Suchergebnisse

U prvom dijelu članka prikazuju se pogledi na amatersko i pučko kazalište izneseni u knjigama Lj. Marakovića (Pučka pozornica, 1929.) te A. Freudenreicha (Gluma, 1934. i Kazalište za narod, 1940.). Ističe se Marakovićevo ustrajavanje na razdvajanju amaterskoga od profesionalnog kazališta, a Freudenreichovo na njihovu nadopunjavanju, kao i stav obojice da je etička (u Marakovića i vjerska) sastavnica pučkog kazališta važnija od estetičke. U drugom dijelu analiziraju se dva pučka igrokaza N. Škrabe, Za kunu nade i Isus u snack-baru, u kojima autor problematizira ugroženost pojedinca i zajednice, napose obitelji, u tranzicijskom razdoblju te na tragu Marakovićeva i Freudenreichova viđenja pučkoga kazališta poziva na povratak tradicionalnim vrijednostima, prije svega na odbacivanje i socijalističkoga i liberalno kapitalističkoga materijalizma, a obnovu zajedništva, solidarnosti i vjere. ; The first section of this essay deals with ideas of popular theatre and/or theatre for the people as conceived by two Croatian authors, theatre and literary critic Ljubomir Maraković, in the book Pučka pozornica (People's Stage, 1929), and architect and theatre director Aleksandar Freudenreich, in books Gluma (Acting, 1934) and Kazalište za narod (Theatre for the People, 1940). While Maraković insists on differences between nonprofessional and professional theatre, and on »believing people«, mostly rural, as the target audience of nonprofessional theatre, Freudenreich argues in favour of cooperation between nonprofessional and professional theatre, and lower, both rural and urban, classes as targeted audience for united »theatre for the people«. Ethical component of that sort of theatre is for Maraković, as well as for Freudenreich, fare more important than aesthetical one. The second section is focused two representative theatre pieces by playwright and theatre director Nino Škrabe (Jastrebarsko, 1947): melodrama Za kunu nade (Hope for a Penny) and Christmas play Isus u snack-baru (Jesus in a Snack-bar). In both plays Škrabe problematizes destruction of traditional values in Croatia in the time of, as he puts it, »deceptive and shameful transition« and »wild, vulgar capitalism«. His focus is on negative effects of economic and political changes on traditional lower-class family, and on love, faith and solidarity as the only way of resistance and preservation of the traditional human values.

At the 11th Hvar Theatre Conference, in May 1983, the author gave the paper on four Gavella's disciples and his followers, the members of so called 'Zagreb Theatre Cartel' (Dino Radojević, Kosta Spaić, Božidar Violić, Georgij Paro), and on two directors who worked in theatre in the same period, but did not belong to the informal Cartel (Vladimir Habunek, Mladen Škiljan). Giving this paper after almost three decades, in the Part I he re-examines his previous evaluation and interpretation of their personal aesthetics and their contribution to the Croatian theatre in 1960-es and 1970-es. In the Parts II and III he analyzes changes on the Croatian political and cultural scene and the influence of these changes on institutional position and artistic authority of these six directors in Croatian theatre, especially in the late 1980-es and the early 1990-es. Part IV is dedicated to the three deceased directors (Radojević, Habunek, Spaić) and one who has retired from theatre (Škiljan). The work of two still active directors (Violić, Paro), decreasing in quantity since 1980-es to the present, is considered in the Part V. The focus is on Paro's constant interest in plays and novels by Miroslav Krleža, and on Violić's work with younger playwright and composer Mate Matišić. The conclusion is given in the Part VI.