Tracy Chevalier: Finding the story inside the painting

Translator: Thu-Huong Ha Reviewer: Youna Jung

Prevodilac: Biljana Zlatanovic Lektor: Tatjana Jevdjic

I'm going to tell you about an affliction I suffer from.

Ispričaću vam o bolesti od koje patim.

And I have a funny feeling that quite a few of you

I imam neki čudan osećaj da dosta vas

suffer from it as well.

takođe pati od nje.

When I'm walking around an art gallery,

Kada se šetam kroz umetničku galeriju,

rooms and rooms full of paintings,

prostorije i prostorije pune slika,

after about 15 or 20 minutes,

nakon 15 ili 20 minuta,

I realize I'm not thinking about the paintings.

shvatam da ne razmišljam o slikama,

I'm not connecting to them.

ne povezujem se sa njima.

Instead, I'm thinking about that cup of coffee

Umesto toga, razmišljam o šolji kafe,

I desperately need to wake me up.

očajnički mi treba, da me razbudi.

I'm suffering from gallery fatigue.

Patim od galerijskog umora.

How many of you out there suffer from --

Koliko vas boluje od --

yes. Ha ha, ha ha!

da. Aha, aha!

Now, sometimes you might last longer

Dakle, nekada možete izdržati duže

than 20 minutes, or even shorter,

od 20 minuta, ili čak kraće,

but I think we all suffer from it. And do you have

ali smatram da svi mi bolujemo od toga. I da li osećate

the accompanying guilt?

propratnu krivicu?

For me, I look at the paintings on the wall

Gledam slike na zidu

and I think, somebody has decided to put them there,

i mislim, neko je odlučio da ih stavi tu,

thinks they're good enough to be on that wall,

dovoljno su dobre da budu na zidu,

but I don't always see it.

ali to ne vidim uvek.

In fact, most of the time I don't see it.

Zapravo većinom to ne vidim.

And I leave feeling actually unhappy.

I odem osećajući se nesrećno.

I feel guilty and unhappy with myself,

Pre ću se osećati krivom i nezadovoljnom sobom,

rather than thinking there's something wrong with the painting,

nego što ću misliti da nešto nije u redu sa samom slikom.

I think there's something wrong with me.

Mislim da nešto nije u redu sa mnom.

And that's not a good experience, to leave a gallery like that.

Nije dobro iskustvo tako napustiti galeriju.

(Laughter)

(Smeh)

The thing is, I think we should give ourselves a break.

Stvar je u tome da treba sebi da damo oduška.

If you think about going into a restaurant,

Ako razmišljate o odlasku u restoran,

when you look at the menu, are you expected to order

kada pogledate u jelovnik, da li se od vas očekuje da naručite

every single thing on the menu?

apsolutno sve što je u jelovniku?

No! You select.

Ne! Vi birate.

If you go into a department store to buy a shirt,

Ako odete u prodavnicu odeće da kupite košulju,

are you going to try on every single shirt

da li ćete probati sve košulje

and want every single shirt?

i poželeti apsolutno svaku košulju?

Of course not, you can be selective. It's expected.

Naravno da ne, možete biti selektivni. To se od vas očekuje.

How come, then, it's not so expected

Zašto se ne očekuje od nas

to be selective when we go to an art gallery?

da budemo selektivni kada odemo u umetničku galeriju?

Why are we supposed to have a connection with every single painting?

Zašto treba da se povežemo sa apsolutno svakom slikom?

Well I'm trying to take a different approach.

Pa ja pokušavam da ovome pristupim na drugačiji način.

And there's two things I do:

I radim dve stvari.

When I go into a gallery, first of all, I go quite fast,

Kada uđem u galeriju, najpre, pređem sve poprilično brzo,

and I look at everything, and I pinpoint the ones

pogledam sve i izdvojim one

that make me slow down for some reason or other.

koje me nateraju da usporim iz ovog ili onog razloga.

I don't even know why they make me slow down, but something

Čak ni ne znam zašto me nateraju da usporim, ali me nešto

pulls me like a magnet

privuče kao magnet

and then I ignore all the others, and I just go to that painting.

i onda ignorišem sve druge i jednostavno odem do te slike.

So it's the first thing I do is, I do my own curation.

Tako da je prva stvar koju uradim, zapravo moj sopstveni stručni izbor.

I choose a painting. It might just be one painting in 50.

