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Inspiration
Inspiracija
Jovan Jovanovic Zmaj is one of thebest-known Serbian poets of the 19thcentury. He was a physician, publisher, political activist. His nursery rhymes have entered the Serbian national consciousness and people sing them to their childrenwithout necessarily knowing who wrote them.
Our six main characters – Pura Moca,Unready Ana, Laza Mommy’s boy,Crazy Tola, Lazy Gasha and Sis Pela – come straight from the poetry of this amazing man.
Jovan Jovanović Zmaj (1833. – 1904.) jedan je od najvećih liričara srpskog romantizma. Po zanimanju je bio lekar, a tokom čitavog života se bavio uređivanjem i izdavanjem književnih, političkih i dečijih časopisa. Pored lirskih, pisao je i političke i satirične pesme, a prvi je pisac u srpskoj književnosti koji je pisao poeziju za decu.
Šest glavnih likova filma – Pura Moca,Nespremna Ana, Laza materina maza, LudiTola, Lenji Gaša i Seka Pela – dolaze upravo iz pesama čika Jove Zmaja uz koje suodrasle generacije i generacije.
AboutClassroom Rascals O filmu
Zmajovini pangalozi• a musical comedy meant for children and family.
• a film with a strong position on a very important issue of beating children.
• driven by music composed by some of the biggest names of ex-Yugoslaviancontemporary music.
• muzička komedija namenjena deci iporodičnom gledanju.
• film sa snažnim stavom po pitanju batina kao vespitne metode.
• podržan muzičkim numerama koje su komponovali neki od najvećih umetnika sa ovih prostora, među kojima su ArsenDedić, Vlatko Stefanovski, RamboAmadeus i Zoran Predin.
“This project has clear dramatic potential. The idea for a musical film about/against the caning of children is highly original and strong. The world of the story is rich and enchanting, as it is set in a fairy tale like made up in a centralEuropean kingdom. Dialogues and especiallythe songs are excellent, lively and fun.
The script is visual, funny and full of energy, and has a delightful grotesque and ironic tone. Therefore, this project has a very promising international distribution appeal with very high potential to cross borders.’’
‘’Ovaj projekat ima očigledan dramskipotencijal. Ideja za mjuzikl o batinama,odnosno protiv njih, je originalna i snažna. Svet izmišljenog centralno-evropskogkraljevstva u koji je priča smeštena je bogat i očaravajuć. Dijalozi, a naročito songovi su odlično napisani, živahni i zabavni.
Scenario je vizuelan, duhovit, pun energije i poseduje divan groteskni i ironičan ton. Zbog svega pomenutog, utisak je da ovaj projekat ima veliki potencijal za internacionalnudistribuciju i život izvan domaćih granica.’’
Creative Europe MEDIAEvaluation report,Overall comments Kreativna Evropa MEDIA
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Synopsis Sinopsis
Classroom Rascals is a music comedy, set in a smallCentral European monarchy Yututunia, year 1900. In order to humor the unsatisfied residents of Yututunia, the King announces a new, what seems to be a harmless Decree which from now on prohibits beating at school! Teachers are shocked and confused, even the parents are not sure how their children’s education will continue. Simultaneously, the Kind orders that a stern teacher must be found for the Crown Prince - heir to the throne who happens to be a spoiled brat. Ministers of education and police, aware of the complexity of the problem, put their heads together in order for the problem to be solved as soon as possible.The teachers, especially tutor of our characters Rajica,uninformed about reason of inspection, experiencecauseless fear and try any way possible to hide the fact that they didn’t give up on physical punishment of the students. In order to keep the secret and participate in this charade the students are threatened by – beating. Pupils, on the other hand, encouraged by the newlycreated events, start resisting, causing even pore confusion and panic to the already distraught teachers. Tragicconsequences’ are prevented at the last moment by the school doctor and chronicler Zmajova, at all times equipped with enough understanding and patience for the young ones. Stern teacher Rajica turns out to be the perfect tutor for the Crown Prince and Pura Moca, Unready Ana, Laza Mommy’s Boy and other children’s wit and courage will earn then their place in Zmajova’s poems embraced by generations to come.
