OPTIMIZAM
OPTIMISM
Snežana Ristić
Radonja Leposavić
Serbian Broadcasting Corporation
Radio Belgrade 2
Emisija Grad (RTS – Radio Beograd 2)
Naslov:
Optimizam
Žanr:
Dokumentarni – kratka forma
Autori:
Snežana Ristić i Radonja Leposavić
Režija:
Snežana Ristić i Radonja Leposavić
Dig. montaža:
Snežana Ristić i Radonja Leposavić
Trajanje:
06.59
Urednici:
Snežana Ristić i Radonja Leposavić
Premijera:
mart 2011.
Kratak sadržaj
Nebojši Ignjatoviću, profesoru na beogradskom Fakultetu
muzičke umetnosti, desila se nezgoda. Morao je na
operaciju kuka i dva meseca se nakon toga pri hodu
oslanjao na štake. Gledajući to staro pomagalo – koje je u
Srbiji nepromenjenog izgleda još od Prvog svetskog rata –
došao je na ideju da od štake napravi muzički instrument.
O autorima
Snežana Ristić diplomirala je na Arhitektonskom fakultetu u
Beogradu. Bavi se arhitektonskom i fotografskom kritikom i fotografijom. Objavljuje u domaćim i stranim stručnim časopisima (Arhitektura urbanizam, Forum, Kvart, DaNS, Oris) nedeljnicima i dnevnim
novinama (Politika, Vreme). Autor je brojnih fotografskih izložbi.
Urednik je redakcije za kulturu Radio Beograda 2. U koautorstvu sa
Radonjom Leposavićem radi od 1993.
Radonja Leposavić diplomirao je na grupi za istoriju umetnosti
Filozofskog fakulteta u Beogradu. Bavio se muzeologijom i bio
kustos nekoliko izložbi. Autor je knjige Dada–clipping (2000) i priređivač zbornika VlasTito iskustvo (2004). Autor teksta u katalogu i
saradnik na izložbi Efekat Tito u Muzeju istorije Jugoslavije (2009).
Urednik zbornika Pažnja kritika!? povodom 50 godina beogradskog
Oktobarskog salona. Urednik je u Radio Beogradu 2. U koautorstvu
sa Snežanom Ristić radi od 1993.
Snežana Ristić i Radonja Leposavić autori su i voditelji nedeljne
emisije Grad na Radio Beogradu 2. Autori su i preko 500 dokumentarnih i radio emisija za Radio Beograd 2 i dokumentarno–dramskih emisija: Proces (1997), Prvi beogradski film (2001), Play with Reality
(2002), Veliko zadovoljstvo – Giacomo Casanova (2004), Balans – Zora
D. (2004), Harfa (2006), Alfa Mangelos (2006), Reči koje čekaju (2007),
13-89 (2008), Nikotin (2009) za Radio Beograd. Za Radio B92 realizovali su 24 emisije svog autorskog projekta Ogledalo (2000). Bili su
autori i voditelji tribina Tranzicija intelektualaca u beogradskom Medija centru (2001). Objavili su knjige Glasovi iz crne rupe – Šta ste radili
u ratu? (1999) i Osam predavanja Nikole Miloševića (2000). Pisali su za
zagrebački Arkzin, sarađuju u beogradskom književnom časopisu
Reč i nedeljniku Vreme. Njihove emisije Prvi beogradski film, Play with
Reality, Veliko zadovoljstvo – Giacomo Casanova, Harfa, Alfa Mangelos, 1389, Nikotin i Snežana ima 200 godina su na festivalima Prix Italy 2003,
Prix Europa 2003, 2006 i 2008, odnosno Prix Marulić 2005, 2006,
2008, 2009 i 2010. izazvale znatnu pažnju.
2007, Prix Marulić za treće mesto u kategoriji dokumentarnih radio
emisija za Reči koje čekaju.
2011, Grand Prix Marulić za radio kratku formu
za emisiju Optimizam i Prix Marulić za treće mestu u dokumentarnoj radio kategoriji za emisiju DaDa za ponavljače.
