Theatre in Vienna and Graz. Performances
and Productions
Vienna
In Vienna, within the time frame of the investigation, 2852 performances
took place which equals an average of 47 performances per day, or 327 performances
per week. A total of 395 productions were staged. Half of the performances
(51%) were in the area of spoken-theatre. The next most prevalent with more
than a quarter of the performances were in the area of children's and youth
theatre (27 %). The share of musical theatre performances was 14%, and those
in the area of dance, slightly more than 3%.
Independent groups provide the largest share of the total, with 38% of
the performances and 52% of the productions. The major theatres follow with
19%, the smaller theatres with 18%, the national theatres with 9% and the
mid-size theatres with 8%.
The steady dominance of spoken-theatre can be attributed to the fact
that it is not only a major portion of the total performance offer, but
also in contrast to the other areas, it plays a significant role at all
structural levels and is, therefore, correspondingly maintained by all structures.
With 29% of the performances, the independent groups also offer the largest
portion of spoken-theatre.
The area of musical theatre is clearly dominated by institutional theatre:
the national theatres and the major theatres combined offer 67% of the available
offer of performances as well as productions.
Independent groups dominate in the children's and youth theatre with
60% of the performances and 70% of the productions.
The area of dance, with slightly more than 3% as a whole, is rather minimal
in terms of the total offer. Three quarters of the performances are supplied
by independent groups, one fifth by state theatres.
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Graz
Within the time frame studied (October 2000 to January
2001), a total of 735 performances were counted which corresponds to an
average of 6 per day, or 42 performances per week. A total of 121 productions
were staged. Half of all the performances surveyed were in the area of spoken
theatre. The next most prominent, with a third of all performances, were
in the area of children's and youth theatres. The portion of musical theatre
performances was 10%, and from the area of dance about 2%.
With 47% of the performances and 60% of the productions shown, independent
theatres were responsible for the majority of all theatre offered. Major
theatres were attributed with 41% of the performances and 30% of the productions.
The remaining 11% of the total performance offer (performances as well as
productions) came from 'other' producers.
Spoken-theatre dominated at both structural levels, with independent
theatre (60%) more so than with major theatres (48%). Independent theatre
offered the majority of productions in this area with 57% of the performances
and 66% of the productions. Major theatres offered 40% of the performances
and 30% of the productions.
Nearly 80% of the performances in the area of musical theatre took place
at major theatres
In the area of children's and youth theatre, independent theatres were
responsible for nearly half, and major theatres, a third ('other' producers:
19%). For productions, the difference is even more pronounced: independent
theatres put on nearly three quarters and major theatres only about a quarter.
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Comparison Vienna-Graz
To compare absolute figures, it is possible to multiply
the figures from Graz based on the relationship of the populations (1:6.7).
This would result in 40 performances per day for Graz (Vienna: 46.8) or
280 weekly (Vienna: 327). That means that the offer, relative to the population
in Graz, corresponds to roughly 85% of the offer in Vienna.
Although the difference shown by this comparison seems relatively small
considering the great differences and central position of Vienna, there
are still qualitative differences in the offering, mainly in terms of the
'smaller' areas and where absolute figures are relevant. Thus, the percent
of dance performances is similar in both cities, yet in absolute numbers
that means that for an audience interested in dance in Vienna, a 'basic
supply' is available, whereas in Graz, dance is barely present. Looking
at the total performance offer's subdivision into separate areas, only minimal
differences can be observed
Relation Budget - Offered Performances
The data collected, provides an initial base for conclusions
about the relationship between budgetary provisions and productivity at
the various structural levels.
Looking at the data for Vienna, the major theatres are a good starting
point as here the percentages move in a comparably large scale. With a solid
23% of the public funding, they produce 19% of the offering. Significantly
higher are the relative costs of the national theaters (nearly 69% of the
public funding in contrast to 9% of the performances), and significantly
lower are the costs for the mid-size theatres (2.6% of the public funding
with 8% of the performances), smaller theatres (nearly 1% of the public
funding with 18% of the performances) and the independent groups (4.4% of
the public funding with 38% of the performances).
In Graz, major theatres produce 41% of the performances with 96% of the
available financing, whereas independent theatres offer 47% of the total
performances with only 4% of the public funds.
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