1 Lenki I Relji, Mojim Unucima
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VLASTA VELISAVLJEVI]: U Svakoj Drami Ima Malo Komedije
PONEDELJAK, 20. mart 2017, broj 7112, godina XX cena 40 din, 20 den, 1 KM, 0,7 EUR (CG), 0,7 EUR (SLO), 5 kuna, 1,2 EUR (GR) www.danas.rs lumac Vlasta Velisavljevi} ovogodi{nji je dobitnik nagrade Zlatni }uran za `ivotno delo, najvi{eg priznanja Pozori{nog festivala Dani komedije u Jagodini, koje }e mu biti uru~eno G na zatvaranju manifestacije, 27. marta. „Vlasta Velisavljevi} na{ je rekorder po broju odigranih uloga u pozori{tu, na filmu i televiziji – odigrao je vi{e od 360 uloga! Verujemo, da je po tome bez premca i u svetu. Jo{ kao de~ak daleke 1938. stao je na pozori{nu scenu sa koje ne silazi ni danas. Upravo ga gledamo u Jugoslovenskom dramskom pozori{tu u ulozi Hamletovog oca. Njegove kolege glumci govore o Vlasti kao jednom od najomiljenijih partnera. U svojoj rasko{noj galeriji likova koje je tuma~io Velisavljevi} je izbegao gluma~ki kalup koji bi ga karakterisao. Njegove transformacije su ga u~inile podjednako uspe{nim tuma~em svekolikih ljudskih sudbina. Njegove brojne gluma~ke bravure osta}e u se}anju pozori{nih poslenika. Vlasta Velisavljevi} trajno je urezao svoje ime u pozori{nu umetnost Srbije“, navodi se u obrazlo`enju Upravnog odbora festivala. „Mi glumci `ivimo zbog nagrada i kritika, ali i zbog li~nog zadovoljstva. Bavimo se poslom koji volimo. E sad, em se bavim poslom koji volim, em dobijam za to platu u svom Jugoslovenskom dramskom pozori{tu, em su tu i neke nagrade. Kud }ete vi{e?! Ima li i{ta lep{e i bolje“, ka`e za Danas slavni glumac. -
Bitef Satnica Preuzmite
SREDA / WEDNESDAY 20.09. Kulturni centar Beograda, Bitef biblioteka / Promocija knjige NOĆNI DNEVNIK, 1985 – 1991 / Galerija Artget / 20:00 Bitef Library Book promotion NIGHT DIARY 1985 – 1991 Belgrade Cultural Centre, Artget Gallery ČETVRTAK / THURSDAY 21.09. Radionica / Radionica pozorišne kritike SUMNJIVA LICA / Festivalski centar / 12:00 Workshop Theatre criticism workshop PERSONS OF INTERESTS Festival Centre PETAK / FRIDAY 22.09. Promocija knjige KULTURNA DIPLOMATIJA: Bitef biblioteka / UMETNOST, FESTIVALI I GEOPOLITIKA / Festivalski centar / 16:00 Bitef Library Book promotion CULTURAL DIPLOMACY: Festival Centre ARTS, FESTIVALS AND GEOPOLITICS Glavni program / Klub Bitef teatra / 18:00 Main Programme QUIZOOLA! Bitef Theatre Club SUBOTA / SATURDAY 23.09. 24/7: DUGE PREDSTAVE I NIKAD KRAJA / Svečana sala Rektorata Međunarodna tribina / Univerziteta umetnosti / 24/7: DURATIONAL PERFORMANCES 10:30 International panel discussion Formal Hall, University of Arts, WITH NO END IN SIGHT The Rectory OLIMP Glavni program / U SLAVU KULTA TRAGEDIJE – PREDSTAVA OD 24 SATA / Sava Centar / 18:00 Main Programme MOUNT OLYMPUS Sava Centre TO GLORIFY THE CULT OF TRAGEDY – A 24H PERFORMANCE PONEDELJAK / MONDAY 25.09. Otvaranje i interaktivna prezentacija Bitef polifonija / TROGLASNE INVENCIJE BITEF POLIFONIJE / Ustanova kulture „Parobrod“ / 12:00 Bitef Polyphony Opening and interactive presentation Cultural Institution “Parobrod” THREE-PART INVENTIONS OF BITEF POLYPHONY Centar za kulturnu Bitef polifonija / Predstava MALA ŽURKA PROPUŠTENOG PLESA / dekontaminaciju -
Authenticity in Electronic Dance Music in Serbia at the Turn of the Centuries
