100 + 3 Great Danish Industrial Designs: ID Prisen 1965-85 Odlična Kao nova Bernsen, Jens (editor) Published by Danish Design Council, U.S.A. (1985) Danish design is a style of functionalistic design and architecture that was developed in mid-20th century. Influenced by the German Bauhaus school, many Danish designers used the new industrial technologies, combined with ideas of simplicity and functionalism to design buildings, furniture and household objects, many of which have become iconic and are still in use and production. Prominent examples are the Egg chair, the PH lamps and the Sydney Opera House (Australia). Arne Jacobsen`s clock in the Glostrup Town Hall, Glostrup, Denmark History Edit See also: Danish modern The Danish Culture Canon credits Thorvald Bindesbøll (1846–1908) with early contributions to design in the areas of ceramics, jewellery, bookbinding, silver and furniture although he is known in the rest of the world for creating the Carlsberg logo (1904), still in use today.[1] The Canon also includes Knud V. Engelhardt (1882–1931) for a more industrial approach, especially in the rounded contours of his electric tramcar designs which were widely copied.[2] In the area of textiles, Marie Gudme Leth (1895–1997) brought the screen printing process to Denmark, opening a factory in 1935 which allowed her colourful patterns to be manufactured on an industrial basis.[3] August Sandgren introduced functionalism in the design of his masterful bookbindings. The forms and materials of Hans Wegner`s Wishbone Chair are representative of the movement`s aesthetic In the late 1940s, shortly after the end of the Second World War, conditions in Denmark were ideally suited to success in design. The emphasis was on furniture but architecture, silver, ceramics, glass and textiles also benefitted from the trend. Denmark`s late industrialisation combined with a tradition of high-quality craftsmanship formed the basis of gradual progress towards industrial production. After the end of the war, Europeans were keen to find novel approaches such as the light wood furniture from Denmark. Last but not least, support in Denmark for freedom of individual expression assisted the cause.[4] The newly established Furniture School at the Royal Danish Academy of Art played a considerable part in the development of furniture design. Kaare Klint taught functionalism based on the size and proportions of objects, wielding considerable influence. Hans J. Wegner, who had been trained as a cabinetmaker, contributed with a unique sense of form, especially in designing chairs.[5] As head of FDB Møbler, Børge Mogensen designed simple and robust objects of furniture for the average Danish family. Finn Juhl demonstrated an individualistic approach in designing chairs with an appealing but functional look. In the early 1950s, American design also influenced Danish furniture. The American Charles Eames designed and manufactured chairs of moulded wood and steel pipes. These encouraged Arne Jacobsen to design his worldfamous Ant Chair, Denmark`s first industrially manufactured chair. Furthermore, as Shaker furniture—and especially its reputation for stripped down chairs—began to be more and more known abroad, it also influenced Danish designers.[6] Poul Kjærholm, Verner Panton and Nanna Ditzel followed a few years later, continuing the successful story of Danish design. Kjærholm worked mainly in steel and leather, Panton left Denmark during the 1960s to continue designing imaginative but highly unconventional plastic chairs while Nanna Ditzel, who also had a strongly individualistic approach, was successful in helping to renew Danish furniture design in the 1980s. Modern trends Edit Bernadotte`s thermos jug, 2004 During the 1970s, Verner Panton made some of his most important designs, including the Pantonova and the 1-2-3 System. Danish furniture design during the 1980s did not include prominent contributions. By contrast, industrial designers began to prosper, making use of principles such as focus on the user, as well as attention to materials and to detail. For example, there are well known Danish designers, like Tobias Jacobsen (the grandson of Arne Jacobsen), who focused on the single elements of a violin when creating his chair `Vio` or on a boomerang when designing his eponymous sideboard.[7] The Bernadotte & Bjørn studio, established in 1950, was the first to specialise in industrial design, with an emphasis on office machines, domestic appliances and functional articles such as the thermos jug. The electronics manufacturer Bang & Olufsen, in collaboration with Bernadotte & Bjørn and later with Jacob Jensen and David Lewis, went on to excel in modern design work. Around the same time, the Stelton company collaborated with Arne Jacobsen and Erik Magnussen to produce their iconic vacuum jug, a huge international success. Another successful design field is medical technology. Danish design companies like 3PART, Designit and CBD have worked in this area with individual designers such as Steve McGugan and Anders Smith. In 2002 the Danish Government and the City of Copenhagen launched an effort to establish a world event for design in Copenhagen. Originally understood as a tool for branding traditional Danish design, the non-profit organization INDEX: shifted focus after worldwide research and coined the concept of Design to Improve Life, which rapidly became celebrated in Denmark and around the world. The organization now hands out the biggest design award in the world biannual in Copenhagen, tours large scale outdoor exhibition around the world, run educational program as well as design labs and hosts a global network.[citation needed] Today, there is strong focus on design in Denmark as industry increasingly appreciates the importance of design in the business environment. In addition, as part of its trade and industry policy, the Danish government has launched the DesignDenmark initiative which aims to restore Denmark to the international design elite.[8] Architecture Edit Utzon`s Sydney Opera House, 1973 See also: Architecture of Denmark Modern architecture has also contributed to the concept of Danish design. Århus City Hall, Århus, Denmark Arne Jacobsen was not just a furniture designer but one of the leading architects of his times. Among his achievements are the Bellevue Theater and restaurant, Klampenborg (1936), the Århus City Hall (with Erik Møller; 1939–42) and the SAS Royal Hotel (1958–60).[9] Jørn Utzon (1918–2008), Denmark`s most widely recognized architect, is remembered for his expressionist Sydney Opera House (1966) and the later Bagsværd Church (1976) with its wavy concrete roof.[10] Henning Larsen (b. 1925) is the architect who designed the boldly modern Copenhagen Opera House on the island of Holmen which was completed in 2005.[11] Danish architecture is currently in a new-wave era, not receiving more attention since the golden age of Arne Jacobsen and Jørn Utzon, being focused on function and concept rather than aesthetics and an impeccable finish.[12] Bjarke Ingels of Bjarke Ingels Group (BIG) and Dan Stubbergaard`s architectural firm Cobe who met at the former drawing office Plot,[13] are both part of the new wave. Mentionable projects are BIG`s Amager Bakke (Copenhill) and Cobe`s Nørreport Station.[14] Recent achievements Edit Today, the concept of Danish design is thriving in an ever-wider number of fields. Among recent highlights are: The Museum of Modern Art in New York has chosen to outfit 95% of its new Yoshio Taniguchi-designed home with furniture by Danish design company GUBI. The Danish Zenvo ST1 supercar.[15][16] The Evita Peroni suite of women`s accessories which now has some 300 stores in 30 countries.[17] The Halifax Central Library in Halifax, Nova Scotia, Canada, was designed by the Danish architectural firm Schmidt Hammer Lassen. After it was completed in 2014, it has received widespread acclaim[18][19] and several architecture awards.[20][21] Designers Edit Among the most successful designers associated with the concept are Børge Mogensen (1914–72), Finn Juhl (1912–89), Hans Wegner (1914–2007), Arne Jacobsen (1902–71), Poul Kjærholm (1929–80), Poul Henningsen (1894–1967) and Verner Panton (1926–98).[22] Other designers of note include Kristian Solmer Vedel (1923–2003) in the area of industrial design, Jens Harald Quistgaard (1919–2008) for kitchen furniture and implements, Gertrud Vasegaard (1913–2007) for ceramics, and Ole Wanscher (1903–85), who had a classical approach to furniture design. Museums Edit The Danish Museum of Art & Design (or, Designmuseum Denmark) in Copenhagen exhibits many of the artifacts associated with Danish design, especially furniture. The New York Museum of Modern Art also has a large Danish design collection.[23] The Danish Design Centre in the centre of Copenhagen has both permanent and special exhibitions promoting Danish design.[24] Danski centar za dizajn (DDC) je dansko nacionalno središte za dizajn. Osnovana je 1978. godine, polujavna je organizacija pod danskim Ministarstvom poslovanja, industrije i financijskih poslova. Uloga DDC-a je promicati upotrebu dizajna u poslovanju i industriji, pomoći u profesionalizaciji dizajnerske industrije te dokumentirati, promovirati i brendirati danski dizajn u Danskoj i inozemstvu. DDC djeluje na sjecištu poslovanja i industrije, dizajnerske struke, obrazovnih i istraživačkih institucija i javnih institucija, na nacionalnoj i međunarodnoj razini. Danski dizajn centar ukorijenjen je u danskoj povijesti dizajna i u vrijednostima danskog dizajna, ali orijentiran je ka budućnosti. Službena misija je `korištenje dizajna kao mogućnosti transformacije`, a centar je organiziran u pet platformi: Design Cities, Future Health, Design Startup, Design Resource i Next Business. Danski centar za dizajn nalazi se u BLOX-u, čvorištu za dizajn, arhitekturu i urbane inovacije u Kopenhagenu, a izvršni direktor je Christian Bason.Wikipedia site:hr2.wiki Lego dizajn dizajneri iz danske danci iz danske danska umetnost xx veka 20. vek

Company Description About Bosch: Do you want beneficial technologies being shaped by your ideas? Whether in the areas of mobility solutions, consumer goods, industrial technology or energy and building technology – with us, you will have the chance to improve quality of life across the globe. Welcome to Bosch. About the team: As the Mobility Aftermarket (MA) Business Digital Organization (MA/BDO) we lead, support and assist our MA business partners in developing, transforming or initiating digital offerings for our customers. This includes creating a consistent brand web image, but also focusing on online sales growth. The scope of our work encompasses the spread of media buy, organization & distribution of media assets, developing digital platforms and harmonizing our IT landscape. This also includes project and program management services for major IT investments. The target is to provide the right capabilities (technology, process, skill & organization) to enable our MA business units to be more efficient, faster, and more successful in the digital transformation of their product & service offerings Interested? Get ready to work #LikeABosch! Job Description ► State-of-the-art technology: Monitoring the development and latest technologies in both, Cloud (Azure) and non-Cloud world. Designing and implementing modern applications using Design patterns. ► Proficiency in MS SQL Server and Oracle is essential, as well as experience with data visualization tools such as Power BI; ► Help to shape the future of Analytics: You will be a part of a dynamic and international team to create Analytics with the use of big data to accelerator data driven business across different projects and topics. 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Qualifications ► Education: Bachelor’s, master’s degree with business background. Degree in Information Technology, Economics, or comparable discipline. ► Experience and Knowledge: Several years of professional experience in Data architecture and reporting. ► Qualifications: Strong communication and presentation skills, ability to create clear and compelling lines of argument and storylines with focus on solution and execution. ► Structured preparation: You are structured in your approach. ► Enthusiasm: You have passion for innovative digital products. You have a strong interest in understanding our customers, their demands and opportunities. You can translate customer needs into a fitting data architecture. ► Personality: Entrepreneurial mindset and a structured and self-organized way of working. You are intercultural and open-minded. ► Cooperation: You are a strong team player and interested in collaboration with colleagues from other domains. ► Languages: English (written and spoken) and presentation skills are a must. Additional Information #LikeABosch Benefits: Your work-life balance is valuable to us, so we offer you: 22 - 27 days of annual leave, because work-life balance is essential to us Flexible working hours If you want to work from somewhere else in Serbia, feel free, our Hybrid program helps you do that Up to 3 days off for private purposes Your health and well-being is important to us, so we have you covered: Medical subscription for annual health check ups Paid private health insurance Mental health and well-being initiatives We believe in a Life-Long Learning approach, so you can take advantage of: Technical and soft skills trainings English and German language courses Access to e-learning platforms Local and Global career development programs Opportunity to attend conferences You will be part of a product company. You will contribute to developing end-to-end products that are delivered to global internal/external customers and users. On top of these, we are offering: Hybrid working environment in Serbia Canteen (when working in office) with lunch discounts Annual bonus Referral bonus Ready to work #LikeABosch? If you are ready to work #LikeABosch, please fill in the contact form and submit your CV (PDF format) in English language. Included in the referral program.

Three Epic Battles that Saved Democracy The year 2022 marks 2,500 years since the final defeat of the invasion of Greece by the Persian King Xerxes. This astonishing clash between East and West still has resonances in modern history, and has left us with tales of heroic resistance in the face of seemingly hopeless odds. Kershaw makes use of recent archaeological and geological discoveries in this thrilling and timely retelling of the story, originally told by Herodotus, the Father of History. The protagonists are, in Europe, the Greeks, led on land by militaristic, oligarchic Sparta, and on sea by the newly democratic Athens; in Asia, the mighty Persian Empire - powerful, rich, cultured, ethnically diverse, ruled by mighty kings, and encompassing modern Iran, Iraq, Turkey, Syria and Egypt. When the rich, sophisticated, Greek communities of Ionia on the western coast of modern Turkey, rebel from their Persian overlord Darius I, Athens sends ships to help them. Darius crushes the Greeks in a huge sea battle near Miletus, and then invades Greece. Standing alone against the powerful Persian army, the soldiers of Athens' newly democratic state - a system which they have invented - unexpectedly repel Darius's forces at Marathon. After their victory, the Athenians strike a rich vein of silver in their state-owned mining district, and decide to spend the windfall on building a fleet of state-of-the-art warships. Persia wants revenge. The next king, Xerxes, assembles a vast multinational force, constructs a bridge of boats across the Hellespont, digs a canal through the Mount Athos peninsula, and bears down on Greece. Trusting in their 'wooden walls', the Athenians station their ships at Artemisium, where they and the weather prevent the Persians landing forces in the rear of the land forces under the Spartan King Leonidas at the nearby pass of Thermopylae. Xerxes's assault is a disastrous failure, until a traitor shows him a mountain track that leads behind the Greeks. Leonidas dismisses the Greek troops, but remains in the pass with his 300 Spartan warriors where they are overwhelmed in an heroic last stand. Athens is sacked by the Persians. Democracy is hanging by a thread. But the Athenians convince the Greek allies to fight on in the narrow waters by the island of Salamis (underwater archaeology has revealed the Greek base), where they can exploit local weather conditions to negate their numerical disadvantage. Despite the heroism of the Persian female commander Artemisia, the Persian fleet is destroyed. Xerxes returns to Asia Minor, but still leaves some forces in Greece. In 479 BCE, the Spartans lead a combined Greek army out against the Persians. In a close-run battle near the town of Plataea, the discipline, fighting ability and weaponry of the Greeks prevail. The Persian threat to the Greek mainland is over. Athens forms a successful anti-Persian coalition to drive the Persians from Greek territory, seek reparations, and create security in the future. But this 'alliance' is gradually converted into an Athenian Empire. The democracy becomes increasingly radical. In this context we see the astonishing flowering of fifth-century BCE Athenian culture - in architecture, drama and philosophy - but also a disastrous war, and defeat, at the hands of Sparta by the end of the century. The book concludes by exploring the ideas that the decisive battles of Thermopylae and Salamis mark the beginnings of Western civilization itself and that Greece remains the bulwark of the West , representing the values of generous and unselfish peace, freedom and democracy in a neighbourhood ravaged by instability and war. Prikaži više

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Our company is seeking a senior Java Software Engineer for a full-time role. What you are going to work on: Work with a professional team of software engineers supporting the operations of a successful hedge fund business. Work includes enhancing and expanding the client's home-grown portfolio management system as well as its pricing, analytics, and risk modules. Work on projects to retire old legacy code and systems and re-design them to use modern technologies. Your responsibilities: Develop scalable, cross-platform back-end solutions Implement microservices Write clean and sustainable code Maintain existing code and improve performance Identify bugs and bottlenecks Participate in regular code reviews, sharing insightful feedback and guidance with your co-workers Required qualifications: 5+ years of relevant software development experience as a Java developer Excellent foundation in OOP and design patterns Strong programming, profiling, and debugging skills Experience with relational databases Extensive knowledge and understanding of modern versions of Java Experience in working with Spring and Spring Boot Experience with testing libraries (e.g., JUnit, TestNG) Experience with building automation tools (e.g., Maven, Gradle) Proficient with code versioning tools such as Git Good command of verbal and written English Preferred qualifications: Strong academic background with a Bachelor's or Master's degree in Computer Science or Math Knowledge of back-end architectural principles Experience with Python Experience with NoSQL databases Experience with Kafka and/or JMS What you can expect from us: An experienced founding team with a proven track record (you will collaborate with professionals; in Accordia, half of the employees are people who have been working here for more than 10 years) Private health insurance A young, developing team that brings enthusiasm and positive energy A stable company offering competitive salaries with annual increases and bonuses Online courses for individual development (Udemy) Monthly fitness pass Opportunity to travel to the US for business and vacation NY party with employees’ life partners and NY gifts for our kids, gifts for newborns (family matters) Monthly Beerdays and other fun activities Our story: With the first lines of code typed back in 2004, our company entered the world of financial software development. Since then, our engineers have built many software solutions for the needs of hedge funds, family offices, and asset management firms. The result of our efforts is a network of satisfied clients with whom we cooperate closely every day. We are looking forward to receiving your application!

This quotation, from the short story “The Bridge on the Žepa,” by the 1961 Nobel laureate Ivo Andrić, whose story, “Thirst,” is included in this collection, reflects the essence of the state of human relations in the Balkans. Here Andrić observes that while bridges are built to connect and not divide, human nature, as it is, can lead to discord and alienation. In fact, throughout its history Serbia was a point of convergence, and even more often, a place of confrontation. The stories in this anthology depict figuratively the banks on either side of the bridge in Serbia and the Balkans. On the one side there is respectfulness and coalescence, and on the other, turbulence and division among people along social, economic, ethnic, and religious lines. One of the best ways to get acquainted with foreign literature is to select an anthology in order to sample individual writers to get a sense of a nation’s literary culture. To that end, the purpose of this anthology of short stories is to enlighten the reader about Serbia and the Serbian people. This volume represents the quintessential anthology of Serbian short stories in the English language selected in terms of the diversity of topics, styles, and literary trends, covering both the nineteenth and twentieth centuries. The stories chosen for this anthology represent the best available selection presenting unique tales indigenous to Serbia. The nineteenth-century stories deal with life in rural Serbia, characterized by realistic descriptions, simplicity, and appealing characters. In contrast, Serbia’s twentieth-century authors are recognized for their courage and daring in confronting totalitarian communist norms, and later for literary innovations illustrating the environment, people, and values of democratic Serbia. These Serb writers rank among the masters of modern literature. The first short stories appearing in Serbia of literary value date from the middle of the nineteenth century. During that period, the Serbian literary milieu was impacted significantly by Western European and Russian cultures, due mostly to two developments: firstly, a number of Serbian students acquired higher education in Western European countries, and upon returning, exerted their influence on the Serbian literary scene, bringing with them new and progressive ideas. Through the influx of such foreign-educated Serb intellectuals, Serbia was able to establish at least a peripheral literary connection with Western Europe. Secondly, Russian literature of the nineteenth century with its two literary giants, Leo Tolstoy and Fedor Dostoyevsky, were accessible to Serbian intellectuals because of the similarity of the Serbian and Russian languages and the ability of Serbs to read some of the works in the original, as well as in translation. Other Russian authors, such as Ivan Turgenev and Anton Chekhov were not only popular but also influential. Turgenev, for example, was known for his writings about Russian peasantry, which inspired Serbian authors to write about rural society and the problems it faced accommodating to a changing world. On the other hand, Chekhov’s plays and short stories were greatly admired in Serbia and served as a model for them. However, even at that time, Eastern European literature, with its ethnic and cultural diversity, was by some considered a vehicle for connecting Western Europe with Europe’s East and beyond. This trend, in establishing a new East-West literary connection, became even more pronounced in the second half of the twentieth century. A case in point being the eminent Serbian writer Milorad Pavić with his great popularity, not only in Russia, but in China and Japan. As with Milorad Pavić’s “Glass Snail,” some of the twentieth-century stories in this collection, being complex masterpieces, also merit re-reading because of different possible interpretations and interwoven themes. These include Aleksandar Tišma’s “The World’s Top Expert,” and Milovan Vitezović’s “Sacred Love,” as well as some others. Initially Serbian short stories focused on the Serbs’ traditional patriarchal way of life. These stories belonged to the literary school of “Realism,” containing genuine, often sad elements whose main characters possessed an abundance of strong emotions, both positive and negative. The positive emotions of passionate love, courage, and sacrifice conflicted with negative feelings of unhappiness, shame, and jealousy. It is often said that the greatest predicament facing Serbia was its strategic location, being at the crossroads between East and West. Its geographic position forced it to endure the tenacious impact of three competing civilizations: Western Europe, the Russian Empire, and Ottoman Turkey. The Western European predominance was due to a large Serbian presence in the populations of the Military Frontier. This region of the former Austro-Hungarian Empire was on the northern border of the Kingdom of Serbia and those Serbs there were exposed to Western values, literature, and culture. The Russian influence was the result of the shared Slavic linguistic and Orthodox religious bonds expressed in the spiritual, educational, and religious spheres. Lastly, the Ottoman Empire left an indelible impact after four centuries of oppressive Turkish occupation of much of the territory of modern Serbia. While European and Russian influences were mostly cultural, educational, and literary, the remnants of the long Turkish presence were manifested in Serbia’s cultural heritage, architecture, and customs. One of the first writers of Serbian Realism was Stjepan Mitrov Ljubiša. According to literary historian, Jovan Deretić (1934- 2002), Mitrov Ljubiša was called “the Njegoš of prose,” because of the resemblance in his writings to that of the great Serbian poet, Prince Bishop Petar Petrović-Njegoš (1813-1851). Mitrov Ljubiša frequently rendered the national historical background and significant personalities from his region of Peštrovići, the southern part of Montenegro, using local forms of oral tradition and expressiveness, as in his famous story “Kanjoš Macedonović.” In the second half of the nineteenth century, a unique literary development occurred. A significant number of writers focused on the place and treatment of women in a strictly patriarchal society such as Serbia was at that time. Milovan Glišić emphasized the pivotal role of women in rural society due to the frequent loss of their husbands in regional wars, which required them to assume what were customarily male duties in addition to running the household and bringing up their children. Lazar (Laza) Lazarević, in his story “The First Matins with My Father,” described the father of the boy, the main character, as a cold and dominating personality, while the boy’s mother appears as intellectually and morally superior to her husband. Svetozar Ćorović illustrates in his short story, “Hodja Saleek,” the power of a woman portrayed through her beauty and self-confidence, while Borisav Stanković’s story, “In the Night,” presents the ill-treatment of women in a society strongly affected by old customs and traditions, as they existed in villages or small agrarian communities. The development of the Serbian short story in the twentieth century can be divided, roughly speaking, into three periods. The first period spanned from the early nineteen hundreds to the end of the Second World War (1900-1945). The second period is from the end of the war in 1945 to 1980, the year in which Communist dictator, Josip Broz Tito, died. The third period lasted from Tito’s death in 1980 up to the overthrow of the rule of Slobodan Milošević during the “October revolt” in 2003. Serbia’s literary activity at the beginning of the first half of the twentieth century was interrupted by the First World War (1914- 1918). This period was dominated by new trends known as “Moderna,” marked by the vague influence of a variety of Western European literary movements, more so among Serbian poets than prose writers. The second period after 1944 originated with the introduction of Communist rule under Josef Broz “Tito” (1892-1980) accompanied by the initiation of strict political and artistic limitations, akin to Joseph Stalin’s (1878-1953) totalitarian policies. In the Soviet Union and other communist countries, including Yugoslavia, officially promoted literature was known as “proletarian literature,” later defined as “Socialist Realism.” The main topics of this literary direction were the industrial and agricultural transformation of the country and the creation of a new man and woman with ideal personal qualities and dedication to the Communist cause. After 1970, with an era of somewhat loosened communist restrictions, Serbian writers returned to the themes of human destiny, spirituality, and also diversity. Among the significant writers of the Communist period were Branko Ćopić and Dobrica Ćosić. Ćopić’s “Cruel Heart” displays a peasant partisan, who, behind his harsh rhetoric, hides his loving and caring feelings for his mother. Ćosić’s“Ashes” presents a gloomy picture of loneliness and inevitable collapse. Both Ćopić and Ćosić were partisan fighters and ardent communists in the early stages of their lives. Both gradually became disillusioned with Communist ideology, and, as a result, Ćopić committed suicide, while Ćosić became one of the leading political dissidents. Upon Tito’s death, Yugoslavia disintegrated into seven separate states with the populations enduring ethnic divisions and a civil war. That war, which gradually engulfed most of the republics of former Yugoslavia, lasted from 1991-2001. Literature during the war period centered mainly on issues linked to the conflict, but also addressed a variety of other topics. The new wave of writers embraced original and traditional values, responding to the general public’s literary preference. The authors’ writings during this third period of the twentieth century demonstrated an exceptional thematic and stylistic diversity that struck a chord with readers. Evidence of this can be found in the large number of Serbian authors that were translated into English and other languages, reaching a very wide audience. The positive reception of the Serbian and international reading public reflects the strong creative impulses that came out of Serbia at that time and still resonates strongly today. During the Yugoslav civil wars in the 1990s, stories linked to war and conflict again emerged and became prevalent, as in “The Story about the Bash” by Miroslav Josić Višnjić. This story depicts the ultimate in human suffering during wartime. Postwar consequences, as another example, are detailed in Aleksandar Gatalica’s “Self Portraits,” embodying the tortured life of an immigrant. During this period writers tried to make sense of the events of the war by contributing to a better understanding of relations among the various ethnic and religious groups. Works of post-conflict literature also offered insight into what the issues were and justifications or regrets about the conflicts, reflecting on all the destruction and misery. The perspective of the ordinary citizen also gives these stories an ironic tone, as characters struggle against the overpowering wheels of fate. A subsequent development was the surge of Serbian women writers in the final years of the twentieth century, emerging as a powerful voice of Serbian literature. These women were writers of novels, plays, satires, poetry, and some short stories, as represented here by Ivana Dimić’s “Christmas Wishes.” In spite of the wars and resulting devastation, Serbian writers’ predominant interests were contemporary, utilizing authentic themes which brought them recognition and praise. Branko Mikasinovich

We are looking for someone to join our team who we can count on to execute technical onboarding for our clients, specifically related to integration of SIS data with the Coursedog application on a per client basis. Key Responsibilities Own: Run partner and client-facing conversations about technical integrations. Call external APIs to perform data review, examine data structures for potential issues and manipulate CSV and JSON Data. Work directly with clients to improve their experience and turn insights into actionable product feedback. Be responsible for user acceptance testing Own all aspects of the client's technical onboarding experience from point of sales handoff through to maintenance. Define new SIS integration architecture and methodologies Collaborate: Work with our Vice President and Data Engineering Manager to improve our system integrations and own our go-lives. Expectations: Develop deep product knowledge; provide API integration expertise; understand the ins and outs of Higher Education; strong customer service skills; QA mindset; strong technical and oral communication Achieve: Data quality/product improvements, improve time to integration, drive customer experience, raise NPS scores, improve our internal toolset Benefits Healthcare: We pay 99% of your medical, dental, and vision coverage and 75% of the premium for your spouse and/or dependents Retirement: We offer a 401k plan on day one of your employment. Paid Time Off: We value work-life balance and provide a high amount of autonomy. In service to this, our Paid Time Off policy has no annual limit. Remote-First: We value flexible working hours over set hours, results over number of hours, and asynchronous communication focused on transparency over need-to-know access. Equity: You’ll be contributing to the team's success, so you deserve to share in it. Every employee on our team gets a meaningful equity allocation. Parental Leave: To help support new parents in the workplace, we offer 6 weeks of paid parental leave. Diversity, Equity, and Inclusion Coursedog is an equal opportunity employer committed to hiring a diverse workforce at all levels of the organization and creating an inclusive environment for all. We value and encourage the contributions of our employees and strive to create an environment where everyone can reach their full potential and drive outstanding results. We draw strength from our range of interests, backgrounds, and perspectives We strongly encourage applicants from all backgrounds to apply. All qualified applicants will receive consideration for employment without regard to race, national origin, age, sex, religion, disability, sexual orientation, marital status, veteran status, gender identity or expression, or any other basis protected by local, state, or federal law. Accommodations Accommodations are available for applicants with disabilities in all phases of the application and employment process. On your application, you will be prompted to inform us If you need any accommodation during this process. About Coursedog Our mission is to break down barriers to opportunity for students. Coursedog provides higher ed with modern technology solutions – empowering institutions, students, and communities across the globe. Coursedog's founding story is rooted in the desire to help students achieve their highest goals. In 2018, Coursedog's co-founders and then college students, Justin Wenig and Nick Diao, were frustrated by how difficult it was to get into the classes they needed to graduate on time. After speaking with higher education provosts and registrars to better understand how academic scheduling works, they came away with a vision that permeates the company today. Coursedog has raised $113M total capital as a remote-first, hyper-growth startup currently backed by JMI Equity, and with past investments from YC and First Round Capital. We were recently ranked in Forbes top 500 US startup employers and our employee engagement scores rank in the top 5% of tech companies.

