Factors Affecting The Contingency Program Budgeting Towards

PAMANTASAN NG LUNGSOD NG VALENZUELA
Tongco St., Maysan, Valenzuela City
FACTORS AFFECTING THE CONTINGENCY PROGRAM

BUDGETING TOWARDS THE FINANCIAL REPORT
IN THE THEATRE PRODUCTION OF BACHELOR
OF ARTS IN COMMUNICATION (BAC) IN
PAMANTASAN NG LUNGSOD NG
VALENZUELA
SUBMITTED BY:
BALLAN, ALEXIS D.
DE LEON, EARIEL MHAZE C.
DEMITION, KIEL EMMANUEL N.
GO, JAYCE ARON P.
LOPEZ, LYKA JANE R.
REYES, TRICIA MAE A.
SANTOS, MIKE ADAM THEODORE C.
PRACTICAL RESEARCH 2
QUANTITATIVE RESEARCH
SUBMITTED TO:
MS. MARIA ROSE DIASANTA
I. INTRODUCTION
Money is primarily a medium of exchange or means of exchange. It is a way for a
person to trade what he has for what he wants. Ideal money has three characteristics: it
acts as a medium of exchange, it is an economic good and a means of economic
calculation. (Economics and Liberty, 2012).
Moreover, a budget is an estimation of revenue and expenses over a specified
future period of time and is usually compiled and re-evaluated on a periodic basis.
Budgets can be made for a person, a family, group of people, business, government,
country, multinational organization or just about anything else that makes and spends
money. Plus, it greatly enhances the success of any undertaking and can also aid in
setting goals, measuring outcomes and planning for contingencies. (Budgeting and
savings, 2019).
Having presented the aspects where budget is used—requires different level of
complexities as well. For example, in the field of Public administration, budgeting is an
activity conducted at every level of the government—federal, state, and local. The
importance of the public budget is attested to by the fact that the budget carries the weight
and consequence of law, whether it be public law or ordinance. On the other hand,
personal budgets are extremely useful in managing an individual's or family's finances
over both the short and long term horizon.

According to a survey conducted by Douglas McLennan, the biggest problem
facing the arts as a whole is the budgeting process with the largest percentage of 37%,
second at 24% was the relevance or changing tastes of the audience followed by diversity
at 15% and leadership at 13%. Technology came in a distant fifth at 4%.
In addition, the funding prospects for the live performing arts are not good. In most
countries, live performing arts are supported, to a great or lesser extent, by state funding.
This source of funding is diminishing due to the tightening of overall budget spending, as
well as the competing demands of the audio-visual sector. Thus, demand for live
performing arts by the audio-visual sector is declining as a share of its overall budget.
(Funding of live performance art, 2006).
The broadness of the subject is narrowed down to support the study's focus which
would be dealing only on a course not offering budgeting as a unit hence, still requiring a
budgeting presented through financial reports.
Financial report serves two primary purposes. First, it helps management to
engage in effective decision-making concerning the organization's objectives and overall
strategies. The data disclosed in the reports can help management discern the strengths
and weaknesses of the organization or company, as well as its overall financial health.
Second, financial reporting provides vital information about the financial health and
activities of the organization to its members. (Grimsley, 2018).

The course being talked about is the Bachelor of Arts in Communication (BAC), it
is a program providing the students with training in communications as an art, a science,
and service to the community. It teaches the ethical significance of, as well as the
responsibility involved in the use of print, radio, television, audio-visuals, and film.
(University of Santo Tomas, 2016).
It is possibly done by the application of a program budget. Program budget is a
budget designed for a specific activity or program. It includes only revenue and expenses
for a specific program, mainly used in organizations and schools. (VanBaren, 2017).
Additionally, the research would only be focusing on the budget process done in
the grounds of a theatre production which is likewise considered a program. According
to Beckerman and Barker, it is the planning, rehearsal, and presentation of a work.
Such a work is presented to an audience at a particular time and place by live
performers, who use either themselves or inanimate figures, such as puppets, as the
medium of presentation. A theatrical production can be either dramatic or nondramatic,
depending upon the activity presented.
However, there are certain factors affecting one's decision in contingency plans
for budgeting. A contingency plan is a course of action designed to help an organization
respond effectively to a significant future event or situation that may or may not happen.
(Rouse, 2015).
According to Cornick (as cited on Leavitt's contingency theory of change, 1978)
those were the forces in the organization members, the environment, the organizational
structure, and the budget technology itself.
Furthermore, according to Cornick (as cited on Schutz's On Phenomenology and
Social Relations, 1978), budgeting is viewed in the context of socially constructed reality;
that is, budgeting is a social relationship in which organization members direct themselves
toward and orient themselves upon each other according to a given content of meaning.
This social relationship is elliptical: it has two subjective focus. Every person lives
through his own situational experiences of which the other is a part. One not only
experiences the context of himself in the situation, one shares the contextual forces of
others involved in and experiencing the situation. These two notion—a network of forces
and meanings, involved: (1) a theory that relates people, environment, structure, and
technology as mutually dependent variables and (2) a theory that views organization
behavior as human behavior resulting from the meanings which people attach to this
network.
The specific task for this research, then, is to identify what variable it is likely to
largely affect the decision making for contingency plans in the program budget presented
through financial reports of the Bachelor of Arts in Communication in Pamantasan ng
Lungsod ng Valenzuela (PLV), given the important forces that people attach meanings to
in the budget process.