The Other by Itself: Authenticity in electronic dance music in Serbia at the turn of the centuries Inaugural dissertation submitted to attain the academic degree of Dr phil., to Department 07 – History and Cultural Studies at Johannes Gutenberg University Mainz Irina Maksimović Belgrade Mainz 2016 Supervisor: Co-supervisor: Date of oral examination: May 10th 2017 Abstract Electronic dance music (shortly EDM) in Serbia was an authentic phenomenon of popular culture whose development went hand in hand with a socio-political situation in the country during the 1990s. After the disintegration of Yugoslavia in 1991 to the moment of the official end of communism in 2000, Serbia was experiencing turbulent situations. On one hand, it was one of the most difficult periods in contemporary history of the country. On the other – it was one of the most original. In that period, EDM officially made its entrance upon the stage of popular culture and began shaping the new scene. My explanation sheds light on the fact that a specific space and a particular time allow the authenticity of transposing a certain phenomenon from one context to another. Transposition of worldwide EDM culture in local environment in Serbia resulted in scene development during the 1990s, interesting DJ tracks and live performances. The other authenticity is the concept that led me to research. This concept is mostly inspired by the book “Death of the Image” by philosopher Milorad Belančić, who says that the image today is moved to the level of new screen and digital spaces. The other authenticity offers another interpretation of a work, or an event, while the criterion by which certain phenomena, based on pre-existing material can be noted is to be different, to stand out by their specificity in a new context. -
PUBLIC THEATRE's SOCIAL ROLE and ITS Audiencea
ТEME, г. XLV, бр. 1, јануар − март 2021, стр. 213−229 Оригинални научни рад https://doi.org/10.22190/TEME190702012M Примљено: 2. 7. 2019. UDK 792: 316.4.062 Ревидирана верзија: 17. 11. 2021. Одобрено за штампу: 26. 2. 2021. PUBLIC THEATRE’S SOCIAL ROLE AND ITS AUDIENCEa Ksenija Marković Božović* University of Arts in Belgrade, Faculty of Dramatic Arts, Belgrade, Serbia Abstract Today, public theatre is directed toward adapting to its contemporary socio- economic context. In doing this, it is trying to preserve its artistic values and at the same time fulfill and diversify its social functions and missions. When we talk about public theatre’s social function, i.e. the public value it produces, some of the main issues concern its contribution to the most pressing social matters. In general, these issues concern public theatre’s role in strengthening social cohesion, cultural emancipation and social inclusion, its role in the process of opening dialogues, revising formal history and re-examining traditional forms of thinking. Fulfilment of these functions is strongly linked with the character of public theatre’s audiences. In more practical terms, the scope of public theatre’s social influence is dependent on how homogenous its audiences are. If one considers artistic organizations’ need for sustainability as a key factor in their need for constantly widening their audience, and particularly the inclusion of “others” (those not belonging to the dominant cultural group), in the context of contemporary society’s need for social and cultural inclusion, then the task of today’s public theatres becomes rather difficult. Simply said, there are too many needs to be met at the same time. -
Jewish Communities in the Political and Legal Systems of Post-Yugoslav Countries
