Contemporary Theatre and Film scene in Croatia by ULUPUH

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3.7. / 14.7. suvremena kazališna i filmska scena 2011. – 2013. contemporary theatre and film scene in croatia 2011 - 2013

contemporary theatre and film scene in croatia 2011 - 2013

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3.7. / 14.7. suvremena kazališna i filmska scena 2011. – 2013.

Svjetovi koji traju u medijima i vremenima  

Važnost scenografije sam shvatila . gledajući Ljermontovu Maskeratu u HNK. Doslovno otvorenih ustiju gledala sam veliki okrugli zastor od bijelog tila u visini cijele scene koji je pokrivao cijelu rundbinu, okretao se njom a kada se podizao i spuštao stvarao je razne prostore događanja. Svojom bjelinom i prozračnošću simbolizirao je sve ono što je u komadu bilo: i ljubav, i mladost, i prolaznost, i sudbinu, i život… Nakon predstave tražila sam i upamtila ime osobe koja je to napravila, scenografa. Bio je to Drago Turina. Od dolaska u Zagreb do danas vidjela sam na tisuće predstava. Maskerata je jedna od rijetkih predstava koju i danas pamtim, upravo zbog te scenografije! Do tada nisam bila svjesna koliko su kostimi i scena važni, to je bila tek ilustracija priče koja me zanimala. I tako je to s većinom ljudi. Scena i kostimi su kao prozor predstave, kroz svijet koji oni stvore mi dobivamo vizualnu poruku o predstavi. Ali kao i kod pravih prozora, često ih ne zapažamo, gledamo negdje dalje. Vidimo ih samo ako su zamazani, onda njih krivimo za loš pogled. Ili ako su mali, onda ih krivimo za mrak. Ali, ako su čisti, veliki i puštaju puno svjetla govorimo kako je baš lijep stan ili lijep pogled, zavisi gdje nam je fokus interesa. U tom paketu stvaranja vizualnog dijela predstave uz scenografiju i kostimografiju je i oblikovanje svjetla pa ne čudi da su oblikovatelji svjetla članovi Sekcije za kazališnu i filmsku umjetnost ULUPUH-a. Oni su ti prozori predstave, ali jednako zapostavljeni kao i pravi prozori. Ako je sve u redu, u kritikama dobivaju redak dva. Piše se o njima jedino ako je prozor zamazan, ako kritičar smatra da je potpuno promašeno. Iako ponekad upravo oni sačuvaju predstavu. Kao moja Maskerata. Pravog značenja tog vizualnog dijela predstave sam postala svjesna predajući kolegije iz povijesti drame i kazališta na osječkoj akademiji. Za svaku epohu imam dramske tekstove, imam rekonstrukcije kazališnog života, teorijske tekstove i tumačenja, ali se silno trudim naći barem jednu fotografiju. Bilo kakvu, crno bijelu, skicu, crtež, što god,

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ali nešto što može dočarati kako ta predstava izgleda. Kad vidim jednu jedinu fotografiju ili samo skicu predstave ja iz nje iščitam cijeli svijet predstave. Odnos prema tekstu, kazalištu, povijesti, kostimografiji, scenografiji, publici pa čak i stil glume. I zato sam uvijek zahvalna kad se objavi knjiga scenografija i kostimografije ili kad se postavi izložba radova. Znam da su zbog toga sačuvani kazališni svjetovi. A u ovoj izložbi se nalaze doista različiti svjetovi. U kostimografiji od osvježavajućeg poštivanja nekih bližih ili daljih ali prošlih epoha gdje kostimi mogu dati sliku vremena i karaktera (Jadranka Tomić Zločin na kozjem otoku, Barbara Bourek Adel i Mara, Doris Kristić Idiot, Irena Sušac Moć sudbine Katarina Radošević Galić Unterstadt) do suvremenih kostima za film i TV (Martina Franić Loza, Emina Kušan Koko i duhovi); pomaka i osuvremenjivanja s pravom svrhom (studenti kostimografije TTF-a Carmen, mentori: Ivana Bakal, Marija Šarić Ban) ili otkačenih bajkovitih svjetova (Irena Sušac Crvene cipelice, Marija Šarić Ban Princeza i žabac). Slično je u scenografiji, na izložbi su zastupljeni od suvremenih interijera (Jelena Đanko Sanitar TV reklama, Igor Dobranić Izbaci uljeza) do maštovitog svijeta Šume Stiborove Dalibora Laginje. Dvije su mi karakteristike ove izložbe naročito važne. Prvo je raznolikost umjetničkih oblika u kojima se kostimografija/scenografija ostvaruju. Osim klasične kazališne scenografije i kostimografije imamo filmsku, TV seriju ali i TV reklamu! Ali to, što bi rekla jedna TV reklama, nije sve. Ima i oblikovanja svjetla (Deni Šesnić Mozart efekt) ali i animirani film (Malleus Dei Vedrane Rapić). Izložena je i knjiga o jednom od naših najznačajnijih scenografa Drago Turina – scenograf urednice Ivane Bakal, a tu je i instalacija Mirte Vekić I Feel Good. (Instalacija koja ironizira putije koji piške u fontanama, jer sada jedan pomalo đmekasti biznismen s mobitelom piški u plastičnu cijev, tako da ne znaš je li to kateter koji mora imati zbog bolesti ili je to neki novi izum za uštedu vremena.)

