockovih portretov je za skrbnega arhivista, kot je Tone Stojko, pomenilo tako veliko enigmo, da je tudi iz tega ustvaril umetniško gesto: aluzijo na Antonionijev film je Slavko Hren deset let pozneje kot metaforo uporabil v filmskem portretu Toneta Stojka Blow-up z okusom po prahu. ¶ Zdelo se je, da že poznamo najbolj razvpite Stojkove portretirance – retrospektiva Moderne in Mestne galerije s spremljajocima publikacijama leta 2002 je namrec prinesla pregledni izbor vseh Stojkovih ikonicnih fotografij vseh zvrsti – a je leta 2017 na Grossmannovem filmskem festivalu v Ljutomeru presenetil z razstavo, na kateri je med drugimi izobesil tudi najboljšim poznavalcem njegovega dela neznani portret Fidela Castra. Zagotovo eno najbolj simbolicnih, a likovno izcišcenih upodobitev tega kontroverznega kubanskega voditelja, ki ga je Stojko posnel na srecanju mladih iz držav neuvršcenih leta 1978. Brez oklevanja glede kakovosti bi jo podpisal katerikoli priznani svetovni fotograf. ¶ Pa vendarle se opus magnum tega poglavja Stojkovega fotografskega dela razkriva drugje: v še enem velikanskem prispevku, ki ga kot portretist vse od leta 1997 prispeva k podelitvam, almanahom in praznovanjem Prešernovih nagrad. Sposobnost poudariti tiste lastnosti umetnikov, ki se v njihovih dosežkih najizraziteje zrcalijo, osebni psihološki pristop in velika doslednost pri portretiranju ustvarjajo še eno zbirko fotografij nacionalnega pomena. Poleti 2017 je Galerija Prešernovih nagrajencev ob 70-letnici Prešernovih nagrad priredila obsežno pregledno razstavo in fotomonografijo Stojkovih 173 portretov nagrajencev zadnjih enaindvajset let. A Tone Stojko dela dalje, nabor portretov vsako leto dopolnjuje. Vešcina uporabe studijskih luci, vecinoma temna ozadja, iz katerih izstopa avricna podoba portretiranca, postavitve, zasuki, geste in atributi Stojku pomagajo pri ujetju odlocilnega odbleska svetlobe, ko ji uspe osvetliti bistvo cloveka. Kot kipar, ki vihti kladivo in kleše kamen, ali slikar, ki vlece barvne poteze po platnu, je fotograf ujet v proces intenzivnega dialoga fotoaparata in subjekta, kar pomeni, da morata fotograf in aparat pravzaprav postati eno, v to simbiozo pa vkljuciti še portretiranca – ali kot je zapisal Henri Cartier-Bresson: »Portret je zame najtežja zvrst. Poskusiti moraš spraviti fotoaparat v prostor med kožo cloveka in njegovo srajco.«77	Life Library of Photography: Year 1980, New York: Time-		Life Books, 1980, str. 27.
 Ne le prostor, odlocilna dimenzija pri portretu je tudi cas: »Portretiranje je pocasen posel: ne smeš hiteti in moraš imeti casa v izobilju. Navadno so moji portretiranci v nekem nedefiniranem prostoru, kot bi potovali po vesolju skozi cas; vidijo se obrazi, vidijo se roke, preostalo je po navadi nepomembno. Vcasih se sicer pojavi zraven kakšen njihov izdelek, ki je videti kot kaka arheološka najdba današnjega casa. Portreti so posneti danes, gledajo pa se iz jutri … vedno so dokument preteklosti. Kaj smo mislili, kaj postorili, kaj zapustili? Vsakic vem, da zacenjam na zacetku, da vstopam v nov svet, v nova obcutja: kako vse to zabeležiti z na svetlobo obcutljivo napravo, da bo zapis odzvanjal v nekih drugih, meni neznanih casih?«88	Pogovori s Tonetom Stojkom, 2017–2024.
 Stojkova alkimisticna formula za dober portret nikakor ni univerzalna. Vsak portret je neke vrste nova rešitev vsebinskega in likovnega problema – katerega najvecji izziv morda ni poza, obraz ali osvetlitev, temvec položaj in gestikulacija rok. ¶ Kot tih, a spreten in prodoren sopotnik slovenske kulture zadnjega pol stoletja se je tako ali drugace srecal skoraj z vsakim ustvarjalcem, ki je pustil v našem prostoru umetniški pecat. Enako, kot je spremljal aktualno družbenopoliticno dogajanje tega casa. Prav tako kot gledališke predstave slovenskih gledališc. To kaže na njegovo avtorsko vodilo, ki narocila fotografij nikoli ni postavljalo pred kakovost fotografije ali odlocitev o tem, ali fotografirati ali ne. Vedno je bil predvsem sam svoj narocnik, pa naj ga je pri tem vodil umetniški navdih ali vzgib sistematicnosti in doslednosti spremljanja dolocene teme ali celotnega podrocja. Kljub izdelkom, ki bi zlahka posegli na naslovnice tujih revij, in privlacnosti evropskih prestolnic, ki jih je prepotoval z namenom fotografiranja svojih umetniških projektov že v sedemdesetih in osemdesetih letih, se je Tone Stojko zavestno odlocil vtisniti prispevek in zapise celotne epohe casa v svoj kulturni prostor. Pomembno je, da se pri tem nikoli ni in se ocitno ne bo odpovedal iskanju lepote. Lepote, ki ni nakljucje, lepote, ki jo morda zastira površinska maska obraza, lepote, ki jo je zagotovo mogoce iskati na vsakem cloveškem oblicju, cetudi se pojavi šele na fotografiji. Navdihujoce ga je opazovati pri delu, ko ga po toliko letih še vedno in vsakic znova ocara dolocena oseba na fotografiji, kajti zaveda se, da cas nima moci proti osvetljeni tisocinki sekunde in da bo podoba, ki jo je zabeležil v danem trenutku, vedno zmagala. ¶ Cudovito nehvaležna naloga je pisati pregledno besedilo o življenjskem fotografskem opusu Toneta Stojka, zaradi številnih razlogov: ker se zaradi njegovega odnosa do lastnega dela ni nikoli izgubil noben posnetek, nobena predstavitev, nobena objava, zato je vsako razmišljanje o njem lahkoten, a hkrati neskoncen sprehod skozi cas. Ker nikoli ni mogoce dovolj izcrpno opisati ne obsega, ne kakovosti, ne pomena njegovega dela. Ker se nikoli ne bomo mogli odlociti, kateri Stojkov opus je njegov edini pravi opus magnum, saj se zdi, da je v svoje fotografsko poslanstvo, morda celo v vsako svojo fotografijo, vnesel vec vzporednih življenj, ki nagovarjajo vsakogar drugace. Ker obstaja velika možnost, da je v casu našega pisanja že zgrabil svoj fotoaparat, morda lestev, morda filmsko kamero, morda uredil še en velikanski del svojega arhiva in že sodeluje na novi razstavi ali dveh – poleg naslednjega, tistega pravega, zares velikega osebnega projekta. 