CITY
(Serbian Broadcasting Corporation, Radio Belgrade 2)
Title:
Optimism
Genre:
Documentary - short form
Authors:
Snežana Ristić & Radonja Leposavić
Directed by:
Snežana Ristić & Radonja Leposavić
Digit. editing:
Snežana Ristić & Radonja Leposavić
Duration:
06.58
Editors: Snežana Ristić & Radonja Leposavić
Premijera:
March 2011
Summary
Nebojša Ignjatović, a lecturer at Belgrade’s Faculty of Music,
had an accident. He had to undergo a hip operation, following
which he had to walk relying on crutches for two months. Looking at this old orthopaedic device – which has remained the
same in Serbia since the First World War – he hit upon the idea
of turning a crutch into a musical instrument.
About the authors:
Snežana Ristić graduate of the Faculty of Architecture of Belgrade
chitecture, as well as photography. Has held a number of photography
exhibitions. Editor on the editorial board for culture of Radio Belgrade
2. Has worked with Radonja Leposavić as a co-author since 1993.
Radonja Leposavić graduate of the Department of Art History of the
Faculty of Philosophy of Belgrade University. Has dealt with museology
and curated several exhibitions. Published the book Dada–clipping in
2000 and edited the collection Past Present in 2004. Co-author of the
project:
, Museum of Yugoslav History in 2009, edited collection Pažnja! Kritika (half a century of the October Art Salon, Belgrade),
2009. Editor at Radio Belgrade. Has worked with Snežana Ristić as a
co-author since 1993.
Snežana Ristić and Radonja Leposavić are the authors and presenters of the weekly programme City, broadcast by Radio Belgrade 2.
Radio Belgrade 2 and of documentary drama programmes: Process
(1997),
(2001), Play with Reality (2002),
Great Pleasure – Giacomo Casanova (2004), Balance – Zora D. (2004),
Harp (2006), Alpha Mangelos (2006), Words that Wait (2007), 13-89
(2008) amd Nicotine (2009) for Radio Belgrade. In 2000, they realised
their own project Mirror
authors and presenters of panel discussions entitled
Intellectuals
the following books: Voices from the Black Hole – What Did You Do
during the War? (1999) and Eight Lectures by Nikola Milošević (2000).
Arkzin and Reč and the
weekly Vreme
, Play with
Reality,
, Harp, Alpha Mangelos, 13-89, Nicotine and Snowhite is 200 years old attracted considerable
attention at the festivals Prix Italy 2003, Prix Europe 2003, 2006, 2008
and 2009, Prix Marulić 2005, 2006, 2008, 2009 and 2010.
Second Commendation in Documentary category for Words that Wait,
Prix Marulić, 2007.
Grand Prix Marulić in Short Form category for Optimism and Second
Commendation in Documentary category for
DaDa for Repeaters, 2011.
Optimizam | Optimism
N.I: Čekaj samo da... oslobodim dijafragmu, što bi rekli pevači.
Evo ovo je neka...
R.L: Dobro.
N.I: I to je jačina... mislim to je to.
N.I. svira
S.R: Je l to snimaš sada?
R.L: Ne još, mislim ne... ovaj je uključen već.
N.I. svira
N.I: Da, onda ćemo hvatati ovo... mislim videćeš na kraju
rezultat. Može da bude takav da glas bude jači odo ovoga, ali...
N.I. svira
N.I: Pa možda liči na neki etno žičani instrument zato što nema
fiksiranu baš jasno visinu tona koju imaju gudački instrumenti.
On malo vibrira gore-dole, i ovo ovde... takođe možda podseća
na citru ili na tako neki instrument. Ako se ne vidi o čemu je
reč, onda taj zvuk može da se pripiše raznim instrumentima.
OK, hoćeš da počnem.
R.L: Može.
N.I. svira i peva ( Igra rokenrol cela Jugoslavija/sve se oko mene
ispravlja i savija)
N.I: Taj belkanto koji ja hoću u stvari da imitiram mora da
bude na talijanskom. Druga je stvar što ja ne znam talijanski
i ja imitiram moju majku koja je živela u Splitu i koja je to vrlo
dobro znala i koja je volela tu vrstu opere, znači tu talijansku.
Ona je po ceo dan to ili tako pevala ili pričala, a ja sam kao što
svako dete imitira, ja sam to imitirao, zapravo. Tako da... to je
samo jedno dečije igranje sa nečim što u svari liči na talijanski
jezik. Eto tako. Ja ga koristim dadaistički, onako po zvučanju,
prosto da dobjem duh nekog jezika u zvučanju. Talijanski ima
ovu mekoću, i tako. Eto u tom smislu je to talijanski jezik, znači
to nije, to je tekst – to u stvari nije tekst, to nema značenja.
