On 'A General Revision of Your Possibilities'
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bitef Satnica Preuzmite
SREDA / WEDNESDAY 20.09. Kulturni centar Beograda, Bitef biblioteka / Promocija knjige NOĆNI DNEVNIK, 1985 – 1991 / Galerija Artget / 20:00 Bitef Library Book promotion NIGHT DIARY 1985 – 1991 Belgrade Cultural Centre, Artget Gallery ČETVRTAK / THURSDAY 21.09. Radionica / Radionica pozorišne kritike SUMNJIVA LICA / Festivalski centar / 12:00 Workshop Theatre criticism workshop PERSONS OF INTERESTS Festival Centre PETAK / FRIDAY 22.09. Promocija knjige KULTURNA DIPLOMATIJA: Bitef biblioteka / UMETNOST, FESTIVALI I GEOPOLITIKA / Festivalski centar / 16:00 Bitef Library Book promotion CULTURAL DIPLOMACY: Festival Centre ARTS, FESTIVALS AND GEOPOLITICS Glavni program / Klub Bitef teatra / 18:00 Main Programme QUIZOOLA! Bitef Theatre Club SUBOTA / SATURDAY 23.09. 24/7: DUGE PREDSTAVE I NIKAD KRAJA / Svečana sala Rektorata Međunarodna tribina / Univerziteta umetnosti / 24/7: DURATIONAL PERFORMANCES 10:30 International panel discussion Formal Hall, University of Arts, WITH NO END IN SIGHT The Rectory OLIMP Glavni program / U SLAVU KULTA TRAGEDIJE – PREDSTAVA OD 24 SATA / Sava Centar / 18:00 Main Programme MOUNT OLYMPUS Sava Centre TO GLORIFY THE CULT OF TRAGEDY – A 24H PERFORMANCE PONEDELJAK / MONDAY 25.09. Otvaranje i interaktivna prezentacija Bitef polifonija / TROGLASNE INVENCIJE BITEF POLIFONIJE / Ustanova kulture „Parobrod“ / 12:00 Bitef Polyphony Opening and interactive presentation Cultural Institution “Parobrod” THREE-PART INVENTIONS OF BITEF POLYPHONY Centar za kulturnu Bitef polifonija / Predstava MALA ŽURKA PROPUŠTENOG PLESA / dekontaminaciju -
PUBLIC THEATRE's SOCIAL ROLE and ITS Audiencea
ТEME, г. XLV, бр. 1, јануар − март 2021, стр. 213−229 Оригинални научни рад https://doi.org/10.22190/TEME190702012M Примљено: 2. 7. 2019. UDK 792: 316.4.062 Ревидирана верзија: 17. 11. 2021. Одобрено за штампу: 26. 2. 2021. PUBLIC THEATRE’S SOCIAL ROLE AND ITS AUDIENCEa Ksenija Marković Božović* University of Arts in Belgrade, Faculty of Dramatic Arts, Belgrade, Serbia Abstract Today, public theatre is directed toward adapting to its contemporary socio- economic context. In doing this, it is trying to preserve its artistic values and at the same time fulfill and diversify its social functions and missions. When we talk about public theatre’s social function, i.e. the public value it produces, some of the main issues concern its contribution to the most pressing social matters. In general, these issues concern public theatre’s role in strengthening social cohesion, cultural emancipation and social inclusion, its role in the process of opening dialogues, revising formal history and re-examining traditional forms of thinking. Fulfilment of these functions is strongly linked with the character of public theatre’s audiences. In more practical terms, the scope of public theatre’s social influence is dependent on how homogenous its audiences are. If one considers artistic organizations’ need for sustainability as a key factor in their need for constantly widening their audience, and particularly the inclusion of “others” (those not belonging to the dominant cultural group), in the context of contemporary society’s need for social and cultural inclusion, then the task of today’s public theatres becomes rather difficult. Simply said, there are too many needs to be met at the same time. -
Milena Marković the DRAGONSLAYERS Directed by Iva
Milena Marković THE DRAGONSLAYERS Directed by Iva Milošević Set Designer Gorčin Stojanović Costume Designer Maja Mirković Choreography Boris Čakširan Composer and Music Performer Vladimir Pejković Speech Ljiljana Mrkić Popović CAST NIKOLA RAKOČEVIĆ MIRJANA KARANOVIĆ RADOVAN VUJOVIĆ SRDJAN TIMAROV DUBRAVKA KOVJANIĆ MILAN MARIĆ JOVANA GAVRILOVIĆ Production Manager Vladimir Perišić / Janko Dimitrijević Stage Manager Dušan Milosavljević Prompter Dušan Pavlović Assistant Director Ana Vučelić Assistant Set Designer Ivana Krnjić Assistant Costume Designer Sonja Mrkobrada Sound Technician Aleksandar Major Lighting Technician Svetislav Calić / Dejan Draganov Premiere at Ljuba Tadić Stage of Yugoslav Drama Theatre on Saturday June 7th 2014. Duration: 2hrs, no intermission. 