Research titled “Amateurs’ Theatres in Serbia: Communities” was initiated because since the ancient Greece (at least) teathres were not only stages for dramatic aritsts but also agora in its own right, place where citizens can initiate debates on various issues that the society faces.
Acknowledging variety of contemporary theatre in Serbia, research focused on amateurs’ theatres. Two reasons were crucial for such focusing. Foremost, theatre production is not represented only through the work of a bit over three dozens of professional theatres scattered across larger urban areas in Serbia, but also through numerous rather small groups in cities, towns and villages. Without detailed knowledge about their work, total picture of theatrical activity would be rudimentary, lacking representations of diversity. Second reason is that working with amateurs interested to spend their leisure time in practicing thetrical creativity, amateurs’ theatres became one of epicenters of the communities, through their work addressing variety of issues and problems that communities forming Serbian society face.
This second reasons enabled formulation of the hypothesis: Amateurs’ theatres in Serbia has developed into community-based theatres that contribute both production and reception of theatrical creativity, while encouraging their fellow citizens to act and react on all issues relevant for the community and the society in wider terms.
Examining this hypothesis was based upon theories of theatre, theatre anthropology and management in culture. Methodologically, in the research qualitative tools were implored: ethnography, individual interviews with representatives of amateurs’ theatres, observarvation (of working process and plays) and participation (ahead rehearsals and dialogues following the performances at festivals). Validity is ensured by relevance of selected amateurs’ theatres on stages in Serbia and the region. Results are analysed in the frame of theatre forms studied by anthropologists and creators in theatre. Also, results were analyzed in line with theories and practices of community-based theatres.
Research relevance draws from the fact that, despite the importance of amateurs’ theatres in overall theatrical production and the reception of theatre plays in Serbia, they are rarely researched in recent decades. This research is a contribution that enables gaining the picture about cultural participation via theatres. Analyzed results are relevant for designing cultural policy in the area of theatrical creativity especially having in mind approximately same production costs in both professional and amateurs’ theatres. For example, equipment costs the same, per diems for light and sound technicians are the same, honoraria professional directors (in theatres that can afford professional director) fit sums of 3 months salaries. The only difference is that actors on the stage in amateurs’ theatres are not paid.
Executive summary of the research in English is available as .pdf