Digitalni repozitorijum
Univerziteta u Beogradu
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Unaccomplished Transition of Instrumental and Institutional Functions of Belgrade Theatres
Marković Božović, Ksenija
National governments and various funds subsidize theatre organizations today following the idea that, in addition to the production and distribution of performances, financed programs should also contribute to the redefinition of traditional funding based on the abstract idea of the social functions and missions of theatre. Thus, one of the goals of their financial support is “creating a (new) relationship between cultural policies and theatre institutions, based on systematic investment in certain theatre functions and encouraging synergies, partnerships, mobility, innovation and nurturing the audience” (Klaić, 2016, p. 11). This means encouraging theatre organizations to achieve broader social benefits and increase their capacity to adopt a “culture of innovation”15. The strategic activities proposed in this context are 1) diversification of financial sources; 2) development of theatre educational functions; 3) adoption and use of technical and technological innovations in theatre production and organization; 4) strategic planning of the entire experience of a performance (including its artistic, but also spatial and temporal aspects, for the duration of the performance, as well as periods before and after); 5) strategic changes in the repertoire; 6) development of marketing activities, etc. One common factor in all listed activities is their ultimate goal, which is to deepen the relationship with the existing audience, and attract new target groups. The other is the fact that they are preconditioned by a strategic orientation toward cooperation and an entrepreneurial orientation in organizing theatre business. Implementing such a model of development calls for the diversification of theatre functions, classified as: artistic (internal), instrumental (external, social) and institutional (organizational)16. For any non-commercial theatre organization, the artistic functions are those of first-class relevance, but when it comes to planning their development strategies, the other two groups become particularly important. This is because the production of internal values of a theatre, within the contemporary socio-economic context, is conditioned by 1) the production of its public value and 2) the generation of values related to establishing theatre organization sustainability, as well as the sustainability of the broader institutional network.
engleski
2020
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