Abstract
In this paper, the relation between live and online highbrow performing arts consumption is examined. Specifically, we analyse whether restrictions on live cultural participation can be overcome by online consumption and the differences in the profiles of live and online consumers. To this end, using the Survey of Cultural Habits and Practices in Spain 2014–2015, two Bivariate Probit models using information about online and live consumption of highbrow performing arts in Spain are estimated. We separately analyse theatre and musical performing arts (ballet, opera, Spanish operetta and classical music concerts). Our results show that the profiles of live and online cultural consumers differ. However, we also find a complementarity effect between live and online consumption. Therefore, the online channel could be a valuable tool for spreading access to culture that might overcome some restrictions on live cultural participation, such as high prices and time constraints. Alternatively, if this is true only for people already consuming culture but not attracting new consumers, the online channel would help just to reproduce old patrons of inequality in cultural access but not to democratize highbrow culture.
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