Tone Stojko: Portreti / Portraits

MATEJA REBOLJ

baletna plesalka / ballet dancer

199

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2010

BARBARA CERAR MIKLAVŽ KOMELJ MAJA DELAK

Že v svojih prvih gledaliških in filmskih vlogah Pesniška zbirka Miklavža Komelja /.../ Predstave Drage drage, Serata Artistica
deklet in mladih žensk je Barbara Cerar Nenaslovljiva imena govori o velikih stvareh. Giovanile in Poti ljubezni s pomočjo vezljivosti
opozorila nase s posebno, njej lastno notranjo Pravzaprav ne govori, ampak je o velikih in obvladovanja različnih medijev združujejo
lepoto in z izrazitim občutkom za življenjsko stvareh. Še natančneje: ni o velikih stvareh, svojskost avtoričinega umetniškega in širšega
in individualno resnico. Z vse bolj kompleksnimi ampak je sama po sebi velika in vseobsegajoča profesionalnega delovanja ter njenega
igralskimi nalogami pa se je razvila v suvereno stvar. /.../ Komeljeva poezija jemlje dih v mnogih legah pionirskega angažmaja
in zrelo interpretko. Poglobljene vloge in obenem zadržuje sapo. S slehernim vdihom v polju sodobnega plesa. Pri tem ne gre le za
večplastnih in tudi kontroverznih ženskih likov zaobjame celoto, a pri tem ne odpihne niti formalno estetske bravuroznosti in invencije
pričajo o pogumnem umetniškem iskanju. /.../ najmanjšega drobca. Ob Nenaslovljivih imenih njenih kreacij, temveč za v slovenskem
Z zmeraj svežim in inovativnim igralskim bomo morda začeli verjeti v vzporedne prostoru izjemno redko celovito izraženo
pristopom je Barbara Cerar postala pomembna svetove. Vsak naelektren otroški las, vsaka umetniško artikulacijo politike sodobnega
protagonistka današnjega slovenskega črepinja je vesolje zase; ne v prenesenem plesa: za odslikavo družbenega in političnega
gledališča. /.../ pomenu, kot bi rekli učitelji, ampak zares, konteksta, za neposredno nagovarjanje
kot bi rekli otroci. /.../ gledalca v avtopoetični feedback zanki
Darja Dominkuš, povzeto po besedilu v zborniku Prešernov med odrom in avditorijem z zgodbo o telesu
sklad 2010. Ljubljana: Upravni odbor Prešernovega sklada, Dr. Katarina Marinčič, povzeto po besedilu v zborniku med abstrakcijo, ekspresijo, občutljivostjo
2010. Prešernov sklad 2010. Ljubljana: Upravni odbor Prešernovega in retoriko giba. /.../
sklada, 2010.
Dr. Tomaž Toporišič, povzeto po besedilu v zborniku Prešernov
sklad 2010. Ljubljana: Upravni odbor Prešernovega sklada,
2010.

Possessing a special inner beauty and a strong Collection of poems Unaddressed Names /.../ The bonding power and mastering of
perception of the truth of life and the truth of (Nenaslovljiva imena) by Miklavž Komelj different media in performances Expensive
individual Barbara Cerar has drawn attention speaks about great things. Actually, it does Darlings, Serata Artistica Giovanile and Ways
already with her early roles of girls and young not speak, it is about great things. To be even of Love (Drage drage, Serata Artistica
women in both theatre and film. By taking on more precise, it is not about great things, it is Giovanile, Poti ljubezni) exhibit both the
increasingly complex acting roles, she evolved a great and all-embracing thing /.../ Komelj’s author’s unique artistic and general
into a confident and mature interpreter. poetry takes your breath away, but hesitates professional work, and her frequently pioneer
In-depth roles of multi-faceted and also at the same time. With each breath it takes, engagement in the field of contemporary
controversial female characters speak of her it encapsulates it all, without blowing away dance. Maja Delak is not distinguished only for
brave artistic exploration. /.../ Always original the smallest of fragments. When reading her formal aesthetic perfection and inventive
and innovative in her acting approach, Barbara Unaddressed Names we might start believing creations, but also for her comprehensive
Cerar has become an important member in parallel worlds. Every electrified child hair expression of the contemporary dance artistic
of the contemporary Slovenian theatre. /.../ is a universe and so is every shard. Not articulation, which is extremely rare in
figuratively, as teachers would say, but Slovenia. She reflects the social and political
Darja Dominkuš, in Prešeren Fund 2010. Ljubljana: Prešeren literally, as children would put it. /.../ context, and openly addresses the spectator
Fund Board, 2010. in the autopoetic feedback loop between stage
Dr Katarina Marinčič, in Prešeren Fund 2010. Ljubljana: and auditorium with the story about a body
Prešeren Fund Board, 2010. captured between abstraction, expression,
sensitivity and rhetoric of a move. /.../

Dr Tomaž Toporišič, in Prešeren Fund 2010. Ljubljana:
Prešeren Fund Board, 2010.

200

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2010

ALDO KUMAR PETER MUSEVSKI ANDREJ ROZMAN ROZA

/.../ Poskus opredelitve njegovega dosedanjega Biti slovenski igralec je veliko poslanstvo, Med nami že trideset let ustvarja pisatelj
opusa bi se moral izteči v nekakšen estetski ki ni dano vsakomur. Z radostjo igranja in in gledališčnik, ki v sebi in okrog sebe združuje
medprostor, presečišče ušesu privlačnih, ustvarjanja vlog, ko v sebi išče različne podobe oboje, in sicer na način, ki ni primerljiv
iz tradicije klasične glasbene logike izhajajočih in razgalja svojo dušo, svoj um in srce, z ničemer, kar pozna sedanja in še manj
oblikotvornih načel in podajanja glasbenih ter s poglobljenimi in izostrenimi pogledi pretekla umetniška praksa na Slovenskem.
podob po trenutnem, vedno intimno dramskega ali filmskega lika, pa naj bo to Literatura in gledališče sta seveda povezana
razumljenem navdihu. /.../ Kumar išče Ojdip ali kralj Lear, Norec, Sosed ali Edi, do od nekdaj, tisto, kar je pri Andreju Rozmanu
določnost izraza tako rekoč na vseh koncih potankosti razpira svoja občutja, igralec Rozi tako enkratno, pa je to, da imata beseda
zvočnega sveta: včasih v zvenu glasbila, včasih razveseljuje občinstvo, ki s spremljanjem in njeno odrsko prikazovanje tako rekoč skupni
v posameznem kompozicijskem postopku, življenjskih zgodb uprizorjenih likov z njimi rojstni datum in nato tudi skupno življenje,
včasih v ritmičnem vzorcu, okrasku, zvezi sočustvuje, sodoživlja njihove usode … ki se manifestira v mnogih literarnih žanrih
tonov, včasih spet v tipizirani, klišejsko To lahko pri občinstvu doseže le velik igralec. in uprizoritvenih oblikah. /.../ To redko
prečiščeni strukturni gesti. /.../ In tak igralec je Peter Musevski. /.../ strukturno hkratnost omogoča dejstvo, da se
avtor pojavlja v treh vlogah: kot pisec, režiser
Dr. Leon Stefanija, povzeto po besedilu v zborniku Prešernov Mojca Kreft, povzeto po besedilu v zborniku Prešernov sklad (pravzaprav kompletni mizanscenski mojster)
sklad 2010. Ljubljana: Upravni odbor Prešernovega sklada, 2010. Ljubljana: Upravni odbor Prešernovega sklada, 2010. in igralec svojih likov. /.../
2010.
Peter Kolšek, povzeto po besedilu v zborniku Prešernov sklad
2010. Ljubljana: Upravni odbor Prešernovega sklada, 2010.

/.../ An attempt to define his previous oeuvre Being an actor in Slovenia is a great mission, For thirty years, Andrej Rozman Roza has
would have to reach in a kind of aesthetic not bestowed on everyone. In constant search been skilfully working in two interrelated
interspace, an intersection of writing music of various characters inside them, they lay areas: theatre and writing. The way he
on the basis of traditional logic of classical bare their souls, minds and hearts. Whether combines the two is unique in Slovenia’s art
music, attractive to the ear, and following the it be Oedipus or King Lear, the Fool, the of past and present. Literature and theatre
momentary, always intimate inspiration in Neighbour or Edi, the in-depth and honed have most certainly always been associated,
the same process /.../ Kumar is looking for aspects of these theatre and film characters but what is so unique about Andrej Rozman
the precision of expression practically in all open the actor to the audience entirely. Roza is that with him both the word and its
corners of the musical world: sometimes Spectators get absorbed in the act as to stage display are born at the same time
in the sound of an instrument, sometimes sympathize with the character and experience and then continue to share a joint life which
in a single compositional procedure, their destiny first hand. Only an accomplished is manifested in many literary genres
sometimes in a rhythmic pattern or actor can exert such influence. And Peter and various performances. /.../ This rare
decoration, in a set of tones, or in a typified Musevski definitely is that accomplished actor. simultaneous structure would not have been
structural gesture cleared of any clichés. /.../ /.../ possible, had not the author taken on three
roles: that of a writer, of a director (actually
Dr Leon Stefanija, in Prešeren Fund 2010. Ljubljana: Prešeren Mojca Kreft, in Prešeren Fund 2010. Ljubljana: Prešeren Fund the master of the entire Mise-en-scène)
Fund Board, 2010. Board, 2010. and of an actor of his characters. /.../

Peter Kolšek, in Prešeren Fund 2010. Ljubljana: Prešeren
Fund Board, 2010.

