THE USA REGIONAL THEATER MODEL IN CASE OF THE AMERICAN REPERTORY THEATER IN THE FIRST DECADE OF ITS DEVELOPMENT
UDC index:
792
DOI: 10.31773/2078-1768-2019-47-141-150.
Article ID in the RSCI:
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Information about authors: Samitov Dmitriy Gennadyevich, PhD in Sociology, Associate Professor of Department Producing and Management of Performing Arts, Russian University of Theatre Arts – GITIS (Moscow, Russian Federation). E-mail: goodluck@bk.ru
Annotation: The article examines the functioning principles of the American Repertoire Theater, founded in 1980 by artistic director Robert Brustein, along with director Robert Orchard, in the first decades of its development. Annually, the American Repertory Theater staged 4-5 new plays performed at the Loeb Drama Center in Cambridge. In the first ten years of its existence, 74 plays were performed in ART, including its New Stage. In addition to the main productions, American Repertory Theater also holds other creative activities – the theater has several art programmes for different groups of the audience: performances at the New Stage, tours, programmes for theatre education of the audience, cultural and entertainment events for patrons and sponsors. Issues of state financing of performing arts organizations and theater have always caused discussions, which led to the emergence of the law on non-profit organizations. This law indirectly helped many regional theaters in the United States, including the American Repertory Theater, which was able to form a permanent troupe, repertoire policy, and implement many programs that help the theater create its audience. Investigating the growth problems of the American Repertory Theater, the author dwells on positive examples of the development of this company, which has become in many ways a model for many American regional theaters. The formation of the troupe, work with the audience and sponsors, thanks to the professional efforts of artistic and administrative management, turned the American Repertory Theater into a model which is characteristic for American non-profit theaters today with all the principles of financing, pricing, staff, relations with unions, fundraising policy. The example of the American Repertory Theater shows the possibility of the development of the American National Theater.
Keywords: American Repertory Theater, Robert Brustein, Robert Ochard, Board of Directors, Harvard University, National Endowment for the Arts, subscribers, non-profit organization.
DOI: 10.31773/2078-1768-2019-47-141-150.
Article ID in the RSCI:
Article file: Download
Information about authors: Samitov Dmitriy Gennadyevich, PhD in Sociology, Associate Professor of Department Producing and Management of Performing Arts, Russian University of Theatre Arts – GITIS (Moscow, Russian Federation). E-mail: goodluck@bk.ru
Annotation: The article examines the functioning principles of the American Repertoire Theater, founded in 1980 by artistic director Robert Brustein, along with director Robert Orchard, in the first decades of its development. Annually, the American Repertory Theater staged 4-5 new plays performed at the Loeb Drama Center in Cambridge. In the first ten years of its existence, 74 plays were performed in ART, including its New Stage. In addition to the main productions, American Repertory Theater also holds other creative activities – the theater has several art programmes for different groups of the audience: performances at the New Stage, tours, programmes for theatre education of the audience, cultural and entertainment events for patrons and sponsors. Issues of state financing of performing arts organizations and theater have always caused discussions, which led to the emergence of the law on non-profit organizations. This law indirectly helped many regional theaters in the United States, including the American Repertory Theater, which was able to form a permanent troupe, repertoire policy, and implement many programs that help the theater create its audience. Investigating the growth problems of the American Repertory Theater, the author dwells on positive examples of the development of this company, which has become in many ways a model for many American regional theaters. The formation of the troupe, work with the audience and sponsors, thanks to the professional efforts of artistic and administrative management, turned the American Repertory Theater into a model which is characteristic for American non-profit theaters today with all the principles of financing, pricing, staff, relations with unions, fundraising policy. The example of the American Repertory Theater shows the possibility of the development of the American National Theater.
Keywords: American Repertory Theater, Robert Brustein, Robert Ochard, Board of Directors, Harvard University, National Endowment for the Arts, subscribers, non-profit organization.
