Holland Festival Reference library
Ton Hoenselaars
The Oxford Encyclopedia of Theatre and Performance
...Dutch composers, two librettists, and an architect, who seized the opportunity of state subsidy to mount an engaged tribute to Che Guevara , meant to shock the Dutch establishment and the capitalist world. The festival enjoys municipal and state subsidy but also requires corporate sponsorship ( see finance ). An estimated 100,000 spectators attend each year. Ton...
Dublin Theatre Festival Reference library
Catherine Piola
The Oxford Encyclopedia of Theatre and Performance
...'s The Gigli Concert , Thomas Kilroy 's Talbot's Box , and Frank McGuinness 's Carthaginians took place under its auspices. Although it has played an important role for tourism in Ireland's capital, the festival's financing is limited and it relies heavily on corporate sponsorship. Catherine...
Group theatre Reference library
The Oxford Companion to Indian Theatre
...groups register as non-profit organizations, which fall within the purview of the Registration of Societies Act. Societies can engage in any legal activity, but are defined by their declared aim of not working to make any profits. As such, they qualify for public funding, corporate sponsorship and private donations, tax exemptions, and, for theatre, waiver of the high entertainment tax on tickets. Some groups have become eligible for regular but limited government grants. A few, able to muster money from diverse sources, find themselves in a position to disburse...
Bangladesh Reference library
Syed Jamil Ahmed
The Oxford Encyclopedia of Theatre and Performance
...change and language-based nationalism (as opposed to the religion-based nationalism of the fundamentalists). Some of the major groups of Bangladesh are Theatre, Nagarik, Aranyak, Dhaka Theatre, and Dhaka Padatik. The groups operate out of meagre box-office takings, corporate sponsorship, and personal contributions by members; they often perform in ill-equipped and badly constructed auditoriums more suitable for seminars. Four universities offer courses in theatre but most training is based in workshops. The original plays of the group theatres, all in...
Prague Reference library
Milan Lukeš
The Oxford Encyclopedia of Theatre and Performance
...among them, the Kas̆par (Joker) Theatre ( 1990 ) and CD 94 Theatre Association ( 1994 ) seemed to be firmly rooted in Prague's theatre soil by 2001 . The majority of the established repertory companies are still administered and subsidized by the municipality, corporate and private sponsorship being subsidiary phenomena, though of growing importance, especially for the new groups. Times have been hard for the resident mime companies; on the other hand, the musical theatre has flourished. The National Theatre opera company opened up to the world...
sport Reference library
Dennis Kennedy
The Oxford Encyclopedia of Theatre and Performance
...proximity of numerous spectators in an agitated state, is merely one example of how large-scale sport creates unique opportunities for audience participation. By the end of the twentieth century spectator sports had become intensely commodified through celebrity tours, corporate sponsorship, and a growing demand for televised matches. The development embraced games that generally were amateur as late as the mid-century like golf, tennis, and foot racing. Big-time sport became big-time entertainment, and first-rank athletes often became indistinguishable from...
national theatre movement, North America Reference library
Loren Kruger
The Oxford Encyclopedia of Theatre and Performance
...and local institutions and accents rather than in any nationalist programme ‘under one flag [and] one proper accent’. Rapprochement in the late twentieth century happened under the aegis not of nationalism but of multinationalism, as public funding dwindled in favour of corporate sponsorship of festivals like Stratford and the Festival des Amériques, or production companies like Livent. Attempts, especially in Québec, to claim companies like Cirque de Soleil and Robert Lepage 's Ex Machina as national treasures fail against the transnationalization of capital...
finance Reference library
John Russell Brown
The Oxford Encyclopedia of Theatre and Performance
...tours to other countries and visits of productions from abroad. This support lends authority and a degree of permanence to a precarious profession. Some governments resist this responsibility. Almost all theatre performances in Japan are self-financing, from ticket sales and sponsorship. In the United States of America, theatre has no supportive arts council , as in Britain and numerous Commonwealth countries, and no Ministry of Culture, as in Eastern Europe. The National Endowment for the Arts does give grants to individual artists and short-term projects,...
Urdu theatre Reference library
The Oxford Companion to Indian Theatre
...a narrowing of Urdu's social base, lack of recognition, and inadequate official support for the language and its rich cultural heritage. Another is the changed social status of theatre in general, for a marginalized art form that survives largely on government subsidy, corporate sponsorship, or patronage of a small though culturally enlightened minority, does not attract professionals. Yet another factor that makes it difficult to speak of Urdu theatre as a distinct entity is the rise of realism itself, an important feature of which is that dramatic speech...
radio Reference library
Everett Frost, Everett Frost, Everett Frost, Everett Frost, Everett Frost, and Everett Frost
The Oxford Encyclopedia of Theatre and Performance
...have a defining influence on the kind and character of drama and other forms of performative programming that is produced by the broadcast system. In the United States, the concept of sponsorship (buying airtime for advertising on specific programmes) began in 1922 . The massive size of the country led to the creation of networks of stations to extend the reach of sponsorship to nationwide audiences: the National Broadcasting Company ( NBC , 1926 ), the Columbia Broadcasting System ( CBS , 1927 ), the Mutual Broadcasting System ( 1934–62 ), and the American...
television Reference library
Derek Paget, Derek Paget, Derek Paget, Derek Paget, Derek Paget, Derek Paget, and Derek Paget
The Oxford Encyclopedia of Theatre and Performance
...Paget The ‘golden age’ in America In the USA, the anthologies of the early 1950s, sponsored by major manufacturing companies like Kraft, Philco, and Goodyear, developed into a ‘golden age’ of drama. Watching plays from these series today, a striking factor is that programme sponsorship meant that one company alone occupied all the available advertising time. Instead of the fragmentary ad-break of later times, there is a rather tedious saturation by one-company advertising (sometimes amounting to product mini-lectures). With an individual sponsor, the right of...
Norway Reference library
The Continuum Companion to Twentieth Century Theatre
...professional or semi-professional companies in eight smaller towns. Of particular note is the Sami (Lapp) theatre in Kautokeino, Beaivvas. All these companies are heavily subsidized, with 60–90 per cent of revenue coming from local and national funding. There is far less corporate sponsorship than in English-speaking countries, and private donations are very rare. Each year these theatres sell about 1.3 million tickets in a country of 4.2 million people. All the government-funded theatres have permanent companies (except for three of the smaller regionals). The...
New Zealand Reference library
The Continuum Companion to Twentieth Century Theatre
...theatre studies. Since 1960 the government has contributed some financial support to theatre, mainly through the regional Arts Councils and the Queen Elizabeth II Arts Council, later Creative New Zealand, and some specific funding for Maori and Pacific theatre. Corporate funding and sponsorship have also become increasingly important, although less available following the stock-market collapse of 1987 . After the demise of the Players, New Zealand's professional theatre developed on a regional basis. Wellington's Downstage , the Fortune in Dunedin, the...
India Reference library
The Continuum Companion to Twentieth Century Theatre
...typically rehearse in the evenings after office hours and, not having their own halls, must book performance spaces in advance. They try their best also to arrange ‘call shows’ in towns outside their base to raise extra funds; occasionally they successfully negotiate corporate sponsorship. Payments to cast and crew, if any, are arbitrarily decided for each show or production. The limited budgets inevitably cause them to skimp on sets, lights and costumes. Each group usually revolves around its director, whose name is the single most important factor in...
