ISSN 0352-9738

MATICA SRPSKA JOURNAL

OF STAGE ARTS
AND MUSIC
49
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)
Duan Rnjak, PhD
(University of Novi Sad, Academy of Arts)
Katarina Tomaevi, 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
2013

ISSN 0352-9738

49

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2013

MATICASRPSKA

DEPARTMENTOFSTAGEARTSANDMUSIC


CONTENTS
, ,
STUDIES, ARTICLES, TREATISES

,
. . . . . . . . . . . . . . . . . . . .
Dr MIRJANA ZAKI and dr JELENA JOVANOVI
Sources in Medieval Paintings, Ethnographic and Literary Sources about
the Instrument Kaval in Serbia and Macedonia . . . . . . . . . . . . . .

XIX
. . . . . . . . . . . . . . . . . . . . . . . . . . .
Dr MARIJANA KOKANOVI MARKOVI
Production of Salon Music in Serbia in the 19th Century in the Wake of
Music Publishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

:
Dr IVANA PERKOVI
Stanislav Binikis Contribution to the Genre of Sacred Music . . . . . .

:
/ 19281941. . .
Dr ALEKSANDAR VASI
Foreign Music in Belgrade Between the World Wars: Reception in the
Herald of Music Society Stankovi / Music Herald 19281941 . . . .
, M.A.

. . . . . . . . . . .
MARIJA DUMNI, M.A.
Musical Performances and Musicians in Belgrade Taverns from the Beginning of Radio Belgrade Broadcasting until World War Two . . . . . . .

9
22

23
41
43
60

63
75

77
90

.

(I) . . . . . . . . . . . . . . . . . . . . . . . . 91
Dr SOFIJA M. KONIAR
Female Theater Artists on Their Profession Through the Pen of Milo Crnjanski Context and Interviews (I) . . . . . . . . . . . . . . . . . . . . 103



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
NEVENA VARNICA
Erudite Comedy and Melodrama Two Drama Genres as Seen by Dra
goljub Pavlovi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

. . 115
Dr MAJA RISTI
Our Belgrade Drama Theater Theater of Domestic Drama . . . . . . . 130

: , , . 133
Dr IVANA MEDI and mr JELENA JANKOVI BEGU
Musicals in Serbia in the New Millennium: Strategies, Achievements,
Challenges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
.
: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
VESNA D. CREPULJAREVI
The Fifth Act: Terrace . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

. . . . . . . . . . . 169
Mr NEBOJA ANTEEVI
Epistemology of Scenography in Theaters Today . . . . . . . . . . . . . 193


. . . . . . . . 195
LAZAR JOVANOV
Multilingual Drama Program of Radio Novi Sad a Relevant Factor in the
Promotion of Cultural Diversity of the Republic of Serbia . . . . . . . . 207

- . . . . . . . . . . . 209
BOKO TULI
Crime and Punishment in Woody Allens Movie Match Point . . . . . . 220

, ,
MEMOIRS, MATERIALS, CONTRIBUTIONS

1913. . . . . . 221
STEVAN BUGARSKI
Arrest Warrant for Nui in the Vicinity of Timisoara in 1913 . . . . . . 226


:
. . . . . . . . . . . . . . . . . . . . . . . . . . 227
Dr MELITA MILIN
Fragments of Biography in Archives: Ljubica Maris Correspondence . 244

REVIEWS

, ,
, 2012. . . . . . . . . . . . . . . . . . . . . 245

, ,
, , 2010. 247

, , , SOKOJ, 2010. . . . . . . . . . . . . 253

. . . . . . . . . . . . . . . . . . . . . . . . 255
. . . . . . . . . . . . . . . . . . . . . . . 263
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

, ,
UDC 681.81(497.11)(091)
UDC 681.81(497.7)(091)

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20

ANOYANAKIS, Fivos. Greek Folk Musical Instruments. Athens: National Bank of Greece,
1979.
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.
BRMSE, Peter. Flten, Schalmein und Sackpfeifen Sudslawiens. BrnnPragLepcigWien:
Verlag Rudolf M. Rohrer, 1937.
CZEKANOWSKA, Anna. Kultury muzyczne Azji. Krakw: Polskie Wydawnictwo Muzyczne,
1981.
DEVI, Dragoslav. Etnomuzikologija III deo. Beograd: Univerzitet u Beogradu, 1977.
AKOVAC, Dejan. Narodna muzika pirotskog kraja (diplomski rad). Beograd: FMU, 1993.
GOJKOVI, Andrijana. Narodni muziki instrumenti u Vukovim delima. Etnoloki pregled
89 (1969): 5164.
GOJKOVI, Andrijana. Terminoloke slinosti muzikih instrumenata. Zvuk 2 (1982):
1623.
GOJKOVI, Andrijana. Narodni muziki instrumenti. Beograd: Vuk Karadi, 1989.
GOJKOVI, Andrijana. Prouavanja narodnih muzikih instrumenata u Srbiji. Beograd, 1990.
JENKINS, Jean and Poul Rovsing Olsen. Music and Musical Instruments in the World of Islam.
London: World of Islam Festival Publishing Company Ltd, 1976.
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: 183202.
JOVANOVI, Jelena. Renewed kaval in Serbia in 1990s and kaval and ney in Sufi traditions in
the Middle East: the aspects of music and meanings. The 6th International Symposium
on Traditional Polyphony, 2428 September, Book of Abstracts. Tbilisi: Center for
traditional polyphony, 2012: 21.
KUHA, Franjo. Prilog za poviest glasbe junoslovenske. Kulturno-historijska studija.Rad
Jugoslavenske akademije znanosti i umjetnosti. Knj. XLI, br. 41 (1877): 148.
MUFTI, Teufik. Arapsko-bosanski rjenik. ElKalem, Sarajevo, 1997.
NIKOLI, Tijana. Otvoreno cilindrino telo kao aerofoni instrument iz roda labijalnih svirala.
Seminarski rad Beograd: FMU, Odsek za etnomuzikologiju, 2003 (rukopis).
PEJOVI, Roksanda. Musical instruments in medieval Serbia. Belgrade: Faculty of music,
University of arts, 2013.
RJENIK HRVATSKOGA ILI SRSKOGA JEZIKA. Knj. IV. Zagreb: JAZU, 18921897.
SACHS, Curt. Reallexikon der Musikinstrumente. Hildesheim: Georg Olms Verlagsbuchhandlung,
1962.
SIMONOVSKI, Metodi. Muzika terminologija u makedonskim narodnim umotvorinama. Zvuk
51 (1961): 2842.
SOKOLI, R. Folklori muzikor Shqiptar (organografia pr shkolln e mesme muzikore). Tiran,
1975: 3840.
KALJI, Abdulah. Turcizmi u srpskohrvatskom jeziku. Sarajevo: Svjetlost, 1979.
TAMMER, Anthony. Kavals and Dzamares: End-blown flutes of Greece and Macedonia, 2003.
<http://www.umbe.edu/eol/4/tammer/index.html>23.10.2000.
TRADICIJSKA NARODNA GLAZBALA JUGOSLAVIJE. Prir.: Jerko Bezi, Milovan Gavazzi, Mirjana Jakeli,
Petar Mihanovi). Zagreb: kolska knjiga, 1975.
VLAHOVI, Mitar S. O najstarijim muzikim instrumentima u Crnoj Gori. Rad VI KFJ (Bled
1959), Ljubljana, 1960: 313324.

21

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 0609. 2007). Brko, 2007: 3770.
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
SOURCES IN MEDIEVAL PAINTINGS, ETHNOGRAPHIC AND LITERARY
SOURCES ABOUT THE INSTRUMENT KAVAL IN SERBIA AND MACEDONIA

Summary
The paper focuses on kaval, a half-transverse flute about 800 mm 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 authors made a certain methodological innovation with regard to the former
usual approach to the instruments from the group of labial flutes. This was motivated by
several factors: the popularity of the kaval achieved by 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 application and its bearers on the territory of Serbia;
and finally, the fact that different data about the kaval have not been synthesized until today.
The research results include the available data from historiographic and ethnomusicological
sources from the regions of Serbia and Macedonia and are presented in two sections: the first
one refers to the sources in medieval paintings, to ethnographic and literary sources, and the
second, which is in the course of preparation, will be based on ethnomusicological sources
about this instrument.
Key words: kaval, medieval paintings, literary sources, ethnographic sources, Serbia,
Macedonia.

