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XIX veka, a razvoj i preobražaji traju do današnjih dana. Njegovim temeljnim istraživanjem uspostavljena je nesporna veza između prvih primera pozorišne moderne, Ibzenovih, Strindbergovih i Čehovijevih komada, i onih najnovijih, bilo da je reč o delima Franca Ksavijera Kreca, Edvarda Bonda, Hajnera Milera, Tomasa Bernharda, Sare Kejn ili B, M. Koltesa i mnogih drugih. U tom. gotovo vek i po dugom periodu, Sarazak temeljno analizira, pored pomenutih autora i mnogih drugih, još i Pirandelove, Brehtove, O’ Nllove, Beketove, Ženeove drame, prated tako sve obnoviteljske procese u dramskoj književnosti XX veka, koji su doveli do pojave raznih oblika „otvorenog (dramskog) dela“. Suzan Au x BALET I MODERNA IGRA Prevela sa engleskog: Katarina Stojkov Slijepčević Zapodnjud priču o baletu u doba ranog baroka, na francuskom, italijanskom i potom engleskom dvoru, Suzan Au vodi nas putevima razvoja jedne izuzetne umetnosti koja u sebi sadrži pokret, muziku, scenografiju, kostim i neograničene mogućnosti scenskih efekata koje su se razvijale od sioženih baroknih scenografija preko svede-

ne romantike do eksperimenata u umetnosti dvadesetog veka, Zahvaljujud jasnom i razumljivom izlaganju autorke i brojnim, funkcionainim ilustracijama, ova knjiga može biti zanimijiva širokom krugu dtalaca, a posebno je korisna učenicima baletskih i muzičkih škola, kao i studentima muzičkih akademija, budućim muzikolozima i muzičkim pedagozima. Patris Pavis x REČNIK PERFORMANSA i SAVREMENOG POZORIŠTA Prevela s francuskog: Milica Šešić Eksponencijalan rast performansa u kulturi - kulturalnih performansa, predstavlja pojavu koja je, uz snažne promene u klasičnom pozorištu, obeležila početak novog milenijuma. Uporedo sa ovim tendencijama dolazi do institucionalizacije studija izvođenja i studija kulture, što u pragmatičnom anglofonom svetu postaje značajan fenomen u oblasti kulture i lingvistike. Polazeći od iiste kritičkih i teorijskih termina koji su u upotrebi od šezdesetih godina prošiog veka, a još češće od početka novog milenijuma, autor daje pregled opšte situacije na polju scenske umetnosti. Knjiga svedoči o performativnom preokretu i njegovim posledicama za scensku produkciju, ne zapostavljajući pritom estetska i umetnička dela kontinentalne tradicije koja ostaju osnovni predmet istraživanja.

new paradigm of the dramatic form drawing its roots from the late decades of the 19 th century and developing and metamorphosing to this day. His fundamental research has established an unquestionable link between the earliest examples of the theatre of the modern (Ibsen, Strindberg and Chekhov) and the most recent ones, such as the works by Franz Xaver Kreutz, Edward Bond, Heiner Muller, Thomas Bernhard, Sarah Kane or B.M, Koltes and many others. In this time frame of almost a century and a half, Sarrazac conducts and in-depth analyisis, in addition to the above authors, of Pirandello’s, Brecht’s, O'Neill’s, Beckett’s, Genet’s plays, following all renewal processes in the 20th century drama literature which have conduced to different forms of an 'open (drama) work’. Susan Au x BALLET AND MODERN DANCE Translation from English: Katarina Stojkov Slijepčević The author begins her story about ballet in early baroque at the French, Italian and then the English courts and then follows the evolution of an extraordinary art involving movement, music, set design, costume and unlimited possibilities of stage effects evolving from complex baroque

sets to reduced romanticism to experiment in the art of the 20 th century. Owing to her dear and comprehensible presentation and numerous functional illustrations, this book can be of interest to a broad segment of readers and is particularly useful to students of ballet and music schools, students of music academies, future music scholars and music educators. Patrice Pavis x DICTIONAIRE DE LA PERFORMANCE ET DU THEATRE CONTEMPORAIN Translation from French: Milica Šešić The exponential growth of performances in culture - cultural performances is a phenomenon which, alongside impressive changes in the classical theatre, has marked the beginning of the new millennium. These tendencies run in parallel to the institutionalization of performance and cultural studies which in the pragmatic Anglophone world become an important cultural and linguistic phenomenon. Starting from a list of critical and theoretical terms in use since the 1960 s and even more frequently since the beginning of the new millennium, the author makes an overview of the general situation in the stage art. The book speaks about the performative turning point and its effect on the stage production without ignoring aesthetic and artistic works in the continental tradition which remain the chief subject of research.