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25. SEPTEMBAR /18:00 Festivalski centar (Andricev venae br. 2) IP CLIO, UNIVERZITET UMETNOSTI U BEOGRADU, FAKULTET DRAMSKIH UMJETNOSTI CETINJE POČETI IZNOVA PROMENA TEATARSKOG SISTEMA AUTOR: DRAGAN KLAIĆ Kao pozorišni profesionalac i univerzitetski profesor, posmatrao je Dragan Klaić uzlet komercijalnog pozorišta i njegov rastući profesionalizam sa sve večom zabrinutošću zbog posledica po nekomercijalnu scenu. Imajuči u vidu rivalitet, blizinu, pa čak i umrežavanje ova dva sveta - jednog koji juri za profitom i drugog koji se održava državnim subvencijama - autor se u ovoj knjiži zalaže za njihovo jasno razgraničenje. Pitanje koje postavlja jeste kako ove pozorišne kube i trupe, ovi prostori, festivali i študiji, kao i infrastruktura koja ih podržava i na koju se oslanjaju, mogu da se održe u konkurenciji sa komercijalnom zabavom, u situaciji oslabljene podrške državnih organa. Globalizacija, migracije, evropske integracije i digitalna revolucija menjaju način života ljudi u gradovima i na selima i vrše pritisak na državno pozorište da se prilagodi i modifikuje svoju ulogu ili da rizikuje da bude marginalizovano i postane irelevantno. DRAGAN KLAIĆ (1950-2011), istoričar pozorišta i kulturni analitičar, Bio je stalni saradnik udruženja Felix Meritis u Amsterdamu i predavao kulturnu politiku i umetnost na univerzitetu u Lajdenu. Njegova područja angažmana su savremene pozorišne umetnosti, evropske kulturne politike, strategije kulturnog razvoja i medunarodne kulturne saradnje, i interkulturalnost. Študije dramaturgije završio je u Beogradu, a dok-
25 th SEPTEMBER /18:00 Festival Centre (Andricev venae 2) IP CLIO, UNIVERSITY OF ARTS IN BELGRADE. FACULTY OF DRAMATIC ARTS CETINJE RESETTING THE STAGE: PUBLIC THEATRE BETWEEN THE MARKET AND DEMOCRACY AUTHOR: DRAGAN KLAiĆ As a theatre professional and university professor, Dragan Klaić watched the ascent of commercial theater and its growing professionalism with great concern about its effects on the non-commercial scene. Bearing in mind the rivalry, proximity and even the networking of these two worlds - one chasing profit and the other surviving on state subsidies - the author, in this book, advocates their clear delineation. The question that he raises is how these theatres, companies, spaces, festivals, studios and the infrastructure that supports them and which they rely on. can survive the competition with commercial entertainment, in a situation when state support has decreased. Globalization, migrations, European integrations and the digital revolution are changing the way of life of people in cities and villages, and they are pressuring the state theatre to adapt and modify its role or to risk being marginalized and rendered irrelevant. Dragan Klaić (1950-2011), theatre historian and cultural analyst, was an associate with the Felix Meritis association in Amsterdam and taught Cultural Policy and Art at Leiden University. Flis areas of interest were contemporary theatrical arts, European cultural policy, cultural development strategies, and international cultural cooperation and interculturalism. He graduated in dramaturgy in Belgrade, and obtained his doc-
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