Zmajovini pangalozi je muzička komedija smeštena u malo centralno-evropsko kraljevstvo Jututuniju godine 1900. U želji da razgali nezadovoljne podanike i uvede bilo kakve reforme, kralj donosi naizgled bezazlen dekret prema kom će nadalje batine u školi biti zabranjene! Učitelji su šokirani i zbunjeni, čak ni roditelji nisu sigurni kako će se obrazovanje njihove dece nastaviti. Istovremeno, kralj naredi da se nađe strog vaspitač zaprinca - prestolonaslednika, koji je nesnosno derište.Ministri prosvete i policije, svesni težine problema, zajedno se angažuju kako bi potraga dala što bolje rezultate. Učitelji, a naročito učitelj Rajica, neobavešteni o razlogu inspekcije, upadaju u bezrazložan strah i pokušavaju da na svaki način sakriju da nisu odustali od fizičkog kažnjavanja učenika. Rajica gotovo da ima fizičku potrebu zabatinananjem, a da bi i učenicisačuvali tajnu preti im se upravo - batinama. Učenici, ohrabreni novonastalom situacijom, počinju da pružaju otpor, unoseći tako još veću konfuziju i paniku u redove već izbezumljenih učitelja. Tragičnih posledica u odsudnom trenutku spašava ihškolski lekar i hroničar majova, uvek sa dovoljno razume-vanja i strpljenja za mlade ljude. Strogi učitelj Rajicapokaže se kao idealno rešenje za prinčevo daljevaspitavanje, a Pura Moca, Nespremna Ana,Laza-materina maza i druga deca su svojim nestašlucima, hrabrošću i dovitljivošću zaslužila mesto u Zmajovinim stihovima uz koje će odrastati generacije.
Director’s noteRediteljska eksplikacija
Film is dealing with beating as educational method.Matter of its using is a social issue, but also of mentality.It is a position of film that alternative of beating is not waiving on it, but active involvement in development and education of a child. Simple, love. Style and genre Film is a genre of music comedy. Despite bleak topic, it is a very cheerful and positive story. Songs lead us into world of imagination and fiction, world of play and freedom. Musical is selected as a genre allowing this difficult topic to impress with communicative and healthy, optimistic point of view. It also represents new challenges – for instance, a choreography for thirty or so young dancers. Although the film ends in an epoch, music will be modern. The screenplay also allows us this freedom, because songs unfold in area of dreams, imag-ination not factual reality. Film is highly stylized, except for relationships between the characters. There we have fairly realism.
Film se bavi batinama kao vaspitnom metodom.Pitanje njihovog korišćenja je socijalno pitanje, ali i pi-tanje mentaliteta. Stav filma je da alternativabatinama nije odustajanje od batina, već aktivnouključenje u razvoj i vaspitanje deteta.
Stil i žanr Film je u žanru muzičke komedije. Uprkos turobnoj temi, vrlo vesela i pozitivna priča. Muzičke numere nas vode u svet mašte i bajke, svet igre i slobode. Mjuzikl je izabran kao žanr koji omogućava da se teškoj temi ostavi komunikativnost i zdravo, optimistično sagledavanje. To predstavlja i nove izazove- recimo, koreografska tačka za tridesetak dece igrača. Iako se film dešava u epohi,muzika će biti moderna. Scenario nam daje tu slobodu jer se muzičke tačke dešavaju u prostoru snova, zamišl-janja, a ne faktičke realnosti. Film je visoko stilizovan, osima na planu odnosa među likova. Tu je u pitanju priličan realizam.
Još da napomenem…
1. statistika Ponekad idem na roditeljski. Gledam nežne mame i brižne tate.I muči me statistika. Jer, statistika kaže da je nekoliko dece iz razreda, a od stran eupravo tih brižnih i nežnih, izloženo tabanju, a bogami i drugačijem zlostavljanju. (Moja mašta ipak ne može to da savlada.) Gledam i teško mi je da poverujem da neko od prisutnih, kad se zatvore vrata i navuku zavese, stvarno maklja svoje dete. A možda je u pitanju izuzetak, možda je to jedan srećan razred. Kako god, statistika ne omanjuje. To samo znači da deca iz susednog razreda dobijaju duplu porciju.
2. zadatak Zadatak umetnosti nije da promeni svet. Zadatak umetnosti je pokušaj da promeni svest. Naglašavam: pokušaj. Dakle, san. Promena svesti bi, u drugom koraku, bacajući svetlo na stvarnost, trebalo da promeni svet. U pitanju je, znači, senka. Umetnost pokušva da promeni svest tako što gađa srce, pupak i kolena.Namerno promašuje. Zeza se. Jer, u pitanju je igra. Zaključak: samo bi uistinu naivan čovek mogao poverovati da igranjesenkomu snu može promeniti svet. 3. politika Stav ovog filma je da se detinjstvo i nasilje uzajamno isključuju. Tu ne vrede objašnjenja i opravdanja. Konzervativni autoritarnimodeli mišljenja i postupanja i njihove tradicionalne mitologije valja ostaviti u blatu istorije. Deca će, uveren sam, tu politiku razu-meti. Ko je i kad god je decu potcenio, smesta se prešao. Pogotovu što im ova igra ne daje odgovore, samo postavlja neka pitanja.Recimo, pitanje nežnima i brižnima: šta radite kada se zatvore vrata i navuku zavese?
