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Orchestra Magazin Broj 32-34

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Orchestra 32/33/34 Novembar 2004 - April 2005 Osnivaå, direktor i glavni i odgovorni urednik, CID member: Decenija åasopisa Orchestra 2 Ivana Milovanoviñ, [email protected] Orchestra Columna 5 JUÅE, DANAS, SUTRA (011) Proo Tools 6 Dani Indije u Beogradu 7 Redakcija: Plesni susret severa i juga Evrope 8 Milica Zajcev, baletski kritiåar / teatrolog, [email protected] Aterballeto 9 Mirjana Zdravkoviñ, baletski kritiåar / publicista, [email protected] Ko to tamo peva? 11 Nadeæda Mosusova, urednik podlistka Orchestra plus - Konci vremena Intervju- Staãa Zurovac 18 Mr Vesna Kråmar, teatrolog [email protected] Mraåna åajanka 20 Igrajuñi derviãi 21 Minja Katiñ-Šerban, novinar-saradnik [email protected] Body Shop IV 22 Ivana Milanoviñ, novinar-saradnik [email protected] Ãesti roðendan Madlenianuma 22 Milica Ceroviñ, teoretiåar igre [email protected] Oåima gledaoca 24 Stalni saradnici: Villis 25 Nela Antonoviñ, Dalija Añin, Dobrila Došen, Višnja Ðorðeviñ, Korak dalje 05 26 Milica Jovanoviñ, Aja Jung, Marija Jankoviñ, Jelena Kajgo, Les hommes caches 27 Softly harshly 29 Sofija Košniåar, Marijana Komljenoviñ, Ksenija Šukuljeviñ-Markoviñ, Takmiåenje baletskih ãkola 30 Teodora Sujiñ, Vesna Vukajloviñ, Gabriela Tegleši Velimiroviñ... JUÅE, DANAS, SUTRA (021) Dopisnici: Suba u nama 32 Xenia Rakic (New York), Miomir Nikoliñ (Berlin), Oæaloãñena porodica 34 Esmeralda 35 Dragoslava Koprivica (Paris), Tamara Tomiñ-Vajagiñ (Toronto), Gostovanje predstave Triptih 38 Maria Softsi (Solun/Atina), Jenny Veldhuis (Amsterdam), Summary Serbia and Montenegro Section 39 Breda Pretnar (Ljubljana), Neja Kos (Ljubljana), Mladen Mordej BUGARSKA / SOFIJA 44 Vuåkoviñ (Zagreb), Maja Bezjak (Zagreb), Emilija Dæipunova (Skoplje) Intervju-Silvija Tomova FRANCUSKA / PARIZ 46 Fotografi: Les Rencontres-Zelena knjiga, Miša Mustapiñ, Goran Micevski, Milovan Kneæeviñ, Branko Ignjatoviñ, Nacionalni centar za igru, Martina Ristiñ, Milan Radovanoviñ, Stevan Cvikiñ, Branko Luåiñ, Agnes Izrine Miomir Nikoliñ, Branko Jovanoviñ... GRÅKA / ATINA 50 Olimpijsko leto Lektura: Jovanka Kljajiñ GRÅKA / ARGOS 52 Kongres Cid-Unesco Grafiåki urednila: Tea Nikoliñ HRVATSKA / ZAGREB 53 Tehniåki savetnik / oprema podlistka: Dušan Ševiñ Krcko Oraãåiñ, Silfida, Korice: Nenad Bañanoviñ L.Mila Milovac, Tala, P.Mlakar ATTACHMENT 61 Adresa redakcije / Address: Lucia Lacarra HRVATSKA / RIJEKA 62 Ñirila i Metodija 2a/III Marquezomanija i joã poneãto 11000Beograd ITALIJA / RIM 66 Serbia and Montenegro Labudovo jezero Phone/fax: 00381 11 3808212 ITALIJA / VERONA 68 [email protected] Kamena kruna KANADA / TORONTO 69 Izdavaå: Nacionalni balet Kanade, World Moves Udruæenje Intra Contemporary Dance Company MONAKO / MONTEKARLO 73 Monaco Dance Forum 2004 Ñirila i Metodija 2a/III NEMAÅKA / BERLIN 80 11000Beograd Ring, Marijinski teatar, Malahov i prijatelji Serbia and Montenegro Tanz Olymp Phone/fax: 00381 11 3808212 NEMAÅKA / ESEN 89 [email protected] Nemaåka godiãnja nagrada za igru SLOVENIJA / LJUBLJANA 91 Štampa: Serenade, Crvena Æizela, Veronika... SLOVENIJA / MARIBOR 95 GRAFONIN, Uspavana lepotica Viline vode 47, 11000 Beograd ATTACHMENT 98 Tel. 2751 556, 2751 434 Povodom