Incidental music by Vojislav Voki Kostić in theater: Preliminary insights with an analytical review of the music for the play 'Maria Stuart'

Abstract

Considering the remarkable dearth of articles and studies on the work and oeuvre of Vojislav Voki Kostić, a significant figure who made valuable contributions to incidental music (particularly in the theater), this paper aims to present Kostić's body of work and analyze the fundamental principles that guided him in composing incidental music for theatrical performances. The preliminary conclusions presented in this paper are based on experiences gained from watching plays through archival videos (Kosančićev Venac 7, Marija se Bori s Anđelima, Madam San Žen, Garderober, Marija Stjuart, Bekstvo, Kneginja od Foli Beržera, Valjevska Bolnica, Sabirni Centar, Očevi i Oci, and Ruženje Naroda u Dva Dela), as well as on available primary and secondary sources (composer's autobiography, interviews, recordings, and others). Thus, this exploration of the composer's music for the theater is seen as a preliminary step in towards more comprehensive research that Kostić's work warrants. Additionally, the paper briefly discusses the challenges associated with researching incidental music in the theater, particularly in the case of approaching Kostić's music due to the scarcity of archival materials and limited contact with potential heirs of his legacy. For the purpose of a concise analytical review of Kostić's music for the play Maria Stuart, Schiller's text is briefly presented to facilitate an understanding of the staging of this work and the interpretation of Kostić's music in the context of the aforementioned performance.

Keywords

• vojislav voki kostić
• incidental music
• theater
• maria stuart
• atelje 212