Latviešu Producents ir viena no kultūras procesu vadības un menedžmenta profesijām. Lai gan profesijas pirmsākumi ir meklējami komerciālajā kultūrā, tomēr producents arvien biežāk kļūst sastopams nevalstiskajā skatuves mākslas sektorā. Par nepieciešamības pieauguma pamatu ir jāmin pēdējo divu desmitgadu straujais neatkarīgo mākslinieku un alternatīvo iniciatīvu pieaugums, kā arī sektora paplašināšanās un tās stabilitātes nostiprināšanās kopējā kultūras kontekstā. Izpratne par producenta profesiju nevalstiskajā skatuves mākslas sektorā ir atšķirīga no valsts uz valsti un līdz šim tās darbības ietvars nav skaidri definēts. Maģistra darba uzmanības centrā ir producenta profesija skatuves mākslā ar tai raksturīgu producēšanas specifiku nevalstiskajā sektorā. Tēmas izvēli noteica, situācija, kas vērojama strādājot ar nevalstiskajiem profesionālajiem skatuves mākslas projektiem un organizācijām, un dažādie pastāvošie fakti, kas norāda, ka nav skaidri definēta kāda ir producenta loma skatuves mākslas projektu tapšanā Latvijā, piemēram, pastāv dažādas izpratnes par producentu kā profesiju un tai atbilstošo darbības ietvaru ar noteiktām kompetencēm, prasmēm un iemaņām un pastāv “producenta” jēdziena neadekvāta lietošana un jaukšana ar citām radniecīgām menedžmenta profesijām kā menedžeris, projektu vadītājs, pasākumu menedžeris, skatuves menedžeris, radošais menedžeris, u.c., tādējādi nav attīstījusies regulāra producentu prakse Latvijas nevalstiskajā skatuves mākslas sektorā. |
Angļu The theme of this master thesis discusses the reconditions and potential models of the producers’ practices within the Latvian non-governmental sector of the performing arts. There are five parts within this work: The first part is a study of the definition of the producers’ professional concept and theoretical framework. The second part gives an overview of the importance of the independent sector and its effect on the performing arts development, based on the theories of non-profit and non-governmental organizations, culture, and theatre management. The third part is a theoretical base of existing production models in the non-governmental performing arts sector which is based on David M.Conte and Stephen Langley’s pre-defined non-profit organisation prototypes of leadership. The four production models are nominated ─ freelance producer, producer in the independet performing arts organization, producer as cultural operator and coproducer as producer with shared responsibilties.The fourth part is the examination of existing production practices in the independent performing arts sector in Europe. Producers and cultural operators from the Scandinavian and Baltic countries in contrast with Central Europe, United Kingdom , and Australia and their experiences and comprehension about the profession are examined. The work advises the seven most essential preconditions of the producers profession in the independent performing arts sector and working of one of the producion models. The fifth part is appraising the comprehension of the producers profession in the independent performing arts sector in Latvia, assessing the factors affecting the existing production models and gives preconditions of competent producer practices and development in the performing arts at the non-governmental level in Latvia. Writing this thesis work, I have examined a variety of producers concepts and identified theoretical functions and the framework of producers profession, summarized the independent sectors importance and the effects to the performing arts sector by various culture and management theoreticians. The work study of existing producers practices and professional comprehension form the experience of the producers practices in Latvia and abroad. This summarizes the preconditions of competent producer practices and the possible successful development in the future of the performing arts at the non-governmental sector in Latvia. This work contains information gathered from international research and the discussions about producers, theoretical literature from different authors about culture and theatre management, non-profit and non-governemental organization, and sociology dictonaries.For the fourth and ffth parts of this paper, I interviewed producers and cultural 86 operators of performing arts within the non-governmental sector of Estonia, Finland, Sweden, Denmark, Norway, Germany, United Kingdom, Australia and Latvia. I did this in order to understand the experience of competent producers practices necessary for working in this field. |
