The thesis begins with a brief history of how the festival was conceived, the definition of the festival as an art form and its classification. What follows is the history of the Naj, naj, naj festival from the very establishment of the relevant theatre. The author focuses on the production of the specific theatre festival taking place within the institution. The festival production is elaborated in detail through all major phases. It is shown that all well-known phases of pre-production, production and post-production are identical (in terms of art, financing, technical and organizational issues) to that of the adult segment (known in this case as the evening scene). In conclusion, every festival has the same or similar production phases. The author highlights specific features of children’s audience, as well as the importance of the Naj, naj, naj festival for children, thus supporting well-known claim that children's theatre creates the audience of the future for whom the theatre will play an important part in their adult years; it will help develop their own spirituality and cultural identity. As the theatre educates and entertains at the same time, it also shows children how to communicate, develops their artistic taste and cultivates diversity. In the second part of the thesis, the author describes the Naj, naj, naj festival as a part of the cultural landscape of the City of Zagreb and of the City's tourist offer in which the Festival is positioned on the map of cultural events of the Republic of Croatia and finally, as the brand of the City Theatre Žar Ptica. Other examples from Croatia provide insight into the competition analysis and present another children's theatre festival which is similar to the Naj, naj, naj festival with regard to organization, and yet another example which is completely different.