1. Statistics Sometimes I go for parents. I look at gentle mums and caring dads. And I am troubled with statistics. Because, statistics say that several kids from the class were exposed by beating and other forms of molestation by those very gentle and caring ones (My imagination has difficulties overcoming it). I observe and I have hard time believing that some of present people constantly beat up their children behind the close doors and when curtains come down. Perhaps this is an exception; perhaps it is one happy class. Whatever might be the case, statistics doesn’t fail. This only means that the kids from other class give double portion of it.
2. Task It is not task of art to change the world. Task of art is to try to change awareness. I outline: try. Hence, a dream. Change ofawareness should, in the second step by highlighting the reality, should change the world. It is a shadow, then. Art tries to change the world by targeting the heart, belly and knees. It intentionally misses. Conclusion: only truly naïve person could believe that playing by shadow in a dream could change the world.
3. Policy It is position of this film that childhood and violence are mutu-ally exclusive. Explanations and justifications are not worth here. Conservative authoritative models of thinking and behavior and their traditional mythologies should be left behind in mud of a history. The children will, I am sure of it, understand this policy. Whoever and whenever underestimated the kids, fooled him self that moment. More so because this play doesnʼt provide answers, only asks some questions. For instance, question to gentle and caring ones: what do you do when the door is closed and curtain comes down?
Slobodan Skerlić Slobodan Skerlić
Notes
Boban Skerlić
Writer / director bio
Writer / director bioBiografijascenariste/reditelja
BOBAN SKERLIĆ Diplomirao je 1992. godine, filmskom pričom Šangarepo, ti ne rasteš lepo u okviru omnibusa Prokleta je Amerika. Režirao je brojnedokumentarne i dečje TV programe.Dokumentarni film o mladom violinistiMarku Josifoskom je 1993. godine nagrađen na Evrovizijskom TV festivalu u Istanbulu. Ostali programi: muzički magazini Urbana gerila i Klati se i valjaj, dokumentarni film Žrtve, dve epizode sitkoma Otvorena vrata... Režirao je dugometražni igrani film Do koske koji je bio najgledaniji film 1997. godine. Bio je asistent na predmetu Filmska režija na FDU.Osnovao je, vodio i bio kreativni direktor reklamne agencije Srebrn&Tuš. Od 2004. do 2009. godine osnivač i direktor Happy TV, jedine dječije televizije sa nacionalnompokrivenošću u Evropi. Režirao je dečju predstavu Zmajovini pangalozi u beograd-skom pozorištu Boško Buha. Novi film u režiji Bobana Skerlića – ‘’Top je bio vreo’’ premijerno je prikazan 2014. godine i od tada živi bogat festivalski život.
SLOBODAN SKERLIĆ
Graduated Film directing in 1992 with a part ofomnibus GODDAMN AMERICA. Directednumerous documentaries and children TV shows. Directed feature film RAGE, which was the no. 1 blockbuster in Serbia 1997. Founder and creative director of advertising agency Sil-ver & Shower. Founder and director of Happy TV, first children broadcaster with national coverage in Europe. Directed CLASSROOM RASCALS in theatre. His latest film SO HOT WAS THE CANON premiered in 2014 and was screened at numerous internationalfestivals since.
Producers Producenti
Milan StojanovićSENSE Production/ [email protected]
Vladimir AnastasovSektor [email protected]
Miha ČernecTramal [email protected]
Project info /Informacijeo projektuWriters: Slobodan Skerlic, Vladimir Andric
Director: Slobodan SkerlicProducers: Milan Stojanovic, Miha Cernec,Vladimir AnastasovFormat: feature filmLength: 90 minGenre: musical comedyLanguage: SerbianStatus: in full development (financing)Shooting: Oct / Nov 2016Completion: Aug 2017Supported by: Creative Europe MEDIA/Ministry of Culture, Serbia / Provence ofVojvodina / City of Belgrade / City of Novi Sad
Pisci scenarija: Slobodan Skerlić,Vladimir AndrićReditelj: Slobodan SkerlićProducenti: Milan Stojanović, Miha Černec,Vladimir AnastasovFormat: dugometražni igrani filmTrajanje: 90 minŽanr: muzička komedijaJezik: srpskiStatus: u fazi razvoja (finansiranja)Snimanje: oktobar / novembar 2016Finalizacija: avgust 2017Podrška: Kreativna Evropa MEDIA / Republika Srbija, Ministarstvo kulture i informisanja / AP Vojvodina, Pokrajinski sekretarijat za kulturu i informisanje/ Grad Beograd, Sekretarijat za kulturu i informisanje / Grad Novi Sad, Sekretarijat za kulturu i informisanje
Thank you / Hvala
