How Theaters Remember: Cultures of Memory in Institutionalized Systems
The aim of this study is to explore organizational policies and strategies regarding the institutional memory of Belgrade’s repertoire theaters. The concept of institutional (organizational) memory has not been developed within the culture of memory theory. The role of theater in the culture of memory has been researched mostly through studies of its repertoire, corresponding to how theaters deal with issues of glory, guilt, or shame. This study explores how theaters rethink their own past and organizational culture, how they use their capacity for re-imagining themselves, for clarifying their role and function in different historical moments. The objective of this research is to identify the main institutional policies and types of strategies used for preserving institutional memory through key narratives of remembering, and key methods of inter-generational transfer. The sample comprises of four Belgrade-based public repertoire theaters: the Yugoslav Dramatic Theater (JDP), the Belgrade Dramatic Theater (BDP), Atelje 212, and Bitef Theater. Specific attention is given to the means of transmission, of individual (episodic) memories into the collective consciousness, influencing organizational cultures and shaping a theater’s identity (semantic memory). Research has shown that there are important differences in active policies of preserving institutional memory among Belgrade’s theaters. Different organizational and programming strategies were implemented in order to safeguard institutional identity and memory, particularly in theaters with a permanent ensemble. The major difference is between theaters whose culture of memory might be called “non-existent” (Bitef), or “in storage” (BDP), and those succeeding in creating a functional memory (JDP, Atelje 212).
. J. Assman, Duga senka prošlosti, bibl. XX vek, Beograd 2011.
. J. Assman, Kultura pamćenja, Prosveta, Beograd, 2001.
. G. Banu, Les memoires du theatre, ed. Le temps du theatre, Actes Sud, 2005.
A. Benali in Chenal O. and Snelders B. eds. 2012.
. O. Chenal and B. Snelders, eds. Remappings: the making of European narratives, European Cultural Foundation, Amsterdam, 2012.
. P. Connerton, How societies remember, Cambridge University Press, 2002.
. M. Dragićević Šešić, Teatralizacija istorije ili put u budućnost: dramsko delo Zorice Jevremović, Kultura, br.124/ 2009. pp. 209 – 220.
. M. Dragićević Šešić ,Theatre, public space and city identity – memory politics as a challenge in preserving Belgrade`s multicultural identity, in: Theatre and Identity, ed. by Jelena Lužina, Faculty of Dramatic Arts, Skopje, 2006. pp. 21-47.
. M. Dragićević Šešić, Cultural policies, identities and monument building in Southeastern Europe, in: Cultural identity politics in the (post) transitional societies, A. Milohnic, N. Svob-Djokic, eds. Culturelink, Zagreb, 2011.
. M. Dragicevic Sesic, The leadership style of Mira Trailović -An entrepreneurial spirit in a bureaucratic world, Arts Leadership, ed. By Jo Caust, Tilde University Press, Melbourne 2012.
. E. Belfiore and O. Bennett, Rethinking social impacts of the arts, European Journal of Cultura Policy, 13:2, 135 – 151, 2007.
. M. Gluhović, Performing European Memories: Trauma, Ethics, Politics, Palgrave Macmillan, London 2013.
. M. Halbwachs, Les cadres sociaux de la mémorie. Paris: F. Alcan, 1925.
A. Jovićević in: The Dissident Muse: Critical Theatre in Eastern and Central Europe, 1945 - 1989, ed. By D. Klaić & K. Pejovic, Theater Inst. Nederland, 1996. List of Technical Museums, 2013,
. D. Lukić, Drama ratne traume, Meandarmedia, Zagreb, 2009.
. J. Lužina ,ed. Theater and memory, Skopje, Faculty of dramatic arts, 2007.
. K. Megill, Corporate memory, 2nd ed. K. G. Saur, Munchen, 2005 (Serbian edition: Korporativna memorija, Narodna biblioteka Srbije Beograd 2007).
. F. Pašić, Kad smo čekali Godoa kad su cvetale tikve, Bepar Press, Beograd, 1992.
. S. Sontag – Regarding the Pain of others, Picador, Farrar, Straus and Giroux, New York, 2003
. M. Stefanovic, Instrumentalizacija kao dobar početak, GEST, Podgorica, 03/II, 2012.
. B. Vickery. And A. Vickery: Information Science in Theory and Practice, Walter de Gruyter GmbH & Co, Berlin 2004. (Serbian translation: Narodna biblioteka Srbije, Beograd 2011).
Yugoslav Drama Theater, JDP - Pet godina rada, Beograd, 1953.
. Dvadeset godina rada Jugoslovenskog dramskog pozorišta, Beograd, 1968.
. Jugoslovensko dramsko pozorište (1948-1973) – dvadesetpet godina rada,
. Volk P. Iluzije na cvetnom trgu, jugoslovensko dramsko pozorište u pedeset sezona, Muzej pozorišne umetnosti Srbije, Beograd, 1997.
. Jugoslovensko dramsko pozorište – vizuelni identitet 1948-2008, Muzej pozorišne umetnosti Srbije, 2008.
. JDP – 60 godina: lica / slike / sećanja, izd. JDP, Beograd 2008.
. D. Babić – Jugoslovensko dramsko pozorište samim sobom, Službeni glasnik, Beograd, 2009.
. F. Pašić, BDP – Monografija 1947-2007.
. Belgrade Drama Theatre, 5 years of BDP, 1949-1954.
. F. Pašić, Gospođa iz velikog sveta /Madame from the big world, Muzej pozorisne umetnosti, Beograd, 2006.
. N. Vagapova – Bitef: pozorište, festival, život, Bitef teatar, Altera I Službeni glasnik, Beograd, 2010. BITEF 40 godina novih pozorišnih tendencija (dokumenta BITEFA 1967-2006), Istorijski arhiv Beograda, Beograd 2007 A. Jovanović - Bitef teatar ili Kako se rađalo jedno pozorište, non published text
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
Култура/Culture by MI-AN is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.