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The Slovene National Theatre Maribor

Historia del teatrosuplementodatos técnicosEquipamiento histórico

eventos importantes

(Detalle)1785 | The first theatre hall in Maribor

(Detalle)1848 | The beginning of the construction of the theatre building
The plans were created by the railway engineers Adam Wiesinger and Gustav Lahn. The building work was carried out by Janez Nusshold, and the stage equipment was supplied by the Maribor carpenter, hewer and engineer Anton Halleger.
(Detalle)20. 1. 1852 | The festive opening of the new theatre
The date was chosen to mark the 70th birthday of Archduke John, “the protector of everything good and beautiful in Styria”. The opening performance was the opera Martha by Friedrich von Flotow, staged by The theatre company of Mr Thome, the director of the Graz theatre.
(Detalle)1863 | The beginning of the building of the casino
The plans for the casino were created by the Graz architect Johann Schöbl, whilst the building work was led by the town builder Josef Lobenwein and the building engineer Hugo Skale. the construction was completed in 1864.
(Detalle)16. 1. 1865 | The festive opening of the casino
The plans were created by the Graz architect Johann Schöbl, whilst the building work was led by the town builder Josef Lobenwein and the building engineer Hugo Skale. The construction was finished in 1864.
(Detalle)1866 | Several minor renovations
In years 1866 - 1870, 1882, and 1886 there were several minor renovations.
(Detalle)1903 | The beginning of the first extensive renovation

(Detalle)1919 | The German Theatre and Casino Society was abolished
The last performance in German was staged in May 1919. Soon after, the German Theatre and Casino Society was abolished and its property, including the buildings, was transferred to the Maribor Town Municipality.
(Detalle)27. 9. 1919 | The opening performance in Slovene language
The new permanent Slovene professional theatre began its activities in the theatre building with the festive staging of the play Tugomer by Josip Jurčič, directed by the renowned actor and director Hinko Nučič.
(Detalle)1925 | Yet another renovation of the theatre building
During this renovation, the ornamentations weres re-gilded by the Maribor sculptor Ivan Sojč.
(Detalle)1941 | Slovene theatre was abolished

Germans commissoned plans for thorough renovation and alteration of the theatre complex, but due to the war, only small part of them was carried out.


(Detalle)15.11. 1945 | Slovene theatre was reopened again

The Theatre was reopened with the performance of van Cankar's story Hlapec Jernej.


(Detalle)1947 | The first ballet performance

(Detalle)1952 | The theatre complex acquired neighbouring building on Slovenska ulica 29
In the same year the Maribor architect Branko Kocmut created plans for extensive renovation of the theatre complex, which remained unrealised.
(Detalle)1962 | The beginning of thorough renovation

The plans were created by the architect Maks Hlad and the senior building technician Jože Požauk. The work carried on until 1968. In 1962, the theatre hall was renovated, in 1963, the stage tower was heightened, in 1964 and 1965, the casino hall was renovated, and between 1966 and 1968 the roof and façade of the entire theatre complex were completely renovated.


(Detalle)1965 | Since 1965 SNG Maribor has been the host of Borštnikovo srečanje festival

(Detalle)1979 | The beginning of the renovation and enlargement of the theatre complex
The implementation plans were created by the architect Branko Kovmut. The project was carried out in four phases until 2003. The plans for the last phase were created by the architect Peter Kocmut.

Gente

(Detalle)Gustav Lahn |arquitecto

 


Adam Wiesinger |arquitecto
Johann Schöbl |arquitecto
Branko Kocmut |arquitecto
Peter Kocmut |arquitecto
Maks Hlad |arquitecto
Ivan Sojč |sculptor

Historia

The building complex of the Slovene National Theatre Maribor covers an extensive area in the medieval town centre between Slomškov trg, Gledališka ulica and Slovenska ulica. The whole complex as it is today has developed gradually since the middle of the 19th century. It consists of a fairly heterogeneous architectural whole that includes various buildings, some of which were initially not intended for the requirements of the theatre, but which today provide premises for the largest public cultural institution in the Republic of Slovenia. The Slovene National Theatre Maribor is the only theatre house in Slovenia and one of the few in Europe that combines under a single roof drama, opera and dance; SNT Maribor thus consists of Drama, the Opera and Ballet and the Symphonic Orchestra.

