Kretanja ČASOPIS ZA PLESNU UMJETNOST DANCE MAGAZINE

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1 Kretanja ČASOPIS ZA PLESNU UMJETNOST DANCE MAGAZINE 30 18

2 Škola za ritmiku i ples, impro (1960) KASP, impro (1963), foto: J. Ćetković KASP, impro (1967) B. Maričević i N. Kokotović, foto: V. Pondelak Studio, impro I. Boban i T. Škrinjarić Vera Maletić Škola za ritmiku i ples, Tragični preludij (1959), kor. A. Maletić

3 SADRŽAJ CONTENT Maja Đurinović 04 Uvodnik 06 Indroduction Ivica Boban 08 Moje putovanje kroz zlatne šezdesete 16 My journey across the golden sixties Tihana Škrinjarić 22 Pioniri suvremenog plesa iza željezne zavjese 28 Pioneers of Contemporary Dance behind the Iron Curtain Ivančica Janković 32 Počeci Zagrebačkog plesnog ansambla u fragmentima sjećanja 36 Origins of Zagreb Dance Company in Fragments of Memory Tuga Tarle 40 Hrvatsko plesno proljeće razgovor s Ivanom (Ivicom) Ivankom 46 Croatian dance spring An Interview with Ivan (Ivica) Ivanko Zorica Vitez 50 Ana Maletić u susretima s folklorom 56 Ana Maletić Meets Folklore Jelena Mihelčić 60 Koreografije Vere Maletić za kameru i plesače 66 Vera Maletić s Choreographies for Camera and Dancers Ljiljana Mikulčić 72 Anna Halprin u Zagrebu 76 Anna Halprin in Zagreb Željka Turčinović 80 Suvremeni ples na Dubrovačkim ljetnim igrama šezdesetih 84 Conteporary Dance at Dubrovnik summer Festival in 1960s MOVEMENTS

4 UVODNIK: Maja Đurinović Muzej za umjetnost i obrt je prije nekoliko godina, prema idejnom konceptu Zvonka Makovića, pokrenuo istraživački kulturološki projekt pod radnim naslovom Zlatne šezdesete. Projekt kojim se željelo vratiti u fokus interesa prijelomno desetljeće ne samo za Hrvatsku, i uočiti promjene kada se na globalnoj razini mijenjaju političke, ekonomske i nadasve kulturološke paradigme što će imati reperkusija sve do danas rezultirao je velikom izložbom 1960-e u Hrvatskoj / Mit i stvarnost 1. Sakupljanje, analiza i usporedba, kao i umrežavanje podataka iz različitih segmenata umjetnosti i kulture, ali i svakodnevnog života, potvrdili su tezu o prijelomnom iznimno zanimljivom i uzbudljivom desetljeću kada se unutar socijalističke Jugoslavije probija duh modernog Zapada s proturječjem fascinantne slobode mišljenja, umjetničkog eksperimenta i angažiranog djelovanja ali i privlačnim i komercijalno isplativim uzorom lakoće življenja. Rad na segmentu plesa otkrio je i otvorio više tema u koje se u kontekstu izložbe nije moglo dublje zadirati, te se iskristalizirala želja i potreba da se nastavi i zabilježi istraživanje načetih segmenata. Stoga je Plesni odbor Hrvatskog centra ITI organizirao simpozij: Zlatne šezdesete ili kako se stvarala suvremena plesna scena u Hrvatskoj 2 na kojem se uz teoretičare i povjesničare, okupio značajan broj sudionika i svjedoka vremena čiji je kasniji rad potkrijepio značenje tih za suvremenu plesnu scenu formativnih godina. Zapravo je odaziv izlagača bio toliko brojan da smo se Željka Turčinović i ja kao organizatorice i moderatorice skupa i urednice novih Kretanja posvećenih 60-ima morale odlučiti za podjelu tekstova u dva dijela. Pred vama je prvi dio izlaganja sa skupa, onaj posvećen suvremenoj 1 Izložba je bila otvorena od 26. travnja do 30. rujna u MUO uz niz popratnih događanja u drugim, bliskim institucijama. 2 Simpozij je započeo 28. rujna u MUO razgovorom s Majom Bezjak, a nastavljen je 29. i 30 rujna u prostoru Hrvatskog centra ITI. plesnoj sceni, dok će sljedeći broj pokazati formiranje moderne baletne scene. Iako ih povezuju nastupi na Muzičkom biennalu u Zagrebu, Baletnom bijenalu u Ljubljani i nekim drugim festivalima, kao i osvajanje novog, televizijskog medija, ipak je uz tek rijetku međusobnu suradnju, riječ o vremenu zaoštrene polarizacije unutar plesne umjetnosti: od baleta HNK-a se očekuje tehnička virtuoznost, klasične špice i spektakl, a prostor istraživanja novih formi je ostavljen bosonogoj suvremenoj plesnoj sceni, slobodarskoj, mladoj i angažiranoj eliti koja se formira uz škole i onda seli po prostorima u potrazi za nekim, pokazalo se uvijek privremenim skloništem unutar rijetkih institucija naklonih plesu. Ishodište suvremene plesne scene je u Školi za ritmiku i ples koju je uz nevjerojatnu upornost uspjela realizirati Ana Maletić, i u kojoj se obrazuju prve generacije mladih, samosvjesnih, angažiranih žena koje će kasnije potaknuti promjene i obilježiti svoja područja djelovanja. Kretanja donose svjedočanstva i sjećanja na 1960-e Ivice Boban (redateljica, koreografkinja, dramaturginja i professor emerita na Akademiji dramske umjetnosti Sveučilišta u Zagrebu), Tihane Škrinjarić (koreografkinja i voditeljica Studija za suvremeni ples, članica autorske ekipe pri stvaranju hrvatskog mjuzikla) i Zorice Vitez (dr.sc. etnologije i folkloristike, znanstvena savjetnica i dugogodišnja stručna ravnateljica Međunarodne smotre folklora) te pripadnice mlađe generacije, Ivančice Janković koja se našla pri samom kraju ovog perioda kada se kao članica prve postave Zagrebačkog plesnog ansambla koji se priključio zagrebačkoj / hrvatskoj / jugoslavenskoj plesnoj sceni. Ključna godina u povijesti suvremene hrvatske plesne scene je kada se osnivaju prve dvije samostalne profesionalne skupine suvremenog plesa. Dokumentacija potvrđuje da je prva probila led Milana Broš 3, koja u to vrijeme radi kao 3 Kretanja 19/20 (2013) su u cijelosti posvećena Milani Broš 4 KRETANJA 30 18

5 plesni pedagog u Pionirskom kazalištu (PIK) i tu od talentiranih polaznika plesnog studija formira ansambl i program s kojim već u ljeto nastupa na Baletnom bijenalu u Ljubljani. Kako u tjelesnoj memoriji nosi vrlo različite koreografske poetike (Slavenska, Froman i Ana Maletić kao prvi susret sa suvremenim plesom) ali nijednu od presudnog značaja, ona je dovoljno slobodna da krene u osobnu avanturu istraživanja plesa i pokreta. Gostovanja i susreti s umjetnicima u prvom redu američke moderne (Graham) i postmoderne (Halprin) scene potvrdili su njezin točan (pred)osjećaj za vrijeme i pripadnost tzv. novoj avangardi. Studio za suvremeni ples pod vodstvom Vere Maletić (Anine kćeri koja je osobno traženje odmaka od mamine škole nastavila u Europi te se vratila s novim idejama) se nesumnjivo dulje i vrlo sistematično pripremao za prvi izlazak u javnost koji je organiziran u prosincu Iako se Milana i Vera dobro poznaju i sa studija povijesti umjetnosti, a Milana surađuje s Anom u PIK-u (gdje Ana obnavlja Šiptarsku suitu iz u kojoj je Milana nastupala 4 ), i iako ih i kasnije povezuju suvremeni kompozitori (npr. i Milana i Tihana postavljaju Detonijeve Likove i plohe) očito je da ne postoji suradnja i komunikacija između ansambala. Okupljenoj skupini autora protagonista vremena možemo pribrojiti i razgovor Tuge Tarle s Ivicom Ivankom. Riječ je o susretu pripadnika dvije generacije KASP-a Milane Broš (sestre Tuga i Kruna Tarle su ovjekovječene u snimci nastupa ansambla u MUO na Muzičkom biennalu 1971.), koji također nisu znali puno jedan o drugome. Dakako fokus je na Ivanku, plesaču koji je karijeru nastavio u baletu HNK što je također vrlo zanimljiva poveznica s temom razvoja suvremene baletne scene. Naravno da nismo ni približno iscrpili teme koje su se tijekom simpozija usmeno načele, ali sljedeći radovi su nesumnjivo značajan doprinos razradi teme 60-ih. Tekst Jelene Mihelčić se u kontekstu nastanka prvih eksperimentalnih plesnih filmova fokusira na autorski i međunarodno relevantan teorijski rad Vere Maletić u razdoblju između i (nakon čega ona definitivno napušta Zagreb). Ljiljana Mikulčić nam iz osobnog iskustva približava djelo pionirke američkog postmodernizma Ann Halprin i njezine skupine Dancers Workshop Company iz San Francisca čiji je nastup s A Five-Legged Chair / Stolac s pet nogu na Muzičkom biennalu 1963., bio jedan od ključnih događaja u formiranju napredne zagrebačke plesne i uopće izvođačke scene. I na kraju, tekst Željke Turčinović Plesne šezdesete na Dubrovačkim ljetnim igrama nas upozorava na desetljeće kada su putovalo na Igre kao jedinstveno mjestu u Jugoslaviji gdje su nastupali najpoznatiji svjetski ansambli i autori (Robbins, Ailey, Tetley, Nikolais, Béjart ) koji su, nadrastajući granice i podjelu između suvremenog plesa i baleta iznjedrili novi uzbudljivi medij plesnog teatra. 4 U tom smislu međugeneracijske poveznice je značajan dokument program Omladinske pozornice Zagrebačkog pionirskog kazališta na kojem su zajedno Plesne studije M. Broš i Šiptarska suita A. Maletić. MOVEMENTS

6 INTRODUCTION: Maja Đurinović A few years ago the Museum of Arts and Crafts launched a cultural research project, based on Zvonko Maković s concept, under the working title The Golden Sixties. The project that aimed to restore the decade crucial not only for Croatia back in the focus of interest and identify changes when on the global level political, economic and most of all cultural paradigm changed, which will have repercussions all until today, resulted in a large exhibition 1960s in Croatia / Myth and Reality 1. Gathering, analysis and evaluation, as well as networking data from different segments of art and culture, as well as everyday life, confirmed the hypothesis of the crucial extremely interesting and exciting decade when the spirit of the modern West broke into socialist Yugoslavia with an opposition of the freedom of thinking, artistic experiment and engaged action, as well as an attractive and commercially useful model of the ease of living. Work on the dance segment revealed and opened up several topics which could not have been delved into in the context of the exhibition, and a wish and a need to continue and make records of the research of the started segments emerged. Therefore the Dance Committee of the Croatian Centre ITI organised a symposium: The Golden Sixties or How Contemporary Dance Scene in Croatia Was Created 2, which gathered, next to theorists and historians, a large number of participants and witnesses of the time, whose later work substantiated the meaning of these years, formative for the contemporary dance scene. In fact, the prospective contributors turnout was so big that Željka Turčinović and myself, as the organisers 1 The exhibition was open from 26 April to 30 September 2018 at the Museum of Arts and Crafts, with a series of side events in other, similar institutions. 2 The symposium began on 28 September at the Museum of Arts and Crafts with an interview with Maja Bezjak, and continued in 29 and 30 September at the Croatian Centre ITI premises. and moderators of the symposium and editors of the new Movements dedicated to the sixties, had to opt for dividing the texts into two parts: the first part of the symposium presentations is before you, the one dedicated to the contemporary dance scene, while the next issue will illustrate the forming of the modern ballet scene. Although they share performances at the Zagreb Music Biennale, Ljubljana Ballet Biennale and other festivals, as well as conquering the new medium television, nevertheless, with the exception of only a few collaborations, the field of dance art was greatly polarised: the Croatian National Theatre Ballet was expected technical virtuosity, classical pointe shoes and spectacle, and the space for an exploration of new forms was left to the barefoot contemporary dance scene, libertarian, young and involved elite which trained at schools and then moved across different studios in search of some, as it always proved, temporary shelter inside the rare dance-friendly institutions. The origin of the contemporary dance scene was in the School of Rhythm and Dance, the brainchild of Ana Maletić which she managed to establish with incredible persistence in 1954, training the first generations of young, confident, engaged women who will later spark changes and leave a trace on their activity. Movements feature testimonies and memories of the 1960s by Ivica Boban (director, choreographer, dramaturge and professor emerita at the Academy of Dramatic Art, University of Zagreb), Tihana Škrinjarić (choreographer and manager of Studio Contemporary Dance Company, member of the creative team of the Croatian musical) and Zorica Vitez (PhD in ethnology and folklore, advisory scholar and long-time professional manager of the International Folklore Festival), as well as younger generations like Ivančica Janković who was, at the very end of this period, a member of the first line-up of Zagreb Dance Company, which joined the Zagreb/Croatian/ Yugoslav dance scene in KRETANJA 30 18

7 The crucial year in the history of Croatian contemporary dance scene was 1962, when the first two professional contemporary dance companies were established. The documentation confirms that it was Milana Broš 3 who broke the ice, at that time working as a dance pedagogues with the Pioneer Theatre (PIK). Among the talented dance studio participants she found her company members and designed a programme which they performed already in summer of 1962 at the Ljubljana Ballet Biennale. As she carried in her corporeal memory very different choreographic poetics (Slavenska, Froman and Ana Maletić as her first encounter with contemporary dance), but none of crucial significance, she was free enough to embark on a personal adventure of exploring dance and movement. Visiting performances and encounters with artists, primarily of the American modern (Graham) and post-modern (Halprin) scene corroborated her accurate (pre)sentiment of time and belonging to the so-called new avant-garde. The Studio, managed by Vera Maletić (Ana s daughter who continued her personal quest for detachment from her mother s school in Europe and returned with new ideas) took significantly more time and systematic preparations for their first public performance, organised in December Although Milana and Vera knew each other well, since they both studied art history and Milana worked with Ana at PIK (where Ana revived Shqiptar Suite from 1952, in which Milana also performed 4 ), and although they later shared contemporary composers (e.g. both Milana and Tihana set up Detoni s Shapes 3 The issue of Movements 19/20 (2013) was entirely dedicated to Milana Broš. 4 In the sense of intergenerational connection, a significant document is the programme of the Zagreb Pioneer Theatre s Youth Stage, which united Milana Broš s Dance Studies and Ana Maletić s Shqiptar Suite. and Surfaces), there was clearly no collaboration or communication between the companies. The side of the authors/protagonists of the time is joined by Tuga Tarle s interview with Ivica Ivanko. This constitutes an encounter of two generations of Milana Broš s KASP (sisters Tuga and Kruna Tarle danced in the recording of the company s performance at the Museum of Arts and Crafts in 1971 at the Music Biennale), which also were not familiar with each other. The focus is, naturally, on Ivanko, a dancer who continued his career at the Croatian National Theatre s Ballet which is another interesting link with the subject of the contemporary dance scene evolution. Of course, we have not near depleted the topics that arose during the symposium, but the following texts doubtlessly greatly contributed to the analysis of the sixties as a subject matter. Jelena Mihelčić in the context of the first experimental dance films focuses on the creative and internationally relevant theoretical work of Vera Maletić between 1964 and 1968 (after which she definitely left Zagreb). Ljiljana Mikulčić, from her personal experience, acquaints us with the work of the pioneer of American post-modernism, Anna Halprin and her Dancers Workshop Company from San Francisco, whose performance of A Five-Legged Stool at the 1963 Music Biennale was one of the crucial events in forming the progressive Zagreb dance and performing scene in general. And finally, Željka Turčinović s text Contemporary Dance at the Dubrovnik Summer Festival in 1960s informs us of a decade when trips were made to the Festival as a unique place in Yugoslavia where the most famous international companies and authors performed (Robbins, Ailey, Tetley, Nikolais, Béjart ), which, beyond the boundaries and divisions between contemporary dance and ballet, gave birth to a new exciting medium of dance theatre. MOVEMENTS

8 Škola za ritmiku i ples, Rad (1959), kor. E. Thaller 8 KRETANJA MOJE PUTOVANJE KROZ ZLATNE ŠEZDESETE

9 Ivica Boban Moje putovanje kroz zlatne šezdesete Od slutnji i vizija o drukčijem i boljem kazalištu nakon gostovanja Joséa Limóna u Zagrebu 57. do ostvarenja sna realizacije predstave POZDRAVI i osnivanja prve samostalne izvaninstitucionalne kazališne grupe Kazališne radionice Pozdravi 73. ODLOMCI IZ DIPLOMSKE RADNJE IVICE BOBAN NA ŠKOLI ZA RITMIKU I PLES, 1961.: Uvod - o suvremenom plesu: Svojom naukom, zasnovanom na prirodnom kretanju i anatomiji ljudskog tijela, kao i na čovjekovim fizičkim, psihičkim i emotivnim manifestacijama, Laban je omogućio da ples može izražavati bogatstvo osjećaja i sadržaja, kao i sam život. Samo o fantaziji i kreativnoj moći plesača i koreografa, o umjetniku stvaraocu ovisit će kako će on koristiti velike mogućnosti Labanova nauka o pokretu O totalnom teatru: U vrijeme kada teatarski život karakteriziraju brojne žučne diskusije o značenju, funkciji i smislu kazališta želim nešto reći i o budućoj ulozi umjetnosti pokreta i suvremenog plesa u kazališnoj predstavi Ples i pokret ne bi bili više unutar predstave razonoda, spektakularni divertissement, već ravnopravan izraz govoru i ostalim elementima kazališne predstave. Bio bi to totalni teatar, sretna sinteza govornog, pantomimskog, plesnog, glazbenog, likovnog i glumačkog izraza u jedinstvu kazališnog čina i predstave. Takvo kazalište bih željela ostvariti! Umjetnost pokreta kao dio suvremenog glumačkog umjetničkog odgoja: Pokret i gesta su prije riječi, naše prvotno sredstvo izražavanja i komunikacije. Isto tako kao što mora njegovati svoj govorni aparat i vještinu govora, glumac mora znati modelirati materijal vlastitog tijela i svoj tjelesni izraz prema toku svojih osjećaja, čulnih slika, misli, asocijacija i predodžbi. Jer za visoke estetske zadatke koji iz suštine glumačkog zadatka izrastaju potrebno je prvenstveno potpuno vladanje svojim tijelom u tehničkom i izražajnom smislu Moje želje i ideje o primjeni stečenog znanja u svom budućem radu: Kao učenica Škole za ritmiku i ples stekla sam kroz šest godina školovanja veliku ljubav za plesnu umjetnost. Željela bih plesati u grupi suvremenog umjetničkog plesa, gdje bi svaki plesač mogao provoditi u djelo i svoje koreografske zamisli. Upisala sam studij glume na Akademiji za kazališnu umjetnost i željela bih se posvetiti glumačkom odgoju putem pokreta na istoj. U tom smislu željela bih raditi i u kazalištu, kao suradnica za scenski pokret i koreograf. Želim svakako produbiti svoje znanje iz povijesti plesa povezano s povijesti teatra, kao 01 Ivica Boban My Journey Across the Golden Sixties MOVEMENTS

10 i znanje iz kinetografije. Veliko mi zadovoljstvo predstavlja i pedagoški rad s predškolskom djecom, međutim privlače me najviše koreografija i rad u teatru. UVOD Šezdesete godine su bile u svijetu i u nas vrlo burne, dinamične, zlatne i lude, ali i vrlo dramatične kriza oko Kube i strah od nuklearnog rata, ubojstvo Johna F. Kennedyja, Roberta Kennedyja i Martina Luthera Kinga, rat u Vijetnamu, studentski nemiri i protesti protiv rata i rasizma... To je doba velikih promjena na političkom, društvenom i životnom planu, doba znanstvene i tehnološke revolucije (prvi čovjek u svemiru i na Mjesecu!), doba kulturološke, seksualne i posebno umjetničke revolucije. Unatoč svih dramatičnih događaja u tim godinama vlada duh optimizma, inventivnosti, hrabrosti i pozitivne energije. Osvajaju se novi prostori slobode, hrabro se odbacuju stara i rigidna pravila, okoštali stavovi i uvjerenja, u životu i u umjetnosti, neprikosnovenost autoriteta, posebno onih lažnih i bez pokrića. Krše se pravila bontona, mijenja se odnos prema tijelu, teži se oslobođenom tijelu u ponašanju, pokretu, plesu, u modi (odbacuje se grudnjak, otkrivaju noge, mini suknja, uniseks traperice) mijenjaju se muško-ženski odnosi, istražuje se slobodna ljubav, droge, osnivaju se komune i grupe, rock glazba i koncerti, The Beatles, Bob Dylan... Rađa se mnoštvo novih ideja i inicijativa, rade se hrabri iskoraci u nepoznato i novo, istražuju se alternativne mogućnosti izvan ustaljenih načina mišljenja, ponašanja i djelovanja, uz uvjerenje da je sve moguće! Šezdesete godine (u širem smislu od kraja 50-ih, do početka 70-ih) su i za mene vrlo značajne i zlatne, jer su to godine ranih slutnja, sazrijevanja i profiliranja mojih snova, ideja i vizije kakvo kazalište želim ostvariti. To su moje formativne i studijske godine, završne godine školovanja i mog diplomskog ispita na Školi za ritmiku i ples, mojih iskustava kao plesačice u Studiju za suvremeni ples, studija glume na Akademiji dramske umjetnosti, i početak mog rada na razvijanju glumačke izražajnosti tijelom i pokretom. Tijekom šezdesetih bila sam suradnik za scenski pokret, mimiku i koreografiju u više od šezdeset produkcija u ispitnim produkcijama Akademije i u teatrima. Tih sam godina teoretski i u praksi postupno razvijala i implementirala program studija scenskog pokreta za studente glume na ADU. Krajem šezdesetih boravila sam godinu dana na stipendiji u Moskvi i Lenjingradu, a po povratku 1970., nakon što je prihvaćen moj prvi Plan i program studija scenskog pokreta za glumce na Akademiji dobila sam i stalno radno mjesto. Iz rada sa studentima na scenskom pokretu nastaju i moje prve predstave Improvizacije 1. i 2. i predstava Pozdravi. Potaknuta velikim uspjehom predstave kod publike i izvanrednim kritikama u nas i u svijetu, osnovala sam Kazališnu radionicu POZDRAVI prvu samostalnu izvanin- stitucionalnu kazališnu grupu na našim prostorima. Bilo je to ostvarenje moga sna. RAZRADA Dva velika vizionara, pedagoga i umjetnika, Ana Maletić i dr. Branko Gavella odredila su moj životni i profesionalni put. Kreirali su inovativne pedagoško-umjetničke sustave i utemeljili škole umjetničkog obrazovanja, gospođa Maletić Školu za ritmiku i ples, a Gavella Akademiju za kazališnu umjetnost i presudno su utjecali na razvoj glumačke i plesne umjetnosti i kazališne kulture na našim prostorima. Nesebično su predavali svojim učenicima svoje veliko znanje i svoju strast za istraživanjem i razumijevanjem fenomena glumačkog i plesnog stvaralaštva. Imala sam sreću da sam bila njihova učenica i studentica. Bila sam u prvim generacijama upisanih učenica Škole za ritmiku i ples 1954./1955. godine, i u zadnjoj generaciji Gavellinih studenata 1961./62. 1 Nakon 2. svjetskog rata, kada smo živjeli dvostruku stvarnost, kada je iskren govor bio strogo kontroliran, ideološki zabranjen i opasan, razlike između onog što se osjeća i misli i onog što se govori i radi bile su velike. Vrlo rano sam prepoznavala da iskrene emocije, izražene stavom ili pokretom tijela, gestom ili mimikom lica, čak i kod moje majke, govore jedno, a riječi drugo. Tako su neverbalna komunikacija i govor tijela postali za mene već u najranijem djetinjstvu bitan način izražavanja i komunikacije, a pokret i ples prostor u kojem sam se mogla bez cenzure i straha slobodno izražavati, onako kako sam osjećala. Prvu inicijaciju u izražavanje kroz igru i ples doživjela sam u najranijem djetinjstvu u privatnom vrtiću gospođe Nede Kostić-Biondić na principima Waldorfske pedagogije Rudolfa Steinera 2, koji je odmah nakon rata otvorila u centru grada u Kumičićevoj ulici. Pjevali smo i sastavljali pjesmice, slikali i crtali i svakodnevno plesali prema principima euritmije u velikoj plesnoj dvorani. U vrijeme Informbiroa, u duhu komunističko-socijalističke ideologije u kojoj nije bilo mjesta za individualne inicijative taj privatni vrtić je naprasno zatvoren i pretvoren u državni, a velika plesna dvorana je pregrađena i uništena. U svijet dramskih improvizacija i scenskih igara uvela me je zatim izvanredna pedagoginja Zvjezdana Ladika u Pionirskom kazalištu. 1 U ožujku godine Gavella je nažalost prerano i nenadano umro. 2 Puno kasnije, za vrijeme mog studijskog boravka u Rusiji otkrila sam presudan utjecaj Rudolfa Steinera i euritmije, kao i Rudolfa Labana na rad Mihaila Čehova koji je ugrađen u njegov izvanredan glumačko-pedagoški sustav i metodu rada s glumcima. 10 KRETANJA Moje putovanje kroz zlatne šezdesete

11 ŠKOLA ZA RITMIKU I PLES I NJENO ZNAČENJE I UTJECAJ NA MOJ DALJI RAD No pravo otkriće izražavanja pokretom i plesom u izvedbenoj situaciji i radost kreativnih improvizacija i igara osjetila sam u jedanaestoj godini kada sam se upisala u Školu za ritmiku i ples. I sve što sam kasnije na Akademiji i u teatrima ostvarila, izvire dijelom i iz temeljitog i svestranog znanja koje sam stekla u toj Školi. A na osnovnim pedagoško-kreativnim principima i na nadahnuću koje su u meni razbudili moji pedagozi, prije svih Ana Maletić, temeljim još i danas neka svoja istraživanja i rad. Dakle, od rane mladosti vodio me je izuzetan pedagoško-umjetnički talent gospođe Ane Maletić, koja je na učenju Emilea Jaquesa-Dalcrozea, Rudolfa Labana i njegovih učenika Mary Wigman i Kurta Joossa, umjetnika njemačkog plesnog ekspresionizma i tzv. ausdrucktanza 3 kreirala metodički temeljit, zahtjevan i svestrano koncipiran program obrazovanja u području umjetnosti pokreta i suvremenog plesa. Ona mi je kroz svoj program pružila i jasne uvide u raznolike i široke mogućnosti primjene tog znanja na polju plesne i kazališne umjetnosti, pedagogije, opservacije i analize pokreta i plesne terapije. Sustavno i predano otkrivala je svojim učenicama bogatstvo i neiscrpno vrelo inspiracije u tjelesnom izrazu i plesu. I na svakom satu poticala nas je da kroz improvizacije otkrijemo i svoj osobni kreativni izraz. Program i kurikul Škole bio je zahtjevan i studiozan kao da se radilo o studiju na visokoj školi ili Plesnoj akademiji. 4 Kako u to vrijeme kod nas nije postojala Viša škola ili Akademija za ples i koreografiju, a školovanje u inozemstvu bilo je preskupo 1961./62. nakon rigorozne audicije upisujem studij 3 plesnom izrazu kojem je Ana bila posebno sklona, a i meni je bio osobito blizak 4 Navodim predmete iz moje Svjedodžbe o završnom ispitu: Ritmika, Ples, Eukinetika i koreutika, Funkcionalna tjelesna tehnika, Osnove koreografije, Kinetografija, Opservacija i analiza pokreta, Plesni folklor FNRJ, Povijest plesa i stilova, Historijski plesovi, Elementi klasičnog baleta, Metodika ritmike i plesa, Osnove pedagogije i psihologije, Osnove anatomije i fiziologije, Odgoj sluha i solfeggio, Muzička improvizacija s pokretom, Elementi muzičke harmonije i kontrapunkt, Klavir. I mnogo kasnije sam se znala koristiti požutjelim tekama iz Škole, zapisima Anine metodike na Labanovim principima, ili iz povijesti plesa, bilješkama Verinih sustavnih tumačenja o historijskim plesovima koja je povezivala sa svojim znanjem iz povijesti umjetnosti, tekama iz anatomije vrsnog ortopeda i prof. na Med. fakultetu dr. Pavla Dürrigla, te folklora koji je predavao naš najbolji stručnjak tog područja i koreograf Lada dr. Ivan Ivančan. A pamtim i razgovore o glazbi s Milom Ciprom, Borisom Papandopulom i Rudolfom Matzom, koji su bili stalni suradnici Škole. Imali smo tijekom školovanja više od 100 javnih nastupa, a osim za publiku u kazalištu plesali smo i za polaznike radničkih škola, učitelje, nastavnike glazbenog odgoja, glazbenu omladinu, odgajatelje u vrtićima, profesore, za predstavnike iz struktura vlasti, za goste i umjetnike iz svijeta. I na taj se način Ana Maletić borila za priznavanje i širenje ideja Škole i za buduća radna mjesta svojih učenica. glume na Akademiji dramske umjetnosti. Iste godine pišem diplomsku radnju (nevjerojatno je kako sam u njoj već naznačila sve ono čime sam se željela baviti i o čemu sam sanjala, a što sam i ostvarila!) i polažem diplomski ispit na Školi za ritmiku i ples (koreografijom na pjesmu Ruke, bugarske pjesnikinje Bagrjane) osniva se Studio za suvremeni ples u kojem intenzivno plešem, a iste godine ostvarujem svoju prvu koreografsku suradnju s Kostom Spaićem na Dubrovačkim ljetnim igrama u predstavi Oluja W. Shakespearea. Pri kraju studija glume na Akademiji, godine, za vrijeme dok sam još plesala u Studiju za suvremeni ples 5, Ana Maletić mi je rekla: Prihvatila sam poziv da predajem umjetnost pokreta na Akademiji kazališne umjetnosti, a sljedeće godine kada diplomiraš, ti ćeš nastaviti, to će biti tvoje područje rada. Odmah nakon diplome prepustila mi je nastavu i počela sam predavati na Akademiji. Istovremeno sam sve češće radila u teatru kao suradnica za scenski pokret i koreografiju, a u meni je sazrijevala vizija o bitno drukčije školovanom glumcu, o glumcu koji se osim govorom suvereno izražava i tijelom, pokretom i plesom. U tom smislu kreirala sam nove metode pedagoško-umjetničkog rada, razvijala i usavršavala studijske programe, postepeno povećavala satnicu nastave. 6 Trebalo se u to vrijeme boriti i protiv velikih otpora, predrasuda i osporavanja. Prema Jacquesu Derridi, u umjetnosti je sve ono što je avangardno i bitno novo u početku osporavano i nepriznato. Kao prva generacija diplomiranih učenica živjela sam, upravo kao i Ana Maletić, sva protivljenja i teškoće koje su u to vrijeme izazivale inovativne ideje o suvremenom izražavanju tijelom u našoj sredini. Stalna dokazivanja i uvjeravanja, borba riječima i rezultatima protiv nerazumijevanja i neznanja bila je katkad dramatična. Međutim, kako je iz mog rada sa studentima i ispitnih produkcija scenskog pokreta na Akademiji izraslo niz uspješnih ispitnih produkcija i predstava, od kojih su neke obišle svijet i dobile nagrade na prestižnim našim i svjetskim festivalima 7, odnosno kako je moj rad u kazalištu imao sve veća priznanja i otpori su pomalo nestajali, a još veće i temeljitije promjene su postale moguće. A kad god bih zastala, posumnjala ili se našla u nekoj krizi, vraćala bih se na početak, u sobu na Akademiji, u radost nesputane kreativne igre sa studentima, u improvizacije i u ples, baš kao što je to bilo i na prvim satovima Ane Maletić u Mesničkoj ulici. 5 U nizu koreografija od kojih izdvajam Formacije, Veze, Hir infantkinje. 6 Prema tadašnjem programu, kad sam počela bilo je to samo jedan put tjedno na prvoj godini studija, zatim sam se izborila za dva puta tjedno na dvije godine studija, pa tri puta tjedno na sve četiri godine studija... 7 Predstave Pozdravi, Povratak Arlekina, Play Držić, Hekuba, Hamletmašina, Kako stvari sada stoje, Četvrta sestra, Kako misliš mene nema, film Rosencrantz i Guildenstern su mrtvi. 01 Ivica Boban My Journey Across the Golden Sixties MOVEMENTS

12 GOSTOVANJA VELIKIH UMJETNIKA KAO IZVOR INSPIRACIJE Za moje profesionalno i životno usmjerenje bili su vrlo važni i susreti s gostima Škole iz svijeta u 60-ima, s Lisom Ullman, Magom Magazinović, Rosaliom Chladek, Edith Turkheim. A posebno pamtim susret s Joséom Limónom, nakon naše produkcije u dvorani u Kamenitoj 3, kada sam pred njim u četrnaestoj godini improvizirala i plesala svoje male koreografije. Riječi pohvale i ohrabrenja tako izuzetnih umjetnika u vrijeme velike skepse i zazora prema suvremenom plesu u našoj sredini duboko su na mene utjecale. Limón je u knjigu dojmova godine napisao: Vrlo sam sretan, impresioniran i ganut vašim radom. I veliko je veselje gledati ples u njegovu kreativnom aspektu, koji se tako dobro poučava u vašoj zemlji. U vašem sam se studiju, zahvaljujući vašim prikazima, osjećao kao da sam došao doma. Jer ples je moj dom. A Rosalia Hladek, direktorica Akademije plesa u Beču: Od srca hvala za iznenađujuće dubokom dojmu, koji je na mene ostavilo vaše umjetničko-pedagoško vodstvo i odgoj plesačkog naraštaja kakav se rijetko susreće... Ili Ricki Raab, primabalerina i pedagoginja Bečke opere, rekla je: Vrlo sam impresionirana nastavnim radom od srca hvala za ovaj doživljaj i za vrijedne spoznaje koje su za mene potpuno nove... Moje oduševljenje gostovanjem Limóna u HNK i posebno njegovim koreografijama Ritmo rondo, ples o ljudima, o ženama, o susretima i o rastancima, Postoji vrijeme, na pjesmu iz Biblije, Izdajnik na temu Jude, Imperator Jones na temu iz drame O Neilla, a posebno Crnčeva pavana na temu Othella, gotovo da je odredilo cijeli moj život (Crnčeva pavana inspirirala me je čak i nedavno, tijekom mog rada na predstavi Othello na Dubrovačkim ljetnim igrama 2016.) Slično uzbuđenje sam doživjela prilikom gostovanja u kazalištu Gavella vrhunskog pantomimičara i umjetnika Marcela Marceaua i susreta s Martom Graham prilikom njenog gostovanja u Zagrebu Sjećam se njenih riječi: Ples je apsolutan. To nije znanje o nečemu, on je znanje samo ili Svaki ples je neka vrsta kardiograma, ili njenog iskaza o stapanju govornog teksta, riječi i pokreta u njenom plesu-drami Pismo svijetu, kao i njenih dramatskih koreografija i izvedbi u Klitemnestri na temu Orestije, i u Noćnom putovanju na temu Edipa i Jokaste. Zašto su mi ta gostovanja bila toliko važna? Prvi put sam na sceni u sublimiranom i najsnažnijem umjetničkom iskazu vidjela sve ono čemu su nas Ana i Vera Maletić i Ema Thaler učile na Školi za ritmiku i ples. Vidjela sam kako govor tijela na sceni može biti snažan, emocionalan, dramatičan i mnogoznačan, kako je u njemu sadržan i govor duha i intelekta. I znala sam: To je to! U tim bliskim susretima i doživljajima vrhunskog kazališnog čina i umjetnosti govora pokretom i plesom otkrila sam putokaze, smjernice i ideje za moj daljnji razvoj i rad. Sanjala sam kazalište kakvo želim ostvariti. A većinu tih snova uspjela sam i ostvariti. 8 Danas scenski pokret na Akademiji ima i svoju samostalnu Katedru 9, a uz govor i glumu jedan je od glavnih umjetničkih predmeta. Bez obzira na to jesam li radila u sobi na Akademiji sa samo jednim studentom kao s Vedranom Mlikotom Hamletmašinu ili s grupom studenata na istraživanju ekspresija tijela i glasa, ili s velikim glumačkim ansamblima u teatrima, na autorskim projektima ili na događajnom teatru na ulici i performansima i na velikim site-specific projektima 10, ostvarenim često u suradnji i s učenicama Škole i plesnim ansamblima, moj se rad uvijek temeljio i na onim prvim spoznajama i riznici znanja koju sam u danima rane mladosti stekla kroz rad u Školi za ritmiku i ples. Na primjer, posebno mi je bio blizak Anin smisao i njeno vodstvo u smislu karakterizacije, stilizacije i dramatizacije pokreta, a njezina izvanredna i dramatična koreografija Tragični preludij na glazbu D. Šostakoviča, koju sam za vrijeme školovanja najviše voljela plesati. Ta koreografija zrcalila se sigurno u nekom inspirativnom smislu u mojim kreativnim rješenjima plesnih struktura tragičnog kora u predstavama Držićeve Hekube na Dubrovačkim ljetnim igrama, Euripidove/ H. Mullerove Medeje na Splitskom ljetu i Sofoklove Antigone u HNK-u u Varaždinu. U moje prve samostalne koreografije na Školi, u Sjećanju na glazbu E. Griega 11 možda je već bila upisana slutnja mog kasnijeg interesa za istraživanje memorije tijela. U koreografiji Groteska bio je već anticipiran moj kasniji rad i metoda kreiranja karaktera kroz transformacije tijela i pokreta koju sam razvila na temelju istraživanja komedije dell arte. To blistavo razdoblje virtuozne glumačke igre i vještine i vrhunske tjelesne izražajnosti i igre pod maskom, puno energije, mašte i izravne komunikacije s publikom inspiriralo je jezik, poetiku i energetiku svih mojih predstava suvremene komedije dell arte koje sam radila sa studentima 12. Site-specific predstave koje sam ostvarila s velikim brojem izvođača, kao Muka Gospodina našeg Isukrsta u Splitu, Otvaranje ljetnih igara Zrcalna slika 8 S Akademije izlaze i u hrvatskom glumištu igra već više od 53 generacija svestrano odgojenih glumaca, bogate tjelesne senzibilnosti i izražajnosti, a mnogi od njih su istovremeno i glumci i plesači i performeri. 9 Nakon dugogodišnjih nastojanja, u vrijeme kad sam postala predstojnica Glumačkog odsjeka na Akademiji, Katedra je konačno osnovana, a do sam je vodila u svojstvu pročelnice 10 Svečano otvaranje Univerzijade, Kraljevo, Otvaranje ljetnih igara u Dubrovniku 1986., i godine 11 Prikazana na Priredbi Škole za ritmiku i ples u Zagrebačkom dramskom kazalištu. 12 Pozdravi, Povratak Arlekina, Kako stvari sada stoje i Kako misliš mene nema, Sutra (ni)je novi dan, Samo bez emocije, Nevjerojatan događaj KRETANJA Moje putovanje kroz zlatne šezdesete

