Evald Flisar is one of the few Slovenian authors to have truly succeeded in making a breakthrough abroad. Not only that, it seems that Flisar, the author of fifteen plays and the most internationally-successful Slovenian playwright, is much more valued abroad than in his homeland: to date there have been 93 performances of his plays on professional stages on almost all the continents. He is the first (and so far the only) Slovenian playwright whose work has been performed in Islandic, Arabic, Bengali, Indonesian, Japanese, Chinese, and Belarussian. The book Tres obras de teatro (Three plays) brings together three representative Flisar plays – What about Leonardo?, Nora Nora, and Antigone Now – in Marjeta Drobnič’s Spanish translation. Also noteworthy is the foreword to the book: Jana Bauer’s portrait of the author is a creative collage of selected quotations about Flisar’s work.
Edited by: Tina Kozin, Tanja Petrič
Afterword: Jana Bauer
Price: 10,00 EUR
Evald Flisar’s plays offer up a special experience. In them we are always faced with completed poetic universes which are very accurate pictures of (sociological and psychological) reality. In his plays’ verbal renderings Flisar appears as a skilled anthropologist, but above all as an uncompromising exposer of the magic of reason of Western European man [...].
Vili Ravnjak, Goldhawk Press, London
The German premiere of Evald Flisar’s play brilliantly and poetically shows the arctic plains of interpersonal relations in our celebrated, banal and fast-living society. A theatre wonder!
Gisela Bartens, Kleine Zeitung
A remarkable study of a man out of touch with himself, who presents the journey from amnesiac to automaton with the sad, lost look of a man obeying instructions from he knows not where […].
Jeremy Kingston, The Times
Following Pinter and Peter Brook, Evald Flisar’s What about Leonardo? is the latest piece inspired by the clinical writings of Oliver Sacks […]. In the theatrical context […], as material for psychodrama and robotic performance, the play’s ideas become charged with sinister comedy.
Irving Wardle, Independent on Sunday
Evald Flisar’s tragicomedy Nora Nora, winner of this year’s Grum award for the best drama, is – also in its very title – a play of mirrors. Literally: “in a middle-class flat in which two couples live next to each other without being aware of the fact.” With each couple it is clear from the outset that she is Nora and he is Helmer, which means that they are aware that they are only acting out a play that offers no hope of victory or conciliation of the emancipatory point of departure of Ibsen’s Nora. All of this shows Flisar to be a savvy and wily playwright. His dialogues have a sharpness to them, and the words fly like axes and boomerangs; the couples, who in the meantime swap partners once and then swap back once more, use words primarily as a means of easy revenge, in the style of: it’s only a play, which is why it hurts.
Matej Bogataj, Delo
Theater im Keller has performed the latest play by Evald Flisar, Nora Nora, and achieved a stunning victory on all fronts […]. A play for four characters, this ironic, intelligent and extremely current variation on Ibsen’s Nora is bound to succeed […].
HSG, Kleine Zeitung
The staging of the play Nora Nora in Cairo is a landmark after which it will be hard to maintain the status quo on Egyptian stages […]. It is a courageous act that shocked many, while at the same time airing out our stuffiness […].
Farouk Abdel-Quader, Al Ahram