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	<title>darjan mihajlovic cerar scenograf</title>
	<link>https://dmcscenografija.com</link>
	<description>darjan mihajlovic cerar scenograf</description>
	<pubDate>Fri, 30 Oct 2026 17:22:36 +0000</pubDate>
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		<title>AJANT</title>
				
		<link>https://dmcscenografija.com/AJANT</link>

		<pubDate>Fri, 30 Oct 2026 17:22:36 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

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		<description>SOPHOCLES

AJANT
AIAS
REŽISER IN AVTOR PRIREDBE / DIRECTOR AND AUTHOR OF ADAPTATION: JAŠA KOCELI
ADANA DEVLET TİYATROSU, TÜRKIYE&#38;nbsp;/ TURKEY
2026





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	Dogajanje predstave je postavljeno v čas trojanske vojne. Grki že več let neuspešno oblegajo Trojo in ostajajo ujeti na obali pred njenim obzidjem, daleč od svojih domov in družin. Okolico so opustošili in izropali, mesta pa jim ne uspe zavzeti. Vzdušje zaznamujeta obup in izguba upanja na vrnitev domov. Breme neskončne vojne poglablja osamljenost in strah pred smrtjo. Med junaki zgodbe se širijo moralni razkroj, dekadenca, nebrzdano nasilje in nazadnje norost. Scenografija je zasnovana kot območje, opustošeno z vojno. Osrednji scenski element je kovinska kletka, ki deluje, kot da je sestavljena iz ostankov različnih konstrukcij, plovil in orožja, uničenih v vojni. Njena oblika spominja na sodoben oktagon za borbe mešanih borilnih veščin. Kletka tako postane metaforičen uprizoritveni prostor, v katerem raziskujemo ritualizacijo nasilja.

	The play takes place during the Trojan War. The Greeks have been unable to breach the walls of Troy, so for many years they have been in a way stranded on the shores outside Troy, far from their homes and families. They already destroyed and pillaged the surrounding area, but fail to capture the city. The atmosphere in the play is heavy; in the air, there is despair and a loss of hope of ever returning home. The burden of an endlessly long war deepens the loneliness and fear of death. Among the heroes of the story, moral decay, decadence, untamed violence, and ultimately madness begin to spread. The stage space represents an area devastated by war. The central element on stage is a metal cage. It looks like was constructed from the remains of various structures, sea vessels, and weapons destroyed in the war. In this performance, we are interested in the ritualisation of violence. The image of a warrior's cage, which resembles or evokes a modern mixed martial arts octagon, seemed appropriate as a metaphorical setting for our play.

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		<title>DAJ MI BESEDO</title>
				
		<link>https://dmcscenografija.com/DAJ-MI-BESEDO</link>

		<pubDate>Mon, 21 Sep 2026 15:39:31 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

		<guid isPermaLink="true">https://dmcscenografija.com/DAJ-MI-BESEDO</guid>

		<description>SREČKO KOSOVEL

DAJ MI BESEDO
GIVE ME A WORD
REŽISER IN AVTOR PRIREDBE / DIRECTOR AND AUTHOR OF ADAPTATION: JAŠA KOCELI
ZAVOD PAVILJON, KOSOVELOV DOM SEŽANA IN OBČINA SEŽANA / 
PAVILJON INSTITUTE, KOSOVEL CULTURAL CENTRE &#38;amp; MUNICIPALITY OF SEŽANA 2026





