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GAVELLA U PROLOGU Darko Gašparović
GAVELLA U PROLOGU Darko Gašparović 1. Prvi broj kazališnoga časopisa Prolog1 izašao je u travnju 1968., kad se bilo navršilo šest godina od smrti Branka Gavelle, redatelja i mislioca teatra koji je bitno obilježio razvoj hrvatskoga glumišta u razdoblju od 1920. pa sve do sedamdesetih godina 20. stoljeća. Donju granicu njegova ključnog utjecaja postavljamo na godine neposredno poslije Prvoga svjetskog rata. Pitanje je zašto, kad znamo da je svoju prvu režiju, tragediju Messin- ska vjerenica Friedricha Schillera, bio ostvario u Hrvatskome narodnom kazalištu 1914. godine.2 Zbog izbijanja Prvoga svjetskog rata, unovačenja i odlaska na galicijsko bojište, Gavella se u kazalište kao redatelj vratio tek u kasnu jesen 1917. kad postavlja komediju u tri čina Alfreda de Musseta 1 Izdavač je bio Sveučilišni odbor SSJ, a uredništvo su činili mahom dvadeseto godišnjaci, od najmlađega, brucoša filozofije i anglistike Slobodana Šnajdera, do najstarijega, redatelja Mire Međimorca s dvadeset pet godina. Osta- li su članovi uredništva bili kritičar i esejist Darko Gašparović, prozaik Drago Kekanović, publicist Vladimir Roksandić i student glume Ante Rumora (glavni urednik). 2 Premijera je bila 19. III. 1914., a do 28. IV. nanizale su se svega tri izvedbe. 321 Svijećnjak.3 Do tada je zagrebačkom scenom suvereno vladao Josip Bach, koji je režirao većinu predstava, ujedno obnašajući dužnost ravnatelja Drame. Otada pa sve do kraja godine 1924., kad odlazi u Beograd na mjesto ravnatelja i redatelja Drame Narodnoga pozorišta, Gavella se postupno nametnuo ključnom figurom hrvatske režije u tome razdoblju, uz već spomenutoga Bacha i Ivu Raića, koji je udario temelje modernoj režiji u Hrvatskoj postavkom Shakespeareova Koriolana 1909.4 To je doba kad još uvijek mladi predratni doktor bečke filozofije i kazališni kritičar u dnevniku na njemačkome jeziku Agramer Tagblatt koji se potpisivao šifrom – ll režira svoje prve značajne i stilski samosvojne predstave u zagrebačkome HNK-u, što će kulminaciju imati u suradnji s mladim dramatičarom Miroslavom Krležom. -
Redatelj Koji Vlada Scenom Branko Gavella I Modernizacija Slovenskog Kazališta
REDATELJ KOJI VLADA SCENOM BRANKO GAVELLA I MODERNIZACIJA SLOVENSKOG KAZALIŠTA Primož Jesenko Uloga Branka Gavelle (1885. – 1962.) na prostoru nekadašnje Jugo slavije, u Ljubljani, Zagrebu i u Beogradu, glavnim kazališnim središtima u tadašnjoj zajedničkoj državi, velika je, i bila je u zapisima Dušana Moravca i Filipa Kalana, Nikole Batušića i Georgija Para, već i znanstveno objašnjena. U godinama između 1920. i 1926., prijelaznim godinama između amaterskih nastojanja i umjetničkog kazališta, umjetnička razina slovenskog kazališta nije bila zavidna. Publika je tražila svoje i ako to nije dobila, u sve se većoj mjeri otuđivala, piše Moravec. Tako danas znamo da je Gavellin sistem režije bio ključan za idejno-estetsku i stilsku europeizaciju jugoslavenskog kazališta, za »prijelom iz romantičnog klasicizma u plemeniti realizam«.1 U Ljubljani je, u međuratnom razdoblju, utjecaj na stil slovenskog kazališta i njegov repertoar kao izvedbeni uzor imao Narodni divadlo iz Praga, a slabije su tragove ostavila kazališta iz 1 Lojze Filipič, Doktor Branko Gavella (Spominske reminiscence njegovega učenca). GL Drama SNG Ljubljana 1961/62, str. 3638. 384 prijestolnice zajedničke države ili iz Zagreba. U to je doba Gavella isprva bio gostujući redatelj u Narodnom gledališču u Ljubljani, zatim redovni član redateljskog zbora, a poslije oslobođenja nakratko i pedagog za režiju na ljubljanskoj Akademiji za igralsko umetnost (AIU). Odobrenje Ministarstva za prosvjetu u Beogradu 1930. godine, koje se odnosilo na Gavellino »povremeno« režiranje u Ljubljani, osigurao je dopis Otona Župančiča, ondašnjeg ravnatelja Drame i Opere Narodnog kazališta u Ljubljani. (Zbog šestojanuarske diktature 1929. Gavella napušta Beograd.) Razlog za Župančičev prijedlog bio je manjak redatelja u Narodnom kazalištu u Ljubljani, jednako kao i stagnirajući estetski monopol dotadašnjih nositelja dramske režije Osipa Šesta, Cirila Debevca ili Milana Skrbinšeka, što je dovelo do inflacije raznovrsnosti u repertoaru. -
