{"id":25538,"date":"2019-06-20T12:00:46","date_gmt":"2019-06-20T11:00:46","guid":{"rendered":"http:\/\/www.bgf.rs\/?p=25538"},"modified":"2019-06-21T12:59:11","modified_gmt":"2019-06-21T11:59:11","slug":"a-concert-fit-for-a-mouse","status":"publish","type":"post","link":"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/","title":{"rendered":"A Concert Fit for a Mouse\ufeff"},"content":{"rendered":"\n

Walt Disney’s Greatest Experiment<\/strong><\/p>\n\n\n\n

Walt Disney had been planning a short animated film that would make Mickey\nMouse a star again. Then\n„Fantasia“ happened, which no one had expected.<\/em><\/p>\n\n\n\n

It was not the first time\nthat his idea had been viewed with wonder and disbelief. On the contrary, there\nhad already been some consistency in this. First, they wondered why a cartoon even\nneeded sound. Then the introduction of color seemed superfluous. And then, in\nthe eyes of the Hollywood press, the production of Snow White and the Seven Dwarfs<\/em> was proclaimed a „folly“\nwhich, it was believed, would probably take its creator down the path of ruin. After\nall, who in the world would want to watch a cartoon that lasted almost an hour\nand a half? But, as it turned out, almost everybody! After the premiere in\nDecember of 1937, the irresistible dwarfs and the delightful Snow White were\nadored by children and adults from the avenues of New York City to Belgrade’s\nTerazije, and the first feature-length animated film became the most widely viewed\nsuccess in cinema history. Walt Disney was only 36 years old and was on the top\nof the world, which finally believed in his miracles.<\/p>\n\n\n\n

But he was already\npreparing his next miracle. Neither the unimaginable glory nor the astronomical\nbox office revenues could turn his life’s focus away from elevating animated film\nto the same pedestal with all the other art forms. Only a decade earlier, his\nMickey Mouse had enchanted and delighted the entire planet, bringing the first major\nrecognition to the cartoon, which, in the following years, Disney continued to\nperfect with his Silly Symphony<\/em>\nseries, where he set all the action to music so that the image and sound were\nmerged into an inseparable whole. It was these mini-musicals that gave us the\nlegendary Three Pigs<\/em> and Donald Duck,\nwho, after the debut of The Wise Little\nHen<\/em> in 1934, managed to upstage even the unrivaled Mickey Mouse.<\/p>\n\n\n\n

Disney had been thinking for\nsome time about reanimating his mousey alter ego. His attention was drawn to Goethe’s\npoem The Sorcerer’s Apprentice<\/em> and\nthe Paul Dukas symphonic poem based on it. So, he decided to use them as the\nbasis for a special animated short film, which, he believed, would bring Mickey\nback as a leading star. In a Hollywood restaurant, he bumped into Leopold Stokowski,\na celebrated conductor and director of the Philadelphia Philharmonic, and told\nhim about his idea. The eccentric Stokowski, a great admirer of Disney’s work,\nwas delighted to take part in the unusual venture without any compensation.<\/p>\n\n\n\n

In January of 1938, Stokowski\ngathered 85 Hollywood musicians and in the wee hours recorded the musical\naccompaniment. The Sorcerer’s Apprentice had to outdo everything that had been\nfilmed so far, and for that reason Disney hired the best animators in the\nstudio, including Fred Moore, who redesigned Mickey and even added pupils to\nmake him even more expressive. Footage of real actors was used as a reference for\nMickey’s movements, the storyboards were done in full color and with lots of\ndetails, and the effects technicians studied every aspect of the movement of\nwater in order to convey it as convincingly as possible. When, in mid-1938, the\ncartoon was almost finished, Mickey and his surroundings never looked so alive.<\/p>\n\n\n\n

