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Na Veveří Theatre

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Important events

(detail)24.1.1881 | Origins of organization

First board meeting of Cooperative of Czech national theatre in Brno. The purpose of Cooperative was to take care of organization of theatre plays and to procure fund to foundation of Czech national theatre in Brno.

(detail)1883 | Purchase of building

Brno ended up without its own national stage, when city council prohibited whichever further performance in Besední house assembly hall. The Cooperative bought house N. 6 on Ratvitovo square. This building was constructed around 1840.

(detail)6.12.1884 | Opening
Reconstruction of interior took place according the design by architect Eduard Svoboda, adaptation works lasted roughly one year. Ceremonial opening of the scene took place on 6th December 1884; Magelona by Josef Jiří Kolár became the opening play.
(detail)1894 | Reconstruction
Prague architect Bedřich Münzberger worked out the desigh for a reconstruction , Construction works took place from April 1894, ceremonial reopening of the institution fell on 27. October and Maryša by Mrštík brothers became the introductory play.
(detail)00. 's 20. century | adjustments

An array of partial adjustments, repairs and stage innovations took place in this decade (gas lights was substituted by electrical in 1900, central heating was repaired, flooring damaged by fire was repaired in 1903).

(detail)1910 | Competition

Cooperative proclaimed two stage architectural competition, its aim was to find ideal design for new theatre scene. First project stage of the competition took place in 1910, second factual stage three years later. The jury recommended to realization the  project by Bohumila Hübschmann „Caveant consules“.

(detail)20. 's 20. century | Adaptations
Masoned storeroom for decorations was built in the early 1920s. Restoration and painting of the ceiling took place simultaneously, new facade was done for external walls (around 1926). New seats for auditorium were installed, lodges were repaired.
(detail)1936 | invitation to public tender
The Cooperative, whose activity was restored after First World War, invited to another public tender. It was two stage competition this time again, each stage taking place in 1936 and 1937. Design by Jan Víšek was awarded by highest prize and it should have been resolved and worked out and later prepared to realization. However, neither the construction work did not commence this time.
(detail)30. 's 20. century | Adaptation
Further adjustments of theatre complex took place in 1938-39. Flats in building on Ratvitovo square N. 6 were converted into accounting department (1th floor), offices and storeroom of hangings and properties, rooms in Veveří N. 3 House served as Ladies and Men tailoring room, dressing rooms, storeroom for material and other operation rooms. Balcony and gallery ware refurbished by new flooring.
(detail)40. 's 20. century | damages

Complex was heavily damaged by couple o fair strikes. The first one hit the theatre in November 1944, second one in April of following year.

(detail)1952 | Closing

Due to concern of possible of building collapse, the authorities banned (from 12. June 1952) any activity in the building. Last performance occurred in old theatre on 11. June 1952 with play Southward from 38th longitude by Tchaj Djan-Čun. Demolition of the stage began few days later.


(detail)Eduard Svoboda |architect

Builder and architect in Brno. Besední dům in Brno belongs among his well known realizations.

(detail)Bedřich Münzberger |architect

A Czech architect, known mainly for his design of the Industrial Palace in Holešovice, Prague.

In: Wikipedia

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(detail)Jan Víšek |architect - participant of the competition

An interesting representative of Czech Purism and Constructivism , one of the first architects, who applied the intentions of modern aestethics.  


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(detail)Bohumil Hübschmann |architect - participant of the competition

Czech architect. He asserted himself as a remarkable designer of modern buildings, especially in Prague.

In: Adéla Anna Vavrečková: Živé příběhy. Divadelní budovy v Olomouci a v Moravské Ostravě. Brno 2007. Diplomová práce. P. 41

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(detail)Jan Václav Kautský |painter

Landscape painter and scenographer. He was renowned as a set pieces painter in Vienna.


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The desire of patriotic citizens of Brno for their own Czech theatre scene was satisfied –at least temporarily- by establishment of the Na Veveří Theatre. The situation in Brno was not particularly favourable in this regard in the second half of the 19th century – German theatres had a predominant position here. Reduta  standing on Zelený trh was the main scene in Brno until 1890.1 Provisional theatre functioned in 1871 – 1882, built on Ratvitovo (present Žerotínovo) Square and the Na hradbách Theatre (today's Mahen) since 1882, an opulent , representative building, created according to the design by the famous architectural atelier Fellner und Helmer.

