DRUGAJANJE 2012

For quite some time now, we have not been perceiving
art as a reflection of reality. Thus, when it comes to
showing art to today’s youth, we strive to introduce it as
a mechanism for exploring unknown arenas, which may
speak to youngsters and perhaps even provoke them
into taking action. The idea is, therefore, to present art
not as a consumable good, but as a landscape of creative
interaction.
Drugajanje’s second decade of existence will therefore
mark a programme that stretches between the engaged
on the one hand, and the optimistic on the other. But most
importantly, this year’s programme does not shy away from
being polemical – not when it comes to tackling the holy
grail of the modern era, personal happiness, or screening
the notorious film about names.
This year, Drugajanje will form part of a wider project
entitled Global City – Local City, where local and foreign
artists try to identify the neuralgic points of the city and
react to them through various artistic creations, presented
in future editions of Drugajanje. There is absolutely no
need, therefore, to worry about the future of Drugajanje,
since we will see it come to life already this year. And as
long as we’ve got young audiences, visiting festivals of
this sort, we can also put our mind to rest when it comes to
present-day generations and their future.

The Drugajanje Festival is entering its second decade
here at II. gimnazija Maribor. The festival has brought
numerous performances of high artistic standards to the
school stage, which have introduced a different world of
– sometimes wrongfully neglected – physical and dance
theatre.
This year’s Drugajanje is keeping up with the tradition of
the first ten years. The selection of performances , based
on high quality standards, will again reveal a world of
abstract language and movement
On the wings of this year’s Drugajanje, II. gimnazija
Maribor continues to implement an important component
of education, namely the search for, and interaction
with, a different artistic world, which often falls into a
subordinate position in today’s consumerist vision of art.

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