ISSN 0352-9738 · 2021. 5. 14. · ISSN 0352-9738 MATICA SRPSKA JOURNAL OF STAGE ARTS AND MUSIC 50...
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ISSN 0352-9738 · 2021. 5. 14. · ISSN 0352-9738 MATICA SRPSKA JOURNAL OF STAGE ARTS AND MUSIC 50 Editorial board Zoran T. Jovanović, PhD, Editor-in-Chief (Museum of Theatrical
AND MUSIC
Editorial board
Zoran T. Jovanovi, PhD, Editor-in-Chief (Museum of Theatrical Arts
of Serbia, Belgrade)
Mirjana veselinovi Hofman, PhD (University of Arts in Belgrade,
Faculty of Music Arts)
Katalin Kai, PhD (University of Novi Sad, Faculty of
Philosophy)
Ivana PerKovi, PhD (University of Arts in Belgrade, Faculty of
Music Arts)
Ira PRODANOv, PhD (University of Novi Sad, Academy of Arts)
Dušan RNJAK, PhD (University of Novi Sad, Academy of Arts)
Katarina Tomaševi, PhD, Deputy Editor-in-Chief (Institute of
Musicology of the Serbian Academy of Sciences and Arts,
Belgrade)
Marija BERGAMO, PhD (Croatia) (University of Ljubljana, Slovenia,
Faculty of Philosophy)
Jadwiga SOBCZAK, PhD (Poland) (University of Lodz, Department of
Slavic Languages)
NOvI SAD 2014
50
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2014
5
, , STUDIES, ARTICLES, TREATISES
( ) . . . . . . . . . . . . 9 Dr mirJana ZaKi and dr Jelena
Jovanovi Ethnomusicological Sources about the Instrument Kaval in
Serbia and Macedonia . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . 24
. . . . . . . . . . . . . . 25 Dr miHal BaBiaK Status of Theater in
the Postmodern Society . . . . . . . . . . . . . . . . 31
mp . . . . . . . . . . . 33 Mr neBoJša anTeševi Epistemology of
Scenography in the Theaters Today . . . . . . . . . . . 58
: Play Strindberg . . . . . . . . . . . . . . . . . . . . . . . . .
. . . 61 Dr mirJana veselinovi Hofman Towards a Bottomless Pit: The
Dramaturgy of silence in the string Quartet Play Strindberg by
ivana stefanovi . . . . . . . . . . . . . . . . . . . . 71
. . . . . . . . . . . . . . 73 raDoš miTrovi Basic Considerations
of the Issues of Temporality in the Chamber Opera Petersburg and
the Literary Piece by Andrei Bely . . . . . . . . . . . . .
79
. . . . . . . . . . 81 Mr milena s. Zori Slavenisms as a Form of
Characterization of Cheaters in Sterija’s Com- edies Laa i paralaa
and Pokondirena tikva . . . . . . . . . . . . . . . 91
6
. . . ( ) – . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . 93 Dr vesna o. marKovi To Miss L. D. (Lenka Dunerski) in the
memorial Book – the Honorable sacrifice of lazar . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . 102
. – (ii) . . . . . . . . . . . . . . . . . . . . 103 Dr sofiJa m.
Košniar Female Theater Artists on Their Profession through the Pen
of Miloš Crn- janski – Intertextual Considerations (II) . . . . . .
. . . . . . . . . . . . 118
. . 119 Dr aleKsanDar vasi Slavophilia and Serbian Musicography
Between the Two World Wars . . 131
. . a . . . . . . . . . . . . . . . . . . . 133 Dr Dragana v.
Jovanovi Conductor’s Interpretation of the Liturgy of St. John the
Chrysostom for Three Female Voices by Petar Konjovi . . . . . . . .
. . . . . . . . . . 151
m . . . . . . 153 Dr goran gavri Mechanistic Understanding of the
Puppet Theater . . . . . . . . . . . . . 164
– . . . . . 165 Dr ivana ignJaTov PoPovi People in Someone Else’s
Pocket – ranko mladenovi’s lost Play . . . . 172
, : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
MILICA ZAJCEv vladimir logunov, artist of lyrical Dancing Dreams: a
Critic’s view . . 190
7
100 On the OccasiOn Of a Jubilee
stevan stOJanOvi MOkranJac a centennial of his Death
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . 191 Dr Ore s. kOsti Public and Private with stankovi
and Mokranjac. literary reflections . 199
: . . . . . . . . . . . . . . . 201 Dr bOgDan akOvi the sacred
choral genre and the Modernization of serbian Music. the
transformation of Mokranjac’s heritage in the work of his
disciples. . . . 213
, , MeMOirs, Materials, cOntributiOns
. 215 Dr vesna PenO On the trace of unnoted church Melodies from
the time of turkocraty . 222
: Memories of Ruica Soki (A Sketch for a Portrait) . . . . . . . .
