The research titled “Amateurs’ Theatres in Serbia: Communities” was initiated because, since ancient Greece (at least), theatres were not only stages for dramatic artists but also agora in its own right, where citizens can initiate debates on various issues that the society faces.
Acknowledging the variety of contemporary theatre in Serbia, research focused on amateurs’ theatres. Two reasons were crucial for such focus. Foremost, theatre production is represented through the work of over three dozen professional theatres scattered across larger urban areas in Serbia and numerous rather small groups in cities, towns, and villages. Without detailed knowledge about their work, the total picture of theatrical activity would be rudimentary, lacking representations of diversity. The second reason is that by working with amateurs interested in spending their leisure time practicing theatrical creativity, amateurs’ theatres became the epicenters of the communities through their work addressing various issues and problems that communities forming Serbian society face.
This second reason enabled the formulation of the hypothesis: Amateurs’ theatres in Serbia have developed into community-based theatres that contribute to both the production and reception of theatrical creativity while encouraging their fellow citizens to act and react on all issues relevant to the community and the society in broader terms.
Examining this hypothesis was based on 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, observation (of the working process and plays), and participation (ahead rehearsals and dialogues following the performances at festivals). Validity is ensured by the relevance of selected amateurs’ theatres on stages in Serbia and the region. Results are analyzed 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 contributes to gaining a picture of cultural participation via theatres. Analyzed results are relevant for designing cultural policy in the area of theatrical creativity, especially considering approximately the exact production costs in both professional and amateur theatres. For example, equipment costs are the same, per diems for light and sound technicians are the same, and honoraria experienced directors (in theatres that can afford professional directors) fit sums of 3 months’ salaries. The only difference is that actors on the stage in amateur theatres are not paid.
Executive summary of the research in English is available as .pdf
