20.500.12556/RUP-22272 The Conductor Gertrud Herliczka Dirigentka Gertrud Herliczka The conductor Gertrud Herliczka was born 1904 in Vienna and has conducted over 100 concerts with professional orchestras between 1927 and 1939. In writing about her, I am asking myself several questions. What is the nature of a conductor’s work? How can we describe it in its complexity? There is another aspect which raises interest: Why does being a woman on the podium matter? In this paper, I reflect upon the importance of the visual for a conductor, drawing from the book by the conductor Mark Wigglesworth. I observe how Herliczka’s gender poses a challenge for critics, reviewing her performance in one concert with the Munich Philharmonic in 1938. Through Theodore Schatzki’s theory of art bundles I approach conducting as a bundle of practices. Schatzki sees conventions as a feature of an art world, which is inevitably intertwined with other social worlds. One of the conventions in the classical musical world is a male conductor. This is also a result of the polarisation of genders, as has been shown by Karin Hausen. Herliczka’s critics were impressed by her conducting, so we can suppose she fulfilled the demands of a conductor’s bundle of practices, but she had to struggle with the prejudices against her gender. This struggle is still visible in the art world, particularly in the field of conducting. Dirigentka Gertrud Herliczka se je rodila leta 1904 na Dunaju in je med letoma 1927 in 1939 dirigirala več kot sto koncertov s profesionalnimi orkestri. Ko pišem o njej, si zastavljam več vprašanj. Kakšna je narava dirigentskega dela? Kako ga lahko opišemo v vsej njegovi kompleksnosti? Poleg tega pa je tu še en zanimiv vidik: zakaj je pomembno biti ženska za dirigentskim pultom? V tem prispevku razmišljam o pomenu vizualnega za dirigenta, pri tem pa se opiram na knjigo dirigenta Marka Wiggleswortha. Ugotavljam, da je bil spol Gertrud Herliczke izziv za kritike, ki so recenzirali njen nastop na nekem koncertu z Münchensko filharmonijo leta 1938. Na podlagi teorije umetniških svežnjev Theodorja Schatzkija pristopam k dirigiranju kot k svežnju praks. Po Schatzkijevem mnenju so konvencije značilnost sveta umetnosti, ki je neizogibno prepleten z drugimi družbenimi svetovi. Ena od konvencij sveta klasične glasbe je dirigent moškega spola. To je tudi posledica polarizacije spolov, kot je pokazala Karin Hausen. Kritiki so bili nad dirigiranjem Gertrud Herliczke navdušeni, zato lahko domnevamo, da je izpolnjevala zahteve svežnja dirigentskih praks, morala pa se je spopasti s predsodki do svojega spola. Ta borba je še vedno prisotna v svetu umetnosti, zlasti na področju dirigiranja. conductor female conductor convention artistic bundles visual aspect dirigent dirigentka konvencija umetniški svežnji vizualni vidik true false false Založbe Univerze na Primorskem Angleški jezik Slovenski jezik Delo ni kategorizirano 2025-12-19 08:50:17 2025-12-19 08:50:17 2026-02-03 10:18:17 0000-00-00 00:00:00 2025 0 0 str. 159-166 0000-00-00 Zaloznikova Objavljeno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 9789612934255 https://doi.org/10.26493/978-961-293-425-5.159-166 ZUP_Petricek_Jera_2025.pdf ZUP_Petricek_Jera_2025.pdf 1 3BB51DE0CF861F41953A49C9E179C1F4 8f00bd0ccb76f1dee600310127d0c173d2df74c2079943ff37f525767e6723c1 14b3d736-dcb0-11f0-8f0b-005056ac49c0 https://repozitorij.upr.si/Dokument.php?lang=slv&id=32347 Založba Univerze na Primorskem 0 0 0