22

UDC 786.2.085.321(497.11)"18"

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33
I 8.
34
:
. III 3.
35
Peters 1871/72. 15
(Salon-Album. Sammlung beliebter Salonstcke fr Piano-solo), Litolff 1873.
(Salon-Perlen. Auserlesene Klavierstcke). A. Ballstaedt, T. Widmeier, . , 109.
36
, .
37
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38
, . Stich der Musikaliendruckerei v. Jos. Eberle &
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39
. 4.
40
( ,
) . : . ,
XIX , 5765.

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43
, , , , III/1878, 28, . 446; ,
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41
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) (, , ),
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11);
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. , (. I, . 1);
. , (. I, . 4);
. . , Rondo alla Turca (. I, . 5).47
-, , 1902, 10.
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 E
, . ,
. . :
, 2007.
, . 19.
. , . I, 1997, 97105; :
<http://www. pbunjak.narod.ru/radovi/knjizare.htm>
, . 1914. . :
, 1969.
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, 2006.
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, . , . : , (.). . .
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1522.
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, . , . : , (.).
. . 4. : , 2009: 748.
, .
XIX . , ,
: , 2012.
M [, ]. . . 7 (1.
1886): 125132.
M [, ]. . . 9 (1.
1886): 157165.
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, 1900.
, . . : , . . , : , Verlag Otto Sagner, 1987:
5164.
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40

Antonicek, Theophil. Pietro Mechetti. : ML. Bd. 6, 179. <http://www.biographien.ac.at/

oebl/oebl_M/Mechetti_Pietro_1777_1850.xml>
Ballstaedt, Andreas, Tobias Widmeier. Salonmusik zur Geschichte und Funktion einer
brgerlichen Musikpraxis. Wiesbaden Franz Steiner Verlag, GMBH, Stuttgart: 1989.
Haklik, Vladimir. Johann Strauss (Sohn) und die Slawischen Volksstme. : Die Fledermaus.
Mitteilungen 3 des Wiener Instituts fr Strauss-Forschung, Tutzing 1991: 1528.
Weinmann, Alexander. ,,Mller, Heinrich Friedrich. : MGG. Band 9, Kassel 1989: 856.
Marijana Kokanovi Markovi
PRODUCTION OF SALON MUSIC IN SERBIA IN THE 19TH
CENTURY IN THE WAKE OF MUSIC PUBLISHING

Summary
Until mid 19th century in Serbia only some musical pieces were occasionally published
with foreign publishers. The first collections of Serbian folk songs and dances were published
in mid 19th century in Vienna by Alojz Kalauz and then by Kornelije Stankovi. The widow
of the Vienna music publisher Heinrich Friedrich Mller printed salon dances for the piano,
while the piano compositions of Kornelije Stankovi were published with renowned Vienna
publishers Pietro Mechetti and Gustav Albrecht. Until the 1870s composers mainly published
their own works, either by paying for it or by finding patrons. The appearance of publishing
bookshops brought about a change in placing books on the market. Brothers Kamenko and
Pavle Jovanovi from Panevo, as well as brothers ore and Kirilo Popovi from Novi Sad
and Mita Staji, who developed his business in Belgrade, greatly contributed to the development
of Serbian bookshops and publishing, as well as to printing music sheets.
The offer of Serbian publishers of music sheets publicized salon musicprominently, which
was a consequence of increased demand for note editions intended for home performances.
Salon music was published in various forms: single editions, albums, or as musical additions
to journals.
The influence of the Paris salon style arrived among Serbs via Vienna and it included the
visual aspect of music sheets. With some editions special care was taken that the front page
wasvisually attractive. Besides the front page, buyers were strongly influenced by the title of
the composition, which was often in French. Foreign lithographers (e.g. J. Eberle from Vienna
and Engelmann and Mhlberg from Leipzig) were mostly hired for reproducing and printing
front pages of musical editions.
Key words: salon music, publishers of music sheets, Jovanovi brothers bookshop
Panevo, Popovi brothers bookshop Novi Sad, Mita Stajis bookshop Belgrade, forms
of editions of salon music, technical equipment of music editions, lithography, music market.

41

UDC 78.071.1:929 Biniki S.

, ,
O /Original scientific paper

:
*
:
: .
,

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(18721942)
, , : .
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,
( 1924: 10).

( 1924: 11),
* (. 177019)
.

43

 (Benedict Randhartinger,
18021893) ( 1991: 9). ,
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(18401893), (17521825)
(17661813) ( 1991: 2837).
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( 1973).1
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1
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) . . : 1999.

44

 ,

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( 1924)
.
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303). :
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1973).
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,
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(18121875), ( 1820
1870) (18311865),
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(18031878) (Francesco Sinico,
18101865), (18511931) ( 2008: 6390).

( ), ,
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c1 ( )

b ( )
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A1

 ( 1969: 63). ,
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1938. , , ,
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53

 (MOROSAN 1986: 153154).

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. PERKOVI 2003, 160168.
11
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12
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56


. , ,

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57

 , ,
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5
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58


,
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, .15

. ,
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a due .


. ,
, .
, , ,
, raison
dtre . ,
, .

, . ( 1923),
. , , , :
, , , 1995.
, . . : ,
1972.
, . 19. 20. .
, ,
, . , . : , 2012.

15
,

, ( ).

59

, . -
. , . :
, 2012.
, . . :
, 1950.
, . 1914. . :
, 1962.
, . . , .
: , 2002.
, . . . . .
XI/1 (1. 1924): 303306.
, , . Comoedia 5 (4.
1924): 132.
, . . : , (.). , . :
, 1998: 6978.
, . . . : , 1973.
, . . :
, 1999.
MOROSAN, Vladimir. Choral Performance in Pre-Revolutionary Russia. Michigan: Umi Research
Press, 1986.
PEJOVI, Roksanda. Stanislav Biniki kao dirigent i organizator muzikog ivota u Beogradu.
: Perii, Vlastimir (.). Stanislav Biniki. Beograd: Fakultet muzike umetnosti,
1991: 554.
PERII, Vlastimir. Muziki stvaraoci u Srbiji. Beograd: Prosveta, 1969.
PERKOVI, Ivana. Liturgievertonungen in der serbischen Musik der Romantik. Ein Betrag zur
Erforschung der Musiksprache. : Metz, Franz (.). Die Kirchenmusik in Sdosteuropa,
Historische und typologische Studien zur Musikgeschichte sdosteuropischer Regionen.
Mnich: Hans Schneider, 2003: 160168.
Ivana Perkovi
STANISLAV binikiS cONTRIBUTION TO THE GENRE OF SACRED MUSIC

Summary
Stanislav Binikis (18721942) relationship to sacred music was determined by two
coordinates: his permanent contact with this type of music within the performative context,
and his creative contribution. As a composer, Biniki had at his disposal not only the musical
vocabulary of Serbian and Russian church music of the 19th century, but also the achievements
of Western music.
Unlike Stevan Stojanovi Mokranjac, the most extensive part of Binikis sacred works
was not basedon traditional melodies. This refers to the following extensive cycles: Liturgy

60

and Funeral service, while Litany for the thanks giving, wedding and patron Saints day, as
well as the troparion to St. Prince Lazar include traditional melodies. There were significant
differencesin his approach to these two groups of works and they are discussed separately in
this study. Binikis creative contribution is analyzed from the perspective of musical form,
cycle, harmony, texture, and musical expressivity driven by liturgical texts and other aspects
of sacred music.
Key words: liturgy, service, cycle integration, musical expressivity, style, harmony,
facture.

61

UDC 050(497.11) Muziki glasnik "1928/1941"

UDC 78(497.11) "18"

,
O /Original scientific paper

:

/ 19281941.*
: ,
(19281934, 19381941; 1931.
), , .

