Snežana Ristić & Radonja Leposavić Lili...

Snežana Ristić & Radonja Leposavić

Lili Marlene

Snežana Ristić & Radonja Leposavić Resavska 54, 11000 Beograd, Serbia

phone: +381 11 3615293, gsm: +381 64 8613536 [email protected]

[email protected]

ArtworksAudio, Belgrade, Serbia Programme City (Radio Belgrade 2)

Title: Lili MarleneGenre: docudramaAuthors: Snežana Ristić and Radonja LeposavićDirectors: Snežana Ristić and Radonja LeposavićDigital editing: Snežana Ristić and Radonja LeposavićDuration: 16.11Editors: Snežana Ristić and Radonja Leposavić Premiere: December 29, 2018.

Synopsis

Lili Marleen became a hit in 1941. when Soldiers’ Radio Belgrade (Soldatensender Belgrad) started broadcasting it every evening at 21.57. Love song performed by Lale Andersen (music by Norbert Schultze and lyrics by Hans Leip from 1915) was awaited with antic-ipation by soldiers on both sides fighting in the war and it is said that these were the only three minutes when nobody fired a shot. The song experienced various interpretations and Marlene Dietrich’s was may-be the most famous one.Fascinated by the phenomenon and the symbolism of the song, Bel-grade artist Branko Milisković (1982), transposes it into his trade-mark project. He sang Lili Marleen in different places and in different manners in performances that lasted for hours, and in 2017. he even sang it at Marlene Dietrich’s grave in Berlin...This is a story about a song and an artist.

ArtworksAudio, Beograd, SrbijaEmisija Grad (Radio Beograd 2)

Naslov: Lili MarlenŽanr: dokudramaAutori: SnežanaRistićiRadonjaLeposavićRežija: SnežanaRistićiRadonjaLeposavićDigitalnamontaža: SnežanaRistićiRadonjaLeposavićTrajanje: 16.11Urednici: SnežanaRistićiRadonjaLeposavićPremijera: 29.decembar2018.

Sinopsis

Lili Marleenpostajehit1941.kadVojnički Radio Beograd (SoldatensenderBelgrad)počinjedajeemitujesvakevečeriu21.57.LjubavnišlageruizvođenjuLale Andersen(namuzikuNorberta SchulzeaitekstHansa Leipaiz1915)iščekivalisuislušalivojniciobejuzaraćenihstranaigovorisedasutojedina tri minuta kad niko nije pucao. PesmadoživljavabrojneinterpretacijeodkojihjemoždanajpoznatijaonaMarlene Dietrich.BeogradskiumetnikBranko Milisković,fasciniranfenomenomisimbolikompesme,transponujejeusvojzaštitniprojekat.IzvodiLili Marleennaraznimmestimainaraznenačineuvišečasovnimperformansima,a2017.otpevaojujenagrobuMarleneDietrichuBerlinu...Ovojepričaojednojpesmiijednomumetniku.

Lili Marlene

Sign and intro in French for the European Song Contest 1961, intro in English for German song titled We’ll Meet Again, the announcement for singer Lale Andersen, known for performing the song Lili Marleen

Branko Milisković: Lili Marlen.

Lale Andersen We’ll Meet Again

Branko Milisković: Outside the barracks/right next to the gate/stood a lantern/and it still awaits./If we ever meet again/ by that lantern we will stand/as we used to Lili Marleen/as we used to Lili Marleen.

Lale Andersen We’ll Meet Again

Branko Milisković: I know Lili Marleen since I can remember, but I know it as a song performed by Marlene Dietrich.

Lale Andersen We’ll Meet Again, the announcer in English: Lale Ander-sen, Germany. Lale Andersen sings Lili Marleen

Branko Milisković: Hans Leip, The Song of a Young Soldier on Watch – Lili Marlen, 1915.

sound of a type-writer, male voice reading the beginning of Hans Leip’s song in German and English

Branko Milisković: Lili and Marleen are two different persons. Lili was a peasant girl who was feeding chickens at the moment when he fell in love with her, and Marleen was an aristocrat. Some used to say they were two prostitutes who he hired in those days. /I wanted to go with you/with you Lili Marleen/with you Lili Marleen.

