To understand the pros and cons of the specifics of theatrical art, one must understand: what is it unlike other arts and why it has attracted public attention at all times.

Theater combines all kinds of arts. However, a person who is not very versed in art as such would argue, suggesting that the cinema can use all the same arts as the theater. On the one hand, yes, but the theater can use elements of cinema in its “arsenal,” but cinema does not.


Theatre living atmosphere

The theater is a “living” art form. We see the performance in real time, and the film cannot convey the “living atmosphere” that arises around.

The theater lives here and now, every performance, no matter how many ideas have passed, every time – a new one. The actor who pronounces the text always says “for the first time”, every time there is a new audience. It’s same with live casino – online ones can never replace the true magic of playing with a live dealer. This is the mystery, magic and immortality of the theater as well.

The theatrical performance has a stage. And this is also a huge advantage of the theater. Because it can happen a huge number of events at the same time and the viewer can more closely penetrate the production and be imbued with each character.


Theatre for young generation

Strangely enough, all these pluses also smoothly flow into the minuses for ordinary inhabitants.

You cannot see how much you want, and then watch another day’s work? – minus.

Is it inconvenient to sit all the time? – minus.

Thus, most people will prefer to watch a movie or do something that will not “take away from their dense life” for two or even three hours! Speaking scientifically, theater is a specific kind of art that occupies a special segment of the entertainment market, in which the public is also specific.

Recently, theaters have an influx of viewers compared to the early 90’s. However, as practice shows, most people go to the theater for several reasons:

  • The theater brands. In famous theatres – constant sold out and queue. All this is largely due to the brand of the theater, which was established in the eyes of people.
  • On some popular actor or actress, the “fashionable”, as it is customary to say today, the director.
  • Promotion of the production.

In general, if you climb deeper, then this is not just a creative problem. Here there is a clash of the creative component and the economic. Because officially the state contains theaters and helps with various benefits and so on. In fact, the situation is different. According to many teachers, the state every year more and more “moves away” from the theatrical business and tries to “send it to the private sector.”

So it turns out that the private interests of the theater are colliding, where there are catastrophically small salaries and budgets and public ones, where more and more new productions are needed that bear cultural value to society. So it turns out that the theater is looking for sponsors, trying to make money on something advertised, hands over partially the premises or even exists at the expense of leasing its site. And this is more like a commercially oriented theater.

Trying to reflect on the theatrical specifics and the situation with the theatrical activity in general, I came across the opinion of M. Yu. Skomorokhov, one of the biggest directors of the national children’s theater in Russia.

“Without advertising, we cannot decide whether to go to the theater or not. The need, regulated by the movements of the soul, disappeared. In advertising, the theater is put on a par with gastronomy, new varieties of beer, stunning tablets from prostatitis and tiles. We are turning into a service industry: bring it up, give it, go out – it’s scary. Perhaps the theater comes to some new frontiers, when it really remains for the elite, for a small group of people who need empathy, who want to see and hear a good play performed by good artists…”

Proceeding from all above-stated, it is possible to draw a conclusion, that the theater needs attraction of audience and new positioning of itself. But it’s just that this cannot come about. Creating an image of the relevant, interesting and necessary art in the eyes of the younger generation – that’s how it seems to me one of the main problems of theater management in terms of creativity, which need to engage in the theatrical community.

Because to create from scratch and do not have a target audience is simply useless. Having in their ranks young people interested in theatrical art, one can take the following steps to improve the theatrical work in States and Europe.