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	Besedilo predstave Daj mi besedo je sestavljeno iz fragmentov pesmi, proznih zapisov in pisem, izbranih iz več kot stotih virov. Scenografija ne sledi dobesednemu pomenskemu svetu posameznih besedil, temveč ustvarja abstrakten in asociativen prostor. Njena geometrična oziroma matematična struktura prostor organizira v sistem razmerij, ponavljanj, presečišč in premikov. Scenski elementi s svojo obliko in razporeditvijo na abstrakten način odslikavajo konstruktivistično formo nekaterih Kosovelovih pesmi, v katerih se tradicionalna zgradba razgrajuje na posamezne besede, znake, številke in fragmente. Tudi uprizoritveni prostor je zato sestavljen iz osnovnih gradnikov (svetlobni kvadrat, projekcijsko platno, mreža luči), ki jih je mogoče povezovati in preoblikovati. Scenografija ni zgolj ozadje dogajanja, temveč aktiven element predstave, ki skupaj z igralci, svetlobo in besedilom nenehno spreminja svoj pomen. Njena abstraktnost Kosovelove zapise prevaja v vizualni in prostorski jezik. Tako nastaja sodoben, odprt in večpomenski scenski prostor, ki ne rekonstruira časa, v katerem je živel Kosovel, temveč vzpostavlja prostor srečanja njegove poezije z današnjim občinstvom.

	Text for The performance Daj mi besedo is composed of fragments of poems, prose writings, and letters selected from more than one hundred sources. The scenography does not illustrate the literal world of the individual texts. Instead, it creates an open and associative space. Its geometric, or more precisely mathematical, structure organizes the space through a system of relationships, repetitions, intersections, and shifts.Through their form and spatial arrangement, the scenographic elements abstractly reflect the constructivist forms found in some of Kosovel’s poems, in which traditional structures are deconstructed into individual words, signs, numbers, and fragments. The performance space is therefore likewise composed of basic elements—a luminous square, a projection screen, and a grid of lights—that can be interconnected and reconfigured.The scenography is not merely a backdrop for the action but an active element of the performance, continually transforming its meaning in interaction with the performers, light, and text. Its abstraction translates Kosovel’s writings into a visual and spatial language. In this way, a contemporary, open, and polysemous scenographic space emerges—one that does not reconstruct the historical period in which Kosovel lived, but instead creates a space in which his poetry can encounter today’s audience.

	

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		<title>BURKAŠKI MISTERIJ</title>
				
		<link>https://dmcscenografija.com/BURKASKI-MISTERIJ-1</link>

		<pubDate>Fri, 18 Sep 2026 12:56:09 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

		<guid isPermaLink="true">https://dmcscenografija.com/BURKASKI-MISTERIJ-1</guid>

		<description>DARIO FO, FRANCA RAME


BURKAŠKI MISTERIJ
MISTERO BUFFO
REŽISER / DIRECTOR : TIJANA ZINAJIĆSLOVENSKO MLADINSKO GLEDALIŠČE / MLADINSKO THEATRE2026






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		<title>LETA</title>
				
		<link>https://dmcscenografija.com/LETA</link>

		<pubDate>Mon, 14 Sep 2026 11:42:58 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

		<guid isPermaLink="true">https://dmcscenografija.com/LETA</guid>

		<description>ANNIE ERNAUX


LETA
LES ANNÉES
REŽISER / DIRECTOR : JAŠA KOCELIMGL / LJUBLJANA CITY THEATRE2026






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	</item>
		
		
	<item>
		<title>VILA BLOK EVROPA</title>
				
		<link>https://dmcscenografija.com/VILA-BLOK-EVROPA</link>

		<pubDate>Thu, 22 May 2025 08:55:06 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

		<guid isPermaLink="true">https://dmcscenografija.com/VILA-BLOK-EVROPA</guid>

		<description>LUTZ HÜBNER


VILA BLOK EVROPA
RICHTFEST
REŽISERKA IN AVTORICA PRIREDBE / DIRECTOR AND AUTHOR OF ADAPTATION: BARBARA HIENG SAMOBORMGL / LJUBLJANA CITY THEATRE2025






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&#60;img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/709580a101ea4eb6f9f8c591454c37e10481617fb55ec3d29e5a69aad9992702/1R5A9316.jpg" data-mid="233536780" border="0"  src="https://freight.cargo.site/w/1000/i/709580a101ea4eb6f9f8c591454c37e10481617fb55ec3d29e5a69aad9992702/1R5A9316.jpg" /&#62;