201

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2010

BARBARA CERAR

igralka / actress
202

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2010

MIKLAVŽ KOMELJ

pesnik / poet

203

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2010

MAJA DELAK

koreografinja / choreographer
204

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2010

ALDO KUMAR

skladatelj / composer

205

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2010

PETER MUSEVSKI

igralec / actor
206

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2010

ANDREJ ROZMAN ROZA

gledališki in literarni ustvarjalec / theatre and literature artist

207

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2011

/.../ Samosvoje ustvarjalne postopke je Košuta razvil predvsem v pesmih, kjer prihaja do izraza njegova
duhovna odvisnost od rodnega kraja. Pomembno mesto Košutove lirike zavzema torej »mesto na robu
sveta«, kot zapiše v pesmi Ta Trst. Pri tem upesnjuje podobe, vzete iz urbanega vrveža, ki presegajo golo
opisnost in nakazujejo življenjski utrip mesta, v katerem so zaznavni nekateri travmatični zgodovinski
dogodki, ki še danes bremenijo ljudi v tem obmorskem kraju. /.../ Temeljno vozlišče Košutovega pesnjenja
tvorijo razmišljanja o narodu in jeziku, ki predstavljajo izredno gibljiv snovni prostor, saj so izpostavljena
nenehnim spremembam. Preko teh se pesnik včasih dokoplje do svetlih postavk, drugod pa zabrede
v moreča občutja vklenjenosti. Košutova jezikovna zavest je dozorela v povezavi z biografskimi elementi,
tržaški pesnik je namreč že v zgodnjem otroštvu doživel utišanje materinščine. /.../ Prisiljeni molk deluje
kot zaznamovanost, ki se je pesnik ne more znebiti niti v drugačnih časih, saj utišanost nikoli ne neha.
V njem sproži uporno kljubovanje in oblikuje potrebo po obrambi jezika. /.../ Ob pesmih za odrasle je
Košuta posvetil veliko verzov mlajšim bralcem, jih očaral z živahnimi ritmi, izvirno zvočnostjo in igrivimi
vsebinami. /.../ Nezanemarljiv je tudi njegov doprinos k razvoju tržaškega slovenskega stalnega
gledališča, za katerega je ustvaril kar nekaj odrskih del in hkrati več let opravljal delo umetniškega
vodje in ravnatelja. /.../

Vilma Purič, povzeto po besedilu v zborniku Prešernov sklad 2011. Ljubljana: Upravni odbor Prešernovega sklada, 2011.

/.../ Košuta developed his unique writing processes mainly in poetry which is the expression of spiritual
attachment to his native town. “The town on the edge of the world”, as described in the poem This
Trieste (Ta Trst), thus holds a special place in Košuta’s poetry. He versifies images of the urban bustle
that go beyond mere descriptiveness and indicate the pulsating life of the city where certain traumatic
historical events burdening the people of the seaside town to this very day are still perceptible. /.../
Košuta’s poetry derives mainly from reflections on the nation and its language, a very flexible subject
matter, prone to constant change. At times, the poet arrives at bright conclusions while elsewhere he
wades into oppressive feelings of restriction. The maturity of Košuta’s linguistic consciousness is related
to his biography, for this Trieste poet experienced his mother tongue being suppressed in his early
childhood. /.../ This forced silence marked him for good; despite historical changes the internal
suppression never stops. Rebellious defiance is triggered and the need to defend the language arises
in him time and again. /.../ In addition to adult poems, Košuta devoted many verses to younger readers,
dazzled them with dynamic rhythms, original sonority and playful subjects. /.../ He also made
a significant contribution to the development of Slovenian permanent theatre in Trieste, creating
several dramas and acting as the artistic director and general director for several years. /.../

Vilma Purič, in Prešeren Fund 2011. Ljubljana: Prešeren Fund Board, 2011.

208

MIROSL AV KOŠUTA

pesnik / poet

209

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2011

Maestro Anton Nanut je eden najbolj znanih, uspešnih in tudi na tujih koncertnih odrih stalno prisotnih
slovenskih glasbenikov. Poklicna pot ga je vodila kot gostujočega dirigenta med mnoge orkestre, zlasti
po Evropi. Njegove muzikalno polne interpretacije in bogato sodelovanje z orkestri in solisti svetovnega
slovesa so rezultat jasne zavesti o poslanstvu klasičnega glasbenega repertoarja, svetovne in slovenske
glasbene zapuščine, tako simfonične kot širše koncertne. Močna, umetniško celovita in v svojem nastopu
prepričljiva dirigentska osebnost je doživela tudi plodno studijsko dejavnost, ki je zabeležena na skoraj
dvesto posnetih nosilcih zvoka. /.../ Anton Nanut ni samo mojster taktirke klasičnega repertoarja, saj je
prvič v Sloveniji izvedel tudi vrsto temeljnih partitur glasbe 20. stoletja in vodil mnoge navdušujoče
izvedbe velikih stvaritev glasbene umetnosti. Četudi šteje predvsem umetniško poslanstvo, je to zlasti
v glasbi – in še posebej pri koncertnih dirigentih – tesno povezano z vrsto dodatnih »zaodrskih«
dejavnosti. Nanut je domala dve desetletji zapored z navdihom, glasbenim okusom in iznajdljivostjo
sestavljal program koncertnega cikla simfoničnega orkestra RTV Slovenija. /.../ V tujini je izvedel vrsto
slovenskih glasbenih del, od katerih so številna nastala prav na njegovo pobudo. Z njim na čelu sta
Orkester RTV Slovenija in Orkester Slovenske filharmonije pomembno prispevala k prepoznavnosti
Slovenije in slovenske (ne le glasbene) kulture v svetu. /.../

Dr. Leon Stefanija, povzeto po besedilu v zborniku Prešernov sklad 2011. Ljubljana: Upravni odbor Prešernovega sklada, 2011.

Maestro Anton Nanut is one of the most known and successful Slovenian musicians, constantly present
at international concert stages as well. In his musical career, he guest conducted many orchestras,
particularly across Europe. His clear vision about the mission of the classical musical repertoire and
the heritage of both symphonic and concert music worldwide and in Slovenia, results in interpretations
full of musicality as well as in active collaboration with world famous orchestras and soloists. Nanut
is a powerful, all-round creative mind and a compelling conducting performer, who is also engaged in
a prolific audio production resulting in nearly 200 sound recordings. /.../ Anton Nanut is not only a master
of the classical repertoire, for he was the first to perform a number of fundamental 20th century scores
in Slovenia as well as many inspiring interpretations of great musical art creations. Although the artistic
mission is what counts the most, this is always closely related to a number of additional “backstage”
activities, particularly in music, and even more so in concert conducting. For nearly two decades in a row,
Nanut selected the program for the concert cycle of RTV Slovenia Symphony Orchestra with inspiration,
musical taste and ingenuity. /.../ He performed a series of Slovenian musical works abroad, many
of which were created on his own initiative. Under his baton, the Orchestra of RTV Slovenia and the
Slovenian Philharmonic Orchestra contributed significantly to the recognition of Slovenia and Slovenian
culture (not just music) in the world. /.../

Dr Leon Stefanija, in Prešeren Fund 2011. Ljubljana: Prešeren Fund Board, 2011.

