music theatre in flanders - Muziekcentrum Vlaanderen

Diagram 9. Origin European production credits 2001-2005 (per
country)
When comparing the 1993-1997 world map with the map of 2001-
2005, a certain tendency towards ‘globalization’ of music theatre
production can be noted. For the period 1993-1997, the producers’
backgrounds are almost exclusively European. The rest of the
world was only incidentally involved, with only one co-operation
with the US: in 1993-1994, the Brooklyn Academy of Music was
co-producer of The Cave, a production by The Royal Monnaie.
Partnerships with producers from all parts of the world did
occur during the period 2001-2005. All continents are now represented,
even though the figures vary strongly. The majority of international
credits are still European (264). North-America is the
only continent where more than ten credits can be noted during the
period. All other continents are now featured in the list, but it would
be premature to characterize this as structural co-operation.
Music theatre’s international dimension, therefore, basically
remains a European matter. And even inside Europe, there are
blind spots, as can be concluded from diagrams 7 and 8. Flemish
organisations mainly collaborate with organisations from the
west, even during the period 2001-2005. If European credits have
been on the rise, it has been the result of the increasing co-operation
inside Western Europe. For the time being, Eastern Europe
has not been on the Flemish co-production map.
A ClOSer lOOk AT The perFOrMInG ArTS deCree
The second category that grew considerably was the group of organizations
that received recognition and support by the Performing
Arts Decree (cf. Diagram 4). As stated before, the Performing
Arts Decree distinguished various categories, each with a specific
advisory committee and criteria. One of these was music theatre.
Diagram 10 gives a survey of the number of credits per sub-category
for each subsidy term.
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