Kazališta, baš kao i tvrtke u korporativnom sektoru, imaju zadatak informiranja i održavanja odnosa s publikom. Za navedene zadaće pretežno su zaduženi odjeli marketinga, odnosa s javnošću ili pak ...propagande. Upravo zbog specifične organizacije odnosa s javnošću u kulturi, u suradnji s Gradskim dramskim kazalištem „Gavella", provedena su dva kvalitativna i jedno kvantitativno istraživanje. Cilj prvog istraživanja bio je metodom dubinskog intervjua utvrditi kako djelatnici GDK-a „Gavella" doživljavaju stratešku komunikaciju kazališta. Nadalje, cilj drugog istraživanja, u kojemu je korištena metoda fokus-grupa, bio je analizirati imidž GDK-a „Gavella" te recepciju predstava kao programskog sadržaja kod publike. Konačno, cilj trećeg istraživanja, provedenog metodom ankete, bio je ispitati obilježja i preferencije publike GDK-a „Gavella". Zaključci istraživanja pokazuju dvosmjeran utjecaj: imidža kazališta na očekivanja gledatelja putem repertoara te strateške komunikacije na imidž kazališta.
Theatre Audience in Serbia was a project of the 2009 Centre
for Studies in Cultural Development activity plan. Its first
phase devoted to drama audience is completed. Its second
phase will deal with ...the opera and ballet audience (the Belgrade
National Theatre). This paper presents findings of
the research of the drama theatre audience of all professional
theatres in Serbia.
The analysis of the structure of drama audience of all professional
theatres in Serbia resulted in establishment of all
its relevant socio-demographic characteristics. Females dominate
in drama audience (almost 2/3) over males (a bit
more than 1/3). The majority of audience is 31 to 45 of age;
minority of above 65. The fact that the majority of audience
is 31-45 of age (27.1%) shows that almost two thirds
(65.3%) of the drama audience belogs to the 19-45 age
group. The majority of audience has university education
(43.1 %), 27.7% secondary, and 11.7% higher. The number
of M.A.s is only 7.6 %, while the other education levels individually
do not exceed three percentage. As for the professional
structure, the greatest percentage is of the experts
and students. Among the most important findings of the research
is that professional theatres in Serbia have the opportunity
to improve the number of their audience by
higher quality of their work and communication with the
public. It is founded that a good Web (Internet) presentation
is necessary if a theatre is to follow communication and
information trends of the today information society. The
professional theatres in Serbia could count on an approximately
15% of regular audience, but also on a twice as
much of potential regular one, as a “reservoir” of a better
and more stable attendance. The most usual reasons of random
attendance are not related to a theatre activity and its
characteristics, but to socio-economic conditions of the audience
and dominant social value orientations.
We hope that the theatres and their protagonists and the
researchers will be the greatest beneficiaries of this research
findings. The former to improve their activities; the
latter to further investigate this highly important segment
of cultural life. When this type of research is obviously rare,
the findings of this particular one could contribute to a
better understanding of the position and perspectives of
theatres in our cultural and social reality, that might lead to
their bigger and more stable audiences..
Vilniaus lėlininkai Waszkiel, Marek
Menotyra,
2008, Letnik:
15, Številka:
4
Journal Article
Recenzirano
Odprti dostop
The article reviews the history of the puppet theater in Lithuanian territory – starting with the first reference on Waśko who originated from Vilnius and was robbed in Warsaw at the end of the 15th ...century. A fair amount of attention is dedicated to the mechanical theatre, optical performances popular in the 19th century, which were known in the Lithuanian capital by courtesy of famous travelling performers crisscrossing Europe; mentioned are at the first half of the 20th century the especially popular “szopka” organized by students of the Stephan Batory University, and celebrated personalities highly merited by Polish theatre, which were connected to this phenomenon.
