{"id":79318,"date":"2024-03-14T07:20:00","date_gmt":"2024-03-14T10:20:00","guid":{"rendered":"https:\/\/www.ufrgs.br\/jornal\/?p=79318"},"modified":"2024-03-19T16:48:58","modified_gmt":"2024-03-19T19:48:58","slug":"study-addresses-the-subsistence-of-theatre-shows-in-porto-alegre-in-the-last-decade","status":"publish","type":"post","link":"https:\/\/www.ufrgs.br\/jornal\/study-addresses-the-subsistence-of-theatre-shows-in-porto-alegre-in-the-last-decade\/","title":{"rendered":"Study addresses the subsistence of theatre shows in Porto Alegre in the last decade"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><strong>Performing Arts | Cultural incentive policies, festivals, the \u201cS system\u201d and box office are the main sources of revenue of the theatre groups analyzed<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:10px\"><em>*By\u00a0<\/em><a href=\"https:\/\/www.ufrgs.br\/ciencia\/author\/alexandrefilho\/\">Alexandre Briozo Gomes Filho<\/a><em><br>*First published\u00a0<\/em>September 14, 2023<em><br>*Image: Designed by Freepik<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the last decade, the critical political changes in Brazil affected both the social and economic fields. Consequently, these changes reverberated through all the ramifications of the cultural sector. Regarding the Performing Arts, these changes were especially noticeable in theatrical shows, whose main source of subsistence consist of cultural policies through public notices and incentive laws. During this period, the theatrical scene in Porto Alegre witnessed the end of many theatre groups.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Starting from the question \u201cwho sustains the theatre?\u201d and thinking about the remaining groups with uninterrupted activity from at least 20 years until 2019, <a href=\"https:\/\/www.lume.ufrgs.br\/handle\/10183\/259024\">a study from the Graduate Program of Performing Arts from UFRGS<\/a> analyzed how the subsistence of these groups came about between 2010 and 2019. The author of the study, journalist and theatre critic Michele Rolim, supervised by professor Cl\u00f3vis Dias Massa, used her experience as a reporter in the theatre industry during the time frame of the research to systematize financial data from an area that is still new to this kind of investigation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In total, seven groups had their trajectories analyzed: Tribo de Atuadores \u00d3i N\u00f3is Aqui Traveiz; Cia. Caixa do Elefante Teatro de Bonecos; Cia. Teatro di Stravaganza; Grupo Oigal\u00ea; Cia. Gente Falante; Povo da Rua \u2013 teatrodegrupo and Cia. Lumbra. These groups have some factors in common, such as self-management, language investigation, maintenance, and stability in the artistic community. They\u2019re also part of what researcher Helo\u00edsa Marina calls Minor Theatre, which understands the need for research and artistic language without the guidance of established standards and forms (such as musical ones), as well as the horizontal distribution of tasks and power within its organization, ignoring the direct commercial trade as its life goal and questioning the \u201cstar artist\u201d concept.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Gathering data in a predominantly subjective field<\/strong><\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIn Human Sciences research, we rarely focus on data,\u201d says Rolim when specifying the quantitative-qualitative methodology of her research. One of the most heated debates in the academic field of Human Sciences is the predominance of the qualitative approach instead of the quantitative one. The first is based on subjective experiences while the second is based on numbers, metrics and mathematic calculations \u2013 which, for culture, is essential in the sense of proposing comprehensive cultural policies and better visualization of their results, as well as for research.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finding data of payment and public notices \u2013 which should be in public domain, since they refer to public resources \u2013 was one of the challenges faced by the journalist. She had to resort to the Access to Information Law (LAI) so she could access them. \u201cMany times, the data wasn\u2019t online or easy to access, or even publicly disclosed,\u201d she explains.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Besides resorting to LAI, Rolim also used alternative resources to get to the data in her study regarding the financing of the shows: she interviewed the previously mentioned groups, talked to theatre managers and used documents made available by the press. The data gathering led her to the conclusion that the financing of the shows can be represented by a pyramid \u2013 the base being the largest revenue source and the tip, the smallest. In an attempt to map how this service\u2019s consumption occurs, Rolim was also able to determine the percentage of theatre occupation by spectators.