Lili Marlen

Znak i najava na francuskom za pesmu Evrovizije 1961, najava na engleskom za pesmu iz Nemačke koja se zove Srešećemo se ponovo, najava pevačice Lale Andersen poznate po pesmi Lili Marlen

Branko Milisković: LiliMarlen.

Lale Andersen We ll Meet Again

Branko Milisković:Predkasarnom/predglavnimulazom/stajaojejedanfenjer/istojijošprednjom./Akoseponovobudemovideli/kodtogfenjeraćemostati/kaonekadLiliMarlen/kaonekadLiliMarlen/.

Lale Andersen We ll Meet Again

Branko Milisković: Ja Lili Marlenznamotkakoznamzasebe,alijeznamkaopesmukojujeotpevalaMarlenDitrih.

Lale Andersen We ll Meet Again, spiker na engleskom: Lale Andersen, Nemačka. Lale Andersen peva Lili Marlen

Branko Milisković: HansLajp, Pesmaojednommladomstražaru – LiliMarlen,1915.

zvuk pisaće mašine, muški glas čita početak pesme Hansa Lajpa na nemačkom i engleskom

Branko Milisković:LiliiMarlensudverazličiteosobe.Lilijebilaseljankakojajehranilapilićeiukojuseonzaljubioujednommomentu,aMarlenjebilaaristrokratkinja.Nekisugovorilidasutozapravodveprostitutkekojejeonagažovaouonovreme.Atakosamželeodaodemsatobom/satobomLiliMarlen/satobomliliMarlen.

piano

Branko Milisković: Norbert Schultze composed the music...

piano, Norbert Schultze sings Lili Marleen

Branko Milisković: It was a love song, kind of sweet, nothing special... Lale Andersen, who first recorded it in 1938. was forgotten in a way, and the record was sold in only 700 copies and was a complete failure.

German march, narrator narrates in English that Lili Marleen by Lale Andersen was still unknown and the first actual performance was in spring 1941.Declaration of the occupation of Belgrade, in German, sounds of com-motion and joy among people on the streets; this is Soldiers’ Radio Bel-grade

Branko Milisković: But it found its bizarre way to Belgrade so that the radio could simply have more programme to air. Among other things, Lili Marleen. As soon as they started airing, it became a hit.

The Narrator says in English that the Nazis planned to turn Belgrade into German military centre. In other words, the radio station with the programme for German troops.

Lili Marleen... song. The address was announced in German - Miloša Velikog 16, identification of the radio station of the South-Eastern Wehr-macht Center - Sender Belgrade. Karl-Heinz Reintgen.

Branko Milisković: But actually, everything happened at the moment when propaganda machinery of Joseph Goebbels needed something like this to entertain soldiers on the front line.

Announcer: It is precisely 21 hour 57 minutes 0 seconds.

klavir

Branko Milisković: NorbertŠulcejeuradiotemu...

klavir, Norbert Šulce peva Lili Marlen

Branko Milisković: Pesmajebilaljubavnišlager,onakosladunjav,ništaposebno...LaleAndersenkojajeprvasnimilatupesmu1938.godinepadaunekizaborav,tapločajebilaprodatausamo700primerakaibilajepotpunifijasko.

Nemačka koračnica, narator na engleskom kaže da je Lili Marlen Lale Andersen bila još nepoznata i da je prvo stvarno pojavljivanje bilo u proleće 1941.Objava pada Beograda,na nemačkom, zvuci gužve i radost mase na ulicama,ovde Vojnički centar Beograd

Branko Milisković: MeđutimonajenašlasvojbizaranputuBeograddabinaprostoradioimaovišemogućnostidapuštabilošta.IzmeđuostalogLili Marlen.Kakosujepustilitakojepostalahit.

Na engleskom narator kaže da je nacistički plan bio da Beograd bude nemački vojnički centar, što će reći, radio stanica sa programom za nemačke trupe.

Lili Marlen... pesma. Na nemačkom se kaže adresa - Miloša Velikog 16, identifikacija radio stanice jugoistočnog Vermaht centra - Zender Belgrad. Karl-HeinzReintgen.