. ,
,
, , ,
. XIX
,
.
: / ,
, , , , .

;
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, .
. ,

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*
: , , (. 177004).
, ,
.

63

 1883.
, .
, ,
.
. 1928,
1934. ( 1931. );
, 1938. 1941.
.
.

, , , , , .

.
. ,
(, ),
. ,
1929.
. () , , 1929.
.
.
, 1938. , , , , ,
. ( 2011: 144145)

(19321936). ,
, ,
.

. , . 19311934.
: . , , , , , .
. , 1938.
, : ,
.
, : ,
, , , ,
, , , , , , , ,
64

 , , , ,
.
.
,
( 2011).
.

/

. , ,
, ,
.

XIX .
:
- ; ;
;
;
; ;
. -
. , ,
,
.
-
. (Franz Liszt), (Frdric-Franois
Chopin) ( ).
,
. , ,
.
(Niccol Paganini) ,
.
, ,
.1
1
Dok je Paganini bio jednostrani virtuoz i donekle arlatan, koji je iao za tim da zaslepi masu i
deluje na nju sretstvima koja uvek nisu bila dostojna umetnika, ouvao je Lisztov stvaralaki talent mladog

65


(Ludwig van Beethoven) ,
,
(D 1932).
, ,
.
(,
.),
(MILOEVI 1938).
-
( 1930).
.

.

. ,

( 1927), ,
, . .2
XVII , ,
-
. ,
.
,
, (Hyppolite
Taine).
, (?)
.
(. [Richard Wagner]
[Giuseppe Verdi]), , .
, ,

umetnika od tehnikih nastranosti i blefovanja neukog sveta. Ako uporedimo Paganinija sa Lisztom
moraemo svakako priznati da je Lisztova umetnost plemenitija i vrednija . VARC 1932: 20.
2
. : 2005, 2006,
2007. 2008.

66

, .
,

.

. .


. ,
,
, .

,
.
, ,
. 1930.
(Charles-Franois Gounod),

( 1932). . , . ,
,
.
, ,
. ,

(Daniel Auber) (Giacomo Meyerbeer)
.
, :
,
( 1932: 71).
,
,
.3
3
:
(. 1930: 30). 1932. ,
(Vincenzo Bellini) (Gaetano Donizetti) ,
; . 1932: 69.

67

,
() XIX . ,
, .
120.
, ( 1933). ,
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?! (1933: 301).

/

68

 . ,
.4

(Eugen dAlbert),
(Achille-Claude Debussy), (Richard Strauss)
(Christoph Willibald von Gluck).

(1932: 83).
,
. XIX
,
(1933).

. , .
,
, .
(1934). (1939).
, ,
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, ,
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.
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(1931).
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(19011914, 19201941) ( 2004).
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1931).5 ,
(VEDRAL 1941).

(Vincent dIndy), .
, ,
(Csare Franck), , ,
( 1932).6

.
, .7

,
(1931). ,
XIX XX
(1933; 1933).
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( )
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5

1931. .
6
Reviji muzike, Beograd, mart 1940, br. 3, str. 8.
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( 1929, . 2) .
: (Edward Joseph Dent), ;
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1942. 1944.
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 (1930). .
:
;
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.
1915. , .
, , , , , -,
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,
: ,
(1930: 111).

,
.

(Johann Wolfgang von Goethe) (1932).

, .

, (Alfred
Einstein) ( 1939).
(Thomas Mann), (Ren Schickele),
(Franz Werfel) (Stefan Zweig).
. . (Johann Sebastian Bach), . . (Georg Friedrich
Hndel), .., . . (Franz Joseph Haydn), ..,
. , . . (Carl Maria von Weber), . (Franz
Schubert), . (Felix Mendelssohn-Bartholdy), . (Robert
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, , curiosa.
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.9
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 XIX
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(1934: 170171).

. .
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(Giacomo Puccini) :
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(A 1928).
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[]. . . 6 (
1928): 91.
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2004. ; .

.
, .
(19011941). . 34/2 (2005):
213224.
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, 2006.
, . (19181941);
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Wars (19181941). : Romanou, Kathy (ed.). Aspects of Greek and Serbian Music.
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335366.
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4 ( 1932): 8184.
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1932): 193202.
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leksikografski zavod Miroslav Krlea: 1920.
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( 1931): 5878.
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137141.
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Einstein), Forum 1939 Stockholm, Amsterdam). . 9 (
1939): 167171.
VARC, Rikard. Tri majstora klavira: Chopin, Liszt, Skrjabin. . 12
( 1932): 1623.
VEDRAL, V. [Vaclav]. ivot i rad mladoga Mozarta. Povodom 150-godinjice smrti.
. 12 ( 1941): 46.

74

Aleksandar Vasi
FOREIGN MUSIC IN BELGADE BETWEEN THE WORLD WARS: RECEPTION IN
THE HERALD OF MUSIC SOCIETY STANKOVI / MUSIC HERALD 19281941

Summary
Of seven Serbian music journals published between the world wards, the oldest one is
the Herald of the Music Society Stankovi (19281934, 19381941; since 1931 renamed
Music Herald). It published over seven hundred articles of different kinds and scopes studies,
essays, reports, discussions, necrologies, news, notes, etc. Many essays were devoted to foreign,
i.e. western European and non-European music. The journal wrote about F. Liszt, F. Chopin,
A. Scriabin, the history of symphony, E. dAlbert, C. Debussy, R. Strauss, C. W. Gluck, W. A.
Mozart. The journal joined one of the main debates of the Serbian criticism between the two
world wars operaor musical drama publishingtexts by authors of opposing attitudes.
The Herald published reviews of music cultures unknown to the domestic audience
(English, modern Jewish, Albanian, American), which was refreshing for Belgrade, Serbia and
Yugoslavia of the time.
The journal wrote about the connections of literature and music, using Goethe as an
example, and it significantly contributed to the publication of texts from the field of the history
of music aesthetics. Those were pioneering articles in the young Serbian music culture.
In the Music Herald one can see traces of musicographic principles from the 19th century.
For instance, some writers relied on the biographical genre although that was also connected
with the popularizing tendency of the journal. The traces of older musicography are also
detectable in the writing of some authors regarding the physical appearance of the musicians.
The Music Herald significantly improved the reception of foreign music in our
surroundings, both through essays that aspired higher and through essays that were written
with a conscious popularizing intent.
Key words: Herald of the Music Society Stankovi / Music Herald, Milenko
ivkovi, Rikard varc, Erih Samlai, Jurij Arbatski, Danilo Dani.

75

UDC 784(497.11 Beograd)"18"

UDC 640.43(497.11 Beograd)"18"

,
O /Original scientific paper

*
:
. ,
,
, .
,
.
1929. 1941. ,
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),
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77


.

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.


,
.

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( : Stokes 1994),
.
.
: , , , ,
, ( 2010).

,

( 2008: 265).
,
.

,
.
() ()
.
(.
).
,
(Dimov 2012: 314). ,

() , 78


(Hofman
2010), ()
(Dimov 2012).

,
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(. 2011; 1987).

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,


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Routledge, 2002.

89

Marija Dumni
MUSICAL PERFORMANCES AND MUSICIANS IN BELGRADE
TAVERNS FROM THE BEGINNING OF RADIO BELGRADE
BROADCASTING UNTIL WORLD WAR TWO

Summary
Musical life in urban areas of Serbia has been a topic of very few scientific papers.
As it is typical for genres which can be interpreted as popular music, urban folk music was
neither a common subject for collecting and later for research. Its distinguished vitality even in
todays everyday practice is caused mostly by performances in taverns, i.e. in specific cultural
spaces where professional musicians perform. Kafana (the tavern) as a musical space is the
arena of negotiation of public and private music performance, the musicians connection, the
interaction of musicians with the audience, and performance of different music practices which
profile a specific genre of urban folk music. This paper deals with musical performances in
Belgrade taverns from 1929 to 1941 the part of the interwar period when the music from
the taverns in Belgrade became very popular because of Radio Belgrade broadcasting. Tavern
musicians were the carriers of this performing practice, so they are considered a particular
profession, not only because of the remuneration and the recognition of their skill in society,
but also because of their grouping, education, specified gender roles and influences on music.
Social aspects of this performing practice are analyzed by using the musicians guilds official
documents. The material for the reconstruction of this practice in Belgrade taverns is collected
by archival research, so this paper aims to point out the importance of the interpretation of
historical sources in ethnomusicology (old music recordings and official documentation about
musical performances), with the goal to contribute to the understanding of its contemporary
condition.
wars.