 

Maribor, which was until the end of the First World War the largest town in the Habsburg hereditary province of Styria, acquired its first theatre hall in 1784 in the street that is today called Vetrinjska ulica, in the building at number 30 that was once owned by the Vetrinj Cistercian monastery in Carinthia. The theatre was on the first floor of the eastern wing of the building complex until 1806. Studies carried out in 2009 during the renovation of this building revealed the remains of a theatre auditorium, which was comparable in size to that of the nearby Ptuj Town Theatre.

 

In either 1810 or 1811, the theatre moved to the small abandoned church of the Holy Spirit, which stood on the present location of the building occupied by the main post office on Slomškov trg 10. The eastward facing church originally belonged to the town hospital, which is mentioned in written sources from the 14th century onwards and which abutted the south wall of the church nave. In 1785, as part of the Josephinian reforms, the church was abandoned and was used as a warehouse until it was turned into a theatre. The theatre continued its activities there in very modest conditions until 1851. At the time when the church was turned into a theatre, the presbytery on the east side was slightly shortened, acquired a new two-axial eastern façade in the shape of a portico and in front of it there was a wooden entrance covered with a lean-to roof. The auditorium was in the low nave, which had 104 stall seats and 300 standing places on the newly added and later enlarged gallery. The stage was in the former presbytery and access to the auditorium was either past or beneath the stage. The design of this theatre did not differ greatly from that of the theatres in Ptuj and Idrija.

 

This modest theatre soon became too small for the rapidly developing town. In 1847 the Maribor town council and high-standing citizens decided that a new theatre building should be built, together with a casino. The same year an empty plot of land with a large garden within the walled medieval town was bought, positioned north-west of the complex of the parish church and near the old theatre. The construction began in 1848, paid for by contributions from the large group of founders of the Maribor theatre. The plans were created by the railway engineers Adam Wiesinger and Gustav Lahn, whilst the building work was carried out by Janez Nusshold for 50,000 goldinars. The stage equipment was supplied by the Maribor carpenter, hewer and engineer Anton Halleger. Due to the lack of funds the building of the casino was postponed and even before the theatre was built in 1848 parts of Slovenska and Gledališka ulica had been smartened up. The festive opening of the new building belonging to the Town Theatre was held on 20 January 1852, marking the 70th birthday of Archduke John, “the protector of everything good and beautiful in Styria”. The theatre company of Mr Thome, the director of the Graz theatre, staged the opera Martha by Friedrich von Flotow. The new building was 39.83 metres long and 19.90 metres high. It had four large exits and one smaller one from the stage through the dressing rooms. Rudolf Puff stated that the theatre could hold 1200 people. The semi-circular stalls were surrounded by wooden boxes on three levels. The stage was 15.17 metres deep and 15.80 metres wide. From the stage floor to the rope and pulley system there was a distance of 18.95 metres, and to the roof ridge 22.75 metres. The stage had various sections that could be lowered, tracks for moving sets and a lighting device. All the stage apparatus was made by Anton Hallegger. The design of the building was fairly utilitarian, without any obvious desire for any more ambitious architectural features. Formally, it was very basic architecture – the best a railway engineer could produce. From the outside, the part containing the auditorium looked like a two-storey building with a ridged roof, whilst the stage section was taller and had the shape of a tower. The simple Classicist main façade on the southern side was five-axial, had two storeys and was emphasised in the middle by a balcony above the main portal. The building is in this form depicted on a picture by Eduardo Lind from around 1860 kept by the Maribor Regional Museum.

