The latest study of the Academy of Arts in Osijek, the study of theatre design, celebrated its first anniversary this academic year, enrolling the second generation of students. In an interview with assistant professor Saša Došen Lešnjaković, one of the founders of the study and the president of the Interdisciplinary Chair which organises the study, we talked about the launching of the study and its goals, about the current situation in theatre regarding visual arts and about the students as the future of the study.
Žeravica, Katarina Actors in the Foreground (Virginia Woolf, according to Edward Albee: Who's Afraid of Virginia Woolf?), INK Pula, directing, dramaturgy, choreography, costume and stage design, music selection by Damir Zlatan Frey; premiered on the 3rd of October 2014)
After all that has been said, one can only conclude that in his author project Virginia Woolf director Damir Zlatar Frey has managed, despite his decision to slightly stray away from the original play and certain unnecessary provocations, to deal with relevant problems of the original play which are applicable to the meanings of present-day reality. However, that would not be the case without the excellent acting crew led by Nela Kocsis and Aleksandar Bogdanović. The actors bring the play to life, making us wonder: “Who among us is afraid of Virginia Woolf?”
Trdin, Lovorka Another valuable MA play (Four Stories: Women, according to Želimir Periš’s text: Martyrs), the Academy of Arts in Osijek and Teatar 054, director: Robert Raponja; stage and costume design: Jasmina Pacek; music selection: Domagoj Mrkonjić; lights: Catalin Bocîrnea and Jasmina Pacek; premiered on the 7th of March 2015)
As in any monologue play, the attention of the audience is directed towards the skill of acting interpretation. This is even more significant since this play is Petra Cicvarić’s MA exam. Her partners also come from the Academy of Arts in Osijek: Katica Šubarić is an assistant at acting courses, Sara Moser is an MA student and Petra Kraljev is a third-year student of the undergraduate study of acting and puppetry. After the initial feeling of insecurity when articulating the text, the young actresses managed to convey emotions - on which the play is based - to portray the maturity of the characters and, finally, to amaze the audience with their skills.
Brekalo, Matko We Want More! (W. A. Mozart:Don Giovanni, the Croatian National Theatre in Osijek, director: Robert Bošković; maestro: Mladen Tutavac; stage design: Davor Prah; costume design: Neven Mihić; choreography: Vuk Ognjenović; premiered on the 13th of March 2015)
All things considered, opera Don Giovanni, performed and produced by the Croatian National Theatre in Osijek, was a very successful project. Since this opera has not been performed in Osijek for many years (since 1968!), the interest and attendance were great. I can say with certainty that all those who appreciate opera and art are looking forward to similar projects and performances.
As any other activity, the professional ballet in Croatia has its history which can be systematically followed across different historical periods. They are not homogeneous in terms of successive development of the profession, especially in the first decades of the 20th century. This has to do with numerous organisational and, quite often, political circumstances which have influenced the general development of Croatian theatre. However, even in these periods we can find the will to keep this artistic-theatrical branch alive. During certain later periods in Croatia, it has been the source of extremely valuable and internationally recognised achievements.
Marijanović, Gordan A Great Birthday (libretto by Jean Bercher, music by Ferdinand Herold and Peter Ludwig Hertel: La Fille Mal Gardée, the Croatian National Theatre in Osijek, director and choreography: Svebor Sečak; music production and orchestra: Filip Pavišić; stage and costume design: Neven Mihić; lights: Tomislav Kobia, premiered on the 24th of April 2015)
The great work of the director and the dancers has elevated this show to a higher level. Once again, it has been proved that the effort invested in the development of Croatian ballet has not been in vain. The abilities and skills of the performers have shown that Osijek has a professional ensemble which is on a par with other national houses in Croatia. This performance has awakened many new ballet enthusiasts, celebrating the 20th birthday of Osijek dance ensemble.
“Abstract – Figurative – Overlapping - Dismantling” was the exhibition arranged by curators and fine arts historians Feđa Gavrilović and Igor Loinjak at the Museum of Fine Arts in Osijek from the19th of February until the 8th of March. The initial idea of the exhibition was to confront two somewhat contrasting tendencies in the painting of the 20th and 21st centuries. Gavrilović was supposed to select the authors and works that would present the figurative line whereas Loinjak’s interest would be directed towards abstract artists. However, while working on the exhibition, the authors decided to deal with the similarities and links between the two sections of the selected works. That resulted in a stylistically more unified exhibition, displaying some works that could belong to the “other” section.