13 neba ili Zar san slobode još ti ne da spati i 1988., a posebno scenarij, režija i koreografija Otvaranje Univerzijade s više od dvanaest tisuća izvođača, bile su zamišljene i rađene na tragu Labanovih kretačkih korova o kojima nam je tako iscrpno predavala Ana Maletić. Fascinirao me je i Anin pasionirani interes za istraživanje našeg autohtonog folklora i razvoja plesa kroz povijest civilizacija. Tumačila nam je u Školi nadasve zanimljivo i inspirativno na značenjskoj, formalnoj i izražajnoj razini svoje uvide u tu materiju. Često smo je znali zateći kako u svojoj sobi u rijetko slobodno vrijeme sjedi nad hrpom knjiga, čita i piše. 13 A kreativna obrada plesnih folklornih i povijesnih oblika u njenim koreografijama, koje smo često plesali, i naše improvizacije i samostalni sastavi na te teme inicirali su me, sigurna sam i u moja vlastita kasnija istraživanja mita i obrednog kazališta u našim sačuvanim autohtonim pučkim plesovima, običajima, karnevalskim svečanostima i maskama. Fenomen kako se iz krila obreda i plesa rađao teatar, a iz plesne igre kora prvi glumac, dramski govor, antička tragedija i komedija reteatralizirala sam u kasnije ambijentalnim predstavama grčkih tragedija, u igri kora i satira. 14 Povijesno-društveni plesovi u rekonstrukciji i kreativnoj obradi Vere Maletić i njena Plesna suita, koju smo također godinama varirano plesali, bili su osnova iz koje sam kreirala niz koreografija i dramskih scena 15. Cilj je svake dobre pedagogije odgojiti učenika koji će se, kako bi mogao krenuti svojim putem, prvo pobuniti i napustiti svoje učitelje, a tek kasnije, nakon što on taj svoj put i vlastiti izraz pronađe, on će osvijestiti koliko je njihovo učenje za njegov razvojni put bilo značajno i često se vraćati učenju svojih učiteljima 16 Jer ako bilo koje znanje, sustav ili školu na temelju kojih radimo, kao i vrstu ili stil teatra kojeg želimo reteatralizirati iz temelja ponovno ne preispitamo, i u određenom smislu ne poništimo, ako ga ne propustimo duboko kroz sebe kako bismo ga ćućenjem kroz svoje tijelo, radom intuicije, mašte i intelekta nadogradili i transformirali u svoj osobni kreativni izraz ili metodu, tada je to samo ponavljanje mrtve forme i prestaje biti živa pedagogija i živ teatar. U tom smislu sam i sama uvijek ponovno preispitivala i transformirala učenja Ane Maletić, Labana ili Gavelle, i dalje sama učila i tražila, pa i u nekim razdobljima žesto- 13 Pripremala je za nas svoja predavanja iz povijesti plesa, na temelju kojih je napisala kasnije svoje knjige o povijesti plesa. 14 U Hekubi pod Minčetom i i u Medeji uz tvornicu cementa sv. Kajo u napuštenom rezalištu brodova na devastiranoj i zagađenoj obali-smetlištu u Kaštelima u Splitu Za Mišolovku u Hamletu D. Carryja i Jirzyja Menzela u Dubrovniku, i za onu kreiranu za film Toma Stopparda Rosenkranz i Guildenstern su mrtvi, za predstave Play Držić, Moliere, Alma Mahler, Orfeo, Suzana Čista, Planeta Držić i mnoge druge. 16 Citat iz knjige Mary Wigman Jezik plesa. ko se i protiv bunila. Željela sam upoznati, ispitati i pronaći drugo, drukčije i novo 17. AKADEMIJA DRAMSKE UMJETNOSTI I SURADNJE U TEATRIMA TIJEKOM 60-IH Budući da sam u Ritmičkoj školi u sebi prepoznala i vrlo jake poticaje za glumačko i dramsko izražavanje, upisala sam u vrijeme dok sam još pohađala završni razred na Školi Akademiju za kazališnu umjetnost, odsjek glume. Smatrala sam da će mi taj studij omogućiti dalje učenje i usavršavanje. I bila sam uvjerena da ću sve ono što sam naučila u Školi moći na Akademiji dalje kontinuirano i sustavno razvijati. Nakon što je Gavella umro, dublja saznanja o njegovom učenju i kazališnom sustavu dobila sam u radu sa svojim profesorima glume. 18 Od njih sam naučila puno o kazališnom i glumačkom zanatu. Međutim, otpočetka mi je nešto bitno u pedagogiji i predstavama u teatrima nedostajalo. Znala sam već tada na temelju svog plesačkog i početnog glumačkog iskustva, da su ples i gluma, kao kreativno izražavanje na sceni u svojoj biti i u svom ishodišnom poticaju ista umjetnička disciplina. Željela sam se kao glumica, kada mi je riječ nedostatna, izražavati i pokretom i plesom, željela sam da u glumi govor tijela bude puno izraženiji. Ali u to vrijeme, i u pedagogiji i u teatru, to su bile potpuno odvojene discipline. Tjelesno izražavanje glumaca bilo je siromašno, a sputano i blokirano tijelo stvaralo je niz kreativnih blokada. Bilo je dramskih predstava s plesom kao nekim impromptuom ili umetkom, a izvodili su ga obično baletni plesači, a na Akademiji su studenti u to vrijeme učili samo osnove klasičnog baleta i mačevanje. Nezamislivo je bilo da se glumac može i plesno izražavati, a plesač glumački. I otada je jedna od temeljnih odrednica mog istraživanja i rada bilo nastojanje da se te dvije ekspresije spoje u pedagoško-kreativnom procesu i u predstavama u cjelovitu 17 Istraživala sam i radila govorni teatar i sudjelovala na Simpoziju fonetike, u Barbinoj Školi za antropologiju glume bavila tjelesnim izvedbenim i energetskim tehnikama borilačkih vještina i teatrom dalekog Istoka. Zanimalo me je proučavanje i drugih suvremenih i povijesnih kazališnih škola i sustava. Najvrednija je spoznaja iz tih mojih istraživanja bila je: sva najvrednija učenja i sustavi kazališno-glumačkog procesa stvaranja 20. st. posvećuju veliku pažnju upravo radu na tijelu i pokretu (M. Čehov, Meyerhold, Dullin i Copeau, Barrault, Villar, Mnouchkine, Lecoq, R. Wilson, Grotowski, Barba), a gotovo svi su neposredno ili posredno inspirirani i Labanovim učenjem. I tada bih se vraćala kući. A najzanimljivije novo područje rada otkrila sam u istraživanju i igri na sceni iz mnogostrukosti naših identiteta. Sva ta nova znanja ispitivala bih prvo kroz rad, a tek zatim ih transponirala i inkorporirala u svoj sustav i metode. Katkad kao ciljanu reteatralizaciju, a katkad samo kao kreativni poticaj. 18 Drago Krča, Bobi Marotti, Božidar Violić, Georgij Paro, Kosta Spaić, Vlado Habunek. 01 Ivica Boban My Journey Across the Golden Sixties MOVEMENTS

14 izvedbenu ekspresiju da se glumac jednako snažno izražava kroz dramsku riječ i kroz pokret i ples. Kako sam već za vrijeme studija istovremeno s prvim glumačkim zadacima u teatru i na Ljetnim igrama postala i bliska suradnica za pokret, mimu i koreografiju svojim profesorima Georgiju Paru, Kosti Spaiću, Dinu Radojeviću i Božidaru Violiću, ustrajno sam im razlagala svoje ideje i uvjerenja. Suradnja s njima bio je za mene istovremeno i najbolji intenzivni i neposredni studij režije. A kroz rad s glumcima u teatru djelovala sam podzemno protiv tadašnjeg kazališta podređenog diktatu govora i bespogovornom poštivanju teksta. Želja za kreiranjem novog procesa rada koji bi dublje i cjelovitije otkrivao i dubinske strukture smisla i značenja teksta, likova i dramskih situacija, a u predstavama otvarao prostore i neverbalnih izričaja pokretom i plesom bila je sve jača. Gavella je stvorio izvanredan pedagoško-umjetnički sustav koji se prvenstveno odnosio na govornu ekspresiju glumca, iako je i on potkraj života bio svjestan da bi studenti glume trebali učiti više o svom tijelu i tjelesnom izražavanju. Dvije godine nakon Gavelline smrti, potaknut mojim uvjeravanjima i rezultatima koje sam s njim i drugim profesorima ostvarila u teatrima, Kosta Spaić je na Akademiju uveo kolegij umjetnosti pokreta, a kao predavačicu pozvao Anu Maletić. Ona mi je, kako sam već spomenula, odmah sljedeće godine nakon što sam diplomirala, prepustila nastavu. I počela sam u svojstvu vanjskog stručnog suradnika predavati na Akademiji. Radeći sa studentima, gotovo svojim vršnjacima, koji su logikom svoje mladosti bili otvoreni prema novim scenskim istraživanjima mogla sam tijekom tog perioda od pomalo realizirati svoje ideje. Istovremeno sam sve češće radila i u teatru s glumcima. A tijekom tih godina sve je jače sazrijevala i ideja o samostalnoj režiji i ostvarenju drukčijeg kazališta. STUDIJSKA GODINA U MOSKVI I LENJINGRADU Sljedeći važan pomak dogodio se za vrijeme mog stipendijskog boravka od godine dana na koreografskoj školi Boljšoj teatra u Moskvi. Kreativnost, hrabrost i vjera umjetnika tzv. podzemne Moskve i Petrograda koji su riskirajući hapšenje i odlazak u zatvor potajno igrali zabranjene predstave i umnažali vlastima nepoćudnu literaturu 19, radni proces na GITIS-u i njihovim kazališnim Akademijama, sustav i metoda Stanislavskog, a nadasve podzemne radionice Mihaila Čehova i Meyerholdove biomehanike koje su vodili njihovi učenici, izvanredne, predstave Jurija Ljubimova u Teatru na Taganjki, druženja u podrumima s Okudžavom, V. Visockim i ostalim proskribira- 19 Djela Bulgakova, Solženjicina, Zamjatina, Meyerholda, M. Čehova, Okudžave, čak i neka djela Dostojevskog. nim umjetnicima, izuzetna koreografska ostvarenja Grigorijeviča u Boljšoj teatru, sva ta nova iskustva i nadahnuća dala su mi kreativnu energiju i poticaj da nakon povratka radikalnije realiziram svoja kazališna htijenja. KAZALIŠNA RADIONICA POZDRAVI Nakon povratka iz Rusije dobila sam stalno radno mjesto na Akademiji, a Znanstveno nastavno vijeće je usvojilo moj prvi ambiciozno koncipiran plan i program rada za nastavu scenskog pokreta na ADU 20. Akademija je bila prostor, gdje sam u pedagoško-kreativnom radu unutar nastave scenskog pokreta počela realizirati svoju osobnu viziju kazališta. Iz tog rada i na temelju stečenih iskustava tijekom šezdesetak suradnji u teatrima nastale su i moje prve samostalne predstave. Sa studentima glume prve godine ostvarila sam - Improvizacije 1. i 2. i Klaunerije i sljedeće godine Pozdrave na temelju triju stranica teksta E. Ionesca. U prvoj sam istraživala mogućnosti neverbalne komunikacije na sceni, što znači glumčev govor i jezik tijela i pokreta, a u drugoj sam istraživala riječ, rečenice i govor u odnosu na pokret i spajala ih u cjelovitu glumačku ekspresiju. Snažno sam intervenirala u Ionescov tekst jer me zanimao izravan govor sa scene o našim problemima. U Pozdravima smo se konfrontirali s uhodanim mišljenjima o glumi, sa zaobilaženjem glumačkog tijela i osobe glumca na sceni, ali i s institucijama i birokratiziranim jezikom društva, kao i s političkom klimom praznih fraza i laži. Bili smo puni energije, entuzijazma i otpora prema mrtvačkom kazalištu 21. Godine osnovala sam i Kazališnu radionicu POZDRAVI, jednu od prvih samostalnih izvaninstitucionalnih kazališnih grupa. Radili smo nove predstave, pozivali su nas na festivale po cijelom svijetu, susreli smo se i radili s nizom značajnih kazališnih ljudi. Unatoč izuzetnom uspjehu naših predstava i naših radionica u svijetu, otpori prema takvoj vrsti rada su i dalje postojali. Naime, alternativni teatar šezdesetih i početka sedamdesetih okrenuo se i u svijetu radikalno prema istraživanju ritualnog i tjelesnog, lomio krutost stavova, razmišljanja i načela, a svoju pobunu je kao i mi u nekim predstavama 22 prenosio i na ulice. Bio je to bunt protiv neprikosnovenosti autoriteta i diktata mišljenja, diktata politike i autoritativnog redateljskog teatra. Rušilo se i neprikosnoveno povjerenje u riječ, dokazivalo kako se riječima maskira, vara i laže. Zbog tih smo osnovnih odrednica sadržanih u našim predstavama i radu i bili na svjetskim festivalima prepoznati i nagrađivani kao inovativni teatar. I 20 O bitnim postavkama tog programa i mog rada može se više saznati iz mog izlaganja u knjizi Marina Blaževića Razgovori o novom kazalištu, CDU, Zagreb, Pojam Petera Brooka u njegovoj knjizi Prazan prostor. 22 U našim događajnim uličnim predstavama, povorkama i animacijama vezanim uz predstavu Povratak Arlekina, Play Čehov i Play Držić. 14 KRETANJA Moje putovanje kroz zlatne šezdesete

15 sam E. Ionesco je bio oduševljen našom predstavom. Međutim, kod nas se o novom svjetskom teatru zbog informativne blokade iza željezne zavjese malo znalo. 23 Naša je radionica u kontekstu onodobnog hrvatskog glumišta bila snažna alternativa i protest, znali su nas nazivati prozapadnim i dekadentnim, a mnogi su nas željeli barem getoizirati kao efemeran i isključivo fizički teatar. Na sjednici, povodom eksplikacije mog programa nastave čula sam od jednog profesora i antologijski glupu rečenicu: Ne tvrdite valjda da se glumi nogama!. Branila sam teorijski, novim razrađenijim programima, manifestima i radnim rezultatima svoje postavke i promišljanja o teatru koji objedinjava verbalni i tjelesni izraz u jedinstvenu cjelinu, nastavljala istraživanja i dalje učila. Polagano se ipak mijenjao odnos prema tijelu, tjelesnom izrazu i suvremenom plesu u kazalištu, a i životu. Danas je uobičajeno da je glumac istovremeno i dobar plesač, a današnjim generacijama je vjerojatno teško i zamisliti vremena 60-ih godina, u kojima se na skupine koje su se bavile suvremenim plesom ili fizičkim teatrom gledalo više kao na neke sekte, nego kao na istinski vrijedne kazališne skupine. DANAS Vizija koja je u sebe sigurna uči se strpljenju i čekanju 24. Uz upornost i svakodnevni predani rad ona se ostvaruje. Iako, nažalost, gospođa Ana Maletić nije dočekala potpuno ostvarenje svoje vizije, mislim da su danas njeni snovi, baš kao i moji, iz ranih 60-ih u potpunosti ostvareni. Niz generacija diplomiranih učenica njene Škole i dalje promiče i stvaralački razvija njene ideje u gotovo svim obrazovnim, umjetničkim, kazališnim i kulturnim područjima naše zemlje. Školu, koja danas nosi i njezino ime, uspješno vode, razvijaju i usavršavaju njene nekadašnje i nove učenice. Brojni plesni ansambli koje su osnovale i u kojima koreografiraju i plešu učenice Škole uspješno nastupaju u zemlji i inozemstvu. Tjedan suvremenog plesa u Zagrebu izrastao je u svjetski poznat festival, a slijede ga i Festival plesa i neverbalnog kazališta u Svetvinčentu i Platforma mladih koreografa u Zagrebu. Suvremeno plesno stvaralaštvo uključeno je i u Nagrade hrvatskog glumišta. U Hrvatskom centru ITI-ja 25 postoji odsjek za ples koji izdaje časopis Kretanja i knjige o plesu. U Zagrebu je otvoren Plesni centar, i najvažnije - Plesni odsjek za plesače i pedagoge na Akademiji dramske umjetnosti u Zagrebu Ivica Boban HNK Zagreb, Medeja (1965), red. B. Violić, kor. I. Boban 23 Živjeli smo u informativnoj blokadi, sjećam se da sam i sama, prije no što smo počeli putovati s Pozdravima, s ogromnom žeđi i energijom tražila svaku moguću informaciju. Kada bi u jedinu knjižaru stranih knjiga u Gundulićevoj došla koja knjiga Labana, Decrouxa, Commedie dell arte, Artauda, ili kazališnih misionara poput Grotowskog, Brooka i Living Theatrea za mene je to bila prava svečanost. Poslije sam imala sam sreću surađivati s nekima od tih kazališnih velikana i sanjara. 24 Herbert Blau 25 Predsjednica Hrvatskog centra ITI Željka Turčinović i tajnica Plesnog odbora HC ITI Maja Đurinović su također završile Školu Ane Maletić. 26 Inicijativu za osnivanje Plesne Akademije pokrenula sam na ADU 2005., a Ministarstvo za obrazovanje kulturu i šport i Ministarstvo kulture prihvatili su je My Journey Across the Golden Sixties MOVEMENTS

16 Ivica Boban My Journey Across the Golden Sixties 01 Ivica Boban From ideas and visions of a different and better theatre after the visit of José Limón to Zagreb in 57 to a dream come true the realisation of the piece POZDRAVI and the establishment of the first independent non-institutional theatre company Salutations Theatrical Workshop in 73 EXCERPTS FROM IVICA BOBAN S GRADUATION THESIS AT THE SCHOOL OF RHYTHM AND DANCE, 1961: On total theatre: At a time when theatre life was characterised by countless heated discussions about the meaning, function and sense of theatre, I wish to say a word about the future role of the art of movement and contemporary dance in a theatrical piece Dance and movement would no longer inhabit the sphere of entertainment performances, a spectacular divertissement, but rather be an expression equal to speech and other elements of a stage play. It would be total theatre, a happy marriage between speech, pantomime, dance, music, visual and acting expression in a unity of a theatrical act and play. This is the theatre I would like to accomplish! The art of movement as a constituent part of contemporary artistic education: Just as they need to take care of his speech apparatus and skill, an actor needs to know how to model the material of his body and his physical expression according to the flow of his feelings, sensual images, thoughts, associations and assumptions My desires and ideas regarding the implementation of acquired knowledge in my future work: As a student of the School of Rhythm and Dance, throughout these six years I acquired a great love of dance art. I would like to dance in a contemporary artistic dance company, where every dancer could put their choreographic ideas into practice. I took up acting at the Academy of Dramatic Art and I would like to devote myself to the education in acting through movement INTRO- DUCTION The sixties were very turbulent both in our region and in the rest of the world, dynamic, golden and crazy, and very dramatic the Cuban crisis and nuclear war threats, the assassination of John F. Kennedy, Robert Kennedy and Martin Luther King, the Vietnam War, student riots and protests against war and racism It was an age of great changes in the political, social and personal domain, an age of scientific and technological revolution (the first man in outer space and on the Moon!), an age of cultural, sexual and, in particular, artistic freedom. Despite all these dramatic events, the era was imbued with a spirit of optimism, invention, courage and positive energy. New freedom frontiers are conquered, old and rigid rules, petrified views and beliefs are bravely 16 KRETANJA Moje putovanje kroz zlatne šezdesete

17 rejected, in life and in art, as well as the undisputed domination of authorities, especially the false and unsubstantiated ones. Etiquette rules are broken, the relationship with the body changes, striving towards the liberated body in behaviour, movement, dance, fashion (discarding bras, revealing legs, mini skirt, unisex jeans), the relationship between men and women changed, free love is explored, drugs, communes and groups are established, rock music and concerts, The Beatles, Bob Dylan A multitude of new ideas and initiatives is born, brave new steps are made into the unknown and the new, alternative possibilities are explored beyond the established way of thinking, behaviour and actions, with a conviction that anything is possible! The sixties (in the broader sense, from the late fifties to the early seventies) were to me also significant and golden, as the years of early conjectures, maturing and profiling my dreams, ideas and visions about what kind of theatre I want to create. Those were my formative and student years, after my studies and graduation examination at the School of Rhythm and Dance, my experiences as a dancer with the Studio Contemporary Dance Company, studying acting at the Academy of Dramatic Art, and starting to work on developing acting expression through body and movement. During the sixties, I was an associate for stage movements, mime and choreography in over 60 productions in Academy s examination productions and at theatres. These years I gradually evolved in terms of theory and practice and implemented the stage movement course syllabus for Academy s acting students. In the late sixties I spent a year at a residency in Moscow and Leningrad and upon returning, in 1970, after my stage movement syllabus and curriculum for actors at the Academy was approved, I got tenure. Working on stage movement with students resulted in my first performances Improvizacije 1. i 2. (Improvisations 1 and 2) and Pozdravi (Salutations). Inspired by these titles great success with the audience and outstanding local and international reviews, I established the Theatre Workshop POZDRAVI the first independent non-institutional theatre company in our region. My dream came true. ANALYSIS Two great visionaries, teachers and artists, Ana Maletić and Branko Gavella, set the course of my life and professional career. They created innovative pedagogic and artistic systems and established their artistic schools, Maletić her School of Rhythm and Dance, and Gavella his Academy of Theatre Art, with a crucial impact on the development of acting and dance art and theatre culture in our region. They selflessly conveyed their great knowledge and passion for research and understanding the phenomenon of acting and dance creativity to their students. I was among the first generations of students of the School of Rhythm and Dance in 1954/1955, and the last generation of Gavella s students in 1961/ After the Second World War, when we lived in a double reality, when open speech was strictly controlled, ideologically banned and dangerous, the differences between what was felt and thought and what was spoken and done here immense. Very early on I recognised that sincere emotions and opinion expressed in a body posture or movement, a gesture or a facial expression, even my mother s, speak one thing and mean another. That was how non-verbal communication and body language in the early childhood became to me an important means of expression and communication, and movement and dance a space in which I could express myself freely, without censorship or fear, the way I felt. My first rite of passage into expression through play and dance took place in my early childhood, in Neda Kostić-Biondić s private kindergarten in the city centre, in Kumičić Street, on the principles of Rudolf Steiner s 2 Waldorf teaching. We sang and composed songs, painted and drew, and danced every day according to eurhythmics principles in a large dance studio. At the time of Cominform, in the spirit of communist-socialist ideology with no room for individual initiatives, this private kindergarten was suddenly closed down and turned into a state-owned kindergarten, and the large dance studio was rebuilt and destroyed. The next to introduce me to the world of improvisations and stage plays was the brilliant pedagogue Zvjezdana Ladika at the Pioneer Theatre. SCHOOL OF RHYTHM AND DANCE AND ITS SIGNIFICANCE AND IMPACT ON MY FUTURE WORK However, the real discovery of expression through movement and dance in a performative situation and the joy of creative improvisations I felt at the age of 11, when I enrolled in the School of Rhythm and Dance. Everything I later accomplished at the Academy and in theatres partly stems from the thorough and versatile knowledge I acquired at the School. And on the essential teac- hing and creative principles and the inspiration sparked in me by my teachers, Ana Maletić more than everyone, I still based some of my researches and work. Therefore, I was from a very early age guided by Ana Maletić s outstanding pedagogic and artistic talent. Based on the teachings of Emil Jaques-Dalcroze, Rudolf Laban and his disciples Mary Wigman and Kurt 1 In March 1962, Gavella unfortunately passed away suddenly and too soon. 2 Much later, during my residency in Russia, I discovered the crucial impact of Rudolf Steiner and eurhythmics, as well as Rudolf Laban, on Mikhail Chekhov, embedded in his amazing acting and teaching system and method for actors. My Journey Across the Golden Sixties MOVEMENTS

18 01 Ivica Boban Joos, a German dance expressionist and so-called ausdrucktanz 3 artist, she created her methodically thorough, demanding and diversely conceptualised education curriculum in the field of the art of movement and contemporary dance. Her curriculum gave me a clear insight into different and wide possibilities of the application of that knowledge in the field of dance and theatre art, pedagogy, observation and analysis of movement and dance therapy. Systematically and committedly she conveyed the wealth and eternal source of inspiration in physical expression and dance to her students. In every class she stimulated us to discover our own creative expression through improvisations. The School s syllabus and curriculum was demanding and detailed, almost as if it was a university of a dance academy. 4 Since at that time there was no university or academy of dance and choreography, and education abroad was too expensive in 1961/62 I enrol in the course of acting at the Academy of Dramatic Art, following a strict audition. The same year I write my diploma thesis (incredibly, in it I already delineated everything I wanted to do and what I dreamed of, which later came true!) and I graduated at the School of Rhythm and Dance (with a choreography of the poem Hands by the Bulgarian poet Bagryana). In 1962 Studio Contemporary Dance Company was established, in which I danced intensely, and the same year I first time collaborated as a choreographer with Kosta Spajić for the Dubrovnik Summer Festival and the performance of W. Shakespeare s The Tempest. 3 A dance expression Ana was particularly inclined to, also very near to my own views. 4 I am listing the courses from my diploma: Rhythm, Dance, Eukinetics and Choreoutics, Functional Physical Technique, Elementary Choreography, Kinetography, Observation and Analysis of Movement, Dance Folklore of Yugoslavia, History of Dances and Styles, Historical Dances, Elements of Classical Ballet, Methodology of Rhythm and Dance, Elementary Pedagogy and Psychology, Elementary Anatomy and Physiology, Hearing and Solfeggio, Musical Improvisation with Movement, Elements of Music Harmony and Counterpoint, Piano. Much later I found myself resorting to the yellowed school notebooks, records of Ana s methodology based on Laban s principles, or history of dance, notes of Vera s systematic interpretation of historical dances she used to connect with her knowledge of art history, notebooks from anatomy taught by the brilliant orthopaedist and professor at the Medical Faculty, Dr Pavao Dürrigl, and folklore taught by our finest expert in the field and the choreographer at Lado, Dr Ivan Ivančan. I also remember conversations about music with Milo Cipra, Boris Papandopulo and Rudolf Matz, the School s ongoing associates. During our time at the School we had over 100 public performances, and in addition to theatrical audiences, we danced for workers schools, teachers, music teachers, music youth, kindergarten educators, professors, representatives of the government, visitors and artists from all over the world. That way Ana Maletić fought for acknowledgment and expansion of the School s ideas, as well as for her students future employment. Towards the end of my study of acting at the Academy, in 1964, while I was still dancing for the Studio 5, Ana Maletić told me: I accepted the invitation to teach the art of movement at the Academy of Theatrical Art, and the next year. When you graduate, you will continue, that will be your area. Immediately after I graduated, she let me do the teaching, and I started teaching at the Academy. At the same time I worked more and more at the theatre as an associate for stage movement and choreography, and I fostered a vision of a very differently trained actor, an actor who expresses himself confidently with both speech and the body, movement and dance. In that sense, I created new methods of pedagogic and artistic work, I developed and perfected syllabi, gradually increasing the number of classes 6. It was a time for struggle against significant resistance, prejudices and denials. According to Jacques Derrida, in art anything that is avant-garde and significantly new is initially denied and unacknowledged. As the first generation of graduates I experienced, just like Ana Maletić, all the oppositions and hardship caused at that time by innovative ideas on contemporary corporeal expression in our environment. Constantly proving something and persuading someone, a fight with words and results against misunderstanding and ignorance were sometimes dramatic. However, since my work with students and stage movement exam productions at the Academy brought a series of successful productions and performances, some of which toured the world and won awards at prestigious local and international festivals 7, i.e. when my theatrical work started gaining recognition, the opposition slowly ceased and bigger and more comprehensive changes became possible. And if I honestly stopped, doubted or hit a wall, I would go back to the beginning, to the rehearsal studio at the Academy and the joy of unimpeded creative play with the students, to improvisations and to dance, just like we did at the very first Ana Maletić s classes in Mesnička Street. 5 Among the many choreographies, I would highlight Formacije (Formations), Veze (Connections), Hir infantkinje (Infanta s Caprice) 6 According to the previous curriculum, when I started working, it was only once a week in the freshman year, then I managed to get two classes a week for the first two years, then three times a week for all the four years 7 The titles Pozdravi (Salutations), Povratak Arlekina (Return of the Harlequins), Play Držić, Hekuba (Hecuba), Hamletmašina (Hamletmachine), Kako stvari sada stoje (The Shape of Things), Četvrta sestra (The Fourth Sister), Kako misliš mene nema (What Do You Mean I m Not There), and the film Rosencrantz i Guildenstern su mrtvi (Rosencrantz and Guildenstern Are Dead). 18 KRETANJA Moje putovanje kroz zlatne šezdesete

19 VISITS OF GREAT ARTISTS AS A SOURCE OF INSPIRATION My professional and life direction was very much influenced by encounters with the School s guests in the sixties, with Lisa Ullman, Maga Magazinović, Rosalia Chladek, Edith Turkheim. I particularly remember meeting José Limón, after our production in 3 Kamenita Street. Limón wrote in the book of impressions: I am very happy, impressed and touched by your work. It is a great joy to see dance in its creative aspect, so well explored in your country. Thanks to your representations, your studio made me feel like home. Because dance is my home. Rosalia Chladek, the director of the Vienna Academy of Dance: Thank you from the bottom of my heart on the surprisingly profound impression left on me by your artistic and pedagogic management and a rarely seen education of a dance generation Or Ricki Raab, a principal dancer and pedagogue at Vienna State Opera, who said in 1963: I am very impressed with your teaching thank you kindly for this experience and valuable knowledge completely new to me My enthusiasm with Limón visiting performance at the Croatian National Theatre in 1957 and in particular with his choreographies Ritmo rondo, a dance about humans, women, hellos and farewells, There Is a Time, to a poem from the Bible, Traitor to the topic of Judas, Emperor Jones from O Neill s play, and in particular The Black Man s Pavane to the topic of Othello, which almost set the course of my entire life (The Black Man s Pavane inspired me even recently, during my work on Othello for the 2016 Dubrovnik Summer Festival). I felt a similar excitement when the amazing mime artist Marcel Marceau had a visiting performance at the Gavella Theatre in 1959 and when I met Martha Graham during her visit to Zagreb in I remember her words: Dance is absolute. It is not a knowledge about something, it is knowledge itself or Every dance is a sort of cardiogram: Why were these visits so important to me? It was the first time that I saw on stage in a sublimated and sheer artistic expression what Ana and Vera Maletić and Ema Thaler taught us at the School of Rhythm and Dance. I saw how powerful, emotional, dramatic and layered body language can be, how it contains both the expression of the spirit and of the intellect. And I knew it: This is it! In these close encounters and experiences of an outstanding theatrical act and art of speaking through movement and dance I discovered milestones, landmarks and ideas for my future development and work. I dreamed about the theatre I wanted to create. And most of these dreams came true 8. Today, stage 8 The Academy has given birth to over 53 generations of versatile all-round trained actors, of rich corporeal disposition and expression, who are present on today s stages, many of which are at the same time actors, dancers and performers. movement at the Academy of Dramatic Art in Zagreb has an independent Department 9, as one of the central artistic courses next to speech and acting. Regardless of whether I worked from my office at the Academy with only one student, as I did with Vedran Mlikota and Hamletmachine, or with a group of students on the exploration of body and voice expressions, or with large theatre companies, on creative original projects or on situational theatre in the street or performances, as well as large site-specific projects, 10 often in association with the School students or dance companies, my work has always based on the very first realisations and the fountain of knowledge I acquired in my early youth, working at the School of Rhythm and Dance. For example, I find Ana s sense and her guidance in terms of movement characterisation, stylisation and dramatization very close, and her brilliant and dramatic choreography Tragični preludij (Tragic Prelude) to the score by Dmitri Shostakovich certainly mirrored, in an inspirational sense, my creative solutions of tragic choir dance structures in Držić s Hecuba at the Dubrovnik Summer Festival, Euripides/H. Muller s Medea at the Split Summer Festival, and Sophocles Antigone at the Croatian National Theatre in Varaždin. This glorious period of virtuoso acting play and skill and outstanding physical expression and masked play, a lot of energy, imagination and direct communication with the audience inspired the language, poetics and energy of all my performances of the contemporary commedia dell arte I did with my students 11. The site-specific performances I created with a large number of performers, such as Muka Gospodina našega Isukrsta (The Passion of Our Lord Jesus Christ) in Split, the opening of the Summer Festival Zrcalna slika neba (Mirror Image of the Sky) in 2000, or Zar san slobode još ti ne da spati (Is the Dream of Freedom Keeping You Awake Still?) in 1986 and 1988, and in particular the script, directing and choreography for the opening of Universiade in 1987 with over 12 thousand participants, were designed and conceptualised along the lines of Laban s movement choirs, of which Ana Maletić taught in such detail. I was fascinated by Ana s passionate interest in the research of our authentic folklore and the evolution of dance through civilisation history. A creative analysis of folklore dance forms and historical forms in her choreographies, which we often 9 After many years of attempts, when I was head of the Department of Acting at the Academy, the Department was finally established in 2002, and I managed it at the department head until The opening ceremony of Universiade, Kraljevo, opening of the Dubrovnik Summer Festival in 1986, 1988 and Salutations, Return of the Harlequins, The Shape of Things and What Do You Mean I m Not There, Sutra (ni)je novi dan (Tomorrow Is (Not) Another Day), Samoe bez emocije (No Emotions Please), Nevjerojatan događaj (An Incredible Event) etc. My Journey Across the Golden Sixties MOVEMENTS

20 01 Ivica Boban danced, as well as our improvisations and independent compositions on these subjects sparked, I am certain, my own later researches of myth and ritual theatre in our preserved authentic folk dances, customs, carnival festivities and masquerades. The goal of every pedagogy is to raise a student who will, in order to set out on a path on their own, first rebel and rebuke their teachers and only later, once they found their own way and expression, they will realise how much this teaching was significant for their evolution and often come back to their teachers teachings. 12 For if we don t thoroughly re-examine any knowledge, system or method of work, as well as any type or style of theatre we wish to re-theatralise, if we don t annul it in a certain sense, if we don t sift it deep through ourselves to upgrade it by sensitizing it through our bodies by way of intuition, imagination and intellect and transform it into our personal creative expression or method, then it is merely a repetition of a dead form and stops being living pedagogy and living theatre. ACADEMY OF DRAMATIC ART AND THEATRICAL COLLABORA- TIONS IN THE SIXTIES Since at the School of Rhythm and Dance I identified in myself very strong motivation for expression in acting and drama, in 1961 I enrolled in the Academy of Theatre Art, Department of Acting. I believed it would enable me further studying and training. And I was convinced that at the Academy I would be able to keep developing continually and systematically everything I learned at the School. However, right from the start there was something missing in the pedagogy and theatre performances. I knew back then, based on my dancing and initial acting experience, that dance and acting, as creative expressions on the scene are in their essence and initial stimulus one and the same artistic discipline. As an actor I wanted to express myself with movement and dance when words lacked, I wanted body language to be much more expressed in acting. But at that time in pedagogy and in theatre these were two completely separate disciplines. Actors corporeal expression was poor, and an inhibited and blocked body resulted in a series of creative blockages. There were stage plays with dance as an impromptu or insert, usually performed by ballet dancers, and Academy s students at that time only learned the basics of classical ballet and sword fighting. It was unthinkable that an actor could express in dance and a dancer in acting. And since then one of the basic postulates of my research and work was the effort of connect these two expressions in a pedagogic-creative process and performances into a complete performative expression, making the actor equally powerfully expressing himself both through dramatic speech and through movement and dance. 12 From Mary Wigman s The Language of Dance As I became, still a student, along with my first acting duties in stage and at the Sumer Festival, a close associate for movement, mime and choreography to my professors Georgij Paro, Kosta Spaić, Dino Radojević and Božidar Violić, I persistently expounded my ideas and beliefs to them. Working with them was to me both the best intense and the most immediate course in directing. And working with actors in stage I acted underground against the reigning theatre enslaved by the dictate of speech and uncompromising respect of text. Working with students, people almost my age, whose youthful logic made them open to new explorations on stage, I could during that period between 1965 and 1969 slowly realise my ideas. The idea of independent directing and creating a different kind of theatre grew more and more mature. POZDRAVI THEATRICAL WORKSHOP Upon returning from Russia in 1970, I was offered tenure at the Academy and the teaching council adopted my first ambitiously conceptualised syllabus and curriculum for the stage movement course at the Academy of Dramatic Art 13. The Academy was the space where I, working in creative teaching within the scope of stage movement, began to realise my personal vision of theatre. This work and acquired experienced throughout around 60 collaborations in theatres resulted in my first independent pieces. With first year acting students I created Improvisations 1 and 2 and Klaunerije (Clowning) in 1973 and immediately the next year Salutations based on three pages of Ionesco s text. In the first I explored a possibility of non-verbal communication on stage, meaning the actor s speech and body and movement language, and in the second I examined words, sentences and speech in relation to movement and connected them into an acting expression. I uncompromisingly intervened into Ionesco s text, because I was interested in direct stage speech about our burning issues. In Salutations we confronted the common opinions about acting, avoiding the acting body and the actor s persona on stage, as well as institutions and bureaucratised language of society, the political climate of empty words and lies. We were full of energy, enthusiasm and resistance to deadly theatre 14. In 1974 I established the Salutations Theatrical Workshop, one of the first non-institutional theatre companies. We made new plays, we were invited to festival all over the world, we met and worked with a series of important theatrical personalities. Despite the outstanding global success of our performances and our workshops, resistance to such kind of creativity 13 More details about this curriculum and my work are available in my contribution to Marin Blažević s book Razgovori o novom kazalištu, CDU, Zagreb, Peter Brook s term from the book The Empty Space 20 KRETANJA Moje putovanje kroz zlatne šezdesete

