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Work on the play "Semafor" - the role of Milo
No full textRad na ulozi Mile u predstavi „Semafor“, diplomski je rad koji je nastao iz suradnje Gradskog kazališta „Zorin dom“ u Karlovcu i studentice diplomskog studija glume Ane Šantar s Akademije za umjetnost i kulturu u Osijeku, pod mentorstvom izv. prof. art. Vjekoslava Jankovića. U ovom pisanom radu bilježi svoj pogled na rad u predstavi koja se bavi autizmom i problematikom koja dolazi uz taj poremećaj. Navodi iskustva svog prvog susreta s radom u profesionalnom kazalištu od audicije do premijere i kasnijeg razvoja uloge i nje kao glumice koji dolazi igranjem predstave u mnogim reprizama pred novim publikama. Bilježi svoj prvi kontakt i rad na tekstu spisateljice Petre Cicvarić. Navodi svoj tijek rada na tekstu i problematici kojom se tekst bavi: poseban segment koji gradi njezin lik Mile je u tome što je bliskom odnosu s bratom koji ima autizam. Proces razvijanja i osvještavanja znanja o autizmu. Zapisuje svoj pogled i rad do početka rada s autorskim timom, redateljem Peđom Gvozdićem, ansamblom kazališta „Zorin dom“ i vanjskim suradnicima, kostimografkinjom Moranom Petrović, asistenticom redatelja Majom Huber i ostalim članovima autorskog tima predstave. Zapisuje proces rada na čitaćim, mizanscenskim probama i brojnim progonima s pažnjom na glumačke alate koje je koristila u stvaranju Miline uloge. Navodi saznanja koja je otkrila u radu ili potvrdila putem radnog procesa. Bilježi ostvarena i neostvarena maštanja o liku i ulozi. Zaključuje rad svojim saznanjima, pozitivnim stavom, ostaje ustrajna u poboljšanju rada na budućim ulogama i svijetu koji je okružuje.Work on the play „Semafor“, is a master thesis work made in collaboration with city theatre „Zorin dom“ in Karlovac and student of master course acting Ana Šantar from the Academy of arts and culture in Osijek, under mentorship of izv. prof. art. Vjekoslav Janković. In this work she details her look of the play which deals with autism and all the problems that come with it. She lists experiences of her first meeting with working in a proffessional theatre from it’s audition, premiere showing and later development of her as an actress that comes from playing it in reruns infront of new audiences. She also lists her first contact and work on the script made by the author Petra Cicvarić, she writes about the work process and all the problems that it deals with. Special segment that builds the character of Mila who has a special relationship with her brother that has autism. Process of developing and raising awareness of of autism. Writes her look of work with the author team, director Peđa Gvozdić, ansamble of the theater „Zorin dom“ and other associates, costumeographer Morana Petroivć, assistant director Maja Huber and other coworkers of the play. She also details working on reading and mizanscene tryouts and other various prosecutions with attention on acting tools she used to create Mila's role. Discovery found in the process of working are also detailed as well as achieved and unachieved dreamings of the character and role. She concludes with what she learned, positive attitude, and stays persistent in further developing her work on future roles and the world that surrounds her
Organizacija rada neprofitnih organizacija
No full textNeprofitne organizacije ili institucije, prvenstveno udruge i ustanove, od velike su važnosti za razvoj i napredak cjelokupne društvene zajednice. U okviru svojih djelatnosti i aktivnosti, neprofitne organizacije pružaju, između ostaloga, brojne usluge članovima društvene zajednice, većinom pripadnicima marginaliziranih, diskriminiranih i socio-ekonomski ugroženih grupa. Neprofitne organizacije ne naplaćuju tržišne cijene svojih usluga, a kroz svoj rad nastoje biti dostupne što široj društvenoj zajednici, promovirajući kulturne, tradicijske, sportske, obrazovne, ekološke i brojne druge vrijednosti. Njihovo osnivanje, organizacija rada, financiranje i općenito upravljanje regulirani su brojnim zakonskim propisima. Ovaj rad bavi se različitim aspektima poslovanja neprofitnih organizacija, njihovim upravljanjem, specifičnostima, financiranjem i upravljanjem financijama, odnosima prema javnosti, ciljevima i postignućima, te opisuje navedene aspekte navodeći praktični primjer organiziranja i rada vrlo uspješne Udruge Breza iz Osijeka.Non-profit organisations or institutions, primarily associations and alliances, are of great importance for the development and progress of the social community. Within their activities, non-profit organisations provide, among other things, numerous services to members of social community, the majority of which are members of marginalised, discriminated and socio-economically vulnerable groups. Non-profit organisations do not charge prices for their services, yet, by offering their services, they reach out to social community to promote cultural, traditional, sports, educational, environmental and other values. Establishment of non-profit organisations, their business, financing and general management are regulated by numerous legal acts and ordinances. This paper deals with various aspects of non-profit organisations' business, their management, specifics of working, financing and financial management, public relations, goals and achievements, and elaborates those aspects by giving a practical example of very successful Breza Association from Osijek
