Transmental Sheherazade on the interwar avant-garde balls in Belgrade and Paris

In expert circles, attention has been drawn to the “1002nd Night Ball” created by the protagonists of Yugoslav and Serbian avant-garde, in particular on its dance and musical segments, moreover, the ballet “Le balai du valet” by Marko Ristić and Miloje Milojević, as well as the ensuing seri...

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Main Author: Jović Bojan
Format: Article
Language:English
Published: Serbian Academy of Sciences and Arts - Institute of Musicology of Serbian Academy of Sciences and Arts 2013-01-01
Series:Muzikologija
Subjects:
Online Access:http://www.doiserbia.nb.rs/img/doi/1450-9814/2013/1450-98141314093J.pdf
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spelling doaj-b8e395e3ba974a3a9acd759866ebf3382020-11-24T23:02:40ZengSerbian Academy of Sciences and Arts - Institute of Musicology of Serbian Academy of Sciences and ArtsMuzikologija1450-98142013-01-012013149311510.2298/MUZ1314093J1450-98141314093JTransmental Sheherazade on the interwar avant-garde balls in Belgrade and ParisJović Bojan0Institut za književnost i umetnost, BeogradIn expert circles, attention has been drawn to the “1002nd Night Ball” created by the protagonists of Yugoslav and Serbian avant-garde, in particular on its dance and musical segments, moreover, the ballet “Le balai du valet” by Marko Ristić and Miloje Milojević, as well as the ensuing series of balls related to the Association of Friends of Art “Cvijeta Zuzorić”. On the other hand, it is an (almost) completely unknown fact that Rade Drainac’s original idea to throw a ball for the benefit of artists and writers that needed financial assistance because of difficult financial situation (later replaced with an initiative to raise funds to build an art pavilion “Cvijeta Zuzorić”) matched the idea of the Union of Russian artists in Paris to organize a ball with the aim of contributing to mutual aid. The ball in Paris, with the participation of the most prominent avant-garde artists, took place exactly one week after the Belgrade ball, which also suggests the possible connection / synchronization of these two artistic events. Having this in mind, I offer a brief analysis of the concept and scope of the aforementioned artistic events from the perspective of the intermedia and multimedia strategies. I demonstrate that the Belgrade spectacle was envisioned and performed far more ambitiously than the Parisian one, and the thoroughness of the interweaving of various arts ranks it among those works (including Parade by Cocteau, Picasso and Satie, Skating-Rink by Canudo, Leger, and Honegger, La creation du monde by Cendrars, Léger and Milhaud, with Russian and Swedish Ballet) that aimed to achieve a Gesamtkunstwerk, i.e. a total work of avant-garde art. [Projekat Ministarstva nauke Republike Srbije, br. ON 178008: Srpska književnost u evropskom kulturnom prostoru]http://www.doiserbia.nb.rs/img/doi/1450-9814/2013/1450-98141314093J.pdfnema
collection DOAJ
language English
format Article
sources DOAJ
author Jović Bojan
spellingShingle Jović Bojan
Transmental Sheherazade on the interwar avant-garde balls in Belgrade and Paris
Muzikologija
nema
author_facet Jović Bojan
author_sort Jović Bojan
title Transmental Sheherazade on the interwar avant-garde balls in Belgrade and Paris
title_short Transmental Sheherazade on the interwar avant-garde balls in Belgrade and Paris
title_full Transmental Sheherazade on the interwar avant-garde balls in Belgrade and Paris
title_fullStr Transmental Sheherazade on the interwar avant-garde balls in Belgrade and Paris
title_full_unstemmed Transmental Sheherazade on the interwar avant-garde balls in Belgrade and Paris
title_sort transmental sheherazade on the interwar avant-garde balls in belgrade and paris
publisher Serbian Academy of Sciences and Arts - Institute of Musicology of Serbian Academy of Sciences and Arts
series Muzikologija
issn 1450-9814
publishDate 2013-01-01
description In expert circles, attention has been drawn to the “1002nd Night Ball” created by the protagonists of Yugoslav and Serbian avant-garde, in particular on its dance and musical segments, moreover, the ballet “Le balai du valet” by Marko Ristić and Miloje Milojević, as well as the ensuing series of balls related to the Association of Friends of Art “Cvijeta Zuzorić”. On the other hand, it is an (almost) completely unknown fact that Rade Drainac’s original idea to throw a ball for the benefit of artists and writers that needed financial assistance because of difficult financial situation (later replaced with an initiative to raise funds to build an art pavilion “Cvijeta Zuzorić”) matched the idea of the Union of Russian artists in Paris to organize a ball with the aim of contributing to mutual aid. The ball in Paris, with the participation of the most prominent avant-garde artists, took place exactly one week after the Belgrade ball, which also suggests the possible connection / synchronization of these two artistic events. Having this in mind, I offer a brief analysis of the concept and scope of the aforementioned artistic events from the perspective of the intermedia and multimedia strategies. I demonstrate that the Belgrade spectacle was envisioned and performed far more ambitiously than the Parisian one, and the thoroughness of the interweaving of various arts ranks it among those works (including Parade by Cocteau, Picasso and Satie, Skating-Rink by Canudo, Leger, and Honegger, La creation du monde by Cendrars, Léger and Milhaud, with Russian and Swedish Ballet) that aimed to achieve a Gesamtkunstwerk, i.e. a total work of avant-garde art. [Projekat Ministarstva nauke Republike Srbije, br. ON 178008: Srpska književnost u evropskom kulturnom prostoru]
topic nema
url http://www.doiserbia.nb.rs/img/doi/1450-9814/2013/1450-98141314093J.pdf
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