Sreten Asanović, Nomina, Plima, Ulcinj, 2011
By: Ivana Ančić
English version will be available soon.
Olja Savičević Ivančević: Goodbye Cowboy (Algoritam, Zagreb, 2010)
By: Nikola Đoković
The tile of the novel ‘’Goodbye Cowboy’’ hints at the sentimental, nostalgic and even bitter-sweet taste. The ecstatic-ethical dominance in the novel corresponds with a longing for the old idealised, ‘’not-for-sale’’ (western) type of hero in today’s civilisation. The absence of this figure in the ‘’West’’ that presented Hollywood, the mythical workshop (that spread the myth of a hero of the time past to the rest of the world through its movie icons), as well as in Croatia, that presents the East in ‘’transition’’ in comparison to the ‘’developed’’ West.
David Albahari: The Checkpoint (Stubovi kulture, Belgrade, 2011)
By: Ivan Telebar
In his latest novel, The Checkpoint, David Albahari decided on a war topic set in an unusual and at the same time, purposeless story of the pointlessness of dying on the battlefield. In his attempt to shock, the author managed to achieve exactly the opposite. The one thing that will astonish the reader is the blurriness of the storytelling discourse with gaps that dominate the obvious plot and the hypothetical point of the text. The war is set as an unconditional situation, but the absurd that the author wanted to create poisoned his writing and left us with a bitter aftertaste.
Srđan Srdić: Espirando (Stubovi kulture, Beograd, 2011.)
By: Leda Sutlović
A relatively unknown writer to the wider Croatian reading public, Srđan Srdić, is the author of the appraised novel The Dead Field and the director of the Festival of Short Stories ‘’The Kikinda Short’’, and the novel Espirando, subtitled ‘’The Songs on Death’’, is his first book of stories. The title of the book, easily translated as breathing or exiling, gives an idea of the main topic, the moment of death. The title is also a term from classical music that describes a special way of interpretation, and the music itself, especially the one on the Mexican border, which helps us understand this mess, is one of the basics and sources of inspiration for the stories.
Miro Gavran: Kafka’s Friend (Mozaik knjiga, Zagreb, 2011)
By: Ivan Telebar
Max Brod sits in a small, stuffy office in Tel Aviv and goes through a new manuscript that came to his home address a few days ago. The sender is unknown, the only thing he can see is the name of the author under which is the title of the manuscript – Miro Gavran Kafka’s Friend. He has heard of this author, the literature circles talk of him as of the most translated Croatian writer and the only alive European dramatist to whom a whole festival has been dedicated to. He cared little for such epithets, he was more concerned about the text in front of him. He has read it several times and now he was just turning the pages and sometimes stopping on a chapter, searching for something more then black ink on a white paper.
The Russian Computer by Semezdin Mehmedinović (Fraktura, Zagreb, 2011)
By: Lamija Neimarlija
“The Russian Computer” by Semezdin Mehmedinović has a timeline from the end of August 1995 until August 1996 and it presents an unintentional diary of moving through Sarajevo – Prague – Zagreb – Phoenix – New York – Phoenix – Washington, DC. In the ‘’Introduction’’, which sets a certain frame for understanding the notes from the diary, where the author explains how this experience of leaving comes as a memory of events that he understood only later on. This story does not integrate reasoning from a (time) distance and consists of notes from periods of moving, without any interventions in the text by the author. Drafts, as starting points for newspaper texts, were made by cutting out the surplus from the manuscript that was a lot longer, because everything he wrote was in the same document (story drafts, songs, letters, magazine texts etc).
Sreten Asanović, Nomina, Plima, Ulcinj, 2011
By: Ivana Ančić
English version will be available soon.
OSMI I SEDMI PUTNIK, Aleksandar Bjelogrlić, Citadela, Agora, Zrenjanin, 201
By: Dalibor Plečić
English version will be available soon.
Stjepan Gulin, Paz’te sad, paz’te sad (Meandarmedia, Zagreb, 2011.)
Authors: Ivana Ančić
Igor Marojević, Kroz glavu (Dosije, Beograd, 2012.)
Author: Dalibor Plečić
Damir Miloš, Pisa. Povratak (Meandarmedia, Zagreb, 2011.)
Author: Morena Livaković
POLITIČKE I DRUŠTVENE KONSTRUKCIJE IDENTITETA U VIDEO-PERFORMANSIMA NA BEOGRADSKOJ SCENI 1970-ih
Esej Vladimira Bjeličića
Esej u celini možete pročitati na portalu SEEcult.org
Esej Tihane Bertek
Od promatrača do sudionika
GALERIJA KAPELICA I POST-JUGOSLAVENSKI BODY ART (1995–2010)
Esej – Bojan Krištofić
Esej o radovima Šejle Kamerić, Maje Bajević i Nebojše Šerića Shobe
Piše: Slađana Golijanin
ESEJ – Razvaline socijalizma kao inspiracija za muzejske eksponate Mrđana Bajića i skulpturalne dosetke Ivana Fijolića
By: Milena Milojević
Piše: Nino Kovačić
Gostujuća izvedba šibenskog HNK, Pir malograđana, prema tekstu mladog Bertolda Brechta (napisan 1919.) izvedena je po sljedećoj formuli: na Danima satire u satiričkom kazalištu Kerempuh gledamo satiričan komad. Prema reakcijama publike, bila je uspješna, ali teško se oteti dojmu da je smijeh bio formulaično zagarantiran, jer bi takav instruirani moment humora trebao zauzdati spontani smijeh. Je li se možda radilo o “malograđanskom” humoru?
Glumice i to, KNAP, Zagreb, premijera 12.5.2012.
Piše: Nino Kovačić
Glumice i to, nova predstava u zagrebačkom KNAP-u, neobičan su kazališni ‘slučaj’. Naime, predstavu su, dramaturški i režijski osmislile te, naravno, glumački ostvarile četiri mlade glumice. U trenutačnoj opće-društvenoj, pa tako i kazališnoj situaciji, kojom prijete olovni pojmovi poput recesije, prekarijata i outsourcinga (nedavno su najavljena i otpuštanja “hladnopogonskih” glumaca), one su, kako piše u najavi “nezaposlene i pune entuzijazma, odlučile su preuzeti stvar u svoje ruke i napraviti hit!”. Očito sklone postdramskom pristupu izvedbi koji se, između ostalog, bazira na ekipnoj work-in-progress metodi, izvedbenoj anti-iluziji i autoreferencijalnosti, glumice/autorice su se “trgnule” i napravile parodiju o tome kako rade predstavu, po ironičnom ključu: kad ne ide pravljenje predstave treba napraviti predstavu o tome kako se ne može raditi predstava.
“Nije život biciklo”, Biljana Srbljanović, režija: Anselm Veber, Produkcija: Šaušpilhaus Bohum, Nemačka; Sterijino pozorje 2012, selekcija Nacionalne drame i pozorišta
By: Tamara Baračkov
English version will be available soon.
„Grebanje, ili kako se ubila moja baka“, Tanja Šljivar, režija: Selma Spahić, Bosansko narodno pozorište Zenica/Bitef teatar-Hartefakt (Beograd), premijera: 7. septembar 2012. (Zenica), 11. oktobar 2012. (Beograd)
By: Tamara Baračkov
English version will be available soon.
„Sluga dvaju gospodara“, Karlo Goldoni, režija: Boris Liješević, Grad teatar Budva/Srpsko narodno pozorište Novi Sad/Narodno pozorište „Toša Jovanović“ Zrenjanin, premijera: 27. jul 2012.
By: Tamara Baračkov
English version will be available soon.