. . . . 223
revieWs
– „“: 1999–2012. . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . 231
. . . . . . . . . . . . . . . . . . . . . . . . . . 235
*
: , , . ( , - ), . , .
: , , , .
- , , (, 2013). - . – , , , , ( ) –
uDC 681.818.5:781(497.11+497.7)
* : - (. 177024, ) : , , (. 177004, ), (2011–2014).
10
, . , , , - . , . : , XX XXi , () - .1
, XX , , , , . - (, ) . - , . , , - , , - (MUZIKA
ENCIKLOPEDIJA, 1974, 2: 513;23 ENCIKLOPEDIJA JUGOSLAVENSKE GLAZBE,
1984, 1: 551–224); , (kavalli, .), 25 (ENCIKLOPEDIJA JUGOSLAVENSKE
GLAZBE, 1984, 1: 458). - (MUZIKA ENCIKLOPEDIJA, 1977, 3: 428;
ENCIKLOPEDIJA JUGOSLAVENSKE GLAZBE, 1984, 2: 349), (Jovanovi 2012:
186).
. (Curt sachs) „ “ (saCHs 1962: 206). - „“
23 : . 24 , , -
, . 25 .
21
, , , . , (anthony Baines), „ “ „“ - , (BAINES 1991: 181–183;
1996: 144; . mARCUSE 1975: 83; aTANASOv 2001: 424). - (BAINES 1962:
181).
- . , , XX , (Hadzi manov 1961: 21) . - , , (. . 2004). , , ,
.
„ “ - . () ( 1979), , , , , . , , , , XX (ovanovi 2012).26
26 , , , , , , . , (Jovanovi 2012: 196–197).
22
( ) , (. . ) 2004. . „ “ – – , (ZaKi 2012). , „“ . XX , , - .
, () , - , , , , , - . .
, , , MI sv A7, 028-033. -, . , . (. . . ).
: , : .. „“, 2003. , . , -
. : , 1979. , (.). – . , , 2510081 [..]. , 2001, . , . „ .“
1 (2) (1926): 383–396. , . – .
. . , 1928. , , – . , 1931. , . „, -
.“ 49 (2013): 9–22.
, . , IV . : , 1948. , , „ .“ -
1958. (. . . ). , 1960: 225–240.
, . „ .“ – 11 (1964): 773–780.
, aleksandar. „o muzikim instrumentima makedonskih slovena –
Zapisi, likovne predstave i narodne pesme.“ Zvuk 89 (1968):
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1967 (. . ). , 1974: 87–99. , . , . .
. : - , 2013.
, . „ “, . : , , 1993 ().
, . – . : , 2004.
, . „ “, , /113. : , , 2006 ().
. , 44. , . „ .“ ii/iii (1959): 174–176. , . „ .“
, 1 (1968): 137–146. , . „ .“ 14.
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ATANASOv, v. and r. C. morris, r. Petrovi, T. alexandru. „Kaval
[kavali, kavall].“ in vol. 13 of The New Grove dictionary of music,
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ATANASOvSKI, sran. „The sound of Kaval: reimagining the soundscape
of serbia“, paper presented at the conference The Ottoman Past in
the Balkan Present: Music and Mediation. Athens, 30 September – 2
October 2010.
BAINES, Anthony. Woodwind Instruments and Their History. london:
faber and faber limited, 24 Russel Square, 1962.
BAINES, Anthony. Woodwind Instruments and Their History. new York:
Dover Publications, Inc., 1991.
BAINES, Anthony. Lexikon der Musik-Instrumente. stuttgart: metzler,
Kassel: Bärenreiter, 1996. BRÖMSE, Peter. Flöten, Schalmein und
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verlag Rudolf M. Rohrer, 1937. Devi, Dragoslav. Etnomuzikologija –
III deo. Beograd: univerzitet u Beogradu, 1977. Devi, Dragoslav
(.). Narodna muzika tradicija. Srbija – instrumentalni
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, rTB [..]. AKOvAC, Dejan. „narodna muzika pirotskog kraja“,
diplomski rad. Beograd: fakultet muzike
umetnosti, 1993.