Drugo je njezina multimedijalnost. U značenju pretapanja jednog sadržaja kroz različite medije. Prezentacija sadržaja scenografije i kostimografije je na izložbi doista raznolika: od skica kostima i fotografija, preko CD snimke (predstave Carmen i filma Koko i duhovi) do projekcija stranica knjige Drago Turina - scenograf! Scenografija je sačuvana na fotografiji, preko nje je ušla u knjigu, a onda je kao stranica knjige projicirana na zid! Upravo te dvije karakteristike mi se čine simptomatične za scenografiju i kostimografiju samu. Možda ih ne zamjećujemo koliko zaslužuju ali traju u svim medijima i svim vremenima! I to je ono što me raduje.

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I first realised the importance of set design in  whilst watching a production of Lermontov’s Masquerade at the Croatian National Theatre. I quite literally gaped at the huge white cambric curtain above the stage that covered the entire round stage and that turned with it and was raised and lowered to create various spatial solutions. Its whiteness and transparency symbolised everything contained in the piece: love and youth, ephemeralness and fate, life… After the performance I looked up and committed the name of the person who had designed the set, the scenographer, to memory. It was Drago Turina. Since my return to Zagreb I have seen thousands of performances. Masquerade is one of the rare performances that I remember to this day, and all due to the scenography!

Worlds that defy media and time  

Until then I was not aware of just how important costumes and sets were, they were simply the illustration to a story that interested me. And so it is for most people. The sets and costumes are like a window to the performance; we receive visual messages through the world they create. But just as with real windows, all too often, we do not perceive them, we look out beyond them. We only see them if they are soiled, and then we blame them for a bad view. Or if they are small, then we blame them for the darkness. However, if they are clean, large and let the light in, then we comment on the beautiful flat or view, depending where our focus of interest is. Lighting design is part and parcel of creating the visual impact of a performance alongside scenography and costume design, so it comes as no surprise that lighting designers are members of ULUPUH’s theatre and film art section. They are the windows of a performance, but as equally neglected as real windows. If everything goes well, they get a mention in the reviews of critics. They are only mentioned if the window is soiled, if the critic believes that the piece is a disaster. But sometimes they save the show. As is the case in the piece Masquerade.

I became aware of the import of this visual side to a performance whilst lecturing on the history of drama and the theatre at the Academy of Osijek. I have drama pieces, reconstructions of theatre life, theoretical texts and interpretations for each epoch, but labour in an attempt to find a single photograph. Any kind of photograph; black and white, a sketch, a drawing, or something similar, but something, anything that would evoke what the actual performance looks like. Whenever I chance to see but one photograph, or even a sketch of a performance, I am able to reconstruct the entire world of the performance. Its relation to the text, to the theatre, to history, to costume design, to the scenography, the audience; even the style of acting. And so I am always grateful when a book on set and costume design is published or if there is an exhibition of works. I know then that the world of theatre has been preserved. And the worlds at this exhibition are truly diverse. As far as costume design is concerned, they include a refreshing homage to certain epochs, some distant and others not so distant, in which the costumes provide a portrait of the times and the characters (Jadranka Tomić Zločin na kozjem otoku, Barbara Bourek Adel and Mara, Doris Kristić Idiot, Irena Sušac Moć sudbine Katarina Radošević Galić Unterstadt), alongside contemporary costumes for film and TV (Martina Franić Loza, Emina Kušan Koko i Duhovi); some provide a shift and present costumes that have been modernised for a purpose (students of costume design at the Faculty of Textile Technology Carmen, mentor: Ivana Bakal, Marija Šarić Ban) or are eccentric as they depict fairytale worlds (Irena Sušac Crvene cipelice, Marija Šarić Ban Princeza i žabac). The same holds true for scenography. The exhibition spans contemporary interiors (Jelena Đanko Sanitar TV commercial, Igor Dobranić Izbaci uljeza) and imaginative worlds Šume Stiborove by Dalibor Laginja. Two of the exhibition’s traits are especially important. Firstly, the diversity of art forms in which the costume and set designs are

