Bitef

Munich, 2001, Stagione di caccia, Bologna, 2001, Kaaitheater, 2002, Akcija-Frakcija Zagreb, 2002, Exodos Ljubljana, 2002, Infant, Novi Sad, 2002; Internationale Keuze, Rotterdamse Schouwburg, 2002; CAPITALS, Lisbon, 2002; Oslo, Bergen and Trondheim, 2002, Panacea, Stockholm, 2003); Pipelines, a construction 2004 (Kaaitheater, Wiener Festwochen, Spielart Munich 2003, TAT in Frankfurt, Rotterdamse Schouwburg, Stuttgart Kammerspiel, Hebbel Theater in Berlin, Baltoscandal in Estonia, Welt in Basel). With six other dancers and actors made and performed Collect-if (Maska and Troubleyn production, Cankarjev dom in Ljubljana, Hebbel Theater, Four Days Association in Prague etc.) Her most recent project is a collaboration with the choreographer Lynda Gaudreau Document 4 (Vooruit, Gent in April 2004). Christoph Willibald Gluck born Erasbach, 2 July 1714; died Vienna, 15 Nov. 1787). [...] Gluck's opera reforms-they are not exclusively his own, for several other composers (notably Jommelli and Traetta, both like Gluck French-influenced) had been working along similar lines - are outlined in the preface he wrote, probably with Calzabigi's help, to the published score of Alceste. He aimed to make the music serve the poetry through its expression of the situations of the story, without interrupting it for conventional orchestral ritornellos or, particularly, florid and ornamental singing; to make the overture relevant to the drama and the orchestration apt to the words; to break down the sharp contrast between recitative and aria: 'in short... to abolish all the abuses against which good sense and reason have long cried out in vain'. Orfeo exemplifies most of these principles, with its abandonment of simple ' recitative in favour of a more continuous texture (with orchestral recitative, arioso and aria running into one another) and its broad musical-dramatic spans in which different types of solo singing, dance and choral music are fully integrated. It also has a simple, direct plot, based on straightforward human emotions, which could appeal to an audience as the complicated stories used in contemporary opera seria, with their intrigues, disguises and subplots, could not. He had a limited compositional technique, but one that was sufficient for the aims he set himself. His music can have driving energy, but also a serenity reaching to the sublime. His historical importance rests on his establishment of a new equilibrium between music and drama, and his greatness on the power and clarity with which he projected that vision; he dissolved the drama in music instead of merely illustrating it. [...] The Grove Concise Dictionary of Music Currently she is working on four performance projects: KNOWH2OW as co-author and performer with Jan Ritsema and Sandy Williams (2006, Kaaitheater, Brussels), »Mouvements für Lachenmann«, as dramaturge to the choreography by Xavier Le Roy (Wien Modern Festival, 2005), »Trike«, as dramaturge to the choreography of Christine Gaigg on the music of Bernhard Lang (Tanzquartier Wien 2006), and »Orfeo ed Eurydice«, as the director of opera for the BEMUS in Belgrade, 2005, Bojana Cvejic has been lecturing performance theory and analysis in high education in many European programmes and institutions. Participates in many colloquia and conferences. Publishes essays and reviews in performing art magazines/journals and other publications of Etcetera, Maska, Frakcija, Performance Research, New Sound, Musical Wave, Third Radio Programme in Belgrade, Walking Theory. Her most recent publication is a book Open Work in Music: Cage, Stockhausen, Boulez, SKC, Belgrade, 2004.