Dobri Bosnjani
PAŠOVIĆ, Haris
Pašović, rođen u Sarajevu, bio je među najistaknutijim pozorišnim rediteljima u tadašnjoj socijalističkoj Jugoslaviji, koji je živio i radio u Beogradu, prije agresije Srbije i Crne Gore na Bosnu i Hercegovinu u ratu 1992-95.
Ali nakon što su bosansku prijestolnicu opkolile snage bosanskih Srba, odlučio je da se vrati u svoj rodni grad, uprkos opasnostima s kojima se suočavao.
Pašovič je poznat po svom eksperimentalnom pristupu pozorištu.
Godine 2002. postavio je postmodernističku interpretaciju Shakespeareovog "Romea i Julije" ispred bombardirane zgrade parlamenta u centru Sarajeva.
Ovaj put je odabrao otomanski dvor zbog sličnosti sa Shakespeareovim danskim, gdje se likovi krvavo bore jedni protiv drugih za kontrolu nad prijestoljem i dvorskim poslovima.
Odlično je primljen u Sarajevu, tradicionalno multietničkom gradu, a igran je na sceni starog Narodnog pozorišta koje je doživjelo dane katoličke Austro-Ugarske davne 1876. godine usred živopisnih kuća u bosanskom osmanskom stilu preko rijeke Miljacke.
Sarajevo-born Bosnian Pashovich was among the most prominent theater directors in the then-Socialist Yugoslavia, living and working in Belgrade (SCG) before SCG's agression on Bosnia Herzegovina in 1992-95 war.
But after the Bosnian capital was besieged by Bosnian Serb forces, he decided to return to his native city, despite dangers he was facing.
Pashovich is renowned for his experimental approach to theater.
In 2002 he staged a post-modernist interpretation of Shakespeare's "Romeo and Juliet" in front of the bombed out parliament building in central Sarajevo.
This time he chose the Ottoman court for its resemblance to Shakespeare's Danish one, where characters vie bloodily against one another for control over the throne and the court's affairs.
It was well received in Sarajevo, a traditionally multi-ethnic city, and played in the old National Theater stage which has seen the days of Catholic Austro-Hungarian Empire back in 1876 amisdt the colourfull Bosnian Ottoman style houses across the river Miljacka.
AGIĆ, Dr. Senad ef.
AGOVIĆ, Šemso
AHMETAGIĆ, Prof. dr. Esad
AJANOVIC, Midhat
AKMADZIC, Hazim
ALAGIĆ, General Mehmed
ALAGIC, Sukrija
ALIC, Meho
ALIHODŽIĆ, Dr.-Ing. Bernes
ALIKADIĆ, Bisera
ALISPAHIĆ, Mr. Fatmir
ALISPAHIC, Nijaz
ALISPAHIC, Selma
ARMIJA BiH
ARNAUT, Selim
AVDIĆ, Ćamil
ŠANTIĆ, Ferid Ferko
ŠKALJIĆ, Nezir-ef.
ŠTULANOVIĆ, Prof. dr. Muharem
ŽDRALOVIĆ, MUHAMED
ČAJNIČANIN, Muhamed
ČAJNIČANIN, Muhamed
ČAMPARA, ESREF
ČAUŠEVIĆ, Mehmed Džemaludin ef.
ČEJVAN, Adem
ĆATIĆ, Ćazim - Musa
ĆATOVIĆ, Dr. Saffet
Pašović, rođen u Sarajevu, bio je među najistaknutijim pozorišnim rediteljima u tadašnjoj socijalističkoj Jugoslaviji, koji je živio i radio u Beogradu, prije agresije Srbije i Crne Gore na Bosnu i Hercegovinu u ratu 1992-95.
Ali nakon što su bosansku prijestolnicu opkolile snage bosanskih Srba, odlučio je da se vrati u svoj rodni grad, uprkos opasnostima s kojima se suočavao.
Pašovič je poznat po svom eksperimentalnom pristupu pozorištu.
Godine 2002. postavio je postmodernističku interpretaciju Shakespeareovog "Romea i Julije" ispred bombardirane zgrade parlamenta u centru Sarajeva.
Ovaj put je odabrao otomanski dvor zbog sličnosti sa Shakespeareovim danskim, gdje se likovi krvavo bore jedni protiv drugih za kontrolu nad prijestoljem i dvorskim poslovima.
Odlično je primljen u Sarajevu, tradicionalno multietničkom gradu, a igran je na sceni starog Narodnog pozorišta koje je doživjelo dane katoličke Austro-Ugarske davne 1876. godine usred živopisnih kuća u bosanskom osmanskom stilu preko rijeke Miljacke.
Sarajevo-born Bosnian Pashovich was among the most prominent theater directors in the then-Socialist Yugoslavia, living and working in Belgrade (SCG) before SCG's agression on Bosnia Herzegovina in 1992-95 war.
But after the Bosnian capital was besieged by Bosnian Serb forces, he decided to return to his native city, despite dangers he was facing.
Pashovich is renowned for his experimental approach to theater.
In 2002 he staged a post-modernist interpretation of Shakespeare's "Romeo and Juliet" in front of the bombed out parliament building in central Sarajevo.
This time he chose the Ottoman court for its resemblance to Shakespeare's Danish one, where characters vie bloodily against one another for control over the throne and the court's affairs.
It was well received in Sarajevo, a traditionally multi-ethnic city, and played in the old National Theater stage which has seen the days of Catholic Austro-Hungarian Empire back in 1876 amisdt the colourfull Bosnian Ottoman style houses across the river Miljacka.
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ABDAGIĆ, MuhamedAGIĆ, Dr. Senad ef.
AGOVIĆ, Šemso
AHMETAGIĆ, Prof. dr. Esad
AJANOVIC, Midhat
AKMADZIC, Hazim
ALAGIĆ, General Mehmed
ALAGIC, Sukrija
ALIC, Meho
ALIHODŽIĆ, Dr.-Ing. Bernes
ALIKADIĆ, Bisera
ALISPAHIĆ, Mr. Fatmir
ALISPAHIC, Nijaz
ALISPAHIC, Selma
ARMIJA BiH
ARNAUT, Selim
AVDIĆ, Ćamil
ŠANTIĆ, Ferid Ferko
ŠKALJIĆ, Nezir-ef.
ŠTULANOVIĆ, Prof. dr. Muharem
ŽDRALOVIĆ, MUHAMED
ČAJNIČANIN, Muhamed
ČAJNIČANIN, Muhamed
ČAMPARA, ESREF
ČAUŠEVIĆ, Mehmed Džemaludin ef.
ČEJVAN, Adem
ĆATIĆ, Ćazim - Musa
ĆATOVIĆ, Dr. Saffet