1 THE DRAGONSLAYERS Written by Milena Marković and directed by Iva Milošević, the play Dragonslayers deals with the subject of Sarajevo Assassination, the real beginning of the 20th century. A seventeen-year-old-boy with a gun, a would-be poet whose name – Gavrilo Princip – represents a historical symbol and a frequent subject of dispute, is presented as the protagonist, together with his compatriots and rebels in fight for freedom, usually named as Mlada Bosna. The piece is written as a “heroic cabaret”, in a form of an ironic history lesson, and tells the known story of the assassination using bustling poetic language to express the key demand – the demand for freedom. It is not a historical play, but a contemporary piece which examines the position of today’s young man and his need to express the demand – to be free. Iva Milošević: ‘The key point of this play is that it glorifies the freedom-loving spirit. Milena starts from the assumption that her heroes were fighters for freedom who sacrificed themselves for wellbeing of others in profound and sincere faith. -
Etnoantropoloski Problemi 2017-02.Indd
UDK: 159.953 S A 792:316.7 DOI 10.21301/.122.13 Milena Dragićević Šešić Faculty of Drama Arts, University of Arts, Belgrade, Serbia [email protected] Milena Stefanović Faculty of Drama Arts, University of Arts, Belgrade, Serbia [email protected] Organizational trauma – Types of organizational forgetting in the case of Belgrade theaters Abstract: Organizational memory studies (OMS) frame memory in a managerial mode, treating it as a data storage, limiting the scope from wider field of social me- mory studies. There is a lack of understanding about how the process of institutional forgetting works and how some memories stay a part of oral narratives and commu- nicative social memory while they are omitted from the official memory represented by the official documents and events of remembering. Inspired by Paul Connerton’s article on the typology of forgetting we explore his typology in selected case studies of three public theaters located in Belgrade, focusing on remembering policy and practices investigating if a type of forgetting typical for a state/society/nation level is possible to be applied in the context of a cultural organization. We agree with Wessel and Moulds that developing common language and terminology would be important and beneficial for cross disciplinary dialogue. In this sense, the study shows how the typology of for- getting in societies can be applied and developed in the organizational memory studies and cultural management. The focus of the research is the dynamics of remembering and forgetting explored through analysis of the interaction between changing context, official institutional memories, and social communicative memories. -
Disillusioned Serbians Head for China's Promised Land
Serbians now live and work in China, mostly in large cities like Beijing andShanghai(pictured). cities like inlarge inChina,mostly andwork live Serbians now 1,000 thataround andsomeSerbianmedia suggest by manyexpats offered Unofficial numbers +381 11 4030 306 114030 +381 Belgrade in Concern Sparks Boom Estate Real Page 7 Issue No. No. Issue [email protected] 260 Friday, October 12 - Thursday, October 25,2018 October 12-Thursday, October Friday, Photo: Pixabay/shanghaibowen Photo: Skilled, adventurous young Serbians young adventurous Skilled, China – lured by the attractive wages wages attractive the by –lured China enough money for a decent life? She She life? adecent for money enough earning of incapable she was herself: adds. she reality,” of colour the got BIRN. told Education, Physical and Sports of ulty Fac Belgrade’s a MAfrom holds who Sparovic, didn’t,” they –but world real the change glasses would rose-tinted my thought and inlove Ifell then But out. tryit to abroad going Serbia and emigrate. to plan her about forget her made almost things These two liked. A Ivana Ivana Sparovic soon started questioning questioning soonstarted Sparovic glasses the –but remained “The love leaving about thought long “I had PROMISED LAND PROMISED SERBIANS HEAD HEAD SERBIANS NIKOLIC are increasingly going to work in in towork going increasingly are place apretty just than more Ljubljana: Page 10 offered in Asia’s economic giant. economic Asia’s in offered DISILLUSIONED love and had a job she ajobshe had and love in madly was She thing. every had she vinced con was Ana Sparovic 26-year-old point, t one FOR CHINA’S CHINA’S FOR - - - BELGRADE INSIGHT IS PUBLISHED BY INSIGHTISPUBLISHED BELGRADE for China. -
