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Orchestra Magazin Broj 45/50 y g y Br. 45 / 50 OrchestraDANCE MAGAZINE ČASOPIS ZA UMETNIČKU IGRU besplatan primerak / Free Copy Orchestra plus - Konci vremena Umetnička igra u Srbiji - putokaz istraživačima Milica Zajcev + Orchestra plus Plesna scena u Njujorku Marija Krtolica Poštovani čitaoci, Još jedna tema često me je naterivala na razmišljanje – poli- prošlo je više od godinu i po dana od poslednjeg izdanja tički korektan govor prema predloženom kodeksu neseksističke časopisa Orchestra. Različiti društveni, ekonomski, socijalni i upotrebe jezika (2004), preciznije predlog medijima da koriste lični razlozi osnivača uspeli su da tokom ovog perioda zakoče forme ženskog roda za profesije i titule, odnosno, kada su tzv. Orchestru koja se pre četrnaest godina drsko pojavila u javnosti ženske reči na prepad osvojile srpski jezik i počele da nas forsi- kao prvi i još uvek jedini stručno – informativni i edukativ- raju da za sve profesije, pošto poto, pronađemo oblik ženskog ni časopis posvećen isključivo svetu umetničke igre, kada je roda jer jedino tada iskazujemo poštovanje prema liku i delu Orchestra i postala član porodice koja čini srpsku kulturnu peri- neke ženske osobe. Činjenica je da se u ženski rod mogu sasvim odiku. Kreativni napori građanina, osnivača časopisa, ali i izvan- lako prevesti nazivi brojnih profesija, pogotovo u umetničkoj redno, dugogodišnje ulaganje intelektualne svojine u Orchestru igri, ali problem nastaje kada se rogobatnim i za govor teško svih njenih saradnika iz zemlje i sveta u ovom periodu konačno razumljivim i izgovorljivim ženskim rodom neke profesije ozbilj- su potpuno zanemareni, zatim uporno prećutkivani i, najzad, no ruži lepota i pravopis srpskog jezika. Dakle, može koreograf- s velikim uspehom zaboravljeni. Na ovu i ovakvu temu svi koji kinja, scenografkinja, igračica, ali, šta ćemo sa - šminkerkom !? Ta uporno objavljuju časopise kulturne periodike u Srbiji mogli bi reč u svakodnevnom životu ima po kvalitetu i značenju sasvim da napišu, uverena sam, brojnije i neuporedivo ozbiljnije i argu- drugačiji, negativan smisao. Zaista ne razumem zašto danas mentima podržane rečenice nego što su ove moje, skromne, stručnjaci ženskog pola u bilo kojoj profesiji, a stručnost niko ne emotivne, ničim potkrepljene i malobrojne. Odgovor na pita- osporava, horski insistiraju da pored njihovog imena stoji: istori- nje da li nam je i posle četrnaest izdavačkih godina potrebna čarka, savetkinja, izdavačica, državna sekretarka, pedagoškinja, Orchestra, osnivač prepušta čitaocima do kojih Orchestra stiže sudinica, osnivačica, lektorka, advokatica, dramaturškinja, prevo- kao besplatan primerak, jer sam još uvek nema sopstvenu solu- diteljka, tapiseristkinja, muzikološkinja, psihološkinja, turizmo- ciju, a ona najgora, koja se svodi na malu reč ne, od prethodnog loškinja, pedagoškinja, javna tužiteljka, dekanka (joj), savetkinja, izdanja svakodnevno se nameće. Pomenuti period bio je pun događaja koji bi mogli biti tema ovog uvodnika, ali pred vama ću glasno razmišljati o samo nekoliko. Za početak, slažem se sa svim kri- tičarima sadržaja ovog izdanja da objavljeni tekstovi mogu realno biti imenovani beleškom iz arhive, ali