However, Disney was in a\ndilemma. Production costs had already tripled the usual sum for a short film, so\nit was clear to Walt and his brother Roy, who was in charge of financing, that The Sorcerer’s Apprentice<\/em> had no chance\nof returning funds invested. Then they came up with the idea of extending the\nwork and recording a hybrid feature-length animated film that would make use of\nthe power of classical music and drawings in a new form of animated concert\nwithout dialogue or sound effects. The experimental project was unofficially\ndubbed „Full-Length Concert“ or „Full-Length Musical.“<\/p>\n\n\n\n

The Cavalry and Mushrooms Come to the Aid of the Apprentice<\/strong><\/p>\n\n\n\n

The first and most\nimportant task was to choose the right music. An unusual group of artists,\nscreenwriters, and producers led by Disney narrowed the selection down to 15\ncompositions, only to choose six more works in addition to The Sorcerer’s Apprentice<\/em>: Bach’s Toccata and Fugue in D Minor<\/em>, The<\/em>\nNutcracker Suite<\/em> by Pyotr Ilyich\nTchaikovsky, The Rite of Spring<\/em> by\nIgor Stravinsky, Beethoven’s Sixth\nSymphony<\/em>, The Dance of the Hours<\/em> from\nthe opera La Gioconda <\/em>byAmilcare Ponchielli, a combination of\nModest Mussorgsky’s tone poem Night on Bald\nMountain<\/em> and Franz Schubert’s Ave\nMaria<\/em>. Stokowski called the movie Fantasia<\/em>,\nusing a professional expression signifying a free musical form.<\/p>\n\n\n\n

Although by the end of\n1938, it had brought together top classical music experts, including Deems\nTaylor, a celebrated commentator from the Metropolitan Opera, Fantasia<\/em> could not get into full swing\nbecause the simultaneous production of Pinocchio<\/em>\nand the completion of the new studio in Burbank depleted the studio’s human and\nfinancial resources in a big way. „This time, avoid gags and use your imagination\nfor the purposes of Fantasia,“ Disney told his cartoonists and animators,\nencouraging them to experiment with styles and study the techniques of the Renaissance\npainters in order to present the music visually. At the same time, unhappy with\ncontemporary sound systems, he hired his best experts to design a new system\nthat would be able to play orchestra music at a higher quality level.<\/p>\n\n\n\n

As preparations moved\nalong, Disney was increasingly looking at Fantasia<\/em>\nas an opportunity for a new revolution in the field of animation, which is why\nhe gradually lost his enthusiasm for Pinocchio. In the second half of 1938, the\nmeetings to discuss stories, layouts, and other aspects of the experimental\nfilm became more frequent, and shorthand minutes from those meetings helped\nsequence directors and animators adhere to Disney’s instructions. Over 60\nsketch artists from the special effects department were engaged to create\nhypnogogic images for the introductory sequence with Bach’s music. In order to\nfind the inspiration to illustrate at such an abstract level, the animators sought\ninspiration from the works of German director Oskar Fischinger and executed\nhundreds of pastel studies to emphasize the melodic plane of Bach’s work with\nsimple geometric shapes.<\/p>\n\n\n\n

In 1939, production was going\nfull steam ahead. The team in charge of The\nNutcracker Suite<\/em> released the composition’s first two movements,\nrearranging the others so as to best set the changing seasons to sound. When he\nsaw the first drawings of the mushrooms, Disney saw the opportunity for an\ninteresting animation in the Chinese Dance<\/em>\n– he got the idea to insert an ungainly mushroom and thus add additional\ndynamics. After dozens of different sketches, the mushrooms got their final appearance\nand the main animation baton was passed on to Art Babbitt, the experienced\ncreator of Goofy.<\/p>\n\n\n\n

