My graduation paper describes and comments the stage production of eight performances of professional theatres and a production of the Academy for theatre, radio, film, and television at the University of Ljubljana which met two preset conditions: clear statement that the performance in any way includes Cankar’s texts, his life or personality, and that it premiered in the seasons 2017/2018 or 2018/2019 which means in time of celebration of the centenary of Cankar’s death. The explored stage production is strong and exceptional in its diversity. The first part of my paper is divided into two chapters. The first one includes five performances of Cankar’s four most frequently staged plays. Two performances of »Kralj na Betajnovi« [The King of Betajnova], »Hlapci« [The Serfs], »Pohujšanje v dolini šentflorjanski« [Scandal in St Florian’s Valley], and »Za narodov blagor« [For the Wealth of the People]. It is obvious that Slovenian theatres decided for canonical texts, which is understandable. On the other hand, their decision needs to be reconsidered, for in my opinion the jubilee is a perfect opportunity for Cankar’s texts that otherwise do not get (enough) attention. There are, however, some new highlights of the performed canonical plays that are fresh and legitimate by the texts themselves. The second chapter of the first part of the paper is the analysis of four productions of Cankar’s prose and its adaption. The most inspiring are the performances by Žiga Divjak (»Hlapec Jernej in njegova pravica« [The Servant Bartholomy and his Right] and »Ob zori« [At Dawn]) that seek the possibilities to perform Cankar’s prose and innovatively recreate texts of social topics. It is a rather inspiring fact that the productions include productions for children and youngsters. The performances »Moj lajf« (intentionally misspelled as slang for life) and »iCankar« more or less successfully help younger generations to acquaint the life of Ivan Cankar and his works.