Radio as a "Tribal drum" in the local community: example of Radio Baranja
No full textU prvom dijelu završnog rada ukratko se objašnjavaju razvoj radija kao medija i podjela na američku i europsku radiofoniju, zatim početci radija u Hrvatskoj i promjene koje donosi zakonodavno uređenje radijske djelatnosti. Radio u Hrvatskoj na svojim je početcima pripadao europskoj radiofoniji koja je imala snažno naglašenu ulogu javnog servisa, no povećanjem broja radijskih postaja, prvenstveno onih komercijalnih, veliki broj radijskih postaja okreće se tržištu te željama i potrebama šire publike. U radu se, primjenom metode suvremenoga etnografskoga istraživanja, prikazuje značaj lokalnog radija na primjeru Radio Baranje koja je svoju radijsku djelatnost pokrenula na samom početku Domovinskoga rata kao prognanički radio, a nastavila povratkom u Beli Manastir gdje posluje i danas. Opisuje se osnivanje Radio Baranje, njegova vlasnička struktura i programska shema te sadržaji kojima se danas ostvaruje pluralizam u kontekstu raznolikosti sadržaja. Cilj je rada prikazati radio kao medij koji opstaje usprkos ubrzanom razvoju novih medija i mijenjanjem čovjekovih medijskih navika. Radio i dalje ostaje prisutan uz minimalnu tehničku zahtjevnost i najširu dostupnost zbog čega ga se može i dalje smatrati najbržim i najotpornijim medijem.In the first part of the final paper, the development of radio as a medium and the division into American and European radio are briefly explained, then the beginnings of radio in Croatia and the changes brought about by the legislative regulation of radio activity. At its beginnings, radio in Croatia belonged to European radio, which had a strongly emphasized public service role, but with the increase in the number of radio stations, primarily commercial ones, a large number of radio stations are turning to the market and the wishes and needs of a wider audience. The paper, using the method of modern ethnographic research, shows the importance of local radio using the example of Radio Baranja, which started its radio activity at the very beginning of the Homeland War as an exile radio, and continued by returning to Beli Manastir where it still operates today. It describes the establishment of Radio Baranja, its ownership structure and programming scheme, as well as the content that today realizes pluralism in the context of the diversity of content. The aim of the paper is to show radio as a medium that survives despite the accelerated development of new media and changing people's media habits. Radio still remains present with minimal technical requirements and the widest availability, which is why it can still be considered the fastest and most durable medium
Helverova noć
No full textOvaj pisani rad bavi se teorijskom dokumentacijom procesa rada na ulozi. Uloga koju proučavamo jest uloga Helvera, mladića s poremećajem iz autističnog spektra, koji tijekom jedne noći doživljava razne nedaće. „Postaje” dio bande, siluje, biva silovan, ozljeđuje se, ispričava se, bježi, vraća se te naposljetku umire. Sve su to događaji Helverove noći, drame poljskog dramatičara Ingmara Villqista. U ovom radu razlažu se elementi nastanka uloge i predstave, što je sve potrebno da bi se napravila predstava, koja se izražajna sredstva upotrebljavaju u radu na ulozi i radu na predstavi.This written paper deals with the theoretical documentation of the role work process. The role we are studying is that of Helver, a young man with autism spectrum disorder, who experiences various misfortunes during one night. He "becomes" part of the gang, rapes, is raped, injures himself, apologizes, runs away, returns and finally dies. These are all the events of Helver's Night, a play by the Polish playwright Ingmar Villqist. In this paper, the elements of the creation of the role and the play are explained, what is needed to make a play, which means of expression are used in the work on the role and the wor
Memories from an island - visulalization in texture