TRAMES, 2017, 21(71/66), 3, 251–271 JEWISH COMMUNITIES IN THE POLITICAL AND LEGAL SYSTEMS OF POST-YUGOSLAV COUNTRIES Boris Vukićević University of Montenegro Abstract. After the dissolution of Yugoslavia, the Jewish community within Yugoslavia was also split up, and now various Jewish communities exist in the seven post-Yugoslav countries. Although all of these communities are relatively small, their size, influence, and activity vary. The political and legal status of Jewish communities, normatively speaking, differs across the former Yugoslav republics. Sometimes Jews or Jewish communities are mentioned in constitutions, signed agreements with governments, or are recognized in laws that regulate religious communities. Despite normative differences, they share most of the same problems – a slow process of return of property, diminishing numbers due to emigra- tion and assimilation, and, although on a much lower scale than in many other countries, creeping anti-Semitism. They also share the same opportunities – a push for more minority rights as part of ‘Europeanization’ and the perception of Jewish communities as a link to influential investors and politicians from the Jewish diaspora and Israel. Keywords: Jewish communities, minority rights, post-communism, former Yugoslavia DOI: https://doi.org/10.3176/tr.2017.3.04 1. Introduction In 1948, the first postwar census in Yugoslavia counted 6,538 people of Jewish nationality, although many Jews identified as other nationalities (e.g. Croat, Serb) in the census while identifying religiously as Jewish, as seen by the fact that Jewish municipalities (or communities) across Yugoslavia had 11,934 members (Boeckh 2006:427). The number of Jews in Yugoslavia decreased in the following years after the foundation of the State of Israel. -
FILM FESTIVAL 22Nd - 29Th November 2012
UNDER THE AUSPICES OF THE EMBASSY OF THE REPUBLIC OF SERBIA IN PRETORIA SERBIAN ARTS AND CULTURE SOCIETY AFRICA SERBIAN FILM FESTIVAL 22nd - 29th November 2012 NU METRO, MONTECASINO An author’s perspective of the world Film, as a sublimation of all arts, is a true medium, a universal vehicle with which the broader public is presented with a world view, as seen by the eye of the fi lmmaker. Nowadays, due to the global economic crisis, which is ironically producing technological and all sorts of other develop- ments, an increasing number of people are pushed to the margins of average standards of living, and fi lmmakers are given the chance to bring under their ‘protection’ millions of disillusioned people with their fi lmmaking capabilities. Art, throughout its history, has always praised but has also been heavily critical of its subject. Film is not just that. Film is that and so much more. Film is life itself and beyond life. Film is everything many of us dream about but never dare to say out loud. That is why people love fi lms. That is why it is eternal. It tears down boundaries and brings together cul- tures. It awakens curiosity and builds bridges from one far away coast to another. Film is a ‘great lie’ but an even greater truth. Yugoslavian, and today the Serbian fi lm industry has always been ‘in trend’. It might sound harsh but, unfortunately, this region has always provided ample ‘material’ for fi lms. Under our Balkan clouds there has been an ongoing battle about which people are older, which came and settled fi rst, who started it and who will be fi rst to leave and such battles have been and continue to be an inspiration to fi lm producers. -
