This paper focused on the beginnings of the institutionalization of the partisan theatre in Yugoslavia during World War II, that is, on the Theatre of the People’s Liberation (Kazalište narodnog oslobođenja). Although communist media and art are usually defined solely in terms of agitation and propaganda, the paper argued that the wartime entertainment always relied on the artists’ creative potential and inclinations and accepted the importance of entertainment for all who found themselves in the vortex war. It indicated how the mentioned elements intertwined into a (relatively) successful officially sanctioned system of motivation, that is to say, production of fun.

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