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Kolekcionarstvo i umetnost chevron_right Muzika i film
karaoke zvuÄnik blutut sonivox - ss2362 ZVUÄNIK SONIVOKS VS-SS2362 KARAKTERISTIKE: Visok oko 60 cm Ć irine oko 25 cm -2x6.5 "subvoofer -taster za ukljuÄivanje -savremena LED svetla-automatski tragaÄ frekvencije u FM -Super power bass/ k-bass funkcija -karaoke efekat -beĆŸiÄni mikrofon -prioritet jaÄine zvuka mikrofona -super taster za malu jaÄinu zvuka -3,5 mm AUX ulaz -Ulaz USB ÄitaÄa -6,5 mm mikrofonskog ulaza -6,5 mm ulaz za gitaru -Bluetooth -Maksimalna snaga: 300w -Frekvencija odziva: 100Hz-18KHz -S / N odnos> 80DB -Izlazna impedansa: 4 oma -DC 9V ulaz - Vreme reprodukcije: pribliĆŸno 6 sati. - Vreme punjenja: 5 do 6 sati. SADRĆœAJ KUTIJE: ZvuÄnik, Kabl za napajanje , BeĆŸiÄni mikrofon , Daljinski upravljaÄ . karaoke zvuÄnik blutut sonivox - ss2362
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Kolekcionarstvo i umetnost chevron_right Muzika i film
VASI (Kristian VasiljeviÄ) DirĂ€ggt Us Em Milieu (2LP) Made in Switzerland IzdavaÄ: Milieu Records (MIL0002) 2001. godina A1. Entro A2. Hard Headed A3. Im Griff? (Featuring â Kalmoo, Phil Pro) A4. 10 Cop Commandments ( Featuring â PVP) A5. Trajko Vs. Fred P B1. Schinwelt (Featuring â Tafs) B2. Ljuba B3. Ăr WĂ€mm Welle (Featuring â DJ Philister, Red Gee) B4. Isch Nit Alles (Featuring â Black Tiger) B5. Miliö C1. KĂ€se (Featuring â Kalmoo, Poet, Red Gee) C2. Vasi Ă Bomb C3. So Good (Featuring â Sunanda) C4. Aight Rmx (Featuring â Magor, Spooman) C5. 1 Liebi (Featuring â Rokator) D1. Valued Products (Featuring â DJ A.L.K., MC Trig) D2. Ăhm (Featuring â MC Rony) D3. Rotten Skiz D4. So Isch Es (Featuring â Zora) D5. Majorkakerlaken OÄuvanost: Omot 4+ ka 5- I vinil 4+ ka 5- (odliÄan za sluĆĄanje) II vinil 4+ ka 5- (odliÄan za sluĆĄanje)
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Kolekcionarstvo i umetnost chevron_right Knjige
Venom: Along Came A Spider... It's Venom vs. Spider-Man once again... for the first time! Eddie Brock takes on a very different web-slinger: Ben Reilly! With Venom a wanted man and Eddie's ex-wife Anne Weying caught in the middle, a deadly rivalry is reborn! And when the symbiote-hunting alien Xenophage targets Venom, this time it's Eddie's brain in danger of being eaten! Meanwhile, four imprisoned symbiotes join together to become Hybrid - but how will this unstable new hero be judged by the Jury? And as Venom's hunger threatens to overwhelm him, can Eddie keep his 'other' in check - or will everyone's favourite symbiote become a crazed cannibal killer? Either way, Venom's in for a world of hurt - courtesy of Dr. Paine! Collecting: Venom: Along Came A Spider 1-4, Venom: The Hunted 1-3, Venom: The Hunger 1-4, Material From Spider-Man Holiday Special 1995
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Kolekcionarstvo i umetnost chevron_right Knjige
Amazing Spider-Man Epic Collection: Kraven's Last Hunt Peter Parker and Mary Jane Watson are getting married! But Kraven the Hunter is going to make sure the wall-crawler ends up six feet under - literally! It begins with an all-time classic encounter with Wolverine that changes Spidey's life forever, leading to the death of one of his best friends! In the wake of tragedy, Peter pops the question - but the honeymoon is short-lived, as Kraven goes to extreme lengths to prove himself superior to his greatest foe! As one of comics' most introspective, psychological sagas ever unfolds, the Hunter will learn that it's one thing to defeat Spider-Man - but another to expect him to stay down! Collecting: Amazing Spider-Man (1963) 289-294; Amazing Spider-Man Annual (1964) 20-21; Spider-Man vs. Wolverine (1987) 1; Web of Spider-Man (1985) 29-32; Peter Parker, the Spectacular Spider-Man (1976) 131-132
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Kolekcionarstvo i umetnost chevron_right Knjige
VSI: Wataboku Art Book This book is a collection of artworks by wataboku, the digital artist who continues attracting attention both in Japan and worldwide. The artist's illustrations of beautiful, yet somewhat shadowy, shojo girls, rendered with a watercolor touch, have been acclaimed on social media not only in Japan but across the world. This book comprehensively covers wataboku's work, from works presented at solo exhibitions around the world to more recent works. The title VSI means "VS (versus)" "I (myself)," and comes from the wakaboku's desire to "highlight the importance of feelings I had as a teenager, which forms the basis of my work. Or to put it bluntly, to focus on a time when I was 'edgy.'" This book offers a complete archive that condenses five years of evolution since wataboku's first art book was released. Even as the environment around them changed, wataboku continuously protected this sense of self, which has been the central pillar and source of creation for the artist's work.
Batman Vs. Superman Dawn Of Justice Tech Manual Book: `This is a beautiful volume that thoroughly reviews the props, vehicles, and sets used on Batman v. Superman. Itâs kind of mind blowing the level of detail the film makers put into the practical effects.` - Atomic Moo âGorgeous...serves as a sterling tributeâ - The Film Stage âFans of movie props will appreciate the detailed photos of the hand weapons.` - Borg.com âIf you enjoyed watching the DC Cinematic Universe unfold in Batman v Superman: Dawn of Justice and all the Batman-tech stuff, then you definitely want to pick this book up!â - Retrenders âNewell and Gosling have outdone themselves here, providing excellent details and photos of the many varied bits of technology in the film.` - Cinema Sentries âA veritable pearlâ - Artbook Passion âBatman v Superman: Dawn of Justice Tech Manual is a definitive guide to the weaponry and props created for the movie. It closely examines the Utility Belt, the Batwing, grappling hook and batarang. Everything in the Batcave is explored down to the construction of the set and the graphics from Bruce Wayneâs mainframe.â - Forces of Geek gift guide Hardcover: 176 pages Stanje Novo
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Autor: Bradley R Schiller Povez: tvrd Br. strana: 851 Format: 22,5x28 Kolor! Brad Schiller`s text, The Economy Today, 11e, is noted for three great strengths: readability, policy orientation, and pedagogy. His accessible writing style engages students and brings some of the excitement of domestic and global economic news into the classroom. Schiller emphasizes how policymakers must choose between government intervention and market reliance to resolve the core issues of what, how, and for whom to produce. This strategic choice is highlighted throughout the full range of micro, macro, and international issues. Every chapter ends with a policy issue that emphasizes the markets vs. government dilemma. And Schiller packs his chapters with the facts of economic lifeâreal stories and applications. This is a book that teaches economics in a relevant context with careful pedagogy. It is also the only principles text that presents all macro theory in the single consistent context of the AS/AD framework. Schiller, 11e is for students motivated by real-world policy issues who want to become economically literate. This is a book students actually READ. Schiller is also known for its cutting-edge and current coverage of todayâs issues.
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Faviken Witty, candid, and insightful: Magnus Nilsson's ode to his extraordinary restaurant, Faviken In 2019, Magnus Nilsson closed Faviken, his one-of-a-kind restaurant in remote Sweden - a difficult decision, as it was close to his heart and at the height of its success. Here is the Faviken story: how it became a world-class destination, how the industry it was a part of has changed, and why Magnus eventually elected to pursue new projects. Faviken: 4015 Days, Beginning to End is a vital commentary on food culture today and includes illuminating essays on subjects as wide ranging as creativity; balancing familial responsibilities while running a restaurant; the hypocrisy of sustainability in restaurants; the search for lagom; social media; imitation vs. plagiarism; haute cuisine; the art of hospitality; and the importance of craft over innovation. The book also includes a chronological list of every dish ever served at the restaurant and highlights 100 memorable recipes. The book's stunning photography includes a mixture of archival photographs and newly shot images of the food, the restaurant, the staff, and the surrounding setting of Northern Sweden.
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Kolekcionarstvo i umetnost chevron_right Muzika i film
US izdanje iz 2006 godine, za NIKE kompaniju, vrlo retko! U vrlo dobrom stanju, sadrzi dvostrani booklet Album ,,DRIVEââ je prvobitno zamiĆĄljen kao deo Nike+Original Run serije kao soundtrack koji vodi sportiste kroz progresivni 45-minutni trening, od zagrevanja do opustanja. Zanr: Electronic Stil: Breakbeat, Breaks Zadnji put preslusan 10.02.2024. Tracklist: Drive 44:58 1 The Crystal Methodâ Starting Line 2:02 2 The Crystal Methodâ It`s Time 4:51 3 The Doors vs. The Crystal Methodâ Roadhouse Blues (Original Dub) 6:05 4 The Crystal Methodâ It Hertz 5:17 5 The Crystal Methodâ Do It (Dub Pistols Mix) 5:24 6 The Crystal Methodâ Don`t Stop 4:57 7 The Crystal Methodâ Brand New Kicks 4:16 8 The Crystal Methodâ Bad Ass (Rogue Element Mix) 5:24 9 The Crystal Method Featuring Charlotte Martinâ Glass Breaker (Force Mass Motion Mix) 5:34 10 The Crystal Methodâ Finish Line 1:03 Full Length Bonus Tracks 25:07 11 The Crystal Methodâ It Hertz 6:07 12 The Crystal Methodâ Don`t Stop 5:21 13 The Crystal Methodâ Bad Ass (Rogue Element Mix) 7:02 14 The Crystal Method Featuring Charlotte Martinâ Glass Breaker (Force Mass Motion Mix) 6:35
58963) TRANSONIC AERODYNAMICS NUMERICAL ANALYSIS , PetroviÄ Z. , Stupar S. , Mechanical Engineering Faculty University of Belgrade 1996 ; Contents : 1 Introduction 1.1 Preliminary Remarks. 1.2 Governing Equations 1.3 Simplifications to the Governing Equations 1.3.1 Definition of an Adiabatic Flow. 1.3.2 Definition of an Irrotational Flow 1.3.3 Crocco`s Theorem 1.3.4 Isentropic Gas Relation 1.4 Algebraic Form of Energy Equation for Steady Adiabatic Flow 1.5 The Isentropic Form of the Energy Equation 1.6 The Momentum Conservation Laws. 1.7 Isentropic Shocks vs. `Real World Shocks` 1.7.1 Rankine-Hugoniot approach 1.7.2 Isentropic approach 1.8 Techniques for Handling Shocks in Potential Flow Calculations 1.9 Summary 2 Transonic Small Disturbance Equation 2.1 Preliminary Remarks. 2.1.1 Treatment of Flow Angle of Attack 2.2 Definition of Disturbance Potential 2.3 BoundĐ°ry Conditions for Flow at the Body Surface 2.4 Derivation of the TSD Equation 2.5 Properties of the TSD Equation. 2.6 Finite Difference Terminology 2.7 Conservation Form vs. Non-Conservation Form 2.8 Finite Difference Expression Form of the TSD Equation in Subsoni 2.9 Murman-Cole Switching in supersonic Regions 2.10 Discretization Error Associated with Equation (2.2) 2.11 Loss of Conservation Property due to Switching 2.12 Murman-Cole Switching in Conservation Form 2.13 Application of Boundary Conditions 2.13.1 Region Ahead of the Leading Edge: (1 2.13.2 Region of the Slit: (ILE SITE) 2.13.3 Region Downstream of the Trailing Edge: (ITE << Imax 2.14 Far Field Boundary Conditions 2.15 Relaxation Procedure for the TSD Equation 2.15.1 Gauss-Seidel Scheme 2.16 The Point Successive Over-Relaxation (SOR) Scheme 2.17 The Line Gauss-Seidel Iteration Scheme 2.18 The Thomas Algorithm 2.19 Solution of the SLOR Scheme to TSD Equation 2.20 Summary 3 The Transonic Full Potential Equation 3.1 Introduction 3.2 Jameson`s Rotated Difference Scheme 3.3 Transformation of the Continuity Equation to a Curvilinear Coordina System. 3.4 Boundary Conditions. 3.4.1 Boundary Condition at the Solid Surface 3.4.2 Boundary Conditions at the Far Field... 3.5 Governing Equation for Axisymmetric Flows in the Transformed Plan 3.6 Construction of the Body-Fitted Coordinate system... 3.6.1 H-grid, algebraic approach 3.6.2 O-grid, algebraic approach. 3.7 Construction of C-Grids Around Airfoils 3.8 Generation of the Orthogonal Grid... 3.9 Discretization of the Governing Equation 3.10 Computation of Metrics at Half Points 3.11 Computation of Densities and Contravariant Velocities.. 3.12 Relaxation Procedure for Solving the Full Potential Equation 3.12.1 Interior Points 3.13 Summary 4 Numerical Technique for Designing Airfoils 4.1 Introduction. 4.2 Optimization Approach 4.2.1 Design Objective 4.2.2 Design Point 4.2.3 Starting Point. 4.2.4 Design Variables 4.2.5 Design Constraints 4.2.6 Black Box. 4.3 CONMIN to Black Box Coupling. 4.3.1 Optimization Process 4.4 Inverse Design Techniques. 4.5 Carlson`s Inverse Design Technique.. 5 Unsteady Transonic Potential Flow 5.1 Introduction. 5.2 Governing Equations 5.3 Unsteady Transonic Small Disturbance Equation 5.4 Boundary Conditions. 5.5 Low-Frequency Approximation 5.6 Characteristic of the Low-Frequency Transonic Small Disturbance Equation. 5.7 Discretization of the Low-Frequency Small-Disturbance Equation. A Solution of the diagonal system of equations A.1 Three diagonal Equation System A.2 Quad-Diagonal Matrix System B Selected Papers paperback, size 20,5 x 29 cm , English , 152 pages
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Kolekcionarstvo i umetnost chevron_right Knjige
Iz recenzije: Glavna tema knjige ââLipicanciââ (naslov izvornika: ââDier, bovendierââ, doslovno prevedeno: ââĆœivotinja, nadĆŸivotinjaââ) naizgled je vrlo posebna ĆŸivotinja: najstarija kultivirana pasmina konja â lipicanac. Westerman je ispriÄao tu priÄu na sebi svojstven naÄin, kao vrlo osoban dijalog s »glavnim protagonistom«. Ali lipicanac u stvari nije glavni protagonist ove knjige, nego samo lajtmotiv, misao vodilja, oko koje autor isprepliÄe cijeli niz priÄa, Äesto se udaljavajuÄi od teme, da bi se opet vratio na polaznu toÄku. Stvarna tema knjige nije samo jedna, autor dotiÄe i isprepliÄe niz tema u fascinantnu cjelinu. Jedna je od njih svakako pitanje koju ulogu igra nasljednost a koju okolina u nastanku odnosno izraĆŸenosti rasnih obiljeĆŸja (nature vs. nurture) â u konja kao i u ljudi (npr. suludih pokuĆĄaja »oplemenjivanja« pod Hitlerom, Staljinom i Ceausescuom) sve do genetskih laboratorija naĆĄeg doba. To se pitanje uvijek iznova tematizira u ekskursima o Mendelu, Lisenku, rasnoj ideologiji nacista, mijeĆĄanju naroda i narodnosti u bivĆĄoj Jugoslaviji. Jednako vaĆŸnu ulogu ima i pitanje oblikovanja/definiranja jedne ĆŸivotinjske pasmine prema zamislima i predodĆŸbama ljudi, kao uostalom i ljudi samih u zadanim druĆĄtvenoâpolitiÄkim uvjetima (u faĆĄizmu i u komunizmu). Naposljetku, tu je i pitanje odnosa Äovjeka i ĆŸivotinje. Westerman svoju priÄu priÄa iz razliÄitih perspektiva, na temelju burne povijesti raznih ergela lipicanaca (Lipica, Hostau, Lipik) â ĆĄto je ujedno i povijest 20. stoljeÄa. »Ako dotakneĆĄ lipicanca«, reÄeno mu je joĆĄ kao djeÄaku, »dotiÄeĆĄ povijest.« Tu izjavu nikad nije zaboravio, i ovom svojom knjigom zaronio je u povijest Europe: rekonstruirajuÄi povijest Äetiriju naraĆĄtaja rasnih konja i prateÄi ih po cijeloj Europi, od carskih ergela i jahaonica u BeÄu, preko propasti HabsburĆĄke Monarhije, kroz oba svjetska rata i, na koncu, rata na Balkanu.
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Kolekcionarstvo i umetnost chevron_right Knjige
In the Groove: The Vinyl Record and Turntable Revolution Celebrate the 75th anniversary of the first commercial LP with this authoritative, highly illustrated, and multi-faceted look at the history and culture of vinyl record collecting and turntables. Vinyl records continue to be hot commodities among everyone from obsessive audiophiles to newbie collectors getting their toes wet. In the Groove: The Vinyl Record and Turntable Revolution is the book for bothâand everyone in between. Published to mark the 75th year since the introduction of the commercial LP, In the Groove is written by a roster of well-known music journalists, vinyl junkies, and stereophiles teaming up to present a gorgeous tribute to the vinyl LP and the culture it has spawned: â Richie Unterberger explores the history of the 33 1/3 LP, including its predecessor, the 78rpm record, the first commercial LPs, the pressing process, stereo vs. mono, and formats like the 7-inch/45rpm record. â Gillian Gaar tackles those temples to the turntable: record stores. Inside, she examines the history of LP merchandising everywhere from department stores to headshops, Record Store Day, the artist in-store appearance, and swap meets and record shows. â Martin Popoff pens a paean to the physical object itself, discussing the advent of the sleeve, the great LP covers, famous sleeve designers, liner notes and packaging, colored vinyl, and more. â Matt Anniss looks at the collecting hobby and topics like obsessive collectors, what makes a great listening space, playing and caring for vinyl, collecting and vinyl in DJ and hip-hop cultures, and the mixtape phenomenon. â Ken Micallef, a top hifi journalist, has the gearheads covered with explanations of turntables from portables to audiophile-quality units, the workings and parts of a turntable from motors and tonearms to plinths and cartridges, and the components of a system. In the Groove is illustrated throughout with images of gear, listening spaces, record stores, sleeve art, and celebrities and musicians enjoying the vinyl hobby through the decades. Brief, entertaining sidebars cover topics like famous labels from Stax to Sub Pop, famous EPs, well-known record stores, milestone LP covers, a beginnerâs guide to grading, and formats that have challenged the supremacy of the LP, including 8-track, reel-to-reel, and cassette. Feel the groove with this effervescent ode to vinyl. PrikaĆŸi viĆĄe
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Kolekcionarstvo i umetnost chevron_right Muzika i film
Cd - 5, odliÄno stanje! Knjiga 5, 120 strana, Kolekcija najznacajnijih pesama dugovecnog engleskog sastava koji je svijim prepoznatljivim bugi stilom stekao horde poklonika sirom sveta,o grupi u knjizi pricaju i evociraju uspomene mnogi poznati likovi jet set scene Disc 1: 1. `Pictures of Matchstick Men` 2. `Black Veils of Melancholy` 3. `Ice in the Sun` 4. `Make Me Stay a Bit Longer` 5. `Are You Growing Tired of My Love` 6. `The Price of Love` 7. `Down the Dustpipe` 8. `In My Chair` 9. `Tune to the Music` 10. `Paper Plane` 11. `Mean Girl` 12. `Gerdundula` 13. `Caroline` 14. `Break the Rules` 15. `Down Down` 16. `Roll Over Lay Down (live)` 17. `Rain` 18. `Mystery Song` 19. `Wild Side of Life` Disc 2: 1. `Rockin` All Over the World` 2. `Again and Again` 3. `Accident Prone` 4. `Whatever You Want` 5. `Living on an Island` 6. `What You`re Proposing` 7. `Lies` 8. `Don`t Drive My Car` 9. `Something `Bout You Baby, I Like` 10. `Rock n` Roll` 11. `Dear John` 12. `She Don`t Fool Me` 13. `Caroline (live)` 14. `Ol` Rag Blues` 15. `A Mess of Blues` 16. `Marguerita Time` 17. `Going Down Town Tonight` Disc 3: 1. `The Wanderer` 2. `Rollin` Home` 3. `Red Sky` 4. `In the Army Now` 5. `Dreamin`` 6. `Ain`t Complaining` 7. `Who Gets the Love?` 8. `Running All Over the World` 9. `Burning Bridges (On and Off and On Again)` 10. `Not at All` 11. `Little Dreamer` 12. `The Anniversary Waltz â Part One` 13. `The Anniversary Waltz â Part Two` 14. `Can`t Give You More` 15. `Rock `Til You Drop` 16. `Roadhouse Medley (Anniversary Waltz â Part 25)` 17. `Fakin` the Blues` 18. `I Didn`t Mean It` Disc 4: 1. `Sherri, Don`t Fail Me Now!` 2. `Restless` 3. `When You Walk in the Room` 4. `Fun, Fun, Fun` (Status Quo with the Beach Boys) 5. `Don`t Stop` 6. `All Around My Hat` (Status Quo and Maddy Prior from Steeleye Span) 7. `The Way It Goes` 8. `Little White Lies` 9. `Twenty Wild Horses` 10. `Mony Mony` 11. `Old Time Rock `n` Roll` 12. `Jam Side Down` 13. `All Stand Up (Never Say Never)` 14. `You`ll Come `Round` 15. `Thinking of You` 16. `The Party Ain`t Over Yet` 17. `All That Counts Is Love` 18. `Beginning of the End` 19. `It`s Christmas Time` 20. `Come On You Reds` (Manchester United Football Squad and Status Quo) 21. `We`re Gonna Do It Again` (Manchester United Football Squad with Status Quo featuring Stryker) 22. `Jump That Rock! (Whatever You Want)` (Scooter vs. Status Quo)
Knjiga je potpuno nova, necitana, kao iz knjizare. Svoj meÄu tuÄima i tuÄ meÄu svojima : sudbina ruskog oficira i jugoslovenskog generala Fjodora Mahina - Andrej VladimiroviÄ Ganin IzdavaÄ: Evoluta Godina izdanja: 2021 Broj strana: 464 Format: 22 cm Povez: Tvrdi RoÄen je u tradicionalnoj kozaÄkoj oficirskoj porodici u Sibiru, napredovao je u Äinovima kao frontovski oficir u Prvom svetskom ratu. Po izbijanju revolucije je stupio u najcrveniju partiju â kod social-revolucionara odnosno âeseraâ. Posle Oktobarske revolucije je priĆĄao boljĆĄevicima kod kojih je pravio karijeru âvojnog specijalisteâ â oficira pod komesarskom kontrolom. U novom naglom zaokretu preĆĄao je na stranu âeseraâ, koji su se u tom trenutku veÄ udruĆŸili sa belom gardom i predao je grad Ufu antiboljĆĄeviÄkim snagama. Bio je uspeĆĄan komandant antiboljĆĄeviÄkih snaga u PovolĆŸju u leto i jesen 1918. Ipak nemirnog duha ponovo se ukljuÄio u zaveru â protiv lidera belogardejskog pokreta admirala A. V. KolÄaka i atamana A. I. Dutova, zbog Äega je izgubio komandni poloĆŸaj i morao je da beĆŸi iz Rusije u emigraciju. PokuĆĄao je da se eksponuje u revolucionarnom duhu joĆĄ jednom i bio je umeĆĄan u tajni rad esera na podrĆĄci KronĆĄtatskom ustanku, pobune mornara u samom srcu boljĆĄeviÄke revolucije, u vojnoj luci kod Petrograda. U emigraciji skrasio se skrasio u Francuskoj ili ÄehoslovaÄkoj â utoÄiĆĄtima ruskih levih i âruĆŸiÄastihâ emigranata, veÄ je kao predstavnik organizacije Zemgor, koja se nalazila pod Ävrstom kontrolom esera, stigao u Jugoslaviju, gde su se koncentrisali monarhistiÄki orijentisani uÄesnici GraÄanskog rata i Älanovi njihovih porodica. U ovom neprijateljskom okruĆŸenju uspeo je da dobije simpatije birokrata iz centralnog aparata Ministarstva spoljnih poslova Jugoslavije, koji su mu pruĆŸali podrĆĄku dvadesetih i poÄetkom tridesetih godina. Posle zavoÄenja ĆĄestojanuarske diktature sreÄa se ponovo okreÄe leÄa F. J. Mahinu, koji je izgubio finansijsku podrĆĄku vlade jugoslovenskih diplomata. Utom u Beograd je stigao V. Pravdin â tajni agent sovjetske spoljnoobaveĆĄtajne sluĆŸbe, sa kojim je nemirni kozaÄki pukovnik uspostavio veze, i od njega i bio vrbovan za rad u NKVD. Aktivno se bavio javnom komunistiÄkom i prosovjetskom agitacijom sve do izbijanja Drugog svetskog rata. Okupio je oko sebe krug leviÄarski raspoloĆŸenih ruskih mladiÄa, koji su postali okosnica ilegalne organizacije â Saveza Svojetskih Patriota tokom nemaÄke okupacije. Posle nemaÄke okupacije otiĆĄao je iz Beograda za Crnu Goru, i nakon toga nekoliko nedelja proveo je u ĆĄtabu ÄetniÄkog voÄe DraĆŸe MihailoviÄa, Na kraju je preĆĄao kod partizana i sve do kraja rata bio je u Vrhovnom ĆĄtabu NOVJ. Napravio je vrsnu karjeru u Jugoslaviji, bio je osnivaÄ istorijskog odeljenja VĆ NOVJ (buduÄeg istorijskog instituta NarodnooslobodilaÄke vojske Jugoslavije). ZavrĆĄio je rat sa zvanjem general-pukovnika NOVJ, bio je deo zvaniÄne jugoslovenske delegacije u Moskvi 1945. Preminuo je u prvim mesecima posle rata. Sahranjen je u aleji narodnih heroja na Novom Groblju. Sve te liÄnosti u sebi je spojio jedan Äovek Äiji je ĆŸivotni put rekonstruisan u ovoj knjizi na osnovu dokumenata ruskih i inostranih arhiva.