Performances  played in Czech  started to sporadically appear since 1815 in Brno the City Theatre (Reduta), but they were presented irregularly and there was often a lag of even several years between individual plays. Although they had obtained popularity among   spectators after all and their frequency increased, it was decided to omit them from the programme of the theatre in the 1850s. As a result, Czech production was arranged only by theatrical associations, which used miscellaneous spaces and buildings, especially inns for their performances.2  The change for better happened in the 1870s in the relation of the Besední House emergence. Its spacious assembly hall enabled the performances of big actor's associations, for instance the Eliška Zöllner Theatre Association was renting the inner hall since autumn 1874, later replaced by the Jan Pištěk Ensemble. 

Constitution of Cooperative of Czech National Theatre in Brno was an important turning point in the development of Czech dramatics in Brno. A first board meeting took place on 24.1.1881, the members defined the task of the group on 31th January– „the purpose of Cooperative is to take care of organization of dignified drama  and to procure funds for the foundation of the Czech National Theatre in Brno.3  

This issue  became topical particularly after 27th December 1881, when the city council prohibited any further performances in Besední House assembly hall.

The reason was insufficient security measures, which were made stricter after recent fire in Viennese theatre on Ringstrasse. Brno was left again without its own national stage. „From these difficulties … a sensible thought arose that Czechs could build up venerable national theatre, in which no one could prohibit Czech plays to us 4 The Cooperative succeeded in solving the emerged situation within two years – it bought house N. 6 on Ratvítovo Square, called „ U Marovských“,  from Mr. and Mrs. Krinner.  This building was constructed around 1840 and originally served as a dancing hall Orfeum or as so called Viennese restaurant.

„The building... did not impress favourably a lot. It was an ordinary two-storeyed corner building, in which was a butcher shop with a bar. “ 5  Purchased house acquired the name Provisional Theatre and it is obvious from the name that this location of the scene was perceived rather as a temporary provisional measure. It was pointed out  that it had an inconvenient layout, lack of space and inferior locality- „its location was not then very attractive and it was quite a distance to the proper centre of the city.“ 6


Structural adaptations were absolutely indispensable and inevitable; they should have secured  continuous operation of the cultural institution. The reconstruction of the interior was carried out according to the design by architect Eduard Svoboda, adaptation works lasted roughly one year. Ceremonial opening of the scene took place on 6th December 1884; the opening play was Magelona by Josef Jiří Kolár.

New theatre structure was a corner building. We know the outer appearance of the building from several drawings dated back to 1884, 1885 and 1887(author of two drawings  was Josef Tauš, perspective view was made by architect Sergej Medvěděv according to the designs by Eduard Svoboda prior to the reconstruction in the 1890´s). Despite certain generality of the pictures, we gain comparatively good image about the oldest appearance of the scene.

This part of the scene, including corner one, was two storeyed.  The building was entered  by a central entrance, relatively broad, with a segmental arch. Banded rustication articulated space between rectangular windows, blank semicircular funicular archs were adumbrated  over lintels of the window openings. Concept  of windows in the first floor was somewhat ambiguous – it is possible to see an embossed jamb on one drawing, at the same time the other drawings evidence the usage of linear cornices over the windows. It is also difficult to identify centrally located opening in ground floor of corner – it is not evident, if it is entrance door, or only a window with lower brick up (or  batten) part. The building was covered by saddle roof with projecting dormers.

Perpendicularly attached building, situated collaterally with Veveří Street, had different outlook. Exterior corresponded to inner usage of the wing – actual theatre hall was located here. We can reconstruct the appearance of facade on the base of preserved pictures, although these slightly differ in details. Four high windows were predominant element, piercing from socle to height of first floor. Their vaulting varies from semicircular (drawings by J.Tauš), rectangular (drawing by unknown artist) to segmental (drawing by S.Medvěděv) in different pictures. Pair of smaller window openings complemented the windows in mezzanine.

