Zorica Jevremović

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Zorica Jevremović
Zorica Jevremovic Munitic, 2002, Centar za medije Ranko Munitic, Belgrade.jpg
Born
Zorica Jevremović

(1948-08-22) 22 August 1948 (age 73)
Ražanj, PR Serbia, FPR Yugoslavia
EducationFaculty of Dramatic Arts in Belgrade (1975)
OccupationTheatre and video director, playwright, theorist, literary historian
Years active1968–present
Spouse(s)Ranko Munitić (1943-2009)
International Biographical Centre, Cambridge, England, remarkable contribution to Theatrical and Video Choreography, 2002

Zorica Jevremović (in 1970s: Jevremović-Munitić; Serbian pronunciation: [zôritsa jeʋrěːmoʋitɕ mǔnititɕ]; born 22 August 1948 in Ražanj, Serbia, SFR Yugoslavia) is a Serbian theatre and video director, playwright, choreographer, intermedia theorist (film, television, animated film, comic strip), literary historian and feminist.[1] Her work also includes that of a dramaturge in alternative and informal theatrical and film groups.

She is director of the Belgrade Centre for Media "Ranko Munitić" and the editor of a regional journal for media and culture Mediantrop.[2]

Her husband was a prominent Yugoslav cultural worker and media theorist Ranko Munitić.

Biography[]

She was born by post-war circumstances in Ražanj, but she was raised in Belgrade from the earliest childhood.

She met Ranko Munitić at the amateur film festival "Mala Pula", on 24 June 1968. The two of them married in Belgrade on 1 May 1971, where Zorica added the surname Munitić to hers Jevremović, then they went to Zagreb. In November of the same year, they return to Belgrade, where they lived together until the end of March 2009 (when Munitić died).

She obtained her dramaturgy degree in 1975 at the Faculty of Dramatic Arts in Belgrade.

As an advocate of a common Yugoslav cultural milieu she has undertaken research into the cultural history and theological common law in multinational and/or multiconfessional regions of Croatia, Slovenia and Kosovo within former Yugoslavia: Dubrovnik (1976-1980), Perast (1981), Dečani (1985-1989), Tacen (1982-1985), Povlja (1985), Poljica (1986-1990), Zjum (1990).

She was active as a dramaturge in the following key alternative and informal theatre and film groups in former Yugoslavia: KPGT (1980-1990), Art-film (1981-1983), Nova osećajnost (1984-1985), Preduzeće za pozorišne poslove (1992).

She edited the following alternative research collections focused on literary history and published in “Književnost” journal: Sava Mrkalj (1984), St. Sava and Hilandar (1988), Vatroslav Jagić (1990).

She also founded the following alternative theatres that operated as 'neighborhood theatres' in ghettoized communities, in places with no previous history of theatre performances:

1985: "Performative Children's Street Theater" („Performativno ulično dečije pozorište”) in Skadarlija, the bohemian artists' venue teeming with restaurants in downtown Belgrade. The core of the troupe was made up of Romani children who lived in Skadarlija, 'white' children' from Dorćol (a nearby prestigious Belgrade neighborhood), Romani children from the favelas of the Belgrade suburb of Mirijevo (who sell flowers in Skadarlija stolen in city cemeteries), professional actors and painters who live in Skadarlija, a Skadarlija fortune-teller, clowns, fire eaters, and alternative artists (musicians, painters).
1993-1995: "Pocket Theatre M" („Džepno pozorište M”) on the premises of the "Dr Laza Lazarevic" Psychiatric Clinic. The core of this troupe was made up of convalescents, children from the vicinity of the hospital, professional actors, children of the hospital therapists and psychiatrists, film and television amateur actors, psychologists, models, public figures, and blind persons.
1997-1999: "WAY 5a" („PUT 5a”), Feminist theatre in an apartment occupied by Autonomous Women's Center Against Sexual Violence. The core of this troupe was made up of women who came to the Center for help, Center activists, ballet dancers, painters, women who lived in the same building, women in wheelchairs, composers, students of Women’s Studies, and women refugees.

Zorica Jevremović has worked with the following marginal groups: Romani children, nuns, psychotics, invalids, blind persons, women who have suffered violence, parentless children, lesbians and women refugees.