90

Key words: urban folk music, musicians, tavern, Radio Belgrade, period between world

UDC 821.163.41.09 Crnjanski M. (047.59)

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102

Sofija M. Koniar
FEMALE THEATER ARTISTS ON THEIR PROFESSION THROUGH THE
PEN OF MILO CRNJANSKI CONTEXT AND INTERVIEWS (I)

Summary
The basic thematic framework of the forgotten female interviews of Milo Crnjanski
which he had with famous female theater artists of the Kingdom of Yugoslavia in the 1930s,
regarding the topics such as the position of female artists during the world economic recession
in the cultural and social hiatusof the patriarchal and the new, feminist world view, is still
topical today. The paper reviews and explains the context of three scientifically and artistically
unjustifiably marginalized interviews of Milo Crnjanski which he had with Mrs. Lepu-Poli,
a primadonna of the Ljubljana Opera, Mrs. Marica Popovi, a Belgrade actress, and Mrs. Anta
Kovai, a Ljubljana actress. The paper also contains the transcripts of these interviews, which
were published in one of the most respectable newspapers of Yugoslavia at the time, in the daily
Vreme, in January 1932, thus contributing to the preservation of both artistic and publicistic
heritage of Milo Crnjanski.
Key words: Milo Crnjanski interviewer, interview, Lepu-Poli, opera singer, Marica
Popovi, actress, Anta Kovai, actress, daily Vreme (19211941), world economic crisis, social
and cultural setting 19311932, Kingdom of Yugoslavia.

103

UDC 821.163.41.09 Pavlovi D.

UDC 821.163.41-2.09"16"

,
O /Original scientific paper

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, . . a II. , 1952: 243254.
, . . ,
, 1954, I, 5158.
, . . .
: , 1971.
, . (, , ,
). : , 1994.
Nevena Varnica
ERUDITE COMEDY AND MELODRAMA TWO DRAMA
GENRES AS SEEN BY DRAGOLJUB PAVLOVI

Summary
When studying the literature of Dubrovnik, Dragoljub Pavlovi stressed that erudite
comedy and melodrama were the most significant genres in the periods of renaissance and
baroque. He noticed particular elements specific for these genres created in the region of the
Dubrovnik Republic. For the Plautine comedy this was primarily the touch with the daily life
and the criticism of the society. Melodrama is also characterized by the fact that it appeared
in the old Dubrovnik at the very beginning of the 17th century and it flourished and achieved
success here sooner than in France or England.
Key words: Dragoljub Pavlovi, Dubrovnik Republic, erudite comedy, melodrama,
history of literature.

114

UDC 792.091.4(497.11 Beograd)

UDC 821.163.41-2.09

,
O /Original scientific paper

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19472007. . . :
, 2007.
Maja Risti
OUR BELGRADE DRAMA THEATER THEATER OF DOMESTIC DRAMA

Summary
Belgrade Drama Theater, founded in 1947, with its civic mission and the mission of a
modern theater,brought about an important change and an expressed otherness in comparison
with the repertoire policy of other Belgrade theaters of the time, primarily Yugoslav Drama
Theater and National Theater, which based their concept on performing domestic classical works

130

and works of Soviet realism in accordance with the cultural politics after the Second World
War. The repertoire of this theater strived to portray the problems and fears of an ordinary
man, a man of capitalism who loses his job, a man in a vortex of family problems, a man as
described by Tennessee Williams and Arthur Miller. Relying on reality, naturalness in acting
and striving to create a modern theater led to a great prosperity of the Belgrade Drama Theater
at the end of the 1950s. Unfortunately, after these golden years this theater, located outside
of the center of Belgrade, went through many crises, fluctuations in repertoire tendencies and
many changes of managers. It seems that this theater had the greatest number of ups and downs
in its history. This was the theater which hosted brilliant actors: Rade and Olivera Markovi,
Tatjana Lukjanova, and directors: Soja Jovanovi, Paolo Magelli, Nikita Milivojevi, Egon
Savin. It also promoted socially engaged domestic dramas such as Konak (Inn) by Milo
Crnjanski, Pismo/glava (Heads/tails) after the novel of the same name by Slobodan Seleni,
and many others. This theater also performed contemporary Serbian drama: Sabirni centar
(The Meeting Point) by Duan Kovaevi, Dugo putovanje u Jevropu (A Long Journey
to Europe), U pola cene (Half price) by Stevan Koprivica, Veliki dan (A Great Day)
by Slobodan Stojanovi, Doktor D (Doctor D) by Goran Markovi, Ne igraj na Engleze
(Dont put your money on England) by Vladimir urevi. This theater has never made great
compromises with respect to the artistic form and content. It has always strived for the natural
expression and social questioning. Its great contribution to the development of the national
culture can be seen in the promotion of the domestic drama, theater beyond naturalism, and
liberation of the Serbian theater from stereotypes and a thematic, ideational and non-critical
view of the past.
Key words: Belgrade Drama Theater, Serbian drama, engaged theater, natural acting.

131

UDC 792.57(497.11)"20"

,
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exemples de la Serbie et de la France o
2 (Universit Paris Dauphine) 2010. ,
, . (Xavier Dupuis).
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.

133


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2009: 19). ,
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Hello Dolly (rry Herman, 1971)
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149


, . : . YellowCab 01.11.2010. <http://www.yc.rs/
sr/magazin/kritika/pozoriste/story/2329/Kritika%3A+Buenje+prolea+.html>
11.06.2013.
, . . 11.01.2013.
<http://www.nin.co.rs/pages/article. php?id=75168> 09.06.2013.
, . . . 774, 03. 11. 2005.
<http://www.vreme.com/cms/view.php?id=432427> 11.06.2013.
, . , ? 02. 04. 2011. <http://www.
pozorje.org.rs/2012/predstava1.htm> 11.06.2013.
, . .
19. 10. 2007. <http://www.zafirhadzimanov.com/index.php?option=com_
content&view=article&id=56&catid=0&Itemid=53> 11.06.2013.
, . . : (.), 19492009. :
, 2009: 1279.
, . . 28.03.2011. <http://www.pozorje.org.rs/2012/
predstava1.htm> 11.06.2013.
, . 40 212.
. : 212, 2009/2010.
Jankovi, Jelena. Lconomie des musicals dans le nouveau millnaire exemples de la Serbie et
de la France. Mmoire de fin de Master 2 Gestion des entreprises culturelles formation
continue (DEP). Paris: Universit Paris Dauphine, 2010.
Labarre, Bertrand. Existe-t-il une esthtique spcifique et un modle conomique propres la
comdie musicale en France? Mmoire de fin de Master 1 Management des organisations
culturelles formation initiale. Paris: Universit Paris Dauphine, 2009.
Lacombe, Robert. Le spectacle vivant en Europe. Modles dorganisation et politiques de
soutien. Avant-propos dEmmanuel Wallon. Paris: La documentation franaise, 2004.
Perroux, Alain. La comdie musicale. Mode demploi. Paris: LAvant-Scne Opra, ditions
Premires Loges, 2009.
Ivana Medi and Jelena Jankovi Begu
MUSICALS IN SERBIA IN THE NEW MILLENNIUM:
STRATEGIES, ACHIEVEMENTS, CHALLENGES

Summary
This paper deals with the sudden increase in popularity of the genre of musical in Serbia
since 2000. We argue that, since the beginning of the new millennium, this often underrated
theatrical genre has been steadily on the rise, both in terms of quality and quantity. This trend
was initiated by the Terazije Theater in Belgrade, where one may notice a well-defined strategy
of developing and promoting the so-called Broadway musical, including its most complex
subgenre of book musical. Efforts have been made both to import successful foreign
productions and to implement what has been learned and develop a specifically Serbian brand of
musical. Aside from the Terazije Theater and other theaters in Belgrade, efforts to produce and

150

perform musicals have also been noticeable in other theaters all over Serbia. After sketching out
a brief history of musicals in Serbia before 2000, we attempt to define various types of musicals,
but also to differentiate between musicals and other similar but different theatrical forms which do
not satisfy the criteria to bear this label. Moreover, we discuss the current stage of development
of Serbian musical and its achievements, but also point to the most relevant problems faced by
actors, directors and producers working in the field of musical theater. Finally, we analyze three
representative examples of successful Serbian musicals Zona Zamfirova (directed by Kokan
Mladenovi, Terazije Theater), Crazy Head (directed by Nikola Bulatovi, Terazije Theater) and
When Father Was Away On Business (directed by Oliver Frlji, Atelje 212).
Key words: musical, review, Broadway, Serbia, 21st century, theatre.

