music theatre in flanders - Muziekcentrum Vlaanderen

credits organisations
%
credits
%
organisations
‘93-’97 foreign 63 45 16% 36%
other public funding 132 18 33% 14%
Performing Arts Decree 175 43 44% 34%
non-subsidized 30 19 8% 15%
‘97-’01 foreign 145 77 21% 37%
other public funding 204 35 30% 17%
Performing Arts Decree 265 61 39% 29%
non-subsidized 67 34 10% 16%
‘01-’05 foreign 318 169 28% 44%
other public funding 229 50 20% 13%
Performing Arts Decree 459 95 41% 25%
non-subsidized 115 67 10% 18%
The rising number of production credits is apparent in all categories.
The trend lines, however, are most outspoken for foreign
organizations and the Performing Arts Decree companies.
• The number of foreign credits rises from 63 in 1993-1997 to
318 in 2001-2005: in absolute figures, this is an increase from
16% to 28% of the total number of credits. The values are higher
than in the performing arts in general (where the rise goes
from 11 to 19%) and lower than in dance (where it goes from 27
to 33%).
• Another striking feature is the increasing participation by Performing
Arts Decree-funded organizations. In relative terms,
the Performing Arts Decree’s share in the total number remains
more or less stable. In absolute figures, however, the
number of credits by Performing Arts Decree-funded organizations
rises from 175 to 459.
In short, internationalization and an increasing production capacity
stimulated by the Performing Arts Decree appear to be important
factors explaining the rising number of productions in the
music theatre segment. In the following two chapters, we shall
examine these categories more closely.
But let us have a look at the backgrounds of the foreign organizations
first. Next, we shall take a close look at the Performing
Arts Decree category and at the contribution by the various
decree sub-categories to music theatre production.
A ClOSer lOOk AbrOAd
For the entire period 1993-2005 we count a total of 215 foreign
producers making a contribution to Flemish music theatre. For
the main part, these contributions are co-production support, but
the participation of prominent co-producers such as the Kunstenfestivaldesarts,
deSingel or Vooruit makes the international
exchange not only a matter of taking, but also of giving. These
Flemish organisations frequently co-produce foreign music theatre
companies.
In music theatre, the international dimension is developed
somewhat more strongly than in the performing arts in general.
Maybe it is the musical element that causes music theatre production
to be less confined to national or linguistic borders than
text-based work. Economic elements may also play an important
part: it is precisely in the music theatre segment that partnerships
are the most numerous. Joining forces makes major productions
possible, allowing live on stage music performance. We should,
however, be cautious to generalize the international potential of
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