{"id":4267,"date":"2025-04-15T13:35:50","date_gmt":"2025-04-15T13:35:50","guid":{"rendered":"https:\/\/symbol-quorum.com\/?p=4267"},"modified":"2025-04-15T13:50:43","modified_gmt":"2025-04-15T13:50:43","slug":"forty-three-busts-at-zagrebs-croatian-national-theatre-hnk","status":"publish","type":"post","link":"https:\/\/symbol-quorum.com\/en\/forty-three-busts-at-zagrebs-croatian-national-theatre-hnk\/","title":{"rendered":"Forty-Three Busts at Zagreb\u2019s Croatian National Theatre (HNK)"},"content":{"rendered":"\n
Written by: Iva Stilinovi\u0107 Grahovac
Photos: Tomislav Mari\u0107 <\/pre>\n\n\n\n
…<\/p>\n\n\n\n
As permanent reminders of the lives and work of notable figures, these busts invite reflection on the achievements and lives of the people they depict. Created with great artistic skill, they add beauty to the Croatian National Theatre in Zagreb, representing a diverse range of artists whose careers have marked both national and international cultural history.<\/p>\n\n\n\n
Zagreb\u2019s HNK houses a total of 43 busts of renowned artists. The oldest, depicting Stjepan Mileti\u0107, was placed on March 24, 1931, a work by Ivan Me\u0161trovi\u0107. The second bust, of Marija Ru\u017ei\u010dka Strozzi (by Fran Kr\u0161ini\u0107), is notable as the only one erected during the subject\u2019s lifetime, on October 2, 1932. It was followed by busts of Andrija Fijan, Ivo Rai\u0107, Dimitrije Demeter, Josip Freudenreich\u2026..<\/p>\n\n\n\n
The most recent addition is the bust of Bojan Stupica, unveiled on June 28, 2021, created by Judita \u0160ercar.<\/p>\n\n\n\n
Sanja Ivi\u0107, a longtime dramaturge at HNK Zagreb now retired, has guided us through the most significant busts in this historic theatre. Below, we present them in chronological order of their unveiling…<\/p>\n\n\n\n
STJEPAN MILETI\u0106<\/strong> (1868\u20131908)\u00a0
Sculptor: Ivan Me\u0161trovi\u0107\u00a0
Bust unveiled: March 24, 1931<\/p>\n\n\n\n
A Croatian theatre director, writer, and true lover of the theatre, Stjepan Mileti\u0107\u2019s tenure as intendant of Zagreb\u2019s HNK, from 1894 to 1898 (known as \u201cMileti\u0107\u2019s era\u201d), was a defining period in establishing the theatre as Croatia\u2019s central cultural institution.<\/p>\n\n\n\n
Mileti\u0107 introduced the role of intendant, overseeing all work and operations of the institution. He made reading rehearsals mandatory, separated the roles of actor and director, established a ten-month theatre season, and, in 1895, moved the theatre to its new building (the current HNK building). He organized international guest performances, recruited new members for all ensembles, and modernized both drama and opera repertoires. Mileti\u0107 founded ballet as an independent art form, established an acting school, updated technical equipment, funded translators, and introduced symphonic concerts and matinees for students and schoolchildren, among others.<\/p>\n\n\n\n
Through his tireless efforts, Mileti\u0107 profoundly impacted HNK Zagreb, leaving a legacy that benefited countless generations of theatre artists.<\/p>\n\n\n\n
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MARIJA RU\u017dI\u010cKA \u2013 STROZZI<\/strong> (1850\u20131937)\u00a0
Sculptor: Fran Kr\u0161ini\u0107\u00a0
Bust unveiled: October 2, 1932<\/p>\n\n\n\n
An actress and renowned tragedienne, Marija Ru\u017ei\u010dka Strozzi initially trained for a career in opera at the Vienna Conservatory. However, while practicing demanding dramatic soprano roles, she lost her voice and abandoned her opera ambitions. She turned to acting, demonstrating remarkable talent. Although invited to join Vienna\u2019s prestigious Burgtheater, she remained dedicated to Zagreb, becoming one of the city\u2019s most celebrated actresses of her time. Her career spanned an impressive 68 years, earning her the title of \u201cCroatia\u2019s Sarah Bernhardt.\u201d Strozzi\u2019s memorable roles, including Adrienne Lecouvreur, Anna Karenina, Juliet, Desdemona, and many others, placed her at the pinnacle of theatrical excellence.<\/p>\n\n\n\n
She performed widely across Europe, including in Ljubljana, Belgrade, and Mostar, and portrayed over 600 characters from various historical, stylistic, thematic, and genre backgrounds. She is the only stage artist to have a bust erected at HNK Zagreb during her lifetime.<\/p>\n\n\n\n
