Партизанска поезија Бранка Ћопића у простору сцене, музике, радија, телевизије и филма (селективни подаци од 1940-их до почетка 1980-их)
The Partisan Poetry of Branko Ćopić in the Space of Stage, Music, Radio, Television and Film (selected data from the 1940s to the early 1980s)

Summary/Abstract: The article provides a selection of data on the presence of Branko Ćopić’s poetry from the 1940s, which is thematically focused on the national liberation struggle (NLS) days and the partisan struggle (along with several examples of the country’s post-war reconstruction) in the artistic, media and cultural space of Yugoslavia. Sketching the echoes of individual songs such as “Young Mara”, “Song of the Dead Proletarians”, “Embroidery of Freedom”, “Grave in Wheat”, “Hero’s Mother”, “On the Petrovac Road”, “Conversation with the Troop”, “Oi, Falcons”, “Maria na Prokosi”, “With Ten Nails”, “A Message to the Gray Gentleman”, “Patrolmen” („Омладинка Мара“, „Пјесма мртвих пролетера“, „Везиља слободе“, „Гроб у житу“, „Херојева мајка“, „На Петровачкој цести“, „Разговор с четом“, „Ој, соколе“, „Марија на Пркосима“, „Са десет ноката“, „Порука сивом господину“, „Патролџије“) and others – in music, theater, “live” stage, on film, radio, television and in gramophone production, as well as the sketching of different practices of transmission, interpretation, transposition, dramatization, adaptation, screen adaptation, staging and performance, is limited to the time from the years of the Second World War to the beginning of the 1980s. In the cultural practice of Yugoslavia, transmediations of that Ćopić’s poetic experience lived with varying intensity, but consistently in all four observed decades, starting with the war days, in which these verses were part of partisan cultural and artistic programs in recitative (soloist and choral) and dramatized form, as well as in the form of musical works, which largely heralded the later transmedia expansion. The extraordinary reflex of Ćopić’s poetry in Yugoslav music is indicated by the number of composer names (of different generations and creative physiognomy) that it attracted: Ivan Matetić Ronjgov, Silvije Bombardeli, Milan Prebanda, Emil Koseto, Marko Tajčević, Milan Ristić, Milo Asić, Stanojlo Rajičić, Slavko Zlatić, Ivo Lhotka Kalinski, Josip Kaplan, Ivan Rupnik, Mihailo Vukdragović, Ljubica Marić, Vlado Milošević, Danilo Danev, Krsto Odak, Krešimir Baranović, Nikola Petin, Borivoje Popović, Dragutin Čolić, Kornelije Kovač and others. The inclusion of Ćopić’s verses in their works implies different musical forms (“popevka”, cantata, choral composition, symphonic suite, melodrama, rock poem...), different performers (ensembles, choirs, orchestras and soloists, both anonymous and famous representatives of the opera scene, but also singers of completely different musical orientation), different media presentation (radio, television, concerts, gramophone records), and different audiences (children and adults; fans of classical and popular music). From the end of the Second World War onwards, Ćopić’s partisan poetry was part of the radio scheme of many Yugoslav stations, from which it was broadcast in recitative, dramatized and musical form (as a composer’s work). At the same time, her stage life lasted, and again, in the most different places and in the most different circumstances, both in the interpretation of children and adults, (un)known actors and excellent representatives of the Yugoslav theater. Finally, as an inspiration to film and television directors, finally, as an inspiration for film and television directors, Ćopić’s partisan lyrics had several screen appearances in TV shows and cinematography.

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