P.1.1 Publikacija Un

UNIVERZITET UMETNOSTI U BEOGRADU UNIVERSITY OF THE ARTS IN BELGRADE

2007 BEOGRAD BELGRADE UREDNICI | Andrija \uki}, Svetozar Rapaji}, Stjepan Fileki

SARADNICI | Bojana Buri}, dr Zoran Gavri}, dr Sowa Marinkovi}

FOTOGRAFIJE | Dragan Mirkovi}, Miroslav Joli} (str. 4, 5)

LIKOVNI UREDNIK | Danijela Paracki

PREVOD NA ENGLESKI | Ksenija Todorovi}

LEKTOR | Biqana Spremo Popovi}

[TAMPA | TK MONT d.o.o., Beograd

TIRA@ | 500 primeraka

OVA PUBLIKACIJA SE IZDAJE POVODOM PROSLAVE 50 GODINA UNIVERZITETA UMETNOSTI U BEOGRADU

THIS PUBLICATION IS PRINTED ON THE OCCASION OF THE FIFTIETH ANNIVERSARY OF THE UNIVERSITY OF THE ARTS IN BELGRADE SADR@AJ

Gaudeamus | 05 CONTENTS Prvi univerziteti u Evropi Iz istorije kulture moderne Srbije | 06 Za{to slavimo 50 godina 05 | Gaudeamus Univerziteta umetnosti u Beogradu? | 16 07 | First Universities in Europe Od po~etaka umetni~kog obrazovawa u Srbiji From the Cultural History of Modern Serbia do Univerziteta umetnosti | 24 17 | Why do we Celebrate Fifty Years Interdisciplinarne studije of the University of the Arts in Belgrade? Univerziteta umetnosti u Beogradu | 36 25 | From the Beginnings of Art Education in Serbia Rektori i prorektori Univerziteta umetnosti | 46 to the University of the Arts Kontakti | 58 37 | Interdisciplinary Studies 47 | Rectors and Vice-Rectors of the University of the Arts in Belgrade 59 | Contacts

UNIVERZITET UMETNOSTI U BEOGRADU

PRVI UNIVERZITETI U EVROPI

IZ ISTORIJE KULTURE MODERNE SRBIJE UNIVERSITY OF THE ARTS IN BELGRADE

FIRST UNIVERSITIES IN EUROPE

FROM THE CULTURAL HISTORY OF MODERN SERBIA 1303. osnovan Univerzitet u Rimu. 1346. osnovan Univerzitet u Pragu. 1365. osnovan Univerzitet u Be~u. 1383. osnovan Univerzitet u Krakovu. 1388. osnovan Univerzitet u Kelnu. 1476. osnovan Univerzitet u Majncu.

IZ ISTORIJE KULTURE MODERNE SRBIJE PRVI UNIVERZITETI U EVROPI 1806. Oslobo|ewe Beograda od Turaka. 1808. Ugledni prosvetiteq i pisac Dositej Obradovi}, 1055. prvi profesor u Bolowi zvao se Pepo, predavao je osniva Veliku {kolu. pravo. 1811. Dositej Obradovi} postaje prvi srpski pope~iteq 1088. osnovan je Univerzitet u Bolowi. prosve{tenija (Ministar prosvete). 1206. osnovan Univerzitet u Parizu. 1814. Vuk Karaxi}, prosvetiteq i reformator srpskog 1209. osnovan Univerzitet u Oksfordu. jezika, zapo~eo je objavqivawem Male prostonarod- 1218. osnovan Univerzitet u Monpelijeu, Salamanki, ne slavenoserpske pjesmarice borbu za narodni jezik. Kembrixu. 1826. Osnovana Matica srpska. 1220. u Bolowi je postojala umetni~ka {kola: u~ila se 1832. Osnovana Novozavedena bibilioteka varo{i beo- gramatika, logika, retorika, psihologija, osnove gradske, danas Narodna biblioteka Srbije. umetnosti (epistolary arts). 1835. Joakim Vuji} osniva Kwa`evsko serpsko pozori{te 1222. osnovan Univerzitet u Padovi. u Kragujevcu.

08 UNIVERZITET UMETNOSTI U BEOGRADU 1346. Founding of the University in Prague. 1365. Founding of the University in Vienna. 1383. Founding of the University in Krakow. 1388. Founding of the University in Cologne. 1476. Founding of the University in Mainz.

FROM THE CULTURAL HISTORY OF MODERN SERBIA

FIRST UNIVERSITIES 1806. Liberation of Belgrade from the Ottoman rule. IN EUROPE 1808. The first Serbian Minister of Education, the renowned educationist and writer, Dositej Obradovi}, founds 1055. The first professor in Bologna was called Peppo; he the Belgrade College. taught law. 1814. Vuk Karad`i}, educationist and reformer of the Ser- 1088. Founding of the University in Bologna. bian language, begins his struggle for the vernacular 1206. Founding of the University in Paris. language by publishing his Little Collection of 1209. Founding of the University in Oxford. Slavic–Serbian Folk Songs and Poems. 1218. Founding of universities in Montpellier, Salamanca. 1826. Founding of the Matica srpska in Novi Sad. Cambridge. 1832. Founding of the Newly Established Library of the City of 1220. There was an art school in Bologna – subjects taught: Belgrade, the present day National Library of Serbia. grammar, logic, rhetoric, psychology, epistolary arts. 1835. In Kragujevac, Joakim Vuji} opens the Theatre of the 1222. Founding of the University in Padua. Prince of Serbia. 1303. Founding of the University in Rome. 1836. Building of the first hospital in Belgrade.

UNIVERSITY OF THE ARTS IN BELGRADE 09 1844. Knez Aleksandar Kara|or|evi} objavio odluku o ~uvawu starina, zamkova, gradova, ru{evina. 1844. Prvi put klasifikovani i opisani predmeti u zbirkama Srpskonarodnog muzeuma (danas Narodni muzej u Beogradu). 1844. Srpski dràvnik Ilija Gara{anin sa~inio prvi ju`noslovenski nacionalni program: Na~ertanije. 1844. Zabrana pu{ewa na javnim mestima u Srbiji. 1847. Gorski vijenac Petra Petrovi}a Wego{a, Pesme Branka Radi~evi}a, prevod Novog zavjeta Vuka Ka- raxi}a i Rat za srpski jezik i pravopis \ure Da- ni~i}a obeleàvaju uspeh reforme jezika i kwièvnosti. Teatar na \umruku, 1841. 1848. Podiè se prva dvospratnica u Beogradu. First Serbian professional theatre – Teatar na \umruku, 1841. 1858. Slikarska i crta~ka {kola Steve Todorovi}a, u kojoj se predavala i muzika, pevawe, telesno ve`- 1836. Podignuta prva srpska bolnica u Beogradu. bawe i ma~evawe. 1837. Telegraf u Srbiji. 1861. Osnovano Srpsko narodno pozori{te u Novom Sadu. 1839. Osnovana prva gimnazija u Beogradu. 1861. Prvi balovi u Beogradu. 1839. Osnovana op{tina grada Beograda. 1868. Osnovano Narodno pozori{te u Beogradu. 1841. Po~iwe rad Teatar na \umruku, prvo srpsko pro- 1868. Reformisani pravopis Vuka Karaxi}a postaje zva- fesionalno pozori{te. ni~no pismo u Srbiji. 1842. Osnovano Dru{tvo srpske slovesnosti (budu}a Srp- 1869. Po~iwe rad {kola glume i reìje Alekse Ba~van- ska akademija nauka i umetnosti). skog pri Narodnom pozori{tu u Beogradu.

10 UNIVERZITET UMETNOSTI U BEOGRADU ^lanovi SNP-a sa direktorom Jovanom \or|evi}em 1864. Members of the Serbian National Theatre with Director Jovan Ðor|evi}, 1864 Zgrada Narodnog pozori{ta, 1869. The National Theatre, 1869 1837. Telegraph lines in Serbia. 1839. Opening of the first high school in Belgrade. 1839. Inauguration of the Municipality of Belgrade. 1844. The first classification and description of objects 1841. Opening of the first Serbian professional theatre – kept in the collections of the Serbian National Museum Teatar na \umruku. (presently the National Museum in Belgrade). 1842. Founding of the Serbian Learned Society (future Serbian 1844. Serbian statesman Ilija Gara{anin composes the first Academy of Sciences and Arts). South Slavic national programme – Na~ertanije. 1844. Prince Aleksandar Kara|or|evi} announces the De- 1844. Smoking prohibited in public places in Serbia. cision on preservation of old monuments, castles, 1847. The Mountain Wreath by Petar Petrovi} Njego{, Col- towns and ruins. lected Poems by Branko Radi~evi}, the translation of

UNIVERSITY OF THE ARTS IN BELGRADE 11 1882. Srbija postaje Kraqevina. 1899. Osnovana Muzi~ka {kola »Mokrawac«. 1882. Uvedeno obavezno osnovno {kolovawe u Srbiji. 1904. Osnovan dnevni list Politika. 1884. Otvorena prva èlezni~ka linija Beograd–Ni{. 1904. Snimqen prvi dokumentarni film Krunisawe 1891. Prve sijalice zasijale u Beogradu. kraqa Petra Mjuir-Vilsona. 1892. Osnovana Srpska kwièvna zadruga. 1905. Osnovan Univerzitet u Beogradu, kao naslednik 1895. Osnovana Srpska crta~ka i slikarska {kola u ranijeg Liceja i Velike {kole. Beogradu. 1905. Otvorena ènska gimnazija u Beogradu. 1896. Prva javna projekcija filma u Beogradu u kafani 1905. Po~ela sa radom Umetni~ko-zanatlijska {kola u Zlatni krst na Terazijama. Beogradu. 1911. Snimqen prvi srpski igrani film @ivot i delo Kadrovi iz filma »Krunisawe kraqa Petra« 1904. besmrtnog vo`da Kara|or|a u reìji ~i~a-Ilije Shots from the film »Coronation of King Petar« 1904 Stanojevi}a.

12 UNIVERZITET UMETNOSTI U BEOGRADU the New Testament by Vuk Karadì} and \ura Dani~i}’s Struggle for the Serbian Language and Orthography mark the reform of language and literature. 1848. The first two-storey house built in Belgrade. 1858. Steva Todorovi} opens the School of Painting and Drawing, with subjects like music, singing, gymnastics and fencing. 1861. Founding of the Serbian National Theatre in Novi Sad. 1861. First grand balls in Belgrade. 1868. Founding of the National Theatre in Belgrade. 1868. Orthography reformed by Vuk Karadì} becomes the Stevan Hristi} – osniva~ Beogradske filharmonije, official script in Serbia. rektor Muzi~ke akademije i Ilija Stanojevi} – reìser 1869. Aleksa Ba~vanski’s School of Acting and Directing starts prvog srpskog igranog filma its programme in the National Theatre in Belgrade. Stevan Hristi} – the founder of the Belgrade Philharmonic, 1882. Serbia is proclaimed Kingdom. Rector of the Music Academy and Ilija Stanojevi} – director of 1882. Elementary schooling becomes obligatory. the first Serbian feature film 1884. Opening of the first railway line between Belgrade and Ni{. 1899. Founding of the Music School »Mokranjac«. 1891. The first electric light bulbs installed in Belgrade. 1904. Founding of the daily newspaper Politika. 1892. Founding of the Serbian Literary Cooperative. 1904. The first documentary film shot by Muir–Wilson at 1895. Serbian School of Drawing and Painting opened in the Coronation of King Petar. Belgrade. 1905. Founding of the University of Belgrade, the institution 1896. The first public film projection in Belgrade in the which grew out of Belgrade Lyceum and College. tavern called Golden Cross at Terazije. 1905. High school for girls opens in Belgrade.

UNIVERSITY OF THE ARTS IN BELGRADE 13 1911. Narodna skup{tina donosi Zakon o Narodnom 1939. Demonstracija prvog televizijskog direktnog pre- pozori{tu. nosa na beogradskom Starom sajmi{tu. 1919. Osnivawe Opere Narodnog pozori{ta u Beogradu. 1943. Snimqen prvi srpski zvu~ni film Nevinost bez 1921. Po~iwe sa radom dr`avna Gluma~ko-baletska {ko- za{tite Dragoquba Aleksi}a. la u Beogradu. 1947. Osnovana Visoka filmska {kola. 1923. Osnivawe Beogradske filharmonije. 1948. Osnovane Akademija za pozori{nu umetnost i 1929. Osnovan Radio-Beograd. Akademija primewenih umetnosti. 1937. Osnovani Muzi~ka akademija, Umetni~ka akade- 1957. Dotada{we samostalne akademije udru`uju se u mija (budu}a Akademija likovnih umetnosti) i Umetni~ku akademiju (kasnije Univerzitet umet- [kola za primewenu umetnost. nosti), kao zajednicu umetni~kih visokih {kola.

14 UNIVERZITET UMETNOSTI U BEOGRADU 1905. The Arts and Crafts School begins its first academic 1937. Founding of the Music Academy, Art Academy (future year in Belgrade. Academy of Fine Arts) and School for Applied Arts. 1911. Shooting of the first feature film – Life and Accomplish- 1939. Demonstration of the first live television transmissions ments of the Immortal Vozhd Kara|or|e – directed by at the Belgrade Fair Grounds. Ilija Stanojevi}. 1943. Shooting of the first Serbian sound film Unprotected 1911. People’s Assembly passes the law on National Theatre. Innocence by Dragoljub Aleksi}. 1919. Founding of the Opera in the National Theatre in 1947. Founding of the High School for Film. Belgrade. 1948. Founding of the Academy of Theatre Arts and Academy 1921. The state School for Acting and Ballet begins its first of Applied Arts. academic year in Belgrade. 1957. Former independent academies unite into Art Aca- 1923. Founding of Belgrade Philharmonic. demy (future University of the Arts) as an association 1929. Founding of Radio Belgrade. of higher education art schools.

UNIVERSITY OF THE ARTS IN BELGRADE 15 UNIVERZITET UMETNOSTI U BEOGRADU

ZA[TO SLAVIMO 50 GODINA UNIVERZITETA UMETNOSTI U BEOGRADU? UNIVERSITY OF THE ARTS IN BELGRADE

WHY DO WE CELEBRATE FIFTY YEARS OF THE UNIVERSITY OF THE ARTS IN BELGRADE? ^edomir VASI] rektor Univerziteta umetnosti u Beogradu

ko je umetni~ko obrazovawe sastavni deo svakog Aobrazovnog sistema, a wegov ciq {kolovawe umetnika kadrih da stvaraju, odràvaju i razvijaju kulturne potrebe u dru{tvu na dobrobit zajednice i svakog pojedinca ponaosob, onda je najvi{a du`nost i obaveza Univerzite- ta umetnosti, kao sredi{we ustanove najvi{eg umetni~- kog obrazovawa u Srbiji da doprinosi razvoju humanisti~ke svesti i umetni~kih sklonosti na{eg srpskog dru{tva. | Pedeset godina Univerziteta umetnosti ozna~ava wihovim stvarala~kim biografijama, milion puta, istovremeno 70 godina Fakulteta muzi~ke umetnosti, 70 pomnoèni sa brojem umetni~kih dela koja su nastala u godina Fakulteta likovnih umetnosti, kao i 60 godina tom prose~nom qudskom veku. îwenica da su u tome, sa Fakulteta primewenih i Fakulteta dramskih umetno- ogromnim elanom u~estvovali, kao profesori ili kao sti. Ovi vremenski rasponi postaju hiqade puta uve}a- studenti, uvek najzna~ajnija umetni~ka imena Srbije i ni kada se pomnoè sa brojem zavr{enih studenata i negda{we Jugoslavije, govori da tih pedeset, {ezdeset

18 UNIVERZITET UMETNOSTI U BEOGRADU the Faculties of Applied and Dramatic Arts. These time inter- vals, comprehensible to man, grow by thousands when multiplied by the number of graduated students and their creative biographies, and by millions when multiplied by the number of artworks produced within an average lifespan. The fact that enthusiastic participants in this process, as professors or students, have always been the most important artistic personalities of Serbia and former Yugoslavia, confirms that those fifty, sixty or seventy years do not stand ^edomir VASI] for a period of survival, or endurance on the margin or in Rector of the University of the Arts in Belgrade the cool shade of social reality, whatever it may have been, but indicate the period of an active creation of values and f artistic education is a constitutive element of each paving of new roads towards a more humane and dignified Ieducational system and if its goal is the schooling of artists community. In that way, the University of the Arts has capable of creating, sustaining and developing the cultural become the most important fount of artistic and creative needs of a society for the benefit of the community and forces in Serbian culture and art. every individual, then the ultimate duty and mission of the | The successful activity and the accomplishments of University of the Arts, as the central institution of the highest the University of the Arts achieved during the fifty years of artistic education in Serbia is to contribute to the develop- its existence, both locally and on an international level, give ment of a humanistic mind and artistic tendencies of our this institution the right, but also impose the obligation to (Serbian) society. continue and expand its role as a significant agent in con- | The fifty years of the University of the Arts mark at temporary civilization, to train the artistic potential of Serbia, the same time seventy years of the Faculty of Musical Arts, and persistently raise the cultural and educational level of seventy years of the Faculty of Fine Arts and sixty years of the community.

UNIVERSITY OF THE ARTS IN BELGRADE 19 me|unarodnom planu, daju ovoj ustanovi pravo, ali name}u i obavezu da nastavi i {iri svoju ulogu priprema- wa umetni~kog potencijala Srbije i stalno podiè kulturni i obrazovni nivo zajednice, ukoliko ona èli da igra zna~ajnu ulogu u savremenoj civilizaciji. | Imaju}i pred sobom krajwi, elitni i univerzalni ciq svakog umetni~kog obrazovawa, od posebne va`nosti u na{em dru{tvu, Univerzitet umetnosti stremi najvi- {im standardima umetni~kog {kolovawa i priprema budu}e umetnike da deluju u svakoj umetni~koj sferi, u Velika plaketa Univerziteta umetnosti u Beogradu bilo kom delu sveta. U saradwi sa sli~nim evropskim (rad vajara prof. Vojina Stoji}a) ustanovama, Univerzitet umetnosti proverava sopstvena The Big Plaque of the University of the Arts iskustva kako bi svojim polaznicima pruìo najboqa (work of Prof. Vojin Stoji}, sculptor) znawa i modele. Brojna visoka, ~esto najvi{a priznawa na{im studentima, ali i nastavnicima, ste~ena tokom ili sedamdeset godina nije bilo samo puko preìvqava- ovih godina na mnogim meridijanima i u gotovo svim we ili ìvotarewe na rubu ili u hladovini dru{tvene umetni~kim oblastima koje se izu~avaju na na{im fa- stvarnosti koja god da je bila, nego aktivno stvarawe kultetima, govore da ti napori nisu uzaludni i da vrednosti i kr~ewe novih puteva ka humanijoj i pleme- obe}avaju daqu budu}nost srpskoj umetnosti i kulturi. nitijoj qudskoj zajednici. Tako je Univerzitet umetno- | Univerzitet umetnosti je tokom pedeset godina sti postao najve}i rasadnik umetni~kih i kreativnih doprinosio razvoju umetni~kog stvarawa i kulture ne snaga na poqu kulture i umetnosti Srbije. samo u Beogradu, nego i u drugim sredinama na{e sada{- | Uspe{an rad i rezultati Univerziteta umetnosti we i biv{e domovine. Osnivao je ili pomagao osnivawe ostvareni tokom pedeset godina postojawa, u zemqi i na ustanova visokog umetni~kog obrazovawa u Sarajevu, Pri-

20 UNIVERZITET UMETNOSTI U BEOGRADU | Considering the ultimate, exclusive and universal goal of each artistic education – and particularly significant in our society – the University of the Arts strives towards the highest standards of artistic schooling and prepare future artists to function in every sphere of art in any part of the world. Together with similar European institutions, the University of the Arts verifies its departures and performances in order to offer its students the best experience and example. Numerous important, frequently the most significant, recognitions awarded to our students, and professors, at many locations and in almost all walks of art studied at our Faculties, confirm that the efforts invested have not been futile and promise an equally prosperous future for Serbian art and culture. | In the past fifty years, the University of the Arts has given its contribution to the development of artistic creation and culture not only in Belgrade, but also in other parts of out present and former fatherland. It founded or helped the founding of art faculties in Sarajevo, Pri{tina, Novi Sad,

Rektorski lanac Univerziteta umetnosti u Beogradu (rad vajara prof. Vojina Stoji}a) The Rector's Chain of the University of the Arts in Belgrade (work of Prof. Vojin Stoji}, sculptor)

UNIVERSITY OF THE ARTS IN BELGRADE 21 {tini, Novom Sadu, Cetiwu, Bawa Luci, Ni{u i Kragu- stitucije umetni~kog obrazovawa Univerzitet umetno- jevcu. Uz dru{tvenu podr{ku Univerzitet umetnosti je sti, oslowen na najboqe, naravno pozitivne tradicije spreman da ulogu sredi{we ustanove najvi{eg umetni~- sopstvene prakse, vidi u fizi~kom i duhovnom okupqa- kog obrazovawa u regionu nosi i daqe, oslawaju}i se na wu i proìmawu svih umetni~kih disciplina, otvore- kreativne izvore svojih pro{lih, sada{wih i budu}ih nosti prema unutra{wem i me|unarodnom okruèwu, studenata u ~iju energiju i strast bezrezervno veruje. spremnosti da odgovori na izazove vremena. | Veru su imali na{i osniva~i pre pola veka kada | U svim vremenima, uglavnom te{kim, Univerzitet su Univerzitetu umetnosti (tada Umetni~koj akademiji) umetnosti u Beogradu poku{ava da sa~uva dragoceno jez- namenili ulogu obrazovnog Parnasa, proro~ki ose}aju}i gro umetni~kog stvarawa kao zalog svoga postojawa i kao budu}e sloène i isprepletane puteve umetni~kog stva- zavet prethodnika ~ije duhovno prisustvo uvek inspi- rawa i obrazovawa. Svoju ulogu aktuelne, savremene in- ri{e na daqe poduhvate i ostvarewa.

22 UNIVERZITET UMETNOSTI U BEOGRADU Cetinje, Banja Luka, Ni{ and Kragujevac. The University of University of the Arts sees its place of a contemporary, the Arts is ready and willing to continue, with institutional modern institution of artistic education in the physical and support, its central role in the university–level artistic edu- intellectual gathering and permeation of all artistic discip- cation of the whole region by drawing upon the creative lines, in an open attitude towards its internal and interna- forces of its former, present and future students in whose tional milieu, and its readiness to face the challenges of energy and passion it unconditionally believes. the moment. | The same belief was shared by our founders half a | At all times, mostly difficult or insufferable, the century ago, when they made the University of the Arts (Art University of the Arts in Belgrade has attempted to preserve Academy, then) the educational Parnassus and propheti- the precious core of artistic creation as the raison d’être of its cally sensed the complex and intertwined forthcoming paths existence and as the pledge of its founders whose spiritual of artistic creation and education. Having a firm foothold presence is a continuous inspiration for future tasks and in the best (positive) traditions of its own operation, the realizations.

UNIVERSITY OF THE ARTS IN BELGRADE 23 UNIVERZITET UMETNOSTI U BEOGRADU

OD PO^ETAKA UMETNI^KOG OBRAZOVAWA U SRBIJI DO UNIVERZITETA UMETNOSTI UNIVERSITY OF THE ARTS IN BELGRADE

FROM THE BEGINNINGS OF ART EDUCATION IN SERBIA TO THE UNIVERSITY OF THE ARTS akademske titule. Univerzitet umetnosti u Beogradu predstavqa redak primer uspe{nog kombinovawa oba pomenuta modela {kolovawa umetnika. | Univerzitet umetnosti u Beogradu objediwuje ~e- tiri umetni~ka fakulteta: Fakultet muzi~ke umetnosti, Fakultet likovnih umetnosti, Fakultet dramskih umetnosti i Fakultet primewenih umetnosti. Prva zajednica ovih institucija formirana je 10. juna 1957. godine kada je Narodna skup{tina Narodne Republike Srbije donela Zakon o umetni~koj akademiji kao zajedni- brazovawe umetnika oduvek je bilo predmet ras- ci dotada{wih samostalnih umetni~kih visokih {kola prave.O Postoje razli~iti pristupi ovoj osetqivoj temi, (akademija). Dve decenije kasnije, 21. maja 1973. godine ali se u krajwoj analizi oni mogu podeliti na dve, ~e- umetni~ke akademije prerastaju u fakultete umetnosti, sto su~eqene grupe. Jednu ~ine oni koji smatraju da se a Umetni~ka akademija postaje Univerzitet umetnosti, daroviti mladi qudi mogu obu~avati samo zanatu, onome drugi samostalni beogradski univerzitet. {to i sam Aristotel naziva »tehne« (ve{tina). Ideja | Sami fakulteti Univerziteta imaju ne{to du`u majstorske radionice podrazumeva velikog umetnika, po- tradiciju. Visoko umetni~ko obrazovawe po~iwe uteme- znavaoca odre|ene umetni~ke discipline, koji svojim qewem prvih visokih {kola – 31. marta 1937. godine u~enicima prenosi tajne koje je otkrio stvaraju}i svoja doneta je Uredba o formirawu Muzi~ke akademije (sa umetni~ka dela. Akcenat je uglavnom na prakti~nom ra- dramskim odsekom) i Umetni~ke akademije (na kojoj su du, dok je teorijska analiza vezana samo za konkretan izu~avane discipline likovnih umetnosti). Imenova- kreativan rad. Druga grupa zahteva opse`no teorijsko ni su ~lanovi stru~nih komisija i zapo~ela je izrada obrazovawe, stroge edukativne standarde, izu~avawe isto- nastavnih planova i programa, izbor nastavnog kadra i rije i teorije umetnosti, nau~noistra`iva~ki rad i priprema za prijem prve generacije studenata na jesen

26 UNIVERZITET UMETNOSTI U BEOGRADU the history and theory of art, research, and academic titles. The University of the Arts in Belgrade is a rare example of a successful combination of both models in the training of artists. | The University of the Arts in Belgrade comprises four art schools: the Faculty of Musical Arts, Faculty of Fine Arts, Faculty of Dramatic Arts and Faculty of Applied Arts. The first association of these institutions was formed on June 10, 1957, when the People’s Assembly of the People’s Republic of Serbia brought the Law on Art Academy as an association of former independent art schools (academies). Fifteen years later, on May 21, 1973, the Academies were he education of artists has always been subject to transformed into Faculties and the Art Academy became Tdiscussion. There are different approaches to this sensitive the University of the Arts, the second independent university topic, but ultimately they can be divided into two, frequently in Belgrade. confronted groups. One comprises those who believe that | Individual faculties have a somewhat longer tradi- talented young people can only be taught the craft, what tion. University level art education began with the establish- Aristotle called techne (skill). The concept of master work- ment of the first institutions of higher education on March shops assumes a great artist, well-versed in a certain disci- 31, 1937, with the Act regulating the foundation of Music pline, who teaches his students the secrets he discovered in Academy (including a department of dramatic arts) and Art creating his own works of art. The emphasis is on practical Academy (for the study of fine arts). Members of expert work while theoretic debates are related only to a concrete commissions were appointed, curricula and teaching pro- creative activity. The other group requires a thorough the- grammes were prepared, teachers chosen and the schools oretical knowledge, strict educational standards, study of were ready to welcome the first generation of students in

UNIVERSITY OF THE ARTS IN BELGRADE 27 dug put razvoja umetni~ke pedagogije i ostvareni su zna- ~ajni rezultati. | Prva profesionalna umetni~ka {kola u Srbiji po~ela je sa radom januara meseca 1868. godine u Narod- nom pozori{tu u Beogradu. Upraviteq {kole glume i re- ìje bio je rediteq, glumac i upravnik pozori{ta Jovan \or|evi}. Iz oblasti Pozori{ne nauke, za ~lanove ansambla pozori{ta drào je ~asove jedanput nedeqno. | Iste godine iz Budima ~amcem prelazi u Beograd poznati glumac [andor Varhidi. Pravo ime ovog vrsnog glumca, rediteqa i pedagoga bilo je Aleksa Ba~vanski. Jovan \or|evi} i Aleksa Ba~vanski Po nagovoru poznatog slikara Steve Todorovi}a on po- Jovan \or|evi} and Aleksa Ba~vanski staje ~lan ansambla Narodnog pozori{ta u Beogradu. U wegovoj ugovornoj obavezi bili su prepisi poznatih po- 1937. godine. Osnivawem ove dve visoke umetni~ke {ko- zori{nih komada, kao i izrada disciplinskih pravila le krunisani su napori mnogih pregalaca koji su radi- za glumce pozori{ta. Za wega se govorilo: »Kad se poja- li na postavci umetni~kog obrazovawa u nas. Od prvih vi na pozornici, zaneo bi na{u publiku, sva bi planula ideja o umetni~kim {kolama (Dimitrija Jovanovi}a iz qubavqu prema ve{tini«. 1845. godine o osnivawu »ìvopisnog u~ili{ta«, pri- | Dolaskom Alekse Ba~vanskog u pozori{te 1869. vatne muzi~ke {kole Milana Milovuka koja je delovala godine, {kola glume i reìje dobija stalni karakter. pri Beogradskom peva~kom dru{tvu po~ev od 1853. godi- Po ugledu na tada{we {kole u Nema~koj i Ma|arskoj, ne i Gluma~ke {kole Alekse Ba~vanskog pri Narodnom sa~iwen je pravilnik {kole: »Na{to je taka [kola i pozori{tu u Beogradu koja je po~ela rad 1869. godine) {ta joj je posao? Wen ciq je da {koluje glumce ne samo do formirawa visoko{kolskih institucija pre|en je za Narodno pozori{te, ve} i za druga na{a pozori{ta«.

28 UNIVERZITET UMETNOSTI U BEOGRADU Mara Grgurova i Petar Jovanovi} Lazar Lugumerski i Sofija Coca \or|evi} Mara Grgurova and Petar Jovanovi} Lazar Lugumerski and Sofija Coca \or|evi} the autumn of 1937. The establishment of these art schools period when the methodology of art education was develo- of higher education crowned the efforts of the many ped and some results of lasting value were achieved. enthusiasts who built the foundations of artistic education | The first professional art school in Serbia began its in this region. From the first ideas on art schools (put for- activity in January of 1869, in the National Theatre of Bel- ward by Dimitrije Jovanovi} in 1845 on establishing a grade with a curriculum covering practical and theoretic school of painting; the private music school run by Milan aspects of acting. Milovuk as a special section of the Belgrade Singing Society | The Serbian School of Drawing and Painting was since 1853 and the Aleksa Ba~vanski’s School of Acting in founded in 1895; in 1905 it changed its name to Arts and the National Theatre in Belgrade, opened in 1869) to the Crafts School. Then, in 1899 Mokranjac established the founding of university–level institutions, there was a long Serbian School of Music, and Music School »Stankovi}« was

UNIVERSITY OF THE ARTS IN BELGRADE 29 | Trajawe {kole predvi|eno je na dve godine. »Pi- PRAKTI^NI PREDMETI: tomaca u pozori{noj {koli svega moè biti najvi{e 16, 1. Deklamovawe od prilike osam mu{kih i toliko ènskih.« Broj pito- 2. Igra licem i udovima (mimika i plastika) maca sa platom ograni~en je na ~etiri, s tim da tek u 3. Tuma~ewe uloga i ~itawe komada i kako ih vaqa besediti drugoj godini primaju platu od 1200 talira godi{we. O 4. Ma~evawe (kod mu{kih) wihovom izlasku na pozornicu odlu~uje rediteq, prema 5. Pevawe wihovoj darovitosti. Posle zavr{ene {kole, najsposob- 6. Igrawe niji postaju ~lanovi Narodnog pozori{ta u Beogradu, sa 7. Pantomima obavezom da u wemu ostanu najmawe 3 do 4 godine. Ispi- ti se u {koli drè dva puta godi{we, u martu i oktobru. ZA PITOMCE SE TRA@E SLEDE]I USLOVI: Prvi ispit je interni i kontrolni, a drugi je javni, a a) Da ima odre|ene godine. @enske da nisu mla|e od 15, polaè se teorijski (u {koli) i prakti~no (na pozorni- a mu{ki od 18 godina ci). »Gluma~ko obrazovawe bi}e istovremeno teorisko i b) Da ima zvu~an, nepogre{iv, ~ist izgovor prakti~no«. Upravu [kole ~ine: upraviteq Narodnog po- v) Da je neprekornog pona{awa i dobrog moralnog vla- zori{ta, profesori i nastavnici. [ta }e se predavati? dawa g) Da ima toliko {kolskog znawa koliko se moè traì- TEORIJSKI PREDMETI: ti od osobe kojoj je 15 ili 18 godina 1. Teorija dramske poezije sa istorijom dramske kwi- èvnosti doma}e i strane PREDAVAÎ U [KOLI SU: 2. Teorija pozori{ne umetnosti Jovan \or|evi} – predaje: Srpsku i svetsku kwièvnost 3. Istorija pozori{ne umetnosti sa osvrtom na dramu i pozori{te 4. Srpski jezik i poznavawe stihova Aleksa Ba~vanski – Teoriju glume i reìju, Deklamo- 5. Estetika vawe, Mimiku i Plastiku, Tuma~ewe komada i uloga, 6. Istorija Srpskog naroda i op{ta istorija Pozori{ni govor.

30 UNIVERZITET UMETNOSTI U BEOGRADU Ateqe Umetni~ko-zanatlijske {kole u Beogradu Na ~asu Ve~erweg akta kod profesora Ilije [obaji}a 1928. Studio of the Arts and Crafts School in Belgrade At an evening drawing class with Prof. Ilija Šobaji}, 1928 founded in 1911. After World War I two more institutions the network of art and cultural institutions. The Committee were opened: the Art School and the State School of Theatre on Cinematography of the Government and Presidency of Arts with the departments of acting and ballet dancing, the Federal People’s Republic of Yugoslavia decided on intended to grow into the future conservatory. Finally, with May 5, 1947 to open the High School for Film Acting and the foundation of Music Academy and Art Academy in 1937, Directing. Towards the end of 1948 (on November 26) the began the implementation of the old idea to raise artistic Academy of Applied Arts was established. The Academy of education to the level of higher education. Theatre Arts was founded by the Act of the Government on | After World War II, new schools of higher education December 11, 1948. It was the time when the Music Academy in the arts were founded as part of a general expansion of was also undergoing an intensive development with the

UNIVERSITY OF THE ARTS IN BELGRADE 31 Jovan Bo{kovi} – Srpski jezik i kwièvnost | Posle Drugog svetskog rata, u okviru op{teg {i- Dragutin Re{ – Pevawe rewa mreè ustanova umetnosti i kulture, osnivaju se Kapetan Miokovi} – Ma~evawe nove umetni~ke visoke {kole. U ciqu razvoja filmskog Ducman – Jahawe stvarala{tva Komitet za kinematografiju Vlade FNRJ i Predsedni{tvo Vlade FNRJ 5. maja 1947. godine do- PRVI PITOMCI [KOLE SU BILI: Mara Grgurova, Ra- nose odluku o otvarawu Visoke {kole za filmsku glumu i hila Popovi}, An|elija Novi}, Petar Jovanovi}, Sveto- reìju. Krajem 1948. godine (26. novembra) osnovana je zar Brki}, Lazar Lugumerski. Akademija za primewenu umetnost. Akademija za pozori- OSTALI \ACI SU BILI: To{a Anastasijevi}, Petar {nu umetnost osnovana je Uredbom Vlade FNRJ od 11. Dobrinovi}, Dimitrije Duki}, Kosta \or|evi}, Kosta 12. 1948. godine. U to vreme intenzivan razvoj doìvqa- @ivkovi}, Sofija \or|evi}, Anka Rudi}. va i Muzi~ka akademija na kojoj se osnivaju novi odseci i pove}ava broj studenata. | Kontinuirani rad postiù i Srpska crta~ka i | Vlada FNRJ od 1950. godine donosi re{ewe o slikarska {kola, osnovana 1895. godine, a 1905. godine spajawu Akademije za pozori{nu umetnost i Visoke {ko- mewa ime u Umetni~ko-zanatska {kola. Zatim Mokraw- le za filmsku glumu i reìju. Od 22. 12. 1962. godine Aka- ~eva Srpska muzi~ka {kola osnovana 1899. godine i Mu- demija za pozori{nu umetnost dobija naziv Akademija zi~ka {kola »Stankovi}« osnovana 1911. godine. Wima za pozori{te, film, radio i televiziju, a 1973. godine se posle Prvog svetskog rata prikqu~uju Umetni~ka ona postaje Fakultet dramskih umetnosti. {kola i Dràvna pozori{na {kola sa gluma~kim i ba- | Te godine, dono{ewem novog zakona o visokom letskim odsekom, sa namerom da preraste u budu}i kon- obrazovawu, dotada{we akademije su preimenovane u zervatorijum. Najzad, osnivawem Muzi~ke akademije i Fakultet muzi~ke umetnosti, Fakultet likovnih umet- Umetni~ke akademije 1937. godine, po~elo je ostvariva- nosti, Fakultet primewenih umetnosti i dizajna i Fa- we stare ideje o podizawu umetni~kog obrazovawa na vi- kultet dramskih umetnosti (pozori{ta, filma, radija soko{kolski nivo. i televizije). I sama Umetni~ka akademija kao wihova

32 UNIVERZITET UMETNOSTI U BEOGRADU opening of new departments and a larger number of in- coming students. | In 1950, the Government of the FPRY decided to combine the Academy of Theatre Arts and the High School for Film Acting and Direction. On December 22, 1962 the Aca- demy for Theatre Arts got a new name – Academy for Theatre, Film, Radio and Television, and in 1973 it became the Faculty of Dramatic Arts. | In the same year, with the new Act on higher education, the former academies were transferred into: Faculty of Music Arts, Faculty of Fine Arts, Faculty of Applied Arts and Design, and Faculty of Dramatic Arts (covering theatre, film, radio and television). The Art Academy, as the association of these schools, was transformed in the University of the Arts in Belgrade. It was necessary to confirm the special profile of these schools of higher education, because they were constantly separate from Belgrade University. The change of name was not only formal. The status of faculties called for additional emphasis on scholarly work, possibilities of M.A. and Ph.D. Izvod iz Uredbe o osnivawu sredwih degrees and the opening of institutes that would foster i vi{ih umetni~kih {kola u Beogradu, 1936/37. scholarly studies. Of course, the idea of master workshops Excerpts from the Regulation on Opening of Secondary was never abandoned and professional–artistic work still and High Schools of Art in Belgrade, 1936/37 retains its precedence.

UNIVERSITY OF THE ARTS IN BELGRADE 33 i doktorskih titula, da po~nu rad na formirawu instituta koji bi se u okviru fakulteta bavili i nau~nim radom. Naravno, ideja majstorske radionice nikada nije napu{tana. I danas se prednost daje stru~no-umetni~- kom radu. | Profesori ovog Univerziteta su i nastavnici i poznati umetnici. Za ve}inu su upravo umetni~ki rezultati osnovni uslov za izbor u vi{e nastavni~ko zva- we. Li~nosti vezane za ovu instituciju ~ine umetni~ku elitu zemqe. Nema umetni~ke oblasti, manifestacije ili ustanove u kojoj ve}inu ne ~ine profesori i studenti Univerziteta umetnosti. Stari izgled zgrade Muzi~ke akademije | Univerzitet umetnosti u Beogradu danas promo- The old building of the Music Academy vi{e umetni~ku kreativnost i raznovrsnost kao obele`je nacionalne kulture Srbije. Velikim spektrom zajednica prerasla je u Univerzitet umetnosti u Beo- studijskih programa iz umetni~kih oblasti, nastavnim gradu. Stalna izdvojenost iz Beogradskog univerziteta kadrom, kao i umetni~kom delatno{}u Univerzitet umet- nagla{avala je potrebu za priznavawem posebnosti ovih nosti u Beogradu i daqe predstavqa kulturni centar koji visokih {kola. Promena naziva {kole nije bila for- po svom zna~aju prevazilazi granice Balkana. malne prirode. Ime fakulteta obavezivalo je nekada- | Uklapawe u evropski Bolowski nastavni proces {we akademije da posvete dodatnu pa`wu nau~nom radu, }e i u budu}e doprinositi razvoju evropskog univerzi- da omogu}e svojim polaznicima sticawe magistarskih tetskog umetni~kog obrazovawa.

34 UNIVERZITET UMETNOSTI U BEOGRADU Rektor Bruno Brun sa maketom kompleksa Univerziteta umetnosti na Novom Beogradu, prilikom sve~anog po~etka izgradwe Fakulteta dramskih umetnosti Rector Bruno Brun with the model of the University of the Arts complex in New Belgrade, on the occasion of the beginning of construction works for the Faculty of Dramatic Arts

are the artistic élite of the country. There is no art field, event or institution where the professors and students of the University of the Arts are not in majority. | The University of the Arts in Belgrade promotes artistic creativity and diversity as the main feature of Serbian national culture. Owing to its broad spectre of academic programmes in all areas of art, its professional faculty and artistic engagement, the impact of the University of the Arts | Professors at the University of the Arts are both in Belgrade as a cultural centre extends over the borders of teachers and renowned artists, and in most cases, their the Balkan region. The application of the Bologna Declara- artistic accomplishments are prerequisite for a higher tion will be a significant contribution to the future develop- academic title. Personalities connected to this institution ment of the European principles in art education.