N.I. svira
N.I: E sad, onda sam ovako... prvo sam mislio da je nazovem
štakolončelo, ali onda su počeli da je zovu štakolina, odnosno
bolje je štakalina jer je onda izvedena iz ove primarne reči da je
to štaka, i onda štakalina mi se čini sasvim pogodno i kraće.
Sad, to se ne vidi ovde, ali ove štake su još jedino ostale u
Srbiji, ovako drvene i taj primarni model, koji je onako potpuno
verovatno i u vreme Solunskih ratova bio (smeh) taj model.
N.I. svira
N.I: Bilo je i bolno i svakako na razne načine. To su bila razna
osećanja, međutim ono... prvih dana kad sam nosio štaku,
onda su to... ima tu par homelessa ovde okolo koji prose i koji
žive na ulici i koji... deo njihovog samosažaljivog arsenala
su i štake, da li im trebaju- ne trebaju, nije bitno. ja kad sam
prolazio pored njih, oni su me zvali da popijem s njima iz neke
flaše neku rakiju, kao: e, pa dođi kao... Kad su videli baš ovu,
ovakvu štaku, znači drvenu... Oni su me odjedanput shvatili
kao deo njihovog miljea. To je bila najniža tačka do koje sam
dospeo (smeh) Samo sam mahnuo i prošao.
|3
N.I: Wait, let me just... release the diaphragm, as singers would
say. Here, this is a kind of...
R.L: Right.
N.I: And that’s the volume... I mean, that’s it.
N.I. plays
S.R: Are you recording this now?
R.L: Not yet, I think not... this one’s already switched on.
N.I. plays
N.I: Yes, then we’ll capture this... I mean, you’ll see the result in
the end. It may happen that the voice is stronger than this, but...
N.I. plays
N.I: Well, it might resemble some ethno string instrument
because it doesn’t have a clearly determined pitch like bowed
string instruments. This one vibrates a bit, up and down, and
this here… it might be reminiscent of the zither or some such
instrument. If you don’t see what’s happening, you can ascribe
this source of sound to various instruments. OK, do you want
me to start?
R.L: Right.
N.I. plays and sings (The whole of Yugoslavia’s dancing rock-n-roll
/ swaying and straightening one and all)
N.I: This bel canto that I want to imitate must be in Italian. Another thing is, I don’t know Italian, so I imitate my mother, who
lived in Split and who knew it very well, who liked that kind of
opera, that is, Italian opera. She would sing all day long or talk,
and I was just like any child who imitates, I imitated her, in fact.
So that… I was just a child playing with something that actually
resembled Italian. That’s what it was. I use it in a Dadaist manner, relying on the sound of it, just to capture the spirit of some
language in that sound. The Italian language has this softness,
and so… So, in that sense, that’s the Italian language, meaning,
it’s not, it’s a text – in fact, it’s not a text, it has no meaning.
N.I. plays
N.I: Now, this is what... I first thought of calling it the crutcheoncello, but then they started calling it the crutcheolin, actually
the crutcheolin is better, it is derived from the primary word
crutch, so crutcheolin seems to me to be more convenient, it’s
shorter anyway.
Now, you don’t see that here, but crutches of this kind have
remained in Serbia only, the kind made of wood, the primary
model, which has remained the same ever since the Salonica
Wars (laughs), that kind of model.
N.I. plays
N.I: It was also painful, in various ways, certainly. There were
various emotions, but… in the early days, when I walked about
leaning on crutches, then… there are a couple of homeless
people nearby, who live in the streets and beg… a part of their
arsenal of self-pity are their crutches, do they really need them
– no, they don’t, it doesn’t matter. When I passed by them, they
called out to me, inviting me to take a swig out of a bottle with
them: Hey, come on over… When they saw a crutch like this one,
a wooden crutch… All of a sudden they saw me as part of their
milieu. That was my lowest point in life, ever (laughs). I just
4|
Snežana Ristić & Radonja Leposavić
E sad, gledajući ovu štaku, mesec dana - dva ispred mene,
ja sam u stvari shvatio da njen ram i konstrukcija, u stvari,
dozvoljavaju mogućnost da se tu udenu žice, čivije i još dve,
neke bas da kažem, čak i kobilica dole koja je u stvari od violine
i provučena, znači preko njih, preko kobilice su te dve žice koje
su kao neke bas žice.
