On its tenth birthday, the Academy of the Arts in Osijek has initiated two great projects this academic year. They include the new undergraduate university study of theatre design and life-long learning programmes. If we add that the demanding process of re-accreditation is in its final stage, then it is safe to say that the Academy, including its teachers and students, leads a busy life. Much responsibility for these projects rests with assistant professor and vice-dean for study programmes and life-long learning Jasmina Pacek, MFA. We have talked to her about new developments, commitments and future plans of the Academy.
Žeravica, Katarina Less Would Be More (Miroslav Krleža: Miroslav Krleža’s Wolfhound or Krešimir Horvat’s Wolfhound - bourgeois event in several acts as an operetta adaptation, Croatian National Theatre Osijek, directing and adaptation: Zlatko Sviben, premiere 7th December 2014)
This four-hour play with a half-hour break is an extremely demanding project, visually impressive, including great moments and situations, some great acting performances, but without real relations between characters who have been smothered by the burden of a play that lasts too long and includes redundant elements and solutions. Therefore, theatre that lives for and because of its audience should not forget that the audience is emotionally attached to themes and content rather than solutions and that less is often more.
Tretinjak, Igor Challenging Combination under Prospero’s Cape (William Shakespeare The Tempest, an international bilingual project of the Academy of Arts in Osijek and VŠMU Academy in Bratislava, concept and directing Andrej Pachinger and Pavel Uher VŠMU as well as Hrvoje Seršić and Nenad Pavlović the Academy of Arts in Osijek. Premiere: 19th November 2014)
As far as the concept and performance are concerned, this Osijek-Bratislava play has enriched in an interesting way both Shakespeare and The Tempest. With two expressions and two languages, the play successfully combines two acting/puppetry schools and two performance approaches on stage. Also, it shows us a convincing stage combination of the actor, puppet and movement as well as occasionally very good acting and animation roles of the students of acting and puppetry. As such, the play is an important contribution to the rich history of performance and quality of the Academy of Arts in Osijek.
Čutura, Vladan Life After Death in Artistic Leaps (Olivier Meyrou and Stéphan RicordelAcrobats, Le Monfort théâtre Paris, director Stéphan Ricordel; dramaturge Olivier Meyrou; performance at Desiré Central Station 2014 Festival - 29th November to 5th December 2014 in Subotica)
In short, this is a magnificent spectacle that sometimes hits the mark by the gestures of two acrobats and their art beyond words. Fabrice Champion: “I have wanted to be an acrobat for so long because I am afraid of silence. Silence is death. But, if I stop being an acrobat, I don’t know what else is left”. In order not to be pathetic, I will conclude this text with…
The visualisation of an interesting story turned into an Osijek image has been a success. The opera of the renowned composer is his own life story, memories of his student days. The premiere has stated Puccini’s basic intention - sophistication of vocal parts. With the performance of this opera, Osijek joined in the dignified and victorious celebration of the 90th anniversary of Puccini’s death!
By combining it all, Osijek scene has provided a certain dramaturgic flow for ballet. The choice of this ballet, which required a lot of work, effort, theatricality and emotions, has confirmed that the Croatian National Theatre in Osijek could include a ballet that must not be forgotten in its standard repertoire. The result was double gain - great motifs and great effort by all those who wanted to bring ballet back to its rightful place.
Ban, Marina Ballet Returns to Osijek (Vuk Ognjenović: Fortuna, Croatian National Theatre Osijek, director, choreographer, stage, light and projection designer Vuk Ognjenović; premiere: 22nd November 2014)
This project confirms the excellence of the ballet company (including last year’s The Nutcracker) taking a step further into modernism. Fortuna, which speaks for itself, has been the final phase of the return of ballet on this stage (alongside great and capable artists). Sensual movements, harmonized thoughts (which sometimes seem as a game, sometimes as a very demanding art story) have spread in no time across the stage of the Croatian National Theatre in Osijek. Bravo!
Igor Loinjak Osijek Presentation of Miroslav Kraljević – a Retrospective at the Museum of Fine Arts (Retrospective exhibitions honoring 100th anniversary of the death of Miroslav Kraljević, Zagreb, Split, Osijek, Dubrovnik, 2013)
Leaving the door open to future generations which have confirmed his status even more by referring to him, Kraljević’s oeuvre has become, within the historical and artistic discourse, an important element of Croatian art of the first half of the last century that is hard to contest. Moreover, his works contain almost every characteristic of the true canon of an artistic oeuvre - from relying on and flirting with tradition to clearing new visual paths in his milieu and leaving enough “indeterminate space” (Roman Ingarden) to future artists. But also to us who attend this retrospective exhibition one hundred years after his death.