Branko Milisković: AlisezapravosvedogodilouonodobakadajezapravopropagandnojmašinerijiJozefaGebelsatrebaojedantakavmomenatkakobizabavljaovojnikenafrontu.

Spiker: Tačnoje21čas57minuta0sekundi

Announcer of the German radio Sender Belgrade announces in German the song Lili Marleen as something special and rare. Sounds of war and the beginning of the song Lili Marleen

Branko Milisković: It was said that those were the only three minutes when nobody fired a shot.

Song Lili Marleen

Branko Milisković: At the end, Goebbels lost control over the song... It reached the front line... And Goebbels hated this song so much... He used to say that it stinks of corps. The problem was that he believed the song can demoralize soldiers on the front line and stop them from fighting.

Song Lili Marleen

Branko Milisković: Love song had absolutely nothing to do with Na-zism or the war. The only clue we have that it is related to a soldier is that he is standing in front of barracks. And it was not restricted ex-clusively to that time, it was a universal subject.

Different versions of the song Lili Marleen and Branko Milisković sing-ing them

Branko Milisković: Lili Marleen as a work of performance art – no one has ever done that and I can say that it is kind of my trademark work.

Lili Marleen on zither

Branko Milisković: The reason why it intrigued me to work on this song is the fact that it was written in Hamburg, and it became a hit in Belgrade. And I was between those two cities at that time...

Lili Marleen on zither

Spiker nemačkog Zender Belgrad radija na nemačkom najavljuje kao raritet pesmu Lili Marlen. Zvuci rata i početak pesme Lili Marlen

Branko Milisković: GovorisedajepesmaLiliMarlenjedinihtriminutakadnikonijepucao.

Pesma Lili Marlen

Branko Milisković:SamapesmasenakrajuotrglaGebelsu...Otišlanafront...IGebelsjestrašnomrzeoovupesmu...Govoriojedazapravosmrdinaleš.Problemjebioutomeštojeonverovaodatapesmamožejakodademorališevojnikenafrontuidaihonesposobidasebore.

Pesma Lili Marlen

Branko Milisković: Ljubavnapesmakojaapsolutnonemanikakvevezenisanacizmomnisaratom.Jedinaindicijadajetovezanozavojnikajestedamiznamodaseonnalaziispredkasarne.Itonijevezanosmaozaonovreme,tojednauniverzalnatema.

Pesma Lili Marlen u različitim izvođenjima i Branko Milisković je peva

Branko Milisković: Lili Marlen kaoperformans,tonikonijeradioimogudakažemdajetonekomojezaštitnodelo.

Lili Marlen na citri

Branko Milisković: Sampočetaktogaštajemeneintrigiralodauradimovupesmu,todajepesmanapisanauHamburgu,adajedoživelahituBeogradu.Ajasamtadbioizmeđutadvagrada...

Lili Marlen na citri

Branko Milisković: Yes, I am Lili Marleen, that is me! Come on, we’re getting into it now. Let’s see what is going on there. So... I could have chosen any other song, but no! This is the song which became what it is through my body.

Lili Marleen on zither and Branko Milisković

Branko Milisković: Generally, I do it in that live 3-hours installation and during those three hours I stand and repeat it every seven minutes.

Branko Milisković

Branko Milisković: I change it. Sometimes I sing… as Brecht would expect, sometimes I sing it more in opera tonality, and sometimes as a narration. If you sing it as narration, it would sound…

Branko Milisković narrates a part of the song

Branko Milisković: And then we have a version which would be, for example, more of a lower baritone… which would be:

Branko Milisković sings in the lower baritone

Branko Milisković: And we also have this, so to say, Brechtian version which would be:

Branko Milisković Brechtian version

Branko Milisković: ... which could maybe be in a way or generally, something sang by Goebbels...

Instrumental Lili Marleen and Branko Milisković

Branko Milisković: I have some of my personal, my horrible personal history that I included in these lyrics... and... well, the history is that

Branko Milisković: Da, ja sam Lili Marlen, jasamto!Idemo,sadulazimouto.Davidimoštasetudogađa.Znači...mogaosambilokojudrugupesmu,aline!Ovojepesmakojajepostalatokrozmojetelo.