The Rite of Spring,<\/em> a melodic ballet by Igor Stravinsky,\nwritten just a few years earlier, was used for the epic saga of the origin of\nlife on Earth. In the studio, biologists, paleontologists and astronomers were\ninvited to contribute as convincingly as possible, while in the Special Effects\nDepartment experimented with flammable materials in order to better depict\nsmoke, lava and celestial bodies. However, Stravinsky did not like the way\nDisney adapted his music in the film, although during the production he did\nvisit the studio and watch the prepared storyboards. Presumably, the composer\ndid not mind the sequence concept but the fact that Stokowski had rearranged\nthe orchestration without his permission.<\/p>\n\n\n\n

Originally, instead of\nBeethoven’s Pastoral Symphony<\/em>, Disney\nwanted to use the music by „a French composer,“ which he felt would be\nmore suitable for the brighter content he had planned, but ultimately, despite Stokowski’s\nopinion, he opted for Beethoven. The animation of this segment was entrusted to\nstar animators Fred Moore and Ward Kimball, while Otto Englander, the only\nYugoslav on Disney’s team, headed the story development team. The moment when\nthe group of winged horses swoops down to the lake surface, depicts the\nsynergistic beauty of animation and classical music so convincingly. Thirty\nyears later, the parts that reflected the racial stereotypes of the interwar\nperiod, such as a black Centaur polishing the hoof of a white one, were taken\nout of the sequence.<\/p>\n\n\n\n

The Dance of the Hours<\/em> sequence, undoubtedly the most comical in Fantasia<\/em>, was remembered by generations\ngrowing up with cartoons on Belgrade Television. Walt Disney imagined it as a\nparody of classical ballet with hippos, ostriches, elephants and crocodiles. In\nan effort to make the movements on paper as convincing as possible, the\nanimators spent months observing professional dancers Marge Champion and Irina\nBaronova. They also used clay figures made by the Disney Studio’s modeling\ndepartment, to facilitate the drawing of characters in different poses.<\/p>\n\n\n\n

The last segment of the\nfilm in its stylized form evokes the conflict of good and evil using the works\nof Mussorgsky and Schubert. In this case, the animators had a somewhat easier\ntask since they relied entirely on the detailed storyboards of Kay Nielsen, one\nof the most respected illustrators from the early 20th century. The special\neffects are remarkable, and the way Bill Tytla brought to life the image of the\nSlavic deity Chernobog is remembered as one of the greatest achievements in the\nhistory of the genre. At one point Disney even though of releasing the smell of\nincense into the cinema during the Ave\nMaria<\/em>, but abandoned the idea for practical reasons. Fantasia ends with the\nsunrise, a symbol of hope, which was so needed by the world, teetering on the\nbrink of war.<\/p>\n\n\n\n

In the meantime, Disney’s\nengineers patented „Fantasound,“ an innovative sound reproduction\nsystem. For the first time in movie history, music was recorded in some form of\nstereo format and the 33 speaker system gave the impression of the symphony\norchestra being in the cinema hall. In the last stage of the work, over 1,000\nartists and technicians were engaged around the clock in coloring and recording\nthe finished celluloid films. After three intense years, the film was completed\nonly 48 hours before its scheduled premiere.<\/p>\n\n\n\n

The Success That (Had Not) Happened<\/strong><\/p>\n\n\n\n

Just as a rainstorm on that\nNovember 13, 1940 passed over New York City, Fantasia<\/em> was premiered at a gala dinner in a theater on Broadway.\nThe nervous Disney personally visited the hall the previous day to check once\nmore that everything was ready for the big event. The most prominent New York\nofficials were greeted and ushered to their seats, and each was given a\nspecially designed program, as if it were a new opera or concert. The screening\nended with ovations.<\/p>\n\n\n\n