21 nevertheless existed. Alternative theatre in the sixties and early seventies radically turned, in other countries too, to explorations of the ritual and the physical, it broke the opinion moulds, strict views and principles, and went out with its rebellion like us in some performances 15 into the streets. It was a rebellion against the establishment of authorities and dictate of thinking, dictate of politics and authoritarian director s theatre. We fought against the unquestioned trust in the word, we proved how words can mask, cheat and lie. These essential qualities contained in our performances and work brought us recognition and honours at international festivals as innovative theatre. Ionesco himself was thrilled with our play. However, very little was known in our parts about the new world theatre because of the information blockade behind the iron curtain 16. In the context of the Croatian acting scene of the time, our workshop was a powerful alternative and a protest, we were described as pro-western and decadent and many wanted to ghettoise us as ephemeral and exclusively physical theatre. At a session, when my syllabus and curriculum were expounded, I heard one professor s legendary stupid sentence: You can t claim that people are supposed to act with their legs! I theoretically, substantiated by new programmes, manifestos and work results, defended my views and thoughts of theatre uniting the verbal and the physical expression in a coherent whole, continued my research and kept learning. The views on body, physical expression and contemporary dance in theatre and in life slowly changed. Today it is normal that an actor is at the same time a good dancer, and today s generations probably find it hard to imagine the sixties, when the companies pursuing contemporary dance or physical theatre were seen as sects rather than truly valuable theatre groups. TODAY A confident vision learns about patience and waiting 17. With persistence and committed everyday work, it comes true. Although Ana Maletić unfortunately didn t live to see the full realisation of her vision, I believe her dreams, just like mine from the early sixties, have come true. Generations of graduates from her School still promote and creatively develop her ideas in almost all the educational, artistic, theatrical and cultural domains in our country. The school, still carrying her name, has been successfully led, developed and advanced by her former and new students. Many dance companies they have established and in which the School s students choreograph and dance successfully perform in Croatia and internationally. The Contemporary Dance Week in Zagreb has grown to become a world-renowned festival, followed by the Dance and Non-Verbal Theatre Festival San Vincenti and Young Choreographers Platform in Zagreb. Contemporary dance is also a category at Croatian Theatre Awards. At the Croatian Centre ITI 18 there is the Dance Committee issuing the Movements magazine and books on dance. The Dance Centre has opened in Zagreb, and most importantly a Department of Dance for dancers and pedagogues has been established at the Academy of Dramatic Art in Zagreb In our situational street performances, parades and animations related to the piece Return of Harlequins, Play Chekhov and Play Držić 16 We lived in an information blockade, I remember myself before we started travelling with Salutations, how avidly and energetically I sought for any possible information. When the only foreign language bookshop, the one in Gundulić Street, received a new volume of Laban, Decroux, commedia dell arte, Artaud or theatrical missionaries like Grotowski, Brook and Living Theatre, that was a real festivity to me. Later I was lucky to work with some of these theatrical greats and dreamers. 17 Herbert Blau 18 The president of the Croatian Centre ITI Željka Turčinović and the secretary of the Croatian Centre ITI s Dance Committee Maja Đurinović also graduated from Ana Maletić s School. 19 I launched the initiative for the establishment of a dance academy in 2005 at the Academy of Dramatic Art, and the Ministry of Education, Culture and Sport and the Ministry of Culture approved it in My Journey Across the Golden Sixties MOVEMENTS

22 22 KRETANJA PIONIRI SUVREMENOG PLESA IZA ŽELJEZNE ZAVJESE

23 Tihana Škrinjarić Pioniri suvremenog plesa iza željezne zavjese O Školi za ritmiku i ples i Studiju za suvremeni ples očima učenice, plesačice, koreografkinje, nastavnice i umjetničke voditeljice 02 Tihana Škrinjarić Ponosna sam da sam stjecajem okolnosti mogla biti sudionica početaka i razvoja suvremenog plesa u nas, tako da ću se osvrnuti i pisati o osobnim sjećanjima, evocirajući doživljaje, uspomene, uspjehe i neuspjehe, učitelje, suradnike, plesače. Zašto stjecajem okolnosti? Da me, naime, majka nije podržala, da se godine, kad je Škola osnovana, upišem, (a kao dijete sam pohađala predškolske tečajeve kod Ane Maletić) moja bi biografija danas sigurno drukčije izgledala. ŠKOLA ZA RITMIKU I PLES Sjećam se Ane Maletić u širokoj svjetlucavoj crnoj suknji i trikou, najčešće je bila bosa, i u rukama držala bubanj; zatim Bosiljke Žordić, korepetitorice, koja je energično svirala na starom pijaninu, čak pretjerano naglašavajući ritam. Bila je tu i Emilija Thaller, nastavnica plesa i ritmike, koja mi nažalost nikad nije predavala, a koja je naročitu pažnju posvećivala plesnoj tehnici (ili se nama tako činilo). Ana Maletić je funkcionalnu tehniku (to je bio jedan od termina koje smo upotrebljavali) nerijetko zanemarivala. Mislim da je bila previše kreativna, pa joj je to bilo naprosto dosadno, a mi učenice smo bile sretne kad bi ona zaboravila da pojedinu vježbicu moramo izvesti i na drugu stranu ili drugom nogom Ali zato nas je neizmjerno poticala u improvizacijama, stvaranju manjih ili većih plesnih cjelina, tako da nije bilo sata da nismo improvizirali, najčešće uz glazbenu pratnju Žordić i bez zadane teme. To sam obožavala i kad bi Ana rekla: a sad se slobodno krećite u prostoru, okrenula bih se prema prozorima, koji su iz Mesničke 7 gledali na Gornji grad i to je bilo to. Ali kad je to trebalo pokazati, tad je bilo: ajoooj. Iz današnje perspektive mi je nevjerojatno i neshvatljivo koliko sam bila stidljiva i puna kompleksa i koliko mi je pokret-ples zapravo pomogao da s godinama postanem sve otvorenija, opuštenija, sigurnija i danas gotovo ekstrovertna osoba. U Školi smo imali puno predmeta, naročito u završnim razredima: ritmika, ples, plesna tehnika, balet, folklor; pa glazbeni predmeti: klavir i solfeggio i muzička improvizacija (kod prof. Makjanić), te povijest plesa, metodika, anatomija i biomehanika, osnove pedagogije i psihologije, osnove koreografije, naravno i labanotacija, odnosno kinetografija. Pred kraj mog školovanja pojavila se Vera Maletić, kći Ane Maletić. Plava, distancirana, rekla bih hičkokovske ljepote, došla je iz inozemstva, govorilo se iz Pariza ili Londona. Našem razredu je predavala kinetografiju, a i koreografirala je odmah u početku Saltatu Miljenka Prohaske, koju smo izvodili na betonu na tadašnjem košarkaškom igralištu Lokomotive u Tuškancu (tu sam i zaradila i prvu povredu Ahilove tetive). Ipak je njen koreografski procede bio drukčiji od Ane, a koristila je i suvremenu glazbu naših kompozitora, Radice i Prohaske snimljene na magnetofonskim trakama. Vera nam je predavala i povijesne plesove, s kojima smo čak i nastupali na filmu. Snimali smo kultno Babajino Carevo novo ruho iz kojeg su na koncu izrezali našu pavanu i gagliardu koje smo mjesecima uvježbavali i plesali u prelijepim i skupocjenim kostimima Jagode Buić. (A ja sam kasnije u Beču na Akademiji zahvaljujući Veri Maletić zarađivala dajući instrukcije povijesnih plesova tada vrlo poznatoj klavičembalistici Isolde Ahlgrimm.) Voljela sam satove folklora kod prof. Pogrmilovića, a kasnije prof. Ivančana. Balet nam je dosta neredovito vodio prof. Kramaršek. Glazbeni predmeti su mi bili lagani, jer sam paralelno išla na klavir u Muzičku školu. Kad smo radili na eukinetici Studio za suvremeni ples, Likovi i plohe (1970), kor. T. Škrinjarić Pioneers of contemporary dance behind the Iron Curtain MOVEMENTS

24 i upoznavali kvalitete pokreta, gđa Maletić nam je mnogo govorila i o racionalizaciji pokreta (Lawrence), što mi je bilo izuzetno zanimljivo. A moram priznati da sam kasnije u svom pedagoškom i koreografskom radu itekako bila svjesna odnosa kvalitete pokreta i emocija, a s druge strane adekvatnih načina korištenja primarnih, osobnih kvaliteta pokreta pojedinca. Mogla sam u trenu smiriti, aktivirati, razveseliti ili fokusirati svoje plesače koristeći određenu kvalitetu pokreta. I tako smo došli do završne godine školovanja 1959./1960. Bilo nas je pet učenica (ja sam bila najmlađa). Odlično smo se slagale, iako smo bile potpuno različite. Maja Kavurić-Marinović je bila najstarija i samim tim ozbiljnija i zrelija, Alka Florschuetz nam je uvijek bila podrška i uvijek pozitivna, Zorica Orepić-Vitez je bila prekrasna plesačica (obožavala sam njezin pokret), Vlasta Kaurić je bila neobično zanimljiva u pokretu (i danas se sjećam njene koreografije Ševa), a ja sam bila tehnički loša, uspavana i nesigurna, naročito u ravnotežama. Sjećam se gđe Maletić i njenog drži se Tihana, stooooj... Zadnju godinu školovanja imali smo nastavu dvokratno u vrlo inspirativnoj dvorani u Kamenitim vratima. Ana Maletić nam je željela pružiti maksimum znanja i vještina, a i morala je prvu generaciju nove škole pokazati Ministarstvu prosvjete i kulture, tako da su nam ispiti bili vrlo ozbiljni i zahtjevni. I onda smo diplomirale i svaka je krenula svojim putem. Mene je Ana ubrzo pozvala da predajem na školi i iako sam morala napustiti Filozofski fakultet i svoje ljubljene romanske jezike, bila sam neizmjerno ponosna i sretna. Ipak, uz rad na školi uspjela sam završiti Pedagošku akademiju (glazbeni smjer), što mi je kasnije mnogo koristilo u nastavi. U jednom periodu sam i sama korepetirala svojim đacima. Obožavala sam nastavu, djecu, kolegice iako sam bila pod stalnom budnom paskom svojih bivših profesorica. Djeca su me inspirirala, bilo je to međusobno davanje i primanje, i tako sam učila i razvijala se i napredovala zajedno sa svojim đacima. Početkom 60-ih godina u Zagrebu je gostovala Rosalia Chladek, neobično zanimljiva plesačica modernog plesa, koja je razvila i svoju vlastitu plesnu tehniku, koja se bazirala na sili teži, centrifugalnoj i centripetalnoj energiji, odnosno načinima kako se tijelo prepušta ili odupire sili teži. Bila je predstavnica takozvanog izražajnog plesa Ausdruckstanza, a mnogi su je smatrali plesačicom slobodnog plesa. Gđa Chladek je bila direktorica plesnog odjela na Akademie für Musik und darstellende Kunst i ja sam se oduševila eventualnom mogućnošću daljnjeg napredovanja u Beču, tim više što sam govorila njemački, a za neke druge škole u inozemstvu ionako nisam znala. I tako sam uzbudljivu sezonu 1963./64. provela u Beču. Ali vratila bih se Školi za ritmiku i ples. Bili su to pionirski dani u svakom pogledu i za Anu Maletić i za nas, njene đake: škola koja nastaje! Bilo je uzbudljivo, zanimljivo, otkrivajuće, naporno, bilo je i suza i radosti, nastupa, gostovanja, a bilo je to doba kad nije bilo plesnih filmova, knjiga, televizije... naprosto ničega. Sjećam se da sam često odlazila u Gundulićevu ulicu preko puta Muzičke akademije, gdje se nalazio jedan antikvarijat i tu bih provodila vrijeme tražeći nešto o suvremenom plesu, ali sve što bih nalazila (eventualno) bile su lijepe knjige s prekrasnim fotografijama baletnih plesača. Znači, u našem školovanju nije bilo nikakvih vizualnih podražaja, tako da je sve moralo dolaziti iznutra. Pokret se doživljavao, osjećao, vrednovao potpuno subjektivno, inspiracija je dolazila od nas samih, a razvoj kinestetičkog osjećaja bio je veoma važan. Kad smo radili uz glazbu, tu je Maletić polagala puno pažnje, (naročito na ritmici), na određenom prepričavanju glazbe. Trebalo je glazbu čuti i u pokretu prenijeti ili realizirati tempo, melodijsku liniju, ritam, formu itd., a bili smo nažalost prepušteni manje ili više uspješnoj klavirskoj korepeticiji na starom pijaninu. Ali takva su bila vremena. Meni je to bilo jednostavno, jer su ionako uvijek svi moji profesori naglašavali moju muzikalnost, ali ne tako uzbudljivo, i možda sam se zato kasnije u Studiju za suvremeni ples često bavila plesom bez glazbe, oslobođenim stega glazbenog predloška. Mislim da je Ana Maletić previše pažnje pridavala ritmici (muzičkom odgoju putem pokreta, kako je uvijek naglašavala), vjerojatno pod utjecajem Jacquesa Dalcrozea, koji je još u prvoj polovici 20. st. bio vrlo cijenjen u Europi, a njegova su se učenja smatrala revolucionarnim i bila zapravo osnova našeg predmeta ritmike. Često smo koristili razne udaraljke kao pratnju pokretu ili pljeskanje, ili udare po različitim dijelovima tijela ili o pod. To me je kasnije i u školi i u Studiju za suvremeni ples često inspiriralo, tako da sam stvarala cijele predstave uz pratnju udaraljka i vlastitog glasa (Maskenbal betona, Pavana). Ali vrlo malo, gotovo nikada nismo učili koreografije, tako da bi gđa Maletić pokazala određenu plesnu sekvencu, koju bismo mi onda ponovili. I to mi je poslije bio velik problem, kad na radionicama nisam uspjela pohvatati korake. Ipak moram spomenuti da me je kod Ane, (možda čak više nakon što sam završila i školu Chladek) najviše impresionirao njen stav o slobodi; o tome da svatko može i treba naći svoj put, svoj izričaj, tako da usvoji samo principe koreutike i eukinetike Rudolfa Labana, a dalje potpuno nesputano stvara. Nije bilo fiksiranih stavova, pozicija ili koraka. Ipak, polako su u šezdesetima počela dolaziti i velika imena suvremenog plesa sa svojim ansamblima u Zagreb i Dubrovnik, Martha Graham, Alwin Ailey, Alwin Nikolais, José Limón, Glen Tetley, Merce Cunningham i dr., tako da smo počeli shvaćati što je suvremeni ples i kako ga različiti plesni umjetnici doživljavaju i kreiraju. To su bila nevjerojatno uzbudljiva otkrića. Zadnje se dvije godine Ana Maletić vrlo intenzivno bavila nama, obrađujući metodiku i didaktiku suvremenog plesa i ritmike (željela je da izađemo iz Škole što pripremljeniji za pedagoški rad, dok je Veru očito zanimala koreografija, tako 24 KRETANJA Pioniri suvremenog plesa iza željezne zavjese

25 da je vjerojatno na njen poticaj i osnovan Studio za suvremeni ples). I zaista su mi puno značila sva ta učenja Maletić i Labana, naročito u pedagoškom radu. Kako s pravim, pametnim, možda čak minimalnim poticajnim uputama dovesti učenike da sami otkrivaju i doživljavaju određena znanja o pokretu. To je bilo uzbudljivo. (Neću nikad zaboraviti kakvu je nezaboravnu plesnu skicu ostvarila osmogodišnja Sandra u mojoj Vikend plesnoj školi suvremenog plesa u Bihaću. Obrađivali smo prostor: usko i široko, kretnje prema i od tijela. Sandra je bila, ma postala prosjak, koji drhturavih sitnih koraka, zgrčenog tijela lomi i pruža ruke. Moram priznati da su me takvi momenti zaprepaštavali, oplemenjivali i približavali umjetničkom plesu.) Zahvaljujem našoj legendarnoj Ani Maletić, i prof. Trudi Reich, koja je vrlo uspješno preuzela direktorsku palicu nakon odlaska Ane Maletić i koja mi je dala dopuštenje da sa svojim završnim razredom napravim glazbeno-plesni program s Bijelim strijelama, tadašnjim vrlo popularnim VIS ansamblom u kojem je bubnjar bio moj brat Mario-Braco-Cobra, što je u ono vrijeme bilo nezamislivo. Zahvaljujem nastavničkom vijeću i cijelom kolektivu Škole, koji se godinama mučno na višesatnim i mukotrpnim sastancima s političkim strukturama i borio se za samostalnost Škole i želim našoj današnjoj Školi Ane Maletić uspješan daljnji rad. STUDIO ZA SUVREMENI PLES Studio za suvremeni ples osnovale su Vera i Ana Maletić 14. prosinca plesnim programom u Kamenitim vratima uz prisustvo tiska, kulturne i tadaš- nje društvene kreme Zagreba. Vera Maletić je pozdravila skup, a poslije plesnog nastupa imali smo i razgovor s prisutnima, koji je rezultirao negativnim osvrtom tadašnjeg novinara Joze Puljizevića, a na koji je opet Vera Maletić oštro odgovorila Dakle, zanimljiv početak! Osnivanje Studija za suvremeni ples bio je velik događaj za sve nas, i ja, iako sam već radila kao nastavnica na Školi, ponosno sam plesala i postala članica ansambla. Vera je odmah po povratku iz inozemstva počela koreografirati s učenicama završnih razreda, tako da nam to nije bio prvi javni nastup, ali nakon osnivanja Studija počeo je intenzivan rad na novim koreografijama. U ljeto nastupali smo u Wagnerovom gradu Bayreuthu na Jugendfestspiele, Festivalu mladih, s opsežnim programom uz odlične kritike, a te jeseni 17. rujna bila je i prva profesionalna premijera s djelima Vere (Hir infantkinje, Formacije i Saltata) i Ane Maletić (Veze). Ja sam u Aninim Vezama uspjela još otplesati Poslovne veze s Ivicom Florschuetz-Boban, a 25. rujna sam već polagala prijamni ispit za Akademiju u Beču, gdje sam ostala godinu dana. Pojava takvog ansambla izazvala je, naravno, velik interes kulturne javnosti, uslijedile su polemike, pohvalne i manje pohvalne kritike, jer prvi put je Zagreb mogao vidjeti nešto drugo osim klasičnog baleta. (Sjećam se da je, na primjer, široj javnosti, običnim ljudima, koji nemaju nikakve veze s kulturom, bilo nepojmljivo da plešemo bosi.) Moram spomenuti svoje kolegice, koje su stvarale, plesale i sudjelovale od početka ansambla: Elvira Brozović, Ivanka i Branka Cerovac, Ivica Florschuetz-Boban, Zorica Orepić, Manja Crnković, Inja Pavelić, Ljiljana Putz, Tatjana Barundić, Neda Pataki, Vesna Cvitić, Nevenka Matić, Lela Gluhak, Zoja Buneta, Nada Drobila, Branka Zimmer, Ivančica Horvat, Zagorka Prijić, Ksenija Burcar, Biserka Ružić, pa kasnije Željka Turčinović, Desanka Virant, Mirjana Preis, Gordana Omeragić, pa Vlado Majhenić, Vlado Pintar, Jozo Stipić, Stjepan Vidiček, Antun Buneta, Darko Kolar. Ono što je značajno za taj period Studija je gostovanje u Bosni i Crnoj Gori, opetovana gostovanja u Bayreuthu, TV snimanja za austrijsku televiziju, kao rezultat prve jugoslavensko-austrijske koprodukcije, sudjelovanje na Internacionalnom festivalu u Salzburgu, proslava Dana mladosti u Zagrebu i sve intenzivnija suradnja s RTV Zagreb uz eminentne režisere Mladena Raukara i Vladu Seljana. To su sve bili veliki projekti u kojima nakon povratka iz Beča i polomljenih tetiva skočnog zgloba nažalost nisam sudjelovala, ali sam na poziv Ane Maletić vodila vježbe-treninge u Studiju. Probe su se održavale u prostorijama škole, jer je ustvari škola bila i partner-osnivač ansambla. Međutim, atmosfera se počela mijenjati nakon odlaska Vere i obostrano nezadovoljstvo je nažalost kulminiralo odlaskom Ane Maletić. Nisam bila prisutna na probama i nisam sasvim shvatila što se događalo, tim više što je Ana odbijala svaki kontakt. Kad su me plesači ubrzo zamolili da preuzmem umjetničko vodstvo, uletjela sam grlom u jagode potpuno nespremna i neiskusna. Uz moj redoviti posao nastavnice na Školi, sad je trebalo organizirati probe, postaviti i uvježbati novi program, naći dvoranu za nastup i odraditi sve ostale tehničke i ine poslove o kojima nisam imala pojma, a nisam se imala s kim savjetovati. Plesači su u tom momentu zaista bili svi uz mene i velika podrška, ali došao je konačno i dan moje prve premijere sa Studijem 16. svibnja Premijera pod naslovom Vibracije-varijacije u izvedbi i koreografiji Branke Zimmer, Lele Gluhak, Ivanke Cerovac, Zagorke Prijić, Barbare Verlić i Dorice Kljaković i mene, za mene je bila katastrofalna, jer je moj brat Mario-Cobra (s kojim sam bila vrlo povezana) poginuo u prometnoj nesreći u Parizu 1. svibnja, a sprovod je u Zagrebu bio 10. svibnja. Ni danas ne znam kako sam preživjela sve to. A još nam je i Igor Mandić (tadašnji enfant terrible hrvatskog novinarstva) napisao lošu kritiku, koja me je dodatno pokopala. Dakle, početak je bio obećavajući, ali, što je tu je, i krenula sam dalje. Nakon onog prestrašnog svibnja uslijedio je uzbudljiv period stvaranja i uživanja, a entuzijazam mi se vratio. Novi 02 Tihana Škrinjarić Pioneers of contemporary dance behind the Iron Curtain MOVEMENTS

26 Studio za suvremeni ples, Formacije (1961), kor. V. Maletić, izvode V. Pintar, I. Florschütz (Boban), I. Pavelić projekti, planovi, novi izazovi uz fantastičnu i sjajnu radnu disciplinu u ansamblu rezultirali su mnogobrojnim nastupima i novim uspješnim koreografijama mojih kolegica i mene. I ovaj svoj kronološki plesno-pedagoško-koreografski put ću završiti s godinom jer se te godine mnogo toga događalo. Premijera vrlo uspješne predstave U početku bijaše ritam; ostavila sam teška srca, Školu za ritmiku i ples i potpuno se posvetila Studiju; dobila sam status samostalnog umjetnika; Branka Kolar, Zaga Prijić i ja dobile smo Počasnu nagradu na Internacionalnom koreografskom natječaju u Kölnu za koreografiju Zvuci Istre na glazbu Ivana Matetića Ronjgova Ćaće moj; a te je godine počela i intenzivna suradnja s kazalištem Komedija. Oduvijek, još u Školi, voljela sam ritmičke izazove: udaraljke, šuškalice, bubnjeve i to sam često koristila (npr. u Maskenbal betona) u suvremenom plesnom izričaju, pa glas ili disanje kao zvučnu kulisu (Pavana) ili ples bez glazbe, kad sam se bavila pitanjima koliko je ples slobodan kao samostalna forma, bez glazbene pratnje i može li kao takav može opstati? Voljela sam koristiti i scenografske elemente, koje bi plesači spajali, sastavljali ili rastavljali (A zašto ne, scenografija Dejana Jokanovića ili Barassou Branimira Sakača u scenografiji Aleksandra Augustinčića). Prozirni plastični štapovi-cijevi, koji su se umetali jedan u drugog i produžavali, tvorili su nadrealni rajski vrt u Pjesmi nad pjesmama (to je bila moja scenografija), ali ritam je bio moj najveći pokretač i inspiracija. Moj brat i ja smo se kao djeca igrali zadavanja ritmičkih sekvenci jedan drugome i u tome uživali. A onda sam se susrela s jazz danceom. (Zanimljivo mi je, iz današnje pozicije, da na Akademiji u Beču nekoliko godina ranije nisam željela ući u dvoranu kad je bio sat Theatertanza, neka kombinacija početaka jazz plesa, stepa te nacionalnih folklornih izričaja. Ne znam, možda mi se onda to činilo prizemnim? Međutim, krajem šezdesetih godina javio mi se Vlado Štefančić i pozvao najprije mene, a kasnije i cijeli ansambl na suradnju. On je bio pun elana i želje da stvori zagrebački mjuzikl i da se Komedija odmakne od dotada često kičastih operetnih predstava. Moj ansambl je to s oduševljenjem prihvatio, jer je to značilo i novi stil plesa, nove ljude, rad u pravom teatru s glumcima, zanimljive suradnike i konačno i izvor financija. Konačno smo plesači i ja bili plaćeni, što dotad nije bio slučaj. Bila sam sretna da mi plesači (naročito momci) neće otići iz ansambla, jer sam se osjećala odgovornom da za sav trud koji su ulagali u naše predstave nisu nikad bili financijski nagrađeni. Postojala je neka minimalna dotacija, s kojom smo jedva pokrivali materijale za kostime i šivanje, dok smo sve ostale suradnike morali moliti za usluge (Ljubica Wagner, Ika Škomrlj, Doris Hristić što mi je s vremenom postalo veliko opterećenje, da ne kažem da sam se stidjela stalno moljakati). Mi smo i dalje radili svoje predstave bez financijske naknade, ali smo barem bili plaćeni u Komediji i na televiziji s kojom sam sve više surađivala, a na poziv tada kultnog televizijskog 26 KRETANJA Pioniri suvremenog plesa iza željezne zavjese

27 režisera Antona Martija. Tako da smo sada imali jazz-dance treninge, Graham tehniku i klasični balet. U početku smo odlazili na balet u Jurjevsku kod Maje Bezjak, a kasnije nam je u dvoranu ZKM-a u Preradovićevoj dolazio Guy Perkov. Nikola Vončina nas je prihvatio u ZKM, ali morali smo se snalaziti po raznim sobama i dvoranama i često vježbali među scenografijama njihovih predstava. Tek kasnije smo dobili jutarnje termine plesne dvorane. Vlado Štefančić je bio u naponu kreativne snage i nakon mjuzikla Obećanja, obećanja u režiji Relje Bašića dogodila se Jalta, Jalta. Bio je to bum nismo mogli prestati igrati predstavu mjesecima, a Igor Mandić je ovaj put napisao sjajnu kritiku. Jedino što me je šokiralo tada bio je iznenadan i neočekivan odlazak Lele Gluhak iz ansambla. S dvije plesačice i sa svojim učenicama iz Škole za ritmiku i ples, na kojoj je predavala, ubrzo je pripremila svoju koreografsku večer u kazalištu Gavella. Moram priznati da sam bila zadivljena talentom i inventivnošću Lele i njenog Zagrebačkog ansambla. Tada su u Zagrebu postojala tri plesna ansambla. Treći, Komorni ansambl slobodnog plesa (KASP) vodila je Milana Broš. Ne mogu reći da smo se baš družili, tako da sam tek puno kasnije saznala da smo i Milana i ja radile koreografiju na Detonijeve Likove i plohe. Za tu sam koreografiju dobila odličnu kritiku u Kölnu, a sjećam se kako smo na brzinu i nervozno prije samog nastupa prskali bijele kostime auto-lakom Ideja je bila stvaranje i razbijanje određenih formi, počevši od sitnih čestica, od pojedinih dijelova tijela do grupnih formi i nazad, uz korištenje kvaliteta pokreta. Naravno da sam suradnjom s Komedijom i televizijom napravila stilski zaokret u djelovanju ansambla, ali morali smo samo više raditi na tri plana: naši plesni programi, Komedija i televizija. Naravno, voljela sam suvremeni ples (to je bila prva ljubav), voljela sam i mjuzikl, mogućnost stvaranja u pravom teatru, gdje nismo morali sami nositi scenografiju i čistiti scenu, a ljudi su se trudili da nam olakšaju i pomognu u radu. Bilo je to novo, neprocjenjivo iskustvo, a u Komediji se osjećala nova energija, entuzijazam, radost i prštavost. Vlado Štefančić je bio u naponu kreativne snage i kao ravnatelj i kao režiser. Televizija je opet bila vrlo privlačna kao novi medij. Ana Maletić, naravno, nije bila oduševljena takvim razvojem situacije. Nakon prvih godina potpunog odbijanja razgovora i kontakta, ona bi me pozivala jednom ili dvaput godišnje k sebi i tu bismo razgovarale. Nije željela dolaziti na naše premijere, pa su se razgovori svodili na formalno ćaskanje i njene negativne komentare o jazz plesu. Žao mi je što nismo mogle uspostaviti dublju, prisniju i iskreniju komunikaciju jer sam je zaista vrlo, vrlo cijenila. 02 Tihana Škrinjarić R. Chladek s nastavnicima Škole za ritmiku i ples (1962) Pioneers of contemporary dance behind the Iron Curtain MOVEMENTS

28 Tihana Škrinjarić Pioneers of contemporary dance behind the Iron Curtain 02 Tihana Škrinjarić School of Rhythm and Dance and Studio - Contemporary Dance Company in the eyes of a student, dancer, choreographer, teacher and artistic director What it was like and what it meant to be a pioneer of contemporary dance in a country behind the Iron Curtain School of Rhythm and Dance and Studio - Contemporary Dance Company es of a student, dancer, choreographer, teacher and artistic director SCHOOL OF RHYTHM AND DANCE I remember Ana Maletić in a wide glittery black skirt and a leotard, most often barefoot, and holding a drum in her hands; then there was Mrs Žordić, an accompanist, who energetically played the old piano, even overaccentuating the rhythm. Another one was Emilija Thaller, a dance and rhythm teacher, who paid particular attention to dance technique (at least that was how it seemed to us). Ana Maletić often neglected functional technique (this was one of the terms we were using). In my opinion, she was too creative and found this simply boring, and we students were happy when she forgot about performing an exercise on the other side or with the other leg But, on the contrary, she particularly stimulated us to improvise, to create smaller or bigger dance units, there was never a class without improvisation, mostly accompanied by Mrs Žordić and without a given theme. I loved this and when I heard Ana Maletić say: and now move around freely, I would turn to the windows, with a view on the Old Town from number 7 Mesnička Street and that was it. But when it had to be shown, I thought: Oh, dear. From today s point of view, I cannot believe or compre- hend how shy and full of complexes I was, and how movement/dance in fact helped me over years to become more open, relaxed, confident and today almost extrovert. In school we had many courses, especially in higher grades: rhythm, dance, dance technique, ballet, folklore, followed by music courses: piano and solfeggio, and music improvisation (with professor Makjanić), history of dance, teacher training, anatomy and biomechanics, introduction to pedagogy and psychology, introduction to choreography, Labanotation, naturally, i.e. kinetography. Towards the end of my education Vera Maletić, Ana Maletić s daughter, appeared. Blond, aloof, a Hitchcock-type beauty, I might even say, she came from abroad, some said Paris or London. She taught kinetography to our class, and choreographed Miljenko Prohaska s Saltata right from the start, which we performed on the concrete of the then basketball court of Lokomotiva in Tuškanac (where I first injured my Achilles tendon). Her choreographic procedure was nevertheless different from Ana s, and she resorted to contemporary music of our composers Radica and Prohaska, recorded on magnetophone tapes. Vera also taught historical dances, which we even performed on film. We were shooting Babaja s Carevo novo ruho (Emperor s New Clothes) out of which our pavane and gagliarda, which we had been rehearsing for months and which we danced in magnificent costumes designed by Jagoda Buić, was in the end cut. (Later in Vienna, at the Academy, thanks to Vera Maletić I earned for a living by giving lessons in historical dances to the then 28 KRETANJA Pioniri suvremenog plesa iza željezne zavjese

29 famous harpsichordist Isolde Ahlgrim.) I enjoyed folklore classes with professor Pogrmilović and later professor Ivančan. Ballet was quite irregularly taught by professor Kramašek. I found music courses easy, since I also attended piano lessons at the School of Music. When we worked on eukinetics and learned about the qualities of movement, Ana Maletić also spoke a lot about movement rationalisation (Lawrence), which I then found particularly interesting. I have to admit I was later in my teaching and choreographic work indeed aware of the connection between the quality of movement and emotions, and on the other hand of the suitable manners of using primary, personal qualities of an individual s movements. In a matter of moments I could calm down, cheer up or focus my dancers using a certain quality of movement. And so we came to the final year, 1959/1960. There were five of us (and I was the youngest). We got along perfectly, although we were completely different. Maja Kavurić-Marinović was the oldest and consequently more serious and mature, Alka Florschuetz was always supportive and positive, Zorica Orepić-Vitez was a magnificent dancer (I loved her movement), Vlasta Kaurić was incredibly interesting in motion (I still remember her choreography Ševa [Lark]) and I was technically bad, lethargic and insecure, especially in balances. I remember Ana Maletić and her Hold on, Tihana, staaaaaand The final year we had classes in two shifts in a very inspiring rehearsal room in Stone Gate. Ana Maletić wanted to give us a maximum of knowledge and skills and she also had to demonstrate the first generation of the new school to the Ministry of Education and Culture, which is why our exams were very strict and demanding. Then we graduated and went our separate ways. Ana Maletić soon asked me to join the school and teach, and even though I had to leave the Faculty of Humanities and Social Sciences and my beloved Romance languages, I was unspeakably proud and happy. Still, in addition to teaching, I managed to graduate in music from the Academy of Teacher Training, which I later found to be most useful and at one point I even accompanied by students on the piano. I loved teaching, children, colleagues although I was constantly under the watchful eye of my former teachers. Children inspired me, it was mutual giving and receiving, that was how I learned and evolved, how I progressed together with my students. In the early sixties, Rosalia Chladek visited Zagreb an extremely interesting modern dancer, who developed her own technique as well, based on gravity, centrifugal and centripetal energy, i.e. on ways how the body surrenders of defies gravity. She was a representative of the so-called expressive dance Ausdrucktanz, and many thought of her as a free dance dancer. Mrs Chladek was the dance department head at Akademie für Musik und Darstellende Kunst and I was thrilled with a possibility of further training in Vienna, more so because of the fact that I spoke German, and I was not aware of the existence of other foreign schools. And so I spent a thrilling season of 1963/64 in Vienna. But back to the School of Rhythm and Dance. Those days were pioneering in every aspect, both for Ana Maletić and for us, her students: a school in the making! It was exciting, interesting, revealing, taxing, there were tears and laughter, performances, tours, and it was a time when there were no films, books, TV shows about dance quite literally nothing. I remember going often to Gundulić Street, across the Academy of Music, there was a second-hand bookshop and I would spend beautiful time there looking for something about contemporary dance, but all I could (possibly) find were beautiful books with beautiful photographs of ballet dancers. Hence, in our training there were no visual stimuli, everything had to originate from the inside. Movement was experienced, sensed, evaluated completely subjectively, inspiration came from within, and the development of the kinaesthetic feeling was very important. When we worked with music, it was where Ana Maletić paid particular attention, (especially on rhythm), on a certain retelling of music. Music had to be heard and conveyed in motion or to realise its pace, melody line, rhythm, form etc., and we were unfortunately left on our devices with a more or less successful accompaniment on an old piano. But such were the times. I found this easy, since all of my teachers underlined my musicality, but not as exciting, and perhaps that was why I later, at the Contemporary Dance Studio, pursued musicless dance, free from the shackles of sheet music. I think Ana Maletić paid too much attention to rhythmic dance (musical education through movement, as she always highlighted), probably under the influence of Jacques Delacroze, who was very esteemed in Europe in the first half of the 20 th century, and his teachings were considered revolutionary and in fact the basis of our rhythm courses. We often used different percussions as accompaniment to movement or clapping, or beats against different body parts or the floor. This later often inspired me at the Contemporary Dance Studio as well, so I created entire dance works with percussion accompaniment or with my own voice (Maskenbal betona [Concrete Masquerade], Pavana [Pavane]). But we very rarely, almost never, learned choreographies in a way that Ana Maletić demonstrated a sequence which we would then repeat. I found this later to be a big issue for me, when I couldn t keep track of the steps at workshops. Nevertheless, I must mention that with Ana Maletić I was most impressed (perhaps even more after I learned from Chladek) by her views on freedom; on how everyone can and should find their way, their expression, by adopting only the principles of choreutics and eukinetics of Rudolf Laban, and Pioneers of contemporary dance behind the Iron Curtain MOVEMENTS