Lili Marlen na citri i Branko Milisković

Branko Milisković: Jajegeneralnoradimutojživojinstalacijitrisataizatatrisatajastojimiponavljamjenasvakihsedamminuta.

Branko Milisković

Branko Milisković: Menjamje. Nekadajepevam...kaoštobiočekivaoBreht,nekadajepevamvišeuoperetskomtonu,anekadajepevamkaoiskazivanje.Akojenaprimerpevatekaoiskazivanjeondabibilo...

Branko Milisković izgovara deo pesme

Branko Milisković: Aondaimamoverzijukojabinaprimerbilavišetajnekidonjibariton...kojabibila:

Branko Milisković peva u donjem baritonu

Branko Milisković: Iimamotukakodakažembrehtovskuverzijukojabibila:

Branko Milisković brehtovska verzija

Branko Milisković: ...KojabimoždamogladabudenekakoiligeneralnootpevaoGebels...

Instrumental Lili Marlen i Branko Milisković

Branko Milisković: Imamnekesvojelične,ličnugroznuistorijukojusamubacioučitavovajtekst...i...pataistorijajedasam2003,

in 2003, I lost my sister in a car accident and in this way I am return-ing her to life.

Branko Milisković sings Lili Marleen

Branko Milisković: And it’s a terrible history and it is my way to reha-bilitate myself through that song. And that is, indeed at the end, when everything comes back... waiting for a person who is never coming back.

Branko Milisković sings Lili Marleen together with Marlene Dietrich

Branko Milisković: In 2015, I went to Berlin to find, among other things, the grave of Marlene Dietrich. Because I thought it was some-where in the central part, and that it is, in a way, a tourist attraction. But when I started searching the Google in order to find where it may be, where it is, I realized it was far from the centre of Berlin. It was in the Bundesplatz to which you need more time to get to. And it is a small cemetery, very small. I think there… I really don’t know… I don’t think there are even two-hundred graves. Then I entered and it was a challenge to find it. Where could it be since you don’t have a map of where it might be. I walked from grave to grave, strolled through the alleys, and I just felt… it’s incredible… it must be here… must be here… it was drawing me to it, drawing me, drawing me, and then I…that was it! A small grave, a small rock… there wasn’t even a photograph of her.

city sounds

Branko Milisković: In which… I’m trying to recall that it was... an den Marken meiner Tage... Marlen... Hier steih ich an den Marken meiner Tage... Marlen. Which in a... it is very hard to translate... but could be translated as: I’ve reached the peak in my life. Marlene

city sounds

usaobraćajnojnesrećiizgubiorođenusestruijajenaovajnačinoživljavam.

Branko Milisković peva Lili Marlen

Branko Milisković: Itojejednastrašnaistorijaitojenačinnakojisejarehabilitujemkroztupesmu.Atojeto,zapravo,nakrajukadasesvevrati...čekanjenaosobukojasevišenikadanećepojaviti.

Branko Milisković peva Lili Marlen a peva je i Marlen Ditrih

Branko Milisković: 2015,samotišaouBerlinizmeđuostalogdabihtražiogdesenalazigrobMarlenDitrih.Jerjasamondamisliodajetonegdeucentralnomdelu,dajeto,kakodakažem,jednaturističkaatrakcija.Međutim,kadasampočeodaistražujemnaGuglu,datražimzapravogdetomožedasepronađe,gdesetonalazi,shvatiosamdajetopotpunovancentralnogdelaBerlina.IdasenalazinaBundesplacuzakojiipaktrebanekovremedabidošlidotamo.Itojejednomalogroblje,jakomalo.Jamislimdatu...neznamzaista...nemanidvestagrobova.Ondasamušaounutraiondajebioizazovpronaćito.Gdesesadtonalazi,jerzapravovinigdenematemapugdebitomoglodabude.Ondasamišaoodjednoggrobadodrugog,obilaziotemalealeje,isamosamosetio...tojeneverovatno...tomoradajeovde...moradajeovde...tomeprivlačilo,privlaćilo,privlačiloijasamonda...tojebiloto!Jedanmaligrob,jednamalastena....Nakojojnemačakninjenefotografije.

zvuci grada

Branko Milisković: Nakojoj...polušavamdaseprisetimkakojeto...andenMarkenmeinerTage...Marlen...HiersteihichandenMarkenmeinerTage...Marlen.Štobiunekom...tojejakoteškoprevesti...alimoglobidaseprevedekao:Dostiglasamvrhunacživota.Marlen

zvuci grada

Branko Milisković: That is written as an epitaph on her grave. Then there is that part where her body is buried and there is a bunch of flowers. It was in November. I made only one photo… And that was it.