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	<item>
		<title>GOSPODARJI NEUMNOSTI</title>
				
		<link>https://dmcscenografija.com/GOSPODARJI-NEUMNOSTI</link>

		<pubDate>Wed, 28 May 2025 07:53:49 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

		<guid isPermaLink="true">https://dmcscenografija.com/GOSPODARJI-NEUMNOSTI</guid>

		<description>JURE KARAS

GOSPODARJI NEUMNOSTI

REŽISER / DIRECTOR: TIJANA ZIJANIĆ
PREŠERNOVO GLEDALIŠČE KRANJ / PREŠEREN THEATRE KRANJ&#38;nbsp;
2025






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&#60;img width="2880" height="1921" width_o="2880" height_o="1921" data-src="https://freight.cargo.site/t/original/i/0cd597a1436df85950043f01c76243cbebb314f630767a2bf10a4114e5c447c7/Gospodarji_neumnosti_201nadazgank.jpg" data-mid="233817348" border="0"  src="https://freight.cargo.site/w/1000/i/0cd597a1436df85950043f01c76243cbebb314f630767a2bf10a4114e5c447c7/Gospodarji_neumnosti_201nadazgank.jpg" /&#62;

&#60;img width="2880" height="1921" width_o="2880" height_o="1921" data-src="https://freight.cargo.site/t/original/i/7a01f66150afdb9aa5684bdfff54744816f2127411e91cf68bcea285225bf3b1/Gospodarji_neumnosti_346nadazgank.jpg" data-mid="233817350" border="0"  src="https://freight.cargo.site/w/1000/i/7a01f66150afdb9aa5684bdfff54744816f2127411e91cf68bcea285225bf3b1/Gospodarji_neumnosti_346nadazgank.jpg" /&#62;

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	<item>
		<title>KRASNI NOVI SVET</title>
				
		<link>https://dmcscenografija.com/KRASNI-NOVI-SVET</link>

		<pubDate>Mon, 20 Jan 2025 13:02:03 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

		<guid isPermaLink="true">https://dmcscenografija.com/KRASNI-NOVI-SVET</guid>

		<description>ALDOUS HUXLEY


KRASNI NOVI SVET
BRAVE NEW WORLD
REŽISER IN AVTOR KONCEPTA / DIRECTOR AND AUTHOR OF CONCEPT: JAŠA KOCELI
MĚSTSKÁ DIVADLA PRAŽSKÁ / PRAGUE CITY THEATRES
2024






	&#60;img width="2000" height="875" width_o="2000" height_o="875" data-src="https://freight.cargo.site/t/original/i/dfbc22d2a04427a504e0efcde6834f4dc92569c5fca80e66f57b63695e76229c/_AT_5083_nahled.jpg" data-mid="225126174" border="0"  src="https://freight.cargo.site/w/1000/i/dfbc22d2a04427a504e0efcde6834f4dc92569c5fca80e66f57b63695e76229c/_AT_5083_nahled.jpg" /&#62;



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&#60;img width="2880" height="1098" width_o="2880" height_o="1098" data-src="https://freight.cargo.site/t/original/i/65ae242660a26669e17313ee38977b9aa057668fe7aad18792cec8127ec238fb/BNW186.jpg" data-mid="225126181" border="0"  src="https://freight.cargo.site/w/1000/i/65ae242660a26669e17313ee38977b9aa057668fe7aad18792cec8127ec238fb/BNW186.jpg" /&#62;

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&#60;img width="2000" height="875" width_o="2000" height_o="875" data-src="https://freight.cargo.site/t/original/i/7b090cd0aa10d5c5115aa348883c775cf0f8b966f193d77a390eac66adc2d033/_AT_1820_nahled.jpg" data-mid="225126166" border="0"  src="https://freight.cargo.site/w/1000/i/7b090cd0aa10d5c5115aa348883c775cf0f8b966f193d77a390eac66adc2d033/_AT_1820_nahled.jpg" /&#62;