Pun naslov: PORT ENGINEERING Third Edition Autor: PER BRUUN with contributions by: E.G. Frankel Massachusetts Institute of Technology O.G. Houmb Norwegian Institute of Technology G. Moe Norwegian Institute of Technology E. Bratteland Norwegian Institute of Technology âą IzdavaÄ: Gulf Publishing Company, o Book Division, Houston, o London Paris ,Tokyo âą Godina izdanja: 1981., Third Edition âą Jezik: Engleski âą Format: 7â5â x 10â2â (19cm x 26cm ) âą Oprema:Tvvrdi povez, plastificiran, bogato ilustrovan crteĆŸima i fotografijama. âą Broj strana:787 âą Stanje: Knjiga je malo koriĆĄÄena, u odliÄnom stanju, skoro kao nova.Na prednjem podlisku na 2 mesta ispisan broj 2216 i spolja na hrbatu (jedva vidljivo) . âą âą*š*âżâżÂžÂž.âą*š*âżâżÂŹÂž.âą*âą*š*âżâżÂžÂž.âą*š*âżâżÂŹÂž.âą Knjiga Port Engineering je u sadasnjem trenutku najkompletniji izvor informacija za projektovanje i izvodjenje Luka. âą*š*âżâżÂžÂž.âą*š*âżâżÂŹÂž.âą*âą*š*âżâżÂžÂž.âą*š*âżâżÂŹÂž.âą Review This third edition of Port engineering reaffirms the book`s stature as the most comprehensive, up-to-date source of poor planning, design, and engineering information available. New material on the latest trends in shipping technology, navigation techniques and transportation procedures, or development, and economics makes Port engineering the essential state-of-the-art reference in the specialized yet vital field. The book`s broad coverage is now greatly expanded with more than 120 new figures, tables, graphs, etc.,: new information on portal layout and site selection: optimal dimensions of maritime fairways and shallow seas and sea straits: and the latest advances in Breakwater, Mooring, and fendering design. This third edition also describes the most recent developments in dredging technology, including the environmental aspects of disposal of dredged material, Littoral drift and sedimentation problems are examined in detail to help engineers plan and maintain a port by dredging or bypassing. In addition this work relates Port engineering to coastal geomorphology-geology, geography, and geophysics-to provide a better understanding of the influence of wins, waves, and currents on Shoreline and coastal zone development. Because of the accelerated activity and offshore energy exploration, this new edition offers the latest research findings on ways statistics and methods for calculating current and wave forces on offshore structures`. New appendices and contributions by some of the worldâs foremost researchers and practicing port/ocean engineers make Port Engineering, Third Edition, the most complete and current source of port engineering information you can find. Per Bruun The author holds an M.S. degree in port engineering and a D.Sc. degree in coastal engineering from the Technical University of Denmark. He has served with the Ministry of Public Works in Denmark, as a lecturer in port and coastal engineering at the Technical University of Denmark, as head of the Department of Coastal Engineering at the University of Florida (where he established the Florida Coastal Research Laboratory), and as professor of port engineering at the Norwegian Institute of Technology. Dr. Bruun has served on several committees of the Permanent International Association of Navigation Congresses (PIANC) and has chaired the Proceedings of the International Conference on Port and Ocean Engineering Under Arctic Conditions (POAC). ln 1980 he received a doctorate honoris causa in port and coastal engineering from the University of Santander, Spain. CONTENTS Preface, XI Introduction: Modern Trends in Port Engineering 1 ï Transport of Ore, 4 ï Unitized Transport, 7 ï Future Port Development, 8 Chapter 1 Part 1. Port and Shipping Technology and Economics. 17 by E. G. Frankel ï Developments in Port Operations and Technology, 20 ï Unitized Cargo Transfer and Handling , 21 ï Barge Handling, 23 ï Warehouse, 23 ï Bulk Handling and Transfer, 23 ï Liquid Bulk Cargo, 24 ï Dry Bulk Cargo, 24 ï Special and General Cargo Handling and Transfer, 25 ï Port Planning Methods and Models , 27 ï Environmental Impact on Port Development and Operations, 30 ï Analysis of Port Operations-Container Shipping and Terminal , 31 ï Shipping Technology Development , 33 ï Objectives in Ocean Transport Technology, 37 ï Container Ships , 39 ï Port Pricing , 42 ï Port Economics, 42 Part 2. Site Selection. 54 ï Area Requirements, 54 ï Environmental Parameters Affecting Port and Ship Operation and Behavior, 55 ï Wind Analyses, 56 ï Wave Analyses, Data, and Statistics, 61 ï Encounter Probability of Storm Durations, 71 ï Seiches, 71 ï Slowdrift, 73 ï Storm Surges, 74 ï Current Analyses, 74 ï Visibility, 75 ï Ice, 75 Chapter 2 Port Navigation and Hydraulics. 80 ï Harbor Entrances and Channels , 80 ï Turning Basins, 91 ï Harbor Hydraulics, 92 ï Current Action, 93 ï Wave Action in Ports, 94 ï Long-Period Waves , Basic Conditions, 103 ï Measures Against Wave Action in Ports , 108 ï Floating and Transportable Breakwaters, 125 Appendix A Optimal Layout Dimensions of Maritime Fairways in Shallow Seas, Sea Straits, and Maritime Waterways. 139. Chapter 3 Breakwaters, Jetties, and Piers. 156 ï Wave Forces on a Vertical Wall Breakwater, 157 ï New Breakwater Activities, 169 ï Rubble-m.ound Breakwaters, 17 4 ï Design Wave Height, 187 ï Recent Developments of Armor Block, 192 ï New Design Principles (1980) , 195 ï Latest Design Developments in Mound Breakwaters, 203 ï Unit and Armor Stability, 213 ï Damage to Mound Breakwaters, 217 ï Data Needed for Design , 219 ï Practical Aspects of Design and Construction of Breakwaters, 220 ï Up rush-Examples of Tests, 223 ï Permeable and Submerged Breakwaters, 230 ï Use of Prefabricated and Prestressed Structures, 231 ï Economic Feasibility; Optimum Design , 234 ï Open-sea and Pier Facilities , 235 Appendix B Part 1. Latest Developments in Wave Statistics. 253 by 0. G. Houmb Part 2. Latest Developments in Wave and Current Forces. . . . 271 by G. Moe Part 3. Wave Forces on Vertical-Wall Breakwaters in Deep Water .. 295 by S. Nagai Chapter 4. Wharves, Quays, Fenders, Dolphins, and Mooring Devices. 303 ï Layout of Quays and Wharves , 303 ï Walls Classified According to Hydraulic Performance, 309 ï Walls Classified According to Method of Absorbing Earth Pressure , 325 ï Berthing and Mooring Forces on Structures, 330 ï Forces on Vessels at Berth , 331 ï Fenders, 331 ï Dolphins , 336 ï Moorings, 342 ï Forced Fendering , 349 ï Pontoon-Wharves and Piers , 356 ï Transport Equipment, 358 ï Terminals , 363 ï Artificial Islands , 371 ï Design Considerations for LNG Terminals, 376 ï Ferry Terminals , 380 Appendix C Part 1. Pile Foundations. 387 by N. Janbu, L. Bjerrum, B. Kjaernsli Part 2. Anchored Bulkheads. 393 by N. Janbu, L. Bjerrum, B. Kjaernsli Part 3. Berthing Maneuvers. 406 by F. Vasco Costa Chapter 5. Transportation Systems. . . . . . . . . . . 423 ï Transportation vs . Transfer, 424 ï Conventional Transport, 425 ï Unitization Container and Pallet System , 427 ï The Future Development of Container Transport, 445 ï Special Vessels, 447 ï The Future Development of Bulk Transport, 448 ï Pallet System , 452 ï Comparative Cost Figures for Various Systems, 459 ï Factors Determining Port Capacity, 461 ï Application of Queuing Models to Ship Turnaround Time, 466 ï Port Transportation Studies (IBRB), 472 Appendix D Optimizing Container Ships and Their Terminals. 478 by S. Erichsen Chapter 6 Littoral Drift and Sedimentation Problems. 493 ï Computation of Longshore Transport (Bijker Method). 496 ï Littoral Barriers on Shores, 508 ï Littoral Drifts and Coastal Structures , 512 ï Principles Involved in By-Passing by Tidal Flow Actions, 519 ï Tracing, 525 ï Sediment Problems in Estuaries, 525 ï Shoaling of Estuaries, 528 ï Sand Waves on the Bottom, 554 Appendix E Use of Tracers in Harbor, Coast, and Ocean Engineering. 564 Chapter 7. Coastal Geomorphology vs. Port Engineering. 577 ï Static and Evolutionary Descriptions, 579 ï Dynamic Approach , 580 ï Influence of Rise in Sea Level , 581 ï Shore Geometry, 584 ï Development of Beach Profiles , 595 ï Equilibrium Profiles of Beach and Offshore Bottom, 596 ï Uprush/Downrush and Profile Development, 606 ï Influence of Port Installations on Coastal Morphological Development, 618 ï Recent Developments in Coastal Geomorphology, 637 Chapter 8. Tidal Inlets on Alluvial Shores. ï Tidal Hydraulics, 642 ï By-Passing Plants , 655 ï Future Development of By-Passing , 656 ï Cross-Sectional Stability, 658 ï Importance of the DIM or AIM Ratio , 667 ï Design Procedure for Tidal Inlets on Alluvial Shores , 676 Chapter 9. Dredging Technology. ï Types of Dredges, 680 ï Cutters and Boosters, 689 ï Hydraulic Dredging, 692 ï Dredging of Navigation Channels, 694 ï Agitation Dredging, New Versions of an Old Method, 696 ï Dredging for Landfills, 704 ï Deepwater Dredging For Minerals, 708 ï Environmental Problems in Hydraulic Dredging Operations, 712 ï Rock Dredging, 714 ï Drilling and Blasting Systems and Principles, 718 ï Disposal Problems, 724 ï Dredging Economics, 727 Chapter 10. Fishing Ports and Small Craft Harbors. 732 ï Establishment of Fisheries, 732 ï Requirements of Harbor Facilities, 735 ï Processing Facilities for Fish and Fish Products, 743 ï Small Craft Harbors, 750 ï Floating Berths, 753 ï Concrete Floats, 756 Appendix F Fishery Harbor Planning. 760 by M. Breimer, J. Engstrom, L. 0. Engra/1, WJ. Guckian, N. W van der Haaze/, J. van der Waad Index. 776
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Pokemon Super Collection Series Books 1-15 Box Set Ash's Big Challenge PokĂ©mon master-in-training Ash Ketchum is delighted when Professor Oak sends him on a very important mission - to capture a unique and mysterious PokĂ© Ball. Ash, Brock and Misty begin their journey to the famed Orange Islands and meet a host of new friends - and old enemies... PokĂ©mon Peril Ash and Misty have found the GS PokĂ© Ball and finally reached the Orange Islands. But they quickly discover that things are very different here - PokĂ©mon are turning pink, and there is an Onix made of crystal. Can Ash, Misty and their new friend Tracey work out what is going on, before Team Rocket sabotage their journey? The Orange League Since arriving on the Orange Islands, Ash has won every single one of his battles! But is he up to the Four-Star Challenge? Ash must tackle totally new ground - and learn some valuable lessons about himself - before he can win all four star gems, and earn himself a place on the legendary Orange League. Scyther vs Charizard Scyther and Charizard are two of the most powerful PokĂ©mon Ash has ever encountered. But this makes them hot-headed and very difficult to control. When the two PokĂ©mon face each other in battle, it's chaos! Can Ash discover the secret to connecting to wayward Charizard, and pull off the most epic battle so far? Race to Danger PokĂ©mon master-in-training Ash Ketchum is facing a brand-new challenge - a hot air balloon battle! Ash and his friends must race the other PokĂ©mon trainers to catch a rare Dratini, before Team Rocket shoots them down! Can Ash get everyone back down safely - and still get his hands on first prize? Show Time! A juggling Exeggutor, a singing Charmander and a dancing Farfetch'd can only mean one thing - it's time for the PokĂ©mon Talent Show! PokĂ©mon master-in-training Ash is determined to win. But when his enemies Team Rocket lure away his Pikachu, it's up to him to save all the PokĂ©mon - and steal the show! Power Up Psyduck Psyduck's powers can blow Team Rocket out of the water, but it isn't the easiest PokĂ©mon to look after... Join the PokĂ©mon-masters-in-training as they learn all about Psyduck's unique history, from when he first met Misty to his latest challenge - a battle like no other. The Winner's Cup It's time! With all four star gems under his belt, PokĂ©mon master-in-training Ash Ketchum is now ready for the biggest battle of his life - the Winner's Cup. Can Ash and Pikachu overcome the mighty Dragonite to win the ultimate PokĂ©mon challenge? The PokĂ©mon School It's time for Ash to take the next step on his quest to become a PokĂ©mon Master. He's off to PokĂ©mon School! His first goal? To catch an Alolan PokĂ©mon. With new friends to make and new skills to learn, Ash is about to embark on his biggest adventure yet. Alolan Challenge It's Island Challenge time on Alola! Ash is determined to pass the test and earn his Z-Crystal. But this is no ordinary Pokemon battle. Can Ash prove his worth against the mighty Kahuna Hala to win the ultimate prize? The challenge is on! Adventure on Treasure Island Ash and Pikachu are visiting one of the tropical islands in Alola. There they discover all sorts of new and interesting PokĂ©mon but they can be a bit difficult! Can Ash and Pikachu rescue a mysterious Water-type PokĂ©mon and persuade a mischievous new PokĂ©mon to join their team? Old Friends, New Battles Ash and his friends from the Poke,on School are visiting his home region of Kanto. They're ready for lots of adventures! When they visit the Cerulean City Gym, Ash and Pikachu take on his old friend Misty and her Gyarados - who will win the mighty battle? Pokemon Unknown Ash and Pikachu are on their way to school when Tapu Koko, the Guardian of Melemele Island, makes an appearance. Tapu Koko puts Ash and his friends in charge of a mysterious new PokĂ©mon just as strange things start to happen. Could this unknown PokĂ©mon have anything to do with it? The Chikorita Challenge When Ash and Pikachu befriend a new Grass-type Pokemo,, they can't wait to welcome it to the team. But tricksters team Rocket are hatching a plan to lure the Chikotita away, stealing it for themsleves. Will Ash work out what's happened and save the pokemon in time? Colouring Fun Get creative with tons of Pokemon characters, Landscapes and patterns for you to colour and make your own. Gotta colour 'em all! PrikaĆŸi viĆĄe
Retko izdanje âAntroposofske bibliotekeâ iz 1936. godine. Spolja kao na fotografijama. Unutra dobro oÄuvano. Autor - osoba Ć tajner, Rudolf, 1861-1925 Naslov Tajna nauka : u osnovama / Rudolf Ć tajner ; [preveo Mile GaloviÄ] Vrsta graÄe knjiga Jezik srpski Godina 1936 Izdavanje i proizvodnja Beograd : Antroposofska biblioteka, 1936 (Beograd : GrafiÄki Institut) FiziÄki opis 372 str. ; 21 cm Drugi autori - osoba GaloviÄ, Mile Zbirka Antroposofska biblioteka (BroĆĄ.) Predmetne odrednice Antropozofija Ovo delo je obuhvatan celokupan prikaz natÄulne kosmologije. Istovremeno se dopunjuju i proĆĄiruju saznanja prikazana u spisima âTeozofijaâ i âKako se postiĆŸu saznanja viĆĄih svetova?â do velikih kosmiÄkih povezanosti u razvoju sveta i Äoveka. Karakter tajne nauke, BiÄe ÄoveĆĄtva, Spavanje i smrt, Razvoj sveta i Äovek, Saznanje viĆĄih svetoa (O posveÄenju i inicijaciji), SadaĆĄnjost i buduÄnost razvoja sveta i ÄoveÄanstva, Pojedinosti iz oblasti duhovne nauke: Etersko telo Äovekovo, Astralni svet, Äovekov ĆŸivot posle smrti, O toku Äovekovog ĆŸivota, ViĆĄe oblasti duhovnog sveta, Älanovi Äovekovog biÄa, Stanje snova, Rudolf Jozef Lorenc Ć tajner (nem. Rudolf Joseph Lorenz Steiner; Donji Kraljevec, 25. februar 1861 â 30. mart 1925) je bio austrijski filozof, predavaÄ, umetnik, dramaturg, mislilac i ezoterist. Nakon raskida sa Teozofskim druĆĄtvom, Rudolf Ć tajner je osnovao Antropozofsko druĆĄtvo. Antropozofija bi se mogla okarakterisati kao uÄenje koje je nastalo iz teozofije, ali koje za razliku od nje navodi Isusa Hrista kao centralnu figuru u procesu dosezanja osloboÄenja, spoznaje i jedinstva sa Univerzalnim duhom. Ć tajner je vrlo Äesto spominjao tri duhovna stanja koja pomaĆŸu pri tom psihonautiÄkom procesu. To su: imaginacija, inspiracija, intuicija. Imaginacija, inspiracija i intuicija su termini koji predstavljaju tehnike koje vode ka viĆĄem stepenu otvorenosti percepcije ka onostranim iskustvima i daleko su od prizemnog shvatanja imaginacije, inspiracije i intuicije. Antropozofija se moĆŸe nazvati i âmistiÄnim hriĆĄÄanstvomâ, jer ona ima za cilj da otkrije hriĆĄÄanske tajne koje su banalizovane ili skrivene. U antropozofiji nema posrednika u vezi izmeÄu Äoveka i Boga. To je jedino Hrist, koji i jeste âmistiÄno sunceâ. Za Ć tajnera je, inaÄe, raspeÄe Hristovo âmisterija univerzumaâ. Antropozofija ukljuÄuje i karmu u svoj sistem, kao i filozofiju spiritualne evolucije. Äetiri znaka JevanÄelista (lav, orao, anÄeo i bik) predstavljaju faze u evolucijskom spiritualnom razvoju Äoveka. Äovek je spiritualno biÄe koje je podeljeno na: fiziÄko telo, eteriÄno telo, astralno telo, ego. Za fiziÄko telo je vezana nada, za eteriÄno telo ljubav, za astralno vera, a za ego je vezana volja. Glavni centar Antropozofskog druĆĄtva jeste Dornah (nem. Dornach) u Ć vajcarskoj, gde se nalazi Geteanum (Goetheanum). Geteanum predstavlja spiritualni centar u kome se antropozofija izuÄava kroz teoriju i praksu. Osim Geteanuma, ĆĄirom sveta postoje i drugi antropozofski centri. Ć tajner je smatrao da Äe Ahriman (personifikacija zla) biti otelotvoren u SAD. Ć tajner je definisao antropozofiju na sledeÄi naÄin: âAntropozofija je put znanja, koji vodi spiritualno u Äoveku ka spiritualnom u univerzumu... Antropozofi su oni koji iskuse esencijalnu potrebu samog ĆŸivota, odreÄena pitanja vezana za pitanje prirode ljudskog biÄa i univerzuma, isto kao ĆĄto neko iskusi glad ili ĆŸeÄ.â Uticaj Getea Ć tajner je zastupao oblik etiÄkog individualizma, kome je kasnije dodao jednu eksplicitniju crtu spiritualnog. On je izveo svoju epistemologiju iz pogleda Johana Volfganaga Getea na svet, gde miĆĄljenje predstavlja organ percepcije. Kao ĆĄto oko percipira boje, tako miĆĄljenje percipira ideje. Okultizam Rudolfa Ć tajnera su dovodili u vezu sa okultnom loĆŸom O. T. O. i austrijskim okultistom Teodorom Rojsom (nem. Theodor Rheuss), kao i engleskim okultistom Alisterom Kraulijem (engl. Aleister Crowley), ali prema istraĆŸivanju Pitera Roberta Keniga (nem. Peter Robert Koenig), specijaliste za O. T. O. fenomen, takva veza nikada nije postojala. Ć tajner vs. Frojd TakoÄe je poznato da je Ć tajner teoriju Sigmunda Frojda (nem. Sigmund Freud) o libidu kao pokretaÄu dubljih psiholoĆĄkih procesa kod Äoveka smatrao smeĆĄnom i netaÄnom. On je isticao da ponaĆĄanje Äoveka nije uslovljeno nikakvim nesvesnim procesima, niti libidom, veÄ spiritualnim biÄem. Ć tajner je do poslednjeg dana svog ĆŸivota tvrdio da je Äovek prvenstveno duhovno biÄe i da je duhovni svet za njega opipljiv, isto kao i sto ispred njega na kome piĆĄe. Ć tajner je tvrdio da Äovek uz pomoÄ razvoja unutarnjeg spiritualnog biÄa ima moguÄnost da zaviri iza vela onostarnog. Na taj naÄin moĆŸe Äitati zapise sa AkaĆĄe, tj. kosmiÄkog kolektivnog pamÄenja. Odnos prema nacistima Ć tajner je bio velika pretnja za nacistiÄki pokret u NemaÄkoj, jer je svojim idejama bio u potpunosti suprotan njihovoj doktrini. VeÄ 15. maja 1922. godine pokuĆĄan je atentat na Ć tajnera u hotelu Fir Jarescajten u Minhenu, organizovan od strane nacista, koji je Ć tajner izbegao. TakoÄe se smatra da je poĆŸar u Geteanumu 31. decembra 1922. godine, u kojem je izgoreo prvi Geteanum centar, bio podmetnut od strane nacista. Trevor Rejvenskroft (engl. Trevor Ravenscroft) u svojoj knjizi Koplje sudbine (engl. The Spear of Destiny) tvrdi da je Ć tajner imao sposobnost astralne projekcije. Na taj naÄin je lako mogao da vidi planove okultne grupe Tule, koja je stvorila nacistiÄku partiju â NSDAP, tj. NacionalsocijalistiÄku nemaÄku radniÄku partiju, na Äelu sa Adolfom Hitlerom. Antisemitizam Na prelasku u 20. vek Ć tajner je napisao seriju od sedam Älanaka za Mitteilungen aus dem Verein zur Abwehr des Antisemitismus, magazin koji je bio posveÄen borbi protiv antisemitizma, u kome je napadao tadaĆĄnji antisemitizam. KC (N)
