Abstract
Is it feasible to use the ideas of cost effectiveness analysis in the allocation of financial support to artistic activities? As a step towards answering this question, the way in which the Arts Council of Great Britain allocates subsidies to opera companies is considered in detail. It is concluded that the first stages of cost effectiveness analysis—the identification of objectives and the specification of measures of attainment—are certainly feasible. It is suggested that a relatively unsophisticated allocation technique using zero-based budgeting could then be used to good effect.
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