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Contemporary performing arts association
[email protected]

artistic director
Bojan Jablanovec
[email protected]
phone: +386 41 389 284

managing director
Špela Trošt
[email protected]
phone: +386 51 360 735

public relations
Sara Horžen
[email protected]
phone: +386 41 590 872

Via Negativa
Na Peči 12
1000 Ljubljana

Registration number: 1677314
VAT / TAX number: SI71858253
Bank: Abanka Vipa d.d. Ljubljana
IBAN: SI 56 051008010573865

“They told me I would go through three stages: first denial, second anger, and finally acceptance.”




Solo performance by Katarina Stegnar

“What would you like to eat for you last dinner? Where would you like to be buried? How should they bury you? Who should come to the funeral? Who should deliver your funeral speech? Which song should be played at your funeral? What are your last words?” These are questions, which Katarina gives to the picked up viewer who at the end of this short conversation dies in her lap. Death is profoundly intimate but at the same time extremely spectacular sensation. Katarina enacts both its faces: an intimate struggle of a dying person: “They told me I would go through 3 stages: first is denial, second is anger, and finally acceptance,” and death as the ultimate spectacle experienced by those watching from outside. Drop Dead is a play in which we all must take our parts: the performer becomes a corpse, the audience becomes an undertaker and the performance becomes a funeral.


Conceived and text by Katarina Stegnar and Bojan Jablanovec
Performer: Katarina Stegnar
Direction: Bojan Jablanovec
Music (selected by K. Stegnar): W. A. Mozart: Requiem (sentences: Requiem Aeternam, Rex Tremendae, Lacrimosa Dies Illa) and Where Did You Sleep Last Night (performed by Tomaž Grom)
Costume: Mateja Benedetti
Light design: Igor Remeta
Producer: Špela Trošt

Production: Via Negativa, 2010
, with the support by Ministry of Culture of RS and the City of Ljubljana
Premiere: 17 OCT 2010, City of Women Festival Ljubljana
Duration: 60 min

Feminism is fun, but not without a (safety) mask …
Delo Ljubljana, 19. October 2010, Zala Dobovšek

When Katarina Stegnar enacts her own death in the performance entitled ‘Drop Dead’, she does so with an exceptional performing flair, underlined with her uncompromising tone and professional skill, so much so that her subtle interplay of reality and fiction triggers genuine empathy. At the same time it engenders feelings of confusion in the viewer, who in the wake of the artist’s poignant illustration of her own death finds himself unexpectedly thrown into the domain of empathy. A retrospective of her life, spiced up with humour together with her parting words and a conceptually strong funeral ceremony unfold alongside a brilliantly enacted/experienced awareness of one’s transitoriness. Neither the author’s constant cynicism nor the potential awkwardness of arbitrary spectators engaged in the process of simultaneous dying cannot alleviate that moment of tension when mortality cuts through the audience. The cyclical nature of the performance which transposes the formality of the introduction to the end itself, symbolically rounds off the transfer of the ‘last breath’, while the perception loop derives primarily from the carefully conceptualized relationship between a naive representation of death and its simultaneous deadly serious actuality, which nonetheless blows sharply somewhere from beyond a superficial staging, who knows from where.

Simulation (of Illness) as a Performance Strategy, Death as Fleetingness and Sense Perception as an Arbitrary Location of the Real
Maska Ljubljana, No. 135-136, winter 2010, Anja Bajda

(…) Drop Dead*1 is a thematic development of Via Negativa’s Four Deaths, which focused on the question: “Whom must we kill for the love of the audience?” At the time, the performers examined the topic of envy through staging the deaths of four great personages of European performing arts: Pina Bausch, Tim Etchells, La Ribot and Marina Abramović. Envy, which in Four Deaths was articulated on the relation “I – other”, now no longer represents the central thematic axis. In Drop Dead, the role of the other is assumed by the performing (and at the same time, performed) subject. (…)