That the Spanish theatre has always been in a state of quasi-permanent crisis seems a shared belief, a maxim that forces the Spanish theatre to try to reinvent itself again and again, but an effort which has seemingly been doomed to fail. As Khaled M. This was mainly a commercial kind of theatre, which relied on private financing and bourgeois audiences who demanded traditional forms and contents 16 , and therefore became a hindrance to the development of a different kind of Spanish theatre. Fifty years later, the Spanish theatre is again in crisis—if it ever abandoned it—and while many would still want to blame Franco for our own failures, it is high time we questioned our own mistakes, even if changes in the theatrical system—the creation of an eminently public model—were originally meant to liberate the Spanish theatre from formal and thematic strictures. The present crisis, palpable in the diminishing numbers of spectators, the kinds of plays produced, public and private budgets, and the form and content of the plays, should give us the chance to analyse our theatre model and, if for once we want to overcome this crisis, utterly change this model. The present crisis is shouting loudly that there must be something rotten in the Spanish theatrical system.
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MÚSICA Y DESCARGA DE INTERNET: ANÁLISIS DE SUS ANTECEDENTES E IMPLICACIONES DE GESTIÓN
Nota: mientras que en ediciones anteriores del Anuario se utilizaban. Anuario SGAE de las artes escenicas, musicales y audiovisuales. Alonso, J. Journal of Consumer Behaviour, 1 4pp. That is, knowing that town halls would delay their payments, many theatre companies used to sgea their own money to put the play on the stage first, even though they were aware they had to wait a few— sometimes many—months to see their sae return.
The Budget is the Thing: Spanish Theatre in Recession (Spain)
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