Doctora en Filosofia i Lletres
2. Context històric
3.1. The Terazije Theatre, Belgrade
”You need three things in the theatre - the play, the actors and the audience, - and each must give something” - Kenneth Haigh (British actor, born 1931)
3.1.1. Information pertaining to the theatre structure and operations
Terazije Theatre was built in 1938 as designed by the architect Georgije Samoylov. In 2004 the theatre was reconstructed under the helm of the architect Slobodan Drobnjaković. The usable area of the structure is 5000m2, on 7 floors. The theatre has 2 stages and 4 rehearsal rooms (music, choir, ballet and acting). The theatre also harbors 12 dressing rooms and 6 workshops for models, tailors, carpenters, locksmiths etc.
The theatre has a classic theatre stage with a spectator capacity of 486 (+50 seats on stage).
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The theatre has a loading dock for stage equipment in level to the stage area, accessible over a movable platform, maximum height measured at 3m.
The average duration of the period of rehearsals during the pre-production stage is 60 days, 2 weeks for read-throughs, on-stage rehearsals take 3 weeks, preparation and realization of the stage equipment takes 4 weeks and includes 4 dress rehearsals. The average number of performers on stage amounts up to 70 or even a 100. The theatre receives a visiting performance by some other theatre once a month and it makes a guest appearance on another theatre stage just as often.
Terazije Theatre employs 180 people, with 100 employees being from within the artistic and related fields.
The most frequently produced genre by this theatre is the musical, featuring four separate artistic ensembles: dramatic, ballet, choral and orchestral. Average yearly production output is 6-8 new shows, while the median number of productions on repertoire is 9, each of which is being played four times a month after the original opening night. Terazije Theatre, at the beginning of its activity, has been rated as a theatre of mainly popular and light comedic genre, whereby every consequent season became increasingly ambitious, culminating in the current distinction as a theatrical institution of higher potentials and relevant artistic achievements.
It is of significance that Terazije Theatre is public property, founded by the Belgrade City Assembly; furthermore 60% of the budget is provided by the city budget funds and 30% comes from its own resources. Average monthly audience numbers amount to 7000 theatre spectators.
3.2. Theatre Atelje 212, Belgrade
“In the theatre the audience wants to be surprised but by things that they expect” - Tristan Bernard (French playwright, novelist, journalist and lawyer, 1866 - 1947)
3.2.1. Information pertaining to the theatre structure and operations Theatre Atelje 212 was built in 1964 based on a project by the architect Bojan Stupica. A subsequent reconstruction of the theatre, which took place between the years 1986 and 1992, was done according to a project designed by Ranko Radović and Radivoje Dinulović. Theatre Atelje
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212 encompasses five stories, with two stage areas. Atelje 212 harbors two distinct halls: rehearsal room and a reading room; furthermore 2 wardrobes for men and 2 for women and 3 workshops (locksmith, carpenter and painter).
The auditorium has atrium specific characteristics; the grand hall has a spectator capacity of 385 seats, the smaller room can accommodate 141 visitors. The loading area for stage equipment is located at the warehouse in the backyard, with a moving platform capable of facilitating the height difference between the loading dock and the elevator.
Theatre Atelje 212 favors the production model of repertory theatre.
The average seasonal production output amounts to 8 new shows, while the median number of shows on repertoire can reach 46. A show is generally performed up to 150 times after the opening night; the number of performers in such a show can vary between 1 and 24 performers.
The average duration of read-throughs during the pre-production stage is 3-7 days, followed by 6 weeks in the rehearsal room, and an additional week on main stage. Preparation of all technical aspects regarding stage equipment takes six weeks, installation and deployment on stage up to one week. The number of technical rehearsals, including dress rehearsals, averages 5 to 7 for each new show in Atelje 212.
The theatre makes two visiting performances to a fellow theatre per month and it hosts a guest appearance by another theatre approximately just as often.
Atelje 212 employs 119 people, whereby 46 are from within the artistic sector. Theatre Atelje 212 since its very foundation in 1956 has been regarded as a theatre of the avant-garde and of free thought. This tradition of divergent implementation into the local cultural existence compels the theatre Atelje 212 to constantly improve and adapt and conquer new and more daring ideas. The history of inception and foundation of this theatre, where the stage was intended to address only 212 seated spectators, up until the very recent times, where a fully developed and influential entity proudly enriches the cultural and artistic aspects of life in Serbia, made it impossible to avoid including this theatre into this study.