An Early Concept of the Theatre of Interplay: the Relevance of Branko Gavella's Theory for the Development of Performance Phil
PERFORMANCE PHILOSOPHY AN EARLY CONCEPT OF THE THEATRE OF INTERPLAY: THE RELEVANCE OF BRANKO GAVELLA’S THEORY FOR THE DEVELOPMENT OF PERFORMANCE PHILOSOPHY1 SIBILA PETLEVSKI UNIVERSITY OF ZAGREB Branko Gavella (1885–1962), a well-known Croatian theatre director of late modernity, had a significant impact on ex-Yugoslav theatrical life. However, it is important to stress the fact that Gavella’s formative years were spent in Austro-Hungarian cultural milieu: he defended a doctoral thesis in the field of epistemology under the title Die Erkenntnistheoretische Bedeutung des Urteils [The Epistemological Significance of Judgment] in Vienna in the year 1908, then he started contributing theatre reviews to Agramer Tagblatt in 1910, and he put his first theatrical production—Schiller’s The Bride of Messina—on the stage of Croatian National Theatre in Zagreb, in the year of 1914. Gavella had conceived the conceptual gist of his theoretical work in the early thirties (see Gavella 1934a, 1934b, 1934c), and it is beyond any doubt that his anticipatory theoretical insights into the phenomenon of acting make him a pioneer in the modern, and to a certain anticipatory degree, in the postmodern field of performance philosophy. Upon thoroughly reading the available material—Gavella’s theoretical essays and fragments posthumously collected under the title Glumac i kazalište [Actor and Theatre]; exploring the wider context of his thought on theatre aesthetics as presented in the articles and pieces published in various periodicals and in his books Književnost i kazalište [Literature and Theatre] and Hrvatsko glumište [Croatian Stage]— we have for the first time extrapolated the theoretical and philosophical level of Gavella’s approach to theatre performance, publishing our findings in 2001. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI • University Microfilms International A Bell & Howell Information Company 3 0 0 North) Z e e b Road, Ann Arbor, Ml 4 8 1 0 6 -1 3 4 6 U SA 313/761-4700 800/521-0600 Order Number 9121692 Poetics andkultura: A study of contemporary Slovene and Croat puppetry Latchis-Silverthorne, Eugenie T., Ph.D. -
Knjizica HRV Kazalista07:CRO THEATRES Knjizica
THEATRES IN CROATIA Editorial Remains of the Roman theatre in Salona Croatia has a long-established and very rich theatrical tradition dating back to the The main intention of this publication is to provide both theatre professionals and medieval ages. Until the mid 19th century, several Adriatic towns √ Dubrovnik in par- other curious visitors with a brief insight into Croatian theatre venues, primarily into ticular √ were the focal points of Croatian theatrical life, which throughout history the historic and architectural features of the buildings, the history of the companies subsequently moved to Zagreb and to other towns in the continental parts of Croatia. and their esthetics and repertory profile. In addition to the venues mentioned in this The first theatre venues in today’s Croatia were built during the Roman period √ the publication, there are several venues that occasionally serve as theatres and also remains of a Classical theatre can be seen in ancient Salona near Split, and in Pula worth mentioning are various open air stages, particularly