UNIVERSITY OF THE ARTS IN BELGRADE 35 UNIVERZITET UMETNOSTI U BEOGRADU

INTERDISCIPLINARNE STUDIJE UNIVERSITY OF THE ARTS IN BELGRADE

INTERDISCIPLINARY STUDIES skog obrazovawa i predstavqale akademski izazov za sve ve}i broj studenata iz zemqe i sveta. | Interdisciplinarne studije predstavqaju zna- ~ajnu razvojnu aktivnost Univerziteta umetnosti kojom se u~vr{}uje povezanost univerziteta i wegovih fakulteta, pospe{uje saradwa profesora fakulteta umetnosti, kao i stru~waka iz raznih oblasti. | Od samog osnivawa ove studije su i{le u korak sa kretawima i trendovima u domenu visokog obrazovawa u Evropi. Visoko {kolstvo u Evropi prolazi kroz velike nterdisciplinarne studije Univerziteta umet- promene a osnovni dokument koji je odredio ciqeve nostiU u Beogradu osnovane su 2001. godine kao savreme- transformacije {irom Evrope je Bolowska deklaracija. no koncipirane studije u okviru kojih se {koluje ve} Od 2003. godine, kada je na{a zemqa pristupila Bolow- {esta generacija postdiplomaca u domenu vi{emedij- skom procesu, Interdisciplinarne studije su se flek- ske, digitalne umetnosti, scenskog dizajna, teorije sibilno prilago|avale novom sistemu visokog obrazova- umetnosti i medija i menaxmenta u kulturi. Interdi- wa. Do 2006. godine nastava je u potpunosti usagla{ena sciplinarne studije su nastale iz potrebe za izu~ava- sa principima Bolowskog procesa, kada je upisana i wem savremenih umetni~kih ili teorijskih oblasti prva generacija studenata ~ije }e diplome biti kompe- koje izlaze iz okvira uobi~ajenih umetni~kih i nau~- titivne i na globalnom svetskom tr`i{tu znawa. nih disciplina. Studije se bave izu~avawem novih umetni~kih i teorijskih praksi povezuju}i izu~avawa VI[EMEDIJSKA UMETNOST na pojedinim fakultetima. Univerzitet umetnosti organizuje studije vi{emedijske | Od svog osnivawa interdisciplinarne studije su umetnosti koje ohrabruju umetnike da istra`uju sintezij- se ubrzano razvijale, podizale kvalitet poslediplomske umetni~ke prakse. Vi{emedijska umetnost ozna~ava

38 UNIVERZITET UMETNOSTI U BEOGRADU | Interdisciplinary studies are important indicators of versatile activities of the University of the Arts; they strengthen the relationship between the University and its Faculties through cooperation of individual professors, all of them experts in their respective areas. | From the very beginning, Interdisciplinary studies followed the movements and tendencies of higher education in Europe, including the significant current changes and the nterdisciplinary studies were established at the application of the Bologna Declaration. Since 2003, when UniversityI of the Arts in Belgrade in 2001 as a response to our country joined the Bologna process, Interdisciplinary the contemporary concepts of education. Six generations studies flexibly adapted to the new system and both the of postgraduate students have attended specialized curriculum and teaching programmes were completely courses in Multimedia Studies, Digital Art, Scene Design, conformed to the new principles in 2006; the present gene- Theory of Art and Media, and Cultural Management. As ration of students will come onto the global market of evident from their titles, these postgraduate courses are knowledge with equally competitive diplomas. devoted to the study of contemporary artistic and theoretical fields that combine several aspects of the usual MULTIMEDIA ART STUDIES art and scholarly disciplines, insisting on a deeper insight The Multimedia art studies encourage students to research the into the new artistic and theoretical practices and place of synthesis in artistic practices. Multimedia art de- combining the subjects taught at different faculties. notes the broadest sense of artistic activity which combines | The development of interdisciplinary studies was media that have different effects on the senses (visual, rapid. They improved the quality of postgraduate education aural, tactile) with regard to the kind of signs used as an academic challenge for a constantly growing number (musical or verbal) and the storage and processing of the of students from the local and international environment. signal (magnetic tape, film, video, digital multimedia). The

UNIVERSITY OF THE ARTS IN BELGRADE 39 Segment digitalne instalacije »Inter.face//karakter 0..5« mogu}nosti studenata u toj oblasti, pro{irivawu teo- rad Nata{e Teofilovi} rijsko-esteti~kog znawa i razvijawu analiti~kog i pro- A segment of digital installation »Inter.face/karakter 0..5« cewiva~kog promi{qawa. by Nataša Teofilovi} | Nastava u okviru grupe za vi{emedijsku umetnost treba da polaznicima obezbedi najvi{i nivo posledi- naj{ire shva}enu umetni~ku delatnost zdru`ivawa me- plomskog {kolovawa u oblasti objediwavawa razli~itih dija razli~itih po dejstvu na ~ula (vizuelni, zvu~ni, tak- umetnosti kao i u okviru nau~nih studija, i omogu}i tilni), s obzirom na vrstu znakova (npr. muzi~ki i go- sticawe magistarske diplome. vorni) i na skladi{tewe i obradu signala (magnetska | Kroz predavawa, prakti~ni rad u razli~itim traka, film, video, digitalni multimedij). Opseg zdru- medijima i individualni rad pod tutorstvom mentora `ivawa medija obuhvata sve vidove od puke istovremeno- polaznici istovremeno razvijaju umetni~ki i nau~nosti nastupa do stapawa u umetni~ku celinu. Studije vi{e- teorijski pristup u ovoj oblasti umetni~kog stvarala- medijske umetnosti usmerene su ka razvijawu kreativnih {tva.

40 UNIVERZITET UMETNOSTI U BEOGRADU range of this convergence concerns all aspects, from logy. Digital video and audio tools open new potentials for simultaneous performance to the merging into a distinct artworks that combine classical techniques with computer art entity. animation and digital composition. | Multimedia art studies are directed to the develop- | Through lectures, practical work in different media ment of the creative potentials of students in that area, to and individual term and final work under tutorial supervision the broadening of their theoretical and aesthetic expertise and guidance, students acquire the highest level of exper- and the development of analytical thinking and appraisal. tise, skill and competence for individual and team creative | The teaching programme aims at the highest level work by means of digital technology. of postgraduate education and training in the combination of different arts; it prepares the students to engage in SCENE DESIGN scholarly work and acquire the M.A. diploma. The main topic of the postgraduate course in Scene design | Through lectures, practical work in different media is the space of theatrical events, its design, articulation and and individual term and final work under tutorial super- realization. Students research the entire domain of the stage vision and guidance, students are encouraged to develop space in a new way – from the dramatic aspect to architec- their personal artistic and scholarly approach. ture, urban planning and design of the scene itself, including scenography and the related fields of costume, light and DIGITAL ART sound design, theatre techniques and technology. Digital art is an interdisciplinary creative activity where art | It is a contemporary approach to performance and finds expression through digital technology. In the time of the main goal of the studies is to establish a synthetic the digital revolution, technology has changed the world relationship towards the study, creation and production of around and opened a new creative medium for the artist. staged events in the broadest sense of the term. | Digital art studies at the University of the Arts offer | Through lectures, practical work and a specific pro- possibilities for the participating students to learn how to duction, students are able to develop an interdisciplinary accomplish their artistic goals by means of digital techno- approach to stage arts in general.

UNIVERSITY OF THE ARTS IN BELGRADE 41 »Scene grada – prostor konstrukcije kulturnog DIGITALNA UMETNOST identiteta«, segment rada Olge Dragi~evi} Savkovi} Digitalna umetnost je interdisciplinarna umetni~ka »City Scenes – the Space of the Construction of Cultural Identity«, delatnost ~iji je ciq umetni~ko izraàvawe kroz digi- a segment of the work by Olga Dragi~evi} Savkovi} talnu tehnologiju. U vremenu digitalne revolucije tehnologija je izmenila svet oko nas, a za umetnike je otvo- celokupan domen scenskog prostora – od svih aspekata rila novi stvarala~ki medij. dramske umetnosti kroz arhitekturu, urbano planirawe | Studije digitalne umetnosti na Univerzitetu i dizajn scene i kona~no do istraìvawa u domenu sce- umetnosti omogu}avaju kreativnim polaznicima da kroz nografije (kostimografija, osvetqewe, dizajn zvuka…) rad u digitalnoj tehnologiji dostignu svoje umetni~ke i tehnike i tehnologije pozori{ta. ciqeve. Kori{}ewem digitalnih video i audio sredsta- | Studije scenskog dizajna Univerziteta umetnosti va otvara se put ka stvarawu umetni~kih dela u spoju predstavqaju savremen pogled na scenske umetnosti, ~i- klasi~nih tehnika sa kompjuterskom animacijom i diji je osnovni ciq da se uspostavi sintetski odnos prema gitalnim kompozitom. promi{qawu, kreirawu i produkciji scenskih doga|aja | Kroz predavawa, prakti~nu nastavu i individu- u naj{irem smislu re~i. alni rad pod tutorstvom mentora polaznici sti~u naj- | Kroz istraìvawe, kreativni rad i konkretnu pro- vi{i nivo znawa, sposobnosti i kompetencije za samo- dukciju polaznici ovih studija razvijaju interdisci- stalno i grupno umetni~ko delovawe kori{}ewem digi- plinarni pristup scenskim umetnostima u celini. talne tehnologije. TEORIJA UMETNOSTI I MEDIJA SCENSKI DIZAJN Studije teorije umetnosti i medija Univerziteta umet- Umetni~ke studije scenskog dizajna bave se promi{qa- nosti polaznike uvode u savremene tokove i stremqewa wem, artikulacijom i realizacijom prostora scenskih nauka o umetnostima i medijima sa akcentom na anali- doga|aja. Polaznici ovih studija na nov na~in istraùju ti~kom i istraìva~kom radu, kao i izu~avawu inter-

42 UNIVERZITET UMETNOSTI U BEOGRADU disciplinarnih i multimedijalnih umetni~kih prak- | Studijski program koji se odvija na engleskom i si i teorija. francuskom jeziku stekao je me|unarodni ugled i titu- | Primarni ciq studija je osposobqavawe studena- lu UNESKO katedre. Uz akreditaciju dva francuska ta za interdisciplinarno teorijsko, analiti~ko, kri- univerziteta – Institut d’Etudes Politiques de Grenoble ti~ko bavqewe multimedijalom, dok je sekundarni ciq, (Université Pierre Mendès – France) i Université Lyon 2 – dodatno teorijsko obrazovawe umetnika. i podr{ku drugih univerziteta, profesionalnih orga- | Kroz interdisciplinarna i komparativna izu- nizacija i eksperata iz cele Evrope, program privla~i ~avawa savremene teorije umetnosti, uvo|ewe novih te- studente iz balkanskih zemaqa, ali i studente iz Evro- orijskih gledi{ta, direktno povezivawe sa kretawima pe i sveta. u teoriji umetnosti na internacionalnoj sceni dolazi | Posebnu pa`wu program poklawa pitawima i prose do najvi{eg stepena nau~no-teorijskog obrazovawa. blemima komunikacije i kulturne saradwe izme|u bal- | Studenti se osposobqavaju za nau~ni rad, istra`i- kanskih zemaqa, kao i ideji kulturnog pluralizma. vawe, analizu, interpretaciju i promi{qawe o umetno- | Ove studije su jedinstvena prilika za me|usobno stima i wihovom me|usobnom pro`imawu i preplitawu. upoznavawe i povezivawe budu}ih kreatora kulturne politike i menaxera razvojnih projekata i kulturnih KULTURNA POLITIKA (umetni~kih) medijskih institucija i organizacija u I MENAXMENT U KULTURI zemqama Balkana. Wihov zajedni~ki rad i saradwa sa Studije kulturne politike i menaxmenta u kulturi pred- profesorima me|unarodnog renomea stvaraju izuzetne stavqaju program specifi~nih profesionalnih usme- uslove za stalno unapre|ivawe nastavnog programa i pro- rewa u oblasti menaxmenta u kulturi i umetnosti, kul- cesa, kao i za su{tinsku promociju i implementaciju turne politike, komunikacije i medija. principa kulturnog pluralizma na Balkanu.

44 UNIVERZITET UMETNOSTI U BEOGRADU | THEORY OF ART AND MEDIA The programme taught in English and French has Postgraduate studies in the Theory of art and media at the acquired international reputation and the title of a UNESCO University of the Arts introduce students to the contempo- Chair. Two French Universities give credits to these studies rary developments and tendencies in the arts and media with – Institut d’Etudes Politiques de Grenoble (Université Pierre a special emphasis on analytical work and research, parti- Mendès–France), and Université Lyon 2 – while other cularly with regard to interdisciplinary and multimedia artis- international universities, professional organizations and tic practices and theories. The primary aim of the studies is individual experts from Europe give their unreserved to train students in interdisciplinary theoretical, analytical support. Conceived in such a way, the postgraduate course and critical approach to multimedia. The secondary aim is attracts a great number of students from European, Balkan additional education of artists. and other countries in the world. | | Through interdisciplinary and comparative studies The programme pays special attention to the issues of current art theories, the introduction of new theoretical and problems of communication and cultural cooperation viewpoints, a direct reference to international tendencies between the Balkan countries, and the concept of cultural and development in the theory of art, students acquire the pluralism. highest degree of scholarly and theoretical knowledge, which | These studies are a unique opportunity for the prepares them for scholarly application, research, analysis, future creators of cultural policies and managers of develop- interpretation and critical thinking about the arts, their ment projects and cultural (artistic) media institutions and intertwining and permeation. organizations from the Balkans to get to know each other and establish professional links. Their team work and coope- CULTURAL POLICY AND CULTURAL MANAGEMENT ration with professors of international renown create The postgraduate studies in Cultural policy and cultural mana- exceptional conditions for a constant improvement of the gement have a programme of specific professional orienta- curriculum and teaching process, and a true promotion and tion to art and cultural management, cultural policy, commu- implementation of the principles of cultural pluralism in nication and media. the Balkans.

UNIVERSITY OF THE ARTS IN BELGRADE 45 UNIVERZITET UMETNOSTI U BEOGRADU

REKTORI I PROREKTORI UNIVERSITY OF THE ARTS IN BELGRADE

RECTORS AND VICE-RECTORS Akademik Sreten Stojanovi} rad akademika prof. Mladena Srbinovi}a REKTORI I PROREKTORI UNIVERZITETA UMETNOSTI U BEOGRADU Akademik Mihailo Vukdragovi} rad prof. Mom~ila Antonovi}a Sreten STOJANOVI] Rektor 1957–1958

Mihailo VUKDRAGOVI] Rektor 1958–1959 Marko ^ELEBONOVI] Prorektor 1958–1959

\or|e ANDREJEVI] – KUN Rektor 1959–1963 Du{an MATI] Prorektor 1959–1963

Vjekoslav AFRI] Rektor 1963–1965 Bruno BRUN Prorektor 1963–1965

48 UNIVERZITET UMETNOSTI U BEOGRADU Akademik \or|e Andrejevi} – Kun rad prof. Slobodana \uri~kovi}a RECTORS AND VICE-RECTORS OF THE UNIVERSITY OF THE ARTS IN BELGRADE Vjekoslav Afri} rad prof. Bo`idara Xmerkovi}a Sreten STOJANOVI] Rector 1957–1958

Mihailo VUKDRAGOVI] Rector 1958–1959 Marko ^ELEBONOVI] Vice-Rector 1958–1959

Djordje ANDREJEVI] – KUN Rector 1959–1963 Du{an MATI] Vice-Rector 1959–1963

Vjekoslav AFRI] Rector 1963–1965 Bruno BRUN Vice-Rector 1963–1965

UNIVERSITY OF THE ARTS IN BELGRADE 49 Bruno BRUN Rektor 1965–1971 Mihailo PETROV Prorektor 1965–1967 \or|e BO[AN Prorektor 1967–1969 Ogwenka MILI]EVI] Prorektor 1969–1971

Jovan KRATOHVIL Rektor 1971–1973 Dragoslav STOJANOVI] – SIP Prorektor 1971–1973 Vladimir MARKOVI] Prorektor 1971–1973

Dragoslav STOJANOVI] – SIP Rektor 1973–1976 Ratko \UROVI] Prorektor 1973–1976 Bruno Brun rad prof. Mom~ila Markovi}a Vladimir MARKOVI] Prorektor 1973–1975 Vojin STOJI] Prorektor 1975–1976 Jovan Kratohvil Berislav POPOVI] Prorektor 1975–1976 rad prof. Slavoquba ^vorovi}a

Ratko \UROVI] Rektor 1976–1977 Vojin STOJI] Prorektor 1976–1977 Berislav POPOVI] Prorektor 1976–1977

Rado{ NOVAKOVI] Rektor 1977–1979 Vojin STOJI] Prorektor 1977–1979 Aleksandar OBRADOVI] Prorektor 1977–1979 Rajko NIKOLI] Prorektor 1977–1979 Horhe MIKIELI Student prorektor 1977–1979

50 UNIVERZITET UMETNOSTI U BEOGRADU Bruno BRUN Rector 1965–1971 Mihailo PETROV Vice-Rector 1965–1967 Djordje BO[AN Vice-Rector 1967–1969 Ognjenka MILI]EVI] Vice-Rector 1969–1971

Jovan KRATOHVIL Rector 1971–1973 Dragoslav STOJANOVI] – SIP Vice-Rector 1971–1973 Vladimir MARKOVI] Vice-Rector 1971–1973

Dragoslav STOJANOVI] – SIP Rector 1973–1976 Dragoslav Stojanovi} – Sip Ratko DJUROVI] Vice-Rector 1973–1976 rad prof. Zorana Pavlovi}a Vladimir MARKOVI] Vice-Rector 1973–1975 Vojin STOJI] Vice-Rector 1975–1976 Ratko \urovi} Berislav POPOVI] Vice-Rector 1975–1976 rad prof. Zorana Vukovi}a

Ratko DJUROVI] Rector 1976–1977 Vojin STOJI] Vice-Rector 1976–1977 Berislav POPOVI] Vice-Rector 1976–1977

Rado{ NOVAKOVI] Rector 1977–1979 Vojin STOJI] Vice-Rector 1977–1979 Aleksandar OBRADOVI] Vice-Rector 1977–1979 Rajko NIKOLI] Vice-Rector 1977–1979 Horhe MIKIELI Vice-Rector – Student 1977–1979

UNIVERSITY OF THE ARTS IN BELGRADE 51 Aleksandar OBRADOVI] Rektor 1979–1983 Rajko NIKOLI] Prorektor 1979–1981 Vojislav TODORI] Prorektor 1979–1983 Dejan KOSANOVI] Prorektor 1979–1983 Bo`idar MILINKOVI] Student prorektor 1979–1980 Predrag STAMENKOVI] Student prorektor 1980–1981 Bogdan KR[I] Prorektor 1981–1983 Radivoj MARINKOVI] Student prorektor 1981–1983

Vojin STOJI] Rektor 1983–1985 Bogdan KR[I] Prorektor 1983–1985 Rado{ Novakovi} rad prof. Bo`idara Xmerkovi}a Berislav POPOVI] Prorektor 1983–1985 Vladan SLIJEP^EVI] Prorektor 1983–1985 Aleksandar Obradovi} Mihailo JANKOVI] Prorektor 1983–1985 rad prof. Milice Stevanovi}

Nandor GLID Rektor 1985–1989 Branislav PROTI] Prorektor 1985–1989 Milenko STEFANOVI] Prorektor 1985–1989 Vladan SLIJEP^EVI] Prorektor 1985–1987 Zlatko MARKOVI] Student prorektor 1985–1987 Qubi{a \OKI] Prorektor 1987–1989 Qiqana SIMI] Student prorektor 1987–1989 Darinka MATI]-MAROVI] Prorektor 1989

52 UNIVERZITET UMETNOSTI U BEOGRADU Aleksandar OBRADOVI] Rector 1979–1983 Rajko NIKOLI] Vice-Rector 1979–1981 Vojislav TODORI] Vice-Rector 1979–1983 Dejan KOSANOVI] Vice-Rector 1979–1983 Bo`idar MILINKOVI] Vice-Rector – Student 1979–1980 Predrag STAMENKOVI] Vice-Rector – Student 1980–1981 Bogdan KR[I] Vice-Rector 1981–1983 Radivoj MARINKOVI] Vice-Rector – Student 1981–1983

Vojin STOJI] Rector 1983–1985 Vojin Stoji} Bogdan KR[I] Vice-Rector 1983–1985 rad prof. Milice Stevanovi} Berislav POPOVI] Vice-Rector 1983–1985 Vladan SLIJEP^EVI] Vice-Rector 1983–1985 Nandor Glid Mihailo JANKOVI] Vice-Rector 1983–1985 rad prof. Miodraga Vuja~i}a-Mirskog

Nandor GLID Rector 1985–1989 Branislav PROTI] Vice-Rector 1985–1989 Milenko STEFANOVI] Vice-Rector 1985–1989 Vladan SLIJEP^EVI] Vice-Rector 1985–1987 Zlatko MARKOVI] Vice-Rector – Student 1985–1987 Ljubi{a DJOKI] Vice-Rector 1987–1989 Ljiljana SIMI] Vice-Rector – Student 1987–1989 Darinka MATI]-MAROVI] Vice-Rector 1989

UNIVERSITY OF THE ARTS IN BELGRADE 53 Vladan SLIJEP^EVI] Rektor 1989

Darinka MATI]-MAROVI] Rektor 1989–1998 Radomir [ARANOVI] Prorektor 1989–1991 Zoran PAVLOVI] Prorektor 1989–1996 Bo`idar XMERKOVI] Prorektor 1989–1996 Ivan DESPOTOVI] Student prorektor 1989–1991 Svetozar RAPAJI] Prorektor 1991–1998 Jelena VUKOMANOVI] Student prorektor 1991–1994 Gradimir PETROVI] Prorektor 1996–1998 Vladimir KOMAD Prorektor 1996–1997 Vladan Slijep~evi} izabran za rektora 1989 Zoran VUKOVI] Prorektor 1997–1998 Darinka Mati}-Marovi} Radmila BAKO^EVI] Rektor 1998–2000 rad prof. An|elke Bojovi} Gradimir PETROVI] Prorektor 1998–2000 Zoran VUKOVI] Prorektor 1998–2000 Slavenko SALETOVI] Prorektor 1998–2000

Milena DRAGI]EVI]-[E[I] Rektor 2000–2004 Zoran ERI] Prorektor 2000–2004 Marija DRAGOJLOVI] Prorektor 2000–2001 ^edomir VASI] Prorektor 2002–2004 Branimir KARANOVI] Prorektor 2000–2004 Sa{ka CVIJANOVI] Student prorektor 2002–2004

54 UNIVERZITET UMETNOSTI U BEOGRADU Vladan SLIJEP^EVI] Rector 1989

Darinka MATI]-MAROVI] Rector 1989–1998 Radomir [ARANOVI] Vice-Rector 1989–1991 Zoran PAVLOVI] Vice-Rector 1989–1996 Bo`idar D@MERKOVI] Vice-Rector 1989–1996 Ivan DESPOTOVI] Vice-Rector – Student 1989–1991 Svetozar RAPAJI] Vice-Rector 1991–1998 Jelena VUKOMANOVI] Vice-Rector – Student 1991–1994 Gradimir PETROVI] Vice-Rector 1996–1998 Radmila Bako~evi} Vladimir KOMAD Vice-Rector 1996–1997 rad prof. Milanke Berberovi} Zoran VUKOVI] Vice-Rector 1997–1998 Milena Dragi}evi}-[e{i} Radmila BAKO^EVI] Rector 1998–2000 fotografija: Vladimir Miloradovi} Gradimir PETROVI] Vice-Rector 1998–2000 Zoran VUKOVI] Vice-Rector 1998–2000 Slavenko SALETOVI] Vice-Rector 1998–2000

Milena DRAGI]EVI]-[E[I] Rector 2000–2004 Zoran ERI] Vice-Rector 2000–2004 Marija DRAGOJLOVI] Vice-Rector 2000–2001 ^edomir VASI] Vice-Rector 2002–2004 Branimir KARANOVI] Vice-Rector 2000–2004 Sa{ka CVIJANOVI] Vice-Rector – Student 2002–2004

UNIVERSITY OF THE ARTS IN BELGRADE 55 ^edomir VASI] Rektor 2004– Neboj{a IGWATOVI] Prorektor 2004–2006 Kosta KRSMANOVI] Prorektor 2004– Andrija \UKI] Prorektor 2004– Sr|an HOFMAN Prorektor 2006– Vojislav KLA^AR Student prorektor 2004–2006 Marta POPIVODA Student prorektor 2006–

56 UNIVERZITET UMETNOSTI U BEOGRADU ^edomir VASI] Rector 2004– Neboj{a IGNJATOVI] Vice-Rector 2004–2006 Kosta KRSMANOVI] Vice-Rector 2004– Andrija DJUKI] Vice-Rector 2004– Srdjan HOFMAN Vice-Rector 2006– Vojislav KLA^AR Vice-Rector – Student 2004–2006 Marta POPIVODA Vice-Rector – Student 2006–

UNIVERSITY OF THE ARTS IN BELGRADE 57 UNIVERZITET UMETNOSTI U BEOGRADU

KONTAKTI UNIVERSITY OF THE ARTS IN BELGRADE

CONTACTS UNIVERZITET UMETNOSTI U BEOGRADU adresa: Kosan~i}ev venac 29, 11000 Beograd prof. ^edomir VASI], rektor tel: (011) 2625 166, faks: (011) 2629 785, e-po{ta: [email protected] prof. Andrija \UKI], prorektor tel: (011) 2623 391, 2625 166, faks: (011) 2629 785, e-po{ta: [email protected] prof. Kosta KRSMANOVI], prorektor tel: (011) 2623 391, 2625 166, faks: (011) 2629 785, e-po{ta: [email protected] prof. Sr|an HOFMAN, prorektor tel: (011) 2623 391, 2625 166, faks: (011) 2629 785, e-po{ta: [email protected]

60 UNIVERZITET UMETNOSTI U BEOGRADU UNIVERSITY OF THE ARTS IN BELGRADE address: Kosan~i}ev venac 29, 11000 Belgrade

Prof. ^edomir VASI], Rector tel: (+381 11) 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

Prof. Andrija DJUKI], Vice-Rector tel: (+381 11) 2623 391, 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

Prof. Kosta KRSMANOVI], Vice-Rector tel: (+381 11) 2623 391, 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

Prof. Srdjan HOFMAN, Vice-Rector tel: (+381 11) 2623 391, 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

Marta POPIVODA, Student Vice-Rector tel: (+381 11) 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

UNIVERSITY OF THE ARTS IN BELGRADE 61 Marta POPIVODA, student prorektor tel: (011) 2625 166, faks: (011) 2629 785, e-po{ta: [email protected]

Gordana QUBI]-SAVIN, {ef kabineta rektora tel: (011) 2625 629, 2625 166, faks: (011) 2629 785, e-po{ta: [email protected]

Olga LE^I]-PAVLOVI], generalni sekretar tel: (011) 2626 382, 2625 166, faks: (011) 2629 785, e-po{ta: [email protected]

Aniela \OR\EVI], tehni~ki sekretar tel: (011) 2625 166, faks: (011) 2629 785, e-po{ta: [email protected]

Daniela ]ETKOVI], diplomirani pravnik tel: (011) 2625 837, 2625 166, faks: (011) 2629 785, e-po{ta: [email protected]

Marijana CVETKOVI], kordinator za me|unarodnu saradwu tel: (011) 2626 994, mob: 064 156 2497, faks: (011) 2629 785, e-po{ta: [email protected]

Jasmina MILOVANOVI], kordinator za me|unarodne studije tel : (011) 2624 020, 2625 166, faks: (011) 2629 785, e-po{ta: [email protected]

Jelena ZEKOVI]-MIRI], {ef ra~unovodstva tel: (011) 2626 730, 2625 166, faks: (011) 2629 785, e-po{ta: [email protected]

62 UNIVERZITET UMETNOSTI U BEOGRADU Gordana LJUBI]-SAVIN, Head of Rector’s Cabinet tel: (+381 11) 2625 629, 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

Olga LE^I]-PAVLOVI], Secretary General tel: (+381 11) 2626 382, 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

Aniela DJORDJEVI], Administrative Secretary tel: (+381 11) 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

Daniela ]ETKOVI], Legal Consultant tel: (+381 11) 2625 837, 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

Marijana CVETKOVI], International Relations Coordinator tel: (+381 11) 2626 994, mob: 064 156 2497, fax: (+381 11) 2629 785, e-mail: [email protected]

Jasmina MILOVANOVI], Interdisciplinary Studies Coordinator tel: (+381 11) 2624 020, 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

Jelena ZEKOVI]-MIRI], Head of Accounting Department tel: (+381 11) 2626 730, 2625 166, fax: (+381 11) 2629 785, e-mail: [email protected]

UNIVERSITY OF THE ARTS IN BELGRADE 63 PUBLIKACIJA JE [TAMPANA UZ FINANSIJSKU POMO] MINISTARSTVA PROSVETE REPUBLIKE SRBIJE

THE PUBLICATION IS PRINTED WITH FINANCIAL ASSISTANCE FROM THE MINISTRY OF EDUCATION OF THE REPUBLIC OF SERBIA

CIP – Katalogizacija u publikaciji Narodna biblioteka Srbije, Beograd

378.6:73/78(497.11)”1957/2007”

UNIVERZITET umetnosti u Beogradu = University of the Arts in Belgrade / [urednici Andrija \uki}, Svetozar Rapaji}, Stjepan Fileki ; fotografije Dragan Mirkovi}, Miroslav Joli} ; prevod na engleski Ksenija Todorovi}]. – Beograd = Belgrade : Univerzitet umetnosti, 2007 (Beograd : Mont). – 64 str. ; ilustr. ; 16 x 22 cm Uporedo srp. tekst i engl. prevod. – Tira` 500.

ISBN 978-86-7167-038-8 a) Univerzitet umetnosti (Beograd) – 1957–2007 COBISS.SR-ID 141207052

FAKULTET DRAMSKIH UMETNOSTI FACULTY OF DRAMATIC ARTS

2007 BEOGRAD BELGRADE UREDNICI | Andrija \uki}, Svetozar Rapaji}, Stjepan Fileki

SARADNICI | Bojana Buri}, dr Zoran Gavri}, dr Sowa Marinkovi}

FOTOGRAFIJE | Arhiva FDU, Dragan Mirkovi}

LIKOVNI UREDNIK | Danijela Paracki

PREVOD NA ENGLESKI | Ksenija Todorovi}

LEKTOR | Biqana Spremo Popovi}

[TAMPA | AD [tamparija BUDU]NOST, Novi Sad

TIRA@ | 500 primeraka

OVA PUBLIKACIJA SE IZDAJE POVODOM PROSLAVE 50 GODINA UNIVERZITETA UMETNOSTI U BEOGRADU

THIS PUBLICATION IS PRINTED ON THE OCCASION OF THE FIFTIETH ANNIVERSARY OF THE UNIVERSITY OF THE ARTS IN BELGRADE SADR@AJ

Istorija | 04 CONTENTS Studije i studijski programi | 20

Nastavnici i saradnici | 38 05 | History

Dekani i prodekani | 52 21 | Studies and Study Programmes

Adrese i kontakt telefoni | 58 39 | Teaching and Professional Staff

53 | Deans and Vice-Deans of the Faculty of Dramatic Arts in Belgrade

59 | Faculty of Dramatic Arts in Belgrade Addresses and telephones FAKULTET DRAMSKIH UMETNOSTI

ISTORIJA FACULTY OF DRAMATIC ARTS

HISTORY Narodnog pozori{ta 1934. godine). Va`no je napomenu- ti da su sve ove {kole, po~ev od prve koja je istovremeno bila i prva umetni~ka {kola u Srbiji, bilo da su vezane za Narodno pozori{te, ili da su bile samostalne ustanove, bile dràvne {kole povezane sa Ministarstvom prosvete. | Tokom celog tog perioda teìlo se ka tome da svi ovi oblici {kolovawa prerastu u visoku {kolu na nivou univerziteta, {to je u vi{e navrata i zvani~no definisano u programskim i dràvnim aktima. Tako je FAKULTET DRAMSKIH UMETNOSTI i Gluma~ko-baletska {kola osnovana 1921. godine bila U BEOGRADU prelazni oblik ka budu}em Konzervatorijumu. Ostvari- je najstarija, najve}a i najuglednija visoka {kola iz vawe ove ambicije zapo~elo je 1937. godine kada su u oblasti pozori{ta, filma, radija i televizije, ne samo Beogradu osnovane akademije kao prve umetni~ke visoke u Srbiji, nego i na ve}em delu prostora nekada{we jugo- {kole. U tom periodu je i na Muzi~koj akademiji osno- slovenske zajednice. Wena tradicija zapo~iwe 1869. van Dramski odsek na osnovu sli~nih modela koji i da- godine, kada je osnovana Gluma~ka {kola pri Narodnom nas postoje u nekim zemqama Evrope, u kojima se muzi~ka pozori{tu u Beogradu, pod upravom Alekse Ba~vanskog – i »predstavqa~ka« umetnost prou~avaju na zajedni~kim velikog glumca i rediteqa, prvog na{eg pozori{nog visokim {kolama. umetnika sa internacionalnom karijerom. [kola je | Posle Drugog svetskog rata u sklopu {irewa bila kratkog trajawa, ali su wenu misiju u narednim mreè pozori{ta i institucija kulture kao i razvoja vremenima preuzimale nove {kole koje su se tako|e filmske delatnosti, pojavila se i potreba za osniva- posle kra}eg ili duèg trajawa gasile (Gluma~ka {kola wem posebnih visokih {kola za pomenute umetni~ke 1909; Gluma~ko-baletska {kola 1921; Gluma~ka {kola delatnosti. U me|uvremenu je pri Narodnom pozori{tu

06 FAKULTET DRAMSKIH UMETNOSTI | A constant goal had been to make these forms of schooling grow into an institution of higher education, as was repeatedly and officially defined in programmes and state documents. In that way, the School of Acting and Ballet, founded in 1921, was a transitory form towards the future Conservatory. The realization of this ambition be- THE FACULTY OF DRAMATIC ARTS gan in 1937, when the first art schools of higher education IN BELGRADE were established as academies. At that time a Theatre is the oldest, largest and most prestigious institution of Department was founded at the Music Academy after higher education in the field of theatre, film, radio and similar models that still exist in some European countries television, not only in Serbia, but in the major part of the where musical and performing arts are studied at the same former Yugoslav community. The history of this school be- institution of higher education. gan in 1869 with the School of Acting, opened at the Nati- | After WW II, the network of theatres and cultural onal Theatre in Belgrade under the management of Aleksa institutions was extended. In line with that and the develop- Ba~vanski – a great actor and director, the first with an ment of film making it was necessary to open higher schools international career. The school did not last long, but its for all those areas of art. A Drama studio was active in the mission was later taken over by new schools of varied meantime at the National Theatre in Belgrade, but it was a longevity (School of Acting in 1909, School of Acting and temporary and transitory form of education. The High School Ballet in 1921, National Theatre School of Acting in 1934). for Film was founded in 1947, and in 1948, the Academy It is important to mention that all of these schools, begin- for Theatre Arts was established by the government. The ning with the first which was at the same time the first art Film School was abolished two years later and attached to school in Serbia, either related to the National Theatre or the Academy of Theatre Arts, which was, as an indepen- independent or state schools, were connected to the Mini- dent institution primarily oriented towards theatre arts. In stry of Education. 1957, the Academy of Theatre Arts, in association with all

FACULTY OF DRAMATIC ARTS 07 u Beogradu radio Dramski studio kao privremeni i da se u okviru {kole ravnomerno razvijaju sve wene ma- prelazni oblik ka visokoj {koli. Godine 1947. osnova- ti~ne discipline u svim navedenim medijima. na je Visoka filmska {kola, a 1948. godine odlukom | Posle zakonskih izmena 1974. godine sve visoke vlade FNRJ koju je potpisao predsednik Josip Broz {kole, pa tako i akademije preimenovane su u fakultete. Tito, kao savezna ustanova, zapo~ela je rad Akademija za Tako je Umetni~ka akademija postala Univerzitet umet- pozori{nu umetnost. To je bila savezna ustanova koja je nosti, a na{a Akademija je posle dugih rasprava o imenu, zapo~ela rad kao Akademija za pozori{nu umetnost. ponela naziv Fakultet dramskih umetnosti pod kojima Posle dve godine Visoka filmska {kola je ukinuta i su se podrazumevale sve discipline vezane za oblast po- pripojena je Akademiji koja je samostalno nastavila svoj zori{ta, filma, radija i televizije. Ovaj naziv u{ao je rad uglavnom samo u pozori{nim disciplinama. Po- u op{tu zvani~nu i nezvani~nu upotrebu i pod tim na- zori{na akademija se 1957. godine sa Muzi~kom akade- zivom {kola funkcioni{e i danas. mijom, Akademijom likovnih umetnosti i Akademijom | Iako je osnovana kao visoka savezna ustanova primewenih umetnosti, koje su do tada bile samostalne Akademija je na po~etku celu svoju aktivnost obavqala u visoke {kole, udru`ila u Umetni~ku akademiju kao jednom velikom stanu u ulici Vuka Karaxi}a. Ubrzo je oblik svojevrsnog umetni~kog univerziteta. dobijeno i nekoliko skromnih prostorija u Usko~koj | Kako su se u me|uvremenu pored pozori{ta dina- ulici iznad robne ku}e Miti} u kojima su izgra|ene mi~no razvijali i drugi mediji postalo je neophodno da ~ak i dve male improvizovane scene. Akademija je 1967. se i nastava u Akademiji za pozori{nu umetnost {iri u godine iz Usko~ke ulice preseqena u Knez Mihailovu tim pravcima. Od 1961. godine ponovo je u nastavne prona sprat iznad restorana Kolarac. Tu su formirane ~e- grame vra}ena redovna filmska i televizijska nastava. tiri prostorije za prakti~ni rad sa malim scenama i Samim tim dosada{wi naziv {kole vi{e nije odgovarao nekoliko malih u~ionica za teorijsku nastavu. Veliki wenom sadr`aju, pa je 1962. godine {kola preimenovana preokret nastaje 1974. godine. Akademija, odnosno Fakul- u Akademiju za pozori{te, film, radio i televiziju. Taj tet se seli u novu, namenski izgra|enu zgradu u Novom naziv ozna~io je novu pro{irenu orijentaciju i obavezu Beogradu u okviru kompleksa predvi|enog za izgradwu i

08 FAKULTET DRAMSKIH UMETNOSTI Akademija za pozori{te, film, radio i televiziju u Knez Mihajlovoj ulici Academy for Theatre, Film, Radio and Television

other art academies (music, fine and applied arts), formed the Art Academy as a specific form of an art university. | Owing to a dynamic development of theatre and other media, it was necessary to extend the programme at the Academy in those directions. Film and television programmes were returned to the regular syllabus in 1961, Pozori{na akademija na uglu Usko~ke i Knez Mihajlove ulice and in 1962 the school was renamed the Academy for Academy for Theatre Art Theatre, Film, Radio and Television. The title indicated a

FACULTY OF DRAMATIC ARTS 09 drugih fakulteta u sklopu Univerziteta umetnosti. Do programa kroz vi{e medija osnivane su nove studijske nastavka izgradwe ovog ambicioznog projekta naàlost grupe. To je najpre bila Grupa za dramaturgiju, osnovana ni do danas nije do{lo. 1960. godine, a zatim 1961. godine osnovana je i Grupa | Fakultet se nalazi u impozantnoj zgradi sa pro- za organizaciju kulturno-umetni~kih delatnosti. Usvo- stornim uslovima koje retko koja sli~na ustanova u sve- jen je model po kome }e se ove ~etiri osnovne studijske tu ima. Na skoro 10.000 kvadratnih metara povr{ine ras- grupe (Gluma, Reìja, Dramaturgija i Organizacija) raz- pore|eno je vi{e nivoa i polunivoa. Arhitekte koje su vijati kroz sve osnovne prikaziva~ke medije (pozori{te, projektovale ovu zgradu nagra|ene su najvi{im nagra- film, radio i televizija). U tom smislu je i izvr{ena dama, a godinama su delegacije iz raznih zemaqa sveta, velika reforma nastave, oboga}ivawe plana i programa od Amerike do Kine, pose}ivale ovaj objekat kao poseb- u filmskim i televizijskim disciplinama, koje od ta- nu znamenitost. U zgradi postoji veliki broj ve`baoni- da zauzimaju ravnopravnu poziciju u odnosu na do tada ca za prakti~nu nastavu, teorijske u~ionice, prostorije prete`no ili iskqu~ivo pozori{nu nastavu. Takav mo- za montaù, laboratorije, veliki i mali filmski i del nastave sa ~etiri osnovne studijske grupe kroz ~eti- televizijski studiji, radio studio, pozori{na i bio- ri medija bio je u su{tini multimedijalan. U kasnijem skopska sala, garderobe, {minkernice i drugo. Stru~ne razvoju dolazi do transformacije ovog modela u pravcu slu`be u nastavi organizovane su kroz Pozori{ni i ra- diferencirawa medijskih usmerewa. Grupa za reìju se dio studio. Filmski i televizijski studio i Biblioteku. postepeno od 1961. godine granala na pozori{no i fil- Svakodnevni ìvot studenata koji naj~e{}e na Fakul- msko-televizijsko usmerewe, da bi se 1968. godine ova tetu ostaju od jutra do kasnih ve~erwih sati olak{an je dva smera definitivno odvojila. Na sli~an na~in su i postojawem studentskog restorana i kafeterije. unutar grupe za organizaciju nastala dva usmerewa, da | Na po~etku rada Akademije za pozori{nu umet- bi 1974. godine do{lo do razdvajawa na dve studijske gru- nost 1948. godine postojala su samo dva studijska pro- pe, jedne koja je usmerena ka pozori{tu, radiju i menax- grama – za glumu i reìju. Od {ezdesetih godina u skla- mentu kulture, i druge koja je usmerena ka filmu i tele- du sa novom orijentacijom pro{irivawa nastavnih viziji. Godine 1970. zapo~ela je nastava na studijskom

10 FAKULTET DRAMSKIH UMETNOSTI Prva klasa studenata glume sa profesorom Matom Milo{evi}em i asistentima Miroslavom Belovi}em i Sojom Jovanovi} First class of Acting with the professor Mata Milo{evi} Prva diplomska predstava and assistents Miroslav Belovi} and Soja Jovanovi} First graduation performance broader orientation and the school was obliged to develop radio and television. This name has been accepted all of its main disciplines equally. officially and unofficially and the school still exists under | Following the legal changes in 1974, all schools of the same title. higher education, including the academies, became facul- | Although at the beginning the Academy was a fe- ties, and consequently, Art Academy became the Univer- deral institution of higher learning its entire activity was sity of the Arts. After a prolonged dispute about the name, performed in a large flat in Vuka Karad`i}a Street. Soon, our Academy was finally renamed the Faculty of Dramatic there were a few additional modest rooms in Usko~ka Street, Arts, combining all disciplines related to theatre, film, above the department store Miti}, and even two improvised

FACULTY OF DRAMATIC ARTS 11 programu za filmsku i televizijsku kameru, a 1971. godine na programu za filmsku i televizijsku monta`u. Najmla|i studijski program posve}en izu~avawu dizajna i obrade zvuka, osnovan je 1997. godine. Raniji multime- dijalni koncept sa~uvan je samo na studijskim programima za glumu, dramaturgiju i snimawe i dizajn zvuka, dok su ostale grupe usmerene ka specifi~nim medijima, pozori{tu i radiju, odnosno filmu i televiziji. Ipak i u pozori{nim studijskim programima prou~a- vaju se osnovni elementi iz oblasti umetnosti filma i televizije, i obratno. Du{an Mati}, prvi rektor i dekan Pozori{ne akademije | Paralelno sa studijama mati~nih umetni~kih i i Vjekoslav Afri}, prvi direktor Visoke filmske {kole stru~no-umetni~kih oblasti nastajale su i poslediplom- Du{an Mati}, first Dean of the Academy for Theatre Art ske (magistarske) studije iz oblasti nauka o dramskim and Vjekoslav Afri}, first director of the High School for Film umetnostima koje su osnovane 1971. godine i do sada su se prete`no odvijale u tri smera posve}ena teatro- nau~ne studije iz ovih oblasti, kao i umetni~ke master- logiji, studijama filma i medija i studijama produk- studije na svim postoje}im profilima i doktorske cije u dramskim umetnostima. Prvi doktorat iz obla- umetni~ke studije. sti nauka o dramskim umetnostima odbrawen je 1972. | Tokom svih godina postojawa Akademije, odnosno godine. Saglasno novim zakonskim odredbama {kolske Fakulteta dramskih umetnosti razvijane su i discipli- 2006/2007. godine zapo~ele su studije drugog stepena ne vezane za istorijske, teorijske, esteti~ke, sociolo- (Master) iz navedenih nau~nih oblasti (Studije pozo- {ke, psiholo{ke i druge teorijske pristupe dramskim ri{ta, Studije filma i medija i Studije produkcije u umetnostima. Radi organizovanog odvijawa nau~no-istra- dramskim umetnostima). U pripremi su i doktorske `iva~kog rada u okviru Fakulteta postoji Institut za

12 FAKULTET DRAMSKIH UMETNOSTI stages were built there. In 1967, the Academy was moved | At the beginning, in 1948, there were only two study to Knez Mihailova Street, above the Kolarac restaurant. Four programmes at the Academy of Theatre Arts – acting and rooms were set there with small stages for practical classes direction. However, since the 1960s new study groups were and a few were furnished for lectures in theoretical subjects. established in accord with the new orientation and the An important turning point was in 1974, when the Faculty extension of programmes through different media. The moved to a new, purposefully built building in New Belgra- first was the Group for Dramaturgy (1960), then the Group de, on a plot where the whole campus of the University of for the Organization of Cultural–Artistic Activities (1961). A the Arts was planned to be erected. This ambitious project model was adopted for the development of these four basic has not yet been finalized. study groups (Acting, Direction, Dramaturgy and Organi- | The Faculty of Dramatic Arts is situated in an im- zation) through the media of theatre, film, radio and tele- pressive building with spatial conditions rarely available in vision and the curriculum was transformed so that the en- the world. The ten thousand square meters can accommo- riched programmes in film and television disciplines could date several levels. The architects who designed this building match the previous primarily theatre orientation. Such a received the highest awards and for years delegations from model with four basic study groups through four media was different countries, from America to China, came to visit in fact a multimedia model. In its later development, the the building as a sight of interest. There is a large number model was transformed in order to differentiate the media of rooms for practical classes, lectures, editing, laboratories, orientation. After 1961, the Group for Direction gradually the big and the small film and television studios, a radio branched to theatre and film-television direction divisions, studio, a theatre, a cinema, wardrobes, make-up rooms, etc. and in 1968 they were definitely separated. Similarly, two Professional associates are organized through the theatre divisions evolved within the Group for Organization and in and radio studio, film and television studio and the library. 1974 they separated into theatre, radio and cultural mana- Students, who generally stay at the Faculty from early mor- gement, on the one hand, and film and television, on the ning to late in the evening, can use the student restaurant other. The study programme for film and television camera and cafeteria. was introduced in 1970, for film and television editing in

FACULTY OF DRAMATIC ARTS 13 pozori{te, film, radio i televiziju osnovan 1988. go- disciplina, zatim individualni pristup svakom pojedine. Glavna delatnost Instituta je realizacija nau~no- dina~nom studentu i nastavni rad u malim grupama, -istraìva~kih projekata, saradwa sa Ministarstvom proìmawe prakti~nog i teorijskog rada, povezanost sa za nauku i za{titu ìvotne sredine, izdava~ka delat- najva`nijim institucijama kulture i umetnosti i nost, organizovawe nau~nih skupova i sli~no. Od 1997. uspe{ni napredak i skoro optimalna prohodnost stude- godine u okviru Instituta objavquje se Zbornik radova nata od prijemnog ispita do diplomirawa. Sve to kao Fakulteta dramskih umetnosti koji je do sada izlazio posledicu ima visoku osposobqenost studenata za budu- kao godi{wak, a od 2006/2007. godine planira se izda- }i profesionalni rad. Nisu retki studenti koji jo{ vawe dva broja godi{we. tokom {kolovawa dobijaju zna~ajne profesionalne | Od svog nastanka do danas Fakultet je koncipi- anga`mane i ugledna priznawa u profesionalnoj konku- ran kao vokaciona visoka umetni~ka {kola sa studij- renciji. Biv{i studenti Akademije i Fakulteta dramskim grupama koje su usmerene ka pojedina~nim skih umetnosti u celom proteklom periodu u najve}oj zanimawima u sloènom procesu nastanka umetni~kih meri proìmaju celokupni kulturno-umetni~ki dela iz oblasti dramskih umetnosti. Kroz umetni~ke i ambijent na{e sredine. U oblasti pozori{ta, filma, stru~no-umetni~ke predmete nastava je pre svega upu}e- radija i televizije nema zna~ajnije institucije, niti na ka strukturalnom prou~avawu prakti~nih umetni~- zna~ajnijeg projekta koji nisu obeleèni doprinosom kih i stru~no-umetni~kih oblasti, koje vodi od analize kadrova poteklih iz ove [kole. Pa i kasnije osnovani do sinteze umetni~kog dela. S druge strane kao balans dràvni fakulteti i akademije u drugim gradovima postoji sna`na komplementarnost u teorijskim disci- (Novi Sad, Skopqe, Sarajevo, Pri{tina, Cetiwe, Bawa plinama, koje omogu}avaju {ire razumevawe umetni~kog Luka). kao i novoosnovane privatne akademije, zapo~i- stvarala{tva i wegove strukture. Shodno tome nastavne wali su svoj rad uz presudno u~e{}e kadrova poteklih procese na Fakultetu karakteri{u pre svega krajwe se- sa na{eg Fakulteta i uz planove i programe sa~iwene, lektivni upis studenata, angaòvawe vrhunskih kreativ- uz ve}e ili mawe modifikacije, po ugledu na beograd- nih stvaralaca za nastavnike umetni~kih i teorijskih ski model.

