Dečja opera Ježeva kuća Zlatana Vaude u svetlu različitih interpretacija

Abstract

U periodu jugoslovenskog socijalizma posebna pažnja bila je usmerena na stvaralaštvo za decu, koje su podržavale produkcije ploča, izdavačke kuće i kulturne institucije, što je doprinelo tome da različiti žanrovi budu približeni najmlađoj publici. Slovenački kompozitor Zlatan Vauda, uz saradnju sa libretistom Jovanom Aleksićem, komponuje dečju operu Ježeva kuća na stihove Branka Ćopića (1957). Ona je, uz podršku Radio-televizije Beograd, imala prvo televizijsku realizaciju (1959), a zatim praizvedbu na sceni Narodnog pozorišta u Sarajevu (1963) i premijeru u Narodnom pozorištu u Beogradu (1974). Tema ovog rada odnosi se na različite interpretacije pomenutog dela – od „maštovite, poput bajke“ verzije u Sarajevu do „borbene drame“ u beogradskoj verziji. S tim u vezi, u radu se analizira delo na nivou kompozitorove ideje (partitura) i na nivou realizacije (rediteljska interpretacija) i recepcije dela (muzička kritika).

In the socialist period in Yugoslavia, special attention was focused on the creative production for children, which was supported by record production companies, publishing houses and cultural institutions, bringing various genres closer to the youngest audience. The Slovenian composer Zlatan Vauda, in collaboration with the librettist Jovan Aleksić, composed the children’s opera Hedgehog’s Home, based on a poem by Branko Ćopić (1957). With the support of the Radio Television Belgrade, it was first produced as a TV show (1959) and then premiered on the stage of the National Theatre in Sarajevo (1963) and the National Theatre in Belgrade (1974). The paper deals with the different interpretations of this work – from the “imaginative, fairy tale-like” Sarajevo version to the Belgrade “battle drama”. In this regard, the work is analyzed on the plane of the composer’s idea (score), on the plane of realization (director’s interpretation) and in the context of the reception of the work (musical criticism).