The main goal of the paper is to investigate the forms of labor relations in
institutional, subsidized theatres in Serbia. Given the social and economic
crises, and today significant changes in the lifestyles of citizens of the
world caused by the Corona virus pandemic, theatre institutions had to adapt
to new market demands. Reduced production, inability to play large ensemble
performances, problems in paying copyright contracts are some of the
features of the work of theatre organizations. Having these turbulent
circumstances, the subject of the paper should determine the influence of
social circumstances on the formation of working relations in institutional
theatres in Serbia. The paper will look at labor relations in the context of
transitional cultural policy and the impact of the environment on defining
the most optimal form of employment that should meet the needs of the state,
city, municipality, as founders and financiers of the theatre organization,
the needs of artists who strive for permanent employment that will provide
them with existential security while providing them with an opportunity for
artistic growth. By re-examining and analyzing the existing models of labor
relations, the basic hypothesis we want to prove in the paper is that
permanent employment and achieving permanent employment is the best solution
for hiring artists in institutional theatre. In order to fulfill the set
goals and prove the hypothesis, the paper will use theoretical research in
the field of human resources management (Rahimic, Torrington, Hall, Taylor),
labor law, cultural policy (Djukic), cultural studies (Klajic, Ristic,
Djordjevic) as well as the case studies of form of employment in national
theatres in the region. The paper also presents an empirical research that
dealt with the impact the different forms of employment have on artists. The
research shows that the establishment of a permanent employment relationship
is of greater benefit to artist.