30 02 Tihana Škrinjarić then create on unhindered. No fixed stands, positions or steps. Still, with the sixties, big names of contemporary dance slowly started to arrive with their companies in Zagreb and Dubrovnik, Martha Graham, Alwin Ailey, Alwin Nikolais, José Limón, Glen Tetley, Merce Cunningham and others, making us gradually realise what contemporary dance is and how different dance artists perceive and create it. These were incredibly exciting discoveries. The final two years Ana Maletić intensely focused on us, analysing the teaching methods and didactics of contemporary dance and rhythm (she wanted us to be as prepared as possible for pedagogic work after school, whereas Vera was apparently interested in choreography, so it was probably at her instigation that the Contemporary Dance Studio was established). All these teachings of Maletić and Laban really meant the world, especially in my teaching practice. How to use the right, intelligent, perhaps even minimal stimulating instructions to make the students discover and experience certain knowledge about movement by themselves. That was exciting. STUDIO - CONTEMPO- RARY DANCE COMPANY Studio - Contemporary Dance Company was established by Ana and Vera Maletić and launched on 14 December 1962, with a dance event in Stone Gate, with the presence of the media, the then cultural and social crème de la crème of Zagreb. Vera Maletić greeted the audience and after the dance performance we had a Q&A session with the visitors, resulting in a negative review by journalist Jozo Puljizević, to which Vera Maletić again responded acerbically So, an interesting start! The establishment of Studio Contemporary Dance Company was a huge event for all of us and I, although I already worked as a teacher at the School, proudly danced and became a member of the company. Immediately after her return from abroad, Vera began choreographing with senior students, so this was not our only public performance, but after the establishment of the Studio, intense work on new choreographies began. In the summer of 1963 we danced in Wagner s city of Bayreuth at Jugendfestspiele, the Youth Festival, with a comprehensive programme which received great reviews, and that autumn, 17 September, was the date of the first professional premiere of works by Vera (Hir infantkinje [Infanta s Caprice], Formacije [Formations] and Saltata) and Ana Maletić (Veze [Relationships]). In Ana s Relationships I managed to dance Poslovne veze (Business Relationships) with Ivica Florschuetz- Boban, and on 25 September I had an entrance exam for the Academy in Vienna, where I stayed a year. The occurrence of such a dance company, naturally, caused a great interest among the cultural public. Discussions, good and less good reviews followed, because this was the first time Zagreb could see anything different from classical ballet. (I remember, for example, that the broader public, ordinary people not in touch with culture, found it unthinkable that we danced barefoot.) What is significant for the period of the Studio were visiting performances in Bosnia and Montenegro, recurrent visits to Bayreuth, TV shootings for Austrian television, as a result of the first Yugoslav-Austrian co-production, participation at Salzburg International Festival, a celebration of Youth Day in Zagreb and growing collaboration with Radio and Television Zagreb, with acknowledged directors like Mladen Raukar and Vlado Seljan. All these were big projects in which I unfortunately didn t take part after returning from Vienna and broken ankle joint tendons, but at Ana Maletić s invitation I taught training exercises at the Studio. The rehearsals took place in the school, because in fact the school was a partner and co-founder of the ensemble. However, after Vera s departure the atmosphere started to change and bilateral dissatisfaction unfortunately culminated in Ana Maletić s resignation. I was not present at rehearsals and I never really understood what was happening, more so since Ana Maletić refused all communication. When the dancers soon asked me to take over the artistic management, I grabbed the bull by the horns completely unready and inexperienced. In addition to my day job as a teacher at the School, I now had to organise rehearsals, design and rehearse a new repertory, find a stage for the performances and tackle all other technical and similar jobs I had no idea about, with no one to ask for advice. The dancers really stood by me and were great support, but the day came of my first premiere with the Studio on 16 May The premiere under the title Vibracije-varijacije (Vibrations-Variations), performed and choreographed by Branka Zimmer, Lela Gluhak, Ivanka Cerovac, Zagorka Prijić, Barbara Verlić and Dorica Kljaković and myself, was disastrous to me because my brother Mario-Cobra (with whom I was very close) died in a car accident in Paris on 1 May, and the funeral was in Zagreb on 10 May. I still don t know how I survived all this. And besides, Igor Mandić (the then enfant terrible of Croatian journalism) wrote us a bad review, which additionally shook me. So, the beginning was promising, but there was nothing else to do but to move on. After this horrendous May of 1968, an exciting period of creativity and enjoyment followed, and my enthusiasm returned. New projects, plans, new challenges with a fantastic and outstanding work discipline in the company resulted in countless performances and new successful choreographies by my fellow choreographers and myself. I will wrap up this chronological dance-teaching-choreographic arch with 1971, the year when a lot of things happened. The premiere of a very successful title U početku bijaše ritam (In the Beginning Was Rhythm); I left the School of Rhythm 30 KRETANJA Pioniri suvremenog plesa iza željezne zavjese

31 and Dance with a heavy heart and fully committed to the Studio; I was granted a freelance artist status; Branka Kolar, Zaga Prijić and I received a Special Mention at the International Choreographic Competition in Cologne with Zvuci Istre (Sounds of Istria), to the music of Ivan Matetić Ronjgov Ćaće moj (My Father); and that year my intense collaboration with the Comedy Theatre began. Ever since I can remember, back at School, I loved rhythmical challenges: percussions, rustle noise, drums and I often resorted to them (e.g. in Concrete Masquerade) in contemporary dance expression, or voice or breathing as a soundscape (Pavane), or dance without music, when I focused on the issue of the freedom of dance as an independent form, without musical accompaniment, and if it can survive as such. I loved using stage design elements, which the dancers would join together, assemble or disassemble (A zašto ne [And Why Not], set design by Dejan Jokanović, or Barassou by Branimir Sakač, set design by Aleksandar Augustinčić). Transparent plastic sticks/pipes, inserted into one another and extended, created a surreal paradise garden in Pjesma nad pjesmama (Song of Songs) (my own set design), but rhythm was my most powerful driver and inspiration. As children, my brother and I played by setting rhythmic sequences to each other and enjoyed it a lot. And then I encountered jazz dance. (I find it interesting, from today s point of view, that at the Academy in Vienna a few years before I wouldn t even enter the room when there was a Theatertanz class, a combination of jazz dance, tap dance and national folk expressions. I don t know, I guess it seemed too trivial then.) However, in the late sixties, Vlado Štefančić approached me and invited first myself and then the entire ensemble to cooperate. He was full of enthusiasm and desire to create a Zagreb musical and step back from Comedy s often kitschy operettas. My ensemble accepted gladly, since this meant a new style of dance, new people, working at a real theatre with actors, interesting associates and finally a source of financing. The dancers and I were finally paid, which was not the case thus far. I was happy knowing that my dancers (particularly male dancers) would not leave the company, because I felt responsible over their not getting a financial reward for all the effort they invested in our performances. There was a minimum grant which barely covered the cost of materials for costumes and dressmaking, while we had to beg all other collaborators to do us a favour (Ljubica Wagner, Ika Škomrlj, Doris Kristić which over time started to cause me great trouble, not to mention embarrassment over the constant begging). We kept making our dance works without financial compensation, but at least we were paid in Comedy and on TV, with which I collaborated more and more intensely, to the invitation of the iconic TV director Anton Marti. So now we had jazz dance classes, Graham technique and classical ballet. At first we had ballet in Jurjevska Street at Maja Bezjak s, and later, at the rehearsal room of the Zagreb Youth Theatre in Preradović Street, we were visited by Guy Perkov. Nikola Vončina opened the Zagreb Youth Theatre door to us, but we had to manage around different rooms and halls and often rehearsed among the props and sets of their plays. Only later we got the dance rehearsal studio in the morning slot. Vlado Štefančić was at the peak of his creative upswing and after the musical Obećanja, obećanja (Promises, Promises), directed by Relja Bašić, Jalta, Jalta (Yalta, Yalta) happened. It was a sensation we couldn t stop performing it for months, and this time Igor Mandić wrote an excellent review. The only thing that shocked me then was Lela Gluhak s sudden and unexpected abandonment of the company. With two dancers from Studio and her students from the School of Rhythm and Dance, where she taught, she soon prepared a choreographic event at Gavella Theatre. I have to admit I was impressed with the talent and inventiveness of Lela and her Zagreb Dance Company. Three dance companies existed at that point in Zagreb. The third, Chamber Ensemble of Free Dance (Komorni ansambl slobodnog plesa KASP), was managed by Milana Broš. I couldn t say we exactly hung out, so it was only later that I found out that both Milana and I choreographed Detoni s Likovi i plohe (Shapes and Surfaces). For this choreography I got excellent reviews in Cologne and I remember how we panicked before the performance and spray-painted the white costumes with aerosol The idea was to create end break certain forms, starting from tiny particles, from individual body parts to group forms and back, using movement qualities. Naturally, with my collaboration with Comedy and TV there came a switch in terms of style, but we had to work more in three different domains: our dance programmes, Comedy, and TV. Of course, I loved contemporary dance (it was my first love), I loved musical as well, the possibility of creating in a real theatre, where we didn t have to carry the sets and clean the stage, and people were trying to make it easier for us and help us with our work. It was a new, priceless experience, a new energy, enthusiasm, joy and vibrancy were felt in Comedy. Vlado Štefančić was at the peak of his creativity as a manager and as a director. Television was in turn attractive as a new medium. Ana Maletić, naturally, wasn t thrilled with such a situation. After she categorically refused to speak or be in touch with me at all during the first years, she would invite me to her place once or twice a year for a chat. She never came to our premieres, so our conversations mainly revolved around formal small talk and her negative comments about jazz dance. I am sorry we were not able to establish a deeper, closer and more sincere communication, as I really admired and appreciated her a lot. Pioneers of contemporary dance behind the Iron Curtain MOVEMENTS

32 32 KRETANJA POČECI ZAGREBAČKOG PLESNOG ANSAMBLA U FRAGMENTIMA SJEĆANJA

33 Ivančica Janković Počeci Zgrebačkog plesnog ansambla u fragmentima sjećanja 03 Ivančica Janković Ovom tekstu pristupila sam sasvim osobno i on predstavlja pokušaj rekonstrukcije sjećanja koja su navirala uvidom u vrlo precizno vođenu arhivu Lele Gluhak Bunete i početaka djelovanja Zagrebačkog plesnog ansambla, nekoć i mojeg ZPA. Onaj drukčiji, analitički i faktografski pristup u predstavljanju rada Lele i ZPA tijekom 70-ih i 80-ih godina, prepuštam drugima. RANA JESEN Prema dokumentaciji koju mi je ustupio Antun (Braco) Buneta, suprug Lele Gluhak Bunete, Studio za suvremeni ples pod vodstvom Tihane Škrinjarić, a u koreografiji Lele Gluhak Bunete u ljeto snima za TV Zagreb Srce zemlje. Ples, glazba i poezija ekspresionizma našli su se zajedno u novom izrazu kamere prof. Vlade Seljana, u jedinstvenom ambijentu potopljenih podruma Dioklecijanove palače. (Iz opširne najave emisije u Studiju, tjednom informativnom listu za televiziju, radio, film, teatar i muziku i Večernjem listu.) I u ovoj najavi, kao i u svim budućim kritičkim osvrtima, problematizira se neprestana borba za pronalaženje termina emitiranja emisija klasične glazbe i plesnih/baletnih predstava, pri čemu umjetnički program često mora ustuknuti pred sportskim. Emisija je prikazana na TV Zagreb u srijedu 23. rujna Zanimljivo je da u međuvremenu Lela Gluhak Buneta, Zoja Radmilović, Ksenija Burcar i Ivančica Horvat napuštaju Studio za suvremeni ples i prema kasnijim predstavljanjima Ansambla utvrđujemo da je 1. rujna datum koji Lela uzima kao datum osnivanja novog ansambla pod nazivom Zagrebački plesni ansambl. Osnivanje Ansambla popratila je bombastična najava u Plavom vjesniku od 5. listopada 1970., naslovljena s Deset samostalnih, iako ne znam tko su tih (čak) deset plesačica koje su podržale Lelu i napustile Studio!? Uostalom, fotografija koja ilustrira članak u kojem se navode naša imena, potvrđuje da nas je bilo šest: Lela Gluhak Buneta, Zoja Radmilović, Ksenija Burcar, Ivančica Vanja Horvat, Dubravka Lukić i ja, Ivančica Štok. Na snimci je i baletni plesač Jura Mofčan koji je jedno kraće vrijeme radio s nama. Prema riječima intervjuirane Ksenije Burcar želja našeg odvajanja je želja za slobodnim stvaranjem i u plesu i u koreografiji. Prva premijera 5. svibnja dočekana je s velikim iščekivanjem. Program je predstavljao kolaž koreografija Lele te Zoje Radmilović i Ksenije Burcar, članica ansambla, ali u mojem sjećanju živi samo moj osobni doživljaj koreografije Continuazione na glazbu Igora Kuljerića. Svakako valja upamtiti da jedan vrijedan ansambl kuca na vrata scenskog života Zagreba i da, govoreći na osnovu svog onog dojmovlja koje smo ponijeli s njihove predstave, taj ansambl je ta vrata već široko otvorio i teško je da će mu bilo tko spriječiti i opstanak. (Omladinski tjednik 1971.) Uz ovu kritiku postoji i opširan osvrt u omladinskom tjedniku Oko od autora koji se krio pod pseudonimom Šljukolovac. Već svibnja Ansambl nastupa na Katomu 71, manifestaciji koja promovira duhovnu glazbu i poeziju, a pod pokroviteljstvom Glasa Koncila i Kršćanske sadašnjosti. Nastupa s tri koralne predigre. Nastup ZPA značio je svojevrsnu senzaciju i bio za neke možda šokantan Sugestivno- Origins of Zagreb Dance Company in fragments of memory MOVEMENTS

34 šću i produhovljenošću svojih pokreta, idealiziranošću svoje tjelesnosti bosonoge i u raznobojnim prozirnim haljinama nadarene baletne umjetnice izazvale su buran i srdačan aplauz. (Glas Koncila 1971., Branko Lazarin) Iste godine u kolovozu Ansambl nastupa s dva programa u Ljubljani na IFIP-u (međunarodna izložba i kongres posvećen računalnoj tehnologiji). Uz Lelu, jezgru Ansambla činile su Zoja, Ksenija, Vanja i ja, da bi se već Ansamblu priključile učenice Škole Branka Kružić i Dijana Bogović. Sastav ansambla stalno se popunjavao isključivo učenicama i učenicima Škole za balet i ritmiku, a muški plesači bili su angažirani s baletnog odjela (Dinko Bogdanić, Mladen Drakulić, Vibor Kasapović). Za mene je također sve počelo u ranu jesen u šk. god /1970., kao netom završena učenica Škole, pod ondašnjim nazivom Škola za balet i ritmiku, pripadala sam dotad najbrojnijoj generaciji završenih učenica. Bilo nas je jedanaest u klasi Vlaste Kaurić, između ostalih, Mirjana Preis i Gordana Omeragić, sjajne buduće članice Studija za suvremeni ples. (Potrebno je podsjetiti da je Vlasta Kaurić od aktivno sudjelovala u radu Ansambla kao koreografkinja i plesna pedagoginja.) Ne sjećam se trenutka, ni detalja razgovora u kojem me je Lela pozvala da pristupim u ZPA. Ono što ostaje do danas je fascinacija činjenicom da sam se sa svojih tek napunjenih 18 godina našla u istom plesnom okruženju s nastavnicama svoje Škole (Lelom, Vlastom i Zojom) te da je u meni uvijek čučalo neizgovoreno Zašto baš ja? kad su neke druge cure iz razreda imale tako fantastičan gest i skok. U to vrijeme, rekla bih, takvi su elementi tehnike bili, za one manje upućene, jedni od razlikovnih parametara između balerina i nas ritmičara. Tada sam još pohađala 4. razred ondašnje X. gimnazije u Medulićevoj i bila najmlađa članica ansambla. Te započinje moja dugogodišnja borba s vremenom i rastrganošću između školskih, a kasnije i fakultetskih obaveza i napornog rada u ansamblu. Otuda i sjećanja na oveću smeđu putnu torbu u kojoj su bili dres i tajice od debelog crnog elastičnog prediva koje smo zvali helanka, vuneni crni overall (radi dodatnog mršavljenja, ali, pretpostavljam, i zbog nedovoljno grijanih prostorija), ručnik, toaletni pribor, papuče ili čarape jer je često bilo hladno vježbati na neadekvatnim podovima, a uz sve to i hrpa školskih knjiga. Bili smo bez novca i bez stalnog radnog prostora. Stalno smo se seljakali (Dječji centar u Krajiškoj, Kinoteka u Kordunskoj, ZKM, OŠ Kaptol), a sve prilagođeno našim ostalim obavezama. Vjerojatno su mi, stoga, ostala sjećanja na dugotrajne večernje probe, mojeg dečka, a sadašnjeg supruga, koji je čekao završetak probe i silni umor kao moj stalni pratilac. PROBE Kad razmišljam o probama, ne sjećam se detalja treninga, ali znam da je bilo naporno. Od nas su se tražila tehnička postignuća pa ne iznenađuje kritika Vere Demirović Bartolomejčuk (Oko, 3. travnja 1974.) da forsiramo tehniku, uz istovremene zamjerke izvedbi nekih konkretnih tehničkih elemenata. Međutim, iz današnje perspektive znam da su nam manjkala znanja o tijelu u kontekstu Analize pokreta po Labanu, odnosno o povezanostima unutar tijela i artikulaciji pokreta koja iz toga proizlazi. Također, ne sjećam se da se spominjala uloga disanja kao nezaobilaznog faktora u postizanju logičnog protoka pokreta, kao ni korištenja poda kroz osviješteno uzemljenje i prepuštanje težine. Time možemo objasniti i izgled plesača s jakim kvadricepsima i gluteusima i moju osobnu noćnu moru diži, diži gest. Kako, otkuda? S druge strane, pod je bio sastavni dio koreografskog rječnika, čime je zadivljena i spomenuta kritičarka: Plastika poda ovog ansambla je izvrsna. RAD NA KOREOGRAFIJI U mojim razmišljanjima prevladavaju sjećanja na Lelinu nepresušnu potrebu za istraživanjem u plesu i koreografskom izrazu što je demonstrirala radeći često sama u dvorani i doma. Bila je nezasitna u traganju za poticajima iz područja likovnosti, glazbe, pisane riječi i folklorne baštine koje je pretakala u novi i drukčiji plesni izričaj. Tu je do izražaja dolazila njezina nesputanost, nekonvencionalnost, obrazovanost i produhovljenost. Zanimljivo je da tijekom rada na koreografiji u mojem sjećanju dominira usvajanje sekvenci i rafiniranje njihove izvedbe sukladno ideji, uz puno razgovora i objašnjavanja idejnog konteksta, a manje improvizacija koja je obilježila naše školovanje. Bljeskovi sjećanja: toptanje bosim stopalima o pod i utjecaj folklornih ritmova u kontaktu stopala i poda, zvučni kontakti između dijelova tijela i zvučanje dijelova kostima (široke metalne narukvice u kontaktu s jednakim takvim pojasevima), grleno pjevanje u ulici koje se mora čuti preko pozornice sve do kraja zadnjeg reda Gavelle. Ritam, ritam i opet ritam Tijelo koje zvuči ritmom Pred očima pojavljuju se dijelovi fascinantnih kostima: crno-bijele pruge, kapuljače ili umjetnički oblikovane frizure, metalni pojasevi i narukvice, teško prirodno platno Iz današnje perspektive, čini mi se da je tada u načinu kretanja nedostajalo brzine, slobodnog trka i osvajanja prostora što se može pripisati ne samo koreografskom izboru plesnog rječnika, već i neadekvatnim uvjetima u kojima se radilo. Kao kontrapunkt Lelinoj potrebi za odmakom od obrazaca, mojem plesačkom, a kasnije i pedagoškom razvoju doprinijela je Vlastina preciznost i strukturiranost koreografskog 34 KRETANJA Počeci Zgrebačkog plesnog ansambla u fragmentima sjećanja

35 izričaja u suglasju pokreta i glazbenog predloška. Obje koreografkinje uvele su me u svijet suvremene glazbe, posebice hrvatskih autora (I. Kuljerić, M. Ruždjak), kao moćnog nadahnuća za plesni izraz. Treba naglasiti cjelovit pristup koreografiji koja nije bila samo govor tijela, već kompletna predstava s jasnom idejnom koncepcijom, razrađenim odnosom prema glazbi ili plesanju na tišinu, osmišljenim kostimom, frizurom i šminkom, dekorom, svjetlom, scenom. ZPA je donio drukčiju estetiku pokreta koja je predstavljala novost na ondašnjoj plesnoj sceni, što je bilo prepoznato u kritičkim osvrtima. Naime, pisani mediji redovito su pratili plesnu scenu, a kritički osvrti bili su opširni i temeljiti. U novinama ih se moglo pročitati pod podnaslovom Balet (Studio 1970., Arlette Ambrožić-Paić; Omladinski tjednik pseudonim Šljukolovac; Glas Koncila 1971., Branko Lazarin; Vjesnik 1973., Jagoda Martinčević; Glas Slavonije 1974., Vesna Burić; Vjesnik i Večernji list 1975., Erika Krpan i Nenad Turkalj; Tuga Tarle i drugi). Naime, ZPA bio je istinski nastavak vizije Ane Maletić u razvoju specifičnog pristupa pokretu i plesu, između ostalog, i kroz uvažavanje i promicanje nacionalne umjetničke baštine (literarne, folklorne, glazbene) kao poticaja za promišljanje u plesu. Nekonformističko i hrabro gledanje Ansambla na koreografiju našlo je snažnu potporu u suvremenim hrvatskim skladateljima Igoru Kuljeriću i Marku Ruždjaku, u kostimografkinjama Iki Škomrlj i Dinki Jeričević (iako je potrebno naglasiti da je kasnije Lela potpisivala kostimografiju), u suradnji s poznatim glumcima (Rade Šerbedžija, Miodrag Krivokapić, Rajko Bundalo), u vrsnim redateljima TV Zagreb koji su znalački pretopili u televizijski medij koreografsku viziju (Mladen Raukar, Vlado Seljan, Mario Fanelli). Treba uputiti na razliku u ondašnjoj koncepciji predstave u odnosu na današnje predstave. Tada je program bio sastavljen od najčešće četiriju koreografija, autorica Lele Gluhak Bunete i Vlaste Kaurić, a i ostali članovi ansambla imali su priliku koreografirati. Iz današnje perspektive, rekla bih, nije se radilo o manjku koreografske snage koja bi iznjedrila cjelovečernji autorski program, već o politici Ansambla. Naime, Lelino kasnije djelovanje pokazuje njezinu sposobnost postavljanja i opremanja cjelovečernjih plesnih predstava. ZPA I TV ZAGREB Nastavljajući se na 60-e i početkom 70-ih, suvremeni plesni izraz bio je dio programske koncepcije umjetničkog programa TV Zagreba. Sjećam se snimanja u ondašnjem studiju TV Zagreb u Šubićevoj (današnja Tvornica kulture), a snimanju je prethodilo minuciozno kadriranje jer se snimalo uživo. Ovakva iskustva doprinijela su mojoj odličnoj prostornoj orijentaciji u smislu mijenjanja fronte u dogovorenom trenutku i orijentaciji prema zadanoj kameri. Najave naših emisija bile su u tiskovinama uvijek popraćene dužim ili kraćim tekstom i fotografijom, uz česte lamentacije novinara o potrebi upoznavanja šire publike s umjetničkim plesom. (U obrazloženju Nagrade Sedam sekretara SKOJ-a za može se pročitati podatak o broju snimljenih emisija: osam samostalnih i 45 koreografskih minijatura za TV kuće u Zagrebu i Ljubljani. Također je zanimljiv podatak da je na Jugoslavenskom TV festivalu dvije sezone zaredom TV Zagreb predstavljao svoju umjetničku produkciju ekranizacijom Lelinih koreografija.) Treba reći da nam nije bio stran ni, današnjim rječnikom, site specific koreografski pristup, kao i brojni nastupi na neformalnim pozornicama (dvorana Tivoli i atrij Gradske vijećnice u Ljubljani i različiti izvedbeni prostori tijekom gostovanja s ondašnjom Muzičkom omladinom po Jugoslaviji). Sjećam se, primjerice, nastupa u jednom Domu kulture gdje se publika prvi put susrela s umjetničkim plesom pa su domaćini u silnoj želji da nam pomognu prekrili daščani pod jutom koju su čavlima zabili o daske. Treba li spomenuti kako su okreti postali nemoguća misija i koliko smo bili prisiljeni improvizirati? POST SCRIPTUM Sve je započelo rane jeseni 1970., a za mene završilo u kasnu zimu Još danas na zidu visi slika na emajlu s motivom kule Lotrščak. Na njezinoj poleđini selotejpom je zalijepljena oproštajna pjesma Zagrebačkog plesnog ansambla. Napisala ju je, a tko drugi nego Lela. Na već požutjelom papiru, srećom, kucani na pisaće stroju, nižu se stihovi: duhoviti, u rimi i ritmu, topli i nostalgični. Počinje ovako:.. I nemoj reći da je svak zamjenjiv, / jer, prenijeta rola / je samo parola / za one koje prolaze. Slijede još uvijek vidljivi potpisi: Lela, Vlasta, Nives, Branka, Diana, Tajana, Jasminka, Nelica i Jadranka. 03 Ivančica Janković Origins of Zagreb Dance Company in fragments of memory MOVEMENTS

36 Ivančica Janković Origins of Zagreb Dance Company in fragments of memory 03 Ivančica Janković I approached this text very personally and it represents an attempt at reconstructing the memories that kept coming with the insight into Lela Gluhak Buneta s painstakingly documented archives and the origins of the Zagreb Dance Company, formerly my ZDC too. The different, analytical and factual approach to Lela and ZDC s work during the seventies and eighties I leave to others. EARLY AUTUMN 1970 According to the documentation granted by Antun (Braco) Buneta, Lela Gluhak Buneta s husband, the Studio - Contem- porary Dance Company led by Tihana Škrinjarić and choreographed by Lela Gluhak Buneta in the summer of 1970 filmed Srce zemlje (Heart of the Earth) for TV Zagreb. Dance, music and poetry of expressionism came together in professor Vlado Seljan s new camera expression, in a unique ambience of the sunken basements of Diocletian s Palace. (From a comprehensive introduction to the show in Studio, tjedni informativni list za televiziju, radio, film, teatar i muziku and Večernji list.) This announcement, as well as all other future critical reviews, focused on the constant struggle for broadcasting slots for classical music programmes and dance/ballet performances, where art often had to take a back seat to sport. The programme was broadcasted on TV Zagreb on Wednesday, 23 September Interestingly, in the meantime Lela Gluhak Buneta, Zoja Radmilović, Ksenija Burcar and Ivančica Horvat left the Studio and, according to later Company records, we conclude that it was 1 September 1970 that Lela considers the date she established a new ensemble under the name of Zagreb Dance Company. The establishment of the company was followed by a bombastic announcement in Plavi vjesnik of 5 October 1970, under the title Ten Independent Ones, although I don t know who these (no less than) ten dancers who gave their support to Lela and left the Company were? Besides, the photograph illustrating the article listing our names confirms we were six: Lela Gluhak Buneta, Zoja Radmilović, Ksenija Burcar, Ivančica Vanja Horvat, Dubravka Lukić and myself, Ivančica Štok. The recording also shows the ballet dancer Jura Mofčan, who worked with us for a while. According to the interviewed Ksenija Burcar, the desire for our independence was a desire for free creativity both in dance and in choreography. The first premiere on 5 May 1971 was received with great expectations. The programme included a collage of choreographies by Lela and Zoja Radmilović and Ksenija Burcar, the company members, but I only recollect my personal impression of the choreography Continuazione to the score by Igor Kuljerić. It is noteworthy that one valuable company is knocking on the door of Zagreb s stage life and that, based on the impressions we took home from their performance, this company has already opened the door wide and it is hard to believe anyone could hinder their survival. (Omladinski tjednik, 1971) Apart from this review, there exists a detailed article in the Oko youth weekly from a contributor hidden under the pseudonym Šljukolovac (Snipehunter). Already on May 1971, the Company performed at Katom 71, an event promoting spiritual music and poetry, under the auspices of Glas Koncila and Kršćanska sadašnjost, with three coral overtures. ZDC s performance was a sensation and perhaps shocking to some With elusiveness and 36 KRETANJA Počeci Zgrebačkog plesnog ansambla u fragmentima sjećanja

37 spirituality of their movements, idealisation of their corporeality barefoot and in colourful transparent dresses talented ballet artists caused a rapturous and heart-felt applause. (Glas Koncila 1971, Branko Lazarin) The same year in August, the Company performed two programmes in Ljubljana at IFIP (international IT exhibition and congress). Next to Lela, the core members of the Company were Zoja, Ksenija, Vanja and myself and in 1971 we were joined by the School graduates Branka Kružić and Dijana Bogović. The company kept growing, thanks to new members coming exclusively from the School of Ballet and Rhythm, and the male dancers were drafted from the ballet department (Dinko Bogdanić, Mladen Drakulić, Vibor Kasapović). For me it all began in the early autumn of 1970, in the academic year of 1969/1970; as a recent graduate of the School, known back then as the School of Ballet and Rhythm, I belonged to the most numerous generation of graduates thus far. We were eleven in the class mentored by Vlasta Kaurić, including among others Mirjana Preis and Gordana Omeragić, the amazing future members of the Contemporary Dance Company. (Bearing in mind that Vlasta Kaurić since 1972 played an active role in the Company as a choreographer and dance pedagogue.) I don t remember the moment, or details of the conversation in which Lela invited me to join the ZDC. What remains is a fascination with the fact that, barely 18, I found myself in the same dance environment with the teachers from my School (Lela, Vlasta and Zoja) and there was always a little voice inside my head whispering Why me?, when other girls from the class had such outstanding gestures and jumps. At that time, I d say, such technique elements were, for those less informed, one of the distinguishing parameters between ballerinas and us rhythm people. Back then I was still a fourth grader at the former X. Gymnasium in Medulić Street and the youngest company member. In 1970 my long struggle with time and juggling between school and later university duties and hard work in the company begins. I distinctly remember a large brown weekender bag with a leotard and leggings made of black elastic yarn we called helanka, a black woollen overall (to lose more weight and, I suppose, also because of the insufficiently heated rooms), a towel, a toiletry kit, slippers or socks because it was often very cold to practice on inadequate floors, and a heap of textbooks. We had no money and no permanent space. We kept moving around (Children s Centre in Krajiška Street, Kinoteka in Kordunska Street, Zagreb Youth Theatre, Kaptol Elementary School), how it suited our needs. This is why I probably remember so well the long evening rehearsals, my boyfriend and now husband who waited for the rehearsals to end, and the enormous tiredness of being always by my side. REHEARSALS When I think about rehearsals, I don t remember the training details, but I know it was hard. We were expected to be technically accomplished, hence Vera Demirović Bartolomejčuk s review (Oko, 3 April 1974) that we insist on technique was not surprising, along with objections regarding certain technical elements. However, from today s point of view I know we lacked in knowledge about the body in the context of Laban s movement analysis, i.e. about connections inside the body and movement articulation resulting from them. Also, I don t remember ever hearing about the role of breathing as an inevitable factor in achieving a logical movement flow, or using the floor through grounding and weight release with awareness. Therein lies the explanation for the dancers strong quadriceps and glutei and my personal nightmare up, up with the gesture. How, by what means? On the other hand, the floor was a constituent part of the choreographic vocabulary, which impressed the mentioned critic: The plasticity of this company s floor is outstanding. CHOREO- GRAPHIC WORK My thoughts are dominated by memories of Lela s unrelenting need for exploration in dance and in choreographic expression, which she demonstrated by often working alone in the rehearsal studio and at home. She was insatiable in her quest for stimulation in visual arts, music, written word and folklore heritage which she then translated into a new and different dance expression. It was where her spontaneity, unconventionality, education and spirituality really shone brightest. Interestingly, in terms of choreographic work, my memory is dominated by adopting sequences and refining their performance according to the idea, with a lot of conversation and explanation of the conceptual context, and less improvisation which marked our training. Flashes of memory: barefoot stomping against the floor and the influence of folklore rhythms in the contact between the feet and the floor, sound contacts between body parts and the sound of costume parts (wide metal bangles in contact with similar belts), throat singing on the street which is supposed to be heard all the way across the stage to the last row in the Gavella Theatre. Rhythm, rhythm, and rhythm again A body resonating with rhythm Images of fascinating costumes appear: black and white stripes, hoods or artistic hairdos, metal belts and bangles, heavy natural linen From today s point of view it seems like the manner of movement lacked speed, free run and conquering space, which could be attributed not only to the choreographic choice of dance vocabulary, but also to unsuitable working conditions. Counterpointing Lela s need for breaking away from the mould, my dance and later pedagogic development was Vlasta s Origins of Zagreb Dance Company in fragments of memory MOVEMENTS

38 03 Ivančica Janković Zagrebački plesni ansambl, Barokne impresije (1971), na slici: Lela Gluhak Buneta, Zoja Radmilović, Dubravka Zajec 38 KRETANJA Počeci Zgrebačkog plesnog ansambla u fragmentima sjećanja

39 precision and structure of choreographic expression in a harmony of movement and score. Both choreographers introduced me to the world of contemporary music, Croatian composers in particular (I. Kuljerić, M. Ruždjak), as a powerful inspiration for dance expression. A comprehensive approach to choreography is also noteworthy; choreography was more than body language, it was a full-fledged performance with a clear concept, an elaborate relation to music or dance to silence, designed costumes, hair and make-up, props, light, sets. ZDC engendered a different aesthetic of movement which was a novelty on the dance scene of the time, and this was acknowledged in critical reviews. Written media followed the dance scene and reviews were detailed and thorough. In newspapers they could be read under the subtitle Ballet (Studio 1970, Arlette Ambrožić-Paić; Omladinski tjednik 1971, pseudonym Snipehunter; Glas Koncila 1971, Branko Lazarin; Vjesnik 1973, Jagoda Martinčević; Glas Slavonije 1974, Vesna Burić; Vjesnik and Večernji list 1975, Erika Krpan and Nenad Turkalj; Tuga Tarle and others). The ZDC was a true continuation of Ana Maletić s vision in terms of evolution of a specific approach to movement and dance, among other things, and by respecting and promoting national art heritage (literature, folklore, music) as motivation for examination in dance. The Company s non-conformist and brave outlook on choreography found strong support in contemporary Croatian composers Igor Kuljerić and Marko Ruždjak, costume designers Ika Škomrlj and Dinka Jeričević (although it was Lela who later created costumes), collaboration with famous actors (Rade Šerbedžija, Miodrag Krivokapić, Rajko Bundalo), brilliant TV Zagreb directors who skilfully turned a choreographic vision into the medium of TV (Mladen Raukar, Vlado Seljan, Mario Fanelli). One should bear in mind the difference in the former concept of a performance in comparison with today s performances. The programme back then consisted mostly of four choreographies by Lela Gluhak Buneta and Vlasta Kaurić, and other company members also had a chance to choreograph. From today s point of view, I d say, it wasn t the lack of choreographic talent that would engender an evening-length creative programme, but the Company policy. Lela s later activity proves her capability of setting up and equipping eveninglength dance pieces. THE ZDC AND TV ZAGREB Following up on the sixties and early seventies, contemporary dance expression was part of TV Zagreb s artistic con- ceptual programming. I remember filming in the former TV Zagreb studio in Šubić Street (today Tvornica culture), preceded by painstaking framing, since the programme was broadcasted live. Such experiences contributed to my excellent spatial orientation in the sense of changing the front at the set moment and orienting to the set camera. The shows were announced in the press, always with a shorter or longer text and a photograph, with frequent laments of journalists about the need to acquaint the broader public with artistic dance. (The statement to the 1975 Seven Secretaries of SKOJ Award contains information about the number of filmed programmes: eight solos and 45 choreographic miniatures for TV broadcasters in Zagreb and Ljubljana. Another interesting bit is the fact that two years in a row, at the Yugoslav TV Festival, TV Zagreb presented its artistic production with a screen version of Lela s choreographies.) We were also not strangers to the site-specific choreographic approach, as we might call it today, or numerous performances on informal stages (Tivoli Hall and the atrium of the Ljubljana City Hall, as well as different performance venues across Yugoslavia on tour with the former Music Youth). For instance, I remember a performance at a culture hall, it was this audience s first encounter with artistic dance and the hosts, out of wish to help us, covered the floor with jute nailed to the planks. Should I even mention that the turns became a mission impossible and how much we were forced to improvise? POSTSCRIPT It all began in the early autumn of 1970 and ended for me in the late winter of I still have an enamel painting with the motif of the Lotrščak Tower hanging on the wall. On its back is a farewell poem to the Zagreb Dance Company, written by who else but Lela. Luckily, typewritten yellowish paper still bears the verses, humorous, rhyming and rhythmic, heart-warming and nostalgic. It begins like this: Don t tell me we are all replaceable / as a transferred part / is just a word apart / for those who pass The signatures are still legible: Lela, Vlasta, Nives, Branka, Diana, Tajana, Jasminka, Nelica and Jadranka. Origins of Zagreb Dance Company in fragments of memory MOVEMENTS

