Kraljevsko zemaljsko hrvatsko kazalište u Zagrebu od svojih je institucionalnih začetaka u 19. stoljeću predstavljalo ustanovu u kojoj su se ključne odluke donosile uz strogi nadzor lokalnih i carskih vlasti u Beču. Pored utjecaja u organizacijskom smislu, Beč je ujedno predstavljao izvorište za kulturni transfer, s obzirom da su predstave s njemačkog govornog područja dominirale repertoarom sve do završetka Prvog svjetskog rata. Zagrebačko kazalište je spomenuti sukob dočekalo kao moderna i već formirana institucija, ponajviše zahvaljujući reformama intendanta Stjepana Miletića krajem 19. stoljeća. Usprkos tomu ustaljeni ritam rada kazališnih djelatnika bio je narušen novonastalim ratnim okolnostima, stoga je trebalo riješiti niz izazova koji su nastali uslijed otežanog financiranja, nestašice materijala te mobilizacije kazališnog osoblja. Iako su početkom rata vlasti pokušale na kazališnoj pozornici isprovocirati patriotsku iskru koja bi odobrovoljila stanovništvo spram ratnih napora, Zemaljsko kazalište je tokom većeg dijela ratnih događanja preuzelo drugačiju ulogu. Analiza izvedenih predstava upućuje na dominaciju šaljivih komada poput komedija, lakrdija i opereta, na čijim je izvedbama publika inzistirala, pa u tom smislu možemo govoriti o eskapističkoj ulozi kazališta. Tu temeljnu funkciju zagrebačko kazalište dijelilo je s ostalim kazalištima na hrvatskom, ali i europskom području. Stoga se obujam rada zagrebačkog kazališta tokom rata nije smanjivao, što je publika znala cijeniti, a to pokazuje i iznenađujuće velika posjećenost u četverogodišnjem ratnom periodu. Velika posjećenost, obujam rada jednak ili veći onom mirnodopskom periodu te niz drugih aspekata daju nam za pravo da temeljito preispitamo dosad uvriježene teatrološke perspektive o Prvom svjetskom ratu kao dobu stagnacije i nazadovanja.Croatian Royal State Theatre in Zagreb represents an institution which was from its 19th century beginnings under vigorous scrutiny from governments in Vienna and Zagreb. Apart from strong influence in the matters of organization, Vienna was also a centre of cultural transfer, since the biggest part of the repertoire was filled with plays that originated from German-speaking countries, which was the case until the World War I ended. State Theatre in Zagreb was already a modern institution before the War even erupted, thanks to reforms which were conducted by intendant Stjepan Miletić in late 19th century. Despite that fact, everyday rhythm of theatre staff members was disrupted by newly established war circumstances and State Theatre had to cope with challenges like the matter of financing, shortages of resources and staff mobilization. Although the authorities tried to use the theatre for igniting a patriotic spark in the audience, the institution itself took a completely different role during the World War I. As the analysis of wartime repertoire indicates, majority of performed plays had a comic character, such as comedies, operettas and farces. Further, the audience insisted on those kind of performances which means that during the war primary function of State Theatre in Zagreb was an escapist one, similar to other theatres in Europe. And it was because of that escapist role that State Thetare continued to operate during the war with same or even larger capacity then in the pre-war period, and the audience was respectful of that condition. Conclusions such as these can provide a good starting point in the reinterpretation of so far dominant discourse on State Theatre during World War I which describes that period as an era of stagnation and decadence