 

After the theatre had moved to the new building most of the former church of the Holy Spirit was demolished and in its place a 7 x 2 axial, three-storey building with a late Classicist frontage was built. Between 1891 and 1894, this building was replaced by the new post office.

 

In front of the main façade of the new theatre building, on the location where a casino had been envisaged, there was first a small plantation, from which there was access to the theatre café in an older building situated south-west of the theatre. The café and theatre were connected by a covered wooden walkway. In 1863 the building containing the café was demolished and in 1864 a casino was built on the initiative of the “Reading (Casino) and Social Society” in front of the main façade, the present day address of which is Slomškov trg 17. The plans were created by the Graz architect Johann Schöbl, whilst the building work was led by the town builder Josef Lobenwein and the building engineer Hugo Skale. The cost was 95,000 goldinars. The festive opening took place on 16 January 1865. The building contained an impressive hall, which is still considered to be one of the most beautiful in town. The new building also had an imposing Neo-Classicist frontage, which at the same time took on the role of the main frontage of the theatre building. The symmetrically designed eight-axial facade that is wider than the theatre building is structured with pilasters and large window openings and also has an emphasised higher three-axial central section. On the upper level the central section is adorned by a shallow balcony on consoles, whilst on the first floor its sides are finished by two caryatids on which rest two pilasters on the second floor. The top of the frontage is finished by a group of sculptures of playful, music-playing boys. In contrast to the back of the building, the design of which is rather utilitarian, the impressive frontage shows that it was designed by an architect for whom aesthetic and stylistic aspects took precedence over functional demands. The impressive effect of the frontage was further increased when in 1891 the nearby presbytery and the wall surrounding the garden of the parish cathedral were demolished and replaced by the square now called Slomškov trg. The casino building was on the west side integrated into a series of older multi-storey buildings, whilst on the east side it bordered on the present day Gledališka ulica. There, an eight-axial side façade was created, which copied the structuring of the main façade. Between the side casino façade and the theatre building a wide corridor was built, which encompassed three window axes on the outside and facilitated rapid exit from the theatre. The main access to the theatre was via a long corridor on the ground floor of the casino. On the same floor there were initially catering premises on the western side, and on the eastern side a café with a billiards hall, a games room and a kitchen. On the upper floor there were a large and a small hall, a dining room and a games room. The large hall adorned with pilasters, gilded applications and numerous mirrors was on the second floor surrounded by galleries. The casino still shows that it was created during the time of Maribor’s rapid development into an important railway and industrial town.

 

Between 1866 and 1870 the theatre building was renovated for the first time. The next minor renovations followed in 1882 and 1886, focusing mainly on increasing fire safety. Between 1900 and 1903, on the occasion of the celebration of the fiftieth anniversary of the theatre building, it was extensively renovated in line with plans by Adolf Baltzer. The renovation involved extending the theatre and making the interior grander. In 1902 the walls of the auditorium were decorated with gilded Neo-Baroque ornaments, which were partly covered with Bordeaux red plush, and the ceiling was adorned with gilded stucco work. In front of the stage there was placed a large metal fire-safety screen. At the same time, the orchestra pit was extended and was now able to accommodate 26 musicians. In the stage tower a new rope and pulley system was installed and the old, clumsy sets replaced with inserts and decorations that could be inserted into a frame. The theatre also acquired running water. In 1901, the Theatre and Casino Society bought the neighbouring single-storey building on Slovenska ulica 27 for the requirements of the theatre, i.e. the auxiliary stage premises. In 1903 a large two-storey utilitarian building was erected in the courtyard on the basis of plans by Adolf Baltzer to serve as the theatre warehouse. In 1907 the central section of the boxes on the first floor was replaced with a gallery, again following Baltzer’s plans, which increased the number of seats in the auditorium. The balcony was adapted to the shape of the auditorium, which was renovated in 1902.