210

ANTON NANUT

dirigent / conductor

211

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2011

EMIL FILIPČIČ ZLATKO KAUČIČ BRANKO ROBINŠAK

/.../ V romanu pod značilnim in hkrati /.../ Tolkalec in skladatelj improvizator Zlatko »Fraza, da petje ni zgolj poklic, temveč način
zagonetnim – vsekakor pa tudi (avto)ironičnim Kaučič zavzema v slovenski in evropski glasbi življenja, se na trenutke lahko zdi nekoliko
naslovom Problemi se bralec srečuje s prav posebno mesto. Predvsem v džezovski izrabljena in patetična, pa vendar se v njej
svojevrstno in značilno refleksijo ali kar glasbeni prostor je vnesel popolnoma skriva veliko resnice. Ker pevec inštrumenta
»avtobiografsko« rekapitulacijo – avtorjeve svojevrstno in osebno zvočnost improviziranja ne nosi s seboj, temveč je inštrument
pisateljske in v najširšem smislu življenjske na različna, tudi unikatna tolkalna glasbila, pravzaprav on sam, je življenje slehernega
izkušnje. Ta sega vse do zadnjih desetletij ki pa v temelju vedno izhajajo iz klasičnega pevca precej specifično, saj se v izdatni meri
prejšnjega stoletja, ko si je Emil Filipčič (rojen džezovskega bobnarskega kompleta. vrti prav okoli petja.« Misel Anžeta Petrača je
1951 v Beogradu) že s prvimi pripovednimi V izvajalski in ustvarjalni spretnosti Zlatka mogoče dopolniti: umetniško delovanje Branka
deli zanesljivo ustvaril več kot zanimivo in Kaučiča se odraža globoko poznavanje vseh Robinšaka je polno laskavo ocenjenih izvedb
inovativno, v marsičem provokativno literarno džezovskih stilov, predvsem pa mainstream s klasičnega opernega in koncertnega
ime. /.../ džeza, ki mu je v svojem zgodnjem tenorskega repertoarja – od debija pred
ustvarjalnem obdobju namenil veliko časa. /.../ osemindvajsetimi leti, ko je še kot študent
Andrej Inkret, povzeto po besedilu v zborniku Prešernov sklad nastopil v ljubljanski Operi v vlogi Tamina
2011. Ljubljana: Upravni odbor Prešernovega sklada, 2011. Milko Lazar, povzeto po besedilu v zborniku Prešernov sklad v Mozartovi Čarobni piščali. /.../
2011. Ljubljana: Upravni odbor Prešernovega sklada, 2011.
Dr. Leon Stefanija, povzeto po besedilu v zborniku Prešernov
sklad 2011. Ljubljana: Upravni odbor Prešernovega sklada,
2011.

/.../ The novel with a distinctive, enigmatic, /.../ Percussionist and composer/improviser “Being a singer is not merely a profession,
and certainly also (auto)ironic title Problems Zlatko Kaučič holds a special place in the it is a way of life. As worn out and pathetic as
(Problemi) confronts the reader with Slovenian and European music. Particularly this cliché may seem, it holds a grain of truth.
a peculiar and characteristic reflection or in jazz music, he introduced an entirely unique Not carrying an instrument, but being an
“autobiographical” recapitulation of the and personal acoustics of improvisation with instrument themselves, singers invariably lead
author’s writing experience as well as his life various, also unique percussion instruments a rather specific life, concentrated on singing
experience in the broadest sense. This goes which still originate in the classic jazz drum at all times.” We can elaborate on this
back to the last decades of the previous set. With his performance and creative skill, reflection by Anže Petrač: Branko Robinšak’s
century, when Emil Filipčič (born in 1951 Zlatko Kaučič reveals profound knowledge artistic work is full of classic opera roles and
in Belgrade) wrote his first stories, and of all jazz genres, particularly the mainstream tenor concert repertoire interpretations which
immediately made his literary name which jazz which was his favourite in the early period have been highly appraised ever since his
was interesting, innovative and provocative of his creativity. /.../ debut performance at the Ljubljana Opera,
in many ways. /.../ when he, still a student, sang the role of
Milko Lazar, in Prešeren Fund 2011. Ljubljana: Prešeren Fund Tamino in the Magic Flute by Mozart. /.../
Andrej Inkret, in Prešeren Fund 2011. Ljubljana: Prešeren Board, 2011.
Fund Board, 2011. Dr Leon Stefanija, in Prešeren Fund 2011. Ljubljana: Prešeren
Fund Board, 2011.

212

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2011

JANJA MAJZELJ JURE MIKLAVC LILIJANA PRAPROTNIK ZUPANČIČ -
LILA PRAP
»Težje mi je živeti kot stati na odru,« je v enem /.../ S svojimi inovativnimi oblikovalskimi
od intervjujev dejala Janja Majzelj, prvakinja projekti je industrijsko proizvedenim izdelkom /.../ Lila Prap je ustvarila čisto svoj likovni izraz
Slovenskega mladinskega gledališča. Njene vdihnil nove vsebine in podobe, ki jih – abstrakten in prepoznaven hkrati. Nič ni
besede niso le domiselna fraza, saj je oder pričakujemo v okviru vrhunskih dosežkov preveč in ničesar premalo. Krepka črna linija,
zanjo resnično območje neskončne svobode, materialne kulture v evropskem merilu. ki izrisuje obličje podobe, ni poteza, niti »štrih«,
čudežno vesolje, prazen prostor, ki ga naseljuje Njegov oblikovalski pristop je inovativen in temveč močna kontura – ostanek surove črne
s svojo iskrivo domišljijo, inovativnostjo, prepoznaven v vsej razsežnosti oblikovalskega hrapave površine nosilca, ki razmejuje
igrivostjo in nagajivostjo, predvsem pa ustvarjalnega dela, saj uspešno združuje in kontrastna ali barvno sorodno poslikana polja.
z markantno igralsko prezenco, značilno za povezuje objektivno in subjektivno, uporabnost, Okorno in neprekinjeno teče med enakomerno
največje umetnice sodobnega evropskega tehnologijo, ekologijo, estetiko ter ostale živo barvno povrhnjico in v dotiku z njo kljub
gledališkega. Janja Majzelj je brezčasna prvine oblikovalskega pristopa v kvalitetne jasnemu grafičnemu poudarku trepeta. Med
igralka. S pravo igralsko strastjo pooseblja razvojno-raziskovalne projekte in industrijsko njima nastaja komaj viden prostor svetline,
ženske vseh starosti. /.../ proizvedene izdelke. /.../ ki skupaj s tisočerimi drobci presevajoče
podložne črnine mehča slikovno površino. /.../
Uršula Cetinski, povzeto po besedilu v zborniku Prešernov Vladimir Pezdirc, povzeto po besedilu v zborniku Prešernov
sklad 2011. Ljubljana: Upravni odbor Prešernovega sklada, sklad 2011. Ljubljana: Upravni odbor Prešernovega sklada, Alenka Domjan, povzeto po besedilu v zborniku Prešernov
2011. 2011. sklad 2011. Ljubljana: Upravni odbor Prešernovega sklada,
2011.

“Being on stage is easier for me than being /.../ His innovative design projects inspired /.../ Lila Prap invented her very own fine art
alive,” said in an interview Janja Majzelj, industrial products with new content and expression which is abstract and recognisable
a leading actor of the Mladinsko Theatre. images, typical of superb achievements in at the same time. She places everything in the
Her statement is not just a cliché, for in truth, the field of material culture on a European right order. A bold black line drawing the face
the stage is to her an area of total freedom, scale. His design approach is innovative and of an image is neither a thin nor a thick stroke,
a miraculous universe, an empty space that recognizable in all dimensions of the creative it is a powerful contour – a remain of a raw
she takes up with her sparkling imagination, design work, integrating successfully the black surface dividing the fields painted either
innovativeness, playfulness and objective and the subjective, while bringing with contrasting or related colours. It runs
mischievousness, and most of all, with her usefulness, technology, ecology, aesthetics through vivid evenly coloured epidermis
striking acting presence, a feature of all the and other elements of the design approach unwieldly and continuously, and flutters
greatest artists in the contemporary European in quality research and development projects despite its clear graphical intensity. There is
theatre. Janja Majzelj is a timeless actor. With and industrial products. /.../ a barely perceivable area of light between
true passion for acting she embodies women the two, which softens the painted area
of all age. /.../ Vladimir Pezdirc, in Prešeren Fund 2011. Ljubljana: Prešeren together with thousands of translucent
Fund Board, 2011. black fragments. /.../
Uršula Cetinski, in Prešeren Fund 2011. Ljubljana: Prešeren
Fund Board, 2011. Alenka Domjan, in Prešeren Fund 2011. Ljubljana: Prešeren
Fund Board, 2011.