Secondly, its multimedia quality, in the sense that one content converges in various media. The manner in which set and costume design content is presented at the exhibition is truly diverse: from sketch and photograph, to CD recording (the performance of Carmen and the film Koko i duhovi), to projections of the book Drago Turina scenograf! The set design was preserved in a photograph, then included in the book, and then the book page has been projected onto a wall! It is these two traits that seem to be symptomatic for the essence of set and costume design. Perhaps we do not pay attention to them as much as we should but they permeate all media and defy the passage of time! And this is what is gladdening.

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realised. Aside from classical set and costume designs for the theatre, there are also set and costume designs for film, TV series, and even TV commercials! But, in the words of one TV commercial, but that’s not all. There is lighting design (Deni Šesnić Mozart efekt) and animated film (Malleus Dei Vedrane Rapić). Yet another exhibit is the book by one of Croatia’s most important scenographers, Drago Turina – scenograf by the editor Ivana Bakal, as well as an installation by Mirta Vekić I Feel Good. (This installation provides an ironic slant to all the figurines urinating into fountains, as it depicts an amorphous businessman with a cell phone urinating into a plastic pipe, so that it is diﬃcult to discern whether it’s a catheter he direly needs for an illness, or simply a new time-saving gadget.)

 /                                    

Ivana Bakal

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 /           /       . ++ ()  ; ++ ()   @. .. ( )

 :  Projekt Sveučilišta u Zagrebu - suradnja Muzičke akademije, Akademije dramskih umjetnosti, Akademije likovnih umjetnosti i Tekstilno tehnološkog fakulteta Red.: Krešo Dolenčić Sc.: studenti ALU / mentori: Slavomir Drinković i Darko Bakliža Kost.: studenti TTF-a / mentori: Ivana Bakal i Marija Šarić Ban Voditeljica modula kostimografija: red.prof. Nina Režek Wilson Asistentica: Đurđica Kocijančić Mentorica doc. Danica Dedijer Dizajn svjetla: studenti ADU / mentor: Deni Šesnić Premijera: . i ... KD Vatroslav Lisinski u Zagrebu / Ivan pl. Zajc u Rijeci Foto: Maja Jokić

       (),    -  ,      - .       ,  .     .            ,  ,   . .   ,  ..  ,   .    ,  ,     ,          .         .    -.   -      .        .    .         (),         ,      .          ’      .        -,                        ,            ().        ,                           .                     .              ()                     .       .

Barbara Bourek  /   @ .

. :    Red.: Dora Ruždjak Podolski Sc.: Dubravka Lošić Kost.: Barbara Bourek Dizajn svjetla: Zoran Mihanović Dirigent: Loris Voltini Premijera: ... HNK Split Foto: Matko Biljak

 .   .        ,          .      .  .     ,   ,       ,     .         ( ,  ,  ,  ,  ,  ,  ,   , ,  .).        “  ” (.)        “  ” (.)       (),      (),      ().

    ,        ,                    .                       ,   .         ( ,  ,  ,  ,  ,  ,  ,   , ,  ).             “  ” ()             “   ” ().           (),         (),     ’  ().

Igor Dobranić  /   ++ ()   ++ ()   .@. ..

 :   Red.: Ivana Peroš Sc.: Igor Dobranić Kost.: Igor Dobranić Dizajn svjetla: Robert Pavlić Premijera: siječanj . Gradsko kazalište Zorin dom Karlovac

 .          -   ,  .     .  .         .        .  .        „ “       .       .             , , ,   .   .

                        .                     .              “ ”        .          .                 , , ,   .    .

