Sounds of Summer; 18; Festival Dubrovnik

Transcript

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I'm Hi. Welcome to the final sounds of summer for 1969. Tonight, to wind up the series, we have what we hope will prove to be a particularly exciting show. We're going to Yugoslavia. Well, first we're going right over here. But after that, we'll go to Yugoslavia to the city of Dubrovnik on the Dalmatian coast, where the Dubrovnik summer festival has been an annual event of the past 20 years. To the city for the 45 days between July 10th and August 25th, visitors from every country in the world come to attend performances of drama, opera, ballet, symphony and chamber concerts and Yugoslavian folklore. This year our camera crew also went to Dubrovnik to record the highlights and excitement of one of the most colorful festivals in Europe.

Before the evening is over, you will see in here a wide variety of artists, including the Amherst College Lee Club, violinist Isaac Stern, the Glenn Tetley dance group, cellist Stislav Rustropovic, I trust, and pianist Claudio Arau. And you will attend these and other performances in the unique natural settings that make Dubrovnik one of the world's most fascinating cities. Bernard Shaw once said, those who are seeking paradise on Earth should come to Dubrovnik. Like most chervian pronouncements, this one is hard to deny. The city, which has existed for over a thousand years, boasts two names, Athens of the Slavs, going to its tradition of culture and art, and Pearl of the Adriatic, due to its natural beauty. The southern part of Dubrovnik was once an island, with a channel separating it from the mainland. In the 13th century, the channel was filled in, and this filled in portion

became the plaza, the traditional center of town, where most of the important public events take place, and where it is customary to take one's constitutional in the evening. As the day for the opening of the festival grows near, it is important to point out that all performances are given on natural stages, in parks, in squares, surrounded by ancient buildings, in court yards, in cloisters of monasteries, and on rocks above the sea. And now it's time for you and me to join the thousands of other visitors who have gathered for the opening ceremonies of the Dubrovnik Summer Festival. The

Dubrovnik Summer Festival The Dubrovnik Summer Festival The Dubrovnik Summer Festival The

Dubrovnik Summer Festival The Dubrovnik Summer Festival The Dubrovnik Summer Festival

The Dubrovnik Summer Festival The Dubrovnik Summer Festival The Dubrovnik Summer Festival The

Dubrovnik Summer Festival The Dubrovnik Summer Festival The Dubrovnik Summer Festival The Dubrovnik Summer Festival The

Dubrovnik Summer Festival The Dubrovnik Summer Festival The Dubrovnik Summer Festival The Dubrovnik Summer Festival

The Dubrovnik Summer Festival The Dubrovnik Summer Festival The

Dubrovnik Summer Festival The Dubrovnik Summer Festival The Dubrovnik Summer Festival the Dubrovnik Summer Festival Do not call me a sovereign, not call me a sovereign, if you do not see me. Do not call me a sovereign, not call me a sovereign, if you see me, I do not see you. Yes, Sonia, there are pascuani! Come, come, come, come, come,

come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come, come come, come, come What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What

do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do we do? What do you do? What do you do? Oh, Lord! Oh, Lord! Where are you? I'm here to see you. Oh, Lord! Where are you, Lord? It's all the same, but the same as the one in the room. Oh, Lord! Oh, Lord! That

night is all I have. That night is all I have. Come on! Help me! There's no почn scrolling or speed. I'm not Alanson in this field. He has a seat. Here is my seat belt! What? Here is my seat belt. Sacrificio do so. I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry,

What are you doing? What are you doing? What are you doing? What are you doing? What are you doing? What are you doing? What are you doing? What

are you doing? What are you doing? What are you doing?

What are you doing? What are you doing? What are you doing? What are you doing? What are you doing? What are you doing? What are you doing? What

are you doing? What are you doing? What are you doing? What are you doing? What are you doing? Great! Great! Great! Dubrovnik as town, it has to be considered as a big theater with many many stages and auditoriums.

It's quite different from the so -called open, open stages, which are built. As you have seen, we don't build stages. We don't build daycours. We just choose a place in the town and we find the daycours the stage. Now, it's quite opposite. Then in a theatre building where you have the permanent, the place for the audience is permanent. It never changes. The stage is empty and you put a daycours onto the stage. Here it's different. The daycours, so to speak, which is the architecture of Dubrovnik is permanent. We don't change it because it was built 400 years, 500 years ago. So, it's very natural here. So, the way of acting must be very, very natural and strong. Very strong. Where is the

crowd? Oh my, dears! It's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it's a big thing, it Oh my god, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good, it's good!

