By Domen Mezeg (Nova24tv)
The Slovenian Youth Theatre is a hotbed of ultra-leftist cultural struggle. Among other things, it proves this with the vulgar profanation of Cankar’s Farmhands, conceived as a shameful pillar of Slovene identity, culture, and Christian civilisation values, while at the same time glorifying the remnants of red totalitarianism. With yesterday’s appearance of Marcel Štefančič and the show Studio 9. maj, this only confirmed this. Finally, this is confirmed by its colleagues, such as the terrorist supporter Erik Valenčič and the transitional ideologue Svetlana Slapšak, who is hostile to Slovenia.
Recently, the perfidious profanation of Ivan Cankar’s Farmhands can be seen at the Slovenian Youth Theatre (SYT), which is a shame for national symbols, culture, the homeland, and Christianity. A person at this scandalous spectacle is really overwhelmed by the feeling that he has remained a farmhand on his own land, although he hoped that 1991 would be the end of this monstrous nightmare. The centuries-old tradition of Vienna and several decades of Belgrade is successfully continued by domestic invaders, so they like to hide behind the false freedom of the red star. This paved the way for them to the throne, from which they never ascended, as they have levers of power, even when they do not rule directly. Through the majority media and loyal NGOs, voters were finally sold “empty shiny cellophane” – the Gibanje Svoboda party, a substantive and understaffed political option that would never triumph in a healthy and mature democracy.
The good old recipe has once again proved successful: they are poisoning the atmosphere with antijanšism as much as possible, so that people do not think rationally, do not see outstanding results, but choose on the basis of likes and dislikes. It is a planned shutdown of rational centres in the brain through the general, extremely hostile to Janša hysteria of the central media and street anarchists. And the reflection of this is also the desecration of the Farmhands, who are trying to make the Prime Minister a “prince of darkness” again and demonise the independence fighters. At the same time, they try to portray non-democrats as protectors of freedom and democracy. Coincidentally, the last party leader, Milan Kučan, is among those responsible for the show. The numerous Polish cast of co-creators is also interesting: director Maja Kleczewska, playwright Łukasz Chotkowski, set designer Zbigniew Libera, costume designer Konrad Parol, set designer assistants Ewa Libera and Grzegorz Ziółkowski.
It would be difficult to afford such desecration in our homeland, which is why we are being slandered on. Unlike the Poles, we really remained Farmhands after 1991, which was caused by an unfortunate set of circumstances. The Baltic state already existed in the former system, albeit as a Soviet satellite, democratisation was needed above all. In our country, however, we spent our energy on independence and making rotten compromises with those whose “intimate option” this has never been. Lustration, crucial for clearing lead-age remains, remained unfulfilled. In Poland, this process (except for the judiciary) has succeeded, at least in part. As a result, they are less of a victim of those who shamelessly trample on patriotic and civilisational values and even consider themselves Democrats.
Štefančič and Golob are like Marshal Tito: They would have a life term in the civil service
Poles are aware of their tradition. They know what has left them “standing and existing” through the stormy centuries, so they are not exactly lenient towards such provocateurs. In our country, however, they got their own training ground for suppressing frustrated frustrations. Otherwise, it is known that “the same birds fly together”, whether domestic or foreign. The key to all this “fluttering of feathers” is that our attention does not escape from the most arrogant “peacock” – Robert Golob. The latter could push others to the forefront of the mandate, and dedicate himself to the privatisation of energy, etc. Care must be taken not to evade the responsibility of governance entrusted to him. The statement of the potential candidate for the Minister of Justice Dominika Švarc Pipan that she has not even seen Golob at more than 10 meters seems significant.
So, let’s get back to SYT. Last night, Marcel Štefančič had his triumphant spectacle “Crown of Leftist Activism” on RTVS, which is not surprising given the extreme left orientation of this institution. By the way, remember how the mainstream media consolidated the lie after the election that someone was “dismissing” him, even though his contract had just expired, much like Golob’s did at the top of Gen-I. From both, the media created a victim of phantom terror and solidified the belief that their position in state-owned companies was self-evident, almost eternal, like the city of two gods on Olympus. They behave like dispossessed and offended nobles, like a kind of incarnation of Marshal Tito, one in journalistic and the other in entrepreneurial image. Another indication of the captivity of society in undemocratic mental patterns.
SYT is defending the profanation of Cankar’s Farmhands with lies
Yesterday’s Marcel’s session at SYT was honoured by a visit by electro oligarch Golob and philosopher Slavoj Žižek. The whole theatre of artificial creation of the victim from Marcel with such excellent guests gains additional sharpness and approbation. That is why we can expect that the yield that is expected from this will be even greater… Marcel and Studio City have become even more cult, indestructible… The Farmhands need to be clearly shown who is the master here. Let’s get back to the vulgar theatrical show. After many criticisms, they tried to justify it as follows: “Cankar wrote Farmhands as a response to the political and social situation of his time, and we gave the production – as is usual in modern theatre today – a modern form.
We have shown the same social mechanisms as those described by Cankar in modern cases. The play mentions various problems of Slovene socio-political reality and recent history: the erased, the closure of borders for Bosnian refugees during the 1990s war, the arms trade, authoritarian political tendencies, the conservative influence of the Catholic Church, etc. The scene with the Slovenian flag is a quote. It represents one of the politically right-wing residents of Slovenia who protested against migrants on the southern Slovenian border at the beginning of the migrant crisis.” It is interesting that they bring to the surface everything that benefits the left. They even pulled the “erased” out of their hats, who are known to have not arranged Slovenian citizenship (at least some of them) due to opportunistic motives, despite the time they had at their disposal.
Two other extremists are connected with the theatre – Hamas supporter Valenčič and Gray eminence Slapšak
And the fact that Slovenia was closing the borders for refugees from BiH was a lie: “According to a report by the Government Office for Immigration and Refugees, around 70,000 people crossed the Slovenian border crossings in 1993. Of these, 11,400 were housed in the Collection Centres, while others sought refuge with relatives living here.” By the way: probably the most famous “refugee” of the time was radio journalist Denis Avdić. Kučan flourished in the field of arms trade, but of course they do not think of him, but they insinuate someone else… Mentioning “authoritarian political tendencies” probably means those of the last party boss who depends on the authorities as an alcoholic?! Golob may also be authoritarian with his announcement of the abolition of disturbing media, silencing the critical voice… In their “mess” they did not miss the mention of the “conservative influence of the Catholic Church”, which indicates their acceptance of difference, openness. It is also a lie that the resident of Jelšane, who waved the flag on the ground, was a right-winger, namely she was a left-winger, which was also confirmed by the Ilirska Bistrica mayor Emil Rojc.
As it turns out, the situation on the southern border was so unbearable that it drove even the most ardent titophiles to the road. Let us take this opportunity to mention who the two controversial SYT collaborators are: Erik Valenčič (supporter of the terrorist organisation Hamas, in his own words he even killed Muslims), Svetlana Slapšak (known as the grey eminence of transitional ideologues, supporter of illegals, she also became famous for stealing from the University of Belgrade and for xenophobic contempt for everything Slovenian, as the writer Denis Poniž pointed out). To conclude: both SYT and Studio City (Studio 9. maj) are the nests of the far left, which they will obviously not let go of, not because of “freedom”, but because of filling their own pockets and positions. Both SYT and RTV Slovenia are bottomless pits. Over the last two decades, 50 million euros of public funds have been transferred through the theatre.