Jelena Đanko  /   .@.

,   ( ) Red.: Hrvoje Hribar Sc.: Jelena Đanko Kost.: Morana Starčević Direktor fotografije: Mirko Pivčević Snimljeno: u kolovozu . GRAY, Zagreb

 .  .  .         .    .   .       "    ".       " ".            " "             .  .          ""   .

    ,              .                      "    ",        " ".      ,        " "   -              .               ""         .

Martina Franić  /   ..

   „“ (  ) Scenarist: Vlado Bulić Red.: Dario Pleić / Goran Rukavina Sc.: Neno Pečuh Kost.: Martina Franić Produkcija Drugi Plan za HRT, dramski program /

       -    . .            .         ,        .                          .

         ,               .           ,         .   ,       ,                  .

Doris Kristić  /   ++ ()  

.. :  Red.: Ivan Popovski (Moskva) Oblikovanje scene: Nina Bačun Kost.: Doris Kristić Dizajn svjetla: Marinko Maričić i Ivan Popovski Premijera: ... Zagrebačko kazalište mladih Foto: Mara Bratoš    .                 ,   .            .       ,   .    .          .            : , , ,   ,     ,    .    - ,  ,      .   :     (., ., ., .),     (.),   (.),   (.),   (.),    ( , .),    ( , ., .),   (.),   (.),   (  , .),   - ( , ., .),       (.)… 12

  ,                                  .    ,      -     .                      ,         : , , ,     ,     ,   .                    .     :     (, , , ),       (),     (),    (),    (),      ( , ),     ( , , ),    (),    (),    (  , ),    ( , , ),             ().

Emina Kušan  /   @.

 :    (  ) Red.: Daniel Kušan Sc.: Ivan Veljača Kost.: Emina Kušan Direktor fotografije: Mario Sablić Premijera: ... Produkcijska kuća KINORAMA d.o.o.

       .         ,       ,  .            .      -.     .      “  ”  “ ”     “”.

         ,  .                  ,                   .              ()        ,            “  ”  “ ”,     “”.

Dalibor Laginja  /   ++ ()   .@ .

..:   Red.: Ozren Prohić Sc.: Dalibor Laginja Kost.: Juraj Zigman Dizajn svjetla: Deni Šesnić Premijera: ... HNK Ivana pl. Zajca u Rijeci

 .  .  .  ,            .  .  .    .          .        ,       .     ...  .   .   -    -.

     ,                      .                      .                       .           .              ()          ().

Katarina Radošević Galić  /   ++ ()   ..@.

 .  .      ,          -   .      .       ,         .     .       .    .

.

  :   Red.: Zlatko Sviben Sc.: Miljenko Sekulić Kost.: Katarina Radošević Galić Dizajn svjetla: Radomir Stamenković Dramaturg: Bojan Marotti Premijera: ... HNK Osijek

    ,        ,                     .                    ,         .                      .

Vedrana Rapić  /   ++ ()   @.

  ( ) Autor filma i scenografije: Dino Krpan Kost.: Vedrana Rapić (u timu character designa) Produkcijska kuća Diedra (u produkciji) Rad je sudjelovao na . slavonskom biennalu, Galerija likovnih umjetnosti Osijek

 .  .  .     -  ,         (,  ,  , ),         :    ,   .

     ,           ,         (,  ,  , ),     ,  :    ,  , .

Irena Sušac  /   ++ ()  ; ++ ()   @.

           -   .     .,             .       (,   , ,  ,        ).                   .

.

 :   Red.: Ozren Prohić Sc.: Dalibor Laginja Kost.: Irena Sušac Dizajn svjetla: Zoran Mihanović Dirigentica: Nada Matošević Premijera: ... HNK Ivana pl. Zajca u Rijeci

  ,                  .                       (  ,    ,   ,    ,           ).                           .

Marija Šarić Ban  /   ++ ()   @.

 ,    :    Red.: Nina Kleflin Sc.: Osman Arslanagić Kost.: Marija Šarić Ban Asistenti kost.: Emilija Šušković i Melita Čoga Dizajn svjetla: Saša Mondekar Glazba: Matija Antolić Premijera: ... Gradsko kazalište Trešnja, Zagreb  ,  ,          –,  . .   .     ,  ,  .  .       –  „“ . ,   ,   .