213

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2011

EMIL FILIPČIČ

pisatelj / writer
214

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2011

ZLATKO KAUČIČ

glasbenik / musician

215

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2011

BRANKO ROBINŠAK

tenorist / tenor
216

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2011

JANJA MAJZELJ

igralka / actress

217

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2011

JURE MIKLAVC

oblikovalec / designer
218

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2011

LILIJANA PRAPROTNIK ZUPANČIČ - LILA PRAP

ilustratorka / illustrator

219

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2012

Jože Snoj je s svojim obsežnim pripovednim, pesniškim in esejističnim opusom tako v tematsko-idejnem
kot v estetskem pogledu bistveno zaznamoval in obogatil slovensko književnost zadnjih petih desetletij.
/.../ Ena osrednjih tem Snojeve poezije je, kako razumeti in vzdržati absurd življenja, kako se soočiti
s človeško končnostjo, smrtnostjo, kako življenje osmisliti in vztrajati v bivanjskem absurdu. /.../ Tej
izvorni skrivnosti življenja se približa prav s pesniško besedo, s katero raziskuje in odkriva nove pomenske
odtenke, z napetim razmerjem med besedami, ki pogosto združujejo nasprotne pomene, pa poudarja
paradoksalnost človekovega bivanja. /.../ Človekova intima v nemirnem 20. stoletju je našla prepričljiv
umetniški odraz v Snojevem romanesknem opusu. /.../ Tema, ki pisatelja vznemirja na posebej presunljiv
način, pa je vojni čas in bratomorna vojna. Romana Gavžen hrib (1982) in Fuga v križu (1986) sodita
v vrh sodobne slovenske književnosti, ki obravnava čas druge svetovne vojne. /.../ Eksistencialna, etična,
estetska vprašanja, ki se jih avtor dotika v svojih pesniškem in pripovednem opusu, obravnava
z intelektualno pronicljivostjo, erudicijo in pesniško občutljivostjo tudi v svojih esejističnih stvaritvah,
pri čemer velja še posebej izpostaviti deli Med besedo in Bogom (1993) in Metamorfoza groze (1999).
Snojev bogat in raznolik opus dopolnjujejo številna dela za otroke in mladino, v katerih se avtor igrivo,
z domišljijo in radoživostjo čudi svetu in nevsiljivo odpira otroku oči za lepoto bivanja.

Alenka Zor Simoniti, povzeto po besedilu v zborniku Prešernov sklad 2012. Ljubljana: Upravni odbor Prešernovega sklada, 2012.

Jože Snoj has left a distinct, strong mark on the Slovenian literature of the last five decades with his vast
oeuvre of narrative works, poetry and essays featuring distinct thematic and aesthetic aspects. /.../ One
of the central themes of Snoj’s poetry addresses the questions of how to understand and withstand the
absurdity of life, how to cope with human finality and mortality, how to give meaning to life and persevere
in the absurdity of existence. /.../ Snoj uses poetry to approach this initial mystery of life by exploring and
discovering new shades of meaning, while a strained relation between his words, which often combine
opposite meanings, stresses the paradox of human existence. /.../ Human intimacy of the turbulent 20th
century is reflected in Snoj’s novelistic body of work compellingly. /.../ Time of war and fratricidal war are
two of the themes that arouse the writer’s interest most heartbreakingly. His novels Gallows Hill (Gavžen
Hrib, 1982) and Fugue in the Cross (Fuga v križu, 1986) have reached the pinnacle of contemporary
Slovenian literature dealing with World War II. /.../ Handling existential, ethical and aesthetic questions
with intellectual shrewdness, erudition and poetic sensitivity is a characteristic not only of his poetry and
narrative body of work, but also of his essays, most notable of them being In Between Word and God (Med
besedo in Bogom, 1993) and Metamorphosis of Horror (Metamorfoza groze, 1999). A fine complement to
Snoj’s magnificent and varied oeuvre is his literature for children and youngsters, marvelling at the world
in a playful, ingenious and joyful manner, and revealing the beauty of life to children unobtrusively.

Alenka Zor Simoniti, in Prešeren Fund 2012. Ljubljana: Prešeren Fund Board, 2012.

220

JOŽE SNOJ

pesnik, pisatelj in esejist / poet, writer and essayist

221

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2012

Matjaž Vipotnik je eden najpomembnejših slovenskih grafičnih oblikovalcev. Nezamenljivo in prelomno
je zaznamoval razvoj slovenskega in bivšega jugoslovanskega grafičnega oblikovanja od sedemdesetih
let prejšnjega stoletja pa do danes. Ustvaril je izjemno obsežen opus plakatov za kulturne dogodke
in gledališke predstave, gledaliških scenografij, knjig in knjižnih zbirk ter celostnih grafičnih podob za
kulturne ustanove in gospodarske organizacije. Vipotnikovo oblikovanje odlikujejo izjemna kakovost,
ustvarjalna inovativnost, sporočilna moč in svojstven, zelo živ in kultiviran likovni jezik. Ustvarjalno se je
že od samega začetka razvijal v tesni navezavi na delujoče umetnike s področja gledališča, literature in
glasbe. S svojim oblikovalskim delom je vnesel v dotlej prevladujoče racionalistično in funkcionalistično
oblikovanje v Sloveniji sedemdesetih let širši in zgovornejši oblikovalski jezik. /.../ Znak za Slovensko
mladinsko gledališče je vrhunski oblikovalski dosežek tako v slovenskem kot mednarodnem prostoru. /.../
Matjaž Vipotnik je s svojim ustvarjalnim delom vnesel v naš prostor novo kakovostno raven. Je ena
najbolj izrazitih, samosvojih in močnih oblikovalskih osebnosti. Za svoje delo je prejel številne nagrade
doma in v tujini, njegovo delo je bilo predstavljeno na mnogih razstavah in v številnih publikacijah.
Kot grafični oblikovalec je postavljal oblikovalske mejnike, odpiral nova sporočilna in likovna polja ter
v komunikacijski prostor vnašal človeško toplino.

Peter Skalar, povzeto po besedilu v zborniku Prešernov sklad 2012. Ljubljana: Upravni odbor Prešernovega sklada, 2012.

Matjaž Vipotnik is one of the leading graphic designers in Slovenia. His work represents an unmistakable
landmark in the development of Slovenian and former Yugoslav graphic design from 1970s to this day.
He created a vast body of posters advertising culture events and theatre performances, theatre sets,
books and book collections as well as corporate identities for cultural institutions and commercial
organizations. Vipotnik’s design is distinguished for the exceptional quality, ingenious creativity,
communicative potency and artistic language that is unique, vivid and cultivated. From the very
beginning, his creativity has evolved in close connection to the artists operating in the fields of theatre,
literature and music. His design introduced a wider and more eloquent perspective to the hitherto
dominant rationalist and functionalist design in Slovenia of 1970s. /.../ His symbol for the Mladinsko
Theatre is an outstanding design achievement in Slovenia as well as worldwide. /.../ Matjaž Vipotnik
introduced a new level of quality with his creative work. He is one of the most distinctive, ingenious and
strong personalities in design. His work was awarded many times at home and abroad, and presented in
numerous exhibitions and publications. As a graphic designer, he was setting design milestones, opening
new communicative and artistic fields, and entering benevolence in the space of communication.

Peter Skalar, in Prešeren Fund 2012. Ljubljana: Prešeren Fund Board, 2012.

222

M ATJA Ž V I P OT N I K

oblikovalec / graphic designer

223

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2012

STOJAN KURET IVICA BULJAN IZTOK MLAKAR

/.../ Kuretov umetniški kredo sledi sodobnim /.../ Buljan gledališče misli paradoksno: najprej /.../ Podoba igralca Iztoka Mlakarja se nam
tokovom zborovske reprodukcije, njegov s samega »začetka«, pri čemer ga locira na v vsaki vlogi posebej in vselej znova
repertoar je izredno širok. Odlikujejo ga scensko prizorišče tako rekoč »nedolžnega«, izkristalizira že v trenutku, ko molče stopi
zmožnost ustvarjanja zelo kontrastnih in nato pa iz časa »post festum«, torej že na oder in nemo zapoje njegova duša, ko na
raznolikih programov, v katerih najdejo svoje komentiranega in polnega žive in današnje odru z očmi komedijanta in tragika pogleda
mesto vsa obdobja glasbenega ustvarjanja, snovi. Buljanovo gledališče vzbuja vtis, da teče soigralca, ošvrkne svoje občinstvo, ko odigrava
od renesanse do sodobne glasbe. Pri tem zna čez oder tudi v času, ko gledalca še ni oziroma vlogo za vlogo iz gledališke sezone v sezono,
po eni strani slediti sodobnim trendom, po ni več v dvorani, saj ta zaloti njegove ko avtorsko raziskuje odrske dialoge ali
drugi pa njegova iskateljska in zbirateljska protagoniste že v nekem dejanju oziroma ko s srcem njegova misel začne pritajeno
žilica odkriva vedno nove, bodisi pozabljene ali stanju, ki gledalca sploh ne »potrebuje«, izgovarjati določena človekova stanja duha,
pa skrite partiture, ki pod njegovimi rokami tako se zdi namreč polno »samozadostnega« prepesnjena v najsrečnejše igralsko zlitje
ponovno zaživijo in zasijejo v vsej luči. Pri tem in uživaškega (čeprav v globini nenehno tudi umetniške izpovedi igralca – slehernika. /.../
je treba še posebej poudariti njegovo skrb travmatiziranega) življenja. /.../
za slovensko zborovsko ustvarjalnost. /.../ Mojca Kreft, povzeto po besedilu v zborniku Prešernov sklad
Blaž Lukan, povzeto po besedilu v zborniku Prešernov sklad 2012. Ljubljana: Upravni odbor Prešernovega sklada, 2012.
Marko Vatovec, povzeto po besedilu v zborniku Prešernov 2012. Ljubljana: Upravni odbor Prešernovega sklada, 2012.
sklad 2012. Ljubljana: Upravni odbor Prešernovega sklada,
2012.