achievements, which earned him the status of an irreplaceable chronicler of Slovenian social events, have sometimes overshadowed his artistic creations. Nevertheless, he has realised his passion for photographic creation in documentary and expressive genres at the highest level. Parallel to this, his achievements in the “in-between” areas such as theatre photography – a record of stage events, which is more like a re-creation of visual expression rather than merely a record – and socio-documentary photography  – where the psychological portrayal of a scene is more important than its artistic impression – have been equally excellent and elaborate throughout the years, ever since he first laid his finger on the shutter. With all this, one should not forget his outstanding contributions to the photographic portrait genre, the common thread running through all the chapters of Stojko’s photographic oeuvre. ¶ Tone Stojko is also a unique photographer because he only redirected the flow of his inspiration into the language of the photographic image after first trying his hand at literary art in his early youth. It is thus probably no coincidence that he has always been attracted to the atmosphere of the theatre stage, the place of sophisticated coexistence of literary and visual experience. For him, the written word is most expressive when spoken with emotion. Early on, he also realised that the world around him, painfully simple as it might be, was rich enough to offer him a whole universe of motifs – as if he already were carrying within him the motto he later set himself: “[...] what is better than to be able to say that the whole world is your studio, and all the people in it are your models.”11	 Tone STOJKO, Dogodki vcerajšnjega popoldneva / Yesterday‘s    		Afternoon Event, Ljubljana 2002, p. 9.
 ¶ In a way, Tone’s interest in people stems from his own backyard in the countryside of Prlekija, where he spent his early childhood, and Maribor, where he later went to school. As children, he and his brother tried making portraits of each other using the first camera their father sent from Germany when Tone was 13. “My first photographic project was group portraits. When I was in the seventh grade, I took pictures of all the classes at the school so that my classmates and I could earn some money for the end-of-year school trip.”22	 Conversations with Tone Stojko, 2017–2024.
 In the limited circumstances, the young photographer had to work purely from his own intuition. However, even then, he demonstrated a strong interest in what really lay hidden behind the human face that one showed the world and how this could be articulated in a photograph. As his educational options back then were limited, he had to enrol at the Technical High School in Maribor. Even in the electronics programme, however, Tone was most interested in the Slovenian language. As pupils, he and Andrej Brvar wrote youthful social protest poetry. They looked for inspiration in the working-class setting of Maribor’s Lent neighbourhood, even while the young artist was already moderating youth and music shows for the Maribor radio. The novellas he published in 1971 in The Last Prayer (Zadnja molitev) collection as part of his literary debut read as lucid and profound psychological studies of people whom, even when just describing them with words, he painted so that they appeared to the reader as real, living characters. Stojko’s lesser-known, early socio-documentary photographs can also be closely identified with literary depictions, for example, the series he shot in 1969 in Haloze and published in the collection Full and Hungry Slovenians (Siti in lacni Slovenci). His photographs told compelling stories about people who only knew hard work and the struggle for survival but carried a great truth about life, a truth laid bare on their ravaged faces. A pigsty, a field road, a bench in front of a peasant house and a village inn presented the stages on which they performed the dramas of their own lives day after day. They seem to be a bit like Tone’s grandmother, whom he used to visit in Hum near Ormož. He took a close-up picture of her and pencilled a lyrical confession under the portrait of her wrinkles – the photograph and the words combined to evoke a comprehensive image of life’s poignancy, wisdom and even beauty. ¶ Stojko transposed this coexistence of word and image into his study of journalism when, in 1964, he obtained a scholarship from RTV Ljubljana and, with it, also his first job as part of the technical team at the TV station. After concluding his studies, when he started collaborating with Tribuna magazine in 1968, Stojko’s early photographic career shifted towards reportage photography, which, over the following decades, he developed into his life oeuvre while working as a photography editor for Mladina magazine. In this area, he not only contributed thousands of images capturing pivotal moments in Slovenian history but must also be credited with pioneering work in establishing photography as an independent visual medium and building the foundations on which the approaches to producing and evaluating photography within newspaper editorial policies remain based to this day. ¶ Towards the end of the 1960s, Stojko joined the Tribuna editorial board, which included later major Slovenian intellectuals, and began to change the role of published photographs. Despite the modest technical capabilities, photography became a vehicle of independent messages within written articles while also crediting their authors, which was by no means a matter of course before his time. Stojko further developed his approach to photography within the illustrated newspaper when he was later invited to collaborate with Mladina magazine. In the early 1970s, Mladina was the first to start printing issues with much more advanced technology; this allowed the publishing of colour photographs with much more expressive effects. Within the editorial office, Stojko achieved the highest possible standards at the time as both an author and editor, following foreign examples and always striving for the highest quality of photographic production and publication of photographs. In his journalistic work, on the other hand, he kept track of all current political, social and cultural events with remarkable sensibility and ability to  be in the right place at the right time”. From the student demonstrations during the occupation of the Faculty of Arts, through pre-independence manifestations and demonstrations, Slovenian War of Independence, all the way to insurrectionist movements and demonstrations up to the present day, Stojko has always documented the events that have represented milestones in Slovenian political history without taking sides and without judging, in a way that allows for a deeper insight into the events. Often, a tiny detail becomes a large photographic motif, and a seemingly insignificant human detail becomes the “leitmotif” of an entire photoreportage. As Blaž Vurnik noted on the occasion of the 20th-anniversary exhibition of the Committee for the Defence of Human Rights entitled Press Release ... 1988 – 2008 (Sporocilo za javnost … 1988 – 2008)33	 The City Museum of Ljubljana, 6 May–1 September 2008.
: “The snapshot of an outstretched hand reaching out of a crowd throwing a flower towards a Jugoslavian Army military policeman is almost banally beautiful, but at the same time profoundly shocking. With his from who knows where posture, this central figure of the photograph demonstrates, down to the very last inch of his body, the unpleasant feelings he is experiencing after all the coincidences that have brought him from who knows where to serve military service right in front of the military court building in Ljubljana.” During the events that followed, Stojko’s sharp focus on seemingly random events enabled him to take probably the most iconic Slovenian reportage photograph of all time, The Arrest of Janez Janša, which belongs to the kind of photograph that contains more than just visual information – it has the power to influence the course of events, to reveal, to broaden horizons, to give warning. As Marina Gržinic wrote in light of the events taking place at the time, Stojko’s photography “has not only produced the requisite esthetic effects, which have decisively marked and determined Slovenian photography as a whole but in general has provided a new interpretation and actualisation of the visual documentary material.”44	Marina Gržinic, “Fotografski precedens [Photographic 			Precedence]”. In: Tone Stojko: Slovenska pomlad [Tone Stojko: 		Slovene Spring], Prodok 1992, p. 5.
 ¶ The years of Slovenia reaching independence and the Ten-Day War in Slovenia brought back memories of the beginning of Stojko’s career, when, as an inexperienced young photographer, he wanted to go to Vietnam, but his more reasonable colleagues from the Tribuna editorial team prevented him from doing so. Therefore, as a photojournalist, he devoted himself completely to documenting the war on home ground, both the political events as well as military actions, thus becoming part of the history of Slovenian photography as “the photojournalist chronicler of the Slovenian Spring” – a label that soon became exclusive to Tone Stojko. Instead of continuing his photojournalistic career on other battlefields across Yugoslavia, Stojko ended his 25-year collaboration with Mladina after testifying at the Kranj court in the case of the killing of Austrian photographers at Brnik Airport. It seemed that the Župancic Award-winning Slovene Spring (Slovenska pomlad, 1988–91) would be Stojko’s magnum opus, but he had and still has so many other parallel long-term projects running on his film rolls. A selection from one of them, a cycle of protest photography over the last 52 years at home and partly abroad, was published in 2021 in the form of a comprehensive photo-monograph Our Anger is Boundless: Demonstrations 1968–2020 (Naša jeza je brezmejna: Demonstracije 1968–2020) featuring more than 560 photographs. While this may not be Stojko’s personal magnum opus, it certainly represents the magnum opus of Slovenian photography on the subject of mass manifestations, protests and socio-political upheaval. ¶ Despite Stojko’s great involvement in photojournalistic work, in the early period from the mid-1970s to the end of the 1980s, he intimately felt that he wanted and needed to explore the photographic medium more in-depth than his daily routine allowed him to do. He recalls that Mladina was, at the time, after all, merely the bulletin of the Association of Slovenian Socialist Youth: “Editors got replaced under political influence, the disobedient ones were driven out, and untalented yes-men got hired ... My job was to photograph the youth work brigades and the young upstarts. I was very far from being a top-quality reportage photographer. So, I turned to personal, artistic photography.”55	 Conversations with Tone Stojko, 2017–2024.
 In 1969, he photographed for the first time in theatre: Dušan Jovanovic’s performance of  The Noble Mould of Pupilija Ferkeverk (Žlahtna plesen Pupilije Ferkeverk). The stage as the setting for the photographic frame fascinated him, and the freedom of movement and acting marked the conception of his own artistic vision. In Stojko’s work, theatre and artistic photography are inseparably linked, primarily because the documentation of emotionally charged action on stage – in which gestures are concentrated, and the atmosphere of the action can be felt in the air – represents for him much more than just material for a reliable record of the action. It offers him the possibility of recreating the artwork, unfolding on stage almost inimitably, through his own instrument: the photographic or film camera. Thus, in 1973, he began photographing the art of dance movement. The photo series The Body in Play (Telo v igri) that he shot with dancers Jasna Knez, Eva Scagnetti and Neja Kos at the Jakopic Gallery revealed to the photographer for the first time the possible ways to address the topic of the nude and, at the same time, towards photographic abstraction. It opened up the unforeseen potential for him to reach beyond the frameworks of depicting reality, the possibilities for experimenting with the camera, directing the model’s performance in front of it, and admiring the freedom of movement that can be captured in this way without depriving the object of its autonomy. Stojko’s exploration of the topic resulted in some of the most remarkable series of nude photography in Slovenian photography in general: Okus po prahu / Ukus prašine / Taste of Dust, Empty Rooms, The Lost Body of J.K. (Izgubljeno telo J. K.), all of which he has regularly exhibited as series and presented in photobooks. Even in his most lyrical approach, Stojko proved to be an artist who keeps growing, upgrading and developing his poetics, not in competition with the aesthetic experience of painting or graphic art, but in search of his own deepest expression and at the same time the extreme expressive limits of the medium. Over the decades, he brought his art to perfection in an expanded and accomplished cycle, during which he also underwent the transition to digital colour technique, which premičred in 2011 with the large-scale exhibition The Body in Play at the Jakopic Gallery. In the 1980s, the photographer searched with his lens for The Lost Body of J.K. among the veils of her clothing and sea foam on the Dutch coast of Zandvoort, in the fountains and on the benches of London’s parks, lying on the street somewhere among the speeding cars with the Eiffel Tower in the background; two decades later, his focus shifted and correspondingly turned more mature, to no longer searching for the body’s mere physical interactions with the environment but for a deeper message, according to the principle of “less is more”. So, if before he would require a stage, factory halls, hotel rooms, veils, the seashore, riverbanks, Trafalgar Square, storm clouds, etc., to achieve the desired composition of the nude photograph, a new Venus made of the sea foam composed of her own inner glow was born purified exclusively onto the image of her own body, liberated from any costume, in a space cleared of any setting, with movements unrestrained by any choreography. What remains is only the spontaneous movement of the body, the movement of the lens, and the light, which transcends the function of mere illumination and turns into the atmosphere. In the 2011 exhibition catalogue, Andrej Medved summed up the timeless span of four decades of this conceptual work with the following words: “The body in its development and decay, the theatre of the body in its materiality, sensuality and transparency.” The Body in Play undoubtedly is the magnum opus of Stojko’s deepest connection to photography and his liberated inspiration in it. ¶ Despite the performative and dance elements, the abstract constellations that bodies form in specific interiors and exteriors and the flow of light, Stojko speaks of his work of photographing dancers by retaining their individual expressions and personalities as “portraiture” – the portraying of the essence, the soul, the body in its ethereal rather than physical form. This relates to another large area of his work, the genre of portrait photography, which, as mentioned before, runs through all the main areas of Stojko’s creativity. It is through portraits that he records to memory a whole epoch of the lives of interesting, extraordinary, creative people – from Slovenian theatre actors, singers, writers, poets and other artists to political figures and local and foreign celebrities – while interspersing them with intimate family images of often nameless people, even from the margins of society or specific social situations. Their common denominator: through Stojko’s camera, their most primal essences become inscribed into the photographs, conveying their life credo, be it creative or spiritual, that cannot be put into words. ¶ Stojko’s portraits feature many foreign celebrities: his photographs of Alfred Hitchcock, John Lennon and Yoko Ono are among his most iconic ones. In the 1970s, he travelled to Cannes and other film and music festivals as a photojournalist for Mladina to keep up with the current art scene in these fields: “At film festivals, one mainly takes portraits. It’s about preying on famous faces.”66	 Conversations with Tone Stojko, 2017–2024.
 To a meticulous archivist like Tone Stojko, the disappearance of the negatives of his portraits of Hitchcock was such an enigma that he created an artistic gesture out of it: ten years later, the allusion to Antonioni’s film was used by Slavko Hren as a metaphor in his film portrayal of Tone Stojko entitled Blow-Up with a Taste of Dust (Blow-up z okusom po prahu).
 ¶ Although it seemed that we already knew Stojko’s most notorious subjects – his 2002 retrospective in the Museum of Modern Art and the City Gallery Ljubljana with its accompanying publications brought about a comprehensive selection of all of Stojko’s iconic photographs of all genres – at the Grossmann Fantastic Film Festival in Ljutomer in 2017, he surprised us all with an exhibition in which, among others, he displayed a portrait of Fidel Castro hitherto unknown even to the people best acquainted with his work. Certainly one of the most emblematic yet artistically refined depictions of the controversial Cuban leader, Stojko took this photograph at a meeting of young people from non-aligned countries in 1978. Moreover, in terms of its quality, any world-renowned photographer would happily sign their name on it without hesitation. ¶ Yet, the magnum opus from this chapter of Stojko’s photographic work can be revealed elsewhere. Since 1997, his contribution as the portraitist of the Prešeren Awards ceremonies, almanacs and celebrations has been unprecedented. His ability to highlight the artists’ qualities that are most clearly reflected in their achievements, his personal psychological approach and his astounding consistency in portraying make up another collection of photographs of national importance. In the summer of 2017, on the 70th anniversary of the Prešeren Awards, the Gallery of Prešeren Award Laureates organised a comprehensive overview exhibition and photographic monograph of Stojko’s 173 portraits of the laureates of the last twenty-one years. But Tone Stojko is still going; he adds new portraits to his collection every year. His skill in using the studio lights, the mostly dark backgrounds from which the subject’s auric image emerges and the juxtapositions, twists, gestures and features help Stojko to capture that decisive reflection of light which illuminates a person’s essence. Like a sculptor wielding a hammer and chisel to carve out a stone or a painter drawing streaks of colour across a canvas, the photographer is caught up in a powerful process of intense dialogue between the camera and its subject, which means that the photographer and the camera have to become one, in effect. Also, the sitter has to be included in this symbiosis. Or, in the words of Henri Cartier-Bresson: “The most difficult thing for me is a portrait. You have to try to put your camera between a person’s skin and his shirt.”77	Life Library of Photography: Year 1980, New York: Time-			Life Books,  1980, p. 27.
 It is not only space that features as a decisive dimension in portraiture, but time as well: “Portraiture is a slow business: you must not rush it, and you need a lot of time. My subjects are usually in some undefined space as if they were travelling across space and through time; you can see their faces, you can see their hands, but the rest is usually irrelevant. Sometimes, though, their product appears next to them, looking like an archaeological find from our present time. Portraits are taken today but seen from tomorrow ... they are always documents of the past. What were we thinking, what were we doing, what remains after us? Each time, I know that I am starting at the beginning, that I am entering a new world, new experiences: how to record all of this with a light-sensitive device so that the record will resonate in some other time, unbeknown to me?”88	Conversations with Tone Stojko, 2017–2024.
 ¶ However, Stojko’s alchemical formula for good portraiture is by no means universal. Each portrait represents a new solution to the conceptual and artistic problem, the greatest challenge perhaps not being the pose, the face or the lighting but the position and gesticulation of the hands. ¶ For the last half a century, Stojko has been a silent but skilful and insightful companion of Slovenian culture. In one way or another, he has met virtually every artist who has left their artistic mark in our space, just like he has been following the current socio-political developments of the time and the theatre performances of Slovenian theatres. This reveals his guiding principle as an author: never prioritise the commission of photographs over their quality or the decision of whether to photograph or not. He has always been, first and foremost, his own client, whether driven by artistic inspiration or the impulse to follow a particular subject or an entire area systematically and consistently. Even though his photographs could easily have made the covers of foreign magazines and despite the attraction of the European capitals to which he has travelled to photograph his artistic projects as early as the 1970s and 1980s, Tone Stojko consciously decided to imprint his contribution and records of an entire epoch of time into his cultural space. And the most important thing is that in doing so, he has never, and apparently never will, given up on his search for beauty. A beauty that is no accident, a beauty that may be obscured by the superficial mask of the face, a beauty that can certainly be found in every human face, even if it only becomes visible in a photograph. It is inspiring to observe him at work when, after so many years, he is still captivated by a particular person in a photograph. Because Stojko is well aware that time has no power over the exposed one-thousandth of a second and that the image he has captured in a given moment will always win. ¶ Writing an overview text on Tone Stojko’s life’s oeuvre in photography is a wonderfully difficult task for many reasons: because, due to his attitude towards his work, he has never lost a single photograph, a single presentation or a single publication, and thus any reflection on him is a relaxing yet endless walk through time. Because it is never possible to fully and comprehensively describe his work’s scope, quality or meaning. Because we will never be able to decide which of Stojko’s works is his one true magnum opus since he seems to have brought several parallel lives into his photographic mission, perhaps even into each of his photographs, which speak to each one of us differently. Because there is a good chance that at the time of writing this article, he has already grabbed his camera, perhaps a ladder, perhaps a film camera, or perhaps edited another enormous part of his archive and is already collaborating on the next exhibition or two – besides his next personal project, the real one, the really huge one.