in Split and Dubrovnik, there are remains of a smaller Roman theatre, both dating from the 1st century. The which house environmental theatre performances during large summer festivals. first theatre venue in more recent history was built on the island of Hvar at the be- ginning of the 17th century. By that time, but also later, theatre plays were performed in various places, including on squares, at palaces and in public buildings such as ar- th th 2 senals and town halls. At the end of the 17 and beginning of the 18 century many 3 coastal towns, among them Dubrovnik, Split, Trogir and Zadar, received their perma- nent theatre premises, while the first venues equipped to serve as theatres were built in Zadar (1783) and Zagreb (1835). -
THE PERFORMING ARTS in CROATIA by Nataša Antulov
IETM MAPPING www.ietm.org THE PERFORMING ARTS IN CROATIA by Nataša Antulov Željko Zorica Šiš, “12 chairs”, 2013, photo: Tomislav Medak IETM - International network for contemporary performing arts February 2020 ISBN: 978-2-930897-43-1 IETM is supported by: The European Commission support for the production of this publication does not constitute an en- dorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsi ble for any use which may be made of the information contained therein. IETM MAPPING www.ietm.org The Performing Arts in Croatia IETM Mapping by Nataša Antulov Nataša Antulov is a resident dramaturge at the Croatian National Theatre “Ivan pl. Zajc” in Rijeka and an associate professor at the acting programme at the Academy of Applied Arts in Rijeka. She worked as a writer, director and dramaturge on numerous theatre and film projects. She is a member and co-founder of the inclusive performance group The Fifth Ensemble. Published by IETM - International network for contemporary performing arts, Brussels, February 2020 Editing and general coordination: Vassilka Shishkova, Elena Polivtseva, Ása Richardsdóttir (IETM) Graphic layout: Milton Pereira on a template by JosWorld This publication is distributed free of charge and follows the Creative Commons agreement Attribution-NonCommercial-NoDerivatives (CC BY-NC-ND). You are free to reuse and share this publication or parts of it as long as you mention the original source. This publication should be mentioned as follows: N. Antulov, ‘The Performing Arts in Croatia’, IETM, February 2020. Link: https://www.ietm.org/en/publications For further information please contact [email protected] The publishers have made every effort to secure permission to reproduce pictures protected by copyright. -
Explore the Most Beautiful Outdoor Farmers' Market
Powered by THURSDAY / 08 JUNE / 2017 | YEAR 2 | ISSUE 07 FREE COPY DOLAC Explore the most beautiful outdoor farmers’ market recommended by locals INSIDERS' TIPS FOR RESTAURANTS, MUSEUMS, BARS, NIGHT CLUBS... MARKO MIŠČEVIĆ/HANZAMARKO MEDIA discover your story at croatia.hr Don´t fill your life with days, fill your days with life. photo by zoran jelača CONTENTS ISSUE 07 l YEAR 2 l THURSDAY / 08 JUNE / 2017 06 IMPRESSUM PUBLISHER: 18 04 HANZA MEDIA d.o.o. Koranska 2, Zagreb events 18 DOLAC visit OIB: 791517545745 Dolac is Zagreb's central farmers' EDITOR-IN-CHIEF: 4 SUMMER AT THE MUSEUM 34 SLJEME Goran Ogurlić market, located between the church OF CONTERPORARY ART [email protected] of St. Mary and Kaptol. If you want The highest peak of Medvednica A very succesful combination of to get to know real Zagreb and Nature Park, rising over Zagreb at EDITOR: music, art and film for the first time itsinhabitants, you have to visit their 1033m Viktorija Macukić includes unique art performances market known for best homemade [email protected] 37 SECRET ADVENTURES produce 6 THIS WEEK HOT LIST CREATIVE DIRECTOR: Landed solar sistem Borna Križančić 20 FUN WITH KIDS Don't miss the chance to see pre- [email protected] war Zagreb fashion, music and Zagreb offers great variety of places explore GRAPHICS EDITORS: lifestyle in Maksimir park, take that children will enjoy Hrvoje Netopil i a walk down Kurelčeva, a wine 38 TRIP TO ISTRIA Žaneta Zjakić lover's street map Unique gourmet experience and TRANSLATION: Romana Pezić -
