Hvar Popular Theatre

For those who want to climb there, a slippery path of thirty-two steps leads up. On its open side, the noble commander of the fleet had lanterns placed to chase away the darkness at the beginning of the night, when the crowd gathers to increase the number of spectators nestled in the high theater. It is impossible to adequately depict the performances that were to be given at night. Perhaps not even the guitarist Apollo himself could describe them properly. Let others sing about that.

This is how the poet Antun Matijašević-Karameneo from Vis wrote about the folk theater in Hvar a hundred years after its doors were opened. This renaissance theater was built in 1612 thanks to the efforts of the Hvar prince and provost Pietro Semitecolo, who was appointed to this position by the Venetian Republic, as Hvar was under Venetian rule and administration at that time. Along with the Teatro Olimpico in Vicenza (1585) and Teatro all’Antica in Sabbioneta (1588), it is one of the oldest public theaters in Europe.

Namely, after the fall of the Roman Empire All ancient theaters cease to function. The art of theater in general falls into oblivion, except for some simpler forms of performance that do not have the characteristics of theatrical performances in the true sense (fairground comedy, juggling, parodies, singing performances, etc.), and this state lasts for centuries, until the late 16th century. It was then that the first public theater, the Hvar Theater, opened.

In just two years of holding the position of prince in Hvar, from 1610 to the beginning of 1613, Pietro Semitecolo skillfully and effectively united the two hundred-year-old opposed factions of the Hvar community – the nobility and the citizens – around a common project, the Hvar Theater. Namely, the struggle of the common people for equal status with the nobility reached its peak in 1514 with a popular uprising that was violently suppressed, and after which the relations continued to escalate until the arrival of Pietro Semitecolo, a Venetian, in Hvar.

Enlightened and dedicated to culture, he noticed the common desire and need of the noble and commoner classes of Hvar at that time. The old arsenal from the 13th century, which served as a storage for the Hvar war galley and a place for repairs of the Venetian warships, was expanded by converting the upper part of the building into a theater, with a beautiful spacious terrace extending in front of the entrance. This high terrace, which is reached by stairs, is also one of the best places for observing and listening to the city, even today.

Interestingly, by choosing this building to house the theater, Semitecolo put the same building in the service of the city’s security and ensuring its development, which was clearly needed by Hvar and its residents. The symbolic inscription above the theater entrance, “ANNO SECVNDO PACIS MDCLXII”, translated as “In the second year of peace 1612”, still reminds us of Pietro Semitecolo’s successful reconciling role. In addition to the peace that had been absent for a long time, Semitecolo also provided Hvar with a framework through which cultural and social development took place in the subsequent centuries. ne odustaje i ne pokazuje strah pred otporom. Naposljetku, njegova vizija za razvoj grada Hvara i očuvanje kulturnog naslijeđa prevladala je i dovela do stvaranja kazališta koje je postalo središte kulturnog života grada. and throughout his tenure, he remained steadfast in his decisions. Those who succeeded him in the role showed no interest in continuing any significant work. Therefore, the city of Hvar owes its present-day appearance to the Venetian governor and his vision for the city and society.

In a time when access to theater and the performing arts was reserved exclusively for the nobility, this island city gained a theater institution that equally welcomed and educated generations from both classes. It is important to note that, apart from two Italian theaters which, unlike the one in Hvar, were private rather than municipal, organized and covered theater buildings did not exist in Europe. The theaters that opened their doors at that time, for example in England, were improvised structures and not permanent theater buildings made of durable construction materials, like the Hvar Theater.

This lesson also emphasizes the importance of cultural heritage, as the Hvar Theater remains a testament to the vision and commitment of its founder, and its ability to transcend social barriers. The people of Hvar have the privilege of participating in their performances and presentations regardless of the season or weather conditions, which they have been doing for generations.

The theatrical life of the island of Hvar and its namesake city has witnessed great diversity and richness even before the construction of the actual theater space: from medieval church representations of the lives of saints, which served as precursors to other theatrical forms, to the carnival texts of Jeđupka by Mikša Pelegrinović, the staging of Lucić’s “Robinja” and Hektorović’s “Ribanje i ribarsko prigovaranje,” the first Renaissance secular drama written in Croatian, and the lesser-known plays of Vlahinja by Ivan Parožić, the comedies “Hvarkinja” and “Komedija od Raskota” in the style of Italian commedia dell’arte by Martin Benetović, the fishing pastorals “Murat gusar” and the pastoral dialogues of “Ljubica” by Marina Gazarović, as well as various guest performances and numerous plays by traveling and amateur theater companies. In addition to playing a significant role in preserving the theatrical tradition. Engagement in theatrical and operatic works by both domestic and foreign authors, organizing concerts, puppet shows, grand public dances, and masquerade balls have ensured the cultural development of young theater enthusiasts and audiences who collectively contribute to the continuity of theatrical life.

