When the audience applauds, but the critics disapprove

Abstract

The article examines the most relevant dramaturgical features and the reception of the pioneer works of dramatic literature, forgotten in our time: Leskovcani u Parizu (The Leskovac Folk In Paris) by Natalija Arsenovic Dragomirovic and Tamo daleko? (Over There Far Away...) by Milica Jakovljevic. The research of this topic included the use of relevant comparatistic, theatrographical, dramaturgical and literary-historical methods. It transpired that the plays, written by the aforementioned authors are significant, primarily as a testimony of the dramatic opus of an era. However, owing to its vaudevilles atmosphere, and the fact that certain characters display a wide and colourful range of speech dialects and variants, Leskovcani u Parizu has a certain stage potential even in this day and age. Both dramatic works had experienced numerous stagings during the period between the First and the Second World War in Belgrade, Novi Sad, Banja Luka, Nis, Sarajevo and Skoplje. Moreover, the sing-play (Singspiel) by Natalija Arsenovic was also staged after the Second World War. While those dramatic works were well-received, sometimes even triggering fascination among the delightful audiences, the critics were, with rare exceptions, relentless, pointing out the dramaturgical dilettantism, the unconvincingly portrayed characters and pandering to the audiences. In spite of the serious and noticeable flaws of the dramatic firstlings of Natalija Arsenovic Dragomirovic and Milica Jakovljevic, it is undeniable that those two extraordinary women with small town backgrounds, yet free to choose their creative lifepaths, dared to test their own skills as playwrights, along with Ljubinka Bobic and Milica Jankovic, even though play writing had been reserved for men, up to that time. With their work, they opened the door to the future female authors, who have been equally contributing to playwriting as their male playwright counterparts since the mid 20th century.