International Folk Music Council Xii (1960): 21–22. Jovanovi,
Jelena. „identities expressed through practice of kaval playing and
building in serbia
in 1990s.“ Musical practices in the Balkans: ethnomusicological
perspectives, Academic conferences, vol. CXlii, Department of fine
arts and music, Book 8: Belgrade: sasa, institute of musicology,
2012: 183–202.
Kuliši, Špiro. Traditions and Folklore in Yugoslavia. Belgrade:
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Comprehensive Dictionary. new York: W. W. norton
& Company. Inc., 1975. SaCHs, Curt. Reallexikon der
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1962. TAMMER, Anthony. Kavals and Dzamares: End-blown Flutes of
Greece and Macedonia, 2000.
<http://www.umbc.edu/eol/4/tammer/bio.html> TODEvSKI, Kiro.
„Kaval u makedoniji“, diplomski rad. muzika akademija, odsek za
istoriju
muzike i muziki folklor, D/7, Beograd, 1970. ZaKi, mirjana. „The
Traditional instruments of serbia in The scope of Permeating with
the
eastern and Western Balkan musical Practices.“ Research of Dance
and Music on the Balkans (International Symposium, Brko 06–09.
2007), Brko, 2007: 37–70.
ZaKi, mirjana. „intercultural communication and multicultural
context: the place of the kaval in serbian musical practice.“
Berovo: ICTM Study Group on Music And Dance in Southeastern Europe:
2012 Symposium ( ).
Mirjana Zaki and Jelena Jovanovi
eTHnomusiCologiCal sourCes aBouT THe INSTRUMENT KAVAL IN SERBIA AND
MACEDONIA
Summary
The paper is the continuation of the previous study focused on the
kaval, a half-transverse flute about 800mm long without a fipple
and with eight holes for playing, which is an instrument in many
ways specific for the Balkans and the south slavic rural
instrumentarium, because of its build, function and performing
possibilities. The previous article was dedicated to the sources in
medieval paintings, to ethnographic and literary sources, where as
this one refers to ethnomusicological sources about the kaval from
the regions of Serbia and Macedonia. The authors made a certain
methodological innovation with regards to the former usual approach
to the instruments from the group of labial flutes. This was
motivated by several factors: the popularity that the kaval
achieved due to the media promotion in Serbia at the beginning of
the 21st century; its fixed position in macedonian and albanian
instrumental tradition; insufficiency of data about its
applications and its bearers on the territory of serbia; and
finally, the fact that different data about the kaval have not been
synthesized until today. In this article, a special attention is
dedicated to the cultural and identity policies that are also
reflected through the practice of the use of the kaval and the
creation of discourse about it in the Balkans.
Key words: kaval, ethnomusicological sources, serbia,
macedonia.
25
/ original scientific paper
*
: , . , . . . , . , ( ) .
: , , , , , .
. , , , , – – .
, , : „“ ? - ?
uDC 792:141.78
* X „ “ ( ) 29. 30. 2013.
26
. , , , , . .
, , : „ - . , , . – , . . ( ), . - „“ , “ (: 50–51).
, 1989. . , - , 1968. , , (: - ). , : 1968. , , „ “ , 1989. ,
27
.
, , – , , . - , , – , , . - , , , .
, - , , : : - . - : 2013. , , ., ( , ), , , . ( – ?, ?) – , -
.
, ( ) , . , , . , , ( , , .) – . „ “ ( 2013: 407).
28
, : , , ., , , - , ? . : „ “, , , , . , , ( ) , .
- . , „ - “ ( 1979: 21–22), , . , , , - . , , „ , “ ( 1979: 22). ,
, ( 1991: 47). , : „ . . , , . : . - . , , , “ ( 1979: 41). , „ , ,
- . : ‘’
29
“ ( 1979: 41).
- , . , , : – , – , . , , , – . : „ ‘’, ‘ ’. [ ] “ ( 2001:
18).
? – – , ? , , . , , . , . : , . ; - – – - ( ). .
, . : - ? - – . , , : , de facto – „ „ “ „ “, „ “ ( 1991: 46). ,
,
30
. (í) : „ - , , , , ( ), “ ( 2013: 407). - ; , ( - ) . : , , ,
.
? , - ? „ “, , … – , , – . „ “ ( - ) , . , , .
, ; , ; – – , . , , , , , , , : . , , : : – .
31
, . : ? - , : , , , – . – – , .
, , , . , .
