The focus of this thesis is the research of theatre in Zagreb between the two World Wars and the impact of the political situation on theatre working conditions. Consulting relevant literature previously published, the research is based on archival material and serial publications that were published in Zagreb between the two World Wars. Serial publications that were published in Zagreb during the reviewed period are analysed according to the regularity of publication, publisher and editors, form and content. In this analysis publications are divided according to the regularity of publication, ie theatre monthly magazines (Rampa, Scena), theatre weeklies (Kazališni list, Comoedia, Hrvatska pozornica, Komedija), crescents (Teatar, Kazališni list), magazines (Zagrebačka opereta i Kulisa) and yearbooks (Godišnjak Narodnog kazališta u Zagrebu za sezone 1914/15.-1924/25., Kazališni almanah 1937. and 1938.) as well as special publications are analysed. In addition to today’s Croatian National Theatre in Zagreb, the paper discusses the entire theatre scene of Interwar Zagreb, from the establishment of alternative stages of the Croatian National Theatre (Kazalište u Tuškancu, Malo kazalište), to theatre in bars (Kabare u Pick-baru, Klub kabaret, Kabaret Grabancijaš, Kabaret Kasino, Varieté kazalište Music Hall, Kabaret Komedija Excelsior, Vesela pozornica Dverce and Kabaret Monocle), puppet companies (Teatar marioneta, Umjetnički klub Marionetsko kazalište and Marionetsko kazalište), and theatre amateurs (Matica hrvatskih kazališnih dobrovoljaca, Pučki teatar, Hrvatski katolički kasino) as well as acting schools (Dramska škola, Glumačka škola u Zagrebu, Dramski studio, Škola tjelesne kulture i glumačke umjetnosti, Glumački tečaj and Pripravni tečaj glumačke škole). The changes caused by the political-financial influence in all Interwar theatre seasons, from season 1918/19 to season 1940/41 are presented. Special attention is given to censorship and changes in the management of the Croatian National Theatre. The dissertation completes the knowledge about theatrical Interwar periodicals, about which no systematic and thorough analysis has been made so far. It also gives a new periodization of theatre in Zagreb between the two World Wars.