Interview

The Factory interviews Kristiina Reidolv, managing director of the Association of Performing Arts Institutions

What could Estonia learn from Spain?

The biggest plus is Spain’s differentiated VAT system which puts culture in a favourable position. Estonia abandoned its VAT incentives to performing arts institutions raising it from 5% to 20%, regardless of the protest from numerous institutions, and we are already experiencing the consequences. The Ministry of Culture promised VAT compensation, which was available in 2009 at about 50%, but there are no compensation figures written into 2010 state budget.

There is also a very successful system of private and project-based theatres in Spain, which are less developed in Estonia. It must be said though that in these times of economic depression many Estonian performers who are either freelancing or unemployed are organising themselves and creating new initiatives in the form of project theatres.

Over and above our sector it would be useful for Estonia to study the pros and cons of transferring to the euro, which is something that Spain could definitely help us with. For instance, in performing arts it transpired that adopting the euro in Spain was very beneficial for signing contracts with foreign performers.

What could Spain learn from Estonia?

In the area of performing arts Spain could provide more social guarantees to performers and generate more laws to regulate cultural activities.

How would you compare the situation of your sector with that of Spain?

Theatre systems function very differently in Spain and Estonia starting from real estate and state funding, and finishing with performers’ status on the labour market.

Spanish theatre system is unique in Europe and resembles that of the 19th century. On the one hand it functions as a system of project theatres that don’t own any real estate, and on the other hand as a system of community cultural centres, also well-known in Estonia, whereas their role is to coordinate a cultural programme and not to produce. Classical repertory theatre with its resident company is almost inexistent in Spain.

Theatres, ie community centres, buy in performers, singers, dancers and even ticket office staff. There are specialised job agencies who offer this service. In the 1980s the Spanish cultural sector had lots of money but they didn’t invest it but bought in expensive foreign performers, which means that theatre buildings are in poor condition. They do however put on a very wide programme from opera to comedy.

The other half is the project theatres where director as a producer has to source and organise everything from venues and actors to funding and so on.

Such a system however places performers in a socially very unstable situation as they have no guarantees to being invited to the next project or having any work at all in a 12 months’ time. This has resulted in a very unique social tax system for performers – 1 day's worth of social tax paid will count as 2 days. Many scams have taken place though where employers haven’t paid performers’ social tax.

The situation of Spanish theatres today is best illustrated by “We, heroes" staged in Tallinn Linnateater (Jean-Luc Lagarce/Elmo Nüganen).

Since Spain has 17 autonomies and 2 free cities, the funding of theatre is somewhat complicated - especially the way the funding is split between the ministry of culture and autonomies themselves. The local governments don’t want the state authorities to intervene with their cultural life and are thus not interested in regulations.

It’s notable that in the crisis the number of theatre visits has remained unchanged or even increased.

Cinema is in a more privileged situation in Spain and lives on state subsidies.

What kind of cooperation potential can you see in your sector between Estonia and Spain?

Definitely cultural exchange – both in terms of translating dramas and exchanging directors/stage designers etc.

What was your (organisation’s) most interesting/useful experience in Spain?

All different sectorial meetings were very interesting. I remember especially well the meeting with the directors’ association where we were given a very thorough overview of the functioning of theatres.

What could be the next field trip destination?

On the one hand, a country with whom it would be relatively easy to coordinate cultural exchange (the US, Canada etc) or, on the other hand, a country with a unique theatre tradition (Japan, China).

What is your total impression of the visit?

I was happy that the programme prepared by the Employers’ Confederation allowed for personal visits to museums (eg Miro, El Prado museum). I’m also very grateful for a varied programme that allowed us to cover three very different parts of Spain.