The only distinct ornamental motive lead under the roof- ornamentally handled frieze. In contact location with neighbouring building (Veveří N. 3), corner bay was built up, exceeding moderately both theatre wings. Mass of its facade was segmented by cordon cornice. Figure and appearance of window openings is different on each drawing - Medvěděv depicted three window axes in storey above (with segmental arch),other pictures document only semicircle window over the cornice and small circular window in gable. These drawings also depict the inner side of gable ornamented by arched frieze. This motive is absent on Medvěděv´s drawing, moreover gable is not pointed to Veveří street, but over saddle roof of theatre hall. Acroterions are the new element here, ornamenting the bay corner of roof.

We know following about the appearance of interior after Svoboda´s adaptations: theatre hall had rectangular disposition with width of the space of eleven and half meters, length of twenty four meters (reduced from original thirty meters, vestibule came into existence in this saved up area) and height of the stage reaching almost seven meters. Gallery over the rear part of auditorium had eight meters depth, three meters height and capacity of forty eight seats. Audience used eight lodges, ground floor seats (three hundred ten) and standing rooms as well. One entered into the room through centrally located entrance. Maximum quantity of spectators, who could see theatre performance, was seven hundred seventy one.

Indispensable components of the hall were naturally newly built stage and actor´s background, initially very modest. It consisted of two dressing rooms in ground floor and two dressing rooms in first floor in storey over the passage. Even after adaptation, the hall „ kept the character of former dancing hall.8

Initial enthusiasm of spectators for new stage lasted to the end of opening season and partly to following season. The Cooperative was confronted with unstable  to diminishing attendance in the following years. Theatre associations were hired to cover the realizations of the performances (of Jan Pištěk, František Pokorný, Pavel Švanda ze Semčic, Josef Malý, Václav Hübner, association of  František Lacin and others), the first permanent theatre company operated here since 1918. Spectator could choose from drama, opera or operetta performances, the creation of ballet ensemble was initiated.

The theatre carried the name Czech National Provisional Theatre in Brno in the beginnings, then since 1894 Czech National Theatre in Brno. Simultaneously the names na Veveří Theatre , Old Theatre, or Old Booth were used. It was renamed to Czech Popular Theatre in Brno for a short period between 1943 and 1944.

Satisfaction with operation and appearance of Czech theatre building did not last long. Unsuitability and particularly confined place and the need of further building adaptations started to be discussed relatively soon. It is directly stated in the inscription of meeting board of the Cooperative of Czech National Theatre in Brno from 5.3.1893, that „ current theatre  does not suit even the modest requirements, we have a little expectation of being able to build a new theatre in near future “ 9.  In this situation, Prague architect Bedřich Münzberger worked out the design for a reconstruction , which „ is going to make the appearance of the theatre more adequate, number of seats is going to double and cheaper seats are going to be more comfortable10 Reconstruction works took place from April 1894, ceremonial reopening of the institution fell upon 27. October and Maryša by Mrštík brothers became the introductory play.

Adaptations affected both exterior and interior parts of the building, especially theatre hall. Architect had the ceiling of auditorium to be heightened, so the space for inserting balcony and gallery came into existence. Balcony, carried by six metal columns, sticking out in horseshoe shape into both the lateral sides of the room. Another four columns supported the gallery, located into second tier of seats.  Spectators could use two stage boxes in the front part of auditorium. Access to the hall was arranged by three ground floor entrances under balcony and two side entrances directly from Veveří Street. Balcony and gallery were opened by two entrances, simultaneously small cloak rooms were situated over here.

Decoration of the space was rather modest. The walls were decorated by pilasters, rectangular, moderately recessed fields segmented balustrades of boxes, balcony and gallery. Simple wooden stools served to sitting, only seats in boxes were covered by plush upholstering. Orchestra pit was sunken to four meters depth between auditorium and stage. It was intended for thirty five musicians, but often no fewer than forty five musicians performed here. Surface over portal mirror was ornamented by painted drapery with centrally placed emblem of Bohemia, Moravia and Silesia. Original painted curtain, which author was Jan Václav Kautský, depicted allegorical figurative scene in antiquity like environment. Brno theatre acquired it as a gift from Prague11. Lacunars ceiling completed the room.