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&#60;img width="2000" height="875" width_o="2000" height_o="875" data-src="https://freight.cargo.site/t/original/i/6ca710bdbabac409170f8e665e5ad03bd411d8d6479151c246b4e849674fddd8/_AT_2815_nahled.jpg" data-mid="225126173" border="0"  src="https://freight.cargo.site/w/1000/i/6ca710bdbabac409170f8e665e5ad03bd411d8d6479151c246b4e849674fddd8/_AT_2815_nahled.jpg" /&#62;





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	<item>
		<title>KO SE MRTVI PREBUDIMO</title>
				
		<link>https://dmcscenografija.com/KO-SE-MRTVI-PREBUDIMO</link>

		<pubDate>Wed, 22 May 2024 12:11:31 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

		<guid isPermaLink="true">https://dmcscenografija.com/KO-SE-MRTVI-PREBUDIMO</guid>

		<description>HENRIK IBSEN

KO SE MRTVI PREBUDIMO
WHEN WE DEAD AWAKEN
REŽISER / DIRECTOR: STILIYAN PETROV
SNG NOVA GORICA / SLOVENE NATIONAL THEATRE NOVA GORICA&#38;nbsp;2024






	&#60;img width="2693" height="1795" width_o="2693" height_o="1795" data-src="https://freight.cargo.site/t/original/i/c8a7af9a6faafebee8edc909393fb467ca78c2d64af188cc81b7479512b4d553/KO_SE_MRTVI_PREBUDIMO_arhiv_HiResPeterUhan_011.jpg" data-mid="211433572" border="0"  src="https://freight.cargo.site/w/1000/i/c8a7af9a6faafebee8edc909393fb467ca78c2d64af188cc81b7479512b4d553/KO_SE_MRTVI_PREBUDIMO_arhiv_HiResPeterUhan_011.jpg" /&#62;






	Posebnost zadnje Ibsenove drame je v tem, da se v celoti odvija v eksterierju. V prvem dejanju je prizorišče park obmorskega zdravilišča s pogledom na morje, drama se nadaljuje na gorskem travniku čez katerega teče potok in sklene v visokogorju. Z vsakim dejanjem se tako prostor širi in dviguje prav do meje človeške zmožnosti. V zgodbi se Ibsen odmika od realizma in se skozi simbolne podobe previdno približuje transcendentnemu. V prepletu simbolike in transcendence se izrisuje Ibsenova temna slutnja o prihodnosti človeštva – slutnja o prelomnih dogodkih, ki bodo s silovitim udarcem ustvarili razpoko v zgodbi človeštva.
 
	A distinctive feature of Ibsen’s final play is that it takes place entirely outdoors. The first act is set in the grounds of a seaside spa overlooking the sea; the drama continues on a mountain meadow and concludes in the high mountains. With each act, the dramatic space expands and ascends, reaching the very limits of human capability. Ibsen moves away from realism, cautiously approaching the transcendent through symbolic imagery. Through this interplay of symbolism and transcendence, his dark premonition of humanity’s future takes shape—a foreboding of momentous events that will violently rupture the course of human history.




	

&#60;img width="962" height="700" width_o="962" height_o="700" data-src="https://freight.cargo.site/t/original/i/f24dec7f521ce6d2b0a8ee9b8b3b7131b5f68619302020c77fbc5d86273bc5b1/odpiranje02.gif" data-mid="211433653" border="0" data-scale="100" src="https://freight.cargo.site/w/962/i/f24dec7f521ce6d2b0a8ee9b8b3b7131b5f68619302020c77fbc5d86273bc5b1/odpiranje02.gif" /&#62;

