Ritam grada / Rhythm of the city
Narodno pozorište Želja za osnivanjem stalnog profesio- nalnog pozorišta u Beogradu datira još od 1841. godine. Posle skoro tri deceni- je izvođenja predstava na raznim me- stima u prestonici, knez Milan Obreno- vic je 18. avgusta 1868. godine položio kamen temeljac za izgradnju zgrade Narodnog pozorišta na mestu gde se do 1866. godine nalazila Stambol ka- pija – jedna od četiri kapije na izlazu iz beogradske varoši. Prva predstava u novoj zgradi izvedena je godinu dana nakon početka izgradnje – 30. oktobra 1869. godine, i od tada u Narodnom pozorištu postoje tri umetničke celine: opera, balet i drama. Unutrašnja dekoracija prve zgrade urađena je na osnovu indirektno pri- hvacenih italijanskih modela, koji su naglašavali dekor i udobnost pozorišta. Posebna pažnja posvecena je ukraša- vanju carskih loža draperijama, kruna- ma i tronovima nabavljenim u bečkim umetničkim radionicama. Tavanice su prekrivene raskošnom pozlatom, dok je svetlost lustera „sto sveca“ doprine- la prazničnoj atmosferi samog pozo- rišta. Poseban deo pozorišne dekora- cije činile su oslikane scenske zavese, rađene po crtežima najznačajnijih do-
ATELJE 212 This theatre first came to life on 12 th No- vember 1956, with the premiere perfor- mance of Goethe’s Faust. The emergence of Atelje 212 represented a turning point in the theatre life of not only Belgrade, but this part of Europe as a whole. Established as a theatre that would present the new avantgarde drama that had a great influ- ence in the Europe of the time, Atelje 212 also satisfied the desire to have a theatre that would be organised in a way that dif- fered from other existing theatres, first- ly by not being an institution. In the search for a suitable venue, the reading room of Borba newspaper was identified, while Bo- rislav Mihajlović Mihiz was responsible for coming up with the name Atelje 212 for the new theatre. On that fateful evening of 12 th November 1956, the audience applaud- ed and the public praised this peculiar the- atre with plays performed in an unusual way. Atelje 212 became the first theatre in Eastern Europe to stage Samuel Beckett’s Waiting for Godot, in 1956. The great suc- cess of this play enabled this theatre house to stage a number of other avantgarde dra- mas and authors. Through its performanc- es, writers and directors, but particularly through its fantastic actors, Atelje 212 grew to become one of the wider region’s most important theatres.
Atelje 212 Pozorište je počelo svoj život 12. novembra 1956. godine premijernim prikazivanjem Geteovog „Fausta“. Pojava „Ateljea 212“ značila je prekretnicu u pozorišnom životu ne samo Beograda vec i ovog dela Evrope, jer je „Atelje“ nastalo kao pozorište u kome ce se igrati nova avangardna dra- ma. U potrazi za odgovarajucim prostorom pronađena je čitaonica lista „Borba“, a Borislav Mi- hajlovic Mihiz je novo pozorište nazvao: „Atelje 212“. Publika je tog novembra 1956. aplaudirala blagonaklona prema ovom neobičnom pozorištu sa neobično izvedenim predstavama. „Ate- lje 212“ je bilo prvo pozorište u istočnoj Evropi koje je 1956. godine odigralo predstavu „Čekaju- ci Godoa“ Semjuela Beketa. Veliki uspeh ove predstave omogucio je da se u pozorištu pojavi niz drugih avangardnih drama i autora. Uz književnike i reditelje, a posebno preko svojih sjajnih glu- maca, izraslo je u jedno od najznačajnijih pozorišta na ovim prostorima.
macih slikara, koje su i same pred- stavljale svojevrsna umetnička dela. Stalna potreba da se ulepša najpopu- larnije beogradsko zdanje tog vreme- na ostvarena je brojnim renoviranjima i završnom obradom prvobitnog enteri- jera. Tako je 1905. godine napravljena nova dekorativna slika na sceni, pozo- rištu i foajeu, a urađeni su ukrasi inspi- risani motivima iz narodne umetnosti, ornamentike i tradicije. NATIONAL THEATRE The desire to establish a permanent professional theatre in Belgrade first emerged in 1841. After almost three decades of plays being performed at various venues across the capital, it was on 18 th August 1868 that Prince Milan Obrenović laid the foundation stone for the construction of the build- ing of the National Theatre, on the spot that had been occupied until 1866 by Stambol Gate – one of the four gates to the old town of Belgrade. The build- ing hosted the performance of its first play just over a year after the launch of construction - on 30 th October 1869 – and there have since been three ar- tistic departments within the National Theatre: opera, ballet and drama. The interior design of the first build-
ing was based on indirectly accept- ed Italian models, which emphasised the theatre’s décor and comfort. Spe- cial attention was paid to decorating the royal box with draperies, crowns and thrones procured from Viennese art workshops. The ceilings and par- apets of the royal boxes were cov- ered with lavish gilding, while the light of the “hundred candles” chande- liers contributed to the festive atmos- phere of the theatre itself. Represent- ing a special part of the décor of the theatre were painted scenic curtains produced on the basis of the drawings of the most important local painters, which represented artistic works in their own right. The constant need to beau- tify the most popular Belgrade build- ing of the time was satisfied through numerous renovations and the com- pleting of the original interior. And so it was that in 1905 a new decorative sce- nic painting was made on the theatre’s stage and foyer. It was based on the drawings of Dragutin Inkiostri Meden- jak, the first Serbian decorative paint- er, who decorated numerous Belgrade palaces with his deft touch, while dec- orations inspired by motifs from folk art, ornamentation and tradition were al- so created.
ternativu akademizmu i konzervativizmu koji su negovala vodeća pozorišta u Jugoslaviji. Novo pozorište je pomo- glo da se upoznamo sa onim što se dešavalo na vode- ćim svetskim pozornicama, te je ohrabrivalo prevode sa- vremenog dramskog repertoara, ali i uspostavljalo novi pozorišni jezik. Beogradsko dramsko pozorište posta- lo je primer modernog teatra i uživalo je, kao i danas, ve- liku ljubav publike. BELGRADE DRAMA THEATRE The Belgrade Drama Theatre was founded in 1947, initial- ly under the name City Theatre, while its first performance only took place on 20 th February 1948. During the 1950s, this theatre focused on the political aspects of the de- velopment of contemporary art. It was then necessary to identify an alternative to the academicism and conserva- tism that was being nurtured by the leading Yugoslav the- atres of the time. This new theatre helped familiarise the people with what was then happening on the stages of the world’s leading theatres, encouraging translations of the contemporary dramatic repertoire, but also establishing a new theatre language. The Belgrade Drama Theatre would become an example of a modern theatre, while it would enjoy, and still enjoys, the great love of audiences.
Beogradsko dramsko pozorište Beogradsko dramsko pozorište osnovano je 1947. godi- ne pod nazivom Gradsko pozorište, a prva predstava odi- grana je 20. februara 1948. Pozorište je pedesetih go- dina prošlog veka imalo u vidu političke aspekte razvoja savremene umetnosti. Tada je bilo potrebno pronaći al-
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Belgrade » Beograd | 79
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