Croatian drama in the theater living of Mostar 1879 - 2010 years

Lasić, Maja. (2018). Croatian drama in the theater living of Mostar 1879 - 2010 years. PhD Thesis. Filozofski fakultet u Zagrebu, Department of Comparative Literature.
(Poslijediplomski studij književnosti, izvedbenih umjetnosti, filma i kulture) [mentor Senker, Boris].

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Abstract

The national drama heritage is a specific historical, cultural and artistic component of any society. Regarding the institutional framework of the theater is one of the most important creations of every society and country. The development of a spatial environment is determined to a large extent and the achieved level of development of theater system and its specific dramatic heritage. Social circumstances and changes in the historical theater stage require adaptation to new developments and changes. Tim is a complex study of the national drama heritage, when it comes to physical and cultural environment that is characterized in its manifold complexities exist. Such is the case with the city of Mostar and the study of Croatian drama in the ambience of what belongs rightfully and Bosnian-Herzegovinian but also the Croatian cultural paradigm when it comes to theater. Complex social and territorial frameworks in which the city of Mostar existed over the period from 1879 to 2010 are rare, and in a much broader relations of existence. Changed in the observed period mentioned several empires and several national framework of existence, and the city and culture, as well as a theater and drama. Since the Austro-Hungarian Empire, through the Kingdom of Serbs, Croats, and the Kingdom of Yugoslavia, and Littoral Banovina, then FNRJ, and Yugoslavia to an independent, internationally recognized state of Bosnia and Herzegovina suffered the Croatian and Croatian drama theater and its changes through the apparition, authors and orientation formed and placed in this regard. But throughout the specified period or periods, croatian drama in the theater life of Mostar had its place, which was a decent represent with special, sometimes more or less pronounced role in developing awareness and change not only the groups that must be addressed and traditional but also a kind of code of intercultural communication in an environment that is different in many cultural properties. In such an environment, Croatian drama was an indispensable and necessary impetus to the integration of theater life in Mostar. Undoubtedly through consideration of Croatian drama in the theater life of Mostar in a 130-year duration to show how many pieces of theatrical performance authors who belong to the Croatian dramatic heritage indispensable and essential structural segment of something called the Croatian dramatic heritage and Croatian culture. And not only that, but the Croatian drama in the theater life of Mostar is an essential part of the Bosnian drama heritage, which is a kind of theatrical specificity and cultural diversity that rated Croatian dramatic structures carry within themselves. For ease of examination and thorough research of the work in the research segment and the results obtained, they were divided into five units according to the time frames in which the Croatian drama was analyzed in the theatrical life of Mostar. The headings of the aforementioned units are also the structure of the work itself (dissertation). They are all: 1. Croatian drama in the theater life of Mostar during the rule of the Austro-Hungarian Monarchy from 1879 to 1918 2. Croatian drama in the theater life of Mostar during the Kingdom of the SHS from 1918 to 1941 (since 1929 Kraljevina Jugoslavija, from 1939 to 1941 Banovina Croatia) 3. Croatian drama in the theater life of Mostar during NDH from 1941 to 1945 4. Croatian drama in the theater life of Mostar during SFRJ from 1945 to 1991; (FNRJ from 1945 to 1963) 5. Croatian drama in the theatrical life of Mostar in BiH from 1992 to 2010. The work on Croatian drama in the theater life of Mostar from 1879 to 2010 was treated through a theatrographic method of encyclopedic-lexicographical character. All the determinants (individual and collective) and the structural (active) segments of the play were elaborated. The specificity of the research on Croatian drama in the theater life of Mostar in the period mentioned above is contained in the fact that the applied theological and theoretical methodology as the dominant approach to the theatrical graphical processing was applied to the institutional discourse. Such a discourse involves the analysis of each of the treated encyclopaedic-lexicographical units through an institution that implies dramatic work and theatrical activity, ie the field of engagement in the theater (directors, actors, scenographers, costumes ...), and not through the personalization of creators and creators through these types of engagement . Theatrical periodization of the city of Mostar was conducted in five periods related to state and political changes, but also to the periodization that is more in contrast to the theatrical being in the city and the region. Such periodisation has two important segments, when research on Croatian drama in the life of Mostar (1879-2010) is concerned, and these segments can be defined as periods: 1. Croatian drama in amateur theatrical theater, ie pre - institutional period i 2. Croatian drama in institutional professional theater or institutional theatrical period

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