The main feature of all the works is the reduction of visual aspects and procedures. While Cat. No. 13041664 contains some 150 C-print interpretations of a particular nuance of red, LED shows us the slow movement of icebergs across the river Drava with occasional editing changes, i.e. the choice of shots. Reduction in this case does not stem entirely from the practice of minimal art, but rather from the desire to strip the visual and the media down to their components. Furthermore, Frelih’s strategy in these works rather follows the approach of new tendencies, devoting significant attention to the relationship between digital and analogue media components which...
The End is here Jim Shaw - The New Museum, New York Sarah Sze - Tanya Bonakdar Gallery, New York Green Street Mural Roy Lichtenstein - Gagosian Gallery, New York; Red Yellow Blue Chuck Close - PACE Gallery
Incarner la poussiere Raul Illarramendi - Galerie Karsten Greve, Paris; Ombres blanches Marc Desgrandchamps - Galerie Zurcher, Paris; Lettres à Sybilla Alkis Boutlis - Galerie Suzanne Tarasieve, Paris; Splendeurs et misères: La Prostitution en France (1850-1910) - Musee d’Orsay
Indeed, there may be many things in Dolan’s expression that do not address the needs of the general public, but among his unusual characteristics is one that comes close to a general, contemporary fetish, which is the intrusion of the public into the author’s intimacy as well as his willingness to share that privacy with others. Thoroughly overlapping and sometimes identifying with the content of his own films, it is impossible, in Dolan’s case, to separate the artist and the art. He is and will be a relevant director due to his resolution to be present in his works both literally and in terms of ideas.
Dionysus – From Play to Green – the International Festival of Theatre Academies, the Academy of Arts in Osijek 2015
All this shows what it was like at the latest Dionysus Festival. New knowledge, experience and acquaintances shared among all the participants, students and professors alike. Every year the Festival gets better and achieves better results. Despite great reviews, we wish that next year the quality of the Festival improves even more as well as the attendance.
SLUK 2015 – the 25th meeting of puppeteers and puppet theatres of Croatia
The professional jury pointed out the lack of contemporary puppetry texts as one of the perceived problems in Croatian puppetry. There were only two such original texts at the festival. One text was based on Shakespeare and the other was a text for play without stable structure... It is a pity that Croatian theatres do not stage even the texts awarded at Mali Marulić Competition which is organised by the Town Puppet Theatre in Split and at which one can see five to six very good texts!
Instead of a final complaint about the continuously low quality of Croatian puppetry which does not seem to be moving forward, we will end the text about the 25th SLUK with the new, fresh, brave, powerful and seductive energy coming from the Academy of Arts in Osijek, which will, hopefully, improve Croatian puppetry in the near future.
On Saturday the 20th of June 2015, the 1st annual exhibition of the 1st year students of the undergraduate university study of theatre design was opened at the Academy of Arts in Osijek. The study of theatre design is organised by the Independent Interdisciplinary Chair of the Academy of Arts in Osijek. It is the only such study in Croatia that teaches future costume and stage designers as well as puppet makers. It provides its students with basic relevant theoretical and historical-artistic knowledge as a necessary precondition for the acquisition of practical and professional artistic skills related to the visual arts in theatre in a broader sense, which enables them to do individual artistic work in the field of visual representational art.
Several exhibitions were held this academic year at which the students of the Department of Fine Arts of the Academy of Arts in Osijek exhibited their works. This text will deal with the following three – the 1st “Self-Portrait“ Student Biennale, the final exhibition of the students of the Department of Fine Arts and the exhibition of awarded students at the final exhibition.
48. PIF, Zagreb 2015
The 48th PIF (an international puppet festival) has successfully continued its long tradition. Puppets have ruled Zagreb once again, gaining new admirers. The audience could enjoy many programmes and get to know new trends and forms in contemporary puppet theatre. The children had fun while the grown-ups realised that puppetry was not only for kids. This year’s PIF is a great step towards making puppetry and theatre in general more popular. We are looking forward to the surprises that await us at the next 49th PIF.