 

The theatre and casino complex was until the collapse of the Austro-Hungarian monarchy in 1918 the centre of the cultural and social life among the German-speaking inhabitants of Maribor. The famous Austrian composer Robert Stolz worked there for some time. The theatre was not a professional institution, but hosted theatre groups from elsewhere, which prior to the First World War performed mainly operettas. The theatre performances in Slovene that were at first staged chiefly in various inns, flourished only after 1899, when the Narodni dom building (National Home), containing a large public hall, was built and later the Dramatic Society founded. In May 1919 the last performance in German was staged in the theatre. Soon after, the German Theatre and Casino Society was abolished, whilst its property, including the buildings, was transferred to the Maribor Town Municipality. On 27 September 1919 the new permanent Slovene professional theatre began its activities in the theatre building with the festive staging of the play Tugomer by Josip Jurčič, directed by the renowned actor and director Hinko Nučič. The building was partly renovated; the auditorium had 30 boxes with 5 seats each and 116 seats in the stalls, 52 on the balcony and 66 on the gallery. In the stalls there was standing room for 200 people and in the gallery for 150. In total, there was room for 740 people. The charismatic Hinko Nučič was succeeded as leader of the theatre by Valo Bratina, Rado Pregarc and Jože Kovič. Among the Slovene authors, plays by Ivan Cankar were staged most frequently during that period. In addition, there were stagings of foreign authors, such as Gorky and Bernard Shaw. After 1928, due to financial crisis, the repertoire relied mainly on operetta. The most prominent individuals in the theatre at that time were the composer Viktor Parma and the conductor Andro Mitrovič. In 1916 film performances in both the casino and the theatre began to be held, but soon the Town Cinema was limited to the casino hall. Between the two World Wars, the casino building also housed the Study Library and People’s University. During this period the building complex experienced only minor alterations. In 1925 the auditorium and dressing rooms were renovated, whilst the middle entrance to the auditorium was filled with boxes and the entrances to the stalls were moved to the sides. Moreover, the ornamentations were re-gilded by the Maribor sculptor Ivan Sojč. At the same time, the central entrance and the long corridor in the casino building were re-opened as an access route to the theatre. In 1940, the single-storey building on Slovenska ulica 27 was extended upwards by one storey and connected to the theatre. In the new part of this building there were dressing rooms, a costumes warehouse, toilets and a bathroom with showers. The complex remained like this until the Second World War.

 

In April 1941, Maribor was occupied by German forces. The Slovene Theatre was abolished and the theatre building began to be used by the German Theatre. In October 1941, the Viennese architect Hans Kamper, commissioned by the state propaganda office in Graz (Reichspropagandaamt Graz) drew up plans for a thorough alteration and renovation of the theatre building complex. In 1942 and 1943 Kamper further improved his plans for the renovation of the theatres in Maribor and Celje, but due to the war hardly any actual work was carried out. In 1943 the casino hall on the first floor was renovated, whilst in the theatre hall the standing room in the stalls was replaced with seats. All the other plans remained on paper and are now kept in the Maribor Regional Archive. In 1944, the theatre was closed due to bomb attacks by the Allied Forces, whilst the cellars were turned into air-raid shelters.

 

After the end of the War, on 15 November 1945, the Slovene Theatre was reopened with a performance of Ivan Cankar’s story Hlapec Jernej. In 1947 the first ballet was performed. Around that time ambitious plans began to appear for Maribor to acquire a new opera building, whilst the old casino building would be dedicated to drama. The plans were based on ideas that had appeared during the German occupation under the assumption that the town would develop rapidly and a new town centre would be built east of the old town. Various factors soon hindered the realisation of these ambitious plans. In 1952, the building on Slovenska ulica 29 was connected to the theatre for theatre workshops and a costume designing studio. In the same year the Maribor architect Branko Kocmur produced the first more extensive plan for the renovation of the theatre complex, which remained unrealised. Renovation work began in 1962 and carried on until 1968, following plans by the architect Maks Hlad and the senior building technician Jože Použak. In 1962 the theatre hall was renovated and furnished with new seats. In 1963, the height of the stage tower was increased by 8 metres and on the exterior the new part copied the existing structuring of the walls with pilasters. Between 1964 and 1965 the casino hall was renovated, whilst between 1966 and 1968 the entire roof and façade were completely renewed. In this newly renovated building in 1965 the Slovene National Theatre Maribor began to host the Borštnikovo srečanje festival of Slovene drama, the purpose of which is to evaluate the previous season and honour the best achievements.

