#1.2.2 PRIVATE THEATRES
In cities, especially big cities such as Rome, Milan or Bologna, there are many venues that check the vital signs of contemporary theatre in Italy. Rome functions as a vivid example of how complex the situation of private theatres can be: out of almost 90 venues, only a dozen are totally or partly subsidized by the state, the remainder is administrated by private producers. Only a minority also owns the walls, the great part rents them. An unpopular measure to face the operating costs is most likely to ask the guest companies for a minimum sum. Few are the producers that choose to share the takings with the artists (usually leaving 70% of the profit to them) without getting any guaranteed minimum duty. This means that – in those theatres that in fact cash in the rent from the companies without following any curatorial line on the programming – anyone able to pay a sum (which is generally about 500-700 Euro per day) gets the opportunity to offer a performance, despite any selection, no matter the level.
Such a system deeply affects the overall quality and identity of the artistic offer and can confuse the audience, who is no longer able to tell apart a playhouse with a real season— through which a programmer works together with the artists in order to present a specific product—from a square of walls regulated by a “landlord-tenant” relationship.
Private theatres can still apply for local municipality funds, which are basically used to support specific projects, such as showcases and festivals.
Published on 11 May 2015
