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Ann Arbor, MI 48106 POETICS AND KULTURA: A STUDY OF CONTEMPORARY SLOVENE AND CROAT PUPPETRY by Eugenie Latchis-Silverthome submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Anthropology Signatures of Committee: Chair: 1 Dean of •the College of Jki_________________ Date 1990 The American University Washington, D.C. 20016 1154 TEE MÊRICAN UHIVERSITY LIBRARY © COPYRIGHT by Eugenie Latchis-Silverthome 1991 ALL RIGHTS RESERVED POETICS AND KULTURA: A STUDY OF CONTEMPORARY SLOVENE AND CROAT PUPPETRY BY Eugenie Latchis-Silverthome ABSTRACT By placing both their professional and amateur theaters in the context of the broader cultural arena, this study investigates the scope and significance of contemporary Slovene and Croat puppetry. It examines the intersection of a once marginal art with both official cultural policy and parallel social movement. At the core of my analysis is the belief that Slovene and Croat puppetry serves a dual role: as cultural communicator and social commentator. Through textual analysis, interviews, and observation of performance and festival activity, I focused on the central aesthetic, social, stmctural, and ritual properties which inform Yugoslav puppet theater. I propose that these properties cut across the continuum of Slovene and Croat societies, and that, far from existing in a vacuum, puppetry has become an integral part of contemporary culture. Slovene and Croat puppetry function on numerous levels at once: they reflect basic cultural ideals and values, they serve as ethnic markers, they manifest state policy, and they provide a vehicle for artistic irmovation and social action. Finally, because of the meaning of its symbolism and its own use as a cultural symbol, puppetry provides insight into the fundamental dynamics of cultural tradition and change. rr ACKNOWLEDGEMENTS I must especially thank those individuals who supported this dissertation through their comments, time, and encouragement. Many of them participated in the project since its inception while others became involved during subsequent stages; I am grateful to each of them. Dr. Ruth Landman, Chair of my Dissertation Committee, was always available for insightful commentary and criticism, and I shall always value her expertise, guidance, and sense of perspective. Two former members of my committee. Dr. Brett Williams and Dr. Jo Radnor, were each extremely helpful in the formation of my proposal and research plans. Dr. Linda A. Bennett and Dr. Lazio Kurti kindly served as advisors during the later stages of my writing and both provided important contributions to the final draft. Dr. William Leap, Dr. Dolores Koenig, Dr. James Bodine, and members of the Dissertation Seminar were all supportive in ways which count. I am grateful to The American University and The Wenner-Gren Foundation which provided the Fellowships and funding for my field research. Without the generosity of my hosts and associates in Yugoslavia, I would never have enjoyed such a rewarding field experience. At IKS, Spomenka Stimec first warmly welcomed me, immediately introducing me to her colleagues, and I am very grateful to Livia Krofiin of PIF for her observations, her insight based on earlier study, and her friendship over the course of my fieldwork. Biba Ro2ié provided me with the best 111 hospitality and good cheer time and again. I am also appreciative of the special efforts of Drago Putnikovié, Vanda Sestak, Savka PeriCié, Dolores, and Sonja Horvat. I applaud all of the ZKL puppeteers for entertaining and informing me so well. The list there is long but I especially thank Edita, Andrea, Dedo, Duro, Ljiljana, SaSa, Ivica, and Mario for their good-natured assistance and patience with all my questions. Of course, my research at the ZKL would not have been possible without the enthusiastic backing of Cornelia Covié. The list in Slovenia is equally long, but I would first like to thank Ignacije Sunce, Matjai Loboda, Alenka Pirjevec, and Dora Gobec for their special assistance. I am extremely fortunate for the friendship of these fine artists, Jelena Sitar and Igor Cvetto, Tine and Breda Varl, and Maja and Branje Solce, along with Nika and Matjai. I am especially indebted to Edi Majaron and Agata Freyer for their gracious hospitality. Rada Carmichael provided the best grammar instruction and cultural tips right until the childbirth of her son. Leah Platt-Praeger was most helpful with Slovene texts and translations, and I very much appreciate the kind efforts of Allelu Kurten of UNIMA. Suzie Morgan worked especially diligently to make this manuscript presentable in record time and I thank her for her patience. Finally, my own family was truly splendid. My mother and sister, Joan, provided invaluable support, and Robby, Alexandra, and Jonathan, who keep life from being dull, cheered me on throughout. IV TABLE OF CONTENTS ABSTRACT ............................................................................................................. ii ACKNOWLEDGEMENTS .................................................................................... iü Chapter I. INTRODUCTION........................................................................................... 1 n. THEORETICAL FRAMEWORK AND CONTRIBUTIONS OF ANTHROPOLOGICAL STUDY ............................................................... 8 Introduction ............................................................................................. 8 Theoretical Framework........................................................................... 9 Summary ............................................................................................... 29 m. FIELD RESEARCH AND METHODS OF DEVELOPMENT 31 IV. MAJOR SOCIAL AND HISTORICAL DEVELOPMENTS SHAPING SLOVENE AND CROAT CULTURAL ACTIVITY ............................ 42 Introduction ........................................................................................... 42 Early Slovene and Croat Cultural Development ............................... 44 Foreign Colonization............................................................................. 48 Seeds of Nationalism............................................................................. 55 Development of a Yugoslav State ...................................................... 59 Summary ................................................................................................ 68 V. THE DEVELOPMENT OF SLOVENE PUPPET THEATER 70 Introduction ........................................................................................... 70 European Puppet Tradition and Its Yugoslav Legacy ........................................................................... 74 Early Slovene Puppets and Folk Traditions ...................................... 81 The Making of Modem Slovene Puppetry........................................ 82 Artist as Cultural Broker...................................................................... 84 Amateur Puppetry as Community Activity ...................................... 112 The Development of Slovene Puppet Texts ................................... 126 The Educational Factor and Slovene Puppetry ............................... 131 Slovene Ethos and Puppetry ............................................................. 134 Conclusion ........................................................................................... 139 VI. PUPPETRY AS A STATE INSTITUTION: THE CASE OF ZAGREBACKO KAZALISTE LUTAKA (1948 - 1988)..................... 141 Introduction ......................................................................................... 141 Socialist Policy and the Arts ............................................................