40 40 KRETANJA HRVATSKO PLESNO PROLJEĆE

41 Tuga Tarle Hrvatsko plesno proljeće Razgovor s Ivanom (Ivicom) Ivankom 04 Tuga Tarle Nedavna izložba u MUO, Šezdesete u Hrvatskoj Mit i stvarnost pokazala je kako se već početkom 60-ih hrvatska kulturna scena počela oslobađati klišeja politički podobnog i ideološki korektnog stvaralaštva nametanog kroz tematiku i formu izražavanja socrealizma. Nakon olovnih godina agitpropa, ni nepunih desetljeće i pol od uvođenja nove ideološke matrice socijalizma koju je obilježilo političko jednoumlje i tutorstvo nad kulturom podržavanjem klasičnih klišeja revolucije na štetu slobode istraživanja, izražavanja i otvaranja novim vizijama, nastupa novo vrijeme za hrvatsku umjetnost. Ne tvrdimo pritom da je u kratkom razdoblju zavladala sloboda kakvu bi svaki istinski umjetnik poželio niti da nije bilo taktiziranja i dosjetljivog nadmudrivanja pa čak i paktiranja brojnih stvaralaca s cenzorima onog vremena, ali se, usprkos partijskoj kontroli, slobodarski duh pojedinaca oprezno i polako počeo oslobađati okova ideološkog tutorstva nove klase. Političkim komesarima sve je manje prostora u umjetnosti, dok struka traži mjesto pod suncem i pod utjecajima iz razvijenih kultura zapadnoga svijeta mijenja i vlastitim istraživanjima oblikuje ukus publike, a time i kulturnu i umjetničku scenu zemlje. Tako je to bilo i u umjetnosti plesa. Muzički biennale Zagreb (1961.) kao novi način razumijevanja i mišljenja glazbe i novi iskoraci na likovnoj sceni ( Gorgona, konceptualna umjetnost, minimalizam, apstraktni ekspresionizam, Nove tendencije ) koji su se pojavili u našem prostoru 60-ih godina ubrzo su osvojili stidljivu i malobrojnu sljedbu među publikom da bi svojom žilavom nazočnošću i osvajanjem umjetničkog prostora obilježili cijelo jedno desetljeće. Najprije je u širem kulturnom krugu to traženje novih mogućnosti umjetnosti i društvenog angažmana izazivalo podozrivost i neshvaćanje jer je išlo protiv struje jednoumnog vremena da bi se potom na mala vrata uvuklo i u hram institucionalne kulture, u Hrvatsko narodno kazalište (Nada Kokotović, Miko Šparemblek). Među prvim lastama novog plesnog zamaha koji šezdesetih stupaju na javnu scenu nalazimo članove Pionirskog kazališta (PIK-ovih radionica), školovane plesače klasičnog baleta, učenice ritmičke škole kao i priučene entuzijaste gimnastičare i plesače folklora. Bili su to volonteri, u pravom smislu riječi, zaljubljenici u plesnu umjetnost spremni posvetiti svoj život plesu, uvjereni da je vrijedno izboriti svoje mjesto u ovoj profesiji na margini društvenog interesa usprkos brojnim objektivnim i subjektivnim preprekama koje su im se ispriječile na putu. Treba reći da nisu svi bili izloženi istim pritiscima i neprihvaćanju. Još uvijek se znalo koji su politički podobniji i bliži državnim jaslama i političkoj nomenklaturi naspram onih drugih čiji je prevratnički stil izazivao podozrivost i u najmanju ruku čuđenje. Pišući o tome razdoblju, osim spomenutih činjenica ideološkog karaktera, u uvjetima ograničenih tehnoloških mogućnosti i skromnih marketinških okvira kao pratećih djelatnosti autonomnih grupa i ansambala izvaninstitucionalnog plesa, trebamo imati u vidu i prozračnu koprenu sjećanja, osobito u plesnoj umjetnosti gdje se svakodnevno tanana pređa pokreta nije mogla niti zapisati niti sačuvati od propadanja. Zato se pokušaj rekonstruiranja zbivanja u prošlim ne tako davnim vremenima doima kao kopanje po arheološkom nalazištu ostataka neke izgubljene kulture koje bi trebalo nekako Fonat, Muzički biennale Zagreb (1967), pripreme za Fonoplastički ekran, foto/photo: V. Pondelak. Na slici:?, E. Midžić, B. Sakač, V. Habunek, N. Kokotović, V. Spinčić, I. Ivanko, M. Broš, O. Draušnik. Fonat, Muzički biennale Zagreb (1967), pripreme za Fonoplastički ekran, foto/photo: V. Pondelak. Na slici:?, N. Kokotović,?, I. Ivanko, O. Draušnik, V. Spinčić, B. Maričević. Croatian dance spring MOVEMENTS

42 povezati i ponovno spojiti u cjelinu. To najčešće ovisi o narativima sve malobrojnijih očevidaca i neposrednih sudionika događanja, iako svaki od njih ima svoju vlastitu viziju, iskustvo i životnu priču. Jedan od protagonista 60-ih godina na hrvatskoj plesnoj i baletnoj sceni je i Ivica Ivanko, član PIK-a, pa Eksperimentalne grupe slobodnog plesa odnosno prve generacije Komornog ansambla slobodnog plesa (KASP) i kasnije Baleta HNK u Zagrebu. Prateći u kronološkom nizu njegovu profesionalnu plesačku karijeru, ovaj razgovor će nastojati prenijeti novim generacijama nešto od autentičnog duha toga vremena. Ivan Ivanko rođen je Prološcu / Imotski godine. Do djetinjstvo je proveo u Gospiću kod bake koja ga je i odgojila. Osnovnu i srednju školu polazi u Zagrebu gdje već od najranije dobi sudjeluje u školskim priredbama kao član u folklornoj grupi škole. Istovremeno, otac ga upisuje u Pionirsko kazalište gdje započinje Ivanova naobrazba i scensko iskustvo. Popularni PIK pamtim po tome što su ga naši i smatrali nekom vrstom rasadišta mladih talenata. Kao dijete i sama sam sanjala o tome da jednoga dana uđem u taj svijet, ali se onda otvorila druga mogućnost i umjesto u kazalište otišla sam u Školu za klasični balet. Iz današnje perspektive bit će zanimljivo saznati što je doista značio PIK za Ivanka i njegovu generaciju. T.T. - Ivane, kada i kako si dospio u Pionirsko kazalište? Jesi li otprve osjećao želju za plesom? Koje grupne aktivnosti si tamo pohađao? I.I. - U Pionirsko kazalište u Preradovićevoj ulici upisao me otac godine. Najprije sam pohađao radionice glume kod Zvjezdane Ladika, a na satove glazbe (pjevanje, solfeggio i blokflauta) išao sam kod Trude Reich. Truda me je uspješno uvela u svijet glazbe i dala mi glazbenu osnovu. Bio je to mješoviti program nešto kao paralelne umjetničke škole u malome. U to vrijeme sam se družio s Vladom Svibenom, Željkom Mesarićem, Đimijem Jurčecom, Marijanom Radmilovićem... Bili smo homogena, harmonična, grupa entuzijasta koja je uživala veliku pedagošku i profesionalnu potporu i utjecaj sjajnih pedagoga - Zvjezdane Ladika, Slavenke Čečuk, Trude Reich, Milene Večerina koja je bila i direktorica, Bogdana Gagića, Silvije Hercigonje i Milane Broš. To je bilo moje bogato osnovnoškolsko iskustvo gdje sam se susreo s ljepotom i čarolijom kazališne umjetnosti. T.T. - Koliko dugo si se ondje zadržao i u kojim si sve projektima sudjelovao? I.I.- Ostao sam u PIK-u do godine. Iz toga razdoblja pamtim najljepše trenutke kad smo nastupali ne samo na domaćim pozornicama, nego smo se otisnuli i u Europu što je ostalim našim vršnjacima u državi bilo gotovo nezamislivo. Tako smo gostovali s PIK-om u Berlinu s koreografijama Ane Maletić Jurjaši i Šiptarska suita i tri narodna plesa iz Međimurja. Berlin je u to vrijeme još bio u ruševinama. Stanovali smo u Spandau, a predstave smo držali na Citadeli-Spandau s jednom švedskom grupom. Tada sam u Berlinu vidio puno bijede i jada, ali sam se ipak zaljubio u taj grad te sam si nekako obećao da ću ondje živjeti kad odrastem. To mi se godine i ostvarilo. U Švedskoj smo gostovali 1961., i to s Dječjom operom koju je glazbeno uredila Truda Reich, a koreografirala Silvija Hercigonja. To je za mene bio presudan trenutak. Naime, za vrijeme toga gostovanja u Finspongu jedan je plesač iz baleta povrijedio nogu, a ja sam istovremeno izgubio glas pa nisam mogao pjevati (nisam mogao odoljeti besplatnoj ponudi sladoleda pojeo sam 20 komada u pola sata!). Švedski liječnik je ustanovio da imam laringitis. Kako nisam mogao pjevati, a plesač nije mogao navečer plesati, Silvija je odlučila da moram uskočiti u predstavu kao plesač i u roku od jednoga dana morao sam naučiti čitavu koreografiju da bih navečer nastupio. T.T. - I tako je započela tvoja plesačka karijera? I.I. - Upravo tako. To je bio moj neposredan i oštar susret s baletom, početak moje karijere plesača klasičnog baleta. Tu se moja sudbina počela igrati sa mnom. Po povratku u Zagreb, morao sam kod Silvije Hercigonje vježbati klasični balet. Klasovi su mi izgledali kao sadističke vježbe izmišljene za mazohiste kakvi su svi klasični plesači uključujući i mene. Silvija je bila jako stroga. Ali bila je savršeni pedagog i raditi s njom bio je za mene velik dobitak. Jako sam je volio. No bio sam više privržen modernim vježbama na osnovama tehnike Marthe Graham koje je provodila Milana. Ona je bila fascinirana Graham i tih godina smo Milana i ja često išli u američki konzulat na Zrinjevcu, pronalazili literaturu i proučavali radove i tehniku Marthe Graham. Te su mi vježbe bile nekako bliže i davale su mi osjećaj veće slobode pokretima tijela. Tako da sam klasiku radio kod Silvije, a s osobitim zadovoljstvom surađivao sam s Milanom. T.T. - Kada te Milana Broš pozvala u svoju Eksperimentalnu grupu slobodnoga plesa? I.I. - Mi smo svi: Nada Kokotović, Olga Draušnik, Vlasta Spinčić, Boris Pavlenić i moja malenkost, bili polaznici Milanina plesnog studija u PIK-u, dakle njezini učenici koje je na neki način prepoznala i pozvala u posebni ansambl koji je oformila unutar PIK-a. Iako različitih predispozicija i plesačkog iskustva i izražajnih mogućnosti, ipak smo se nadopunjavali i radeći zajedno uspijevali stvoriti ozračje suglasja, jednostavno rečeno, dojam umjetničke cjeline. Milana se tada brzo, u proljeće već osokolila i oslobodila PIK-a i započela vlastiti put. Zanimljivo je da nam je nakon odlaska iz PIK-a u našem beskućništvu pomogla nitko drugi doli direktorica Škole za kla- 42 KRETANJA Hrvatsko plesno proljeće

43 sični balet Šiška (Ines) Ivanišević. Ona nam je ustupila baletnu dvoranu škole za vježbanje u večernjim satima, a isposlovala je i to da nam je Udruženje baletnih umjetnika odobrilo registraciju KASP-a. Šiška kao i njezina kći Latica (kostimografkinja) bile u neku ruku naše mentorice. Nakon rada u Baletnoj školi, preselili smo se u novi prostor i to u Teatru &TD, koji je upravo tada s velikim uspjehom počeo voditi mladi talentirani literat Vjeran Zuppa. Tu smo, osim prostora za vježbanje, dobili priliku da se na sceni &TD-u predstavimo publici. U to vrijeme se KASP-u priključio majstor svjetla i ton-majstor Branko Vodeničar, koji je Milani i nama kreativno prezentirao glazbu i tonski i svjetlom opremao naše predstave. Branko se je s osobitim entuzijazmom angažirao u KASP-u. Kreirao je glazbu za Pisaće mašine s kojima smo postigli velik uspjeh u Jugoslaviji i inozemstvu. T.T. - Što ti je bilo posebno inspirativno u Milaninom ansamblu koji je možda pružao previše slobode i improvizacije, a premalo prakse, škole i tehnike? I.I. - Moram reći da je to na prvom mjestu bila pozitivna, poletna atmosfera. Meni osobno puno je značilo u moralnom, psihološkom i kreativnom pogledu raditi s njom, ali i s Bogdanom Gagićem. On je bio izvrstan kompozitor i pijanist i korepetitor kod Milane, no odigrao je važnu ulogu u formiranju i ansambla i moje osobnosti. Bio je duša našeg ansambla. Sve nas je inspirirao svojim interpretacijama klasične i moderne glazbe kao i vlastitim kompozicijama na koje smo plesali. Gagić je bio nerazdvojna cjelina naše tada harmonične grupe, i sve je izgledalo onako kako treba biti u takvoj kreativnoj zajednici. Dobro smo se razumjeli i bili smo više nego prijatelji prava obitelj. Stvari su se jednostavno nizale jedna za drugom i mi smo svaku večer vježbali, eksperimentirali i stvarali. S Milanom smo radili na drugi način nego s drugim pedagozima. Tu je bilo puno entuzijazma, elana i radoznalosti za upoznavanjem novoga u plesnoj umjetnosti. Istraživali smo novi plesni izričaj i mogućnosti tijela. Milanu su od početka zanimali novi iskoraci u plesnoj umjetnosti, nove mogućnosti pokreta i plesa, posebno Graham, što je upotrijebila za daljnji razvoj istraživanja naših tjelesnih mogućnosti, koje smo kao grupa uspješno razvili u naš posebni stil. Bilo joj je svejedno kako će se to imenovati. Imamo lijepa sjećanja, puno putovanja i vrijednih nagrada, a to je tada bila rijetkost. Kao što sam već spomenuo, mi smo s Milanom bili jedna homogena cjelina, sve do razlaza godine i rasformiranja prve generacije KASP-a kad smo Vlasta, Nada i ja dobili prve veće zadatke u HNK-u... Ansambl je prvi put javno nastupio na drugom jugoslavenskom Baletnom biennalu u Ljubljani s predstavom Plesne studije. Uslijedili su projekti Koncerti u muzeju (1964.), Koncert KASP-a (1966.) gdje nam se pridružila Biserka Maričević (1965.) i Fonoplastički ekran (1967.). Prva cjelovečernja predstava KASP-a bila je Pisaće mašine + jazz koju smo izveli godine. Iste godine KASP je nastupio i pobijedio na međunarodnom natjecanju mladih koreografa u Parizu, u Theatre d essai de la danse, a tamošnji su ga kritičari prozvali čudesnijim od svih projekata. Godinu dana poslije, Milana je počela surađivati sa Zagrebačkim gudačkim kvartetom. S njima (Klima, Kuzmić, Živković, Stojanović) smo nastupili na Bienalu u Sarajevu i kasnije u Grožnjanu. To je bio jedan od začetaka Muzičke scene u Grožnjanu. No unatoč brojnim putovanjima i uspjesima te raznolikim projektima, mi iz prve generacije KASP-a odlučili smo krenuti drugim putem. Ansambl je u tehničkom pa i u kreativnom smislu s vremenom zapao u neku vrstu letargije. Počeli smo se ponavljati. Nije bilo izgleda za napredovanje, ali smo se s Milanom razišli u prijateljstvu. T.T. - Koliko se sjećam iz priča mojih kolegica i ti si, Ivane, osim kod Silvije Hercigonje bio i u baletnoj školi? Jesi li sam procijenio da je za jednog plesača neophodno steći kvalitetno klasično obrazovanje ili su te na to drugi uputili? I.I. - Za vrijeme rada sa Silvijom u PIK-u, ona me je poslala (mislim da je to bilo godine) u Baletnu školu. Školu sam volio sve dok me profesorica klavira nije počela fizički i psihički zlostavljati. Tukla me je po rukama i ucjenjivala govoreći što se mene tiče, ako ne budeš svirao kako ja očekujem, nećeš završiti školu ). Tako je daleko dotjerala, da sam sve poslao k vragu i napustio školu. U to doba smo u PIK-u već izvodili Plesne studije Milane Broš i Šiptarsku suitu Ane Maletić. T.T. - Dakle, istovremeno si u PIK-u radio balet s Hercigonjom, slobodni ples s Milanom Broš i moderni ples kroz stilizaciju folklora s Anom Maletić i to očito ni tebi ni njima nije smetalo bez obzira na različit plesni izričaj i odnos spram tijela, plesa, improvizacije, stila, rječnika... O Ani Maletić mi još nisi ništa rekao, s obzirom na činjenicu da si s njom na nekim projektima surađivao i da je ona važna osobnost plesne scene 60-ih? I.I. Ana Maletić, koliko se sjećam, bila je u PIK-u zadužena samo za koreografiju Šiptarske suite i Jurjaša. Inače nije imala nikakve veze s plesnim grupama Silvije Hercigonje ili Milane Broš. Nisam imao nikakve emocionalne veze s njom kao što sam imao s drugim pedagozima u PIK-u. Naše plesne grupe su radile samostalno, a Ana je za Šiptarsku suitu izabrala kolege iz svih grupa za koje je ocijenila da su joj potrebni za navedene koreografije. To je vidljivo iz programa. Na primjer, u njenoj predstavi plesali su i naš šminker Halid Redžepagić i inspicijent Zoran Zlatar, a od glumaca Slavica Jukić, Edita Novosel, Branka Paunović, Branko Supek, Željko Mesarić. Svirali su Vlado Sviben i Miško Polanec. Ana se profesional- 04 Tuga Tarle Croatian dance spring MOVEMENTS

44 no bavila realizacijom predstave za izvođenje, bez posebnih pedagoških tendencija. T.T. Njezina Šiptarska suita je koreografirana za Državni ansambl narodnih plesova (kasnije Lado) i bila je velika međunarodna uspješnica I.I. - Ja sam uvijek bio senzibilna osoba, a Ana mi je djelovala jako hladna i ne baš pristupačna prema drugima. Ne da Anu nisam volio, nego s njom nisam mogao uspostaviti emocionalnu bliskost. Naime, nekolicina nas bili smo odrasli ljudi u dobi od 14 do 24 godine. Bili smo formirani plesači tako da nije imala ni potrebe ni prilike na nama dokazivati neka velika pedagoška ostvarenja. Što se tiče folklora, tu sam s njom profitirao. Obje koreografije su bile folklorne. T.T. - S obzirom na to da si (vjerojatno ne osobito svjestan te činjenice) sudjelovao u stvaranju hrvatske plesne moderne, sjećaš li se kako vas je prihvaćala publika? I.I. - Što se publike tiče, isto kao i televizijskih i novinarskih kritičara, moram reći da su nas, na naše veliko iznenađenje, u čitavoj Jugoslaviji i inozemstvu s oduševljenjem prihvaćali. To nam je mnogo značilo i kroz to smo imali toliki uspjeh. Naravno, bila je to publika koja je posjedovala isti senzibilitet i znatiželju, željna inovativnog pristupa plesu. To nas je također štitilo od kritika i podsmijeha naših kolega plesača kojima nije bilo jasno što mi kao ljudi s klasičnim baletnim obrazovanjem radimo u jednoj takvoj grupi u kojoj se najmanje pleše, a najviše izvode improvizacije bez neke jasne koreografske koncepcije i logike. T.T. - Milana je znala što hoće postići svojim projektima. Plesačima bi dala slobodu do one mjere do koje se to uklapalo u njezinu viziju predstave. Znala je reći da plesač može uzeti onoliko slobode koliko želi, ali da mora ostati na istoj valnoj dužini s njom jer ako tu liniju prekorači, onda sloboda ne služi ničemu, a mogućnost komunikacije iščezava. Svaka je predstava KASP-a bila angažirana, imala je svoju poruku proisteklu iz zajedničkog rada svih sudionika i osluškivanja bila vremena, bilo da je išla usuprot tendencijama destrukcije svijeta kakav poznajemo ili je sama razarala okoštale strukture zadanoga koncepta umjetnosti i plesa. Toga nije bilo za vidjeti kod ostalih ansambala u 60-ima. Otuda i nerazumijevanje i podsmjesi. Jedino je Milana neumorno tražila svoj vlastiti put i izričaj, a plesača uvažavala kao punokrvno stvaralačko biće ravno njoj. Ako bi se nakratko i oduševila nekom školom, to bi je ubrzo napuštalo u susretu s njezinom plesačima koji su slobodni od šablona i klišeja škola istraživali novo pa je i ona s njima kretala tim smjerokazom avanture duha. I.I. - S time bih se u cijelosti složio. T.T. - Nije ti smetalo svaštarenje, rad u predstavama u rasponu od klasike do modernog i slobodnog plesa? U kojem plesnom izričaju si se kao plesač najbolje osjećao? I.I. - Volio sam i jedno i drugo i treće. Sve što bi donijela na moj put plesna umjetnost. Posebno sam cijenio činjenicu da Milani plesna tehnika nije smisao plesa, već samo sredstvo kojim plesač ovladava svojim mišićima kako bi ga tijelo slušalo. Zahvaljujući Gagiću i Milani, već sam se našao na usavršavanju na Academia Musicale Chigiana u Sieni u klasi Clotilde Saharov (Sakharoff ) i Wolfganga Keilholda. Godine Sonja Kastl me je angažirala u kazalištu Komedija. To mi je bilo prvo iskustvo rada u opereti. Radio sam sa Simonellijem, Štefančićem, Šeginom, Sandrom Langerholz i drugima. Za vrijeme angažmana u Komediji i poslije u HNK-u, radio sam honorarno u različitim muzičkim emisijama na HRT-u. Godine Sonja Kastl me je angažirala u HNK-u kao ansambl plesača II. postave. No kako sam već na početku angažmana kratkoročno uskakao u manje solističke role, dobio sam dodatni ugovor. T.T. - Tko su osobe iz kulturnog miljea za koje bi mogao reći da su utjecale na tvoj umjetnički i osobni razvoj? I.I. - Osim onih već ranije spomenutih, sjećam se da sam za moga angažmana u HNK-u sklopio prijateljstvo s Tomislavom Vukovićem. On me je uveo u kulturni život Zagreba. Obojica smo bili podstanari i nismo smjeli u stanovima kuhati pa smo se hranili u restoranskoj školi u Frankopanskoj ulici. To je bilo vrijeme i mjesto gdje smo mogli između proba i predstava malo predahnuti. Tomica je meni bio jako važna osoba. On me je uveo u svijet likovnih umjetnosti. Nažalost, ubrzo sam to divno prijateljstvo izgubio jer je Tomislav otišao na angažman u National Theater u Hamburgu. Nakon toga prijateljevao sam i s povjesničarom umjetnosti Vladom Buzančićem s kojim sam se kretao u likovnim krugovima te sam čak s njime zajedno postavljao nekoliko likovnih izložbi. Zahvaljujući Buzančiću upoznao sam Vladu Habuneka, Josipa Torbarinu, Božidarku Frajt, Jagodu Bujić s kojima smo Buzančić i ja proveli mnogo zajedničkog vremena. S Vladom Habunekom sam kasnije često surađivao. I mnogo sam naučio o operi, opernoj režiji i uopće o kazalištu. On je zaslužan za moj daljnji umjetnički razvoj. Nekoliko najvažnijih osoba u mome životu s kojima sam ostvario dugogodišnje usko prijateljstvo bili su Tošo Dabac i Marija Braut. Atelje Toše Dabca bio je moj drugi dom. S Perom Dabcem i arhitektom Vitićem izrađivao sam arhitektonske modele koje su Tošo i Marija zatim fotografirali. Tamo sam provodio sve svoje slobodno vrijeme izrađujući cvijeće iz svilenog papira, kreirao sam odjeću i modne dodatke kao i tapi- 44 KRETANJA Hrvatsko plesno proljeće

45 serije od užadi. Moje kreacije od užadi posjedovale skoro sve moje prijateljice i kolegice, od Zdravke Krstulović do Astrid Turine. Kod Toše bi se znala okupiti kulturna elita grada Zagreba: slikar Ivan Picelj, kompozitori Milko Kelemen i Ivo Malec, kustosi Boris Kelemen, Radoslav Putar (Milanin suprug), Vera Pintarić, Vlado Buzančić i drugi, a uz njih i moja malenkost, običan ansambl plesač II. kategorije u HNK-u! T.T. - Ako se dobro sjećam, Habunek je za Biennale surađivao s KASP-om na projektu Fonoplastički ekran na glazbu Branimira Sakača. Strana kritika je tu eksperimentalnu priredbu okarakterizirala kao veliku kolorističku fantaziju koja teži ostvarenju umjetničkog kompleksa specifične suvremene vibracije (A. Hoffman, Romania Libera, Bukurešt, objavljeno u bulletinu MBZ-a br. 14) i fascinirajući pokušaj da se povežu pojedini umjetnički elementi, da se kreiraju apstraktne prikaze ili sanjarske slike (F. Prieberg, Badische Zeitung, Baden-Baden, objavljeno u bulletinu MBZ-a br 14). I.I. - Za mene je ova suradnja s Habunekom bila velik poticaj za moju buduću umjetničku djelatnost. Mi smo s KASPom u više navrata nastupili na Biennalu, i u situaciji tadašnje plesne scene predstavljali smo avangardu pa smo se idealno uklapali u okvire Biennala, a to nam je donijelo i kasnije gostovanje u Parizu. za našu klasičnu baletnu scenu. Očekivao sam da će se plesači pobuniti, ali to se nije dogodilo. Tada je na Biennalu prvi put koreografirala i naša poznata balerina Maja Bezjak. Ona je postavila balet Dia na glazbu Natka Devčića. Tako smo se napokon našli pod zajedničkim kišobranom plesači klasičnog baleta i plesna avangarda i to je bilo jako lijepo iskustvo. Maja me je osvojila svojom disciplinom, preciznošću, profesionalnošću i umjetničkim iskustvom. Još jedna umjetnica od koje sam u svom daljnjem radu i životu mnogo profitirao. Naredne godine (1971.) na Biennalu je gostovala Deutsche Oper Berlin s operom i baletom. Direktor baleta Gerd Reinholm pozvao me je u Berlin na audiciju koju sam uspješno položio. Čekao me je moj davno žuđeni Berlin. S nužnim stvarima i dva kovčega otišao sam u Njemačku. Ondje sam radio u Theater des Westens Berlin, Opereten Haus Hamburg, Deutsche Theater München, na filmu (Just a gigolo s Marlene Dietrich i Davidom Bowiejem) i na televiziji gdje sam nastavio karijeru kao baletni plesač, asistent koreografije, koreograf i redatelj u različitim emisijama. 04 Tuga Tarle T.T. - Tvoj sve uspješniji angažman u HNK-u od sredine 60-ih sve te više udaljava od KASP-a i plesne moderne. I.I. - Istina je. Zaredao je niz zanimljivih predstava i uloga u kojima sam nastupao: Licitarsko srce, Volimo Bacha, Peća i vuk, Petar Pan, Đavo u selu, Na plaži. Plesao sam Hilariona u Giselle. Dobio sam i drugu takozvanu trčeću rolu Rotbarta u Labuđem jezeru, s kojim smo gostovali na Dubrovačkim ljetnim igrama 1968., pa smo tamo upoznali i družili se s Alvinom Aileyjem. Milana je 1966./1967. koreografirala za seriju Dječjeg TV programa 20 slavnih. Jedna od tih emisija je bila Postojani kositreni vojnik, bajka Hansa Christiana Andersena. To nije radio KASP, nego nas je pojedinačno angažirala za snimanja. Vojnika je plesao baletni plesač Norio Yoshida. Tako sam oduvijek pripadao dvama različitim svjetovima i u njima se odlično snalazio. T.T. - Čini se da je na kraju ipak prevladala ljubav prema klasičnom baletu. I.I. - To je bio siguran kruh. Osim toga i Balet HNK počeo je prihvaćati neke nove vjetrove. Ušli smo u sedamdesete. Balet HNK-a je te godine sudjelovao na Muzičkom biennalu izvedbom predstave Lied Ive Maleca u koreografiji Nade Kokotović. To je bio značajan iskorak Za oproštaj, prije odlaska u Berlin bio sam angažiran na Ljetnim igrama u Dubrovniku u operi La Serva Padrona s Nadom Siriščević i Vladimirom Ruždjakom. Još sam se jednom nakratko vratio godine radi nastupa u istoj operi, ovaj put s Enricom Fissoreom da bih se potom definitivno rastao sa Zagrebom. Kadgod sam u prilici razgovarati s osobom koja je premda samo dio svoga života posvetila plesnoj umjetnosti i osjetila snagu i ljepotu pokreta, svjetla pozornice tog čudesnog prostora bezvremenosti i bilo publike koja s vama proživljava istu dramu prolaznosti, obuzme me posebno čuvstvo koje bih jednostavno nazvala poštovanjem. Taj isti osjećaj obuzima me i sada pred svjedokom jednoga vremena u kojemu je plesna umjetnost hrabrije i odlučnije, dosljednije i upornije nego ikada ranije krčila sebi put do javne scene. U tom razvoju kojega više nitko neće moći zaustaviti svoj osobni doprinos dao je i Ivan Ivanko. KASP, Muzički biennale Zagreb (1969), Suradnja sa Zagrebačkim gudačkim kvartetom Croatian dance spring MOVEMENTS

46 Tuga Tarle Croatian dance spring An Interview with Ivan (Ivica) Ivanko 04 Tuga Tarle The recent exhibition at the Museum of Arts and Crafts, Sixties in Croatia Myth and Reality demonstrated how already in the early sixties the Croatian cultural scene began to shake off the clichés of politically suitable and ideologically correct creativity imposed through the themes and forms of expressing socialist realism. After the leaden years of agitprop, not even a decade and a half from the introduction of a new ideological matrix of socialism, marked by political absolutism and tutorship over culture by way of supporting classic clichés of the revolution to the expense of the freedom of exploration, expression and opening to new visions, a new time for Croatian art has come. This is not to claim that in a short span of time the freedom every true artist would want finally arrived, nor that there was no game-playing and witty outsmarting, or even pact-striking, among many creative people with the censors of the time, but despite the partisan control, the libertarian spirit of the individual cautiously and slowly began liberating itself from the shackles of the new class s ideological patronisation. Political commissioners found less and less space in art, while the profession sought its place in the sun and under the influence of developed western cultures changed and shaped the audience s taste by exploring on its own, consequently changing the cultural and artistic scene in the country. That was how it was in the art of dance, as well. The Zagreb Music Biennale (1961), as a new way of understanding and examining music, and new trends on the art scene (Gorgona, conceptual art, minimalism, abstract expressionism, New Tendencies) which appeared in our region in the sixties, soon earned a shy and small fan base among the general public, only later to mark an entire decade with their persistent presence and conquest of artistic space. At first this quest for new possibilities and social involvement caused distrust and misunderstanding in the broader cultural circle, because it opposed the trends of absolutism, only later to creep in the temple of institutional culture, the Croatian National Theatre (Nada Kokotović, Miko Šparemblek). Among the first pioneers of a new dance upswing that stepped on the stage in the sixties, we find the members of the Pioneer Theatre (PIK dance workshops), trained classical ballet dancers, students of the school of rhythm, as well as amateur enthusiast gymnasts and folklore dancers. These were volunteers, in the true sense, dance art aficionados ready to devote their lives to dance, believing in the righteous fight for the status of this profession on the margins of social interest, despite countless objective and subjective obstacles that got in its way. Bear in mind that not everyone was exposed to the same pressures and unacceptance. It was known who were the politically more suitable and closer to the exchequer and the political orientation, as opposed to the others whose rebellious style inspired caution and wonder, in the least. Writing about this period, in addition to the mentioned ideological facts, in the circumstances of limited technological possibilities and modest marketing platforms as accompanying activities of independent companies and non-institutional dance ensembles, one should bear in mind the translucent veil of memory, especially in dance art, where the subtle yarn of movements could be neither recorded nor kept from decay. That is why am attempt at reconstructing the events in the not so distant past times seems like unearthing archaeological finds on a site of a lost culture, which should be somehow reconnected and puzzled up into a clear image. This mostly depends on the narratives of fewer and fewer eye-witnesses and immediate contributors to the events, although each of them has their own vision, experience and life tale. One of the protagonists of the sixties on the Croatian dance and ballet scene is Ivica Ivanko, a member of PIK, of the Experimental Company of Free Dance, i.e. the first generation of the Chamber Ensemble of Free Dance (KASP) and later the Zagreb Croatian National Theatre s Ballet. Chronologically following his professional dance career, this interview will try to convey bits of that authentic zeitgeist to new generations. 46 KRETANJA Hrvatsko plesno proljeće

47 Ivan Ivanko was born in Proložac/Imotski in Until 1952 he was spending his childhood in Gospić with the grandmother who raised him. He attended primary and secondary school in Zagreb and from the early age took part in school plays as a member of the folklore section. At the same time, his father enrolled him in the Pioneer Theatre (PIK), marking the beginning of Ivan s education and stage experience. I remember the popular (PIK) as a sort of breeding soil of young talents. As a child I also fantasised about entering that world, but then another door opened and instead of the theatre, I went to the School of Classical Ballet. From today s point of view, it will be interesting to find out what PIK really meant for Ivanko and his generation. T.T.: Ivan, when and how did you get to the Pioneer Theatre? Did you immediately feel a desire to dance? Which group activities did you attend? I.I.: My father put my name down for the Pioneer Theatre in Preradović Street in I first took acting workshops with Zvjezdana Ladika, and music lessons (singing, solfeggio and block flute) with Truda Reich. Truda successfully introduced be to the world of music and gave me a background in music. It was a combined programme something like compressed parallel art schools. T.T.: How long did you stay there and what were the projects you took part in? I.I.: I stayed with PIK until From that period I remember only the loveliest moments, when we performed not only on local stages, but also in Europe, which was almost unthinkable to our peers in the country. With PIK we visited Berlin with Ana Maletić s choreographies Jurjaši and Shqiptar Suite and three folk dances from the Međimurje region. At that time Berlin was still in ruins. We lodged in Spandau and performed at Citadel-Spandau with a Swedish group. I saw a lot of misery in Berlin, but I nevertheless fell in love with the city and somehow promised myself to live there when I grow up. My wish came true in We visited Sweden in 1961 with Dječja opera (Children s Opera), curated musically by Truda Reich and choreographed by Silvija Hercigonja. This was the crucial moment for me. During that visit in Finspong, one ballet dancer from the company hurt his leg and I lost my voice so I was unable to sing. As I couldn t sing and the dancer couldn t dance that night, Silvija decided I had to step in as a dancer and in a day s time I had to learn the entire choreography to perform that evening. T.T.: And that was how your dancing career began? I.I.: Precisely. It was my immediate and sharp encounter with ballet, the beginning of my career as a classical ballet dancer. Upon returning to Zagreb, I had to practice classical ballet with Silvija Hercigonja. The classes seemed like sadist exercises invented for masochists like all the classical ballet dancers, including myself. Silvija was very strict. But she was a perfect pedagogue and working with her was a jackpot for me. I loved her very much. But I was more inclined to modern exercises based on Martha Graham s technique, taught by Milana. She was fascinated with Graham and back then Milana and I often went to the American Consulate in Zrinjevac, rummaged for literature and explored Martha Graham s works and technique. These exercises were somehow closer and gave me a sense of greater freedom in body movements. T.T.: When was it that Milana Broš invited you to her Experimental Company of Free Dance? I.I.: All of us, Nada Kokotović, Olga Draušnik, Vlasta Spinčić, Boris Pavlenić and myself, were part of Milana s dance studio at PIK, her students which she in a way recognised and invited to the special company she formed within PIK. Although of different predispositions, experiences and expressive potential, we nevertheless complemented each other well and, working together, managed to create an atmosphere of harmony, simply put, an impression of an artistic unity. Very soon, in the spring of 1962, Milana very soon, in the spring of 1962 already separated from PIK and embarked on a path of her own. Interestingly, after leaving PIK, our homelessness was resolved by none other than the director of the School of Classical Ballet, Šiška (Ines) Ivanišević. She let us use the school s rehearsal studio in the evening hours and intervened with the Association of Ballet Artists to approve our registration of KASP. After working at the ballet school, we moved to a new space at the &TD Theatre, since recently under the successful new management of the young talented literati Vjeran Zuppa. In addition to rehearsal space, we also got a chance to present ourselves to the audience on the &TD stage. At that time, KASP was joined by the light and sound designer Branko Vodeničar, who creatively presented the music to Milana and the rest of us, and complemented our performances with lights and sound. Branko was very enthusiastic about KASP. He created the score for Pisaće mašine (Typewriters), a piece that garnered a lot of success in Yugoslavia and abroad. T.T.: What did you find particularly inspiring with Milana s company, which might have provided a bit too much freedom and improvisation and too little practice, training and technique? I.I.: I have to say it was first and foremost a positive, exuberant atmosphere. It meant a lot to me personally in the moral, psychological and creative sense to work with her and Bogdan Gagić, as well. He was an outstanding composer, pia- Croatian dance spring MOVEMENTS