osnivač i urednik Orchestre dozvo- ljava sebi da ovo izdanje doživljava kao kopču sa vremenom iza nas, sa plesnim događajima koje smo, verovatno, već zaboravili i kao istrajavanje na osnovnom uređi- vačkom principu – da se na strani- cama Orchestre trajno zabeleže sve domaće plesne produkcije i da se, u realnim okvirima, izvesti o doga- đajima sa svetske plesne scene. Ovo izdanje otvara rubrika Orchestra columna tekstom koji je još pre 20 godina skretao pažnju Shen Wei Dance Arts, najšire javnosti na značaj stručne Folding kritike i plesnih kritičara za traja- nje i razvoj umetničke igre u Srbiji. Aktuelnost ovog teksta i u menadžerka, kritičarka... Za ženu akademika ili pedijatra ne današnjem vremenu trebalo bi mnogima da bude znak za uzbu- umem da smislim ženski rod...U našim i pisanim i elektronskim nu i razlog konačnog okupljanja. medijima, ali i u mnogim državnim institucijama, ovaj namet, Iz redova saradnika Orchestre potekla je inicijativa da se za koji nisam sigurna da ima ozbiljnijeg naučnog opravdanja, osnuje Beogradski plesni centar, sigurna kuća za sve nezavisne već je našao svoju punu primenu. Da li su ovi skrojeni tvorbeni savremene plesne kreatore i izvođače. Sekretarijat za kulturu modeli iznikli iz semena politikanstva ili za to postoje i neki dru- grada Beograda podržao je ovu inicijativu i Centar udomio na gačiji razlozi, nisam sigurna, ali znam da u Srbiji nasilje u poro- pravom mestu, u Ustanovi kulture «Vuk Karadžić». Na kom nivou dici eskalira, da nam nikada više sigurnih ženskih kuća nije bilo su bila ulaganja u ovaj projekat (ne samo finansijska) 2007 i potrebno, da se kao društvo sve ozbiljnije i češće suočavamo 2008. godine i koliko su mu poverenje ukazali domaći savreme- sa pedofilijom i nasiljem nad decom, fizičkim i seksualnim, da ni koreografi, trupe i igrači, svedoče stranice koje su posvećene često žena na istom radnom mestu ima manju platu od muškog savremenim plesnim produkcijama domaćih koreografa koje kolege... Eto...Da li ova tema ima veze sa Orchestrom? Ima, sem su se realizovale tokom samo šest meseci javnog rada Centra. časnih izuzetaka, Orchestru rade sve same žene. Ne bih želela Osnivač Orchestre, kao jedan od inicijatora osnivanja Centra i u da im povredim osećanja i integritet ako pored njihovog imena svojstvu predsednika Odbora Beogradskog plesnog centra sada, stoji naziv profesije u muškom rodu, a pogotovu da to protu- na ovom mestu, mora da konstatuje da je ovaj, po značaju i zna- mače kao moj gest nepoštovanja njihovog ličnog doprinosa čenju izuzetan projekat, nečijom nebrigom, zanemarivanjem, Orchestri. prećutkivanjem ili pod uticajem tako dobro došlog razloga kakva je svetska monetarna kriza, najblaže rečeno - ostao bez S poštovanjem, daha. Eto... Ivana Milovanović, osnivač i glavni urednik * ^asopis pomogli Ministarstvo kulture Republike Srbije i Sekretarijat za kulturu grada Beograda Orchestra 45 – 50, decembar 2007 / maj 2009. osnivaå i glavni i odgovorni urednik: ORCHESTRA COLUMNA 2 Ivana Milovanoviñ, [email protected] GRAND PAS 011 struåni savetnik: Mraåna åajanka 3 Milica Zajcev, kritiåar umetniåke igre, teatrolog i Igra senki na mom ramenu i åvor 4 publicista Igra senki na mom ramenu 5 kritiåari: Åvor 7 Milica Zajcev, Mirjana