U prilici smo da Vam ponudimo dvosoban stan na Beogradu na vodi, u stambenoj zgradi BW Aurora.Stan je površine 56m2 i nalazi se na 8om spratu, zgrade od 23 sprata.BW Aurora se nalazi preko puta BW Parka, a stanari imaju lak pristup njegovim sadržajima.Sava Promenada, hoteli svetske klase, savremeni kancelarijski prostori, BW Galerij i Kula Beograd nalaze se na nekoliko minuta hoda.Zgrada je dizajnirana i opremljena u skladu sa savremenim arhitekturnim i životnim standardima.Unutrašnja dvorišta omogućavaju privatnost i trenutke relaksacije, pre svega za šetnju.Veliki prozori donose puno prirodnog svetla do svakog kutka u komfornom stanu.Grejanje u stanu je centralno, poseduje i klima uređaj.Izdaje se potpuno namešten.Zgrada ima recepciju i obezbeđenje.DepozitAgencijska provizija 50%Kontakt telefoni :  011/6707565; 060/5449-002; 011/2015-718We have the opportunity to offer you a two-bedroom apartment in Belgrade on the water, in the residential building BW Aurora.The apartment has an area of 56 m2 and is located on the 8th floor of a 23-story building.BW Aurora is located across the street from BW Park, and residents have easy access to its amenities.Sava Promenade, world-class hotels, modern office spaces, BW Gallery and Belgrade Tower are within a few minutes' walk.The building is designed and equipped in accordance with modern architectural and living standards.Inner courtyards provide privacy and moments of relaxation, primarily for walking.Large windows bring a lot of natural light to every corner of the comfortable apartment.Heating in the apartment is central, it also has air conditioning.It is for rent fully furnished.The building has a reception and security.DepositAgency commission 50%Contact phones: 011/6707565; 060/5449-002; 011/2015-718Имеем возможность предложить Вам трехкомнатную квартиру в Белграде на воде, в жилом доме BW Aurora.Квартира площадью 56 м2 расположена на 8 этаже 23-этажного дома.BW Aurora расположен через дорогу от BW Park, и жители имеют легкий доступ к его удобствам.Набережная Савы, отели мирового класса, современные офисные помещения, галерея BW и Белградская башня находятся в нескольких минутах ходьбы.Здание спроектировано и оборудовано в соответствии с современными архитектурными и жилищными стандартами.Внутренние дворы обеспечивают уединение и моменты отдыха, прежде всего для прогулок.Большие окна пропускают много естественного света в каждый уголок комфортабельной квартиры.Отопление в квартире центральное, есть кондиционер.Сдается в аренду полностью меблированной.В здании есть рецепция и охрана.ДепозитКомиссия агентства 50%Контактные телефоны: 011/6707565; 060/5449-002; 011/2015-718我们有机会为您提供位于贝尔格莱德 BW Aurora 住宅楼水上的两居室公寓。公寓面积56平方米，位于23层建筑的8楼。BW Aurora 位于 BW Park 街对面，居民可以轻松使用其设施。萨瓦长廊、世界一流的酒店、现代化的办公空间、BW 画廊和贝尔格莱德塔距离酒店仅几分钟步行路程。该建筑按照现代建筑和生活标准设计和配备。内部庭院提供隐私和放松的时刻，主要用于散步。大窗户为舒适公寓的每个角落带来充足的自然光。公寓内有中央供暖系统，还配有空调。该房出租，家具齐全。该大楼设有接待处和保安。订金代理佣金50%联系电话：011/6707565； 060/5449-002； 011/2015-718

With over 35,000 sounds, KOMPLETE 13 from Native Instruments is a wide-ranging collection of 49 virtual instruments, 16 effects, and 24 expansions that span multiple genres and production tasks. Usable for production, performance and sound design, the thousands of sounds are easily searchable and accessible via the unified instrument browser, using musical tags and keywords. This version includes new synthesizers, world instruments, GUITAR RIG 6 PRO, studio and creative effects, expansions, and more, plus the well-known content from KOMPLETE 12. All the instruments and effects were designed to be fully compatible with the company's KOMPLETE KONTROL S-Series keyboards (available separately). Additionally, KOMPLETE 13 offers seamless integration with MASCHINE and is supplied on a USB hard drive for installation. What's New in Version 13 SUPER 8 Vintage polysynth sounds Eight voices Easy-to-use interface BUTCH VIG DRUMS Distinctive, heavily processed drums Punchy, production-ready beats CLOUD SUPPLY A special ingredient for trappy melodies, hazy hooks, plucks, and resampled pads for hip hop, grime, drill, and more LO-FI GLOW Hazy keys, synths, guitars, and bass Recorded and processed for lo-fi warmth with creative effects chain MODULAR ICONS Combines sought-after vintage modular synth samples with wavetable synthesis and powerful effect macros CUBA Authentic Afro-Cuban flair in a rich, highly flexible instrument NOIRE The signature sound of Nils Frahm’s evocative concert grand Captured in Berlin’s Funkhaus complex ELECTRIC SUNBURST A beautifully sampled, playable electric guitar Over 150 patterns, riffs, and arpeggios Tailored for contemporary productions RAUM High-fidelity creative reverb Powerful ambiences and twisted modulation Expressive sound sculpting and complex sound design excursions CRUSH PACK Elegant tonal destruction from a modern take on three iconic effects BITE: Precision bit-crushing FREAK: Three sound-bending modulation types with retro radio lo-fi and versatily sidechain ability DIRT: Organic-sounding distortion with flexible routing GUITAR RIG 6 PRO Revamped, designed, and reimagined New tones, new amps, new effects, and new ways to sculpt your sound DECODED FORMS Deconstructed breaks, evolving pads, disruptive bass, and crisp drums to give you the rhythmic kaleidoscope of post-jungle INDIGO DUST The spirit of deep techno and early-hours euphoria with pulsating rhythms, deep basses, and stirring synth lines LILAC GLARE The melodic atmosphere of modern pop rhythms with raw acoustic and electronic R&B flare MECHANIX Niche, industrial sounds for MASSIVE X with crunchy basslines, metallic percussion, synced stabs, and dark soundscapes MOEBIUS Rhythmic loops, sequences, and synthesized noise, plus percussion and drum presets for MASSIVE X with macro tweakability madness NOCTURNAL STATE The polished sound of minimalist techo and house PULSE Deep-sea subs, corrosive and distorted lines, talkative formants, and futuristic takes on low-end classics for MASSIVE X RISING CRESCENT The distinctive sound of the Mediterranean and the East fused with modern bass production techniques RUSH Peak-time MASSIVE X presets built for serious front-left fun—euphoric melodies, tension, and high-octane atmosphere SCENE Sequenced, multitimbral, and complex MASSIVE X presets for immersive atmospheres and evolving soundscapes SOLAR BREEZE An evocative panorama of indie electronica with exclusive acoustic-electronic sounds SPECTRUM QUAKE Big, bold, and booming MASSIVE bass presets that will shake up your sound for any genre STADIUM FLEX Vibrant MASSIVE presets blending trap, EDM, and pop aesthetics for radio and festival hits Synthesized and Electronic KINETIC METAL Yet-unheard, signature sound worlds Easy-to-use macro controls for deep manipulation Auto-Motion for constantly evolving soundscapes 211 instruments, 1751 samples, 1.55GB (compressed) FORM Discover a powerful new form of expressive sound design Expand your sonic versatility—create anything from evolving soundscapes and textured pads to earth-shaking basses and searing digital noise Generate original results quickly and easily with an intuitive interface, or dig deep for detailed tweaking ROUNDS Synthesizer combining digital and analog engines with complex, sequenced sound-shifting capabilities Design and sequence up to sixteen different sounds Unique key-switch setup for on-the-fly resequencing KONTOUR Phase-modulation synthesizer with motion engine Motion Recorder delivers innovative modulation possibilities Advanced architecture for endless sound-design options Organic sonic character POLYPLEX Eight-part drum sampler with randomizing capabilities and creative layering Intuitive controls Eighteen onboard effects for expansive sound sculpting MONARK Analog mono synthesizer Mono basses and leads for any style Easy-to-use controls MASSIVE Virtual-analog architecture for large sounds Equally flexible in the studio or onstage Comprehensive library with 1300 presets MASSIVE X Next-generation, flagship wavetable synthesizer FM8 FM synthesis 960 presets with sharp, crystal-clear sounds Powerful FM matrix, arpeggiator, flexible envelopes Loads patches from classic FM hardware units REAKTOR SPARK 200 synthesizer sounds plus 1400 sound variations Dramatic sonic transitions Based on new REAKTOR synthesizer REAKTOR PRISM Polyphonic instrument and effects processor 370 ready-to-play sounds Includes separate FX version ABSYNTH 5 Semi-modular synthesizer for pads, grooves, and abstract soundscapes Sound Mutator to create new sounds 1800 atmospheric presets RETRO MACHINES MK2 16 legendary vintage instruments from the '70s and '80s Consolidated user interface for instant control Smart arpeggiator with advanced custom options Innovative chord player for performance and more Drums, Samplers, World Instruments, and More DRUMLAB Sound of acoustic drums with an electronic edge Advanced drum layering Out-of-the-box, production-ready sounds Ultrafast workflow BATTERY 4 Drum sampler Fast workflow for maximum creativity Library of electronic and urban styles Effects, intuitive routing, and sidechaining STUDIO DRUMMER Three premium acoustic kits from Pearl, Yamaha, and Sonor Fully featured mixer and effects Large groove library and fills for all styles ABBEY ROAD 60s DRUMMER Two famous 1960s drum kits, recorded with vintage equipment at Abbey Road Class-A effects and detailed mix control Comprehensive groove library with '60s-style beats TRK-01 Kick and bass instrument Marries sound design, sequencing, and modulation with classic mixing techniques WEST AFRICA 26 percussion and eight tonal instruments playable as solo or polyrhythmic ensembles 3GB of uncompressed samples Pattern sequencer with 74 pre-programmed ensemble patterns Contains a dark alter ego ideal for cinematic use INDIA Vast library of rhythms and scales for instant composition 16 instruments (one ensemble, nine percussion instruments, six melodic instruments) 7GB of uncompressed samples MIDDLE EAST Traditional sounds of Arabic, Turkish, and Persian instruments for KONTAKT 6 REAKTOR 6 Build custom synths, samplers, effects, and sound-design tools Experiment with rack-style modular patching using Blocks Discover over 70 included instruments plus thousands of sounds in the User Library KONTAKT 6 Advanced sampler Play and control true-to-life sampled instruments Deep sample-editing and instrument-building options Onboard library packed with instruments and samples SESSION HORNS Four-piece horn section Well suited for funk, pop, reggae, indie, and neo-soul productions Voice Split creates authentic arrangements automatically Play free or jam with over 170 flexible phrases SESSION STRINGS String sections for modern productions 2.4GB of rich ensemble samples 12 articulations for expressive playing Play rhythmic phrases with the Animator SESSION STRINGS 2 An 11-piece ensemble with an intimate sound for contemporary tracks Pianos, Organs, Guitar, and Bass THE GRANDEUR Concert grand piano for everything from pop to classical Balanced sound with a modern, singing tone Over 2500 individual samples and eighteen velocity zones Sampled from a legendary classical concert grand THE GENTLEMAN Standard vintage upright Expressive, modulated tone 2300 individual samples and 16 velocity zones Sampled from a vintage upright built in 1908 THE MAVERICK Vintage grand piano suited to pop, rock, urban, and jazz 2500 individual samples and eighteen velocity zones Control levels of pedals, damper, string, and hammer sounds Sampled from a vintage 1905 grand piano THE GIANT The sound of the world's biggest upright piano Sampled from the Klavins Piano Model 370i Forty presets for urban pop, film-score pathos, soft piano ballads, driving rock riffs, or dim jazzy timbres UNA CORDA Evocative tones from a one-of-a-kind, handcrafted upright piano Full range of distinct sound characters, from soft and resonant to percussive and textural Sampled in intimate detail to deliver everything from up-close realism to resonant overtones 10GB with 100 snapshots and 3 instruments STRUMMED ACOUSTIC Fluid playability for quickly creating professional rhythm parts Double tracking, fret noise, and onboard effects for added sonic depth 8.5GB of uncompressed samples SCARBEE MM-BASS Bass sound of 70s disco and funk Pure bass sound for flexibility in any genre Seventeen expressive articulations and techniques SCARBEE RICKENBACKER BASS Sampled Rickebacker 4003 electric bass guitar SCARBEE A-200 Classic electric piano Wide dynamic range with sixteen velocities per key Authentic character with all idiosyncrasies Horizontal Release Technology for realistic sound SCARBEE CLAVINET/PIANET Sampled Clavinet and Pianet N models Nearly 8GB of samples Horizontal Release Technology for realistic sound SCARBEE MARK I Classic electric piano sound Onboard effects and adjustable instrument noise Individual release samples for all twelve velocities VINTAGE ORGANS Authentic reproduction of the sound of five organs 100 presets spanning five instruments All manuals (upper, lower, and pedal) included Expansions TRUE SCHOOL Versatile sounds for futuristic beatmaking Includes 40 MASCHINE kits and 51 BATTERY kits 491 acoustic and electric drum samples VELVET LOUNGE A bridge between classic soul music and 21st century production techniques Includes 50 MASCHINE kits and 59 Battery kits MASSIVE and PRISM presets DEEP MATTER Captures the authentic vibes of Berlin's underground sound Includes 48 MASCHINE kits and 52 BATTERY kits 10 MASSIVE presets and 15 MONARK presets HALCYON SKY Delivers the reverb-drenched sound of contemporary ambient electronica Includes 50 MASCHINE kits and 55 BATTERY kits Exclusive instrument and effect presets for REAKTOR PRISM and MASSIVE LUCID MISSION The hyper-real sound of trance-infused EDM Includes 40 MASCHINE kits and 50 BATTERY kits MASSIVE presets for basses, leads, and more NEON DRIVE Exclusive sounds for synth pop production Includes 45 MASCHINE kits and 50 BATTERY kits 299 drum samples and 347 one-shot hits QUEENSBRIDGE STORY Created by Mobb Deep's Havoc Includes 50 MASCHINE kits and 61 BATTERY kits MASSIVE presets for additional low-end punch MOLTEN VEIL Dynamic, dark, dancefloor-ready sounds Includes 42 MASCHINE kits and 47 BATTERY kits MASSIVE and MONARK presets ELASTIC THUMP A fusion of funk, R&B, and house music Includes 48 MASCHINE kits and 52 BATTERY kits loaded with FX, EQ, and patterns 20 MASSIVE presets and 20 MONARK presets LONDON GRIT Raw beats and heavy sub-bass with distortion, atmosphere, and color Includes 41 MASCHINE kits and 48 BATTERY kits MASSIVE and MONARK presets for deep bass Creative and Studio Effects SUPERCHARGER Harmonic-rich sound of pure tube compression One-knob design for fast results Create any effect from subtly warm to crushed DRIVER Distortion filter Distortion and filter-resonance levels deliver anything from subtle movement to total sonic destruction AM modulation adds more possibilities Buildup and breakdown effect SOLID DYNAMICS Stereo compressor combined with a gate/expander Based on a classic '80s mix console Switchable hard- and soft-knee modes Two attack modes and two release modes SOLID BUS COMP Inspired by the legendary bus compressor from a famous British console Provides renowned audio glue compression Added sidechain input and dry/wet control Use on stereo sum, drum groups, single tracks SOLID EQ Transparent 6-band equalizer with two fully parametric bands Useful for surgical problem solving to broad sound-smoothing TRANSIENT MASTER Envelope shaper Bring sounds from the back of the mix to the front Enhance attack on drums and percussion Fix muddy recordings or reduce reverb REFLEKTOR Convolution reverb with over 300 impulse responses (IRs) Digital, real, synthesized and special IR content REPLIKA Streamlined controls deliver instant usability Three high-fidelity algorithms for versatile sound Resonant filter and phaser for additional motion RAMMFIRE Amplifier emulation based on Rammstein guitarist Richard Z. Kruspe's personal setup Modeled on Mesa Boogie Dual Rectifier Revision C Large number of presets designed by Kruspe Matched Cabinet and Control Room features TRAKTOR'S 12 12 studio-ready effects from TRAKTOR Easily usable as a plug-in in any studio setup THE FINGER Hybrid live performance and real-time remix tool derived from Tim Exile's live setup 40 playable effects Playable via MIDI keyboard MOD PACK PHASIS, CHORAL, and FLAIR modulation plug-ins

Analog and Semi-Modular Synthesizer with Dual VCOs, Ring Modulator, External Signal Processor, 16-Voice Poly Chain and Eurorack Format Amazing analog synthesizer with dual VCO design allows for insanely fat music creation Authentic reproduction of original circuitry with matched transistors and JFETs Pure analog signal path based on authentic VCO, VCF and VCA designs Semi-modular architecture with default routings requires no patching for immediate performance First and second generation filter design (high pass/low pass with peak/resonance) 4 variable oscillator shapes with variable pulse widths and ring modulation for ultimate sounds Dedicated and fully analog triangle/square wave LFO 2 analog Envelope Generators for modulation of VCF and VCA 16-voice Poly Chain allows combining multiple synthesizers for up to 16 voice polyphony Complete Eurorack solution — main module can be transferred to a standard Eurorack case 36 controls give you direct and real-time access to all important parameters External audio input for processing external sound sources Comprehensive USB/MIDI implementation with MIDI channel and Voice Priority selection Designed and engineered in the U.K. A Brief History of Analog Synthesis The modern synthesizer’s evolution began in 1919, when a Russian physicist named Lev Termen (also known as Léon Theremin) invented one of the first electronic musical instruments – the Theremin. It was a simple oscillator that was played by moving the performer’s hand in the vicinity of the instrument’s antenna. An outstanding example of the Theremin’s use can be heard on the Beach Boys iconic smash hit “Good Vibrations”. Ondioline In the late 1930s, French musician Georges Jenny invented what he called the Ondioline, a monophonic electronic keyboard capable of generating a wide range of sounds. The keyboard even allowed the player to produce natural-sounding vibrato by depressing a key and using side-to-side finger movements. You can hear the Ondioline on Del Shannon’s “Runaway”. Storytone Piano Designed by famous piano manufacturer Story & Clark in association with RCA, the Storytone piano debuted at the 1939 New York World’s Fair. Hailed as the world’s first electric piano, the Storytone is prized by musicians and collectors alike for its realistic piano sound – only 500 or so were ever built. Mellotron Finding a high level of acceptance in the 1960s, Harry Chamberlin’s Mellotron was an electro-mechanical keyboard that generated sounds by playing back pre-recorded tape loops. Although tempermental and prone to pitch and mechanical issues, the Mellotron was used extensively by many U.K. artists. Classic tracks from the Moody Blues “Days of Future Passed”, the Beatles “Strawberry Fields Forever”, and the Rolling Stones “She’s a Rainbow” are prime examples. Arp 2600 Manufactured by ARP Instruments, Inc., the Arp 2600 was one of the most successful synthesizers to come out of the 1970s. They were ideal for players new to the synth world, and allowed patches to be changed via switches or 1/8" audio cables. The list of recordings and artists that used the venerable Arp 2600 reads like a veritable Who's Who of rock, pop and jazz, and includes The Who, David Bowie, John Lennon, Depeche Mode, Edgar Winter, Frank Zappa and Herbie Hancock – to name just a few. An Arp 2600 was even used to create the voice of the Star Wars character R2-D2. Minimoog Designed to replace the large, modular synths being used in pop music at the time, Bill Hemsath and Robert Moog developed the Minimoog in 1971. The monophonic instrument became the first truly all-in-one, portable analog synthesizer. Thanks to its 3 oscillators and 24 dB/octave filter, the Minimoog produces an extremely rich and powerful bass sound and is still in high demand today. Yes keyboardist Rick Wakeman said the instrument “absolutely changed the face of music.” Yamaha CS-80 In 1976, Yamaha released their CS-80 8-voice polyphonic synthesizer, which provided velocity-sensitive keys and aftertouch that worked on individual voices. The analog instrument featured a ribbon controller, which allowed the user to perform polyphonic pitch bends and smooth glissandos. Composer Vangelis used the CS-80 extensively in the Blade Runner and Chariots of Fire soundtracks. The CS-80 also provided the bass line heard in the BBC 1980 series Doctor Who theme song. Sequential Circuits Prophet 5 Sequential Circuits introduced the Prophet 5, which was the first analog 5-voice polyphonic synthesizers to provide onboard memory storage of all patch settings for instant recall. The great-sounding Prophet 5 revolutionized the synthesizer world and, in spite of its rather expensive price tag, became one of the most successful synths of all time. Designed by Dave Smith and J owen, the Prophet 5 was the keyboard of choice by a very long list of performers that includes Peter Gabriel, Philip Glass, Journey, The Cars, Thomas Dolby, Duran Duran, Gary Numan, Pink Floyd, and countless others. A Passion for Keyboards Our founder, Uli Behringer has a deep passion for keyboards. Born in the small town of Baden, Switzerland in 1961, Uli grew up in a musical family where his mother taught him to play the piano at the tender age of four. His father was a scientist who built a massive organ in the family home and taught the young lad all about electronics. So at the age of 17, Behringer built his first synthesizer – the UB-1. Later, while attending college to seek a degree in audio engineering, Uli put his electronics knowledge to use, building his own equalizers and signal processors to fill the gap left by the university's inability to provide enough proper studio gear. Word soon spread about how good his products were, and he began building gear for his friends – the BEHRINGER legacy had begun. The rest, as they say, is history... K-2 Although only produced from 1978 to 1983, Korg synthesizers have been favored by numerous world-famous artists including: Aphex Twin; Arcade Fire; the BBC Radiophonic Workshop; Daft Punk; Depeche Mode; A Flock of Seagulls; Gorillaz; Orchestral Manoeuvres in the Dark; Snarky Puppy and a host of others. An ultra-affordable homage to that iconic synthesizer with all the features of the original and then some, the K-2 lets you conjure up virtually any sound with incredible finesse and ease. With its pure analog signal path, dual authentic VCOs with 4 selectable waveforms each, plus extremely flexible VCF and VCA filters, the K-2 is sure to become your favorite keyboard. Owning the K-2 is like having your own personal time machine, enabling you to embrace the past – or make your imprint on the future! Pure Analog Signal Path Great care has been taken in engineering the K-2, including the true to the original VCO, VCF and VCA designs and pure analog circuitry with matched transistors and JFETs. This highly-focused attention to detail is what gives K-2 its ultra-flexible sound shaping capability, which covers everything from super-fat bass and lead tones to stunning effects – all the way out to the otherworldly sounds of your imagination. Rock Right out-of-the Box! Your K-2 comes ready to rock, thanks to its default signal routing that doesn’t require lifting a single patch cable to instantly create amazing sounds. The semi-modular architecture lets you easily tap into the inspired sounds of 1980s and ’90s progressive rock, wave, EDM and synth-pop music synthesizer tracks that made rock and roll history – or to design incredibly fat and original sounds that will make you a legend in your own right! Versatile VCF The very heart of K-2’s sound is its versatile 6 dB High/12 dB Low filter, which lets you freely experiment with the High and Low-Pass Cutoff Frequencies and their respective peak (resonance) settings to dial in the perfect sound. The high-pass filter sets the level of signals below the cutoff frequency, effectively reducing the fundamental and lower-order harmonics levels. The low-pass filter controls the level of signals above the cutoff, which reduces higher-order harmonic content. K-2’s VCF Peak controls provide emphasis to the signals at the crossover frequency. Vintage Oscillators K-2’s authentic Voltage Controlled Oscillators (VCOs) provides an incredible range of 4 variable oscillator shapes with variable pulse widths and ring modulation for the ultimate in sound creation. VCO 1 waveform choices include triangle, reverse-sawtooth, noise and pulse, where the pulse width can be adjusted from square wave to narrow across a 4-octave range (32', 16', 8', or 4'). VCO 2’s waveform can be selected from reverse-sawtooth, square, narrow pulse and ring, where both oscillators are operating. VCO 2’s pitch can also be varied independently across a 4-octave range (16', 8', 4' and 2'). The VCO Mixer allows you to adjust the levels of VCO 1 and VCO 2 to create an overall mix and a wide range of amazing effects. The Envelope, Please... Make that envelopes! K-2’s Low Frequency Oscillator (LFO), the Modulation Generator, features a selectable Waveform (reverse sawtooth, triangle, sawtooth) with a sweepable frequency range from 0.1 to 22 Hz – and 2 separate Envelope generators to help you craft incredible sounds! Envelope Generator 1 affects the frequency modulation via controls for Delay, Attack and Release Time, while generator 2 adjusts the cutoff frequency modulation, as well as amplitude modulation of the Voltage Control Amplifier (VCA). Dials for this generator include Hold, Decay, Attack, Sustain, and Release for unparalleled envelope-shaping control. 16-Note Poly Chain Ready While it is a monophonic instrument (one note at a time), K-2’s 16-note Poly Chain function lets you combine multiple synthesizers for up to 16-voice polyphony – plus provides vastly improved reliability and stability over its 1970s and '80s predecessors. Eurorack Ready Designed to handle the rigors of life on the road or in the studio, your K-2 can easily be transferred into a standard Eurorack case for the perfect integration into your existing system. Controls & Connectivity We just can’t help ourselves – like you, we’re gear-heads, too. For those who want the numbers, K-2 has 36 controls, all laid out in a highly-intuitive format that puts the joy back into your music creation. And you can expand K-2’s tone-sculpting capabilities beyond your wildest dreams by utilizing the multi-I/O patchbay to connect external devices at virtually any point in the signal path! Unleash Your Imagination When it comes to not just pushing envelopes but creating them, K-2 gives your imagination its voice – and it’s so very affordable. When modern performance calls for classic analog sound – it calls for the Behringer K-2!

apartment Sobe: 3 Površina: 125m2 Lokacija: Beograd,Voždovac,Lekino brdo srNa Opštini Voždovac na Lekinom brdu u jednoj od najlepših ulica u tom kraju na prodaju LUX 3.0 soban stan površine 65m2 sa pripadajućom dvorišnom terasom od 60m2. Stan se nalazi na VPR od 3 sprata zgrade u izgradnji sa liftom. Rok za završetak radova je leto 2023.godine. Stan prodaje fizičko lice - nije u sutemu PDV-A, primenjuje se porez na prenos aps. prava 2.5 %. Zgradu zida pouzdan i proveren investitor koji je do sada izgradio nekoliko zgrada na Lekinom brdu, koje su u blizini i mogu se pogledati, pri tome su sve zgrade uknjižene. STRUKTURA: Sastoji se od hodnika, toaleta, kupatila, dve spavaće sobe, velikog dnevnog boravka koji je povezan sa kuhinjom, trpezarijom iz koga se izlazi na veliku ograđenu terasu sa potpunom privatnošću koja je orijentisana suprotno od ulice. Stan je jugozapadno orijentisan, jako svetao. Stan ima izuzetan potencijal, pogodan je kako za život tako i za izdavanje. PREMIUM kvalitet gradnje: Izuzetno visok nivo gradnje - stan poseduje višekomornu antracit pvc stolariju, u dnevnom boravku velike francuske balkonske prozore, ulazna sigurnosna blindirana vrata renomiranog proizvodjača, unutrašnja sobna vrata od medijapana visokog kvaliteta, hrastov višeslojni parket - brodski pod, hladjenje uz pomoć klima uredjaja - split sistem, grejanje je etažno na struju, svaki stan poseduje svoj elektro kotao tako da sami odredjujete datum početka i završetka grejne sezone. Kupatilo i toalet su opremljeni Italijanskom keramikom i sanitarijom prve klase renomiranog proizvodjača, tuš kabina je od kaljenog stakla. Zgrada poseduje lift, fasadu modernog arhitektonskog rešenja izrađenu od kombinacije Demit fasade, termoizolacije i fasadne cigle, ulazna sigurnosna vrata, interfon. Odlična lokacija sa kompletnom infrastrukturom - Zgrada se nalazi na izuzetnoj lokaciji u blizini parka Šumice, velikog broja marketa, gradskog prevoza, škola, obdaništa, vrtića, fakulteta, sportskih sadržaja, pijace. Što se tiče načina plaćanja postoji mogućnost dogovora, u celosti ili fazno što utiče na formiranje krajnje cene. Postoji mogućnost kupovine garaže po ceni od 20.000 eura, lift ide do garaže. Agencijska provizija 2 % Kontakt telefoni - 060/5449-002; 011/2015-718; 011/670-7565 В муниципалитете Вождовац, на Лекина брдо, на одной из самых красивых улиц района, продается 3-комнатная квартира ЛЮКС площадью 65 м2 с пристроенной террасой во дворе площадью 60 м2. Квартира расположена на первом этаже 3-х этажного строящегося дома с лифтом. Срок завершения работ – лето 2023 года. Квартира продается физическим лицом - НДС не облагается, применяется налог на передачу. права 2,5 %. Здание построено надежным и проверенным инвестором, который построил несколько домов на Лекина брдо, которые находятся рядом и их можно посмотреть, и все строения зарегистрированы. СТРУКТУРА: Он состоит из прихожей, туалета, ванной комнаты, двух спален, большой гостиной, которая соединена с кухней, столовой, которая ведет на большую огороженную террасу с полной конфиденциальностью, ориентированную напротив улицы. Квартира ориентирована на юго-запад, очень светлая. Квартира имеет исключительный потенциал, подходит как для проживания, так и для сдачи в аренду. ПРЕМИУМ качество строительства: Чрезвычайно высокий уровень строительства - в квартире многокамерные столярные изделия из ПВХ антрацитового цвета, большие французские балконные окна в гостиной, входная защитная бронированная дверь от известного производителя, межкомнатная дверь из высококачественной фанеры, дуб многослойный паркет - корабельный пол, охлаждение с помощью приборов кондиционирования - сплит-система, отопление электрическое, в каждой квартире свой электрокотел, поэтому дату начала и окончания отопительного сезона вы можете определить сами. Ванная и туалет оборудованы итальянской керамикой и первоклассной сантехникой от известного производителя, душевая кабина изготовлена ​​из закаленного стекла. В доме есть лифт, фасад современного архитектурного дизайна из комбинации фасада Demit, теплоизоляции и фасадного кирпича, входная бронированная дверь, домофон. Отличное место с полной инфраструктурой - Дом расположен в исключительном месте рядом с парком Шумице, большим количеством рынков, общественного транспорта, школ, детских садов, детских садов, колледжей, спортивных сооружений, рынка. По способу оплаты возможно согласование, полностью или поэтапно, что влияет на формирование окончательной цены. Есть возможность купить гараж по цене 20 000 евро, в гараж ходит лифт. Комиссия агентства 2% Контактные телефоны - 060/5449-002; 011/2015-718; 011/670-7565 In the Municipality of Voždovac, on Lekina brdo, in one of the most beautiful streets in the area, for sale is a LUX 3.0 bedroom apartment of 65m2 with an attached courtyard terrace of 60m2. The apartment is located on the ground floor of a 3-story building under construction with an elevator. The deadline for the completion of the works is the summer of 2023. The apartment is sold by a natural person - it is not subject to VAT, transfer tax applies. rights 2.5 %. The building is built by a reliable and proven investor who has built several buildings on Lekina brdo, which are nearby and can be viewed, and all buildings are registered. STRUCTURE: It consists of a hallway, toilet, bathroom, two bedrooms, a large living room that is connected to the kitchen, a dining room that leads to a large fenced terrace with complete privacy that is oriented opposite to the street. The apartment is south-west oriented, very bright. The apartment has exceptional potential, it is suitable both for living and for renting out. PREMIUM quality of construction: Extremely high level of construction - the apartment has multi-chamber anthracite PVC carpentry, large French balcony windows in the living room, entrance security armored door from a renowned manufacturer, internal room door made of high-quality plywood, oak multi-layer parquet - ship floor, cooling with the help of air conditioning appliances - split system, heating is electric, each apartment has its own electric boiler, so you can determine the start and end date of the heating season yourself. The bathroom and toilet are equipped with Italian ceramics and first-class sanitary ware from a renowned manufacturer, the shower cabin is made of tempered glass. The building has an elevator, a facade of modern architectural design made of a combination of Demit facade, thermal insulation and facade bricks, entrance security door, intercom. Excellent location with complete infrastructure - The building is located in an exceptional location near the Šumice park, a large number of markets, public transport, schools, kindergartens, kindergartens, colleges, sports facilities, the market. Regarding the method of payment, there is a possibility of agreement, in full or in stages, which affects the formation of the final price. There is a possibility of buying a garage at a price of 20,000 euros, the elevator goes to the garage. Agency commission 2% Contact telephone numbers - 060/5449-002; 011/2015-718; 011/670-7565