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Od Pupilije do Julije From Pupilija to Juliet


1969, Gledališce poezije 442
Žlahtna plesen Pupilije Ferkeverk
režiser /directed by Dušan Jovanovic
Katja Boh, Manca Cermelj, Bojana Klemencic, Monika Žagar
1969, Gledališce Pupilije Ferkeverk
Pupilija, papa Pupilo pa Pupilcki
režiser /directed by Dušan Jovanovic
Manca Cermelj, Barbara Levstik


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1969, Gledališce Pupilije Ferkeverk
Pupilija, papa Pupilo pa Pupilcki
režiser /directed by Dušan Jovanovic
Dušan Rogelj, Meta Gorjup, 
Milan Jesih, Ivo Svetina, Barbara Levstik, Ilonka Kranjc
1969, Gledališce Pupilije Ferkeverk
Pupilija, papa Pupilo pa Pupilcki
režiser /directed by Dušan Jovanovic
Monika Žagar, Ilonka Kranjc, Goranka Kreacic, Manca Cermelj, Dušan Rogelj, Meta Gorjup, 
Tomaž Kralj


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31


1969, Gledališce Pupilije Ferkeverk
Pupilija, papa Pupilo pa Pupilcki
režiser /directed by Dušan Jovanovic
Monika Žagar, Ivo Svetina, 
Željko Kozinc,  Tomaž Kralj, Ilonka Kranjc, Tomaž Zorko, Lado Jakša, Barbara Levstik, Jožica Avbelj, Bard Iucundus, Matjaž Kocbek, Milan Jesih, Meta Gorjup
1969, Gledališce Pupilije Ferkeverk
Pupilija, papa Pupilo pa Pupilcki
režiser /directed by Dušan Jovanovic
Milan Jesih, Matjaž Kocbek, 
Bard Iucundus


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1973, Gledališce Pekarna
Peter Božic: Kako srecen dan
režiser /directed by Matija Logar
Marinka Štern
1976, Drama SNG v Ljubljani
John Arden: Živite kot svinje
režiser /directed by Zvone Šedlbauer
Majda Potokar, Metoda Zorcic


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1972, Gledališce Pekarna
Dane Zajc: Potohec
režiser /directed by Lado Kralj
Barbara Jakopic, Zdenko Kodric, Janez Vrecko, Samo Gabrijelcic, Barbara Levstik
1983, Akademija za gledališce, radio, film in televizijo
Dane Zajc: Potohec
režiser /directed by Franci Cegnar
Maja Blagovic, Boris Ostan


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1980, Mestno gledališce ljubljansko
Friedrich Schiller: Spletka in ljubezen
režiser /directed by Dušan Jovanovic
Veronika Drolc
1983, Slovensko mladinsko gledališce
Vito Taufer: Jaz nisem jaz I
režiser /directed by Vito Taufer
Pavel Rakovec


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1980, Mestno gledališce ljubljansko
Ivan Cankar: Hlapci
režiser /directed by Dušan Jovanovic
Janez Hocevar
1985, Mestno gledališce ljubljansko
Arthur Miller: Lov na carovnice
režiser /directed by Franci Križaj
Jožica Avbelj, Vesna Jevnikar, 
Nadja Strajnar


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1980, Eksperimentalno gledališce Glej Radovan Ivšic: Kralj Gordogan
režiser /directed by Vinko Möderndorfer
Sreco Špik
1980, Eksperimentalno gledališce Glej Radovan Ivšic: Kralj Gordogan
režiser /directed by Vinko Möderndorfer
Sandi Pavlin, Sreco Špik, 
Niko Goršic, Željko Hrs


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1983, Eksperimentalno gledališce Glej Martin Sherman: Rožnati trikotnik
režiser /directed by Vinko Möderndorfer
Zvone Hribar, Silvo Božic, 
Roman Koncar
1983, Eksperimentalno gledališce Glej Martin Sherman: Rožnati trikotnik
režiser /directed by Vinko Möderndorfer
Brane Grubar, Slavko Cerjak


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1980, Slovensko mladinsko gledališce
Danilo Kiš - Ljubiša Ristic: 
Missa in a minor
režiser /directed by Ljubiša Ristic
Vojko Zidar, Vladimir Jurc
1980, Slovensko mladinsko gledališce
Danilo Kiš - Ljubiša Ristic: 
Missa in a minor
režiser /directed by Ljubiša Ristic
Niko Goršic


