Ksenija Markovic Božović

DOI Number
First page
Last page


Today, public theatre is directed toward adapting to its contemporary socio-economic context. In doing this, it is trying to preserve its artistic values and at the same time fulfill and diversify its social functions and missions. When we talk about public theatre’s social function, i.e. the public value it produces, some of the main issues concern its contribution to the most pressing social matters. In general, these issues concern public theatre’s role in strengthening social cohesion, cultural emancipation and social inclusion, its role in the process of opening dialogues, revising formal history and re-examining traditional forms of thinking. Fulfilment of these functions is strongly linked with the character of public theatre’s audiences. In more practical terms, the scope of public theatre’s social influence is dependent on how homogenous its audiences are. If one considers artistic organizations’ need for sustainability as a key factor in their need for constantly widening their audience, and particularly the inclusion of “others” (those not belonging to the dominant cultural group), in the context of contemporary society’s need for social and cultural inclusion, then the task of today’s public theatres becomes rather difficult. Simply said, there are too many needs to be met at the same time. The main questions this paper is asking is: to what extent do Belgrade’s public theatres understand the importance of diversifying its audiences, and how do they perceive their social role? Starting from the fact that human capital is the primary resource and success factor of any theatre organization, we explore in what manner management and employees in these theatres address these issues, i.e. how they redefine theatre’s social role and attract audiences that do not fit the dominant theatre audience model.


public theatre, theatre audience, theatre’s social functions, theatre management

Full Text:



Belfiore, E & Bennett, O. (2007). Rethinking the social impacts of the arts. International Journal of Cultural Policy 13/2, 135-151. doi:10.1080/10286630701342741

Bourdieu, P. (1997). The Forms of Capital, Education: Culture, Economy, Society. Oxford: Oxford University Press.

Bourdieu, P. (1993). The Field of Cultural production: Essays on Art and Literature. Great Britain: Columbia University Press.

Boutang, M. Y. (2011). Cognitive Capitlism, Cambrige. UK: Polity Press

Brown, S. A. & Novak, L. J. (2007). Assesing the Intrinsic Impacts of a Live Performance. ENGAGE,

Бракус, А. (2014). Стратешко позиционирање позоришта на тржишту културних услуга Србије [Strategic positioning of the theater on the market of Serbian cultural services]. PhD diss. Faculty of Dramatic Arts in Belgrade.

Castells, M. (2005). The Network Society: from Knowledge to Policy. Castells, M. & Cardoso, G. (Ed): The Network Society: From Knowledge to Policy, 3-23, Washington, DC: Johns Hopkins Center for Transatlantic Relations.

Craik, J. (2007). Re-Visioning Arts and Cultural Policy: Current Impasses and Future Directions. Canberra, Australia: The Australian National University.

Цветичанин, П. ( 2007). Културне потребе, навике и укус грађана Србијe и Македоније [Cultural, needs, habits and tastes of the citizens of Serbia and Macedonia]. Ниш: Одбор за грађанску иницијативу.

Dragin, D. (2019). Pravo na kulturu ili pravo na razvo kulturnih potreba [The Right to Culture or the Right to Develop Cultural Needs]. Zbornik radova Akademije umetnosti [Collection of Papers of Academy of Arts] 7, 32–46. Novi Sad: Univerzitet u Novom Sadu – Akademija umetnosti, Novi Sad.

Holden, J. (2004). Capturing Cultural Value: How culture has become a tool of government policy. London: Demos.

McMaster, Sir B. (2008). Supproting Excellence in the Arts: From Measurment to Judgement. London, UK: Department for Culture, media and Sport, UK.

Klaić, D. (2016). Početi iznova – promena teatarskog Sistema [Start over - change the theater system]. Beograd: Clio, Univerzitet umetnosti u Beogradu, Fakultet dramskih umetnosti Cetinje.

Lukić, D. (2006). Produkcija i marketing scenskih umjetnosti: Organizacija, planiranje, proizvodnja i marketing u kazalištu. [Production and marketing of performing arts: Organization, planning, production and marketing in theater]. Zagreb: Hrvatski centar ITI-UNESCO.

Миланков, М. и Цветичанин, П. (2011). Културне праксе грађана Србије. [Cultural practices of Serbian citizens]. Београд: Завод за проучавање културног развитка

Мрђа, С. (2010). Позоришна публика у Србији. [Тheater Аudience in Serbia]. Београд: Завод за проучавање културног развитка

Муждека – Манџука, Д. (2000). Пројектна организација у позоришту [Project organization in the theater]. Београд: Институт за позориште, филм, радио и телевизију: Омега плус (Меграф).

O’ Brien, D. (2014). Cultural Policy: Management, values and modernity in the creative industries. New York: Routlege.

Опачић, Б и Субашић, Б. (2016). Културне потребе и навике грађана Србије [Cultural needs and habits of Serbian citizens]. Београд: Завод за проучавање културног развитка.

Peterson, R. (1992). Understanding audience segmentation: from elite and mass to omnivore and univore. Poetis 21/4, 243-258. doi: 10.1016/0304-422X(92)90008-Q

Ристић, М. (2013). Невидљиви ПР у српском позоришту [Invisible PR in Serbian theatre]. Зборник радова Факултета драмских уметности [Anthology of Essays by the Faculty of Dramatic Arts] 23, 53–68. Београд: Институт за позориште, филм, радио и телевизију ФДУ.

Стефановић, М. (2013). Нови јавни менаџмент и позориште [New public management and theatre]. Зборник радова Факултета драмских уметности [Anthology of Essays by the Faculty of Dramatic Arts] 24, 183-197. Београд: Институт за позориште, филм, радио и телевизију ФДУ.

Стефановић, М. (2017). Приниципи Новог јавног менаџмента у култури: инструмент развоја или стандардизације [Principles of New Public Management in Culture: An Instrument of Development or Standardization]. PhD diss. Faculty of Dramatic Arts in Belgrade.

Стојановић А. (2016). Културолошки значај евалуације за повећање учешћа грађана у културном животу локалне заједнице уметности у Београду. [“Cultural importance of evaluation to increase citizen’s participation in the cultural life of а local community]. PhD diss. Faculty of Dramatic Arts in Belgrade.

Tomka, G. (2015). Publika kao diskurzivna formacija sistema kutlurne produkcije [The audience as a discursive formation of the system of cultural production]. PhD diss. Faculty of Dramatic Arts in Belgrade

Trozbi, D. 2012. Ekonomika kulturne politike [The Economics of Cultural Policy]. Beograd: Clio.

Здравковић, М. (2007). Савремени маркетинг у позоришту [Contemporary theater marketing]. Зборник радова Факултета драмских уметности [Anthology of Essays by the Faculty of Dramatic Arts] 11–12, 77–89. Београд: Институт за позориште, филм, радио и телевизију ФДУ.



  • There are currently no refbacks.

© University of Niš, Serbia
Creative Commons licence CC BY-NC-ND
Print ISSN: 0353-7919
Online ISSN: 1820-7804