14 FAKULTET DRAMSKIH UMETNOSTI FACULTY OF DRAMATIC ARTS 15 16 FAKULTET DRAMSKIH UMETNOSTI 1971. The most recent study programme is dedicated to activity, organization of scholarly meetings and coopera- sound design and processing (1997). The former multime- tion with the Ministry of Science. Since 1997, the Institute dia concept has been preserved only in acting, dramaturgy, has published each year a collection of texts on topics sound design and recording, while all other groups are related to the fields studied at the Faculty; hopefully, there oriented to the specific media, theatre and radio or film will be two annual issues in the near future. and television. Nevertheless, the basic elements of theatre | Since its foundation, the Faculty has been a voca- arts are studied in film and television programmes, and tional institution of higher education in the arts with study vice versa. groups oriented towards individual professional profiles in | Postgraduate studies in dramatic arts were intro- the complex creative process in dramatic arts. Classes duced in 1971 and have been primarily dedicated to thea- cover all the artistic and professional forms of structural trology, film and media, and the production of dramatic studies, from analysis to the synthesis of a work. On the arts. The first Ph.D. in dramatic arts was defended in 1972. other hand, balance is maintained by the complementary According to the new legislation, the academic year 2006/07 theoretical disciplines that facilitate a broader understand- marked the beginning of second grade (master) program- ing of artistic creation and its structure. Therefore, the Fa- mes in theatre, film and the media, and the production of culty is very selective in accepting new students, employs dramatic arts. The Faculty is preparing doctoral studies in first-class artists as teachers, insists on small groups and the same fields, as well as artistic master and doctoral on individual approach to each student, maintains a mix- studies. ture of practical and theoretic work and close links with | In all these years, the Faculty has developed discipli- the most important cultural and artistic institutions. The nes related to different approaches to the dramatic arts, such effect is a guaranteed progress of students from the first as historic, theoretic, aesthetic, sociological, and psycho- year to their diploma exams and their professional compe- logical. An Institute for Theatre, Film, Radio and Television tence to accept and perform future tasks. Many students was founded in 1988 and its main responsibility is organi- during their studies get professional enganements and even zation and realization of scholarly research, publishing receive prominent awards. It could be said that the overall

FACULTY OF DRAMATIC ARTS 17 | Fakultet dramskih umetnosti je za skoro {ezde- fesora Gluma~ko-baletske {kole 1921. godine, a jedan set godina svoga rada bio mesto na kome su se formirali od prvih wenih u~enika bio je Mata Milo{evi} kasni- kriterijumi u oblasti dramskih umetnosti. To je [kola ji veliki glumac i pozori{ni rediteq. Kada je osnova- iz koje su potekli najzna~ajniji stvaraoci. [kola sa ne- na Akademija za pozori{nu umetnost, dana{wi Fakul- osporno velikim doprinosom visokom nivou jugosloven- tet dramskih umetnosti, prvi profesor glume bio je skog i srpskog pozori{ta, filma, radija i televizije. Mata Milo{evi}. Ovi podaci govore da je u razvoju I danas, kada postoji pluralitet {kolskih oblika Fa- na{e dramske pedagogije morao postojati odre|en kon- kultet i daqe magnetski privla~i; na wega svake godine tinuitet, kao i da su se generacije naslawale jedna na konkuri{e vi{e kandidata nego na sve druge srodne drugu i daqe se razvijale. Takav susret tradicije, sada{- {kole unutar srpskog kulturnog podru~ja zajedno. wosti i budu}nosti, i danas obele`ava na{ Fakultet. | Najzad, treba pomenuti jednu ~iwenicu, koja ni- Povezivawe proverenih vrednosti sa novim putevima i kako nije samo zanimqiva podudarnost nego ima su{- oblicima – ~uvawe tradicije, ali i otvorenost ka budu- tinski zna~aj. U prvoj Gluma~koj {koli Alekse Ba~van- }nosti obezbe|uju kreativno bogatstvo i najavquju daqi skog 1869. godine jedan od prvih u~enika bio je Pera razvoj Fakulteta dramskih umetnosti, kao i wegovu Dobrinovi} na{ budu}i veliki, a po nekima i najve}i nadaleko poznatu visoku reputaciju. glumac. Pera Dobrinovi} posta}e jedan od prvih pro-

18 FAKULTET DRAMSKIH UMETNOSTI cultural and artistic scene of the country rests upon our | And finally, there is an interesting fact that should former students. Briefly, there is no institution or project not be omitted. One of the first students in the first School in the area of theatre, film, radio and television that has of Acting headed by Aleksa Ba~vanski in 1869 was Pera not benefited from the former students of the Faculty of Dobrinovi}, a great and some believe the greatest actor we Dramatic Arts. They have contributed to the founding and have ever had. Pera Dobrinovi} will be one of the first pro- work of state faculties and academies established in other fessors at the School of Acting and Ballet, founded in 1921 cities, such as Novi Sad, Skopje, Sarajevo, Pri{tina, Cetinje, where one of the first students was Mata Milo{evi}, who Banja Luka, and numerous private academies. Even the will become a great actor and theatre director. When the study programmes offered at such institutions are conceived Academy for Theatre Arts was founded, the first professor after the Belgrade model. was Mata Milo{evi}. This sequence confirms that there has | For almost sixty years the Faculty of Dramatic Arts been continuity in the development of our dramatic peda- has formulated the criteria in the area of dramatic arts. gogy and that different generations are always closely re- The school bred the most important authors and artists and lated. A similar encounter of tradition, the present and the its contribution to Yugoslav and Serbian theatre, film, ra- future is still a dominant feature of the Faculty: it ende- dio and television is undisputed. Even today, with so many avours to link the proven qualities with new directions and different schools, the Faculty attracts more students every forms since the maintenance of tradition and openness to year and the number of those who apply surpasses the sum new expressions sustain the creative opulence and further of applicants to all other institutions in Serbia. growth of the Faculty of Dramatic Arts.

FACULTY OF DRAMATIC ARTS 19 FAKULTET DRAMSKIH UMETNOSTI

STUDIJE I STUDIJSKI PROGRAMI FACULTY OF DRAMATIC ARTS

STUDIES AND STUDY PROGRAMMES dati se rangiraju prema postignutom uspehu na ispitu i uspehu u sredwoj {koli.

KATEDRA ZA GLUMU

a Fakultetu dramskih umetnosti studijski Na studije glume prima se svake godine do 12 studenata. Hprogrami se izvode kroz osnovne studije, diplomske mas- Nastava je usmerena ka profesionalnom savladavawu ter studije, specijalisti~ke studije i doktorske studije. umetnosti glume u svim medijima (pozori{te, film, Nastava je prete`no vokacione prirode, {to zna~i da je radio i televizija). Pored Glume kao mati~nog predme- usmerena ka osposobqavawu za specifi~na umetni~ka i ta, obavezni program obuhvata specifi~ne gluma~ke stru~na zanimawa i poslove u okviru procesa stvarawa discipline (Dikcija, Tehnika glasa, Scenski pokret, umetni~kih dela u oblasti dramskih umetnosti. Scenska akrobatika, Scenske borbe, Igre), zatim isto- | Na prvu godinu osnovnih studija mogu se upisati rijsko-teorijske predmete iz oblasti dramskih umetno- lica koja ispuwavaju op{te zakonske uslove i polo`e sti (Istorija svetskog pozori{ta i drame, Istorija ju- poseban ispit za proveru sklonosti i sposobnosti. Pro- goslovenskog pozori{ta i drame, Istorija filma), kao grami ovog ispita su posebni za svaki studijski program, i op{te teorijske predmete (Psihologija, Teorija kul- jer se u wima proveravaju sposobnosti i znawa neophod- ture, Strani jezik). Me|u izbornim predmetima studen- na za nastavne procese i za budu}e kreativno obavqawe ti imaju prilike da savladaju specifi~ne medijske odre|ene umetni~ke profesije. Ispiti za svaki studij- gluma~ke ve{tine, kao i da upoznaju osnove umetni~kih ski program se odvijaju u nekoliko eliminatornih kru- disciplina povezanih sa gluma~kom kreacijom (Osno- gova i ukqu~uju radove zadate u konkursu za upis, pismene vi pozori{ne re`ije, Gluma pred kamerom, Scenografi- ispite, razli~ite testove, usmene intervjue i prakti~ne ja i kostimografija, Muzi~ko pozori{te, Dizajn scen- zadatke pod supervizijom profesora Fakulteta. Kandi- skog zvuka i drugo).

22 FAKULTET DRAMSKIH UMETNOSTI perly test the abilities and skills required for a specific curriculum and artistic profession. All of these examinations have several eliminatory cycles, including portfolios required by the competition, written exams, different tests, oral interviews and practical tasks supervised by the faculty. Candidates are ranked by their performance during the exam and their overall results from the high school.

DEPARTMENT OF ACTING

The Department accepts up to twelve students every year. The curriculum enables students to master the professional skills of acting in all media – theatre, film, radio and televi- tudy programmes at the Faculty of Dramatic Arts are sion. Acting is the main subject, but the basic programme performedS at all levels of studies – regular studies, master includes specific disciplines such as diction, voice techni- studies, specialized advanced studies and doctoral studies. ques, stage movement, stage acrobatics, stage combat, dan- The curriculum is based on vocation, i.e. directed towards cing; then subjects from the history and theory of dramatic specific artistic and professional skills and positions related arts, such as history of world theatre and drama, history of to creative processes in dramatic arts. Yugoslav theatre and drama, history of film; as well as ge- | All those who fulfill the general legal requirements neral theoretic subjects: psychology, theory of culture, and pass the entrance examination that tests their inclina- foreign languages. Students have an opportunity to master tions and abilities, can enroll the first year of study. Each specific media acting skills and to get acquainted with those study programme has its own entrance exam in order to pro- art disciplines that are related to acting, such as theatre di-

FACULTY OF DRAMATIC ARTS 23 24 FAKULTET DRAMSKIH UMETNOSTI rection, acting in front of camera, set and costume design, courses offer theoretical study of different aspects of the- musical theatre, stage sound design, etc. atre and other media (poetics of theatre direction, the XX century theatre, contemporary theories of drama, XX century aesthetics, mass media, etc.). DEPARTMENT OF THEATRE AND RADIO DIRECTION DEPARTMENT OF DRAMATURGY The Department enrolls up to five students every year. The main subjects are theatre direction and radio direction. In The Department enrolls up to ten students every year. The addition, there are subjects related to the components of programme of studies is conceived in such a way as to pre- theatre creation such as, set and costume design, musical pare students to work as dramaturges in all media. Conse- theatre, dramaturgy, theatre genres, diction, stage move- quently, the main subjects are theatre and radio dramatur- ment, stage sound design, applied music, theatre producti- gy, and film and television dramaturgy. Apart from those on; also the director’s approach to other media (film direc- there are subjects related to the domain of direction in tion, television direction), subjects from the history and dramatic arts (theatre direction, film direction, television theory of dramatic arts, such as history of the world the- direction, applied music), subjects from the history and theatre and drama, history of the Yugoslav theatre and drama, ory of dramatic arts, such as history of the world theatre history of film; as well as general theoretic subjects: histo- and drama, history of the Yugoslav theatre and drama, his- ry of art, psychology, theory of culture, aesthetics, foreign tory of film, film theory; as well as general theoretic subjects: languages. Master studies offer an in-depth study of some history of art, psychology, theory of culture, aesthetics, of the specific aspects of theatre direction (direction of mass media, foreign languages. There are also a number of musicals, direction of puppet theatre, direction of classical elective courses such as documentary film, introduction to theatre forms, nonverbal theatre forms), as well as the computer animation, musical theatre, twentieth century specialization in the domain of direction for radio. Elective aesthetics, etc. Graduates of this department become play-

FACULTY OF DRAMATIC ARTS 25 KATEDRA ZA POZORI[NU I RADIO RE@IJU mene teorije drame, Estetika XX veka, Mediji masovnih komunikacija i drugo). Na studije pozori{ne i radio reìje svake godine se prima do 5 studenata. Mati~ni predmeti su Pozori{na reìja i Radio reìja. Pored wih program obuhvata umet- KATEDRA ZA DRAMATURGIJU ni~ke predmete usmerene na komponente pozori{ne kreacije (Scenografija i kostimografija, Muzi~ko pozo- Na studije dramaturgije svake godine se upisuje do 10 ri{te, Dramaturgija, Pozori{ni ànrovi, Dikcija, studenata. Studijski program usmeren je ka obu~avawu Scenski pokret, Dizajn zvuka u pozori{tu, Primewena za posao dramaturga u svim medijima, pa su zato mati~- muzika, Pozori{na produkcija), rediteqski pristup ni predmeti Pozori{na i radio dramaturgija i Film- drugim medijima (Filmska reìja, Televizijska reì- ska i televizijska dramaturgija. Pored toga program ja), teorijsko-istorijske predmete iz oblasti dramskih obuhvata umetni~ke predmete iz oblasti reìje u dram- umetnosti (Istorija svetskog pozori{ta i drame, Istori- skim umetnostima (Pozori{na reìja, Filmska reìja, ja jugoslovenskog pozori{ta i drame, Istorija filma), Televizijska reìja, Primewena muzika), istorijsko- kao i op{te teorijske predmete (Istorija umetnosti, -teorijske predmete iz oblasti dramskih umetnosti Psihologija, Estetika, Teorija kulture, Strani jezik). (Istorija svetskog pozori{ta i drame. Istorija jugo- Na master studijama predvi|eno je produbqivawe speci- slovenskog pozori{ta i drame, Istorija filma, Teori- fi~nih rediteqskih pozori{nih oblika (Reìja mu- ja filma), kao i op{te teorijske predmete (Estetika, zi~kog pozori{ta, Reìja lutkarskog pozori{ta, Reìja Psihologija, Teorija kulture, Istorija umetnosti, Me- klasi~nih oblika, Reìja pozori{ta pokreta), kao i diji masovnih komunikacija, Strani jezik). Izborni usavr{avawe iz oblasti Radio reìje. Izborni predme- ciklus obuhvata predmete kao {to su Gramatika govora, ti omogu}avaju teorijsko i stru~no-umetni~ko prou~a- Dokumentarni film, Osnovi kompjuterske animacije, vawe specifi~nih pozori{nih i medijskih aspekata Muzi~ko pozori{te, Estetika XX veka i druge. Diplo- (Poetika pozori{ne reìje, Pozori{te XX veka, Savre- mirani studenti dramaturgije postaju dramski pisci,

26 FAKULTET DRAMSKIH UMETNOSTI writers, film scriptwriters, theatre and film critics, radio and arts (history of world theatre and drama, history of Yugoslav television editors, dramaturges or dramatists in theatres as theatre and drama, history of film) as well as general the- well as on radio, film and television. oretic subjects (history of art, theory of culture, aesthetics, foreign languages). There are also a number of elective courses such as business communications, mass media, DEPARTMENT OF MANAGEMENT journalism, etc. AND PRODUCTION IN THEATRE, RADIO AND CULTURAL INSTITUTIONS DEPARTMENT OF FILM The department enrolls up to eleven students every year. AND TELEVISION DIRECTION This department educates specialists for the organization, project and system management, technology of production The Department enrolls up to five students every year. The and distribution of artworks in the domain of theatre, radio, main subjects are film direction, television direction and mass media and other cultural institutions. The main sub- direction of documentary films. Other core courses cover jects are theatre production, radio production and manage- practical subjects in the area of film and television direction ment of cultural institutions. The programme encompasses (film and television script, film editing, film and television artistic, practical and theoretical subjects related to the camera, sound direction, film production, television produ- organization and management in theatres, radio and cultu- ction, electronic editing, visual culture, applied music), as ral institutions in general (cultural policies, theatre direc- well as subjects related to film and television technology tion, radio direction, architecture and techniques of stage (film technology, new technologies, television technology, spaces, sound design and recording, applied music, intellec- interactive communications), subjects from the history and tual property rights, marketing), subjects related to the theory of dramatic arts (history of film, film theory, history production in other media (film production, television pro- of world theatre and drama) as well as general theoretic duction), subjects from the history and theory of dramatic subjects (psychology, theory of culture, aesthetics, foreign

FACULTY OF DRAMATIC ARTS 27 filmski scenaristi, pozori{ni i filmski kriti~a- Istorija jugoslovenskog pozori{ta i drame, Istorija ri, urednici na radiju i televiziji, dramaturzi u pozo- filma) i op{te teorijske predmete (Istorija umetno- ri{tu, na filmu, radiju i televiziji. sti, Estetika, Teorija kulture, Strani jezik). U okviru izbornih predmeta studenti se upu}uju u predmete kao {to su Poslovna komunikacija, Mediji masovnih komu- KATEDRA ZA MENAXMENT I PRODUKCIJU nikacija, Novinarstvo i druge. POZORI[TA, RADIJA I KULTURE

Svake godine se upisuje do 11 studenata. Na ovom studij- KATEDRA ZA FILMSKU skom programu {koluju se stru~waci za organizaciju, I TELEVIZIJSKU RE@IJU projektovawe i menaxment sistema, tehnologiju proizvodwe i plasman umetni~kih dela u oblasti pozori{ta Svake godine se prima do pet studenata. Mati~ni pred- i radija, kao i u drugim oblastima kulture i medija. meti su Filmska reìja, Televizijska reìja i Filmska Mati~ni predmeti su Pozori{na produkcija, Radio reìja-dokumentarni i namenski film. Pored toga produkcija i Menaxment u kulturi. Program obuhvata i obavezni program obuhvata i ostale filmsko-televizij- stru~ne, umetni~ke i teorijske predmete vezane za orga- ske prakti~ne predmete (Filmski i televizijski sce- nizaciju i menaxment u pozori{tu, na radiju i u kul- nario, Filmska montaà, Filmska i televizijska ka- turnom ìvotu uop{te (Kulturna politika, Pozori{na mera, Reìja zvuka, Snimawe i dizajn zvuka, Filmska reìja, Radio reìja, Arhitektura i tehnika scenskih produkcija, Televizijska produkcija, Elektronska mon- prostora, Snimawe i dizajn zvuka, Primewena muzika, taà, Likovna kultura, Primewena muzika), kao i pred- Autorsko pravo, Marketing), produkcione predmete ve- mete iz oblasti tehnologije (Tehnologija filma, Nove zane za druge medije (Filmska produkcija, Televizijska tehnologije, Tehnologija televizije, Interaktivne ko- produkcija), kao i istorijske predmete iz oblasti dram- munikacije), istorijsko-teorijske predmete iz oblasti skih umetnosti (Istorija svetskog pozori{ta i drame, dramskih umetnosti (Istorija filma, Teorija filma,

28 FAKULTET DRAMSKIH UMETNOSTI FACULTY OF DRAMATIC ARTS 29 30 FAKULTET DRAMSKIH UMETNOSTI languages). There are also a number of elective courses such DEPARTMENT OF CAMERA as art history, introduction to computer animation, film set design, special effects, theatre direction, etc. The Department enrolls up to six students every year. The main subjects are film picture, television picture and photographic picture. Other core courses are related to the DEPARTMENT OF FILM film and television picture (animation, technology of film, AND TELEVISION PRODUCTION photo and generated pictures, television technology, visual culture), to other areas of film and television (film direction, The Department enrolls up to nine students every year. The documentary film, sound recording, film editing, film pro- main subjects are film production and television produc- duction, television production, applied music), and to his- tion. The programme encompasses artistic, practical and tory of film, film theory and to general theoretical subjects theoretical subjects related to the organization of film and (history of art, theory of culture, foreign languages). There television production (film direction, television direction, are also a number of elective courses such as psychology, film and television script, film technology, television tech- mass media, aesthetics, introduction to film and television nology, applied music), subjects related to the production dramaturgy, etc. in other media (theatre production, radio production, management in culture), subjects from the history and theory of dramatic arts (history of world theatre and drama, histo- DEPARTMENT OF FILM ry of film, film theory) as well as general theoretic subjects AND TELEVISION EDITING (mass media, history of art, psychology, intellectual property rights, theory of culture, foreign languages). There The Department enrolls up to six students every year. The are also a number of elective courses such as copyrighting, main subjects are film editing and electronic editing. Other advertising agencies, technology of advertisements produ- core courses are related to the different aspects of film and ction, communication psychology, etc. television (sound editing, sound design and recording, intro-

FACULTY OF DRAMATIC ARTS 31 Istorija svetskog pozori{ta i drame) i op{te teorij- vo, Teorija kulture, Strani jezik). U okviru izbornih ske predmete (Estetika, Psihologija, Teorija kulture, predmeta studenti se opredequju za Kopirajting, Rek- Strani jezik). Me|u izbornim predmetima su Istorija lamne agencije, Tehnologiju produkcije reklama, Psi- umetnosti, Osnovi kompjuterske animacije, Scenogra- hologiju komunikacije i drugo. fija na filmu, Specijalni efekti, Pozori{na re`ija i drugi. KATEDRA KAMERE

KATEDRA ZA FILMSKU Svake godine se prima do {est studenata. Mati~ni I TELEVIZIJSKU PRODUKCIJU predmeti su Filmska slika, Televizijska slika i Fotografska slika. Ostali obavezni predmeti su iz Svake godine se prima do devet studenata. Mati~ni pred- oblasti filmsko-televizijske slike (Animacija, Teh- meti su Filmska produkcija i Televizijska produkci- nologija foto, filmske i generisane slike, Tehnologi- ja. Pored toga u obaveznom programu su ostali filmsko- ja televizije, Likovna kultura), zatim druge umetni~ke televizijski umetni~ki i stru~no-umetni~ki predmeti i stru~ne discipline filmskog i televizijskog stva- (Filmska reìja, Televizijska reìja, Filmski i te- rala{tva (Filmska reìja, Dokumentarni film, Sni- levizijski scenario, Tehnologija filma, Tehnologija mawe zvuka, Filmska montaà, Filmska produkcija, televizije, Primewena muzika), produkcioni predmeti Televizijska produkcija, Primewena muzika), Istorija drugih medija (Pozori{na produkcija, Radio produk- filma i Teorija filma, kao i op{ti teorijski pred- cija, Menaxment u kulturi), istorijsko-teorijski predmeti (Istorija umetnosti, Teorija kulture, Strani meti iz oblasti dramskih umetnosti (Istorija filma, jezik). U okviru izbornih predmeta studentima su Teorija filma, Istorija svetskog pozori{ta i drame) i ponu|eni Psihologija, Mediji masovnih komunikacija, op{ti teorijski predmeti (Mediji masovnih komuni- Estetika, Osnovi filmske i televizijske dramaturgije kacija, Psihologija, Istorija umetnosti, Autorsko pra- i drugo.

32 FAKULTET DRAMSKIH UMETNOSTI FACULTY OF DRAMATIC ARTS 33 KATEDRA ZA FILMSKU radio, Dizajn scenskog zvuka i Snimawe muzike. Ostali I TELEVIZIJSKU MONTA@U obavezni predmeti su iz oblasti zvuka (Montaà zvuka, Akustika, Osnovi audiotehnike, Audio ure|aji i siste- Svake godine prima se do {est studenata. Mati~ni mi), muzi~ke umetnosti (Osnovi notnog pisma, Muzi~- predmeti su Filmska montaà i Elektronska montaà. ki instrumenti, Primewena muzika), umetni~ki i Pored toga studijski program obuhvata predmete iz stru~no-umetni~ki predmeti iz oblasti svih medija oblasti filmskog i televizijskog stvarala{tva (Mon- dramskih umetnosti (Radio reìja, Filmska reìja, taà zvuka, Snimawe i dizajn zvuka, Osnovi filmske Televizijska reìja, Dikcija, Tehnologija televizije, reìje, Dokumentarni film, Televizijska reìja, Tehno- Tehnologija filma, Filmska produkcija, Televizijska logija filma, Nove tehnologije, Tehnologija televizije, produkcija, Radio produkcija, Pozori{na produkcija) Filmski i televizijski scenario, Primewena muzika, i istorijsko-teorijski predmeti (Istorija svetskog po- Istorija filma, Teorija filma), kao i op{te teorijske zori{ta i drame, Istorija filma, Mediji masovnih predmete (Psihologija, Teorija kulture, Strani jezik). komunikacija, Strani jezik). Me|u izbornim predmeti- Me|u izbornim predmetima su Estetika, Savremeni ma nalaze se Estetika, Muzi~ko pozori{te, Osnovi po- film, Govorna realizacija, Menaxment u kulturi – od- zori{ne reìje, Teorija filma i drugi. nosi s javno{}u i marketing.

STUDIJE TEORIJE DRAMSKIH KATEDRA ZA SNIMAWE I DIZAJN ZVUKA UMETNOSTI, MEDIJA I KULTURE

Svake godine se prima do sedam studenata. Program je Ovaj teorijski studijski program organizuje se samo na usmeren na sve medije dramskih umetnosti. Zato su nivoima diplomskih – master studija i doktorskih mati~ni predmeti Snimawe Zvuka, Snimawe i dizajn nau~nih studija. Program master studija obuhvata zvuka za film i televiziju, Snimawe i dizajn zvuka za op{te teorijske i metodolo{ke predmete, zatim glavne

34 FAKULTET DRAMSKIH UMETNOSTI duction to film direction, documentary film, television direc- film production, television production, radio production, tion, film technology, new technologies, television techno- theatre production, diction), and general historical and logy, film and television script, applied music, film history, theoretical subjects (history of world theatre and drama, film theory), and to general theoretical subjects (psycholo- film history, mass media, foreign languages). There are also gy, theory of culture, foreign languages). There are also a a number of elective courses such as aesthetics, introduc- number of elective courses such as aesthetics, contempo- tion to theatre directing, musical theatre, film theory, etc. rary film, public relations and marketing, etc.

THEORY OF DRAMATIC ARTS, DEPARTMENT OF SOUND RECORDING MEDIA AND CULTURE AND DESIGN These theoretical study programmes exist only as graduate The Department enrolls up to seven students every year. studies (Master and PhD). The programmes include general The programme of studies is related to all areas of dramatic theoretical and methodological subjects, major courses rela- arts. The main subjects are sound recording, sound recording ted to the field of film, theater, media and semiotic analysis. and design for film and television, sound recording and de- Elective courses are related to specific aspects of media, sign for radio, sound recording and design for stage and re- such as relation among film and litterature, structural ana- cording of music. Other core courses are related to different lysis of cinematic language, aesthetics of communication. aspects of the sound (sound editing, acoustics, Introduc- tion to audio technology, audio equipment and systems), music (introduction to musical notation, musical instru- MANAGEMENT OF ARTS AND MEDIA ments, applied music), general practical and artistic subjects from all dramatic arts (radio directing, television direc- PhD programm, including the specific core courses related ting, film directing, television technology, film technology, to the management in theatre, in media, in culture and in

FACULTY OF DRAMATIC ARTS 35 predmete iz oblasti filma, pozori{ta, medija i semi- AKADEMSKE SPECIJALISTI^KE STUDIJE oti~ke analize. Izborni predmeti se odnose na speci- REKLAMA I MEDIJI fi~ne aspekte medija, odnos filma i literature, strukturalnu analizu filmskog jezika, estetiku komu- Koncept studija zasniva se na razvijawu sposobnosti kod nikacije itd. studenata da primene tehnologiju i stvarala~ke metode | Program doktorskih studija obuhvata analiti~- u ogla{avawu; da osposobi studente da upotrebe novoste- ke predmete, kao {to su Metode analize predstavqa~- ~ene tehnike, znawe i razumevawe materije za uspe{na kih umetnosti, Metode analize teksta, Metode analize ostvarewa bilo samostalno, bilo kao ~lanovi multi- produkcionih modela, Sociologiju predstavqa~kih disciplinarnih timova; da razvije kod studenata mo} umetnosti, Filozofiju Medija, Popularnu kulturu, analize, imaginacije i kreacije. Na studijama predaju Psihologiju komunikacije, Teoriju kritike, Teoriju glu- profesori Univerziteta umetnosti, profesori Beo- me i re`ije, Teoriju kulturne politike, Etiku medija i gradskog univerziteta, kao i doma}i i strani stru~wa- drugo. ci po pozivu. | Ciq studija je osposobqavawe studenata za interdisciplinarno prakti~no, bavqewe medijima, ogla{a- MENAXMENT UMETNOSTI I MEDIJA vawem, odnosima s javno{}u, dok je sekundarni dodatno teorijsko obrazovawe studenata ostvareno kroz grupu Program doktorskih studija, koji obuhvata predmete predmeta koje slu{aju tokom specijalisti~kih studija. vezane za menaxment u pozori{tu, u medijima, u kulturi | Nastava se odr`ava u prostorijama Fakulteta i umetnosti, zatim Sociologiju predstavqa~kih umet- dramskih umetnosti u Beogradu, kao i u prostorima nosti, Metode analize predstavqa~kih umetnosti, Psi- agencija za ogla{avawe. holo{ko-komunikacione strategije u menaxmentu, kao i | Metodologija rada: predavawa sa demonstracija- predmete vezane za produkciju pozori{ta, medija, filma, individualne konsultacije, ve`be i prakti~an rad uz ma i televizije. primenu savremenih tehnologija u stvarala~kom procesu.

36 FAKULTET DRAMSKIH UMETNOSTI arts. This programm offers also courses dedicated to the red knowledge, techniques and understanding in their sociology of performing arts, methods of analysis of per- achievements as individuals or as members of multidisci- forming arts, psychological and comunicational strategies plinary teams. Courses at this programme of studies are in management, and also courses related to the production taught by professors of the University of Arts, of the Uni- of theatre, media, film and television. versity of Belgrade as well as by the invited local and foreign specialists. | The goal of these studies is to enable students to ACADEMIC SPECIALIST STUDIES become interdisciplinary practitioners in media, advertising OF ADVERTISING AND MEDIA and public relations. | Lectures are held at the premises of the Faculty of The fundamental aim of these studies is to develop Dramatic Arts as well as in the offices of some advertising student’s ability to grasp and apply modern technology agencies. and creative methods in the domain of advertising, to | Methodology: lectures with demonstrations, indivi- develop their capacity of analyzing, ideating and creating, dual consultations, exercises and practical work, using all and to make students capable of applying the newly acqui- the latest technologies.

FACULTY OF DRAMATIC ARTS 37 FAKULTET DRAMSKIH UMETNOSTI

NASTAVNICI I SARADNICI FACULTY OF DRAMATIC ARTS

TEACHING AND PROFESSIONAL STAFF Stevan BODRO@A, asistent-pripravnik – Pozori{na reìja êdomir VASI], redovni profesor – Likovna kultura Predrag VELINOVI], docent – Televizijska reìja Dragan VESELINOVI], redovni profesor – Filmska i Televizijska reìja NASTAVNICI I SARADNICI dr Maja VOLK, redovni profesor dana 01. 01. 2007. godine – Filmski i televizijski scenario Ivana VUJI], redovni profesor – Pozori{na reìja Uro{ AN\ELKOVI], asistent-pripravnik dr Divna VUKSANOVI], vanredni profesor – Radio produkcija – Teorija kulture, Estetika Dragica ARAN\ELOVI], docent Milo{ GAVANSKI, vi{i stru~ni saradnik – Tehnologija televizije – Audio ure|aji i sistemi Stefan ARSENIJEVI], asistent-pripravnik Milovan GA\ANSKI, redovni profesor – Filmska reìja. – Scenske borbe Darko BAJI], redovni profesor – Filmska reìja Milorad GLU[ICA, redovni profesor Janko BAQAK, docent – Filmska reìja, – Filmska kamera Televizijska reìja Srdan GOLUBOVI], asistent Vladimir BARA], asistent – Scenska akrobatika – Filmska i televizijska reìja Barbara BOGAVAC, asistent – Filmska montaà, Filip DAVID, redovni profesor – Dramaturgija Elektronska montaà dr Nevena DAKOVI], redovni profesor dr Qiqana BOGOEVA SEDLAR, redovni profesor – Teorija filma – Engleski jezik mr Ana DALEORE, asistent – Filmska produkcija

40 FAKULTET DRAMSKIH UMETNOSTI Dr. Dragana ÔLI] BILJANOVSKI, Associate Professor – Theatre Production Dragutin ]IRKOVI], Docent – Sound Recording Filip DAVID, Full Professor – Dramaturgy Dr. Nevena DAKOVI], Full Professor – Theory of Film Ana DALEORE, Assistant – Film Production Narcisa DARIJEVI], Assistant TEACHING AND PROFESSIONAL STAFF – Film, and Television Direction on January 1, 2007 Feti DAUTOVI], Full Professor – Film Production Velimir DEJANOVI], Full Professor – Television Production Uro{ AN\ELKOVI], Trainee-Assistant – Radio Production Dr. Boris DESPOT, Associate Professor – Recording of Music Dragica AN\ELKOVI], Docent – Television Technology Andrija DIMITRIJEVI], Full Professor – Film Editing Stefan ARSENIJEVI], Trainee-Assistant – Film Direction Dr. Radivoje DINULOVI], Associate Professor Darko BAJI], Full Professor – Film Direction – Stage Architecture and Techniques Janko BALJAK, Docent – Film Direction; Dr. Milena DRAGI]EVI]-[E[I], Full Professor Television Direction – Management in Culture, Mass Communication Media Vladimir BARA], Assistant – Stage Acrobatics Jelica \OKI], Full Professor – Film Editing Barbara BOGAVAC, Assistant – Film Editing; Andrija \UKI], Full Professor – Television Direction Electronic Editing Dr. Vesna \UKI] DOJÎNOVI], Associate Professor Dr. Ljiljana BOGOEVA SEDLAR, Full Professor – Cultural Politics – English Language Marina \UR\EVI] – History of Art Stevan BODRO@A, Trainee-Assistant – Theatre Direction Marina FAJFULI], Professional Associate – Film Production Miladin ÔLANOVI], Associate Professor Zoran FILIPOVI], Senior Professional Associate – Film Camera; Photography – Sound Recording and Design for Film and Television

FACULTY OF DRAMATIC ARTS 41 Narcisa DARIJEVI], asistent Petrit IMAMI, redovni profesor – Filmska i televizijska reìja – Filmski i televizijski scenario mr Feti DAUTOVI], redovni profesor mr Aleksandar JANKOVI], asistent – Filmska produkcija – Istorija filma, Teorija filma mr Velimir DEJANOVI], redovni profesor Aleksandar JA]I], asistent-pripravnik – Televizijska produkcija – Filmska i elektronska montaà dr Boris DESPOT, vanredni profesor – Snimawe Nikola JEVTI], redovni profesor – Pozori{na reìja muzike dr Vladimir JEVTOVI], redovni profesor – Gluma mr Andrija DIMITRIJEVI], redovni profesor Vesna JEZERKI], redovni profesor – Dramaturgija – Filmska montaà Zoran JERKOVI], docent dr Radivoje DINULOVI], vanredni profesor – Snimawe i dizajn zvuka za radio – Arhitektura i tehnika scenskog prostora Dragan JOVANOVI], redovni profesor dr Milena DRAGI]EVI] [E[I], redovni profesor – Filmska kamera – Menaxment u kulturi, Mediji masovnih dr Aleksandra JOVI]EVI], redovni profesor komunikacija – Istorija svetskog pozori{ta i drame Jelica \OKI], redovni profesor – Filmska montaà Svetlana JOVIÎ], asistent-pripravnik Andrija \UKI], redovni profesor – Televizijska – Menaxment u kulturi, Mediji masovnih reìja komunikacija dr Vesna \UKI] DOJÎNOVI], vanredni profesor Ferid KARAJICA, redovni profesor – Kulturna politika – Scenski pokret mr Marina \UR\EVI] – Istorija umetnosti Sr|an KARANOVI], redovni profesor Svetolik ZAJC, vanredni profesor – Montaà zvuka – Filmska reìja Sneàna IVANOVI], vanredni profesor Sr|an KARANOVI], asistent-pripravnik – Gluma – Filmska montaà mr Radovan KNE@EVI], redovni profesor – Dikcija

42 FAKULTET DRAMSKIH UMETNOSTI Milo{ GAVANSKI, Senior Professional Associate Milorad GLU[ICA, Full Professor – Film Camera – Audio Equipmenet and Systems Srdan GOLUBOVI], Assistant Milovan GA\ANSKI, Full Professor – Stage Combat – Film, and Television Direction

Prva odbrana doktorata 1972. godine The first defense of PhD. 1972.