Operating background underwent considerable enlargement in course of time, but it still kept rather simple (even provisional) character. Array of rooms did not have a very convenient location, especially ladies’ and gentleman’s dressing rooms. There were two dressing rooms for ensemble, property-room, curtain storeroom, musical instrument storeroom, dressmaker's room, archive, director’s office and Cooperative office to name from the other indispensable spaces. Scenery and furniture storerooms were situated out of the building in backyard in former skittle ground.

Executed building adaptations were reflected in the outer form of the building, especially in appearance of the wing, in which theatre hall was situated. The building was heightened, a slightly projecting bay came into existence in the point of contact with perpendicular house of Ratvitovo square N. 6, by which proportion symmetry was achieved in relation with already standing bay ending of theatre wing. Facade underwent a transformation as well .12   Original six window axes were bricked up by architect, two new entrances came into existence, and another door was inserted into middle of wing and two into the right bay. Ground floor segment of the building was segmented by banded rustication, passing to smooth non-segmented strip under cordon ledge, which served as a framework for a poster informing of actual theatre performance. Six blank windows segmented storey over the ledge (four sexpartite and two extreme bipartite). Vaulted windows pierced the bay neighbouring the building N. 3 (Veveří street) in ground floor, rectangular window in first floor. An entrance was inserted to the opposite bay; two rectangular windows were situated above it in the same axis. Trigonal suprafenestra highlighted lower situated window, carried by pair of volutes. Chambranle framed all the window openings of the bays. Corners were emphasized by lesenes with built-in centre. The bays culminated in trigonal gables.

Despite the array of these building adaptations, there was growing dissatisfaction with the appearance and inner segmentation of theatre. One article was very eloquent in this regard, publicized in Musical newspapers in 1909: „ If you have not ever been on the stage of our theatre, help yourself with this description and make yourself a picture at least partially of this – dungeon. You will come into stinking room filled with properties, old dusty junk. Everywhere you look, there are spider webs, walls full of dust- the floor is black, perhaps not washed for several years. Unbearable smell wafts from two opened, filthy toilets through the whole room, from which first big door leads to the back yard, directly against this, second to the stage... There are two small, low tiring-rooms marked for soloists in ground floor of the stage. Here, where many people encounter, so much heat is generated, that it is like suffocating. After having dressed, the actor flees from these cells to the stage, being completely steamed... An actor has to have vocal cords as a hell on our stage not to loose the voice in short time. Whirls of dust will lift up immediately as soon you stump a little bit.... one enters to gloomy stairway through the door in the middle of the stage, leading to tiring-room of troupe, ladies in mezzanine , male in first floor.... male ensemble has the worst condition, having cubby-hole separated by board wall from the tiring-room of statist. Bunch of people is squashed in small room. ... And if such „Dalibor“ is played and the folk comes, army - walk-ons- My God, it is not possible to continue writing!..“. 13

Cooperative acceded to proclaim two round architectural competition, its aim was to find ideal design for new theatre scene. Current locality with na Veveří theatre seemed as a most convenient from originally selected building plots (Lužánky, plot in Haberler street). Considered building location contained actual theatre14  and furthermore newly bought building in na Veveří street N. 315 and building of Institute of the Blinds16.

First conceptual stage of the competition took place in 1910, second project competition three years later. The result was at least awkward. The jury evaluated no design to be winning, on the contrary it recommended a project to realization (or further elaboration), which the jury itself initially excluded from competition for nonobservance of terms of competition – it was project „Caveant consules“ by Bohumil Hübschmann.

We can recognise a new wave of interest in building of Czech theatre new building after 1918. Social changes were manifested by actual operation of organization – opera and ballet changed residence from na Veveří Theatre to originally German Na Hradbách Theatre, operetta  to Reduta building.17 Na Veveří Theatre became solely drama scene („ only bigger scenery plays were performed in City theatre“). 18 It was, however, evident, that current theatre building did not suit the purpose of demanding operation. The Cooperative, which activity was restored after first world war, thus acceded to proclamation of another public tender. Also this time it was two stage competition, each stage  taking place in 1936 and 1937. Highest prize was awarded to project by Jan Víšek, the design should have been worked out in detail and completed and thereafter ready to implementation. Nevertheless the construction works did not commenced neither in this case, war events interrupted promising development.