Disney believed that Fantasia<\/em> would impress the audience in\nthe same way that Snow White had, but he was wrong. The Fantasound system was\nso expensive that it was purchased only by 14 cinemas in the United States, and\nwhen the ordinary version of the film with „inferior“ sound was released\na few months later, the disinterested American audience delivered him an\nunexpected blow. The RKO distributor insisted that Fantasia<\/em> should be reduced from 125 to 82 minutes in order to show\n„two films for the price of one,“ Disney had to agree, but did not\nwant to take part in the repacking. Although it appeared successfully for\nmonths in New York, Los Angeles and San Francisco, Fantasia<\/em> was withdrawn from distribution at the end of 1942 and in\nmany places was never included in the program again.<\/p>\n\n\n\n

The timing could not have\nbeen worse due to the outbreak of World War II in Europe, the market that had brought\nhalf of all revenues to the studio. Since Pinocchio<\/em>,\nwhich was premiered before Fantasia<\/em>,\nfailed to return the money invested in it, Disney had to discard the already\ndesigned sequences for Fantasia 2<\/em> and\nthe ambitious idea of Fantasia<\/em> becoming\na special program shown every few years, with a different content and sequence\nof scenes.<\/p>\n\n\n\n

As expected, the reviews\nwere exceptional. The New York Times<\/em> said\nthat Fantasia<\/em> was a „historical\nmoment in the development of motion pictures,“ while Art Digest Magazine<\/em> called it an „unforgettable aesthetic\nexperience.“ The Chicago Tribune<\/em>,\nwhich had had assigned three writers to cover the film’s Chicago premiere – a society\ncolumnist, a film critic, and a music critic, said the film\nwas „bewildering“ and Stokowski appeared on the cover page of the December\n1940 issue of Time Magazine<\/em>.<\/p>\n\n\n\n

It is hard to imagine what\nthe art of animation would look like today if by some chance Fantasia had been\nas successful as Snow White and the Seven\nDwarfs<\/em>; the movie was so badly received by audiences that it took three\ndecades to recover the total recording costs of today’s sum of $38 million.\n„I did not regret recording it. We had to do something like that for the media\nat that moment,“ Disney said later. Ironically, Fantasia<\/em> became a hit with audiences after the war – including\nYugoslavia – and gained a well-deserved cult status.<\/p>\n\n\n\n

When asked in a\nconversation in 1940 to comment on the work on Fantasia<\/em>, Disney replied in his jovial style: „Bach and Beethoven\nmay be unusual company for Mickey Mouse, but it was a lot of fun.“<\/p>\n\n\n\n

Even 80 years later, there\nis nothing unusual about spending a Sunday evening in June at Belgrade’s U\u0161\u0107e\ngrounds in the company of Fantasia<\/em>.<\/p>\n\n\n\n

Marko Jeli\u010di\u0107<\/strong><\/p>\n\n\n\n

Published in the eight\nissue of the Filharmonija Magazine<\/em>,\nwhich is printed as a supplement in the Srpski\nTelegraf<\/em> <\/p>\n","protected":false},"excerpt":{"rendered":"

