Abstract
Written from the perspective of both an 'enchanted friend' and a 'disappointed lover' of Slovenian theatre, this article offers a potentially controversial thesis on contemporary live drama in Slovenia. It is based upon an experience of Slovenian drama that has been intensive, rather than extensive: the author has attended the Borštnik Theatre Festival in Maribor on two occasions; first, on a five-day visit in 2010, and, second, as a member of the jury of experts, throughout the 2012 Festival. The author expresses his appreciation of the talents he has encountered in Slovenian theatre, especially in the stronger productions of modern classic plays. However, he also observes a preference, in new Slovenian work being produced for the national stage, for devised work, rather than scripted plays. That work, he believes, is of generally poor quality, exhibiting tendencies towards what he terms some of the more 'postmodern', 'hollow' and 'adolescent' conventions of the contemporary avant-garde.
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