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Glasna publika / Boris Senker.

By: Senker, Boris.
Material type: ArticleArticleDescription: 55-90 str.Other title: Loud audience.Subject(s): hrvatsko kazalište, glasna publika, kazalište i politika, kazališna kritikaOnline resources: Click here to access online Dani hvarskog kazališta. [42], Publika i kritika / [uredništvo knjige Boris Senker, Vinka Glunčić-Bužančić]. -Summary: U članku se prikazuje i analizira niz primjera različitih glasnih reakcija hrvatske, uglavnom zagrebačke, kazališne publike tijekom izvedbi. Pregled po¬činje prosvjedima protiv njemačkoga kazališta u Zagrebu 24. studenoga 1860., a nastavlja se osvrtom na odnos spram ponašanja publike u kazališnim kritikama Augusta Šenoe od 1866. do 1881. Posebno mjesto dobiva demonstrativan izlazak Miroslava Krleže s izvedbe jednočinki Petra Petrovića Pecije 1919. Na kraju se govori o trima dramama Milana Begovića (Laka služba, Hrvatski Diogenes i Bez trećega) te dvjema dramama Marijana Matkovića (Slučaj maturanta Wagnera i General i njegov lakrdijaš) koje su u razdoblju od 1915. do 1970. izazvale glasne reakcije (dijela) publike, često s političkim posljedicama.Summary: The article gives a survey and analysis of a series of various loud and noisy reactions of Croatian, mostly Zagreb theatre audience during performances. The survey starts with crucial demonstrations held against German theatre in Zagreb on November 24, 1860, treated in Croatian theatre historiography as the starting point of the continuous operation of the Croatian National Theatre in Zagreb. Follows the analysis of information on Zagreb ‘loud audience’ customs and behavior (ovations, boos, claque etc.) in the period from 1866 to 1881 given by August Šenoa (1838-1881) in two books of his Theatre Reports. Special attention is given to Miroslav Krleža (1893-1981) and his demonstrative exit from the performance of rustic and erotic one act comedies by popular playwright Petar Petrović Pecija (1877-1955) in CNT, in 1919. The last five examples of ‘loud audience’ in Croatian theatre given in this article are three performances of plays written by Milan Begović (1876-1948) – pro-martial Easy Service (Zagreb 1915), patriotic Croatian Diogenes (Zagreb 1928) and proto-feminist Without the Third One (Split 1932) – and two performances of plays written by Marijan Matković (1915-1985) – juvenile and rebellious The Case of Graduate Wagner (Zagreb 1935) and antiheroic The General and His Jester (Zagreb 1970). Three of these plays (Easy Service, Croatian Diogenes and The Case of Graduate Wagner) were banned by the authorities because of politically motivated demonstrations in the auditorium.
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U članku se prikazuje i analizira niz primjera različitih glasnih reakcija hrvatske, uglavnom zagrebačke, kazališne publike tijekom izvedbi. Pregled po¬činje prosvjedima protiv njemačkoga kazališta u Zagrebu 24. studenoga 1860., a nastavlja se osvrtom na odnos spram ponašanja publike u kazališnim kritikama Augusta Šenoe od 1866. do 1881. Posebno mjesto dobiva demonstrativan izlazak Miroslava Krleže s izvedbe jednočinki Petra Petrovića Pecije 1919. Na kraju se govori o trima dramama Milana Begovića (Laka služba, Hrvatski Diogenes i Bez trećega) te dvjema dramama Marijana Matkovića (Slučaj maturanta Wagnera i General i njegov lakrdijaš) koje su u razdoblju od 1915. do 1970. izazvale glasne reakcije (dijela) publike, često s političkim posljedicama.

The article gives a survey and analysis of a series of various loud and noisy reactions of Croatian, mostly Zagreb theatre audience during performances. The survey starts with crucial demonstrations held against German theatre in Zagreb on November 24, 1860, treated in Croatian theatre historiography as the starting point of the continuous operation of the Croatian National Theatre in Zagreb. Follows the analysis of information on Zagreb ‘loud audience’ customs and behavior (ovations, boos, claque etc.) in the period from 1866 to 1881 given by August Šenoa (1838-1881) in two books of his Theatre Reports. Special attention is given to Miroslav Krleža (1893-1981) and his demonstrative exit from the performance of rustic and erotic one act comedies by popular playwright Petar Petrović Pecija (1877-1955) in CNT, in 1919. The last five examples of ‘loud audience’ in Croatian theatre given in this article are three performances of plays written by Milan Begović (1876-1948) – pro-martial Easy Service (Zagreb 1915), patriotic Croatian Diogenes (Zagreb 1928) and proto-feminist Without the Third One (Split 1932) – and two performances of plays written by Marijan Matković (1915-1985) – juvenile and rebellious The Case of Graduate Wagner (Zagreb 1935) and antiheroic The General and His Jester (Zagreb 1970). Three of these plays (Easy Service, Croatian Diogenes and The Case of Graduate Wagner) were banned by the authorities because of politically motivated demonstrations in the auditorium.

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