A translation of the article published in the Stajerski Tednik newspaper on 30 January 2009

The Power of the Nature of a Certain Cow

Once upon a time there was a farmer. A farmer who actually had a large farm, lots of animals and a neighbour, who most likely grew bigger potatoes than him. But that is already another story.

Anyway, the farm – as well as the story – is dominated by Rosemary the Cow. Rosemary keeps nagging and pestering everyone around her: the chickens cackle too loudly when they are laying eggs, the dog chews too loudly, the fish bathes naked, and so on and so forth. Well, one day the farmer has enough of this, so he simply puts Rosemary on a plane and sends her to Africa. But the farm is not peaceful for long: an elephant, zebra and a crocodile arrive from Africa... Because the stupid cow was such a pain that they packed up and escaped!

I saw the theatre performance about Rosemary the Cow in the old glassworks, accompanied by my five and a half-year old son. It was skilfully directed by Branka Bezeljak, and numerous roles were performed by the impish Iztok Valič and Barbara Lapajne Predin. I do not intend to write a critique about the performance – namely, for years now I have not read any reviews others have written about my own work, and I do not feel any need to criticise others myself. I will only write what went through my head during the performance.

First of all: it should be obligatory for parents, educators and teachers. For everyone dealing with children. Just so that we can smile at ourselves when we figure out we are often much like Rosemary the Cow, who does not let others do things their own way, in accordance with their own nature. Instead she nags at them, telling them what must be done, how it must be done, and what is not to be done. Perhaps then it would be easier for us to let others be what they are, or perhaps we would even help them become what they could still be. This is what good education and proper upbringing should be like: to help the young, after all those long years of cramming in school, to start having fun with what they are doing, to enjoy their profession, their activities, their job, which would be an outward expression in what we are on the inside. I know this sounds romantic and almost utopian, but for me, at least, this is the main motive when teaching students. I know it is a bit late at the university, but it is never too late.

Let us move on. Many people from Ptuj participate in this performance: the choreographer Majda Fridl, set designer and artist Dušan Fišer, costumes designer Stanka Vauda Benčevič, designer Darko Ferlinc and Nevenka Dobljekar. This seems good and important: the director managed to ensure the participation of artists from Ptuj. Since at this very time a new director for the Ptuj theatre is being sought, let me state that what this performance managed to achieve is an important task and opportunity of the new director: to "activate" the artistic forces of Ptuj. Human capital is our greatest fortune. Everyone knows this already – theoretically. In practice this is only rarely observed. Together the artists from Ptuj could achieve a lot. Of course, presuming that the goals and ambitions, as well as the efforts invested, are very high.

Moving on. The "stara steklarska" artistic society staged the performance in coproduction with the Theatre for Children and Youth from Ljubljana: a good example of synergy. Exemplary. The costs are lower, and the potential "market" becomes larger – everyone profits more from cooperating than they would profit from doing everything by themselves.

Let us get back to the performance. Rosemary the Cow succeeded in upsetting everyone around her. We could say that her methods may have been unpleasant, but efficient. She achieved what she wanted. Today, in what is called the time of crisis, less and less resources will be available for artistic creativity. Because art is just not that important. Therefore Rosemary the Cow should also be seen by the directors of cultural organisations. In order to learn that if they want to ensure the funds, they should also start nagging. We do not live in Germany, where in these same times of crisis the German minister of culture is going to ensure a more than three percent rise of the budget, intended for culture! The thoughtful, economical Germans will spend more money on culture in the times of crisis?! Yes. And yes again! The Goethe Institute, the main "exporter" of the German culture, has its "representative offices" in numerous cities all over the world. Even in Ljubljana. And also in the case of our Rosemary the Cow, this institute appears among those who "made the performance possible". The author of this play, Beyer, may be from Switzerland, but he writes in the German language and Goethe Institute usually co finances the translation.

When are we, tiny Slovenians, going to have a comparable Prešeren or Cankar or Trubar Institute? I know it sounds like I am promoting my own agenda: so what. The issue is more than obvious. In recent years, European cultural managers have been "shopping" – do you know where? In the east of Europe: in Russia, Romania, Bulgaria, Lithuania, Latvia, Estonia. Western Europe is tired, spent, worn out, frazzled, run down. Filled to the brim with cultural production and loads of tasteless, ready made, cheap junk. Why the East? Because in principle people there have less – smaller cars, drabber houses... But actually they have more – more convictions, sensitivity and imagination.