Walt Disney’s Greatest Experiment Walt Disney had been planning a short animated film that would make Mickey Mouse a star again. Then „Fantasia“ happened, which no one had expected. It was not the first time that his idea had been viewed with wonder and disbelief. On the contrary, there had already been some consistency in […]<\/p>\n","protected":false},"author":1,"featured_media":25524,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[112],"tags":[],"class_list":["post-25538","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en"],"acf":[],"yoast_head":"\nA Concert Fit for a Mouse\ufeff | Beogradska filharmonija<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.bgf.rs\/a-concert-fit-for-a-mouse\/\" \/>\n<meta property=\"og:locale\" content=\"sr_RS\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Concert Fit for a Mouse\ufeff | Beogradska filharmonija\" \/>\n<meta property=\"og:description\" content=\"Walt Disney’s Greatest Experiment Walt Disney had been planning a short animated film that would make Mickey Mouse a star again. Then „Fantasia“ happened, which no one had expected. It was not the first time that his idea had been viewed with wonder and disbelief. On the contrary, there had already been some consistency in […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/\" \/>\n<meta property=\"og:site_name\" content=\"Beogradska filharmonija\" \/>\n<meta property=\"article:published_time\" content=\"2019-06-20T11:00:46+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-06-21T11:59:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.bgf.rs\/wp-content\/uploads\/2019\/06\/Screen-Shot-2019-06-20-at-12.59.24-PM.png\" \/>\n\t<meta property=\"og:image:width\" content=\"705\" \/>\n\t<meta property=\"og:image:height\" content=\"656\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"bgf\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@BGFilharmonija\" \/>\n<meta name=\"twitter:site\" content=\"@BGFilharmonija\" \/>\n<meta name=\"twitter:label1\" content=\"\u041d\u0430\u043f\u0438\u0441\u0430\u043d\u043e \u043e\u0434\" \/>\n\t<meta name=\"twitter:data1\" content=\"bgf\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u041f\u0440\u043e\u0446\u0435\u045a\u0435\u043d\u043e \u0432\u0440\u0435\u043c\u0435 \u0447\u0438\u0442\u0430\u045a\u0430\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 \u043c\u0438\u043d\u0443\u0442\u0430\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/\",\"url\":\"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/\",\"name\":\"A Concert Fit for a Mouse\ufeff | Beogradska filharmonija\",\"isPartOf\":{\"@id\":\"https:\/\/www.bgf.rs\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.bgf.rs\/wp-content\/uploads\/2019\/06\/Screen-Shot-2019-06-20-at-12.59.24-PM.png\",\"datePublished\":\"2019-06-20T11:00:46+00:00\",\"dateModified\":\"2019-06-21T11:59:11+00:00\",\"author\":{\"@id\":\"https:\/\/www.bgf.rs\/#\/schema\/person\/46fa53958df31282374baf403ec8bc64\"},\"breadcrumb\":{\"@id\":\"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#breadcrumb\"},\"inLanguage\":\"sr-RS\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"sr-RS\",\"@id\":\"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#primaryimage\",\"url\":\"https:\/\/www.bgf.rs\/wp-content\/uploads\/2019\/06\/Screen-Shot-2019-06-20-at-12.59.24-PM.png\",\"contentUrl\":\"https:\/\/www.bgf.rs\/wp-content\/uploads\/2019\/06\/Screen-Shot-2019-06-20-at-12.59.24-PM.png\",\"width\":705,\"height\":656},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.bgf.rs\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"A Concert Fit for a Mouse\ufeff\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.bgf.rs\/#website\",\"url\":\"https:\/\/www.bgf.rs\/\",\"name\":\"Beogradska filharmonija\",\"description\":\"Samo muzika - jer do\u017eivljaj nema cenu!\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.bgf.rs\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"sr-RS\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.bgf.rs\/#\/schema\/person\/46fa53958df31282374baf403ec8bc64\",\"name\":\"bgf\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"sr-RS\",\"@id\":\"https:\/\/www.bgf.rs\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/d576158b2e0a82c6bb7c436f39acc82ca27f10e4a45f05f58b6288c4d1f83d11?