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1983, Slovensko mladinsko gledališce,
Opera in balet SNG v Ljubljani, Cankarjev dom
William Shakespeare: Romeo in Julija
režiser /directed by Ljubiša Ristic
Marinka Štern, Pavel Rakovec
1983, Slovensko mladinsko gledališce,
Opera in balet SNG v Ljubljani, Cankarjev dom
William Shakespeare: Romeo in Julija
režiser /directed by Ljubiša Ristic


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1982, Slovensko mladinsko gledališce
Nigel Williams: Razredni sovražnik
režiser /directed by Vito Taufer
Vojko Zidar, Miloš Battelino
1982, Slovensko mladinsko gledališce
Nigel Williams: Razredni sovražnik
režiser /directed by Vito Taufer
Miloš Battelino,  Jožef Ropoša


50
51


1984, Eksperimentalno gledališce Glej Goran Gluvic, Matjaž Zupancic: 
Hard Core
režiser /directed by Matjaž Zupancic
Damjana Cerne, Miloš Battelino
1984, Eksperimentalno gledališce Glej Goran Gluvic, Matjaž Zupancic: 
Hard Core
režiser /directed by Matjaž Zupancic
Damjana Cerne, Miloš Battelino, Gojmir Lešnjak


52
53


1984, Drama SNG v Ljubljani
(Mala Drama)
August Strindberg: Oce
režiser /directed by Igor Likar
Lojze Rozman
1982, Drama SNG v Ljubljani
(Mala Drama)
Edvard Kocbek: Tišina osmega jutra
režiser /directed by Igor Likar
Aleš Valic


54
55


1984, Tespisov voz
Drago Jancar - Tomaž Pandur: 
Nocni prizori
režiser /directed by Tomaž Pandur
Branko Šturbej, Peter Boštjancic, 
Jože Zupan
1982, Eksperimentalno gledališce Glej
Velimir Stojanovic: 
Ni clovek, kdor ne umre
režiser /directed by Vinko Möderndorfer
Matjaž Turk, Evgen Car, Jerica Mrzel, Slavko Cerjak, Marko Simcic


56
57


1984, Mestno gledališce ljubljansko
William Shakespeare: Hamlet
režiser /directed by Mile Korun
Boris Ostan
1990, Drama SNG Maribor
William Shakespeare: Hamlet
režiser /directed by Tomaž Pandur
Branko Šturbej


58
59


1994, SNG Drama Ljubljana
William Shakespeare: Hamlet
režiser /directed by Janez Pipan
Jernej Šugman
2000, Primorsko dramsko gledališce Nova Gorica
William Shakespeare: Hamlet
režiser /directed by Vito Taufer
Radoš Bolcina


60
61


2006, Mestno gledališce ljubljansko
William Shakespeare: Hamlet
režiser / directed by Matjaž Zupancic
Boris Ostan, Bernarda Oman, Gregor Cušin, Uroš Smolej
2006, Mestno gledališce ljubljansko
William Shakespeare: Hamlet
režiser / directed by Matjaž Zupancic
Gregor Cušin, Uroš Smolej, 
Bernarda Oman


62
63


2006, Lutkovno gledališce Ljubljana
William Shakespeare: Hamlet
režiser / directed by Vito Taufer
Igor Samobor
2013, SNG Drama Ljubljana
William Shakespeare: Hamlet
režiser / directed by Eduard Miler
Marko Mandic


64
65


1983, Eksperimentalno gledališce Glej Herbert Achternbusch: Ela
režiser /directed by Eduard Miler
Alja Tkacev,  Aleš Valic
1983, Eksperimentalno gledališce Glej Herbert Achternbusch: Ela
režiser /directed by Eduard Miler
Aleš Valic


52
67


1984, Ekperimentalno gledališce Glej
Errol Bray: Zbor 
režiser / directed by Matjaž Zupancic
Sreco Špik, Boris Kerc
1989, Ekperimentalno gledališce Glej
Stefan Schütz:
Fragment o Kleistu 
(Pet in pol)
režiser / directed by Martin Kušej
Olga Kacjan, Pavle Ravnohrib


68
69


1984, Slovensko mladinsko gledališce
Emil Filipcic: Bolna nevesta
režiser /directed by Janez Pipan
Damjana Cerne, Draga Potocnjak
1984, Slovensko mladinsko gledališce
Emil Filipcic: Bolna nevesta
režiser /directed by Janez Pipan
Pavel Rakovec, Draga Potocnjak, 
Miloš Battelino, Sandi Pavlin


70
71


1985, Mestno gledališce ljubljansko
Franz Kafka - Evald Šorm: Proces
režiser /directed by Zvone Šedlbauer
Sreco Špik, Slavko Cerjak, Evgen Car
1985, Mestno gledališce ljubljansko
Franz Kafka - Evald Šorm: Proces
režiser /directed by Zvone Šedlbauer
Slavko Cerjak


56
73


1985, Drama SNG v Ljubljani
Drago Jancar: Veliki briljantni valcek
režiser /directed by Zvone Šedlbauer
Silva Cušin, Boris Cavazza, 
Roman Koncar, Zvone Hribar, 
Ivo Ban, Polde Bibic
1985, Drama SNG v Ljubljani
Drago Jancar: Veliki briljantni valcek
režiser /directed by Zvone Šedlbauer
Ivo Ban, Silva Cušin, Polde Bibic


74
75


1985, Drama SNG v Ljubljani
(Mala Drama)
Emil Korytko: 
Korespondenca z družino
režiser /directed by Jože Babic
Igor Samobor
1985, Drama SNG v Ljubljani
(Mala Drama)
Emil Korytko: 
Korespondenca z družino
režiser /directed by Jože Babic
Igor Samobor


76
77


1985, Slovensko mladinsko gledališce
Ivo Svetina: Lepotica in zver
režiser /directed by Dušan Jovanovic
Marinka Štern, Pavle Ravnohrib
1985, Slovensko mladinsko gledališce
Ivo Svetina: Lepotica in zver
režiser /directed by Dušan Jovanovic
Jadranka Tomažic, Marinka Štern, Draga Potocnjak, Veronika Drolc


78
79


1986, Mestno gledališce ljubljansko
Sam Shepard: Pravi zahod
režiser /directed by Boris Kobal
Sreco Špik, Ivan Jezernik
1986, Mestno gledališce ljubljansko
Sam Shepard: Pravi zahod
režiser /directed by Boris Kobal
Nada Bavdaž, Ivan Jezernik, Sreco Špik


80
81


1986, Drama SNG v Ljubljani
Anton P. Cehov: Cešnjev vrt
režiser /directed by Zvone Šedlbauer
Polde Bibic, Mojca Ribic
1999, Drama SNG Ljubljana
Anton P. Cehov: Cešnjev vrt
režiser /directed by Janusz Kica
Aleš Valic, Milena Zupancic


82
83


1986, Gledališce Sester 
Scipion Nasice, Cankarjev dom
Retrogardisticni dogodek
 Krst pod Triglavom
režiser /directed by Dragan Živadinov
Primož Ekart, Marko Mlacnik
1993, Kozmokineticni kabinet Noordung, Opera in balet SNG v Ljubljani, Cankarjev dom
Kozmokineticni balet
 Molitveni stroj Noordung
režiser /directed by Dragan Živadinov
Vojko Vidmar, Urša Vidmar



1986, Slovensko mladinsko gledališce
Fjodor M. Dostojevski -
Dušan Jovanovic: Besi
režiser /directed by Janez Pipan
Boris Cavazza, Radko Polic
1986, Slovensko mladinsko gledališce
Fjodor M. Dostojevski - 
Dušan Jovanovic: Blodnje
režiser /directed by Dušan Jovanovic
Boris Cavazza, Milena Zupancic


86
87


1987, Slovensko mladinsko gledališce
Ugo Betti: Zlocin na Kozjem otoku
režiser /directed by Paolo Magelli
Veronika Drolc, Milena Zupancic
1987, Slovensko mladinsko gledališce
Ugo Betti: Zlocin na Kozjem otoku
režiser /directed by Paolo Magelli
Željko Hrs, Milena Zupancic


88
89


1987, Slovensko mladinsko gledališce
Rudi Šeligo: Slovenska savna
režiser /directed by Dušan Jovanovic
Boris Cavazza, Gojmir Lešnjak
1988, ŠTUK Maribor, Cankarjev dom
Richard O'Brien: 
The Rocky Horror Picture Show
režiser /directed by 
Andrej Rozman Roza
Matija Rozman, Marko Vezovišek, Gojmir Lešnjak, Neca Falk, 
Judita Zidar


90
91


1987, Ekperimentalno gledališce Glej
Stanko Majcen: Apokalipsa
režiser /directed by Matjaž Zupancic
Damjana Grašic Luthar, Milan Štefe, Marinka Štern, Sreco Špik, Damjana Cerne, Uroš Macek
1994, Mestno gledališce ljubljansko
Alan Bennett: Blaznost Jurija III.
režiser /directed by Vinko Möderndorfer
Janez Hocevar


76
93


1988, Kozmokineticno gledališce Rdeci pilot, Slovensko mladinsko gledališce
Dramski observatorij 
Zenit
režiser /directed by Dragan Živadinov
Peter Mlakar, Niko Goršic
1988, Kozmokineticno gledališce Rdeci pilot, Slovensko mladinsko gledališce
Dramski observatorij 
Zenit
režiser /directed by Dragan Živadinov
Olga Kacjan


78
95


1989, Slovensko mladinsko gledališce
Ivo Svetina: Šeherezada
režiser /directed by Tomaž Pandur
Janez Škof, Olga Kacjan
1989, Slovensko mladinsko gledališce
Ivo Svetina: Šeherezada
režiser /directed by Tomaž Pandur
Janez Škof, Milena Grm,
Pavle Ravnohrib, Željko Hrs,
Miloš Battelino