Centar Za Ženske Studije Zagreb Jednosemestralni
CENTAR ZA ŽENSKE STUDIJE ZAGREB JEDNOSEMESTRALNI ŽENSKOSTUDIJSKI OBRAZOVNI PROGRAM 2020. Uvod u feminističku epistemologiju, Žene i socijalna država terminologiju i ženske studije Danijela Dolenec Josipa Lulić Toni Prug Biljana Kašić Petra Rodik Nina Čolović Suzana Kunac Maja Solar Nivedita Majumdar Socioekonomski kontekst suvremenih feminističkih borbi Analitički fokusi feminističkih struja i pravaca Mislav Žitko Ankica Čakardić Jelena Ostojić Biljana Kašić Ana Vilenica Mario Kikaš Karolina Leaković Mia Gonan Toni Prug Lilijana Burcar Nina Čolović Lezbijski studiji Tihana Pupovac Sanja Juras Roberta Nikšić Leonida Kovač Lepa Mlađenović Historija feminizma – lokalno i regionalno u Jelena Miloš globalnom kontekstu Sandra Prlenda Queer studiji Renata Jambrešić Kirin Lina Gonan Chiara Bonfiglioli Natalija Iva Stepanović Maja Solar Nina Čolović Tihana Pupovac Dušan Maljković Reprodukcija, tijelo i režimi patrijarhata Feministička optika kulturno-umjetničkih Lilijana Burcar praksi Ana Vilenica Lea Horvat Jasmina Husanović Josipa Lulić Mia Gonan Sanja Iveković Marta Baradić Sanja Horvatinčić Luka Matić Nikolina Pristaš Vesna Vuković Feministička kritika nasilja Leonida Kovač Valentina Andrašek Katja Praznik Maja Solar Marijana Senjak Feministička kritika nacionalne države i Ivana Radačić kapitalizma Bojana Ivanišević Mario Kikaš Miloš Urošević Maja Gergorić Ivan Tranfić Goran Pavlić Luka Matić Uvod u feminističku epistemologiju, terminologiju i ženske studije Feministički kolektiv: teorija u praksi (radionica) Josipa Lulić Sažetak Ideja superžene koja je osnažena dovoljno da joj ne treba nitko poruka je internalizirane kapitalističke ideologije. Dapače, radi se o kamenu temeljcu na kojemu sustav počiva. U tom je pak slučaju gradnja kolektiva kamen temeljac otpora. Pitanje organizacije i uloge kolektiva javlja se i u raspravama oko političkog organiziranja u feminističkim krugovima, gdje se ponekad javlja rascjep teorije i prakse: naime, puno je lakše govoriti o kolektivu u teoriji nego raditi na praksama koje bi omogućile da kolektiv zaista funkcionira. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Cinematic Representations of Nationalist-Religious Ideology in Serbian Films during the 1990s Milja Radovic Doctor of Philosophy The University of Edinburgh March 2009 THESIS DECLARATION FORM This thesis is being submitted for the degree of PhD, at the University of Edinburgh. I hereby certify that this PhD thesis is my own work and I am responsible for its contents. I confirm that this work has not previously been submitted for any other degree. This thesis is the result of my own independent research, except where stated. Other sources used are properly acknowledged. Milja Radovic March 2009, Edinburgh Abstract of the Thesis This thesis is a critical exploration of Serbian film during the 1990s and its potential to provide a critique of the regime of Slobodan Milosevic. -
University of Arts in Belgrade