Etnoantropoloski Problemi 2017-02.Indd
UDK: 159.953 S A 792:316.7 DOI 10.21301/.122.13 Milena Dragićević Šešić Faculty of Drama Arts, University of Arts, Belgrade, Serbia [email protected] Milena Stefanović Faculty of Drama Arts, University of Arts, Belgrade, Serbia [email protected] Organizational trauma – Types of organizational forgetting in the case of Belgrade theaters Abstract: Organizational memory studies (OMS) frame memory in a managerial mode, treating it as a data storage, limiting the scope from wider field of social me- mory studies. There is a lack of understanding about how the process of institutional forgetting works and how some memories stay a part of oral narratives and commu- nicative social memory while they are omitted from the official memory represented by the official documents and events of remembering. Inspired by Paul Connerton’s article on the typology of forgetting we explore his typology in selected case studies of three public theaters located in Belgrade, focusing on remembering policy and practices investigating if a type of forgetting typical for a state/society/nation level is possible to be applied in the context of a cultural organization. We agree with Wessel and Moulds that developing common language and terminology would be important and beneficial for cross disciplinary dialogue. In this sense, the study shows how the typology of for- getting in societies can be applied and developed in the organizational memory studies and cultural management. The focus of the research is the dynamics of remembering and forgetting explored through analysis of the interaction between changing context, official institutional memories, and social communicative memories. -
MIKI MANOJLOVIC Monografija 08.Indd
A ko si ti? Automonografija Predraga Mikija Manojlovića Ova knjiga je posvećena Predragu Mikiju Manojloviću, laureatu nagrade Dobričin prsten za 2012. Dobitnici nagrade Dobričin prsten LJUBA TADIĆ (1980.) MIRA STUPICA (1981.) MIJA ALEKSIĆ (1982.) ZORAN RADMILOVIĆ (1983.) NEVENKA URBANOVA (1984.) RAHELA FERARI (1986.) BRANKO PLEŠA (1988.) DANILO STOJKOVIĆ (1990.) MARIJA CRNOBORI (1992.) MATA MILOŠEVIĆ (1994.) LJILJANA KRSTIĆ (1995.) PETAR KRALJ (1996.) OLIVERA MARKOVIĆ (1997.) RADE MARKOVIĆ (1998.) STEVAN ŠALAJIĆ (1999.) MIRA BANJAC (2000.) VLASTIMIR ĐUZA STOJILJKOVIĆ (2001.) STEVO ŽIGON (2002.) MIHAILO MIŠA JANKETIĆ (2003.) PETAR BANIĆEVIĆ (2004.) Automonografija dobitnika nagrade Dobričin prsten SVETLANA BOJKOVIĆ (2005.) BORA TODOROVIĆ (2006.) KSENIJA JOVANOVIĆ (2007.) PREDRAG EJDUS (2008.) 7 VOJISLAV BRAJOVIĆ (2009.) JELISAVETA SEKA SABLIĆ (2010.) RUŽICA SOKIĆ (2011.) PREDRAG MIKI MANOJLOVIĆ (2012.) JASNA ĐURIĆIĆ (2014.) SVEČANA DODELA NAGRADE DOBRIČIN PRSTEN PREDRAGU MIKIJU MANOJLOVIĆU NASLEĐE VELIKOG GLUMCA LJILJANA ĐURIĆ, predsednica Udruženja dramskih umetnika Srbije Verujem da većina vas poznaje istoriju Dobričinog prstena, ali isto tako verujem da ima i onih koji do sada ovu priču nisu čuli. Zato mi dozvolite da pročitam kratak zapis gospođe Ksenije Šukuljević Marković: Udruženje glumaca Kraljevine Jugoslavije dodelilo je zlatan prsten Dobrici Miluti- noviću, velikanu srpskog glumišta povodom četrdesete godišnjice njegovog umetničkog rada 1937. godine. Udruženje je smatralo da Dobricu Milutinovića treba izdvojiti iz plejade velikih glumaca i ovenčati nesvakidašnjom nagradom koja će se pamtiti i simbo- lizovati njegovu umetničku ličnost. Odlučilo je da prsten bude prelazni, da se dodeljuje Automonografija dobitnika nagrade Dobričin prsten najboljem glumcu i da se na taj način sačuva trajan spomen na Dobricu. Donet je i pra- vilnik po kojem je trebalo da Dobrica odredi dobitnika prstena ili da to učini odabrana tročlana komisija. -
