The Ruše school plays, which are described in the Latin chronicle of Jožef Avguštin Meznerič titled Notata Rastensia antiquissimis documentis desumpta et variis fide humana dignis autographis syno­ptice descripta in connection with the Latin school (1645–1760), are frequently seen as an early attempt of theatrical production, lost in Slovenian literary history. They were introduced by the remarkable Luka Jamnik, a local priest and talented impresario, called the “Ro­mulus of Ruše” in the chronicle. In 1680, he began organizing annual plays modelled (...) after Jesuit school “comedies” (actio comica). Regular annual performances in honour of the Virgin Mary took place every early September, on the feast of Mary’s name, until 1722, but due to a later fire, no texts have been preserved. This article undertakes a unique task – the first attempt to reconstruct one of the performances from that time, a lost play from 1706 with a supposedly ancient motif about Emperor Jovinian who was miraculously led to conversion, De Joviniano imperatore mire correcto. It outlines the dramatic plot based on two literary sources, one from the Gesta Romanorum collection and the other from the Summa Theologica by a Dominican writer called Antoninus of Florence. With a collection of six periochae, “theater programs” preserved from similar school performances of the time, it also sketches the Erwartungshorizont of possible variations, just as they were presented on different European stages at the time. Furthermore, the paper presents the treatment of this motif, known as ATU 757, “The Emperor’s Haughtiness Punished,” in a series of other traditions, starting from its roots in the biblical story of King Nebu­chadnezzar (Dan 3:31–4:34) through the authors such as Herrand of Wildonie, Geoffrey Chaucer, Hans Sachs, William Morris, and Henry Wadsworth Longfellow, to the contemporary 20th-century opera by Josef Tal and Israel Eliraz. In this light, the 1706 performance in Ruše emerges as a significant annual highlight of cultural life in the region, with young intellectuals introducing their audience of several thousand viewers to a complex motif from European literary tradition that was both spiritually and socially provocative. (shrink)

Prispevek predstavlja drobec iz slovenske gledališke zgodovine, pri čemer se osredotoča na dogajanje na odru nemškega Stanovskega gledališča v Ljubljani v sezoni 1833/34. Najprej je predstavljeno Amalija Mašek, operna pevka z mnogimi izkušnjami tudi v gledališki praksi, ki je v tem času vodila ljubljanski oder, nato pa je natančneje obravnavan repertoar omenjene sezone. Pri tem se osredotočamo zgolj na dramsko produkcijo in se ne posvečamo opernim predstavam. Iz prispevka je razvidno, da ljubljanski repertoar, v katerem so bile romantične igre reševanja, (...) klasične komedije, vodvilske komedije (comédie-vaudeville) in čarobne pravljice, ni zelo zaostajal za dunajskimi in celo za pariškimi uprizoritvami v prvi polovici 19. stoletja ter da si je občinstvo v Ljubljani predstave velikokrat lahko ogledalo samo nekaj let po praizvedbah. (shrink)