BENJAMIN, Walter. Dílo a jeho zdroj. [ .] Praha, 1979. GAJDOŠ,
Július. Postmoderné podoby divadla. [ .]. Brno:
nakladatelství vtrné mlýny, 2001. HUBÍK, Stanislav. Postmoderní
kultura. [ .] olomouc: mladé umní K
Lidem, 1991. MaašÍK, andrej. „Kopeme do mtvoly?“ in: Postavenie
divadla v spolonosti. Zborník referátov
z X. medzinárodnej teatrologickej konferencie v cykle DNES A TU. [,
. „ ?“ : . X .] ed. andrej maašík. Banská Bystrica: fakulta
dramatických umení akadémie umení v Banskej Bystrici, 2013:
401–408.
Mihal Babiak
Summary
The paper observes the status of the theater, i.e. its being in the
era of the postmodern. The postmodern has an identical content in
the Slovak, Czech and Western contexts. The dilemma is whether the
Slovak postmodern feeling of the world is identical to the Western
European one. The phenomenon of postmodern culture is analyzed via
the theoretical approach of the Czech theoretician stanislav Hubik.
The theater has gradually lost its ritual basis and a magical and
religious moment in the Euroatlantic culture. In the age of the
modern as well as at the time of socialism (exemplified by the
theaters in former Czechoslovakia and former Yugoslavia) the
theater was a matter of elite social circles.
Key words: theater, postmodern, status of the theater, theater in
slovakia, stanislav Hubik, Walter Benjamin.
33
: . , . , , , . , . , .
: , , , - , , .
„ – , - – .“
1
, ,
1 , . „ .“ : . 2, . 4–5 (– 1981): 44.
UDC 792.021
. - , , . , . XiX , , . , . , „ “.2 , , – „“ ( 1978: 248). ( 1978:
253) , , „ “ 1920. . , : , ; ; , ( 2004: 170). , 1932. . , , , . ,
.
– , - ( 1978: 268), .
2 , . „ : . – – “. , – (), 2012: 39.
35
, , - , , . „ “, ( 1978: 269). , . „ “ ( 1978: 270), .
. 1. , , 1923.
( ) . , . ,
36
, . , , , . – – scenography – ?, (Pamela Howard), 2002. . , (Set
Design, Stage Design) ( scénographie) „ , , – , , “ (, 2011: 48). ,
. , „- , , , , - , , “ ( 2002: 152). - , , - . - . 3 - , „ ( ) : ,
/, , , , , . -
3 - //. ( ), . : , (), , , .
( , , ) .
37
, “ (2005: 553).
- - „ “ (, 2011: 48). , , (, 2011: 49). , , , . , : , , , , - . ,
(Bernard Tschumi) (TsCHumi 2004: 47–52) . - , , , . , . (, , , , )
- , , .
, , . , , , . , -
38
. 4 , . , , . , - ( 2011: 267).
- (, , , ). . . „ … . “5 ( 2000: 106). - , , , - .
4 (. – , , – ), . , . : , ., . , . . . : , 2002: 395; , . . : ,
2004: 291. , . „ (knowledge, episteme) - , /, (doing), , (making,
bringing out), (display) (perform) , , . , , ‘’ ‘’ (Danto C. Artur.
The Artworld. Philadelphia: Temple university Press, 1987, str.
154–167), . , / …“, . : , . . : , 2008: 5.
5 20. 1938. . „ 1899. , , . 1923. . . , , , 1934. . - , . , , , “,
: , . „ .“ : . 112 (2000): 105–107. , , - , .
39
, - , , . - ( , ). , - , , , , , „ “ , (, 2011: 54). , - . :
1. () ; 2. ; 3. ; 4. ; 5. (Site-specific theatre).
„ “6 . -
6 XiX . 1896. . . : „ . , , , , , , , , ; – , , ; , , – , … . . ,
.“ , „ “ , , „“. - , , . , , ( 1896. , ), . : , . „ : .
40
, () . . „ - “ ( 2003: 98). . , , , . - – „“, „ - “ ( 2009: 54);
„“; , . , – . , (1584) . . Xvii Xviii , . . - , , ( ), , , „ ,
, “ ( 2009: 68). 2000. (roland Joffé). XiX -
– – “; , . . : , 1974: 113–125.
41
. , - . ( ). .
. , . – , ( 2009: 68) , . - , . -- . , , . , , . - , - . .
. , , . , , ,
42
. ( ), , , , . – ( 1981: 40). - , „ “ ( 2003: 102). . - , .
. 2. (Thierry Bosquet), 1. (Tosca), (Jose maria Condemi), (nicola
luisotti), 15. 2012.