96
97


1989, Drama SNG v Ljubljani
Dušan Jovanovic: Zid, jezero
režiser /directed by Dušan Jovanovic
Radko Polic, Aleš Valic
1989, Drama SNG v Ljubljani
(Mala Drama)
Drago Jancar: Zalezujoc Godota
režiser /directed by Marko Sosic
Polde Bibic, Brane Grubar


82
99


1990, Slovensko mladinsko gledališce
Veno Taufer: Odisej in sin
ali Svet in dom
režiser /directed by Vito Taufer
Niko Goršic
1990, Slovensko mladinsko gledališce
Veno Taufer: Odisej in sin
ali Svet in dom
režiser /directed by Vito Taufer
Uroš Macek


100
101


1991, Kozmokineticno 
gledališce Rdeci Pilot
Dramski observatorij 
Kapital
režiser /directed by Dragan Živadinov
Saša Miklavc, Breda Kralj, 
Mario Šelih, Damjana Grašic, 
Peter Mlakar, Marko Mlacnik
1991, Kozmokineticno 
gledališce Rdeci Pilot
Dramski observatorij 
Kapital
režiser /directed by Dragan Živadinov
Mario Šelih, Marko Mlacnik


102
103


1991, Drama SNG v Ljubljani
Dušan Jovanovic: Don Juan na psu
režiser /directed by Dušan Jovanovic
Radko Polic
1991, Drama SNG v Ljubljani
Dušan Jovanovic: Don Juan na psu
režiser /directed by Dušan Jovanovic
Milena Zupancic, Marijana Brecelj, Radko Polic, Polona Vetrih, 
Majda Potokar, Lojze Rozman, 
Roman Koncar


104
105


1989, Eksperimentalno gledališce Glej Peter Handke: Železniške informacije
(Pet in pol)
režiserka /directed by 
Nevenka Koprivšek
Boris Ostan, Jette Ostan Vejrup
1989, Drama SNG v Ljubljani
Heinrich von Kleist: 
Princ Homburški
režiserka /directed by 
Barbara Hieng Samobor
Saša Pavcek, Boris Juh


106
107


1991, Slovensko mladinsko gledališce
Edgar Allan Poe - Janez Pipan: Krokar
režiser /directed by Janez Pipan
Draga Potocnjak, Željko Hrs
1991, Slovensko mladinsko gledališce
Edgar Allan Poe - Janez Pipan: Krokar
režiser /directed by Janez Pipan
Majolka Šuklje


108
109


1991, Drama SNG v Ljubljani
Henrik Ibsen: Peer Gynt
režiser /directed by Slobodan Unkovski
Igor Samobor, Matija Rozman, 
Ivo Ban, Zvone Hribar,  Vojko Zidar
1991, Drama SNG v Ljubljani
Henrik Ibsen: Peer Gynt
režiser /directed by Slobodan Unkovski
Maja Sever, Matija Rozman, 
Tanja Dimitrievska, Zvone Hribar, Tomaž Grubenšek


110
111


1992, Drama SNG v Ljubljani
(Klub Drama)
Pavel Lužar: Živelo življenje, 
Luka De
Polde Bibic
1992, Drama SNG v Ljubljani
(Klub Drama)
Pavel Lužar: Živelo življenje, 
Luka De
Polde Bibic


112
113


1992, SNG Drama Ljubljana, Mestno gledališce ljubljansko, Cankarjev dom
William Shakespeare: Kralj Lear
režiser /directed by Dušan Jovanovic
Mario Šelih, Boris Ostan, 
Milena Zupancic
1993, Mestno gledališce ljubljansko
Ariel Dorfman: Deklica in smrt
režiser /directed by Zvone Šedlbauer
Marko Simcic, Stanislava Bonisegna


114
115


1993, SNG Drama Ljubljana
Brian Friel: Ples v avgustu
režiser /directed by Dušan Jovanovic
Milena Zupancic, Saša Pavcek, 
Neda Bric
1993, Mestno gledališce ljubljansko
Ivan Cankar: Za narodov blagor
režiser /directed by Mile Korun
Janez Eržen, Jože Loncina, Alojz Korošec, Milan Škraba, Boris Ostan, 
Alojz Širaj, Janez Hocevar, 
Matjaž Strnad, Matjaž Turk, 
Ivan Jezernik, Sreco Špik


100
117


1993, Mestno gledališce ljubljansko
Anton P. Cehov, Thomas Brasch:
 Platonov
režiser /directed by Janez Pipan
Jernej Šugman, Tanja Ribic
1993, Mestno gledališce ljubljansko
Anton P. Cehov, Thomas Brasch:
 Platonov
režiser /directed by Janez Pipan
Tanja Ribic, Sreco Špik, Jernej Šugman


118
119


1993, SNG Drama Ljubljana,
Wiener Festwochen
Dušan Jovanovic: Antigona
režiserka /directed by Meta Hocevar
Saša Pavcek, Jernej Šugman
1993, SNG Drama Ljubljana,
Wiener Festwochen
Dušan Jovanovic: Antigona
režiserka /directed by Meta Hocevar
Milena Zupancic, Polona Juh


120
121


1994, Slovensko mladinsko gledališce,
Wiener Festwochen
Henrik Ibsen - Meta Hocevar:
Družinski album
režiserka /directed by Meta Hocevar
Polona Juh
1997, SNG Drama Ljubljana,
Wiener Festwochen
Obisk
režiserka /directed by Meta Hocevar
Saša Pavcek, Polona Juh


122
123


1994, Mestno gledališce ljubljansko
Anton P. Cehov:
 Galeb
režiser /directed by Dušan Jovanovic
Milan Štefe
1994, Mestno gledališce ljubljansko
Anton P. Cehov:
 Galeb
režiser /directed by Dušan Jovanovic
Maša Židanik


124
125


1994, SNG Drama Ljubljana
Dane Zajc: Grmace
režiser /directed by Mile Korun
Ivo Ban, Jernej Šugman
1995, Avtorski projekt
Andrej Rozman Roza: 
Rupert Marovt
režiser /directed by Andrej Rozman Roza
Andrej Rozman Roza



1995, SNG Drama Ljubljana
(Mala Drama)
David Mamet: Oleanna
režiser /directed by Matjaž Zupancic
Ivo Ban, Maja Sever
1995, SNG Drama Ljubljana
(Mala Drama)
David Mamet: Oleanna
režiser /directed by Matjaž Zupancic
Ivo Ban, Maja Sever


128 
129


1995, Mestno gledališce ljubljansko
Federico García Lorca: Yerma
režiser /directed by Zvone Šedlbauer
Mirjam Korbar
1990, Drama SNG v Ljubljani
Dane Zajc: Medeja
režiserka /directed by Meta Hocevar
Milena Zupancic


130
131


1996, Slovensko mladinsko gledališce
Vito Taufer: Silence Silence Silence
režiser /directed by Vito Taufer
Robert Prebil
1997, SNG Drama Ljubljana
Dušan Jovanovic: 
Kdo to poje Sizifa
režiser /directed by Dušan Jovanovic
Jernej Šugman


116
133


1996, Mestno gledališce ljubljansko
Edward Albee: 
Tri visoke ženske
režiserka /directed by Mateja Koležnik
Mirjam Korbar, Jožica Avbelj, 
Štefka Drolc
1997, SNG Drama Ljubljana
Edward Albee: 
Kdo se boji Virginie Woolf?
režiserka /directed by Mateja Koležnik
Milena Zupancic


134
135


1996, SNG Drama Ljubljana
Sofokles: Filoktet
režiser /directed by Paolo Magelli
Matjaž Tribušon, orkester
1996, Mestno gledališce ljubljansko
Alfred Jarry: Kralj Ubu
režiser /directed by Bojan Jablanovec
Gregor Cušin, Boris Kerc, 
Janez Hocevar, Lotos Vincenc 
Šparovec, Boris Ostan


120
137


1997, Mestno gledališce ljubljansko
Edward Bond: Rešeni
režiser /directed by Zvone Šedlbauer
Lotos Vincenc Šparovec, Tadej Toš
1997, Mestno gledališce ljubljansko
Edward Bond: Rešeni
režiser /directed by Zvone Šedlbauer
Uroš Smolej, Daniel Malalan, 
Karin Komljanec, Uroš Potocnik


138
139


1997, SNG Drama Ljubljana,
 Cankarjev dom
William Shakespeare: Macbeth
režiser /directed by Janez Pipan
Igor Samobor, Nataša Barbara Gracner
1997, SNG Drama Ljubljana, 
Cankarjev dom
William Shakespeare: Macbeth
režiser /directed by Janez Pipan
Jette Ostan Vejrup, Maja Sever,
Nataša Barbara Gracner


124
141


1998, SNG Drama Ljubljana
Bertolt Brecht: Baal
režiser /directed by Eduard Miler
Nataša Tic Ralijan, Jernej Šugman
1998, SNG Drama Ljubljana
Bertolt Brecht: Baal
režiser /directed by Eduard Miler
Jernej Šugman, Uroš Fürst


142
143


1999, SNG Drama Ljubljana
Fjodor Mihajlovic Dostojevski - Mile Korun: Dostojevski: Idiot
režiser /directed by Mile Korun
Igor Samobor, Branko Šturbej,
Boris Juh, Brane Grubar, Jernej 
Šugman, Nataša Barbara Gracner
1999, SNG Drama Ljubljana
Fjodor Mihajlovic Dostojevski - Mile Korun: Dostojevski: Idiot
režiser /directed by Mile Korun
Branko Šturbej, Uroš Fürst, Bojan
Emeršic, Zvone Hribar


138
145


2000, SNG Drama Ljubljana
Samuel Beckett: Cakajoc Godota
režiser /directed by Dušan Jovanovic
Gregor Bakovic, Bojan Emeršic
2000, SNG Drama Ljubljana
Samuel Beckett: Cakajoc Godota
režiser /directed by Dušan Jovanovic
Bojan Emeršic, Jernej Šugman, 
Gregor Bakovic, Alojz Svete