/.../ Kuret’s artistic credo keeps up with /.../ Buljan’s perception of theatre is /.../ With each role actor Iztok Mlakar plays,
the modern development of choral singing, paradoxical: in the beginning, it is located we get a very clear picture about his act at the
contributing to its vast repertoire. He is to the scene of “innocence”, and then, “post very moment he steps on stage in silence, and
distinguished for his ability to create contrast festum”, it is defined as “old news”, full of his soul sings without uttering a word. When
and diverse programs featuring all periods contemporary, pulsating material. Buljan’s he looks at his acting colleague on stage with
of music history, from renaissance to modern theatre gives the impression of being busy the eyes of a comedian and a tragedian, when
music. Following modern trends on one hand, also when the spectators have not yet entered he shoots his audience a glance, repeats his
he is also an avid researcher and collector the hall, or had already left it. His protagonists numerous roles from one season to another,
on the other hand, always discovering some are always in the middle of something: researches the depth of his stage dialogues
forgotten or yet undiscovered score waiting an act or a state which does “not need” or when he wholeheartedly and quietly starts
for his hands to bring them back to life the spectator at all, for it is so full of “self- to speak out certain human state of mind,
and full splendour again. Slovenian choral sufficient” and hedonistic (yet deep inside translated into the happiest acting fusion of
creativity is always at the core of his concern. also traumatised) life. /.../ the actor –everyman’s artistic expression. /.../
/.../
Blaž Lukan, in Prešeren Fund 2012. Ljubljana: Prešeren Fund Mojca Kreft, in Prešeren Fund 2012. Ljubljana: Prešeren Fund
Marko Vatovec, in Prešeren Fund 2012. Ljubljana: Prešeren Board, 2012. Board, 2012.
Fund Board, 2012.

224

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2012

MARUŠA ZOREC z / with: MAŠA ŽIVEC, FRANC KOSEM ANDREJ E. SKUBIC
ŽIGA RAVNIKAR
/.../ Z izjemno kvalitetnim igranjem je od takrat »Koliko me imaš rad?« vpraša ona njega proti
/.../ Maruša Zorec brez dvoma sodi v sam vrh zaznamoval marsikateri koncert, tudi tiste koncu romana. A naslov romana je Koliko si
slovenske arhitekturne stroke. Poleg po z najzahtevnejšimi programi, kot so simfonije moja? in zaradi te na prvi pogled majhne
vrhunskih sodobnih sakralnih in družbeno Mahlerja, Brucknerja, Stravinskega in drugih razlike Skubičevo besedilo ni zgolj ljubezenski
pomembnih arhitekturnih realizacijah (kapela skladateljev. Kot solist je dokazal, da je roman. Drugi pol, ki ga nakazuje naslov, je
v frančiškanskem samostanu v Ljubljani …) je vrhunski virtuoz. V počasnih skladbah je imetje, celo prilaščanje, želja po posedovanju –
posebej prepoznavna po odlično in odgovorno njegov ton nežen, speven, občuten in se najsi bo človeka ali posestva. To je pripoved
izvedenih prenovah historičnih objektov dotakne še tako zahtevnega poslušalca. o (neuspešnem) pehanju za lastnino,
v Sloveniji. Pri njih se s strokovno in umetniško V hitrih in ritmično zahtevnih skladbah pa se o izgubljanju energije in o človekovi
senzibilnostjo loteva reševanja sinteze med pokažeta njegovi sproščenost in lahkotnost. nezmožnosti presoje, za kaj si je vredno
historično vrednostjo objektov in inovativnimi, Vse to so odlike velikih mojstrov trobente, med prizadevati. A noben roman ni dober zaradi
z novimi tehnologijami podprtimi sodobnimi katere nedvomno sodi tudi Franc Kosem. /.../ ideje, ki jo sporoča, temveč zaradi načina,
prostorskimi in likovnimi intervencijami. /.../ kako jo ubeseduje. /.../
Alojz Ajdič, povzeto po besedilu v zborniku Prešernov sklad
Maja Tasič Demšar, povzeto po besedilu v zborniku Prešernov 2012. Ljubljana: Upravni odbor Prešernovega sklada, 2012. Vlado Motnikar, povzeto po besedilu v zborniku Prešernov
sklad 2012. Ljubljana: Upravni odbor Prešernovega sklada, sklad 2012. Ljubljana: Upravni odbor Prešernovega sklada,
2012. 2012.

/.../ Maruša Zorec is without doubt one of /.../ His exceptional playing has since then “How much do you love me?” she asks him
the leading names in Slovenian architecture. marked many a concert, also with the most at the end of the novel. Yet, the novel is
In addition to the superb contemporary demanding programs, such as the symphonies entitled Are you mine? (Koliko si moja?), and
religious and socially important architectural of Mahler, Bruckner, Stravinsky and other this seemingly little difference is what makes
realizations (chapel in the Franciscan friary composers. As soloist, he proved to be Skubic’s text more than just a love novel.
in Ljubljana ...), her specialty is renovations a superb virtuoso. In slow works, his tone This second pole indicated by the title reveals
of historic buildings in Slovenia, which she is gentle, melodious, sensitive and moving possession, even seizure, the desire to lay
always implements with distinction and also to the most demanding listener. Fast and hands on – a person or an object. This is
responsibility. With professional and artistic rhythmic works, on the other hand, reveal his a story about (futile) struggle for possessions,
sensibility, she goes about resolving the relaxed and easy manner. It is all a true virtue about losing energy, and about man’s
synthesis between the historical value of of great trumpet masters, Franc Kosem being incapability of judging what are the things
buildings and innovative contemporary spatial one of them for sure. /.../ worth striving for. Still, a novel is never good
and artistic interventions supported with new because of the idea it communicates, but
technologies. /.../ Alojz Ajdič, in Prešeren Fund 2012. Ljubljana: Prešeren Fund because of the way it puts this idea into
Board, 2012. words. /.../
Maja Tasič Demšar, in Prešeren Fund 2012. Ljubljana:
Prešeren Fund Board, 2012. Vlado Motnikar, in Prešeren Fund 2012. Ljubljana: Prešeren
Fund Board, 2012.

225

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2012

STOJAN KURET

dirigent / conductor
226

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2012

IVICA BULJAN

režiser / director

227

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2012

IZTOK MLAKAR

igralec in kantavtor / actor and singer-songwriter
228

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2012

MARUŠA ZOREC

arhitektka / architect

229

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2012

FRANC KOSEM

trobentač / trumpeter
230

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2012

ANDREJ E. SKUBIC

pisatelj / writer

231

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2013

Literarni opus Zorka Simčiča obsega nekaj deset knjižnih naslovov in številne revijalno-časopisne objave.
Pisatelj se loteva različnih literarnih zvrsti in žanrov, od romana, kratke proze in poezije prek dramatike
do esejistike in publicistike. /.../ Med njegovimi dramskimi deli izstopa zlasti drama Zgodaj dopolnjena
mladost (1967). Ta dramski misterij, postavljen v čas druge svetovne vojne in revolucije, je po sodbi literarne
zgodovine »najvišji dosežek sodobne slovenske dramatike«. Znotraj Simčičeve esejistike in publicistike
izstopa zlasti njegova korespondenca s pesnikom in pisateljem Stankom Majcnom: to dopisovanje, ki je izšlo
v odmevni knjigi Srečanja z Majcnom (2000), ni samo pomemben kulturnozgodovinski dokument, temveč
tudi lucidna analiza povojnih slovenskih – in svetovnih – razmer. /.../ Vrhunec je Simčičevo pisateljevanje brez
dvoma doseglo z romanom Poslednji deseti bratje (2012). /.../ Sestavljeno je mozaično, glede dogajalnega
časa in prostora polifono, s številnimi pripovednimi vložki in raznovrstnimi pasažami. /.../ Skupni imenovalec
Simčičevih razseljenih oseb je njihova desetniška usoda, kakor jo sicer poznamo iz ljudskega izročila, a tako,
da roman to izročilo po eni strani konkretizira, po drugi pa univerzalizira. /.../ Univerzalnost zgodbe o desetih
bratih oziroma o »sodobnem desetništvu« pa Simčič razvija in poglablja predvsem na filozofsko-teološki
ravni. To je ena bistvenih dimenzij romana: gre namreč za vprašanje o smislu življenja v begunstvu. [...]
Literarno ustvarjanje Zorka Simčiča danes sodi v kánon slovenske književnosti 20. stoletja. /.../

Dr. Matevž Kos, povzeto po besedilu v zborniku Prešernov sklad 2013. Ljubljana: Upravni odbor Prešernovega sklada, 2013.