No full textDiplomski rad Sjećanja s jednog otoka – vizualizacije u teksturi umjetničko je istraživanje prostornih promjena koje nastaju uslijed nekontroliranog ljudskog djelovanja na okoliš. Kroz rad su interpretirani suvremeni problemi devastacije prirodnih ljepota, obalnog područja, nastajanje divljih odlagališta otpada te divlja gradnja i apartmanizacija mjesta. Istraživani prostor objedinjuje motive stare obiteljske kuće, autohtone otočke kamene ulice, biljni svijet te novoizgrađene građevine. Subjektivno se preispituju trajne urbanističke promjene, nastale kao posljedice turistifikacije i ljudskog djelovanja na okoliš. Prostorne promjene se istražuju komparacijom starih obiteljskih fotografija s novonastalim fotografijama te njihovom redefinicijom nastaju novi imaginarni prostori. Rad je koncipiran kroz dvije metode istraživanja. Prva metoda obuhvaća sakupljanje fotografija, mapiranje, evidenciju i manipulaciju dok je druga metoda eksperimentalna metoda kreativne manipulacije likovnog sadržaja u bakar. Rad se sastoji od pet umjetničkih djela. Djela su nastala vizualizacijom prikaza u teksturi, odnosno kemijskom i mehaničkom obradom materijala bakra. Dimenzije svakoga djela su 100 x 100 cm.The graduate thesis Memories from one island – visualizations in texture is an artistic exploration of spatial changes uncontrolled human activity in the environment. Modern problems of the devastation of natural beauties, the coastal area, the emergence of wild landfills, and the illegal construction and apartment overbuilding of the site are interpreted. The explored area combines the motifs of the old family house, autochthonous island cobbled streets, vegetation, and recently built architecture. Lasting urban changes derived from tourist and human environmental activity are subjectively reviewed. Spatial changes are explored and redefined by comparing old family photos with newly created photographs that create new imaginary spaces. The work was conceived through two research methods. The first method includes the collection of photographs, mapping, records and manipulation, while the second method is an experimental method of creative manipulation of art content into copper. The work consists of five artworks. The works were created by visualizing the representation in the texture, that is, by chemical and mechanical processing of the copper material. The dimensions of each work are 100 x 100 cm
Fairy ring
No full textVilino kolo” naziv je za grafički poliptih inspiriran carstvom gljiva, koje pažnju privlače prvenstveno svojim izgledom a potom i definicijom koja nalaže da nisu ni životinje, ni biljke već su kao takve nedefinirane. Na početku rada, daje se uvid u morfologiju gljiva radi boljeg i lakšeg razumijevanja elemenata koji su prikazani u tehnikama dubokog tiska, prije svega bakropisa, reservagea i slijepog tiska. Iako graniči s apstrakcijom, tim elementima pristupam figurativno, kroz mikro i makro prikaze, kako bi do naglaska došla naizgled skrivena vizualnost gljiva, koju želim razotkriti i predočiti gledatelju. Kružna kompozicija, odnosno postav, odraz je naziva ovog djela; Vilino kolo prirodni je fenomen u kojem gljive rastu u formaciji kružnice / elipse. Tako zatvaram cjelinu, ali i postavljam temelj za nastavak, napredak i širenje rada.Fairy ring“ is the name for polyptych graphics inspired by the kingdom Fungi, which attract attention primarily by their appearance and then by the definition that dictates that they are neither animals nor plants, but as such are undefined. At the beginning of the paper, an insight into the morphology of fungi is given for a better and easier understanding of the elements presented in the techniques of etching, reservage and embossing. Although it borders on abstraction, I approach these elements figuratively through micro and macro representations in order to emphasize the seemingly hidden visuality of mushrooms that I want to reveal and present to the viewer. The circular composition or exhibition is a reflection of the title of this work; The fairy ring is a natural phenomenon in which fungi grow in a circle / ellipse formation. In this way, I close the whole, but also lay the foundation for the continuation, progress and expansion of work
Influence of the COVID-19 pandemic on the implementation of marketing mix in the music industry
No full textNajveća globalna kriza modernog doba, pandemija Covid-19, utjecala je na brojne industrije i sektore. Među prvima koji su osjetili negativne posljedice krize bila je glazbena industrija koja se gotovo u potpunosti zatvorila. Ograničenja nastupa uživo te otkazivanja i zabrane koncerata, preko noći su sveli glavne izvore prihoda glazbene industrije na nulu, a mnoge izvođače i autore primorali da potraže nove načine komunikacije s publikom, kao i načine promocije i distribucije glazbenog sadržaja. U ovom radu provedeno je istraživanje o utjecaju pandemije Covid-19 na implementaciju marketinškog miksa u glazbenoj industriji, s naglaskom na promociju i distribuciju glazbenog sadržaja putem društvenih mreža i glazbenih streaming platformi. Podaci prikupljeni anketom i dubinskim intervjuom, ukazuju na povećanu potrebu za korištenjem digitalnih alata tijekom pandemije, ponajviše društvenih mreža i streaming platformi u području glazbenog marketinga te za komunikaciju s ljubiteljima glazbe. Društvene mreže i streaming platforme su obožavateljima tijekom pandemije omogućile neprekidno praćenje