Odaberem sliku, može to biti samo jedna od 50 slika.

And then the second thing I do is I stand in front of that painting,

Sledeće je, stanem ispred te slike

and I tell myself a story about it.

i ispričam sebi priču o njoj.

Why a story? Well, I think that we are wired,

Zašto priču? Pa, smatram da smo stvoreni za to,

our DNA tells us to tell stories.

naš DNK nam govori da pričamo priče.

We tell stories all the time about everything,

Stalno pričamo priče o svemu,

and I think we do it because the world is kind of a crazy, chaotic place,

mislim da to radimo jer je svet na neki način ludo i haotično mesto

and sometimes stories, we're trying to make sense of the world a little bit,

i nekada pričama pokušavamo pomalo da pronađemo smisao sveta,

trying to bring some order to it.

pokušavajući da ga uredimo.

Why not apply that to our looking at paintings?

Zašto ne bismo to primenili na naše gledanje slika?

So I now have this sort of restaurant menu

Sada posećujem umetničke galerije

visiting of art galleries.

na način na koji gledam jelovnik u restoranu.

There are three paintings I'm going to show you now

Pokazaću vam sada tri slike,

that are paintings that made me stop in my tracks

koje su me naterale da se zaustavim

and want to tell stories about them.

i poželim da ispričam priče o njima.

The first one needs little introduction --

Prvoj nije potreban uvod --

"Girl with a Pearl Earring" by Johannes Vermeer,

"Devojka sa bisernom minđušom'' Johana Vermera,

17th-century Dutch painter.

holandski slikar iz 17. veka.

This is the most glorious painting.

Ovo je najdivnija slika.

I first saw it when I was 19,

Prvi put sam je videla kada sam imala 19 godina,

and I immediately went out and got a poster of it,

odmah sam izašla i kupila poster te slike,

and in fact I still have that poster. 30 years later it's hanging in my house.

zapravo još uvek imam taj poster. Nakon 30 godina i dalje mi visi u kući.

It's accompanied me everywhere I've gone,

Pratila me je gde god da sam išla.

I never tire of looking at her.

Nikad se ne umorim od gledanja u nju.

What made me stop in my tracks about her to begin with

Ono što me je nateralo da se zaustavim ispred nje, bile su

was just the gorgeous colors he uses

prelepe boje koje koristi

and the light falling on her face.

i svetlost koja joj pada na lice.

But I think what's kept me still coming back

Ali mislim da ono što me još uvek tera da joj se vraćam

year after year is another thing, and that is

iz godine u godinu, je nešto drugo, a to je izraz

the look on her face, the conflicted look on her face.

njenog lica, protivurečan izraz njenog lica.

I can't tell if she's happy or sad,

Ne mogu da ocenim da li je srećna ili tužna

and I change my mind all the time.

i stalno menjam mišljenje.

So that keeps me coming back.

Zbog toga joj se stalno vraćam.

One day, 16 years after I had this poster on my wall,

Jednog dana, 16 godina nakon što sam držala ovaj poster na zidu,

I lay in bed and looked at her,

legla sam u krevet i pogledala sam je,

and I suddenly thought, I wonder what

odjednom sam pomislila, pitam se šta joj je

the painter did to her to make her look like that.

slikar uradio da bi ona tako izgledala.

And it was the first time I'd ever thought that

Prvi put sam pomislila

the expression on her face is actually reflecting

da izraz na njenom licu zapravo prikazuje

how she feels about him.

šta ona oseća prema njemu.

Always before I'd thought of it as a portrait of a girl.

Uvek sam pre toga gledala na sliku kao na portret devojke.

Now I began to think of it as a portrait of a relationship.

Tada sam počela da gledam na nju kao na portret jedne veze.

And I thought, well, what is that relationship?

I pomislila sam, dobro, kakav je taj odnos?

So I went to find out. I did some research and discovered,

Pa sam rešila da saznam. Malo sam istraživala i otkrila sam

we have no idea who she is.

da nemamo predstavu o tome ko je ona.

In fact, we don't know who any of the models

Zapravo, ne znamo ko su modeli

in any of Vermeer's paintings are,

na bilo kojoj od Vermerovih slika

and we know very little about Vermeer himself.

i znamo veoma malo o samom Vermeru.

Which made me go, "Yippee!"

To me je nateralo da viknem ,,Jeeeee'!'

