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KRETANJA 31 | 19 Utjecalo Na Pojedine Umjetničke Sudbine Je Obnova HNK Koja Je Započela U Veljači 1967., a Završila Krajem Studenog 1969

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KRETANJA 31 | 19 Utjecalo Na Pojedine Umjetničke Sudbine Je Obnova HNK Koja Je Započela U Veljači 1967., a Završila Krajem Studenog 1969 KRETANJA KRETANJA MOVEMENTS ČASOPIS ZA PLESNU UMJETNOST | DANCE MAGAZINE 31 | 19 ZLATNE ŠEZDESETE ili kako se stvarala suvremena baletna scena u Hrvatskoj THE GOLDEN SIXTIES or How Contemporary Ballet Scene in Croatia Was Created 31 KRETANJA, časopis za plesnu umjetnost 31 MOVEMENTS, Dance Magazine 31 2019 IZDAVAČ / PUBLISHER Hrvatski centar ITI / Croatian Centre of ITI Basaričekova 24, 10 000 Zagreb, Croatia www.hciti.hr [email protected] UREDNIŠTVO / EDITORIAL BOARD Maja Đurinović (urednica broja / Issue Editor) Nada Dogan (likovna urednica / Art Director) Iva Nerina Sibila Željka Turčinović OBLIKOVANJE I PRIJELOM/ DESIGN & LAYOUT Nada Dogan LEKTURA, KOREKTURA / CROATIAN LANGUAGE EDITING Andrea Poljak PRIJEVOD NA ENGLESKI / ENGLISH TRANSLATION Ivana Ostojčić NA NASLOVNICI / COVER Maja Bezjak, Tristan i Izolda, kor. M. Bezjak, TV balet, Zagreb (1968), foto/Photo: Đ. Slako ZA IZDAVAČA / FOR THE PUBLISHER Željka Turčinović TISAK / PRINT: ITG d.o.o. Zagreb ISSN: 1334-1073/Vol. 24 / br. 31 / godina 2019. (tisak) ISSN: 2584-363X (online) ISSN: 1334-1073 / Vol. 24 / No. 31 / Year 2019. (Print) ISSN: 2584-363X (online) KRETANJA, časopis za plesnu umjetnost 31 objavljena su zahvaljujući financijskoj potpori Ministarstva kulture RH i Gradskog ureda za kulturu Grada Zagreba. MOVEMENTS, Dance Magazine 31 was financially supported by Croatian Ministry of Culture and the City of Zagreb‘s Council for Culture. Kretanja ČASOPIS ZA PLESNU UMJETNOST | DANCE MAGAZINE 31 | 19 V. Butorac i N. Yoshida, Žarptica, kor. P. van Dyk, HNK Zagreb (1969); foto: V. Pondelak M. Bezjak, sa snimanja njezinog TV baleta Impresije, maštanja u Dubrovniku (1969) Gostovanje Baleta HNK Zagreb u Grazu (1966); foto: V. Pondelak I. Ivanko i N. Kokotović, Na plaži, kor. I. Sertić, HNK Zagreb (1967) SADRŽAJ CONTENT Maja Đurinović 04 Uvodnik 06 Introduction Andreja Jeličić Davor Schopf i Mladen Mordej Vučković 09 Između Sovjeta i Amerikanaca; 51 Prodor zagrebačkog Baleta u 01 dominantne tendencije na međuna- 06 inozemstvo – izgradnja svijesti o rodnoj plesnoj sceni 1960-ih vlastitoj vrijednosti 14 Between the Soviets and the Ameri- 56 Zagreb Ballet’s International Break- cans: Dominant Tendencies on the through – Raising Awareness of 1960s International Dance Scene One’s Own Value Jozo Puljizević Maja Đurinović 21 Tema: „balet“ 63 Plesna dijaspora 60-ih 02 24 Subject: Ballet 07 68 Dance Diaspora of the Sixties Maja Bezjak Davor Schopf i Mladen Mordej Vučković 29 Generacija željna vedrine i 75 Tijelo ne može poletjeti – ako nema 03 kreativne slobode 08 kud (60-e u Rijeci) 32 Generation Keen on Joy and 79 A Body Cannot Fly If It Has Nowhere Creative Freedom to Go (Sixties in Rijeka) Ljiljana Gvozdenović Sanja Petrovski 37 Najteža premijera Sonje Kastl 83 Prije požara (60-e u Splitu) 04 40 Sonja Kastl’s Hardest Premiere 09 86 Before the Fire (Sixties in Split) Slavko Pervan Tina Vrtat Stipić 45 Vrijeme optimizma 89 Baletno obrazovanje šezdesetih: 05 48 Times