Advisor of the Austrian Dalmatian Government (1814-1918) Luigi Maschek wrote in the 1870s: The goal of the amateur theater institution in Hvar was the education of youth and the promotion of public morality, which is elevated by the entertainment provided by the theater. This goal has always been present and there are records that in the 17th and 18th centuries, and beyond, the local youth performed in the same theater with dramatic performances, entertaining and educating the Croatian people. It also states: Therefore, Hvar has been home to a theater for the cultivation of dramatic art for almost three centuries, established through its own efforts, which brings honor to this city, always ready to participate where theatrical art is concerned. circles and Theatre Society

Since its establishment, Hvar Theatre has experienced periods in which both Venetian and municipal authorities lacked sensitivity and understanding for its importance. The stagnation of theatre life between 1795 and 1797 reached its peak with the decision of the last Venetian provveditore, Iseppa Barbara, to exile the entire theatre inventory and repurpose the space for military use, thus permanently losing its late Baroque appearance. This state of affairs lasted until 1801 when a group of Hvar enthusiasts of theatre art engaged in collecting funds for the theatre’s restoration from their own resources, leading to the establishment of the Theatre Society in 1802, which operated until 1921. Clearly, this was a result of the high level of consciousness among its supporters regarding the historical significance of this institution, as well as their love for theatrical art. It was precisely through the activities of the Theatre Society that cultural life in Hvar regained its momentum, with regular theatrical performances and a commitment to nurturing the spirit and enriching the senses. The society of Hvar can thank the continuity of the existence of the theater because it actively participated in its thorough renovation and expansion, this time in the neoclassical style. These interventions in the interior were approved by the Austrian authorities after the Society submitted a request for the restoration of the theater as an institution that has a beneficial influence on the social and moral upbringing of people and that, by entertaining the people, deters from idleness, which is greatly harmful. And there is no doubt that the Hvar theater has successfully fulfilled this purpose for centuries.

In addition to the existing seats in the stalls, thirty-three boxes were built, arranged in two rows, most of which were privately owned, and a smaller number were intended for members of the Theater Society. The fact that theater life had a strong influence not only on the residents of the city of Hvar but also beyond is evidenced by the fact that the owners of the boxes were also residents of other island towns, such as Starigrad and Jelsa, and even the neighboring island of Vis. In addition, a list of owners’ names The lodge records all social classes of the former society: noble and bourgeois families, doctors, lawyers, notaries, priests, merchants, housewives, as well as individuals of lower status. They all, without exception, shared the same love and had the same need for “cultivating the spirit and enriching the emotions”, as mentioned by Luigi Maschek.
From 1888 to 1900, the theater once again closed its doors, this time for security reasons, by decision of the city authorities. During this period, the interior was thoroughly renovated in the Neobaroque style, at the initiative and expense of the Theater Society, and technical improvements were made in line with the times.
With the dissolution of the Theater Society in 1911, the theater again came under the city, or municipal administration. In 1921, the municipality made a decision stating that all theater premises, including the entire auditorium, become its property. The Second World War did not bypass the island of Hvar either, so the theater experienced new devastation in 1943. , This time it was from the Italian army, but it was quickly restored.

The current appearance of Hvar Theater was achieved in 1963, and in 1988 the initiative for the restoration of the deteriorated interior was taken over by the Center for the Protection of Cultural Heritage of the Island of Hvar, and extensive work was carried out on the reconstruction of wooden surfaces, colors and decorations, thus preserving its earlier appearance.

Hvar People’s Theater celebrated its 400th anniversary in 2012. Even today, it invites visitors to step onto its spacious terrace and peek into the interior, which awaits the continuation of its impressive historical story. Its cultural and historical significance for Croatian cultural heritage is unquestionable, and it is up to future generations to recognize it as their legacy and continue on the paths of their ancestors who valued their “teatar forski” for centuries.

Today, life in Hvar is most intense during the summer months. However, theater enthusiasts, even the youngest among them, continue to keep the dramatic art alive. While indulging in acting in my free time, I am eagerly awaiting the reopening of the theater doors in its renewed form.