Literary oeuvre of Zorko Simčič comprises a few dozen literary titles and several publications in magazines
and newspapers. The writer employs various literary genres ranging from novel, short story, poetry and
drama to essays and publicism. /.../ Youth Concluded Early (Zgodaj dopolnjena mladost, 1967) is one of his
most notable drama works. Literary history considers this mystery drama set in the time of World War II
and the revolution to be “the greatest achievement of contemporary Slovenian drama”. Standing out most
notably in Simčič’s essays and publicism is his correspondence with the poet and writer Stanko Majcen.
Published in the acclaimed book Meeting Majcen (Srečanja z Majcnom, 2000), this correspondence is not
only an important cultural historical record, but also a shrewd analysis of the post-war situation in Slovenia
and the world. /.../ Simčič without doubt reached the climax of his writing with the novel The Last Tenth
Brothers (Poslednji deseti bratje, 2012). /.../ The novel is a mosaic of stories, featuring polyphonic narrative
time and space, numerous inserted narratives and various passages. /.../ Destiny of the tenth child as known
from the folk tradition is common to Simčič’s displaced characters, his novel making this tradition specific
on one hand, and universal on the other hand. /.../ Simčič explores and increases the universality of the story
about ten brothers or about “being the tenth in modern times” mostly at the philosophical-theological level.
This is one of the essential dimensions of the novel: it deals with the question of the meaning of life in exile.
/.../ Today, Zorko Simčič’s literary creations are part of the 20th century Slovenian literature canon. /.../

Dr Matevž Kos, in Prešeren Fund 2013. Ljubljana: Prešeren Fund Board, 2013.

232

ZORKO SIMČIČ

pisatelj / writer

233

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2013

Ilustratorsko delo Marlenke Stupica z njegovo ambiciozno zasnovo, slikarsko bravuro, bogatim registrom
občutij in trdno zgradbo ob hkratni pozornosti do detajlov bi najlepše zajeli s starejšim pojmom knjižnega
slikarstva. Umetnica že dolgo neprekinjeno soustvarja jedro slovenske ilustracije in je večino časa prav
na njegovem vrhu. Pri svojem delu od sebe zahteva najvišje slikarske standarde, ki jih lahko prepoznamo
v sodobnosti, in zdrži vse primerjave z vzorniki iz zgodovine. Zavestno namreč posega po likovno-
jezikovnih formulacijah, kot jih najdemo v Sijajnem horariju Vojvode Berryjskega bratov Limburg,
v prevodih pokrajin Benozza Gozzolija in giottovski krhki arhitekturi. Njena slikarska govorica se je
osamosvojila do te mere, da teksta ne potrebuje več. V njenem delu je čutiti spoštljiv in duhovit odnos
do literarnih predlog, a se zaveda, da je njena naloga več kot estetsko dopolnjevanje zapisanega. Izvrstno
likovno znanje in izobrazba ji omogočata, da se polnokrvno izraža v svojem domačem, likovnem jeziku.
/.../ Nekateri njeni pravljični liki so kar nekako ponarodeli, saj ko nam kdo omeni Rdečo kapico, skoraj ne
moremo mimo avtoričine formulacije tega pravljičnega lika. /.../ Stupica se zavestno izogiba ilustriranju
grobih scen, ki jih v pravljicah ne manjka. Like, ki predstavljajo negativni pol, omili, ukroti z majhnimi
dodatki. /.../ Ta Stupičina značilnost, ki otrokom prihrani pogled na neprijetno, je stalnica v njenem
celotnem opusu. /.../

Mag. Črtomir Frelih, povzeto po besedilu v zborniku Prešernov sklad 2013. Ljubljana: Upravni odbor Prešernovega sklada, 2013.

The ambitious design, painting bravura, colourful array of feelings, firm structure and attention to detail
in Marlenka Stupica’s illustration would best be described by using an older expression of literary
painting. The artist has long been co-creating the core of Slovenian illustration without any break, and
most of the time she has been right at the top of it. Always insisting on the highest painting standards
maintained in contemporary art, she may just as well be matched to any role model from the past. She
deliberately uses visual and verbal expressions which can be found in the Très Riches Heures du Duc de
Berry by the Limbourg brothers, in translation of Benozzo Gozzoli’s landscapes and in the fragile Giotto
architecture. Her painting language has become independent to the extent that the text is no longer
needed. Although nurturing respect and humorous attitude to the literary proposals, the artist realises
that she is obliged to do much more than complement aesthetically what is written. Excellent art
knowledge and education allow her to express herself fully in her native language of fine art. /.../ Some
of her fairy-tale characters have become so popular that at the mention of the Little Red Riding Hood
one cannot but think of Stupica’s depiction of the little girl. /.../ Stupica deliberately avoids illustrating
violent scenes, abundantly present in fairy tales. She rather softens characters that represent
the negative side, and tames them with small additions. /.../ Sparing children from the sight of
the unpleasant is a constant Stupica’s feature in her entire body of work. /.../

Črtomir Frelih MA, in Prešeren Fund 2013. Ljubljana: Prešeren Fund Board, 2013.

234

MARLENKA STUPICA

slikarka / painter

235

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2013

JOŽE VIDIC MARIJA JAVORŠEK REGINA KRIŽAJ

/.../ Vrh svojega dosedanjega delovanja je brez /.../ Posebno poglavje v njenem opusu je Regina Križaj, prvakinja ljubljanskega baleta,
dvoma dosegel z vlogama Lorenza v operi slovenjenje Pierra Corneilla. Že leta 1990 je je nepogrešljiva osebnost slovenskega
Črne maske Marija Kogoja in Grudna v operi skupaj z Josipom Vidmarjem prevedla Psiho kulturnega prostora, saj s svojim neustavljivim
Ljubezen kapital Janija Goloba, ki ju je (Psyché), ki sta jo soustvarjala Molière in umetniškim duhom in neverjetnim plesnim
poustvaril v preteklih dveh sezonah Corneille. Istega leta sta izšla še »baročna« potencialom že cel decenij sodi v sam vrh
v postavitvah opernih hiš v Ljubljani in komedija Odrska utvara (L’Illusion comique) in scenske ustvarjalnosti. Visoke kanone baleta
Mariboru. /.../ Jože Vidic se je v obeh vlogah, Cid (Le Cid); s slednjim se klasična francoska presežno spaja z ostrino in plastiko
pa tudi s siceršnjim poustvarjalnim delom tragedija pravzaprav začne. Zlasti v zadnjem sodobnosti, ki zahteva globljo odrsko
zadnjih dveh let, izkazal kot pevec izrednih desetletju se je Javorškova osredinila na prepričljivost, drugacče gibalne ritme,
glasovnih sposobnosti in dovršene pevske Corneilleve drame, ki so v dialogu z antiko. /.../ karakterno izraznost in telesno moč. /.../
tehnike. Njegovi interpretaciji obeh likov Vrhunec njenega več kot dve desetletji S prepoznavno plesno estetiko in visokim
odražata pronicljivo razumevanje njunega dolgega slovenjenja Corneilla pomeni nivojem baletne tehnike postavlja nove
psihološkega razvoja, mojstrsko prelivanje lanskoletni izid treh njegovih Rimskih političnih mejnike slovenskega baleta, ki se ne zgodijo
tega vpogleda v glasbeno interpretacijo tragedij. /.../ in ne presežejo čez noč ter so cenjeni tako
in suvereno obvladovanje pevsko-tehničnih v strokovnih kot javnih krogih.
nalog, ki jih prinašata. /.../ Dr. Tone Smolej, povzeto po besedilu v zborniku Prešernov
sklad 2013. Ljubljana: Upravni odbor Prešernovega sklada, Saša Tabaković, povzeto po besedilu v zborniku Prešernov
Dr. Aleš Nagode, povzeto po besedilu v zborniku Prešernov 2013. sklad 2013. Ljubljana: Upravni odbor Prešernovega sklada,
sklad 2013. Ljubljana: Upravni odbor Prešernovega sklada, 2013.
2013.

