Preskoči na glavno vsebino
Eva Hribernik

Mož, ki je imel ženo za klobuk

Komorna opera

Glasba: Michael NymanBesedilo: Christopher Rawlence po knjigi dr. Oliverja Sacksa

The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat
The man who mistook his wife for a hat

Koprodukcija: Slovensko komorno glasbeno gledališče in SNG Opera in balet LjubljanaPremiera: komorni oder SNG Opera in balet Ljubljana, 2. november 2018

Režija: Eva Hribernik

Dirigent: Simon Dvoršak

Scenografija in kostumografija: Jaro Ješe

Oblikovanje svetlobe: Jasmin Šehić

Producentka: Katja Konvalinka

Fotografije: Darja Štravs Tisu

Iz režijskega koncepta: “Komorna opera govori o drugačnosti. Drugačnost nas uči in bogati. Uprizoritev opere z omenjeno tematiko je poseben izziv in predstavlja majhen košček v zavedanju, kako daleč smo še vedno od sprejemanja drugačnosti. Ko bomo človeka, ki nas bo zamenjal za klobuk, sposobni sprejeti, brez da ga obsodimo in definiramo kot “bolnika”, se bomo kot skupnost zagotovo premaknili na višjo raven duhovnega prebujenja.”


Iz kritike: “Režija in scenografija Eve Hribernik in Jara Ješeta sta poskrbeli za karakterno dovolj zaokrožene like protagonistov in vizualno podobo, ki se ni napajala z estetiko minimalizma, temveč je iskala elemente komičnega. Iz vizualne izkušnje je izstopala video projekcija, ki je z menjajočimi se prizori v predstavo vnesla eklektični element ter s prikazom karikature poudarila komični element opere.” (Maia Juvanc, SIGIC, 30.12.2018)