151

UDC 821.163.41-2.09 Hristi J.

UDC 821.163.41-2.09

,
O /Original scientific paper

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166

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1977.
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1997.

, . . . . : ,
1996.
, . . : , 2002.
, . . : , 2004.

167

Vesna D. Crepuljarevi
THE FIFTH ACT: TERRACE

Summary
This paper analyzes the last drama written by Jovan Hristi, which represents his dramatic
process. It shows that, although there is an obvious development, the dramatic process has
remained on the same course. Also, we tried to show connections between different genres of
Hristis work and we wantedto establish the main points of Hristis poetics using the example
of his drama Terrace.
The most important motive in this drama is the motive of death, which is the reason why
all characters in the drama are starting to think about their lives: they havent achieved anything
important, they are neither happy nor satisfied, their lives have no meaning, and death is near.
The surroundings where they experienced their own life dramas makes everything even more
real: the Mediterranean terrace and nothing but the sun and the sea around them. Everything
must come out, and it does; the life shows itself as an illusion and there is nothing anyone can
do about it.
Hristi managed to input a political and social dimension and a few philosophical
questions, which is always expected in his work. He created a drama about real people in real
time, who are confronted with the fundamental issue of life.
Key words: Jovan Hristi, Terrace, the Mediterranean, death, illusion of reality, Anton
Pavlovich Chekhov, closed form drama, open form drama.

168

UDC 792(091)

,
O /Original scientific paper

:

.


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: , , ,
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.
(1981: 44)

, ,
.
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.
,
169


. XIX
,
.

, .
,


( 2012: 39).
,
,
( 1978: 248).

( 1978: 253) ,
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1920. .
:
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( 2004: 170).
,
1932.
. , ,
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( 1978: 268),
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( 1978: 269).

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.
170

 (
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theatre Wales and WildWorks), (Michael Sheen),
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189

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192

, . . , : ,
, 2007.
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2010.
, . . . 45 (2011):
267282.
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1981): 3944.
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, . . /.
: , 2001.
ANI, ime, Nikola Klai, elimir Domovi. Rijenik stranih rijei. Zagreb: Sani plus, 2002.
PEARSON, Mike. Site-Specific Performance. London: Palgrave Macmillan, 2010.
TSCHUMI, Bernard. Arhitektura i disjunkcija. Zagreb: AGM, 2004.
UVAKOVI, Miko. Pojmovnik suvremene umjetnosti. Zagreb: Horetzky, 2005.
Neboja Anteevi
EPISTEMOLOGY OF SCENOGRAPHY IN THEATERS TODAY

Summary
Active research in the field of theatrical art in the last decade of the twentieth century and
especially in the first decade of the twenty-first century has changed the established concept
of the theater, putting the stage space in the maelstrom of the 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, and because of that
the visual presence of the stage area and often complex design and meaningful solutions stand
out as critical and artistic disciplines.
Numerous theatrical works in our country and abroad follow the set designs of the most
varied character and form solutions. Because of the lack of written and published papers on
set designs, as well as separate examinations of scenography of theater productions and a

193

small number of set design exhibitions, it is difficult to gain an artistic and critical insight
into developments of current trends in set design. During the 20th century scenography lost
its decorative and descriptive character and becamean increasingly more complex multimedia
artistic discipline which is actively involved in researching contemporary theatrical works,
that is in the recognition of ambiguity of literary or other theater works in the contemporary
context.
In the theater, or outside the theater building as theater production today is not only aimed
at the black box of theater scene, 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, characters and descriptive studies of their role in contemporary theater
productions. Because 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. Examining the contemporary artistic approach to set design is necessary
to explore its artistic achievements and role in the theater today.
The paper offers an epistemological classification of the scenography in the theater
today based on previous artistic and research tendencies: 1. Descriptive and decorative
(classical) scenography; 2. Interpretive-semiotic scenography; 3.Visual-formative scenography;
4.Conceptual and experimental scenography; 5. Scenography of ambiental theater (Site-specific
theater).
Although all contemporary scenographies epistemologically have a common basis and
purpose, theexpressed needs to seek new forms of materialization of theaters, they differ in
artistic interpretation and formal techniques. In this respect, the analyzed scenography form,
primarily have different artistic and visual characteristics, while a choice of scenography
shape depends on the type of theater stage works, the concept of directing and 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: theatre today, set/stage design, scenography, the metaphor of the scenic area,
directing, experiment.

194

UDC 821-2.09:654.195(497.11)

,
O /Original scientific paper

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(65,5%), (14,28%), (2,79%),
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 : , , , ,
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(Premio Ondas, Prix Europe, Prix Italia, Prix Monaco, Prix Futura ),
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12. ,
, http://www.ombudsman.rs/attachments/Zakon%20o%20zastiti%20
sloboda%20i%20prava%20nacionalnih%20manjina.pdf, 01.12.2010. 22h.

204

, ( 2007:
218).
.
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(- 2000: 65),

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-,

,
-.

, .
. : , (.). . :
, 1989.
, . : . : , , , , 2010.
-, . . :
, , , , 2000.
Dragievi-ei, Milena. Politika programiranja kulturni diverzitet i zabava na RT
Vojvodina. Kultura asopisza teoriju i sociologiju kulture br. 120121 (2008):
217244.
Jankovi, Pavle. Radio-drama. Almanah pozorita Vojvodine 28 (1993): 134.
Nikoli, Mirjana. Javni radio-difuzni servis u Srbiji transformacije u tranziciji. : Mrii,
Nikola (ur.). Anatomija radija. Beograd: Institut za pozorite, film, radio i televiziju,
Fakultet dramskih umetnosti, 2007.
Miljkovi, Sran. Analiza stanja u Radio Novom Sadu. Interni asopis radiodifuzne ustanove
Vojvodine (2008): 7.
Robins, Kevin. Ka transkulturnoj politici za evropski kosmopolitizam. : Majnhof-Ulrike,
Hana Ana Triandafilidu (ur.). Transkulturna Evropa. Beograd: Clio, 2008: 347384.
Zakon o zatiti prava i sloboda nacionalnih manjina, dostupno na: http://www.ombudsman.rs/
attachments/Zakon%20o%20zastiti%20sloboda%20i%20prava%20nacionalnih%20
manjina.pdf, Pristupljeno 01. 12. 2010. u 22h

206

:6
, , 8. 2010.
,
, 7. 2010.
,
, 6. 2010.
, , 15. 2010.
,
, 16. 2010.
, , 23.
2010.
,
, 26. 2010.
Lazar Jovanov
MULTILINGUAL DRAMA PROGRAM OF RADIO NOVI SAD A RELEVANT FACTOR
IN THE PROMOTION OF CULTURAL DIVERSITY OF THE REPUBLIC OF SERBIA

Summary
Radio drama production in the languages of the host nation and national minorities
has been an inseparable segment of the media policy of Radio Novi Sad for decades, and
therefore of the cultural policy of the Republic of Serbia (at first in the former Yugoslavia,
then in the Union of Serbia and Montenegro). As such it represents a kind of cultural
richness and rarity, which has allowed an international cultural dialogue at the highest level.
However, starting from the 2005/2006 season, the production of dramatic content of Radio
Novi Sad has been drastically reduced and the Editorial radio drama program apparently
disbanded. The main goal of this study was to examine the media policy of Radio Novi
Sad in connection with the decision to disband the Editorial radio drama program and
determine the reasons for the drastic reduction in the production of multilingual radio drama
content of Radio Novi Sad. A particular aim of this study was to appeal to and point out the
cultural significance of the production of drama programs in the languages of host nations
and national minorities for the development of cultural diversity policy of Serbia. The first
part of the research was conducted by collecting relevant data by analyzing the literature
related to the field of management of radio and radio drama of creation, thenby consulting
professional journals, as well as collecting data from the Internet. The second part of the
research was conducted using qualitative empirical research and in-depth interviews with
current and former employees and the management of Radio Novi Sad.
Key words: radio drama, multilingual radio-drama program, national minorities,
cultural diversity, interculturalism, transculturalism.

