music theatre in flanders - Muziekcentrum Vlaanderen
music theatre in flanders - Muziekcentrum Vlaanderen
music theatre in flanders - Muziekcentrum Vlaanderen
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probably merely the result of the fact that La Tristeza Complice<br />
was a co-production between Platel’s company Les Ballets C de<br />
la B and Het Muziek Lod (now LOD), a <strong>music</strong> <strong>theatre</strong> company.<br />
Producers and venues will, undoubtedly, have a variety of motives<br />
to classify and present productions as ‘<strong>music</strong> <strong>theatre</strong>’: these<br />
can be <strong>in</strong>stitutional, artistic or simply a matter of communication.<br />
This, however, affects VTi’s database. So, <strong>in</strong> order to ref<strong>in</strong>e<br />
the def<strong>in</strong>ition of the ‘<strong>music</strong> <strong>theatre</strong>’ sub-segment, we must also<br />
consult <strong>in</strong>formation about the cast. We shall <strong>in</strong>clude stage productions<br />
dur<strong>in</strong>g which <strong>music</strong> was performed live on stage, on the<br />
basis of artistic and/or technical staff lists <strong>in</strong>dicat<strong>in</strong>g that <strong>music</strong><br />
was meant to be performed live on stage: ‘s<strong>in</strong>ger’, ‘soprano’, ‘conductor’,<br />
or collective descriptions such as ‘vocal ensemble’ or ‘orchestra’.<br />
The result is that the <strong>music</strong> <strong>theatre</strong> category broadened<br />
and that certa<strong>in</strong> dance productions by, for <strong>in</strong>stance, Rosas or Les<br />
Ballets C de la B will, henceforth, be <strong>in</strong>cluded.<br />
In brief: when mark<strong>in</strong>g out a <strong>music</strong> <strong>theatre</strong> sub-segment with<strong>in</strong><br />
the entirety of the Flemish perform<strong>in</strong>g arts, we do not restrict<br />
ourselves exclusively to the output by producers whose mission<br />
is to produce opera and/or <strong>music</strong> <strong>theatre</strong>, but look at specific<br />
characteristics of each <strong>in</strong>dividual production. We will exam<strong>in</strong>e<br />
how these productions relate to the rest of the stage production<br />
between 1993 and 2005. Which part of the stage production comb<strong>in</strong>es<br />
<strong>music</strong>al and theatrical expertise? Is the use of live <strong>music</strong> on<br />
stage on the rise?<br />
The second important issue is the <strong>in</strong>stitutional embedd<strong>in</strong>g of<br />
these productions. We know which producers were credited for<br />
<strong>music</strong> <strong>theatre</strong> productions. We have <strong>in</strong>formation about their provenance<br />
(on the basis of addresses) and about their subsidy status.<br />
That will help us get a clear view on both the degree of <strong>in</strong>ternationalization<br />
and the Flemish government’s <strong>music</strong> <strong>theatre</strong> policy<br />
between 1993 and 2005.<br />
MuSIC TheATre’S ShAre In The perFOrMInG ArTS<br />
Dur<strong>in</strong>g the exam<strong>in</strong>ed period, the database counts 6,653 productions,<br />
reprises <strong>in</strong>cluded. On the basis of the selection criteria<br />
mentioned above, 1,038 of these can be considered as <strong>music</strong><br />
<strong>theatre</strong> productions.<br />
The diagram below shows the evolution of the production volume<br />
for the <strong>music</strong> <strong>theatre</strong> segment as well as for what belongs<br />
to other segments. The exam<strong>in</strong>ed period has been sub-divided<br />
<strong>in</strong>to four-year periods accord<strong>in</strong>g to the logic of the Flemish Parliament’s<br />
Perform<strong>in</strong>g Arts Decree, which was effective <strong>in</strong> the<br />
period 1993-2005. Other than the prior Theatre Decree, which it<br />
replaced, the Perform<strong>in</strong>g Arts Decree not only supported <strong>theatre</strong><br />
companies, but also dance companies, <strong>music</strong> <strong>theatre</strong> companies<br />
and arts centres. These could be supported by means of project<br />
subsidies (for specific productions) or via multi-annual grants for<br />
a four year term.<br />
Before it was replaced by the Arts Decree <strong>in</strong> 2006, there were<br />
three consecutive terms of four seasons each dur<strong>in</strong>g which perform<strong>in</strong>g<br />
arts organizations could receive government recognition<br />
and support via the Perform<strong>in</strong>g Arts Decree: 1993-1997, 1997-<br />
2001 and 2001-2005. How are the productions spread over the<br />
three terms?<br />
The bars on diagram 1 <strong>in</strong>dicate how many productions we have<br />
counted for each of the three consecutive terms <strong>in</strong> the segment<br />
of ‘<strong>music</strong> <strong>theatre</strong>’ and <strong>in</strong> the other perform<strong>in</strong>g arts discipl<strong>in</strong>es.<br />
The absolute figures – i.e. precise numbers of productions – are<br />
shown on the left Y-axis. The curves relate <strong>in</strong> terms of percentage<br />
to the Y-axis on the right and <strong>in</strong>dicate the two segments’ growth<br />
rate. The latter two terms are compared to the rates for 1993-<br />
1997, which we equated with 100%. This will allow us to compare<br />
the <strong>music</strong> <strong>theatre</strong>’s growth rate with the evolution of the other<br />
perform<strong>in</strong>g arts discipl<strong>in</strong>es.<br />
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