II. THEORETICAL FRAMEWORK
Figure 1. Contingency Theory of Change. Harold Leavitt. (1965).
Contingency theory of change suggests that when preparing an organization for a
change initiative there are many mistakes which are often made. Change initiatives often
fail due to a lack of preparation, and hence never had a chance of succeeding. One
common mistake is to treat the initiative in isolation from the rest of the organization. It is
almost impossible to implement a change strategy without it having an effect on other
processes, departments, or individuals, whether they are intentional or not. Therefore,
being aware of the effects the change will have on the organization as a whole, and
planning accordingly, is crucial for the success of any change strategy. (Leavitt, 1965).
Harold Leavitt developed Leavitt’s Diamond, also known as Leavitt’s System
Model, in 1965 as a mechanism for analysing the organization wide effects a change
strategy will have. The author outlined 4 independent components of every organization;
Task, people, structure and technology. He argued that to have a successful ‘integrated
change’, it is crucial to understand the connection between each component.
In order to use the model effectively, an exact definition must first be stated
according to what the component does within the organisation which in this case is a
theatre production. These variables could be defined in terms of the task of budgeting.
 Task
The task is that of managing and directing the budgetary process, which includes
determining the list and numbers of items to be bought and its estimated prize to achieve
the theatre production objectives. Also, the task of budgeting is to relate the expenditure
of funds to the accomplished of planned objectives, i.e., the task is to allocate scarce
resources among different purposes.
 People
Those member of production that give direction to or are directed by the budget
process. This includes the members’ action, attitude, perception, skills, motives,
personality (e.g., seen as risk taker or risk avoider), professional orientation (e.g.,
”educational type or “budget type”) and expectations.
Theatre personnel:
*Artistic Director
*Theatre Manager
*General Manager
*Director of production
*Technical Director
*Costume Director
*Marketing Director
*Director of public relations
*Director of audience services
*Director of development
*Director of special events
*Dramaturgy Literary Manager
*Company Manager
*House Manager
*Ticketing Agent
*Crew Chief
*Dresser
*Stage Crew
*Fly Crew
*Light board operator
*Spotlight operator
 Structure
Includes the production’s climate, i.e., norms, values, and history. It includes the
system of the workflows, communication patterns, authority structure and system of
rewards and punishments.
 Technology
(1) Digital input and calculation of the budget formulation and approval process.
(2) Budget classification and structure.
(3) Impacts of the technology in terms of any other components: task, people,
environment and structure.
(4) Established criteria for the equipment.
Although Leavitt’s model is a change model, it has utility for identifying the sources
of problems and issues in the context of budgeting. To this construct, however, must be
added the notion of meaning as a supporting theory.

Objectively-defined stimulus
(Budgeting)
Participant Participant Participant

(Person) (Person) (Person)
Action Action Action
Figure 2. Theory of Organisation. David Silverman. (1971).
David Silverman's theory of meaning provided a sociology of knowledge
orientation. The concept of meaning assumes:
(1) That organizations do not behave, people do and
(2) That people "act" in terms of their own and not the observer's definition of the situation.
The term "act" rather than "behave" is used in the sense that David Silverman used
it to distinguish between action and behaviour. Behavior is observable and can be broadly
explained as a response to a stimulus whose objective characteristics are perceived by
the scientists.
However, people may respond differently to the same objectively-defined stimulus.
People "act" on the basis of "a network of meanings which they themselves construct and
of which they are conscious."
III. STATEMENT OF THE PROBLEM
The main objective of the study is to determine what variable among the following:
task, people, environment, structure and technology—would most likely affect the
contingency plans for the program budget in the theatre productions of Bachelor of Arts
in Communication (BAC) in Pamantasan ng Lungsod ng Valenzuela (PLV).
The study also aims to answer the following:
1. What would be the arrangement (from most to least affecting) of the independent
factors listed below considering its influence in the decision making for the contingency
plans in the program budget of Bachelor of Arts in Communication in Pamantasan ng
Lungsod ng Valenzuela (PLV)?
• Task
• People
• Structure
• Technology
2. What would be the result of the decision made (mainly affected by the factors listed
above) for the contingency plan in the program budget of a theatre production?
• Positive (In a way that the execution of the contingency plan successfully provided ways
on how to earn extra funds for the program budget)
• Negative (If the execution of the contingency plan failed to provide ways on how to earn
extra funds for the program budget)
3. What is the difference between the result of the most affecting and least affecting
factor in the contingency program budget of the Bachelor of Arts in Communication (BAC)
in Pamantasan ng Lungsod ng Valenzuela (PLV)?
IV. SIGNIFICANCE OF THE STUDY
The study would greatly confer analyses about the factors that would affect the
contingency budgeting towards the financial report of the theatre production of the
Bachelor of Arts in Communication (BAC) students. This would be very purposeful and
consequential to the following:
 To the Bachelor of Arts in Communication (BAC) students, this research will be very
significant to the participants, themselves – the BAC students as it aims to dispense
grounds upon the factors that would affect the contingency budgeting of a theatre
production, providing utilization and manipulation on the matters of these factors
upon producing an efficient theatre production.

