Operetta on the stages of Maribor

V magistrskem delu z naslovom Opereta na mariborskih odrih je v teoretičnem delu predstavljeno, kaj je opereta, njeni začetki in razvoj ter podrobnejša predstavitev razvoja operete v Sloveniji. Pomemben del naloge predstavlja zgodovina in vloga operete v Mariboru ter primerjava z vlogo operete v Ljubljani. Empirični del naloge vključuje popis vseh premiernih izvedb operet tako v Mariboru kot v Ljubljani od leta 1919 do 1939. Ravno med temi leti je opereta dosegla svoj vrhunec, bila je najbolj zastopana na repertoarjih in najbolj popularna, saj je bila izvedena v domačem jeziku, vsebovala je ples, govorjene dialoge in pompozen finale. Bila je lažja kot opera, bolj preprosta, komična, za občinstvo je predstavljala zabavo, prav tako pa je na razširjenost operete vplivala neprimernost prostorov in pomanjkanje ustreznega strokovnega kadra. Hkrati je uspešnost operet zagotavljala finančno varnost in uspešnost delujočih gledališč in kulturnih društev ter omogočala njihov obstanek. Poseben poudarek naloga daje tudi razmerju med izvedenimi slovenskimi in tujimi operetami, razmerju med opero in opereto ter primerjavo med izvedenimi slovenskimi in tujimi operetami v Mariboru in Ljubljani z dodanim skladateljem, datumom premiere in številom izvedb v sezonah med letom 1919 in 1940.In the master\u27s thesis entitled Operetta on the stages of Maribor, the theoretical part is used to describe what an operetta actually is, its beginnings and development, and a more detailed presentation of the development of operetta in Slovenia. An important part of the thesis is the history and role of operetta in Maribor, and a comparison with the role of operetta in Ljubljana. The empirical part of the thesis includes an inventory of all premiere performances of operettas in Maribor as well as in Ljubljana from 1919 to 1939. It was during these years that the operetta had reached its peak, as it was most represented in repertoires and most popular, because it was performed in the native language. It contained dance, spoken dialogues, and a pompous finale, it was easier than an opera, simpler, comical, and entertaining, and the prevalence of the operetta was also influenced by the unsuitability of the premises and the lack of appropriate professional staff. At the same time, the success of operettas provided the financial security and success of functioning theaters and cultural societies and enabled their survival. The thesis also puts a special emphasis on the ratio between performed Slovene and foreign operettas, the ratio between the opera and the operetta, and the comparison between performed Slovene and foreign operettas in Maribor and Ljubljana with added composer, premiere date and number of performances in the 1919-1940 seasons