Grad: Beograd - Voždovac - Lekino brdo Adresa: Vidska Tip objekta: Stanovi Površina: 125 m2 Tip Prodaje: Prodaja Cena: 208000€ Opis stana: Na Opštini Voždovac na Lekinom brdu u jednoj od najlepših ulica u tom kraju na prodaju LUX 3.0 soban stan površine 65m2 sa pripadajućom dvorišnom terasom od 60m2. Stan se nalazi na VPR od 3 sprata zgrade u izgradnji sa liftom. Rok za završetak radova je leto 2023.godine. Stan prodaje fizičko lice - nije u sutemu PDV-A, primenjuje se porez na prenos aps. prava 2.5 %. Zgradu zida pouzdan i proveren investitor koji je do sada izgradio nekoliko zgrada na Lekinom brdu, koje su u blizini i mogu se pogledati, pri tome su sve zgrade uknjižene. STRUKTURA: Sastoji se od hodnika, toaleta, kupatila, dve spavaće sobe, velikog dnevnog boravka koji je povezan sa kuhinjom, trpezarijom iz koga se izlazi na veliku ograđenu terasu sa potpunom privatnošću koja je orijentisana suprotno od ulice. Stan je jugozapadno orijentisan, jako svetao. Stan ima izuzetan potencijal, pogodan je kako za život tako i za izdavanje. PREMIUM kvalitet gradnje: Izuzetno visok nivo gradnje - stan poseduje višekomornu antracit pvc stolariju, u dnevnom boravku velike francuske balkonske prozore, ulazna sigurnosna blindirana vrata renomiranog proizvodjača, unutrašnja sobna vrata od medijapana visokog kvaliteta, hrastov višeslojni parket - brodski pod, hladjenje uz pomoć klima uredjaja - split sistem, grejanje je etažno na struju, svaki stan poseduje svoj elektro kotao tako da sami odredjujete datum početka i završetka grejne sezone. Kupatilo i toalet su opremljeni Italijanskom keramikom i sanitarijom prve klase renomiranog proizvodjača, tuš kabina je od kaljenog stakla. Zgrada poseduje lift, fasadu modernog arhitektonskog rešenja izrađenu od kombinacije Demit fasade, termoizolacije i fasadne cigle, ulazna sigurnosna vrata, interfon. Odlična lokacija sa kompletnom infrastrukturom - Zgrada se nalazi na izuzetnoj lokaciji u blizini parka Šumice, velikog broja marketa, gradskog prevoza, škola, obdaništa, vrtića, fakulteta, sportskih sadržaja, pijace. Što se tiče načina plaćanja postoji mogućnost dogovora, u celosti ili fazno što utiče na formiranje krajnje cene. Postoji mogućnost kupovine garaže po ceni od 20.000 eura, lift ide do garaže. Agencijska provizija 2 % Kontakt telefoni - 060/5449-002; 011/2015-718; 011/670-7565 В муниципалитете Вождовац, на Лекина брдо, на одной из самых красивых улиц района, продается 3-комнатная квартира ЛЮКС площадью 65 м2 с пристроенной террасой во дворе площадью 60 м2. Квартира расположена на первом этаже 3-х этажного строящегося дома с лифтом. Срок завершения работ – лето 2023 года. Квартира продается физическим лицом - НДС не облагается, применяется налог на передачу. права 2,5 %. Здание построено надежным и проверенным инвестором, который построил несколько домов на Лекина брдо, которые находятся рядом и их можно посмотреть, и все строения зарегистрированы. СТРУКТУРА: Он состоит из прихожей, туалета, ванной комнаты, двух спален, большой гостиной, которая соединена с кухней, столовой, которая ведет на большую огороженную террасу с полной конфиденциальностью, ориентированную напротив улицы. Квартира ориентирована на юго-запад, очень светлая. Квартира имеет исключительный потенциал, подходит как для проживания, так и для сдачи в аренду. ПРЕМИУМ качество строительства: Чрезвычайно высокий уровень строительства - в квартире многокамерные столярные изделия из ПВХ антрацитового цвета, большие французские балконные окна в гостиной, входная защитная бронированная дверь от известного производителя, межкомнатная дверь из высококачественной фанеры, дуб многослойный паркет - корабельный пол, охлаждение с помощью приборов кондиционирования - сплит-система, отопление электрическое, в каждой квартире свой электрокотел, поэтому дату начала и окончания отопительного сезона вы можете определить сами. Ванная и туалет оборудованы итальянской керамикой и первоклассной сантехникой от известного производителя, душевая кабина изготовлена ​​из закаленного стекла. В доме есть лифт, фасад современного архитектурного дизайна из комбинации фасада Demit, теплоизоляции и фасадного кирпича, входная бронированная дверь, домофон. Отличное место с полной инфраструктурой - Дом расположен в исключительном месте рядом с парком Шумице, большим количеством рынков, общественного транспорта, школ, детских садов, детских садов, колледжей, спортивных сооружений, рынка. По способу оплаты возможно согласование, полностью или поэтапно, что влияет на формирование окончательной цены. Есть возможность купить гараж по цене 20 000 евро, в гараж ходит лифт. Комиссия агентства 2% Контактные телефоны - 060/5449-002; 011/2015-718; 011/670-7565 In the Municipality of Voždovac, on Lekina brdo, in one of the most beautiful streets in the area, for sale is a LUX 3.0 bedroom apartment of 65m2 with an attached courtyard terrace of 60m2. The apartment is located on the ground floor of a 3-story building under construction with an elevator. The deadline for the completion of the works is the summer of 2023. The apartment is sold by a natural person - it is not subject to VAT, transfer tax applies. rights 2.5 %. The building is built by a reliable and proven investor who has built several buildings on Lekina brdo, which are nearby and can be viewed, and all buildings are registered. STRUCTURE: It consists of a hallway, toilet, bathroom, two bedrooms, a large living room that is connected to the kitchen, a dining room that leads to a large fenced terrace with complete privacy that is oriented opposite to the street. The apartment is south-west oriented, very bright. The apartment has exceptional potential, it is suitable both for living and for renting out. PREMIUM quality of construction: Extremely high level of construction - the apartment has multi-chamber anthracite PVC carpentry, large French balcony windows in the living room, entrance security armored door from a renowned manufacturer, internal room door made of high-quality plywood, oak multi-layer parquet - ship floor, cooling with the help of air conditioning appliances - split system, heating is electric, each apartment has its own electric boiler, so you can determine the start and end date of the heating season yourself. The bathroom and toilet are equipped with Italian ceramics and first-class sanitary ware from a renowned manufacturer, the shower cabin is made of tempered glass. The building has an elevator, a facade of modern architectural design made of a combination of Demit facade, thermal insulation and facade bricks, entrance security door, intercom. Excellent location with complete infrastructure - The building is located in an exceptional location near the Šumice park, a large number of markets, public transport, schools, kindergartens, kindergartens, colleges, sports facilities, the market. Regarding the method of payment, there is a possibility of agreement, in full or in stages, which affects the formation of the final price. There is a possibility of buying a garage at a price of 20,000 euros, the elevator goes to the garage. Agency commission 2% Contact telephone numbers - 060/5449-002; 011/2015-718; 011/670-7565 Detalji stana: EG Opis stana: Na Opštini Voždovac na Lekinom brdu u jednoj od najlepših ulica u tom kraju na prodaju LUX 3.0 soban stan površine 65m2 sa pripadajućom dvorišnom terasom od 60m2. Stan se nalazi na VPR od 3 sprata zgrade u izgradnji sa liftom. Rok za završetak radova je leto 2023.godine. Stan prodaje fizičko lice - nije u sutemu PDV-A, primenjuje se porez na prenos aps. prava 2.5 %. Zgradu zida pouzdan i proveren investitor koji je do sada izgradio nekoliko zgrada na Lekinom brdu, koje su u blizini i mogu se pogledati, pri tome su sve zgrade uknjižene. STRUKTURA: Sastoji se od hodnika, toaleta, kupatila, dve spavaće sobe, velikog dnevnog boravka koji je povezan sa kuhinjom, trpezarijom iz koga se izlazi na veliku ograđenu terasu sa potpunom privatnošću koja je orijentisana suprotno od ulice. Stan je jugozapadno orijentisan, jako svetao. Stan ima izuzetan potencijal, pogodan je kako za život tako i za izdavanje. PREMIUM kvalitet gradnje: Izuzetno visok nivo gradnje - stan poseduje višekomornu antracit pvc stolariju, u dnevnom boravku velike francuske balkonske prozore, ulazna sigurnosna blindirana vrata renomiranog proizvodjača, unutrašnja sobna vrata od medijapana visokog kvaliteta, hrastov višeslojni parket - brodski pod, hladjenje uz pomoć klima uredjaja - split sistem, grejanje je etažno na struju, svaki stan poseduje svoj elektro kotao tako da sami odredjujete datum početka i završetka grejne sezone. Kupatilo i toalet su opremljeni Italijanskom keramikom i sanitarijom prve klase renomiranog proizvodjača, tuš kabina je od kaljenog stakla. Zgrada poseduje lift, fasadu modernog arhitektonskog rešenja izrađenu od kombinacije Demit fasade, termoizolacije i fasadne cigle, ulazna sigurnosna vrata, interfon. Odlična lokacija sa kompletnom infrastrukturom - Zgrada se nalazi na izuzetnoj lokaciji u blizini parka Šumice, velikog broja marketa, gradskog prevoza, škola, obdaništa, vrtića, fakulteta, sportskih sadržaja, pijace. Što se tiče načina plaćanja postoji mogućnost dogovora, u celosti ili fazno što utiče na formiranje krajnje cene. Postoji mogućnost kupovine garaže po ceni od 20.000 eura, lift ide do garaže. Agencijska provizija 2 % Kontakt telefoni - 060/5449-002; 011/2015-718; 011/670-7565 В муниципалитете Вождовац, на Лекина брдо, на одной из самых красивых улиц района, продается 3-комнатная квартира ЛЮКС площадью 65 м2 с пристроенной террасой во дворе площадью 60 м2. Квартира расположена на первом этаже 3-х этажного строящегося дома с лифтом. Срок завершения работ – лето 2023 года. Квартира продается физическим лицом - НДС не облагается, применяется налог на передачу. права 2,5 %. Здание построено надежным и проверенным инвестором, который построил несколько домов на Лекина брдо, которые находятся рядом и их можно посмотреть, и все строения зарегистрированы. СТРУКТУРА: Он состоит из прихожей, туалета, ванной комнаты, двух спален, большой гостиной, которая соединена с кухней, столовой, которая ведет на большую огороженную террасу с полной конфиденциальностью, ориентированную напротив улицы. Квартира ориентирована на юго-запад, очень светлая. Квартира имеет исключительный потенциал, подходит как для проживания, так и для сдачи в аренду. ПРЕМИУМ качество строительства: Чрезвычайно высокий уровень строительства - в квартире многокамерные столярные изделия из ПВХ антрацитового цвета, большие французские балконные окна в гостиной, входная защитная бронированная дверь от известного производителя, межкомнатная дверь из высококачественной фанеры, дуб многослойный паркет - корабельный пол, охлаждение с помощью приборов кондиционирования - сплит-система, отопление электрическое, в каждой квартире свой электрокотел, поэтому дату начала и окончания отопительного сезона вы можете определить сами. Ванная и туалет оборудованы итальянской керамикой и первоклассной сантехникой от известного производителя, душевая кабина изготовлена ​​из закаленного стекла. В доме есть лифт, фасад современного архитектурного дизайна из комбинации фасада Demit, теплоизоляции и фасадного кирпича, входная бронированная дверь, домофон. Отличное место с полной инфраструктурой - Дом расположен в исключительном месте рядом с парком Шумице, большим количеством рынков, общественного транспорта, школ, детских садов, детских садов, колледжей, спортивных сооружений, рынка. По способу оплаты возможно согласование, полностью или поэтапно, что влияет на формирование окончательной цены. Есть возможность купить гараж по цене 20 000 евро, в гараж ходит лифт. Комиссия агентства 2% Контактные телефоны - 060/5449-002; 011/2015-718; 011/670-7565 In the Municipality of Voždovac, on Lekina brdo, in one of the most beautiful streets in the area, for sale is a LUX 3.0 bedroom apartment of 65m2 with an attached courtyard terrace of 60m2. The apartment is located on the ground floor of a 3-story building under construction with an elevator. The deadline for the completion of the works is the summer of 2023. The apartment is sold by a natural person - it is not subject to VAT, transfer tax applies. rights 2.5 %. The building is built by a reliable and proven investor who has built several buildings on Lekina brdo, which are nearby and can be viewed, and all buildings are registered. STRUCTURE: It consists of a hallway, toilet, bathroom, two bedrooms, a large living room that is connected to the kitchen, a dining room that leads to a large fenced terrace with complete privacy that is oriented opposite to the street. The apartment is south-west oriented, very bright. The apartment has exceptional potential, it is suitable both for living and for renting out. PREMIUM quality of construction: Extremely high level of construction - the apartment has multi-chamber anthracite PVC carpentry, large French balcony windows in the living room, entrance security armored door from a renowned manufacturer, internal room door made of high-quality plywood, oak multi-layer parquet - ship floor, cooling with the help of air conditioning appliances - split system, heating is electric, each apartment has its own electric boiler, so you can determine the start and end date of the heating season yourself. The bathroom and toilet are equipped with Italian ceramics and first-class sanitary ware from a renowned manufacturer, the shower cabin is made of tempered glass. The building has an elevator, a facade of modern architectural design made of a combination of Demit facade, thermal insulation and facade bricks, entrance security door, intercom. Excellent location with complete infrastructure - The building is located in an exceptional location near the Šumice park, a large number of markets, public transport, schools, kindergartens, kindergartens, colleges, sports facilities, the market. Regarding the method of payment, there is a possibility of agreement, in full or in stages, which affects the formation of the final price. There is a possibility of buying a garage at a price of 20,000 euros, the elevator goes to the garage. Agency commission 2% Contact telephone numbers - 060/5449-002; 011/2015-718; 011/670-7565 Detalji stana: EG Opis stana: Na Opštini Voždovac na Lekinom brdu u jednoj od najlepših ulica u tom kraju na prodaju LUX 3.0 soban stan površine 65m2 sa pripadajućom dvorišnom terasom od 60m2. Stan se nalazi na VPR od 3 sprata zgrade u izgradnji sa liftom. Rok za završetak radova je leto 2023.godine. Stan prodaje fizičko lice - nije u sutemu PDV-A, primenjuje se porez na prenos aps. prava 2.5 %. Zgradu zida pouzdan i proveren investitor koji je do sada izgradio nekoliko zgrada na Lekinom brdu, koje su u blizini i mogu se pogledati, pri tome su sve zgrade uknjižene. STRUKTURA: Sastoji se od hodnika, toaleta, kupatila, dve spavaće sobe, velikog dnevnog boravka koji je povezan sa kuhinjom, trpezarijom iz koga se izlazi na veliku ograđenu terasu sa potpunom privatnošću koja je orijentisana suprotno od ulice. Stan je jugozapadno orijentisan, jako svetao. Stan ima izuzetan potencijal, pogodan je kako za život tako i za izdavanje. PREMIUM kvalitet gradnje: Izuzetno visok nivo gradnje - stan poseduje višekomornu antracit pvc stolariju, u dnevnom boravku velike francuske balkonske prozore, ulazna sigurnosna blindirana vrata renomiranog proizvodjača, unutrašnja sobna vrata od medijapana visokog kvaliteta, hrastov višeslojni parket - brodski pod, hladjenje uz pomoć klima uredjaja - split sistem, grejanje je etažno na struju, svaki stan poseduje svoj elektro kotao tako da sami odredjujete datum početka i završetka grejne sezone. Kupatilo i toalet su opremljeni Italijanskom keramikom i sanitarijom prve klase renomiranog proizvodjača, tuš kabina je od kaljenog stakla. Zgrada poseduje lift, fasadu modernog arhitektonskog rešenja izrađenu od kombinacije Demit fasade, termoizolacije i fasadne cigle, ulazna sigurnosna vrata, interfon. Odlična lokacija sa kompletnom infrastrukturom - Zgrada se nalazi na izuzetnoj lokaciji u blizini parka Šumice, velikog broja marketa, gradskog prevoza, škola, obdaništa, vrtića, fakulteta, sportskih sadržaja, pijace. Što se tiče načina plaćanja postoji mogućnost dogovora, u celosti ili fazno što utiče na formiranje krajnje cene. Postoji mogućnost kupovine garaže po ceni od 20.000 eura, lift ide do garaže. Agencijska provizija 2 % Kontakt telefoni - 060/5449-002; 011/2015-718; 011/670-7565 В муниципалитете Вождовац, на Лекина брдо, на одной из самых красивых улиц района, продается 3-комнатная квартира ЛЮКС площадью 65 м2 с пристроенной террасой во дворе площадью 60 м2. Квартира расположена на первом этаже 3-х этажного строящегося дома с лифтом. Срок завершения работ – лето 2023 года. Квартира продается физическим лицом - НДС не облагается, применяется налог на передачу. права 2,5 %. Здание построено надежным и проверенным инвестором, который построил несколько домов на Лекина брдо, которые находятся рядом и их можно посмотреть, и все строения зарегистрированы. СТРУКТУРА: Он состоит из прихожей, туалета, ванной комнаты, двух спален, большой гостиной, которая соединена с кухней, столовой, которая ведет на большую огороженную террасу с полной конфиденциальностью, ориентированную напротив улицы. Квартира ориентирована на юго-запад, очень светлая. Квартира имеет исключительный потенциал, подходит как для проживания, так и для сдачи в аренду. ПРЕМИУМ качество строительства: Чрезвычайно высокий уровень строительства - в квартире многокамерные столярные изделия из ПВХ антрацитового цвета, большие французские балконные окна в гостиной, входная защитная бронированная дверь от известного производителя, межкомнатная дверь из высококачественной фанеры, дуб многослойный паркет - корабельный пол, охлаждение с помощью приборов кондиционирования - сплит-система, отопление электрическое, в каждой квартире свой электрокотел, поэтому дату начала и окончания отопительного сезона вы можете определить сами. Ванная и туалет оборудованы итальянской керамикой и первоклассной сантехникой от известного производителя, душевая кабина изготовлена ​​из закаленного стекла. В доме есть лифт, фасад современного архитектурного дизайна из комбинации фасада Demit, теплоизоляции и фасадного кирпича, входная бронированная дверь, домофон. Отличное место с полной инфраструктурой - Дом расположен в исключительном месте рядом с парком Шумице, большим количеством рынков, общественного транспорта, школ, детских садов, детских садов, колледжей, спортивных сооружений, рынка. По способу оплаты возможно согласование, полностью или поэтапно, что влияет на формирование окончательной цены. Есть возможность купить гараж по цене 20 000 евро, в гараж ходит лифт. Комиссия агентства 2% Контактные телефоны - 060/5449-002; 011/2015-718; 011/670-7565 In the Municipality of Voždovac, on Lekina brdo, in one of the most beautiful streets in the area, for sale is a LUX 3.0 bedroom apartment of 65m2 with an attached courtyard terrace of 60m2. The apartment is located on the ground floor of a 3-story building under construction with an elevator. The deadline for the completion of the works is the summer of 2023. The apartment is sold by a natural person - it is not subject to VAT, transfer tax applies. rights 2.5 %. The building is built by a reliable and proven investor who has built several buildings on Lekina brdo, which are nearby and can be viewed, and all buildings are registered. STRUCTURE: It consists of a hallway, toilet, bathroom, two bedrooms, a large living room that is connected to the kitchen, a dining room that leads to a large fenced terrace with complete privacy that is oriented opposite to the street. The apartment is south-west oriented, very bright. The apartment has exceptional potential, it is suitable both for living and for renting out. PREMIUM quality of construction: Extremely high level of construction - the apartment has multi-chamber anthracite PVC carpentry, large French balcony windows in the living room, entrance security armored door from a renowned manufacturer, internal room door made of high-quality plywood, oak multi-layer parquet - ship floor, cooling with the help of air conditioning appliances - split system, heating is electric, each apartment has its own electric boiler, so you can determine the start and end date of the heating season yourself. The bathroom and toilet are equipped with Italian ceramics and first-class sanitary ware from a renowned manufacturer, the shower cabin is made of tempered glass. The building has an elevator, a facade of modern architectural design made of a combination of Demit facade, thermal insulation and facade bricks, entrance security door, intercom. Excellent location with complete infrastructure - The building is located in an exceptional location near the Šumice park, a large number of markets, public transport, schools, kindergartens, kindergartens, colleges, sports facilities, the market. Regarding the method of payment, there is a possibility of agreement, in full or in stages, which affects the formation of the final price. There is a possibility of buying a garage at a price of 20,000 euros, the elevator goes to the garage. Agency commission 2% Contact telephone numbers - 060/5449-002; 011/2015-718; 011/670-7565 Detalji stana: EG

Voždovac - Lekino brdo LUX novogradnja 65m2 + 60m2 dvorišta ID#2632 Lokacija: Lekino brdo (Srbija, Beograd, Voždovac) Ulica i broj: Vidska Sobnost: Trosoban Kvadratura: 125m2 Stanje objekta: Novogradnja Grejanje: Etažno Nivo u zgradi: Visoko prizemlje Tekst oglasa Na Opštini Voždovac na Lekinom brdu u jednoj od najlepših ulica u tom kraju na prodaju LUX 3.0 soban stan površine 65m2 sa pripadajućom dvorišnom terasom od 60m2. Stan se nalazi na VPR od 3 sprata zgrade u izgradnji sa liftom. Rok za završetak radova je leto 2023.godine. Stan prodaje fizičko lice - nije u sutemu PDV-A, primenjuje se porez na prenos aps. prava 2.5 %. Zgradu zida pouzdan i proveren investitor koji je do sada izgradio nekoliko zgrada na Lekinom brdu, koje su u blizini i mogu se pogledati, pri tome su sve zgrade uknjižene. STRUKTURA: Sastoji se od hodnika, toaleta, kupatila, dve spavaće sobe, velikog dnevnog boravka koji je povezan sa kuhinjom, trpezarijom iz koga se izlazi na veliku ograđenu terasu sa potpunom privatnošću koja je orijentisana suprotno od ulice. Stan je jugozapadno orijentisan, jako svetao. Stan ima izuzetan potencijal, pogodan je kako za život tako i za izdavanje. PREMIUM kvalitet gradnje: Izuzetno visok nivo gradnje - stan poseduje višekomornu antracit pvc stolariju, u dnevnom boravku velike francuske balkonske prozore, ulazna sigurnosna blindirana vrata renomiranog proizvodjača, unutrašnja sobna vrata od medijapana visokog kvaliteta, hrastov višeslojni parket - brodski pod, hladjenje uz pomoć klima uredjaja - split sistem, grejanje je etažno na struju, svaki stan poseduje svoj elektro kotao tako da sami odredjujete datum početka i završetka grejne sezone. Kupatilo i toalet su opremljeni Italijanskom keramikom i sanitarijom prve klase renomiranog proizvodjača, tuš kabina je od kaljenog stakla. Zgrada poseduje lift, fasadu modernog arhitektonskog rešenja izrađenu od kombinacije Demit fasade, termoizolacije i fasadne cigle, ulazna sigurnosna vrata, interfon. Odlična lokacija sa kompletnom infrastrukturom - Zgrada se nalazi na izuzetnoj lokaciji u blizini parka Šumice, velikog broja marketa, gradskog prevoza, škola, obdaništa, vrtića, fakulteta, sportskih sadržaja, pijace. Što se tiče načina plaćanja postoji mogućnost dogovora, u celosti ili fazno što utiče na formiranje krajnje cene. Postoji mogućnost kupovine garaže po ceni od 20.000 eura, lift ide do garaže. Agencijska provizija 2 % Kontakt telefoni - 060/5449-002; 011/2015-718; 011/670-7565 В муниципалитете Вождовац, на Лекина брдо, на одной из самых красивых улиц района, продается 3-комнатная квартира ЛЮКС площадью 65 м2 с пристроенной террасой во дворе площадью 60 м2. Квартира расположена на первом этаже 3-х этажного строящегося дома с лифтом. Срок завершения работ – лето 2023 года. Квартира продается физическим лицом - НДС не облагается, применяется налог на передачу. права 2,5 %. Здание построено надежным и проверенным инвестором, который построил несколько домов на Лекина брдо, которые находятся рядом и их можно посмотреть, и все строения зарегистрированы. СТРУКТУРА: Он состоит из прихожей, туалета, ванной комнаты, двух спален, большой гостиной, которая соединена с кухней, столовой, которая ведет на большую огороженную террасу с полной конфиденциальностью, ориентированную напротив улицы. Квартира ориентирована на юго-запад, очень светлая. Квартира имеет исключительный потенциал, подходит как для проживания, так и для сдачи в аренду. ПРЕМИУМ качество строительства: Чрезвычайно высокий уровень строительства - в квартире многокамерные столярные изделия из ПВХ антрацитового цвета, большие французские балконные окна в гостиной, входная защитная бронированная дверь от известного производителя, межкомнатная дверь из высококачественной фанеры, дуб многослойный паркет - корабельный пол, охлаждение с помощью приборов кондиционирования - сплит-система, отопление электрическое, в каждой квартире свой электрокотел, поэтому дату начала и окончания отопительного сезона вы можете определить сами. Ванная и туалет оборудованы итальянской керамикой и первоклассной сантехникой от известного производителя, душевая кабина изготовлена ​​из закаленного стекла. В доме есть лифт, фасад современного архитектурного дизайна из комбинации фасада Demit, теплоизоляции и фасадного кирпича, входная бронированная дверь, домофон. Отличное место с полной инфраструктурой - Дом расположен в исключительном месте рядом с парком Шумице, большим количеством рынков, общественного транспорта, школ, детских садов, детских садов, колледжей, спортивных сооружений, рынка. По способу оплаты возможно согласование, полностью или поэтапно, что влияет на формирование окончательной цены. Есть возможность купить гараж по цене 20 000 евро, в гараж ходит лифт. Комиссия агентства 2% Контактные телефоны - 060/5449-002; 011/2015-718; 011/670-7565 In the Municipality of Voždovac, on Lekina brdo, in one of the most beautiful streets in the area, for sale is a LUX 3.0 bedroom apartment of 65m2 with an attached courtyard terrace of 60m2. The apartment is located on the ground floor of a 3-story building under construction with an elevator. The deadline for the completion of the works is the summer of 2023. The apartment is sold by a natural person - it is not subject to VAT, transfer tax applies. rights 2.5 %. The building is built by a reliable and proven investor who has built several buildings on Lekina brdo, which are nearby and can be viewed, and all buildings are registered. STRUCTURE: It consists of a hallway, toilet, bathroom, two bedrooms, a large living room that is connected to the kitchen, a dining room that leads to a large fenced terrace with complete privacy that is oriented opposite to the street. The apartment is south-west oriented, very bright. The apartment has exceptional potential, it is suitable both for living and for renting out. PREMIUM quality of construction: Extremely high level of construction - the apartment has multi-chamber anthracite PVC carpentry, large French balcony windows in the living room, entrance security armored door from a renowned manufacturer, internal room door made of high-quality plywood, oak multi-layer parquet - ship floor, cooling with the help of air conditioning appliances - split system, heating is electric, each apartment has its own electric boiler, so you can determine the start and end date of the heating season yourself. The bathroom and toilet are equipped with Italian ceramics and first-class sanitary ware from a renowned manufacturer, the shower cabin is made of tempered glass. The building has an elevator, a facade of modern architectural design made of a combination of Demit facade, thermal insulation and facade bricks, entrance security door, intercom. Excellent location with complete infrastructure - The building is located in an exceptional location near the Šumice park, a large number of markets, public transport, schools, kindergartens, kindergartens, colleges, sports facilities, the market. Regarding the method of payment, there is a possibility of agreement, in full or in stages, which affects the formation of the final price. There is a possibility of buying a garage at a price of 20,000 euros, the elevator goes to the garage. Agency commission 2% Contact telephone numbers - 060/5449-002; 011/2015-718; 011/670-7565