146
147


2001, SNG Drama Ljubljana
Franz Kafka: Proces
režiser /directed by Janusz Kica
Branko Šturbej
2001, SNG Drama Ljubljana
William Shakespeare: Othello
režiser /directed by Eduard Miler
Tarek Rashid, Brane Grubar, 
Kristijan Muck, Matjaž Tribušon, 
Uroš Fürst, Marko Mandic, 
Jernej Šugman, Aleš Valic


148
149


2001, SNG Drama Ljubljana
Boris A. Novak: Kasandra
režiser /directed by Dušan Jovanovic
Marko Mandic, 
Nataša Barbara Gracner
2001, SNG Drama Ljubljana
Thomas Vinterberg, Mogens Rukov, 
Bo hr Hansen: Praznovanje
režiserka /directed by Mateja Koležnik
Maša Derganc, Joseph Nzobandora


150
151


1999, Slovensko mladinsko gledališce
William Shakespeare, Andrej Rozman Roza: Sen kresne noci
režiser /directed by Vito Taufer
Janez Škof, Maruša Geymayer Oblak
1999, Slovensko mladinsko gledališce
William Shakespeare, Andrej Rozman Roza: Sen kresne noci
režiser /directed by Vito Taufer
Dario Varga, Maruša Geymayer Oblak


152
153


2001, Mestno gledališce ljubljansko
Ivan Cankar - Mile Korun: 
Lepa Vida – Hrepenenje – 
Hamlet iz cukrarne
režiser / directed by Mile Korun
Slavko Cerjak, Matjaž Turk, 
Milan Štefe, Iva Krajnc
2001, Mestno gledališce ljubljansko
Ivan Cankar - Mile Korun:
Lepa Vida – Hrepenenje – 
Hamlet iz cukrarne
režiser / directed by Mile Korun
Bernarda Oman, Gašper Tic


154
155

155


2002, Mestno gledališce ljubljansko
Susan Sontag: Gospa z morja
režiserka / directed by 
Mateja Koležnik
Danilo Benedicic, Bernarda Oman
2002, Mestno gledališce ljubljansko
Susan Sontag: Gospa z morja
režiserka / directed by 
Mateja Koležnik
Mojca Funkl, Milan Štefe


148
157

156
157


2002, SNG Drama Ljubljana
William Shakespeare: Romeo in Julija
režiser /directed by Dušan Jovanovic
Gregor Bakovic, Polona Juh
2002, SNG Drama Ljubljana
William Shakespeare: Romeo in Julija
režiser /directed by Dušan Jovanovic
Polona Juh, Gregor Bakovic


158
159

Tone Stojko

Gledališka fotografija    Theatre Photography								1.2


Od Golega pianista do Psa, noci in noža 
From The Naked Pianist to The Dog, the Night and the Knife


2001, Mestno gledališce ljubljansko
Matjaž Zupancic: 
Goli pianist ali Mala 
nocna muzika
režiser / directed by Matjaž Zupancic
Boris Ostan, Evgen Car, 
Lotos Vincenc Šparovec
2001, Mestno gledališce ljubljansko
Matjaž Zupancic: 
Goli pianist ali Mala 
nocna muzika
režiser / directed by Matjaž Zupancic
Karin Komljanec, Boris Ostan


164
165


2002, Mestno gledališce ljubljansko
Martin McDonagh: 
Kripl iz Inishmaana
režiserka / directed by Mateja Koležnik
Gregor Cušin, Boris Kerc
2002, Mestno gledališce ljubljansko
Martin McDonagh: 
Kripl iz Inishmaana
režiserka / directed by Mateja Koležnik
Uroš Smolej, Janja Majzelj, 
Gregor Cušin


166
167


2003, Mestno gledališce ljubljansko
Blow up/Povecava
Gledališki vecer Samuela Becketta
režiserka / directed by IvanaVujic
Iva Krajnc, Lotos Vincenc Šparovec
2003, Mestno gledališce ljubljansko
Blow up/Povecava
Gledališki vecer Samuela Becketta
režiserka / directed by IvanaVujic
Boris Kerc, Jožica Avbelj


168
169


2003, Mestno gledališce ljubljansko
Edward Albee: 
Kdo se boji Virginie Woolf?
režiser / directed by Mile Korun
Lotos Vincenc Šparovec, Jožica Avbelj, Boris Ostan, Iva Krajnc
2003, Mestno gledališce ljubljansko
Edward Albee: 
Kdo se boji Virginie Woolf?
režiser / directed by Mile Korun
Boris Ostan, Iva Krajnc


170
171


2003, SNG Drama Ljubljana
(Mala Drama)
Thomas Bernhard: 
Izboljševalec sveta
režiser / directed by Dušan Mlakar
Radko Polic, Katja Levstik
2003, SNG Drama Ljubljana
(Mala Drama)
Thomas Bernhard: 
Izboljševalec sveta
režiser / directed by Dušan Mlakar
Katja Levstik, Radko Polic


172
173


2003, Mestno gledališce ljubljansko
Ronald Harwood: 
Na cigavi strani
režiser / directed by Boris Kobal
Evgen Car, Boris Ostan
2003, Mestno gledališce ljubljansko
Ronald Harwood: 
Na cigavi strani
Režiser / directed by Boris Kobal
Danilo Benedicic


174
175


2003, SNG Drama Ljubljana
Jean-Baptiste Poquelin Moličre: 
Šola za žene
režiserka / directed by Mateja Koležnik
Janez Škof, Barbara Cerar, Jurij Zrnec
2003, SNG Drama Ljubljana
Jean-Baptiste Poquelin Moličre: 
Šola za žene
režiserka / directed by Mateja Koležnik
Janez Škof, Alojz Svete, 
Zvezdana Mlakar


176
177


2004, SNG Drama Ljubljana
Fjodor Mihajlovic Dostojevski: 
Bratje Karamazovi
režiser / directed by Mile Korun
Gregor Bakovic, Igor Samobor
2004, SNG Drama Ljubljana
Fjodor Mihajlovic Dostojevski: 
Bratje Karamazovi
režiser / directed by Mile Korun
Jernej Šugman, Marko Mandic, 
Zvone Hribar


178
179


2004, Mestno gledališce ljubljansko
John Osborne: 
Ozri se v gnevu
režiser / directed by Janez Lapajne
Jana Zupancic, Jaka Lah, Mojca Funkl, Gregor Zorc
2004, Mestno gledališce ljubljansko
John Osborne: 
Ozri se v gnevu
režiser / directed by Janez Lapajne
Jana Zupancic, Gregor Zorc


180
181


2004, SNG Drama Ljubljana
Marcel Proust:
Iskanje izgubljenega casa
režiser / directed by Dušan Jovanovic
Alojz Svete, Polona Juh
2004, SNG Drama Ljubljana
Marcel Proust:
Iskanje izgubljenega casa
režiser / directed by Dušan Jovanovic
Ana Ruter,  Dunja Zupanec, 
Andrej Nahtigal


182
183


2004, Drama SNG Maribor
William Shakespeare: 
Rihard III.
režiser / directed by Eduard Miler
Miloš Battelino, Peter Boštjancic
2004, Drama SNG Maribor
William Shakespeare: 
Rihard III.
režiser / directed by Eduard Miler
Peter Boštjancic, Jon Knez


184
185


2004, Mestno gledališce ljubljansko
Platon - Zvone Šedlbauer: 
Sokratov zagovor
Režiser / directed by Zvone Šedlbauer
Aleš Valic,  Matjaž Turk
2004, Mestno gledališce ljubljansko
Platon - Zvone Šedlbauer: 
Sokratov zagovor
Režiser / directed by Zvone Šedlbauer
Aleš Valic


186
187


2005, SNG Drama Ljubljana,
Salzburger Festspiele
Vladimir Bartol, Dušan Jovanovic: Alamut
režiser / directed by Sebastijan Horvat
Marko Mandic
2005, SNG Drama Ljubljana,
Salzburger Festspiele
Vladimir Bartol, Dušan Jovanovic: Alamut
režiser / directed by Sebastijan Horvat
Igor Samobor, Marko Mandic


188
189


2005, SNG Drama Ljubljana,
Bitef teatar Beograd
Christopher Marlowe: 
Edvard Drugi
režiser / directed by Diego de Brea
Janez Škof
2005, SNG Drama Ljubljana,
Bitef teatar Beograd
Christopher Marlowe: 
Edvard Drugi
režiser / directed by Diego de Brea
Alojz Svete, Janez Škof


190
191


2005, SNG Drama Ljubljana
(Mala Drama)
Crimekundan ali Brezmadežni
Tibetanski misterij
režiser / directed by Jernej Lorenci
Igor Samobor, Marko Mandic,   
Petra Govc
2005, SNG Drama Ljubljana
(Mala Drama)
Crimekundan ali Brezmadežni
Tibetanski misterij
režiser / directed by Jernej Lorenci
Igor Samobor, Polona Juh,
Marko Mandic


192
193


2005, Zavod Projekt Atol
Noordung:1995-2005-2045
Prva ponovitev
atraktor / attractor Dragan Živadinov
vizualizacija / visualization 
Dunja Zupancic
Romana Šalehar, Milena Grm, Uroš Macek, Borut Veselko, Maruša Oblak,
Marinka Štern, Iva Zupancic
2005, Zavod Projekt Atol
Noordung:1995-2005-2045
Prva ponovitev
atraktor / attractor Dragan Živadinov
vizualizacija / visualization 
Dunja Zupancic
Marko Mlacnik s svojim substitutom UMBOT::MM


