A DECADE OF THE TRIVIAL AND POPULAR IN THE CROATIAN NATIONAL THEATRE IN OSIJEK (2007-2017)

U članku se analizira repertoar Hrvatskog narodnog kazališta u Osijeku u proteklih deset godina, koji pak producira fragmentaran pregled kulturno-menadžerskih ili pak redateljskih i glumačkih intervencija unutar premijernih kazališnih izvedaba a koje imaju značajan učinak na trivijaliziranje i komercijaliziranje estetičkih i vrijednosnih problema kazališnog čina. Iako jedina profesionalna scena u Osijeku, ona samo u iznimnom slučajevima nije i konformistička, nefleksibilna i iskazuje volju za preuzimanjem ekonomskog ili pak ideološko-političkog rizika, za eksperimentom u smislu poticanja i ohrabrenja umjetničke inovativnosti.The article analyses the repertoire of the Croatian National Theater in Osijek over the last ten years and produces a fragmentary overview of interventions made by theatre management, directors or actors that have a significant effect on the trivialization and commercialization of aesthetic and value issues of play

Catharsis and Method of »Katarina Zrinska« by Ante Tresić Pavičić

Analysis of program-oriented texts by Ante Tresić Pavičić, most notably Early Homeland (Rana otačbina) from 1899 and Catharsis and Method of »Katarina Zrinska« (Katarsa i tehnika »Katarine Zrinske«) from 1900, in which the author’s anti-modernist concept becomes obvious, reveals the elements which assert Tresić Pavičić as an exceptional erudite and a faithful follower of current events in European literature and science. This is mostly visible in the author’s discussion on catharsis in historical tragedy, when he expresses his standpoints on dramaturgy in the context of the latest achievements of European philosophy and psychology

ĐUKA IVANOV MARE ŠVEL-GAMIRŠEK

U članku se raščlanjuje manje poznata drama u četiri čina cvelferske autorice Mare Švel-Gamiršek naslovljena Đuka Ivanov, napisana na samom kraju tridesetih godina XX. stoljeća te se argumentirano smješta pod okrilje socijalno angažirane drame sa snažnim naturalističkim predznakom. Unatoč naznakama da je drama trebala biti uprizorena u zagrebačkom Hrvatskom narodnom kazalištu za vrijeme intendature Julija Benešića te Aleksandra Freudenreicha, Đuka Ivanov je prvi put objavljen tek 2015. godine u Osijeku. Mara Švel-Gamiršek poziva svojom dramom na obnovu tradicijskih vrijednosti, povratak ishodištima, na čuvanje baštine, uviđanje beneficija koje nam zemlja isplaćuje za nepatvoreni mukotrpni rad. Time je ideja dramskog teksta prispodobiva s osnovnim postavkama Heimatkunsta, zavičajne umjetnosti, književnog fenomena koji se krajem prvog i početkom drugog desetljeća dvadesetog stoljeća nalazio u književnosti na njemačkom jeziku na svome vrhuncu kao jedan od antimodernističkih produkata.This article breaks down the less-known four-part drama by author Mara Švel-Gamiršek titled Đuka Ivanov, written at the very end of the thirties of the 20th century, and presents arguments that firmly define it as a socially engaged drama with strong naturalistic leanings. Despite hints that the play was meant to be staged at the HNK in Zagreb during the time of Julije Benešić and Aleksandar Freudenreich, Đuka Ivanov was only staged for the first time in 2015 in Osijek. With her play, Mara Švel-Gamiršek calls for a renewal of traditional values, a return to roots, preserving heritage, and points out the benefits that the earth affords us for our genuine, backbreaking work. With this comes the idea of a dramatic text with the basic tenets of Heimankunst, a literary phenomenon that could be found at the peak of German literature at the end of the first and beginning of the second decade of the 20th century, as one of the products of anti-modernist movements

Matošev Prolog drami Prokletstvo Milana Ogrizovića i Andrije Milčinovića

On 7th May 1907, after publishing the play Prokletstvo in literary magazine „Savremenik”, the censorship approved performing the play in the Croatian national theatre in the theater season 1906/1907 under the condition that it would have passed through some radical changes. However, twenty days later all rehearsals were banned. Authors, Milan Ogrizović and Andrija Milčinović, show their brief union in resisting censorship publishing Prokletstvo into a separate book in year 1907 with Matosʼ Prologue that critically assails the institutions that stopped the play. Content and repercussions of Matosʼ editorial in Prokletstvo are the starting point of this article that outlines the cultural and political situation in Croatia in the first decade of the 20th century.On 7th May 1907, after publishing the play Prokletstvo in literary magazine „Savremenik”, the censorship approved performing the play in the Croatian national theatre in the theater season 1906/1907 under the condition that it would have passed through some radical changes. However, twenty days later all rehearsals were banned. Authors, Milan Ogrizović and Andrija Milčinović, show their brief union in resisting censorship publishing Prokletstvo into a separate book in year 1907 with Matosʼ Prologue that critically assails the institutions that stopped the play. Content and repercussions of Matosʼ editorial in Prokletstvo are the starting point of this article that outlines the cultural and political situation in Croatia in the first decade of the 20th century

