The People\u27s Theater in Zadar from 1945 to 1955

Osnivanje Narodnoga kazališta u Zadru nakon Drugoga svjetskog rata imalo je zadaću obnoviti gotovo iščezli hrvatski jezik i kulturu u javnom životu nakon dvadesetogodišnje talijanske okupacije. S druge pak strane trebao se kazalištem propagirati duh novih ideja koje su u komunističku Hrvatsku i Jugoslaviju dolazile uglavnom iz Sovjetskog Saveza. Prvih par godina kazališnog života u Zadru poletne su godine u stvaranju ansambla, publike i kritike, a potom je uslijedila velika kriza. S jedne su strane bili kadrovski problemi, a s druge strane osiromašena zemlja u kojoj je trebalo mnogo umješnosti kako bi se napravila scenografija za novu premijeru. U Zadar godine 1954. iz Zagreba dolazi redatelj Miro Marotti, a nekako u isto vrijeme u kazalištu počinje raditi scenograf Zdenko Venturini. Umjetnički osnaženi pred kraj prvoga desetljeća, s pozornice su počeli uklanjati diletantizam, šablonizirani glumački postupci i preživjela scenska artificijelnost. Autorica posebno analizira novu publiku te govori o kazališnoj kritici koja ima posebne kriterije vrjednovanja odigranih predstava.The People\u27s Theatre in Zadar was founded after the end of World War Two on the one hand with the aim of reviving the forgotten Croatian language and culture following two decades of the Italian occupation, and on the other, to serve as the promoter of the spirit of new ideas that arrived to communist Croatia and Yugoslavia mainly from the Soviet Union. The first couple of years of the theatrical life in Zadar were marked by the enthusiasm of the creative ensemble, the audience and the reviewers; however, a major crisis followed. While on the one hand, the Zadar theatre suffered from personnel shortage, on the other, it required a great deal of skill to ensure stage design for a new production in such a pauperised country. In 1954, director Miro Marotti arrived from Zagreb to Zadar, and at that approximate time, stage designer Zdenko Venturini started working at the Zadar theatre. Artistically recovered toward the end of the first decade, the theatre began to ban dilettantism, stereotype acting and outmoded artificiality from the stage. The author analyses in particular the new audience and tackles the issue of theatrical reviewing that followed special criteria in evaluating the performances