207

UDC 821.161.1.09 Dostojevski F. M.

UDC 791.2

,
O /Original scientific paper

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216


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218

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BookWorld,2000.
DOLEEL, Lubomir. Heterokosmika Fikcija i mogui svetovi. Prevod Sneana Kalini. Beograd:
Slubeni glasnik, 2008.
DOSTOJEVSKI, Fjodor Mihailovi. Zloin i kazna. Prevod Jovan Maksimovi. Beograd: Feniks
libris, 2008.
NIE, Fridrih. Roenje tragedije. Prevod Vera Stoji. Beograd: Dereta, 2001.
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O, Dord Bernard. Pigmalion. Prevod Borivoje Nedi. Beograd: Plavi krug, 2004.
* Metaleptic machines - .

219

Boko tuli
CRIME AND PUNISHMENT IN WOODY ALLENS MOVIE MATCH POINT

Summary
This essay analyzes Woody Allens adaption of Dostoyevskys novel Crime and Punish
ment in the movie Match Point using the term adaptation as a process of transformation of a
literary text into a movie script. However, since we are not only dealing with an adaptation, but
also with a rather different contextualization of the novels plot, we shall in addition observe the
theory of possible worlds of fiction of the literary critic Lubomir Dolezel. This interdisciplinary
approach shall not be strictly limited to the aforementioned theory. Rather, certain relevant points
and explanations that shed light on the relationship between the prototext of the novel and its
postmodernistic version, embodied in the movie Match Point, shall be used.
Key words: Woody Allen, Dostoyevsky, postmodern adaptation, prototext, metaphor,
luck, moral, crime, Raskolnikov, case, nihilism.

220

, ,
UDC 821.163.41.09 Nui B.

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A Buzisfrd fszolgabirajtl
Szm: 49 eln. szm / 1913.
Trgy: Nusicz Branimir megfigyelse
Valamennyi jegyz s krjegyz rnak
1912. vi augusztus h 23-n 66. biz. szm alatt kelt rendeletemmel
kapcsolatban rtesitem, hogy bizalmas uton nyert rtesksem szerint Nusic
Branimir belgrdi ir is azon egynak kz tartozik, kik a nagy szerb propaganda
rdekben klnsen buzg tevkenysget fejtenek ki.
Nevezett befolysos tagja a Narodne Odbrana nagyszerb egyesletnek s
szmos izgat hirlapi kzlemny szerzje. ezenkivl klmbz szert dalegyletek
elnke is melyekkel mr gyakran jrt Boszniban s Herczegovinban, valamint
Horvt-Szlavonnorszgoaban is.
Flhivom ennlfogva hogy amennyiben nevezett hatsga terletn
megjelennk t bizalmasan figyelje meg, s az eredmnyrl hozzm haladktalanul
jelentst tegyen.
Nemleges jelents mellzend.
Buzisfrd, 1913 vi julius h 2-n.
[ ]
Fszolgabir
[ :]
Buzisfrd kzsg
rkezett: 1913 Jul 3.
1231 szm. Mellklet: [].
LI szm: []; Utoszm: []; Elad: [].
Egyelre tudomsul 913 VII/5.
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223

224

225

Stevan Bugarski
ARREST WARRANT FOR NUI IN THE VICINITY OF TIMISOARA IN 1913

Summary
The paper reviews a confidential document of the Buzja county administration from
1913, which orders the attention regarding a possible arrival of Branislav Nui to the region
of the Buzja country. Buzja is a town and a spa in the Tami region (now in Romania).
Key words: Branislav Nui, Buzja spa, Buzja county.

226

UDC 78.071.1:929 Mari Lj.

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[] Inae sam tako dobro i naroito se ugodno oseam to su svi tako paljivi
prema meni a naroito posle probe sa orkestrom me cene i svi mi o tome govore
kao o velikom uspehu. Sutra opet dirigujem orkestrom i sad ve tako dobro zvue
kako treba. Izgleda da se vie ni najmanje ne bojim. Tako oseam da je orkestar
u mojim rukama kad dirigujem [].29

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(9. 1935),
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(3. 1935).33
135, 1935.
22/III, X 3/IV.
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6. 1937). , ,
. 9. , : Sad radim sa
decom jedan mali hor 2 sata dnevno a utorak je priredba. Tako malo posla
imam i fino ide, sa decom se sjajno slaem i umem da ih zabavim za vreme
probe tako sami trae da produimo probu. Vebamo ujutro i posle spavanja,
tako se za mene nita ne treba da brinete, Nita, nita, nita, nita. Dr. V.V..
, ,
, .
22. 1937.
, 30,40
(
), optimista u toj stvari, : Ovde imam toliko
i takvih prijatelja kakve u Beogr. nikad nisam imala i sad imam vie izgleda ovde
za rad nego u Beogr. Svi su me doekali kao svog oveka i starog poznanika.
(
, ), , autora Petrice [] s kojim smo svi skoro
svake veeri. 26. 193741:
ceo dan smo bili sa Krleom. 23. - .
. -, ,
, - ( 2009:
83).
. 5. 1937.42
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, . ,
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)47
, . ,
. , :
Miki-u, ,
: Moj obraun s njima: / 1) Doleil
/ 2) Malko (Vilovka, es. Filh.) / 3) Premiera Quinteta / 4) Netematska (1/4
tonska) muz. / 5) Deskriptivna m (kam. pera) / 6) Prijakova ljubav = Mikievo
poslednje pismo. , , : ivela Kariera!!!.
46
47

238

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1932. ,
. , ,

, ( 1968: 64
2009: 182). , , : 31. 1932.48
,
, tog dragog stvora koji tako netedice rasipa
radost oko sebe. :
[] Nema vee radosti Miki, od oseanja da stvara zbilja novu muziku, koja je
isto tako velika kao Mozartova, : Meni sad sasvim drukije izgledaju
mnoge stvari kojima sam se nekad oduevljavao. Ja sad punim grudima verujem
da je Hindemith jedan reakcionaran muziar i da poslednjeg Schnberga treba
shvatiti kao traganje za novim zvukom koji bi bio adekvatan novoj sadrini
muzike traganje za tonovima.
Haba o tome misli drugaije, ali to je zato jer on i Blserquintett gleda kao
muziku, a ne kao jedan karakteristian fenomen za promenu muzike sadrine.
Formu smo do sad menjali iki sad emo promeniti sadrinu (prelaz iz
kvantiteta u kvalitet).
Poslednji Schnberg to je herojstvo. Taj ovek je bio isto onako
nekompromisan kao to je sad Haba (i kao to emo biti mi Miki?). Blagodarei
tome postalo je jasno da muzika koja nee da bude reakcionarna t.j. da poe
natrag od onoga to je stvorio Schnberg, ili da ostane na tome moe biti jedino
etvrttonska [].

, .
, :
[] 1932. .
.
, ( ).
48

239

 Schillergasse Goethegasse, Tiergartena.