Main public interest, expert and lay, was focused to progress and outcomes of architectural competitions since first decade of 20th century. Nevertheless, operation in old theatre was not interrupted and the building had to function and to be in order in technical and structural regard, even when it was labelled as a makeshift. We notice an array of partial repairs, adjustments and innovations of the scene – for instance gas lighting was substituted by electrical one in 1900 (till 1916, whole theatre building was electrified), 19 conduction of central heating was repaired, flooring in auditorium damaged by fire in 1903 as well.20  Masoned decoration storeroom came into existence in early 1920s, allowing placing of coulisses upright. Restoration and painting of the ceiling and walls of auditorium  took place simultaneously, external walls of the building obtained a new facade (around 1926).

Later on, rehearsal room was transferred from ground floor to first floor of yard wing on Ratvitovo square N. 3,21 new seats were inserted to  auditorium, and boxes were repaired. Water pipe broke out in vestibule in 1935 –  it was replaced almost immediately by a new one, nevertheless,  leaking water scoured the ground under foundations of the building to that extent that cracks emerged on the facade facing Ratvítovo Square. Theatre operations were interrupted because of safety concerns for couple of days, all the activities were resumed after expensive repairs. 22   Burst water pipe and subsequent repairs provided in contemporary public press for a long time a grateful topic for discussions and speculations, how long would the current building be able to be operational and whether Brno will ever receive a new Czech scene. The whole problematic was summed up very wittily in the song, appearing in operetta „ Apropos, what is Andula doing” – „ In Brno, they believe in Veveří, they say, that they have a theatre and so far they have a lot to hold to not let it fall down. Building the new theatre would be expensive today and if it would have been built, then it was in Prague.“ 23

Further adjustments of theatre area followed in 1938-39. Flats in building on Ratvítovo square N. 6 were converted into accounting department ( 1th floor), offices and storeroom for hangings and properties, rooms in Veveří N. 3 served as ladies and men's dressmaker's after adaptation, dressing rooms, storeroom for material and other operational rooms. Balcony and galleries received new flooring. Standing room ceased to be in ground floor, their number was considerably reduced in balcony.24

Simultaneously, the Cooperative bought two neighbouring houses N. 5 and 7 to current buildings in 1939.25

The theatre presented its performances even in first years of World War 2, however, the German executive terminated the operation on 11. November, 1941. Shortly it was played between 1943-44. An array of smaller building adjustments was implemented – for instance marble facing overlaid grand foyer walls, the floor was covered by new pavement, original proscenium lodges were replaced by a new one, the orchestra pit was enlarged. Main entrance from Ratvítovo square was repaired.26  However,  partially renewed area was soon very hardly damaged by the couple of air strikes. The first one hit the theatre in November 1944, the second one in April of the following year. Aerial bombs damaged decoration storeroom (roof and floor), actual theatre hall (floor and rear wall of the stage, ceiling of the auditorium, front rows of ground floor seats, trap room), they hit the lowered fire curtain as well. Conduit and window glass were shattered. As a consequence of second air strike, yard wing of N. 3 Veveří house was torn down. The building N. 7 on Ratvítovo Square was completely destroyed (collapse, pulling  down of the resting parts was necessary. Arduous tiding away of rubble, repairs and safeguarding of damaged parts commenced immediately after termination of war events. The scene obtained permission for reconstruction and for renewed theatre performances no sooner than in September 1946.28

Commission of Krajský národní výbor (Regional National Committee) in Brno executed an inspection of building state in 1951. It was discovered, that the building is not structurally in order and “slips away”. This was confirmed by following examination, performed on 4th June 1952. Gibbous wall and plaster falling off was completely evident by this time. After their removal, cracks appeared,  stretching  along the whole length of the masonry.  Addressed jury experts, Emil Robíček and Josef Hořčica recommended in their evaluation from 10.6.1952 „to terminate immediately all the operation, to clear out the building, to close down, and to remove and tear down whole theatre building in shortest possible time“.29  They were afraid of building collapse and possible danger for human life. Technical department of ÚNV in Brno responded by immediate prohibition of any activity in the building (from 12.June 1952) and its usage. If it would not have been possible to reconstruct the building and that was not already, it should have been torn down as soon as possible.