 

In spite of the most urgent renovation work in the 1960s, the theatre complex from the 19th century could not satisfy the needs of the rapidly developing professional theatre activities in Maribor after the Second World War. The lack of space in the building was alleviated slightly in 1974 by the building of a separate theatre workshop 1.5 kilometres from the theatre itself. The management was then taken over by Juro Kislinger (1931–1999), who strove for a thorough renovation and enlargement. The idea of building an entirely new central theatre building on a new location was finally abandoned. In 1975 the architect Branko Kocmut created a conceptual plan which envisaged extending the theatre at the side of the old building and a different urbanistic appearance for this part of the old town. The plan provided a long-term solution to the space issues on the existing location, with the exception of the workshops and storage room for stage sets. The architect envisaged that by extending the building westwards, doubling the existing ground plan, the enlarged complex could continue to serve both the drama and opera. This produced a functional and rounded design of the theatre with two stages and two parallel auditoriums. The stages were linked to the hall where stage sets were assembled, which at the same time served as a side stage. In order to adapt to the available flow of financing and to allow the activities of the theatre to proceed without interruption the plans had to be realised in four stages. In 1978 the firm Komunaprojekt Maribor, under the leadership of Branko Kocmut, finished the implementation plans for the start of the renovation and the enlargement of the complex and in the spring of 1979 the work began on the first phase of the project. First, the connected buildings on Slovenska ulica 27 and 29, built in the 18th century and renovated in the 19th, were demolished. In 1981, three other buildings on Slomškov trg 16a, 16b and 16c, built in the first half of the 19th century, were also removed. This was followed by the construction of a new multi-storey wing abutting the old stage tower next to Slovenska ulica, intended for dressing rooms, a stage set assembly hall, rehearsal rooms for the ballet and the orchestra, a costume workshop and make-up rooms. This part was finished on 28 April 1983. In 1984, the new stage began which involved an extensive renovation of the former casino building. This became a grand joint entrance into the extended theatre complex. In view of the building’s heritage importance the statics of the casino were improved. At the same time, on the western side of the interior new premises were added in place of the former small inner court, which increased the functionality of the whole. Due to the poor condition of the material, a part of the arched structures on the ground floor were re-built using the facsimile method; bricks were replaced with reinforced concrete. In the casino hall all the decoration and fittings were renewed. The renovated casino was opened in 1987. Even before that, in the autumn of 1986, within the third project stage a new auditorium with a large stage began to be constructed west of the existing complex. This was on the ground floor linked to the westward extended old covered walkway or foyer between the buildings of the original theatre and the casino. The design of the extended part of the corridor was completely adapted to the old section. This resulted in an impressive looking harmonious whole, where new sections blend in with the old ones without any obvious demarcation lines. The architect resolved the problems of the available ground plan that was too small for the proper functioning of the large stage by designing a side stage and through considerable deepening of the space below the main stage, thus creating the option of combining the horizontal and vertical movement of set elements. The architectural solution of the stage design was significantly supplemented by the stage equipment, implemented after 1990 following the plans by the engineering company Biste und Gering from Berlin. In line with this plan, the central area measuring 15 x 15 metres was positioned on the stage, consisting of three two-level podiums, 15 metres wide and 5 metres deep. This allows the lifting of the entire set designs from the space beneath the stage. The efficiency of this solution was further increased with two horizontally movable stage carts, 15 metres wide and 5 metres deep, which are installed in the right side stage. All these sections can be moved and exchanged mechanically. The versatility of the stage was also greatly improved with a circular rotating floor with a diameter of 14 metres. The electronic controls of individual parts of the stage were created by the firms Waagner-Biro Wien and Hidromontaža Maribor. The main stage with a total surface of 348 square metres and a portal measuring 7.5 x 14 metres were finished in December 1992 and first used in the dramatisation of Dante’s Divine Comedy, directed by Tomaž Pandur. In 1994, the new large auditorium was finished and furnished following the plans by the architect Mirko Zdovc and it became the centre of the extended complex of the SNT Maribor. The auditorium has stalls and a balcony, whilst at each side there are three boxes.