N.I. svira
N.I: Mogu da ga sviram, pre sam ga svirao samo ovako...
N.I. svira
N.I: ... i tako, neka vrsta gitarske bluegrass tehnike, a sad
imam i dole ovo. Tako da sad mogu da kombinujem kao da
sviram...
S.R: Dva instrumenta...
N.I: Dva instrumenta, u stvari da dajem bas sebi. Eto tako.
Mislim da je... kad je sama za sebe ona je dosta tiha...
N.I. svira
N.I: ... evo čuje se, ali nema onu dubinu.
N.I. svira
N.I: Ovo što ja pevam je groteskno u stvari. Pevam tim glasom
anime, znači nekim falsetom koji čak nije ni lirski tenor, eto
tako prosto falsetno pevanje, uz štaku pevam jednu ariju
koja je inicijalno vesela, ali mislim... to je kao ta, s tim lažnim
talijanskim.
N.I. svira i peva
N.I: Ona je tužnjikava iako je u stvari... inicijalno nije. Kad bi
se videlo u notama, u notnom materijalu to je kao pesmica, ali
ona u stvari sugeriše... donja karta je tuga. Mogu to da otpe-
waved to them and passed them by.
Now, looking at this crutch for a month or two, I realised that
its frame and construction, in fact, made it possible to insert
strings, tuning pegs, and then an additional two bass strings,
even a bridge down here, this one’s a violin bridge, and across it
are these two strings serving as bass strings of sorts.
N.I. plays
N.I: I can play it, I used to play it just like this...
N.I. plays
N.I: ...and so, it’s a kind of guitar bluegrass technique, and now I
also have this down here. So that now when I play, I can sort of
combine...
S.R: Two instruments...
N.I:
it is. I think that, in itself... when played in isolation, it’s rather
quiet...
N.I. plays
N.I: ...there, you can hear it, but it lacks depth.
N.I. plays
N.I: What I sing is actually grotesque. I sing in the voice of an
anima, a falsetto, that is, which is not even a lyrical tenor, just
ordinary falsetto singing, accompanying myself on the crutch, I
sing an aria that is initially merry, but I think... that’s the thing
about this false Italian.
N.I. plays and sings
N.I: It’s maudlin although, in fact... initially it’s not. If you could
see it in the form of notes, it’s like a ditty, but what it suggests...
the bottom line is melancholy. I can sing it and...
vam i...
N.I. svira i peva
N.I: ... ali to nije to. ja sam hteo upravo da dobijem grotesku i
onda sam je na ovaj način dobio i svi su plakali.
N.I. svira
N.I: Čak liči na neku harfu, recimo. Imam ovde ključ s kojim
ja mogu to da štimujem, znači kad se raštimuje pošto se ovo
raštimava, onda ja to mogu da podesim, da vratim na štim koji
meni treba. Ali nemam za sad štim za himnu. Uostalom naša
himna se sada... naša himna se... sad je Bože pravde. To bi bilo
ono, baš patetično da se na štaci to izvodi i peva. Ja ne znam
da li je to pravda koja nam je dosuđena, ali možda... izgleda da
jeste. (smeh)
N.I. plays and sings
N.I: ...but that’s not it. I wanted precisely to get something grotesque, and in this way I did get it, and then everybody cried.
N.I. plays
N.I: It even sounds like a harp, sort of. I have a key here with
which I can tune it, when it gets detuned, for that tends to
happen, then I can retune it the way I need to. But for now, I
have no tuning for the national anthem. Anyway, our national
anthem now… our anthem now is God of Justice. It would
sound real pathetic to play that on a crutch and sing along. I
don’t know whether that’s the sort of justice meted out to us, but
maybe… it does appear to be (laughs).
Snežana Ristić & Radonja Leposavić
Resavska 54, 11000 Beograd, Serbia
phone: +381 11 3615293, gsm: +381 64 8613536
[email protected]
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OPTIMIZAM OPTIMISM