Lepo očuvano Kao na slikama Retko! 1960. University of Ceylon Press Board Istorija Cejlona / Šri Lanke Rare books The history of Sri Lanka is intertwined with the history of the broader Indian subcontinent and the surrounding regions, comprising the areas of South Asia, Southeast Asia and the Indian Ocean. The early human remains found on the island of Sri Lanka date to about 38,000 years ago (Balangoda Man). The historical period begins roughly in the 3rd century, based on Pali chronicles like the Mahavamsa, Deepavamsa, and the Culavamsa. They describe the history since the arrival of Prince Vijaya from Northern India[1][2][3][4] The earliest documents of settlement in the Island are found in these chronicles. These chronicles cover the period since the establishment of the Kingdom of Tambapanni in the 6th century BCE by the earliest ancestors of the Sinhalese. The first Sri Lankan ruler of the Anuradhapura Kingdom, Pandukabhaya, is recorded for the 4th century BCE. Buddhism was introduced in the 3rd century BCE by Arhath Mahinda (son of the Indian emperor Ashoka). The island was divided into numerous kingdoms over the following centuries, intermittently (between CE 993–1077) united under Chola rule. Sri Lanka was ruled by 181 monarchs from the Anuradhapura to Kandy periods.[5][unreliable source?] From the 16th century, some coastal areas of the country were also controlled by the Portuguese, Dutch and British. Between 1597 and 1658, a substantial part of the island was under Portuguese rule. The Portuguese lost their possessions in Ceylon due to Dutch intervention in the Eighty Years` War. Following the Kandyan Wars, the island was united under British rule in 1815. Armed uprisings against the British took place in 1818 Uva Rebellion and 1848 Matale Rebellion. Independence was finally granted in 1948 but the country remained a Dominion of the British Empire until 1972. In 1972, Sri Lanka assumed the status of a Republic. A constitution was introduced in 1978 which made the Executive President the head of state. The Sri Lankan Civil War began in 1983, including Insurrections in 1971 and 1987, with the 25-year-long civil war ending in 2009. There was an attempted coup in 1962 against the government under Sirimavo Bandaranaike. Prehistory[edit] Main article: Prehistory of Sri Lanka Evidence of human colonization in Sri Lanka appears at the site of Balangoda. Balangoda Man arrived on the island about 125,000 years ago and has been identified as Mesolithic hunter-gatherers who lived in caves. Several of these caves, including the well-known Batadombalena and the Fa Hien Cave, have yielded many artifacts from these people, who are currently the first known inhabitants of the island. Balangoda Man probably created Horton Plains, in the central hills, by burning the trees in order to catch game. However, the discovery of oats and barley on the plains at about 15,000 BCE suggests that agriculture had already developed at this early date.[6] Several minute granite tools (about 4 centimetres in length), earthenware, remnants of charred timber, and clay burial pots date to the Mesolithic. Human remains dating to 6000 BCE have been discovered during recent excavations around a cave at Warana Raja Maha Vihara and in the Kalatuwawa area. Cinnamon is native to Sri Lanka and has been found in Ancient Egypt as early as 1500 BCE, suggesting early trade between Egypt and the island`s inhabitants. It is possible that Biblical Tarshish was located on the island. James Emerson Tennent identified Tarshish with Galle.[7] The protohistoric Early Iron Age appears to have established itself in South India by at least as early as 1200 BCE, if not earlier (Possehl 1990; Deraniyagala 1992:734). The earliest manifestation of this in Sri Lanka is radiocarbon-dated to c. 1000–800 BCE at Anuradhapura and Aligala shelter in Sigiriya (Deraniyagala 1992:709-29; Karunaratne and Adikari 1994:58; Mogren 1994:39; with the Anuradhapura dating corroborated by Coningham 1999). It is very likely that further investigations will push back the Sri Lankan lower boundary to match that of South India.[8] During the protohistoric period (1000-500 BCE) Sri Lanka was culturally united with southern India.,[9] and shared the same megalithic burials, pottery, iron technology, farming techniques and megalithic graffiti.[10][11] This cultural complex spread from southern India along with Dravidian clans such as the Velir, prior to the migration of Prakrit speakers.[12][13][10] Archaeological evidence for the beginnings of the Iron Age in Sri Lanka is found at Anuradhapura, where a large city–settlement was founded before 900 BCE. The settlement was about 15 hectares in 900 BCE, but by 700 BCE it had expanded to 50 hectares.[14] A similar site from the same period has also been discovered near Aligala in Sigiriya.[15] The hunter-gatherer people known as the Wanniyala-Aetto or Veddas, who still live in the central, Uva and north-eastern parts of the island, are probably direct descendants of the first inhabitants, Balangoda Man. They may have migrated to the island from the mainland around the time humans spread from Africa to the Indian subcontinent. Later Indo Aryan migrants developed a unique hydraulic civilization named Sinhala. Their Achievements include the construction of the largest reservoirs and dams of the ancient world as well as enormous pyramid-like stupa (dāgaba in Sinhala) architecture. This phase of Sri Lankan culture may have seen the introduction of early Buddhism.[16] Early history recorded in Buddhist scriptures refers to three visits by the Buddha to the island to see the Naga Kings, snakes that can take the form of a human at will.[17] The earliest surviving chronicles from the island, the Dipavamsa and the Mahavamsa, say that Yakkhas, Nagas, Rakkhas and Devas inhabited the island prior to the migration of Indo Aryans. Pre-Anuradhapura period (543–377 BCE)[edit] Main article: Early kingdoms period Indo-Aryan syncretism[edit] Main article: Prince Vijaya The Pali chronicles, the Dipavamsa, Mahavamsa, Thupavamsa and the Chulavamsa, as well as a large collection of stone inscriptions,[18] the Indian Epigraphical records, the Burmese versions of the chronicles etc., provide information on the history of Sri Lanka from about the 6th century BCE.[19] The Mahavamsa, written around 400 CE by the monk Mahanama, using the Deepavamsa, the Attakatha and other written sources available to him, correlates well with Indian histories of the period. Indeed, Emperor Ashoka`s reign is recorded in the Mahavamsa. The Mahavamsa account of the period prior to Asoka`s coronation, 218 years after the Buddha`s death, seems to be part legend. Proper historical records begin with the arrival of Vijaya and his 700 followers from Vanga. A detailed description of the dynastic accounts from Vijaya`s time is provided in the Mahavamsa.[20] H. W. Codrington puts it, `It is possible and even probable that Vijaya (`The Conqueror`) himself is a composite character combining in his person...two conquests` of ancient Sri Lanka. Vijaya is an Indian prince, the eldest son of King Sinhabahu (`Man with Lion arms`) and his sister Queen Sinhasivali. Both these Sinhalese leaders were born of a mythical union between a lion and a human princess. The Mahavamsa states that Vijaya landed on the same day as the death of the Buddha (See Geiger`s preface to Mahavamsa). The story of Vijaya and Kuveni (the local reigning queen) is reminiscent of Greek legend and may have a common source in ancient Proto-Indo-European folk tales. According to the Mahavamsa, Vijaya landed on Sri Lanka near Mahathitha (Manthota or Mannar[21]), and named[22] on the island of Tambaparni (`copper-colored sand`). This name is attested to in Ptolemy`s map of the ancient world. The Mahavamsa also describes the Buddha visiting Sri Lanka three times. Firstly, to stop a war between a Naga king and his son in law who were fighting over a ruby chair. It is said that on his last visit he left his foot mark on Siri Pada (`Adam`s Peak`). Tamirabharani is the old name for the second longest river in Sri Lanka (known as Malwatu Oya in Sinhala and Aruvi Aru in Tamil). This river was a main supply route connecting the capital, Anuradhapura, to Mahathitha (now Mannar). The waterway was used by Greek and Chinese ships traveling the southern Silk Route. Mahathir was an ancient port linking Sri Lanka to India and the Persian Gulf.[23] The present day Sinhalese are a mixture of the Indo Aryans and the Indigenous[24] The Sinhalese are recognized as a distinct ethnic group from other groups in neighboring south India based on the Indo-Aryan language, culture, Theravada Buddhism, genetics and the physical anthropology. Anuradhapura period (377 BCE–1017)[edit] Main articles: Anuradhapura period and Anuradhapura Kingdom Pandyan Kingdom coin depicting a temple between hill symbols and elephant, Pandyas, Sri Lanka, 1st century CE. In the early ages of the Anuradhapura Kingdom, the economy was based on farming and early settlements were mainly made near the rivers of the east, north central, and north east areas which had the water necessary for farming the whole year round. The king was the ruler of country and responsible for the law, the army, and being the protector of faith. Devanampiya Tissa (250–210 BCE) was Sinhalese and was friends with the King of the Maurya clan. His links with Emperor Asoka led to the introduction of Buddhism by Mahinda (son of Asoka) around 247 BCE. Sangamitta (sister of Mahinda) brought a Bodhi sapling via Jambukola (west of Kankesanthurai). This king`s reign was crucial to Theravada Buddhism and for Sri Lanka. The Mauryan-Sanskrit text Arthashastra referred to the pearls and gems of Sri Lanka. A kind of pearl, kauleya (Sanskrit: कौलेय) was referred in that text and also mentioned it collected from Mayurgrām of Sinhala. Pārsamudra(पारसमुद्र), a gem, was also being collected from Sinhala.[25] Ellalan (205–161 BCE) was a Tamil King who ruled `Pihiti Rata` (Sri Lanka north of the Mahaweli) after killing King Asela. During Ellalan`s time Kelani Tissa was a sub-king of Maya Rata (in the south-west) and Kavan Tissa was a regional sub-king of Ruhuna (in the south-east). Kavan Tissa built Tissa Maha Vihara, Dighavapi Tank and many shrines in Seruvila. Dutugemunu (161–137 BCE), the eldest son of King Kavan Tissa, at 25 years of age defeated the South Indian Tamil invader Elara (over 64 years of age) in single combat, described in the Mahavamsa. The Ruwanwelisaya, built by Dutugemunu, is a dagaba of pyramid-like proportions and was considered an engineering marvel.[citation needed] Pulahatta (or Pulahatha), the first of the Five Dravidians, was deposed by Bahiya. He in turn was deposed by Panaya Mara who was deposed by Pilaya Mara, murdered by Dathika in 88 BCE. Mara was deposed by Valagamba I (89–77 BCE) which ended Tamil rule. The Mahavihara Theravada Abhayagiri (`pro-Mahayana`) doctrinal disputes arose at this time. The Tripitaka was written in Pali at Aluvihara, Matale. Chora Naga (63–51 BCE), a Mahanagan, was poisoned by his consort Anula who became queen. Queen Anula (48–44 BCE), the widow of Chora Naga and of Kuda Tissa, was the first Queen of Lanka. She had many lovers who were poisoned by her and was killed by Kuttakanna Tissa. Vasabha (67–111 CE), named on the Vallipuram gold plate, fortified Anuradhapura and built eleven tanks as well as pronouncing many edicts. Gajabahu I (114–136) invaded the Chola kingdom and brought back captives as well as recovering the relic of the tooth of the Buddha. A Sangam Period classic, Manimekalai, attributes the origin of the first Pallava King from a liaison between the daughter of a Naga king of Manipallava named Pilli Valai (Pilivalai) with a Chola king, Killivalavan, out of which union was born a prince, who was lost in ship wreck and found with a twig (pallava) of Cephalandra Indica (Tondai) around his ankle and hence named Tondai-man. Another version states `Pallava` was born from the union of the Brahmin Ashvatthama with a Naga Princess also supposedly supported in the sixth verse of the Bahur plates which states `From Ashvatthama was born the king named Pallava`.[26] Sri Lankan imitations of 4th-century Roman coins, 4th to 8th centuries. Ambassador from Sri Lanka (獅子國 Shiziguo) to China (Liang dynasty), Wanghuitu (王会图), circa 650 CE There was intense Roman trade with the ancient Tamil country (present day Southern India) and Sri Lanka,[27] establishing trading settlements which remained long after the fall of the Western Roman Empire.[28] It was in the first century AD where Saint Thomas the Apostle introduced Sri Lanka`s first monotheistic religion, Christianity, according to a local Christian tradition[29] During the reign of Mahasena (274–301) the Theravada (Maha Vihara) was persecuted and the Mahayanan branch of Buddhism appeared. Later the King returned to the Maha Vihara. Pandu (429) was the first of seven Pandiyan rulers, ending with Pithya in 455. Dhatusena (459–477) `Kalaweva` and his son Kashyapa (477–495) built the famous Sigiriya rock palace where some 700 rock graffiti give a glimpse of ancient Sinhala. Decline Main article: Chola occupation of Anuradhapura In 993, when Raja Raja Chola sent a large Chola army which conquered the Anuradhapura Kingdom, in the north, and added it to the sovereignty of the Chola Empire.[30] The whole island was subsequently conquered and incorporated as a province of the vast Chola empire during the reign of his son Rajendra Chola.[31][32][33][34] Polonnaruwa period (1056–1232)[edit] Main articles: Polonnaruwa period and Kingdom of Polonnaruwa The Kingdom of Polonnaruwa was the second major Sinhalese kingdom of Sri Lanka. It lasted from 1055 under Vijayabahu I to 1212 under the rule of Lilavati. The Kingdom of Polonnaruwa came into being after the Anuradhapura Kingdom was invaded by Chola forces under Rajaraja I and led to formation of the Kingdom of Ruhuna, where the Sinhalese Kings ruled during Chola occupation. Decline Sadayavarman Sundara Pandyan I invaded Sri Lanka in the 13th century and defeated Chandrabanu the usurper of the Jaffna Kingdom in northern Sri Lanka.[35] Sadayavarman Sundara Pandyan I forced Candrabhanu to submit to the Pandyan rule and to pay tributes to the Pandyan Dynasty. But later on when Candrabhanu became powerful enough he again invaded the Singhalese kingdom but he was defeated by the brother of Sadayavarman Sundara Pandyan I called Veera Pandyan I and Candrabhanu died.[35] Sri Lanka was invaded for the 3rd time by the Pandyan Dynasty under the leadership of Arya Cakravarti who established the Jaffna kingdom.[35] Transitional period (1232–1505)[edit] Ptolemic map of Ceylon (1482) Jaffna Kingdom[edit] Main article: Jaffna kingdom Also known as the Aryacakravarti dynasty, was a northern kingdom centred around the Jaffna Peninsula.[36] In 1247, the Malay kingdom of Tambralinga which was a vassal of the Srivijaya Empire led by their king Chandrabhanu[37] briefly invaded Sri Lanka especially the Jaffna Kingdom, from Insular Southeast Asia. They were then expelled by the South Indian Pandyan Dynasty.[38] However, this temporary invasion permanently introduced the presence of various Malayo-Polynesian merchant ethnic groups, from Sumatrans (Indonesia) to Lucoes (Philippines) into Sri Lanka.[39] Kingdom of Dambadeniya[edit] Main article: Kingdom of Dambadeniya After defeating Kalinga Magha, King Parakramabahu established his Kingdom in Dambadeniya. He built the Temple of The Sacred Tooth Relic in Dambadeniya. Kingdom of Gampola[edit] Main article: Kingdom of Gampola It was established by king Buwanekabahu IV, he is said to be the son of Sawulu Vijayabahu. During this time, a Muslim traveller and geographer named Ibn Battuta came to Sri Lanka and wrote a book about it. The Gadaladeniya Viharaya is the main building made in the Gampola Kingdom period. The Lankatilaka Viharaya is also a main building built in Gampola. Kingdom of Kotte[edit] Main article: Kingdom of Kotte After winning the battle, Parakramabahu VI sent an officer named Alagakkonar to check the new kingdom of Kotte. Kingdom of Sitawaka[edit] Main article: Kingdom of Sitawaka The kingdom of Sithawaka lasted for a short span of time during the Portuguese era. Vannimai[edit] Main article: Vanni Nadu Vannimai, also called Vanni Nadu, were feudal land divisions ruled by Vanniar chiefs south of the Jaffna peninsula in northern Sri Lanka. Pandara Vanniyan allied with the Kandy Nayakars led a rebellion against the British and Dutch colonial powers in Sri Lanka in 1802. He was able to liberate Mullaitivu and other parts of northern Vanni from Dutch rule. In 1803, Pandara Vanniyan was defeated by the British and Vanni came under British rule.[40] Crisis of the Sixteenth Century (1505–1594)[edit] Portuguese intervention[edit] Main articles: Portuguese Ceylon and Sinhalese–Portuguese War A Portuguese (later Dutch) fort in Batticaloa, Eastern Province built in the 16th century. The first Europeans to visit Sri Lanka in modern times were the Portuguese: Lourenço de Almeida arrived in 1505 and found that the island, divided into seven warring kingdoms, was unable to fend off intruders. The Portuguese founded a fort at the port city of Colombo in 1517 and gradually extended their control over the coastal areas. In 1592, the Sinhalese moved their capital to the inland city of Kandy, a location more secure against attack from invaders. Intermittent warfare continued through the 16th century. Many lowland Sinhalese converted to Christianity due to missionary campaigns by the Portuguese while the coastal Moors were religiously persecuted and forced to retreat to the Central highlands. The Buddhist majority disliked the Portuguese occupation and its influences, welcoming any power who might rescue them. When the Dutch captain Joris van Spilbergen landed in 1602, the king of Kandy appealed to him for help.[41] Dutch intervention[edit] Main article: Dutch Ceylon Rajasinghe II, the king of Kandy, made a treaty with the Dutch in 1638 to get rid of the Portuguese who ruled most of the coastal areas of the island. The main conditions of the treaty were that the Dutch were to hand over the coastal areas they had captured to the Kandyan king in return for a Dutch trade monopoly over the island. The agreement was breached by both parties. The Dutch captured Colombo in 1656 and the last Portuguese strongholds near Jaffnapatnam in 1658. By 1660 they controlled the whole island except the land-locked kingdom of Kandy. The Dutch (Protestants) persecuted the Catholics and the remaining Portuguese settlers but left Buddhists, Hindus and Muslims alone. The Dutch levied far heavier taxes on the people than the Portuguese had done.[41] Kandyan period (1594–1815)[edit] Main article: Kingdom of Kandy On the top: illustration from Delineatio characterum quorundam incognitorum, quos in insula Ceylano spectandos praebet tumulus quidam sepulchralis published in Acta Eruditorum, 1733 After the invasion of the Portuguese, Konappu Bandara (King Vimaladharmasuriya) intelligently won the battle and became the first king of the kingdom of Kandy. He built The Temple of the Sacred Tooth Relic. The monarch ended with the death of the last king, Sri Vikrama Rajasinha in 1832.[42] Colonial Sri Lanka (1815–1948)[edit] Main articles: History of British Ceylon and British Ceylon Late 19th-century German map of Ceylon. During the Napoleonic Wars, Great Britain, fearing that French control of the Netherlands might deliver Sri Lanka to the French, occupied the coastal areas of the island (which they called Ceylon) with little difficulty in 1796. In 1802, the Treaty of Amiens formally ceded the Dutch part of the island to Britain and it became a crown colony. In 1803, the British invaded the Kingdom of Kandy in the first Kandyan War, but were repulsed. In 1815 Kandy was annexed in the second Kandyan War, finally ending Sri Lankan independence. Following the suppression of the Uva Rebellion the Kandyan peasantry were stripped of their lands by the Crown Lands (Encroachments) Ordinance No. 12 of 1840 (sometimes called the Crown Lands Ordinance or the Waste Lands Ordinance),[43] a modern enclosure movement, and reduced to penury. The British found that the uplands of Sri Lanka were very suitable for coffee, tea and rubber cultivation. By the mid-19th century, Ceylon tea had become a staple of the British market bringing great wealth to a small number of European tea planters. The planters imported large numbers of Tamil workers as indentured labourers from south India to work the estates, who soon made up 10% of the island`s population.[44] The British colonial administration favoured the semi-European Burghers, certain high-caste Sinhalese and the Tamils who were mainly concentrated to the north of the country. Nevertheless, the British also introduced democratic elements to Sri Lanka for the first time in its history and the Burghers were given degree of self-government as early as 1833. It was not until 1909 that constitutional development began, with a partly elected assembly, and not until 1920 that elected members outnumbered official appointees. Universal suffrage was introduced in 1931 over the protests of the Sinhalese, Tamil and Burgher elite who objected to the common people being allowed to vote.[44] Sorting tea in Ceylon in the 1880s Independence movement[edit] Main article: Sri Lankan independence movement Ceylon National Congress (CNC) was founded to agitate for greater autonomy, although the party was soon split along ethnic and caste lines. Historian K. M. de Silva has stated that the refusal of the Ceylon Tamils to accept minority status is one of the main causes of the break up of the Ceylon National congress. The CNC did not seek independence (or `Swaraj`). What may be called the independence movement broke into two streams: the `constitutionalists`, who sought independence by gradual modification of the status of Ceylon; and the more radical groups associated with the Colombo Youth League, Labour movement of Goonasinghe, and the Jaffna Youth Congress. These organizations were the first to raise the cry of `Swaraj` (`outright independence`) following the Indian example when Jawaharlal Nehru, Sarojini Naidu and other Indian leaders visited Ceylon in 1926.[45] The efforts of the constitutionalists led to the arrival of the Donoughmore Commission reforms in 1931 and the Soulbury Commission recommendations, which essentially upheld the 1944 draft constitution of the Board of ministers headed by D. S. Senanayake.[45] The Marxist Lanka Sama Samaja Party (LSSP), which grew out of the Youth Leagues in 1935, made the demand for outright independence a cornerstone of their policy.[46] Its deputies in the State Council, N.M. Perera and Philip Gunawardena, were aided in this struggle by other less radical members like Colvin R. De Silva, Leslie Goonewardene, Vivienne Goonewardene, Edmund Samarkody and Natesa Iyer. They also demanded the replacement of English as the official language by Sinhala and Tamil. The Marxist groups were a tiny minority and yet their movement was viewed with great interest by the British administration. The ineffective attempts to rouse the public against the British Raj in revolt would have led to certain bloodshed and a delay in independence. British state papers released in the 1950s show that the Marxist movement had a very negative impact on the policy makers at the Colonial office.[44] The Soulbury Commission was the most important result of the agitation for constitutional reform in the 1930s. The Tamil organization was by then led by G. G. Ponnambalam, who had rejected the `Ceylonese identity`.[47] Ponnamblam had declared himself a `proud Dravidian` and proclaimed an independent identity for the Tamils. He attacked the Sinhalese and criticized their historical chronicle known as the Mahavamsa. The first Sinhalese-Tamil riot came in 1939.[45][48] Ponnambalam opposed universal franchise, supported the caste system, and claimed that the protection of minority rights requires that minorities (35% of the population in 1931) having an equal number of seats in parliament to that of the Sinhalese (65% of the population). This `50-50` or `balanced representation` policy became the hall mark of Tamil politics of the time. Ponnambalam also accused the British of having established colonization in `traditional Tamil areas`, and having favoured the Buddhists by the Buddhist temporalities act. The Soulbury Commission rejected the submissions by Ponnambalam and even criticized what they described as their unacceptable communal character. Sinhalese writers pointed to the large immigration of Tamils to the southern urban centres, especially after the opening of the Jaffna-Colombo railway. Meanwhile, Senanayake, Baron Jayatilleke, Oliver Gunatilleke and others lobbied the Soulbury Commission without confronting them officially. The unofficial submissions contained what was to later become the draft constitution of 1944.[45] The close collaboration of the D. S. Senanayake government with the war-time British administration led to the support of Lord Louis Mountbatten. His dispatches and a telegram to the Colonial office supporting Independence for Ceylon have been cited by historians as having helped the Senanayake government to secure the independence of Sri Lanka. The shrewd cooperation with the British as well as diverting the needs of the war market to Ceylonese markets as a supply point, managed by Oliver Goonatilleke, also led to a very favourable fiscal situation for the newly independent government.[44] The Second World War[edit] Main article: Ceylon in World War II Sri Lanka was a front-line British base against the Japanese during World War II. Sri Lankan opposition to the war led by the Marxist organizations and the leaders of the LSSP pro-independence group were arrested by the Colonial authorities. On 5 April 1942, the Indian Ocean raid saw the Japanese Navy bomb Colombo. The Japanese attack led to the flight of Indian merchants, dominant in the Colombo commercial sector, which removed a major political problem facing the Senanayake government.[45] Marxist leaders also escaped to India where they participated in the independence struggle there. The movement in Ceylon was minuscule, limited to the English-educated intelligentsia and trade unions, mainly in the urban centres. These groups were led by Robert Gunawardena, Philip`s brother. In stark contrast to this `heroic` but ineffective approach to the war, the Senanayake government took advantage to further its rapport with the commanding elite. Ceylon became crucial to the British Empire in the war, with Lord Louis Mountbatten using Colombo as his headquarters for the Eastern Theatre. Oliver Goonatilleka successfully exploited the markets for the country`s rubber and other agricultural products to replenish the treasury. Nonetheless, the Sinhalese continued to push for independence and the Sinhalese sovereignty, using the opportunities offered by the war, pushed to establish a special relationship with Britain.[44] Meanwhile, the Marxists, identifying the war as an imperialist sideshow and desiring a proletarian revolution, chose a path of agitation disproportionate to their negligible combat strength and diametrically opposed to the `constitutionalist` approach of Senanayake and other ethnic Sinhalese leaders. A small garrison on the Cocos Islands manned by Ceylonese mutinied against British rule. It has been claimed that the LSSP had some hand in the action, though this is far from clear. Three of the participants were the only British colony subjects to be shot for mutiny during World War II.[49] Two members of the Governing Party, Junius Richard Jayawardene and Dudley Senanayake, held discussions with the Japanese to collaborate in fighting the British. Sri Lankans in Singapore and Malaysia formed the `Lanka Regiment` of the anti-British Indian National Army.[44] The constitutionalists led by D. S. Senanayake succeeded in winning independence. The Soulbury constitution was essentially what Senanayake`s board of ministers had drafted in 1944. The promise of Dominion status and independence itself had been given by the Colonial Office. Independence[edit] The Sinhalese leader Don Stephen Senanayake left the CNC on the issue of independence, disagreeing with the revised aim of `the achieving of freedom`, although his real reasons were more subtle.[50] He subsequently formed the United National Party (UNP) in 1946,[51] when a new constitution was agreed on, based on the behind-the-curtain lobbying of the Soulbury commission. At the elections of 1947, the UNP won a minority of seats in parliament, but cobbled together a coalition with the Sinhala Maha Sabha party of Solomon Bandaranaike and the Tamil Congress of G.G. Ponnambalam. The successful inclusions of the Tamil-communalist leader Ponnambalam, and his Sinhalese counterpart Bandaranaike were a remarkable political balancing act by Senanayake. The vacuum in Tamil Nationalist politics, created by Ponnamblam`s transition to a moderate, opened the field for the Tamil Arasu Kachchi (`Federal party`), a Tamil sovereignty party led by S. J. V. Chelvanaykam who was the lawyer son of a Christian minister.[44] Tags: sri lanka hinduizam budizam cedomil veljačić kulture istoka