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The study summarizes the steps of work of a theatre show in creation\/conception, execution\/display and fruition\/response. \u201c[These steps] happen, or should happen, supported by sources of revenue,\u201d says Rolim. To get to this pyramid, the journalist selected the biggest performance of each group over the last decade. By detailing the trajectory of these shows, considering the steps of work, she learned that their main sources of revenue were public notices of incentive laws, festivals, the S system (which are mixed economies entities from the private sector that start with the letter S and carry out activities of public and social interest, like<strong> <\/strong>SESC and SESI) and box office.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-us.googleusercontent.com\/vVlhP8aELu4OqWIjnf9wtMCeNPOXJ9ReHPWHOXI_C5Jv5lYKvdQavlQ82LTbLvim-gRcM8IDgOa_cNDutH4fqsnMYutmUKyU5hIfZz1u1c3mkJihBcK3RiMwDd323rycYwEPBJZcoB8VZJoQXQd_1w\" alt=\"Diagrama\n\nDescri\u00e7\u00e3o gerada automaticamente\" style=\"width:500px\"\/><figcaption class=\"wp-element-caption\">Steps of the development of the shows x sources of revenue. (Author: Michele Rolim)<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-us.googleusercontent.com\/L5t6MQBUQ83Q02gY7jDFumj1C9FAvqdN2LS1jkyDwEU-rK9pNZYEJwQ47Bgxoe4qd2wbb3oNjtrb9W9BsRvO7i6VUAjRgYvWbnnXHl37vitPvmXU1BLSr1YdstTT-h3SGAGQygSynYYY5ozODmk6Gg\" alt=\"Forma\n\nDescri\u00e7\u00e3o gerada automaticamente com confian\u00e7a m\u00e9dia\" style=\"width:500px\"\/><figcaption class=\"wp-element-caption\">Pyramid of revenue sources of the theatrical shows in Porto Alegre (Author: Michele Rolim)<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThis market can\u2019t be seen in a classic fashion, sustained by the law of supply and demand. It needs to be seen in a more systemic way, since its main revenue source comes from public policies and not box office.\u201d<\/p>\n<cite><em>Michele Rolim<\/em><\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Unlike other markets with more active consumers and that demand a product or a service, the cultural market \u2013 despite also having its own customer profile \u2013 relies on government policies that create favorable conditions so that the shows can reach the public. However, this is not a formula that applies to all cases. The main source of revenue responsible for the out-of-state circulation of Porto Alegre\u2019s analyzed groups, for example, are festivals and the S system (SESC and SESI).<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>The show must go on<\/strong><\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">Contrary to how it used to be in the last decade, and despite the recent end of the Coronavirus pandemic and the troubled election period, the current prospects for the subsistence of theatre shows are already better than before. In 2023 alone, the National Arts Foundation (FUNARTE) released more than ten public notices to foster the arts, highlighting cultural policies as the main source of investment in the area.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After her doctoral training period, Rolim will continue to write on her website, <a href=\"https:\/\/www.agoracriticateatral.com.br\/\">Agoracriticateatral.com.br<\/a>, as she has been doing for the past eight years. Author of the book \u201cWhat Do Curators of the Performing Arts Think\u201d, the result of her masters\u2019 research published by Cobog\u00f3, Michele Rolim wants to keep researching the field of Arts and following the same line of research of her doctoral dissertation but focusing on producing knowledge about cultural public policies.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n\n\n\n<p class=\"has-accent-background-color has-background wp-block-paragraph\">Translated into English by <strong>Lu\u00edsa de Figueiredo Dias<\/strong>, undergraduate student enrolled in the course &#8220;Supervised Translation Training II (English)&#8221; of the Undergraduate Program in Language and Literature, under the supervision and translation revision of Professor Elizamari R. Becker (P.h.D.) &#8211; IL\/UFRGS.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Performing Arts | Cultural incentive policies, festivals, the \u201cS system\u201d and box office are the main sources of revenue of the theatre groups analyzed<span class=\"more-link\"><a href=\"https:\/\/www.ufrgs.br\/jornal\/study-addresses-the-subsistence-of-theatre-shows-in-porto-alegre-in-the-last-decade\/\">Leia mais<\/a><\/span><\/p>\n","protected":false},"author":192,"featured_media":70539,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_themeisle_gutenberg_block_has_review":false,"page_builder":"","footnotes":"","_ppma_block_editor_authors":""},"categories":[4495,382],"tags":[],"ppma_author":[3402],"class_list":["entry","author-alexandrefilho","has-excerpt","post-79318","post","type-post","status-publish","format-standard","has-post-thumbnail","category-in-english","category-uncategorized"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Study addresses the subsistence of theatre shows in Porto Alegre in the last decade - Jornal da Universidade<\/title>\n<meta name=\"description\" content=\"Performing Arts | Cultural incentive policies, 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