Popović family

The Popović family was a Serbian acting dynasty active from the nineteenth century until the death of its last documented great-grandchild in 1949. Its lineage began with Luka Popović, a priest born in Vranjevo in 1808. Through his children, grandchildren, and great-grandchildren, the family produced twenty-three people associated with the stage, music, directing, theatre administration, and related performance work. The family’s importance lies less in a single company than in the collective role its members played in the institutional formation of modern Serbian theatre. After Luka Popović’s death in 1854, responsibility for his seven children fell largely to his wife Milica and their two eldest daughters, Katarina and Draginja. Several of the children subsequently entered theatrical life at a time when Serbian professional theatre was still developing. Draginja Ružić is commonly regarded as the first Serbian professional actress, while Ljubica Kolarović became one of the most highly regarded Serbian actresses of the second half of the nineteenth century. Their careers connected the family with the Serbian National Theatre in Novi Sad, travelling companies, the Croatian National Theatre in Zagreb, and the National Theatre in Belgrade. The family’s presence was particularly significant in Novi Sad. At one point, Popović relatives reportedly made up almost half of the Serbian National Theatre’s troupe. When the National Theatre in Belgrade was founded, family members also formed an important part of its early artistic personnel. Lazar-Laza Popović, an actor, director, and travelling-theatre manager, served as the main director of the Belgrade National Theatre for much of its first season and encouraged the creation of amateur and professional theatres. Other relatives extended the family’s influence into opera, operetta, radio performance, film, playwriting, and theatre education. The second and third generations broadened this legacy. Emilija Popović worked as an actress and playwright and appeared in Poor Mother, an early Serbian feature film that has not survived. Zorka Todosić became a leading National Theatre performer, first known for operetta soubrette roles and later for comedy and drama; she was also among the first singers heard on Radio Belgrade. Milka Marković, an actress and director, is regarded as Serbia’s first female director and received the Order of Saint Sava. Luka Popović worked as an actor, singer, and director in Belgrade, Novi Sad, and Skopje and established a Serbian theatre for emigrants in the United States. The family’s history also reflects the risks and constraints of theatrical life. Zorka Popović-Premović was killed by a male stalker in 1909, while her relative Ljubica Teodosijević Spiridonović died of tuberculosis in 1905. The last generation included Dimitrije Mitica Marković, a trained actor and singer who performed in Novi Sad and Banja Luka and organized artistic concerts across Serbia. The dynasty is generally treated as a historical cultural family rather than a continuing commercial organization; no present-day corporate ownership, headquarters, website, or operating company is identified in the supplied sources.