MILKA TRNINA<\/strong> (1863\u20131941)\u00a0
Sculptor: Vanja Radau\u0161\u00a0
Bust unveiled: 1971<\/p>\n\n\n\n
One of Croatia\u2019s greatest opera singers, Milka Trnina studied at the Vienna Conservatory and made her debut in Zagreb in 1882 as Amelia in Verdi\u2019s Un ballo in maschera. Her stellar international career began the following year, with performances on the world\u2019s foremost stages, from London\u2019s Covent Garden to the Metropolitan Opera in New York. Known as one of the finest interpreters of Wagnerian music, Trnina also had an extensive repertoire, which even led composer Puccini to declare that no Tosca could match her portrayal of his tragic heroine. She was celebrated across Europe and often referred to as \u201cthe singing Eleonora Duse.\u201d<\/p>\n\n\n\n
Trnina also dedicated herself to teaching, with Zinka Kunc, a future opera star, among her students. A pioneer in advocating for environmental preservation, Trnina has a waterfall in Plitvice Lakes named after her, as well as an award given by the Croatian Association of Music Artists in her honour.<\/p>\n\n\n\n
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BRANKO GAVELLA<\/strong> (1885\u20131962)\u00a0
Sculptor: Antun Augustin\u010di\u0107\u00a0
Bust unveiled: April 8, 1982<\/p>\n\n\n\n
Branko Gavella was a Croatian theatre director, educator, critic, and translator. After earning his doctorate in Vienna, he began directing at Zagreb\u2019s HNK in 1914, later serving as Drama Director (1922\u20131926) and also directing at the National Theatre in Belgrade. His influence extended across Yugoslav theatre, including performances at the Dubrovnik Summer Festival and theatres in the Czech Republic, Slovakia, Bulgaria, and Italy. Gavella directed 279 drama and opera productions, with notable works by M. Dr\u017ei\u0107, I. Gunduli\u0107, M. Krle\u017ea, M. Begovi\u0107, L. Pirandello, W. Shakespeare, M. P. Mussorgsky, and R. Wagner.<\/p>\n\n\n\n
He founded the Academy of Dramatic Arts in Zagreb in 1950 and co-founded Zagreb Drama Theatre (1953), now known as Gavella Drama Theatre. His comprehensive directorial style places him among the elite of modern European theatre directors. His teaching legacy is equally important, having trained generations of directors and actors who would dominate Croatian stages for decades.<\/p>\n\n\n\n
TITO STROZZI<\/strong> (1892\u20131970)\u00a0
Sculptor: Ivan Saboli\u0107\u00a0
Bust unveiled: 1983<\/p>\n\n\n\n
Tito Strozzi was a giant of Croatian theatre\u2014an actor, director, playwright, translator, and educator. He joined Zagreb\u2019s HNK in 1919. Initially renowned for his portrayals of young lovers and refined seducers, he soon distinguished himself with his character portrayals in classic dramas, including W. Shakespeare\u2019s Richard III and Hamlet, F. Schiller\u2019s The Robbers, and several works by M. Krle\u017ea, such as Leda (Oliver Urban) and The Glembays (Leone Glembay).<\/p>\n\n\n\n
Strozzi directed both Croatian and international classics, contemporary European plays, older Croatian dramas, and conversational comedies. In opera, he contributed to modernizing the genre by selecting lesser-known works by Verdi. His brilliant translation of Goethe\u2019s Faust established him as one of Croatia\u2019s most respected translators from German. He also authored numerous prose works and plays, including Ecce Homo, Murder on Stage, The Chameleons, Alenka, Zrinski, Tomislav, and his most-performed play, Game for Two.<\/p>\n\n\n\n
Each year, HNK Zagreb awards the Tito Strozzi Award, established in 1993, to recognize the most outstanding individual achievement in the previous season at the Croatian National Theatre in Zagreb.<\/p>\n\n\n\n
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BORIS PAPANDOPULO<\/strong> (1906\u20131991)\u00a0
Sculptor: Josip Marinovi\u0107\u00a0
Bust unveiled: October 16, 1996<\/p>\n\n\n\n
Boris Papandopulo, a Croatian composer, and conductor, studied composition in Zagreb and conducting in Vienna. He created one of the most extensive bodies of work in Croatian music, composing numerous orchestral, chamber, stage, secular, and religious cantatas, as well as music for theater and film.<\/p>\n\n\n\n