Lepo očuvano bez mana Omot kao na slici Suzy 1988 hard rock A1 I Am The One You Warned Me Of 5:03 A2 Les Invisibles 5:32 A3 In The Presence Of Another World Backing Vocals – Shocking U 6:26 A4 Del Rio`s Song 5:34 A5 The Siege And Investiture Of Baron Von Frankenstein`s Castle At Weisseria Lead Vocals [Additional Lead] – Joey Cerisano* 6:43 B1 Astronomy 6:48 B2 Magna Of Illusion 5:54 B3 Blue Oyster Cult 7:18 B4 Imaginos Lead Vocals [Additional Lead] – Jon Rogers (4) 5:46 maginos is the eleventh studio album by the American rock band Blue Öyster Cult. It was released in 1988, and was their last recording with their original record label, CBS/Columbia Records. The album took nearly eight years to complete and was originally intended to be the first in a trilogy of solo albums by Blue Öyster Cult drummer and songwriter Albert Bouchard. Bouchard was fired in August 1981, and CBS rejected the album in 1984, but a re-worked version was eventually published as a product of the band. Many guest musicians contributed to the project over this eight-year span, including Joe Satriani, Aldo Nova, and Doors guitarist Robby Krieger, but some band members were barely involved in the recording process. Thus, Imaginos is often considered more as a project of producer and lyricist Sandy Pearlman than as a true album of the band. Imaginos weaves scripts and poems by Pearlman, dating from the second half of the 1960s, into a concept album and rock opera about an alien conspiracy that is brought to fruition during the late 19th and early 20th century through the actions of Imaginos, an agent of evil. The tale combines elements of gothic literature and science fiction and is strongly inspired by the work of H. P. Lovecraft. Subtitled `a bedtime story for the children of the damned`,[2] it has an intricate storyline whose often-obscure lyrics contain many historical references, prompting speculation by fans and critics. It is often considered one of the heaviest albums released by Blue Öyster Cult, its music more akin to heavy metal than the melodic and commercial hard rock of their two previous works. The poor sales of those albums resulted in record label pressure on the band that led to their disbandment in 1986; a subsequent comeback featured only three members of the classic line-up. The album received some critical acclaim, but was not a commercial success, and Columbia Records ended their contract with Blue Öyster Cult at the completion of the Imaginos Tour. Albert Bouchard, excluded from the recording progress of Imaginos after the initial rejection from Columbia Records, then took legal action against the band and the label to protect his rights as author and producer on the album. Blue Öyster Cult continued to perform and remained a live attraction, but ten years passed before they released an album of new songs. Background[edit] Sandy Pearlman and The Soft Doctrines of Imaginos[edit] The concept and the character of Imaginos were originally created by the young Sandy Pearlman for a collection of poems and scripts called The Soft Doctrines of Imaginos (sometimes reported as Immaginos[3]), written in the mid-1960s[4] during his formative years as a student of anthropology and sociology at Stony Brook University, Brandeis University and The New School.[5] Pearlman combined cultural references learned in his studies with elements of gothic literature and science fiction, and created a secret history about the origin of the two world wars.[6] Pearlman himself declared his predilection for the American weird fiction author `H. P. Lovecraft and other writers of that ilk`,[6] as well as for books on modern warfare and conspiracies.[7] Established by 1967 as a critic for the seminal US music magazine Crawdaddy!,[8] Pearlman was also the mentor, manager and producer for the band Soft White Underbelly,[9] which, after various name changes, became Blue Öyster Cult, a term taken from the Imaginos script.[10] The adapted and amended rhymes of Pearlman, along with his friend and colleague Richard Meltzer`s arcane writings, were used as lyrics for most of the band`s early songs; musician and writer Lenny Kaye recalls in his introduction to the re-mastered edition of their first album that `the band kept a folder full of Meltzer`s and Pearlman`s word associations in their rehearsal room, and would leaf through it, setting fragments to music`.[11] Fragments of the Imaginos script are scattered out-of-context throughout the songs of the first four albums, where the original meanings are lost to listeners unaware of the larger picture.[12] The resulting mystery feeds fan fascination for the music of Blue Öyster Cult,[13] and is responsible for their reputation as `the world`s brainiest heavy metal band`.[14] Much fan speculation centers around lyrics` relationship to the Imaginos storyline,[15] while Pearlman`s deliberate reticence and misleading in revealing his sources only augments the obscurity of the matter.[7] During the band`s first period of activity, the theme of the alien conspiracy became more defined and predominant in the mind of its author,[16] to the point that notes on the cover of their 1974 album Secret Treaties referred to the secret history conceived by Pearlman,[17] while its songs `Astronomy` and `Subhuman` contained lyrics fully dedicated to the Imaginos plot.[16][18] The band sought to separate creatively from Pearlman in the late 1970s;[13][19] they avoided his lyrics and concepts and refused to record an album entirely dedicated to Imaginos,[20] but eventually returned to his material for the lyrics of `Shadow of California` (from The Revölution by Night of 1983)[21] and `When the War Comes` (from Club Ninja of 1985).[22] Pearlman and Albert Bouchard hoped to record such an album, and as far back as 1972 had begun to write songs directly inspired by the Imaginos story.[3] Nonetheless, with the exception of the extracts used for song lyrics, the text of The Soft Doctrines of Imaginos remains to this day largely unknown and unpublished. Blue Öyster Cult in 1988[edit] The commercial success of the single `(Don`t Fear) The Reaper` in 1976,[23][24][25] and a series of Platinum and Gold discs in the following years,[26] placed pressure on the band as their label, Columbia Records, expected them to repeat these successes.[27] Despite good sales of the album Fire of Unknown Origin[26] and the single `Burnin` for You`,[28] in August 1981 the conflicts and the stress accumulated in more than ten years of cohabitation led to the firing of drummer Albert Bouchard, a founding member and an important contributor to the songwriting and sound of the group, allegedly for unstable behavior.[29][30] The relationship between the former band mates remained tense in the following years. Old feuds resurfaced during a short reunion tour with the original line-up in 1985,[31] with the result that no one in the band accepted A. Bouchard back in Blue Öyster Cult.[32] However, A. Bouchard still hoped to be reinstated in the band through his work done for Imaginos.[33][34] Albert Bouchard`s departure started a rotation of personnel in the formerly stable band roster,[35] which by 1986 left only Eric Bloom and Donald `Buck Dharma` Roeser as original members. Allen Lanier left in 1985 during the recording sessions for Club Ninja, unsatisfied by the music[36] and annoyed at the presence of Tommy Zvoncheck as his replacement,[37] while Joe Bouchard quit soon after that album`s release to pursue different career opportunities, play other musical genres, and settle in his family life.[37][38] The release of two expensive studio albums in 1983 and 1985, which received generally bad critical response and sold poorly,[39] ruined the relationship with their demanding record label and left the band with little support and very few ideas on how to go on with their careers.[35] As a result, `in the summer of 1986, the band semi-officially broke up`, Bloom explained in an interview to the British music magazine Kerrang! in 1988.[35] The final line-up of 1986 included Bloom, Roeser, Tommy Zvoncheck on keyboards, Jon Rogers on bass and Jimmy Willcox on drums.[40] Pearlman`s and Steve Schenk`s managerial efforts were rewarded when Blue Öyster Cult were hired for some gigs in Greece in July 1987.[41] After a nine-month layoff, the band returned to activity and Allen Lanier re-joined.[35][42] The European shows were a success, and the reformed line-up of Bloom, Roeser, Lanier, Jon Rogers and drummer Ron Riddle[43] worked well together on stage.[35][42] Blue Öyster Cult returned to the road in 1987 and 1988 with renewed enthusiasm,[44][45] but without a new album to promote, until the release of Imaginos. Concept and storyline[edit] Imaginos was envisioned as a rock opera to be published as a trilogy of double albums, with a storyline encompassing about two hundred years of history, from the beginning of the 19th century to the end of the 20th.[35] This album represents an abbreviated version of the first volume of that planned trilogy, but with the songs arranged out of order, rendering the story harder to comprehend.[33] Even when the song lyrics are analyzed in the chronological order that was devised by the authors[46] and is followed in this section, the narrative progression is scarce and the content often difficult to decipher for the casual reader.[15] However, thanks to various comments in interviews by Pearlman and Bouchard, and the extensive sleeve notes by Pearlman that were issued with the original release, it is possible to reconstruct the story to a great extent. The star Sirius A and its companion Sirius B, the possible home of `Les Invisibles`[15] Although often referred to as a dream,[2][47] the concept behind Imaginos is what Pearlman described as `an interpretation of history – an explanation for the onset of World War I, or a revelation of the occult origins of it`,[35] which he crafted on elements of mythology, sociology, alchemy, science and occultism. This `combination of horror story and fairy tale`[4] cites historical facts and characters, and is filled with literate references to ancient civilizations in a conspiracy theory of epic proportions, the subject of which is the manipulation of the course of human history. Central to this story are Les Invisibles (The Invisible Ones), a group of seven beings worshipped by the natives of Mexico and Haiti prior to the arrival of Spanish colonists in the 16th century, identified by some fans as the Loa of the Voodoo religion.[48] The nature of Les Invisibles is left unclear, although it is hinted that they may be extraterrestrials,[35] or beings akin to the Great Old Ones in the works of H. P. Lovecraft.[48] An interpretation of the lyrics of the song `Astronomy`[49] by some fans suggests that the star Sirius is of particular astrological significance to Les Invisibles, with clues identifying it as their place of origin;[15] it is during the so-called Dog Days of August, when Sirius is in conjunction with the Sun that their influence over mankind is at its apex.[15] By subtly influencing the minds of men, the beings are said to be `playing with our history as if it`s a game`,[35] affecting events in world history over the course of centuries. For the three centuries after European discovery of the New World, this game plays out as the desire for gold is used to transform Spain into the dominant power in Europe, only to be usurped by England in the 17th century and later, through technology,[2] by other nations (`Les Invisibles`). The principal story begins in August 1804,[50] with the birth of a `modified child`[2] called Imaginos, in the American state of New Hampshire.[50] Because of the astrological significance of the place and time of his birth, the hermaphroditic[51] Imaginos is of particular interest to Les Invisibles, who begin investing him with superhuman abilities while he is young.[2] Unaware of his true destiny or nature, the young Imaginos finds out that he is apparently able to change his appearance at will[35] and to see the future (`Imaginos`).[2] As the child becomes an adult he finds himself affected by wanderlust and, billing himself as an adventurer,[2] sets out to explore Texas[50] and the western frontier, arriving in New Orleans in 1829.[2] It is there that he has a vision imploring him to travel to Mexico in search of an artifact `lost, last and luminous, scored to sky yet never found`.[52] Imaginos joins the crew of a ship traveling to the Yucatán Peninsula, but while passing through the Gulf of Mexico, the ship encounters a freak storm of which his visions failed to warn him (`Del Rio`s Song`). The ship sinks with most of its crew, and Imaginos, half dead, washes ashore and is left for dead by the other survivors. As he lies dying `on a shore where oyster beds seem plush as down`,[53] Imaginos is addressed by a symphony of voices who identify themselves as Les Invisibles. Imaginos` true nature is revealed to him, and he is informed that the circumstances of his entire life have been manipulated to bring him to that specific moment in time. Having explained themselves to him, they offer him a choice – die as a human, or live as their servant (`Blue Öyster Cult`).[35] Imaginos accepts their offer, and is resurrected from the dead by the Blue Öyster Cult, the servants of Les Invisibles.[2] He is inducted into the cult and given a new name - Desdinova, `Eternal Light`.[2] He realizes that his descent and the origin of his powers comes from the stars where his masters live and becomes aware of his role in the making of history (`Astronomy`).[35] The English mathematician John Dee (1527-1608), another pawn of evil alien forces like Imaginos Imaginos becomes from this point on an instrument of Les Invisibles` manipulation of human history. For the next sixty-three years, he insinuates himself into the world of European politics. He uses his ability to change identities to take the place of high-ranking officials, whose offices he uses to bring about Les Invisibles` will (`I Am the One You Warned Me Of`), introducing new knowledge and technology to the unsuspecting world (`The Siege and Investiture of Baron Von Frankenstein`s Castle at Weisseria`).[54] Through shapeshifting, Imaginos lives as both a man and a woman, using the name Desdinova for his female persona[55] who at some point takes the office of foreign minister.[56] The Mexican pyramid of El Tajín, similar to the construction built around the `Magna of Illusion` By 1892, Imaginos is living in a mansion in Cornwall and has a nine-year-old granddaughter.[57] Having by this time spent several decades studying mysticism and astrology,[57] Imaginos discovers that Elizabethan England`s rise as a superpower coincided with John Dee`s acquisition of a magic obsidian mirror from Mexico, which serves as a bridge between Les Invisibles` alien world and ours, and the means to spread their influence on Earth.[2] Some fans see Les Invisibles` actions in favour of England against Spain as a sort of vengeance for the extermination by the conquistadores of their worshippers in Central America, while others view their intervention as only part of the mysterious scheme carried on by the alien entities through the centuries (`In the Presence of Another World`).[15] This revelation in mind, Imaginos decides that the time has come to reattempt his aborted mission to Mexico.[57] On August 1, 1892, he sets sail aboard a `charmed ship`[57] which, despite `storms on land and storms at sea`,[57] delivers him faithfully to Mexico. After several months exploring the jungles of Yucatán he finds an undiscovered Mayan pyramid.[2] Following a long passage into the interior of the pyramid he discovers a chamber carved from solid jade,[2] in which he finds the `Magna of Illusion`, a twin of Dee`s magic mirror. Stealing away with the artifact,[2] he returns to Cornwall a year to the day of his departure, which coincides with the tenth birthday of his granddaughter.[57] Imaginos gives the mirror to the young girl as a birthday present,[2] and for the following 21 years it sits collecting dust in her attic, silently poisoning the minds of European leaders.[2] In 1914, `World War I breaks out. A disease with a long incubation` (`Magna of Illusion`).[2] The two songs excluded from the final release introduced further elements to the plot. `Gil Blanco County`, a song with music written by Allen Lanier for Soft White Underbelly in the late 1960s and recorded in the unpublished Elektra album of the Stalk-Forrest Group (now available as St. Cecilia: The Elektra Recordings),[58] has short and elusive lyrics apparently detailing the escape of Imaginos from Texas to Arizona.[59] The other song, `The Girl That Love Made Blind`, is an Albert Bouchard composition which explains that Imaginos` powers include the capacity of moving `in and through time`,[60] assuming different identities in every moment of history. Production[edit] Albert Bouchard`s solo album[edit] Albert Bouchard began writing music for Imaginos following the release of the band`s first album in 1972.[3] There were plans as early as 1975 to release a concept album dedicated to Pearlman`s scripts, but the material was not ready.[61][62] All of the songs had been written by 1977, with the participation of various band members,[35] and at least four of them (`Astronomy`, `In the Presence of Another World`, `I Am the One You Warned Me Of`, `Imaginos`) were completed and demoed during the recording sessions for the album Spectres.[62] Demos of the other tracks were recorded by Albert Bouchard and remained in various stages of development during the following years, with the band uninterested in pursuing the Imaginos project that Albert Bouchard and Sandy Pearlman had been insistently proposing.[16] After Albert Bouchard`s 1981 dismissal from Blue Öyster Cult, he and Pearlman worked on the material, having secured an advance from Columbia Records[16][35] on the strength of the demos partially sung by Eric Bloom.[16] The initial concept of a trilogy of double albums, largely based on music written during the band`s many years of activity[63] and on adapted and rewritten Pearlman lyrics linked by the Imaginos storyline,[64] is reflected in the working titles: Act I: Imaginos,[35] Act II: Germany Minus Zero and Counting[35] (also known as Bombs over Germany and Half-Life Time),[63] and Act III: The Mutant Reformation.[35] These were intended as Albert Bouchard solo albums, a spin-off of Blue Öyster Cult main discography,[35][65] although some fan opinion holds that Columbia Records had intended all along that the recordings would result in a new Blue Öyster Cult album.[3] Albert Bouchard and Pearlman set up the recording of the basic tracks for the first album of the trilogy in June 1982, with sound engineers Corky Stasiak and Paul Mandl at Kingdom Sound Studios in Long Island, New York,[66] and at The Boogie Hotel,[67] a studio owned by the boogie rock band Foghat and located in a large Victorian mansion in Port Jefferson, New York.[68] At the same time and in the same facilities, Blue Öyster Cult were recording the album The Revölution by Night with producer Bruce Fairbairn.[58] Albert Bouchard sang lead vocals and played guitar on all tracks, accompanied by: Tommy Morrongiello (Ian Hunter Band,[69] Helen Wheels[70]), guitars and arrangements, Jack Rigg (David Johansen Band[71]) and Phil Grande (Peter Criss[72] and Ellen Foley session musician[73]), guitars, Tommy Mandel (Ian Hunter Band, Bryan Adams[74]), keyboards, Kenny Aaronson, bass,[75] Thommy Price (Scandal[76]), drums.[77] The guitar solos by The Doors` Robby Krieger,[78] who had played live with Blue Öyster Cult on Extraterrestrial Live, and guitar parts by Aldo Nova and the late Kevin Carlson, guitarist of the Aldo Nova Band, should also be ascribed to these recording sessions.[77] According to Bouchard, Jeff Kawalik, Corky Stasiak, Helen Wheels, Glen Bell, Peggy Atkins and Casper McCloud were among the uncredited background vocalists which participated to these sessions.[3] They had gangs of people singing back-up vocals, and they had dozens of keyboard players too. It was a very long, involved project. Joe Bouchard[75] Allen Lanier, Joe Bouchard and Donald Roeser contributed instrumental parts and backing vocals to the tracks as guests.[35][77] These remain Lanier`s and Joe Bouchard`s only contributions to Imaginos.[13][75] Columbia Records` complaints about Albert Bouchard`s lead vocals pushed him to finance multiple recordings with try-outs of singers, including Jon Rogers and Joey Cerisano,[33] whose performances on some songs were used for the final mix of the album in 1988.[2] The new recordings, overdubs by other uncredited musicians, and mixing lasted until 1984. Musicians involved in this second phase of recording included future BÖC keyboard player Tommy Zvoncheck,[79] who had already played with Clarence Clemons, Public Image Ltd and The Dream Syndicate.[80] An almost-finished product that comprised more than ninety minutes of music and whose thirteen tracks included re-arranged versions of `Astronomy` and `Subhuman` (retitled `Blue Öyster Cult`), `Gil Blanco County`, the ballad `The Girl That Love Made Blind` and a couple of chorales,[81] was presented to Columbia Records executives in 1984. They rejected the album and decided to shelve it, officially because of Albert Bouchard`s vocals[16] and the lack of commercial perspectives.[33] The Blue Öyster Cult album[edit] Despite the firm intention of Sandy Pearlman and Albert Bouchard to salvage the project, the recordings remained unfinished and untouched for more than two years[16] due to lack of funding.[82] While struggling with the long, complex and expensive production of the Blue Öyster Cult`s album Club Ninja, Pearlman associated himself with Daniel J. Levitin, A&R director of the local punk label 415 Records,[83] with whom he shared academic interests in neuroscience.[84] In 1986, Pearlman leased Studio C of San Francisco`s Hyde Street Recording Studios, and dubbed it Alpha & Omega Studios.[85] Pearlman and Levitin produced various bands there, and Pearlman sub-leased the studio to other producers.[85] In September 1986, when the poor sales of Club Ninja resulted in a commercial failure[86] and the group disbanded, the lack of new material from the band for the foreseeable future prompted Pearlman to propose Imaginos to Columbia Records as a new Blue Öyster Cult album.[33] He obtained a small budget from the record label to remix the album and to add the vocals of Roeser and Bloom, singers of all the hits produced by Blue Öyster Cult.[16] With Imaginos again a work in progress at the end of 1986,[33] band manager Steve Schenk contacted Albert Bouchard to get the original recordings he still owned.[33] Pearlman, with the help of engineers Paul Mandl and Steve Brown,[2] spent his time cleaning up, re-arranging and remixing the original recordings, using state-of-the-art technology[85] and the collaborations of studio musicians. Virtuoso guitarist Joe Satriani financed the recording of his second album, Surfing with the Alien, through his work on Imaginos.[81][87] Similarly, thrash metal guitarist Marc Biedermann, whose band Blind Illusion was recording at Hyde Street Studios, mixed the album The Sane Asylum at Pearlman`s studio in exchange for his collaboration.[88][89] Biedermann declared in a 2008 interview that he `played more lead guitar on that album than Buck Dharma`.[89] Roeser went to California in early 1987 to record his lead vocals and some guitar parts,[35] while Tommy Zvoncheck, still a member of Blue Öyster Cult, re-recorded most of the keyboards on the album.[77] The last parts recorded were the lead vocals by Eric Bloom,[90] who was in the studio in early 1988.[91] Donald Roeser later summed up his and Bloom`s late involvement in the making of the album by saying `Imaginos was our parting of the ways. That was something that Eric and I agreed to do, sort of, out of respect for Sandy and his effort that he made with Imaginos`.[92] The as-imagined album and the as-released album bear little relation to each other. The final version of Imaginos is almost forty minutes shorter than the first version of 1984 and has two fewer songs, but as Pearlman explained, `we ran out of money and couldn`t do the whole thing`.[35] The rhythm section of the original recording was kept mostly intact,[20] but many guitars and most of the keyboards and lead vocals were re-recorded or remixed. The song order was scrambled out of the fixed chronology, possibly because of the label executives` intervention to have a more commercially attractive product.[3][46] The sleeve notes` definition of the album as a `random access myth (where) everything happens all at once`,[2] appears to many as a posthumous justification for the mixed-up song order.[46] Imaginos does not contain ballads or an immediately recognizable commercial single,[33] and its music is often considered the heaviest produced by Blue Öyster Cult, the best attempt by the band to produce a heavy metal album.[93][94] Critics and fans point to elements of progressive rock also present in the music, which create a dark and `ominous`[33] atmosphere that fits the obscure content of the song lyrics.[95][96][97] Packaging[edit] The original photo of the Cliff House used for the album cover Artist Greg Scott, who had supplied the cover art for the Blue Öyster Cult albums Fire of Unknown Origin, Extraterrestrial Live and The Revolution by Night, worked with Sandy Pearlman for several months in 1984 to prepare paintings inspired by the Imaginos saga for the gatefold cover of the expected double album.[98] `And none of that was ever seen, because it was shelved`, Scott remarked in an interview with Canadian journalist Martin Popoff.[98] The art direction for the 1988 release was instead put in the hands of CBS Records` art director Arnold Levine and his staff.[99] They based the cover art on a fin de siècle image of the Cliff House, a restaurant perched on the cliffs just north of Ocean Beach on the western side of San Francisco, California, built with the architectural style of a Victorian château and destroyed by fire in 1907.[100] The back cover is a maritime landscape, modified to appear as the continuation of the picture on the front and similarly tinted in sinister black and grey colors. The inner sleeve, besides the credits and Sandy Pearlman`s lengthy notes on the Imaginos story, sports a large black and white photo by landscape British photographer Simon Marsden of Duntrune Castle in Argyllshire, Scotland.[101] The credits printed on the sleeve of the first release were largely incomplete and made no distinction between the recording sessions of 1982-84 and those of 1987-88, apparently validating the false assumption that the original line-up of Blue Öyster Cult had reunited for the making of the album.[102] Aside from the list of band members, the credits reported only some session musicians and other members of the so-called Guitar Orchestra of the State of Imaginos,[2] and omitted other personnel who had contributed to Imaginos. Release[edit] Imaginos was mastered at Precision Lacquer in Los Angeles by Stephen Marcussen[2] and finally released as LP and CD on July 1988, almost eight years after the work on it had begun and twenty-three years after the concept of Imaginos was created. A limited edition of the album was also released in blue vinyl.[103] Astronomy (1988) 0:31 `Astronomy` was the first single extracted from Imaginos and was sung by Buck Dharma, instead of Eric Bloom who performed in the original version of 1974 Problems playing this file? See media help. The first single extracted from the album was an edited version of `Astronomy`, which was released as a 7`,[104] as a 12` and as a CD single.[105] American author Stephen King recorded the spoken introduction to the radio edit of the song, a reading of the lines written on the back cover of the LP.[106] The 12` contains various mixes of `Astronomy`, including one sung by Albert Bouchard.[106] The single received sufficient radio airplay to reach No. 12 in the Billboard Hot Mainstream Rock Tracks chart in September 1988, but it did not enter the US singles chart.[107] The CD single `In the Presence of Another World` was issued later only for promotional purposes,[105] but received no attention from FM radio stations. The album was largely neglected by the record label, which did little to no promotion in the US.[108] Pearlman stated that `there was actually no intention on the part of Columbia Records at all to promote it. (...) Basically the people wanted to work it and they were told not to work it`.[20] Roeser commented later that he did not `think Sony’s ever really known how to sell us, from the beginning (...) and Columbia never felt that they knew how to market us`.[109] Imaginos fared better with CBS International, which distributed the album abroad and produced a music video for `Astronomy` in the UK, which aired in coincidence with the European tour dates of 1989.[110] The video clip does not feature members of the band, but begins with the spoken introduction by Stephen King and focuses on the storyline narrated in the album.[111] Albert Bouchard had been completely excluded from the retooling of the album for contractual reasons,[33] but hoped to have his long work rewarded with a credit as co-producer, and to be paid accordingly.[33] After the disbandment of Blue Öyster Cult, he contacted the other band members in an attempt to organize a 1987 reunion tour, with the original line-up, to promote Imaginos.[33] His economic and membership requests were both rejected, due to resistances within the label and within the band,[77] so he filed a lawsuit in 1989 against the management of Blue Öyster Cult and Columbia Records to receive payment for his work.[33] The lawsuit was settled out of court,[82] but his resentment towards Sandy Pearlman for what he felt was a theft of his work never eased,[33][82] eliminating any chance of future collaborations for the completion of the Imaginos saga.[63] One of the final mixes of 1984, titled Albert Bouchard`s Imaginos, surfaced on the Internet in 2003 as a free download. The album contains music recorded during the sessions from 1982 to 1984 and permits a comparison of arrangements, vocals and sound with the version published in 1988.[81][112] Imaginos was re-issued only once, through Sony BMG sub-label American Beat Records in December 2007.[113] The 2007 reissue was remastered to adjust the volume levels and included a CD sleeve with corrected, but not complete, credits.[114] A new remastered version of Imaginos is included in The Columbia Albums Collection boxed set, issued by Sony/Legacy in November 2012.[115] Tour[edit] Blue Öyster Cult interrupted their schedule of US shows only just before the album release in June 1988,[45] to familiarize the band members with the new material. The 1987 formation with Bloom, Roeser, Lanier, Rogers and Riddle remained the closest available to a full reunion, given Joe Bouchard`s unwillingness to participate and the opposition to Albert Bouchard.[77] The Imaginos Tour began in the East Coast of the US in July, and continued on to most of the States.[45] The set lists were based mainly on old material and included only two or three songs from Imaginos, usually `I Am the One You Warned Me Of`, `In the Presence of Another World` and the new version of `Astronomy`.[116] Blue Öyster Cult visited Canada in January 1989, France in February, the United Kingdom in March, and concluded their European tour in Germany in April.[117] During the following US tour, the new management of Columbia Records, which had been sold to Sony Music in 1988,[118] terminated Columbia`s almost 20-year relationship with Blue Öyster Cult because of their low sales.[119] This left them without a recording contract for the next ten years. Eric Bloom stated that `in general, CBS was straight with us, when we had fans working inside the company`, but after `3-4 different Presidents of the company came and went` the commercial appeal of Blue Öyster Cult had disappeared for the new management.[120] A review of their performance at The Ritz in New York on January 6, 1989, highlights the good shape and musicianship of the band, but remarks that the new songs were played with considerably less enthusiasm than the rest of the show.[121] Although the band continued to tour regularly, the songs from Imaginos had already disappeared from their shows by the end of 1989, never to be performed live again.[122] Critical and commercial reception[edit] Professional ratings Review scores Source Rating AllMusic [93] Collector`s Guide to Heavy Metal 6/10[123] Rolling Stone [124] Storia della Musica [90] Imaginos received mixed reviews both from professional critics and fans. David Fricke, in his review for the magazine Rolling Stone, considers Imaginos `the best black-plastic blitz to bear the Cult`s trademark cross and claw since 1974`s Secret Treaties`, but remarks that the `lengthy gestation` of the album and the many musicians involved makes it `a bit of a cheat for Cult Purists`, and that is `only an illusionary re-creation of the way BÖC used to be`.[124] William Ruhlmann of AllMusic wrote that Imaginos is `the album that comes closest to defining Blue Öyster Cult` and their `creative swan song`, and `perhaps BÖC`s most consistent album, certainly its most uncompromising (...) and also the closest thing to a real heavy-metal statement from a band that never quite fit that description`.[93] For Don Kaye of Kerrang!, the album is `the best BÖC slab since (...) Cultösaurus Erectus and harks back in style and attitude towards the brilliance of masterpieces like Secret Treaties and Spectres`.[35] A contrary evaluation comes from Blue Öyster Cult biographer Martin Popoff, who has `come to dismiss it as somewhat of a sell-out`. Despite it being `the band`s heaviest, fulfilling many a fan’s wish for sustained metal`, Popoff finds `the whole thing perched on the edge of parody, too dressy and fantastical lyrically in a painfully self-conscious way, (...) a laborious exercise in expected weird`, ultimately `a baffling yet anticlimactic punctuation to the band’s perplexed career`.[123] A reviewer from the Italian music criticism site Storia della Musica points out that the album is now a `cult` item for its rarity, its content and the scarce love shown by the band for this work. He writes that `it could have been the Tommy or The Dark Side of the Moon of BÖC` but, `despite the profound influences it evokes`, its `mutilated and sabotaged form` and the disinterest of the musicians involved makes Imaginos only a wasted opportunity.[90] The reviews posted by Blue Öyster Cult`s fans and by buyers of the album on the customer review site Epinions[125] and on the online collaborative metadata database Rate Your Music[126] are in general quite positive, praising Imaginos as a `creative masterpiece`,[127] but underlining that the work is not a group effort but `the brain-child of original drummer Albert Bouchard and longtime producer and lyricist Sandy Pearlman`.[128] A professional Italian reviewer describes the Blue Öyster Cult name on the cover as `only a commercial decoy` for an Albert Bouchard solo album.[129] The album entered the Billboard 200 album chart on August 19, 1988, peaked at No. 122, and exited the charts on October 8.[130] It sold about 50,000 copies in the US,[108] and was a commercial failure for Columbia Records[92] and a financial failure for the band, which was forced through legal action to pay back the money used for both the recording of Albert Bouchard`s solo album and for the re-recording of Imaginos.[92] It was their last album to enter the Billboard charts until The Symbol Remains in 2020.[130] Influence[edit] The manga Battle Angel Alita by Yukito Kishiro contains references to Imaginos.[131] Particularly the name of the principal villain - Desty Nova - and the cyber-body of Alita, called imaginos.[132] In 2021, Canadian rock critic Martin Popoff released a book on the Imaginos mythos entitled Flaming Telepaths: Imaginos Expanded and Specified. Albert Bouchard`s new version[edit] In the spring of 2020, an announcement was made on www.goldminemag.com that Albert Bouchard would be releasing Re Imaginos, his own reinvention of the concept of Imaginos, in the fall of 2020.[133] Bouchard eventually released 3 albums based on the concept: Re Imaginos (2020), Imaginos II - Bombs over Germany (2021), and Imaginos III - Mutant Reformation (2023).[134] Track listing[edit] Side one No. Title Writer(s) Lead vocals Length 1. `I Am the One You Warned Me Of` Albert Bouchard, Donald Roeser, Sandy Pearlman Eric Bloom, Jon Rogers 5:04 2. `Les Invisibles` A. Bouchard, Pearlman Roeser 5:33 3. `In the Presence of Another World` Joe Bouchard, Pearlman Bloom 6:26 4. `Del Rio`s Song` A. Bouchard, Pearlman Bloom 5:31 5. `The Siege and Investiture of Baron von Frankenstein`s Castle at Weisseria` A. Bouchard, Pearlman Joey Cerisano 6:43 Side two No. Title Writer(s) Lead vocals Length 1. `Astronomy` A. Bouchard, J. Bouchard, Pearlman Roeser 6:47 2. `Magna of Illusion` A. Bouchard, Roeser, Pearlman Roeser 5:53 3. `Blue Öyster Cult` Bloom, Pearlman A. Bouchard, Roeser 7:18 4. `Imaginos` A. Bouchard, Pearlman Rogers 5:46 Total length: 55:01 Personnel[edit] Band members Eric Bloom – vocals Albert Bouchard – guitar, percussion, vocals, associate producer Joe Bouchard – keyboards, backing vocals Allen Lanier – keyboards Donald `Buck Dharma` Roeser – guitars, vocals Session musicians Phil Grande – guitars Tommy Zvoncheck – keyboards Kenny Aaronson – bass Thommy Price – drums Joey Cerisano – vocals Jon Rogers – vocals Jack Secret (aka Tony Geranios)[135] – backing vocals Shocking U – backing vocals on track 3 Daniel Levitin – guitar sounds (uncredited)[136][137] Guitar Orchestra of the State of Imaginos Marc Biedermann (lead guitar on tracks 1 and 3)[89] Kevin Carlson Robby Krieger (lead guitar on tracks 7 and 8) Tommy Morrongiello Aldo Nova Jack Rigg Joe Satriani (lead guitar on track 5) Technical personnel Sandy Pearlman – producer, engineer, mixing Corky Stasiak – basic tracks engineer Paul Mandl – engineer Steve Brown – mixing