Sounds of the city and the birds at the cemetery

Branko Milisković: Then, two years later, I returned and that’s when the question aroused if I would be able to record it. At first, I didn’t know if there is any possibility there to do it. Will I get the permit, do I need a permit, whom should I ask, is someone going to kick me out, is someone going to laugh at me, is someone guarding… I didn’t know anything.


Branko Milisković: I think I was there for ten days or two weeks. Literal-ly on the last day, some three hours before my return to Belgrade, before my flight took off from Tegela, we went there. My friend Helen Schröder and I. We went inside and I took one small tripod and a small stick.


Branko Milisković: And then we came, and we’ve put, we’ve put my phone. Then we walked to the bench on the opposite side and I’ve put my eyelashes on, my lipstick and I’ve painted my eyebrows. Dressed all in black, with a big black bow tie, I came, sat and started singing.

Sounds of the city and the little birds at the cemetery, Branko Milisković singing

Branko Milisković: ... The first version, the second version, the third version…

Sounds of the city and the birds at the cemetery, Branko Milisković singing

Branko Milisković: Tostojikaoepitafnanjenomgrobu.Ispersenalazitajdeogdejeukopanoteloitusenalazigomilanekogcveća.Tojebionekinovembar.Samosamuradiojednufotografiju...Itojebiloto.

Zvuci grada i ptičice na groblju

Branko Milisković: Ondasamsedvegodinekasnijevratioiondasezapravopostavilopitanjedalićumoćizapravodasnimimto.Prvonisamznaodalipostojitamoikakvamogućnostdatouradim.Dalićudobitidozvolu,dalitrebanekadozvola,kogajatrebadapitam,dalićenekodameistera,dalićenekodasesmeje,dalitonekočuva....ništajanisamznao.


Branko Milisković: Mislimdasambiodesetdanailidvenedelje.Bukval-notogposlednjegdana,jednotrisatpremogodlaskanazadzaBeograd,predpoletanjesaTegelamiodemo.MojaprijateljicaHelenŠruderija.Uđe-mounutraijaponesemsamosasobomjedanmalistativijedanmalistik.


Branko Milisković: Iondasmodošli,stavili,stavilimojtelefon.Ondasmootišlinasusednuklupuitamosamjastaviotrepavice,namazaousneiscrtaoobrve.Ipotpunoucrnomsajednomvelikomcrnomleptirmašnomdošao,seoikrenuodapevam.

Zvuci grada i ptičice na groblju, Branko Milisković peva

Branko Milisković: ...Jednuverziju,druguverziju,trećuverziju...


Branko Milisković: ...Iujednommomentu,tosamposlečuokadasameditovaomaterijal,čuosamdasenekedveženskeosobesmejuupozadini.


Branko Milisković: ...daliizazida,dalinegdeblizu,dali...aliuglavnom,njimajetobilomalosmešno.SamatasituacijadamenevidetamokakojapevamnagrobuLiliMarlenpesmu.Toinijesamsmehkaosmeh...negotojejednačudnaemocija...


Branko Milisković: Ikadsetosvezavršilo,jasamsvetoskinuoibukvalnosamposletogaotišao...ijasam...apsolutno...tojebiloneverovatnoiskustvo...ikažem...tojeto...tojetomoždašto...apsolutnomoradaseuradi...itosedesilo.Mislimdatadnisamsnimiotodabihpotpunopoludeo.Inanekinačinjetonekakvamoždakrunaovogperformansa.


Branko Milisković: ... And in one moment… I heard it later when I ed-ited the material, I heard two women laughing in the background.


Branko Milisković: ... were they behind the wall, were they close by, or… but anyway, they thought it was funny. The scene when I’m sitting there on a grave and singing the song Lili Marleen. It’s not the simple laugh… it was a strange emotion...