Dramatization of Ivana Šojat’s Novel Emet

U članku se analiziraju i kompariraju supstancije sadržaja za predstavu Emet, praizvedene 10. studenoga 2018. godine u Hrvatskom narodnom kazalištu u Osijeku u režiji slovenskog redatelja Same Streleca pri čemu se otkriva naklonost autorice dramatizacije Maje Gregl prema Brechtovom konceptu antiaristotelovskog, epskog teatra u transpoziciji pripovjednog teksta Ivane Šojat u dramski.The article analyses and compares the substance of content for the play Emet, premiered on November 10, 2018 at the Croatian National Theatre in Osijek, directed by the Slovenian director Samo Strelec, revealing the Maja Gregl’s (author of dramatization) fondness for Brecht’s concept of anti-Aristotelian, epic theater in transposing Ivana Šojat’s narrative text into drama

Milčinović vs. Ogrizović. Uzrok, povod, posljedica.

U članku se iznalaze i separatno obrazlažu uzrok i povod sukoba koji je razdvojio dvojicu estetski najkvalitetnijih autorskih osobnosti hrvatske književne moderne, proznog virtuoza A. Milčinovića te dramskog prvaka moderne M. Ogrizovića. Analiziraju se polemične rečenice ne samo spomenutog dvojca, nego skupine jakih hrvatskih autorskih imena, predvođenih A. G. Matošem, koji su se neposredno uključili u raspravu kojoj je atmosferu primarno sačinjavala hipokrizija. Zaključni dio posvećen je posljedici jednog turbulentnog sukoba koji je uvelike pridonio sustavnom promišljanju stilski disparatne, heterogene i pluralističke hrvatske književne moderne

A DECADE OF THE TRIVIAL AND POPULAR IN THE CROATIAN NATIONAL THEATRE IN OSIJEK (2007-2017)

U članku se analizira repertoar Hrvatskog narodnog kazališta u Osijeku u proteklih deset godina, koji pak producira fragmentaran pregled kulturno-menadžerskih ili pak redateljskih i glumačkih intervencija unutar premijernih kazališnih izvedaba a koje imaju značajan učinak na trivijaliziranje i komercijaliziranje estetičkih i vrijednosnih problema kazališnog čina. Iako jedina profesionalna scena u Osijeku, ona samo u iznimnom slučajevima nije i konformistička, nefleksibilna i iskazuje volju za preuzimanjem ekonomskog ili pak ideološko-političkog rizika, za eksperimentom u smislu poticanja i ohrabrenja umjetničke inovativnosti.The article analyses the repertoire of the Croatian National Theater in Osijek over the last ten years and produces a fragmentary overview of interventions made by theatre management, directors or actors that have a significant effect on the trivialization and commercialization of aesthetic and value issues of play

Remembered and forgotten scenes from Okrugić's play Šokice

The text of the popular play Šokica written in 1884 by Ilija Okrugić, together with the inserted folk songs, is being compared to the performances of Okrugić’s plays in the Croatian National Theater in Osijek, with the intention of exposing elements of the assumed thematic or folk character which does not correspond to recent sociological circumstances and which is therefore omitted in stage productions. Also, regarding the fact that the reasons for forgetting individual scenes from that folk – didactical and folk – documentary drama, should also be sought in the incoherent structure of the dramatic text which does not suit a contemporary recipient. On the other hand, in the realization of Okrugić’s play, we attempt to find the reasons why individual scenes were stressed, primarily those that are characterized by a sentimental, melodramatic tone, but also those in which that which is originally folk and true finds its echoes even today. Ultimately, this paper tries to show which of the typological and ethnological variations present in Okrugic’s Šokica are timeless, and which are considered to be primitive and unusable to the present day public

OSIJEK'S THEATER LIFE AT THE TIME OF THE FIRST WORLD WAR

Članak istražuje načine na koje se odvija interakcija između osječkog kazališta i njegova okruženja u vrijeme Prvoga svjetskog rata, modele međusobnog uvjetovanja, status osječkog kazališta u mikrosredini te društva u osječkom kazalištu, kao i odnose između kazališta i gledatelja te kazališta i politike kako bi se nadopisao jedan manje poznat segment dugovječne povijesti Hrvatskog narodnog kazališta u Osijeku.This article explores the way in which Osijek's theater interacted with its environment during the time of the First World War, models of mutual conditioning, the status of Osijek's theater within its microcosm, the society in Osijek's theater, and the relationship between theater and patron as well as theater and politics, so as to flesh out a less-known section of the long history of the Croatian National Theater in Osijek