ITSI - Intenational theatre students information, broj 3, 1991 Theme: Performance art Temat casopisa posvecen umetnosti performansa. 47 strana. Robert Wilson, Joseph Beuys, avangarda, Stelarc, performans, konceptuala, konceptualna umetnost... Robert Wilson (born October 4, 1941) is an American experimental theater stage director and playwright who has been described by The New York Times as `[America]`s – or even the world`s – foremost vanguard `theater artist.``[1] He has also worked as a choreographer, performer, painter, sculptor, video artist, and sound and lighting designer. Wilson is best known for his collaboration with Philip Glass and Lucinda Childs on Einstein on the Beach, and his frequent collaborations with Tom Waits. In 1991, Wilson established The Watermill Center, `a laboratory for performance` on the East End of Long Island, New York, regularly working with opera and theater companies, as well as cultural festivals. Wilson `has developed as an avant-garde artist specifically in Europe amongst its modern quests, in its most significant cultural centers, galleries, museums, opera houses and theaters, and festivals`.[2] Early life and education Wilson was born in Waco, Texas, the son of Loree Velma (née Hamilton) and D.M. Wilson, a lawyer.[3] He had a difficult youth as the gay son of a conservative family.[4] `When I was growing up, it was a sin to go to the theater. It was a sin if a woman wore pants. There was a prayer box in school, and if you saw someone sinning you could put their name in the prayer box, and on Fridays everyone would pray for those people whose names were in the prayer box.`[5] He was stuttering and taken to a local dance instructor called Bird `Baby` Hoffman, who helped him overcome his stutter.[6] After attending local schools, he studied business administration at the University of Texas from 1959 to 1962. He moved to Brooklyn, New York in 1963 to change fields, study art and architecture. At some point he went to Arizona to study architecture with Paolo Soleri at his desert complex.[7] Wilson found himself drawn to the work of pioneering choreographers George Balanchine, Merce Cunningham, and Martha Graham, among others.[8] He engaged in therapeutic theater work with brain-injured and disabled children in New York. He received a BFA in architecture from the Pratt Institute in 1965.[9] He directed a `ballet for iron-lung patients where the participants moved a fluorescent streamer with their mouths while the janitor danced dressed as Miss America`.[6] During this period, he also attended lectures by Sibyl Moholy-Nagy (widow of László Moholy-Nagy), and studied painting with artist George McNeil.[citation needed] Career Theater Act IV, Scene 3C `Space Machine` from Einstein on the Beach in Amsterdam, 2013 In 1968, he founded an experimental performance company, the Byrd Hoffman School of Byrds (named for a teacher who helped him manage a stutter while a teenager). With this company, he directed his first major works, beginning with 1969`s The King of Spain and The Life and Times of Sigmund Freud. He began to work in opera in the early 1970s, creating Einstein on the Beach with composer Philip Glass and choreographer Lucinda Childs. This work brought the artists worldwide renown. Following Einstein, Wilson worked increasingly with major European theaters and opera houses.[10] For the New York debut of his first opera, the Metropolitan Opera allowed Wilson to rent the house on a Sunday, when they did not have a production, but would not produce the work.[11] In 1970, Wilson and a group of collaborators, including choreographer Andy deGroat and the dancer and actor Sheryl Sutton,[12] devised the `silent opera` Deafman Glance in Iowa City, where it premiered at the Center for New Performing Arts on December 15. The large cast of the premiere production of Deafman Glance included Raymond Andrews and Ana Mendieta. The show subsequently traveled to the Nancy Festival in France and to the Brooklyn Academy of Music. It later opened in Paris, championed by the designer Pierre Cardin.[11] The Surrealist poet Louis Aragon loved it and published a letter to the Surrealist poet André Breton (who had died in 1966),[11] in which he praised Wilson as: `What we, from whom Surrealism was born, dreamed would come after us and go beyond us`.[13] In 1975, Wilson dissolved the Byrds and started to use professional actors.[6] In 1983/84, Wilson planned a performance for the 1984 Summer Olympics, the CIVIL warS: A Tree Is Best Measured When It Is Down; the complete work was to have been 12 hours long, in 6 parts. The production was only partially completed; the full event was canceled by the Olympic Arts Festival, due to insufficient funds.[14] In 1986, the Pulitzer Prize jury unanimously selected the CIVIL warS for the drama prize, but the supervisory board rejected the choice and gave no drama award that year.[15] In 1990 alone, Wilson created four new productions in four different West German cities: Shakespeare`s King Lear in Frankfurt, Chekhov`s Swan Song in Munich, an adaptation of Virginia Woolf`s Orlando in West Berlin, and The Black Rider a collaboration by Wilson, Tom Waits and William S. Burroughs, in Hamburg.[14] In 1997, he was awarded the Europe Theatre Prize.[16] In 1998, Wilson staged August Strindberg`s A Dream Play, at Stockholms Stadsteater, Sweden. It later headlined festivals in Recklinghausen, Nice, Perth, Bonn, Moscow, New York and London.[17][18] In 2010 Wilson was working on a new stage musical with composer (and long-time collaborator) Tom Waits and the Irish playwright, Martin McDonagh.[19] His theatrical production of John Cage`s Lecture on Nothing, which was commissioned for a celebration of the Cage centenary at the 2012 Ruhrtriennale,[20] had its U.S. premiere in Royce Hall, UCLA, by the Center for the Art of Performance.[21] Wilson performed Lectures on Nothing in its Australian premiere at the 2019 Supersense festival at the Arts Centre Melbourne.[22] In 2013 Wilson, in collaboration with Mikhail Baryshnikov and co-starring Willem Dafoe, developed The Old Woman, an adaptation of the work by the Russian author Daniil Kharms. The play premiered at MIF13, Manchester International Festival.[23] Wilson wrote that he and Baryshnikov had discussed creating a play together for years, perhaps based on a Russian text.[24] The final production included dance, light, singing and bilingual monolog. Since 1999, Wilson has premiered nine theatrical works in Berlin. By contrast, as of 2013, his last commission in the United States was 21 years ago.[25] As of 2010, he continued to direct revivals of his most celebrated productions, including The Black Rider in London, San Francisco, Sydney, Australia, and Los Angeles; The Temptation of St. Anthony in New York and Barcelona; Erwartung in Berlin; Madama Butterfly at the Bolshoi Opera in Moscow; and Wagner`s Der Ring des Nibelungen at Théâtre du Châtelet in Paris.[10] Wilson also directs all Monteverdi operas for the opera houses of La Scala in Milan and the Palais Garnier in Paris.[26] In 2021 Wilson directed a revival of Shakespeare`s The Tempest at the Ivan Vazov National Theatre in Sofia, Bulgaria.[27] In 2022 he directed UBU, a theatrical performance, premiered at Es Baluard Museu in Palma.[28] Visual art and design In addition to his work for the stage, Wilson has created sculpture, drawings, and furniture designs. Exhibited in December 1976 at the Paula Cooper Gallery, Wilson`s storyboards were described by one critic as `serial art, equivalent to the slow-motion tempo of [Wilson`s] theatrical style. In drawing after drawing after drawing, a detail is proposed, analyzed, refined, redefined, moved through various positions.`[29] He won the Golden Lion at the 1993 Venice Biennale for a sculptural installation. [citation needed] In 2004, Ali Hossaini offered Wilson a residency at the television channel LAB HD.[30] Since then Wilson, with producer Esther Gordon and later with Matthew Shattuck, has produced dozens of high-definition videos known as the Voom Portraits. Collaborators on this well-received project included the composer Michael Galasso, the late artist and designer Eugene Tsai, fashion designer Kevin Santos, and lighting designer Urs Schönebaum. In addition to celebrity subjects, sitters have included royalty, animals, Nobel Prize winners and hobos.[31] In 2011, Wilson designed an art park dedicated to the Finnish designer Tapio Wirkkala (1915–1985), situated in the Arabianranta district of Helsinki. His plans for the rectangular park feature a central square divided into nine equally sized fields separated by bushes. Each field will be installed with objects related to the home. For example, one unit will consist of a small fireplace surrounded by stones that serve as seating. The park will be lit by large, lightbox-style lamps build into the ground and by smaller ones modeled on ordinary floor lamps.[32] In 2013 American pop singer Lady Gaga announced that she would collaborate with Wilson as part of her ARTPOP project. He subsequently designed the set for her 2013 MTV Video Music Awards performance.[33] Wilson also suggested that Gaga pose for his Voom Portraits.[33] Knowing he had an upcoming residency as guest curator at the Louvre, Wilson chose themes from the museum`s collection, all dealing with death. They shot the videos in a London studio over three days, Gaga standing for 14 or 15 hours at a time.[33] Called `Living Rooms,` the resulting exhibition included two video works: one inspired by Jacques-Louis David`s The Death of Marat, hung in the painting galleries, and another in which Lady Gaga brings to life a painting by Ingres.[11] In the Louvre`s auditorium, Wilson hosted and took part in a series of performances, conversations, film screenings, and discussions.[34] The centerpiece of the residency is a room filled with objects from the artist`s personal collection in New York, including African masks, a Shaker chair, ancient Chinese ceramics, shoes worn by Marlene Dietrich and a photo of Wilson and Glass taken in the early 1980s by Robert Mapplethorpe.[11] Personal life Wilson in 2014 Wilson lives in New York. As of 2000, he estimated that he `spends 10 days a year at his apartment in New York`.[35] For many years he was romantically involved with Andy de Groat, a dancer and choreographer with whom he collaborated in the 1970s.[36] Style Wilson is known for pushing the boundaries of theater. His works are noted for their austere style, very slow movement, and often extreme scale in space or in time. The Life and Times of Joseph Stalin was a 12-hour performance, while KA MOUNTain and GUARDenia Terrace was staged on a mountaintop in Iran and lasted seven days.[citation needed] Language Language is one of the most important elements of theater and Robert Wilson feels at home with commanding it in many different ways. Wilson`s impact on this part of theater alone is immense. Arthur Holmberg, professor of theater at Brandeis University, says that `In theatre, no one has dramatized the crisis of language with as much ferocious genius as Robert Wilson.`[37]: 41  Wilson makes it evident in his work that whats and whys of language are terribly important and cannot be overlooked. Tom Waits, acclaimed songwriter and collaborator with Wilson, said this about Wilson`s unique relationship with words: Words for Bob are like tacks on the kitchen floor in the dark of night and you`re barefoot. So Bob clears a path he can walk through words without getting hurt. Bob changes the values and shapes of words. In some sense they take on more meaning; in some cases, less.[37]: 43  Wilson shows the importance of language through all of his works and in many varying fashions. He credits his reading of the work of Gertrude Stein and listening to recordings of her speaking with `changing [his] way of thinking forever.`[38] Wilson directed three of Stein`s works in the 1990s: Doctor Faustus Lights the Lights (1992), Four Saints in Three Acts (1996), and Saints and Singing (1998). Wilson considers language and, down to its very ingredients, words, as a sort of `a social artifact`.[37]: 44  Not only does language change with time but it changes with person, with culture. Using his experience of working with mentally handicapped children and enlisting the collaboration of Christopher Knowles, a renowned autistic poet, has allowed Wilson to attack language from many views. Wilson embraces this by often `juxtaposing levels of diction – Miltonic opulence and contemporary ling, crib poetry and pre-verbal screams` in an attempt to show his audience how elusive language really is and how ever-changing it can be.[37]: 44  Visually showing words is another method Wilson uses to show the beauty of language. Often his set designs, program covers, and posters are graffiti`d with words. This allows the audience to look at the `language itself` rather than `the objects and meanings it refers to.`.[37]: 45  The lack of language is essential to Wilson`s work as well. In the same way an artist uses positive and negative space, Wilson uses noise and silence. In working on a production of King Lear, Wilson inadvertently describes his necessity of silence: The way actors are trained here is wrong. All they think about is interpreting a text. They worry about how to speak words and know nothing about their bodies. You see that by the way they walk. They don`t understand the weight of a gesture in space. A good actor can command an audience by moving one finger.[37]: 49  This emphasis on silence is fully explored in some of his works. Deafman Glance is a play without words, and his adaptation of Heiner Müller`s play Quartet [de] contained a fifteen-minute wordless prolog. Holmberg describes these works stating, Language does many things and does them well. But we tend to shut our eyes to what language does not do well. Despite the arrogance of words – they rule traditional theatre with an iron fist – not all experience can be translated into a linguistic code.[37]: 50  Celebrated twentieth century playwright Eugène Ionesco said that Wilson `surpassed Beckett` because `[Wilson`s] silence is a silence that speaks`.[37]: 52  This silence onstage may be unnerving to audience members but serves a purpose of showing how important language is by its absence. It is Wilson`s means of answering his own question: `Why is it no one looks? Why is it no one knows how to look? Why does no one see anything on stage?`[37]: 52  Another technique Wilson uses is that of what words can mean to a particular character. His piece, I was sitting on my patio this guy appeared I thought I was hallucinating, features only two characters, both of whom deliver the same stream-of-consciousness monolog. In the play`s first production one character was `aloof, cold, [and] precise` while the other `brought screwball comedy … warmth and color … playful[ness]`.[37]: 61  The different emphases and deliveries brought to the monolog two different meanings; `audiences found it hard to believe they heard the same monologue twice.`[37]: 61  Rather than tell his audience what words are supposed to mean, he opens them up for interpretation, presenting the idea that `meanings are not tethered to words like horses to hitching posts.`[37]: 61  Movement Movement is a key element in Wilson`s work. As a dancer, he sees the importance of the way an actor moves onstage and knows the weight that movement bears. When speaking of his `play without words` rendition of Ibsen`s When We Dead Awaken, Wilson says: I do movement before we work on the text. Later we`ll put text and movement together. I do movement first to make sure it`s strong enough to stand on its own two feet without words. The movement must have a rhythm and structure of its own. It must not follow the text. It can reinforce a text without illustrating it. What you hear and what you see are two different layers. When you put them together, you create another texture.[37]: 136  With such an emphasis on movement, Wilson even tailors his auditions around the necessity of it. In his auditions, `Wilson often does an elaborate movement sequence` and `asks the actor to repeat it.`[37]: 136  Thomas Derrah, an actor in the CIVIL warS, found the audition process to be baffling: `When I went in, [Wilson] asked me to walk across the room on a count of 31, sit down on a count of 7, put my hand to my forehead on a count of 59. I was mystified by the whole process`.[37]: 137  To further cement the importance of movement in Wilson`s works, Seth Goldstein, another actor in the CIVIL warS, stated `every movement from the moment I walked onto the platform until I left was choreographed to the second. During the scene at table all I did was count movements. All I thought about was timing.`[37]: 137  When it comes time to add the text in with movement, there is still much work to be done. Wilson pays close attention to the text and still makes sure there is enough `space around a text` for the audience to soak it up.[37]: 139  At this point, the actors know their movements and the time in which they are executed, allowing Wilson to tack the actions onto specific pieces of text. His overall goal is to have the rhythm of the text differ from that of the movement so his audience can see them as two completely different pieces, seeing each as what it is. When in the text/movement stage, Wilson often interrupts the rehearsal, saying things like `Something is wrong. We have to check your scripts to see if you put the numbers in the right place.`[37]: 139  He goes on to explain the importance of this: I know it`s hell to separate text and movement and maintain two different rhythms. It takes time to train yourself to keep tongue and body working against each other. But things happen with the body that have nothing to do with what we say. It`s more interesting if the mind and the body are in two different places, occupying different zones of reality.[37]: 139  These rhythms keep the mind on its toes, consciously and subconsciously taking in the meanings behind the movement and how it is matching up with the language. Similar to Wilson`s use of the lack of language in his works, he also sees the importance that a lack of movement can have. In his production of Medea, Wilson arranged a scene in which the lead singer stood still during her entire aria while many others moved around her. Wilson recalls that `she complained that if I didn`t give her any movements, no one would notice her. I told her if she knew how to stand, everyone would watch her. I told her to stand like a marble statue of a goddess who had been standing in the same spot for a thousand years`.[37]: 147  Allowing an actor to have such stage presence without ever saying a word is very provocative, which is precisely what Wilson means to accomplish with any sense of movement he puts on the stage. Lighting Wilson believes that `the most important part of theatre` is light.[37]: 121  He is concerned with how images are defined onstage, and this is related to the light of an object or tableau. He feels that the lighting design can really bring the production to life. The set designer for Wilson`s the CIVIL warS, Tom Kamm, describes his philosophy: `a set for Wilson is a canvas for the light to hit like paint.`[37]: 121  He explains, `If you know how to light, you can make shit look like gold. I paint, I build, I compose with light. Light is a magic wand.`[37]: 121  Wilson is `the only major director to get billing as a lighting designer` and is recognized by some as `the greatest light artist of our time`.[37]: 122  He designs with light to be flowing rather than an off-and-on pattern, thus making his lighting `like a musical score.`[37]: 123  Wilson`s lighting designs feature `dense, palpable textures` and allow `people and objects to leap out from the background.[37]: 123  In his design for Quartett, Wilson used four hundred light cues in a span of only ninety minutes.[37]: 122  He is a perfectionist, persisting to achieve every aspect of his vision. A fifteen-minute monolog in Quartett took two days for him to light while a single hand gesture took nearly three hours.[37]: 126  This attention to detail expresses his conviction that, `light is the most important actor on stage.`[37]: 128  In a conversation with theater expert Octavian Saiu, Wilson was asked whether he is disturbed by the fact that his style is often imitated. His response was that `the world is a library`, and therefore every artist is free to borrow from other artists.[39] Props Wilson`s interest in design extends to the props in his productions, which he designs and sometimes participates in constructing. Whether it is furniture, a light bulb, or a giant crocodile, Wilson treats each as a work of art in its own right. He demands that a full-scale model of each prop be constructed before the final one is made, in order `to check proportion, balance, and visual relationships` on stage.[37]: 128  Once he has approved the model, the crew builds the prop, and Wilson is `renowned for sending them back again and again and again until they satisfy him`.[37]: 128  He is so strict in his attention to detail that when Jeff Muscovin, his technical director for Quartett, suggested they use an aluminum chair with a wood skin rather than a completely wooden chair, Wilson replied: No, Jeff, I want wood chairs. If we make them out of aluminum, they won`t sound right when they fall over and hit the floor. They`ll sound like metal, not wood. It will sound false. Just make sure you get strong wood. And no knots.[37]: 129  Such attention to detail and perfectionism usually resulted in an expensive collection of props. `Curators regard them as sculptures`[37]: 129  and the props have been sold for prices ranging from `$4,500 to $80,000.`[40]: 113  Exhibitions Extensive retrospectives have been presented at the Centre Georges Pompidou in Paris (1991) and the Boston Museum of Fine Arts (1991). He has presented installations at the Stedelijk Museum Amsterdam, Museum Boymans-van Beuningen, Rotterdam (1993), London`s Clink Street Vaults (1995), Neue Nationalgalerie (2003), and the Solomon R. Guggenheim Museum in New York and the Guggenheim Museum Bilbao.[41] His tribute to Isamu Noguchi was exhibited at the Seattle Art Museum and his Voom Portraits exhibition traveled to Hamburg, Milan, Miami, and Philadelphia.[10] In 2012, Times Square Arts invited Wilson to show selections from his three-minute video portraits on more than twenty digital screens that lined Times Square.[41][42] In 2013 he participated at the White House Biennial / Thessaloniki Biennale 4. He collaborated with artist Bettina WitteVeen on an exhibition space based on her photography book `Sacred Sister.` The book consisted of photos of women that WitteVeen captured in Indonesia and Southeast Asia in 1995. The exhibition space was set up in 2003 at Art Basel Miami Beach, and was also composed of layers of autumn leaves on the floor of a studio.[43] Wilson is represented exclusively and worldwide by RW Work, Ltd. (New York), and his gallerist in New York City is Paula Cooper Gallery. The Watermill Center In 1991 Wilson established The Watermill Center on the site of a former Western Union laboratory on the East End of Long Island, New York. Originally styled as `a laboratory for performance`, The Watermill Center operates year-round artist residencies, public education programs, exhibitions, and performances. The center is situated within a ten-acre (4.0 ha) campus of gardens and designed landscape, and contains numerous works of art collected by Wilson.[35] Europe Theatre Prize In 1997 he was awarded the V Europe Theatre Prize, in Taormina, with the following motivation: The Jury of the fifth Europe Theatre Prize has unanimously awarded the Prize to Robert Wilson in recognition of his thirty years` work aimed at creating a personal reinvention of scenic art that has overturned the temporal dimension and retraced the spatial one. He refused to render a mere production of reality and offered an abstract or informal vision of the text and also redefined the roles, whenever possible, through global intervention in the creation of his performances where he was author, director, performer, scenographer and magic light designer. Architect by profession, the artist pursued an indisciplinary language that did not ignore the visual arts in enhancing the importance of the image and, restoring the support of music, he approached dance and simultaneously attempted to find a pure harmonious value in the spoken word, in an ideal tension towards a form of total theater. It has been said that his works can be considered part of a single opus in continual evolution that constitutes the synthesis. During his career Wilson has confronted himself with different genres and drawn them closer thanks to the conformity of language. He has executed classical works and specially written works and for this reasons he has stimulated the interest of eminent writers, such as William Burroughs and Heiner Müller establishing a particular bond with him. He has dedicated himself to teaching non theatrical literary works often adapted into monologs interpreted by eminent actors, such as Madeleine Renaud and Marianne Hoppe. He has ventured into the production of opera and ballet, he has created musicals sui generis in collaboration with illustrious emerging personalities, he has promoted performances especially with Christopher Knowles, he has directed spectacular fashion parades. His prolific activity as designer and visual artist can be seen in his paintings, sculptures, installations, graphic works, exhibitions. He was awarded the major prize at the Venice Biennale. Nothing new can be achieved without changing the conceptions of organization. He was a decisive promoter of coproduction of festivals since the `70s, of the creation of prototype-performances that could be translated in various nations with new casts, and also of the creation of serial works to be completed later in production studios. Thanks are due to him for the embrace between different nations, languages, styles and traditions. Even when using bigger and bigger and more and more international teams of collaborators Wilson has never renounced making his own imprint of perfectionist in a developing opera. He has to be accredited with the Watermill Centre, center of experimentation and training where his work as a teacher has helped him in retain an inexhaustible flow of fresh ideas from the contact with the young people.[44] Legacy and awards 1971 and 1980 Guggenheim Fellowship awards 1971 Drama Desk Award for Outstanding Director for Deafman Glance 1975 Rockefeller Foundation Fellowship 1981 Asian Cultural Council Fellowship 1986 Nomination for the Pulitzer Prize for Drama[45] 1987 Subject of documentary Robert Wilson and the Civil Wars, directed by Howard Brookner[46] 1993 Golden Lion for Sculpture from the Venice Biennale[47] 1996 The Dorothy and Lillian Gish Prize[47] 1997 Europe Theatre Prize[16] 2000 Election to the American Academy of Arts and Letters[45] 2001 National Design Award for Lifetime Achievement[47] 2002 Commandeur des arts et des lettres[47] 2005 Honorary doctorate from University of Toronto[45] 2009 Hein Heckroth Prize – Lifetime Achievement for Scenic Design[45] 2009 Medal for Arts and Sciences of the city of Hamburg[48] 2009 Trophée des Arts Award, Alliance française[10] 2013 Honorary doctorate from the City University of New York[45] 2013 Olivier Award: Best New Opera for Einstein on the Beach[49] 2013 Paez Medal of Art from VAEA[50] Works The King of Spain, 1969 The Life and Times of Sigmund Freud, 1969 Deafman Glance (film) (with Raymond Andrews), 1970 KA MOUNTAIN AND GUARDenia TERRACE: a story about a family and some people changing, 1972 The Life and Times of Joseph Stalin, 1973 A Letter for Queen Victoria, 1974 Einstein on the Beach (with Philip Glass), 1976 I Was Sitting on My Patio This Guy Appeared I Thought I Was Hallucinating (with Lucinda Childs), 1977 Death Destruction & Detroit, 1979 Edison (play), 1979 The Golden Windows (Die Goldenen Fenster), 1979 Dialogue/Curious George (play), 1980 Stations (play), 1982 Medea (opera with Gavin Bryars), Lyon 1984 The Civil Wars: A Tree Is Best Measured When It Is Down, 1984 Shakespeare`s King Lear, 1985 Heiner Müller`s Hamletmachine, 1986 Euripides` Alcestis, 1986–1987[51] Death Destruction & Detroit II, 1987 Heiner Müller`s Quartet [de], 1987 Le martyre de Saint Sébastien, 1988 Orlando (adapted by Darryl Pinckney from the novel by Virginia Woolf), 1989 Louis Andriessen`s De Materie, 1989 The Black Rider (with William S. Burroughs and Tom Waits), 1990 Richard Wagner`s Parsifal, Hamburg, 1991[52] Alice (musical, with Tom Waits and Paul Schmidt), 1992 Gertrude Stein`s Doctor Faustus Lights the Lights, Hebbel Theatre (Berlin) 1992 Skin, Meat, Bone (with Alvin Lucier), 1994 The Meek Girl (based on a story by Fyodor Dostoevsky), 1994 Timerocker (with Lou Reed), 1997 Persephone (texts by Homer, Brad Gooch, Maita di Niscemi, music by Gioachino Rossini and Philip Glass), Taormina, 1997[53] O Corvo Branco (with Philip Glass), Teatro Camões (Lisbon), 1998 Monsters of Grace (with Philip Glass), 1998 Lohengrin for the Metropolitan Opera, 1998 Wings on Rock for the Teatro della Fortuna, Fano, 1998[54] Bertolt Brecht`s The Flight Across the Ocean for the Berliner Ensemble, 1998[55] The Days Before – Death Destruction & Detroit III, (with Ryuichi Sakamoto), Lincoln Center 1999 Richard Wagner`s Der Ring des Nibelungen, Zurich Opera POEtry, (with Lou Reed), 2000 14 Stations (installation), 2000 Hot Water (multimedia concert), (with Tzimon Barto), 2000 Woyzeck (with Tom Waits), 2000 Persephone, 2001 Richard Strauss`s Die Frau ohne Schatten, Opéra National de Paris (Opéra Bastille), 2002 White Town an homage to Arne Jacobsen at Bellevue Teatret Copenhagen,2002 Isamu Noguchi exhibition, 2003 The Temptation of Saint Anthony (with Bernice Johnson Reagon) Opéra National de Paris, 2003 Aida, Royal Opera House (Covent Garden), 2003[56] I La Galigo, 2004 Jean de La Fontaine`s The Fables, 2005 Ibsen`s Peer Gynt, 2005 (in Norway) Büchner`s Leonce and Lena VOOM Portraits, exhibition, 2007 at ACE Gallery in Los Angeles, CA Brecht`s The Threepenny Opera, Berliner Ensemble, 2007 Beckett`s Happy Days, 2008 Rumi, Polish National Opera, 2008 Faust for the Polish National Opera, 2008 Sonnets (based on Shakespeare`s sonnets with music by Rufus Wainwright), Berliner Ensemble, 2009 [KOOL – Dancing in my mind], (a performance/portrait of choreographer and dancer Suzushi Hanayagi), 2009 Carl Maria von Weber`s Der Freischütz, Festspielhaus Baden-Baden, conductor Thomas Hengelbrock, 2009 Beckett`s Krapp`s Last Tape, 2009 L`Orfeo, by Claudio Monteverdi, La Scala, Milan, 2009 Káťa Kabanová, by Leoš Janáček, Národní divadlo, Prague, 2010 Věc Makropulos, by Karel Čapek, Stavovské divadlo, Prague, 2010 2010 : Oh les beaux jours de Samuel Beckett, Théâtre de l`Athénée Louis-Jouvet The Life and Death of Marina Abramović, with Marina Abramović, Manchester International Festival, July 9–16, 2011, The Lowry, Manchester, UK Il ritorno d`Ulisse in patria, by Claudio Monteverdi, La Scala, Milan 2011 Claude Debussy`s Pelléas et Mélisande, Teatro Real de Madrid, 2011 Mind gap exhibition, Norwegian Museum of Science and Technology, 2011 Peter Pan, with CocoRosie at the Berliner Ensemble, April 2013 The Life and Death of Marina Abramović, with Marina Abramović, Luminato Festival, Bluma Appel Theatre, Toronto, June 14–17, 2013 The Old Woman (play), with Willem Dafoe and Mikhail Baryshnikov, Manchester International Festival, Palace Theatre, Manchester, UK, July 2013 1914, based on The Last Days of Mankind by Karl Kraus and The Good Soldier Švejk by Jaroslav Hašek, Estates Theatre, Prague, Czech Republic, April 2014 Rhinoceros, by Eugène Ionesco, Teatrul Național Marin Sorescu, Craiova, Romania, July 2014[57] Faust I and II with Herbert Grönemeyer at the Berliner Ensemble, April 2015 Adam`s Passion with Arvo Pärt, Noblessner Foundry, Tallinn, Estonia, May 2015 Pushkin`s Fairy Tales (play) (with CocoRosie), Theatre of Nations, Moscow, Russia, June 2015 La Traviata with Teodor Currentzis, Perm Opera and Ballet Theatre, Perm, Russia, November 2016 Hamletmachine, by Heiner Müller and Robert Wilson (with the performers of the Accademia Nazionale di Arte Drammatica Silvio D`Amico), Auditorium Parco della Musica, Rome, 2017[58] Mary Said What She Said with Isabelle Huppert, Wiener Festwochen, Vienna, Austria, May 2019[59][60] Messiah (2020) The Tempest, Ivan Vazov National Theatre, Sofia, Bulgaria, November 2021[27] DVD (Operas) Orphée et Eurydice by Christoph Willibald Gluck. Théâtre du Châtelet, Paris, 1999. Orchestre Révolutionnaire et Romantique & Monteverdi Choir, John Eliot Gardiner, cond.; Magdalena Kožená (Orphée); Madeline Bender (Eurydice); Patricia Petibon (Amour); Arthaus Musik #100062 (2000)/ Warner Classics # 16577 (2009) Alceste by Christoph Willibald Gluck. Théâtre du Châtelet, Paris, 1999. English Baroque Soloists & Monteverdi Choir, John Eliot Gardiner, cond.; Anne Sofie von Otter (Alceste), Paul Groves (Admète), Dietrich Henschel (High Priest and Hercules), Yann Beuron (Evandre), Ludovic Tézier (A Herald and Apollo), Frédéric Caton (Oracle and Infernal God), Hjördis Thébault (Coryphée). Image Entertainment ID9307RADVD (2000) / Warner Classics #16570 (2009) Madama Butterfly by Giacomo Puccini, 2003. Netherlands Opera Chorus, Netherlands Philharmonic Orchestra Edo de Waart, cond.; Richard Stilwell (Sharpless), Catherine Keen (Suzuki), Martin Thompson (Pinkerton), Cheryl Barker (Butterfly), Peter Blanchet (Goro), Anneleen Bijnen (Kate Pinkerton). Kultur Video # 937 (2003) L`Orfeo by Claudio Monteverdi, La Scala, Milan 2009. Milan Teatro alla Scala Orchestra, Concerto Italiano, Rinaldo Alessandrini, cond.; Georg Nigl (Orfeo); Roberta Invernizzi (La Musica/Euridice/Eco); Sara Mingardo (Sylvia/Speranza); Luigi de Donato (Caronte); Raffaella Milanesi (Proserpina); Giovanni Battista Parodi (Plutone); Furio. OPUS ARTE 1044 Pelléas et Mélisande by Claude Debussy. Paris, 2012. Orchestre de l`Opéra national de Paris, Philippe Jordan, cond.; Chœur de l`Opéra national de Paris, Patrick Marie Aubert. Stéphane Degout (Pelléas); Elena Tsallagova (Mélisande); Vincent Le Texier (Golaud); Anne Sofie von Otter (Geneviève); Franz-Josef Selig (Arkel); Julie Mathevet (The little Yniold); Jérôme Varnier (Un berger, le médecin). Naive # 2159

