Maltese Theatre in 2020: Possible Scenarios

Business as Usual

The results of this working group were divided into two:

Look back in anger

1. Educational impact
2. National Theatre?
3. Administrative Homework
4. Transparency: information/disinformation
5. Quality/Standards/Criteria

Waiting for Godot

1. EU - in or out?
2. Science developments
3. Censorship
4. Economic factors.

Let us imagine a scenario where there are no changes in educational policy. Theatre is not included in the school curriculum. There are very few opportunities for drama teachers to find jobs. Any development in theatre is commercially driven and there is nobody to guarantee quality. The number of private drama schools is growing, but nobody local is thinking about quality on this level either. This has to be guaranteed by foreign bodies delivering foreign certification. Funds from the state and other sources decrease, so people have no space to work even if they want to. Any theatre space to work in has been the result of individual initiatives. This has resulted in lack of professionalism.

In 2020 still no decision has been taken with regard to the National Theatre. Discussion continues. All agree that National theatre should provide a benchmark for quality. All think that it should lead the way as to what to aim for, and what to promote abroad. However, financial aid is lacking. Theatre companies do not take cultural management seriously, and do not possess enough skills to obtain and manage funds and to use or adapt modern technologies. There is nobody on the administrative side who is interested in doing their homework in order to see how 'business' can truly be generated from theatare and what this requires in professional terms. Also, nobody is thinking of what resources, besides financial ones, are required.

Very partial information is provided in the national statistics with regard to theatre, and the sources of this information are not revealed. The way the facts and figures are procured is not stated. Therefore there is no way to verify the bleak image that they project. The statistics seem to indicate that the general public is rather indifferent to theatre, which would justify government's hesitation to invest in this sector. However, since these figures cannot be verified in any way, and nobody knows exactly what they apply to, they generate self doubt, which in turn produces neglect. Could this be a self-fulfilling prophecy on the part of the authorities to avoid tackling the issues and needs in theatre?

Standards and guidelines remain as they are. Training, finance and space for rehearsals and work are all lacking. Consequently, there is no improvement in quality.

Waiting for Godot

If we are part of the EU, there would be more diversified communication with other countries such as Cyprus, and not simply with the UK. Also this would allow for more exposure. Funds may be obtained from the EU through initiatives such as Culture 2000. If we are out of the EU, possibilities will diminish. The current trend, of watching rather than doing theatre may persist.

The lack of knowhow has to be addressed. Therefore secretariats which could help to tap funds, organise activities and training, theatre exchanges etc. need to be set up with professional people, well versed in the arts, manning them. A cultural management course at university level should be set up.

Presently, there is a huge divide between science and the arts, and scientific innovation and technology is not reflected in the theatre. More interaction between, science, the arts and the business fields must be encouraged.

Hidden censorship must be abolished. Standards that apply to cinema or advertisements are much stricter with regard to the theatre. In fact, posters that are allowed for intimate lingerie, are not allowed for a theatrical production. The censorship of language and ideas with regard to the theatre must also stop, especially with regard to religion and politics. (e.g. The problem of nudity, or the episode of the cross thrown across the stage in the Duchess of Malfi which was censored, when so many more blatant acts on TV or cinema are not). It must be taken into account that values take time to change, and Maltese generally expect somebody to guide them in this.

With regard to the economic factors, there are many competing services. Although higher wages mean more spending power, this does not automatically mean increased audiences at the theatre. If theatre remains as it is, while other entertainments improve through better technology, marketing etc. theatre audiences will continue to dwindle. In order to bring in more audiences, there has to be more education and awareness of the arts. The tourist industry has not been exploited enough. In fact, the versatility of theatre needs to be examined more closely in this respect and entrepreneurial initiatives such as theatre on the beach or promenades should be envisaged. We should make the most of ready-made resources by taking theatre to the people.