	&#60;img width="1662" height="1687" width_o="1662" height_o="1687" data-src="https://freight.cargo.site/t/original/i/609fef8398b9383d32e6250b12f883e9ba8e648f673f1b08b5ce49ab72064387/Ibsen028.jpg" data-mid="211433548" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/609fef8398b9383d32e6250b12f883e9ba8e648f673f1b08b5ce49ab72064387/Ibsen028.jpg" /&#62;
	&#60;img width="1813" height="1687" width_o="1813" height_o="1687" data-src="https://freight.cargo.site/t/original/i/d8d5db90f25937f42b4940cb2484c5e727c93a467b426acdf451871710fa715f/Ibsen029.jpg" data-mid="211433556" border="0"  src="https://freight.cargo.site/w/1000/i/d8d5db90f25937f42b4940cb2484c5e727c93a467b426acdf451871710fa715f/Ibsen029.jpg" /&#62;

	&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/871983cbbdde4c0a4ca39af6e8d3bec95b1dfb257887ebfe21d931755581ba14/Ibsen015.jpg" data-mid="211433539" border="0"  src="https://freight.cargo.site/w/1000/i/871983cbbdde4c0a4ca39af6e8d3bec95b1dfb257887ebfe21d931755581ba14/Ibsen015.jpg" /&#62;

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	<item>
		<title>ZAPRTA VRATA</title>
				
		<link>https://dmcscenografija.com/ZAPRTA-VRATA</link>

		<pubDate>Thu, 23 May 2024 09:10:55 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

		<guid isPermaLink="true">https://dmcscenografija.com/ZAPRTA-VRATA</guid>

		<description>JEAN-PAUL SARTRE

ZAPRTA VRATA
NO EXIT
REŽISER / DIRECTOR: JAŠA KOCELI
MGL / LJUBLJANA CITY THEATRE&#38;nbsp;
2024






	&#60;img width="2880" height="1496" width_o="2880" height_o="1496" data-src="https://freight.cargo.site/t/original/i/6e18b7fef86d3fc17da73809efe87fcebf1db154234e7e72d29ed72cd4b00034/zap_vrt01.jpg" data-mid="211501972" border="0"  src="https://freight.cargo.site/w/1000/i/6e18b7fef86d3fc17da73809efe87fcebf1db154234e7e72d29ed72cd4b00034/zap_vrt01.jpg" /&#62;






	Sartrov koncept pekla, ki je v izvirniku hotel z neskončno sobami, sva želela z režiserjem vizualno in pomensko odpreti. Izhodišča so bila seveda izoliranost, utesnjenost/zaprtost, dezorientiranost in že v začetka kreativnega procesa je bila sprejeta odločitev, da ta utesnjenost ne bo samo tema gledališke imaginacije, ampak da je konkretna, torej, da se prostor zgradi v fizični formi. Prostor predstave je zasnovan kot bela mrežasta »škatla« – abstrakten in nevtralen prostorski okvir brez fiksnega koordinatnega sistema, ki funkcionira enako ne glede na to kako ga obrneš ali zrcališ. Kljub navidezni preprostosti je vizualno vpadljiva in nosi širok asociativni naboj. V tem izčiščenem in abstraktnem prostorskem okvirju pa igralci oziroma liki in njihovo soočenje ostajajo glavni uprizoritveni poudarek.





	Together with the director we wanted to open up Sartre’s concept of hell (originally conceived as a hotel with an infinite number of rooms) both visually and conceptually. The initial premises were, of course, isolation, confinement, claustrophobia and disorientation. From the very beginning of the creative process, we decided that this sense of confinement would not remain merely within the theatrical imagination, but would take concrete form through the physical construction of the performance space. The performance space is conceived as a white, grid-like “box” — an abstract and neutral spatial framework without a fixed coordinate system. Its design is non-oriented: regardless of how it is rotated or mirrored, the space retains its fundamental structure and character. Despite its apparent simplicity, it is visually striking and opens up a broad range of associations and possible interpretations. Within this refined and abstract spatial framework, the performers, or characters, and their interpersonal relationships and confrontations remain at the forefront. 


