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Serbian Musical Theatre

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Serbian Musical Theatre UNIVERSITY OF ARTS IN BELGRADE Center for Interdisciplinary studies UNIVERSITE LUMIERE LYON 2 Faculté d'Anthropologie et de Sociologie UNESCO Chair in Cultural Policy and Management Master thesis: DEVELOPMENT OF MUSICAL THEATER; Potentials and Obstacles by: Sara Mandić Supervisor: Maja Ristić, PhD Belgrade, September 2011. Acknowledgments I would like to express my gratitude: To Ivana Nedeljković, PR manager of Terazije Theater, who was so kind to provide necessary information for this work; as well as to whole Terazije Theater management, for their kindness, willingness and openness; To my mentor, Prof. Maja Ristić, for her advices and ideas, for her support, incredible enthusiasm, and devotion; To my dear friends Jana and Milena for their enormous help and encouragements, to Jovana and Vladimir, beloved persons in my life, and off course to my family; And to all my colleagues, musicians friends, and ‘fellow-fighters’ as well, since they share passion for this uncommon subject. 1 Table of Contents Table of Contents ........................................................................................................... 2 Abstract .......................................................................................................................... 3 Résumé ........................................................................................................................... 5 1.Introduction ............................................................................................................... 12 1.1. Conceptual and theoretical distinction .............................................................. 14 1.2. Methodological approach .................................................................................. 16 1.2.1. Motives for choosing this theme ................................................................ 16 1.2.2. Main aims of master thesis research .......................................................... 16 1.2.3. Subject of research ..................................................................................... 17 1.2.4. Hypothesis .................................................................................................. 18 1.2.5. Methodology and instruments of research ................................................. 18 2.Development of Musical Theatre .............................................................................. 21 2.1. Wagner’s contribution ....................................................................................... 21 2.2. Musical Theatre as form .................................................................................... 25 2.2.1. Forerunners and genres .............................................................................. 25 2.2.2. Musical theatre and spectacle ..................................................................... 29 2. 3. Broadway Theatre or development of American Musical Theatre .................. 34 2.3.1. The legacy of Broadway legends ............................................................... 41 3. In Focus: Serbian Musical Theatre ........................................................................... 54 3.1. Case Study: Terazije Theatre ............................................................................ 54 3.1.1. History background- circumstances of a birth ........................................... 54 3.1.2. Organizational model ................................................................................. 60 3.1.3. Repertoire policy and program quality ....................................................... 63 3.1.4. Personnel issues and selection of artists ..................................................... 76 3.1.5. Notion of audience, target groups and audience development ................... 80 3.2. Place of Musical Theatre in contemporary culture in Serbia ............................ 87 3.2.1. Overcoming difficulties, taking advantages of opportunities .................... 90 4.Conclusion ............................................................................................................... 111 5.Appendix ................................................................................................................. 116 5.1. Musical theater and open space ....................................................................... 116 6. Bibliography ........................................................................................................... 133 6.1. Internet resources ............................................................................................ 136 Biography ................................................................................................................... 139 2 Abstract Given that there are only few works dedicated to question related to Serbian musical theater, the main aim of this research was to analyze aesthetic side of musical theater in general (starting from the analysis of the Richard Wagner’s theoretical work, through analysis of musical theater forerunners, analysis of musical theater as a form of spectacle, up to explanation of the most famous and developed worlds musical theaters- Broadway), to explore, analyze and determine current state of Serbian musical theater, and give concrete suggestions for further development of this genre in local context. This study basic hypothesis is that there is an objective need for development of musical theater, from the aspects of the demand in Serbia. Further assumptions are related to needs for adjustments of organizational and leadership models of Serbian musical theater, as well as for lack of inter-sectorial and interdisciplinary cooperation within it. Research has shown that the basis, as well as need, for further progress of this genre exists in our society. Many have doubted the relevance of the musical theater (mainly the expert public), calling it ‘a light entertainment’, which produces ‘frivolous’ effect of laughter. Legitimization of this genre in our socio-cultural context required enthusiasm and resourcefulness of its followers, as well as commitment, devotion, willingness for lifelong learning, etc. Terazije Theater, which is the sole institution dealing with this type of theater, was, from its beginning, guided by turbulent circumstances (‘subtenant life’, public carelessness, lack of comprehensive education, etc.) and a lot of obstacles to handle. This research describes development path of Terazije Theater, as well as basic characteristics of its audience; and its shown that a public attitude on raison d’être of Serbian musical theater is finally changed; new level of quality is achieved not only with great venue or technical conditions, but also with team functioning guided by common visions, and with great managerial efforts in terms of clear program orientation, artistic quality, personnel education, image building, etc. Furthermore, drama theater audience research, (done by the Center for Cultural development in 2010), has shown unexpectedly large percent of theater audience who would like to see more musicals on the repertoires of Belgrade theaters (and in addition further continuous growth of interest in this genre can be expected). As main obstacles for further development of this genre, I detected, inter alia, traditional, non-flexible organizational model, lack of comprehensive education which often causes challenging 3 personnel situation, as well as a primary reliance on budgetary funding, which disables enforcement of a thoughtful, innovative and dynamic PR & marketing strategy. This work represents the view that the magic of theater does not look anywhere as powerful and intense as in the musical theater forms, since in its ‘best edition’ it could be identified with Wagner’s Gesamtkunstwerk (German for total work of art, ideal work of art, synthesis of the arts, all-embracing art form), while in addition it represents unique blend of ‘elite’ and ‘popular’ culture. Syncretism, ‘lightness’, modernity and hybridity allow it to survive and advance in this ‘market-oriented’ world, while at the same time fulfilling its social and art mission. As for local musical theater, uniqueness of repertoire (characterized by artistic quality and general popularity), focused and unique, but broad enough form of theater, its gained adaptability, enthusiasm, commitment, resourcefulness and persistence of its staff, growing popularity, as well as uniqueness in regional context, are just some of its advantages. Therefore, I firmly believe that a good development direction of Serbian musical theater has been established in recent years, while I underline that further development requires knowledge and techniques of arts management, as well as changes in cultural policy directions. This study has proposed some concrete suggestions for further development of this genre, and with carefully planned and creative projects, initiatives, and performances a positive outcome, as well as effect on the city, community and theater art in general is almost assured. 4 Résumé Le présent document, intitulé Développement du théâtre musical, les potentiels et les obstacles représente une tentative d'examiner et de comprendre la situation actuelle ainsi que l’importance du théâtre musical, ses implications et ses perspectives. En tant que musicien, je suis tous les jours confrontée avec des problèmes de la musique et au travail artistique en général, donc j’ai senti le besoin d'examiner l’état actuel concernant cette sorte de spectacle et d’étudier les circonstances dans lesquelles
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