Abstract
The paper attempts to assess and analyze the economics of Brazilian contemporary theatre, focusing on financing and employment indicators. It was considered only the official data published by public institutions. The reason for it is as economic as cultural: although Brazilian theatre is at least 500 years old and is inseparable part of Brazilian culture, it has never been a subject of an in-depth economic analysis.
Highlights
The paper attempts to assess and analyze the economics of Brazilian contemporary theatre, focusing on financing and employment indicators
In the beginning of 1990s, Brazil was in the midst of a political and economic crisis
The consequences reverberated in the cultural sector, as demonstrated for instance in the extinction of Embrafilme, a Brazilian State funded company created in the sixties for production and distribution of national movies
Summary
The paper attempts to assess and analyze the economics of Brazilian contemporary theatre, focusing on financing and employment indicators. Brazilian performing arts was born along with the Portuguese discovery in 1500 From this date on, theatre was used by the Catholic Church as a powerful tool of catechism of Indians and Africans. Written in three different languages (Portuguese, Spanish and Tupi), these plays staged the main Bible’s episodes in order to pacify Indian and African audience, showing them how to act and behave under the intense cultural imperialism of the colonial period. It was not until the transfer of the Portuguese Court to Brazil that a formalized theatre has been established in the country. Contemporary production have flourished due to the work of distinguished theatre directors such as José Celso Martinez Correa, Amir Haddad, Antunes Filho, Aderbal Freire-Filho, Enrique Diaz, Felipe Hirsch, Bia Lessa, Gerald Thomas, Roberto Alvim, Georgette Fadel, among others
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