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Kolekcionarstvo i umetnost chevron_right Knjige
ĐŃĐłĐŸĐłĐŸĐŽĐžŃŃĐ° ŃĐ°ŃĐ°ĐŽŃĐ° Đ±Đ”ĐŸĐłŃĐ°ĐŽŃĐșĐŸĐł Đ”ŃĐœĐŸĐ»ĐžĐœĐłĐČĐžŃŃĐ” ĐŃĐ±ĐžĐœĐșĐ° Đ Đ°ĐŽĐ”ĐœĐșĐŸĐČĐžŃĐ° ŃĐ° ŃĐžĐŒĐŸĐŒ ĐžŃŃŃажОĐČĐ°ŃĐ° ĐĐœŃŃĐžŃŃŃĐ° Đ·Đ° ŃлаĐČĐžŃŃĐžĐșŃ Đ ŃŃĐșĐ” Đ°ĐșĐ°ĐŽĐ”ĐŒĐžŃĐ” ĐœĐ°ŃĐșĐ° ŃДзŃĐ»ŃĐžŃала ŃĐ” ĐŸĐČĐ” ĐłĐŸĐŽĐžĐœĐ” ĐșапОŃĐ°Đ»ĐœĐŸĐŒ Đ”ĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃĐŸĐŒ "ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșĐ° ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ°" ĐșĐŸŃŃ ĐșĐ°ĐŸ ОзЎаĐČĐ°Ń ĐżĐŸŃпОŃŃŃĐ” "Zepter book world". ĐŃОга ŃĐ” ĐČĐ°ĐœŃĐ”ŃĐžŃŃĐșĐ° Оз ĐŒĐœĐŸĐłĐŸ ŃĐ°Đ·Đ»ĐŸĐłĐ° - ĐżĐŸ ŃĐžŃĐžĐœĐž Đ·Đ°Ń ĐČĐ°ŃĐ° (ĐŸĐ±ŃĐ°ŃĐ”ĐœĐž ŃŃ ŃĐČĐž ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐž ĐœĐ°ŃĐŸĐŽĐž), ĐŒŃĐ»ŃОЎОŃŃĐžĐżĐ»ĐžĐœĐ°ŃĐœĐŸĐŒ ĐżŃĐžŃŃŃĐżŃ (Оз Ńгла Đ»ĐžĐœĐČĐžŃŃĐžĐșĐ”, Đ”ŃĐœĐŸĐ»ĐŸĐłĐžŃĐ” Đž ŃĐŸĐ»ĐșĐ»ĐŸŃĐ°), ĐżĐŸ ОзŃĐ·Đ”ŃĐœĐŸĐŒ ĐœĐ°ŃŃĐœĐŸĐŒ ŃĐ”ĐœĐŸĐŒĐ”Ń ŃĐ°ŃĐ°ĐŽĐœĐžĐșĐ°. ĐĐ”ĐŸĐłŃĐ°ĐŽŃĐșĐ° "ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșĐ° ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ°" ŃĐČĐŸŃĐ”ĐČŃŃĐœĐž ŃĐ” ĐžĐ·Đ±ĐŸŃ ĐžĐ· ĐœĐ°ŃĐșĐČалОŃĐ”ŃĐœĐžŃДг Đ”ĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃŃĐșĐŸĐł ĐžŃĐșŃŃŃĐČĐ° ĐœĐ”ĐșĐŸĐ»ĐžĐșĐŸ ŃлаĐČĐžŃŃĐžŃĐșĐžŃ ŃĐșĐŸĐ»Đ°. ĐĐœĐŸ ŃŃĐŸ ŃĐ” Ń ŃĐ°ĐČŃĐ”ĐŒĐ”ĐœĐŸŃ ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐŸŃ Đ”ŃĐœĐŸĐ»ĐžĐœĐłĐČĐžŃŃĐžŃĐž ĐżĐŸĐŽŃĐ°Đ·ŃĐŒĐ”ĐČĐ° ĐżĐŸĐŽ "ĐČĐžŃĐ° ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ°" ĐŸĐ±ŃĐ°ŃĐ”ĐœĐŸ ŃĐ” Ń ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ°ĐŒĐ° ĐżŃĐŸŃлаĐČŃĐ”ĐœĐžŃ ŃŃŃĐșĐžŃ ŃĐ”ĐŒĐžĐŸŃĐžŃĐ°ŃĐ° Đž Đ»ĐžĐœĐłĐČĐžŃŃĐ° Đž ĐœĐ”ĐșĐ°ĐŽĐ°ŃŃĐžŃ ĐșĐŸĐ°ŃŃĐŸŃĐ° ĐŃĐ°Ń. ĐŃ. ĐĐČĐ°ĐœĐŸĐČĐ° Đž Đ. Đ. ĐąĐŸĐżĐŸŃĐŸĐČĐ° (Đаба Đага, ĐĐ”Đ»ĐŸĐ±ĐŸĐł, ĐДлДŃ, ĐĐŸĐ»ĐŸŃĐžŃĐž, ĐĐŸĐ»Ń ĐŃĐ”ŃлаĐČŃĐ”ĐČĐžŃ, ĐĐ°Đ·Đ±ĐŸĐł, ĐĐČĐ°Đœ-ĐŃЎала, ĐŃĐ° ĐŃŃĐŸĐŒĐ”Ń, ĐĐ°ŃОла, ĐĐ°ŃĐŸĐČĐžŃ, ĐĐŸĐșĐŸŃ, ĐĐ”ŃДплŃŃ, ĐĐ”ŃŃĐœ, ĐŃĐŸĐČĐ”, Đ ĐŸĐŽ, Đ ŃŃĐ”ĐČĐžŃ, ĐĄĐ°ŃĐșĐŸ, ĐĄĐČĐ°ŃĐŸĐł, ĐĄĐČĐ°ŃĐŸĐ·ĐžŃ, ĐĄĐČĐ”ĐœŃĐŸĐČĐžŃ, ĐĄĐČŃĐ°ŃĐŸĐłĐŸŃ, ĐĄĐ”ĐŒĐ°Ńгл, ĐĄŃŃĐžĐ±ĐŸĐł, Đ„ĐŸŃŃ, ĐŠŃĐœĐŸĐ±ĐŸĐł), Đ° ĐœĐ”ĐșĐŸĐ»ĐžĐșĐŸ ĐžŃ ŃĐ” ŃĐ° ĐżĐŸŃпОŃĐŸĐŒ Đ. Đ. ĐĐ”ŃŃŃ ĐžĐœĐ° (ĐœĐżŃ. ĐąŃОглаĐČ, ĐąŃĐŸŃĐ°Đœ). ĐĐČĐ” ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ” ĐżŃĐ”ŃĐ·Đ”ŃĐ” ŃŃ ĐžĐ· ŃĐ”ĐŽĐœĐŸŃĐŸĐŒĐœĐ” "ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșĐ” ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ”" (ĐĐŸŃĐșĐČĐ° 1995), алО ŃŃ ĐŽĐŸĐżŃŃĐ”ĐœĐ” Đ”ŃĐžĐŒĐŸĐ»ĐŸŃĐșĐžĐŒ ĐșĐŸĐŒĐ”ĐœŃĐ°ŃĐžĐŒĐ° Đ±Đ”ĐŸĐłŃĐ°ĐŽŃĐșĐŸĐł Đ”ŃĐžĐŒĐŸĐ»ĐŸĐłĐ° Đž ŃŃŃŃŃŃĐ°ĐșĐ° Đ·Đ° ĐșĐŸĐŒĐżĐ°ŃĐ°ŃĐžĐČĐœŃ ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃŃ, ĐлДĐșŃĐ°ĐœĐŽŃĐ° ĐĐŸĐŒĐ” (ĐĐ”Đ»ĐŸĐ±ĐŸĐł, ĐДлДŃ, ĐĐŸĐ»ĐŸŃĐžŃĐž, ĐĐ°Đ·Đ±ĐŸĐł, ĐĐ°ŃОла, ĐĐ°ŃĐŸĐČĐžŃ, ĐĐŸĐșĐŸŃ, ĐĐ”ŃДплŃŃ, ĐĐ”ŃŃĐœ, ĐŃĐŸĐČĐ”, Đ ĐŸĐŽ, ĐĄĐČĐ°ŃĐŸĐł, ĐĄĐČĐ°ŃĐŸĐ·ĐžŃ, ĐĄĐČĐ”ĐœŃĐŸĐČĐžŃ, ĐĄĐ”ĐŒĐ°Ńгл, ĐĄŃŃĐžĐ±ĐŸĐł, ĐąŃОглаĐČ, ĐąŃĐŸŃĐ°Đœ, Đ„ĐŸŃŃ, ĐŠŃĐœĐŸĐ±ĐŸĐł). ĐĐ· пДŃĐ° ĐлДĐșŃĐ°ĐœĐŽŃĐ° ĐĐŸĐŒĐ” ŃŃ Đž ĐŽĐČĐ” Đ·Đ°ŃĐ”Đ±ĐœĐ” ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ” (ĐŃОпДгала Đž Đ Đ°ĐŽĐŸĐłĐŸŃŃ), Đ° ŃĐ”ĐłĐŸĐČĐžĐŒ ĐČĐžŃĐŸĐșĐŸŃŃŃŃŃĐœĐžĐŒ Đ”ŃĐžĐŒĐŸĐ»ĐŸŃĐșĐžĐŒ ĐșĐŸĐŒĐ”ĐœŃĐ°ŃĐŸĐŒ бОŃĐœĐŸ ŃŃ ĐŸŃĐ°ĐČŃĐ”ĐŒĐ”ŃĐ”ĐœĐ° ĐŽĐŸŃĐ°ĐŽĐ°ŃŃĐ° Đ·ĐœĐ°ŃĐ° ĐŸ ŃŃĐ°ŃĐžĐŒ ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐžĐŒ Đ±ĐŸĐłĐŸĐČĐžĐŒĐ°, ĐżĐŸŃĐ”Đ±ĐœĐŸ ĐŸ ĐĄŃŃĐžĐ±ĐŸĐłŃ, ĐĐ”Đ»ĐŸĐ±ĐŸĐłŃ, ĐŃĐŸĐČĐ”, ĐĄĐ”ĐŒĐ°ŃĐłĐ»Ń Đž Đ„ĐŸŃŃŃ. ĐŃŃгО ĐŒĐžŃĐŸĐ»ĐŸŃĐșĐž ŃĐ»ĐŸŃ, ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ” "ĐœĐžĐ¶Đ” ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ”", ĐżĐŸ ŃĐČĐŸŃĐŸŃ ĐżŃĐžŃĐŸĐŽĐž Đž ĐŸĐ±ĐžŃŃ ŃĐ°ŃĐżĐŸĐ»ĐŸĐ¶ĐžĐČĐ” ĐłŃĐ°ŃĐ”, Đ·Đ°Ń ŃĐ”ĐČĐ° ĐŽŃŃгаŃĐžŃĐž ĐżŃĐžŃŃŃĐż лДĐșŃĐžĐșĐŸĐłŃĐ°ŃŃĐșĐŸŃ ĐŸĐ±ŃĐ°ĐŽĐž. ĐĐČĐ°Ń ŃĐșŃĐż ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ° ĐŒĐ”ŃĐŸĐŽĐŸĐ»ĐŸŃĐșĐž ŃĐ” ĐČĐ”Đ·Đ°Đœ Đ·Đ° ŃŃĐ°ĐŽĐžŃĐžŃŃ Đ”ĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃĐ” "ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșĐ” ŃŃĐ°ŃĐžĐœĐ”. ĐŃĐœĐŸĐ»ĐžĐœĐłĐČĐžŃŃĐžŃĐșĐž ŃĐ”ŃĐœĐžĐș", ŃĐžŃĐ° ŃŃ ĐżŃĐČĐ° ĐŽĐČĐ° ŃĐŸĐŒĐ° (ĐŸĐŽ ĐżĐ»Đ°ĐœĐžŃĐ°ĐœĐžŃ ĐżĐ”Ń) ĐŸĐ±ŃĐ°ĐČŃĐ”ĐœĐ° Ń ĐĐŸŃĐșĐČĐž 1995. Đž 1999. ĐĐ°ĐżŃĐ°ĐČĐŸ ŃĐ” Đ±Đ”ĐŸĐłŃĐ°ĐŽŃĐșĐ° "ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșĐ° ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ°" бОŃĐœĐŸ ŃазлОĐșŃŃĐ” ĐŸĐŽ ŃĐČĐŸŃĐžŃ ŃŃŃĐșĐžŃ ĐżŃĐ”ŃŃ ĐŸĐŽĐœĐžŃĐ° ŃĐżŃĐ°ĐČĐŸ ĐżĐŸŃŃĐŸŃĐ°ŃĐ”ĐŒ ŃпДŃĐžŃĐžŃĐœĐžŃ ŃŃĐ¶ĐœĐŸŃĐ»ĐŸĐČĐ”ĐœŃĐșĐžŃ ŃДалОŃĐ° ĐŒĐ°Ń ĐŸĐŒ Оз ŃŃĐ”ŃĐ” ĐŽĐ”ĐŒĐŸĐœĐŸĐ»ĐŸĐłĐžŃĐ”. ĐĄĐČĐ” ĐŸĐČĐ” ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ” ĐżĐŸŃпОŃŃŃĐ” ŃĐ”ĐŽĐ°Đœ ĐŸĐŽ ŃŃĐ”ĐŽĐœĐžĐșĐ° ŃĐ”Đ»ĐŸĐł ĐżĐŸĐŽŃŃ ĐČĐ°ŃĐ°, ĐŃĐ±ĐžĐœĐșĐŸ Đ Đ°ĐŽĐ”ĐœĐșĐŸĐČĐžŃ (Đ°ĐČĐ”Ń, Đ°Đ·ĐŽĐ°ŃĐ°, ĐŃОла, бабОŃĐ”, баŃĐ°ŃĐ°, ĐČĐŸĐŽĐ”ĐœĐž бОĐș, ĐĐ”ŃĐŒĐ°Đœ, ĐłŃĐŸĐ·ĐœĐžŃĐ°, ĐŽŃĐ”ĐșĐ°ĐČĐ°Ń, ĐșĐ°ŃĐ°ĐșĐŸĐœĐŽĐ·Ńла, ĐŃĐ°ŃĐ”ĐČĐžŃ ĐĐ°ŃĐșĐŸ, ĐșŃŃĐœĐžĐș, лаЎа, Đ»Đ°ĐŒŃĐ°, лДŃĐŸ, ĐŒĐ°ŃĐžŃ, ĐœĐ”ĐșŃŃŃĐ”ĐœĐ°Ń, ĐœĐ”ĐŒŃŃŃĐž ŃДзОĐș, ĐŸĐ±Đ»Đ°Đ·Đ°ŃĐž, ĐŸĐ»ĐŸĐČĐŸ, ĐŸŃĐșĐŸ, паŃĐŸĐłĐ»Đ°ĐČ, ĐżŃĐžĐșĐ°Đ·Đ°, ŃĐ°ŃĐșĐŸĐČĐœĐžĐș, ŃĐČĐ”ŃĐž ĐĄĐ°ĐČĐ°, ŃŃДбŃĐœĐž ŃĐ°Ń, ŃŃĐŸĐżĐ°Đœ, ŃŃŃĐ”ĐœĐžŃĐ”, ĐąĐŸĐŽĐŸŃĐŸĐČĐ° ŃŃĐ±ĐŸŃĐ°, ŃĐŸĐŽĐŸŃŃĐž, ŃŃŃĐŽ, Ń Đ°Đ»Đ°, ŃŃĐŒĐ°, ŃĐ”ŃŃĐ°Đœ). ĐĐČĐ°ĐșĐ°ĐČ ĐžĐŒĐżŃĐ”ŃĐžĐČĐ°Đœ ĐŽĐŸĐżŃĐžĐœĐŸŃ ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐŸŃ ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐž Đ·Đ°ĐżŃĐ°ĐČĐŸ Đž ĐœĐžŃĐ” ĐžĐ·ĐœĐ”ĐœĐ°ŃĐ”ŃĐ” - ĐżĐŸŃлД ĐŽŃĐłĐŸĐłĐŸĐŽĐžŃŃДг ĐžĐœŃĐ”ŃĐ”ŃĐŸĐČĐ°ŃĐ° Đ·Đ° ĐœĐ°ŃĐŸĐŽĐœŃ ĐŒĐ°ĐłĐžŃŃ ŃŃĐ¶ĐœĐžŃ ŃĐ»ĐŸĐČĐ”ĐœĐ°, ĐŃĐ±ĐžĐœĐșĐŸ Đ Đ°ĐŽĐ”ĐœĐșĐŸĐČĐžŃ ŃĐ” ĐżĐŸŃлДЎŃĐžŃ ĐłĐŸĐŽĐžĐœĐ° Ń Đ·Đ”ĐŒŃĐž Đž ĐžĐœĐŸŃŃŃĐ°ĐœŃŃĐČŃ ĐŸĐ±ŃĐ°ĐČĐžĐŸ Đž ŃĐ”ĐŸ ĐœĐžĐ· ĐœĐ°ŃŃĐœĐžŃ ŃĐ°ĐŽĐŸĐČĐ° ĐœĐ° ŃĐ”ĐŒŃ ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐ” "ĐœĐžĐ¶Đ” ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ”". ĐĐČĐ” ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ” ŃŃ ĐœĐ”ŃŃĐŸ Đ”ĐșŃŃĐ”ĐœĐ·ĐžĐČĐœĐžŃĐ” ĐŸĐŽ ĐŸŃŃĐ°Đ»ĐžŃ , ŃĐ° лДĐșŃĐžĐșĐŸĐłŃĐ°ŃŃĐșĐ” ŃŃŃĐ°ĐœĐ” ĐœĐżŃ. ĐœĐ°Đ±ŃĐ°ŃĐ°ŃŃ ŃĐșĐŸŃĐŸ ŃĐČĐ” ĐœĐŸĐŒĐžĐœĐ°ŃĐžŃĐ” ĐœĐ°ŃĐ”ĐœĐ” Ń Đ”ŃĐœĐŸĐłŃĐ°ŃŃĐșĐŸŃ Đž лДĐșŃĐžĐșĐŸĐłŃĐ°ŃŃĐșĐŸŃ ĐłŃĐ°ŃĐž Đž ĐžĐŒĐ°ŃŃ Đ·ĐœĐ°ŃĐœĐŸ ĐČĐ”ŃŃ Đ»ĐžŃĐ”ŃĐ°ŃŃŃŃ ĐžŃĐżĐŸĐŽ ĐŸŃĐœĐŸĐČĐœĐŸĐł ŃĐ”ĐșŃŃĐ°. ĐĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃĐ° ŃĐ°ĐŽŃĐ·Đž 420 ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ° ĐșĐŸŃĐ” ŃŃ ĐžĐ·ĐŒĐ”ŃŃ ŃДбД ĐżĐŸĐČĐ”Đ·Đ°ĐœĐ” ŃĐœŃŃŃĐ°ŃŃĐžĐŒ ŃĐżŃŃĐžĐČĐ°ŃĐ”ĐŒ, ĐșĐ°ĐŸ Đž Đ·ĐœĐ°ŃĐ°Đœ бŃĐŸŃ ĐżŃĐ°Đ·ĐœĐžŃ ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ° ĐșĐŸŃĐžĐŒĐ° ŃĐ” ŃĐżŃŃŃŃĐ” ĐœĐ° ĐŸŃĐœĐŸĐČĐœŃ ŃĐ”Ń, ŃĐ”ŃŃĐŸ ŃŃ Ń ĐżĐžŃĐ°ŃŃ ŃĐ”ŃĐŒĐžĐœĐž Оз ĐŽŃŃĐłĐžŃ ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐžŃ ŃДзОĐșĐ° (ĐżĐ»Đ°ĐœĐ”ŃĐžĐș - ĐŸĐ±Đ»Đ°ŃĐ°ŃĐž, ĐżĐŸĐłĐ°ĐœĐ”Ń - ĐșĐ°ŃĐ°ĐșĐŸĐœŃŃла, ĐżĐŸĐ¶ĐŸŃ - Đ·ĐŒĐ°Ń, ĐżĐŸŃĐ”ĐČĐ°ŃĐœĐžĐșĐž - ĐșĐŸĐ»Đ”ĐŽĐ°ŃĐž, ŃĐ°Đ·ŃĐžĐČ ŃŃĐ°ĐČĐ° - ŃĐ°ŃĐșĐŸĐČĐœĐžĐș). ĐŃŃĐŸŃĐž Đ”ĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃĐ” ŃĐ·ĐłŃДЎ ŃŃ ĐŒĐŸŃалО ĐŽĐ° ŃĐ”ŃĐ°ĐČĐ°ŃŃ Đž ĐżŃĐŸĐ±Đ»Đ”ĐŒ ĐșŃОжДĐČĐœĐ” ĐœĐŸĐŒĐžĐœĐ°ŃĐžŃĐ” Đ»ĐŸĐșĐ°Đ»ĐœĐžŃ Đ”ŃĐœĐŸĐłŃĐ°ŃŃĐșĐžŃ ŃДалОŃĐ° (ĐœĐżŃ. ŃĐČĐžŃŃĐž - ĐœĐ”ĐșŃŃŃĐ”ĐœŃĐž, ŃĐ”ŃĐ”Đș - ĐŒĐ°ŃĐžŃ, ŃĐșŃĐ°ŃĐ”ŃŃ - ĐŒĐ°ŃĐžŃ). ĐŃĐœĐŸĐČĐœŃ ŃŃŃŃĐșŃŃŃŃ ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ” ŃĐžĐœĐž ĐżŃĐČĐŸ Đ”ĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃŃĐșĐ° ĐŽĐ”ŃĐžĐœĐžŃĐžŃĐ°, Đ·Đ°ŃĐžĐŒ ŃлДЎО ĐžĐœĐČĐ”ĐœŃĐ°Ń ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐžŃ ŃĐ”ŃĐŒĐžĐœĐ° Đž ĐŸĐżĐžŃ "ŃĐżĐŸŃĐœĐ” ĐŒĐ°ĐœĐžŃĐ”ŃŃĐ°ŃĐžŃĐ”", па ŃŃĐœĐșŃĐžŃĐ” Đž ĐżŃДЎОĐșĐ°ŃĐž, Đ»ĐŸĐșŃŃĐž, ĐČŃĐ”ĐŒĐ” Đž Đ°ŃŃОбŃŃĐž. ĐĐžŃĐŸĐ»ĐŸŃĐșĐ° бОŃĐ° ŃŃ, Ń ŃĐșĐ»Đ°ĐŽŃ ŃĐ° ĐżĐŸŃŃŃлаŃĐžĐŒĐ° ŃŃŃĐșĐ” Đ”ŃĐœĐŸĐ»ĐžĐœĐłĐČĐžŃŃĐžŃĐșĐ” ŃĐșĐŸĐ»Đ”, Ń ĐżŃĐžĐœŃĐžĐżŃ ĐŸĐżĐžŃĐžĐČĐ°ĐœĐ° ĐżĐŸ ŃлДЎДŃĐŸŃ ŃĐ”ĐŒĐž: ŃĐ”ŃĐŒĐžĐœĐž, ŃĐżĐŸŃĐ°ŃŃĐž ĐŸĐ±Đ»ĐžĐș, ĐżĐŸŃĐ”ĐșĐ»ĐŸ, ĐŒĐ”ŃŃĐŸ Đž ĐČŃĐ”ĐŒĐ” ĐżĐŸŃĐ°ĐČŃĐžĐČĐ°ŃĐ°, ŃŃĐœĐșŃĐžŃĐ°, ĐżŃĐŸŃĐžĐČĐœĐžŃĐž, ĐČДза ŃĐ° ĐŸĐŽŃĐ”ŃĐ”ĐœĐžĐŒ бОŃĐșĐ°ĐŒĐ°/жОĐČĐŸŃĐžŃĐ°ĐŒĐ° Đž ĐČДза ŃĐ° Đ±ĐŸŃĐ°ĐŒĐ°/бŃĐŸŃĐ”ĐČĐžĐŒĐ°. ĐĐŸŃлД ŃŃĐ”ĐŽĐœĐžŃĐșĐŸĐł ŃĐČĐŸĐŽĐ° ŃлДЎО, Оз ŃŃŃĐșĐŸĐł ŃĐ”ĐŽĐœĐŸŃĐŸĐŒĐœĐžĐșĐ° ĐżŃĐ”ŃĐ·Đ”Ń ŃĐČĐŸĐŽĐœĐž ŃĐ”ĐșŃŃ Đ. Đ. ĐąĐŸĐ»ŃŃĐŸŃĐ° "ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐ° ĐœĐ°ŃĐŸĐŽĐœĐ° ĐČĐ”ŃĐŸĐČĐ°ŃĐ°", ĐșĐ°ĐŸ Đž ŃĐșŃĐ°ŃĐ”ĐœĐ° ĐČĐ”ŃĐ·ĐžŃĐ° ŃĐ°ĐŽĐ° Đ. Đ. ĐąĐŸĐżĐŸŃĐŸĐČĐ° "ĐĐŸĐłĐŸĐČĐž ŃŃĐ°ŃĐžŃ ĐĄĐ»ĐŸĐČĐ”ĐœĐ° Оз ĐșŃОгД "ĐĄĐșĐžŃĐ” Đ·Đ° ŃĐ»ĐŸĐČĐ”ĐœŃĐșŃ ĐžŃŃĐŸŃĐžŃŃ Đž ĐșŃĐ»ŃŃŃŃ" (ĐĐŸŃĐșĐČĐ° 1996). ĐĐ· Đ”ĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃĐ” "ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșĐ” ŃŃĐ°ŃĐžĐœĐ”" ĐżŃĐ”ŃĐ·Đ”ŃĐ° ŃĐ” Đ±ĐžĐ±Đ»ĐžĐŸĐłŃĐ°ŃĐžŃĐ° Ń ŃĐ”Đ»ĐžĐœĐž Đž ĐœĐ”ĐșĐŸĐ»ĐžĐșĐŸ ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ°. ĐŃĐ”ĐŒĐ° ĐżŃĐžĐ»ĐŸĐ¶Đ”ĐœĐŸŃ Đ±ĐžĐ±Đ»ĐžĐŸĐłŃĐ°ŃĐžŃĐž ŃŃĐžŃĐ” ŃĐ” ŃĐČОЎ Ń ĐžĐŒĐżŃĐ”ŃĐžĐČĐœĐž ŃДпДŃŃĐŸĐ°Ń ĐșĐŸŃĐžŃŃĐ”ĐœĐžŃ ĐžĐ·ĐČĐŸŃĐ°, ŃĐŸ ŃŃ Đ·Đ°ĐżŃĐ°ĐČĐŸ ŃĐČĐž ŃДлДĐČĐ”ĐœŃĐœĐž ŃлаĐČĐžŃŃĐžŃĐșĐž Đ»ĐžĐœĐłĐČĐžŃŃĐžŃĐșĐž, Đ”ŃĐœĐŸĐłŃĐ°ŃŃĐșĐž Đž ŃĐŸĐ»ĐșĐ»ĐŸŃĐœĐž ŃĐ°ĐŽĐŸĐČĐž, ĐșĐ°ĐŸ Đž Đ°ŃŃ ĐžĐČŃĐșĐ° ĐłŃĐ°ŃĐ° (ĐŸĐČĐŽĐ” ŃŃДба ĐžŃŃĐ°ŃĐž ĐżŃĐ” ŃĐČДга ŃДзŃĐ»ŃĐ°ŃĐ” ŃĐ”ŃĐ”ĐœŃĐșĐžŃ ĐžŃŃŃажОĐČĐ°ŃĐ° ĐșĐŸĐ»Đ”ĐșŃĐžĐČĐ° ŃŃŃĐșĐžŃ Đ”ŃĐœĐŸĐ»ĐžĐœĐłĐČĐžŃŃĐ° Ń ĐĐŸĐ»Đ”ŃŃŃ). ĐŁ Đ±Đ”ĐŸĐłŃĐ°ĐŽŃĐșĐŸŃ ŃлаĐČĐžŃŃĐžŃĐșĐŸŃ ŃŃĐ”ĐŽĐžĐœĐž ĐČĐ”Ń ĐŽĐ”ŃĐ”ŃĐ°Đș ĐłĐŸĐŽĐžĐœĐ° ĐżĐŸŃŃĐŸŃĐž Đ·ĐœĐ°ŃĐ°ŃĐœĐ° Đ”ŃĐœĐŸĐ»ĐžĐœĐłĐČĐžŃŃĐžŃĐșĐ° ŃŃĐ°ĐŽĐžŃĐžŃĐ°. ĐĐœĐ° ŃĐ” ĐżŃĐ” ŃĐČДга ĐČĐ”Đ·Đ°ĐœĐ° Đ·Đ° ĐžĐŒĐ”ĐœĐ° ĐŽĐČĐŸŃĐžŃĐ” Đ±Đ”ĐŸĐłŃĐ°ĐŽŃĐșĐžŃ Đ°ŃŃĐŸŃĐ° "ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșĐ” ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ”", Đ. Đ Đ°ĐŽĐ”ĐœĐșĐŸĐČĐžŃĐ° Đž Đ. ĐĐŸĐŒĐ”, алО Đž ŃĐ· ŃĐ°ŃĐŸĐżĐžŃĐ” "ĐĐŸĐŽĐŸĐČĐž ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐžŃ ĐșŃĐ»ŃŃŃĐ°", "Đ Đ°ŃĐșĐŸĐČĐœĐžĐș" Đž Đ·Đ±ĐŸŃĐœĐžĐșĐ” ŃĐ°ĐŽĐŸĐČĐ° ĐżĐŸĐŽ ŃŃĐ”ĐŽĐœĐžŃŃĐČĐŸĐŒ Đ. ĐŃĐŽĐ°ŃĐžŃĐ°. ĐĄĐČĐ°ĐșĐŸĐŒ ĐżĐžĐŸĐœĐžŃŃĐșĐŸĐŒ Đ”ĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃŃĐșĐŸĐŒ ĐżĐŸĐŽŃŃ ĐČĐ°ŃŃ ŃĐČĐ”Đș ŃĐ” ĐŒĐŸĐ¶Đ” ŃĐżŃŃĐžŃĐž ĐżŃĐžĐŒĐ”ĐŽĐ±Đ° ĐœĐ° ĐžĐ·Đ±ĐŸŃ ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ°, алО ŃĐ” ĐżŃĐŸŃОл ĐŸĐČĐ” ĐșŃОгД ĐČŃĐ»ĐŸ ŃĐ°ŃĐœĐŸ ĐŽĐ”ŃĐžĐœĐžŃĐ°Đœ Ń ŃĐ”ĐœĐŸĐŒ ŃĐČĐŸĐŽŃ ("ĐœĐ°ŃŃажДŃĐžŃĐž ĐŸĐżĐžŃ ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐŸĐł ĐŒĐŸĐŽĐ”Đ»Đ° ŃĐČĐ”ŃĐ°, ĐłŃĐ°ŃĐ”ĐœĐŸĐł ĐœĐ° ĐŒĐžŃĐŸĐ»ĐŸŃĐșĐžĐŒ ĐŸŃĐœĐŸĐČĐ°ĐŒĐ°". ĐąĐŸ ŃŃĐŸ, ĐœĐ° ĐżŃĐžĐŒĐ”Ń, ĐœĐ”ĐŒĐ° ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ” "жДŃĐČĐ°" ĐŒĐŸĐ¶Đ” ŃĐ” ĐŽĐ”Đ»ĐžĐŒĐžŃĐœĐŸ ĐœĐ°ĐŽĐŸĐșĐœĐ°ĐŽĐžŃĐž ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐŸĐŒ "жОŃĐŸ", ĐŒĐŸĐłŃŃĐ° ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ° "ĐŸŃĐ°ŃĐ”" ĐŒĐŸĐ¶Đ” ŃĐ” ĐœĐ°ĐŽĐŸĐșĐœĐ°ĐŽĐžŃĐž ŃĐ°ĐŽŃжаŃĐ”ĐŒ ĐżĐŸŃŃĐŸŃĐ”ŃĐžŃ ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ° "ĐŸŃĐ°Ń" ОлО "ĐŸĐ±ĐŸŃĐ°ĐČĐ°ŃĐ”"; ŃлОŃĐœĐŸ ŃĐ” ŃĐ° ĐœĐ”ĐżĐŸŃŃĐŸŃĐ”ŃĐžĐŒ "ОгŃĐ°", "ĐșĐŸĐ»ĐŸ", "Đ»Đ°Đœ" (ĐżĐŸŃŃĐŸŃĐž "ĐșĐŸĐœĐŸĐżŃĐ°"). ĐŃОга ŃĐ” ĐłŃĐ°ŃĐžŃĐșĐž Đ»Đ”ĐżĐŸ ĐŸĐżŃĐ”ĐŒŃĐ”ĐœĐ° Đž ŃĐ°ĐŽŃжО ĐČŃĐ»ĐŸ ĐžĐœŃĐŸŃĐŒĐ°ŃĐžĐČĐœĐ” ОлŃŃŃŃĐ°ŃĐžŃĐ”. ĐŃĐžĐ»ĐŸĐ¶Đ”ĐœĐž ŃпОŃĐ°Đș "ĐżŃĐ”ĐœŃĐŒĐ”ŃĐ°ĐœĐ°ŃĐ°" ŃĐ°ŃĐœĐŸ ĐłĐŸĐČĐŸŃĐž ĐŽĐ° Đ·ĐœĐ°ŃĐ°Ń ĐŸĐČĐ” ĐșŃОгД Đ·ĐœĐ°ŃĐœĐŸ ĐżŃĐ”ĐČазОлазО ŃŃĐșĐŸĐœĐ°ŃĐžĐŸĐœĐ°Đ»ĐœĐ” ĐŸĐșĐČĐžŃĐ”. ĐŃДЎ ĐœĐ°ĐŒĐ° ŃĐ” ĐŽĐ”Đ»ĐŸ ĐșĐŸŃĐ” ŃĐ” ĐžŃŃĐŸĐČŃĐ”ĐŒĐ”ĐœĐŸ Đ·Đ°ĐœĐžĐŒŃĐžĐČĐŸ ŃŃĐžĐČĐŸ ŃŃбОŃĐ”ŃĐžĐŒĐ° ŃŃĐ°ĐŽĐžŃĐžĐŸĐœĐ°Đ»ĐœĐ” ĐșŃĐ»ŃŃŃĐ”, Đ° ĐżĐŸŃĐ·ĐŽĐ°Đœ Đž ĐŸĐ±Đ°ĐČĐ”Đ·Đ°Đœ ĐżŃĐžŃŃŃĐœĐžĐș ĐœĐ°ŃŃĐœĐžĐŒ ĐžŃŃŃажОĐČĐ°ŃĐžĐŒĐ°. ĐĐžŃĐ°ĐœĐ° ĐĄĐžĐșĐžĐŒĐžŃ ĐĐŸĐ»ĐžŃĐžĐșĐ° 06.06.2002. ĐĐ ĐĐĐĄĐąĐĐĐĐĐ ĐĐĐŠĐĐĐĐĐĐĐĐĐĐĄĐĐ Đ ĐЧĐĐĐ ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșĐ° ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ° ĐĐ°Đ»ĐșĐ°ĐœĐŸĐ»ĐŸŃĐșĐž ĐžĐœŃŃĐžŃŃŃ ĐĄŃĐżŃĐșĐ” Đ°ĐșĐ°ĐŽĐ”ĐŒĐžŃĐ” ĐœĐ°ŃĐșĐ° Đž ŃĐŒĐ”ŃĐœĐŸŃŃĐž (ĐĄĐĐĐŁ) ĐżŃĐŸĐŒĐŸĐČĐžŃĐ°ĐŸ ŃĐ” "ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșŃ ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃŃ" - Đ”ĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃŃĐșĐž ŃĐ”ŃĐœĐžĐș Ń ĐžĐ·ĐŽĐ°ŃŃ "Zepter book world" Ń ĐżŃĐžŃŃŃŃĐČŃ ŃĐ»Đ°ĐœĐŸĐČĐ° ĐŽĐžĐżĐ»ĐŸĐŒĐ°ŃŃĐșĐŸĐł ĐșĐŸŃĐ° Оз ĐČĐ”ŃĐžĐœĐ” ŃĐ»ĐŸĐČĐ”ĐœŃĐșĐžŃ Đ·Đ”ĐŒĐ°ŃĐ°. Đ ĐșŃОзО ŃŃ ĐłĐŸĐČĐŸŃОлО ŃДЎаĐșŃĐŸŃĐž ĐżŃĐŸĐŽ. ĐŽŃ ĐĄĐČĐ”ŃĐ»Đ°ĐœĐ° Đ. ĐąĐŸĐ»ŃŃĐŸŃ, ĐžĐœĐŸŃŃŃĐ°ĐœĐž ŃĐ»Đ°Đœ ĐĄĐĐĐŁ Đž ŃĐ”Ń ĐŸĐŽĐ”ŃĐ”ŃĐ° Đ·Đ° Đ”ŃĐœĐŸĐ»ĐžĐœĐłĐČĐžŃŃĐžĐșŃ Đž ŃĐŸĐ»ĐșĐ»ĐŸŃ ĐĐœŃŃĐžŃŃŃĐ° Đ·Đ° ŃлаĐČĐžŃŃĐžĐșŃ Đ ŃŃĐșĐ” Đ°ĐșĐ°ĐŽĐ”ĐŒĐžŃĐ” ĐœĐ°ŃĐșĐ° Đž ĐŃĐ±ĐžĐœĐșĐŸ Đ Đ°ĐŽĐ”ĐœĐșĐŸĐČĐžŃ, Đ°ĐșĐ°ĐŽĐ”ĐŒĐžĐș ĐŃДЎŃĐ°Đł ĐалаĐČĐ”ŃŃŃĐ°, ĐżŃĐŸŃ. ĐŽŃ ĐĐœĐ° ĐĐ»ĐŸŃŃĐžĐșĐŸĐČĐ° Оз ĐĐŸŃĐșĐČĐ”, Đž ĐżŃĐŸŃ. ĐŽŃ ĐлДĐșŃĐ°ĐœĐŽĐ°Ń ĐĐŸĐŒĐ°. Đ Đ°ĐŽĐ”ĐœĐșĐŸĐČĐžŃ ŃĐ” ĐŸĐ±ŃĐ°ŃĐœĐžĐŸ ĐŽĐ° ŃĐ” ĐșŃОга ĐżĐ»ĐŸĐŽ ĐŽŃĐłĐŸĐłĐŸĐŽĐžŃŃĐ” ŃĐ°ŃĐ°ĐŽŃĐ” ŃŃĐżŃĐșĐžŃ Đž ŃŃŃĐșĐžŃ ĐœĐ°ŃŃĐœĐžĐșĐ° Đž ĐŽĐ° ĐŸĐ±ŃŃ ĐČĐ°ŃĐ° 420 ĐŸĐŽŃĐ”ĐŽĐœĐžŃĐ° ĐżĐŸĐŽĐ”ŃĐ”ĐœĐžŃ Ń ĐŽĐ”ĐČĐ”Ń ĐșĐ°ŃĐ”ĐłĐŸŃĐžŃĐ°. ĐĐ° ĐșŃОзО ŃĐ” ŃĐ°ĐŽĐžĐ»ĐŸ ĐŽĐČĐ°ĐŽĐ”ŃĐ”ŃĐ°Đș ŃŃŃĐșĐžŃ ŃŃŃŃŃŃĐ°ĐșĐ° Đž ĐŽĐČĐŸŃĐ” Оз ĐŃĐłĐŸŃлаĐČĐžŃĐ”. йаŃŃĐł ĐĐ°ŃĐ»ĐŸĐČ: ĐĄĐ»ĐŸĐČĐ”ĐœŃĐșĐ° ĐŒĐžŃĐŸĐ»ĐŸĐłĐžŃĐ°, Đ”ĐœŃĐžĐșĐ»ĐŸĐżĐ”ĐŽĐžŃŃĐșĐž ŃĐ”ŃĐœĐžĐș ĐĐ·ĐŽĐ°ĐČĐ°Ń: Zepter Book World ĐĄŃŃĐ°ĐœĐ°: 736 (cb) Povez: ŃĐČŃĐŽĐž ĐĐžŃĐŒĐŸ: ŃĐžŃОлОŃĐ° Đ€ĐŸŃĐŒĐ°Ń: 25 cm ĐĐŸĐŽĐžĐœĐ° ОзЎаŃĐ°: 2001 ĐĐĄĐĐ: 86-7494-025-0
Nova knjiga GERMAN FEDERALISM Past, Present, Future Publisher: Palgrave Macmillan, 2002 RETKO U PONUDI! NemaÄki federalizam This book explores the German idea of federalism denoting `diversity within unity`. Historians, linguists and political scientists examine how federalism emerged in the Holy Roman Empire, was re-shaped by nineteenth-century cultural movements, and was adopted by the unified state in 1871 and again after 1945. The myth of federalism as a safeguard against totalitarianism is tested in regard to the Third Reich and the GDR. The book concludes with an outlook on German federalism`s future in Europe. Federalizam (franc. federalisme, od lat. foedus â âdogovorâ, âsavezâ) je osnovni princip federacije, priznavanje politiÄkog ideala federalne organizacije drĆŸave, odnosno ĆŸelja da se kombinuje nekoliko pojedinaÄnih drĆŸava u federaciju ili pretvori unitarna drĆŸava u federaciju. To je sloĆŸena druĆĄtvena i politiÄka struktura stvorena udruĆŸivanjem uĆŸih celina u ĆĄiru zajednicu kako bi se postigli neki trajniji ciljevi. Federalisti su pristalice federalne organizacije njihove drĆŸave ili svih drĆŸava uopĆĄte. Kao oblik politiÄkog udruĆŸivanja federalizam se javlja veÄ u antici gde su grci u cilju odbrane od Persijanaca stvarali razliÄite oblike udruĆŸivanja i saradnje. Najstariji takav oblik udruĆŸivanja je Jonska liga, nakon koje slede Beotijski savez, Lakedemonski savez, Panhelenska liga i druge.[1] U srednjem veku takoÄe dolazi do stvaranja ĆĄirih sloĆŸenih zajednica sa istim interesima. U severnoj Italiji razvijeni gradovi stvaraju Lombardijsku ligu u 11. veku, u NemaÄkoj Hansa u 13. veku, a sliÄnih primera je bilo i ĆĄirom evrope. Federalizam je prvi put primenjen u SAD 1787. godine, a nakon toga se proĆĄirio na mnoge svetske drĆŸave. Poseban oblik federalizma je bio razvijen i u SFRJ i bio je razraÄen u ustavu iz 1974. godine.[1] U Evropi âfederalistimaâ se ponekad nazivaju oni koji se zalaĆŸu za poptune savezne vlade, rasporede vlasti na regionalni, nacionalni i nadnacionalni nivo. Evropski federalizam je nastao u posljeratnoj Evropi, a jedna od najvaĆŸnijih inicijativa u tom pravcu bio je govor Vinstona ÄerÄila u Cirihu 1946. godine.[2] Federalizam se razlikuje od konfederalizma, u kojem je opĆĄti nivo vlasti podreÄen regionalnom nivou, i od devolucije unutar unitarne drĆŸave, u kojoj je regionalni nivo vlasti podreÄen opĆĄtem nivou.[3] To predstavlja centralnu formu na putu regionalne integracije ili razdvajanja, ograniÄenu sa manje integrisane strane konfederalizmom, a sa viĆĄe integrisanom devolucijom unutar unitarne drĆŸave.[4][5] Pregled[uredi | uredi izvor] Put regionalne integracije ili razdvajanja Etimologija[uredi | uredi izvor] Izrazi âfederalizamâ i âkonfederalizamâ imaju koren u latinskoj reÄi foedus, ĆĄto znaÄi âugovor, pakt ili sporazumâ. Njihovo uobiÄajeno rano znaÄenje do kasnog osamnaestog veka bilo je jednostavna liga ili meÄuvladin odnos meÄu suverenim drĆŸavama zasnovan na ugovoru. Stoga su u poÄetku bili sinonimi. U tom smislu je DĆŸejms Madison u Federalistu br. 39 pomenuo novi Ustav SAD kao âni nacionalni ni federalni ustav, veÄ sastav obaâ (tj. kao da ne Äini ni jednu veliku unitarnu drĆŸavu niti ligu/konfederaciju izmeÄu nekoliko malih drĆŸava, ali hibrid te dva pristupa).[6] Tokom devetnaestog veka u Sjedinjenim DrĆŸavama, znaÄenje federalizma se promenilo, ojaÄavajuÄi da se jedinstveno odnosi na novu sloĆŸenu politiÄku formu ustanovljenu Filadelfijskom konvencijom, dok Äe znaÄenje konfederalizma ostati na ligi drĆŸava.[7] Poreklo[uredi | uredi izvor] U uĆŸem smislu, federalizam se odnosi na naÄin na koji je politiÄko telo jedne drĆŸave organizovano iznutra, i to je znaÄenje koje se najÄeĆĄÄe koristi u modernim vremenima. Politikolozi ga, meÄutim, koriste u mnogo ĆĄirem smislu, pozivajuÄi se umesto toga na âviĆĄeslojni ili pluralistiÄki koncept druĆĄtvenog i politiÄkog ĆŸivotaâ.[8] Prvi oblici federalizma nastali su u antiÄko doba, u vidu saveza izmeÄu drĆŸava. Neki primeri iz sedmog do drugog veka p. n. e. bili su ArhaiÄni savez, Etolski savez, Peloponeski savez i Delski savez. Rani predak federalizma bio je Ahajski savez u helenistiÄkoj GrÄkoj. Za razliku od grÄkih gradskova drĆŸava klasiÄne GrÄke, od kojih je svaka insistirala na oÄuvanju svoje potpune nezavisnosti, promenljivi uslovi u helenistiÄkom periodu naterali su mnoge gradske drĆŸave da se udruĆŸe Äak i po cenu gubitka dela svog suvereniteta. Kasniji savezi drĆŸava ukljuÄivali su prvu i drugu Ć vajcarsku konfederaciju (1291â1798 i 1815â48), Ujedinjene provincije Holandije (1579â1795), NemaÄki Bund (1815â66), prvu ameriÄku uniju poznatu kao Konfederacija Sjedinjenih AmeriÄkih DrĆŸava (1781â89), i druga ameriÄka unija formirana kao Sjedinjene AmeriÄke DrĆŸave (1789â1865).