Cirkus-Columbia-Pressbook.Pdf (1.2 Mib)
CIRKUS COLUMBIA A FILM BY DANIS TANOVlC´ SYNOPSIS Bosnia and Herzegovina, 1991. The communists have fallen from power and Divko Buntic returns to the small town where he grew up to reclaim his family home. After a 20-year exile in Germany, Divko arrives in his flashy red Mercedes with sexy young girlfriend Azra, lucky black cat Bonny and a pocketful of Deutschmarks. Cash and cousin Ivanda, the recently inducted “democratic” mayor, help Divko forcefully evict estranged wife Lucija and 20-year-old son Martin. Lucky to not have been jailed after their eviction skirmish with the police, Martin and Lucija are moved into a small dilapidated municipal apartment. Once settled in the comfort of his old house, Divko tries to reach out to Martin, the son he never knew. He offers Martin an invitation to live with him and his soon-to-be new wife Azra. When Lucija finds out, she is furious and fearful that she’ll lose her son to his father. Martin reassures his mother, but the young CB radio enthusiast continues to secretly visit his father’s home to use the equipment he left behind. When Divko’s beloved cat Bonny disappears, the whole town joins in a frantic search to get the cash reward. The daily hunt for the missing cat strains Divko’s fragile relationship with Azra. It also opens up an unexpected but strong attraction between Azra and Martin. Busy fretting over everyday concerns, most of the townsfolk seem to disregard the rumbling political unrest: Croatia has seceded, all Yugoslavs are being forced to take sides, and the Serbs begin bombing Dubrovnik. -
Memorinmotion
english memorInmotion pedagogical tool on culture of remembrance manual dvd second supplemented edition MemorInmotion Pedagogical Tool on Culture of Remembrance Second supplemented edition Manual DVD Sarajevo, 2016 Publication Title: Consultants: MemorInmotion - Pedagogical Tool on Culture of Suad Alić Remembrance Andrea Baotić Second supplemented edition Judith Brand Elma Hašimbegović Authors: Adis Hukanović Laura Boerhout Alma Mašić Ana Čigon Nerkez Opačin Bojana Dujković-Blagojević Christian Pfeifer Melisa Forić Soraja Zagić Senada Jusić Muhamed Kafedžić Muha Editor-in-chief: Larisa Kasumagić-Kafedžić Michele Parente Vjollca Krasniqi Nita Luci Project Coordinators: Nicolas Moll Michele Parente, forumZFD Michele Parente Melisa Forić, EUROCLIO HIP BiH Wouter Reitsema Laura Boerhout, Anne Frank House (Netherlands) Students of the PI Gymnasium Obala, Sarajevo CIP - Katalogizacija u publikaciji Nacionalna i univerzitetska biblioteka Bosne i Hercegovine, Sarajevo 791.5:725.94(497) MEMORLNMOTION : pedagogical tool on culture of remembrance : manual / [authors Melisa Forić ... [et al.] ; translators Lejla Efendić, Gordana Lonco]. - 2nd supplemented ed. - Sarajevo : Forum Ziviler Friedensdienste e.V. (forumZFD), 2016. - 101 str. : ilustr. ; 20 x 20 cm + [1] DVD Prijevod djela: Sjećanje u pokretu. - The authors: str. 93-96. - Bibliografija: str. 97-100 ISBN 978-9958-0399-6-6 1. Forić, Melisa COBISS.BH-ID 23297286 contents I. Manual 1.0. Introduction 1.1. Memorlnmotion - Pedagogical Tool on Culture of Remembrance 7 2.0. Essay: how to create an active culture of remembrance in our societies? 2.1. Challenging young people to reflect on monuments and their meaning 11 3.0. The pedagogical modules with lesson plans 3.1. Module I: Start-up 3.1.1. Lesson Plan 1: Who am I? 17 3.2. -