Visual stimuli coming from Alebić’s canvases point to existential topics and ask questions that do not open directly to the observer and, I dare say, to the artist himself. Seeing motifs, entering the portrayed ambience and moving from one canvas to another, the observer discovers Slavonia and gets to know the artist too. Since the 1970s, the subjective approach of artists has become emphasized often resulting in direct artistic statements. Ich-form. In Alebić’s works this directness is not present which does not mean that we can talk about an objective approach. In my opinion, quite the contrary; the non-direct approach has just removed from the surface the deep subjective approach to the artist’s perception of the world that surrounds him, the world with which he is united and on which he imprints his own existence.
It is unlikely that this film will trigger many other similar attempts. Where puppetry content is marginalized, more aggressive thrusts are needed in order to influence mainstream changes. Jan travels therefore is like a tender, contemplative postcard of a neat handwriting. Due to its specific features, the film is singled out and isolated at the same time. That is why it will gain wider acceptance among the reclusive puppetry underground.
47th International Puppet Theatre Festival, Zagreb, 15 – 20 September 2014
The international jury consisting of President Ivica Ozabalova (Slovakia), Jelena Sitar Cvetko (Slovenia) and PhD Sanja Nikčević (Croatia) has awarded the main prize “Milan Čečuk” to play Saga in the production of Wakka and Visual Theatre Nordland. “It is a play that proves that puppetry can be politically committed and provoke critical thought in the audience even today, while offering great individual creation regarding acting, animation, light design and directing“, the jury has pointed out.
From this angle, the 47th PIF has offered an eventful puppetry programme that combines tradition and contemporaneity and includes various types of puppets and animation. To use this example, although there are many other ones, I conclude that it seems that the most potent puppetry technique is the tabletop puppet which, filling the space of its loose definition, offers the best communication with the contemporary world and the contemporary audience. Besides the puppets themselves, the best communication and adaptation to the contemporary world can be found in the animation that spreads from the puppet and object to space and sound. That type of animation, free of creative limits, seems to be the best response to the reality that has abandoned every kind of restraint long ago.
Lutkokaz – International Puppetry Revue of the Academy of Arts in Osijek, Osijek, 19 - 22 November 2014
The International Puppetry Revue Lutkokaz, organized by the Academy of Arts in Osijek, celebrated its fifth issue with an ambitious puppetry/acting international project, the premiere of the first Croatian medium-length puppetry film and a few successful examination productions by the Academy of the Arts in Osijek. We saw two excellent guest performances and there was a versatile accompanying programme. The goal of the fifth Lutkokaz was not quality. The point was rather to present to the audience, students and professionals a carefully selected programme of great value that showed a high level of animation and a layered approach to puppetry development at the Academy of Arts in Osijek. That development is evident when it comes to the stage understanding of the puppet which, unrestricted by tradition, slowly spreads across endless spaces of creativity and animation without shifting the object of animation out of focus or rejecting tradition.
Fifth Croatian biennale of illustration Klovićevi dvori Gallery, Zagreb, 17 June 2014 - 27 July 2014
This year (2014), it has been the fifth Croatian biennale exhibition of illustration which is conceived as a two-year presentation of the works of contemporary Croatian illustration artists in the international context. The initial idea to exhibit selected illustrations as the main, not just accompanying, theme (as part of retrospective, thematic and monograph exhibitions at representative galleries) has turned into an exhibition that gathers together every two years several hundred artists from Croatia and abroad, including fine arts critics and art historians who study illustration and similar fine arts disciplines. We keep on organizing round-table discussions and meetings of artists and museum staff. We organize lectures and, as part of our educational activities, we hold art workshops for children and adults, which have become international after several years, with accompanying bilingual catalogues.