FACULTY OF DRAMATIC ARTS 43 dr Slavko KOVAÊVI], vanredni profesor dr Slobodan MARKOVI], redovni profesor – Marketing – Autorsko pravo Nikola KOKOTOVI], docent Dijana MAROJEVI], asistent – Dikcija – Snimawe i dizajn zvuka za film i TV Ana MARTINOLI, asistent-pripravnik Sr|an KOQEVI], docent – Radio produkcija – Filmski i televizijski scenario Biqana MA[I], vanredni profesor – Gluma Stevan KOPRIVICA, vanredni profesor dr Ivan MEDENICA, docent – Dramaturgija – Istorija svetskog pozori{ta i drame Aleksandar KOSTI], asistent – Filmska mr Miodrag MEDIGOVI], vanredni profesor i televizijska kamera – Elektronska montaà Pavle LAZI], umetni~ki saradnik – Gluma Rihard MERC, redovni profesor Zoran MAKSIMOVI], asistent – Snimawe i dizajn – Snimawe i dizajn zvuka zvuka za radio, Snimawe muzike Goran MIJAILOVI], asistent mr Aleksandar MANDI], redovni profesor – Filmska montaà, Elektronska montaà – Tehnologija filma dr Miomir MIJI], vanredni profesor dr Tijana MANDI], redovni profesor – Psihologija – Akustika, Osnovi audio tehnike dr Nikola MARIÎ], redovni profesor Marija MILENKOVI], asistent – Scenski pokret – Radio produkcija Milan MILETIN, redovni profesor mr Gordana MARI], redovni profesor – Gluma – Fotografija Petar MARI], Vi{i stru~ni saradnik mr Aleksandar MILETI], samostalni umetni~ki – Dizajn zvuka u pozori{tu saradnik – Tehnika glasa, Igre Goran MARKOVI], redovni profesor – Filmska reìja mr Bo{ko MILIN, docent – Dramaturgija mr Marina MARKOVI], redovni profesor Darijan MIHAJLOVI], asistent-pripravnik – Tehnika glasa – Pozori{na reìja

44 FAKULTET DRAMSKIH UMETNOSTI Velibor HAJDUKOVI], Senior Professional Associate Nikola KOKOTOVI], Docent – Sound Recording and Design for Film and Television – Sound Recording and Design for Film and Television Sneàna IVANOVI], Associate Professor – Film Editing Sr|an KOLJEVI], Docent – Film and Television Script Petrit IMAMI, Full Professor – Film, and Television Script Stevan KOPRIVICA, Associate Professor – Dramaturgy Aleksandar JANKOVI], Assistant Aleksandar KOSTI], Assistant – History of Film; Theory of Film – Film and Television Camera Aleksandar JA]I], Trainee-Assistant Pavle LAZI], Artistic Associate – Acting – Film and Electronic Editing Zoran MAKSIMOVI], Assistant Nikola JEVTI], Full Professor – Theatre Directing – Sound Recording and Design; Recording of Music Dr. Vladimir JEVTOVI], Full Professor – Acting Aleksandar MANDI], Full Professor – Film Technology Vesna JEZERKI], Full Professor – Dramaturgy Dr. Tijana MANDI], Full Professor – Psychology Zoran JERKOVI], Docent Dr. Nikola MARIÎ], Full Professor – Radio Production – Sound Recording and Design for Radio Gordana MARI], Full Professor – Acting Dragan JOVANOVI], Full Professor – Film Camera Petar MARI], Senior Professional Associate Dr. Aleksandra JOVI]EVI], Full Professor – Theatre Sound Design – History of the World Theatre and Drama Goran MARKOVI], Full Professor – Film Directing Svetlana JOVIÎ], Trainee-Assistant Marina MARKOVI], Full Professor – Voice Technique – Management in Culture; Mass Communication Media Dr. Slobodan MARKOVI], Full Professsor Ferid KARAJICA, Full Professor – Stage Movement – Intellectual Property Rights Sr|an KARANOVI], Full Professor – Film Direction Dijana MAROJEVI], Assistant – Diction Sr|an KARANOVI], Trainee-Assistant – Acting Ana MARTINOLI, Trainee-Assistant – Radio Production Radovan KNE@EVI], Full Professor – Diction Biljana MA[I], Associate Professor – Acting Dr. Slavko KOVAÊVI], Associate Professor Dr. Ivan MEDENICA, Docent – Marketing – History of the World Theatre and Drama

FACULTY OF DRAMATIC ARTS 45 dr Qiqana MRKI]-POPOVI], redovni profesor – Dikcija mr Mirjana NIKOLI], vanredni profesor – Radio produkcija Vojislav OPSENICA, redovni profesor – Televizijska kamera Vladan PAVI], docent – Filmska kamera, Televizijska kamera Veqko PAVLOVI], docent – Filmska kamera, Televizijska kamera Milo{ PAVLOVI], vanredni profesor – Filmska re`ija Neboj{a PAJKI], redovni profesor – Filmski i televizijski scenario Dejan PEJOVI], asistent-pripravnik – Snimawe i dizajn zvuka za film i TV mr Goran PEKOVI], redovni profesor – Televizijska produkcija Predrag PERI[I], redovni profesor – Filmski i televizijski scenario Dragan PETROVI], vanredni profesor – Gluma Du{an PETROVI], docent – Pozori{na re`ija dr Dragan POPOV, redovni profesor – Scenska akrobatika

46 FAKULTET DRAMSKIH UMETNOSTI Prva Me|unarodna letwa filmska {kola 1989 godine. Dekan Svetozar Rapaji}, prof. Radomir [aranovi}, rukovodilac {kole, I{tvan Sabo, mentor, Kolin Jang, predsednik Me|unarodne asocijacije filmskih {kola. The first International Summer Film School 1989. Svetozar Rapaji}, Dean, prof. Radomir [aranovi}, manager of the School, Istvan Szabo, menthor, Colin Young, president of CILECT

Miodrag MEDIGOVI], Associate Professor – Electronic Editing Rihard MERC, Full Professor – Sound Recording and Design Goran MIJAILOVI], Assistant – Film Editing; Electronic Editing Dr. Miomir MIJI], Associate Professor – Acoustics; Introduction to Audio Techniques Marija MILENKOVI], Assistant – Stage Design Milan MILETIN, Full Professor – Photography Aleksandar MILETI], Independent Artistic Associate – Voice Technique; Dance Techniques Bo{ko MILIN, Docent – Dramaturgy Darijan MIHAJLOVI], Trainee-Assistant – Theatre Direction Dr. Ljiljana MRKI]-POPOVI], Full Professor – Diction Mirjana NIKOLI], Associate Professor – Radio Production Vojislav OPSENICA, Full Professor – Television Camera

FACULTY OF DRAMATIC ARTS 47 mr Zoran POPOVI], redovni profesor – Televizijska produkcija Petar POPOVI], asistent – Filmska i Televizijska kamera Predrag POPOVI], redovni profesor – Filmska kamera Nenad PROKI], redovni profesor – Dramaturgija Branka PUJI], docent – Igre Jug RADIVOJEVI], asistent – Gluma mr Radenko RANKOVI], redovni profesor – Filmska produkcija Svetozar RAPAJI], redovni profesor – Pozori{na reìja, Muzi~ko pozori{te mr Maja RISTI], asistent – Pozori{na produkcija dr Neboj{a ROMÊVI], vanredni profesor – Istorija jugoslovenskog pozori{ta i drame Egon SAVIN, redovni profesor – Pozori{na reìja Neboj{a SAVI]EVI], docent – Elektronska montaà dr Miroslav SAVKOVI], redovni profesor – Filmska produkcija mr Sa{a SAILOVI], docent – Pozori{na produkcija Slavenko SALETOVI], redovni profesor – Pozori{na reìja Zoran SIMJANOVI], redovni profesor – Primewena muzika

48 FAKULTET DRAMSKIH UMETNOSTI Vladan PAVI], Docent – Film Camera; Television Camera Neboj{a SAVI]EVI], Docent – Electronic Editing Veljko PAVLOVI], Docent – Film Camera; Television Camera Sa{a SAILOVI], Docent – Theatre Production Milo{ PAVLOVI], Associate Professor – Film Direction Dr. Miroslav SAVKOVI], Full Professor – Film Production Neboj{a PAJKI], Full Professor – Film and Television Script Slavenko SALETOVI], Full Professor – Theatre Directing Dejan PEJOVI], Trainee-Assistant – Sound Design and Zoran SIMJANOVI], Full Professor – Applied Music Recording for Film and Television Teodora Anastasija STANKOVI], Assistant – Voice Technique Goran PEKOVI], Full Professor – Television Production Branislav STEFANOVI], Associate Professor Predrag PERI[I], Full Professor – Film and Television Script – Radio Direction Dragan PETROVI], Associate Professor – Acting Ivan STEFANOVI], Assistant – Film Direction Du{an PETROVI], Docent – Theatre Direction Alisa STOJANOVI], Docent – Theatre Direction Dr. Dragan POPOV, Full Professor – Stage Acrobatics Dr. Nikola STOJANOVI], Full Professor – History of Film Zoran POPOVI], Full Professor – Television Production Mirko STOJKOVI], Assistant – Film and Television Script Petar POPOVI], Assistant – Film and Television Camera Biljana SRBLJANOVI], Assistant – Dramaturgy Predrag POPOVI], Full Professor – Film Camera Vanja [IBALI], Senior Professional Associate Nenad PROKI], Full Professor – Dramaturgy – Television Production Branka PUJI], Docent – Dance Slobodan [IJAN, Full Professor – Film Direction Jug RADIVOJEVI], Assistant – Acting Ljubi{a [PEGAR, Associate Professor – Sound Recording Radenko RANKOVI], Full Professor – Film Production and Design for Film and Television Svetozar RAPAJI], Full Professor Miodrag TABA^KI, Full Professor – Theatre Direction; Musical Theatre – Stage and Costume Design Maja RISTI], Assistant – Theatre Production Dr. Aleksandar TASKOVI], Associate Professor Dr. Neboj{a ROM^EVI], Associate Professsor – Stage Combat – History of the Yugoslav Theatre and Drama Goran TERZI], Full Professor – Film Editing Egon SAVIN, Full Professor – Theatre Direction Radomir TODOROVI], Full Professor – Electronic Editing

FACULTY OF DRAMATIC ARTS 49 Teodora Anastasija STANKOVI], asistent Dragutin ]IRKOVI], docent – Snimawe zvuka – Tehnika glasa mr Enisa USPENSKI, vi{i predava~ – Ruski jezik Branislava STEFANOVI], vanredni profesor Marina FAFULI], stru~ni saradnik – Radio reìja – Filmska produkcija Ivan STEFANOVI], asistent – Filmska reìja Zoran FILIPOVI], vi{i stru~ni saradnik Alisa STOJANOVI], docent – Pozori{na reìja – Snimawe i dizajn zvuka za film i TV dr Nikola STOJANOVI], redovni profesor Velibor HAJDUKOVI], vi{i stru~ni saradnik – Istorija filma – Snimawe i dizajn zvuka za film i TV Mirko STOJKOVI], asistent mr Miladin ÔLAKOVI], vanredni profesor – Filmski i televizijski scenario – Filmska kamera, Fotografija Biqana SRBQANOVI], asistent – Dramaturgija dr Dragana ÔLI] BIQANOVSKI, vanredni Miodrag TABA^KI, redovni profesor profesor – Pozori{na produkcija – Scenografija i kostimografija Vawa [IBALI}, vi{i stru~ni saradnik dr Aleksandar TASKOVI], vanredni profesor – Televizijska produkcija – Scenske borbe Slobodan [IJAN, redovni profesor Goran TERZI], redovni profesor – Filmska montaà – Filmska reìja Radomir TODOROVI], redovni profesor Qubi{a [PEGAR, vanredni profesor – Elektronska montaà – Snimawe i dizajn zvuka za film i TV

50 FAKULTET DRAMSKIH UMETNOSTI Enisa USPENSKI, Senior Lecturer – Russian Language Dr. Maja VOLK, Full Professor ^edomir VASI], Full Professor – Visual Culture – Film and Television Script Predrag VELINOVI], Docent – Television Direction Ivana VUJI], Full Professor – Theatre Direction Dragan VESELINOVI], Full Professor Dr. Divna VUKSANOVI], Associate Professor – Film and Television Direction – Theory of Culture; Aesthetics Svetolik ZAJC, Associate Professor – Sound Editing

FACULTY OF DRAMATIC ARTS 51 FAKULTET DRAMSKIH UMETNOSTI

DEKANI I PRODEKANI FACULTY OF DRAMATIC ARTS

DEANS AND VICE-DEANS Dr. Borislav JOVI] prodekan 1971–1973 Dr. Dejan KOSANOVI] dekan 1973–1975 Qubi{a \OKI] prodekan 1973–1975 Qubi{a \OKI] dekan 1975–1977 Marko BABAC prodekan 1975–1977 Vladan SLIJEPÊVI] dekan 1977–1981 Svetozar RAPAJI] prodekan 1977–1981 Sreten JOVANOVI] prodekan 1979–1981 DEKANI I PRODEKANI Slobodan SELENI] dekan 1981–1983 od 1948. do 2007. godine Borjana PRODANOVI] prodekan 1981–1983 Sreten JOVANOVI] prodekan 1981–1983 Du{an MATI] rektor i dekan 1948–1959 Miroslav DEDI] dekan 1983–1985 Obrad NEDOVI] prodekan 1953–1959 Svetozar RAPAJI] prodekan 1983–1985 Vjekoslav AFRI] dekan 1959–1963 Branislav OBRADOVI] prodekan 1983–1985 \uza RADOVI] dekan 1963–1964 Zdravko VELIMIROVI] dekan 1985–1987 Ogwenka MILI]EVI] prodekan 1963–1964 Svetozar RAPAJI] prodekan 1985–1987 Stanislav BAJI] dekan 1964–1965 Dr. Dragoslav VOJÎ] prodekan 1985–1987 Milenko MARIÎ] prodekan 1964–1965 Svetozar RAPAJI] dekan 1987–1991 Milenko MARIÎ] dekan 1965–1967 Slavenko SALETOVI] prodekan 1987–1991 Dr. Branivoj \OR\EVI] prodekan 1965–1967 Vojislav OPSENICA prodekan 1987–1991 Ogwenka MILI]EVI] dekan 1967–1969 Sreten JOVANOVI] dekan 1991–1996 Dejan KOSANOVI] prodekan 1967–1969 Andrija \UKI] prodekan 1991–1992 Rado{ NOVAKOVI] dekan 1970–1973 Dr. Radoslav \OKI] prodekan 1991–1992 Predrag BAJÊTI] prodekan 1970–1971 Vesna JEZERKI] prodekan 1993–1994

54 FAKULTET DRAMSKIH UMETNOSTI Ognjenka MILI]EVI] Dean 1967–1969 Dejan KOSANOVI] Vice-Dean 1967–1969 Rado{ NOVAKOVI] Dean 1970–1973 Predrag BAJÊTI] Vice-Dean 1970–1971 Dr. Borislav JOVI] Vice-Dean 1971–1973 Dr. Dejan KOSANOVI] Dean 1973–1975 Ljubi{a \OKI] Vice-Dean 1973–1975 Ljubi{a \OKI] Dean 1975–1977 Marko BABAC Vice-Dean 1975–1977 Vladan SLIJEPÊVI] Dean 1977–1981 Svetozar RAPAJI] Vice-Dean 1977–1981 Sreten JOVANOVI] Vice-Dean 1979–1981 DEANS AND VICE-DEANS Slobodan SELENI] Dean 1981–1983 from 1948 to 2007 Borjana PRODANOVI] Vice-Dean 1981–1983 Sreten JOVANOVI] Vice-Dean 1981–1983 Du{an MATI] Rector and Dean 1948–1959 Miroslav DEDI] Dean 1983–1985 Obrad NEDOVI] Vice-Dean 1953–1959 Svetozar RAPAJI] Vice-Dean 1983–1985 Vjekoslav AFRI] Dean 1959–1963 Branislav OBRADOVI] Vice-Dean 1983–1985 \uza RADOVI] Dean 1963–1964 Zdravko VELIMIROVI] Dean 1985–1987 Ognjenka MILI]EVI] Vice-Dean 1963–1964 Svetozar RAPAJI] Vice-Dean 1985–1987 Stanislav BAJI] Dean 1964–1965 Dr. Dragoslav VOJÎ] Vice-Dean 1985–1987 Milenko MARIÎ] Vice-Dean 1964–1965 Svetozar RAPAJI] Dean 1987–1991 Milenko MARIÎ] Dean 1965–1967 Slavenko SALETOVI] Vice-Dean 1987–1991 Dr. Branivoj \OR\EVI] Vice-Dean 1965–1967 Vojislav OPSENICA Vice-Dean 1987–1991

FACULTY OF DRAMATIC ARTS 55 Nikola LORENCIN prodekan 1993–1994 Dr. Divna VUKSANOVI] prodekan 2004–2006 Dr. Qiqana MRKI]-POPOVI] dekan 1996–2002 Davor TATI] prodekan – student 2005–2006 Nikola MARI^I] prodekan 1996–2002 Zoran POPOVI] dekan 2006– Darko BAJI] prodekan 1996–2002 Marina MARKOVI] prodekan 2006– Predrag POPOVI] dekan 2002–2006 Andrija DIMITRIJEVI] prodekan 2006– Radenko RANKOVI] prodekan 2002–2004 Dr. Divna VUKSANOVI] prodekan 2006– Alisa STOJANOVI] prodekan 2004–2005 Ivan VUKOVI] prodekan – student 2006–2007 Milo{ PAVLOVI] prodekan 2004–2006

56 FAKULTET DRAMSKIH UMETNOSTI Sreten JOVANOVI] Dean 1991–1996 Alisa STOJANOVI] Vice-Dean 2004–2005 Andrija \UKI] Vice-Dean 1991–1992 Milo{ PAVLOVI] Vice-Dean 2004–2006 Dr. Radoslav \OKI] Vice-Dean 1991–1992 Dr. Divna VUKSANOVI] Vice-Dean 2004–2006 Vesna JEZERKI] Vice-Dean 1993–1994 Davor TATI] Student Vice-Dean 2005–2006 Nikola LORENCIN Vice-Dean 1993–1994 Zoran POPOVI] Dean 2006– Dr. Ljiljana MRKI]-POPOVI] Dean 1996–2002 Marina MARKOVI] Vice-Dean 2006– Nikola MARI^I] Vice-Dean 1996–2002 Andrija DIMITRIJEVI] Vice-Dean 2006– Darko BAJI] Vice-Dean 1996–2002 Dr. Divna VUKSANOVI] Vice-Dean 2006– Predrag POPOVI] Dean 2002–2006 Ivan VUKOVI] Student Vice-Dean 2006–2007 Radenko RANKOVI] Vice-Dean 2002–2004

FACULTY OF DRAMATIC ARTS 57 FAKULTET DRAMSKIH UMETNOSTI

ADRESE I KONTAKT TELEFONI FACULTY OF DRAMATIC ARTS

ADDRESSES AND TELEPHONES FAKULTET DRAMSKIH UMETNOSTI adresa: Bulevar umetnosti 20, 11000 Beograd

DEKANAT, sekretar dekana telefon: 2140 419; 2135 684 lokal 14; faks: 2130 862

INSTITUT ZA POZORI[TE, FILM, RADIO I TELEVIZIJU telefon: 313 06 22, 2135 684 lokal 50

SLU@BA ZA OP[TE POSLOVE: – pravna slu`ba, sekretar fakulteta telefon: 31 11 071; 2135 684 lokal 13 – studentska slu`ba telefon: 2135 684 lokal 06 – slu`ba za nastavu i postdiplomske studije telefon: 2135 684 lokal 15

60 FAKULTET DRAMSKIH UMETNOSTI FACULTY OF DRAMATIC ARTS address: Bulevar umetnosti 20, 11000 Belgrade

DEAN’S OFFICE tel.: +381 11/ 2140 419; 2135 684, ext. 14, fax: 2130 862

INSTITUTE FOR THEATRE, FILM, RADIO AND TELEVISION tel.: +381 11/ 3130 622; 2135 684, ext. 50

SLU@BA ZA OP[TE POSLOVE: – Legal Office, Faculty Secretary tel.: +381 11/ 3111 071; 2135 684, ext. 13 – Students Registry Office tel.: +381 11/ 2135 684, ext. 06 – Curriculum and Graduate Studies Office tel.: +381 11/ 2135 684, ext. 15

FINANCE OFFICE tel.: +381 11/ 3118 560; 2135 684, ext. 05 & 08

FACULTY OF DRAMATIC ARTS 61 SLU@BA ZA FINANSIJSKE POSLOVE telefon: 3118 560; 2135 684 lokal 05 ili 08

BIBLIOTEKA telefon: 3132 687; 2135 684 lokal 60

POZORI[NI I RADIO STUDIO telefon: 2145 846; 2135 684 lokal 19

FILMSKI I TV STUDIO telefon/faks: 2146 532; 2135 684 lokal 57

TEHNI^KA SLU@BA, tehni~ki direktor telefon: 3015 303; 2135 684 lokal 09

62 FAKULTET DRAMSKIH UMETNOSTI LIBRARY tel.: +381 11/ 2132 560; 2135 684, ext. 60

THEATRE AND RADIO STUDIO tel.: +381 11/ 2145 846; 2135 684, ext. 19

FILM AND TELEVISION STUDIO tel.: +381 11/ 2146 532; 2135 684, ext. 57

TECHNICAL TEAM, TECHNICAL DIRECTOR tel.: +381 11/ 3015 303; 2135 684, ext. 09

FACULTY OF DRAMATIC ARTS 63 PUBLIKACIJA JE [TAMPANA UZ FINANSIJSKU POMO] MINISTARSTVA PROSVETE REPUBLIKE SRBIJE

THE PUBLICATION IS PRINTED WITH FINANCIAL ASSISTANCE FROM THE MINISTRY OF EDUCATION OF THE REPUBLIC OF SERBIA

CIP – Katalogizacija u publikaciji Narodna biblioteka Srbije, Beograd

378.6:73/78(497.11)”1957/2007”

ISBN 978-86-7167-038-8 a) Univerzitet umetnosti (Beograd) – 1957–2007 COBISS.SR-ID 141207052

FAKULTET MUZI^KE UMETNOSTI FACULTY OF MUSICAL ARTS

2007 BEOGRAD BELGRADE UREDNICI | Andrija \uki}, Svetozar Rapaji}, Stjepan Fileki

SARADNICI | Bojana Buri}, dr Zoran Gavri}, dr Sowa Marinkovi}

FOTOGRAFIJE | Arhiva FMU, Dragan Mirkovi}

LIKOVNI UREDNIK | Danijela Paracki

PREVOD NA ENGLESKI | Ksenija Todorovi}

LEKTOR | Biqana Spremo Popovi}

[TAMPA | AD [tamparija BUDU]NOST, Novi Sad

TIRA@ | 500 primeraka

OVA PUBLIKACIJA SE IZDAJE POVODOM PROSLAVE 50 GODINA UNIVERZITETA UMETNOSTI U BEOGRADU

THIS PUBLICATION IS PRINTED ON THE OCCASION OF THE FIFTIETH ANNIVERSARY OF THE UNIVERSITY OF THE ARTS IN BELGRADE SADR@AJ

Istorija | 04 CONTENTS Studije i studijski programi | 20

Nastavnici i saradnici | 40 05 | History

Dekani i prodekani | 54 21 | Studies and Study Programmes

Adrese i kontakt telefoni | 60 41 | Teaching and Professional Staff

55 | Deans and Vice-Deans of the Faculty of Musical Arts in Belgrade

61 | Faculty of Musical Arts in Belgrade Addresses and telephones FAKULTET MUZI^KE UMETNOSTI

ISTORIJA FACULTY OF MUSICAL ARTS

HISTORY | Postavqawe osnove institucije povereno je stru~- noj komisiji koju su sa~iwavali kompozitor i muzikolog Kosta Manojlovi}, potom prvi rektor Akademije, kompozitor i dirigent Stevan Hristi} i violinista i kompozitor Petar Stojanovi}, dok je za administrativnog direktora postavqen kompozitor i dirigent Jovan Ban- dur. Oni su izradili nastavne planove i programe za studije svih sedam odseka: Kompoziciju i dirigovawe, Solo pevawe, Klavir, Violinu, Violon~elo, Pozori{nu umetnost i za Nastavnike muzike. Postavqen je nastavni FAKULTET MUZI^KE UMETNOSTI kadar za osnovne predmete. U prvom kolegijumu bilo je U BEOGRADU devet nastavnika Akademije i devet Sredwe {kole, a po- osnovan je kao Muzi~ka akademija ukazom Ministarstva ~etkom {kolske godine angaòvano je jo{ troje hono- prosvete donetim 31. 03. 1937, a datumom po~etka rada rarnih nastavnika Akademije i {estoro Sredwe {kole. smatra se 21. 11. 1937. godina kada je uprili~ena sve~a- Klavir su predavali ]iril Li~ar, Emil Hajek i Jelica nost otvarawa i osve}ewa. Utemeqewem ove ustanove prvi Krsti}, za violinu je pored Petra Stojanovi}a angaò- put je u nacionalnim okvirima zaokruèn sistem muzi~- vana Marija Mihajlovi}, za violon~elo Juro Tkal~i}, kog {kolovawa. Dugotrajne rasprave vo|ene jo{ od po- nekada{wi prvi rektor zagreba~ke Muzi~ke akademije, ~etka dvadesetih godina o potrebi da se kadrovski po- za solo pevawe Jelka Nikoli}-Stamatovi}. Me|u hono- tencijali uspe{nih i priznatih beogradskih muzi~kih rarnim nastavnicima bili su Milenko @ivkovi} za har- {kola udruè nisu dale plodove, i napokon su zavr{ene moniju i Miodrag Vasiqevi} za intonaciju. Osnove Po- osnivawem nove ustanove, Muzi~ke akademije kao dràv- zori{nom odseku postavili su Mom~ilo Milo{evi}, ne institucije najvi{eg ranga, i uporedo s wom Sredwe Ra{a Plaovi}, dr Vinko Vitezica i Milorad Vanli}, dok muzi~ke {kole. je Lujo Davi~o predavao Ritmi~ku gimnastiku po metodi

06 FAKULTET MUZI^KE UMETNOSTI administrative director. They prepared the curriculum and study programmes for all of the seven departments: Compo- sition and Conducting, Solo Singing, Piano, Violin, Cello, Theatre Arts and Teaching of Music. They also engaged the faculty – nine teachers for the Academy and nine for the Secondary school, among others for piano – ]iril Li~ar, Emil THE FACULTY OF MUSICAL ARTS Hajek and Jelica Krsti}; violin – Petar Stojanovi}, Marija IN BELGRADE Mihajlovi}; cello – Juro Tkal~i}, formerly the first Rector of was founded as the Music Academy by the decree of the the Academy in Zagreb; solo singing – Jelka Nikoli}-Sta- Ministry of Education, on March 31, 1937. The actual be- matovi}. Part-time teachers were Milenko @ivkovi} for ginning is related to November 21, 1937, when the institu- harmony and Miodrag Vasiljevi} for intonation. The basic tion was officially opened. With the establishment of the elements of the Theatre department were set by Mom~ilo Academy the national system of musical education was Milo{evi}, Ra{a Plaovi}, Dr. Vinko Vitezica and Milorad complete. Since the early 1920s there had been futile dis- Vanli}; Lujo Davi~o taught rhythmical gymnastics. The cussions about the creative potential of eminent Belgrade essential material conditions were provided – the building, music schools and the need to to unite such talents, which the library and the instruments. Particularly impressive is were finally resolved by the founding of the Academy and the fact that in the first year the library had over seven a Secondary school of music. thousand publications, collected through contributions | The establishment of the new institution was from France, Turkey, Estonian Republic, Great Britain, the entrusted to a professional commitee whose members were: Library of Congress in Washington, D.C., the Union of Com- Kosta Manojlovi}, composer and musicologist, later the posers from Moscow, numerous institutions from Yugo- first Rector of the Academy, Stevan Hristi}, composer and slavia. The most significant contribution was received from conductor, and Petar Stojanovi}, violinist and composer. the Brussels Committee – 4902 »carefully collected and Jovan Bandur, composer and conductor, was appointed selected works«. The first generation enrolled that autumn

FACULTY OF MUSICAL ARTS 07 Dalkroza. Obezbe|eni su po~etni materijalni uslovi – to bilo samo vegetirawe u zgradi o{te}enoj bombardova- zgrada, biblioteka i instrumenti. Posebno impresivan wem. Pojedini nastavnici bili su u zarobqeni{tvu ili je podatak da je u prvoj godini rada Biblioteka raspola- ih je progawala okupatorska vlast, studenti su odvo|e- gala fondom od preko sedam hiqada publikacija priku- ni na prisilan rad, nije bilo ogreva, a vlastodr{ci su pqenih donacijama. Me|u darodavcima bili su Francu- poku{avali da se me{aju u wen rad. Zadatak tada{wih ska, Turska, Republika Estonija, Britanija, Kongresna bi- rektora Akademije, Petra Kowovi}a, a potom i Stevana blioteka iz Va{ingtona, moskovski Savez kompozitora, Hristi}a bio je veoma sloèn i sastojao se u poku{ajima brojne ustanove iz cele Jugoslavije, a najzna~ajniji pri- da organizuju minimum aktivnosti. Uslovi za rad su se log dao je Briselski komitet sa 4902, kako je zabeleèno neprekidno pogor{avali, tako da u {kolskoj 1943/1944. »pa`qivo sakupqena i odabrana dela«. Te jeseni upisana godini nijedan student nije diplomirao, a odràvawe je i prva generacija u kojoj je bilo trideset osam studena- redovne nastave bilo je onemogu}eno sve do marta 1945. ta. Istovremeno su Sredwu {kolu poha|ala sto tri |aka na godine kada je u oslobo|enom Beogradu, pre zavr{etka odsecima za Teorijske predmete, Solo pevawe, Instru- Drugog svetskog rata obnovqena delatnost Akademije. mente (klavir, violina, violon~elo, kontrabas) i Balet. | Posle 1945. godine odlukom Povereni{tva pro- | Prve godine rada Akademije obeleène su poste- svete, a po ugledu na tada{wi sovjetski sistem muzi~kog penim pove}awem broja studenata (83 u {kolskoj 1939/40. {kolstva, izvr{ena je prva od mnogobrojnih reformi godini) i nastavnika (27 u toj istoj godini), prvim jav- organizacione strukture Akademije (ukinuti su Pozori- nim koncertima studenata, kao i jasnijim formirawem {ni i privremeno do 1946. godine i Nastavni~ki odsek), fizionomije pojedinih odseka. Me|utim, ve} na samom niì razredi Sredwe {kole prikqu~eni su Priprem- po~etku taj uzlet je prekinut, Aprilski rat 1941. godine noj {koli, s tim {to je nastava u vi{im razredima pro- obustavio je nastavu. Prvih dvanaest diplomaca svoj zavr- duèna na sedam godina. Dràvna Muzi~ka akademija {ni ispit obavili su u okupiranoj zemqi, sa velikim organizovala je nastavu na {est odseka: Kompozicija i zaka{wewem zbog bombardovawa. Mada Akademija tokom dirigovawe, Solo pevawe, Klavir, Guda~ki instrumenti ratnih godina formalno nije prekidala da radi, ipak je i harfa, Duva~ki instrumenti i Balet). Nastavni~ki

08 FAKULTET MUZI^KE UMETNOSTI – it numbered thirty-eight students. The Secondary school stopped its activity, it was in fact a poor survival in a had a hundred and three students in its departments of: heavily damaged building. Some of the teachers were Theory, Solo Singing, Instruments (piano, violin, cello, taken as prisoners of war or persecuted by the occupation double-bass) and Ballet. authorities, students were sent to forced labour, there was | During the first years, the number of students in no coal or wood for heating, and there were also numerous Academy gradually grew to 83 in 1939/40; so did the number interventions from the ocupation authorities. The Rectors of teachers – to 27 in the same academic year. The progress Petar Konjovi} and, later, Stevan Hristi} endeavoured to was suddenly interrupted by the war in April 1941. The first organize at least a minimum activity, but the conditions twelve graduates passed their final exams in the occupied deteriorated and in 1943/44 not a single student graduated country, and with a substantial delay caused by the and the teaching had to stop until it was resumed in March bombing attacks. Although the Academy never formally 1945, in liberated Belgrade.

FACULTY OF MUSICAL ARTS 09 kolegijum brojao je 57 ~lanova. Na ~elu akademije bio je liki broj novih nastavnika, ose}ao se nedostatak kadra Petar Kowovi} i posebni napori ulagani su u re{ewe u mnogim oblastima. Kao najzna~ajnije promene mogu se prostornih problema. Nova organizaciona struktura izdvojiti one koje se odnose na uvo|ewe pojedinih duva~- {kole pokazala se nepodesnom te su 1948. godine u do- kih instrumenata u nastavni plan (1959. godine flau- govoru sa drugim srodnim institucijama u Jugoslaviji te, klarineta i fagota, od 1960/61. godine oboe i trube, (u Zagrebu i Qubqani) sa~iweni novi nastavni planovi od 1961/62. godine horne i trombona). Do tada su se ovi i ponovo je razdvojeno sredwe (~etvorogodi{we) od vi- predmeti mogli izu~avati samo u sredwim vojnim {ko- sokog obrazovawa, u trajawu od ~etiri i pet godina – u lama. Tako je i na Akademiji zapo~ela delatnost kate- zavisnosti od odseka. dre za duva~ke instrumente. Tih godina je bilo zna~ajno | Nova organizacija muzi~kog {kolovawa sa spe- i osnivawe katedre za istoriju muzike i muzi~ki folk- cifi~nim administrativnim jedinstvom Sredwe i Vi- lor (1948) ~ime u okriqu Akademije zapo~iwe izu~ava- soke {kole nije odgovarala op{tem {kolskom sistemu we jugoslovenske i svetske istorije muzike, a nov impuls u kojem je razdvajawe ovih stupweva jasno izvr{eno. Zbog dobijaju i istra`ivawa na{eg bogatog folklornog na- toga je 1955. godine ponovo do{lo do promena. Admini- sle|a (posebno posle 1961. godine kada se diferenci- strativno su razdvojene Sredwa muzi~ka {kola Josip raju studije glavnih predmeta na Istoriju muzike i Mu- Slavenski i Muzi~ka akademija. Neposredno posle toga zi~ki folklor, kao i na 6 grupa novog, sedmog odseka). Akademija se prikqu~ila asocijaciji drugih visokih Sa promenama statuta koje nastupaju zbog novog zakona o umetni~kih {kola i tako je 1957. godine, u vreme kada je visokom {kolstvu iz 1963. godine stvorena je mogu}nost proslavqana dvadesetogodi{wica postojawa prvih viso- izbora orguqa kao glavnog predmeta na Klavirskom od- kih umetni~kih {kola, osnovana Umetni~ka akademija. seku i uveden je kontrabas. | Zbog ~estih organizacionih promena broj stude- | Poslediplomske studije na Muzi~koj akademiji nata je u prvim poratnim godinama dosta varirao uvedene su prvi put 1957. godine i time je stvorena mo- (1946/1947. godine dostigao je 268, da bi 1948/1949. go- gu}nost da najboqi nastave usavr{avawe sticawem ma- dine opao na 162). Mada se u rad Akademije ukqu~io ve- gisterijuma umetnosti i magisterijuma nauka. Razvoj se

10 FAKULTET MUZI^KE UMETNOSTI FACULTY OF MUSICAL ARTS 11 12 FAKULTET MUZI^KE UMETNOSTI | After 1945, the first of many organizational re- twenty years after the founding of the first art schools of forms was introduced by the decision of the Ministry of higher education. Education modelled after the Soviet system of musical | Because of so frequent organizational changes the education: the theatre and teachers’ departments were number of students in the first years after the war varied a temporarily abolished, lower grades of the secondary school lot (1946/47 – 268, 1948/49 – 162). Although a large number were added to the preparatory school, but the higher grades of new teachers joined the faculty, there were not enough were extended to seven years. The state Music Academy professionals in many areas. Some of the most important had six departments: Composition and Conducting, Solo changes are related to the introduction of certain wind Singing, Piano, String Instruments with harp, Wind Instru- instruments: 1959 – flute, clarinet and bassoon; 1960/61 – ments, and Ballet. The faculty had 57 members. Petar Konjo- oboe and trumpet; 1961/62 – horn and trombone. Until vi} was at the head of the Academy, particularly engaged then, these instruments could be studied only in secondary in solving the spatial problems. In 1948 the new organiza- military schools. These additions facilitated the opening of tional structure of the school was proven inadequate and a department for wind instruments at the Academy. Also new programmes were prepared in cooperation with other important was the opening of the department for the similar schools (in Zagreb and Ljubljana). Secondary (four- history of music and musical folklore (1948) which marked year) education was separated again from the higher edu- the beginning of studies in Yugoslav and world history of cation (four to five years, depending on the department). music, while the research in our rich folklore legacy got a | The specific administrative unity of secondary and new impulse, particularly after 1961 with the differentiation higher education did not comply with the general educati- of the main subject studies to History of Music and Musical onal system and there were new changes in 1955. The se- Folklore, and the six groups of the new, seventh depart- condary music school Josip Slavenski was administratively ment. The statute was changed in 1963 to follow the new separated from the Music Academy. Soon the Academy law on higher education and organ was introduced as a joined the Association of other institutions of higher edu- main subject at the piano department and double-bass was cation and the Art Academy was established in 1957, added to the department of string instruments.

FACULTY OF MUSICAL ARTS 13 ogledao i u daqem pove}awu broja nastavnika i studena- strumenata ostvaren je uvo|ewem mogu}nosti za upoznava- ta te u otvarawu novih odseka i odeqewa nastave I stepena we sa brojnim alternativama na tre}oj godini studija u drugim gradovima (Novi Sad i Ni{, 1962) ~ime su po- (pikolo-flauta, alt-flauta, es-klarinet, bas-klarinet, stavqeni temeqi za razvoj visokog muzi~kog {kolstva u engleski rog, kontrafagot, alt-trombon), dok je tuba uve- drugim zna~ajnim kulturnim centrima. Potrebe za ka- dena kao glavni predmet. Na etnomuzikologiji je omogu- drom bile su velike te su neko vreme postojali stepeni }eno studirawe orske narodne tradicije, a prikupqawe, studija za vi{e i visoko obrazovawe kako bi se brojni ~uvawe i istra`ivawe folklorne i umetni~ke tradi- kandidati po zavr{etku sredwe {kole br`e osposobili cije u na{oj zemqi preuzeo je fonoarhiv osnovan u sklo- za poslove u prosveti. Stepenasta nastava je na izri~i- pu katedre za Muzikologiju i Etnomuzikologiju. Otvo- te zahteve studenata ukinuta 1975. godine. Tokom pome- rene su tako|e studije medijskih predmeta, kao fakul- nutih promena Akademija je 1973. godine promenila ime tativnih u toku redovnih studija na drugim odsecima sa u Fakultet muzi~ke umetnosti i istovremeno sa drugim mogu}no{}u poslediplomske specijalizacije. Od 1985. umetni~kim {kolama, kao i wihovom asocijacijom, do- godine na Fakultetu postoji mogu}nost sticawa stepena bija status fakulteta unutar samostalnog Univerziteta doktora nauka iz oblasti muzikologije, etnomuzikologi- umetnosti u Beogradu. je, muzi~ke teorije i pedagogije. Na katedri za Kompo- | Nastava je tada na Fakultetu organizovana na ziciju nastava je osavremewena otvarawem elektronskog osam odseka, za: Kompoziciju, Dirigovawe, Solo pevawe, studija. Posebnu vrednost ima impozantan bibliote~ki Klavir i harfu, Guda~ke instrumente, Duva~ke instru- fond Fakulteta koji ukqu~uje preko 110.000 naslova kwi- mente, Istoriju muzike i Muzi~ki folklor (docnije Mu- ga, ~asopisa, nota, plo~a i diskova, {to ovu biblioteku zikologiju i Etnomuzikologiju), Muzi~ku teoriju (ka- ~ini i danas najzna~ajnijom i najve}om muzi~kom bibli- snije pod nazivom Op{ta muzi~ka pedagogija). Vremenom otekom na ovim prostorima. U Kragujevcu je od 1998/1999. je pove}avan broj instrumenata koji su mogli da se studi- godine zapo~elo rad istureno odeqewe Fakulteta, koje raju, otvorene su klase orguqa, gitare, ~embala, udaraq- od 2002/2003. godine prerasta u samostalan Filolo{ko- ki, kamerne muzike. Novi kvalitet studija duva~kih in- -umetni~ki fakultet.

14 FAKULTET MUZI^KE UMETNOSTI | Postgraduate studies at the Music Academy were such as, piccolo-flute, alt-flute, E-clarinet, bass-clarinet, introduced for the first time in 1957 and the best students English horn, contra bassoon, alt-trombone, and tuba was were able to continue their schooling. The number of introduced as a main subject. At the Department of Ethno- teachers and students grew, new departments were opened musicology, students could study traditional songs and dan- and first grade education was introduced in other cities ces, and phonoarchive of the Departments of Musicology (Novi Sad and Ni{, 1962) as the corner stone of future and Ethnomusicology was in charge of collecting and higher education institutions in important cultural centres keeping the samples of traditional music. Media subjects of Serbia. Professional teachers were in great demand and were also opened, as elective during undergraduate studies, for a certain period of time there was graded education in and as possibile choices for postgraduate specializations. order to speed up the preparatory process. However, this Since 1985, the Faculty of Musical Arts offers Ph. D. in Mu- graded education was abolished in 1975, at the specific sicology, Ethnomusicology, Theory of Music and Musical request of the students. In 1973 the Academy changed its Pedagogy, and the Department of Composition now has an name and became a Faculty, like other art schools, and the electronic studio. The library possesses over 110,000 titles association of all the Faculties of art in Belgrade obtained of books, magazines, music sheets, records and CDs, and the status of the University of the Arts. owing to such a collection it is the most important musical | The Faculty of Musical Arts then had eight depart- library in the region. In 1998/99 a detached division of the ments, for composition, conducting, solo singing, piano Faculty was opened in Kragujevac, and in 2002/03 it grew and harp, string instruments, wind instruments, history of into an independent Faculty of Philology and the Arts. music and musical folklore (later on, musicology and ethno- | Student ensembles have a very important role at musicology), musical theory (later on, general musical pe- the Faculty. There are a symphony orchestra and a large dagogy). Harp, harpsichord, organ, guitar, percussion and choir, as well as a number of chamber ensembles and the chamber music were offered as regular subjects. The Depart- most prominent among them are the academic ladies’ choir ment of Wind Instruments improved its quality with a Collegium musicum (which will soon celebrate thirty-five number of alternative subjects introduced at the third year, prosperous years) and the string chamber orchestra named

FACULTY OF MUSICAL ARTS 15 | U radu Fakulteta vrlo va`nu ulogu dobila je de- poslediplomskih studija steklo je 639 magistara umet- latnost studentskih ansambala – simfonijskog orkestra nosti ili nauka. Dodeqeno je 66 specijalisti~kih diplo- i velikog hora, kao i niza kamernih, me|u kojima su naj- ma i promovisano 14 doktora nauka. Nastavni~ki kolegi- zna~ajniji Akademski `enski hor Collegium musicum jum Fakulteta danas ~ini 180 nastavnika i saradnika. (koji 2007. godine proslavqa 35 godina postojawa i uspe- | Nastava na Fakultetu muzi~ke umetnosti organi- {nog rada) i guda~ki kamerni orkestar koji je po svom zovana je na jedanaest odseka: Kompozicija, Dirigovawe, osniva~u i prvom dirigentu poneo ime Du{ana Skovra- Solo pevawe, Klavir, Guda~ki instrumenti (violina, vi- na. Danas je to samostalni profesionalni ansambl iz- ola, violon~elo, kontrabas), Duva~ki instrumenti (fla- rastao iz studentskog orkestra. Zapa`ena je i delatnost uta, oboa, klarinet, fagot, horna, truba, trombon i tuba), Kamerne opere. Tako pored nastavne, umetni~ka i nau~na Muzikologija, Op{ta muzi~ka pedagogija (nekada{wi aktivnost studenata i nastavnika ~ini bitan sastavni odsek za Muzi~ku teoriju na kojem je u periodu od 1961. deo svakodnevnog rada, {to posebno doprinosi poboq{a- do 1985. godine diplomiralo dvesta sedamdeset devet stu- wu kvaliteta studija i sve ve}oj dru{tvenoj afirmaciji denata), Poliinstrumentalni (~embalo, harfa, orguqe, Fakulteta koja ima i svoju internacionalnu dimenziju, gitara, udaraqke i harmonika, koja je izu~avana na ode- jer studenti sa uspehom u~estvuju i dobijaju nagrade na qewu u Kragujevcu), Etnomuzikologija i, na diplomskim vode}im svetskim umetni~kim takmi~ewima. Na Fakul- studijama i studijama tre}eg stepena, Kamerna muzika. tetu deluje i Ansambl za novu muziku, osnovan 1992. go- Nastava obuhvata 25 razli~itih studijskih programa i dine specijalizovan za izvo|ewe savremene muzike, po- organizuje se na svim nivoima studija: osnovnim, di- sebno u okvirima Me|unarodne tribine kompozitora, i plomskim i doktorskim u poqima umetnosti i dru{tve- od 2004. godine samostalan profesionalni orkestar no-humanisti~kih nauka, odnosno u oblastima muzike i Camerata Serbica koji ostvaruje presti`ne nastupe u sa- izvo|a~kih umetnosti, kao i nauke o umetnostima. radwi sa vrhunskim svetskim dirigentima. | Od {kolske 2006/2007. godine organizacija ra- | Za sedam decenija rada na Fakultetu su na osnov- da Fakulteta muzi~ke umetnosti prilago|ena je standar- nim studijama diplomirala 4252 studenata, a diplome dima Bolowske konvencije.