[9] PolitiÄka teorija[uredi | uredi izvor] Savremeni federalizam je politiÄki sistem zasnovan na demokratskim pravilima i institucijama u kojima je vlast za upravljanje podeljena izmeÄu nacionalnih i pokrajinskih/drĆŸavnih vlada. Termin federalista opisuje nekoliko politiÄkih uverenja ĆĄirom sveta u zavisnosti od konteksta. PoĆĄto termin federalizacija takoÄe opisuje karakteristiÄne politiÄke procese, njegova upotreba zavisi i od konteksta.[10] U politiÄkoj teoriji prepoznaju se dva glavna tipa federalizacije: integrativna,[11] ili agregativna federalizacija,[12] oznaÄavajuÄi razliÄite procese kao ĆĄto su: integracija nefederativnih politiÄkih subjekata stvaranjem nove federacije, pristupanje nefederativnih subjekata u postojeÄu federaciju ili transformacija konfederacije u federaciju devolutivna,[11] ili disagregativna federalizacija:[13] transformacija unitarne drĆŸave u federaciju Razlozi za usvajanje[uredi | uredi izvor] Prema Danijelu Ziblatu, postoje Äetiri konkurentna teorijska objaĆĄnjenja u akademskoj literaturi za usvajanje federalnih sistema: Idejne teorije, koje smatraju da veÄa ideoloĆĄka posveÄenost decentralistiÄkim idejama u druĆĄtvu Äini federalizam verovatnijim za usvajanje. Kulturno-istorijske teorije, koje smatraju da je veÄa verovatnoÄa da Äe federalne institucije biti usvojene u druĆĄtvima sa kulturno ili etniÄki fragmentiranom populacijom. Teorije âdruĆĄtvenog ugovoraâ, koje smatraju da se federalizam pojavljuje kao pogodba izmeÄu centra i periferije gde centar nije dovoljno moÄan da dominira periferijom, a periferija nije dovoljno moÄna da se otcepi od centra. Teorije âinfrastrukturne moÄiâ, koje smatraju da Äe se federalizam verovatno pojaviti kada podjedinice potencijalne federacije veÄ imaju visoko razvijenu infrastrukturu (npr. one su veÄ ustavne, parlamentarne i administrativno modernizovane drĆŸave).[14] Imanuel Kant je primetio da âproblem uspostavljanja drĆŸave moĆŸe da reĆĄi Äak i nacija Äavolaâ dokle god poseduju odgovarajuÄi ustav koji suprotstavlja suprotstavljene frakcije jedne protiv drugih uz sistem provere i ravnoteĆŸe. Äesto su pojedine drĆŸave zahtevale federaciju kao zaĆĄtitu od moguÄnosti rata.[15] Zagovornici federalnih sistema su istorijski tvrdili da podela vlasti svojstvena federalnim sistemima smanjuje unutraĆĄnje pretnje bezbednosti, kao i strane pretnje. Federalizam omoguÄava drĆŸavama da budu velike i raznolike, ublaĆŸavajuÄi rizik od tiranske vlade kroz centralizaciju moÄi.[16][17] Evropa vs. Sjedinjene DrĆŸave[uredi | uredi izvor] U Evropi, âfederalistiÄkiâ se ponekad koristi da opiĆĄe one koji se zalaĆŸu za zajedniÄku federalnu vladu, sa rasporeÄenom moÄi na regionalnom, nacionalnom i nadnacionalnom nivou. Unija evropskih federalista se zalaĆŸe za ovaj razvoj unutar Evropske unije, koji na kraju vodi ka Sjedinjenim Evropskim DrĆŸavama.[18] Vidi joĆĄ[uredi | uredi izvor] Federacija Federalna drĆŸava istorija nemaÄke nemaÄka drĆŸava kroz istoriju nemci nemaÄkog naroda
SpoljaĆĄnjost kao na fotografijama, unutraĆĄnjost u dobrom i urednom stanju! Katalin Ladik (roÄena 25. oktobra 1942. u Novom Sadu) je jugoslovensko-maÄarski pesnik, izvoÄaÄ i filmski stvaralac. Katalin Ladik poÄela je pisati 1962. godine radecÌi kao bankarski Äinovnik. Bila je radijska voditeljica i pozoriĆĄna glumica u Novom Sadu, kasnije je radila za film i televiziju. 1990. postala je urednica i predavala u oblastima muzike i pozoriĆĄta. Kao umetniÄki medij koristi vizuelnu poeziju, umetnost poĆĄte, radio igre, prozu, kolaĆŸ, fotografiju, film i eksperimentalnu muziku. Ladik istraĆŸuje jezik vizuelnim i vokalnim izrazima, kao i kretanjem i gestovima. Ladik se viĆĄe puta pojavljivao u kontekstu predstava, dogaÄaja i pozoriĆĄnih komada koji se Äesto deĆĄavaju u urbanom okruĆŸenju, ali i u prirodi. Bila je Älan umetniÄkog kolektiva Bosch + Bosch. Katalin Ladik ĆŸivi i radi naizmeniÄno u Novom Sadu (Srbija), BudimpeĆĄti (MaÄarska) i na ostrvu Hvar (Hrvatska). U svojoj domovini postala je legendarna i kontroverzna figura u ranim ĆĄezdesetim godinama, pre svega kroz feministiÄko-ĆĄamanistiÄku zvuÄnu poeziju i gole predstave. Ladik je primio nekoliko nagrada i igrao na brojnim nacionalnim i meÄunarodnim izloĆŸbama. 1977. Godine dala je ime sebi kao uÄesnica 10. meÄunarodnog festivala zvuÄne poezije u Amsterdamu. U 2010. godini u Muzeju savremene umetnosti Vojvodine u Novom Sadu odrĆŸana je retrospektiva, koja je privukla nacionalnu paĆŸnju, a 2017. godine bila je pozvana da uÄestvuje u dokumentarnoj 14. TakoÄe je ukljuÄena u seriju izloĆŸbi FeministiÄka avangarda. Katalin Ladik (born Novi Sad, October 25, 1942) is a Hungarian poet, performance artist and actress. She was born in Novi Sad, Yugoslavia (now called Serbia) 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. 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 Ălet Ă©s Irodalom (1993â94) and CigĂĄnyfĂșrĂł (1994â99). Between 1993 and 1998 she taught at HangĂĄr 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 Katalin Ladik has earned various awards, including the KassĂĄk Lajos Award (1991), the award of Mikes Kelemen Kör (Mikes International â Association for Hungarian Art, Literature and Science in the Netherlands) (2000), the JĂłzsef 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 KlĂĄra Herczeg Award in senior category from the Studio of Young Artistsâ 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 vojvoÄanskih profesionalnih pozoriĆĄta (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 UdruĆŸenje dramskih umetnika Srbije / Association of Dramatic Artists of Serbia, in 1979. Katalin Ladik also received the Magyar TelevĂziĂł Elnöki NĂvĂłdĂja / Award of the President of Hungarian Television for Acting Excellence for acting in AndrĂĄs Rajnaiâs TV film series, TelevĂziĂłs mesĂ©k felnĆtteknek (Television Tales for Adults) in 1980. In 1986, she was awarded first place at Smotra vojvoÄanskih profesionalnih pozoriĆĄta / Festival of Professional Theaters in Vojvodina for the role of Skinner in Howard Barkerâs The Castle, directed by David Gothard, performed at the National Theatre in Subotica. 2017 Artisjus Literary Award for her poetry volume âA vĂz emlĂ©kezeteâ (âThe Memory of Waterâ) 2017 Janus Pannonius Filius Ursae Award for her literary oeuvre for âbeing defiant, provocative, and confrontational towards the actual literary canonsâ Poetry 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 âperformed`). 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 Her first novel, entitled Ălhetek az arcodon? (Can I Live on Your Face?) was published in 2007 by Nyitott KönyvmƱhely. 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 artistsâ 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 Volumes in original language Ballada az ezĂŒstbiciklirĆl (Ballad of Silver Bike) | poems | Hungarian | with gramophone recording | Forum, Novi Sad, 1969 Elindultak a kis piros bulldĂłzerek (The Small, Red Bulldosers Have Taken Off) | poems | Hungarian | Forum, Novi Sad, 1971 MesĂ©k a hĂ©tfejƱ varrĂłgĂ©prĆl (Stories of the Seven-Headed Sewing Machine) | poems | Hungarian | Forum, Novi Sad, 1978 Ikarosz a metrĂłn (Icarus on the Subway) | poems | Hungarian | Forum, Novi Sad, 1981 A parĂĄzna söprƱ â Bludna metla (The Promiscuous Broom) | poems | Hungarian-Serbian bilingual | Forum, Novi Sad, 1984 KiƱzetĂ©s (Exile) | poems | Hungarian | MagvetĆ, Budapest, 1988 JegyessĂ©g (Engagement) | poems | Hungarian | Fekete Sas - Orpheusz, Budapest, 1994 A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | poems | Hungarian | Fekete Sas, Budapest, 1998 FƱketrec (Grass-Cage) | poems | Hungarian | Orpheusz, Budapest, 2004 Ălhetek az arcodon? (Can I Live on Your Face?) | prose | Hungarian | Nyitott KönyvmƱhely, Budapest, 2007 BelsĆ vĂzözön (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 vĂz emlĂ©kezete (The Memory of Water) | poems | Hungarian | Kalligram, Budapest, 2016 Translated volumes 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 RaduloviÄ, Judita Ć algo, Arpad Vicko | KnjiĆŸevna Zajednica Novog Sada, Novi Sad, 1987 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. BâRacz | New Native Press, Sylva, 1992 PoĂšmes (Poems) | poems | French | selected by: Tibor Papp | translated by: Katalin Kluge, Tibor Tardos | CiPM / Spectres Familiers, Marseille, 1999 Ikarova senka (Icarusâ Shadow) | poems | Serbian | translated by: Katalin Ladik, Selimir RaduloviÄ, Judita Ć algo, Arpad Vicko, Draginja Ramadanski | Orpheus, Novi Sad, 2004 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. BâRacz | Burning Bush Press, Asheville, 2005 Engagement | poems | English | translated by: Emöke Z. BâRacz | Burning Bush Press, Asheville, 2006 Kavez od trave (Grass-Cage) | poems | Croatian | translated by: Kristina Peternai | Matica Hrvatska, Osijek, 2007 E-books FƱketrec (Grass-Cage) | poems | Hungarian | Mikes International, The Hague, 2003 | downloadable, pdf format FƱketrec (Grass-Cage) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2003 | downloadable, multiple formats A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, multiple formats Ikarosz biciklijĂ©n (On Icarusâ Bicycle) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, multiple formats KiƱzetĂ©s ~ JegyessĂ©g (Exile ~ Engagement) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, multiple formats A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format KiƱzetĂ©s ~ JegyessĂ©g (Exile ~ Engagement) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Ikarosz biciklijĂ©n (On Icarusâ 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 ĂzƱ vagyok? (How Do I Taste?) | poems | Hungarian | A hĂłnap könyve, Szentendre, 2012 | buyable, pdf format Discography Sound poetry Ballada az ezĂŒstbiciklirĆl (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 PoĂ©sie Sonore Internationale (International Sound Poetry) | audio cassette | anthology of sound poetry, Paris, 1979 La Nouvelle Revue dâArt Moderne, Special 2. (The Magazine of Modern Art) | audio cassette | Rencontres Internationales de PoĂ©sie 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 HangĂĄr / Hangar | audio cassette | anthology of sound poetry, Amsterdam â Budapest, 1987 Aki darazsakrĂłl ĂĄlmodik (Who is Dreaming About Wasps) | LP | recording of the radio play `Furcsa, aki darazsakrĂłl ĂĄlmodik` (Strange Is the One Who Is Dreaming About Wasps) | Radio Novi Sad, 1988 Spiritus Noister: Nemzeti zajzĂĄrvĂĄnyok / National Noise-Inclusions | audio cassette | Bahia Music, Budapest, 1996 VajdasĂĄgi Magyar Zenei EstĂ©k / Vojvodina Hungarian Music Evenings 1988 | CD | JMMT, Novi Sad, 1998 VĂzisĂĄmĂĄn / Water Shaman | CD | Budapest, 1999 Spiritus Noister â Kurt Schwitters: Ursonate | music CD | Hungaroton, Budapest, 2003 Vodeni anÄeo / Water Angel | music CD | Nova Misao, Novi Sad, 2011 Music (experimental music, jazz) As vocalist, Katalin Ladik collaborated with prominent Croatian, Serbian and Hungarian composers, such as Dubravko Detoni, Branimir SakaÄ, and Milko Kelemen (1971â73, ensemble ACEZANTEZ); ErnĆ KirĂĄly (1963-2002); DuĆĄan RadiÄ (Oratorio Profano, 1979); Boris KovaÄ (1986-1990); DeĆŸe Molnar ( 1989â91); Zsolt SĆrĂ©s a.k.a. Ahad, and Zsolt KovĂĄcs (1996-, Spiritus Noister). ErnĆ KirĂĄly | LP | UdruĆŸenje Kompozitora Vojvodine, Novi Sad, 1978 Boris KovaÄ: Ritual Nova I | LP | Symposion Records, Overstrand, 1986 Boris KovaÄ: Ritual Nova II | CD | Recommended Records, London, 1989 ErnĆ KirĂĄly - Spectrum | CD | Autobus, Paris, 1999 DeĆŸe 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 Online Audio FƱketrec (Grass-Cage) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2003 | downloadable, mp3 format A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, mp3 format Ikarosz biciklijĂ©n (On Icarusâ Bicycle) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, mp3 format KĂƱzetĂ©s - JegyessĂ©g (Exile - Engagement) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, mp3 format Live performances 2011 NĂ©gy fekete lĂł mögöttem repĂŒl (Four Black Horses Fly Behind Me); JĂ©gmadĂĄr (Icebird); excerpts from BelsĆ vĂzözön (The Deluge Inside) | poetry reading | Dzsudi Remake evening, Merlin Theatre, Budapest | Video on YouTube Performance art 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 1960s-`70s 1968 Budapest, Szentendre - Hungary | UFO | TamĂĄs SzentjĂłby, MiklĂłs ErdĂ©ly, Katalin Ladik | happening 1970 Belgrade - Serbia | PozoriĆĄte Atelje 212, Podrum teatar (Theatre Atelje 212, Theatre in the Basement) | performance Zagreb - Croatia | Ćœanr Festival eksperimentalnog filma (Genre Experimental Film Festival - GEFF) | performance Budapest - Hungary | JĂłzsef Attila MƱvelĆdĂ©si HĂĄz (Cultural Centre JĂłzsef Attila) | with JenĆ BalaskĂł | literary performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Temerin - Serbia | performance 1971 BaÄka Topola - Serbia | UFO Party | performance Samobor - Croatia | Samoborski FaĆĄnik (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) | Äetvrta 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 BalatonboglĂĄr - Hungary | KĂĄpolna GalĂ©ria (KĂĄpolna 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): `SpuĆĄtanje 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, foniÄna i vizuelna poezija Katalin Ladik` (Poetry, Phonic and Visual Poetry by Katalin Ladik) KrakĂłw (Poland): `Phonopoetica` /performance/ Zagreb (Croatia), Information Centre / Informativni Centar: `Phonopoetica` (with Vujica R. TuciÄ) /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), PreĆĄeren Theatre / PreĆĄernovo GledaliĆĄÄe /performance/ Sarajevo (Bosnia and Herzegovina), Youth Theatre / PozoriĆĄte Mladih, Festival Malih i Eksperimentalnih Scena (Festival of Small and Experimental Theatre): `Äetvrta dimenzija â krik` (Fourth Dimension â Scream) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `PesniÄki maraton` (Poetry Marathon) /performance/ Novi Sad (Serbia), Sonja MarinkoviÄ Student Club / Studentski Klub âSonja MarinkoviÄâ: `Äudak je ko ÄekiÄe sanja` (Weird Is the One Who Dreams About Hammers) /performance/ WĂŒrzburg (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 umjetniÄka praksa 1966-1978` (New Art Practice 1966-1978) /performance/ 1979 Subotica (Serbia), Youth Centre / Dom Omladine: `Az Ă©neklĆ varrĂłgĂ©p â The Singing Sewing Machine` (with Zsolt KirĂĄly) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `The Screaming Hole â A sikoltozĂł lyuk` /performance/ Amsterdam (Netherlands): `One World Poetry` /performance/ Utrecht (Netherlands), Gallery âT Hoogt / âT Hoogt Galerie: `One World Poetry` /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `MesĂ©k a hĂ©tfejƱ varrĂłgĂ©prĆl` (Stories of the Seven-headed Sewing Machine) /performance/ 1980s-`90s 1980 Paris (France), Pompidou Centre / Centre Georges Pompidou: `Rencontres Internationales de PoĂ©sie Sonore` (International Sound Poetry Festival) /performance/ Le Havre (France), Cultural Centre of Le Havre / Maison de la Culture du Havre: `Rencontres Internationales de PoĂ©sie Sonore` (International Sound Poetry Festival) /performance/ Rennes (France), Cultural Centre of Rennes / Maison de la Culture de Rennes: `Rencontres Internationales de PoĂ©sie 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 / VĂĄrszĂnhĂĄz, Knightsâ 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 JĂłkai, Studio âKâ/ StĂșdiĂł âKâ JĂłkai MƱvelĆdĂ©si Központ: `Ladik Katalin ĂșjvidĂ©ki költĆ Ă©s elĆadĂłmƱvĂ©sz szerzĆi estje` (An Evening with Novi Sad Poet and Performer, Katalin Ladik) /performance/ Novi Sad (Serbia), Cultural Centre PetĆfi SĂĄndor / PetĆfi SĂĄndor MƱvelĆdĂ©si HĂĄz: `Telepi estĂ©k â Ladik Katalin szerzĆi estje` (Evenings in Telep â with Poet Katalin Ladik) (with OttĂł Tolnai, Zsolt KirĂĄly) /performance/ Budapest (Hungary), Young Artistsâ Club / Fiatal MƱvĂ©szek Klubja: `Ladik Katalin szerzĆi estje` (An Evening with Katalin Ladik) (with MiklĂłs ErdĂ©ly, LĂĄszlĂł Beke and Zsolt KirĂĄly) /performance/ Budapest (Hungary), Cultural Centre JĂłkai, Studio âKâ / StĂșdiĂł âKâ JĂłkai MƱvelĆdĂ©si Központ: `Ladik Katalin szerzĆi Ă©s elĆadĂłi estje` (An Evening with Katalin Ladik) (with MiklĂłs ErdĂ©ly, LĂĄszlĂł Beke and Zsolt KirĂĄly) /performance/ Belgrade (Serbia), Museum of Contemporary Art / Muzej Savremene Umetnosti: `Verbo-Voko-Vizuelno` (`Phonopoetry` with Judita Ć algo) /performance/ Osijek (Croatia), Studentsâ Youth Centre / Studentski Centar Mladih, OsijeÄko ljeto (Summer in Osijek): `Äudak je ko ÄekiÄe sanja` (Weird Is the One Who Dreams About Hammers) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Ikar u metrouâ (Icarus on the Subway) (with Judita Ć algo, Selimir RaduloviÄ) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine, Beogradsko leto (Summer in Belgrade): `Ufo Party` /performance/ KanjiĆŸa (Serbia), Literary Camp / KnjiĆŸevna Kolonija: `Konkretna i vizuelna poezija` (Concrete and Visual Poetry) (with Vujica R. TuciÄ and Bob Cobbing) /performance/ Novi Sad (Serbia), Address: Istarski kej 37. sp. 8. st. Rade Ć eviÄ: `Sound Poetry Performance` (with Vujica R. TuciÄ and Bob Cobbing) /performance/ Novi Sad (Serbia), Youth Tribune Gallery / Tribina Mladih Galerija: `Phonopoemim` â 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 Ć ekspira` (Tempest â Based on Shakespeare) â 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), JĂłzsef Attila University (Today: University of Szeged) / JĂłzsef Attila TudomĂĄnyegyetem: `Mandora 1.` /performance/ Cogolin (France), Rencontres Internationales de PoĂ©sie Contemporaine (International Festival of Contemporary Poetry): `Mandora 1.` /performance/ Belgrade (Serbia), Cultural Centre / Kulturni Centar: `Mandora 1.` /performance/ 1985 Belgrade (Serbia), Magaza Theatre / PozoriĆĄte Magaza: `Mandora 2.` /performance/ Budapest (Hungary), Cultural Cente of LĂĄgymĂĄnyos / LĂĄgymĂĄnyosi MƱvelĆdĂ©si Otthon: `Mandora 2.