smrti Uve Ãolca SAD / NJUJORK 100 Rukopisi se ne vrañaju ÃVAJCARSKA / LOZANA 108 Prix de Lausanne 2005 Æiro raåun: POGLED U NEPOZNATO 113 Societe Generale Yugoslav Bank AD - ekspozitura Genex Balet za odrasle-prvi deo Dinarski raåun: INTRA DANCE, 275 22 14600 081 104 88 JUBILEJI Ruski kamerni balet-Moskva ISSN 0354-7922 ORCHESTRA CATHEDRA 116 Autorizacija Tehnika M.Grejam, Psiholoãki aspekti baleta, “Projektinova” Kako uñi u svet baleta 32/05 od 25.3.2005. SEÑANJA 122 Anika Radoãeviñ, Milena Åutukoviñ Popoviñ Cena: 500,00 din / 15 e ORCHESTRA MAIL: Pismo R. Oller-a 124 Summary International section 125 Godiãnja pretplata: SCG 1.500,00 din; EU 50 e, USA - 50$; Canada 55$ Korice/Cover page: Ko to tamo peva? Glavni urednici: Dalija Imaniñ, kor. Staãa Zurovac Milena Katiñ Ãerban (1995-996) Fotografija: Branko Jovanoviñ Milica Zajcev (1996-1998) Marija Jankoviñ (1998-2003) 1 Orchestra () 2005. DECENIJA ÅASOPISA ORCHESTRA Obrañamo se publici BRANKO JOVANOVIÑ Orchestra () 2005. 2 d trenutka kada je prvi put ugledao svetlost dana, taåno na Svetski dan igre 29. aprila 1995. godine, pa sve do danas, na desetogodiãnjicu svog postojanja, åasopis Orchestra pratila su dva, kao srasla uz njega, atributa - prvi i jedini. I kada bi Orchestra morala imati kakvu zvaniånu legitimaciju, na njoj bi neizostavno pisalo “prvi i jedini”. Dve odrednice nisu tu da bi nepotrebno veliåale ovo veñ decenijsko pisano zdanje, veñ viãe zbog toga da bi ukazale na prirodu okruæenja, na stepen neophodnosti ovakvog åasopisa u naãoj sredini. I zaista, pored svojevremenog uspona naãe baletske umetnosti, pored “zlatnog doba”, a kasnije i pojave novih plesnih tendencija, era naãe baletske periodike zapoåinje tek pojavom Orchestre i traje veñ deset godina bez postojanja konkurencije. To sve znaåi da “prvi i jedini” sluæe zapravo tome da Oovaj åasopis smeste u jedan istorijski, ako hoñete i situacioni kontekst. Jer, podsetimo se samo podatka da se prvi broj Orchestre pojavio u vreme duboke i opãte druãtvene krize, ali i krize baleta, taånije usred ãtrajka baletskih umetnika Narodnog pozoriãta. Podsetimo se i toga da iste te godine svet igre jedva da je bio zastupljen u ãtampi, a pisanje o meðunarodnim igraåkim produkcijama nije ni postojalo. Señajuñi se tog prvog perioda, Ivana Milovanoviñ, osnivaå i direktor Orchestre, uvek voli da istakne “novi- narski lobi, odnosno redakcije za kulturu koje su prve prihvatile pojavu Orchestre te su ubrzo izgraðeni odliåni uzajamni partnerski i prijateljski odnosi”. Meðutim, glavni problem tada leæao je u åinjenici ãto ovde nije postojala åitalaåka publika za takvu vrstu åasopisa. Zbog toga je poslovni princip, na kome je uredniãtvo temeljilo Orchestru, od samog poåetka glasio - “obrañamo se publici”. Cilj Orchestre oduvek je bio da se kod åitalaåke publike formira najviãi moguñi nivo liånog obrazovanja. Pretpostavljeni nivo åita- laåkog obrazovanja podrazumeva pre svega pravovremenu informisanost o zbivanjima, tokovima, pravci- ma igre, kod nas i u svetu. Shodno tome, Orchestrin zadatak jeste da probudi interesovanje åitalaåke pub- like (koju åine igraåi, koreografi, glumci, novinari, fotografi, ljubitelji, gledaoci...), to jest da ih podstakne da se ãto aktivnije ukljuåe u svet igre i to na naåin na koji njima najviãe odgovara. I, najzad, poãto