 To the theatre personnel, with the proper synthesis of this study being perceived by
the theatre personnel, considerations and further deliberations on the budgeting shall
be performed in reference to the study’s supposed components in order for them to
function in a system of most efficiency.
 To the future researchers, this research will serve as a useful reference who would
precisely assure intent as a related study on the factors that would affect the
contingency budgeting of theatre productions, and would develop new studies
relative to the present research done.
V. SCOPE AND DELIMITATIONS
The study is delimited only to the Bachelor of Arts in Communication (BAC)
students of Pamantasan ng Lungsod ng Valenzuela (PLV) as the respondents, and will
merely just focus on the four factors (task, people, structure and technology) stated on
Harold Leavitt's Contingency theory of change which affects the contingency plans for
budgeting in a theatre production presented through financial report.
This study aims to gather information and data inclusive from the respondents, and
its respective factors detailing impacts on the contingency plan of budgeting in reference
to the theatre production. The factors formulated will only be subjected to the extent of
the convergence of the participants’ responses, and the relationships between the data,
factors and results will be then analysed in the context of a theatre production.
DEFINITION OF TERMS
Act - People may respond differently to the same objectively-defined stimulus. A person
"act" on the basis of "a network of meanings which they themselves construct and of
which they are conscious." (Silverman, 1971).
Bachelor of Arts in Communication - The program provides the students with training
in communications as an art, a science, and service to the community. It teaches the
ethical significance of, as well as the responsibility involved in the use of print, radio,
television, audio-visuals, and film. (University of Santo Tomas, 2016).
Behavior - It is observable factor and can be broadly explained as a response to a
stimulus whose objective characteristics are perceived by the scientists. (Silverman,
1971).
Budget - A budget is an estimation of revenue and expenses over a specified future
period of time and is usually compiled and re-evaluated on a periodic basis. Budgets can
be made for a person, a family, group of people, business, government, country,
multinational organization or just about anything else that makes and spends money.
(Budgeting and savings, 2019).
Budgeting - According to Cornick (as cited on Schutz's On Phenomenology and Social
Relations, 1978), budgeting is viewed in the context of socially constructed reality; that is,
budgeting is a social relationship in which organization members direct themselves
toward and orient themselves upon each other according to a given content of meaning.
Contingency Plan - A contingency plan is a course of action designed to help an
organization respond effectively to a significant future event or situation that may or may
not happen. (Rouse, 2015).
Contingency theory of change -The theory suggests that when preparing an
organisation for a change initiative there are many mistakes which are often made.
Change initiatives often fail due to a lack of preparation, and hence never had a chance
of succeeding. One common mistake is to treat the initiative in isolation from the rest of
the organisation. It is almost impossible to implement a change strategy without it having
an effect on other processes, departments, or individuals, whether they are intentional or
not. Therefore, being aware of the effects the change will have on the organisation as a
whole, and planning accordingly, is crucial for the success of any change strategy.
(Leavitt, 1965).
Environment - The external forces, i.e., the time and space dimension in which the
production operates, such as social conditions, ambiance and weather. More specifically,
the task environment consists of those external aspects which are relevant or potentially
relevant to influence budget management.
Financial Report - Serves two primary purposes. First, it helps management to engage
in effective decision-making concerning the organization's objectives and overall
strategies. The data disclosed in the reports can help management discern the strengths
and weaknesses of the organization or company, as well as its overall financial health.
Second, financial reporting provides vital information about the financial health and
activities of the organization to its members. (Grimsley, 2018).
Leavitt's System Model - A mechanism for analysing the organisation wide effects a
change strategy will have, outlining four independent components of every organisation;
tasks, people, structure and technology. (Contingency theory of change, 2019).
Money – It is primarily a medium of exchange or means of exchange. It is a way for a
person to trade what he has for what he wants. Ideal money has three characteristics: it
acts as a medium of exchange, it is an economic good and a means of economic
calculation. (Economics and Liberty, 2012).
People - Those members of the production that give direction to or are directed by the
budget process. This includes members' action, attitude, perception, skills, motives,
personality (e.g., seen as risk taker, or risk avoider), professional orientation (e.g.,
"educational type" or "budget type") and expectations.
Program Budget - Program budget is a budget designed for a specific activity or
program. It includes only revenue and expenses for a specific program, mainly used in
organizations and schools. (VanBaren, 2017).
Task - Involves managing and directing the budgetary process, which includes
determining the list and number of the items to be bought and its estimated prize to
achieve the production objectives. Also, the task of budgeting is to relate the expenditure
of funds to the accomplishment of planned objectives, i.e., the task is to allocate scarce
resources among different purposes. The task also may be defined in terms of managing
commitments made by all parties to expend funds for certain identified purposes.
Technology - (1) Digital input and calculation of the budget formulation and approval
process, (2) budget classification and structure, (3) impacts of the technology in terms of
any other components: task, people, environment and structure, (4) established criteria
for equipment.
Theatre Production - According to Beckerman and Barker (n.d.), theatrical production,
the planning, rehearsal, and presentation of a work. Such a work is presented to an
audience at a particular time and place by live performers, who use either themselves or
inanimate figures, such as puppets, as the medium of presentation. A theatrical
production can be either dramatic or nondramatic, depending upon the activity presented.
Theory of organisation - The theory represents the results of an effort to introduce a
theory held together by an action frame which is contrasted and counterpoised to other
current theories of organisation. (Silverman, 1971).