Last performance occurred in old theatre on 11. June 1952 with play Southward from 38th longitude by Tchaj Djan-Čun.Few days later, demolition works begun. 30



1  V roce 1870 podlehla Reduta téměř kompletně požáru.

2  Např. u Mondscheinů na Malé Pekařské (Kopečné) ulici, „U bílého kříže“ (Pekařská 80), „U mexikánského císaře“ (Pražská 22), „U Olivů“ (Cejl 42), „U Mildnerů“ (Bratislavská 80), v Živnostenském spolku (Jesuitská 13) a jinde.

3  Archiv města Brna (dále jen AMB), fond R 35 Družstvo českého národního divadla (1805) 1881–1949 (dále jen fond R 35), inv. č. 1, poř. č. 1, Divadelní družstvo v Brně.


5  Ema Pechová, Padesát minus jedna, in: F. Nestroj (red.), Zlatá kniha vydaná Družstvem českého národního divadla v jubilejním roce 1934 na oslavu 50letého trvání stálého českého divadla v Brně ve vlastní budově na Veveří, Brno 1934, s. 108.

6  Jiřina Telcová-Jurenková, Divadlo na Veveří ulici a jeho budova, Časopis moravského muzea XLV, 1960, s. 200.

7  František Kožík, Divadlo na Veveří, in: Nestroj (pozn. 5), s. 19.

8  Viz Telcová-Jurenková (pozn. 6), s. 200.

9  AMB, fond R 35, inv. č. 2, poř. č. 2, Protokol družstva národního divadla v Brně. Zápis valné hromady dne 5. března 1893.

10 Julius Schnirch – Bohuslav Babánek, Družstvo čes. Národního divadla v Brně a snahy o stavbu nového divadla, in: Nestroj (pozn. 5), s. 64.

11 Viz Telcová-Jurenková (pozn. 6), s. 208. Opona je v současné době uložena v Oddělení dějin divadla Moravského zemského muzea v Brně.

12 Vzhled divadelního křídla je dokumentován fotografií vzniklou kolem roku 1917 (publikovanou v tomto roce v Ottově divadelním slovníku) a fotografiemi ze dvacátých let 20. století. Starší obrazový materiál, případně popis objektu, se nepodařilo objevit. Lze ovšem předpokládat, že tyto snímky dokládají podobu divadla po rekonstrukci v roce 1894. Tehdejší stavební úpravy byly totiž největší a nejrozsáhlejší, již se objektu divadla, přinejmenším do dvacátých let 20. století, dostalo.

13 AMB, fond R 35, krab. č. 36, inv. č. 382 a-m, Národní divadlo v Brně: V zákulisí, Hudební noviny, 1909.

14 Nárožní stavby Veveří č. 1 a Ratvitova náměstí č. 6, včetně k nim náležejícím pozemkům.

15 Zakoupen roku 1909.

16 Ratvitovo náměstí č. 7. Družstvo dům koupilo v roce 1910, kupní smlouva byla sepsána roku 1915, později objekt využívalo Ředitelství státních drah.

17 Původní německé divadlo Na Hradbách muselo podle nového ustanovení na 5 dní v týdnu postoupit prostory českým představením. Naopak v Redutě hráli Češi dva dny v týdnu, zbývající byly vyhrazena německým inscenacím.

18 Viz Telcová-Jurenková (pozn. 6), s. 202.

19 AMB, R 35, krab. č. 13, inv. č. 205 a-e, Historie přestaveb Národního divadla v Brně na Veveří, nyní Mahenovy činohry.

20 AMB, R 35, krab.č. 8, inv.č. 74, Přehled divadelního vývoje a činnosti Družstva českého Národního divadla v Brně (pro jubilejní výstavu 6. 12. 1934– 6. 1. 1935).