Notable works from his vast repertoire include the operas Sun\u010danica, Amphitryon, Rona, Fire at the Opera, and Madame Buffault; ballets like The Three Cavaliers of Miss Melanie, Teuta, and Gold and the King\u2019s Son; the choral work Croatian Mass; and cantatas such as Hymn to the Sun, Poljica Mass, Osor Requiem, Marul\u2019s Song, and Istrian Frescoes, among many other choral and chamber compositions.<\/p>\n\n\n\n
Papandopulo\u2019s unique musical style continuously interwove themes from literature, poetry, and folk motifs, characterized by rhythmic energy reflective of Croatian folk music. However, he was never confined by tradition, enriching Croatian culture with his daring and innovative musical visions.<\/p>\n\n\n\n
MIROSLAV KRLE\u017dA<\/strong> (1893\u20131981)\u00a0
Sculptor: Andrej Grabovac Gaberi\u00a0
Bust unveiled: January 30, 1997<\/p>\n\n\n\n
Miroslav Krle\u017ea was a playwright, poet, novelist, essayist, and encyclopaedist, as well as the founder of the Lexicographic Institute in Zagreb, which now bears his name. One of Croatia\u2019s greatest writers, he produced an extensive body of work that spans poetry, plays, novels, essays, and numerous polemics, covering virtually all major literary genres.<\/p>\n\n\n\n
His most significant works include Ballads of Petrica Kerempuh, a masterpiece of poetry in the Kajkavian dialect; the Glembay cycle of plays (The Glembays, In Agony, Leda), which premiered at HNK Zagreb; and novels such as The Return of Philip Latinowicz, The Banquet in Blitva, On the Edge of Reason, and The Banners.<\/p>\n\n\n\n
Krle\u017ea\u2019s remarkable erudition, intellectual curiosity, and vast knowledge of diverse fields of human creativity enabled him to craft a worldview that remains profoundly relevant today, with eloquence, prophetic insight, and meticulous analysis of Croatian and global history and politics.<\/p>\n\n\n\n
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VLADIMIR RU\u017dDJAK<\/strong> (1922\u20131987)\u00a0
Sculptor: Kruno Bo\u0161njak\u00a0
Bust unveiled: January 3, 1998<\/p>\n\n\n\n
Vladimir Ru\u017edjak, a Croatian baritone opera singer, director, music educator, and composer, was one of the most versatile Croatian opera artists, leaving a significant mark on the latter half of the 20th century. After graduating from the Zagreb Music Academy, he made his professional debut at HNK in 1947 as Yeletsky in Tchaikovsky\u2019s The Queen of Spades. His domestic and international opera career spanned over 40 years, distinguished by an exceptional vocal quality, musicality, superior technique, and powerful dramatic performances. From Verdi\u2019s Rigoletto, Il Trovatore, Un ballo in maschera, and La Traviata, to Offenbach\u2019s The Tales of Hoffmann, Puccini\u2019s La Boh\u00e8me, and Britten\u2019s The Rape of Lucretia, Ru\u017edjak captivated critics and audiences alike on major opera stages across Europe and the United States.<\/p>\n\n\n\n
One of his most iconic roles was the title character in Ivan pl. Zajc\u2019s Nikola \u0160ubi\u0107 Zrinjski. Ru\u017edjak also composed instrumental and vocal works, often infused with Croatian folk motifs.<\/p>\n\n\n\n
MARIJANA RADEV<\/strong> (1913\u20131973)\u00a0
Sculptor: Kruno Bo\u0161njak\u00a0
Bust unveiled: November 28, 1998<\/p>\n\n\n\n
Marijana Radev, a Croatian opera singer (mezzo-soprano) of Bulgarian origin, studied voice at the Zagreb Music Academy and made her debut in Trieste in 1937 as Marina in Mussorgsky\u2019s Boris Godunov. In 1938, she debuted at HNK Zagreb as Santuzza in Mascagni\u2019s Cavalleria Rusticana, earning widespread acclaim for both her singing and acting. She performed extensively throughout Europe, and in 1940, she first portrayed one of her most celebrated roles\u2014Bizet\u2019s Carmen, which she continued to perform internationally. Her portrayal of Carmen at HNK Zagreb spanned over 80 performances across 25 years. Following one performance, critics noted that she \u201cignited a flame of enthusiasm\u2026 Her Carmen seems to us the ideal embodiment of the character. Her extraordinary artistic achievement should be an example for all our opera artists.\u201d<\/p>\n\n\n\n
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ENA BEGOVI\u0106 <\/strong>(1960\u20132000)\u00a0
Sculptor: Kuzma Kova\u010di\u0107\u00a0
Bust unveiled: March 27, 2002<\/p>\n\n\n\n