16 FAKULTET MUZI^KE UMETNOSTI FACULTY OF MUSICAL ARTS 17 18 FAKULTET MUZI^KE UMETNOSTI after its founder and first conductor – Du{an Skovran (this dies, 66 diplomas were awarded to specialists and 14 Ph.D.s. an example how a student orchestra grew into the present The faculty now has 180 teachers and professionals. day independent professional ensemble). Chamber opera | The Faculty of Musical Arts has eleven departments: has also had successful performances. Artistic and scholarly Composition, Conducting, Solo Singing, Piano, String Instru- activity of students and teachers is an essential part of ments (violin, viola, cello, double-bass), Wind Instruments everyday work and improves the quality of studies and the (flute, oboe, clarinet, bassoon, horn, trumpet, trombone status of the Faculty, local and international, because its and tuba), Musicology, General Musical Pedagogy (former students have regularly received awards at leading compe- department of musical theory with seventy-nine graduates titions in the world. There is also the Ensemble for New between 1961 and 1985), Polyinstrumental (harpsichord, Music, founded in 1992, which performs contemporary harp, organ, guitar, percussion and accordion, taught in Kra- music, particularly at the International Meeting of Com- gujevac), Ethnomusicology, and Chamber Music at diploma posers, and, since 2004, there is a prestigious professional and master studies. There are twenty-five study programmes orchestra Camerata Serbica which performs with the most at undergraduate, master and doctoral level. eminent international conductors. | Since 2006/07 the Faculty operates in accordance | In these seven decades, 4,252 students graduated with the Bologna Convention. from the Faculty, 639 got their M.A.s at postgraduate stu-

FACULTY OF MUSICAL ARTS 19 FAKULTET MUZI^KE UMETNOSTI

STUDIJE I STUDIJSKI PROGRAMI FACULTY OF MUSICAL ARTS

STUDIES AND STUDY PROGRAMMES ali ukqu~uju i kompoziciju, muzikologiju i etnomuzikologiju, spajaju}i poqa umetnosti i dru{tveno-humanisti~kih nauka. | Osnovne akademske studije u ~etvorogodi{wem trajawu (240 ESPB) organizovane su na deset odseka: – Kompozicija – Dirigovawe – Solo pevawe – Klavir FAKULTET MUZI^KE UMETNOSTI – Guda~ki instrumenti (sa glavnim predmetima: U BEOGRADU violina, viola, violon~elo, kontrabas) 2007. godine obeleàva 70 godina od osnivawa. Time se – Duva~ki instrumenti (sa glavnim predmetima: svrstava u {est najstarijih visokih {kola ovog tipa u flauta, oboa, klarinet, fagot, horna, truba, trom- Srbiji. Zasluàn je za postavqawe temeqa ukupnom raz- bon, tuba) voju profesionalnog muzicirawa i posebno celokupnog – Muzikologija sistema muzi~kog {kolstva. Danas je sa 635 studenata i – Muzi~ka pedagogija 176 nastavnika najve}i u regionu i svojim studijskim – Poliinstrumentalni (harfa, ~embalo, orguqe, programima pokriva sve specijalnosti u oblasti muzi- gitara, udaraqke) ke. Zgrada Fakulteta nalazi se u samom centru Grada, u – Etnomuzikologija ulici Kraqa Milana 50 i raspolaè sa 54 u~ionice, | Na svim disciplinama omogu}eno je daqe usavr- dve koncertne sale i ima biblioteku sa fondom od {avawe na diplomskim akademskim studijama i specija- 110.000 jedinica. listi~kim akademskim studijama u jednogodi{wem tra- | Studije su prvenstveno okrenute {kolovawu pro- jawu (po 60 ESPB) i trogodi{wim doktorskim studijama fesionalnih muzi~ara-izvo|a~a i muzi~kih pedagoga, (180 ESPB). Diplomske (60 ESPB), specijalisti~ke (60

22 FAKULTET MUZI^KE UMETNOSTI | The studies are primarily directed towards educating professional musicians-performers and music pedagogues, including the studies of composition, musicology and ethnomusicology, and combining different areas of art and socio- -humanistic sciences. | The basic four-year academic studies (ECTS 240) are organized in ten departments: – Composition – Conducting – Solo Singing – Piano – String Instruments (with the following main sub- THE FACULTY OF MUSICAL ARTS jects: violin, viola, cello, double-bass) IN BELGRADE – Wind Instruments (with the following main subjects: in 2007 celebrates seventy years of its activity as one of the flute, oboe, clarinet, bassoon, horn, trumpet, trom- six oldest schools of higher learning in Serbia. It built the bone, tuba) foundations of the overall development of professional – Musicology musicians and particularly of the overall system of music – Musical Pedagogy education. With 635 students and 176 professors, it is the – Polyinstrumental (harp, harpsichord, organ, guitar, largest school of this type in the region and its study pro- percussion) grammes cover all the specific features of music. The build- – Ethnomusicology ing of the Faculty is situated in the very centre of Belgrade, | All of the departments offer further specializations at 50, Kralja Milana Street and has fifty-four classrooms, at the master academic studies and specialized one-year two concert halls and a library with over 110,000 units. academic studies (ECTS 60 each) or three-year doctoral

FACULTY OF MUSICAL ARTS 23 ESPB) i doktorske studije (180 ESPB) organizuju se u znawa i iskustva, ve} visoko individualizovan, persona- oblasti kamerne muzike. lizovan odnos nastavnika i studenta koji je podloga za svojevrsno duhovno vaspitawe. Izbor klasa je slobodan. Nastavni plan glavnog predmeta okrenut je savladavawu ODSEK ZA KOMPOZICIJU odre|enih instrumentalnih ili vokalno-instrumentalnih medija, od solisti~kih zahvata do velikog orkestra. Ciq studija kompozicije je sticawe osnova teorijskih znawa i razvijawe prakti~nih umetni~kih sposobnosti za stvarala~ku delatnost u oblasti muzi~ke kompozicije, ODSEK ZA DIRIGOVAWE a kroz postupno savla|ivawe problema vezanih za obli- kotvorno ustrojstvo muzi~ke kompozicije, odnosno woj Dirigovawe je umetnost i ve{tina muzi~kog vo|stva ho- svojstvenog vokalnog, instrumentalnog, vokalno-instru- rova, orkestara i drugih ansambala tokom izvo|ewa mu- mentalnog i elektronskog medija. zi~kog i muzi~ko-scenskog dela. Dirigent je li~nost sve- | Obrazovawe kompozitora podrazumeva temeqno stranog obrazovawa koja uskla|uje muzi~are u ansamblu savladavawe osnovnih teorijskih disciplina, upoznava- u harmoni~nu celinu tokom proba i nastupa. Program we klasi~nih i savremenih metoda komponovawa, osva- priprema studente za usavr{avawe umetnosti rukovo|e- jawe prakti~nih muzi~kih znawa i ve{tina, poznavawe wa i dirigovawa horovima, orkestrima i drugim muzi~- korpusa humanisti~kih disciplina (istorija muzike, kim ansamblima na probama i nastupima, omogu}avaju}i pedagogija, psihologija, sociologija kulture, muziko- svestran razvoj muzi~ke li~nosti i preno{ewe ste~e- logija, primewena estetika) i stranih jezika. nog prakti~nog i teoretskog znawa. | Nastava glavnog predmeta odvija se u sistemu kla- | Studije dirigovawa pored glavnog predmeta obu- sa koje se smatraju najpogodnijim vidom pedago{kog delo- hvataju temeqno savladavawe teorijskih disciplina, vawa za formirawe samostalnih umetnika-stvaralaca. ovladavawe prakti~nim muzi~kim znawima i ve{tina- Nastavni proces ne podrazumeva samo uobi~ajeni transfer ma koje su neophodne dirigentima (svirawe, partitura,

24 FAKULTET MUZI^KE UMETNOSTI FACULTY OF MUSICAL ARTS 25 26 FAKULTET MUZI^KE UMETNOSTI studies (180 ECTS), master studies (60 ECTS), specialized experience, but highly individualized, personalized rela- studies (60 ECTS) and doctoral studies (180 ECTS) are tionship between the teacher and the student, the basis of organized in the area of chamber music. a specific spiritual education. Students are free to select classes. The teaching schedule of the main subject tends to prepare students for certain instrumental or vocal-instru- DEPARTMENT OF COMPOSITION mental mediums, from soloists to large orchestras.

These studies provide basic theoretic instruction and develop practical artistic skills for creative activity in the DEPARTMENT OF CONDUCTING field of music composition, through a gradual mastering of the problems related to the formative structure of musical Conducting is the art and skill of musical management of compositions and their pertinent vocal, instrumental, vocal- choirs, orchestras and other ensembles during the perfor- instrumental and electronic mediums. mance of instrumental, vocal-instrumental and staged musi- | The education of composers assumes a fundamen- cal works. The conductor should possess a complex educa- tal proficiency in the basic theoretic disciplines, classical tion in order to coordinate musicians in an ensemble into and contemporary methods of composing, practical a harmonious entity during rehearsals and performances. musical knowledge and skills, and acquaintance with the The study programme prepares students to improve their complex of humanistic disciplines, such as history of mu- ability to manage and conduct and enables them to develop sic, pedagogy, psychology, sociology of culture, musicology, as properly educated many-sided personalities who can applied aesthetics, and foreign languages. transfer their practical and theoretic skills. | Instructions in the main subject are organized in | Apart from the main subject, the studies of conduc- classes as the most appropriate aspect of pedagogical appro- ting include a thorough mastering of theoretic disciplines, ach to the formation of independent artists and creators. practical knowledge and skills required of conductors (such Tuition is not just the ordinary transfer of knowledge and as, playing musical instruments, understanding musical

FACULTY OF MUSICAL ARTS 27 klavir, solfe|o), poznavawe korpusa humanisti~kih di- zawu teorijskih i prakti~nih znawa iz oblasti muzike, sciplina (istorija muzike, pedagogija, psihologija, so- kao i onim iz oblasti humanisti~kih disciplina. ciologija kulture) i stranih jezika.

ODSEK ZA KLAVIR ODSEK ZA SOLO PEVAWE Odsek za klavir je na Fakultetu me|u instrumentalnim Ciq studijskog programa solo pevawa je dostizawe vi- odsecima najve}i kako po broju studenata tako i nastav- sokog profesionalnog solo peva~kog nivoa kroz tehni~- nika i saradnika angaòvanih na predmetu klavir koji ko-interpretativnu proradu muzi~ke literature iz se slu{a kao glavni, ali i kao obavezni posebni predmet oblasti operskog i solo pevawa i izgra|ivawe indivi- na gotovo svim studijskim programima. Tradicionalno dualnosti li~nosti peva~a kroz jedinstvo tehni~kog i veliko interesovawe za studije klavira svakako je pove- muzi~kog elementa. On tako|e priprema studenta za bu- zano sa realnim mogu}nostima kasnijeg zapo{qavawa u du}i pedago{ki rad. niìm i sredwim muzi~kim {kolama. Stoga se na studi- | Nastava na odseku za solo pevawe odvija se kroz jama zna~ajna pa`wa posve}uje ne samo razvoju umetni~- redovne ~asove i ve`be. Me|utim, podjednaku va`nost kih sposobnosti i umetni~kom sazrevawu, ve} i osvajawu imaju i javni nastupi studenta, javni i interni ~asovi, drugih znawa iz oblasti teorije muzike, humanisti~kih koncertna delatnost u zemqi, me|unarodna gostovawa, in- disciplina i stranih jezika. ternacionalna takmi~ewa i u~estvovawe na konkursima za mlade izvo|a~e. U okviru rada operskog studija posebna pa`wa posve}uje se stilskoj interpretaciji pred- ODSEK ZA GUDA^KE INSTRUMENTE stava u celini, ali i pojedina~nih uloga, a ~esto se javno prikazuju odlomci iz pojedinih opera. U obrazovawu Ciq nastave guda~kih instrumenata je dostizawe visokog budu}ih peva~a vodi se ra~una o uravnoteènom posti- profesionalnog izvo|a~kog nivoa, kroz tehni~ko-inter-

28 FAKULTET MUZI^KE UMETNOSTI FACULTY OF MUSICAL ARTS 29 30 FAKULTET MUZI^KE UMETNOSTI scores, piano, solfeggio), acquaintance with the humanistic emphasis on a balanced theoretical and practical overview disciplines (such as history of music, pedagogy, psychology, of musical and humanistic disciplines. sociology of culture) and foreign languages.

DEPARTMENT OF PIANO DEPARTMENT OF SOLO SINGING The Piano Department is the largest of all instrumental The aim of the study programme in solo singing is the attain- departments not only in the number of students, but the ment of a high professional solo singing level through number of professors and associates, since piano is the technical and interpretative analysis of musical literature main subject for the students at the Department and one in the field of operatic and solo singing and building of the of the mandatory subjects for almost all other study groups. individual characteristics of the singer’s personality through The traditionally impressive interest in piano studies is a unity of technical and musical elements. The programme related to the real possibilities of future employment in also prepares students to be future educators. elementary and high schools of music. Therefore, much | Students at the Department receive instructions attention is paid to the development of artistic abilities and through regular classes of lectures and practical seminars. the artistic maturing, as well as to the mastering of other However, equally important are public performances, classes fields, such as the theory of music, humanistic disciplines open to the public or just to the faculty, recitals in the and foreign languages. country, guest performances abroad and participation in competitions organized for young performers. Program- mes in the studies of opera devote special attention to the DEPARTMENT OF STRING INSTRUMENTS stylistic interpretation of the entire performance and of individual roles; there are frequent performings of segments The aim of the teaching programme is the attainment of a from different operas. The education of future singers puts high professional performance level through a technical-

FACULTY OF MUSICAL ARTS 31 pretativnu proradu muzi~ke literature za violinu, vi- flauta, engleski rog, bas i es-klarinet, kontrafagot) olu, violon~elo ili kontrabas i izgra|ivawe individu- koji su uvedeni kao posebni predmeti na tre}oj godini alnosti li~nosti guda~a kroz jedinstvo tehni~kog i mu- studija. zi~kog elementa. | Savremeni pristup nastavi guda~kih instrumena- ODSEK ZA MUZIKOLOGIJU ta odlikuje jedinstvo razvoja interpretatorskog ume}a, kulture zajedni~kog svirawa u kamernim i orkestarskim Studije muzikologije pripadaju poqu dru{tveno-huma- ansamblima i izgradwe pedago{kih znawa. nisti~kih nauka, oblasti nauka o umetnostima. îwe- nica da se ovaj studij organizuje na umetni~kom, a ne na filozofskom fakultetu, kako je to u nekim evropskim ODSEK ZA DUVA^KE INSTRUMENTE obrazovnim tradicijama uobi~ajeno, govori o specifi~nosti profilisawa ovog studijskog programa koji je Na Fakultetu muzi~ke umetnosti mogu se danas studira- u vreme utemeqewa bio oslowen na sovjetski koncept ti svi drveni i limeni duva~ki instrumenti klasi~nog muzikologije. U wemu su, pored dominantnih humani- orkestarskog sastava. Studijski programi imaju istu sti~kih disciplina odre|enih pre svega glavnim pred- strukturu kao studijski programi guda~kih instrumena- metima – op{tom i nacionalnom istorijom muzike, ta i ukqu~uju, pored dominantnog glavnog predmeta na uravnoteèno zastupqeni i korpus muzi~ko-teorijskih kojem se razvijaju umetni~ke sposobnosti i interpreta- i muzi~ko-prakti~nih disciplina. Muzikolog zato do- tivno ume}e, muzi~ko-teorijske, humanisti~ke disci- bija svestrano obrazovawe koje mu omogu}uje {irok pline, strane jezike i prakti~nu nastavu orkestarskog i spektar zanimawa u pedagogiji, medijskim i produkcij- kamernog muzicirawa, sa posebnim naglaskom na grupi skim ku}ama i ustanovama kulture. Katedra za muziko- pedago{kih disciplina i pripremi budu}ih nastavni- logiju je nosilac zna~ajnog istraìva~kog projekta u ka. Od sredine osamdesetih godina postoji i mogu}nost Ministarstvu nauke i za{tite ìvotne sredine. Jedin- upu}ivawa u alternativne duva~ke instrumente (pikolo stvo nau~no-istraìva~kog i pedago{kog procesa bitno

32 FAKULTET MUZI^KE UMETNOSTI FACULTY OF MUSICAL ARTS 33 34 FAKULTET MUZI^KE UMETNOSTI interpretative analysis of musical literature for violin, as, piccolo flute, English horn, bass and E-clarinet, contra viola, cello and double-bass, and the building of individual bassoon, introduced as specific subjects at the third year characteristics of the performer’s personality through a of studies. unity of technical and musical elements. | A contemporary approach to the teaching of string instruments implies a unity in the development of interpre- DEPARTMENT OF MUSICOLOGY tative skills, the culture of collective playing in chamber and orchestral ensembles, as well as pedagogical skills. The study of musicology belongs to the field of socio-humanistic sciences, the area of sciences of the arts. The fact that this programme is offered at an art faculty and not DEPARTMENT OF WIND INSTRUMENTS the Faculty of Philosophy, as in some European traditional educations, speaks of the specific profile of this study The Faculty of Musical Arts offers today programmes in the programme which was at the beginning closely related to wood and brass wind instruments from a classical orches- the Soviet concept of musicology. Apart from the domi- tral structure. The study programmes have the same com- nant humanistic disciplines defined by the main subjects – position as the study programmes for string instruments general and national history of music – the programme and include, apart from the main subject where students comprises a balanced distribution of theoretic-musical and develop and improve their abilities and interpretative practical-musical disciplines. Therefore, a musicologist re- skills, musical-theoretic and humanistic disciplines, ceives such a broad spectre of education that he/she can foreign languages and practical seminars in orchestral and choose a number of different jobs in pedagogy, media and chamber music performances, with a special emphasis on production houses and cultural institutions. The Depart- group pedagogical disciplines and preparation of future ment of Musicology is also an important project leader in teachers. Since the mid-1970s there have been program- the Ministry of Science and Environmental Protection. The mes of instruction for alternative wind instruments, such unity of scholarly-research and pedagogical processes de-

FACULTY OF MUSICAL ARTS 35 odre|uje kvalitet rada na studijama. Nastava je grupna, liza muzi~kih stilova i metodika op{teg muzi~kog ali se kroz seminarske radove svaki student mentorski obrazovawa. vodi od prve do zavr{ne godine studija i diplomskog rada, {to omogu}ava optimalan razvoj wegovih sposobno- POLIINSTRUMENTALNI ODSEK sti i sklonosti i u skladu sa wima, specifi~nih speci- jalizacija koje idu ka istoriji i teoriji muzike, este- Poliinstrumentalni odsek objediwuje studijske progra- tici, studijama kulture, medijima ili pedagogiji. me harfe, ~embala, orguqa, gitare i udaraqki. Studijski programi obuhvataju uravnote`eno savladavawe umetni~- kih, teorijsko-umetni~kih i humanisti~kih discipli- ODSEK ZA OP[TU MUZI^KU PEDAGOGIJU na i stranih jezika, pripremaju}i studente za samostalnu umetni~ku aktivnost kao i pedago{ki rad. Ciq studij- Odsek za op{tu muzi~ku pedagogiju je najbrojniji na Fa- skih programa je dostizawe visokog profesionalnog iz- kultetu i obrazuje stru~wake {irokog dijapazona spe- vo|a~kog nivoa kroz tehni~ko-interpretativnu proradu cijalnosti sa nagla{enim pedago{kim aspektom koji muzi~ke literature za izabrani instrument i izgra|i- pokriva sve muzi~ke predmete u op{teobrazovnim {ko- vawe individualnosti li~nosti izvo|a~a kroz jedinstvo lama kao i sve teorijske discipline, solfe|o, istoriju tehni~kog i muzi~kog elementa. muzike i etnomuzikologiju u sredwim muzi~kim {kolama. Grupa teorijskih disciplina izu~ava se istim inten- zitetom kao na kompoziciji, dirigovawu, muzikologiji ODSEK ZA ETNOMUZIKOLOGIJU i etnomuzikologiji, te se i sa ovog odseka regrutuju po- tencijalni nau~nici u oblasti muzi~ke teorije. Ciq studija etnomuzikologije je da se od samog po~etka | Glavni predmeti na odseku za op{tu muzi~ku pe- studenti pripreme za budu}i nau~no-istra`iva~ki rad dagogiju su: solfe|o i metodika solfe|a, harmonija, i wihova znawa iz te oblasti intenzivno se razvijaju kontrapunkt, muzi~ki oblici, vokalna literatura, ana- kroz izradu seminarskih radova iz glavnog predmeta.

36 FAKULTET MUZI^KE UMETNOSTI termines the quality of the studies. Students have classes rature, analysis of musical styles and methodology of together, but for their term papers they have individual general musical education. tutorial approach from the first year to the final diploma work. This facilitates optimum development of students’ abilities and inclinations that indicate specific specializati- POLYINSTRUMENTAL DEPARTMENT ons towards the history and theory of music, aesthetics, cultural and media studies and pedagogy. This Department unites study programmes for harp, harpsichord, organ, guitar and percussion. The programmes comprise a balanced mastering of artistic, theoretic- DEPARTMENT OF GENERAL artistic and humanistic disciplines and foreign languages, MUSICAL PEDAGOGY and prepare students for individual artistic activity and pedagogical work. The aim of the study programmes is the This is the Department with the largest number of students achievement of a high level of professional performance because it educates professionals with a broad spectre of through technical-interpretative study of musical literatu- pedagogical specialties, covering all musical subjects in re for the chosen instrument; the combination of technical regular schools and all theoretic disciplines, solfeggio, and musical elements helps the formation of a specific history of music and ethnomusicology in secondary music personality of performer. schools. The group of theoretic disciplines follows the system of the same intensity as in the departments of composition, conducting, musicology and ethnomusicology pre- DEPARTMENT OF ETHNOMUSICOLOGY paring potential scholars in the field of musical theory. | The main subjects at the Department of General The studies in this Department prepare students for future Musical Pedagogy are: solfeggio and methodology of sol- scholarly and research work and their expertise is intensi- feggio, harmony, counterpoint, musical forms, vocal lite- vely developed through terms papers in topics covered by

FACULTY OF MUSICAL ARTS 37 Studenti ovladavaju bazi~nim znawima iz oblasti etnomuzikologije i teorije muzike, kao i prakti~nim muzi~- kim ve{tinama. Upoznaju se sa aktuelnim de{avawima u srodnim nau~nim oblastima, kao i u oblasti pedagogije.

ODSEK ZA KAMERNU MUZIKU

Diplomski studij kamerne muzike mogu upisati studenti izvo|a~kih odseka koji na osnovnim akademskim studijama ostvare prose~nu ocenu iznad 8 i ocenu 9 ili 10 iz glavnog predmeta i kamerne muzike. Ciq studija kamerne muzike je dostizawe najvi{eg standarda u profesionalnom izvo|a~kom tuma~ewu dela literature kamerne muzike kroz kompleksno prou~avawe i interpretirawe vrhunskih dela literature kamerne muzike raznih epo- ha i stilova.

38 FAKULTET MUZI^KE UMETNOSTI the main subject. Students master essential knowledge and practical skills in the field of ethnomusicology and theory of music, and get acquainted with the current developments in the related areas and pedagogy.

DEPARTMENT OF CHAMBER MUSIC

The regular, master studies in chamber music can be attended by students from other performing departments if their average mark is over 8 and have 9 and 10 in the main subject and chamber music. The aim of this programme is the achievement of the highest standard of professional performance of chamber music works through a complex study and interpretation of the masterpieces in chamber music literature from different epochs and styles.

FACULTY OF MUSICAL ARTS 39 FAKULTET MUZI^KE UMETNOSTI

NASTAVNICI I SARADNICI FACULTY OF MUSICAL ARTS

TEACHING AND PROFESSIONAL STAFF KATEDRA ZA DIRIGOVAWE mr Biqana RADOVANOVI], vanredni profesor – {ef Katedre Bojan SU\I], vanredni profesor – {ef Ve}a odseka mr Dragoqub PERI], redovni profesor mr Aleksandar VUJI], redovni profesor mr Stanko [EPI], redovni profesor mr Vesna [OUC, vanredni profesor NASTAVNICI I SARADNICI mr Aleksandar TO[KOV, samostalni umetni~ki {kolska 2006/2007. godina saradnik mr Sowa RADOJKOVI], vi{i umetni~ki saradnik KATEDRA ZA KOMPOZICIJU mr Dragana Branislava RADAKOVI], asistent I ORKESTRACIJU mr Aleksandar BRUJI], asistent mr Zoran ERI], redovni profesor Dragana JOVANOVI], asistent-pripravnik – {ef Katedre – sekretar Katedre mr Sr|an HOFMAN, redovni profesor – {ef Ve}a odseka KATEDRA ZA SOLO PEVAWE mr Vlastimir TRAJKOVI], redovni profesor Gordana JEVTOVI]-MINOV, vanredni profesor mr Milan MIHAJLOVI], redovni profesor – {ef Katedre mr Isidora @EBEQAN, docent Gordana DRAGOVI]-^ERNOGORSKI, vanredni profesor \or}e PETROVI], docent mr Aneta ILI], docent – {ef Ve}a odseka Svetlana SAVI], asistent-pripravnik mr Violeta PAN^ETOVI], docent – sekretar Katedre – sekretar Katedre Qubica GRUJI], samostalni umetni~ki saradnik Tatjana MILO[EVI], asistent-pripravnik mr Nikola MIJAILOVI], docent

42 FAKULTET MUZI^KE UMETNOSTI CONDUCTING DIVISION Biljana RADOVANOVI], Associate Professor – Head of Division Bojan SU\I], Associate Professor – Head of the Department Council Dragoljub PERI], Full Professor Aleksandar VUJI], Full Professor Stanko [EPI], Full Professor Vesna [OUC, Associate Professor Aleksandar TO[KOV, Independent Artistic Associate TEACHING AND PROFESSIONAL STAFF Sonja RADOJKOVI], Senior Artistic Associate schoolyear 2006/2007 Dragana Branislava RADAKOVI], Assistant Aleksandar BRUJI], Assistant COMPOSITION Dragana JOVANOVI], Trainee-Assistant – Division AND ORCHESTRATION DIVISION Secretary Zoran ERI], Full Professor – Head of Division Srdjan HOFMAN, Full Professor SOLO SINGING DIVISION – Head of the Department Council Gordana JEVTOVI]-MINOV, Associate Professor Vlastimir TRAJKOVI], Full Professor – Head of Division Milan MIHAJLOVI], Full Professor Gordana DRAGOVI]-^ERNOGORSKI, Associate Professor Isidora @EBELJAN, Docent Aneta ILI], Docent – Head of the Department Council \or|e PETROVI], Docent Violeta PAN^ETOVI], Docent – Division Secretary Svetlana SAVI], Trainee-Assistant – Division Secretary Ljubica GRUJI], Independent Artistic Associate Tatjana MILO[EVI], Trainee-Assistant Nikola MIJAILOVI], Docent

FACULTY OF MUSICAL ARTS 43 Nikola KITANOVSKI, docent mr Maja RAJKOVI], docent mr Ranka GLIXI]-[EPI], vi{i predava~ mr Dejan STO[I], docent mr Ivana STOKOVI], vi{i umetni~ki saradnik mr Marija \UKI], docent Vladimir STOJNI], vi{i umetni~ki saradnik mr Vladimir CVIJI], docent Tatjana DROBNI, umetni~ki saradnik mr Milo{ MIHAJLOVI], docent Zorka MILIVOJEVI], umetni~ki saradnik mr Vladimir MILO[EVI], docent mr Jelena JOVANOVI]-PETROVI], asistent KATEDRA ZA KLAVIR mr Nenad RADI], asistent mr Jakuthon MIHAILOVI], redovni profesor mr Qiqana VUKEQA, asistent – {ef Katedre mr Nata{a MITROVI], asistent mr Branko PEN^I], docent Sr|an DIMITRIJEVI], samostalni stru~ni saradnik – sekretar Katedre i {ef Ve}a odseka Bojana \AJI], samostalni stru~ni saradnik mr Ninoslav @IVKOVI], redovni profesor Milo{ PAVLOVI], stru~ni saradnik dr Dubravka JOVI^I], redovni profesor mr Jelica GLIGORIJEVI], vi{i stru~ni saradnik mr Nevena POPOVI], redovni profesor Olivera JOVANOVI], stru~ni saradnik mr Aleksandar SERDAR, redovni profesor Maja MIHI], stru~ni saradnik Nade`da KOLUNXIJA, samostalni umetni~ki saradnik Jelena \AJI], stru~ni saradnik mr Lidija STANKOVI], vanredni profesor mr Tijana HUMO-RAJEVAC, vanredni profesor KATEDRA ZA GUDA^KE INSTRUMENTE mr Aleksandar [ANDOROV, vanredni profesor mr Slobodan GERI], vanredni profesor za Kontrabas mr Dragoqub [OBAJI], vanredni profesor – {ef Katedre mr Dejan SINADINOVI], vanredni profesor mr Qubomir MILANOVI], docent za Violu mr Aleksandra PAVLOVI], docent – {ef Ve}a odseka mr Deana PATAKOVI]-FASNAHT, docent mr Sandra BELI], redovni profesor za Violon~elo

44 FAKULTET MUZI^KE UMETNOSTI Nikola KITANOVSKI, Docent Dejan STO[I], Docent Ranka GLID@I]-[EPI], Senior Lecturer Marija \UKI], Docent Ivana STOKOVI], Senior Artistic Associate Vladimir CVIJI], Docent Vladimir STOJNI], Senior Artistic Associate Milo{ MIHAJLOVI], Docent Tatjana DROBNI, Artistic Associate Vladimir MILO[EVI], Docent Zorka MILIVOJEVI], Artistic Associate Jelena JOVANOVI]-PETROVI], Assistant Nenad RADI], Assistant PIANO Ljiljana VUKELJA, Assistant Jakuthon MIHAILOVI], Full Professor – Head of Division Nata{a MITROVI], Assistant Branko PEN^I], Docent – Division Secretary Sr|an DIMITRIJEVI], Independent Professional Associate and Head of the Department Council Bojana \AJI], Independent Professional Associate Ninoslav @IVKOVI], Full Professor Milo{ PAVLOVI], Professional Associate Dubravka JOVI^I], Full Professor Jelica GLIGORIJEVI], Senior Professional Associate Nevena POPOVI], Full Professor Olivera JOVANOVI], Professional Associate Aleksandar SERDAR, Full Professor Maja MIHI], Professional Associate Nade`da KOLUND@IJA, Independent Artistic Associate Jelena \AJI], Professional Associate Lidija STANKOVI], Associate Professor Tijana HUMO-RAJEVAC, Associate Professor STRING INSTRUMENTS DIVISION Aleksandar [ANDOROV, Associate Professor Slobodan GERI], Associate Professor – Double bass Dragoljub [OBAJI], Associate Professor – Head of Division Dejan SINADINOVI], Associate Professor Ljubomir MILANOVI], Docent – Viola Aleksandra PAVLOVI], Docent – Head of the Department Council Deana PATAKOVI]-FASNAHT, Docent Sandra BELI], Full Professor – Cello Maja RAJKOVI], Docent Neboj{a IGNJATOVI], Full Professor – Double bass

FACULTY OF MUSICAL ARTS 45 mr Neboj{a IGWATOVI], redovni profesor mr Istra PE^VARI, samostalni umetni~ki saradnik za Kontrabas Gordana MARJANOVI], samostalni umetni~ki saradnik mr Marija JOKANOVI], redovni profesor za Violinu mr Sawa PETKOVI], samostalni umetni~ki saradnik mr Milutin KOSANOVI], redovni profesor mr Vesna PANTOVI], vi{i umetni~ki saradnik za Violinu Natalija MLADENOVI], vi{i umetni~ki saradnik mr Fern RA[KOVI], redovni profesor za Violinu Vladimir SAVI], vi{i umetni~ki saradnik mr Jasna MAKSIMOVI], vanredni profesor Balint VARGA, vi{i umetni~ki saradnik za Violinu mr Vladimir ÂBRENOVI], vi{i stru~ni saradnik mr Dejan MLA\ENOVI], vanredni profesor Katarina RADOJIÎ]-FIREVSKI, umetni~ki saradnik za Violu Uki Lauri Aleksi OVASKAINEN, umetni~ki saradnik mr Tatjana OLUJI], vanredni profesor za Violinu Katarina HAXI-ANTI]-TATI], umetni~ki saradnik mr Ivana A]IMOSKI-@IKI], docent za Violinu Ivana PAVLOVI], umetni~ki saradnik mr Dejan BO@I], docent za Violon~elo Neda HOFMAN-SRETENOVI], umetni~ki saradnik mr Panta VELI^KOVI], docent za Violu mr Dragan \OR\EVI], docent za Violon~elo KATEDRA ZA DUVA^KE INSTRUMENTE mr Gordana MATIJEVI], docent za Violinu mr Ante GRGIN, redovni profesor – {ef Katedre mr Qubomir MIHAILOVI], docent za Violinu mr Mirko ISAESKI, redovni profesor mr Vesna STANKOVI], docent za Violinu – {ef Ve}a odseka mr Marija [PENGLER, docent za Violinu mr Qubi{a JOVANOVI], redovni profesor mr Marija MISITA, asistent za Violinu mr Aleksandar BENÎ], vanredni profesor mr Nemawa MARJANOVI], asistent za Violu – sekretar Katedre mr Sr|an SRETENOVI], asistent za Violon~elo mr Mladen \OR\EVI], vanredni profesor – sekretar Katedre mr Dragan LAZI], docent mr Mladen STOKI], asistent za Violinu mr Miomir SIMONOVI], docent

46 FAKULTET MUZI^KE UMETNOSTI FACULTY OF MUSICAL ARTS 47 48 FAKULTET MUZI^KE UMETNOSTI Marija JOKANOVI], Associate Professor – Violin Vladimir SAVI], Senior Artistic Associate Milutin KOSANOVI], Full Professor – Violin Balint VARGA, Senior Artistic Associate Fern RA[KOVI], Full Professor – Violin Vladimir ÂBRENOVI], Senior Professional Associate Jasna MAKSIMOVI], Associate Professor – Violin Katarina RADOJIÎ]-FIREVSKI, Artistic Associate Dejan MLA\ENOVI], Associate Professor – Viola Uki Lauri Aleksi OVASKAINEN, Artistic Associate Tatjana OLUJI], Associate Professor – Violin Katarina HAD@I-ANTI]-TATI], Artistic Associate Ivana A]IMOSKI-@IKI], Docent – Violin Ivana PAVLOVI], Artistic Associate Dejan BO@I], Docent – Cello Neda HOFMAN-SRETENOVI], Artistic Associate Panta VELI^KOVI], Docent – Viola Dragan \OR\EVI], Docent – Cello WIND INSTRUMENTS DIVISION Gordana MATIJEVI], Docent – Violin Ante GRGIN, Full Professr – Head of Division Ljubomir MIHAILOVI], Docent – Violin Mirko ISAESKI, Full Professor Vesna STANKOVI], Docent – Violin – Head of the Department Council Marija [PENGLER, Docent – Violin Ljubi{a JOVANOVI], Full Professor Marija MISITA, Docent – Violin Aleksandar BENÎ], Associate Professor Nemanja MARJANOVI], Assistant – Viola – Division Secretary Sr|an SRETENOVI], Assistant – Cello Mladen \OR\EVI], Associate Professor – Division Secretary Dragan LAZI], Docent Mladen STOKI], Assostant – Violin Miomir SIMONOVI], Docent Istra PE^VARI, Independent Artistic Associate Milan RADI], Docent Gordana MARJANOVI], Independent Artistic Associate Nata{a DORJAN, Independent Artistic Associate Sanja PETKOVI], Independent Artistic Associate Meri BOJI]-RADOJÎ], Senior Artistic Associate Vesna PANTOVI], Senior Artistic Associate Rada PE]ANAC, Artistic Associate Natalija MLADENOVI], Senior Artistic Associate Melita BENÎ], Artistic Associate

FACULTY OF MUSICAL ARTS 49 mr Milan RADI], docent KATEDRA ZA TEORIJSKE PREDMETE Nata{a DORJAN, samostalni umetni~ki saradnik mr Milo{ ZATKALIK, vanredni profesor mr Meri BOJÎ]-RADOJÎ], umetni~ki saradnik – {ef Katedre Rada PE]ANAC, umetni~ki saradnik mr Svetislav BO@I], redovni profesor mr Melita BENÎ], umetni~ki saradnik mr Miloje NIKOLI], redovni profesor Antonela GRGIN, umetni~ki saradnik Vladimir TO[I], redovni profesor mr Anica SABO, vanredni profesor KATEDRA ZA MUZIKOLOGIJU mr Slobodan RAICKI, docent – {ef Ve}a odseka dr Mirjana VESELINOVI]-HOFMAN, mr Zoran BO@ANI], docent redovni profesor – {ef Katedre mr Predrag REPANI], docent dr Miodrag [UVAKOVI], redovni profesor dr Ana STEFANOVI], docent dr Sowa MARINKOVI], vanredni profesor mr Ivan BRKQAÎ], asistent – sekretar Katedre dr Dragana STOJANOVI]-NOVIÎ], docent mr Ivana STAMATOVI], asistent – {ef Ve}a odseka mr Ivana VUKSANOVI], asistent dr Vesna MIKI], docent mr Milana STOJADINOVI]-MILI], asistent – sekretar Katedre mr Nada IVANOVI], asistent dr Blanka BOGUNOVI], docent mr Milena VITAS, asistent dr Tatjana MARKOVI], docent mr Dragana JOVANOVI], asistent dr Ivana PERKOVI], docent mr Garun MALEV, asistent dr Dragana JEREMI]-MOLNAR, docent Sr|an TEPARI], asistent mr Marija MASNIKOSA, asistent mr Slavica STEFANOVI], asistent mr Tijana POPOVI], asistent Marko ALEKSI], asistent-pripravnik mr Milijana GRKAJAC, vi{i predava~ mr Senka BELI], asistent-pripravnik Zorana KOZOMARI], predava~ Jelena MIHAJLOVI]-MARKOVI], stru~ni saradnik

50 FAKULTET MUZI^KE UMETNOSTI Antonela GRGIN, Artistic Associate Vladimir TO[I], Full Professor Anica SABO, Associate Professor MUSICOLOGY DIVISION Slobodan RAICKI, Docent – Head of the Department Council Dr. Mirjana VESELINOVI]-HOFMAN, Full Professor Zoran BO@ANI], Docent – Head of Division Predrag REPANI], Docent Dr. Miodrag [UVAKOVI], Full Professor Ana STEFANOVI], Docent Dr. Sonja MARINKOVI], Associate Professor Ivan BRKLJA^I], Assistant – Division Secretary Dr. Dragana STOJANOVI]-NOVI^I], Docent Ivana STAMATOVI], Assistant – Head of the Department Council Ivana VUKSANOVI], Assistant Dr. Vesna MIKI], Docent, Division Secretary Milana STOJADINOVI]-MILI], Assistant Dr. Blanka BOGUNOVI], Docent Nada IVANOVI], Assistant Dr. Tatjana MARKOVI], Docent Milena VITAS, Assistant Dr. Ivana PERKOVI], Docent Dragana JOVANOVI], Assistant Dr. Dragana JEREMI]-MOLNAR, Docent Garun MALEV, Assistant Marija MASNIKOSA, Assistant Sr|an TEPARI], Assistant Tijana POPOVI], Assistant Slavica STEFANOVI], Assistant Milijana GRKAJAC, Senior Lecturer Marko ALEKSI], Trainee-Assistant Zorana KOZOMARI], Lecturer Senka BELI], Trainee-Assistant Jelena MIHAJLOVI]-MARKOVI], Professional Associate THEORETICAL SUBJECTS DIVISION Milo{ ZATKALIK, Associate Professor SOLFEGGIO DIVISION – Head of Division Vera MILANKOVI], Full Professor Svetislav BO@I], Full Professor Vesna KR[I], Full Professor Miloje NIKOLI], Full Professor Gordana KARAN, Associate Professor – Head of Division