Luka Popović was born in Vranjevo on 2 February 1808 to Timotej, a farmer, and Stefanija Popović. He studied at the gymnasium in Sremski Karlovci and became a priest. He first served in Vranjevo and later held posts in Ovsenica and Ivanda in the Banat. He and his wife Milica had seven children. After Luka died in 1854, Milica and the two eldest daughters, Katarina and Draginja, helped care for the family and supported the younger children’s education. Katarina Popović briefly acted in Belgrade and at the Serbian National Theatre in Novi Sad before leaving the stage for teaching. Her sister Draginja Popović Ružić joined the Novi Sad ensemble and became known as the first Serbian professional actress. Ljubica Popović Kolarović developed a major career in Novi Sad, travelling companies, Zagreb, and Belgrade, where she became one of the institution’s early official prima donnas. Jelisaveta Popović Dobrinović began acting at twenty-seven after encouragement from Serbian National Theatre manager Antonio Hadžić. She negotiated to play older women and remained with the theatre throughout her career. Lazar-Laza Popović became an actor, director, and manager of a travelling troupe. His work connected the family to the expansion of Serbian theatre beyond established institutions, and he was the principal director of the Belgrade National Theatre during much of its inaugural season. Paja Popović, the youngest of Luka’s children, first worked as a teacher, then joined Laza’s troupe and later the Serbian National Theatre before his death in 1876. Sofija Popović Maksimović Vujić spent most of her acting career at the Serbian National Theatre, with a shorter period at the Croatian National Theatre in Zagreb. The grandchildren carried the family’s presence into a new phase of Serbian cultural life. Emilija Popović acted in travelling companies and at the National Theatre in Belgrade and also wrote plays. Her appearance in Poor Mother connected the dynasty with early Serbian cinema. Zorka Todosić, daughter of Ljubica Kolarović, became a leading Belgrade performer over more than two decades. She moved from operetta into comedy and drama and was among the earliest singers to perform live on Radio Belgrade. Milka Marković, daughter of Sofija Maksimović Vujić, worked as an actress and director in Belgrade and Novi Sad and is remembered as Serbia’s first female director. She received the Order of Saint Sava for her contribution. Luka Popović, son of Laza Popović, worked across acting, singing, and direction in Belgrade, Novi Sad, and Skopje. He also participated in travelling companies and founded a Serbian theatre for emigrants in the United States, where he became acquainted with Michael Pupin. Zorka Popović-Premović and Danica Popović performed at the Belgrade National Theatre; Zorka’s career ended when she was killed by a male stalker in 1909. The great-grandchildren continued the artistic line. Ljubica Teodosijević Spiridonović trained in Belgrade and Vienna, performed in operetta and at the Sinđelić Theatre in Niš, and died of tuberculosis in 1905. Dimitrije Mitica Marković, son of Milka Marković, performed as an actor and singer at the Serbian National Theatre in Novi Sad and the National Theatre in Banja Luka. He also organized art concerts throughout Serbia. With his death in 1949, the period conventionally associated with the Popović theatrical dynasty came to an end. Across roughly 140 years, the family supplied performers and cultural organizers to major Serbian institutions and helped normalize professional theatre as a central Serbian art form.

• 1949

  Death of Dimitrije Mitica Marković

  [1]Popović familyen.wikipedia.org

  The death of the actor, singer, and concert organizer marks the end of the documented dynastic period.

• 1909

  Death of Zorka Popović-Premović

  [1]Popović familyen.wikipedia.org

  Zorka’s theatrical career ended when she was killed by a male stalker.

• 1901

  Ljubica Teodosijević makes her stage debut

  [1]Popović familyen.wikipedia.org

  She first performed on 24 November 1901 as Christa in the operetta The Birdman.

• 1898

  Zorka Popović-Premović begins performing

  [1]Popović familyen.wikipedia.org

  Zorka entered the stage as a girl and later became a member of the Belgrade National Theatre.

• 1874

  Paja joins another travelling troupe

  [1]Popović familyen.wikipedia.org

  From 1 September 1874, Paja performed with the troupe of George Peles before later joining the Serbian National Theatre.

• 1872

  Paja Popović enters the theatre

  [1]Popović familyen.wikipedia.org

  Paja Popović began his stage career in the travelling troupe managed by his brother Lazar-Laza Popović.

• 1854

  Death of Luka Popović

  [1]Popović familyen.wikipedia.org

  Luka died after serving as a priest in the Banat; responsibility for his seven children passed to Milica and the eldest daughters.

• 1808

  Birth of Luka Popović

  [1]Popović familyen.wikipedia.org

  Luka Popović, the family ancestor identified in the historical account, was born in Vranjevo on 2 February.

A foundational Serbian theatrical dynasty associated with the professionalization and institutional development of modern Serbian theatre.

• Performing arts

  Theatrical acting

  Members of the family performed in Serbian theatre companies and national institutions, covering dramatic, comic, operetta, and supporting roles. Their work helped establish acting as a professional occupation in Serbia.

• Theatre production

  Theatre direction and management

  Lazar-Laza Popović directed the Belgrade National Theatre during much of its first season, while Milka Marković is remembered as Serbia’s first female director. Other relatives also managed or organized travelling and institutional theatre.

• Music theatre

  Opera and operetta performance

  The family’s performers contributed to operetta, opera, singing, and concert culture. Zorka Todosić was particularly associated with operetta before gaining recognition in comedy and drama.

• Theatre production

  Travelling and emigrant theatre

  Laza Popović managed a travelling theatre, and Luka Popović later founded a Serbian theatre for emigrants in the United States, extending the family’s cultural activity beyond Serbia.

1. 1Popović familyen.wikipedia.org