communist authorities issued her with a pardon. She entered the annals of theatre history with her reputation untarnished. By then the National Theatre already had three ensembles. The drama ensem- ble was joined by an Opera in 1882, so – under the name of the Music Department of the National Theatre in Belgrade – the operetta Vračara had its premiere per- formance. Growing up on this stage was Melanija Bugarinović, the first Serbian la- dy to sing opera professionally in Vienna, and later also Milka Stojanović, Miroslav Čangalović, Živan Saramandić, Radmila Bakočević et al. The first ballet performance, Pyotr Ily- ich Tchaikovsky’s The Nutcracker, was per- formed in early 1923, thanks to the artistry of the virtuosos of the Bolshoi Theatre being transferred to Serbia’s first ballet dancers. Those stepping lightly here have included Anica Prelić, Nata Milošević, Nataša Bošk- ović, Jovanka Bjegović, Ašhen Ataljanc... Countless works of all genres have been presented to audiences at the Na- tional Theatre over the past century and a half, from the quills, notations and chore- ography of various provinces, but always with important and cathartic topics. The emphasis during this jubilee year has been placed on plays of domestic authors inter- preted by local artists. Domestic drama, op- era and ballet arts are honoured in this way, but it also serves to rectify certain “injus- tices”faced by local directors, conductors, choreographers and performers“who per- haps haven’t been sufficiently represent- ed”, as house director Dejan Savić explains. Savić considers it a great privilege to manage such an artistic and administrative giant, though one accompanied by great triwbulations, which can be overcome with great effort and good will. The sense of be- longing to the National Theatre is felt by audience members of all ages and levels of education, while there has also been a noticeable increase of foreign visitors. - As is the nature of things, foreign au- diences primarily watch opera and ballet, so we often schedule the repertoire accord- ing to their requirements, says Savić. For the sake of foreigners – whether on stage or in the auditorium – a scrolling subtitle display is used for both stages, the Great Stage and the Raša Plaović Stage, which enables better understanding. And who was this Raša who got his own stage here? He was an actor, director and writer of theatrical texts, but also both a theorist and pedagogue. He was known as someone who delved deeply into his char- acters, emotionally, psychologically and in- tellectually. That’s why it’s hard to find an equal for him today in the roles of Hamlet,
Predstava Ožalošćena porodica Play Bereaved Family
Balet Evgenije Onjegin Ballet Evgeniy Onegin
aparati za titlovanje na obe scene, Ve- likoj i Raši Plaoviću, što omogućava bolje razumevanje. A ko je bio Raša koji je ovde do- bio svoju scenu? I glumac, i reditelj, i pisac pozorišnih tekstova, i teoreti- čar, i pedagog. Slovio je za nekog ko u svoje likove ponire duboko, kako emocionalno, tako i psihološki i in- telektualno. Zato mu je i danas teško naći premca u ulogama Hamleta, Jaga, Mitketa u Koštani ... Tumačio je ma- estralno i Leonea u komadu Gospoda Glembajevi Miroslava Krleže, jednog od najboljih jugoslovenskih pisaca, ko- me je Narodno pozorište iz pijeteta posvetilo monografiju. Od velikana
se ne može preskočiti ni Borislav Mi- hajlović Mihiz, koji je „dekonstruisao“ Nušića dramatizacijom Autobiografi- je i po kome je ustanovljena nagrada za najboljeg srpskog dramskog pisca. Laureati se, kako listom tvrde, ugle- daju na Mihiza, ali i druge gromade poput Jovana Sterije Popovića, Vla- dimira Velmar Jankovića... Danas je repertoar najznačajnijeg srpskog pozorišta tako nabijen da be- leži pojavu tapkaroša, preprodavaca karata, svojstvenu rok koncertima. Pri- menjen u ambijentu Narodnog pozori- šta, taj običaj znači uzlet popularnosti elitne umetnosti, čiji je ova ustanova reprezentativan predstavnik. Tako potrebe tri ansambla
Strana publika gleda prevashodno operu i balet, pa često slažemo repertoar prema njihovim zahtevima, kaže Savić Foreign audiences primarily watch opera and ballet, so we
often schedule the repertoire
according to their requirements, says Savić
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