194
195


2006, SNG Drama Ljubljana
Lev Nikolajevic Tolstoj -
Dušan Jovanovic: Ana Karenina
režiser / directed by Dušan Jovanovic
Igor Samobor, Polona Juh
2006, SNG Drama Ljubljana
Lev Nikolajevic Tolstoj -
Dušan Jovanovic: Ana Karenina
režiser / directed by Dušan Jovanovic
Polona Juh, Jurij Zrnec


196
197


2006, SNG Drama Ljubljana
Lev Nikolajevic Tolstoj -
Dušan Jovanovic: Ana Karenina
režiser / directed by Dušan Jovanovic
Igor Samobor, Val Fürst, Polona Juh
2006, SNG Drama Ljubljana
Lev Nikolajevic Tolstoj -
Dušan Jovanovic: Ana Karenina
režiser / directed by Dušan Jovanovic
Polona Juh


198
199


2006, Drama SNG Maribor
Lukas Bärfuss: 
Avtobus (Kako se kali svetnica)režiser / directed by Samuel Schwarz
Peter Boštjancic, Eva Kraš
2006, Drama SNG Maribor
Lukas Bärfuss: 
Avtobus (Kako se kali svetnica)
režiser / directed by Samuel Schwarz
Nenad Tokalic, Eva Kraš, 
Ksenija Mišic


200
201


2006, SNG Drama Ljubljana
(Mala Drama)
Ferdinand Bruckner: 
Bolezen mladosti
režiserka / directed by Mateja Koležnik
Barbara Cerar, Vanja Plut
2006, SNG Drama Ljubljana
(Mala Drama)
Ferdinand Bruckner:
Bolezen mladosti
režiserka / directed by Mateja Koležnik
Barbara Žefran, Marko Mandic, Gorazd Logar, Barbara Cerar


202
203


2006, Mestno gledališce ljubljansko
Joe Masteroff - John Kander - 
Fred Ebb: Kabaret
režiser / directed by Stanislav Moša
Eva Kraš, Sara Živkovic, 
Uroš Smolej, Tinkara Koncar,
Tjaša Ferme, Ana Dolinar
2006, Mestno gledališce ljubljansko
Joe Masteroff - John Kander - 
Fred Ebb: Kabaret
režiser / directed by Stanislav Moša
Uroš Smolej


204
205


2006, SNG Drama Ljubljana
Ivo Svetina: Ojdip v Korintu
režiser / directed by Ivica Buljan
Veronika Drolc, Aljaž Jovanovic, 
Saša Tabakovic, Uroš Fürst, Barbara Levstik, Marko Mandic, 
Petra Govc, Polona Vetrih
2006, SNG Drama Ljubljana
Ivo Svetina: Ojdip v Korintu
režiser / directed by Ivica Buljan
Marko Mandic, Katja Levstik, 
Petra Govc, Aljaž Jovanovic,
Alojz Svete, Veronika Drolc, 
Polona Vetrih, Barbara Levstik, 
Saša Tabakovic


206
207


2006, SNG Drama Ljubljana
Matjaž Zupancic: Razred
režiser / directed by Mile Korun
Saša Tabakovic, Ivo Ban, 
Zvezdana Mlakar, Aleš Valic, 
Polona Juh, Uroš Fürst
2006, SNG Drama Ljubljana
Matjaž Zupancic: Razred
režiser / directed by Mile Korun
Aleš Valic, Saša Tabakovic, Ivo Ban


208
209


2007, Gradsko dramsko kazalište Gavella, Zagreb
Janusz Glowacki: 
Cetvrta sestra (Cetrta sestra)
režiser / directed by Samo M. Strelec
Siniša Ružic, Nataša Janjic, Bojana Gregoric Vejzovic, Hrvoje Klobucar
2007, Gradsko dramsko kazalište Gavella, Zagreb
Janusz Glowacki: 
Cetvrta sestra (Cetrta sestra)
režiser / directed by Samo M. Strelec
Nenad Cvetko, Franjo Dijak,
 Jelena Miholjevic


210
211


2007, SNG Drama Ljubljana
Heinrich von Kleist: 
Katica iz Heilbronna ali 
Preizkus z ognjem
Režiser / directed by 
François-Michel Pesenti
Veronika Drolc
2007, SNG Drama Ljubljana
Heinrich von Kleist: 
Katica iz Heilbronna ali 
Preizkus z ognjem
Režiser / directed by 
François-Michel Pesenti
Marko Mandic,  Veronika Drolc


212
213


2007, Plesni Teater Ljubljana
Maša Kagao Knez: 
Moja (boljša) polovica?
koreografa / choreography by 
Maša Kagao Knez,
 Nestor Kouame
Maša Kagao Knez, Nestor Kouame
2007, Plesni Teater Ljubljana
Maša Kagao Knez: 
Moja (boljša) polovica?
koreografa / choreography by 
Maša Kagao Knez,
 Nestor Kouame
Maša Kagao Knez, Nestor Kouame


214
215


2007, SNG Drama Ljubljana
Tennessee Williams: Orfej se spušca
režiserka / directed by Mateja Koležnik
Dare Valic, Barbara Levstik
2007, SNG Drama Ljubljana
Tennessee Williams: Orfej se spušca
režiserka / directed by Mateja Koležnik
Vojko Zidar, Uroš Fürst, 
Andrej Nahtigal, Gorazd Logar


216
217


2007, SNG Drama Ljubljana
Ivan Cankar: Romanticne duše
režiser / directed by Sebastijan Horvat
Marko Mandic, Nataša Matjašec, 
Barbara Cerar, Saša Mihelcic, 
Boris Kos
2007, SNG Drama Ljubljana
Ivan Cankar: Romanticne duše
režiser / directed by Sebastijan Horvat
Zvone Hribar, Rok Vihar, 
Saša Tabakovic, Marko Mandic, Barbara Cerar


218
219


2007, SNG Drama Ljubljana
(Mala Drama)
Jean Genet: Služkinji
režiser / directed by Diego de Brea
Gregor Bakovic, Janez Škof
2007, SNG Drama Ljubljana
(Mala Drama)
Jean Genet: Služkinji
režiser / directed by Diego de Brea
Alojz Svete, Janez Škof, 
Gregor Bakovic


220
221


2007, SNG Drama Ljubljana
Henrik Ibsen: Strahovi
režiser / directed by Eduard Miler
Silva Cušin, Marko Mandic, Ivo Ban
2007, SNG Drama Ljubljana
Henrik Ibsen: Strahovi
režiser / directed by Eduard Miler
Silva Cušin, Marko Mandic


222
223


2007, SNG Drama Ljubljana
Jean-Baptiste Poquelin Moličre: Tartuffe ali Prevarant
režiser / directed by Dušan Jovanovic
Igor Samobor, Jernej Šugman
2007, SNG Drama Ljubljana
Jean-Baptiste Poquelin Moličre: Tartuffe ali Prevarant
režiser / directed by Dušan Jovanovic
Igor Samobor, Saša Pavcek


224
225


2007, SNG Drama Ljubljana
(Mala Drama)
Žarko Petan: 
Fatalna komedija
režiser / directed by 
Vinko Möderndorfer
Andrej Nahtigal, Barbara Žefran
2007, SNG Drama Ljubljana
(Mala Drama)
Žarko Petan: 
Fatalna komedija
režiser / directed by 
Vinko Möderndorfer
Andrej Nahtigal, Barbara Žefran


226
227


2008, Imaginarni, Cankarjev dom
Herbert Achternbusch: Ella
režiser / directed by Primož Ekart
Primož Ekart, Štefka Drolc
2008, Imaginarni, Cankarjev dom
Herbert Achternbusch: Ella
režiser / directed by Primož Ekart
Štefka Drolc, Primož Ekart


228
229


2008, SNG Drama Ljubljana
William Shakespeare: Kralj Lear
Režiser / directed by Mile Korun
Nataša Barbara Gracner, 
Jernej Šugman
2008, SNG Drama Ljubljana
William Shakespeare: Kralj Lear
Režiser / directed by Mile Korun
Nataša Barbara Gracner, 
Jernej Šugman, Saša Pavcek


230
231


2008, SNG Drama Ljubljana
William Shakespeare: Tit Andronik
Režiser / directed by Diego de Brea
Saša Tabakovic, Alojz Svete, 
Gorazd Logar, Jernej Šugman, 
Helena Peršuh
2008, SNG Drama Ljubljana
William Shakespeare: Tit Andronik
Režiser / directed by Diego de Brea
Klemen Mauhler, Jernej Šugman, Andrej Nahtigal


232
233


2009, SNG Drama Ljubljana
Ajshil: Oresteja
Režiser / directed by Jernej Lorenci
Igor Samobor
2009, SNG Drama Ljubljana
Ajshil: Oresteja
Režiser / directed by Jernej Lorenci
Silva Cušin, Barbara Cerar, 
Saša Mihelcic, Miha Nemec, 
Iva Babic, Rok Vihar, 
Igor Samobor, Polona Juh


234
235


2009, SNG Drama Ljubljana
Thomas Middleton, William Rowley: Premenjave
Režiserka / directed by Lindy Davies
Aljaž Jovanovic, Gregor Bakovic
2009, SNG Drama Ljubljana
Thomas Middleton, William Rowley: Premenjave
Režiserka / directed by Lindy Davies
Barbara Cerar, Gregor Bakovic


236
237


2009, SNG Drama Ljubljana
Bernard-Marie Koltčs: 
Roberto Zucco
režiser / directed by Philippe Calvario
Milena Zupancic, Marko Mandic
2009, SNG Drama Ljubljana
Bernard-Marie Koltčs: 
Roberto Zucco
režiser / directed by Philippe Calvario
Marko Mandic


238
239


2009, SNG Drama Ljubljana
(Mala Drama)
Samuel Beckett: 
Gledališka skica II
režiserka / directed by Ajda Valcl
Bojan Emeršic, Saša Tabakovic
2010, SNG Drama Ljubljana 
(Mala Drama)
Spiro Scimone: 
Kuverta
režiser / directed by Marko Sosic
Jurij Zrnec, Alojz Svete, Rok Vihar