Kao na slikama Prisutan miris starih knjiga Extra retko 1971 Katalin Ladik počela je svoju karijeru u Novom Sadu u periodu delovanja novosadske neoavangarde ranih sedamdesetih, da bi se devedesetih preselila u Budimpeštu. Raspon stvaralaštva Katalin Ladik kreće se od književnosti preko glume do interpretacije eksperimentalnih zvučnih kompozicija i radio-igara, fonetične i vizuelne poezije, hepeninga, performansa, akcije pa sve do mail arta. Objavila je 20 samostalnih zbirki poezije i jedan roman, od kojih su na srpski prevedeni Erogen zoon, Ikarova senka i Kavez od trave i roman Mogu li da živim na tvom licu (SFO (Re)konekcija, 2021). Svoje izložbe, performanse, hepeninge, muzičke performanse i koncerte realizovala je u okviru najznačajnijih institucija savremene kulture domaće i međunarodne scene, kao što su: Akademie der Bildenden Künste Wien „Aspekte – Gegenwärtige Kunst aus Jugoslawien” (Bosch+Bosch grupa), Van Gogh Museum Amsterdam „Vizuele poëzie”, Muzej savremene umetnosti „Verbo-Voko-Vizuelno”, Galerija suvremene umjetnosti „Nova umjetnička praksa 1966–1978”, Centre National Georges Pompidou „Rencontres internationales de poesie sonore”, Kassel, Neue Galerie, DOCUMENTA, New York, Washingto, Dubrovačke letnje igre, a trenutno se njen rad predsatavlja na svim značajnim evropskim izložbama. Rad ove umetnice, prevashodno njena verbo-voko-vizuelna istraživanja (zvučni performansi, video i audio kasete i ploče), (tekstualni) performansi tela, baš kao i obiman i značajan književni kao i rad u oblasti alternativnog teatra, priznati su i prepoznati i u međunarodnim okvirima. Njenu umetničku ličnost svrstavaju u red već gotovo mitskih ličnosti avangardi na čitavom centralnoevropskom prostoru. Za svoj umetnički rad dobila je Nacionalno priznanje za vrhunski doprinos kulturi Republike Srbije 2009, kao i Nagradu za mir i umetničku hrabrost Lennon Ono Grant for Peace 2016. Svoje prve pesme objavila je u časopisu Simpozion na mađarskom jeziku (1962) a njena prva zbirka Balada o srebrnom biciklu (Ballada az ezüstbicikliröl) sa gramofonskim, zvučnim zapisima, objavljena je 1969. godine, potom Bludna metla, Erogena zona, Kavez od trave i Ikarova senka. U prevođenju na srpski joj je pomagala književnica Judita Šalgo, takođe poznata po svojim performativnim izvođenjima poezije. „Judita Šalgo mi je pomogla u prevodu pesama, a Bogdanka Poznanović me potakla na video-dokumentaciju mog stvaralaštva. Ona je negde 1980-ih nabavila videorekorder za Akademiju umetnosti gde je bila profesorka na Odseku medija i potakla me da snimimo neki moj rad za video. Ja sam sabrala neke motive i elemente svojih performansa iz prethodnog desetljeća koji su mi se činili pogodnima za kameru i video, pa sam ih izvela na stepeništu hodnika Akademije, a video nazvala Poemim. To je ostalo kao jedini dokument onog vremena.“ Pored uticaja Bogdanke Poznanović, koja je tada osnovala na novosadskoj Akademiji umetnosti prvi studio za nove medije, knjigu Bore Ćosića Mixed Media smatrala je jako važnom za njen umetnički razvoj. Bila je članica grupa Bosch + Bosch od 1973. do 1976, u okviru koje je ipak imala svoju teritoriju zvuka i zvučnog performansa i izvodila vizualne i konceptualne radove. Novoosnovanom Novosadskom pozorištu – Újvidéki Színház pridružila se 1974. i kao članica stalnog ansabla radila do 1992. igrajući u predstavama najznačajnijih mađarskih reditelja, kao što je Jančo Mikloš i predstava Bajer aspirin – pesnička monodrama koju je za nju napisao Oto Tolnai. Tokom godina igrala je glavne i sporedne uloge u raznim TV filmovima i igranim filmovima (jedan od poznatijih je i film Lordana Zafranovića Ujed anđela). Bila je urednica pesničke rubrike književnih časopisa Elet es Irodalom (1993–94) i Ciganifuro (1994–99). Između 1993. i 1998. predavala je u muzičkom i pozorišnom obrazovnom centru Hangar. Katalin najveći trag ostavlja u svojoj foničnoj i voko-vizelnoj poeziji, ali se najviše pamte njeni performansi i body art u kojima koristi svoje telo kao instrument, često provocirajući intervenciju publike ritualno igrajući različite ženske uloge. Performativno izvođenje njenih „Šamanskih pesama“, dok je ogrnuta samo životinjskom kožom uz svetlost sveće, bio je jedan od najradikalnijih ženskih umetničkih izraza avangardne scene na tadašnjem jugoslovenskom kulturnom prostoru. „U početku sam na te radove gledala kao na poetske večeri – znači, prikazivanje poezije počev od njenog čitanja pa sve do govorenja u obliku fonične i gestualne poezije, što je na neki način bio uvod putem kojega sam ljudima dala ključ ka otvorenoj, proširenoj poeziji. Videla sam da ljudi poeziju smatraju samo onom linearnom, koju eventualno recituje glumac ili sam autor, ali govorenje ili pevanje, a kamoli fonična poezija, tada nije postojala.“ Performansi Ja sam javna žena, Blackshave, Rupa koja vrišti, Poem, Spuštanje Novog Sada niz reku Dunav,Mandora, Tesla samo su neki od najvažnijih, a spacifičnost njenog rada vidi se i u tome što je neke izvodila potpuno različito u drugim kontekstima. Katalin Ladik, performans – Zagreb, 1970. Katalin Ladik, performans – Zagreb, 1970. Katalin Ladik, Sanja Iveković i Vlasta Delimar bile su prve konceptualne umetnice novih medija a njihove umetničke strategije uticale su na poetiku različitih generacija umetnica, od Marine Abramović do nama danas savremene ženske scene. Ali, i one same još aktivno učestviju u kreiranju iste i sve više su prisutne na međunarodnoj sceni Sama Katalin je iznenađena koliko su mladi umetnici zainteresovani za njen rad: „Uskoro idem u Švajcarsku gde ću na Muzičkoj akademiji u Baselu održati radionicu na temu novih eksperimentalnih partitura i improvizacije s kompozitorima. I mene samu čudi kako se mlađe generacije zanimaju za mene i moje stvaralaštvo.“ Zanimljivo je pratiti njen odnos prema ženskoj i feminističkoj kulturi. Sama kaže da u početku nije znala puno o feminističkim teorijama, a one koje su do nje dopirale nisu joj bile bliske. Ali svoju umetničku pobunu pokazuje kroz tipično ženske motive iskazujući ne samo odnos prema patrijarhalnim matricama nego i prema represivnom umetničkom kontekstu čak i među svojim istomišljenicima. Inače, konceptualne umetnice prve problematizuju poziciju autorke u umetničkom polju delovanja. „Stoga sam izražavala svoj bunt kroz one sitne stvari koje radi svaka žena, s uverenjem da to također može da bude predmet umetnosti ili način umetničkog izražavanja. Kada sam počinjala, pišući na mađarskom sredinom 1960-ih, nisam poznavala teoriju feminizma – ne znam ni da li je postojao neki pregled na srpskom. Teorija nije programatski postojala u mom radu, već sam krenula od ličnog iskustva i započela svojevrsno oslobađanje od porodice i radnog mesta kao neki vid protesta u 1970-ima.„ Feministkinje su prepoznale njenu umetnost kao važnu elaboraciju pobunjene žene tako da je bila i gost najveće feminističke međunarodne konferencije u jednoj komunističkoj zemlji Drug-ca 1978. u Beogradu: „To je bio moj prvi susret s njima i drugim aktivnim feministkinjama iz Zagreba, s kojima sam ostala u kontaktu. Drug-ca Žena me lično obogatila, i tada sam shvatila da feminizam nije ono što sam smatrala američkim feminizmom usko usmerenim protiv muškaraca, već da se radi o prostom zalaganju za prava žena.“ Retrospektivna izložba njenih radova u Muzeju savremene umetnosti Vojvodine 2010. upravo je i nazvana Moć žene prema njenim dominantnim umetničkim postulatima. Na konferenciji K.A.T. „Umetnost u obrazovanju: interakcije“, u produkciji Saveza feminističkih organizacija (Re)konekcija u Novom Sadu (2017), mogli smo da vidimo njene trenutne umetničke preokupacije internet prostorom koje je nazvala „Alisa u zemlji kodova“. Katalin Ladik danas, Foto: Sanja Anđelković Fotografija Sanja Anđelković Katalin Ladik bavi se intrigantnim pitanjem, koje je osnovano na materijalu proširene poezije same umetnice. U unutrašnjoj naraciji svake vizuelne poezije nalazi se promena. Neobičajna medijska tranzicija odnosi se na ove objekte (vizuelnu poeziju i konkretnu poeziju), zatim na živo izvođenje i audio snimanje tih živih nastupa. Veza između vizuelnog i zvučnog je suština odnosa između poezije Katalin Ladik i njene proširene poezije, „otelovljenog perfomansa“. „Lepota se pojavljuje kao rezultat na površini, na licu dela, ali radost stvaranja se dešava na obrnutom, na naličju materijala. Energija koja se oslobađa ograničenja, raskalašno se pokazuje i prevladava. Ne poštuje pravila, pretvara se u radost i bol. To se ne možete videti s lepe, tj. prednje strane, samo sa „pogrešne“ strane tj. naličja umetničkog dela” – objašnjava autorka. [Újvidék]: [Fórum Könyvkiadó], [1971]. First edition. In publisher’s illustrated wrappers, designed by Gábor Ifjú. Printed on differently colored papers. 89, (7) p. Inscribed first edition of Katalin Ladik’s book of surreal poems. Katalin Ladik (b. 1942) is a Yugoslavian-born (today Serbia) Hungarian radical female performance artist, poet, and writer. Besides other prizes, in 2016 she was awarded by the LennonOno Grant for Peace together with Ai Weiwei, Anish Kapoor, and Olafur Eliasson. She was an exhibitor at “documenta 14” in 2017. Katalin Ladik (born Novi Sad, 25 October 1942) is a Hungarian poet, performance artist and actress. She was born in Novi Sad, Kingdom of Yugoslavia (Hungarian: Újvidék), and in the last 20 years she has lived and worked alternately in Novi Sad, Serbia, in Budapest, Hungary and on the island of Hvar, Croatia. Parallel to her written poems she also creates sound poems and visual poems, performance art, writes and performs experimental music and audio plays. She is also a performer and an experimental artist (happenings, mail art, experimental theatrical plays). She explores language through visual and vocal expressions, as well as movement and gestures. Her work includes collages, photography, records, performances and happenings in both urban and natural environments. Contents 1 Biography 2 Awards 3 Poetry 4 Prose 5 Publications 5.1 Volumes in original language 5.2 Translated volumes 5.3 E-books 5.4 Audiobooks 6 Discography 6.1 Sound poetry 6.2 Music (experimental music, jazz) 7 Poetry readings, sound poetry performances 7.1 Online Audio 7.2 Live performances 8 Performance art 8.1 A list of performances, happenings, actions 8.2 1960s-`70s 8.3 1980s-`90s 8.4 2000s 8.5 2010s 8.6 2020s 9 Workshops with performances (selection) 10 Concerts, musical performances (selection) 11 Speech-music performances 12 Theatre 12.1 As an actress 12.2 As a director 13 Films 13.1 Feature films 13.2 Short films 13.3 Recitatives 13.4 Television interviews 13.5 Documentary 13.6 Writer’s Credit 14 Radio plays 14.1 Writer and performer 14.2 Performer 15 Artworks in permanent public and private collections 16 Exhibitions 16.1 Solo exhibitions 16.2 Group exhibitions 17 See also 18 References 19 Sources 19.1 Resources 19.2 Literature 20 External links Biography[edit] Katalin Ladik studied at the Economic High School of Novi Sad between 1961 and 1963. She then joined the Dramski Studio (Drama Studio) acting school in Novi Sad, between 1964 and 1966. Between 1961 and 1963, she worked as a bank assistant. During this time, in 1962, she began to write poetry. From 1963 to 1977 she worked for Radio Novi Sad. She joined the newly established Novi Sad Theatre in 1974, becoming a member of its permanent ensemble in 1977 and working there until 1992.[1] She primarily acted in dramatic roles. Over the years, she also played major and minor roles in various TV-films and movies. She led the poetry sections of literary magazines Élet és Irodalom (1993–94) and Cigányfúró (1994–99). Between 1993 and 1998 she taught at Hangár musical and theatrical education center. She is a member of the Hungarian Writers` Union, the Hungarian Belletrists Association, the Association of Hungarian Creative Artists and the Hungarian PEN Club. Awards[edit] Katalin Ladik has earned various awards, including the Kassák Lajos Award (1991), the award of Mikes Kelemen Kör (Mikes International – Association for Hungarian Art, Literature and Science in the Netherlands) (2000), the József Attila Prize (2001), the Mediawave Parallel Culture Award (2003), the National Award for Culture of the Republic of Serbia (2009), and the Laurel Wreath Award of Hungary (2012). Katalin Ladik has earned various awards, including the Kassák Lajos Award (1991), the award of Mikes Kelemen Kör (Mikes International – Association for Hungarian Art, Literature and Science in the Netherlands) (2000), the József Attila Prize (2001), the Mediawave Parallel Culture Award (2003), the National Award for Culture of the Republic of Serbia (2009), and the Laurel Wreath Award of Hungary (2012). In 2015, she received the Klára Herczeg Award in senior category from the Studio of Young Artists’ Association (Hungary).[2] In 2016, she was awarded with the Lennon Ono Grant for Peace.[3] Her awards for acting include the Oktobarska nagrada grada Novog Sada (October Award of the City of Novi Sad), a collective award to the cast of Radio Novi Sad in 1967; first place at Smotra vojvođanskih profesionalnih pozorišta (Festival of Professional Theatres in Vojvodina) in 1978, for the role of Masha in Three Sisters, directed by György Harag, performed at the Novi Sad Theatre. The same role earned her the first place of Udruženje dramskih umetnika Srbije / Association of Dramatic Artists of Serbia, in 1979. Katalin Ladik also received the Magyar Televízió Elnöki Nívódíja / Award of the President of Hungarian Television for Acting Excellence for acting in András Rajnai’s TV film series, Televíziós mesék felnőtteknek (Television Tales for Adults) in 1980. In 1986, she was awarded first place at Smotra vojvođanskih profesionalnih pozorišta / Festival of Professional Theaters in Vojvodina for the role of Skinner in Howard Barker’s The Castle, directed by David Gothard, performed at the National Theatre in Subotica. 2017 Artisjus Literary Award for her poetry volume „A víz emlékezete” („The Memory of Water”) 2017 Janus Pannonius Filius Ursae Award for her literary oeuvre for „being defiant, provocative, and confrontational towards the actual literary canons” 2019 Ferencváros Pro Urbe Award [4] 2020 „My Country” („Hazám díj) Award in recognition of her lifetime achievement [5] 2021 Medal of culture for lifetime achievement, ie. for overall creativity/work awarded by Miloš Crnjanski Centre 2021 Novi Sad` International Literary Award, which is awarded by the 16th International Novi Sad Literary Festival organized by the Society of Writers of Vojvodina 2022 Hungarian Order of Merit Officer`s Cross, one of the highest Orders in Hungary 2022 Prize in Fiction (Poetry) category of the Society of Hungarian Authors 2022 Alföld Literary Prize Poetry[edit] Katalin Ladik became known after 1962 through her surreal and erotic poems. In addition to a number of books in Hungarian, volumes of her poetry were published in Yugoslavia, France, Italy and the United States. Her poems also appeared in various magazines and anthologies worldwide, translated into Spanish, German, Polish, Bulgarian, Slovakian, Hindi, Chinese, Indonesian, Romanian, Macedonian, Rusyn and Slovenian. `She is able to embody the sense of poetry as action. I saw one of her readings in Bratislava at Ars Poetica Festival and she was the only poet able to electrize the audience without any translation. (...) She manages to pass linguistic barriers but, again, any translation of her poetry is at least difficult to be made (or should I say “performed`). Her activity covers a wide area that includes performance and sound poetry, with a force that captures any kind of audience no matter how illiterate in contemporary poetry they can be.` Poetry Depot Prose[edit] Her first novel, entitled Élhetek az arcodon? (Can I Live on Your Face?) was published in 2007 by Nyitott Könyvműhely. It is considered to be an eminent work in Hungarian Avant-garde literature. It is partly autobiographical, partly self-reflecting. The novel alternates between reality and fiction, prose and poetry, sometimes switching to a prose poem style. Its main target audience is that part of the artists’ community who are receptive to esoteric allusions. The book is about three women: the Editor, who lives in Budapest, the Artist, and the Glasswoman who lives in Novi Sad, all of whom bear the same name. The shared name determines their lives. Initially, they are unaware of one another, but throughout the book their lives get gradually intertwined. After they get to know one another, they begin to live each other`s life, which changes everything for them forever. One of the peculiarities about the book is the uniquely rich textual documentation (letters, newspaper articles, posters) and the large number of photos. Publications[edit] Volumes in original language[edit] Ballada az ezüstbicikliről (Ballad of Silver Bike) | poems | Hungarian | with gramophone recording | Forum, Novi Sad, 1969 Elindultak a kis piros bulldózerek (The Small, Red Bulldosers Have Taken Off) | poems | Hungarian | Forum, Novi Sad, 1971 Mesék a hétfejű varrógépről (Stories of the Seven-Headed Sewing Machine) | poems | Hungarian | Forum, Novi Sad, 1978 Ikarosz a metrón (Icarus on the Subway) | poems | Hungarian | Forum, Novi Sad, 1981 A parázna söprű – Bludna metla (The Promiscuous Broom) | poems | Hungarian-Serbian bilingual | Forum, Novi Sad, 1984 Kiűzetés (Exile) | poems | Hungarian | Magvető, Budapest, 1988 Jegyesség (Engagement) | poems | Hungarian | Fekete Sas - Orpheusz, Budapest, 1994 A négydimenziós ablak (The Four-Dimensional Window) | poems | Hungarian | Fekete Sas, Budapest, 1998 Fűketrec (Grass-Cage) | poems | Hungarian | Orpheusz, Budapest, 2004 Élhetek az arcodon? (Can I Live on Your Face?) | prose | Hungarian | Nyitott Könyvműhely, Budapest, 2007 Belső vízözön (Deluge Inside) | poems | Hungarian | Parnasszus, Budapest, 2011 Ladik Katalin legszebb versei (The Most Beautiful Poems of Katalin Ladik) | poems | Hungarian | AB-ART, Bratislava, 2012 A víz emlékezete (The Memory of Water) | poems | Hungarian | Kalligram, Budapest, 2016 Idővitorla (Time Sailing), Selected Poems (1962-2022) | poems | Hungarian | Forum, Novi Sad, 2022 Béranya versek (Surrogacy Poems) | poems | Hungarian | Tipp-Cult Kft, Parnasszus Könyvek, P-Art, Budapest, 2022 Translated volumes[edit] Poesie Erotiche (Erotic Poems) | poems | Italian | selected and translated by: Giacomo Scotti | La Sfinge, Naples, 1983 Erogen Zoon | poems | Serbian | translated by: Katalin Ladik, Selimir Radulović, Judita Šalgo, Arpad Vicko | Književna Zajednica Novog Sada, Novi Sad, 1987 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. B’Racz | New Native Press, Sylva, 1992 Poèmes (Poems) | poems | French | selected by: Tibor Papp | translated by: Katalin Kluge, Tibor Tardos | CiPM / Spectres Familiers, Marseille, 1999 Ikarova senka (Icarus’ Shadow) | poems | Serbian | translated by: Katalin Ladik, Selimir Radulović, Judita Šalgo, Arpad Vicko, Draginja Ramadanski | Orpheus, Novi Sad, 2004 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. B’Racz | Burning Bush Press, Asheville, 2005 Engagement | poems | English | translated by: Emöke Z. B’Racz | Burning Bush Press, Asheville, 2006 Kavez od trave (Grass-Cage) | poems | Croatian | translated by: Kristina Peternai | Matica hrvatska, Osijek, 2007 Poems | English | Cultural Centre of Vojvodina, `Miloš Crnjanski`, Novi Sad, 2022 Mogu li da živim na tvom licu : romaneskna životna priča (Can I Live on Your Face: novelistic life story) | prose | Serbian |(Re) konekcija, Novi Sad, 2021 Raspjevane žeravice: izbrane pjesme 1962-1982 (Singing embers: selected poems 1962-1982) | poems| Croatian | DAF, Zagreb, 2022 E-books[edit] Fűketrec (Grass-Cage) | poems | Hungarian | Mikes International, The Hague, 2003 | downloadable, pdf format Fűketrec (Grass-Cage) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2003 | downloadable, multiple formats A négydimenziós ablak (The Four-Dimensional Window) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, multiple formats Ikarosz biciklijén (On Icarus’ Bicycle) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, multiple formats Kiűzetés ~ Jegyesség (Exile ~ Engagement) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, multiple formats A négydimenziós ablak (The Four-Dimensional Window) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Kiűzetés ~ Jegyesség (Exile ~ Engagement) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Ikarosz biciklijén (On Icarus’ Bicycle) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Engagement | poems | English | Firefly Inx, Asheville, 2012 | downloadable, pdf format[permanent dead link] Stories of the Seven-Headed Sewing Machine | poems | English | Firefly Inx, Asheville, 2012 | downloadable, pdf format[permanent dead link] Milyen ízű vagyok? (How Do I Taste?) | poems | Hungarian | A hónap könyve, Szentendre, 2012 | buyable, pdf format Audiobooks[edit] 2020: Liquid mirror (Folyékony tükör) presented by Vera Sípos 00:00:00 – Folyékony tükör 1; 00:55:47 – Folyékony tükör 2 Audiobooks by contemporary authors published online by DIA, the Digital Literature Academy of PIM [6] Discography[edit] Sound poetry[edit] Ballada az ezüstbicikliről (The Ballad of the Silver Bicycle) | SP | supplement for book with same title | Forum, Novi Sad, 1969 Phonopoetica | SP | Galerija Studentskog kulturnog centra, Belgrade, 1976 Poésie Sonore Internationale (International Sound Poetry) | audio cassette | anthology of sound poetry, Paris, 1979 La Nouvelle Revue d’Art Moderne, Special 2. (The Magazine of Modern Art) | audio cassette | Rencontres Internationales de Poésie Sonore (International Sound Poetry Festival), Paris, 1980 Adriano Spatola: Baobab Femme | audio cassette | anthology for sound poetry magazine, Publiart Bazar Reggio Emilia, 1982 Yugoslavian Sound Poetry | audio cassette | anthology of sound poetry, 1987 Hangár / Hangar | audio cassette | anthology of sound poetry, Amsterdam – Budapest, 1987 Aki darazsakról álmodik (Who is Dreaming About Wasps) | LP | recording of the radio play `Furcsa, aki darazsakról álmodik` (Strange Is the One Who Is Dreaming About Wasps) | Radio Novi Sad, 1988 Spiritus Noister: Nemzeti zajzárványok / National Noise-Inclusions | audio cassette | Bahia Music, Budapest, 1996 Vajdasági Magyar Zenei Esték / Vojvodina Hungarian Music Evenings 1988 | CD | JMMT, Novi Sad, 1998 Vízisámán / Water Shaman | CD | Budapest, 1999 Spiritus Noister – Kurt Schwitters: Ursonate | music CD | Hungaroton, Budapest, 2003 Vodeni anđeo / Water Angel | music CD | Nova Misao, Novi Sad, 2011 Phonopoetics | Vinyl, LP | Alga Marghen (Milano), in co-production with acb Gallery (Budapest) Milano, 2019 [7] Water Angels | Vinyl, LP | Alga Marghen (Milano), in co-production with acb Gallery (Budapest) Milano,, 2021 [8] Music (experimental music, jazz)[edit] As vocalist, Katalin Ladik collaborated with prominent Croatian, Serbian and Hungarian composers, such as Dubravko Detoni, Branimir Sakač, and Milko Kelemen (1971–73, ensemble ACEZANTEZ); Ernő Király (1963-2002); Dušan Radić (Oratorio Profano, 1979); Boris Kovač (1986-1990); Deže Molnar ( 1989–91); Zsolt Sőrés a.k.a. Ahad, and Zsolt Kovács (1996-, Spiritus Noister). Ernő Király | LP | Udruženje Kompozitora Vojvodine, Novi Sad, 1978 Boris Kovač: Ritual Nova I | LP | Symposion Records, Overstrand, 1986 Boris Kovač: Ritual Nova II | CD | Recommended Records, London, 1989 Ernő Király - Spectrum | CD | Autobus, Paris, 1999 Deže Molnar: Weird Garden | CD | vocals on Track 1 (Water Clock) | Studentski Kulturni Centar Novi Sad, 2010 I Belong to the Band Bakers Of The Lost Future | CD | vocals on Track 3 (Poets Of The Absurd On Chalk) | Inexhaustible Editions, Budapest, 2016 Poetry readings, sound poetry performances[edit] Online Audio[edit] Fűketrec (Grass-Cage) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2003 | downloadable, mp3 format A négydimenziós ablak (The Four-Dimensional Window) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, mp3 format Ikarosz biciklijén (On Icarus’ Bicycle) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, mp3 format Kíűzetés - Jegyesség (Exile - Engagement) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, mp3 format Live performances[edit] 2011 Négy fekete ló mögöttem repül (Four Black Horses Fly Behind Me); Jégmadár (Icebird); excerpts from Belső vízözön (The Deluge Inside) | poetry reading | Dzsudi Remake evening, Merlin Theatre, Budapest | Video on YouTube Performance art[edit] Most of Katalin Ladik`s performances balance on the borderline between performance art and theatre: the performance of sound poems is accompanied by theatrical body action and in many cases, the surrounding space is structured similarly to a traditional theatre. Those who examine her poetry often refer to her sound poetry performances. On the other hand, no detailed analyses have been produced about the dramaturgical characteristics of her performances, and the relations of sign systems between her poetry and performances. It is a well-reasoned choice, however, to locate her in the context of female performance artists, as Katalin Ladik uses her body and person as the medium of her art in her performances, which occupies a special position within the history of Western art. A list of performances, happenings, actions[edit] 1960s-`70s[edit] 1968 Budapest, Szentendre - Hungary | UFO | Tamás Szentjóby, Miklós Erdély, Katalin Ladik | happening 1970 Belgrade - Serbia | Pozorište Atelje 212, Podrum teatar (Theatre Atelje 212, Theatre in the Basement) | performance Zagreb - Croatia | Žanr Festival eksperimentalnog filma (Genre Experimental Film Festival - GEFF) | performance Budapest - Hungary | József Attila Művelődési Ház (Cultural Centre József Attila) | with Jenő Balaskó | literary performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Temerin - Serbia | performance 1971 Bačka Topola - Serbia | UFO Party | performance Samobor - Croatia | Samoborski Fašnik (Carnival in Samobor) | Eros sa ovogu svijeta (Eros of This World) | UFO Party | performance Biograd - Croatia | UFO Party | performance Zagreb - Croatia | Studentski Centar (Student Centre) | performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Zagreb - Croatia | Teatar Poezije Zagreb (Poetry Theatre Zagreb) | Četvrta dimenzija kutije (Fourth Dimension of the Box) | performance 1972 Osijek - Croatia | Annale Komorne Opere i Baleta (Annual Festival of Chamber Opera and Ballet) Zagreb - Croatia | Teatar ITD (Theatre ITD)| performance Novi Sad - Serbia | Tribina Mladih (Youth Tribune) | performance Belgrade - Serbia | Studentski Kulturni Centar (Student Cultural Centre) | Festival Expanded Media | performance Balatonboglár - Hungary | Kápolna Galéria (Kápolna Gallery) | Group Bosch+Bosch | performance 1974 Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media /performance/ 1975 Zagreb (Croatia), Student Centre Gallery / Galerija Studentskog Centra: `Eksperimenti u jugoslovenskoj umjetnosti` (Experiments of Yugoslav Art) (Group Bosch+Bosch) /performance/ Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media: `Ljubavi, Singer` (Loves, Singer) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `Change Art` /action/ Novi Sad (Serbia): `Spuštanje Novog Sada niz reku Dunav` (Floating Novi Sad Downstream the Danube) /action/ 1976 Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media: `Change Art` /action/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti /performance/ 1977 Zrenjanin (Serbia), Cultural Centre / Kulturni Centar: `Poezija, fonična i vizuelna poezija Katalin Ladik` (Poetry, Phonic and Visual Poetry by Katalin Ladik) Kraków (Poland): `Phonopoetica` /performance/ Zagreb (Croatia), Information Centre / Informativni Centar: `Phonopoetica` (with Vujica R. Tucić) /performance/ Amsterdam (Netherlands), Stedelijk Museum: `Tekst in Geluid` (Text in Sound) /performance/ Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar: `Phonopoetica` /performance/ 1978 Kranj (Slovenia), Prešeren Theatre / Prešernovo Gledališče /performance/ Sarajevo (Bosnia and Herzegovina), Youth Theatre / Pozorište Mladih, Festival Malih i Eksperimentalnih Scena (Festival of Small and Experimental Theatre): `Četvrta dimenzija – krik` (Fourth Dimension – Scream) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `Pesnički maraton` (Poetry Marathon) /performance/ Novi Sad (Serbia), Sonja Marinković Student Club / Studentski Klub ‘Sonja Marinković’: `Čudak je ko čekiće sanja` (Weird Is the One Who Dreams About Hammers) /performance/ Würzburg (Germany), Hand Press Gallery / Handpresse Galerie: `Randkunst-Kunstrand` /performance/ Novi Sad (Serbia), National Library / Narodna biblioteka: `Umetnost se ne ponavlja, ne ponavlja, ne ponavlja...` (Art Does Not Repeat Itself, Not Repeat Itself, Not Repeat Itself...) /performance/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti: `Nova umjetnička praksa 1966-1978` (New Art Practice 1966-1978) /performance/ 1979 Subotica (Serbia), Youth Centre / Dom Omladine: `Az éneklő varrógép – The Singing Sewing Machine` (with Zsolt Király) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `The Screaming Hole – A sikoltozó lyuk` /performance/ Amsterdam (Netherlands): `One World Poetry` /performance/ Utrecht (Netherlands), Gallery ‘T Hoogt / ‘T Hoogt Galerie: `One World Poetry` /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `Mesék a hétfejű varrógépről` (Stories of the Seven-headed Sewing Machine) /performance/ 1980s-`90s[edit] 1980 Paris (France), Pompidou Centre / Centre Georges Pompidou: `Rencontres Internationales de Poésie Sonore` (International Sound Poetry Festival) /performance/ Le Havre (France), Cultural Centre of Le Havre / Maison de la Culture du Havre: `Rencontres Internationales de Poésie Sonore` (International Sound Poetry Festival) /performance/ Rennes (France), Cultural Centre of Rennes / Maison de la Culture de Rennes: `Rencontres Internationales de Poésie Sonore` (International Sound Poetry Festival) /performance/ New York City (USA), Washington Square Church, The New Wilderness Foundation: `International Sound Poetry Festival` /performance/ Baltimore (USA), School 33 Art Center, The Merzaum Collective`s Desire Productions Present: International Festival of Disappearing Art(s) /performance/ Gyula (Hungary), Castle Theatre / Várszínház, Knights’ Hall / Lovagterem: `Alice` /performance/ Belgrade (Serbia), Salon Museum of Contemporary Art / Salon Muzeja Savremene Umetnosti, Exhibition of Group Bosch+Bosch: `Orman koji ubrizgava (Injecting Closet)` /performance/ 1982 Budapest (Hungary), Cultural Centre Jókai, Studio ‘K’/ Stúdió ‘K’ Jókai Művelődési Központ: `Ladik Katalin újvidéki költő és előadóművész szerzői estje` (An Evening with Novi Sad Poet and Performer, Katalin Ladik) /performance/ Novi Sad (Serbia), Cultural Centre Petőfi Sándor / Petőfi Sándor Művelődési Ház: `Telepi esték – Ladik Katalin szerzői estje` (Evenings in Telep – with Poet Katalin Ladik) (with Ottó Tolnai, Zsolt Király) /performance/ Budapest (Hungary), Young Artists’ Club / Fiatal Művészek Klubja: `Ladik Katalin szerzői estje` (An Evening with Katalin Ladik) (with Miklós Erdély, László Beke and Zsolt Király) /performance/ Budapest (Hungary), Cultural Centre Jókai, Studio ‘K’ / Stúdió ‘K’ Jókai Művelődési Központ: `Ladik Katalin szerzői és előadói estje` (An Evening with Katalin Ladik) (with Miklós Erdély, László Beke and Zsolt Király) /performance/ Belgrade (Serbia), Museum of Contemporary Art / Muzej Savremene Umetnosti: `Verbo-Voko-Vizuelno` (`Phonopoetry` with Judita Šalgo) /performance/ Osijek (Croatia), Students’ Youth Centre / Studentski Centar Mladih, Osiječko ljeto (Summer in Osijek): `Čudak je ko čekiće sanja` (Weird Is the One Who Dreams About Hammers) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Ikar u metrou” (Icarus on the Subway) (with Judita Šalgo, Selimir Radulović) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine, Beogradsko leto (Summer in Belgrade): `Ufo Party` /performance/ Kanjiža (Serbia), Literary Camp / Književna Kolonija: `Konkretna i vizuelna poezija` (Concrete and Visual Poetry) (with Vujica R. Tucić and Bob Cobbing) /performance/ Novi Sad (Serbia), Address: Istarski kej 37. sp. 8. st. Rade Šević: `Sound Poetry Performance` (with Vujica R. Tucić and Bob Cobbing) /performance/ Novi Sad (Serbia), Youth Tribune Gallery / Tribina Mladih Galerija: `Phonopoemim` – Exhibition Launch for Slavica Grkavac: tapiserije `Jokastin kompleks` (`Jocasta Complex` Tapestry) /performance/ Paris (France), UNESCO: `Guerre a la guerre` (War Against War) /performance/ Milan (Italy), UNESCO: `Guerra alla guerra` (War Against War) /performance/ Paris (France), UNESCO Pompidou Centre / Centre Georges Pompidou: `Polyphonix 5` /performance/ 1983 Vienna (Austria), Wiener Festwochen (Vienna Festival): `Mandora 1.