` /performance/ Budapest (Hungary), Metropolitan Cultural Centre / FĆvĂĄrosi MƱvelĆdĂ©si HĂĄz: `Alice` /performance/ Zemun (Serbia), Festival Monodrame i Pantomime (Festival of Monodrama and Pantomimes): `Mandora` /performance/ Novi Sad (Serbia), âSonja MarinkoviÄâCultural Centre / Kulturni Centar âSonja MarinkoviÄâ, Youth Tribune / Tribina Mladih: `Mandora` /performance/ Stari BeÄej (Serbia) /performance/ 1988 Szeged (Hungary), JATE Club: `Polyphonix` /performance/ PĂ©cs (Hungary): `Alice` /performance/ Budapest (Hungary), VigadĂł Chamber Hall / VigadĂł Kamaraterem, HangĂĄr Est (âWall of Soundâ Evening): `Alice` /performance/ 1989 Spoleto (Italy): `O Fortuna` /performance/ NovĂ© ZĂĄmky (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 ZoltĂĄn Pletl) /performance/ VĂĄc (Hungary), Greek Chapel / Görög Templom, Ex-panziĂł 2. Festival: `Angyal/Angel` /performance/ Novi Sad (Serbia): `Seraphine Tanz` /performance/ 1993 Szentendre (Hungary), DalmĂĄt Cellar / DalmĂĄt pince, UHF KisĂșjrevue /performance/ Szeged (Hungary), JATE Club: `Alice` /performance/ VĂĄc (Hungary), Greek Chapel / Görög Templom, ExpanziĂł 5. Festival /performance/ 1994 Szeged (Hungary): `Performancia` with LukĂĄcs Bitskey /performance/ ZebegĂ©ny (Hungary): `A helyettesĂtĆ asszony (The Substitute)` /performance/ PĂ©cs (Hungary): `A nĂ©gydimenziĂłs ablak (The Four-dimensional Window)` with TamĂĄs Szalay /performance/ 1995 Marseille (France), International Poetry Centre / Centre International de PoĂšsie: `KassĂĄk` /performance/ 1996 Marseille (France), Meyer Gallery / Galerie Meyer: `Lâ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ Ajaccio â Corsica (France): `Lâ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ 2000s 2002 Novi Sad (Serbia), Cultural Centre of Novi Sad / Kulturni Centar Novog Sada, INFANT (International Festival of Alternative and New Theatre): `FƱketrec / Grass-cage` 2003 Novi Sad (Serbia), Chamber Theatre of Music / Kamerno PozoriĆĄte Muzike, INTERZONE Festival: `Tesla â Project` /performance/ 2004 Monza (Italy) /performance/ Salerno (Italy) /performance/ Novi Sad (Serbia), Chamber Theatre of Music / Kamerno PozoriĆĄte Muzike, INTERZONE Festival: `Tesla â Project` Budapest (Hungary), A38 Ship / A38 hajĂł: `LomtalanĂtĂĄs` (Cleaning the House) /performance/ Budapest (Hungary), Ludwig Museum â Museum of Contemporary Art / Ludwig MĂșzeum â KortĂĄrs MƱvĂ©szeti MĂșzeum: `Torony-LomtalanĂtĂĄs` (Cleaning the Tower-House) /performance/ 2005 TerĂ©ny (Hungary), ExpanziĂł Festival: `Angel` /performance/ 2006 Budapest (Hungary), Serbian Theatre in Hungary / MagyarorszĂĄgi Szerb SzĂnhĂĄz / Srpsko PozoriĆĄte u MaÄarskoj: `Tesla`, /audio-visual oratorio/ Otterlo (Netherlands), Kröller-MĂŒller 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 NovĂ© ZĂĄmky (Slovakia), Art Gallery / GalĂ©ria Umenia: `Gyakorlatok ĂŒres hĂșrokon â KassĂĄk-kĂłd` (Exercises on Empty Strings - KassĂĄk Code) /performance/ Budapest (Hungary), Erlin Club Gallery / Erlin Klub GalĂ©ria: `FƱketrec` (Grass-cage) /performance/ Budapest (Hungary), Mu Theatre / Mu SzĂnhĂĄz: `Az EszmĂ©let szövedĂ©ke` (The Weave of Consciousness) (with PĂ©ter Bajka, Bern Atom Santi, Eszter Bereczky, ZsĂłfia Varga) /performance/ VerĆce (Hungary), EkszpanziĂł XX Festival: `Tesla, Audio-visual Oratorio` /performance/ Szigliget (Hungary), Artist House of the Hungarian Public Foundation for Creative Art / Magyar AlkotĂłmƱvĂ©szeti KözalapĂtvĂĄny AlkotĂłhĂĄza, JĂłzsef Attila Kör 18. irodalmi tĂĄbora (18th Literary Camp of the JĂłzsef Attila Circle): `Az EszmĂ©let szövedĂ©ke` (The Weave of Consciousness) (with PĂ©ter Bajka, Bern Atom Santi, Eszter Bereczky, ZsĂłfia Varga) /performance/ 2008 Budapest (Hungary), PetĆfi Literary Museum / PetĆfi Irodalmi MĂșzeum, A SzĂ©pĂrĂłk TĂĄrsasĂĄga V. Ćszi irodalmi fesztivĂĄlja â NĆk a fĂ©rfi birodalomban (5th Autumn Literary Festival of the Hungarian Belletrist Association â Women in a Men`s World): `Diptichon` (with Endre SzkĂĄrosi), performance Belgrade (Serbia), ARTGET Gallery â Cultural Centre Belgrade / Galerija ARTGET â Kulturni Centar Beograda (World Poetry Day): `Tesla â Homo Galacticus` /performance/ Szigliget (Hungary), JĂłzsef Attila Kör 20. irodalmi tĂĄbora (20th Literary Camp of the JĂłzsef Attila Circle): `Trip-ti-chon` (with Veronika CzapĂĄry), performance Budapest (Hungary), Irodalmi Centrifuga (Literary Centrifuge): `Trip-ti-chon` (with Veronika CzapĂĄry), performance Bratislava (Slovakia), Ars Poetica MedzinĂĄrodny Festival PoĂ©zie /The 6th Ars Poetica International Poetry Festival /sound poetry performance[4] 2009 VisegrĂĄd (Hungary), The Roof Terrace of King Matthias Museum / A MĂĄtyĂĄs KirĂĄly MĂșzeum tetĆterasza, EkszpanziĂł XXI Festival: âKerub` (Cherub) /performance/ 2010s 2010 Budapest (Hungary), Gallery A22 / A22 GalĂ©ria, Tibor Papp`s Exhibition Opening: `ĂraköltemĂ©ny` (Poem-Clock) /performance/ Subotica (Serbia), KosztolĂĄnyi DezsĆ Theatre / KosztolĂĄnyi DezsĆ SzĂnhĂĄz: `Tesla â Homo Galacticus` /performance/ Budapest (Hungary), MillenĂĄris Theatre / MillenĂĄris TeĂĄtrum, Book Festival: `SzabadkĆmƱves szex` (Freemason Sex) (with drMĂĄriĂĄs) /performance/ Ć taglinec (Croatia), `Voda` â `Water` MeÄunarodni Susret Umjetnika (International Art Festival): `Veliko spremanje` (Spring Cleaning) /performance/ Eger (Hungary), Small Synagogue Gallery of Contemporary Art / Kis ZsinagĂłga KortĂĄrs GalĂ©ria, artAlom Ă©lĆmƱvĂ©szeti fesztivĂĄl (artAlom Performing Arts Festival): `Bukott angyalok` (Fallen Angels) /performance/ Szeged (Hungary) â Subotica (Serbia), Railway line, KultĂșrcsempĂ©sz SĂnbusz FesztivĂĄl (Culture-smuggler Railbus Festival): Megaphone-assisted readings by GĂĄbor VirĂĄg, Slobodan TiĆĄma, GĂĄbor Lanczkor, Tamara Ć uĆĄkiÄ, Vladimir Kopicl, Katalin Ladik, SiniĆĄa TuciÄ, Roland Orcsik 2011 Budapest (Hungary), Kunsthalle (Palace/Hall of Art) / MƱcsarnok: `PreparababrakabarĂ©` /performance/ Marseille (France), Museum of Contemporary Art / MusĂ©e d`Art Contemporain, PoĂ©sie Marseille 2011, 8Ăšme Festival (8th Marseille Poetry Festival, 2011): `Le Grand MĂ©nage` (Spring Cleaning) /performance/ TĂąrgu MureÈ (Romania), National Theatre - Small Hall / Teatrul NaĆŁional â Sala MicÄ, Testet öltött szavak rendezvĂ©ny (Words Embodied â Event series): `Alice` /performance/ Budapest (Hungary), Mu Theatre / Mu SzĂnhĂĄz, Ismeretlen kutatĂĄsa improvizĂĄciĂłs alkotĂłmƱhely (Searching the Unknown â Improvisational Workshop): `Hangmozdulat` (Sound Movement) (with Kati Dombi) /performance/ 2012 Budapest (Hungary), Hungarian Writers` Association / Magyar ĂrĂłszövetsĂ©g: XXIV. EkszpanziĂł Festival, `IdĂ©zet` Szimpozion Ă©s KiĂĄllĂtĂĄs (`Quotation` Symposium and Exhibition): `ĂsĂł, kapa, nagyharang` (`Till Death` lit.: Spade, Hoe and Bell) /performance/ KomĂĄrom (Hungary), Fort Monostor â Film Museum / Monostori ErĆd â FilmmĂșzeum, Mediawave 2012 Festival: `NagytakarĂtĂĄs` (`Spring Cleaning`) /performance/ ĆĂłdĆș (Poland), MS2 â Lodz Museum of Art / MS2 â Muzeum Sztuki w Ćodzi: `Alicja w krainie kodĂłw` (Alice in Codeland) /performance/ Budapest (Hungary), Address: 8th district, PĂĄl street 6.: Gödör bĂșjĂłcska â irodalom, zene, film, tĂĄnc, szĂnhĂĄz, beszĂ©lgetĂ©s (Gödör Club Hide-and-seek â literature, music, film, dance, theatre, discussions) /sound poetry performance/ Ottawa, Ontario, Canada, City Hall Art Gallery, A B Series Workshop: `NagytakarĂtĂĄs` (`Spring Cleaning`) /performance/ Ottawa, Ontario, Canada, Arts Court Theatre, A B Series: `Alice KĂłdorszĂĄgban` (`Alice in Codeland`) /performance/[5] 2013 Budapest (Hungary), Ăbudai TĂĄrsaskör, KassĂĄk Museum, KassĂĄk Year: `Alice KĂłdorszĂĄgban` (Alice in Codeland) /performance/[6] Hvar (Croatia), 17th International Festival of Radio Plays and Documentary Radio Dramas PRIX MARULIÄ, âTesla. Homo Galacticusâ /performance/ SzĂ©kesfehĂ©rvĂĄr (Hungary), Vörösmarty Theatre Studio, Contemporary Art Festival: `Alice KĂłdorszĂĄgban` (Alice in Codeland) /performance/[7] Budapest (Hungary), Fuga, AutonĂłmia Filmklub 5, âI Belong to the Bandâ: Katalin Ladik`s voice on âpoets of the absurd on chalkâ[8] 2014 SzĂĄzhalombatta (Hungary), Katalin Ladik - Endre SzkĂĄrosi, Slam Poetry /performance/ Budapest (Hungary), Mika Tivadar VigadĂł, JazzaJ, Katalin Ladik â Jean Michel van Schowburg, Katalin Ladik â Zsolt SĆrĂ©s, âSounds to Goâ (Hangok elvitelre) /performance/ [9] 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, UniversitĂ€t Wien, `Singende Schnittmuster â Singing Dress Pattern`, lecture-performance, multimedia slide-show 2016 PoreÄ (Croatia), Behind the Scenes with Katalin Ladik! Artists on Vacation: `The Sounds of a sewing machine`, Circe di Parenzoâ /performance/,[10][11] Budapest (Hungary), MĂSZI, @Transart Communication, Katalin Ladik & Zsolt SĆrĂ©s âAlchemical Weddingâ (AlkĂmiai nĂĄsz) /performance/ 2016 Milano (Italy), FM Centre for Contemporary Art, Non-Aligned Modernity. Eastern-European Art from the Marinko Sudac Collection, âTranzit Zoonâ /performance/ 2017 Athens (Greece), Oval Staircase, Megaron â the Athens Concert Hall, All the In-Between Spaces, Concept and direction by: Paolo Thorsen-Nagel, âFollow me into mythologyâ /performance/ 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, âLive Lectureâ /solo sound poetry performance/ Nicosia (Cyprus), Artos Foundation, SARDAM Mixed-media Literary Festival 5th edition âLive Lectureâ /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, âWall(ed)â, aRttitude Site-specific dance performance, Katalin Ladik (live sound and voice). Budapest (Hungary), TrafĂł, âAlice in Codelandâ /multimedia performance/ Vienna (Austria), Lobby of Hotel Prinz Eugen, Erste Bank Publication Presentation âSound Poemsâ /live performance/ Novi Sad (Serbia), Museum of Contemporary Art Voivodina (MSUV), âK.A.T (Culture â Activism â Theory) Conferenceâ, âCreative Transitionsâ/live lecture, multimedia and sound poetry performance/ Novi Sad (Serbia), Bulevar Books, âTraNSporteur multilingual poetryâ /poetry reading/ Lodz (Poland), House of Literature, âPuls Literary Festival, 2017, Hungarian Dayâ, âSounds in Lodzâ / live lecture, multimedia performance and live sound poetry performance/ 2018 Berlin (Germany), neue Gesellschaft fĂŒr bildende Kunst (nBgK), `Alice in Codeland`, multimedia performance Berlin (Germany), Akademie der KĂŒnste, âUnderground und Improvisationâ, âFollow me into Mythologyâ /live lecture and soloperformance/ Berlin (Germany), Akademie der KĂŒnste, âUnderground und Improvisationâ, âDesire of Touchâ /Duoperformance with Natalia Pschenitschnikova/ Budapest (Hungary), Mersz Klub, âTĂșlĂ©lni a documenta 14-etâ (Surviving documenta 14) /live lecture and soloperformance/ Budapest (Hungary), Hungarian University of Fine Arts, âTĂșlĂ©lni a documenta 14-etâ (Surviving documenta 14) /live lecture with Emese KĂŒrti/ Budapest (Hungary), Közkincs KönyvtĂĄr, `MĆ°VĂSZ + NĆ` (ARTIST + WOMAN), âFeminizmus Ă©s mƱvĂ©szet ma?â (Feminism and Art Today?), âTĂșlĂ©lni a documenta 14-etâ (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), âShowroom of Contemporary Soundâ, âTransitionsâ /live lecture/ Rome (Italy), Falconieri Palace (Hungarian Academy in Rome), âFountains of Rome - Mouth to Lung!â /live lecture and sound performance/ Budapest (Hungary), HĂĄrom HollĂł â Drei Raben, âAntracit szĂĄjrĂșd (Antracit mouthpiece) /sound poetry performance/ Berlin (Germany), Akademie der KĂŒnste, `19. poesiefestival berlin 2018, Weltklang â Night of Poetry`, sound poetry performance Berlin (Germany), German Centre for Poetry (Haus fâĂŒr Poesie), `lyrikline - Listen to the Poet`, poetry reading and live voice recordings for the archive Concerts, musical performances (selection) Opatija (Croatia), 1969: Jugoslovenska muziÄka tribina (Yugoslav Music Tribune) (ErnĆ KirĂĄly: Refleksija) Opatija (Croatia), 1970: Jugoslovenska muziÄka tribina (Yugoslav Music Tribune) (ErnĆ KirĂĄly: Refleksija; Branimir SakaÄ: Bellatrix - Alleluja) Novi Sad (Serbia), 1970: Muzika i Laboratorija (Music and Laboratory) (with ErnĆ KirĂĄly) Osijek (Croatia), 1970: Annale komorne opere i baleta (Annual festival of chamber opera and ballet) Zagreb (Croatia), 1971: MuziÄki biennale (Music Biennale â International Festival of Contemporary Music) (MBZ Radionica/Workshop II with ErnĆ KirĂĄly, et al.; Chamber Music - Branimir SakaÄ: Bellatrix - Alleluja) Dubrovnik (Croatia), 1971: DubrovaÄke ljetne igre (Dubrovnik Summer Festival) (ACEZANTEZ Ensemble) Radenci (Slovenia), 1971: Festival sodobne komorne glazbe (Contemporary Chamber Music Festival) Munich (Germany), 1972: (Cultural Program of the 1972 Summer Olympics) (ACEZANTEZ Ensemble) Radenci (Slovenia), 1972: Festival sodobne komorne glazbe (ACEZANTEZ Ensemble) (Contemporary Chamber Music Festival) Osijek (Croatia), 1972: Annale komorne opere i baleta (ACEZANTEZ Ensemble) (Annual festival of chamber opera and ballet) Novi Sad (Serbia), 1972, âRadivoj Äirpanovâ Workersâ University / RadniÄki univerzitet âRadivoj Äirpanovâ (ACEZANTEZ Ensemble) Belgrade (Serbia), 1972, Studentski kulturni centar (Student Cultural Centre) â Festival Expanded Media (ACEZANTEZ Ensemble) Belgrade (Serbia), 1979, Dom Sindikata â BEMUS Belgrade Music Festival: âOratorio Profanoâ (composer: DuĆĄan RadiÄ, conductor: Oskar Danon) Opatija (Croatia), 1980: Jugoslovenska muziÄka tribina (Yugoslav Music Tribune) Budapest (Hungary), Spiritus Noister Group, 1996, 2002, 2004, 2007, 2008, 2009, 2010, 2011, 2012 Budapest (Hungary), Italian Cultural Institute / Olasz kultĂșrintĂ©zet / Istituto Italiano di Cultura, AvantgĂĄrd mƱvĂ©szetek a vilĂĄgban: mi lett a sorsuk? Nemzetközi tanĂĄcskozĂĄs (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 SzekszĂĄrd (Hungary), Spiritus Noister Group, 2012 Budapest (Hungary), MƱvelĆdĂ©si Szint (MĂSZI), â@Transart Communication 2016â, âAlchimist Weddingâ /concert and live sound performance with Zsolt SĆrĂ©s/ VeszprĂ©m (Hungary), House of Arts, âAlkĂmiai mennyegzĆâ (âAlchimist Weddingâ) /concert and live sound performance with Zsolt SĆrĂ©s/ Budapest (Hungary), MĂŒpa, UH Fest, Spiritus Noister /concert and live sound performance with Endre SzkĂĄrosi, Zsolt SĆrĂ©s, LĂĄszlĂł Lenkes/ Budapest (Hungary), Kassak Museum, âDadarabokâ /concert and live sound performance with Endre SzkĂĄrosi, Zsolt SĆrĂ©s, LĂĄszlĂł Lenkes/ YouTube Budapest (Hungary), 2017: Muted and silent films with live music series, I Belong To The Band vs. Berberian Sound Studio Debrecen (Hungary), MODEM, Katalin Ladik: âHatĂĄridĆnaplĂłâ (âDiary Bookâ) /concert and live sound performance with Gyula VĂĄrnai/ VeszprĂ©m (Hungary), 2018, House of Arts, âSpring Reopening, We believe in life before deathâ, âClaes Oldenburg: I am for an Artâ /concert and live sound performance with Gyula VĂĄrnai/ Theatre As an actress Jean-Paul Sartre: The Condemned of Altona; dir. IstvĂĄn LĂĄnyi; IfjĂșsĂĄgi TribĂŒn (Tribina Mladih / Youth Tribune); Novi Sad (Serbia); 1963 Imre Sarkadi: Elveszett Paradicsom (Paradise Lost); dir. Tibor GellĂ©r; PetĆfi SĂĄndor MƱvelĆdĂ©si EgyesĂŒlet (âPetĆfi SĂĄndorâ Cultural Association); Novi Sad (Serbia); 1963 MoliĂšre: The Imaginary Invalid (BĂ©line); dir. Ljubica Ravasi; Srpsko Narodno PozoriĆĄte (Serbian National Theatre); Novi Sad (Serbia); 1966 (Exam Piece) SĂĄndor Guelmino: Ăzvegy (Widow); dir. Tibor Vajda; Echo (az ĂjvidĂ©ki RĂĄdiĂł Ă©s az IfjĂșsĂĄgi TribĂŒn szĂnpada / the joint theatre of Radio Novi Sad and the Youth Tribune); Novi Sad (Serbia); 1969 Ferenc TĂłth (text) â ErnĆ KirĂĄly (composer): JĂłb (Job) (Performer â Recitative); dir. IstvĂĄn SzabĂł, Jr.; NĂ©pszĂnhĂĄz / Narodno PozoriĆĄte u Subotici (National Theatre in Subotica); Subotica (Serbia); 1972 IstvĂĄn ĂrkĂ©ny: MacskajĂĄtĂ©k (Cats` Play) (Ilus); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1974 Peter Weiss: How Mr. Mockinpott was cured of his Sufferings (First Angel/First Nurse); dir. Radoslav DoriÄ; RĂłbert Bambach; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1974 Ădön von HorvĂĄth: Tales from the Vienna Woods (Emma); dir. RĂłbert Bambach; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1975 Gergely Csiky: MukĂĄnyi (Ella); dir. MihĂĄly VirĂĄg; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1976 Valentin Kataev: Squaring the Circle (Tanya); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1977 MoliĂšre: Dom Juan or The Feast with the Statue (Mathurine); dir. DuĆĄan Sabo; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: Three Sisters (Masha); dir. György Harag; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1978 Ădön von HorvĂĄth: Tales from the Vienna Woods (Emma); dir. PĂ©ter Telihay; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: The Cherry Orchard (Charlotta Ivanovna); dir. György Harag; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1979 OttĂł Tolnai: VĂ©geladĂĄs (Clearance Sale) (Mrs Csömöre); dir. MihĂĄly VirĂĄg; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1979 Gyula HernĂĄdi: V.N.H.M. Szörnyek Ă©vadja (V. N. H. M. - Season of Monsters); dir. MiklĂłs JancsĂł; Summer Theatre in Gyula; VĂĄrszĂnhĂĄz; (Hungary); 1980 Edward Albee: Everything in the Garden (Cynthia); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1980 Angelo Beolco (Il Ruzzante): La Betia; dir. Radoslav DoriÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1981 OttĂł Tolnai: Bayer Aspirin (The Actress); dir. MiklĂłs JancsĂł; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1981 Ferenc DeĂĄk: Nirvana (Csontos Vali); dir. IstvĂĄn SzabĂł Jr.; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1981 Bertolt Brecht: Baal (Emilie); dir. Milan BelegiĆĄanin; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1983 DezsĆ KosztolĂĄnyi: Anna Ădes ( Mrs Druma); dir. György Harag; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1983 Alexander Vvedensky: Jelka kod Ivanovih (Christmas at the Ivanovâs) (Mother Puzirjova); dir. Haris PaĆĄoviÄ; Akademsko PozoriĆĄte âPromenaâ (âChangeâ Academic Theater); Novi Sad; (Serbia); 1983 MihĂĄly MajtĂ©nyi: Harmadik ablak (The Third Window) (Mrs LĂłdi); dir. György HernyĂĄk; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1984 Alfred Jarry: Ubu Roi (Mama Ubu); dir. Tibor Csizmadia; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1984 Gyula Gobby FehĂ©r: A Duna menti Hollywood (Hollywood by the Danube) â Multimedia Performance About the Life of ErnĆ BosnyĂĄk (The Baron`s Lover); dir. KĂĄroly Vicsek; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1985 Ivo BreĆĄan: Anera (Anera); dir. Dimitar Stankoski; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1985 Peter Shaffer: Equus (Hesther Salamon); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1985 Howard Barker: The Castle (Skinner); dir. David Gothard; NĂ©pszĂnhĂĄz / Narodno PozoriĆĄte u Subotici (National Theatre in Subotica); (Serbia); 1986 Friedrich DĂŒrrenmatt: The Visit (First Woman); dir. Radoslav DoriÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1986 IstvĂĄn ĂrkĂ©ny: ForgatĂłkönyv (Screenplay) (Mrs Littke); dir. Ljubisa