Page 57 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 7, zvezek 16 / Year 7, Issue 16, 2011
P. 57
a Bohak, PROFIL IGRALCA (PEVCA) NA SLOVENSKEM OD KONCA 19. STOLETJA DO...
Tina Bohak
Konservatorij za glasbo in balet Maribor
PROFIL IGRALCA (PEVCA) NA SLOVENSKEM OD
KONCA 19. STOLETJA DO DRUGE SVETOVNE
VOJNE
Izvleèek
Prispevek obravnava razvoj profila igralca oziroma pevca na Slovenskem v
èasovnem okviru od 2. pol. 19. stoletja do druge svetovne vojne. Avtorica
poskuša odgovoriti na razlièna vprašanja, kot so: kdaj se zaènejo snovati ideje o
prvem poklicnem gledališèu, kateri igralci so prvi zaèrtali svojo ivljenjsko pot
kot poklicno in kje so pridobivali svoje znanje in izkušnje. Odpira tematiko o
povezanosti igralske in pevske prakse, gledališki dejavnosti in izobra evanju
med obema vojnama in ne nazadnje, kakšen je bil profil igralca kot objekta v
obravnavanem èasovnem obsegu. Za izhodišèe raziskovanja je avtorica izbrala
podrobnejši pregled igralcev/pevcev od konca 19. stoletja do druge svetovne
vojne in skuša odgovoriti na vprašanje, ali in do kakšne mere je bil njihov
gledališki profil povezan z glasbeno oz. s pevsko prakso.
Kljuène besede: poklicno gledališèe, pouèevanje petja, profil igralca/pevca,
Dramatièna šola, Dr avni konservatorij, Avgusta (Vela) Nigrinova, Josip Nolli,
Marija Vera, Ivan Levar.
Abstract
Actor’s (singer’s) profile in Slovenia from the late 19th century to the
World War II
The article explains the development of actor’s profile in Slovenia,
comprising the period from the second half of the 19th century until the World
War II. The author strives to answer various questions such as: when did the ideas
about the first professional theatre start to form, which actors were first to become
professional and where did they obtain their knowledge and experience?
Furthermore, she opens up the topic about the connection between the acting and
vocal career, the theatrical practice and education between the world wars, and
last but not least, she describes the actor’s profile considered as an object in the
above mentioned time scale. As the basis of the survey the researcher has chosen
a more detailed overview of the actors/singers in the same timeline and tries to
provide an answer to the question of whether and to what extent was their
theatrical profile associated with the musical or choir practice.
Key words: professional theater, teaching singing, actor’s/singer’s profile,
Dramatic school, National Conservatory, Avgusta (Vela) Nigrinova, Josip Nolli,
Marija Vera, Ivan Levar.
57
Tina Bohak
Konservatorij za glasbo in balet Maribor
PROFIL IGRALCA (PEVCA) NA SLOVENSKEM OD
KONCA 19. STOLETJA DO DRUGE SVETOVNE
VOJNE
Izvleèek
Prispevek obravnava razvoj profila igralca oziroma pevca na Slovenskem v
èasovnem okviru od 2. pol. 19. stoletja do druge svetovne vojne. Avtorica
poskuša odgovoriti na razlièna vprašanja, kot so: kdaj se zaènejo snovati ideje o
prvem poklicnem gledališèu, kateri igralci so prvi zaèrtali svojo ivljenjsko pot
kot poklicno in kje so pridobivali svoje znanje in izkušnje. Odpira tematiko o
povezanosti igralske in pevske prakse, gledališki dejavnosti in izobra evanju
med obema vojnama in ne nazadnje, kakšen je bil profil igralca kot objekta v
obravnavanem èasovnem obsegu. Za izhodišèe raziskovanja je avtorica izbrala
podrobnejši pregled igralcev/pevcev od konca 19. stoletja do druge svetovne
vojne in skuša odgovoriti na vprašanje, ali in do kakšne mere je bil njihov
gledališki profil povezan z glasbeno oz. s pevsko prakso.
Kljuène besede: poklicno gledališèe, pouèevanje petja, profil igralca/pevca,
Dramatièna šola, Dr avni konservatorij, Avgusta (Vela) Nigrinova, Josip Nolli,
Marija Vera, Ivan Levar.
Abstract
Actor’s (singer’s) profile in Slovenia from the late 19th century to the
World War II
The article explains the development of actor’s profile in Slovenia,
comprising the period from the second half of the 19th century until the World
War II. The author strives to answer various questions such as: when did the ideas
about the first professional theatre start to form, which actors were first to become
professional and where did they obtain their knowledge and experience?
Furthermore, she opens up the topic about the connection between the acting and
vocal career, the theatrical practice and education between the world wars, and
last but not least, she describes the actor’s profile considered as an object in the
above mentioned time scale. As the basis of the survey the researcher has chosen
a more detailed overview of the actors/singers in the same timeline and tries to
provide an answer to the question of whether and to what extent was their
theatrical profile associated with the musical or choir practice.
Key words: professional theater, teaching singing, actor’s/singer’s profile,
Dramatic school, National Conservatory, Avgusta (Vela) Nigrinova, Josip Nolli,
Marija Vera, Ivan Levar.
57
