OBRAZ TRANSFORMÁCIE DIVADELNEJ SIETE V SLOVENSKEJ REPUBLIKE

The paper addresses a number of topics related to the theatre transformation in Slovakia. As early as the 1980s, at the time of the command economy, the objective of this theatrical experiment was to enhance the economic prudence of the teams of creative professionals and an efficient and effective management of allocated appropriations and performance-based remuneration. After 1989 and transition to a market economy, multi-source funding was also debated in culture. When attempts to merge drama ensembles and various cultural institutions into larger institutions were made, there cropped up a problem of the availability of competent managers who would be able to manage institutions of various missions and an issue of scarce funding. The State made it possible to start private theatres by various founders, however, it failed to stipulate the terms and conditions of multi-source funding in a systemic way. It, too, failed to introduce the possibility of multi-year grant projects (for instance, three or five-year grant projects, which are commonly implemented abroad). Indeed, the theatre is a privileged type of entertainment of a small part of the population, however, it facilitates personal growth and creativity and it is a component part of drama therapy. It has not abandoned memory effect stereotypes (the allocation of state grants to culture), it has failed to set a rating system to evaluate concrete theatrical productions and their impact upon the audiences, despite the fact that a new paradigm of the theatre function and perception was introduced as an outcome of the development of society and a change in the percipient target group.