music theatre in flanders - Muziekcentrum Vlaanderen

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Diagram 1: Evolution of the number of productions in the ‘music theatre’ segment and the other performing arts disciplines 2500 1875 1250 625 0 1433 250 1993-1997 1997-2001 2001-2005 non-music theatre music theatre growth non-music theatre growth music theatre 2103 335 2079 For the examined period, an increasing number of music theatre productions and of other performing arts productions can be observed, but the growth curves have a different shape. The music theatre growth curve deviates from the trend for the entire segment of the performing arts. Since 1993, the year the Performing Arts Decree became effective, there has been a strong increase of performing arts productions in Flanders. This growth, however, appeared to have taken place during the years before the turn of the century. After 2000, production no longer increased at the same rate. For 2001-2005, music theatre, therefore, seems to evolve contrary to the overall tendency. While the other performing arts disciplines production rate comes to a standstill (and at a certain point even becomes negative), music theatre production keeps moving up. 453 190% 143% 95% 48% 0% How can we explain this remarkable increase? Several elements may have been influential, on an institutional as well as on an artistic level. • Has the Performing arts decree increased the production capacity? In Metamorphoses, we related the rise in production to the diversification of the landscape. In 1993, the landscape was still strongly marked by the Theatre Decree, that ruled the performing arts between 1975 and 1993. It was only since the 1993 Performing Arts Decree that dance and music theatre producers and arts centres could be considered for government recognition and support, acknowledging the existence of a ‘music theatre’ category and creating room for cross-over in the performing arts. Among the companies that still receive subsidies today, LOD, Music Theatre Transparant and WALPURGIS were the first to receive recognition. As a successor of the old Theatre Decree, the 1993 Performing Arts Decree definitely created a diversification of the landscape, allowing music theatre production to gain strength and continuity as a result of project subsidies and the possibility of a four-year envelope for producers. • Increasing international co-production support? In Canaries in the Coal Mine. Master plan for dance in Flanders and Brussels (VTi, 2007) it was noted that after 2000, dance production had a strong breakthrough on the Flemish (and Brussels) scene, contrary to the overall tendencies for the performing arts. The Performing Arts Decree definitely played a major part in this, but perhaps even more the increasing participation by foreign (co-)-producers. It is worthwhile investigating to what extent the increasing internationalisation of co-production practice could explain the expansion of the music theatre segment. 16 17 table of contents
• More on stage live music? A third explanation could be that live music on stage has gained importance during the examined period: not only because the music theatre companies have become more solid, but also because heterologous producers (theatre and dance companies) began to work with music live on stage more often. Has the growth of music theatre, therefore, been a result of the increasing capacity of music theatre producers, internationalisation of production or of the fact that quite a number of companies have begun to put more live music on stage? We shall examine these hypotheses by taking a closer look at the backgrounds of the music theatre producers who have brought about this growth. MAIn prOduCerS And pArTnerShIpS On the whole, 518 different producers were involved in the 1,038 music theatre productions compiled in VTi’s database. Not all these organisations take an equal share: some were involved in over 100 productions whereas 254 producers only took part in one single production. Not only the quantity, but also the quality of the participation varies. 207 producers acted as executive producer. The other 311 only gave co-production support. To a certain extent, VTi’s database allows us to measure the differences between those involved to a larger or smaller extent. We do not have information about the production budgets, but on the basis of the billed information, we can distinguish main producers from co-producers 1 . Diagram 2 shows the most active producers in the music theatre sector. For each organization, we counted the number of credits between 1993 and 2005, distinguishing main production credits (orange) and partnerships (blue). The result is a top-twenty list. Diagram 2: Top-20 of the most active music theatre producers 1993-2005 De Munt/La Monnaie Flanders Opera Music Theatre Transparant Het Muziek Lod Vooruit Walpurgis Théâtre de la Ville KunstenFestivaldesArts Flanders Royal Ballet deSingel Rosas Kaaitheater Ensemble Leporello De Vieze Gasten Victoria Internationale Nieuwe Scène Les Ballets C de la B Flanders Festival Limburg Het Net HETPALEIS Het Toneelhuis 0 60 120 180 credits as main producer credits as co-producer Topping the list are, of course, the usual suspects: the opera houses, which compiled over 100 credits during the examined period, closely followed by the music theatre companies that received government support over a longer period via the Perform- 1. In daily practice, the participation of organizations in a production is defined in various ways. For our research we tried to define the production responsibilities. For each production we have tried to identify one (or max two) main producers. Next we have tried to discern various partnership modes, including contribution in kind, increased fees, premiere deals, various financial arrangements and actual joint production. These various forms of participating will all be labelled as ‘partnerships’. 18 19 table of contents
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122 COnTACT Flanders Music Centre S
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music theatre in flanders - Muziekcentrum Vlaanderen

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