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THE DIRECTOR THAT RULES THE SCENE. BRANKO GAVELLA AND THE MODERNIZATION OF SLOVENIAN THEATER
Primož Jesenko
; Slovenski gledališki muzej, Ljubljana
Sažetak
After obtaining permission from the Ministry of Education in Belgrade in 1930, Gavella first served as a guest director at the National Theater in Ljubljana, then as a regular member of their group of directors, and later, after the liberation, briefly as a pedagogue at the Ljubljana Academy of Dramatic Arts (Akademija za Igralsko Umetnost). Gavella brought about the prototype of modern dramatic direction, and his plays grew into the focal points of Ljubljana dramatic scene (Gavella was the one to recognize the potential in Linhart’s comedy »Maticek is getting married« (Matiček se ženi), which he directed in 1934), and it is in Ljubljana that he found favorable conditions for his theatric capacities and insight. His direction of »The Glembays« (Gospoda Glembajevi) (1931) served to demonstrate the fact that Slovenian actors were capable of modern, psychological stage-acting.
Gavella’s return to Yugoslavia in 1947, following his wartime emigration, was by no means smooth, and his first work takes place in Slovenia. During this time, Gavella exerted a strong influence on his two students. By introducing performances known as ‘theater in a circle’ and choosing fresh dramatic templates in her Experimental [sic] theater, Balbina Baranovič became the figurehead for an alternative approach to theater in Slovenia and Yugoslavia. Herbert Grüna drew Gavella to work with him after he founded the Dramatic Theater in Zagreb in 1953. Following a series of guest appearances by renowned foreign theaters in Ljubljana and Zagreb, Grüna’s analysis awarded the Théâtre National Populaire high honors for acting, but ascribed Gavella an even higher honor for interpreting art and life. This experience with a model of a diametrically opposed view on theater demonstrates that the stage is not simply blind repetition of the traditions of teacher and apprentice, and that Gavella was keenly aware of this.
Due to the importance he ascribes to the metanarrative of the so called ‘internal direction’ within the interpretation of dramatic texts, Gavella’s ars poetica is one of the first works in history with which the term directorial theater can be associated with in Slovenian theater.
Ključne riječi
Hrčak ID:
129008
URI
Datum izdavanja:
29.4.2013.
Posjeta: 1.403 *