` /performance/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti: `Nova umjetnost u Srbiji 1970-1980` (New Art of Serbia 1970-1980) Belgrade (Serbia), Youth Centre / Dom Omladine: `Oluja-po motivima Šekspira` (Tempest – Based on Shakespeare) – Exhibition Launch for Slavica Grkavac: tapiserije `Jokastin kompleks` (`Jocasta Complex` Tapestry) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Magic Bread` (with Paul Pignon) 1984 Glasgow (UK), Third Eye Centre, Poetsound 1984: `Mandora 1.` /performance/ Milan (Italy), (Cultural Association of) Cooperativa Intrapresa: `Milanopoesia` /performance/ Szeged (Hungary), József Attila University (Today: University of Szeged) / József Attila Tudományegyetem: `Mandora 1.` /performance/ Cogolin (France), Rencontres Internationales de Poésie Contemporaine (International Festival of Contemporary Poetry): `Mandora 1.` /performance/ Belgrade (Serbia), Cultural Centre / Kulturni Centar: `Mandora 1.` /performance/ 1985 Belgrade (Serbia), Magaza Theatre / Pozorište Magaza: `Mandora 2.` /performance/ Budapest (Hungary), Cultural Cente of Lágymányos / Lágymányosi Művelődési Otthon: `Mandora 2.` /performance/ Budapest (Hungary), Metropolitan Cultural Centre / Fővárosi Művelődési Ház: `Alice` /performance/ Zemun (Serbia), Festival Monodrame i Pantomime (Festival of Monodrama and Pantomimes): `Mandora` /performance/ Novi Sad (Serbia), ‘Sonja Marinković’Cultural Centre / Kulturni Centar ‘Sonja Marinković’, Youth Tribune / Tribina Mladih: `Mandora` /performance/ Stari Bečej (Serbia) /performance/ 1988 Szeged (Hungary), JATE Club: `Polyphonix` /performance/ Pécs (Hungary): `Alice` /performance/ Budapest (Hungary), Vigadó Chamber Hall / Vigadó Kamaraterem, Hangár Est (‘Wall of Sound’ Evening): `Alice` /performance/ 1989 Spoleto (Italy): `O Fortuna` /performance/ Nové Zámky (Slovakia): `O Fortuna` /performance/ Novi Sad (Serbia): `O Fortuna` /performance/ 1990 Novi Sad (Serbia), Sport and Activity Centre of Vojvodina / SPENS Sportski i Poslovni Centar Vojvodina: `Otkrovenje` (Revelation) (with Zoltán Pletl) /performance/ Vác (Hungary), Greek Chapel / Görög Templom, Ex-panzió 2. Festival: `Angyal/Angel` /performance/ Novi Sad (Serbia): `Seraphine Tanz` /performance/ 1993 Szentendre (Hungary), Dalmát Cellar / Dalmát pince, UHF Kisújrevue /performance/ Szeged (Hungary), JATE Club: `Alice` /performance/ Vác (Hungary), Greek Chapel / Görög Templom, Expanzió 5. Festival /performance/ 1994 Szeged (Hungary): `Performancia` with Lukács Bitskey /performance/ Zebegény (Hungary): `A helyettesítő asszony (The Substitute)` /performance/ Pécs (Hungary): `A négydimenziós ablak (The Four-dimensional Window)` with Tamás Szalay /performance/ 1995 Marseille (France), International Poetry Centre / Centre International de Poèsie: `Kassák` /performance/ 1996 Marseille (France), Meyer Gallery / Galerie Meyer: `L’ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ Ajaccio – Corsica (France): `L’ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ 2000s[edit] 2002 Novi Sad (Serbia), Cultural Centre of Novi Sad / Kulturni Centar Novog Sada, INFANT (International Festival of Alternative and New Theatre): `Fűketrec / Grass-cage` 2003 Novi Sad (Serbia), Chamber Theatre of Music / Kamerno Pozorište Muzike, INTERZONE Festival: `Tesla – Project` /performance/ 2004 Monza (Italy) /performance/ Salerno (Italy) /performance/ Novi Sad (Serbia), Chamber Theatre of Music / Kamerno Pozorište Muzike, INTERZONE Festival: `Tesla – Project` Budapest (Hungary), A38 Ship / A38 hajó: `Lomtalanítás` (Cleaning the House) /performance/ Budapest (Hungary), Ludwig Museum – Museum of Contemporary Art / Ludwig Múzeum – Kortárs Művészeti Múzeum: `Torony-Lomtalanítás` (Cleaning the Tower-House) /performance/ 2005 Terény (Hungary), Expanzió Festival: `Angel` /performance/ 2006 Budapest (Hungary), Serbian Theatre in Hungary / Magyarországi Szerb Színház / Srpsko Pozorište u Mađarskoj: `Tesla`, /audio-visual oratorio/ Otterlo (Netherlands), Kröller-Müller Museum: `Change Art` /action/ Amsterdam (Netherlands): `Tesla` /performance/ Novi Sad (Serbia), Sport and Activity Centre of Vojvodina / SPENS Sportski i Poslovni Centar Vojvodina, Inventors Association of Vojvodina, TeslaFest: `Tesla` /performance/ 2007 Nové Zámky (Slovakia), Art Gallery / Galéria Umenia: `Gyakorlatok üres húrokon – Kassák-kód` (Exercises on Empty Strings - Kassák Code) /performance/ Budapest (Hungary), Erlin Club Gallery / Erlin Klub Galéria: `Fűketrec` (Grass-cage) /performance/ Budapest (Hungary), Mu Theatre / Mu Színház: `Az Eszmélet szövedéke` (The Weave of Consciousness) (with Péter Bajka, Bern Atom Santi, Eszter Bereczky, Zsófia Varga) /performance/ Verőce (Hungary), Ekszpanzió XX Festival: `Tesla, Audio-visual Oratorio` /performance/ Szigliget (Hungary), Artist House of the Hungarian Public Foundation for Creative Art / Magyar Alkotóművészeti Közalapítvány Alkotóháza, József Attila Kör 18. irodalmi tábora (18th Literary Camp of the József Attila Circle): `Az Eszmélet szövedéke` (The Weave of Consciousness) (with Péter Bajka, Bern Atom Santi, Eszter Bereczky, Zsófia Varga) /performance/ 2008 Budapest (Hungary), Petőfi Literary Museum / Petőfi Irodalmi Múzeum, A Szépírók Társasága V. őszi irodalmi fesztiválja – Nők a férfi birodalomban (5th Autumn Literary Festival of the Hungarian Belletrist Association – Women in a Men`s World): `Diptichon` (with Endre Szkárosi), performance Belgrade (Serbia), ARTGET Gallery – Cultural Centre Belgrade / Galerija ARTGET – Kulturni Centar Beograda (World Poetry Day): `Tesla – Homo Galacticus` /performance/ Szigliget (Hungary), József Attila Kör 20. irodalmi tábora (20th Literary Camp of the József Attila Circle): `Trip-ti-chon` (with Veronika Czapáry), performance Budapest (Hungary), Irodalmi Centrifuga (Literary Centrifuge): `Trip-ti-chon` (with Veronika Czapáry), performance Bratislava (Slovakia), Ars Poetica Medzinárodny Festival Poézie /The 6th Ars Poetica International Poetry Festival /sound poetry performance[9] 2009 Visegrád (Hungary), The Roof Terrace of King Matthias Museum / A Mátyás Király Múzeum tetőterasza, Ekszpanzió XXI Festival: “Kerub` (Cherub) /performance/ 2010s[edit] 2010 Budapest (Hungary), Gallery A22 / A22 Galéria, Tibor Papp`s Exhibition Opening: `Óraköltemény` (Poem-Clock) /performance/ Subotica (Serbia), Kosztolányi Dezső Theatre / Kosztolányi Dezső Színház: `Tesla – Homo Galacticus` /performance/ Budapest (Hungary), Millenáris Theatre / Millenáris Teátrum, Book Festival: `Szabadkőműves szex` (Freemason Sex) (with drMáriás) /performance/ Štaglinec (Croatia), `Voda` – `Water` Međunarodni Susret Umjetnika (International Art Festival): `Veliko spremanje` (Spring Cleaning) /performance/ Eger (Hungary), Small Synagogue Gallery of Contemporary Art / Kis Zsinagóga Kortárs Galéria, artAlom élőművészeti fesztivál (artAlom Performing Arts Festival): `Bukott angyalok` (Fallen Angels) /performance/ Szeged (Hungary) – Subotica (Serbia), Railway line, Kultúrcsempész Sínbusz Fesztivál (Culture-smuggler Railbus Festival): Megaphone-assisted readings by Gábor Virág, Slobodan Tišma, Gábor Lanczkor, Tamara Šuškić, Vladimir Kopicl, Katalin Ladik, Siniša Tucić, Roland Orcsik 2011 Budapest (Hungary), Kunsthalle (Palace/Hall of Art) / Műcsarnok: `Preparababrakabaré` /performance/ Marseille (France), Museum of Contemporary Art / Musée d`Art Contemporain, Poésie Marseille 2011, 8ème Festival (8th Marseille Poetry Festival, 2011): `Le Grand Ménage` (Spring Cleaning) /performance/ Târgu Mureș (Romania), National Theatre - Small Hall / Teatrul Naţional – Sala Mică, Testet öltött szavak rendezvény (Words Embodied – Event series): `Alice` /performance/ Budapest (Hungary), Mu Theatre / Mu Színház, Ismeretlen kutatása improvizációs alkotóműhely (Searching the Unknown – Improvisational Workshop): `Hangmozdulat` (Sound Movement) (with Kati Dombi) /performance/ 2012 Budapest (Hungary), Hungarian Writers` Association / Magyar Írószövetség: XXIV. Ekszpanzió Festival, `Idézet` Szimpozion és Kiállítás (`Quotation` Symposium and Exhibition): `Ásó, kapa, nagyharang` (`Till Death` lit.: Spade, Hoe and Bell) /performance/ Komárom (Hungary), Fort Monostor – Film Museum / Monostori Erőd – Filmmúzeum, Mediawave 2012 Festival: `Nagytakarítás` (`Spring Cleaning`) /performance/ Łódź (Poland), MS2 – Lodz Museum of Art / MS2 – Muzeum Sztuki w Łodzi: `Alicja w krainie kodów` (Alice in Codeland) /performance/ Budapest (Hungary), Address: 8th district, Pál street 6.: Gödör bújócska – irodalom, zene, film, tánc, színház, beszélgetés (Gödör Club Hide-and-seek – literature, music, film, dance, theatre, discussions) /sound poetry performance/ Ottawa, Ontario, Canada, City Hall Art Gallery, A B Series Workshop: `Nagytakarítás` (`Spring Cleaning`) /performance/ Ottawa, Ontario, Canada, Arts Court Theatre, A B Series: `Alice Kódországban` (`Alice in Codeland`) /performance/[10] 2013 Budapest (Hungary), Óbudai Társaskör, Kassák Museum, Kassák Year: `Alice Kódországban` (Alice in Codeland) /performance/[11] Hvar (Croatia), 17th International Festival of Radio Plays and Documentary Radio Dramas PRIX MARULIĆ, „Tesla. Homo Galacticus” /performance/ Székesfehérvár (Hungary), Vörösmarty Theatre Studio, Contemporary Art Festival: `Alice Kódországban` (Alice in Codeland) /performance/[12] Budapest (Hungary), Fuga, Autonómia Filmklub 5, „I Belong to the Band”: Katalin Ladik`s voice on „poets of the absurd on chalk”[13] 2014 Százhalombatta (Hungary), Katalin Ladik - Endre Szkárosi, Slam Poetry /performance/ Budapest (Hungary), Mika Tivadar Vigadó, JazzaJ, Katalin Ladik – Jean Michel van Schowburg, Katalin Ladik – Zsolt Sőrés, „Sounds to Go” (Hangok elvitelre) /performance/ [14] 2015 Eger (Hungary), Templom Gallery, artAlom Live Art Festival 2015: `Tranzit Zoon`, performance Gothenburg (Sweden), Gothenburg Book Fair `Tranzit Zoon`, performance Vienna (Austria), Campus AAKH Hof 7, Universität Wien, `Singende Schnittmuster – Singing Dress Pattern`, lecture-performance, multimedia slide-show 2016 Poreč (Croatia), Behind the Scenes with Katalin Ladik! Artists on Vacation: `The Sounds of a sewing machine`, Circe di Parenzo” /performance/,[15][16] Budapest (Hungary), MÜSZI, @Transart Communication, Katalin Ladik & Zsolt Sőrés „Alchemical Wedding” (Alkímiai nász) /performance/ Milano (Italy), FM Centre for Contemporary Art, Non-Aligned Modernity. Eastern-European Art from the Marinko Sudac Collection. Katalin Ladik: “Tranzit Zoon” /performance/ [17] 2017 Athens (Greece), Oval Staircase, Megaron – the Athens Concert Hall, “All the In-Between Spaces”, Concept and direction by: Paolo Thorsen-Nagel. Katalin Ladik: “Follow me into mythology” /performance/ [18] Budapest (Hungary), Urania National Film Theatre, Janus Pannonius Grand Prize for Poetry 2017 Festivities of Hungarian Pen Club. Katalin Ladik: Sound Performance based on Concrete Poems of Augusto de Campos Limassol (Cyprus), Theatro Ena, SARDAM Mixed-media Literary Festival 5th edition, „Live Lecture” /solo sound poetry performance/ Nicosia (Cyprus), Artos Foundation, SARDAM Mixed-media Literary Festival 5th edition „Live Lecture” /solo sound poetry performance/ Limassol (Cyprus), SARDAM Mixed-media Literary Festival 5th edition, `Spring Cleaning`, performance/ Limassol (Cyprus), SARDAM Mixed-media Literary Festival 5th edition, „Wall(ed)”, aRttitude Site-specific dance performance, Katalin Ladik (live sound and voice). Budapest (Hungary), Trafó, „Alice in Codeland” /multimedia performance/ Vienna (Austria), Lobby of Hotel Prinz Eugen, Erste Bank Publication Presentation „Sound Poems” /live performance/ Novi Sad (Serbia), Museum of Contemporary Art Voivodina (MSUV), „K.A.T (Culture – Activism – Theory) Conference”, „Creative Transitions”/live lecture, multimedia and sound poetry performance/ Novi Sad (Serbia), Bulevar Books, „TraNSporteur multilingual poetry” /poetry reading/ Lodz (Poland), House of Literature, „Puls Literary Festival, 2017, Hungarian Day”, „Sounds in Lodz” / live lecture, multimedia performance and live sound poetry performance/ 2018 Berlin (Germany), neue Gesellschaft für bildende Kunst (nBgK), `Alice in Codeland`, multimedia performance Berlin (Germany), Akademie der Künste, „Underground und Improvisation”, „Follow me into Mythology” /live lecture and soloperformance/ Berlin (Germany), Akademie der Künste, „Underground und Improvisation”, „Desire of Touch” /Duoperformance with Natalia Pschenitschnikova/ Budapest (Hungary), Mersz Klub, „Túlélni a documenta 14-et” (Surviving documenta 14) /live lecture and soloperformance/ Budapest (Hungary), Hungarian University of Fine Arts, „Túlélni a documenta 14-et” (Surviving documenta 14) /live lecture with Emese Kürti/ Budapest (Hungary), Közkincs Könyvtár, `MŰVÉSZ + NŐ` (ARTIST + WOMAN), „Feminizmus és művészet ma?” (Feminism and Art Today?), „Túlélni a documenta 14-et” (Surviving documenta 14) /live lecture/ Belgrade (Serbia), Cultural Center of Belgrade, `Spoken Word, World Poetry Day` /poetry reading/ Belgrade (Serbia), Cultural Center of Belgrade, `Spoken Word, World Poetry Day`, `Alice in Codeland` /multimedia performance/ Zagreb (Croatia), „Showroom of Contemporary Sound”, „Transitions” /live lecture/ Rome (Italy), Falconieri Palace (Hungarian Academy in Rome), „Fountains of Rome - Mouth to Lung!” /live lecture and sound performance/ Budapest (Hungary), Három Holló – Drei Raben, „Antracit szájrúd (Antracit mouthpiece) /sound poetry performance/ Berlin (Germany), Akademie der Künste, `19. poesiefestival berlin 2018, Weltklang – Night of Poetry`, sound poetry performance Berlin (Germany), German Centre for Poetry (Haus f’ür Poesie), `lyrikline - Listen to the Poet`, poetry reading and live voice recordings for the archive 2019 Basel (Switzerland), Music Academy of Basel, Master Class in Free Impovisation, „Homo Ludens” (live lecture) Dresden (Germany), Lipsiusbau, „Alice in Codeland” / performance Rotterdam (the Netherlands), DE PLAYER, in collaboration with KRAAK, „BRAUBLFF #8 (Materie und Laut), Memory of Water / sound installation and sound poetry performance Brussels (Belgium), DE PLAYER, in collaboration with KRAAK, „BRAUBLFF #8 (Materie und Laut), „Memory of Water” / sound installation and sound poetry performance Madrid (Spain), Elba Benitez Gallery, „O-PUS” (solo exhibition curated by Adam Budak) / sound poetry performance Paris (France), Palais de Tokyo, The Liberated Voice, Sound Poetry, „Memory of Water” /sound installation 2020s[edit] 2020 London (UK), Café OTO, Tinted Window with issue No.2: Verbivocovisual dedicated to `Materializzazione del Linguaggio`, a 1978 Venice Biennale exhibition curated by Mirella Bentivoglio/ sound installation (Memory of Water) and performance (Tranzit Zoon) [19] Budapest (Hungary), Trafo Gallery, Nyitott műterem #21 (Open Studio), Zoom conversation with Emese Kürti Budapest (Hungary), acb Attachments, „Szerelmem, Sing-her!” (My Love, Sing-her!). Opening of solo exhibition „Sewn Sounds” (Bevarrt hangok) 2021 Veszprém (Hungary), Pannon Várszínház (Pannon Castle Theatre), „Alice Kódországban” (Alice in Codeland)/ performace Budapest (Hungary), Art9 Gallery, „Új szakralitás” (New sacrality) / sound poetry performance Budapest (Hungary), MAMŰ, Opening of the exhibition „Graphic Score” /sound poetry performance [20] Budapest (Hungary), Kassák Múzeum, „A víz emlékezete” („The Memory of Water”), Finissage of the exhibition „Poetry & Performance - Performance Art in Eastern Europe” /sound installation 2022 Budapest (Hungary), Godot Gallery, opening of the exhibition of drMáriás / sound poetry performance [21] Vienna (Austria), Alte Schmiede, „akustische Poesie” („Acoustic poetry”) / sound poetry performance [22] Bratislava (Slovakia), Slovak National Gallery, „Follow me into mythology” / sound poetry performance and live lecture Budapest (Hungary), Kassák Múzeum, „Szkárosi-emlékest” (Memorial evening), „Gyaloghíddal a csillaglejtőn” (Footbridge over the stargate )/sound poetry Berlin (Germany), Collegium Hungaricum, „The Poets’ Sounds” / sound poetry performance Cologne (Germany), Loft, „The Poets’ Sounds” / sound poetry performance London (UK), London Woolwich Works, LCMF (London Contemporary Music Festival) “Sad and Ruined” /sound poetry performance Belgrade (Serbia), „The Poets’ Sounds” / sound poetry performance Limassol (Cyprus), Art Studio 55, SARDAM-Literature Festival, sound poetry and „Tranzit Zoon” performance Workshops with performances (selection)[edit] 2018 Zagreb (Croatia), „Showroom of Contemporary Sound”, „Noćna pjesma morskih ježeva” („Night song of sea lizards”) /improvisation and sounding in visual and concrete poetry workshop for the students of the Department of Animation and New Media of the Fine Art Academy in Zagreb (OZAFIN), as a part of the project Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union/ [23] 2021 Berlin (Germany), Lettrétage im ACUD Studio, Poets’ Sound Production Workshop 1, creation of the visual score „Drei Eier” Cologne (Germany), LOFT Cologne, Poets’ Sound Production Workshop 2, finalizing the visual score „Drei Eier” Berlin (Germany), Collegium Hungaricum Berlin, Poets’ Sound Production Workshop 3, rehearsal of the visual score based performance „Drei Eier” Concerts, musical performances (selection)[edit] 1969 Opatija (Croatia): Jugoslovenska muzička tribina (Yugoslav Music Tribune) (Ernő Király: Refleksija) 1970 Opatija (Croatia): Jugoslovenska muzička tribina (Yugoslav Music Tribune) (Ernő Király: Refleksija; Branimir Sakač: Bellatrix - Alleluja) Novi Sad (Serbia): Muzika i Laboratorija (Music and Laboratory) (with Ernő Király) Osijek (Croatia): Annale komorne opere i baleta (Annual festival of chamber opera and ballet) 1971 Zagreb (Croatia): Muzički biennale (Music Biennale – International Festival of Contemporary Music) (MBZ Radionica/Workshop II with Ernő Király, et al.; Chamber Music - Branimir Sakač: Bellatrix - Alleluja) Dubrovnik (Croatia): Dubrovačke ljetne igre (Dubrovnik Summer Festival) (ACEZANTEZ Ensemble) Radenci (Slovenia): Festival sodobne komorne glazbe (Contemporary Chamber Music Festival) 1972 Munich (Germany): (Cultural Program of the 1972 Summer Olympics) (ACEZANTEZ Ensemble) Radenci (Slovenia): Festival sodobne komorne glazbe (ACEZANTEZ Ensemble) (Contemporary Chamber Music Festival) Osijek (Croatia): Annale komorne opere i baleta (ACEZANTEZ Ensemble) (Annual festival of chamber opera and ballet) Novi Sad (Serbia), ‘Radivoj Ćirpanov’ Workers’ University / Radnički univerzitet ‘Radivoj Ćirpanov’ (ACEZANTEZ Ensemble) Belgrade (Serbia), Studentski kulturni centar (Student Cultural Centre) – Festival Expanded Media (ACEZANTEZ Ensemble) 1979-2012 Belgrade (Serbia), Dom Sindikata – BEMUS Belgrade Music Festival: “Oratorio Profano” (composer: Dušan Radić, conductor: Oskar Danon) Opatija (Croatia): Jugoslovenska muzička tribina (Yugoslav Music Tribune) Budapest (Hungary), Spiritus Noister Group, 1996, 2002, 2004, 2007, 2008, 2009, 2010, 2011, 2012 Budapest (Hungary), Italian Cultural Institute / Olasz kultúrintézet / Istituto Italiano di Cultura, Avantgárd művészetek a világban: mi lett a sorsuk? Nemzetközi tanácskozás (Avant-garde Arts in the World: What About Them? International conference): `Futurdadama (Futurdada Today)`, Spiritus Noister, 2001 Vienna (Austria), Spiritus Noister Group, 2004 Szentendre (Hungary), Spiritus Noister Group, 2009 Szekszárd (Hungary), Spiritus Noister Group, 2012 2016 Budapest (Hungary), Művelődési Szint (MÜSZI), „@Transart Communication 2016”, „Alchimist Wedding” /concert and live sound performance with Zsolt Sőrés/ Veszprém (Hungary), House of Arts, „Alkímiai mennyegző” („Alchimist Wedding”) /concert and live sound performance with Zsolt Sőrés/ Budapest (Hungary), Müpa, UH Fest, Spiritus Noister /concert and live sound performance with Endre Szkárosi, Zsolt Sőrés, László Lenkes/ Budapest (Hungary), Kassak Museum, „Dadarabok” /concert and live sound performance with Endre Szkárosi, Zsolt Sőrés, László Lenkes/[24] 2017 Budapest (Hungary), 2017: Muted and silent films with live music series, I Belong To The Band vs. Berberian Sound Studio 2018 Debrecen (Hungary), MODEM, Katalin Ladik: „Határidőnapló” („Diary Book”) /concert and live sound performance with Gyula Várnai/ Veszprém (Hungary), 2018, House of Arts, „Spring Reopening, We believe in life before death”, „Claes Oldenburg: I am for an Art” /concert and live sound performance with Gyula Várnai/ Basel (Switzerland), IGNM, Ackermannshof, Free Improvisation based on graphic scores of Ernő Király and Katalin Ladik Budapest (Hungary), FUGA Centre for Architecture, Design Week, Attila Dóra (bass clarinate), Katalin Ladik (vocal) Budapest (Hungary), Budapest Music Center (BMC), Wortlaute II, Transparent Sound New Music Festival, Ladik Katalin, „Ha múlna e láng” 2019 • Belgrade (Serbia), artist in residence at the Radio Beograd Electronic Studio, Katalin Ladik and Svetlana Maraš have created three new pieces (Electric Bird, White Bird and Ice Bird) [25] Speech-music performances[edit] Author „Drei Eier” (German, Serbian, Hungarian), presented by Sprechbohrer (Sigrid Sachse, Harald Muenz and Georg Sachse), „Drei Eier” (German, Serbian, Hungarian) [26] Theatre[edit] As an actress[edit] Jean-Paul Sartre: The Condemned of Altona; dir. István Lányi; Ifjúsági Tribün (Tribina Mladih / Youth Tribune); Novi Sad (Serbia); 1963 Imre Sarkadi: Elveszett Paradicsom (Paradise Lost); dir. Tibor Gellér; Petőfi Sándor Művelődési Egyesület (’Petőfi Sándor’ Cultural Association); Novi Sad (Serbia); 1963 Molière: The Imaginary Invalid (Béline); dir. Ljubica Ravasi; Srpsko Narodno Pozorište (Serbian National Theatre); Novi Sad (Serbia); 1966 (Exam Piece) Sándor Guelmino: Özvegy (Widow); dir. Tibor Vajda; Echo (az Újvidéki Rádió és az Ifjúsági Tribün színpada / the joint theatre of Radio Novi Sad and the Youth Tribune); Novi Sad (Serbia); 1969 Ferenc Tóth (text) – Ernő Király (composer): Jób (Job) (Performer – Recitative); dir. István Szabó, Jr.; Népszínház / Narodno Pozorište u Subotici (National Theatre in Subotica); Subotica (Serbia); 1972 István Örkény: Macskajáték (Cats` Play) (Ilus); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1974 Peter Weiss: How Mr. Mockinpott was cured of his Sufferings (First Angel/First Nurse); dir. Radoslav Dorić; Róbert Bambach; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1974 Ödön von Horváth: Tales from the Vienna Woods (Emma); dir. Róbert Bambach; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1975 Gergely Csiky: Mukányi (Ella); dir. Mihály Virág; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1976 Valentin Kataev: Squaring the Circle (Tanya); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1977 Molière: Dom Juan or The Feast with the Statue (Mathurine); dir. Dušan Sabo; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: Three Sisters (Masha); dir. György Harag; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1978 Ödön von Horváth: Tales from the Vienna Woods (Emma); dir. Péter Telihay; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: The Cherry Orchard (Charlotta Ivanovna); dir. György Harag; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1979 Ottó Tolnai: Végeladás (Clearance Sale) (Mrs Csömöre); dir. Mihály Virág; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1979 Gyula Hernádi: V.N.H.M. Szörnyek évadja (V. N. H. M. - Season of Monsters); dir. Miklós Jancsó; Summer Theatre in Gyula; Várszínház; (Hungary); 1980 Edward Albee: Everything in the Garden (Cynthia); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1980 Angelo Beolco (Il Ruzzante): La Betia; dir. Radoslav Dorić; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1981 Ottó Tolnai: Bayer Aspirin (The Actress); dir. Miklós Jancsó; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1981 Ferenc Deák: Nirvana (Csontos Vali); dir. István Szabó Jr.; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1981 Bertolt Brecht: Baal (Emilie); dir. Milan Belegišanin; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1983 Dezső Kosztolányi: Anna Édes ( Mrs Druma); dir. György Harag; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1983 Alexander Vvedensky: Jelka kod Ivanovih (Christmas at the Ivanov’s) (Mother Puzirjova); dir. Haris Pašović; Akademsko Pozorište “Promena” (“Change” Academic Theater); Novi Sad; (Serbia); 1983 Mihály Majtényi: Harmadik ablak (The Third Window) (Mrs Lódi); dir. György Hernyák; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1984 Alfred Jarry: Ubu Roi (Mama Ubu); dir. Tibor Csizmadia; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1984 Gyula Gobby Fehér: A Duna menti Hollywood (Hollywood by the Danube) – Multimedia Performance About the Life of Ernő Bosnyák (The Baron`s Lover); dir. Károly Vicsek; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1985 Ivo Brešan: Anera (Anera); dir. Dimitar Stankoski; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1985 Peter Shaffer: Equus (Hesther Salamon); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1985 Howard Barker: The Castle (Skinner); dir. David Gothard; Népszínház / Narodno Pozorište u Subotici (National Theatre in Subotica); (Serbia); 1986 Friedrich Dürrenmatt: The Visit (First Woman); dir. Radoslav Dorić; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1986 István Örkény: Forgatókönyv (Screenplay) (Mrs Littke); dir. Ljubisa Georgievski; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1986 István Örkény: Tóték (The Tót Family) (Mrs Tót); dir. Gábor Székely; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1987 Edward Albee: A Delicate Balance (Julia); dir. Mihály Virág; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1987 Jordan Plevnes: „R” (Katerina); dir. Ljubisa Georgievski; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1987 Johann Wolfgang von Goethe: Clavigo (Soffe); dir. Vladimir Milcin; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1988 Samuel Beckett: Happy Days (Winnie); dir. Radoslav Lazić; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1988 Henrik Ibsen: An Enemy of the People (Mrs Stockmann); dir. Želimir Orešković; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1989 Ferenc Molnár (Franz Molnar): Liliom (Mrs Muskát); dir. László Babarczy; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1990 Ede Tóth: A falu rossza, avagy a negyedik ablak (The Village Rogue; Or, the Fourth Window) (Mrs Tarisznyás); dir. Hernyák György; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1990 Ottó Tolnai: Paripacitrom (lit. Steed dung) (Krisztina); dir. Péter Tömöry; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1991 Marcel Achard: L`Idiote (A Shot in the Dark) (Chief Inspector`s Wife); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1991 Bertolt Brecht: Mother Courage and Her Children (Mother Courage); dir. Lajos Soltis; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1991 Józsi Jenő Tersánszky: Kakuk Marci (Her Ladyship); dir. Lajos Soltis; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1992 Jean Anouilh: The Orchestra (Cello); dir. Voja Soldatović; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1992 Péter Nádas (text) – László Vidovszky (composer): Találkozás (Encounter) (Mária); dir. András Éry-Kovács; Shure Studio; Budapesti Kamaraszínház (Chamber Theatre in Budapest); (Hungary); 1997 Boris Vian: Vercoquin et le Plancton (Vercoquin and the Plankton) (Léon Charles Miqueut sous-ingénieur principal di CNU / Sub head-engineer at CNU); dir. Róbert Csontos; Kolibri Színház (Kolibri [’Hummingbird’] Theatre); Budapest (Hungary); 1997 Sean O´Casey: Bedtime Story (Landlady); dir. Pál Kanda; Függeten Színpad III társulata (3rd Company of Independent Theatre); Kolibri Pince (Kolibri [’Hummingbird’] Cellar Theatre); Budapest (Hungary); 1998 László Najmányi: Adieu Monsieur Bloom – Cabaret Noire (Nora Barnacle); dir. László Najmányi; Les Fleurs du Mal; `The Thinking Man`s Living Theatre`; Mu Színház (Mu Theatre); Budapest; (Hungary); 2003 László Najmányi: A száműzött Joyce / The Exiled Joyce (Nora Barnacle); dir. László Najmányi; Bloomsday Festival; Szombathely; (Hungary); 2003 Radoslav Zlatan Dorić: Ne daj Bože, da se Srbi slože / Ne adj isten, szerbek egyesülnek (God Forbid That the Serbs Should Agree) (Ruska); dir. Radoslav Zlatan Dorić; Magyarországi Szerb Színház / Srpsko Pozorište u Mađarskoj (Serbian Theatre of Hungary); Budapest; (Hungary); 2004 László Najmányi: Nova Necropola. Cabaret Noire (Nora Barnacle); dir. László Najmányi; Mu Színház (Mu Theatre); Budapest; (Hungary); 2004 László Najmányi: Az igazi Blum (The Real Blum /Bloom/) (Nora Barnacle); dir. László Najmányi; ReJoyce Festival; Szombathely; (Hungary); 2004 György Baráthy: Origami (I Woman); dir. György Baráthy; Artéria Színházi Társaság (Theatre Company “Artéria”); RS9 Studio Theatre; Budapest; (Hungary); 2005 Torkolat/Estuary (Unborn child), dir: Al Farman Petra (Freeszfe), Freeszemle, Király fürdő, Budapest (Hungary), 2022 Szabadkai szecesszió/Art Nouveau in Subotica based on George Tabori’s My Mother’s Courage (Mother), dir: Zlatko Paković, Kosztolányi Dezső Színház. Subotica, 2021 As a director[edit] The Last Chapter by Navjot Randhawa, performed by the‘Theatre of Roots and Wings’ and Punjab Sangeet Natak Akademi in P