	&#60;img width="1466" height="1237" width_o="1466" height_o="1237" data-src="https://freight.cargo.site/t/original/i/8b43f55638378cc0a31d2698175641e8136325eafcc9b8837f28091e7b1cd599/zaprta_vrata_094.jpg" data-mid="211502990" border="0"  src="https://freight.cargo.site/w/1000/i/8b43f55638378cc0a31d2698175641e8136325eafcc9b8837f28091e7b1cd599/zaprta_vrata_094.jpg" /&#62;
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	&#60;img width="2500" height="2110" width_o="2500" height_o="2110" data-src="https://freight.cargo.site/t/original/i/82d3b2da63836a978ebebd9b8027402c7fef28341821025264ba2d32d7edc923/zap_vrt14.jpg" data-mid="211502989" border="0"  src="https://freight.cargo.site/w/1000/i/82d3b2da63836a978ebebd9b8027402c7fef28341821025264ba2d32d7edc923/zap_vrt14.jpg" /&#62;

	
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	<item>
		<title>AMAZONKE</title>
				
		<link>https://dmcscenografija.com/AMAZONKE</link>

		<pubDate>Sun, 12 Jan 2025 17:28:22 +0000</pubDate>

		<dc:creator>darjan mihajlovic cerar scenograf</dc:creator>

		<guid isPermaLink="true">https://dmcscenografija.com/AMAZONKE</guid>

		<description>JAŠA KOCELI, JÚLIA SÁNDOR

AMAZONKE
THE AMAZONS
REŽISER / DIRECTOR: JAŠA KOCELI
LGL / LJUBLJANA PUPPET THEATRE&#38;nbsp;
2023






	&#60;img width="2880" height="1210" width_o="2880" height_o="1210" data-src="https://freight.cargo.site/t/original/i/833dffd3c520bc8fe6902ec19dfcb3732db34f70ffdb5371e85f880a81e41b68/037Amazonke_predstava_foto_Mankica_Kranjec.jpg" data-mid="224603477" border="0"  src="https://freight.cargo.site/w/1000/i/833dffd3c520bc8fe6902ec19dfcb3732db34f70ffdb5371e85f880a81e41b68/037Amazonke_predstava_foto_Mankica_Kranjec.jpg" /&#62;





	Uprizoritev Amazonk je gledališka arheologija, v kateri so združeni miti in legende kavkaških ljudstev z ohranjenimi zapisi o slavnih bojevnicah iz starogrške antike. Scenografija je zasnovana okoli osrednjega scenskega elementa - velikega kosa lanenega blaga. S posebej za to predstavo izdelanim sistemom vrvi in škripčevja, se ta kos blaga dviguje in spušča ter s pomočjo igralk transformira v gledališke interpretacije izbranih značilnosti nomadske skitske kulture - pogrebna gomila ali kurgan, nomadski šotor in razgibana topografija obširnega geografskega območja med Vzhodno Evropo in Srednjo Azijo po katerem so te ta ljudstva selila.&#38;nbsp;



	The production of Amazons is a form of theatrical archaeology, bringing together the myths and legends of the peoples of the Caucasus with surviving accounts of the renowned female warriors of Ancient Greece. The scenography is built around a central stage element: a large piece of linen fabric. Using a system of ropes and pulleys specially designed for the production, the fabric is raised and lowered and, together with the performers, transformed into theatrical interpretations of selected features of nomadic Scythian culture: a burial mound or kurgan, a nomadic tent, and the diverse topography of the vast geographical area stretching between Eastern Europe and Central Asia, across which these peoples migrated.

	&#60;img width="2880" height="695" width_o="2880" height_o="695" data-src="https://freight.cargo.site/t/original/i/8b5e3492198c44206aa8bee4a4255331b124c34c63165966d8c9bef880d65498/maketa02.jpg" data-mid="224725520" border="0"  src="https://freight.cargo.site/w/1000/i/8b5e3492198c44206aa8bee4a4255331b124c34c63165966d8c9bef880d65498/maketa02.jpg" /&#62;

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