FACULTY OF MUSICAL ARTS 51 KATEDRA ZA SOLFE\O POLIINSTRUMENTALNA KATEDRA mr Vera MILANKOVI], redovni profesor (^EMBALO, ORGUQE, HARFA, GITARA mr Vesna KR[I], redovni profesor I UDARAQKE) mr Gordana KARAN, vanredni profesor – {ef Katedre mr Vera OGRIZOVI], vanredni profesor za Gitaru Bojana MATORKI]-IVANOVI], vanredni profesor mr Sr|an TO[I], vanredni profesor za Gitaru dr Ivana DROBNI, docent mr Miroslav KARLOVI], vanredni profesor dr Ivana HRPKA, docent za Udaraqke mr Milena PETROVI], asistent mr Qiqana NESTOROVSKA, vanredni profesor mr Dragana TODOROVI], asistent za Harfu – {ef Katedre mr Sawa RISTI], stru~ni saradnik – sekretar Katedre mr Maja SMIQANI]-RADI], docent za Orguqe – {ef Ve}a odseka i sekretar Katedre KATEDRA ZA KAMERNU MUZIKU Bojana ZAGORAC, vi{i umetni~ki saradnik Milo{ PETROVI], redovni profesor mr Zorica ]ETKOVI], redovni profesor KATEDRA ZA ETNOMUZIKOLOGIJU mr Uro{ PE[I], redovni profesor dr Dimitrije GOLEMOVI], redovni profesor mr Goran MARINKOVI], vanredni profesor – {ef Katedre – {ef Katedre dr Olivera VASI], redovni profesor mr Ladislav MEZEI, vanredni profesor – {ef Ve}a odseka mr Qudmila POPOVI]-GROS, vanredni profesor mr Sawa RADINOVI], asistent mr Dejan SUBOTI], docent – sekretar Katedre mr Jasna TUCOVI], docent mr Mirjana ZAKI], asistent mr Tea DIMITRIJEVI], asistent mr Mladen MARKOVI], asistent – sekretar Katedre mr Selena RAKO^EVI], asistent Igor LAZI], asistent-pripravnik

52 FAKULTET MUZI^KE UMETNOSTI Bojana MATORKI]-IVANOVI], Associate Professor POLYINSTRUMENTAL DIVISION Dr. Ivana DROBNI, Docent (HARPSICHORD, ORGAN, HARP, GUITAR Dr. Ivana HRPKA, Docent AND PERCUSSION) Milena PETROVI], Assistant Vera OGRIZOVI], Associate Professor – Guitar Dragana TODOROVI], Assistant Sr|an TO[I], Associate Professor – guitar Sanja RISTI], Professional Associate – Division Secretary Miroslav KARLOVI], Associate Professor – Percussions Ljiljana NESTOROVSKA, Associate Professor – Harp CHAMBER MUSIC DIVISION – Head of Division Milo{ PETROVI], Full Professor Maja SMILJANI]-RADI], Docent – Organ Zorica ]ETKOVI], Full Professor – Head of the Department Council and Division Secretary Uro{ PE[I], Full Professor Bojana ZAGORAC, Senior Artistic Associate Goran MARINKOVI], Associate Professor – Head of Division ETHNOMUSICOLOGY DIVISION Ladislav MEZEI, Associate Professor Dr. Dimitrije GOLEMOVI], Full Professor Ljudmila POPOVI]-GROS, Associate Professor – Head of Division Dejan SUBOTI], Docent Dr. Olivera VASI], Full Professor Jasna TUCOVI], Docent – Head of the Department Council Tea DIMITRIJEVI], Assistant – Division Secretary Sanja RADINOVI], Assistant – Division Secretary Igor LAZI], Trainee-Assistant Mirjana ZAKI], Assistant Mladen MARKOVI], Assistant Selena RAKO^EVI], Assistant

FACULTY OF MUSICAL ARTS 53 FAKULTET MUZI^KE UMETNOSTI

DEKANI I PRODEKANI FACULTY OF MUSICAL ARTS

DEANS AND VICE-DEANS Berislav POPOVI] prodekan 1973–1974 Vladimir MARKOVI] dekan 1975–1976 Petar OZGIJAN prodekan 1975–1976 Nikola RACKOV prodekan 1975–1976 Vladimir TO[I] student prodekan 1975/76 Sowa MARINKOVI] student prodekan 1976/77 Berislav POPOVI] dekan 1977–1978 Petar OZGIJAN prodekan 1977–1978 DEKANI I PRODEKANI Dejan DESPI] prodekan 1977–1978 od 1937. do 2007. godine Sowa MARINKOVI] student prodekan 1977–1978 Radomir PETROVI] dekan 1979–1982 Kosta MANOJLOVI] rektor 1937–1938 Darinka MATI]-MAROVI] prodekan 1979–1982 Petar KOWOVI] rektor 1939–1941 Miloje NIKOLI] prodekan 1979–1982 Stevan HRISTI] rektor 1942–1943 Predrag STAMENKOVI] student prodekan 1979–1980 Petar KOWOVI] rektor 1944–1946 Branislav JARI] student prodekan 1980–1981 Mihailo VUKDRAGOVI] rektor 1947–1950 Stanislav STOJIQKOVI] student prodekan 1981–1982 Milenko @IVKOVI] rektor 1951–1956 Jasenka AN\ELKOVI] student prodekan 1982–1983 dekan 1957–1959 Darinka MATI]-MAROVI] dekan 1983–1988 Predrag MILO[EVI] dekan 1960–1966 Sr|an HOFMAN prodekan 1983–1988 Stanka VRIWANIN prodekan 1962–1966 Nikola RACKOV prodekan 1983–1988 Du{an SKOVRAN dekan 1967–1972 Jasenka AN\ELKOVI] student prodekan 1983–1984 Arsen TRIVA prodekan 1967–1968 Aleksandar VASI] student prodekan 1984–1985 Petar OZGIJAN prodekan 1969–1972 Ogwen BOGDANOVI] student prodekan 1986–1987 Arsen TRIVA dekan 1973–1974 Sr|an HOFMAN dekan 1989–1998

56 FAKULTET MUZI^KE UMETNOSTI Du{an SKOVRAN Dean 1967–1972 Arsen TRIVA Vice-Dean 1967–1968 Petar OZGIJAN Vice-Dean 1969–1972 Arsen TRIVA Dean 1973–1974 Berislav POPOVI] Vice-Dean 1973–1974 Vladimir MARKOVI] Dean 1975–1976 Petar OZGIJAN Vice-Dean 1975–1976 Nikola RACKOV Vice-Dean 1975–1976 Vladimir TO[I] Student Vice-Dean 1975–1976 Sonja MARINKOVI] Student Vice-Dean 1976 Berislav POPOVI] Dean 1977–1978 Petar OZGIJAN Vice-Dean 1977–1978 DEANS AND VICE-DEANS Dejan DESPI] Vice-Dean 1977–1978 from 1937 to 2007 Sonja MARINKOVI] Student Vice-Dean 1977–1978 Radomir PETROVI] Dean 1979–1982 Kosta MANOJLOVI] Rector 1937–1938 Darinka MATI]-MAROVI] Vice-Dean 1979–1982 Petar KONJOVI] Rector 1939–1941 Miloje NIKOLI] Vice-Dean 1979–1982 Stevan HRISTI] Rector 1942–1943 Predrag STAMENKOVI] Student Vice-Dean 1979–1980 Petar KONJOVI] Rector 1944–1946 Branislav JARI] Student Vice-Dean 1980–1981 Mihailo VUKDRAGOVI] Rector 1947–1950 Stanislav STOJILJKOVI] Student Vice-Dean 1981–1982 Milenko @IVKOVI] Rector 1951–1956 Jasenka AN\ELKOVI] Student Vice-Dean 1982–1983 Dean 1957–1959 Darinka MATI]-MAROVI] Dean 1983–1988 Predrag MILO[EVI] Dean 1960–1966 Sr|an HOFMAN Vice-Dean 1983–1988 Stanka VRINJANIN Vice-Dean 1962–1966 Nikola RACKOV Vice-Dean 1983–1988

FACULTY OF MUSICAL ARTS 57 Zoran ERI] prodekan 1989–1998 Dubravka JOVI^I] prodekan 1998–2001 Fern RA[KOVI] prodekan 1989–1993 Aleksandar C. VUJI] prodekan 2001–2002 Mirjana [UICA–BABI] prodekan 1993–1995 Milan MIHAJLOVI] dekan 2002– Dejan MLA\ENOVI] prodekan 1995–1996 Qubi{a JOVANOVI] prodekan 2002– Zorica DIMITRIJEVI]–STO[I] Dejan SINADINOVI] prodekan 2002–2006 prodekan 1996–1998 Sowa MARINKOVI] prodekan 2006– Goran KAPETANOVI] student prodekan 1991–1993 Milo{ DOPSAJ student prodekan 2003 Qubomir BRKI] student prodekan 1994–1998 Teodora STEPAN^I] student prodekan 2004 Qubi{a PETRU[EVSKI dekan 1998–2002 Lazar DIMITRIJEVI] student prodekan 2005 Rastislav KAMBASKOVI] prodekan 1998–2002 Bratislav PROKI] student prodekan 2006 (vr{ilac du`nosti dekana od 9. IX 2002. do 5. XI 2002. godine)

58 FAKULTET MUZI^KE UMETNOSTI Jasenka AN\ELKOVI] Student Vice-Dean 1983–1984 Rastislav KAMBASKOVI] Vice-Dean 1998–2002 Aleksandar VASI] Student Vice-Dean 1984–1985 (Acting Dean September–November 2002) Ognjen BOGDANOVI] Student Vice-Dean 1986–1987 Dubravka JOVI^I] Vice-Dean 1998–2001 Sr|an HOFMAN Dean 1989–1998 Aleksandar VUJI] Vice-Dean 2001–2002 Zoran ERI] Vice-Dean 1989–1998 Milan MIHAJLOVI] Dean 2002– Fern RA[KOVI] Vice-Dean 1989–1993 Ljubi{a JOVANOVI] Vice-Dean 2002– Mirjana [UICA-BABI] Vice-Dean 1993–1995 Dejan SINADINOVI] Vice-Dean 2002–2006 Dejan MLA\ENOVI] Vice-Dean 1995–1996 Sonja MARINKOVI] Vice-Dean 2006– Zorica DIMITRIJEVI]-STO[I] Vice-Dean 1996–1998 Milo{ DOPSAJ Student Vice-Dean 2003 Goran KAPETANOVI] Student Vice-Dean 1991–1993 Teodora STEPAN^I] Student Vice-Dean 2004 Ljubomir BRKI] Student Vice-Dean 1994–1998 Lazar DIMITRIJEVI] Student Vice-Dean 2005 Ljubi{a PETRU[EVSKI Dean 1998–2002 Bratislav PROKI] Student Vice-Dean 2006

FACULTY OF MUSICAL ARTS 59 FAKULTET MUZI^KIH UMETNOSTI

ADRESE I KONTAKT TELEFONI FACULTY OF MUSICAL ARTS

ADDRESSES AND TELEPHONES FAKULTET MUZI^KE UMETNOSTI adresa: Kraqa Milana 50, 11000 Beograd

SEKRETAR FMU RA^UNOVODSTVO Zagorka Vuji~i}, dipl. pravnik Dragica Arsenijevi}, {ef slu`be tel: 2682 746, e-po{ta: [email protected] tel: 3621 175

OP[TA SLU@BA ATEQE ZA ODR@AVAWE Sowa Vu~eli}, {ef slu`be, kadrovski referent KLAVIJATURNIH INSTRUMENATA tel: 3620 760, e-po{ta: [email protected] Mario Bjelanovi}, {ef slu`be, klavir{timer tel: 2659 466, 2659 887 STUDENTSKA SLU@BA Antonija Anti}, {ef slu`be, POMO]NA SLU@BA vi{i referent za studentska pitawa i nastavu Dragan Simonovi}, {ef slu`be, tel: 2659 272, e-po{ta: [email protected] tehni~ar-snimateq-organizator tel: 2659 466 i 2659 887 BIBLIOTEKA Radmila Milinkovi}, {ef slu`be, bibliotekar tel: 3620 796, e-po{ta: [email protected]

62 FAKULTET MUZI^KE UMETNOSTI FACULTY OF MUSICAL ARTS address: 50, Kralja Milana Street, 11000 Belgrade

FACULTY SECRETARY, Zagorka Vuji~i} tel.: +381 11/ 2682 746, e-po{ta: [email protected]

GENERAL SERVICES, Sonja Vu~eli} tel.: +381 11/ 3620 760, e-po{ta: [email protected]

STUDENTS REGISTRY OFFICE, Antonija Anti} tel.: +381 11/ 2659 272, e-po{ta: [email protected]

LIBRARY, Radmila Milinkovi} tel.: +381 11/ 3620 796, e-po{ta: [email protected]

FINANCE OFFICE, Dragica Arsenijevi} tel.: +381 11/ 3621 175

STUDIO FOR MAINTENANCE OF KEYBOARD INSTRUMENTS, Mario Bjelanovi} tel.: +381 11/ 2659 466, 2659 887

AUXILIARY SERVICES, Dragan Simonovi} tel.: +381 11/ 2659 466 and 2659 887

FACULTY OF MUSICAL ARTS 63 PUBLIKACIJA JE [TAMPANA UZ FINANSIJSKU POMO] MINISTARSTVA PROSVETE REPUBLIKE SRBIJE

THE PUBLICATION IS PRINTED WITH FINANCIAL ASSISTANCE FROM THE MINISTRY OF EDUCATION OF THE REPUBLIC OF SERBIA

CIP – Katalogizacija u publikaciji Narodna biblioteka Srbije, Beograd

378.6:73/78(497.11)”1957/2007”

ISBN 978-86-7167-038-8 a) Univerzitet umetnosti (Beograd) – 1957–2007 COBISS.SR-ID 141207052

FAKULTET LIKOVNIH UMETNOSTI FACULTY OF FINE ARTS

2007 BEOGRAD BELGRADE UREDNICI | Andrija \uki}, Svetozar Rapaji}, Stjepan Fileki

SARADNICI | Bojana Buri}, dr Zoran Gavri}, dr Sowa Marinkovi}

FOTOGRAFIJE | Arhiva FLU, Dragan Mirkovi}

LIKOVNI UREDNIK | Danijela Paracki

PREVOD NA ENGLESKI | Ksenija Todorovi}

LEKTOR | Biqana Spremo Popovi}

[TAMPA | AD [tamparija BUDU]NOST, Novi Sad

TIRA@ | 500 primeraka

OVA PUBLIKACIJA SE IZDAJE POVODOM PROSLAVE 50 GODINA UNIVERZITETA UMETNOSTI U BEOGRADU

THIS PUBLICATION IS PRINTED ON THE OCCASION OF THE FIFTIETH ANNIVERSARY OF THE UNIVERSITY OF THE ARTS IN BELGRADE SADR@AJ

Istorija | 04 CONTENTS Studije i studijski programi | 16

Nastavnici i saradnici | 28 05 | History

Dekani i prodekani | 36 17 | Studies and Study Programmes

Adrese i kontakt telefoni | 42 29 | Teaching and Professional Staff

37 | Deans and Vice-Deans of the Faculty of Fine Arts in Belgrade

43 | Faculty of Fine Arts in Belgrade Addresses and telephones FAKULTET LIKOVNIH UMETNOSTI

ISTORIJA FACULTY OF FINE ARTS

HISTORY Tabakovi}, Marko ^elebonovi}, Nedeqko Gvozdenovi}, Qubica Soki}, \or|e Andrejevi} Kun, Stojan ]eli}, Mladen Srbinovi}, Radomir Reqi} i Nikola Jankovi}. Iako Fakultet pripada grupaciji mla|ih visoko{kolskih ustanova ovog tipa u Evropi, veoma brzo je stekao ugled radom koji predstavqa nastavak institucionali- zovanog umetni~kog {kolstva u Srbiji, koje je organizo- vanije po~elo da deluje u drugoj polovini XIX veka. | Osniva~i i prvi profesori Akademije likovnih umetnosti Petar Dobrovi}, Milo Milunovi} i To- ma Rosandi} su bili {kolovani u inostranstvu (Pariz, Be~, Firenca, Minhen, Budimpe{ta) i svojim isku- stvima utemeqili su Beogradsku akademiju po uzoru na svetske {kole tog tipa preuzimawem samo nekih teh- kademija likovnih umetnosti u Beogradu osno- ni~kih i organizacionih iskustava, pre svega u ateqer- Avana je 1937. godine, a od 1973. godine radi kao Fakul- skom sistemu nastave. Od samog po~etka, organizacija tet likovnih umetnosti. Tokom sedam decenija posto- nastave odvijala se na tri odseka: Slikarskom, Grafi~- jawa Fakulteta redovne studije zavr{ilo je 2419, a kom i Vajarskom. postdiplomske studije 1071 student. Od osnivawa do da- | Potreba za otvarewem Akademije likovnih umet- nas u nastavnim procesima u~estvovalo je preko 120 nosti (do tada se obrazovawe umetnika obavqalo u Umet- najuglednijih umetnika sa ovih prostora, od kojih su 15 ni~ko zanatskoj {koli koja je ukinuta 1937. godine), ja- postali ~lanovi Srpske akademije nauka i umetnosti: vila se kao potreba da se savremena shvatawa likovnosti Toma Rosandi}, Quba Ivanovi}, Milo Milunovi}, Sre- br`e, opse`nije i kvalitetnije unose u na{u umetnost. ten Stojanovi}, Zora Petrovi}, Petar Lubarda, Ivan O umetni~koj situaciji 30-tih godina, u vreme otvarawa

06 FAKULTET LIKOVNIH UMETNOSTI | The founders and first professors of the Academy of Fine Arts, Petar Dobrovi}, Milo Milunovi} and Toma Ro- sandi}, were educated abroad (Paris, Vienna, Florence, Munich, Budapest) and used their experience to fashion the Belgrade Academy after similar European institutions. They copied some technical and organizations features, such as studio based practical work and instructions. The Acade- he Academy of Fine Arts in Belgrade was founded in my has had three departments from the very inception: T1937, and in 1973 it was renamed the Faculty of Fine Arts. Painting, Printmaking and Sculpture. In the seven decades of its existence, 2,419 students | Until 1937 artists were educated in the Arts and graduated from the Faculty and 1,071 completed post- Crafts School in Belgrade, which was closed that year. The graduate studies. Over 120 prominent artists worked as opening of the Academy of Fine Arts followed the need for teachers and fifteen of them were elected members of the a more efficient, detailed and better understanding of the Serbian Academy of Sciences and Arts: Toma Rosandi}, contemporary visual arts. In his preface to the exhibition of Ljuba Ivanovi}, Milo Milunovi}, Sreten Stojanovi}, Zora works by the professors of the Faculty of Fine Arts (held in Petrovi}, Petar Lubarda, Ivan Tabakovi}, Marko ^elebono- 1987 to mark fifty years of the founding of the school), vi}, Nedeljko Gvozdenovi}, Ljubica Soki}, \or|e Andrejevi} professor Zoran Pavlovi} commented on the artistic cir- Kun, Stojan ]eli}, Mladen Srbinovi}, Radomir Relji} and cumstances in Serbia in the 1930s: »The concept of moder- Nikola Jankovi}. Although the Faculty belongs to more re- nity did exist and it spread from Paris as a predominant cent institutions of higher learning of this type in Europe, approach which assumed a post-impressionist, fauvist- it has acquired a high reputation through its activity. In expressionist and cubist scale of the phenomena and under- fact, the Faculty of Fine Arts continues the artistic scho- standing of the purpose and meaning of an artwork. In our oling in Serbia, which acquired an organized form in the country, local elements were added to this – an inclination second half of the nineteenth century. towards a certain poetic realism, a developed bourgeois taste,

FACULTY OF FINE ARTS 07 08 FAKULTET LIKOVNIH UMETNOSTI towards an attractive visual quality and the radiation of ward. During the 1960s and the thriving of the Belgrade the pictorial matter. Such an understanding of modernity abstract art, the faculty was extended to accommodate and its obvious contribution to the degree of visual aware- artists of this orientation as professors. The same was ness on the Belgrade visual scene directed the School continued in the following decades and this practice towards a certain form of traditionalism in the nicer sense proved that the School had an accurate feeling for the of the word; practically, it meant that plastic solutions and current aspects of art. Representatives of »New Figurati- the repertoire of no longer fashionable forms were not on« were also employed, then the representatives of »New taken over mechanically; it was a subtle search for the Expressionism«, and in the 1990s the specific proponents elements of tradition that could still emanate inspiration, of the new Belgrade sculpture. This, however, does not either through general plastic tendencies or the methodo- mean that only the representatives of the dominant logy of visual education«. poetics were included in these cyclic refreshments. Certain | The physiognomy of the School was built on such remarkable personalities, whose work did not fit into any foundations and the always present possibility that some of the basic artistic directions, joined the Faculty of Fine of the study programmes could become outdated was over- Arts in their full maturity and also gave their contribution come by constant endeavours of the professors to main- to the abundance of poetics fostered by the Academy tain a dynamism that would react to the requirements of /Faculty. the day like a living organism. The characteristic feature of | The most prominent change of generations bet- this wise strategy has been a continuous replenishment of ween 1987 and 1990, and the extension of working space the faculty by those who had completed their studies at (a new building for the Painting Department and adaptati- the School. on of the Sculpture Department) were important instances | The first graduates were engaged as Assistants in in the preparation of the Faculty for a programmatic and 1949. Their youth and eagerness, combined with the expe- organizational transformation that would create adequate rience and expertise of pre-war professors, were the dyna- conditions for the education of artists in the twenty-first mic force that helped the Academy make giant steps for- century.

FACULTY OF FINE ARTS 09 Akademije, prof. Zoran Pavlovi} 1987. godine pi{e u profesora da odrè jedno dinami~no stawe koje poput predgovoru kataloga izlo`be profesora Fakulteta li- ìvog organizma reaguje na zahteve vremena. Ravnomerno kovnih umetnosti odràne povodom proslave pedeseto- obnavqawe nastavnog kadra iz redova zavr{enih stude- godi{wice osnivawa: »Postojao je i iz Pariza se kao nata Akademije/Fakulteta je karakteristika ove mudre preovla|uju}i {irio pojam modernosti koji je podrazu- strategije. mevao postimpresionisti~ku, fovisti~ku-ekspresio- | Prva grupa zavr{enih studenata Akademije pri- nisti~ku i da kako kubisti~ku skalu fenomena i shva- mqena je 1949. godine za asistente. Wihova mladost i tawa smisla i zna~ewa likovnog dela. Kod nas su se tu elan, udruèna sa iskustvom i znawem predratnih pro- uplitale lokalne primese – sklonost ka nekom poetizo- fesora, u~inilo je da Akademije krene krupnim kora- vanom realizmu, gra|anski odnegovanom ukusu, ka lepoj cima napred. Tokom {ezdesetih godina i procvata beo- vizuelnosti i zra~ewu pikturalne materije. Ovakva gradske apstraktne umetnosti primqeni su u nastavni~- shvatawa modernosti uz neizbe`ni obol stepenu likov- ki kolektiv predstavnici ove umetni~ke orijentacije, ne svesti same beogradske likovne sredine, nu`no su da bi takva praksa kojom {kola u celini iskazuje sluh duh [kole upu}ivali ka izvesnom obliku tradiciona- za najaktuelnije mene umetnosti bila nastavqena i u lizma koji treba shvatiti u onom lep{em smislu re~i, slede}im decenijama, kada su za saradnike primani {to prakti~no zna~i – ne mehani~ko preuzimawe gotovih predstavnici »nove figuracije« ili jo{ kasnije »novog plasti~kih re{ewa i repertoara formi koje su izgubi- ekspresionizma«, a devedesetih i nove beogradske skulp- le svoju vremensku aktuelnost, nego jedno suptilnije ture. To nikako ne zna~i da su tim cikli~nim perso- tragawe za onim {to iz tradicije jo{ uvek moè plodo- nalnim obnavqawima Akademije bili obuhva}eni samo tvorno da zra~i, bilo na planu op{tih plasti~kih po- reprezenti dominantnih poetika. Odre|ene markantne java, bilo na terenu metodologije likovne edukacije«. umetni~ke li~nosti, ~iji se rad nije uklapao u neke od | Na ovakvim temeqima je izgra|ivana fizionomi- tih osnovnih umetni~kih stremqewa, ukqu~ivale su se ja [kole, sa uvek prisutnom sve{}u o mogu}oj fosili- u nastavu Fakulteta likovnih umetnosti u svojoj punoj zaciji programa, {to je izbegavano postojanim naporima umetni~koj i ìvotnoj zrelosti, i tako doprinosili

10 FAKULTET LIKOVNIH UMETNOSTI FACULTY OF FINE ARTS 11 12 FAKULTET LIKOVNIH UMETNOSTI | The subject of Intermedia Art was introduced as employed in the search for a new physiognomy of the the first step towards the opening of a new Department; Faculty of Fine Arts in Belgrade, after seventy years of its the first generation of students who will follow the study continuous existence. programme in accordance with the Bologna declaration | The Faculty has five buildings, a rich library and was enrolled in 2006/07; international cooperation with old two galleries. Integral parts of the institution are two sepa- and new partners has had a powerful impetus with inter- rate organizational units – the Centre for Printmaking and national exhibitions, workshops, or faculty and student Visual Research and the Sculpture Foundry, which will exchange. All this indicates the intensity of endeavours soon be established.

FACULTY OF FINE ARTS 13 bogatstvu poetika koje se neguju od osnivawa na Akade- raciji ({kolska 2006/07), o`ivqavawem me|unarodne miji/Fakultetu. saradwe u svim oblicima: internacionalne izlo`be, | Najkrupnija smena generacija koja se odvijala iz- radionice, kolonije, razmena profesora i studenata sa me|u 1987. i 1990. godine, uz pro{irewe prostornih ka- na{im starim i novim partnerima, ukazuje na intenzi- paciteta (nova zgrada Slikarskog odseka i adaptacija tet napora da se posle sedam decenija postojawa prona- Vajarskog odseka) doprinela je pripremama Fakulteta |e nova fizionomija Fakulteta likovnih umetnosti u za programsku i organizacionu transformaciju kojom Beogradu. bi se stvorili uslovi za obrazovawe umetnika koji }e | Nastava se odvija u pet zgrada Fakulteta. Studen- stvarati u 21. veku. tima je na raspolagawu bogata biblioteka, izlaga~ki pro- | Uvo|ewem predmeta Intermedijske umetnosti kao stori galerije Fakulteta i galerija Izlozi. Deo na{e prvog koraka ka formirawu novog odseka sa istim nazi- visoko{kolske institucije su i dve posebne organizaci- vom, upisivawem prve generacije studenata koji studira- one jedinice – Centar za grafiku i vizuelna istra`i- ju po novom studijskom programu – po Bolowskoj dekla- vawa i Livnica skulptura u osnivawu.

14 FAKULTET LIKOVNIH UMETNOSTI FACULTY OF FINE ARTS 15 FAKULTET LIKOVNIH UMETNOSTI

STUDIJE I STUDIJSKI PROGRAMI FACULTY OF FINE ARTS

STUDIES AND STUDY PROGRAMMES | Dosada{wa reforma studijskog programa na Fa- kultetu likovnih umetnosti u Beogradu obuhvatila je osnovne, master i specijalisti~ke akademske studije. Planirano je da se od {kolske 2007/2008. godine zapo~- ne sa doktorskim akademskim studijama. Nova struktura studija je uskla|ena po obrascu 3+2+3, u kojem svaka studijska godina nosi 60 ESPB. To zna~i da osnovne akademske studije traju 3 godine (180 ESPB), diplomske akademske studije-master traju 2 godine (120 ESPB), doktorske akademske studije traju 3 godine (180 ESPB). U studijski program ukqu~ene su i specijalisti~ke aka- roz najnoviju reformu visoko{kolskog obra- demske studije u trajawu od 2 godine (120 ESPB). Kzovawa (»razvoj kurikuluma«) postignuti napredak u na- | Organizacione jedinice Fakulteta likovnih stavi je redefinisan, dodatno unapre|en i uklopqen u umetnosti u Beogradu su: Slikarstvo, Vajarstvo, Grafi- novu strukturu studija na Fakultetu likovnih umetno- ka i Teorijska katedra. One su novim nastavnim plano- sti u Beogradu. Kqu~ne odlike »novih« studija su prepo- vima povezane kroz svih osam godina osnovnih, master znate u poboq{awima procesa u~ewa i nastave kroz i doktorskih akademskih studija. primenu procesa Bolowske reforme visoko{kolskog obrazovawa kojima se daje zna~aj interaktivnoj nastavi, interdisciplinarnosti i timskom radu. Stoga je ciq SLIKARSKI ODSEK studija formirawe kreativnog, odgovornog, profesionalnog umetnika, jasnog li~nog likovnog izraza, spo- Rad na unapre|ivawu nastave Slikarskog odseka kao naj- sobnog da se izbori sa najslo`enijim zadacima, samo- ve}e i najbrojnije organizacione jedinice na Fakulte- stalno i timskim radom. tu traje ve} godinama. Kako su se mewala interesovawa

18 FAKULTET LIKOVNIH UMETNOSTI | The reform already completed concerns the regular, master and specialized academic studies. It is planned that doctoral studies should be introduced in the academic year 2007/08. The new structure is conformed to the 3+2+3 pattern, and each year brings 60 ECTS. This means that the regular academic studies last three years (180 ECTS), diploma studies/master last two years (120 ECTS) and doctoral academic studies last three years (180 ECTS). Programmes include specialized studies that last two years (120 ECTS). | Organizational units of the Faculty of Fine Arts in Belgrade are Departments of Painting, Sculpture, Printma- king and Theory. The curriculum links all of the departments he latest reform of higher education redefined and throughout the eight years of regular, master and doctoral Timproved the attained progress in teaching, and harmoni- academic studies. zed it with the new structure of studies at the Faculty of Fine Arts in Belgrade. The main characteristic of the »new« studies would be an improved process of learning and DEPARTMENT OF PAINTING teaching through the application of the Bologna reform of higher education that underlines interactive teaching, The largest department is the Department of Painting; its interdisciplinary approach and team work. Therefore, the curriculum has been improved to accommodate the changed goal of the studies is to educate creative, responsible, pro- interests and achievements in current art. However, the fessional artists with a clear personal visual expression, adapted structure of teaching has always taken care of tra- capable of dealing with the most complex tasks indepen- ditional values, individual instruction and a large number dently, or as team members. of practical classes. Therefore, the new programmes and

FACULTY OF FINE ARTS 19 20 FAKULTET LIKOVNIH UMETNOSTI their titles in the basic disciplines of drawing and painting in such a way that students develop and foster creative ref- follow practical application (Drawing/Study 1 – instead of lection and personal expression. They are encouraged to Drawing 1, or Painting/Study 2 – instead of Introduction to experiment and investigate techniques and expressive pos- Painting). The first steps and courses are dedicated to ob- sibilities of different mediums, techniques and materials, in servation of live models. Students still choose specific pro- order to find their own approach to the realization of indi- fessors and the extension of elective subjects will improve vidually conceived tasks. After the completion of diploma the mobility at the Faculty and avoid administrative chan- studies, students are able to organize the production and ges of groups or departments. The subject of Intermedia presentation of their works, and apply different theoretic Art has been taught for several years at the Department of and critical interpretation of their own creation. Painting. Its ambitious study programme and a great number of interested students already represent the nucleus of a future Department of Intermedia Art. DEPARTMENT OF PRINTMAKING

In previous years, the curriculum of the Printmaking De- DEPARTMENT OF SCULPTURE partment has adapted to the contemporary artistic practice and maintained the good qualities of traditional Study programmes at the Department of Sculpture have education that supports the development of students’ per- maintained the basic principles of traditional education, but sonal visual expressions. During the basic regular studies also comply with the contemporary forms of artistic educa- students acquire knowledge and skills in all the processes tion. The instructions begin, as in the Department of Pain- and techniques of printmaking. The programme assumes a ting, with live models. The specific features of this depart- systematic treatment of visual elements at practical classes. ment are modeling in clay, insistence on the drawing and Apart from the elective subjects, the new reform brings a on sculpting in traditional materials; this all helps students theoretic subject at master studies – Management in Art. prepare for independent work. Diploma studies are conceived Specialized academic studies in printmaking help students

FACULTY OF FINE ARTS 21 i dostignu}a u sada{woj umetni~koj praksi, tako se VAJARSKI ODSEK prilago|avala i struktura rada sa studentima uz stalnu brigu za o~uvawe tradicionalnih vrednosti. Zahtevi sa- Studijski programi na Vajarskom odseku, zadràvaju}i vremenog organizovawa u nastavi Slikarskog odseka su svoju zasnovanost na tradicionalnom skulptorskom uvek bili u skladu sa dana{wim nastojawima u pogledu obrazovawu, izmeweni su u pravcu povezivawa sa savre- individualne nastave i velikog broja ~asova prakti~- menim formama umetni~kog obrazovawa. Nastava je, kao nog rada. Da bi se maksimalno odrào korpus osnovnih i na Slikarskom odesku zasnovana na radu po modelu. disciplina (Crta~ke i Slikarske studije), novi pro- Specifi~nosti rada na ovom odseku su modelacija u grami i nazivi predmeta su prilago|eni praksi (Crta- glini, insistirawe na crtawu i izradi skulptura u tra- we/Studija 1 – umesto Crtawe 1, ili Slikawe/ Studija dicionalnim skulptorskim materijalima, uz pomo} 2 – umesto Uvod u slikawe). I u novom kurikulumu po- kojih se studenti osposobqavaju za samostalan umetni~- ~etni koraci/kursevi zasnovani su na opservaciji ì- ki rad. vog modela. | Diplomske akademske studije su koncipirane | Nastavqena je praksa izbora klase profesora od tako da kod studenata razvijaju i neguju kreativno pla- strane studenata, koja }e i pro{irewem broja izbornih sti~ko mi{qewe i li~ni izraz. Studenti se podsti~u predmeta doprineti ve}oj mobilnosti rada na samom da eksperimenti{u i istraùju tehni~ke i ekspresivne Fakuletu, ~ime se izbegava administrativno mewawe mogu}nosti razli~itih medija, tehnika i materijala, grupe-odseka. radi pronalaèwa li~nog pristupa u realizaciji in- | U okviru programa Slikarskog odseka ve} neko- dividualno osmi{qenih zadataka. Nakon zavr{enih liko godina funkcioni{e predmet Intermedijska diplomskih studija studenti su osposobqeni da samo- umetnost koji svojim ambicioznim studijskim progra- stalno organizuju produkciju i prezentaciju sopstvene mom i velikim brojem zainteresovanih studenata, uve- likovne prakse, kao i da mogu da primene razli~ite po- liko ve} predstavqa nukleus budu}eg odseka. stupke teorijskog i kriti~kog tuma~ewa u interpretaciji sopstvenog rada.

22 FAKULTET LIKOVNIH UMETNOSTI FACULTY OF FINE ARTS 23 24 FAKULTET LIKOVNIH UMETNOSTI improve their knowledge and skills in the module they problems related to artworks from different periods and choose as the main subject, or extend the same elective cultures. These subjects help students enrich their visual modules – Introduction to Digital Prints and Handmade thinking and general culture, their ability to understand Paper. Students from the Painting and Sculpture Depart- and interpret art and acquire basic pedagogical skills, ments can also attend one of the six elective modules at methods and experience that will be useful in their own the Printmaking Department. New, reformed academic work and work with others. The final goal of the theory of studies in printmaking encourage artistic expression, both art is to help students develop their own creative strategies, in »pure« visual researches and in those that already present their works properly and transmit their knowledge contain a component of technological innovation. to students in secondary or high schools, or even to pursue the theory of visual arts. There is an emphasized presence of visual presentations in the teaching of theoretical sub- THEORY jects and interdisciplinary approaches in the interpretation of visual art and visual culture; they acknowledge the inte- Instructions in theory begin at the first year and help raction of former and current visual idioms of the so called students understand better the art itself, the psychology of high art and the mass visual culture of the contemporary art and creation, the philosophy of art and the aesthetic media.

FACULTY OF FINE ARTS 25 GRAFI^KI ODSEK TEORIJSKA KATEDRA

Nastavni plan i program Grafi~kog odseka se tokom Nastava na Katedri za teoriju zapo~iwe od prve godine prethodnih godina prilago|avao savremenoj umetni~- i omogu}uje studentima da boqe razumeju razvoj umetno- koj praksi, ~uvaju}i dobra svojstva tradicije u nastoja- sti, psihologiju umetnosti i stvarala{tva, filozofiju wu da {koluje studente kao umetnike razvijenog li~nog umetnosti i esteti~ke probleme likovnog stvarala{tva likovnog izraza. Tokom osnovnih akademskih studija stu- razli~itih perioda i kultura, sa ciqem da obogate vi- denti sti~u znawa i ve{tine iz oblasti visoke, duboke i zuelno mi{qewe i op{tu kulturu, sposobnost razumeva- ravne {tampe, a upoznaju se sa tehnikom propusne {tam- wa i tuma~ewa umetnosti, kao i da steknu osnovna peda- pe. Program se odvija kroz sistemati~no obra|ivawe go{ka znawa, metode i iskustva, koja }e im koristiti u likovnih elemenata tokom odgovaraju}ih ve`bi. Pored li~nom radu i radu sa drugima. Krajwi ciq teorije umet- izbornih stru~nih predmeta, zna~ajna novina na master nosti je da studentima pomogne da kreiraju vlastite stva- studijama je teorijski predmet Menaxment u umetnosti. rala~ke strategije i prezentacije svog rada, kao i da Specijalisti~ke akademske studije studijskog programa prenesu odgovaraju}a znawa kroz nastavu u sredwoj ili Grafika omogu}uju studentu da unapredi znawa i ve{ti- vi{oj {koli, ili da se samostalno bave teorijom likovne modula koji izabere kao glavni, uz mogu}nost nadograd- nih umetnosti. Pove}an je udeo vizuelnih prezentacija we istih izbornih modula – Osnovi digitalne grafike u nastavi teorijskih predmeta, kao i primena interdi- i Ru~no pravqeni papir. Otvorena je i mogu}nost da sciplinarnih pristupa u tuma~ewu likovne umetnosti studenti Slikarskog i Vajarskog odseka poha|aju jedan od i vizuelne kulture sa naglaskom na razumevawu inter- {est izbornih modula na Grafi~kom odseku Fakulteta. akcije pre|a{wih i savremenih likovnih idioma, kako Nove, reformisane akademske studije grafike tako otva- tzv. visoke umetnosti, tako i tzv. masovne vizuelne kul- raju mogu}nost podsticawa umetni~kog istra`ivawa, ture savremenih medija. bilo da je re~ o »~isto« likovnom istra`ivawu, ili onom koje ima komponentu tehnolo{ke inovacije.