(San Francisco War Memorial Opera House),
( ) - . -
43
- „ , “ ( 2010: 177), . , , . „ , . , - , “ ( 2007: 11). , - , , ,
, , . , „“ „ , “ (1981: 76). - 7 , , „ , , “ ( 1981: 40). , , , . ,
, , – , – ( 2003: 102). , - , -
7 - , : , . . : Horetzky, 2005: 553: „ , . … - . , ( ) .“
44
. , , () , , , . . ( ) , „ “ ( 1981: 39) - . ( 2003: 101). - ,
. , - . , , - , , . , , , , . , , , , , . , , , . , , , , , . , .
.
- . - . // . ,
45
. 3. , . . , (frank Castorf),
28. 2013. (volksbühne) ,
, „ “ ( 1981: 40). - , – . , . „ , , . - , “ ( 2003: 100). -
. - , . (adolphe appia) „ – “. ,
46
, - , . . , , , , , „ “ ( 2003: 100). . , . - , . . , / . ( -
), . - , , , . . , . , , , „ , . “ ( 1981: 41). . , „ “ ( 1981:
42), , . - .
47
, , . , . (, , , , , ) , , . . - .
. 4. numen (), (symphony of sorrowful songs), . 3, . 36 ( ),
(Henryk górecki), (ronald savkovic), (Tomaz Pandur), 2010.
(Deutsche staatsoper unter den linden)
48
. 5. , , , 27. 2013. ,
1700
, . . - . ( 2003: 100). ( ) ,
49
( , , ) . : „, - . , , () . , , , - , , “ ( 2001: 11). ( , , , , )
, – , , , , . , , , . , , , , , - . - , , „- (, , , , , )“ (
2001: 31). , , . – , . . -- ( , . 3 , - , .) . ,
50
, , , . - - , . „ . “ (, 1976: 238). , (, 2004: 25). , , - . - -
, – , . (
. 6. (maiko matsushima), TAKES, Nichole Canuso Dance Company,
(nichole Canuso), 3–18. 2010.
(Philadelphia Live Arts Festival)
51
; , ) . , ( ) , .
8 (Site-specific theatre) , , . – . : , , / ( 2001: 29). . - , . ,
( ) , , . ‘’ ( 2001: 29). site-specific – , , . , (umberto eco), ,
-
8 . (, , ), . . : , . ( /). : , 2001: 29:
„ : (- ) . () ( 1911.), () ( ( ), 1927.).
. : (1) ( ), (2) ( ), (3) ( ).“
52
. „ “ - . ( ). - , , - , , (2001: 29). . , , , „“ . , - . , - . , ,
, , , , , , , , , – . . , , . (, , , ) . , , , ? ( 1981: 76).
, .
– - . , - –.
53
. ( ), .
– - - ( , , , - , , .). , ( ) . , - . „ , “ ( 2012: 84).
– ( , , , .), . - , .
– - , , , , , .
Site-specific , , site-specific . site-specific , „‘’
(site-determined), ‘ ’ (site-referenced), ‘ ’ (site- -conscious), ‘
’ (site-responsive), ‘
54
’ (context-specific)“ (PEARSON 2010: 8). - site-specific , site (,
) , . „Site-specific , , : , “ (PEARSON 2010: 1).
. 7. (The Passion), (national thea tre Wales and WildWorks),
(michael sheen), (owen sheers), (Bill mitchell),
2011. (Port Talbot)
* -
, - i , - . . - , , - . , , - .
55
- , , . - () . , , . - - XiX . () ( - ) „ , a (, , , - ) ( )“ (
2001: 74). . (- , -- ) . 9 () () - () , , ( 2001: 74). , . , ,
9 , a . , (, ) / (- ) . ( ) 70 80 , .
. : , . . : , 2001: 74: „ ( ) (, ) . – - , (- ). .“
56
( 2001: 13). .
- . - , , , . , , - , ( 2001: 29). - , /. , . e/ - , , . , - ( )
(, ) (, ) , , , .
, - . - , , , ( 1981: 45). , , , - . , ( 2012: 81). – , , , „ “ (
1981: 45). . , . , ,
57
, ( 2012: 82). , .
a . . (erge Creuz) „ . – - ; – , , , ; : - ; …; …; …“ ( 2003:
98).
, , . . :
, 2002. , . „ :
. – – “. , – - (), 2012.
, . . : , 1976. , . . : , 1979. , . 1863–1922. : , 1978. , . . : ,
2009. , . „ :
.“ . 17 (2011): 47–54.
, . . –: – , 2007.