je reå o novinarstvu (istina, moæda neãto specifiånom), vrhunski zadatak koji je Orchestra sebi postavila glasi - pro- fesionalizam, ãto obavezno podrazumeva i kritiåki ugao posmatranja. Na 13. meðunarodnom trijenalu pozoriãne knjige i periodike u okviru 48. Sterijinog pozorja, odlukom meðunarodnog æirija Orchestra je nagraðena Specijalnom diplomom za doprinos baletskoj umetnosti i, obratite paænju, za razvijen kritiåki odnos prema njoj. S druge strane, upravo zbog svojih kritiåkih analiza, ovaj åasopis o igri nije uvek i nije od svih prijateljski prihvañen. Ono ãto nekog stranca najpre moæe zbuniti jeste to da za svih ovih deset godina saradnja izmeðu Orchestre i baletskih ãkola nijednom nije bila ostvarena. Da li zbog neåijeg besa usled kritikova- nja rada baletskih ãkola, da li zbog neåeg drugog, ali prema tvrdnjama Ivane Milovanoviñ, u redakciju Orchestre nikada nije stiglo ni jedno jedino obaveãtenje iz baletskih ãkola, te se uredniãtvo åasopisa dovi- ja na razne naåine ne bi li rad ãkola i njihovih uåenika ipak ostao zabeleæen. Takoðe, ãto opet åudi, prema reåima direktorke, Orchestra je najmanje prihvañena i od beogradskog baletskog sveta. Zbog toga, kako god to nekome zvuåalo, ona voli da naglasi - “diåim se saradnjom sa Srpskim narodnim pozoriãtem”, navodeñi kako su najbolji primeri te saradnje upravo promocije novih brojeva Orchestre u Novom Sadu, na koje dolaze prvaci, solisti, ålanovi Baleta SNP-a. Iduñi dalje odavde, ka Evropi i svetu, domañi magazin o igri uæiva sve veñe divljenje i poãtovanje. Osim liånih iskustava o ukazanoj poåasti, koje u señanju nosi svako ko je predstavljao Orchestru u svetu, ono ãto je za nas ovde najvaænije jesu upravo hrpe materijala koje stiæu sa svih strana, zvaniåni pozivi za brojne dogaðaje, pa åak i nuðenje finansijske pomoñi ne bi li se omoguñilo prisustvovanje kakvom takmiåenju ili festivalu. No, sagledajmo u celini raspon kretanja Orchestre. Zarad toga posluæiñemo se jednim brojem Orchestre (jesen 1996) i delovima njegovog posve zanimljivog uvodnika: “U junu ove godine Orchestra je ostvarila izuzetan prodor u svet. Police Igraåke kolekcije Javne biblioteke za izvoðaåke umetnosti grada Njujorka krase åetiri broja naãeg åasopisa.” (...) “Tako, odnedavno, na policama skromnih liånih biblioteka i biblioteka Domova kulture iz Beograda, Gnjilana, Doljevca, Åaåka, Obrenovca, Pirota, Parañina, Subotice i Bele Palanke uredno sloæena stoje åetiri broja Orchestre.” ...Zainteresovana da se podsetim, nastavila sam da prelistavam ovaj peti broj Orchestre, sasvim sluåajno izvuåen sa police. Neverovatno kako ga zub vremena nije ni dotakao. Otvara ga prelepa fotografija Vladimira Malahova iz Bajadere, ponovo åitam o Igoru Zelenskom... Nekada, åitajuñi ovaj tekst prvi put åula sam za njega. Tekst “Pobednici i sudije govore” (Milice Zajcev i A. Udoviåki) poåinje ovako: “Neposredno po zavrãetku Petog meðunarodnog baletskog takmiåenja u Njujorku, na konferenciji za ãtampu u Zelenom salonu Linkoln centra, kojoj je, sem nas iz Orchestre, prisustvovala joã samo jedna tele- vizijska ekipa, dobili smo ekskluzivne odgovore sudija i takmiåara na pitanja o sadaãnjosti
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    Pirmin Treku