II. REVIEW OF RELATED LITERATURE
According to Byrnes (2015), a system is present in an organization. A system is
necessary for an arts manager. The set must be built, the props should be listed and the
overall expenses should be aligned with the budget. Without the efficient and productive
management an organization cannot function. The plan should be feasible. The first
function of management, which is planning, can be the hardest. Setting realistic goals
and objectives with the use of various sorts of plans. Getting the people and resources
aligned, defining the details in creating schedules and budget and assigning people to
every job. But the most crucial task is allotting budget for the expenses. Planning and
development are linked because arts organizations are always seeking ways to
increase revenue to fund new programs and to pay for the inevitable increases in
operating costs.
According to Duvall (2015), every show has a budget and you should insist on
knowing before you start work how much has been allocated to props. It is important for
props manager to take control of the budget and keep all the expenses under it. A
budget plan is an estimation only. According to the survey they conducted theatre
shows have different ways to plan budgeting some sum it all up with the overall and
some put it by parts. These funds are balanced against both classroom and production
needs. The budgeting process begins with the preliminary budget. As it continues,
preliminary budget is checked if it's aligned to the target budget. Adjustments are made
to make this two meet. Budgeting choices may depend on the availability of every tools
and materials. A props manager should be flexible for these changes. Many props
manager includes contingency plan in their preliminary and working budgets. A
contingency in a budget helps to cover additions and changes that might come from
rehearsal process, an increase in the cost of goods and other unexpected expenses.
The number of contingency varies depending on the show. The estimation of
contingency budget is based on the initial cost of the working budget most of the time
the contingency range from 10-20% of the overall budget. The contingency tends to be
smaller when a show is being remounted from a previous production hence it tends to
get bigger if a new script is produced.
Technology has altered the stage from local church productions to Broadway. In
addition to studying fundamental concepts of acting and directing, designers and theatre
learners are learning how to use technology to improve their visions. The very concept
and history of theatrical arts means that if it hopes to remain relevant, it cannot afford to
disregard contemporary technology as theatre has been a commentary on life since the
Athens theatre age under Aeschylus, Sophocles and Euripides. While technology plays
a vital role in the theatre content how productions are created is also revolutionized.
Technology brings live productions to the next level from prop departments to costume
designers. (Dodge, 2017).
The budgeting of a theatre play is subjected to the presumed success of the
production which is measured on its supposed revenue. According to Virata (as cited by
Business World, 2014), these factors brought by the revenue is not only inclusive to the
people relative to the production, but also those who are capable of providing funds
carried out by the revenue of the production itself which are known as show buyers.
These factors are also dependent to the planned audience interest; according to
Bautista (as cited by Business World, 2014), the primary unit of these revenues are
based on the marketing production which entails evident impact on the budget plan.
This can deduce that explicit factors implied by investments for the gratification of the
revenue can provide indirect variations on the budgeting plan of a theatre production
denoting that revenues are capable of modifying the scheme of the budgeting.
This paper looks at planning as a vital apparatus for advancement in human
expressions. Planning as a key prerequisite to great administration is being disregarded
in expressions associations. The investigation stresses the importance of planning to
expressions associations that should accomplish their objectives and goals. It confirms
the troubles looked by expressions associations to continuing their organizations,
proffering answers for them. It finishes up by giving proposals in this manner clear,
straightforward and user friendly planning ought to be created, spending plan ought to
be institutionalized for nonstop adjusted improvement in expressions associations. A
spending board of trustees ought to be set up and staff preparing and improvement
ought to likewise be acquainted with impact legitimate planning forms. The paper
concluded that budgeting is a management tool and it can be applied in any art
organisation as it guarantees any successful artistic programs. Proper examination of
one's spending habit is important as if no one has handled within a budget, one may not
have no idea of how money is spent. (Enamhe, 2010). This study also recommends that
the budget should be standardized and timely executed i.e., having a contingency
budget.
Budgeting for an amateur production does not aim to provide a complete
composite plan upon the enlistment of a play. According to Produce A Play (2010),
some levelled factors renounced on a budget plan could be non-existent; provided that
such factor is presumed to be out of relevance, out of the production’s bound or is
simply not needed. This states that variations on the custom of a theatre production
would greatly affect the contingency budgeting of the said production, and does not
simply rely on the correspondence of needs as integrated by a specified conventional
theatre production. These classifications of non-existent factors are dependent on the
grants of subsidies, and are portrayed within the components of the expenses or/and
the production revenue.
The production budget is the process used to plan how much money to spend on
a certain show. The common mistake to assume is a set, pre-determined amount
available for each show, there is not. It can somehow lead to a large of money being
spent or too little to other shows. It can also steer people to spend whatever amount
they demand. Instead, the production should prepare proposals properly. The theatre
production team can put their own concerns, their connected skills, and commercial
judgment about the money to maximize the effect on their particular show. The objective
is to help the involved people to put on the show in the way they want and to support
their creative ideas. Every theatre production should have a set meeting for their
budgeting plan that should be held after the occurring designs ideas have been agreed
and before the funds need to be spent. As said by the tower theatre, there is no fixed
figure of amount for the total budget and every effort should be form to make it
reasonably possible. Budgeting in theatre production should include the basic list like
the set materials, public materials, costumes materials, venue, technical, properties.
One thing for sure in accounting the expenses that is essential is to keep the receipts
and set of accounts. The purpose of this is to help the theatre production team
responsible for expenditure. (Tuerk, 2011).
Technology in theatre altered the point, theatre students are not only for basic
concept of acting and directing. However, they are also learning how to use technology
to develop their perception in theatrical designs. According to the article of St. Martin (as
cited in Kennedy, 2018) theatre has always seen as dying art ever since the coming of
radio; then the television, and net streaming. That is the reason why theatre often called
as “fabulous invalid.” Through the centuries, the theatre community has embraced the
technology rather than fighting. The main concept and background of theatrical arts
imply that modern technology cannot afford to be terminated when it hopes to stay
relevant. Technology plays an essential role when it comes to the content of Theatre, it
also discover the process of production. Zachary Smalls said that we are a culture
made through technologies and it should present on the stage. (Kennedy, 2018)
Technology is one of the factor that Contingency theory of Change have, it includes the
task, people and structure. (Leavitt, 1965). Technology depict some certain parts in
theatre production.
According to Voss, G. & Voss, Z. (2000) that ordinarily showcasing astuteness
holds that a client direction furnishes a firm with a superior comprehension of its clients,
which along these lines prompts improved consumer loyalty and firm execution. Be that
as it may, there are alerts that being too client centred can prompt idleness, and
episodic proof proposes that it might be smarter to "overlook your client" when growing
new items. Expanding available direction research stream, the creators look at the
effect of three option key directions—client direction, contender direction, and item
direction—on an assortment of emotional and target proportions of execution in the
philanthropic expert theatre industry, which is set apart by high paces of masterful
development and generally eccentric client inclinations. The outcomes show that the
relationship between key direction and execution changes relying upon the sort of
execution measure utilized. Notwithstanding, the most unambiguous outcome is that a
client direction shows a negative relationship with supporter ticket deals, all out salary,
and net excess/shortage.
According to Milne (2004), theatre Australia restricted recounts to a genuinely
national story of the structures of post-war Australian theatre: its craftsmen,
organizations, budgetary and arrangement underpinnings. It gives a comprehensive
examination of three 'waves' of Australian dramatic movement after 1953, and the sorts
of associations which grew up to help and look after them. Endowment, collection
examples, accounts and organization, theatre structures, organizations, celebrations
and eminent preparations of the business, standard and elective Australian auditorium
are inspected state by state, and changes to administrative approach examined. Showy
structures include verbally expressed word dramatization, yet additionally Music
Theatre, parody, theatre-café, carnival, puppetry, network theatre in a few structures
and new blended media classifications: physical theatre, bazaar, visual theatre and
contemporary execution. Theatre Australia constrained is the primary complete outline
of the fortunes of Australian auditorium as a national undertaking, giving the modern
investigation of the 'three waves' basic for the comprehension of the new wave and of
contemporary show.
In good theatre production, the Stage Manager is a key position. It serves the
dual role of assistant to manager and producer during the rehearsals and then becomes
the individual responsible for manufacturing during the real performance. The position
also has a distinctive function. Each manufacturing will require the Stage Manager
differently and uniquely. The function of stage manager in instructional theatre is
particularly crucial and hard. By the nature of the situation, the tasks and obligations
mentioned here are incomplete and are a guide for a good experience. The
development of the Prompt Script is a main task of the SM. The SM will prepare a quick
script that finally includes all blocking notes, as well as hints of light, sound, change and
orchestra. This "bible" needs to be carefully developed so that everyone can take over
SM and call for good results. (Emporia State University, 2005).
A company theatre or schools have the types of budgets when it comes on
creating theatrical shows that begin for creative thinking on costumes, staging, and sets.
As stated by Culwell-Block (2018), there is an inseparable challenge in terms of
producing theatre plays in the local level. Although this challenge is common, Broadway
technological advances in the last twenty years increased the level if the local artists
want the aesthetic in Broadway-like set. The small theatres companies should not avoid
the deal from newer titles when planning a season. Musical Theatre International,
Danny Henning states that technically demanding shows may seem difficult, but it will
make an incredible opportunity for the growth and creativity.
Broadway musical have multiple keyboard parts for the orchestra, and the typical
easiest way for the setup are the keyboard connected to computer software. A great
solution for the theatres that cannot gather the full orchestra and it can fill in the missing
sounds or instruments while synchronizing with the live musicians. While considering
the high numbers of people using mobile phones and other technologies, it also states
that playwrights can also enhance their works to their existing designs with the use of