Zdravkoviñ, Jelena Kajgo, Refleksija 8 Milica Ceroviñ i Milena Ñujiñ - prvi pokuãaj Put u Damask 9 Kriva za Gausa 11 saradnici: Ja sam svoja kolekcija 12 Viãnja Ðorðeviñ, Nela Antonoviñ, Svetlana Ðuroviñ, Block 16 Milan Maðarev, Marijana Komljenoviñ, Branko Malek... Meðuprostor 17 dopisnici / kritiåari: Ona se budi 18 Xenia Rakic (Njujork), Miomir Nikoliñ (Berlin), Don Kihot 19 Tamara Tomiñ Vajagiñ (Toronto/London), Maria Sof- Kabare 22 tsi (Atina), Breda Pretnar (Ljubljana), Mladen Mordej Ova igra dugo traje 24 Vuåkoviñ (Zagreb), Maja Ðurinoviñ (Zagreb), Emilija Zemlja 25 Dæipunova (Skoplje), Marija Krtolica (Njujork)... Tri sestre 28 fotografi: Condenz festival 29 Srðan Mihiñ, Miomir Polzoviñ, Branislav Luåiñ, Nenad Oslikano injem 30 Miloãeviñ, Miloã Kodemo i brojni svetski fotografi Beogradski festival igre 08 31 korektura i redaktura: Ivana Milovanoviñ Festival koreograf. minijatura 08 40 Neåista krv 42 lektura: Dobrila Doãen BELEF 08 44 grafiåki urednik: Tea Nikoliñ INTERVJU - Odil Diboc 48 tehniåki urednik: Duãan Ãeviñ UBUS 50 Sho-Bo-Gen-Zo 52 adresa redakcije / address: BITEF 08 54 Ñirila i Metodija 2a BELGRADE DANCE SCREEN 57 11.000 Beograd BEMUS 08 58 Serbia Dæinovske æene 61 Phone / fax: 00381 11 38 08 212 Oh, no ! 62 Email: [email protected] Svetlana Zaharova i prijatelji 64 izdavaå / editor: GRAND PAS 021 Udruæenje Intra Contemporary Dance Company Labudovo jezero 66 Ñirila i Metodija 2a INFANT 08 67 11.000 Beograd Novosadska igraåka panorama 70 Serbia Maåak u åizmama 71 Phone / fax: 00381 11 38 08 212 Dama sa kamelijama 72 Ãtampa: Knjige o igri 74 GRAFONIN, Viline vode, Beograd, tel: 011 / 275 15 56 SUMMARY SERBIA 76 æiro raåun: AUSTRIJA / Beå 78 Societe Generale Bank - ekspozitura Genex BIH / Sarajevo 80 Dinarski raåun: INTRA DANCE, 275 22 14600 081 FRANCUSKA / Pariz 81 104 88 GRåKA / Atina 83 HRVATSKA / Zagreb 84 ISSN 0354 - 7922 HRVATSKA / Rijeka 88 autorizacija: KANADA / Toronto 90 R, Projektinova“ 32 / 05 od 25.3.2005. INTERVJU - Sonia Rodriguez 94 MAKEDONIJA / Skoplje 100 Glavni urednici: NEMAÅKA / Berlin 102 Milena Katiñ Ãerban (1995 - 1996) NEMAÅKA / Karlsruhe 108 Milica Zajcev (1996 - 1998) SAD / Njujork 109 Marija Jankoviñ (1998 - 2003) TURSKA / Anatolija 122 VELIKA BRITANIJA / London 124 Rukopisi se ne vrañaju. ÃVAJCARSKA / Lozana 126 SUMMARY INTERNATIONAL 128 NASLOVNA STRANA: SVETLANA ZAHAROVA I PRIJATELJI, TRISTAN I IZOLDA, PAS DE DEUX, kor. K. Pastor Svetlana Zaharova i Andrej Merkurijev BEZ ODOBRENJA OSNIVAÅA ÅASOPISA NIJE DOZVOLJENO KORIÃÑENJE SADRÆAJA IZDANJA, KAO NI OBJAVLJENIH FOTOGRAFIJA IZ SRBIJE I IZ INOSTRANSTVA Orchestra 1 BALETSKA KRITIKA Nepriznati kritiåarski kod Objavljujemo tekst o baletskoj ili bolje reåeno o kritici umetniåke igre, koji je ãtampan pre dvadeset godina sa namerom da poãtovani åitaoci sami uoåe pozitivne promene u razvoju tog vida pozoriãnog stvaralaãtva, ali i ono ãto nije ostvareno ni posle dve decenije. Kritika umetniåke igre jeste postala priznati kritiåarski rod, ali se i dalje suoåava sa nizom prepreka, koje treba savladati da bi umetnost Terpsihore zaista postala nezaobilazni i visoko vrednovani åinilac naãeg savremenog pozoriãta. Za sve (malobrojne) baletske kritiåare
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