, . . : , 2010. , . „ -
.“ . 45, 2011: 267–282. , . -. :
, 2004. , . „
.“ : . 2, . 4–5 (– 1981): 39–44.
, . „ – .“ : . 2, . 4–5 (– 1981): 45–46.
, . , . : , 2004. , . ?. : , 2002. , . „ .“ :
. 25, . 112 (2000): 105–107.
58
, . , . : , 1981. , . „ .“ : ,
. l, . 1–2 (2003): 98–102. , . . /.
: , 2001. , . . : Horetzky, 2005. , . . : , 2008.
PEARSON, Mike. Site-Specific Performance. london: Palgrave
macmillan, 2010. TsCHumi, Bernard. Arhitektura i disjunkcija.
Zagreb: agm, 2004.
Nebojša Anteševi
Summary
active research in the field of theatrical art in the last decade
of the 20th century, especially in the first decade of the 21st
century, changed the established concept of the theater, putting
the stage space in the maelstrom of everyday life as the most
scenic events. Accordingly, the scenic area gets an extended
meaning, which leads the notion of set design as an integral part
of the stage action and the actors’ performances because the visual
presence of the stage area and an often complex design and
meaningful solutions stand out as critical and artistic
disciplines.
Numerous theatrical works in our country and abroad were
accompanied by set designs of the most varied characters and form
solutions. Because of the lack of written and published papers on
set designs, separate examinations of scenography of theater
productions and a small number of set design exhibitions, it is
difficult to gain an artistic and critical insight into the
development of current trends in set design. During the 20th
century scenography lost its decorative and descriptive character
and became a more complex multimedia artistic discipline that was
actively involved in researching contemporary theatrical works,
i.e. in the recognition of ambiguity of literary or other theater
works in the contemporary context.
In the theater or outside the theater building, as the theater
production is not only aimed at the black box of theater scene
today, the scenic area is seen as an experimental testing ground
which becomes a visual form of the detected substance, part of an
ongoing process of thought and knowledge.
Epistemology of scenography in the theater today is aimed at the
conceptual stage design solutions division of the arts, the
character and descriptive study of their role in contemporary
theater productions. Since set design today is not a form of
decorating the space where the theater act is performed, its role
in the realization of the theatrical achievement is equally
important, artistic and meaningful. The examining contemporary
artistic approach to set design is necessary to explore its
artistic achievements and role in the theater today.
The epistemological division of the scenography in the theater
today in this paper is based on previous artistic and research
tendencies: 1. Descriptive and decorative (classical) scenography;
2. interpretivesemiotic scenography; 3. visualformative
scenography; 4. Conceptual and experimental scenography; 5.
scenography of ambient theater (Site-specific theater).
Although all contemporary scenographies epistemologically have a
common basis and purpose, as well as present-day needs to seek new
forms of materialization of theater works, they
59
differ in artistic interpretation and formal techniques. In this
respect, the analyzed scenography forms primarily have different
artistic and visual characteristics, while the choice of
scenography shape depends on the type of theater stage works, the
concept of directing and the character of the theater. The art of
the theater today shows its power to simultaneously display and
realize the historical, conceptual and phenomenological aspects of
one discipline or interrelationships of more disciplines in their
historical and current appearance.
Key words: theater today, set/stage design, scenography, the
metaphor of the scenic area, directing, experiment.
61
o / original scientific paper
: PLAY STRINDBERG *
: Play Strindberg (1993) , . , , . .
: , , , Play Strindberg.
, , - . (cf. KARA- -Peši 1999: 13), , , , alter ega. / ; , ; - , .
,
uDC 78.071.1:929 stefanovi i.
* o , , , . Musical Romania and its Neighbouring Cultures,
traditions, influences, identities, Eastern European Studies in
Musicology, Peter lang.
62
, , .
- (august strindberg), . Play Strindberg, , , , .
, , . - , , , , „“ – (sTRINDBERG 1983: 50), (, …) „ - , “
(sTRINDBERG 1983: loc. cit.). , . , . , .
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63
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‘’ , , .
, , , (con sordino), sempre molto legato, (pp) (Lento. Molto
tranquillo),
64
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1. Play Strindberg,
(. 33–56). , , , ( 4/4), . (. 33, 34, 35) , , (. 1, 2, 3), , , ‘’
(in in s), , , .
65
2. Play Strindberg, . 32 . 33
, in D, - . , , ‘ ’ , . , , ‘’ , – (. 20–32) – ‘’ - . , decrescendo
al niente, ; – - , , – . - : , , , .
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3. Play Strindberg, 4
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67
, .
