Its main target audience is that part of the artists’ community who are receptive to esoteric allusions.The book is about three women: the Editor, who lives in Budapest, the Artist, and the Glasswoman who lives in Novi Sad, all of whom bear the same name. Initially, they are unaware of one another, but throughout the book their lives get gradually intertwined.As vocalist, Katalin Ladik collaborated with prominent Croatian, Serbian and Hungarian composers, such as Dubravko Detoni, Branimir Sakač, and Milko Kelemen (1971–73, ensemble ACEZANTEZ); Ernő Király (1963-2002); Dušan Radić (Oratorio Profano, 1979); Boris Kovač (1986-1990); Deže Molnar ( 1989–91); Zsolt Sőrés a.k.a. Most of Katalin Ladik’s performances balance on the borderline between performance art and theatre: the performance of sound poems is accompanied by theatrical body action and in many cases, the surrounding space is structured similarly to a traditional theatre.Those who examine her poetry often refer to her sound poetry performances.The same role earned her the first place of Udruženje dramskih umetnika Srbije / Association of Dramatic Artists of Serbia, in 1979.Katalin Ladik also received the Magyar Televízió Elnöki Nívódíja / Award of the President of Hungarian Television for Acting Excellence for acting in András Rajnai’s TV film series, Televíziós mesék felnőtteknek (Television Tales for Adults) in 1980.
Vagyis a szó ne csak az egyik eleme legyen egy hosszú listának, amiről egy idő után csak arra emlékezünk, hogy ott a jobb felső sarokban volt, „b” betűvel kezdődött és hosszú.
Katalin Ladik studied at the Economic High School of Novi Sad between 19.
She then joined the Dramski Studio (Drama Studio) acting school in Novi Sad, between 19. During this time, in 1962, she began to write poetry. She joined the newly established Novi Sad Theatre in 1974, becoming a member of its permanent ensemble in 1977 and working there until 1992. Over the years, she also played major and minor roles in various TV-films and movies.
On the other hand, no detailed analyses have been produced about the dramaturgical characteristics of her performances, and the relations of sign systems between her poetry and performances.
It is a well-reasoned choice, however, to locate her in the context of female performance artists, as Katalin Ladik uses her body and person as the medium of her art in her performances, which occupies a special position within the history of Western art.