engleski

Die Rezeption der Theaterproduktionen der Dramen Gerhart Hauptmanns auf der Bühne des Osijeker Kroatischen Nationaltheaters in Osijeks Presse in der ersten Hälfte des 20. Jahrhunderts

Although it has been more than seventy years since the death of the great German writer Gerhart Hauptmann (1862-1946) who preferred to stay in the Third Reich instead to emigrate, his opus and many WWII-related biographical facts revealed in the recent publications of his diaries seem to be still able to provoke ambivalence, controversy, and aversion. We might consider it a devastating fact that after the Second World War not a single Croatian theatre house dared to stage any of the Nobel prize winner’s drama works – and even conclude that Croatian public (for a couple of generations!) had been denied the opportunity to enjoy the productions of one of the most prolific and influential German dramatists. However, any responsible theatre director cannot ignore the context of Hauptmann’s now fully revealed anti-Semitism, anti-Slavism, and anti-Americanism expressed explicitly in his diaries, as proven in Željko Uvanović’s book Gerhart Hauptmanns Egoismus (2013). Contrary to today’s situation, Osijek’s theatre audience has been shown six of Hauptmann’s works in the period from 1910 to 1942. The task of this paper is to try to find out, by reading Osijek’s press in the aforementioned period, what the expectations of Osijek’s theatre audience were, how the press covered the activities of Osijek’s Theatre, and what the reactions of the audience to the repertoire of Croatian National Theatre in Osijek were, especially with regard to Gerhart Hauptmann’s selected dramas.

Gerhart Hauptmann, Drama, das Kroatische Nationaltheater Osijek, Osijeker Presse, Theaterkritik, Zeitabschnitt 1910-1942, deutsch-kroatische Kulturkontakte, Einfluss des festgestellten Antisemitismus, Antislawismus und Antiamerikanismus auf die Rezeption heutzutage

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