GLAZ-B-OS – Christmas music celebration, Osijek – Pecs, 8 – 11 December 2014
The eight GLAZ-B-OS began on the 8th of December 2014 with a grand opening at 8 p.m. and parallel concerts at two different venues. Since it was the World Choral Day, choir compositions by composers Cesar Franck, Richard Smallwood, William Hawley, Josip Štolcer Slavenski and György Orbán were performed by the Academic Choir of the Academy of Arts in Osijek under the guidance of conductor Antoaneta Radočaj-Jerković in the hall of the Academy of Arts in Osijek. An Advent concert of the soloists of the Academy of Arts in Osijek under the guidance of professor Berislav Jerković and the soloists of the Faculty of Music Pecs took place at the Basilica in Pecs.
Piano seminar and concert of Czech artists, the Academy of Arts in Osijek, 12th October 2014
The Academy of Arts in Osijek was visited by two notable guests from the Czech Republic. Professor dr. sc. Ivo Medek, a Czech composer and member of the art councils for music of the Faculty of Music of Janaček Academy in Brno and the deputy president of the Council for the arts of the Ministry of Culture of the Czech Republic and his wife Sara Medkova, a world award-winning pianist. They held a piano seminar and a concert that was inspiring, different and, above all, of exceptional quality, provoking us to ponder which is essential for the development and expansion of the consciousness of artists, citizens and human beings in general.
LUX 2014 film award of the European Parliament for cinematography accomplishments, Strasbourg, 16-17 December 2014
In an attempt to stress the fundamental role of culture in the formation of a society, the European Parliament introduced in 2007 a new initiative to make the medium of film an essential factor in the development of the dialogue between people of Europe. Since film art can unify all existing media, it is a logical choice for the promotion of the idea of Europe that can use cinematography to resolve and enrich the debate on key issues of the Union, simultaneously improving the circulation of European (co)production within itself.
Seminar of young critics, Cluj, Romania, 29th November – 5th December 2014
The definition of theatre is currently based on two opposing assumptions - theatre as a site of radical rebellion that may or may not influence reality and theatre as a site of problem detection. I do not expect theatre to offer solutions or a way out of the current reality just as I do not expect it to initiate social changes. What bothered me most of all was the ostensible radicalism in the plays that actually lacked the critical element, while dealing with problems on the level of ideas, stage and surface. It is clear that theatre cannot compete with contemporary media, but it can build a relationship and communication with the audience that is based on mutual trust. The best way for human beings to recognize their fears, insecurity and aspirations is through an actor whose text they live during the play.
This work offers a chronological overview of the development of Jerzy Grotowski’s work, that is, an overview of the development of his acting method by working with actors within different phases of his theatrical work. The poor theatre of Jerzy Grotowski is one of the key theatre movements of the twentieth century whose acting methods have proved to be very innovative as opposed to other methods created after Stanislavski. The life work of Grotowski within theatre is usually divided into the theatre of production, paratheatre, theatre of sources, objective drama and art as vehicle. This work focuses on the initial phases of Grotowski’s work since they were crucial for his further research and the direction of his most important plays. During that period, the theatre of production and the theatre of sources, Grotowski maintained the closest contact with his audience, but during the later phases he was more and more off the stage focusing on acting training and research with an isolated group of actors far away from the sight of the audience. The first part of this work presents an overview of the theatre development phases of Grotowski, followed by an insight into the processes and goals of his work with actors, audiences and dramatic text.
Swiss writer Max Frisch (1911 – 1991) is one of the most staged playwrights of the German speaking community. Besides plays, his literary oeuvre includes novels, stories and diaries, making him one of the most important writers of the European and world literature of the 20th century. Frisch’s works are relatively unknown to Croatian readers and theatre audiences mostly because his literary works have been rarely translated into Croatian or reviewed. His plays are rarely staged by Croatian theatres and those that are translated are not published. Therefore, this work strives to introduce the life and work of Max Frisch as a writer, emphasizing Frisch as a playwright, especially to students of acting and puppetry. Another important goal is to point out the sources of his works translated into Croatian, making them more popular and closer to those who might, due to their profession or taste, show some interest in Frisch’s literary (drama) work.
