Theater Rebel Branko Sušac Dies After Battling Institutions

Pula is mourning the loss of Branko Sušac, a distinctive figure in the city's cultural landscape, known for his iconic beard, hat, and a colorful walking stick that mirrored his artistic spirit. Sušac, a director, educator, and the driving force behind Kazalište Dr. INAT and the PUF festival, passed away, leaving behind a legacy of defiant and uncompromising theater.

Kazalište Dr. INAT, founded in 1985, was born from a spirit of 'inat' – Croatian for stubbornness or defiance – against the established cultural norms. Inspired by minimalist theater pioneers, Sušac envisioned a raw, primal, and provocative form of theater. His productions eschewed lavish stages, instead thriving in streets, abandoned halls, and quarries. He staged "Proba orkestra" in the dark, muddy tunnels of Zero Strasse in the early 1990s and "Anno Domini" in the Cave Romane quarry, transforming these spaces into unconventional theaters.

Through Kazalište Dr. INAT, which found a permanent home in the Rojc Social Center, Sušac mentored hundreds of young individuals. For many, it was their introduction to theater, a place to learn acting, directing, and scenography, but also life lessons. He demanded complete dedication, believing at least three years of education were necessary for an actor to mature. This commitment led to acclaimed productions like "Krabulje crvene smrti," recognized as one of the top ten in Yugoslavia in 1989, and earned the theater the City of Pula Award in 1996.

Sušac also channeled the vibrant energy of the 1980s independent scene into the war years, believing in the importance of international exchange. In 1994, he co-founded the PUF International Theater Festival, bringing a bolder, more unconventional theatrical expression to Pula. PUF became a vital meeting point for artists, fostering late-night discussions and, as Sušac put it, creating "a slightly happier world." He was also known for his blunt honesty, unafraid to criticize officials and fiercely opposing the introduction of parking fees at Rojc, which he saw as an attack on public space. He often lamented that the tragedy of independent theater lay in the constant struggle for basic survival.

“

The tragedy of independent theater is that we all first have to secure basic conditions for survival.