„Улога музике у кодирању националне културе и идентитета у Црногорском народном позоришту (са посебним освртом на позоришну музику Жарка Мирковића)“

Abstract

Uočavajućí potrebu da se ukaže na važan segment nematerijalne kulturne baštine – pozorišna muzika u Crnoj Gori – u ovom radu je, sagledavanjem višedecenijskog djelovanja Crnogorskog narodnog pozorišta u Podgorici osvjetljena uloga muzike u kodiranju nacionalne kulture i identiteta. Dat je poseban osvrt na pozorišnu muziku Žarka Mirkovića, na osnovu postavljene teorijske platforme. Na primjerima predstava na kojima je bio angažovan kao kompozitor, sprovedeni su analitički postupci kojima se došlo do saznanja o: značaju scenske muzike u Crnoj Gori, odnosu reditelja i kompozitora, karakteristikama i značenjskim kapacitetima pozorišne muzike, kao i njenoj ulozi u pozorištu, ali i u društvu, čime se Crnogorsko narodno pozorište istaklo kao institucija od nacionalnog značaja sa velikim potencijalom za izučavanje i očuvanje primijenjene muzike. U crnogorskoj literaturi ne postoji vrednovanje doprinosa pozorišnoj muzici, a prilikom istraživačkog projekta se dokazalo, ni kontinuiran decenijski odnos prema njenom značaju i potrebi da se sačuva, izučava i arhivira, pa su se istorijskim pristupom i analizama u ovome radu rasvijetlili značajni kapaciteti pozorišne muzike i naznačili mogući vidovi njenog drugačijeg tretmana u budućnosti. Važan segment disertacije je kontekstualizovanje scenske muzike u opusu kompozitora Mirkovića, čime se došlo do spoznaje da je njegov rad na predstavama u stilskom pogledu, gotovo uvijek, tokom više od tri decenije, korespondirao sa ostalim žanrovima koji su nastajali u istom periodu kada i muzika za pojedine predstave. Nakon uvodnog poglavlja, u kojem su obrazloženi tema rada, hipoteze, predmet, ciljevi istraživanja kao i metodologija, slijedi teorijski segment koji obuhvata diskusije o terminologiji, kontekstualizaciji i hronologiji pozorišne muzike, prepoznavanju i tumačenju elemenata nacionalne kulture u muzici, klasifikovanju i odnosu identiteta i muzike, kao i definisanju koda u scenskoj muzici. U narednom, istorijskom dijelu se referira na prve pomene pozorišne muzike u Crnoj Gori, diskutuje o kontekstu u kojem djeluje Crnogorsko narodno pozorište, programskoj politici i mogućim pristupima izučavanju scenske muzike na ovom tlu. Pored toga, pružen je uvid u kompozitore koji su svojim djelovanjem dali doprinos razvoju scenske muzike, svojim angžmanom u nacionalnom teatru. Poglavlje Pozorišna muzika Žarka Mirkovića, pored opšteg pregleda predstava za koje je kompozitor radio muziku, bavi se i pitanjima odnosa reditelja i 5 kompozitora, kao i analitičkim promatranjima muzike koja je komponovana/adaptirana u predstavama čija su promatranja kontekstualizovana u skladu sa teorijskim postavkama u radu. Pored uvida u Mirkovićevo stvaralaštvo, oslanjajući se na istorijske podatke i početke djelovanja pozorišta, kao i česte promjene pozorišne politike i kadrova u upravi, stekao se uvid u kontinuirano prisustvo značajnih kompozitorskih imena koja su bivala angažovana u teatru, od akademski obrazovanih kompozitora, do baštinika folklorne umjetnosti, kao i autora različitih muzičkih žanrova. Ti podaci umnogome su doprinijeli primarnom cilju rada da se obrazloži uloga i značaj pozorišne muzike u nacionalnom teatru. Takođe se potvrdilo da su pored funkcionalnosti, uloga i značaj pozorišne muzike od značaja za sveukupnu nacionalnu kuluturu (jedne) zajednice.

Noticing the need to shed light on an important segment of intangible cultural heritage – theater/incidental music in Montenegro - this paper highlights the role of music in coding national culture and identity by reviewing the decades-long work of the Montenegrin National Theater in Podgorica. Particular attention has been paid to Žarko Mirković’s theatre music, based on the set theoretical platform. Analysis were conducted on the examples of eighteen plays in which he was hired as a composer, to find out about: the importance of stage music in Montenegro, the relationship between directors and composers, characteristics and capacities of theater music, as well as its role in theater, but also in society, which made the Montenegrin National Theater stand out as an institution of national importance with great potential for the study and preservation of applied music. Montenegrin literature fails to mention contribution to theater(incidental) music, as well as continuous decade-long relationship with its importance and the need to preserve, study and archive it, which was proven during this research project. Therefore, the historical approach and analysis in this paper shed light on significant capacities of theater music and indicated possible aspects of its different treatment in the future. An important segment of the dissertation is the contextualization of stage music in the opus of the composer Mirković, which led to realizing that his work on theatre plays in terms of style, almost always, for more than three decades, corresponded with other genres which emerged in the same period as music for individual performances. The introductory chapter, which elaborates the topic, hypotheses, subject, research objectives and methodology, is followed by a theoretical segment which includes discussions on terminology, contextualization and chronology of theater music, recognition and interpretation of elements of national culture in music, classification and relationship of identity and music, as well as defining code in stage music. The next, historical part, makes reference to the first mentions of theater music in Montenegro, discusses the context in which the Montenegrin National Theater operates, program policy, and possible approaches to the study of theater music in Montenegro. In addition, an insight was provided into the work of composers who contributed to the development of stage music, primarily through engagement in the national theater. 7 The chapter Žarko Mirković’s Incidental Music, in addition to a general overview of the theater plays for which he composed music, also deals with the relationship between director and composer, as well as the analytical observations of the music composed/adapted in theatre plays, whose observations are based on theoretical platforms covered in the theoretical section of this paper. In addition to insight into Mirković’s work, relying on historical data and the beginnings of the theater’s work, as well as frequent changes in theater policy and management, an understanding was gained about the continued presence of significant composers who were engaged in theater, from academic composers to folklore art heirs, as well as authors of various musical genres. These data greatly contributed to the primary goal of the paper, i.e. to explain the role and importance of theatre music in the national theater. It was also confirmed that in addition to functionality, the role and importance of theatre music are significant for the overall national culture of (a) community.