Music Biennale Zagreb 2015
Music Biennale Zagreb has displayed many different events and projects that show the imagination of contemporary music trends. Likewise, the audience has shown different attitudes and impressions, ranging from pleasure, joy and fulfilment to dissatisfaction and boredom. But every impression prompted conversation and thoughts about what has been heard, creating a good artistic atmosphere that would not go away long after the final applause. With its varied programme, Music Biennale Zagreb encourages thoughts and discussion, thus developing the artistic spirit of individuals.
The Festival of Croatian Tambura Music Osijek 2015
The 38th International Festival of Croatian Tambura Music took place in Osijek from the 8th of May until the 10th of May. The Festival was organised by the Croatian Tambura Association in Osijek and was opened by the Croatian national anthem performed by the Croatian Singing Society “Lipa” led by conductor Valerija Fischbach. 14 tambura orchestras from Croatia and Serbia performed at the Festival. They competed in three categories: children, juniors and seniors. Each orchestra performed three compositions: a given composition within the specific category, a vocal-instrumental composition of amusing character (folk songs, songs singing about the life in old towns...) and a chosen instrumental composition.
This work is about the artistic work of Ivica Čuljak, better known as Satan Panonski, who is considered to be the pioneer of autodestructive body art in the history of Croatian performance art. Taking into account the controversial status of his creation, the work analyses the artistic characteristics of his stage performance and other forms of artistic activity in an attempt to incorporate them into the historical context of Croatian and world performance from the beginnings of dada in Vinkovci to body art of the 1990s. The key notions and genre determinants of his creation are music performance, body art, lesionism, the body of resistance, performative poetry, shock aesthetics, ritual aesthetics of the victim, behaviour art, mail art, anti-fashion performance and total art. The work questions the artistic and personal reasons for creation, the communication with the audience and media, the manipulation of the facts as a possible artistic means as well as the general perception of the artist’s creation through the mythological comprehension of him and his work. The purpose of this research is to re-evaluate the artistic personality and work of Satan Panonskig as well as to position him more clearly within the history of Croatian performance by connecting the basic types and characteristics of performance art, using the methods of analysing various available sources from the original works (texts and recordings) to secondary records by Čuljak’s associates about his artistic work.
The work researches the cause and meaning of the symptoms of the neurotic behaviour of one of the most famous characters of the Croatian crime fiction. The research is based on the name predetermined identity trauma, i.e. the sphere of uncertainty and unsatisfied sexuality as the cause for death drives. In that sense, detective and castrated man Valentin Knez turns into a criminal and a potent man, accomplishing the given identity of “knez” (duke), the one who becomes the ruler and who rules, but only in the imaginary reality. Obsession with crime is therefore just a symptom of unconscious drives towards sexual satisfaction, finally accomplished in the sadistic (and at the same time masochistic) penetration of the axe into the Other. The purpose of the work is to research the character of Valentin Knez by means of his obsession with crimes. The research and the results are based on the detection of possible causes of his psychosis and his transformation into a murderer. The focus will therefore be on the unconscious drives, primarily due to the burden of the name, and the neurotic symptoms as substitutes for sexual satisfaction.
The recent publication of the cult play Hamletmachine by Heiner Müller in the collection of the achievements of one of the leading representatives of postdramatic theatre (that is, in the book “Hamletmachine and Other Plays” published by Fraktura and the Zagreb Youth Theatre), opens the possibility for another fresh reading of this work in order to check the still vital correspondence of Hamletmachine and the present-day sensibility.
This work examines the relations of space and festivals, in this case it is the international meeting of theatre and puppetry academies Dionysus Festival. The research of Dionysus Festival is based on the analysis of space that constitutes the theatre act. It answers the questions regarding the importance of the theatre space, the space of this festival. It will show the bonds between the audience, performance and space; spectators who have the opportunity to experience the theatre act in different spaces and participate in the modern theatre. Finally, it establishes three categories of space as the venues for Dionysus Festival: traditional, public and those that have not been affirmed.
