Бранислав Нушић као управник позоришта у Београду (1900–1902), Новом Саду (1904–1905) и Скопљу (1913–1915)

Abstract

Playwright Branislav Nušić had been a manager to three major Serbian theatres in period before the First World War – National Theatre in Belgrade (16 July 1900 – 14 January 1902), Serbian National Theatre in Novi Sad (26 February 1904 – 20 August 1905) and the National Theatre in Skopje (31 October 1913 – 20 October 1915); in all three instances he faced entirely different circumstances and tasks. In Belgrade, he became a head of the theatre which had over three decades of continuous activities, permanent artistic staff and its own purposefully designed theatre building. As a superb expert of theatre, Belgrade artists and public, Nušić initiated numerous projects to improve working conditions and reputation of the Theatre. He wholeheartedly supported development of national theatre; thus, he created varied repertory relevant for the time, established The Theatre Gazette, took part in design of legal regulations, planned additions and repairs of the building, supported exchange of artists, ultimately proving to be a remarkable leader with extraordinary marketing ideas and potential. The Serbian National Theatre, located in Novi Sad, was actually a travelling theatre company at the time, with all the problems that nomadic manner of living and substandard operating conditions bring; haphazard repertoire, inadequate staff made of undisciplined actors, hefty expenses… As an expert on drama literature and contemporary audience, Nušić started taking successful steps to improve repertory immediately upon taking his position and, as a very skilful manager, he quickly devised a plan to achieve optimal results in given circumstances. In Skopje, he took upon himself the pioneering effort to establish a theatre in a town where the institution of a theatre had been completely unfamiliar to the public – in period between the three wars. In spite of politically sensitive circumstances, and as an experienced diplomat, he managed to find a balance between the need to please the audience made of several nationalities and three religions, and the necessity to lift national awareness of Serbian population. As an economic expert, with a minimum of available material and personnel potential at his disposal, he achieved resounding successes with first productions. He dealt with fire, epidemic outbreaks, military drafting, support from the Government in Belgrade… And yet, he managed to set firm foundations for the theatre which has been in existence ever since. Later on, he was one of the founders, a dramaturge and manager of the National Theatre in Sarajevo (December 1924 – April 1928). The job of a theatre manager has always, and everywhere, been a complicated one in its nature, as well as demanding, sensitive and heavy-laden with responsibility; there are only a few of those who are able to perform it with success and for general good. Branislav Nušić was a man of great experience in areas of literature and journalism, a man of theoretical and practical knowledge regarding the varied and diversified sphere of theatre art and practice, with wideranging capabilities and talents – starting from writing, through diplomatic and organizational, to managerial skills – as well as a man of unmistakable knowledge about his contemporaries, and yet he never managed to keep the position of a theatre manager for long periods of time.

У српској књижевности и српском позоришту значајно место заузима Бранислав Нушић, не само као аутор цењених и омиљених драмских дела. Од велике важности за наш театар је и његова улога управника и то је тема о којој још није све речено. У периоду пре Првог светског рата овај књижевник је био на челу три велика српска театра, у којима се сучелио са сасвим другачијим околностима и задацима. У Народном позоришту у Београду, уходани ансамбл са сталном наменски зиданом зградом омогућава му да покрене разгранате акције за унапређење услова рада и подизање угледа Куће. Услови у којима делује практично путујућа трупа Српског народног позоришта из Новог Сада приморавају га да се бави дисциплином и саставом ансамбла, пројектовањем уштеда, борбом за достојан уметнички квалитет извођења представа. У Скопљу, упркос ванредним околностима између три рата, успева да оснује позориште у средини којој је ова делатност непозната и за коју не постоји никаква инфраструктура. Захваљујући својим бројним и разноврсним талентима, знањима и искуствима, Нушић показује да је дорастао свим изазовима, увек на ползу театра. Ипак, његова уметничка природа која са собом, између осталог, носи и одређену дозу немарности, неозбиљности, неодговорности, нарочито у погледу поступања са новцем, утицала је на скраћивање мандата у два случаја, док је његову делатност у Скопљу прекинуо почетак Великог рата.