Tamas Jaszay[1] At the time this essay was submitted for publication, Hungary’s independent theatres and dance companies had still not received a single penny of state support. The earliest payment deadline for 2012 grants, voted on and awarded by a
Noelia Hernando-Real[1] 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
Ian Herbert[1] Amid all the gloom over the global economy and the future of our local arts community, it might be comforting to know that in some important areas the English theatre, both subsidized and commercial, is actually doing rather
Mark Brown[1] In Scotland, as in most European countries, the current economic crisis has led to a decrease in the amount of government money available to the arts. However, the Scottish case has been dominated, not by arguments about money,
Sveinn Einarsson[1] The question is somewhat the following: has the economic collapse not only of three leading banks in Iceland, but in fact the whole nation, had an effect on the theatre in such a country? Unfortunately, such a question
Savas Patsalidis[1] There’s a strange thing goes on inside a bubble. It’s hard to describe. People who are in it can’t see outside of it, don’t believe there is an.. outside. Lucy Prebble, Enron Once you’re in a bubble, it
Halima Tahan Ferreyra[1] Throughout its history, Argentina, this vast country in the extreme south of the Americas, has been the scene of notable crises and recoveries. One such cycle, which began at the end of 2001, saw the nation’s collapse.
Brent Meersman[1] It seems almost trite to observe that economics shapes the arts. An economic system exerts its influence as constantly and tirelessly as gravity sculpts the natural world. From the bodies of birds that wish to fly to the