of Optimism 10 Škola za klasični balet 94 Ballet Education in the Sixties – School of Classical Ballet MOVEMENTS 31 | 19 3 UVODNIK: Maja Đurinović Nova Kretanja nastavljaju se na prethodni broj časopisa s kojim i veličinu kazališnog ansambla, repertoar i gostovanja, posto- čine tematsku cjelinu pod zajedničkim naslovom Zlatne šez- janje Škole za klasični balet i Udruženja baletnih umjetnika, i desete. Riječ je o drugom dijelu radova izlagača sa simpozija razvoj televizijskog medija. Ovaj „zagrebački“ blok započinje- Zlatne šezdesete ili kako se stvarala suvremena plesna scena u mo prijenosom razvidno angažiranog teksta Joze Puljizevića o Hrvatskoj1 koji smo ispred Hrvatskog centra ITI organizirale situaciji u baletu objavljenog u Telegramu 1960. koji uključuje i moderirale Željka Turčinović i ja. I dok su se Kretanja br. 30 i razgovor s plesačima i šefom Baleta. Zanimljivo je koliko je fokusirala na osobe, događaje i skupine vezane uz formiranje autor točno i anticipativno skenirao situaciju i postojeće prije- suvremene hrvatske plesne scene, broj 31 prati hrvatski balet pore. Slijede kao i uvijek svježa i lucidna sjećanja Maje Bezjak, u godinama kada se Jugoslavija kao prva zemlja socijalističkog primabalerine i koreografkinje, prve Labudice i Pepeljuge uređenja i osebujna pripadnica Istočnog bloka polako otvara zagrebačkog Baleta; zatim razgovor Ljiljane Gvozdenović sa Zapadu, nastojeći održati balans političke nesvrstanosti. Stoga Sonjom Kastl, umjetnicom koja u ovom periodu emancipacije temu broja otvaramo iznimno zanimljivim tekstom Andreje i osamostaljenja zagrebačkog Baleta postaje prva direktorica Jeličić o situaciji nadmetanja Sovjeta i Amerikanaca za kulturnu Baleta; te vrlo zanimljiv pogled još jednog sudionika vremena prevlast, odnosno kako se hladni rat projicirao na svjetsku ple- – Slavka Pervana, plesača koji je iz Sarajeva došao u Zagreb na snu scenu, i koje su to dominantne tendencije suprotstavljene služenje vojnog roka (obvezu koju su mnogi plesači u usponu 1960-ih na području plesne umjetnosti. karijere nastojali izbjeći) i to je izvrsno iskoristio kao jednu U tekstovima koji slijede željeli smo povezati i umrežiti značajnu fazu u svom umjetničkom razvoju. Davor Schopf i što više relevantnih sjećanja i dokumenata vremena, a istovre- Mladen Mordej Vučković obradili su temu međunarodnih meno iz pozicije pedesetogodišnje distance osjetiti atmosferu gostovanja Baleta koja su, nakon jednom osvojenog statusa umjetničkog poleta i vježbanja kreativnosti u vrijeme opće ansambla reprezentativne kvalitete za promociju države, bila materijalne oskudice i – što je bilo mnogo teže za prevladati, neobično brojna i, moglo bi se reći, redovita praksa tih godi- i pitanje koliko su do danas prevladane – duhovnih barikada. na. Autorica ovog uvodnika je – uz konzultacije s Milkom „Kad su potkraj prošle godine funkcioneri Saveza balet- Šparemblekom, pokušala zabilježiti trenutne spoznaje vezane nih umjetnika na jednom sastanku s predstavnicima Saveza uz neobično brojnu skupinu plesača koji su se iz zagrebačkog kompozitora htjeli utvrditi način za podjelu autorstva scenski Kazališta uputili u veliki svijet i tamo narasli do impresiv- postavljenog baleta između skladatelja i koreografa, onda se nih umjetničkih pozicija. I na kraju, Tina Vrtar Stipić dala je gotovo postavilo pitanje – je li koreografija umjetnost i pri- stručan uvid u Školu za klasični balet, ustanovu iz koje 60-ih pada li koreografu uopće pravo autorstvo?