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Actors would memorize the text, and rely on a prompter to a great degree, and the leading actor would try to agree with other actors and rehearse the basic mise en scène in a few rehearsals before the opening. The productions were placed in only a few sets (a room that often served as a peasant home or European salon; a forest; a city square).At the beginning, the actors were dressed in their own costumes and actresses were given a small addition to their salaries for this purpose.In the first decades, in small Belgrade, the productions often had a premiere and two or three performances, and only the rare and very popular plays had up to ten performances.In these circumstances of hyper production, one cannot imagine that production would be anything similar to what it is today.Many artists were amongst the refugees and some of them remained in Belgrade.This is how the National Theatre got professional directors (first, Yuri Lvovich Rakitin, and later the couple Vera Grech and Polycarp Pavlov, former members of Moscow Hudozestveni Theatre), set and costume designers (Leonid and Rimma Brailowsky, Anani Verbitski, Vladimir Zhedrinski, Vladimir Zagorodnjuk).Glišić, young Branislav Nušić, Borisav Stanković, Matija Ban, Simo Matavulj, Laza Kostić...).The so-called plays with singing were extremely popular at the time, and later.

As the time went by, good authors who will stand the test of history appeared (Milovan Đ.Auflage 2013, ISBN print: 978-3-8487-0454-5, ISBN online: 978-3-8452-4760-1, DOI: 10.5771/9783845247601-93 Reihe: Southeast European Integration Perspectives, Bd.9 Der Sammelband in englischer Sprache befasst sich mit der Frage, wie man die weiter anhaltende Spaltung im ehemaligen Jugoslawien überwinden kann. Such were dramatizations of Stevan Sremac’s novels – Zona Zamfirova and Ivkova Slava (music by Stevan Mokranjac); Djida by Janko Veselinović and Dragomir Brzak (music by Davorin Jenko); and the most popular one - Koštana by Borisav Stanković (music by Stevan Mokranjac).Koštana became a cult play, and as such remained on the repertoire from 1901 until today, only with occasional short breaks.At that time a new and great name in national play writing appears – Branislav Nušić.