Sv. 10 (2021)Pub Date : 1900-01-01DOI: 10.21857/yl4okf5pr9
Sanja Ivić
{"title":"Od crteža do teksta, a onda i do predstave ili kako sam surađivala sa Zlatkom Bourekom","authors":"Sanja Ivić","doi":"10.21857/yl4okf5pr9","DOIUrl":"https://doi.org/10.21857/yl4okf5pr9","url":null,"abstract":"","PeriodicalId":280019,"journal":{"name":"Sv. 10 (2021)","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124969182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sv. 10 (2021)Pub Date : 1900-01-01DOI: 10.21857/mwo1vc31oy
Igor Tretinjak
{"title":"Snage i slabosti vizualnih elemenata u lutkarskim predstavama Zlatka Boureka","authors":"Igor Tretinjak","doi":"10.21857/mwo1vc31oy","DOIUrl":"https://doi.org/10.21857/mwo1vc31oy","url":null,"abstract":"remains on the level of initial information, whereas in some performances using puppets on a cart (the kuruma ningyo technique) and with masks, the visual aspects do not remain static, but rather become developed and independent in the dramaturgical sense, taking predominance over the words and the text. This paper presents the possibilities of the puppets on a cart and with masks realised in Hamlet , play performed by the Teatar ITD , and Saint George by the City Puppet Theatre Split, in comparison with the non-realised potentials in other plays.","PeriodicalId":280019,"journal":{"name":"Sv. 10 (2021)","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131073101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sv. 10 (2021)Pub Date : 1900-01-01DOI: 10.21857/y7v64tvz2y
Livija Kroflin
{"title":"Svijet lutaka nahvao","authors":"Livija Kroflin","doi":"10.21857/y7v64tvz2y","DOIUrl":"https://doi.org/10.21857/y7v64tvz2y","url":null,"abstract":"The title The World of the ‘Nahvao’ Puppets (dishonest, emphasises three terms essential for Bourek’s oeuvre, in particular in the context of per formances he created as sole author. In these performances, each in particular and all in general, he formed a world of his own, regardless of the general rules of dramaturgy or di -recting. Neither was his starting point the text nor did he search for the most suitable man ner for transferring the author’s ideas; he was rather in search of the text that would best suit his puppets. The puppets even defined his directing moves. Everything he did was for the sake of the puppets, to make them as strong in expression as possible. He indeed created a world of his own, however not by using either the text or director’s moves, but rather by using colour and shapes – his puppets of strong and recognisable visual charac -ter. He tenderly addressed them as freaks or ‘grdači’ (the ugly ones). Same as Držić’s people ‘nazbilj’ (good, honest) and people ‘nahvao’ (dishonest, only pretending to be good) exist only in the Prologue to the comedy Dundo Maroje , spoken by the Necromancer Dugi Nos (The Long Nose), Bourek’s ‘grdači’ exist only in Bourek’s world. Držić’s people ‘nahvao’ are freaks, ugly both in appearance and character. Bourek’s ‘grdači’ are always ugly, but they are mean only when their character has been designed thus in the play. Nonetheless, even so, they are not unpleasant. Bourek’s joy of creation, and his sympathy and love for his theatre of freaks , moved to the audience. Bourek indeed succeeded in creating not only a world of his own, but also admirers of that world.","PeriodicalId":280019,"journal":{"name":"Sv. 10 (2021)","volume":"2115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127469198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sv. 10 (2021)Pub Date : 1900-01-01DOI: 10.21857/yk3jwhnv29
Marijana Županić Benić
{"title":"Likovna dramaturgija kazališta figura Zlatka Boureka, tog začudnog svijeta kazališta nakaza","authors":"Marijana Županić Benić","doi":"10.21857/yk3jwhnv29","DOIUrl":"https://doi.org/10.21857/yk3jwhnv29","url":null,"abstract":"is viewed as a kind of visual meta-narrative and the emotional response of the observer to a separate aspect of art, the puppet as the bearer of the action.","PeriodicalId":280019,"journal":{"name":"Sv. 10 (2021)","volume":"133 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123013275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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