Haris Pašović (born 16 July 1961) is a Bosnian theatre and film director. Over the course of his wide-ranging career, he has also worked as a playwright, producer, choreographer, performer, and designer. He is best known for his productions of Wedekind’s “Spring Awakening” and numerous collaborations with other artists, including Susan Sontag and Peter Brook. He is the artistic leader of the East West Theatre Company in Sarajevo and tenured Professor of Directing at the Academy of Performing Arts in Sarajevo.
He directed in some of the most significant theatres in the former Yugoslavia and participated in a number of festivals worldwide. His productions of Frank Wedekind’s Spring Awakening and Calling the Birds based on Aristophanes’ play The Birds (both at the Yugoslav Drama Theatre, Belgrade 1987/90) have been considered as the landmarks in the theatre of the former Yugoslavia. Likewise, Samuel Beckett's Waiting for Godot (Belgrade Drama Theatre) and Alfred Jarry’s Ubu Roi (National Theatre Subotica) have been considered as the classic productions in the ex-Yugoslav theatre, the former being the last Yugoslav premiere performed on the eve of the war in the country. As the artistic leader of theatre Promena (“Change”), Pašović directed with a great success Wiess's Marat/Sade; Wedensky’s The Christmas Three at the Ivanovs; Kis's Simon the Magus on a lake surrounded by sand desert; Buñuel's Hamlet placed in the fortress sitting on a rock rising from the Adriatic Sea (Dubrovnik Summer Festival) and many other plays.
Haris Pašović: Bakir u zabludi! Seka arogantna! Komšić rolerkoster! Hadžikadića ne vidim!
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published: 02 Jan 2021
Večernji studio: Gost Haris Pašović
Rekao je : "Dužnost umjetnika je da govori istinu, čak i ako ta istina nije najprihvatljivija u određenom trenutku. Naša je etička dimenzija jednako važna kao i estetička. Ne mogu cijeniti umjetnike koji kažu da ih ništa drugo ne zanima osim umjetnosti. Moramo živjeti u stvarnosti i činiti je boljom. Ne smijemo biti kukavice."
O istini i poricanju istine, umjetničkom radu, “zagađenju” stvarnosti u kojoj živimo, za Večernji studio govori bh.reditelj Haris Pašović.
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published: 13 Jul 2020
U kontru sa Draganom Markovinom - Gost Haris Pašović
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published: 18 Jun 2020
Haris Pasovic
Novogodišnja čestitka čitateljima i posjetiocima najposjećenijeg bh. portala Sarajevo-x.com
published: 30 Dec 2010
Chamber of Reflection - Haris Pašović (Sarajevofest Art & Politics) - European Festivals Association
Dedicated to the festivals community, the Chamber of Reflection dives into the heart of festivals.
Its aim is to offer a space for contributions shared or picked up in meetings and encounters that might trigger further thoughts and questions. What does it mean to run a festival. Why? For whom? What will the future look like in terms of programming, environmental sustainability, social inclusion? What can festivals and cities do together to contribute to Europe?
Some good food for thought :)
More info on: www.efa-aef.eu/en/stories/chamber-of-reflection/
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Rekao je : "Dužnost umjetnika je da govori istinu, čak i ako ta istina nije najprihvatljivija u određenom trenutku. Naša je etička dimenzija jednako važna kao i...
Rekao je : "Dužnost umjetnika je da govori istinu, čak i ako ta istina nije najprihvatljivija u određenom trenutku. Naša je etička dimenzija jednako važna kao i estetička. Ne mogu cijeniti umjetnike koji kažu da ih ništa drugo ne zanima osim umjetnosti. Moramo živjeti u stvarnosti i činiti je boljom. Ne smijemo biti kukavice."
O istini i poricanju istine, umjetničkom radu, “zagađenju” stvarnosti u kojoj živimo, za Večernji studio govori bh.reditelj Haris Pašović.
Follow us:
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Rekao je : "Dužnost umjetnika je da govori istinu, čak i ako ta istina nije najprihvatljivija u određenom trenutku. Naša je etička dimenzija jednako važna kao i estetička. Ne mogu cijeniti umjetnike koji kažu da ih ništa drugo ne zanima osim umjetnosti. Moramo živjeti u stvarnosti i činiti je boljom. Ne smijemo biti kukavice."
O istini i poricanju istine, umjetničkom radu, “zagađenju” stvarnosti u kojoj živimo, za Večernji studio govori bh.reditelj Haris Pašović.