“2 izlazi plesački kadar koji utječe „na stvaranje prepoznatljivog Šezdesete u hrvatskom baletu pratimo najviše iz perspek- baletnog ansambla“. Baletna škola je tih godina (kao i Škola za tive Zagreba koji se nameće kao centar s obzirom na kvalitetu ritmiku i ples) izložena prvim pokušajima reformi i reorgani- zacija, ali bez financijske podrške i rješenja ključnog problema: 1 Simpozij je započeo 28. rujna 2018. u MUO razgovorom s Majom nedostatka stručnog pedagoškog kadra. Bezjak, a nastavljen je 29. i 30. rujna u prostoru Hrvatskog centra ITI. Ono što nismo zabilježili u navedenim tekstovima, a spada 2 J.Š. „Tko će koreografirati domaći balet?“ Vjesnik, 25. siječnja 1965. u ovo razdoblje zagrebačkog Baleta i nesumnjivo je posredno 4 KRETANJA 31 | 19 utjecalo na pojedine umjetničke sudbine je obnova HNK koja je započela u veljači 1967., a završila krajem studenog 1969. Tom prilikom su nestale znamenite đačke galerije (desna ženska i lijeva muška) na kojima se skupljala mladež, domaći baleto- mani i fanovi pojedinih plesača koji su redovito pratili pro- gram i bodrili svoje miljenike. No, prigodom obnove konačno je realiziran pothodnik koji povezuje zgradu Kola i Kazališta pa plesači i svi ostali nisu više morali za vrijeme proba i nastu- pa pretrčavati preko ceste. Balet je tijekom radova izmješten u Dom armije (prilično neprimjeren za kazališni ples) i Rad- ničko sveučilište „Moša Pijade“. Tekstovi Davora Schopfa i Mladena Mordeja Vučkovića (60-e u Baletu HNK Ivana pl. Zajca) i Sanje Petrovski (60-e u Baletu HNK Split), važni su prilozi za popunjavanje slike i kompletniji doživljaj povijesnog trenutka u razvoju hrvat- skog baleta. Nažalost, u osječkom se Kazalištu tih godina balet sustavno gasi (odlaskom Sofije Cvjetičanin zatvara se i Niža baletna škola), iako se 1970. pokreće važan i obećavajući festi- val: Annale komorne opere i baleta. MOVEMENTS 31 | 19 5 INTRODUCTION: Maja Đurinović The new issue of Movements follows up on the previous issue reographer, the question was raised – is choreography art and and with it comprises a thematic complex under the common should a choreographer even be considered an actual author?”2 title The Golden Sixties – part two of the papers submitted The sixties in Croatian ballet are mainly examined from by the speakers at the symposium The Golden Sixties or How Zagreb’s point of view, which held a central position given Contemporary Dance Scene in Croatia Was Created1, organised the quality and size of the theatre company, repertory and and moderated on behalf of the Croatian Centre ITI by Željka tours, the existence of the School of Classical Ballet and the Turčinović and myself. And while Movements no. 30 focused Association of Ballet Artists, as well as the evolution of the on persons, events and companies related to the establishment television medium. This ‘Zagreb block’ begins with a reprint of the contemporary dance scene in Croatia, the 31st issue exa- of an visibly engaged text by Jozo Puljizević about the ballet mines Croatian ballet at a time when Yugoslavia, as the first situation, published in Telegram in 1960, including interviews country with
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