izvođača te slušanje glazbe unatoč strogim mjerama, dok su izvođačima osigurale jednostavnu distribuciju glazbe te besplatnu i inovativnu promociju sadržaja. Dodatno, povremeni koncerti u vritualnom okruženju i nastupi uživo s određenim ograničenjima, omogućile su glazbenoj industriji da privremeno „preživi“ tijekom pandemije, no puni oporavak industrije započinje globalnim ukidanjem mjera i povratkom najvećeg izvora prihoda glazbene industrije – koncerata uživo.The biggest global crisis of our time, the Covid-19 pandemic, affected many industries and sectors. Among the first to feel the negative effects of the crisis was the music industry, which has closed almost completely. Restrictions on live performances and many cancellations and concert bans have cut off the music industry's main source of revenue, and many performers have been forced to look for new ways to communicate with their fans as well as new ways to promote and distribute music content. The research conducted in this paper investigates the impact of the Covid-19 pandemic on the implementation of the marketing mix in the music industry, with an emphasis on the promotion and distribution of music content through social media and music streaming platforms. Data collected through the survey and in-depth interview indicates an increased need to use digital tools during the pandemic, particularly social networks and streaming platforms both in the field of music marketing and to communicate with consumers. Social networks and streaming platforms allowed fans to continuously follow performers and listen to music during the pandemic despite strict measures, while at the same time ensuring easy music distribution and free and innovative content promotion for performers. In addition, occasional concerts in a virtual environment and live performances with certain limitations allowed the music industry to temporarily "survive" during the pandemic, but the full recovery begins with the global lifting of measures and the return of the music industry's biggest revenue - live concerts
Rad na ulozi Bernarda u predstavi Smrt trgovačkog putnika
No full textTekst Smrt trgovačkog putnika autora Arthura Millera predstava je, a ujedno i diplomski ispit studenta Silvija Švasta koja je nastala pod redateljskom palicom Vanje Jovanovića, mentorice red. prof. art. Tatjane Betrok-Zupković i sumentora ass. Gorana Vučka u Gradskom kazalištu Virovitica. Osim Silvija Švasta u predstavi sudjeluju: Igor Golub, Vlasta Golub, Draško Zidar, Mijo Pavelko, Goran Vučko, Sara Lustig, Toni Leaković i Monika Lanšćak. Predstava govori o prolaznosti čovjeka i njegove snage, govori o tome kako su svi zamjenjivi, a na nama je da dajemo što više od sebe i uživamo u trenutku. U ovom pismenom radu opisano je kako je tekao proces stvaranja predstave te kojim sam se alatima služio kako bi utjelotvorio ulogu. Također govorim o prekrasnim partnerskim odnosima uz koje je sve moguće.The text Death of a Salesman by Arthur Miller is a play and at the same time, the graduation exam of the student Silvijo Švast, which was created by director Vanja Jovanović, mentor red. prof. art. Tatjana Betrok-Zupković and co-mentor assistant Goran Vuček in the Gradsko kazalište Virovitica (Virovitica City Theatre). In addition to Silvijo Švast, the following are participating in the play: Igor Golub, Vlasta Golub, Draško Zidar, Mijo Pavelko, Goran Vučko, Sara Lustig, Toni Leaković and Monika Lanšćak. The play talks about the transience of man and his strength, about how everyone is replaceable, and that it is up to us to give as much as we can and that we enjoy the moment. This written work describes how the process of creating the play went and the tools I used to embody the role. I also talk about wonderful relationships which make anything possible
Impossibility and Memory - Imaninary Tombstone
No full textDiplomski rad pod nazivom Nemogućnost i uspomena sastoji se od drvene makete i nacrta idejnog rješenja zamišljene verzije. Rad iznosi ideju transformacije objekta iz neumjetničkoga konteksta u umjetnički te autoričinu osobnu transformaciju kroz proces izrade rada od začetka ideje do zadnje faze realizacije iste. Glavni elementi rada ujedno su i dijelovi strukture koncepta kojeg čine faze transformacije, počevši od pojmova kao što su smrt i groblje, nadgrobni spomenik i spomenička skulptura i na koncu transformacija. Naziv rada je podređen ideji koja se kroz rad provlači kao vertikala između početne svijesti o nemogućnosti djelovanja do konačne težnje usmjerene na uspomenu kao iskaz počasti i zahvale. Tim odnosom rad dobiva dimenziju vertikale koja se produžava kroz život, a traje i nakon smrti. Spomeničkom skulpturom, u formi nadgrobnog spomenika, nastoji se potaknuti na promišljanje o transformaciji. U radu Nemogućnost i uspomena autorica se suočava s transformacijom prikazujući vlastitu borbu i strah tijekom procesa izrade rada od ideje do konačne izvedbe. Rad ukazuje na fleksibilnost i