The Audit Bureau considers the distribution of live shows “insufficient”

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In a report published on Sunday, May 29, Cambon Street judges regret it ” IDifficulties in terms of publishingalready observed in 2004, is “still related to”.

As the institutions themselves, one by one, project themselves into the future according to their presentations for the 2022-2023 season, the Audit Bureau is throwing a stone into the pond. In a thematic report entitled Support from the Ministry of Culture for the Performing Artsannounced on Sunday 29 May, Cambon Street judges refer to “insufficient results” Regarding the stated goals in terms of cultural democracy and the expansion of audiences, as well as the dissemination of live performative works. The diagnosis is not new and joins the diagnosis of Bernard Laterget who, in 2004, in his report For a national debate on the future performing artsDrHe was already so grumbled Shows little or no show.before it is determined the state of surplus production as a result of a lack of regulation as such ” Wave The main difficulty noted in terms of publication “. After more than fifteen years, the Court of Accounts considered this conclusion correct still related todespite the recommendations of the time, which remained a dead letter, to “Redefining the Balance Between Creation and Distribution”.

To reach this conclusion and overcome it Absence Databases Reliable and comprehensive » Regarding the distribution of live performance work, the judges settled data from two different sources: that of the Ethnos activity monitoring tool, which in 2019 was used by nearly half of the 300 structures rated by the state – Centers for the Development of National Dances (CDCN)Opera, Orchestra, National Scene, National Drama Centers (CDN), National Centers for Street Arts and Public Spaces (CNAREP), National Circus Centers (PNC) – and those affiliated panoramaAn internal survey of the Ministry of Culture conducted in 2017. consequences, In CDNs and national stages, each show leads to four and 2.5 performances respectively and on average, compared to seven and three shows in 2004. Even worse, in CDCNs, the dance show is represented by barely more than twice (2.1), when the average ​​The Circus Show 2.4 Show.

Even if she calls ” to me consider with caution These results in light of Methodological shortcomings from the investigation panorama And the limited number of structures that submitted their activity data on Ethnos in 2019, the court sees this as evidence of The difficulty of promoting a certain form of continuity and long chain in the distribution of works within the designated places.. To explain this situation, ” IIt has been widely shared by industry players for years.”And the Judges refer more specifically general support systems Who, being “Historically centered on the renewal of creation”would encourage artists and structures to create or finance the creation of new works rather than fully exploiting previous works.

In order to address this problem, Reorganization of missions between the central levels and decentralization of the Ministry of Culture, strengthening cultural democracy and expanding the masses, Cambon Street judges enact five recommendations : adult identification directione Policy The state Favor performing arts » ; eYou areexcuse me subordinate Objectives From identification more Ambition in linkedNT all stakeholders)conditionsocieties, organizations industry professionals) » ; to meassistant The goal of reinforcemente The identification appears in againstfor him a Renew the audience and democratization » ; remove the General Directorate of Artistic CreativityDirectorate General of Civil Aviation) Tools And the institution that allows it to get the data as quickly as possible Reliable and complete for meToo much politics in favor of the scene living » ; And the to meInvolve DRACs closely in the development of the guidelines Live Performance Policy ». It remains to be seen whether the lines of action will continue this time.

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