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White paper on creativity - ebla center

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Chapter 1313.5 The performing arts:bureaucracy in the limelightIf we extend our analysis of opera to alllive performing arts, the picture basicallydoes not change much. The basicfeatures of the sectors whose <strong>creativity</strong> isfocused <strong>on</strong> the stage appeared to berather similar: stagnancy,“bureaucratisati<strong>on</strong>”, cl<strong>on</strong>ing of publicacti<strong>on</strong> in various levels of government,support mechanisms with absolutely noform of incentives, and instituti<strong>on</strong>alc<strong>on</strong>nivance with unofficial labour.Naturally all this does not obscureindividual <strong>creativity</strong> completely, whichcomes through in various parts of thecountry in innovative theatres,c<strong>on</strong>temporary dance, new forms ofcrossovers between various creativelanguages, and the c<strong>on</strong>tributi<strong>on</strong> of videoart and digital art in theatre producti<strong>on</strong>s.N<strong>on</strong>etheless, these are occasi<strong>on</strong>al andisolated cases albeit fairly frequent. InItaly there is no systematic approach to<strong>creativity</strong> in the performing arts, sincethe stage producti<strong>on</strong> model is still based<strong>on</strong> the figure of the head of the theatrecompany, who may show any amount offlair and generosity but is not part of asystematic entrepreneurial approach.Producti<strong>on</strong> is focused <strong>on</strong> the seas<strong>on</strong>sbecause of a series of regulati<strong>on</strong>s whichhave gradually limited the strategic spacefor theatres, imposing uniformc<strong>on</strong>diti<strong>on</strong>s according to the number ofrepeat performances and other easilymeasurable data. These elements,however, are hardly representative of thecreative and cultural commitment madeby the various organisati<strong>on</strong>s operating inthe performing arts sectors. So, forexample, festivals must rely <strong>on</strong> amajority of Italian companies, thusimpoverishing internati<strong>on</strong>al exchanges inlanguage and <strong>creativity</strong> which are a fertilesource of innovati<strong>on</strong> (in bothdirecti<strong>on</strong>s). Music seas<strong>on</strong>s mustnecessarily include a quota ofc<strong>on</strong>temporary compositi<strong>on</strong>s, and so <strong>on</strong>,in a kind of bureaucratic vicious circle ofcultural choices.Table 13.3 - Performances (2006)TheatreActivities*No. ofeventsAdmissi<strong>on</strong>sTicketofficeSpendingby audiencesTurnover168,482 22,506,895 358,387,423 460,516,768 478,204,987C<strong>on</strong>certs 34,634 9,942,735 177,395,681 251,155,605 274,545,995Danceand musicTouringPerformancesVariousgenres854,193 32,391,060 285,707,462 1,168,890,407 1,199,071,46339,067 10,632,269 87,745,959 275,459,923 275,680,48544,829 1,496,915 9,301,257 98,698,803 115,552,250Total 1,141,205 76,969,874 918,537,782 2,254,721,506 2,343,055,180Source: elaborati<strong>on</strong> of SIAE data* Theatre activities include: drama, literary recitals, opera and operetta, classical and modern ballet,musicals, variety, circus and puppet shows.WHITE PAPER ON CREATIVITY 307

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