rastezljivost pojma transformacija u svrhu poticanja promatrača na promišljanje o istom, u kontekstu ideje rada i šire.The graduate thesis titled "Impossibility and Memory" is a monumental sculpture performed as a tombstone, consisting of a wooden model and a conceptual solution in marble. The model consists of seven wooden black and white panels, while the conceptual design would include an enlarged model of seven marble black and white panels. The artwork presents an idea of transforming the object from non-artistic to an artistic context, but also the author's own transformation through the process of making artwork, from the beginning of the idea to the last stage of realization. The main elements of the work are also parts of the structure of the concept consisting of stages of transformation, starting with terms such as death and cemetery, tombstone and monument sculpture, and finally transformation. The name of the work itself is subordinate to the idea that runs through the work as a vertical between the initial awareness of the inability to act, to the final aspiration aimed at memory as a statement of tribute and thanks. With this relationship, the work acquires a vertical dimension that is prolonged throughout life, and lasts behind death. The monumental sculpture, in the form of a tombstone, seeks to encourage reflection on transformation. Through the work "Impossibility and Memory", the author faces the same, through her own struggle and fear and through the process of making work from idea to final performance. The artwork points to the flexibility and expansibility of the concept of transformation in order to encourage observers to think about it, in the context of the idea of work and beyond. With her master's thesis, the author opens the space for reflection on transformation, the tombstone and finally whether it can be turned into a work of art
Hidden Curriculum in Music Education
No full textŠkola je odgojno-obrazovna ustanova u kojoj učitelji učenicima prenose znanja i vještine, ali također iznose svoje stavove, vrijednosti i razmišljanja. Ponekad u tom procesu pronalazimo skrivene poruke koje imaju velik utjecaj na razvijanje učenikove osobnosti, karaktera i afiniteta. O skrivenom se kurikulumu malo govori jer nije definiran i formalno zapisan, ali je snažan i ključan za razvoj svakoga učenika. Kulturu škole dakle čine jednako važni službeni kurikulum, ali i neslužbeni skriveni kurikulum. Na sam skriveni kurikulum najveći utjecaj unutar učionice ima učitelj, ali izvan nje utjecaj imaju svi sudionici odgojno-obrazovnoga procesa. Učenici se najviše razvijaju i socijaliziraju upravo putem skrivenih poruka unutar škole koje mogu imati značajan utjecaj na njihovo buduće djelovanje unutar zajednice. Skriveni kurikulum može biti odlično sredstvo za odgajanje učenika koji će svojom osobnošću pridonositi zajednici na jedinstven način ako se pravilo upotrijebi. Stoga je vrlo važno da svaki učitelj osvijesti postojanje skrivenoga kurikuluma te svoju ključnu ulogu u istom. Cilj istraživanja bio je doznati stavove nastavnika prema pojmovno-sadržajnom određenju skrivenoga kurikuluma s obzirom na spol, dob i godine nastavnoga staža. Zatim ispitati primjećuju li nastavnici utjecaj skrivenoga kurikuluma na nastavi Glazbene kulture te utvrditi koji elementi svojim djelovanjem kao skriveni kurikulum utječu na nastavu Glazbene kulture.A school is an educational institution where teachers impart knowledge and skills to students, but also express their views, values and thoughts. Sometimes in the process we find hidden messages that have a big impact on developing a student’s personality, character and affinity. There is little talk about the hidden curriculum because it is not defined and formally written, but it is strong and crucial for the development of every student. The culture of the school therefore consists of an equally important official curriculum, but also an unofficial hidden curriculum. The hidden curriculum itself is most influenced by the teacher within the classroom, but outside it is influenced by all participants in the educational process. Students develop and socialize the most through hidden messages within the school that can have a significant impact on their future performance within the community. The hidden curriculum can be a great tool for educating students who will contribute to the community with their personality in a unique way, when used correctly. Therefore, it is very important that every teacher is aware of the existence of a hidden curriculum and its key role in it. The aim of the research was to find out the attitudes of teachers towards the conceptual content of the hidden curriculum with regard to gender, age and years of teaching. Then, to examine whether teachers notice the influence of the hidden curriculum on the teaching of Music Culture and to determine which elements by their action as a hidden curriculum, influence the teaching of Music Culture