3.3. Serbian National Theatre, Novi Sad
“All of the arts, poetry, music, ritual, the visible arts, the theatre, must singly and together create the most comprehensive art of all, a humanized
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society, and its masterpiece, free man” - Bernard Berenson quotes (American art critic, 1865-1959)
3.3.1. Information pertaining to the theatre structure and operations Serbian National Theatre in Novi Sad was founded in 1861 during the Austrian Empire rule. In 1944 SNT Novi Sad becomes a state institution, and in 1981 the architect Prof. Dr. Wiktor Jackiewitz contrived the building that is located in the city centre and features a usable area of 19600 m2 for all theatre operations. The building has 3 venues, 3 rehearsal rooms, one for the orchestra, one for the ballet and one for the choir each, as well as 10 dressing rooms for the ballet, 4 serving the choir, 5 for the orchestra and 4 accompanists. There are no workshops on the premises.
The SNP Novi Sad has a large and a small theatre room, with amphitheatrical auditoriums. Full capacity of the small venue is 368 (if the room fitted for central staging, then the capacity increases to over 1000 seats), while the large theatre holds 935 seats (parterre 724, balcony 211).
The theatre engages in production of various genres, like drama (averages 9 new plays annually), opera (four premieres) and ballet (two new shows each season). Current repertoire warrants 40 performances each month, whereby each revived show requires five technical rehearsals, dress rehearsals included.
Visiting performances to other theatres can reach an average of 35 in a month, while productions by other theatres can amount to a median of 30 guest performances during the same period. The Serbian National Theatre in Novi Sad employs 660 people, 360 of which are within the artistic and related fields. It is believed to be the oldest professional theatre venture in our country and as such it holds a position of direct influence on the overall cultural life in the capitol city of the province Vojvodina, but also has a serious input pertaining to the development of the region, primarily in the field of cultural and artistic expression.
3.4. National Theatre Toša Jovanović, Zrenjanin
“Theatre is, of course, a reflection of life. Maybe we have to improve life before we can hope to improve theatre.” - W. R. Inge (English writer and preacher, 1860 -1954)
3.4.1. Information pertaining to the theatre structure and operations
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The main building of the Toša Jovanović theatre in Zrenjanin was completed in 1839, but in 1984 the small theatre hall was reconstructed on the floor above, architects Gregović, Đorđević and Kristivojević were responsible for the project. The whole area behind the main scene was refurbished just recently, in 2010. Today the overall usable area of the whole object measures 1600 m2 on two floors. The loading dock for stage equipment is not directly adjacent to the stage area and there is no moving platform attached either. The theatre harbors two separate venues: chamber and main stage; furthermore there is a rehearsal room, as well as five types of dressing rooms for actors. The theatre has also two types of workshops, which house
carpenters, locksmiths, painters, laminators and puppeteers.
The auditorium consists of the parterre, parterre box seats, box seats on the first floor gallery and gallery seats. The full capacity of the main stage is 306 seats and for the chamber 56 seats.
The production model of the theatre Toša Jovanović can be rated as urban repertory theatre with an average annual production output of 10 premieres and 18 performances a month (14 plays and 4 puppet shows).
Average pre-production stages of reading take around 7 days, rehearsal room practices and preparations on stage take additional 14 days, preparation of stage equipment takes 15-30 days, realization thereof 2-8 hours. Every staged show requires four technical rehearsals, including dress rehearsals.
The average number of performers per show is 25. The theatre guest performs on other theatre stages once a month and receives guests from other theatres just as much.
The theatre Toša Jovanović employs 86 people, 42 of which are from within artistic sectors. The theatre in Zrenjanin is a publicly owned entity and is funded 92 % out of city budget funds, 6 % from own resources and 1 % from donations.
106 4. SURVSEY
4.1. General remarks
The survey sample included 100 respondents exclusively from within the artistic sectors, but different vocations – acting, ballet and opera. [6] The number of surveyed from any theatre included in this survey was in an equal proportion to the number of employees. The research encompassed all ages and genders, as well as artists with varied durations of service in their craft.
Table 1.
4.2. Analysis of physical characteristics and the manner of usage of facilities
63 out of 100 queried use the wardrobe for psychological preparations prior to entering the stage. 18 queried use other rooms for their preparations, such as: back stage, facilities for accompanists, ballet hall (SNT and Terazije Theatre). It is notable that almost nobody uses the green room or the lounge for psychological preparation, to “get into the character”, which seems to be mainly because of a shortage on physical space that would allow them to use for that matter. [7] 73 queried in this research share their space with more than eight colleagues. This state induces tensions, discomfort and a feeling of exposure; there is inhibition to claim a wardrobe area by adorning the space with personal belongings. On the other hand, such working environments do promote a feeling of camaraderie and intimacy within the group.
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Table 2.
86 out of 100 queried do not have a couch or sofa in the wardrobe, whereby 50 expressed they could use one. Hindrances to supply required furniture for the wardrobes seem to be the chronic lack of space and funds.
More than half of the people in the poll use the make-up room for applying make-up, do styling and if necessary affix a mask, while a smaller part does all the work in the wardrobe. It seems that limited space may be the reason for such practices.
Table 3.