 

Between 2002 and 2003, following the plans by Peter Kocmut, the fourth renovation phase was carried out, thus completing a project spanning nearly three decades. This last phase involved a thorough renovation of the old auditorium and the old stage tower. Most of the weight bearing structures in the auditorium were replaced, whilst the structuring of the exterior was adapted to that of the casino building. At the same time, the stage tower was extended by 4 metres and the tower’s previously slanting corner in the north west was partly filled in. The new sections of the tower were on the exterior adapted to the existing sections. Inside, the tower was fitted with completely new stage equipment and a new structure underneath the stage. The entire renovation and extension of the complex were financed by the Maribor Town Municipality and the Ministry of Culture of the Republic of Slovenia. The theatre thus now has four halls for staging theatre performances. The large new auditorium has 800 seats, the old hall 300 seats, the chamber stage 100 seats and the small stage 80 seats. In addition, the building includes a casino hall, which is not used for theatre performances. The complex includes all the necessary changing rooms, rehearsal rooms and a warehouse for costumes. Other storage premises and stage set workshops are, due to the lack of the necessary space, located elsewhere.

 

 

Viri in literatura

Franjo Baš, Mariborsko gledališče, Vodnik po Mariboru, Ljubljana 1932, pp. 151–152

Jože Curk, Mariborska stolnica, Kulturni in naravni spomeniki  Slovenije. Zbirka vodnikov 86, Ljubljana 1978 (z objavljeno fotografijo gledališke stavbe iz zraka na naslovnici)

Jože Curk, Oris 12 najpomembnejših gradbenih objektov v Mariboru I, Časopis za zgodovino in narodopisje, nova vrsta 24, št. 1, 1988, pp. 119-145

Jože Curk, Oris 12 najpomembnejših gradbenih objektov v Mariboru II, Časopis za zgodovino in narodopisje, nova vrsta 25, št. 2, 1989, pp. 199-227

Jože Curk, Urbana in gradbena zgodovina Maribora, Maribor skozi stoletja. Razprave I, Maribor 1991, pp. 511-563.

Jože Curk, Dr. Rudolf Gustav Puff in njegov mariborski čas, Dopolnitve, v: Rudolf Gustav Puff, Maribor, njegova okolica, prebivalci in zgodovina, Maribor 1999, pp. 345, 346, 360

Jože Curk, Maribor. Vodnik po mestu in bližnji okolici, Maribor 2000, pp. 55, 146

Jože Curk-Primož Premzl, Mariborske vedute, Maribor 2004, p. 92

Janko Glazer, Spomini na slovenske gledališke predstave v Mariboru pred 1. svetovno vojno, Dokumenti SGM 10, Ljubljana 1967

Fedor Gradišnik, Prezidava celjske gledališke hiše med okupacijo, Dokumenti slovenskega gledališkega muzeja, 15, Ljubljana 1970, pp. 23-41

E. H., Das Stadt-Theater in Marburg. Deutscher Bote für Steiermark und Kärnten. Kalender für das Jahr 1905, Marburg a. d. Drau 1905, pp. 21–25

Bruno Hartman, Zgradbe Slovenskega narodnega gledališča v Mariboru, Dokumenti slovenskega gledališkega muzeja, 15, Ljubljana 1970, pp. 1–22