26 FAKULTET LIKOVNIH UMETNOSTI FACULTY OF FINE ARTS 27 FAKULTET LIKOVNIH UMETNOSTI

NASTAVNICI I SARADNICI FACULTY OF FINE ARTS

TEACHING AND PROFESSIONAL STAFF Nikola VUKOSAVQEVI], redovni profesor – predmet Vajawe Zoran GRAOVAC, docent – predmet Crtawe Dejan GRBA, docent – predmet Crtawe Mile GROZDANI], redovni profesor – predmet Grafika Zoran DIMOVSKI, asistent – predmet Crtawe Marija DRAGOJLOVI], redovni profesor NASTAVNICI I SARADNICI – predmet Slikawe dana 01. 01. 2007. godine Milutin DRAGOJLOVI], redovni profesor – predmet Slikarska tehnologija Rado{ ANTONIJEVI], asistent Vladeta @IVKOVI], redovni profesor – predmeti Vajawe i Crtawe – predmet Plasti~na anatomija Mr|an BAJI], vanredni profesor – predmet Vajawe Katarina ZARI], docent – predmeti Grafika i Crtawe Dobrica BISENI], vanredni profesor Dragana ILI], docent – predmet Crtawe – predmet Crtawe Dragan JOVANOVI], redovni profesor An|elka BOJOVI], redovni profesor – predmet Intermedijska umetnost – predmet Slikawe dr Aleksandra JOKSIMOVI], docent ^edomir VASI], redovni profesor – predmet Slikawe – predmet Pedagogija Vladimir VEQA[EVI], asistent Zdravko JOKSIMOVI], vanredni profesor – predmeti Grafika i Crtawe – predmet Crtawe Biqana VUKOVI], redovni profesor Jasmina KALI], docent – predmet Crtawe – predmet Grafika Darija KA^I], vanredni profesor – predmet Slikawe Zoran VUKOVI], redovni profesor – predmet Slikawe Vesna KNE@EVI], docent – predmet Crtawe

30 FAKULTET LIKOVNIH UMETNOSTI Zdravko JOKSIMOVI], Associate Professor – Drawing Jasmina KALI], Docent – Drawing Darija KA^I], Associate Professor – Painting Milanka KNE@EVI], Lecturer – French Language Radomir KNE@EVI], Associate Professor – Drawing Vesna KNE@EVI], Docent – Drawing Velizar KRSTI], Full Professor – Drawing TEACHING AND PROFESSIONAL STAFF Veljko LALI], Associate Professor – Sculpture on January 1, 2007 Aleksandra MARKOVI], Lecturer – English Language Dr. Zdravko MILINKOVI], Docent Rado{ ANTONIJEVI], Assistant – Sculpture and Drawing – Methodology of Art Education Mr|an BAJI], Associate Professor – Sculpture Aleksandra MLADENOVI], Docent Dobrica BISENI], Associate Professor – Drawing – Printmaking and Drawing An|elka BOJOVI], Full Professor – Painting Miodrag MLA\OVI], Docent – Printmaking and Drawing Zoran DIMOVSKI, Assistant – Drawing Dragan MOMIROV, Docent – Printmaking and Drawing Marija DRAGOJLOVI], Full Professor – Painting Gordan NIKOLI], Full Professor – Painting Milutin DRAGOJLOVI], Full Professor Zdravko NOVAKOVI], Docent – Casting – Painting Technology Dr. Du{an PAJIN, Full Professor – Philosophy of Art Zoran GRAOVAC, Docent – Drawing Adam PANTI], Docent – Printmaking and Drawing Dejan GRBA, Docent – Drawing Olivera PARLI], Assistant – Sculpture and Drawing Mile GROZDANI], Full Professor – Printmaking Du{an PETROVI], Associate Professor Dragana ILI], Docent – Drawing – Sculpture and Drawing Dr. Aleksandra JOKSIMOVI], Docent – Pedagogy Dimitrije PECI], Associate Professor – Drawing Dragan JOVANOVI], Full Professor – Intermedial Art Mileta PRODANOVI], Associate Professor – Drawing

FACULTY OF FINE ARTS 31 Milanka KNE@EVI], predava~ Du{an PETROVI], vanredni profesor – predmet Francuski jezik – predmeti Vajawe i Crtawe Radomir KNE@EVI], vanredni profesor Dimitrije PECI], vanredni profesor – predmet Crtawe – predmet Crtawe Velizar KRSTI], redovni profesor – predmet Crtawe Mileta PRODANOVI], vanredni profesor Veqko LALI], vanredni profesor – predmet Vajawe – predmet Crtawe Aleksandra MARKOVI], predava~ Mice POPCIS, docent – predmet Skulptura u kamenu – predmet Engleski jezik Branko RAKOVI], docent – predmet Crtawe dr Zdravko MILINKOVI], docent \uro RADLOVI], vanredni profesor – predmet Metodika likovnog obrazovawa – predmet Mozaik Aleksandra MLADENOVI], docent Neboj{a RADOJEV, redovni profesor – predmeti Grafika i Crtawe – predmet Grafika Miodrag MLA\OVI], docent Slavoqub RADOJ^I], redovni profesor – predmeti Grafika i Crtawe – predmet Vajawe Dragan MOMIROV, docent Simonida RAJ^EVI], asistent – predmeti Grafika i Crtawe – predmeti Crtawe i Slikawe Gordan NIKOLI], redovni profesor Slobodan ROKSANDI], redovni profesor – predmet Slikawe – predmet Slikawe Zvonko NOVAKOVI], docent – predmet Livewe Jovan SIVA^KI, redovni profesor – predmet Slikawe dr Du{an PAJIN, redovni profesor dr Ivana SIMEONOVI]-]ELI], redovni profesor – predmet Filozofija umetnosti – predmet Istorija nacionalne umetnosti Adam PANTI], docent – predmeti Grafika i Crtawe @arko SMIQANI], redovni profesor Olivera PARLI], asistent – predmet Grafika – predmeti Vajawe i Crtawe Dragana STANA]EV, docent – predmet Crtawe

32 FAKULTET LIKOVNIH UMETNOSTI FACULTY OF FINE ARTS 33 Zoran TODOROVI], docent – predmet Crtawe Bojana [KORC, vanredni profesor dr Jelena TODOROVI], docent – predmet Psihologija umetnosti – predmet Istorija umetnosti dr Nikola [UICA, docent – predmet Istorija umetnosti

34 FAKULTET LIKOVNIH UMETNOSTI Mice POPCIS, Docent – Stone Sculpture Bojana [KORC, Associate Professor – Psychology of Art Branko RAKOVI], Docent – Drawing Dr. Nikola [UICA, Docent – History of Art \uro RADLOVI], Associate Professor – Mosaic Dr. Jelena TODOROVI], Docent – History of Art Neboj{a RADOJEV, Full Professor – Printmaking Zoran TODOROVI], Docent – Drawing Slavoljub RADOJÎ], Full Professor – Sculpture êdomir VASI], Full Professor – Painting Simonida RADOJÎ], Assistant – Drawing and Painting Vladimir VELJA[EVI], Assistant Slobodan ROKSANDI], Full Professor – Painting – Printmaking and Drawing Jovan SIVA^KI, Full Professor – Painting Biljana VUKOVI], Full Professor – Printmaking Dr. Ivana SIMEONOVI] ]ELI], Full Professor Zoran VUKOVI], Full Professor – Painting – History of National Art Nikola VUKOSAVLJEVI], Full Professor – Sculpture @arko SMILJANI], Full Professor – Printmaking Katarina ZARI], Docent – Printmaking and Drawing Dragana STANA]EV, Docent – Drawing Vladeta @IVKOVI], Full Professor – Plasic Anatomy

FACULTY OF FINE ARTS 35 FAKULTET LIKOVNIH UMETNOSTI

DEKANI I PRODEKANI FACULTY OF FINE ARTS

DEANS AND VICE-DEANS Mladen SRBINOVI] dekan 1968–1970 Miodrag ROGI] prodekan 1968–1970 Stojan ]ELI] dekan 1971–1973 Zoran PAVLOVI] prodekan 1971–1973 Aleksandar ZARIN dekan 1973–1977 Bo`idar PRODANOVI] prodekan 1973–1977 Radenko MI[EVI] dekan 1977–1979 Branislav PROTI] prodekan 1977–1979 DEKANI I PRODEKANI Rudolf GABERC dekan 1979–1980 od 1937. do 2007. godine Ivanka @IVKOVI] prodekan 1979–1980 Branislav PROTI] dekan 1981–1984 Toma ROSANDI] rektor 1937–1949 Ivanka @IVKOVI] prodekan 1981–1984 Sreten STOJANOVI] dekan 1949–1958 Miodrag POPOVI] dekan 1984–1986 Bo{ko KARANOVI] zamenik 1949–1957 Mom~ilo ANTONOVI] prodekan 1984–1986 Ivan LU^EV dekan 1958 Zoran PAVLOVI] dekan 1986–1988 Sreten STOJANOVI] dekan 1959–1960 Mom~ilo ANTONOVI] prodekan 1986–1988 Bo{ko KARANOVI] zamenik 1959–1960 Mom~ilo ANTONOVI] dekan 1988–1992 Bo{ko KARANOVI] dekan 1960–1962 Zoran VUKOVI] prodekan 1988–1992 Jovan KRATOHVIL zamenik 1960–1962 Vladimir KOMAD dekan 1992–1996 Jovan KRATOHVIL dekan 1962–1964 An|elka BOJOVI] prodekan 1992–1996 \or|e BO[AN prodekan 1962–1964 Branko MIQU[ dekan 1996–1998 Mom~ilo STEVANOVI] dekan 1964–1966 Neboj{a RADOJEV prodekan 1996–1997 Jovan KRATOHVIL dekan 1966–1968 Radomir KNE@EVI] prodekan 1997–1998 \or|e BO[AN prodekan 1966–1968 Mom~ilo ANTONOVI] dekan 1998–2000

38 FAKULTET LIKOVNIH UMETNOSTI \or|e BO[AN Vice-Dean 1962–1964 Mom~ilo STEVANOVI] Dean 1964–1966 Jovan KRATOHVIL Dean 1966–1968 \or|e BO[AN Vice-Dean 1966–1968 Mladen SRBINOVI] Dean 1968–1970 Miodrag ROGI] Vice-Dean 1968–1970 Stojan ]ELI] Dean 1971–1973 Zoran PAVLOVI] Vice-Dean 1971–1973 Aleksandar ZARIN Dean 1973–1977 Bo`idar PRODANOVI] Vice-Dean 1973–1977 Radenko MI[EVI] Dean 1977–1979 Branislav PROTI] Vice-Dean 1977–1979 DEANS AND VICE-DEANS Rudolf GABERC Dean 1979–1980 from 1937 to 2007 Ivanka @IVKOVI] Vice-Dean 1979–1980 Branislav PROTI] Dean 1981–1984 Toma ROSANDI] Rector 1937–1949 Ivanka @IVKOVI] Vice-Dean 1981–1984 Sreten STOJANOVI] Dean 1949–1958 Miodrag POPOVI] Dean 1984–1986 Bo{ko KARANOVI] Deputy 1949–1957 Mom~ilo ANTONOVI] Vice-Dean 1984–1986 Ivan LU^EV Dean 1958 Zoran PAVLOVI] Dean 1986–1988 Sreten STOJANOVI] Dean 1959–1960 Mom~ilo ANTONOVI] Vice-Dean 1986–1988 Bo{ko KARANOVI] Deputy 1959–1960 Mom~ilo ANTONOVI] Dean 1988–1992 Bo{ko KARANOVI] Dean 1960–1962 Zoran VUKOVI] Vice-Dean 1988–1992 Jovan KRATOHVIL Deputy 1960–1962 Vladimir KOMAD Dean 1992–1996 Jovan KRATOHVIL Dean 1962–1964 An|elka BOJOVI] Vice-Dean 1992–1996

FACULTY OF FINE ARTS 39 Vladeta @IVKOVI] prodekan 1998–1999 Dragan MOMIROV prodekan 2002–2004 An|elka BOJOVI] dekan 2000–2004 Dimitrije PECI] prodekan 2002–2004 Ivana SIMEONOVI] ]ELI] prodekan 2000–2002 Nikola VUKOSAVQEVI] dekan 2004– Mileta PRODANOVI] prodekan 2000–2002 Radomir KNE@EVI] prodekan 2004–

40 FAKULTET LIKOVNIH UMETNOSTI Branko MILJU[ Dean 1996–1998 Ivana SIMEONOVI] ]ELI] Vice-Dean 2000–2002 Neboj{a RADOJEV Vice-Dean 1996–1997 Mileta PRODANOVI] Vice-Dean 2000–2002 Radomir KNE@EVI] Vice-Dean 1997–1998 Dragan MOMIROV Vice-Dean 2002–2004 Mom~ilo ANTONOVI] Dean 1998–2000 Dimitrije PECI] Vice-Dean 2002–2004 Vladeta @IVKOVI] Vice-Dean 1998–1999 Nikola VUKOSAVLJEVI] Dean 2004– An|elka BOJOVI] Dean 2000–2004 Radomir KNE@EVI] Vice-Dean 2004–

FACULTY OF FINE ARTS 41 FAKULTET LIKOVNIH UMETNOSTI

ADRESE I KONTAKT TELEFONI FACULTY OF FINE ARTS

ADDRESSES AND TELEPHONES FAKULTET LIKOVNIH UMETNOSTI adresa: Raji}eva 10, 11000 Beograd

DEKANAT BIBLIOTEKA telefon: +381 11/ 328 45 69 telefon: +381 11/ 630 635 e-mail: [email protected] e-mail: [email protected]

SEKRETARIJAT / SEKRETAR GALERIJA FLU telefon: +381 11/ 2181 214 telefon: +381 11/ 630 635 e-mail: [email protected] e-mail: [email protected]

STUDENTSKA SLU@BA KATEDRA ZA TEORIJU LIKOVNIH UMETNOSTI telefon: +381 11/ 630 635 telefon: +381 11/ 630 635 e-mail: [email protected] e-mail: [email protected]

FINANSIJSKA SLU@BA SLIKARSKI ODSEK telefon: +381 11/ 635 149, 635 349 telefon: +381 11/ 630 635, 264 7079, 651 689 e-mail: [email protected]

44 FAKULTET LIKOVNIH UMETNOSTI FACULTY OF FINE ARTS address: 10, Raji}eva Street, 11000 Belgrade

DEAN’S OFFICE tel.: +381 11/ 328 45 69 e-mail: [email protected]

SECRETARIAT/SECRETARY tel.: +381 11/ 2181 214 e-mail: [email protected]

STUDENTS REGISTRY OFFICE tel.: +381 11/ 2630 635 e-mail: [email protected]

FINANCE OFFICE tel.: +381 11/ 2630 635 e-mail: [email protected]

LIBRARY tel.: +381 11/ 635 149, 635 349 e-mail: [email protected]

FACULTY OF FINE ARTS 45 VAJARSKI ODSEK, telefon: +381 11/ 265 0676

GRAFI^KI ODSEK, telefon: +381 11/ 369 10 13

CENTAR ZA GRAFIKU I VIZUELNA ISTRA@IVAWA telefon: +381 11/ 32 82 800, 626 622 e-mail: [email protected]

LIVNICA telefon: +381 11/ 265 0676

46 FAKULTET LIKOVNIH UMETNOSTI GALLERY OF THE FFA tel.: +381 11/ 2630 635 e-mail: [email protected]

THEORY OF VISUAL ARTS DEPARTMENT tel.: +381 11/ 2630 635 e-mail: [email protected]

PAINTING DEPARTMENT tel.: +381 11/ 2630 635, 264 7079, 651 689

SCULPTURE DEPARTMENT tel.: +381/ 11 265 0676

PRINTMAKING DEPARTMENT tel.: +381 11/ 369 10 13

CENTRE FOR PRINTMAKING AND VISUAL INVESTIGATIONS tel.: +381 11/ 32 83 800, 626 622 e-mail: [email protected]

FOUNDARY tel.: +381 11/ 265 0676

FACULTY OF FINE ARTS 47 PUBLIKACIJA JE [TAMPANA UZ FINANSIJSKU POMO] MINISTARSTVA PROSVETE REPUBLIKE SRBIJE

THE PUBLICATION IS PRINTED WITH FINANCIAL ASSISTANCE FROM THE MINISTRY OF EDUCATION OF THE REPUBLIC OF SERBIA

CIP – Katalogizacija u publikaciji Narodna biblioteka Srbije, Beograd

378.6:73/78(497.11)”1957/2007”

ISBN 978-86-7167-038-8 a) Univerzitet umetnosti (Beograd) – 1957–2007 COBISS.SR-ID 141207052

FAKULTET PRIMEWENIH UMETNOSTI FACULTY OF APPLIED ARTS

2007 BEOGRAD BELGRADE UREDNICI | Andrija \uki}, Svetozar Rapaji}, Stjepan Fileki

SARADNICI | Bojana Buri}, dr Zoran Gavri}, dr Sowa Marinkovi}

FOTOGRAFIJE | Arhiva FPU, Dragan Mirkovi}

LIKOVNI UREDNIK | Danijela Paracki

PREVOD NA ENGLESKI | Ksenija Todorovi}

LEKTOR | Biqana Spremo Popovi}

[TAMPA | AD [tamparija BUDU]NOST, Novi Sad

TIRA@ | 500 primeraka

OVA PUBLIKACIJA SE IZDAJE POVODOM PROSLAVE 50 GODINA UNIVERZITETA UMETNOSTI U BEOGRADU

THIS PUBLICATION IS PRINTED ON THE OCCASION OF THE FIFTIETH ANNIVERSARY OF THE UNIVERSITY OF THE ARTS IN BELGRADE SADR@AJ

Istorija | 04 CONTENTS Odseci Fakulteta primewenih umetnosti | 20

Nastavnici i saradnici | 38 05 | History

Dekani i prodekani | 52 21 | Departments of the Faculty of Applied Arts

Adrese i kontakt telefoni | 58 39 | Teaching and Professional Staff

53 | Deans and Vice-Deans of the Faculty of Applied Arts in Belgrade

59 | Faculty of Applied Arts in Belgrade Addresses and telephones FAKULTET PRIMEWENIH UMETNOSTI

ISTORIJA FACULTY OF APPLIED ARTS

HISTORY te{ka razarawa i kulturno pusto{ewe zemqe, morale su se svaki put iznova izgra|ivati i opremati poru{ene kulturne i prosvetne ustanove, uspostavqati pokidane duhovne veze izme|u nacionalnog nasle|a i evropskih opredeqewa, ponovo graditi umetni~ki mostovi sa ostalim, kulturno razvijenim svetom. | U tom plemenitom htewu, najumniji i najbri`- niji qudi na{e kulture bili su uvek svesni ne samo dubokih korena i bogatstva umetni~ke ba{tine ovog podnebqa, ve} i neophodnosti spajawa najboqih tradi- FAKULTET PRIMEWENIH UMETNOSTI cija sa zahtevima razvoja savremenog dru{tva. Pored U BEOGRADU ovoga, morali su se u svom radu neretko suo~avati sa jedina visoko{kolska ustanova ove vrste u na{oj zemqi, svakojakim te{ko}ama, pa i otporima sopstvene sre- pre{ao je u dosada{wem razvoju srazmerno dug i nimalo dine, u kojoj se dru{tvena svest o potrebama visokog lak put. Iza wega nije samo skoro {ezdeset godina kon- {kolstva u oblasti primewene umetnosti nije uvek tinuiteta: pedago{kog delovawa, predanog rada na una- kretala pravom i uzlaznom linijom, ve} je imala pre- pre|ewu nastave i vaspitavawu mnogih nara{taja za de- kide, padove i kolebawa. Danas, sre}om nikome vi{e latnost u raznim granama primewene umetnosti; ve} i nije potrebno obja{wavati i obrazlagati wenu ulogu i dugo razdobqe nastojawa da se objasni, odbrani i pri- mesto u napretku savremenog dru{tva. Svakome je, hvati opravdanost postojawa ovakve {kole kod nas, i da nadajmo se, razumqiva i bliska, u svetu ina~e op{te- se kona~no utvrde osnovna na~ela, savremeni ciqevi i priznata ~iwenica: visoko{kolske ustanove za obrazo- metodi wenog rada. U nedovoqno razvijenoj i doskora vawe podmlatka u oblasti primewene umetnosti i patrijarhalnoj sredini, kakva je na{a, gde je svaki rat- dizajna postoje i uspe{no deluju samo u kulturno ni vihor odnosio mnoge `ivote i pre~esto izazivao visokorazvijenim sredinama.

06 FAKULTET PRIMEWENIH UMETNOSTI ties that fostered new generations, transmitting from one generation to another the secrets of their craftsmanship. Gradually, specific centres were formed in settlements in mediaeval Serbia and the best trained masters came from them – artisans for decorative ceramics, for precious metals, armory, for wood processing, design of furniture, for gold FACULTY OF APPLIED ARTS embroidery of expensive cloths, church gowns, reliquaries IN BELGRADE with silver mounts, icons and other artefacts for ritual and is the only institution of higher education of this type in profane use. our country. When one thinks about the historic develop- | After the final dissolution of the mediaeval Serbian ment which led the educational concept to the founding of state, in the period of Ottoman rule over these regions, the present day Faculty of Applied Arts, one usually comes monasteries continued their spiritual, educational, cultural upon the data about a few schools from the first decades and artistic mission. They founded and supported the acti- of the twentieth century, the forerunners of the present vity of the so called popular schools that taught not only Faculty. However, one should look further backwards, literacy, but artistic crafts as well. A lot of well-known icon because the tradition of educating young talented people painters, goldsmiths, stonecutters, woodcutters, engravers, in certain branches of the applied arts is not as short as bookbinders, calligraphers and other artists attended those one would think. The rich treasures of the old Serbian schools. Particularly significant among them was the school monasteries, the museum collections, contain numerous established in the monastery of Bogova|a towards the end artistically shaped objects of ritual, ornamental or utilita- of the eighteenth century by Had`i Ruvim Ne{kovi}, archi- rian function. They all speak about the skillful hands of mandrite and an artist himself. Rare members of the stu- local artists who worked in mediaeval court or monastery dent body from this school who were able to continue their workshops. The monasteries used to be centres of the best education in the first half of the nineteenth century in artists and artisans who gathered into creative communi- cultural centres along the Danube River, most frequently

FACULTY OF APPLIED ARTS 07 predmeta kultne, ukrasne ili utilitarne namene, koji svedo~e o ve{tim rukama doma}ih umetnika, pripadni- ka pojedinih radionica pri sredwevekovnim dvorovi- ma i manastirima. Manastiri su bili ponekad prava steci{ta najboqih umetnika i zanatlija, sakupqenih u stvarala~ke druìne, koje su odgajale i svoj podmladak, prenose}i s kolena na koleno, tajne svojih ve{tina. Tokom vremena u sredwevekovnoj Srbiji formirala su se u mnogim naseqima i posebna sredi{ta, iz kojih su poticali najboqe obu~eni majstori za pojedine umetni~ke zanate – dekorativnu keramiku, obradu dragoce- nih metala, izradu oru`ja, umetni~ku obradu drveta, oblikovawe name{taja, izradu zlatom izvezenih skupo- | Kada je re~ o istorijskom razvoju koji je prosvetnu cenih tkanina, crkvenih ode`di, pozla}enim srebrom misao kod nas neminovno vodio ka osnivawu dana{weg okovanih kivota, darohranilnica i ikona, kao i drugih Fakulteta primewenih umetnosti, obi~no se navode kultnih i profanih predmeta. podaci o postojawu, tokom prvih decenija pro{log veka, | I posle kona~nog nestanka srpske sredwovekovne nekoliko {kolskih ustanova, koje su prethodile ovoj dràve, u periodu turske vladavine na{im krajevima, sada{woj. Pogled bi se, me|utim, morao usmeriti mno- manastiri su nastavili svoju duhovnu, prosvetiteqsku, go daqe unazad, jer istorijska tradicija {kolovawa kulturnu i umetni~ku misiju. U wima se osnivaju i dugo mladih darovitih qudi za pojedine grane primewenih deluju tzv. narodne {kole, u kojima se pored op{te pis- umetnosti kod nas, nije tako kratka, kako se obi~no menosti u~e i umetni~ki zanati. Kroz wih su pro{li misli. Bogate riznice starih srpskih manastira, kao i mnogi, kasnije poznati ikonopisci, zlatari, zidari, ka- muzejske zbirke, sadrè mnogo umetni~ki oblikovanih menoresci, duborezbari, graveri, kwigovesci, kaligrafi

08 FAKULTET PRIMEWENIH UMETNOSTI in Sremski Karlovci and the monasteries of Fru{ka Gora, | The changed cultural circumstances at the begin- appropriated and spread in Serbia the baroque models and ning of the last century, as well as time itself, were condu- concepts in the field of applied arts, and sometimes produ- cive for the opening of the first pedagogical institution in ced interesting symbioses of traditional and new artistic Belgrade, in 1905 – the Arts and Crafts School. The goal of and stylistic orientations. the school was to enhance artistic quality and develop | Personalities especially important for the develop- certain artisan branches. The head of the School was Rista ment of applied arts in the second half of the nineteenth Vukanovi}, well-known painter, who worked on the pro- century were Uro{ Kne`evi}, Dimitrije Avramovi}, Dimitrije motion and advancement of visual culture in Serbia. How- Petrovi} and Anastas Jovanovi}. Jovanovi} left a deep im- ever, the new school was oriented more towards the fostering print on the visual culture of Serbia by his numerous and of visual arts, particularly painting and sculpture; it did diverse works in different area of applied arts: engraving of not have a single printmaking workshop. Notwithstanding titles and monograms, cutting of seals and types for printing, its title, the school did not extend its activities to the field interior decoration, costume and uniform sketches, design of applied sciences, although Inkiostri himself worked there of furniture, crockery, medals, lighting objects. His parti- for years as a part-time teacher. Inkiostri devoted his time cular contribution was in lithography and daguerreotype to the spreading of new ideas in visual arts and a lot of his (photography), which he learned and studied in Vienna concepts were very advanced – his goal was to raise this and immediately applied here, in Serbia. Another artist patriarchal milieu to the level of the European visual cul- made pioneering endeavours at the beginning of the ture. Those who know well his works argue that »proper twentieth century to set theoretic principles in the Serbian design was part of his programme in art theory, from the applied art – Dragutin Inkiostri Medenjak, painter, decora- design of containers for tobacco and covers of school text- tor, and author of several theoretic tracts on the new books, to ornaments on clothing and furniture«. decorative Serbian art and its application in architecture | Apart from the already mentioned school, there and other industrial branches, such as the production of were other similar institutions that worked until 1918, furniture, textile, wrapping and casing materials. several artisan girls’ schools and a private school for applied

FACULTY OF APPLIED ARTS 09 i drugi umetnici. Posebno je zna~ajna takva {kola i fije i dagerotipije (fotografije), koju je upoznao i veoma delatna umetni~ka druìna, koju je krajem XVIII prou~io tokom studija u Be~u i odmah primenio u veka pri manastiru Bogova|i ustanovio Haxi Ruvim Srbiji. Po~etkom XX veka drugi jedan umetnik ~inio je Ne{kovi}, arhimandrit, i sam mnogostrano darovit pionirske napore da uobli~i teorijske principe u umetnik. Retki pripadnici ove {kole koji su u prvoj srpskoj primewenoj umetnosti – Dragutin Inkiostri polovini XIX veka imali priliku da nastave svoje Medewak, slikar, dekorater i pisac nekoliko teorij- obrazovawe i umetni~ko usavr{avawe u kulturnim sre- skih rasprava o novoj dekorativnoj srpskoj umetnosti i di{tima Podunavqa, naj~e{}e u Sremskim Karlovci- wenoj primeni u arhitekturi i nekim industrijskim ma i fru{kogorskim manastirima, usvojili su i {iri- granama (name{taj, tekstil, ambalaà i dr.). li po Srbiji nove, barokne evropske uzore i shvatawa u | Vreme, i izmewene kulturne prilike na po~etku oblasti primewenih umetnosti, stvaraju}i katkad za- pro{log veka, radile su u prilog osnivawu prve peda- nimqivu simbiozu tradicionalnih i novih umetni~ko- go{ke ustanove ove vrste kod nas, koja je otvorena u Beo- -stilskih opredeqewa. gradu 1905. godine kao Umetni~ko-zanatlijska {kola, | Za razvoj primewenih umetnosti u drugoj polo- sa ciqem da umetni~ki oplemeni i razvije pojedine za- vini XIX veka, od izuzetnog zna~aja je bilo delovawe natske grane. Na ~elu ove {kole nalazio se Rista Vuka- umetnika kao {to su Uro{ Kneèvi}, Dimitrije Avra- novi}, poznati slikar, veoma zasluàn za unapre|ewe movi}, Dimitrije Petrovi} i naro~ito Anastas Jovano- likovne kulture Srbije. Me|utim, u prakti~nom radu u vi}, koji je svojim bogatim i raznovrsnim delom ostavio ovoj novoosnovanoj {koli nastava se uglavnom ograni- neizbrisiv trag u likovnoj kulturi Srbije. Uspe{no je ~avala na negovawe likovne umetnosti, posebno slikawa delao i u mnogim granama primewene umetnosti: gravi- i vajawa. [kola nije uspela da formira ~ak ni grafi~ku rawu natpisa i monograma, rezawu pe~ata i slova za radionicu, a u {irewu okvira wene delatnosti na {tampawe, dekorisawu enterijera, skicirawu kostima oblast primewenih umetnosti nije pomogla ni ~iweni- i uniformi, projektovawu name{taja, posu|a, ordewa, ca {to je u woj, kao honorarni nastavnik, godinama predmeta za osvetqavawe, a posebno u uvo|ewu litogra- radio i sam Inkiostri. Ovaj izuzetan pregalac na poqu

10 FAKULTET PRIMEWENIH UMETNOSTI arts, headed by Gita Predi}, daughter of Branislav Nu{i}. The school programme provided for a few areas of applied art, such as work in metal, wood and on textile, wood- cutting, intarsia, artistic embroidery. Janko Krej~ik’s woodcutters school also had a good reputation. | New intellectual and cultural circumstances mark the period after the end of WW I – they asked for a fundamental reexamining of the former artistic concepts. A lot of time had to pass until the opening of a new school in applied arts, based on contemporary principles and goals. The School for Applied Arts (1938) was opened a year after the establishment of the Academy of Fine Arts in Belgrade (1937). Considering the fact that it was so close to the beginning of WW II, there were no conditions for a conti- Painting, Applied Graphics, Ceramics, Textile, Scenography nuous activity. It was closed as such three years after the and Costume Design. The main subjects were taught by end of the war and raised to the level of Academy. Former professors who set the professional orientation of the students completed their studies later, at the Academy of school and who were not only good educators, but eminent Applied Arts, which began its first academic year in the artists with a well founded reputation. They were all seri- autumn of 1948. ously and profoundly devoted to attaining the set goals. In a | The internal organization of the Academy followed country that had just survived the disasters of war and was the basic principles practiced in similar schools in the world, facing enormous difficulties, the Academy was searching but with a specific consideration for the local circumstances for its proper place in the cultural, economic and industrial and needs. At the very beginning it had eight departments transformation of the society. Its pedagogical task was to – Interior Architecture, Decorative Plastic, Decorative offer contemporary education to future professionals who

FACULTY OF APPLIED ARTS 11 primewene umetnosti godinama je uporno radio na ne umetnosti, formirane na savremenim osnovama i {irewu novih shvatawa u ovoj oblasti likovnog stvara- ciqevima. Ideja o osnivawu [kole za primewenu umet- la{tva. U mnogim svojim zamislima i{ao je ispred nost javqa se uporedo sa osnivawem Akademije likovnih svog vremena, teè}i da svoju patrijarhalnu sredinu umetnosti u Beogradu (1937), tako da je nova {kola otvo- uzdigne na evropski stepen poimawa likovne kulture. rena ve} idu}e 1938. godine. Zapo~ev{i svoj rad skoro Po mi{qewu poznavalaca wegovog dela, »wegov program neposredno uo~i Drugog svetskog rata, ova {kola nije teorije umetnosti obuhvatio je dizajn u pravom smislu imala uslova za duè postojawe i kontinuirani rad. re~i – od ambalaè za duvan i {kolskih kwiga, do Samo tri godine po zavr{etku rata ona je i ukinuta, ornamentike na odevnim predmetima i name{taj«. odnosno podignuta na stepen Akademije. Weni biv{i | U prvim decenijama XX veka, pored pomenute polaznici sukcesivno su zavr{avali {kolu i prelazi- {kole koja je postojala do 1918. godine, delovalo je i li na novoosnovanu Akademiju primewenih umetnosti, nekoliko ènskih zanatskih {kola, kao i jedna pri- koja je po~ela s radom u jesen 1948. godine. vatna {kola za primewenu umetnost, koju je vodila Gita | U pogledu unutra{we organizacije, Akademija Predi}, }erka Branislava Nu{i}a. U woj su negovane se od po~etka dràla osnovnih na~ela koja su vaìla u pojedine grane primewenih umetnosti, kao {to je sli~nim {kolama u svetu, uzimaju}i u obzir neke umetni~ka obrada metala, drveta i tekstila; izu~avane doma}e specifi~ne prilike i potrebe. Na po~etku rada su i neke tehnike – duborez, intarzija, umetni~ki vez i imala je osam odseka – za unutra{wu arhitekturu, deko- sl. Isto tako, zapaèn je bio i rad Rezbarske {kole, koju rativnu plastiku, dekorativno slikarstvo, primewenu je osnovao i vodio Janko Krej~ik. grafiku, keramiku, tekstil, scenografiju i kostim. | Posle zavr{etka Prvog svetskog rata nastale su Glavne stru~ne predmete vodila je grupa nastavnika nove duhovne i kulturne prilike, koje su iziskivale te- koja je postavila temeqe ove [kole i usmerila wenu meqno preispitivawe dotada{wih umetni~kih koncep- stru~nu orijentaciju. Bili su to ne samo izvrsni peda- cija. Trebalo je da pro|e dosta vremena dok nije do{lo gozi, nego i izuzetne stvarala~ke li~nosti sa izgra|enom do osnivawa nove {kolske ustanove u oblasti primewe- umetni~kom reputacijom, koja je garantovala ozbiqnost

12 FAKULTET PRIMEWENIH UMETNOSTI FACULTY OF APPLIED ARTS 13 14 FAKULTET PRIMEWENIH UMETNOSTI would be able to improve the general visual culture of their | A new phase in the development began in 1973, with country and have influence on the appearance of industrial reorganization and a new name – Faculty of Applied Arts. products, on the modernization of trade and the visual-spa- The organizational changes were reflected in new depart- tial embellishment of the working and living environment. ments: Architecture and Design, Ceramics and Glass, Sceno- | One of the Academy’s eminent professors, Dr. Pavle graphy, Sculpture, Printmaking, Costume Design, Painting Vasi}, wrote the following about the conditions at the and Textile. The curriculum was also enriched. There were school in the first decades of its activity: »It was a very thirty hours of instruction and practical work a week in difficult and painstaking endeavour – to relate art and specialized studios. industry, but not everything depended on the Academy, on | With regard to the place, role and importance of its orientation and goals. There were other difficulties, the Faculty of Applied Arts today, one should consider the particularly at the time when it was necessary to replace whole development process of this unique school, but also of the un- or under-educated workers. One could say that the progress of applied arts in this part of the Balkans. The each job for a professional in industry was won with much Faculty has proven its vitality and survived in very difficult effort, even at places where it was obvious that the new, conditions, but it also evolved, adapting to the circumstances professional, educated people will be very beneficial… and needs of our society. The Faculty inherited all the posi- Apart from that, one had to enhance the growth of a specific tive results of former schools, its antecedents, and their goals awareness, not only in industry, among the managers, but remained sources of inspiration for its development in the in general public as well.« contemporary historic, social and cultural conditions. | In the first twenty-five years the Academy develo- | Today, the Faculty of Applied Arts is a complex in- ped into a reputable Yugoslav institution of higher educa- stitution of higher education with a clear physiognomy and tion and its graduates obtained significant results in all of orientation. The purpose of its existence and activity is not the then republics and provinces. In that way, the Acade- pure teaching of certain fields of visual art, but a profound my had influence upon the development and improvement study of the essential visual laws and aesthetic elements of of applied arts and design in the entire federal Yugoslavia. an artwork. Its goal is to transmit and foster artistic order,

FACULTY OF APPLIED ARTS 15 i temeqitost u ostvarivawu postavqenih ciqeva. U | Za prvih ~etvrt veka svog plodnog delovawa Aka- zemqi koja je tek bila iza{la iz ratnih strahota i demija se razvila u priznatu jugoslovensku visoko{kol- svakodnevno se suo~avala s ogromnim te{ko}ama, Aka- sku ustanovu, ~iji su svr{eni studenti ostvarivali u demija je traìla svoje pravo mesto u tokovima kultur- svojim sredinama zna~ajne rezultate, rade}i u svim ta- nog, privrednog i industrijskog preobraàja dru{tva. da{wim republikama i pokrajinama. Na taj na~in ona Wen prvenstveni zadatak bio je da vaspitava savremeno je uticala na razvoj i unapre|ewe primewenih umetno- obrazovane stru~wake, sposobne da unaprede op{tu listi i dizajna na prostoru cele tada{we Jugoslavije. kovnu kulturu svoje sredine, kao i da uti~u na izgled | Nova faza u razvoju {kole nastaje 1973. godine, industrijskih proizvoda, osavremewavawe trgovine i kada se Akademija reorganizuje i mewa svoj naziv u Fa- likovno-prostorno ure|ewe neposredne ~ovekove radne kultet primewenih umetnosti. Tada je do{lo i do nekih i ìvotne okoline. organizacionih promena; dotada{wi odseci su zamewe- | O uslovima delovawa Akademije u tim prvim deni katedrama: Arhitektura i dizajn, Keramika i staklo, cenijama postojawa jedan od wenih istaknutih profe- Scenografija, Vajarstvo, Grafika, Kostim, Slikarstvo i sora, dr Pavle Vasi} je pisao: »Bio je to veoma teàk i Tekstil. Tom prilikom je usvojen sloèniji i bogatiji naporan put – povezivawe umetnosti i industrije, ali program nastave sa 30 ~asova nedeqno, a nastava je organi- nije sve zavisilo od Akademije, od wene orijentacije i zovana u specijalizovanim ateqeima sa savremenijim ciqeva. Tu su nastale druge te{ko}e, posebno u trenutku pristupom pojedinim granama primewenih umetnosti. kada je trebalo zameniti priu~ene i nedou~ene kadrove | Kada je re~ o mestu, ulozi i zna~aju Fakulteta u privredi. Moè se re}i da je svako mesto stru~waka u primewenih umetnosti danas, mora se, nema sumwe, ima- industriji bilo osvajano s otporom, ~ak i tamo gde je ti u vidu ceo pre|eni put ne samo ove jedinstvene {kole, bila o~igledna korist od prihvatawa novih, profesio- nego i same primewene umetnosti na ovom delu Balkana. nalno obu~enih kadrova… Osim toga, trebalo je uticati U proteklim decenijama razvoja Fakultet se pokazao kao na razvijawe odre|ene svesti ne samo u industriji, u veoma vitalan organizam, koji je uspeo ne samo da opsta- wenom rukovodstvu, nego i u {irokoj javnosti.« ne u oteànim uslovima delovawa, ve} i da se razvija,

16 FAKULTET PRIMEWENIH UMETNOSTI FACULTY OF APPLIED ARTS 17 prilago|avaju}i svoj rad okolnostima i potrebama na- harmonije i lepote u realne okolnosti svakodnevnog {eg dru{tva na wegovom putu preobraàja. On je nasle- ìvota qudi. Sam naziv Fakulteta obavezuje na nepo- dio sve pozitivne tekovine ranijih {kola, iz kojih je sredno povezivawe nauke i umetnosti, programa nastave ponikao, ~ijim se htewima tokom vremena napajao i obo- sa interesima i potrebama dru{tva, na saradwi budu- ga}ivao, razvijaju}i ih u savremenim istorijskim, }ih stvaralaca u pojedinim umetni~kim granama sa dru{tvenim i kulturnim uslovima. organizacijama koje proizvode materijalna dobra, na | Fakultet primewenih umetnosti je danas izra- aktivan odnos prema ìvotu i stvarnosti. U tom smislu stao u sloènu visoko{kolsku ustanovu sa jasnom fizio- posledwih godina se postiù sve boqi rezultati, zahva- nomijom i orijentacijom. Wegova svrha postojawa i quju}i, s jedne strane, spremnosti Fakulteta na takvu rada nije samo {kolsko izu~avawe pojedinih umetni~kih saradwu, a s druge strane, sve izrazitijim potrebama pri- grana likovnog stvarala{tva, ve} i produbqeno ponira- vrede za lepim i funkcionalnim oblikovawem proiz- we u su{tinu likovnih zakona i estetskih elemenata voda, koji na taj na~in postaju znatno konkurentniji, dela, sa ciqem preno{ewa i negovawa umetni~kog reda, kako na doma}em tako i na stranom trì{tu.

18 FAKULTET PRIMEWENIH UMETNOSTI harmony and beauty in the real circumstances of everyday | In that sense, the recent results are becoming even life. Its title obliges the Faculty to relate and connect science better, on the one hand, because the Faculty readily accepts and art, its curriculum and the interests and needs of society, such cooperation, and on the other, because there is a to foster the cooperation of its students with organization growing need of industry for beautiful and functional pro- that produce material goods, to maintain an active relation- ducts that can be more competitive on the local and inter- ship to life and reality. national markets.

FACULTY OF APPLIED ARTS 19 FAKULTET PRIMEWENIH UMETNOSTI

ODSECI FACULTY OF APPLIED ARTS

DEPARTMENTS skog partera, oblikovawem neposredne okoline objekata, projektovawem uli~nog mobilijara, firmi, reklama i sli~no; projektovawem unikatnog i industrijskog name- {taja, rekonstrukcijom, konzervacijom i restauracijom enterijera i stilskog name{taja. Nastava je teorijska i prakti~na, uz izradu ve`bi – projekata enterijera i name{taja (oko 20 u toku studija) i konstruisawa modela i prototipova.

ODSEK INDUSTRIJSKI DIZAJN

ODSEK UNUTRA[WA ARHITEKTURA Programom nastave industrijskog dizajna obrazuju se pro- jektanti – industrijski dizajneri, za {iroku oblast in- Uè profesionalno jezgro programa ~ini deset pred- dustrijske proizvodwe: od proizvoda {iroke potro{we, meta sa ukupnim fondom od 3360 ~asova u toku svih pet preko alata, aparata i instrumenata razli~itih name- godina studija. Nastavni program obezbe|uje da oni koji na, do investicione opreme i transportnih sredstava. su uspe{no apsolvirali, mogu visokoprofesionalno, | Program obuhvata izu~avawe neophodnih ve{ti- stru~no i kreativno da se bave, samostalno ili u timo- na i znawa, kako bi se {to potpunije razvile sposobno- vima, projektovawem individualnih stambenih zgrada, sti studenata za vizuelne medije i podràla wihova vikend ku}a i stanova, projektovawem enterijera raznih sklonost u kreirawu savremenog, industrijski realizo- namena, odnosno funkcionalnih sadràja uz adaptaci- vanog, artificijelnog sveta. Osnovni ciqevi studijskog je, rekonstrukcije i remodelacije postoje}ih objekata; programa sastoje se u formirawu kreativne, profesio- urbanim dizajnom, projektovawem pejzaà ulice, grad- nalne li~nosti, likovno i tehni~ki obrazovane, spo-

22 FAKULTET PRIMEWENIH UMETNOSTI and have to prepare designs of interiors and furniture (about twenty altogether) and construct models and prototypes.

DEPARTMENT OF INDUSTRIAL DESIGN

The programme educates designers – industrial designers for the broad field of industrial production, from consumer products, tools, devices and instruments to high quality DEPARTMENT OF INTERIOR ARCHITECTURE equipment and means of transport. | The programme develops the necessary skills and The professional core of the programme are ten subjects endeavours to improve students’ abilities in the visual with a total of 3,360 classes in the five years. Those who media and their affinities for creating a contemporary, complete their studies with remarkable success will be able industrially realized, artificial world. The basic goal of the to design on their own or in teams: individual residential programme is to fashion creative, professional personalities buildings, cottages and flats, design different interiors or that have proper visual and technical education and are able make functional adaptations, reconstruct or remodel the to work as members of teams and solve practical problems. existing buildings or space; they could also be engaged in The core of the programme for the first two years are the the landscape design of streets, parks, or areas around and following subjects: Introduction to Design, Techniques of between houses; street decoration, shop signs, advertise- Presentation and Technology. The other three years have ment boards and the like. They will also be able to design Industrial Design, Graphic Design and Methodology of unique or industrial furniture or engage in the reconstruc- Design. The instructions are combined with a series of dif- tion, conservation and restoration of interior or period fur- ferent designs. Talks and discussions on possible improve- niture. Students attend theoretic and practical instructions ment and presentation of designs are a practical instrument

FACULTY OF APPLIED ARTS 23 sobne za timski rad i re{avawe prakti~nih problema. fija se studira kao poseban predmet od druge do pete go- Jezgro ovog programa ~ine predmeti: Osnovi dizajna, dine, kroz projektovawe i praksu u na{im pozori{nim, Tehnike prezentacije i Tehnologija na niìm godina- filmskim i TV studijima. ma studija (I i II), a Industrijski dizajn, Grafi~ki di- | Posebno je va`na tradicionalna saradwa sa Fa- zajn i Metodologija dizajna na vi{im (III, IV i V). Nas- kultetom dramskih umetnosti i wihovim studentima tavu na ovim predmetima prati izrada kontinuirane reìje na zajedni~kim projektima. serije projekata razli~itih po sloènosti i obimu. Razgovori i diskusije sa studentima tokom rada na unapre|ewu re{ewa i prezentaciji projekata predstavqaju ODSEK ZIDNO SLIKARSTVO efikasan instrument nastave i u wima, pored nastavnika, u~estvuju i odgovaraju}i eksperti izvan Fakulteta. Program ovog stru~nog profila obrazuje studente za Kontakti i saradwa sa industrijom upu}uju studente na profesionalni rad u oblasti zidnog slikarstva. profesionalni rad. | Nastava je usmerena tako da obrazuje slikare ~i- ja je uà specijalnost slikarstvo primeweno u arhitekturi. Izu~avaju se slikarske tehnike i izrazi, kompozi- ODSEK SCENOGRAFIJA cija, spoj slikarstva i arhitekture, izraàvawe u teh- nikama zidnog slikarstva: mozaik, freska, vitra`, Ciq nastave je da se studenti kroz petogodi{we {kolo- zgrafito, tapiserija. Pored predmeta op{teg obrazova- vawe u potpunosti osposobe za samostalno projektovawe wa i op{te likovno – tehni~ke kulture koji se izu~ava- scenografija svih ànrova, a za razli~ite medije. Za- ju na nivou Fakulteta, najvi{e umetni~ko i stru~no daci su tako postavqeni da student postepeno savla|uje obrazovawe iz oblasti zidnog slikarstva posebno se ob- probleme inscenacija za pozori{te, TV i film. Likov- ra|uje kroz predmete: Crtawe, Slikawe, Anatomsko crta- no obrazovawe studenti sti~u poha|aju}i ~asove crtawa we, Akt, Slikarske tehnike, Tehnike zidnog slikarstva i slikawa, od prve do ~etvrte godine studija. Scenogra- i Zidno slikarstvo.