technology ensuring that everyone can access to the great plays while protecting the
works and renting or purchasing the plays and musicals are open. Theatre has always
been a creative art form, which makes it a perfect spot to work on a demanding piece,
even if the situation might seem unconquerable. Combine the resources available to
assist theatre companies with the brilliance of local theatre artists and companies will
discover there is no need to fear the technical demands of any story they want to tell.
It is essential to note that each show has two main working budgets: a budget for
manufacturing and a weekly operating budget. The manufacturing budget includes
everything necessary for first preview performance (generally from development
phases, including lectures and the laboratories until the end of the rehearsal period),
while the maintenance of the show on a weekly basis is covered by a weekly working
budget. (Rubino-Finn 2016).
The production managers conduct all manufacturing activities including
recruitment, supervision of all staff and crews. They also coordinate the production
process with other theatre personnel. This often includes casting, lighting, and many
other production aspects. No formal training is typically needed. The production
managers are working as a connection between the cast, crew and director in a smooth
manner. They check theatre shopping, hold conferences and schedule rehearsals. The
theatre managers also take note of the vision of the manager, technical problems and
the cast block to verify the continuity. Some theatres require future managers to have
experience in acting, and many require backstage experience. Most theatres do not
require any specific formal training, but instead they are interested in applicants who
have a diverse theatre experience as well as management or organization experience.
(Theatre production manager, n.d.).
A production’s budget allocation is primarily set on the physical aspects of the
production’s needs, this includes the lighting, costumes, sets, etc. that would majorly
affect the budget plan (Kirley, 2005, p. 31). These imply that those physical aspects
would play a consequential role that implicitly affects the components of the budget
plan: revenue and expenses. Green (as cited by Kirley, 2005, p.31) states that the most
significant factor is incorporated with the production’s task; the script which depicts the
type of production and the said physical aspects. The budgeting system reflects the
provided factors engaging in the production; fixed budgeting which renders the
dependency of the allocation of the controlled expenditures on the supposed revenues,
and zero-based budgeting which, despite of it being too time and labor-costly, directs
the production on the most logical and effective budget plan as it seeks to represent the
real costs of the production without any dependency on the other components of the
budget plan (Kirley, 2005, pp. 32-33).
The creative director, often helped by a commission of artists, chooses which
productions are scheduled each year. The season is selected to meet the creative
engagement of the company and its audience. The director has to read many plays,
both new and old, in order to pick one season. Major theatres such as the Théâtre du
Nouveau Monde (TNM) and the Trident have a room for themselves and generate plays
for their season. Others are presenting their own productions but also hosting
productions of touring businesses, such as The French Theatre at the National Arts
Center (NAC) and Cercle Molière. It is said that such touring firms were invited to a
theatre. Some theatres give guest productions throughout the seasons. Sometimes
works are performed in the theatre where they perform or they can spend several days
on a trip. An artistic affinity sometimes develops an organization and a society invited
several times. The production director then operates out the timetable for each
manufacturing and defines deadlines for every team after selecting the season and the
dates are set. The plan informs the designers, the directors of the building, of the sound
and lighting, the maker, performers, singers and musicians (if any) what the deadlines
they have to fulfill. These are not the only individuals who have to comply with this
timetable. The production manager, the assistant manager, the communications
officials, subscription officials (season tickets) and the theatre manager must also
organize their job to comply with the timetable. The work of the designers joins the work
of the actors on stage when the cast and crews enter into the auditorium. The company
is ready to take the technical step once the lighting and sound levels are set. The work
of the different designers will be tested in this respect. (Professional theatre production,
n.d.)
Failing in budgeting a theatre production can turn in to awful one. Thing is, no
one expect for the bigger budget but ensuring the sense of budgeting is a must. Every
shows in the season do not have the same budget and also, each department do not
have the fixed budget. Each theatre production has its own needs like for the costumes.
In doing a site-specific production play should consider the budgeting requirements in
lights, sound equipment and other materials or props. When it comes with the props, it
can be expensive but props person can be an alternative one. Theatre production
should also consider the sound designers, the costumes, lighting, or even scenic
designs. Theatre staffs should properly give time to gather all the tech before the show.
Running the show must be smooth. (Peterson, 2018).
Harold Leavitt's contingency theory of change have stated four factors affecting
the contingency plan for a program budget. However, the said factors have been
established in the grounds of a theatre production to clearly elaborate the focus of the
study. To start off, the first presumed factor was the task. The task is that of managing
and directing the budgetary process, which includes determining the list and numbers of
items to be bought and its estimated prize to achieve the theatre production objectives.
Also, the task of budgeting is to relate the expenditure of funds to the accomplished of
planned objectives, i.e., the task is to allocate scarce resources among different
purposes. According to Byrnes (2015), a system is present in an organization. The set
must be built, the props should be listed and the overall expenses should be aligned
with the budget. Without the efficient and productive managementㅡan organization
cannot function. The plan should be feasible. The first function of management, which is
planning, can be the hardest. Setting realistic goals and objectives with the use of
various sorts of plans. Getting the people and resources aligned, defining the details in
creating schedules and budget and assigning people to every job. But the most crucial
task is allotting budget for the expenses. Planning and development are linked because
arts organizations are always seeking ways to increase revenue to fund new programs
and to pay for the inevitable increases in operating costs. Moreover, as stated by Duvall
(2015), every show has a budget and you should insist on knowing before you start
work how much has been allocated to props. It is important to take control of the budget
and keep all the expenses under it. A budget plan is an estimation only. According to
the survey they have conducted, theatre shows have different ways to plan budgeting.
Some sum it all up with the overall and some put it by parts. These funds are balanced
against both classroom and production needs. The budgeting process begins with the
preliminary budget. As it continues, preliminary budget is checked if it's aligned to the
target budget. Adjustments are made to make this two meet. Budgeting choices may
depend on the availability of every tools and materials. A contingency in a budget helps
to cover additions and changes that might come from rehearsal process, an increase in
the cost of goods and other unexpected expenses. The number of contingency varies
depending on the show. The estimation of contingency budget is based on the initial
cost of the working budget most of the time the contingency range from 10 to. 20
percent of the overall budget. The contingency tends to be smaller when a show is
being remounted from a previous production hence it tends to get bigger if a new script
is produced. The budgeting of a theatre play is subjected to the presumed success of
the production which is measured on its supposed revenue. (Applicable only for theater
plays not having free charge tickets). According to Virata (as cited by Business World,
2014), these factors brought by the revenue is not only inclusive to the people relative to
the production, but also those who are capable of providing funds carried out by the
revenue of the production itself which are known as show buyers. These factors are
also dependent to the planned audience interest; according to Bautista (as cited by
Business World, 2014), the primary unit of these revenues are based on the marketing
production which entails evident impact on the budget plan. This can deduce that
explicit factors implied by investments for the gratification of the revenue can provide
indirect variations on the budgeting plan of a theatre production denoting that revenues
are capable of modifying the scheme of the budgeting. Consequently, this paper looks
at planning as a vital apparatus for advancement in human expressions. Planning as a
key prerequisite to great administration is being disregarded in the expression
associations. The investigation stresses the importance of planning to expressions
associations that should accomplish their objectives and goals. It confirms the troubles
looked by expressions associations to continuing their organizations, proffering answers
for them. It finishes up by giving proposals in this mannerㅡclear, straightforward and
user friendly planning ought to be created, spending plan ought to be institutionalized
for nonstop adjusted improvement in expressions associations. A spending board of
trustees ought to be set up and staff preparing and improvement ought to likewise be
acquainted with impact legitimate planning forms. The paper concluded that budgeting
is a management tool and it can be applied in any art organisation as it guarantees any
successful artistic programs. Proper examination of one's spending habit is important as
if no one has handled within a budget, one may not have no idea of how money is
spent. (Enamhe, 2010). This study also recommends that the budget should be
standardized and timely executed i.e., having a contingency program budget.
Futhermore, this part of the review specifies some examples done in the first presumed
factor namely the task. According to Holloway (n.d.), this part is a discourse of those
various kinds, just as development strategies, and the working practices used to hang
stage window ornaments and other texture landscape. The terms window ornaments
and curtains are utilized conversely. Scrim is the most prevalent of an assortment of
net-type textures that are utilized in the theater. Quite a while back it was called
sharkstooth scrim due to its open weave structure made up of little triangular shapes,
yet it appears most scrims nowadays have a rectangular weave. A painted scenery
scrim is lit from the front with the goal that the artistic creation on it is unmistakable, just
as the entertainers who are remaining before it. Rental drops are regularly painted in
light of the biggest conceivable theater. On the off chance that you are visiting, or in the
event that you have event to lease painted backgrounds, you may well have an issue
fitting them into a performance center that is excessively little. Besides, as stated by
Aaron Bollinger, head of specialized performance center at Point Park College, "The
first is craftsmanshipㅡadapting such creates as ensemble development, sound
designing, ace circuit tester, carpentry and welding. Those are kinds of artworks that
understudies learn. The following stage in the process is the specialized administration
of those zones. At long last, specialized plan is taking these parts of the
craftsmanshipㅡthe devices and the conditionsㅡand making the procedure incredibly
proficient." The obligation is that there are a wide range of angles to specialized
heading, for example, figuring out how to oversee groups, spending plans and your
time. While in stage management, At Point Park, understudies can hope to be doled out
as an associate stage-director as right on time as their first semester, sophomores and
up are qualified to organize oversee one of the shows delivered by the center's four
organizations. The obligation is that the essential capacity as the stage chief is to be the
correspondence center between all gatherings associated with the generation
executive, creators, choreographer, specialized chief, and so on, and keep up a

