Page 560 - Weiss, Jernej, ur./ed. 2021. Opereta med obema svetovnima vojnama ▪︎ Operetta between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 5
P. 560
opereta med obema svetovnima vojnama
The paper aims to shed light on operetta set design in Slovenia between the
wars and, in particular, the important contribution of the directors Bratko
Kreft, Ferdo Delak and Bojan Stupica and the set designers associated with
them to the development of Slovene set design. In opera, too, the repre-
sentatives of the avant-garde generation replaced the dusty, outdated stage
sets with scenic concepts designed using new, avant-garde performative el-
ements and practices.
Keywords: operetta, theatre, set design, avant-garde, stage design sketch,
rotating stage
Darja Koter
Operetta performances at the SNG Maribor
between the two world wars focusing on directing
techniques
The repertoire of Maribor operetta stage performances between the two
world wars shows that the vast majority of the works performed consisted
of Viennese operettas from the 19th and early 20th centuries and that they
also performed current works by Slovenian composers. The stylistic orien-
tation of the works was subordinated to the taste and expectations of the
audience and the financial capabilities of the theatre and did not succumb
to the occasional critical remark made by reporters from Maribor and Ljub
ljana newspapers. The performances were directed by members of the en-
semble: actors, directors of drama performances, and singers. Most had, at
least for a short time, been formally or informally educated in acting and
directing, or was able to attend performances by major European theatres.
Rado Železnik attended Otto’s School of Drama in Vienna, Pavel Rasberger
was moulded by Slovenian directors Anton Verovšek and Ignacij Borštnik,
Anton Harastović gained experience from the Varaždin and Maribor thea-
tres, Vladimir Skrbinšek matured with avant-garde director Rado Pregarc
and role models within the Moscow Art Theatre. Jože Kovič attended the
Max Reinhardt Theatre School, and Milan Košič attended the avant-gar-
de Erwin Piscator School of dramatic art in Berlin. Guest directors includ-
ed Josip Povhe from Ljubljana, Kurt Bachmann from Vienna, and the Cro-
atian baritone, Đuro Trbuhović, as well as Ferdo Delak, who was the only
one amongst the heretofore listed with an academic degree in directing ob-
tained at University Mozarteum. Compared to the Ljubljana theatre, di-
rectors from both houses had similar educations, worked in several fields,
and had similar role models. The operetta directors of the Maribor Theatre
558
The paper aims to shed light on operetta set design in Slovenia between the
wars and, in particular, the important contribution of the directors Bratko
Kreft, Ferdo Delak and Bojan Stupica and the set designers associated with
them to the development of Slovene set design. In opera, too, the repre-
sentatives of the avant-garde generation replaced the dusty, outdated stage
sets with scenic concepts designed using new, avant-garde performative el-
ements and practices.
Keywords: operetta, theatre, set design, avant-garde, stage design sketch,
rotating stage
Darja Koter
Operetta performances at the SNG Maribor
between the two world wars focusing on directing
techniques
The repertoire of Maribor operetta stage performances between the two
world wars shows that the vast majority of the works performed consisted
of Viennese operettas from the 19th and early 20th centuries and that they
also performed current works by Slovenian composers. The stylistic orien-
tation of the works was subordinated to the taste and expectations of the
audience and the financial capabilities of the theatre and did not succumb
to the occasional critical remark made by reporters from Maribor and Ljub
ljana newspapers. The performances were directed by members of the en-
semble: actors, directors of drama performances, and singers. Most had, at
least for a short time, been formally or informally educated in acting and
directing, or was able to attend performances by major European theatres.
Rado Železnik attended Otto’s School of Drama in Vienna, Pavel Rasberger
was moulded by Slovenian directors Anton Verovšek and Ignacij Borštnik,
Anton Harastović gained experience from the Varaždin and Maribor thea-
tres, Vladimir Skrbinšek matured with avant-garde director Rado Pregarc
and role models within the Moscow Art Theatre. Jože Kovič attended the
Max Reinhardt Theatre School, and Milan Košič attended the avant-gar-
de Erwin Piscator School of dramatic art in Berlin. Guest directors includ-
ed Josip Povhe from Ljubljana, Kurt Bachmann from Vienna, and the Cro-
atian baritone, Đuro Trbuhović, as well as Ferdo Delak, who was the only
one amongst the heretofore listed with an academic degree in directing ob-
tained at University Mozarteum. Compared to the Ljubljana theatre, di-
rectors from both houses had similar educations, worked in several fields,
and had similar role models. The operetta directors of the Maribor Theatre
558