        ’                       ()          .        ,     .           –    “”  . ,    ,   .

Deni Šesnić

.

  /   ++ ()   @. ..

  () Red.: Hugo Viera Sc.: Dalibor Laginja Kost.: Aleksandar Nošpal Dizajn svjetla: Deni Šesnić Premijera: ... HNK Ivana pl. Zajca u Rijeci   .   .    ,     - (     )     .       , ,             ., ., .,    +            .           .      .           ,        .              .               .           ,        .                ,             .     ,  ,   ,  ,  19

 , -…  .    ,   ...            .     ,    ,       (    , )       .        , ,              , , ,   +       ,            .            ,          .           ’   ,      .                  .                     ’   .                   .                           ,               .        ,  ,    ,    ,    ,   ,  .        ,                       .

Jadranka Tomić  /   ++ ()  ; ++ ()    .@.

 :     Red.: Georgij Paro Sc.: Aljoša Paro Kost.: Jadranka Tomić Dizajn svjetla: Silvio Giron Premijera: ... Gradsko kazalište Marina Držića Dubrovnik

      .    -   .   ..   .      .,               .     ; „ “ . -  (-), „    “,  - .,   „ “ . ( ),     „  “ .   „   “ . .; .  „   “ . ..     .   -  -.       .   „   - “.   .

                     .                                .        : “ ”,  -  (-), , “    ”,    , ,    “ ” ( ), ,         “ ”, ,    “   “,   .   . ,   “   ”, ,  .        .             ()     ’  ()              : “    ”.    .

 /   ++()   .@.

   .      .   .   -  .        , , ,  , , , , , , .    ,  , , , , .        :    ,     .,  .;  .-.,    ,  .;     ,   .;      ,  .;    ,  .;   ,  .;   ,  .;   .-., -, .

    ,            .              ()  .       ,        , , ,  , , , , , ,  .     ,  , , , ,  .         :    ,     ,  ;  -,   ,  ;     ,   ;     ,  ;    ,  ;   ,  ;   ,  ;   -, -, .

    :    .    – •   ,  ( ),    - .•     .•   - ., ., ., ., ., .•      •  ., -;   .- ,  •   ., ,  •   ., ., .•    ., . •  .   .  ...

   :            - •     ,  (),       •         •     - , , , , ,  •        •   - ;    - ,   •    , ,  •    , ,  •     ,  •     , –     .

.

 „  – “ Urednica: Ivana Bakal Autorica teksta: Branka Hlevnjak Autor popratnog teksta: akademik Tonko Maroević Grafički dizajn knjige i layaut: Mario Aničić Izdavač: ULUPUH, Zagreb, lipanj .

Drago Turina

Mirta Vekić  /   .-.

  , . figura od drvene konstrukcije i papira,  x x  cm

 .         .  .           .     . (.-.)

             .            ,     ,  .      . (.-.)

  /   _@.

  ...           .    .      ,  .        .  .       .  .       -.         -  ,         .         « »    .     .

                   .                 ,             .                           ()  .            ,      .           « »       .      .

.

     . - . oblikovatelj svjetla

Miljenko Bengez

/

  /    /   /   /        /    /  /     /       /   / :

 /        /          



 Hrvatska udruga likovnih umjetnika primijenjenih umjetnosti, Preradovićeva /, / Croatian Association of Artists of Applied Arts, Address: Preradovićeva /, Zagreb, Croatia Ivana Bakal, predsjednica -a /  president Ivana Bakal i/and Maša Štrbac Sanja Nikčević Tamara Budimir kuna zlatica Printera grupa, Zagreb, .  primjeraka/ copies Umjetnički savjet sekcije: Dinka Jeričević, Ika Škomrlj, Miljenko Bengez Ivana Bakal i Miljenko Bengez  - Hrvatska udruga likovnih umjetnika primijenjenih umjetnosti /  - Croatian Association of Artists of Applied Arts  / Preradovićeva /, Zagreb, Croatia / / + ()    / ulupuh@zg.t-com.hr  / www.ulupuh.hr Ivana Bakal Gradski ured za obrazovanje, kulturu i sport Grada Zagreba. / Zagreb City Council for Culture

CIP zapis dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu / A CIP catalogue record for this book is available from the National and University Library in Zagreb ----

 / Praška , Zagreb, Croatia  / + ()   24



.

 