productive and energetic condition in the practice room. In design, John Forton, a senior
studying specialized theater and configuration, picked up hands-on experience making
the intricate arrangement of Ridiculous Grisly Andrew Jackson at the Pittsburgh
Playhouse. The obligation as stated by John Forton, that when starting to actually
structure a show, the primary thing he has to do is get the plans from the originator, and
after that he chose the most ideal approach to build it. (Setting the Stage in Theatre
Production, 2016)
The second presumed factor in the list was the people. Those members of the
production that give direction to or are directed by the budget process. This includes
members' action, attitude, perception, skills, motives, personality (e.g., seen as risk
taker, or risk avoider), professional orientation (e.g., "educational type" or "budget type")
and expectations. According to Voss, G. & Voss, Z. (2000) Conventional marketing
wisdom holds that a customer orientation provides a firm with a better understanding of
its customers, which subsequently leads to enhanced customer satisfaction and firm
performance. Along these lines prompts improved consumer loyalty and firm execution.
Be that as it may, there are alerts that being too client centred can prompt idleness, and
episodic proof proposes that it might be smarter to "overlook your client" when growing
new items. Expanding available direction research stream, the creators look at the
effect of three option key directions—client direction, contender direction, and item
direction—on an assortment of emotional and target proportions of execution in the
philanthropic expert theatre industry, which is set apart by high paces of masterful
development and generally eccentric client inclinations. The outcomes show that the
relationship between key direction and execution changes relying upon the sort of
execution measure utilized. Notwithstanding, the most unambiguous outcome is that a
client direction shows a negative relationship with supporter ticket deals, all out salary,
and net excess/shortage. Also, the jobs and duties of each theatre personnel are
inclusive elements of the second component affecting the contingency program
budgeting. In a good theatre production, the Stage Manager is a key position. It serves
the dual role of assistant to manager and producer during the rehearsals and then
becomes the individual responsible for manufacturing during the real performance. The
position also has a distinctive function. Each manufacturing will require the Stage
Manager differently and uniquely. The function of stage manager in instructional theatre
is particularly crucial and hard. By the nature of the situation, the tasks and obligations
mentioned here are incomplete and are a guide for a good experience. The
development of the Prompt Script is a main task of the SM. The SM will prepare a quick
script that finally includes all blocking notes, as well as hints of light, sound, change and
orchestra. This "bible" needs to be carefully developed so that everyone can take over
SM and call for good results. (Emporia State University, 2005). On top of that, the
production managers conduct all manufacturing activities including recruitment,
supervision of all staff and crews. They also coordinate the production process with
other theatre personnel. This often includes casting, lighting, and many other production
aspects. No formal training is typically needed. The production managers are working
as a connection between the cast, crew and director in a smooth manner. They check
theatre shopping, hold conferences and schedule rehearsals. The theatre managers
also take note of the vision of the manager, technical problems and the cast block to
verify the continuity. Some theatres require future managers to have experience in
acting, and many require backstage experience. Most theatres do not require any
specific formal training, but instead they are interested in applicants who have a diverse
theatre experience as well as management or organization experience. (Theatre
production manager, n.d.). In like manner the creative director, often helped by a
commission of artists, chooses which productions are scheduled each year. The season
is selected to meet the creative engagement of the company and its audience. The
director has to read many plays, both new and old, in order to pick one season. Major
theatres such as the Théâtre du Nouveau Monde (TNM) and the Trident have a room
for themselves and generate plays for their season. Others are presenting their own
productions but also hosting productions of touring businesses, such as The French
Theatre at the National Arts Center (NAC) and Cercle Molière. It is said that such
touring firms were invited to a theatre. Some theatres give guest productions throughout
the seasons. Sometimes works are performed in the theatre where they perform or they
can spend several days on a trip. An artistic affinity sometimes develops an
organization and a society invited several times. The production director then operates
out the timetable for each manufacturing and defines deadlines for every team after
selecting the season and the dates are set. The plan informs the designers, the
directors of the building, of the sound and lighting, the maker, performers, singers and
musicians (if any) what the deadlines they have to fulfill. These are not the only
individuals who have to comply with this timetable. The production manager, the
assistant manager, the communications officials, subscription officials (season tickets)
and the theatre manager must also organize their job to comply with the timetable. The
work of the designers joins the work of the actors on stage when the cast and crews
enter into the auditorium. The company is ready to take the technical step once the
lighting and sound levels are set. The work of the different designers will be tested in
this respect. (Professional theatre production, n.d.).
The third factor in Harold Leavitt's contingency theory of change is the structure.
Includes the production’s climate, i.e., norms, values, and history. It includes the system
of the workflows, communication patterns, authority structure and system of rewards
and punishments. In this case, the literature is providing a brief exploration on a history
of a certain theatre. According to Milne (2004), theatre Australia restricted recounts to a
genuinely national story of the structures of post-war Australian theatre: its craftsmen,
organizations, budgetary and arrangement underpinnings. It gives a comprehensive
examination of three 'waves' of Australian dramatic movement after 1953, and the sorts
of associations which grew up to help and look after them. Endowment, collection
examples, accounts and organization, theatre structures, organizations, celebrations
and eminent preparations of the business, standard and elective Australian auditorium
are inspected state by state, and changes to administrative approach examined. Showy
structures include verbally expressed word dramatization, yet additionally Music
Theatre, parody, theatre-café, carnival, puppetry, network theatre in a few structures
and new blended media classifications: physical theatre, bazaar, visual theatre and
contemporary execution. Theatre Australia constrained is the primary complete outline
of the fortunes of Australian auditorium as a national undertaking, giving the modern
investigation of the 'three waves' basic for the comprehension of the new wave and of
contemporary show.
The fourth presumed factor to be affecting the contingency program budget is
technology. It is the digital input and calculation of the budget formulation and approval
process, (2) budget classification and structure, (3) impacts of the technology in terms
of any other components: task, people, environment and structure, (4) established
criteria for equipment and over all set-up. Technology has altered the stage from local
church productions to Broadway. In addition to studying fundamental concepts of acting
and directing, designers and theatre learners are learning how to use technology to
improve their visions. The very concept and history of theatrical arts means that if it
hopes to remain relevant, it cannot afford to disregard contemporary technology as
theatre has been a commentary on life since the Athens theatre age under Aeschylus,
Sophocles and Euripides. While technology plays a vital role in the theatre content how
productions are created is also revolutionized. Technology brings live productions to the
next level from prop departments to costume designers. (Dodge, 2017). Similaryly,
theatre students are not only for basic concept of acting and directing. However, they
are also learning how to use technology to develop their perception in theatrical
designs. According to the article of St. Martin (as cited in Kennedy, 2018) theatre has
always seen as dying art ever since the coming of radio; then the television, and net
streaming. That is the reason why theatre often called as “fabulous invalid.” Through the
centuries, the theatre community has embraced the technology rather than fighting. The
main concept and background of theatrical arts imply that modern technology cannot
afford to be terminated when it hopes to stay relevant. Technology plays an essential
role when it comes to the content of Theatre, it also discover the process of production.
Zachary Smalls said that we are a culture made through technologies and it should be
presented on the stage. (Kennedy, 2018) In fact, a company theatre or schools have the
types of budgets when it comes on creating theatrical shows that begin for creative
thinking on costumes, staging, and sets. As stated by Culwell-Block (2018), there is an
inseparable challenge in terms of producing theatre plays in the local level. Although
this challenge is common, Broadway technological advances in the last twenty years
increased the level if the local artists want the aesthetic in Broadway-like set. The small
theatres companies should not avoid the deal from newer titles when planning a
season. Musical Theatre International, Danny Henning states that technically
demanding shows may seem difficult, but it will make an incredible opportunity for the
growth and creativity. To elaborate it more, below are some situatuations needing the
aid of technology. Broadway musical have multiple keyboard parts for the orchestra,
and the typical easiest way for the setup are the keyboard connected to computer
software. A great solution for the theatres that cannot gather the full orchestra and it can
fill in the missing sounds or instruments while synchronizing with the live musicians.
While considering the high numbers of people using mobile phones and other
technologies, it also states that playwrights can also enhance their works to their
existing designs with the use of technology ensuring that everyone can access to the
great plays while protecting the works and renting or purchasing the plays and musicals
are open. Theatre has always been a creative art form, which makes it a perfect spot to
work on a demanding piece, even if the situation might seem unconquerable. Combine
the resources available to assist theatre companies with the brilliance of local theatre
artists and companies will discover there is no need to fear the technical demands of
any story they want to tell.