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arco,2 .
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.
4. Play Strindberg, , 65
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, , . , , ‘ ’. , , , ‘ ’ , , , , ‘cantus firmus’, - .
, , ‘’ , - . , , , ‘ ’. , – , , – , .
, , ‘’ - . , , , , , . ‘’ - ; je , - . ‘ ’ - , ‘’ (. 98–102), , .
c, pizzicato , . 4/4,3 3/4 – 4/4 – 3/4 – 5/4.
3 , 6/8!
69
5. Play Strindberg, . 98–102
: ‘’ . , , e ( . 40–46), - (. 80, Molto meno mosso, sostenuto). , ,
, quasi glissanda, (. 90–92), - – – ‘’ , , ‘’, , .
. , , - , . - - , , , (. . 15–25), ‘’ As.
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70
- , , , . , , As ( , , , ‘’!), , , ‘’ As.
6. Play Strindberg, , . 41
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71
. , , , , , , ; . As, al niente.
. , , . ‘’ , , , , , .
Play strindberg…
KARA-Peši, ana. “only silence is rich. a Conversation with ivana
stefanovi.” New Sound
International Magazine for Music 14 (1999): 7–16. STRINDBERG,
august. “The father.” : CARLSON, Harry g. (transl./ed.).
Strindberg: Five Plays.
Berkeley – los angeles – london: university of California Press
(1983): 19–62.
Mirjana Veselinovi Hofman
ToWarDs a BoTTomless PiT: THe DramaTurgY of silenCe in THe sTring
QuarTeT PLAY STRINDBERG BY ivana sTefanovi
Summary
This paper deals with some aspects of the materialization of
silence in ivana stefanovi’s string quartet Play Strindberg (1993).
Based on August Strindberg’s drama The Father, it consists of an
autonomous whole with its own narration which I explore as being
rooted in silence. Thus, the quartet is analyzed and elucidated
from the perspective of musically articu- lated silence whose
concrete and particular incentive is pinpointed here in a scene at
the end of the second act of Strindberg’s drama. That scene is
considered and proved to be the core of the musical dramaturgy of
the quartet, given the nature of that silence as the silence of a
latent conflict, anxiety, dark forebodings and expectations, which
functions as a means of the musical portrayal of the characters and
the irrevocable tragedy of events.
Key words: ivana stefanovi, musical silence, august strindberg,
string quartet Play Strindberg.
73
o / original scientific paper
, .3 , - . , . , , .
, , . , ( 1), ( 2). , . , , . . , , . - . , , , . , , . . ( 3), - .
:
„ , . - , . . .“ (mAUS 2000: 77).
, , , . , - .
3 .
77
1. vi , 1111–1114
2. iX , 1531–1534
3. , 24–30,
, , , reenactmenta, - , , „ “4. , , , , , . . , , , , , . , . ,
- , , , , , , . , , , , , .
, , , . , , , ,
4 myriapoda.
78
- . , : „ , , – lorem ipsum dolor sit amet, consectetur adepiscing
elit revolution – evolution , , “ (PoPovi 2013: 37). , . , , , , ,
. , , .
, , , , , , , . , . , .
, ( ), - , - (mALITI 1998: 92) , . „ , , […] . , , .“ (MALITI 1998:
92).
, , , . - , . , . , - , , , .
79
, . . : , 2006.
BANJANIN, milica. “of Dreams, Phantoms, and Places: andrey Bely’s
Petersburg.” The International Fiction Review 10/2 (1983):
98–103.
BEMONG, Nele and Pieter Borghart. Bakhtin’s Theory of the Literary
Chronotope. Reflections, Applications, Perspectives. gent: academia
Press, 2010.
CURRIE, Mark. About Time. Narrative, Fiction and the Philosophy of
Time. edinburgh: edinburgh University Press LTD, 2007.
FINK, Hilary. “andrei Bely and the music of Bergsonian Duration.”
The Slavic and East European Journal 41/2 (1997): 287–302.
GEROULD, Daniel C. “russian symbolist.” Performing Art Journal 3/2
(1978): 25–29. LOYD, Genevieve. Being in Time, Selves and Narrators
in Philosophy and Literature. london:
Routledge, 1993. MALITI, eva. “The World of novel ‘Petersburg’ by
andrei Bely”. Human Affairs 8 (1998):
85–96. MAUS, Derek. “space, Time and Things made ‘strange’: andrei
Bely, Pavel filonov, and Theory
of forms.” Studies in Slavic Cultures 1 (2000): 77. POIDEvIN, Robin
Le (ed.). The Philosophy of Time. new York: oxford university
Press, 1993. PoPovi, Branka. Petrograd, Kamerna opera, Teorijska
studija o doktorskom umetnikom delu.