    REVISTA DE LA CASA DE LA DANZA ÁNGEL CORELLA / Nº 13 Julio, Agosto y Septiembre de 2006 DANen escenaZA PIRMIN TREKU MIKHAIL BARYSHNIKOV TAMARA ROJO ÁNGEL CORELLA II Encuentro de Crítica y Danza SUMARIO 4 Editorial Iratxe de Arantzibia 5 10 años de l'Aula de Dansa de la Universitat Autònoma de Barcelona Nèlida Monés i Mestre 6 PORTADA: Pirmin Treku Iratxe de Arantzibia 9 24 Amigos de Honor y D.I.D A vueltas con el fouetté Perfecto Uriel Víctor M. Burell 10 26 Encuentro de Crítica y Danza Gala de Estrellas con Tamara Rojo Rosli Ayuso Jaume Capdevila Sergio Cardozo 28 12 Boom Boom en el Villaroel Los Hispanoamericanos en el firmamento Paloma Torres Célida P. Villalón 28 y 31 15 El Ballet Chonchoi Compañía David Campos Fredy Rodríguez P2501 29 16 Las artes del movimiento en el futuro educativo Mikhail Baryshnicov Galo Sánchez Joaquim Noguero 30 18 Las tendinitis de tobillo y pie Tamara Rojo servida en copa de cristal Antonio Díaz Pérez Danza en escena 31 20 DVD’S 75 años del Royal Ballet Iratxe de Arantzibia 32 AGENDA / CALENDARIO 21 Ángel Corella, 10 años en el ABT 33 Iratxe de Arantzibia NOTICIAS 22 34 Críticas VITRINAS ABIERTAS: Haydée Caycho Célida P. Villalón/ Iratxe de Arantzibia Ana Isabel Elvira (EDITORIAL) DANe n e s cZe nAa Nº13, julio, agosto y septiembre de 2006 © Danza en Escena PRESIDENTE DE HONOR: Ángel Corella EDITORA: Mila Ruiz COORDINADOR: Perfecto Uriel reiskaidecafobia. Miedo al número trece. Éste es un vocablo propio de los supersticiosos de pro. A partir de ahora, también CONSEJO DE REDACCIÓN: servidora lo va a incluir en su léxico personal.
  • Dance Brochure

    Dance Brochure

    Boosey & Hawkes Music Publishers Limited Dance 2006 Edition Also see www.boosey.com/downloads/dance06icolour.pdf Figure drawings for a relief mural by Ivor Abrahams (courtesy Bernard Jacobson Gallery) The Boosey & Hawkes catalogue contains many of the most significant and popular scores in the dance repertoire, including original ballets (see below) and concert works which have received highly successful choreographies (see page 9). To hear some of the music, a free CD sampler is available upon request. Works written as ballets composer work, duration and scoring background details Andriessen Odyssey 75’ Collaboration between Beppie Blankert and Louis Andriessen 4 female singers—kbd sampler based on Homer’s Odyssey and James Joyce’s Ulysses. Inspired by a fascination with sensuality and detachment, the ballet brings together the ancient, the old and the new. Original choreography performed with four singers, three dancers and one actress. Argento The Resurrection of Don Juan 45’ Ballet in one act to a scenario by Richard Hart, premiered in 1955. 2(II=picc).2.2.2—4.2.2.1—timp.perc:cyms/tgl/BD/SD/tamb— harp—strings Bernstein The Dybbuk 50’ First choreographed by Jerome Robbins for New York City Ballet 3.3.4.3—4.3.3.1—timp.perc(3)—harp—pft—strings—baritone in 1974. It is a ritualistic dancework drawing upon Shul Ansky’s and bass soli famous play, Jewish folk traditions in general and the mystical symbolism of the kabbalah. The Robbins Dybbuk invites revival, but new choreographies may be created using a different title. Bernstein Facsimile 19’ A ‘choreographic essay’ dedicated to Jerome Robbins and 2(II=picc).2.2(=Ebcl).2—4.2.crt.2.1—timp.perc(2)— first staged at the Broadway Theatre in New York in 1946.