Another sub-variable of the factors affecting the contingency program budget is
the financial report. Budgeting for an amateur production does not aim to provide a
complete composite plan upon the enlistment of a play. According to Produce A Play
(2010), some levelled factors renounced on a budget plan could be non-existent;
provided that such factor is presumed to be out of relevance, out of the production’s
bound or is simply not needed. This states that variations on the custom of a theatre
production would greatly affect the contingency budgeting of the said production, and
does not simply rely on the correspondence of needs as integrated by a specified
conventional theatre production. These classifications of non-existent factors are
dependent on the grants of subsidies, and are portrayed within the components of the
expenses or/and the production revenue. In addition, the production budget is the
process used to plan how much money to spend on a certain show. The common
mistake to assume is a set, pre-determined amount available for each show, there is
not. It can somehow lead to a large of money being spent or too little to other shows. It
can also steer people to spend whatever amount they demand. Instead, the production
should prepare proposals properly. The theatre production team can put their own
concerns, their connected skills, and commercial judgment about the money to
maximize the effect on their particular show. The objective is to help the involved people
to put on the show in the way they want and to support their creative ideas. Every
theatre production should have a set meeting for their budgeting plan that should be
held after the occurring designs ideas have been agreed and before the funds need to
be spent. As said by the tower theatre, there is no fixed figure of amount for the total
budget and every effort should be form to make it reasonably possible. Budgeting in
theatre production should include the basic list like the set materials, public materials,
costumes materials, venue, technical, properties. One thing for sure in accounting the
expenses that is essential is to keep the receipts and set of accounts. The purpose of
this is to help the theatre production team responsible for expenditure. (Tuerk, 2011). It
is essential to note that each show has two main working budgets: a budget for
manufacturing and a weekly operating budget. The manufacturing budget includes
everything necessary for first preview performance (generally from development
phases, including lectures and the laboratories until the end of the rehearsal period),
while the maintenance of the show on a weekly basis is covered by a weekly working
budget. (Rubino-Finn 2016). A production’s budget allocation is primarily set on the
physical aspects of the production’s needs, this includes the lighting, costumes, sets,
etc. that would majorly affect the budget plan (Kirley, 2005, p. 31). These imply that
those physical aspects would play a consequential role that implicitly affects the
components of the budget plan: revenue and expenses. Green (as cited by Kirley, 2005,
p.31) states that the most significant factor is incorporated with the production’s task;
the script which depicts the type of production and the said physical aspects. The
budgeting system reflects the provided factors engaging in the production; fixed
budgeting which renders the dependency of the allocation of the controlled expenditures
on the supposed revenues, and zero-based budgeting which, despite of it being too
time and labor-costly, directs the production on the most logical and effective budget
plan as it seeks to represent the real costs of the production without any dependency on
the other components of the budget plan (Kirley, 2005, pp. 32-33).
Theatrical productions are capable of captivating the audience,to bring them from
reality to another age, a entirely new world. Now, this is mainly due to the performers '
skills on stage, but the other significant element is set design. A stage production with
an incredible set is able to take an audience member out of himself and bring him
before his eyes in a tale that unfolds.A lot of design job needs to be finished behind
scenes before you can even start building a theater set. The setting and time limits of
each manufacturing are distinct, thus the set must represent manufacturing correctly.
This is also an significant task as the set is generally the first component of the show a
viewer sees.In terms of construction there are distinct requirements for each set. Some
shows feature very minimalist sets and the performers go straight into the public. Other
shows have elaborate sets, full or even a rotating stage of spiral staircases. It can differ
extensively, but in most sets there are some coherent parts.Designing and building
theater can both be an incredibly difficult and risky task. But if you go carefully without
falling flat, there will be any performance.As for the construction,Each set has various
requirements. Some shows are very minimalist and the performers go straight into the
crowd. Other displays feature complex sets, including spiral escalators or even a
rotating stage. There can be many variations, but coherent parts in most sets are used.
(Setting the stage: Building theater sets 2018)
The performance's achievement depends mainly on the public's connection to
the performance. Whether an intimate play, a booming cacophony of symphonic music,
or a wonderful fight with sports equipment on the field, we beings love to experience
storytelling. When developing an environment, the performances provided for provide
insights into the form and size of the space, the required sense of privacy and collective
participation and the general allocation of seats in the space in connection with the
stage actors.For example, theater and dance performances in a room that gives a
sense of intimacy and immediacy are generally most successful. With these types of
performances, the audience is close and close to the stage so that the performance is
immediate. The total physical volume and acoustics of the playground is regulated so
that there is little or no direct amplification of the output of the space. A dance theater
could use amplified or live acoustic music and could require greater acoustic
control.The equilibrium between the immediate environment and the acoustic
surroundings, which varies depending on art, is regarded for musical theater, concerts
and opera as the mixture of theater and live music performance criteria.Each sort of
performance has particular geometries that promote not only the performance but also
the experience of the audience. The first stage in the design of an audience is to clarify
which performances are going to occur and the experience of the audience.Often an
auditorium promotes more than one form of performance or may need to meet a whole
fresh set of requirements as our performance definitions develop. Indeed, in modern
practice, more frequently and for large audiences, fresh definitions of performances
such as "immersive" and "experiential" are being created. In this context, the flexibility to
support a range of different kinds of performance can be perfect for the multi-use site.
Multiple-use solutions could include flexible seating and stage settings, distinct
acoustics and room divisions which change room volume for various performance kinds.
(Theatre Solutions Inc. 2017)