During the late 1960s and early 1970s, the younger generation of art critics took interest in new critical and theoretical/artistic patterns. Some Yugoslav artists took part in the international art scene which led to significant changes in the approach to the entire system of art. New forms of artistic expression demanded professional evaluation and the development of art criticism that would actively deal with the new situation. That opened the door to art critics of somewhat different theoretical approach who participated with great interest in the cultural life of their society. Among those with affirmative response to new events were Ješa Denegri, Želimir Koščević, Zvonko Maković, Davor Matičević and a few other critics some of which would be mentioned in this work. With their theoretical insights, criticism and reviews, the above mentioned authors contributed to the dissemination of information about the progressive (neo-avant-garde) stream of Western artistic practice and its repercussions for the Yugoslav scene. The very approach to art criticism also changed mostly due to texts by Italian art historian and theorist Germano Celant and his model of acritical criticism. Influential ideas also came from other theorists such as Giulio Carlo Argan, John Chandler, Joseph Kossuth, Lucy Lippard, Catherine Millet and Sol LeWitt. Primarily dealing with a segment of the progressive stream of art criticism of that time, this work will try to indicate the relationship between the already mentioned art critics and historians and the situation across the Yugoslav borders and how these developments influenced the Yugoslav art scene.
The work deals with the narrative identity of the protagonist of novella Ecce homo based on textual and other mechanisms used to modify his character. What triggers off the discovery of his I is the relationship with the Other so that his identity is torn between two poles: half Mother and half Woman. It is within that struggle between the responsibility towards his mother and the sexual drive towards the woman that his I struggles and gets divided into two spheres: the sphere of the son and the sphere of the man. Using such qualifications and functions, the text drives him by means of psychic and physical relationships from the mother as the castration (impotent) object to the woman as the sexual (potent) object and this inner conflict that cannot be resolved leaves him torn apart until the very end. Therefore, the aim of this work is to research the textual and other indicators that the story uses to construct the narrative identity of Mijo, marked by the title of the novella which points to the inevitable division and (his own or his mother’s) death.
The aim of the research is a circumstantiation that Nathaniel Hawthorne’s literary work, and notably his Scarlet Letter, have always endorsed a clear idea pertaining to the achievement of the New English national unity. A vivid Biblical imagery, or sometimes even the ingrained Puritan prejudices that were still held by most of the New Englanders of Hawthorne’s period, were used to accomplish this purpose. Hawthorne believed that only togetherness could save the Union in crucial political moments, and thus he was ready to forgive his compatriots many costly mistakes that were made during their common history. In what was often referred to as America’s “promised land,” exactly this hereditary trait of Hawthorne’s generosity was paternally demonstrated in many cases. Methodologically, it has also empowered Hawthorne to be the prime torchbearer of Joseph Conrad’s grandiose but slightly diabolical scheme of one’s “heart of darkness” existent in still not gingerly explored and densely populated New England of his times. To Hawthorne, with a resulting implication extended as far as to the present, a new “chosen people” has started to wage a bitter struggle for the assurance of its survival therein while permeating it with its all-pervading gloom.
This article presents in detail the general historical development and architectural heritage of the OLT foundry, taking into account its place and role in Osijek's modern architecture. The most important buildings of the foundry were built between 1913 and 1922, and are still located within the complex of OLT: the original foundry, the screw factory, Directorate office and the old tool room (one of the larger warehouses). Today, buildings within OLT factory are in poor condition as a result of their age, many years of neglect and disuse, as well as two wars that overran these areas. Most significant reinforced concrete buildings dating from 1913 are seriously damaged showing structural cracks, damaged roof truss and supporting elements of reinforced concrete frame, together with bare armature (influence of moisture and mechanical damage - grenade strikes).
Happiness is considered by many artists and critics as uninteresting, as a superficial, even not serious a topic. It depends on the angle at which this most complex and at once most simple answer to the question about life’s meaning is being viewed. It depends on the depth of joy that a piece of art manages to reach while handling this topic: whether it’s just a smile or an inner radiance of light; whether it’s just a triumphant jubilation or a flight of the spirit—pure bliss. Like the music of Strauss that invariably lifts my body off the ground but at one point it has told me already everything it has or could tell me and I switch it off. Or like Mozart whom I could listen to again and again and who cannot bore me at all because he’s at once like the spirit and like the material, and in both their ways is infinite. Because in him there is “another type of wisdom: the wisdom that makes you accept suffering without killing magic”, that wisdom, which “constantly pays tribute to life.”
