01_ALOJZ_UJEC.pdf

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Alojz UJES

1914.

(1806-1856-1956-2006.)

Kqu~ne rije~i:Boka Kotorska, Sterija (Jovan Sterija Popovi}),

Nikola Stevanov \urkovi}-Ri{wanin, Pozori{te na srpskom jeziku

u Boki-Joakim Vuji}, Srpsko pjeva~ko crkveno dru{tvo Jedinstvo.

Gradovi: Kotor, Risan, Pan~evo, Trst, Beograd.

-

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Jovan Sterija Popovi}

Herceg-Novi, veduta grada crtana s mora


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Alojz Ujes

PERFORMANCES OF STERIJAS WORKS ON THE STAGES

OF THE BOKA KOTORSKA BAY AND PARTICIPATION OF THE BOKAPEOPLE IN STERIJAS THEATRICAL CREATIONS TILL 1914

Summary

In honour of Sterijas jubilees (1806-1856-2006) the author writes about the

dramatic works by Jovan Sterija Popovi(1806-0856) performed in Serbian, in Boka

Kotorska till the year 1914. He cites the performances of Sterijas works in Kotor

(1860,1874,1876), in Budva (1862) and Herceg-Novi (1878) connecting them with

the performances of Sterijas works on the stages of Zagreb (1840-1842), Belgrade(1841-1842; and 1847-1848), Novi Sad (1838), Panevo (1839, 1844 and later) and

other places. The author points out that Sterijas works enabled the establishment of

the national theatre in Belgrade (1841-1842; and 1847-1848), and creation of a special

European variance of Serbian theatre in Belgrade built under the Turkish occupation.

The author specially points out the role of the Boka people and Montenegrins

in the establishment of Sterijino Pozorje (National Drama Festival) and the National

theatre of the Serbs in Belgrade, pointing out musical and dramatic creation of Nikola

Stefanov urkovifrom Risan, the first composer among the Serbs, director of the

Serbian Church Singing Society of Panevo, who was the director of the Second

National Theatre in Belgrade Teatar kod Jelena, as an organizer, translator andadapter of plays, great actor, singer, universal artist and Sterijas closest collabora-

tor the artistic promoter who together with Sterija and the Court of Karadordevic

deserves credit for the establishment and work of the National Theatre in Serbian

language in Belgrade.

The author also underlines the significant role of numerous refugees in Vojvo-

dina, Belgrade and Serbia from the Boka Bay, Montenegro, Herzegovina and other

regions, who presented a separate ethnic, language, cultural and religious group, and

who mostly through donations, sponsorships, subscriptions to the editions of the

works by Vuji, Sterija, urkoviand the others, enabled cultural and in particulartheatrical work and creation.

For the first time the author reveals the experience of Joakim Vuji, the father

of Serbian theatre, with the people of Boka, whom he praises enthusiastically be-

cause they helped him on many occasions and saved him from famine and poverty.

This is for the first time that the theatre performances in Serbian in the Boka

Kotorska Bay is included in the whole system of theatrical creation of the Serbs from

Belgrade, Zagreb, Novi Sad, Trieste, Panevo, Sombor, Zemun, Vrac, Bela Crkva (in

Banat), Timioara and other towns in diaspora.

The author particularly lays stress on the exceptional function of the Serbian

singing society Jedinstvo of Kotor, as the most significant cultural and theatrical cen-

f h B k K k B ill 1914 Fi ll h i d l

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01_ALOJZ_UJEC.pdf