48 04 Tuga Tarle nist and accompanist at Milana s. The soul of our company. He inspired us all with his interpretations of classical and modern music, as well as his own compositions to which we danced. Things just kept coming, one after the other, and we practiced every evening, experimented and created. With Milana we worked differently than with other pedagogues. There was a lot of enthusiasm, panache and curiosity, a desire to experience the new in dance art. We explored a new dance expression and potentials of the body. Milana had always been interested in new trends in dance art. She didn t care how they would be named. As I already mentioned, with Milana we formed a homogenous unity, all until the separation in 1970 and dissolution of the first KASP generation, when Vlasta, Nada and I got our first major parts at the national theatre. The company s first public performance came in 1962 at the second Yugoslav Ballet Biennale in Ljubljana, with the performance Plesne studije (Dance Studies). The projects Concerts at the Museum (1964), KASP Concerts (1966) followed, when we were joined by Biserka Maričević (1965), and Fonoplastički ekran (Phonoplastic Screen) (1967). KASP s first evening-length piece was Pisaće mašine + jazz (Typewriters + Jazz), performed in The same year, KASP performed and won the international competition of young choreographers in Paris, at the Theatre d essai de la danse, and local critics described it as more marvellous than other projects. A year later, Milana began collaborating with the Zagreb String Quartet, with whom (Klima, Kuzmić, Živković, Stojanović) we performed in 1969 at the Biennale in Sarajevo and later in Grožnjan. That was one of the first steps of the Music Scene in Grožnjan. However, despite our many travels and successes and out diverse projects, we from the first generation of KASP decided to take a different road. The company technically and creatively with time fell into a sort of lethargy. We began recycling ourselves. There was no room for advancing, but we parted with Milana as friends. T.T.: So you simultaneously did ballet at PIK with Hercigonja, free dance with Milana Broš and modern dance in a folklore version with Ana Maletić, and neither of you minded, regardless of the differences in dance expression and relation to body, dance, improvisation, style, vocabulary You haven t told me yet anything about Ana Maletić, considering the fact that you worked with her on several projects and that she is a very important personality on the dance scene of the sixties. I.I.: As far as I remember, at PIK Ana Maletić was in charge only of the choreographies for Shqiptar Suite and Jurjaši. Other than that she had no business with Silvija Hercigonja s or Milana Broš s dance companies. I was in no way emotionally attached to her as I was with other teachers at PIK. Our dance companies worked independently, and for Shqiptar Suite Ana picked colleagues from all companied she deemed necessary for these choreographies. Ana professionally focused on the realisation of performative pieces, without particular pedagogic tendencies. T.T.: Her Shqiptar Suite was choreographed for the National Folk Dance Ensemble (later Lado) in 1952 and was a huge international hit I.I.: I have always been a sensitive person and Ana seemed very cold and unapproachable. It s not that I didn t like Ana, I just had a hard time establishing emotional closeness. Several of us were adults, age 14 to 24. We were accomplished dancers, so she didn t feel a need to prove her teaching accomplishments on us. As far as folklore is concerned, I profited from her. Both choreographies were folklore. T.T.: Since you (probably not particularly aware of the fact) took part in the making of modern Croatian dance, do you remember the audience s response? I.I.: As far as audience is concerned, as well as TV and newspaper critics, I have to day that to our great surprise we were enthusiastically received in entire Yugoslavia and abroad. That meant a lot to us and formed our success. Of course, this was the audience with a similar temperament and curiosity, yearning for innovative approaches to dance. This also protected us from criticism from fellow dancers who couldn t grasp what people rained in classical ballet are doing in a company that does everything except dance and mostly improvise without a clear choreographic concept and logic. T.T.: Milana knew what she wanted to do with her projects. She would give dancers freedom to the point it fit with her vision of the piece. She used to say that a dancer can take as much freedom as they want, but they have to remain on the same wavelength with her, because if they cross that line, then freedom is pointless and communication vanishes. Every KASP s performance was engaged, it had a message derived from common work of all the participants and the pulse of the time, either by opposing the tendencies of destroying the world we know or by destroying the petrified structures of the given concept of art and dance. This was not present in other companies in the sixties. And that is where misunderstandings and derision came from. Milana was the only one who relentlessly sought her own way and expression, and perceived a dancer as a full-fledged creative being, equal to her. If she briefly enthused over a trend, she would soon abandon it in encounters with her dancers who were free from patterns and clichés to explore the new, so she also trod along the lines of adventures of the spirit. 48 KRETANJA Hrvatsko plesno proljeće

49 I.I.: I would completely agree with that. T.T.: You didn t mind the lack of focus, working on performances from classical to modern and free dance? Which dance expression made you feel best as a dancer? I.I.: I really loved all three. Whatever dance art threw on my path. I particularly admired the fact that Milana didn t consider dance technique the essence of dance, but rather only a tool by which a dancer masters their muscles and control their bodies. Thanks to Gagić and Milana, in 1964 I found myself at a training course at Accademia Musicale Chigiana in Siena, under Clotilde Sakharof and Wolfgang Keilhold. In 1965 Sonja Kastl hired me for Comedy Theatre and the following year for the Croatian National Theatre. I also worked for different music programmes on Croatian Television. T.T.: Who were the personalities from the cultural environment you could say made an impact on your artistic and personal development? I.I.: Several most important persons in my life I was friends with for many years were Tošo Dabac and Marija Braut. Tošo Dabac s studio was like a second home to me. With Pero Dabac and architect Vitić I made scale models later photographed by Tošo and Marija. Tošo used to gather the cultural elite of Zagrreb: painter Ivan Picelj, composers Milko Kelemen and Ivo Malec, curators Boris Kelemen, Radoslav Putar (Milana s husband), Vera Pintarić, Vlado Buzančić and others. T.T.: If I remember correctly, for the 1967 Biennale Vlado Habunek collaborated with KASP on the project Phonoplastic Screen, to the score by Branimir Sakač. Foreign critics described this experimental production as a big colouristic fantasy striving to attain an artistic complex of a specific contemporary vibration (A. Hoffman, Romania Libera, Bucharest, 13 May1967, published in Zagreb Music Biennale s bulleting no. 14) and a fascinating attempt at connecting individual artistic elements, to create abstract visions or dreamlike images (F. Prieberg, Badische Zeitung, Baden-Baden, 23 May 1967, published in Zagreb Music Biennale s bulleting no. 14). I.I.: To me this collaboration with Habunek was a great motivation for my future artistic activity. With KASP we performed at the Biennale several times and represented the avant-garde on the dance scene of the time, fitting ideally in the Biennale s image, which later brought us a visiting performance in Paris. T.T.: Your growing success at the Croatian National Theatre from the mid-sixties took you further away from KASP and modern dance. I.I.: True. A series of interesting performances and roles came. I danced Hilarion in Giselle. I also got the so-called running role of Rothbart in Swan Lake, and a visiting performance at the 1968 Dubrovnik Summer Festival, where we met and hung out with Alvin Ailey. In 1966/67 Milana choreographed a series of children s TV programmes 20 slavnih (20 Famous Ones). One of them was The Steadfast Tin Soldier, a fairy tale by Hans Christian Andersen. This was not done by KASP; she hired us individually for the filming. The soldier was portrayed by ballet dancer Norio Yoshida. I ve always belonged to two different worlds and coped excellently in both. T.T.: Your love of classical ballet seems to have prevailed in the end. I.I.: It was my bread and butter. Besides, the Croatian National Theatre Ballet started adopting some new trends. The seventies began. The Ballet took part in the Music Biennale that year with a performance of Lied by Ivo Malec, choreographed by Nada Kokotović. This was a significant step for our classical ballet scene. I expected the dancers to revolt, but it didn t happen. Our famous ballerina Maja Bezjak also choreographed for the first time at that year s Biennale a ballet under the title Dia, to the score by Natko Devčić. Thus we finally found a place under the common umbrella, both the classical ballet dancers and the dance avant-garde and that was indeed lovely experience. Maja won my heart with her discipline, precision, professionalism and artistic experience. Another artist thanks to which I profited in my subsequent life and work. The upcoming year (1971), Deutsche Oper Berlin visited the Biennale with an opera and a ballet performance. The ballet manager Gerd Reinholm invited me to Berlin for an audition, which I successfully passed. And so my long-awaited Berlin life began. With bare necessities and two suitcases I went to Germany. There I worked at Theater des Westens Berlin, Opereten Haus Hamburg, Deutsche Theater München, on film (Just a Gigolo with Marlene Dietrich and David Bowie) and on TV, where I continued my career as a ballet dancer, assistant choreographer, choreographer and director of various programmes. Whenever I have a chance to talk to a person who spent even a portion of their lives to dance art and felt the strength and beauty of movement, the lights of the stage of that magical space of timelessness and the pulse of the audience experiencing the same drama of transience with you, I am overwhelmed by a special feeling I would simply call respect. The same feeling is overwhelming me now before a witness of a time when dance art sought for its place in the sun more courageously, consistently and persistently than ever. To this evolution no one will be able to hinder Ivan Ivanko also contributed in person. Croatian dance spring MOVEMENTS

50 50 KRETANJA ANA MALETIĆ U SUSRETIMA S FOLKLOROM

51 Zorica Vitez Ana Maletić u susretima s folklorom 05 Zorica Vitez Davne bilo nas je pet u prvoj klasi diplomiranih učenica Škole za ritmiku i ples, današnje Škole suvremenog plesa Ane Maletić. Za nama su bile godine rada, plesa i druženja, a pred nama odluka o životnom i profesionalnom putu. Odlučila sam studirati etnologiju, a po završetku studija primljena sam u znanstvenu ustanovu, današnji Institut za etnologiju i folkloristiku. Za vrijeme studija profesionalno sam plesala u Ladu. Na moj izbor studija i odlazak u Lado utjecao je Milivoj Pogrmilović, etnolog i negdašnji plesač Lada, koji nam je u ritmičkoj školi predavao o plesnom folkloru. Ne znam kada sam prvi put čula za profesionalni angažman Ane Maletić u Ladu (1952. i 1953.), kamo je, čini se, došla zbog unapređenja plesnih sposobnosti članova ansambla. U to je vrijeme u Ladu i koreografirala, odnosno postavila Šiptarsku suitu. Mnogo hvaljena prilikom gostovanja u inozemstvu, kod kuće je Šiptarska suita podvojila mišljenja. Osnovne su se dvojbe odnosile na pitanje njezina žanra i, s time u vezi, njezine (ne)primjerenosti profilu i repertoaru Lada. LADO Današnji je Ansambl narodnih plesova i pjesama Hrvatske Lado osnovan krajem godine. Njegovim su članovima postali dotad neprofesionalni pjevači, plesači i svirači folklorne sekcije Omla dinskoga kulturno-umjetničkog društva Joža Vlahović iz Zagreba, a s njima je u Lado prešao i umjetnički voditelj Zvonimir Ljevaković. Poznavanje narodnih plesova i darovitost Zvonimira Ljevakovića trajno je obilježila Lado, a posredno i brojna amaterska folklorna društva u Hrvatskoj kojima je Lado bio uzor. Ljevakovićev pristup predstavljanju folklora na sceni formi- rao se tijekom mnogih godina njegove nazočnosti smotrama Seljačke sloge, koje su od 1930-ih organizirane u hrvatskim selima i gradovima. Seljačka sloga, kao kulturna i prosvjetna organizacija Seljačke stranke, nastojala je afirmirati hrvatsku seljačku kulturu i očuvati je pred naletom promjena i ujednačavajućim utjecajima civilizacije. Ljevaković je podrijetlom iz slavonskog sela, pa je imao i osobna iskustva i duboko razumijevanje za seoski način života i njegove glazbene i plesne izričaje. Baštinu mnogih drugih područja upoznao je na lokalnim i regionalnim smotrama, ali i prilikom planiranih posjeta lokalitetima čije je plesove i glazbu želio interpretirati za repertoar Lada. Riječ je o umjetničkim interpretacijama, koje su težile što manjim intervencijama i što vjernijem prenošenju naslijeđenih oblika i stilova narodnog plesa i glazbe na scenu i u audiovizualne medije. Na taj je način stvoren temeljni i reprezentativni repertoar Lada, obilježen osebujnim stilom i zvukom. Mnogi ga ocjenjuju vrlo uspjelim, a to potvrđuje i njegov dugogodišnji život na domaćoj i inozemnoj sceni. Taj je repertoar uvelike utjecao na brojna amaterska folklorna društva, čiji su ga voditelji nekritički preuzimali i prekrajali, pa danas dijelove Ljevakovićevih koreografija nalazimo i tamo gdje je on nekad tražio građu i inspiraciju. Dolazak i koreografiranje Ane Maletić u Ladu podijelilo je i članove ansambla i brojne folklorne amatere, a nije ga podržavao ni Zvonimir Ljevaković. Sukob je završio odlaskom Ane Maletić i odustajanjem Lada od drukčijeg koncepta predstavljanja folklora na sceni. Nažalost, u kontekstu teških vremena poraća, velikih društvenih i ideoloških promjena, ti su događaji imali i neumjetničku pozadinu, odnosno nisu rješa- Škola za ritmiku i ples (1960), Vera Maletić s učenicama na satu kinetografije Škola za ritmiku i ples (1960), Igra puža, izvode T. Škrinjarić, Z. Orepić (Vitez), V. Kaurić Ana Maletić Meets Folklore MOVEMENTS

52 vali samo pitanja koncepcija. Zanimljivo je da je Lado, gotovo pedeset godina kasnije (2008.), odlučio postaviti folklorni balet Veronika Desinićka. FOLKLOR NA SCENI U dugoj povijesti izvođenja folklora na sceni naši folkloristi opisuju izvedbe Moreške u Dalmaciji u svečanim prigo- dama državne važnosti, pri posjetima članova kraljevskih obitelji i drugih visokih gostiju (krajem 18. te u 19. i 20. stoljeću). Te su izvedbe bile prilagođene sceni, ponajprije zbog njihova dugog trajanja. U Zagrebu je za posjeta cara Franje II. pred katedralom izvedena Pleszopiszen, koju je osmislio biskup Maksimilijan Vrhovac koristeći seljačku glazbenu i plesnu baštinu pa i nošnju, a sudjelovali su plemići. U vrijeme ilirskoga pokreta nastajala su i izvođena kola po uzoru na narodna, služeći kao simboli zajedništva i potvrda nacionalnih vrijednosti. Iako su ušla i u repertoar tadašnjih društvenih plesova, ponekad su se izvodila u svečanim prigodama kao svojevrsne scenske izvedbe. Već su spomenute scenske izvedbe narodnih plesova i glazbe na mnogobrojnim smotrama seljačke kulture od 1930-ih godina te masovna pojava folklornih, odnosno kulturno-umjetničkih društava čija je djelatnost usmjerena scenskom životu folklora. Folklor kao inspiracija, motiv ili građa ima dug život u hrvatskoj umjetnosti, posebice u domeni glazbe i plesa, ali i u likovnoj umjetnosti. Uz poznata ostvarenja te vrste, koja nalaze svoje mjesto u repertoaru naših profesionalnih kazališta (primjerice Licitarsko srce, Ero s onoga svijeta), za folklorom je posegnulo i mnogo koreografa različita plesnog usmjerenja i naobrazbe. Ne pretendirajući na pregled svih tih pokušaja i ocjenu njihovih dometa, želim samo upozoriti na čest odabir nekih likova i tema koje podrazumijevaju uporabu folklorne građe (primjerice lik Petrice Kerempuha te sižei narodnih predaja, vjerovanja, običaja). ŠIPTARSKA SUITA Vraćajući se Ani Maletić i njezinoj Šiptarskoj suiti, potrebno je najprije upozoriti na neke izvanumjetničke činjenice. Poznato je da se u vrijeme Jugoslavije nastojao stvoriti jugoslavenski identitet, a potisnuti nacionalni identiteti različitih naroda i narodnosti koji su živjeli u zajedničkoj državi. Folklorni su ansambli, primjerice, u inozemstvu trebali prikazivati tzv. jugoslavenski program, koji se često nazivao i jugoslavenskim folklorom, odnosno jugoslavenskim pjesmama i plesovima. U tom kontekstu odabir albanskog glazbenog i plesnog folklora kao polazišta za umjetničku kreaciju nije bio upitan, ali to ne znači da je on uvjetovan spomenutim ideološkim i političkim ozračjem. Na to upućuje kozmopolitski značaj, podrijetlo i životni put Ane Maletić, pa vjerujem da je njezin odabir potaknut prvenstveno plesnim i glazbenim značajkama alban- skog folklora. Važno mjesto u formiranju Anina zanimanja i odnosa prema folklornom nasljeđu sigurno je imala i Maga Magazinović, jedna od njezinih učiteljica, ali i podupirateljica i doživotna suputnica na trnovitom plesnom putu. Sigurno je da su za umjetnicu profila Ane Maletić velik izazov bili i sadržaji i oblici imanentni albanskom plesnom i glazbenom folkloru. Glazba udaraljki i duhaćih instrumenata nudi mogućnost velikih dinamičkih promjena i izražajnosti, što je znalački iskoristio i skladatelj Emil Cosetto. Koreografkinja je usto imala na raspolaganju osebujne ženske plesove s motivima rada, muške plesove s oružjem, zajedničke svadbene plesove kao i albansku inačicu arhetipskog kola. Usto su u ženskome plesu izraženi pokreti ruku, a u muškome skokovi, čučnjevi te geste ruku i nogu; albanska je plesna tradicija vrlo zahtjevna počevši od držanja tijela, dinamike i ritma pokreta, izražajnosti geste i baratanja rekvizitima - oružjem, ali i velikim bubnjem koji, skladno se krećući, nosi i udara gotovo ravnopravan sudionik plesnog zbivanja. Tu je i mogućnost pričanja priče o osebujnom svijetu balkanskog juga, gdje se život žene uvelike razlikuje od života muškarca, ali se oni susreću u udvaranju, nadmetanju za ljubav odabranice i spajaju u braku. Na putu od ideje do ostvarenja Ana Maletić je i istraživala i doživljavala albanske plesove i glazbu u njihovu ambijentu, u izvedbama njihovih nasljednika i praktikanata. Njezino je djelo podastrto prosudbi publike i kritike. Iz brojnih je pohvalnih kritika vidljivo da su Ana Maletić, Emil Cosetto i članovi ansambla uspjeli stvoriti impresivno scensko djelo. Različita recepcija toga djela u Jugoslaviji, u rasponu od velikih pohvala do potpunog negiranja, stvar je duha vremena, nevelike opće plesne kulture i prevladavajuće uloge folklornog amaterizma. U to je vrijeme folklorni amaterizam karakterizirala masovnost, ali i ograničeno znanje većine njegovih sudionika o značajkama folklora kao i o umjetničkom plesu različitih vrsta. Šiptarska suita nije samo interpretacija folklorne baštine jednog naroda, nego je stvorena i po principima teorije suvremenog plesa, odnosno Labanove koreutike i eukinetike. O tome svjedoči i knjiga Maje Đurinović Razvoj suvremenog plesa: Ana Maletić, životopis. Autorica je koristila podatke iz ostavštine Ane Maletić, ali i potaknula Veru Maletić, Aninu kćer, na sudjelovanje pisanim prilogom. Zahvaljujući objema u knjizi, kroz brojne citate, progovara i Ana Maletić, svjedočeći među ostalim i o Šiptarskoj suiti. U knjizi su zabilježene i druge koreografije Ane Maletić i njezinih sljedbenica nadahnute folklornim temama, a o nekima od njih piše i Jelena Mihelčić u prilogu o počecima hrvatskoga plesnog filma. Vrijedan je dodatak knjizi nosač slike i zvuka s dijelovima tih i drugih koreografija te s drugim podacima. Šiptarska suita nije jedina koreografija Ane Maletić koja interpretira folklornu baštinu. Koreografirala je i na temelju 52 KRETANJA Ana Maletić u susretima s folklorom

53 hrvatske plesne i glazbene baštine, ali ta djela nisu izazvala toliko pozornosti u javnosti. Iako je za dio te pozornosti zaslužan sukob koncepcija u Ladu, vjerujem da su za pozitivan odjek Šiptarske suite zaslužni vrijednost djela, njegova etnografska i umjetnička čistoća. Etnografski je definirana pripadnošću jednoj etničkoj skupini, njezinim plesovima, glazbi, glazbalima i odjeći. Autorska, umjetnička interpretacija stvara cjelinu slijedom priče, ali i sredstvima plesne teorije i prakse kojoj autorica pripada. Pritom ostaje bliska predlošcima i stilu albanske narodne umjetnosti. S današnje udaljenosti i na temelju sačuvanih zapisa rekla bih da Šiptarska suita ne odskače toliko od ostaloga repertoara Lada kako se činilo suvremenicima njezina prikazivanja u Jugoslaviji, posebice u Zagrebu; za negativne je reakcije važniji bio kontekst pojave Šiptarske suite u Ladu negoli autoričina intervencija. Na to ukazuju i strane pohvale, koje se ne mogu pripisati neznanju. Već je rečeno i to da je sve u Ladovu repertoaru prilagođeno sceni, koreografirano i obrađeno, a analize pojedinih koreografija i glazbenih izvedbi mogle bi ukazati na manje ili veće intervencije, odnosno odstupanja od izvornih predložaka, pa i od stilskih obilježja. Želim naglasiti da je Ana Maletić s mnogo znanja, ukusa i osjećaja mjere pristupala korištenju folklora u svojim koreografijama vodeći računa o vrsti (žanru) djela i mediju kojemu je namijenjen, poštujući i profil plesnog ansambla te posebice koautore (kompozitore, redatelje, scenografe i druge). Tako su nastale koreografije u kojima se Ana Maletić na različite načine te u većoj ili manjoj mjeri služila folklorom, što je često ovisilo i o značajkama kompozicije. Raspon se kreće između korištenja osnovnog plesnog vokabulara folklornog područja kojim se bavila (koraka, gesta, prostornih oblika) do njegova povezivanja, pa i stapanja s vokabularom suvremenog plesa. Tako su nastajala žanrovski različita plesna djela, a folklorni su elementi služili identifikaciji teme (osobito predaje), njezinom prostornom lociranju, pa i nastojanju za stilskim određenjem djela. Koliko će Ana Maletić posegnuti za folklornom baštinom, u kojoj će je mjeri interpretirati, umjetnički nadograditi i povezati sa suvremenim plesom, ovisilo je o značaju djela i njegovoj namjeni, pa je razumljivo da je različito pristupala koreografijama namijenjenima Ladu ili opernom, odnosno baletnom ansamblu Hrvatskog narodnog kazališta, repertoaru Studija za suvremeni ples i drugih plesnih skupina koje su nastajale tijekom njezina dugogodišnjeg djelovanja ili pak školskim predstavama njezinih učenica. IZMEĐU FOL- KLORA I NACIONAL- NOGA BALETA Ne poznajem sva djela Ane Maletić koja dotiču folklornu baštinu; i bolje upućeni nekima znaju samo naslove, odnosno tematiku. Moj naraštaj većinu poznaje samo iz pisanih i usmenih interpretacija starijih, malo je filmskih zapisa, a sačuvane televizijske snimke svjedoče o relativno bliskom vremenu 1960-ih i 1970-ih. Tim se dragocjenijom pokazuje knjiga Maje Đurinović, koja donosi brojne citate novinskih članaka, osvrta i kritika, referata, pisama, ali i transkripcije razgovora s Anom Maletić. Uz vlastita sjećanja i dosadašnje uvide u tematiku ta mi je knjiga otkrila mnogo nepoznatog i relevantnog za promišljanje odnosa Ane Maletić prema folklornoj baštini. Čini se da je prva veća koreografija te vrste bio tridesetominutni balet Kameni svatovi, nastao prema pjesmi/poemi Augusta Šenoe, odnosno njegovoj obradi narodne predaje. Glazbu je skladao Boris Papandopulo, a učenice Škole umjetničke tjelesne kulture Ane Maletić izvele su ga prvi put godine u Hrvatskom narodnom kazalištu. Predaja o okamenjenim svatovima poznata je kod nas na više strana i u brojnim zapisima, a inačica koju obrađuje Šenoa locirana je u Prigorje i odnosi se na neobično kamenje na padini Zagrebačke gore u blizini ostataka Susedgrada, odnosno Jablanovca. U citatu Anina kazivanja o tom djelu ona objašnjava svoj koreografski postupak, odnosno kreaciju koja povezuje i isprepliće dva plesna izražaja - folklorni i baletni (suvremenog smjera). Znanje o folkloru Prigorja stekla je na smotrama i na licu mjesta. Poznavanje suvremenog plesa i lokalnog folklora spojila je s umjetničkom maštom - kako sama kaže, i tako ispričala priču. Zahtjev za pričom, a često i značajke impresionizma obilježavaju Anino rano plesno stvaralaštvo; priča je u to vrijeme bila gotovo neizostavna u scenskom životu plesa. Godine Ana je sudjelovala u nastajanju televizijskog djela Tri legende: u čast Šenoi, u kojemu nije bila samo koreografkinja već i suradnica na scenariju i važna članica autorske skupine (skladatelj Stanko Horvat, scenografkinja i kostimografkinja Jagoda Buić i redatelj Mladen Raukar). Djelo se sastoji od tri predaje (Kugina kuća, Postolar i vrag, Kameni svatovi), neki ga nazivaju operom, a sigurno je da teži za sintezom scenskih umjetnosti u službi televizijskog medija. Koreografija Ane Maletić možda nije identična onoj iz godine, prilagođena je mediju i oku kamere, ali je autorski pristup ostao isti. Za razliku od koreografkinje koja za lokalnu inačicu predaje poseže za lokalnim oblicima folklornog plesa, skladatelj inspiraciju traži u različitim krajevima i njihovim glazbenim tradicijama, što s aspekta etnografske i folklorističke struke nije opravdano. Kad se tome doda korpulentna pjevačica koja u ulozi mladoženjine majke proklinje svatove u lošoj opernoj maniri apostrofiranoj režijskim postupkom, sasvim neuspjela scenografija i zamjena mitskih likova suđenica s vješticama, ostaje za svaku pohvalu koreografija Ane Maletić i njezina sposobnost da u poznim godinama svoje rano djelo prilagodi novom mediju. Ta koreografija, naravno, podliježe procjenama njezine umjetničke vrijednosti. Jednako su tako podložne sudu kritike i druga Anina djela nadahnuta folklorom, ona iz vremena prije Drugoga svjetskog rata i poslije njega: Uskrs na slavonskom selu, Petrica Kerempuh, Istarska balada, Iz starog Dubrovnika, Vijenac hrvatskih ple- 05 Zorica Vitez Ana Maletić Meets Folklore MOVEMENTS

54 Škola za ritmiku i ples (1960), Južnjačko kolo, kor. A. Maletić, izvode Lj. Putz, I. Pavelić, N. Pataki sova (čini se da je povezivao plesove Vanjkušec, Ketuš, Povraćanac, Hrvatski tanac, Staro sito), Jurjaši, Biberče, Moreška. Teško je danas o njima suditi, jer većina nije filmski snimljena; u sačuvanoj dokumentaciji prevladavaju novinski članci, kritike i fotografije, ali ima i opisa koreografija (prema podacima iz knjige M. Đurinović). Očigledno je da su onovremene kritike, kao i Anina profesionalna karijera, bile u rukama politike i osoba na vlasti koje su s Anom vodile osobne ratove zbog različitosti pristupa, ideologija, pa i konkurentnosti. Ispolitizirana i osobno obojena priča oko Šiptarske suite bila je na djelu i prije epizode s Ladom i poslije nje. Jedno je sigurno: Ana je mnogo znala o folklornom plesu, vjerovala je u važnost njegove primjene u plesnoj umjetnosti, a sama je to činila u skladu s plesnim usmjerenjem kojemu je pripadala te u okviru svojih mogućnosti i talenta. Nije slučajno da su i mnoge njezine učenice posegnule za folklornim plesom kao inspiracijom i građom za svoje koreografije. Zbog smjena naraštaja i drugih razloga Ana Maletić je stalno stvarala i gubila izvođače svojih djela; u tom je svjetlu razumljiv njezin pokušaj s profesionalnim ansamblom Lado u kojemu je zadobila i pobornike i protivnike. Čini se da je ansambl ili njegov dio namjeravala osposobiti za suvremeni ples, što je sigurno pridonijelo razdoru. U razgovorima s nekim članovima Lada koji su sudjelovali u izvedbama Šiptarske suite 1, osobno sam se uvjerila da su to iskustvo upamtili kao izazov i potvrdu vlastite plesne sposobnosti. Istina je i to da svi smatraju Ljevakovićev pristup folkloru najboljim za Lado. Nažalost, mnogi iz tog naraštaja nisu više s nama. Bez obzira na pohvale ili kuđenja Aninih koreografija s folklornim sadržajima, odavna se s njima u vezi spominjao nacionalni balet. U prvoj polovici dvadesetog stoljeća, posebice u 1930-ima bilo je i drugih značajnih žena u plesnoj umjetnosti Hrvatske s istaknutim postignućima u interpretaciji folklornoga plesa uz koje se vežu i mogućnosti stvaranja nacionalno obilježene plesne umjetnosti (Mercedes Goritz Pavelić, Nevenka Perko, Mia Čorak Slavenska, Margarita Froman). Folklor, osobito glazbeni, poznata je građa i polazište k nacionalno prepoznatljivoj umjetnosti, koja je mnogim narodima bila cilj u određenim povijesnim trenucima. I u našoj suvremenosti susrećemo nastojanja da se interpretacijom baštine postigne osebujnost i prepoznatljivost ili barem bijeg od uniformiranosti i ugledanja na druge. Raznolikost hrvatskoga folklora, njegova pripadnost međusobno različitim širim kulturnim područjima (mediteranskom, balkanskom, srednjoeuropskom) umjetnicima je bila izazov, ali je tražila poznavanje lokalnih oblika i stilova narodne umjetnosti. Nije na meni da sudim o eventualnom anakronizmu nacionalnog baleta u naše dane, ali je nesporno da je folklorna inspiracija utkana u našu glazbenu i plesnu umjetnost imala općepriznatih postignuća u prošlosti, a osobno vjerujem da će ih imati i ubuduće. S vremenom je, nadam se, posustao puritanizam folkloraša, zavladale su veće umjetničke slobode, napokon - i umjetnost je na tržištu, pa tko voli nek izvoli. Nažalost, i danas vlada uvjerenje kako svi znaju sve o folkloru: oni idu na folklor, pjevaju i plešu uvijek iste pjesme i plesove ili ih prekrajaju po svome ukusu i mjeri. U naše je dane najveći uzor televizijsko predstavljanje folklora, a tu prevladava šarolikost: uz uratke rijetkih zaposlenih stručnjaka i angažiranje vanjskih stručnih suradnika, opet je na djelu vojska samoproglašenih znalaca, osposobljenih seoskim podrijetlom ili članstvom u nekom folklornom društvu. Uz velike razlike u umješnosti i iskustvu autora te budžeta emisija, na televiziji prevladava zahtjev za zabavom pod svaku cijenu. Naoko uzvišena nastojanja za afirmacijom baštine često tonu u ljigavu retoriku i diletantizam najgore vrste te postižu suprotne učinke. Vremešne žene u djevojačkim nošnjama šalju nam, tuđom krivnjom, tužne i smiješne poruke s malih ekrana. No, to je samo jedna krajnost, ona najgora. Srećom, ima kod nas i upućenih i darovitih plesnih umjetnika, koji vjeruju da im folklorna baština ima što ponuditi i koji tragaju za mogućnostima njezina suvremenog života u plesnoj umjetnosti. 1 Zanimljivo je da Ana Maletić ponovno postavlja Šiptarsku suitu u PIK-u s polaznicima baletnog i dramskog studija. Op.ur. 54 KRETANJA Ana Maletić u susretima s folklorom

55 05 Zorica Vitez Ana Maletić Meets Folklore MOVEMENTS

56 Zorica Vitez Ana Maletić Meets Folklore 05 Zorica Vitez Back in 1960, we were five in the first class of graduates of the School of Rhythm and Dance, today the Ana Maletić Contemporary Dance School. Years of work, dance and socialising were behind us, and making life and career choices ahead. I decided to study ethnology, and after graduation I was hired by a research institution, today s Institute of Ethnology and Folklore Research. During my student days I professionally danced with Lado. My choice of study and my joining Lado happened under the influence of Milivoj Pogrmilović, ethnologist and former Lado dancer, who taught dance folklore at the rhythm school. I don t know when I first heard of Ana Maletić s professional engagement in Lado (1952 and 1953), where she seemed to have arrived to improve the company members dance skills. At that time she also choreographed for Lado, i.e. set the piece Šiptarska suita (Shqiptar Suite). Much praised abroad, at home Shqiptar Suite divided opinions. The essential doubts referred to the issue of its genre and, subsequently, its (un)suitability to Lado s profile and repertory. LADO Today s Lado National Folk Dance Ensemble of Croatia was established late in Its members included thus far amateur singers, dancers and folklore instrumentalists of the Joža Vlahović Youth Culture and Art Society from Zagreb, followed by the artistic director Zvonimir Ljevaković. Zvonimir Ljevaković s knowledge of folk dances and talent left a permanent mark on Lado and, consequently, on many amateur folklore associations in Croatia which looked up to Lado. Ljevaković s approach to folklore presentation on stage formed over the many years of his presence at Seljačka sloga s festivals, organised across Croatian villages and towns. Seljačka sloga, as a cultural and educational organisation of the Peasants Party, strived to promote Croatian peasant culture and preserve it from the outbreak of changes and equalising civilisation impacts. Born in the Slavonian countryside, Ljevaković had a personal experience and deep understanding of rural lifestyle and its musical and dance expressions. He encountered the traditions of many other areas at local and regional festivals, but also on planned visits to the locations whose dances and music he desired to interpret for Lado s repertory. These were artistic interpretations, striving to as little intervention as possible and as faithful conveying of heritage folk dance and music forms and styles onto the stage and into audiovisual media as possible. This is how Lado s basic and representative repertory was created, marked by a particular style and sound. Many deem it to be very successful, which is evident from its long life on national and international stages. This repertory made a great impact on many amateur folklore societies, whose managers uncritically adopted and rearranged it, to the point that today we find fragments of Ljevaković s choreographies even where he once sought inspiration and materials. Ana Maletić s arrival and choreographing divided opinions among both the company members and many folklore amateurs and it was not accepted by Zvonimir Ljevaković either. The conflict ended with her departure and Lado s giving up on a different concept of presenting folklore on the stage. Unfortunately, in the context of the difficult post-war times, large social and ideological changes, these events also had a non-artistic background, more accurately, they resolved more than just conceptual matters. Interestingly, almost 50 years 56 KRETANJA Ana Maletić u susretima s folklorom

57 later (2008) Lado decided to set up the folklore ballet Veronika Desinićka (Veronica of Desinić). FOLKLORE ON STAGE In the long history of performing folklore on stages, our folklorists describe performances of Moreška in Dalmatia in special state ceremonies, accompanying the visits of royal families and other guests of honour (in the late 18 th and 19 th and 20 th century). These performances were adapted for the stage, mostly due to their long duration. In Zagreb, in 1818 during the visit of Emperor Francis II, Pleszopiszen was performed in front of the cathedral, conceptualised by Bishop Maksimilijan Vrhovac using peasant music and dance heritage, even costumes, with the participation of noblemen. At the time of the Illyrian movement, circle dances were made and performed inspired by folk traditions, as symbols of unity and acknowledgment of national values. Although they made it to the repertory of the former social dances, sometimes they were performed on special occasions as stage performances. Stage performances of peasant dances and music at many festivals of rural culture since the 1930s and the mass occurrence of folklore, i.e. cultural and artistic associations focusing their activities to the stage life of folklore have already been mentioned. Folklore as inspiration, motif or material has had a long life in Croatian art, especially in the domain of music and dance, but it is present in visual art as well. Next to the famous titles of the genre which have earned their place in the repertory of our professional theatres (for example Licitarsko srce [Licitar Heart], Ero s onoga svijeta [Ero the Joker]), many choreographers of different dance orientation and education found inspiration in folklore. Without pretensions to overviewing all of these attempts and evaluating their accomplishments, I only wish to draw attention to the frequent choice of characters and subjects which imply the use of folklore material (e.g. the character of Petrica Kerempuh and summaries of folk myths, beliefs, customs). SHQIPTAR SUITE Back to Ana Maletić and her Shqiptar Suite, it is necessary to first of all draw attention to certain non-artistic facts. It is known that in Yugoslavia a Yugoslavian identity was attempted to be created, along with repression of the national identities of different nations and nationalities that lived in the federation. Folklore ensembles, for example, had to perform the so-called Yugoslav programme abroad, often called Yugoslav folklore Yugoslav songs and dances. In that context, the choice of Albanian music and dance folklore as a starting point for artistic creativity was not debatable, but this doesn t mean that it was conditioned by the mentioned ideological and political atmosphere. Ana Maletić s cosmopolitan character, origin and life choices point to this, therefore I believe that her decision was inspired primarily by the dance and music qualities of Albanian folklore. An important formative impact in Ana s preoccupation and relation to folklore heritage was made by Maga Magazinović, one of her teachers and a supporter and lifelong companion on the hard path of dance. An artist such as Ana Maletić must have found the content and forms immanent to the Albanian dance and music folklore very challenging. Percussion and wind instruments open up a chance for large dynamic changes and expression, which was skilfully used by composer Emil Cossetto, as well. The choreographer, besides, had on her disposal very peculiar female dances with motifs of work, male dances with weaponry, common wedding dances, as well as the Albanian version of the archetypal circle dance. The female dance had very expressive hand gestures, the male was accentuated with jumps, squats and hand and leg movements; the Albanian dance tradition is very demanding, starting from posture, dynamics and rhythm of movement, expressivity of the gesture and handling props weapons and a large drum which, moved, carried and drummed in harmony becomes almost an equal participant of the dance event. There is also the possibility of creating a narrative about the particular world of the South Balkan, where the lives of women are very different from the lives of men, but they meet in courtship, fighting for the chosen one s love and uniting in marriage. On the path from an idea to a realisation, Ana Maletić researched and experienced Albanian dances and music in their environment, in performances of their successors and practitioners. Her work was subjected to the public eye and critical judgment. Many positive reviews testify to the fact that Ana Maletić, Emil Cossetto and the company members succeeded in creating an impressive stage work. Different receptions of this piece in Yugoslavia, ranging from great praises to complete ignoring, are a matter of the zeitgeist, scarce general dance culture and the dominant role of folklore amateurism. At that time, folklore amateurism was characterised by a massive scale and a limited knowledge on the part of most of its practitioners regarding the qualities of folklore as artistic dance of different genres. Shqiptar Suite is not only an interpretation of one nation s folklore heritage, but it was also created to the principles of the contemporary dance theory, i.e. Laban s choreutics and eukinetics, as testified in Maja Đurinović s book Razvoj suvremenog plesa: Ana Maletić, životopis (Evolution of Contemporary Dance: Ana Maletić, a Biography). The author used the materials from Ana Maletić s legacy, but also inspired Vera Maletić, Ana s daughter, to make a written contribution. They both made Ana Maletić speak through this book, through the many quotes, among other things about Shqiptar Suite as well. The book also makes a mention of other choreographies by Ana Maletić Meets Folklore MOVEMENTS