21 Viz pozn. 19.

22 AMB, R 35, krab. č. 13, inv. č. 205 a-e, Přípravné práce Družstva českého Národního divadla v Brně k veřejné soutěži na projekt nového českého divadla v Brně (resumé), Brno 1936, s. 3.

23 AMB, R 35, krab. č. 36, inv. č. 382g, Zpívá K. Kosina v operetě: „Apropos co dělá Andula“, březen 1935.

24 Viz pozn. 19.

25 V domech původně sídlil Zemský ústav pro zvelebování živností pro zemi Moravu v Brně.

26 Viz pozn. 19.

27 Ibidem.

28 AMB, R 35, krab. č. 12, inv. č. 108 d, dopis Národního výboru zemského hlavního města Brna Ředitelství Národního divadla, V Brně dne 8. října 1946.

29 Národní divadlo Brno, Archiv – umělecká dokumentace, Poznámky o zastavení provozu ve Starém divadle v Brně, na Veveří ul. Z úředních dokumentů v kanceláři technické správy Státního divadla v Brně, 6. 6. 1960.

30 Rizalit a nárožní osa divadla, přiléhající k domům na Veveří ulici, zůstaly stát až do roku 1973. David Bimka, Prozatímní divadlo hrálo šedesát let, Deník, 23. 7. 2007.

Employed sources and literature:

– Archiv města Brna, fond R 35 Družstvo českého národního divadla (1805) 1881–1949

– Moravské zemské muzeum v Brně, Oddělení dějin divadla

– Národní divadlo Brno, Archiv – umělecká dokumentace

– F. A. Šrom – J. S. Wurm – Bedřich Hoppe – Emanuel Tužil, České divadlo v Brně, Moravská orlice X, 1881, č. 24, 30. 1., s. 1

– Adolf Stránský, Divadelní listy, Moravská orlice X, 1881, č. 256, 10. 11., s. 1–2

– České divadlo v Brně, Moravská orlice XI, 1882, č. 104, 6. 5., s. 1

– Národní divadlo v Brně, Moravská orlice XII, 1883, č. 79, 6. 4., s. 1

– Miloslav Hýsek, Dějiny českého divadla v Brně, Brno 1907

– Vilém Mrštík, Národní divadlo v Brně, Lidové noviny XVI, 1908, č. 353, 24. 12., s. 37

– Karel H. Kepka, Národní divadlo v Brně, Lidové noviny XVII, 1909, č. 24, 24. 1., s. 9–10

– Josef Fanta – Jan Kotěra, Pro Národní divadlo v Brně, Moravská orlice XLVII, 1909, č. 46, 26.2., s. 1–2

– Národní divadlo v Brně: V zákulisí, Hudební noviny, 1909

– Jaroslav Helfert, Národní divadlo v Brně, Praha 1918

– Karel Tauš (red.), Almanach Zemského divadla v Brně, Brno 1933

– F. Nestroj (red.), Zlatá kniha vydaná Družstvem českého národního divadla v jubilejním roce 1934 na oslavu 50letého trvání stálého českého divadla vBrně ve vlastní budově na Veveří, Brno 1934

– Karel Tauš, Padesát let českého Národního divadla v Brně, Brno 1934

– Oldřich Starý, Soutěž na státní divadlo v Brně. Významný přínos ve vývoji naší architektury, Architektura ČSR, 1957, č. 6, s. 327–344

– Jiřina Telcová-Jurenková, Divadlo na Veveří ulici a jeho budova, Časopis moravského muzea – Acta Musei Moraviae XLV, 1960 [s. ?]

– Eugenie Dufková (ed.), Putování múzy Thálie: Sto let stálého českého divadla v Brně 1884–1984, Brno 1984

– J. T. [Jiřina Telcová], Výstava 100 let stálého českého divadla v Brně, Brno 1984

– Pavel Zatloukal, Brněnská okružní třída, Brno 1997, s. 140–143

– Jiří Hilmera, Česká divadelní architektura, Praha 1999, s.125–129

– Pavel Zatloukal, Příběhy z dlouhého století, Olomouc 2002, s. 567–571



Tags: Austria-Hungary, Belle Époque, extinct theatre


Author: Kateřina Kohoutkova - Gabrhelíková

Translator: Jan Purkert

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