I can do whatever I want, I can come up with whatever story I want to.

Mogu da uradim šta god poželim, mogu da izmislim bilo kakvu priču.

So here's how I came up with the story.

Evo kako sam došla na ideju ove priče.

First of all, I thought,

Najpre sam pomislila

I've got to get her into the house.

da moram da je postavim u kuću.

How does Vermeer know her?

Kako je Vermer poznaje?

Well, there've been suggestions that

Pa, pretpostavljalo se

she is his 12-year-old daughter.

da je ona njegova dvanaestogodišnja ćerka.

The daughter at the time was 12 when he painted the painting.

U vreme kada je naslikao sliku, ćerka je imala 12 godina.

And I thought, no, it's a very intimate look,

Pomislila sam, ne, radi se o veoma intimnom pogledu,

but it's not a look a daughter gives her father.

ali to nije pogled kojim ćerka gleda oca.

For one thing, in Dutch painting of the time,

Jedno je sigurno, u holandskom slikarstvu tog doba,

if a woman's mouth was open, it was indicating sexual availability.

otvorena usta žene, ukazivala su na seksualnu dostupnost.

It would have been inappropriate for Vermeer

Bilo bi neprikladno za Vermera

to paint his daughter like that.

da tako naslika svoju ćerku.

So it's not his daughter, but it's somebody

Tako da se ne radi o njegovoj ćerki, već je to neko

close to him, physically close to him.

ko mu je blizak, fizički blizak.

Well, who else would be in the house?

Pa, ko bi još mogao da bude u kući?

A servant, a lovely servant.

Služavka, ljupka služavka.

So, she's in the house.

Dakle, ona je u kući.

How do we get her into the studio?

Kako da ona bude u ateljeu?

We don't know very much about Vermeer,

Ne znamo mnogo o Vermeru,

but the little bits that we do know, one thing we know

ali ono malo što znamo, jednu stvar koju znamo

is that he married a Catholic woman, they lived with her mother

je da se oženio katolkinjom, živeli su sa njenom majkom

in a house where he had his own room

u kući u kojoj je imao svoju sobu,

where he -- his studio. He also had 11 children.

svoj atelje. Takođe je imao 11 dece.

It would have been a chaotic, noisy household.

Mora da je to bilo haotično, bučno domaćinstvo.

And if you've seen Vermeer's paintings before,

Ako ste videli ranije Vermerove slike,

you know that they're incredibly calm and quiet.

znate da su one neverovatno mirne i tihe.

How does a painter paint such calm, quiet paintings with 11 kids around?

Kako slikar slika tako mirne, tihe slike sa 11 dece oko sebe?

Well, he compartmentalizes his life.

Pa, on deli svoj život.

He gets to his studio, and he says, "Nobody comes in here.

Dođe do svog ateljea i kaže: ,,Da niko nije ušao ovde.

Not the wife, not the kids. Okay, the maid can come in and clean."

Ni žena, ni deca. Dobro, služavka može da uđe i počisti."

She's in the studio. He's got her in the studio, they're together.

Ona je u ateljeu. Ima je u ateljeu, zajedno su.

And he decides to paint her.

I odlučuje da je naslika.

He has her wear very plain clothes.

Kaže joj da obuče nešto vrlo jednostavno.

Now, all of the women, or most of the women in Vermeer's other paintings

Ali, sve žene ili barem većina žena, na drugim Vermerovim slikama,

wore velvet, silk, fur, very sumptuous materials.

nosile su somot, svilu, krzno, vrlo raskošne materijale.

This is very plain; the only thing that isn't plain

Ovo je vrlo skromno, jedina stvar koja nije skromna

is her pearl earring.

je njena biserna minđuša.

Now, if she's a servant, there is no way she could afford

Ako je služavka, nema šanse da je mogla da priušti

a pair of pearl earrings.

par bisernih minđuša.

So those are not her pearl earrings. Whose are they?

Dakle, to nisu njene biserne minđuše. Čije li su?

We happen to know, there's a list of Catharina, the wife's clothes.

Mi sasvim slučajno znamo da postoji lista Katarinine, ženine odeća.

Amongst them a yellow coat with white fur,

U njoj je žuti kaput sa belim krznom,

a yellow and black bodice,

žuti i crni ženski pojas,

and you see these clothes on lots of other paintings,

ova odeća se može videti na mnogim drugim slikama,

different women in the paintings, Vermeer's paintings.

na različitim ženama na Vermerovim slikama.