Bruno Hartman, Še o zgradbah Slovenskega narodnega gledališča v Mariboru, Dokumenti slovenskega gledališkega muzeja, 17, Ljubljana 1971, pp. 90–91

Bruno Hartman, Maribor. Vodnik po mestu, Maribor 1987, p. 19-21

Bruno Hartman, Zgodovina slovenskega dramskega gledališča v Mariboru do druge svetovne vojne, Maribor 1996

Bruno Hartman, Kultura v Mariboru. Gibanja, zvrsti, osebnosti, Maribor 2001 (Documenta et studia historiae recentioris; 14), pp. 257-495

Josef  Andreas Janisch, Topographisch–statistisches Lexikon von Steiermark. II. Band, Graz 1885, p. 171.

Juro Kislinger-Karin Winkelseβer, Das Nationaltheater Maribor, Bühnentechnische Rundschau, Jg. 87, Heft 6, Dezember 1993, pp. 12–20

Juro Kislinger, Zgodovina – spomini – utrinki. O nastanku, obnavljanjih, predelavah in gradnji stavbnega sklopa Slovenskega narodnega gledališča Maribor, Maribor 1995 (Posebna izdaja Gledališkega lista SNG Maribor)

Juro Kislinger, Gordijski vozel našega gledališča, Izročila zgodovine, št. 6, 1999/2000, pp. 583–584

Juro Kislinger, Obris razvojnega načrta Slovenskega narodnega gledališča v Mariboru, Izročila zgodovine, št. 6, 1999/2000, pp. 585–590

Vladimir Kralj, Preteklost mariborskega gledališča, Kronika slovenskih mest, 1937, pp. 12–20

Artur Mally, Gassen-, Strassen- und Plätze-Buch der Stadt Marburg a.d.Drau, Marburg 1906, pp. 66–67

Viktor Molka, s. v. Gledališke stavbe in prizorišča, Enciklopedija Slovenije, 3, Ljubljana 1989, p. 246

Henrik Neubauer, Pričevanje o gradnji novega gledališča. Priročnik za politike in graditelje, Delo, 23. 11. 1995, p. 14.

H. (inko) Nučič, Slov.(ensko) narodno gledališče v Mariboru, Zrnje, 1920, p. 18

Tone Partljič, Juro Kislinger (1931–1999), Večer, 24. april 1999, p. 18.

Jerneja Pavlič, Das deutsche Theater in Maribor (Marburg an der Drau) und in Celje (Cilli) im ersten Weltkrieg. Diplomseminararbeit  (Nemško gledališče v Mariboru (Marburg an der Drau) in Celju (Cilli) med prvo svetovno vojno. Diplomska seminarska naloga na Oddelku za germanistiko Pedagoške fakultete Univerze v Mariboru), Maribor 2006

Iztok Premrov, Arhitektura devetnajstega stoletja v Mariboru, Časopis za zgodovino in narodopisje, nova vrsta 10, 1974, pp. 352–353

Primož Premzl, Pozdrav iz Maribora. Mesto na razglednicah v letih 1892 do 1945, Maribor 1992

Rudolf Gustav Puff, Das neue Theater, Marburg 1852

Pavel Strmšek, Deset let narodnega gledališča v Mariboru, Maribor 1929

Bogo Teply, Vodnik po Mariboru in okolici, Maribor 1959, pp. 70–71

The archive material associated with the building of the Slovene National Theatre Maribor is kept by:

Maribor Regional Archive (Viri 2. 1. zvezek. Viri za gradbeno zgodovino Maribora po 1850, Maribor 1990, p. 103; Viri 2. 5. zvezek. Viri za gradbeno zgodovino Maribora po 1850, Maribor 1995, pp. 72–73, 86–87; material from the Talijin hram exhibition, 1994

The archive of the Slovene National Theatre Maribor

The archive of the Institute for the Protection of the Cultural Heritage of Slovenia, Maribor branch

Maribor University Library

 

 

Autor: Igor Sapač

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