NORWEGIAN SUBSIDIZED THEATRES – FAILURE OR FUTURE?

During the period 1972–1999, the number of Norwegian subsidized theatres was more than doubled, while attendance was largely unchanged. Mainly due to new institutions established during this period, the number of performances increased by about 45%. With about the same total attendance, this means that the attendance per performance decreased by about the same percentage. The number of employees (not counting engaged persons) increased by about 60%. All in all this led to an almost trebling of both costs and public support in real terms. This study deals with possible explanations of this distressing development. Contrary to what is commonly assumed, the new theatres, with cost‐disadvantages of small scale, are only part of the explanation. We provide two main explanations: the crowding out of the subsidized theatres by AV‐media and other performing art institutions, like private theatres and independent performing arts groups, and by other entertainment institutions. In addition, costs have increased substantially due to slow adjustment to reduction in demand, costly arrangements to counter the crowding out effects, and institutional sclerosis. The latter seems to be due to various cost‐increasing arrangements commonly found in public institutions with soft budget constraints, as well as in private monopolies and private firms sheltered by regulations of various kinds.     

New technologies in cultural institutions: theory,evidence and policy implications

Publicly-funded cultural institutions such as theatre companies, symphony orchestras, museums, libraries and so on are increasingly engaging with new technologies as a means of improving their operational efficiency and extending the range of ways in which they pursue their cultural missions. For example, opera companies are broadcasting performances by satellite to cinemas, and art museums are using the Internet to show virtual exhibitions. These developments have implications for funding authorities who need to update their policy approaches to encompass a range of new technological phenomena. This paper provides a framework for assessing technological innovation in cultural institutions, and discusses the ramifications of such a framework for cultural policy. The paper is illustrated using the results of a recent research project that evaluated the UK National Theatre’s NT Live experiment and the Tate Gallery’s use of a web-based exhibition as strategies to expand their audience reach.     

A Preliminary Study of the Theatres Built by Cantonese Merchants in the Late Qing*

Around the year 1891, four theatres were established in the Guangzhou Prefecture. Three were located in the provincial city of Guangzhou, and one was in the town of Foshan. For a long time, Chinese operas were, on most occasions, performed either in private gardens or in public outdoor spaces. We may presume that the rise of these theatres as an urban phenomenon in the late nineteenth century would ultimately transform the form and style of opera performance in one way or another. However, material concerning the above-mentioned theatres is too limited for us to understand their buildings, furnishings, stage and seat arrangements, lighting and sound effects, and other related aspects. It is therefore very difficult for us to explore the possible connection between the physical elements of these theatres and the style of opera performances. Fortunately, in the mid-nineteenth century, some Cantonese merchants who were active in San Francisco hired a number of opera troupes from Guangzhou to travel to San Francisco and perform in American theatres. Some years later, they even built their own theatres in China Town especially for the performance of Chinese opera. English materials describing these overseas performances and theatres allow us to have some idea of what a Chinese theatre might be like, and to speculate how these overseas experiences may have left an impact on local opera troupes back in Guangzhou.