24 FAKULTET PRIMEWENIH UMETNOSTI FACULTY OF APPLIED ARTS 25 ODSEK KOSTIM Studenti se upu}uju na visoki umetni~ki i estetski do- ATEQE SAVREMENO ODEVAWE met svojih zamisli, po{tuju}i tradiciju i vode}i ra- ~una o svim etapama realizacije svojih ideja. Savladav- Umetni~ko-stru~no obrazovawe u Ateqeu za savremeno {i programsku materiju svih predvi|enih predmeta to- odevawe pruà mogu}nost budu}im kostimografima sa- kom pet godina studija, studenti su osposobqeni za pro- vremenog odevawa da se kroz likovne i tehni~ko-tehno- fesiju kostimografa. lo{ke sadràje osposobe za savremeno projektovawe i oblikovawe unikatne serijske ode}e, obu}e i odevnih de- taqa. Da bi realizacija projekata bila na najvi{em pro- ODSEK DIZAJN TEKSTILA fesionalnom nivou studenti izu~avaju metode industrij- ske proizvodwe, kao i one nastavne predmete koji svojim Na Odseku dizajn tekstila studenti sti~u posebna znawa, sadràjem obezbe|uju najvi{i nivo znawa i specifi~nu ve{tine i iskustva u oblikovawu tkanog i {tampanog estetiku potrebnu za obrazovawe savremenog dizajnera. tekstila svih namena, kao i tapiserije. | Osnovni ciq, osposobqavawe studenata za samosta- ATEQE SCENSKI KOSTIM lan kreativan rad u oblasti dizajna tekstila, temeqi se na stimulisawu individualnih istraìvawa u procesu Nastavni programi predmeta koji se izu~avaju na Ate- rada, od idejnih skica do realizacije, u okviru konkret- qeu scenskog kostima pruàju mogu}nost studentima da nih zadataka. Bogata tradicija i savremena dostignu}a se pripreme i osposobe za projektovawe scenskog kosti- u oblasti umetnosti tekstila, nove tehnologije proiz- ma za razli~ite medije: pozori{te, film i TV, da ruko- vodwe, trì{ta i savremena kretawa u umetnosti ~ine vode i prate realizaciju svojih projekata u nekom od na- osnovne odrednice u obrazovawu dizajnera tekstila. Na- vedenih medija, da se bave istraìva~kim radom u stru- stava se odvija u projektantskim salama i radionicama ci, razvijaju svoje sposobnosti i u okvirima konstruk- Odseka tako da studenti mogu da upoznaju i savladaju sve cije i rekonstrukcije kostimskih elemenata i celina. tehni~ko – tehnolo{ke elemente slikanog, {tampanog

26 FAKULTET PRIMEWENIH UMETNOSTI of instruction and involve not only students and professors designed for painters who specialize in painting applied to but also experts who are not members of the faculty. Con- architecture. Students study painting techniques and tacts and cooperation with industry direct students to pro- expression, composition, the combination of painting and fessional engagements. architecture expressed through the techniques of mural painting: mosaic, fresco, stained glass, sgrafitto, tapestry. Apart from subjects in general education and general vi- DEPARTMENT OF SCENOGRAPHY sual-technical culture, the highest artistic and professional education in the field of mural painting is covered by the After five years of studies, students are fully capable of in- following subjects: Drawing, Painting, Anatomic Drawing, dependent design of scenograhy in all genres and in different Nude, Painting Techniques, Techniques of Mural Painting media. Students gradually master the problems of stage pre- and Mural Painting. sentation in theatre, television and film. Visual education is taught at drawing and painting classes during the first four years. Scenography is a separate subject from the second DEPARTMENT OF COSTUME to the fifth year and also involves practical work in theatres, STUDIO FOR CONTEMPORARY CLOTHING film and television studios. Particularly important is the traditional cooperation with the Faculty of Dramatic Arts The artistic-professional education in the Studio for Con- and their students of direction. temporary Clothing offers the necessary programmes in visual and technical-technological aspects of the design of clothes, shoes and clothing accessories. DEPARTMENT OF MURAL PAINTING | Students also study the methods of industrial production and those subjects that ensure the highest level of The programme prepares students for professional enga- knowledge and specific aesthetics that a contemporary de- gement in the field of mural painting and the instruction is signer needs.

FACULTY OF APPLIED ARTS 27 28 FAKULTET PRIMEWENIH UMETNOSTI STAGE COSTUME STUDIO ry developments in art are the main determinants in the education of textile designers. Through instructions and The subjects studied in the Studio prepare students for the practical work in design studios and workshops students design of stage costumes for different media: theatre, film learn and master all the technical-technological elements and television, and enable them to manage and follow the of painted, printed and woven textile and tapestry, and test realization of their designs, to research and to develop their their own expressive possibilities. abilities in the construction and reconstruction of costumes, their elements and total appearance. The students are also taught to aim at the highest artistic and aesthetic DEPARTMENT OF APPLIED GRAPHICS achievements, to respect tradition and care about all the GRAPHICS AND BOOK STUDIO phases of the realization of their ideas. After five years of studies, students are fully capable of undertaking the task This Department prepares students for creative tasks in of costume design. those forms of applied graphics which are related to publishing: illustration, typography, design of books, magazines and newspapers, as well as film and television. After DEPARTMENT OF TEXTILE DESIGN the first two years dedicated to subjects related to essential aspects of the visual and graphic culture, students are Students who choose this Department will obtain know- offered subjects in general education and specific topics ledge, skills and experience in the design of woven and regarding their future professional work: Illustration, printed textile and tapestry. Graphics and Printmaking, Book Graphic, Typography, | The programmes stimulate individual research in Type Styles. the work process, from sketches to realization. Rich tradition | The final year is devoted to the personal interests and contemporary achievements in the art of textile design, of students and they are able to choose one or two subjects new production technologies, the market and contempora- of specialization.

FACULTY OF APPLIED ARTS 29 i tkanog tekstila, kao i tapiserije, i da istraùju wi- studenti slu{aju predmete: Grafi~ke komunikacije, Pla- hove izraàjne mogu}nosti i implicirawe u projekte. kat, Prostornu grafiku, Tipografiju, Pismo, kroz koje zaokruùju znawa za svoju profesionalnu delatnost. U zavr{noj godini se, prema li~nom interesovawu, usmera- ODSEK PRIMEWENA GRAFIKA vaju na tri uèstru~na predmeta: Grafi~ke komunika- ATEQE GRAFIKA I KWIGA cije, Plakat i Prostornu grafiku.

Ciq nastave je sticawe profesionalnih sposobnosti za ATEQE FOTOGRAFIJA bavqewe onim oblicima primewene grafike koji se odnose na izdava~ke delatnosti: ilustraciju, tipografiju, di- Fotografije na Odseku primewena grafika, prihva}ena je zajn kwige, ~asopisa i novina, kao i one koji se odnose na kao jedan od paralelnih vidova istraìvawa i ima svoje film i televiziju. Posle prve dve godine studija u kojima specifi~ne na~ine i pristupe problemima. U nastavu studenti slu{aju predmete osnovne likovno-grafi~ke kul- ovog ateqea spada upoznavawe osnovnih likovnih i tehno- ture, dobijaju i slede}e predmete: Ilustraciju, Grafiku, lo{kih principa na osnovu kojih se stvara fotografija. Grafiku kwige, Tipografiju, Pismo, kroz koje, uz neke op- Ciq nastave je da student prati nastajawe slike, tj. da sni- {teobrazovne predmete i seminare, zaokruùju znawa za ma i izra|uje fotografiju, imaju}i kreativnost likovnog profesionalno opredeqewe. U zavr{noj godini student stvaraoca. Zavr{ni rezultati su deo grafi~kog dizajna u se, prema li~nim interesovawima, usmerava na jedan ili kwizi, ~asopisu, plakatu ili propagandnoj grafici. dva predmeta uè struke, {to ~ini wegov zavr{ni rad.

ATEQE GRAFI^KI DIZAJN ODSEK PRIMEWENO VAJARSTVO

Ciq nastave je sticawe profesionalnih sposobnosti za Ciq ovih studija je da kroz sticawe osnovnih teorijskih, bavqewe grafi~kim dizajnom. Od tre}e godine studija likovnih i prakti~nih znawa, neophodnih za re{avawe

30 FAKULTET PRIMEWENIH UMETNOSTI FACULTY OF APPLIED ARTS 31 32 FAKULTET PRIMEWENIH UMETNOSTI GRAPHIC DESIGN STUDIO DEPARTMENT OF APPLIED SCULPTURE

This programme prepares students for professional work in In this Department students acquire the necessary theore- graphic design. From the third year on students have the tical, visual and practical skills and learning that enable following subjects that complete their professional edu- them to solve aesthetic, spatial and functional problems in cation: Graphic Communications, Poster, Spatial Graphics, sculpture. The extensive and specific visual area is studied in Typography, Script. The last year is devoted to their specific three different aspects: sculpture in space and architecture – interests and they are directed to the three narrowly speci- sculpture as an integral part of architecture, of urban and alized subjects: Graphic Communications, Poster and Spa- free spaces; memorial sculpture – sculpture used to tial Graphics. commemorate historic events and personalities, from the simplest forms to the complex memorial and spatial pro- PHOTOGRAPHIC STUDIO jects; medals – design of medals, plaques, coins and jewelry, souvenirs, etc. In the Department of Applied Graphics, photography is one of the aspects of general orientation with its own means and approaches. Students are particularly taught DEPARTMENT OF CERAMICS the basics of the visual and technological principles of photography. The programme is conceived in such a way that students can | Students are fully engaged in the process of image specialize in three segments of this art: unique (sculptural) developing, they shoot and make photographs with the ceramics, pot (wheel turned) ceramics and ceramic design. creativity of visual artists. The final results belong to the The final goal of the programme is a complete creative per- graphic design of books, magazines, posters and adverti- sonality and therefore it prepares students for indepen- sing graphics. dent work both in the artistic-technological and creative sense. The main subjects taught are: Unique Ceramics, Pot

FACULTY OF APPLIED ARTS 33 estetskih, prostornih i funkcionalnih problema u natsko-tehnolo{kom, tako i u kreativnom smislu. U toku skulpturi, pripreme studente za profesionalni rad u studija student izu~ava tri osnovna stru~no-umetni~ka okviru odabrane struke. Obimna i specifi~na likovna predmeta: Unikatnu keramiku, Posudnu keramiku i Ke- materija na Odseku primeweno vajarstvo izu~ava se u rami~ki dizajn. Kroz ova tri predmeta kod studenata se tri oblasti: skulptura u prostoru i arhitekturi – razvija, ne samo kreativnost, ve} i sposobnost za indivi- skulptura koja koncepcijski i oblikovno ~ini inte- dualni i timski rad. Najve}i deo nastave je prakti~nog gralni deo arhitekture, urbanih i slobodnih prostora; karaktera i odvija se u radionicama uz stalne konsulta- memorijalna skulptura – skulptura memorijalnog obe- cije svih u~esnika u nastavi, dok se deo nastave iz pred- le`avawa istorijskih zbivawa i li~nosti – od najjed- meta Kerami~ki dizajn odvija u industriji keramike. nostavnijih skulptorskih oblika do slo`enijih spome- ni~kih i prostornih zahvata u ovoj oblasti i sitna plastika i medaqerstvo – oblikovawe medaqa, plaketa, ODSEK KONZERVACIJA I RESTAURACIJA novca i nakita, suvenira i dr. ATEQE KONZERVACIJA I RESTAURACIJA SLIKA

ATEQE KONZERVACIJA ODSEK KERAMIKA I RESTAURACIJA SKULPTURA

Program Odseka keramike po svojoj koncepciji pruà ATEQE KONZERVACIJA I RESTAURACIJA studentima mogu}nost obrazovawa za sva tri segmenta UMETNI^KIH DELA NA PAPIRU umetnosti keramike: unikatnu (skulpturalnu) keramiku, posudnu keramiku (keramiku na kolu) i kerami~ki Konzervacija i restauracija, kao stara umetni~ka de- dizajn. Osnovni ciq ovog sveobuhvatnog programa teì latnost i ve{tina, ima za ciq da prou~ava i tuma~i sve stvarawu kompletne kreativne li~nosti, odnosno da se destruktivne i druge procese koji se doga|aju na umet- student osposobi pre svega za samostalni rad, kako u za- ni~kom delu, da delo sa~uva, obnovi i odrì. Za{tita

34 FAKULTET PRIMEWENIH UMETNOSTI Ceramics and Ceramic Design, and they develop the students’ creativity and their abilities to work on their own or as team members. Students work in the workshops; professors are always available for consultations. The venues of Ceramic Design classes are ceramic industries.

DEPARTMENT OF CONSERVATION AND RESTORATION STUDIO FOR CONSERVATION AND RESTORATION OF PAINTINGS

STUDIO FOR CONSERVATION AND RESTORATION OF SCULPTURES

STUDIO FOR CONSERVATION AND RESTORATION OF WORKS ON PAPER

Conservation and restoration, as old artistic skills, study and interpret the destructive and other processes that affect works of art in order to keep and renovate these works. The protection of cultural monuments and cultural heritage is a civilizational imperative for every contemporary society.

FACULTY OF APPLIED ARTS 35 spomenika kulture i kulturnog blaga kao civilizacij- pete godine studija, primenom tradicionalnih i savre- skih tekovina imperativ je svakog savremenog dru{tva. menih metoda, obuhva}ena je osnovna konzervatorsko- | Fakultet primewenih umetnosti, sagledavaju}i restauratorska problematika. Nastavni proces odvija realne potrebe za kadrovima u oblasti za{tite kultur- se kroz prakti~an rad na originalnim umetni~kim de- nih dobara osnovao je 2003. godine Odsek za konzervaciju lima u ateqeu i na terenu. Ova delatnost iziskuje visoku i restauraciju. Ciq nastave je {kolovawe visoko obrazo- likovnu i op{tu kulturu, kao i kreativnost. Na osnovu vanih stru~waka iz oblasti konzervacije i restauraci- ste~enih znawa, studenti se osposobqavaju za samostalan je slika, skulptura i umetni~kih dela na papiru. Teorij- rad, kao i za timsku aktivnost sa saradnicima drugih skim predavawima i prakti~nim ve`bama, od druge do struka koji deluju u oblasti za{tite kulturnih dobara.

36 FAKULTET PRIMEWENIH UMETNOSTI | The Faculty of Applied Arts founded this Depart- and contemporary methods. Practical work is performed ment as its response to the actual need for experts in that on original artworks in studios or on particular locations. area. The Department educates professionals in conserva- Prerequisites for this activity are a high degree of visual tion and restoration of painting, sculptures and artworks and general culture, and creativity. Graduates are fully on paper. Lectures and practical work (from the second to prepared for independent and team work with people from the fifth year of studies) deal with the essentials of conser- other professions who are engaged in the protection of vation and restoration problems and use both traditional cultural heritage.

FACULTY OF APPLIED ARTS 37 FAKULTET PRIMEWENIH UMETNOSTI

NASTAVNICI I SARADNICI FACULTY OF APPLIED ARTS

TEACHING AND PROFESSIONAL STAFF mr Gabrijela BULATOVI], asistent-pripravnik – predmeti Osnovi grafike i Grafika Vesna VASI], vi{i stru~ni saradnik za Bojewe tekstila Nenad VACI], umetni~ki saradnik za uù umetni~ku oblast Primeweno vajarstvo Jovan VACI], stru~ni saradnik za uù umetni~ku oblast Unikatna keramika i uù umetni~ku oblast Kerami~ki dizajn NASTAVNICI I SARADNICI mr Leonora VEKI], asistent – predmet Tapiserija dana 01. 10. 2006. godine mr Ivana VEQOVI], vanredni prof. – predmet Oblikovawe {tampanog tekstila mr Miroslav AN\ELKOVI], redovni prof. mr Ninoslava VI]ENTI], asistent – predmeti Crtawe i Slikawe – predmeti Osnovi scenografije i Pozori{na sp Miodrag BAJI], redovni prof. scenografija – predmet Anatomsko crtawe Jugoslav VLAHOVI], redovni prof. Milanka BERBEROVI], redovni prof. – predmet Grafika kwige – predmet Scenski kostim mr Milka VUJOVI]-STOJANOVI], docent Zoran BLA@INA, vanredni prof. – predmet Grafi~ke tehnike – predmet Grafi~ke komunikacije sp Velimir VUKI]EVI], vanredni prof. mr Nikola BO@OVI], asistent-pripravnik – predmet Unikatna keramika – predmet Zidno slikarstvo Du{an VUKSAN, redovni prof. Ranko BOÎNA, redovni prof. – predmet Industrijski dizajn – predmet Name{taj mr Milica VU^KOVI], redovni prof. Zoran BULAJI], docent – predmet Name{taj – predmeti Osnovi grafike i Grafika

40 FAKULTET PRIMEWENIH UMETNOSTI Rastko ]IRI], Full Professor – Illustration, and Animation Desimir DENI], Docent – Anatomy Drawing Dragoljub DIMITRIJEVI], Full Professor – Applied Sculpture Danijela DIMKOVI], Trainee-Assistant – Period Interior Design Jasna DRAGOVI], Full Professor – Film and Television Set Design TEACHING AND PROFESSIONAL STAFF Antonija DRAGUTINOVI], Associate Professor on October 1, 2006 – Ceramic Pots Miodrag DRAGUTINOVI], Associate Professor Miroslav AN\ELKOVI], Full Professor – Drawing, and Painting – Drawing and Painting Sanja DRAGUTINOVI]-KOMATINA, Docent Miodrag BAJI], Full Professor – Anatomy Drawing – Conservation and Restoration of Mural Paintings, Milanka BERBEROVI], Full Professor – Theatrical Costume and Introduction to Conservation and Restoration Zoran BLA@INA, Associate Professor Miroljub DRAMI]ANIN, Docent – Ceramic Design – Graphic Communications Slobodanka \OLI], Full Professor – English Language Nikola BO@OVI], Trainee-Assistant – Mural Painting Selma \ULIZAREVI], Trainee-Assistant Ranko BO^INA, Full Professor – Furniture – Drawing, and Painting Zoran BULAJI], Docent – Furniture Slobodan \URI^KOVI], Full Professor – Mural Painting Gabrijela Bulatovi}, Trainee-Assistant Daniela FULGOSI, Docent – Nude – Introduction to Printmaking, and Printmaking Zoran GAVRI], Associate Professor – History of Art Zlatko CVETKOVI], Artistic Associate for Textile Mina GLOGOVAC, Assistant – Painting Techniques Goran ^PAJAK, Artistic Associate for Applied Sculpture Ingrid HULJEV, Docent – Contemporary Dress Gordana ]IRI]-KRSTI], Docent – Woven Textile Design Zoran IVANOVI], Assistant – Modelling

FACULTY OF APPLIED ARTS 41 dr Zoran GAVRI], vanredni prof. Slobodan \URI^KOVI], redovni prof. – predmet Istorija umetnosti – predmet Zidno slikarstvo mr Mina GLOGOVAC, asistent \or|e @IVKOVI], docent – predmet Slikarske tehnike – predmeti Pismo (osnove) i Pismo mr Desimir DENI], docent – predmet Anatomsko crtawe mr Mirjana @IVKOVI], asistent-pripravnik Dragoqub DIMITRIJEVI], redovni prof. – predmet Grafika i kwiga – predmet Primeweno vajarstvo mr Sini{a @IKI], vanredni prof. Danijela DIMKOVI], asistent-pripravnik – predmet Zidno slikarstvo – predmet Stilska unutra{wa arhitektura Geroslav ZARI], vanredni prof. mr Jasna DRAGOVI], redovni prof. – predmet Pozori{na scenografija – predmet Filmska i TV scenografija mr Stanko ZE^EVI], redovni prof. Antonija DRAGUTINOVI], vanredni prof. – predmeti Crtawe i Slikawe – predmet Posudna keramika mr Zoran IVANOVI], asistent Miodrag DRAGUTINOVI], vanredni prof. – predmet Modelovawe – predmeti Crtawe i Slikawe dr Du{an IZVONAR, vanredni prof. mr Sawa DRAGUTINOVI]-KOMATINA, docent – predmet Tehnologija keramike – predmeti Konzervacija i restauracija zidnog Zorica JANKOVI], redovni prof. slikarstva i Osnovi konzervacije i restauracije – predmet Primeweno vajarstvo mr Miroqub DRAMI]ANIN, docent mr Tatjana JANKOVI]-NEDELKOV, docent – predmet Kerami~ki dizajn – predmeti Crtawe i Slikawe dr Slobodanka \OLI], redovni prof. Slobodan KAJTEZ, vanredni prof. – predmet Engleski jezik – predmet Slikarske tehnike mr Selma \ULIZAREVI], asistent-pripravnik mr Branimir KARANOVI], redovni prof. – predmeti Crtawe i Slikawe – predmet Fotografija

42 FAKULTET PRIMEWENIH UMETNOSTI FACULTY OF APPLIED ARTS 43 Ilija KNE@EVI], vanredni prof. Todor LALICKI, stru~ni saradnik za Scenografiju – predmet Tipografija Marko LUKOVI], asistent-pripravnik Nikola KNE@EVI], asistent-pripravnik – predmet Industrijski dizajn – predmet Industrijski dizajn Dragan MANOJLOVI], docent – predmet Steva KOVA^, stru~ni saradnik za uù umetni~ku oblast Arhitektonske konstrukcije i detaqi Industrijski dizajn Slobodan MANOJLOVI], vanredni prof. mr GORDANA KOMAD-ARSENIJEVI], redovni prof. – predmet Grafika proizvoda – predmet Savremeno odevawe mr Tawa MANOJLOVI], docent Miroqub KOSTI], vanredni prof. – predmet Unutra{wa arhitektura – predmet Industrijski dizajn dr Ivana MARCIKI], redovni prof. Vladimir KOSTI], redovni prof. – predmet Projektovawe oblika – predmet Unutra{wa arhitektura Aleksandar MIJATOVI], docent sp Kosta KRSMANOVI], redovni prof. – predmet Unutra{wa arhitektura – predmet Industrijski dizajn mr Igor MILI]EVI], asistent-pripravnik mr BRANKA KUZMANOVI], docent – predmet Posudna keramika – predmeti Crtawe i Slikawe Svetozar MIRKOV, samostalni umetni~ki saradnik dr IVANA KUZMANOVI]-NOVOVI], asistent za uù umetni~ku oblast predmet Primeweno – predmet Istorija umetnosti vajarstvo Marko LA\U[I], docent – predmet Akt Dragoslav MIRKOVI], stru~ni saradnik mr Miroslav LAZOVI], docent za uù umetni~ku oblast Osnovi Fotografije – predmeti Zidno slikarstvo i Tehnike zidnog i Fotografija slikarstva mr Zdravko MI]ANOVI], docent – predmet Pismo mr Ratko LALI], redovni prof. mr Marina NAKI]ENOVI], redovni prof. – predmeti Crtawe i Slikawe – predmeti Crtawe i Slikawe

44 FAKULTET PRIMEWENIH UMETNOSTI Du{an IZVONAR, Associate Professor – Ceramics Technology Slobodan MANOJLOVI], Associate Professor Zorica JANKOVI], Full Professor – Applied Sculpture – Graphic Design of Products Tatjana JANKOVI]-NEDELKOV, Docent Tanja MANOJLOVI], Docent – Interior Design – Drawing, and Painting Dr. Ivana MARCIKI], Full Professor – Structural Design Slobodan KAJTEZ, Associate Professor – Painting Techniques Aleksandar MIJATOVI], Docent – Interior Design Branimir KARANOVI], Full Professor – Photography Igor MILI]EVI], Trainee-Assistant – Pot Ceramics Ilija KNE@EVI], Associate Professor – Typography Svetozar MIRKOV, Independent Artistic Associate Nikola KNE@EVI], Trainee-Assistant – Industrial Design – Applied Sculpture Steva KOVA^, Professional Associate for Industrial Design Dragoslav MIRKOVI], Professional Associate Gordana KOMAD-ARSENIJEVI], Full Professor – Introduction to Photography and Photography – Contemporary Dress Zdravko MI]ANOVI], Docent – Type Styles Miroljub KOSTI], Associate Professor – Industrial Design Marina NAKI]ENOVI], Full Professor Vladimir KOSTI], Full Professor – Interior Design – Drawing, and Painting Kosta KRSMANOVI], Full Professor – Industrial Design Borislav NANOVI], Assistant – Drawing, and Painting Branka KUZMANOVI], Docent – Drawing, and Painting Du{an NE[I], Associate Professor Ivanka KUZMANOVI]-NOVOVI}, Assistant – Art History – Techniques of Presentation Marko LA\U[I], Docent – Nude Jana NIKOLI], Trainee-Assistant – Type Styles Miroslav LAZOVI], Docent Svetislav NIKOLI], Docent – Mural Painting and Mural Painting Techniques – Conservation and Restoration of Paintings Ratko LALI], Full Professor – Drawing, and Painting Olivera NIN^I], Associate Professor – Introduction to Todor LALICKI, Professional Associate – Set Design Textile Design, and Old Textile Techniques Marko LUKOVI], Trainee-Assistant – Industrial Design Milan NOVAKOVI], Docent – Interior Design Dragan MANOJLOVI], Docent Mirko OGNJANOVI], Associate Professor – Architectural Constructions and Details – Drawing, and Painting

FACULTY OF APPLIED ARTS 45 mr Borislav NANOVI], asistent mr Gordana PETROVI], docent – predmeti Crtawe i Slikawe – predmeti Osnovi grafike i Grafika mr Du{an NE[I], vanredni prof. Zora POPOVI], docent – predmet Tehnike prezentacije – predmet Osnovi odevawa Jana NIKOLI], asistent-pripravnik Dragan POPOVI], umetni~ki saradnik – predmet Pismo za uù umetni~ku oblast Zidno slikarstvo mr Svetislav NIKOLI], docent @ivorad RADENKOVI], samostalni umetni~ki – predmet Konzervacija i restauracija saradnik za uù umetni~ku oblast {tafelajnog slikarstva predmet Primeweno vajarstvo mr Olivera NINÎ], vanredni prof. dr Dragan RADENOVI], docent – predmeti Osnovi oblikovawa tekstila – predmet Modelovawe i Stare tekstilne tehnike Ivica RAKI], vanredni prof. mr Milan NOVAKOVI], docent – predmet Prostorna grafika – predmet Unutra{wa arhitektura Du{an RUSALI], docent – predmet Modelovawe mr Mirko OGWANOVI], vanredni prof. mr Radomir SAMARXI], docent – predmeti Crtawe i Slikawe – predmet Konzervacija Zvonko PETKOVI], docent i restauracija zidnog slikarstva – predmet Stilska unutra{wa arhitektura mr Tijana SEKULI], asistent – predmet Name{taj Dragomir PETROVI], redovni prof. mr Jadranka SIMONOVI], vanredni prof. – predmet Pozori{na scenografija – predmet Tapiserija mr Qiqana PETROVI], vanredni prof. Miroqub STAMENKOVI], redovni prof. – predmet Scenski kostim – predmet Primeweno vajarstvo mr Maja PETROVI], docent Milo{ STANI], stru~ni saradnik – predmet Kostimografija za uù umetni~ku oblast Kerami~ki dizajn

46 FAKULTET PRIMEWENIH UMETNOSTI FACULTY OF APPLIED ARTS 47 mr Olivera STOJADINOVI], vanredni prof. – predmet Pismo Danilo STOJANOVI], redovni prof. – predmet Unutra{wa arhitektura HONORARNI NASTAVNICI I SARADNICI Vladimir TATAREVI], docent dana 01. 10. 2006. godine – predmet Osnovi fotografije mr Lana TIKVE[A, asistent dr Ivica RADOVANOVI], redovni prof. – predmet Unikatna keramika U~iteqskog fakultete BGD, predmet Pedagogija dr Milanka TODI], redovni prof. dr Tawa TADI], redovni prof. TMF u Beogradu, – predmet Istorija umetnosti predmet Tehnologija tekstila mr Mirjana TOMA[EVI], docent – predmet Grafika dr Slavenka LUKI], vanredni prof. TMF u Beogradu, Mitar TRNINI], docent – predmet Fotografija predmet Konstrukcija kroja mr Gordana ]IRI]-KRSTI], docent dr Vesna RADOJEVI], vanredni prof. TMF – predmet Oblikovawe tkanog tekstila u Beogradu, predmeti Tehnologija i Poznavawe mr Rastko ]IRI], redovni prof. materijala – predmeti Ilustracija i Animacija dr Radoslav ALEKSI], redovni prof. TMF mr Daniela FULGOSI, docent – predmet Akt u Beogradu, predmeti Tehnologija i Poznavawe Igrid HUQEV, docent – predmet Savremeno odevawe materijala mr Zlatko CVETKOVI], umetni~ki saradnik dr Slobodan MARKOVI], docent Filozofskog za u`u umetni~ku oblast Tekstil fakulteta u Beogradu, predmet Psihologija Goran ^PAJAK, umetni~ki saradnik dr Zdravko MILINKOVI], docent FLU u Beogradu, za u`u umetni~ku oblast Primeweno vajarstvo predmet Metodika mr Vladislav []EPANOVI], docent Nenad PROKI], redovni prof. FDU u Beogradu, – predmeti Crtawe i Slikawe predmet Istorija pozori{ta

48 FAKULTET PRIMEWENIH UMETNOSTI Zvonko PETKOVI], Docent – Period Interior Design Milanka TODI], Full Professor – History of Art Dragomir PETROVI], Full Professor – Theatre Set Design Irjana TOMA[EVI], Docent – Printmaking Ljiljana PETROVI], Associate Professor – Stage Costume Mitar TRNINI], Docent – Photography Maja PETROVI], Docent – Costume Design Jovan VACI], Professional Associate Gordana PETROVI], Docent – Unique Ceramics and Ceramic Design – Introduction to Graphics and Graphics Nenad VACI], Artistic Associate – Applied Sculpture Zora POPOVI], Docent – Introduction to Clothing Vesna VASI], Senior Professional Associate Dragan POPOVI], Artistic Associate – Mural Painting – Textile Colouring @ivorad RADENKOVI], Independent Artistic Associate Leonora VEKI], Assistant – Tapestry – Applied Sculpture Ivana VELJOVI], Associate Professor – Printed Textile Dragan RADENOVI], Docent – Modelling Ninoslava VI]ENTI], Assistant – Introduction to Ivica RAKI], Associate Professor – Spatial Graphics Scenography and Theatre Set Design Du{an RUSALI], Docent – Modelling Jugoslav VLAHOVI], Full Professor – Book Graphic Radomir SAMARD@I], Docent Milica VU^KOVI], Full Professor – Conservation and Restoration of Mural Painting – Introduction to Graphics and Graphics Tijana SEKULI], Assistant – Furniture Milka VUJOVI]-STOJANOVI], Docent – Graphic Techniques Jadranka SIMONOVI], Associate Professor – Tapestry Velimir VUKI]EVI], Associate Professor – Unique Ceramics Miroljub STAMENKOVI], Full Professor – Applied Sculpture Du{an VUKSAN, Full Professor – Industrial Design Milo{ STANI], Professional Associate – Ceramic Design Geroslav ZARI], Associate Professor – Theatre Set Design Olivera STOJADINOVI], Associate Professor – Type Styles Stanko ZE^EVI], Full Professor – Drawing and Painting Danilo STOJANOVI], Full Professor – Interior Design Sini{a @IKI], Associate Professor – Mural Painting Vladislav []EPANOVI], Docent – Drawing and Painting \or|e @IVKOVI], Docent Vladimir TATAREVI], Docent – Introduction to Photography – Introduction to Type Styles, and Type Styles Lana TIKVE[A, Assistant – Unique Ceramics Design Mirjana @IVKOVI], Trainee-Assistant – Prints and Books

FACULTY OF APPLIED ARTS 49 dr Zoran AVRAMOVI], vanredni prof. Filozofskog dr Dragan BULATOVI], docent Filozofskog fakulteta Univerziteta u Pri{tini, fakulteta u Beogradu, predmeti Muzeologija predmet Sociologija kulture i Osnovi konzervacije i restauracije dr Marica [ARAC, docent Rudarsko-geolo{kog dr Mirko ZUROVAC, redovni prof. Filozofskog fakulteta u Beogradu, predmet fakulteta u Beogradu, predmet Estetika Nacrtna geometrija sa perspektivom dr Vukoman JOKANOVI], nau~ni savetnik Instituta dr \uro KOJI], docent FTN u Novom Sadu, »Boris Kidri~« Vin~a, saradnik u nastavi predmet Urbani dizajn dr Aleksandar ^U^KOVI], docent Ekonomskog dr Zoran LAZOVI], vanredni prof. fakulteta u Subotici predmet Istorija dizajna Arhitektonskog fakulteta u Beogradu, Jelena PANTOVI], saradnik u nastavi predmet Metodologija dizajna Maja MILINI], saradnik u nastavi Milo{ PAVLOVI], saradnik u nastavi

50 FAKULTET PRIMEWENIH UMETNOSTI Dr. Zoran AVRAMOVI], Associate Professor at the Faculty of Philosophy University of Pri{tina PART-TIME TEACHING STAFF AND ASSOCIATES – Sociology of Culture on October 1, 2006 Dr. Marica [ARAC, Docent at the Faculty of Mining and Geology in Belgrade Dr. Ivica RADOVANOVI], Full Professor at the – Descriptive Geometry with Perspective Teacher’s College in Belgrade – Pedagogy Dr. \uro KOJI], Docent at the Faculty of Technical Dr. Tanja TADI], Full Professor at the Faculty of Technology Sciences in Novi Sad – Urban Design and Metallurgy in Belgrade – Textile Technology Dr. Zoran LAZOVI], Associate Professor at the Faculty Dr. Slavenka LUKI], Associate Professor at the of Architecture in Belgrade – Methology of Design Faculty of Technology and Metallurgy in Belgrade Dr. Dragan BULATOVI], Docent at the Faculty – Construction of Dress Cuts of Philosophy in Belgrade – Museology and, Dr. Vesna RADOJEVI], Associate Professor at the Introduction to Conservation and Restoration Faculty of Technology and Metallurgy in Belgrade Dr. Mirko ZUROVAC, Full Professor at the Faculty – Technology of and Introduction to Materials of Philosophy in Belgrade – Aesthetics Dr. Radoslav ALEKSI], Full Professor at the Dr. Vukoman JOKANOVI], Scientifical Councellor Faculty of Technology and Metallurgy in Belgrade at the Institute »Boris Kidri~« Vin~a, – Technology of and Introduction to Materials associate in the teaching process Dr. Slobodan MARKOVI], Docent at the Dr. Aleksandar ^U^KOVI], Docent Faculty of Philosophy in Belgrade – Psychology at the Faculty of Economy in Subotica Dr. Zdravko MILINKOVI], Docent at the Faculty – History of Design of Fine Arts – Methodology Jelena PANTOVI], associate in the teaching process Nenad PROKI], Full Professor at the Faculty of Dramatic Maja MILINI], associate in the teaching process Arts in Belgrade – History of Theatre Milo{ PAVLOVI], associate in the teaching process

FACULTY OF APPLIED ARTS 51 FAKULTET PRIMEWENIH UMETNOSTI

DEKANI I PRODEKANI FACULTY OF APPLIED ARTS

DEANS AND VICE-DEANS Bogoqub TEOFANOVI] prodekan 1975–1977 \or|e ROSI] dekan 1977–1979 Vladimir TODOROVI] prodekan 1977–1979 Stjepan FILEKI prodekan 1977–1979 Sini{a VUKOVI] dekan 1979–1981 Lidija MI[I] prodekan 1979–1981 Branislav SUBOTI] prodekan 1979–1981 Stjepan FILEKI dekan 1981–1985 DEKANI I PRODEKANI Nikola KUZMANOVI] prodekan 1981–1983 od 1948. do 2006. godine Bo`idar XMERKOVI] prodekan 1981–1985 Zora DAVIDOVI] prodekan 1983–1985 Branko [OTRA rektor 1948–1955 Gradimir PETROVI] dekan 1985–1987 \or|e KREKI] prorektor 1948–1955 Slobodan \URI^KOVI] prodekan 1985–1987 \or|e KREKI] rektor 1955–1957 Borislav RAKI] prodekan 1985–1987 Aleksandar SEKULI] dekan 1957–1959 Rajko NIKOLI] dekan 1987–1991 Vinko GRDAN dekan 1959–1965 Nikola KUZMANOVI] prodekan 1987–1991 Milenko [ERBAN dekan 1965–1967 Branislav STAJEVI] prodekan 1987–1989 Rajko NIKOLI] prodekan 1965–1967 Miodrag BAJI] prodekan 1989–1994 Rajko NIKOLI] dekan 1967–1973 Miodrag @IVKOVI] dekan 1991–1994 Aleksandar TOMA[EVI] prodekan 1967–1969 Kosta KRSMANOVI] dekan 1994–1996 Zvonimir VEBER prodekan 1969–1973 Milanka BERBEROVI] prodekan 1994–1996 Miodrag @IVKOVI] dekan 1973–1977 Aleksandar PAJVAN^I] prodekan 1994–1996 Sini{a VUKOVI] prodekan 1973–1975 Branko VUJOVI] dekan 1996–2001 Bogdan KR[I] prodekan 1975–1977 Miodrag BAJI] prodekan 1996–2000

54 FAKULTET PRIMEWENIH UMETNOSTI Zvonimir VEBER Vice-Dean 1969–1973 Miodrag @IVKOVI] Dean 1973–1977 Sini{a VUKOVI] Vice-Dean 1973–1975 Bogdan KR[I] Vice-Dean 1975–1977 Bogoljub TEOFANOVI] Vice-Dean 1975–1977 \or|e ROSI] Dean 1977–1979 Vladimir TODOROVI] Vice-Dean 1977–1979 Stjepan FILEKI Vice-Dean 1977–1979 Sini{a VUKOVI] Dean 1979–1981 Lidija MI[I] Vice-Dean 1979–1981 Branislav SUBOTI] Vice-Dean 1979–1981 Stjepan FILEKI Dean 1981–1985 DEANS AND VICE-DEANS Nikola KUZMANOVI] Vice-Dean 1981–1983 from 1948 to 2006 Bo`idar D@MERKOVI] Vice-Dean 1981–1985 Zora DAVIDOVI] Vice-Dean 1983–1985 Branko [OTRA Rector 1948–1955 Gradimir PETROVI] Dean 1985–1987 \or|e KREKI] Vice-Rector 1948–1955 Slobodan \URI^KOVI] Vice-Dean 1985–1987 \or|e KREKI] Rector 1955–1957 Borislav RAKI] Vice-Dean 1985–1987 Aleksandar SEKULI] Dean 1957–1959 Rajko NIKOLI] Dean 1987–1991 Vinko GRDAN Dean 1959–1965 Nikola KUZMANOVI] Vice-Dean 1987–1991 Milenko [ERBAN Dean 1965–1967 Branislav STAJEVI] Vice-Dean 1987–1989 Rajko NIKOLI] Vice-Dean 1965–1967 Miodrag BAJI] Vice-Dean 1989–1994 Rajko NIKOLI] Dean 1967–1973 Miodrag @IVKOVI] Dean 1991–1994 Aleksandar TOMA[EVI] Vice-Dean 1967–1969 Kosta KRSMANOVI] Dean 1994–1996

FACULTY OF APPLIED ARTS 55 Branislav STAJEVI] prodekan 1996–1997 Jadranka SIMONOVI] prodekan 2001–2004 Dragan DIMITRIJEVI] prodekan 1998–2000 Borivoj DEDI] prodekan 2002–2004 Stanko ZE^EVI] prodekan 2000–2001 Vladimir KOSTI] dekan 2004– Vladimir KOSTI] prodekan 2000–2001 Du{an RUSALI] prodekan 2004– Milanka BERBEROVI] dekan 2001–2004 Borivoj DEDI] prodekan 2004–2006 Slobodan KAJTEZ prodekan 2001–2002

56 FAKULTET PRIMEWENIH UMETNOSTI Milanka BERBEROVI] Vice-Dean 1994–1996 Milanka BERBEROVI] Dean 2001–2004 Aleksandar PAJVAN^I] Vice-Dean 1994–1996 Slobodan KAJTEZ Vice-Dean 2001–2002 Branko VUJOVI] Dean 1996–2001 Jadranka SIMONOVI] Vice-Dean 2001–2004 Miodrag BAJI] Vice-Dean 1996–2000 Borivoj DEDI] Vice-Dean 2002–2004 Branislav STAJEVI] Vice-Dean 1996–1997 Vladimir KOSTI] Dean 2004– Dragan DIMITRIJEVI] Vice-Dean 1998–2000 Du{an RUSALI] Vice-Dean 2004– Stanko ZE^EVI] Vice-Dean 2000–2001 Borivoj DEDI] Vice-Dean 2004–2006 Vladimir KOSTI] Vice-Dean 2000–2001

FACULTY OF APPLIED ARTS 57 FAKULTET PRIMEWENIH UMETNOSTI

ADRESE I KONTAKT TELEFONI FACULTY OF APPLIED ARTS

ADDRESSES AND TELEPHONES OBJEKAT FAKULTETA U ULICI KRAQA PETRA 4

Dekanat – tel: 3285 065 Sekretar – tel/faks: 182 047 Ra~unovodstvo – tel: 2623 207 Studentska slu`ba – tel: 2622 613 Arhiva – tel: 630 748 Portirnica – tel: 3285 082

OBJEKAT FAKULTETA U ULICI KARA\OR\EVA 15

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60 FAKULTET PRIMEWENIH UMETNOSTI THE BUILDING AT 4, KRALJA PETRA STREET

Dean’s Office – tel: +381 11/ 3285 065 Secretariat – tel: +381 11/ 182 047 (also fax number) Finance Office – tel: +381 11/ 2623 207 Students Registry Office – tel: +381 11/ 2622 613 Archival Office – tel: +381 11/ 630 748 Receptionist – tel: +381 11/ 3285 082

THE BUILDING AT 15, KARA\OR\EVA STREET

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FACULTY OF APPLIED ARTS 61 OBJEKAT FAKULTETA U ULICI SLOBODANKE DANKE SAVI] 21

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OBJEKAT FAKULTETA U ULICI KOSAN^I]EV VENAC 29

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62 FAKULTET PRIMEWENIH UMETNOSTI THE BUILDING AT 21, SLOBODANKE DANKE SAVI] STREET

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Library – tel: +381 11/ 2625 887 Receptionist – tel: +381 11/ 2625 738 e-mail addresses: [email protected]; [email protected]

FACULTY OF APPLIED ARTS 63 PUBLIKACIJA JE [TAMPANA UZ FINANSIJSKU POMO] MINISTARSTVA PROSVETE REPUBLIKE SRBIJE

THE PUBLICATION IS PRINTED WITH FINANCIAL ASSISTANCE FROM THE MINISTRY OF EDUCATION OF THE REPUBLIC OF SERBIA

CIP – Katalogizacija u publikaciji Narodna biblioteka Srbije, Beograd

378.6:73/78(497.11)”1957/2007”

ISBN 978-86-7167-038-8 a) Univerzitet umetnosti (Beograd) – 1957–2007 COBISS.SR-ID 141207052