  • The International Journal of Arts

    The International Journal of Arts

    VOLUME 13 ISSUE 4 The International Journal of Arts Theory and History __________________________________________________________________________ At the Heart of Creativity John Cranko and His Genius in Two Cities BRUCE MCCORMICK ARTSINSOCIETY.COM EDITOR Barbara Formis, University Paris I, France HEAD OF JOURNAL PRODUCTION McCall Macomber, Common Ground Research Networks, USA EDITORIAL ASSISTANT Crystal Lasky Robinson, Common Ground Research Networks, USA ADVISORY BOARD The Arts in Society Research Network recognizes the contribution of many in the evolution of the Research Network. The principal role of the Advisory Board has been, and is, to drive the overall intellectual direction of the Research Network. A full list of members can be found at http://artsinsociety.com/about/advisory-board. PEER REVIEW Articles published in The International Journal of Arts Theory and History are peer reviewed using a two-way anonymous peer review model. Reviewers are active participants of The Arts in Society Research Network or a thematically related Research Network. The publisher, editors, reviewers, and authors all agree upon the following standards of expected ethical behavior, which are based on the Committee on Publication Ethics (COPE) Codes of Conduct and Best Practice Guidelines. More information can be found at: THE INTERNATIONAL JOURNAL http://artsinsociety.com/journals/model. OF ARTS THEORY AND HISTORY http://artsinsociety.com ARTICLE SUBMISSION ISSN: 2326-9952 (Print) The International Journal of Arts Theory and History ISSN: 2327-1779 (Online) publishes quarterly (March, June, September, December). http://doi.org/10.18848/2326-9952/CGP (Journal) Please visit http://artsinsociety.com/journals/call-for-papers to find out more about the submission process.
  • Balletin Dance Ediciones

    Balletin Dance Ediciones

    y algo tiesos, pero oscuras y con numerosos lunares grandes, blancos, voluminosos, plásticos; luego, ajustados atuendos que proponían ambigüedades entre vendajes, tiesuras uniformadas, androginia a un tiempo helada y sensual. Dualidad de movimien- tos: evoluciones en redondo, circulares, lentas y sostenidas; lue- go, favorecimiento de desplazamientos lineales, recorridos aún básicamente lentos pero sobre corporeidades espigadas, hacia la vertical. Y esto con dos momentos centrales: uno, con polleras, construyendo visiones que podrían caracterizarse de anfibológi- cas en tanto aunaban el peso a tierra (las amplias faldas rozaban el piso en recorridos lentos) con la ligereza del tenor sostenido y hasta leve en que, como flotados, evolucionaban los cuerpos en un inmenso escenario oscuro. El otro momento: ciertas rigideces con algo de autómatas, secuenciaciones en exactas medidas, ya sin polleras que, quietas, pendían de lo alto. El ejercicio resultan- te: co-construir, como espectador, de esas abstracciones (la to- talidad del discurso en danza parecía sólo rastros de algo mayor) el entramado y la objetividad de lo que se veía bailado. La elección de Pablo Rotemberg fue August Strindberg. Al pro- grama de mano agregó un fragmento de la nouvelle Infierno. Una posibilidad de lectura del texto del autor sueco es que su infierno es el estado de estar en el mundo en cuanto hay otros, especialmente femeninos (el texto tiene matices autobiográficos relativos a sus alteraciones mentales y a su segundo matrimonio, puntal de la misoginia del escritor). Esta perspectiva afirmaría Diego Poblete y una sombra que se está (estamos) en el infierno, incluso (o especialmente) estando en casa. Y, como buena imagen de lo infernal, lo aparen- tiva, sin alcanzar la ironía, en la ausencia aparente de solución temente caótico, violento, disruptivo es su señal, con inclusiones de continuidad (pero, ¿qué continuidad sería esperable en los de engaños seductores.