UNIVERSITY OF ARTS IN BELGRADE UNIVERSITÉ LYON 2 Interdisciplinary Postgraduate Studies UNESCO chair for Cultural Management and Cultural Policy in the Balkans Master thesis: IDENTIFYING AND CREATING THE IDENTITY OF BELGRADE By: Bojana Bursać Supervisor: Prof. Divna Vuksanović, PhD Belgrade, July 2006 Acknowledgement Without help, support, and encouragement from several persons, I would never have been able to finish this work. It is a pleasure that I have now the opportunity to express my gratitude for those that helped me. Foremost, I would like to express my deep and sincere gratitude to my supervisor Professor Divna Vuksanović, Ph.D. for her help, support and constant encouragement during planning and accomplishment of the research and the thesis writing. I wish to express my thanks to Professor Milena Dragićević- Šešić, Ph.D. and Professor Vesna Đukić-Dojčinović who gave me valuable help during my work. In addition, special thanks to the French Cultural Centre for giving me the opportunity to experience the manifestation European capital of culture- Lille 2004, during my internship in Conseil régional Nord-Pas-de-Calais, where I have developed my initial idea for the thesis. I am very grateful to all my interviewees and interviewers who have devoted their time and effort for this research. Last, but not least, I thank my family, boyfriend and friends for their never ending understanding, patience and support. 2 Abstract The present time, popularly known as the “century of city”, demands a detailed definition of a city’s identity and promotion of its brand in order to provide differentiation from other similarly defined places, as well as to defend its own identity from the possible negative effects of branding. -
Art and Culture, an Investment for Serbia's
Cultural Policy Peer Review of Serbia Report of the Council of Europe Experts1 ART AND CULTURE, AN INVESTMENT FOR SERBIA’S FUTURE Rapporteur: Philippe KERN 26 August 20152 Experts: Kimmo Aulake – Ministerial advisor, Ministry of Education and Culture, Finland Philippe Kern – Rapporteur, Managing Director of KEA European Affairs, Belgium Lars Seeberg – Independent artistic advisor, board member of the Royal Theatre, Denmark Council of Europe representative: Kathrin Merkle – Head of Culture and Democracy Division 1. General considerations 1.1. Essential facts Population: 7.1 million - Capital: Belgrade (population: 1.6 million) A parliamentary democracy 25 administrative regions, 167 municipalities Around 17,000 employees in the public culture sector – 76 work at the Ministry of Culture and Media 900 cultural events and festivals - mainly in the field of dance and folk music (strong tradition) 533 public cultural institutions - 400 civil society cultural organisations 1 The opinions expressed in this work are the responsibility of the independent experts who produced the report and do not necessarily reflect the official policy of the Council of Europe. 2 This is the second version of the expert report replacing the previous version from April 2015. 1 1.2. Introduction3 The Republic of Serbia is still confronted with the consequences of the devastation of the nineties and the difficulties of the present decade. Yet many of the surviving strengths of Serbian cultural life are derived from a long tradition of cultural investment. The country is still relying on infrastructure dating from the defunct Federal Socialist Republic of Yugoslavia, in which decentralisation and institutional self-government were key characteristics of cultural policy. -
The Housing Policies in Socialist Yugoslavia 287
2 Analize • For our comrade Ivan Radenković Publisher: Center CZKD - Center for Cultural Decontamination Birčaninova 21, Belgrade For the publisher: Borka Pavićević Editors: Vida Knežević, Marko Miletić Technical editor: Anica Stojanović Introduction: Vida Knežević and Marko Miletić Analyses: Domagoj Mihaljević, Artan Sadiku, Mario Reljanović, Borovo Group (Sven Cvek, Snježana Ivčić, Jasna Račić), Lidija K. Radojević and Ana Podvršič, Boris Postnikov, Iskra Krstić, Ivan Radenković and Maja Solar, Ivana Vaseva, Isidora Ilić and Boško Prostran (Doplgenger), Rade Pantić, Ines Tanović and Boriša Mraović (Crvena), Tanja Vukša and Vladimir Simović Research and art works: Borovo Group (Sven Cvek, Snježana Ivčić, Jasna Račić), Mario Reljanović, Srđan Kovačević, The Workers’ Video Club – Zrenjanin, Lidija Radojević and Ana Podvršič, Boris Postnikov, Vigan Nimani, Iskra Krstić, Irena Pejić, Milivoje Krivokapić (Culture Center Punkt), Milica Lupšor, Bojan Mrđenović, Filip Jovanovski, Contemporary Art Center of Montenegro (Nađa Baković), Doplgenger, Crvena, Majlinda Hoxha, Miloš Miletić and Mirjana Radovanović (KURS) Translation and proofreading: Novica Petrović, Andrew Hodges, Jelena Mandić, Elizabeta Bakovska, Iskra Krstić Design and layout: Andreja Mirić This publication is illustrated with details from exhibition visualizations by KURS (Miloš Miletić and Mirjana Radovanović) Printed by: Standard 2, Belgrade Print run: 600 We Have Built Cities for You On the contradictions of Yugoslav socialism Belgrade, 2018 6 Introduction: 11 ..... Vida Knežević and Marko Miletić, We Have Built Cities for You: On the Contradictions of Yugoslav Socialism Analyses: 29 ..... Domagoj Mihaljević, In search for the lost future 47 ..... Artan Sadiku, From the Core to the Periphery: On the Aesthetic Form of Workers 61 ..... Mario Reljanović, The normative position of trade unions and the ideals of selfmanagement 81 .... -
2020-01-02.Indd
Originalni naučni rad UDK 316.66-055.2(497.1)"1918/1939" Ana Rajković* Croatian Institute of History Department for the History of Slavonia, Srijem and Baranja THE POSITION OF FEMALE WORKERS IN YUGOSLAVIA BETWEEN THE TWO WORLD WARS A HISTORICAL PERSPECTIVE 1918 1939 Abstract: The position of female workers from the middle of the 19th century, when they took a more active role in the world of work, was marked with double oppression, both gender- and class-conditioned. After World War I there was a strong conviction that legal framework would be changed and that it would enable women to have an equal social and political status. Although this did not happen, women still participat- ed in the public domain. They were particularly active in the working sphere, which provided them with a more active social role, especially when it came to numerous strikes which were primarily a response to economic circumstances or demands for collective agreements and better working conditions. Within this context, the aim of the paper is to analyse the position of female workers in the Kingdom of Serbs, Croats and Slovenes, placing special emphasis on their social status and strikes as a means of gender and class emancipation. This analysis is conducted within the frameworks of microhistory and comparative history in order to create a thesis that women’s labour movement, influenced by communist ideas, was an important component of the Yugo- slav labour movement in the interwar years, and that it had an impact on the formation and strengthening of the class and gender awareness in Yugoslav female workers. -
Impact of COVID‐19 on the Cultural and Creative Sectors in the EU's
CULTURAL RELATIONS PLATFORM EUROPAID/140334/DH/SER/MULTI The Assessment of the Impact of COVID‐19 on the Cultural and Creative Sectors in the EU’s Partner Countries, Policy Responses and their Implications for International Cultural Relations Pierangelo Isernia and Alessandro Giovanni Lamonica (DISPOC, University of Siena) February 2021 This publication was produced with the financial support of the European Union. Its contents are the sole responsibility of the Cultural Relations Platform1 and do not necessarily reflect the views of the European Union. 1 This impact assessment and the mapping and analysis of policy responses have been conducted in the framework and on the request of the Cultural Relations Platform. We thank Sana Ouchtati and Jermina Stanojev, the consortium partners (Goethe‐Institut, IETM ‐ International network for contemporary performing arts, and ECF – the European Cultural Foundation), and Prof. Richard Higgott for their input during the different stages of preparation of this report. We also thank the team of regional experts who assisted us with the data collection and who offered their precious feedback regarding our analysis: Tetiana Biletska, Fatin Farhat, Pedro Affonso Ivo Franco, Moukhtar Kokache, Mourad Sakli, Milena Dragićević Šešić, Anupama Sekhar. Finally, we thank Federica Falchetti, Bomei Chen, Zeina Nasser and Alessandra Praticò of the University of Siena for their research assistance in the data collection process. 1 TABLE OF CONTENTS Executive summary .................................................................................................................................