Amelia Jones, C.V
AMELIA G. JONES Professor and Grierson Chair in Visual Culture Department of Art History and Communication Studies McGill University 853 Sherbrooke Street West, Arts Building, room W285 Montreal, Quebec H3A 2T6 CANADA email: [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2014 (August)- UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and Design, Los Angeles. Professor and Robert A. Day Chair in Fine Arts. Vice Dean of Critical Studies. 2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS) Department. Professor and Grierson Chair in Visual Culture. 2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff). 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2007-2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1993-2003 Graduate Program Director for Art History. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice. VISITING PROFESSORSHIPS: Fall 2014-Spring 2016 MUSEUM OF FINE ARTS, HOUSTON, Core Residency Program, Visiting Professor. -
Ugodno Subotnje Poslijepodne Odlična Je Prilika Za Šetnju Zagreba
ŠETNJA ZAGREBAČKIM SUNČEVIM SUSTAVOM Ana Pugar, Zagreb godno subotnje poslijepodne odlična je prilika za šetnju zagreba- Učkim ulicama i razgledavanje zagrebačkih znamenitosti. Znate li da su na ulicama Zagreba postavljeni Sunce i planeti Sunčevog sustava, a potraga atka 22 (2013./2014.) br. 86 22 (2013./2014.) br. atka za njima izvrsna je ideja za tematsku šetnju i obilazak grada. Izađite iz svoje kuće, postanite gradski astronauti i krenite u pustolovinu. Potražite sve planete i obogatite se za jedno veselo, zanimljivo i poučno iskustvo. Sunce se u Zagrebu prizemljilo” 1971. godine zaslugom akademskog ki- “ para Ivana Kožarića. Velika pozlaćena kugla promjera dva metra tada je po- stavljena na pješačkom trokutu ispred zgrade Hrvatskog narodnog kazališta. Ipak, Sunce se tamo nije dugo zadržalo, šetalo se zagrebačkim ulicama sve dok se 23 godine kasnije nije odlučilo trajno nastaniti na špici”, u Bogovićevoj “ ulici. Prizemljeno Sunce umjetnička je instalacija koja je postala jedno od pre- poznatljivih obilježja Donjeg grada. Zadatak 1. Izračunaj oplošje i volumen Prizemljenog Sunca. Planeti Sunčevog sustava pridružili su se Suncu točno jedno desetljeće nakon što je Sunce postavljeno u Bogovićevoj uliuci. Konceptualni umjetnik Davor Preis širom Zagreba postavio je modele planeta Sunčeva sustava i time ih prizemljio. Javnost je s njegovim projektom upoznata u Modernoj galeriji – Studiju Josip Račić” na izložbi naziva Nine views” ( Devet pogleda”). “ “ “ Zadatak 2. Od koje je godine Prizemljeno Sunce u Bogovićevoj ulici? Koje su godine prizemljeni” planeti Sunčeva sustava? “ Modeli planeta Sunčevog sustava čelične su kugle postavljene na metalnu pločicu na kojoj piše ime prikazanog planeta na engleskom jeziku te podatci o promjeru planeta i udaljenosti od Sunca. -
AMELIA G. JONES Robert A
Last updated 4-15-16 AMELIA G. JONES Robert A. Day Professor of Art & Design Vice Dean of Critical Studies Roski School of Art and Design University of Southern California 850 West 37th Street, Watt Hall 117B Los Angeles, CA 90089 USA m: 213-393-0545 [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2014-present UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and Design, Los Angeles. Robert A. Day Professor of Art & Design and Vice Dean of Critical Studies. 2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS) Department. Professor and Grierson Chair in Visual Culture. 2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff). 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2007-2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1993-2003 Graduate Program Director for Art History. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice. -