/.../ Without doubt, the pinnacle of his work so /.../ Translating Pierre Corneille into Slovene Regina Križaj, leading name of the Ljubljana
far has been the role of Lorenzo in the opera is a special chapter of her work. Back in 1990, Ballet, is an indispensable figure of the
Black Masks (Črne maske) by Marij Kogoj, and she and Josip Vidmar translated Psyché Slovenian cultural landscape, enthroned at
Gruden in the opera Love Capital (Ljubezen (Psiha), cowritten by Molière and Corneille. the peak of performing creativity for a whole
kapital) by Jani Golob, both performed in the In the same year, she published translations decade already due to her relentless artistic
last two seasons in opera houses in Ljubljana of the baroque comedy L’Illusion comique spirit and incredible dance potential. She
and Maribor /.../ In both roles as well as his (Odrska utvara ) and Le Cid (Cid), the first real couples ballet canons with sharpness and
other musical work of recent two years, work of classic French tragedy. In the last modern expressiveness ethereally, which
Jože Vidic proved to be a singer of exceptional decade, Marija Javoršek focused particularly requires a higher stage persuasiveness,
vocal abilities and supreme singing technique. on Corneille’s dramatic works which are different rhythms of move, character
In his interpretation of both characters he in close dialogue with the Antiquity /.../ expression and physical strength /.../ Highly
reveals sophisticated comprehension of their Her translation of three of his Roman political appreciated in both professional and public
psychological evolution, superb exertion of tragedies (Rimske politične tragedije) last year, circles she sets new milestones of the
this insight into his musical interpretation and was the pinnacle of more than two decades Slovenian ballet with her distinctive dance
complete mastering of the singing-technical of her translating Corneille. /.../ aesthetics and high level of ballet technique,
tasks they set. /.../ which is hard to do and even harder
Dr Tone Smolej, in Prešeren Fund 2013. Ljubljana: Prešeren to surpass.
Dr Aleš Nagode, in Prešeren Fund 2013. Ljubljana: Prešeren Fund Board, 2013.
Fund Board, 2013. Saša Tabaković, in Prešeren Fund 2013. Ljubljana: Prešeren
Fund Board, 2013.

236

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2013

BERNARDA FINK, MARCOS FINK GORAZD KOCIJANČIČ METOD PEVEC

/.../ Ljubezen do slovenske glasbe in maternega /.../ Kocijančičev Trubar ni noben razsvetljenec /.../ Aleksandrinke so eden vrhov, skupaj
jezika, ki jo brat in sestra Fink s svojim pred razsvetljenstvom. V njegovem boju z Otroki s Petrička Mirana Zupaniča bržkone
čudovitim poslanstvom – ob najuglednejših s sodobno Cerkvijo se ne pritajuje nikakršna tudi sam vrh slovenske dokumentaristike
dirigentih in orkestrih, v najelitnejših koncertnih še neozaveščena narodnobuditeljska težnja, zadnjih let, ki je avtohtono slovensko zgodbo
dvoranah sveta – zanosno in redno nikakršno prebujanje naroda k duhovni, uspel razpreti na način, da lahko nagovarja
posredujeta, ni naključna. V daljni Argentini kulturni, politični in še kakšni avtonomiji. tudi »nepoučenega« in neslovenskega
jima je bila položena v zibelko. Želja po Nasprotno: v Kocijančičevi zbirki je pri delu gledalca. Pri tem pa niti za hip ne pozabi,
pristnem stiku z matično domovino, bržkone postsekularni revizionizem, ki premešča da pripoveduje o konkretnih, že pokojnih ali
bolj značilna za Slovence, živeče zunaj začetek slovenske literature. O njej velja še živih posameznikih, katerih življenja so bila
geografskih meja Slovenije, je tako doživela konsenz, da se je kot avtonomno področje zaradi nenaklonjenih in usodnih zgodovinskih
eno svojih najsvetlejših uresničitev v zgoščenki, ustvarjanja začela šele s sekularizacijo, okoliščin temeljno zaznamovana; prav ta
ki nam jo poklanjata Bernarda in Marcos. Kajti z osvoboditvijo knjižne besede služnosti zaznamovanost pa je tudi vélika tema
pesem ostaja tista srčika umetnosti, ki človeka krščanski Cerkvi. /.../ Pevčevih Aleksandrink.
najbolj (ne)usmiljeno prežarja, prebada s sijem
domovine. /.../ Dr. Vid Snoj, povzeto po besedilu v zborniku Prešernov sklad Ženja Leiler, povzeto po besedilu v zborniku Prešernov sklad
2013. Ljubljana: Upravni odbor Prešernovega sklada, 2013. 2013. Ljubljana: Upravni odbor Prešernovega sklada, 2013.
Stojan Kuret, povzeto po besedilu v zborniku Prešernov sklad
2013. Ljubljana: Upravni odbor Prešernovega sklada, 2013.

/.../ The love of Slovenian music and mother /.../ In Kocijančič’s poems Trubar is not ahead /.../ Alexandrian Women (Aleksandrinke)
tongue that brother and sister Fink of his time. His fight against the Church together with Children of Petriček Hill (Otroci
enthusiastically share with their audience on of that time is no pretense for some kind s Petrička) by Miran Zupanič are most likely
so many occasions – performing in the most of unconscious aspiration for awakening the leading Slovenian documentaries of recent
elite concert halls of the world, accompanied the national awareness, neither it is enticing years which managed to present an original
with the most esteemed orchestras and the nation to their autonomy in the field Slovenian story in a way to absorb also an
conductors – is no coincidence. In faraway of spirituality, culture, politics, etc. On the uninformed spectator outside Slovenia. Pevec
Argentina, they were filled with it at their contrary, Kocijančič’s collection of poems never forgets for a second that his story is
cradle. The desire to nurture a close bond with is about a post secular revisionism which about concrete people, deceased or still living,
their motherland, which is probably expressed postpones the beginning of Slovenian whose lives were deeply scarred by adverse
much deeper with Slovenians living outside literature, commonly believed to have started and fatal historical circumstances, as were
the national borders, came to be realised as an autonomous area of creativity only with the female characters of his Alexandrian
brilliantly in the CD presented to us by secularisation, when standard language was Women.
Bernarda and Marcos. A song will always liberated from its service to the Christian
be that essence of art radiating a man most Church. /.../ Ženja Leiler, in Prešeren Fund 2013. Ljubljana: Prešeren Fund
mercifully (or merciless) with the glow of Board, 2013.
their homeland. /.../ Dr Vid Snoj, in Prešeren Fund 2013. Ljubljana: Prešeren Fund
Board, 2013.
Stojan Kuret, in Prešeren Fund 2013. Ljubljana: Prešeren Fund
Board, 2013.

237

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2013

JOŽE VIDIC

baritonist / baritone
238

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2013

MARIJA JAVORŠEK

prevajalka / translator

239

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2013

REGINA KRIŽAJ

baletna plesalka / ballet dancer
240

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2013

BERNARDA FINK, MARCOS FINK

mezzosopranistka in basbaritonist / mezzo-soprano and bass-baritone

241

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2013

GORAZD KOCIJANČIČ

pesnik / poet
242

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2013

METOD PEVEC

režiser / director

243

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2014

Vladimir Kavčič je ena izmed velikih figur sodobne slovenske književnosti. Čeprav se je kot avtor
najobsežnejšega literarnega opusa tega obdobja loteval tudi mladinske proze, drame in radijskih iger,
si je svoj prostor na »ozemlju« slovenske literature izboril z romanom. Že v prvih Kavčičevih literarnih
objavah v petdesetih letih 20. stoletja vznikne na plan njegova poglavitna tematika: težko življenje
človeka med drugo svetovno vojno in po njej. /.../ Roman Zapisnik (1973), ki je dodobra razburkal
slovensko javnost, je tedanja politična oblast strogo obsodila. Tako zaradi inovativnega sloga, ki posnema
zapisnik zaslišanj in znanstvenih ekspertiz različnih strok, kakor zaradi vrhunske literarne tematizacije
stalinističnih zločinov povojne partije (dachauski procesi) je Zapisnik eno izmed Kavčičevih največjih
romanesknih del. /.../ Nov vrhunec je Kavčičevo književno ustvarjanje doseglo z leta 2005 izdanim
tridelnim romanom Prihodnost, ki je ni bilo. V njem je na nič manj kot 966 straneh ustvaril pravo epopejo
povojne Slovenije z jasnimi avtobiografskimi prvinami. /.../ Da je Kavčič izjemno vitalna figura sodobne
slovenske književnosti, priča tudi njegov najnovejši roman Od nikoder do nikamor (2011), v katerem znova
zvesto svoji romaneskni poetiki tematizira vojno in njene posledice vse do današnjih dni. /.../ Vladimirja
Kavčiča je literarna veda že razglasila za klasika slovenske literature, vrh tega pa ga lahko zaradi njegove
vztrajne brezkompromisnosti in boja proti dogmatizmom vseh vrst okličemo za največjega mojstra vojne
proze na Slovenskem.

Alen Širca, povzeto po besedilu v zborniku Prešernov sklad 2014. Ljubljana: Upravni odbor Prešernovega sklada, 2014.

Vladimir Kavčič is one of the most eminent representatives of contemporary Slovenian literature. As
the author of the most voluminous literary oeuvre of this period he wrote youth prose, drama and radio
plays, but the genre that made his name in Slovenian literature was a novel. The harshness of life during
World War II and after it has been his major theme ever since his first literary publications in 1950s. /.../
His novel The Minutes (Zapisnik, 1973), which deeply upset the Slovenian public, drew severe
condemnation from the then political regime. The ingenious style imitating the minutes of hearings and
scientific expertise of various disciplines, and superb literary rendition of Stalinist crimes committed
by the post-war Party (Dachau trials) make The Minutes one of the greatest Kavčič’s novels. /.../ In 2005,
Kavčič published a three-part novel, The Future that Wasn’t There (Prihodnost, ki je ni bilo), which was
a new highlight of his literary writing. It was a true epic of post-war Slovenia with clear autobiographical
elements written in no less than 966 pages. /.../ Kavčič is an extremely vital character of contemporary
Slovenian literature, which is proved also by his latest novel From Nowhere to Nowhere (Od nikoder do
nikamor, 2011), discussing war and its effects to this day again, faithfully to his novelistic signature. /.../
Vladimir Kavčič has already been declared a classic of Slovenian literature by the literary studies,
furthermore, he can be called the greatest master of war fiction in Slovenia due to his uncompromising
persistence and struggle against the dogmatism of all kinds.