, ,
[] ( 1968: 183)

1935.

: ,
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( 2009: 47). 1935.
.
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1938.
31. 1938,49
.
. , ,
8. 1933.50 :
[] Ali to je tako prijatno i veselo a osim toga on [Scherchen] meni obino kae
da ujutru spavam i da ne moram na jutarnje asove, prema tome se ni malo ne
napreem. On mi savetuje stalno da se negujem, da mnogo jedem i stalno me
zove kod njih. Kazao mi je (ali da zadrim za sebe) da sam ja mnogo talentovanija
od Vuk. ne samo za dirig. nego i za kompoziciju jer sam uopte jedan sasvim
izvanredan muz. talenat (izgleda da on o meni malo druke misli nego prof. Seling
[] [ ].

19.
1933, :
[] Vuk. jo ne diriguje orkestrom. Scherchen ga vie ne voli i uvek mi govori
kako sam mnogo talentovanija [].

.
, (
)
.
.

49
50

240

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(1942). 1945.
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18. 1964. , : Znam da od mamine postelje (od
arobnog ilima nad gradovima, planinama, sazveima, decenijama, Cerskom
bitkom, tvojom Stojnom i Todorom) ne odstupa zadugo [].
1967. ,
. .
24. 1986. .
.
.
53
: (?), (Giani), , (),
(Gjimi), , . ,
. ,
1961,
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54
.
51

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241


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, 1964.
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, .: Milin 2010.
55
56

242


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.
, ,
,
.
, ,
,
. ,
.

, . Commedia dellarte (
). : , . , ,
. . : , 1968: 638642.
, . . (
) : , . , . . : , 1968: 1393.
, . , . : , (.).
19141915. :
, 1992: 8185.
, . , 100 : . : , 2009.
, . . : - (.).
. :
, 2010: 1737.
, . .
(19181941). :
: , 2009.
CVETKO, Dragotin. Fragment glasbene moderne. Iz pisem Slavku Ostercu. Ljubljana: Slovenska
akademija znanosti in umetnosti, 1988.
MILIN, Melita. Life and work studies: organic unity or fragmented mini narratives. :
Markovi, Tatjana and Vesna Miki (eds). (Auto)Biography as a Musicological Discourse.
Belgrade: Faculty of Music, 2010: 329336.

243

Melita Milin
FRAGMENTS OF BIOGRAPHY IN ARCHIVES:
LJUBICA MARIS CORRESPONDENCE

Summary
The author of the article gives an account of the correspondence of the outstanding
Serbian composer Ljubica Mari (19092003). The greatest part of the letters and postcards,
received mainly by Ljubica Mari herself, are kept in the Archives of the Serbian Academy of
Sciences and Arts, whereas the rest are located in the Archives of the Institute of Musicology
SASA. Since almost all the letters are connected to the private sphere of the composers life,
studying them could be useful for filling some lacunae in her biography, but it could be also
interesting to scholars who are investigating private life in Serbia and Yugoslavia in the 20th
century. However, Maris correspondence also contains data on her professional life as a
composer and her plans for composing. Most of her correspondents in the period between the
two world wars were members of the family, whereas after 1945 they were composers, artists,
writers, musicians.
Key words: Ljubica Mari, correspondence, Serbian music in the 20th century.

244


UDC 821.163.41-2.09 Popovi J. S.
UDC 821.163.41-2.09

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VLADAN. Sintezijska umetnost. Kragujevac: Narodni muzej Kragujevac, 2005:
193198. ( 1957. 1986.
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, (Vedral, Vclav) 64, 69,
70
, 36
, (Verdi, Giuseppe) 66, 67,
68
, (Werfel, Franz) 71
, (Wessely, Franz) 24, 25
, 117
, . 26
, 171
, 112
, 82
, (Widmeier, Tobias)
29, 32
, (Vilar, Jean) 117
, (Williams, Raymond)
175
, (Williams, Tennessee)
116, 118, 120, 121, 131
, (Wilson, Lanford) 116,
121
, 93
, 12

256

, 24
, (Walker, Chet) 136
, 17
, 173
, 16, 17
, / 64, 81
, 12
, 133, 134, 136,
138, 142
, (Gabrieli, Andrea) 72
(Gavazzi), 12
, . 24
, . . (Geidel, F. M.) 31
, (Gay, John) 139
, . 26
, (Goethe, Johann Wolfgang von) 71, 94, 128
, 117
, (Gluck,
Christoph Willibald von) 68 , 71, 75
, 12, 13, 14, 15, 16
, 86
, 136
, (,
) 117
, (Grecki, Henryk) 183
, (, /
, ) 118
, 86
, (Gray, Camilla) 170, 171
, 64
, 79
, 144
, 84, 85, 86
, 137
, 80
, 110, 111, 112, 113
, (Gounod, Charles-Franois)
34, 67
, (dAlbert, Eugen) 69, 75
, (dIndy, Vincent) 70
, 125
, 64
, (Dyke, Charles) 70
I, 26
, 63, 71, 72, 75
, 28

, (Debussy, Achille-Claude)
69, 75
, 125
, 12, 13, 14, 80, 82
, 146
, 118
, 180, 184
, (Dent, Edward Joseph) 70
44
, 26
, 30
, (Dimov, Ventsislav)
78, 79
, 118, 123
, 172, 173, 175, 176,
177
, 45
, 64, 69
, 122
, (Donizetti, Gaetano) 67
, 122, 127
, 28
, 120
, . 64, 66, 67, 69
, 146
, 120, 124, 125
, 106, 108, 109, 110, 111,
112, 113, 118
, 143
, 7790
, (Dupuis, Xavier) 133
, 64
, 12
, 45
, 24
, 124
, 129
, 146
, . 14, 17, 23, 26,
34, 35, 81
, 79, 87
, 137
, . 26
, 85
, 128, 129, 131
, 24, 64, 67, 71, 85
122
, 45

, . (Eberle, .) 31, 41
, (Eco, Umberto) 187
(Engelmann) 31, 41
, 125
, 120
() 116, 120
, 64
, 125
, 127, 128, 129
, 63, 64, 68, 75
, 116
, 119
, 71
, 922
, (Zevi, Bruno) 178
, 17, 18
, (Ibzen, Henrik) 180
, . 26
, 26
, 117
, (Hugo, Victor) 140, 141
, 125
, 125
, 146
, 127
, 119
, 27
, 133152
, . (, .)
18
, 134, 143
, 24
, 69
, 136
, 136
, 80
, 922
, . 23, 26, 27, 30, 41
, . 23, 26, 27, 30, 41
, 31
, 117, 118, 123, 124, 131,
136
, . 26
, 26
, 79
, 116

257

, 28
, (Joff, Roland) 176
, 28
, 28
, 178
, (Kalauz, Alois) 24, 25, 29,
32, 41
(Kantor, Michael) 138
, (Canuso, Nichole) 186
, 119
, 25
, 26
, 26
, 120
, 15, 23
, 121
,
(, ) 54
, (Castorf, Frank) 180
, 44
, 14
, (Kenrick, John) 138
, 119
, 173
, (Klotz, Volker) 165
, 79
, 126
, 146
, 124, 125, 131
, 83
, 70
, 129
, 91, 92, 97, 98, 99, 102,
103
, 27
, 2342
, (Condemi, Jose
Maria) 178
, 65
, 128
, 122, 126, 131
, 28
81
, (Cocciante, Riccardo)
140
, . 91104

258

, (Kratochwill, Vin
zenz) 24
, (Creuz, erge) 192
, 180
24
, 120
, 29, 34, 81, 83, 84, 85
, 124
, 92, 123
(Kunze, Michael) 136
, 147
, 13
, 86
, (Labare, Bertrand) 139
, (Labiche, Eugne) 117
, 125, 126, 136
, (Lacombe, Robert) 142
, . 156
, . 25
, 120
, 125
, (Levay, Sylvester) 136
91, 92, 99, 100, 101, 102,
103
, 174
, 14, 17, 18
, (Liszt, Franz) 25, 65, 66, 70,
75
, (Lorca, Fede
rico Garca) 117
Lortat-Jacob, Bernard 87
, (Luisotti, Nicola) 178
, 115, 116, 117, 119,
120, 131
, (Magelli, Paolo) 120, 131
, (Meyerbeer, Giacomo)
67
, 146
, (Mann, Thomas) 71
, 64, 70
, 128
, 136
, (Marinetti,
Filippo Tommaso) 94
, 45, 54, 56
, 120
, 123
, 136