Georgievski; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1986 IstvĂĄn ĂrkĂ©ny: TĂłtĂ©k (The TĂłt Family) (Mrs TĂłt); dir. GĂĄbor SzĂ©kely; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1987 Edward Albee: A Delicate Balance (Julia); dir. MihĂĄly VirĂĄg; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1987 Jordan Plevnes: âRâ (Katerina); dir. Ljubisa Georgievski; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1987 Johann Wolfgang von Goethe: Clavigo (Soffe); dir. Vladimir Milcin; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1988 Samuel Beckett: Happy Days (Winnie); dir. Radoslav LaziÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1988 Henrik Ibsen: An Enemy of the People (Mrs Stockmann); dir. Ćœelimir OreĆĄkoviÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1989 Ferenc MolnĂĄr (Franz Molnar): Liliom (Mrs MuskĂĄt); dir. LĂĄszlĂł Babarczy; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1990 Ede TĂłth: A falu rossza, avagy a negyedik ablak (The Village Rogue; Or, the Fourth Window) (Mrs TarisznyĂĄs); dir. HernyĂĄk György; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1990 OttĂł Tolnai: Paripacitrom (lit. Steed dung) (Krisztina); dir. PĂ©ter Tömöry; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1991 Marcel Achard: L`Idiote (A Shot in the Dark) (Chief Inspector`s Wife); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1991 Bertolt Brecht: Mother Courage and Her Children (Mother Courage); dir. Lajos Soltis; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1991 JĂłzsi JenĆ TersĂĄnszky: Kakuk Marci (Her Ladyship); dir. Lajos Soltis; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1992 Jean Anouilh: The Orchestra (Cello); dir. Voja SoldatoviÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1992 PĂ©ter NĂĄdas (text) â LĂĄszlĂł Vidovszky (composer): TalĂĄlkozĂĄs (Encounter) (MĂĄria); dir. AndrĂĄs Ăry-KovĂĄcs; Shure Studio; Budapesti KamaraszĂnhĂĄz (Chamber Theatre in Budapest); (Hungary); 1997 Boris Vian: Vercoquin et le Plancton (Vercoquin and the Plankton) (LĂ©on Charles Miqueut sous-ingĂ©nieur principal di CNU / Sub head-engineer at CNU); dir. RĂłbert Csontos; Kolibri SzĂnhĂĄz (Kolibri [âHummingbirdâ] Theatre); Budapest (Hungary); 1997 Sean OÂŽCasey: Bedtime Story (Landlady); dir. PĂĄl Kanda; FĂŒggeten SzĂnpad III tĂĄrsulata (3rd Company of Independent Theatre); Kolibri Pince (Kolibri [âHummingbirdâ] Cellar Theatre); Budapest (Hungary); 1998 LĂĄszlĂł NajmĂĄnyi: Adieu Monsieur Bloom â Cabaret Noire (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; Les Fleurs du Mal; `The Thinking Man`s Living Theatre`; Mu SzĂnhĂĄz (Mu Theatre); Budapest; (Hungary); 2003 LĂĄszlĂł NajmĂĄnyi: A szĂĄmƱzött Joyce / The Exiled Joyce (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; Bloomsday Festival; Szombathely; (Hungary); 2003 Radoslav Zlatan DoriÄ: Ne daj BoĆŸe, da se Srbi sloĆŸe / Ne adj isten, szerbek egyesĂŒlnek (God Forbid That the Serbs Should Agree) (Ruska); dir. Radoslav Zlatan DoriÄ; MagyarorszĂĄgi Szerb SzĂnhĂĄz / Srpsko PozoriĆĄte u MaÄarskoj (Serbian Theatre of Hungary); Budapest; (Hungary); 2004 LĂĄszlĂł NajmĂĄnyi: Nova Necropola. Cabaret Noire (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; Mu SzĂnhĂĄz (Mu Theatre); Budapest; (Hungary); 2004 LĂĄszlĂł NajmĂĄnyi: Az igazi Blum (The Real Blum /Bloom/) (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; ReJoyce Festival; Szombathely; (Hungary); 2004 György BarĂĄthy: Origami (I Woman); dir. György BarĂĄthy; ArtĂ©ria SzĂnhĂĄzi TĂĄrsasĂĄg (Theatre Company âArtĂ©riaâ); RS9 Studio Theatre; Budapest; (Hungary); 2005 As a director The Last Chapter by Navjot Randhawa, performed by theâTheatre of Roots and Wingsâ and Punjab Sangeet Natak Akademi in Punjabi at the Randhawa Auditorium, Chandigarh (Punjab, India); 2014.[12] Everything She Wants: Amrita and Boris by Navjot Randhawa and Jim Sarbh, Gaiety Theatre, Shimla, India; 2016,[13] The Mirage Yoga Studio, Andretta Arts, Andretta, India, 2016; M.L. Bhartia Auditorium, Alliance Francaise, New Delhi, India, 2016; Punjab Kala Bhawan, Chandigarh, India, 2016; Punjab Naatshala (Punjab Theatre), Amritsar, India, 2016 Everything She Wants: Amrita and Boris with Navjot Randhawa; Sher-Gil Cultural Centre, Indian Embassy, Budapest (Hungary), 2017 [14] Fritz Wine House, SzekszĂĄrd (Hungary), 2017; National Film Theatre, Budapest (Hungary), 2017; Laffert KĂșria, Dunaharaszti (Hungary), 2017; Municipal Library, ZebegĂ©ny (Hungary), 2017. Films Feature films Eduard i Kunigunda (Eduard and Kunigunda) (television adaptation of Renato de Grandisâ musical play), dir. Petar TesliÄ (1972, Serbian, Belgrade TV 2) (Kunigunda) DĂŒbörgĆ csend (1978) on IMDb (Thundering Silence), dir. MiklĂłs SzĂjj (Hungarian) (Eta) Szetna, a varĂĄzslĂł (1980) on IMDb (Setna the Wizard), dir. AndrĂĄs Rajnai (Hungarian) (Isis) Gulliver az ĂłriĂĄsok orszĂĄgĂĄban (1980) on IMDb (Gulliver in the Land of Giants), dir. AndrĂĄs Rajnai (Hungarian) (Lady in attendance) Aelita, dir. AndrĂĄs Rajnai (1980, Hungarian)[15] Atlantis, dir. AndrĂĄs Rajnai (1980, Hungarian) (The Lady of Atlantis) Chekhov: The Cherry Orchard (televised theatrical performance), dir. György Harag (1982, Hungarian, produced in Yugoslavia, Novi Sad Television) (Charlotta Ivanovna) Chekhov: Three Sisters (televised theatrical performance), dir. György Harag (1982, Hungarian, produced in Yugoslavia, Novi Sad Television) (Masha) A vilĂĄgkagylĂł mĂtosza (The Myth of the World Shell), dir. AndrĂĄs Rajnai (1982, Hungarian) BĂĄbel tornya (The Tower of Babel), dir. AndrĂĄs Rajnai (1982, Hungarian) (the Priestess Lagasa) HĂ©roszok pokoljĂĄrĂĄsa (The Heroesâ Journey Through the Underworld), dir. AndrĂĄs Rajnai (1982, Hungarian) (Anna) FajkutyĂĄk ideje (lit. The Time of Purebred Dogs), dir. KĂĄroly Vicsek (1984, Hungarian, produced in Yugoslavia) Ujed andjela (1984) on IMDb (Angel`s Bite), dir. Lordan ZafranoviÄ (Croatian) (Ćœena) KĂ©sdobĂĄlĂł (slang: Pub, lit. Knife-thrower), dir. KĂĄroly Vicsek (1984, Yugoslavian - Hungarian) Ekran sneĆŸi (1985) on IMDb, dir. Miljenko Dereta (Serbian) NapĂłleon (1989) on IMDb (Napoleon), dir. AndrĂĄs SĂłlyom (Hungarian) (Leticia) Granica (1990) on IMDb (Border), dir. Zoran MaĆĄireviÄ (Yugoslavian â Serbian â Hungarian) Sex-partijski neprijatelj br. 1 (1990) on IMDb (Sex, the Nr 1 Enemy of the Party), dir. DuĆĄan Sabo (Bosnian) (ĆœuĆŸa) A nagy fejedelem (1997) on IMDb (The Great Prince), dir. MĂĄria SĂłs (Hungarian) (The scientistâs wife) A szivĂĄrvĂĄny harcosa (2001) on IMDb (Rainbow`s Warrior), dir. PĂ©ter Havas (Hungarian) (Old Ms Sofia - voice) KolorĂĄdĂł Kid,(2010) on IMDb, dir. AndrĂĄs VĂĄgvölgyi B. (Hungarian) Berberian Sound Studio,(2012) on IMDb, dir. Peter Strickland (English) (Resurrected Witch) Short films Castrati, dir. Domokos MoldovĂĄn (1972, Hungarian, BalĂĄzs BĂ©la Studio, Budapest) (Bald Medium) O-Pus, dir. Attila Csernik (1973) (with Katalin Ladikâs Sound Project) CsendĂ©let hallal Ă©s mĂĄs tragikus momentumokkal (2005) on IMDb (Still Life with Fish and Other Tragic Elements), dir. NatĂĄlia JĂĄnossy (Hungarian) (AgĂĄta) Deda KovaÄ - Grandpa KovaÄ (2011) on IMDb, dir. Milica ÄjeniÄ (Serbian, Beograd-Lajpcig Express) (Rozi) Recitatives Ahol kialszik a vilĂĄg (1989) on IMDb (Where the World Goes Out) (based on KalandozĂĄs a tĂŒkörben (Adventures in the Mirror) by JĂĄnos Pilinszky), dir. KĂĄroly KismĂĄnyoky (1989, Hungarian, Pannonia Film Studio) A pĂĄrduc (The Panther), (Short animated film set to Rilkeâs poem), dir. AndrĂĄs Fiath (1998, Hungarian) Medea (animated study), dir. ZsĂłfia PĂ©terffy (2007) Ărökre valĂł / For Ever, dir. Katalin Riedl (2008-2010) Documentary Tanuljunk magyarul (Let`s Learn Hungarian), dir. KĂĄroly Vicsek (1979, Serbian - Hungarian, Novi Sad Television), (language teaching series) Katalin Ladik - Bogdanka PoznanoviÄ (1980, Serbian-Hungarian, Akademija Umetnosti Novi Sad â Novi Sad Art Academy), (Documentary about Katalin Ladik) MonodrĂĄma szĂŒletik (A Monodrama is Born), dir. Gyula RadĂł (1981, Hungarian, Szegedi TV), (Documentary about Katalin Ladik) Ez mĂĄr nem Ă©n vagyok (This Isn`t Me Anymore), dir. Gyula RadĂł (1982, Hungarian, Szegedi TV), (Documentary about Katalin Ladik) KrleĆŸa u videomedijima 5.: TV-usporedbe Adam i Eva (KrleĆŸa in Video-Medium 5: TV Comparisons of Adam i Eva), dir. Mario Fanelli, (1984, Croatian, TV Zagreb), (performer, Eva), (documentary series) Bukott angyal (Fallen Angel), dir. JenĆ HartyĂĄndi (1992, Hungarian - Serbian, Mediawave) (performance-recording) Valahol KözĂ©p-EurĂłpĂĄban (Somewhere in Central Europe), dir. IstvĂĄn GrencsĂł, JenĆ HartyĂĄndi (1993, Hungarian â Serbian) (Documentary) Amarissima: Katalin Ladik i novosadska umetniÄka scena sedamdesetih (Amarissima: Katalin Ladik and the Novi Sad Artistic Scene in the Seventies), dir. Milica MrÄa-Kuzmanov (1999, Serbian), (Documentary about Katalin Ladikâs art) SzĂĄzfĂ©le szerelem (A Hundred Kinds of Love) (2002, Hungarian), (the poems of Ăva SaĂĄry are read by Katalin Ladik), (Documentary about Ăva SaĂĄry) A sikoly ars poĂ©tikĂĄja - Ladik Katalin portrĂ©film (The Ars Poetica of the Scream â Katalin Ladik`s Portrait), dir. KornĂ©l SzilĂĄgyi, (2012, Hungarian) (Documentary about Katalin Ladik) (trailer) Sound Cage: A Portrait of Katalin Ladik, dir. KornĂ©l SzilĂĄgyi (Igor Buharov), (2012, Hungarian with English subtitles) (Documentary about Katalin Ladik) A legismertebb magyar, dir. GĂĄbor TĂłth, HĂrTV (Documentary about Amrita Sher-Gil and the play Everything She Wants directed by Katalin Ladik and performed by Navjot Randhawa at the Indian Embassy, Budapest (2017) Writerâs Credit SĂĄmĂĄn (Shaman), dir. PĂĄl Zolnay (1977, Hungarian, written by the director using poems of Attila JĂłzsef, LĂĄszlĂł Nagy, SĂĄndor Weöres Ă©s Katalin Ladik) Behind the Eye, dir. SebĆ KovĂĄcs (1999, Hungarian, based on Katalin Ladikâs poem: Vers a szerelmes piĂłcĂĄrĂłl / The Poem of the Leech in Love) Radio plays Writer and performer Furcsa, aki darazsakrĂłl ĂĄlmodik (Strange Is the One Who Is Dreaming About Wasps), 1982, Magyar RĂĄdiĂł Budapest (Hungarian Radio). Alex Avanesian, Imre JĂłzsef Katona and Katalin Ladik. Furcsa, aki darazsakrĂłl ĂĄlmodik (Strange Is the One Who Is Dreaming About Wasps), 1985, Radio Novi Sad (Serbia). Tibor Vajda and Katalin Ladik. Bukott angyalok (Fallen Angels), 1992, Radio Novi Sad (Serbia). Tibor Vajda. FƱketrec (Grass-Cage), 2002, Radio Novi Sad. Tibor Vajda and Katalin Ladik. Tesla Project, 2003, Radio Novi Sad (Serbia). Tibor Vajda. Ălhetek az arcodon? (Can I Live on Your Face?), 2012, Hungarian Radio, script by OtĂlia Cseicsner, directed by KornĂ©l SzilĂĄgyi A vĂz emlĂ©kezete (The Memory of Water), RĂĄdiĂłszĂnhĂĄz, Hungarian Radio (Kossuth RĂĄdiĂł), directed by OtĂlia Cseicsner, 27 June 2017, 21:30 Radio Theatre: âLadik Katalin: Hide-and-Seek, Variations of The Old Hungarian Lamentations of Maryâ (BujĂłcska, Ămagyar MĂĄrai-siralom variĂĄciĂłk), Magyar RĂĄdiĂł (Hungarian Radio), Kossuth RĂĄdiĂł, radio program editor: Otilia Cseicsner Performer Bertolt Brecht: Az ĂĄrja-kaszt magĂĄnĂ©lete (The Private Life of the Master Race; alt. title for Fear and Misery of the Third Reich) (Woman), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1963 Miodrag DjurdjeviÄ: A csavargĂł meg Ćk ketten (The Vagabond and the Two of Them) (the Girl), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1963 MiklĂłs GyĂĄrfĂĄs: Kisasszonyok a magasban â FĂ©rfiaknak tilos (Young Ladies Up High â No Men Allowed) (JĂșlia, who is barely even a young lady), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1964 LĂĄszĂł Kopeczky: HarangszĂł elĆtt (Before the Bell Rings) (FlĂłra), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1964 Leon Kruczkowski: A kormĂĄnyzĂł halĂĄla (Death of the Governor) (Silvia), (adapted by IvĂĄn Horovitz), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1964 Mikhail Tonecki: TalĂĄlka a âMeseâ kĂĄvĂ©hĂĄzban (A Date in CafĂ© Tale) (Waitress), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1964 JĂĄnos Herceg: Mindenkinek van egy ĂĄlma (Everyone Has a Dream) (performer), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1965 Aleksandar ObrenoviÄ: A tegnapi nap (Yesterday) (performer), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1966 Erskine Caldwell: Asszonyi sorsok (This Very Earth) (Vicky), (adapted by Jasmina EgriÄ), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1966 Miroslav MitroviÄ: MĂ©g szemerkĂ©l az esĆ (The Rain Is Still Dripping) (Announcer), dir. GellĂ©r Tibor, Radio Novi Sad (Serbia), 1966 Momo Kapor: III. OlivĂ©r teremĆre (The Guard of Oliver III) (performer), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1966 DuĆĄan RaksandiÄ: MuratrĂłl, PepekrĆl, AngyelĂĄrĂłl Ă©s rĂłlam (About Murat, Pepek, Andjela and Me) (the Professorâs Wife), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1967 GĂŒnter Eich: Carmilla meg Ă©n (The Other and I; orig. Die Andere und Ich) (performer), dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1967 Marguerite Duras: Andesmas Ășr dĂ©lutĂĄnja (The Afternoon of Mr Andesmas) (ValĂ©rie), (adapted by Milan TopolavÄki) dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1967 Miloslav StehlĂk: Bizalomvonal (Helpline) (Telephone Assistant), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1967 Sead FetahagiÄ: Körbe, körbe, karikĂĄba (Round and Round) (Mira), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1967 Alessandro De Stefani: CsĂłnak jön a tavon (A Boat Approaches on the Lake â Una barca viene dal lago) (Anna Marabini), (adapted by IvĂĄn Horovitz) dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1968 Michal Tonecki: Az ötödik (The Fifth) (a LĂĄny szerepĂ©ben), dir. GusztĂĄv Barlay, Radio Novi Sad (Serbia), 1968 JĂłzsef SulhĂłf (text), ed. by ErnĆ KirĂĄly: Tavaszi bokrĂ©ta dalest (Spring Bouquet â An Evening of Songs) (Announcer), Radio Novi Sad (Serbia), 1968 Magda SzabĂł: A rab (The Prisoner) (Zsuzsanna Kazinczy), dir. Frigyes Marton, Radio Novi Sad (Serbia), 1968 Aldo Nicolai: Ăljen az ifjĂș pĂĄr! (Long Live the Newlyweds!) (Woman), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1969 Ferenc DeĂĄk: ApoteĂłzis (Apotheosis) (Recitative) (performer), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1969 Boris Palotai: ĂröklakĂĄs (Condominium) (KlĂĄra), dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1969 Endre Fejes: Vigyori (Grinner) (Girl), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1970 EugĂšne Ionesco: A kopasz Ă©nekesnĆ (The Bald Soprano), dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1970 PĂĄl Saffer: A csend (The Silence) (Lidia), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1970 MihĂĄly MajtĂ©nyi: A szĂĄmƱzött (The Exile) (Sibylla), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1971 Gerich Endre MƱvĂ©szestje: AzĂ©rt is maradok...! (An Evening with Endre Gerich: I Say Iâm Staying...!) (performer) dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1971 Silvia Andrescu â Theodor Manescu: Ismeretlen kedvesem (My Unknown Beloved) (Girl), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1971 Aleksandr Solzhenitsyn: GyertyalĂĄng a szĂ©lben (Candle in the Wind) (Anni), dir. ĂrpĂĄd Benedek, Radio Novi Sad (Serbia), 1972 Ăs mi lesz tavasszal (What Will Happen in the Spring?) (comedy night) (performer), dir. Frigyes Marton, Radio Novi Sad (Serbia), 1972 Mirjana Buljan: Jasna naplĂłja (Jasnaâs Diary) (Jasna), dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1973 Svetislav RuĆĄkuc: A hetvennyolcas fordulatszĂĄmĂș ajtĂł (The 78 RPM Door) (Girl), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1973 DuĆĄan IljiÄ: Beutazni a földet (To Travel the World) (SzitakötĆ /Dragonfly/, a Girl), dir. MiklĂłs CserĂ©s, Dr, Radio Novi Sad (Serbia), 1976 TĂĄrsult humor Ă©ve (The Year of Associated Humour) (performer), dir. RĂłbert Bambach, Radio Novi Sad (Serbia), 1976 Szellemet idĂ©zĂŒnk! (SĂ©ance!) (performer), dir. György TuriĂĄn, Radio Novi Sad (Serbia), 1977 VidĂĄm est (A Merry Evening) (performer), dir. SĂĄndor SĂĄntha, Radio Novi Sad (Serbia), 1977 IstvĂĄn BosnyĂĄk: Szemben a bĂrĂłval (Facing the Judge) (docudrama in 7 episodes) (Ruth), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1978 Henrik Bardijewski: Kis komĂ©dia (A Little Comedy) (Lady I), dir. IstvĂĄn Vajda, Radio Novi Sad (Serbia), 1978 LĂĄszlĂł Nemes: SzerencseszerzĆdĂ©s (Contract of Luck) (adapted by JĂĄnos BorbĂ©ly) (radio play series), dir. Slobodan Majak, Radio Novi Sad (Serbia), 1985 OttĂł Tolnai: Bayer Aszpirin (Bayer Aspirin) (The Actress), dir. Orsolya Lehoczky, Hungarian Radio / Magyar RĂĄdiĂł (Hungary), 1997 (monodrama) Iris Disse: Ălmodott idĆ â 1956 (Dreamt Time â 1956), dir. Iris Disse, Radio Kossuth / Kossuth RĂĄdiĂł (Hungary), 2007 (Marika, the author`s alter ego) Artworks in permanent public and private collections Barcelona (Spain): MACBA â Museum of Contemporary Art in Barcelona / Museu dâArt Contemporani de Barcelona (18 collages: visual poetry and music scores, 1971-1978) Budapest (Hungary): PetĆfi Literary Museum / PetĆfi Irodalmi MĂșzeum (9 works of visual poetry â typewritten text on paper, photograph, collages of cardboard and collages of music score, 1976â1977, Aki miatt a harang szĂłl (For Whom the Bell Rings) â In Memoriam Lajos KassĂĄk collage, 1987) Belgrade (Serbia): Museum of Contemporary Art in Belgrade / (MSUB) Muzej Savremene Umetnosti, Beograd (Poemim photo, 1978) New York (USA): MoMA, The Museum of Modern Art (Novi Sad Project documentation, Wow Special Zagreb Issue, 1975) Budapest (Hungary): Ludwig Museum â Museum of Contemporary Art / Ludwig MĂșzeum â KortĂĄrs MƱvĂ©szeti MĂșzeum (Photographs, Poemim series) Vienna (Austria): Kontakt Collection â The Art Collection of Erste Group / Kontakt â Die Kunstsammlung der Erste Group (5 items of the âAusgewĂ€hlte Volksliederâ(Selected Folk Songs) series (1973-1975); 5 other visual poetry and music scores; 12 stamps; the 48 remaining photographs of Change Art â a performance documentation 1975; two copies of the Phonopoetica SP album 1976) Croatia â Marinko Sudac`s Private Collection (photo documentation for performances, gramophone recording, 1968â89) Miami (USA): Sackner Archive of Visual and Concrete Poetry (4 postcards â mail-art â and documentation, 1977-1981) Belgrade (Serbia): TrajkoviÄ Collection (Blackshave Poem â Zagreb performance, photo document, 1978) Chicago (USA): School of the Art Institute of Chicago â Joan Flasch Artist`s Book Collection (Poetical objects of the Urbanical Environment, 1976)...
