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D uring the time around 1869, when the building of the Na- tional Theatre was raised on Re- public Square, Belgrade was “a big village, halfway between Ottoman and European civilisation”, according to the his- tory of one of Serbia’s most important insti- tutions. The erecting of the palace was ini- tiated by Prince Mihailo Obrenović, in order to meet the needs of the then newly formed professional ensemble, which had “func- tioned under inappropriate conditions”. The first play performed by this newly formed ensemble, Karolj Obernjak’s Đurađ Branković, was staged in an inn with a tru- ly noble name – “At the English Queen’s”. The building of the National Theatre has endured numerous changes since that pe- riod. The original classicism was covered by decorative art nouveau, the superstructure has been extended on several occasions,
Bezbrojna su dela svih žanrova predstavljena publici Narodnog po- zorišta za proteklih vek i po iz pe- ra, notacija i koreografija raznih provinijencija, ali uvek sa važnim i katarzičnim temama. U godini ju- bileja naglasak se stavlja na pred- stave domaćih autora u interpreta- ciji ovdašnjih umetnika. Na taj način se odaje počast domaćoj dramskoj, operskoj i baletskoj umetnosti, ali i ispravlja izvesna „nepravda“ pre- ma lokalnim rediteljima, dirigenti- ma, koreografima i izvođačima „koji možda nisu bili dovoljno zastuplje- ni“, kako objašnjava direktor kuće Dejan Savić. Upravljanje takvim umetničkim i administrativnim gigantom Savić smatra velikom privilegijom, iako praćenom velikim iskušenjima, koja se uz mnogo truda i dobre volje da- ju savladiti. Osećaj pripadnosti na- cionalnom teatru ima i publika svih uzrasta i stepena obrazovanja, dok je primetan i porast broja inostra- nih posetilaca. – Po prirodi stvari, strana publi- ka gleda prevashodno operu i balet, pa često slažemo repertoar prema njihovim zahtevima – kaže Savić. Stranaca radi, bilo onih na po- zornici, bilo u gledalištu, koriste se
the last time in 1986, when a rear exten- sion was added towards Braće Jugovića Street, constructed according to contem- porary architectural principles. In January 1938, the building was the sight of a spectacle, though one that marked a very sad occasion: in the audito- rium was placed the coffin of great com- poser Branislav Nušić (1864-1938), one of the most important administrators of the National Theatre. The entire building was draped in black canvas... - People passed Nušić’s coffin day and night, crying inconsolably, testifies actor Vlasta Velisavljević, one of the few remain- ing alive who remember the time vividly. Vlasta also cried, as did his older and more famous colleague Žanka Stokić, because “in losing Nušić she lost her parent”. That’s because Žanka was celebrated precisely for her roles from his plays. For the most cel- ebrated, The Cabinet Minister’s Wife, she was so beloved by the audience that she always left the stage to the accompani- ment of standing ovations. As fickle as the- atre, her destiny took an about-turn after World War II – when she was stripped of her national honour for allegedly collabo- rating with the Nazis. She was also among the first to receive punishment in the form of community service – specifically, clean- ing the streets of Belgrade. And Žanka just did the best she could. Two years later, the
The first play performed by this newly formed ensemble, Karolj Obernjak’s Đurađ Branković, was staged in an inn with a truly noble name – “At the English Queen’s” Prvi komad novoosnovanog ansambla, „Đurađ Branković“ Karolja Obernjaka, izveden je u gostionici, istina otmenog naziva „Kod engleske kraljice“
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