Ena Begovi\u0107 was a renowned Croatian theatre and film actress. She graduated from the Academy of Dramatic Art in Zagreb in 1983 and joined the HNK Zagreb Drama Ensemble as a permanent member in 1984. At the national theatre, she distinguished herself in classic roles such as Desdemona in Shakespeare\u2019s Othello, Miss Julie in Strindberg\u2019s Miss Julie, Gertrude in Hamlet, and Hedda Gabler in Ibsen\u2019s play. She also performed in 20th-century dramas, particularly excelling in Krle\u017ea\u2019s works with roles such as Baroness Castelli in The Glembays, Laura in In Agony, and Klara in Leda. Apart from theatre, Begovi\u0107 was a successful film and television actress, earning her the status of a media and acting star of HNK. She performed beyond her home stage at events like the Dubrovnik Summer Festival, with the Histrion Acting Company, and at Split Summer Festival.<\/p>\n\n\n\n
Tragically, she passed away in a car accident in 2000, having played over 100 roles and leaving an indelible mark on Croatian theatre.<\/p>\n\n\n\n
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ANA ROJE<\/strong> (1909\u20131991)\u00a0
Sculptor: Jozo Vrdoljak\u00a0
Bust unveiled: June 27, 2011<\/p>\n\n\n\n
Ana Roje was a celebrated Croatian ballerina, choreographer, and pedagogue. She began her ballet training in her hometown of Split and continued in Zagreb under Margareta Froman. Together with her husband, Oskar Harmo\u0161, also a ballet artist, she furthered her studies in London. Starting in 1938, she taught at prestigious ballet companies like Ballet Russe de Monte Carlo and Colonel de Basil. Alongside her husband, Roje directed ballet in both Split and Zagreb, eventually becoming a principal dancer at HNK Zagreb.<\/p>\n\n\n\n
Her illustrious career saw acclaimed performances in ballets by Tchaikovsky, Stravinsky, Lhotka, Asafiev, Prokofiev, and others. She founded the International Ballet School in 1953 in Ka\u0161tel Kambelovac (which moved to Primo\u0161ten in 1970). She also held ballet workshops in the United States, returning to Split in her later years. Roje trained many distinguished ballet dancers who went on to perform on national and international stages.<\/p>\n\n\n\n
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MIRKO BO\u017dI\u0106<\/strong> (1919\u20131995)\u00a0
Sculptor: Ivan Saboli\u0107\u00a0
Bust unveiled: May 2, 2015<\/p>\n\n\n\n
Mirko Bo\u017ei\u0107 was a Croatian writer and theatre director. His early works were short plays based on partisan life, followed by novellas and stories focused on the psychological complexities of his characters. His greatest success was the trilogy The Kurlans, portraying the hardships and fates of people in Dalmatian hinterlands. He also wrote publicist articles and critiques. At HNK Zagreb, he served as Drama Director (1952\u20131954) and became the theatre\u2019s intendant in 1965. That same year, he began extensive preparations for a major theatre renovation, which started on February 1, 1967. During the renovations, HNK\u2019s ensembles performed across various venues in Zagreb and toured other cities, ensuring continuous artistic activity.<\/p>\n\n\n\n
The grand reopening was held on November 27, 1969. For his contributions to the modernized building, which became one of the most advanced theatres in the region, Bo\u017ei\u0107 was awarded the title of HNK Zagreb\u2019s honorary intendant for life.<\/p>\n\n\n\n
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Sanja Ivi\u0107<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"
Crafted with exceptional artistic skill, these busts enhance the aesthetic of the Croatian National Theatre in Zagreb<\/p>\n","protected":false},"author":2,"featured_media":4271,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[37],"class_list":["post-4267","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture-art","tag-published"],"yoast_head":"\nForty-Three Busts at Zagreb\u2019s Croatian National Theatre (HNK) - Symbol<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/symbol-quorum.com\/en\/forty-three-busts-at-zagrebs-croatian-national-theatre-hnk\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Forty-Three Busts at Zagreb\u2019s Croatian National Theatre (HNK) - 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