Beograd: fakultet muzike umetnosti, 2013 (neobjavljen tekst).
PoPovi, Branka. Petrograd, Kamerna opera. Beograd, 2013 ( ).
RUSSELL, sandra Joy. “The City as Dialectic: andrey Bely’s Creative
Consciousness, its
nietzschean influence, and the urban Centre in Petersburg.”
TranscUlturAl 1/4 (2011): 31–46.
STIMMEL, georg. “The metropolis and mental life.” : WATSON, Sophie
(ed.). The Blackwell City Reader. oxford: Blackwell, 2002:
11–19.
Radoš Mitrovi
BasiC ConsiDeraTions of THe issues of TemPoraliTY in THe CHamBer
OPERA PETERSBURG anD THe liTerarY PieCe BY anDrei BelY
Summary
The paper considers the relationship between the novel Petersburg
by Andrei Bely and the chamber opera of the same name by Branka
Popovi. The focus is on establishing the connections between the
treatment of temporality in the novel and equivalent procedures in
the music piece. Actually, the novel Petersburg is constructed on
the basis of the idea on the non-linear motion of different
temporal lines. Thus, there are multiple layers inside the
structure of the piece achieved by different ways of conducting
narration and different perspectives that are intertwined.
Narration is based on the principles of the flow of consciousness,
i.e. on a constant borderline between the conscious and the
unconscious, which is often blurred. Petersburg remains the only
object as well as the subject which exists beyond what the plot
represents. Actually, such a seemingly confusing structure is the
equivalent of the zeitgeist of the prerevolutionary russia. on the
other hand, inside the composition of Branka Popovi, which is
constructed on the basis of a linear narration, we can establish
relations with the ways
80
of structural shaping of the novel. The piece is based on a general
reduction which has multiple layers. The electronic medium presents
a temporal continuum which unifies, like Petersburg in the novel,
the piece. The narrator is given music whose vocal technique
resembles arias to a greater extent and stands as a certain
antipode for other characters who do not have differentiated
features and who are represented by rhythmical repetitions, which
is an expression of their closedness inside the unseen historical
temporality. in that way, like Bely, Branka Popovi also counts of
what the russian writer called the “mental game”.
Key words: Petersburg, andrei Bely, Branka Popovi, chamber opera,
temporality, narration.
81
. ,
o / original scientific paper
: ! – !
, , , . : „ “, , , – . „ “ „“ , , , . „“ , . „… - , ,… “ ( 2012:
57).
, - : , , - , , , … , , , . , , , . . , , , .
, . . :
. : , 1982. , . . 3. . : , 2007. , . „ .“
, . 7 (1969). , . . :
, 2012. , . „ .“ . 487, . 3 ( 2011):
283–297. , . . :
, 2011. , . . – :
, 2008.
102
LAMPE, g. W. H. A Patristic Greek Lexicon. oxford: 1961.
Vesna O. Markovi
TO MISS L. D. (LENKA DUNERSKI) IN THE MEMORIAL BOOK – THe HonoraBle
saCrifiCe of laZar
Summary
The poem To Miss L. D. in the Memorial Book is less known than the
most famous poem of the serbian poet lazar Kosti – Santa Maria
della Salute. Only recently, in 2011, Slobodan rakiti added it to
his Anthology of the Poetry of Serbian Romanticism and this is the
first time this poem has been made part of the anthology of Serbian
poetry as the authors of previous significant anthologies did not
pay much attention to it. at a first glance it may seem wrong that
the trochee rhythm of the poem To Miss L. D. in the Memorial Book
does not correspond to the sad content – the renouncement of the
right to love the beloved woman. However, this poem relies on the
unity of opposition to express the basic principle of the poet’s
opus and view of the world. The unity of opposition in the said
poem is reflected in the simplicity of the trochee octosyllable,
second most frequent verse of the serbian folk poetry and through
“joyful sorrow” as the basis of the Christian paradox which, we
believe, was influenced by the atmosphere of the Krušedol monastery
where the poem was written. Having in mind the great difference in
age, the poet painfully yet honorably renounced the right to love
the beloved woman giving her youth to more “worthy” suitors,
blessing her future marital bliss and his peaceful old age.
Key words: laza Kosti, trochee, symmetrical octosyllable, unity of
opposition, joyful sorrow.
103
. , / original scientific paper
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104
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