Aktorius kūrybinių industrijų perspektyvoje

LTStraipsnyje nagrinėjama, kaip skirtingų amžiaus kategorijų aktoriai prisitaiko kūrybinių industrijų aplinkoje. Lengviausiai joje adaptuojasi ir iniciatyvų imasi jauniausios kartos aktoriai, nors dėl vadybos ir kūrybinių industrijų disciplinų nebuvimo aktorinio meistriškumo mokymo programoje jie nesugeba imtis savarankiškų projektų. Kita vertus, politiniu mastu Lietuvoje dar nėra sukurta pilnavertė terpė, kurioje įvairiapusiškai skleistųsi kūrybinės industrijos ir su jomis susijusi projektinė veikla. Vidurinioji aktorių karta stengiasi surasti kompromisą ir dirba tiek ir kūrybinių industrijų sferoje, tiek ir valstybės teatruose, kur jiems yra garantuojamas pastovus atlyginimas ir socialinis draudimas. Šios kartos pozicija kūrybinių industrijų atžvilgiu nėra aiškiai apibrėžta -ji aktyviai naudojasi kūrybinių industrijų siūlomomis galimybėmis. Vyriausioji karta, nors ir neigia kūrybinių industrijų pozityvumą ir visokeriopai stengiasi išsaugoti aktoriaus kaip teatro šventovei besiaukojančio tarno įvaizdį taip pat nevengia dalyvauti kūrybinių industrijų veiklose, kadangi valstybės nustatytos aktoriaus atlyginimų ribos dabartinėmis rinkos sąlygomis neleidžia jam išgyventi. Siekiant aktorių sąmoningo buvimo kūrybinėse industrijose turėtų būti vykdoma intensyvesnė švietėjiška veikla, kūrybinės industrijos turėtų tapti šiuolaikinės kūrybinės ekonomikos pagrindu. [Iš leidinio]Reikšminiai žodžiai.

ENThe purpose of this article is to examine the concerns and opportunities for the integration of actors into the emerging reality of creative industries in Lithuania. The concept of creative economy and its benefits is underdeveloped in the Lithuanian cultural sector. The Ministry of Culture, responsible for the cultural strategy in Lithuania, makes no mention of creative industries in its 2006-2008 activity report. Section one discusses a category of actors encompassing new entrants and younger generation actors. Most of them are open to learning and have already lots of experiences of working in the independent projects and in different intercultural contexts. According to their perception priority is given to maintain artistic freedom and liberty i.e. to organise their timeframe as they want it. They prefer not to serve/work in what is perceived to be an overly bureaucratic state cultural institution sector. Section two focuses on another category of actors who are in the same age or a little bit more older (up to 45 yrs) and who prefer to operate in two parallel. directions: (i) to look for a permanent job in a state theatre, despite poor terms and conditions of employment, and (ii) to undertake activities in the independent creative industry sector. Within this cohort (up to 45 yrs) some actors are employed on a definite three-year contract while others have life-long contracts. This situation which still remains politically unresolved creates ambiguities and produces what can be perceived as an unfair advantage negative effects.For example the situation of an actor with a life-long contracts who no longer fits the role. Another example of a negative is that of the discrepancy between actors who have a permanent job and already every month get their salary from the state and those who get nothing. Both have equal rights in asking for funding to develop creative projects. Section three examines final category of the actors: those who are more than 45 yrs. Among this cohort there is a strong defence of the old model of repertory theatre, the only one they really new in the soviet time when they started their career. In such a model the actor is the centre of the theatre and s/he dictates the rules and introduces the rituals. Among this cohort there is strong resistance to any change in the system. Yet, because of the low salaries, they are also looking for the possibilities of working in the independent projects in order to earn their living. Thus the article argues that almost all actors are participating in the creative industries even if they have very different opinions about it. The article concludes that at present the transfer of skills and knowledge about the creative industries is not evident in module/course design within mainstream actor study program like the Lithuanian Music and Theatre Academy - the only institution preparing professional actors. In effect, students graduate and navigate their future professional development on their own. Therefore the article proposes that study program should be urgently revised to incorporate modules about the creative industries and its advantages. [From the publication]