Rakvere Teater „täismängude” otsinguil aastatel 1985–2009
Date
2013-04-24
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Abstract
Iga teater peab oma kunstilisi otsuseid tehes arvestama ühelt poolt publiku maitse-eelistustega ning teisalt riigi ootustega. Esimesest annab aimu külastusstatistika, teist väljendavad seadusandlus, rahastamissüsteem, kultuuriministeeriumi arengukavad jmt dokumendid. Prantsuse sotsioloog Pierre Bourdieu räägib kultuuritootmisväljadest, kus tegutsevad agendid, näiteks teatrid, võitlevad pidevalt samal väljal tegutsevate konkurentide tunnustuse eest, püüdes samal ajal ka väljavälist tuntust. Tunnustus tagab teatritele renomee, tuntus majandusliku kasu. Kultuuritootmisväljade eripäraks on Bourdieu’ järgi see, et sageli toob majanduslik edu kaasa renomee vähenemise. Seetõttu peavad teatrid iga uuslavastuse puhul endalt küsima: kui suures ulatuses on võimalik kasvatada tuntust ja seeläbi paratamatult kaotada tunnustust. Lavastused, mis suudavad samaaegselt saavutada nii tunnustuse kui tuntuse, on seega „täismängud”. Kuna Eesti teatripoliitika peamiseks teatrite toimimise mõõdupuuks on publikuarv, peavad kõik teatrid pidevalt püüdlema täismängude poole.
Rakvere Teatris on aastatel 1985–2009 esietendunud 201 uuslavastust, millest täismängu kriteeriumitele vastavad viis lavastust: „Koduvõõrad” (1987), „Jumalaga, Vargamäe” (1991), „Shakespeare'i kogutud teosed“ (1996), „Pipi Pikksukk” (1998) ja „Täismäng” (2003). Seega on teater jõudnud täismänguni keskmiselt iga 40. lavastusega ehk täismängud moodustavad lavastuste koguarvust 2,5%. Täismängude puhul on sarnane, et neist lavastustest kirjutatakse keskmisest enam, kuid kriitika on pigem poleemiline, nentides, et mõningased vajakajäämised kunstilises plaanis korvab lavastuse sündmuslikkus. Eriti repertuaariteatritele, mille hallata on suured teatrimajad ning kelle riiklik toetus sõltub vähemalt kaudselt publikuarvust, on täismängud püsimajäämiseks vajalikud.
In making their artistic choices, theatres always have to take into account both the tastes of the audiences and the stateˈs expectation. Former is evident through the statistics of attendances, the latter through legislation and subsidy system. French sociologist Pierre Bourdieu has introduced the notion of the Fields of Cultural Production, where the agents, such as theatres, always fight for both the acclaim of other agents on that field and the outer-field success. Acclaim gives a theatre its reputation, success its economic profit. Bourdieu claims that on the Fields of Cultural Production the economic profit often influences the reputation in a negative way. Therefore with each new production theatres have to ask themselves: how much economic profit can they earn without loosing too much of their reputation. Productions that at the same time get the reputation and economic profit are then Full Games. Since in Estonia culture policy, the main indicator of theatresˈ efficiency is the number of spectators, all the theatres have to strive for Full Games. In Rakvere Theatre there have been 201 new productions between 1985 to 2009, of which only five correspond to the criteria of the Full Game. So the theatre has reached its goal, the Full Game with every 40th production and the Full Games make only 2,5% of all productions. All the Full Games are reviewed more than in average but the reception is always polemic, stating that although there were some questionable artistic choices made for these productions, the former is overshadowed by the eventness of these productions. For repertory theatres that have big venues to administrate and are indirectly subsidized by their number of spectators, the Full Games are crucial for surviving.
In making their artistic choices, theatres always have to take into account both the tastes of the audiences and the stateˈs expectation. Former is evident through the statistics of attendances, the latter through legislation and subsidy system. French sociologist Pierre Bourdieu has introduced the notion of the Fields of Cultural Production, where the agents, such as theatres, always fight for both the acclaim of other agents on that field and the outer-field success. Acclaim gives a theatre its reputation, success its economic profit. Bourdieu claims that on the Fields of Cultural Production the economic profit often influences the reputation in a negative way. Therefore with each new production theatres have to ask themselves: how much economic profit can they earn without loosing too much of their reputation. Productions that at the same time get the reputation and economic profit are then Full Games. Since in Estonia culture policy, the main indicator of theatresˈ efficiency is the number of spectators, all the theatres have to strive for Full Games. In Rakvere Theatre there have been 201 new productions between 1985 to 2009, of which only five correspond to the criteria of the Full Game. So the theatre has reached its goal, the Full Game with every 40th production and the Full Games make only 2,5% of all productions. All the Full Games are reviewed more than in average but the reception is always polemic, stating that although there were some questionable artistic choices made for these productions, the former is overshadowed by the eventness of these productions. For repertory theatres that have big venues to administrate and are indirectly subsidized by their number of spectators, the Full Games are crucial for surviving.
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teater, teatriteooria, teatripoliitika, kultuuripoliitika, teatrid, teatriajalugu, repertuaar, lavastused, Rakvere, Eesti, 20. saj. lõpp, 21. saj. algus, theatre, theatre theory, theatre policy, cultural policy, theatres, history of theatre, repertoire, stagings, Rakvere, Estonia, end of the 20th century, beginning of the 20th century