240
241


2010, SNG Drama Ljubljana
William Shakespeare: Julij Cezar
režiser / directed by Diego de Brea
Ivo Ban, Igor Samobor
2010, SNG Drama Ljubljana
William Shakespeare: Julij Cezar
režiser / directed by Diego de Brea
Ivo Ban, Igor Samobor, Boris Mihalj


242
243


2010, SNG Drama Ljubljana
(Mala Drama)
Ernst Lubitsch: Ko sem bil mrtev
režiser / directed by Diego de Brea
Jernej Šugman, Janez Škof
2010, SNG Drama Ljubljana
(Mala Drama)
Ernst Lubitsch: Ko sem bil mrtev
režiser / directed by Diego de Brea
Boris Mihalj, Alojz Svete


244
245


2010, Les Arts et Mouvants, SNG Drama Ljubljana, 
Festival Ex Ponto ...  
Eugčne Ionesco: 
Kralj umira/Le Roi se meurt
režiser / directed by Silviu Purcarete
Daphné Millefoa
2010, Les Arts et Mouvants, SNG Drama Ljubljana, 
Festival Ex Ponto ...  
Eugčne Ionesco: 
Kralj umira/Le Roi se meurt
režiser / directed by Silviu Purcarete
Daphné Millefoa, Jacques Bourgaux, Laurent Schuh, Marie Cayrol, 
Karelle Prugnaud


246
247


2010, SNG Drama Ljubljana
(Mala Drama)
Sam Shepard: Lunine mene
režiser / directed by Boris Cavazza
Ivo Ban, Boris Cavazza
2010, SNG Drama Ljubljana
(Mala Drama)
Sam Shepard: Lunine mene
režiser / directed by Boris Cavazza
Boris Cavazza, Ivo Ban


248
249


2010, SNG Drama Ljubljana
Georges Feydeau: Bumbar
režiser / directed by 
Luka Martin Škof
Iva Babic,  Bojan Emeršic
2010, SNG Drama Ljubljana
Georges Feydeau: Bumbar
režiser / directed by 
Luka Martin Škof 
Bojan Emeršic, Maša Derganc


250
251


2010, SNG Drama Ljubljana
Anton Pavlovic Cehov: Platonov
režiser / directed by Vito Taufer
Saša Mihelcic, Marko Mandic
2010, SNG Drama Ljubljana
Anton Pavlovic Cehov: Platonov
režiser / directed by Vito Taufer
Marko Mandic


252
253


2010, SNG Drama Ljubljana
Ivo Prijatelj: Totenbirt
režiser / directed by Mile Korun
Marijana Brecelj, Maja Koncar, 
Zvezdana Mlakar, Ivo Ban, 
Branko Šturbej
2010, SNG Drama Ljubljana
Ivo Prijatelj: Totenbirt
režiser / directed by Mile Korun
Nataša Barbara Gracner, 
Branko Šturbej


254
255


2010, SNG Drama Ljubljana
August Strinberg: V Damask
režiser / directed by 
Aleksandar Popovski
Marko Mandic, Igor Samobor
2010, SNG Drama Ljubljana
August Strinberg: V Damask
režiser / directed by 
Aleksandar Popovski
Janez Škof


256
257


2011, SNG Drama Ljubljana
William Shakespeare: 
Beneški trgovec
režiser / directed by Eduard Miler
Nataša Barbara Gracner
2011, SNG Drama Ljubljana
William Shakespeare: 
Beneški trgovec
režiser / directed by Eduard Miler
Zvone Hribar, Rok Vihar, 
Alojz Svete, Marko Mandic, 
Igor Samobor, 
Nataša Barbara Gracner, 
Nina Ivanišin


258
259


2011, SNG Drama Ljubljana,
Cankarjev dom, Zavod Maribor 2012
Bertolt Brecht: 
Ustavljivi vzpon Artura Uia
režiser / directed by Eduard Miler
Jernej Šugman
22011, SNG Drama Ljubljana,
Cankarjev dom, Zavod Maribor 2012
Bertolt Brecht: 
Ustavljivi vzpon Artura Uia
režiser / directed by Eduard Milerr
Jernej Šugman


260
261


2013, Anton Podbevšek Teater
Slavoj Žižek: 
Dobrodošli v duhovnem živalskem kraljestvu
režiser / directed by Matjaž Berger
Magdalena Reiter, Janez Hocevar
2013, Anton Podbevšek Teater
Slavoj Žižek: 
Dobrodošli v duhovnem živalskem kraljestvu
režiser / directed by Matjaž Berger
Mateja Rebolj


262
263


2013, Compagnie il était Millefoa
Daphne Millefoa: 
Little Blonde Riding Wolf
režiserka / directed by Daphne Millefoa
Daphne Millefoa
2013, Compagnie il était Millefoa
Daphne Millefoa: 
Little Blonde Riding Wolf
režiserka / directed by Daphne Millefoa
Daphne Millefoa


264
265


2012, Gradsko dramsko kazalište Gavella, Zagreb
A. P. Cehov: 
Platonov ili Drama bez naslova
(Platonov ali 
Drama brez naslova)
režiser / directed by Samo M. Strelec
Ranko Zidaric in Ivana Bolanca
2012, Gradsko dramsko kazalište Gavella, Zagreb
A. P. Cehov: 
Platonov ili Drama bez naslova
(Platonov ali 
Drama brez naslova)
režiser / directed by Samo M. Strelec
Hrvoje Klobucar, Sven Šestak, Dragoljub Lazarov


266
267


2013, Cankarjev dom,
Zavod Federacija
Vesna Eca Dvornik: 
Klic gozda ali 
Poljub tvoje matere
koreografka / choreographer 
Vesna Eca Dvornik
Mojca Majcen
2013, Cankarjev dom,
Zavod Federacija
Vesna Eca Dvornik: 
Klic gozda ali 
Poljub tvoje matere
koreografka / choreographer 
Vesna Eca Dvornik
Urša Rupnik


268
269


2015, Studio za svobodni ples,
Studio 25, Cankarjev dom
Urša Rupnik: Izgubljena
koreografinje / choreographers 
  Rosana Hribar, 
Maša Kagao Knez, Daša Lakner
Urša Rupnik
2015, Studio za svobodni ples,
Studio 25, Cankarjev dom
Urša Rupnik: Izgubljena
koreografinje / choreographers 
  Rosana Hribar, 
Maša Kagao Knez, Daša Lakner
Urša Rupnik


270
271


2015, KSEVT Vitanje, Zavod Delak, Slovensko mladinsko gledališce
Noordung::1995-2015-2045
atraktor / attractor Dragan Živadinov
vizualizacija / visualization 
Dunja Zupancic
digitalna konstrukcija /  
digital construction Miha Turšic
Mateja Rebolj, Iva Zupancic, 
Mojca Partljic, Maruša Oblak
2015, KSEVT Vitanje, Zavod Delak, Slovensko mladinsko gledališce
Noordung::1995-2015-2045
atraktor / attractor Dragan Živadinov
vizualizacija / visualization 
Dunja Zupancic
digitalna konstrukcija /  
digital construction Miha Turšic
Uroš Macek, Borut Veselko, 
Mario Šelih


272
273


2015, SNG Drama Ljubljana, 
Mestno gledališce ljubljansko, 
Cankarjev dom
Homer: Iliada
režiser / directed by Jernej Lorenci
Janez Škof
 
2015, SNG Drama Ljubljana, 
Mestno gledališce ljubljansko, 
Cankarjev dom
Homer: Iliada
režiser / directed by Jernej Lorenci
Janez Škof, Jure Henigman,
 Jernej Šugman, Gregor Luštek


274
275


2015, SNG Drama Ljubljana, 
Mestno gledališce ljubljansko, 
Cankarjev dom
Homer: Iliada
režiser / directed by Jernej Lorenci
Jure Henigman, Marko Mandic
2015, SNG Drama Ljubljana, 
Mestno gledališce ljubljansko, 
Cankarjev dom
Homer: Iliada
režiser / directed by Jernej Lorenci
Matej Puc, Jernej Šugman


276
277


2016, Slovensko stalno gledališce 
v Trstu
Marius von Mayenburg: 
Pes, noc in nož
režiser / directed by Matjaž Faric
Tadej Pišek, Tina Gunzek
2016, Slovensko stalno gledališce 
v Trstu
Marius von Mayenburg: 
Pes, noc in nož
režiser / directed by Matjaž Faric
Tadej Pišek, Tina Gunzek


278
279

Kataložni zapis o publikaciji (CIP) pripravili 
v Narodni in univerzitetni knjižnici v Ljubljani
COBISS.SI-ID 196471043
ISBN 978-961-6860-40-6 (Slovenski gledališki inštitut, PDF)
ISBN 978-961-6860-41-3 (Slovenski gledališki inštitut, ePUB)

Tone Stojko
Avtorji besedil / Authors of texts
Dokumentirali / Documented by
Prevajalca / Translation
Lektor za slovenšcino / Slovenian language editor
Lektorica za anglešcino / English language editor
Oblikovalki / Design
Založnika / Publishers
Urednika / Editors

Gledališka fotografija 1.1&1.2
Theatre Photography 1.1&1.2
Ivo Svetina, Dušan Jovanovic, Marija Skocir
Mojca Kranjc, Tea Rogelj
Alan McConnell Duff, Jaka Andrej Vojevec
Andraž Poloncic Ruparcic
Jana Renée Wilcoxen
Mina Žabnikar, Mateja Podmenik O.
PRODOK, d.o.o., Ljubljana (zanj/for: Simon Stojko Falk)
Slovenski gledališki inštitut / Slovenian Theatre Institute
(zanj/for: Gašper Troha)
Tea Rogelj, Simon Stojko Falk
Ljubljana, junij 2024 / June 2024

 Gledališka fotografija Theatre Photography 1.1 & 1.2 1.2

Tone Stojko