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« 2025. # 6 (186)

The Ethnology Notebooks. 2025. № 6 (186), 1533—1543

UDK: 379.8:792(477)

DOI https://doi.org/10.15407/

FUNCTIONS, TASKS AND GLOBAL TRENDS OF INCLUSIVE THEATRE MANAGEMENT: ORGANIZATIONAL-FUNCTIONAL MODELS

KOSOVYCH Taras

  • Art critic, Leader Branch “Inclusive Theater “Illusion””
  • of the NGO “Charitable Foundation “Life as a Miracle””,25/4 Lesia Ukrainka Blvd., Kolomyia, Ukraine,e-mall: berkut2112@gmail.com;
  • Contacts: e-mall: inclusive.theater.ua@gmail.com

Abstract. This study examines functions, tasks, and global trends of inclusive theatre management, focusing on organizational-functional models. The research addresses the conceptual gap in understanding inclusive theatre management as a distinct form of sociocultural management, particularly in resource-limited contexts.

The methodology employs triangulation: systematic analysis for function identification, comparative analysis of international models using controlled criteria (inclusion level, funding models, participatory governance, social impact scale), and case study of Ukrainian theatre «Illusion» (2022—2024). Integrating disability studies, organizational management theories, and participatory concepts (Cornwall, 2008; Arnstein, 1969), the research identifies six specific functions: organizational, communicational, cultural-representative, educational-pedagogical, social-ethical, and resource management. Unlike traditional theatre management, inclusive theatre management is characterized by participatory approaches, adaptivity, and integration of therapeutic objectives. Comparative analysis reveals four primary global models: artistic-oriented (UK — Graeae Theatre Company), institutional-state (Germany, Scandinavia), social-activist (Brazil — Theatre of the Oppressed), and independent initiative (Ukraine). Each model is determined by specific cultural, economic, and legal factor combinations. The case study of theatre «Illusion» reveals typical challenges of resource-limited contexts: critical dependence on charismatic leadership (78% of decisions), financial instability (35% self-funded by participants), and lack of professional development systems for managers. The «independent initiative» model demonstrates high adaptability but structural vulnerability compared to European institutional models with 60—80% state funding. Key findings include: (1) inclusive theatre management requires specific competencies combining artistic, social, and adaptive management skills; (2) organizational models are culturally and economically determined, limiting direct adaptation possibilities; (3) Ukrainian theatres demonstrate innovative survival strategies but need systematic support. Practical recommendations include funding diversification, targeted state programs allocating minimum 5% of cultural budget to inclusive arts, and integration of disability studies into cultural management education programs.

Keywords: inclusive theatre, management, disability studies, organizational models, comparative analysis, theatre «Illusion», Ukraine, participatory governance, cultural accessibility.

Received 15.10.2025

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