58 05 Zorica Vitez Ana Maletić and her disciples, inspired by folklore themes, and some are described by Jelena Mihelčić in her contribution about the early days of Croatian dance film. A valuable addition to the book is a CD and DVD with parts of these and other choreographies and other information. Shqiptar Suite is not Ana Maletić s only choreography interpreting folklore heritage. She also choreographed pieces based on Croatian dance and music heritage, but these did not draw that much public attention. Although a part of this attention was due to a conceptual conflict in Lado, I believe the positive echoes of Shqiptar Suite should be attributed to the value of the piece, its ethnographic and artistic purity. Ethnographically it is defined by belonging to one ethnic group, its dances, music, instruments and clothes. The creative, artistic interpretation builds a whole throughout the storyline, as well as through the tools of dance theory and practice the author belongs to. At the same time she remains close to the models and style of Albanian folk art. From today s distance and based on the preserved records, I would say that Shqiptar Suite doesn t differ as much from Lado s other repertory as it seemed to the people who witnessed its performance in Yugoslavia, especially in Zagreb; the more important reason for the negative response was the context of Shqiptar Suite s occurrence in Lado, rather than the author s interpretation. Foreign praises, which cannot be attributed to ignorance, substantiate that. It has already been mentioned that everything about Lado s repertory was stage-friendly, choreographed and analysed, and examinations of individual choreographies and musical performances could point to smaller or bigger interventions, i.e. deviations from the original, even in terms of stylistic traits. I wish to point out that Ana Maletić approached folklore with a lot of knowledge, taste and measure in her choreographies, bearing in mind the type (genre) of the piece and the medium it was intended to, respecting the profile of the dance company and co-authors (composers, directors, set designers etc.) in particular. That was the origin of the choreographies for which Ana Maletić resorted to folklore to a bigger or smaller extent, which often depended on the characteristics of composition. The range spans from using the basic dance vocabulary of her domain (steps, gestures, spatial forms), to connecting it and even blending it with the vocabulary of contemporary dance. That was how dance pieces of different genres came about, and folklore elements served to identify the theme (the tale), it spatial location, and even an effort to define the piece stylistically. The extent to which Ana Maletić would delve into folklore heritage, interpret it, artistically upgrade it and connect it with contemporary dance depended on the significance of the piece and its purpose, therefore it is understandable that she fostered a different approach to choreographies for Lado and operas, i.e. the Croatian National Theatre ballet, for Contemporary Dance Company and other companies established during her long career, or for school performances of her students. BETWEEN FOLKLORE AND NATIONAL BALLET I am not familiar with all of Ana Maletić s works that lean on folklore heritage; those even better informed than myself only know the titles of some, or their subject matter. My generation is mostly familiar with the most through written and oral interpretations of older generations, and the preserved TV footage testify to a relatively close era of the 1960s and 1970s. Maja Đurinović s book thus proves all the more valuable, since it features numerous quotes from newspaper articles, reviews, critiques, essays, letters and transcripts from interviews with Ana Maletić. In addition to my personal memories and current insights into this subject matter, this book opened up many unknown and relevant frontiers in relation to Ana Maletić s views on folklore heritage. It seems that the first larger choreography of the sort was the 30-minute ballet Kameni svatovi (Wedding Party in Stone), based on August Šenoa s poem, i.e. his version of the folk tale. The score was composed by Boris Papandopulo, and the students of the Ana Maletić School of Artistic Physical Culture first performed it in 1934 at the Croatian National Theatre. A folk tale about the petrified wedding party is known in various parts of our region and in multiple records, and the version analysed by Šenoa is set in the Prigorje region and refers to the strange rocks on a slope of Zagrebačka gora, near the remains of Susedgrad, i.e. Jablanovac. In a quote from Ana s account of the piece, she explains her choreographic procedure, i.e. the creation that connects and intertwines two dance expressions folklore and (contemporary) ballet. She acquitted the knowledge of the Prigorje folklore at festivals and on location. She then blended the knowledge of contemporary dance and local folklore with artistic imagination as she says herself, and recounted the story in that manner. Narrative demands, as well as frequent impressionist traits, mark Ana s early dance creativity; narrative was at that time almost inevitable in the stage life of dance. In 1971 Ana took part in the making of a TV work under the title Tri legende: u čast Šenoi (Three Icons: An Homage to Šeona), which she didn t only choreograph, but also contributed to the script and acted as an important member of the creative team (composer Stanko Horvat, set and costume designer Jagoda Buić and director Mladen Raukar). The piece consisted of three folk tales (Kugina kuća [The Plague s House], Postolar i vrag [The Shoemaker and the Devil], Kameni svatovi), some call it an opera, and it most certainly aspires to a synthesis of stage arts to the benefit of the TV medium. Ana Maletić s choreography might not 58 KRETANJA Ana Maletić u susretima s folklorom

59 be identical to the one from 1934, it was adapted to the medium and the eye of the camera, but the creative approach remained the same. Unlike the choreographer, who sought inspiration in the local forms of folklore dance for the local version of the tale, the composer resorted to different regions and their music traditions, which is not justified from the ethnographic and folklore point of view. Adding to that an overweight singer in the role of the groom s mother who curses the wedding party in a bad operatic style accentuated by the directorial procedure, an unsuccessful set design and a substitution of the mythical Slavic fairies with witches, the only commendable thing is Ana Maletić s choreography and her capability later in life to adapt her early work to the new medium. This choreography, of course, is to be artistically evaluated. Equally so, evaluation is to be expected for other Ana s works inspired by folklore, those before the Second World War and those after it: Uskrs na slavonskom selu (Easter in a Slavonian Village), Petrica Kerempuh, Istarska balada (Istrian Ballad), Iz starog Dubrovnika (From Old Dubrovnik), Vijenac hrvatskih plesova (Croatian Dance Wreath) (which seems to have connected the dances Vanjkušec, Ketuš, Povraćanac, Hrvatski tanac, Staro sito), Jurjaši, Biberče, Moreška. These can hardly be judged today, since most of them was never recorded; the preserved documentation mostly keeps newspaper articles, reviews and photographs, but there are also choreography descriptions (based on the data from Maja Đurinović s book). Evidently, the criticism of the time, like Ana s professional career, were in the hands of politics and the people in high places, who waged personal wars with Ana over differences in approach, ideologies, even competition. The politicised and personally coloured controversy over Shqiptar Suite was present even before the Lado episode, as well as after. One thing is certain: Ana knew a lot about folklore dance, she believed in the necessity of its application in dance art, and she did it herself in line with her orientation and within the boundaries of her capabilities and talent. It is not a coincidence that many of her students resorted to folklore dance as inspiration and material for their choreographies. Due to a generational shift and other reasons, Ana Maletić kept creating and losing the performers of her works; in that light her attempt of working with a professional company like Lado, which gave her both supporters and opponents, was understandable. She seemed to have wanted the train the company, or at least a part of it, for contemporary dance, which must have contributed to the clash. In conversation with some Lado members who took part in the performances of Shqiptar Suite 1, I realised firsthand that they remembered this 1 Interestingly, Ana Maletić restaged Shqiptar Suite in 1962 at PIK, with the members of the ballet and drama studio. (Editor s note) experience as a challenge and affirmation of their own dance capabilities. It is also true that all of them consider Ljevaković s approach the best for Lado. Unfortunately, many from this generation are no longer with us. Regardless of the praises or critiques of Ana s choreographies with folklore elements, national ballet had long been mentioned in connection to them. In the first half of the 20 th century, especially in the 1930s, there were other important women in Croatian dance art, prominently accomplished in their folklore dance interpretations, related to possibilities of creating a nationally characterised dance art (Mercedes Goritz Pavelić, Nevenka Perko, Mia Čorak Slavenska, Margareta Froman). Folklore, especially music, is a well-known material and a starting point for nationally recognisable art, which was among many nations considered an aim at certain moments in history. In our contemporaneity as well we see attempts at interpreting the national heritage to achieve peculiarity and recognisability, or at least an escape from uniformity and looking to others. The diversity of Croatian folklore, its ascription to different cultural areas (Mediterranean, Balkan, Central European) was a challenge to artists, but it also required a knowledge of local forms and style of folk art. It is not my place to judge the potential anachronism of the national ballet in the present times, but folklore inspiration embedded in our music and dance art has made outstanding accomplishments in the past and I believe this will continue in the future. Over time, hopefully, the folklorists puritanism has faded away, greater artistic freedom ruled and, finally art is also on the market, as one likes it, to each their own. Unfortunately, the conviction that everybody knows everything about folklore still goes strong: they attend folklore, sing and dance always the same songs and dances or remodel them according to their taste and liking. In our times the greatest role model is televised folklore, dominated by diversity: from works by rare employed professionals and outsourced experts, to a phalange of self-proclaimed connoisseurs, trained through their rural origin or a membership in a folklore association. Along with large differences in authors skill and experience, TV is often dominated by the demands of entertainment at any cost. Seemingly enlightened efforts for the affirmation of heritage often plunge into cheesy rhetoric and amateurism of the worst kind, achieving counterproductive results. Aging women in girly national costumes convey which is someone else s fault sad and ridiculous messages from the TV screen. But this is only one extreme, of the worst kind. Luckily, there are still informed and talented dance artists who believe that folklore heritage has a lot to offer and who seek for possibilities for its contemporary life in dance art. Ana Maletić Meets Folklore MOVEMENTS

60 60 KRETANJA KOREOGRAFIJA VERE MALETIĆ ZA KAMERU I PLESAČE

61 Jelena Mihelčić Koreografije Vere Maletić za kameru i plesače 06 Jelena Mihelčić Umjetnički ples brzo se sprijateljio s televizijom, kao i hrvatski plesni umjetnici. Naime, u Sjedinjenim Američkim Državama, gdje je s emitiranjem počela prva televizijska postaja, već je hrvatska plesačica Vera Milčinović Tashamira, uz Mariu Gambarelli, bila prva koja je nastupala pred televizijskom kamerom. Tashamira je čak 52 tjedna zaredom imala nastupe na američkoj televiziji. 1 Prva plesna televizijska emisija, također u SAD-u, zvala se Choreotones, emitirana je na CBS-u, iste godine kada je Maya Deren snimila kultni eksperimentalni plesni film Studija koreografije za kameru. U Hrvatskoj, Televizija Zagreb s emitiranjem počinje 1956., a osam godina kasnije, kreće emisija Zvuk u pokretu u kojoj su plesni umjetnici stvarali i plesali koreografije namijenjene specifično za televiziju, a s idejom vizualiziranja skladbi suvremenih hrvatskih autora i približavanju njihova stvaralaštva široj javnosti. Poseban interes u promišljanju plesa u ekranu pritom je pokazala Vera Maletić koja je svoje prve korake, kao i međunarodni teorijsko-edukacijski doprinos u tom području napravila upravo zahvaljujući Televiziji Zagreb. Čak i kada dobiju priliku kreirati ples za video, umjesto adaptiranja djela prvotno osmišljenog za pozornicu, koreografi često nastavljaju raditi ples iz teatarske perspektive koji je onda manje ili više uspješno snimljen. Drugim riječima, umjesto kreiranja videodancea miješanja strukturalnih i percepcijskih elemenata intrinzičnih plesu i mediju autori 1 Rose, Brian G., Television and the Performance Art A Handbook and Reference Guide to American Cultural Programming, Greenwood Press, 1987, str. 22 nenamjerno upadaju u žanr video prijevoda postojećih djela ili videodokumentacije. Čini se kako je takvo stanje posljedica dvaju faktora. Plesači i koreografi, s jedne strane, ne traže uvijek priliku za iskustvo iz prve ruke u televizijskome studiju ili s prijenosnom videoopremom (osim plesnog zapisa). Takva praksa ne dopušta razumijevanje prirode ovog medija i isključuje kreativnu integraciju njegova izražajnog potencijala. 2 Riječi su ovo dr. Vere Maletić iz članka koji je uveo riječ videodance u globalni plesni diskurs. 3 Osim toga, ona je plesni film uvela i u nastavni program u Sjedinjenim Američkim Državama 4 i to kao predmet Issues in videodance pri Odsjeku plesa Sveučilišta Ohio gdje je radila kao profesorica od do godine i gdje je kasnije stekla status profesor emeritus. Integracija ljudskog pokreta i video tehnologije kreira nove videografske prostorno-vremenske dinamike drukčije od prostornih i vremenskih dimenzija plesne izvedbe u kazalištu. 5 2 Maletić, Vera, Videodance Technology Attitude Shift u Dance Research Journal, 19/2, Special Edition od Film & Video, , str. 3 3 Rosenberg, Douglas, The Oxford Handbook of Screendance Studies, Oxford University Press, 2016, str Maletić, Vera, Early Development of Screendance at Ohio State University; u Rosenberg, Douglas, Screendance: The State of The Art Proceedings, American Dance Festival, Duke University, 6. do 9. srpnja 2006., str Maletić, ibid. Studio za suvremeni ples, Formacije (1961), kor. V. Maletić, foto/photo: Đ. Slako. Vera Maletić s Choreographies for Camera and Dancers MOVEMENTS

62 Sve je te dinamike Vera Maletić detaljno teorijski razradila, čemu je prethodilo više godina prakse i edukacije koju je započela tih šezdesetih godina na Televiziji Zagreb. Vera Maletić je u Zagrebu, u razdoblju između i 1968., sa Studijem za suvremeni ples snimila dvije televizijske koreografije i jedan plesni film na koje se ovaj tekst fokusira. Još i prije toga, koreografirala je plesne umetke za glazbene i zabavne emisije s učenicima Škole za ritmiku i ples na poziv Daniela Marušića 6 i Angela Miladinova 7. To je bilo korisno iskustvo koje me naučilo kako NE snimati i montirati ples na televiziji. 8 U suradnji s Televizijom Zagreb i Vera i Ana Maletić predlagale su teme, a ponekad je prijedlog došao od glazbenog urednika. Honorari televizije pokrivali su troškove plesača, dok su male dotacije Narodnog odbora grada Zagreba omogućavale izradu kostima i scenografije. Za prvo magnetoskopsko snimanje Vera Maletić je koreografirala jednu historijsku suitu i Formacije prema vlastitoj ideji. Formacije su tako prvi pokušaj Vere Maletić u ekranizaciji plesa, televizijski film s nepotpisane četiri plesačice (Ivica Boban, Nevenka Matić, Ljiljana Putz, Vesna Cvitić) i dva plesača Studija za suvremeni ples (Vlado Pintar i Vlado Majhenić), snimljen u dva navrata. Prva snimka nastala je za Televiziju Zagreb u okviru emisije Zvuk u pokretu u rujnu , a druga iste godine u Beču prilikom prve koprodukcije hrvatske i austrijske televizije (ORF), kada su snimane i koreografije Ane Maletić Magije, Veze i Karneval. Glazbena edukacija bečkih snimatelja bila je plus. 10 Formacije su nastale prema ideji i koreografiji Vere Maletić u suradnji s redateljem Mladenom Raukarom 11, dok je snimku u Beču na temelju Raukarove knjige snimanja režirao Hermann Lanske, u to doba također redatelj nekoliko televizijskih pri- 6 TV redatelj i scenarist ( ) više hr/leksikon/m/marusic-daniel/ 7 TV redatelj, scenarist i urednik ( ) više 8 Iz videointervjua s Verom Maletić snimljenog u povodu prikazivanja u programu Pokret u pokretnim slikama 20. ožujka u Centru za kulturu Trešnjevka, u organizaciji autorice ovog teksta, Trešnjevačke plesne scene (TREPS) i njezine ravnateljice Vladimire Vrhovšek 9 U leksikonu Hrvatske radiotelevizije postoji zapis samo o emisiji naziva Zvuk u pokretu koja je emitirana u sezoni urednika Vladimira Seljana i redatelja Mladena Raukara s kojima je Vera Maletić surađivala na vlastitim filmovima; te redatelja Antona Martija; dok Vera Maletić u intervjuu spominje emisiju Kroz prizmu pokreta 10 Vidi 8 11 Pijanist, redatelj i urednik ( ). više hrt.hr/leksikon/r/raukar-mladen/ jenosa Novogodišnjeg koncerta Bečkih filharmoničara, specifičnih po plesnim umecima. Autor glazbe je Ruben Radica 12, čijom je izvedbom ravnao Boris Papandopulo. Scenografiju potpisuje Jagoda Buić. Riječ je o linearno snimljenoj koreografiji s plesačima u bijelome studiju, bez značajnijeg posezanja za televizijskim izražajnim sredstvima. Koreografija Formacija inspirirana je društvenim odnosima i relacijama između pojedinca i zajednice. Vizualno najdojmljivija scena Formacija jest ona uvodna u kojoj se plesači klečeći njišu izvodeći spiralne kretnje iz torza, snimani iz blagoga gornjeg rakursa, a njihove su individualnosti naglašene reflektorom na svakog pojedinog plesača. Ostatak snimke koristi običnu bijelu rasvjetu i sniman je u prirodnom srednjem planu, uobičajenom za gledanje plesa golim okom, uz tek poneki jednoplan kako bi se istaknuo solo plesač u odnosu na grupu, te uz manevriranje perspektivom iz istog razloga. Koreografski, nakon uvodnog kadra slijede dueti, trija i grupne sekvence u kojima se plesači međusobno oponašaju, simuliraju igru ili rad, zrcale se, izvode pas de deux, ulazeći u različite oblike odnosa, kao grupe naspram jedne solo plesačice. ORF je u suradnji s Međunarodnim glazbenim i medijskim centrom (IMZ) i pod pokroviteljstvom UNESCO-a formirao Institut za širenje glazbene kulture putem audiovizualnih tehnologija, što je uključivalo i ples. Zahvaljujući suradnji s hrvatskom televizijom, Vera Maletić je nakon Formacija bila pozvana na sudjelovanje u njihovome trećem i četvrtom kongresu u Beču i godine u Salzburgu. Tamo samo imala priliku vidjeti samo televizijske adaptacije koreografija namijenjenih za scensko izvođenje. Osim radova Birgit Cullberg 13, iako je njezino inzistiranje na statičnoj kameri bilo ograničavajuće. 14 Možda upravo zahvaljujući Birgit Cullberg, Vera Maletić odlazi u Švedsku gdje za Televiziju Stockholm snima dva svoja televizijska plesa prema istoimenim skladbama Milka Kelemena Équilibres i Dessins Commentés, čije snimke su, čini se, izgubljene. 15 Režirao ih je Arne Arnbom, poznat po režiranju vrlo poznatih filmova Mercea Cunninghama Antic 12 Hrvatski skladatelj i pedagog (Split, 1931.) više 13 Slavna švedska plesačica i koreografkinja, učenica Kurta Joossa i Marthe Graham, osnivačica Švedskog plesnog teatra prema Vidi 8 15 Hrvatski skladatelj, dirigent i pedagog ( ). Bio je osnivač i doživotni predsjednik Muzičkoga biennala Zagreb više KRETANJA Koreografije Vere Maletić za kameru i plesače

63 Meet (1964.) i Variations V (1966.). O suradnji Vere Maletić i Arnea Arnboma postoji samo sljedeći zapis Jacka Bornoffa, tada tajnika Međunarodnoga glazbenog vijeća (International Music Council): Bilo je zanimljivo čuti gospodina Kelemena kako govori da je televizijski balet Vere Maletić temeljen na njegovoj skladbi Equilibres dao skladbi nove dimenzije koje nije mogao zamisliti skladajući. Posve slučajno, taj je rad sjajna ilustracija mogućnosti televizijske koreografije u približavanju najnovije glazbe nespecijaliziranoj publici. 16 Godinu kasnije, 1966., Vera Maletić ponovno poseže za glazbom Milka Kelemena, ovaj put skladbom Radijant, te u suradnji s redateljem Vladimirom Seljanom 17 snima istoimeni televizijski film za Televiziju Zagreb. Evo što je Vera Maletić zabilježila o ovome djelu: Ta je skladba, nekonvencionalna po svojoj strukturi i teksturi, pružila osnovu za neku vrstu asocijativnog kaleidoskopa života: - klijanju, rastu - ovisnostima i napuštanjima - antagonizmima - djetinjstvu, razigranom i uskraćenom - duhu i tijelu - pulsacijama života i zastoju smrti - vječnosti trajanja. Kompozicijska struktura glazbe i koreografije sastoji se od šest perifernih dijelova i jednog središnjeg, koji sadrži motive tih perifernih stavaka. Koreografska i redateljska koncepcija služila se tehničkim sredstvima televizije, naime superpozicijama fotografija i likova plesača. 18 je. Primjerice, fotografija strukture atoma pretapa se u sličnu kompoziciju titrajućih plesača spojenih rukama, što je scena kojom, uz motiv vrtnje rozete, započinje i završava film, asocirajući na ciklički tijek života. Fotografija eksplozije pretapa se u snimku plesačica koje padaju jedna preko druge; tapkanje stopalima o tlo miješa se s fotografijom stepenica; ilustracija djeteta i igračaka prelazi u koreografiju zaigranog klackanja ili u kolutanje koje plesačica izvodi preko horizontalno uzdignutih i uglavljenih nogu drugih plesača. I tako dalje slijedi uzastopno nizanje fotografija pa plesa, povezanih pretapanjima, pri čemu je svaka ideja koju Vera Maletić navodi u bilješkama jasno ilustrirana fotografijama i popratnom koreografijom. Primjerice ovisnost i napuštanje plesači izvode u duetu ili triju s podrškama jednog plesača u težini, zatim naglim otpuštanjem i njegovim padom na tlo. Vera Maletić i Vladimir Seljan u ovome se filmu hrabrije poigravaju televizijskim izražajnim sredstvima čestim posezanjem za detaljima dlanova, stopala, lica ili zoom lećom kao pokretom kamere. Detalji se kontinuirano izmjenjuju sa srednjim planom. Pažljiviji gledatelj može uočiti nekoliko zastoja tijekom filma koji su, prema autoričinim riječima, 20 nenamjerni te su posljedica snimanja uživo koje je bilo zahtjevno zbog fizičkih izmjena fotografija pred kamerama. Sjećam se kako smo morali trčati prema kameri kako bi na vrijeme promijenili fotografiju ili ilustraciju. U to vrijeme programi su išli uživo i nije bilo prilike za korekcije. 21 Tijekom Vera Maletić boravi u New Yorku gdje se susreće s radom Maye Deren 22 i filmom Devet varijacija na plesnu temu (1966.) Hilaryja Harrisa Jelena Mihelčić U filmu pleše šest ponovno nepotpisanih plesačica Studija za suvremeni ples (raspoznajem Ivanku Cerovac, Branku Zimmer, Lelu Gluhak i Zagu Prijić). U skladu s opisanom strukturom glazbe i koreografije, središnji motiv je gotička rozeta 19 koja se vrti ukrug i odjeljuje segmente koreografije, zajedno s ostalim fotografijama koje prekidaju kontinuitet pokreta u kadru uz pomoć superpozicija, odnosno višeslojnošću filmske slike. Fotografije služe kao jasna asocijacija na ideje kojima se Vera Maletić bavila te navode gledatelja na čitanje koreografi- 16 Bornoff, Jack, Music theatre in a changing society The influence of technical media, UNESCO, 1968, str Pijanist, urednik i redatelj ( ). više hrt.hr/leksikon/s/seljan-vladimir/ 18 Razrada projekta iz osobne arhive Vere Maletić 19 Radijantni elementi francuske gotičke rozete sastoje se od kompleksnih mreža valovitih, dvostruko zakrivljenih linija, kreirajući nove geometrijske forme i plamene oblike te omogućujući čvrstoću čitavoj kompoziciji, što pridonosi i njezinoj strukturalnoj snazi iz britannica.com/technology/rose-window Inspirirana tim iskustvima počela sam revidirati vlastite koreografske procedure, što je uključivalo istraživanje jednostavnih motiva pokreta, kreiranje labavih kompozicijskih sekvenci koje bi dobile svoj ritam u montaži i predviđajući mikro pokrete za krupne kadrove. Ponekad bi izolirane geste ekstremiteta trebale nositi melodiju ili je motiv pokreta uspješno prebačen s jednoga na drugi dio tijela. Poveća- 20 Vidi 8 21 Vidi 8 22 Američka redateljica i izvedbena umjetnica originalnog imena Eleanora Derenkowsky (Kijev New York 1961.). Nazivaju je majkom američkoga avangardnog filma. Njezini filmovi nisu samo poetični, već i poučni, nudeći uvid u ljudsko tijelo i psihu te demonstrirajući potencijal filma u istraživanju navedenih tema. više com/biography/maya-deren 23 Američki autor dokumentarnih filmova i jedan od pionira time-lapse fotografije. Njegov film Seawards the Great Ships osvojio je Oscara za Najbolji kratkometražni film godine iz wiki/hilary_harris Vera Maletić s Choreographies for Camera and Dancers MOVEMENTS

64 nje i smanjivanje prostora između dijelova tijela ili plesača također je bio važan faktor. 24 Potaknuta viđenim, želi napraviti nešto slično pa se po povratku u Zagreb prijavljuje na natječaj Zagreb filma za kratkometražne filmove te dobiva sredstva. Na suradnju poziva Krešu Golika 25 te s njime i Studijem za suvremeni ples na skladbu Ive Maleca 26 Minijature za Lewisa Carolla realizira eksperimentalni film Koreografija za kameru i plesače u kojem samim naslovom odaje počast Derenovoj kao pionirki plesnog filma, točnije njezinoj Studiji koreografije za kameru. U filmu plešu Dalibor Kolar, Stjepan Vidiček, Antun Buneta, Branka Zimmer, Dorica Kljaković, Barbara Verlić, Ivanka Cerovac, Zaga Prijić i Lela Gluhak. O filmu je Vera Maletić kazala: Skladba Ive Maleca u sebi nosi kvalitetu čudesnog, nepredviđenog, prvi put doživljenog i time budi slobodne asocijacije o prvim doživljajima koji formiraju ličnost. Sjećam se kako sam u prikazu za Zagreb Film navela sve što taj film ne bi trebao biti, kao primjerice koreografija koja je samo registrirana okom kamere, odnosno samo filmska ilustracija plesa, već bi ritam kamere, pokreta i zvuka trebali ravnopravno sudjelovati u realizaciji teme. 27 Film je podijeljen u tri stavka: 1. Spajanje, odvajanje, osamostaljivanje 2. Eksploracija okolnog svijeta te postavljanje sebe u situacije/relacije 3. Težnje za strukturama 28 Svaki stavak prati specifična razrada pokreta i kamere. Koreografija prvog stavka asocira na odvajanje od majke i pokrete djeteta nesvjesnog vlastite okoline, fokusiranog na mogućnosti vlastitog tijela. Parovi se spajaju i razdvajaju, zatim pojedinci napuštaju oslonac o drugo tijelo i prenose težinu na različite površine tijela. Kamera pak na trenutke kadrira toliko blizu da slika izgleda više kao grafika nego film. Naglašene su siluete tijela tvoreći crno-bijele površine koje se pokretom tijela fluidno razmještaju površinom kadra. Najizrazitije sastavnice ovog filma ( ) jesu strukture kadrova izgrađene od silueta tijela još više likovno osnažene crnim 24 Maletić, Early Development of Screendance at Ohio State University, str Hrvatski filmski i televizijski redatelj i scenarist ( ) više 26 Hrvatski skladatelj i glazbeni pedagog (Zagreb, 1925). U Parizu je susreo P. Schaeffera, te započeo suradnju s Groupe de Recherches de Musique Concrète (Grupa za istraživanje konkretne glazbe, poslije Groupe de Recherches Musicales, GRM) više 27 iz prepiske s Verom Maletić putem elektroničke pošte godine 28 Vidi 18 trikoima u nedefiniranom bijelom okruženju. Plesači tako plutaju u prostoru omeđenom okom kamere. Ono pak svojom udaljenošću od tijela potencira psihička stanja gledatelja, odnosno njihovo snalaženje u prostoru i vremenu. Film započinje bliskim odnosima parova, bližim kadrovima međuprostora, plošno tretiranim kadrom, da bi se zatim orijentirao na pojedinačna tijela, njihove oblike i motoriku kroz krupne kadrove. 29 Vera Maletić je ovako komentirala svoj vizualni minimalizam: Scenografija i kostim umanjuju kinestetički doživljaj pokreta s vizualno prezasićenim kadrovima. 30 U drugom stavku plesači ispipavaju sebe i okolinu, dlanovi dodiruju druge plesače, stopala isprobavaju tlo, asocirajući na formiranje osobnosti kroz promatranje i otkrivanje svijeta oko sebe. Kamera se fokusira na dlanove, oči i stopala. Plesači zatim reagiraju jedni na druge i zaigrano koriste novootkrivene tjelesne vještine. Kamera se odmiče na srednji plan naglašavajući dinamike međusobnih odnosa te linije kojima plesači ispresijecaju površinu kadra. Rezovi su kratki i brzi. Kako vrijeme odmiče, tijela su sve jasnije smještena u prostoru, sve su razumljiviji njihovi međusobni odnosi, a prvotni kaos poprima sve više karakteristike reda i forme. Ubrzo se pažnja ponovno usmjerava na kontakte među tijelima, na dodire i podrške kroz usporeni ritam izmjene kadrova, da bi uslijedio ubrzani, zaigrani ritam, skokovi i okreti i poigravanja ravnotežom, popraćeni kratkim i širim kadrovima. 31 Treći stavak koreografski čine grupne, geometrijski čiste sekvence reda i strukture, uz jasne aluzije na vojnu disciplinu ili religijske odnose božanskog i svjetovnog. One se kasnije prekidaju serijama pokreta i naglih zaustavljanja i zatim se posve rasplinjavaju inicirane ispadanjem pojedinca iz grupe. Da bi taj novi kaos ubrzo ponovno uspostavio harmoniju pa ponovno pobunu i kaos i tako u krug. Treći dio filma započinje grupnim strogo organiziranim kadrovima izražene vertikalne kompozicije. Ona se raspada u srednje planove s mnoštvom plesača koordiniranih pokreta koji ponekad prelaze u dinamičnije i kaotičnije scene, s konstantnim gubljenjem fokusa, razbijanjem vremenskog kontinuiteta putem repeticija Mihelčić, Jelena, Arhiva videodancea u Hrvatskoj, u Kretanja 9/10, 2008., str Vidi 8 31 Mihelčić, ibid. 32 ibid. 64 KRETANJA Koreografije Vere Maletić za kameru i plesače

65 Koreografija za kameru i plesače, za razliku od Formacija i Radijanta, maksimalno iskorištava izražajne mogućnosti filma u to vrijeme i u postojećim okolnostima. Zanimljivo je kako je u cijelome filmu pokret prepušten samo plesačima, dok kamera miruje, a sve ostalo je završeno u montaži. Razgovor s Verom Maletić otkriva da su prilikom snimanja pokretne kamere bile zauzete, pa je film mogao biti snimljen samo statičnim kamerama, zbog čega se koreografija svela na kadriranje i konačnu montažu. 33 Rezultat je to bliske i ravnopravne autorske suradnje koreografkinje i redatelja. S redateljem Krešom Golikom, za kojega je jedan takav apstraktan film bio velik izazov, imala sam izvrsnu suradnju. Krešo je dnevno dolazio na probe i izradio je detaljan storyboard s crtežom svakog kadra. 34 Radijant i Koreografija za kameru i plesače su, za razliku od Formacija, avangardna s televizijskoga i filmskoga stajališta, premda u tome kaskaju za svijetom, s obzirom na kasniju dostupnost tehnologije u Hrvatskoj. Međutim, koreografski gledano, sva tri u ovome tekstu analizirana djela ostaju unutar tradicionalnih okvira reprezentativnosti pokreta i ovisnosti o glazbenome predlošku. S potonjim je ograničenjem Vera Maletić primorana raditi na televiziji, s obzirom na namjensku prirodu emisija u vizualizaciji glazbenog djela. No kod Koreografije za kameru i plesače to nije bio slučaj. Vera Maletić ipak je neumitno dala bitan doprinos umjetničkoj formi plesnog filma i promjeni stava prema tom samostalnome mediju, kako u Hrvatskoj, tako i na svjetskoj razini. Znakovit je bio njezin postupak u povodu prikazivanja filmova Radijant i Koreografija za kameru i plesače u Zagrebu godine, 35 kada sam joj poslala nekoliko pitanja elektroničkom poštom za potrebne uvodne riječi prije projekcija. Umjesto natipkanih odgovora ubrzo mi je poštom stigao DVD s njezinim odgovorima koje je vrlo profesionalno snimila kamerom. Spomenuta snimka završava pitanjem kakva je situacija u Hrvatskoj i uče li budući hrvatski plesni umjetnici kako raditi s kamerom. U to je vrijeme odgovor bio negativan, no danas, profesorice Maletić, studenti imaju specijaliziran kolegij na drugoj godini Studija plesa pri Akademiji dramskih umjetnosti. 06 Jelena Mihelčić 33 ibid. 34 ibid. 35 Vidi 8 Studio za suvremeni ples, Koreografija za kameru i plesače (1968), kor. V. Maletić, screenshots Vera Maletić s Choreographies for Camera and Dancers MOVEMENTS

66 Jelena Mihelčić Vera Maletić s Choreographies for Camera and Dancers 06 Jelena Mihelčić Artistic dance very quickly became friends with television, just like Croatian dance artists. In the USA, where the very first TV station began broadcasting its programme in 1928, in 1931 Croatian dancer Vera Milčinović Tashamira, next to Maria Gambarelli, was the first to perform before the TV camera. For as many as 52 weeks in a row, Tashamira performed on American television. 1 The first dance TV programme, also in the US, was called Choreotones, broadcasted in 1945 on CBS, the same year that Maya Deren made her iconic experimental dance film Study in Choreography for Camera. In Croatia, Television Zagreb began broadcasting in 1956 and eight years later, in 1964, the programme Zvuk u pokretu (Sound in Motion) was launched, in which dance artists created and danced the choreographies meant exclusively for television, with the intention of visualising the scores of contemporary Croatian composers and familiarising broader public with their work. A special interest in the examination of on-screen dance was shown by Vera Maletić, who gave her international theoretical-educational contribution to this area precisely thanks to TV Zagreb. Even when they get a chance to create dance for video, instead of adapting a piece originally meant for the stage, choreographers often continue to make dance out of the theatrical point of view which is subsequently more or less successfully recorded. In other words, instead of creating videodance a 1 Rose, Brian G., Television and the Performance Art A Handbook and Reference Guide to American Cultural Programming, Greenwood Press, 1987, p. 22 combination of structural and perceptive elements intrinsic to dance and the medium the authors involuntarily fall prey to the genre of video translations of existing pieces or video-documentation. This seems to be a consequence of two factors. Dancers and choreographers, on the one hand, do not always seek a chance for first-hand experience in a TV studio or with portable video equipment (apart from a dance recording). Such practice doesn t allow understanding the nature of this medium and excludes creative integration of its expressive potential. 2 These were the words of Vera Maletić from the article which introduced the word videodance into the global dance discourse. 3 Besides, she introduced dance film into the US curriculum 4, in 1982 as a course Issues in Videodance at the Department of Dance, Ohio State University, where she taught between 1977 and 2000 and later earned the status of professor emerita. The integration of human movement and video technology creates new videographic spatial-temporal dimensions differently 2 Maletić, Vera, Videodance Technology Attitude Shift in Dance Research Journal, 19/2, Special Edition of Film & Video, , p. 3 3 Rosenberg, Douglas, The Oxford Handbook of Screendance Studies, Oxford University Press, 2016, p Maletić, Vera, Early Development of Screendance at Ohio State University; in Rosenberg, Douglas, Screendance: The State of The Art Proceedings, American Dance Festival, Duke University, 6 to 9 July 2006, p KRETANJA Koreografije Vere Maletić za kameru i plesače

67 from the spatial and temporal dimensions of a theatrical dance performance. 5 All these dynamics were theoretically examined in detail by Vera Maletić, preceded by many years of practice and education begun in the 1960s on TV Zagreb. Vera Maletić recorded in Zagreb between 1964 and 1968 with the Studio Contemporary Dance Company two TV choreographies and one dance film this text focuses on. Even before, she choreographed dance intervals for music and entertainment programmes with students of the School of Rhythm and Dance, at the invitation of Daniel Marušić 6 and Angel Miladinov 7. It was a useful experience which taught me how NOT to record and edit dance on television. 8 In association with TV Zagreb, both Ana and Vera Maletić proposed topics, and sometimes the proposals came from the editor of music. TV fees covered the cost of dancers and small grants from the City of Zagreb People s Board made it possible to make costumes and set. For the first magnetoscopic recording Vera Maletić choreographed a historical suite and Formacije (Formations) to her own idea. Formations thus were Vera Maletić s first attempt of televised dance, a TV film with four uncredited female dancers (Ivica Boban, Nevenka Matić, Ljiljana Putz, Vesna Cvitić) and two male dancers from the Studio (Vlado Pintar and Vlado Majhenić), filmed on two occasions. The first recording was made for TV Zagreb and its programme Sound in Motion in September 1964, 9 and the second the same year in Vienna, in the first co-production of the Croatian and Austrian TV (ORF), when Ana Maletić s choreographies Magije (Magic), Veze (Connections) and Karneval (Carnival) were recorded. Viennese directors musical education was an advantage Maletić, ibid. 6 A Croatian TV director and writer ( ) more at obljetnica.hrt.hr/leksikon/m/marusic-daniel/ 7 A Croatian TV director and writer ( ) more at obljetnica.hrt.hr/leksikon/m/miladinov-angel/ 8 From a video interview with Vera Maletić, made for broadcasting in the programme Pokret u pokretnim slikama (Movement in Moving Images) 20 March 2009 at the Trešnjevka Centre of Culture, organised by the author of this text, Trešnjevka Dance Scene (TREPS) and its manager Vladimira Vrhovšek 9 The Croatian Television s lexicon only contains a mention of the programme under the title Sound in Motion, broadcasted in the season of 1964/1965, edited by Vladimir Seljan and directed by Mladen Raukar, with whom Vera Maletić collaborated on her films; as well as director Anton Marti; while Vera Maletić in the interview mentions the programme Kroz prizmu pokreta 10 See 8 Formations were created after Vera Maletić s idea and choreography, in association with director Mladen Raukar 11, while the Vienna recording was directed, based on Raukar s scenario, by Hermann Lanske, at that time a director of several TV broadcasts of Vienna Philharmonic Orchestra s New Year concerts, specific for its dance inserts. The score was composed by Ruben Radica 12 and conducted by Boris Papandopulo. The set was designed by Jagoda Buić. This was a linearly recorded choreography with dancers in a white studio, without any significant resorting to expressive television tools. The choreography of Formations was inspired by social relationships and relations between an individual and a community. Visually the most impressive scene from Formations is the introductory one, in which the dancers kneel and sway, performing spiral motions from the torso shot from a mild upper view, with individualities accentuated by a spotlight on every dancer. The rest of the recording uses ordinary white lighting and was filmed in the natural medium shot, usual for observing dance with the naked eye, with only a few close-ups to highlight a particular dancer as opposed to the collective, along with manoeuvred perspective for the same reason. Choreographically, the introductory scene is followed by duets, trios and group sequences in which the dancers imitate each other, simulate play or work, mirror one another, perform pas de deux, entering different forms of relations, as a group versus one solo dancer. ORF, in association with the International Music and Media Centre (IMZ) and under the auspices of UNESCO, established the Institute for the expansion of music culture via audiovisual technologies in 1961, which included dance. Thanks to their collaboration with Croatian television, after Formations Vera Maletić was invited to take part in their third and fourth congress in 1964 in Vienna and 1965 in Salzburg, respectively. There I had a chance to see only the TV adaptations of choreographies meant for the stage. Except Birgit Cullberg s 13 pieces, although her insisting on a static camera was limiting. 14 It was perhaps thanks to Birgit Cullberg that in 1965 Vera Maletić travelled to Sweden and recorded for TV Stockholm her two television dances based on Milko Kelemen s namesake compositions, Équilibres and Dessins Commentés, whose 11 A Croatian pianist, director and editor ( ) more at 12 A Croatian composer and pedagogue (1931) more at enciklopedija.hr/natuknica.aspx?id= A Swedish dancer and choreographer ( ) more at 14 See 8 Vera Maletić s Choreographies for Camera and Dancers MOVEMENTS