So clearly, her clothes were lent to various different women.

Očigledno je da su njenu odeću pozajmljivali mnogim, raznim ženama.

It's not such a leap of faith to take

Nije velika zabluda pomisliti

that that pearl earring actually belongs to his wife.

da ta biserna minđuša pripada zapravo njegovoj ženi.

So we've got all the elements for our story.

Dakle, imamo sve delove za našu priču.

She's in the studio with him for a long time.

Ona je dugo sa njim u ateljeu.

These paintings took a long time to make.

Trebalo je mnogo vremena da se naprave ove slike.

They would have spent the time alone, all that time.

Oni bi sve to vreme provodili sami.

She's wearing his wife's pearl earring.

Ona nosi bisernu minđušu njegove žene.

She's gorgeous. She obviously loves him. She's conflicted.

Prelepa je. Očigledno ga voli. Razapeta je.

And does the wife know? Maybe not.

A da li žena zna? Možda ne zna.

And if she doesn't, well --

I ako ne zna, pa --

that's the story.

to je priča.

(Laughter)

(Smeh)

The next painting I'm going to talk about

Sledeća slika o kojoj ću govoriti

is called "Boy Building a House of Cards" by Chardin.

je Šardenova ,,Dečak koji gradi kulu od karata''.

He's an 18th-century French painter best known for his still lifes,

On je francuski slikar iz 18.veka, najpoznatiji po svojoj mrtvoj prirodi,

but he did occasionally paint people.

ali je povremeno slikao i ljude.

And in fact, he painted four versions of this painting,

Zapravo je naslikao četiri verzije ove slike,

different boys building houses of cards, all concentrated.

različiti dečaci koji grade kule od karata, potpuno koncentrisani.

I like this version the best, because some of the boys

Ova verzija mi se najviše dopada, jer su neki od dečaka

are older and some are younger, and to me, this one,

stariji dok su drugi mlađi i za mene je ova,

like Goldilocks's porridge, is just right.

kao Zlatokosina kaša, baš onakva kakva treba da bude.

He's not quite a child, and he's not quite a man.

On nije sasvim dete, ali nije u potpunosti ni čovek.

He's absolutely balanced between innocence and experience,

On je u potpunosti izbalansiran između nevinosti i iskustva

and that made me stop in my tracks in front of this painting.

i to me je zaustavilo ispred ove slike.

And I looked at his face. It's like a Vermeer painting a bit.

Pogledala sam ga u lice. Pomalo podseća na Vermerovu sliku.

The light comes in from the left, his face is bathed

Svetlost dolazi sa leve strane, lice mu je okupano

in this glowing light. It's right in the center of the painting,

u ovom sjajnom svetlu. Tačno je u centru slike,

and you look at it, and I found that when I was looking at it,

morate da je pogledate. Tada sam shvatila da, dok sam je posmatrala,

I was standing there going,

stajala sam ispred nje i ponavljala:

"Look at me. Please look at me."

,,Pogledaj me, molim te, pogledaj me.''

And he didn't look at me. He was still looking at his cards,

Nije me pogledao. Još uvek je gledao u svoje karte

and that's one of the seductive elements of this painting is,

i jedan od zavodljivih elemenata ove slike

he's so focused on what he's doing that he doesn't look at us.

je u tome, on je toliko fokusiran na to što radi, da nas ne gleda.

And that is, to me, the sign of a masterpiece,

To je po mom mišljenju znak remek dela,

of a painting when there's a lack of resolution.

kada na slici postoji nedostatak rešenja.

He's never going to look at me.

Nikada me neće pogledati.

So I was thinking of a story where,

Razmišljala sam o priči u kojoj,

if I'm in this position, who could be there looking at him?

da sam ja na njegovom mestu, ko bi mogao da bude tamo i da ga gleda?

Not the painter, I don't want to think about the painter.

Nije slikar, ne želim da mislim na slikara.

I'm thinking of an older version of himself.

Razmišljam da je mogla da bude njegova starija verzija.

He's a man, a servant, an older servant looking at this younger servant,

On je čovek, sluga, stariji sluga koji gleda ovog mlađeg slugu,

saying, "Look at me. I want to warn you about

koji mu govori: ,,Pogledaj me. Hoću da te upozorim

what you're about to go through. Please look at me."

na ono što ćeš upravo da proživiš. Molim te, pogledaj me.''