, 79
, 127, 128, 131
, 16
, . 26
, 116, 118, 119, 131
, 116, 118, 119, 120, 123,
125, 131
, 125
, (Matsushima, Maiko)
186
, 143, 155, 157, 158
, 133152
, (
, ) 170
, (McDonagh, Martin) 121
, (Mechetti, Pietro) 25, 41
, (Mechetti, Theresa) 25
, (Mendelssohn-Bartholdy, Felix) 34, 71
, 29
, 120, 122
, 147
, 17
(Mhlberg) 31
, (Miller, Arthur) 118, 121,
131
, (Mller, Heinrich Friedrich) 24, 25, 41
, 27
, 116, 120, 121, 131
, . 14
, 24
, 15
, 34, 44, 45, 66, 67, 68,
69, 70
, 127
, 82
, 136
, 64, 66
81
, (Mirecki, Franciszek) 23
, 169, 177, 179,
181, 182, 185
, 119
, 118
, 136
, 137
, (Mitchell, Bill) 189

, 133, 134, 136, 137,

140, 143, 144, 145, 149, 151
, 46, 53,
56, 57, 59, 60, 80
(Molire, Jean-Baptiste Poquelin) 108, 110, 117, 119
, (Monteverdi, Claudio Giovanni Antonio) 111, 112
, 146
, (Maupassant, Henri Ren
Albert Guy de) 175
, 54
, 24, 29,
32, 45
, (Mozart,
Wolfgang Amadeus) 34, 68, 69, 70, 71,
75, 161
, (Mroek, Sawomir)
121
, 148
, 13
, 137
, 110
, 64
, 133
, (-, ) 142
, 17, 18
, 121
, 117
, 82, 85
, 82
, 86
, 10, 14
, 146
, 128
, 128
, 64
, 24, 25
, 129
, 43, 45, 92, 117, 118,
119, 120, 123, 180
, (Auber, Daniel) 67
, 123, 124
, 123
, 26
, 25

259

, 26
, . . 26
, 120
, (Albee, Edward Franklin)
120, 121
Olsen, Poul Rovsing 14
, 122
, (, ) 170
, 116
, 129
, 105114
, 26
, 95
, 122
, (Paganini, Niccol)
65, 66
, 26
, 32
, (Pandur, Tomaz) 183
, 155
, 116
, (Paton, Alan) 118
, 34
, 92
, 28, 33
, 117, 119, 121, 125
, 120
, 14, 15, 44, 45, 72
, 116, 119, 120, 121, 122
, 126
, (Peri, Jacopo) 112
, 24, 52, 53
, 4362
, (Perroux, Alain) 138, 140
, 14
, 44, 45
, 24, 25, 26
, 128
, 13
, 117
, . 117
, 154
, 13
, 192
, 117
, (Pearson, Mike) 189
(Pitigrilli, Dino Segre) 94

260

, (Plamondon, Luc) 140

107, 108
, 125
, 29
, (
, ) 17
, (Police, Pier Walter)
137
, 137
, 85, 86
, 28
, 28
, 93, 94,
, . 154
, 116
, 23, 26, 27, 31, 41
, 43
, 119, 120
, 23, 26, 27, 31, 41
, 31
, 91, 92, 95, 96, 97, 102,
103
, 117
, 95
, 133, 147, 148
, (Porter, Col) 135
, 144
24
, 112
, . (Priestley, John B.) 118
, 79
, (Puccini, Giacomo) 67,
72
, 137
, 136, 137, 184
, 94
, 86
, 105
, 24
, (Randhartin
ger, Benedict) 44
, 116, 125
, 135
, 117
, 117
, . ,
, 26

, (Rinuccini, Ottavio)
111, 112
, 115132
, 116, 126
, (Rogers, Richard) 135
, (Rubinson, Goldina)
72
, (Rubinson, Frieda) 72
, 186
, 126, 131
, (Savkovic, Ronald) 183
, 16
, (Sachs, Curt) 13
, 63, 64, 70, 71, 75
, 92
, (Sartre, Jean-Paul Charles
Aymard) 158
, 29
, 93
, 32
, 24
, 122, 125, 131, 166
, 180
, 17, 18
, (Sinico, Francesco)
45
, 128
, (, ) 65, 75
, 65
, (Smetana, Bedich) 34
, (Sokoli, Ramadan) 14
, 164
, 125
, 144
, 81
, 23, 26, 28, 29, 31, 32, 41
, (Stein, Joseph) 135
, 117
, 124, 125, 126,
157, 164, 166
,
(,
) 142
, 24, 25, 29, 30, 32,
45
, 78

, (Stevenson, Ro
bert Louis) 128
, 121
, 78, 80
, . 24
, 119, 122, 126,
127, 131
, 116, 120,
125, 127, 148
, 184
, 137
, (Stokes, Martin) 78
, 127
, 24
, 121
, 116
, (, ) 170
, (ammer, Anthony) 11, 12
, 128, 148
, 117
, 24
, (Taine, Hyppolite) 66
, 137
, 87
, 14
, 27, 33
, 27, 65
, 128
, 10
, 116
, 27
, 135
, 27
, 45
, 146
, 16
, 135
, 119
, 122, 124
, 26
, 120
, 29, 32
, 15
, 86
, (Feydeau, Georges) 119

261

, 15
, 33
, (Franck, Csare) 70
, (Frampton, Kenneth) 170
, 133, 147, 151
, 26
, 81
, (Haydn, Franz Joseph)
, (Heine, Heinrich) 96
, 31
, (Hammerstein, Oscar)
135, 138
, (Hanslick, Eduard) 72
, . 24
24
, (Howard, Pamela) 172
, 11
, 28
, (Hegel, Georg
Wilhelm Friedrich) 157
, (Georg Friedrich,
Hndel) 71
, (Herman, rry) 135
, 174
, (Higgins, Colin) 120
, (Hitler, Adolf) 94
, 79
, (Hoevar, Anton) 27
, 117, 118, 153, 154, 155,
156, 157, 158, 159, 160, 161, 162, 163,
164, 165, 166, 167, 168, 179, 188
, 175, 177, 179, 181, 183, 192
, 100, 118
, (Zweig, Stefan) 71
, . 26
, 27, 33
, 53
, . 153168
, 91104, 122, 123, 131
, (,
) 44, 52
, (Czekanowska, Anna) 14
, (Chesterton,
Gilbert Keith) 171

, 117, 118, 153,

163, 164, 165, 166, 168, 175, 180, 188
, 27, 37
, 126
, 79
, 64
, 146
, (Tschumi, Bernard) 173
, 127
Jenkins, Jean 14
, 17, 18
, (Jonsson
Garlinghouse, Esther) 80, 86
, (, ) 14
, 122
, 63, 64, 65, 70, 71, 75
, (Schechner, Richard) 186
, (Shakespeare, William) 108, 110, 139, 146, 166
, (Schnberg, Cla
ude-Michel) 135
, 120
, (Schickele, Ren) 71
, (Sheen, Michael) 189
, 64
, (Sheers, Owen) 189
, 13
, 31
, (Schlemmer, Oskar) 186
, (Schmitt, Eric-Emmanuel) 121
, (Chopin, Frdric-Franois) 65, 75
, 144
, (Strauss, Johann) 25
, (Strauss, Johann Stra
uss Son) 25, 31
, (Strauss, Richard) 34,
69, 75
, (Schubert, Franz) 34, 71
, 172, 174, 179, 183,
185, 186, 187, 190, 191
, (Schumann, Robert) 25,
34, 71
, 34

262





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