Branko Milisković: And when it all ended, I took it all off and just left… and I was… absolutely… it was an incredible experience… and I said… that was it... that it was it maybe... absolutely had to be done... and it was. I think I would have gone crazy if I haven’t recorded that then. And in a way, it was the peak of this performance.


Izvori:

• Eurovision Song Contest 1961.• Lale Andersen, Lili Marlen (Lied eines Jungen Wachtpostens),

Schultze-Leip,Electrola,Berlin1939.• HumphreyJennings,The True Story of Lili Marlene,1944.• ArpadBondy&MargitKnapp,Den Teufel am Hintern gekußt, BRD1993.• RainerWernerFassbinder,Lili Marleen,1981.• Soldatensender Belgrad,Rundfunk,Schlager,LiliMarleen,WWII

(EinführungvonKarl-Heinz Reintgen)• BrankoBaletić,Balkan Expres,1983.• AntonKaras,Great Tunes by Request (Lili Marlene),1963.• EricBurdon&TheAnimals,The Twain Shall Meet (We Love You Lil),

1968.• MarleneDietrich,Lili Marleen

Credits

• Eurovision Song Contest 1961.• Lale Andersen, Lili Marlen (Lied eines Jungen Wachtpostens),

Schultze-Leip, Electrola, Berlin 1939.• Humphrey Jennings, The True Story of Lili Marlene, 1944.• Arpad Bondy & Margit Knapp, Den Teufel am Hintern gekußt, BRD

1993.• Rainer Werner Fassbinder, Lili Marleen, 1981.• Soldatensender Belgrad, Rundfunk, Schlager, Lili Marleen, WWII

(Einführung von Karl-Heinz Reintgen)• Branko Baletić, Balkan Expres, 1983.• Anton Karas, Great Tunes by Request (Lili Marlene), 1963.• Eric Burdon & The Animals, The Twain Shall Meet (We Love You

Lil), 1968.• Marlene Dietrich, Lili Marleen

O autorima

Snežana Ristić diplomiralajenaArhitektonskomfakultetuuBeogradu.Bavisearhitektonskomifotografskomkritikomifotografjom.Objavljujeudo-maćimistranimstručnimčasopisima(Arhitektura urbanizam, Forum, Kvart, DaNS, Oris),nedeljnicimaidnevnimnovinama(Politika, Vreme).Autorkajebrojnihfotografskihizložbi.DobitnicajenagradeZlatni mikrofon zaizuzetnodelouoblastiradijairadiofonskogstvaralaštva2015.UrednicajeredakcijezakulturuRadioBeograda2.UkoautorstvusaRadonjomLeposavićemradiod1993.

Radonja Leposavić diplomiraojenagrupizaistorijuumetnostiFilozofskogfakultetauBeogradu.Baviosemuzeologijomibiojekustosnekolikoizložbi.AutorjeknjigeDada–clipping (2000)ipriređivačzbornikaVlasTito iskustvo (2004).AutorjetekstaukataloguisaradniknaizložbiEfekat Tito uMuzejuistorijeJugoslavije(2009).UrednikjezbornikaPažnja kritika!? povodom50godinabeogradskogOktobarskogsalona(2009).DobitnikjenagradeZlatni mikrofon zaizuzetnodelouoblastiradijairadiofonskogstvaralaštva(2013)inagradeLazar Trifunović zalikovnukritikuikritičkorazmatranjesavremenelikovneivizuelneumetnostiza2014.UrednikjeuRadioBeogradu2.Ukoau-torstvusaSnežanomRistićradiod1993.

Snežana Ristić i Radonja Leposavić autorisuivoditeljinedeljneemisi-je Grad naRadioBeogradu2.Autorisubrojnihradijskih,dokumentarnihidokumentarno-dramskihemisijazaRadioBeograd2,azaRadioB92rea-lizovalisu24-delniautorskiprojekatOgledalo (2000).BilisuautoriivoditeljitribinaTranzicija intelektualaca ubeogradskomMedijacentru(2001).ObjavilisuknjigeGlasovi iz crne rupe – ta ste radili u ratu? (1999) i Osam predavanja Nikole Miloševića (2000).PisalisuzazagrebačkiArkzin,sarađivaliubeograd-skomknjiževnomčasopisuReč inedeljnikuVreme.