Iz Istorije Kulture I Arhitekture
Vladimir Mitrović Iz istorije kulture i arhitekture Zapisi jednog istraživača (1994−2014) Vladimir Mitrović • Iz istorije kulture i arhitekture MUZEJ SAVREMENE UMETNOSTI VOJVODINE Vladimir mitroViĆ IZ ISTORIJE KULTURE I ARHITEKTURE Zapisi jednog istražiVača (1994−2014) Aleksandar Kelemen Sadržaj: Uvodne napomene Iz istorije arhitekture XX veka Konkurs za gradnju pozorišta u Novom Sadu iz 1928/29. godine………………………….....…13 Primeri industrijske arhitekture novosadskih modernista………………………………........……21 Građevinarstvo i ekonomija između dva svetska rata……………………………………........……23 Arhitekta Juraj Najdhart i Novi Sad…………………………………………………………….........……….27 Prilog istoriji arhitekture socijalističkog šopinga: Samoposluga, robna kuća, buvljak, megamarket.….........................................................29 Staklo u novoj arhitekturi Bulevara oslobođenja u Novom Sadu: Zid i antizid………………….33 Novosadska arhitektura devedesetih godina: Kroz granje nebo……………………………………37 Efekat kanjona: O stambenoj izgradnji u Novom Sadu prvih godina nakon 2000……….45 Arhitektura u Vojvodini na početku XXI veka: Zaobilazne strategije………………………………47 Nova arhitektura porodičnih vila u Srbiji………………………………………………………….........….58 Kuća kao živa skulptura………………………………………………………………………...................………62 Arhitekta je (i) umetnik……………………………………………………………………..................………….65 Soliteri Srbije Prilozi za istoriju srpskih solitera (I): Život i smrt srpskih solitera - Potkivanje žabe….....73 Prilozi za istoriju srpskih solitera (II): Soliteri u ravnici…………………………………………….....78 -
Glava U Torbi
Borka Pavićević czkd 2017. GLAVA U TORBI Borka Pavićević Sadržaj 5 ZAŠTO I ZATO 131 Bogujevci/vizuelna istorija 7 ZABELEŽITI SVOJE VREME 135 Rezervna država 2013. 2014. 11 Ne radite „svoj posao“ 141 Čudo u Šarganu 14 Spomenik 144 Jututunska Juhahaha i Osmi putnik 18 Palme, Ana Lind i Zoran Đinđić 148 Bal na vodi 22 Dogodilo se u Berlinu 152 Elektrošok 27 4. april – Dan studenata 155 Botoksi i botovi 31 Amarkord 159 Sanjao sam noćas da vas nema 35 Vukovar je oslobođen 162 1914.-2014. 39 Skladište 166 Veliki i mali 43 Nekom rat, nekom brat 169 Užižena istorija 48 Čin ubijanja 173 Okupacija 52 Belavista 176 Hip hop u Nišu 56 Peć, Peja, Bistrica, Kosovo 180 Između 60 Freska 183 Đavolja varoš 65 General žive vojske 186 Aleksandra Zec 69 Poslednje dete 190 Kenotaf 73 Na Gvozdu 193 Šta je tu sporno 77 Što te nema 197 Sve je pod kontrolom 81 I did it my way, Dragan Babić 201 Magla izlazi na scenu 85 Songšpil o parama i vlasti 205 Berlin-Užice 89 Mira Trailović (1924.-1989.) 208 Uzdignuta zvezda 93 Na vest o smrti hotela „Crna Gora“ 212 Mitotvorno mesto 97 „Mira Trailović“, „Zoran Đinđić“ 215 Kula Janković Stojana i Oliver Frljić 218 Surovo pozorište 101 Libricid, biblioklazam, knjigocid 222 Gluvi i slepi 104 Jovanka Budisavljević Broz 225 Dobro jutro, Beograde 108 Savršeno dosledan 228 Nepodnošljivi hor 112 „Everyman Đilas“ 233 Sve je po zakonu 116 Pomeranje dna 236 Drugi jezik 119 Crvena jabuka 239 Okupacija u 26 slika 123 LIBERA! VIA, VIA... 243 Vreme koje se približava Mina Kovačević (1919.-2013.) 247 Parade 127 Prvi ili peti 250 Šarena jaja 253 Uživamo u prevazilaženju straha 387 Nitko i nitkovi 257 Marija Crnobori 1918.