And he never does.

I on nikada ne pogleda.

And that lack of resolution, the lack of resolution in "Girl with a Pearl Earring" --

I taj nedostatak rešenja, nedostatak rešenja na slici ,,Devojka sa bisernom minđušom'' --

we don't know if she's happy or sad.

ne znamo da li je srećna ili tužna.

I've written an entire novel about her,

Napisala sam čitav roman o njoj,

and I still don't know if she's happy or sad.

i dalje ne znam da li je srećna ili tužna.

Again and again, back to the painting,

Iznova sam tražila odgovor vraćajući se slici

looking for the answer, looking for the story to fill in that gap.

i tražila sam odgovor, tražeći priču da popuni tu prazninu.

And we may make a story, and it satisfies us momentarily,

Možemo da izmislimo priču i ona nas zadovolji na trenutak,

but not really, and we come back again and again.

ali ne zaista, vraćamo joj se iznova.

The last painting I'm going to talk about

Poslednja slika o kojoj ću govoriti

is called "Anonymous" by anonymous. (Laughter)

je slika anonimnog slikara, "Anonimni". (Smeh)

This is a Tudor portrait bought by the National Portrait Gallery.

Ovo je portret Tjudora koji je Nacionalna galerija portreta otkupila.

They thought it was a man named Sir Thomas Overbury,

Oni su mislili da je to čovek po imenu Sir Tomas Overberi

and then they discovered that it wasn't him,

i onda su otkrili da to nije bio on

and they have no idea who it is.

i da ne znaju ko je.

Now, in the National Portrait Gallery,

U Nacionalnoj galeriji portreta,

if you don't know the biography of the painting,

ako se ne zna biografija slike,

it's kind of useless to you.

nekako nam je slika beskorisna.

They can't hang it on the wall, because they don't know who he is.

Ne mogu da je okače na zid, jer ne znaju o kome je reč.

So unfortunately, this orphan spends most of his time in storage,

Tako da, na žalost, ovo siroče provodi većinu svog vremena u skladištu,

along with quite a number of other orphans,

zajedno sa velikim brojem druge siročadi,

some of them some beautiful paintings.

neke od njih su zaista prelepe slike.

This painting made me stop in my tracks for three reasons:

Ova slika me je naterala da se zaustavim ispred nje iz tri razloga.

One is the disconnection between his mouth

Jedan od razloga je nepovezanost između njegovih usta

that's smiling and his eyes that are wistful.

koja se smeše i njegovih tužnih očiju.

He's not happy, and why isn't he happy?

Nije srećan? A zašto nije srećan?

The second thing that really attracted me

Druga stvar koja me je zaista privukla

were his bright red cheeks.

bili su njegovi svetli, crveni obrazi.

He is blushing. He's blushing for his portrait being made!

On crveni. Crveni, dok mu se portret pravi!

This must be a guy who blushes all the time.

Mora da je on tip koji stalno crveni.

What is he thinking about that's making him blush?

O čemu razmišlja što ga tera da crveni?

The third thing that made me stop in my tracks

Treća stvar koja me je naterala da se zaustavim ispred slike

is his absolutely gorgeous doublet.

je njegov prelepi dublet.

Silk, gray, those beautiful buttons.

Svilen, siv, ti prelepi dugmići.

And you know what it makes me think of,

Znate na šta me podseća?

is it's sort of snug and puffy; it's like a duvet spread over a bed.

Nekako je ugodan i pufnast, podseća na perjani jorgan raširen preko kreveta.

I kept thinking of beds and red cheeks,

Uporno sam razmišljala o krevetima i rumenim obrazima

and of course I kept thinking of sex when I looked at him,

i naravno da sam uporno mislila na seks kada bih ga pogledala

and I thought, is that what he's thinking about?

i pomislila sam, da li on o tome razmišlja?

And I thought, if I'm going to make a story,

Pomislila sam da, ako ću da smislim priču,

what's the last thing I'm going to put in there?

šta je poslednja stvar koju bih stavila u nju?

Well, what would a Tudor gentleman be preoccupied with?

Pa, čime bi tjudorski džentlmen bio okupiran?

And I thought, well, Henry VIII, okay.

