Page 338 - Weiss, Jernej, ur. 2019. Vloga nacionalnih opernih gledališč v 20. in 21. stoletju - The Role of National Opera Houses in the 20th and 21st Centuries. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 3
P. 338
vloga nacionalnih opernih gledališč v 20. in 21. stoletju
was one of the most prominent actors in the development of modern the-
atre in Ljubljana after World War I, who was only devoted to opera out of
necessity and had no positive affinity for the medium. Nevertheless, he di-
rected a series of successful performances, for which he collected approv-
al of the audience and a good evaluation of professional critics.9 One of his
most notable directions was Sergei Prokofiev’s opera, In love with three or-
anges in 1927, which had experienced 22 repetitions and of which he prid-
ed himself on10. He felt about himself that “he does not understand any-
thing about music...” and that “he is not a musical director,” and the opera
is just “by the way, if there is time left.11” Indeed, he was a good choir singer.
As it was common then, the director was not mentioned by critics among
the main actors12 even in the most successful performances, which is an el-
oquent proof of the marginality of this role.
Ciril Debevec (1903-1973), a graduate student of the Deutsche Akade-
mie für Musik und darstellende Kunst in Prague, was one of the most im-
portant directors for the professionalization of operatic directing in Slove-
nia. He was impressed by the theatre stage at an early age and was a peculiar
protégé of Osip Šest, who was his first role model. Even during his studies,
he was already experimenting with philosophy and music, he excelled in
all areas and was thoughtfully enthusiastic with expressionism. In the ear-
ly 20’s, Prague was full of new currents, among which the expressionist di-
rection was dominant, noticeably alive in the German and Czech theatres
there. In 1923, he returned to Ljubljana and dedicated himself as a publicist,
where he reproved with a critical eye over the circumstances of Ljubljana,
which he watched with his Prague-experienced eyes and expressed open
dissatisfaction. He combined his avant-garde views with those of the poet
Srečko Kosovel, with whom a literary circle was formed, and in 1925 took
over the management of Mladina magazine, which, under their leadership,
came to life as a critical bellwether that warned of unfavourable conditions
in the Ljubljana theatre, tried to overcome Slovenian cultural horizons, and
9 Prim. Dušan Moravec, Slovenski režiserski kvartet (z gostom)/ Slovenian directing
quartet (with guest), 50–51.
10 Osip Šest, »Jaz in ‘Oranže’« / “I and Oranges”, Gledališki list / Theatrical Gazette,
1927/28, No. 3, 38–39.
11 Osip Šest, »Opera in jaz« / “Opera and I”, Gledališki list / Theatrical Gazette, 1923/24,
No. 11, 12–13.
12 Prim. Slavko Osterc, »Kronika« / “Chronicle”, Ljubljanski zvon (The Ljubljana Bell),
l. 47, No. 11 (1927): 703–704.
336
was one of the most prominent actors in the development of modern the-
atre in Ljubljana after World War I, who was only devoted to opera out of
necessity and had no positive affinity for the medium. Nevertheless, he di-
rected a series of successful performances, for which he collected approv-
al of the audience and a good evaluation of professional critics.9 One of his
most notable directions was Sergei Prokofiev’s opera, In love with three or-
anges in 1927, which had experienced 22 repetitions and of which he prid-
ed himself on10. He felt about himself that “he does not understand any-
thing about music...” and that “he is not a musical director,” and the opera
is just “by the way, if there is time left.11” Indeed, he was a good choir singer.
As it was common then, the director was not mentioned by critics among
the main actors12 even in the most successful performances, which is an el-
oquent proof of the marginality of this role.
Ciril Debevec (1903-1973), a graduate student of the Deutsche Akade-
mie für Musik und darstellende Kunst in Prague, was one of the most im-
portant directors for the professionalization of operatic directing in Slove-
nia. He was impressed by the theatre stage at an early age and was a peculiar
protégé of Osip Šest, who was his first role model. Even during his studies,
he was already experimenting with philosophy and music, he excelled in
all areas and was thoughtfully enthusiastic with expressionism. In the ear-
ly 20’s, Prague was full of new currents, among which the expressionist di-
rection was dominant, noticeably alive in the German and Czech theatres
there. In 1923, he returned to Ljubljana and dedicated himself as a publicist,
where he reproved with a critical eye over the circumstances of Ljubljana,
which he watched with his Prague-experienced eyes and expressed open
dissatisfaction. He combined his avant-garde views with those of the poet
Srečko Kosovel, with whom a literary circle was formed, and in 1925 took
over the management of Mladina magazine, which, under their leadership,
came to life as a critical bellwether that warned of unfavourable conditions
in the Ljubljana theatre, tried to overcome Slovenian cultural horizons, and
9 Prim. Dušan Moravec, Slovenski režiserski kvartet (z gostom)/ Slovenian directing
quartet (with guest), 50–51.
10 Osip Šest, »Jaz in ‘Oranže’« / “I and Oranges”, Gledališki list / Theatrical Gazette,
1927/28, No. 3, 38–39.
11 Osip Šest, »Opera in jaz« / “Opera and I”, Gledališki list / Theatrical Gazette, 1923/24,
No. 11, 12–13.
12 Prim. Slavko Osterc, »Kronika« / “Chronicle”, Ljubljanski zvon (The Ljubljana Bell),
l. 47, No. 11 (1927): 703–704.
336