68 06 Jelena Mihelčić recordings appear to be lost 15. They were directed by Arne Arnbom, known for directing Merce Cunningham s famous films Antic Meet (1964) and Variations V (1966). The collaboration between Vera Maletić and Arne Arnbom is registered only the following statement of Jack Bornoff, the former secretary of the International Music Council: It was interesting to hear Mr Kelemen say that Vera Maletić s TV ballet, based on his composition Equilibres, gave the score new dimensions he couldn t have imagined whilecomposing. Quite accidentally, this piece is an amazing illustration of the possibilities of TV choreography in familiarising non-specialised audiences with recent music. 16 A year later, in 1966, Vera Maletić again resorted to Milko Kelemen s music, this time his composition Radijant (Radiant), and in association with director Vladimir Seljan 17 recorded the namesake television film for TV Zagreb. Here is what Vera Maletić wrote about this piece: This composition, unconventional in its structure and texture, provided a basis for a sort of associative kaleidoscope of life: - germinating, growing - addictions and abandonments - antagonisms - childhood, playful and denied - mind and body - pulsations of life and arrest of death - eternity of lasting. The compositional structure of music and choreography consists of six peripheral parts and one central, containing the motifs of these peripheral movements. The choreographic and directorial concept utilised the technical tools of TV, superpositioning the dancers photographs and figures. 18 Six again uncredited dancers of the Studio dance in the film (I recognise Ivanka Cerovac, Branka Zimmer, Lela Gluhak and Zaga Prijić). In line with the described structure of music and choreography, the central motif is a gothic rose window 19 running in circles and separating choreography segments, together with other photographs interrupting the continuity of movement in a single shot with the help of superpositions, i.e. a layered film image. The photographs act as a clear association to the ideas Vera Maletić preoccupied with, and guide the spectator how to read the choreography. For instance, the photograph of an atom structure fades into a similar composition of flickering dancers holding hands, which is a scene opening and closing the film, along with the spinning rose window motif, alluding to the cycle of life. The photograph of an explosion blends with the recording of dancers falling over each other; feet tapping against the ground combine with the photograph of stairs; an illustration of a child and toys flows into a choreography of playful seesawing or tumbling performed by the dancer over other dancers horizontally elevated and fixed legs. On goes the sequential series of photographs and dance, connected by fade-ins, and every new idea Vera Maletić mentions in her notes is clearly illustrated by photographs and accompanying choreography. For example, addiction and abandonment are performed by dancers in a duet or a trio by supporting one dancer s weight, then suddenly releasing them and them falling on the ground. Vera Maletić and Vladimir Seljan in this film toy with the expressive tools of television more daringly, often resorting to details of palms, feet, face or a zoom lens as camera movement. The details continually take it in turns with the medium shot. A more careful spectator can notice several standstills during the film which are, according to the author 20, accidental and a consequence of recording live, which was demanding due to physical changes of photographs before the cameras. I remember how we had to run to the camera to change a photograph or an illustration on time. At that time the programmes were often broadcasted live and there was no room for corrections. 21 In 1966 Vera Maletić spent time in New York City, where she became acquainted with the work of Maya Deren 22 and the film Nine Variations on a Dance Theme (1966) by Hilary Harris A Croatian composer, conductor and pedagogue ( ). The founder and lifelong president of Zagreb Music Biennale more at 16 Bornoff, Jack, Music theatre in a changing society The influence of technical media, UNESCO, 1968, p A Croatian pianist, editor and director ( ) more at 18 Project analysis from Vera Maletić s personal archives 19 The radiant elements of a French gothic rose window consist of complex grids of sinewy, doubly curved lines, creating new geometric forms and blazing shapes, giving sturdiness to the entire composition, which contributes to its structural strength from 20 See 8 21 See 8 22 An American director and performance artist, born as Eleanora Derenkowsky ( ). Often called the mother of American avant-garde cinema. She made six films exploring dance as a cinema experience (unlike recording a dance performance): Meshes of the Afternoon (1943), At Land (1944), A Study in Choreography for Camera (1945), Ritual in Transfigured Time (1946), Meditation on Violence (1948), The Very Eye of Night (1954) More at biography/maya-deren 23 An American author of documentary films and one of the pioneers of time-lapse photography from Hilary_Harris 68 KRETANJA Koreografije Vere Maletić za kameru i plesače

69 Inspired by these experiences, I started revising my own choreographic procedures, which included exploring simple motifs of movement, creating loose compositional sequences which would get their rhythm in editing, and predicting micro-movements for close-ups. Sometimes isolated gestures of the limbs were supposed to carry the tune or the movement motif was successfully transferred from one body part to another. Increasing and reducing space between body parts or dancers was another important factor. 24 Motivated by the seen, she wanted to do something similar and upon returning to Zagreb she applied for the open call of Zagreb Film for short films and was granted funds. She invited Krešo Golik 25 to collaborate, and with him and the Studio she made the experimental film Minijature za Lewisa Carolla (Miniatures for Lewis Carroll) in 1968, to the score of Ivo Malec 26, whose very title is a homage to Maya Deren as a pioneer of dance film, more accurately her Study in Choreography for Camera. Dalibor Kolar, Stjepan Vidiček, Antun Buneta, Branka Zimmer, Dorica Kljaković, Barbara Verlić, Ivanka Cerovac, Zaga Prijić and Lela Gluhak dance in the film. Vera Maletić stated the following: Ivo Malec s score has the quality of the marvellous, the unpredictable, of the first-time experience, and thus inspires free associations about first experiences which form a personality. I remember how in the explanation for Zagreb Film I listed everything this film should not be, like for instance a choreography, which is only registered by the camera s eye, i.e. only a cinematic illustration of dance, but rather that the rhythm of the camera, movements and sound should equally take part in the realisation of the theme. 27 The film is divided into three units: 1. Connection, separation, independence 2. Exploration of the environment and setting oneself in situations/relations 3. Aspirations for structures 28 Every unit is accompanied by a specific analysis of movement and camera. The choreography of the first unit reminds of the separation from the mother and movements of a child unaware of its surroundings, focused on the capabilities of its own body. Couples then connect and separate, individuals 24 Maletić, Early Development of Screendance at Ohio State University, p A Croatian film and TV director and screenwriter ( ) more at 26 A Croatian composer and music pedagogue (1925) more at 27 From an correspondence with Vera Maletićin See 18 leave the support of another body and transfer the weight to different body parts. The camera occasionally frames them so closely that the image looks more like a print than a film. The corporeal outlines are accentuated, forming black and white areas which fluidly pervade the frame through bodily motions. The most expressed components of this film ( ) are frame structures built out of outlines of the bodies, highlighted visually by black leotards in an undefined white area. The dancers thus float in a space limited by the camera s eye. Its distance from the body highlights the spectators mental states, i.e. their spatial and temporal orientation. The film begins with close relationships of the couples, closer shots of interspaces, flatly treated shots, only to reorient on individual bodies, their forms and motor skills through close-ups. 29 This is how Vera Maletić commented on her visual minimalism: The sets and the costumes diminish the kinaesthetic experience of movement with visually oversaturated shots. 30 In the second unit the dancers test themselves and the environment, their palms touch other dancers, their feet test the ground, reminiscing of the formation of personality through observing and discovering the world around us. The camera focuses on palms, eyes and feet. The dancers then react to each other and playfully use newly discovered physical skills. The camera moves away to the medium shot, accentuating the dynamics of their relationships and the lines along which the dancers cut through the surface of the frame. The cuts are short and quick. As time progresses, the bodies are more and more clearly located in the space, their mutual relationships are more and more understandable, and the original chaos acquires more and more qualities of order and form. Soon the attention to again redirected to the contacts between the bodies, to touches and support through a retarded rhythm of the scene exchange, followed by an accelerated, playful rhythm, jumps and turns and playing with balance, accompanied by short and broad shots. 31 The third unit is choreographically comprised of group, geometrically clean sequences of order and structure, with clear allusions to military discipline or religious relations 29 Mihelčić, Jelena, Arhiva videodancea u Hrvatskoj, in Movements 9/10, 2008, p See 8 31 Mihelčić, ibid. Vera Maletić s Choreographies for Camera and Dancers MOVEMENTS

70 Maletić reveals that during the recording, the moving cameras were unavailable, so the film had to be made only with static cameras, which is why the choreography was reduced to framing and editing, finally. 33 This is a result of a close and egalitarian creative collaboration between the choreographer and the director. With director Krešo Golik, who found such an abstract film a big challenge, I had excellent collaboration. Krešo came to the rehearsals every day and made a detailed storyboard with a drawing of each shot Jelena Mihelčić Studio za suvremeni ples, Formacije (1964), kor. V. Maletić, screenshots between the divine and the profane. These are later interrupted by series of movements and sudden halts, immediately dissolved by individuals leaving the group. Only for this new chaos to reinstate harmony, then rebellion, then chaos and so forth. The third part of the film begins with group, strictly organised shots of expressed vertical composition. It dissolves into medium shots with a multitude of dancers of coordinated movements, which occasionally flow into more dynamic and chaotic scenes, with a constant loss of focus, destroying the temporal continuity through repetitions. 32 Radiant and Choreography for Camera and Dancers are, unlike Formations, avant-garde from the TV and cinematic point of view, although they are quite behind the global scene, given the later availability of technology in Croatia. However, choreographically speaking, all three pieces analysed in this text remain inside the traditional lines of movement representation and dependence on the musical score. Vera Maletić was forced to work on TV with the latter limitation, given the commissioned nature of the programmes in terms of a visualisation of a music piece. However, this was not the case with Choreography of Camera and Dancers. Vera Maletić immensely contributed to the artistic form of dance film and the change of views regarding this independent medium, both in Croatia and globally. Her reaction ahead of the screening of Radiant and Choreography for Camera and Dancers in Zagreb in was quite telling. I ed her a few questions for the needs of an introduction to the screenings. Instead of typed answers, I soon got a DVD with her answers, very professionally recorded with a camera. This recording ends with a question about the current situation in Croatia and whether future Croatian dance artists are taught how to work with the camera. At that time her answer was negative, but today, students attend a specialised course at the sophomore year of dance at the Academy of Dramatic Art. Choreography for Camera and Dancers, unlike Formations and Radiant, maximally utilises the expressive tools of film at the given time and in the given circumstances. Interestingly, in the entire film movement is left to the dancers alone, while the camera is still, and everything else was completed in the editing room. A conversation with Vera 32 Ibid. 33 Ibid. 34 Ibid. 35 See 8 70 KRETANJA Koreografije Vere Maletić za kameru i plesače

71 06 Jelena Mihelčić Storyboard Vere Maletić za Koreografiju za kameru i plesače (1968) Vera Maletić s Choreographies for Camera and Dancers MOVEMENTS

72 Five Legged Stool, Lynne Palmer, John Graham, Anna Halprin, A.A. Leath, foto/photo: Warner Jepson copyright The Estate of Warner Jepson KRETANJA ANNA HALPRIN U ZAGREBU

73 Ljiljana Mikulčić Anna Halprin u Zagrebu i kako je predstava Five Legged Stool u izvedbi grupe koju je osnovala i nazvala San Francisco Dancers Workshop (Ann Halprin, John Graham, Lyne Palmer, i AA Leath) utjecala na hrvatsku eksperimentalnu scenu 1 Na Simpozij o plesnim šezdesetima koji je organizirao Hrvatski centar ITI došla sam pripremljena za predavanje o Anne Halprin i njezinoj predstavi Five Legged Stool (1962.) koja je gostovala u Zagrebu na Muzičkom biennalu (1963.) i svojom izvedbom izazvala opću konsternaciju. Predstavu, naravno, nisam gledala, tako da sam predavanje pripremila istraživanjem dostupnih materijala uključujući informacije koje sam dobila od same Anne Halprin. Bilo je zanimljivo, ali i edukativno i dirljivo 55 godina nakon te izvedbe sresti umjetnice poput Ivice Boban i Tihane Škrinjarić koje su stvarale našu suvremenu plesnu scenu od 60-ih nadalje, a koje su gledale predstavu i sjećale je se. Posebno su se svi sjećali scene s bocama. Naime, Anna (tada Ann) Halprin je tijekom predstave na pozornicu donosila, jednu po jednu, oko 100 staklenih vinskih boca i to je trajalo i trajalo. I time je, između ostalog, postigla da ta scena traje i danas u sjećanjima onih koji su joj prisustvovali. 1 Za utjecaj Anne Halprin na Tomislava Gotovca saznala sam iz monografije Tomislav Gotovac: Anticipator kriza povodom Gotovčeve izložbe u Rijeci godine. Tekst u monografiji Bilo je sto posto ludo napisala je Ana Janevski. Tijekom daljnjeg istraživanja Maja Đurinović uputila me je na tekst Ive Nerine Sibila Dodiri s arhivom: odsutnost i fikcije (Kretanja, br. 26. Hrvatski centar ITI, Zagreb, str u kojem je citiran rukopis osvrta na zagrebačku izvedbu Five legged Stool. Autorica rukopisa je očito bila pod snažnim i zbunjujućim dojmom predstave.) Predstava Five Legged Stool otvorila je našim umjetnicima poput Tomislava Gotovca i Milane Broš vrata kreativnosti i usuđivanja na akciju. Tomislav Gotovac je izjavljivao da je sve (izvedba i sam događaj) bilo sto posto ludo. Tada je shvatio da je likovnost moguće dočarati samim tijelom koje je uokvireno konceptom određene ideje i filozofije aktom performansa kojim se sama umjetnost i njezin položaj u društvu preispituje. 2 Milanu Broš vjerojatno je iznenadio i ohrabrio koncept po kojemu plesači na pozornici ne moraju plesati da bi stvorili plesnu predstavu. Takozvani pješački pokret dobio je svoj status unutar plesnog umjetničkog konteksta principom upotrebe kojom se jedan pokret nadograđuje na drugi, istovremeno s događanjem na pozornici, ali u svom osobnom izrazu, ritmu i tempu. Dakle, postalo je legalno napraviti/koreografirati plesnu predstavu bez da plesači zapravo plešu, čime se sam pokret, kretnja, analiziraju na nivou minimalizma jednako kao i apstrakcije koja je otkrivala svoje likovne, ali i glazbene prostore koji su postali inspirirajući za Milanu Broš tijekom njenog sveukupnog stvaralaštva. Predstava Five Legged Stool (1962., 90 min u dva čina) toliko je zapanjila publiku da su plesači zamoljeni da produže svoj boravak u Zagrebu radi konferencije na kojoj bi trebali objasniti i gledateljima i kritičarima radi li se to o remek-djelu novih plesnih formi ili plesači zajedno s Annom Halprin ne znaju što rade. Predstava se odigravala u cijelom prostoru tada Zagrebačkog dramskog kazališta (današnja Gavella), što uključuje prostor gledališta, balkona, same pozornice, i to istovremeno na svim stranama. Dakle, predstava je ostvarila mnogostruke kutove gledanja koji razbijaju jedinstvo percepcije, ali otvaraju vrata 2 Upućujem na svoj tekst: 07 Ljiljana Mikulčić Anna Halprin in Zagreb MOVEMENTS

74 za samo iskustvo gledanja, čime se gledatelji uvlače u sam akt stvaranja predstave. Unutar procesa prividne konfuzije predstava je objedinila one koji su je stvarali (plesače) i one koji su je počeli stvarati (gledatelje) za vrijeme same njene izvedbe. Temeljila se na situacijama kao npr. stalnog padanja i dizanja plesačice, prolaženja kroz redove publike s tranzistorom u rukama namještenog na neku zagrebačku stanicu, kotrljanja biciklističkog kotača, donošenja boca na pozornicu i na kraju odnošenja istih, i tako dalje. I to sve u prividnom stanju konfuzije svega što je razbijalo uzročno-posljedične odnose između događanja na koje su gledatelji inače navikli. Anna Halprin, Amerikanka ruskog porijekla (prva u porodici rođena u Americi), pomela je prostor plesne umjetnosti fokusom na granice ljudskog tijela koje sagledava kao dio prirode i određenih prirodnih ciklusa koji se povezuju saznanjem u koje je uključeno i njeno poznavanje taoističkog tijela. U svojem ciklusu vježbi Movement ritual spominje kinesku riječ za centar tijela dan tien, a mnoga njezina objašnjenja prizivaju to drevno razumijevanje tijela. Dakle, ne ples koji se gradi namjerom pružanja određene estetike kretanja gledateljima, već tijelo onako kako je mišljeno iznutra; pravo tijelo, ne figura zatvorena uglovima određenih estetskih principa, već tijelo kao organizam osobne ekspresije koje se temelji na znanstvenom proučavanju. Za Annu Halprin tijelo je dio prirode, ali i društveni dio cjelokupnog procesa življenja koji uključuje socijalni i politički aspekt. Na kraju se sve svodi na tijelo koje se poima kao umjetnost koja slavi život, na tijelo kao potencijal otkrivanja stanja osobne i kolektivne svijesti, na ples kao ekspresiju unutar jedinstva prirodnih i duhovnih struja. Na radionicama Anne Halprin koje sam pohađala u njenom Tamalpa institutu u blizini San Francisca Halprin traži da se pleše ples osobnog života sve dok ne postanemo svjesni sebe na najintimnijem nivou našeg bića tako da od običnog možemo stvoriti najneobičnije, u što su utkane naša mašta i senzibilnost. Janice Ross u svojoj knjizi Anna Halprin Experience as Dance 3 prepričava anegdotu koju je sama Anna Halprin ispričala tijekom demonstracije svojeg rada na Sveučilištu Stanford: Bio jednom dječak čiji je učitelj imao vrijednu šalicu za čaj, doista rijetki antikvitet. Dječak je slučajno razbio tu šalicu što ga je jako uznemirilo. Čuvši korake svojeg učitelja skupio je dijelove šalice i stavio ih iza svojih leđa. Kad se učitelj pojavio pred njim dječak zapita učitelja: Zašto ljudi moraju umrijeti? To je prirodno., objasnio je učitelj, Sve mora umrijeti i ima samo određen period života. Tada dječak pokaže razbijenu šalicu za čaj i kaže učitelju: Tvojoj šalici je bilo vrijeme da umre. 3 J. Ross: Anna Halprin Experience as Dance, University of California Press, 2007, Berkeley, Los Angeles Ross nam objašnjava da Halprin samu sebe objašnjava kao razbijenu šalicu, naime kao osobu koja razbija tradiciju koje je duboko svjesna. Naime, upoznata s radom i Doris Humphrey i Marthe Graham, tada zvijezdama američke koreografije, Halprin je odlučila ne vezati se uz njihovu tradiciju izgrađivanja određene plesne estetike, koju onda plesači imitiraju u svrhu što boljeg izvođenja zadataka čime se, htjeli ne htjeli, stavljaju pod stalnu kontrolu imitacije. Ona uranja u samo ljudsko tijelo i traži odgovore na pitanja što je ono, kako se veže sa sviješću, kako je posebno, samo i jedinstveno, a istovremeno ujedno i dio sveukupnih odnosa. Jednom riječju, Annu Halprin je zanimalo odustajanje od kontrole. Kako Ross objašnjava, Anna Halprin se time stavila na liniju američkih koreografkinja koje su poimale pozornicu gdje se ( ) self might unfold rather than a place where a self was depicted ( ). Anna Halprin rođena je 13. srpnja u ruskoj porodici koja je imigrirala iz Odese u Chicago. Rođena je kao Ann Schuman. Diplomirala je ples na Sveučilištu Wisconsin godine. Tamo je jedna od njenih profesorica bila i Margaret H Dubler čiji je sustav obrazovanja primjenjivala i proširivala u svojoj cjeloživotnoj obrazovnoj praksi. Margaret H Dubler osnovala je prvi plesni odjel u Americi koji je završavao BA diplomom. Iako nije imala plesno obrazovanje, već diplomu iz biologije i filozofije, bila je istraživačica tijela i plesa. Istraživala je mogućnosti kretanja tijela koje se temelji na znanosti. Dakle, osobna ekspresivnost plesača koja se temelji na znanstvenom proučavanju tijela bila je njena preokupacija. H Dubler je poticala svoje studente da plešu osobna iskustva kroz tehniku koju je opisivala kao treniranje uma koji surađuje s tijelom (što je blisko taoističkom tijelu). Anna Halprin je na Sveučilištu Wisconsin srela i svog budućeg supruga Lawrencea Halprina koji je na istom sveučilištu studirao hortikulturu. Kada je Lawrence Halprin nastavio studij arhitekture na Harvardu, preselili su se u New York. Anna se u New Yorku upoznala s plesnom estetikom Marthe Graham. Plesala je u predstavama Doris Humphrey i nekim brodvejskim produkcijama. Preko Lawrencea je upoznala Waltera Gropiusa i mnoge druge koji su imigrirali u Ameriku pred navalom Drugog svjetskog rata. Tako je stekla znanje o dadaizmu i općenito europskoj umjetnosti prije Drugog svjetskog rata iz prve ruke. Na poticaj njenog tada već supruga Lawrence Halprina preselili su se u San Francisco, gdje je Halprin započela svoje istraživanje na danas slavnoj drvenoj terasi koja još uvijek služi kao pozornica za ples, okružena divljinom okolne šume i svježeg brdskog zraka koji čini improvizirano plesanje aktom transformacije. Po dolasku u San Francisco, Anna je osnovala svoj studio i tako započela svoju dugogodišnju obrazovnu karijeru iz koje je proizašao danas slavan 74 KRETANJA Anna Halprin u Zagrebu

75 sklop vježbi koje je nazvala Movement ritual. Socijalno uvijek osviještena, radila je u okviru programa koji je nazvala Reach-out (a koji je sufinancirao i National Endowment for the Arts) s djecom iz kvartova koji su slovili kao teški, opasni i nepristupačni bijelom stanovništvu. Program je uključivao istraživanje osobnih tema plesom u kontekstu opće kulturne i društvene situacije. U jednom trenutku izbrojila je 800 polaznika svoje škole. Istovremeno je osnovala svoju plesnu grupu koju je nazvala San Francisco Dancers Workshop. Radila je sa Simone Forti, Trishom Brown, Yvonne Rainer i drugima koji su kasnije postali vodeće ličnosti američke koreografije; surađivala je s Johnom Cageom godine ostvarila je predstavu Parades and Changes koja je također izazvala pravu buru reakcija. Gledala sam remake predstave i razumjela tadašnje reakcije. Plesači svih rasa skidaju se goli usporenim kretnjama, zatim valjaju po pozornici unutar zgužvanih papira velikih ploha jedni preko drugih, da bi se na kraju podigli i nastavili usporenu kretnju oblačenja. Možda nam je baš ta predstava danas pokazatelj da društvene predrasude ipak polako nestaju jer na predstavi koju sam gledala nitko nije bacao stolice na pozornicu i vrijeđanjem plesača izašao iz dvorane, kao što se to dogodilo na izvedbi godine. Sve te reakcije publike na njen rad otkrile su joj da plesna umjetnost može biti i u službi psihičkog i duševnog iscjeljivanja. Tako je Halprin u San Franciscu i započela svoju terapeutsku praksu pokretom i umjetnošću koja je proistekla iz njene umjetničke prakse i koju je onda dalje uključivala u svoju umjetničku praksu do razine nerazdvojivosti godine ostvarila je predstavu koju je nazvala Ceremony of Us na temu rasne nejednakosti. U predstavi iz godine koju je nazvala Initiations and Transformation grupa plesača improvizirala je temeljne životinjske instinkte, ali i razne aspekte ljudskog postojanja. Anna Halprin se u svom daljnjem radu sve više odvajala od pozornice i njen interes se sve više približavao ulici, pitanju socijalnog statusa ljudi, nejednakostima, a onda i ekspresivnoj formi rituala. Na toj liniji interesa kreirala je performans Circle the Mountain kao odgovor na strah koji je izazvao serijski ubojica u području planine Tamalpa, unutar kojeg i ona živi. Ubojica je otkriven samo tjedan dana poslije. Je li performans pomogao otkrivanju ubojice? Ovaj se rad kasnije razvio u projekt Circle the Earth koji se redovno svake godine izvodio u formi performansa kao projekt iscjeljenja. 4 U 40 godina rada Anna Halprin je primila brojna priznanja (citiram neke od nagrada iz njene biografije): American Dance Guild Award (1980.), the Bay Area Dance Coalition Isadora Duncan Hall of Fame Award (1985.), the Professional Women s Association Women of Wisdom Award (1987.), an Honorary Doctorate degree in Human Services from Sierra University (1987.), the West Coast Outstanding Teacher of the Year Award (1988.), the Goldie Award for lifetime achievement from the San Francisco Bay Guardian (1990.), the 1991 award from WAVE, Women of Achievement and Excellence. 07 Ljiljana Mikulčić 4 U Circle the Earth je nekoliko puta sudjelovala i naša Tatjana Kaurinović, koja ima diplomu Instituta Tamalpa koji je Anna Halprin osnovala godine sa svojim dvjema kćerima, Ranom i Dariom. Institut Tamalpa je edukativni centar koji je pomogao Anni Halprin u njenom istraživanju koje se formuliralo u naziv Life/Art Process - dakle, proces koji neprestano briše granice između umjetnosti i života. Anna Halprin in Zagreb MOVEMENTS

76 Ljiljana Mikulčić Anna Halprin in Zagreb 07 Ljiljana Mikulčić and how the dance piece Five Legged Stool performed by the company she founded and called the San Francisco Dancers Workshop (Ann Halprin, John Graham, Lyne Palmer and AA Leath) made an impact on the Croatian experimental scene 1 I came to the symposium on dance in the sixties, organised by the Croatian Centre ITI prepared for a lecture on Anna Halprin and her dance piece Five Legged Stool (1962), which was performed in Zagreb at the Music Biennale (1963) and caused general uproar. I didn t see the performance, of course, so I prepared the lecture by researching available materials, including the information I got from Anna Halprin herself. It was interesting, as well as educational and touching, 55 years after the performance to meet artists like Ivica Boban and Tihana Škrinjarić who laid the foundations to our contemporary dance scene from the sixties onwards, and who saw the performance and remember it. Everyone particularly remembered the bottle scene. Anna (then Ann) Halprin in the performance brought around 100 glass wine bottles on the stage one by one, which naturally lasted for ages And with this, among other things, she made the scene last in the memory of those who witnessed it. Five Legged Stool opened the door of creativity and call for action to our artists like Tomislav Gotovac and Milana 1 I learned about Anna Halprin s influence on Tomislav Gotovac from the monograph Tomislav Gotovac: Crisis Anticipator ahead of Gotovac s exhibition in Rijeka in The text in the bok Bilo je sto posto ludo was written by Ana Janevski. In my further research Maja Đurinović referred me to Iva Nerina Sibila s text In Touch with Archive: Absence and Fictions (Movements, no. 26, Croatian Centre ITI, Zagreb, 2017, pp , quoting the manuscript of a review to the Zagreb performance of Five Legged Stool. The author was clearly under the strong and confusing impression of the play. Broš. Tomislav Gotovac used to say that everything (the performance and the event itself ) was completely off the hook. Then he realised that visuality could be depicted by way of a body itself, framed by the concept of an idea and philosophy, through an act of a performance challenging art and its position in society. 2 Milana Broš was probably surprised and encouraged by the concept in which dancers on the stage didn t have to dance to create a dance piece. The so-called pedestrian movement rose to an established status in the artistic dance context by upgrading the movements one after the other, simultaneously to the happenings on the stage, but in their own personal expression, at their own rhythm and pace. Therefore, it became legitimate to make/choreograph a dance piece without the dancers actually dancing, examining the very movement, motion, on a minimalist as well as abstract level revealing its visual and musical spaces that in turn inspired Milana Broš during her entire creative career. The dance piece Five Legged Stool (1962, 90 min, two acts) stunned the audience to such a degree that the dancers were asked to extend their stay in Zagreb over a conference, to explain to both the spectators and the critics whether this was a masterpiece of new dance forms or the dancers, together with Anna Halprin, did not have a clue about what they were doing. 2 I refer to my text: 76 KRETANJA Anna Halprin u Zagrebu

77 The performance took place at the entire premises of the former Zagreb Drama Theatre (today Gavella), including the auditorium, balcony, stage, at the same time all around the place. The performance, hence, opened multiple angles of watching which destroyed the unity of perception, but opened the door to the experience of watching, immersing the spectators into the very act of the creating the performance. In a process of seeming confusion, the dance piece brought together those who created it (the dancers) and those who began creating it (the spectators) during its performance. It was based on situations like, for instance, one dancer s constant falling and getting up, passing through the audience rows with a radio transmitter in her hands, attuned to a radio station from Zagreb, rolling a bicycle wheel, carrying bottles on and off the stage, and so forth. All in a seeming state of confusion of everything that destroyed the causal relations between events the spectators are accustomed to. Anna Halprin, an American of Russian origin (the first generation born in the USA), swept away the dance art domain with her focus on the limits of the human body perceived as a part of nature and certain natural cycles connected with cognition including her knowledge of the Taoist body. In her practice cycle Movement Ritual she makes a mention of the Chinese word for the body centre dan tien, and many of her explanations refer to this ancient understanding of the body. Therefore, this is not dance built with the intention of giving spectators a certain aesthetic of movement, but rather a body the way it is meant inside; the real body, not a figure enclosed by the angles of certain aesthetic principles, but rather a body as an organism of a personal expression based on scientific research. To Anna Halprin, the body is a part of nature, but also a social part of the entire process of living which includes both the social and the political aspect. Finally it all comes down to the body perceived as art celebrating life, the body as a potential of revealing the states of personal and collective awareness, to dance as an expression within the unities of natural and spiritual flows. At Anna Halprin s workshops, which I attended at her Tamalpa Institute near San Francisco, she requested that we danced the dance of personal life until we become aware of ourselves on the most intimate level of our existence and thus able to turn the ordinary into the most extraordinary, embedded in our imagination and sensibility. In her book Anna Halprin Experience as Dance 3, Janice Ross retells an anecdote Anna Halprin recounted herself when she was introducing her work at Stanford University: There was once a boy whose teacher had a valuable teacup, a truly rare antique. The boy accidentally broke the cup, which 3 J. Ross: Anna Halprin Experience as Dance, University of California Press, 2007, Berkeley, Los Angeles upset him gravely. Hearing the footsteps of his teacher, he quickly gathered the shattered pieces and put them behind his back. When the teacher turned up in front of him, the boy asked him: Why do people have to die? It is natural, said the teacher, Everything must die and only has a limited period of life. The boy then showed him the broken teacup and said: It was time you teacup died. Ross explains that Halprin saw herself as a broken teacup, a person breaking the tradition she is deeply aware of. Acquainted with the work of both Doris Humphrey and Martha Graham, American choreographic celebrities of the time, Halprin decided not to depend on their tradition of building a certain dance aesthetic, which is then imitated by dancers in order to perform a task better which, willy-nilly, placed them under the permanent control of imitation. She immerses into the very human body and seeks answers to the questions what it is, how it relates to awareness, how it can be special, alone and unique, and at the same time part of overall relationships. In brief, Anna Halprin was interested in relinquishing control. As Ross puts it, Anna Halprin thus put herself on the line of American choreographers who perceived a stage as a place where ( ) self might unfold rather than a place where a self was depicted ( ). Anna Halprin was born on 13 July 1920 in Chicago, in a Russian family of immigrants from Odessa, as Ann Schuman. She graduated in dance from the University of Wisconsin in One of her teachers was Margaret H Dubler, whose training system she applied and expanded throughout her entire educational practice. Margaret H Dubler founded the first BA dance department in the US. Although she was not schooled in dance, but in biology and philosophy, she was a researcher of the body and dance. She explored the possibilities of bodily motions based on science. Hence, the dancer s personal expression based on the scientific research of the body was her field of interest. H Dubler motivated her students to dance their personal experiences through a technique she described as training the mind in collaboration with the body (close to the Taoist body). At the University of Wisconsin Anna Halprin met her future husband, Lawrence Halprin, who studied horticulture at the same university. When Lawrence Halprin continued to study architecture at Harvard, they moved to New York City, where Anna became acquainted with Martha Graham s dance aesthetic. She danced in Doris Humphrey s pieces and Broadway productions. Through Lawrence she met Walter Gropius and many others who migrated to the States ahead of the outbreak of World War II. That is how she acquired her knowledge of Dada and European art before WWII in general first hand. Anna Halprin in Zagreb MOVEMENTS

78 07 Ljiljana Mikulčić Anna Helprin u Zagrebu (1963), screenshot Her now husband Lawrence Halprin suggested they should move to San Francisco, where Anna began her research on the today famous wooden deck that still acts as a dance stage, in the wilderness of the surrounding forest and fresh mountain air making improvised dancing a transformation act. Upon her arrival in San Francisco, Anna established a dance studio and thus began her long career in training and education resulting in the now famous set of exercises she called Movement Ritual. Always socially aware, she worked in a reach-out programme (co-funded by the National Endowment for the Arts) with children from neighbourhoods notoriously difficult, dangerous and unavailable to white population. The programme included an exploration of personal issues through dance in the context of the general cultural and social situation. At one point her school had 800 students. At the same time she founded her dance company under the name of San Francisco Dancers Workshop. She worked with Simone Forti, Trisha Brown, Yvonne Rainer and others who later became the staples of American choreography; she collaborated with John Cage as well. In 1963, she created a performance Parades and Changes which also caused a real uproar. I saw a remake of the play and could say I understood the audience s response. Dancers of all races undress in slow motion, then they roll across the stage inside large creased pieces of paper one on top of the other and finally they get up and continue to dress, again in slow motion. Perhaps this performance now tells us that social prejudices are gradually disappearing, because at the performance I saw no one threw seats on the stage or left the theatre insulting the dancers, as it happened at the 1963 performance. All of these reactions to her work made it clear to her that art can act as a mental and spiritual healing process. Hence, Halprin launched her therapeutic practice in San Francisco based on movement and art, originating from her artistic practice, which over time became embedded in her art to the point of inseparability. In 1969 she created a dance piece Ceremony of Us, to the subject of racial inequality. In her 1971 dance piece called Initiations and Transformation, a group of dancers improvised basic animal instincts, as well as different aspects of human existence. In her subsequent work Anna Halprin became more and more detached from the stage and her interest grew closer to the street, the matters of social status, inequalities, followed by the expressive form of a ritual. Along this line of interest, she created a performance Circle the Mountain, as a response to the fear caused by a serial killer in the area of Mount Tamalpa, where she lived. The killer was apprehended only a week later. Did the performance help finding him? This work later evolved in to the Circle the Earth project, performed each year as a healing project. 4 In 40 years of work, Anna Halprin received many honours (quoting some from her biography): American Dance Guild Award (1980), the Bay Area Dance Coalition Isadora Duncan Hall of Fame Award (1985), the Professional Women s Association Women of Wisdom Award (1987), an Honorary Doctorate degree in Human Services from Sierra University (1987), the West Coast Outstanding Teacher of the Year Award (1988), the Goldie Award for lifetime achievement from the San Francisco Bay Guardian (1990), the 1991 award from WAVE, Women of Achievement and Excellence. 4 Our Tatjana Kaurinović took part several times in Circle the Earth as a graduate of the Tamalpa Institute, founded by Anna Halprin in 1987 with her two daughters, Rana and Daria. The Tamalpa Institute is an educational centre which helped Anna Halprin in her research, resulting in the title Life/Art Process a process constantly blurring the lines between art and life. 78 KRETANJA Anna Halprin u Zagrebu

79 Five Legged Stool, Lynne Palmer, John Graham, Anna Halprin, A. A. Leath; foto/photo: Warner Jepson copyright The Estate of Warner Jepson Anna Halprin in Zagreb MOVEMENTS

80 80 KRETANJA SUVREMENI PLES NA DUBROVAČKIM LJETNIM IGRAMA ŠEZDESETIH