It seems to me vitally important to re-evaluate the Meiningens influence upon Stanislavsky and the further development of Russian directing in general. Under the Meiningens' influence, Stanislavsky explored stage tropes and learned how to overcome the stage limitations with the help of sound and light effects; how to re- and de-construct the stage, how to trigger remote associations in the audience; how to use actors as one of the tools in creating the overall powerful poetic images of the play. In the elaboration of the stage effects, the Duke foreshadowed the era of radio and film, as well as the computerized effects of our time.
This article delivers a brief review of the history of the Kazakhstani Puppet Theater and recons from the ancient Turkic age, extending to modern puppetry arts. The purpose of this research is to trace how the cultural traditions of the past are embodied into the modern theater, and also to reveal the authenticity of the theatrical and spectacular arts of the Kazakhstani nomads. Special consideration is devoted to the study of the existence of the indigenous arts of the Kazakh nation – the Orteke [OR-Teh-Keh]. The second part of this article is devoted to the history of the puppet theater of Kazakhstan during the Soviet era. The last part of the article is devoted to the description of one of the most famous and favorite characters of Kazakh legends – Aldar-Kosse.
This paper is dedicated to my teacher Janko (Matijas) Vrbnjak, Serbian actor, puppet animator, technologist, pioneer of Belgrade puppetry and one of the most prominent artist of the former Yugoslavia. He achieved perfection through work, devotion and sacrifice as with persistent enhancement of his talents and knowledge – art of acting and animation. Relentless, curious and naturally talented he discovered secrets and conquered the world of puppetry. Stevan Pešić explained it poetically: “When someone brings Socrates to life in front of you it’s a miracle of art. When Janko Vrbnjak creates a living creature with a hand movement from a piece of wood wrapped in a piece of cloth it is for me something bigger than art: a deeper, more mysterious and fearful transformation.“
Modernist or traditionalist, a production should invest in its consistency, relevance and invention, without neglect of well informed and accordingly presented spectacle elements. Elements which form part of the composite product that an opera production has always been and which should be exploited as means of enhancement of the work’s detailed meaning without alienating it from its own primeval essence. Such respect of the work can also prove profitable to the theatres that will increasingly have to be inventive and competitive promoters of their products in a boundless field of commercial opportunities. We must be aware that any effort to keep performing arts under a protectionist dome is prone to fail. Human and institutional resourcefulness are thereupon called upon to make the best of this new freedom, bringing with it not only dangers, but benefits and opportunities as well. In this respect new realities could be of assistance in reestablishing a really sustainable way of self-regulation as regards artistic expression, one that, without compromising personal beliefs and aspirations, should also maintain a minimum of social reference to a certain public.
If we want to gain insight into the style issues of. J.S. Bach’s music for piano, we need to accurately define the basic elements that make up the interpretation, and consider their significance and effect. Naturally, we are immediately faced with the major issue of music expression autochthony and the issues of style conventions. Besides, technical capabilities of instruments played a major role in certain modifications of interpretation fragments and style. Still, the artistic individuality as an essential factor within the creative process of interpretative art must not be ignored. The issue of quality of style interpretation of Bach's works for keyboard instruments is a very complex area that should be approached from an analytic viewpoint in order to gain insights necessary for correct understanding and interpreting this great master's music art.
Most of the well-known versions about roots of the medieval Bulgarian family Parčević – Pejačević start with conspiracy of the Dabiša Knežević sons against Tvrtko I who ruled over Bosnia in the second half of the XIV century. Tvrtko I and Dabiša belong to the same dynasty – Kotromanić. The earliest data about Bosnian descent of the family or at least about its members’ whereabouts in Bosnia are limited. In this paper, the author deals with detailed research about the history of the family Pejačević and its whereabouts on the Bulgarian territory and also tries to explore and further explain various interpretations and causes of misunderstandings in existing researches.
This text is the result of my participation in the eight international scientific conference entitled Research of Speech that took place at the Faculty of Philosophy in Zagreb from 5th to 7th December 2013. Assistants for speech and voice of the Academy of Arts in Osijek Selena Andrić and Ivan Ćaćić also participated in the conference, demonstrating the application of voice (speech) exercises: breathing exercises and articulation exercises, i.e. the agility of the vocal apparatus. Voice (speech) is determined by lifestyle, physical agility, environment, “hearing“. The development and practice of voice is essential to actors. The goal of my participation in the conference was to initiate better cooperation between phoneticians and actors for future projects, while the text presents introductory thoughts on the importance of voice and speech as well as practical exercises that lead to the final step - the articulation of a text.