Učešće na festivalima: PrixItaly,PrixEuropa,PrixMarulić,GrandPrixNova,TheWintersTales–UKRadioDramaFestival.

Nagrade i uži izbori:2007,PrixMarulićzatrećemestoukategorijidokumentarnihradioemisijazaReči koje čekaju. 2011,GranPrixMarulićzaradiokratkuformuzaOptimizam. 2011,PrixMarulićzatrećemestoukategorijidokumentarnihradioemisijaza

About the authors

Snežana Ristić graduated at the Faculty of Architecture of Belgrade Univer-sity. Has been involved in criticism and writing in the field of architecture, as well as photography. Has held a number of photography exhibitions. Golden Microphone Award for outstanding work in the eld of radio and cre-ativity radiophonic (2015). Edior-in-chief of Cultural departement, Radio Belgrade 2. Has worked with Radonja Leposavić as a co-author since 1993.

Radonja Leposavić graduated at the Department of Art History of the Faculty of Philosophy of Belgrade University. Worked in a musem and cu-rated several exhibitions. Published the book Dada–clipping (2000) and edited the book Past Present (2004). Co-author of the project: Tito Efect, Museum of Yugoslav History (2009), edited book Attention! Criticism!? (half a century of the October Art Salon, Belgrade), 2009. Golden Mi-crophone Award for outstanding work in the field of radio and creativity radiophonic (2013) and Lazar Trifunović Award for reviews on contempo-rary and visual arts in written and electronic media (2014). Editor at Ra-dio Belgrade. Has worked with Snežana Ristić as a co-author since 1993.

Snežana Ristić and Radonja Leposavić are authors and presenters of the weekly programme City, broadcasted by Radio Belgrade 2. They are autors of over 600 documentary radio programmes and documentary drama programmes for Radio Belgrade 2. In 2000, they realised their own project Mirror for Radio B92 in 24 instalments. They are authors and pre-senters of panel discussions The transition of Intellectuals at Belgrade’s Media Centre (2001). They have published the following books: Voices from the Black Hole – What Did You Do during the War? (1999) and Eight Lectures by Nikola Milo ević (2000). They have contributed to the Zagreb magazine Arkzin, Belgrade magazines Rec and the weekly Vreme.

Festivals: Prix Italy, Prix Europe, Prix Marulić, Grand Prix Nova, The Winters Tales – UK Radio Drama Festival...

Documentary Optimism broadcasted in selection The Best Radio Docu-mentaries from Prix Europa 2011, Goethe-Institut, Washington (USA), January 2012. 2012, Prix Marulić, Documentary Over There Far Away, short list (4) 2011, Prix Italia, short list (3), in Documentary category for Optimism, 2016, Prix Marulić, short list (4) for DaDa 100 in Short Form category,

DaDa za ponavljače.2011,PrixItalia,specijalnapreporukazaOptimizam. 2011,PrixItalia,užiizbor(3)zaspecijalnunagraduzaOptimizam. 2012,PrixMarulić,užiizbor(4)zaTamo daleko. 2016,UKRadioDramaFestival,prvomestoukategorijikratkaformazaSne-žana, našminkani horor. 2016,PrixMarulić,užiizbor(5)zaDaDa 100.2017,GrandPrixNova,trećanagradaukategorijikratkaformazaGlasovi – stilske vežbe

Awards: 2007, Prix Marulić, second Commendation in Documentary category for Words that Wait. 2011, Prix Marulić, Grand Prix Marulić in Short Form category for Opti-mism. 2011, Prix Marulić, second Commendation in Documentary category for DaDa for Repeaters. 2011, Prix Italia,special Commendation in Documentary category for Op-timism.2016, UK radio Drama Festival, First prize in Short Form category, for Snow White, made up Horror2017, Grand Prix Nova, Third place in Short Form category for Voices – Exercises in style

Snežana Ristić & Radonja Leposavić Resavska 54, 11000 Beograd, Serbia

phone: gsm: +381 64 8613536, +381 11 3615293,[email protected]

[email protected]

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