U dobrom stanju! Redje u ponudi! Katalin Ladik (roÄena 25. oktobra 1942. u Novom Sadu) je jugoslovensko-maÄarski pesnik, izvoÄaÄ i filmski stvaralac. Katalin Ladik poÄela je pisati 1962. godine radecÌi kao bankarski Äinovnik. Bila je radijska voditeljica i pozoriĆĄna glumica u Novom Sadu, kasnije je radila za film i televiziju. 1990. postala je urednica i predavala u oblastima muzike i pozoriĆĄta. Kao umetniÄki medij koristi vizuelnu poeziju, umetnost poĆĄte, radio igre, prozu, kolaĆŸ, fotografiju, film i eksperimentalnu muziku. Ladik istraĆŸuje jezik vizuelnim i vokalnim izrazima, kao i kretanjem i gestovima. Ladik se viĆĄe puta pojavljivao u kontekstu predstava, dogaÄaja i pozoriĆĄnih komada koji se Äesto deĆĄavaju u urbanom okruĆŸenju, ali i u prirodi. Bila je Älan umetniÄkog kolektiva Bosch + Bosch. Katalin Ladik ĆŸivi i radi naizmeniÄno u Novom Sadu (Srbija), BudimpeĆĄti (MaÄarska) i na ostrvu Hvar (Hrvatska). U svojoj domovini postala je legendarna i kontroverzna figura u ranim ĆĄezdesetim godinama, pre svega kroz feministiÄko-ĆĄamanistiÄku zvuÄnu poeziju i gole predstave. Ladik je primio nekoliko nagrada i igrao na brojnim nacionalnim i meÄunarodnim izloĆŸbama. 1977. Godine dala je ime sebi kao uÄesnica 10. meÄunarodnog festivala zvuÄne poezije u Amsterdamu. U 2010. godini u Muzeju savremene umetnosti Vojvodine u Novom Sadu odrĆŸana je retrospektiva, koja je privukla nacionalnu paĆŸnju, a 2017. godine bila je pozvana da uÄestvuje u dokumentarnoj 14. TakoÄe je ukljuÄena u seriju izloĆŸbi FeministiÄka avangarda. Katalin Ladik (born Novi Sad, October 25, 1942) is a Hungarian poet, performance artist and actress. She was born in Novi Sad, Yugoslavia (now called Serbia) 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. 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 Ălet Ă©s Irodalom (1993â94) and CigĂĄnyfĂșrĂł (1994â99). Between 1993 and 1998 she taught at HangĂĄr 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 Katalin Ladik has earned various awards, including the KassĂĄk Lajos Award (1991), the award of Mikes Kelemen Kör (Mikes International â Association for Hungarian Art, Literature and Science in the Netherlands) (2000), the JĂłzsef 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 KlĂĄra Herczeg Award in senior category from the Studio of Young Artistsâ 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 vojvoÄanskih profesionalnih pozoriĆĄta (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 UdruĆŸenje dramskih umetnika Srbije / Association of Dramatic Artists of Serbia, in 1979. Katalin Ladik also received the Magyar TelevĂziĂł Elnöki NĂvĂłdĂja / Award of the President of Hungarian Television for Acting Excellence for acting in AndrĂĄs Rajnaiâs TV film series, TelevĂziĂłs mesĂ©k felnĆtteknek (Television Tales for Adults) in 1980. In 1986, she was awarded first place at Smotra vojvoÄanskih profesionalnih pozoriĆĄta / Festival of Professional Theaters in Vojvodina for the role of Skinner in Howard Barkerâs The Castle, directed by David Gothard, performed at the National Theatre in Subotica. 2017 Artisjus Literary Award for her poetry volume âA vĂz emlĂ©kezeteâ (âThe Memory of Waterâ) 2017 Janus Pannonius Filius Ursae Award for her literary oeuvre for âbeing defiant, provocative, and confrontational towards the actual literary canonsâ Poetry 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 âperformed`). 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 Her first novel, entitled Ălhetek az arcodon? (Can I Live on Your Face?) was published in 2007 by Nyitott KönyvmƱhely. 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 artistsâ 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 Volumes in original language Ballada az ezĂŒstbiciklirĆl (Ballad of Silver Bike) | poems | Hungarian | with gramophone recording | Forum, Novi Sad, 1969 Elindultak a kis piros bulldĂłzerek (The Small, Red Bulldosers Have Taken Off) | poems | Hungarian | Forum, Novi Sad, 1971 MesĂ©k a hĂ©tfejƱ varrĂłgĂ©prĆl (Stories of the Seven-Headed Sewing Machine) | poems | Hungarian | Forum, Novi Sad, 1978 Ikarosz a metrĂłn (Icarus on the Subway) | poems | Hungarian | Forum, Novi Sad, 1981 A parĂĄzna söprƱ â Bludna metla (The Promiscuous Broom) | poems | Hungarian-Serbian bilingual | Forum, Novi Sad, 1984 KiƱzetĂ©s (Exile) | poems | Hungarian | MagvetĆ, Budapest, 1988 JegyessĂ©g (Engagement) | poems | Hungarian | Fekete Sas - Orpheusz, Budapest, 1994 A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | poems | Hungarian | Fekete Sas, Budapest, 1998 FƱketrec (Grass-Cage) | poems | Hungarian | Orpheusz, Budapest, 2004 Ălhetek az arcodon? (Can I Live on Your Face?) | prose | Hungarian | Nyitott KönyvmƱhely, Budapest, 2007 BelsĆ vĂzözön (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 vĂz emlĂ©kezete (The Memory of Water) | poems | Hungarian | Kalligram, Budapest, 2016 Translated volumes 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 RaduloviÄ, Judita Ć algo, Arpad Vicko | KnjiĆŸevna Zajednica Novog Sada, Novi Sad, 1987 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. BâRacz | New Native Press, Sylva, 1992 PoĂšmes (Poems) | poems | French | selected by: Tibor Papp | translated by: Katalin Kluge, Tibor Tardos | CiPM / Spectres Familiers, Marseille, 1999 Ikarova senka (Icarusâ Shadow) | poems | Serbian | translated by: Katalin Ladik, Selimir RaduloviÄ, Judita Ć algo, Arpad Vicko, Draginja Ramadanski | Orpheus, Novi Sad, 2004 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. BâRacz | Burning Bush Press, Asheville, 2005 Engagement | poems | English | translated by: Emöke Z. BâRacz | Burning Bush Press, Asheville, 2006 Kavez od trave (Grass-Cage) | poems | Croatian | translated by: Kristina Peternai | Matica Hrvatska, Osijek, 2007 E-books FƱketrec (Grass-Cage) | poems | Hungarian | Mikes International, The Hague, 2003 | downloadable, pdf format FƱketrec (Grass-Cage) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2003 | downloadable, multiple formats A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, multiple formats Ikarosz biciklijĂ©n (On Icarusâ Bicycle) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, multiple formats KiƱzetĂ©s ~ JegyessĂ©g (Exile ~ Engagement) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, multiple formats A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format KiƱzetĂ©s ~ JegyessĂ©g (Exile ~ Engagement) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Ikarosz biciklijĂ©n (On Icarusâ 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 ĂzƱ vagyok? (How Do I Taste?) | poems | Hungarian | A hĂłnap könyve, Szentendre, 2012 | buyable, pdf format Discography Sound poetry Ballada az ezĂŒstbiciklirĆl (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 PoĂ©sie Sonore Internationale (International Sound Poetry) | audio cassette | anthology of sound poetry, Paris, 1979 La Nouvelle Revue dâArt Moderne, Special 2. (The Magazine of Modern Art) | audio cassette | Rencontres Internationales de PoĂ©sie 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 HangĂĄr / Hangar | audio cassette | anthology of sound poetry, Amsterdam â Budapest, 1987 Aki darazsakrĂłl ĂĄlmodik (Who is Dreaming About Wasps) | LP | recording of the radio play `Furcsa, aki darazsakrĂłl ĂĄlmodik` (Strange Is the One Who Is Dreaming About Wasps) | Radio Novi Sad, 1988 Spiritus Noister: Nemzeti zajzĂĄrvĂĄnyok / National Noise-Inclusions | audio cassette | Bahia Music, Budapest, 1996 VajdasĂĄgi Magyar Zenei EstĂ©k / Vojvodina Hungarian Music Evenings 1988 | CD | JMMT, Novi Sad, 1998 VĂzisĂĄmĂĄn / Water Shaman | CD | Budapest, 1999 Spiritus Noister â Kurt Schwitters: Ursonate | music CD | Hungaroton, Budapest, 2003 Vodeni anÄeo / Water Angel | music CD | Nova Misao, Novi Sad, 2011 Music (experimental music, jazz) As vocalist, Katalin Ladik collaborated with prominent Croatian, Serbian and Hungarian composers, such as Dubravko Detoni, Branimir SakaÄ, and Milko Kelemen (1971â73, ensemble ACEZANTEZ); ErnĆ KirĂĄly (1963-2002); DuĆĄan RadiÄ (Oratorio Profano, 1979); Boris KovaÄ (1986-1990); DeĆŸe Molnar ( 1989â91); Zsolt SĆrĂ©s a.k.a. Ahad, and Zsolt KovĂĄcs (1996-, Spiritus Noister). ErnĆ KirĂĄly | LP | UdruĆŸenje Kompozitora Vojvodine, Novi Sad, 1978 Boris KovaÄ: Ritual Nova I | LP | Symposion Records, Overstrand, 1986 Boris KovaÄ: Ritual Nova II | CD | Recommended Records, London, 1989 ErnĆ KirĂĄly - Spectrum | CD | Autobus, Paris, 1999 DeĆŸe 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 Online Audio FƱketrec (Grass-Cage) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2003 | downloadable, mp3 format A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, mp3 format Ikarosz biciklijĂ©n (On Icarusâ Bicycle) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, mp3 format KĂƱzetĂ©s - JegyessĂ©g (Exile - Engagement) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, mp3 format Live performances 2011 NĂ©gy fekete lĂł mögöttem repĂŒl (Four Black Horses Fly Behind Me); JĂ©gmadĂĄr (Icebird); excerpts from BelsĆ vĂzözön (The Deluge Inside) | poetry reading | Dzsudi Remake evening, Merlin Theatre, Budapest | Video on YouTube Performance art 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 1960s-`70s 1968 Budapest, Szentendre - Hungary | UFO | TamĂĄs SzentjĂłby, MiklĂłs ErdĂ©ly, Katalin Ladik | happening 1970 Belgrade - Serbia | PozoriĆĄte Atelje 212, Podrum teatar (Theatre Atelje 212, Theatre in the Basement) | performance Zagreb - Croatia | Ćœanr Festival eksperimentalnog filma (Genre Experimental Film Festival - GEFF) | performance Budapest - Hungary | JĂłzsef Attila MƱvelĆdĂ©si HĂĄz (Cultural Centre JĂłzsef Attila) | with JenĆ BalaskĂł | literary performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Temerin - Serbia | performance 1971 BaÄka Topola - Serbia | UFO Party | performance Samobor - Croatia | Samoborski FaĆĄnik (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) | Äetvrta 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 BalatonboglĂĄr - Hungary | KĂĄpolna GalĂ©ria (KĂĄpolna 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): `SpuĆĄtanje 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, foniÄna i vizuelna poezija Katalin Ladik` (Poetry, Phonic and Visual Poetry by Katalin Ladik) KrakĂłw (Poland): `Phonopoetica` /performance/ Zagreb (Croatia), Information Centre / Informativni Centar: `Phonopoetica` (with Vujica R. TuciÄ) /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), PreĆĄeren Theatre / PreĆĄernovo GledaliĆĄÄe /performance/ Sarajevo (Bosnia and Herzegovina), Youth Theatre / PozoriĆĄte Mladih, Festival Malih i Eksperimentalnih Scena (Festival of Small and Experimental Theatre): `Äetvrta dimenzija â krik` (Fourth Dimension â Scream) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `PesniÄki maraton` (Poetry Marathon) /performance/ Novi Sad (Serbia), Sonja MarinkoviÄ Student Club / Studentski Klub âSonja MarinkoviÄâ: `Äudak je ko ÄekiÄe sanja` (Weird Is the One Who Dreams About Hammers) /performance/ WĂŒrzburg (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 umjetniÄka praksa 1966-1978` (New Art Practice 1966-1978) /performance/ 1979 Subotica (Serbia), Youth Centre / Dom Omladine: `Az Ă©neklĆ varrĂłgĂ©p â The Singing Sewing Machine` (with Zsolt KirĂĄly) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `The Screaming Hole â A sikoltozĂł lyuk` /performance/ Amsterdam (Netherlands): `One World Poetry` /performance/ Utrecht (Netherlands), Gallery âT Hoogt / âT Hoogt Galerie: `One World Poetry` /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `MesĂ©k a hĂ©tfejƱ varrĂłgĂ©prĆl` (Stories of the Seven-headed Sewing Machine) /performance/ 1980s-`90s 1980 Paris (France), Pompidou Centre / Centre Georges Pompidou: `Rencontres Internationales de PoĂ©sie Sonore` (International Sound Poetry Festival) /performance/ Le Havre (France), Cultural Centre of Le Havre / Maison de la Culture du Havre: `Rencontres Internationales de PoĂ©sie Sonore` (International Sound Poetry Festival) /performance/ Rennes (France), Cultural Centre of Rennes / Maison de la Culture de Rennes: `Rencontres Internationales de PoĂ©sie 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 / VĂĄrszĂnhĂĄz, Knightsâ 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 JĂłkai, Studio âKâ/ StĂșdiĂł âKâ JĂłkai MƱvelĆdĂ©si Központ: `Ladik Katalin ĂșjvidĂ©ki költĆ Ă©s elĆadĂłmƱvĂ©sz szerzĆi estje` (An Evening with Novi Sad Poet and Performer, Katalin Ladik) /performance/ Novi Sad (Serbia), Cultural Centre PetĆfi SĂĄndor / PetĆfi SĂĄndor MƱvelĆdĂ©si HĂĄz: `Telepi estĂ©k â Ladik Katalin szerzĆi estje` (Evenings in Telep â with Poet Katalin Ladik) (with OttĂł Tolnai, Zsolt KirĂĄly) /performance/ Budapest (Hungary), Young Artistsâ Club / Fiatal MƱvĂ©szek Klubja: `Ladik Katalin szerzĆi estje` (An Evening with Katalin Ladik) (with MiklĂłs ErdĂ©ly, LĂĄszlĂł Beke and Zsolt KirĂĄly) /performance/ Budapest (Hungary), Cultural Centre JĂłkai, Studio âKâ / StĂșdiĂł âKâ JĂłkai MƱvelĆdĂ©si Központ: `Ladik Katalin szerzĆi Ă©s elĆadĂłi estje` (An Evening with Katalin Ladik) (with MiklĂłs ErdĂ©ly, LĂĄszlĂł Beke and Zsolt KirĂĄly) /performance/ Belgrade (Serbia), Museum of Contemporary Art / Muzej Savremene Umetnosti: `Verbo-Voko-Vizuelno` (`Phonopoetry` with Judita Ć algo) /performance/ Osijek (Croatia), Studentsâ Youth Centre / Studentski Centar Mladih, OsijeÄko ljeto (Summer in Osijek): `Äudak je ko ÄekiÄe sanja` (Weird Is the One Who Dreams About Hammers) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Ikar u metrouâ (Icarus on the Subway) (with Judita Ć algo, Selimir RaduloviÄ) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine, Beogradsko leto (Summer in Belgrade): `Ufo Party` /performance/ KanjiĆŸa (Serbia), Literary Camp / KnjiĆŸevna Kolonija: `Konkretna i vizuelna poezija` (Concrete and Visual Poetry) (with Vujica R. TuciÄ and Bob Cobbing) /performance/ Novi Sad (Serbia), Address: Istarski kej 37. sp. 8. st. Rade Ć eviÄ: `Sound Poetry Performance` (with Vujica R. TuciÄ and Bob Cobbing) /performance/ Novi Sad (Serbia), Youth Tribune Gallery / Tribina Mladih Galerija: `Phonopoemim` â 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 Ć ekspira` (Tempest â Based on Shakespeare) â 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), JĂłzsef Attila University (Today: University of Szeged) / JĂłzsef Attila TudomĂĄnyegyetem: `Mandora 1.` /performance/ Cogolin (France), Rencontres Internationales de PoĂ©sie Contemporaine (International Festival of Contemporary Poetry): `Mandora 1.` /performance/ Belgrade (Serbia), Cultural Centre / Kulturni Centar: `Mandora 1.` /performance/ 1985 Belgrade (Serbia), Magaza Theatre / PozoriĆĄte Magaza: `Mandora 2.` /performance/ Budapest (Hungary), Cultural Cente of LĂĄgymĂĄnyos / LĂĄgymĂĄnyosi MƱvelĆdĂ©si Otthon: `Mandora 2.` /performance/ Budapest (Hungary), Metropolitan Cultural Centre / FĆvĂĄrosi MƱvelĆdĂ©si HĂĄz: `Alice` /performance/ Zemun (Serbia), Festival Monodrame i Pantomime (Festival of Monodrama and Pantomimes): `Mandora` /performance/ Novi Sad (Serbia), âSonja MarinkoviÄâCultural Centre / Kulturni Centar âSonja MarinkoviÄâ, Youth Tribune / Tribina Mladih: `Mandora` /performance/ Stari BeÄej (Serbia) /performance/ 1988 Szeged (Hungary), JATE Club: `Polyphonix` /performance/ PĂ©cs (Hungary): `Alice` /performance/ Budapest (Hungary), VigadĂł Chamber Hall / VigadĂł Kamaraterem, HangĂĄr Est (âWall of Soundâ Evening): `Alice` /performance/ 1989 Spoleto (Italy): `O Fortuna` /performance/ NovĂ© ZĂĄmky (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 ZoltĂĄn Pletl) /performance/ VĂĄc (Hungary), Greek Chapel / Görög Templom, Ex-panziĂł 2. Festival: `Angyal/Angel` /performance/ Novi Sad (Serbia): `Seraphine Tanz` /performance/ 1993 Szentendre (Hungary), DalmĂĄt Cellar / DalmĂĄt pince, UHF KisĂșjrevue /performance/ Szeged (Hungary), JATE Club: `Alice` /performance/ VĂĄc (Hungary), Greek Chapel / Görög Templom, ExpanziĂł 5. Festival /performance/ 1994 Szeged (Hungary): `Performancia` with LukĂĄcs Bitskey /performance/ ZebegĂ©ny (Hungary): `A helyettesĂtĆ asszony (The Substitute)` /performance/ PĂ©cs (Hungary): `A nĂ©gydimenziĂłs ablak (The Four-dimensional Window)` with TamĂĄs Szalay /performance/ 1995 Marseille (France), International Poetry Centre / Centre International de PoĂšsie: `KassĂĄk` /performance/ 1996 Marseille (France), Meyer Gallery / Galerie Meyer: `Lâ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ Ajaccio â Corsica (France): `Lâ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ 2000s 2002 Novi Sad (Serbia), Cultural Centre of Novi Sad / Kulturni Centar Novog Sada, INFANT (International Festival of Alternative and New Theatre): `FƱketrec / Grass-cage` 2003 Novi Sad (Serbia), Chamber Theatre of Music / Kamerno PozoriĆĄte Muzike, INTERZONE Festival: `Tesla â Project` /performance/ 2004 Monza (Italy) /performance/ Salerno (Italy) /performance/ Novi Sad (Serbia), Chamber Theatre of Music / Kamerno PozoriĆĄte Muzike, INTERZONE Festival: `Tesla â Project` Budapest (Hungary), A38 Ship / A38 hajĂł: `LomtalanĂtĂĄs` (Cleaning the House) /performance/ Budapest (Hungary), Ludwig Museum â Museum of Contemporary Art / Ludwig MĂșzeum â KortĂĄrs MƱvĂ©szeti MĂșzeum: `Torony-LomtalanĂtĂĄs` (Cleaning the Tower-House) /performance/ 2005 TerĂ©ny (Hungary), ExpanziĂł Festival: `Angel` /performance/ 2006 Budapest (Hungary), Serbian Theatre in Hungary / MagyarorszĂĄgi Szerb SzĂnhĂĄz / Srpsko PozoriĆĄte u MaÄarskoj: `Tesla`, /audio-visual oratorio/ Otterlo (Netherlands), Kröller-MĂŒller 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 NovĂ© ZĂĄmky (Slovakia), Art Gallery / GalĂ©ria Umenia: `Gyakorlatok ĂŒres hĂșrokon â KassĂĄk-kĂłd` (Exercises on Empty Strings - KassĂĄk Code) /performance/ Budapest (Hungary), Erlin Club Gallery / Erlin Klub GalĂ©ria: `FƱketrec` (Grass-cage) /performance/ Budapest (Hungary), Mu Theatre / Mu SzĂnhĂĄz: `Az EszmĂ©let szövedĂ©ke` (The Weave of Consciousness) (with PĂ©ter Bajka, Bern Atom Santi, Eszter Bereczky, ZsĂłfia Varga) /performance/ VerĆce (Hungary), EkszpanziĂł XX Festival: `Tesla, Audio-visual Oratorio` /performance/ Szigliget (Hungary), Artist House of the Hungarian Public Foundation for Creative Art / Magyar AlkotĂłmƱvĂ©szeti KözalapĂtvĂĄny AlkotĂłhĂĄza, JĂłzsef Attila Kör 18. irodalmi tĂĄbora (18th Literary Camp of the JĂłzsef Attila Circle): `Az EszmĂ©let szövedĂ©ke` (The Weave of Consciousness) (with PĂ©ter Bajka, Bern Atom Santi, Eszter Bereczky, ZsĂłfia Varga) /performance/ 2008 Budapest (Hungary), PetĆfi Literary Museum / PetĆfi Irodalmi MĂșzeum, A SzĂ©pĂrĂłk TĂĄrsasĂĄga V. Ćszi irodalmi fesztivĂĄlja â NĆk a fĂ©rfi birodalomban (5th Autumn Literary Festival of the Hungarian Belletrist Association â Women in a Men`s World): `Diptichon` (with Endre SzkĂĄrosi), performance Belgrade (Serbia), ARTGET Gallery â Cultural Centre Belgrade / Galerija ARTGET â Kulturni Centar Beograda (World Poetry Day): `Tesla â Homo Galacticus` /performance/ Szigliget (Hungary), JĂłzsef Attila Kör 20. irodalmi tĂĄbora (20th Literary Camp of the JĂłzsef Attila Circle): `Trip-ti-chon` (with Veronika CzapĂĄry), performance Budapest (Hungary), Irodalmi Centrifuga (Literary Centrifuge): `Trip-ti-chon` (with Veronika CzapĂĄry), performance Bratislava (Slovakia), Ars Poetica MedzinĂĄrodny Festival PoĂ©zie /The 6th Ars Poetica International Poetry Festival /sound poetry performance[4] 2009 VisegrĂĄd (Hungary), The Roof Terrace of King Matthias Museum / A MĂĄtyĂĄs KirĂĄly MĂșzeum tetĆterasza, EkszpanziĂł XXI Festival: âKerub` (Cherub) /performance/ 2010s 2010 Budapest (Hungary), Gallery A22 / A22 GalĂ©ria, Tibor Papp`s Exhibition Opening: `ĂraköltemĂ©ny` (Poem-Clock) /performance/ Subotica (Serbia), KosztolĂĄnyi DezsĆ Theatre / KosztolĂĄnyi DezsĆ SzĂnhĂĄz: `Tesla â Homo Galacticus` /performance/ Budapest (Hungary), MillenĂĄris Theatre / MillenĂĄris TeĂĄtrum, Book Festival: `SzabadkĆmƱves szex` (Freemason Sex) (with drMĂĄriĂĄs) /performance/ Ć taglinec (Croatia), `Voda` â `Water` MeÄunarodni Susret Umjetnika (International Art Festival): `Veliko spremanje` (Spring Cleaning) /performance/ Eger (Hungary), Small Synagogue Gallery of Contemporary Art / Kis ZsinagĂłga KortĂĄrs GalĂ©ria, artAlom Ă©lĆmƱvĂ©szeti fesztivĂĄl (artAlom Performing Arts Festival): `Bukott angyalok` (Fallen Angels) /performance/ Szeged (Hungary) â Subotica (Serbia), Railway line, KultĂșrcsempĂ©sz SĂnbusz FesztivĂĄl (Culture-smuggler Railbus Festival): Megaphone-assisted readings by GĂĄbor VirĂĄg, Slobodan TiĆĄma, GĂĄbor Lanczkor, Tamara Ć uĆĄkiÄ, Vladimir Kopicl, Katalin Ladik, SiniĆĄa TuciÄ, Roland Orcsik 2011 Budapest (Hungary), Kunsthalle (Palace/Hall of Art) / MƱcsarnok: `PreparababrakabarĂ©` /performance/ Marseille (France), Museum of Contemporary Art / MusĂ©e d`Art Contemporain, PoĂ©sie Marseille 2011, 8Ăšme Festival (8th Marseille Poetry Festival, 2011): `Le Grand MĂ©nage` (Spring Cleaning) /performance/ TĂąrgu MureÈ (Romania), National Theatre - Small Hall / Teatrul NaĆŁional â Sala MicÄ, Testet öltött szavak rendezvĂ©ny (Words Embodied â Event series): `Alice` /performance/ Budapest (Hungary), Mu Theatre / Mu SzĂnhĂĄz, Ismeretlen kutatĂĄsa improvizĂĄciĂłs alkotĂłmƱhely (Searching the Unknown â Improvisational Workshop): `Hangmozdulat` (Sound Movement) (with Kati Dombi) /performance/ 2012 Budapest (Hungary), Hungarian Writers` Association / Magyar ĂrĂłszövetsĂ©g: XXIV. EkszpanziĂł Festival, `IdĂ©zet` Szimpozion Ă©s KiĂĄllĂtĂĄs (`Quotation` Symposium and Exhibition): `ĂsĂł, kapa, nagyharang` (`Till Death` lit.: Spade, Hoe and Bell) /performance/ KomĂĄrom (Hungary), Fort Monostor â Film Museum / Monostori ErĆd â FilmmĂșzeum, Mediawave 2012 Festival: `NagytakarĂtĂĄs` (`Spring Cleaning`) /performance/ ĆĂłdĆș (Poland), MS2 â Lodz Museum of Art / MS2 â Muzeum Sztuki w Ćodzi: `Alicja w krainie kodĂłw` (Alice in Codeland) /performance/ Budapest (Hungary), Address: 8th district, PĂĄl street 6.: Gödör bĂșjĂłcska â irodalom, zene, film, tĂĄnc, szĂnhĂĄz, beszĂ©lgetĂ©s (Gödör Club Hide-and-seek â literature, music, film, dance, theatre, discussions) /sound poetry performance/ Ottawa, Ontario, Canada, City Hall Art Gallery, A B Series Workshop: `NagytakarĂtĂĄs` (`Spring Cleaning`) /performance/ Ottawa, Ontario, Canada, Arts Court Theatre, A B Series: `Alice KĂłdorszĂĄgban` (`Alice in Codeland`) /performance/[5] 2013 Budapest (Hungary), Ăbudai TĂĄrsaskör, KassĂĄk Museum, KassĂĄk Year: `Alice KĂłdorszĂĄgban` (Alice in Codeland) /performance/[6] Hvar (Croatia), 17th International Festival of Radio Plays and Documentary Radio Dramas PRIX MARULIÄ, âTesla. Homo Galacticusâ /performance/ SzĂ©kesfehĂ©rvĂĄr (Hungary), Vörösmarty Theatre Studio, Contemporary Art Festival: `Alice KĂłdorszĂĄgban` (Alice in Codeland) /performance/[7] Budapest (Hungary), Fuga, AutonĂłmia Filmklub 5, âI Belong to the Bandâ: Katalin Ladik`s voice on âpoets of the absurd on chalkâ[8] 2014 SzĂĄzhalombatta (Hungary), Katalin Ladik - Endre SzkĂĄrosi, Slam Poetry /performance/ Budapest (Hungary), Mika Tivadar VigadĂł, JazzaJ, Katalin Ladik â Jean Michel van Schowburg, Katalin Ladik â Zsolt SĆrĂ©s, âSounds to Goâ (Hangok elvitelre) /performance/ [9] 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, UniversitĂ€t Wien, `Singende Schnittmuster â Singing Dress Pattern`, lecture-performance, multimedia slide-show 2016 PoreÄ (Croatia), Behind the Scenes with Katalin Ladik! Artists on Vacation: `The Sounds of a sewing machine`, Circe di Parenzoâ /performance/,[10][11] Budapest (Hungary), MĂSZI, @Transart Communication, Katalin Ladik & Zsolt SĆrĂ©s âAlchemical Weddingâ (AlkĂmiai nĂĄsz) /performance/ 2016 Milano (Italy), FM Centre for Contemporary Art, Non-Aligned Modernity. Eastern-European Art from the Marinko Sudac Collection, âTranzit Zoonâ /performance/ 2017 Athens (Greece), Oval Staircase, Megaron â the Athens Concert Hall, All the In-Between Spaces, Concept and direction by: Paolo Thorsen-Nagel, âFollow me into mythologyâ /performance/ 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, âLive Lectureâ /solo sound poetry performance/ Nicosia (Cyprus), Artos Foundation, SARDAM Mixed-media Literary Festival 5th edition âLive Lectureâ /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, âWall(ed)â, aRttitude Site-specific dance performance, Katalin Ladik (live sound and voice). Budapest (Hungary), TrafĂł, âAlice in Codelandâ /multimedia performance/ Vienna (Austria), Lobby of Hotel Prinz Eugen, Erste Bank Publication Presentation âSound Poemsâ /live performance/ Novi Sad (Serbia), Museum of Contemporary Art Voivodina (MSUV), âK.A.T (Culture â Activism â Theory) Conferenceâ, âCreative Transitionsâ/live lecture, multimedia and sound poetry performance/ Novi Sad (Serbia), Bulevar Books, âTraNSporteur multilingual poetryâ /poetry reading/ Lodz (Poland), House of Literature, âPuls Literary Festival, 2017, Hungarian Dayâ, âSounds in Lodzâ / live lecture, multimedia performance and live sound poetry performance/ 2018 Berlin (Germany), neue Gesellschaft fĂŒr bildende Kunst (nBgK), `Alice in Codeland`, multimedia performance Berlin (Germany), Akademie der KĂŒnste, âUnderground und Improvisationâ, âFollow me into Mythologyâ /live lecture and soloperformance/ Berlin (Germany), Akademie der KĂŒnste, âUnderground und Improvisationâ, âDesire of Touchâ /Duoperformance with Natalia Pschenitschnikova/ Budapest (Hungary), Mersz Klub, âTĂșlĂ©lni a documenta 14-etâ (Surviving documenta 14) /live lecture and soloperformance/ Budapest (Hungary), Hungarian University of Fine Arts, âTĂșlĂ©lni a documenta 14-etâ (Surviving documenta 14) /live lecture with Emese KĂŒrti/ Budapest (Hungary), Közkincs KönyvtĂĄr, `MĆ°VĂSZ + NĆ` (ARTIST + WOMAN), âFeminizmus Ă©s mƱvĂ©szet ma?â (Feminism and Art Today?), âTĂșlĂ©lni a documenta 14-etâ (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), âShowroom of Contemporary Soundâ, âTransitionsâ /live lecture/ Rome (Italy), Falconieri Palace (Hungarian Academy in Rome), âFountains of Rome - Mouth to Lung!