Pomislila sam, Henrik VIII, dobro.

He'd be preoccupied with his inheritance, with his heir.

Bio bi okupiran svojim nasledstvom, svojim naslednikom.

Who is going to inherit his name and his fortune?

Ko će naslediti njegovo ime i bogatstvo?

You put all those together, and you've got your story

Stavite sve to zajedno i imate priču

to fill in that gap that makes you keep coming back.

da popuni onu prazninu koja vas stalno tera da se vraćate slici.

Now, here's the story.

Evo priče.

It's short.

Kratka je.

"Rosy"

,,Rumenko''

I am still wearing the white brocade doublet Caroline gave me.

Još uvek nosim beli brokatni dublet, koji mi je Karolin dala.

It has a plain high collar, detachable sleeves

Ima jednostavan, visoki okovratnik, rukave koji se skidaju

and intricate buttons of twisted silk thread,

i komplikovane dugmiće od upredenih niti svile,

set close together so that the fit is snug.

koji su postavljeni jedni uz druge, taman se uklapa.

The doublet makes me think of a coverlet on the vast bed.

Dublet me podseća na prekrivač na velikom krevetu.

Perhaps that was the intention.

Možda je to i bila namera.

I first wore it at an elaborate dinner her parents held in our honor.

Prvi put sam ga nosio na svečanoj večeri, koju su njeni roditelji organizovali u našu čast.

I knew even before I stood up to speak

Znao sam, čak i pre nego što sam ustao da održim govor,

that my cheeks were inflamed.

da su mi obrazi goreli.

I have always flushed easily, from physical exertion,

Oduvek sam lako crveneo, od fizičkog napora,

from wine, from high emotion.

od vina, od uzvišenih emocija.

As a boy, I was teased by my sisters and by schoolboys,

Moje sestre i dečaci iz škole su me zadirkivali zbog toga,

but not by George.

ali Džordž nikada.

Only George could call me Rosy.

Samo je Džordž mogao da me zove Rumenko.

I would not allow anyone else.

Nikome drugome to nisam dozvoljavao.

He managed to make the word tender.

Uspevao je da ulepša reč.

When I made the announcement, George did not

Kada sam objavio vest, Džordž nije

turn rosy, but went pale as my doublet.

porumeneo, već je pobledeo kao moj dublet.

He should not have been surprised.

Nije trebalo da bude iznenađen.

It has been a common assumption

Bila je najnormalnija pretpostavka

that I would one day marry his cousin.

da ću jednog dana oženiti njegovu rođaku.

But it is difficult to hear the words aloud.

Ali teško je naglas čuti te reči.

I know, I could barely utter them.

Znam, jedva sam ih izgovorio.

Afterwards, I found George on the terrace overlooking the kitchen garden.

Nakon toga, našao sam Džordža na terasi kako gleda u vrt.

Despite drinking steadily all afternoon, he was still pale.

Uprkos pijenju celog poslepodneva, još uvek je bio bled.

We stood together and watched the maids cut lettuces.

Stajali smo zajedno i posmatrali služavke kako seku salatu.

"What do you think of my doublet?" I asked.

,,Šta misliš o mom dubletu?'', pitao sam ga.

He glanced at me. "That collar looks to be strangling you."

Ovlaš me je pogledao: ,,Izgleda da te taj okovratnik davi.''

"We will still see each other," I insisted.

,,I dalje ćemo se viđati'', insistirao sam.

"We can still hunt and play cards and attend court.

"I dalje možemo da lovimo, igramo karte, idemo na dvor.

Nothing need change."

Ništa ne mora da se promeni.''

George did not speak.

Džordž nije govorio.

"I am 23 years old. It is time for me to marry

,,Imam 23 godine. Vreme mi je da se oženim

and produce an heir. It is expected of me."

i da dobijem naslednika. To se od mene očekuje.''

George drained another glass of claret and turned to me.

Džordž je ispio još jednu čašu vina i okrenuo se ka meni.

"Congratulations on your upcoming nuptials, James.

"Čestitam na skorom venčanju Džejms.

I'm sure you'll be content together."

Siguran sam da ćete biti zadovoljni zajedno.''

He never used my nickname again.

Nikada više nije upotrebio moj nadimak.

Thank you.

Hvala.

(Applause)

(Aplauz)

Thank you.

Hvala.

(Applause)

(Aplauz)