At the beginning of the 1990s wars in former Yugoslavia, she was an active member of two anti-war groups: “Civilni pokret otpora” (The Civil Movement for Peace) and “Beogradski krug” (Belgrade Circle), in the framework of which she undertook a number of social-cultural projects.

Zorica has also published books on multimedia theory and applied theatre, as well as several books of plays.

Her video works have been shown at the following festivals: “Video Medeja” in Novi Sad, Serbia; Superfest International Disability Film Festival in San Francisco, US; “Alternative - festival film/video” in Belgrade, Serbia, “Bitef polifonija” and the Serbian TV RTS programme “Trezor”, as well as numerous university centres around the world.

She has been a member of the Union of Performing Artists of Serbia since 1978. Since 2007, she has also been a member of the Serbian Writers’ Society.

Selected works[]

Books
  • System Breakdown /Raspad sistema/, „Aurora“, Belgrade, 2000.
  • Semiotic Circles /Semiološki krugovi/, „Prometej“, Novi Sad, 2001.
  • Four Pre-war Plays /Četiri predratne drame/, „Prometej“, Novi Sad, 2001, ISBN 86-7639-543-8; 2nd extended edition 2006, ISBN 86-515-0016-5
  • Music Videos of Nostalgia /Spotovi nostalgije/, Radio-televizija Srbije, Belgrade 2006. ISBN 86-81733-39-7
  • The Ballad of the Maiden Dress /Balada o devojačkom odelu/, „Dosije“, Belgrade, 2006. ISBN 86-909635-0-2
  • Theatre as the Making of the World /Pozorište kao stvaranje sveta/, Institut za pozorište, film, radio i televiziju, Belgrade, 2008. ISBN 978-86-82101-36-9
  • A Double Pass/Dupli pas/, co-writer Ranko Munitić, Radio-Televizija Srbije, Belgrade, 2012. ISBN 978-86-6195-014-8[3]
  • Silence, Departed Ladies/Tišina, pomrlice, Centar za medije „Ranko Munitić“, Beograd, 2017.[4]
Theatrical plays
  • At the Station /Na stanici/, 1968
  • Oh, Serbia, Nowhere to Hide from the Sun /Oj, Srbi’o, nigde lada nema/, 1971
  • A Werewolf from Samaria /Vukodlak iz Samarije/, 1973
  • Bastard 1948-1968 /Kopile 1948-1968/, 1987
  • Fiodor’s Girl /Fjodorova devojčica/, 1991
  • Fairy Tale blues /Bajka bluz/, 1994.
  • A Journey into the Impossible or The Pursuit of Goddess Clio /Put u nemoguće ili potraga za boginjom Klio/, 1995
  • Whispering Girls I /Šaputave devojke I/, 1997
  • Whispering Girls II /Šaputave devojke II/, 1999
  • The Ballad of the Maiden Dress /Balada o devojačkom odelu/, 2004
  • Pomrlice (tri umiranja i jedan san), 2017.
Essays and Studies in periodicals
Editing of scientific collections
  • Sava Mrkalj, Književnost journal, Belgrade, 1984.
  • St. Sava and Hilandar, Književnost, 1988.
  • Vatroslav Jagić, Književnost, 1990.
Video works
  • Autovideography /Autovideografija/ (1996)
  • Whispering Girls /Šaputave devojke/ (2001)
  • Whispering Girls II /Šaputave devojke II/ (2003)
  • Waiting /Iščekivanje/ (2004)
  • Queen of the Night /Kraljica noći/ (2005)
  • Pocket Theatre M Promotion /Promocija Džepnog pozorišta M/ (2005)
  • Bosnia 92 – Human Traces /Bosna 92 – ljudski tragovi/ (2005)
  • Left Over Film Reels /Ostaci filmske trake/ (2005)

See also[]

References[]

  1. ^ „Zorica Jevremović: Kopile (1948-1968), drama utopije“ (o predstavi), Centar za kulturnu dekontaminaciju, Belgrade, 2009.
  2. ^ „Editor-in-chief“, Mediantrop, Belgrade.
  3. ^ „Dupli pas“, RTS, 1. nov 2015.
  4. ^ Matijević, Ivana. "Predstavljena knjiga 'Tišina, pomrlice'", Danas, Beograd, 18. december 2017.

Literature[]

External links[]

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