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/d576158b2e0a82c6bb7c436f39acc82ca27f10e4a45f05f58b6288c4d1f83d11?s=96&d=mm&r=g\",\"caption\":\"bgf\"},\"url\":\"https:\/\/www.bgf.rs\/author\/bgf\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"A Concert Fit for a Mouse\ufeff | Beogradska filharmonija","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.bgf.rs\/a-concert-fit-for-a-mouse\/","og_locale":"sr_RS","og_type":"article","og_title":"A Concert Fit for a Mouse\ufeff | Beogradska filharmonija","og_description":"Walt Disney’s Greatest Experiment Walt Disney had been planning a short animated film that would make Mickey Mouse a star again. Then „Fantasia“ happened, which no one had expected. It was not the first time that his idea had been viewed with wonder and disbelief. On the contrary, there had already been some consistency in […]","og_url":"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/","og_site_name":"Beogradska filharmonija","article_published_time":"2019-06-20T11:00:46+00:00","article_modified_time":"2019-06-21T11:59:11+00:00","og_image":[{"width":705,"height":656,"url":"https:\/\/www.bgf.rs\/wp-content\/uploads\/2019\/06\/Screen-Shot-2019-06-20-at-12.59.24-PM.png","type":"image\/png"}],"author":"bgf","twitter_card":"summary_large_image","twitter_creator":"@BGFilharmonija","twitter_site":"@BGFilharmonija","twitter_misc":{"\u041d\u0430\u043f\u0438\u0441\u0430\u043d\u043e \u043e\u0434":"bgf","\u041f\u0440\u043e\u0446\u0435\u045a\u0435\u043d\u043e \u0432\u0440\u0435\u043c\u0435 \u0447\u0438\u0442\u0430\u045a\u0430":"11 \u043c\u0438\u043d\u0443\u0442\u0430"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/","url":"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/","name":"A Concert Fit for a Mouse\ufeff | Beogradska filharmonija","isPartOf":{"@id":"https:\/\/www.bgf.rs\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#primaryimage"},"image":{"@id":"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#primaryimage"},"thumbnailUrl":"https:\/\/www.bgf.rs\/wp-content\/uploads\/2019\/06\/Screen-Shot-2019-06-20-at-12.59.24-PM.png","datePublished":"2019-06-20T11:00:46+00:00","dateModified":"2019-06-21T11:59:11+00:00","author":{"@id":"https:\/\/www.bgf.rs\/#\/schema\/person\/46fa53958df31282374baf403ec8bc64"},"breadcrumb":{"@id":"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#breadcrumb"},"inLanguage":"sr-RS","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/"]}]},{"@type":"ImageObject","inLanguage":"sr-RS","@id":"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#primaryimage","url":"https:\/\/www.bgf.rs\/wp-content\/uploads\/2019\/06\/Screen-Shot-2019-06-20-at-12.59.24-PM.png","contentUrl":"https:\/\/www.bgf.rs\/wp-content\/uploads\/2019\/06\/Screen-Shot-2019-06-20-at-12.59.24-PM.png","width":705,"height":656},{"@type":"BreadcrumbList","@id":"https:\/\/www.bgf.rs\/en\/a-concert-fit-for-a-mouse\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.bgf.rs\/"},{"@type":"ListItem","position":2,"name":"A Concert Fit for a Mouse\ufeff"}]},{"@type":"WebSite","@id":"https:\/\/www.bgf.rs\/#website","url":"https:\/\/www.bgf.rs\/","name":"Beogradska filharmonija","description":"Samo muzika - jer do\u017eivljaj nema cenu!","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.bgf.rs\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"sr-RS"},{"@type":"Person","@id":"https:\/\/www.bgf.rs\/#\/schema\/person\/46fa53958df31282374baf403ec8bc64","name":"bgf","image":{"@type":"ImageObject","inLanguage":"sr-RS","@id":"https:\/\/www.bgf.rs\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/d576158b2e0a82c6bb7c436f39acc82ca27f10e4a45f05f58b6288c4d1f83d11?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/d576158b2e0a82c6bb7c436f39acc82ca27f10e4a45f05f58b6288c4d1f83d11?s=96&d=mm&r=g","caption":"bgf"},"url":"https:\/\/www.bgf.rs\/author\/bgf\/"}]}},"_links":{"self":[{"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/posts\/25538\/"}],"collection":[{"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/posts\/"}],"about":[{"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/types\/post\/"}],"author":[{"embeddable":true,"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/users\/1\/"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/comments\/?post=25538"}],"version-history":[{"count":0,"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/posts\/25538\/revisions\/"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/media\/25524\/"}],"wp:attachment":[{"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/media\/?parent=25538"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/categories\/?post=25538"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bgf.rs\/en\/wp-json\/wp\/v2\/tags\/?post=25538"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}