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support run by the Norwegian Arts Council, and to increase dramatically our
part of the annual state budgets. In 1997 the independent field had about 3,5%
of what we use in Norway on theatre, opera and dance, today it is around
5% and we want it to be 15% in 2014. This statistic way of telling the story
also has been very important for us in arguing for better conditions, status,
infrastructure and so on.
Another keynote is the documentary work. It is not easy to build up a long-
term argumentation without proper documentation, statistics, researches,
mappings and so on.
But some amount still lacks before BBT – and the two other programming
theatres in Bergen and Trondheim as well - reach the same standard for
creative conditions as for example the House of Dance in Oslo, which opened
last year. The programming model was given by the existing programming
theatres, but the financial conditions are quite different. The House of Dance
is a programming venue for dance. They choose the companies to perform;
they pay for the costs, PR and the fee and so on, and then they take the box
office receipt directly. This is a win-win situation for both the theatre and the
companies.
So my advice to you is to be very careful about the production house model
especially regarding to the financial structure, and that you have the guts to
create a model with an arm length distance between the field itself and the
programming independency, relying on the competence of your programming
director. High artistic standing gives you and your field the needed credibility
also by the politicians and in the public sphere, which is very important. And
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remember – it is important to work on many levels at the same time – in a
coordinated holistic perspective – we started with the programming theatre,
then the touring network, and all the time we have worked politically - and we
still do...
© Tove Bratten