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PAMANTASAN NG LUNGSOD NG VALENZUELA

Tongco St., Maysan, Valenzuela City

FACTORS AFFECTING THE CONTINGENCY PROGRAM

Money is primarily a medium of exchange or means of exchange. It is a way for a

acts as a medium of exchange, it is an economic good and a means of economic

calculation. (Economics and Liberty, 2012).

Moreover, a budget is an estimation of revenue and expenses over a specified

Having presented the aspects where budget is used—requires different level of

complexities as well. For example, in the field of Public administration, budgeting is an

personal budgets are extremely useful in managing an individual's or family's finances

over both the short and long term horizon.

According to a survey conducted by Douglas McLennan, the biggest problem

at 15% and leadership at 13%. Technology came in a distant fifth at 4%.

(Funding of live performance art, 2006).

budgeting presented through financial reports.

Financial report serves two primary purposes. First, it helps management to

engage in effective decision-making concerning the organization's objectives and overall

activities of the organization to its members. (Grimsley, 2018).

is a program providing the students with training in communications as an art, a science,

(University of Santo Tomas, 2016).

It is possibly done by the application of a program budget. Program budget is a

the grounds of a theatre production which is likewise considered a program. According

to Beckerman and Barker, it is the planning, rehearsal, and presentation of a work.

Such a work is presented to an audience at a particular time and place by live

medium of presentation. A theatrical production can be either dramatic or nondramatic,

depending upon the activity presented.

for budgeting. A contingency plan is a course of action designed to help an organization

According to Cornick (as cited on Leavitt's contingency theory of change, 1978)

structure, and the budget technology itself.

Furthermore, according to Cornick (as cited on Schutz's On Phenomenology and

through financial reports of the Bachelor of Arts in Communication in Pamantasan ng

in the budget process.

II. THEORETICAL FRAMEWORK

Figure 1. Contingency Theory of Change. Harold Leavitt. (1965).

Contingency theory of change suggests that when preparing an organization for a

almost impossible to implement a change strategy without it having an effect on other

processes, departments, or individuals, whether they are intentional or not. Therefore,

Harold Leavitt developed Leavitt’s Diamond, also known as Leavitt’s System

change’, it is crucial to understand the connection between each component.

resources among different purposes.

”educational type or “budget type”) and expectations.

*Director of public relations

*Director of audience services

*Director of special events

*Dramaturgy Literary Manager

*Light board operator

system of the workflows, communication patterns, authority structure and system of

rewards and punishments.

(2) Budget classification and structure.

environment and structure.

(4) Established criteria for the equipment.

added the notion of meaning as a supporting theory.

Participant Participant Participant

Action Action Action

Figure 2. Theory of Organisation. David Silverman. (1971).

David Silverman's theory of meaning provided a sociology of knowledge

orientation. The concept of meaning assumes:

(1) That organizations do not behave, people do and

explained as a response to a stimulus whose objective characteristics are perceived by

However, people may respond differently to the same objectively-defined stimulus.

of which they are conscious."

III. STATEMENT OF THE PROBLEM