Alen Širca, in Prešeren Fund 2014. Ljubljana: Prešeren Fund Board, 2014.

244

VLADIMIR KAVČIČ

pisatelj / writer

245

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2014

Akademik Pavle Merkù, slovenski razumnik in umetnik v najžlahtnejšem pomenu besede, je ena
najvplivnejših osebnosti kulturnega življenja Slovencev v Italiji. /.../ Deloval je kot skladatelj, jezikoslovec,
slovenist, etnomuzikolog, etimolog, publicist, kritik, esejist, raziskovalec, glasbeni urednik in pedagog.
Raziskoval je tako na literarnem in jezikoslovnem kot na glasbenem področju in je s posebnim
zanimanjem prispeval k poglabljanju poznavanja ljudske zakladnice iz Tržaške, Goriške, Kanalske doline,
Benečije in Rezije. Merkújev skladateljski opus, tesno povezan z ohranitvijo in ovrednotenjem ljudskega
izročila, je tako pomemben, obsežen in odmeven, da že dolgo sodi v nepogrešljivi del slovenske sodobne
glasbe in tudi širše kulture. /.../ Sredi šestdesetih let 20. stoletja se je usmeril v zbiranje ljudskih pesmi
pri Slovencih v Italiji, to pa je preraslo v zbiranje pripovedk, običajev, vraž in vsakršnega ljudskega blaga,
ki ga je pozneje objavil v knjigi Ljudsko izročilo Slovencev v Italiji (1976). /.../ Poseben pomen imajo tudi
Merkùjeva jezikoslovna raziskovanja. Uredil, komentiral in objavil je Slovenska plemiška pisma družine
Marenzi-Coraduzzi s konca 17. stoletja (1980), s katerimi je dokazal rabo slovenščine med tujim
plemstvom na Slovenskem. /.../ Skladateljski, raziskovalni in publicistični opus Pavleta Merkúja pomeni
enega od vrhov slovenske ustvarjalnosti po drugi svetovni vojni. /.../

Stojan Kuret, povzeto po besedilu v zborniku Prešernov sklad 2014. Ljubljana: Upravni odbor Prešernovega sklada, 2014.

A Slovenian intellectual and artist in the noblest sense of the word, academician Pavle Merkù is one
of the most influential personalities in the cultural landscape of Slovenians in Italy. /.../ He worked as
a composer, linguist, Slovenian language specialist, ethnomusicologist, etymologist, publicist, critic,
essayist, researcher, musical editor and pedagogue. His research involved fields of literature, linguistics
and music, as well as the folk treasury of Trieste, Gorizia, Canal Valley, Veneto and Resia which was one
of his favourite topics. The relevance, extensiveness and prominence of Merkú’s composition oeuvre,
which is closely related to the preservation and interpretation of the folk tradition, makes it
indispensable part of Slovenian contemporary music and the broader culture. /.../ In mid-1960s, he
focused on collecting Slovenian folk songs in Italy, which has grown into a collection of tales, traditions,
superstitions and all kinds of folk art, later published in his book Folk tradition of Slovenes in Italy
(Ljudsko izročilo Slovencev v Italiji, 1976). /.../ Merkù’s linguistic research is also particularly important.
He edited, explained and published Letters in Slovene by the noble Marenzi–Coraduzzi family, late 17th
century (Slovenska plemiška pisma družine Marenzi-Coraduzzi s konca 17. stoletja, 1980), which proved
that Slovenian language was used among foreign nobility in Slovenia. /.../ Composition, research and
publicist oeuvre of Pavle Merkú marks one of the pinnacles of Slovenian creativity after World War II. /.../

Stojan Kuret, in Prešeren Fund 2014. Ljubljana: Prešeren Fund Board, 2014.

246

PAVLE MERKÙ

skladatelj / composer

247

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2014

JERNEJ LORENCI VESNA PERNARČIČ JOŽE MOŽINA

/.../ Lorencijevo ustvarjanje že od nekdaj /.../ Odrska prezenca Vesne Pernarčič je Bilo je leto 1989, ko je slovenski misijonar
zaznamujeta raziskovanje in razvijanje skorajda samoumevna. Njena odrska govorica Pedro Opeka stopil na ogromno smetišče
gledališkega medija. V zadnjih letih je v svoji je izbrušena in zareže nežno, a v malgaški prestolnici Antananarivo in osupnil
uprizoritveni estetiki izpeljal pomembne brezkompromisno. Občutek za pravo mero nad prizorom – na tisoče odraslih in otrok,
premike tudi na nivoju interakcije med odrom ji daje verjetnost prav v vseh plasteh, ki jih ki so pomešani s prašiči in psi živeli na
in »aktivnim gledalcem«, na nivoju razbijanja uporablja pri ustvarjanju svojih vlog. Njen smetišču in od smetišča. Tisto noč ni zatisnil
in ponovnega vzpostavljanja gledališke iluzije igralski register ji omogoča vrhunsko izvedbo očesa in v naslednjih dneh je začel boj za
znotraj posamezne uprizoritve. Prenikavost tako komedij kot tudi psihološko poglobljenih človečnost tistih, ki jih je svet izrinil med
vpisov v odrsko tkivo, ki jih dosegajo kolektivni dram. Igralka za svoje transformacije ne odpadke civilizacije. /.../ To pretresljivo zgodbo
uprizoritveni dosežki v Lorencijevih režijah, potrebuje zunanjih pomagal. Le skozi stanja je gledalcem v Sloveniji in tujini predstavil
pa potrjuje, da kaže ta ustvarjalna premica s prehaja iz vloge v vlogo, a to počne tako Jože Možina v dokumentarnem filmu Pedro
svojimi lucidnimi preskoki izrazito navzgor. /.../ naravno in prepričljivo, da je pred nami v vsaki Opeka, dober prijatelj. Ustvaril je prvovrstno
stvaritvi drugačna in dokončna. /.../ delo, ki gledalca silovito potegne v svet
Mag. Tea Rogelj, povzeto po besedilu v zborniku Prešernov revščine in ponižanja. /.../
sklad 2014. Ljubljana: Upravni odbor Prešernovega sklada, Nataša Barbara Gračner, povzeto po besedilu v zborniku
2014. Prešernov sklad 2014. Ljubljana: Upravni odbor Prešernovega Dr. Mitja Štular, povzeto po besedilu v zborniku Prešernov
sklada, 2014. sklad 2014. Ljubljana: Upravni odbor Prešernovega sklada,
2014.

/.../ Lorenci’s creativity has always been /.../ Vesna Pernarčič’s stage presence is nearly It was in 1989 when Slovenian missionary
permeated by an avid research and unfolding self-evident. Her stage expression is perfect: Pedro Opeka entered a giant dump in
of the theatre medium. In recent years, gentle, yet uncompromising in its cut. Her Antananarivo, the Malagasy capital, utterly
he elevated his performance aesthetics also common sense makes her credible in any role astonished with the scene he witnessed:
in terms of interaction between stage and “an she creates. Given her acting array, she can thousands of people, adults and children,
active spectator”, breaking the theatre illusion perform brilliantly both in comedies and in lived on this dump together with pigs and
and building it again in each of the in-depth psychological dramas. Her dogs, in appalling conditions. That night he did
performances he directed. Collective transformation requires no external aid. By not sleep, and in days to come, he started his
achievements in performances directed by changing her conditions, she moves from one fight for the humanity of outcasts who were
Lorenci always bring about a shrewd stage role to another, with such natural ease and pushed into the waste of civilization /.../ Good
manifestation, yet another proof that Lorenci’s conviction that we see her entirely different Friend - Pedro Opeka, (Pedro Opeka, dober
creativity, filled with shrewd leaps, is only and complete in every performance she prijatelj) is a documentary about this appalling
about to prosper further. /.../ makes. /.../ story, a remarkable work by which Jože
Možina fiercely pulls the spectator into the
Tea Rogelj MA, in Prešeren Fund 2014. Ljubljana: Prešeren Nataša Barbara Gračner, in Prešeren Fund 2014. Ljubljana: world of poverty and humiliation. /.../
Fund Board, 2014. Prešeren Fund Board, 2014.
Dr Mitja Štular, in Prešeren Fund 2014. Ljubljana: Prešeren
Fund Board, 2014.

248