Follow us:
Facebook:
https://www.facebook.com/N1Srbija
https://www.facebook.com/N1Hrvatska
https://www.facebook.com/N1BiH
Twitter:
https://twitter.com/N1infoBG
https://twitter.com/N1infoZG
https://twitter.com/N1infoSA
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Dedicated to the festivals community, the Chamber of Reflection dives into the heart of festivals.
Its aim is to offer a space for contributions shared or pic...
Dedicated to the festivals community, the Chamber of Reflection dives into the heart of festivals.
Its aim is to offer a space for contributions shared or picked up in meetings and encounters that might trigger further thoughts and questions. What does it mean to run a festival. Why? For whom? What will the future look like in terms of programming, environmental sustainability, social inclusion? What can festivals and cities do together to contribute to Europe?
Some good food for thought :)
More info on: www.efa-aef.eu/en/stories/chamber-of-reflection/
Dedicated to the festivals community, the Chamber of Reflection dives into the heart of festivals.
Its aim is to offer a space for contributions shared or picked up in meetings and encounters that might trigger further thoughts and questions. What does it mean to run a festival. Why? For whom? What will the future look like in terms of programming, environmental sustainability, social inclusion? What can festivals and cities do together to contribute to Europe?
Some good food for thought :)
More info on: www.efa-aef.eu/en/stories/chamber-of-reflection/
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Zabranjeno svako kopiranje video i/ili audio snimaka i postavljanje na druge kanale!
Rekao je : "Dužnost umjetnika je da govori istinu, čak i ako ta istina nije najprihvatljivija u određenom trenutku. Naša je etička dimenzija jednako važna kao i estetička. Ne mogu cijeniti umjetnike koji kažu da ih ništa drugo ne zanima osim umjetnosti. Moramo živjeti u stvarnosti i činiti je boljom. Ne smijemo biti kukavice."
O istini i poricanju istine, umjetničkom radu, “zagađenju” stvarnosti u kojoj živimo, za Večernji studio govori bh.reditelj Haris Pašović.
Follow us:
Facebook:
https://www.facebook.com/N1Srbija
https://www.facebook.com/N1Hrvatska
https://www.facebook.com/N1BiH
Twitter:
https://twitter.com/N1infoBG
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https://twitter.com/N1infoSA
Sviđa Vam se naš sadržaj? Podijelite ga na društvenim mrežama i ne zaboravite se pretplatiti na naš Youtube kanal.
Čitajte nas na:
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Dedicated to the festivals community, the Chamber of Reflection dives into the heart of festivals.
Its aim is to offer a space for contributions shared or picked up in meetings and encounters that might trigger further thoughts and questions. What does it mean to run a festival. Why? For whom? What will the future look like in terms of programming, environmental sustainability, social inclusion? What can festivals and cities do together to contribute to Europe?
Some good food for thought :)
More info on: www.efa-aef.eu/en/stories/chamber-of-reflection/
Haris Pašović (born 16 July 1961) is a Bosnian theatre and film director. Over the course of his wide-ranging career, he has also worked as a playwright, producer, choreographer, performer, and designer. He is best known for his productions of Wedekind’s “Spring Awakening” and numerous collaborations with other artists, including Susan Sontag and Peter Brook. He is the artistic leader of the East West Theatre Company in Sarajevo and tenured Professor of Directing at the Academy of Performing Arts in Sarajevo.
He directed in some of the most significant theatres in the former Yugoslavia and participated in a number of festivals worldwide. His productions of Frank Wedekind’s Spring Awakening and Calling the Birds based on Aristophanes’ play The Birds (both at the Yugoslav Drama Theatre, Belgrade 1987/90) have been considered as the landmarks in the theatre of the former Yugoslavia. Likewise, Samuel Beckett's Waiting for Godot (Belgrade Drama Theatre) and Alfred Jarry’s Ubu Roi (National Theatre Subotica) have been considered as the classic productions in the ex-Yugoslav theatre, the former being the last Yugoslav premiere performed on the eve of the war in the country. As the artistic leader of theatre Promena (“Change”), Pašović directed with a great success Wiess's Marat/Sade; Wedensky’s The Christmas Three at the Ivanovs; Kis's Simon the Magus on a lake surrounded by sand desert; Buñuel's Hamlet placed in the fortress sitting on a rock rising from the Adriatic Sea (Dubrovnik Summer Festival) and many other plays.