â /live lecture and sound performance/ Budapest (Hungary), HĂĄrom HollĂł â Drei Raben, âAntracit szĂĄjrĂșd (Antracit mouthpiece) /sound poetry performance/ Berlin (Germany), Akademie der KĂŒnste, `19. poesiefestival berlin 2018, Weltklang â Night of Poetry`, sound poetry performance Berlin (Germany), German Centre for Poetry (Haus fâĂŒr Poesie), `lyrikline - Listen to the Poet`, poetry reading and live voice recordings for the archive Concerts, musical performances (selection) Opatija (Croatia), 1969: Jugoslovenska muziÄka tribina (Yugoslav Music Tribune) (ErnĆ KirĂĄly: Refleksija) Opatija (Croatia), 1970: Jugoslovenska muziÄka tribina (Yugoslav Music Tribune) (ErnĆ KirĂĄly: Refleksija; Branimir SakaÄ: Bellatrix - Alleluja) Novi Sad (Serbia), 1970: Muzika i Laboratorija (Music and Laboratory) (with ErnĆ KirĂĄly) Osijek (Croatia), 1970: Annale komorne opere i baleta (Annual festival of chamber opera and ballet) Zagreb (Croatia), 1971: MuziÄki biennale (Music Biennale â International Festival of Contemporary Music) (MBZ Radionica/Workshop II with ErnĆ KirĂĄly, et al.; Chamber Music - Branimir SakaÄ: Bellatrix - Alleluja) Dubrovnik (Croatia), 1971: DubrovaÄke ljetne igre (Dubrovnik Summer Festival) (ACEZANTEZ Ensemble) Radenci (Slovenia), 1971: Festival sodobne komorne glazbe (Contemporary Chamber Music Festival) Munich (Germany), 1972: (Cultural Program of the 1972 Summer Olympics) (ACEZANTEZ Ensemble) Radenci (Slovenia), 1972: Festival sodobne komorne glazbe (ACEZANTEZ Ensemble) (Contemporary Chamber Music Festival) Osijek (Croatia), 1972: Annale komorne opere i baleta (ACEZANTEZ Ensemble) (Annual festival of chamber opera and ballet) Novi Sad (Serbia), 1972, âRadivoj Äirpanovâ Workersâ University / RadniÄki univerzitet âRadivoj Äirpanovâ (ACEZANTEZ Ensemble) Belgrade (Serbia), 1972, Studentski kulturni centar (Student Cultural Centre) â Festival Expanded Media (ACEZANTEZ Ensemble) Belgrade (Serbia), 1979, Dom Sindikata â BEMUS Belgrade Music Festival: âOratorio Profanoâ (composer: DuĆĄan RadiÄ, conductor: Oskar Danon) Opatija (Croatia), 1980: Jugoslovenska muziÄka tribina (Yugoslav Music Tribune) Budapest (Hungary), Spiritus Noister Group, 1996, 2002, 2004, 2007, 2008, 2009, 2010, 2011, 2012 Budapest (Hungary), Italian Cultural Institute / Olasz kultĂșrintĂ©zet / Istituto Italiano di Cultura, AvantgĂĄrd mƱvĂ©szetek a vilĂĄgban: mi lett a sorsuk? Nemzetközi tanĂĄcskozĂĄs (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 SzekszĂĄrd (Hungary), Spiritus Noister Group, 2012 Budapest (Hungary), MƱvelĆdĂ©si Szint (MĂSZI), â@Transart Communication 2016â, âAlchimist Weddingâ /concert and live sound performance with Zsolt SĆrĂ©s/ VeszprĂ©m (Hungary), House of Arts, âAlkĂmiai mennyegzĆâ (âAlchimist Weddingâ) /concert and live sound performance with Zsolt SĆrĂ©s/ Budapest (Hungary), MĂŒpa, UH Fest, Spiritus Noister /concert and live sound performance with Endre SzkĂĄrosi, Zsolt SĆrĂ©s, LĂĄszlĂł Lenkes/ Budapest (Hungary), Kassak Museum, âDadarabokâ /concert and live sound performance with Endre SzkĂĄrosi, Zsolt SĆrĂ©s, LĂĄszlĂł Lenkes/ YouTube Budapest (Hungary), 2017: Muted and silent films with live music series, I Belong To The Band vs. Berberian Sound Studio Debrecen (Hungary), MODEM, Katalin Ladik: âHatĂĄridĆnaplĂłâ (âDiary Bookâ) /concert and live sound performance with Gyula VĂĄrnai/ VeszprĂ©m (Hungary), 2018, House of Arts, âSpring Reopening, We believe in life before deathâ, âClaes Oldenburg: I am for an Artâ /concert and live sound performance with Gyula VĂĄrnai/ Theatre As an actress Jean-Paul Sartre: The Condemned of Altona; dir. IstvĂĄn LĂĄnyi; IfjĂșsĂĄgi TribĂŒn (Tribina Mladih / Youth Tribune); Novi Sad (Serbia); 1963 Imre Sarkadi: Elveszett Paradicsom (Paradise Lost); dir. Tibor GellĂ©r; PetĆfi SĂĄndor MƱvelĆdĂ©si EgyesĂŒlet (âPetĆfi SĂĄndorâ Cultural Association); Novi Sad (Serbia); 1963 MoliĂšre: The Imaginary Invalid (BĂ©line); dir. Ljubica Ravasi; Srpsko Narodno PozoriĆĄte (Serbian National Theatre); Novi Sad (Serbia); 1966 (Exam Piece) SĂĄndor Guelmino: Ăzvegy (Widow); dir. Tibor Vajda; Echo (az ĂjvidĂ©ki RĂĄdiĂł Ă©s az IfjĂșsĂĄgi TribĂŒn szĂnpada / the joint theatre of Radio Novi Sad and the Youth Tribune); Novi Sad (Serbia); 1969 Ferenc TĂłth (text) â ErnĆ KirĂĄly (composer): JĂłb (Job) (Performer â Recitative); dir. IstvĂĄn SzabĂł, Jr.; NĂ©pszĂnhĂĄz / Narodno PozoriĆĄte u Subotici (National Theatre in Subotica); Subotica (Serbia); 1972 IstvĂĄn ĂrkĂ©ny: MacskajĂĄtĂ©k (Cats` Play) (Ilus); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1974 Peter Weiss: How Mr. Mockinpott was cured of his Sufferings (First Angel/First Nurse); dir. Radoslav DoriÄ; RĂłbert Bambach; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1974 Ădön von HorvĂĄth: Tales from the Vienna Woods (Emma); dir. RĂłbert Bambach; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1975 Gergely Csiky: MukĂĄnyi (Ella); dir. MihĂĄly VirĂĄg; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1976 Valentin Kataev: Squaring the Circle (Tanya); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1977 MoliĂšre: Dom Juan or The Feast with the Statue (Mathurine); dir. DuĆĄan Sabo; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: Three Sisters (Masha); dir. György Harag; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1978 Ădön von HorvĂĄth: Tales from the Vienna Woods (Emma); dir. PĂ©ter Telihay; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: The Cherry Orchard (Charlotta Ivanovna); dir. György Harag; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1979 OttĂł Tolnai: VĂ©geladĂĄs (Clearance Sale) (Mrs Csömöre); dir. MihĂĄly VirĂĄg; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1979 Gyula HernĂĄdi: V.N.H.M. Szörnyek Ă©vadja (V. N. H. M. - Season of Monsters); dir. MiklĂłs JancsĂł; Summer Theatre in Gyula; VĂĄrszĂnhĂĄz; (Hungary); 1980 Edward Albee: Everything in the Garden (Cynthia); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1980 Angelo Beolco (Il Ruzzante): La Betia; dir. Radoslav DoriÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1981 OttĂł Tolnai: Bayer Aspirin (The Actress); dir. MiklĂłs JancsĂł; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1981 Ferenc DeĂĄk: Nirvana (Csontos Vali); dir. IstvĂĄn SzabĂł Jr.; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1981 Bertolt Brecht: Baal (Emilie); dir. Milan BelegiĆĄanin; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1983 DezsĆ KosztolĂĄnyi: Anna Ădes ( Mrs Druma); dir. György Harag; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1983 Alexander Vvedensky: Jelka kod Ivanovih (Christmas at the Ivanovâs) (Mother Puzirjova); dir. Haris PaĆĄoviÄ; Akademsko PozoriĆĄte âPromenaâ (âChangeâ Academic Theater); Novi Sad; (Serbia); 1983 MihĂĄly MajtĂ©nyi: Harmadik ablak (The Third Window) (Mrs LĂłdi); dir. György HernyĂĄk; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1984 Alfred Jarry: Ubu Roi (Mama Ubu); dir. Tibor Csizmadia; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1984 Gyula Gobby FehĂ©r: A Duna menti Hollywood (Hollywood by the Danube) â Multimedia Performance About the Life of ErnĆ BosnyĂĄk (The Baron`s Lover); dir. KĂĄroly Vicsek; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1985 Ivo BreĆĄan: Anera (Anera); dir. Dimitar Stankoski; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1985 Peter Shaffer: Equus (Hesther Salamon); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1985 Howard Barker: The Castle (Skinner); dir. David Gothard; NĂ©pszĂnhĂĄz / Narodno PozoriĆĄte u Subotici (National Theatre in Subotica); (Serbia); 1986 Friedrich DĂŒrrenmatt: The Visit (First Woman); dir. Radoslav DoriÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1986 IstvĂĄn ĂrkĂ©ny: ForgatĂłkönyv (Screenplay) (Mrs Littke); dir. Ljubisa Georgievski; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1986 IstvĂĄn ĂrkĂ©ny: TĂłtĂ©k (The TĂłt Family) (Mrs TĂłt); dir. GĂĄbor SzĂ©kely; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1987 Edward Albee: A Delicate Balance (Julia); dir. MihĂĄly VirĂĄg; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1987 Jordan Plevnes: âRâ (Katerina); dir. Ljubisa Georgievski; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1987 Johann Wolfgang von Goethe: Clavigo (Soffe); dir. Vladimir Milcin; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1988 Samuel Beckett: Happy Days (Winnie); dir. Radoslav LaziÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1988 Henrik Ibsen: An Enemy of the People (Mrs Stockmann); dir. Ćœelimir OreĆĄkoviÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1989 Ferenc MolnĂĄr (Franz Molnar): Liliom (Mrs MuskĂĄt); dir. LĂĄszlĂł Babarczy; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1990 Ede TĂłth: A falu rossza, avagy a negyedik ablak (The Village Rogue; Or, the Fourth Window) (Mrs TarisznyĂĄs); dir. HernyĂĄk György; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1990 OttĂł Tolnai: Paripacitrom (lit. Steed dung) (Krisztina); dir. PĂ©ter Tömöry; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1991 Marcel Achard: L`Idiote (A Shot in the Dark) (Chief Inspector`s Wife); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1991 Bertolt Brecht: Mother Courage and Her Children (Mother Courage); dir. Lajos Soltis; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1991 JĂłzsi JenĆ TersĂĄnszky: Kakuk Marci (Her Ladyship); dir. Lajos Soltis; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1992 Jean Anouilh: The Orchestra (Cello); dir. Voja SoldatoviÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1992 PĂ©ter NĂĄdas (text) â LĂĄszlĂł Vidovszky (composer): TalĂĄlkozĂĄs (Encounter) (MĂĄria); dir. AndrĂĄs Ăry-KovĂĄcs; Shure Studio; Budapesti KamaraszĂnhĂĄz (Chamber Theatre in Budapest); (Hungary); 1997 Boris Vian: Vercoquin et le Plancton (Vercoquin and the Plankton) (LĂ©on Charles Miqueut sous-ingĂ©nieur principal di CNU / Sub head-engineer at CNU); dir. RĂłbert Csontos; Kolibri SzĂnhĂĄz (Kolibri [âHummingbirdâ] Theatre); Budapest (Hungary); 1997 Sean OÂŽCasey: Bedtime Story (Landlady); dir. PĂĄl Kanda; FĂŒggeten SzĂnpad III tĂĄrsulata (3rd Company of Independent Theatre); Kolibri Pince (Kolibri [âHummingbirdâ] Cellar Theatre); Budapest (Hungary); 1998 LĂĄszlĂł NajmĂĄnyi: Adieu Monsieur Bloom â Cabaret Noire (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; Les Fleurs du Mal; `The Thinking Man`s Living Theatre`; Mu SzĂnhĂĄz (Mu Theatre); Budapest; (Hungary); 2003 LĂĄszlĂł NajmĂĄnyi: A szĂĄmƱzött Joyce / The Exiled Joyce (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; Bloomsday Festival; Szombathely; (Hungary); 2003 Radoslav Zlatan DoriÄ: Ne daj BoĆŸe, da se Srbi sloĆŸe / Ne adj isten, szerbek egyesĂŒlnek (God Forbid That the Serbs Should Agree) (Ruska); dir. Radoslav Zlatan DoriÄ; MagyarorszĂĄgi Szerb SzĂnhĂĄz / Srpsko PozoriĆĄte u MaÄarskoj (Serbian Theatre of Hungary); Budapest; (Hungary); 2004 LĂĄszlĂł NajmĂĄnyi: Nova Necropola. Cabaret Noire (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; Mu SzĂnhĂĄz (Mu Theatre); Budapest; (Hungary); 2004 LĂĄszlĂł NajmĂĄnyi: Az igazi Blum (The Real Blum /Bloom/) (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; ReJoyce Festival; Szombathely; (Hungary); 2004 György BarĂĄthy: Origami (I Woman); dir. György BarĂĄthy; ArtĂ©ria SzĂnhĂĄzi TĂĄrsasĂĄg (Theatre Company âArtĂ©riaâ); RS9 Studio Theatre; Budapest; (Hungary); 2005 As a director The Last Chapter by Navjot Randhawa, performed by theâTheatre of Roots and Wingsâ and Punjab Sangeet Natak Akademi in Punjabi at the Randhawa Auditorium, Chandigarh (Punjab, India); 2014.[12] Everything She Wants: Amrita and Boris by Navjot Randhawa and Jim Sarbh, Gaiety Theatre, Shimla, India; 2016,[13] The Mirage Yoga Studio, Andretta Arts, Andretta, India, 2016; M.L. Bhartia Auditorium, Alliance Francaise, New Delhi, India, 2016; Punjab Kala Bhawan, Chandigarh, India, 2016; Punjab Naatshala (Punjab Theatre), Amritsar, India, 2016 Everything She Wants: Amrita and Boris with Navjot Randhawa; Sher-Gil Cultural Centre, Indian Embassy, Budapest (Hungary), 2017 [14] Fritz Wine House, SzekszĂĄrd (Hungary), 2017; National Film Theatre, Budapest (Hungary), 2017; Laffert KĂșria, Dunaharaszti (Hungary), 2017; Municipal Library, ZebegĂ©ny (Hungary), 2017. Films Feature films Eduard i Kunigunda (Eduard and Kunigunda) (television adaptation of Renato de Grandisâ musical play), dir. Petar TesliÄ (1972, Serbian, Belgrade TV 2) (Kunigunda) DĂŒbörgĆ csend (1978) on IMDb (Thundering Silence), dir. MiklĂłs SzĂjj (Hungarian) (Eta) Szetna, a varĂĄzslĂł (1980) on IMDb (Setna the Wizard), dir. AndrĂĄs Rajnai (Hungarian) (Isis) Gulliver az ĂłriĂĄsok orszĂĄgĂĄban (1980) on IMDb (Gulliver in the Land of Giants), dir. AndrĂĄs Rajnai (Hungarian) (Lady in attendance) Aelita, dir. AndrĂĄs Rajnai (1980, Hungarian)[15] Atlantis, dir. AndrĂĄs Rajnai (1980, Hungarian) (The Lady of Atlantis) Chekhov: The Cherry Orchard (televised theatrical performance), dir. György Harag (1982, Hungarian, produced in Yugoslavia, Novi Sad Television) (Charlotta Ivanovna) Chekhov: Three Sisters (televised theatrical performance), dir. György Harag (1982, Hungarian, produced in Yugoslavia, Novi Sad Television) (Masha) A vilĂĄgkagylĂł mĂtosza (The Myth of the World Shell), dir. AndrĂĄs Rajnai (1982, Hungarian) BĂĄbel tornya (The Tower of Babel), dir. AndrĂĄs Rajnai (1982, Hungarian) (the Priestess Lagasa) HĂ©roszok pokoljĂĄrĂĄsa (The Heroesâ Journey Through the Underworld), dir. AndrĂĄs Rajnai (1982, Hungarian) (Anna) FajkutyĂĄk ideje (lit. The Time of Purebred Dogs), dir. KĂĄroly Vicsek (1984, Hungarian, produced in Yugoslavia) Ujed andjela (1984) on IMDb (Angel`s Bite), dir. Lordan ZafranoviÄ (Croatian) (Ćœena) KĂ©sdobĂĄlĂł (slang: Pub, lit. Knife-thrower), dir. KĂĄroly Vicsek (1984, Yugoslavian - Hungarian) Ekran sneĆŸi (1985) on IMDb, dir. Miljenko Dereta (Serbian) NapĂłleon (1989) on IMDb (Napoleon), dir. AndrĂĄs SĂłlyom (Hungarian) (Leticia) Granica (1990) on IMDb (Border), dir. Zoran MaĆĄireviÄ (Yugoslavian â Serbian â Hungarian) Sex-partijski neprijatelj br. 1 (1990) on IMDb (Sex, the Nr 1 Enemy of the Party), dir. DuĆĄan Sabo (Bosnian) (ĆœuĆŸa) A nagy fejedelem (1997) on IMDb (The Great Prince), dir. MĂĄria SĂłs (Hungarian) (The scientistâs wife) A szivĂĄrvĂĄny harcosa (2001) on IMDb (Rainbow`s Warrior), dir. PĂ©ter Havas (Hungarian) (Old Ms Sofia - voice) KolorĂĄdĂł Kid,(2010) on IMDb, dir. AndrĂĄs VĂĄgvölgyi B. (Hungarian) Berberian Sound Studio,(2012) on IMDb, dir. Peter Strickland (English) (Resurrected Witch) Short films Castrati, dir. Domokos MoldovĂĄn (1972, Hungarian, BalĂĄzs BĂ©la Studio, Budapest) (Bald Medium) O-Pus, dir. Attila Csernik (1973) (with Katalin Ladikâs Sound Project) CsendĂ©let hallal Ă©s mĂĄs tragikus momentumokkal (2005) on IMDb (Still Life with Fish and Other Tragic Elements), dir. NatĂĄlia JĂĄnossy (Hungarian) (AgĂĄta) Deda KovaÄ - Grandpa KovaÄ (2011) on IMDb, dir. Milica ÄjeniÄ (Serbian, Beograd-Lajpcig Express) (Rozi) Recitatives Ahol kialszik a vilĂĄg (1989) on IMDb (Where the World Goes Out) (based on KalandozĂĄs a tĂŒkörben (Adventures in the Mirror) by JĂĄnos Pilinszky), dir. KĂĄroly KismĂĄnyoky (1989, Hungarian, Pannonia Film Studio) A pĂĄrduc (The Panther), (Short animated film set to Rilkeâs poem), dir. AndrĂĄs Fiath (1998, Hungarian) Medea (animated study), dir. ZsĂłfia PĂ©terffy (2007) Ărökre valĂł / For Ever, dir. Katalin Riedl (2008-2010) Documentary Tanuljunk magyarul (Let`s Learn Hungarian), dir. KĂĄroly Vicsek (1979, Serbian - Hungarian, Novi Sad Television), (language teaching series) Katalin Ladik - Bogdanka PoznanoviÄ (1980, Serbian-Hungarian, Akademija Umetnosti Novi Sad â Novi Sad Art Academy), (Documentary about Katalin Ladik) MonodrĂĄma szĂŒletik (A Monodrama is Born), dir. Gyula RadĂł (1981, Hungarian, Szegedi TV), (Documentary about Katalin Ladik) Ez mĂĄr nem Ă©n vagyok (This Isn`t Me Anymore), dir. Gyula RadĂł (1982, Hungarian, Szegedi TV), (Documentary about Katalin Ladik) KrleĆŸa u videomedijima 5.: TV-usporedbe Adam i Eva (KrleĆŸa in Video-Medium 5: TV Comparisons of Adam i Eva), dir. Mario Fanelli, (1984, Croatian, TV Zagreb), (performer, Eva), (documentary series) Bukott angyal (Fallen Angel), dir. JenĆ HartyĂĄndi (1992, Hungarian - Serbian, Mediawave) (performance-recording) Valahol KözĂ©p-EurĂłpĂĄban (Somewhere in Central Europe), dir. IstvĂĄn GrencsĂł, JenĆ HartyĂĄndi (1993, Hungarian â Serbian) (Documentary) Amarissima: Katalin Ladik i novosadska umetniÄka scena sedamdesetih (Amarissima: Katalin Ladik and the Novi Sad Artistic Scene in the Seventies), dir. Milica MrÄa-Kuzmanov (1999, Serbian), (Documentary about Katalin Ladikâs art) SzĂĄzfĂ©le szerelem (A Hundred Kinds of Love) (2002, Hungarian), (the poems of Ăva SaĂĄry are read by Katalin Ladik), (Documentary about Ăva SaĂĄry) A sikoly ars poĂ©tikĂĄja - Ladik Katalin portrĂ©film (The Ars Poetica of the Scream â Katalin Ladik`s Portrait), dir. KornĂ©l SzilĂĄgyi, (2012, Hungarian) (Documentary about Katalin Ladik) (trailer) Sound Cage: A Portrait of Katalin Ladik, dir. KornĂ©l SzilĂĄgyi (Igor Buharov), (2012, Hungarian with English subtitles) (Documentary about Katalin Ladik) A legismertebb magyar, dir. GĂĄbor TĂłth, HĂrTV (Documentary about Amrita Sher-Gil and the play Everything She Wants directed by Katalin Ladik and performed by Navjot Randhawa at the Indian Embassy, Budapest (2017) Writerâs Credit SĂĄmĂĄn (Shaman), dir. PĂĄl Zolnay (1977, Hungarian, written by the director using poems of Attila JĂłzsef, LĂĄszlĂł Nagy, SĂĄndor Weöres Ă©s Katalin Ladik) Behind the Eye, dir. SebĆ KovĂĄcs (1999, Hungarian, based on Katalin Ladikâs poem: Vers a szerelmes piĂłcĂĄrĂłl / The Poem of the Leech in Love) Radio plays Writer and performer Furcsa, aki darazsakrĂłl ĂĄlmodik (Strange Is the One Who Is Dreaming About Wasps), 1982, Magyar RĂĄdiĂł Budapest (Hungarian Radio). Alex Avanesian, Imre JĂłzsef Katona and Katalin Ladik. Furcsa, aki darazsakrĂłl ĂĄlmodik (Strange Is the One Who Is Dreaming About Wasps), 1985, Radio Novi Sad (Serbia). Tibor Vajda and Katalin Ladik. Bukott angyalok (Fallen Angels), 1992, Radio Novi Sad (Serbia). Tibor Vajda. FƱketrec (Grass-Cage), 2002, Radio Novi Sad. Tibor Vajda and Katalin Ladik. Tesla Project, 2003, Radio Novi Sad (Serbia). Tibor Vajda. Ălhetek az arcodon? (Can I Live on Your Face?), 2012, Hungarian Radio, script by OtĂlia Cseicsner, directed by KornĂ©l SzilĂĄgyi A vĂz emlĂ©kezete (The Memory of Water), RĂĄdiĂłszĂnhĂĄz, Hungarian Radio (Kossuth RĂĄdiĂł), directed by OtĂlia Cseicsner, 27 June 2017, 21:30 Radio Theatre: âLadik Katalin: Hide-and-Seek, Variations of The Old Hungarian Lamentations of Maryâ (BujĂłcska, Ămagyar MĂĄrai-siralom variĂĄciĂłk), Magyar RĂĄdiĂł (Hungarian Radio), Kossuth RĂĄdiĂł, radio program editor: Otilia Cseicsner Performer Bertolt Brecht: Az ĂĄrja-kaszt magĂĄnĂ©lete (The Private Life of the Master Race; alt. title for Fear and Misery of the Third Reich) (Woman), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1963 Miodrag DjurdjeviÄ: A csavargĂł meg Ćk ketten (The Vagabond and the Two of Them) (the Girl), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1963 MiklĂłs GyĂĄrfĂĄs: Kisasszonyok a magasban â FĂ©rfiaknak tilos (Young Ladies Up High â No Men Allowed) (JĂșlia, who is barely even a young lady), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1964 LĂĄszĂł Kopeczky: HarangszĂł elĆtt (Before the Bell Rings) (FlĂłra), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1964 Leon Kruczkowski: A kormĂĄnyzĂł halĂĄla (Death of the Governor) (Silvia), (adapted by IvĂĄn Horovitz), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1964 Mikhail Tonecki: TalĂĄlka a âMeseâ kĂĄvĂ©hĂĄzban (A Date in CafĂ© Tale) (Waitress), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1964 JĂĄnos Herceg: Mindenkinek van egy ĂĄlma (Everyone Has a Dream) (performer), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1965 Aleksandar ObrenoviÄ: A tegnapi nap (Yesterday) (performer), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1966 Erskine Caldwell: Asszonyi sorsok (This Very Earth) (Vicky), (adapted by Jasmina EgriÄ), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1966 Miroslav MitroviÄ: MĂ©g szemerkĂ©l az esĆ (The Rain Is Still Dripping) (Announcer), dir. GellĂ©r Tibor, Radio Novi Sad (Serbia), 1966 Momo Kapor: III. OlivĂ©r teremĆre (The Guard of Oliver III) (performer), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1966 DuĆĄan RaksandiÄ: MuratrĂłl, PepekrĆl, AngyelĂĄrĂłl Ă©s rĂłlam (About Murat, Pepek, Andjela and Me) (the Professorâs Wife), dir. Tibor GellĂ©r, Radio Novi Sad (Serbia), 1967 GĂŒnter Eich: Carmilla meg Ă©n (The Other and I; orig. Die Andere und Ich) (performer), dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1967 Marguerite Duras: Andesmas Ășr dĂ©lutĂĄnja (The Afternoon of Mr Andesmas) (ValĂ©rie), (adapted by Milan TopolavÄki) dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1967 Miloslav StehlĂk: Bizalomvonal (Helpline) (Telephone Assistant), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1967 Sead FetahagiÄ: Körbe, körbe, karikĂĄba (Round and Round) (Mira), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1967 Alessandro De Stefani: CsĂłnak jön a tavon (A Boat Approaches on the Lake â Una barca viene dal lago) (Anna Marabini), (adapted by IvĂĄn Horovitz) dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1968 Michal Tonecki: Az ötödik (The Fifth) (a LĂĄny szerepĂ©ben), dir. GusztĂĄv Barlay, Radio Novi Sad (Serbia), 1968 JĂłzsef SulhĂłf (text), ed. by ErnĆ KirĂĄly: Tavaszi bokrĂ©ta dalest (Spring Bouquet â An Evening of Songs) (Announcer), Radio Novi Sad (Serbia), 1968 Magda SzabĂł: A rab (The Prisoner) (Zsuzsanna Kazinczy), dir. Frigyes Marton, Radio Novi Sad (Serbia), 1968 Aldo Nicolai: Ăljen az ifjĂș pĂĄr! (Long Live the Newlyweds!) (Woman), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1969 Ferenc DeĂĄk: ApoteĂłzis (Apotheosis) (Recitative) (performer), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1969 Boris Palotai: ĂröklakĂĄs (Condominium) (KlĂĄra), dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1969 Endre Fejes: Vigyori (Grinner) (Girl), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1970 EugĂšne Ionesco: A kopasz Ă©nekesnĆ (The Bald Soprano), dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1970 PĂĄl Saffer: A csend (The Silence) (Lidia), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1970 MihĂĄly MajtĂ©nyi: A szĂĄmƱzött (The Exile) (Sibylla), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1971 Gerich Endre MƱvĂ©szestje: AzĂ©rt is maradok...! (An Evening with Endre Gerich: I Say Iâm Staying...!) (performer) dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1971 Silvia Andrescu â Theodor Manescu: Ismeretlen kedvesem (My Unknown Beloved) (Girl), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1971 Aleksandr Solzhenitsyn: GyertyalĂĄng a szĂ©lben (Candle in the Wind) (Anni), dir. ĂrpĂĄd Benedek, Radio Novi Sad (Serbia), 1972 Ăs mi lesz tavasszal (What Will Happen in the Spring?) (comedy night) (performer), dir. Frigyes Marton, Radio Novi Sad (Serbia), 1972 Mirjana Buljan: Jasna naplĂłja (Jasnaâs Diary) (Jasna), dir. LĂĄszlĂł SzilĂĄgyi, Radio Novi Sad (Serbia), 1973 Svetislav RuĆĄkuc: A hetvennyolcas fordulatszĂĄmĂș ajtĂł (The 78 RPM Door) (Girl), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1973 DuĆĄan IljiÄ: Beutazni a földet (To Travel the World) (SzitakötĆ /Dragonfly/, a Girl), dir. MiklĂłs CserĂ©s, Dr, Radio Novi Sad (Serbia), 1976 TĂĄrsult humor Ă©ve (The Year of Associated Humour) (performer), dir. RĂłbert Bambach, Radio Novi Sad (Serbia), 1976 Szellemet idĂ©zĂŒnk! (SĂ©ance!) (performer), dir. György TuriĂĄn, Radio Novi Sad (Serbia), 1977 VidĂĄm est (A Merry Evening) (performer), dir. SĂĄndor SĂĄntha, Radio Novi Sad (Serbia), 1977 IstvĂĄn BosnyĂĄk: Szemben a bĂrĂłval (Facing the Judge) (docudrama in 7 episodes) (Ruth), dir. IstvĂĄn Varga, Radio Novi Sad (Serbia), 1978 Henrik Bardijewski: Kis komĂ©dia (A Little Comedy) (Lady I), dir. IstvĂĄn Vajda, Radio Novi Sad (Serbia), 1978 LĂĄszlĂł Nemes: SzerencseszerzĆdĂ©s (Contract of Luck) (adapted by JĂĄnos BorbĂ©ly) (radio play series), dir. Slobodan Majak, Radio Novi Sad (Serbia), 1985 OttĂł Tolnai: Bayer Aszpirin (Bayer Aspirin) (The Actress), dir. Orsolya Lehoczky, Hungarian Radio / Magyar RĂĄdiĂł (Hungary), 1997 (monodrama) Iris Disse: Ălmodott idĆ â 1956 (Dreamt Time â 1956), dir. Iris Disse, Radio Kossuth / Kossuth RĂĄdiĂł (Hungary), 2007 (Marika, the author`s alter ego) Artworks in permanent public and private collections Barcelona (Spain): MACBA â Museum of Contemporary Art in Barcelona / Museu dâArt Contemporani de Barcelona (18 collages: visual poetry and music scores, 1971-1978) Budapest (Hungary): PetĆfi Literary Museum / PetĆfi Irodalmi MĂșzeum (9 works of visual poetry â typewritten text on paper, photograph, collages of cardboard and collages of music score, 1976â1977, Aki miatt a harang szĂłl (For Whom the Bell Rings) â In Memoriam Lajos KassĂĄk collage, 1987) Belgrade (Serbia): Museum of Contemporary Art in Belgrade / (MSUB) Muzej Savremene Umetnosti, Beograd (Poemim photo, 1978) New York (USA): MoMA, The Museum of Modern Art (Novi Sad Project documentation, Wow Special Zagreb Issue, 1975) Budapest (Hungary): Ludwig Museum â Museum of Contemporary Art / Ludwig MĂșzeum â KortĂĄrs MƱvĂ©szeti MĂșzeum (Photographs, Poemim series) Vienna (Austria): Kontakt Collection â The Art Collection of Erste Group / Kontakt â Die Kunstsammlung der Erste Group (5 items of the âAusgewĂ€hlte Volksliederâ(Selected Folk Songs) series (1973-1975); 5 other visual poetry and music scores; 12 stamps; the 48 remaining photographs of Change Art â a performance documentation 1975; two copies of the Phonopoetica SP album 1976) Croatia â Marinko Sudac`s Private Collection (photo documentation for performances, gramophone recording, 1968â89) Miami (USA): Sackner Archive of Visual and Concrete Poetry (4 postcards â mail-art â and documentation, 1977-1981) Belgrade (Serbia): TrajkoviÄ Collection (Blackshave Poem â Zagreb performance, photo document, 1978) Chicago (USA): School of the Art Institute of Chicago â Joan Flasch Artist`s Book Collection (Poetical objects of the Urbanical Environment, 1976) Exhibitions Solo exhibitions 1973 Belgrade (Serbia), Student Cultural Centre Gallery / Galerija Studentskog Kulturnog Centra 1976 Zagreb (Croatia), Photography, Film and Television Centre / Centar za fotografiju, film i televiziju: `Visual Poetry â Music Score` (visual poems, collages) Novi Sad (Serbia), Youth Centre â Art Gallery / Likovni Salon Tribine Mladih 1977 Zrenjanin (Serbia), Cultural Centre / Kulturni centar: `Visual Poetry â Music Score` (visual poems, collages) Zagreb (Croatia), Cultural and Information Centre / Centar za Kulturu i Informacije: `Visual Poetry â Music Score` (visual poems, collages) 1979 Budapest (Hungary), Young Artistsâ Club / Fiatal MƱvĂ©szek Klubja: `Visual Poetry - Music Scores` (visual poems, collages) 2007 Budapest (Hungary), Erlin Club Gallery / Erlin Klub GalĂ©ria (visual poems, collages) 2010 Novi Sad (Serbia), Museum of Contemporary Art in Vojvodina / Muzej Savremene Umetnosti Vojvodine (MSUV): Retrospektivna IzloĆŸba 1962â2010. MoÄ Ćœene: Katalin Ladik (Retrospective Exhibition 1962â2010 The Power of a Woman: Katalin Ladik) (Curated by: Dragomir Ugren) 2011 SzĂ©kesfeh