The Yugoslav plays, we are playing here, were written by authors who lived in this town, the rich, the great classic, or a vine of it who wrote the Dubrovnik trilogy, who lived at the end of the 19th, beginning of the 20th century. To

understand the relationship between these plays and the characters with today's audience, one has to understand an in Dubrovnik. The citizens of Dubrovnik are still today, they feel a strong tradition, they feel a strong link with the past, and so on all these characters who are depicted, who are, the rich, wrote about, are still alive here in this town. So it's one of the reasons why the plays of the rich are still today so alive, and why they attract the audience. It's which is, in some way, very important for us today, because you know it happened in the very first beginning of Dubrovnik, it was the first city, Epidaurus, was about 30 kilometers south, and then in the

seventh century the Mongols came, destroyed the city, and the inhabitants left the destroyed city, and came here onto this island, onto these rocks, and founded the new city. Dubrovnik, you know, in the history was between the two big powers, the West and the East, West represented by Venice, a very strong state, and from the other part, the Turkish Empire, and Dubrovnik in the middle. So the whole question was, political aggression,

what to do, they had to be very wise, politically, to stay independent, and they succeeded. What visitors come to see the plays, which not only for the attractiveness of the decor, and so on and so, but because the characters are alive, the plots in these plays are not so

difficult, you can understand, you can follow. What we are watching now is a scene from one of the plays that make up the Dubrovnik trilogy of Ivo Voinovich. The trilogy is very chakovian in style and concept, and deals with the decline of the aristocracy and the changing of the lifestyle of the nation. These events occurred during the period when Napoleon successfully brought Dubrovnik to heel. The influences of the French occupation are seen everywhere, the manners, the clothing, the effected speech. The church bells, which in the scene, are a symbolic reminder of an older, very different way of life. The

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Transcript

Transcript

Series: Sounds of Summer

Episode Number: 18

Episode: Festival Dubrovnik

Producing Organization: National Educational Television and Radio Center; Radio televizija Zagreb

Contributing Organization: Library of Congress (Washington, District of Columbia)

AAPB ID: cpb-aacip-512-q23qv3d36k

NOLA Code: SDSS

If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip-512-q23qv3d36k).

Description

Credits: Associate Producer: Bianchi, Lois
Executive Producer: Gilbert, Craig
Host: Allen, Steve
Interviewee: Humphrey, Hubert
Performer: Rostropovich, Mstislav
Performer: Vishneskaya, Galina
Performer: Stern, Isaac
Performing Group: Lado National Folk Dance Troupe
Performing Group: Marin Drzic Theatre Dubrovnik
Performing Group: Amherst College Glee Club
Performing Group: Festival Drama Ensemble
Performing Group: Dubrovnik Troubadours
Performing Group: Symphony Orchestra and Chorus of Radio-Television Zagreb
Performing Group: Glen Tetley Dance Company
Performing Group: Slavko Osterc Ensemble
Performing Group: Zagreb Quartet
Performing Group: Teatro Quartet
Performing Group: Arrau, Claudio
Producer: Kuney, Jack, 1919-2007
Producing Organization: National Educational Television and Radio Center
Producing Organization: Radio televizija Zagreb

AAPB Contributor Holdings: Library of Congress
Identifier: cpb-aacip-1b970a79253 (Filename)
Format: 2 inch videotape
Generation: Master
Color: Color; Library of Congress
Identifier: cpb-aacip-6f865e2091b (Filename)
Format: 1 inch videotape: SMPTE Type C
Generation: Master
Color: Color
Duration: 0:52:45; Library of Congress
Identifier: cpb-aacip-ce8acfebbe9 (Filename)
Format: U-matic
Generation: Copy: Access
Color: Color
Duration: 0:52:45; Library of Congress
Identifier: cpb-aacip-3f62a89bf9d (Filename)
Format: 2 inch videotape
Generation: Master
Color: Color
Duration: 0:52:45; Library of Congress
Identifier: cpb-aacip-83f3969979f (Filename)
Format: 1 inch videotape: SMPTE Type C
Generation: Master
Color: Color; Library of Congress
Identifier: cpb-aacip-739a11741d9 (Filename)
Format: U-matic
Generation: Copy: Access
Color: Color

Citations: Chicago: “Sounds of Summer; 18; Festival Dubrovnik,” 1969-09-28, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed May 1, 2025, http://americanarchive.org/catalog/cpb-aacip-512-q23qv3d36k.; MLA: “Sounds of Summer; 18; Festival Dubrovnik.” 1969-09-28. Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. May 1, 2025. <http://americanarchive.org/catalog/cpb-aacip-512-q23qv3d36k>.; APA: Sounds of Summer; 18; Festival Dubrovnik. Boston, MA: Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-512-q23qv3d36k