Programming by public theatres: a complex system for new producers

In the performing arts industries, gatekeepers play an important role due to the experience goods that are exchanged of which also potential audience struggle to determine the opportunity cost. Vital stakeholders for public theatres are funding bodies, such as local city councils. Due to a financial downturn the available subsidies have decreased, suggesting a shift from artistic quality to a more commercial approach within theatres in order to generate more income. This thesis was written with the aim of exploring the public theatres' programming process, the involvement of funding bodies, room for experimentation with new types of theatre, and the chances of new producers. The following research question forms the guideline of this study: What is the role of governmental funds in the programming of public theatres in the Netherlands, and does this influence the possibility for experimentation and new makers in the theatre programme? The research question has been approached by means of five qualitative, semi-structured interviews with renowned theatres in the Netherlands, which have been selected after sampling public theatres that receive both local city council next to programming funding from the Performing Arts Fund (Fonds Podiumkunsten) in the period 2013-2016. Further on in the research process, two festivals have been included through correspondence. The final sample consisted of: Chassé Theatre Breda, Parkstad Limburg Theaters, Rotterdamse Schouwburg, Stadsschouwburg Amsterdam, Festival Noorderzon and Festival Boulevard. All collected data has been analysed and structured according to: Council involvement, theatre's goal, freedom of programming, programming steps, popularity among public and generating income, quality of productions, and risk taking. It turned out that the expected shift from artistic quality to commercial productions has not been evident in the included theatres, however funding bodies do take a prominent role. Due to the high risk that comes along with programming unknown experience goods, public theatres are cautious and selective during their programming process such as focusing on performances by theatre groups they are familiar with. This emphasised the importance of developing a network in the industry and the challenge new producers face when trying to enter the theatre market. Also the relevance of cooperation and young talent initiatives have been emphasised to encourage development of the theatre industries, leave room for performances offered outside the theatre's networks, next to offering new producers the opportunity to develop themselves within the theatre industries. The purpose of the results is to provide a better understanding of the public theatres' programming process and potential pitfalls caused by risk reduction and stakeholder involvement. The recommendations at very end can be used by theatres to ensure room for experimentation and diversification of their programme. For new producers who are trying to enter the complex theatre market, an overview of potential solutions has been drawn up to provide them with a starting point.