Примењена музика Зорана Ерића за Михизову драму 'Бановић Страхиња' у режији Никите Миливојевића
| العنوان: | Примењена музика Зорана Ерића за Михизову драму 'Бановић Страхиња' у режији Никите Миливојевића |
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| المؤلفون: | Monika Novaković |
| المساهمون: | Олах, Кристијан, Радуловић, Немања, Медић, Ивана |
| المصدر: | Књижевна историја, часопис за науку о књижевности Књижевна историја, Vol 52, Iss 171, Pp 173–193-173–193 (2021) |
| بيانات النشر: | Београд : Институт за књижевност и уметност, 2020. |
| سنة النشر: | 2020 |
| مصطلحات موضوعية: | History, бановић страхиња, Musical, History (General), Key (music), зоран ерић, D1-2009, Зоран Ерић, HERO, Борислав Михајловић Михиз, позориште, Language and Literature, Interpretation (philosophy), Incidental music, представа, Mythology, Никита Миливојевић, Бановић Страхиња, Brother, примењена музика, Aesthetics, музика за позориште, борислав михајловић михиз, никита миливојевић, Drama |
| الوصف: | This article deals with Zoran Eric’s incidental music for the theatre play Banovic Strahinja directed by Nikita Milivojevic and based on the eponymous drama by Borislav Mihajlovic Mihiz. The drama is Mihiz’s unique (and considered by many the most successful) interpretation of the myth of the hero Banovic Strahinja. Nikita Milivojevic’s staging, on the other hand, is a contemporary interpretation of Mihiz’s dramatic text, and it contains the key for understanding contemporary themes. Milivojevic stages a play that is focused on the character of the Woman, presenting her and highlighting her presence as a force that affects not only her fate, but also her relationship to other characters, thus affecting their fate as well. Zoran Eric’s music outlines these relationships, provides the spectator/listener of the play with a musical layer of interpretation, and communicates the idea of the play to the audience, thereby engaging in dialogue with both the writer and the director.In this article I analyze both the dramatic text and the theatre play, whose key points and concepts are presented with the intention to fully grasp the role given to the music. The director’s interventions on the dramatic text conditioned the musical aspect of the theatre play. Both original (Бановић and Koltze) and archival numbers (Brother John, Fur Elise, Golden Eye, Taruka, Querer) are analyzed and discussed in order to define their functionality in the play. The focus is on the composer’s original numbers (whose fragments found their way off the theatre stage and onto the concert stage in the piece Six Scenes-Comments) in order to highlight their significance and place in the theatre play, which was important for creating the ambience for their little stories within the big story of the century. |
| اللغة: | Serbian |
| URL الوصول: | https://explore.openaire.eu/search/publication?articleId=doi_dedup___::549bb5da39503bab88bcc36f38e838e6 https://dais.sanu.ac.rs/123456789/10572 |
| حقوق: | OPEN |
| رقم الأكسشن: | edsair.doi.dedup.....549bb5da39503bab88bcc36f38e838e6 |
| قاعدة البيانات: | OpenAIRE |
| الوصف غير متاح. |