Performance Interventions Titles Include
Performance Interventions Series Editors: Elaine Aston, University of Lancaster, and Bryan Reynolds, University of California, Irvine Performance Interventions is a series of monographs and essay collections on the- atre, performance, and visual culture that share an underlying commitment to the radical and political potential of the arts in our contemporary moment, or give consideration to performance and to visual culture from the past deemed cru- cial to a social and political present. Performance Interventions moves transversally across artistic and ideological boundaries to publish work that promotes dialogue between practitioners and academics, and interactions between performance communities, educational institutions, and academic disciplines. Titles include: Alan Ackerman and Martin Puchner (editors) AGAINST THEATRE Creative Destructions on the Modernist Stage Elaine Aston and Geraldine Harris (editors) FEMINIST FUTURES? Theatre, Performance, Theory Maaike Bleeker VISUALITY IN THE THEATRE The Locus of Looking James Frieze NAMING THEATRE Demonstrative Diagnosis in Performance Lynette Goddard STAGING BLACK FEMINISMS Identity, Politics, Performance Alison Forsyth and Chris Megson (editors) GET REAL: DOCUMENTARY THEATRE PAST AND PRESENT Leslie Hill and Helen Paris (editors) PERFORMANCE AND PLACE D.J. Hopkins, Shelley Orr and Kim Solga PERFORMANCE AND THE CITY Amelia Howe Kritzer POLITICAL THEATRE IN POST-THATCHER BRITAIN New Writing: 1995–2005 Jon McKenzie, Heike Roms and C. J. W.-L. Wee (editors) CONTESTING PERFORMANCE Global Sites of Research Melissa Sihra (editor) WOMEN IN IRISH DRAMA A Century of Authorship and Representation Performance Interventions Series Standing Order ISBN 978–1–4039–4443–6 Hardback 978–1–4039–4444–3 Paperback (outside North America only) You can receive future titles in this series as they are published by placing a stand- ing order. -
Zagreb's New Zing
48 hours Locals stroll down café-lined Tkalc˘ic´eva Street in the heart of Zagreb’s Upper Town. Zagreb’s New Zing THE CREATIVE CLASS RISES IN CROATIA’S CAPITAL CITY By ANJA MUTIC´ ROATIA’S SUN-KISSED Adriatic DAY ONE built as protection from the Turks; today coast, with 1,185 islands, steals the MORNING Hilltop highlights it o!ers a 360-degree view of the red-tiled spotlight from its urban center. Zagreb’s heart and soul is Trg Bana Jelac˘ic´a rooftops below. At noon, brace yourself for a But the capital of the European in the Lower Town, an expansive square cannon blast, by which locals have set their Union’s youngest member state lined with Habsburg-era buildings and a watches since 1877. Steps away, the Museum (as of July) is on the upswing with bronze statue of the 19th-century ruler who of Broken Relationships, founded by a for- Ca creative art boom and a culinary awaken- symbolizes Croatia’s struggle for indepen- mer romantic couple, pays homage to failed ing. Those who visit find a fresh mix of old dence. The square is the major streetcar relationships with a poignant collection of and new Europe. “Zagreb is a traditional intersection and the city’s social center, quirky mementos—from handcu!s to rub- Mitteleuropa city packed with well-worn where locals meet up and lounge in side- ber shoes—donated from around the globe. charm,” says Lana Cavar, one of Croatia’s walk cafés. Wind through its flower stands Pick up the best-selling Bad Memories prominent graphic designers, who splits and climb the stairs to Dolac in Upper Eraser at the museum shop.