A musical game, like any game, is an important aspect of children’s lives. It is an activity that stimulates positive emotions and satisfies the inner needs of children. Games have to complement the life and education of every child on an almost daily basis. A game is considered to be the time during which children enjoy in their own fantasy and creativity. Children do not need a special adapting process to play and so is the case with singing games. Songs and play make children feel natural and safe. That is how they grow up, develop their psycho-physical skills and learn about new facts. Children have always been surrounded by various sounds, from their surroundings and nature to the lullabies sung by their mothers. Music is thus a natural phenomenon which greatly contributes to the general development of children even at an early age which is believed to be the best period to develop musical skills. Music primarily develops musical and therefore mental, aesthetic and physical skills as well as work habits. The work focuses on musical games for preschool children and younger primary school children. It shows the types of games, their application and goals, emphasising singing games. The author has been using the games that are included in this work in her work with “Osječki zumbići” children’s choir, i.e. with children who are four to nine years old.
The field of art is the most appropriate of all the mentioned fields for the research of spatial rules since today it has no limits with the free application of all the known technological procedures. Therefore, art is one of the first fields for the application of new ideas by this project. These ideas are based on the research into the virtual 2D and 3D spaces such as hologram, using all the known facts about the technological creation of 3D hologram. HoloArt project uses methods of creating and applying complete solutions by means of cutting-edge facts about space and its rules, which makes this project innovative and attractive. For the first time, the same visual - artistic solution can be simultaneously seen at various places. Unlike the TV or projection images, the content of the virtual space is complete and can be perceived simultaneously from all sides due to 3D hologram. Using mobile or tablet virtual space applications, one can observe and catch a photo or video alongside the space of the virtual space. Being aware that several different spatial contents can be experienced at the same time enables a new way of experiencing space as such and, in this case, a defined virtual space as an artwork. Such an approach leads to new thoughts about the contemporary artwork and the development of its future identity.
Znam da ne spominjem ono što ljudi žele čuti: način kako ostvariti ove ideje. Neću reći, jer to se tiče samo mene. Neću reći, jer će to potaknuti oponašanje te će odmah postati dogma. Neću reći, jer su to moje riječi kojima primatelj daje potpuno drugo značenje. Reći ću samo ovo: ne trebamo ni znati ni slijediti nekakav „glumački cilj“, ne trebamo postati netko. Luksuzna ravnoteža ili luksuznost ravnoteže? Između koga? Između glumca, uloge ili pretpostavljenoga ega svakodnevnice? Da. I kao što je lako pronaći središte gravitacije koje osigurava ravnotežu u slučaju trokuta, rješenje nije ništa teže u ovom slučaju: sve što trebamo znati jest tko je stranica AB, tko stranica BC, a tko stranica AC? I koje su njihove dimenzije?
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.
Ovaj članak čitatelje nastoji upoznati s izvanrednim talentom južnoafričkoga redatelja Bretta Baileyja iznova stvarajući drugi nastavak njegovih „Izložbenih“ serija – jedinstvenoga umjetničkog i političkog događaja koji je zapanjio i uznemirio europsku publiku – i predstavljajući iz prve ruke glavne značajke razvoja njegova rada, od Zombija do danas.
Apart from being a reaffirmation of the neglected continental medieval world, the book by Rosana Ratkovčić is a valuable catalogue of all the locations of the remains, traces and fragments of medieval art. The most appealing parts of the book are certainly the photographs which show the beauty of medieval art in the continental part of Croatia, but they also warn us, in most cases, about the sorely neglected state of our cultural heritage.
ERASMUS professional practice is an opportunity quite unknown to students although it offers great knowledge and the experience of living and working abroad. Many students graduate in Croatia yet they have no work experience to note down in their CV, which makes this an ideal opportunity for graduate students who wish to work abroad. London was my choice, but individuals choose their own practice depending on their preferences, thus providing for themselves a journey and experience which they will remember forever.
Conference proceedings contains papers presented at the International scientific conference European determinants of the term puppet and professional puppetry terminology. The main objective of the conference was to put Croatian puppetry into broader context (both European and Worldwide). The conference attended: Henryk Jurkowski; Radoslav Lazić; Rita Fleis; Siniša Jelušić; Marijane Petrović; Matt Smith; Jasminka Mesarić; Zdenka Đerđ; Teodora Vigato; Livija Kroflin i Igor Tretinjak